Researcher: Tania Hollands

Cultural Supervisor: Raymond Hall

AUT Supervisors: Dr Daniel Sutton & Dr Valerie Wright-St Clair

Overview

Sensory Modulation

Need for study

Methodology and Ethical considerations

Participants

Data Gathering and Analysis

Findings

Discussion

Implications for practice

Sensory Modulation

Individuals have different levels of tolerance

Based on Sensory Integration theory (Ayres, 1972)

Sensory Modulation Programme (Champagne (2008)

Is non-linear, trauma informed, dynamic

Increase ability to self-regulate to aid engagement

Used to: calm, alert, soothe, distract, ground

Principles include: safety, control, expression, release

Question

What are the sensory experiences of tangata whaiora engaging in kapa haka within a Kaupapa Maori mental health unit?

Aims: Uncover and understand sensory experiences

Explore how experiences calm and/or alert

Methodology, Methods and Ethical Considerations

Qualitative descriptive methodology with interpretive phenomenological lens (van Manen, 1997)

Collaboration with Cultural Advisor

Ethics approval granted by Northern Regional Ethics Committee (NTX/11/EXP/116) and Auckland University of Technology Ethics Committee

Te Tiriti O Waitangi & Te Whare Tapa Wha (Durie, 1998)

(Health Research Council of New Zealand, 2010)

Participants

Pseudonym Gender Age Involvement in

kapa haka at facility

Marama Wahine/Female 43 3.5 years

Tama Tane/Male 24 2 years

Toa Tane/Male 30 1 year

Data Gathering Participation in kapa haka group onsite

Semi structured in-depth interviews

Conducted within wharenui

Offered in Te Reo Maori or English

Face to face with cultural advisor present

Up to 75 minutes

Interviews audio recorded and transcribed verbatim

Data Analysis Congruent with data gathering

1st phase:

Accounts selected from participants narratives

Phrases were coded and categorised

(Magilvy & Thomas, 2009; Graneheim & Lundman, 2004)

2nd phase:

Theme creation via process of writing and rewriting (van Manen, 1997)

Explored experiences as part of a whole

Findings 1) Gaining a sense of Social Connection

and Identity

I. Experiencing Shared Embodiment

II. Embodying Memory and Identity

2) Gaining a sense of Physicality

I. Embodying Mana

II. Embodying Movement

3) Gaining a sense of Embodied Emotion

Gaining a sense of Physicality

Like built up, you know, getting ready to be strong in your kapa haka, mana reo, mana to ao… Getting strength for what you gonna do and what you gonna say... It brings my mana out… Tense, hyped up, eyes poking out, tongues coming out, slap my chest till it goes red, slap my arms till it goes red, scare the opponent. But after doing that, I’m not a scary person.

Toa Mana reo = Powerful language Mana to ao = Powerful world

Embodying Mana After the haka your legs are sore, your arms are sore, it *energy+ is released. We’ll probably end up doing a waiata to simmer it down for the boys… relaxing all the tension that you just finished going through… warming down. Tama

Waiata = Song

Gaining a sense of Physicality

Embodying Movement

My concentration is in the future, like when’s the next move, when the actions next… Just to remember the actions, like do one action and then you remember the next one... See all of it, the big picture, is just being proud of myself doing the haka how it’s supposed to be done. The actions have to be done properly, and they have to be timed right with the kupu, with the waiata.

Tama Kupu = Word/s Waiata = Song

Gaining a sense of Embodied Emotion

Ka Pioioi - I really enjoy that waiata. It’s the first time that I’ve actually got this really light buoyant energy of not only singing these words… it’s also the movement that goes with it… Cause it’s like hands go, feet go, and its feminine…Its when we move to the side (demonstrates)… my body’s in co-ordination with the music and I’m allowing myself, I’m not thinking, I’m feeling, that’s the distinction… it just flows… Its the first time I’ve actually felt myself wanting to smile, because the movements really good, the song is cheerful, it’s like everybody’s happy and they are having a good time.

Marama

Kapa haka as a Sensory Intervention

Used to awaken senses, ground, alert and calm

Effects due to actions

Effects due to environment

Use of kapa haka or elements in sensory diets

Consideration of culturally responsive activities

Life previous to connecting to this part of my being was like being a leaf in autumn. Like the leaf, I was there on the ground, yet I didn’t know where I’d come from. Learning waiata in te reo was like a reclaiming or… being welcomed home. It’s like … not quite knowing who you are, and then finding out this is who I am and this is where I’m from... It’s like the beginning of a journey and yet it’s actually a journey of returning.

Marama

References Brown, C., & Nicholson, R. (2011). Sensory skills. In C. Brown & V. C. Stoffel (Eds.), Occupational therapy in mental health: A vision

for participation (pp. 280-297). Philadelphia, PA: F. A Davis Company.

Champagne, T. (2008). Sensory modulation and environment: Essential elements of occupation. Southampton, MA: Champagne

Conferences & Consultation.

Champagne, T., Koomar, J., & Olson, L. (2010). Sensory processing evaluation and intervention in mental health. Occupational

Therapy Practice, 15(5), 1-8. Retrieved from http://www.aota.org/Pubs/OTP.aspx

Durie, M. (1994). Whaiora—Maori health development. Auckland, NZ: Oxford University Press

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Retrieved from http://www.caot.ca/default.asp?ChangeID=25&pageID=6

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http://www.hrc.govt.nz/assets/pdfs/publications/Guidelines%20for%20HR

%20on%20Maori-%20Jul10%20revised%20for%20Te%20Ara%20Tika%20v2%20FINAL.pdf

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House Press.

DOMAIN

Te Whare Tapa Whā

(Durie, 1998)

LENS

Lived world existential

(van Manen, 1997)

REVEALED NOTIONS

Te taha wairua (Spiritual) Lived space

‘Cultural space’

‘Shared space’

Te taha hinengaro (Mental) Lived body

‘Expressed body’

Te taha tinana (Physical)

Lived body

Lived Time

‘Performing body’

‘Shared body’

‘Being a student’

‘Flow’

Te taha whānau (Family) Lived other

‘Being accepted’