One key point/ theme. One academic source related to this. Paraphrase the source text.

One key theme is the extent to which media adds to stereotypes existing in everyday society in New Zealand. Maori/ Polynesian inability to handle urban life is the most common stereotype. The mass dominated English speaking media has played an important role on having a negative “… impact of the portrayals of Mäori in New Zealand” (Nairn, R. Maori news is bad news. Mai journal, Volume 1 Issue 1. 2012. Whariki Research Group, Massey University, Auckland. Web. September 2016)


Describe one art/design/creative response to the socio-political problem that challenge Pacific Islanders in New Zealand.

One artistic response to the socio-political situation that confronted Pacific Islanders would be the POPOHARDWEAR t-shirts designed by artist Siliga David Setoga. These were “… reworks of put-downs” (Anae, page 237) in a funny and more positive way of slurs and racist expressions such as ‘FOB’ fresh off the boat used by most English speakers. People who wore them became walking advertisements of slogans which appreciated Maori/ Polynesian culture and identity.


Summary of the documentary on Dawn Raid’s. (60)

In summary, the ‘Dawn Raid’s’ documentary raises awareness of the racial tension between Polynesian and Pakeha groups in New Zealand during the 1970’s. With a large majority of migrants coming into the country’s workforce to support families back home, Polynesians were highly targeted compared to other ethnic groups. It was assumed that the raids for over stayers in Polynesian homes by police and immigration officers, acted as a cover for considered overzealous exaggeration of charges based on possible racism.



  • (Anae, M. All power of the people. Wellington, New Zealand. 2012. Print. September 2016)
  • (Nairn, R. Maori news is bad news. Mai journal, Volume 1 Issue 1. 2012. Whariki Research Group, Massey University, Auckland. Web. September 2016)
  • (Fepulea’I, D. Dawn Raids. Documentary. September 2016)





(Gilbert, Greg. “Poverty”. Westra Ann. From Washday at the Pa (1964). Lecture. 22 September 2016. 2016)

One example of representation of poverty in New Zealand is exemplified in the image above. This is a photograph of a Maori family taken in an almost rural, normal day to day life situation. It depicts a mother hand washing clothes in a tub and her many children indicating the stay at home situation, full-time caring for her family and representing the hard working condition. This relates to the key concept of different levels of poverty. Poverty is not being able to afford the basics to survive, it seems that the mother figure lacks the “financial resources and essentials” (Investopedia) to enjoy a minimum standard of life and well-being due to the absence of participation in society.




  • (Investopedia. “Poverty”. Definition of poverty. Investopedia. 2016. Web. September 2016)
  • (Gilbert, Greg. “Poverty”. Westra Ann. From Washday at the Pa (1964). Lecture. 22 September 2016. 2016)
  • (Harris, Aroha with Melissa Matutina Williams. Chapter 13 “Māori Affairs 1945 – 1970”. In Tangata Whenua: An Illustrated History. Ed. Atholl Anderson, Judith Binney and Aroha Harris. Aotearoa: Bridget Williams Books, 2014. 382 – 413.)
  • (Harris, Aroha with Melissa Matutina Williams. Chapter 14 “Rights and Revitalisation: 1970 – 1990”. In Tangata Whenua: An Illustrated History. Ed. Atholl Anderson, Judith Binney and Aroha Harris. Aotearoa: Bridget Williams Books, 2014. 416 – 450.)



One representation of Maori is how they are seen and thought of as a native group who embody the uncivilised and uneducated society. This is usually a case of typical Maori stereotypes from mainly tourists that affect how people think of Maori peoples, influenced from news/ documents/ word of mouth stories that have risen from media within the country. Biased press and propaganda of the majority of crimes and gangs in New Zealand have been centred on Maori, labelling them as “… buffoonish behaviour… innate laziness” (Wall, Melanie). In relation to Wall’s ideas, she believes that we should not rely too much on New Zealand’s media to influence how we judge people especially Maori, rather to understand that they we all “…approach life with the same attitudes, thoughts, feelings and desires… fixity to an idealised past” (Wall).


  • (Higgins, Rawinia & John C. Moorfield (2004). Ngā tikanga o te marae)
  • (Wall, Melanie (1997). Stereotypical Constructions of the Maori ‘Race’ in the Media)



What is my own cultural identity? Parents tell me that i am a mix of both the Malaysian/ Chinese background. Throughout the many years that I have been living in New Zealand, I identify myself as a Kiwi and the other which I do not usually call myself too often unless people as the question, “No, where are you really from?”. I have been exposed to more of the culture in New Zealand. I play netball, tennis, I swim and take self defense, so both cultures have been included. It is easier to accept that I am Kiwi rather than being Malaysian/ Chinese, but maybe that is because I want to fit in and be like everyone else in this New Zealand society, to accept all types of cultures and understand more of both rather than exclude one over the other. At school I am able to express and learn about the Kiwi culture with relationships built around friends and teachers and at home I am gifted with being able to be a part of family traditions and celebrations relating to Asian events. In relation to a significant event in New Zealand, the Treaty of Waitangi can be an example of allowing two different cultures, Maori and European to live together in harmony. As a Malaysian/ Chinese born in New Zealand, I have been gifted the chance to accept both cultures and, like the Treaty of Waitangi, form this peace and equal co-existence of acceptance of each cultures activities, beliefs and events.


(Woodward. Robin. “Dog and Doll”. Philip Trusttum (1974). Page 39. 2013. Book. 2016)

This image relates to my cultural identity as it involves diversity in a household, similar as my family at home, being able to bring in and mix the different cultures from outside of the household into our own home.



The concept that corresponds with the project I felt was the best thing I made in Studio was Block 1, Screen for Mihimihi. This was mainly about introducing yourself and showcasing or creating a collage about your values, hobbies or background stories.

My project was based on producing a image collage, including images from my childhood and bits and pieces I have drawn by hand, painted and scanned onto the printer. The main concept behind it is to tell a story about my heritage and Malaysian/ Chinese culture and traditions passed down and influenced from my family, my background and life story of how I have become the person that I am today. In the wider context, this collage represent me and family/ friend influences which allow me to understand how I relate and fit into society and the community within New Zealand.

In Erna’s lecture, she goes over how gender roles have heavily influenced family ties and successions in Maori culture which were very important in power tribal rankings. Maori women and men are both “… acknowledged in the natural order of the universe” (Mikaere), as it depends on the strong line of their family which results in their status in the community. I believe that indigeneity is important when it comes to Maori, as they were the original people of the land, with Europeans aiming to decolonise and minimise traditions of Maori culture, loss of identity would take place. This intersects with my work because the main focus is that we should not forget our family roots as it makes us who we are no matter who tries to claim or change the way we act, look or feel, “… the whole was absolutely dependent on everyone who made it up” (Mikaere), my work is my own collage about the people who have shaped me into who I am today and I am proud. I should be thinking about this to reflect and show my true self and the genuine work I would like to produce and be influenced by in all future works.


  • (Mikaere, Ani. (1994). Māori Women – Caught in the contradictions of a colonised reality. Page 1. 5 September 2014. 2016)