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: Mihi (Foreword)

authors: Tuaupiki, Jackie Whetumarama

abstract: Mihi of Te Kōtihitihi - Ngā Tuhinga Reo Māori Putanga 3

text: Mihi (Foreword) Mihi of Te Kōtihitihi - Ngā Tuhinga Reo Māori Putanga 3

year: 2016

title: Offshore petroleum and minerals: Plugging gaps in the present framework

authors: Barton, Barry

subjects: New Zealand

abstract: For twenty years, it has been realized that there is a gap in New Zealand’s environmental law in that there is no general environmental legislation for the exclusive economic zone, and now for the extended continental shelf that includes areas more than 200 nautical miles offshore. The jurisdiction of regional councils under the Resource Management Act 1991 does not extend beyond the 12-mile limit, about 22 km offshore. (The jurisdiction of territorial authorities extends only to the mean low water mark.) That has meant that oil and gas operations beyond the 12-mile limit have not had proper environmental scrutiny. Public concern about such matters has sharpened in the light of petroleum exploration in the Raukumara Basin off the East Cape, although so far it has only reached the stage of seismic exploration. The Deepwater Horizon blowout on the Macondo prospect in the Gulf of Mexico in April 2010 also looms large in public debate. With a lower profile but with a similar potential to cause environmental harm is the possibility of seabed mining operations. A company is gearing up for deep seabed mining off New Britain in Papua New Guinea. Globally, the main targets are cobalt-rich crusts, polymetallic nodules (on the abyssal plain), and massive sulphide deposits (near hydrothermal vents). In New Zealand iron sands are also attractive. Other possible future uses of the offshore are carbon capture and storage and the extraction of gas hydrates. Existing operations such as fishing by bottom trawling present risks of environmental harm to the benthic environment, especially to features such as seamounts. The Minister for the Environment has now announced his intention to introduce a bill to plug this legal gap, at least in relation to petroleum development and seabed mining. Action on this is most welcome. It is desirable to consider the strengths and weaknesses of the proposal, and of the legal framework for oil and gas well drilling in general. Some surprising gaps remain even if the Minister’s proposal is enacted.

text: Offshore petroleum and minerals: Plugging gaps in the present framework For twenty years, it has been realized that there is a gap in New Zealand’s environmental law in that there is no general environmental legislation for the exclusive economic zone, and now for the extended continental shelf that includes areas more than 200 nautical miles offshore. The jurisdiction of regional councils under the Resource Management Act 1991 does not extend beyond the 12-mile limit, about 22 km offshore. (The jurisdiction of territorial authorities extends only to the mean low water mark.) That has meant that oil and gas operations beyond the 12-mile limit have not had proper environmental scrutiny. Public concern about such matters has sharpened in the light of petroleum exploration in the Raukumara Basin off the East Cape, although so far it has only reached the stage of seismic exploration. The Deepwater Horizon blowout on the Macondo prospect in the Gulf of Mexico in April 2010 also looms large in public debate. With a lower profile but with a similar potential to cause environmental harm is the possibility of seabed mining operations. A company is gearing up for deep seabed mining off New Britain in Papua New Guinea. Globally, the main targets are cobalt-rich crusts, polymetallic nodules (on the abyssal plain), and massive sulphide deposits (near hydrothermal vents). In New Zealand iron sands are also attractive. Other possible future uses of the offshore are carbon capture and storage and the extraction of gas hydrates. Existing operations such as fishing by bottom trawling present risks of environmental harm to the benthic environment, especially to features such as seamounts. The Minister for the Environment has now announced his intention to introduce a bill to plug this legal gap, at least in relation to petroleum development and seabed mining. Action on this is most welcome. It is desirable to consider the strengths and weaknesses of the proposal, and of the legal framework for oil and gas well drilling in general. Some surprising gaps remain even if the Minister’s proposal is enacted.

year: 2011