Marae have a place in contemporary Aotearoa New Zealand that is vital to Maori culture, as well as for all peoples of this land. Maori cultural precepts intrinsically abound with notions of the importance of marae for the transmission of that culture. Marae are places of refuge and learning where the active expression of Maori culture is most obvious. Tendrils of tradition incorporated with contemporary nuances reach out to enfold those whom these places and spaces nurture and embrace. While these ideals may not always find articulation in reality, their presence at the least provides a foundation centuries old on which to build pathways in the present and into the future. Awataha Marae is an urban marae based on Auckland?s North Shore. The history of Awataha is situated within the latest of three Renaissance Periods in which there was an upsurge in Maori culture. These Renaissance Periods were about resistance to the impositions of another culture, reclamation of part of what had been lost through colonisation, and rejuvenation of people and culture. Renaissance Period Three, in which Awataha arose, also has connections to the efforts of indigenous peoples worldwide in their endeavours to forge self determining processes for themselves, including those of conducting research that was for their benefit and purposes, rather than for those of others. Following the development of marae from pre-contact to the present day also illuminates the context within which Awataha was formed. From its beginnings as the space in front of the chief?s house where the village members gathered and where relationships were negotiated, marae today are complexes of buildings that reflect the necessities of the society that surrounds them, as well as the desire of the people to retain Maori culture in its most fundamental form. Urban marae have arisen to fulfil those desires for Maori in urban contexts, often separated from their rural homelands and for many, from their cultural heritage. Following changes in the ways in which wharenui were decorated and embellished also provides evidence of the ways in which Maori consciously innovated culture in order to endure in the new world.

Scholars do not deny that the piiwhiri involves musical movements, but few sources adequately emphasize how intimately the piiwhiri and music are intertwined. Instead of defending a position that has not been directly challenged, but rather skimmed over, this thesis aims to define the what, how, and why questions surrounding the inseparable relationship between music and the powhiri. The goals are to pinpoint the role music plays in the Maori powhiri ceremony and to recognize that the ceremony itself would lose its effectiveness without the use of Maori music

Despite considerable interest driving prominent studies over many decades' leadership theory and research remains one of the least understood topics. Leadership is still mysterious and complex. This study is a journey of discovery designed to explore the complexities and prominence of leadership as it exists in New Zealand. The journey began with a literature review metaphorically represented as three poles of knowledge. The first pole focused on Māori (ordinary, of this land, native people of New Zealand) and Māori culture where leadership is highly valued. The second explored sport and in particular rugby, which enjoys celebrity status amongst Māori and New Zealanders. The final pole reviewed organisational studies and literature on leadership.The study pursued perceptions of male Māori rugby players concerning leadership, from a Māori, rugby, and New Zealand perspective. The research approach employed by this study is based on the principles of grounded theory, kaupapa Māori methodology and its Western cousin, ethnomethodology. Data was collected through semi-structured interviews with nine prominent past and present Māori rugby players. By focusing on this demographic, this study was able to examine Māori and Pākehā leadership styles, similarities and differences; highlight key cultural characteristics and strengthen arguments claiming a relationship exists between the three poles of knowledge. This approach enabled a review of those beneficial and advantageous qualities considered to have an impact on leadership in New Zealand.Findings from interviews revealed relationships do exist between the three poles of knowledge. The values or concepts whānau (family, extended family), responsibility, collectivism, and tuākana/tēina (elder/leaders to younger/novices) relationships were identified as central qualities of Māori leadership. Collectivism is expressed as concerns of whānau. Reciprocity was embodied in relationships of tuākana/tēina with rugby being a vehicle that enhanced both and encouraged leadership development. Findings combined with evidence from literature prompted discussion aimed at three different audiences: leadership theorists; Māori, and; rugby audiences. The study's implications and limitations are taken into consideration.

Maori and Pacific Island youth are the 'it kids' of Aotearoa New Zealand television today, as the exceptional success of the television series bro'Town attests. Corporate sponsors clamour to associate their brands with the hit programme, from international heavyweights including Coke and Vodafone to local players such as G-Force. Likewise, celebrities from at home and abroad proclaim their support for bro'Town in guest appearances on the show. But, what is at stake when the visibility of Polynesian youth in the media is so inextricably intertwined with the commercial imperatives of major corporations and pop-culture celebrities? This paper attends to an absence of critical response regarding the role of commercial influences in the representation of Polynesian youth identity in bro'Town. In striving to be popular, contemporary television in Aotearoa New Zealand often addresses the preconceptions of its target audience. The commodification of Polynesian youth identity in bro'Town, therefore, may be interpreted as a marketing strategy to tap into a popular ideological shift towards multiculturalism in Aotearoa New Zealand without disrupting the dominant ideology of white, middle-class masculinity from which capitalism derives. Although bro'Town offers specific challenges to popular stereotypes of Polynesian youth culture, the discursive construction of Maori and Pacific youth identities in the show is still circumscribed by a consumerist ethos that demands adherence to Western capitalist culture in Aotearoa New Zealand. Bro'Town operates in complicity with pre-existing binaries between masculinity/femininity and heterosexual/homosexual and thus implicitly reinscribes the status quo for youth in Aotearoa New Zealand today. Moreover, bro'Town's multicultural ethic is largely contrary because the series fails to contest popular stereotypes about other ethnic minorities. In Brand New Zealanders, it is argued that the corporate co-option of Polynesian youth culture in bro'Town ultimately does less to pry open new discursive spaces for the development of youth identity than to operate as a vehicle for the deliberate shrinking of consumer choice.

Despite considerable interest driving prominent studies over many decades' leadership theory and research remains one of the least understood topics. Leadership is still mysterious and complex. This study is a journey of discovery designed to explore the complexities and prominence of leadership as it exists in New Zealand. The journey began with a literature review metaphorically represented as three poles of knowledge. The first pole focused on Māori (ordinary, of this land, native people of New Zealand) and Māori culture where leadership is highly valued. The second explored sport and in particular rugby, which enjoys celebrity status amongst Māori and New Zealanders. The final pole reviewed organisational studies and literature on leadership.The study pursued perceptions of male Māori rugby players concerning leadership, from a Māori, rugby, and New Zealand perspective. The research approach employed by this study is based on the principles of grounded theory, kaupapa Māori methodology and its Western cousin, ethnomethodology. Data was collected through semi-structured interviews with nine prominent past and present Māori rugby players. By focusing on this demographic, this study was able to examine Māori and Pākehā leadership styles, similarities and differences; highlight key cultural characteristics and strengthen arguments claiming a relationship exists between the three poles of knowledge. This approach enabled a review of those beneficial and advantageous qualities considered to have an impact on leadership in New Zealand.Findings from interviews revealed relationships do exist between the three poles of knowledge. The values or concepts whānau (family, extended family), responsibility, collectivism, and tuākana/tēina (elder/leaders to younger/novices) relationships were identified as central qualities of Māori leadership. Collectivism is expressed as concerns of whānau. Reciprocity was embodied in relationships of tuākana/tēina with rugby being a vehicle that enhanced both and encouraged leadership development. Findings combined with evidence from literature prompted discussion aimed at three different audiences: leadership theorists; Māori, and; rugby audiences. The study's implications and limitations are taken into consideration.

The main theme of this study is to form a culturally appropriate approach to music therapy concepts from a Maori perspective that could be inclusive and accommodate both Maori and Tauiwi (non-Maori) Rangatahi (adolescents) in health care settings. In order to provide a descriptive account of the holistic aspects of introducing Maori musical concepts in a music therapy setting a qualitative design was employed. The study draws on my personal journal entries, an interview with Kaumatua (Maori respected elders) regarding the appropriateness of introducing and altering traditional Maori musicality to accommodate the patient’s needs and a case study involving the Haka as a music therapy intervention strategy with a young Maori patient diagnosed with schizophrenia. My findings show that as a music therapist consultation with Kaumatua regarding anything related to Maori cultural aspects was essential. I also found that when working with a Maori Rangatahi who is immersed in Maori culture, it created an atmosphere of containment, familiarity, enjoyment, engagement and an environment that facilitated the achievement of therapeutic goals. Te Whare Tapa Wha Maori mental health model is well suited as a music therapy assessment tool to the characteristics of the physical, emotional, spiritual and family context of the Haka. I also found that Tauiwi music therapists wishing to introduce cultural elements must first learn about Maori culture and the people in order to confidently understand the music. Tauiwi Rangatahi may also benefit from the introduction of Maori musicality as a therapeutic means by being an inclusive member of the community and the positive psychological effects. For example, Rangatahi benefited from learning the proper pronunciation and meaning of the Haka, which in turn gave them a sense of achievement. I also found that some Maori protocols fit well with the protocols of music therapy, such as the beginning and endings with a hello and goodbye song.

This thesis investigates how Pakeha-Māori have been represented in New Zealand non-fiction writing during the nineteenth and twentieth centuries. The chronological and textual boundaries range from Arthur Thomson's seminal history The Story of New Zealand (1859) to James Belich's Making Peoples (1996). It examines the discursive inventions and reinventions of Pakeha-Māori from the stereotypical images of the Victorian era to modern times when the contact zone has become a subject of critical investigation and a sign of changing intellectual dynamics in New Zealand and elsewhere. This thesis is about the history of attitudes to culture-crossers in New Zealand, the use of the term 'Pakeha-Māori', and the images that underlie the thinking of Britons and Pakeha about them. It explores the motives and backgrounds of specific authors and the ways in which they frame New Zealand history. It elucidates the ambiguous and contradictory perspectives of Pakeha-Māori in the literature and analyses its impact on changing public perceptions about them. The study critiques the literature with emphasis on theoretically informed research, historical analysis, and literary insights. Discussion is confined to published texts, with the aim of exploring the multiplicity of Pakeha-Māori images and the processes that gave rise to them. This study is essentially an investigation into how and why historians and other scholars try to draw boundaries between cultures in order to create a satisfactory metanarrative or myth of the 'settlement' of New Zealand and thus to forge a sense of New Zealandness. The cultural and racial categories of 'Māori' and 'Pakeha' are very unstable, however, and a consideration of the 'in-between' or 'culture-crossing' category of 'Pakeha-Māori' can reveal the way in which 'Māori' and 'Pakeha' and a sense of New Zealand and New Zealanders have been constructed. More particularly, consideration of representations of those culture-crossers or race-crossers called Pakeha-Māori can reveal the hopes and fears of Pakeha writers regarding Pakeha, Māori and New Zealand and how Pakeha-Māori have frequently been a barometer or litmus test of public perceptions of relations between Māori and Pakeha in different historical periods.

Paru en 1983, The Bone People, le premier et à ce jour le seul roman de l'auteure néo-zélandaise aux origines maories Keri Hulme (1947-), a profondément marqué ses lecteurs, car il a montré, de façon poignante et unique, une image d'Aotearoa- Nouvelle-Zélande, de sa nature rugueuse, de ses habitants et de la richesse de la culture maorie. À l'inverse, les poèmes et les nouvelles de Hulme n'ont pas reçu le même accueil et n'ont été que très peu étudiés, c'est pourquoi nous nous y intéressons dans cette thèse. Ces textes brefs laissent au lecteur une sensation d'étrangeté. Est étrange ce qui est hors du commun, bizarre, surprenant. L'étrange possède un caractère indéfinissable, si bien qu'il est parfois impossible de dire précisément ce qui est à l'origine de ce sentiment singulier difficile à cerner, parfois inquiétant. L'objectif de notre étude est de mieux comprendre et d’expliquer les manifestations de l'étrangeté dans l'oeuvre courte de Keri Hulme. Pour ce faire, la première partie ancre l'oeuvre de Keri Hulme dans des contextes historique, culturel et littéraire afin de mieux cerner les identités contemporaines multiples de la Nouvelle-Zélande et de montrer l'affiliation littéraire de Hulme. Dans notre deuxième partie, nous étudions les rapports de l'humain à la nature et au vivant non-humain dans ce que nous nommons l'écriture écopoétique de Hulme. Enfin, dans la troisième partie, nous nous intéressons à la représentation de la hantise et du blocage dans la transmission immatérielle. Nous analysons la manière dont l'auteure se sert des caractéristiques formelles du genre de la nouvelle, mettant à l'épreuve et façonnant sa forme malléable pour exprimer des maux néo-zélandais et traduire la rupture dans la transmission de l'héritage culturel. Nous démontrons que l'écriture de Hulme offre aussi une forme de fantastique, qui invite le lecteur à accepter l'inexpliqué et à voir que se trouver dans un entre-deux culturel – maori et anglo-saxon – permet d'adhérer à deux systèmes de pensée qui confluent et s’enrichissent mutuellement. / First published in 1983, The Bone People, to this day the only novel by New Zealand author with Maori origins Keri Hulme (1947-), had a tremendous impact on its readers. It struck them for its capacity to show, in a unique and poignant way, an image of Aotearoa- New Zealand, its rough nature, its inhabitants and the enriching Maori culture. On the contrary, Hulme's poems and short stories were not read with the same enthusiasm and have been the subject of very few studies. This is the reason why I decided to focus on Hulme’s short texts in this dissertation. These short texts convey the uncanny, which can be defined as a feeling of unease, strangeness and unfamiliarity. What is strange can also be incomprehensible, so that it can be difficult to understand the origin of this feeling of unease. The aim of this study is to better understand and explain the manifestations of the uncanny in Keri Hulme short texts. The first part focuses on the historical, cultural and literary contexts in order to grasp the multiple contemporary identities of New Zealand and to show Hulme's literary affiliation. In the second part, I study the links between humans, nature and the non-human in what I call Hulme's ecopoetics. Lastly, I focus in the third part on the representation of haunting and the impossibility to pass on the cultural heritage. I study how the author uses and challenges the characteristics of the short story, shaping its malleable form to express New Zealand wounds. I also intend to demonstrate that Hulme's writings contain the fantastic, which invites the reader to accept what cannot be explained and realize that being in-between two cultures – maori and anglo-saxon – allows to better understand two belief systems that come together and enrich each other.