Final Essay PDF format:

PDF format of Final essay:

Fawcett, B, 16443220, A2_237 131_2017

October 24, 2017 0

Final Essay

Problematic representation of the Maori people and culture are produced by the dominant European culture of Aotearoa causing marginalisation of the Maori. This is obvious through different art and design works. Such as Lester Hall’s ‘Remember Them’ 2013 painting, Elizabeth Mitchel’s ‘Bro Town’ character Pepelo, 2004-2009, and Louis John Steele and Charles F. Goldie’s ‘The Arrival of the Maori’s in New Zealand’ 1898. These Pakeha designs marginalise the Maori through the sexualisation of Maori women, the negative stereotypes of Maori men, and the indifference of the Maori culture. All working together to confirm Pakeha transgressions of problematic representation and marginalisation of the Maori culture.

Maori women are marginalised by Pakeha artists through their problematic representation of them. During colonisation women were considered possessions of their husband’s or father’s in the European culture. While Maori women were more highly respected. Often attaining positions of leadership, or being warriors, Maori women held mana in their whanau. So during the colonisation of Aotearoa, as with many things, the Pakeha held different views on women to the Maori. Because of this difference in cultures Pakeha began to misrepresent the Maori women. In Naomi Simmonds academic writing ‘Mana Wahine: Decolonising Politics’ She agrees with this, stating that “The (mis)appropriation and (mis)representation of Maori knowledges historically and more contemporarily have, however, impacted on Maori women in specific ways.” Simmonds acknowledges the effect that the Pakeha misrepresentation had on Maori women. They were put into a category of ‘home maker’ and ‘man pleaser.’ This marginalisation however, wasn’t just put to rest when woman gained the right to vote in 1893. The sexualisation of women continuing even today. Lester Hall’s 2013 painting ‘Remember Them’ iterates this very statement. Hall attempts to honour those who died in wars through his artistic representation of a Maori women with tattooed texts on her body, drawing on wars New Zealanders have fought and died in. His success however, ends there. He encourages the marginalization of Maori women through his misrepresentation of them. The woman in his painting, is portrayed in a very sexual pose. Her curvy body, with one hand raised above her head, her (very non-Maori) garment sliding down her lower waist, with her second hand slipping inside, is a very sexual composition. Furthermore, her skin colour is more akin to that of Pakeha. While the feathers in her hair originate from the Native American culture rather than the Maori. The flaws continue through the arrows, as Maori are again not known for the use of bows and arrows. The only real references being her moko, pounamu and background patterning. This really shows the corruption that colonization brought to the Maori women, that even today they are so marginalised. Janet L. Fanslow, Elizabeth M. Robinson, Sue Crengle and Lana Perese comment on this when they state: “Maori women more frequently reported experiences of child sexual abuse than women from European and other ethnic groups.” In their ‘Child abuse and Neglect’ book. They point out that Maori women are forced to encounter sexual abuse because of Pakeha’s sexualisation of women, but also perhaps more so than Pakeha women because of their marginalization. Showing just the extent of the effects marginalisation has had on Maori women.

Maori men are marginalised by Pakeha artists through their problematic representation of them. Even today there are strong stereotypes surrounding Maori. They are often considered loud, inappropriate, and even lazy. Because of this others treatment of them is influenced. Instead of being judged by the people they are, there is often this racist stigma surrounding them, going before them and influencing their lives. While there are encouraging improvements in equality there are other aspects that encourage these stereotypes. For example, the TV series ‘Bro Town’ directed by Elizabeth Mitchell has excessive stereotypes throughout the entire series, as a main feature of the show. However, one specific character is shed in a particularly unflattering light; Pepelo. A Maori solo father with two sons, Pepelo is portrayed with no grip on his life. A lazy drunkard, who spends his time in a typical old singlet top and shorts, with a beer bottle and in front of a television. His selfish character embodies all vulgar stereotypes of Maori. Elizabeth Mitchell and the film team put effort into creating these problematic representations of Maori men trying to design a show full of laughs. Amanda Gregory perfectly sums this up when she says “The mass media contribute to and reproduce racism and marginalisation of Maori.” She calls out a key problem, while Bro Town is created for comedy, not offence, it still encourages stereotypes with no thought to the effect it may have on the real world Maori. They fail to consider how the marginalisation of Maori can effect them personally, through the effect this has on them socialy, politicaly, and culturaly. Kelly Holmes, Tamar Murachver and Donn Bayard comment on this in their ‘Accent, appearance, and ethnic stereotypes in New Zealand’ stating “Maori have been viewed as troublemakers, lazy, unintelligent, dirty, aggressive, easy going, and friendly. Whereas Pakeha have been regarded as successful, hardworking, intelligent and self-centred.” There is very clearly a biased here. The Maori are painted in a completely different light to the Pakeha, while they recognize contrasting stereotypes such as ‘easy going, and friendly’ it does not justify having stereotypes and marginalising another culture as the Pakeha have done. Even the admittance to Pakeha being ‘self-centered’ does not allow for any justification to any kind of stereotype. Maori lives can be effected by these stereotypes; pre-formed ideas of people are very dangerous to personal lives. All this made me reflect on my own interaction with the media, while I do not consider myself racist, do I ever unintentionally encourage these stereotypes? Simply watching the portrayal of stereotypes is an acceptance and agreement to marginalisation of Maori. This made me realise I need to consider more carefully how I interact with the media and especially it’s representation of other cultures.

The Maori culture is marginalised by the Pakeha artist’s problematic representations. From the beginning of colonisation in Aotearoa the Maori culture has been marginalised by the Pakeha culture. Whether by naivety, superior mindsets, or mixes of both, Pakeha artists are often found to misrepresent the Maori culture. For example, this is evident in Louis John Steele and Charles F. Goldie’s 1898 painting ‘The Arrival of the Maoris in New Zealand.’ Although it is an incredible painting through it’s detail, brush marks, and composition, it is also culturally offensive through it’s extreme misrepresentation. Goldie and Steele depict the arrival of the Maori to Aotearoa as an overly full, breaking canoe. They show the woven sails to be tearing and falling apart along with the canoes imperfect condition. While the Maori themselves look to be starving. Thus marginalising the Maori as they are known for their skills in navigation as the Pacifica people traveled great lengths of the ocean exploring it. Furthermore, the Maori are shown pointing, as they spot the land of Aotearoa. However, this also is culturally insensitive to the Maori. Goldie and Steele do not put their attention and focus into capturing the reality of the discovery of Aotearoa, instead they are focusing on what will sell their painting. They are investing into the Pakeha market, how it will be viewed and received in Europe. Not how it will marginalise the Maori culture. Leonard Bell talks about this in his ‘The Representation of the Maori by European Artists in New Zealand’. When he says: “Johannes Andersen classified Maori myth and legend as a ‘mine of wealth,’ the ‘quarrying’ of which, besides supply- ing ‘the artists of New Zealand with ample rough material,’ would ‘enrich … the world’s art.” This pointing out the enticement that the Maori culture held to the Pakeha. It wasn’t about showing the Maori culture or the beginning of Aotearoa. Rather about the new exotic content they found in the Maori culture and how they could exploit this to their own advantage and create a masterpiece painting. The Maori culture has been marginalised for decades through art, as Pakeha continue to misrepresent Maori culture and use it to their advantage, very few give profits to the Maori community or even acknowledge their involvement. Rangihiroa Panoho states in his ‘Maori: At The Center, At The Margins.’ That: “With so much having been taken and so little returned, there is now a need to reassess the Maori role in a partnership that has increasingly marginalised us. In the cultureal sphere – the arts – it is now essential for Maori to resume control, re-establish boundaries for appropriation and move taha Maori (things Maori) back to the centre.” He points how this marginalisation of Maori culture needs to stop. This misrepresentation cannot continue, Maori need to have the final say on art from their culture in order to prevent any further misrepresentation and marginalisation of the Maori culture. This is something we all need to consider in our own art and design, if it includes aspect of the Maori culture, we need to be careful how we represent this and get Maori opinions to ensure there is no problematic representation and marginalisation of the Maori culture.

In conclusion it is evident through the problematic representation of Maori culture that the Pakeha culture marginalises the Maori culture. Through different artistic examples Maori have been marginalised for decades by naïve and ultra proud Pakeha. The Pakeha culture considers it’s own to be superior to minor and marginalised cultures of Aotearoa. Producing a negative effect on the Maori people, effecting their job opportunities from racist employers who buy into stereotypes, it effects them socially as new ‘friends’ may pre-judge them from encountered portrayals or in the community for other members of the public to feel unnecessarily and offensively afraid. Or in other cases in the community when Pakeha consider this marginalisation and take advantage of Maori women. All throughout Aotearoa, Pakeha subconsciously effect Maori through this marginalisation. As set as this is in Aotearoa society and mindsets it needs to change. This can only happen through singular reflection on our own interaction with Maori. Through personal consideration of one’s own design, the interaction with Maori on our own designs, and the refusal to support current marginalising arts and designs. Marginalisation of the Maori culture is not acceptable.

REFERENCES:

Fanslow, Janet. M. Robinson, Elizabeth. Crengle, Sue. Perese, Lana. ‘Child Abuse and Neglect’ sept 2007. Prevalence of child sexual abuse reported by a cross sectional sample of New Zealand women.

Simmonds, Naomi. Mana Wahine: Decolonising politics. Womens studies journal. December2011. file:///Users/Bonnie/Downloads/Simmonds,%20N.%20(2011).%20Mana%20wahine-%20decolonising%20politics.%20Womens%20Studies%20Journal,%2025(2),%2011-25..pdf

Holmes, Kelly; Murachver, Tamar; Bayard, Donn. Accent, appearance, and ethnic stereotypes in New Zealand. New Zealand Journal of Psychology; Christchurch. Dec 2001. https://search.proquest.com/openview/cae8cbe2083a7188d60768f80da54ffe/1?pq-origsite=gscholar&cbl=32948

Gregory, Amanda. Responses from non-Maori media audiences. Reading News About Maori. 2011. https://trc.org.nz/sites/trc.org.nz/files/2011GregoryReadingNewsAboutMaori.pdf

Panoho, Rangihiroa. “Maori: At The Center, At The Margins”. Headlands: Thinking through New Zealand art, 123-134. 1992. file:///Users/Bonnie/Downloads/Panoho,%20R.%20(1992).%20Maori%20-%20At%20The%20Center,%20At%20The%20Margins.pdf

Bell, Leonard. “The Representation of the Maori by European Artists in New Zealand, ca. 1890-1914”. Art Journal, Vol. 49, No. 2, Depictions of the Dispossessed (Summer, 1990), pp.142-149. file:///Users/Bonnie/Downloads/Bell,%20Leonard.%20The%20Representation%20of%20the%20Maori%20by%20European%20Artists%20in%20New%20Zealand,%20ca.%201890-1914.%20Art%20Journal,%20Vol.%2049,%20No.%202,%20Depictions%20of%20the%20Dispossessed%20(Summer,%201990),%20pp.%20142-149.pdf

October 24, 2017 0

Differences between Maori and Western approach to gender

There are several underlying differences between the Maori and Western approach to gender. Ani Mikaere and Naomi Simmonds eloquently lay these factors out in their academic writings. Maori women had more freedom, more respect and more options than the European women. Mikaere states that: “Maori women were not regarded as chattels or possessions.” While European women were exactly that. The Maori’s higher respect for their women is also shown through their marriage, community positions, leadership and the Maori language. Simmond’s explains this saying: “This is evidenced by the lack of gendered pronouns in the Maori language ‘ai’ meaning both she or he.” Maori women had no shame in leaving an abusive marriage, they were frequently in leadership roles, and they had high mana throughout their whanau. Contrasting to European women, who were considered possessions, owned by their fathers or husbands. They had no rights over their belongings, not even their children. Complete ruin would follow them if they left their husband. These huge differences between Maori and Western approach to gender created problems during the colonisation of Aotearoa and the place of Maori women in the eyes of the Pakeha as laid out by Simmonds and Mikaere.

Mikaere, Ani. Maori Women – Caught in the contradictions of a colonised reality. 1994.

Simmonds, Naomi. “Mana wahine: Decolonising politics.” Womens Studies Journal, Vol. 25, No. 2, December 2011, pp. 11-25.

October 17, 2017 0

Essay 1st Draft:

QUESTION: Discuss the representations of people/communities/ cultures who are marginalised by New Zealand’s dominant culture. You could focus on examples that are created by members of the communities themselves and/or focus on problematic representations produced by dominant culture. Discuss the social, political, cultural, and historical context of your examples. Explain how the reading of each creative work might be affected by the relative position of the person/group who made it/views it.

A large variety of problematic representations of the Maori culture are produced by the dominant European culture of New Zealand, thus marginalising their culture. This is particularly evident in different art and design works. Works, ignorantly and offensively created by Europeans, creating and building on stereotypes, and effecting Maori even today. Some of these include Gottfried Lindauer’s oil painting of Maori women weaving flax baskets. A beautiful painting, however, misrepresenting Maori women and forcing them to be viewed in European stereotypes and changing their positions in Maori hapori. The Maori women’s position in their hapori was effected by this problematic representation of them. My second example is a Sir George Grey, special collections photograph, taken in school. This photograph shows how the Maori children were forced to practically denounce there heritage. They are wearing European clothes, and were punished for speaking Te Reo Maori. The Maori children’s value in their heritage was effected by the European’s problematic representation of them. My final example is a tv show, directed by Elizabeth Mitchel ‘Bro Town’ is painfully stereotypical. Based on the lives of five Auckland schoolboys, the animated comedy is distinctly grotesque specifically concerning the boys’ farther a neglectful, lazy drunk. Promoting Maori stereotypes and mocking their culture. The Maori men’s respect was effected by the European’s problematic representation of them. Therefore, three examples of art or design created by European artists and producing problematic representation of the Maori. Maori people marginalised by Aotearoa’s dominant European culture.

The Maori women’s position in their hapori was effected by the European’s problematic representation of them. Before European colonisation, Maori women were held in high esteem, they were respected and had positions of Mana. Some were chieftesses or warriors, they were not restricted to positions of homemakers and male chattels as the European women were. This changed when the European arrived. Their superior attitudes and lack of acknowledgement of the Maori culture caused them to try and change their culture, and create problematic representation. In Naomi Simmonds academic writing ‘Mana Wahine: Decolonising Politics’ She agrees with this, stating that “The (mis)appropriation and (mis)representation of Maori knowledges historically and more contemporarily have, however, impacted on Maori women in specific ways.” She points out that women were effected and marginalised by the problematic representation. Gottfried Lindauer’s painting ‘Maori women weaving flax baskets’ is just one example of this misrepresentation. He portrays several women gathered around, weaving baskets with a baby and dog nearby. Ordinarily this would be a lovely painting, however the continued context of women portrayed in household paintings is misrepresenting. There are very few historical paintings of women in leadership or ‘male’ roles. While there are numerous paintings of women performing ‘acceptable’ household duties. European artists and designers disagreed with the Maori culture’s acceptance of women’s freedom, therefore they chose not to capture this side of the Maori culture. They stayed inside the European standards and only captured homely women. Consequently, Maori women’s roles slowly began to change, as they were condemned for otherwise acceptable behaviour, the norm evolved into one and the same with European. Their voice in society collapsed, until 1893 when all women received the vote. Chloe Hoeata, Linda Waimarie Nikora, Wendy Li, Amanda Young-Hauser and Neville Robertson all support this claim in their writing ‘Maori women and intimate partner violence: Some sociocultural influences’ when they state: “Boys were raised to be bread winners. Their role was to go out and provide for their families. Men were the ‘heads’ of households…. Girls were raised to be homemakers.” This in reference to a Maori girl’s family growing up. The negative change that the Europeans forced onto the Maori was instrumental in women’s lives for the next century as women fought to gain rights again. To this day women are still fighting for equality. Maori women were obligated to put there independence on hold until the European caught up, simply because of the dominant cultures superior views and marginalisation of Maori. Therefore, Maori women’s positions in their hapori was effected by problematic representation of them.

The Maori children’s value in their heritage was effected by the Europeans problematic representation of them. Before colonisation, Maori children grew up appreciating their traditions and heritage. After colonisation they were taught that these very things were in the past, almost shameful. They were told to deny who they are so that they might prosper in the ‘new white world.’ A Sir George Grey, special collection photograph, titled ‘Karioi Infant Class Work’ captures these Maori children in the European schools. The first thing that stuck out to me about this, was these children’s solemn faces. They all look very stern, even sad or scared. Then it was their clothing, every child is wearing European clothes, this made me realise how quickly European culture had become dominant. However, it wasn’t until I researched this more that I became truly appalled by the European dominance and supposed superiority. According to Ross Calman, on ‘Maori education – matauranga’ Maori children were actually disciplined for speaking Te Reo Maori in schools. “Maori children were punished for speaking their first language at school.” It’s horrifying that a sense of these children’s identity was problematically represented to them. Speaking their native language at home, only to be reprimanded for doing so in school was very confusing for young Maori children. Being told that a part of their culture was wrong. The European misrepresented Maori culture to the Maori children. Creating rippling negative effects in their lives, and even in future generations. Even as of July 2016 “77.2% of the total school population were not enrolled in Maori language in education (Maori Immersion levels 1-5).” According to Maori Language in Education. This is a huge improvement from being punished for speaking their native tongue, to it being taught in 22.8% of schools. However it did make me sad that European became the dominant culture through such harsh measures. The Europeans created an environment, and a new world that misrepresented Te Reo Maori. Giving cause for children to feel a need to change their language, their heritage to fit in. Therefore, Maori children’s values in their heritage was effected by the Europeans problematic representation of them.

The Maori men’s respect was effected by the European’s problematic representation of them. Even today there are strong stereotypes surrounding Maori. They are often considered loud, inappropriate, and even lazy. Because of this others treatment of them is influenced. Instead of being judged by the people they are, there is often this racist stigma surrounding them, going before them and influencing their lives. While there are encouraging improvements equality there are other aspects that encourage these stereotypes. For example, the TV series ‘Bro Town’ directed by Elizabeth Mitchell has excessive stereotypes throughout the entire series, a main feature of the show. However, one specific character is shed in a particularly unflattering light; Pepelo. A Maori solo father with two sons, Pepelo is portrayed with no grip on his life. A lazy drunkard, who spends his time in clothes too small with a beer bottle and in front of a tv. His selfish character embodies all vulgar stereotypes of Maori. Elizabeth Mitchell and the film team put effort into creating these problematic representations of Maori men trying to design a show full for laughs. Amanda Gregory perfectly sums this up when she says “The mass media contribute to and reproduce racism and marginalisation of Maori.” She calls out a key problem, while Bro Town is created for comedy, not offence, it still encourages stereotypes with no thought to the effect it may have on the real world Maori. Kelly Holmes, Tamar Murachver and Donn Bayard comment on this in their ‘Accent, appearance, and ethnic stereotypes in New Zealand’ stating “Maori have been viewed as troublemakers, lazy, unintelligent, dirty, aggressive, easy going, and friendly. Whereas Pakeha have been regarded as successful, hardworking, intelligent and self-centred.” While they include positive stereotypes, there is very clearly a biased here. Maori lives can be effected by these stereotypes, preformed ideas of people are very dangerous to personal lives. Once again the European marginalise Maori. The Maori men’s respect was effected by the European’s problematic representation of them.

In conclusion Aotearoa’s dominant European culture misrepresents and marginalises the Maori culture. Through past intolerances we have created this marginalisation. We have marginalised their culture by belittling them so much in the past that stereotypes are still lingering today. Through the misrepresentation of Maori women, encouraging and forcing them to look down on women’s independence and leadership. Maori women were effected. Through the misrepresentation of Maori culture, Maori children taught not to speak Te Reo, punished for embracing their culture. Maori children were effected. And finally the misrepresentation of Maori men, misplaced Maori stereotypes continued and encouraged. Maori men were effected. Therefore, because of European’s marginalisation and misrepresentation of Maori, all Maori have been effected. Making me pause in my tracks and ensure I do not make the same mistakes and my ancestors. To do my best to prevent marginalisation of Maori.

IMAGES:

Lindauer, Gottfried. Maori women weaving flax baskets. 1903 Auckland Gallery.

Karioi native school committee. Grey, Sir George. Karioi enfant class work. Sir George Grey Special Collections, Auckland city library. Tamaki Patak Korero. 1908.

Mitchel, Elizabeth. Bro Town. New Zealand animated series. 2004-2009. Naked Samoans

REFRENCES:

Hoeata, Choloe. Waimarie Nikora, Linda. Li, Wendy. Young-Hauser, Amanda. Robertson, Nerville. Women and intimate partner violence: Some sociocultural influences. 2011. http://www.review.mai.ac.nz/index.php/MR/article/viewFile/443/683

Gregory, Amanda. Responses from non-Maori media audiences. Reading News About Maori. 2011. https://trc.org.nz/sites/trc.org.nz/files/2011GregoryReadingNewsAboutMaori.pdf

Calman, Ross. Maori education – Matauranga, Te Ara. The Encyclopedia of New Zealand. 2012. https://teara.govt.nz/en/maori-education-matauranga/print

Education counts. Maori Language in Education. 2016. http://www.educationcounts.govt.nz/statistics/maori-education/maori-in-schooling/6040

October 17, 2017 0

Issues Surrounding Appropriation

Tina Engels Schwarzpaul discusses some the issues surrounding appropriation in the context of art and design. Engels Schwarzpaul outlines major concerns of appropriation and how it can almost be considered theft. For example when she states: “it may pervasively limit the choices of identification available to Māori men” She is referring to the mistaken stereotypes often created by appropriation. She points out that when people create these ‘boxes’ for Maori, it becomes increasingly harder for them to live outside these ‘boxes’ as people begin to only see them by the boxed standards. Engels Schwarzpaul illuminates just one effect of the lack of consultation. Stating that while inspiration from the Maori culture is no crime, it becomes offensive only when misused or misguided in the meaning. Furthermore, appropriation can also be considered theft as it gives no financial gain to the marginalised groups. When the Maori culture is reworked into profit for Pakeha with no thought to the original culture, it becomes very parallel to theft. Not only misplaced profit however, as misplaced credit is also to be considered. Great Maori people and art, with high mana, misused by naive Pakeha who claim all the credit, of reworked design. Therefore, just a few reasons explaining the effects of appropriation.

Engels Schwarzpaul, Tina. Dislocation Wiremu and Rau – The wild man in virtual worlds. AUT University.n.d

October 17, 2017 0

Definition of Hybridity

I understood Homi Bhabha’s definition of Hybridity as the expansion of ones mind in an alliance. In his interview with John Rutherford he states that “Hybridity is precisely about the fact that when a new situation, a new alliance formulates itself, it may demand that you should translate your principles, rethink them, extend them.” I took this to mean that Hybridity is the creation of new identification. It is the joining of two cultures or differences. In a sense it’s a compromise, a treaty between two differences. This essentially means that one must expand their mind, their ideas in order to accommodate for this difference. Furthermore, this joining of ideas not only must change mindset’s and ideas, but also in a sense, identity. Because, if one is to join two together it changes what was. He states that “The process of cultural hybridity gives rise to something different, something new and unrecognisable, a new area of negotiation of meaning and representation.” essentially meaning that a new identification is created through this joining of cultures. Therefore, Bhabha showed his view, expanding my view, on the notion of hybridity.

The Third Space – John Rutherford’s Interview with Homi Bhabha

September 30, 2017 0

Readings related to cultures marginalised by New Zealand’s dominant culture

READING 1: Moewaka Barnes, Angela. Taiapa, Ken. Borell, Belinda. McCreanor, Tim. ‘Maori Experiences and Responses to Racism in Aotearoa New Zealand’. MAI Journal. http://www.journal.mai.ac.nz/sites/default/files/MAI%20Journal%20Sample%20Article.pdf

READING 2: Willmott-Harrop, Elizabeth. ‘Maori and human rights in New Zealand.’ Liberty and Humanity. December 2016.

http://libertyandhumanity.com/themes/environment/maori-and-human-rights-in-new-zealand/

READING 3: Revell, Elizabeth. Papoutsaki, Evangelia. Kolesova, Elena. ‘Race, Racism and Everyday Communication in Aotearoa New Zealand.’ ePress. 2014.

Click to access Race-Racism-and-Everyday-Communication-in-Aotearoa-New-Zealand-by-E.-Revell-E.-Papoutsaki-E.-Kolesova.pdf

I decided to choose the 3rd reading, ‘Race, Racism and Everyday Communication in Aotearoa New Zealand’ as the most potential reading for my essay. I believed this to be the best because it addressed different areas of marginalised cultures in New Zealand. It stated facts and statistics instead of only theorising.

September 30, 2017 0

Stereotypical constructions of Maori in the media

Melanie Wall discusses the racist stereotypes towards Maori in “Stereotypical construction of Maori in the media.” Below, Al Nisbet’s grotesque representation of Maori in his cartoon completely confirms all of Wall’s ideas. Wall discusses how often Maori today are represented as inconsiderate jokers, and poor slackers. When I first read this I was somewhat disturbed that this could even be considered. As a European New Zealander, I wanted to stick up for Pakeha and say this was not the case. Therefore, when I came across Nisbet’s cartoon I was shocked to say the least. Though he is portraying any bludger stinging from the government. He portrays a Maori man and woman particularly in this light. Their surly appearance and the man’s comments for more ‘Booze, smokes and Pokies.’ is disheartening to say the least. His representation of Maori is incredibly racist and offensive. Kiri Nathan, a high end Maori fashion designer represents Maori in a contrasting light. She takes inspiration from her Maori culture to create beautiful fashion, even designing for Demi Lovato, Beyonce and Mariah Carey. She represents Maori in a completely different way. Showing how Maori represent themselves very differently to how some Pakeha represent them. In this scenario I was very disappointed with my European heritage, and was forced to admit there was sad truth the Wall’s ideas.

Nisbet, Al. Malborough Express. May 29 2013.

Nathan, Kiri. Fashion label. 2010.

September 30, 2017 0

Brainstorming Question 4

Question 4: Discuss the representations of people/communities/ cultures who are marginalised by New Zealand’s dominant culture. You could focus on examples that are created by members of the communities themselves and/or focus on problematic representations produced by dominant culture. Discuss the social, political, cultural, and historical context of your examples. Explain how the reading of each creative work might be affected by the relative position of the person/group who made it/views it.

BULLET POINTING CURRENT KNOWN IMFORMATION:

-Misinterpretation of Moari by Colonial artists

-Misuses of the Maori culture and tradition by designers

-Politicians dismissing the importance of Maori culture and traditions

-Ignorance of Maori tradition and culture

-Racism

Paintings showing the colonial marginalisation of Maori: