scholarly journals Experiencing Cultural Institutions as National Artefacts: Exploring the use of Black in  New Zealand Museum Architecture to Convey National Identity

2021 ◽  
Author(s):  
◽  
Hannah Pierce
Keyword(s):  
National Identity ◽  
New Zealand ◽  
Cultural Identity ◽  
City Council ◽  
Cultural Institutions ◽  
Museum Architecture ◽  
Museum Design ◽  
Design Case Study ◽  
National Significance ◽  
Spatial Investigation

<p>The demand in New Zealand for cultural institutions to promote artefacts of national significance was identified by the Wellington City Council as part of an initiative to further acknowledge cultural identities within the capital. This thesis investigates opportunities for New Zealand’s cultural institutions, particularly its museums, to be experienced themselves as national artefacts, promoting national identity not just through the display of New Zealand’s national collections, but also through the identity and experience of the architecture that contains those collections. This research aims to develop a museum that integrates the theories of new museology and narrative based design as an experiential understanding of national collections with sociologist Dr Prudence Stone’s theory regarding the significance of black to New Zealand. Stone’s theory highlights the significance of black through four central themes - creation, death transgression and race. Each of these themes will therefore be applied to New Zealand artists Ralph Hotere, Bill Culbert and Colin McCahon to test how black as an expression of cultural identity within New Zealand can be applied to New Zealand architecture. These three New Zealand artists were selected as they all relate to Stone’s analysis of the significance of black to New Zealand, analysing how black has been applied to express a national identity within New Zealand. Black as an expression of cultural identity within New Zealand was chosen to develop as research highlighted the significant number of artefacts representing black as an expression of cultural identity within the archives of the National Museum of New Zealand, Te Papa Tongarewa. This design case study proposes a museum within the alleyway Farmers Lane, Wellington. This site provides a spatial investigation from darkness up to the light while further thematically creating constraints to extend the outcome of the design. The museum therefore creates a vertical gallery that spatially explores themes from artists Ralph Hotere, Bill Culbert and Colin McCahon, three distinct New Zealand artists who symbolically employ black to convey a national identity. The design is therefore divided into three datums, each representing a distinct characteristic of the thematic understanding of black within New Zealand as identified by each of the three artists. Overall this research suggests the architectural experience of a discrete collection of acclaimed national artists working within a common national theme can be exhibited so that there is no longer the need for an anonymous, context free white walled approach within museum design. Instead the architectural experience has the opportunity to become one of the exhibitions of black’s symbolic national identity.</p>

scholarly journals Experiencing Cultural Institutions as National Artefacts: Exploring the use of Black in  New Zealand Museum Architecture to Convey National Identity

2021 ◽  
Author(s):  
◽  
Hannah Pierce
Keyword(s):  
National Identity ◽  
New Zealand ◽  
Cultural Identity ◽  
City Council ◽  
Cultural Institutions ◽  
Museum Architecture ◽  
Museum Design ◽  
Design Case Study ◽  
National Significance ◽  
Spatial Investigation

<p>The demand in New Zealand for cultural institutions to promote artefacts of national significance was identified by the Wellington City Council as part of an initiative to further acknowledge cultural identities within the capital. This thesis investigates opportunities for New Zealand’s cultural institutions, particularly its museums, to be experienced themselves as national artefacts, promoting national identity not just through the display of New Zealand’s national collections, but also through the identity and experience of the architecture that contains those collections. This research aims to develop a museum that integrates the theories of new museology and narrative based design as an experiential understanding of national collections with sociologist Dr Prudence Stone’s theory regarding the significance of black to New Zealand. Stone’s theory highlights the significance of black through four central themes - creation, death transgression and race. Each of these themes will therefore be applied to New Zealand artists Ralph Hotere, Bill Culbert and Colin McCahon to test how black as an expression of cultural identity within New Zealand can be applied to New Zealand architecture. These three New Zealand artists were selected as they all relate to Stone’s analysis of the significance of black to New Zealand, analysing how black has been applied to express a national identity within New Zealand. Black as an expression of cultural identity within New Zealand was chosen to develop as research highlighted the significant number of artefacts representing black as an expression of cultural identity within the archives of the National Museum of New Zealand, Te Papa Tongarewa. This design case study proposes a museum within the alleyway Farmers Lane, Wellington. This site provides a spatial investigation from darkness up to the light while further thematically creating constraints to extend the outcome of the design. The museum therefore creates a vertical gallery that spatially explores themes from artists Ralph Hotere, Bill Culbert and Colin McCahon, three distinct New Zealand artists who symbolically employ black to convey a national identity. The design is therefore divided into three datums, each representing a distinct characteristic of the thematic understanding of black within New Zealand as identified by each of the three artists. Overall this research suggests the architectural experience of a discrete collection of acclaimed national artists working within a common national theme can be exhibited so that there is no longer the need for an anonymous, context free white walled approach within museum design. Instead the architectural experience has the opportunity to become one of the exhibitions of black’s symbolic national identity.</p>

An identity as Pākehā

2018 ◽  
Vol 14 (1) ◽  
pp. 73-80 ◽  
Author(s):  
Huhana Forsyth
Keyword(s):  
National Identity ◽  
New Zealand ◽  
Cultural Identity ◽  
Sense Of Belonging ◽  
Cultural Context ◽  
Identity Transformation ◽  
Definition Of

In recent decades, along with an increasing recognition of the unique place of Te iwi Māori in New Zealand society has come a search for a sense of belonging as a European New Zealander. This has opened the discourse for re-examination of the term Pākehā, and what that means in relation to Māori and to a national identity. The findings of several recent studies indicate that in the current socio-cultural context what it means to claim an identity as Pākehā is being redefined by individuals who engage extensively with Te Ao Māori. Based on the results of a study carried out by the author in 2013, this article examines the theoretical underpinnings of cultural identity transformation in relation to the experiences of individuals who have engaged extensively with Te Ao Māori, and discusses the implications of their definition of what it means to be Pākehā.

Conclusion

2018 ◽  
Author(s):  
Alistair Fox
Keyword(s):  
National Identity ◽  
New Zealand ◽  
Identity Formation ◽  
Essential Role ◽  
Coming Of Age ◽  
Financial Returns ◽  
Self Recognition ◽  
International Audience ◽  
National Identity Formation

The conclusion reaffirms the essential role played by cinema generally, and the coming-of-age genre in particular, in the process of national identity formation, because of its effectiveness in facilitating self-recognition and self-experience through a process of triangulation made possible, for the most part, by a dialogue with some of the nation’s most iconic works of literature. This section concludes by point out the danger posed, however, by an observable trend toward generic standardization in New Zealand films motivated by a desire to appeal to an international audience out of consideration for the financial returns expected by funding bodies under current regimes.

Macedonia Faculties’ Students - “Chrisi Avgi” (Right Party) Followers’ Critique on the Greek Educational Policy

2014 ◽  
Vol 2013 (1) ◽  
pp. 3-14 ◽  
Author(s):  
Kalerante Evagelia
Keyword(s):  
National Identity ◽  
Cultural Identity ◽  
Educational Policy ◽  
Educational System ◽  
Political Party ◽  
Moral Values ◽  
Political Issues ◽  
The Past ◽  
Research Findings ◽  
History Books

AbstractThe present paper is involved with the Pedagogical faculties’ students’ critique on the current educational system as it has been altered after 1981. The research was carried out utilizing both quantitative and qualitative tools. Students-voters participated in the interviews whereas active voters were difficult to be located to meet the research requirements. The dynamics of the specific political party is based on a popular profile in terms of standpoints related to economic, social and political issues. The research findings depict the students’ strong wish for a change of the curricula and a turn towards History and Religion as well as an elevation of the Greek historic events, as the History books that have been written and taught at schools over the past years contributed to the downgrading of the Greek national and cultural identity. There is also a students’ strong belief that globalization and the immigrants’ presence in Greece have functioned in a negative way against the Greek ideal. Therefore, an overall change of the educational content could open the path towards the reconstruction of the moral values and the Greek national identity.

Nation Branding:

MedienJournal ◽  
2017 ◽  
Vol 37 (3) ◽  
pp. 7
Author(s):  
Gisela K. Cánepa
Keyword(s):  
Economic Growth ◽  
National Identity ◽  
Cultural Identity ◽  
Social Contract ◽  
The State ◽  
Nation Branding ◽  
Great Opportunity ◽  
National Community ◽  
Neoliberal Governmentality ◽  
Entrepreneurial Spirit

Nation branding plays a central role within neoliberal governmentality, operating as a technology of power in the configuration of emerging cultural and political formations such as national identity, citizenship and the state. The discussion of the advertising spot Perú, Nebraska  released as part of the Nation Branding campaign Marca Perú  in May of 2011, constitutes a great opportunity to: (i) argue about the way in which audiovisual advertisement products, designed as performative devises, operate as technologies of power; and (ii) problematize the terms in which it founds a new social contract for the Peruvian multicultural national community. This analysis will allow me to approach neoliberalism as a cultural regime in order to discuss the ideological nature of the uncontested celebratory discourse that has emerged in Perú and which explains the economic growth of the last decades as the outcome of a national entrepreneurial spirit that would be distinctive of Peruvian cultural identity.

Ivan Cankar’s National Narrative and Its Role in the Formation of the Slovenian Cultural Identity

2018 ◽  
Vol 13 (3-4) ◽  
pp. 108-117
Author(s):  
Anna G. Bodrova
Keyword(s):  
National Identity ◽  
Cultural Identity ◽  
Symbolic Order ◽  
National Narrative ◽  
Cultural Space ◽  
Slavoj Zizek ◽  
Slavoj Žižek ◽  
The Subject

Ivan Cankar (1876–1918), who occupies an honorable place in the Slovenian cultural canon, once changed the course of development of Slovenian literature and influenced the formation of national identity. The national narrative of Cankar was based on contradictions: living far from his people, he sometimes glorified them and sometimes attacked them with heavy criticism; he correlated his homeland with his mother, the mother though being dead. Cankar’s concentration on the subject of mother and homeland is interpreted here in the framework of psychoanalysis. Following Slavoj Žižek, the author develops the idea that it was the mother who became the Symbolic Order representative or Super-Ego for the writer. The concept of “Cankar’s mother”, which became a symbol of self-sacrifice and at the same time repressiveness in the Slovenian cultural space, is considered.

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.

Multicultural and Transnational Novels

2018 ◽  
Author(s):  
James Meffan
Keyword(s):  
National Identity ◽  
New Zealand ◽  
The Other ◽  
Colonial History ◽  
History Of ◽  
Return Home ◽  
Access Rights ◽  
The One

This chapter discusses the history of multicultural and transnational novels in New Zealand. A novel set in New Zealand will have to deal with questions about cultural access rights on the one hand and cultural coverage on the other. The term ‘transnational novel’ gains its relevance from questions about cultural and national identity, questions that have particularly exercised nations formed from colonial history. The chapter considers novels that demonstrate and respond to perceived deficiencies in wider discourses of cultural and national identity by way of comparison between New Zealand and somewhere else. These include Amelia Batistich's Another Mountain, Another Song (1981), Albert Wendt's Sons for the Return Home (1973) and Black Rainbow (1992), James McNeish's Penelope's Island (1990), Stephanie Johnson's The Heart's Wild Surf (2003), and Lloyd Jones's Mister Pip (2006).

scholarly journals Britishness and otherness: Representing and constructing identity in BBC’s Land Girls

2019 ◽  
Vol 14 (1) ◽  
pp. 90-105
Author(s):  
Bonnie White
Keyword(s):  
National Identity ◽  
21St Century ◽  
Second World War ◽  
Cultural Institutions ◽  
World War ◽  
Second World

This article situates Land Girls (BBC, 2009–2011) in dialogue with the Second World War and its legacy. Although the series ostensibly deals with the experience of British Land Girls during the war in a melodramatic way, Land Girls is best understood as an anxious commentary on the place of Britain and its cultural institutions following the war. The series uses national, racial and economic others in order to de-romanticise notions of a collective national identity, while simultaneously using those others to help articulate an idealised sense of Britishness for a 21st-century audience.

Sign in / Sign up

Export Citation Format

Share Document