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This book provides a starting point for those wanting to gain an insight into traditional Maori art.
Offers a look at the Maori visual arts, emphasising on the design. Covering tattooing, drawing and painting, carving and weaving, this book explores the origination, evolution, and significance of the designs, and explains the materials and techniques used to create them.
Two abundantly illustrated volumes offer a vibrant discussion of how the divine is and has been represented in art and architecture the world over. Beginning with the ancient worlds of Mesopotamia, Egypt, Greece, and Rome and moving forward through time, Art and Architecture of the World's Religions explores the major faiths from countries and continents around the globe, helping readers better understand the creations their beliefs have inspired. After tracing the history and development of a religion, the book provides a general overview of its principal beliefs and key practices. It then offers specific examples of how works of art/architecture reflect that religion's values. The focus of each chapter is on the temples, churches, and religious buildings, statues, paintings, and other works of art and architecture created by believers. Each representative work of art or architecture is examined in terms of its history, materials, symbols, colors, and patterns, as its significance is explained to the reader. With extensive illustrations, these volumes are the definitive reference work on art and architecture of the world's religions.
This unique book documents for the first time Maori pare (carved door lintels) from marae throughout the country and from overseas.
The first comprehensive history of how Maori have emerged from the silence of depictions by European writers to claim their own literary voice, with a focus on Patricia Grace and Witi Ihimaera
Blood Narrative is a comparative literary and cultural study of post-World War II literary and activist texts by New Zealand Maori and American Indians—groups who share much in their responses to European settler colonialism. Chadwick Allen reveals the complex narrative tactics employed by writers and activists in these societies that enabled them to realize unprecedented practical power in making both their voices and their own sense of indigeneity heard. Allen shows how both Maori and Native Americans resisted the assimilationist tide rising out of World War II and how, in the 1960s and 1970s, they each experienced a renaissance of political and cultural activism and literary production that culminated in the formation of the first general assembly of the World Council of Indigenous Peoples. He focuses his comparison on two fronts: first, the blood/land/memory complex that refers to these groups' struggles to define indigeneity and to be freed from the definitions of authenticity imposed by dominant settler cultures. Allen's second focus is on the discourse of treaties between American Indians and the U.S. government and between Maori and Great Britain, which he contends offers strong legal and moral bases from which these indigenous minorities can argue land and resource rights as well as cultural and identity politics. With its implicit critique of multiculturalism and of postcolonial studies that have tended to neglect the colonized status of indigenous First World minorities, Blood Narrative will appeal to students and scholars of literature, American and European history, multiculturalism, postcolonialism, and comparative cultural studies.
Girl of New Zealand presents a nuanced insight into the way violence and colonial attitudes shaped the representation of Māori women and girls. Michelle Erai examines more than thirty images of Māori women alongside the records of early missionaries and settlers in Aotearoa, as well as comments by archivists and librarians, to shed light on how race, gender, and sexuality have been ascribed to particular bodies. Viewed through Māori, feminist, queer, and film theories, Erai shows how images such as Girl of New Zealand (1793) and later images, cartoons, and travel advertising created and deployed a colonial optic. Girl of New Zealand reveals how the phantasm of the Māori woman has shown up in historical images, how such images shape our imagination, and how impossible it has become to maintain the delusion of the “innocent eye.” Erai argues that the process of ascribing race, gender, sexuality, and class to imagined bodies can itself be a kind of violence. In the wake of the Me Too movement and other feminist projects, Erai’s timely analysis speaks to the historical foundations of negative attitudes toward Indigenous Māori women in the eyes of colonial “others”—outsiders from elsewhere who reflected their own desires and fears in their representations of the Indigenous inhabitants of Aotearoa, New Zealand. Erai resurrects Māori women from objectification and locates them firmly within Māori whānau and communities.
The organisation of higher education across the world is one of several factors that conspire to create the assumption that our own map of the intellectual disciplines is, broadly speaking, valid cross-culturally. Disciplines in the Making challenges this in relation to eight main areas of human endeavour, namely philosophy, mathematics, history, medicine, art, law, religion and science. Lloyd focuses on historical and cross-cultural data that throw light on the different ways in which these disciplines were constituted and defined in different periods and civilisations, especially in ancient Greece and China, and how the relationships between them were understood, particularly when one or other discipline claimed hegemonic status (as happened, at different times, with philosophy, history, religion and science). He also explores the role of elites, whether positive (when they foster the professionalisation of a discipline) or negative (when they restrict recruitment to the profession, when they insist on adherence to established norms, concepts and practices and thereby inhibit further innovation). The issues are relevant to current educational policy in relation to the ever-increasing specialisation we see, especially in the sciences, and to the difficulties encountered in making the most of the opportunities for inter- or trans-disciplinary research.
Richly illustrated with more than 100 historical and contemporary photographs and original watercolour illustrations, The Māori Meeting House celebrates every aspect of these magnificent taonga (treasures) - their history and art forms, symbolism and cultural significance. In a clear, informative and personal narrative, Damian Skinner brings together existing scholarship on whare whakairo and his own reflections as a Pākehā art historian and curator, with reference to meeting houses from all over Aotearoa New Zealand and the world. The voices of carvers, artists, architects, writers, experts and iwi are woven into the text, to give every reader new ways of seeing these taonga - whether it is your first view or your hundredth.