This paper explores how we, three wāhine Māori, are moving through citational practice—who, how, and why we cite. Stemming from a refusal to recirculate settler colonial ideologies in doctoral research, we consider what it means to cite as Māori. In centring whakapapa, we conceptualise citations as extensions of our relational world and as a way we can acknowledge and nurture the intergenerational relationships that constitute who we are, and how we come to know. Citation is an expression of whanaungatanga.

Theatre Marae is a contemporary theatre practice unique to Aotearoa New Zealand, and this article outlines its application as an Indigenous-informed creative framework for qualitative research. As a research methodology, Theatre Marae is based in a conceptual partnership between traditional and contemporary Māori performing arts, applied theatre and the therapeutic encounter. As a form of theatre pedagogy, Theatre Marae has been applied as a decolonising strategy in ensemble work, and to craft evocative theatre that honours Māori expressions of colonisation, trauma and social justice.

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”. As is evident in the stories that follow, Kaupapa Māori values are practised in diverse ways by different kaitiaki food producers.

This article explores the impact on whānau wellbeing following wāhine being transferred to either secondary or tertiary care hospitals to receive health care for themselves or their baby during the birthing journey. It was found that throughout this process, the wāhine and whānau faced a series of challenges that compromised their wellbeing. Feeling isolated from their home, support networks and baby, and not fulfilling their motherhood expectations were major challenges.

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. Ko te tikanga ia, ka puta he tuhinga mō ngā kaupapa huhua, engari ka taka te tuhinga nei i te whakaaro mō te mātātuhi wewete mō ngā raukura.

This article illuminates the embryonic academic practice of writing doctoral theses in te reo Māori, storying the experiences of graduates, supervisors, examiners and senior managers involved in this pathway. In keeping with Indigenous sensibilities, a narrative research approach is adopted, whereby analysis proceeds by carefully curating interview data to tell a compelling insider story of the reo Māori doctoral journey. This narrative research process respects the teaching power of stories, told in the voices of pioneers in this field, and brings forward a joyful counter-narrative to the dominant detrimental research stories about Māori university education.

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.

How might Māori values in relation to soil contribute to national strategies for identifying, maintaining and enhancing soil health? This article uses the Hua Parakore framework, a kaupapa Māori approach developed out of the Māori organics sector, to address these questions. Soil is an essential national resource on which New Zealand’s primary sector and agriculture industries depend. Soil is also part of the woven universe constituting Māori ways of knowing and doing (Marsden, 2003).

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).