Mai te kore ki te ao mārmama. A journey from the darkness toward the light

V. Murray
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Abstract

tauparapara) as a prism for an autoethnographic discovery of professional practice through professional epochs of my life. It also uses footnotes as a way of bringing my bilingual scope into this narrative, at the same time considering the needs of non-bilingual and international readers. Metaphors (whakataukï) feature as a lens through which to accentuate learnings gained from my professional journey from darkness or uncertainty toward elucidation. Metaphorical sayings are also expressions that ‘restory’ elements of my practice in parallel with ancestral genres in the Mäori world. “A Chant to Ancestral Landscapes” 9 was composed while studying for the Bachelor of Te Reo Mäori. The chant is a collection of vignettes of Ngäti Awa ancestors told in poetry and traditional sayings. Each parable is grounded in wisdoms of foremothers and forefathers and together serve as character and performance blueprints for ensuing generations. A selection of photoscapes (photographed landscape portraits) feature as an elaboration of the artistic and poetic imagery presented here in order to convey my distinctive ancestral essence to my Scope audience.
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我把韩国打得很好mārmama。从黑暗走向光明的旅程
Tauparapara)作为一个棱镜,通过我生命中的职业时代,对职业实践进行自我民族志发现。它还使用脚注作为一种将我的双语范围纳入叙述的方式,同时考虑到非双语和国际读者的需求。隐喻(whakataukï)的特点是作为一个透镜,通过它来强调我从黑暗或不确定走向阐明的职业旅程中获得的知识。隐喻的说法也是我的实践的“历史”元素的表达,与Mäori世界的祖先类型平行。《祖传风景咏》是在学习《雷奥学士》Mäori时创作的。这首圣歌是Ngäti阿瓦祖先在诗歌和传统谚语中讲述的小插曲的集合。每一个寓言都以祖先和祖先的智慧为基础,共同成为后代的性格和表现蓝图。为了向我的观众传达我独特的祖先本质,我选择了一些照片(拍摄的风景肖像)作为这里呈现的艺术和诗意意象的阐述。
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