Trans-nationalism as a euro-american notion implies transposition of art and ideas across national boundaries. In New Zealand art created by Māori (indigenous people) straddles three definitive forms of art practice: customary (or traditional), trans-customary (or trans-traditional) and non-customary (or non-traditional); it is the latter art practice that is most empathetic with the principle of trans-national art. The paper explores the Toioho ki Apiti indigenous pedagogical model at Massey University in Palmerston North relative to other Māori art educational models within New Zealand, and in relation to the three definitive forms of contemporary Māori art practice. The Toioho ki Apiti pedagogical model will be further contextualized relative to mana whakapapa (inheritance rights), mana tiriti (treaty rights), mana whenua (land rights) and mana tangata (human rights) that constitute the thematic program for each of the four years of the undergraduate degree, and the relevance of these themes for trans-nationalism.
|Keywords:||Trans-nationalism, Indigenous, Pedagogy, Trans-customary, Māori, Whakapapa, Mana, Tiriti, Whenua, Tangata|
Head, School of Maori Studies, Massey University, Palmerston North, Manawatu, New Zealand
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