title: Exploring female art-making through reflective practice: A multi-dimensional cultural, spiritual and embodied experience

authors: Bright, Deborah Ann

subjects: female

abstract: This thesis explores some of the many elements and influences of lived experience that are present in acts of art-making. Reflective practice in art-making adds the intentional and purposive act of reflective learning to the experience of art-making. In an academic context the challenge arises for a researcher to adequately represent the breadth and richness of the lived experiences of reflective practice in artmaking. This breadth and richness may embrace elements of art production and influences including gender, culture, spirituality, creativity, creative processes, embodied knowing, the place of conversations and learning as a result of facilitated reflective practice. Adequate representation is particularly vital because art-makers may communicate best through non-verbal means, including embodied knowing and their artmaking, rather than through words. Flexibility of approach and representation is even more important when the art-maker participants engage in various art-making areas and identify themselves as part of indigenous, dominant and/or non-dominant cultures within Aotearoa New Zealand. In this thesis, by applying a feminist participatory approach, informed by kaupapa Maori, I affirmed that the lived experiences of reflective practice in art-making can be adequately represented in a thesis. By such means, I sought to empower the participants, including myself, by providing a process through which they might increase confidence in their own art-making practices and professional artistry. This approach was necessary because no single or even double blending of worldviews can embrace such a range of variables. However, an interweaving of feminist and participatory, informed by indigenous peoples’ worldviews, provides the scope for such a study in terms of fundamental beliefs, ways of knowing, values, issues of power, methodologies and methods. The ways of knowing include collaborative, constructed, cultural, embodied, experiential, indigenous, presentational, propositional, spiritual and subjective and writing as a way of knowing; such a range was vital to this thesis. As artmaker co-participant, I was able to engage in conversation with the other art-makers as facilitator of their reflective practice in art-making and to represent their lived experiences of reflective practice in art-making through verbal and non-verbal means and art-making, in ways that were comfortable culturally to all participants. ii I represent and discuss my findings through formal academic writing, personal narrative and a DVD. The DVD includes a video montage and an image narrative that contribute to the discussion on embodied knowing (Chapter 7), a video of my own dance work, which contributes to the discussion on creativity and visual images (Chapter 6), and a copy of a poster referred to at various times in the findings and discussion chapters. Finally, I conclude that a feminist participatory approach, informed by indigenous peoples’ worldviews and including facilitated reflective practice, may have application to other fields of research and practice including other areas of the arts, teaching, sport and leisure and in the wider field of social sciences.

text: Exploring female art-making through reflective practice: A multi-dimensional cultural, spiritual and embodied experience This thesis explores some of the many elements and influences of lived experience that are present in acts of art-making. Reflective practice in art-making adds the intentional and purposive act of reflective learning to the experience of art-making. In an academic context the challenge arises for a researcher to adequately represent the breadth and richness of the lived experiences of reflective practice in artmaking. This breadth and richness may embrace elements of art production and influences including gender, culture, spirituality, creativity, creative processes, embodied knowing, the place of conversations and learning as a result of facilitated reflective practice. Adequate representation is particularly vital because art-makers may communicate best through non-verbal means, including embodied knowing and their artmaking, rather than through words. Flexibility of approach and representation is even more important when the art-maker participants engage in various art-making areas and identify themselves as part of indigenous, dominant and/or non-dominant cultures within Aotearoa New Zealand. In this thesis, by applying a feminist participatory approach, informed by kaupapa Maori, I affirmed that the lived experiences of reflective practice in art-making can be adequately represented in a thesis. By such means, I sought to empower the participants, including myself, by providing a process through which they might increase confidence in their own art-making practices and professional artistry. This approach was necessary because no single or even double blending of worldviews can embrace such a range of variables. However, an interweaving of feminist and participatory, informed by indigenous peoples’ worldviews, provides the scope for such a study in terms of fundamental beliefs, ways of knowing, values, issues of power, methodologies and methods. The ways of knowing include collaborative, constructed, cultural, embodied, experiential, indigenous, presentational, propositional, spiritual and subjective and writing as a way of knowing; such a range was vital to this thesis. As artmaker co-participant, I was able to engage in conversation with the other art-makers as facilitator of their reflective practice in art-making and to represent their lived experiences of reflective practice in art-making through verbal and non-verbal means and art-making, in ways that were comfortable culturally to all participants. ii I represent and discuss my findings through formal academic writing, personal narrative and a DVD. The DVD includes a video montage and an image narrative that contribute to the discussion on embodied knowing (Chapter 7), a video of my own dance work, which contributes to the discussion on creativity and visual images (Chapter 6), and a copy of a poster referred to at various times in the findings and discussion chapters. Finally, I conclude that a feminist participatory approach, informed by indigenous peoples’ worldviews and including facilitated reflective practice, may have application to other fields of research and practice including other areas of the arts, teaching, sport and leisure and in the wider field of social sciences.

year: 2010

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: The pest fish threat and the Great Lakes example

authors: Chadderton, Lindsay

abstract: Today I will talk about some of the innovations and lessons from the Great Lakes with regard to managing pest fish. I will start by putting the region into context from a New Zealand perspective and then I will focus on some surveillance tools, surveillance
planning and control methods being developed in the region. I believe that many of the problems you face are the same as those in North America. However, there is significant investment occurring in the U.S. to manage a variety of species and overlap in issues may provide opportunities for collaboration. David Hamilton talked about linking this region to the world for water quality and monitoring and I believe the same applies to pest fish management. Certainly, the Great Lakes region has already gained from ongoing aquatic plant management collaborations with Paul Champion (e.g. Gantz et al 2015).

text: The pest fish threat and the Great Lakes example Today I will talk about some of the innovations and lessons from the Great Lakes with regard to managing pest fish. I will start by putting the region into context from a New Zealand perspective and then I will focus on some surveillance tools, surveillance
planning and control methods being developed in the region. I believe that many of the problems you face are the same as those in North America. However, there is significant investment occurring in the U.S. to manage a variety of species and overlap in issues may provide opportunities for collaboration. David Hamilton talked about linking this region to the world for water quality and monitoring and I believe the same applies to pest fish management. Certainly, the Great Lakes region has already gained from ongoing aquatic plant management collaborations with Paul Champion (e.g. Gantz et al 2015).

year: 2017