Biography of Christopher Bruce Essay

Christopher Bruce was born on the 3rd of October 1945 in England, he started studying dancing at 11 years old, and he began with tap and ballet. After studying at the Rambert School Christopher Bruce joined Rambert Ballet in 1963, where he quickly became the leading male dancer. Bruce appeared in works such as Don Quixote in 1964 and Coppelia in 1966. Then the company began to experiment with ballet and modern, combining them to form, specifically the Martha Graham technique. (Martha Graham created 181 ballets and a dance technique that has been compared to ballet in its scope and magnitude. Many of the great modern and ballet choreographers have studied the Martha Graham Technique or have been members of her company.) When Bruce danced the role of Pierrot Lunaire, his own interpretive skills were noticed. Bruce was â€Å"dominating everything- practically living the part†. Bruce then worked with Glen Tetley, he discovered that â€Å"the motive for the movement comes from the centre of the body†¦ from this base we use classical ballet as an extension to give wider range and variety of movement† In 1977 he was appointed associate director of the company and was its associate choreographer from 1979-87, he created over twenty works for the company. Between 1986-91 he acted as associate choreographer also for London Festival Ballet, later ENB, and resident choreographer for Houston Ballet in 1989. In 1994 he became artistic director for RDC. Often political in his work, he integrates classical ballet and modern dance, often set against popular music by artists like Bob Dylan, Rolling Stones. His productions include ‘Cruel Garden’, 1977, ‘Ghost Dances’, 1981, ‘Swansong’, 1987, and ‘Rooster’, 1991. Influences Social and political themes emerge as naturally as a reflection of his own concerns, although his aim is always firstly to create a piece of dance, rather than to make a statement. Nevertheless, he does not see a conflict between creating interesting movement and tackling difficult issues. He believes that there is much beauty in Ghost Dances and similar works. Bruce is typically known for using themes that focus on personal or political issues. He has created abstract pieces but even these have a strong undercurrent of emotion. Bruce uses a wide range of starting points, particularly poetry, literature, music, newspaper articles and world events. For example ‘†¦for those who die in cattle’ reflects his views and concerns of war, ‘rooster’ is his idea of relationships, ‘swansong’ is probably one of his most moving and emotional pieces and tackles the very serious issue of torture. His views on the general human condition are portrayed in ‘waiting’. Throughout his career, Christopher has been a strong supporter of Amnesty International’s ideas and through his choreography he has voiced his concerns for society, the persecuted and victims of a wide range of human rights abuses. Time and again he has returned to these themes and in his most recent work â€Å"grinning in your face†, these concerns are articulated as powerfully as ever. The Arts have an important role to play in exploring social issues and dance can be seen as the most human of the Arts as it is based on the body. The image of the tortured prisoner from â€Å"swansong† or the unjust imprisonment of Reuben Carter, in â€Å"Hurricane† are far more powerful than mere words can ever be. Video extracts of Christopher’s work have been used to reinforce talks about human rights abuse. In the 1970’s the focus for Bruce was South America and Pinochet’s bloody coup against the elected Allende government in Chile. He was deeply moved on the meeting of Joan Jara, who was tortured and murdered by Pinochets forces. This meeting lead him to choreograph, Ghost Dances. He took the theme of the day of the dead, simple symbolism and indigenous dance movements as a basis to convey the plight of the innocent people of South American down the ages and their courage in the face of adversity. Certainly, Ghost Dances has a tremendous impact and audiences in many countries have delighted in its distinctive, rhythmic movement performed to haunting American tunes. However, it is the representation of the oppression of ordinary people, symbolised by the sinister ghost figures, which give the work much of its resonance. On the evidence of ghost dances, swansong, and cruel garden  (about the death of Lorca at the hands of the fascists in Spain), human rights themes have provided him with a strong source of inspiration. He remains a passionate advocate for the role of dance and the arts in society and believes that seeing good work and the chance to perform, either as an amateur or a professional, an not only enrich lives, but can also be civilising influence. Ghost dances It was created in 1981, and was influenced by the political oppression in Chile. The style was contemporary ballet blended with South American folk dance. The setting of Ghost Dances is a rocky Andean location suggesting the mouth of a cave. The colours (blue’s, greens and greys) of the backdrop were very effective and complimented the costumes and movement by adding to the eerie atmosphere. The whole stage was lit by a dim white light. The ‘dead’ wear everyday clothes, which are beginning to disintegrate. The Ghost Dancers appear as skeletal figures in striking skull masks. The piece is accompanied by Andiean folk music, with panpipes, guitars, and flutes. The tune is infectious, rhythmic and tuneful. The style of the choreography is sinuous and graceful, incorporating folk-dance influences. The Ghost dancers style of dance differs to the style of the ‘dead’. The Ghost dancers use very off balanced and angular Movements, there heads are the main key I think to making their dancing look as threatening as it does, they move them very quickly and sharply in unison and it creates a very menacing effect. The ‘dead’, on the other hand are very free flowing and graceful, their posture is very open chested and balletic with very neat but complex footwork. I loved this piece and the skills used to perform it. The fluid motion alongside traditional Chilean folkdance was original and inspiring to watch, it was a very moving piece and had a big impact on me because of the real life issues behind it. Swansong This piece was created in 1987 and was influenced by the fate of political  prisoners, the style was contemporary ballet and the prisoner’s movements were based on the idea of a swan. The piece is generally based around the fate of political prisoners and their need to break free. Swansong is a deliberately disturbing dance showing a victim being tortured by a variety of means, although there is no actual violence on stage. It shows both the aggressive and sadistic element of interrogation, and how brainwashing, humiliation and playing with emotions can all be part of a long, nerve- racking game. In combining vaudevillian humour, balletic virtuosity, and contempory dance expressionism with such a serious theme, he seeks to create work that can be appreciated at a number of levels by a broad audience. The three dancers are costumed archetypally and very much resembled the set, it was all very simplistic, with the prisoner in just a plain t-shirt and jeans and the two guards a re wearing vaguely militaristic khaki trousers and short- sleeved shirts could be viewed as policemen, soldiers, or guards. Programme notes have tended neither to give names to the characters nor to specify roles – choosing instead to simply list the cast and allow audiences to make their own interpretation. The prisoner uses a very graceful and flowing style of dance whilst in contrast the two guards dance in a modern, camp manner, highlighting even more the separation and difference between the guards and prisoner. The simplicity of the staging and ambiguity of the characters lends weight to its universality. The action could be taking place anywhere in the world. The stage is dark and bare with the exception of a single wooden chair lit starkly from above, indicating perhaps a single bulb-hanging overhead in an otherwise empty room. There are seven sections in swansong; each has a different theme and style.  ·Section 1, questions and answers. Throughout the first section the dance suggests the interrogators and victim playing a game of cat and mouse, the dance changing from trios to brief duets and solo’s. in the duets the interrogators dance in unison, performing the same material one after the other or slightly varying the steps to attack their victim.  ·Section 2, tea for two. The section section begins with another interrogation session during which the second interrogator walks round his seated victim, and this time the victim taps out ‘answers’ but in a defiant  mood. The interrogators change tatics.  ·Section 3, first solo. The third section is a solo for the victim alone on the stage and it is more lyrical both in music and movement than the proceding sections. It contrasts with the torture previously shown, appearing to be a cry of frustration and anger at the victim’s situation as well as evoking his urge for freedom.  ·Section 4, slow trio. The victim immediately tenses and flinches as the first interrogator reaches towards him, and then relaxes when he is not harmed. No questions are asked. Again the opening sequence is performed twice but at the end of the chair is moved so that the victim cannot return to it. This becomes a recurring theme of this dance; the victims chair is repeatedly pulled away from under him or placed just beyond his reach. He is pushed and thrown around, the effect of the violence is in slow motion. The victim curls defensively on the floor and is uncurled by the second interrogator and the torture continues.  ·Section 5, second solo without accompaniment. Although this section repeats dance motifs from the first solo such as the jumps and arabesques suggestive of flight, it is generally more mimetic. The victim lifts the chair onto his back to make it appear he is carrying a huge weight on his shoulders. He then stands facing the audience staring through the bars of the chair, then he appears to crumble in frustration and the solo ends with his ankles trapped in the bars of the chair as if fetted.  ·Section 6, cane dance. The progression of the piece shows a build up of abuse and humility of the prisoner till the final section where the prisoner performs his last solo, his ‘swansong’. Rooster This piece was created in 1992 and in contrast to my other two chosen pieces  is influenced by the Rolling stones; the dance is based on the theme and context of the music. It is danced in a contemporary ballet style blended with modern dance to match the music. The set is a clear stage with naturalistic lighting and a white spotlight. The women wear black skirts, tops and tights and the men wear black trousers and a skirt, a red dress is worn only in one number and that is ‘ruby Tuesday’. The whole piece is danced to rolling stones music ranging from upbeat fast and rocky numbers to slower more relaxed music. The theme of each song in ‘rooster’ reflects the character that is dancing it, none of the dances are linked, and each section occurs simply because of the different songs that are used, this helps to create an episodic structure. The tempo of the music dictates the style of dance; the faster tracks are modern and contemporary whilst the slower ones are more balletic. This piece does not present a great deal of emotional involvment with the audience; it is simply based on the theme and context of the music. You can see this by the fact that the dancers, the style of dance and the music purely dictate the song. A Time line of dance works which have been choreographed and produced by Christopher Bruce  ·1969 George Frederic  ·1972 ‘†¦for those who die as cattle’  ·1974 Weekend  ·1975 Ancient voices of children  ·1976 Black Angels  ·1976 Promenade  ·1977 Cruel Garden  ·1981 Village Sounds  ·1981 Ghost Dances  ·1984 Sergeant early’s dream  ·1984 Intimate Pages  ·1985 Silence is the end of our song  ·1985 Land  ·1987 The dream is over  ·1987 Swansong  ·1989 Symphony in three movements  ·1990 Journey  ·1992 Rooster  ·1995 Meeting point Section B Producing our own piece of choreography in the style of Christopher Bruce in groups. How has the work of the choreographer influenced and inspired my own performance and choreography? I chose Christopher Bruce because of the influences behind his choreography, the real life human rights issues that through symbolism he has transferred this into dance. He has successfully brought more awareness to serious issues that most people would not be aware of because it is not going on in  this country. The fact that this affects Bruce personally is very inspiring, as his pieces have real meaning and thought behind them. The three works by Christopher Bruce that I have chosen to study are ‘ghost dancers’ and ‘swansong’ because of the political human rights issues that influenced them and ‘rooster’ because it was a contrast to the other two as its influence was the celebration of the Rolling Stones music. I thought these pieces complimented each other well to evaluate as each bears a large variation of accessible motifs, images and sequences of movement that I could re- interpret in my choreography in the style of Christopher Bruce. As it gave me the opportunity to analyse a variety of influences and issues behind the three pieces. Choreographic notes We choreographed a piece for a trio in the style of ‘rooster’. The set was clear other than three chairs that were used within the dance. We were dressed all in black and wore red scarfs round our necks. The lighting of the set was dark red.

Wisdom of Whores

She then goes on to say hat â€Å"religious dogma crushes our efforts to translate good data into good HIVE prevention. † (Pl 88, Plans) In the book It goes on to say that power follows religion, and then money follows power and everyone follows money. To me I feel as If religion would be a good way to slow down the HIVE epidemic because, at a younger age if you're told about how sex and how it can cause HIVE which can cause death it would scare a lot of kids. If kids are learning about sex in a religious manner I feel as if adolescents would follow it more. If I was growing up with this I would be abstinent till marriage.George W. Bush thought the same way that the only way to avoid HIVE Is to teach our children to be abstinent. Yes Plans brings In the argument of sperm between women and men and how they need sex, but there's always ways around that like religion, and being taught to control that urge. She then goes on to say the increase of premarital sex and the decrease of prostitution would ultimately cut the risk of HIVE. She goes on to bring out an example of Thailand saying that they have taught us that with fewer men paying for sex from prostitutes lowers the risk for HIVE Infection. Also with that, there would be a larger condom use.I would have to disagree with this because if there was an Increase of premarital sex, it would just be a whole bunch of uneducated teenagers just going around having sex all the time. The only difference would be is that the men wouldn't have to be paying for this. She claims that condom use would be a lot higher, but if your increasing premarital sex, condoms defiantly would not be used and the HIVE epidemic would be still be around. Yes I agree that the numbers would go down, but I feel It wouldn't go down that much to make this a great development. The teenagers would have to be educated about HIVE and educated about safe sex.One of Aphasia's quotes had been â€Å"there's enough HIVE for everyone†, but in this little island of East Timer, there's actually wasn't enough HIVE for everyone. On this island there were many different HIVE organizations working on this island with not that many documented infected people. On this island there were only about seven people with HIVE. From Plane's conclusion she thought poverty, street children and joblessness does not make an HIVE epidemic In this society. Just because there wasn't enough prostitution or drug injection HIVE couldn't be high and all this money going onto this country about HIVE prevention wouldn't matter.In a society, I feel like poverty could cause HIVE because sooner or later people in the society will be selling there bodies for money. From what I understand, is that not everyone on this island is educated enough to get an HIVE test, because they are not educated about what HIVE Is. There should be different programs In this country to educate the people of east Limbo sot at n HIVE does not spread around Ana It stays ten s ame . Inure snout programs on safe sex using condoms, programs on not doing drugs and even prostitution.From reading this novel, the most interesting of points that caught my eye is the battle between how AIDS and HIVE is spread throughout the world. Is it spread through sex and drugs? Or is it spread over poverty and gender inequality? Pisa believes that sex and drugs is the main dilemma when it comes to the HIVE epidemic. Pisa brings up the point with Africa because 2/3 of the people infected in the world live in the countries around Africa. She brings out a good quote that caught my eye, â€Å"A schoolgirl in South Africa is thirteen times more likely to be infected with HIVE than a woman who sells sex for a living in China. Pl 24-125, Pisa) Ultimately, I would have to agree with Meads that poverty and gender inequality causes HIVE in poorer countries. In Africa, there is a humongous gap between the rich minority and the poor minority. With gender inequality, if men in a specifi c region are more literate then women HIVE will spread or of the population of a city is more males than women then HIVE will spread. Education is the biggest for me, where there is poverty, there are more uneducated people, and if those people don't know about safe sex, and diseases, then people will be infected.Where there is a society of poverty and uneducated people, both women and males will sell there bodies to make money and HIVE will be spread because unprotected sex would be taking place. On the other hand I do agree with Pisa but in another circumstance. I believe sex and drugs does cause HIVE and AIDS but only in high industrial countries like the United States or France. When the HIVE epidemic came into place in the United States, it was said that it was spread through party drugs and also sex with gay men. In a poorer country, like Africa poverty and gender inequality spreads aids because of the structural violence.

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Every known culture has provided some answer to the meaning of death; for death, like birth or marriage, is universally regarded as a socially significant event, set off by ritual and supported by institutions. It is the final rite de passage. The social and psychological aspects of death have been studied by anthropologists, sociologists, psychologists, and psychiatrists ; and the main outlines of their understandings can be summarized on three levels—cultural, social, and ind Adults experiencing a death feel a whole range of emotions including panic, shock, disbelief, hopelessness, irritability, isolation, and sometimes even relief if the death comes after a long, painful, lingering illness. They need time to go through different stages of grief. Just as with teens, adults may become depressed, and their physical and mental health may suffer. They also may worry about the practical effects the death will have on their life. For example, their financial security may change. Having friends who are good listeners and who offer practical help when needed can ease adults through difficult emotional times. Many people, both children and adults, find short term professional counselling and grief support groups helpful in understanding their emotions and knowing that they are not going through the grief process alone. After death, virtually all religions and cultures perform some ceremony to mark the death and celebrate the life and memories of the person who has died. There ceremonies and rituals are very important to the survivors. Occasionally before a funeral can occur, an autopsy must be done to determine precisely the cause of death. Autopsies are usually done in the event of an unexpected death or where criminal activity is suspected. The idea of an autopsy may be very disturbing to the survivors. During an autopsy, a specialist medical doctor called a pathologist examines  the body and submits a detailed report on the cause of death. Although an autopsy can do nothing for the individual after death, the information it provides can benefit the family and, in some cases, medical science. For example, the link between smoking and lung cancer was confirmed from data gathered through autopsy. 10.Respect the physicians professional responsibility to discontinue some treatments when appropriate, with consideration for both patient and family preferences; 11.Promote clinical and evidence-based research on providing care at the end of life. Cultural Aspects of Death and Dying Posted by Marcia Carteret, M. Ed. in Cultural Health Beliefs + Behaviors, Special Topics While the end of life experience is universal, the behaviors associated with expressing grief are very much culturally bound. Death and grief being normal life events, all cultures have developed ways to cope with death in a respectful manner, and interfering with these practices can disrupt people’s ability to cope during the grieving process. While health care providers cannot be expected to know the mourning ceremonies and traditions of each family’s culture, understanding some basics about how different cultures may prepare for and respond to death is important. Though difficult to ask, there are crucial questions that need to be part of conversations between doctors and nurses and families. For example: What are the cultural rituals for coping with dying, the deceased person’s body, the final arrangements for the body and honoring the death? What are the family’s beliefs about what happens after death? †¢What does the family consider to be the roles of each family member in handling the death? †¢Who should the doctor talk to about test results or diagnosis? †¢Are certain types of death less acceptable (for example, suicide) or are certain types of death especially hard to handle for that culture (for example, the death of a child – this example may seem too obvious, but in countries with high  infant mortality, there are indeed different attitudes about the loss of children.)3 This list of questions is so important because patients and families should be viewed as a source of knowledge about their special/cultural needs and norms – but health care professionals sometimes are at a loss about what to ask under such trying circumstances. There is perhaps no area where reliance on cultural reference books is less useful. The degree of acculturation is absolutely paramount in determining the beliefs and traditions a family will follow when coping with impending death, post-death arrangements and mourning. While we can find many similarities across cultures, such as wearing black as a sign of mourning, there are always exceptions. In China, for example, white is the color of death and mourning. Part of why the degree of acculturation is highly significant is that blending belief systems becomes more pronounced in highly acculturated persons. There are places in the world where accommodation is made for multiple faiths. For example, in Nigeria there is a triple heritage of Christianity, Islam, and ancestor worship2. Similar blending can be found in Caribbean nations and Mexico where Catholicism can be mixed with indigenous folk beliefs like Voodoo and Curanderismo. Another layer of expectation comes with living in the United States culture and relying on the Western medical culture. The mix of cultural/religious attitudes and behaviors surrounding death and dying can become very complex indeed. And when a death actually occurs, some individuals suddenly choose to break with tradition entirely, often creating chaos within families. What follows in this article are some important points of consideration, but the list is introductory in nature at best. There is a strong focus on religions because religion can be thought of as a cultural system of meaning that helps to solve problems of uncertainty, powerlessness, and scarcity that death creates. In placing death within a religious perspective, bereaved persons find meaning for an event that for many is inexplicable.1 (Each underlined heading is a link to further resources for readers.) Monotheistic Religions: Especially since the events of 911 changed many  people’s views of Muslims, it is important to be aware that Christians and Muslims both believe death is a transition to a more glorious place and both believe in the sovereignty of a God (Allah) in matters of loss and take consolation in phrases such as â€Å"Allah giveth and Allah taketh away.† Both are also faiths springing from a single scripture, founder or sacred place. Readings from the Koran or Bible are important parts of the recognizing the departure of a loved one from this life. Similarly, in the Jewish faith, there is the expression mourners recite a few minutes before a funeral begins: â€Å"The Lord has given and the Lord has taken, blessed be the name of the Lord.† Both Muslims and Christians believe in the afterlife and view worldly life much in terms of preparing for eternal life. In the Jewish tradition, the focus is on the purpose of earthly life, which is to fulfill one’s duties to god and one’s fellow man. Succeeding at this brings reward, failing at it brings punishment. The traditions around death and dying differ greatly across all three major monotheistic religious systems (as well as within different branches of each faith, i.e. Jehovah’s Witnesses and Mormonism in Christianity). They are highly nuanced and very hard for outsiders to understand thoroughly. Key rituals and practices that differ widely between religions include the preparation of the deceased person’s body, the permissibility of organ donation, and the choosing of cremation vs. burial. Ancestor Worship: The premise of ancestor worship is based on understanding that the course of life is cyclical not linear. Those who are dead may not be seen physically, but are alive in a different world and/or can reincarnate in new births. Ancestor worship in various forms can be found in many parts of the world and is very strong in parts of Africa and Asia. Many Native Americans and Buddhists alike believe that the living co-exist with the dead. A central theme in all ancestor worship is that the lives of the dead may have supernatural powers over those in the living world – the ability to bless, curse, give or take life. In some cultures, worship of the dead is important, and includes making offerings of food, money, clothing, and blessings. In China there is the annual observance of â€Å"sweeping the graves† and as its name denotes, it is a time for people to tend the graves  of the departed ones. In Mexico, there is The Day of the Dead (Dia de los Muertos), a holiday that focuses on gatherings of family and friends to pray for and remember those who have died. The Day of the Dead is also celebrated by many Latin Americans living in the U.S. and Canada. The intent of the celebration is to encourage visits by the souls of the departed so that those souls will hear the prayers and the comments of the living directed at them. It makes sense that in cultures where ancestor worship is common, the acceptance of organ donation and cremation may be low. Buddhism and Hinduism: Hinduism does not have roots springing from a single scripture, founder or sacred place. It is more like an umbrella term describing a set of philosophies and ways of life. Buddhism has a single founder, but the Buddha is not prayed to in the same sense as a God or Allah. Buddhism is also a set of philosophies for living. There are marked differences between the two, or course, but in both death is not seen as the end of life; it is merely the end of the body we inhabit in this life. The spirit remains and will seek attachment to a new body and a new â€Å"life† – in Buddhism it is called a â€Å"kulpa,† which is a unit of time. Where a given person will be born again is a result of the past and the accumulation of positive and negative action, and the result of karma. Followers of both traditions keep in mind the impermanence of life. The transition of a soul to a new life is very important so both traditions observe specific rituals at the time of dying and the handling of the body. The corpse of a Buddhist should not be touched for 3-8 hours after breathing ceases as the spirit lingers on for some time. Hindus believe the body of the dead must be bathed, massaged in oils, dressed in new clothes, and then cremated before the next sunrise. It follows that cremation would be acceptable in a faith where the soul will be released to find another body to inhabit. Truth-telling to Patients: In collectivist cultures, the good of the individual is often so enmeshed with the good of the family or in-group that family members may have a greater say in health care decisions than the patient does in some circumstances. In many countries, family members may become very upset if a physician reveals bad news directly to the patient. Families and patients may place great value on the right NOT to know! This  is completely at odds with the standards set forth in the Patient Self Determination Act http://en.wikipedia.org/wiki/Patient_Self-Determination_Act which secures certain rights legally for all patients in the U.S. The health care system needs to be flexible enough to accommodate communication patterns that look different from those within the informed-consent tradition which insists doctors and nurses tell patients everything. So, a key question in cross-cultural health care situations would be: Who do you want me to talk to about test results or diagnosis? Expressions of Grief: In some cultures, showing grief, including wailing, is expected of mourners because the more torment displayed and the more people crying, the more the person was loved. In other cultures, restraint is expected. Rules in Egypt and Bali, both Islamic countries, are opposite; in Bali women may be strongly discouraged from crying, while in Egypt women are considered abnormal if they don’t nearly incapacitate themselves with demonstrative weeping. In Japan, it is extremely important not to show one’s grief for a number of reasons. Death should be seen as a time of liberation and not sorrow, and one should bear up under misfortune with strength and acceptance. One never does anything to make someone else uncomfortable. In Latino cultures, it may be appropriate for women to wail, but men are not expected to show overt emotion due to â€Å"machismo.† In China, hiring professional wailers may be customary in funerals, which may sound odd, but this w as also a common practice in Victorian England. Conclusion: For health care professionals, providing culturally sensitive bereavement/end of life care is understandably an issue of discomfort. Language and cultural barriers obviously compound the challenges of being professionally appropriate and compassionate. Patients and families may be in need of compassion, advice, and guidance from doctors and nurses, but often the realities of a given situation include a press for time and both physical and emotional exhaustion among providers and families. It happens – sometimes we simply fail, in the moment, to express sufficient sensitivity and warmth when critical decisions must be made. The clinical facts are immediate and demand logical linear thinking which is natural for those  trained in the Western medical tradition. For many cultures, such a direct approach may seem harsh, and decisions about something like organ donation might be experienced as inhumane immediately upon death. The questions suggested in this article can be used to ease some of the communication challenges and facilitate more openness between health care professionals and families around death and dying. Of course they should be tailored to the context of a given situation.

Incorporating Maori Values into Health and Social Care

Incorporating Maori Values into Health and Social Care Assessment Task 1 The Treaty of Waitangi or Tiriti o Waitangi is a written agreement signed on 6th of February 1840 between the British Crown and more than 500 Maori chiefs in Waitangi, New Zealand to negotiate sovereignty of New Zealand and to establish a British colony. The Treaty of Waitangi was intended to be a partnership between Maori and the British Crown. Even though it was aimed at creating unity, it caused conflict due to different understandings and breaches of the treaty. There are two versions of the treaty, the Maori version and the English version though the English text is not a direct translation of the Maori text so difficulties arise in interpretation. Both versions of the treaty represent consensus between Maori and the British Crown the right to govern and to establish a British settlement, while the British Crown assured to Maori full rights as a citizen and protection of all their assets and interests. In 1840, Maori chiefs decided for or against signing the treaty on the basis of its Maori text and after thinking about numerous considerations. The chiefs wanted regulated settlement and support in managing settlers and land sales. Commerce and cash income from employment would bring benefits to Maori communities. The new relationship between Maori and the British Crown would also enable them to avoid warfare between tribes that had intensified in previous decades. There are four principles of the treaty namely Partnership, Protection, Participation, and Permission. Partnership is the union and alliance with good and honest intent between Maori and the British crown to achieve a common goal. To ensure that Maori have rangatiratanga rights over their toanga (land, resources, language, knowledge, and other aspects of way of life of Maori), Maori leaders have to be consulted when organisational policies are discussed. In social services, organisations should make sure that the needs of Maori are of priority when taking part in creating policies that could affect Maori. Protection is allowing Maori to exercise Tino Rangatiratanga over their taonga (land, resources, language, knowledge, and other aspects of way of life of Maori) and they should benefit and enjoy from these. In social services, Maori way of life to enjoy their taonga must be respected. Maori have the right to make choices with regard to their culture which aligns with tika and kawa, traditions, customs, and practices. Participation is the involvement of Maori and the British Crown in the service accessibility, not only for Pakeha but for Maori as well. Not segregating the Maori from Pakeha but allowing the Maori to take part in social services that they enjoy together with Pakeha or other ethnicities. In social services, Maori have the right to participate in making decisions regarding their health and well being or Hauora and to have meaningful ways in decision making on how health services should be delivered for their well-being. Permission is the freedom of Maori to exercise his rights to speak Te Reo Maori and to be involved in any Maori spiritual or cultural rites, practices, or beliefs. In social services, it is important that Maori are allowed to speak their own language to express their insights better and to not feel unimportant. The four principles of the Treaty of Waitangi is the basis for social workers when delivering social services to Maori. Examples include consulting and discussing with whanau the support for clients from residential placement to maintain positive changes as a result of residential care placement, working together with whanau to understand cultural needs, allowing the whanau to make decisions that are in their best interest to maintain self determination and promote empowerment, and incorporating kawa and tikanga on how social services are delivered. Task 2 Summary of reason for family meeting or whanau hui A family meeting was held to discuss the possibility of a child to be admitted to an alternative care placement The child’s parents have alcohol and illicit drug use issues The parents are domestically violent toward each other and at times to the child Placement Diary Meetings and Communication Date Notes/Key points 26/02/2015 Referral forms were reviewed and explained to whanau An initial assessment was performed The child was identified as being at risk 27/02/2015 Appropriate services were identified and discussed with the whanau Notes/key points of how you perceived and recorded the referral. What service provider guidelines did you follow? Consent from parents and whanau were obtained before acting on the referral. Consent can be withdrawn at any time. All referrals were recorded in the database. An immediate safety check using the information provided by the referrer within 24 hours of receiving the referral was completed. Notes/key points of how you assessed the referral for relevance to the service provider. The referrals coming to the social service provider was assessed to find out if they were relevant to the services offered by the organisation. When deemed relevant, it was accepted. When referrals are assessed as not relevant to the service provider, it will be handed over to other service providers with appropriate services that cater to the needs of the client. This must be with the whanau’s approval and consultation. The referral was relevant to Child, Youth, and Family as a provider as it is the organisation responsible in dealing with child protection. Notes/key points of how you processed the referral through the service provider systems. What service provider guidelines did you follow? All information required were recorded using forms and in the system. The referral was forwarded to a social worker. Other notes/reflections on the referral process Accurate record was kept during theprocess, recording any actions taken, reasons and any other details. The information went to the appropriate social worker. Task 3 Placement Diary Coordination of planning for the family meeting Date Notes/Key points 05/03/2015 The child’s parents were phoned to establish details of whanau hui that need to be involved in the whanau hui The kaumatua and other leaders were contacted and identified 06/03/2015 All other participants who were not able to attend the meeting initially were followed up How did you identify the key members of the whanau? Briefly list the key members The key members of the whanau were identified through introduction. It was determined that Uncle S. is a kaumatua and he then introduced Auntie C. who is going to be a part of the hui. The parents of the child were also introduced to me and other members of the team. Uncle S. Auntie C. Auntie N. T.C. A.W. Who is the facilitator for the meeting/hui and how was this person identified? The facilitator of the whanau hui was Uncle S. together with the lead social worker. He was chosen as the facilitator of the whanau hui having the experience in making wise decisions during meetings in the past. He is also a kaumatua that members of the whanau will respect and listen to. If there were people unable to attend, summarise the information you provided to the facilitator on their behalf â€Å"A whanau hui is required to talk about the possibility of a child to be admitted to an alternative care facility. The child’s parents are incapable of looking after the child. The parents are alcoholic and illicit drug users. The parents also do not hold permanent employment sustainable for the child’s welfare. It is then deemed necessary to ensure the child’s safety and wellbeing.† If there were participants who had essential information for the meeting/hui, how did you identify these people to the facilitator? The participants with essential information for the whanau hui were given the chance to give details for the smooth flow of the hui. How did you notify the plan for the meeting/hui to members of the whanau and any other attendees? Details were sent via email. All attendees were phoned to confirm receipt and to confirm their attendance at the hui. Other notes/reflection on the planning process All whanau members were supportive of the family meeting. They wanted to attend to find the best outcome for the child Task 4 Placement Diary Coordination of welcome and hospitality Date Notes/Key points 12/03/2015 Powhiri was performed. Dietary requirements of all participants were gathered, including allergies, vegan diet alternatives, and others. The agenda was prepared in advance and distributed to all attendees. A karakia was said before the meeting and kai 13/03/2015 Everybody was updated The service provider’s database was updated. What cultural forms of welcome were required and who was responsible for these? Powhiri the host of the marae, usually the kaumatua, was responsible in carrying out the process of powhiri together with other leaders in the marae. This is to welcome me, as a student, and for me to be able to be a part of the whanau hui. Mihi all participants of the whanau hui were responsible for the mihi, and also to share their pepeha. Karanga the host of the marae, kaumatua and leaders, will lead the karanga. Karakia The kaumatua led the karakia before the hui, and also before the kai. Kai I took all the participants’ dietary requirements for the kai and gave it to the kitchen for the preparation of food. What resources did you arrange? The resources I arranged include the venue for the hui. The participants’ dietary requirements were also taken into consideration when planning for the menu for kai. How did you carry out the coordination of the whanau hui in line with criteria? Adhering to the principle of the Treaty of Waitangi namely participation, protection, partnership, and permission. The confidentiality of the meeting participants were protected and respected. The policies and procedures of the service provider was followed and adhered to at all times. Focusing primarily on the safety and wellbeing of the child. Other notes/reflections Working with other members of the extended family helped me to understand more on their culture and their way of living. Working with the kaumatua and other leaders in the marae provided me an opportunity to work in partnership with other key people in coordinating whanau meetings and this will help me to facilitate meetings easily in the future. Task 5 The four principles of Treaty of Waitangi were applied in the social services during coordinating whanau hui. Social work practice respects the Maori way of life. I provided culturally suitable and safe practice when working with the client and other key people during the whanau hui planning. They were allowed to practice their values, beliefs, customs, and to speak Te Reo during the delivery of service. The Maori models of health and well-being, such as Te Whare Tapa Wha, were used while engaging the client and the whanau with the service. The social services were non-biased, non-judgmental, and non-prejudiced. I had to understand the client and the whanau rather than judging them. I was also sensitive when providing services to prevent whakama which in turn helped me to gain the person’s trust and respect. A clear boundary of professionalism was determined while the client and the whanau accessed the social services offered by the organisation. The social services were made accessible to all cultures including the client’s and whanau’s that suits their Maori culture having their unique needs. I demonstrated high regard in respecting the dignity of all participants in whanau hui who accessed the services of the organisation. The participants were informed of their rights and to practice their rights whenever they have to. All participants’ confidentiality and safety were the organisation’s priority during the whanau hui process.