title: Early childhood teachers partnering with teacher educators to connect children to taiao (the natural world) through place-based learning

authors: Postlewaight, Gillian

abstract: Initial cycles of an action research project brought together local early childhood (ECE) teachers, and tertiary ECE teacher educators, to explore possible uses of the Ōtātara Outdoor Learning Centre (ŌOLC), adjoining the campus at Hawke’s Bay’s Te Aho a Maui Eastern Institute of Technology (EIT), Napier, New Zealand. EIT is situated below Ōtātara Pa, a historic site that holds cultural and historical significance for local Māori, specifically Ngati Pārau Hapū and Ngati Kahungunu Iwi. Education in New Zealand is underpinned by commitment to Te Tiriti o Waitangi (Treaty of Waitangi), ensuring that the principles; partnership, participation and protection of kaupapa Māori are supported through bicultural curricula. Māori holistic perspectives strengthen this focus and shifting understanding that place-based learning authenticates environmental approaches to education and cultural knowledge. During the first meeting, participants walked the hillside site and shared group discussions. From these conversations, the teachers identified three main themes: establishing connections between children and the physical place, new opportunities for teacher learning and challenges to implementing spontaneous teaching and learning in this unique environment. Future cycles of the research will focus on workshops for teachers to address these themes for teachers’ working with children in the space.

text: Early childhood teachers partnering with teacher educators to connect children to taiao (the natural world) through place-based learning Initial cycles of an action research project brought together local early childhood (ECE) teachers, and tertiary ECE teacher educators, to explore possible uses of the Ōtātara Outdoor Learning Centre (ŌOLC), adjoining the campus at Hawke’s Bay’s Te Aho a Maui Eastern Institute of Technology (EIT), Napier, New Zealand. EIT is situated below Ōtātara Pa, a historic site that holds cultural and historical significance for local Māori, specifically Ngati Pārau Hapū and Ngati Kahungunu Iwi. Education in New Zealand is underpinned by commitment to Te Tiriti o Waitangi (Treaty of Waitangi), ensuring that the principles; partnership, participation and protection of kaupapa Māori are supported through bicultural curricula. Māori holistic perspectives strengthen this focus and shifting understanding that place-based learning authenticates environmental approaches to education and cultural knowledge. During the first meeting, participants walked the hillside site and shared group discussions. From these conversations, the teachers identified three main themes: establishing connections between children and the physical place, new opportunities for teacher learning and challenges to implementing spontaneous teaching and learning in this unique environment. Future cycles of the research will focus on workshops for teachers to address these themes for teachers’ working with children in the space.

year: 2023-04-27

title: Is there evidence that traditional mōteatea (Māori laments) were composed from a common stock of oral formulae?

authors: Roa, Raukura

subjects: New Zealand

abstract: Oral formulaic composition, which involves the use of communally owned formulae of various kinds, is a common feature of verbal arts produced in many different languages. It is particularly associated with pre-literate cultures and tends to be gradually replaced by more individualistic verbal art forms when societies become literate. There are very few publications in which the analysis of mōteatea (Māori laments) is linked explicitly to oral formulaic theory. Nevertheless, there is sufficient evidence in published sources to indicate that traditional mōteatea (defined here as mōteatea that are not fundamentally influenced by European cultural beliefs and practices) exhibit evidence of regularly recurring, conventional themes (such as death, separation, loss and travel) and motifs (such as the setting sun, the presence of rain or mist and sleeplessness). The research reported here set out to test the hypothesis that traditional mōteatea were made up of verbal formulae, that is, of the same or very similar groups of words derived from a common store of poetic resources. Based on the analysis of the mōteatea included in Ngā mōteatea, a collection initially established by Sir Apirana Ngata, I conclude that this hypothesis must be rejected.

text: Is there evidence that traditional mōteatea (Māori laments) were composed from a common stock of oral formulae? Oral formulaic composition, which involves the use of communally owned formulae of various kinds, is a common feature of verbal arts produced in many different languages. It is particularly associated with pre-literate cultures and tends to be gradually replaced by more individualistic verbal art forms when societies become literate. There are very few publications in which the analysis of mōteatea (Māori laments) is linked explicitly to oral formulaic theory. Nevertheless, there is sufficient evidence in published sources to indicate that traditional mōteatea (defined here as mōteatea that are not fundamentally influenced by European cultural beliefs and practices) exhibit evidence of regularly recurring, conventional themes (such as death, separation, loss and travel) and motifs (such as the setting sun, the presence of rain or mist and sleeplessness). The research reported here set out to test the hypothesis that traditional mōteatea were made up of verbal formulae, that is, of the same or very similar groups of words derived from a common store of poetic resources. Based on the analysis of the mōteatea included in Ngā mōteatea, a collection initially established by Sir Apirana Ngata, I conclude that this hypothesis must be rejected.

year: 2007

title: Software agents in music and sound art research/creative work: Current state and a possible direction

authors: Whalley, Ian

subjects: music

abstract: Composers, musicians and computer scientists have begun to use software-based agents to create music and sound art in both linear and non-linear (non-predetermined form and/or content) idioms, with some robust approaches now drawing on various disciplines. This paper surveys recent work: agent technology is first introduced, a theoretical framework for its use in creating music/sound art works put forward, and an overview of common approaches then given. Identifying areas of neglect in recent research, a possible direction for further work is then briefly explored. Finally, a vision for a new hybrid model that integrates non-linear, generative, conversational and affective perspectives on interactivity is proposed.

text: Software agents in music and sound art research/creative work: Current state and a possible direction Composers, musicians and computer scientists have begun to use software-based agents to create music and sound art in both linear and non-linear (non-predetermined form and/or content) idioms, with some robust approaches now drawing on various disciplines. This paper surveys recent work: agent technology is first introduced, a theoretical framework for its use in creating music/sound art works put forward, and an overview of common approaches then given. Identifying areas of neglect in recent research, a possible direction for further work is then briefly explored. Finally, a vision for a new hybrid model that integrates non-linear, generative, conversational and affective perspectives on interactivity is proposed.

year: 2009