LINK 2022 Conference Proceedings最新文献

{"title":"Article Design and diaspora, voices from the Global South","authors":"Mariana Salgado","doi":"10.24135/link2022.v3i1.187","DOIUrl":"https://doi.org/10.24135/link2022.v3i1.187","url":null,"abstract":"This presentation will reflect on the practice of doing and managing a podcast on social design for 4 years. Diseño y diáspora, the podcast, is the most listened-to podcast in Spanish-speaking countries and maps current and emergent topics in the social design field. Most of the interviewees are Spanish and Portuguese speakers living in their own countries or in the diaspora. Though, lately, the podcast presents a once-a-month interview in English. Including designers living in the diaspora is key, as this podcast is done from Finland. Going deep into the archives of this podcast is a way to understand what is going on in social design and invite to the discussion to others, interested in sustainable design, design with a gender perspective, design in cooperatives, NGOs, and the public sector, design with Afroamerican and indigenous communities, decolonizing design practices, and design for public policies. As new design practices emerge and consolidate, giving voices to the doers is a way to legitimise the practice and clarify expectations and promises. In this presentation the book: Design and Territories was presented through answering two key questions: How do these interviews provide an idea of what is going on in design now in the Global South? How to design the documentation of emergent design practices without borders and in a multi linguistic way? The interviews of this podcast are at the moment the largest oral archive of design stories in Spanish. There is a community of design practitioners that recognise themselves as followers of the podcast and find themselves part of a larger web of social designers. However, there is no research on the content and how it represents what is going on in design from the Global South. In addition, little effort has been done into documenting and archiving social design when it is not produced as part of an academic project. There are no large collectives or foundations working in this documentation and when they exist they are based in one country and try to document the design from this country. This practice goes against international and regional collaboration. This presentation shows the need for international archive practices that are multilingual in their conception and allow communities of designers and design researchers to find each other and collaborate.","PeriodicalId":286130,"journal":{"name":"LINK 2022 Conference Proceedings","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128797944","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Reo Rua (Two Voices): a cross-cultural Māori-non-Māori creative collaboration","authors":"Marcos Mortensen Steagall","doi":"10.24135/link2022.v3i1.184","DOIUrl":"https://doi.org/10.24135/link2022.v3i1.184","url":null,"abstract":"In the last decades, there has been an emergence of an academic discourse called Indigenous knowledge internationally, creating a myriad of possibilities for research led by creative practice. In Aotearoa, New Zealand, Māori creative practice has enriched and shifted the conceptual boundaries around how research is conducted in the Western academy because they provide access to other ways of knowing and alternative approaches to leading and presenting knowledge. The contributions of Māori researchers to the Design field are evidenced through research projects that navigate across philosophical, inter-generational, geographical and community boundaries. Their creative practices are used to map the historical trajectories of their whakapapa and the stories of survival in the modern world. They overturn research norms and frame knowledge to express the values of Tikanga and Matauranga Maori. Despite the exponential growth in the global interest in Indigenous knowledge, there is still little literature about creative collaborations between Māori–non-Māori practitioners. These collaborative research approaches require the observation of Māori principles for a respectful process which upholds the mana (status, dignity) of participants and the research. This presentation focuses on four collaborative partnerships between Māori–non-Māori practitioners that challenge conceptions of ethnicity and reflect the complexity of a global multi-ethnic society. The first project is: The Māui Narratives: From Bowdlerisation, Dislocation and Infantilisation to Veracity, Relevance and Connection, from the Tuhoe film director Dr Robert Pouwhare. In this PhD project, I established a collaboration to photograph Dr Pouwhare’s homeland in Te Urewera, one of the most exclusive and historical places in Aotearoa. The second project is: Applying a kaupapa Māori paradigm to researching takatāpui identities, a practice-led PhD research developed by Maori artist and performer Tangaroa Paora. In this creative partnership, I create photographic portraits of the participants, reflecting on how to respond to the project’s research question: How might an artistic reconsideration of gender role differentiation shape new forms of Māori performative expression. The third project is: KO WAI AU? Who am I?, a practice-led PhD project that asks how a Māori documentary maker from this iwi (tribe) might reach into the grief and injustice of a tragic historical event in culturally sensitive ways to tell the story of generational impact from Toiroa Williams. In this creative partnership, I worked with photography to record fragments of the colonial accounts of the 1866 execution of Toiroa’s ancestor Mokomoko. The fourth project is: Urupā Tautaiao (natural burials): Revitalising ancient customs and practices for the modern world by Professor Hinematau McNeil, Marsden-funded research. The project conceives a pragmatic opportunity for Māori to re-evaluate, reconnect, and adapt ancient customs and p","PeriodicalId":286130,"journal":{"name":"LINK 2022 Conference Proceedings","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128264537","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Talking with Two Hearts: Navigating Indigenous Narratives as Research","authors":"Welby Ings","doi":"10.24135/link2022.v3i1.177","DOIUrl":"https://doi.org/10.24135/link2022.v3i1.177","url":null,"abstract":"Floyd Rudman (2003) notes that by enlarge, contemporary theory posits biculturalism as a positive and adaptive phenomenon. However, as early as 1936, commentators like Redfield et al. proposed that “psychic conflict” can result from attempts to reconcile different social paradigms inside bicultural adaptation (p. 152). Child (1943/1970) also argued that biculturalism cannot resolve cultural frustrations and accordingly, they can be more distressing than a commitment to one culture or the other. The tensions these early theorists noted I found significant when writing and directing my recent feature film PUNCH (Ings, 2022). When creating this work I drew on both my Māori and Pākehā (European) ancestry, and my experience as a gay man who was raised in a heteronormative world. In creating the film’s characters I navigated tensions, working within and between cultural spaces as I wove experience into a fictional examination of what it is to be an outsider in a world that you call home. In this pursuit, I often found myself transgressing borders in my effort to give voice to an in-betweenness that was impure and at times disruptive. While being appreciative of cultural values and practices, I sought ways of expressing identities that are liminal. However, in designing the in-between, like many bicultural creatives I faced accusations of diminished purity. Significantly, I found myself encountering a form of cultural monitoring and pressure to reshape what I knew to be embodied truth because it failed to sit comfortably with the presuppositions of culturally anxious funding bodies, producers and distributors. Their opinions as to what authentically characterised cultural spaces (to which they did not belong), proved challenging. This was because ultimately I knew that audiences for the film would contain people from the in-between, from the liminal, the underrepresented and the marginalised … who would be seeking an expression of lived experiences that rarely appear in cinema. Using scenes from the film PUNCH, this presentation unpacks ways in which cultural networking, verification and responsibility were navigated to reinforce an attitudinal position of ‘positive cultural dissonance’ (Faumuina, 2015). By adopting this stance, I no longer saw biculturality as a diminishment or watering down of integrity, instead it was appreciated as a space of fertile tension and creative synergy. Using positive cultural dissonance as my turangawaewae (place to stand), I negotiated a research project that pursued the resilient beauty of in-betweenness in a story of bicultural, gender non-binary, small town conflict and resolution.","PeriodicalId":286130,"journal":{"name":"LINK 2022 Conference Proceedings","volume":"82 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121183609","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Weaving decolonising metaphors: Backstrap loom as design research methodology","authors":"Diana Albarrán González","doi":"10.24135/link2022.v3i1.186","DOIUrl":"https://doi.org/10.24135/link2022.v3i1.186","url":null,"abstract":"Decolonising approaches have challenged conventional Western research creating spaces for Indigenous, culturally-appropriate, and context-based research alternatives. Decolonising design movements have also challenged dominant Anglo-Eurocentric approaches giving visibility to other ways of thinking and doing design(s). Indigenous peoples have considered metaphors as important sense-making tools for knowledge transmission and research across different communities. In these contexts, Indigenous craft-design-arts have been used as metaphorical research methodologies and are valuable sources of knowledge generation, bringing concepts from the unseen to the physical realm manifested through our hands and bodies. In particular, Indigenous women have used the embodied practices of weaving and textile making as research methodology metaphors connecting the mind, body, heart and spirit. Situated in the highlands of Chiapas, this research proposes backstrap loom weaving as a decolonial design research methodology aligned with ancestral knowledge from Mesoamerica. For Mayan Tsotsil and Tseltal peoples, jolobil or backstrap loom weaving is a biocultural knowledge linked to the weaver’s well-being as part of a community and is a medium to reconnect with Indigenous ancestry and heritage. Resisting colonisation, this living textile knowledge and practice involve collective memory, adapting and evolving through changes in time. Mayan textiles reflect culture, identity and worldview captured in the intricate patterns, colours, symbols, and techniques. Jolobil as a novel methodological proposal, interweaves decolonial theory, visual-digital-sensorial ethnography, co-design, textiles as resistance, Mayan cosmovision and collective well-being. Nevertheless, it requires the integration of onto-epistemologies from Abya Yala as fundamental approaches like sentipensar and corazonar. Jolobil embodies the interweaving of ancestral knowledge with creative practice where the symbolism of the components is combined with new research interpretations. In this sense, the threads of the warp (urdimbre) representing patrones sentipensantes findings are woven with the weft (trama) as the embodied reflexivity of sentipensar-corazonando. As the weaver supports the loom around her waist, the cyclical back and forth motion of weaving jolobil functions as analysis and creative exploration through sentirpensar and corazonar creating advanced reflexive textile narratives. The interweaving of embodied metaphors and textiles with sentipensar, corazonar, mind, body, heart and spirit, contribute to the creation of decolonising alternatives to design research towards pluriversality, aligned with ways of being and doing research as Mesoamerican and Indigenous women.","PeriodicalId":286130,"journal":{"name":"LINK 2022 Conference Proceedings","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115667589","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Unprecedented Times: Māori Experiences and Responses to Global Pandemics","authors":"Nicholas Jones","doi":"10.24135/link2022.v3i1.183","DOIUrl":"https://doi.org/10.24135/link2022.v3i1.183","url":null,"abstract":"The onset of COVID-19 in 2020 saw media, politicians, and government organisations quick to comment that these are “unprecedented times.” However, in Aotearoa/New Zealand, the 1918 influenza (mate rewharewha urutā) pandemic, and sporadic outbreaks of tuberculosis (mate kohi), and HIV/AIDS (mate ārai kore), have presented challenges similar to COVID-19 today. Focusing mainly, but not limited to, the 1918 influenza pandemic and the many tuberculosis outbreaks that plagued Aotearoa, this paper will contextualise the Māori experience and explore the challenges, prejudices, and assaults on Māori customs in times of pandemic. This paper focuses on Governmental responses to COVID-19 in regard to tangihanga (funeral rites) and hongi (pressing of noses), and shows in times of pandemic, a pattern exists where these cultural practices come under attack. The significance of these practices must be understood by health officials in the full context in order to assist the government in creating new health policies. Incorporating the contemporary voices of kaumātua (Māori elders) interviewed during the COVID-19 outbreak, I will examine the significance of Māori cultural practices in Māori society and highlight challenges that kaumātua endured during the COVID-19 lockdown. Far from being “unprecedented times,” this study will show many of the same challenges Māori faced in past pandemics have resurfaced again in the time of COVID-19. Kaumātua hold a collective memory of pandemics and other crises. During the height of COVID-19 restrictions, some Māori elders have reflected that these restrictions were nothing new to them. Rather, disease and disease mitigation measures have been incorporated as part of their intergenerational collective memory corpus. With COVID-19’s arrival on Aotearoa’s shores, Māori leaders, kaumātua, and communities galvanized to protect their communities, instigating community roadblocks, delivering food packages, and adapting tikanga (protocols and customs). Māori communities drew upon the past experiences of their tīpuna (ancestors) of disease, passed down as taonga tuku iho (treasures handed down from the ancestors), to inform their responses to COVID-19. Drawing upon kaumātua kōrero (analysis), this paper highlights the role of intergenerational collective memory of past pandemics in informing Māori communities’ tikanga based responses to COVID-19. In doing so, this paper draws particular focus to the continual importance of the concept of tapu (sacred, prohibited, restricted) and its role in mitigating disease and maintaining hygiene during customary community gatherings and rituals, and at home.","PeriodicalId":286130,"journal":{"name":"LINK 2022 Conference Proceedings","volume":"116 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124606337","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Dessobons: when design is the other (of many others)","authors":"Alfredo Gutierrez Borrero","doi":"10.24135/link2022.v3i1.190","DOIUrl":"https://doi.org/10.24135/link2022.v3i1.190","url":null,"abstract":"\"This lecture discusses the need to break the ontological, cosmological, etymological and epistemological(in fact all kinds of “-logical”) gravitational field of design as a modern and totalizing way of converting (and incidentally, devouring) into adjectives, from the same word, all the creative practices of materiality of all human groups (indigenous design, pluriversal design, decolonial design, autonomous design, etc.). The reason behind this position is that within the languages of many of these polycardinal (coming from all directions, better than non-westerners) human groups, the words \"\"design\"\", \"\"project\"\" and \"\"practice\"\" do not summon anything. Dessobons are presented, as an intra-academic generalization to respectfully call the whole of the untranslatable and impluralizable “practices” that in diverse human groups fulfill a function like the one that design has within the thought and action of the western tradition from which it was born. This is set up to stop seeing such \"\"practices\"\" as \"\"others\"\" of design (not \"\"other designs\"\", and not even \"\"designs-other\"\") and start seeing design as the other of such practices. Design as the other of many other forms of otherness. The path of the Dessobons represents an escape, a flight from the design in 3 directions, first the south as the set of oblivions, rejections, contempts, and inclusions-dissolutions, from visions that locate north and west above and leave for the south and the east a secondary condition. In the plural, thought as \"\"souths\"\", drifts to the south of the idea of design are undertaken, from various authors and wisdoms who find in the souths ways to account for links with otherness that do not respond to the ordering modes of the dominant culture that, indeed, turns out to be the only one. The second direction of flight is that of the other, the questioning of the monologic that underlies all monoculture, this describes the trajectory of overcoming the propensity to cover otherness with external signification regimes. The idea of the toxicity of the design (design toxicity) and the toxicity of the data (datatoxicity) are introduced here, to deal with the uncritical automatism of the repetition of forms of generalization that does not attend to the specificity or the particularities of territories, places, and communities. The last direction of flight is that of other names: what during my doctoral work I called design by other names, but which in the end turn out to be names for \"\"practices\"\" similar to and at the same time different from design, which could be equated with it without be (therefore, equialtervalents of design), practices with other names for which design is the other. The idea of designorance (everything that design ignores) is introduced here to approach, in a problem of organization of knowledge, forms of creation irreducible to those metrics with which academic knowledge, always inclined to impose its terms of comparison, projects itself onto what of","PeriodicalId":286130,"journal":{"name":"LINK 2022 Conference Proceedings","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128717779","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"KO WAI AU? Who am I?","authors":"Toiroa Williams","doi":"10.24135/link2022.v3i1.180","DOIUrl":"https://doi.org/10.24135/link2022.v3i1.180","url":null,"abstract":"This presentation accounts a journey of the researcher’s practice-led doctoral project, Tangohia mai te taura: Take This Rope. The study involves researching, directing and producing a documentary about historical grievances to exhume stories from a Māori filmmaker’s community that call into question colonial accounts of the 1866 execution of their ancestor Mokomoko, and the preceding murder of the Reverend Carl Sylvius Völkner in 1885. As a consequence of an accusation of murder, Mokomoko was arrested for the crime, imprisoned and hanged, all the while protesting his innocence. In retribution, our people had their coveted lands confiscated by the government, and they became the pariahs of multiple historical accounts. The practice-led thesis study asks how a Māori documentary maker from this iwi (tribe) might reach into the grief and injustice of such an event in culturally sensitive ways to tell the story of generational impact. Accordingly, the documentary Ko Wai Au, seeks to communicate an individual’s reconnection to, and understanding of, accumulated knowledge and experience, much of which is stored inside an indigenous, dispossessed whānau (family), whose whakapapa (genealogy) is interwoven with historical events and their implications. As a member of a generation that has been incrementally removed from history and embodied pain of my whanau, through the study I come seeking my past in an effort to understand and contribute something useful that supports my people’s aspirations and agency in attaining value, healing, and historical redress. This presentation advances a distinctive embodied methodological approach based on whenua (land) and whanau (family). In this approach, the researcher employs karakia (traditional incantations), walking the land, thinking, listening to waiata (traditional songs) and aratika (feeling a ‘right’ way). My position is one of humility and co-creation. I am aware that the rōpū kaihanga kiriata (film crew) with whom I work will be called into the trusting heart of my whānau and we must remain attentive to Māori protocols and sensitivities. Given the responsibility of working inside a Kaupapa Māori research paradigm, methodology and methods are shaped by kawa and tikanga (customary values and protocols). Here one moves beyond remote analysis and researches sensitively ‘with’ and ‘within’, a community, knowing that te ao Māori (the Māori world) is at the core of how one will discover, record, and create.","PeriodicalId":286130,"journal":{"name":"LINK 2022 Conference Proceedings","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125642956","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"LINK 2022 4th Conference in Creative Practice, Research and Global South","authors":"Marcos Mortensen Steagall, Sérgio Nesteriuk Gallo","doi":"10.24135/link2022.v3i1.191","DOIUrl":"https://doi.org/10.24135/link2022.v3i1.191","url":null,"abstract":"It is increasingly overwhelming that our societies are living in disintegrating environments and need for more sustainable design approaches and wiser ways of living and being. Anthropogenic design impact in corporate spheres is causing socio-ecological destruction that threatens the underpinnings of civilisation and bio-diverse nature. Hence, economies and life worlds are facing the limitations of narratives of progress and creeds of growth with their designs and actions that are inapposite to the flourishing of life on our planet. In this context that the LINK Conference has emerged. LINK is a research group created from reflections we always had about our actions as educators, researchers, and practitioners in the field of Art and Design. Over the last few years, we have noticed that such concerns have remained while they have multiplied, diversified, and become more complex. The more we dialogued with people worldwide, especially from the so-called “Global South”, the more we realised that these same issues were also dear to our colleagues, albeit with their colours and contours. The intensification of globalisation and commodities fostered by markets and technology has led today’s critical theorists to advocate for new kinds of engagement between Art, Design and the world. Not coincidentally, the last decades saw significant contributions to Art and Design Research in the Global South and Indigenous contexts, where inquiry is situated within an intelligent and intelligible world of natural systems, replete with relational patterns for being in the world. Indigenising methodologies centre the production of knowledge around Art and Design processes and pieces of epistemologies derived from Indigenous Cultures. The relationships between researchers, practitioners and practice are being challenged and redefined, empowering Indigenous peoples to collect, analyse, interpret, and control research data instead of simply participating in projects as subjects. These shifting orientations and approaches respond for the decolonisation of research in higher education institutions and research methodologies employed by academics. Art and Design can help to transform obsolete social and economic practices into novel forms of life or living a meaningful life, thus replacing anthropo-centric Design for more pluriversal and transformational approaches beyond apocalyptical visions and dystopia. LINK Conference focuses on ways of knowing that inform research and methods involving Art and Design Research in the Global South and Indigenous contexts . LINK 2022 will challenge emerging themes, new epistemologies, and the multiple relationships between theory and practice (if such a distinction can be made). This recipe has consolidated as a sort of amalgam of LINK Conference. In its 4th edition, LINK 2022 celebrates the relationship between practice-led Art and Design research, Global South and Indigenous world views, fostering cognitive shifts to address twenty-fi","PeriodicalId":286130,"journal":{"name":"LINK 2022 Conference Proceedings","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126773145","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Māui Narratives: from bowdlerisation, dislocation and infantilisation to veracity, relevance and connection","authors":"Robert Pouwhare","doi":"10.24135/link2022.v3i1.182","DOIUrl":"https://doi.org/10.24135/link2022.v3i1.182","url":null,"abstract":"In Aotearoa New Zealand, as a consequence of colonisation, generations of Māori have been alienated from both their language and culture. This project harnessed an artistic re-consideration of pūrākau (traditional stories) such that previously fractured or erased stories relating to Māui-tikitiki-a-Taranga were orchestrated into a coherent narrative network. Storytelling is not the same as reading a story aloud or reciting a piece from memory. It also differs from performed drama, although it shares certain characteristics with all of these art forms. As a storyteller I look into the eyes of the audience and we both construct a virtual world. Together the listener and the teller compose the tale. The storyteller uses voice, pause and gesture; a listener, from the first moment, absorbs, reacts and co-creates. For each, the pūrākau is unique. Its story images differ. The experience can be profound, exercising thinking and emotional transformation. In the design of 14 episodes of the Māui narrative, connections were made between imagery, sound and the resonance of traditional, oral storytelling. The resulting Māui pūrākau, functions not only to revive the beauty of te reo Māori, but also to resurface traditional values that lie embedded within these ancient stories. The presentation contributes to knowledge through three distinct points. First, it supports language revitilisation by employing ancient words, phrases and karakia that are heard. Thus, we encounter language expressed not in its neutral written form, but in relation to tone, pause, rhythm, pronunciation and context. Second, it connects the Māui narratives into a cohesive whole. In doing this it also uses whakapapa to make connections and to provide meaning and chronology both within and between the episodes. Third, it elevates the pūrākau beyond the level of simple children’s stories. The inclusion of karakia reinforces that these incantations are in fact sacred texts. Rich in ancient language they give us glimspes into ancient epistemologies. Appreciating this elevated state, we can understand how these pūrākau dealt with complex human and societal issues including abortion, rape, incest, murder, love, challenging traditional hierarchies, the power of women, and the sacredness of knowledge and ritual. Finally, the presentation considers both in theory and practice, the process of intergenerational bowdlerisation.","PeriodicalId":286130,"journal":{"name":"LINK 2022 Conference Proceedings","volume":"76 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132970110","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Urupā Tautaiao: Revitalising ancient customs and practices for the modern world","authors":"H. McNeill","doi":"10.24135/link2022.v3i1.178","DOIUrl":"https://doi.org/10.24135/link2022.v3i1.178","url":null,"abstract":"This urupā tautaiao (natural burials) research is a Marsden funded project with a decolonising agenda. It presents a pragmatic opportunity for Māori to re-evaluate, reconnect, and adapt ancient customs and practices for the modern world. The design practice output focus is the restoration of existing graves located in the urupā (burial ground) of the Ngāti Moko, a hapū (subtribe) of the Tapuika tribe that occupy ancestral land in central North Island of New Zealand. In preparation for the gravesite development, a series of hui a hapū (tribal meetings) were held to engage and encourage participation in the research. The final design which honours pre-contact customary practices, involved collaboration between the tribe, an ecologist, and a landscape architect. Hui a hapū included workshops exploring ancient burial practices. Although pre-contact Māori interred the dead in a variety of environmentally sustainable ways, funerary practices have dramatically shifted due to colonisation. Consequently, Māori have adopted environmentally damaging European practices that includes chemical embalming, concrete gravestones, and water and soil pollution. Mindful of tribal diversity, post-colonial tangihanga (customary Māori funerals) incorporate distinctively Māori and European, customary beliefs and practices. Fortuitously, they have also retained the essence of tūturu (authentic) Māori traditions that reinforce tribal identity and social cohesion. Tūturu traditions are incorporated into the design of the gravesite. Surrounded by conventional gravestones, and using only natural materials, the gravesite aspires to capture the beauty of nature embellished with distinctively Māori cultural motifs. Low maintenance native plants are intersected with four pou (traditional carvings)that carry pūrākau (Māori sacred narratives) of life and death. This dialectical concept is accentuated in the pou depicting Papatūānuku (Earth Mother). Etched into her womb is a coiled umbilical cord referencing life. Reminding us that, although in death we return to her womb, it is also a place that nurtures life. Hoki koe ki a Papatūānuku, ki te kōpū o te whenua (return to the womb of Papatūānuku) is often heard during ritual speeches at tangihanga. The pou also commemorates our connection to the gods. According to Māori beliefs, the primeval parents Papatūānuku (Earth) and Ranginui (Sky) genealogically link people and the environment together through whakapapa (kinship). Whakapapa imposes on humankind, kaitiakitanga (guardianship), responsibility for the wellbeing of the natural environment. In death, returning to Papatūānuku in a natural way, gives credence to kaitiakitanga. This presentation focuses on a project that encourages Māori to embrace culturally compatible burials that are affordable, environmentally responsible, and visually aesthetic. It also has the potential to encourage other indigenous communities to explore their own alternative, culturally unique and innovative wa","PeriodicalId":286130,"journal":{"name":"LINK 2022 Conference Proceedings","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133130976","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}