Wk_11_ConversationsCreativeCultures

Art Place installment inspired by the properties of Atea in relation to The San Fran Bathhouse, Cuba Street. Painting. Izzy Hey. August 2016.   My work book for Art Place studio. My best studio , 2016, Izzy Hey Part one

Wk_11_ConversationsCreativeCultures

Art Place installment inspired by the properties of Atea in relation to The San Fran Bathhouse, Cuba Street. Painting. Izzy Hey. August 2016.   My work book for Art Place studio. My best studio , 2016, Izzy Hey Part one

Wk_10_ConversationsCreativeCulter

Non- Fiction, Culture, Significant historical event, Piece. Written on: 9/10/2016 By Isabel Hey Where I lived was suburban. I went to school. It was near to where I lived. Could walk there barefoot and it wouldn’t hurt too bad. I

Wk_10_ConversationsCreativeCulter

Non- Fiction, Culture, Significant historical event, Piece. Written on: 9/10/2016 By Isabel Hey Where I lived was suburban. I went to school. It was near to where I lived. Could walk there barefoot and it wouldn’t hurt too bad. I

Wk9_ConversationsCreativeCultures

Powhiri Below is my illustrated map of a powhiri. Components shows are Waerea, Whakaeke, Wero, Taki, Tangi, Karanga, Whaikoero, Koha and Hongi. My aim was to illustrate the stages of Powhiri with very little detail. The focus was on the sequencing

Wk9_ConversationsCreativeCultures

Powhiri Below is my illustrated map of a powhiri. Components shows are Waerea, Whakaeke, Wero, Taki, Tangi, Karanga, Whaikoero, Koha and Hongi. My aim was to illustrate the stages of Powhiri with very little detail. The focus was on the sequencing

Wk_8_ConversationsCreativeCulture

In the lecture, Gilbert presented some examples from the photographic series: “From Wash Day at Pa”, 1964, by Ann Westra. The concerns surrounding Westra’s previous photographic series were displayed by the maori women’s welfare league, whom labeled the photographs as

Wk_8_ConversationsCreativeCulture

In the lecture, Gilbert presented some examples from the photographic series: “From Wash Day at Pa”, 1964, by Ann Westra. The concerns surrounding Westra’s previous photographic series were displayed by the maori women’s welfare league, whom labeled the photographs as

Wk_7_ConversationsCreativeCulture

In the 50s there was an influx of pacific island migrants that came to New Zealand to work in warehouses and production lines. The migrants were allowed to work as it benefited the New Zealand economy but many did not

Wk_7_ConversationsCreativeCulture

In the 50s there was an influx of pacific island migrants that came to New Zealand to work in warehouses and production lines. The migrants were allowed to work as it benefited the New Zealand economy but many did not

Conversations_in_creative_Cultures_wk5

Paraphrasing: “Chapter 9: Wars and Survival” Throughout the 1860s and 1870s desperation for British sovereignty had caused the Crown and settlers to rage war on Maori (A.Anderson.249). Begining in 1860 with the war in Pekapeka, Taranaki over disrespect to Maori

Conversations_in_creative_Cultures_wk5

Paraphrasing: “Chapter 9: Wars and Survival” Throughout the 1860s and 1870s desperation for British sovereignty had caused the Crown and settlers to rage war on Maori (A.Anderson.249). Begining in 1860 with the war in Pekapeka, Taranaki over disrespect to Maori

Conversations_in_Creative_Cultures_Wk6

‘It is the habit of ethnologists to study Māori art as if it had come to an abrupt end on the arrival of the European settlers in New Zealand and to regard post European work as being of little importance.

Conversations_in_Creative_Cultures_Wk6

‘It is the habit of ethnologists to study Māori art as if it had come to an abrupt end on the arrival of the European settlers in New Zealand and to regard post European work as being of little importance.