He kōrari, he kete, he kōrero

Weaving together traditional Māori knowledge from the past with our current practice realities of the present as a guide for the provision of tangata whenua supervision for the future. Körari as it is known in Te Tai Tokerau, commonly called flax or harakeke, is an important natural resource our tūpuna used for a range of purposes. Kōrari contains healing qualities and one of its practical uses both traditionally and today is weaving, and in particular weaving kete. Kete are symbolic in our whakapapa stories about the pursuit and application of knowledge and the tikanga used for weaving contain important stories, principles and practices that can guide us in our mahi and our lives.

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IMPROVISATION: Sygeplejersker på arbejde i Uganda

Tidsskriftet Antropologi ◽

10.7146/ta.v0i51.106701 ◽

2005 ◽

Author(s):

Helle Max Martin

Keyword(s):

Professional Identity ◽

Golden Age ◽

Current Practice ◽

Nursing Practice ◽

Nursing Profession ◽

Work Situation ◽

The Past ◽

The Future ◽

Eastern Uganda

This article is about improvisation, which is a term that nurses in Uganda employ to describe how they overcome the practical difficulties of working in an institutional setting, which lacks the necessary equipment, drugs and staff. On the basis of data from Tororo Hospital in Eastern Uganda, the article explores the meanings of the term improvisation, how it relates to a general discourse about the nursing profession, and how the nurses handle and make sense of a complex and contradictory work situation. Improvisation is a term that both makes customary nursing practice legitimate and supports a professional identity under pressure. It also articulates a nostalgic longing for better times – located both in the past, the golden age of nursing, and in the future since the term improvisation constructs current practice as an interim phenomenon. Thus, “improvisation” offers a way for the nurses to domesticate the contradictory forces, which play a prominent part in nursing in Uganda today.

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Mix(tap)ing: A method for sampling the past to envision the future

Choreographic Practices ◽

10.1386/chor_00027_1 ◽

2021 ◽

Vol 12 (1) ◽

pp. 29-45 ◽

Cited By ~ 1

Author(s):

Michael J. Love

Keyword(s):

Research Method ◽

Current Practice ◽

The Past ◽

Tap Dance ◽

The Future ◽

Dance Improvisation ◽

Performance As Research

This article outlines the theoretical and aesthetic considerations of Love’s performance-as-research method for developing interdisciplinary tap dance work – a method he identifies as Mix(tap)ing. By first narrating how he arrived to his current practice as a dancemaker and artistic researcher, Love is able to show the ways in which his method samples strategies, voices and traditions from the cultural past to imagine and work towards futuristic locations of liberation and possibility. Ultimately, Mix(tap)ing allows Love to layer intellectual concepts and theatrical conventions in order to design an approach to rhythm tap dance improvisation and choreography that is expressly Black and queer. This article is, in itself, a demonstration of Love’s method as it joins written analysis with a performed lecture script to evidence how Love has previously presented one of his Mix(tap)es.

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