Métodos tradicionales de evaluación del desempeño

What makes the blueprints and photograms conceptually and culturally charged, and very special is that they record physical contact, unlike a photograph. The taoka is ‘handled’, the taoka ‘touches’ the paper, light ‘contacts’ the taoka and paper. The resulting image gives presence to an alluring absence. The photograms would not exist without the taoka, the original remains in the museum and the photogram is the memory of an instant in time.

From 91-752 a gastropod mollusc shell, Panau (see Figure 209, p. 114).

Figure 16. 1.11.2011 Silver bromide photogram21. Ak:1986.1046.1 Stony Bay Beach, E149.259 Onawe, E167.426 Onawe: From the collections of Akaroa Museum and Canterbury Museum 8”x10” Silver bromide fibre based paper Areta Wilkinson and Mark Adams 2011 Acknowledgements: Akaroa Museum, Akaroa, Banks Peninsula and Canterbury Museum, Christchurch, New Zealand This work is a component of the exhibition thesis

From Ak:1986.1046.1 a carved pounamu tiki, Stony Bay Beach (see Figure 7, p. 83), E149.259 a carved pounamu tiki, Onawe (see Figure 24, p. 85), and E167.426 a carved pounamu tiki, Onawe (see Figure 9, p. 83).

Figure 17. 18.10.2011 Silver bromide photogram22 D65.832 Pahia: From the collections of Otago Museum 10”x8” Silver bromide fibre based paper Areta Wilkinson and Mark Adams 2011 Acknowledgements: Otago Museum, Dunedin, New Zealand This work is a component of the exhibition thesis

The previous section Mātauraka Māori communicates some insights into Kāi Tahu cultural values surrounding the intangible and tangible concepts of taoka including taoka tūturu, manufactured objects highly regarded as whakapapa connecting descendants to ancestors. Handling taoka tūturu and making images therefore had to be very carefully considered. I had to ask myself, was I playing with other peoples’ whakapapa, or transgressing tapu23 as Pōua Rakiihia Tau had cautioned, and was I treating this collective heritage with requisite integrity and respect as Potiki had advised? Beyond satisfying my curiosity, how did this new view of taoka benefit Māori communities first and foremost? Was my rationale robust enough? This was a journey and the answers were revealed through the creative process, and by considering Meads five tests (H. M. Mead, 2003, p. 336) regarding tikanga Māori. It helped to recall the words of Kaikōrero because whilst there were cautionary messages, there was also a pathway. These Kāi Tahu leaders were naturally astute regarding tikanga and gave guidance when questioned. Many of the museum curators who were working with this cultural material all the time were also culturally informed. This led me to also consider the processes of working with taoka tūturu by considering whether or not my own Pōua and Tāua24 would have approved had they still been alive.

Figure 18. 26.6.2013 Silver bromide photogram25, E199.290 Wairau: From the collections of Canterbury Museum

8”x10” Silver bromide fibre based paper Areta Wilkinson and Mark Adams 2011 Acknowledgements: Canterbury Museum, Christchurch, New Zealand This work is a component of the exhibition thesis

Tau, 2012:4. 24

Namely Clifford McConnell and Marewa McConnell (nee Manihera). Marewa McConnell was a specialist of Māori arts and craft in the Department of Education lead by Gordon Tovey, 1961.

Figure 19. 26.6.2013 Silver bromide photogram26. E47.343 Wairau Bar: From the collections of Canterbury Museum Silver bromide fibre based paper Areta Wilkinson and Mark Adams 2013 Acknowledgements: Canterbury Museum, Christchurch, New Zealand This work is a component of the exhibition thesis

Recollecting Pōua Rakiihia Tau’s kōrero I revisited whakapapa by reviewing family records. I searched the Ngāi Tahu Whakapapa Unit for links to taoka and place. When the opportunity presented itself, I volunteered for whānau whakapapa research to enhance my understanding of the family relationships. It was critical to spend time at Koukourārata, Ōpukutahi and Waikākahi. Where my genealogy proved very distant I began to visit locations, traveling to Long Beach, Murdering Beach, Purakanui, Harwood, and Moeraki to experience the sense of place and pay my respects. When the opportunity presented itself I accepted invitations to hui and exhibition opportunities within the broader hapū and iwi community, as a pathway to meeting whānau whānui, to hear narratives and to make connections and some contribution.

Figure 20. (Left) Te Heru-o-Kahukura (Negative: view from Koukourārata settlement to the mountain Te Heru-o-Kahukura) Negative 2013 This work is a component of the exhibition thesis

Figure 21. (Right) Koukourārata (Negative: view from Te Heru-o-Kahukura down to the settlement) Negative 2013 This work is a component of the exhibition thesis

Cyanotype blueprints and silver bromide photograms were made over a 12- month period, and it took this long to become more at ease with them because of their direct relationship to taoka tūturu from nga iwi katoa27. Images are not direct likenessess of taoka but represent an imprint of the taoka. They are instead images of the space around the taoka. This is very important: they do not seek to replicate an existing image of the world but instead alert me to a new way of seeing from the world. Whilst the whakaahua images record an absence they nevertheless evoke the

ancestral object in front of ones eyes. Because of this these images need to be cared for as if the taoka were still present.