Table Of Content2nd Edition
Debbie Bright (PhD)
A book in the series
He Raranga Mātauranga: Tā te Kaikōkiri Mana Wahine, tā te Hunga Whai
Pānga, me tā te Tangata Whenua Titiro ki te Ao.
An Interwoven Knowing: Feminist, Participatory and Indigenous Peoples’
Worldviews
Foreword by Dr Karen Barbour
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This series could be useful to you if you are
an experienced qualitative researcher looking for a broader approach to
understanding human experience
or
a new researcher in areas such as:
aid and development, counselling, creative and performing arts, creativity
and creative processes, creative problem-solving, culture, curriculum design,
education, embodied knowing, emotion, empowerment, equality, gender,
health, history, Indigenous Peoples, the intuitive, leadership, learning,
marginalised peoples, media, personnel management, reflective practice,
relationships, the physical, politics, psychology, sociology, spirituality, sport,
teaching.
This series of books is aimed at enabling new, and more experienced, researchers to
investigate and, where appropriate, implement the research methodology I developed
during my study of ten artists and how they learn. The broad approach, which I have termed
FP-I, is an interweaving of feminist and participatory, informed by indigenous peoples’
worldviews; hence, the series: He Raranga Mātauranga: Tā te Kaikōkiri Mana Wahine, tā te
Hunga Whai Pānga, me tā te Tangata Whenua Titiro ki te Ao. An Interwoven knowing: Feminist,
Participatory and Indigenous Peoples’ Worldviews.
FP-I enables the researcher to explore the lives of people more broadly by including many
of the ways through which people ‘know’ (indigenous, cultural, spiritual, collaborative,
embodied, etc). Such diverse ways of knowing may include verbal, non-verbal and non-
verbalisable elements. The researcher may, therefore, present findings through traditional
academic writing, and also in creative forms such as photographs, drawings, video, poetry,
music, reflective journal excerpts, image narratives and personal narrative. My particular
interest is in creative and performing arts, notably dance; therefore, many of the examples are
drawn from my studies in these areas.
Since my studies were situated in Aotearoa New Zealand, this series has both Māori and
English titles and I present relevant aspects of Māori worldviews as examples of Indigenous
Peoples. I also provide diagrams and pictures as aids to clarity and include, as endnotes, all
the relevant references.
Kia ora koutou katoa – Greetings to you all.
Debbie Bright
January 2014
* An image narrative is a blending of dance, images, written or spoken word and, at times, music (Bright,
2005a, 2007, 2010).
Titles/topics planned in the Series
Ngā Puna Mātauranga
How do we know? (June 2013, 2nd Edition Jan. 2014)
Te Putanga i te Wheiao ki te Ao Mārama
How do we find out: Research Methodology, Ethics and Methods
Ngā Ara o te aka Matua
How do we learn: Adult Education, Experiential Learning and Reflective Practice
(June 2013, 2nd Edition. Jan 2014)
Te Auahatanga me te Ara Auaha
Creativity and Creative Process (June 2013, 2nd Edition. Jan 2014)
An Interwoven World: Spirituality, Culture, Gender, and Art-making
Embodied Knowing
Collaborative Knowing
Te Auahatanga me te Ara Auaha
Creativity and Creative Process
2nd Edition
A Book in the Series
He Raranga Mātauranga
He Raranga Mātauranga: Tā te Kaikōkiri Mana Wahine,
tā te Hunga Whai Pānga, me tā te Tangata Whenua Titiro ki te Ao.
An Interwoven Knowing
Feminist, Participatory and Indigenous Peoples’ Worldviews
Debbie Bright (PhD)
Foreword by Dr Karen Barbour
D A Bright
21 Ridout Street, Hamilton 3200, New Zealand.
[email protected]
Debbie Bright asserts the right to be identifi ed as the author of this work.
First published 2013, 2nd Edition 2014.
All rights reserved. Apart from any fair dealings for the purpose of study, research, criticism
or review, as permitted under Copyright Act, no part may be reproduced by any process
without the permission in writing of the author.
National Library of New Zealand Cataloguing-in-Publication Data
Bright, Debbie A., 1954-
Te Auahatanga me to Ara Auaha
Creativity and Creative Process
A Book in the Series:
He Raranga Mātauranga: Tā te Kaikōkiri Mana Wahine, tā te Hunga Whai Pānga, me tā te
Tangata Whenua Titiro ki te Ao.
An Interwoven Knowing: Feminist, Participatory and Indigenous Peoples’ Worldviews
ISBN: 978-0-9941020-0-3
1. Creativity. 2. Creative Process. 3. Bright Creative Life. 4. Art-making.
5. Dance-making. 6. Raranga (Māori Weaving). 7. Title.
Designer: Kelly Mitchell.
Māori Language Advisor: Te Aro Moxon.
Cover Artwork and Photograph: Debbie Bright.
Printed by Fusion Print who are certified to Enviro-Mark Diamond level.
Dedication
To my very creative family, without whom this book would not have come about.
Acknowledgements
I wish to acknowledge and thank all those who have made this publication possible.
Thanks to Dr Karen Barbour and Dr Toni Bruce who supported and advised me in my
earlier studies and to the nine other wonderful participants.
Many thanks to all the photographers: Robert Fear Photography (New Zealand),
Grimes Photography (Dallas, Texas, USA), Lucy Jarasius, Jane Compton, Rachael Bright,
and Karen Barbour.
Many thanks to Kelly Mitchell for her fantastic design work for the book and Rachael
Bright for invaluable design advice and assistance with the website and electronic
downloads.
2nd Edition Notes
For speakers of te reo Māori, one word has been changed in the series name, providing
greater accuracy.
There are minimal changes in the text and no changes to content. Endnotes and
references have been adjusted and updated in a small number of cases.
FFoorreewwoorrdd
Debbie offers a gift to practitioners and academics alike in this book on creativity and
creative process. Drawing on a wide range of indigenous and Western voices, Debbie
introduces readers to different understandings of creativity and creative process,
offering examples from art-making before delving more deeply into The Bright
Creative Life model she offers. The Bright Creative Life model is a helpful guide, an
interpretation and even a companion for creative researchers. Additionally, the spaces
within the model offer each reader the opportunity to find connections and insights
and to enliven their own understandings of creativity in unique ways. So the gift of this
book is both in Debbie's generosity as creative researcher and in her recognition of the
value of space for the reader's own engagement from their own social, cultural and
spiritual contexts.
Dr Karen Barbour
Senior Lecturer (Dance)
University of Waikato
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