Ko te tino kaupapa o te tuhinga nei hei whakaatu i ngā rautaki a te Maori mō ngā rākau taketake e kainga ana e te ngāngara. Kua whakaputaina mai ngā rautaki e rima nei; pūrākau, rāhui, karakia, tohu, me te mahitahi. I ahu mai ngā rautaki katoa i te mātauranga Māori. Ahakoa, he rerekē ētahi o ngā āhuatanga mō ia rautaki, kotahi noa te whakaakoranga ka puta i ngā rautaki katoa—ko te hononga o ngā mea katoa. Koirā te kitenga matua o te rangahau. Nā te mea, ko tātou ngā tāngata o te ao tūroa, ngā tamariki o te moana, o ngā roto, o ngā awa, o ngā ngahere hoki.
This paper explores how we, three wāhine Māori, are moving through citational practice—who, how, and why we cite. Stemming from a refusal to recirculate settler colonial ideologies in doctoral research, we consider what it means to cite as Māori. In centring whakapapa, we conceptualise citations as extensions of our relational world and as a way we can acknowledge and nurture the intergenerational relationships that constitute who we are, and how we come to know. Citation is an expression of whanaungatanga.
Kaupapa Māori early years provision (KM-EYP) is often understood as a critical site for Māori cultural revitalisation, where a foundation for the educational success and lifelong wellbeing of tamariki Māori is laid. Given its importance, the Tangi te Kawekaweā study sought to identify and examine barriers and facilitators of whānau engagement in KM-EYP. Semi-structured interviews were conducted with individual whānau members (n = 19) and whānau groups (n = 5) enrolled in one centre for KM-EYP, and with expert informants (n = 10). This paper reports on the insights gained.
Theatre Marae is a contemporary theatre practice unique to Aotearoa New Zealand, and this article outlines its application as an Indigenous-informed creative framework for qualitative research. As a research methodology, Theatre Marae is based in a conceptual partnership between traditional and contemporary Māori performing arts, applied theatre and the therapeutic encounter. As a form of theatre pedagogy, Theatre Marae has been applied as a decolonising strategy in ensemble work, and to craft evocative theatre that honours Māori expressions of colonisation, trauma and social justice.
This article explores the Indigenous principle of kaitiakitanga as it relates to Māori agrifood practices. Our discussion is based on interviews with a small cross-section of Māori in the agrifood sector whose practices are informed by a long-standing appreciation of the interconnected realities of lands, food, people and waterways. We consider how the shared Kaupapa Māori principles underpinning these food practices form part of a wider Kaupapa Māori land, water and food systems approach which we call “Kai Ora”.
This article explores the impact on whānau wellbeing following wāhine being transferred to either secondary or tertiary care hospitals to receive health care for themselves or their baby during the birthing journey. It was found that throughout this process, the wāhine and whānau faced a series of challenges that compromised their wellbeing. Feeling isolated from their home, support networks and baby, and not fulfilling their motherhood expectations were major challenges.
Kei te puta te tokomaha o ngāi raukura (ngā tauira o mua o te Kura Kaupapa Māori) ki ngā whare wānanga puta noa i te ao, heoi anō, he ruarua noa ngā tuhinga reo Māori e arotake ana i te Kaupapa Māori. E mātai ana tēnei tuhinga i te ahunga mai o te Kura Kaupapa Māori hei tauranga ātete i ngā tāmitanga a tauiwi. He kōrero tēnei mō te ariā Kaupapa Māori (mā ngā tauira whare wānanga): he tautoko i te putanga o te tuhinga taiea, te tuhinga i āta rangahaua, te tuhinga arohaehae, te tuhinga reo Māori.
This article illuminates the embryonic academic practice of writing doctoral theses in te reo Māori, storying the experiences of graduates, supervisors, examiners and senior managers involved in this pathway. In keeping with Indigenous sensibilities, a narrative research approach is adopted, whereby analysis proceeds by carefully curating interview data to tell a compelling insider story of the reo Māori doctoral journey.
This paper advocates for change regarding commodification of Māori rituals in sport, arguing that haka are important taonga, symbolising Māori practices of knowledge transmission. Indigenous research methodologies based on Kaupapa Māori theory were utilised in this study. The literature reviewed highlights ongoing commodification of “Ka Mate” (a haka composed by Ngāti Toa chief Te Rauparaha) by transnational corporations in sport-related settings. A critique of promotional advertisements for sport events illustrates how recent legislation has had minimal impact.