We explore the notion of homeland from the perspective of the Māori iwi or nation of Rongomaiwāhine from Māhia Peninsula. The research is drawn from a qualitative study initiated and conducted by the iwi in the period of 2012 to 2013 and sought to identify important iwi mātauranga from iwi members. Included within the research data was the iwi conceptualisation of a homeland, which is discussed through the three themes of connection, community and the tapu of the whenua. The homeland is identified as having a physical, social and spiritual effect on iwi members’ well-being and being fundamental to their cultural identity, purpose and meaning of life.

Writings on traditional Māori economies have highlighted the value system that philosophically underpins them and the relational nature of trading interactions. Further, the significance of mana in sustaining economic relationships has been emphasised, leading to the concept of an “economy of mana”. In this paper, we explore traditional Māori economies, the concept of mana and the limited exploration of an economy of mana in order to propose future research directions for Māori economic research.

How might Māori values in relation to soil contribute to national strategies for identifying, maintaining and enhancing soil health? This article uses the Hua Parakore framework, a kaupapa Māori approach developed out of the Māori organics sector, to address these questions. Soil is an essential national resource on which New Zealand’s primary sector and agriculture industries depend. Soil is also part of the woven universe constituting Māori ways of knowing and doing (Marsden, 2003).

The realisation of the developmental aspirations of Indigenous communities requires a reframing of economy and economic representation. The “diverse economies” framework provides a platform from which to counter the dominant Western narrative surrounding notions of economy, and bring to the fore forms of enterprise and practices all too often “hidden” or viewed as alternative, and therefore deemed inferior. This paper explores the notion of economy and economic activity through the lens of diverse economies to best represent the complex and multidimensional nature of Māori small and medium-sized enterprises—pakihi Māori.

This article draws on the textual analysis of films that produced three distinctive collective resistances across New Zealand film history. Hāhi Ringatū leaders protested to the Chief Censor about the portrayal of their beloved prophet Te Kooti in the Te Kooti Trail. The director was forced to make changes, and delayed the release. Later, after decades of support, Te Arawa were collectively absent from film production for nearly 40 years after director Alexander Markey insulted their manaakitanga with a series of misdemeanours during the production of Under the Southern Cross.

Young Māori parents strategically navigate Western parenting expectations, and issues of indigeneity in their construction of early parenting. A culturally based narrative approach to research with young Māori  parents revealed personal stories of early parenting located in wider expectations from family and peers, their Indigenous community and society. The application of a Māori relational analytical framework reveals how young Māori parents navigate and negotiate assumptions about being young and being Māori. They draw on Māori understandings about raising children to resist assumptions that having a child at a young age contributes to entirely negative experiences.

This paper outlines key categories and elements of Kia Manawanui: Kaupapa Māori Film Theoretical Framework, developed to interrogate film texts and shed light on the processes of Māori film production and environments within which filmmakers operate. Kia Manawanui film theory is informed by diverse expressions of Kaupapa Māori , Indigenous and critical media studies, discussions with Māori  filmmakers, theorists and film texts, particularly Ngati (1987), Mauri (1988) and Te Tangata Whai Rawa o Wēniti—The Māori  Merchant of Venice (2002).

Kua hau ngä rongo o te hangarau i te mata o te whenua, me uaua ka kitea he tangata kāore i te whakamahi i tētahi momo hangarau—te pouaka whakaata, te waea pūkoro, te rorohiko, me te ipurangi. Katoa ēnei nei mea he uri nō te wāhiaotanga, ā, he whakangāwari i te horapa o ngā mea katoa ki ngā hau e whā o te ao. Ko te ito o tēnei tuhinga roa he titiro ki ngā mata e rua o te hangarau, arā, te mata i tāmi i te iwi Māori, me te mata i whakawhanake i te iwi Māori. Ko ngā whakahau ka whakatakotoria e māua i tuhia hei whakaohooho, hei whakatenatena i te iwi Māori kia kaua e waiho mä te ao te tuakiri me te reo Māori e waihanga ki te ao.

He aha te reo Māori i ngaro ai ki Ōtākou? He hiahia nō te hapū ki te whai i te rākau a te Pākehā. I whai rātou i te mātauranga me te whakapono o te Pākehā. Waihoki, tē taea e rātou te ao hou te karo. Ahakoa tērā, kei te pupuritia tonutia ngā tikanga o te kāinga. I uiuitia tētahi Taua o te kāinga e te kaituhi, ko Aunt Jean tōna ingoa ki te kāinga. Kei roto ia i te reanga tuatahi i tipu ki te reo Pākehā ki Ōtākou. He tino kaumātua o te kāinga, ā, i tau hoki tana tū ki tōna ao Māori. Ahakoa kāore ōna reo Māori, ehara i te mea, i te tangi ia mō te reo kei te memeha atu. Nō te tau 2013 ia i mate ai.