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Culture and the Place of Haka in Commemoration at Gallipoli

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Culture and the Place of Haka in Commemoration at Gallipoli University of Wollongong Research Online Faculty of Law, Humanities and the Arts - Papers Faculty of Arts, Social Sciences & Humanities 1-1-2015 Me Haka I te Haka a Tānerore?: Māori 'Post-War' Culture and the Place of Haka in Commemoration at Gallipoli Hemopereki Simon University of Wollongong, [email protected] Follow this and additional works at: https://ro.uow.edu.au/lhapapers Part of the Arts and Humanities Commons, and the Law Commons Recommended Citation Simon, Hemopereki, "Me Haka I te Haka a Tānerore?: Māori 'Post-War' Culture and the Place of Haka in Commemoration at Gallipoli" (2015). Faculty of Law, Humanities and the Arts - Papers. 2971. https://ro.uow.edu.au/lhapapers/2971 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Me Haka I te Haka a Tānerore?: Māori 'Post-War' Culture and the Place of Haka in Commemoration at Gallipoli Abstract This article is an extensive discussion from a Maori perspective into issues around the use of Maori cultural terms, in particular haka, to commemorate the fallen in WWI. Embedded in the article are key theories of cultural memory, 'war culture' and 'post-war culture'. The research outlines the differences between European and Indigenous war and post war cultural practices focusing on Maori. It seeks to understand the reluctance of Turkish officials to see haka being performed when it was apparently banned from ceremonies in 2005. It outlines the media reporting on the issue and the subsequent reintroduction of haka in August 2015 at the centenary of the Chunuk Bair battle. It unpacks deep problems inherent with using such items as they are vehicles of cultural memory. These memories carry with them deep-seeded issues in relation to colonisation and the military. It highlights problems around the cultural assimilation of haka and Maori and the lack of support from wider New Zealand for protecting Te Reo Maori (Maori language). It holds that there is a place for haka in commemoration and that Maori need to be mindful of Turkish cultural sensitivities as haka was used to wage war against them. However, it explores a counter argument, in that haka and cultural items can be used in post-war culture to promote understanding and peace while recognising the tikanga concept of mana whenua. It points out the words of Ataturk about the embracing of those who fought at Gallipoli as the sons of Turkey. It asks Turkish officialso t recognise that under no circumstances is the performance of cultural items meant to cause offence and that Turkey's multicultural nature should recognise the practice as indigenous religious practice. As such it questions the role of Turkish officials approving Maori cultural items for commemorative ceremonies. Lastly, it opens avenues for further research in the issues raised. Disciplines Arts and Humanities | Law Publication Details Simon, H. Hoani. (2015). Me Haka I te Haka a Tānerore?: Māori 'Post-War' Culture and the Place of Haka in Commemoration at Gallipoli. Australasian Canadian Studies Journal, 32 (1-2), 83-137. This journal article is available at Research Online: https://ro.uow.edu.au/lhapapers/2971 RHYS COOPER Australasian Canadian Studies For the purposes of this study, Canadian figures incorporate both Canadian and Newfoundland Victoria Cross figures. Me Haka I te Haka a Tānerore?: Māori The best among these referential texts are Pillinger and Staunton’s Victoria Cross ‘Post-War’ Culture and the Place of Haka in presentations and locations, John Smyth’s The Story of the Victoria Cross, Max Arthur’s Symbol of Courage, Bryan Perret’s For Valour and Michael Commemoration at Gallipoli Ashcroft’s Victoria Cross Heroes. This has been best explored in: Olive Anderson, “The Growth of Christian HEMOPEREKI HŌANI SIMON 1 Militarism in Mid-Victorian Britain,” The English Historical Review 86, no. 338 (January 1, 1971): 46–72; Heather Streets, Martial Races: The Military, Race and Masculinity in British Imperial Culture, 1857-1914 (Manchester University Press, 2004); J.a. Mangan, “‘Muscular, Militaristic and Manly’: Keywords: War culture, Post-War Culture, Māori contingent, haka, The British Middle-Class Hero as Moral Messenger. / Muscle, Militariste et WW1, Gallipoli, commemoration. Viril: Le Heros Britannique Issu de La Classe Moyenne Comme Messager Moral,” International Journal of the History of Sport 13, no. 1 (March 1996): 28–47; J. A. Mangan, Manliness and Morality: Middle-Class Masculinity in Britain and America, 1800-1940 (Manchester University Press, 1991). Of these only Lieutenant Frank McNamara was successful: “London Gazette,” June 8, 1917, 5703, https://www.thegazette.co.uk/London/issue/30122/ Mihi supplement/5701. This is particularly the case in texts such as: Nicolas Brasch, For Valour : Australia’s Tēnei au, tēnei au Victoria Cross Heroes, Our Stories (Newtown: Walker Books Australia, Te hōkai nei i tāku tapuwae 2013); Kevin Brazier, The Complete Victoria Cross : A Full Chronological Ko te hōkai-nuku Record of All Holders of Britain’s Highest Award for Gallantry (Barnsley: Ko te hōkai-rangi Pen & Sword Military, 2010); Fowler, Valour in the Victory Campaign; Ko te hōkai o tō tūpuna Anthony Staunton, Victoria Cross : Australia’s Finest and the Battles They a Tāne-nui-ā-rangi Fought / Anthony Staunton (Prahran, Vic. : Hardie Grant Books, 2005., I pikitia ai ki ngā Rangitūhāhā 2005); Dennis Pillinger and Anthony Staunton, Victoria Cross Presentations Ki te Tihi-i-manono and Locations (Woden, 2000); Michael A. Ashcroft, Victoria Cross Heroes I rokohina atu rā / Michael Ashcroft ; Foreword by HRH the Prince of Wales (London : Ko Io-Matua-Kore anake Headline Review, 2006., 2006); Charlotte Mitchell, Victoria Cross, 1868- I riro iho ai ngā kete o te wānanga 1952 : A Bibliography, Victorian Fiction Research Guide: 30 (Brisbane: The Ko te Kete Tuauri University of Queensland, 2002). ko te Kete Tuatea ko te Kete Aronui Ka tiritiria, ka poupoua Ki a Papatūānuku Ka puta te Ira tāngata Ki te whai ao Ki te ao marama Tihei mauri ora!2 82 83 Hemopereki Hōani Simon Australasian Canadian Studies I runga ngā whakaaro o te wā On account of the thoughts of Ki te whawhai, ki te pae o te riri to fight on the battlefields of these times Gallipoli. ka mihi atu au ki a rātou te hunga I greet those of you who have Ki Karipori. I runga i ēnei whakaaro In these circumstances welcome, mate Nau mai, haere mai, whakatau come here welcomed, you are koutou e takoto ana passed and lay in state on the many mai rā i ngā marae maha o te motu, ā, marae around the land, here is a Ki tēnei he tūmomo marae mo welcomed and greeted formally ānei he mihi e tangi ana greeting of compassion, here is the tātou here. ānei he waiaroha, ko ngā roimata Ko te tino pūtake o tēnei tuhinga water of compassion – the tears The real purpose of the piece is to and the open up me te hupe mō koutou katoa mucus for you all He mea kia tuwhera mai discussion and debate. This is not Takoto mai i runga ngā whariki Lay down on the woven mats something Nā o mātou tūpuna i hanga that our ancestors created he korero, he tautohetohe hoki that will answer all the problems He poroporoaki tēnei hoki ki a This is a farewell greeting also to kāhore tēnei he mea e whakautu related to this topic but something rātou those I ngā raruraru katoa o te kaupapa that attempts to embody or realise i hinga ki te pakanga tuatahi o te ao that fell in the First World War nei Ki a koutou katoa moe mai, To you all may you rest He mea ki te whakatīnana questions about key, important deep Moe mai rā koutou i roto May all of you rest in love and peace. i ētahi urupounamu me ngā philosophical politically and te aroha, me te rangimārie. take hohonu rawa ā-ahurea, culturally issues like: Ko tēnei inaianei he mihi mahana This is now a warm greeting a-torangapū pera i ēnei mea: What is the correct way to remember, He mihi mahana ki a koutou A warm greeting to you all He aha ngā mea tika kia to commemorate those that fell in nō ngā mātāwaka o te motu, ā, from the many nations of this land this battle? o te ao whānui hoki. And also around the world whakamaumahara, A haka? A Māori cultural item Ki a tātou te hunga ora To the living perhaps? Nau mai ki tēnei wāhi e ai ki ahau Welcome to this place Kia whakanuia i a rātou i hinga What is correct for all of us? “Te Tīmatanga.” Ko tēnei tuhinga that I call, “Te Tīmatanga” [The I te pakanga nei –he haka? Therefore, I stand now to lead this Beginning] discussion, He tīmatanga ki te āta whiriwhiri This piece is a start of careful He mea Māori pea? This debate at this, a gathering of selection He aha ngā mea tika ki a tātou compassion and love. Ki te āta rapu i Te Ara Tika of a careful search for The Correct katoa? Path Nō reira, ka tu au inianei ki te arahi Mo mātou i tū i te wā o mua for all of us who stood in past-times i ēnei korero, i tēnei tautohetohe i tēnei hui aroha 84 85 Australasian Canadian Studies I Te Tuatahi—An Intoduction E tū i te tū a Tānerore E haka i te haka a Tānerore Kaua I te tū, i te haka a te keretao3 The above are important lines from a haka by Māori cultural exponent, Tīmoti Kāretu.
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