scholarly journals Towards a New Pacific Theatre: Practice‐Led Enquiry into a Model of Theatre Making that Relates  to the Geography, Cultures and Spiritual Values of  Aotearoa/New Zealand

2021 ◽  
Author(s):  
◽  
Bert Van Dijk
Keyword(s):  
New Zealand ◽  
Performing Arts ◽  
Ethical Issues ◽  
Specific Work ◽  
Site Specific ◽  
Devised Theatre ◽  
Aotearoa New Zealand ◽  
Intercultural Performance ◽  
Time Space ◽  
And Performance

<p>This practice‐led research enquiry sets out to develop and test a model of theatre practice that relates to the unique geographic, cultural and spiritual dimensions of Aotearoa/New Zealand. In this practice, actors are connected with their body and the earth (they have feet), archetypal qualities inherent in nature and culture are incorporated into training and performance (return of the gods), a sense of adventure and risk‐taking is emphasized, and the practice relates to the multiple cultures and communities of Aotearoa/New Zealand. Presence, defined as the ability to be sensorially alive in the moment, and site‐specific performance, a creative response to locality, emerged as two of the key strategies to connect with self, other and the environment.  By investigating selected principles, strategies and values from the indigenous, pre‐European, Māori performing arts (whare tapere), devised theatre, the Michael Chekhov technique, and Japanese Noh theatre, an intercultural approach to site specific theatre evolved that interweaves the four pathways of collaboration, connection, exploration and transformation and their corresponding values. After considering the political and ethical issues of intercultural performance a number of principles to guide the process of intercultural exchange were formulated and tested. A vital component of this study was the creative development and performance of Ex_isle of Strangers – a site‐specific work developed in response to the tangible and intangible dimensions of Matiu/Somes Island. The research generated moments of practice that investigated the creative potential of residential devising processes and the transformative value of audience mobility in performances that involve physical and metaphorical journeying. These moments provided the participants (performers and spectators) time, space and opportunity to interact with one another and with the site they occupied, thus significantly increasing their level of physical and mental engagement with the work.</p>

scholarly journals Towards a New Pacific Theatre: Practice‐Led Enquiry into a Model of Theatre Making that Relates  to the Geography, Cultures and Spiritual Values of  Aotearoa/New Zealand

2021 ◽  
Author(s):  
◽  
Bert Van Dijk
Keyword(s):  
New Zealand ◽  
Performing Arts ◽  
Ethical Issues ◽  
Specific Work ◽  
Site Specific ◽  
Devised Theatre ◽  
Aotearoa New Zealand ◽  
Intercultural Performance ◽  
Time Space ◽  
And Performance

<p>This practice‐led research enquiry sets out to develop and test a model of theatre practice that relates to the unique geographic, cultural and spiritual dimensions of Aotearoa/New Zealand. In this practice, actors are connected with their body and the earth (they have feet), archetypal qualities inherent in nature and culture are incorporated into training and performance (return of the gods), a sense of adventure and risk‐taking is emphasized, and the practice relates to the multiple cultures and communities of Aotearoa/New Zealand. Presence, defined as the ability to be sensorially alive in the moment, and site‐specific performance, a creative response to locality, emerged as two of the key strategies to connect with self, other and the environment.  By investigating selected principles, strategies and values from the indigenous, pre‐European, Māori performing arts (whare tapere), devised theatre, the Michael Chekhov technique, and Japanese Noh theatre, an intercultural approach to site specific theatre evolved that interweaves the four pathways of collaboration, connection, exploration and transformation and their corresponding values. After considering the political and ethical issues of intercultural performance a number of principles to guide the process of intercultural exchange were formulated and tested. A vital component of this study was the creative development and performance of Ex_isle of Strangers – a site‐specific work developed in response to the tangible and intangible dimensions of Matiu/Somes Island. The research generated moments of practice that investigated the creative potential of residential devising processes and the transformative value of audience mobility in performances that involve physical and metaphorical journeying. These moments provided the participants (performers and spectators) time, space and opportunity to interact with one another and with the site they occupied, thus significantly increasing their level of physical and mental engagement with the work.</p>

scholarly journals Māori Performing Arts and the Weaving Together of Local, National and International Communities

2021 ◽  
Author(s):  
◽  
Jonathon Avery
Keyword(s):  
New Zealand ◽  
Performing Arts ◽  
Participant Observation ◽  
Language And Culture ◽  
School Of Music ◽  
Body Of Knowledge ◽  
Aotearoa New Zealand ◽  
Art Form ◽  
Performance Context ◽  
And Performance

<p>Māori performing arts provides a valuable contribution to Aotearoa New Zealand society. Māori performing arts has an intrinsic link to Māori culture and is used to connect 1) Māori who are disengaged from iwi/hapu/whanau, as well as 2) non-Māori, in New Zealand and around the world with Māori culture. Performance genres such as waiata-a-ringa, haka and mōteatea contain a body of knowledge that communicate Māori ways of being and doing and provide participants with an opportunity to become connected to a culturally literate and informed community. Using ethnographic techniques of participant observation, interviews and performance, this thesis examines the experiences of individuals who engage with Māori performing arts and the meaning they attribute to their engagement with the art form. Drawing on contemporary ideas of community and meaning, this thesis also investigates how Māori performing arts builds and strengthens relationships and whanaungatanga by connecting participants to local, national and international Aotearoa New Zealand communities. This thesis draws on two contexts in Wellington where people engage with Māori performing arts - The Ngāti Pōneke Young Māori Club at Pipitea marae and Te Kōkī New Zealand School of Music. Along with exploring two Māori performance context in detail, this these explores how Māori performing arts is used as a platform to educate participants about Māori knowledge, language and culture while also discussing how Māori performing arts is used to symbolise and represent Aotearoa New Zealand nationally and internationally.</p>

scholarly journals Māori Performing Arts and the Weaving Together of Local, National and International Communities

2021 ◽  
Author(s):  
◽  
Jonathon Avery
Keyword(s):  
New Zealand ◽  
Performing Arts ◽  
Participant Observation ◽  
Language And Culture ◽  
School Of Music ◽  
Body Of Knowledge ◽  
Aotearoa New Zealand ◽  
Art Form ◽  
Performance Context ◽  
And Performance

<p>Māori performing arts provides a valuable contribution to Aotearoa New Zealand society. Māori performing arts has an intrinsic link to Māori culture and is used to connect 1) Māori who are disengaged from iwi/hapu/whanau, as well as 2) non-Māori, in New Zealand and around the world with Māori culture. Performance genres such as waiata-a-ringa, haka and mōteatea contain a body of knowledge that communicate Māori ways of being and doing and provide participants with an opportunity to become connected to a culturally literate and informed community. Using ethnographic techniques of participant observation, interviews and performance, this thesis examines the experiences of individuals who engage with Māori performing arts and the meaning they attribute to their engagement with the art form. Drawing on contemporary ideas of community and meaning, this thesis also investigates how Māori performing arts builds and strengthens relationships and whanaungatanga by connecting participants to local, national and international Aotearoa New Zealand communities. This thesis draws on two contexts in Wellington where people engage with Māori performing arts - The Ngāti Pōneke Young Māori Club at Pipitea marae and Te Kōkī New Zealand School of Music. Along with exploring two Māori performance context in detail, this these explores how Māori performing arts is used as a platform to educate participants about Māori knowledge, language and culture while also discussing how Māori performing arts is used to symbolise and represent Aotearoa New Zealand nationally and internationally.</p>

Last Words (For Now)

2020 ◽  
pp. 157-158
Author(s):  
Sharon Mazer
Keyword(s):  
New York ◽  
New York City ◽  
New Zealand ◽  
York City ◽  
Performing Arts ◽  
Time And Space ◽  
Aotearoa New Zealand ◽  
Arts Festival ◽  
And Performance ◽  
Madison Square Garden

The move to Aotearoa New Zealand was transformative in ways I could not have imagined when I left New York City “temporarily” in 1994. From the cheap seats at Madison Square Garden to the VIP tent at Te Matatini National Māori Performing Arts Festival, I continue to embrace the excitement (and terror) of entering into theatre and performance arenas that are emphatically not mine, and to be touched, always, by the generosity of performers and audiences no matter where I find myself. It is tempting to picture Johnny, Larry, and the others frozen in time and space, still at Gleason’s right where I left them. And indeed, Johnny is still there, still teaching youngsters the game and maintaining his claim to fame. He has a website: the ...

scholarly journals THEATRE MARAE: Māori theatre pedagogy in research

2020 ◽  
Vol 9 (3) ◽  
Author(s):  
Helen Pearse-Otene
Keyword(s):  
New Zealand ◽  
Performing Arts ◽  
Youth Justice ◽  
Arts Based Research ◽  
Contemporary Theatre ◽  
Aotearoa New Zealand ◽  
Kaupapa Māori ◽  
Theatre Pedagogy ◽  
And Performance ◽  
Therapeutic Encounter

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. Theatre Marae projects have been carried out in kāinga, schools, prisons, youth justice residential centres, community centres and mainstream theatres throughout Aotearoa New Zealand. Although its creative and therapeutic outcomes are influenced by both Western and Māori psychologies and performance traditions, the underlying principles and day-to-day practice of Theatre Marae are based in te ao Māori. This configuration positions Theatre Marae as an Indigenous creative framework that is also applicable to Kaupapa Māori arts-based research.

scholarly journals Performing Arts Festivals, Festivalization and Global Public Sphere: Locating DNT Performances of India and the Māori Performances of Aotearoa/New Zealand in Post-colonial Asia-Pacific

2021 ◽  
Author(s):  
◽  
Swatibahen Bhatt
Keyword(s):  
New Zealand ◽  
Public Sphere ◽  
Case Studies ◽  
Performing Arts ◽  
Indigenous Communities ◽  
Theoretical Models ◽  
Post Colonial ◽  
Aotearoa New Zealand ◽  
Arts Festivals ◽  
Arts Festival

<p>The project aims at theorising the idea of ‘festivalization’ of the local and global public sphere generated by performing arts festivals. The thesis challenges the concept of ‘festival’ in its popular framework of a celebratory event that is well-planned, culture specific and entertaining. I provide three different study models to accommodate my theoretical conceptualization and discuss the theory in detail in context of selected case studies.  The research also seeks to investigate the politics around (re)presentation of indigeneity through the medium of theatre within various socio-political contexts through case studies from several Indigenous theatre groups located in Oceania and beyond. The project offers detailed discussion of the first two theoretical models developed by me in context of case studies from India and Aotearoa/New Zealand followed by an exploration of the artistic festivals and their implications within and beyond Oceania in context of my third and final study model.  The theoretical models study theatre performances in the contexts of their representation, reception and efficacy within the festival generated space as well as the initiatives of Indigenous communities across the globe to create artistic festivals to celebrate their Indigeneity and authority over Indigenous arts. These two focuses together will locate the reception, representation and (re)production of Indigeneity through the medium of theatre within the festivalized space locally and globally. The third study model finally locates the festival itself within both local and global space to explore its political implications within the socio-political context.  I also aim to investigate the politics behind provisions of ‘space’ and ‘funds’ for the international display of indigeneity through international performing arts festivals; and juxtapose the tourist centred performing arts festival against the festival created by the Indigenous communities through funding generated though ‘donations’ made by local communities. The discussions on this segment is focused on the politics of (mis)presentation of indigeneity through hybrid performances alongside exotic traditional indigenous performances on international stages.  As an Indian citizen, crossing multiple boundaries between the so-called third world, indigenous world and metropolitan culture, I am aware about, respect and acknowledge the Indigenous intellectual and cultural property rights. Being a non-Indigenous researcher working with Indigenous communities, I followed the principles of ‘decolonising methodologies’ (Smith, 1999). I am aware and adhered to the matters including self-determination, cultural aspiration, socio-economic mediation, culturally preferred pedagogy, collective philosophy, extended family structures, respect to Treaty of Waitangi and growing respectful relationships as essential aspects of conducting this research. I have applied collectively chosen pedagogy and philosophy when I conducted the interviews within Indigenous communities and when wrote about them in my thesis.  Indigenous theatre within the context of performing arts festival is a rarely explored area of post-colonial studies which makes the present project significant in itself. The project will document original ideas directly from indigenous theatre practitioners and their experiences of participation in international performing arts festivals. And finally, I believe this study could contribute to a better understanding of the politics of international performing arts festivals in (re) producing indigeneity, distinct from their conventional reception as an exotic 'other' culture.</p>

Sound – Time – Space – Movement: the Space-soundInstallations of the artist-couple 〈sabine schäfer // joachim krebs〉

2003 ◽  
Vol 8 (2) ◽  
pp. 213-225 ◽  
Author(s):  
SABINE SCHÄFER ◽  
JOACHIM KREBS
Keyword(s):  
Critical Analysis ◽  
Specific Work ◽  
Time And Space ◽  
Site Specific ◽  
Time Space ◽  
Principal Work

This article describes the theories and practices of the German installation artists and composers Sabine Schäfer and Joachim Krebs. Much of their work concerns site-specific sound installations involving the articulation of time and space. Their principal work methods and materials are described. In addition, they have formulated a typology of five installation types which they describe using their own installations as examples. Each installation type responds to a particular set of aesthetic and practical challenges both for the artists and the visitors. These are discussed and illustrated in the article. The typology extends beyond the specific work of these artists and can be applied to installations in general, thus providing a framework for critical analysis. Furthermore, the translators have discussed the issues regarding the specialised vocabulary of the artists and the rendering of such language into English.

scholarly journals From the void, the night

IDEA JOURNAL ◽  
2017 ◽  
pp. 48-61
Author(s):  
Jen Archer-Martin ◽  
Lisa Munnelly
Keyword(s):  
Creative Thinking ◽  
Parallel Methods ◽  
Left Behind ◽  
Aotearoa New Zealand ◽  
Time Space ◽  
Binary Oppositions ◽  
Spatio Temporal ◽  
And Performance ◽  
Set Up ◽  
Definition Of

From the void, the night presents an unfolding encounter via a series of letters between two artist/designer/academics as they explore symbioses between their practices and thinking. The correspondence traverses topics that resonate with ideas of darkness, light, time, space, and sensation. Confronting spatial and epistemological boundaries, it begins to carve out a space of practice that embraces dark knowledge, material agency, and the unknown. The conversation begins with the discovery of an already-existing dialogue between bodies of work and thought stretching back to 2003-4, when, in separate efforts to transcend binary oppositions of figure/ground, inside/outside, nothingness/everything, two women made drawings on walls. 1 Unknown to one another at the time, both researchers were employing similar strategies to explore the embodied spatio-temporal performances of drawing and inhabitation – rhythm, repetition, sensation, and the field. These wall-drawings and the texts that accompanied them set up divergent practices that converged again in early 2017 at the Performing, Writing symposium. 2 Here, both undertook performance works 3 that employed drawing-as-writing, and sought to capture the spatial, temporal, material and affective unfoldings of durational practices. While the two works took very different forms, they shared parallel methods, establishing simple parameters for embracing the unknown of live practice. The six letters of the enclosed drawing-writing correspondence look to further this encounter, and explore how the two practices might rub against one another, approaching Tony Godfrey’s definition of a ‘drawing’ as ‘two objects or materials touch[ing] and evidence of their meeting [being] left behind.’ 4 The form of a ‘letter’ was taken loosely, considered as an assemblage that might contain writing, images, and other materials – a mode of ‘letter-writing’ that sits somewhere between writing, drawing and performance. Written over the course of two weeks in which they were the only form of communication between the pair, the letters are the raw product of an intensive creative exchange. While the authors are colleagues at the same College of Creative Arts, the correspondence presents a genuine temporal journey of getting to know one another’s creative thinking process, carving out a dynamic space of speculation about future practice. They reveal this process to be embodied and situated, with references to cultural events and indigenous understandings particular to Aotearoa New Zealand being entangled in the process of thinking-in-place. Intentionally presented here in their unrefined state, the letters are themselves a statement about resisting the pull of the light (of light-as-clarity). They are not writing-as-explanation but writing-as-drawing; a live material process of thinking-through and drawing-out. Gleefully inhabiting the dark space of not-knowing, they remain a dark, cloudy, lively mass of potential energy and material.          

scholarly journals “Talking Critically Yet Harmoniously”

Museum Worlds ◽  
2021 ◽  
Vol 9 (1) ◽  
pp. 110-115
Author(s):  
Lagi-Maama Academy and Consultancy
Keyword(s):  
New Zealand ◽  
Ways Of Knowing ◽  
Indigenous Communities ◽  
Cultural Organization ◽  
Institutional Settings ◽  
Aotearoa New Zealand ◽  
Time Space

Lagi-Maama Academy & Consultancy (Lagi-Maama) is a cultural organization based in Aotearoa New Zealand that we (Toluma‘anave Barbara Makuati-Afitu and Kolokesa Uafā Māhina-Tuai) formally established in August 2018. What we do involves mediating at the intersection of Indigenous communities and institutional settings, to create a more harmonious and hoa/soa/ balanced time-space, by imbedding different ways of knowing, seeing, and doing.

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