I-ngā-rāo-mua

Tau, Te Maire

doi:10.26686/jnzs.v0i10.153

Cited by 4 publications

(7 citation statements)

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“…Patricia Grace, the novelist mentioned in the introduction to this thesis, has been pivotal to my own thinking on temporality and has been influential for many other scholars contemplating spiral-time in indigenous Pacific contexts. Grace prominently uses Aotearoa Māori temporality in her writing and, as I indicated above with Gabbard, this ontological approach has been aligned with spiral-time 34 by a number of literary critics (DeLoughrey, 2007;Gabbard, 2018;Marsh, 1999;Tau, 2011). Grace's writing becomes a strong (and perhaps more digestible) example for those attempting to understand and theorise an appropriate temporality in the broader ontology of Indigenous and Māori peoples.…”

Section: P 53)mentioning

confidence: 93%

“…I use this quote from Grace because it describes a way of understanding time and relation that is hard to describe to those who are used to (or prefer to) understand narratives, connections and the world, in singularly linear ways. In this quote from the narrator, the image invokes what scholars have called 'spiral time' (DeLoughrey, 2007;Gabbard, 2018;Marsh, 1999;Tau, 2011). The spiral represents a moving centre of 'now' where time (the past and the future) in Aotearoa Māori ontology is twisted around the now, making the past and future not only accessible but present, able to be called forth at will through various cultural practices that are a part of 'akapapa'anga.…”

Section: Structure and Stylementioning

confidence: 99%

“…Relatively few scholars have engaged with, or even attempted to define what temporality might mean to indigenous and Pacific ontologies and epistemologies (Ka'ili & Mahina, 2017, p. 34;Tau, 2011). There have been none, as far as I can ascertain, who have attempted to do so in the Māori context.…”

Section: The Space Between: Spatial and Temporal Dimensionsmentioning

confidence: 99%

“…Maire Tau (2011), noted the lack of attention paid to temporality in Polynesian scholarship. In his chapter on tā-vā 33 theorisations, Ka'ili briefly discussed how a Tongan or indigenous temporality enabled Polynesians to "retain memories of the past and awareness of its presence" (Ka'ili & Mahina, 2017, p. 36).…”

Section: The Space Between: Spatial and Temporal Dimensionsmentioning

confidence: 99%

“…34 Spiral-time as a concept has an ever-growing body of critical literature exploring its utility in different disciplinary and cultural contexts. In discussions of historical narrative and oral tradition in the Aotearoa Māori context, this temporality has also been referred to as "sacred time" (DeLoughrey, 2007) and "mythic time" (Tau, 2011).…”

Section: P 53)mentioning

confidence: 99%

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'Akapapa'anga Ara Tangata: Genealogising the (Cook Islands) Māori imaginary

Powell¹

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For Cook Islands Māori (Māori) peoples, genealogical practices, or what is referred to as ‘akapapa‘anga ara tangata (‘akapapa‘anga), are central to identity-making, relationality and subjectivities. Though this is anecdotally acknowledged, there has been little scholarly consideration of this cornerstone of Māori society and how it is practiced, developed and given meaning in their day to day lives. This thesis provides an understanding of ‘akapapa‘anga ara tangata in three modes: cultural practice, cultural paradigm and research method, and examines the theoretical potential of these modalities in the revisioning of Māori historiography, nationhood and futurity. To build an understanding of ‘akapapa‘anga in these interrelating modes, I discuss reflections from interview participants, gathered during fieldwork in Rarotonga, Cook Islands in 2019. This is deepened with comparative analyses of scholarship about indigenous Pacific genealogical practices, world-view and knowledge-making by Cook Islands Māori scholars, and writings from other national and cultural contexts in the Pacific region, Polynesia in particular. This critical approach is a Pacific Studies practice shaped by Teresia Teaiwa’s (2010) prescription for interdisciplinarity and comparative practice. It situates this thesis and is inherent in the subsequent chapters. The thesis is structured around three narrative centres, shaped by the temporal and spatial scales of ‘akapapa‘anga explored in Chapter 2. To demonstrate the theoretical efficacy of ‘akapapa‘anga in the contemporary lives of Māori peoples, the history and potential futurity of the Cook Islands name is examined in Chapter 3. As a key cultural practice of ‘akapapa‘anga, Māori naming traditions can be understood as temporal markers across the complex genealogies of people and land. Both people and land can carry and invoke several names in life and in death, and they are often changed, bestowed, or kept deliberately silent. This facet of ‘akapapa‘anga offers a Māori epistemological lens through which to view the nation’s name anew: all names for Māori are not necessarily appended irrevocably, but invoked through ‘akapapa‘anga. In moving temporally and spatially outward from this narrative centre of nation and name, Chapter 4 explores the constitution of Cook Islands nationhood through discussion of another familiar name – the demonym Māori – and the relations of Aotearoa Māori with whom we share it. The inclusion of the Cook Islands and its people as part of the Realm, or the nation-state that is New Zealand, rarely features in popular discourse about the Cook Islands and as such the genealogical connections between Māori and Māori are ostensibly acknowledged but remain somewhat indeterminate. Through examples of story, chant and dance I show that through these knowledge-making practices of ‘akapapa‘anga it is possible, as Alice Te Punga Somerville (2012) writes, to productively “re-remember” our way across time, space and well-beyond the colonial cartographies we think we have always known. This re-remembering takes us to a final narrative centre. In Chapter 5, the Māori world is presented as an imaginary built from the cultural paradigm that is ‘akapapa‘anga. By surveying a tradition of imaginaries across theoretical, critical and poetic literatures of the Cook Islands and the Pacific, I build a Māori imaginary by using the modalities of ‘akapapa‘anga in the context of the time in which this thesis was written; the COVID-19 pandemic occurred at the same time as the Cook Islands’ government began preparing a development plan with a 100-year outlook. Using Oceanian topography from the aforementioned tradition, I use the conceptual reef to show that ‘akapapa‘anga offers a certainty of the Māori world that stretches beyond the boundaries of nation and Realm, and beyond the current moment. ‘Akapapa‘anga ara tangata is a cultural paradigm that holds Māori relations to kin and to place through complex and deeply meaningful cultural practices. It is an institution of knowledge-maintenance and knowledge-making that has the ability to revise some of the current discourses that border Māori identities and subjectivities, and reassert sovereign histories, nationhood and futurities.

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Section: P 53)mentioning

confidence: 93%

Section: Structure and Stylementioning

confidence: 99%

Section: The Space Between: Spatial and Temporal Dimensionsmentioning

confidence: 99%

Section: The Space Between: Spatial and Temporal Dimensionsmentioning

confidence: 99%

Section: P 53)mentioning

confidence: 99%

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'Akapapa'anga Ara Tangata: Genealogising the (Cook Islands) Māori imaginary

Powell¹

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Intergenerational accountability in the times of just transitions

Scobie,

Norris,

Willson

2024

AAAJ

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PurposeThis study explores the concept of intergenerational accountability to address the grand challenge of a just transition. Intergenerational accountability extends the notion of accountability for the other to include future generations in ways that avoid the trap of long-termism and delayed action.Design/methodology/approachWe follow a critical qualitative case study approach with an Indigenous community in a settler colony. Sources of empirical materials include semi-structured interviews and documentary reviews, analysed abductively through thematic analysis.FindingsIntergenerational accountability extends the notion of accountability for the other temporally by including future generations. Indigenous temporalities offer a way to address concerns that accountability to distant future generations could delay the urgency to act now. Findings suggest that the “eternal present”, where aspirations of ancestors and obligations to descendants coalesce into a contemporary obligation, has the potential to help confront the climate crisis. However, the ability to actively practice these understandings is constrained by commercial “best practice” and the colonial state. These constraints necessitate struggles for Indigenous self-determination that also exist in the eternal present.Originality/valueWe extend the concept of accountability for the other to include future generations, but avoid the trap of long-termism delaying action through the eternal present of Indigenous temporalities. However, these temporalities are constrained, so struggles for Indigenous self-determination become closely intertwined with struggles for a just transition.

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Seismic media: art and geological co-creation in Ōtautahi Christchurch, Aotearoa New Zealand

Joyce

Ballard

2022

cultural geographies

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In September 2010 the city of Ōtautahi Christchurch, New Zealand was rocked by the first of a sequence of 16,000 earthquakes. This essay considers art and creative practices that have responded to the experience of living in the earthquake-damaged city. In an environment transformed by seismicity, we argue that artists became co-creators with the planet, using its instability as a medium of art making, an active agent and long-term collaborator in creative practice. Those practices mediate the experience of seismicity, communicating the overwhelming energy of a faultline rupture in artworks that employ sound, touch, image, memory and emotion. We use the term seismic media to describe an expansive field encompassing the unstable earth as medium, the practice of mediating seismicity, and the media texts and objects that attempt to express it. In this essay we employ the concept of seismic media to discuss artworks created within the city of Ōtautahi Christchurch as it undergoes an extended period of rebuilding. We identify artists’ relationships with the material geology of a city with a focus on new geographical and aesthetic understandings. Seismic media enables people to work through the experiences of earthquakes and their long aftermath, while remembering the city as it was and imagining the city that could be.

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I-ngā-rāo-mua

Cited by 4 publications

References 3 publications

'Akapapa'anga Ara Tangata: Genealogising the (Cook Islands) Māori imaginary

'Akapapa'anga Ara Tangata: Genealogising the (Cook Islands) Māori imaginary

Intergenerational accountability in the times of just transitions

Seismic media: art and geological co-creation in Ōtautahi Christchurch, Aotearoa New Zealand

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