Smith, Valance2008-12-112008-12-112003https://hdl.handle.net/2292/3244Restricted Item. Print thesis available in the University of Auckland Library or may be available through Interlibrary Loan.This 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 advances the view that at that stage neither Maori nor Pakeha attempted to impose their world-view on the other, but rather accepted and acknowledged that their historical epistemologies were independent of each another. Part II argues that this cultural balance was upset the moment Pakeha, notably the early missionaries, began introducing and imposing their own values based on their epistemology. Part II will address the contrasting Maori and Pakeha perspectives on kapa haka by retracing its social history from the moment of impact. Part III puts into perspective the different ways of knowing kapa haka in an effort to validate the argument of this thesis. It focuses on the power relations between the Maori and Pakeha ways of knowing kapa haka and argues that analyzing the different ways of knowing kapa haka will provide a better understanding of how and why kapa haka evolved into the art form it is today.Restricted Item. Print thesis available in the University of Auckland Library or may be available through Interlibrary Loan.https://researchspace.auckland.ac.nz/docs/uoa-docs/rights.htmThesisFields of Research::370000 Studies in Human Society::379900 Other Studies In Human Society::379902 Indigenous studieshttp://purl.org/eprint/accessRights/ClosedAccessQ112859048