Issue Details: First known date: 2018... 2018 Woer Wayepa - the Water Is Rising : A Torres Strait Islander Approach to Knowledge Mobilisation, and Saibaian Approach to Cultural Knowledge Transference to Performative Storytelling
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AbstractHistoryArchive Description

'This article presents the process in creating an arts-based Knowledge Translation piece in an ethical and Culturally appropriate way and identifies a framework that values and supports the transference of Cultural knowledge in the creation of a live performance piece. Titled WOER WAYEPA – The Water Is Rising, this live performance piece encompassed a Torres Strait Island approach to Knowledge Translation where research knowledge complemented Cultural knowledge, and within that, a Saibaian approach to Cultural knowledge transference. This dual approach to Knowledge Translation can assist in communicating and mobilising invaluable research knowledge to Torres Strait Islanders and support the maintenance of Cultural practice.'  (Publication abstract)

Publication Details of Only Known VersionEarliest 2 Known Versions of

  • Appears in:
    y separately published work icon Australasian Drama Studies no. 73 October 2018 15506967 2018 periodical issue

    'The opening image of this Special Issue of the Australasian Drama Studies journal comes from The Vultures, a contemporary Indigenous satire written and directed by Tawata Productions’ Mīria George (Te Arawa; Ngati Awa; Rarotonga and Atiu, Cook Islands), and staged at Wellington’s BATS theatre as part of the Kia Mau Festival in 2017. The Vultures plays around with the politics of place; of native ecologies versus the National Economy; of the negotiation of Indigenous identities between town and country; of the rejection of the passive ‘Ecological Indigene’ trope; and of the literal ways we trace our whakapapa (lineage) to the landscapes of our ancestors. It envisions an Indigenous Aristocracy, dominated by an internally conflicted whānau (family) of exceptional Māori wāhine (women), engaged in power struggles for wealth and control of a new Empire. The central conflict in this narrative conflates the whakataukī (proverb) about the causes of war: He wāhine, he whenua, ka ngaro te tangata – often translated as ‘For women and land, men perish’ – where the battle over a contested territory is fought by resistant Indigenous women, on their own behalf. This image speaks to an intrinsic premise behind this long-awaited Special Issue: that Indigenous voices are diverse, rich and complex. There is no such thing as a typical Indigenous play.' (Hyland, Nicola; Syron, Liza-Mare and Casey, Maryrose. 'Turangawaewae': A place to stand in contemporary indigenous performance in Australasia and beyond 1-16)

    2018
    pg. 160-185
Last amended 5 Jun 2019 16:11:42
160-185 Woer Wayepa - the Water Is Rising : A Torres Strait Islander Approach to Knowledge Mobilisation, and Saibaian Approach to Cultural Knowledge Transference to Performative Storytellingsmall AustLit logo Australasian Drama Studies
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