title: Poster Abstracts

authors: Lapsley, Hilary

subjects: Maori

abstract: These are the poster abstracts from the Proceedings of the National Māori Graduates of Psychology Symposium 2002.

text: Poster Abstracts These are the poster abstracts from the Proceedings of the National Māori Graduates of Psychology Symposium 2002.

year: 2003

title: "He taketake, he hurumanu te moana i rōhia ai": Mā te Māori ngā toronga o te motu ki whenua kē e taurima?

authors: Dewes, Kaneihana

subjects: Iwi taketake

abstract: Kai te tino ia o te tuhinga rangahau nei, he whakatōmene i te āhua kaiārahi o te Māori i ngā tūāhua hono ki ahurea kē. Mā konei e whakatau ai, e whakatūwherahia rānei ngā āhuatanga e mea ana mā te Māori ngā toronga o te motu ki whenua kē e taurima. He momo tēnei nā te Māori, i takea mai i ngā mahi pokai moana, me ngā waka i whakaterea i ngā rohenga moana o Te Moana-nui-a-Kiwa, ā, puta noa. Waihoki, he taonga tonu wā tātau kai ngā tauira o ngā tūhononga ahurea o ngā iwi taketake o te ao; he taonga anō kai waenganui i a tātau ngā whenua maha i pakanga ki rāwāhi, he tohu nui nā te ‘price of citizenship’. He momo nā te Māori te tātaki i ngā mahi whakarauora reo, waihoki, he rite tonu te noho tahi ki whenua kē i roto i te kōingo ki te whakatipu i te reo o te whenua. Mā konei, ka marohi ai te hiranga o Te Reo Māori me ngā Tikanga Māori, tēnei hiranga e tohu ana i te hua o ngā hononga ahurea ki ngā iwi taketake huri noa, kia whai hua mō Niu Tireni i ngā toronga ki whenua kē.

text: "He taketake, he hurumanu te moana i rōhia ai": Mā te Māori ngā toronga o te motu ki whenua kē e taurima? Kai te tino ia o te tuhinga rangahau nei, he whakatōmene i te āhua kaiārahi o te Māori i ngā tūāhua hono ki ahurea kē. Mā konei e whakatau ai, e whakatūwherahia rānei ngā āhuatanga e mea ana mā te Māori ngā toronga o te motu ki whenua kē e taurima. He momo tēnei nā te Māori, i takea mai i ngā mahi pokai moana, me ngā waka i whakaterea i ngā rohenga moana o Te Moana-nui-a-Kiwa, ā, puta noa. Waihoki, he taonga tonu wā tātau kai ngā tauira o ngā tūhononga ahurea o ngā iwi taketake o te ao; he taonga anō kai waenganui i a tātau ngā whenua maha i pakanga ki rāwāhi, he tohu nui nā te ‘price of citizenship’. He momo nā te Māori te tātaki i ngā mahi whakarauora reo, waihoki, he rite tonu te noho tahi ki whenua kē i roto i te kōingo ki te whakatipu i te reo o te whenua. Mā konei, ka marohi ai te hiranga o Te Reo Māori me ngā Tikanga Māori, tēnei hiranga e tohu ana i te hua o ngā hononga ahurea ki ngā iwi taketake huri noa, kia whai hua mō Niu Tireni i ngā toronga ki whenua kē.

year: 2022

title: Determining the age of paintings at JSARN–113/23, Jawoyn Country, central-western Arnhem Land plateau

authors: David, Bruno O.

abstract: Western Arnhem Land in northern Australia has the rare distinction, both at national and global scales, of containing a vast landscape of many thousands of rockshelters richly decorated with art, some of which was probably made tens of thousands of years ago, others as recently as a few decades ago. Yet the challenge remains as to how to date this art, how to find out how old it is. While relative dating methods have been commonly applied, in particular patterns of superimposition and changing faunal themes supposedly signalling changing environmental conditions, we still lack a clear understanding of the age of almost all the region’s art styles or conventions.
Other chapters in this volume report direct dates for Arnhem Land art using radiocarbon determinations on beeswax figures with the likelihood that the ‘art event’, the time when a beeswax figure was made, is at most a few years different from the ‘carbon event’, the time of the last biological capture of atmospheric carbon, which is the actual date measured by radiocarbon. But many, in fact most, sites have no beeswax figures or other ways directly to date the art. Sometimes, as again reported in this volume, there is some indication of date when a radiocarbon determination is obtained on, for instance, charcoal in an archaeological deposit that can be related to the art. Often that route is also blocked: many a painted surface without beeswax figures is in no close relation to a deposit that might so be dated. What can be done then?
Here we present results of investigations at a small rockshelter in Jawoyn Country, in the centralwestern part of the Arnhem Land plateau. Since its art cannot be directly dated, we follow a different path. In the first instance, we aim to understand the history, and antiquity, of the decorated rock surfaces, since the exposed surfaces of the boulder have undergone repeated transformations over a long time. Determining when now-decorated rock surfaces were formed can give us maximum possible ages for the art, since we can date when the surface first was available. Taken with related archaeological evidence from deposits, such as ochre fragments with signs of use, we can arrive at some indications for the age of the art, or at least how the range of possible dates is constrained. This approach is akin to that used at other sites in Jawoyn Country (see Chapters 11 and 15)

text: Determining the age of paintings at JSARN–113/23, Jawoyn Country, central-western Arnhem Land plateau Western Arnhem Land in northern Australia has the rare distinction, both at national and global scales, of containing a vast landscape of many thousands of rockshelters richly decorated with art, some of which was probably made tens of thousands of years ago, others as recently as a few decades ago. Yet the challenge remains as to how to date this art, how to find out how old it is. While relative dating methods have been commonly applied, in particular patterns of superimposition and changing faunal themes supposedly signalling changing environmental conditions, we still lack a clear understanding of the age of almost all the region’s art styles or conventions.
Other chapters in this volume report direct dates for Arnhem Land art using radiocarbon determinations on beeswax figures with the likelihood that the ‘art event’, the time when a beeswax figure was made, is at most a few years different from the ‘carbon event’, the time of the last biological capture of atmospheric carbon, which is the actual date measured by radiocarbon. But many, in fact most, sites have no beeswax figures or other ways directly to date the art. Sometimes, as again reported in this volume, there is some indication of date when a radiocarbon determination is obtained on, for instance, charcoal in an archaeological deposit that can be related to the art. Often that route is also blocked: many a painted surface without beeswax figures is in no close relation to a deposit that might so be dated. What can be done then?
Here we present results of investigations at a small rockshelter in Jawoyn Country, in the centralwestern part of the Arnhem Land plateau. Since its art cannot be directly dated, we follow a different path. In the first instance, we aim to understand the history, and antiquity, of the decorated rock surfaces, since the exposed surfaces of the boulder have undergone repeated transformations over a long time. Determining when now-decorated rock surfaces were formed can give us maximum possible ages for the art, since we can date when the surface first was available. Taken with related archaeological evidence from deposits, such as ochre fragments with signs of use, we can arrive at some indications for the age of the art, or at least how the range of possible dates is constrained. This approach is akin to that used at other sites in Jawoyn Country (see Chapters 11 and 15)

year: 2017