title: Three Pacific writers from Aotearoa discuss Indigenous languages and visual poetry

authors: Salsano, Marama

abstract: This article draws on several months of conversations, creative workshopping, and writing sessions between Māori writers Ammon Hāwea Apiata and Marama Salsano, and Rotuman writer Mere Taito. Here, we contemplate the presence of Māori and Rotuman languages in our visual poetry. For too long, critical work about English language writing by Indigenous writers from the Pacific has been Eurocentric. Papua New Guinean writer-scholar Steven Winduo suggests the need to unwrite this “imagined Oceania,” while Māori author Keri Hulme writes disparagingly of the lower-cased ‘gods of literature’, and in her ReadNZ lecture, Sāmoan-Māori fantasy writer Lani Wendt Young describes traditional publishing as the “white castle of literature.” While white castled gods of literature have historically ignored the everyday vibrancy of Pacific voices, Indigenous writers from the Pacific continue to unapologetically write, read, experiment, critique, and play with words. Into this complexity, we acknowledge that for many Indigenous writers from the Pacific, English language Eurocentric thought and texts dominate our lives; many of us are second language learners of our languages.

text: Three Pacific writers from Aotearoa discuss Indigenous languages and visual poetry This article draws on several months of conversations, creative workshopping, and writing sessions between Māori writers Ammon Hāwea Apiata and Marama Salsano, and Rotuman writer Mere Taito. Here, we contemplate the presence of Māori and Rotuman languages in our visual poetry. For too long, critical work about English language writing by Indigenous writers from the Pacific has been Eurocentric. Papua New Guinean writer-scholar Steven Winduo suggests the need to unwrite this “imagined Oceania,” while Māori author Keri Hulme writes disparagingly of the lower-cased ‘gods of literature’, and in her ReadNZ lecture, Sāmoan-Māori fantasy writer Lani Wendt Young describes traditional publishing as the “white castle of literature.” While white castled gods of literature have historically ignored the everyday vibrancy of Pacific voices, Indigenous writers from the Pacific continue to unapologetically write, read, experiment, critique, and play with words. Into this complexity, we acknowledge that for many Indigenous writers from the Pacific, English language Eurocentric thought and texts dominate our lives; many of us are second language learners of our languages.

year: 2024-08-24

title: DrownBaseTM – Identifying at risk factors: Strategies and issues around Māori practices and activities towards water safety

authors: Karapu, Rolinda

subjects: Maori

abstract: Aotearoa has some of the most extensive and beautiful waterways in the world. The seas, rivers, beaches, and lakes provide endless opportunities for Māori to enjoy water activities, such as gathering kai, swimming, hoe waka, diving and fishing (Haimona & Takurua, 2003). For Māori, water is one of the greatest taonga (treasures) of this land – both physically and spiritually. Māori have always been acknowledged as possessing expertise in swimming and aquatic activities pre-European times (Haimona & Takurua, 2003). Early writers such as Best (1976) wrote extensively about Māori games and pastimes while in, on or near the water. These early descriptions illustrate the practice that Māori children were taught to swim at a very early age. The gathering of seafood and the consistent use of waterways as a mode of transport were also customary activities for Māori. The traditional beliefs and practices of Māori, demonstrate a great awareness and understanding of water, its dangers and its life-giving properties.

text: DrownBaseTM – Identifying at risk factors: Strategies and issues around Māori practices and activities towards water safety Aotearoa has some of the most extensive and beautiful waterways in the world. The seas, rivers, beaches, and lakes provide endless opportunities for Māori to enjoy water activities, such as gathering kai, swimming, hoe waka, diving and fishing (Haimona & Takurua, 2003). For Māori, water is one of the greatest taonga (treasures) of this land – both physically and spiritually. Māori have always been acknowledged as possessing expertise in swimming and aquatic activities pre-European times (Haimona & Takurua, 2003). Early writers such as Best (1976) wrote extensively about Māori games and pastimes while in, on or near the water. These early descriptions illustrate the practice that Māori children were taught to swim at a very early age. The gathering of seafood and the consistent use of waterways as a mode of transport were also customary activities for Māori. The traditional beliefs and practices of Māori, demonstrate a great awareness and understanding of water, its dangers and its life-giving properties.

year: 2008

title: Response to the School of the Dialogue of Cultures as a Dialogic Pedagogy

authors: White, Elizabeth Jayne

abstract: Drawing on the inspiring examples of the School of the Dialogue of Cultures, this response suggests that there is great potential to explore pedagogy as a dialogic and relational space for mutual learning. Seen in terms of very young children, this response urges teachers to go beyond the limitations of age, language, and culture, and to consider the provocations of epistemological-ontological “rubs” that have potential to free contemporary educational activity from limiting boundaries and divides.

text: Response to the School of the Dialogue of Cultures as a Dialogic Pedagogy Drawing on the inspiring examples of the School of the Dialogue of Cultures, this response suggests that there is great potential to explore pedagogy as a dialogic and relational space for mutual learning. Seen in terms of very young children, this response urges teachers to go beyond the limitations of age, language, and culture, and to consider the provocations of epistemological-ontological “rubs” that have potential to free contemporary educational activity from limiting boundaries and divides.

year: 2011