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Kapa Haka Traditional Maori Performing Arts in Contemporary Settings

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Kapa Haka Traditional Maori Performing Arts in Contemporary Settings Kapa Haka Traditional Maori Performing Arts in Contemporary Settings Morten Kjeldseth Pettersen Thesis submitted in partial fulfillment of the Cand. Polit. Degree at the Department of Social Anthropology UNIVERSITY OF OSLO March 2007 Abstract This thesis is about kapa haka (traditional Maori performing arts) as it is performed in a cultural group in Auckland, New Zealand. These performing arts can be glossed in English as dances, songs, chants, oratory, incantations, and weaponry displays of a distinct style that has become emblematic of Maori, and of New Zealand, in particular. Kapa haka is many things at once; as an art form it is considered equal to other expressions of toi Māori (traditional arts) like raranga (weaving), whakairo (carving) and tā moko (tattooing); as a ‘tradition’ it is regarded as a taonga tuku iho, an heirloom that is handed down through the generations; as part of tikanga (custom) it has a function in both ritual and entertainment; as part of Maori society it has undergone changes over time in tune with changes in the society; as a part of New Zealand society it has undergone a revival in the 20th century; as a teaching method and part of the repertoire of mātauranga (knowledge) it is being taught to successive generations of Maori and non-Maori; as a performance art it is still as vibrant and innovative today as it has ever been; and as a visual display of identity it still captivates the attention of others. Common to all these things that kapa haka can be to many people at once it the central concept of a class of objects that in Māori are called taonga, artefacts both ephemeral and corporeal that collapse space and time to instantiate social relationships between people and people vis-à-vis things, and between people and things. Through the investigation of kapa haka as a taonga this thesis seeks to de-construct this arts practice to elucidate these social relationships between people and people and people and things and seek the answers to the following questions: How can this practice claim authenticity? What is kapa haka today? To what extent is it being practiced by Maori today and how does this relate to how it was practiced prior to today? In what contemporary settings does this practice manifest in the practice of a kapa haka cultural club? How is the practice of kapa haka sustained by other external social processes? What characteristics define the practice of kapa haka? How can kapa haka be regarded as having efficacy? In other words, how can singing and dancing work on the corporeal world? i Preface In the second semester of 2000, I was a student of the Maori Studies Department at Auckland University. Coincidentally, a new course was on offer in kapa haka tutored by Ngāpo and Pimia Wehi, renowned leaders of Te Waka Huia, one of Auckland’s top kapa haka groups. I was accepted as a student, even though I did not fulfil the minimum criteria for the course and special allowances were made for me by the tutors and the Head of Department, Ngapare Hopa. That semester’s tutoring gave me my first glimpse of kapa haka in Aotearoa New Zealand and left me hungry for more. The following semester I took the rest of the courses on offer and promised to return to study more for my thesis. In 2003 I was able to return to Auckland and contact my former tutors seeking their permission to stay with them and their groups to study kapa haka from a social anthropological perspective. I was granted full access to all of the settings in which Ngāpo and Pimia engaged in as tutors of kapa haka and was taken in as a member of the group. Our relationship was instantiated by kapa haka as an art form, in that it forms the basis of a network of social relations that stretch across time and space intertwining a multitude of people in reciprocal relationships, conditioned by the practice of kapa haka. It is through this lens that I view kapa haka as an art form and tradition in the following, with a special focus on the two people that are in the centre of it all (at least from EGO’s point of view). This thesis follows Bruce Bigg’s Let’s Learn Maori (1998) and I have marked long vowels with a macron (e.g. ā, ō, and ū) but not when the original uses the double-vowel (eg. aa, oo, and uu) where they have been cited as in the original. Some words, like Maori and Pakeha, have entered New Zealand language and are not marked with either macron or double- vowel, nor have they been italicised as other Maori words have in this text. ii Acknowledgements This thesis would not have seen the light of day if not for the generous help and support of several people. First of all I have to acknowledge the Oceania Project (NFR project no. 148717), a multi-disciplinary project, financed by the Norwegian Research Council from 2002-2007, for the generous grant that allowed me to undertake the fieldwork portion of this thesis and gave me the freedom to participate in the many activities of Te Waka Huia, without being a burden to the group. I would especially like to thank the director of the project, Associate Professor Ingjerd Hoëm, Research Director of the Kon-Tiki Museum, for her endorsement and support, and for allowing me to take part in the project’s seminars and conferences. Several people have contributed to this thesis by giving me critique and helpful suggestions during various stages of fieldwork and writing. Distinguished Professor in Social Anthropology and Maori Studies, and Pro-Vice Chancellor (Equal Opportunity) at Auckland University, Dame Anne Salmond, generously took time of her incredibly busy schedule to talk and discussing several key points of my research on several occasions. Dr. Amiria Henare, Assistant Curator for Anthropology in the Museum of Archaeology and Anthropology at the University of Cambridge, gave me constructive critique on my chosen topic and gave me valuable feedback that helped me shape the theoretical framework of this thesis. Jennifer Shennan, Lecturer of Dance and Anthropology, for her enthusiastic support, long discussions on dance anthropology, and for allowing me to sit in on the lecture series Dance and Culture at Auckland University in the second semester 2003. The thesis would not have come about at all if it were not for the warm aroha and generous support of the staff of the Maori Studies Department of Auckland University during my stay there in 2000-2001 and for the duration of my fieldwork in 2003-2005. I would like to single out Head of Department, Professor Ngapare Hopa, who took me under her wing and supported my first foray into the world of kapa haka in 2000, without her signature I would never have experienced the joy and satisfaction of performing with a kapa haka group. Several others of the staff of Maori Studies were instrumental in making me feel welcome and at home, among them are Miki Roderick, Rangimarie Rawiri, and Mere Gillman. The iii Maori Studies Department and the Department of Anthropology gave me access to their resources for the duration of my stay in 2003-2005. The warm welcome I received from the many groups I spent time with during my fieldwork deserve a heartfelt thanks, without your help this thesis would not be what it is today. A special shout goes out to my good friend, Wa, for the friendship and assistance from day one, and for always providing a place to crash, and the boys for the good times and the tunes. The whole of the Wehi whanau, especially Bubs and Nan, for granting a clumsy and awkward Norwegian total access and freedom to participate in two year’s events with Te Waka Huia, and letting me be a part of club. I am forever indebted in gratitude to you both for being my mentors in kapa haka. A special thanks to Angie and Boy for letting me stay in your house and for sharing the aroha. Tina and Craig, without you and your friendship I would be a lesser man. The next coffee is on me. Just promise me that Craig will be driving. I owe a debt of gratitude to the following people for their constructive criticism, critique, and skilful proofreading: Frank Magnussen, Silje Førland Erdal, Charlotte Bik Bandlien, Siv Elin Ånestad, Mari D. Bergseth, Janne Waagbø and Maria Øien. Without my fellow students, with whom I have spent many an hour (some would say too many hours) debating all things, great or small during my time at university, I would probably never have had such a good time. I wish you all the best in your future endeavours. Last, but not least, I owe a debt of gratitude to everyone who let me experience, participate, discuss and share with them the experiences that made my fieldwork an enjoyable and memorable experience that I’ll never forget. iv Contents ABSTRACT........................................................................................................................................... I PREFACE ............................................................................................................................................. I ACKNOWLEDGEMENTS ..............................................................................................................III CONTENTS .........................................................................................................................................V List of Figures .............................................................................................................................xi INTRODUCTION ................................................................................................................................1 AUCKLAND REGIONAL COMPETITION, AUCKLAND
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