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Item Ngā Ara Rau o Kapa Haka. The multiple pathways of kapa haka: Māori students and teachers engaged in quality teaching and learning experiences(ResearchSpace@Auckland, 2015) Scarfe, Shanelle; Penehira, M; Lee, JThis research explores ways in which kapa haka offers valuable educational opportunities for Māori students and teachers to engage in quality teaching and learning experiences. This thesis also explores how kapa haka represents the concept of Ako... through teachers engaging students and students engaging teachers in a kapa haka context. It investigates how kapa haka can be used to engage students to accelerate students’ learning. Primarily, data collection will involve interviews to captureItem The indigenous factor: exploring kapa haka as a culturally responsive learning environment in mainstream secondary schools(ResearchSpace@Auckland, 2008) Whitinui, Paul; Hohepa, Margie Kahukura, 1960-; Aspin, Clive, Berryman, & Richardson, 2003; Bishop & Tiakiwai, 2003; Ministry of Education, 2002, 2006). In contrast, attempts to investigate the educational benefits associated with Māori students participating in cultural learning activities, such as kapa haka..., and the implications for improving levels of Māori student achievement, remains relatively unexplored. To embark on such an investigation, Māori kapa haka students and teachers from four mainstream secondary schools were invited to take part in an interview processItem A Japanese Theatrical Producer's Encounter with Kapa Haka: Māori Performing Arts, Education, and a Democratic Community in the Making in Today's Aotearoa New Zealand(ResearchSpace@Auckland, 2014) Sakamoto, Hiromi; Grant, B; Te Rito, JThis thesis presents my autoethnographic exploration of educational meanings of Kapa Haka in today's Aotearoa New Zealand. Kapa Haka is the contemporary term used for Māori performing arts, which has become very popular especially among Māori.... Through my experience of learning Kapa Haka under an expert teacher and through conversing with kaiwhakaako Kapa Haka (teachers of Kapa Haka), I examined diverse aspects and roles of Kapa Haka. I then related my findings to the ideas of ‘educationItem Towards a Vocal and Acoustic Description of Kapa Haka.(Elsevier, 2023-06) Shields, Isabella; Rakena, Te Oti; Baker, Calvin P; Keegan, Peter J; Watson, Catherine IObjective
The purpose of this study is to analyze the voice used in kapa haka, a contemporary indigenous vocal performance from New Zealand, which includes the well-known haka. This is the first study of its kind and is a preliminary... investigation into the vocal and acoustic description of kapa haka. A significant goal of this study is to contribute ideas and potential definitions of vocal qualities to the community of kapa haka trainers that were specific to the genre. This strengthsItem Colonising the stage : the socio-cultural impact of colonisation on kapa haka(ResearchSpace@Auckland, 2003) Smith, ValanceThis thesis attempts to analyze the different ways in which Maori and Pakeha conceptualize kapa haka (Maori performing arts). It will demonstrate that kapa haka has been fundamentally influenced by colonisation, and advances the argument... that the colonisation of kapa haka can be examined through a number of different perspectives that are intrinsically bound to different ways of knowing. Part I retraces the evolution of the Maori and Pakeha ways of knowing kapa haka before colonization. It advancesItem Sustaining indigenous performing arts: The potential decolonizing role of arts-based service learning(Springer International Publishing, 2015-11-14) Rakena, Te Oti; Bartleet, B-L; Bennett, D; Power, A; Sunderland, Non the partnership developed between the voice department and community groups that work with the Indigenous Māori performing arts genre, Kapa Haka. It is one example of this institution’s attempt to counter the effect of colonization and globalization on itsItem Ngā whatinga-rau o Iho: Critical reflections of iho in Haka Theatre through personal pūrākau of four Hawaiki Tū kaihaka(ResearchSpace@Auckland, 2019) Williams, Sophie; Martin, RThis thesis explores Haka Theatre performance practice through a critical reflection on personal pūrākau (narratives) and experiences of four kaihaka (performers) who reside in Aotearoa and are part of an Auckland-based performing arts group..., Hawaiki Tū Haka Theatre Company. The key question motivating this research is: How might four Hawaiki TŪ kaihaka understand iho in relation to their Haka Theatre performance practice? I propose such conversations can bring understanding through performanceItem Whakamānawatia te wairua o te reo: Honouring the spirit of language : How Eurythmy Can Honour Te Reo Māori Language Teaching and Learning and Effectively Indigenize the Waldorf Steiner Curriculum for Education in 21st Century(ResearchSpace@Auckland, 2019) Flavell, Jade; Hoskins, TIn September 2019, over 1200 Waldorf Steiner schools in seventy-five countries worldwide celebrated the 100-year anniversary of the very first Waldorf school in Stuttgart, Germany. Many of these schools are inquiring into the future of Waldorf Steiner education (WSE) in their local cultural and linguistic settings and this study contributes to these developments in the context of Aotearoa New Zealand. The aim of this research project is to develop proposals for the indigenization of Eurythmy, an art of movement in WSE, through the appropriate integration of te reo Māori into its curriculum objectives, guidelines and practice. The project utilizes theoretical and autoethnographic practices and methods in the development of these proposals that aim to maintain the integrity of both Eurythmy and Ngā Mahi-ā-te-Rehia – the Maori performing arts practice from which appropriate te reo Māori concepts and language will be derived. To achieve this, the thesis critically examines similarities and differences between Anthroposophy (the overarching philosophy of WSE) and Eurythmy on one hand, and Kaupapa Māori and Ngā Mahi-ā-te-Rehia on the other. The presentation of autoethnographic reflections and autoethnodrama vignettes by the researcher - a Waldorf Steiner and Māori medium teacher and long-time Ngā Mahi-ā-te-Rehia performer - provide unique, and otherwise unavailable insights into the possibilities for indigenizing Eurythmy through te reo and mātauranga Māori. A set of Kaupapa Māori proposals for the inclusion of te reo and mātauranga Māori into the Eurythmy curriculum are presented which include teacher professional development plans with content ideas. A framework model is proposed to aid in creating an honourable means to integrate te reo Māori into the Eurythmy curriculum that can be delivered throughout Aotearoa New Zealand with the potential to inform similar WSE curriculum projects globally.Item Te reo o te rangatahi: An explorative study of rangatahi exposure to, and use of, te reo Māori(NZCER, 2020) Hunia, Maraea; Bright, Nicola; Keegan, Peter; Overbye, SineadItem Cultural leadership: The reciprocities of right relationship at Kia Aroha College(ResearchSpace@Auckland, 2015) Driver, Adam; Mutch, C; McPhail, GThe central aim of my research is to explore Māori and Pasifika students’ cultural leadership in the context of Kia Aroha College, a designated character state-school in New Zealand that pursues a culturally-centred and critical pedagogy. The inquiry focuses on the students’ understandings of their school-based, cultural leadership and how this is enacted. My qualitative, emergent research design has an instrumental case study methodology, with Kia Aroha College selected as an exemplar of a culturally responsive school. The culturally responsive inquiry framework I employ helps to explain my choice of methodology, methods and strategies. The kanohi ki te kanohi (face-to-face) focus group interviews, and the guided walks, are of especial significance as culturally appropriate and safe research spaces. I view the case of Kia Aroha College as an integrated system, but one that is linked to wider social structures. Accordingly, I employ Archer’s (1995) morphogenetic/morphostatic methodology. The students’ cultural leadership is named whānau leadership. The seven structural properties of whānau (family) leadership I identify broadly conform to the informal, flexible, relatively non-hierarchical, and shared leadership in the relevant literature. The case study students problematize their authority. I emphasize the cultural specificity of whānau leadership for the Māori and Tongan students respectively. Reciprocal causation between the social structures of the school and beyond, on the one hand, and the students as agents on the other, helps account for how and why student leadership is enacted as whānau leadership. The students’ positive experience of a figurative whānau bond fosters whānau leadership. Student leaders reproduce the structure of whānau leadership via their social practices because whānau leadership is experienced as empowerment. My research findings support those researchers who argue that youth prefer informal, nonhierarchical, spontaneous, and collaborative leadership. Māori and Pasifika youth perspectives on student leadership are aired and examined; a rare moment in the literature. The influence of school context on students is investigated, opening up the student leadership research field. The study explores the problematical nature of student authority, power, and hierarchy for the students—an under-elaborated issue in much of the scant literature on secondary-school student leadership.