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Traditionally, Taonga tuku iho (Māori ancestral treasures) circulated within complex political, social, and economic landscapes. From the late eighteenth century, however, the influx of Pākehā (non-Māori) resulted in tens of thousands of artworks moving out of Māori communities and into museums overseas. This article considers the dilemma of how to reconnect taonga Māori with whānau (family), hapū (sub-tribe), and iwi (tribe). A digital case study is presented as part of the Ngā Taonga o Wharawhara: The World of Māori Body Adornment project, as one strategy. We created a database we call the Rākai Register, and identified easy-to-use and cost-effective digital technologies such as Google Drive and Google Maps to store and display information about adornments either in public museum collections or which have been sold through auction. In the last section, we present the perspectives of Māori and Pasifika experts engaged with museum collections who reflect on the value and concerns of putting such cultural material online. Glossary of Māori terms: Atua: deity; Aurei: cloak pins of ivory or greenstone;Hapū: sub-tribe; Harakeke: Phormium tenax , fibre used extensively in weaving; Hei matau: fish hook-shaped greenstone adornment; Hei tiki: human-shaped adornment, usually from greenstone; He kupu hōu: some terminology; Heru: fine hair comb; Iwi: tribe; Kaitiaki: guardian; Kaitiakitanga: guardianship; Kanohi-ki-te-kanohi: face-to-face; Kapeu: a greenstone eardrop with the end curved; Kōrero: narratives; Kōrero pūrākau: knowledge review; Kuru: straight greenstone adornment; Mako: shark's tooth, used as an ear-ornament; Mana: prestige; Manaia: spiritual guardian, often shown as a beaked figure; Marakihau: carved figure with a fish tail, human head and a tube-like tongue; Mātauranga Māori: Māori knowledge; Mihi: greet; Pākehā: non-Māori; Papahou: rectangular-shaped carved wooden container for adornment; Pekapeka: a greenstone adornment representing two bats back-to-back; Pōria: an adornment made of pounamu or bone to mimic a ring worn on the leg of a captive bird; Powaka whakairo: box-like container for adornments; Pūpū harakeke: land snails; Rakau momori: Moriori tree engraving; Rākei: to adorn, bedeck; adorn oneself; Rei puta: whale tooth adornment; Tā: Sir; Tamariki: children; Tangata whenua: people of the land, Māori; Tangihanga: funeral; Taoka: Ngāi Tahu dialect version of ‘taonga’; Taonga/taonga tuku iho: treasure, anything prized; Tapu: sacredness; Te Ao Māori: The Māori World; Te Kore: The Nothingness; Te Reo me ōna tikanga: the language and protocols; Tikanga: protocols; Tino Rangatiratanga: sovereignty; Waiata poi: poi song; Waka huia: oval-shaped carved wooden container for adornment; Whakaaro: thoughts; Whakakai: straight greenstone adornment; Whānau: family; Whakapapa: genealogical ascent and descent; provenance; Whakataukī: proverb; Wharawhara: long plumes of the white heron, worn by chiefs on state occasions; Wheu...

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Purpose The “Ballet after breast cancer” study sought to investigate the feasibility and acceptability of a 16-week classical ballet intervention for breast cancer survivors, delivered face-to-face and/or online. Methods Breast cancer survivors were recruited to take part in 2 × 1-h ballet classes per week for 16 weeks. Primary outcomes of feasibility and acceptability were assessed according to rates of enrolment and attendance and participant feedback via questionnaire. Secondary outcomes included quality of life (QOL), upper-body disability, shoulder range of motion (ROM), muscular strength, aerobic capacity, and physical activity levels. Associations between rate of attendance and changes in secondary measures were explored. Results Thirty-one participants (62% of eligible individuals) enrolled in the program. Twenty-nine women commenced the intervention [53.3 ± 10.8 years (Mean ± SD)], attending 77.6% [67.6, 87.5] (Mean [95% CI]) of sessions. Based on these rates of enrolment and attendance, and participant feedback, the program was deemed feasible and acceptable to participants. Significant improvements in shoulder ROM and reductions in sedentary behaviour were achieved. Participants also reported improvements in physical capacity and psychological, social, and cognitive wellbeing. Conclusions The “Ballet after breast cancer” program, delivered face-to-face and/or online, was feasible and acceptable to breast cancer survivors. Improvements in shoulder ROM achieved doing ballet were pertinent given the adverse effects of upper-body morbidity on breast cancer survivor QOL. Improvements in physical activity behaviour and perceived benefits to wellbeing also support the use of ballet to mitigate QOL impairment after treatment. Implications for cancer survivors The physical demands and the fun, creative, and social characteristics of ballet promote improvement across multiple domains of health and wellbeing. Ballet shows promise as an activity to improve QOL and increase long-term engagement in health-promoting physical activity after breast cancer.

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