Review of "The Pa Boys"

olelo: Our Narratives Endure is an edict that commits us to the collective perpetuation of our cultures. Our rituals and our stories connect our presents to our pasts, solidifying a foundation for our futures. We invoke our ancestors to guide and challenge us as we work to educate and inspire the generations who will follow in our footsteps. We welcome you to be with us. We invite you to share with us. We call upon you to stand with us as Native Peoples of one world and of many. Mahalo nui loa. world indigenous peoples conference on educat ion // E nā lehulehu o kēia au nei, nā kānaka mai kekahi pae a kekahi pae, nā kāne a me nā wāhine mai 'ō a 'ō, nā hanauna a me nā mamo o kēia 'āina a kēlā 'āina, nā kūpuna i 'ike 'ia a i 'ike 'ole 'iaka welina o ke aloha nui iā 'oukou pākahi apau loa aku.

A study of Maori who own screen production companies, and their careers journeys and entrepreneurial intentions. The study identified common themes that engendered their entrepreneurship, founded on Maori culture, identity and aspirations for self-determination.

The New Zealand Journal of Media Studies is a fully refereed scholarly journal established in 1995 and now available online. The journal's contributions reflect the development of media studies and related fields in Aotearoa/New Zealand. It is a space for the scholarly discussion of media research and literacy with regard to theoretical and representational questions and topics, history and policy at both local and global levels.

Recent research focusing on improving educational outcomes for Māori students in mainstream secondary schools in Aotearoa/New Zealand have asserted that building positive student-teacher relationships in the classroom are fundamental (c. f. Bishop, Berryman, & Richardson, 2003; Bishop & Tiakiwai, 2003; Ministry of Education, 2002, 2006). In contrast, attempts to investigate the educational benefits associated with Māori students participating in cultural learning activities, such as kapa haka, and the implications for improving levels of Māori student achievement, remains relatively unexplored. To embark on such an investigation, Māori kapa haka students and teachers from four mainstream secondary schools were invited to take part in an interview process informed by using a Kaupapa Māori theoretical approach. As a result, the study revealed quite emphatically that not only does kapa haka provide Māori students with an appropriate ‘culturally responsive’ learning experience, but that they also feel more confident and optimistic about school and their education. Moreover, kapa haka provides the opportunity for students to celebrate who they are as Māori and as ‘culturally connected’ learners in mainstream schooling contexts. In addition, Māori students through the kapa haka experience learn to ‘protect’, ‘problem-solve’, ‘provide’, and ‘heal’ their inner self-worth, essence and wellbeing as Māori. Similarly, most teachers agreed that kapa haka provides Māori students with a creative, dynamic and powerful way to access their learning potential as cultural human beings. An overwhelming response by both students and teachers is that kapa haka should be timetabled as an academic subject to provide greater access to indigenous and cultural performing art that affirms their identity as Māori, and our uniqueness as New Zealanders. Finally, the research proposes a ‘culturally responsive’ learning strategy to assist what mainstream secondary schools and teachers provide as valid and purposeful learning opportunities for ‘culturally connected’ learners who are Māori.

Enhancing Mātauranga Māori and global Indigenous knowledge, 2014

Ko te kaupapa matua o tēnei pukapuka, ko te tūhono mai i ngā kāinga kōrero o te ao mātauranga Māori o te hinengaro tata, hinengaro tawhiti, ka whakakākahu atu ai i ngā mātauranga o te iwi taketake o te ao whānui. E anga whakamua ai ngā papa kāinga kōrero mātauranga Māori me te mātauranga o ngā iwi taketake, ka tika kia hao atu aua kāinga kōrero ki runga i tēnei manu rangatira o te ao rere tawhiti, o te ao rere pāmamao, te toroa. Ko te toroa e aniu atu rā hai kawe i te kupu kōrero o te hinengaro mātauranga Māori me ngā reo whakaū o ngā tāngata taketake o ngā tai e whā o Ranginui e tū atu nei, o Papatūānuku e takoto iho nei. Ko te ātaahua ia, ka noho tahi mai te toroa me Te Waka Mātauranga hai ariā matua, hai hēteri momotu i ngā kāinga kōrero ki ngā tai timu, tai pari o ngā tai e whā o te ao whānui. He mea whakatipu tātau e tō tātau Kaiwhakaora, kia whānui noa atu ngā kokonga kāinga o te mātauranga, engari nā runga i te whānui noa atu o aua kokonga kāinga ka mōhio ake tātau ki a tātau ake. He mea nui tēnei.

The Journal of the Polynesian Society, 2019

The papers in this issue trace a particular set of Māori interventions in anthropology, arts, museums and heritage in the early twentieth century and consider their implications for iwi ‘tribal communities’, development and environmental management today. They follow Apirana Ngata, Te Rangihīroa (Peter Buck) and some of their Māori and Pākehā (European New Zealander) allies at the Polynesian Society through the Dominion Museum expeditions, on Te Poari Whakapapa (the Board of Maori Ethnological Research) and in a variety of community research initiatives. The authors explore how engagement with ancestral tikanga ‘practices’ and with western technologies and institutions allowed these scholars and leaders to imagine te ao hou ‘a new world’ in Aotearoa New Zealand. Through the analysis of surviving photographs, films, artefacts, collections and displays, as well as the extensive written archives that were produced through their efforts, the articles in this issue explore how relational concepts and practices including whakapapa ‘kin networks’ and tuku ‘exchange of treasures (taonga)’ were mobilised as practical ontologies, that is, as methods for bringing new things (artefacts, systems, concepts) into being. The lasting effects of these collaborative projects on museums, scholarship, government administration and tribal cultural heritage are investigated, showing the enduring relevance of this work in the present.

New Zealand's indigenous television broadcaster, Māori Television, strives to develop an independent national Māori channel that is successful with an assured future. But what does 'successful' mean here, and who defines it? Why does Māori Television feel the need, after broadcasting for eight years and attracting more viewers every year, to concern itself with having 'an assured future'? This article argues that these questions are related to issues of political economy, and that racial attitudes of the dominant Pākehā population have impacted on that political economy to the extent that the concept needs to be re-termed 'racial political economy'.

Within the broad context of New Zealand society in the 21st century, this paper examines reactions to the constructed identities of Māori in public information advertising campaigns. Focus groups and interviews were conducted with participants who self-identified as having a Māori cultural identity. Data were collected about reactions to six advertisements targeting a range of social phenomena such as drink driving, domestic violence and child hunger, and were analysed using a grounded theory foundation to reveal five clear themes. Two distinct groups emerged from the participants: the first group had personal experiences of the social issues depicted in the advertisements, but had difficulties with message comprehension, while the second group, on the other hand, had not experienced the issues, but fully comprehended the purpose of the advertisements. Both groups of participants felt the advertisements reinforced negative stereotypes of Māori without allowing for the presence of other groups of New Zealanders in the negative behaviour depicted in the advertisements. Participants objected to the lack of consultation with Māori about the production of the advertisements.

The 1998 documentary series The New Zealand Wars, based on James Belich's revisionist monograph on New Zealand's colonial wars, recalled these conflicts to Pakehaas well as Maori collective memory, and thereby confronted contemporary Pakehaidentities. Alon Confino asks: 'Why is it that some pasts triumph while others fail?' This article seeks to explain the unexpected success of the past which the series set forth by analysing its televisual strategies of engagement with Pakehaviewers. It discusses three elements of the series' mode of address: Belich's persona as historian-presenter; the series' appellation of Pakehaviewers in relation to their historical 'Others'; and its imaging of landscape. The New Zealand Wars was a televisual commemoration deeply enmeshed in contemporary cultural change, and in its claims on the emotions and affiliations of viewers it helped to resituate the New Zealand Wars in the domain of New Zealand nationhood.

A history of public policies in Japan and Aotearoa New Zealand reveals similar effects on cultural continuity, Indigenous identity, language and education matters for both Indigenous Ainu and Māori. In both cases, such policies battered the identity and pride of their Indigenous people, took away their homelands, endangered the survival of their languages,instigating significant grief over many generations. For decades, both the Japanese and the New Zealand mainstream public remained largely unaware of the debilitating effect of public policies on Indigenous language, cultural values and traditional ways of living. This article describes the introduction of public policies which impacted heavily on education pathways and language survival for Ainu and Māori, in each case resulting in cultural continuity crunch points. Consequences of these policies are evaluated; this research advocates for more non-Indigenous researchers to embrace education research which encourages social justice, reconciliation and restoration of Indigenous well-being and cultural rights.