scholarly journals Identity Displacement: Architecture, Migration & the Islamic Woman

2021 ◽  
Author(s):  
◽  
Rebecca Claire Gordon
Keyword(s):  
New Zealand ◽  
Cultural Identity ◽  
Women Refugees ◽  
Host Community ◽  
Migration Process ◽  
Cultural Sustainability ◽  
Islamic Women ◽  
Design Case ◽  
The Veil ◽  
Woman Refugee

<p>Architecture can be regarded as both a product of culture and a medium that can influence change in contemporary society. Within the context of the Islamic woman refugee, architecture becomes intrinsically associated with the concept of socio-cultural sustainability because her cultural identity is challenged through the process of migration. Socio-cultural sustainability within the migrant context is concerned with maintaining cultural identity while allowing for transformation associated with the migration process. Furthermore, it aims to limit negative conflicts between ethnic groups that are often associated with misperceptions based on a lack of understanding. This thesis aims to further understand the role that architecture could play in the socio-cultural sustainability of Islamic women refugees living in Wellington. These women are often forced to make significant cultural changes through their migration process, and are faced with the question of which parts of their identity they maintain and which parts they adapt to the local culture. Traditional Islamic gender roles are challenged through the process of migration; where the Islamic woman, who was traditionally found within the home, is now becoming part of the professional workforce. The contrasting Western and Islamic perceptions of the veil identify that there are large gaps in the understanding of the other.  Both the house and the mosque are two architectural typologies that play a significant part in the lives of Islamic women refugees, and therefore the design case study is divided into 2 parts. Housing New Zealand Corporation (HNZC), who is responsible for housing recently-arrived refugees, commonly place refugee migrants in state properties. These are unresponsive to the socio-cultural needs of most refugee migrants as they are generally designed for the New Zealand culture. Due to the limitations imposed on and by HNZC and the refugee housing process, the most feasible solution to this problem for the Islamic woman refugee is to provide Housing Design Guidelines for Islamic Women. They focus specifically on their socio-cultural needs and could be used in housing renovations and redevelopments by HNZC. The second and larger part of the design case studies concentrates on the redevelopment of the Kilbirnie Mosque in Wellington, which acts as an architectural symbol of Islamic identity. Unlike the house, it supports the wider concept of socio-cultural sustainability, which includes challenging the frequently negative perceptions towards the Islamic community. This is essential in fostering positive relationships between the migrant and the host community, which can significantly influence the re-settlement process of refugees. Traditional Islamic architecture is therefore critiqued in the design, through the concept of the veil and the contemporary position of the Islamic woman, in order to re-negotiate traditional perceptions.</p>

scholarly journals Identity Displacement: Architecture, Migration & the Islamic Woman

2021 ◽  
Author(s):  
◽  
Rebecca Claire Gordon
Keyword(s):  
New Zealand ◽  
Cultural Identity ◽  
Women Refugees ◽  
Host Community ◽  
Migration Process ◽  
Cultural Sustainability ◽  
Islamic Women ◽  
Design Case ◽  
The Veil ◽  
Woman Refugee

<p>Architecture can be regarded as both a product of culture and a medium that can influence change in contemporary society. Within the context of the Islamic woman refugee, architecture becomes intrinsically associated with the concept of socio-cultural sustainability because her cultural identity is challenged through the process of migration. Socio-cultural sustainability within the migrant context is concerned with maintaining cultural identity while allowing for transformation associated with the migration process. Furthermore, it aims to limit negative conflicts between ethnic groups that are often associated with misperceptions based on a lack of understanding. This thesis aims to further understand the role that architecture could play in the socio-cultural sustainability of Islamic women refugees living in Wellington. These women are often forced to make significant cultural changes through their migration process, and are faced with the question of which parts of their identity they maintain and which parts they adapt to the local culture. Traditional Islamic gender roles are challenged through the process of migration; where the Islamic woman, who was traditionally found within the home, is now becoming part of the professional workforce. The contrasting Western and Islamic perceptions of the veil identify that there are large gaps in the understanding of the other.  Both the house and the mosque are two architectural typologies that play a significant part in the lives of Islamic women refugees, and therefore the design case study is divided into 2 parts. Housing New Zealand Corporation (HNZC), who is responsible for housing recently-arrived refugees, commonly place refugee migrants in state properties. These are unresponsive to the socio-cultural needs of most refugee migrants as they are generally designed for the New Zealand culture. Due to the limitations imposed on and by HNZC and the refugee housing process, the most feasible solution to this problem for the Islamic woman refugee is to provide Housing Design Guidelines for Islamic Women. They focus specifically on their socio-cultural needs and could be used in housing renovations and redevelopments by HNZC. The second and larger part of the design case studies concentrates on the redevelopment of the Kilbirnie Mosque in Wellington, which acts as an architectural symbol of Islamic identity. Unlike the house, it supports the wider concept of socio-cultural sustainability, which includes challenging the frequently negative perceptions towards the Islamic community. This is essential in fostering positive relationships between the migrant and the host community, which can significantly influence the re-settlement process of refugees. Traditional Islamic architecture is therefore critiqued in the design, through the concept of the veil and the contemporary position of the Islamic woman, in order to re-negotiate traditional perceptions.</p>

Tiki Taane’s With Strings Attached: Alive & Orchestrated and postcolonial identity politics in New Zealand

2018 ◽  
Author(s):  
Oli Wilson
Keyword(s):  
New Zealand ◽  
Cultural Identity ◽  
Identity Politics ◽  
Performance Practice ◽  
Art Music ◽  
Western Art ◽  
Performance Group ◽  
Representational Practices ◽  
Colonial Experience ◽  
Television Documentary

This chapter explores how the New Zealand popular music artist Tiki Taane subverts dominant representational practices concerning New Zealand cultural identity by juxtaposing musical ensembles, one a ‘colonial’ orchestra, the other a distinctively Māori (indigenous New Zealand) kapa haka performance group, in his With Strings Attached: Alive & Orchestrated album and television documentary, released in 2014. Through this collaboration, Tiki reframes the colonial experience as an amalgam of reappropriated cultural signifiers that enraptures those that identify with colonization and colonizing experiences, and in doing so, expresses a form of authorial agency. The context of Tiki’s subversive approach is contextualized by examining postcolonial representational practices surrounding Māori culture and orchestral hybrids in the western art music tradition, and through a discussion about the ways the performance practice called kapa haka is represented through existing scholarly studies of Māori music.

scholarly journals Desires and doubts on cultural sustainability: A study from Aotearoa New Zealand

2019 ◽  
Vol 8 (4) ◽  
pp. 452
Author(s):  
Tahera Afrin
Keyword(s):  
New Zealand ◽  
Student Teachers ◽  
Tertiary Education ◽  
Early Childhood Teacher ◽  
Original Research ◽  
Global Trends ◽  
Cultural Sustainability ◽  
Aotearoa New Zealand ◽  
Teaching Learning ◽  
Cultural Components

The original research project of this study was aimed to find out the components of culture and their impacts on ako (teaching-learning) within the early childhood teacher education programmes. Ethics Approval was obtained from AUT Ethics Committee. Under a socio-cultural theoretical framework, twelve lecturers from three Tertiary Education Organisations (TEOs) were interviewed. Three cohorts of student teachers from the same TEOs participated in focus groups. Using manual thematic coding, nine broad areas of cultural components were identified. These were bicultural contexts of Aotearoa, ethnicities and multi-culturalism, individual identities, cross-cultural interactions, comfort zone, female majority, socio-economic struggles, spirituality and technology. A recently developed framework for cultural sustainability (Soini and Dessein, 2016) were applied to these areas. Some of these components were identified as more inert and less dynamic, while the rest were recognised at the other end of the framework.The data and the principle findings were contextual to Aotearoa New Zealand. However, the discussion considered the overall global trends in relation to education.Keywords: Cultural diversity, cultural sustainability,

Live tweeting, reality TV and the nation

2019 ◽  
Vol 23 (3) ◽  
pp. 352-367
Author(s):  
Mark Stewart
Keyword(s):  
New Zealand ◽  
Cultural Identity ◽  
Reality Television ◽  
Reality Tv ◽  
Imagined Community ◽  
Cultural Formation ◽  
Discursive Analysis ◽  
Audience Fragmentation ◽  
The Creation ◽  
National Borders

This article argues that the live tweeting of reality television allows the creation of an imagined community, bounded by national borders. In an era of audience fragmentation and time-shifting of television engagement, live reality television encourages audiences to watch at time of broadcast; this is amplified by the move of some audience members to live-tweet the broadcast, communicating amongst themselves within a dispersed backchannel. A crucial result of the digital conversation is to reinstate the importance of the nation as a space for the reading and reception of culture. The article utilizes a discursive analysis of the concurrent Twitter conversation around the second season of The X Factor NZ in New Zealand in order to highlight the ongoing role that is played by the nation as a cultural formation in such discussions, as well as the ways that it makes understandings of national cultural identity visible.

scholarly journals Inside Out: A Diasporic Narrative

2016 ◽  
Vol 22 (1) ◽  
Author(s):  
Tania Lewis
Keyword(s):  
New Zealand ◽  
Cultural Studies ◽  
Cultural Identity ◽  
Knowledge Production ◽  
American Studies ◽  
Diasporic Identity ◽  
History Of ◽  
The University ◽  
Inside Out ◽  
Structural Marxism

In the late 1980s and early 1990s, Stuart Hall’s writing began to take a biographical turn. For readers such as myself, then a mature undergraduate pursuing an American Studies degree in New Zealand, this was somewhat of a revelation. The surprise was not so much Hall’s shift from the somewhat dry prose of structural Marxism to the rather more vital style of a postcolonially inflected poststructuralism, but the fact of Hall’s Caribbean background when I, along with no doubt many other geographically distant readers, had assumed him to be exworking class, British and white. Some seven years later, while wrestling with a PhD on the history of cultural studies at the University of Melbourne, I found myself writing an essay for Arena using the question of Hall’s diasporic identity to explore ‘the relations between knowledge production and cultural identity/location.

Kiwi rock: popular music and cultural identity in New Zealand

Popular Music ◽  
1994 ◽  
Vol 13 (3) ◽  
pp. 261-278 ◽  
Author(s):  
Roy Shuker ◽  
Michael Pickering
Keyword(s):  
New Zealand ◽  
Cultural Identity ◽  
Popular Music ◽  
Commercial Success ◽  
Music Scene ◽  
History Of ◽  
Comprehensive History

The New Zealand popular music scene has seen a series of high points in recent years. Published in 1989 were John Dix's labour of love, Stranded in Paradise, a comprehensive history of New Zealand rock'n'roll; an influential report by the Trade Development Board, supportive of the local industry; and the proceedings of a well-supported Music New Zealand Convention held in 1987 (Baysting 1989). In the late 1980s, local bands featured strongly on the charts, with Dave Dobbyn (‘Slice of Heaven’, 1986), Tex Pistol (‘The Game of Love’, 1987) and the Holiday Makers (‘Sweet Lovers’, 1988) all having number one singles. Internationally, Shona Laing (‘Glad I'm Not A Kennedy’, 1987) and Crowded House (‘Don't Dream It's Over’, 1986) broke into the American market, while in Australia many New Zealand performers gathered critical accolades and commercial success.

The face of Chinese migrants' gambling: A perspective from New Zealand

2003 ◽  
Author(s):  
John Wong ◽  
Samson Tse
Keyword(s):  
New Zealand ◽  
Social Services ◽  
Casino Gambling ◽  
Future Research ◽  
Gambling Problems ◽  
Migration Process ◽  
Chinese Migrants ◽  
Gambling Behaviors ◽  
The Face ◽  
Development Workers

This article is written from the viewpoint and experiences of two counselors who are community development workers and researchers working in the field of Asian social services for people with gambling problems. It discusses the factors that shape Chinese migrants' gambling behaviors in New Zealand in relation to the difficulties that they may encounter during their migration process, such as insecurity in the new country and disconnection from their family and friends. Also, some individuals have little experience of legalized casino gambling prior to coming to New Zealand and they tend to use gambling as a form of escape from their problems. The article concludes by proposing directions for future research and development of services to help Chinese people affected by gambling problems.

Great-grandfather, please teach me my language!

Multilingua ◽  
2017 ◽  
Vol 36 (5) ◽  
Author(s):  
Tania M. Ka’ai
Keyword(s):  
New Zealand ◽  
Cultural Identity ◽  
Minority Languages ◽  
Language Loss ◽  
Policy Reforms ◽  
Minority Communities ◽  
Personal Story ◽  
Aotearoa New Zealand ◽  
History Of ◽  
The Impact

AbstractInspired by Joshua Fishman’s lifetime dedication to the revitalisation of minority languages, especially Yiddish, this paper presents my personal story of the loss of the Māori language in my family in New Zealand/Aotearoa and our attempts to reverse this decline over several generations. The paper includes a description of several policy reforms and events in Aotearoa/New Zealand’s history and the impact of colonisation on the Māori language, which, as seen in other colonised peoples around the world, has contributed to the decline of this indigenous language. The paper also presents the mobilisation of Māori families and communities, including my own family, to establish their own strategies and initiatives to arrest further language decline and to reverse language loss in Māori families in Aotearoa/New Zealand. This article, combining story and history, should be read as a historiography of the Māori language, based on the author’s acknowledgement that other indigenous minority communities, globally, and their languages also have experienced the effects of colonisation and language loss. This article, much like a helix model, weaves together a narrative and history of Māori language loss, pain, resilience, and hope and seeks to establish that no language, because it contains the DNA of our cultural identity, should be allowed to die. A table of key landmarks of the history of the Māori language also is included.

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