Overall Aims of the Research

1
(No Transcript)
2
Ta Moko culture, body modification the
psychology of identity a research model.

• Hui Whakapiripiri 2009
• 26-27 March
• Professor Ngahuia Te Awekotuku
• University of Waikato
• awekotuku_at_waikato.ac.nz

3
The Research Team

• Professor Ngahuia Te Awekotuku
• Associate Professor Linda Waimarie Nikora
  (Director of MPRU)
• Mohi Rua
• Rolinda Karapu
• Ariana Simpson
• Henriata Nicholas
• Puawai Cairns
• Hilda Kiwara
• Emily Tautau
• Becky Nunes (Photographer)

4
(No Transcript)
5
Overall Aims of the Research

• To both challenge and extend the current canon,
  by investigating the origins, significance,
  technology and practice of Ta Moko from the
  pre-contact period to contemporary times.
• To present a coherent, accessible comprehensive
  account of Ta Moko.
• To increase public understanding of Ta Moko as an
  important art form, and a dynamic and positive
  assertion of Maori identity.

6
(No Transcript)
7
Objectives

• To complete a comprehensive survey of the chant
  record and oral history with reference to
  archeological, archival and artefactual
  materials.
• To examine traditional whakairo carving in
  relation to Ta Moko.
• To explore the nature of social relationships and
  ecologies that are supportive of or resistant to
  contemporary Ta Moko.

8
(No Transcript)
9
Phase 1 Participating in Process

• We needed to establish
• genuine relationships and ongoing consultation
  with our communities of interest
• honesty, responsibility and clarity of intent
• This was essential for all aspects of the project
  and especially
• Key informant interviews kanohi ki te kanohi
• Participant observation relationships with
  whanau, hapu and individuals.
• Access to personal mss and image collections

10
Phase 2 Survey of Archival Materials

• Oral sources - 40 examples moteatea, pepeha, oral
  narratives. Compile, compare, analyse.
• MSS materials Te Rangikaheke, Makereti, Michael
  King, Pei te Hurinui collections.
• Land Court Records, 19c Newspapers, church
  missionary records.
• Published sources texts, catalogues, books.
• Unpublished sources the British Library, BM,
  Mitchell Library Sydney, PRM Oxford, Turnbull,
  Hocken, Auckland Public, Auckland Institute,
  regional collections, university collections.
• Visual material pictures, 3D moving image.

11
Phase 3 Whakairo Taonga

• Taonga in overseas local collections korere,
  uhi, oko ngarahu, hue, tekoteko, poupou, pou
  tokomanawa.
• Upoko tuhi he puna roimata.
• Uhi ngarahu making chisels pigment
• Nga whakaaro o nga tohunga ta moko, ta whakairo
  onaianei phasing into work being done today.

12
Phase 4 He Wananga ki Te Ao

• A one day wananga extravaganza!
• Disseminate research information
• Establish visual archive
• Recruit people for case studies
• Problems
• Masses of issues came up because UoW is not the
  VA London!

13
Phase 5 Case study interviews-wearers

• Recruitment personal, professional contacts
• Participant Selection Focus on diversity amongst
  participants e.g. age, urban/rural, gender,
  face/bodywork, cost issues
• Proposed sample 25 wearers. Final sample 90
• Method In-depth face-to-face interviews
• Early Desires
• Initial planning, getting permissions, telling
  whanau
• Choosing an artist, and the design
• Operation and process also karakia support
• Healing aftercare, on the skin in the heart.
• Living with Moko reacting to reactions.
• They took the lead chose what they wanted to
  discuss. They could withdraw at any time.

14
(No Transcript)
15
Phase 5 Case Study Interviews Artists

• Participant Selection Focus on diversity amongst
  participants e.g. age, urban/rural, gender,
  technologies
• Proposed sample 6.
• Final sample 13 (including 3 women)
• Method In-depth face-to-face interviews about
• Early Desires
• Training Apprenticeships, hands on experience,
  self-taught
• Tikanga, Reo, Karakia, Wairua issues
• Ethics and Safety Issues establishing trust
  boundaries
• Health Issues gloves, sterilization, para
  disposal, wound healing, age
• Technique boob guns, commercial machines, uhi.
• Location Studio, marae, homes, public events,
  overseas conventions
• Clients Whanau, hapu, iwi, personal networks,
  walk-ins.
• They took the lead and chose what they wanted to
  discuss.

16
(No Transcript)
17
Phase 6 General Questionnaires

• Quantitative with some Qualitative approaches
• Attitude survey (PSYC228-02/03)
• General online survey 2004 (public attitudes)
• Artists (commercial businesses) survey of over 50
  advertised tattoo shops (2005)
• Phase 7Data Analysis
• NUDIST analysis software (MR)
• Excel spreadsheets for demographics.

18
(No Transcript)
19
Phase 8 Dissemination

• Wananga at various marae in Te Arawa, Waikato,
  Tai Rawhiti and Te Urewera.
• Community presentations at polytechnics, health
  providers, tattoo conventions and special
  interest groups.
• International and local conference keynotes and
  presentations at symposia and academic meetings.
• Publications in books, journals, proceedings,
  magazines, and a other diverse popular media.

20
(No Transcript)
21
Dissemination

• Launched at Waikato University, December 2007
• Penguin Viking Publishers.
• North American edition, University of Hawaii
  Press.
• Hardback, 280 pages .
• Colour, fully illustrated.
• Now into its third reprint.
• French language version out soon. Negotiating
  Italian.
• Winner, Lifestyle Contemporary Culture, Montana
  Book Award 2008.

22
(No Transcript)
23
He Kupu Whakamutunga

• Gender Issues.
• Risk and strategic retreat.
• Power, control the risk
• of abuse.
• Wairua and tohunga enunciation.
• Hygiene safety concerns.
• Pain management
• Ngoku Whakaaro hei maharatanga.

24
(No Transcript)