kaupapa Māori

This article explores the Indigenous principle of kaitiakitanga as it relates to Māori agrifood practices. Our discussion is based on interviews with a small cross-section of Māori in the agrifood sector whose practices are informed by a long-standing appreciation of the interconnected realities of lands, food, people and waterways. We consider how the shared Kaupapa Māori principles underpinning these food practices form part of a wider Kaupapa Māori land, water and food systems approach which we call “Kai Ora”.

Kei te puta te tokomaha o ngāi raukura (ngā tauira o mua o te Kura Kaupapa Māori) ki ngā whare wānanga puta noa i te ao, heoi anō, he ruarua noa ngā tuhinga reo Māori e arotake ana i te Kaupapa Māori. E mātai ana tēnei tuhinga i te ahunga mai o te Kura Kaupapa Māori hei tauranga ātete i ngā tāmitanga a tauiwi. He kōrero tēnei mō te ariā Kaupapa Māori (mā ngā tauira whare wānanga): he tautoko i te putanga o te tuhinga taiea, te tuhinga i āta rangahaua, te tuhinga arohaehae, te tuhinga reo Māori.

This paper advocates for change regarding commodification of Māori rituals in sport, arguing that haka are important taonga, symbolising Māori practices of knowledge transmission. Indigenous research methodologies based on Kaupapa Māori theory were utilised in this study. The literature reviewed highlights ongoing commodification of “Ka Mate” (a haka composed by Ngāti Toa chief Te Rauparaha) by transnational corporations in sport-related settings. A critique of promotional advertisements for sport events illustrates how recent legislation has had minimal impact.

This paper outlines key categories and elements of Kia Manawanui: Kaupapa Māori Film Theoretical Framework, developed to interrogate film texts and shed light on the processes of Māori film production and environments within which filmmakers operate. Kia Manawanui film theory is informed by diverse expressions of Kaupapa Māori , Indigenous and critical media studies, discussions with Māori  filmmakers, theorists and film texts, particularly Ngati (1987), Mauri (1988) and Te Tangata Whai Rawa o Wēniti—The Māori  Merchant of Venice (2002).