For our Zine we have been deciding on many things in the last 2 weeks. Firstly, I made a title stating “Our identity is outdated” which is made up of multiple different adverts from the video in Week 4: Colonisation and Nationalism, and a couple of other adverts that show what makes New Zealand identity, all of the outdated things which barely any of us can identify with now.
I then created my own art piece around myself and what I feel makes me a New Zealander. The art style I used is inspired by 3 drawings that my mum did when she was my age, which I still hang on to now. Both of my parents art styles have influenced how I express myself through drawing and art today:
From this, I created a drawing around myself which focuses on my need to travel and explore.
We each added a story along with our artwork to explain our story and tell who we are.
Key Points for the Presentation:
Introduction
Our ideas of Mana Wahine/ Nationalism.
We chose to do a zine because they are a low budget “word of the people” publication where you can find an authenticity you can’t find with commercial publications.
Women’s lack of representation in the idea of a new zealander and advertising. “Our identity is outdated”…
Why:
Originally we planned for our zine to encompass a range of different ethnicities, ages etc to fully represent a diverse group of women that we believe represent New Zealand’s national identity but due to time/ ethical concerns we chose to focus on a more personal look into how we see ourselves fitting into a national identity.
Artwork:
We each chose to design our own artwork that would cater to our own individual artistic talents. We chose to use all of our different mediums (design/drawing/painting/collage) to create artwork that we felt represented ourselves to surround a photograph of ourselves.
Stories:
We paired our designs with a story to explore a visual account of who we each are as a new zealand woman and our individual experiences. “The Girl Who” is usually associated with a stereotype but we used it to begin each story in a way of saying that we are each very different, with different stories.
Next Steps:
We think that the “Our Identity is Outdated” zine could become an entire social movement. If it was commercialised we’d involve women of all ages and all ethnicities to tell their stories in each
With our social media campaign we’d hope to encourage all women from all ages and ethnicities to share their story and encourage them to define themselves as a New Zealander no matter where they come from. This will redefine the idea of a New Zealand woman as literally anyone who lives on this land.
“Understanding Samoans” by the vocational training council.
Aim of the booklets: trying to have better connections between Samoans and europeans in the work place.
Exploiting samoan people by using their cultural beliefs and value systems against them.
Their money wouldn’t have been world as much as here in NZ, they would’ve moved from overseas where they had family homes and assets to live from, money wasn’t a large drive or denominator in their country. Coming to NZ wouldn’t been a full re-start from them but they still pass all of this information and state that Samoan people are “desperate for money”, without explaining all of the reasons why they need money due to their situation.
“Devout Church Member”
a consequence of colonisation.
In Samoan they didn’t have connections to society and it’s ever-changing ways. In the 70’s people started to disbelieve in God and believe in atheism, creating a whole new society where church people were “extreme”.
Stereotyping is not ethical. Putting all of their situations together into one stereotype does not help Samoan people starting into a NZ society and a new life, progressing in society. All these booklets did was forever deemed them into a life of labour due to the stereotype automatically put upon them when entering this country.
Re-designing the booklets:
Our group thinks that the booklets should be written by or with a Samoan person/peoples to get the stories straight. If the book was written in this day, it could be created as a short film or documentary where the film crew actually go to Samoa and see where these people are from, what their work is like and what kinds of skills they have over there. This is the first step to understanding Samoan people. The next thing they should do is document their struggles coming to a new country and having to re-start their lives – leaving their families behind, having to buy a house, having children put into education systems, ect. Understanding these different struggles that migrating comes with would mean that an employer would be able to respect the Samoan person a lot more and understanding their life. The video could also include translations into Samoan language so that europeans can get used to them speaking their language and will feel more comfortable with them speaking it in the work place. It could include each individual Samoan person talking of their different stories to show that they are not the same at all – and each lead different lives and journeys to NZ.
The Construction of Ethnicity and ‘Belonging’ in New Zealand: Where We Have Come From and Where We Might be Going
you have spent enough time in New Zealand over the last 5 years. If you leave the country for more than 4 months of any year you do not meet the requirements. This could be one trip or many small trips.
You must intend to keep living here
You must be able to hold a basic conversation in English. (Maori is not mentioned, neither is NZSL despite them both being official languages of NZ also discriminatory to people with non-verbal illnesses and disabilities)
You must show that you are “of good character” eg. no criminal offenses
Maori women : caught in the contradictions of a colonised reality
Intro
Tikanga maori says leadership was the primary domain of men and that they exercised power over women
There were greater significance to male roles than female
Tikanga Maori and Mana Wahine
Men and women are essential parts of the collective whole = whakapapa
Women = key role in linking present and future
Everyone is a part of the collective, meaning there is a collective responsibility to see that their respective roles were valued and protected
No hierarchy of sexes lies within the maori language. Both the personal pronouns and possessive personal pronouns are gender neutral
Pere describes her childhood of being full of positive female models and the support / respect men and women had for each other. She points out assault on women results in death or dead to the community
Traditionally marriage didn’t mean transfer of property from father to sprouse. She remained part of the whanau even if she lived with her husbands whanau. The whanau are responsible for rearing the children of the kainga. Parents weren’t the sole givers . This ensured a degree of flexibility for women enabled the, to take up other roles including leadership roles.
Maori women occupied a very important leadership role positions in traditional society, spiritual and political significance
The status of women under english law
The head of the family (husband/father) was in control of the household
women/children = used and abused
Females are seen as property and anything they owned belonged to either the father or husband
Women had no rights to their children and can’t end a marriage and keep her property and children . she would have nothing
Rape wasnt perpetrated in nz law by husband against his wife
The impact of introduced law on maori women
Western civilisations did not allow women any power.
There myths and beliefs were reshaped and retold . maori women find their mana wahines destroyed. Stories shifted emphasis. They no longer had powerful women influence in stories
Women with chiefly roles were considered an exception to the rule
The crown only could conceive of dealing with men and the treaty was signed predominantly by men
Most damaging effect of colonisation for maori women was the destruction of the whanau
Whanau were forced to break into nuclear families and move to towns/cities for work
The eurpoean civilization did not tolerate maori marriage and demand on the colonial wife to be subservient . maori females had to be domiciled very quickly to the value of the new reginee that had arrived
V .Adoption : a specific example
European : The process was that children that are adopted can not return to their birth parents later in life. The new parents own the child
Maori : the child is born and remains in the whanau and has a right to their whakapapa. No permanent arrangement , children aren’t property.
Adopting maori babies was a concern and it was hard for boys and dark babies to be adopted
Adult adoption information act 1985 enables contact between birth mother and child under limited circumstances yet numerous maori were never able to reconnect under legislation
The position of maori women today
The health strau of maori women is acknowledged as being particularly poor
Maori women remain largely absent from consultative and advisory bodies set up by the crown
The movie “the piano” and the movie “ Once were warriors” demonstrate the traditions of oppression of women. They portray maori men as child and how the strong women struggling to make their way within the context of the nuclear family and common law expectations about the roles of men and women.
“People say, ‘what about the fact that they don’t speak during the formal part of powhiri?’… My answer is, ‘Why do you think that is a role of mana?’ Why do you think that to whaikorero gives the woman status? How come you don’t realise that everything a man says means nothing unless a woman stands to sing for him?”
“Its because pakeha men stand and talk at business meetings… You have let a pakeha concept tell you what is mana. But in a Maori world, whatever a Maori man says will not be heard by the dead, unless a Maori woman’s voice is heard”
Uses the interview to directly address other women, end of page 15
Each interview is structured with and overview of the woman’s work, how she worked to get where she is, then links her work to Maori women in general, how what she’s doing helps/ supports these women, how our societal constructs have changed and how Maori women fit into our society
Key ideas of support, realising your own injustice, knowing your self worth in order to succeed
Notes from class:
Two ways of producing zine we need to consider:
More surface level, public look at a wide/ diverse range of women focus more on the topic rather than the individual
Pros – representation, diversity, wider audience, easier to market
Cons – workload, ethical issues, surface level
2. More personal interviews/ depictions of ourselves/ close friends focusing more on the individual rather than the topic – focuses on personal experience rather than a general topic of women in nz/ nationalism/ gender
Pros – recognises differences in a similar demographic, in-depth look, less workload, quality over quantity, more comfortable
Cons – less variation,
Using quotes from other women already in the media as role models??
Strong representations of women in the media/ historical representations
Not just about protection of Maori – more about a broader protection of these things.
2Nd reading:
Peoples views on how Māori accepted Gay people before colonisation.
Intolerance – Christianity views that thought homosexuality was a sin, trying to put that onto Māori culture with no basis
Celebratory – they want to believe in their past that they would be expected for being gay, bias
Tolerance – people that accept people are gay but wouldn’t go out of their way to support it – today’s society
Acceptance – people who accept people regardless of who they were. Seems the most likely to have been that way because of Maori values and rules.
Questions we’re considering to ask the women we want to interview. We wasn’t to understand who they are as a woman in New Zealand and their personal opinion on what that means.
Name, where’d you grow up, how long have you been a New Zealander
Who are the women you look up to in your life?
Do you feel any discrimination against your gender from your place?
What is the stereotype of being a New Zealander and how do you think you might challenge that? Does it need to be challenged.
How would you describe yourself in three words? Values, religious/cultural beliefs, ect.
Independent Study: Looking into other artists that show the ideas we want to communicate.
Sofia Minson Art work – “Mana Whahine”
“Sofia painted this woman from her imagination in order to honour her female tipuna (ancestors), the value and strength of women and explore ideas of culture, origins and whakapapa.”
“Mana Wāhine is a powerful concept related to Māori feminism and much more. It is the inherent integrity, status, spiritual prestige, wisdom, tikanga, presence and strength of being a Māori woman, as gifted from ancestors and gods. It is akin to the idea of the Divine Feminine. In acadaemia it describes the theories and methodologies that examine the intersection of being Māori and female.” https://www.newzealandartwork.com/shop/product/221909/Mana-Wahine/
Dimmie Danielewski – The Working Girl
“This is an unconventional portrait of a woman named Catherine. Catherine is a sex worker, and thanks to decriminalisation of sex work in Aotearoa, she is able to work safely to support her family. Catherine knows that if an employer attempted to exploit her, she would be protected by Employment Law, and if a client harmed her in any way, she could call the police and seek justice without fear of prosecution due to her chosen career.”
“In 2003 Aotearoa became the first country in the world to decriminalise sex work. It remains one of only two places in the world with full decriminalisation of sex work (alongside Australia’s New South Wales which decriminalised sex work in 1995), a model which is endorsed by the United Nations, Amnesty International, and the World Health Organisation.” (read article for more information) https://www.percythomsongallery.org.nz/page/i-am-woman/
“Recent political events, both overseas and here in New Zealand, have shown that there is still a long way to go before there is true eqality for woman. As artists woman still, at times, come across the glass ceiling: the unacknowledged barrier to advancement in the profession. Traditionally, in New Zealand, woman were allowed to model for, be the muse of, but were not allowed to draw from a live model. Much has changed since 1926 when artist Edith Collier had all her life drawings and paintings destroyed by her father as a result of his moral disgust at her work, and much has not.” https://www.percythomsongallery.org.nz/page/i-am-woman/
Read Te Tiriti o Waitangi. Make notes on the differences between the different versions, and the broader implications of this politically, socially, philosophically, economically, etc.
Primary Differences in the treaty:
Maori didn’t have any understanding of the term government or sovereign power.
The Maori world Mana was the translation for sovereignty. The wrong words were used for these big ideas about changing New Zealand.
Everything was mis-translated.
The queen rushed the treaty process because the NZ company had already started selling land. The governors realised the process wasn’t working. This is why land had to be sold to the crown, who would then sell the land to immigrants.
Task 2
Ko Aotearoa Tēnei: Taonga Works and Intellectual Property
Place name:
Tamatea Pokaiwhenua – Aoteroas most famous navigator in the generation following the canoe migrations. He stopped at poranghau (hawkes bay) while travelling with his brother and crew and started conflict with those who lived there. His brother Uhenga-Ariki was killed. Tamatea had so much grief he climbed the nearest peak and played his nose flute _________________________ in memory, which is now the longest place name in the world. Tamatea’s descendants seek protection for this name.
Art piece:
Ta Moko is a marking of a sign of Uetonga – living by the values and right behaviours of the spirit people. Ta Moko is misused because people who don’t have whakapapa and tribal identity have inappropriate Ta Moko’s.
Performance Piece:
Ka Mate can he misused and commercially exploited without the consent of Ngāti Toa ( the tribe the chant piece was established from.)
Taonga Work
A story of any form. A creation of the pre existing and distinctive body of knowledge, values and insights we call mātuaranga Māori. A result of the effort and creativity of people (modern or from a distant past). Each Taonga has kaitiaki (safeguard the Taonga itself and the mātuaranga that underlies it. Physical or intellectual products of mātuaranga Māori made possible through human industry and creativity. Physical pieces rely on access to traditional resources needed to produce then and written/performance works rely on the well being of language, Te Reo Māori.
Intellectual Property:
Some Taonga is ancient, some not, but those who are responsible for safeguarding them have a very particular relationship when them. Intellectual property rights = rights which the law grants respect of specific creations of the human mind. Not only physical things, inventions and expressions too. Bought in to encourage the creator to share their creations with a wider community.
Universal declaration of human rights:
“Everyone has the right to the protection of the moral and material interests resulting from any scientific, literacy or artistic production of which he is the author.”
“Everyone has the right freely to participate in the cultural life of the community, to enjoy the arts and to share in scientific advancements and it’s beliefs.
Group Assessment Progress:
Our group brainstorm shows all of the ideas and options we considered when we met to discuss how we’d approach the brief. We first considered all of our fields in design and how we could use all of our skills to our advantage. We decided we were mostly interested in cosmology, nationalism or Mana whahine. We thought about many ways we could discuss or bring light to these topics, through apps, videos, adverts ect. We decided a zine would be the best way to go about it, where we would have photographs and paint/draw/collage/design over the image to tell a story about that person. We decided that we would either work with Mana Whahine, focusing on feminism in New Zealand and it’s journey, showing each woman’s story we decide to focus on in this zine. Or we thought of nationalism in New Zealand where we would re-create what it means to be a New Zealander like the old ads but it would be full of many different people that live outside the stereotypical lines, who would all tell their version of what it means to be a New Zealander and we would tell their story thought our art processes on the page around their portrait and quote. From here, we settled on the idea of “ what it means to be a New Zealand WOMAN”, mixing both ideas to form a controversial subject that we think has never been approached in this way.
READ: “A “Kiwi” At My Table” by Robyn Kenealy. This is an essay by a former 2nd year student on nationalism and food advertising in Aotearoa/New Zealand, and is an excellent example of how to apply international theoretical texts and concepts to local examples. The concept of ‘banal nationalism’, for instance, was developed by Michael Billig in response to the American political situation, but here has been applied to food advertising in Aotearoa. Similarly, Benedict Anderson developed the idea of ‘imagined communities’ in an international context, but is being used here to analyse a local context.
REFLECT: Key points of Kenealy’s essay:
New Zealand advertisements assist in the constitution of an identity that is based on patriarchal colonisation and inequality, and which precipitate racism and war.
As he writes, modern citizens are called to make and, perhaps more importantly, to justify ‘ultimate sacrifices’ as the cause of nationhood is greater than life itself. (Billig, p11) As he puts it, “the moral aura of nationalism is invoked: heads will be nodded, flags will be waved and tanks will roll.” (Billig, p4)
While the colloquial use of the term nationalism applies to an extreme demonstration of loyalty to the nation, it depends upon a banal framework of recognisable symbols and signs that constitute that national identity.
Other advertisements in Aotearoa which uses similar Nationalist rhetoric to sell its products.
Show the classic old, laid back old NZ man. Rough round the edges, dad jokes, uses sarcasm.
Marmite – What makes Kiwis, Kiwis.
“She’ll be right” – Mitre 10
Ngā Taonga’s recent exhibition of advertisements. Choose an example and mind-map the various ways in which you can see it reiterating the overall thesis around nationalism and advertising.
FURTHER REFLECTION: Break Kenealy’s essay down – how is it structured? What elements are introduced in the first section, and how are these used in the second section, when analysing their examples? How are Anderson and Billig used as the framework for the analysis?
The above image is the official drawn out plan for my practical component. The image of my Grandmother, who has now been taken, in her wedding dress will be printed onto fabric that I can embroider on therefore I can stitch the hills and mountains into her dress.
I’m currently starting to embroider the Matariki star hoop while I wait for the fabric printing,
Te reo Mãori has changed dramatically over 200 years, showing a illustration of the workings of mana. The mama of Māori culture is bound with it’s language, as the values and ethos of every culture are embedded in it’s language. The language was put under pressure with colonisation and the red Māoti picked up many influences of european culture. Printing the written language and creating literacy in the language became very popular. In 1970 research confirmed that the language was in rapid decline and te red Māori would disappear unless drastic measures were made. The concerns for Māori were mainly based around mana, as their mana is being the first people of Aoteroa – mana of a uniquely ieeeplacavle language indigenous to this country. As well as the mama of Māori children, who had the right to learn the language of their ancestors. Over the last 40 years these conerns have developed into an amazing turn-around in the education of te red Māori.
The mana of te red Māori means to be holding on to tradition of your ancestors from thousands of years ago. The people who lived here many many years ago are so important to a lot of our values and systems today and we need to always honour that culture and remember that. The mana of upholding Māori is something strong, unbreakable, a bond between generations so spiritual and respected that it could never be ruined. It means that you are in touch with the past, and also the future.
The most I have ever spoken and hear te red Māori in my life was in primary school. They had a system when I was there where they would teach us colours, numbers and fruit in Māori words. I can still remember them to this day. We also learnt songs and I’ve been through many Pōwhiri’s, welcoming people into the school. I thought this was a great integration of Māori language into our school system, I only wish i could have been stronger and we learnt the whole language. This system should go through to intermediate and high school and not only be reserved to “Māori” children but inviting to all young people to join. There was a large stereotype around Māori classes in high school that you needed to be of a dark skin colour or show cultural aspects of being Māori or else you were “trying to me Māori”. I am of Māori heritage and never applied myself to any of these class – I look back on this now and only regret these decisions. I think that there is the opportunity to incorporate Māori into all types of art and design here in NZ. After all, this is the history of our land, this is where we come from, our ancestors lay on this land. It’s so important to reference back to this when doing artwork on or about New Zealand.
Task 2: Definitions
Hanga
(verb) (-a,-ia) to make, build, fashion, create.
Kāore i roa i muri mai ka tae mai ngā hōia, ka whakaaratia anō e rātau taua pou haki, ka kaha atu hoki te mahinga i tō mua hanganga, arā, ka hangaia ki te maitai (TPH 30/6/1903:4). / Not long after that the soldiers arrived, that flag pole was re-erected and it was built stronger that that of before, that is it was built of steel.
Whakatōmene
(verb) (-a,-ngia) to explore, discover.
Nō nakua tonu nei i tau mai ai, kua haere kē ki te whakatōmene i te tāone (PK 2008:1141). / She’s only just arrived and she’s already gone to explore the town.
Peitatanga
(loan)(noun) painting.
I mea ia kore rawa atu ētahi tāngata i pai kia kohi mō te peitatanga o te whare karakia i Manutuke (TP 7/1902:4). / He said that some people didn’t want to collect for the painting of the church at Manutuke.
Weaving together relationships between species. Westernised views use classification and segregation to identity species.
to create rules/guidance for behaviour and for the future.
Tikanga – the rules and customs for Māori.
Task 1: (3 hours)
Matariki is an important concept that holds Tapu relating to the concept of Whakapapa because it is an important and very well respected part of mapping out where we come from and who we are. Māori also hold high tapu of the Matariki because they are a knowledge system which maps out the year for them, letting them know when to plant crops, when winter is coming, and when the new year is. The story of Matariki and her daughters is an important legend to explain their use of the stars:
Matariki and her daughters journey across the sky each year to visit their tupuna wahine Papatūānuku. During this visit, each of the stars help Papatūānuku to prepare for the year to come, using their unique qualities or gifts to bring maurimauri (life force) or energy to her different environments. Whilst spending time with their kuiakuia (grandmother), they also learn new skills and gain new knowledge from her, which they guard and pass on to others.
Below is a diagram showing the relation from Io (the creator of all), to Papatūānuku (the earth mother), to Matariki and her 6 daughters. These daughters each care for Tapu on earth.
Task 2: (1 hour)
In the introduction to Mana tangata: The politics of human empowerment, Huia Tomlins-Janke writes that “Conversations about mana tangata are nearly always about human authority and upholding dignity and wellbeing of a person or persons” (Tomlins-Janke).
Find a design example and explain how the example you have selected does this. Include an image of your example in your workbook/blog, including an MLA style image caption (see the Massey OWLL site).
Mana Wāhini is a powerful concept that come under Mana tangata, relating to Māori feminism. It contails inherent integrity, status, spiritual presitige, wisdom, tikanga, presense and strength of being a Māori woman, as it is a gift from the gods. This Mana shows the primal beauty of being a woman.
The portrait is of a woman Sofia imagined to honour her female tipuna, the value and strength of women and explore ideas of culture, origins and whakapapa. The piece evokes the courage and spiritual power of the female. The women’s moko holds mana and provides a connection to her ancestors (whakapapa).
The concept “Te Here Tāngata” is an ancient Māori term which means “The rope of mankind”. It describes genealogy, alluding to a long rope or vine which stretches into the past for generations until the instant of creation and on into the future.
The hei tiki pounamu pendant she wears around her neck personifies primeval man, the first man ever created from Sky Father Ranginui and Earth Mother Papatūānuku. This symbol of maleness and fertility is kept close to her heart, balancing and uniting the male and female energies in the artwork.
Task 3: (3 hours)
A) Continue to research your project. Select your final example and write up your contextual understanding of this making connections to the definition you drafted last week and continuing to use course resources and your own further reading to help develop depth and nuance in your discussion (use the Massey library data bases). Make sure you cite your sources as you go.
B) Sketch, map, plan ideas for the practical component of your assignment.
This is my chosen artwork to study for this assessment. My draft definition so far on this is: Whakapapa Origins Painting https://www.newzealandartwork.com/shop/product/225753/Whakapapa-Origins/ contextualise the example: “Whakapapa Origins”, an oil painting on wooden boards created by Sofia Manson is a piece that widely communicates the in-depth definition of the ideas Whakapapa includes that I have provided. The painting consists of rough, knotted wooden boards painted with a deep night sky. A cosmic scene from the Māori creation myth takes place in the background, Ranganui is shown in the form of stars while Papatuanuku is in the form of the sacred Mt Hikurangi. Their son Tāne Mahuta (the god of forrests and of birds) lays between them in Te Pō (the darkness) of the gap between them, hair flowing in umbilical-like strands of snow to the peaks of his mother mountain.
discuss in relation to the definition: In Māori legend, Rangi and Papa clung together in a tight embrace with their 70 sons, including Tāne, confined in the dark realm between them. Yearning for more space and light to live in, Tāne braced his back against the earth and feet against the sky and pushed, breaking his parents and bringing in Te Aō Mārama (the world of light) which we now live in. Tāne then created the first human and bought down baskets of knowledge, wisdom and understanding down from the sky to share (Holloway, April). The painting by Sofia Manson encapsulates this Maori world view within her art work, creating a visual representation of the great legend of how the world came to be, using all elements of the story to show the connections of Whakapapa that everyone has with Ranginui and papatuinuku. This week I’ve basically been jotting down a few ideas that come to mind when I think about the idea of Whakapapa within my design field. I want to relate it to something more personal to me rather than an overall idea. Such as what Sophie Minson has done in her artwork.I’ve decided on the idea that I am going to go with embroidery as my medium for this practical component. I want to use this because it has been passed down through generations in my family. From my grandmother, to my mother, to me and probably much further into the past in the future. This is a tool that is important to my own whakapapa and connects me to my ancestors. You can see the plans and ideas for this in the image above.
Task 1: Huhana Smith describes the relationship of the stream to the whenua around it. She also discusses the holistic effect of harakeke on the land, humans and other animals. Make a visual representation harakeke as a ‘whole of environment healer’
Task 2: Write a short definition of your understanding of whakapapa after reading the article, include a key quote from the reading to support your definition.
Whakapapa is a Māori system of thinking about the past, present and future in a way which considers all time periods essential to the now or future. It includes the knowledge of sophisticated understandings of the world and our place in it (the origins of the world and our primal parents) is all recorded in the mental construct called whakapapa, “ to place in layers”. It considers the connections started with whanau to the land and animals around us. ” Two important points emerge from this conceptualization of an allembracing whakapapa of the universe. First, there is no disjunction between the spiritual and material worlds. Insects and humans, fish and ferns, stars and stones all descend from the spiritual realm of the atua, and thus all possess spiritual qualities (such as mauri) in addition to their own unique material attributes” (Robers, Mere, 4) Humans are all connected through the gods, as well as all material or living things which all descend from the spiritual world of atua, and all possess spiritual qualities in their own unique ways. Whakapapa provides a cognitive template of great unity in a living society.
Task 3: Using Roberts et al and the information from the video, draw a whakapapa chart that includes the tohorā and the kāuri.
Zoë Bell - Conversations in Creative Cultures 