Final blogpost

sealord

Derek Lardelli . Sealord Logo. 2011.

Above is the current design for New Zealand fishing company Sealord, put into practice approximately 6 years ago. This logo began having a simple blue banner with the name Sealord inside of it. Our identity is essential to creativity so as Maori artist and Ta Moko expert Derek thought it needed to show that is a New Zealand company and relate to our history and culture while also taking account for what the company is about in itself and its values.

The current logo design incorporates traditional Maori patterns and ta moko to create a image that looks as if it could be a fish which relates towards the sea and possibility of being for a fishing industry. It is blue suggesting the relation of water and there is a paua texture on the top half of this fish and a koros beneath. The use of this Maori Design sums up the values and principle of maori culture like manaakitanga and tikanga and  still includes the standards of the fishing companys values . Even though Sealord  is profoundly disapproved of as their fishing practices have been questionable therefore it has been disagreed that these substandard practices are a bad look badly on the tikanga of the company and they don’t deserve to use these Maori designs within their logo design, as it does not relate to “cultural integrity” (Meads 26). Within Burke it states “cultural identities are endlessly available for appropriation and reinvention” (Burke 19).  Futhermore we need to be are made aware of the images in logos and the meaning they prevail. Maori culture is a huge part of New Zealand and is part of our national identity and Maori culture must be acknowledged by all of us.  Sofia Minson stated. “for a culture to survive and for its people to flourish, it must constantly re-make itself and become a blend of old and new.” (Minson). By putting traditional art practices and styles with Maori culture as one can been seen as creating new and inclusive cultural identity of New Zealand. Applying Maori designs in the Sealord logo may be seen as culturally suitable and negatively evaluated, for this reason it could be showing that we are aware of working our way towards a society that is not focused on “cultural superiority” (Walker 85) but instead living a society that clinches culture towards it and uses it to create originality within art and design; urging the limits of our knowledge and practice to flourish. It is important we are aware of an artworks meaning when we create it, it needs to encompass every part of its history and values of the company in order to successfully work.

References:

  • – Bell, Leonard. “The Representation of the Maori by European Artists in New Zealand, ca.1890-1914.” Art Journal, vol.49, no.2, 1990, pp. 142-149.
  • Burke, Gregory. “Cultural Safety.” Cultural Safety: Contemporary Art from New Zealand,
  • – Carberry, John James. Conversations in Creative Cultures lecture, Massey University,
  • – 10 August, 2017.
  • – Gregory Burke and Peter Weiermair, City Gallery, 1995, pp. 15-31.
  • – Meads, Hirini. “Nga Putake o te Tikanga, Underlying Principles and Values.” Tikanga Maori: Living by Maori Values. Huia, 2003, pp. 25-33.
  • – Minson, Sofia. “Maori Jesus.” Sofia Minson New Zealand
  • – Walker, Ranginui. “Tauiwi.” Ka Whawhai Tonu Matou / Struggle Without End. Penguin Group, 1990, pp. 78-97.

 

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Colonial Art- week 4 blogpost

During the late 1880s and 1890s colonial art became influenced by Maori myths in which these myths became the subject matter for paintings produced by artists in New Zealand. In Bell’s reading “The representation of the Maori by European artists in New Zealand” the painting “the Legend of the voyage to New Zealand” 1912 by Kennett Watkins represents a calming scene of New Zealand as a pleasant place to begin their journey. You notice a chief picking the pohutukawa flower from the tree; artists were looking for distinctive imagery and this tree became a symbol of ‘New Zealandness’. The pohutukawa blossoms about Christmas which is also when in European culture the birth of Jesus Christ indicated the beginning of a new age and an important break with the past. In further research I discovered it has a relation to a legend conserved in the spoken history about Tainui and Arawa both of which these migration canoes arrived when the pohutukawa was in bloom.  Voyagers were filled with excitement in seeing the pohutukawa and some even threw their valued kura from Hawaiki overboard as they thought these trees were packed with red feathered birds. On the whole Watkins has successfully demonstrated the Maori legend into a colonial piece of art with  use from the pohutukawa as distinctive imagery. screenshot-15.pngFig. 4 Kennett Watkins, The Legend of the Voyage to New Zealand, 1912, oil on
canvas, 52 x 105 inches. Auckland City Art Gallery, presented by Samuel Vaile
and Sons Ltd.

References:

–    Fig. 4 Kennett Watkins, The Legend of the Voyage to New Zealand, 1912, oil on
canvas, 52 x 105 inches. Auckland City Art Gallery, presented by Samuel Vaile
and Sons Ltd.

–   Kennett,Watkins. “The legend of Voyage to New Zealand”. Auckland Art Gallery, 2017, https://www.aucklandartgallery.com/explore-art-and-ideas/artwork/11744/the-legend-of-the-voyage-to-new-zealand

–    The Representation of the Maori by European Artists in New Zealand, ca. 1890-1914

Tauiwi – blogpost 3

Within the novel ‘Tauiwi’ by Ranginui Walker something interesting that I previously didn’t know before is how the word ‘mana’ was not used in the Treaty of Waitangi, and ‘kawantanga’ was put in its place instead. Mana was used in the 1835 declaration of independence and “ kawanatanga did not convey to the Maori a precise definition of sovereignty” (Tauiwi, 91)  The English version of the treaty is not equivalent with the Maori version the chiefs signed. Due to this Maori were unaware of what was being ceded through the translation being incorrect; if aware Chiefs would have never signed away their Mana to the queen. “ They owned their land at the pleasure of the chiefs” (Tauiwi,91) Henry Williams and his son were blamed with writing the incorrect translation, if written correctly the meaning conveyed would be a much more obvious meaning to the term sovereignty instead of governance in which ‘kawanatanga’ conveyed.  This was significant for me as helped me in gaining better understanding of my country the Maori culture within it, and the history it has.

References:

–         Walker, R. (1990) Tauiwi, chapter 5, pg 91

 

 

 

 

Kaupapa and Matauranga maori week 2 blogpost

Within the reading Royal’s “Politics and knowledge: Kaupapa Maori and Matauranga Maori” Kaupapa Maori and Matauranga are commonly mistaken for the same terms although when explored, you become aware of their significant difference . Kaupapa Maori is defined as the values as well as plans of action decided by Maori values which express a set of profound cultural values and world view.  It reflects Maori people’s knowledge, skills, attitudes and values of Maori society. Alternatively Matauranga Maori focuses towards knowledge and biblical knowledge due to these activities being deeply connected with one another,   brought by Polynesian ancestors , an doesn’t suggest actions in the way that Kaupapa Maori implies ‘plan of action’. It labels a body of knowledge, this doesn’t offer us with what we could do with this body of knowledge, and to a certain extent it ‘frames’ knowledge. Robyn expresses within ‘Five Maori Painters: Robyn Kahukiwa’ her inspiration of Maori’s fight within war for the future of our children, Maori politics and the loss of Maori land. Kaupapa has been applied here as values and views are a huge part of Maori culture whlist Mauranga Maori could be implied here through the idea of how we paint our own reality in life.

Screenshot (11)

References:

  • Five Māori Painters: Robyn Kahukiwa” Youtube, Auckland Art Gallery.  24 Feb 2014, https://www.youtube.com/watch?v=aOdSpSi-YBs
  • Royal, Te Ahukaramü Charles ‘Politics and knowledge: Kaupapa Maori and mätauranga Maori’, New Zealand Journal of Educational Studies. Vol. 47, No. 2, 2012

semester 2 assessement 1 blogpost 1: manaakitanga

In the reading ‘Nga Putake o te tikanga’ an instructive view is given on the idea of manaakitanga and the fundamental principles and values it includes. The value of manaakitanga is an important aspect of Maori custom and identity; emphasising generosity, hospitality and respect for different people, groups and cultures. Therefore the maraes focus is to for its hosts are to make visitors feel comfortable and welcomed into a caring environment.  The text reads “All tikanga are underpinned by the high value placed upon Manaakitanga – nurturing relationships, looking after people, and being very careful about how others are treated” (Mead, 29).  Manaakitanga is to be used regardless of the situation, it insures respect among everyone within the community. This is seen as an important value in human relationships to remain in a civilised behavior as stated by the text “an expected standard of behavior, an ideal that one should aspire to reach” (Mead, 28)  Not following manaakitanga is seen as disrespectful and not appropriate behavior, you should treat others as you would want to be treated even if  someone is not displaying you the desired appropriate way that is expected.

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References:

Mead, H (2003) Tikanga Maori: Living by Maori Values. NZ, Hui

 

semester 2 assessment 1 blogpost 1: powhiri process

The powhiri process is a welcoming ceremony occuring when visitors arrive at the marae.  when the manuhiri arrive they gather outside the gate of the marae to be welcomed.

powhiri-process-1.jpg

Wero is performed as the manuhiri move on the marae atea. A armed warrior is sent out to the enterence way to perfom by putting a sprig of leaves on the ground in front of the manuhiri. if the visitors intentions are peaceful the will pick up this sprig of leaves.

powhiri process 2

women visitors will then a karanga as they move onto the marae once the sprig of leaves has been picked uppowhiri-process-3.jpg

whakaeke is when tangata whenua may perform a haka pohiri to welcome the manuhiri.

powhiri process 4

whaikoreo is when guests and hosts make speeches and after each speaker a waiata is sang.

powhiri process 5

koha layed formally on the marae from the manuhiri is intened to defray costs of the marae but koha given quietly to the organiser of the hui is intended to cover the expenses of the hui. In traditional maori koha is given in food and treased items which ranged from weapons to cloaks.

powhiri process 6

a hongi occurs once the speeches have concluded and koha has been collected. The speakers line to greet everyboday with a hongi. During the hongi eyes should be closed and noses pressed against eachother; through this the formalities of the pohiri are completed. A hongi represents the passing of breath by two people.

powhiri process 7

once greetings are completed on the marae atea, the manuhiri are invited to kai. kai is signiificiant in practising of manaakitangi and through this generousity is shown.

powhiri process 8

karakia and mihimihi includes speakers standing against the wall to get inpiration from its carvings that represent the ancestors of the tangata whenua. a koreo speech will then be delivered.

powhiri-process-9.jpg

the final process of the powhiri with a farwell speech taking place. Manuhiri usually begin at the poroporoaki followed by tangata whenua. This acknowleges the hospitality of tangata whenua and ringawera.



References:

Higgins, R., & Moorfield, J., (2004). Nga tikanga o te marae.In Ki te Whaiao; An introduction to Maori Culture and Society. Auckland: Pearson Education New Zealand Limited, pp. 73-74

 

Final Blogpost

                                Sculpture rasing awareness for animal testing

I have created a sculpture of rat with a syringe stabbed into its back; this is to raise awareness for animal cruelty in particular animal testing.  The materiality of the rat responds to the emotions its feeling; it is confused as to why it is being treated in such unnecessary ways. The use of this material has also created gaps throughout the rat making it see through in areas. This emphasises the fact the humans can’t see the pain we are causing them and how mentally and physically drowning it is for these animals in these environments. Wire also shows the deformity the rat suffered in a testing lab. Inside you can see the liquid begin to flow throughout the rat soon to indulge in painful effects such as seizures and tumours developing.  You will notice how the wire has been wrapped around the syringe giving the purpose of representing that the treatments animals go through has become a part of  their everyday lives and therefore a part of them. My colour palette of silver in gold is effective as silver can be seen as less significant than gold, it shows the worth of these animals is less superior to a humans worth. The syringe which is a human device is gold and the rat is silver showing how humans overpower animals for personal benefits.  This sculpture reflects on my topic of animal cruelty bringing awareness to the cause. A deeper meaning was brought to my sculpture through my technique of wrapping and twisting the wire reflecting the emotions of the animal. A laboratory in a cage is no place for an animal especially to spend their entire life. They are being constantly dragged around to endure further pain as humans began to peck at them with their sharp objects, burning creams, etc.  They do these harsh tests on these animals purely for their own benefit. Animals have emotions, there not just intimate objects that have no feeling and they can’t tell us how much pain they’re in. We can’t explain what we’re doing to them and if we could what would we say? Millions of animal die or suffer in laboratories due to animal testing everyday, its time people were made aware and action to be taken to stop it.

 

protesters gathering to challenge construction of animal lab at otago university

This protest took place in Dunedin to confront the build of a new animal lab at Otago University.  The main reason this protest happened was to raise awareness to the public of this issue with a variety of animals being tested on here. “As we’ve progressed through this campaign, we’ve noticed that more and more people aren’t even aware that there’s a current animal lab in Dunedin, let alone a whole new one being built,” stated Ms Jackson. This shows what little knowledge the public has about what’s happening in the world around them. At the beginning of the week every animal killed for research in 2015 at the university was represented with 11,000 hearts hung by protesters. Only 1 in every nine animals survive animal test, where did we get the rights to take aware their lives? This protest showed us that people will fight for what’s right but they can only to this if they are aware of what’s happening in the first place.

Here are some ideas i could do for my creative work as part of this assignment.

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