Te Kaharoa (E-Journal)
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Introduction
No full textThis section includes the table of contents and Introduction by Dr Sharon Mazer
Mika Haka Foundation: Performing Empowerment
Get PDFMika is famous for his boundary-bursting performances, and as a lifestyle liberationist who has used his brand more to create social change than to campaign for an Oscar. Working with young people, including those who might be termed ‘at risk’, has always been at his core, even if he’s kept that kind of work predominantly ‘in the closet’. He auditions them, trains them up, enforces health literacy, financial literacy and political and cultural awareness, whilst teaching them how to sing, dance, act and manage themselves onstage and off. He transforms these young people into ‘emerging leaders’, invests them with social capital and encourages them to perform their own empowerment. He’s been doing this a very long time, in fact: from the early 1980s in Christchurch with the Coloured Crew Lockers to his creation of Torotoro in the early 2000s, and now under the auspices of the Mika Haka Foundation. The images here offer a glimpse into Mika’s current collaborations, which will be the topic of a conversation between Mika and Pare Keiha, the Chair of the Mika Haka Foundation Trust Board, as moderated by Sharon Mazer at the Ka Haka Empowering Performance: Māori and Indigenous Performance Studies Symposium. We ask: how does educating young people as entrepreneurial entertainers potentially lead to their emancipation
The Impact of Socio-Historical Context on Identity: An Analysis of Ngāi Tamarāwaho Identity in the Colonisation Era
Get PDFoai:te-kaharoa.ojs.aut.ac.nz:article/2The purpose of this article is to illustrate the influence that socio-historical context has on the identity of a group. The identity of the hapū (tribe) Ngāi Tamarāwaho is examined to demonstrate the impact that specific phenomena associated with colonisation had on hapū identity, and the major focus of this chapter is the interplay between Ngāi Tamarāwaho and the phenomenon of colonisation. This article concentrates specifically on hapū identity during the colonisation era, which, in the context of this article, commenced with the arrival of Pākehā (British) settlers in New Zealand in 1814, and concluded with the establishment of the Waitangi Tribunal in 1975. For comparative purposes, parallels are drawn with other indigenous groups globally to highlight similarities between the colonisation experiences of these groups and those of Ngāi Tamarāwaho, and to illustrate common trends that occur as a result of colonisation and its associated phenomena. The first section in this article discusses the need to consider socio-historical context in research pertaining to identity, and provides examples of research that has been conducted to this effect. The second section establishes the social context of Ngāi Tamarāwaho, and the third section outlines the historical context. Following this is an analyis of the effects of aspects of colonisation on Ngāi Tamarāwaho identity, and this article concludes by discussing ways in which the hapū revived and reasserted their identit
Mana Wahine: Māori Women in Music
Get PDFMoana Maniapoto and Hinewehi Mohi are famous for having pioneered a distinctively Māori form of popular and political music in the 1990s, and they continue to produce remarkable contemporary waiata for audiences in Aotearoa and overseas. Their successes have inspired other artists, and more importantly, they have both made significant contributions to the empowerment and strengthening of te reo Māori and mātaranga Māori. Recognising what has happened since the 1990s, this paper takes a constructive look at the current state of Māori music and considers how to produce a new wave of creativity for the 21st century for new generations of Māori and Indigenous composers, audiences and performers. How does popular music performance make a powerful contribution to the revitalisation of te reo Māori and mātauranga Māori? Maree Sheehan will lead a conversation with Moana Maniapoto and Hinewehi Mohi to discuss the lasting significance of their work for Māori music and culture, twenty-five years later
Te Arewhana Kei Roto i Te Rūma: An Indigenous Neo-Disputatio on Settler Society, Nullifying Te Tiriti, ‘Natural Resources’ and Our Collective Future in Aotearoa New Zealand
Get PDFThis practice-research based article explores the relationship between mana motuhake and white patriarchal sovereignty in Aotearoa New Zealand, focusing on Ngāti Tūwharetoa as a case study. It seeks to find the relevance of Aboriginal academic Aileen Moreton-Robinson’s white possessive doctrine to the Aotearoa New Zealand context. In particular, it highlights the racist nature of the law and planning systems and their inadequacies to provide for hapū and iwi. It provides a key theoretical analysis regarding the nature of white patriarchal sovereignty in Aotearoa and the need of the state to appear virtuous, to continue the legacy that started with the Treaty of Waitangi to maintain this whenua as a white possessive. Lastly, the piece questions the position of Britishness within Aotearoa New Zealand and asks key philosophical questions for all about the need to find common understandings or māramatanga about our collective future as a society
I sing of Te Aitu o Te Rangi and the power of song to rejuvenate the principles, values and philosophy of Mana Wahine
Get PDFI will sing of my tipuna wahine, Te Aitu o Te Rangi, daughter of Rangitane o Wairarapa chief, Te Whatahoronui. She was a beautiful young fourteen year old when the Ngāti Toa Chief Te Rauparaha successfully conquered the area and took her as a slave wife. Two years later Te Aitu and John Jury escaped Kapiti Island, where she was held captive and journeyed on a two man whaling boat back to Wairarapa. She was courageous amidst impending death on the turbulent waters of Wairarapa. She was also the mother of one of the most prolific writers, researchers and academic from Wairarapa, Hoani Te Whatahoro Jury, whose work ensured the preservation of knowledge regarding kauwae runga kauwae raro. In performing original contemporary composition, I celebrate the accomplishments of Te Aitu o Te Rangi, a Tuawahine, and I recall and embody the power of my matrilineal genealogy. Mana wahine stands strong in the spaces where feminist discourse continues to dominate, and composition provides a platform on which to reclaim and rewrite difference. My paper will look at the medium of contemporary music to provoke recognition and critique of the western archetype of the heroine, whilst at the same time advocating for social change
Kai hea kai hea te pū o te mate? Reclaiming the power of pūrākau
Get PDFThe pūrākau our ancestors told about the universe and our place within it have been bowdlerised through the process of colonisation. These narratives, as they were transmitted over generations, were transformed by the European settlers, missionaries and educators, from ‘myths’ – oral traditions imbued with the power of the sacred – into ‘fables’ and ‘folktales’. As such, they have largely been neutered of their epistemological power, and their role in sustaining our culture has been substantially diminished. For example, in its original iterations, the ancient story of Māui in which his quest for immortality was foiled by the Tīrairaka contained a fundamental lesson: Māui dies in the act of penetrating Hine-nui-te-pō; from the sex act comes both new life and the sure knowledge of mortality; women are a source of power, life and death. In translation, this story was sanitised; in particular, the description of Māui’s fatal entrance as a lizard into Hine-nui-te-pō’s vagina, were euphemised and displaced, shifted to less controversial body parts. In my paper and presentation, I propose strategies for restoring the power of performance of our pūrākau through the reclamation of the act of storytelling in diverse media. In making new platforms for performing these old stories, we can revitalise the Reo and tikanga, and in so doing reconnect ourselves and our young people to the world that our tīpuna created
Hybridity in Transition
Get PDFIn 1923 a paper was written to describe the traditional Hopi ceremonial ways. The phrase “hybridity in transition” was a descriptor of their process. This was a time when many aspects of Indigenous traditions including language, were illegal or prohibited in many ways. This paper and performance explores the evolution of pseudo-traditional performance practices over the past century. How can a culture maintain its core-values and essence, explicitly or embedded within new forms of presenting and representing its identity and authentic voice? Using empirical evidence, we journey through the transition from an art form a child participates in, the lifelong dancer, and to the artist-educator in order to justify creative modifications to traditions. How can cultural traditions be maintained and celebrated during times of suppression? How and why is tradition important to each generation as it faces major social influences? What is the value and power of collaborative work between tradition and modernity? How can an Indigenous culture explore, decolonize and empower its future thorough performance
Ramarama, Ruatahuna, Oxford, Jerusalem
Get PDFIntroduction
He koorero timata
He koorero teenei moo ooku wheako i Tipene Kura ki Ramarama, ki Ruataahuna i te Urewera, ki Hiruhaarama i Israel/Palestine, ki te Whare Waananga o Oxford hoki i te tau 1972 ki 1977. He koorero hoki teenei moo tooku tuutakihanga i eetahi taangata tae hoki raa ki a Hoani Rangihau.
I talk below about my experiences at St Stephens School at Ramarama/Bombay, in Ruataahuna, in Jerusalem in Israel Palestine and at Oxford University in the years 1972-7. It is also about meeting various people including John Rangihau.
He mea taiaawhio teenei i eetahi ahua inahoki kua hipa eetahi awa, eetahi huarahi, eetahi moana, etahi paparahi, aa, he taawhiti kee te haere i a Aotearoa ki a Ingarangi, i a Ingarangi ki a Hiruhaarama. Kia waanangahia teenei whakaaro e tika ana kia kii pea ka rere eetahi ira i Ruataahuna ki Hiruhaarama me te hokohanga mai hoki ki a Aotearoa, aa, he paku koorero naaku moo eenaa i te nuku o te tuhinga ki raro.
This is something of a circumnavigation in that roads, rivers, oceans and continents around the world are crossed and its a long way from Aotearoa to England and from there to Jerusalem, Israel and then too the return to Aotearoa. Considering this there there are some threads between Ruatahuna and Jerusalem and there is some discussion of them in the course of the writing below.
Naaku noa,
Naa Peter Cleav
Breaking the Stage: From Te Matatini to Footprints/Tapuwae
Get PDFThere’s too much talk of decolonising the stage, as if the theatre were not itself a colonial artefact, a hangover from the settlers’ desire to appear civilised in what they saw as a savage land. Here we reject the notion of ‘syncretic’ or ‘hybridic’ theatre, because when European and Māori performance practices meet and mingle under the proscenium arch waters that should be troubled are smoothed beyond recognition. We want to see the stage broken open, its fragments exposed to a critical gaze that recalls rather than transcends social history, that seeks not to console but to confront and catapult us, if not into direct action, then into a conversation that does more than keep us contained within the frame of the dominant culture. This paper is written as two sides of an ongoing debate about the relationship between the theatrical and the social in not-quite-post colonial Aotearoa New Zealand. We look at Te Matatini – the biannual national Kapa Haka Festival, most recently held in Christchurch in March 2015 – and at Footprints/Tapuwae – a bicultural opera first produced in 2001 and revived in June 2015 by the Free Theatre Christchurch – to find powerful cultural performances and contrary theatricalities in 21st century Aotearoa New Zealand