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The revival of the celebration of Matariki can be traced to the early 1990s, sparked by various Māori iwi and organisations such as the Museum of New Zealand Te Papa Tongarewa, [2]: 87 for example in 1995 there was a festival called Pipitea Marae: Te Whakanui i a Matariki, at Pipitea Marae, Wellington City supported by Te Awa Kairangi ...
Matariki Williams is a Māori curator and writer based in Whakatāne, New Zealand. [1] In 2021, she was appointed Pou Matua Mātauranga Māori, Senior Historian, Mātauranga Māori at Manatū Taonga Ministry for Culture and Heritage in Wellington. [2] [3] She is a member of the Ngāi Tūhoe, Ngāti Whakaue, and Ngāti Hauiti iwis. [3]
Đạo Mẫu (Vietnamese: [ɗâːwˀ mə̌wˀ], 道母) is the worship of mother goddesses which was established in Vietnam in the 16th century. [1] This worship is a branch of Vietnamese folk religion but is more shamanic in nature. Đạo is a Sino-Vietnamese word for "religion," similar to the Chinese term dao meaning "path," while Mẫu ...
While it is their responsibility to provide evidence to support their edits rather than mine, it took only a minute of searching to find a couple of references: Te Ara says "Matariki, or Māori New Year celebrations were once popular, but stopped in the 1940s."; and Te Ao Hou, 1 December 1967 says "The fact that the appearance of the Pleiades ...
Matariki is a 2010 New Zealand drama film set in Ōtara, South Auckland. The film is told through five interweaving stories all set in the days leading to the rising of Matariki. The film incorporates a variety of languages including English, Māori, Tokelauan, Samoan, and Cantonese. It features an ensemble cast and is the feature debut for ...
Pegasus (ペガサス, Pegasasu): A Pegasus-based Skill Kyutama that summons Pega-san (ペガさん), a horse-themed sentient body armor who speaks in a Kansai accent, which a Kyuranger can combine with to become a Pegasus Kyuranger (ペガサスキュウレンジャー, Pegasasu Kyūrenjā), also known as the "Dancing Star" (ダンシング ...
Đại Việt sử ký toàn thư (Complete Annals of Đại Việt) proposed more details on the origins of the two progenitors, for example on how Lạc Long Quân was the son of Kinh Dương Vương, who was in turn descended from the Viêm Đế or Yan Emperor/Thần Nông or Shennong.
Nghi's brother was director of the Institute of Traditional Medicine in Hanoi, and through him, Van Nghi had access to the North Vietnamese teaching text Trung Y Hoc (Studies of Chinese Medicine) and teaching materials from Beijing and Nanjing which explain the strong TCM flavor of much of his (especially later) writing. His contributions were ...