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Posted @withrepost • @jayryanofficial MURU - Aotearoa’s submission for the Oscars.. 🙌 Final weeks on the big screen New Zealand! #Muru #indigenouscinema #behindthescenes #tūhoe https://www.instagram.com/p/CjB3vmLDmCU/?igshid=NGJjMDIxMWI=
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viralnews-1 · 2 years
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Jay Ryan & Cliff Curtis on Redressing the Public Perception of Tūhoe
Jay Ryan & Cliff Curtis on Redressing the Public Perception of Tūhoe
If you’re unfamiliar with the history of Tūhoe, I’d highly recommend carving out a significant amount of time after seeing Muru. The film does manage to accomplish quite a bit in its 104-minute running time, but as a profound action film addressing 100 years worth of history, it’s bound to spark a need to learn and explore more. Inspired by true events, Muru addresses the conflict between…
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evelynstarshine · 2 years
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After reading some NtN discourse, which is all about Jod, like I get it but someone start discourse about the Angel or something so we have variety. But anyway, there’s a context I feel is missing for the Jod discourse, and it’s, 1.There is a centuries long history of Māori healers who suddenly found themselves gifted with miraculous powers to heal. 2.New Zealand has a history of sending police and government forces to kill Māori healers.
Americans when they think of police raiding ‘cult’ compound are probably imagining Jonestown or those US full of guns fortified cults from TV and that is how Jod’s healing and the raids that lead to the meatwall and dead cops are being framed but from the Prophets of the 19th century, the invasion of Parihaka or the hunt for Te Kooti all the way to the Tūhoe Raids of 2007, NZ police when they surround and raid are there for colonial purpose. And the way the healing part of John’s story is explained, word spreading and travellers amassing, it could have come out of a textbook of Rātana or Te Māiharoa. In NZ, police being massed to raid a ‘cult’ lead by a Māori miracle healer, has different bagage from the US police surrounding a fundie cult in gun country.
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sapphia · 3 months
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OPINION: The national hui at Tūrangawaewae Marae saw 10,000 people united in the face of actions by the coalition government, including its proposed Treaty Principles Bill. John Campbell was there.
History happens on single days.
Yesterday, at Tūrangawaewae, will be one of them.
“Why are you here?”, I asked Tame Iti.
“Vibrations”, he replied.
The rest of us will feel them over the days and months and years ahead.
Initial estimates of how many people would come had begun at 3000. Then 4000 registered, so estimates grew to 5000. Then 7000. By lunchtime, organisers were saying 10,000 had arrived. There wasn't room inside for them all. A large marquee across the road was full, all day. Every seat, everywhere, was taken. There was hardly standing room.
This special place, which has held tangi for royalty, which is where the Tainui treaty settlement was signed, which was visited by Nelson Mandela, and Queen Elizabeth II, and many of our greatest rangatira, has seldom seen so many people.
But no one objected. To standing. To the steaming heat. To the fact that sometimes people were too far away from the speakers, or the screens relaying them, to hear.
New Zealand First’s deputy leader, Shane Jones, told RNZ the hui could turn into a “monumental moan session”.
But it didn’t. Somehow, the word I keep coming back to is joyful.
The National Hui for Unity it was called. And it felt like exactly that.
On the way to Ngāruawāhia early yesterday morning, I pulled into a truck-stop near Bombay, at the southernmost end of the Auckland motorway system, to meet the Ngāpuhi convoy travelling down from the far north.
Some had begun their journey way up, in Kaikohe, at 3am. They spilled out into the half light of an overcast morning and inhaled the beginning of what would be an extraordinary day.
It’s easy for the significance of this delegation to be lost amid all the other arrivals. The people who’d come from even further away. Iwi after iwi. Ngāpuhi, Ngāti Porou, Tainui, Ngāti Kahungunu, Ngāi Tahu, Te Arawa, Ngāti Tūwharetoa, Ngāi Tūhoe, Ngāti Maniapoto – the big ten, all there, in declaratory numbers.
Just a few members of the Ngati Porou contingent who drove over on Friday from Tairāwhiti to attend the hui.
Ngāi Tahu representatives had taken a huge journey by road, then Cook Strait ferry, then road.
A friend’s father flew up from Invercargill.
But the size and standing of Ngāpuhi’s delegation provides some insight into how very significant this hui was.
Ngāpuhi aren’t a Kīngitanga iwi. They don’t see Kīngi Tūheitia as their king. And they contain Waitangi within their broad, northern boundaries – home, of course, to the Waitangi commemorations, our most famous form of national hui.
And yet they came, hundreds of Ngāpuhi. Some wearing korowai made especially for the occasion. Some the direct descendants of Treaty signatories. A waiata, composed for the hui, rehearsed beyond newness into a heartfelt and singular voice.
“Why are you going?” I asked Mane Tahere, the chair of Te Runanga-Ā-Iwi-Ō-Ngāpuhi. “It feels significant that Ngāpuhi are attending in such numbers.”
“Because”, he answered, “the challenges we face do not discriminate amongst iwi. We held three hui to discuss whether we should come, and who would come, and what our message would be. The final hui was only last Saturday. I wouldn’t have put our rūnanga resources into something we didn’t collectively support. This was hapū rangatiratanga. Hapū after hapū spoke and said we should go.”
Why?
“Because the question we have to ask as Māori is how we activate ourselves, re-activate ourselves, for 2024? How do we say to the coalition government, ‘hang on, what do you mean, and what are you doing?’ And the best way to do that is to do it together. Now is the time for Māori unity.”
The National Hui for Unity was only called by Kīngi Tuheitia Pootatau Te Wherowhero VII (Kīngi Tuheitia) at the beginning of December. That so very many people would arrive here, only six weeks later, in the holiday-season slowness of the third week of January, speaks not only to how resoundingly those present reject the coalition government’s Treaty Principles Bill, but also to a strength of unity already existing.
That is to say, a unified rejection of what Kīngitanga Chief of Staff, Archdeacon Ngira Simmonds, described as the “unhelpful and divisive rhetoric” of the election campaign.
“Maaori can lead for all”, said Ngira Simmonds, at the beginning of this month, “and we are prepared to do that.” *
This is part of a growing sense, as Ngāpuhi’s Mane Tahere told me, that “we’ve turned a corner”.
The corner is that u word – unity. The increasingly urgent sense of the need for a collective response to the coalition government.
And, without great external fanfare, these relationships have already been building.
The Kīngitanga movement has begun sending some of its most senior figures north for Waitangi Day commemorations – into the heart of Ngāpuhi country. And again, like Ngāpuhi coming to Ngāruawāhia, this reflects a belief that by Māori for Māori, all Māori, is the strongest possible response to a government they fear is intent on division.
This year, for the first time since 2009, Kīngi Tūheitia himself (who has Ngāpuhi whakapapa on his father’s side) will be attending Waitangi.
Symbolic? Yes.
Significant? Yes.
Unity.
Mana motuhake (self-government).
“Look at all these people,” Tame Iti said to me. “They’re here to listen. To learn. The first layer of mana motuhake is yourself.”
All protest is a form of risk.
Risk that it goes awry – and costs support, rather than galvanises it.
Risk that it arms your most cynical critics with the material for derision or contempt.
Risk that no one notices. Or that the turnout is so small that those who have the luxury of being able to not protest can turn away.
Some politicians may tell you that 10,000 people is not very many. I would say otherwise. In 30 years of covering politics, I have never attended a New Zealand party-political rally that attracted anywhere near that many. Or even half that number.
What happened at Tūrangawaewae yesterday was a triumph for all those involved.
In the striking heart of the mid-afternoon, I passed Tukoroirangi Morgan, the chair of the Waikato-Tainui executive board. We were going in opposite directions over the sunburnt road.
Chair of the Waikato-Tainui executive board Tukoroirangi Morgan.
Chair of the Waikato-Tainui executive board Tukoroirangi Morgan. (Source: 1News)
“How’s it going, Tuku?”, I asked him.
“It’s amazing”, he replied. “All these people.” And then he stopped, looked out over the everyone, everywhere, and repeated himself. “Amazing.”
Tūrangawaewae is located just outside Ngāruawāhia, directly across the Waikato River from the shops in that little township. Somewhere, just to its east, the new Waikato Expressway has stolen many of the estimated 17,000 cars a day that once passed through here. For decades, Ngāruawāhia was a pie and petrol stop on the main road between Hamilton and Auckland.
Not so much, any longer.
The challenge of history is to survive it.
And Kīngitanga itself was a kind of survival strategy.
It wasn’t this simple, of course, but a famous saying of the second Māori King, Tāwhiao, broadly speaks to the hopes of the Kīngitanga movement: “Ki te kotahi te kākaho ka whati ki te kāpuia e kore e whati.” The Māori Dictionary translates it prosaically: “If there is but one reed it will break, but if it is bunched together it will not.”
Yesterday, the reeds felt tight and strong.
“Why are you here?” I asked people, over and over.
The answer was almost always a variation of what Christina Te Namu told me. Christina, too, is Ngāpuhi. “I just wanted to support our people”, she said. “Now is the time for us to stand together as one.”
A group of women from Ngati Porou stopped to say kia ora.
It seems almost inadequate to state it like this, but they were there to be there. They had driven from Tairawhiti because being there mattered. Every person I spoke to had come to be part of this declaration of solidarity.
'An attempt to abolish the Treaty'
On Friday morning, something happened that gave this already significant day a vivid, extra weight.
My 1News colleague, Te Aniwa Hurihanganui, obtained details of the coalition Government’s Treaty Principles Bill. In its initial form it is not so much a re-evaluation of the role of the Treaty as an abandonment of it. Professor Margaret Mutu, speaking on 1News on Friday night, called it “an attempt to abolish the Treaty of Waitangi.”
This has arisen out of National’s coalition agreement with ACT.
I wrote about this at the end of last year, and also in the weeks after the election. I looked at the coalition agreements between National and ACT, and National and New Zealand First. And I noted their pointed focus on Māori. Some of it felt mean. What I called a strange, circling sense of a new colonialism.
I wrote about what I saw as ACT and New Zealand First's experiments with a kind of "resentment populism".
Who are we?, I asked. And where are we heading?
We’re heading to National reaching 41 percent in the first political poll of the year, “a massive jump”, as Thomas Coughlan described it in the NZ Herald, earlier this week. And we’re heading here, to Tūrangawaewae, and to thousands of people who travelled from throughout the country to collectively say, “no”.
In other words, we’re heading towards, or have already arrived in the vicinity of what PBS called the “divide and conquer populist agenda”.
And we’re heading to politics that purport to speak out against division, whilst arguably fomenting it.
In an opinion piece by David Seymour, published in the NZ Herald on Friday, the ACT leader begins with the sentence, “If there’s one undercurrent beneath so much of our politics, it’s division”.
Is David Seymour responding to division, or causing it?
The Treaty, he said, in December, “divides rather than unites people, as most treaties are supposed to do.”
But whose endgame is division? Really?
I've written before about the kind of populist politics that drive people to division, then throw up their hands and yell, “LOOK! DIVISION”, having wished for exactly that.
This, as Australian Academic Carol Johson wrote in The Conversation after the “no” vote in Australia’s Voice referendum, speaks to “a conception of equality controversially based on treating everyone the same, regardless of the different circumstances or particular disadvantages they face.”
That's equality as David Seymour consistently claims to define it.
But do as they say, not as they do. There was a time when ACT received some handy support from National. Remember that famous cup of tea? Surely Seymour's idea of equality would have insisted that Act get trounced than receive a leg-up?
The fascinating thing is that populism is typically structured around “the claim to speak for the underdog and the critique of privileged 'elites' and their disregard for the needs of ’ordinary people’".
But it’s hard for National to occupy that space when the party has historically been supported by the “elite”, and when your leader is a former CEO who owns seven properties, and who received total remuneration of $4.2 million in his last full year at Air New Zealand.
So, you can do two things. You can outsource populism to your coalition partners. (And sit there with a face of injured innocence, like someone insisting it was really the dog who farted.) And you can allow coalition partners to redefine the definition of “elite”.
No-one does this more enthusiastically than Winston Peters.
During the months prior to the election, the New Zealand First leader said “elite” more often than Kylie Minogue has said “lucky”.
“Elite Māori”, “elite power-hungry Māori”, “an elite cabal of social and ideological engineers.”
The idea, as I wrote after the election, is to somehow persuade us that Māori are getting something the rest of us are not. And they are: a seven-years-shorter life expectancy, lower household income, persistent inequities in health, the greatest likelihood of leaving school with low or no qualifications, and an over-representation in the criminal justice system to such a great extent that Māori make up 52 percent of the prison population.
Elite as.
So, had this hui erupted into a kind of rage, would that have been a victory for populism? Would the divisions have become entrenched? Would Māori have been blamed for reacting to provocation, rather than the provocation itself being examined?
None of this is new. Which is why Māori recognise it.
In July 1863, the Crown issued a proclamation demanding: “All persons of the native race living in the Manukau district and the Waikato frontier are hereby required immediately to take the oath of allegiance to Her Majesty the Queen”.
And those who wouldn’t?
“Natives refusing to do so are hereby warned forthwith to leave the district aforesaid, and retire to Waikato beyond Mangatawhiri.”
And anyone “not complying with this Order… will be ejected.”
Vincent O’Malley, in his remarkable book The Great War for New Zealand describes what happened next.
“On the same date some 1500 troops marched from Auckland for Drury.”
The troops didn’t stop. There are few more egregious and cynical predations in our history. South they went. Without just cause or provocation. Into Waikato.
Ngāruawāhia, Vincent O’Malley tells us, was “strategically important during the war because of its location at the confluence of the Waikato and Waipā rivers.”
“By 6 December 1863, Ngāruawāhia (‘the late head quarters of Māori sovereignty’ as one reporter dubbed it) had been deserted.”
At four o’clock that afternoon, a British flag was hoisted there.
And why does this story matter, still? 160 years later.
Because the Crown used the requirement for “allegiance”, the demand that Māori be loyal to it, so disingenuously. The language of colonisation purported to be about governance, about the role and rule of a single law, but it was a violation of law and a betrayal of the principles of government.
By the end of this rule of law, roughly 1.2 million acres of Waikato land had been “confiscated”.
And any opposition to it was defined, in law, as “rebellion”. And rebellion was justification for seizing more land.
This is our history. And part of it happened here, where the 10,000 people met yesterday.
It was so hot by late morning that people were swimming in the Waikato River.
I wandered down from the crowds at the hui to talk to the people swimming. They were mostly young, although not all.
I met a ten year old who told me her parents had brought her so she could “find out where I’m from”.
She was from Waitara, in Taranaki, so this wasn’t a literal homecoming.
I wondered how many people had travelled big distances to have a new or reinvigorated sense of what it means to be Māori.
Heading back inside, I saw Professor Margaret Mutu.
There are few who have more rigorously applied their formidable intellect to making sense of the intersection of Māori and colonisation.
Professor Margaret Motu: "You have two parties to a treaty, and one of them can’t unilaterally redefine it."
She is of Ngāti Kahu, Te Rarawa, Ngāti Whātua and Scottish descent. She is Professor of Māori Studies at the University of Auckland. And, her university profile tells us, she holds a BSc in mathematics, an MPhil in Māori Studies, a PhD in Māori Studies specialising in linguistics and a DipTchg.
There was nowhere quiet for us to sit. But people kindly made space at the back of a kitchen prep area. And I asked her about the significance of the Treaty, for Māori, for the Crown, and for us all.
“Te Tiriti is where you go," she said. “When things look as if they’re not working for you, you have a protection, and that’s where you go. It will always look after you. It will always protect you.”
“And while it seems clear that this government wants to abolish the Treaty," Margaret Mutu continued, “that can never happen. For one thing, you have two parties to a treaty, and one of them can’t unilaterally redefine it. But also, our tūpuna were very, very wise. In the Treaty they invited Pākehā, the British, to come and live with us. But they had to live with us in peace. In peace and friendship. And that’s what the Treaty is. It’s a treaty of peace and friendship. You can’t redefine that. You can’t rewrite that. It was very wise and it was very clear.”
And here’s where Margaret Mutu helped me understand why the mood at Tūrangawaewae was so – and I wish I could find better words – hopeful, positive, constructive.
Manaaki manuhiri: to support and care for your guests.
“We invited Pākehā to live amongst us,”, she said. “And what a lot of our Pākehā friends don’t understand, I think, is that our tikanga requires us to manaaki manuhiri. And that’s about looking after everybody. Everybody. So even when we have hate thrown at us, we have to assert aroha. That’s what manaaki manuhiri requires, even when people are very badly behaved.” Margaret Mutu laughs at this. “So, people have come here today to find that strength. It’s not about fighting people. It’s to find that strength and unity to be able to rise above the hatred. And now we will just get on and do exactly that.”
After lunch, I was invited to meet the King.
I’ve never been inside Tūrongo before, the royal residence. Or Māhinaarangi, which is both a famous meeting house and a unique kind of museum.
It looks out over the marae. And it gently contains, as if nestled in the palm of a large, open hand, photos and remembrances of those who’ve come before. The people who built Kīngitanga. Tāwhiao is there, his photo looking down from the wall. He died 130 years ago. How he would have marvelled, with great pride, at such a gathering, and perhaps, also, despaired at it still being necessary, in 2024.
Ngira Simmonds took me in. And I found myself, shy for once, able to stand and look out, viewing the unfolding of this new history from a place that is so central to the story of the history of us.
Kīngi Tuheitia was beaming.
“I didn’t sleep last night”, he told me. “But I knew this was the time for us to come together. And we have. We have.”
It occurred to me, as I walked back to stand amongst the thousands Kīngi Tuheitia was looking out to, with such delight, that the hui was the actualisation of Tāwhiao’s hope for the unbreakable strength of reeds tied together.
What was was happening felt transformative in the very fact it was happening. The mana motuhake of 10,000 people.
The vibrations.
Will the government feel them?
Will they survive the divisions of populism? Of politics that echo our repeated capacity to claim we are governing to unite people whilst governing against Māori?
Or maybe, this is how it all begins. In an historically large display of unity.
Rātana follows. Then Waitangi.
Yesterday ended with Kiingi Tuheitia speaking.
“The best protest we can do right now is be Maaori. Be who we are, live our values, speak our reo, care for our mokopuna, our awa, our maunga, just be Maaori. Maaori all day, every day. We are here, we are strong.”
The reeds tightening.
*Macrons haven't been used when quoting Tainui, who choose not to use them.
fantastic article on the national hui in response to aotearoa’s assault on indigenous rights. click through for pictures and video.
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medicatedmaniac · 6 days
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The Mataaho collective is a group of four Māori women artists from Aotearoa New Zealand: Erena Baker-Arapere (Te Ātiawa ki Whakarongotai, Ngāti Toa Rangatira, and Ngāti Raukawa), Sarah Hudson (Ngāti Awa, Ngāti Pūkeko, and Tūhoe), Bridget Reweti (Ngāti Ranginui and Ngāi Te Rangi), and Dr Terri Te Tau (Rangitāne and Ngāti Kahungunu ki Wairarapa).
They have won the Golden Lion from a jury at the 60th Venice Biennale for their large-scale work Takapau in the main exhibition.
The 200sqm suspended weaving is made from six kilometres of fluorescent trucking straps, 480 stainless steel buckles and ratchets, and 960 J-hooks – safety materials used in labouring jobs.
We come from working class families, our materials are an ode to that. This is reflective tape that you will see on safety gear in the labour workforce. Intended for high-visibility and often paired with fluorescent colours, these uniforms are meant to be seen- although the individuals wearing it become an insidious level of invisible. This is for those whose labour is relegated the background, to our parents and siblings, we celebrate you. - Mataaho Instagram
“We all come from working class whānau [families] and the materials we choose to use are a mihi [tribute] to them, who may not feel at home in the art gallery – we like to use materials they know and experience every day, so they have something to recognise in the art world.” - Sarah Hudson
More on Takapau and its creation here
Photographs by Ben Stewart
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dear-indies · 9 months
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hi there :) i was wondering if you could help me find a faceclaim that matches the jock + "dumb of ass, heart of gold" vibes? thank you so much and i hope you're having a beautiful day!!
Desmond Chiam (1987) Chinese Singaporean.
Charles Melton (1992) Korean / English, remote French and Welsh.
Drew Ray Tanner (1992) Chinese, Afro-Jamaican, French-Canadian, possibly other.
Phil Dunster (1992)
Aason Nadjiwon (1992) Ojibwe and Afro Jamaican.
Apo Nattawin Wattanagitiphat (1994) Thai.
Daniel Padilla (1995) Filipino (mostly Waray, about ¼ Iloko, Bikol) and most likely some White.
Jonah Hauer-King (1995) Ashkenazi Jewish / English.
Cody Christian (1995) Penobscot, Passamaquoddy, French / English.
Angel Bismark Curiel (1995) Taino, Afro Dominican, Spanish - has asthma and a heart murmur.
Mason Gooding (1996) Afro-Barbadian, African-American / European.
Alex Aiono (1996) Ngāti Porou and Samoan / English, German, Irish, Danish, smaller amounts of Welsh, Swiss-German, and Scottish.
Chance Perdomo (1996) Afro Dominican and Guatemalan.
Kim Min Jae (1996) Korean.
Odiseas Georgiadis (1996) Greek / Ghanaian.
Toheeb Jimoh (1997) Nigerian.
Cha Eun Woo (1997) Korean.
Quincy Fouse (1997) African-American.
James Rolleston (1997) Te Whakatōhea, Ngāi Te Rangi, Ngāti Whakaue, Ngāti Porou, Ngāi Tūhoe, Tainui.
Emre Bey (1997) Turkish.
Evan Mock (1997) Bisaya Filipino / White.
Charlie Gillespie (1998)
Felix Mallard (1998)
Ben Turland (1998)
Jay Lycurgo (1998) Jamaican, Sierra Leonean, and British.
Froy Gutierrez (1998) Mexican of Caxcan descent and European.
Jonathan Daviss (1999) African-American.
Bilal Hasna (1999) Punjabi and Palestinian.
Michael Cimino (1999) Puerto Rican [Taíno] / Italian, German, Swiss-German.
Owen Joyner (2000)
Thomas Weatherall (2000) Kamilaroi.
Han Hyun Min (2001) Nigerian / Korean.
D’Pharaoh Woon-A-Tai (2001) Ojibwe, Cree, Chinese Guyanese, Afro Guyanese, White.
Here you go!!
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toiletpotato · 3 months
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opinion article by John Campbell about the National Hui for Unity.
(full text below the "read more" button in case of paywall)
OPINION: The national hui at Tūrangawaewae Marae saw 10,000 people united in the face of actions by the coalition government, including its proposed Treaty Principles Bill. John Campbell was there.
History happens on single days.
Yesterday, at Tūrangawaewae, will be one of them.
“Why are you here?”, I asked Tame Iti.
“Vibrations”, he replied.
The rest of us will feel them over the days and months and years ahead.
Initial estimates of how many people would come had begun at 3000. Then 4000 registered, so estimates grew to 5000. Then 7000. By lunchtime, organisers were saying 10,000 had arrived. There wasn't room inside for them all. A large marquee across the road was full, all day. Every seat, everywhere, was taken. There was hardly standing room.
This special place, which has held tangi for royalty, which is where the Tainui treaty settlement was signed, which was visited by Nelson Mandela, and Queen Elizabeth II, and many of our greatest rangatira, has seldom seen so many people.
But no one objected. To standing. To the steaming heat. To the fact that sometimes people were too far away from the speakers, or the screens relaying them, to hear.
New Zealand First’s deputy leader, Shane Jones, told RNZ the hui could turn into a “monumental moan session”.
But it didn’t. Somehow, the word I keep coming back to is joyful.
The National Hui for Unity it was called. And it felt like exactly that.
Iwi after iwi: the big 10
On the way to Ngāruawāhia early yesterday morning, I pulled into a truck-stop near Bombay, at the southernmost end of the Auckland motorway system, to meet the Ngāpuhi convoy travelling down from the far north.
Some had begun their journey way up, in Kaikohe, at 3am. They spilled out into the half light of an overcast morning and inhaled the beginning of what would be an extraordinary day.
It’s easy for the significance of this delegation to be lost amid all the other arrivals. The people who’d come from even further away. Iwi after iwi. Ngāpuhi, Ngāti Porou, Tainui, Ngāti Kahungunu, Ngāi Tahu, Te Arawa, Ngāti Tūwharetoa, Ngāi Tūhoe, Ngāti Maniapoto – the big ten, all there, in declaratory numbers.
Ngāi Tahu representatives had taken a huge journey by road, then Cook Strait ferry, then road.
A friend’s father flew up from Invercargill.
But the size and standing of Ngāpuhi’s delegation provides some insight into how very significant this hui was.
Ngāpuhi aren’t a Kīngitanga iwi. They don’t see Kīngi Tūheitia as their king. And they contain Waitangi within their broad, northern boundaries – home, of course, to the Waitangi commemorations, our most famous form of national hui.
And yet they came, hundreds of Ngāpuhi. Some wearing korowai made especially for the occasion. Some the direct descendants of Treaty signatories. A waiata, composed for the hui, rehearsed beyond newness into a heartfelt and singular voice.
“Why are you going?” I asked Mane Tahere, the chair of Te Runanga-Ā-Iwi-Ō-Ngāpuhi. “It feels significant that Ngāpuhi are attending in such numbers.”
“Because”, he answered, “the challenges we face do not discriminate amongst iwi. We held three hui to discuss whether we should come, and who would come, and what our message would be. The final hui was only last Saturday. I wouldn’t have put our rūnanga resources into something we didn’t collectively support. This was hapū rangatiratanga. Hapū after hapū spoke and said we should go.”
Why?
“Because the question we have to ask as Māori is how we activate ourselves, re-activate ourselves, for 2024? How do we say to the coalition government, ‘hang on, what do you mean, and what are you doing?’ And the best way to do that is to do it together. Now is the time for Māori unity.”
A powerful rejection
The National Hui for Unity was only called by Kīngi Tuheitia Pootatau Te Wherowhero VII (Kīngi Tuheitia) at the beginning of December. That so very many people would arrive here, only six weeks later, in the holiday-season slowness of the third week of January, speaks not only to how resoundingly those present reject the coalition government’s Treaty Principles Bill, but also to a strength of unity already existing.
That is to say, a unified rejection of what Kīngitanga Chief of Staff, Archdeacon Ngira Simmonds, described as the “unhelpful and divisive rhetoric” of the election campaign.
“Maaori can lead for all”, said Ngira Simmonds, at the beginning of this month, “and we are prepared to do that.” *
This is part of a growing sense, as Ngāpuhi’s Mane Tahere told me, that “we’ve turned a corner”.
The corner is that u word – unity. The increasingly urgent sense of the need for a collective response to the coalition government.
And, without great external fanfare, these relationships have already been building.
The Kīngitanga movement has begun sending some of its most senior figures north for Waitangi Day commemorations – into the heart of Ngāpuhi country. And again, like Ngāpuhi coming to Ngāruawāhia, this reflects a belief that by Māori for Māori, all Māori, is the strongest possible response to a government they fear is intent on division.
This year, for the first time since 2009, Kīngi Tūheitia himself (who has Ngāpuhi whakapapa on his father’s side) will be attending Waitangi.
Symbolic? Yes.
Significant? Yes.
Unity.
Mana motuhake (self-government).
“Look at all these people,” Tame Iti said to me. “They’re here to listen. To learn. The first layer of mana motuhake is yourself.”
All protest is a form of risk.
Risk that it goes awry – and costs support, rather than galvanises it.
Risk that it arms your most cynical critics with the material for derision or contempt.
Risk that no one notices. Or that the turnout is so small that those who have the luxury of being able to not protest can turn away.
Some politicians may tell you that 10,000 people is not very many. I would say otherwise. In 30 years of covering politics, I have never attended a New Zealand party-political rally that attracted anywhere near that many. Or even half that number.
What happened at Tūrangawaewae yesterday was a triumph for all those involved.
In the striking heart of the mid-afternoon, I passed Tukoroirangi Morgan, the chair of the Waikato-Tainui executive board. We were going in opposite directions over the sunburnt road.
“How’s it going, Tuku?”, I asked him.
“I’s amazing”, he replied. “All these people.” And then he stopped, looked out over the everyone, everywhere, and repeated himself. “Amazing.”
The challenge of history
Tūrangawaewae is located just outside Ngāruawāhia, directly across the Waikato River from the shops in that little township. Somewhere, just to its east, the new Waikato Expressway has stolen many of the estimated 17,000 cars a day that once passed through here. For decades, Ngāruawāhia was a pie and petrol stop on the main road between Hamilton and Auckland.
Not so much, any longer.
The challenge of history is to survive it.
And Kīngitanga itself was a kind of survival strategy.
It wasn’t this simple, of course, but a famous saying of the second Māori King, Tāwhiao, broadly speaks to the hopes of the Kīngitanga movement: “Ki te kotahi te kākaho ka whati ki te kāpuia e kore e whati.” The Māori Dictionary translates it prosaically: “If there is but one reed it will break, but if it is bunched together it will not.”
Yesterday, the reeds felt tight and strong.
“Why are you here?” I asked people, over and over.
The answer was almost always a variation of what Christina Te Namu told me. Christina, too, is Ngāpuhi. “I just wanted to support our people”, she said. “Now is the time for us to stand together as one.”
A group of women from Ngati Porou stopped to say kia ora.
It seems almost inadequate to state it like this, but they were there to be there. They had driven from Tairawhiti because being there mattered. Every person I spoke to had come to be part of this declaration of solidarity.
'An attempt to abolish the Treaty'
On Friday morning, something happened that gave this already significant day a vivid, extra weight.
My 1News colleague, Te Aniwa Hurihanganui, obtained details of the coalition Government’s Treaty Principles Bill. In its initial form it is not so much a re-evaluation of the role of the Treaty as an abandonment of it. Professor Margaret Mutu, speaking on 1News on Friday night, called it “an attempt to abolish the Treaty of Waitangi.”
This has arisen out of National’s coalition agreement with ACT.
I wrote about this at the end of last year, and also in the weeks after the election. I looked at the coalition agreements between National and ACT, and National and New Zealand First. And I noted their pointed focus on Māori. Some of it felt mean. What I called a strange, circling sense of a new colonialism.
I wrote about what I saw as ACT and New Zealand First's experiments with a kind of "resentment populism".
Who are we?, I asked. And where are we heading?
We’re heading to National reaching 41 percent in the first political poll of the year, “a massive jump”, as Thomas Coughlan described it in the NZ Herald, earlier this week. And we’re heading here, to Tūrangawaewae, and to thousands of people who travelled from throughout the country to collectively say, “no”.
In other words, we’re heading towards, or have already arrived in the vicinity of what PBS called the “divide and conquer populist agenda”.
And we’re heading to politics that purport to speak out against division, whilst arguably fomenting it.
In an opinion piece by David Seymour, published in the NZ Herald on Friday, the ACT leader begins with the sentence, “If there’s one undercurrent beneath so much of our politics, it’s division”.
Is David Seymour responding to division, or causing it?
The Treaty, he said, in December, ���divides rather than unites people, as most treaties are supposed to do.”
But whose endgame is division? Really?
I've written before about the kind of populist politics that drive people to division, then throw up their hands and yell, “LOOK! DIVISION”, having wished for exactly that.
This, as Australian Academic Carol Johson wrote in The Conversation after the “no” vote in Australia’s Voice referendum, speaks to “a conception of equality controversially based on treating everyone the same, regardless of the different circumstances or particular disadvantages they face.”
That's equality as David Seymour consistently claims to define it.
But do as they say, not as they do. There was a time when ACT received some handy support from National. Remember that famous cup of tea? Surely Seymour's idea of equality would have insisted that Act get trounced than receive a leg-up?
The fascinating thing is that populism is typically structured around “the claim to speak for the underdog and the critique of privileged 'elites' and their disregard for the needs of ’ordinary people’".
But it’s hard for National to occupy that space when the party has historically been supported by the “elite”, and when your leader is a former CEO who owns seven properties, and who received total remuneration of $4.2 million in his last full year at Air New Zealand.
So, you can do two things. You can outsource populism to your coalition partners. (And sit there with a face of injured innocence, like someone insisting it was really the dog who farted.) And you can allow coalition partners to redefine the definition of “elite”.
No-one does this more enthusiastically than Winston Peters.
During the months prior to the election, the New Zealand First leader said “elite” more often than Kylie Minogue has said “lucky”.
“Elite Māori”, “elite power-hungry Māori”, “an elite cabal of social and ideological engineers.”
The idea, as I wrote after the election, is to somehow persuade us that Māori are getting something the rest of us are not. And they are: a seven-years-shorter life expectancy, lower household income, persistent inequities in health, the greatest likelihood of leaving school with low or no qualifications, and an over-representation in the criminal justice system to such a great extent that Māori make up 52 percent of the prison population.
Elite as.
A shameful history
So, had this hui erupted into a kind of rage, would that have been a victory for populism? Would the divisions have become entrenched? Would Māori have been blamed for reacting to provocation, rather than the provocation itself being examined?
None of this is new. Which is why Māori recognise it.
In July 1863, the Crown issued a proclamation demanding: “All persons of the native race living in the Manukau district and the Waikato frontier are hereby required immediately to take the oath of allegiance to Her Majesty the Queen”.
And those who wouldn’t?
“Natives refusing to do so are hereby warned forthwith to leave the district aforesaid, and retire to Waikato beyond Mangatawhiri.”
And anyone “not complying with this Order… will be ejected.”
Vincent O’Malley, in his remarkable book The Great War for New Zealand describes what happened next.
“On the same date some 1500 troops marched from Auckland for Drury.”
The troops didn’t stop. There are few more egregious and cynical predations in our history. South they went. Without just cause or provocation. Into Waikato.
Ngāruawāhia, Vincent O’Malley tells us, was “strategically important during the war because of its location at the confluence of the Waikato and Waipā rivers.”
“By 6 December 1863, Ngāruawāhia (‘the late head quarters of Māori sovereignty’ as one reporter dubbed it) had been deserted.”
At four o’clock that afternoon, a British flag was hoisted there.
And why does this story matter, still? 160 years later.
Because the Crown used the requirement for “allegiance”, the demand that Māori be loyal to it, so disingenuously. The language of colonisation purported to be about governance, about the role and rule of a single law, but it was a violation of law and a betrayal of the principles of government.
By the end of this rule of law, roughly 1.2 million acres of Waikato land had been “confiscated”.
And any opposition to it was defined, in law, as “rebellion”. And rebellion was justification for seizing more land.
This is our history. And part of it happened here, where the 10,000 people met yesterday.
Rising above the hatred
It was so hot by late morning that people were swimming in the Waikato River.
I wandered down from the crowds at the hui to talk to the people swimming. They were mostly young, although not all.
I met a ten year old who told me her parents had brought her so she could “find out where I’m from”.
She was from Waitara, in Taranaki, so this wasn’t a literal homecoming.
I wondered how many people had travelled big distances to have a new or reinvigorated sense of what it means to be Māori.
Heading back inside, I saw Professor Margaret Mutu.
There are few who have more rigorously applied their formidable intellect to making sense of the intersection of Māori and colonisation.
She is of Ngāti Kahu, Te Rarawa, Ngāti Whātua and Scottish descent. She is Professor of Māori Studies at the University of Auckland. And, her university profile tells us, she holds a BSc in mathematics, an MPhil in Māori Studies, a PhD in Māori Studies specialising in linguistics and a DipTchg.
There was nowhere quiet for us to sit. But people kindly made space at the back of a kitchen prep area. And I asked her about the significance of the Treaty, for Māori, for the Crown, and for us all.
“Te Tiriti is where you go," she said. “When things look as if they’re not working for you, you have a protection, and that’s where you go. It will always look after you. It will always protect you.”
“And while it seems clear that this government wants to abolish the Treaty," Margaret Mutu continued, “that can never happen. For one thing, you have two parties to a treaty, and one of them can’t unilaterally redefine it. But also, our tūpuna were very, very wise. In the Treaty they invited Pākehā, the British, to come and live with us. But they had to live with us in peace. In peace and friendship. And that’s what the Treaty is. It’s a treaty of peace and friendship. You can’t redefine that. You can’t rewrite that. It was very wise and it was very clear.”
And here’s where Margaret Mutu helped me understand why the mood at Tūrangawaewae was so – and I wish I could find better words – hopeful, positive, constructive.
Manaaki manuhiri: to support and care for your guests.
“We invited Pākehā to live amongst us,”, she said. “And what a lot of our Pākehā friends don’t understand, I think, is that our tikanga requires us to manaaki manuhiri. And that’s about looking after everybody. Everybody. So even when we have hate thrown at us, we have to assert aroha. That’s what manaaki manuhiri requires, even when people are very badly behaved.” Margaret Mutu laughs at this. “So, people have come here today to find that strength. It’s not about fighting people. It’s to find that strength and unity to be able to rise above the hatred. And now we will just get on and do exactly that.”
Meeting the King
After lunch, I was invited to meet the King.
I’ve never been inside Tūrongo before, the royal residence. Or Māhinaarangi, which is both a famous meeting house and a unique kind of museum.
It looks out over the marae. And it gently contains, as if nestled in the palm of a large, open hand, photos and remembrances of those who’ve come before. The people who built Kīngitanga. Tāwhiao is there, his photo looking down from the wall. He died 130 years ago. How he would have marvelled, with great pride, at such a gathering, and perhaps, also, despaired at it still being necessary, in 2024.
Ngira Simmonds took me in. And I found myself, shy for once, able to stand and look out, viewing the unfolding of this new history from a place that is so central to the story of the history of us.
Kīngi Tuheitia was beaming.
“I didn’t sleep last night”, he told me. “But I knew this was the time for us to come together. And we have. We have.”
It occurred to me, as I walked back to stand amongst the thousands Kīngi Tuheitia was looking out to, with such delight, that the hui was the actualisation of Tāwhiao’s hope for the unbreakable strength of reeds tied together.
What was was happening felt transformative in the very fact it was happening. The mana motuhake of 10,000 people.
The vibrations.
Will the government feel them?
Will they survive the divisions of populism? Of politics that echo our repeated capacity to claim we are governing to unite people whilst governing against Māori?
Or maybe, this is how it all begins. In an historically large display of unity.
Rātana follows. Then Waitangi.
Yesterday ended with Kiingi Tuheitia speaking.
“The best protest we can do right now is be Maaori. Be who we are, live our values, speak our reo, care for our mokopuna, our awa, our maunga, just be Maaori. Maaori all day, every day. We are here, we are strong.”
The reeds tightening.
*Macrons haven't been used when quoting Tainui, who choose not to use them.
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airyairyaucontraire · 2 years
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I was especially interested to read that they have different types of animals speaking with different mita or regional dialects - so the lions speak Tainui dialect because of Tainui’s association with Kīngitanga, the Māori King movement, the hyaenas are Ngāti Kahungunu, Rafiki is Tūhoe and Timon and Pumbaa sound like they’re from Te Tai Tokerau. (They’re looking at featuring Ngāi Tahu, from the South Island, in the dub of Frozen which is the next project, and Moana mostly featured Te Whānau-ā-Apanui and Ngāti Porou dialogue.)
I have a lot of problems with the ways Disney operates as a business entity, and with their weakness in matters of queer representation to date, so I’m not just blanket praising them, but I do think it’s pretty cool that they are working with Matewa on projects like this. I don’t know if one would follow from the other, but wouldn’t it be great fun if they eventually made an Aotearoa-set animated movie, developed from the outset as a bilingual production showcasing Māori talent?
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sonyclasica · 2 months
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STAN WALKER
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I AM
El artista y narrador maorí Stan Walker presenta la versión en directo de "I AM", canción original incluida en la última película de Ava Duvernay, Origin.
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El artista y narrador maorí afincado en Aotearoa, Nueva Zelanda STAN WALKER (afiliaciones tribales: Tūhoe, Ngāi TeRangi, Ngāti Ranginui, Ngāti Pūkenga, Tūhourangi Ngāti Wāhiao, Ngāti Porou, Ngāti Whakaue y Ngai Tahu) ha publicado una nueva versión en directo de su último tema, I AM, una canción original creada para la última película de Ava DuVernay, nominada al Oscar ORIGIN. La nueva versión del tema se estrena tanto en forma devídeo en directo como en plataformas de streaming, coincidiendo con el estreno de ORIGIN en cines.
Publicada originalmente en noviembre y estrenada en la televisión estadounidense en exclusiva con Gayle King en CBS Mornings, "I AM" es una declaración de propiedad y reivindicación de la propia identidad. Cuando escuchó la voz de Stan interpretando 'Ultralight Beam' de Kanye West, DuVernay se sintió fascinada por su energía. Se puso en contacto con Stan y lo invitó a crear un tema original para su película "ORIGIN", la película más taquillera tanto para Ava como para la distribuidora estadounidense NEON.
"Este verano, estuve hablando con mi socio y productor Paul Garnes de que quería una canción sorprendente como cierre de "ORIGIN". Al día siguiente, me enseñó la interpretación del "Ultralight Beam" de Stan y la vi cuatro veces, una detrás de otra. Me metí en Internet y, por suerte, teníamos en común a una productora amiga mía, Chelsea Winstanley. Envié un DM a Chelsea, y 24 horas después estaba al teléfono con Stan Walker. Desde el principio me sentí muy cómoda y en confianza. Su espíritu y energía creativa brillan, incluso en una llamada telefónica desde el otro lado del mundo. Descubrimos que compartimos la misma creencia: que el arte puede cambiar el mundo. Que las historias que nos contamos unos a otros -a través de la música y del cine- importan. La colaboración con Stan en "I AM" ha sido un regalo para la película "ORIGIN" y para mí personalmente. Esa voz, esa vibración, ese brío… Es real. Y sincero. Y sensacional. Estoy deseando compartir su canción con el mundo y me siento agradecida por la oportunidad de hacerlo", dice Ava sobre su colaboración creativa entre ella y Stan.
Coescrita por Stan Walker, Vince Harder, Te Kanapu Anasta y el nominado al Grammy Michael Fatkin (que también produjo el tema), "I AM" es una declaración de propiedad y reivindicación de la propia identidad. A lo largo del proceso de colaboración, ha sido importante para Stan destacar la comprensión de nuestro whakapapa (linaje) y nuestros orígenes.
" I AM" es una declaración, no solo de quién soy yo, sino una declaración para cualquiera que alguna vez haya sentido que no sabe quién es. Cada persona tiene una historia diferente, y algunas se avergüenzan porque sus culturas se han asociado a cosas negativas. He vivido esa vida, pero nuestra cultura no es así. Los resultados negativos son consecuencia de un trauma intergeneracional causado por la supresión de nuestra identidad y expresión culturales, pero nosotros no somos así. La sociedad maorí en su forma más pura es aroha (amor) y tenemos protocolos para mostrar respeto por todo. Tenemos protocolos para andar por casa, cómo preparamos nuestro kai (comida) y quién lo prepara, y nunca cogemos de la tierra y el mar más de lo que necesitamos. Para mí " I AM " es una afirmación de que nunca es demasiado tarde para adueñarte de tu identidad y volver a conectar con tus raíces", dice Stan.
El lanzamiento incluye un vídeo codirigido por Stan y su antigua colaboradora Shae Sterling que refleja la profunda reverencia de Stan por sus raíces. Rodado en distintos lugares de Aotearoa, el vídeo sirve de acompañamiento visual a la historia que Stan está narrando sobre aspectos de los orígenes maoríes (las Primeras Naciones de Aotearoa). En el estribillo canta sobre Kurawaka, el nombre del lugar donde se creó el primer ser humano en algunas cosmologías maoríes, elevando una conexión directa con el mundo natural.
"Para mí era importante integrar aspectos de mi cultura en la canción. Para mí, el cuerpo de la canción son las melodías, la producción y el flujo, pero la sangre que realmente bombea por la canción son las palabras y las técnicas maoríes. El estribillo en sí es lo que podríamos llamar una "adaptación moderna" del mōteatea, nuestra forma más antigua y auténtica de música maorí, una forma de lamento que se encuentra en nuestras representaciones tradicionales. Es un llamamiento para recordar nuestra conexión con la Tierra y a no olvidar nunca nuestra humanidad, algo que me quedó después de ver 'ORIGIN' varias veces", dice Stan sobre la grabación.
Inspirada en el best-seller del New York Times de Isabel Wilkerson, ORIGIN explora el misterio de la historia, las maravillas del romance y la lucha por nuestro futuro. Mientras investiga el fenómeno global de las castas y su oscura influencia en la sociedad, una periodista (interpretada por la actriz nominada al Oscar, Aunjanue Ellis-Taylor) se enfrenta a una pérdida personal insondable y descubre la belleza de la resistencia humana.
Movida por el impulso de los orígenes, "I AM" aporta a “ORIGIN” una respuesta desde una cosmovisión y orientación indígena que centra la conexión con todo lo que nos rodea y la naturaleza interdependiente de nuestra humanidad. En la elaboración del tema, el experto en lengua maorí Te Kanapu Anasta se unió al equipo de composición para ayudar a escribir los estribillos y el cierre.
"La canción termina con un whakataukī (proverbio maorí) que se traduce vagamente como 'unirse, fijar y afirmar; ¡se afirma! ¡en unidad! Es un recordatorio de los orígenes y las historias que recogen nuestro poder colectivo", afirma Stan.
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STAN WALKER EN LAS REDES: INSTAGRAM | FACEBOOK | MUSIC | WEBSITE
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Posted @withrepost • @jayryanofficial Out in the World - last night the cinematic response to the 2007 Tūhoe raids, #MURU landed @tiff_net - written and directed by our fearless leader Tearepa Kahi ✊#CliffCurtis #TameIti @simonekessell @nzfilm @nzrialtomovies https://www.instagram.com/p/CiX9DJDjNN6/?igshid=NGJjMDIxMWI=
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nzconservationjobs · 8 months
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Relationship Manager - Iwi Strategy - Department of Conservation - Wellington
Provide strategic guidance for the Treaty Relationships with Ngāi Tūhoe, Four weeks and three days annual leave per year pro-rata, Permanent full-time role based in Wellington or flexible on location in the North Island. Toitū te marae a Tāne-Mahuta, toitū te marae a Tangaroa, toitū te tangata If the land is well and the sea is well, the people will thrive  Department of Conservation Te Papa…
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cccrhirdb1 · 9 months
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week 4 te reo Māori and te reo pākehā
this weeks class we did have about over half the class missing because of the quarter-final game that is on for the fifa women's world cup at the sky stadium today so! there was not a huge amount of discussion in class (I would say)
Discussion: In groups reflect on your independent study, including your reading around mana, tapu, and noa, and the design examples you were asked to find.
How might you think about this in relation to language, and the preservation of language?
How do you see language being linked to design and art, in general?
we did not discuss this or if we did I did not realise, I was the only one in my group who did the reading so I described to them as best I could about how tapu is spiritual and belongs to every living thing - that if something it tapu it was meaning, it can lose this meaning, significance and become noa, which is like any normal thing
“Ko tōku reo, tōku ohooho. Ko tōku reo, tōku mapihi maurea.” (My language is my awakening. My language is my treasure)
This whakataukī refers to the importance of the revitalisation of te reo Māori, after the systemic attempts to erase te reo Māori as part of the colonial project, through mainstream schooling. 
Watch: This week we will be watching Tame Iti's (Tūhoe) kōrero on mana in relation to language, art, and protest, and having an in-class discussion about the broader implications this has for understanding culture's intersection with language, design, and art.
Reflect and discuss: After watching Tame Iti's kōrero, consider the following:
What did Iti say about Mana, which might help in terms of your assignment?
How might you think about Mana in relationship to the artworks and performance-pieces he describes?
What relationships can you see between Mana and language, in general?
What might some of considerations be when upholding mana tangata in relation to the fields of design and art?
as like a pakeha artist in this space, we need to be careful in like our place and our privileged because of the system and society that we are in that discriminates against others because of the way it as built by the damn colonialists. it's important to uphold mana and the people who's stories we are retelling - this is not our original whakapapa so you have to respect those who came before. uplift them and their knowledge because it is theirs.
thinking about like cutural appropriation in this space and relation to this i think of the powhiri framework with our studio classes. I find it really really odd. Like I appreciate learning more about the different stages and why each part of a powhiri happens (and it's importance) but i feel really at odds that the university has taken this maori ceremony and made it about something else?? Like I don't quite think I have the words to explain it beyond that I feel weird about it at this point and time.
my notes from the video!!/group discssion
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and then we did not watch the second video because we instead just got to talking about the assignment - what it wants from us (because the breif is very confusing and I do not understand and neither does anyone else)
so next week when we watch it I will add my notes on the video here :)
ADD NOTES FOR 2nd VIDEO HERE
In groups discuss how Dunn's TedTalk deepens your understanding of Whakapapa.
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swldx · 1 year
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13755Khz 1157 22 MAR 2023 - RNZ PACIFIC (NEW ZEALAND) in ENGLISH from RANGITAIKI. SINPO = 45333. English, music until pips and news @1200z anchored by Todd Zehner. The National Party plans to rewrite the curriculum for primary and intermediate schools if it wins at the next election. In a release, party leader Christopher Luxon claimed a recent NCEA pilot exposed just how far achievement had fallen, "with a staggering two-thirds of students unable to meet the minimum standard in reading, writing and maths". After a five-year hiatus the biennial Tūhoe festival, Te Hui Ahurei a Tūhoe, is set to return over Easter weekend. The Hui Ahurei is the longest running iwi festival in Aotearoa. It marked its 50th year in 2021 but those celebrations have been pushed back till now. The jewellery chain Michael Hill is beefing up security throughout the country after a smash and grab. The world is facing a looming global water crisis that threatens to "spiral out of control" as increased demand for water and the intensifying impacts of the climate crisis put huge pressure on water resources, a UN report has warned. Water use has increased by about 1% a year over the last 40 years, driven by population growth and changing consumption patters, according to the UN World Water Development Report published Tuesday, on the eve of a major UN water summit in New York. China's peace plan for Ukraine could be used as a basis to end the war, says Russian president Vladimir Putin. But Putin said the plan could be put forward only when they are ready "in the West and Kyiv". The Russian leader met Chinese President Xi Jinping on Tuesday in Moscow to discuss the conflict, and relations between the two countries. China's plan, published last month, does not explicitly call for Russia to leave Ukraine. Sports. @1204z trailer for RNZ "Country Life". @1205z Weather Forecast: Fine, cloudy periods and Isolated showers. @1206z "All Night Programme" anchored by Todd Zehner. Backyard fence antenna, Etón e1XM. 100kW, beamAz 35°, bearing 240°. Received at Plymouth, United States, 12912KM from transmitter at Rangitaiki. Local time: 0657.
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sharedcorejournal · 1 year
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CREATIVE CULTURES & CONTEXTS 237230 ⋆ Citations of Life
WORKS CITED
Apollo 17. AS17-148-22727. Photography, Dec. 1972.
Artbreeder, 2019.
“Biography of Charles Frederick Goldie.” Museum of New Zealand Te Papa Tongarewa, https://collections.tepapa.govt.nz/topic/945.
Blundell, Sally, and Rob Brown. “Set in Stone.” Living World, New Zealand Geographic, May 2010, https://www.nzgeo.com/stories/set-in-stone/.
ChatGPT, 2023.
Emerging Technology from the arXiv. “Iris Scanner Can Distinguish Dead Eyeballs from Living Ones.” MIT Technology Review, MIT, July 2018, https://www.technologyreview.com/2018/07/24/141323/iris-scanner-can-distinguish-dead-eyeballs-from-living-ones/.
Eria, Migoto. “The Mana of Taonga and What It Means for Museums in Aotearoa.” Museum of New Zealand Te Papa Tongarewa, Sept. 2018, https://blog.tepapa.govt.nz/2018/09/12/the-mana-of-taonga-and-what-it-means-for-museums-in-aotearoa/?cn-reloaded=1.
Grivina. Business Topics - Client Calls Stock Illustration. Digital, Dec. 2020, https://www.istockphoto.com/vector/business-topics-client-calls-gm1291576186-386650780.  
Iti, Tame (Tūhoe). “Mana: The power of knowing who you are”. YouTube, uploaded by TedxAuckland, 17 July 2015, https://youtu.be/qeK3SkxrZRI  
Larson, Gary. Cow tools. Print, Oct. 1982.
McCarter, Reid. “Abandon All Hope and Gaze upon This Deeply Cursed Image of Unidentifiable Objects.” The A.V. Club, Apr. 2019, https://www.avclub.com/abandon-all-hope-and-gaze-upon-this-deeply-cursed-image-1834239839.
Minjun, Yue. Execution. Oil painting, 1995.
Mirzoeff, Nicholas. How to See the World. Pelican, 2015. 1-27. https://stream.massey.ac.nz/pluginfile.php/5343965/mod_book/intro/Mirzoeff_How%20to%20see%20the%20world_Intro_Chapter%20notes%202015.pdf?time=1677378163695.
Mirzoeff , Nicholas. Visual Thinking in Dangerous Times. NYU Prague, Dec. 2019, https://www.youtube.com/watch?v=sBEKGtTgox8.
Pin Art Wall. Partyworks, n.d.
“Police Seeks Help to Identify Dead Body.” Kashmir Life, KL News Network, Apr. 2018, https://kashmirlife.net/police-seeks-help-to-identify-dead-body-172290/.
Rauwerda, Annie. “Why Does Gen Z Love ‘Cow Tools,’ a Nonsensical Comic from 1982?” Inverse, Input, Jan. 2022, https://www.inverse.com/input/culture/cow-tools-far-side-gary-larson-cult-gen-z.
Rosenberg, David. “How One Photographer Overcame His Fear of Death by Photographing It.” Slate, Aug. 2014. slate.com, https://slate.com/culture/2014/08/walter-schels-life-before-death-includes-portraits-of-people-before-and-after-dying-photos.html.
Ruthie. Directed by Amy Winfrey, vol. Season 4 Episode 9, Netflix, 2017, https://youtu.be/JKRNKYdvFIo.
Schels, Walter. Life Before Death. Photography, 2004.
Schorch, Philipp, and Arapata Hakiwai. “Mana Taonga and the Public Sphere:  A Dialogue between Indigenous Practice and Western Theory.” International Council of Museums, International Journal of Cultural Studies, 2014, https://icom.museum/en/news/mana-taonga-power-to-the-people/.
Semiotics Diagram. San Diego AMA, https://sdama.org/knowledge/semiotics-in-marketing-research-gaming-changing-marketing-research-3/semiotics-diagram/.
Smith, Huhana. “Mana Taonga and the Micro World of Intricate Research and Findings around Taonga Māori at the Museum of New Zealand Te Papa Tongarewa.” Sites: A Journal of Social Anthropology and Cultural Studies, vol. 6, no. 2, Dec. 2009, pp. 7–9, https://sites.otago.ac.nz/Sites/article/view/126.
Student-Staff Forum on Generative Artificial Intelligence at Sydney. Directed by University of Sydney, Educational Innovation, 2023, https://www.youtube.com/watch?v=5b8Op64v7Pc&ab_channel=EducationalInnovation.
Sturken, Marita, and Lisa Cartwright. Practices of Looking : An Introduction to Visual Culture. 2nd ed, Oxford University Press, 2009.
“Victorian Era Post-Mortem Family Portrait of Parents with their Deceased Daughter.” n.d. https://blog.history.ac.uk/2013/02/memorial-photography/
White, Anna-Marie, and Kate Brettkelly-Chalmers. Kaihono Āhua - Vision Mixer: Revisioning Contemporary New Zealand Art. The Suter Art Gallery Te Aratoi o Whakatū, 2014.
Williams, James. Understanding Poststructuralism. Acumen Pub, 2005.
BIBLIOGRAPHY
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Eria, Migoto. “The Mana of Taonga and What It Means for Museums in Aotearoa.” Museum of New Zealand Te Papa Tongarewa, Sept. 2018, https://blog.tepapa.govt.nz/2018/09/12/the-mana-of-taonga-and-what-it-means-for-museums-in-aotearoa/?cn-reloaded=1.
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Iti, Tame (Tūhoe). “Mana: The power of knowing who you are”. YouTube, uploaded by TedxAuckland, 17 July 2015, https://youtu.be/qeK3SkxrZRI  
Larson, Gary. Cow tools. Print, Oct. 1982.
McCarter, Reid. “Abandon All Hope and Gaze upon This Deeply Cursed Image of Unidentifiable Objects.” The A.V. Club, Apr. 2019, https://www.avclub.com/abandon-all-hope-and-gaze-upon-this-deeply-cursed-image-1834239839.
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Preciado, Paul B. Testo Junkie: Sex, Drugs, and Biopolitics in the Pharmacopornographic Era. The Feminist Press at the City University of New York, 2013.
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Rosenberg, David. “How One Photographer Overcame His Fear of Death by Photographing It.” Slate, Aug. 2014. slate.com, https://slate.com/culture/2014/08/walter-schels-life-before-death-includes-portraits-of-people-before-and-after-dying-photos.html.
Ruthie. Directed by Amy Winfrey, vol. Season 4 Episode 9, Netflix, 2017, https://youtu.be/JKRNKYdvFIo.
Schels, Walter. Life Before Death. Photography, 2004.
Schorch, Philipp, and Arapata Hakiwai. “Mana Taonga and the Public Sphere:  A Dialogue between Indigenous Practice and Western Theory.” International Council of Museums, International Journal of Cultural Studies, 2014, https://icom.museum/en/news/mana-taonga-power-to-the-people/.
Semiotics Diagram. San Diego AMA, https://sdama.org/knowledge/semiotics-in-marketing-research-gaming-changing-marketing-research-3/semiotics-diagram/.
Smith, Huhana. “Mana Taonga and the Micro World of Intricate Research and Findings around Taonga Māori at the Museum of New Zealand Te Papa Tongarewa.” Sites: A Journal of Social Anthropology and Cultural Studies, vol. 6, no. 2, Dec. 2009, pp. 7–9, https://sites.otago.ac.nz/Sites/article/view/126.
Student-Staff Forum on Generative Artificial Intelligence at Sydney. Directed by University of Sydney, Educational Innovation, 2023, https://www.youtube.com/watch?v=5b8Op64v7Pc&ab_channel=EducationalInnovation.
Sturken, Marita, and Lisa Cartwright. Practices of Looking : An Introduction to Visual Culture. 2nd ed, Oxford University Press, 2009.
“Victorian Era Post-Mortem Family Portrait of Parents with their Deceased Daughter.” n.d. https://blog.history.ac.uk/2013/02/memorial-photography/
White, Anna-Marie, and Kate Brettkelly-Chalmers. Kaihono Āhua - Vision Mixer: Revisioning Contemporary New Zealand Art. The Suter Art Gallery Te Aratoi o Whakatū, 2014.
Williams, James. Understanding Poststructuralism. Acumen Pub, 2005.
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Matariki expert Rangiānehu Mātāmua honoured for services to Māori astronomy
Matariki expert Rangiānehu Mātāmua honoured for services to Māori astronomy
Jericho Rock-Archer/Stuff All cultures have looked to the heavens, says Hamilton-based Māori astronomer Professor Rangiānehu Mātāmua, who’s been made an Officer of the New Zealand Order of Merit. A man whose name can be translated as “misty sky” in te reo Pākehā has been honoured for his work helping people see and understand the night sky clearly. Professor Rangiānehu Mātāmua (Tūhoe) – usually…
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dear-indies · 5 months
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Hi! Do you have any suggestions for fc alts of Auli'i Cravalho? Around a similar age, with a partial match for ethnicity? Thank you for any help!
Lindsay Watson (1995) Kānaka Maoli, Filipino, Chinese, Japanese, White.
Sofia Jamora (1997) Kānaka Maoli and Mexican.
and then some more Indigenous suggestions too!
Blu Hunt (1995) Oglala Lakota, Apache, White - is queer.
Kylee Russell (1996) Lenape, Cape Verdean.
Mai Fanglayan (1996) Kankanaey.
Tioreore Ngatai Melbourne (1999) Ngāti Porou, Ngai Tūhoe.
Anna Lambe (2000) Inuit - is bisexual.
Paulina Alexis (2000) Nakota Sioux.
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