Week 8 Blog task

Week 8 Blog task

1.Select one of the examples of a representation of poverty or wealth in Aotearoa New Zealand in Dr. Greg Gilbert’s lecture. Upload an image of this example to your blog. Describe the example and the context in which it was made, then discuss it in relation to one of the key concepts Greg introduced in his lecture, using sources other than Greg to support your ideas. These sources may be ones that Greg references in his lecture (100 words).

An example of poverty representation in Aotearoa NZ is what Dr Greg Gilbert talked about in his lecture. There is a harmful stereotype of people who are classified as “Poor” as they are considered and categorised (According to Gans (1995, 6-7),  as things such as

– Undeserving of assistance
– to blame for their poverty and situation
– lazy, unwilling to help themselves

The cartoon image by Al Nisbert shows a negative stereotype of poverty that is often joked about by people. It features some overweight, dark-skinned adults pretending to be children in uniform in order to get a free school lunch so they can have more money for cigarettes, alcohol, and gambling. They are shown to be exploiting the free school lunch system that NZ was considering putting in to place.

It reinforces the stereotype of Pacific Island/Polynesian/Maori people are all greedy, lazy and are their own fault for their situation as they chose to live this way.

 

290513 The Marlborough Express Al Nisbet cartoon

 

 

 

 

 

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237131 – Wk 5 Blog task

237131 – Wk 5 Blog task

Chapter 9 (Wars and Survival) of Tangata Whenua – an illustrated history, details of the historical wars that NZ faced during the period of 1860-1872.

The beginning of the wars started in Taranaki as the issue of land ownership arose.The chief stated the Waitara land was not for sale yet the government pushed for against this and ignored Maori objections. This led to Maori grouping together in order to fight the British Government who insisted on surveying and buying land that was not for sale.”Maori had to calibrate decisions carefully…to preserve tribal autonomy while protecting their lands…weighing the value of alliance with or resistance against the government” (256) “Lives were lost on all sides and for several iwi, land would be confiscated as well” (256)

Overall the wars were not just about the rights and ownership of land but the larger issue of sovereignty and Rangatiratanga. “The Taranaki wars was never simply about the fate of a 600 acre block of land at Waitara.”(256)

We are able to see the lasting effects of the war with visual and material culture with the NZ flag. This flag excluded Maori culture and instead highlights the difference between the two cultures. Instead of uniting two cultures as one nation, it divided them.

Works Cited

Anderson, Atholl, Binney, Judith and Harris, Aroha. “Chapter 9: Wars and survival”. Tangata whenua: An illustrated history. Bridget Williams Books, 2014. Print.

Anderson, Robyn. “Across Time: Ngā Haki, Ngā Kara Flags”. Tangata Whenua: An Illustrated History. Robyn Anderson. Aotearoa: Bridget Williams Books, 2014. 284-285. Print.

 

237.131 – Wk 4 Blog task

237.131 – Wk 4 Blog task

Whanaungatanga

Meaning – relationship, kinship, sense of familiar connection through shared experiences. Not just limited to blood family as others with close bond are also included.

This term is one of the main elements that make up the values of Tikanga. Whanau (Family/Kin). The idea of Whanaungatanga is of relationships and supporting one another. It can be applied to art and design  The relationship between the art/design, the audience or viewers and the artist themselves if they so wish to be included. The term recognises and emphasises the importance of embracing and supporting each other from near and afar and how fragile relationships are, therefore require nurturing.

“Whaungatanga embraces the whakapapa and focuses upon relationships” (Mead. Chapter 2)

Intellectual Property and Copyright Laws

There are many faults in way in which intellectual property and copyright laws exist to address the misuse of Taonga works  but the main issue is the difference in Western and Maori ideals of protection. Taonga are two things – a body of work in which it embodies a pre-existing set of values, insights and knowledge (matauranga maori) and it is the creative efforts of the real individual person/s.  Since the IP laws were founded upon western ideals and understandings , the laws refer to how the creator has exclusive rights of the physical work by “excluding others from using it” (33.) However  this actually contrasts highly against the Maori ideals of Kaitiakanga which  ” obligations in respect of taonga works and the underlying matauranga”(33) meaning that it’s not just the physical misuse of the work that must be protected but also the information it presents.

Internationally, how Taonga works are to be used are not efficiently protected or regulated as stated by the International IP laws due to the limitations of the laws – “It establishes the minimum standards of protection in several areas including copy rights, trademarks, geographical indications, industrial designs, patens and plant variety rights that all members of the World Trade Organisation must comply with ” (1.1.15)

Furthermore, (Taonga Works and Intellectual property) state that IP rules are not 100% guaranteed in protecting works of misuse . “However, IP rules are never absolute. A balance is constantly being struck by the interests of the creator or inventor in receiving a fair award for their creative efforts and the interests of the wider community in access to and the use of the knowledge” (33)

While Maori have brought up the issue of how the IP laws are not fully equipped to protect the works and kaitiaki relationships of Taonga, the Crown has argued back putting any more regulations in place would “stifle innovation and deprive others of access to knowledge and underpin or inspire the creation of new works” (34). Therefore these IP laws and copyright laws are not completely successful in protecting the Taonga works of Maori.

 

 

 

Works Cited

Mead, Hirini Moko. “Chapter 2: Nga Putake o te Tikanga – Underlying Principles and Values”. Tikanga Maori: Living By Maori Values. Aotearoa: Huia Publishers, 2003. 25-34. Print.

Taonga Works and Intellectual Property (2011) in Ko Aotearoa Tenei – A Report into Claims Concerning New Zealand Law and Policy Affecting Maori Culture and Identity.

Assessment 1 -237.131 Wk 3 blog task

Assessment 1 -237.131 Wk 3 blog task

 

 

 

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Aotea Utanganui Museum of South Taranaki. Photo Richard Wotton.

 

Made during the period of Te Tipunga the growth (1200 TO 1500CE), the haumi (Cover) was created to deflect oncoming waves from the canoe prow. The haumi was discovered in a swamp site near Patea in 1975 and

One aspect of the haumi that directly relates to the period it was from and the context is the interesting carvings that decorate the tool/art. It shows that creators were transitioning between the Eastern Polynesian style of carving into the late Maori carving style. By hand chiseling into the timber, the haumi close up shows small pecks that add up to a design. It shows the crucial in-between stage before Maori completely changed into their own traditional and original style.There are traces of the geometric and ancestral designs of the East Polynesian style mixed with evidence of the distinctive Maori forms.

Works Cited

Harris, Atholl Anderson, Judith Binney and Aroha. “Chapter Three: Pieces of the Past.” Tangata Whenua: An Illustrated History. New Zealand: Bridget Williams, 2012. 70-101. Print.

Task 1 B – What kind of thinker, planner, writer are you?

Task 1 B – What kind of thinker, planner, writer are you?

1. What do you think might be the advantages and disadvantages of these different ways of organizing writing?

I think there are many advantages that would allow the writer to effectively finish their essay. These methods of planning and constructing the essay allow for the writer to use a style which suits them – whether it be diving straight into it, slowly piecing it together or building it from beginning to end. The writer would also have the benefit of understanding which style works the best for them and they could even utilise a combination of these techniques to complete their essay as they all contain various helpful approaches.

However, they are most likely to be disadvantaged in other aspects. These structured methods can sometimes disrupt the creative process when one tries to naturally write.

Which way of planning and shaping is most like your own approach?

The method of planning and shaping most like my own would have to be the ‘Patchwork writer’. This kind of writer starts by sectioning of her writing by completing part by part then proceeds to put it together to create the entire assignment.

How do you think your way may be different from any of these?

My way differs slightly from these (although I am most similar to the patchwork writer) as I tend to branch off and go back to it when I run out of ideas  or don’t know how to finish a certain paragraph.

2. Describe how you plan and organise your writing for a major essay

When I start an assignment, I first start by planning using a mindmap that branches off into sub-branches and keywords. I organise this by underlining the key points I will use in the body of the essay and briefly write a line for the introduction and conclusion. Then I prefer to start with the sections I have the most ideas for and work my way through it by stitching it together with relevant information and sources.

3.What kind of thinker planner do you identify the most closely with and what was useful about this reading?

I most closely identify with the patchwork writer as I too like to piece the essay together as opposed to writing it down in chronological order. What I found most useful about this reading is being able to identify which method I am most like and finding out how other students organise and plan their writing. It was interesting to find the different processes and really made me appreciate just how differently people think.

Sources

Creme, Phyllis, and Mary R. Lea. Writing at University: A Guide for Students. Buckingham: Open UP, 1997. Print. (71-76)