Marae Essay examples -- Sociology, Māori culture

From a modern day perspective, the purpose of the marae has been as a place for the more official parts of MÄ ori culture. The marae are unequalled places of importance. "Marae hold the knowledge of the MÄ ori culture. They are the repositories of their history, their stories, and their existence." Ratima, 2010. Importantly, as highlighted in the creation story in Ahorangi Genesis, the ancestor link is through Tane, as the whare is an embodiment of Tane. His precious gift was te whare kura as a physical structure to house knowledge which can be viewed as the parallel to the human â€Å"structure†. Whereas in earlier times, the term marae applied only to the open area, often now called marae-atea, in front of the whare, today the term marae is commonly used to describe the entire compound (Tauroa & Tauroa, 1986). The whare (tipuna or nui), sometimes called meeting house, reads, to the initiated, like a history book. With arms outstretched in welcome, the body of the ancestor, generally endowing his name to the marae, is represented by the whare. His carved form, tekoteko, is atop the roof (maori.org.nz, 2011). The carved pieces under the head and down towards the ground- maihi, represent the arms, with the tahuhu or centre ridge pole being the spine of the ancestor, then the heke, or rafters, running off the tahuhu on both sides representing the ribs. In the fully carved whare, the walls are adorned with poupou or carvings, as well as tukutuku, or woven panels. The uprights, normally two, hold up the tahuhu, representing the connection between Ranginui, the sky father and Papat uanuku, the earth mother, (mÄ ori.org.nz) (Tauroa & Tauroa 1986). â€Å"Carvings of the ancestors serve to preserve history† (Graham, 1997, p. 38). Looking back... ...on by NZQA for its courses in crafts and MÄ ori arts and carving, hospitality and employment skills (Christchurch city council, 2011). Incredibly, in keeping pace with technological advances, we have virtual marae, as shown by the artist Lisa Reihana, who has created her own virtual marae, accessible to MÄ ori living worldwide, using photography and video (visualarts.qld.gov.au). In conclusion, as an institution, the marae stands for much more than the official parts of MÄ ori culture. It has its own system, its own learning and its own function. It is operaring still as Tane’s gift to mankind. Education is dominant on Marae, which now provide pathways to degrees, trade training and other NZQA opportunities. Marae are leading the way, taking their proper place in MÄ ori society. â€Å"Marae are the foundation of MÄ ori autonomy and tinorangatiratanga† ( Ratima, 2010). Marae Essay examples -- Sociology, MÄ ori culture From a modern day perspective, the purpose of the marae has been as a place for the more official parts of MÄ ori culture. The marae are unequalled places of importance. "Marae hold the knowledge of the MÄ ori culture. They are the repositories of their history, their stories, and their existence." Ratima, 2010. Importantly, as highlighted in the creation story in Ahorangi Genesis, the ancestor link is through Tane, as the whare is an embodiment of Tane. His precious gift was te whare kura as a physical structure to house knowledge which can be viewed as the parallel to the human â€Å"structure†. Whereas in earlier times, the term marae applied only to the open area, often now called marae-atea, in front of the whare, today the term marae is commonly used to describe the entire compound (Tauroa & Tauroa, 1986). The whare (tipuna or nui), sometimes called meeting house, reads, to the initiated, like a history book. With arms outstretched in welcome, the body of the ancestor, generally endowing his name to the marae, is represented by the whare. His carved form, tekoteko, is atop the roof (maori.org.nz, 2011). The carved pieces under the head and down towards the ground- maihi, represent the arms, with the tahuhu or centre ridge pole being the spine of the ancestor, then the heke, or rafters, running off the tahuhu on both sides representing the ribs. In the fully carved whare, the walls are adorned with poupou or carvings, as well as tukutuku, or woven panels. The uprights, normally two, hold up the tahuhu, representing the connection between Ranginui, the sky father and Papat uanuku, the earth mother, (mÄ ori.org.nz) (Tauroa & Tauroa 1986). â€Å"Carvings of the ancestors serve to preserve history† (Graham, 1997, p. 38). Looking back... ...on by NZQA for its courses in crafts and MÄ ori arts and carving, hospitality and employment skills (Christchurch city council, 2011). Incredibly, in keeping pace with technological advances, we have virtual marae, as shown by the artist Lisa Reihana, who has created her own virtual marae, accessible to MÄ ori living worldwide, using photography and video (visualarts.qld.gov.au). In conclusion, as an institution, the marae stands for much more than the official parts of MÄ ori culture. It has its own system, its own learning and its own function. It is operaring still as Tane’s gift to mankind. Education is dominant on Marae, which now provide pathways to degrees, trade training and other NZQA opportunities. Marae are leading the way, taking their proper place in MÄ ori society. â€Å"Marae are the foundation of MÄ ori autonomy and tinorangatiratanga† ( Ratima, 2010).