237131_A2_WEEK 11_21/10/2016

Ātea is the space you come into before entering a marae, where the tangata whenua and the manahuri come together. The marae atea is also the domain of Tūmatauenga, the god of war, therefore a it is place suited to open debate and discussing contentious issues.

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Art Place final series

My third block course was art place, I chose the Elice St Quarry as my location and created a three final paintings based on a video I made while climbing a tree at the quarry. The paintings represent my interpretation of Atea in the quarry, the coming together of the sky and trees. I created 3 a1 acrylic paintings to create an immersive feel of movement, as if you were experiencing the coming together of the trees and sky.

 

My paintings are an interpretation of the trees (of the land) and the sky coming together and could be interpreted as an atea space between the masculine and feminine. Many cultures view the land as female and the sky as male ie. Gaia and Zeus in Greek mythology or Ranginui and Papatuanuku in Maori. Pakeha constructions of Maori cosmology have historically marginalized female figures (Mikaera) in accordance to colonial views of gender roles giving males greater importance. It is important to think about how paintings can be viewed from different worldviews to use different interpretations of the painting to create a resonating painting with different walks of people.

 

Works Cited

Mikaera, Ani. “Maori Women – Caught in the contradictions of a colonised reality.” 1994. University of Waikato

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237131_A2_WEEK 10_10/10/2016

I am a second generation New Zealander. Both my parents were born in England and after traveling all around the world on their OE’s they fell in love with New Zealand and decided to settle here. I have lived my whole life in New Zealand and my parents taught me to appreciate the amazing environment we have here, that they didn’t have growing up. Growing up we traveled all around New Zealand and we spent a lot of time tramping the great NZ walks or camping in remote campsites.  I love that in a few hours drive from my home city of Christchurch you can be on the vast expanse of the Canterbury plains, on the peaks of the Southern Alps, the beach forest in Fiordland or the dry barrens of the McKenzie country.

As a British-New Zealander, living in Christchurch, the dominant culture I have been surrounded by is Pakeha culture. Pakeha culture is a primitive one, it has only been around for a couple of hundred years and hasn’t had the time to develop in isolation that many other cultures have experienced. Historically, Pakeha culture has attempted to define itself in relation to Maori, bastardizing symbols such as the koru for representation of New Zealand culture. However this type of cultural appropriation is insensitive and doesn’t consider Maori tikanga. I have a solution to the Pakeha identity crisis. I think Pakeha culture should be taking a page out of Maori tikanga and actively acting with kaitiakitanga of the New Zealand. If Pakeha culture needs to define itself in relation to others, it should start with actively loving and protecting the beautiful New Zealand land that we all rely on.

In fact part of upholding our founding document, the Treaty of Waitangi is actively protecting Maori taonga for all people which includes the treasures of New Zealand’s land. Unfortunately, New Zealand has had a rocky history upholding this part of the treaty in cases like the 2004 Foreshore and Seabed Act have ignored Maori rights to access the land and denied rights of Maori to act with kaitiakitanga over land. That act was repealed and replaced in 2011 opting for public protection and access of the foreshore and seabed. This beautiful land (and see) is what makes me feel connected to New Zealand and I feel is what defines me and a citizen of New Zealand and what all who live here have a duty to protect together.

 

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Walters, Gordon. “Arahura.” 1982. Vison Mixer. Suter Art Gallery. Nelson 2014. Print.

 

Works Cited:

White, Anna-Marie, and Kate Brettkelly-Chalmers. KaihonoĀhua = Vision Mixer: Revisioning Contemporary New Zealand Art. Nelson: Suter Art Gallery TeAratoi O Whakatū, 2014. Print.

Walters, Gordon. “Arahura.” 1982.Screenprint on paper. The Suter Art Gallery: Te Aratoi o Whakatu.

237131_A2_WEEK 9_30/09/2016

Powhiri Stages

Paterson, Jacob. “Powhiri.” 2016. Illustration.

Maori men are often stereotyped in NZ society as the ‘primitive natural athlete’. This originates from the early colonial perception that Maori were intellectually inferior to Europeans and considered in many cases, ‘primitive savages’ (Wall 3).

The stereotype of Maori as natural athletes isn’t perceived by many Pakeha to be particularly harmful, as it portrays Maori men as strong and fierce, like depictions of Maori warrior imagery, for the NZ Warriors Rugby team. Contemporary Maori artist, Michael Parakowhai challenges this assertion in his sculpture ‘kapa haka’. Criticizing these colonial imposed stereotypes, that act as a way of referring to Maori as the ‘Other’ with collective experiences and traits of physical prowess, and not necessarily intellectual prowess. It depicts 5 Maori men in shirt and tie and speaks to how stereotypes affect Maori men in the modern workplace.

 

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Parekowhai, Michael. Kapa Haka, 2003, automotive paint on fiberglass, Auckland Art Gallery Toi o Tāmaki, Auckland.

Works Cited:

Parekowhai, Michael. Kapa Haka, 2003, automotive paint on fiberglass, Auckland Art Gallery Toi o Tāmaki, Auckland.

Wall, Melanie. “Stereotypical Constructions of the Maori ‘Race’” New Zealand Geographer 53.2 (1997): 40-45.