WEEK 11: Looking at Mana Wahine and Decolonisation

Gender inequality is an ideology that dominates in western culture. There a clear difference on how men and women are perceived in western culture. Males are seen as powerful, strong  and worthy, compared to women that are often referred to as objects that are passive, available and sexualised to appeal to western expectations. We can see this though representations  of women depicted in traditional colonial art to more contemporary art and design practise.

untitled.png                    zra

1.Déjeuner sur l’herbe by Édouard Manet (1862–1863). Photograph: Samuel Courtauld Trust
2. Dolce and Gabbana S/S 2007 marketing advert.

These images reinforce that social ideology’s around gender in western culture. This world view towards gender is juxtaposed with how Maori culture define gender identity. Māori have a cultural system that allows individuals  to be treated as equals and not defined socially by gender. This is reflective though the Maori language and how they function as a society. ( Mikaere, 1 ) ” Men and women are an essential part of a collective whole” here she is stating that collectively Maori have a great since of community and they work together as one without gender stereotypes and expectations. (Mikaere, 1) ” Its written in the language that is gender natural… there is no hierarchy of the sexes”. Even within there langue that they speak there is no ‘fermion’ or ‘masculine’ words that define the genders. The langue reflect the community with no bias to one gender. no individual is marginalised or decimated against there gender because it can’t be spoken.  However in the European langue there is distinct langue to communicate difference in gender that allows difference in gender to be spoken.

Maori ideology was conflicted when New Zeland was colinsied and westeren ideals towards gender were introduced. Were western culture did not recognise women to be in a position of power. They did not respect women. Western culture often dismissed or ignored the power and success of Maori women due to the naïve understanding of Maori culture. (Simmonds, 2) ” that Maori culture was different, there somehow lacking” defined and not  as advanced or successful of western culture, “because ‘they’ were not white.” We see that western culture continued to redefine Maori perspectives of Maori gender identity by reimagining/ romanticising cultural stories” (Simmonds, 3) states ” the impact of introduce law…took away emphasis from powerful women and solely focused on the male”.

There are clear conflicting ideologies towards gender in western and Māori culture. Western culture dominates today’s established society that suppresses and defines females. Maori  had clearly established equal ideals around gender that created a equal platform for all individuals. In form of western culture to make gender hierarchy a concept of the pass they need to decolonize the concepts around gender and Maori culture could be a concept to just that.

Essay planning – conclusion


  • Answer question -highlight points
  • Similarities and differences in the art.
  • I can talk about the importance of deconstructing perceptions of women. That feminism is not the only tool and can only do so mush in Western dominate culture
  • Artist and designers need to continually push perceptions and create work that creates more diversity about perception of women for the concept to become more accepted in mainstream culture.
  • As for myself be aware of art and design that supresses or has a naive understanding about a” women’s place” directed towards Maori women too.
  • My option about decolonising imagery and the impact/ influence these artist and designs have on their communities.

Works cited

  • Mikaere, Ani. Maori Women- caught in the contradictions of colonised Reality. 1994
  • Simmonds, Naomi. “Mana wahine: decolonizing politics” Womens studies Journal, Vol.25, No.2 December 2011 pp 11-25

WEEK 10: Appropriation and exploitation in Aotearoa

featured image : Joel Mayorga/The Foothill Dragon Press

The definition of “appropriate” is to take (something) for own use, typically without owners permission. This often leads to exploiting the object at hand. In terms  appropriation of culture happens within the art and design field. Often in Aotearoa, Maori culture is often explored within art and design. Within New Zealand dominate western culture Maori are often stereotyped as the “savage other”. This construction of maori culture is often reflected in ruby marketing and video games like The mark of Kri, with the main character being a savage warrior with Maori moko. In Engels Schwarzpaul  “Dislocating William and Rau: The Wild Man in Virtual Worlds”. Discusses  the diction of this character and the blatant appropriation of maori and pacific culture to create this savage character. Engels Schwarzpaul states (6) “being given no or little compensation, and having their own protocols ignored, their representatives “by definition are treated as objectified, passive sources of inspiration rather than participants in an exchange of ideas” (Root, 1996, p. 72) “. This quote dissing how the Maori culture inst seen as equal to there own, there fore allowing creators to believe they can pick and chose aspects of maori identity to create new characters without acknowledgement towards Maori identity. This misrepresentation also further emphasis the stereotype as Maori ans a savage other because that is all the is represented in the art and design world. It a romanticized reality, that is a huge disrespect to Maori culture, due to artist and designers nativity to acknowledge cultural identity with respect to create a “perfect warrior”. She also states (6) “One reason why appropriation has been called theft is the lack, or manner, of consultation with the custodians of the culture concerned. ” creators need to be aware the appropriation or “being inspired” by other cultures to create art can lead to theft if identity and culture if not represented honestly. It something all creators need to be aware of when creating work of cultures that aren’t our own. Due to the fact that they could be creating something that can create more harm than good. As creators we need to stop defining and stereotyping Maori culture is and explore all the possibilities with the acknowledgement to the culture at hand.

Essay planning 

mana wahine

Waipuka, Browyn. ” Mana Wahine Cameo Black” digital print printed on premium museum quality photoprahic fine art paper. 2013. http://www.bwaipuka.co.nz/buyprint4.html
  • Unpack image why it communicates Mana Wahine. In relation to historical and contemporary history. Talking about NZ dominate culture around social expectations around women.
  • Historically of the exoticised “other”. How Maori women were depicted with western beauty standards to seam more attractive to the western male eye.
  • Contemporary history, of unpacking western culture to allow Maori women to be represented there “true” reality. Idea of feminism and Mana wahine to empower women. Though art and design. To ensure real representation Maori women is out there. That empowers Maori women.
  • Unpack element in image that communicate this idea. Symbolic meaning of creating a Maori cameo jewellery – symbol of identity and western beauty and culture. Decolonising western culture. Playing a direct contrast between Maori beauty standards and western standards of beauty. Showing that both are equal and different ways is interpreting beauty. “in the eye of the beholder” . Focal paint of a female. Representing the strength, that women should feel empowered, that they can create life. The use of colour can be significant the juxtaposition of the different between western dominate culture and Maori.
  • How it commitments of NZ dominate culture. Redefining the empowerment of female identity. Deconstructing implications of Maori women and how they are resented. And strong individuals. Not seen as passive, and weak.

Class notes 

  • strong art that communicates Mana Wahine and the impact of this artwork in NZ dominate culture.
  • Could possibly talk about this image in relation to NZ dominate culture of feminism that is a popular and controversial discussion regarding how women are repented and treated in western culture.
  • Beauty standards and how western culture has manipulated Maori women into thinking there culture is different, therefor  not ‘beautiful’.
  • The contrast between standards. western and Maori culture

Works cited 

Engels Schwarzpaul, Tina “Dislocating William and Rau: The Wild Man in Virtual Worlds”. School of Art and Design, AUT University. n.d

WEEK 9: Art, Design, and Asian heritage in Aotearoa New Zealand

Hybrid defines as “the offspring between two plants or animals of different species or varieties” also defined as ” the things that is the combination of two elements’. In terms of identity hybrid as you can infer is the coming together or creation of two for more “culture identity” known as hybridity. Hybridity is a interesting concept discussed by John Rutherford’s interview with Homi K. Bhabha “The Thrid space”(211), ” The importance of hybridity is not to be able to trace two original moments from which a third emerges rather…the ‘third space’ which enables other positions to emerge. its interesting that Rutherford focuses of what he defines as this ‘third space’ rather than just the physical coming together to create another. Most people define the cultural identity coming together notifying physical hybrid attributes, when there is sometime more interesting to discuss. That is this space we have created to redefine, rethink and reevaluate the ideology and social expectations behind identity. Because traditional ways of thinking, values  don’t work on hybrids of identity, it new form of identity on it own. (Bhabha, 211) states ” The process of cultural hybridity gives rise to something different, something new and unrecognizable, a new era of negotiation of meaning and representation.”  As a society it would be naive to assume that our established Western thought, values and expectations could apply to cultural hybrids. Because as Bhabha sate are something completely “new” and “unrecognizable”. Most often people are afraid of the unknown because we can’t define “it”. however with more cultural hybridity becoming more common I believe it forces cultures to reevaluate concepts around how one identifies.(Bhabha, 216) states ” hybridity is precisely about the fact that when a new situation, new alliance formulates itself, it may demand that you should translate your principles, rethink them, extend them.”Cultures need to stop defining identity is one linear idea. It is complex and can be a mix of all sorts of cultures.  It cant be defined.

(Picture of draft )



WEEK 8: Stereotypes and Speaking Back to New Zealand’s Dominant Culture

Stereotyping cultures is nothing new. People/cultures often stereotype others to try and define cultures. However, often this form of defining is heavily influenced by dominate culture and media. Often these cultures are incorrectly depicted and can be offensive due to being naive.  Walls paper “Stereotypical constructions of Māori in the media”, breaks down how Maori are stereotyped in New Zealand’s dominate western culture, and how wrongful depictions of maori in the media impact peoples perceptions of Maori.

In the film Ender’s game directed by Gavin Hood. There is a maori character depicted in this movie. An old war hero named Mazer Rackham. This character is a representation of “maori” with in film.  However is was great to see maori depicted in dominate film culture, however they romanticized the value of ta moko and coincides “maori” with the stereotype that Maori people are natural “warriors”.


Hood, Gavin. Ender’s game 2013, snapshot of film

Wall states (2) ” Racist representations, derived from universalized stereotypes of the black other,…primarily the masculine image of the primitive savage warrior”. Wall is illustrating that there is a dominate stereotype maori as a savage warrior. This character is the embodiment of the stereotype. As this maori  character is depicted as this war hero, alluding to maori as being a savage fighting warrior. The visual representation of this character creates stereotypical perception of Maori. People who only see maori depicted in movies will get a wrongful stereotype as the maori warrior. Creating a wrongful assumption on maori culture and people. Wall states  “There is notable romanticize of Maori within the media”. its also notable that the romanticizes the value of ta moko. facial tattoo is placed on the head/face and is very tapu in Maori culture. they Hooks doesn’t go into do depth of the of the tattoo. Quote from the film when another character ask about the moko he state ” my fathers a maori”. It completely miss leads and creates incorrect assumptions upon maori men.

Compare this ill informed Maori representation to imagery of maori depictions of maori give a true representation of maori withing the maori culture.

McLennnan,Chris.  Maori Rock Carvings. N.d, Photography digital.  Great Lake Taupo, http://www.greatlaketaupo.com/things-to-do/must-do/maorirockcarvings/features/

These caving were created by four artist lead by a Matahi Brightwell completed in the 1980’s. Being created my a Maori artist ensure a better understanding of maori culture and believe. here the artist carved there ancestor into the rocks surface. they go into great depth about the meaning, whakapapa, and mana that go into the moko design. similar to Ender’s game the facial moko represents whakapapa however, the Brightwell treat it with the utmost of respect/ mana. Hood stereotyped the significance to the moko to “create” a better back story  to the character and stereotyping and disrespecting the mana of the moko. A final statement in Wall reading “rather than promoting an exclusive cultural geography of Aotearoa whitch defines what maori should be, we need to akowlege and explore the infinite possibilities of what being Maori (or pakeha) is and can be“. That within dominate culture we should be stereotyping cultures an one definitive idea for all, we need to be exploring the possibilities of what Maori is and can be.



  • Mikaere, Ani. Maori Women- caught in the contradictions of colonised Reality. 1994
  • Simmonds, Naomi. “Mana wahine: decolonizing politics” Womens studies Journal, Vol.25, No.2 December 2011 pp 11-25
  • Mohanram, Radhika. The construction of place, maori feminism and nationalism in Aotearoa New Zealand. NWSA Journal, vo. 8, no. 1. Global Perspectives, pp. 50-69. The John Hopkins University Press. 1996.pdf
  • Aspin, Clive, and Jessica Hutchings. Reclaiming the past to inform the future- Contemporary views of Maori sexuality. Culture, health sexuality 9.4 (2007)- 415-427..pdf
  • Eggleton, David “Earth and Spirit Robyn Kahukiwa’s Mauri Ora! Exhibition” Art New Zealand. Originally published in Art New Zealand 105 Summer 2002-03 page 1. http://www.art-newzealand.com/Issue105/robyn.htm
  • Jonathan Mane-Wheoki, ‘Contemporary Māori art – ngā toi hōu – New developments in contemporary art’, Te Ara – the Encyclopedia of New Zealand, http://www.TeAra.govt.nz/en/contemporary-maori-art-nga-toi-hou/page-3 (accessed 11 October 2017)

Choose one of these that you think will be a key reading and
write 2 or 3 sentences identifying how this text will be useful
for your essay


Works cited

REQUIRED READING 2 Wall, M. (1997). Stereotypical Constructions of the Māori Race in the Media.pdf

McLennnan,Chris.  Maori Rock Carvings. N.d, Photography digital.  Great Lake Taupo, http://www.greatlaketaupo.com/things-to-do/must-do/maorirockcarvings/features/



WEEK 7:Postcard Series: Framing ‘The Exotic’

Some considerations to think about pacific cultures outlined in (Wendt) and (Hauofa) papers about pacific identity. Some of the main concepts about Pacific identities are identify in western culture and how western culture has impacted of Pacific cultures and identity.  Due to the dominate implications of western culture due to colonization. Pacific culture has been impacted in a huge way thought the education system. Only western ideology was being taught (Wentdt, 15) states ” Colonial education helped reduce many of us into a state of passivity, undermined our confidence and self- reflected, and made many of us ashamed of our cultures”. Not only did western culture suppress other culture, colonial education made them feel ashamed on their own culture. This ideology came from the mindset of western culture brought by European settlers that their way of life and education was superior than others. (Wentdt, 15) ” Formal educations systems … that were established by colonisers… with one common: they were based on the arrogantly mistaken racist assumption that the cultures of the colonisers were superior.” this has a significant impact on pacific child growing up learning conflicting values and ideals, with their culture treated as not important. The reason western culture suppresses Pacific and Maori culture in this way is to ensure western culture benefits form exploiting “exotic” cultures. (Hauofa, 398) ” importance of the security of western interest.” They manipulate different culture to ensure they benefit from it economically and culturally. Take for example the exploration of Pacific cultures in tourism. Romanticising and sexualising culture to apple to the colonial and male dominated gaze. Now people are becoming more aware of the implications western culture has on other and the process of decolonization is happening. but will be a while before all culture become equals.

There was a word that I read in the readings that I had never come across and that was the Polynesian word “aitu”. It refers to ghost or spirits. Often used malevolent, the defines as having or showing evil upon others.

Select examples of contemporary protest art and/or design by an artist, designer, or collective from Aotearoa New Zealand that engage with Mana Wahine, mana motuhake, and/or other aspects of decolonisation. Discuss the historical and contemporary contexts that the work is responding to. Explain how the maker/s engage with mātauranga Māori and/or speak back to New Zealand’s dominant culture


Include at least 3 images of art/design that you might
address in relation to this (MLA style captions). You will
also need to print these out and bring them to class this

Potential images 

supa hero

Kaukiwa, Robyn, Supa Hero 1999
Oil on canvas, 1290 x 2060 mm.

super hero 4

Kahukiwa, Robyn. “Flying Hina”. Super Heros, Oil on Canvas, 2007


KELCY TARATOA Who Am I? 0010 2005
Acrylic on canvas, 2130 x 1520 mm.

Reihana, Lisa. “Mahuika”, detail from “Digital Marae” (2001). Collection of Te Papa Tongarewa, the Museum of New Zealand.

Works cited

Hauofa, Epeli. -The ocean in us-. The Contemporary Pacific, 10(2), Fall 391-410. University of Hawaii Press. 1998

Wendt, Albert. -Towards a new Oceania-. in Sharrad, Paul, ed. Readings in Pacific literature. New Literatures Research Centre University of Wollongong, 1993. .pdf

Tuhoe Scored Earth – Final Blog Task

Assiment one picture

The images above are snippets of a Waitangi Tribunal meeting with the people of Tuhoe, regarding the crowns mistreatment towards the Tuhoe tribe. (Temautkutuku, 1) “ The tribunal was considering the right to govern in Te Urewera. Many claimants allege that because Tipuna did not sign the Treaty they did not ceded sovereignty to the crown.”  The crown were responsible for stealing land, burning ground crops and the unnecessary killing of Tuhoe people in 1860. This hearing was to outline Tuhoe’s claims that the crown acted unlawfully, and get justice for the Tuhoe tribe. However, the meeting come under great scrutiny for the way Tuhoe greeted the tribunal. Here are some of the momentous events unpacked from the images above.

There is a man riding horseback waving the Tino Rangatiratanga flag. This flag is known as a Maori flag, it symbolises rejection against the colonisation of New Zealand. It also establishes to the crown that this is Tuhoe’s land. Within the image is rows of cars and bonfires lit along the sides of the road. Tuhoe created this environment to recreate the crowns involvement in burning crops on Tuhoe land. The impact was to ensure that the tribunal understood the implications of crowns actions on Tuhoe people. ( Scoop Independent News, 1)  quote Tami Iti “ We wanted them to feel the heat and smoke, and Tuhoe outrage and disgust at the way we have been treated for 200 years,…(The Crown) destroyed people’s homes and burned their crops and we wanted them to feel like that was yesterday. We wanted to demonstrate to them what it feels like being powerless.” There is also the infamous shoot of Tame Iti shooting the New Zealand flag. This action was to symbolise the anger and frustration of the Tuhoe people towards the crown, the crown being represented in the Union Jack on the New Zealand flag.

This event was significant because this was the first encounter Tuhoe had with the Crown to get justice for their people. It came under scrutiny because the Western world saw this performance as a threat. From a Maori perspective, they have created a “wero” that is defined as a challenge typically seen at a powhiri. ( Higgins,R, & Moorfeild, J., 78) “The wero is a challenge that is delivered by the tangata whenua to the manuhiri to determine the nature of the encounter.” Tuhoe (tangata whenua) wanted to send a message to the tribunal (manuhiri) about giving justice to their ancestors who suffered at the hands of the crown. This extravagant wero was to illustrate the seriousness of this encounter. ( Higgins,R, & Moorfeild, J., 78)” The execution if this processes is considered important in the maintenance of the mana of the tangata whenua.” Mana is very importing concept in Maori culture and must be treated with respect. (Mead, 25) The word is defined by Williams (1957,172).. ‘authorise control, influence, prestige or power’… this power is socially founded upon kinship group, … As a rule, mana must be respected at public events and should enhance the mana of participants.”   As you can see Tuhoe wanted to acknowledge the mana of their people and acknowledge the mana and respect the tribunal have within their culture. This performance determined the serious nature of this encounter, however the intention was meant to deliver to the mana of both parties.

Without understanding the Maori perspective of this challenge/wero, the crown interprets this situation as extremely confuting, threating and disrespectful. In terms of the flag shooting, western culture idealised the colonial perspective of national unity that is represented in the New Zealand flag. They would have interpreted Iti’s shooting as disrespectful to the nation. ( Helu-Thaman, K. , 2- 3 ) states reclaiming indigenous Oceanic perspectives, knowledge, and wisdom that have been devalued or suppressed because they were or are not considered important or worthwhile…it is about valuing alternative ways of thinking about our world.” Because western culture is so dominating they suppress indigenous world views, leading to a miscommunication because of a naïve understanding of Maori culture. Tuhoe’s scorched earth was a visual and impactful challenge to the crown to seek justice for their ancestors.

As for my understanding, my initial reaction towards the actions of Tuhoe were that they acted disrespectfully. However, I now understand Maori perspectives and traditions, and that this wasn’t there intention at all. They wanted to effectively communicate a point and to seek justice. This impact was lost due to different world view from western and Maori culture. In my eyes Tuhoe had the right to confront the crown with a wero delivered in this way. The views formed by westerners demonstrate the importance of ‘walking in other people shoes’ and making sure you understand their perspective as well as your own before you jump to conclusions. The scored earth hearing was the embodiment of miscommunication between two unique cultures.

Works cited

Higgins,R, & Moorfeild, J. Nga Putake o te Tikanga – Underlying Princilbles and Values. Tikanga Maori, Living by Maori Values. Aotearoa: Huia Publishers, 2003. 24-35. Print

 Helu-Thaman, K. (2003). Decolonising Pacific Studies – Indigenous Perspectives, Knowledge, and Wisdom in Higher Education

 Mead, Hirini Moko.”Chapter2: Nga Putake o te Tikanga- Underlying Princilbles and Values. Tikanga Maori: Living by Maori Values. Aotearoa: Huia Publishers, 2003. 24-35. Print

 Scoop Independent News. “The Ruatoki valley blazes as Tuhoe stands tall” Scoop Independent News, 20th Jan 2005 http://www.scoop.co.nz/stories/PO0501/S00153.htm

 Te Manutukutuku. “Waitangi Tribunal Newsletter”, Waitangi Tribunal, July 2009, https://www.waitangitribunal.govt.nz/assets/Documents/Publications/WT-63-Te-Manutukutuku.pdf


Response – Take me away

In response to Engles-Swartzpaul and Wikitera’s “Take me away . .. . In
search of original dwelling” this reading is about western culture using Maori and Samoan culture for capital gain. the government would want to display or create resorts inspired by maori and Samoan culture. They would displace and send meeting houses and artwork overseas to be displayed. However this was unethical due to maori and Samoan people wanting there treasures to be returned to home and not used for profit. ( Engles-Swartzpaul &Wikitera’s, 10), Western governments wanted to create ” profit without exploration “.  I don’t think it was the governments intention to disrespect the cultures at hand. They did want to display the unique culture New Zealand has, however they went about it in the wrong way. Displacing or sending away art and house that have significant importance to the people is wrong and using it for capital gain. Again its the level of ignorance towards the cultures at had lead to this situation. There needs to be better respect and communication towards the Maori and Samoan culture.

Featured image -Rosanna Raymond in front of Hinemihi. Photo: Engels-Schwarzpaul 2008


Works sited
Engles-Swartzpaul and Wikitera’s “Take me away . .. . In search of original dwelling” 2010. pp 1- 16

Maori Depictions In European Art

Though out history, many cultures have used art to depict cultures. When the first European sailors and settlers arrived in New Zealand and discovered the Maori people and culture they would often create artworks depicting Maori and the culture. However often these representations of Maori by European artist would be romanticised, glorify and inaccurate depictions. Take for example this painting by R.A Oliver showing Maori women, under a tent.


R.A. OLIVER,  “A Group outside a tent, Pomare’s Pa, Bay of Islands” 360 x 535 mm. N.d

This is a painting of “maori” women standing under a tent. Oliver painted unrealistic depictions of Maori women. To glorify and make these paintings more aesthetic to appeal to a European artistic style. (Bell, 145) these colonial art works are a “mere creation of a pakeha [European] mind.” At fist glance at this painting we see Maori women dressed in traditional cloaks as well as European garments. These painting were created to give others a since of what the Maori culture was like however the images are very westernized and colonized into a European way of life.  This was not traditional dress for Maori women at this time.  They are also depicted in a nontraditional area, the scenery clearly alludes to the presents of European settlers with fabric tents. This picture is that Bell states as ( 144) “ignorance of aspects of Maori culture”, because European artist didn’t truly understand the Maori culture, depictions are very conventionalized. Oliver’s way of illustrating these women is a disrespect toward there Mana. Mana is a level of understanding and respect. By depicting them incorrectly is a disrespect towards the maori culture and the women in this image. His level of ignorance toward the Maori  allowed the artist to romanticized the culture in European style.  This is why it’s important to have a level of understanding toward unknown cultures. to be able to illustrate the culture correctly .

Works Cited 
Bell, Leonard. “The Representation of the Maori by European Artists in New Zealand, ca. 1890-1914”. Art Journal, Vol. 49, No. 2, Depictions of the Dispossessed (Summer, 1990), pp. 142-149
Bell,Leonard. “Colonial Fortunes, The New Zealand Paintings of Commander R.A Oliver” N.d, http://www.art-newzealand.com/Issues21to30/oliver.htm



Know your Tānga & European Settlers

This week I am looking at the significance of early European settlers had on the maori. What I discovered after reading Walkers Tauiwi is the impact of what settlers brought into the country. I discovered that captain James Cook introduced pigs and potatoes that become a staple fro trade in the 1800’s. (Walker 79) “Although Cook introduced the pig and the potato, it was not until others reintroduced the animal after 1800 that it flourished”.  Trade was a big part in establishing colonization with the maori population. Maori tribes benefited from European trade so much that Maori chefs would do anything to secure trading relationships. (Walker  79) ” Maori chefs went to great lengths to cement trading relation ships with Europeans…they were even given land and wives to bind them to the tribe.” The significance of this trading agree meant lead to the ( walker 79) ” first infusion on European genes into the maori population.”

Trading and fishing, Kororāreka
N.N, French sailors with Māori, Kororāreka, 1835, Painting, Teara, https://teara.govt.nz/en/artwork/28549/trading-and-fishing-kororareka

After class reflection

At this weeks lecture we were talking about Tanga. As defined in the Maori dictionary ” A suffix used to make verbs into nouns, sometimes called derived nouns, and the usual ending for verbs that take the passive ending -tia. These nouns usually mean the place or the time of the verb’s action.”  We learnt about three different types of Tanga and how Ati Teepa used them in every day life and with his art and design practices with Te papa. I found it interesting to know how these maori concepts we have been leaning about are implicated into every day life and design practices. I also discovered how I can use these practices in my own life because they can be values and concepts that can be practices by anyone, not just Maori.


  • Iwi tanga – your identity and knowing how you are and where you are from.
  • Whanaga tanga- working collectively, love for the poeple and the land, networking.
  • Kaitaiki tanga – guidianship, looking out for others, looking after yourself, growing and nuturing.


Works cited
Walker, R. 1990, Tauiwi 79-97
N.N, “Tanga, Maori dictionary”, http://maoridictionary.co.nz/search idiom=&phrase=&proverb=&loan=&histLoanWords=&keywords=tanga+

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