title: Investigating the understanding and implementation of Ka Hikitia, in a New Zealand primary school

authors: Evans, Mary

subjects: Ka Hikitia

abstract: In New Zealand, the education system has underserved Māori learners for many years, with various factors contributing to this underperformance.  Many of these factors stem from racism and bias, conscious or unconscious, inherent in our system (Ministry of Education, 2019b).  Ka Hikitia Accelerating Success 2013 - 2017 (Ministry of Education, 2013a) set about to make transformative change in schools.  This research presents an investigation into the understanding and implementation of Ka Hikitia, in a New Zealand primary school.  
The research was guided by culturally responsive methodologies, bringing together both kaupapa Māori and critical theories (Berryman, 2013b).  Participants’ understandings and how these understandings transferred into their practice was determined through a case study.  The rich information generated within the case was analysed using grounded theory.  The main source of information came from interviewing the management team and teaching staff members.  As an insider/outsider researcher and also a participant, some of my information came from my own observations and knowledge of the school. Some attendance and achievement data held by the school also informed the case.  
The Office of the Auditor-General (2016b) contended that Ka Hikitia was a well-worded policy but, due to a lack of understanding of the policy in many schools, it was poorly implemented nationwide.  In this school, despite the good leadership and hard-working teachers, staff had difficulty fully understanding and therefore implementing the Ka Hikitia strategy as it was intended.  Strong relationships between teachers and students were evident throughout the study, however, stronger relationships were needed between the school and the wider Māori community.  The research shows that, despite the good intentions of the teachers, to fully implement the intent of Ka Hikitia, educators need to be committed to te ao Māori.  
The Ministry of Education plans to relaunch a further iteration of Ka Hikitia this year, supported by another initiative, Te Hurihanganui.  For this iteration to be successful, more effective implementation systems are required that will enable Māori students to enjoy and achieve educational success as Māori.

text: Investigating the understanding and implementation of Ka Hikitia, in a New Zealand primary school In New Zealand, the education system has underserved Māori learners for many years, with various factors contributing to this underperformance.  Many of these factors stem from racism and bias, conscious or unconscious, inherent in our system (Ministry of Education, 2019b).  Ka Hikitia Accelerating Success 2013 - 2017 (Ministry of Education, 2013a) set about to make transformative change in schools.  This research presents an investigation into the understanding and implementation of Ka Hikitia, in a New Zealand primary school.  
The research was guided by culturally responsive methodologies, bringing together both kaupapa Māori and critical theories (Berryman, 2013b).  Participants’ understandings and how these understandings transferred into their practice was determined through a case study.  The rich information generated within the case was analysed using grounded theory.  The main source of information came from interviewing the management team and teaching staff members.  As an insider/outsider researcher and also a participant, some of my information came from my own observations and knowledge of the school. Some attendance and achievement data held by the school also informed the case.  
The Office of the Auditor-General (2016b) contended that Ka Hikitia was a well-worded policy but, due to a lack of understanding of the policy in many schools, it was poorly implemented nationwide.  In this school, despite the good leadership and hard-working teachers, staff had difficulty fully understanding and therefore implementing the Ka Hikitia strategy as it was intended.  Strong relationships between teachers and students were evident throughout the study, however, stronger relationships were needed between the school and the wider Māori community.  The research shows that, despite the good intentions of the teachers, to fully implement the intent of Ka Hikitia, educators need to be committed to te ao Māori.  
The Ministry of Education plans to relaunch a further iteration of Ka Hikitia this year, supported by another initiative, Te Hurihanganui.  For this iteration to be successful, more effective implementation systems are required that will enable Māori students to enjoy and achieve educational success as Māori.

year: 2020

title: Formulaic Discourse Patterning in Mōteatea

authors: Roa, Te Raukura o Te Rangimarie

subjects: mōteatea

abstract: Oral formulaic composition, which involves the use of communally owned formulae of various kinds, is a common feature of verbal arts produced in many different languages. It is particularly associated with pre-literate cultures and tends to be gradually replaced by more individualistic verbal art forms when societies become literate. There are very few publications in which the analysis of mōteatea (Māori laments) is linked explicitly to oral formulaic theory. Nevertheless, there is, I believe, sufficient evidence in published sources to indicate that traditional mōteatea (defined here as mōteatea that are not fundamentally influenced by European cultural beliefs and practices) exhibit evidence of regularly recurring, conventional themes (such as death, separation, loss and travel) and motifs (such as the setting sun, the presence of rain or mist and sleeplessness).  There is, however, considerably less evidence that traditional mōteatea make extensive use of verbal formulae, that is, of the same or very similar groups of words derived from a common store of poetic resources. Although there are references in the literature to the conventionalized use of language in mōteatea, and although it has been claimed that there are at least some commonly recurring verbal expressions, this is by no means evidence of reliance on a common stock of verbal formulae. Indeed, no attempt has hitherto been made to define precisely what might be meant by the term 'oral formula' in the context of compositions in te reo Māori, something that is clearly required in view, in particular, of the fact that the phrasal structure of the language means that certain groupings (e.g. i te X; ki te X) are very likely to occur in certain contexts irrespective of genre. Furthermore, in the literature on oral formulaic composition, oral formulae are generally linked to particular metrical conditions and there is, it is argued here, no convincing empirically-based evidence that mōteatea conform to any common metrical structure or structures (see Chapters 2 and 4).

In the context of a critical review of selected literature on oral formulaic theory (Chapter 2) and mōteatea (Chapter 3), this thesis sets out to test the hypothesis that traditional mōteatea were composed, in whole or in large part, from a common stock of oral formulae. The conclusion, based on analysis of a selection of mōteatea included in Ngā mōteatea, a collection initially established by Sir Apirana Ngata, is that this hypothesis must be rejected (Chapter 4). However, a model derived from a review of selected literature on discourse structure (Chapter 5) was also applied to the analysis of a sample of these mōteatea (Chapter 6). On the basis of this analysis, it is concluded that they exhibit one of two very similar discourse prototypes, each of which involves a particular combination of discourse elements. What distinguishes the two prototypes is the fact that only one of them is characterized by the inclusion of hortatory sections in which the poet urges one or more of the protagonists to undergo one or more steps or stages required to achieve a particular outcome, such as entry into the spirit world or vengeance for death and/ or humiliation.

text: Formulaic Discourse Patterning in Mōteatea Oral formulaic composition, which involves the use of communally owned formulae of various kinds, is a common feature of verbal arts produced in many different languages. It is particularly associated with pre-literate cultures and tends to be gradually replaced by more individualistic verbal art forms when societies become literate. There are very few publications in which the analysis of mōteatea (Māori laments) is linked explicitly to oral formulaic theory. Nevertheless, there is, I believe, sufficient evidence in published sources to indicate that traditional mōteatea (defined here as mōteatea that are not fundamentally influenced by European cultural beliefs and practices) exhibit evidence of regularly recurring, conventional themes (such as death, separation, loss and travel) and motifs (such as the setting sun, the presence of rain or mist and sleeplessness).  There is, however, considerably less evidence that traditional mōteatea make extensive use of verbal formulae, that is, of the same or very similar groups of words derived from a common store of poetic resources. Although there are references in the literature to the conventionalized use of language in mōteatea, and although it has been claimed that there are at least some commonly recurring verbal expressions, this is by no means evidence of reliance on a common stock of verbal formulae. Indeed, no attempt has hitherto been made to define precisely what might be meant by the term 'oral formula' in the context of compositions in te reo Māori, something that is clearly required in view, in particular, of the fact that the phrasal structure of the language means that certain groupings (e.g. i te X; ki te X) are very likely to occur in certain contexts irrespective of genre. Furthermore, in the literature on oral formulaic composition, oral formulae are generally linked to particular metrical conditions and there is, it is argued here, no convincing empirically-based evidence that mōteatea conform to any common metrical structure or structures (see Chapters 2 and 4).

In the context of a critical review of selected literature on oral formulaic theory (Chapter 2) and mōteatea (Chapter 3), this thesis sets out to test the hypothesis that traditional mōteatea were composed, in whole or in large part, from a common stock of oral formulae. The conclusion, based on analysis of a selection of mōteatea included in Ngā mōteatea, a collection initially established by Sir Apirana Ngata, is that this hypothesis must be rejected (Chapter 4). However, a model derived from a review of selected literature on discourse structure (Chapter 5) was also applied to the analysis of a sample of these mōteatea (Chapter 6). On the basis of this analysis, it is concluded that they exhibit one of two very similar discourse prototypes, each of which involves a particular combination of discourse elements. What distinguishes the two prototypes is the fact that only one of them is characterized by the inclusion of hortatory sections in which the poet urges one or more of the protagonists to undergo one or more steps or stages required to achieve a particular outcome, such as entry into the spirit world or vengeance for death and/ or humiliation.

year: 2008

title: Jacqueline Fahey

authors: Dart, William

subjects: Jacqueline Fahey

abstract: Chez Jacqueline Fahey is a Grey Lynn bungalow. After walking past palmy luxuriance that could pass as a tropical setting for her 1998 novel, Cutting Loose, I'm soon in her front room, the wonders and delights of which would rival those of a Victorian parlour. There are additions since my last visit - beyond a 19205 screen is a vast mirror, its faux-baroque frame livened with cerulean blue from Fahey's brush. Significantly, it echoes the hue of the plastic flowers threaded through the chandelier.

text: Jacqueline Fahey Chez Jacqueline Fahey is a Grey Lynn bungalow. After walking past palmy luxuriance that could pass as a tropical setting for her 1998 novel, Cutting Loose, I'm soon in her front room, the wonders and delights of which would rival those of a Victorian parlour. There are additions since my last visit - beyond a 19205 screen is a vast mirror, its faux-baroque frame livened with cerulean blue from Fahey's brush. Significantly, it echoes the hue of the plastic flowers threaded through the chandelier.

year: 2007