Arts Access Aotearoa"Cultural competency is about recognising a person’s cultural background, beliefs and practices, and how these affect our engagement with others. In the Aotearoa New Zealand context, cultural competency requires an understanding of Te Tiriti as our founding document, the application of its principles in the present and the key elements that underpin a Māori worldview," write Jess Maclean and Christine Harvey.
Jess Maclean and (Ngāti Kahu, Ngāti Hine, Clan O'Hara, Clan Maclean) is a lecturer in Māori and Indigenous Studies at the University of Canterbury.
She works with two toi practitioners to deliver the Awe Māreikura programme in Christchurch Women’s Prison. They are Christine Harvey (Moriori, Ngāti Mutunga, Te Ati Awa ki te Tauihu, Ngāti Toa Rangatira, Kāti Mamoe, Kai Tahu) and her daughter Tōmairangi Taiepa (Tūhoe, Moriori, Ngāti Mutunga, Te Ati Awa ki te Tauihu, Ngāti Toa Rangatira, Kāti Mamoe).
This article by Jess and Christine will feature in the practical guide for Arts in Corrections educators, to be published by Arts Access Aotearoa in August 2024.
1. What is cultural competency?
Cultural competency is about recognising a person’s cultural background, beliefs and practices, and how these affect our engagement with others. In the Aotearoa New Zealand context, cultural competency requires an understanding of Te Tiriti as our founding document, the application of its principles in the present and the key elements that underpin a Māori worldview.
Beyond that, cultural competence in the Corrections space requires an understanding of the colonial history of this country and how systemic factors have given rise to Māori over-representation in the justice system. This includes alienation from land and other resources resulting in entrenched social inequalities, and systemic bias.
We believe this understanding is of crucial importance when working with people who have been marginalised by the system.
Cultural competence is also reflected in the ability to engage in culturally appropriate ways. This means having an understanding of key values and principles.
These include manaakitanga (upholding the mana/fundamental dignity of the other) and whanaungatanga (the act of building and maintaining relationships with others with whom we share space and time). These values underpin and unlock the healing potential of the arts.
Ako recognises that all participants in a space bring a wealth of experience and knowledge that inform the teaching and learning process. Humility is inherent in ako because it allows reciprocal engagement between participants.
Cultural competence also encompasses practices such as introducing yourself by way of a mihi or pepeha, and opening and closing sessions with karakia.
In the context of the arts, cultural competence includes an understanding of, and respect for, ancestral knowledges and practices, especially when working with traditional artforms. We believe any use of traditional Māori artforms should be grounded and kept safe through appropriate cultural supervision when programmes activating these artforms are being developed.
You can download this useful resource about cultural competency.
2. Why is cultural competence important?
The over-representation of Māori in the criminal justice system means that anyone working in prisons will be working with Māori. We also believe that what is good for Māori is good for everyone: manaakitanga, whanaungatanga and ako are values and practices that create effective learning spaces.
Cultural competence is particularly important when you’re delivering programmes that incorporate traditional Māori artforms. Article 2 of Te Tiriti guarantees Māori self-determination in relation to taonga: this includes traditional creative practices and artforms.
Cultural competence is therefore important in thinking about what it means to be arts practitioners working in the justice system with Māori – and especially if you’re working with Māori artforms.
This latter point might mean asking questions. For example: Am I the right person to be delivering this content? Can I find and connect with those who might be te right people? This is a helpful place to start if we want to uphold the mana and integrity of traditional artforms.
3. Tell us about Awe Māreikura as an example.
To use our programme as an example, Awe Māreikura represents the sacredness of women. This underlies everything we do. We connect the artforms we teach with their whakapapa, and in particular the atua wāhine associated with them, in an effort to “wake up” or activate that sacredness in the women we work with.
We recognise that participants hold their own knowledge, which enriches the teaching/learning process. We aim to build relationships that act as the foundation for engagement throughout our programme. We also aim to enact Māori principles and values throughout the works we create and especially in the way we practise.
Mahi toi is a vehicle for healing, and Mason Durie’s Te Whare Tapa Wha is a useful way to understand the spiritual and collective components of health, alongside physical and mental wellbeing.
Karakia is one way we activate spiritual wellbeing in opening up a space, dedicating it to a particular purpose, and then safely closing it again. Creative practice can ignite or connect with deep emotion and so karakia can help keep everyone safe as we work with what comes up.
We hope to encourage he women in our programme to take up these practices in their own lives as a means of spiritual self-care. Read more about the Awe Māreikura programme
3. What are three key recommendations for arts practitioners?
- We recommend the completion of cultural competency courses. There are various such courses, including ones that are online and free-of-charge.
- Connect with mana whenua wherever you are. This helps to understand the local landscape and may provide useful contacts and advice.
- Seek out Māori practitioners for advice, and work with Māori practitioners and providers wherever possible if working with traditional Māori artforms.
