Toi Iho: Māori Mark Of Authenticity Honoured On The Global Stage
Toi Iho, the mark of authenticity and quality for Māori art and artists, has received an Honourable Mention in the 2025 Jeonju International Award for Promoting Intangible Cultural Heritage (JIAPICH). This prestigious award, sponsored by UNESCO and the City of Jeonju, Korea, celebrates outstanding efforts to protect and promote living cultural traditions worldwide.
Founded in 2002 as a response to the cultural appropriation and misrepresentation of Māori art, Toi Iho is an independent, Māori-led organisation that upholds the integrity of Māori art. Through registration, it champions Māori artists who demonstrate cultural authenticity, and artistic excellence.
'Toi Iho is more than a mark, it's a movement, a symbol of mana, identity, survival, and future potential,' says Elizabeth Ellis CNZM, JP (Ngāpuhi, Ngāti Porou), Chair of the Toi Iho Charitable Trust and Senior New Zealander of the Year 2025. 'This recognition affirms the importance of protecting the integrity of our stories, our artforms, and our ways of being in the world.'
This year saw a record number of applicants for JIAPICH, with global interest driven by its new Ambassador-at-Large programme. The award, hosted by the Center for Intangible Cultural Studies in Korea, recognises work that crosses borders to protect cultural heritage for future generations.
The honour for Toi Iho underscores the global significance of Indigenous-led cultural protection and innovation. It signals a growing international commitment to cultural sustainability and the rights of Indigenous peoples to define and safeguard their own heritage.
'This Honourable Mention belongs to the many Māori artists, organisations, and supporters who work tirelessly to protect and promote our living traditions. It's a call for all societies to value and uphold the richness of Indigenous cultures,' says Ellis.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Scoop
5 hours ago
- Scoop
From Aotearoa To New York: Maori-Greek Artist Triumphs
Becoming a national contemporary art award finalist, seeing his work projected on a massive New York City billboard, and launching a new solo exhibition,acclaimed Aotearoa artist Jimmy James Kouratoras has plenty to celebrate this month. His painting, Hei Tiki – For the Love of Our Ancestors, is being displayed in New York City as part of the Sacred Origins exhibition at Jutta Gallery, marking the Māori-Greek artist's first showing in the art capital since 2015. In a career milestone, recently, Hei Tiki was displayed on a towering 10-metre digital billboard in Manhattan's Theatre District. 'It was like sending a message from the ancestors straight into the heart of one of the world's busiest cities,' says Kouratoras. Known for merging Māori and Greek histories, Kouratoras continues to explore ancestral heritage through his contemporary paintings. 'As an artist, most of my work happens in solitude, in deep connection with ancestry, whenua, and wairua. So to have that work seen and recognised on an international stage is a privilege.' His return to New York isn't the only highlight this year. Kouratoras (Tainui Waikato, Ngāti Tīpā Waikato, Crete, Greece) has also been named a finalist in the 2025 National Contemporary Art Award, shortlisted among 53 artists from 480 entries. Presented by Waikato Museum to showcase the cutting edge of New Zealand contemporary art, the venue will present the work from all finalists for four months from August. 'This acknowledgement isn't just about me – it's about the kaupapa: the stories of our tīpuna, the layers of whakapapa, and the ongoing journey of transformation through art.' Auckland art lovers can experience Kouratoras' latest work at his solo exhibition Matariki Sacred Waters – Where Land Meets the Sky, now showing at Franklin Arts Centre in Pukekohe. Alongside the 14 paintings are seven Pou sculptures – with this new body of work inspired by the sacred rhythms of the Maramataka – the Māori lunar calendar – and the annual rising of Matariki. 'I work through karakia, through intuition. The studio becomes a sacred space where the invisible mechanics of the universe begin to take shape.' Matariki Sacred Waters is at the Steel Gallery, Franklin Arts Centre, Pukekohe, until August 2nd.
Scoop
5 hours ago
- Scoop
From Aotearoa To New York: Maori-Greek Artist Triumphs
Becoming a national contemporary art award finalist, seeing his work projected on a massive New York City billboard, and launching a new solo exhibition, acclaimed Aotearoa artist Jimmy James Kouratoras has plenty to celebrate this month. His painting, Hei Tiki – For the Love of Our Ancestors, is being displayed in New York City as part of the Sacred Origins exhibition at Jutta Gallery, marking the Māori-Greek artist's first showing in the art capital since 2015. In a career milestone, recently, Hei Tiki was displayed on a towering 10-metre digital billboard in Manhattan's Theatre District. 'It was like sending a message from the ancestors straight into the heart of one of the world's busiest cities,' says Kouratoras. Known for merging Māori and Greek histories, Kouratoras continues to explore ancestral heritage through his contemporary paintings. 'As an artist, most of my work happens in solitude, in deep connection with ancestry, whenua, and wairua. So to have that work seen and recognised on an international stage is a privilege.' His return to New York isn't the only highlight this year. Kouratoras (Tainui Waikato, Ngāti Tīpā Waikato, Crete, Greece) has also been named a finalist in the 2025 National Contemporary Art Award, shortlisted among 53 artists from 480 entries. Presented by Waikato Museum to showcase the cutting edge of New Zealand contemporary art, the venue will present the work from all finalists for four months from August. 'This acknowledgement isn't just about me - it's about the kaupapa: the stories of our tīpuna, the layers of whakapapa, and the ongoing journey of transformation through art.' Auckland art lovers can experience Kouratoras' latest work at his solo exhibition Matariki Sacred Waters – Where Land Meets the Sky, now showing at Franklin Arts Centre in Pukekohe. Alongside the 14 paintings are seven Pou sculptures - with this new body of work inspired by the sacred rhythms of the Maramataka - the Māori lunar calendar - and the annual rising of Matariki. 'I work through karakia, through intuition. The studio becomes a sacred space where the invisible mechanics of the universe begin to take shape.' Matariki Sacred Waters is at the Steel Gallery, Franklin Arts Centre, Pukekohe, until August 2nd.
Otago Daily Times
9 hours ago
- Otago Daily Times
Performances brilliantly crafted, balanced
DSO: Brahms & Mataatua: A Journey in Music Dunedin Town Hall June 28 A large audience in the Dunedin Town Hall on Saturday witnessed the performance of works by two musical giants — one Māori and one German. After a supportive, welcoming karanga (ceremonial call) by Lily Fraser, the world premiere public performance of an exceptionally moving and brilliantly crafted work by Dame Gillian Whitehead, depicting the little known story of a whare called Mataatua, followed. Dame Gillian's complex score was conducted with exemplary clarity by James Judd. The Journey of Mataatua Whare: the House That Came Home is in four movements and features three soloists, choir and orchestra. The specially formed Dunedin Symphony Orchestra Chorus of 16 local singers sang with precision and dramatic flair, but choral blend was lacking. The soloists were uniformly excellent. Soprano Rebecca Ryan, representing the voice of Mataatua, sang her searingly difficult angular lines with effortless ease; baritone Tomairangi Henare's warm and resonant voice represented te ao Māori; and the commanding presence and voice of bass Paul Whelan represented the Pakeha world and bureaucracy. Dame Gillian's ability to create orchestral soundscapes both contemporary and romantic, moving seamlessly from one to the other, is remarkable and the orchestra was able to achieve the composer's demands with poise and confidence. Brahms' Piano Concerto No 2 in B Flat major Opus 83 is a giant among piano concerti. Maestro Judd skilfully managed the balance between piano and orchestra, allowing pianist Jian Liu to illuminate Brahms' intentions from the very first notes he played. In the opening movement were the heart-rending pianissimi and heart-tingling fortissimi. Liu articulated Brahms' melodic genius in the second movement; the third movement began and ended with a haunting cello solo, which eventually culminated in an exquisite pianissimo piano ending. The final movement featured an exuberant dance-like rondo, bringing the concerto to a sparkling finish. Liu paid tribute to Whitehead by playing her Lullaby for Matthew as an encore. Dame Gillian is of one of Dunedin's international treasures, and the DSO is to be congratulated for giving her such splendid support. Review by Judy Bellingham
