From a modern day perspective, the purpose of the marae has been as a place for the more official parts of Māori culture. The marae are unequalled places of importance. "Marae hold the knowledge of the Māori culture. They are the repositories of their history, their stories, and their existence." Ratima, 2010. Importantly, as highlighted in the creation story in Ahorangi Genesis, the ancestor link is through Tane, as the whare is an embodiment of Tane. His precious gift was te whare kura as a physical structure to house knowledge which can be viewed as the parallel to the human “structure”.
Whereas in earlier times, the term marae applied only to the open area, often now called marae-atea, in front of the whare, today the term marae is commonly used to describe the entire compound (Tauroa & Tauroa, 1986). The whare (tipuna or nui), sometimes called meeting house, reads, to the initiated, like a history book. With arms outstretched in welcome, the body of the ancestor, generally endowing his name to the marae, is represented by the whare. His carved form, tekoteko, is atop the roof (maori.org.nz, 2011). The carved pieces under the head and down towards the ground- maihi, represent the arms, with the tahuhu or centre ridge pole being the spine of the ancestor, then the heke, or rafters, running off the tahuhu on both sides representing the ribs. In the fully carved whare, the walls are adorned with poupou or carvings, as well as tukutuku, or woven panels. The uprights, normally two, hold up the tahuhu, representing the connection between Ranginui, the sky father and Papatuanuku, the earth mother, (māori.org.nz) (Tauroa & Tauroa 1986). “Carvings of the ancestors serve to preserve history” (Graham, 1997, p. 38).
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...on by NZQA for its courses in crafts and Māori arts and carving, hospitality and employment skills (Christchurch city council, 2011). Incredibly, in keeping pace with technological advances, we have virtual marae, as shown by the artist Lisa Reihana, who has created her own virtual marae, accessible to Māori living worldwide, using photography and video (visualarts.qld.gov.au).
In conclusion, as an institution, the marae stands for much more than the official parts of Māori culture. It has its own system, its own learning and its own function. It is operaring still as Tane’s gift to mankind. Education is dominant on Marae, which now provide pathways to degrees, trade training and other NZQA opportunities. Marae are leading the way, taking their proper place in Māori society. “Marae are the foundation of Māori autonomy and tinorangatiratanga” ( Ratima, 2010).
The ‘Green Tara 14th century’ is a metal sculpture which is about 10 inches tall and 6 inches wide. It is very precisely detailed with the clothes, head piece, earings, necklaces and other types of jewellery all intricately carved. The
The Hawaiian culture is known throughout the western world for their extravagant luaus, beautiful islands, and a language that comes nowhere near being pronounceable to anyone but a Hawaiian. Whenever someone wants to “get away” their first thought is to sit on the beach in Hawai’i with a Mai tai in their hand and watch the sun go down. Haunani-Kay Trask is a native Hawaiian educated on the mainland because it was believed to provide a better education. She questioned the stories of her heritage she heard as a child when she began learning of her ancestors in books at school. Confused by which story was correct, she returned to Hawai’i and discovered that the books of the mainland schools had been all wrong and her heritage was correctly told through the language and teachings of her own people. With her use of pathos and connotative language, Trask does a fine job of defending her argument that the western world destroyed her vibrant Hawaiian culture.
The lecture provided by Professor Elias Kary on the nineteenth of November merely was a recapitulation and overview of the previous lecture, plus a summarization of the past few weeks of class lecture/material. There was an overview of Applied Anthropology and how “anthropologists have a practical place in solving problems.” (Kary 2015) There was an overview of colonialism; the Maori and Moriori of New Zealand; and the history of anthropology itself. There was a foray into the work of Charles Mann and revisionist history, particularly from the point of view of his book 1491. World systems were discussed at some length and a short overview of the film from previous class session. Then the professor went into the structure and what the class needed to provide for the final paper the next week; class then concluded early on account of the large paper due.
In "Everyday Use," Alice Walker stresses the importance of heritage. She employs various ways to reveal many aspects of heritage that are otherwise hard to be noticed.
An important theme in Potiki is the enduring idea that creating and sharing stories as a central part of being human is important. It is a significant theme because the novel is heavily imbued with Maori culture, in which the stories and spoken teachings are given prominence, and also because it is a popular belief that people need narratives to give meaning, structure and value to their lives. This theme is displayed resolutely and poignantly in Potiki’s plot, characters, setting and symbolism, as the people of a small rural New Zealand community rediscover themselves through stories spoken and found in Maori carvings. The idea that humans need narratives is the core theme in Potiki, and it is used also to link other themes and aspects of the novel; it is in this way that we know the idea of storytelling is an intrinsic part of the novel’s structure.
There are various diverse creation myths from Native American cultures, though many hold similar characteristics. One of the more common forms of creation myth seems to be emergence myth. Generally, in the emergence myth, instead of seeing how the world is created, we see how the people arrive in an already created world. This particular story type is commonly found in Native American cultures from the southwest (Ryan). The Tewa Pueblo version of this myth, entitled How the People Came to the Middle Place, has been collected and written down by the anthropologists Alice Marriott and Carol K. Rachlin in their book, American Indian Mythology. The myth was told to them by two separate sources, Maria Martinez of San Ildefonso and Leonidas Vigil of Nambe Pueblo. This myth helps to illustrate important parts of their culture and probably held multiple functions for the Pueblo people.
Butcher, M. (August 2003). “Who is Maori? Who is Pakeha?” In North &South Magazine. New Zealand.
A serious rebirth in Polynesian culture and traditions arouse after the voyages by the Hokule'a. In 1975 a replica of a Polynesian voyaging can...
... social aspects have a huge influence on these surroundings. This is demonstrated when whānau are involved and supportive in a child’s life, sharing the family’s and their culture’s funds of knowledge, resulting in the positive effect to the child’s environment which will have vast social and educational impacts by ensuring connections are made to children’s lives and experiences. Adding to this is the socio-cultural philosophy of peer tutoring and where knowledge is actively constructed through modelling and scaffolding, with teachers facilitating the learning process. While through the building of relationships between the family and the centre, Te Whāriki advocates the importance of the involvement of whānau and family, which encourages a learning community which has interchangeable reciprocal advantages in a safe, positive, fun, caring, learning environment.
The history of New Zealand begins between 800 A.D. and 1300 A.D., when the Māori people arrived from Polynesia to the mountainous island they called “Aotearoa.” The people “lived in tribal groups” fairly peacefully (Wilson). However, life began to change for the Māori people when they first came into contact with a European in 1642, when Dutch explorer Abel Tasman “discovered” the island. In 1769, “[James] Cook successfully circumnavigated and mapped the country” (History). These explorations marked the beginning of Europeanization for the young country of New Zealand. Whalers and traders soon arrived, and missionaries arrived in 1814. When the Māori met with Europeans, events followed a similar path to the colonization of America and the decimation of the native populations-- “contribution of guns…, along with European diseases, led to a steep decline in the [population of] Māori people.” (History). Consequentially, “their chieftains entered into a compact with Britain, the Treaty of Waitangi, in which they ceded sovereignty to Queen Victoria while retaining territorial rights,” in...
Te Whariki: Belonging goal-4 Children experience an environment where they know the limits and boundaries of acceptable behaviour, so that we need to provide a positive framework for guiding children's behaviour, because children need a safe environment when they're at the early childhood centre and home. It's very important that teachers have a good partnership with parents and whanau, because parents are the first and most enduring educators of their children, teachers have knowledge of general child development, when they working to together, they can develop a clear understanding of the positive child's guidance for guiding their child's behaviour in effectively and efficiently ways.
Te Whᾱriki is the New Zealand’s early childhood curriculum, which was developed in 1996. Compared with Reggio Emilia Approach, they have similarities as focus on children’s interests; develop children’s learning though interacting in relationship with others, emphasise the importance of environment and adults’ active responding. They also differ in many ways, such as teacher’s role, culture background and documentation and Assessment.
All the different stages of theories relate to Maori perspectives. Maori’s human development perspective is ‘coming from the dark into light’. As a child is born he is in the darkness. As babies grow older and through the three stages of human development it comes into light. This is my side of argument of the Maori perspective.
In closing, the Ta tatau short story by Emma Kruse Va’ai can be a great source of history for the Samoan people. As illustrated in the above scope, the author profoundly and comprehensively
Aotearoa is the home to Te reo Maori where is should be promoted and encouraged. In fact, Te Whāriki and New Zealand Early Childhood curriculum acknowledge Te reo Maori by encouraging the teachers to promote and implement it in early childhood settings allowing all children the opportunity to understand and develop an understanding of Maori heritages; Te reo, and partnership to Te Tiriti of Waitangi(Ministry of Education [M...