What is Design and Visual Communication about?
[ Video Resource ]
- Title: Design and Visual Communication
- Description: Design and Visual Communication Subject Expert Group members discuss their experiences in the Review of Achievement Standards
- Video Duration: 5 minutes
- Video URL: https://player.vimeo.com/video/571881556
- Transcript: In conversation withMotu SamaeliMegan DunsmoreAnthony HawkinsTranscript below:Making the students’ perspective more prevalent than it has been in the past so that they themselves as designers can start to bring their own experiences and their own voice forward.Yeah I agree. So it’s not just a student going how does a designer design
In conversation with
Motu Samaeli
Megan Dunsmore
Anthony Hawkins
Transcript below:
Making the students’ perspective more prevalent than it has been in the past so that they themselves as designers can start to bring their own experiences and their own voice forward.
Yeah I agree. So it’s not just a student going how does a designer design, they’re starting to go how will I design. And I think it’s that idea that like even though the Standards have kind of have a better focus now and it’s simplified so that teachers can access it better, they still have that flexibility, there’s a flexibility built into the Standards that allows them to do it through their own approach.
I think people will really notice that there’s more consistency between what is being taught in schools or between schools and they might see that as shutting down flexibility, but I think it’s a really good opportunity that we’ll all be teaching similar knowledge and similar things, so that frees us to talk about it and be more supportive.
You can embed you know local context a lot easier. You know, if you’re in Gisborne for example, you know, you can access that connection to your DVC a bit easier now. So while we’re covering the same learning the way we do it can be very individual.
Overall I think in many ways I don’t think teachers of DVC will notice that much difference. I think it will feel quite familiar in many ways but just offer opportunities for the next step.
I think it’s actually supporting like the good practice that happens now but actually making it more accessible to more teachers and bringing people on board with their subject. Like if you’re a new teacher, I think this actually allows them to get equipped to teach DVC better.
Yeah, so it’s more definable, what our subject is.
I think the Mana Ōrite principles, we’ve done a fantastic job of. And it’s very solidly embedded in our matrix and even our learning which is quite a bold statement.
I do like the fact that it’s not kind of like a list of things you’ve got to know about them, it’s actually a way of thinking, and sometimes it’s just concepts and principles that we can find our own meaning in there as well. I mean there’s a respect aspect to it obviously, but we’re all at different levels and that’s actually OK.
I actually think the big ideas that are above in the learning matrix are huge, but actually it encompasses our whole subject. Because when we look at a subject you don’t just look at it in one level.
It’s almost like as a teacher you want to know what the students are going to take away from your subject when they leave, whether it’s at Level 1, 2 or 3.
Having those fewer Standards means that through good practice all the Standards will come through it.
It’s been really exciting to sort of get new people’s perspectives into forming the direction of the subject. So I think that’s been a really you know positive experience.
I think from being in a decile one school, the greatest thing is just allowing that conversation instead of individual design.
I really enjoyed, being on the RAS, how we were expressing quite different opinions. I wouldn’t say opposing but a lot of the time we were coming from different places and we had some really intense discussions, but by the end we were really clear and we all agreed.
So going from different perspectives we came to something that we were all solidly behind.
Ask questions too, and be involved. I mean we’re interested in knowing where the needs are so, you know, ask the questions.
Hopefully people will feel quite familiar with what they’re seeing.
Yes, I mean, I think they don’t need to throw out stuff that they might be doing if it’s been successful, because actually successful practice should still work in this new framework.
Subject-specific terms can be found in the glossary.
The Learning Area’s whakataukī is:
Kaua e rangiruatia te hāpai o te hoe; e kore tō tātou waka e ū ki uta.
Do not lift the paddle out of unison; our canoe will never reach the shore.
The Technology Learning Area whakataukī offers a framework for understanding technology practice. It tells the story of ākonga, within Technology, embarking on a shared journey, collaborating with others in harmony to achieve a goal.
Design and Visual Communication is about the interrelated strands of design thinking, visual communication, and design influences.
Design thinking encompasses the ideation, exploration, progression, and communication of design ideas into potential outcomes that serve a specific purpose, provide innovative possibilities, and can be informed by design influences and a designer’s perspective.
Within Design and Visual Communication, design consists of product design and spatial design.
Product design focuses on the development of tangible items that have a specific function within people’s everyday lives. It is about understanding the needs of the people and how they will interact with the product. Products use visualisation methods of 2D or 3D forms to show design ideas. Product design may use anthropometric and ergonomic data to inform the designs to meet the needs of the user.
Spatial design is about the designing of three-dimensional spaces in terms of how they are experienced, occupied, or used by people. These spaces can range from those defined by walls and physical elements to those more permeable and determined by ritual, activity, or occupancy. Spatial design incorporates concepts from architecture, interior design, landscape architecture, and urban design.
Logo design is not suitable for Level 1 Design and Visual Communication.
Visual communication addresses how design ideas and outcomes are appropriately presented to the viewer. Design ideas and outcomes are expressed in a manner that displays the learner’s thoughts, allowing for engagement, feedback, and collaboration.
In Design and Visual Communication, design influences are drawn from design heritages and refer to:
- history
- culture
- awareness of design
- design tikanga
- design fields (such as architecture, interior, product, landscape, fashion, and media design)
- design eras
- design movements
- designers
- design artefacts
- the elements of design.
Designers acknowledge how their design ideas can meet the needs of people in various situations. Designers are responsive to the ethical, environmental, and cultural impacts they may have.
By developing the skills and techniques of Design and Visual Communication, ākonga will discover how to give form and expression to their ideas. In order to create purposeful and future-focused design ideas, ākonga must be willing to experiment, develop, respond to feedback, and reflect on their design thinking.
Developing these skills will allow them to improve and refine the product and spatial design ideas they propose. It will help them to build confidence in their strengths, talents, and abilities, as well as resilience, resourcefulness, and a sense of ethical responsibility to the peoples and places they are designing for.
Subject-specific terms can be found in the glossary.
The Learning Area’s whakataukī is:
Kaua e rangiruatia te hāpai o te hoe; e kore tō tātou waka e ū ki uta.
Do not lift the paddle out of unison; our canoe will never reach the shore.
The Technology Learning Area whakataukī offers a framework for understanding technology practice. It tells the story of ākonga, within Technology, embarking on a shared journey, collaborating with others in harmony to achieve a goal.
Design and Visual Communication is about the interrelated strands of design thinking, visual communication, and design influences.
Design thinking encompasses the ideation, exploration, progression, and communication of design ideas into potential outcomes that serve a specific purpose, provide innovative possibilities, and can be informed by design influences and a designer’s perspective.
Within Design and Visual Communication, design consists of product design and spatial design.
Product design focuses on the development of tangible items that have a specific function within people’s everyday lives. It is about understanding the needs of the people and how they will interact with the product. Products use visualisation methods of 2D or 3D forms to show design ideas. Product design may use anthropometric and ergonomic data to inform the designs to meet the needs of the user.
Spatial design is about the designing of three-dimensional spaces in terms of how they are experienced, occupied, or used by people. These spaces can range from those defined by walls and physical elements to those more permeable and determined by ritual, activity, or occupancy. Spatial design incorporates concepts from architecture, interior design, landscape architecture, and urban design.
Logo design is not suitable for Level 1 Design and Visual Communication.
Visual communication addresses how design ideas and outcomes are appropriately presented to the viewer. Design ideas and outcomes are expressed in a manner that displays the learner’s thoughts, allowing for engagement, feedback, and collaboration.
In Design and Visual Communication, design influences are drawn from design heritages and refer to:
- history
- culture
- awareness of design
- design tikanga
- design fields (such as architecture, interior, product, landscape, fashion, and media design)
- design eras
- design movements
- designers
- design artefacts
- the elements of design.
Designers acknowledge how their design ideas can meet the needs of people in various situations. Designers are responsive to the ethical, environmental, and cultural impacts they may have.
By developing the skills and techniques of Design and Visual Communication, ākonga will discover how to give form and expression to their ideas. In order to create purposeful and future-focused design ideas, ākonga must be willing to experiment, develop, respond to feedback, and reflect on their design thinking.
Developing these skills will allow them to improve and refine the product and spatial design ideas they propose. It will help them to build confidence in their strengths, talents, and abilities, as well as resilience, resourcefulness, and a sense of ethical responsibility to the peoples and places they are designing for.
Big Ideas and Significant Learning
This section outlines the meaning of, and connection between, the Big Ideas and Significant Learning, which together form the Learning Matrix. It then explains each Design and Visual Communication Big Idea.
The Technology Learning Area curriculum, including its whakataukī, inform this subject’s Significant Learning — learning that is critical for students to know, understand, and do in a subject by the end of each Curriculum Level. This covers knowledge, skills, competencies, and attitudes. It also includes level-appropriate contexts students should encounter in their Level 6 education.
The subject’s Big Ideas and Significant Learning are collated into a Learning Matrix for Curriculum Level 6. Teachers can use the Learning Matrix as a tool to construct learning programmes that cover all the not-to-be-missed learning in a subject. There is no prescribed order to the Learning Matrix within each level. A programme of learning might begin with a context that is relevant to the local area of the school or an idea that students are particularly interested in. This context or topic must relate to at least one Big Idea and may also link to other Big Ideas.
There are five Big Ideas in Design and Visual Communication. The nature of this subject as a discipline means aspects of Significant Learning often cross over multiple Big Ideas, and vice versa.
This section outlines the meaning of, and connection between, the Big Ideas and Significant Learning, which together form the Learning Matrix. It then explains each Design and Visual Communication Big Idea.
The Technology Learning Area curriculum, including its whakataukī, inform this subject’s Significant Learning — learning that is critical for students to know, understand, and do in a subject by the end of each Curriculum Level. This covers knowledge, skills, competencies, and attitudes. It also includes level-appropriate contexts students should encounter in their Level 6 education.
The subject’s Big Ideas and Significant Learning are collated into a Learning Matrix for Curriculum Level 6. Teachers can use the Learning Matrix as a tool to construct learning programmes that cover all the not-to-be-missed learning in a subject. There is no prescribed order to the Learning Matrix within each level. A programme of learning might begin with a context that is relevant to the local area of the school or an idea that students are particularly interested in. This context or topic must relate to at least one Big Idea and may also link to other Big Ideas.
There are five Big Ideas in Design and Visual Communication. The nature of this subject as a discipline means aspects of Significant Learning often cross over multiple Big Ideas, and vice versa.
Big Idea Body:
Designers respond to social, cultural, and environmental contexts, producing outcomes that improve people‘s lives. They consider forms of knowledge from multiple perspectives that speak to the people and places of the design ideas and outcomes they develop. This includes ethics, sustainability, and inclusion. By engaging with their community and acknowledging the whakapapa and tikanga of the people for whom they are designing, they develop the ability to meet design briefs and to understand the importance of user engagement and user experience.
It is important that learners understand the purpose of their work as designers, and the value that their ideas have within local and global contexts. In this sense, manaakitanga is the designer’s drive to develop design ideas that enable individuals and their communities. Designers see the potential lying in everyday situations and environments. They can anticipate the advantages offered by their design ideas.
Design, as an act of manaakitanga, seeks new ways to improve the lives of people and their places
Designers respond to social, cultural, and environmental contexts, producing outcomes that improve people‘s lives. They consider forms of knowledge from multiple perspectives that speak to the people and places of the design ideas and outcomes they develop. This includes ethics, sustainability, and inclusion. By engaging with their community and acknowledging the whakapapa and tikanga of the people for whom they are designing, they develop the ability to meet design briefs and to understand the importance of user engagement and user experience.
It is important that learners understand the purpose of their work as designers, and the value that their ideas have within local and global contexts. In this sense, manaakitanga is the designer’s drive to develop design ideas that enable individuals and their communities. Designers see the potential lying in everyday situations and environments. They can anticipate the advantages offered by their design ideas.
Big Idea Body:
The practice of design is where ideas begin to take shape into potential products and spatial design ideas. It combines the skills and knowledge that ākonga attain into action-oriented development. Ākonga will ask questions, propose scenarios, and reframe perceptions to generate ideas through visual communication techniques, and use of design tools and technologies.
Translating their ideas into visual form gives ākonga a sense of their own unique way of seeing the world. They will begin to see how their design awareness can be applied to create innovative solutions. Engaging with hands-on, practical exercises will also allow them to think about the function and purpose of design outcomes. They will learn about ‘how stuff works’ and how old design ideas can be built upon to inspire new ones.
Design tikanga weaves together both divergent and convergent thinking in the generation, exploration, refinement, and resolving of design ideas and outcomes
The practice of design is where ideas begin to take shape into potential products and spatial design ideas. It combines the skills and knowledge that ākonga attain into action-oriented development. Ākonga will ask questions, propose scenarios, and reframe perceptions to generate ideas through visual communication techniques, and use of design tools and technologies.
Translating their ideas into visual form gives ākonga a sense of their own unique way of seeing the world. They will begin to see how their design awareness can be applied to create innovative solutions. Engaging with hands-on, practical exercises will also allow them to think about the function and purpose of design outcomes. They will learn about ‘how stuff works’ and how old design ideas can be built upon to inspire new ones.
Big Idea Body:
In Design and Visual Communication, ākonga are enabled to bring their own experiences, values, and cultures to their learning. As they learn about the perspectives of others, they discover and develop their own voice. This allows them to innovate and create authentic designs and ensures their own unique voice is honoured throughout the development of all design outcomes. These unique voices may include those of Māori and Pacific communities, as well as the global design perspectives of indigenous and non-indigenous cultures and other designers.
Ākonga can also examine, critique, and be influenced by the perspectives and inputs of others in a fluid, supportive, and collaborative learning environment. They will develop resilience and confidence through feedback and critique of design decisions, reframing ‘mistakes’ as valuable learning opportunities. Over time, they will be able to convey their personal aspirations with a clearer vision of the pathways available to them as designers.
Designers bring their own unique voice that draws from their personal experiences, cultures, values, and perspectives as well as those of other people
In Design and Visual Communication, ākonga are enabled to bring their own experiences, values, and cultures to their learning. As they learn about the perspectives of others, they discover and develop their own voice. This allows them to innovate and create authentic designs and ensures their own unique voice is honoured throughout the development of all design outcomes. These unique voices may include those of Māori and Pacific communities, as well as the global design perspectives of indigenous and non-indigenous cultures and other designers.
Ākonga can also examine, critique, and be influenced by the perspectives and inputs of others in a fluid, supportive, and collaborative learning environment. They will develop resilience and confidence through feedback and critique of design decisions, reframing ‘mistakes’ as valuable learning opportunities. Over time, they will be able to convey their personal aspirations with a clearer vision of the pathways available to them as designers.
Big Idea Body:
Ākonga will draw from the rich history of design and the specialist technical knowledge of their kaiako and other subject experts. They will gain the understanding required to apply their talents and skills in a way that gives life to their ideas in Design and Visual Communications.
Exploring the whakapapa of design allows ākonga to recognise concepts of product and spatial design within different cultures and communities. Understanding how design icons are recognised through socially constructed value judgements can shape personal design influences and increase design awareness.
Design is an iterative and cumulative activity that is constantly building on the past in ways that refine and improve current thinking and practice. This includes practising awareness around copyright and third-party content considerations. This gives fair acknowledgement to the designers whose work they draw from, reimagine, and are inspired by.
The exploration and examination of the whakapapa of design, the movements and theories that have gone before, will inspire ākonga to create design ideas for product and spatial design.
Design has a whakapapa — heritage, philosophies, and knowledges, both functional and aesthetic, in relation to product and spatial design
Ākonga will draw from the rich history of design and the specialist technical knowledge of their kaiako and other subject experts. They will gain the understanding required to apply their talents and skills in a way that gives life to their ideas in Design and Visual Communications.
Exploring the whakapapa of design allows ākonga to recognise concepts of product and spatial design within different cultures and communities. Understanding how design icons are recognised through socially constructed value judgements can shape personal design influences and increase design awareness.
Design is an iterative and cumulative activity that is constantly building on the past in ways that refine and improve current thinking and practice. This includes practising awareness around copyright and third-party content considerations. This gives fair acknowledgement to the designers whose work they draw from, reimagine, and are inspired by.
The exploration and examination of the whakapapa of design, the movements and theories that have gone before, will inspire ākonga to create design ideas for product and spatial design.
Big Idea Body:
The ability for learners to communicate their ideas in a visual format is vital to design thinking. It displays their design ideas through conventions and techniques that build narratives, transcending the boundaries of language and culture. By developing skills such as sketching, modelling, and presentation, design ideas can be effectively expressed to a range of different audiences, such as peers, whānau, community, or the wider public.
The representation of ideas also allows for their critique. This allows further development of learner resilience and strategies for risk-taking. Ākonga can then reflect, refine, and improve on their initial design thinking and also opens up opportunities for surprising discoveries and alternative viewpoints. Generating design ideas through these communication techniques can provide further insight into the purpose of design ideas and how they align with the ethics, values, and tikanga of both the designer and the user.
Visual communication is a set of visual literacy skills that allow designers to think about, evaluate and appropriately present product and spatial design ideas and outcomes
The ability for learners to communicate their ideas in a visual format is vital to design thinking. It displays their design ideas through conventions and techniques that build narratives, transcending the boundaries of language and culture. By developing skills such as sketching, modelling, and presentation, design ideas can be effectively expressed to a range of different audiences, such as peers, whānau, community, or the wider public.
The representation of ideas also allows for their critique. This allows further development of learner resilience and strategies for risk-taking. Ākonga can then reflect, refine, and improve on their initial design thinking and also opens up opportunities for surprising discoveries and alternative viewpoints. Generating design ideas through these communication techniques can provide further insight into the purpose of design ideas and how they align with the ethics, values, and tikanga of both the designer and the user.
Key Competencies in Design and Visual Communication
Learning in Design and Visual Communication provides meaningful contexts for developing Key Competencies from The New Zealand Curriculum. These Key Competencies are woven through, and embedded in, the Big Ideas and Significant Learning.
Ākonga will gain skills and knowledge that will be carried with them throughout their design practice and beyond the learning environment, by forming connections and relationships with clients and collaborators. They will be practising ideation and design thinking, managing their time and wellbeing, and applying the visual communication techniques necessary to promote their design ideas and outcomes.
Thinking
Students of Design and Visual Communication will:
- use design thinking to foster exploration, experimentation, and problem solving
- be encouraged to look at things from different perspectives that they may not have previously considered
- draw from a range of influences to develop an awareness of design, adopting different ideas from the voices of different cultures and the rich heritage of design
- be required to think for themselves and develop confidence in their abilities to generate ideas
- be strongly encouraged to use both divergent and convergent thinking:
- Divergent thinking allows the learner to experiment and take risks in order to innovate and find new ways of achieving results
- Convergent thinking allows them to draw from the knowledge and heritage of design to progress and resolve their design ideas.
- value their own unique voice and background in their design thinking
- use design thinking to foster self-reflection.
Using language, symbols, and text
Students of Design and Visual Communication will:
- develop visual communication skills in order to relate narratives through their design thinking and practice
- learn visual communication techniques and strengthen their visual literacy, by exploring, generating, critiquing, and resolving design ideas
- become aware of how design uses universal symbols and other forms of universal visual language that are internationally recognised in industry
- use visual communication systems, such as drawing conventions
- acquire a fluency in design language, including the principles of aesthetics and function, which inform their design thinking
- decide on which techniques best suit how they will approach making improvements and progressing their design ideas further.
Relating to others
Students of Design and Visual Communication will:
- learn visual communication techniques to develop skills and confidence in presenting ideas and opinions to their peers, community, whānau, and the potential users of their design outcomes
- develop connections with their audiences and users to resolve issues in ways that translate into valuable industry skills
- engage in critical inquiry in order to understand and empathise with the user to better meet their needs
- connect with place and the whakapapa of the people they are designing for
- practise collaboration and critique with each other within the learning environment
- consider the ideas of other students
- build from each other’s strengths and talents with respect and empathy
- engage with their community to form relationships with people and respectfully develop an understanding of the places they design for.
Managing self
Students of Design and Visual Communication will:
- develop skills in time management, use of resources, and adaptability when undertaking projects
- develop the confidence to reflect on and commit to their ideas
- know when to take risks and when to follow established procedure to achieve the best results
- take ownership of their own processes and ways of working, including the curation of their design portfolios
- engage with design contexts and other perspectives to refine their own design awareness and to recognise personal bias
- have to think on their feet to make decisions, sometimes under tight deadlines that require them to make do with what they have and work to their personal strengths
- include wellbeing and stress management practices as part of their design processes
- recognise that resilience and focus support the generation of design ideas and the communication of high-quality outcomes.
Participating and contributing
Students of Design and Visual Communication will:
- use their emerging visual communication skills to connect their ideas with people and place
- take an active role in developing solutions to meet the needs of others while remaining aware of the potential impacts their design decisions could make within social, cultural, and environmental contexts
- see design as a cumulative activity that builds upon previous work and requires constant engagement and active participation to bring ideas to fruition
- understand that collaboration and teamwork can inspire new ideas to be generated
- recognise that feedback and critique helps their peers strengthen their own knowledge and skill sets, creating a rich, supportive, and innovative learning environment
- recognise that the resilience and confidence built through developing, testing, and presenting design ideas allows them to reframe 'mistakes' as valuable learning opportunities in which they can reflect on and improve their ideas.
Key Competencies
This section of The New Zealand Curriculum Online offers specific guidance to school leaders and teachers on integrating the Key Competencies into the daily activities of the school and its Teaching and Learning Programmes.
Learning in Design and Visual Communication provides meaningful contexts for developing Key Competencies from The New Zealand Curriculum. These Key Competencies are woven through, and embedded in, the Big Ideas and Significant Learning.
Ākonga will gain skills and knowledge that will be carried with them throughout their design practice and beyond the learning environment, by forming connections and relationships with clients and collaborators. They will be practising ideation and design thinking, managing their time and wellbeing, and applying the visual communication techniques necessary to promote their design ideas and outcomes.
Thinking
Students of Design and Visual Communication will:
- use design thinking to foster exploration, experimentation, and problem solving
- be encouraged to look at things from different perspectives that they may not have previously considered
- draw from a range of influences to develop an awareness of design, adopting different ideas from the voices of different cultures and the rich heritage of design
- be required to think for themselves and develop confidence in their abilities to generate ideas
- be strongly encouraged to use both divergent and convergent thinking:
- Divergent thinking allows the learner to experiment and take risks in order to innovate and find new ways of achieving results
- Convergent thinking allows them to draw from the knowledge and heritage of design to progress and resolve their design ideas.
- value their own unique voice and background in their design thinking
- use design thinking to foster self-reflection.
Using language, symbols, and text
Students of Design and Visual Communication will:
- develop visual communication skills in order to relate narratives through their design thinking and practice
- learn visual communication techniques and strengthen their visual literacy, by exploring, generating, critiquing, and resolving design ideas
- become aware of how design uses universal symbols and other forms of universal visual language that are internationally recognised in industry
- use visual communication systems, such as drawing conventions
- acquire a fluency in design language, including the principles of aesthetics and function, which inform their design thinking
- decide on which techniques best suit how they will approach making improvements and progressing their design ideas further.
Relating to others
Students of Design and Visual Communication will:
- learn visual communication techniques to develop skills and confidence in presenting ideas and opinions to their peers, community, whānau, and the potential users of their design outcomes
- develop connections with their audiences and users to resolve issues in ways that translate into valuable industry skills
- engage in critical inquiry in order to understand and empathise with the user to better meet their needs
- connect with place and the whakapapa of the people they are designing for
- practise collaboration and critique with each other within the learning environment
- consider the ideas of other students
- build from each other’s strengths and talents with respect and empathy
- engage with their community to form relationships with people and respectfully develop an understanding of the places they design for.
Managing self
Students of Design and Visual Communication will:
- develop skills in time management, use of resources, and adaptability when undertaking projects
- develop the confidence to reflect on and commit to their ideas
- know when to take risks and when to follow established procedure to achieve the best results
- take ownership of their own processes and ways of working, including the curation of their design portfolios
- engage with design contexts and other perspectives to refine their own design awareness and to recognise personal bias
- have to think on their feet to make decisions, sometimes under tight deadlines that require them to make do with what they have and work to their personal strengths
- include wellbeing and stress management practices as part of their design processes
- recognise that resilience and focus support the generation of design ideas and the communication of high-quality outcomes.
Participating and contributing
Students of Design and Visual Communication will:
- use their emerging visual communication skills to connect their ideas with people and place
- take an active role in developing solutions to meet the needs of others while remaining aware of the potential impacts their design decisions could make within social, cultural, and environmental contexts
- see design as a cumulative activity that builds upon previous work and requires constant engagement and active participation to bring ideas to fruition
- understand that collaboration and teamwork can inspire new ideas to be generated
- recognise that feedback and critique helps their peers strengthen their own knowledge and skill sets, creating a rich, supportive, and innovative learning environment
- recognise that the resilience and confidence built through developing, testing, and presenting design ideas allows them to reframe 'mistakes' as valuable learning opportunities in which they can reflect on and improve their ideas.
Key Competencies
This section of The New Zealand Curriculum Online offers specific guidance to school leaders and teachers on integrating the Key Competencies into the daily activities of the school and its Teaching and Learning Programmes.
Connections
Design and Visual Communication integrates with the other Technology subjects of Digital Technologies, Computer Science, and Materials and Processing Technology. Students who take more than one Technology subject will have the opportunity to further refine their design thinking and to apply it in diverse contexts.
Knowledge from the Learning Areas of Science and Mathematics and Statistics will support students in their development of ideas and provide a good understanding of materials and physical principles when designing for fit for purpose outcomes.
The subjects of History, Pacific Studies, Geography, and Social Studies will support students to meaningfully incorporate their learning of place into their design ideas.
Design and Visual Communication connects well with the Social Sciences Learning Area, with a focus on finding solutions that work for people and the environment, while at the same time, incorporating historical or culturally-based knowledges.
Health Studies will support the development of design ideas that seek to improve others’ wellbeing and that keep considerations of people at the centre of their design thinking.
The creative skills developed in Visual Arts will complement those learnt in Design and Visual Communication and will support students to develop their ability to communicate ideas visually in different contexts.
Design and Visual Communication integrates with the other Technology subjects of Digital Technologies, Computer Science, and Materials and Processing Technology. Students who take more than one Technology subject will have the opportunity to further refine their design thinking and to apply it in diverse contexts.
Knowledge from the Learning Areas of Science and Mathematics and Statistics will support students in their development of ideas and provide a good understanding of materials and physical principles when designing for fit for purpose outcomes.
The subjects of History, Pacific Studies, Geography, and Social Studies will support students to meaningfully incorporate their learning of place into their design ideas.
Design and Visual Communication connects well with the Social Sciences Learning Area, with a focus on finding solutions that work for people and the environment, while at the same time, incorporating historical or culturally-based knowledges.
Health Studies will support the development of design ideas that seek to improve others’ wellbeing and that keep considerations of people at the centre of their design thinking.
The creative skills developed in Visual Arts will complement those learnt in Design and Visual Communication and will support students to develop their ability to communicate ideas visually in different contexts.
Pathways
Design and Visual Communication can provide students with a strong foundation for a variety of career paths and learning opportunities. By taking Design and Visual Communication they will develop the necessary skills to bring their own ideas about spatial and product design forward through visual communication.
These skills, such as drawing, drafting, and design thinking, can be applied in fields such as construction, engineering, interior design, landscape design, architecture, and urban planning.
Additionally, students may use these skills to pursue careers in marketing, surveying, product design, web design, the fashion industry, fine arts, or visual media.
Students of Design and Visual Communication will benefit from learning skills that will support them in later life by enabling them to communicate their ideas through visual representations.
By completing Level 1 Design and Visual Communication, students will have the skills needed to continue to Level 2, or pursue a cadetship or apprenticeship. This subject can also serve as a stepping-stone for further study in a related field.
Design and Visual Communication can provide students with a strong foundation for a variety of career paths and learning opportunities. By taking Design and Visual Communication they will develop the necessary skills to bring their own ideas about spatial and product design forward through visual communication.
These skills, such as drawing, drafting, and design thinking, can be applied in fields such as construction, engineering, interior design, landscape design, architecture, and urban planning.
Additionally, students may use these skills to pursue careers in marketing, surveying, product design, web design, the fashion industry, fine arts, or visual media.
Students of Design and Visual Communication will benefit from learning skills that will support them in later life by enabling them to communicate their ideas through visual representations.
By completing Level 1 Design and Visual Communication, students will have the skills needed to continue to Level 2, or pursue a cadetship or apprenticeship. This subject can also serve as a stepping-stone for further study in a related field.
Introduction to Sample Course Outlines
Sample Course Outlines are intended to help teachers and schools understand the new NCEA Learning Matrix and Achievement Standards. Examples of how a year-long Design and Visual Communication course could be constructed using the new Learning Matrix and Achievement Standards are provided here. They are indicative only and do not mandate any particular context or approach.
Sample Course Outlines are intended to help teachers and schools understand the new NCEA Learning Matrix and Achievement Standards. Examples of how a year-long Design and Visual Communication course could be constructed using the new Learning Matrix and Achievement Standards are provided here. They are indicative only and do not mandate any particular context or approach.
More Support
[ Video Resource ]
- Title: Setting the scene: Insights into kaupapa Māori
- Description: In this video, we introduce our Kaikōrero who will explore mātauranga Māori concepts in a series of videos; Tuihana Pook, Hine Waitere, Tihirangi Brightwell.
- Video Duration: 4 minutes
- Video URL: https://player.vimeo.com/video/772238305?h=0c3a2a8af7
- Transcript: EnglishGreetings. My name is Tuihana Pook from Te Whānau-a-Kauaetangohia
English
Greetings. My name is Tuihana Pook from Te Whānau-a-Kauaetangohia, from Te Whānau-a-Apanui. My tribal motto is Tihirau is the mountain, Whangaparāoa is the river, Whangaparāoa is the school, the marae is Kauaetangohia, the ancestral house is Kauaetangohia, his wife was Te Whatianga, that is our dining hall. The school is Te Kura Mana Māori o Whangaparāoa. I stand here in front of the leader Hoani Retimana Waititi. Greetings to you all.
I stand here as a descendant of Ngāti Tūwharetoa and Ngāti Kahungunu the tribes on my mother's side. I acknowledge the tribe of Ngāti Tūwharetoa and sub-tribe Tutemohuta. I climb the sacred mountain Tauhara. Below are the swirling waters of Taupō-nui-a-Tia. That is my connection to Te Arawa. On my adoptive father's side, I affiliate to Ngāti Hau, and Ngāti Rangi, the Whanganui tribe and the tribe of Taranaki Whānui. Greetings, I am Hine Waitere. I acknowledge you all from Te Whare Wānanga o Awanuiārangi, greetings.
Greetings to all. I acknowledge you all. Who am I on my mother's side? Taranaki is my mountain. Waiaua is my river. Kurahaupō is my canoe. Taranaki, Ngāti Kahungunu and Muaūpoko are my tribes. My sub-tribe is Ngāti Tamarongo, Orimupiko and Parihaka are my marae. Ōpunake is my standing place. Moving across to my father's side, Hikurangi is my mountain. Waiapu is my river. Horouta is my canoe. Ngāti Porou is my tribe. However, Rolleston, Canterbury is my home now. My name is Matua Tihirangi Brightwell. I am a Māori language teacher, haka troupe and kī-o-rahi teacher at Lincoln High School. Greetings to you all.
Hello everyone! As we start to engage in this work with lots of significant concepts, we just want to make our audience aware that this is directed toward people who are beginning a conversation about significant Māori concepts. And it's a conversation begun, not one that's ended. And many of the entry points have come from a personalised space.
From all the matters that descend from a genealogy the genealogies are linked to all such words as standing place, rangatiratanga, kaitiakitanga, taonga, and tikanga. These things are all linked to the programmes that we are running. There is nothing better. It is the purpose that matters.
All of the kaupapa that are discussed are enormous kaupapa to discuss, and they are massive pukapuka in their own right. And we are able to talk about them in a way that is speaking to our kaiako and those in the education system. And we can do that because we have got the knowledge from those who have gone before us, who have handed on this knowledge to us. So there's a massive amount of kōrero to be had, and for whānau out there this is just the beginning.
Te Reo Māori
Kia ora. Ko Tuihana Pook tōku ingoa. Nō te whānau ā Kauaetangohia nō Te Whānau-ā-Apanui. Ko taku pepeha ko Tihirau te maunga, ko Whangaparāoa te awa, ko Whangaparāoa te kura, ko te marae ko Kauaetangohia, ko te tipuna whare ko Kauaetangohia, ko tana wahine ko Te Whatianga, koinā tō mātou whare kai. Ko te kura, ko Te Kura Mana Māori o Whangaparāoa. Ānei i tū nei au i mua i te rangatira nei a Hoani Retimana Waititi. Kia ora koutou.
E tū ake nei te uri o Ngāti Tūwharetoa me Ngāti Kahungunu hoki ko aku iwi i te taha o tōku māmā. Rere ana te mihi ki te iwi o Ngāti Tūwharetoa me te hapū o Tutemohuta. Ka piki ake au ki runga i te maunga tapu ko Tauhara kei raro rā e reporepo ana te moana ko Taupō-nui-a-Tia. Koinā te hononga o te waka Te Arawa. Ki te taha o tōku pāpā whāngai Ngāti Hau, Ngāti Rangi hoki i a ia anō hoki hononga ki te iwi o Whanganui ā, ki te iwi o Taranaki Whānui. Tēnei te mihi, ko Hine Waitere tēnei. Tēnei te mihi ki a koutou katoa mai i te Whare Wananga o Awanuiārangi, tēnā tātou.
Kia ora tātou. Ngā mihi nui ki a tātou katoa. Ko wai tēnei ki te taha o tōku māmā? Ko Taranaki te maunga, ko Waiaua te awa, ko Kurahaupō te waka, ko Taranaki, ko Ngāti Kahungunu ko Muaūpoko ngā iwi. Ko Ngāti Tamarongo te hapū, ko Orimupiko ko Parihaka ngā marae, ko Ōpunake tōku tūrangawaewae. Whakawhiti atu ki te taha o tōku pāpā, ko Hikurangi te maunga, ko Waiapu te awa, ko Horouta te waka, ko Ngāti Porou te iwi. Ahakoa ērā ko Waitaha, ko Rolleston tōku kāinga ināianei. Ko Matua Tihirangi Brightwell tōku ingoa. He kaiako reo māori kapa haka me te kī-o-rahi ahau ki te Kura Tuaroa o Waihora. Nō reira tēnā tātou katoa.
Kia ora tātou. I a mātou e tīmata ana ki te uru ki ēnei mahi me te maha o ngā ariā matua, e hiahia ana mātou kia mōhio te hunga whakarongo e hāngai ana tēnei ki ngā tāngata e tīmata ana ki te whakawhitiwhiti kōrero mō ngā ariā Māori matua. Ā, ko te tīmatanga o ngā kōrerorero tēnei, ehara i te mutunga. Ko te maha o ngā wāhi uru i hua ake i tētahi wāhi matawhaiaro.
Mai i ngā kaupapa katoa ka heke mai i tētahi whakapapa ko ngā whakapapa ka hono atu ki ngā kupu katoa pēnei i te tūrangawaewae, rangatiratanga, kaitiakitanga, ngā taonga, ā tātou tikanga hoki. Ko ēnei katoa ka hono ki ngā kaupapa katoa kei te whakahaeretia. Nō reira, kāore i kō atu, kāore i kō mai. Ko te kaupapa te mea nui.
Ko ngā kaupapa katoa e kōrerohia ana he kaupapa nui, ā, he pukapuka nunui tonu. Ā, ka taea e mātou te kōrero i ērā mā tētahi ara e mārama ai ā mātou kaiako me ngā tāngata i roto i te punaha mātauranga. Ka taea te pērā i te mea kei a mātou ngā mātauranga o rātou mā, nā rātou ngā kōrero i tuku iho ki a mātou. Nō reira he nui ngā kōrero, he nui ngā kōrero mā ngā whanau he tīmatanga noa iho tēnei.
[ Video Resource ]
- Title: Insights into kaupapa Māori: Tikanga
- Description: This video explores Tikanga.
- Video Duration: 5 minutes
- Video URL: https://player.vimeo.com/video/772241190?h=c616f6b5f0
- Transcript: EnglishTikanga. There are numerous explanations of tikanga. There are tikanga that govern behaviour on the marae. There are tikanga that pertain to our homes
English
Tikanga. There are numerous explanations of tikanga. There are tikanga that govern behaviour on the marae. There are tikanga that pertain to our homes, and tikanga that pertain to our families our sub-tribes and our tribes. There are many explanations of tikanga. There are many aspects.
It connects to all the things that we do, our language, and aspects of Māori knowledge, the aspects that pertain to our homes, our true homeland, our land. Indeed, all tikanga is there. Therefore, if we were to follow the themes that relate to us, the Māori people, we must follow. We must make connections to tikanga.
For lots of people, the very first point of contact is on the marae. So, the very first point of contact is on the marae. So, for a lot of our students and family and teachers, they will see tikanga in action for the first time on the marae. And so what is this thing of tikanga? And to me, it's a way to behave and interact with people and my surroundings. Te taha wairua, you know, the unseen world that keeps me safe. So I know in each circumstance, if I can follow tikanga in how I interact with people. How do I interact with my pakeke? How do I interact with my tamariki? How to interact if I'm going on to a marae? How do I behave if I'm hosting people onto my marae or onto my whare? How do I behave at tangihanga? How do I behave at hākari? And tikanga tells me how to do that. And what it does is it protects me, and my mana, and my wairua. And it protects the mana and the wairua of the people who I am interacting with as well.
It gives me the mechanism to judge what is pono, what is tika and perhaps what is given with aroha. But it does provide the blueprint for reading and being able to anticipate what might be about to unfold when I'm in a social context.
How to implement it in the classroom? If a subject or a learning area is ever entering in a te ao Māori space through their content or through their pedagogy, then that’s an opportunity to engage in tikanga. Isn't it? And so if we are in the Food and Nutrition Department, there's always opportunity to engage with tikanga in that space. One hundred percent. If we're in the Outdoor Education space, there’s always opportunity to engage with tikanga in that space. If I'm going to visit the domain of Tāne or Tangaroa, there's a multitude of tikanga that you can follow to keep you and your students safe. If you're in the technology space working with wood, you know, you're creating things in that space, a lot of tikanga there as well.
There are multiple resonances, isn't it, with the way in which tikanga plays out as we engage with people. And increasingly we're challenged to think about mātauranga, ownership of mātauranga, the whole ability to think about even data sovereignty in terms of evidence, how it's housed, who houses it? The whole idea of individualism and collectivism too. So as I collect evidence about one person, invariably, I'm collecting it about a whakapapa, about a group of people. So what does that mean too, in the ways in which we engage respectfully with communities? What are your thoughts?
You have a right. There are other tikanga we need to follow in relation to the collection of research data. There are also tikanga on how to use the data collected. The question is: Who does the information belong to? Where did the information come from? Who will care for it?
Te Reo Māori
Tikanga. He nui ngā whakamārama mō, mō tikanga. Ko ngā tikanga e pā ana ki ngā marae ko ngā tikanga e pā ana ki wā tātou kāinga, ngā tikanga e pā ana ki wā tātou whānau wā tātou hapū, wā tātou iwi. He nui ngā whakamārama he nui ngā āhuatanga. Ka hono atu tēnei ki wā tātou mahi katoa i roto o wā tātou, te reo, i roto o ngā āhuatanga mō mātauranga Māori, i roto o ngā āhuatanga e pā ana ki wā tātou kāinga haukāinga, wā tātou whenua, kei reira katoa ngā tikanga. Nō reira, mehemea kei te whai haere tātou i ngā kaupapa e pā ana ki tātou te iwi Māori me whai atu anō, me hono atu anō ki ngā tikanga.
Mō te nuinga o ngā tāngata ko te wāhi tuatahi e kitea ai te tikanga ko te marae. Nā, ko te wāhi tuatahi e kitea ai te tikanga ko te marae. Nā, mō te nuinga o ā tātou ākonga, ngā whānau me ngā kaiako ko te marae te wāhi tuatahi e kite ai rātou i te whakatinanatanga o ngā tikanga, he aha hoki tēnei mea te tikanga? Ki ōku whakaaro he whanonga, he tauwhitiwhiti ki te tangata me taku taiao. Ko te taha wairua, te wāhi matahuna tērā, e tiaki ana i ahau. Nā, e mōhio ana ahau i ia āhuatanga, ki te ū ahau ki te tikanga o te āhua o taku tauwhitiwhiti me te tangata, ka pēhea taku tauwhitiwhiti ki ōku pākeke, ka pēhea taku tauwhitiwhiti ki aku tamariki? Ka pēhea taku tauwhitiwhiti ina haere au ki tētahi marae? Me pēhea te āhua o aku whanonga mēnā e manaaki ana au i tētahi iwi i taku marae ki taku whare rānei? Me pēhea aku whanonga i te tangihanga? Me pēhea aku whanonga i te hākari? Ko tā te tikanga, he tohutohu mai ki ahau me pēhea. Ko tāna, he tiaki i ahau, taku mana me taku wairua, ā, ka tiaki i te mana me te wairua o ngā tāngata e tauwhitiwhiti nei ahau hoki.
Ka tuku mai ki ahau tētahi tikanga whakawā he aha te pono, he aha te tika, ā, i ngā mea ka homai i runga i te aroha. Engari ka whakarato hoki i te mahere mō te mahi pānui me te āhei ki te matapae he aha ngā mahi kei tua i ahau e tū ana i te horopaki ā-pāpori.
He aha te whakatinana ki te akomanga? Mēnā e kuhu atu ana tētahi kaupapa, kaupapa ako rānei, ki tētahi mokowā ao Māori, arā, ngā kōrero, ngā tikanga ako rānei, koinā te āheinga ki te whakauru ki te tikanga. Nē rā? Nō reira mēnā tātou kei roto i te Tari Kai me te Taioranga, he āheinga anō tērā ki te whakauru ki te tikanga i taua mokowā. Āe mārika. Mēnā tātou kei te mokowā mātauranga taiao, he āheinga anō tērā ki te whakauru atu ki te tikanga i taua mokowā. Ki te haere au ki te ao o Tāne, o Tangaroa rānei, he nui ngā tikanga ka taea e koe te whai haere e noho haumaru ai koutou ko ō tauira. Mēnā kei roto koe i te mokowā hangarau e mahi ana me te rākau, kei te mōhio koe, kei te hanga mea koe i roto i taua mokowā, otirā he nui ngā tikanga kei taua mokowā.
He huhua ngā take paoro nē, arā, mō te āhuatanga o te tikanga i a tātou e tauwhitiwhiti ana ki te tangata otirā e nui haere ake ana ngā wero hei whai whakaarotanga te mātauranga, te rangatiratanga o te mātauranga, te āhei ki te whai whakaaro ki te tino rangatiratanga o ngā raraunga, otirā e pā ana ki ngā taunakitanga, te rokiroki, mā wai e tiaki? Te whakaaro nui o te takitahi me te tōpūtanga hoki. Nā, i ahau e kohi taunakitanga ana mō tētahi tangata, i te mutunga iho, e kohikohi ana ahau i te whakapapa, o tētahi rōpū tangata. Nā, he aha te tikanga o tērā, arā, ngā huarahi e whakaute ai te whakawhiti whakaaro ki ngā hapori? He aha ō whakaaro?
He tika tāhau. He tikanga anō me whai atu tātou e pā ana ki ngā āhuatanga o te kohikohi rangahau. He tikanga anō mō te whakamahi i ngā rangahau kua kohikohitia Ko te pātai, nā wai, nā wai ngā kōrero? I ahu mai ngā kōrero i hea? Mā wai e tiaki?
[ Video Resource ]
- Title: Insights into kaupapa Māori: Whakapapa
- Description: This video explores Whakapapa.
- Video Duration: 4 minutes
- Video URL: https://player.vimeo.com/video/772266235?h=db0f2eafe8
- Transcript: EnglishWhakapapa is extremely important in the Māori world. From genealogy
English
Whakapapa is extremely important in the Māori world. From genealogy, you know who you are and where you are from, where you originated from. You know your land you know your territory, your hapū. It begins with your pepeha, that is, your mountain, your river, and down to your hapū. Others mention your connections to your marae. It is a huge thing if you know your genealogy. Then you can make links to your relatives from each and every tribe. That is all I have to say.
Thank you. You are correct. Whakapapa is the beginning of all things. Everything begins with whakapapa, and we know that we whakapapa to Ngā atua. And whakapapa to me is a collection of stories and lives and experiences and important works and deeds and people that came before me. And that's all my whakapapa. I'm here now in the present but if you look behind my shoulder, you'll see all of my ancestors behind me, and all of their mahi and their deeds.
Yes, me too. It is about certainly... it gives you a place to stand. It gives you a right to be in a particular place and to be able to connect to, as you were saying, to people, to atua, to things, to historic moments in time. But it also comes with roles and responsibilities. You know? So I think whakapapa for me, when it puts you into a matrix of relationships with people and with place, it doesn't come free. Yeah? It comes with a real need to understand then - what are my roles and responsibilities in this place? Yeah? Having this as a korowai (cloak) of who I am and where I come from.
If we want to localise it, then what I would say is an example of whakapapa in kura is understanding your mana whenua, and learning about your mana whenua in your area. And so to understand where you are, and where your school is, you are under the korowai, you are under the protection and the mana of the people of the land in your area. So get to know them, learn about their stories, learn about their people, learn about their marae, learn about the whenua. Why is their awa called that? Why is the maunga called that? Why is the marae called that? What’s the whakapapa of my area? So that would be a way for any kura to be able to engage in any learning context, is to draw on the whakapapa of the place where you are, among a whole range of things.
But equally, you know, we've got a whakapapa of our way of understanding and classifying and engaging the world. We might start with Rangi and Papa, right? Papatūānuku, Ranginui, and all of the atua that came from that have a whakapapa. And what we’re trying to do is to create an understanding of who we are and where we've come from. Not only physically, physiologically, but conceptually as well.
And so it's really vital that we say to the children: Know who you are. Don't be shy or embarrassed. Don't be shy or embarrassed of, you know, my father's this, or my mother is that. People are treasures. You are a treasure. So every person is important. Every person is unique because they have a whakapapa.
Te Reo Māori
Ko te whakapapa te mea nui i roto i te ao Māori. Mai i te whakapapa ka mōhio koe ko wai koe, nō hea koe, i ahu mai koe i hea. Ka mōhio koe tō whenua ka mōhio koe tō takiwā, tō hapū. Ka tīmata mai tō pepeha arā tō maunga, tō awa, heke iho ki tō iwi. Ka hari ētahi ki tēnā marae, ki tēnā marae. He mea nui mehemea kei te mōhio koe tō whakapapa Ka taea e a koe te hono atu ki tēnā o ō whanaunga ki ērā o ō whanaunga mai i tēnā iwi ki tēnā iwi. Huri au, koirā tāku.
Tēnā koe. Tika tāu. Te tīmatanga o ngā mea katoa ko te whakapapa Ka tīmata ngā mea katoa i te whakapapa, me te mōhio anō e whakapapa ana tātou ki ngā atua nā, ko te whakapapa ki ahau he kohinga kōrero, oranga, wheako hoki me ngā mahi, ngā mahi nunui me nga tāngata nō mua i ahau. Koinā katoa taku whakapapa Kei konei ahau ināianei, Engari ki te titiro koe ki tua o taku pakihiwi, ka kite koe i ōku tīpuna katoa, kei muri i ahau, me ā rātou mahi nunui.
Āe, me au hoki, he tūmomo pūmautanga - e whai tūranga ai koe. Ka whai mana koe ki te tū i tētahi wāhi me te tūhono atu ki taua wāhi, pērā i āu kōrero i mua, te hononga ki te tangata, ki ngā atua, ki ngā āhuatanga mīharo o mua. Engari tērā anō ōna here, ōna haepapatanga. Nē rā? Nā, ko te whakapapa ki ahau, ka whakanoho i a koe ki roto i tētahi mahere o ngā hononga ki te tangata, ki te wāhi, otirā ehara i te mea kāore he utu. Nē rā? Me tino mārama koe he aha aku mahi me ngā haepapatanga i tēnei wāhi? Nē rā? Kia noho tēnei hei korowai mōku, ko wai ahau, ā, i ahu mai au i whea. Ki te hiahia kia whakahāngaitia tēnei, nā ko taku tauira pea o te whakapapa i roto i te kura, ko te mārama ki tō mana whenua, te ako i ngā kōrero mō tō mana whenua i tō rohe. Kia mārama koe ko wai koe, kei hea tō kura, kei raro koe i te korowai, i te kākahu whakamaru me te mana o te iwi o te whenua i tō rohe. Me mōhio koe ki a rātou, me ako i ā rātou kōrero, me ako ko wai ō rātou tāngata, me ako i ngā kōrero mō ngā marae, me te whenua. He aha i whakaingoatia ai tō rātou awa ki taua ingoa? He aha i whakaingoatia ai tō rātou maunga ki taua ingoa? He aha i whakaingoatia ai tō rātou marae ki taua ingoa? He aha te whakapapa o taku rohe? Nā, he huarahi tērā e tauwhitiwhiti ai tētahi kura i ngā horopaki ako katoa, arā, te nanao atu ki te whakapapa o te wāhi e noho nā koe, tae atu ki ētahi atu āhuatanga whānui.
Tāpiri ki tērā, he whakapapa tā mātou o te huarahi e mārama ai mātou, e whakarōpū ai mātou, e whakauru ai mātou ki te ao. Ka tīmata pea ki a Rangi rāua ko Papa, nē? He whakapapa tō Papatūānuku, tō Ranginui, tō ngā atua katoa i ahu mai ai i a rāua, ā, ko tā mātou e whakamātau nei, ko te whakapiki i te māramatanga ko wai mātou, ā, i ahu mai mātou i hea. Kaua ko te taha tinana me te taha hinengaro anake, engari te taha ariā hoki.
Nō reira he tino waiwai te kī atu ki ngā tamariki, Me mōhio ko wai koe, kaua e whakamā. Kaua e whakamā ki te kī, anei taku pāpā, anei taku māmā. He taonga, he taonga te tangata, he taonga koe. Otirā he hira ngā tāngata katoa. He ahurei ia tangata i te mea he whakapapa tōna.
[ Video Resource ]
- Title: Insights into kaupapa Māori: Manaakitanga
- Description: This video explores Manaakitanga.
- Video Duration: 4 minutes
- Video URL: https://player.vimeo.com/video/772281185?h=b92fd84dac
- Transcript: EnglishWhat is this thing called manaakitanga? It is an important thing to me. Perhaps manaakitanga is the most important thing to me
English
What is this thing called manaakitanga? It is an important thing to me. Perhaps manaakitanga is the most important thing to me, the main purpose. I have heard of people talking about the explanation of manaakitanga. Here is the sentence - 'give mana/esteem to others'. That is one thing I have heard. So I show my manaakitanga and I express my manaakitanga for others by feeding them mana. I give mana to them. Not my mana, but I give mana to the other person. And that's how I show my manaakitanga. And then what that manifests as could be a whole range of things. It can be through my kai. It can be how I welcome them into my whare or my room. It's how I interact with them. So mana ki te tangata was a way for me to understand how I interpret manaakitanga.
Awesome. You are correct. I think, 'give esteem to others, receive esteem back,' yes? And so again, you know, it is about recognising the pre-existing mana that resides with those and what I engage with, but that then simultaneously, actually elevates my mana. So it is a reciprocal relationship that in order to elevate or to maintain my mana, it’s dependent also on recognising yours. So the mana that I recognise that exists outside of me then returns to me and equally, simultaneously, elevates my own manaaki ki te tangata. Kia ora.
Correct. The most important thing is to manaaki. No matter who it is, no matter where, the main thing is to manaaki people. Whether your manaakitanga is food, that is fine. Perhaps it is caring, it is encouraging the family. That is also fine. But the main thing is to really care for others. And that's one of the essentials of, I'd say, looking after people, of ensuring that your visitors are well looked-after, ensuring that your family is well looked-after as well, and ensuring that everything is in place so that they would be made as comfortable as possible and they would be able to go away saying ‘they really looked after us.’ Yeah, and manaakitanga is a bit like wairuatanga. Comes from the heart, eh? It's from within. You can feel whether someone wants you in the room.
If I think about manaakitanga within an educational context, what it does is it challenges teachers to think a lot more about teaching the totality of the student. It's no longer just teaching from the neck up, which is what we've done historically. We thought about our curriculum content and we've only engaged the mind. But now what we're trying to say is, what is the totality of the child that is standing in front of me? How do I meet those needs in order for their readiness to be able to learn, to engage?
Te Reo Māori
He aha tēnei mea te manaakitanga? He mea nui ki ahau. Tērā pea ko te manaakitanga te tino mea ki ahau, te tino kaupapa. Kua rongo au i tētahi kōrero mō te whakamārama ki te manaakitanga. Ko tēnei te rerenga kōrero ‘mana ki te tangata’, ko tērā tētahi kōrero i rongo au. Ka whakaatu au i te manaakitanga me te whakaari i taku manaakitanga ki te tangata mā te whāngai i a rātou ki te mana, ka whakamana au i a rātou. Kaua ko taku mana, engari ka tuku au i te mana ki tētahi atu. Koirā te āhua o taku manaakitanga. Nā, he nui ngā mea ka puta mai i tērā. Ko te kai pea, ko te āhua rānei o taku pōhiri i te tangata ki roto i taku whare, taku rūma rānei. Ko aku whakawhitiwhiti ki te tangata. Nā reira ko mana ki te tangata he huarahi mōku kia mārama ai me pēhea taku whakamārama i te manaakitanga.
Rawe. Tika tāu. Tōku whakaaro, ‘mana ki atu, mana ki mai’, nē? Heoi anō, kia mōhio koe, ko te whakanui i te mana kua whiwhi kē, e noho ana i roto i te tangata, me ngā mea e whakawhitiwhitihia ana e au, engari i taua wā hoki, ko taku mana tonu tērā e piki ana. Nō reira he tauutuutu tērā hononga, otirā, e hiki ai, e pupuritia ai rānei taku mana, me whakanui ahau i tō mana. Nā, ka piki tahi hoki taku manaaki ki te tangata i roto i taku whakanui i te mana kei waho ake i ahau otirā ka hoki mai tērā ki ahau. Kia ora.
Ka pai. Ko te mea nui ko te manaaki. Nō reira, ahakoa ko wai, ahakoa i hea ko te mea nui ko te manaaki i te tangata. Ō manaakitanga, mehemea he kai, pai tērā, mehemea he awhi, he āki haere i te whānau, kei te pai anō tēnā. Engari ko te mea nui kia kaha ki te manaaki i te tangata. Koirā tētahi o ngā āhuatanga taketake ki ōku whakaaro, arā te tiaki i te tangata, te whakarite kia pai te tiaki i ō manuhiri, te whakarite e pai ana te tiaki i tō whānau hoki, me te whakarite anō kua rite katoa ngā āhuatanga kia hāneanea ai tā rātou noho ā, ka taea e rātou te hoki atu me te kī anō, Pai tērā manaaki i a mātou. Āe, he āhua rite te manaakitanga ki te wairuatanga. Ka ahu mai i te whatumanawa nē? Nō roto tonu i a koe. Ka rongo tonu te ngākau mēnā kei te hiahiatia koe i roto i te rūma.
Ina whakaaro au mō te manaakitanga i roto i te horopaki o te kura, ko tāna, he wero i ngā kaiako kia whai whakaaro ki te whakaako i te katoa o te āhua o te ākonga. Kua kore e whakaako noa mai i te kakī piki whakarunga, otirā he pērā i mua. I whai whakaaro mātou ki te marautanga, ā, ko te hinengaro anake e whakahohetia ana. Engari ko tā mātou e kī ana ināianei, he aha te katoatanga o te tamaiti e tū ana i mua i taku aroaro? Me pēhea taku whakatutuki i aua matea e rite ai rātou ki te whakauru ki ngā mahi ako?
Assessment Matrix
Conditions of Assessment for internally assessed standards
These Conditions provide guidelines for assessment against internally assessed Achievement Standards. Guidance is provided on:
- specific requirements for all assessments against this Standard
- appropriate ways of, and conditions for, gathering evidence
- ensuring that evidence is authentic.
Assessors must be familiar with guidance on assessment practice in learning centres, including enforcing timeframes and deadlines. The NZQA website offers resources that would be useful to read in conjunction with these Conditions of Assessment.
The learning centre’s Assessment Policy and Conditions of Assessment must be consistent with NZQA’s Assessment Rules for Schools with Consent to Assess. This link includes guidance for managing internal moderation and the collection of evidence.
Gathering Evidence
Internal assessment provides considerable flexibility in the collection of evidence. Evidence can be collected in different ways to suit a range of teaching and learning styles, and a range of contexts of teaching and learning. Care needs to be taken to allow students opportunities to present their best evidence against the Standard(s) that are free from unnecessary constraints.
It is recommended that the design of assessment reflects and reinforces the ways students have been learning. Collection of evidence for the internally assessed Standards could include, but is not restricted to, an extended task, an investigation, digital evidence (such as recorded interviews, blogs, photographs, or film), or a portfolio of evidence.
Effective assessment should suit the nature of the learning being assessed, provide opportunities to meet the diverse needs of all students, and be valid and fair.
Ensuring Authenticity of Evidence
Authenticity of student evidence needs to be assured regardless of the method of collecting evidence. This must be in line with the learning centre’s policy and NZQA’s Assessment Rules for Schools with Consent to Assess.
Ensure that the student’s evidence is individually identifiable and represents the student’s own work. This includes evidence submitted as part of a group assessment and evidence produced outside of class time or assessor supervision. For example, an investigation carried out over several sessions could include assessor observations, meeting with the student at a set milestone, or student’s use of a journal or photographic entries to record progress.
All sources must be acknowledged, and all third-party content must be attributed.
These Conditions provide guidelines for assessment against internally assessed Achievement Standards. Guidance is provided on:
- specific requirements for all assessments against this Standard
- appropriate ways of, and conditions for, gathering evidence
- ensuring that evidence is authentic.
Assessors must be familiar with guidance on assessment practice in learning centres, including enforcing timeframes and deadlines. The NZQA website offers resources that would be useful to read in conjunction with these Conditions of Assessment.
The learning centre’s Assessment Policy and Conditions of Assessment must be consistent with NZQA’s Assessment Rules for Schools with Consent to Assess. This link includes guidance for managing internal moderation and the collection of evidence.
Gathering Evidence
Internal assessment provides considerable flexibility in the collection of evidence. Evidence can be collected in different ways to suit a range of teaching and learning styles, and a range of contexts of teaching and learning. Care needs to be taken to allow students opportunities to present their best evidence against the Standard(s) that are free from unnecessary constraints.
It is recommended that the design of assessment reflects and reinforces the ways students have been learning. Collection of evidence for the internally assessed Standards could include, but is not restricted to, an extended task, an investigation, digital evidence (such as recorded interviews, blogs, photographs, or film), or a portfolio of evidence.
Effective assessment should suit the nature of the learning being assessed, provide opportunities to meet the diverse needs of all students, and be valid and fair.
Ensuring Authenticity of Evidence
Authenticity of student evidence needs to be assured regardless of the method of collecting evidence. This must be in line with the learning centre’s policy and NZQA’s Assessment Rules for Schools with Consent to Assess.
Ensure that the student’s evidence is individually identifiable and represents the student’s own work. This includes evidence submitted as part of a group assessment and evidence produced outside of class time or assessor supervision. For example, an investigation carried out over several sessions could include assessor observations, meeting with the student at a set milestone, or student’s use of a journal or photographic entries to record progress.
All sources must be acknowledged, and all third-party content must be attributed.
Students must explain their rationale for the chosen design influence from te ao Māori and the other chosen design influence. They must explain visually with annotations or brief written statements, why they have chosen them and what aspects of them they are drawing on to influence their designs.
Students may work in groups to plan and give feedback or seek feedback from their assessor, but all design work must be generated individually.
Students may have access to a full range of Design and Visual Communication tools.
Evidence for parts of this assessment can be in te reo Māori, English, or New Zealand Sign Language.
Students may work in groups to plan and give feedback, or seek feedback from their assessor, but all design work must be generated individually.
Students may have access to a full range of Design and Visual Communication tools.
Evidence for parts of this assessment can be in te reo Māori, English, or New Zealand Sign Language.