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: Te Poho o Te Arawa: Te Mana Whenua o Ngāti Whakaue ki Maketū

authors: Potaka, Ngahu

subjects: Ngāti Whakaue

abstract: Maketū is a small coastal town in the Bay of Plenty and is the final resting place of the Te Arawa canoe, the ancestral waka of the Te Arawa people. This is the home of Ngāti Whakaue ki Maketū a coastal hapū of the tribe Ngāti Whakaue from the Te Arawa confederation of tribes. Ngāti Whakaue ki Maketū is actually a collection of smaller hapū who descend from the union of their ancestor Whakaue Kaipapa and his wife Rangiuru, and they trace their overall decent from the celebrated chief Tama te Kapua. It is on their ancestral land in Maketū that Ngāti Whakaue ki Maketū have resided and established their mana whenua (tribal authority) for over 170 years. In that time they have faced many internal and external challenges to their mana whenua including military engagement, political maneuvering, and other social issues.

This thesis traces the historical origins and mana whenua of Ngāti Whakaue ki Maketū and analyses the various key components that combine to ensure Ngāti Whakaue ki Maketū maintain mana whenua across their tribal lands. This thesis also explores how mana whenua is a vehicle for maintaining tribal authority and well being for Ngāti Whakaue ki Maketū. Part of this study is the creation of a mana whenua strategic plan that will help Ngāti Whakaue ki Maketū maintain and secure mana whenua in Maketū for future generations.

It is the proposition of this thesis that mana whenua has, is and will always play an important part in the social identity and fabric of Ngati Whakaue ki Maketū. However as Ngāti Whakaue ki Maketū stand at the dawn of a new era, it is important for this related group to understand how mana whenua operates, and can be nurtured as a means of protection to ensure the survival of Ngāti Whakaue ki Maketū in this ever changing world.

text: Te Poho o Te Arawa: Te Mana Whenua o Ngāti Whakaue ki Maketū Maketū is a small coastal town in the Bay of Plenty and is the final resting place of the Te Arawa canoe, the ancestral waka of the Te Arawa people. This is the home of Ngāti Whakaue ki Maketū a coastal hapū of the tribe Ngāti Whakaue from the Te Arawa confederation of tribes. Ngāti Whakaue ki Maketū is actually a collection of smaller hapū who descend from the union of their ancestor Whakaue Kaipapa and his wife Rangiuru, and they trace their overall decent from the celebrated chief Tama te Kapua. It is on their ancestral land in Maketū that Ngāti Whakaue ki Maketū have resided and established their mana whenua (tribal authority) for over 170 years. In that time they have faced many internal and external challenges to their mana whenua including military engagement, political maneuvering, and other social issues.

This thesis traces the historical origins and mana whenua of Ngāti Whakaue ki Maketū and analyses the various key components that combine to ensure Ngāti Whakaue ki Maketū maintain mana whenua across their tribal lands. This thesis also explores how mana whenua is a vehicle for maintaining tribal authority and well being for Ngāti Whakaue ki Maketū. Part of this study is the creation of a mana whenua strategic plan that will help Ngāti Whakaue ki Maketū maintain and secure mana whenua in Maketū for future generations.

It is the proposition of this thesis that mana whenua has, is and will always play an important part in the social identity and fabric of Ngati Whakaue ki Maketū. However as Ngāti Whakaue ki Maketū stand at the dawn of a new era, it is important for this related group to understand how mana whenua operates, and can be nurtured as a means of protection to ensure the survival of Ngāti Whakaue ki Maketū in this ever changing world.

year: 2014

title: International Human Rights Law

authors: Breen, Claire

abstract: Obligations stemming from United Nations treaty and Charter based bodies resulted in an active year for New Zealand in 2014. New Zealand engaged, for the first time, with the Committee on the Rights of Persons with Disabilities and also submitted its sixth periodic report¹ under the Convention against Torture and Other Cruel, Inhuman or Degrading Treatment or Punishment (UNCAT).² New Zealand underwent its second Universal Periodic Review (UPR) and continued its active engagement within the UN Human Rights Council. This note reviews these and other aspects of New Zealand’s state practice in the area of human rights in 2014.

text: International Human Rights Law Obligations stemming from United Nations treaty and Charter based bodies resulted in an active year for New Zealand in 2014. New Zealand engaged, for the first time, with the Committee on the Rights of Persons with Disabilities and also submitted its sixth periodic report¹ under the Convention against Torture and Other Cruel, Inhuman or Degrading Treatment or Punishment (UNCAT).² New Zealand underwent its second Universal Periodic Review (UPR) and continued its active engagement within the UN Human Rights Council. This note reviews these and other aspects of New Zealand’s state practice in the area of human rights in 2014.

year: 2014