title: Indigenising the screen: Screenplay and critical analysis for The Prophet

authors: Bristowe, Joseph Curtis

subjects: indiginization

abstract: This thesis tests the hypothesis that it is possible to both decolonise and indigenise the New Zealand cinema screen. Secondary research reveals how those discourses that promoted roles and expectations for Māori within the New Zealand film industry were based principally upon historical colonial ideologies imposed by various means upon the native populous, and subsequently reproduced. These discourses of race, gender and religion perpetuate negative belief systems about Māori and contribute to the reproduction of stereotypical images of Māori, such as the irrational, naive, simpleminded and warlike Māori man, or the domesticated, lustful and sexually available Māori woman. 

Research by creative practice advances the project of decolonising the New Zealand screen through the writing of a feature length screenplay based on careful research and intimate cultural knowledge, and by working according to an appropriate kaupapa Māori framework. The resulting screenplay, The Prophet, brings to life the multitude of forces that coalesced to shape the life of 19th century Māori warrior and prophet, Te Kooti Arikirangi Te Tūruki. In his death, as in his life, he remains an enigmatic figure. In written accounts and in Pākehā memories he appears as a violent rebel, mass murderer and religious fanatic. This epic re-telling focuses on the character of Te Kooti, showing him to be a man who accomplished great feats in the face of injustice, adversity and hardship. 
A critical analysis of the screenplay reveals how I adopted a unique cross cultural writing approach drawing upon both the 'classic' western narrative structure as well as kaupapa Māori pūrākau oral tradition. I argue that this approach combines effectively to materialise strong anti-colonial perspectives aimed specifically at subverting long-held and dominant colonial discourses. Such an approach to scriptwriting rejects the tradition of being defined, constructed and represented through discourses that serve to promote the interests of the Pākehā majority and, in doing so, urges the utilisation of Māori philosophies, concepts and practices in the scriptwriting/film production process.

text: Indigenising the screen: Screenplay and critical analysis for The Prophet This thesis tests the hypothesis that it is possible to both decolonise and indigenise the New Zealand cinema screen. Secondary research reveals how those discourses that promoted roles and expectations for Māori within the New Zealand film industry were based principally upon historical colonial ideologies imposed by various means upon the native populous, and subsequently reproduced. These discourses of race, gender and religion perpetuate negative belief systems about Māori and contribute to the reproduction of stereotypical images of Māori, such as the irrational, naive, simpleminded and warlike Māori man, or the domesticated, lustful and sexually available Māori woman. 

Research by creative practice advances the project of decolonising the New Zealand screen through the writing of a feature length screenplay based on careful research and intimate cultural knowledge, and by working according to an appropriate kaupapa Māori framework. The resulting screenplay, The Prophet, brings to life the multitude of forces that coalesced to shape the life of 19th century Māori warrior and prophet, Te Kooti Arikirangi Te Tūruki. In his death, as in his life, he remains an enigmatic figure. In written accounts and in Pākehā memories he appears as a violent rebel, mass murderer and religious fanatic. This epic re-telling focuses on the character of Te Kooti, showing him to be a man who accomplished great feats in the face of injustice, adversity and hardship. 
A critical analysis of the screenplay reveals how I adopted a unique cross cultural writing approach drawing upon both the 'classic' western narrative structure as well as kaupapa Māori pūrākau oral tradition. I argue that this approach combines effectively to materialise strong anti-colonial perspectives aimed specifically at subverting long-held and dominant colonial discourses. Such an approach to scriptwriting rejects the tradition of being defined, constructed and represented through discourses that serve to promote the interests of the Pākehā majority and, in doing so, urges the utilisation of Māori philosophies, concepts and practices in the scriptwriting/film production process.

year: 2009

title: Looking for the Tikanga in technology education

authors: Knoef, Bernard John

subjects: Maori

abstract: This dissertation is dedicated to understanding how it would feel to be disconnected from their own past and devalued as a race by colonialism; that is, how would it feel to be Māori in my class?
This dissertation aims to support New Zealand teachers of Technology to better understand how they can create a curriculum for Technology that is more connected to aspects of Māori culture and in doing so improve learning outcomes for Māori. At the same time it explores how Pākehā students could gain a better understanding of the tikanga that guides the essence of what it means to be Māori and what it means to be an honourable Treaty partner with Māori. The 1840 Treaty of Waitangi laid the foundation for a formal respectful relationship between Māori and the British and for the introduction of British rule of law. Despite the intentions of the Treaty being one of equal partnerships between the British and Māori, the Treaty did not eventuate to be the equal nor mutually beneficial agreement that was anticipated by Māori.
Today visible disparities, that exist for Māori across society, are evident in Māori learning outcomes in Aotearoa New Zealand secondary schools. This research explores my own praxis in secondary technology education in collaborating with Māori to incorporate tikanga Māori (Māori customary values and practices) into the classroom. A focus on tikanga and Technology provides opportunities to develop improved understandings of more inclusive learning contexts. This dissertation histories the identity evolution of me, the researcher. The process I utilised is a method of self-examination and identity construction for other technology teachers who want to improve their practices in teaching students who are Māori. This study describes a repositioning process of how I took ownership for self-improvement. To enable an emphasis for this, there is a particular focus on the Nature of Technology strand of the New Zealand Curriculum (Ministry of Education, 2007, 2017). Pacey (2001) discusses the possibilities of a more people-centred technology with a participatory, ethical experience of technology that values people as well as their environment. In Aotearoa New Zealand, a teacher is encouraged to take personal responsibility for their engagement with an official curriculum (MOE, 2007).
My students and I have embarked on a number of projects that are localised both within our community and in wider society. These projects required us to have an understanding of tikanga. Mead (2016) requires that for educators and leaders to be more effective in what they do, they need to know the protocols that are drawn from the basket of knowledge called tikanga. My research explores ways to aid teachers develop understandings of Te Ao Māori (The Māori world) and the cultural world of Māori learners, with a view to promoting teaching that engages respectfully with, the knowledge of tikanga Māori in New Zealand Technology classrooms.
I have completed many years of teaching, much of which has been in the curriculum area of Technology. I have managed this with only a limited amount of supporting knowledge and understanding of how tikanga Māori could be appropriately and meaningfully, woven into my practice and the practice of my fellow Technology teachers as a result of my leadership. I am non-Māori and have practised as a teacher in New Zealand secondary schools for 29 years. Together with my students, we recently completed a number of Technology projects that involved learning about significant aspects of Māori culture including tikanga Māori. One whole school technology project was to build Te Whare Iti o Te Ako (The Small House of Learning) for our local early childhood centre. Because of this project and other related experiences, I have had the chance to reflect at a very personal level. I have had the opportunity to identify the gaps in my understanding of indigenous knowledge, but also through students participating in these projects, I have witnessed a tremendous engagement of curiosity for learning from both Māori and non- Māori about tikanga Māori. Accordingly, this research study seeks to answer the following questions and supports my intention to become more effective in what I do and how I practise as a non-Māori teacher with both Māori and non-Māori learners.
● As a non-Māori teacher, what did I learn about and from, including tikanga Māori into my pedagogical praxis as a teacher of technology?
o Who did I learn this from and how did I learn this?
o In what ways did these experiences contribute to my understandings of Te Ao Māori?
o How might my experiences support other teachers of technology?
I use Autoethnography to undertake this research which allows me to produce meaningful, accessible and evocative research that is grounded in personal experience (Ellis, Adams & Bochner 2011).

text: Looking for the Tikanga in technology education This dissertation is dedicated to understanding how it would feel to be disconnected from their own past and devalued as a race by colonialism; that is, how would it feel to be Māori in my class?
This dissertation aims to support New Zealand teachers of Technology to better understand how they can create a curriculum for Technology that is more connected to aspects of Māori culture and in doing so improve learning outcomes for Māori. At the same time it explores how Pākehā students could gain a better understanding of the tikanga that guides the essence of what it means to be Māori and what it means to be an honourable Treaty partner with Māori. The 1840 Treaty of Waitangi laid the foundation for a formal respectful relationship between Māori and the British and for the introduction of British rule of law. Despite the intentions of the Treaty being one of equal partnerships between the British and Māori, the Treaty did not eventuate to be the equal nor mutually beneficial agreement that was anticipated by Māori.
Today visible disparities, that exist for Māori across society, are evident in Māori learning outcomes in Aotearoa New Zealand secondary schools. This research explores my own praxis in secondary technology education in collaborating with Māori to incorporate tikanga Māori (Māori customary values and practices) into the classroom. A focus on tikanga and Technology provides opportunities to develop improved understandings of more inclusive learning contexts. This dissertation histories the identity evolution of me, the researcher. The process I utilised is a method of self-examination and identity construction for other technology teachers who want to improve their practices in teaching students who are Māori. This study describes a repositioning process of how I took ownership for self-improvement. To enable an emphasis for this, there is a particular focus on the Nature of Technology strand of the New Zealand Curriculum (Ministry of Education, 2007, 2017). Pacey (2001) discusses the possibilities of a more people-centred technology with a participatory, ethical experience of technology that values people as well as their environment. In Aotearoa New Zealand, a teacher is encouraged to take personal responsibility for their engagement with an official curriculum (MOE, 2007).
My students and I have embarked on a number of projects that are localised both within our community and in wider society. These projects required us to have an understanding of tikanga. Mead (2016) requires that for educators and leaders to be more effective in what they do, they need to know the protocols that are drawn from the basket of knowledge called tikanga. My research explores ways to aid teachers develop understandings of Te Ao Māori (The Māori world) and the cultural world of Māori learners, with a view to promoting teaching that engages respectfully with, the knowledge of tikanga Māori in New Zealand Technology classrooms.
I have completed many years of teaching, much of which has been in the curriculum area of Technology. I have managed this with only a limited amount of supporting knowledge and understanding of how tikanga Māori could be appropriately and meaningfully, woven into my practice and the practice of my fellow Technology teachers as a result of my leadership. I am non-Māori and have practised as a teacher in New Zealand secondary schools for 29 years. Together with my students, we recently completed a number of Technology projects that involved learning about significant aspects of Māori culture including tikanga Māori. One whole school technology project was to build Te Whare Iti o Te Ako (The Small House of Learning) for our local early childhood centre. Because of this project and other related experiences, I have had the chance to reflect at a very personal level. I have had the opportunity to identify the gaps in my understanding of indigenous knowledge, but also through students participating in these projects, I have witnessed a tremendous engagement of curiosity for learning from both Māori and non- Māori about tikanga Māori. Accordingly, this research study seeks to answer the following questions and supports my intention to become more effective in what I do and how I practise as a non-Māori teacher with both Māori and non-Māori learners.
● As a non-Māori teacher, what did I learn about and from, including tikanga Māori into my pedagogical praxis as a teacher of technology?
o Who did I learn this from and how did I learn this?
o In what ways did these experiences contribute to my understandings of Te Ao Māori?
o How might my experiences support other teachers of technology?
I use Autoethnography to undertake this research which allows me to produce meaningful, accessible and evocative research that is grounded in personal experience (Ellis, Adams & Bochner 2011).

year: 2019

title: Conservation implications of song divergence between source and translocated populations of the North Island Kōkako

authors: Valderrama Ortiz, Sandra Viviana

subjects: behavioural conservation

abstract: 1.	Translocation of individuals from healthy source populations to newly colonize or recolonize suitable habitat is a vital tool for the conservation of a species. Demographic, genetic and landscape factors, but also acoustic signals and cultural factors, will all affect translocation success.
2.	We investigated variation in song, and response to song, of the endangered North Island kōkako Callaeas wilsoni (Bonaparte 1850) in New Zealand in two translocated populations and their source population.
3.	We found significant vocal variation between the source population and both translocated populations, the latter of which had reduced repertoire sizes and increased repertoire sharing, as well as structurally different song elements of higher frequency and shorter duration.
4.	Despite the song divergence and clear variability in the nature and level of response among populations, we did not find any evidence for discrimination against nonlocal song in our reciprocal playback experiments.
5.	Synthesis and applications. Vocal divergence and reduced variability in translocated populations suggest founder effects or reduced social interaction rates. The variation could be viewed as cultural erosion and may undermine translocation success. Persistence of response to playback, despite vocal divergence, suggested that social restrictions on gene flow require at least a few decades of separation after translocation. The decision to translocate individuals of threatened species is becoming a more common tool for species conservation world-wide. We argue that it is important to take vocal variation into account during such management decisions as it may affect success of establishment and persistence of translocated populations.

text: Conservation implications of song divergence between source and translocated populations of the North Island Kōkako 1.	Translocation of individuals from healthy source populations to newly colonize or recolonize suitable habitat is a vital tool for the conservation of a species. Demographic, genetic and landscape factors, but also acoustic signals and cultural factors, will all affect translocation success.
2.	We investigated variation in song, and response to song, of the endangered North Island kōkako Callaeas wilsoni (Bonaparte 1850) in New Zealand in two translocated populations and their source population.
3.	We found significant vocal variation between the source population and both translocated populations, the latter of which had reduced repertoire sizes and increased repertoire sharing, as well as structurally different song elements of higher frequency and shorter duration.
4.	Despite the song divergence and clear variability in the nature and level of response among populations, we did not find any evidence for discrimination against nonlocal song in our reciprocal playback experiments.
5.	Synthesis and applications. Vocal divergence and reduced variability in translocated populations suggest founder effects or reduced social interaction rates. The variation could be viewed as cultural erosion and may undermine translocation success. Persistence of response to playback, despite vocal divergence, suggested that social restrictions on gene flow require at least a few decades of separation after translocation. The decision to translocate individuals of threatened species is becoming a more common tool for species conservation world-wide. We argue that it is important to take vocal variation into account during such management decisions as it may affect success of establishment and persistence of translocated populations.

year: 2013