title: He maimoa i ngā whakatupuranga anamata: Ko te mātauranga taketake o ngā tūpuna me te whakarea tamariki

authors: Greensill, Hineitimoana

subjects: Poipoi tamariki

abstract: Kua āraua ki roto i te reo me ngā pūnaha mātauranga o ngā iwi taketake, ko ngā uara, ko ngā whakapono me ngā rapunga whakaaro e toko ake nei i tērā iwi. Kia whakahoropakitia tēnei ki roto o Aotearoa me Hawai‘i, i te whakaekenga o ō tātou kāinga tupu e ngā taua a te Pākehā me ngā tāmi o ngā tikanga whakawhenumi a te Kāwanantanga o muri, i tauwhatia ai te tuku o te reo Māori me te ‘ōlelo (reo) o Hawai‘i i waenga i ngā whakatupuranga, waihoki ko ngā māramatanga pūmau o roto i ngā reo i tauwhatia ai (Walker, 2004; Blaisdell & Mokuau, 1991). Ahakoa ēnei tauwhatinga, ka pupuri tonu tātou ki ngā karere i mau rā i te reo i roto i ngā ngā pātaka mātauranga a te Māori me nā kānaka (ngā tāngata) o Hawai‘i. Ko te mātauranga taketake, ngā kōrero o nehe me ngā ariā e āraua nei ki ngā tuhituhinga-ā-waha huhua, tae atu ki ngā whakataukī, ngā ‘ōlelo no‘eau, me ngā kīanga rongonui i tāngia hoki ki te pepa (Pukui, 1983). Ko te ia o ēnei momo kōrero tuku-iho taketake nei kei te kōrerotia i roto i ngā whakataukī me ngā ‘ōlelo no‘eau, he mea whakaara anō tēnei mātauranga ki ngā kaupapa whakaora reo ki Aotearoa me Hawai‘i. He momo mātauranga ēnei hei whakaara i a tātou kia mārama rawa ki ngā kano tirohanga o ō tātou tūpuna ki tō rātou ao, waihoki ko ngā hononga maha e paihere nei i a tātou ki ō tātou whanaunga.

Hei whāinga matua e āta arohaehae ana tēnei pepa i ngā momo tuhituhinga-ā-waha nei, arā ko te ‘ōlelo no‘eau me te whakataukī, kia tīroua ake ngā karere e hāngai ana ki ngā tamariki a te Māori rātou ko ngā kānaka o Hawai‘i me ngā pānga ki ngā mahi whakatupu tamariki o mua. Ka toro tēnei tuhinga ki te whakataukī me te ‘ōlelo no‘eau ki te whakapuaki i te mātauranga i mahue mai i ngā tūpuna hei rei arataki mā tātou ngā iwi taketake me ō tātou wheako tonu o nāianei.

text: He maimoa i ngā whakatupuranga anamata: Ko te mātauranga taketake o ngā tūpuna me te whakarea tamariki Kua āraua ki roto i te reo me ngā pūnaha mātauranga o ngā iwi taketake, ko ngā uara, ko ngā whakapono me ngā rapunga whakaaro e toko ake nei i tērā iwi. Kia whakahoropakitia tēnei ki roto o Aotearoa me Hawai‘i, i te whakaekenga o ō tātou kāinga tupu e ngā taua a te Pākehā me ngā tāmi o ngā tikanga whakawhenumi a te Kāwanantanga o muri, i tauwhatia ai te tuku o te reo Māori me te ‘ōlelo (reo) o Hawai‘i i waenga i ngā whakatupuranga, waihoki ko ngā māramatanga pūmau o roto i ngā reo i tauwhatia ai (Walker, 2004; Blaisdell & Mokuau, 1991). Ahakoa ēnei tauwhatinga, ka pupuri tonu tātou ki ngā karere i mau rā i te reo i roto i ngā ngā pātaka mātauranga a te Māori me nā kānaka (ngā tāngata) o Hawai‘i. Ko te mātauranga taketake, ngā kōrero o nehe me ngā ariā e āraua nei ki ngā tuhituhinga-ā-waha huhua, tae atu ki ngā whakataukī, ngā ‘ōlelo no‘eau, me ngā kīanga rongonui i tāngia hoki ki te pepa (Pukui, 1983). Ko te ia o ēnei momo kōrero tuku-iho taketake nei kei te kōrerotia i roto i ngā whakataukī me ngā ‘ōlelo no‘eau, he mea whakaara anō tēnei mātauranga ki ngā kaupapa whakaora reo ki Aotearoa me Hawai‘i. He momo mātauranga ēnei hei whakaara i a tātou kia mārama rawa ki ngā kano tirohanga o ō tātou tūpuna ki tō rātou ao, waihoki ko ngā hononga maha e paihere nei i a tātou ki ō tātou whanaunga.

Hei whāinga matua e āta arohaehae ana tēnei pepa i ngā momo tuhituhinga-ā-waha nei, arā ko te ‘ōlelo no‘eau me te whakataukī, kia tīroua ake ngā karere e hāngai ana ki ngā tamariki a te Māori rātou ko ngā kānaka o Hawai‘i me ngā pānga ki ngā mahi whakatupu tamariki o mua. Ka toro tēnei tuhinga ki te whakataukī me te ‘ōlelo no‘eau ki te whakapuaki i te mātauranga i mahue mai i ngā tūpuna hei rei arataki mā tātou ngā iwi taketake me ō tātou wheako tonu o nāianei.

year: 2017

title: Understanding the use of Māori and English in dual language picturebooks through a sociolinguistic lens

authors: Daly, Nicola

abstract: In this presentation I will explore the use of te reo Māori in English text in dual language picturebooks published in Aotearoa/New Zealand. A series of studies examining the frequency of Māori loanwords in children’s picturebooks (Daly 2007; Daly 2008; Macdonald & Daly, 2013) are presented showing that when books came out of a publishing company with a commitment to publishing Māori and Pasifika stories, the frequency of loanwords was much higher than in other contexts; but even when a survey of all picturebooks published in New Zealand between 1995 and 2005 was conducted, the frequency of loanwords was much higher than in previous studies of comparable literature, such as the New Zealand school journal (Macalister, 1999). Very few dual language picturebooks featuring Māori and English are produced in New Zealand (Daly 2016a; Daly 2016b). The synchronous or sequential format of having separate books for each language seems to be favoured. But it is in the parallel dual language format (where both languages are present in a single book) that the relative status of the two languages is evident. In the second part of the presentation the layout and comparative presentation of the two languages are explored in terms of size of font and order of languages, using a Linguistic Landscape framework (Landry & Bourhis, 1997). These uses of two languages within New Zealand children’s literature (both interlingual and dual language) are examined and considered in terms of Bell’s (1984) theory of Audience Design, considering whether writers and publishers of such literature are now catering for a wider and more bilingual audience and whether publishing such linguistically diverse material such linguistically diverse picturebooks may be contributing to the creation of a more bilingual society.

text: Understanding the use of Māori and English in dual language picturebooks through a sociolinguistic lens In this presentation I will explore the use of te reo Māori in English text in dual language picturebooks published in Aotearoa/New Zealand. A series of studies examining the frequency of Māori loanwords in children’s picturebooks (Daly 2007; Daly 2008; Macdonald & Daly, 2013) are presented showing that when books came out of a publishing company with a commitment to publishing Māori and Pasifika stories, the frequency of loanwords was much higher than in other contexts; but even when a survey of all picturebooks published in New Zealand between 1995 and 2005 was conducted, the frequency of loanwords was much higher than in previous studies of comparable literature, such as the New Zealand school journal (Macalister, 1999). Very few dual language picturebooks featuring Māori and English are produced in New Zealand (Daly 2016a; Daly 2016b). The synchronous or sequential format of having separate books for each language seems to be favoured. But it is in the parallel dual language format (where both languages are present in a single book) that the relative status of the two languages is evident. In the second part of the presentation the layout and comparative presentation of the two languages are explored in terms of size of font and order of languages, using a Linguistic Landscape framework (Landry & Bourhis, 1997). These uses of two languages within New Zealand children’s literature (both interlingual and dual language) are examined and considered in terms of Bell’s (1984) theory of Audience Design, considering whether writers and publishers of such literature are now catering for a wider and more bilingual audience and whether publishing such linguistically diverse material such linguistically diverse picturebooks may be contributing to the creation of a more bilingual society.

year: 2018

title: The artist is present: Lynch, Mendieta and creative practices of the body on-screen

authors: Porter, Archie

subjects: Screen-production research

abstract: This thesis examines visualisations of the human body and investigates how specific creative practices influence body representation on screen. Utilising a mixed methodological approach, including practice-related frameworks and qualitative textual analysis, this study will present socio-cultural implications of body conceptualisation. To demonstrate contemporary creative practice of depicting the body on screen, this thesis has produced a creative output in the form of a short film entitled Iris (2021). The film is a central output for the research and was created in response to the analysis of selected works of artist-filmmakers, David Lynch and Ana Mendieta. Through this creative component, I demonstrate the capacity to do research via filmmaking, locating the influences of Lynch and Mendieta on my practice. This research draws on Laura Mulvey’s influential theory of ‘visual pleasure’ and the male gaze, as well as Judith Butler’s theory of gender performativity.

Throughout their respective careers, both Lynch and Mendieta have continuously adopted specific techniques that challenge and subvert gender representation. Using qualitative analysis, I will examine two selected works from each of these artists: Six Figures Getting Sick (1967), Lynch’s first true experiment with moving images, and Eraserhead (1977), Lynch’s debut feature-film. This will highlight Lynch’s aesthetics of depicting gender and the body from the transition of short audio-visual practices to feature filmmaking. For Mendieta, I will analyse Untitled: Glass on Body Imprints (1972), a photography series and performance work that examines gender representation and female identity through self-portraiture. Lastly, I will explore Sweating Blood (1973), an experimental film-work in which Mendieta expands her practices and investigates the female body as a visual site of crisis and violence. Furthermore, this research is among the first to comparatively examine Lynch and Mendieta’s work, thus I will generate new knowledge and heighten awareness of these specific creative practices. As a final analytical component, I present a critical exegesis of Iris. Through this, I discuss the various phases of production and argue the necessity for the creative component as a tool for conveying and generating knowledge.

text: The artist is present: Lynch, Mendieta and creative practices of the body on-screen This thesis examines visualisations of the human body and investigates how specific creative practices influence body representation on screen. Utilising a mixed methodological approach, including practice-related frameworks and qualitative textual analysis, this study will present socio-cultural implications of body conceptualisation. To demonstrate contemporary creative practice of depicting the body on screen, this thesis has produced a creative output in the form of a short film entitled Iris (2021). The film is a central output for the research and was created in response to the analysis of selected works of artist-filmmakers, David Lynch and Ana Mendieta. Through this creative component, I demonstrate the capacity to do research via filmmaking, locating the influences of Lynch and Mendieta on my practice. This research draws on Laura Mulvey’s influential theory of ‘visual pleasure’ and the male gaze, as well as Judith Butler’s theory of gender performativity.

Throughout their respective careers, both Lynch and Mendieta have continuously adopted specific techniques that challenge and subvert gender representation. Using qualitative analysis, I will examine two selected works from each of these artists: Six Figures Getting Sick (1967), Lynch’s first true experiment with moving images, and Eraserhead (1977), Lynch’s debut feature-film. This will highlight Lynch’s aesthetics of depicting gender and the body from the transition of short audio-visual practices to feature filmmaking. For Mendieta, I will analyse Untitled: Glass on Body Imprints (1972), a photography series and performance work that examines gender representation and female identity through self-portraiture. Lastly, I will explore Sweating Blood (1973), an experimental film-work in which Mendieta expands her practices and investigates the female body as a visual site of crisis and violence. Furthermore, this research is among the first to comparatively examine Lynch and Mendieta’s work, thus I will generate new knowledge and heighten awareness of these specific creative practices. As a final analytical component, I present a critical exegesis of Iris. Through this, I discuss the various phases of production and argue the necessity for the creative component as a tool for conveying and generating knowledge.

year: 2021