Assessment 2: Conversations in Creative Cultures Blog Posts

Week 7 

  1. Identify one key point and/or theme from the Week 7 lecture. Find an academic source (not the lecture itself, but the source may be one that is cited in the lecture) for that key point/theme. Paraphrase the academic source text relating to the key point/theme. Remember to accurately reference the source using the MLA style (50 words).

There are undeniable parallels between the black people in the American history and Polynesians in New Zealand. Such as commonalties between the circumstances such as slavery, poverty, but most undeniable the sense the harsh legacies of migration and the lengths that western society will go to hide such brutality with a false sense of national identity. Siliga david setoga reworks derogatory terms such as ‘freshy’ and ‘bonga’ to draw of the complex and seemly double standard realities between pacific and european people in Aoteraroa.

Setoga, Siliga David. “”I’m Got To Be Good For You””. creativenz. N.p., 2011. Web. 21 Sept. 2016.

2. Using example sin“All Power to the People”by Melani Anae (2012), or “The Many Faces of Paradise” by Caroline Vercoe (2004), describe one of the art/design/creative responses to the socio-political situation that confronted Pacific Islanders in Aotearoa in the late 20th century (50 – 75 words)


Silica David Setoga’s creative response to the racism experienced by pacific migrants in New Zealand is through the re-working or mockery of derogatory terms printed on T-shirts. Historically, new migrants were called terms such as fob, freshy, and bunga, by giving them humorous slurs such as ‘Fob Power’ Segtoga’s designs transform into homages of “Pride and Identity”. (Anae 237) Presenting such work on to plain T-shirts cleverly moulds a local style and sense of humour with historical heritage and events.

Anae, M. (2012). All power to the people

3. Write a synopsis of the documentary ‘DawnRaids’ (Fepulea’i, D. 2005) (50 – 75 words).

The Dawn Raids serves to exemplify the conscious persecutions of pacific people over other races in New Zealand. Police seemed to have defended the rights pf pakeha, and were against the Polynesians, or they treated them unfairly. Even Polynesians, such as those from the  Cook Islands had to carry around proof of Origin. The Dawn Raids themselves were a catalyst of such racism and disrespect for Polynesians living in New Zealand.

Week 8 

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).


There is an ideal in New Zealand that a certain type or demographic of people live in poverty, and that group is a very small problem within New Zealand’s economic stance. However, as this ‘Wealth Gap Tower’ staggeringly points out, Half of New Zealander’s live with little or no assets, living week by week to feed their families. Partly the reason for denial of such vast poverty is because of a pre conceived ideology or stereotype that poverty is an extreme circumstance in which you must be homeless, selling drugs and heavily involved in crime as well a certain race. However, there is said to be two types of poverty- deserving of assistance (victims of circumstance) and undeserving of assistance (lazy, unwilling to help themselves). Poverty should be seen as not having enough money to contribute or live in our society. (e.g. Having clothing) New Zealand’s Council of Christians Social Services describes “being in poverty means experiencing hunger and food insecurity, reduced life expectancy, poor health outcomes, debt, and unaffordable or bad housing”(NZ Council of Christian Social Services). However misconceptions of circumstances or an ideal of ‘deserving’ or ‘undeserving’ prevent people from realising their own poverty within New Zealand Society.

Morris, Toby. The Pencilsword: Inequality Tower (2015). Published on:

“Fact 1: There Is Poverty In The Midst Of Prosperity In Aotearoa New Zealand – NZ Council Of Christian Social Services”. NZ Council of Christian Social Services. N.p., 2016. Web. 28 Sept. 2016.

2.Using Chapters 13 and 14 of Tangata Whenua:An Illustrated History, draw up a timeline of significant events in Aotearoa from the end of WW2 (1945) to the year of the ill-fated Sesquicentennial (1990). Your timeline should include at least 20 key moments, with the more noteworthy events highlighted to indicate their importance. Be creative in your approach.


Week 9

  1. Draw (collage/photograph/paint/whatevs) the stages of the pōwhiri in a series of illustrated panels. This can be as sophisticated or as low-fi as you like – it just needs to clearly communicate the pōwhiri process to an unfamiliar audience. Imagine you are drawing it for people who have never been onto a marae. You may like to pick a particular time period (i.e. the 1400s, 1890s, 1950s, 2010s, the future) and allow that to inform your stylistic decisions. Remember to include relevant key terms and to clearly name each part of the pōwhiri. Use “Ngā tikanga o te marae” (Rawinia Higgins and John C. Moorfield) to inform your drawing.


Pictures in the back of the collage: (stages of a pōwhiri)

  1. Ko Ngā Tāngata (the people)
  2. Inoi (prayer)
  3. Wero (challenge)
  4. Karanga (call)
  5. Haka Pōwhiri (welcome dance)
  6. Mihi (speeches)
  7. Waiata (chant/song – sung after each speaker)
  8. Koha (gift)
  9. Hongi (traditional form of greeting)
  10. Hakari / Kai (feast/eating)

2. Melanie Wall identifies some of the more commonMāori stereotypes that have appeared in New Zealand’s media. Take one of the examples of representations of Māori from Dick’s lecture and discuss it in relation to Wall’s ideas (100 words).

Dick lecture discusses the representation of Maori from a pakeha perspective and ideology. During the colonial stages of New Zealand history, repressive and ideology state apparatus was used to impose certain stereotypes of poverty and crime among Maori. This is due to the inferior label other cultures including Maori are hailed to with a western dominant country. Such state apparatus include media, and material objects with create a misunderstanding and divide between cultures.  The Pakeha was of life is seen as superior and proper, leaving stereotypes reflecting negatively upon Maori. “the stereotype is the key mechanism through which racialised discourse is propagated and reproduced’’. (Wall 40).

Wall, Melanie. “Stereotypical Constructions of the Maori ‘Race’ in the Media.’’ New Zealand Geographer 1997: 40-45. Web. 3 Oct 2016.

Week 10

  1. Inspired by Kerry Ann Lee’s lecture and Tze Ming Mok’s essay, create a piece of creative non-fiction in which you talk about your own cultural identity. You must make at least one connection with a significant moment in the history of Aotearoa (i.e. like Tze Ming Mok did with the attack on Chi Phung, the National Front protest, and the Seabed and Foreshore hīkoi), and you must draw from your own lived experience. (200 words)

It gets seemly more apparent as I get older that I grew up in a society valuing white people like myself, as a majority in this country. My affirmation of identity can be seen through negation of others e.g. I must be a ignorant racist or ungrateful daddy’s little girl right? This has made me aware enough to question how to perceive race itself and the ideologies of what makes me identify as European/ Pakeha. Conversations with my Builder ‘Blue collar’ Grandad from Whanganui has been pivotal towards understand these ideas. Let’s take the flag debate for example, my Grandad yelled out the window at me “we’ve won, we’ve won”, mocking me after the flag did not change. Other than ‘we’ referring to conservative vs. liberal views, ‘we’ predominately represented the views of colonial white male power. I am not disrespecting my grandad views but simply realising the stereotypes of my white skin, blonde hair and blue eyes are morphed into my cultural identity. Yes, comparatively I have life easy, yes I will never be asked “where are you from” but should that qualify me to instead be the one asking others where they are from? So essentially, I live in a society where my cultural identity is largely perceived by the way I look and the ideologies of nationalism within a race.

  1. Go to the library and ask for one of the 237.1312 hour loan books. Find the name of a creative practitioner in that book, then search for that name on the book catalogue PCs (upstairs, Level B – don’t use Discover). Locate an image of their work (preferably in print) that fits with your creative writing. Scan this and upload it to your blog, remembering to include a caption.



‘Wog Features uses animation and live action to address racism in culture and gender. Lisa Reihana Addresses features/stereotypes within different cultures, mainly people of colour.

Week 11

1.In each of your assignments for Studio this year you made work that responded to a concept integral to the pōwhiri process – Mihimihi, Tūrangawaewae, Ātea, and Hākari. Define the concept that corresponds with the project you feel was the best thing you made in Studio all year. (25 words) 

Mihimihi examines the idea of relational interconnection, introducing yourself in relation to your whakapapa/ genealogy. Collecting and sharing a diverse and cultured place to stand that will influence who you are and the work you produce as an artist.

2.Discuss the work you made:describe its physical attributes, the concept/s behind it, and the wider context in which you made it. (100 words) 

My Mihimihi concept worked within the realms of fashion design and the concepts of introducing one-selves to others within our new learning community (class mates). I was heavily influenced by the stories of Kate’s past, her grandmother, who taught her how to sew, basically launching Kate’s interest and connection with fashion. Kate’s Grandmother wrote:

 “I made the first garment for myself when I was 12 or 13, I can remember it clearly. It was a bright fully gathered skirt on a waistband worn with layers of full petticoats underneath, the start of the Rock and Roll era.”  

My work juxtaposes Kate’s clean cut and structural style with her grandmothers garment  with gathers and layers consequently combining the past and present into a new perspective on which to view. Throughout the module I explored different gathering techniques which could be re-invented into today’s trends to create a sense of diverse thinking. The final dress itself is draped completely from gathering and the fabric has double layers to give it volume like petticoats.

  1. Etna Stachl discussed colonisation and ManaWahine in her lecture. How did you consider gender and/or indigeneity and/or the intersections between the two in your work? Why should you be thinking about this at all? Use key ideas in the lecture and the texts by Ani Mikaere and Linda Tuhiwai-Smith to support your argument. (75 words)

My work was based around the oral communication between myself, Kate and her grandmother. Kate’s passing down of knowledge from her grandmother is similar to the strong oral culture of Maori women. The women were the primary means of transmitting knowledge to be passed down through generations. Ani Mikaere insist they played an important role in the maintenance of iwi history because of the number of Waiata Tawhito that have been preformed Maori Women. (Mikaere 2)  Considering western concepts of knowledge is predominatelywritten communication, it is important to value oral not as inferior or less important. Without such oral communication between Kate’s Grandmother to me, I would not have been able to grasp the situation that lead to Kate’s love of Fashion or sense of Mihimihi.

Mikaere, A. (1994). “Maori Women- Caught in the contradiction of a colonised reality- Te Piringa. Faculty of Law : University of Waikato


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