Exemplar for Internal Assessment Resource Art History Level 3. Resource title: Post-colonial theory in New Zealand and/or Pacific art

Transcription

1 Exemplar for internal assessment resource Art History 3.7A for Achievement Standard Exemplar for Internal Assessment Resource Art History Level 3 Resource title: Post-colonial theory in New Zealand and/or Pacific art This exemplar supports assessment against: Achievement Standard Examine the relationship(s) between a theory and art works Student and grade boundary specific exemplar The material has been gathered from student material specific to an A or B assessment resource. Date version published by Ministry of Education December 2012 To support internal assessment from 2013 This activity required students to write an article for a magazine on New Zealand and/or Pacific art examining the relationships between post-colonial theory and New Zealand and/or Pacific art. Crown 2012

2 Exemplar for internal assessment resource Art History 3.7A for Achievement Standard Grade Boundary: Low Excellence For excellence the student must examine, perceptively, the relationship(s) between a theory and art works. To do this they are required to evaluate the relationship(s) between the principles of the theory and art works, integrating supporting evidence from the art works and other sources. This exemplar consists of the third and fourth pages of a five page response. The first page consists of a discussion of Kelcy Taratoa's work which leads into an analysis of the relationships between Taratoa and Kahukiwa. References to international post-colonial figures, such as Che Guevara, are integrated into this comparative discussion and lead to perceptive comments such as He identifies with these figures who are alienated from society just as the Maori were in the period of colonisation. [4] (Student 1, page 1, lines 9-11) The footnoting of this comment provides an example of the integration of supporting evidence which is required for excellence.. In the second paragraph of this page the student begins to evaluate the relationships between the work of Kahukiwa and Taratoa and post-colonial theory. For example: Whereas [Kahukiwa's] use of comic book characters and superheroes in her work to try and uplift Maori culture and heritage, Taratoa has used them to replace these cultural influences. (Student 1, page 1, lines 15-16) Further evaluative discussion occurs in the second page of the exemplar, in the analysis of Michael Parekowhai's work which is explained as part of a general attempt by Maori artists to get Maori and Pacifica art valued on an equal par with the European and Western work, and in so doing, readress the unequal balance between these cultures left by the period of colonisation in New Zealand. (Student 1, page 2, lines 11-13). This evaluation is supported by the integration of evidence of Parekowhai's successes [which] reflect the continuing effect of post-colonialism in encouraging Maori to get their culture and art recognised as of equal worth as their western counterparts. (Student 1, page 2, lines 19-21) The evaluative discussion leads to a conclusion which is sufficiently perceptive to meet the requirements for excellence in this subject identity and bi-culturalism dominate modern Maori art and display the major impression European culture has left on Maori and New Zealand as a country. (Student 1, page 2, lines 33-34) Overall, although the effectiveness of this response is reduced by lapses in proofreading and grammar, it contains sufficient evaluation of the relationships between the key principles of post-colonial theory and appropriate art works to demonstrate perceptive understanding of this theory. In order to reach a more secure excellence the student would need to demonstrate greater detail in their discussions of post-colonial theory and integration of supporting evidence. Crown 2012

3 Student 1: Low Excellence Kelcy Taratoa s series of paintings entitled Who am I? (2005) deal closely with the effect that colinisation and the dominance of European culture have had on young Maori growing up in the post-colonial era of the 1980s and 90s. He portrays scenes from his own childhood growing up as a Maori in the city and the effect this upbringing has had on his personal and cultural identity. In work 0010 of the series, Taratoa depicts a typical scene for many modern city-dwelling Maori, the local diary admist grey tarmac roads and traffic lights; a scenery devoid of any Maori cultural references apart from the dark skin of the figures. The dominant cultural symbols in Taratoa s painting are comic book characters and other icons of popular culture such as Che Guevara and the Hulk. These figures have replaced the void left by the absence of Maori Culture in the young Taratoa s life. He identifies with these figures who are alienated from society just as the Maori were in the period of colinialisation [4]. Taratoa is seen as a follow on to Robyn Kahukiwa s work as he portrays the reality of modern Maori s lives which was to a certain extent predicted by Kahukiwa [5]. She saw the post-colonial period as a fine balance between Western and Pacific cultures ; the confusion of which could lead to a lost generation of Maori who were left disconnected from their heritage. Whereas her use of comic booka characters and superheros in her work to try and upluft Maori cultureand heritage, Taratoa has used them to replace these cultural influences. The graphic style and illogical, gamelike spaces reflect how Maori have some to almost created their own virtual world through the characters from computer games and popular culture as they are unable to relate to tanything around them in the inner-city dominated by Western culture. Taratoa raises the question; is brown skin enough to make you a Maori? [6] Is it your physical heritage or the influences of your upbringing that determine your cultural identity? This is a question that not only plagued Taratoa and Kahukiwa but the Maori youth at the time. As a consequence art was used more and more a medium thorugh which Maori could find their identity; as Taratoa and Kahukiwa ask Who am I? (Ko wai au?). Michael Parekowhai, Kiss the Baby Goodbye

4 Michael Parekowhai s sculpture Kiss the Baby Goodbye (1994) uses modern Western materials and techniques to create traditional Maori koru patterns which is an appropriation of the famous New Zealand Gordon Walters in his painting Kahukura. While the koru patterns could be seen as part of a resurgance in Maori culture, the cut steel which creates them reflects a European influence on the traditional Maori wood, bone and pounamu. The koru patterns have been removed from their original place in Maori culture and mechanically stamped out and replicated to take a new hybrid identity [7]. Parekowhai uses this hybrid nature to reflect the multicultural nature of modern Maori identity. He appropriates the work of Gordon Walters (and also Colin McCahon in work like the Indefinite Article ) to give his work credibility and gain attention for his sculptures and their messages. Parekowhai s work is part of a general attempt by Maori artists to get Maori and Pacifica are valued on an equal par with the European and Western work and in so doing readdress the unequal balance between these cultures left by the period of colonialisation in New Zealand. Parakowhai s work has been nationally and internationally accepted and in doing so promoted tbhe profile of Maori art and culture which was once surposed inferior to Western culture by the European colonists. Several sculptures by Parakowhai were included in the annual venice biennale exhibition in Paris in 2011 as part of an installation entitled On First Looking into Chapman s Homer gaining the artist international attention; while in New Zealand he has also been recognised with an Arts Foundation of New Zealand Laureate in 2001 [8]. These successes reflect the continuing effect of postcolonialism in encouraging Maori to get their culture and art recognised as of equal worth as their Western counterparts. Post-colonial theory and its key aspects have had an extensive imapct on modern New Zealand art in the 1980s, 90s and early 2000s. The European colinisation of New Zealand resulted in period of Western cultural dominace over the native traditions of the Maori people. This cultural overhaul introduced many European concepts to the Maori people and consequently to their artwork too. The use of oil and acrylic paint as media instead of the traditional methods of bone, wood, and pounamu carving is the most obvious influence, but the subject matter of artists like Kahukiwa and Taratoa is also heavily influenced by Western concepts, especially the characters of pop culture. However the greatest influence of post-colonial theory is in the themes and focus of the work of Maori artists such as Kahukiwa, Taratoa, and Parekowhai. They all use their artworks to portray their different senses of idenity and the struggle that many young Maori face in working out who they are in a society full of cultural confusion and, in some cases, a deep alienation from their Maori heritage. Idenity and bi-culturalism dominate modern Maori art and display the major impression European culture has left on Moari and New Zealand as a country and the ongoing problems caused by a loss of culture by the younger generations of Maori. The desire for Maori art to be recognised and accepted within New Zealand on the same level as Western and European art is prevalent in thework of modern Maori atrists. The use of appropraiton by artists such as Parakowhai is an example of Maori using the work and reputations of famous New Zealand pakeha artists to give their own work credability within the country s art world. The ongoing effect of post-colonial theory can still be seen as artist like Parekowhai and Taratoa continue to

5 Exemplar for internal assessment resource Art History 3.7A for Achievement Standard Grade Boundary: High Merit For merit the student must examine, in depth, the relationship(s) between a theory and art works. To do this they are required to analyse the relationship(s) between the key principles of the theory and art works, using supporting evidence. This exemplar consists of the first two pages of a five page response in which the student provides clear explanations of some of the key principles of post-colonial theory and links these to aspects of art and culture in New Zealand. Analysis is demonstrated in the student's identification of The period in the 1980's in which New Zealand experienced a revival of previously 'inferior' Maori culture and the end of the dominance of Western culture in what is most commonly termed by art historians as the period of post-colonial theory in New Zealand art. (Student 2, page 1, lines 7-10) The comment that The strong political role taken by young people at this time...also had a strong impact on art and its use to voice political and social issues demonstrates an in-depth understanding of the relationships between post-colonial theory and other factors which impacted upon art in New Zealand at this time. (Student 2, page 1, lines 21-22) Although much of the analysis on the first page of this page lacks supporting evidence from art works and other sources, appropriate supporting evidence can be found on the second page of the exemplar, which uses art works by Robyn Kahukiwa to support explanations of the relationships between post-colonial theory and art works. For example: Robyn Kahukiwa's Supa Hero (1999) displays the influence of Western European culture from the period of colonisation in new Zeal and, but also a resurgance of maori culture and the difficulty of multi-culturalism (Student 2, page 2, lines 1-3) Another example of the student's use of supporting evidence in her analysis of relationships can be found in the statement that The balance between the traditional feminine role of motherhood and the contemporary western template of a more dominant 'warrior' type woman is expressed in these symbols and displays the confusion of culture for modern Maori in the late 20 th century. (Student 2, page 2, lines 16-19) Supporting evidence from sources other than art works is acknowledged in the footnote to the statement that black, Te korekore, is the male element. (Student 2, page 2, line 25) Overall, there is sufficient evidence of the analysis of the relationships between postcolonial theory and art works, using appropriate supporting evidence, to place this response at high merit. In order to reach excellence the student is required to evaluate the relationships between the key principles of the theory and art works, integrating supporting evidence from the art works and other sources. Crown 2012

6 Student 2: High Merit 3.7 Examine the relationship between a theory and art works Post-colonial theory Colonisation is the introduction of a foreign peoples and their culture onto a country with its own pre-existing culture and population. The following impression of the foreign culture onto the local population and, in most cases, dominancy exerted by the new settlers on theses native habitants is what is generally termed colonialism. This class of cultures not surprising had extensive consequences on every aspects of the society that is being colonised. In the case of New Zealand the in-flux of European settlers in the 1800s and the continual dominance of a superior Western culture had radical influences on society and as a result the art that reflected this society. The period in the 1980s in which New Zealand experienced a revival of preiously inferior Maori culture and the end of the dominance of Western culture is what is most commonly termed by art-historians as the period of post-colonial theory in New Zealand art. Post-colonialist theory is concerned with the impact that the foreign culture of colonialists have on the development of art in that country; most specifically the hybrid multi-culturalism that appears after the period of colonial dominance. In the case of New Zealand art this can be identified as the time in the 1980s when Kiwi artists and their artworks expressed the duality of New Zealand culture and the resulting identity crisis this caused for many at this time. These attempts to form a modern New Zealand identity, a composite of traditional Maori and imported Western culture, is typified in the art of this time by a combination of iconography for popular and traditional Maori cultures as well as the use of modern European techniques and materials to portray Maori subject matter and vice versa. Another major principle of post-colonial theory is the breaking down of traditional art practise left from European colonialisation and the dramatic development of contemporary Maori art. The strong political role taken by young people at this time, especially in anti-nuclear issues, also had a strong impact on art and it use to voice political and social issues (an influence that had already begun appearing in the 1950s and 60s); in particular showing the Maori perspective on these issues. Robyn Kahukiwas Supa hero

7 Robyn Kahukiwa s painting Supa hero (1999) displays the influence of Western European culture from the period of colinialisation in New Zealand, but also a resurgance of Maori culture and the difficulty of multi-culturalism. Her use of oil on canvas is different from the traditional Maori media of wood, stone and bone carvings and shows the influence of 19th century European paintings of New Zealand and in particular the Maori people. Kahukiwa paints her Maori woman with specific things from Maori culture such as koru (patterns), mere (weapon) and moko (tatoos) in a European context to show the conflicting and confusing nature of New Zealand s post-colonial society. Her work attempts to raise up Maori culture and give it a dominance and worth over the European culture that had so controlled New Zealand in the 1800s- 1900s. The Maori symbols like the mere (weapon), tatoos and spiral motif in Kahukiwa s work are important in expressing the complex balance between these bi-cultural elements. The mere, a weapon for close-combat with important ceremonial and ancestral significance, is placed in the woman s hand which conflicts with the Maori tradition that only men were warriors [1]. The tattoos on the woman s arms are unusual for a wahine as they do not commonly have tatoos on that part of the body. The spiral pattern on the woman Robyn Kahukiwa's s chest symbolises positive change and new life which shows the potential for colonialsiation to create a re-birth in Maori culture [2]. The balance between the traditional feminine role of motherhood and the contemporary western template of a more dominant warrior type woman is expressed by these symbols and displays the confusion of culture for modern Maori in the late 20th century. The inclusion of the Maori Tino Rangatiratanga flag also reflects Kahukiwa s desire to establish a separate Maori cultural identity as it was created through a 1989 competition that aimed to introduce a solely Maori flag to New Zealand. The red and black colour scheme of the flag and the overall work extends the battle of gender roles caused by the varying expectations of New Zealand s two cultures. Red, Te Whei Ao, represents the female element or mother earth, while black, Te Korekore, is the male element [3]. The mix of these colorus in the woman s dress highlights the difficult balance of cultures experienced by modern Maori women. The major influence of European culture is Kahukiwa s work is use of the superhero costume like those in American and European comic books; a motif used in several of her paitnings. She uses this symbol to give power to Maori and their culture; showing them that they can retain a dominant culture apart from that of colonialism. Kelcy Taratoa, Who am I? 0010

8 Exemplar for internal assessment resource Art History 3.7A for Achievement Standard Grade Boundary: Low Merit For merit the student must examine in depth the relationship(s) between a theory and art works. To do this they are required to analyse the relationship(s) between the key principles of the theory and art works, using supporting evidence from the art works and other sources. This exemplar is taken from an uneven response which varied between simple, descriptive writing and more advanced explanations and analysis. The pages selected for this exemplar contain the more analytical sections of the response, which addresses the relationships between post-colonial theory and an art work by Shane Cotton. For example, having explained that Cotton is known for his exploration of the two cultures of New Zealand and for the way things, such as the Maori culture, change and evolve and his work reflects a culture which has had to adapt to a new world (Student 3, page 1, lines 3-7); the student explains the relationships between Cotton and Rongopai, then states As a response, Shane Cotton continues this idea of the pot being a symbol of the need to protect Maori land from colonialism, and is also shown in the title of the work which translates as 'bind to the land' (Student 3, page 1, lines 27-30). Here, analysis is apparent in the explanatory links made between cultural change in New Zealand, Rongopai and the imagery in a work by Shane Cotton. The discussion of Robyn Kahukiwa's painting in this page is less analytical, however on page 2 of the exemplar, merit level evidence is found in the use of supporting evidence from David Eggletion in an explanation of the relationships between a work by Kahukiwa and post-colonial theory. Eggleton describes Kahukiwa's themes as bloodlines, blood ties and the continuity of the human. (Student 3, page 2, lines 24-26) In the last paragraph of the exemplar, the student's attempts to evaluate the relationships between post-colonial theory and art works have resulted in generalised conclusions which are not closely linked to the selected art works. This reduces the effectiveness of the response. Overall, there is sufficient evidence of the use of supporting evidence to analyse the relationships between the key principles of the theory and the selected art works for low merit in this standard. In order to reach a more secure merit, the student is required to use supporting evidence form the art works and other sources in an indepth analysis which is sustained throughout the response. Crown 2012

9 Student 3: Low Merit Post-colonial theory is seen in the relationship between colonialism and this artwork, as Cotton is known for his exploration of the two cultures of New Zealand and for his interest in the way things, such as the Maori culture, change and evolve and his work reflects a culture which has had to adapt to a new world. As a Maori artist, Cotton was greatly inspired by the paintings seen in the meeting house at Rongopai. The paintings on the original meeting house clearly show the influence of Pakeha art, which came with the colonialism of New Zealand, due to naturalistic and figurative representations of potted plants, nature, and people depicted in modern clothes. In response to the early European influence on traditional Maori art, Cotton has taken aspects of the work at Rongopai, such as the pot plants, to use in his own work, especially in Whakapiri atu te Whenua. At the meeting house, this iconography symbolized the need to nuture and protect the land at a time when Europeans were confiscating large areas, an idea which has been maintained in his art work today. As a response, Shane Cotton continues this idea of the pot being a symbol of the need to protect Maori land from colonialism and is also shown in the title of the work, which translates as bind to the land. In effect, Whakapiri atu te Whenua is significant in showing a political theme, focused on environment issues and land rights, the Influence of Pakeha art on traditional Maori art, and the relationship created between the two cultures because of colonialism, which all reflects post-colonial theory. relationship between the work to be discussed may not be as obvious as that of the previously mentioned artworks. Kahukiwa is well known for her images on the identity of Maori, and creates work related to gender issues. Women are commonly depicted in her work and their place in Maori culture is of importance to Kahukiwa, as she herself is a Maori woman, and her work is often seen as a documentation of her personal exploration as a Maori and her place in the Maori and wider world. Though He Kakano Rangatira includes women, this piece is less about them as individuals and more about their identity and culture as Maoris, and as part of a wider community. He Kakano Rangatira references traditional Maori carving, one of her biggest stylistic influences, with its tilted heads and curved form similar to the hei-tiki, and is a huge aspect of the Maori culture which she is so passionate about. Although there appears to be no direct appropriations, a relationship with the artwork of Pakeha artists has also been created as Kahukiwa uses the collage techniques of expressionist commercial art, like that of Dick Frizzell and Nigel Brown. Robyn Kahukiwa is another New Zealand artist whose work shows the defining key principals of post-colonial theory, though the

10 strokes imitate the scrawled graffiti of today s society, another obvious influence derived from colonialism. As well as the Maori and European influence being visible, we also see the effect that post colonialism has had on Kahukiwa s artwork. In He Kakano Rangatira, a traditionally dressed Maori woman, painted in black and white, stands behind a colour painted, yet plainly dressed Maori woman. Does the dress of the woman in the foreground suggest the effect of post colonialism, in that the traditional Maori culture of cloaks and feathers are being pushed into the darkness, left to be forgotten? And does the plain black of the top of the woman in the foreground suggest the oppression felt by Maori from the Europeans and the replacement of culturally traditional attire? This is an important work by Kahukiwa as it shows without doubt her support of the Maori identity and culture as she is a keen advocate of the resurgence of it and of Maori nationalism, and wants to bring to her viewers. David Eggleton describes Kahukiwa s themes as bloodlines, blood ties and the continuity of the human and these themes are undeniably evident in her work. We see all of the above continue through out her work as she incorporates traditional Maori colour and motifs showing the connection, or blood ties, to her bloodline in hopes that there will be continuity of the Maori people and their culture even through the colonialism that New Zealand has faced. Though there is a feeling of the loss of Maori identity, Kahukiwa still feels a connection to her cultural past, even after the effects that colonialism has had on New Zealand, and wants to bring the same relationship to others and show who we are through her artwork. It has been said that her artwork is intended as a form of therapy for those still hurting from the impact of colonialism, and this is therefore a response to post-colonialism and proves the theory evident in this work. The relationship between the post-colonial theory and New Zealand and/or Pacific art, and even international art, especially the works discussed is significant, as the principals of the theory have had a huge impact on artwork in the modern art movement. Though many people, including well-known artists, reject colonialism, others have come to terms with it and have realized that it has in fact helped to shape who we are and what we do, and that it is evident in some way in the artwork that is now produced. Before the Europeans and colonialism, Maori and Pacific art was an expression of culture, shown in many forms such as carving, weaving, wall painting and tattooing. Post colonialism saw the continuation of much of these traditional art forms but also the incorporation of traditional European motifs and/or materials in response to the colonialism, and although some may reject the harsh reality of how traditional art has changed, there is no denying the relationship created between it and the theory and there is no denying that without these changes New Zealand art, such as the work discussed, would not be what it is today.

11 Exemplar for internal assessment resource Art History 3.7A for Achievement Standard Grade Boundary: High Achieved For achievement the student must examine the relationship(s) between a theory and art works. To do this they are required to explain the key principles of the selected theory and to discuss the relationship(s) between the theory and art works using supporting evidence. The two pages of this exemplar have been taken from a straightforward four-page response which clearly demonstrates the student's understanding of the relationships between post-colonial theory and selected art works. The student begins by identifying, and briefly explaining, three key principles of postcolonial theory: a response to colonialism... a relationship between colonialism and the art work... and the discovery of who we are as people. (Student 4, page 1, lines 16-33). Although these explanations are brief, the student's understanding is apparent in her conclusion to this section which states that through the joining of European and native art...as well as the use of materials and influences we can easily see the significance of the theory in different art works.' (Student 4, lines 39-42) In the second part of this page the student describes and analyses a work by Michael Parekowhai, The Indefinite Article, and explains that Parekowhai the influences of colonialism [are] clearly evident in this work...and after much thought the relationships the work has with post-colonial theory becomes apparent. (Student 4, page 1, lines 43-48). Although the discussion frequently focuses on the features of the art work, rather than post-colonial theory, it contains sufficient accurate information supported by evidence from the art work to meet the requirements for achievement. The discussion of the second selected art work begins with a direct explanation of the relationships between post-colonial theory and the artist, Shane Cotton, who is known for his highly cross-cultural art work where the influence of both Maori and European work is evident, showing the effect of psot-colonialism and the relationship his art work has with the post-colonial theory. (Student 4, page 2, line 39-43) This is followed by an analysis of an art work which is used to support comments about the work's relationship with post-colonial theory. For example: This work, like his others, shows clear iconography that relates to the post-colonialism theory and is iconography typical of Cotton's work. (Student 4, page 2, lines 47-50) Although this response contains some descriptive writing and tends to focus on the features of the art works, rather than the art works' relationships with post-colonial theory, the explanations of key principles of post-colonial theory and the use of supporting evidence in discussions of the relationships between the theory and art works, clearly meet the requirements for achievement. In order to reach merit the student is required to analyse the relationships between the key principles of the theory and art works, using supporting evidence from the art works and other sources. Crown 2012

12 Student 4: High Achieved AS 3.7 Article: Post-colonial theory, though it may not sound familiar, is a theory that is constantly present in today s society. Although this theory is apparent in the works of a number of New Zealand, Pacific, and international artists, I feel we should take the time to reflect on three that show a clear relationship between the theory and their work. But, what is postcolonial theory you may ask? It is not hard to form some sort of idea of the basics it is clearly a theory on what has occurred post colonization, with New Zealand being a focal point for this topic. However, the theory goes deeper in that there are a few key principles that define the work. 1. First of all it is clear that there is a response to colonialism from the artist, and this response or feeling is clear in the work. This could be a positive or negative response Michael Parekowhai is a good example of a positive response in that he shows the possibility of harmony between the two cultures of New Zealand, yet some of his work shows a negative response to colonialism as his feeling towards imported culture being a nuisance is shown. 2. Second, there is a relationship between colonialism and the artwork, shown in the style of the work or the materials used, or a mixture of motifs from each culture. 3. And third, there may be a theme political, religious, cultural, or even identity and the discovery of who we are as people. Much of New Zealand and Pacific art shows a rejection of colonialism through the use of the theory, yet it is evident in the work that a relationship has still developed, and possibly even been embraced, for without colonialism would such work be created? Through the joining of European and native art to show the response, as well as the use of materials and influences we can easily see the significance of the theory in different art works. The Indefinite Article, with its sleek lines, modern materials and English lettering spelling out I AM HE, it is far from traditional Maori sculpture, the influences of colonialism clearly evident in this work by New Zealand artist Michael Parekowhai. However, like most modern art, appearances are often deceiving and after much thought, the relationship this work has with post-colonial theory becomes apparent. The theme of this work is identity - it is clear that there is a crossing over of the two prominent New Zealand cultures but we still want to know who he is, Maori or European. Although the lettering is in English there are clear Maori connotations. Not only is he the last word in the Haka, in Maori it means a number of different things such as a, some and even wrong, while in English it only means male. If we read I AM HE as I am wrong does this show an admission of guilt from the Maori perspective, saying that the Europeans of New Zealand are the ones who are right? Or if we read it as I am a one does it show the assertion of being part of something bigger, which relates to the communal nature of Maori society. The title

13 defines the work and as we read further into it the certainty of the original statement is decreased and so it becomes indefinite. Parekowhai has responded to colonialism through the use of modern materials rather than traditional ones in an attempt to communicate with his audience, showing that colonialism has in fact made it harder for traditional art to convey meanings to a modern audience. The manufactured white of the letters leads us to ask is this the way Parekowhai sees much of the new found Maori culture after the colonization of New Zealand? Michael Parekowhai has clearly appropriated the work of fellow New Zealand artist Colin McCahon and his piece I AM, which in similar style spells out I AM. He also appropriates a work of Gordon Walters, creating the work titled Kiss the baby goodbye. Negative space is used to create the white korus which could be interpreted to thinking that the white is only there if you choose to see it, therefore meaning that the Maori culture is still present but many choose to see only the negative and the influence of the Europeans. This shows an aspect of the post-colonial theory in that Parekowhai has made a personal response to colonialism and has created a relationship with the art of Pakeha artists. Maori and European work is evident, showing the effect of post colonialism and the relationship his artwork has with the postcolonial theory. In his work Whakapiri atu te Whenua, with its sepia tones and museum red, we see a potted plant, flanked on either side by smaller pots which are growing flags. This work, like his others, shows clear iconography that relates to the post-colonialism theory and is iconography typical of Cotton s work. In this work, the plant shows the mana and bounty of the Maori land, with the obvious growth of the plant showing Cotton s hope for regeneration of the Maori culture, yet the fact that it is potted shows the containment of Maori by the arrival of Europeans, the pot having been brought with them to New Zealand. It shows that although the Maori culture is still here, it is apparent that it is almost being suppressed because of colonialism and Cotton has worked to show this through his use of motifs. The flags which also feature so commonly in his work represent European authority and ownership, which goes hand in hand with the containment shown by the potted plants, and clearly represent what has occurred in the country Without these previous artworks Michael Parekowhai s feelings towards colonialism may not have been expressed in the same way, as he believes that there is the potential for harmony between the two cultures, and therefore The Indefinite Article is significant in showing the relationship between postcolonial theory and New Zealand art. Shane Cotton is another prominent New Zealand artist known for his highly cross cultural artwork where the influence of both

14 Exemplar for internal assessment resource Art History 3.7A for Achievement Standard Grade Boundary: Low Achieved For achievement the student must examine the relationship(s) between a theory and art works. To do this they are required to explain the key principles of the selected theory and to discuss the relationship(s) between the theory and art works using supporting evidence. The first paragraph of this exemplar comprises an iconographic analysis of a work by Shane Cotton. Although the analysis of iconography is extensive, it is not directly related to post-colonial theory and provides no direct evidence towards the achievement of this standard. The student has taken a similar approach to Natalie Robertson's photos, however, there is some useful evidence in the last part of the discussion which makes an interesting point... that although a lot of Maori culture has been photographed, there aren't many Maori photographers. So because of Post-colonialism, where there are aspects of both cultures, Maori culture is photographed. (Student 5, page 1, lines 59-63) In the second page of the exemplar, the discussion of a work by Sandy Adsett, meets the requirements for achievement with comments such as because the painting includes European aspects and Maori, it is suggesting that both cultures can combine. Perhaps this suggests that in Post-colonisation, because it is peaceful and the two cultures are treated as equal but different, the British are no longer intruders. (Student 5, page 2, lines 28-33). In parts of the response it is apparent that the student has confused post-colonial theory with multi-culturalism however, overall the response contains sufficient information about key principles of post-colonial theory, and some relationships between the theory and art works, using supporting evidence, to meet the requirements for achievement. A more secure achievement requires greater consistency in the focus of the response and more direct discussions of the relationships between post-colonial theory and art works. Crown 2012

15 Student 5: Low Achieved This is referring to the land wars in New Zealand during the eighteen sixties and seventies5, and resistance by Maori. The pole and flags are an extension of the idea of Maori resistance, to British confiscating large areas of land. The potted plant also suggests the need to protect and take care of the land; to protect New Zealand from the British. Around the base of the pot in the middle, there are small, dying plants which serve as a warning about the effects of trying to contain people in a small area and trying to dominate a group of people. The potted plant might also symbolise something else. If the pot symbolises Europeans as in British and the pot symbolises Maori, then the potted plant also shows how Maori and British came together in the end. The pot needs the plant to survive and the pot needs the plant. The pot can protect the plant British protection for New Zealand and the pot can gain resources from the plant trading and land etc. the text in this work is the same as the title Whakapiri atu te whenua, which means retention of the land. Although this is written in Maori, the text is quite a European style of writing. This suggests that the cultures influenced each other. The pot is painted in a more European style, which could be a reference to how Pakeha artists are often using Maori symbolism. This idea ispart of appropriation and is questioning if in today s world it is right to use symbolism of another culture. This is a part of another principle, which culture do I belong to? you from? ] take [take where?] a photo [what for?] of the marae [the outside, the inside, the carvings, the photos?].6 This shows the effects of and thought about the principles of Post-Colonisation. Part of the ideas behind this question is about being respectful to other cultures. During colonisation of New Zealand, Maori customs were not viewed as important; they weren t really respected by the new culture. The question shows how now, in Post- Colonisation, we view the cultures as equal, so therefore rend to be more respectful. The question also raises the point that it is important to be respectful of other cultures. An interesting point is that although a lot of Maori culture has been photographed, there aren t that many Maori photographers. So because of Post-Colonisation, where there are aspects of both cultures, Maori culture is photographed. When British came to New Zealand they brought their technology with them. Natalie Robertson has taken several photos of Maraes. Te Tokanganui-a-Noho, Te Kuiti, is a photo she took in Natalie Robertson s photos also explore the concept of which culture do I belong to? She is doing research titled Can I take a photo of the marae? Her intention with this work is to find the right questions for photographers and those in the photo, not the answers. She is exploring this idea on her website where she has written Can I [who are you? where are Te Tokanganui-a-Noho, Te Kuiti. (2008)

16 culture, this photo also shows hoe European culture has had its effect on the marae (Maori meeting house). The building itself incorporates both European and Maori culture. It is keeping true to a mare, but the outside includes bricks, technology Europeans brought with them to New Zealand. The photo also shows a tin shed right next to the marae, which is because of British influence on New Zealand. In Post-Colonisation the two cultures are incorporated in a new, different culture. The building also has glass windows which are from British influence. Sandy Adsett s work also portrays concepts of Post-Colonisation. A lot of his works use European painting techniques to depict Maori ideas and culture including kowhaiwhai patterns. Manu was painted by Shane Cotton in Manu is Maori for any winged creature, generally a bird. This abstract painting depicts the heads of birds, manaia, korus and weaved detailing. Manaia is a bird headed creature which is a sybol of protection in Maori mythology. It was thought to frighten intruders away. There for this could be a reference to the British intruding New Zealand. Because the painting includes European aspects and Maori, it is suggesting that both cultures can combine. Perhaps this suggests that in Post-Colonisation, because it is peaceful and the two cultures are treated as equal but different, the British are no longer intruders. The bright colours and abstract style are for European influences, while the korus are Maori design and weaving flax is part of Maori culture. This is showing how the two cultures can and have come together. One interesting aspect of this painting is that that traditional Maori designs (particularly korus and kowhaiwhai) are usually using black, red and white only. So the choice of colour is an influence of European culture. This painting depicts nature, the bush, trees and sea, which Maori depended on, in artificial colours and an abstract style. This shows how New Zealand changed because of colonisation and Post-Colonisation. The abstractness of the depiction of a Maori mythical creature, could be suggesting a loss of Maori culture and beliefs. During Colonisation, Maori customs and beliefs were not seen as important by the British, so they were lost in a way. Post-Colonisation sees the two cultures as equal, including there beliefs. However, the abstractness of this painting could be a reference to how, because of the previous loss of importance of Maori beliefs, there is now a lack of understanding about the, in New Zealand s culture, today. The painting breaks out of the black frame in two places down the bottom of the image. This potentially symbolises links between two worlds; Maori and Pakeha or the present and the past. Manu, acrylic on board, 1985 Colonisation and Pot-Colonisation are having effects on New Zealand today and have shaped the culture we have. Wars, natural disasters, international travel and interaction have also had an effect on New Zealand culture, however it seems Colonisation has

17 had the biggest lasting effect on New Zealand. In the Post-Colonisation era, artists use styles

18 Exemplar for internal assessment resource Art History 3.7A for Achievement Standard Grade Boundary: High Not Achieved For achievement the student must examine the relationship(s) between a theory and art works. To do this they are required to explain the key principles of the selected theory and to discuss the relationship(s) between the theory and art works using supporting evidence. Two pages of a three-page response have been used for this exemplar. Although the response was brief, it included some useful information about post-colonialism and three appropriate art works. In page one of the exemplar, the student has provided information about New Zealand's colonial history. Although this information lacks coherence, there is sufficient information to explain some of key principles of post-colonial theory. For example: Post-colonial theory looks into the culture before, during and after a country was colonised (Student 6, page 1, lines 16-19). The student has attempted to link these principles to post-colonial theory, however these links are not sufficiently explained. The student correctly points out that postcolonialism has had an effect on New Zealand artists and New Zealanders in general, but this is not developed into an explanation of any principle of post-colonialism. (Student 6, page 1, lines 35-37) An appropriate art work is introduced and described at the bottom of page one. Although the student attempts to link this work to post-colonial theory, these links are poorly made and do not develop into a sufficient discussion of the relationships between the theory and art works. For example, the observation that this style of painting was one of the new styles that emerged during Post-Colonisation and was influenced by both Maori and European style is not clarified in discussion and lacks supporting evidence. (Student 6, page 1, lines 54-56) The student's discussions of the other two selected art works are similar, and it is evident in her conclusion, on the second page of this exemplar, that she has not developed a secure understanding of the relationships between post-colonial theory and art works. (Student 6, page 2, lines 1-7) Overall, although the student has explained some aspects of post-colonialism and made some appropriate links to three selected art works, the response does not use sufficient supporting evidence from the art works to discuss relationships between the theory and the art works. In order to reach achievement, the key principles of the theory require explanations and supporting evidence from the art works must be used to support explanations of the relationships between the theory and art works. Crown 2012

19 Student 6: High Not Achieved Art History 3.7 such as painters Shane Cotton, Sandy Adsett and photographer Natalie Robertson. Post-Colonisation Theory and New Zealand To understand the Post-Colonial theory we must first take a quick look at Colonisation. Colonisation was a world-wide occurrence, and is basically the extension of a nations rule over land that is not within its borders. The colonizers were mainly European; in this context it was the British Empire who came to New Zealand in the eighteen hundreds1. They brought with them their technology, beliefs and values. In other words the British culture came with them and was imposed on Maori. Part of colonisation is the idea that the new (in this case British) culture is more advanced and therefore better than the countries (New Zealand) own original culture (Maori). This resulted in British culture dominating, while they perceived Maori beliefs and customs as not important. Post- Colonisation is essentially the equalisation and integration of the two cultures; although they are different, the value of the two cultures is equal2. During Post-Colonisation a new identity, for the country, is formed. In 1856 New Zealand became a self-governing British colony and in 1907, a dominion3. Then in 1947 New Zealand became a independent country. Post- Colonial theory looks into the culture before, during and after a country was colonised. During the time of Post-Colonisation, people explore their heritage, in order to find out about themselves and their family. In New Zealand one result of this is the revival of an effort to keep alive the Maori language. This is fuelled by a fear of losing the Maori language in the future and thereby part of the Maori culture. English became New Zealand s national language, causing generations to grow up speaking only English, despite a Maori descent. Because people look at their heritage, the Maori values, beliefs/traditions and overall culture reemerges and influences New Zealand s culture and identity. Post Colonialism has had an effect on New Zealand artists and New Zealander s in general. Post- Colonisation can provoke questions such as which culture do I belong to? And which traditions/social etiquette do I follow? These kinds of questions and ideas are explored in the work of New Zealand artists A lot of Shane Cotton s work explores concepts of the Post-Colonisation theory. He has used European painting techniques to explore Maori ideas. Whakapiri atu te whenua (retention of the land), an oil painting by Shane Cotton in 1994, portrays some principles of Post-Colonisation. One aspect of this painting is that he used imagery from late nineteenth century Maori figurative painting, which can be found in meeting houses on the East Coast of New Zealand. Maori figurative painting is a result of Post-Colonisation and was started by Te Kooti Arikirangi Te Turuki4. This style of painting was one the first new art styles that emerged during Post-Colonisation and was influenced by both Maori and European style. Another important feature in this artwork is the symbolic potted plant.

20 and are influenced by other cultures and international artists. Aspects of cultures such as European and Maori are combined in artworks to create something new and different as well as showing how those cultures interact and how they are similar and different. As Maori culture has remerged, it has become more of a focus, so that in some circumstances it has become the more dominate culture instead of British. The Post-Colonial theory has made Maori art important in New Zealand; it is now equal to European art. It has also meant that the identity of New Zealand and New Zealand art has changed quite a lot. 1 A Brief Guide to New Zealand Art & Culture by Naomi O Connor, Craig Potton Publishing NZ.pdf/ /KEY%20CONVENTIONS%20Paint-NZ.pdf