237131_A2_Week11 _ Years Pōwhiri Process _18/10/2016.

1. In each of your assignments for Studio this year you made work that responded to a concept integral to the pōwhiri process – Mihimihi, Tūrangawaewae,  Atea, and Hākari. Define the concept that corresponds with the project you feel was the best thing you made in Studio all year. (25 words)

Tūrangawaewae means standing, a place where one has the right to stand (Māori Dictionary). I believe that in correspondence to the meaning of Tūrangawaewae, this was the best project as I believe I felt quite a connection to the memory I have and the place where it happened, creating the place where I created my right to stand there.

2. Discuss the work you made: describe its physical attributes, the concept/s behind it, and the wider context in which you made it. (100 words)

The physical attributes around the work was inspired by a photography event I attended in Queenstown. Here I wanted to look into the relationship between the body and the camera itself. Here I looked into ways of how the camera was held in the hand and ways of making this more comfortable. Here I was able to design a product that fit onto your hand nicely and be able to change the focus and move the camera lens.

3. Erna Stachl discusses decolonisation and Mana Wahine in her lecture. How did you consider gender and/or indigeneity and/or the intersections between the two in your work? Why should you be thinking about this at all? Use key ideas in the lecture and the texts by Ani Mikaere and Linda Tuhiwai-Smith to support your argument. (75 words)

When creating this art piece,  I didn’t feel I really needed to take gender into account because I felt that it could be used across both genders equally. As for indigeneity, this was something that didn’t cross my mind either. If I was thinking about creating an intersection between the two, I would look into the way that imported ideologies could effect my design and how I could change these ideologies. With Erna talking about imported ideologies or western perceptions, I would like to see whether my design cold change this for a more positive outcome.

Text Referenced:

(Www.vo2.co.nz. “MāoriDictionary.” Tūrangawaewae. N.p., n.d. Web. 15 Oct. 2016.)

(Stachl, Erna. “Week 11: Looking at Mana Wahine and Decolonisation.” Lecture 11 – Looking at Mana Wahine and Decolonisation – Erna Stachl. Massey University, Wellington. 14 Oct. 2016. Lecture.)

237131_A2_Week9 _ Māori Sterotypes and Pōwhiri _04/10/2016.

Draw (collage/photograph/paint/whatevs) the stages of the pōwhiri in a series of illustrated panels. This can be as sophisticated or as low-fi as you like – it just needs to clearly communicate the pōwhiri process to an unfamiliar audience. Imagine you are drawing it for people who have never been onto a marae. You may like to pick a particular time period (i.e. the 1400s, 1890s, 1950s, 2010s, the future) and allow that to inform your stylistic decisions. Remember to include relevant key terms and to clearly name each part of the pōwhiri. Use “Ngā tikanga o te marae” (Rawinia Higgins and John C. Moorfield) to inform your drawing.

The perspective that I have done this works in are from the perspective of the manuhiri, the visitors coming onto the marae.

Whakaeke – the movement of the manuhiri onto the marae ātea.  A wero is performed by the armed warrior(s) that is sent to greet the visitors at the entryway to perform the ritual. This is completed to maintain the mana of the tangata whenua. Once the male leader has picked up the taki, a women will karanga. Today this starts the pōhiri 6. There karanga is by one or more women from the tangata whenua, then the women form the visitors will respond with their calls as they move onto the marae.

Whaikōreo – the formal speeches given. Koha is also given and received. The whaikōreo is typically started with a whakaaraara, tau or tauparapara before making acknowledgment of the marae, where tipuna, mate, and eventually the purpose of the hui. The whaikōreo follows kawa of the marae. A koha is given by the visitors to the tangata whenua at the end of the speeches. traditional māori society this koha was typically food, especially delicacies form the local area of the visitors and/or taonga, which could be weapons to finely woven cloaks. Today is typically a sum of money.

Hongi – Greeting of noses. The hongi is given to the speakers of the tangata whenua, standing all in a line. There is a handshake and hongi (greetings by pressing of noses) this is greet everyone. The hongi completes the formalities of the pōhiri. The process is the gradual coming together of the manuhiri and the tangata whenua.

Melanie Wall identifies some of the more common Māori stereotypes that have appeared in New Zealand’s media. Take one of the examples of representations of Māori from Dick’s lecture and discuss it in relation to Wall’s ideas (100 words).

One way that Dick describes one representation of Māori is the contrast between Māori art and Western art and how this could represent Māori. For example Dick uses Michael Parekowhai’s work The Indefinite Article (1990) as an example of talking about gender. I AM HE could be interpreted as the male gender being dominant and that you are HE and not representing both genders. I believe this could relate to the way Melanie Wall identifies that when Māori were generalised in the media as being all male in their 20s or 30s when encountering a political situation (43). Here we can understand that the representation of Māori in the media is predominantly male and that everyone is put into a pool of gender stereotype.

Texts Referenced:

(Moorfield, John C., and Rawinia Higgins. ““Ngā Tikanga O Te Marae”.” Ki Te Whaiao: An Introduction to Māori Culture and Society. By Tania Ka’ai. Auckland, N.Z.: Pearson Longman, 2004. 73-84. Print.)

(Wall, Melanie. “Stereotypical Constructions of the Maori ‘Race’ in the Media.” New Zealand Geographer 1997: 40-45. Print.)

(Whyte, Dick. “Stereotypes and Speaking Back to New Zealand’s Dominant Culture.” Conversations in Creative Cultures Lecture. Massey University, Wellington. 30 Sept. 2016. Lecture.)

(Parekowhai, Michael. The Indefinite Article. 1990. Auckland Art Gallery, Auckland. The Indefinite Article. Regional Facilities Auckland, 2009. Web. 8 Oct. 2016.)

237131_A1_Week6_ Māori Visual and Cultural Arts _31/08/2016.

Both Mane-Wheoki and Anderson describe how Māori visual and material culture has been framed by predominantly western accounts. Discuss this, using both readings to support your discussion (100 words).

I believe that the Māori visual and material culture has been framed by western accounts because they were first people to actually record the Māori and Moriori through paintings/drawings/written texts (Anderson et al. 136) They are the first people to create accounts of what these people looked like, as in the Māori culture most accounts of perilous times was done orally or through story telling. James Cook is an example of explaining what the people at the time looked like and the respect that was held (Anderson et al. 136). As stated in ‘Art’s Histories in Aotearoa New Zealand’ by Jonathan Mane Wheoki, the Pākehā perspectives and actions were more prominent in art at the time, shaping the way the Māori visual and material culture was portrayed. But now there is potential for a bicultural history of art in Aotearoa New Zealand (9).

Choose an example of 20th century art/design from anywhere in “Tangata Whenua: An Illustrated History”. Upload the example to your blog and explain how the work can be considered from a Māori worldview (consider origins, customary practices etc) (100 words).

Karaka, Emily. Local Government Tea Party. 1997. Auckland Art Gallery, Auckland. Tangata Whenua: An Illustrated History. Wellington, N.Z.: Bridget Williams, 2014. 449-99. Print.

This painting was painted in 1997 by Emily Karaka, with her works being typically related to the Treaty of Waitangi and political, social  and environmental issues. Here she is discussing the contemporary effect/application of the Treaty of Waitangi. This painting is showing the relationship between her iwi and the Auckland government. I believe that this contemporary work shows a Māori worldview because it shows the impacts that history has had and is still having on her iwi and its history. Its also showing that the aftereffects of the Treaty of Waitangi are very effective on the Māori culture and identity, creating an overall confrontational and negative worldview into the effects of the European arrivals.

Texts Referenced:

(Harris, Atholl Anderson, Judith Binney and Aroha. “Chapter Five: In the Foreign Gaze.” Tangata Whenua: An Illustrated History. New Zealand: Bridget Williams, 2012. 132-59. Print.)

(Wheoki, Jonathan Mane. “Journal of Art Historiography Number 4 June 2011 Art’s Histories in Aotearoa New Zealand.” Crossing Cultures: Conflict, Migration and Convergence: The Proceedings of the 32nd International Congress of the History of Art. By Jaynie Anderson. Carlton, Vic.: Miegunyah, 2009. 1-12. Print.)

237131_A1_Week5_ New Zealand History _24/08/2016.

Summarise Belich, James. “Chapter 8: Making empire?” Making Peoples: A history of the New Zealanders, from Polynesian settlement to the end of the nineteenth century. Hawai’i Press, 2001. 179-203. Print. Use quotes and citations where appropriate. (150 words).

The French believed that when colonizing the South Island that becoming catholic makes them french. Although the French Empire died out the British Empire continued to grow. Civilizing Māori and colonizing NZ started around 1771, Benjamin Franklin. William Hobson was brought to NZ as the British representative and claimed sovereignty from small part of NZ to the whole of it. 6th February 1840 Treaty of Waitangi was signed, thus the British Empire believed they has full sovereignty over New Zealand. The introduction of a bigger defense force was brought in in 1864. It is seen in the Treaty of Waitangi has a difficult historical merit to see because both parties intentions were in conflict with each other (195). Differentiating opinions can create different scenarios around what the Māori race was thought as, for example being the victim of land, independence and even culture being taken by the British after signing the Treaty of Waitangi (197). Such chiefs competed to lease and sell land during the 1840s & 1850s leading to civil wars in 1857 (198).

Using Dick’s lecture and tutorial discussions to help you, explain how you think these events impacted on visual and material culture in Aotearoa/New Zealand. (50 words).

These event would impact visual and material culture in New Zealand because this could effect the way that the country was viewed by others. Flags are a good example of how the Treaty of Waitangi changed the way that visual material was used to represent New Zealand at the period of time. An example would be the introduction of the union jack into the flag, this would take away from the visual culture that the Māori had created in a flag perviously.

Texts Referenced:

(Belich, James. “Chapter 8: Making Empire?” Making Peoples: A History of the New Zealanders, from Polynesian Settlement to the End of the Nineteenth Century. Honolulu: U of Hawai’i, 1996. 179-203. Print.)

237131_A1_Week4_ Taonga Works and Values _15/08/2016.

‘Maori Battalion Haka in Egypt, 1941’ 1941. Alex Turnbull Library. New Zealand History. Web. 15 Aug. 2016.

1.) Choose one term from Moko Mead’s “Ngā Pūtanga o te tikanga: Underlying principals and values”, paraphrase this and explain how it can be applied to art/design. Use citations carefully to differentiate Meads ideas from your own (100 words).

“The link between tika and pono on the one hand and values on the other is that values have to do with ‘principles or standards of behavior…'” (Mead 26)  This can be applied to art/design because we as artists and designers have to understand the values and when approaching Māori art as well as any art we have to understand the principles behind the work. It is stated that tika is a true principle of tikanga (Mead 25) and being able to understand tikanga we need to understand to standards and principles that underlie tikanga which is tika and pono. We can use this when trying to add context to a piece of work.

Tika – right or correct

Pono – true or genuine

2.) Explain one way intellectual property and copyright laws are insufficient to address the misuse of taonga works. Use “Taonga works and intellectual property” to inform your response, including quotes and citations where appropriate (100 words).

One way that intellectual property and copyright laws don’t cover the misuse taonga works is the way that work is used overseas and not covered by the Treaty of Waitangi. It is said that New Zealand doesn’t have a way to make the international market accept the Treaty-complaint standards and are also unable to try and persuade other countries to adopt this reform (51). So overall this covers the use of taonga work in New Zealand but not in an international market, which could be a problem for artists as they lose their kaitiakitanga over the work.

Texts Referenced:

Mead, Sidney M. “Ngā Pūtanga O Te Tikanga: Underlying Principals and Values.” Tikanga Māori: Living by Māori Values. Wellington, N.Z.: Huia, 2003. 25-33. Print.

“Taonga Works and Intellectual Property.” Ko Aotearoa Tēnei: Te Taumata Tuatahi: A Report into Claims concerning New Zealand Law and Policy Affecting Māori Culture and Identity. Wellington, N.Z.: Legislation Direct, 2011. 29-59. Print.

 

237131_A1_Week3_ Te Tipunga – the Growth _09/08/2016.

Choose one example of art or design made during one of the first three periods of New Zealand art history as defined by Hirini Moko Mead (Ngā Kākano – the seeds – (circa 900 to 1200 CE); Te Tipunga – the growth (1200 to 1500 CE); Te Puawaitanga – the flowering (1500–1800 AD)). Upload an image of this example. Identify one aspect of the example’s form that directly relates to its context/art historical period. Describe the example, its context, and the relationship between the form and the context in detail (150 – 200 words).

Aotea Utanganui Museum of South Taranaki, A.82.500, photo: Richard Wotton.

This object was made to stop waves from coming over the canoe prow, which I believe would effect the movement of the canoe and effect the sailing. This particular piece shows the effect of East Polynesian styles and its geometric style. The distinctive curvilinear forms showed that this change happened in the late Māori era. It shows the geometric band of lines and the spiral forms that were slightly carved using a small chisel with a curved end. This shows that the  mixed styles and the attention to carving decoration shows the transitional changing nature of carving. Radiocarbon dates shoed that the piece dates back to the 15th century.

(All information is edited from page 73)

Texts Referenced:

Harris, Atholl Anderson, Judith Binney and Aroha. “Chapter Three: Pieces of the Past.” Tangata Whenua: An Illustrated History. New Zealand: Bridget Williams, 2012. 70-101. Print.

237131_A1_Week2_ Visual Importance_03/08/2016.

Select an art or design example from the first chapter of Tangata Whenua: An Illustrated History, “Ancient Origins” (2014). Upload an image of this example to your blog and write 150-200 words explaining why this example is important. Use Athol Anderson’s text to support your claims.

Matthew McIntyre Wilson, The Price of Change, New Zealand and Cook Island coins, 2009. (Figure 1)

Pardington, Fiona. Heitiki (female). 2002. Okains Bay Museum, Ngāi Tahu, Christchurch. (Figure 2)

Hei Tiki is  neck pendants in the shape of  human beings, which were supposedly made to celebrate the advent of mankind (40). These hei tikis were connected to Hine-te-iwaiwa, the wife of Tiki and sister of Maui. Being connected to childbirth, hei tikis were typically given to pregnant women as protection but were worn by men and women.

I have chosen these two examples of hei tiki because I  think they show hei tiki in a new context. Figure 1 is showing how hei tiki is being used to shine light on the history of the nineteenth century. Whereas figure 2 is showing what the hei tiki is and is using this taonga to show her heritage and Māori culture to the wider world, creating more awareness.

Texts Referenced:

Harris, Atholl Anderson, Judith Binney and Aroha. “Ancient Origins.” Tangata Whenua: An Illustrated History. New Zealand: Bridget Williams, 2012. 16-41. Print.

237130_A3_Week11_ Visual Work Progression_05/06/2016.

Fig.1

Fig.2

Fig.3

Fig.4

The four images above are a series of different ways of showing the two genders within one image, I wanted to look into the way the two could become one. Here I explored with the ways that the face is constructed and what distinct features make the face either male or female. Here I played with the eye, nose and mouth area, I wanted to swap them around for change them to create facial features that look masculine and feminine. I quite like the look of Fig.2 because I believe that being able to see the different features of a male and female as well as stereotypical female or male hair helps to enhance the image. I would like to take this idea further and continue this double manipulation and exposure change.

237130_A3_Week11_ Visual Work Idea and Progression_04/06/2016.

Research

The article attached below is showing the work of Wynne Neilly, who photographs the progression of going from female to ‘male’. I found  this work would be good for my project because it is showing the progression of a person from female to male and how it is showing both genders in one series of work. I would like to use the idea of showing both genders in one series/work.

http://beautifuldecay.com/2014/08/28/queer-artist-wynne-neillys-powerful-self-portraits-document-transition-female-male/

Fig.1

Fig.2

Fig.3

Fig.4

The four images above are what I would like to look into when creating my visual work. I would like to use the idea of layering and double exposure. Fig.1 I like to take inspiration from the most because I feel it can help show the idea of showing the two genders in one image, being able to use different exposures and layers to show something else. From Fig.2 and Fig.4 I would like to take that idea of using double exposure but still being able to see through the layer and see the face.

The two images above are edits that I have created and I am exploring the ideas of layering and exposure. I have chosen images of one male and one female. I decided to have them black and white because I feel that it adds to the chilling idea of being two people in one body, and that gender can be mixed. I like both images and would like to explore this further.

237130_A3_Week11_ Issue and research_02/06/2016.

In what way do artists/ designers and others show their concerns related to the issue around gender stereotyping?

Sabean, Rion. 16951-593216-will_final. 2011. Men-Ups!, -. Rion Sabean Photography. Web. 02 June 2016. (Fig.1)

Reemtsen, Kelly. Ground Breaking. 2015. -, -. DB Concept. De Buck Gallery. Web. 02 June 2016. (Fig.2)

When it comes to gender stereotyping we typically relate certain objects/movements towards a gender. For example the image above (Fig.1) is an example of the way artists approach this idea of gender stereotyping and how they break down the stigma around this social issue. Here is one image from the series where men are dressed in masculine clothing and are associated with activities that are described as typically male. Here the poses shown are ones that would be more feminine, as the photographer stated “…applying traditional pinup poses that are reserved for the female form, while still presenting the models in ‘masculine’ clothing.” (Rion Sabean Photography).  From this I will be taking the ideas around gender stereotyping and how to break this down into one visual image.

Fig.2 is part of a collection by Kelly Reemtsen, where feminine figures dressed in dresses are holding an object that is associated to be masculine. Here this creates a visually effective image as well as showing how she is touching on the issue of gender stereotyping. From this I would like to take the idea of bring masculine and feminine together and breaking this stereotype. I would like to introduce the idea of mixing the two together in one visual image.

From looking at these two artists and their ideas around gender stereotyping, I would like the go back to the basics and create a poster expressing the attitudes surrounding gender. I am going to do this by mixing up the two faces of a male and female. I am going to do this through photoshopping faces together and manipulating them to create something visually disturbing but effective when people come across it.