KO TE ARIA Tihei Haka! Mauriora Kapa haka (Rollo 2006) Ka tū te ihiihi, ka tū te wanawana o te hunga i ngā hui whakataetae kapa haka o te motu. He hui rongonui i te maramataka a te Māori ia tau ia tau, ā, he hui whakahirahira anō mō rātou mā i whakawhiti mai i tāwahi rā hoki. Mā te mahi a te kapa haka ka whakaari ngā rōpū haka i ngā mahi nō nehe rā me ngā mahi hou o te ao onāianei. Ahakoa te āhuatanga o te mahi, he taonga tuku iho nā rātou mā kua mene ki te pō. Moe mai rā e te kāhui o ngā whetu i te pō, moe mai i te Ariki o te rangi. I tēnei tuhinga, e āta titiro ana 'hau ki ngā mahi hou me te āhuatanga hou kei ngā rōpū haka i te whakataetae-a-motu, arā Te Matatini me ētahi atu momo whakataetae i Aotearoa, tāpiri mai hoki ērā kei Te Moana nui a Kiwa. Ko te ingoa matua o tēnei tuhinga, KAPA HAKA WHAKATAETAE. Kua tīni haere te kanohi o te mahi kapa haka i te ao hurihuri nei . No reira, ko te tino pātai kei tēnei rangahau ko tērā. He aha ngā mahi hou kei te kapa haka whakataetae? Nā he hua anō hoki kei reira? Ka hāngaia tonu e te tuhinga nei ngā hui whakataetae kapa haka mai i te tau 1972 tae noa ki te tau 2006. Ngā ūpoko o te tuhinga whakapae E whā ngā wāhanga ūpoko o tēnei tuhinga whakapae. Mā ngā ūpoko katoa ka kitea ai ngā momo kaupapa ake e hāngai pū ana ki te kaupapa mō te whakataetae kapa haka me ōna āhuatanga hou. He mahi whakahirahira tāku ki te whakatakoto i ngā kōrero, i ngā whakaaro, i ngā mātauranga o tēnā tangata mōhio, o tēnā tangata mātau ki roto i ngā whare māramatanga, arā ngā wāhanga wēnā, hei mātauranga hou mō te ao katoa. I te ūpoko tuatahi, ka anga te titiro ki ngā whakamāramatanga o ngā tikanga-a-iwi e pā ana ki te tūturutanga me te ao o te kapa haka. Mā wēnei whakamāramatanga hei awhi i a 'hau i taku rangahau ki te mahi onāianei o te whakataetae kapa haka. Ka whai mātauranga 'hau mō ngā tikanga o ngā kupu e rua. Ko ēnei ko te kupu haka te tuatahi, ā, ko te kupu kapa haka te tuarua. He aha ngā rerekētanga me te ōritenga o wēnei kupu rongonui? Ka anga whakamua ki ngā tūmanako me ngā ritenga o te whakataetae kapa haka a te motu mai i te New Zealand Polynesian Festival tae atu ki Te Matatini. Ko te whāinga mutunga o tēnei wāhanga, ka hoki whakanui ki te whakataetae-a-motu mai i te tau 1972 tae noa atu ki te tau 2006. Ko te ūpoko tuarua, ka whakatakoto e 'hau ngā whakautu o ngā patapātai mai i ngā rārangi kōrero me ngā whakaaro whānui i whakahokia mai e ngā tāngata o ngā rōpū haka e whā, arā, Te Rōpū Haka o Te Kotahitanga, Ngāti Poneke Young Māori Club, ko Te Waihīrere, ā, huri atu ki Te Pou a Mangatāwhiri hoki, he rōpū i whakatūhia anō i te tau 2005. I tēnei wāhanga ka kitea ngā kōrero ātaahua, ngā mātauranga tūturu me ngā whakaaro hōhonu o ngā kaiako me ngā tāngata e tautoko ana i taku mahi kimi mātauranga. Nā rātou ka ohorere, ka mirimiri hoki i tōku hinengaro ki ngā māramatanga hou. He tika anō te kupu ā Pā Henare Tate nō Ngapuhi nui tonu e kī ana, Mā te whakaatu, ka mōhio, mā te mōhio, ka mārama, mā te mārama, ka mātau, mā te mātau, ka ora (Barlow 1991) I te ūpoko tuatoru he whakaaturanga tēnei o āku tirohanga ki ngā āhua rerekē me ngā mahi hou i roto i ngā rōpū haka i runga i te ātamira o te whakataetae, i roto hoki i te mura o te ahi o te whakataetae. Kua tuhituhi au i ngā momo āhuatanga e pā ana ki te taha o te kanikani, te mahi-a-korikori me ngā mahi katoa i runga i te atamira. Ahakoa iti ko tētahi atu wahanga o ērā kōrero e pā ana ki te pūoro me ōna mana kua puta i konei. Ka huri taku tuhinga ki te taha o te reo waiata, te toi whakaari me te whakaataata o ngā mahi a te Rēhia. I konei ka titiro ki te tāmoko, te pani kanohi me te pani tinana, arā he mahi hou katoa. Ko te wahanga mutunga e pā ana ki te reo Māori me te tito waiata hoki. Ahakoa he maha ngā āhuatanga, ko ngā tuhinga nei mō ia āhuatanga kia kitea ai ngā rerekēnga me ngā mahi hou i te whakataetae kapa haka o te ao Māori. No reira te nuinga engari ko wētahi i whakaurua mai i ētahi atu iwi ō tāwahi. Ko te ūpoko whakamutunga, ka hāngai taku titiro ki te ao o te whakataetae, arā, ki ngā whakaaro me te tā o te hinengaro me te ngākau o te tangata. Ka peka haere ki te whakatū o ngā rōpū whakataetae me te parakatihi o ngā waiata, ngā haka me ngā whakaritenga mo te whakataetae kapa haka. Ko te kōrero whakamutunga, ka huri ki wētahi atu o ngā whakataetae mai i Te Kuki Airani, i Tahiti me Hawaii hoki. Āe mārika, ka ora te ao o te whakataetae puta noa i te ao nui. Ki ahau, mā tēnei tuhinga hei whakapuare ngā hurihanga o te ao Māori me te ao o te kapa haka. Ka ea, he tika hoki te whakataukī rā, ka pū te ruha, ka hao te rangatahi (Ryan 1995), arā ka kimi i ērā e pīataata ai o rātou wairua, hinengaro, ngākau.

The purpose of the present study was to replicate Cervone's (2004) study, specifically for a work context. By focusing on the context of work, I believe that a "situationally-sensitive" nomothetic measure of personality for predicting job performance can be developed. My findings indicate that participants were able to identify self-relevant attributes in the context of work and then rate the relevance of each self-relevant attribute to work situations, such that the scores of the self-efficacy items related to those situations rated as relevant correspond with the self-relevant characteristics that were originally identified. Also, the data suggest that while there are several instances of idiosyncrasy in self-perception, there are also many commonalities in both the characteristics believed to be self-relevant and the situations to which those characteristics are relevant. This finding opens up the possibility of using an alternative strategy to develop a nomothetic measure of personality based on idiographic methods. / Master of Science

Ariā – Abstract This thesis is concerned with discovering if and how Māori cultural performance, which we now know as Kapa Haka, has contributed to the creation and development of a modern Māori identity. Māori cultural identity is traditionally traced through whakapapa and is confirmed by a practising knowledge of te reo Māori, kawa and tikanga. Whakapapa links a person to his or her atua, tangata, whenua, tūrangawaewae, marae, whānau, hapū, iwi and waka. The question arises as to whether these are still essential elements in defining a modern Māori (cultural) identity. I want to find out what that modern Māori identity looks like and how it is described. I say it is described in and by Kapa Haka. The framework used for this thesis is that of a Kapa Haka performance, starting with the whakaeke – introduction, and ending with the whakawātea - exit. It weaves together personal histories - my own and those who have memory of the first Festival in 1972 and other developments. It also incorporates social history as it has affected Māori. It looks at the impact this has had on Kapa Haka from the early concert parties set up for tourist consumption, to iwi and Hāhi hui, to Te Matatini in the present, all the while developing an argument for a modern Māori identity. In undertaking to write this doctoral thesis in Theatre and Film Studies, I have placed myself in a position where I have to step outside of my assumptions of what I think I know about who I am and what I am. This is in order to attempt to explain what I mean by not only a cultural identity, but also a modern Māori identity, as identified in Kapa Haka, so that others will understand. I need to be able to sing the song when I need to, remembering that it is what I do best.

Dissertation (MHSc--Health Science) -- AUT University, 2008. / Includes bibliographical references. Also held in print (xi, 132 leaves : col. ill. ; 30 cm.) in North Shore Campus Theses Collection (T 362.108999442 PAE)

Nga mahi a Tane-rore me Te Rehia (traditional Maori performing arts) is one of the most visible aspects of Maori culture. Traditional Maori performing arts is one of the key elements seen on the marae and it marked the first experiences between the Maori and European explorers. However, since the arrival of tauiwi (foreigners) the art has evolved, largely as a result of outside influences. Many of the changes that have been introduced to the art have been a product of the struggle of Maori to maintain their language and customs, despite the onslaught of cultural domination. An example of one such change is the introduction of a Western style competition, that is, a formal style of competition that includes judges, assessment criteria and/or competition rules, and prizes. This thesis will explore the evolution of traditional Maori performing arts with particular reference to how this traditional art form has been affected by the 'Western' notion of competition.

This thesis examines two examples of martial dance theatre: Mika HAKA performed by Torotoro (New Zealand), and The Sound of Silence performed by Samudra (India). Both productions were created for international touring, and this thesis looks at their performance at the Edinburgh Fringe Festival (UK). The companies’ choreography integrates native and foreign dance with their hereditary martial arts. These disciplines involve practitioners in displays of prowess that are also entertaining spectacles. They have an expressive dimension that makes them contiguous with dance – a potential that Torotoro and Samudra exploit. The companies address their audiences with combative and inviting movements: Torotoro juxtapose wero and haka (Māori martial rites) with breakdance; Samudra combine kaḷarippayaṭṭu (Kerala’s martial art) with bharatanāṭyam (South Indian classical dance). Their productions interweave local movement practices with performance arts in global circulation, and are often presented before predominantly white, Western audiences. What is created are performances that are generically unstable – the product of cultural interactions in which contradictory agendas converge. In its largest scope, martial dance theatre might include military parades and tattoos, ritual enactments of combat, and folk and classical dance theatre. These performances propagate images of idealised men that create statements of national and cultural identity. They, and the martial disciplines they theatricalise, are also implicated in the performative construction of gender, ethnicity and race. Torotoro and Samudra’s performances, influenced by queer and feminist agendas, offer insights into martial dance theatre’s masculinist potential, and its contribution to the intercultural negotiation of identities. Prominent European theatre practitioners have sought to employ the martial arts to develop Western performers. If these culturally specific disciplines are expressive and performative disciplines, then what are the implications and complications of this transcultural project?

The thesis in question deals with the influence of geometry of the cutting tool with a non-null angle r and of the cutting conditions on change of cutting tool’s overall deformation during the process of cutting-off and grooving. When conducting the experiments the loading of cutting tool was measured, there was created a simple 3D model of the cutting tool based on measured data, the deformation analysis of the cutting tool by the simulation programme ANSYS was performed and on the grounds of established facts there was made a conclusion on attributes of the cutting tool during the process of cutting-off and grooving.