This Module/Activity offers a resource that will enable teachers to prepare and facilitate a project that uses the process of short filmmaking to explore possible meanings and interpretations of selected whakataukī1.

Whakataukī

Mā Pango, mā whero, ka ōti te mahi;Through collaboration, the work gets done.

Key messages

Education in- and outside the classroom needs to contribute to the hauora/well-being of its participants

(students and teachers);

This module offers participants an opportunity to employ the filmmaking process to explore, and express,

possible interpretations of traditional Māori proverbs (whakataukī);

The filmmaking process offers great opportunities to inspire learning inside and outside the classroom;

Filmmaking requires the participants to collaborate, solve problems, take on specialist roles, manage a

small budget, keep to a predetermined time-frame, translate social, cultural and/or spiritual meanings

into moving images;

The activities in this module can be linked to the national curriculum, essential learning areas Ngā Toi/The Arts, and Ka Hikitia initiatives, such as ‘Māori achieving as Māori’.

Supporting resources:

Introduction to the Māori worldview

Introduction to Filmmaking

Various Forms & Checklists to assist the filmmakers in their roles (PDF documents)

Glossary of Filmmaking Terms

Participant Workbook

1 Whakataukī: traditional Māori proverbs

Module: Short Filmmaking

Introduction: Offering a Māori Perspective to Education Outside The Classroom

A Holistic Approach:

Marsden (Royal, 2003, pp. 33-34) explains that ‘[the] Māori approach to life is holistic. There is no

sharp division between culture, society and their institutions.’(p. 33) Such an approach aims at ‘the

harmonisation, integration and reconciliation of the various elements […]’. EOTC – as a platform to

extend learning to a variety of contexts, and to enable, through its activities, the formation of

possitive and respectful relationships with fellow students, teachers, environment, and the wider

community – contributes to a holistic approach to learning that will benefit both Māori and non-

Māori students.

Knowledge and Wisdom:

From a Māori perspective it is through the process of physical, spiritual and mental engagement

with the world that knowledge can transform into wisdom. Marsden explains that ‘[k]nowledge is a

thing of the head, an accumulation of facts. Wisdom is a thing of the heart’ (p. 59). He asserts that

wisdom occurs when knowledge is integrated in the centre of one’s being.

The swallowing of Rehutai is symbolic of how this state [of wisdom] may be achieved.

Hukatai (sea foam) and Rehutai (sea spray) are metaphors taken from a canoe en

passage on the sea. The sea foam or wake generated by the canoe in motion symbolises

the pursuit of knowledge as an accumulation of facts picked up along the way. […] As

the sea foam is thrown up by the bow, the rays of the sun piercing the foam creates a

rainbow effect as you peer through it. By meditation in the heart, the centre of one’s

being, illumination comes suddenly in a moment of time, and the unorganised sets of

ideas suddenly gel together to form an integrated whole in which tensions and

contradictions are resolved. Knowledge is transformed into wisdom.

Rev. Māori Marsden (Royal 2003: 59)

EOTC activities offer students the opportunity to integrate knowledge into the core of their being by

engaging with the world in its multiple aspects [symbolised by the three baskets of knowledge

obtained by Tāne (Royal 2003, pp. 60-62)]. The process of engaging with the world (beyond the

classroom) can be likened to the process of swallowing the Rehutai.

World of Symbol:

Ancient Māori seers created a set of symbols to map or model each state of the creation or

evolutionary process. According to Marsden (Royal 2003) these ‘symbols were encapsultated and

couched in story/myth/legend/art/forms/proverb/ritual and liturgical action’ (p. 31). The activities

in this module enable participants to investigate the symbolic value of Māori proverbs, as a pathway

to deepen their understanding of (certain) phenomena in the world, particularly from a Māori

perspective.

Māori Worldview:

Of central importance to Māori cosmology is the separation of Ranginui (Sky Father) and

Papatūānuku (Mother Earth), which marked the emergence of Te Ao Mārama (pp. 47- 51). This

event symbolises the separation of male and female principles - giving space to each. It not only

created space but also introduced light, necessary for the development of their offspring and the

natural world. Light in this context can be seen to refer to the natural phenomenon, as well as the

metaphorical sense of enlightenment or growing understanding of how things are. The Resource

Introduction to Māori Worldview offers a further discussion of the concepts of Whakapapa and Te

Ao Marāma, highlighting the six fundamental values or concepts that are constructive for the

activities in this module: manaakitanga (mutual respect), whanaungatanga (relatedness),

rangatiratanga (collaborative leadership), ūkaipō (spiritual nourishment or transformation),

tohungatanga (the art of symbolism) and kotahitanga (equality and connectedness).

The Process of Short Filmmaking

The process of short filmmaking is a collaborative process that values journey over destiny. The

‘unknown outcome’ aspect of this process serves the values of ‘innovation, inquiry, and curiosity, by

thinking critically, creatively and reflectively’, as outlined in The New Zealand Curriculum (EOTC

Guidelines, page 8, paragraph 12). It offers a potent approach to learning in a world characterised

by rapid change, and an increasing focus on digital technology.

Creative collaboration, as the principal strategy for the process of filmmaking, provides a fertile

ground for students to develop skills in leadership, cooperation, time management, problem

solving, critical thinking, lateral thinking, mutual respect, and the ability to contribute for the benefit

of a collective purpose. As such, it contributes to a wide range of values, key competencies, and the

‘teaching as inquiry’ aspect, of The New Zealand Curriculum (EOTC Guidelines, pages 8 - 10,

paragraph 12-22).

In his book The Director in the Classroom, Nikos Theodosakis (2001) divides the filmmaking process

into five distinct, but at times overlapping, phases or stages (pp. 57 – 60):

1) Development, 2) Pre-production, 3) Production, 4) Post-production, and 5) Distribution.

Theodosakis offers teachers and students a wealth of practical advise and suggestions on how to

incorporate filmmaking as part of the curriculum. He generously shares a great number of forms

and checklists, allowing these to be photocopied and distributed in the classroom (pp. 289-321)2. In

this resource we have adapted some of the most relevant forms and checklists to provide additional

support and guidance for the students during the activities in this EOTC Short Film Module.

The linked resource - Introduction to Filmmaking - provides the reader with a guide to the

filmmaking process.

Interpreting Whakataukī Through the Process of Filmmaking

The purpose of this module is to explore meaning and interpretations of selected whakataukī

through the process of filmmaking. This process enables the exploration of the traditional values

and cultural knowledge contained in Māori proverbs, and at the same time, it provides an

opportunity to translate the whakataukī in matters that are relevant to the students’ world, matters

they care about, matters that interest them, matters they are really passionate about.

In practical terms, students will create a number of short movies (max. 2 minutes in duration) in

smaller teams of about 6 – 8 students each. For an overview of the various roles and tasks within a

film team see: Task List Film Team. The process of filmmaking is a collaborative enterprise (each

student contributing to, and taking responsibility for, the creative process), however, the nature of

the medium requires individual students to take on a variety of specialised roles, such as: writer

(Task List Writer), director (Task List Director), camera operator (Task List Camera), actors, editor

(Task List Editor), and producer (Task List Producer).

2 Check his website for updated forms, checklists and resources: www.thedirectorintheclassroom.com

Point of Departure (selection of one whakataukī per group):

1. In preparation students source (in smaller groups) a particular whakataukī that inspires them most to

create a short movie from;

2. The groups then prepare a presentation – including visual and spoken material – “to pitch” their

whakataukī: justifying why it would make a great short movie (the term “to pitch” is used in the film

industry for the activity of presenting a strong case to funders/producers why a particular movie

must to be made);

3. Pitching of proposals;

4. Selection of the most inspiring whakataukī based on the quality of the presentations (1 whakataukī

per filmmaking team of 6 – 8 students);

Pre-production:

5. Each team investigates layers of meanings , and possible interpretations of the whakataukī by means

of: creating oil pastel drawings, interviewing kaumatua, discussing possible applications of the

whakataukī in each student’s life, as well as in society as whole, etc.;

6. Students brainstorm about possible ways of filming meanings and possible interpretations relating to

the whakataukī.

7. Students research additional material relating to whakataukī;

8. Each team draft a rough outline for a short screenplay;

9. Each team identifies a number of interior and exterior locations (Location Survey)

10. Each team identifies the human (actors, crew) and material resources (set, props, costumes,

equipment) required for the filming of their screenplay;

11. Each team completes final draft of screenplay;

12. Each team creates a shot list (Shot List) and storyboards (Storyboard) for each scene;

13. Each team prepares a shooting schedule (Shooting Schedule)

14. Each unit aquires the required permissions to use the various locations.

Production:

15. Each unit shoots the various scenes;

16. Camera Operator maintains comprehensive Field Footage Log (Field Footage Log)

17. Sound operator records special sound effects if required.

Post-production:

18. Editor and director prepare the editing, using an Edit Decision List (Edit Decision List);

19. Editor and director create rough and final edit of selected footage;

20. Sound person delivers music and sound effects;

21. Add titles, subtitles and credits;

22. Export the edited version for viewing (format suitable for DVD, CD or world wide web)

Distribution:

23. Each unit presents their movie to one another, fellow students and invited guests.

For further explanation of some of the used film jargon in this document, see Glossery Filmmaking.

_________________________________________________________________________________LINKS

__________________________________________________________________________________

The various activities in this module can be linked to The New Zealand Curriculum – essential learning areas Nga Toi/The Arts, MoE initiatives, and EOTC principles.Exploring Māori world view: Whakataukī, Whakapapa, Te Ao Marama, values of tohungatanga, whanaungatanga, rangatiratanga, manaakitanga, kotahitanga, ūkaipō.Working in teams with allocated roles: leadership & collaboration (rangatiratanga); taking responsibility for specialised area; project management (planning, execution and reporting of a creative project); self-directed learning; time management; problem-solving.Using film and performing arts strategies to create an original expression of a whakataukī: devised theatre, technical production, screen acting, working within time frame._________________________________________________________________________________

References:

Brougham, A. E. & A. W. Reed. Revised by Timotī Kāretu. The Reed Book of Māori Proverbs: Te

Kohikohinga Whakataukī a Reed. Auckland: Reed Publishing (NZ) Ltd, 2003.

Royal, Charles. Matiu Wānanga. Matiu Somes Island. January 31 2009. Keynote address.

Royal, Charles. Te Whare Tapere: Towards a Model for Māori Performing Arts. Wellington:

Department of Theatre and Film, VUW, 1998. PhD thesis. Print.

Royal, Te Ahukaramū Charles (Ed.). The Woven Universe: Selected Writings of Rev. Māori Marsden.

Otaki: Estate of Rev, Māori Marsden, 2003. Print.

Royal, Charles. Exploring Indigenous Knowledge. Paper delivered for “The Indigenous Knowledges

Conference – Reconciling Academic Priorities with Indigenous Realities”, Victoria University.

Ōrotokare. 25 June 2005. Web. 13 March 2010. http://www.orotokare.org.nz/Default.aspx?

page=2668

Royal, Te Ahukaramū Charles. “Why Methodology? Kaupapa Māori and Mātauranga Māori

Presentation”. Rangahau. 19 November 2006. Web. 24 Oct. 2010.

http://www.rangahau.co.nz/methodology/59/.

Royal, Te Ahukaramū Charles. “Ōrotokare: Towards a New Model for Indigenous Theatre and

Performing Arts.” Performing Aotearoa: New Zealand Theatre and Drama in an Age of

Transition. Ed. Marc Maufort and David O’Donnell. Brussels: P.I.E. Peter Lang S.A., 2007. Print.

Royal, Te Ahukaramū Charles. Personal interview. 24 October 2010. Email.

Theodosakis, Nikos. The Director in the Classroom: How Filmmaking Inspires Learning. San Diego:

Tech4Learning Publishing, 2001. Print

Van Dijk, Bert. Devised Theatre. Wellington: Printlink, 2011. (ISBN: 978-0-473-19077-4)

Van Dijk, Bert. Towards a New Pacific Theatre. Saarbrücken: VDM Verlag, 2011.