title: He hekenga toto, he hekenga tōtā, he hekenga roimata.

authors: Mikaere, Te Maharanui Jacob

abstract: Ariā
Ko tā te tuhinga nei he whakakite i ngā āwangawanga o te kaituhi mō te maha o te hunga taiohi kua tipu mai i raro i te ātaarangi o te Kōhanga Reo, o te Kura Kaupapa Māori, o te wharekura hoki, kua noho ko te reo Māori hei reo tuatahi, engari mō te aronui ki te reo me tōna katoa kore kore rawa atu. Kei te kōrerohia ōna hītori me tōna whakapapa. I ahu mai tō tāua reo i hea? I pēhea tō tāua reo i ngā wā o mua? I pēhea tō tāua reo i te taetanga mai o tauiwi i te takiwā o te 1800? I ahatia tō tāua reo e tauiwi i tērā rautau i kīa ake he reo koretake noa te reo Māori? Nā wai tō tāua reo i ruke ki rāhaki i ngā tau 1900? Ka mutu, nā wai tō tāua reo i whakahoki mai ki te kōpū o tēnei whakatipuranga? Nā ēnei tūmomo urupounamu au i karanga ki te ihi o tōku whare kōrero. 
Ko te ngako o ngā kōrero o roto i te tuhinga nei he whakatewhatewha, he matapaki i te kūare o te hunga taiohi ki te whakapapa, ki te hītori o te reo Māori. Koia ko ōna piki me ōna heke, ngā whakapātaritari i ngana ki te whakapoko i te ahi o te reo Māori i te tata whāngaromanga ōna. Ko te nuinga o ngā kōrero he mea rangahau mai i ngā pukapuka me te whakatakoto i ngā kitenga hei pānuitanga mā te hunga e tāpara ana ki ngā kai o roto. Me whakanui ka tika ngā pēhitanga o te hunga i takatakahi i te ara papatoiake hei whaitanga mā tātau ka tahi, ka rua me kōkuhu ēnei tūmomo mātauranga ki ngā marau whakaako tamariki me kore noa e tahuri mai te hunga taiohi ki tōna reo me tōna katoa. E ora ai te whakapapa o te reo me ōna hītori me whakakōpā e tātau  tōna whakapapa, me ōna kōrero ki ngā tamariki kōhanga mai, kura kaupapa mai, wharekura mai, ā huri atu ki ngā pia whare wānanga hoki. Mā te whakaako i te hītori ki a ngāi taiohi ākene pea ka tipu te kauanuanu ki tōna reo. Kia kekeno atu au ki tōku reanga kei te kitea he momo whakahīhī kua puea ake ai ki roto tonu i a tātau. Ko te momo o tēnei whakahīhī he mea tūkino i te hunga kore reo, he mea whakaiti i ngā tāngata kua noho rehurehu ki ngā kawenga a tāua te Māori. E whakapono ana au mā te kauanuanu o tōku reanga ki tōna reo ka tipu hoki te kauanuanu ki te hunga kāore pea i rongo i ngā hua o te reo, rātau te hunga kua noho pōhara, kua noho manene nā ngā rā pōkākā o te whakapākehātanga. Atu i te whakahīhī o te ngākau kua puea hoki tētahi momo e patu nei i te kōrerotanga o tō tātau reo, arā ake ko te ngākau māngere. I te korenga o te aronui o tōku reanga ki te reo kua tipu ake ētahi, ahakoa i pakeke mai i roto i te Kōhanga Reo mō te kōrero Māori atu kia pakeke ana rātau he aha te aha. Mā te ako i ngā hītori o tō tātau reo e titi ai ki te whatu manawa te hiranga o tō tātau reo, mā tērā e kore rawa te tangata e noho hāneanea me te pōhēhē ka pai noa te reo Māori, ka mutu kāore he tino take kia kaha kōrerotia. 
Ko te tino whāinga o tēnei tuhinga he ngana ki te whakarārangi mai ko hea te huarahi e tuwhera ai ngā kuaha o te ao Māori ki te katoa e tū rangatira ai tātau. Ahakoa pakeke mai taiohi mai rānei, ahakoa matatau ki te reo tauhou ki te reo rānei ko te mea nui kia tū whakahīhī, kia tū māia te iwi Māori ki raurangi.

text: He hekenga toto, he hekenga tōtā, he hekenga roimata. Ariā
Ko tā te tuhinga nei he whakakite i ngā āwangawanga o te kaituhi mō te maha o te hunga taiohi kua tipu mai i raro i te ātaarangi o te Kōhanga Reo, o te Kura Kaupapa Māori, o te wharekura hoki, kua noho ko te reo Māori hei reo tuatahi, engari mō te aronui ki te reo me tōna katoa kore kore rawa atu. Kei te kōrerohia ōna hītori me tōna whakapapa. I ahu mai tō tāua reo i hea? I pēhea tō tāua reo i ngā wā o mua? I pēhea tō tāua reo i te taetanga mai o tauiwi i te takiwā o te 1800? I ahatia tō tāua reo e tauiwi i tērā rautau i kīa ake he reo koretake noa te reo Māori? Nā wai tō tāua reo i ruke ki rāhaki i ngā tau 1900? Ka mutu, nā wai tō tāua reo i whakahoki mai ki te kōpū o tēnei whakatipuranga? Nā ēnei tūmomo urupounamu au i karanga ki te ihi o tōku whare kōrero. 
Ko te ngako o ngā kōrero o roto i te tuhinga nei he whakatewhatewha, he matapaki i te kūare o te hunga taiohi ki te whakapapa, ki te hītori o te reo Māori. Koia ko ōna piki me ōna heke, ngā whakapātaritari i ngana ki te whakapoko i te ahi o te reo Māori i te tata whāngaromanga ōna. Ko te nuinga o ngā kōrero he mea rangahau mai i ngā pukapuka me te whakatakoto i ngā kitenga hei pānuitanga mā te hunga e tāpara ana ki ngā kai o roto. Me whakanui ka tika ngā pēhitanga o te hunga i takatakahi i te ara papatoiake hei whaitanga mā tātau ka tahi, ka rua me kōkuhu ēnei tūmomo mātauranga ki ngā marau whakaako tamariki me kore noa e tahuri mai te hunga taiohi ki tōna reo me tōna katoa. E ora ai te whakapapa o te reo me ōna hītori me whakakōpā e tātau  tōna whakapapa, me ōna kōrero ki ngā tamariki kōhanga mai, kura kaupapa mai, wharekura mai, ā huri atu ki ngā pia whare wānanga hoki. Mā te whakaako i te hītori ki a ngāi taiohi ākene pea ka tipu te kauanuanu ki tōna reo. Kia kekeno atu au ki tōku reanga kei te kitea he momo whakahīhī kua puea ake ai ki roto tonu i a tātau. Ko te momo o tēnei whakahīhī he mea tūkino i te hunga kore reo, he mea whakaiti i ngā tāngata kua noho rehurehu ki ngā kawenga a tāua te Māori. E whakapono ana au mā te kauanuanu o tōku reanga ki tōna reo ka tipu hoki te kauanuanu ki te hunga kāore pea i rongo i ngā hua o te reo, rātau te hunga kua noho pōhara, kua noho manene nā ngā rā pōkākā o te whakapākehātanga. Atu i te whakahīhī o te ngākau kua puea hoki tētahi momo e patu nei i te kōrerotanga o tō tātau reo, arā ake ko te ngākau māngere. I te korenga o te aronui o tōku reanga ki te reo kua tipu ake ētahi, ahakoa i pakeke mai i roto i te Kōhanga Reo mō te kōrero Māori atu kia pakeke ana rātau he aha te aha. Mā te ako i ngā hītori o tō tātau reo e titi ai ki te whatu manawa te hiranga o tō tātau reo, mā tērā e kore rawa te tangata e noho hāneanea me te pōhēhē ka pai noa te reo Māori, ka mutu kāore he tino take kia kaha kōrerotia. 
Ko te tino whāinga o tēnei tuhinga he ngana ki te whakarārangi mai ko hea te huarahi e tuwhera ai ngā kuaha o te ao Māori ki te katoa e tū rangatira ai tātau. Ahakoa pakeke mai taiohi mai rānei, ahakoa matatau ki te reo tauhou ki te reo rānei ko te mea nui kia tū whakahīhī, kia tū māia te iwi Māori ki raurangi.

year: 2016

title: A critical analysis of the place of culture in evaluation

authors: Masters-Awatere, Bridgette

abstract: For the past 100 or so years formal evaluation has taken its lead from frameworks that originate from a culturally blind standpoint. Worldwide the major influence on evaluation practice comes from the United States of America. The absence of non-dominant (or indigenous) culturally constructed frameworks has been replicated around the world. Before the formation of the Aotearoa New Zealand Evaluation Association (ANZEA), as a New Zealand specific evaluation group, practitioners generally belonged to the Australasian Evaluation Society (AES) and joined in the sharing, adoption and adaptation of USAs Program Evaluation Standards. However, the context of evaluation in New Zealand has been somewhat different from the rest of the world, becoming more culturally centered than other countries. The role and place of the Treaty of Waitangi has been acknowledged as an attributing factor (ANZEA, 2011). Four indigenous “By Maori for Maori” health & wellbeing programmes externally evaluated were case studies within my research. I draw upon examples from the cases studies to highlight the vulnerable and contentious position indigenous service providers and indigenous evaluators were in. Adapting Sandra Grande’s (2004) analysis, I critiqued the context of the case study evaluations that commissioners considered as Kaupapa Maori. In this presentation I argue that while stakeholders perceived the work to be an indigenous evaluation, the case studies demonstrate that whitestream evaluation was prevalent.

text: A critical analysis of the place of culture in evaluation For the past 100 or so years formal evaluation has taken its lead from frameworks that originate from a culturally blind standpoint. Worldwide the major influence on evaluation practice comes from the United States of America. The absence of non-dominant (or indigenous) culturally constructed frameworks has been replicated around the world. Before the formation of the Aotearoa New Zealand Evaluation Association (ANZEA), as a New Zealand specific evaluation group, practitioners generally belonged to the Australasian Evaluation Society (AES) and joined in the sharing, adoption and adaptation of USAs Program Evaluation Standards. However, the context of evaluation in New Zealand has been somewhat different from the rest of the world, becoming more culturally centered than other countries. The role and place of the Treaty of Waitangi has been acknowledged as an attributing factor (ANZEA, 2011). Four indigenous “By Maori for Maori” health & wellbeing programmes externally evaluated were case studies within my research. I draw upon examples from the cases studies to highlight the vulnerable and contentious position indigenous service providers and indigenous evaluators were in. Adapting Sandra Grande’s (2004) analysis, I critiqued the context of the case study evaluations that commissioners considered as Kaupapa Maori. In this presentation I argue that while stakeholders perceived the work to be an indigenous evaluation, the case studies demonstrate that whitestream evaluation was prevalent.

year: 2015

title: A framework for evaluating presence  in VR narrative games

authors: Pan, Xin

abstract: This research develops a framework that unveils how players feel present in Virtual Reality (VR) narrative games. In 2017, there were over 2.2 billion active video gamers, and VR is a future game platform because VR provides immersive gaming experiences where players experience presence. Slater and & Wilbur (1997, p. 14) define presence as the “sense of being in the virtual environment.” Previous research demonstrated that narrative could improve presence in VR games but left open the discussion on the causal relationship. Therefore, understanding how game narrative contributes to presence could further improve VR gaming experiences. 
This research reviews Wei, Bizzocchi & Calvert’s (2010) and Ryan’s (2015) frameworks that evaluate narrative games and presence in VR narratives respectively. Wei et al. and Ryan's frameworks are combined to propose The Augmented Framework which is then used to evaluate the self-produced VR narrative game, Caillte. The evaluation yields insights which improve the usage of The Augmented Framework for analysing other VR narrative games.

text: A framework for evaluating presence  in VR narrative games This research develops a framework that unveils how players feel present in Virtual Reality (VR) narrative games. In 2017, there were over 2.2 billion active video gamers, and VR is a future game platform because VR provides immersive gaming experiences where players experience presence. Slater and & Wilbur (1997, p. 14) define presence as the “sense of being in the virtual environment.” Previous research demonstrated that narrative could improve presence in VR games but left open the discussion on the causal relationship. Therefore, understanding how game narrative contributes to presence could further improve VR gaming experiences. 
This research reviews Wei, Bizzocchi & Calvert’s (2010) and Ryan’s (2015) frameworks that evaluate narrative games and presence in VR narratives respectively. Wei et al. and Ryan's frameworks are combined to propose The Augmented Framework which is then used to evaluate the self-produced VR narrative game, Caillte. The evaluation yields insights which improve the usage of The Augmented Framework for analysing other VR narrative games.

year: 2019