Tukaiaia: A Digital Repository for the Preservation of Ngātiwai

Knowledge

John Pelasio

An exegesis submitted to the Auckland University of Technology in partial fulfillment of the

requirements for the degree of Master of Arts

2016

Te Ara Poutama – Faculty of Māori and Indigenous Development

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 Dedication

To my grandparents
David Seymour Tamaki-Tutaki
&
Regina Tamaki

Also especially to

Sharon Te Paa (Aunty Nan)

For guiding me to pursue education

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THE BEGINNING
__________________________________________________________________________

Abstract

This thesis consists of a written component and a practical component involving an

interactive website archive with video content. The written component focuses on the
source content, being Tukaiaia, a kaitiaki (guardian) of Ngātiwai and its significance to the
iwi(tribe). Furthermore, the exegesis covers the design process from concept design to the
final product. The practical component concentrates on creating a digital platform to be
used as an archive for preserving and presenting Ngātiwai content, which includes short
video interviews and a documentary. The primary objective of the website is to provide an
interactive and engaging aspect to an open access source for learning about the history of
Ngātiwai, reinforcing the use of digital technology as a tool for the preservation of
indigenous knowledge.

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TABLE OF CONTENTS

ABSTRACT 3

CHAPTER 1 – INTRODUCTION 9
1.1 INTRODUCTION 9
1.2 CHAPTER OVERVIEWS 10

CHAPTER 2 - LITERATURE REVIEW 12

2.1 INDIGENOUS KNOWLEDGE 12
2.2 PRESERVING CULTURAL KNOWLEDGE 12
2.3 ICTS AND PRESERVATION 13
2.4 INTERACTIVE WEBSITES 14
2.4.1 DESTINY WEBSITE 14
2.4.2 CRONULLA RIOTS WEBSITE 15
2.5 FAMILIARITY AND TRUST 15
2.6 USER EXPERIENCE AND USER INTERFACE (UX/UI) 16
2.7 SUMMARY 17

CHAPTER 3 - METHODOLOGIES AND RESEARCH DESIGN 18

3.1 METHODOLOGY 18
3.1.1 KAUPAPA MĀORI 18
3.1.2 HEURISTICS 18
3.1.3 INTERVIEW SELECTION PROCESS 19
3.1.4 INTERVIEWS 19
3.1.5 INTERVIEW ANALYSIS PROCEDURE 20
3.2 HE TANGATA MODEL 21
3.3 SUMMARY 23

CHAPTER 4 - PURPOSE AND BACKGROUND 24

4.1 STATEMENT OF THE PROBLEM. 24
4.2 BACKGROUND AND NEED 24
4.2.1 NGĀTIWAI HISTORY 24
4.2.2 NGĀTIWAI INTERPRETATION OF KAITIAKI 25
4.2.3 DIFFERENT KAITIAKI OF NGĀTIWAI 26
4.3 SUMMARY 27

CHAPTER 5 - INTERVIEWS AND PARTICIPANTS 28

5.1 INTERVIEWS 28
5.2 PARTICIPANTS 28
5.2.1 MORORE AND MAHIKITAI PIRIPI 28
5.2.2 CARMEN HETARAKA 30
5.4 ANALYSIS OF INTERVIEWS 30
5.4.1 THEMES 31
5.4.1.1 FORM 31
5.4.1.2 KAITIAKI OF NGĀTIWAI 32
5.4.1.3 MANAWAHUNA 32
5.4.1.4 KARAKIA AND WAIATA 32
5.4.1.5 TE HOUPEKE PIRIPI 33
5.5 LIMITATIONS 33
5.6 SUMMARY 34

CHAPTER 6 - TUKAIAIA 35
6.1 STATEMENT 35

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6.2 NAME 35
6.3 FORM AND REPRESENTATION 35
6.4 MANAWAHUNA 36
6.5 KARAKIA AND WAIATA 36
6.6 SUMMARY 39

CHAPTER 7 - DOCUMENTARY 40
7.1 DOCUMENTARY STYLE 40
7.2 EQUIPMENT 40
7.3 THE PROCESS 41
7.4 B-ROLL 41
7.5 SUMMARY 42

CHAPTER 8 - PRACTICAL DESIGN 43

8.1 CREATIVE PROCESS 43
8.2 GATHER INGREDIENTS 43
8.3 TELL A STORY 43
8.4 MAKE IT ARTFUL 43
8.5 DESIGN 43
8.6 CREATE 44
8.2 GATHER INGREDIENTS 44
8.2.1 CREATE ATTRIBUTES 44
8.2.2 RESEARCH 45
8.3 TELL A STORY 49
8.3.1 CREATE DIRECTIONS 49
8.4 MAKE IT ARTFUL 49
8.4.1 STYLESCAPE 49
8.5 DESIGN 53
8.5.1 WIREFRAMES 53
8.5.2 MOCKUPS 54
8.6 SUMMARY 54

CHAPTER 9 - FINAL PRODUCT 63

9.1 INSTRUCTIONS 63
9.2 HOME PAGE 63
9.3 THE DOCUMENTARY AND MENU 64
9.3.2 MENU 65
9.4 THE COLLECTION 65
9.5 THE MAP 67
9.6 BROWSER REPORT 68
9.7 SUMMARY 68

CHAPTER 10 - CONCLUSION 69
10.1 RESEARCH SUMMARY 69
10.2 LIMITATIONS AND RESOLUTIONS 70
10.2.1 VIDEO 70
10.2.2 WEBSITE 70
10.2.3 CONTENT FOR THESIS 70
10.3 RECOMMENDATIONS FOR FURTHER RESEARCH 71

GLOSSARY 72

REFERENCES 73

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TABLE OF FIGURES
FIGURE 1: ATTRIBUTES 44
FIGURE 2: CASE STUDY 1 – CRONULLA RIOTS 46
FIGURE 3: CASE STUDY 3 – DESTINY 47
FIGURE 4: DIRECTIONS 48
FIGURE 5: COLOUR PALETTE 1 49
FIGURE 6: COLOUR PALETTE 2 50
FIGURE 7: COLOUR PALETTE 3 52
FIGURE 8: STYLESCAPE TEMPLATE 55
FIGURE 9: STYLECAPE 1 56
FIGURE 10: STYLESCAPE 2 56
FIGURE 11: STYLESCAPE 3 57
FIGURE 12: SITEMAP 58
FIGURE 13: INITIAL WIREFRAME 59
FIGURE 14: SUBSEQUENT WIREFRAME 60
FIGURE 15: INITIAL MOCKUP 61
FIGURE 16: HOMEPAGE 62
FIGURE 17: MENU 64
FIGURE 18: THE COLLECTION 66
FIGURE 19: MAP 67

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Attestation of Authorship

I hereby declare that this submission is my own work and that, to the best of my knowledge
and belief, it contains no material previously published or written by another person (except
where explicitly defined in the acknowledgements), nor material which to a substantial
extent has been submitted for the award of any other degree or diploma of a university or
other institution of higher learning.

------------------------

John Pelasio

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Acknowledgements

Nei te mihi ki Te Ara Poutama mō te kaha manaaki i runga i tēnei haerenga.

He mihi nui ki ōku hoa, ki a Storme Hitaua mō āu tini mahi i runga i tēnei rangahau, ka mutu,
e mihi ana ki a kōrua tahi ko Toiroa Williams i tā kōrua awhina i runga i tēnei haerenga o te
rapu mātauranga mo ngā tau e ono kua hipa.

E mihi ana ki a Matt Guinibert mō āu mahi mātanga hāpai i roto i te ao ipurangi.

Me mihi taku kaiārahi, a Tākuta Dean Mahuta, mō tō kaha ki te āwhina, ki te akiaki i ahau i
runga i tēnei haerenga, i roto hoki i aku mahi rangahau.

Ka mutu āku mihi ki tōku māmā, ki a Edith Tamaki. Ina kāore ō manaakitanga, tō āwhina, tō
kaha, e kore au e piki ki tēnei tūranga, ki tēnei taumata o te mātauranga, otirā ki tēnei
momo o te tangata. Nā māua tēnei tohu. E kore ōku mihi e mutu.

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Chapter 1 – Introduction

1.1 Introduction
Indigenous knowledge is something that has survived the analog age, however it is
something that is quickly becoming forgotten in this new age of digital technology. Māori
have preserved cultural knowledge through the use of waiata (song) and haka (ceremonial
dance), it is the entertainment factor that compliments these that ensure their success for
future generations to lead them (Ka’ai-Mahuta, 2012). Technology is fast out-growing the
previous processes and methods of archiving and retaining information, creating
entertainment is where I believe the next step is, to ensuring the survival of indigenous
knowledge.

This thesis focuses on the preservation and survival of indigenous knowledge, specifically,
the use of web design and videography as a tool for archiving. As a case study, the content
(interviews and documents) being collected will be about Tukaiaia, a divine guardian of
Ngātiwai iwi (tribe). Furthermore, this thesis will include a breakdown of web design and
video design in an effort to extrapolate what might be the best output for displaying
content.

The practical component concentrates on creating a digital platform in the form of a

website, which will act as an archive for this indigenous knowledge. The website will include
edited versions of the interviews to be included in both a mini documentary and sit
separately in their respective categories. The primary objective of the open access website
is to provide an interactive and engaging experience for the dissemination and learning of
Ngātiwai history.

This research is built on the perception that traditional knowledge needs to be nurtured and
adapted through modern media. The use of Information Communication Technologies (ICTs)
can be used to store traditional knowledge so that it can be preserved for future
generations (Adam, 2007). This repository will be beneficial to iwi as it will be able to
archive important and authentic knowledge which may otherwise be lost. I feel that
pursuing this pathway will help in the survival and maintenance of not only Māori

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knowledge but indigenous knowledge as well. This change needs to happen now, because if
indigenous peoples do not find ways in which they can co-exist with a digital world then
indigenous peoples run the risk of losing more of its precious cultural and traditional
knowledge. This exegesis will endeavour to stand as an example of how indigenous
knowledge can be archived, presented, and utilised in a culturally appropriate manner.

1.2 Chapter overviews

This research will be presented in nine chapters. The first chapter will provide a quick
outline of the design of the research project, and will include an overview of all chapters.

Chapter Two is a literature review setting the foundation for this research. It explores the
preservation of cultural knowledge using Information Communication Technologies and
case studies of web design.

In Chapter Three the project methodology and research design will be discussed, focusing
on kaupapa Māori.

The Fourth chapter will outline the purpose and background needed for the study.
Furthermore, this chapter will establish a cultural and historical background of the Ngātiwai
people.

Chapter Five will introduce the participants of the study as well as their connection to
Ngātiwai. Qualitative data is analyzed through a theoretical framework by Colaizzi’s (1978,
as cited in Xyrichis & Lowton, 2008), discussing common themes found throughout the data
analysis process.

The graphic design features of the web creation process will be shown in chapter Eight. This
will include initial wireframes, sitemaps, mock-ups, and theory behind the selection of
design features.

Chapter Seven will analyze the chosen style of filming video-interviews, and the inclusion of
documentary style video. This discussion informs the design of the website layout.

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Chapter Six contains the significance of Tukaiaia and delves a little into the content being
used on the website. Critical analyses of kaitiaki particular to Ngātiwai is essential, as it
shows that an understanding of the content is important in website design for archiving
purposes.

Chapter Nine demonstrates the final product through screenshots. It explores the intended
use and functionality in respect to placement and design features. Following this is a final
browser report.

Chapter Ten concludes this research by presenting key findings and future research ideas
that could be expanded regarding the use of digital technology as a platform for indigenous
knowledge.

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Chapter 2 - Literature Review
This literature review will set the foundation for this research. It is divided into two separate
sections. The first focuses on the idea of preserving indigenous knowledge and the second
explores the practice of web design and its functionality including case studies of websites
to inform the outcome for the exegesis.

2.1 Indigenous knowledge

The relationship between people and the environment form the foundation for the
organization of indigenous knowledge. It categorizes life experience and shapes the way
people think (Durie, 2004). Indigenous world-view negates the idea that the world exists for
the purpose of human domination.

While indigenous knowledge is often valued because of its traditional

qualities, a creative and inventive capacity forms the core of an
indigenous knowledge system. The perception of indigenous knowledge
and culture as applicable only to the distant past misses the thrust for
development that is part of the indigenous journey. Arising from the
creative potential of indigenous knowledge is the prospect that it can be
applied to modern times in parallel with other knowledge systems.
(Durie, 2004, p.1)

Traditional qualities, such as these, should be preserved for future generations.

2.2 Preserving cultural knowledge

Durie (2004) states colonization is the driving force behind the loss of culture, land,
language, population, dignity, health and wellbeing. It is this loss that has forced Māori to
document and preserve their cultural knowledge. According to Ka’ai-Mahuta (2012) Māori
have preserved cultural knowledge through the use of waiata and haka. Ka’ai-Mahuta
(2012) further adds, it is the entertainment factor around these aspects that ensure the
success of future generations to learn them. The researcher has adopted this ideology in the
design of a digital platform, meaning an interactive website is used as an entertainment
platform that will encourage further learning.

Historically, Māori have been quick to adopt new technology and skills
which they recognise can be of benefit to the advancement of their society.

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 This is illustrated by Māori interest in literacy during the early period of the
mission schools. These ancestors were quick to put their new skills to good
use for the benefit of future generations. In the nineteenth century Māori
wrote prolifically, adapting the oral arts for the press.

(Ka’ai-Mahuta, 2012, p. 104)

This paragraph tells how Māori have adopted to the technology of their time. Using this as a
guide, the website is on the right path to ensuring success in not only the preservation of
cultural knowledge but the successful dissemination of that knowledge to future
generations, it is by acknowledging new technologies and seeing what they can offer, and
then adopt those aspects that help with the preservation of cultural knowledge. Oppenneer
(2009) supports this by saying many indigenous communities are exploring Information
Communication Technologies (ICTs) to sustain their knowledge and traditions. He adds,
digital video, audio and internet related technologies are being pursued as a means of
storing cultural knowledge to preserve for future generations. Ka’ai-Mahuta (2012) adds
that Māori embraced new opportunities to ensure cultural continuity. In addition, “Māori
should utilize new technology in order to preserve their traditions” (Ka’ai-Mahuta, 2012,
pp.104- 105). The researcher aims to create content to help Māori fulfill this statement.

Nikcerson (2005, as cited in Chikonzo, 2006) says that while collecting data, it is important
to understand that elders retell events in a special language, a language that is rich with
history and detail.

Websites can be an invaluable tool for Māori, and that they can be used in positive ways to
transmit information. The following are some examples that have informed the design
process of this researcher’s artifact.

2.3 ICTs and preservation

Nickerson (2005, as cited in Chikonzo, 2006) states that ICTs are an important tool for future
generations to grow in a culturally rich environment and understand their own identity and
sense of pride. The Internet has the ability to remove physical barriers (Nickerson, 2005, as
cited in Chikonzo, 2006). This is a key fact to understand because we are moving to a digital

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world and kids are becoming more mobile-friendly every day. This means that we are
already targeting those who will grow up with this technology and those who the content
are meant for. As a tool for communication, ICTs allow those outside communities to access
the content, removing the ‘physical’ barrier. For example, if you are to move to Australia but
have a yearning to learn more about who you are, the Internet provides a solution to that
distance barrier.

While ICTs can never replace the authenticity of face-to-face interaction, it may be the
better option to ensure the survival of cultural knowledge, as it is a common and
comfortable tool for younger generations.

2.4 Interactive websites

Graham (1998) states that successful interactive designs are those that implement
simplicity, have clearly defined goals, a strong purpose, and an easily navigated user
interface. This section provides a breakdown of two heavy interaction based websites;
Destiny and the Cronulla riots. Both have different approaches. Destiny draws from Google
technologies to create a street-like view of the world, while Cronulla riots create a non-
linear documentary type interface. Both are effective in their own separate way.

2.4.1 Destiny website (https://www.destinyplanetview.com/en/)

Bungie, the creators of Destiny, a popular console game has recently released an interactive
website that helps gain more knowledge about the game itself. 'Destiny Planet View’ is a
website that allows the user to tour areas from Destiny with a Google Street View
framework, built with Google technologies (Pereira, 2014). To complement the street view,
they have incorporated a mini map for navigational purposes in the bottom right of the
screen. This map allows the user to see key features on the map and go to them. It provides
a non-linear aspect of exploring the world. There are also clickable photos and videos that
provide in-depth explanations of what is happening in that certain area. For example, on
Venus, there are creatures called the ‘Vex’. Video content titled ‘Battle on Venus’ displays a
short montage of Vex structures and how the Vex look.

In addition to this, the website is heavily narrated to provide extra interaction. It seems as if

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you are being read a story. Overall the experience of the website would seem familiar as it
adopts Google technologies in street view. It is a very attractive use of the technology that is
engaging for the user.

2.4.2 Cronulla riots website (http://www.sbs.com.au/cronullariots/)

A well-planned, well-designed interactive project, this website shows the untold stories of
the Cronulla riots that shocked Australia in 2005. For the most part, it is a non-linear
documentary separated into eight parts. Interactivity comes from the ability of the
documentary being non-linear. It provides a menu of chapters that create an ease of
interaction to pick and choose where to go too.

The theme is eminent through the entire site. For example, the first sentence of the
documentary is “tensions at the beach”. Tension is a theme that is carried throughout the
website. The developer has implemented the television ‘lost-signal’ effect as a transition
effect. This along with the application of white noise adds to the idea of tension. The
typography chosen is a sans-serif text with missing paint strokes that can reinforce the idea.
The theme is evident and it is something that uplifts the experience to another level.

These interactive websites are great examples of user experience and user interface as well
as user navigation around an interactive website. These examples provide a good
understanding of ‘back tracking’ and keeping familiarity between multiple webpages and
sections that adds to the user experience. From my experience, the user experience is what
matters most for keeping the attention of the audience from abandoning the website.

2.5 Familiarity and trust

Familiarity and trust are important factors, and are key in the success of a website. Portman
(2016) says that conventional layouts seem less complex because they are familiar. She
continues to list things that should be familiar which includes navigation, calls to action –
buttons and links, colour codes, anything payment processing related. Familiarity is key in
building successful websites.

Basically, familiarity means the user has some idea of what is happening and how it works. A

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new interface means more time spent learning something new, which essentially will drive
the user away. Familiarity and trust will be taken into account when designing the website
for this research.

2.6 User experience and user interface (UX/UI)

User experience (UX) in this sense refers to the experience and feel of the overall website
for the user. User interface (UI) refers to the navigation of the website. Both commit to the
design of a website. Research has suggested that poor website design results in a loss of
customers (Amato-McCoy, 1999, as cited in Tan & Tung, 2003). A successful UX must
balance the objectives of the business/developer with the needs and expectations of the
users (Garrett, 2006). Garrett (2006) separates UX into sections, some are of the following;
scope, structure and surface.

Scope - This refers to the entire set of features that are included. It is split into two separate
groups to consider both functional and informational aspects. The two groups are functional
specifications and content requirements.

Functional specifications represent the set of operations for the user to perform, for
example, changing menu pages on a website. These specifications described how they are
used by the user, not the developer. Content requirements describe the information that
will be communicated to the user.

Structure – This is where user experience begins to form. It requires attention to interaction
design, more specifically ‘flow-mapping’. This is where user movements are mapped out to
show movement from one task to another. It looks at the navigation pattern and the ease of
movement, whilst also considering familiarity within the next page to show reference to the
first. For example if the navigation bar is on the left hand side in on the main page, you want
this to remain there so users don’t get lost in the website.

Information architecture and interaction design can be vital contributors to customer loyalty
because both these disciplines require an intimate understanding of the psychology of the
user. By understanding the flow of a task- the natural way a user goes about achieving a goal
we can develop the interaction design to mirror user expectations, as well as sometimes
predict what users will need before they request it.

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 (Garrett, 2010, p. 6)
Surface – This is often the first stage of thought when we think of the design process. It
includes sensory design visual choices such as color schemes, typography, sound elements,
texture and functionality. The ‘surface’ section is decided on by aesthetics but should
consider the ‘scope’ and ‘structure’ before finalizing an outcome. It should reinforce the
ideas that have concluded from the first two sections. Sensory design has a powerful effect
on customer loyalty, if used correctly.

2.7 Summary
From the review of similar paths, I will use this to benefit my own research through the
creation of new technology such as an interactive website. Research (Ka’ai-Mahuta, 2012)
shows that history supports the success of this method as Māori have adapted to previous
uses of technology for preservation and this framework provides the next step for the
encouragement of future preservation. However, to help encourage success, there are a
few guidelines and methods to follow to; a) Make a functioning website; and b) Create an
engaging experience where users will seek to learn. This will be achieved by the careful
placement and structure of user experience and user interface to instill familiarity and trust
to create ‘loyal’ consumers. Preservation of indigenous knowledge is something we must
adopt through the use of ICTs as they are the ‘norm’ of todays society. It will never replace
the authenticity of traditional ways of transferring cultural knowledge, but it is a necessity in
ensuring the survival of this knowledge. In a world so digitally connected, is a link that
allows our people who live overseas to connect home.

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Chapter 3 - Methodologies and Research design
This chapter outlines the methodologies and research design used to guide this research. It
incorporates the model used to simplify the overall design of the research.

3.1 Methodology
This thesis research will be conducted in a kaupapa Māori ideological framework as the
content fits within this approach. It will incorporate kaupapa Māori tikanga in the collection
of Māori content. The thesis also considers heuristics as a framework for the development
of the artifact component of the research.

3.1.1 Kaupapa Māori

Kaupapa Māori will form the main approach of this research as it looks at framing
everything from a Māori perspective or a Māori worldview. As the topic of research is
around Māori taonga (treasure), the researcher feels that this is the appropriate way of
research to follow with regards to the collection of Māori knowledge. Kaupapa Māori is
framework based on key principals (Smith, 1999). The researcher has chosen this framework
because the principles include the following:

• Aroha ki te tangata (a respect for people)

• Kanohi kitea (face-to- face)
• Titiro, whakarongo …korero (look, listen … speak)
• Manaaki ki te tangata (share and be generous)
• Kaua e takahia te mana o te tangata (do not trample over the mana of the people)
• Kaua e mahaki (do not flaunt your knowledge)

(Smith, 1999).

It is a common formality for a pōwhiri or mihi whakatau to be held prior to the meeting as
part of tikanga Māori. These guidelines will be used to help remind and guide the researcher
when performing this process, as well as conducting interviews with participants.

3.1.2 Heuristics
Heuristic research allows for personal experience as a valid research method. Moustakas

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(1990, as cited in Guinibert, 2011) describes it as a process of ‘internal search’ where
experience forms methods for further investigation and analysis. This approach supports the
validity for the design and development of the website.

Tacit knowledge is a central component of heuristic research (Guinibert, 2011). This is

important to website design where concepts such as the “feel for web design” and a critical
eye are key factors in a successful website. Therefore, this study will include the my tacit
knowledge on web design to guide my decisions. This also compliments the kaupapa Māori
framework as it draws on personal experience and I grew up around the surrounding of the
kaupapa Māori methodology.

3.1.3 Interview Selection Process

A set criteria will guide the selection process of participants. This criteria will be based on
participants involvement with Ngātiwai iwi. The target participants will be kaumātua
(elders) and/or community leaders with mana (status) of Ngātiwai iwi.

The selection process is used for guidance through the research process as well as a method
to seek knowledge. As there are a lot of kaumātua of Ngātiwai, and the researcher has
limited time, priority will be guided with the help of whānau, as well as time and availability
of those selected. This approach also comes in line with the above principles of kaupapa
Māori, which includes the understanding of Māori relationships, and mana of each person
you are interacting with.

3.1.4 Interviews
The purpose of this method is to gather information from a wide range of different people
in the hopes of forming a pattern (Tremblay, 1957). When developing interview questions, it
is useful to start with the least threatening questions then move to the ‘more-probing’
questions (Barbour, 2013). The advantages of using the interview method, is that it can
provide rich detail of the topic.

It is important to note that all interviews will consider and be guided by the principles
described by Smith (1999).

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Interviews will be used as a data-collection method. They will be semi-structured interviews
as this is more comfortable, according to a kaupapa Māori methodology (Smith, 1999). By
using a semi-structured approach, the researcher is able to engage more in a
conversationalist type interview that can express more in-depth knowledge from the
participant (Barbour, 2013). Other benefits of a semi-structured interview include asking the
same questions to all participants.

3.1.5 Interview Analysis Procedure

Colaizzi’s (1978, as cited in Xyrichis & Lowton, 2008) methods for analyzing data will be used
to help guide and analyze the data found in these qualitative interviews. I have adopted four
steps of Colaizzi’s seven-stage process as well as implemented my own to mold the analysis
for my research. I chose this method because it is a familiar process that I have been sub-
consciously unaware of using in other work.
1. Transcribe and understand interview
2. Translate
3. Extract significant statements
4. Formulate meanings
5. Organize meanings into themes

All interviews were transcribed, two in Māori and one in English. The two in Māori were
then translated by the researcher and overlooked by the supervisor, an expert in Māori
language translation, and if need, modified to better translate the meaning.

Key statements were extracted and grouped to find common themes between all
participants. If statements were found to be conflicting, the researcher would go back to
using the text ‘Te timatanga mai o Ngātiwai’ as the base for all korero. Following this,
meanings were formulated and grouped into themes.

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3.2 He tangata model
He aha te mea nui o te ao? He tangata, he tangata, he tangata.
This whakataukī (proverb) was the inspiration behind creating and using this as a model.
The model takes into account the most simplistic aspect of the makeup of a human being;
bones, skin and features. Where bones refer to the skeleton and the ‘inside’, skin refers to
the ‘outside’ of the human body. Features in this sense are used in its most basic form and
refer to the eyes, nose, mouth, arms and legs.

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Table 1: He tangata model
Model Design Explanation
Bones
The bones represent the structure. It is where all content is based. It provides
the first step in a finished product.
Content includes
- Waiata
- Photo
- Video
- Audio
- Whakataukī
- Interview
- Additional written content

The bones are where the bulk of research content is. Without a solid
foundation, the rest will fall.

For web, this part is mainly concerned with HTML (Hyper Text Markup
Language) that is used for all content you see on a web page.

Skin The skin symbolises the style of the website. It is where we coat the structure
and where design is implemented. However, good design is driven by good
structure.

For web, this section is concerned with CSS (Cascading Style Sheets) that is the
driving language behind making the web page look aesthetically pleasing.

Features
Features include eyes, ears, mouth, hand and leg movements. Without the use
of these things, functionality would be minimal. Therefore this section
represents functionality.

This is concerned with the ‘flashy’ development of the website and Javascript
language. This implements the use of buttons and drop-down menu bars to
name a few.

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3.3 Summary
As outlined in this chapter, kaupapa Māori framework was chosen as the primary
methodology to drive this research for its relativity to the project as a whole. I have adopted
features from this throughout all aspects of the project. Particular principles I have drawn
from are kanohi kitea and aroha ki te tangata while conducting interviews. Kaua e takahia te
mana o te tangata will also inform decisions regarding certain content of the website, for
example acknowledging the mana of the participants in a section on the website. Heuristics
supports this methodology as it draws on tacit knowledge and personal experience, both of
which apply me as the researcher as I grew up around Māori surroundings.

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Chapter 4 - Purpose and background
This chapter will provide a brief background on the cultural and traditional knowledge of
Ngātiwai, particularly around kaitiaki. The goal of this chapter is to set the case study that
will inform the content of the artifact, and provide some insight into the purpose of such an
artifact in the digital preservation of Māori knowledge.

4.1 Statement of the Problem.

Māori have been forced to preserve their cultural knowledge as a result of colonization
(Durie, 2004). In a world that is constantly evolving and technology is rapidly advancing, the
researcher feels that moving towards digital preservation is the most efficient way to ensure
the survival of this knowledge for the future. There is a common saying, “once it’s on the
Internet, it is there forever”, something that books and paper text cannot guarantee.

4.2 Background and Need

4.2.1 Ngātiwai History

Many believe that Ngātiwai is a hapū of the much larger iwi Ngāpuhi, however, research
proves this to be incorrect according to traditional knowledge from withing Ngātiwai itself.
As Piripi (1966) states, Ngātiwai heritage dates back to before the time of Rāhiri, which pre-
dates the rise of Ngāpuhi. He continues to explain that Ngātiwai is a descendant of Ngāti-
Manaia who travelled here on their waka (canoe) Māhūhū-ki-te-rangi from Ngāti-Manaia. It
is through the traditional concept of inter-tribal marriage that brought the two iwi, Ngāpuhi
and Ngātiwai, together. Ngātiwai translates to people of the sea, which is where most of
their power was drawn from (Piripi, 1966). Today, Ngātiwai claims the region of the north
that extends from Rakaumangamanga to Mahurangi (Ngātiwai Trust Board, 2014).

Further to the origins of the name Ngātiwai, there is a sacred place off the coast of
Tūparehuia, called Manawahuna. Piripi (1966) explains that elders used the phrase ‘Kaua e
whakakorikoria ngā kirikiri o Manawahuna, kei ngaro koutou i te moana, kei mate’. ‘Do not
disturb the sands of Manawahuna, lest you be lost at sea, lest you die’ (p. 18) Ngātiwai
would gather here before battle or war to see their fate. If they were to be covered in

24
water, this means they would be victorious in battle, however if they remained dry, it would
mean certain defeat.

4.2.2 Ngātiwai Interpretation of Kaitiaki

According to Charles (2012) a kaitiaki is a being that acts as a caregiver, guardian, protector
and conservationist. He continues to say that the original kaitiaki were the gods of the
natural world, and all other kaitiaki emulate the originals (Charles, 2012). For example,
Tāne, god of the forest was the kaitiaki of the forest, therefore birds are from the realm of
Tāne, therefore they are also kaitiaki.

To look at an example from Te Whānau-a-Apanui people, who inhabit the East Cape region
of New Zealand, and also have a similar relationship with the ocean that Ngātiwai have,
there is the stingray or whai. The whai is considered to be a kaitiaki that protects the areas
where shellfish can be harvested. It was a belief of Te Whānau-a-Apanui that if the right
tikanga (cultural protocols) were followed, the whai would provide plenty of shellfish to
those who seek it (Charles, 2012).

According to Ngātiwai oral history, kaitiaki are many things, they can be people, creatures,
plants, mountains, mist, rain, etc (Piripi, personal communication, August 6, 2015a). Barlow
(1991) says that kaitiaki spirits are formed by deceased ancestors to protect their
descendants and wāhi tapu (sacred places). Barlow (1991) continues to state that most
common kaitiaki appear in the form of animals, birds, insects and fish.

Ngātiwai believe there are many kaitiaki that look over the environment and its inhabitants
(Piripi, personal communication, August 6, 2015a), however these kaitiaki are more
commonly known within Ngātiwai as mana (Hetaraka, 2015, Schwimmer, 1963). This use of
the cultural concept of mana to mean kaitiaki derives from the term mana atua (Hetaraka,
2015). Mana atua is the sacred power of the gods given to those who conform to sacred
ritual and principles (Barlow, 1991). Furthermore, as Hetaraka (2015) explains it, mana or
kaitiaki is a symbol of the atua. As seen in the previous example regarding Tāne, atua
inhabit the many domains of a Māori environment, therefore kaitiaki are symbols of the
mana of those atua.

25
However, to prevent confusion between the two throughout this thesis, kaitiaki will be the
term used to describe ‘divine beings’ and mana will be used to describe the status or power
of the subject, unless otherwise specified.

In its base form the cultural concept of mana means to have prestige, authority and power
(Barlow, 1991). Barlow continues to say that a modern interpretation of mana has various
meanings including the power of the gods, ancestors, land, and even individuals. Thus, these
qualities are said to be inherent in kaitiaki. Schwimmers research supports this idea and
relates mana to a class of divine beings. These divine beings of Ngātiwai fall into two
categories separated by sex (Schwimmer, 1963), the male forms being shark, stingray, and
dog, and the female form being Hineruru.

4.2.3 Different kaitiaki of Ngātiwai

Although the primary focus of kaitiaki in this thesis is Tukaiaia, it is important to note other
kaitiaki throughout Ngātiwai to understand the importance of each individual and the role
they have for the iwi.

Shark – Tautahi
According to Schwimmer (1963), Tautahi has two different versions of description. The first
being a shark with a ring on its side similar to a John Dory, and the second being a shark
with seaweed on its back. He states that Tautahi evolved from a still-born child of the same
name who was thrown into sea. The teachings of Ngātiwai state that when at sea, Tautahi
guides its descendants to safety.

Stingray – Te Whenua
Schwimmer (1963) states that his main role is a guardian of a cemetery at one of the
beaches. He possesses anyone that violates the cemetery. It is also important to mention
that Hetaraka (2015) also describes another stingray mana of Ngātiwai, known as Whairepo.

Dogs
Hetaraka (2015) states that Manaia, a chief, had two dogs, one white, and one red which is
supported by Piripi (personal communication, August 6, 2015a). Piripi (2015a) continues to

26
say that the two had contrasting meanings. Without clearly indicating which was which, he
described that one should be taken as a good sign, and the other a bad omen which you
should be careful around. Schwimmer (1963) believes a dog by the name of Poiha who
belonged to a tohunga, Te Hoterene Tawatawa, was also a kaitiaki. He became a kaitiaki by
eating the leftovers of his tohunga who himself was a man of great spiritual power. Poiha is
said to protect his master’s descendants by guiding them to safety if lost in the bush.

Bird – Hineruru
Another manu of Ngātiwai, Hineruru, Schwimmer (1963) describes her as ‘the bird’ of
Ngātiwai. Hineruru is recognized as being grey of colour with white under wings and the
teachings state that if Hineruru is seen walking along the road in front of you, you are to be
cautious as danger is around the corner. Piripi (2015a) describes a personal experience,
where he saw Hineruru whilst travelling along a rural road, later through his journey he
came across an accident on the corner of the road. Furthermore, Schwimmer (1963) states,
“Usually the kaitiaki is seen when someone from the tribe passes on” (p. 6).

4.3 Summary
Kaitiaki range through a variety of beings, however they all have the same purpose, being a
protector and/or caregiver. This research acknowledges that the two words, mana and
kaitiaki are intertwined with the same meaning, however for simplicity and understanding
they will be later defined and separated. This is a brief example of the wide variety of
cultural knowledge that has limited written text. This is the content that needs to be
preserved to ensure its survival so that future generations can learn of these stories. Earlier I
mentioned whairepo as another stingray kaitiaki, but because there is little known or
recorded, it is information that may not survive. Therefore by conducting more research,
more recording, more documentation, and adding it to a digital archive like this website, we
will be able to ensure the safety and survival of all cultural and indigenous knowledge and it
will be forever available.

27
Chapter 5 - Interviews and participants
This chapter expands on the outline of the interviewees in Chapter Four, and looks at their
connection to Ngātiwai. It uses Colaizzi’s process of analyzing to explore the interview data
and identify key themes. Following this is a set of limitations based on the collection and
analysis of the data.

5.1 Interviews
Using a semi-structured approach, the researcher is able to engage more in a conversational
type interview that can garner more in-depth knowledge from the participant (Barbour,
2013). Other benefits of a semi-structured interview include asking the same questions to
all participants.

5.2 Participants

5.2.1 Morore and Mahikitai Piripi

I travelled to Whangaruru to interview the two participants about their knowledge and
experiences with Ngātiwai and Tukaiaia. After initial formal introductions, the participants
and myself continued on to what is known as a mihi whakatau or pōwhiri to be welcomed in
to their home. This is important to note as pōwhiri is an integral Māori cultural protocol that
establishes and formalises the relationship between the researcher and the participants. A
modern interpretation of pōwhiri can be used to include every aspect of welcoming visitors.
Any interaction between both parties can not continue until this protocol has been
completed (Barlow, 1991).

With protocol complete, the research began where we spent a couple of hours researching
old texts and kōrero (narrative) that has been passed down to them. Aroha ki te tangata
should be noted here as this is kōrero that has been within their whānau for decades and
understanding that this is a sacred topic is important. This archival material would go on to
drive the conversation on camera. With Mahikitai being the older brother, Morore felt it
would be better for him to go first as he was the one who should be sharing his kōrero first.
Following the interviews, we sat to have kai before a brief poroporoaki (formal
acknowledges before parting ways) where I would return from Whangaruru to Auckland.

28
Mororekai Piripi

“Ko Mororekai Piripi ahau, i whānau mai au i te rā whānau o tōku tupuna, ko Mōrore anō,
koinā te take ka tukuna taua ingoa ki runga i ahau. Mai i konā, he hū nui rawa atu ki te
whakakī, ēngari ka kawe au i te ingoa o tōku tūpuna, ka hīkoi ahau i raro i te whakaiti, i te
humārie, ki te whai i wāna wawata, i ngā wawata o ōku mātua, nō reira, koinā tōku ingoa.
Ko Houpeke tōku matua, nāna i mārena ki a Mere, nō Te Whānau-ā-Ruataupere tōku
whaea, he kāwai rangatira ki taua taha anō, ēngari nō Whangaruru ahau, nō Punaruku i
tipu ake au, i kuraina au i roto i tōku wā tamariki, rangatahi hoki”.

My name is Mororekai Piripi and I was born on the same day as my grandfather, and
namesake, Morore. Since then I have had big shoes to fill, however, I carry his name, and so
I walk with humility, and pursue his dreams, and the aspirations of my forebears, therefore,
this name. My father is Houpeke, he married Mere from Te Whānau-a-Ruataupare, my
mother is of that noble line, but I am from Whangaruru, and grew up in Punaruku, where I
also went to school.

Mahikitai Piripi

“Ko taku ingoa ko Mahikitai Piripi, nō Ngātiwai. Tō mātou nei hapū ko Te Uri o Hikihiki, nā i
tipu atu au i konei, i Whangaruru. I whānau mai au i konei, i haere au ki te kura o konei, nā
reira, na to mātou pāpā i mauria atu mātou ki ngā wāhi katoa o te moana, ki te hī ika, ki te
ruku kina, ki te kohikohi pipi, ā, ki te mahi i ngā whēua kei te wāhi urupā ki Mōkau”.

My name is Mahikitai Piripi, and I am from Ngātiwai, our sub-tribe is Te Uri o Hikihiki. I was
born here in Whangaruru, I grew up here, I went to school here, our father took us to to the
sea to learn about fishing, diving for kina, gathering pipi, and to work with bones in the
sacred burial ground at Mōkau. These were all the things our father taught us whilst
growing up here.

29
5.2.2 Carmen Hetaraka
The interview was conducted at his workplace in Wiri. Before we began, Carmen asked if we
could perform a karakia (prayer) before moving forward. He explained that as a subject so
sacred to Ngātiwai he felt it was important to acknowledge all those who have passed on
especially to those of whom who he learnt from. Karakia, like mihi whakatau and powhiri,
act as a cultural protocol that prepares a sacred space that will soon be interacted with by
people. Karakia also act as a ritual of making connection between parties involved in the
purpose of the meeting. Karakia provide comfort, guidance, directions and blessings
(Barlow, 1991). These protocols were familiar to the researcher who grew up within this
environment. However, these protocols often seem very foreign to an English-only media
team that is derived from western notions of social engagement.

Carmen Hetaraka

“Taku tūpuna a Turehua I moetahi ki a Mihi-Terina, ka puta ki waho a Hēni Kohiahi, Ka moe
a Hēni Kohiahi ki a Himiona, ka puta ko Ripeka. Nā ka moe a Rīpeka ki a Te Moro Rīwhi-Hāri
ka puta a Mihi-Terina, ka moe ia I a Huruiki Iehu-Hetaraka ka puta ki waho a Wiki Te Pirihi
Hetaraka, ka moe a Wiki Te Pirihi Hetaraka I a Raiha Heta Te Kauwhata ka puta ki waho ko
taku pāpā Te Moro Wiki Hetaraka, ka moe ia ki a Laurel Kereopa, ka puta ko au. Koina taku
whakapapa ki a Ngāti Manaia, ara a Ngātiwai. Nā te mea I te taha o taku māmā ki
Patuharakeke, me taku pāpā ki Whangaruru”.

My ancestor Turehua joined Mihi-Terina, then came Hēni Kohiahi. Hēni Kohiahi joined
Himiona, then came Ripeka. Ripeka joined Te Moro Rīwhi-Hāri then came Mihi-Terina. She
joined Huruiki Iehu-Hetaraka then came Wiki Te Pirihi Hetaraka. He and Laurel Kereopa are
my parents. That’s my link back to Ngāti Manaia, thus Ngātiwai. On my mothers side I link to
Patuharakeke and my Whangaruru on my fathers.

5.4 Analysis of Interviews

Five common themes were extracted from the three qualitative interviews.

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5.4.1 Themes
 Form
 Mana of Ngātiwai
 Manawahuna
 Karakia and Waiata
 Te Houpeke Piripi

5.4.1.1 Form
This was the most diverse theme. This theme refers to the form that Tukaiaia presents itself
as. Piripi (personal communication, August 6, 2015b) describes Tukaiaia as a kind of soul
that exists within other creatures, “only in my thoughts, and experiences would I see my
forms of this bird, be they seagull, fantail, sparrow, or hawk, to me, those are the different
forms of Tukaiaia”. Piripi (personal communication, August 6, 2015a) recalls his father
mimicking the sounds of a bird thought to be Tukaiaia and once he saw the feathers drop
from this bird making the sound his father made, he realised it was a black back gull.
Hetaraka (2015) says that these forms (black back gull and mollyhawk) are only
representations of Tukaiaia. He believes Tukaiaia is more of a divine being, one that can’t
simply be seen in our world, but we use representations of birds we know that can best
describe it. “So thats why you’ll hear kōrero that will say its a big black back gull or what
they call a molly hawk and then because our kāhu here, that one you see eating the road
kill, thats a bird of high distinction for us because its like an eagle ... but it’s been diminished
because it’s eating Possum off the road…, that’s not even an animal from here, you see. So
its status has been diminished. But they (molly hawk and kāhu) are actually symbols and
metaphors for high-born people” (Hetaraka, 2015).
As all three descriptions about the form of Tukaiaia vary, we can ascertain that they still
have one common trait in that they agree it is a large hawk-like bird. All participants have
their own interpretation and the researcher supports this idea that it is the representation
of Tukaiaia’s many forms that is most important.

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5.4.1.2 Kaitiaki of Ngātiwai
All participants spoke of other Ngātiwai kaitiaki, more commonly referred to as mana. Piripi
(personal communication, August 6, 2015a) says that “there are also other kaitiaki, Tautahi,
is a shark, and there’s also a stingray, and dad had two dogs he talked about”. These are
supported by Hetaraka (2015) who says “ko te tuatara, ko te whairepo, ko te kāhu, ko
Tukaiaia, and we also have a mako, or mango, Tautahi. So those are the mana of Ngātiwai.
Even dogs, the dogs of Manaia”. Piripi (personal communication, August 6, 2015b) adds
“What we, as man, need to do is to open our minds, our faces, our ears, our skin, everything
that makes us human, to these kaitiaki”.

These kaitiaki were explained to the researcher as a way to understand the different types
of atua in Ngātiwai. This helps us to understand the importance of each divine being.

5.4.1.3 Manawahuna
Manawahuna was mentioned by all participants and all told the same story. Manawahuna
is a special place where Ngātiwai would gather before war to determine their fate in battle.
This lead to how wai (water) was the power of Ngātiwai and reinforces the name of the
people. “Ngā mana katoa o Ngātiwai kei te wai” (Sadler, personal communication, 2006).

5.4.1.4 Karakia and Waiata

All participants were asked if they knew of any story, karakia (prayer), waiata (song) and
tauparapara (incantation) about or inclusive of Tukaiaia. We listed four examples.
 Takina ake ra (Karakia)
 Tukaiaia (Waiata)
 Ka tangi a Tukaiaia (Tauparapara)
 Tauparapara 2

The karakia “Tākina ake rā” was the first example given by all participants. It is also noted
and translated in Piripi (1969). This will be discussed further in the research.

32
The waiata talks about the journey of Tukaiaia and the border of Ngātiwai from the
perspective as if you were travelling next to it.

A tauparapara that speaks directly about the signs of Tukaiaia, stating if you see this being,
Ngātiwai would soon follow.

Regarding the last tauparapara, although mentioned, it is uncertain if it is indeed a direct

link to Tukaiaia or whether it is a general mention to manu. “He rūrū ano te rūrū, he kaiaia
ano te kaiaia, tēna ko au, ko maui tikitiki o te rangi. Taki wai whiti, taki wai tai. He tu whaipō
he tu whaiao. He tapu tau ake i whanakenake ki te papa o Wāhiaroa” (Hetaraka, 2015).

These examples provide an understanding of how cultural knowledge was passed down
orally. It’s something that Māori adapted to ensure the survival of this knowledge, and
further supports the documentation of this traditional knowledge.

5.4.1.5 Te Houpeke Piripi

All participants reference Te Houpeke Piripi throughout their interviews. From the data
collected, Te Houpeke Piripi was a tohunga (prophet) of Ngātiwai knowledge and traditions
and is one of the main educators of this knowledge. All participants have learnt korero from
him at one time or another. He is a kaitiaki of our knowledge for preserving these korero.

5.5 Limitations
Improvements can always be made to research, however with the constructs of time and
other factors, certain limitations have lead to compromise and small sample size. For
example, condensing the sample size of participants to only three. With more time we can
see an increase in sample size, producing more data that would expand themes and ideas,
thus leading to an increase of cultural knowledge that can be digitally stored. This is a
subject that cannot be covered in full over a year-long study, instead multiple years would
create a round understanding. Therefore this research set the foundation for a wider
project that perhaps Ngātiwai iwi can continue into the future.

33
5.6 Summary
These participants will help guide the research, as they are respected people within
Ngātiwai for oral knowledge. From the qualitative data collected, themes have been created
to separate video content in the exegesis. It is important to note that there are many more
respected people in Ngātiwai that have invaluable korero of Tukaiaia, however due to
limitations this was not a possibility. To improve on this qualitative data collection, the
sample size could be increased to produce more effective data. This would allow for a larger
research scope and would increase the amount of knowledge gathered, therefore creating a
positive impact on this research. It could delve in to the origins of kaitiaki and perhaps a
detailed illustration of their description. However, this could not be done in the amount of
time provided. It would also require a team to conduct such complex and intense research
and data collection.

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Chapter 6 - Tukaiaia
This chapter aims to answer the question “what is the significance of Tukaiaia to Ngātiwai”.
It re-introduces data collected from the qualitative interviews briefly discussed earlier in this
research, and analyzes its meaning.

6.1 Statement
It is worth reinforcing that I am what (Adler & Adler, 1994) refer to as an insider researcher.
The general sense of the term is that the researcher is part of the group being researched
(Adler & Adler, 1994). In this example, I have geneological links (whānau, whakapapa) to the
topic of research. Within this environment, as a child, I was always taught that Tukaiaia was
one of my kaitiaki being a descendant of Ngātiwai. I was taught that if this kaitiaki came to
me in a dream, I was to take it as a sign of comfort, and to remember it is always there to
watch over me.

6.2 Name
Hetaraka (2015) explains the name Tukaiaia, which derives from the phrase ‘Tukai i aia’. The
large bird that would chase and attack other seabirds forcing them to spit their food they
were holding in their throat. Piripi (personal communication, August 6, 2015a) talks about
how his father, Te Houpeke Piripi, would mimic the sound of Tukaiaia and realized it was
similar to that of a black back gull. Hetaraka (2015) re-enforces this notion as he thinks we
have adopted these ideas as representations of Tukaiaia. He continues, Ngātiwai have had
to use representations of Tukaiaia or metaphors to explain it. It’s a bird of high distinction,
being such; the closest representation that will suffice is that of a black back gull, or a molly
hawk.

6.3 Form and representation

Form is discussed earlier in this research and we found that it varied between the three
participants. What we could identify in each interpretation however is that all agree that it
resembles a bird-like figure. This is also true of the base research, where Piripi (1966)
describes Tutemahurangi as a great albatross.

35
What is important is what the form represents. Piripi (personal communication, August 6,
2015b) says “our job is to teach these traditions to younger generations, that is your kaitiaki,
if you see them, its alright, should you see this particular thing, be careful, should you see
this, you should run, leave, go back to a safe place. That is our job, to pass on the teachings
and history to our children and grandchildren”.

All participants may have varying forms of Tukaiaia however there were commonalities
amongst all of the participants that lead to a single representation of Tukaiaia, that is, a
messenger bird. A kaitiaki that would warn or notify the arrival of a purpose.

6.4 Manawahuna
Manawahuna is another constant mentioned by all participants. According to Piripi (1966),
Manawahuna is a cave that contains sacred water. Ngātiwai would gather here before
battle and karakia. They would stand in the cave and one of two things would decide their
fate in battle. The first, if they become wet, this would be treated as a positive sign that they
would be victorious in battle. If they remained dry, it would be taken as a bad omen and
that they would either fall ill or not survive in battle.

Though a direct link to Tukaiaia is not formally established, it remains an important factor in
learning about Tukaiaia. It was reference by all participants in the qualitative study

6.5 Karakia and Waiata

Tukaiaia has also been known to have an alternate name ‘Tutemahurangi’. In the
tauparapara (a type of karakia that identifies a visiting group through incantation to begin a
speech (Te Aka, 2016), ‘Takina ake ra’ there is a section where the bird is identified.
“Whakataha ia ra te tikitiki o Tutemahurangi, he manu kawe ngā kii ki roto o Pou-e-rua”
(Piripi,1966). This tauparapara depicts Tukaiaia as a messenger bird. It states it travelled
inland to a pā in Kaikohe to carry word about war (Piripi, 2015a). This idea can be found in
another tauparapara “Ki te tangi a Tukaiaia ki te moana, ko Ngātiwai kei te moana e haere
ana. Ki te tangi a Tukaiaia ki tuawhenua, ko Ngātiwai kei tuawhenua e haere ana”. Piripi
(2015a) shares a story that his father, Te Houpeke, would share with him, that in past tense,
when Ngātiwai would go to war, Tukaiaia would present itself to their allies to let them

36
know Ngātiwai is coming, a sign to prepare for visitors. A modern interpretation by Piripi
(personal communication, August 6, 2015b), states that for him, Tukaiaia can represent
itself in many forms of manu, as it is the embodiment of the spirit that he sees. The message
of visitors to the area still remain as they were, however are no longer related to war.
Because of the ability for modern interpretation, it is still relevant today.
Takina ake ra te tai tara ki Motukokako,
Whakatahahia ra te tikitiki o Tu-te-mahurangi,
He manu kawe I nga kii ki roto o Pou-e-rua
Nga kohu e tatao I runga o Rakaumangamanga
Kei tahuna kia tapu te riri e
Whai mai ra ki au

Tena ra pea, koe e Pa e te Apatunga!

Te korero a Wharena
Kia houhia te rongo
Ka whakarauika a Ngapuhi.
Ka tu Taiharuru te moana
I hoea ai e Ngatiwai
Ki raro ki Putawiri
Ka mate ki reira ko te Wehenga,
Ka ora ki reira ko te au Kumeroa.
Nga tai e to na ki waho o Morunga
He au here toroa,
Whai mai ra ki au

In the song ‘Tukaiaia Ngatiwai’ composed by Tommy Taurima and Te Houpeke Piripi, we see
the travels of Tukaiaia. The song was designed to describe the travels of Tukaiaia through
the kaitiaki’s own eyes, this was to show children what it would be like if they could fly with
Tukaiaia ‘parirau pakipaki, parirau tukituki, korikori taua’ (Hetaraka, 2015). The song tells
the boundary of Ngātiwai through the journey of Tukaiaia, from the highest mountains to
the seas. Significance can be found in defining the boundary to educate the iwi on its
borders and journeys of Tukaiaia.
Porotiti titaha e rere e manu
Korikori taua kokiri taua
Parirau pakipaki
Parirau tukituki e

Hinganga ki uta
Hinganga ki tai e, aue

Ngatiwai

37
E rere runga rawa e,
Ki runga o maungatapua
Ko Tukaiaia
Ki raro whakaatata
To tinana manu tipua
Ko Tukaiaia

Ka tū ngā maunga teitei

Parimata, Ngaiotonga, ko Huruiki ē
Ki roto Whangaruru kei Ngatiwai
E rere ki te hauauru
Ki te poko rua ana

Rakaumangamanga e
Taku manu tipua
Kia paripari korikori parirau e
E rere ara ki te kauariki e
Ki tuparehuia
Nga mokopuna Ngatiwai

Whakarongo ki te tangi
Aku manu tipua
Ko Ngatiwai, Whangaruru
Tu mai Tukaiaia
Nga manu tipua,
Ngatiwai e.

38
6.6 Summary
There is an abundance of beautiful korero about this divine manu that sit within our
Ngātiwai community. The significance of Tukaiaia to Ngātiwai iwi is for each to interpret
their own conclusion. I have learnt that Tukaiaia’s representation throughout history as a
mana of Ngātiwai is still as relevant as it was then, now. Through song we are able to
identify journeys of this mana. Through tauparapara and karakia we hear significant korero
about its life. It can act as an intriguing story to excite children as well as provide a clearer
understanding for who we are. I believe its significance today is continuing to educate our
people through these korero, a kaitiaki in the sense of not only a protector and caregiver of
people, but a protector and caregiver of tikanga and history.

39
Chapter 7 - Documentary
This chapter explores documentary styles to decide which one is better fitted for this
project. It separates the observational style apart from the expository style, as the natural
fit to the project as it also appeals to kaupapa Māori and tikanga Māori. The two seem to
have a seamless cohesion, that compliment each other for this project. Following this, we
identify the vast equipment kit that was used to conduct the video aspect of the practical
component. The researcher produced this without a budget and the help of videographers
to engage in production. The equipment is what was used over the entirety of the project,
meaning some was used at ‘x’ and others at ‘y’. There was no point in time where all was
used on the same shoot.

7.1 Documentary Style

According to Nichols (2010) there are two main types of documentary styles.
The first, expository shows that the relationship between subject and filmmaker can be
distancing, it generally uses a narrator or an authorial voice over. The second, and the type I
have chosen to use is the observational style. Nichols (2010) describes this as a shift in the
relationship of the filmmaker and subject whereby the filmmaker becomes an observer to
the scene, more commonly known as the ‘fly on the wall’ approach. Cohesion can be made
between the observational style and a tikanga Māori approach. Nichols continues to state
that common traits include participants becoming social actors, questions grown into
interviews and further conversations between filmmaker and subject and the absence of
intervention from filmmaker in capturing the action. The cohesion can be made by this and
the principles; Aroha ki te tangata, kanohi kitea and manaaki ki te tangata, which are
previously mentioned in chapter four. This cohesion of style essentially creates a more
realistic type of documentary because there is no ‘staging’ of events.

7.2 Equipment
The following equipment was used to capture all video related data. Not all pieces of
equipment were used at the same time, but at least once throughout the documentation
process.
 Camera

40
 o Canon C100
o Canon 5D Mark III
o Canon 650D
 Lenses
o Canon 85mm f/1.2
o Canon 50mm f/1.8
o Canon 24 – 105mm f/4L
o Tamron 10 – 24mm f/3.5
 Sound
o Rode Videomic
o NTG4 Shotgun Microphone
o Senheisser Wireless Lapel
 Accessories
o Manfrotto Tripod
o Manfrotto Monopod
o E-Image Tripod
o Aputure AL-H160 LED Lighting Kit

7.3 The process

The participants were asked a set of questions to initiate conversation. If the researcher
sensed the conversation was heading in a different direction, straying from the question
line, the researcher used probing questions to subtly encourage participants back to the
topic of discussion. This technique helped to create a sense of conversation rather than an
interview. However, topics that were not discussed but were part of the original set of core
questions were marked as further topics of discussion to be initiated when the participant
was able, also abiding by the principle of titiro, whakarongo, and kōrero - look, listen, and
speak.

7.4 B-Roll
“B-Roll is the extra footage captured to enrich the story you’re telling and to have greater
flexibility when editing. Instead of featuring only talking heads on video, you want to have
other images you can cut away to that will add dimension to your story. B-roll can include
additional video footage, still photographs, animation or other graphic elements”
(Jellinek, 2011)
B-Roll was taken on multiple occasions. This was a result of many factors, different weather
types, multiple locations, re-shoots. B-Roll is also known as ‘cutaways’ so having a lotof
these gives more options in post-production to cut away from the head shot and can give
more depth to the story.

41
7.5 Summary
Every step throughout this video recording and documenting process was carried out
through kaupapa Māori theory. It’s an indigenous transfer of knowledge experienced with
indigenous traditions. For post-production work on the practical component of this
research, the expository style will drive the style of documentary. It will act as a guideline
for editing.

42
Chapter 8 - Practical Design
This chapter outlines the creative process behind the graphic design and website features of
the practical component to this research. It discusses a creative framework by Do and
Caballer (2014) to help guide the thought process. It displays graphic design work showing
wireframes, sitemaps and mockups to provide an understanding of how the researcher
arrived to the final output for the practical component. Some key words that will be used in
this chapter are user interface and user experience (UX/UI). This refers to the interface of
the website and its simplicity to navigate the site, if successful, it should be able to be easily
navigational for its users and should not make browsing the site an effortless act.

8.1 Creative Process

The creative process is a guide that varies from designer to designer. There is no right or
wrong creative process as it is solely a personal preference. Many designers influence my
style, however I feel for this project I have communicated a lot of this work from the
inspiration of Chris Do and Jose Caballer of The Skool Networks creative process. I have
found that there is a balanced mix of logically structured and creative unstructured thought.
I have drawn heavily from Do and Caballers’(2014) framework of creative process and
modified it to better suit my workflow.

8.2 Gather ingredients

 Create Attributes
 Research

8.3 Tell A Story

 Create directions

8.4 Make it Artful

 Stylescapes

8.5 Design
 Wireframes
 Mockups

43
 8.6 Create
8.2 Gather Ingredients

8.2.1 Create Attributes

Arguably the longest process of design, these are the attributes that will direct the style and
art of the site. This framework has been sourced from the CORE kit of The Skool Network
(https://the-skool.myshopify.com/) and modified.

These are used to help identify a certain direction. Usually, they are asked to the client, but
as this is an exegesis, I have put myself in both the role of the client and developer;
therefore I have answered them to how I would like the attributes to be. The bold red words
are the strongest attributes that will heavily influence design.
Figure 1: Attributes

CULTURE CUSTOMER VOICE FEELING IMPACT XFACTOR

How would How would How would you How a What we What
the user you describe sound to others user feels tangibly makes us
describe the your ideal after using deliver special
brand user the
product

Traditional Families Knowledgeable Calm Community Exciting

Homegrown Suburban Wise Energized Education Legend
Authentic Teenager Bold Taught Fun
Māori Student Nurturing Country Interactive
Modern Driven Our own
Simple

44
8.2.2 Research
The most important step in my creative process is always to research websites of similar
nature. The thought behind this is to find common UX/UI features and design features to
best display my own work. By doing this, you can break down and analyze sites and
implement these in to your own design. It’s a process of understanding what works and
what does not. This is more efficient than creating a final product from a blank canvas
without inspiration.

Following this thought process, I have included two of the case studies of website
breakdowns that contain features I have drawn inspiration from and summarized what is
efficient and how I could apply them in my own design. This is integral to help direct the
path of design I choose to follow.

45
Figure 2: Case Study 1 - Cronulla Riots

Noted features
- Video loop in background - Hexagon pattern evident throughout design
- Graphic overlay - Navigation menu separated by themes of documentary
- Brief overview in main graphic - 3D Space feel
- ‘About’ on scroll, own BG, moves on scroll function
My design is heavily influenced from this website. The way of navigation and the 3D space is something I explored as a feature to include. I
have analyzed these features to see if they could work effectively in my own design and why. The constant use of the hexagon pattern is a

46
subtle ‘marker’ of repetition to create a certain feel of the site. Repetition leads to a sense of unity and has the ability to improve readability,
without it, design lacks continuity and the user can lose interest (Shutterstock, 2015).

47
Figure 3: Case Study 2 - Destiny

Noted features
- Landing page has open UI - Bottom right = constant navigation repetition
- 3D Space feel - Opens separate window on click
- *Green underline = submenu - Exit button clear and evident
- Brief description appears on hover - Social media buttons easily accessible
Again I have drawn inspiration from the features in this website. More specifically, the pop-up window to display media content, the efficient
use of repetition in the bottom right navigation and the UX feel to navigate the site. Both case studies have a similar open navigation system
and 3D space to move around. This is a feature that I strongly use in my own design. Intuitive design is how we give the user new superpowers
(Spool, 1999).

48
8.3 Tell A Story

8.3.1 Create Directions

Using the attributes from above, I separated them into two directions to eventually create
two stylescapes. Do & Caballer (2014) says it’s useful to draw from other attributes in the
chart however using a guideline of 80% direction attributes and 20% other attributes
generally creates good stylescapes.

Figure 4: Directions

Direction 1 Direction 2 Direction 3

Simple Homegrown Simple
Suburban Driven Homegrown
Bold Wise Suburban
Energized Country Bold
Education Community Calm
Exciting Our Own Legend

By using these directions, a story can be developed through design, which leads to step
three, make it artful.

8.4 Make It Artful

8.4.1 Stylescape
I have created 2 stylescapes. “Stylescapes are a design deliverable that helps present the
visual language direction of a project. They consist of fonts, colour, logo, form, images and
interface or physical elements” (Do & Caballer, 2014). The idea of stylescapes is to generate
different feels for the same project to decide on which direction to move forward with. It is
an integral step before producing mock-ups. Because I am also the ‘client’, I know the style
I’m looking for, but as a designer, “the hardest thing for a designer is to accept that the first
design isn’t good enough” (Do, 2014). Keeping to this thought structure, I created different
stylescapes with similar attributes and differentiated them.

49
Assuming the logo is created and going to be used, the first step to creating stylescapes is
finding a colour palette. I find the website ‘Adobe Kuler’ is best for this. Adobe Kuler is a
website that creates colour schemes and generates thousands of colour combinations from
the uploads of the Kuler community. Having an Adobe Creative Cloud account allows it to
integrate seamlessly with Adobe software so that you can access these colour palettes in
software’s such as Adobe Illustrator and Adobe Photoshop.

Typeface. More commonly known as font (the two are arguably interchangeable now
(Frere-Jones, cited in Brownlee, 2014) can be found through the mass of websites, but it can
be hard to separate the good from the bad. Personal choices are fontfabric.com and
fontspring.com. Between these two websites, there are a variety of well-made and free
fonts with accurate tracking and kerning unlike the fonts commonly found on dafont.com.

There are three main types and each have their own purpose.
Serif font Aa - Serif
Sans font Aa - Sans
Slab font Aa - Slab
(Lupton, 2014)

Written text, both printed and on screen, fall in to two categories; body and head. Heads
are used mainly for eye-catching sections and subsections while body is the main reading
matter (Lupton, 2014). There are many factors that lead to a type selection and I have
expanded these below.

Images are a strong component that adds to the overall theme and feel of the design. These
can be originals or taken from Shutterstock and various image sites. Because my stylescapes
are not-for-profit I have used Google images.
An optional step for websites is to integrate part of the intended layout in to the stylescape

A general guideline to creating stylescapes can be found later in this chapter.

50
Stylescape 1 Breakdown
Step one – Finding a colour palette
I used the keywords ‘energy’ and ‘suburban’ in Adobe Kuler to draw from those
colour palettes and create my own.

Figure 5: Colour Palette 1

Step two – Font selection

I used ‘Bebas Neue Bold’ as a bold font and ‘Sanchez’ as a contrasting style choice.

Step three – Source images

I decided to only use shapes and bold colours as a ‘simple’ approach to design. The
absence of images emphasizes this idea.

Step four – Layout

This is a feature which I am certain will be in the final output somehow, which is why
I have included it here.

Stylescape 2 Breakdown
Step one – Finding a colour palette
I used the keywords ‘homegrown’ and ‘country’ in Adobe Kuler to draw from those
colour palettes and again create my own. These have cultural appropriation as they
are natural earth colours. Browns, greens and blues represent earth, sky and sea and
are general colours, in my opinion, when you think of Papatuanuku and Ranginui,
the earth mother and sky father.

Figure 6: Colour Palette 2

51
Step two – Font selection
I used two different weights, bold and regular, of the ‘Sucrose’ font family. It also
has extra styles ‘Sucrose one and Sucrose four’ which decreases its full-ness by
subtracting some of its boldness. Eg.

As a bold font, these fonts have good contrast between their different weights.
Sucrose four also feels more towards country and homegrown because of its
decreased boldness. It makes it seem more authentic. Lupton (2014) says that
websites need a hierarchal system and that this can be delivered through scale,
weight, colour, complimentary fonts and styles. It should show structure and
direction. By using this bold serif font I aim to attract attention to the subheadings.

VS
Step three – Source images
A Google search of ‘Oakura Beach’ (The beach where I plan to go take original
photos) and ‘green forest’ re-enforced the proposed homegrown theme.

Step four – Layout

Again, I have integrated the same layout feature as I have in stylescape one because
I am adamant that this will be in the final output. It has an effective User Experience
and User Interface (UX/UI) design.

Stylescape 3 Breakdown
Step one – Finding a colour palette
Using Adobe Kuler again, I explored the keyword legend to generate a colour
palette. This was inspired by the use of colours in animation. I tend to be drawn
towards the earth tones as it represents the colours I think about when I hear
Ngātiwai. Earth tones remind of an image of ‘the mill’, a local swimming hole in
Whangaruru, so automatically I am drawn to these colours.

52
Figure 7: Colour Palette 3

Step two – Font selection

I decided to keep ‘Roboto’ as the main font and using a variety of its weights to show
contrast between text.

Step three – Source images

By now I had already gathered some source images, so I used these to implement in
the design

Step four – layout

A new layout formed from a late inspiration that perhaps changed my mind most on
the final output.

8.5 Design
This section focuses on wireframes and mockups. Figures are separated into two
parts; initial and subsequent designs. After creating the initial design, it was advised
that the project might be too large to execute in the time frame. Also the level of
web development skills might also be outside my personal skills range to follow
through with functionality. It was recommended that the initial design would need a
small team to complete the build for the initial design approach. However I have
included the initial design as an original concept as a reference to the intended
design only. The subsequent only contains a wireframe as I decided to start building
before I completed mockups for this part.

8.5.1 Wireframes
Wireframes are used to display conceptual models of a design. They can have
varying levels of detail, known as low-fidelity to high-fidelity (Bertelsen, 2014). They

53
represent the skeletal structure of a website and uses simplified elements to create
a general understanding of design concepts (Lupton, 2014).

Low-fidelity wireframes have little detail but provide a good understanding of the
layout of the design. It shows initial placement for design features and helps the
‘client’ understand a layout without being distracted by a full coloured style design.
High-fidelity improves on low-fidelity by adding more of a visual overview to show a
closer-to-end-product where the client can vividly picture a direction or style of
where the site is heading.

Refer to wireframe figures later in the chapter.

Wireframe 1 – Initial Concept

Wireframe 2 – Subsequent Concept

8.5.2 Mockups
Mockups provide a final look to begin production. Figure 9 (p. 46) shows a mockup
of where the majority of the site is controlled. This composition is 3072 x 756pixels.
3072 is 3 x 1024 (A website at full size) so imagine the composition has three
sections, horizontally split into thirds. Each third represents the size of a web
browser screen at full size (1024 x 756pixels). This is how the website will be viewed
through a browser. This is not typical of your traditional website, it leans more
towards a gaming interface which I have chosen to use as a better interactive
feature for the target audience.

8.6 Summary
Designing for websites are a long process to follow through with. Using a creative
process to guide thought and provide structure is a key part in moving forward and
completing each step along the way. As a designer, knowing when to stop editing is a
concept I struggle with as you always think you could improve on some aspect.
Because so much time was used to create the initial design, it left less time than
expected to implement this in to a build. Therefore I had to create mockups and

54
build simultaneously to execute the subsequent design. Fortunately, I was able to
use the stylescapes as a way to style the design. After experimenting with html, css
and the stylescapes, I decided to use stylescape 3 as it was the most appealing
throughout this ‘testing’ phase. Creating a wireframe was the most essential step of
this design to guide the placement and layout of the final build.

55
Figure 8: Stylescape template (Recreated from The Skool Network stylescape template, 2014)

56
Figure 9: Stylescape 1

Figure 10: Stylescape 2

57
Figure 11: Stylescape 3

58
Figure 12: Sitemap

59
Figure 13: Initial wireframe

60
Figure 14: Subsequent wireframe

61
Figure 15: Initial mockup

62
 Chapter 9 - Final Product
This chapter outlines the final products screenshots and explores the thought
process behind features and content as well as the intended use of the website. It
will be separated by page and can be found on the USB provided.

9.1 Instructions
For examination purposes, the final product will be provided via a USB drive.

1. Insert USB in to computer via USB port

2. Open folder ‘jpelasio’
3. Open file ‘Home.html’
For best performance, right click ‘Home.html’ select open with > Google
Chome
4. The website will open in a browser and you will be able to navigate the site as if it
were live.

The website is due to be uploaded live after examination.

9.2 Home page

Figure 16: Homepage

63
The homepage is the landing page for the site, it is the first thing you see when you
enter the websites url. The background is a video loop of Oakura in Whangarūrū,
which is an image used to represent Ngātiwai. It emphasizes the meaning of the
phrase ‘our mana comes from our wai’.

The colour scheme is used from stylescape 3, mentioned earlier in chapter 8. I chose
to use a menu icon, situated in the top left, instead of a generic navigational menu
for simplicity. Furthermore, because of the contrasting colour it is still caught by the
eye, however remains subtle enough as to not distract the user from the main title
text and key image. The same thought is applied to the bottom two buttons, map
and collection, which lead to the most content heavy sections of the website.

There is a hidden feature loop of the song Under Water by Silent Partner. The song is
downloaded from the free to use Youtube Audio Library. This song creates a sense of
calmness and clarity and I thought it was the perfect fit to be the anchor to the
website. The intended end goal for the use of the website is for our people to
understand more about the history of Ngātiwai and be able to use this as a
foundation for an online learning tool.

9.3 The Documentary and Menu

9.3.1 The Documentary

The documentary is presented as a full screen view of the browser, which has been
done for two reasons; 1) to provide the best user experience; and 2) to highlight this
particular piece of content as the focus of the website. There is no other reason to
navigate to this page but to watch the documentary

64
9.3.2 Menu
Continuing the idea around simplicity, the menu is displayed in a very minimalist
form. The arrow is a contrasting gold colour to show that it is a button. The items on
the menu have a hover function which turns them gold to show that they are
buttons that the user can interact with. This in turn provides a more responsive user
experience.

Figure 17: Menu

9.4 The Collection

This page portrays the three interviewees that participated in the study. A dropdown
provides the user with an explanation in their own words of who they are and where
they are from. I thought this was an important step to include so users can see these
stories have been gathered from our own people. It is an insiders view of research
that aligns with my research design, and provides further authenticity for the user by
seeing where the interview participants came from and their connection to Ngātiwai.
This is important for establishing a connection between the user and the content.

65
By clicking on the start button, you can view individual videos of their stories and
experiences relating to Tukaiaia. The documentary is a collection, or summarised
version of these interviews, therefore this content can be seen as appendices, or an
extended version of the main documentary. It was created this way to give users a
choice, should they choose to explore more and learn more beyond the scope of the
documentary, then they could.

This feature provides an example of how extended pieces of knowledge can be

presented on a digital platform like a website. The documentary being a general
snapshot of cultural knowledge, provides users with a foundation of what is
available, which is then supported by additional content particular to key themes.
Much like pou whakairo in a traditional meeting house acting as sentries to
doorways which lead to expanded traditional knowledge.

Figure 18: The Collection

66
9.5 The map
This page shows a map of the rohe of Ngātiwai. Marae (traditional places of
gathering) are pinned in brown and significant features are pinned in dark grey.
Marae pins indicate what that marae is while significant pins tell a story about what
happened in that area, relating to Tukaiaia. The use of this map gives users the
physical location that is connected with many of the places and events in the content
found on this website. By placing pins on the map, users can identify in reality where
these places are, which is an attempt to connect the users to the information they
are seeing. The intended and hopeful outcome would be for the user to physically
visit this area and learn more about what happened there.

Figure 19: Map

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9.6 Browser Report
A browser report is used to show what it was tested on and a testing phase to show
it was working. Last tested

Google Chrome
Version 49.0.2623.112 (64-bit)

Operating System
Mac OSX Version 10.10.5

9.7 Summary
This website intends to do two main things; The first is to provide a learning resource
for descendants of Ngātiwai to learn about tribal history, specifically Tukaiaia, with
the added bonus of reaching Ngātiwai descendants who no longer live inside the
tribal boundary of Ngātiwai. For example, many who live overseas can use this as
their connection to home, as well as having access to tribal knowledge.

The second intention of this website aligns with the notion of digital preservation of
information. As mentioned in earlier chapters, it is the focus of this research to
consider digital technology as a viable pathway to the continued preservation and
protection of indigenous knowledge. It is the opinion of the researcher that Māori
must use digital technology to help with not only the preservation of traditional
Māori knowledge, but also its dissemination. A digital platform, like this website,
acts as an example of a good, entertaining medium of presenting indigenous
knowledge to the next generation of Ngātiwai descendants who will be fluent in
digital language.

All design features were created with these two intentions in mind, guiding the
product to reach the best outcome and user experience for the audience.

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Chapter 10 - Conclusion
This chapter will summarise the research and content of this project. Furthermore,
the following will provide an in-depth exploration of the limitations and suggestions
for further research on expanding the project in terms of both web and content.

10.1 Research Summary

The research aim was to explore the idea of using ICTs to archive and preserve
traditional cultural knowledge. More specifically, it was the foundation for the
practical component to preserve the history of Ngātiwai, focusing on cultural
knowledge regarding Tukaiaia.

Qualitative interviews with kaumātua of Ngātiwai iwi were used as the main method
of gathering information about Tukaiaia. From this, five common themes were
identified; form, mana of Ngātiwai, Manawahuna, karakia and waiata, and Te
Houpeke Piripi. The commonality of the themes across the three participants
increases the accuracy, enabling the research to form a well-guided story. For
example, all participants re-iterated almost the exact story of Manawahuna. This
reinforces accuracy of the information, as all were able to explain the same story
with almost full detail.

To continue to pass down cultural knowledge, ICTs are the current future-proof
resource to preserving this. History shows that Māori adapted to the entertainment
system of its time, waiata and haka, to continue the tradition of passing cultural
knowledge. We need to adapt to the current means of entertainment, ICTs, to
continue this tradition. Today, we are spoiled with mass amounts of digital
entertainment systems. Websites are only one aspect of the current entertainment
system, we see that other ICTs are being used to help sustain and distribute
knowledge, for example, smartphone app ‘Te Whanake’, the online Māori dictionary
‘Te Aka’. ICTs are the natural progression forward to ensuring the sustainability and
preservation of our cultural knowledge.

69
10.2 Limitations and resolutions
This project has many aspects to it, which is probably the underlying factor in its
limitations. As I produced the entirety of the project, I may have under-estimated
the amount of work and time I had to complete the project. To manage completing
the overall project, I feel I haven’t been able to commit 100% to each aspect as I
have been juggling three different forms of research; written, video and web. This is
perhaps the biggest limitation that confined the output.

10.2.1 Video
With a low-budget production, it is always difficult to produce the ideas the way the
imagination sees it. Expenses quickly add up, so finding skilled free help with
productions is a huge help. For two of the three interviews, I had a two-man crew
(myself and one other). Because of the two-man, two-camera setup I was unable to
fully-engage with the participant as I had to man the camera as well. An ideal
minimum setup to this is to have dedicated cameraman working each camera while
the researcher is free to interview the participant. This way, all jobs have full focus
and the quality of output is instantly increased.

10.2.2 Website
My personal skills as a web designer and developer are still at a beginners skill level.
What I had initially envisioned had to go through numerous rounds of testing as I
researched what I could code and what I couldn’t. Because of this, I tried to use
HTML and CSS as much as I could, with the exception of using Javascript and Jquery
for features not possible with the former two languages.

10.2.3 Content for thesis

Gathering content proved difficult, navigating times and access to potential
participants. Because of this, I was only able to secure three qualitative interviews.
To increase the knowledge base it would be preferable (in my opinion) to have a
sample size of 6-8 participants to generate common themes and perhaps different
stories. However this will be discussed further in section for further research.

70
10.3 Recommendations for further research
With the vast amount of knowledge there is and so little of it being made future-
proof, an expansion on this project or something similar is the obvious
recommendation for further research. The project aims to preserve a small part of
Ngātiwai using ICTs, but it is only a starting point. The end goal is to document all
indigenous cultural knowledge so that it can never be lost or forgotten, and can be
passed down to future generations for the next 20 years.

Branching off the topic of Tukaiaia presented more questions then I was able to
answer. Pursuing other avenues like origin stories, such as Manaia and the origins of
Ngātiwai, to stories of Manawahuna is something that this project would have
benefitted from. To increase the knowledge base regarding Ngātiwai cultural
knowledge, and to understand the factors that lead us to what is known as Tukaiaia
today. I know there are many more stories out there to be gathered, so expanding
the scope of research and documenting essentially ‘Te Ao Māori’ would be a huge
step forward not only for Ngātiwai iwi, but for Māoridom.

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Glossary

Haka ceremonial dance

Iwi tribe, nation, people
Kaitiaki guardian
Karakia prayer
Kaumātua elders
Kaupapa subject
Kōrero story/speak
Mana status (Ngātiwai term for guardian)
Marae meeting house
Mihi Whakatau official welcome speech
Powhiri welcome ritual
Rohe region
Taonga treasure
Tauparapara type of karakia
Tikanga custom, procedure
Titiro look
Tohunga prophet
Waiata song
Whakarongo listen
Whakataukī proverb
Whānau family

(Te Aka, 2016)

72
 References
Adam, L. (2007, April). Information and communication technologies, knowledge
management and indigenous knowledge: Implications to livelihood of communities
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