1. By:
C h r i s t i n a Va u g h a n
(Gender Roles, Verbal
Rituals/Traditions, Op
en-ended
questions, communica
tion
concept, citations)
Erika Smith
(Informal-Nonverbal
NEW ZEALAND use of Clothing)
Dawnnitta Smith
(Formal-Nonverbal use
of
Clothing, communicati
on concept)
Yo u a X i o n g
(Nonverbal
Rituals/Traditions, Int
roduction, Conclusion,
Presentation
organization and
format, open-ended
questions, history, Ne
w Zealand
Today, communication
concept, citations)

2. CULTURAL COMMUNICATION
 The purpose of this presentation is to have a better
understanding of New Zealand and their culture through
various verbal and non-verbal communication.
 In this presentation you will see the dif ferent gender
roles, formal and informal nonverbal use of clothing, and
verbal and nonverbal rituals/traditions.
 Culture is defined as a learned system of
knowledge, behavior, attitudes, beliefs, values, and norms
that is shared by a group of people and shaped from one
generation to the next (pg. 150).

3. HISTORY
 First discovered and settled by Polynesians who developed the
Maori culture
 The first European explorer to discover New Zealand was Abel
Janszoom Tasman on December 13, 1642
 In 1840 the treaty of Waitangi was signed between the British
Crown and many Maori chiefs bringing New Zealand into the
British Empire thus giving Maori equal rights with British
citizens.

4. NEW ZEALAND TODAY
 The country is about 1 ,243 miles from Australia
 The capital is Wellington, in the North Island.
 In 2011 the total population is estimated at 4.4 million
 The five largest cities are Auckland (with 1/3 of the country’s
population), Christchurch, Wellington, Hamilton, and
Tauranga.
 The majority of the country’s population is European descent
at 69%.
 The Maori is the largest minority at 14.6%.
 English, Maori, and New Zealand sign language are the of ficial
languages with English being the predominant language.

5. GENDER ROLES By:
C h r i s t in a Va u g h a n
Gender roles in the Maori Culture of New Zealand have very specific duties due to
their sex. Women of the Maori culture are responsible for telling stories and are in
charge of the songs and dances. The Blue Book of Communication suggests that
“Women, research suggests, tend to use communication for the purpose of
relating or connecting with others, of extending themselves to other persons to
know them and to be known by them” (pg. 144). This holds true for Maori women
because song, dance and storytelling is what makes relationships and it is also
used as a way to develop lasting friendships.
Men on the other hand have a completely different way of expressing themselves
through communication. According to The Blue Book of Communication, “Men
tend to talk to accomplish something or complete a task” (pg. 144). Maori men
are considered to be warriors and protectors of their families. They are very
straight to the point when it comes to social interaction and are very selective
during the exchange of conversation. They are responsible for difficult tasks that
require more physical labor in contrast to women’s verbal duties.

6. GENDER ROLES
 This greeting is called hongi; they press their noses together.
It is believed that their spirits mingle through this.

7. MAORI WOMEN
 Women out number men due to their longer life
expectancy
 They are responsible for taking care of the
family and for cooking
 Women were not allowed to be near the car ver s
or car ve at all because of their menstrual cycle
 Women are in charge of the songs and dances
and are responsible for the stories to get told.

8. MAORI MEN
 Men are warriors and are considered to be
superior over women
 They are responsible for clearing the
ground for farming purposes
 Men do all of the deep -sea fishing
 They are the designated carvers.

9. FAMILY LIFE
 Marriage partners are chosen by
one’s father
 Divorce is very common and the
process easy to do
 The male is the leader of the family.
 Children are greatly desired and it is
common for a Maori family to have
many children to assist with chores

10. NONVERBAL USE
OF CLOTHING
By:
Erika Smith
(INFORMAL)

11. INFORMAL WEAR IN NEW ZEALAND
 Typically casual clothes are worn.
 Land of extremes, all weather conditions can
occur in one day.

12. NEW ZEALAND: SPRING & SUMMER
 Hot weather In New Zealand occurs in November -March.
 Informal clothing
 Light cotton clothing
 Shorts and skirts
 Sun hats
 Swim wear

13. NEW ZEALAND: FALL & WINTER
 Cold weather in New Zealand occurs during April -October
 Informal clothing
 Wool clothing
 Gloves, hats, and scarves
 Long pants
 Coats

14. NEW ZEALAND INFORMAL FOOTWEAR
 Casual footwear weather permitting
 Sneakers
 Walking shoes
 Sandals

15. NONVERBAL USE OF By:
CLOTHING (FORMAL)
Dawnnitta Smith
One on the largest forms of nonverbal communication is clothing. Outside of
keeping our bodies warm and protected, clothing conveys one’s self or culture.
For the Maori people their clothing represents the cultures strength. From the
clothing themselves (shirt, belt, skirt or kilt) to the designs used, they all are a
representation of the culture, families within, and individual status. The lively
colors and designs called Taniko, typically represent a family or sub-tribe. They
wear this symbol proudly and celebrate the longevity of their blood lines. The
Kakahu or cloaks represent status and are passed down through generations.
The more feathers on a Kakahu, the greater the value and the more respect is
given. Just like with the American culture, the better the suit the more it is
assumed that that person is of higher status.

16. NONVERBAL USE OF CLOTHING
For important and ceremonial occasions
Maori dignitaries, members of the emperor
family, selected Heads of State, members
of concert groups, and people who have
been awarded the entitlement to wear
traditional clothing.

17. KAKAHU
 Kakahu is the name for Maori traditional cloaks.
 Even though Kakahu are par t of the traditional Maori
attire, only those with high prestige are allowed to
wear them.
 Feather Cloaks called Kahu Huruhuru are the most
highly prized as a family and per sonal heirloom.
Their linings are made from strips of dog skin with
hair attached.

18. TANIKO DESIGNS
 Taniko designs have special significance because they symbolize
family, tribe, and/or sub -tribe and can often be seen on
costumes worn during a cultural presentation or festival.
 Taniko designs can be found on
kakahu (cloak) and Pari (bodice)
 On a kakahu the taniko is found at
the bottom
 On some pari taniko designs are
based on a square or rectangular
shape with the dominant design
motif worked in the centre front
 Some are based on multiple
recurring diamond designs aligned
vertically in the style of the
whakarua kopito (two points)
classification of taniko designs, and
others are narrow horizontal design
strips.

19. RITUALS/TRADITIONS By:
(VERBAL)
C h r i s t in a Va u g h a n

20. THE IMPORTANCE OF SONG
 Traditionally, Maori people are
accustomed to greeting guests with a
song which is sang in Maori
 The guest must be prepared for this
display by having a designated person
(the caller) to respond to the hosts song.
The song tells a story of ones homeland
 This exchange in song displays mutual
respect from both the host and the
guest.

21. MAORI PROVERBS
 Oral tradition in the Maori Culture is
greatly valued.
 Proverbs are used to set guidelines and
ethics for people. When one seeks advice
from an elder, they often are told a
proverb.
 Some examples of traditional proverbs
are:
 -“The more you ask how much longer it will
take, the longer the journey seems”
 -”Many stars cannot be concealed by a small
cloud”

22. RITUALS/TRADITIONS By: Youa Xiong
(NONVERBAL)
According to “The Blue Book of Communication”, artifacts affect how we feel
about ourselves and how we are perceived by others (pg. 95). The Maori
culture of New Zealand display a nonverbal ritual with their facial tattoos
which states their status. If someone from a different culture were to assume
differently without understanding nonverbal communication, they would then
judge the Maori culture based on their assumptions.
Kinesics is a general term for human movements, gestures, and posture (pg.
95). The Maori culture communicate nonverbally with kinesics through their
traditional Haka dances.

23. TATTOOS
 The head was considered a very
sacred part of the body; therefore
the head was mainly the only body
part that was tattooed.
 Tattoos were only for the high
ranked Maori. Those who went
without them were seen as a
person of no social status.
 Tattooing starts at puberty and
makes a warrior attractive to a
woman as well as marking rites of
passages and important events in
that person’s life.
 Facial tattoos basically were their
identity card. It showed their
rank, status, and ferocity.
 Females were usually only tattooed
on the lips and chin.

24. HAKA DANCE
 B a c k i n t h e day, Wa r H a ka wa s
pe r fo rm ed be fo re a ba t t l e to pro c l a i m
th e i r s tre n g th i n o rde r to i n t i midate
t h e i r o ppo n e n t s.
 N ow, t h e H a ka da n c e i s do n e fo r
a m us ement , we l c o min g g ue s t s , o r to
a c k n ow ledge a c h i evement s o r s pe c i al
o c c a sio ns.
 Th e da n c e i s a po s t ure da n c e t h a t
i nvolves v i g oro us
m ovement s, s t a m pi ng fe et , a n d
s h o ut ing rhy t h m i c a lly.
 Ot h e r a c t i o n s i n c l ude : fa c i a l
c o n to r t i ons, s l a ppi ng o f h a n ds
a g a inst t h e bo dy, c ri e s , a n d g run t s .
 Al l th e s e a cti o n s h ave th e i r way o f
ex pre s sing
c o ura g e , a n n oya nc e, j oy, a n d o r ot h e r
fe e l ings re l a t i n g to t h e purpo s e o f t h e
o c c a sio n.

25. IN CONCLUSION…
 E a c h m e m be r’ s c o n t ri but i o n to t h i s pre s e n t a t ion i n c l ude d:
 Christina Vaughan
 (Gender Roles, Verbal Rituals/Traditions, Open -ended questions, communication
concept, citations)
 Erika Smith
 (Informal-Nonverbal use of Clothing )
 Dawnnitta Smith
 (Formal-Nonverbal use of Clothing, communication concept )
 Youa Xiong
 (Nonverbal Rituals/Traditions, Introduction, Conclusion, Presentation organization and
format, open-ended questions, New Zealand History, New Zealand Today, communication
concept, citations)
In o rde r to h ave bet te r c o m m unic at ion w i t h N ew Z e a l and’ s c ul t ure , o n e m us t h ave
a c l e a r un de r s t a n din g o f t h e i r g e n de r ro l e s , i n fo rm al a n d fo rm a l us e o f
c l ot h ing, a n d ve rba l a n d n o nve rbal ri t ua l s /t radit ions. In do i n g s o , yo u w i l l be
a bl e to a da pt to t h e i r c ul t ure e a s i er a n d n ot h ave c ul t ure s h o c k but i n te rc ul t ura l
c o m m unic at ion. Of te n t i m e s pe o pl e m ay a s s ume c e r t a i n t h i n g s a bo ut a c ul t ure
w i t h o ut a c t ua l l y k n ow i ng t h e c ul t ure fi r s t a n d t h i s m ay c re a te ba rri e r s bet we e n
c ul t ure s . B ut i f s o m eon e t a ke s t h e t i m e s to un de r s t a n d t h e i r c ul t ure i n va ri o us
way s , i t w i l l preve n t s uc h t h i n g s fro m h a ppe n i n g. Th a t i s w hy c ul t ura l
c o m m unic at ion i s s o i m po r t a n t .

26. QUESTIONS
 Th e i n di g enous pe o pl e o f N ew Z e a l and a re t h e M a o ri pe o pl e ; t h ey l i ve o f f o f t he
l a n d a n d l i ve i n a ve r y t i g h t k n i t c o m m un it y. If eve r yo ne i n t h e US a do pte d t h i s
way o f l i fe , wo ul d i t be s uc c e s sful? E x pl a i n.
 Low i n c o me s c h o o ls i n N ew Z e a l a nd a re fun de d by t h e g ove rn ment , n ot by
pro pe r t y t a xe s ; s o yo u t h i n k t h a t g ove rn ment fun di n g i s t h e a n s we r to
s uppl e ment ing e duc a t i o n al ex pe n s es o r s h o ul d i t be t a x paye r s re s po n sibilit y ?
Why ?
 In New Z e a l a nd, th e M a o ri us e t a t to o s a s a way to s h ow t h e i r
s t a t us , ra n k , fe ro c i t y, a n d a s we l l a s m a rk i n gs o f i m po r t a n t eve n t s i n t h e i r l i fe .
I n my c ul t ure ( H m o n g), t a t to o s a re frow n e d upo n a n d a re s e e n a s a re be l l ious
a c t i o n. Wh a t a re s o m e t h i n g s s e e n a s g o o d i n t h e Am e ri c a n c ul t ure , but ba d i n
yo ur c ul t ure a n d w hy ?
 D e Fa c to re l a t i onships a re ve r y c o m m o n i n N ew Z e a l a nd w h i c h m e a n s t h a t
c h i ldre n a re co m m o nly ra i s e d by a n a un t o r ot h e r c l o s e re l a ti ve w h i l e th e
s i n gle pa re n t wo rk s . D o yo u t h i n k t h i s e f fe c t s a c h i l d' s upbri n g i n g i n a n e g a t ive
o r po s i t ive way ?

27. REFERENCES
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28. REFERENCES (CONT.)
 Paul Polkinghorne (201 2). “Maori People and Their Culture”. Retrieved May 19, 201 2 from
Bing.com:
http:// www.bing.com/images/searc h?q=maori+people&view=detail&id=FCBDDB 4044EEBDA35
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