7 results for Creative work, Massey Research Online

  • Tira Taonga

    Puke, KA; Foster, ST

    Creative work
    Massey University

    Tira: n. travelling party, company of travellers, choir, ray, beam (Moorfeild, 2011). A collaboration with Stuart Foster (College of Creative Arts, MU) for the group exhibition reflex, figment as part of the Triggering Memory Symposium for Memory Waka Massey University NZ and Seracuse University USA. September 2015 marks the 31st year since the spectacular dawn opening of ‘Te Maori’ at the Metropolitan Museum of Art in 1984. ‘Te Maori’ presented in New York and three other central American museums, set down a profound legacy and ongoing impacts for all New Zealanders in the international art and heritage arenas. From the Taranaki region, one of the exhibiting taonga was a tauihu; a war canoe prow carved within the Te Huringa 1 stylistic classification period. In 1986 ‘Te Maori’ then returned with the exhibition renamed ‘Te Hokinga Mai’, a ‘home’ tour to four New Zealand centres, that allowed the significance of the event to be reflected upon within a national and iwi context. The taonga were then settled back to their respective resting places, mainly in public museum collections with continued visual commemoration occurring through printed publications. The unique aspect of these exhibitions were the tira or travelling party of elders and younger iwi members who accompanied the exhibition: to keep the taonga ‘warm’ and uphold ‘mana’ of the taonga, their interconnecting people and lands. A contingent of Taranaki elders joined this first exhibition to New York. For Māori taonga remain valued for their intangible, as much, as their tangible, qualities. This significance is expressed through performative incantation that reflects an understanding of an ultimate reality of all things: as energy, with ‘mauri’ manifest in this physical realm: Te ao marama, often through reference to the notions of light waves and frequencies. ‘Tira Taonga’ marks the commencement of the retracing and return visit to New York in 2016, where ‘real-time’ ceremonial vocalisations will illuminate and drive light qualities across surface. Through 3D scanning and visualization processes, light points are captured as pixels and constituted in form as the tauihu. For Reflex, figment a process of consent and ceremonial inclusion has allowed the investigation of 3D imaging techniques and sound carrying light with this taonga, for this first step toward the tauihu visualisation. ‘Tira Taonga’ signifies the beginning of a visual-aural journey; toward rejuvenating the memory of our elders, acknowledging the ongoing life cycle of the taonga, and illuminating the pathway for the tira accompanying this virtual tauihu; our living descendants. He oranga te taonga he oranga te tangata (Te Huirangi Waikerepuru)

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  • Trigger Points (exhibition co-curator)

    Galbraith, HL; Saluti, AJ

    Creative work
    Massey University

    Trigger Points draws together contemporary and historical works from New Zealand, the United States, Australia, Finland and the United Kingdom to explore the potent and slippery nature of memory. It examines the way memories are triggered by sensory stimuli, haptic encounters and visceral prompts, and how episodes, actions or encounters are felt physically and emotionally as well as understood rationally.

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  • Emerald Muriwai - Maori culture and wellbeing

    Muriwai, E

    Creative work
    Massey University

    Emerald Muriwai, Masters student from the New Zealand Attitudes and Values Study talks about her research assessing the buffering or protective function of cultural efficacy for Maori. This research was published in the New Zealand Journal of Psychology.

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  • Undrowned

    Richards, JGR

    Creative work
    Massey University

    Undrowned is a creative response to performing in Sally J Morgan’s In the Hollow of Your Hand as part of Deep Anatomy/Fluid States, 2015.

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  • Diptych South

    Febvre-Richards, ER; Merlino, D

    Creative work
    Massey University

    Diptych South is an audiovisual project that explores the physiological effects of the rhythms of colour and music in relation to memory and place. It questions the nature of our memory and connection to place by playing with repetition and difference. The two video pieces for the work are almost identical and are inspired by Febvre-Richards’ regular ‘journeying’ in the New Zealand forest. The repetition of such journeys – the memories and anticipations, the expectation of familiar sensorial experiences – provides rich inspiration for mark making on paper. There is a potentially static nature to this representation, which may convey a momentary sense of place but cannot capture the experiential journey to and through the forest. This problem is ameliorated by the reworking into video form. It is here that the temporal interplay between past as memory plays with the present as experience and the future as anticipation. However, not every experience is identical. To explore the nature of the difference of these temporal experiences, Merlino has provided two contrasting sound pieces that are not juxtaposed with the video work, but rather attempt to show how the experiential sameness of the video actually inspires difference and uniqueness. It is the sameness of our sense of place that inspires a variety of affective responses, thus dispelling the idea that our experiences, when tinged with memory and anticipation, must always remain the same.

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  • Life Size

    Richards, JGR

    Creative work
    Massey University

    Commissioned piece of creative autobiographical writing produced for the Ardtornish Retreat in partnership with Scottish Book Trust 2014. The text is thematically focused on 'love' and actively searches for the 'magical' within the natural world, using metaphor and imagery from the geographically isolated location. (The Ardtornish Estate on the Morvern Peninsula in the Scottish Highlands.)

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  • Big Nanna's Porridge

    Joseph, DJ

    Creative work
    Massey University

    This poem, edited by Renee, appeared in the 4th Floor Journal of Whitireia Creative writing Programme, 22nd Edition.

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