title: Aihe Pepene

authors: Hart, Philip

abstract: Sharing the same illustrious whakapapa as his brother Reha Aperahama, Aihe Pepene was prominent when living in the Thames district before settling at Te Aroha in 1878. When speculators tried to acquire the Thames foreshore from Pepene and others in 1870, he became involved in the subsequent legal actions over unpaid promissory notes. Later he would acquire interests in many blocks of land, and received a steady income by leasing or selling these plus his share in the goldfields revenue. When the Aroha Block was considered by the land court for the last time, in 1878, he conducted the case for Ngati Rahiri.
He invested in four Hauraki goldfields, and was briefly an owner and skipper of two small river steamers, an unsuccessful endeavour that resulted in his being forced to sell more land to meet his debts. Once his 1880 and 1881 financial difficulties were resolved, no more such problems recurred. 
A leading rangatira in Hauraki generally as well as at Te Aroha, he would be elected to a Maori Committee that was soon revealed to have no significance. Closely involved with Pakeha, he assisted settlement, and his loyalty to the Crown was illustrated by his becoming an officer in the Thames Native Volunteer Corps. A member of the Church of England for many years, like many Maori he became a Mormon, a faith perhaps more appropriate to his private life, for he had more than one wife, notoriously eloping with the wife of a more senior rangatira despite already being married.

text: Aihe Pepene Sharing the same illustrious whakapapa as his brother Reha Aperahama, Aihe Pepene was prominent when living in the Thames district before settling at Te Aroha in 1878. When speculators tried to acquire the Thames foreshore from Pepene and others in 1870, he became involved in the subsequent legal actions over unpaid promissory notes. Later he would acquire interests in many blocks of land, and received a steady income by leasing or selling these plus his share in the goldfields revenue. When the Aroha Block was considered by the land court for the last time, in 1878, he conducted the case for Ngati Rahiri.
He invested in four Hauraki goldfields, and was briefly an owner and skipper of two small river steamers, an unsuccessful endeavour that resulted in his being forced to sell more land to meet his debts. Once his 1880 and 1881 financial difficulties were resolved, no more such problems recurred. 
A leading rangatira in Hauraki generally as well as at Te Aroha, he would be elected to a Maori Committee that was soon revealed to have no significance. Closely involved with Pakeha, he assisted settlement, and his loyalty to the Crown was illustrated by his becoming an officer in the Thames Native Volunteer Corps. A member of the Church of England for many years, like many Maori he became a Mormon, a faith perhaps more appropriate to his private life, for he had more than one wife, notoriously eloping with the wife of a more senior rangatira despite already being married.

year: 2016

title: Listening at dawn: Trans* storywork for all my relations

authors: Luna-Pizano, Rafaela

subjects: Transgender

abstract: This is a love letter to trans* people: a reminder of our place and legacy of trans*formation. In the form of collaborative and ceremonial research, this PhD with creative practice component is an affirmation of embodied, elemental storytelling as a necessary practice for unearthing and grounding the traditional knowledge that Indigenous-Trans* (Indigi-Trans*) people carry within our body-spirits. This creative practice (co)research uplifts liminal states of being, as given to us by our elemental ancestors, in the decolonial project of Indigenous (encompassing Black and Trans*) body-land reclamation and restoration. By recognizing and nourishing the power of the between, this thesis remembers practices of place that are rooted in the body, often our last piece of ancestral land as displaced and diasporic Indigi-Trans* people. Spanning the coasts of Aotearoa-NZ to the west coast of Ixtlán (Turtle Island-US), this creative project listened to the somatic presence of Indigi-Trans* creators (co-researchers) who are in varying states of connection to their ancestral lands and traditions. To account for sudden and extreme shifts in safety and access due to the COVID-19 pandemic, I created online and on-site rituals to sustain connection and retrace our ancestors’ techniques of time and space travel. By engaging with body-awareness practices or ritual performances offered in this project, co-researchers and storytellers were able to experiment with ‘knew’ ways of engaging the ancestral power of place. As a member of the communities contributing to this project, I witnessed an important transformation within co-researchers from a sense of landlessness to a sense of infinite place. This transformation gave co-researchers and storytellers a new source of power, strengthening their spiritual-mental capacity to receive and grow (especially during the height of the COVID-19 pandemic). In a political climate of increasing backlash to trans* and Indigenous sovereignty, this creative project is a unique contribution to the kete, or basket of knowledge that we offer to the coming generations of trans*formational practitioners and scholars.
Situated within the realms of Indigenous, Queer, Xicana and Critical Black Trans* Feminist theories, this creative project also draws upon performance, sound, and poetic practice to hatch another creative methodology that centers place-based ritual. As I created this thesis in a liminal waterscape, crossing back and forth between Aotearoa and Ixtlán, colliding with the onset of the COVID-19 pandemic, I opened myself to theories generated by the lands that nourished me. Thus, a Kaupapa Māori and Mana Wahine informed approach emerges as the prow of this banka, or canoe that carries other Black, Indigenous and Trans* lineages of scholarship. From this fluid place of theory, my practice as an Indigi-
Trans* ritualist, poet, and sound artist grounds these theories in my body and the body-lands of my co-researchers. Together, we create a Kappi (Ilocano crab motif referencing Maui’s fishing up of our islands) methodology, or the underwater reflections of celestial movement as mapped by Indigi-Trans* freedom strategies. As the co-researchers and storytellers of this project demonstrate, many Indigi-Trans* people are (re)birthing and (re)creating life and possibility just by existing. Our power of place, in body and land, can link and strengthen all Indigenous sovereignty movements when our communities take up the call to foster each person’s fluid potential.
Although this entire project is creative, as a PhD with creative practice component, this project is an ebb and flow of written and other media components. Most of the ‘creative component’ occurred during the co-research stage of this thesis and has been documented via photographs, video, participant testimony, soundscapes, and poetry on a separate, companion website (https://transjoy.cargo.site/). These artifacts of ritual research are also discussed within the harvest (data) section of the written portion, but reader/listeners are encouraged to view the website in tandem. Poetry, narrative, and soundscapes (hyperlinks or bone icons) weave throughout the written portion to create a multi-sensory experience that privileges my roots in aural tradition. Together, the performances, website, poetry, and soundscapes constitute roughly thirty percent of the final thesis, weighing more heavily on a written portion of seventy percent. Listener/readers are encouraged to experience the written and multi-media portions in tandem, cycling back and forth in a playful spirit as the next step of creative practice: listener participation. Please enter this project with the care and excitement invited of all listeners when the storyteller asks, “are you ready to hear a story?”

text: Listening at dawn: Trans* storywork for all my relations This is a love letter to trans* people: a reminder of our place and legacy of trans*formation. In the form of collaborative and ceremonial research, this PhD with creative practice component is an affirmation of embodied, elemental storytelling as a necessary practice for unearthing and grounding the traditional knowledge that Indigenous-Trans* (Indigi-Trans*) people carry within our body-spirits. This creative practice (co)research uplifts liminal states of being, as given to us by our elemental ancestors, in the decolonial project of Indigenous (encompassing Black and Trans*) body-land reclamation and restoration. By recognizing and nourishing the power of the between, this thesis remembers practices of place that are rooted in the body, often our last piece of ancestral land as displaced and diasporic Indigi-Trans* people. Spanning the coasts of Aotearoa-NZ to the west coast of Ixtlán (Turtle Island-US), this creative project listened to the somatic presence of Indigi-Trans* creators (co-researchers) who are in varying states of connection to their ancestral lands and traditions. To account for sudden and extreme shifts in safety and access due to the COVID-19 pandemic, I created online and on-site rituals to sustain connection and retrace our ancestors’ techniques of time and space travel. By engaging with body-awareness practices or ritual performances offered in this project, co-researchers and storytellers were able to experiment with ‘knew’ ways of engaging the ancestral power of place. As a member of the communities contributing to this project, I witnessed an important transformation within co-researchers from a sense of landlessness to a sense of infinite place. This transformation gave co-researchers and storytellers a new source of power, strengthening their spiritual-mental capacity to receive and grow (especially during the height of the COVID-19 pandemic). In a political climate of increasing backlash to trans* and Indigenous sovereignty, this creative project is a unique contribution to the kete, or basket of knowledge that we offer to the coming generations of trans*formational practitioners and scholars.
Situated within the realms of Indigenous, Queer, Xicana and Critical Black Trans* Feminist theories, this creative project also draws upon performance, sound, and poetic practice to hatch another creative methodology that centers place-based ritual. As I created this thesis in a liminal waterscape, crossing back and forth between Aotearoa and Ixtlán, colliding with the onset of the COVID-19 pandemic, I opened myself to theories generated by the lands that nourished me. Thus, a Kaupapa Māori and Mana Wahine informed approach emerges as the prow of this banka, or canoe that carries other Black, Indigenous and Trans* lineages of scholarship. From this fluid place of theory, my practice as an Indigi-
Trans* ritualist, poet, and sound artist grounds these theories in my body and the body-lands of my co-researchers. Together, we create a Kappi (Ilocano crab motif referencing Maui’s fishing up of our islands) methodology, or the underwater reflections of celestial movement as mapped by Indigi-Trans* freedom strategies. As the co-researchers and storytellers of this project demonstrate, many Indigi-Trans* people are (re)birthing and (re)creating life and possibility just by existing. Our power of place, in body and land, can link and strengthen all Indigenous sovereignty movements when our communities take up the call to foster each person’s fluid potential.
Although this entire project is creative, as a PhD with creative practice component, this project is an ebb and flow of written and other media components. Most of the ‘creative component’ occurred during the co-research stage of this thesis and has been documented via photographs, video, participant testimony, soundscapes, and poetry on a separate, companion website (https://transjoy.cargo.site/). These artifacts of ritual research are also discussed within the harvest (data) section of the written portion, but reader/listeners are encouraged to view the website in tandem. Poetry, narrative, and soundscapes (hyperlinks or bone icons) weave throughout the written portion to create a multi-sensory experience that privileges my roots in aural tradition. Together, the performances, website, poetry, and soundscapes constitute roughly thirty percent of the final thesis, weighing more heavily on a written portion of seventy percent. Listener/readers are encouraged to experience the written and multi-media portions in tandem, cycling back and forth in a playful spirit as the next step of creative practice: listener participation. Please enter this project with the care and excitement invited of all listeners when the storyteller asks, “are you ready to hear a story?”

year: 2023

title: Identifying the Processes of Value Co-Creation

authors: Rashid, Yasir

subjects: Value Co-Creation

abstract: This study aimed to address the issues pertaining practicalities of value co-creation from the perspective of Service-Dominant Logic (S-D) of Marketing. Using an interpretive strategy and case study method, this study responds to the call for empirical treatment of Service-Dominant Logic conceptualization. This is done by answering the question “how does integrating resources co-create value?”. A multiple-actor framework of value co-creation is derived from empirical material interpretation incorporating the nature of value realized by actors, resources and actor classifications, nature of interactions, and stages in value co-creation. 

The outcome of this study suggests that value co-creation is a system where actors engage in dialogues with the aim of improving ‘personal situations’. This system is comprised of various processes at four stages. For instance, resources integration among actors happens at a collaboration stage that co-creates consequences. These consequences are experiences, service offerings, relationships and fluctuations in resources and skills. Resources integration is done through reciprocal co-operative dialogue among actors. These dialogues have four types: initiating, building, sharing and critiquing (IBSC). In the next stage, value is realized in the form of inter-related facets: knowledge, monetary, relationship, functional and experience value. All these value facets together increase or decrease the experience value. Once value is realized, the next stage is the appraisal of the overall experience in the form of positive word of mouth, willingness to participate in the future, innovation, and premium valuation of the service offerings. Positive appraisal results in the improved situations of actors. Improved situations are: increase in resources, actors satisfaction, long-term and sustainable partnerships, and successful service delivery. A negative appraisal recognizes in the co-destruction of value. 

This framework is significant because in addition to providing implications for marketing theory and future research, 4E’s of value co-creation matrix (Engage, Event Space, Evaluation , Encourage) which are focused on resource integrations and actors, are recommended for value co-creation practices. 4E’s of value co-creation also question the efficacy of marketing mix in framing managerial decisions. 4E’s of value co-creation presents a service dominant perspective on developing marketing strategies.

text: Identifying the Processes of Value Co-Creation This study aimed to address the issues pertaining practicalities of value co-creation from the perspective of Service-Dominant Logic (S-D) of Marketing. Using an interpretive strategy and case study method, this study responds to the call for empirical treatment of Service-Dominant Logic conceptualization. This is done by answering the question “how does integrating resources co-create value?”. A multiple-actor framework of value co-creation is derived from empirical material interpretation incorporating the nature of value realized by actors, resources and actor classifications, nature of interactions, and stages in value co-creation. 

The outcome of this study suggests that value co-creation is a system where actors engage in dialogues with the aim of improving ‘personal situations’. This system is comprised of various processes at four stages. For instance, resources integration among actors happens at a collaboration stage that co-creates consequences. These consequences are experiences, service offerings, relationships and fluctuations in resources and skills. Resources integration is done through reciprocal co-operative dialogue among actors. These dialogues have four types: initiating, building, sharing and critiquing (IBSC). In the next stage, value is realized in the form of inter-related facets: knowledge, monetary, relationship, functional and experience value. All these value facets together increase or decrease the experience value. Once value is realized, the next stage is the appraisal of the overall experience in the form of positive word of mouth, willingness to participate in the future, innovation, and premium valuation of the service offerings. Positive appraisal results in the improved situations of actors. Improved situations are: increase in resources, actors satisfaction, long-term and sustainable partnerships, and successful service delivery. A negative appraisal recognizes in the co-destruction of value. 

This framework is significant because in addition to providing implications for marketing theory and future research, 4E’s of value co-creation matrix (Engage, Event Space, Evaluation , Encourage) which are focused on resource integrations and actors, are recommended for value co-creation practices. 4E’s of value co-creation also question the efficacy of marketing mix in framing managerial decisions. 4E’s of value co-creation presents a service dominant perspective on developing marketing strategies.

year: 2015