title: huka can haka: Taonga performing tino rangatiratanga

authors: Nopera, Tāwhanga Mary-Legs

subjects: Raranga

abstract: huka can haka is an ongoing body of creative works used to frame the ideas expressed in this thesis. Spoken, ‘huka’ sounds like ‘hooker’, he is a performance persona developed to help heal from the bitter-sweet reality of being Māori, genderfluid, same-sex attracted and HIV positive in Aotearoa New Zealand. huka can haka refers to an inbetween gendered space of performance where ‘huka’ translates from Māori to English as the sea-foam that gathers between land and sea, white rain such as snow or hail, the dancing tags that are woven into cloaks, or as the transliteration of sugar. ‘Haka’ is predominantly perceived as a masculine form of traditional Māori dance and is akin to weaving with the entire body. Haka is highly sexualised and invigorates a sense of connection to Māori genealogies, family, community, language, land and cultural practices. huka can haka infers the agency enacted through the intentional performance of an identity between cultures and gender in Aotearoa New Zealand. ‘Taonga’ translates from Māori to English to represent things people value and treasure – they can be tangible or ephemeral and include shared and individual memories, people, words, actions, the things we make and beautify, as well as the natural environment that sustains us. ‘Tino rangatiratanga’ is a Māori assertion of the right to determine our lives without the disruptive controls enacted through the New Zealand government by the British Crown. Taonga performing tino rangatiratanga, infers the agency present in valuable things – because taonga exist we become aware of reasons to protect them, we create protective processes and we appreciate the value of ourselves as protectors. huka can haka: Taonga performing tino rangatiratanga explores how making art heals – it describes the transformations that manifest when creating through Māori knowledge.


Raranga is the framework used to organise and explain my research. Raranga is a traditional process of Māori weaving and through its use as a methodology, I am able to connect my explorations to the relational values that are part of Māori culture. I use raranga as a framework to interpret my own practice which is unique to me – there is no separation between my practice and the ways I live my life which differs from the approaches of other weavers. Within this project I utilise a range of research approaches that are qualitative, autobiographical, subjective, creative and practice-based.  Traditional Māori methods of story-telling, pūrākau, are used to communicate this research in digital image, digital video, writing and performance art. Through doing this I describe how contemporary media explorations can be interpreted as forms of raranga and haka, which can help mediate the sometimes oppressive use of text, image, moving image and performance in advancing colonial intents. The primary findings in this research are:
1.	that creative practice research can help people to connect sexuality with creativity, to, re-story and re-generate narratives of empowerment; 
2.	that multimedia approaches to identity knowledge gathering, assists in embodying empowerment;
3.	that Kaupapa Māori Theory can challenge dominant perceptions of gendered Māori bodies, and is inclusive of the ‘do it yourself’ strategies described through Transgender theory;
4.	that a raranga methodology can be embodied through performance and performance artefacts, connecting research to the lived experiences of research subjects;
5.	that raranga is a powerful tool to interpret sexual trauma, offering connective strategies to release damaging internalised behaviours;
6.	that raranga can centre marginal identities as bodies full of hope; 
7.	that performance of historical trauma as ceremony can offer collective forms of healing, and;
8.	that raranga heals, giving direction to multiple and conflicting strands of lived experience.


The thesis makes prominent the generative and progressive nature of raranga and is chronological in design. Theoretical explorations inspire creative works, which then in turn inform avenues for deeper theorisation, leading to new creative works and so on until the thesis conclusion. Through this creative practice research project I assert raranga as a powerful process to interpret the agency that grows between makers, the materials we use and the objects we create. Ultimately, this thesis outlines a way to weave experiences of sexualised and gendered trauma, and affirm the healing present at the intersection between oppositional relationships.

text: huka can haka: Taonga performing tino rangatiratanga huka can haka is an ongoing body of creative works used to frame the ideas expressed in this thesis. Spoken, ‘huka’ sounds like ‘hooker’, he is a performance persona developed to help heal from the bitter-sweet reality of being Māori, genderfluid, same-sex attracted and HIV positive in Aotearoa New Zealand. huka can haka refers to an inbetween gendered space of performance where ‘huka’ translates from Māori to English as the sea-foam that gathers between land and sea, white rain such as snow or hail, the dancing tags that are woven into cloaks, or as the transliteration of sugar. ‘Haka’ is predominantly perceived as a masculine form of traditional Māori dance and is akin to weaving with the entire body. Haka is highly sexualised and invigorates a sense of connection to Māori genealogies, family, community, language, land and cultural practices. huka can haka infers the agency enacted through the intentional performance of an identity between cultures and gender in Aotearoa New Zealand. ‘Taonga’ translates from Māori to English to represent things people value and treasure – they can be tangible or ephemeral and include shared and individual memories, people, words, actions, the things we make and beautify, as well as the natural environment that sustains us. ‘Tino rangatiratanga’ is a Māori assertion of the right to determine our lives without the disruptive controls enacted through the New Zealand government by the British Crown. Taonga performing tino rangatiratanga, infers the agency present in valuable things – because taonga exist we become aware of reasons to protect them, we create protective processes and we appreciate the value of ourselves as protectors. huka can haka: Taonga performing tino rangatiratanga explores how making art heals – it describes the transformations that manifest when creating through Māori knowledge.


Raranga is the framework used to organise and explain my research. Raranga is a traditional process of Māori weaving and through its use as a methodology, I am able to connect my explorations to the relational values that are part of Māori culture. I use raranga as a framework to interpret my own practice which is unique to me – there is no separation between my practice and the ways I live my life which differs from the approaches of other weavers. Within this project I utilise a range of research approaches that are qualitative, autobiographical, subjective, creative and practice-based.  Traditional Māori methods of story-telling, pūrākau, are used to communicate this research in digital image, digital video, writing and performance art. Through doing this I describe how contemporary media explorations can be interpreted as forms of raranga and haka, which can help mediate the sometimes oppressive use of text, image, moving image and performance in advancing colonial intents. The primary findings in this research are:
1.	that creative practice research can help people to connect sexuality with creativity, to, re-story and re-generate narratives of empowerment; 
2.	that multimedia approaches to identity knowledge gathering, assists in embodying empowerment;
3.	that Kaupapa Māori Theory can challenge dominant perceptions of gendered Māori bodies, and is inclusive of the ‘do it yourself’ strategies described through Transgender theory;
4.	that a raranga methodology can be embodied through performance and performance artefacts, connecting research to the lived experiences of research subjects;
5.	that raranga is a powerful tool to interpret sexual trauma, offering connective strategies to release damaging internalised behaviours;
6.	that raranga can centre marginal identities as bodies full of hope; 
7.	that performance of historical trauma as ceremony can offer collective forms of healing, and;
8.	that raranga heals, giving direction to multiple and conflicting strands of lived experience.


The thesis makes prominent the generative and progressive nature of raranga and is chronological in design. Theoretical explorations inspire creative works, which then in turn inform avenues for deeper theorisation, leading to new creative works and so on until the thesis conclusion. Through this creative practice research project I assert raranga as a powerful process to interpret the agency that grows between makers, the materials we use and the objects we create. Ultimately, this thesis outlines a way to weave experiences of sexualised and gendered trauma, and affirm the healing present at the intersection between oppositional relationships.

year: 2017

title: Child poverty and mental health: A literature review (Commissioned for New Zealand Psychological Society and Child Poverty Action Group)

authors: Gibson, Kerry

abstract: Large numbers of children in New Zealand suffer from mental health problems, and large numbers of children suffer from poverty and hardship. This literature review provides information on the relationship between poverty experienced during childhood and the impact that poverty may have on the mental health of a child or young person, or later in their adulthood. It was found that:
• There is an accepted relationship between poverty experienced in childhood and a greater likelihood of mental health problems through the life span.
• Child poverty and its associated problems such as poor nutrition, inadequate housing, increased likelihood of adverse events and living in poor neighbourhoods put children at higher risk of having mental health problems.
• The evidence strongly suggests that the incidence of mental health conditions among children and adolescents can be reduced by addressing severe and persistent poverty, particularly during the early years of a child’s life.
• Intervention to address poverty and the effects of poverty on children is likely to prevent the perpetuation of inter-generational cycles of poverty and poor mental health.
• The prevalence of child poverty and mental health issues is likely to be higher for Māori and Pasifika than for other children and young people.
• While many Māori and Pasifika children are subject to inequities in material and socio-economic circumstances as well as institutional racism, they also experience the benefits of a rich cultural life and sense of belonging that is seldom accounted for in research reports that focus on deprivation.
The evidence strongly suggests that the incidence of mental health problems throughout the lifespan could be reduced through addressing the causes of child poverty and associated factors. Any mental health strategy for children should sit alongside a comprehensive programme to alleviate poverty.
Strategies aimed at addressing child poverty in Māori and Pasifika communities are more likely to be effective if these are well-resourced at an early stage and developed in a genuine partnership with local communities.

text: Child poverty and mental health: A literature review (Commissioned for New Zealand Psychological Society and Child Poverty Action Group) Large numbers of children in New Zealand suffer from mental health problems, and large numbers of children suffer from poverty and hardship. This literature review provides information on the relationship between poverty experienced during childhood and the impact that poverty may have on the mental health of a child or young person, or later in their adulthood. It was found that:
• There is an accepted relationship between poverty experienced in childhood and a greater likelihood of mental health problems through the life span.
• Child poverty and its associated problems such as poor nutrition, inadequate housing, increased likelihood of adverse events and living in poor neighbourhoods put children at higher risk of having mental health problems.
• The evidence strongly suggests that the incidence of mental health conditions among children and adolescents can be reduced by addressing severe and persistent poverty, particularly during the early years of a child’s life.
• Intervention to address poverty and the effects of poverty on children is likely to prevent the perpetuation of inter-generational cycles of poverty and poor mental health.
• The prevalence of child poverty and mental health issues is likely to be higher for Māori and Pasifika than for other children and young people.
• While many Māori and Pasifika children are subject to inequities in material and socio-economic circumstances as well as institutional racism, they also experience the benefits of a rich cultural life and sense of belonging that is seldom accounted for in research reports that focus on deprivation.
The evidence strongly suggests that the incidence of mental health problems throughout the lifespan could be reduced through addressing the causes of child poverty and associated factors. Any mental health strategy for children should sit alongside a comprehensive programme to alleviate poverty.
Strategies aimed at addressing child poverty in Māori and Pasifika communities are more likely to be effective if these are well-resourced at an early stage and developed in a genuine partnership with local communities.

year: 2017

title: Progressive events in supervisory control and compositional verification

authors: Ware, Simon

subjects: controller constraints and structure

abstract: This paper investigates some limitations of the nonblocking property when used for supervisor synthesis in discrete event systems. It is shown that there are cases where synthesis with the nonblocking property gives undesired results. To address such cases, the paper introduces progressive events as a means to specify more precisely how a synthesised supervisor should complete its tasks. The nonblocking property is modified to take progressive events into account, and appropriate methods for verification and synthesis are proposed. Experiments show that progressive events can be used in the analysis of industrial-scale systems, and can expose issues that remain undetected by standard nonblocking verification.

text: Progressive events in supervisory control and compositional verification This paper investigates some limitations of the nonblocking property when used for supervisor synthesis in discrete event systems. It is shown that there are cases where synthesis with the nonblocking property gives undesired results. To address such cases, the paper introduces progressive events as a means to specify more precisely how a synthesised supervisor should complete its tasks. The nonblocking property is modified to take progressive events into account, and appropriate methods for verification and synthesis are proposed. Experiments show that progressive events can be used in the analysis of industrial-scale systems, and can expose issues that remain undetected by standard nonblocking verification.

year: 2014-08