title: He Pikinga Waiora Kimi Ora lifestyle programme: Case study of a successful community-based indigenous diabetes intervention

authors: Masters-Awatere, Bridgette

subjects: adult

abstract: AIM: To co-design and implement a whānau-centred, community-based lifestyle programme (Kimi Ora) intended to ensure no worsening of HbA1c and to improve wellbeing for Māori whānau and communities with diabetes or pre-diabetes. 

METHODS: Māori healthcare providers, community members, research advisors and wider stakeholders used a co-design process underpinned by He Pikinga Waiora to collaboratively develop and implement Kimi Ora Control group comparisons and participants were recruited from Te Kōhao Health. Multi-method monitoring and collection captured individual, whānau and community data. 

RESULTS: Kimi Ora was run in two communities in Aotearoa New Zealand. In total, there were 35 participants who took part in an eight-week programme offered five times alongside a comparison group comprising 21 participants. Kimi Ora resulted in significant improvements on all biomedical measures compared to baseline, and participants had gains relative to the comparison group for variables including weight, BMI, blood pressure and waist measurement. Of particular note was the 100% retention rate and sustained community support for Kimi Ora.

CONCLUSIONS: Outcomes from Kimi Ora demonstrate this programme, which was actively tailored for and worked with Māori communities in a responsive and flexible manner, resulted in successful biomedical outcomes, high engagement and high retention.

text: He Pikinga Waiora Kimi Ora lifestyle programme: Case study of a successful community-based indigenous diabetes intervention AIM: To co-design and implement a whānau-centred, community-based lifestyle programme (Kimi Ora) intended to ensure no worsening of HbA1c and to improve wellbeing for Māori whānau and communities with diabetes or pre-diabetes. 

METHODS: Māori healthcare providers, community members, research advisors and wider stakeholders used a co-design process underpinned by He Pikinga Waiora to collaboratively develop and implement Kimi Ora Control group comparisons and participants were recruited from Te Kōhao Health. Multi-method monitoring and collection captured individual, whānau and community data. 

RESULTS: Kimi Ora was run in two communities in Aotearoa New Zealand. In total, there were 35 participants who took part in an eight-week programme offered five times alongside a comparison group comprising 21 participants. Kimi Ora resulted in significant improvements on all biomedical measures compared to baseline, and participants had gains relative to the comparison group for variables including weight, BMI, blood pressure and waist measurement. Of particular note was the 100% retention rate and sustained community support for Kimi Ora.

CONCLUSIONS: Outcomes from Kimi Ora demonstrate this programme, which was actively tailored for and worked with Māori communities in a responsive and flexible manner, resulted in successful biomedical outcomes, high engagement and high retention.

year: 2021

title: Building bridges - seeking collaboration with a Maori community

authors: Hohneck, Deborah

subjects: Maori community collaboration

abstract: The context for this thesis is the pressing need to help mainstream schools become more proactive and culturally responsive in how they engage with the whānau of their Māori pupils. 
The thesis examines how the author, a facilitator within the Te Kotahitanga Professional Development project, established a responsive and dialogic relationship with a local Māori community, so that the school could more fully support the educational achievements of its Māori students in mainstream classes. She explored ways to build “educationally powerful connections” with whānau. Initially, there was little interaction with Māori families through the traditional formats that this school was employing. She describes her personal journey of learning to engage with whānau members outside of the school context, and to work collaboratively with them to find more effective solutions.
In the first part of the thesis the author examines literature which helps to understand important differences between Pākehā and Māori ‘World Views’, and the reluctance that many Māori feel to engage with Pākehā institutions. She documents how she and whānau members, working together, identified contexts and cultural processes (tikanga) that enabled this collaborative research project to proceed in a culturally responsive way. 
In the second part of the thesis the author examines the particular culturally-grounded learning events and experiences that she encountered along the way. Concurrently with this identification and reporting of events and experiences, she reflects on how these events and experiences impacted on her professional practice, and on her professional and personal identities. The author also considers what implications her collaborative research journey with Māori colleagues and friends and learning might have for school leaders and whānau members in other schools. 
Throughout the thesis, the author sustains a metaphor of bridge building. This metaphor helps to appreciate how, although starting from quite different cultural locations and positions at either end of the bridge, members of both cultures were able to meet in the middle and find respectful and trusting ways of working together.

text: Building bridges - seeking collaboration with a Maori community The context for this thesis is the pressing need to help mainstream schools become more proactive and culturally responsive in how they engage with the whānau of their Māori pupils. 
The thesis examines how the author, a facilitator within the Te Kotahitanga Professional Development project, established a responsive and dialogic relationship with a local Māori community, so that the school could more fully support the educational achievements of its Māori students in mainstream classes. She explored ways to build “educationally powerful connections” with whānau. Initially, there was little interaction with Māori families through the traditional formats that this school was employing. She describes her personal journey of learning to engage with whānau members outside of the school context, and to work collaboratively with them to find more effective solutions.
In the first part of the thesis the author examines literature which helps to understand important differences between Pākehā and Māori ‘World Views’, and the reluctance that many Māori feel to engage with Pākehā institutions. She documents how she and whānau members, working together, identified contexts and cultural processes (tikanga) that enabled this collaborative research project to proceed in a culturally responsive way. 
In the second part of the thesis the author examines the particular culturally-grounded learning events and experiences that she encountered along the way. Concurrently with this identification and reporting of events and experiences, she reflects on how these events and experiences impacted on her professional practice, and on her professional and personal identities. The author also considers what implications her collaborative research journey with Māori colleagues and friends and learning might have for school leaders and whānau members in other schools. 
Throughout the thesis, the author sustains a metaphor of bridge building. This metaphor helps to appreciate how, although starting from quite different cultural locations and positions at either end of the bridge, members of both cultures were able to meet in the middle and find respectful and trusting ways of working together.

year: 2013

title: Why can’t screenplays be artworks?

authors: Nannicelli, Theodore

subjects: screenplay

abstract: Reviewing film and literary theorists’ writing on the subject of the screenplay, one finds a tradition both of conceiving of the screenplay as a kind of artwork and of denying it art status. However, philosophers of art have been surprisingly quiet on this matter. I say ‘surprisingly’ because, pretheoretically, there seem to be some significant similarities between screenplays and theatrical scripts: typically, both are verbal objects which relate narratives that are intended to be enacted, either before a camera or a live audience. So, one might reasonably have the intuition that the screenplay is, like the theatrical script, a kind of dramatic literary work, and that the screenplay affords the same kinds of aesthetic interest and study as its theatrical cousin.

text: Why can’t screenplays be artworks? Reviewing film and literary theorists’ writing on the subject of the screenplay, one finds a tradition both of conceiving of the screenplay as a kind of artwork and of denying it art status. However, philosophers of art have been surprisingly quiet on this matter. I say ‘surprisingly’ because, pretheoretically, there seem to be some significant similarities between screenplays and theatrical scripts: typically, both are verbal objects which relate narratives that are intended to be enacted, either before a camera or a live audience. So, one might reasonably have the intuition that the screenplay is, like the theatrical script, a kind of dramatic literary work, and that the screenplay affords the same kinds of aesthetic interest and study as its theatrical cousin.

year: 2011