He maha ngā kaupapa ako reo, engari kāore i maha ngā kaupapa e aro nui ana ki ngā mātua o ngā tamariki e hiahia ana ki te ako i te reo Māori hei tautoko i ā rātou tamariki i te kura. Ko te Kura Whānau Reo tētahi o aua kaupapa kua whakatūria e Te Ataarangi i ngā tau tata nei kia tokomaha ake ngā whānau e hiahia ana kia noho rātou hei whānau reo Māori. Ko te kaupapa matua o tēnei rangahau ko ngā whakakitenga a ngā kaiako, kua kïia nei he pouārahi reo, me ā rātou mahi tahi ki ngā whānau e ako ana i te reo Māori hei reo tuarua. Tekau mā rua ngā tāngata i uiuitia. Tokowaru he wāhine, tokowhā he tāne.

He rangahau e pā ana ki tētahi rïpoata tawhito i tukuna e Te Whānau-a-Te Ēhutu hai kēreme i te 1994 ki te Karauna. He kēreme tēnei mō te moutere, mō te puia o Whakaari. Ko te take mō tēnei rangahau, he āta tïtiro ki tēnei kēreme me ētahi atu kēreme whakawhiti e pā ana ki Whakaari kia mārama ai ngā take o roto. Mai i ngā tau kua pahure atu ki tēnei tau, ka tïmatahia e ngā hapū o Te Whānau-a-Apanui te whakarite i ngā kēreme kia utua e te Karauna mō ngā hara I mahia e rātou i ngā wā o mua. Ko te hua matua i puta mai i tēnei rangahau, ko te māramatanga ki ētahi mahi hē a te Karauna me te kaha o ngā tïpuna ki te whai tonu i tēnei kaupapa whenua.

He reo rua katoa te iwi kōrero Māori. Ko tētahi uaua o te whakaora i te reo Māori, ko te āta noho me te kōrero Māori. Nā whai anō ko te reo Pākehā te reo matua mō te nuinga o te iwi kōrero Māori. Ki te whakaarohia te manga, kua mau pea tātou ki te taha reo Pākehā o taua manga, kua kore e mōhio me pēhea rā e whiti atu ai ki te taha reo Māori. E tika ana, me mōhio te reo rua Māori ki ngā tahataha e rua, tō te reo Māori, tō te reo Pākehā, me te kanikani anō hoki i runga i te piriti i runga i ngā terenga wai e rere ana ki raro i a ia. E kāpuia ana te kōrerotia o ōna reo me tēnei tūāhuatanga e kīia nei he kōwhiri reo. Koinei te kaupapa nui i wānangahia i te tohu kairangi a te kaituhi.

Pōwhiri has a long history and generates deeper meanings beyond the formal enactment of welcome. What happens when this ritual is transferred into contemporary environments, especially those beyond the traditional marae? In particular, how might the performance of this ritual as adapted to suit objectives beyond its ritual origins be seen, even so, to reconstruct and reinforce the sense of identity, communality and belonging—who we are and how we come together—that pōwhiri was evolved to engender? The act of performing pōwhiri itself creates a sense of marae—a kind of “virtual” or “alt-marae”— regardless of the actual setting.

Like a number of fundamental Māori rituals and practices, pōwhiri have appeared in New Zealand fiction feature film since its beginnings in the silent era. Pōwhiri are multisensory, kinaesthetic experiences that, for most Māori, recall one’s tūrangawaewae—where he or she stands and belongs—because, in general, the predominant experience of pōwhiri is at home, amongst one’s own community. This article critically analyses pōwhiri as it has been constructed in New Zealand feature film history. It first presents an historical overview of pōwhiri and then focuses on Tearepa Kahi’s Mt. Zion (Hita, Milligan & Kahi, 2013).

This paper considers the use of contemporary popular waiata in promulgating a Māori worldview by expressing cultural identity and belonging. Waiata are a traditional medium, a practice through which Māori knowledge, histories, culture and language continue to be passed down from one generation to another (Ka‘ai-Mahuta, 2010; McLean, 1996; Orbell, 1991; Smith, 2003). Similarities can be observed between traditional and contemporary waiata, in that messages are delivered through musical, melodic, rhythmic and harmonic motifs that are distinctively Māori.

A growing body of research within the realm of Māori entrepreneurship is being produced by researchers offering powerful alternatives to Western hegemonic academic discourses. Ethnic minority research has also sought to challenge the West’s construction of entrepreneurship and its lack of plurivocality, yet few entrepreneurship models have embraced intersecting theory. We think that this oversight presents a useful opportunity for enhancing the study of Māori entrepreneurship in Aotearoa New Zealand.

The guaranteed Māori seats are a distinguishing and controversial feature of New Zealand’s democracy. In recent years, a number of reports, commentators and politicians have called for the seats to be abolished on the grounds that they are no longer “needed” in New Zealand’s proportional electoral system. These claims are usually grounded in principles of equality. This paper makes the opposite claim: that principles of equality create convincing and coherent justifications for the Māori seats.

This paper is about the adoption of a novel way of using documentary analysis in order to be culturally responsive in a research setting. It describes an original method, located in an actual empirical study in a wānanga, that meshed the analysis of documents with a group hui through a bricolage approach. To support a Māori kaupapa, the researcher wished to incorporate values of participation and collaboration, thus overturning the traditional values of simplicity, passivity and individuality that are the purported advantages of documentary analysis.