The Sound of Identity Interpreting the Multi-Dimensionality of Wāhine Māori Through Audio Portraiture Karakia

The sound of identity Interpreting the multi-dimensionality of wāhine Māori through audio portraiture Karakia

Tukua taku pīrere kia whakaparirau Kia topa i runga i te hau e pupuhi mai nei Mā ngā tūpuna hei arataki tana haere I waenganui i te rangi e tū nei Me te papa e takoto nei Ki tēnā maunga, ki tēnā raorao Ki tēnā nehenehe, ki tēnā kāinga Ki reira ruirui atu ai i ngā kano i pau i a ia te kai I mōmona ai tōna puku, i ora ai ia Me kore noa e tupu mai he rākau hou Hei kāinga taupua mō ngā manu o te wao Tūturu whakamaua kia tīna Haumi e, hui e Tāiki e.

Let my fledgling be equipped with wings So that it may soar on the winds that blow here 1 This karakia, composed by Hēmi Kelly May the ancestors guide it as it travels for this thesis, likens this research Between the sky that stands above project to a pīrere, (a fledgling ready to leave the nest). It asks that the study is And the earth that rests below guided as it finds its way into the hands Visiting the mountains, the lowlands of others. It uses the metaphor of a bird The forests and the villages dispersing the ‘seeds’ that it has fed Dispersing as it goes the seeds it fed on on, in reference to the knowledge the thesis will pass on to readers who pick it That sustained it and kept it in good condition up and open its pages. This knowledge In the hope that a new tree will grow will hopefully inspire and grow new As a temporary home for the birds of the forest knowledge - a new tree. This tree might Tūturu whakamaua kia tīna be a person or an institution and the berries it provides (the knowledge), may Haumi e, hui e enable new birds, to fly with mine. Tāiki e.1 Dedication

I dedicate this thesis to my Sheehan, Ruki and Emery whānau. Especially to my parents Mata Ruki Sheehan and Colin Sheehan, my sister Ariana, my niece and nephew Emiko and Te Ruki Titi, and my son Te Rangi Aniwaniwa Cording. This thesis is submitted to Auckland University of Technology in partial fulfilment of the degree of Doctor of Philosophy.

Maree Alicia Hiria Sheehan

Master of Philosophy, Auckland University of Technology (2014) Post Graduate Diploma, Māori Studies, Auckland University of Technology (2013) Bachelor of Arts, Massey University (2005).

27TH NOVEMBER 2019 © Maree Sheehan

Design by Dr Tatiana Tavares / Proofread by Dr Elisa Duder / Altivo 10.5pt (Body text) and 9pt (footnotes) Altivo Bold 15pt (Headings) and Altivo Medium 13pt (Captions) Abstract v This study seeks to interpret and represent the multidimensionality of wāhine Māori (Māori women) through audio-portraiture. Titled Ōtairongo, this artistic inquiry posits through practice, an approach where one might integrate the physically accountable (identity, knowledge, recollection, opinion, and music) and the esoteric. As such, it positions wairua (spirit) and mauri (life-force) as living, communicable phenomena, capable of interpretation.

Audio-portraiture is concerned with the essence of a person studied “not so much from the outside (the impression one gets looking at her externally), but the ways she is inside, in her mind, emotions and spirit” (Witz, 2006, p. 73).

The thesis suggests that the immersive nature of sound has the potential to activate sensory responses for a listener that reach beyond the parameters of the visual. This is because 360 immersive and binaural sound-capture technologies can be orchestrated into artistic works that convey unique experiences of space and time (Boren, 2018). Such work may be designed as a distinctive form of portraiture.

These texts constitute a distinctive renegotiation of how wāhine Māori might be interpreted and, in so doing, they disrupt a largely visual concept of portraiture that was imported into Aotearoa/New Zealand during the process of colonisation.

NEXT PAGE Acknowledgements vi I would like to express my special appreciation and thanks I would also like to express my appreciation for the to my Primary Supervisor Professor Welby Ings. He has tremendous support and assistance offered by Te Ara been a tremendous mentor for me. He encouraged me in Poutama; the School of Māori and Indigenous Studies, my research and from this, I have grown as a wahine Māori and the School of Art and Design. I am also grateful to artist and academic. His advice on both the research and Auckland University of Technology for the grant of a my career has been invaluable. Welby has been a true six-month sabbatical that allowed me time to dedicate advocate for my research and creativity and has always been myself to specific phases of the thesis. generous with his time, suggestions and critique. For their personal assistance I am indebted to a number I would also like to thank my secondary supervisor, of people. First, I would like to thank Neil Baldock for his Professor Hinematau NcNeill for supporting and insightful ability to mix sound and for encouraging the encouraging me in my research and PhD. She has been the creativity of sonic practices within this study. His expertise backbone, in tikanga Māori me te reo Māori in this research, was integral to my work. Secondly, I would like to express my sharing her cultural expertise and scholarly insights, appreciation to Rene Bullinga from Protel New Zealand for comments and suggestions. I appreciate her support and his technical advice and for supporting the technological commitment to my study. creativity and vision that have underpinned this study. I It has been an honour to be in the company of Dr Te Rita would like to thank Dr John Coulter for giving me the keys to Papesch, Moana Maniapoto and Ramon Te Wake. I wish to the SoundDome and for allowing me the time to experiment thank each of them for sharing their lives with me, along in the studio. His advice and support related to sonic with their insights, generosity of spirit and willingness to research have had a significant impact on this study. I would be a part of this study. I am deeply honoured to have been like to thank Erana Foster for her dedication to transcribing given an opportunity to be in their company and that of and translating my interviews in te reo Māori. I would also their whānau including experiencing being on their whenua like to thank Tangaroa Paora and Jamie Cowell for double and at their marae. I am grateful in ways that words checking all of the te reo Māori kupu. I would like to express alone cannot express. my gratitude to Lisa Dreyer who has always been generous in helping secure and set up my exhibiton space in WG210. As a Māori scholar, it has been important to have the care I would also like to thank Kiri Dell for organising a writing of my iwi and hapū, so I would like to acknowledge the retreat at the very end of my PhD, which was much needed. financial support I received towards my PhD study from the Waikato-Tainui Doctoral Educational Grants, the For their professional expertise and generosity, I would Maniapoto Māori Trust Board and the Tūwharetoa Māori like to thank the Ōtairongo exhibition whānau, Rosabal Tan, Trust Board. Ngā mihi nui. Nigel Borell, Remco de Blaaij, Tyrone Ohia, Jane Hakaraia, NEXT PAGE and Geneva Alexander-Masters. I would also like to vii thank Tūī Matira Ranapira-Ransfield for gifting me the exhibition’s name. As supporters of the Ōtairongo exhibition, I would like to thank Jonathan Bielski, the Auckland Arts Festival, Creative New Zealand and the Auckland Regional Arts Council. I would also like to express my sincere appreciation for the sponsorship from Sennheiser New Zealand and Australia.

I would also like to thank Professor Pare Keiha, who has so richly supported my journey into uncharted territory.

Dr Elisa Duder, Hēmi Kelly, Robert Pouwhare, Hohepa Spooner, Sue Jowsey and Tatiana Tavares who have offered immense practical and emotional support.

For their unwavering friendship and support, I would like to thank Fiona and Dave Matchitt-Edwards, Ramon Te Wake, Cushla Mary Lewis, Taiaroa Royal, Rosanna Raymond, Violet Ryan, Valance Smith, Vivienne Sinclair- Phillips and Stacey Noel.

I would like to acknowledge all of the Māori and indigenous scholars that have gone before me, opening the doors to new research, reclaiming and decolonising knowledge and demonstrating the value and integrity of Mātauranga Māori.

Finally, I would like to express my gratitude and love to my partner Nicola Anne Smith who has been there to support me through this whole journey, who has listened time and time again, offering both professional advice and emotional support. Aku mihi aroha ki a koe.

NEXT PAGE Table of contents Chapter 1 viii Positioning the researcher Karakia ii and the research 14 Dedication iii Pepeha 15 Abstract v Acknowledgements vi Early influences 16 Table of contents viii The fabric of whanau 17 Table of images xii Finding my voice 17 Attestation of authorship xiv After school 18 Intellectual property declaration xv From 1991 forward 20 Ethical approval and consents xvi Expanding conceptual parameters 21 Recent collaborations 22 Personal experiences 24 Introduction 1

Research question 2 Chapter 2 Rationale and significance 4 Review of contextual knowledge 25 Key terms in the study 7 Portraiture as process and form 26 The nature of the research practice 10 Portraiture as inquiry 26 The structure of the exegesis 11 Māori portraiture and Whare whakairo 28 Crossing the threshold 13 Portraiture of Māori 29 Gottfried Lindauer 29 Charles Frederick Goldie (C. F. Goldie) 33 Contemporary wāhine Māori portrait artists 35 Robyn Kahukiwa 35 Lisa Reihana 37 Star Gossage 40 NEXT PAGE Saffronn Te Ratana 42 Chapter 3 ix Erena Baker 43 Design Research 75 Sofia Minson 44 Research Paradigm 76 Audio depictions of identity 47 Kaupapa Māori Paradigm 77 Sonic portraiture 47 Mana Wahine 77 Musical portraiture 48 Artistic inquiry 78 Sound Art 49 Methodology 79 Sonic composition using participants’ voices 52 Forms of experimentation 79 Impact and relevance 53 Forms of reflection 80 Māori spiritual knowledge and understandings 54 Methods 82 Atua wāhine 55 Phase 1: Hineraukatauri 56 Karakia and being with potential 83 Wairua and mauri 59 Karakia 83 Knowledge related to sound capture technologies 63 Being with potential 83 Field recording 63 Phase 2: Digital recording technologies for interviewing 65 Data gathering 84 Binaural sound capture and playback 65 Kanohi ki te kanohi 84 Binaural applications 66 Ambient sound recordings 86 3D ambeo sound capture 68 Researching archival material 86 Sound design technologies Phase 3: and binaural mix for headphones 70 Creative process, synthesis, ideation and flow 87 Logic Pro X 70 Immersion 87 Pro Tools 71 Creative process – Flow 87 Pro Tools Ultimate and Facebook 360 71 Iterative development 88 Binaural mix for headphones 72 Audio-sketching 88 Conclusion 74 Audio-drafting 89 NEXT PAGE Hypothesis testing: finalising portraits 90 Portrait 2 — Moana Maniapoto 109 x Phase 4: Critique and feedback 91 Concept 109 Phase 5: Critique of research design 93 Calling in 110 Advantages 93 Intimate dimensions 111 Challenges 94 Calling out 112 Pepeha 115 Manawanui - to the heart 116 Chapter 4 Challenges 116 Critical commentary 97 Portrait 3 — Ramon Te Wake 117

Ōtairongo 98 Concept 117 Exhibition title 98 Walking with purpose in the world [momentum] 117 Exhibition design 99 Tāngata 118 The audio-portraits 101 Whānau, whakapapa and whenua 118 Portrait 1 — Te Rita Papesch 101 Waiata and music 119 Karanga 101 At the heart 120 Whenua 103 Challenges 121 Whānau 103 Critical commentary on The intimate self 105 binaural and immersive sound design 122 Music and the visceral 105 Immersive sound spatiality 122 Te reo Māori 106 The immersive environment 122 Speech Prosody 107 Binaural reverberation 123 The sound of suspension 107 Binaural delay 123 Challenges 108 Layering and mixing binaural sound 123 Integrity and differing belief 108 Sonic pausing 124 Te reo Māori 108 Transitioning 124 Differing beliefs 108 Binaural sound, wairua and mauri 125 NEXT PAGE Wairua 125 APPENDIX 2 xi Mauri 125 Three audio-portraits as wav. files via Soundcloud hyperlinks 162 Conclusion 126

APPENDIX 3 Summary and conclusion 127 Soundcloud hyperlinks to examples Introduction 128 of an audio sketch, an audio draft and an audio hypothesis 163 Thesis Summary 129 The practice 129 APPENDIX 4 Exegetical writing 129 Bibliographical profiles 164 Contributions to the field 130 4.1 Te Rita Bernadette Papesch 164 Further research 131 4.2 Moana Maniapoto 166 Publications 131 4.3 Ramon Te Wake 168 Conference presentations 132

Exhibition 132 APPENDIX 5 Future 133 Copyright musical material 170 In closing 134 List of granted copyright music used in the audio-portraits 170 Live recordings 171 References 135

APPENDIX 6 Appendices 148 A map of Aotearoa/New Zealand indicating boundaries of Iwi Māori 172

APPENDIX 1 Documentation relating to ethical approval 150 APPENDIX 7 Transcripts 173 1.1 AUTEC approval letter 151 Transcripts and translations of 1.2 Information sheets 152 Te Rita Papesch interview in 1.3 Indicative consent form 154 Te reo Māori/English 173 NEXT PAGE Table of images Chapter 1 xii FIGURE 1.1. Unless indicated, all images in this exegesis are reproduced Colin and Marjorie Sheehan with baby Lisa (circa. 1968) under s.42 of the Copyright Act 1994, which allows for fair 2 dealing with a work for the purposes of criticism or review. FIGURE 1.2. However, most images are the property of the author. Where Porangahau pub (circa. 1978) an image belongs to a third party, copyright ownership and permission has been noted in the caption. FIGURE 1.3. Uncle Richard and Uncle Paul (circa, 1981)

FIGURE 1.4. Aunty Laurel and my mother (circa 1985)

FIGURE 1.5. Ruki Te Ruki (Tame, Tom Ruki) (circa. 1945)

FIGURE 1.6. Motiti marae, Te Kuiti (2019).

FIGURE 1.7. Eyebrowz Up, Christchurch (circa, 1989)

FIGURE 1.8. Drawn in Deep album cover (released 1995)

FIGURE 1.9. Chasing the Light album cover (released 2013)

FIGURE 1.10. Te Rangianiwaniwa Cording and the researcher, Auckland (2018)

FIGURE 1.11.

2 See https://fairuse.stanford.edu/ Emiko Sheehan, Ariana Sheehan and overview/fair-use/what-is-fair-use/ Te Ruki Titi Sheehan (2018).

NEXT PAGE Chapter 2 Chapter 3 xiii FIGURE 2.1. FIGURE 3:1. Steele and Goldie (1898). The thesis’ research design. The arrival of the Māoris in New Zealand. FIGURE 3.2. FIGURE 2.2. Phases of the inquiry. Kahukiwa (1980). Hinetitama. FIGURE 2.3. Reihana (2001). Chapter 4 Mahuika, from the “Digital Marae” series. FIGURE 4.1. FIGURE 2.4. Visualisation of the exhibition design for Ōtairongo Gossage (2011). Whai. showing proposed spatial considerations and lighting. FIGURE 2.5. Te Ratana (2000). Cp 1.2.2000.

FIGURE 2.6. Baker (2009). Ataata.

FIGURE 2.7. Minson, (2018). Sophia.

FIGURE 2.8. Minson (2016). Atua Wāhine.

NEXT PAGE Attestation of Authorship xiv I hereby declare that this submission is my own work and that, to the best of my knowledge and belief, it contains no material previously published or written by another person (except where explicitly stated nor material which to a substantial extent has been submitted for the award of any other degree or diploma of a university or other institution of higher learning.

MAREE ALICIA HIRIA SHEEHAN, 27th November 2019

NEXT PAGE Intellectual Property Declaration xv I retain copyright of all audio-portraits produced and presented as part of this thesis, apart from the following contributing audio recordings that remain the intellectual property of others.

AUDIO PORTRAIT OF TE RITA PAPESCH AUDIO PORTRAIT OF RAMON TE WAKE Nga Roimata. [Featuring Te Rita Papesch]. To the Core. [Recorded by Ramon Te Wake]. On The Arrival On Toiapiapi [cassette]. Property of Hirini Melbourne. [CD]. Auckland, New Zealand. Property of Ramon Te Wake.

Ave Maria. Schubert, F. (1825). I Will Change. [Recorded by Ramon Te Wake]. On The Arrival [CD]. Auckland, New Zealand. Property of Ramon Te Wake.

AUDIO PORTRAIT OF MOANA MANIAPOTO Still Remains. [Recorded by Ramon Te Wake]. On Movement Whole World’s Watching. [Recorded by Moana and the is Essential [CD]. Auckland, New Zealand. Property of Ramon Tribe]. On Rima ([CD]. Auckland, New Zealand. Te Wake. Property of Moana Maniapoto.

AEIOU (Akona te reo). [Recorded by Moana and the Moahunters]. On Tahi ([CD]. Auckland, New Zealand. Property of Moana Maniapoto.

Not Alone. [Recorded by Moana and the Tribe]. On Rima ([CD]. Auckland, New Zealand. Property of Moana Maniapoto. MAREE ALICIA HIRIA SHEEHAN, Treaty. [Recorded by Moana and the Tribe]. On Rua [CD]. Auckland, New Zealand. Property of Moana Maniapoto. 27th November 2019

NEXT PAGE Ethics approval and consent xvi This research received approval from the AUT University Ethics Committee (AUTEC) on the 21st of March 2017, for a period of three years until the 20th of March 2020.

ETHICS APPROVAL NUMBER: 17/44 All research was conducted in keeping with the regulations and guidelines of the approval.

NEXT PAGE Introduction 2 | INTRODUCTION 8 7 6 5 4 3

pass into thenextrealm upondeath. the female atuawhowelcomes uswhenwe Hine-nui-te-pō –guardian oftheunderworld, (Ryan, 1995,p.265). Tohunga –expert,specialist,priest (1905, p.154). Royal SocietyofNewZealand1868-1961, the Transactions andProceedings ofthe recited atthetimeofdeath.Taken from From anancientkarakia thattohunga and Tāne. dawn maiden,thedaughter of Hine-ahu-one Kurawaka. Hine-tītama isknown asthe fashioned from thesacred, red clay of wāhine Hine-ahu-onewas thefirst female Within Māoricreation narratives, theatua women withlife anddeath.” tangata/whare aituäconcept, connecting transformer figure asembodiedinthewhare the complementary aspects ofthecreator/ the nurturngqualityoffeminine and with herfemale descendants, shereflected … theultimate source ofcreativity, along p. 11)describesheras, known astheprimeval mother. Yates (2003, Within Māoricosmogeny, Papatūnukuis appears onp.9. A more detailed discussionoftheterm (the powerofindividual). (the powerofland)andmanatangata (the powerofancestors), manawhenua various meanings suchasmanatūpuna As anextension, manacanalsoinclude indestructible power ofthegods” (p.61). (1991) states that“Manaistheenduring, prestige (Mead, 2003,p.362).Barlow Mana refers to power, authority,

atua are Papatūānuku from theatua(gods).Two ofthemostsignificantthese beliefs andvalues. that Ihave interviewed, ispredicated onourshared cultural woman), andmy identity andthatofthewāhine (women) interpretation ofidentity. Iam a wahine Māori(Māori When we engage with aportrait, we encounter anartist’s Mana by atohunga The words ofthisancientkarakia (prayer, incantation) recited It isintheorgan ofHine-nui-te-Po… It isabove andbelow Where istheoriginofdeath? Where? Kai te hikahikanuinōHine-nui-te-Po… Kai runga, kairaro Kai heate pūote mate? Kai hea? Aotearoa (NewZealand). indication ofthestatus ofMāoriwomen inpre-colonial This positioningoftwo female goddesses provides some of thehumanity-womb ofwoman’ (Murphy, 2011,p.ii). whare ote tangata (thewomb)isreferred to as‘thehouse life, andHine-nui-te-pō. Asanextension ofthismana,te between allhumanbeings to thepower ofwāhine (women). into thespiritualrealms. Itrefers to aneternal connection transformation and thetranscendence from thephysical refers to thecyclic nature oflife, thetransitioning, the realm ofHine-nui-te-pō 6 (prestige)of Māoriwomen 4 atthetimeofdeath,offer aninsightinto the

As Māoriwomen, we inheritourmana 8 Earth mother),whoisthegiver of (Earth 5

(the goddess ofdeath).Thekarakia 3 7

PAGE NEXT 3 | INTRODUCTION 9 11 10 term appears onp.9. A more detailed consideration ofthis exclusively masculine orfeminine. of gender identities thatare not aspectrum Non-binary is parts of theirbeing. conditions andspiritualemotional cognitive processes, socialandpolitical factors, physical characteristics, such asthecultural beliefs,historical each wahine; theseincludeelements account many facets thatrepresent By multi-dimensionality, Itake into and represent themulti-dimensionality issue isimportant becauseinthisstudy, Iseekto interpret queer are alignedwiththeir preferred gender identity. This My thesisposits aposition where transwomen, takatāpui, mana ote wāhine (thepowerofwomen). and Ranginui(SkyFather) andare understood to upholdte that allMāoriwomen are thedescendants ofPapatūānuku are notwithoutcomplications andcontradictions. Myposition T Defining wāhine Māori Ramon Te Wake identifiesas“transgender-non-binary" as partofanevolving process. adopt inclusive whakaaro (thinking)thatconceives wāhine to thephysical andthespiritualnatures ofthesewahine, I transgender.binary Given thatthestudyseeksto respond through audio-portraiture, oneofwhomidentifiesasnon- physically inhabited atbirth. were bornwiththewairua ofagender different to theonethey and tangata ira t ( are “like awoman” asawoman) oridentify whakawahine andtangata ira t Kerekere (2017) haswritten onthissubjectin context to evolution” (personal communication, 2019). it’s notabouttransitioning, itmore aboutmy journey, my comfortable bothin my femininity andmasculinity. To me She says, "Iamatranswoman, takatāpui, queer, andIam something bothcomplex andself-defined. audio-portraits inthisstudyappreciate gender identityas reproductive power, themanaofte whare tangata, the wāhine andwhakawahine thatpertain to thewomen’s Although Iaccept thatthere are clear distinctionsbetween those withthe“ raditional Māoriattitudes towards how a woman isdefined spirit ofaman”)(p.18).Theterms whakawahine ane, Kerekere (2017)notes, refer to thosewho 11

ane. Whakawahine (thosewho

and tangata ira t 9 ofthree wāhine 10 ne ane . PAGE NEXT 4 | INTRODUCTION Ramon Te Wake (Te Rarawa, Ngā Puhi). Ngāti Porou, Ngāti WhakaueandCzechdescent) and Scottish decent); Te Rita Papesch(Waikato-Maniapoto, (Ng The wāhine chosenfor thisstudyare MoanaManiapoto 14 13 12 consideration oftheterm appears onp.9. “life-force” (p.95).Amore detailed consideration oftheterm appears onp.10. ‘soul’ or‘spirit’, (p.59).Amore detailed Mead (2003)translates wairua as biographical profiles. See Appendices 4.1,4.2and4.3 for ati Tūwharetoa, Tūhourangi Ng Marsden (2003)definesmauriasa ati PikiaoandIrish/ 12

and immersive soundtechnologies. the creation ofasonicimmersive experience thatutilisesbinaural assumptions thatresulted in both Māoriwomen andatuawāhine 1998). Thenegative effects of colonisation resulted inmisguided Māori women asinferior to Māorimen(Smith, 1992;Yates-Smith, in relation to wāhine. Colonialbeliefperspectives positioned class. Thesedramatically changed traditional Māoribeliefsystems and theimpositionofnon-Maoriconcepts ofrace, gender and suchasthis,hasitsAn inquiry rationale intheeffects of colonisation Rationale RATIONALE ANDSIGNIFICANCE The studyasks Research Question nature ofthewairua portraiture seeksto respond to thephysical andthespiritual a portrait asaoriginalrendering ofanindividual’s identity. Such visual document.Buildingontheirdefinition,inthisthesisIdefine Significantly, theirdefinitiondoesnotassumethataportrait is a beyond thesurface into somethingricherandmore profound. figurative reflection. It proposes thataportrait might reach (p.768). Theirterm ‘vivid’suggests somethingbeyond atechnically rendering of“thelikeness ofareal person: avividdescription” Davidson, Seaton andSimpson(1985)describeaportrait asa The nature of aportrait and immersive sound,asaform of audio-portraiture? interpreted, represented andexpressed through binaural How mightthemulti-dimensionalityof w 13 andmauri 14 ofparticularwāhine, through ahine be

PAGE NEXT 5 | INTRODUCTION 18 17 16 15 entities inMāoricosmogony” (Yates-Smith, 1998). that construed animbalance between themaleandfemale invisible. Thiswas reflected inpost-colonial interpretations ( 19 goddesses) beingmisinterpreted, censored ormadecompletely Maori world views. Traditional andcontemporary to theVictor (1908). paintings like LouisJohnSteele’s Spoils Lindeaur andinculturally offensive Downes, CharlesGoldie,Gottfried Chevalier, Veronica Cummings, Wilhelm of earlypainters includingNicholas are evident inthework ofarange Suchtreatmentseroticising orpacifying. as anagency for marginalisation, constructed by non-Māori,hasoperated the historical treatment ofwāhine these discussions,are critiquesofhow Awekotuku, 1991).Significantwithin & Devenport, 2009;Moir, 1994;Te Kahukiwa, &Grace, 2000; Reihana portraiture (Kahukiwa &Peterson, 2001; Māori women are represented invisual discourse thatreflects uponhow There isasignificantbodyoftheoretical European descent. A person ofpredominantly and Hine-ahu-one(Yates-Smith, 1998). Hine-tītama– Thefirst daughter of Tāne the first woman lived” (Best,2006,p.123). Hine-ahu-one –“theEarth-formed Maid,

status. marginalised thesignificance ofMāori women’s roles and representing Maoriwomen. Drawing onMaoriworldviews, colonially constructed andunderquestioned,modeof The rationale for the studyistheneedto address adominant, interests ofallMāoripeople” (Smith,1992,p.ix). women mitigate against ourinterests andtherefore the portraiture, Bell(1992,p.224)observed: In discussingdepictionsofMāoriwomen inpainted women asbothphysical and non-physical beings. this studyrethinks how we mightperceive thecomplexity of Smith argues thatPākehā However, whatisimportant to note is, women to Papatūnuku.(Ruru,2016,p.4) wahine andte whare tangata, are taonga thatconnect gifted Maoriwomen manato empower them.Mana Maori women leaders. Atua(gods)suchasPapatūnuku, direction are eitherlevel ordownward. vulnerable, meek, orbashful.Again, theheadandeye a flirtatious lookinher eye, or, ifunsmiling,looking invitingly orcoyly, orwithherheadtilted to oneside, softly pretty, mouth often slightlyopen,eithersmiling there isthebelle–eitherinMaoriorEuropean dress, either level ordirected downward too [...]and then her headtilted, even ifslightly, downward, andhergaze andsmiling,withababyhalf-length orsweet little child, is thecharmingandidealisedyoung mother, usually and photography are dominated by two types.There nineteenth -to early20 Representations ofyoung Maoriwomen inlate Papatūnuku, Hine-ahu-one ... allwomen trace theirancestral roots backto 18 Shealsoclaims,“Colonial constructions ofMāori 17 th accounts andvalues have centuryNewZealandpainting 15 andHine-tītama 16 ; thefirst 19

PAGE NEXT 6 | INTRODUCTION 20 purely aural modes(includingkōrero draw into consideration thepotentials ofarichspectrum concerns withpictorial imagery andassuch,ithasfailed to Portraiture ofwāhine hasremained largely confined to the 24 23 22 21 Māori instrumentation). chant) andpūrākau (narrative ) andtaonga puorotraditional ( of wāhine hasalongrichhistory inoratory, waiata (song, a significantissuewhen we consider thatidentitydepiction that are integral to Māoriways ofknowing andbeing.Thisis elaborated upononp.9. The concept ofKaupapaMāoriis (Smith, 1992,p.ix). society, withinwhānau,hapūandiwi” affirmation ofMāori womenwithin Māori thatisdedicatedMāori theory to the “Mana Wahine isaKaupapa theory Oro –“sound” (Williams,2003,p.242) (Williams, 2003,p.98) Karanga –“to callorsummon” (Ryan, 1995,p.136). Kōrero –“to speak”

20 , karanga 21 andoro 22 ) within aKaupapaMori content (over headphones)hasthepotential to mimic and technologies andthereproduction ofbinaural audio thesis demonstrates how theuseofbinaural recording processes (Wenzel, Begault &Godfrey-Cooper, 2018).This determined by numerous physiological andcognitive (3D) localisedspace isacomplex humanphenomenon multiple, simultaneous soundsources ina3-dimensional Auditory spatialperception andtheabilityto hear Finally, thestudyissignificantona technological level. portraiture asanaural medium. this studycontributes to anexpansionoftheconcept of depth asacontemporary, artisticphenomenon.Therefore, the concept ofaudio-portraiture hasnotbeenexplored in (Drever, 2002; Miller, 2008;Sudhir&Kakar, 2009), to date there islimited research thatexplores sonicportraiture exploration ofaunique,emerging mediaform. Although Second, thestudycontributes to theconceptualisation and identity) andtheesoteric (wairua andmauri). accountable (music,history, opinion,dialogue,knowledge, epistemological framework by integrating thephysically reconceptualising biographical material withinaMāori explores how audio-portraiture mightprovide away of wāhine Maorivoices andtheassertion ofManawahine focus ofthestudyishonouringandaffirmation responding to multipledimensions oftheiridentity. A embody theessence ofMāoriwomen through sound,by specifically how audio-portraiture mightcapture and in Māoriways ofknowing, becausetheresearch explores First, itcontributes to artisticinterpretations grounded This studymakes three significant contributions. Significance 24 framework. Thus,theresearch 23

PAGE NEXT 7 | INTRODUCTION 26 25 localisation (andtheway inwhichhumansactuallyhear). enhance thenatural reproduction ofaparticularhuman 27 communicates aninterpretation ofidentity. and artisticallycompose suchdata into atext that impression andrepresentation ofalocalisedenvironment technologies canbeemployed to capture anaudio Thus, thestudydemonstrates how binaural immersive appears inchapter two ofthisthesis. humankind. Adeeperdiscussion ofwhakapapa down to the physical world inthecreation of cosmological linkages thatrelate andare passed worldview, theseare theconnections to Māori interconnectedness ofallthings. From aMāori (Ryan, 1995,p.388).Whakapaparelates to the Whakapapa –“Genealogy, cultural identity” concern” (Drever, 2002,p.1). of environmental soundasfundamental making andpresenting ofrepresentations study ofsoundscapecomposition, the normally describes“thepractice and from ‘sonic portraiture’ inthatthelater An audioportrait may bedifferentiated environment” (p.92). sounds astheyappearinthenatural listening create apowerful impression ofspatial synthesised andreproduced, binaural signals spectral colouration whencorrectly captured, cues intheform oftime,intensity and binaural signalscontain embeddedspatial reproduction of therightandleftears, (2018) explainsthat,“Incontrast to stereo stereo construction. However, Roginska recorded soundaseitheramonoor Currently, we normallyexperience 25

inside, inhermind,emotionsandspirit”(p.73). one gets from lookingatherexternally, but“theways sheis observes “notsomuchfrom theoutside theimpression with theessence, oftheperson studiedasWitz (2005) provides insightinto aperson. Inparticular, itisconcerned is thus,anexploration and artisticsynthesis ofsoundthat wāhine. From thecelestial female pathway of theheavens Whakapapa goddesses andmortal women are entwinedinthisstudy. Their artisinformed by experience andassuchthelives of gifts found deepwiththe consciousness ofmana wahine. themselves known through thesongandsoundascelestial the giftofbeing women to theirart.The female atuamake Atua wāhine are thegoddesses within,spirituallyimparting The connection to Atuawāhine isintegral to thisstudy. ATUA WĀHINE perspectives, experiences andnature. and spatiallypositioninterpretations oftheperson’s and binaural soundtechnology isusedto record, synthesise individual’s identity. Inthedesignofportrait, immersive discrete, immersively experienced, audiorendering ofan In thisstudy, theterm ‘audio-portraiture’ describesa AUDIO-PORTRAITURE words usedthroughout thethesismay behelpful. Therefore, abriefdiscussionofthedefinitionseight key I amaware thatdefinitionscanchange according to context. Given thecultural andtechnological nature oftheresearch, In thisthesis,Iuseanumberofwords inspecific ways. Key terms of thisstudy 27 (genealogy)bindsMaoriwomen to atua 26 Anaudio-portrait PAGE NEXT 8 | INTRODUCTION dark, sombre undertones ofsound. is revealed inthehumanexperience thatcanbeinvoked in cadences ofthewomen lives. InthisstudyHine-nui-te-p o unknowing, enticingandbewitching, herspiritistrapped in of women. Thedarkness,theunseen,psychic power, power over deathandepitomises manawahine, thepower Hine-nui-te-po, themotherwe return to indeath,hasthe revealed" (Pouwhare, 2016,p.114). sound thesamepower to communicate theintangible is wantonly pillaged exposing hervulnerability. Insongand sometimes sombre –thelandscapescarred asherbody is "landscape, mostlyenshrouded inexquisite beauty, but Papatūnuku alsocommunicates to usthrough the and herdaughter Hine-tītama. Papatūnuku 30 29 28 Facebook360 Spatial. is created usingPro Tools HDand This soundsphere environment to asadummy head. capture suchrecordings are referred The binaural microphones usedto at thedawn of time. Papatūnuku theearthmother 28 emerged andthencameHine-ahu-one

moving through thelistener’s body. distances may beexperienced above, below, adjacent to, or sound immersion. Whenwe are immersed insound,spatial rather than‘to’sound,suchthatwe experience asenseof sphere environment, material to bepositionedwithina360-surround sound (Algazi andDuda,2011).Thisorchestration requires audio Sound islocalisedatvarious distances from thelistener immersed inthe presence ofpeopleorenvironments. sound qualitythatproduces alifelike senseofbeing In thisstudy, theterm immersive soundrelates to spatial IMMERSIVE SOUND ears atthesametime. two-channel soundthatenters alistener’s leftandright Roginska andGeluso BINAURAL SOUND also besimulated through speaker systems. reproduced andexperienced through headphones,butcan the earcanals” (ibid., p.172).Binaural soundisgenerally the headundergo thesametransmission ontheirway to humans perceive sound,ensuringthatsoundwaves reaching recording attempts to “accurately copy the way inwhich to bereproduced correctly” (p.171).Thistypeofaudio they were, thenthecomplete auditive experience isassumed recorded intheears ofalistener andreproduced exactly as signals: soundpressures ateachoftheeardrums. Iftheseare (1992) notes, “Theinputto thehearingconsists oftwo intended to mimichumanlocalizationperceptions. AsMøller a combination oftime,intensity andspectral cuesandis 30 (2017) describebinaural soundas 29 whichcanenableusto listen ‘within’ Suchsoundhasbeenfiltered by PAGE NEXT 9 | INTRODUCTION beliefs ascentral to processes, analysisandoutcomes. paradigm locates Maoriunderstandings andphilosophical Western-orientated research” (Cram, 2000,p.41).Sucha epistemological andmetaphysical foundations than research we undertake asMāoriresearchers hasdifferent Māori researchers, allowing us“to acknowledge thatthe & 1999).Itprovides anapproach to research thatguides research process (Bishop, 1996;Cram, 2001;Smith,1993 and ensures thatMāoriprotocols are followed duringthe Kaupapa Māoriasaphilosophy, guidesMāoriresearch Tuhiwai Smith(2011,p.10)describesKaupapaMaorias, KAUPAPA MĀORI 34 33 32 31 tribe” (Williams,2003,p.36). Hapū –“Sectionofalarge clan,sub (Williams, 2003,p.80). Iwi –“Tribe, nation,bone” generations” (Smith,2002,p.239). “Givers oflife, andthehomeoffuture “a source from whicheverything draws.” Pohatu (2011,p.1)suggests, mauriis do. Itiskaupapa. practice; it’s apractice; it’s asetofthings you want to way ofbeingMaori;it’s away ofthinking;it’s athought it’s away ofseeing;it’s away ofmakingmeaning;it’s a …anapproach; it’s away ofbeing;it’s away ofknowing;

reproductive power. notes thatmauri, an artefact hasits own, distinctmauri.Marsden (2003) 2003). From aMāoriworldview, land,aperson, anideaor individual orecosystem andits essence orforce (Marsden, Mauri may beunderstood asthelife principleofanobject, ensure thefuture oftheiwi tangata, as aprocess ofevolution (Pihama,2001).Aswhare the positionofwāhine isnotstatic andmay beconsidered women oragroup ofwomen. According to Pihama(2001) 1995) andwāhine refers to theplural noun,meaning The word wahine isnormally translated aswoman (Ryan, WAHINE/WĀHINE connection to everything or energy thatholdsorbondsallthings together andisthe In thisthesis,Iusetheword mauriinreference to theforce MAURI mauri animates allthings (p.95). an integral partofthenatural andspiritual order, for provides for unityindiversity. Man/woman istherefore at thesametimebestows themwithuniquequalities, andunifiesallthingsIo, whosemauriisprimary and …originates inIo-taketake (Io-the-first-cause ). 32 Māoriwomen were respected for theirabilityto 31 (Kereopa, 2008;Marsden, 2003). 33 andhapū, 34 through their PAGE NEXT 10 | INTRODUCTION Māori women isthelife force ofMāoripeople.” 38 37 36 35 (land) through whakapapaandourconnection to thewhenua Mana wahine isanassertionofidentityandrepresentation lost withoutwomen andland”(Mikaere, 2003,p.33). he whenua,kangaro te tangata" as“humanitywould be Dr RosePere translates thewhakataukī (saying):"Hewāhine, 39 conceptual andmaterial thinking. of iterative development thatoccurs through entering thespace. to minimalisechances ofexternal sound By this Imeantheroom isconstructed movementofthehuman.com/tui (para.1, 2019).Retrieved from http://www. regionals to Te Matatini, seniornationals” through to tertiary level, includingthesenior Māori performing artforms from primary the last20years shehasbeenajudge for (a top National KapaHakagroup) andover tutor and first leaderof Te Mātārae-i-Ōrehu patu (thehand-heldclub).Tūi isacomposer, specialises inMāoriweaponry, particularly A highlyskilledMāoriperforming artist,Tūī te- uru-,Tākitimu, ManukaandKurahaupō. vessels, Te Arawa, Tainui, Mataatua, Arai- people. Hergrandparents hailfrom the Makuratawhiti of theNgāti Ohomairangi “Tūī isadescendent ofOhomairangi and appears inChapter two ofthethesis. A deeperdiscussionofbothwairua andmauri placenta” (Ryan, 1995,p.407). Whenua –“Land,ground, afterbirth, By apractice-led Irefer inquiry to aprocess 35 .

Pihama (2001,p.44)argues that“thelife force of a bodyofpractice. The thesiscontains two elements; awritten exegesis and The nature of theresearch practice the mauribecauseittranscends death. spirit orsoulofaperson thatisdistinctfrom thebodyand wairua may bealignedwiththeconcept ofthenon-physical divine spirit)isthesource ofexistent beingandlife.” Thus, where hesuggests, “wairua(spirit)orhau(thebreath ofthe word inReverend MaoriMarsden’s (2003,p.47)definition, spirit (Barlow, 1991;Walker, 1990).Inthisthesis,Iusethe intrinsically linked to thenatural world inmind,bodyand not separate thespiritualandsecular. Therefore, theselfis Traditional Maoriunderstandings ofthehumanworld do WAIRUA Ransfield was created incollaboration withTūī Matira Ranapiri- Ōtairongo. year period.These are presented asanexhibitiontitled of iterative experimentation andreflection over athree form ofthree audio-portraits thathave beentheresult that practice” (Candy, 2006,p.1).Thepractice takes the to newknowledge that hasoperational significance for study “isconcerned withthe nature ofpractice andleads headphones. Theutilisation ofheadphonesallows for in adimlylitenvironment andislistened to through is acoustically protected. The portraits are presented inadarkened room that in thecreation ofaudioportraiture. how soundis heard, received, reverberated and resounded, resonances, vibrations ofthesenses.Ōtairongoexplores 38 The word Ōtairongointhisparticularsituation to portray aconceptual meaningofsounds,

As anartistic,‘practice-led’ 39 Eachwork ispositioned 36

37 thesisthe PAGE NEXT 11 | INTRODUCTION simultaneous soundcues. that iscomposed withina360-sound environment of and sensetheessence ofthewāhine inanaudio-portrait canvas. Alistener’s experience issuchthattheyhear, feel design becoming thecompositional experience and Thus, soundbecomes theartist’s palette withthesound The portrait iscomposed entirely ofsonicelements. (the goddess ofmusicandsound). listener bringingtheminto theworld ofHineraukatauri The cocoon represents thecasemoth,andencloses cocoon ofsoft fabric that covers theheadandshoulders. within theroom. Thelistener isseated, drawing down a duration, andeachplays discretely inaseparate space Each portrait isbetween seven andten minutes in provides anintimate andimmersive sonicexperience. may experience asenseofdwelling withinher. environments ofthewahine, insuchamannerthat listener 3D binaural audio recording to reproduce thewords and 41 40 detail inChapter 4. This concept isdiscussedinmore Sennheiser HD200Pro headphones. plays whenalistener donsapairof a singlecomputer andeachportrait The headphonesare connected to 41

40 Such design Suchdesign phases: indwelling, data gathering anddata processing. twelve practice-led methodswhichare grouped into three experimentation. Themethodology, isactualisedthrough ways ofrefining thinkingthrough aprocess ofiterative activate ‘reflection inaction’ and‘reflection on action’ as of reflective practice Schön(1983,1987),insidewhichI (Klein,2010).Thestudyemploys inquiry amethodology L.T, 1992and1999),itispositioned asanartistic research emanates from aKaupapaMāoriparadigm (Smith, discussion ofthemethodsemployed withinthestudy. The reflective practice asa research andfinally, methodology a consideration oftheresearch paradigm, anintroduction to underpinning theinquiry. Itconsists ofthree sections:a The third chapter considers theresearch design sound, andbinaural sound technologies. wāhine. Thethird isconcerned withsound,immersive the concepts ofwairua, mauriandthecosmogony ofatua sonic portraiture andsoundart.Thesecond examines realms. Thefirst covers discourses relating to portraiture, resourced orcontextualised theinquiry. Itconsiders three The second chapter offers a review ofknowledge thathas between theseworlds. research orientation isformed from dimensionswithinand and te aoPākehā (theWestern world)andmy identityand draws significantlyonboth te aoMāori(theworld) to thethesis.Thechapter becausemy ismeaningful, study background andthelife experiences thathave brought me in relation to by theinquiry explainingmy personal introduction, thefirst chapter positionsthe researcher This exegesis consists offour chapters. Following this The structure of theexegesis PAGE NEXT 12 | INTRODUCTION and Ioffer considerations for future research. 42 portraiture andMātauranga Māori(Māoriknowledge), discuss theresearch’s contribution to thefieldofaudio- in thethesisandapersonal reflection on my practice. Ialso The exegesis concludes ofthemainideas withasummary and how thishasbeenexpressed. and representation ofthemulti-dimensionalitywāhine specific features ofthe work, includingtheinterpretation practice. Indiscussingthethree audio-portraits, Iconsider The fourth chapter offers acritical commentary on my 43 read priorto engaging with theportraits. created andmaintained by Maori. Matauranga Maorinow meansknowledge (2009, p.31).Royal (2012)states that in thelife oftheNewZealandnation” period inMaorihistory andculture, and fragments are catalysing anewcreative remain today. Royal suggests thatthese portions—notably theMaorilanguage— New Zealand.Important fragments and the creation ofthenewnationcalled encounter withtheEuropean andduring knowledge was created through the developed inAotearoa. Thisnew modern term for abodyofknowledge Royal (2009)Matauranga Maoriis According to Te Ahukaramu Charles It isrecommended thatthismaterial isnot 42

biographical information onthethree wāhine inthestudy. referred to in Chapters 3and4.Thefourth appendixoffers audio-drafts and hypothesis testing. Theseexperiments are hyperlinks to Soundcloud,ofindicative audio-sketches, a post-exhibitionfacility for listening). Thethird provides audio-portraits aswav. filesviasoundcloud hyperlinks (as example ofaconsent form. Thesecond contains thethree the project’s ethicsapproval letter, information sheetandan The exegesis contains five appendices. Thefirst contains portraits form thesubstance oftheinquiry. indicating thetribalregions ofthethree women whose the audio-portraits. Appendix6provides amapofAotearoa, The fifthappendixlists granted copyright musicusedwithin position ofte reo Maoriinculture andsociety, Māori people.Ka‘ai (1995)explainsthefundamental providing access to thehistories, values andbeliefsof and maintenance ofMāorilanguage isfundamental to Eketone, Gibbs&Walker (2006) note thattheacquisition constitutes acallfor therevival andmanaofourlanguage. except whenusingdirect quotes. Thisstylisticapproach and phrases first, followed by Englishtranslations initalics, te reo Māoriinthisthesisby positioningte reo Māoriwords of ourlanguage through theeffects of colonisation, to uplift It isimportant to measawahine Māoriwhohasfelt theloss THE USEOFTEREOMĀORIINTHESIS (Ka‘ai, 1995,p. 37). knowledge isthecornerstone foraMoriworld-view The Maorilanguageisthelifelineof ourcultureofwhich matauranga meng Ko te reo Maorite ihoote ahurea, ar a huatanga katoa ote aoM aori. a, ko te 43

PAGE NEXT 13 | INTRODUCTION 19 letters. Althoughthelater approach isapparent insome (macron) above longform vowels rather thandoubling note. Ihave adopted theapproach ofinsertingatohutō Two otherstylisticdecisionrelated to te reo Māoriwarrants limiting nature oftranslation. attempts to balance access to Māori concepts withthe I askfor theforbearance ofte reo Maorischolars withmy many words inMaorihave notrueEnglishtranslation and existing publishedtranslation. However, Iamaware that general approach hasbeento alignmy useto theclosest explanation isneededitreferred to inafootnote. My English, whichare italicised inbrackets. Whenalonger The thesisprovides thetranslation ofMāoriwords in Language Commission. of indicatinglongvowels, after its adoption by theMaori (Ngāti Maniapoto), thetohutō becameanaccepted means and itwas evidentinthework ofProfessor Bruce Biggs th century manuscripts andnewspapers written by Māori, that gave riseto thestudy. researcher andaconsideration offormative experiences andthinking us beginourjourneywithadiscussionofmy positionasanartist/ As aresult, Ioffer here, my thinking to thewider world. Therefore, let of three manawāhine (prestigiouswomen,womenheldinhighregard). on aPhDjourneyasIhave soughtto designanddiscusstheportraits meeting house)andwithkarakia, Ihave asked humblyto beguided I have stood onmy -theopenareainfrontof marae (courtyard Crossing thethreshold PAGE NEXT Chapter 1 POSITIONING THE RESEARCHER 15 | POSITIONING THE RESEARCHER Ko Maree Sheehanahau Nō Scotland Ko Mavis Cavell Sheehante wahine Nō CountyCork,Ireland Ko Daniel Thomas Sheehante tangata I te taha otōku pāpā Ko RangiamohiaEmeryte wahine Ko Rangiita ngā marae Ko Te Kōpua, Ko Ōngaroto, Ko Waimahana, Ko Unu,Ko Ngāti Kahu,Ko Ngāti Whaita ngā hapū Ko Ngāti Tahu-Ngāti Whaoa,Ko Tūwharetoa ngā iwi Ko Ngāti Maniapoto, Ko Ngāti Raukawa, Ko Tainui, Ko Te Arawa ngā waka Ko Waipa, Ko Waikato, Ko Taupo-nui-a-tia ngā wai Ko Kakepuku, Ko Pōhaturoa, Ko Tauhara ngā maunga I te taha otōku tūpuna kuia Ko TitiKaahunuite tangata Ko te Hungaiti te whare tūpuna Ko Motitite marae Ko Ngāti Kinohakungā hapū Ko Ngāti Te Puta ite muri,Ko Ngāti Urunumia, Ko Ngāti Maniapoto, Ko Ngāti Mutunga, Ko Waikato ngā iwi Ko Tainui te waka Ko Mangatea te mapunapunaorowaru Ko Tiakitiate maunga I te taha otōku tūpunakoroua Pepeha 44 their whenua,iwi,hapūand whānau. introduction thatlinksaperson to A Pepehaisaformal Māori 44 communities to urbancenters between the1940s-1970s. (Tim) inChristchurch whenmany Maorimigrated from rural moved away from Te Kuitito joinherolderbrother Tumohe shoe factory inChristchurch (Figure 1.1).Mymotherhad My parents metintheirearlytwenties whileworking ata older sister LisaJaneAriana Sheehan. hospital, Ellesmere, Canterbury, aswere my father andmy Cavell Sheehan(neeMarshall). Iwas bornintheLeeston son offive siblings to Daniel ThomasSheehanandMavis in Leeston, Ellesmere, Canterbury. Hewas thesecond eldest Waitapu Emery. Myfather ColinJamesSheehanwas born daughter ofeleven siblings to RukiTe RukiandMaggie was borninArapai, Waikato in1942. She was theeldest with both.MymotherMata (Marjorie)RukiSheehan I belongto bothmy MāoriandPākehā ancestry andidentify (circa. 1968) Sheehan withbaby Lisa Colin andMarjorie FIGURE 1.1 PAGE NEXT 16 | POSITIONING THE RESEARCHER beautiful harmonies(Figures 1.3and1.4). would come outandtheirvoices would meldtogether in her siblings at family functions;theguitars andukuleles Laurel andUnclePaul.Ifirst heard my mothersingingwith Christchurch. Mumwas reunited withhersiblings Aunty After four years in Porangahau we moved back to Jones andEngelbert Humperdinck. rock music; from Frankie Valley and the Four Seasons, to Tom ‘The JacksonFive’. Ispenthours listening to pop,disco, and the television setIwas introduced to the‘TheOsmonds’ and by the‘Readyto Roll’musicprogramme. At6.00pm,gluedto we lived inPorangahau, my Saturday nights were embellished of musicboththeoretically andpractically. Duringtheyears the time,itbecameaninvaluable partofmy understanding classical pianolessons.AlthoughIdidnotreally enjoy itat It was atthistimethatmothersentmy sister andmeto into theprivate lounge barandlisten to ElvisPresley. to ‘Jesus ChristSuperstar’. Onotheroccasions, Iwould sneak downstairs visitor’s lounge where, after schoolI would listen first memoriesofmusic.Iloved to play oldvinyl records inthe predominantly Maori(Figure 1.2).Itwas here thatIhadmy only pubinashearingregion where thepopulationwas in theHawkes Bay whenIwas five. Myparents owned the In 1973,my immediate family andImoved to Porangahau Early influences

Porangahau pub (circa. 1978). FIGURE 1.2 (circa, 1981). barbeque inChristchurch Uncle Paulatawhānau Uncle Richard and FIGURE 1.3 PAGE NEXT 17 | POSITIONING THE RESEARCHER singing. Christchurch (circa 1985). Aunty Laurel (left)and my mother(right) FIGURE 1.4 Tom Ruki)(circa. 1945). Ruki Te Ruki(Tame, FIGURE 1.5. permeated my childhood, atfifteen, I conceived adesire Although asenseofdisconnection from my Māoriidentity Pākehā ways”, althoughshecould speakte reo Māori. said thatinherday, herparents wanted to herlearn“the of urbanisationIdidnotgrow uponthe marae. Mymum brought upinaMorispeakingwhānau,dueto theeffects Like mostMāorichildren ofmy generation, Iwas not Finding my voice was fourteen. it was perhapsinevitable that Iwrote my first songwhenI the joys andwarmth ofbelonging. Insuchanenvironment, whānau; itaccompanied my childhoodandgave voice to Music hasalways beenpart ofthefabric ofbothsidesmy when hewas ayoung boy. played thesnare drumfor theEllesmere HighlandPipeBand headphones on,listening to oldIrishmusic.MyDadalso was olderIwould often findhimonthesofa atnight,his accordion player for theEllesmere Brass Band.Whenhe saxophone, andmy father’s father, DanielSheehanwas an grandfather RukiTe Ruki,played thepiano(Figure 1.5)and and singheisstillplaying professionally inSydney. My trained inthetrumpetbut he could alsotheplay guitar Sometimes my UncleTimwould jointhem.Hehadbeen in Christchurch. called ‘TheRukiSisters’. Theyperformed inpubsandclubs Laurel andAunty Taka hadformed athree-piece vocal group Before Iwas born,my motherandhertwo sisters Aunty The fabric of whānau PAGE NEXT 18 | POSITIONING THE RESEARCHER 45 Motiti marae, Te Kuiti(2019). FIGURE 1.6 kinship andwhakapapa. of residence andbelongingthrough tūrangawaewae onehastherights one hastherightto stand. Onone’s a standing place oraplace where Literally, tūrangawaewae means became aconsuming passionandin the early1980sIleft effective career decision.However, musicincreasingly and mathematicsIthought thatthismightbean offering internships. Asidefrom music,Iloved chemistry because atthattimetheDepartmentofMāoriAffairs were Scientific andIndustrial research (DSIR)inChristchurch, When Ileftschool, went to work attheDepartmentof After schoolintheearly1980s of Te Kuiti. This ismy tūrangawaewae Motiti marae isonMangateatea Roadinthebackblocks welcoming mehome. my mothertelling methiswas thetears ofmy tūpuna, first time.AsI walked on,itbegan to rain. I remember vividly the NorthIslandto visitMotiti marae (Figure 1.6)for the importantly inDecember I travelled from Christchurch to Although attheendofthatyear Ipassedthesubject,more I believe thatitwas my tūpuna(ancestors) pushingme. the time,Ifelt spirituallydriven to pursue thisstudyand my motherwhoforfeited herown studiesto teach me.At remain deeplyindebted to thetenacity andaroha (love)of never studiedMāorilanguage, itwas anintense year andI (through theNewZealand Correspondence School).Having me therightto studyte reo Māorifor SchoolCertificate cultural studies.Myfamilybuteventually struggled secured School (CGHS)whichdidnotprovide any Māorilanguage or whakapapa. Atthistime,Iattended Christchurch Girls’ High to learnte reo Maoriandto understand more aboutmy (ancestral house)‘Ko te Hungaiti’ (pictured inFigure 1.6). behindourwhareis buriedintheurupā(cemetery) tupuna Ruki Te Ruki (Figure 1.5)andhistūpunabelong.Mymother 45 , where my grandfather PAGE NEXT 19 | POSITIONING THE RESEARCHER myself inlearninghow to programme drummachines told meIcould useitafter hours. It was there thatIimmersed Eventually, hegave methekeys to therecording studioand Mr Kahialsointroduced meto BlackKatz the samplers and was encouraged by oneofmy mentors, MrGeorge Kahi. developed anincreasing appetite for musictechnology. This Performing Arts Trust inChristchurch. Atthistime,I the DSIRto studyperforming arts atPuawai –ThePolynesian performed atthe150 on to become thekeyboard player for thisgroup. In1990,we it would beusefulfor meto learnfrom Ngatai Huata. Iwent 48 47 46 group ‘EyebrowzUp’ (Figure 1.7)andthereggaeAhika band‘ ’. Treaty ofWaitangi. Iwas alsoabandmemberfor theallgirls’ member Ngatai Huata (2018). more ourselves asexplained by founding by creating sounds /images, we become Tautoko, Wāhine Piripono,Wāhine Toa Waiata, Wāhine RuaAtamai, Wāhine Pūatatangi, Wāhine ReoIrirangi, Wāhine Waihanga; Wāhine Whakaahua,Wāhine mission Statement: “We are Wāhine and formalised in1986.TheBlackKatz Black Katz Trust was was established and pioneers ofkaupapamusic. The women writers, songwriters, composers Black Katz isacollective ofMāori Roland TR909andthe808. Significant amongthese were the of thisorganisation. George Kahiwas thefounder computer sequences (like the Atari ST). th commemoration ofthesigning

48 becausehefelt 47 and and 46

(circa, 1989) Browning, Danice Dearborne,Christchurch Jackie Sinclair-Phillips,Laura Horton, Megan Eyebrowz Up(Left to right)Maree Sheehan, FIGURE 1.7 PAGE NEXT 20 | POSITIONING THE RESEARCHER 49

youtube.com/watch?v=Eid9Y2o5ZPw 1992, single,Tangata Records. https://www. “Fatally Cool”by Maree Sheehan,recorded March youtube.com/watch?v=Hm0V9q6AEIk March 1992,EP, Tangata Records. https://www. “Dare tobeDifferent”by Maree Sheehan,recorded March 1991,single,Tangata Records. “Make UMyOwn” by Maree Sheehan,recorded light/1205023399 https://itunes.apple.com/nz/album/chasing-the- 2013, album,Warner MusicNewZealand. Chasing theLightby Maree Sheehan,recorded www.youtube.com/watch?v=TkU1vN45zTA 2013, single,Warner MusicNewZealand.https:// How doIsaygoodbyeby Maree Sheehan,recorded com/watch?v=Uf2nLZFESAw single, Niwa Productions. https://www.youtube. Strength toLove by Maree Sheehan,recorded 1998, nz/album/drawn-in-deep/1205023378 album, Village Roadshow. https://itunes.apple.com/ Drawn inDeepby Maree Sheehan,recorded 1996, present/1205030389?i=1205030500 https://itunes.apple.com/nz/album/past-to-the- Sheehan, recorded 1995,EP, Tangata Records. Past tothePresent(Heikōnei tewāomua)by Maree free-single/1205020983 itunes.apple.com/nz/album/kia-tu-mahea-to-be- recorded 1994,single,Tangata Records. https:// Kia Tu Mahea(To beFree)by Maree Sheehan, www.youtube.com/watch?v=zmCbp_H3vSU recorded 1995,single,Tangata Records. https:// What HaveYou DoneMeby Maree Sheehan,

album DrawninDeep(Figure 1.8). cover, released 1995. Drawn inDeepalbum FIGURE 1.8 seven singles video directed by LisaReihana.Throughout the1990sIreleased single in1991withTangata Records. Thesongfeatured amusic My musiccareer hasspannedtwenty-eight years. Ireleased my first From 1991forward 49 withaccompanying musicvideosandalsomy debut PAGE NEXT 21 | POSITIONING THE RESEARCHER

50 51 Indicative ofthiswas my work for the“O-Tū- response to thethemeofAIR. Research). Together we created work in National Institute ofWeather andAtmospheric experiences. F4was paired withNIWA (the create high-impactimmersive participatory and scientist(s)teams have collaborated to food, shelter, weather andair–five artist(s) has chosento focus onfive topics – water, climate science communication. TEMP and leadingNZartists to reframe andrefresh creative initiative thatbrings together scientists as sounddesignerandcomposer. TEMPisa the F4Collective to jointheTEMPproject www.otukapua.nz/ in2017,Iwas invited by Kapua app” anF4andTEMPproject https:// Māori Television. Maree Sheehan,recorded 2006,Screentime, MovesIn.TelevisionAunty seriesmusicby Box Productions, MāoriTelevision. Maree Sheehan,recorded 2004,Front ofthe Documentary musicby The MāoriParty. throng.co.nz/tag/takataapui/ Productions, MāoriTelevision. http://www. Sheehan, recorded 2003,Front oftheBox Takataapui televisionseriesmusic”by Maree english-1996 https://www.nzonscreen.com/title/broken- Appeared onthefilmBroken English,1996 Drawn inDeep,Village Roadshow, album. love” by Gereaux, recorded 1996,track 1on Maree Sheehan,vocalist, “You can’t hide warriors-1994 www.nzonscreen.com/title/once-were- Warriors Filmalbumcompilation https:// This work appeared ontheOnce Were recorded 1994,single,Tangata Records. Kia Tu Mahea(To beFree) by Maree Sheehan, very fabric ofbeing. experienced how soundand movement mighttouch the into somethingdeeperthan writingandperforming. I connected -inandthrough music.Igained my first insight moving. Ifelt viscerally, themannerinwhichspiritualis with whomIhadperformed. Theexperience was deeply circle there were Taiaroa Royal andNgahiwi Tomoana me were theInuitpeoplefrom Alaska,furtheraround the and fulleaglefeathered headwear. Atthefestival, opposite full dancingregalia withbrightlycoloured feather bustles chiefs from theBlackfoot andCree tribes,dressed intheir ceremony. Oneachsideofmestood two, highlyregarded of theevent Iwas invited to joinaninaugural round dance Dreamspeakers FilmFestival inEdmonton, Canada.Atthe end experience in1994whenIwas asked to perform atthe My journeyinto thisthesis project was pre-empted by an Expanding conceptual parameters film and television programmes, I subsequently composed music for a variety of otherartists, 50 andothermedia. 51 PAGE NEXT 22 | POSITIONING THE RESEARCHER 53 released my (Figure second album‘ChasingtheLight’ 1.9) was notuntil2013thatIreturned to and themusicindustry connections between sonicdesign,musicandidentitybutit In thefollowing years Icontinued to explore potential 54 52 celebrations andrenewal. June, earlyJulyanditsignalsatimefor Southern hemisphere nightskieslate as Pleiades.Matariki appears inthe the Matariki star cluster alsoknown Year whichoccurs withtherisingof Matariki isknown astheMāoriNew com/222280873 Mao inTaiwan. Seehttps://vimeo. of theWhite Tiger Facing West’ or The work was Head called‘TheHairy stars, (known asMatariki inAotearoa). a conversation between afamily of an artisticproject. Thiswork imagined invited theF4collective to collaborate in In 2017,theTaipei Artistexchange chasing-the-light/1205023399 https://itunes.apple.com/nz/album/ Chasing theLightalbumreleased, 2013 52 . Matariki SongCyclesprojects in2018. released 2013. Chasing theLightalbumcover, FIGURE 1.9 exhibitions, includingtheTaipei Exchange Artist space, soundandidentity, Ihave alsocreated work for As my interests andcollaborations have extended into Recent collaborations 54

53 andthe PAGE NEXT 23 | POSITIONING THE RESEARCHER 56 55 57 and theExhaleDance Tribe. between theŌkareka Dance company States ofAmerica.Itisacollaboration Haudenosaunee peoplesoftheUnited the Anikituwah, Duyutv, Iroquois and the indigenous peoplesofAotearoa and stories of thesetūpunaeaglesbetween The Hokioi/Vwohāli Project explores the http://exhaledancetribe.com/ Exhale Dance Tribe and authenticworks. http://okareka.com/ and Māoriknowledges through original contemporary dance withIndigenous was established to create andfuse Royal andTaane Mete. Thecompany in 2007by seniorperformers Taiaroa Okareka Dance Company was formed

been collaborating withtheOkareka Dance Company At thesametimeasdevelopment ofthisthesis,Ihave Vwōhali Project music composer for andmusicsupervisor theHokioi/ underpins thisPhD. ongoing commitment to aMāoriworldview informs and revitalisation andself-determination ofte aoMāori.This The result hasbeenadeeper devotion to thedevelopment, indigenous arts space. binaural and3Dimmersive soundtechnologies withinan projects enablemeto develop thecreative potentials of International Arts Festival, inWellington in2020.Such and theExhaleDance Tribe 57

that willpremiere attheNewZealand 56 (United States) astheir 55

PAGE NEXT 24 | POSITIONING THE RESEARCHER Auckland (2018). Te Rangianiwaniwa Cording andme, FIGURE 1.10. Te RukiTitiSheehan(2018). Emiko Sheehan,ArianaSheehanand FIGURE 1.11. of amusicallyrichfamily andaninquiringMāoriwoman. made evident.Iamanartisticresearcher, amusician,child questions humbly, thepotentials whatmightnotyet be positioning myself withinthisstudy, Istand asonewho and spatial,hasbeenbothcumulative andcritical.In Māori… into relationships between theesoteric, thesonic through complex unfoldings ofmy relationship to te ao in Porangahau, through songwritingandperformance, My journeyfrom thedownstairs visitor’s lounge ofapub can bedepicted andexperienced aswairua andmauri. be Māori,butalsotheintangibles thatexistbeyond what has reemphasised thedimensions of, notonlywhatitisto My developing into inquiry binaural andimmersive sound beautiful young adults. Te RukiTiti (Figure 1.11).Thesewonderful children are now (Figure 1.10),andthebirth ofmy niece Emiko andnephew Te Rangianiwaniwa (Niwa) to hisothermother, JanCording my life evolves, sohasmy whānau withthebirthofmy son essence ofwhatitisthatmakes upaperson’s identity. As mother, Icameto thinkaboutgriefandjoy andthecomplex my grandparents hadpassedaway andmore recently my might reach deeplyinto expressions ofidentity. Because which musiccomposition, sounddesignandtechnology and immersive sound,Ibegan to consider themannerin In 2017,Ifirst became aware ofthepotentials ofbinaural Personal experiences PAGE NEXT Chapter 2 REVIEW OF CONTEXTUAL KNOWLEDGE 26 | CONTEXTUAL REVIEW OF KNOWLEDGE binaural soundcapture. technological literature related to immersive 360 and related to sounddesign,technologies, andincludes of atuawāhine. Thethird isconcerned withknowledge restrictions), mana,wairua andmaurithecosmogony 58 literature relating to theconcepts oftapu examines understandings ofMāorispirituality, particularly portraiture ofMāoriandportraiture byMāori.Thesecond and includesdiscourses onportraiture asinquiry, offers a consideration ofknowledge related to portraiture related to thestudy. Itisdividedinto three sections.Thefirst The chapter provides acontextual review ofknowledge 59 Altintzoglou 2018). multi-media (Reihana2010;Cubitt2014, Lightfoot andDavis2011), 1997;Orwig, 2018), narrative (Schiffrin1996;Lawrence- 1915; Leister,2010; Yablon 2014; Baylis 1997; Brilliant,2010 ),photography (Claudy mediums includingpainting(Woodall Portraiture hasbeendiscussedindiverse such restriction.” quality orcondition ofbeingsubject to 3. Sacred (mod.);4.Ceremonial restriction, causes; 2.Beyond one’s power, inaccessible; and things, andarisingfrom innumerable – acondition affecting persons, places, Under religious orsuperstitious restriction (2008, p.385),definesthe word as“1. as “sacred andholy”(p.6).Williams Marsden &Royal, (2003)define tapu

58 (sacred,with Māori portrait painters andtheirwork. concluding withaconsideration ofcontemporary wāhine artists GottfriedLindauer and Charles F. Goldie,before of Māoriportraiture including colonial representations by portraiture asinquiry, itthenexamineshistorical contexts Accordingly, thisopeningsectionofthereview considers the conceptualisation anddevelopment ofmy work. Within thisstudy, concepts ofportraiture have informed and convey themulti-dimensionalityofaperson. systematic andempiricalobservation evaluation. From propose portraiture thatinvolves asamethodofinquiry position itwithinaninterpretive paradigm. Theyalso qualitative research andits philosophical underpinnings They argue thatportraiture canbe utilisedasamethodof portraiture as“thescience ofmakingtheart”(ibid.,p.3). the empiricalandaesthetic.Theauthors describe study theysuggest, enablearesearcher to navigate both and cultural contexts. Thecombination ofthesefields seeks to synthesise science andartwithinsocialscience portraiture may beconsidered agenre that ofinquiry knowledge andwisdom” (p.xv).Theyalsosuggest that documenting theirvoices and theirvisions–authority, and experiences ofthepeopletheyare studying, “Portraitists seekto record andinterpret theperspectives Lawrence-Lightfoot andDavis (1997)suggest that Portraiture asinquiry Portraiture isanartisticform Portraiture asprocess andform 59

that seeksto represent PAGE NEXT 27 | CONTEXTUAL REVIEW OF KNOWLEDGE influence ontheinterpretation ofdata. the relationship itmustbracket thatknowledge from its suggest that,whenresearchers bringapersonal history into and values, andhistorical periods” (ibid.,p.12).They context, includingphysical settings, cultural rituals,norms, claim thatnarrative is“always embeddedinaparticular and authenticityoftherendered piece” (ibid.).Theyalso “the encounter between thetwo is...crucialto thesuccess the way inwhichaportrait iscreated, andtheyargue that, that dialoguebetween theartistandsubjectcanshape dimensionality ofhumanexperience” (p.3).Theysuggest are designedto capture therichness,complexity, and a socialandcultural perspective, theysuggest, “portraits 60 those activities” (2010,p.185). artefacts andpractices iscentral to developing orevaluating performances, creating, responding to, working on, self isinescapable,becausetheperson in artistic,practice-led research, “the possible. Morweena Griffithsnotes, that in artisticpractice thatsuchastance is I dispute thisbecauseIdonotbelieve 60

affect” (ibid.,p.13). than theeternality ofappearance andthe banalityofsocial then theresulting portrait mustcontain somethingmore demonstrated ornot,iftheartistbelieves thatitexists, “persistent innercharacter or“soul” canbeempirically the participant’s identity. Heargues that,whether their physical and social persona to explore theuniquenessof 11) andheargues thatportraits needto move beyond the portraiture asan“interface between artandlife” (ibid.,p. connection to identitythrough portraiture. Hesees (1991),Brilliantexaminespersonal In hisbookPortraiture the person beingstudied(ibid.,p.247). beyond thevisualoraurally evidentto the“resonance” of with “flows of feeling” andasenseofmoodthatmoves is acrucialfactor becauseitinvolves theresearcher working participant, Witz (2006) claims that the transcribing process When interviewing for adeeper understanding ofthe contemplator relationship" (ibid.,p.247). of exchange asasymbiotic “participantasallyandco- considerably more subjective. Witz describesthisprocess interviewing for feeling isthatinthelater, theinterviewer is the difference between interviewing for information and this as“interviewing for feeling” (p.246).Hesuggests that researcher andtheparticipants isdeveloped. Witz describes interviewing, wherein apersonal relationship between the diverse data gathering strategies whichmay includeintensive Witz argued thatportraiture asaform requires ofinquiry In (2006), (2006), asAllyandEssentialist Portraiture The Participant PAGE NEXT 28 | CONTEXTUAL REVIEW OF KNOWLEDGE ancestors andatua. decorated, bothexternally andinternally withimages of meeting housesare often intricately andelaborately seen aspersonifications oftūpuna andthesecarved (1975) have bothobservedthatwhare whaikairo are often a form ofMāoriportraiture. Brown (2016)andSalmond 2008), thisstudyisconcerned withwhare whakairo as Simmonds, 1985;Skinner, 2016;Tapsell, 2000;Walker, architecture (Brown, 2009;Mead,2015;Salmond,1975; arts practice ofwhare whakairo inthecontext ofMāori an extensive bodyofliterature thatexaminestheMāori 62 61 whakairo of culturally shapedthinking.Central to this,iswhare practice ofportraiture, we encounter anextensive record When we turnto thehistory ofMāoriresearch andthe Māori portraiture andWhare whakairo 63 nz/en/photograph/11566/pukaki-carving ) where henow stands. (Seehttps://teara.govt. ancestor back to the Rotorua DistrictCouncil, Memorial Museum,Ngāti Whakaue took their return and first visit to the Auckland War (gateway) atTe Papa-i-Ōurumarae. After his was originallycarvedaspartofa waharoa Ngāti Whakaue descendants in1997.Pūkaki brought backto Aotearoa, NewZealandby his Pūkaki isalarge carved,kaitiakifigure that was that come to themarae” (1975,p.41). winds) …makingprovisions for allthosevisitors “reflect the concept of‘ngā hauewhā’ (the four figures may beevidenced. These,shesuggests, houses, awiderrepresentation ofancestral Salmond alsonotes that,inlarger meeting customary meetinghouse(Brown 2009,p.1). Whare whakairo –carved meetinghouses, 61 (carvedmeetinghouse).Although,there is whakapapa. whānau. Thesecarved figures represent connections to specific ancestor whoisdirectly related to theiwi,hapūand observes thatthewhare whakairo itself, often represents a and historical motifs” (p.37).Notably, Salmond(1975) surface intricately carvedinto ancestors, mythical monsters whare whakairo as“almosthaving every available wooden a tekoteko (carved figure)attheapex.Shecharacterises site where mostoftheexterior are carvings located, with Salmond (1975)describesthemahau(veranda)as rangatira from Ngāti Whakaue. paramount chiefPūkaki,whoembodiestheimportant (2000) inhisdiscussionofthelarge carvedfigure ofthe This consideration ofspiritualform ispicked upby Tapsell physical andspiritualform. photographic portraits are representations ofpeopleboth in Salmond (1975)notes that boththecarvedfigures andthe has lainatthebaseofcoffin duringthe tangihanga. ceremony. Theportrait isoften thephotograph that (funeral), where theyare installed aspartoftheunveiling usually hunginwhānaugroupings, often after a tangihanga on theinterior walls ofmeetinghouses.Theseportraits are photographic portraits to represent ancestors displayed Salmond (1975)alsodiscussesthesignificance of ( be experienced by its descendants as“ihi(presence), wehi of theancestral spirit thatresides withinsuch ataonga can personification ofatupuna. Tapsell explainsthatthe wairua Importantly, Tapsell (2000)notes thatPūkakiisaspiritual meeting house,oritcanbeintangible, like knowledge” (p.1). identity …itcanbetangible like agreenstone pendantora object orthingwhichrepresents a Māorikingroup’s ancestral ofPūkakiasataonga,carving aterm hedescribesas,“an awe), andwana (awe-inspiring,exhiliration)”(ibid.).Taonga 62

63 Tapsell (2000)refers to PAGE NEXT 29 | CONTEXTUAL REVIEW OF KNOWLEDGE moves beyond justtangible. woven together asaseamlessintegration thatembraces and the natural world, theyare interdependent (Brown, 2016); 2000). Intheseportraits, Idonotseparate thespiritualfrom descendants asihiandperhapswehi andwana (Tapsell, resides withineachwork andmay beexperienced by her spiritual form (Salmond,1975).Thewairua ofthewoman portraits asrepresentations ofwāhine inbothphysical and These principlesare fundamental to my work. Iseemy worlds are understood asinterdependent. a Moricultural landscapewhere thehumanandnatural cosmologies. Sheasserts thatwhare whakairo are partof connection andassociationwithtūpuna,whakapapa this point,notingthatwhare whakairo are symbolic intheir standing for alltime” (p.215).Brown (2016)emphasises house …are fundamental [and]theirinclusionassures their representation of…deceased ancestors by carvingsina master carver (2008),Walker suggests thatfor Paki“the In hisbookTohunga ofa Whakairo: PakiHarrison,thestory past, actingasguidesto interpreting thepast”(ibid.). such asPūkaki,heargues, provide “vital threads from the portraiture. Māori women whoare currently working withforms ofMāori against whichwe mightconsider thework ofcontemporary these colonial, maleartists Iamestablishing acounterpoint such asGottfriedLindauerandCharlesGoldie.Indiscussing Māori fleshtints” (p.2). the artist,praising himfor his“truthfulpaintings ofthe portraits, theauthorprovides abiographical account of (preface). Inadditionto reproductions ofLindauer’s Māori painting as“portraits ofprimitive native life andcustoms” 30 years later, Cowan (1930)characterises Lindauer’s Lindauerpublishedalmost of MāoripaintingsbyGottfried Collection In PicturesofOldNewZealand:ThePartridge warrior chiefs” (ibid.). native peopleoftheoldschool,dignifiedrangatiraand world andprovided colonists with“anexcellent ideaofthe to Cowan (1901),Lindauer’s portraits were unrivalled inthe members oftheNewZealandnative race” (p.1).According attention ofthepublicand heighten theinterest in…typical “collection oflives ofMāoricelebrities would excite the were preserved by Lindauerinoilthehopethatthe, Māori chiefsandwarriors whose likenesses Cowan claims portraits. Cowan (1901)provides biographical details of of theoldestdescriptive catalogues ofLindauer’s Māori Sketches ofNewZealandcompiled by Cowan in1901, isone Gottfried Lindauer illustrated intheworks oflate 19 I willnow turnto painted portraiture ofMāori,notably Portraiture of Māori th century by colonial artists PAGE NEXT 30 | CONTEXTUAL REVIEW OF KNOWLEDGE Ellis (2014), (spirit) andthehistory ofournation” (p.11). extraordinary artist…theirfaces encapsulate thewairua lives ofourforebears andtheircloserelationship withthis capture “areflection oftheanguishandjoys ofthe threatened intheface ofcolonisation. Shesuggests, survivors inatimewhenmany indigenous peopleswere New ZealandMāori Lindauer1839-1926PilsenPainterofthe exhibition Gottfried Ellis (2014)discussesLindauer’s work inreference to the 64 66 65 spiritual life inNewZealand”(2016, p. 8). mercantile, linguistic,militaryand of colonial, political,diplomatic, influence determined therichunfolding “leading protagonists whoseactionsand She describestheserangatira as Māori chiefsthemselves. both hispatron Partridge Henry andby of Māoriwhichwere commissioned by Lindauer hadpainted over 100paintings September, 2015. West BohemiainPilsen,6May-20, exhibition heldinthegallery of Painter oftheNewZealandMāori Gottfried Lindauer1839-1926Pilsen Lindauer’s paintings depicted Māoriasproud 64 . Shestates thatLindauer’s portraits 65 According to of moko kauae(traditionalwāhineMāori).Inhis chintattoo much ofthiswork, Lindauercaptured theintricate details child (previouslyknownas AnaRupeneandchild)(1878).In Watene (1878);MrsParamena(1885)andHeeniHirini daughter ofRangiKopinga-Te RangiPikinga(1915);Pare Whetuki andChild(1936);‘HuriaMatenga’ (1910);Kuinioroa, Māori women. Amonghismostnotable were AnaRupene Lindauer painted asignificantnumberofportraits of working from hisown studiophotography” (p.8). and adirectness ofthegaze between subjectandviewer, contributed to Lindauer’s “abilityto create anintensity painting inVienna.Sheclaimsthatthesetechniques which drew uponhistraining inphotography andreligious techniques Lindauerutilised inhispaintings, many of upheaval in19 portraits provide acommentary onpoliticalandcultural as taonga. Devenport (2016) alsoclaimsthatLindauer’s link to theirtūpunaandwhakapapa andtherefore, are held for many Māoricommunities, theseportraits adirect carry “powerful andgenerative qualities” (p.8).Sheclaimsthat Devenport (2016)describesLindauer’s portraits ashaving 1840. Devenport (2016)notes, signedtheTreaty ofWaitangi in Lindauer painted were rangatira), several (chiefs ofwhom colonisation” (p.11).Many oftheMāoriindividualsthat “representing abidinghopefor Māoribeaten by British (2016) argue thatLindauer’s portraits canberead as prestige) ofMāori.(p.11) stoicism andabove allthebeautyofmana(authority, war …Lindauer’s portraits record endurance, resilience, traditional structures, andthehuge landlossesthrough ofspiritualbeliefs,thecorrosionsociety -thenullifying of …despite thecatastrophic transformations inMāori 66 Interestingly, Devenport alsohighlights theartistic th century NewZealand,MasonandStanhope PAGE NEXT 31 | CONTEXTUAL REVIEW OF KNOWLEDGE Mere Kuru Te Kati (1903). work isalsoidentifiableinhisportraits ofPareWatene and (Mason andStanhope, 2016,p.122).Thisfeature ofhis emphasised Hirini’s strong jawline andhermoko kauae collection ofphotographs. Usingthephotography, Lindauer a photograph ofthemodelfrom theFoy Brothers portrait ofHeeniHiriniandchild(1878),Lindauerreferenced 68 67 2020, Auckland ArtGallery. exhibition, 16March 2019–8March, Living Portraits: Mata Raurangi ideas/artist/9427/foy-brothers aucklandartgallery.com/explore-art-and- painting hisportraits. Seehttps://www. were usedby GottfriedLindauerwhen Māori. Several ofthephotographs nearly 70photographic portraits of in NewZealand1849.Theyproduced Joseph MichaelFoy (1847-1923)arrived James JosephFoy (1844-1890)and 67

Living Portraits: MataRaurangi exhibition LivingPortraits: Art Gallery’s Māoricurator oftheLindauerandGoldie During my discussions withNigel Borell, theAuckland link between pastandpresent Māoriculture” (p.7). Māori were infact atestimony to survival,andanessential these seeminglyromanticised depictionsofdoomed“old-time” as passive victims ofhisartisticexpression. Instead, “for them, history. Healsoargues thatmany Māorididnotseethemselves early 20thcenturies are significant records ofNewZealand’s Lindauer’s portraits ofMāorichiefsandleaders of the 19thand romanticised theMāoriworld. However, heclaimsthat many ways inwhichPākehā discovered, propagated and Blackley’s bookGalleriesofMāoriland(2018),explores the (greeting ofpressing nosesand thejoiningofmauri). responding to Lindauer’s portraits withatraditional hongi work. For example,McCarthy documents instances ofMāori level ofesteem inwhichfamilies ofsomepatrons heldhis at tangihanga. Healsonotes historical evidence ofthehigh- portraits atimportant iwiandwhānaugatherings aswell as portraits andthewhānauofthesepatrons display these that many Māoricommissioned Lindauerto painttheir colonial objectification.However, McCarthy (2018)notes dispossession ofMāoriheritage through aprocess of view was thattheseportraits helpedto facilitate the an exotic orromanticised viewofMāori.Aprevalent dying race” (p.3)andithadbeenaccused ofprojecting work hadbeeninterpreted as“representations ofa Lindauer’s portraits. Heargued thatpreviously, Lindauer’s exhibitions. Ofparticularinterest isMcCarthy’s critiqueof Māori representation withinmuseumandinternational , theauthorconsidersExhibitions, Ethnography andArt RethinkingImagesofMaoriinMuseums, Portraits: In McCarthy's M aori (2018)TheorisingLindauer’s 68 hestated: PAGE NEXT 32 | CONTEXTUAL REVIEW OF KNOWLEDGE 69 image from source photographs. epidiascope technology to enhance the canvases where Lindauerusedaform of photography, shows pencilmarkson the glassplate negatives underinfra-red Borell notes thatresearch undertaken of and theirdescendants, benefits Lindauer’s portraits had for theirMāoripatrons However, Borell (2019)alsodiscussessomeofthe the person” (personal communication, 2019). ancestor through beinginvolved inhow we talkabout involved inshapingthecurrent representation ofthat his paintings, thedescendants are verymuchactively Lindauer gave oneviewofMāorirepresentation through when we thinkabouttheideaofrepresentation, while that ideaofancestral forms isvery important …so that reverence for thefigurative orinform incarving if you thinkaboutourcultural practices, theyshow being captured andrepresented well withdignity… and were justasmuchengaged andinterested intheirimage or aportrait paintinghepainted ofMāori-isthat of portraiture whetherwe’re talking today withaselfie What Ifind fascinating aboutLindauerandtheprocess communication, 2019). say hepainted from life, well heactuallydidn’t (personal did inhiscareer were doneby source image… people were already deceased andover 95%ofhisportraits he Lindauer painted portraits ofMāoriinsomecasesthat would notalignasbestpractice ...sowhatIknow isthat element ofexploitation orethicalpractice thatwe by today’s standards, Iwould have to say there isan I thinkifwe applyamoral andethicallensto Lindauer 69

PAGE NEXT 33 | CONTEXTUAL REVIEW OF KNOWLEDGE 71 70 recognition oftheirimportance to thesubjects. of theprescribed, intricate system ofthedesignsanda attentive attention to tāmoko suggests anunderstanding traditional forms of tā moko. Taylor claimsthatGoldie’s illustrated, ethnographic record, particularlyinrespect to 151). However, theportraits heconcedes, provide an photographic qualitiesandskin-like facial textures” (p. they captured asenseofnostalgia with“near-like that Goldie’s portraits were culturally biased,although high levels ofsocialandeconomic agency. Heargues Kīngitanga rather thanavibrant peoplewhowere re-establishing the Goldie’s portraits often depicted Māoriasadying race, fantasies aboutMāoripeople" (p.151).Kingnotes that argues thatGoldie’s work “preserves theEuropean drawings. King(1979),inachapter inthispublication, books to collate the extent ofGoldie’s paintings and Taylor and Glen’s edited volume, (1979)isonethefirst (traditional Māoritattoo). depictions ofelderlymaleandfemale Māoriwithtā moko better known. Mostofhisportraiture is concerned with Charles Goldiewas younger thanLindauerbutisarguably Charles Frederick Goldie(C.F. Goldie) headquarters oftheKīngitanga. in Ngāruawahia, Waikato. Itisthe Tūrangawaewae marae islocated a singlesovereign. Waikato. Itsoughtto unite Māoriunder that was founded in1858the Kīngitanga istheMāoriKingmovement 70 marae atTūrangawaewae 71 andexercising Māoris inNewZealand[oiloncanvas]. Auckland Toi ArtGallery oTāmaki. Louis JohnSteele andCharlesFrederick Goldie(1898).Thearrivalofthe FIGURE 2.1 considered thedepictionasadeeplyflawed account. emaciated state oftheir tūpuna(Figure 2.1),andMāorielders 1901, were indignantatthemannerinwhichhedepicted the in who saw hispaintingThearrivaloftheMāorisinNewZealand have courted controversy. Cowan (1901) notes thatmany Māori portraits” (ibid.,p.44).However, someofGoldie’s paintings for Goldie’s works isintrinsicallylinked to theirnature as Paora Tūhaere). Blackley(1997)claimsthat“Māorienthusiasm Rewiri Tarapata (whowas thewidow ofNgāti Whātuachief, model, asdidInaTe Papatahi (Ngā Puhi),andhiscousin Harata in 1901.From thatpointon, te Tuhi regularly posedashis Cowan’s introduction ofPātara te Tuhi (Ngāti Mahuta) to Goldie commissioning andintroductions to Māorisubjects, including of colonial racism” (p.1).Blackleydiscusses historical ancestors, whileothers denounce hispaintings asdocuments “descendants ofGoldie’s modelsrevere thedepictionsoftheir In hisbookGoldie(1997),Blackleynotes thatsome

PAGE NEXT 34 | CONTEXTUAL REVIEW OF KNOWLEDGE racism was explicit.Hesays, Borell (2019)discussesthe ways inwhichGoldie’s complexity oftheirwairua. little evidence inhisdepictionsofthe women's manaorthe present wahine aseitherpassive orbenign,andthere is pensive looking,Māoriwomen. Theseartworks generally portraits reflect Goldie’s preoccupation withpainting older, Te Arawa (1939);and‘Te Hei’ - Ngāti Raukawa (1907).These Tarawera’ (1910);‘Reverie-PipiHaerehuka’ –Chieftainess of important portraits ofwāhine include,‘Sophia,theHeroineof of portraits of‘InaTe Papatahi’ – Ngā Puhi. Te Arawa chieftainess Kapi(1918),andaseries portraits ofwāhine Māori.Amongst thebestknown are Controversy aside,Goldieproduced anumberofsignificant 72 approximately twenty times. Goldie painted InaTe Papatahi Beginning withaportrait in1902, communication, 2019). all elderlyandlookingvery weary andtired (personal and TheLastoftheCannibals…soportraits are are someofthetitles...TheLastNobleSavage being adyingrace orthelastofnoblesavage. These frame andthatframe. Heramps upthedrama ofthem are explicitlyracist orbluntlylookatMāoriinacertain … soifyou lookatthetitlesofGoldie’s paintings they 72 Hisother cultural subjectmatter. Hesays, Borell alsodiscussesGoldie’s highlyselective the day. (personal communication, 2019). in traditional attire. They wanted to beseenintheattire of portraits, theywanted to beseeninEuropean attire, not often thannot,whenMāori were commissioning these they presented were notnecessarily accurate …More with bothGoldieandLindaueristhedepictionsofMāori perceptions ofMāori…Whatwe have to thinkabout really suggest fanciful notions...thatplay to people’s are onlyoneortwo portraits ofyoung girls…Histitles Māori men…depicted aselderly, They’re frail, there So Māoriwomen inGoldie’s portraits are similarto the PAGE NEXT 35 | CONTEXTUAL REVIEW OF KNOWLEDGE “women suchasPapatūānuku,Hine-ahu-one, Hine-tītama, wāhine Māorihave inte aoMāori.Kahukiwa’s work provided to their whakapapa,andtheyreaffirmed theplace that because theyemphasisedtheconnection ofMāoriwomen of Māoriwomen. Kahukiwa’s portraits were distinctive the artist’s treatment ofroles, relationships andthemana , documentedMāori Myth Kahukiwa’s work anddiscussed Kahukiwa and Grace's (1984)bookWahine Toa: Women of wahine, whakapapa andancestral customs. deeply explores important concepts like motherhood,mana and dispossession.Herportraiture isdistinctive becauseit paintings becameconcerned withissuesofcolonialism myth andsymbolism, butsubsequently Kahukiwa’s later Toa attention asa result ofher touring exhibition,Wahine and illustrator. Inthe1980s,herwork gained significant Robyn Kahukiwa isapainter, children’s bookauthor Ngāti Hau,Ngāti Konohi, Te WhānauaRuatapere) (Ngāti Pōrou, Te Aitanga-a-Hauiti, Robyn Kahukiwa portraiture ofMāoriwomen by Māoriwomen. of identity, decolonisation andthedistinctive nature of interest becausetheyalluseartisticpractice to consider issues differ from my research into aural portraiture, their work isof that thesewomen are painters andtheirmaterial concerns contemporary wāhine Māoriportrait artists. WhileIappreciate painters, itisusefulto review theliterature andwork relating to Having considered two prominent, male,colonial portrait Contemporary wāhine Māoriportraitartists (warrior women). Thisbodyofwork explored Māori 73 (Kahukiwa &Grace, 1991,p.10). exhibition Wahine Toa (Women ofStrength) in1980 unstretched canvas] was completed aspartofthe Robyn Kahukiwa (1980).Hinetitama[Oilon FIGURE 2.2 fair-use/what-is-fair-use/ https://fairuse.stanford.edu/overview/ purposes ofcriticismorreview. See allows fair dealingwithawork for the s.42 oftheCopyright Act1994, which the exegesis are reproduced under The portraits usedinthissectionof 73 PAGE NEXT 36 | CONTEXTUAL REVIEW OF KNOWLEDGE with herkaitiaki(spiritualguardian). where shehaddiscussedherrelationship andconversations psychological conference theyear preceding theexhibition, excerpt from Tariana Turia’s speechto theNewZealand that reflected ontheabuseofMāorichildren, andan Moana Jackson’s contribution, “BatteredPeopleSyndrome” relation to Kahukiwa’s art.Significantamongthese was provided asocialandpoliticalcommentary onMāoriin Mitchell andPaparangi Reid.Eachsectionofthecatalogue It alsocontained contributions from JoDiamond,Hamuera statement andacommentary by thecurator GilesPeterson. Kahukiwa’s 2001exhibition,contained bothanartist’s The edited catalogue Mauriora!thataccompanied and colonisation, (asevidenced inworks like TiheMauriora[1990], Waitangi, thereaddress oflandlossandtheadverse effects of on Māoripoliticsandculture, arguing thattheTreaty of he positionedKahukiwa asasignificant artistic commentator (1995) ofthebook,Myancestors arewithmealways withme, adverse effects of colonisation. InMane-Wheoki’s chapter their emphasisonloss,disenfranchised Māoriyouth andthe discussing theartist’s motivation for herearlierpaintings and portraits asphoto-realist, Kirker (1995)spentsometime essays by anumberofauthors. DescribingKahukiwa’s Toi Ata-RobynKahukiwa worksfrom1985-1995contains power andcourage” (1984,p.7). [because theyemerge inherwork] aswomen ofstrength, Taranga, MahuikaandMuriranga-whenua anewstatus 74 of wāhine Māori. erasure ofthedepthandcomplexity The titlerefers to white colonialist’s Waitangi [1990]),were “deeply inspirational”. colonial settlers. Inherseries Whiteout critique ofhistorical portraits ofMāoriwomen created by p.10). Importantly, Hillard (2005)discussesKahukiwa’s of one’s mana,tapu, mauriandrangatiratanga” (2005, the beliefthatknowing andaffirmingtheselinksisthesource Hillard (2005)claimedthat Kahukiwa’s paintings “reinforce whakapapa andwhanaungatanga ). familygrouping (extended work anditisdirectly related to theimportance sheplaces on of identityhadalways been anabidingconcern inKahukiwa’s the Treaty of Waitangi. According to Hillard (2005),thetheme identity, colonisation, manawahine andtheimplicationsof narratives inKahukiwa’s paintings alsoexpress themesof and imagery. Like Kirker (1995),sheobservedthattheartistic values, customs, protocols),reo tikanga te (customary Kahukiwa’s artwas intrinsicallysteeped in and Mane-Wheoki(2005).Hillard discussedhow deeply Kahukiwa’s portraiture inessays by Hillard, Lucie-Smith Kahukiwa whichprovided anextensive exploration into recognised intheheavily illustrated of Robyn book,TheArt In 2005,Kahukiwa’s contribution to NewZealandartwas atua wāhine astheyappearinMāoricosmological narratives. (especially inher1983series Wahine Toa ), withthepower of whenua. Significantly, shealsodiscusses Kahukiwa’s concerns strong andconnected to te aoMāorithrough whakapapa and to gender politicsbecausesheportrays Māoriwomen as claims thatKahukiwa’s work makes asignificant contribution ( is reflected inKahukiwa’s depictionofthe roles ofwhaea Hillard (2005)alsoargues thattheconcept ofmanawahine dispossessed ofany connection to theirwhakapapa. “objects ofdesire” (ibid.,p.11),whowere dehumanisedand the AlexanderTurnball library, depicted Māoriwomen as demonstrated how photographic images shelocated in mother), kōtiro (girl)andkuiaolderwoman,grandmother).She 74 (1990)Kahukiwa Māori cultural

Māori Māori PAGE NEXT 37 | CONTEXTUAL REVIEW OF KNOWLEDGE Digital Marae(2007) n.19897(1998), particularly evidentinherNativePortraits combine Māoriportraiture anddigital media.Thisis Elam SchoolofFineArts in1987.Herearlyartisticpractices Lisa ReihanaisanAuckland artistwhograduated from (Ngā Puhi,Ngāti Hine,Ngāi Tu) Lisa Reihana 76 75 (23 June–21July, 2012). Arts Gallery, Auckland, NewZealand and was exhibited atthePapakura children, belongingto Tawhirimatea) Whānau Puhi(describedasthewind photographic depictionsofTe This work constituted four (6 October –2December, 2007). New Plymouth,Zealand, at theGovett-Brewster ArtGallery, Digital Marae was exhibited 75 andNgāHaueWhā(2012).

76 opencollection/objects/5029 estate. Retrieved from https://www.brooklynmuseum.org/ Brooklyn Museum,Giftoftheartist, 2007.27.©Artist’s 2001. Digital photograph, 79x46in.(200.7116.8cm). Lisa Reihana,Mahuika, fromthe“DigitalMarae” series, FIGURE 2.3 PAGE NEXT 38 | CONTEXTUAL REVIEW OF KNOWLEDGE primitive andstatic” (2019,para, 2). and resisting its traditional depictioninthemuseumas of its subjects, capturingMāoriculture asliving,diverse, to thesehistorical images becauseitempowered many n.19897functionedasacounter“Native Portraits balance to questioncolonial depictions.Reihana(2019)states that Reihana reconceptualised representations ofMāoriinorder studio photographs monitors. By drawing uponthe19 to herexhibitionwithastructured stack ofvarious video at thefrontofamarae).Reihanahasdesignedentrance this exhibitionwere alarge waharoa (frontentrance carving photographic practices. Thetwo majorcomponents of both apersonal whakapapaandacritique ofhistorical about history, tourism, andtechnology. Thework was of time,identity, andrepresentation, alongside ideas photographs from the1800sto explore Māoriconcepts that utilisedbothvideoandsound.Reihanausedstudio Papa’s openingin1997.Thiswas amultimediainstallation Reihana created n.19897 originallyforNative Portraits Te Native Portraits n.19897 77 (where Māoriwere a popularsubject), th century ‘cartes devisite’ their own wairua. connection to mauribecausetheyare understood to hold their tūpuna,hapūandiwi.Thesetaonga alsocontain a 80 79 78 77 Whānau Puhi(thewindchildren,belongingtoTāwhirimatea). examines four ofReihana’s photographic depictionsofTe In anessay, White LisaReihana:aradical (2012) Māoriartist Ngā HaueWhā iho that belongto herNgā Puhi ancestors. Thesetaonga tuku nieces, whoare dressed intraditional Māoriwoven cloaks Reihana’s four life-sized photographic portraits depicther 79 White, 2012,p.5). karakia since theircreation” (cited in been continuously wrapped inancient great antiquityare recognised ashaving taonga tukuiho,orancestral items of In White’s essay, PaulTapsell states “All taonga+ tuku+iho loan =&histLoanWords=&keywords= search?idiom=&phrase=& proverb=& from https://maoridictionary.co.nz/ something handeddown. Retrieved Taonga tukuiho–heirloom, of PapatūānukuandRanginui Tāwhirimatea –Māorigod ofwind,son museum inWellington. collection housedintheTe Papa These were from theBurton Brothers represent aconnection to, andassociationwith, 80

PAGE NEXT 39 | CONTEXTUAL REVIEW OF KNOWLEDGE digital poupou Māori understandings ofcreation stories expressed through embody aperson. connections to tūpunathatbothphysically andspiritually whare whakairo, DigitalMaraedevelops portraits thathave past to “aprojected future” (ibid.).Like poupoufound in (Māori gods)andaestheticallytheyconnect Reihana’s these digital poupoureflect traditional forms ofatuaMāori them ina“newspatiallocality”(p.5).Shesuggests that 81 construction ofanewmediawharenui, Devenport describestheDigitalMaraeproject asanartistic publication features anextensive interview withReihana. Nikos Papastergiadis andMegan Tamati-Quennell. This Deidre Brown, andcultural theorists andsociologists Devenport, includeswritingby Māoriarchitectural historian The DigitalMaraeproject publication(2012)edited by Digital marae 83 82 watch?v=vNxSfEF9bH4 from https://www.youtube.com/ Marae’. Retrieved August, 2019 APT4 /LisaReihanadiscusses‘Digital house (Mead,1995). framework ofthewalls ofameeting Poupou -uprightslabsforming the (Mead, 1995). Wharenui –large meeting house 82 insidethedigital wharenui, thatplaces

81 thatinvestigates Reihana (2003)saidofDigitalMarae commanding authority. and situates atuaMāoriand atuawāhine into apositionof assertion ofpower, thatsweeps across timeandcosmology a nostalgic reflection ondecline.Instead thisisanimposing viewer. Mahuikaisneitherasymbol ofcultural demisenor in thebrightred fingernails heldaloft, yet remote from the captures theconnection between matimati(fingers)andfire on thehumanhand).Inthisportrait, Reihanasymbolically and gave birthto five children, (named for thefive fingers representation ofthefemale deitywhomarriedAuahitūroa Māui obtained thesecret ofmakingfire. Thisisanimposing 2.3). Thisatuawahine (goddess) isthegoddess from whom Indicative ofReihana’s work inthisseriesisMahuika (Figure communication, 2019). … reshapingthebordersofhowwethinkaboutthem (personal privileged Māoriwomenwithinthosestoriesfirstand foremost the narratives ofMāorigoddesses. Hesays, DigitalMarae design, staging andlighting),thework pays homage to artistic practice (thatincludesmulti-media,costume moment” inNewZealandartbecause,asacollaborative Borell believes thatDigitalMaraerepresents a“threshold see themasancestral figures. to carve…instead ofthinkingtheseasphotographs, I edges, pushedtheboundaries…it’s my way ofbeingable fire to the world. Inthesephotographs …I’ve pushedthe Rongo …soshe’s representing Mahuikawhobrought and I’ve represented themhere, behindmeismy Aunty I’ve taken anumberofstories Iwas told whenIwas child 83 PAGE NEXT 40 | CONTEXTUAL REVIEW OF KNOWLEDGE has describedherportraiture as, Her work isethereal andhighlydistinctive. MarkAmery paintings ofpeople” (p.18). I justwant theessence ofthings rather thanthestraight saying, “Iwant themto feel more like spirits thanhumans. discusses thedistinctively wraithlike nature herportraits (Smith&Soloman,2002), Māoriartists with contemporary Gossage inaninterview includedinTaiāwhio –conversations andsculpture.poetry her artisticpractice alsoextends into theatre, film-making, Polytechnic SchoolofArtin1995.Inadditionto painting, Gossage gained aDiplomaofFineArts from Otago (Ngāti Wai, Ngāti Ruanui) Star Gossage Gossage, indiscussinghercultural influences says, Quennell, 2002,p.20) whakapapa, through your ancestors. (Cited inTamati- see anddo.Your beliefs go rightbackthrough to your and thatthere ismuchmore to thislife thanwhatwe it comes outanyway. AndIbelieve inthespiritualrealm explain you’re Māori,you justare, inwhatever you do, I believe inMāoriways …Ibelieve you don’t have to The Arts Foundation Te Tumu Toi, 2014,para. 4) if demandingthattheirstories beremembered. (cited in standing tall. Thepupilsoftheeyes bore through you, as soaked inbothlove andsadness,like weathered posts ... there’s noinnocence intheeyes offigures; they feel apparitions imbuedwithcollected andancestry memory …painted ghosts; beautifulfaces from dreams, angel-like [oil onboard]. Private Collection. Star Gossage (2011).Whai FIGURE 2.4 PAGE NEXT 41 | CONTEXTUAL REVIEW OF KNOWLEDGE originator ofsuchactivities. to Te WhaiWaewae aMāui,whosomeiwibelieve was the the relevance ofMāoristring games aswell asarelationship Whai (Figure 2.4).Nepia(2016)notes thatWhaiexplores Significantly amongst Gossage’s work isthe(2011)portrait understandings ofconnection to land,seaandpeople. association alludesbothto herwhakapapaandto Māori connections andtribalnarratives” (Nepia,2006,p.VII).This work as“gentle andpowerfully evocative ofspiritual communities. Ngahiraka MasondescribesGossage’s lands inNewZealandandthedisplacement ofMāori suggests, echoesthecolonial histories ofconfiscated “metaphorical andmelancholynature” (p.VII)whichhe Nepia (2016)describesGossage’s work ashaving a who was thedaughter oftheNgāti Wai chiefTe Kiri. given thatsheisthegreat-great-granddaughter ofRahuiKiri, acknowledges herwhakapapato herchieflyNgāti Wai lineage her portraits, includingRahuiKiriRd(2002).Inthiswork she The importance ofthisconnection isevidentinanumberof PAGE NEXT 42 | CONTEXTUAL REVIEW OF KNOWLEDGE exhibited inthe‘Five MāoriPainters exhibition. White (2014)discussesthe seriesTūhoetanga thatTe Ratana framework” (White, 2014,p.55). a physical space basedon a manawahine conceptual 2.5) .Te Ratana describesherpaintings as“constructing often comments on thesuppression oftribal voices (Figure often three dimensional work, draws onherheritage and of MāoriStudiesatMassey).Hermixed University media, programme Toioho kiApitiatTe Pūtahi-a-Toi, (TheSchool New Zealand.Shegraduated from theMāoriVisualArts Saffronn Te Ratana was borninPalmerston North, (Ngāi Tūhoe) Saffronn Te Ratana 85 84 with thefeatures ofPapatūānuku. White claimsthatthisdistinctive texturing canbeassociated features associated withsexuality andreproduction” (p.55). in thepaint,whichWhite suggests “symbolise thephysical series was created using asyringe to make lumpsandbulges mārama (theworldoflight)into te pō(thenight). narrative ofHine-tītama andhertransformation from te ao for thework. Te Ratana inthisseries,responds alsoto the Kahukiwa’s (1984)portrait ofHine-nui-te-pō astheinspiration Hine-nui-te-pō andacknowledges theinfluence ofRobyn that Te Ratana, choseto engage withtheatuawahine, Masters level papers, Toi OhokiĀpiti. created inresponse to oneofRobertJahnke’s White notes thatthisbodyofwork was (22 February-15 June,2014). Auckland Toi ArtGallery oTāmaki, ‘Five Māoriartists exhibition’ –

84 85 Shenotes Theresulting artist andFerner Galleries. Cp 1.2.2000.Courtesy of the Saffronn Te Ratana (2000). FIGURE 2.5 PAGE NEXT 43 | CONTEXTUAL REVIEW OF KNOWLEDGE [Digital photograph]. MasseyUniversity. Erena Baker (2009). Ataata FIGURE 2.6 86 the dead,funeral (Salmond,1975). Tangihanga –Māoriceremony to mourn physically present. deceased were addressed asifthe deceased person was of deceased inabsentia),photographic portraits ofthe at tangihanga ritualsandkawe mate (ritualcommemorations tangihanga, of exhibitingphotographic portraits ofthedeceased at for Ataata(2009),Baker discussestheMāoripractice person including theirmauri.Intheexhibitioncatalogue to value portraiture asaway ofcapturingtheessence ofa (ibid.). However, shealsonotes thatover timeMāoricame the apparatus hadthe“ability to ursurp aperson’s mauri” (and theirportrait beingtaken), becausetheythought She notes thathistorically someMāorifeared thecamera tūpuna (ancestors (Baker,) andtheirmemory” 2009,para, 1). reflection of my whakapapa(genealogy)asacontinuum ofmy “photographs are areflection ofthepastandpresent,a Māori andportrait photography (Figure 2.6).Baker argues, in 2009.InherthesisexhibitionAtaata(2009),sheexplored from Toioho KiApitiatTe Putahi-a-Toi, atMasseyUniversity Erena Baker graduated withaMaster ofMāoriVisualArts Ngāti Toa Rangatira, Raukawa, Ngāti Ruanui) (Te Atiawa kiWhakarongotai, Erena Baker figurative orabstract. Māori pointofview, portraiture may be conceived aseither (personal communication, 2019).Heargues that,from a of Māoriwomen’s representation inanabstract manner” Borell (2019)suggests Te Ratana “produces herown form 86 andsheexplainsthatwithinMāoricustom, PAGE NEXT 44 | CONTEXTUAL REVIEW OF KNOWLEDGE and my self-portrait” (ibid.,para. 1). interactions between my ancestors, theirtaonga (heirlooms) time andspace [which]isachieved through photographic Ataata exhibition,asa“reflection and communion across Baker describesthehighlypersonal work shecreated for the the artist’s own tūpuna.Thework isadignified, conceptual black andwhite photographs ofMāoriwomen including Sophia/#select-your-print newzealandartwork.com/shop/product/262823/ 1715 x1715mm.Retrieved from https://www. Sophia (2018).[Oilandflasheon canvas], FIGURE 2.7 approach. Thestudyisasynthesis of19 Her portrait Sophia(2019)(Figure 2.7)isindicative ofthis current timeandplace” (Minson,n.d,para 2). a living,evolving andcreative people,inhabitingreal and However, her intention isto express Māorias“very much draws upontheartisticpractices ofLindauerandGoldie. a post-colonial societyandinsomeofherportraiture, she Minson’s work often explores ideas related to Māorilivingin of ourancestors” (Minson,n.d,para 1). integrates ourmodernhumanexperience withthewisdom Of herapproach, shestates, “I’m makingsacred artthat expresses itself through cultural andreligious hybridities. portraiture hasacommanding presence thatoften in portraits thatoften address theviewer directly. Her detailed works combine realist andsurrealist traditions Sofia Minsonisanoilpainter. Her generally large, intricately (Ngāti Porou, English,Swedish andIrishheritage) Sofia Minson th and20 th century PAGE NEXT 45 | CONTEXTUAL REVIEW OF KNOWLEDGE kauae. Oftheportrait Minsonhasstated, painted herattired inVictorian dress and wearing moko portrait ofSophiathegoddess ofwisdom. Minsonhas tukutuku panelsandmathematicalfractals. designs for thetattoo that reference woven tāniko and moko kauaeingold andshehasconstructed triangular recordings ofGoldieandLindauer, Minsonhaspainted the For example,moving away from thecareful ethnographic rank, thestudyfeatures distinctive disruptionsto convention. with white tippedblackhuiafeathers associated withhigh ( strong feeling ofindigenous spiritualityandkaitiakitanga the study“to beofindistinct ethnicorigin,yet to have a that theportrait emanates from herimagination,sheintended depth ofMāorideities(Figure 2.8).AlthoughMinsonclaims is anoiloncanvas portrait thatexplores theintensity and Māori cosmological stories. Herpainting,AtuaWāhine (2016) However, Minson’s portraiture alsodraws upontraditional guardianship)” (Misson,2019b,para. 1). Although adorned ( doesn’t seemoverwhelmed butembodiesmanawahine portrait there iscomposure andwisdominhereyes. She an impossiblesituationto navigate. Andyet withinthis advice, histories, tikanga andrulescansometimesfeel like social programming thatnolonger serves.Conflicting The goal isto distinguishtrueguidance from inherited presents achallenge to ancestral voices from thepast. She isawahine toa (acourageous woman)…thepainting of bothWestern tradition andancientMāoritradition. This woman presents astable centre ofselfinthepresence the divinefeminine).(2019a,para. 1-6). Wahine/ [You needto findthelocation] www.newzealandartwork.com/shop/product/221830/Atua- [Flashe oncanvas]. SofiaMinson.Retrieved from https:// Sofia Minson(2016).AtuaWāhine. 1700x980mm, FIGURE 2.8 PAGE NEXT 46 | CONTEXTUAL REVIEW OF KNOWLEDGE drew herreferences from blackandwhite 19 revealed to mortal experience. questions us–knowing allyet concealing whatcannotbe portrait’s gaze isdirect; thegreat goddess confronts and feather adornmentandmoko kauae.However here, the Wāhine (2016),thegoddess in thisportrait wears ahuia patterns wovenintothebordersoffinegarments).Like Atua gold anddetailed withblacktāniko designs(geometric korowai (traditionalMāoricloak)thatispainted inreflective comparatively stylisedstudyofthegreat goddess wearing a century photographs ofMāoriwomen. Theportrait isa ‘Sacred Mirrors’ series. pō (2017).Thisportrait formed partoftheartist’s Minson references atuawāhine again inHine-nui-te- 87 Auckland, NewZealand. in June 2017atParnellGallery This serieswas exhibited in 87 AsinSophia(2018),Minson

th and20 th

discussed here serves only asapartialcontext for Ōtairongo. The work and concerns ofMāoriwomen portrait artists identity; itemanates from andresponds to, aural potentials. But, similaritiesaside,my work isnotavisualexpression of considered by eachgeneration ofcontemporary artists. in acontinuum ofopportunitiesthatariseandshouldbe potentials ofsuchtechnologies becauseIseenewmedia Māori portraiture asconversant withandresponsive to, the of contemporary wāhine Māori.Iseethedevelopment of my work to explore atuawāhine andthepower andcomplexity As withReihana,Iemploy newandemerging technologies in represented through theportraits Icreate. Gossage, Ibelieve that wairua andmauricanbedepicted and wider issuesofpoliticalassertionandcultural identity. Like and whakapapatheyare intimately integrated with the domestic,withrealities ofmotherhood,whānau of wāhine MāorithatIdepict.alsoinfusethepoliticalwith the power ofatuawāhine directly related to theidentities of theirconcerns are similarto my own. Like Kahukiwa, Isee representations of Māori inmediaotherthansound,many Māori portraiture. Although theseMāoriwomen artists create Identity andheritage are complex andtheylieattheheartof Borell says, Conclusion heritage. (Borell, 2019, personal communication) explicit …theyare agateway of talking aboutidentityand sometimes theshifts are subtleandsometimestheyare women owning theirown ideasofrepresentation and Erena Baker, we are seeingthewhakapapaofMāori When we thinkaboutRobyn, Lisa,Star Gossage and PAGE NEXT 47 | CONTEXTUAL REVIEW OF KNOWLEDGE on my project thatrelates to identityandsound. women artists, itisusefulto consider knowledge impacting depictions ofMāori,andtheportraiture ofprominent Māori Having now overviewed portraiture asresearch, colonial 88 http://obadike.tripod.com/hm.html Paik andJamesBrown canbeviewed at: sound arttriptych dedicated to NamJune Obadike’s 12-minute work Sexmachines;a transformed into textural and ambientphrases thatare messages andmusicalphrases. Thesesoundsare compositions integrate vocal improvisations, dialogue, made explicitthrough soundinstallation. Inherstudy, she explores theportrait asanaural self-examination, Expression throughsound,representationandinterpretation, In Friðriksdóttir’s 2017Master’s thesis(2017)Portrait: way to preserve anaural (p.93). memory” as “makingaudiorecordings oftheir children’s voices asa audio ‘snapshots’ ofhisfamily anddescribeshisportraiture photographer takes family photographs. Obadike records to family genealogies, inamannersimilarto theway thata Obadike’s work ‘sonic portraiture’. Hesays, music andculture,Keith Obadike discussestheconcept of In Miller’s (2008)text Soundunbound:samplingdigital Sonic portraiture art’ (Licht,2009),and‘voice portraiture’ (Kavanagh, 2018). Bongiovanni, 2018),‘sonic portraiture’ (Miller, 2008),‘sound terms including‘musicalportraiture’ (BachinWalden 2008; to trace asithasbeendiscussedunderarange ofrelated The evolution ofaudiodepictionsportraiture isnoteasy Audio depictionsof identity messages canbeunderstood assonicself-portraits. (p.93) Everything from earlyhiphoprhymes to ourvoicemail Perhaps sonicself-portraits are even more common. visual art.Ithinksonicportraits are alsofairly common. ... whiletheideaofportraiture isusuallyassociated with I thinkwe recognize peopleasmuchby soundasby sight 88

is concerned withsonically linkinghimself PAGE NEXT 48 | CONTEXTUAL REVIEW OF KNOWLEDGE and characteristics ofbodilyfunctions.Hestates: sonic portraiture iscentred around thesoundsofbody Freize magazine.on sonictrajectoriesandresistancein His work WhereDoWe GoFromHere:For TheyShallBeHeard: Bonaventure SohBejengNdikung(2018)writes abouthis recorded andmixed to create aform ofself-portrait. the purposeofexploringhow soundelements mightbe distributed inphysical space viamultiplespeakers, with 89 2019). http://www.kategridley.com/ Middlebury, United States, (March –June Westover’s Schumacher Gallery, Gridley’s work was exhibited atthe archive ofsounds.(2018,p.1) wailing upontheirloss:theseare justsomeofthebody’s your youth; thevoices ofloved andunloved ones;the sound ofthewhiporspankthataimedto correct you in your grandmother sangatyour bedside;thestriking your motherpushingyou outinto theworld; thelullabies sounds have agency andmarkspace. Thescreams of The utterance andperformativity ofnon-vocal, bodily breathe, walk, yawn orsneeze,defecate, urinate orfart. but you can’t take away thenoisestheymake whenthey You cantake materials anddignityaway from people, choice. Gridleysaidofherwork, recordings ofthesubjects’ voices mixed withmusicoftheir studies of17people.Accompanying thepaintings were the sonic.Herover-life-size oilportraits presented identity portraiture. Inthe18 Predating theserecent works isthe concept ofmusical Musical portraiture ofEmergingAdults’,Through: Portraits Unlike Gridleyinher2019exhibition‘Passing Ndikung, philosophies inricher, more authenticways. representation can beemployed to transmit histories and (ibid., para. 4)decolonisation through processes ofsonic understanding of peopleto gesticulations orscarifications” claims thatbecausevisualdepictionsofidentity“reduce our enforce dominantnarratives andhegemonic knowledge. He against colonial auditory experiences thathesuggests, often Ndikung (2018)frames hiswork asaform ofsonicresistance musical portraits for solo keyboard whileinBerlin. Between 1754and1757,Bachcomposed numerous rather thanphysical likeness” (Walden, 2008,p.379). that suchworks shouldrepresent thesubject’s character, capable ofproducing portraits analogous to painting,and son ofJohannSebastianBachbelieved that“musicwas December, 1788)CarlPhilippEmanuelBach,second eldest is theirmedium” (Gridley, para.1, 2019). done anymore –andthedigital mediumofsound,which adults through salon-sizeoils–whichare nottypically My goal isto honortheessences andvoices ofemerging transition to realize theirselves andclaimtheirvoices … Through’ marksmoments inwhich17emerging adults, Through painted canvases andsoundportraits, ‘Passing th century, (8March, 1714–14 89 blendsthevisualand PAGE NEXT 49 | CONTEXTUAL REVIEW OF KNOWLEDGE 91 90 artist’s musicalrepertoire. biographical history interspersed withaselectionofthe composers whoheinterpreted through acombination of musical portraiture focussed oncontemporary electronic as alive radio seriesatSpektrum inBerlin2015.Sadja’s a seriesoflectures andlistening sessions.Hiswork began Dorin Sadjausedtheterm musicalportraiture to describe in two verydifferent media forms. In2015thecurator More recently, theterm portraiture hasbeenappliedto 92 forms ofavant-garde music(Kelly, 2014). presentation. Heisespeciallyknown for hisearly sciences andthevarious forms ofmusic andradio recognised for hisinnovative work bothinthe acoustic andexperimental music.Schaeffer is He isregarded asoneofthepioneers ofelectro- writer, broadcaster, engineerandmusicologist. – 19August 1995)was aFrench composer, Pierre Henri MarieSchaeffer (14 August 1910 of artandperformance (Herwitz, 2014). musical experience and thebroader aesthetics assumed definitionsaboutmusicianshipand creating originalsoundworks thatchallenged music. Cage was instrumental inthedevelopment art andleadingfigures ofpost-war avant-garde He isregarded asoneofthepioneers ofsound music theorist,soundartistandphilosopher. August 12,1992)was anAmericancomposer, John Milton Cage Jr. (September 5,1912– or museuminstallation” (p.415). focus onsound,often produced for gallery Art asa“general term for works ofartthat Audiothe anthology Culture describeSound Cox andWarner to (2009)intheirglossary

manipulation ofrepresentational soundand dimensions of complex sound-objects, withanemphasisonthe and Helmholtz), heconsidered themusical organisation traditions (specificallytheacoustic theories ofPythagoras analysis ofassumptionsunderpinningWestern musical digital information processing. Beginningwithacritical aesthetics resulting from computer technologies and considered developments inmusic-makingandmusical which In 1996,Wishartreleased hisbookOnSonicArt important to my practice. 1990, becausetheyinterface withemerging technologies this review isconcerned primarily withdevelopments post- work ofCage to thedevelopment ofsoundart,andIappreciate thelater Futurists, theDadamovement andFluxusasforerunners I acknowledge theartisticphilosophiesofItalian 2009; Licht,Toop, 2000;Wishart1996). that may bedefinedassoundart(Cox and Warner, sound designers, audioculturists andsoundpractitioners In atangential realm, there isabodyofwork generated by Sound Art works (ibid.para. 7). “represent theessence” oftheindividualwithwhomhe are composed asartworks thatusemusicto exhumeand within” (Bongiovanni, 2018,para. 4),his‘MusicPortraits’ “nature andpersonality anddiscovering whatmusicbears In aprocess hedescribesascomprehending aperson’s prior meetings andin-depthdiscussionswithhissubjects. of identitynarrative. Hismusicalportraits are basedon Bongiovanni, usesmusicalportraiture to describeaform Conversely, theItalian composer andsounddesigner 91 andSchaeffer 92 inevolving theconcept, 90 While PAGE NEXT 50 | CONTEXTUAL REVIEW OF KNOWLEDGE 95 94 93 and sounddesign. technologies onthevernacular soundscape sonic experience andtheimpactofemerging cultural-studies’ perspectives onsound, from more diverse discourses, including aesthetic qualities,andanalysesemanated generally more concerned withsound’s inner English literature onsoundart,theynoted was emphasis on‘seeing andhearing’. Conversely, to aspatiallocation,andtheyplaced significant concerned withsound’s material relationship on Klangkunst(soundart)were primarily Their research noted thatGermantexts sound artthatexposedtwo discrete discourses. analysis ofGermanandEnglishliterature of Engström &Stjerna,released acomparative significant amountonSonicArtperse.,in2009 Although thejournalhasnotpublisheda organised-sound https://www.cambridge.org/core/journals/ DAISWHc6BYCUJQ art. https://artsandculture.google.com/exhibit/ in thedevelopment anddisplay ofsonic and itisnow considered alandmarkexhibition Sonic Boomwas attended by 36,724visitors, intangible” (Hayward Gallery, 2000,para.1) and theacoustic, thesculptural andthe “the mechanicalandtheorganic, theelectronic installations inwhichthevisitor encountered filled theentire withaseriesofsound gallery of thebandSonicYouth), theexhibition Sonic, ChristianMarclay, andLeeRanaldo international artists (includingBrianEno,Pan April -18June,2000).Featuring over 30 Gallery, London,United Kingdom, (27 The exhibitionwas presented attheHayward electroacoustic composition. performance art,soundsculpture andexperimental of technology ondiverse genres, includingmultimedia, concerns have extended to considerations oftheimpact use oftechnology inmusic.However, over timethejournal’s publishing material onmethodsandissuesarisingfrom the Sound. David Toop of inamajorexhibitionSonicBoom:theArt In 2000,asignificantbodyofsoundart was curated by of noise” (2000,para.1). experience asbeing“immediately overwhelmed by acloud too many soundsculptures inonespace, describinghis (2000) review ofToop’s exhibitionargued thatthere were what isrecontextualised asanintegrated whole.Martin’s in oneacoustic space raises issuesofwhatisdiscrete and Technically andconceptually combining diverse sonicworks and theacoustic, thesculptural andtheintangible” (ibid.). encountered themechanical andtheorganic, theelectronic included aseriesofsoundinstallations inwhich“thevisitor by positioningitinagallery environment. Theexhibition liberating soundoutofits hitherto “restrictive clubcontext” art” (2000,para.1). Thecollective saw theexhibitionas work as“1990spost-techno, post-rave, post-ambientsound In thesameyear thejournalOrganisedSound, poetry, sound-poetry, filmandsoundeffects). extended considerations ofsonicartinto therealms of of humanandnon-human‘speech’. Insodoing,he 95 TheSoundArtText collective describedToop’s 94

93 began PAGE NEXT 51 | CONTEXTUAL REVIEW OF KNOWLEDGE nature ofcriticalcross-pollination. considering both discrete works andtheimplications sculpture, soundartexhibitions andgallery installations, it traced theevolution ofsoundinstallations, sound music andarthistory (rather thanphilosophicaltheory), art. Consideringthemediaform from theperspectives of book was significantindefiningtheemerging fieldofsound including Jean Dubuffett, Steven Roden, and Brian Eno. This over thirtybiographies andworks by arange ofartists, experimental musicworld and thevisualworld, providing work ofItalian Futurism,he established linksbetween the Beginning withtheoriginsofsoundartinexperimental work asameansofillustrating evolution ofthemediaform. sound artandoffered examplesofsignificant practitioner’s categoriesbeyond music,between heexplored theoriginsof sculpture, sounddesignand soundecology. InSoundArt, world, multi-mediainstallations, ambientmusic,sound multitude ofcreative audioexpressions found inthenatural Licht (2007)hasusedtheterm ‘SoundArt’to cover a Toop, quoted inMartin(2000)defended hisapproach stating, 96 recent research. on theoriginaltext to includemore EUPB e-Book.Thenewedition expands AcademicasawatermarkedBloomsbury Revisited’ in2019andreleased by The bookwas updated as‘SoundArt which ismuchmore alive andhuman.(2000,para. 2) as beingarather sterile space for showing artto something hopefully thattransforms thegallery from whatwe thinkof …the gallery inthetotal immersed experience and 96

and exceeds these expressions” (2009, p.19). which humanexpressions contribute but which,precedes conception ofsoundas“acontinuous, anonymous flux to which soundartplays arevolutionary role. Heargued for a art. Broadly, Cox’s essay suggested anontology ofsoundin sound environments assignificantexpressions ofsound particular, heconsidered BrianEno’s ambientmusicand the earlydevelopment ofaudioculture andsoundart.In of Schaeffer andCage, positioningthemassignificantin Varèse’s Liberationofsound.Cox alsodiscussedtheworks identifiable inLuigiRussolo’s work Intonorumoriand art cameto incorporate newexperimental sonicpractices and dance. Heclaimedthatwithinthelastcentury, sound (2009) argued thatsoundart reaches beyond music,poetry andtheSonicUnconscious , CoxIn hisarticle,SoundArt audio experimentation. connections between contemporary musicalforms and the musicalterrain ofanewsoniclandscape,whichdraws is created. Theirwork constituted aninvestigation into technologies asinfluencing the ways inwhichsoundart growth insoundrecording, audiotracking andemerging the mediaform. Cox andWarner (2009) highlighted the discussed theimpactoftechnological advancement on early sonicexplorers like Cage, RussoloandSchaeffer they audio culture. Beginningwithananalysisofthework of Warner (2009),reviewed soundartwithinthecontext of Following therelease ofLicht’s (2007) text, Cox and PAGE NEXT 52 | CONTEXTUAL REVIEW OF KNOWLEDGE political influences thatare expressed by soundartists. that soundartisconstructed from social,cultural and complex socialnetwork” (p.2).Accordingly, shesuggested art holisticallyas“asocialcreation thatexists withina debates andpractices withinsoundart.Sheframed sound Bhaugeerutty (2018) research explored a range of concepts, Artworld Definition intheContemporary Bhaugeerutty’s (2018)Doctoral Discourses of thesis SoundArt: 97 99 98 Library, Archive and Museum. GLAM isanacronym for Gallery, transcend national language barriers. inorderpoetry to consider how itmight These artists experimented withsound series oflive experimental sound. with its critically acclaimed annual This was aninstallation inconjunction September 30, 2000 atMoMAPS1. work ‘Volume: BedofSound’ (July 2– David Toop andUgo Rondinone’s ‘Sonic Boom:TheArtofSound’by These includethelandmarkexhibition sound, space andperception. (p.iii) meaning …andistypicallyconcerned withissuesof and sonicartbuthasalsodeveloped specific generic concerns withotherforms suchasexperimental music …an ambiguousandmutable concept thatshares

defined sound art as, defined soundartas,

portraits were developed through extensive interviewing of filmed‘portraits’ of four NewZealand musicians.These undertook astudythatinvolved thedesignandproduction D.I.Y. Filmed Portraits fortheGLAMSector.D.I.Y. FilmedPortraits In 2018,inhisNewZealandstudy, Taking theTime: (2006, pp.4-5). which usematerial from pre-existing archival sources” from everyday conversations orinterviews’ and‘works that are scripted andscored’; ‘audiodata thatisgathered she dividedsoniclanguage into specificcategories; ‘words techniques thatmightbeusedwhenworking withspeech, Significantly, inanattempt tocategorise compositional Lane’s research viewed speechwithinsoniccomposition. of soundpoets, Hugo Ball,Tristan Tzara andHansArp, Khlebnikov (ascreative manipulators ofwords) andtheart In herexploration ofthework ofKruchenykh and history material. compositional techniques thatdraw onarchive andoral based genres (like shesoughtto soundpoetry), categorise of spoken word, text composition andperformance- speech, intechnology-mediated works. Inherconsideration which composers andsoundartists userecordings of approaches tousingrecorded speechinvestigated ways in Lane’s (2006)articleVoices fromthePast:compositional participants’ voices Sonic composition using development ofsoundartasanartisticpractice. exhibitions from the2000sthatproved significantinthe development. Shediscussedanumberofmajorsound the inception ofsoundartinthe1980sandits Bhaugeerutty’s (2018)studychronologically documented 99 Cunningham 97

PAGE NEXT 53 | CONTEXTUAL REVIEW OF KNOWLEDGE 100 processes. the personality ofthespeaker. well, ‘yeah, nah’ and‘like’) asaway ofdrawing attention to aah’s, asidesandpauses),discourse particles(including include hissubject’s sonicpausefillers (suchastheumm’s, timbre oftheirvoices. Inaddition,Cunninghamelected to own words, by exploring thenuances, colouration, tone and preferring to illustrate thestories oftheseartists intheir He choseto exclude music from thecreation ofhisportraits, emphasis onthe“sound’ ofhisparticipants” voices (p.3). What was significantaboutthis research was theartist’s their experiences inanunadornedmanner”(2018,p.3). … intended to offer asimple record oftheartists recalling create simplelong-form interview-based portraits ofartists artistic inquiry. fall outside ofthecontext ofthismore history recording. Assuch,its concerns word portraiture to traditional, oral synthesis butinstead itappliesthe work isnotconcerned withartistic recording equipment.However, this interviews, captured onhighquality Her portraits usematerial from 3-hour portraiture’ (http://voiceportrait.co.uk/). work isChristineKavanagh’s ‘voice record life experience. Indicative ofthis individuals inaneffort to simply media concerned withinterviewing This studymay bedemarcated from 100 According to Cunninghamhis“goal was to non-physical ecologies (Licht,2007).Here my audio- world, integrated into sound designsandphysical and creative audioexpressions ofmaterial found inthenatural practitioner (Toop, 2000),whoseaudio-portraits constitute myself asasound designer, audio culturistandsound within abroader conception ofSoundArt.Thus,Isee I seemy work ascomposed soundthatmightbepositioned individual’s character, rather thanherphysical likeness. of Bach,my audio-portraiture isanattempt to represent an interpreting, accordingly, like Walden’s (2008)description express andrepresent theessence ofthewomen Iam But, like Bongiovanni andGrindley(2019),Iseekto explore, (2018), Idonotconceive my work asmusicalportraiture. my portraiture, unlike Bach,Sadja(2015)andBongiovanni Although sometimesmusicisanintegrated component in the nature oftheparticipants withwhomIamworking. understand thatsoundhas asignificant relationship with interfaces between visualportraiture andsound,like her, I Although Iamnotconcerned like Gridley(2019),with and theambience ofamarae, street orcoastline. including publishedmusic,laughter, intimate conversation diverse material from abroad spectrumofsonicdata, my audio-portraits. Thisisbecauselike them,Iintegrate sound, includingthevernacular and intimate, resonate with compositional artefacts thatdraw ondiverse repositories of and Ndikung’s (2018)discussionsofsonicportraits as useful to my inquiry. Miller(2008),Friðriksdóttir(2017) From thiscorpus ofresearch, specificideashave proven Impact andrelevance PAGE NEXT 54 | CONTEXTUAL REVIEW OF KNOWLEDGE 101 ontology ofsound. sonic landscape’ where theymay beseenasrevealing arich audio-portraits contribute to Cox andWarner’s (2009)‘new 2018).Incomposite,(Ndikung, the practices colonial against works functionasaformresistance” of“sonic complex socialnetwork (Bhaugeerutty, 2018)andthese portraits functionasasocialcreation existinginsidea 102 traits” (Yates-Smith, 1998,p.154). descendants are imbued withthese and itisbecauseofPapathat herfemale the creative, generative principleresides, source ofHine.ItisinPapatūnukuthat again to Te AoMarama, iste puna,the traces backto te Pōandfurtherback Papatūnuku …Papa,whosewhakapapa principle was created from thebodyof (Best, 2006,p.73). Rangi-nui oroftenassimplyby Rangi” (the great skystanding above), as referred to asRangi-nui-e-tu-nei nui-a-Tamaku, butwhichisoften upwards) thename ofwhichisRangi- of thefirst twelve heavens (counting genealogies. “Theserelate to those There are several namesindifferent Rangi isalsoknown asRangi-nui– Papatūnuku –“…thehuman

(1998, p.128)recounts: the heavens. Inoneofthemany explanations,Yates-Smith humankind andthelinkages to thegods, goddesses and both painandsuffering andhealing wellbeing.” is always present, integrated into everything,thesource of Ruwhiu (2001,p.63)who argues that“...thespiritual realm The holisticnature ofMaorispiritualityisdiscussedby Ranginui stories. Significantly, thenarrative ofourprimeval parents conveyed through Māoricosmologyandthecreation spiritual knowledge andunderstandings are primarily wāhine Māoriandatuawāhine through whakapapa.Māori The thesisisalsoconcerned withlinkages between essence ofMaoriwomen, includingtheirmauriandwairua. This studyisconcerned with representing thespiritual consideration ofthree concepts: atuawāhine, wairua andmauri. Māori spiritualknowledge andunderstandings, includinga This sectionoffers an overview ofliterature relating to understandings Māori spiritualknowledge and Tāne, separated theirparents. how theyshouldremedy thesituation,one oftheirsons, arrangement, andthefollowing aheated debate asto became dissatisfiedwiththeircramped living (the numbervaries from version to version) eventually in thecloseconfines oftheirembrace. Theirchildren ka awhi kiaPapa,withthechildren they bore lying attracted to her. Theylay together, ka awhi aRangi, aware ofPapatūnukulyingbelow himandhewas Out ofthedarknesste Pō(thenight)Rangibecame 101 andPapatūnuku 102 reveals thegenesis of

PAGE NEXT 55 | CONTEXTUAL REVIEW OF KNOWLEDGE 103 goddess ofsoundandmusic. referred to as Hinerakatauri, HineRaukatauri), the and from Tāne camehisdaughter Raukatauri (sometimes From PapatūnukuandRanginuicametheirsonTāne, connects wāhine Māoriasfar backasPapatūnuku. Following thewhakapapaoffemale line,thisstudy through whakapapasystems (p.164). in theworld andthiswas operationalised andhonoured considered theMāorisystem for connecting withandbeing Ngāti Maniapoto tūpunanotes that,“spirituality was Edwards (2009)whenreferring to theteachings ofhis 106 105 104 the rainbow” (Yates-Smith, 1998,p.148). moon …butalsoappliedto theform of Hinekōrako –“adeitylinked withthe (Yates-Smith, 1998,p.147). as Hina,goddess ofthesea” Hine-rauwhārangi –“known and Hine-tītama (Yates-Smith, 1998). Hineteiwaiwa –Thefirst child of Tāne of men” (Yates-Smith, p.142). goddess ortheguardian ofsouls underworld. “Goddess ofdeath,the Hine-nui-te-pō –Goddessofthe

and physical being related withinwahine, whenshenoted, In 2002,Hutchings (p.51),builtontheidea ofthespiritual goddesses, spirituallyimpartingthegiftofbeing women. Yates-Smith (1998)suggests thatatuawāhine are Papatūānuku, Hine-ahu-one,Hine-tītama, Hine-nui-te-pō in areas ofbirthanddeath, paying particularhomage to her thesis,shediscussesthecrucialroles theatuawāhine, with recorded oral histories. Significantly, inchapter four of whakapapa, karakia andwaiata, andcontextualises herview that atuawāhine possessgreat mana. Shecites ancient Māori concepts ofthefeminine andatuawāhine. Sheargues considers thenegative impactofcolonisation ontraditional have marginalised thefeminine inMāorisocietyandshe Yates-Smith scrutinisescolonisation practices that the feminine withinaMāori worldview. Inherresearch, this resulted inabalance between themasculineand complimentary roles withtheirmalecounterparts and in Māoricosmology. Sheargues thatgoddesses shared comprehensive studyexamining theroles ofatuawāhine Rediscovering theFeminineoffers inMāoriSpirituality a wāhine. Yates-Smith’s (1998)doctoral thesisHine!EHine!: knowledge impactingonthisstudyrelating to atua Given thisancestral lineage itisusefulto consider the Atua wāhine Hineteiwaiwa be separated from thephysical reality. environment. Thespiritualreality ofMāoriwomen cannot everything theydo,especiallytheirrelationship withthe women have withwairua andtheirbelief init,governs [f]or somewomen therelationship thatsomeMāori 104 , Hine-rauwhārangi 105 andHinekōrako 106 . 103 , PAGE NEXT 56 | CONTEXTUAL REVIEW OF KNOWLEDGE 108 107 110 109 during mating. The soundofthecasemoth the female” (Flintoff, 2004,p.74). two complementary voices, themaleand in for Māori.Thetraditional concept isof because ofits two voices. Highlyesteemed Put ku-te-whe rattle-records.bandcamp.com/album/te- of thework can beheard at:https:// high-quality download inMP3.Excerpts heard viathefree Bandcampapp,and streaming ofTe KuTe Whecanalsobe accompanies theCD.Unlimited This isahard cover artbookthat of song”(Leahy, 2015,p.54). “blessed by Hineraukatauri withthegift her biography describesherwhānauas such thatwriters like Tariana Turia in This isawidelyattributed association, orino –“Hasbeencalledabugleflute

music). and spiritualisHineraukatauri (thegoddess ofsoundand One ofthesegoddesses whoembodiesboththephysical Hineraukatauri voice ofHineraukatauri” (p.6). which opensaportal to thespiritworld sowe canhearthe traditional Māoriflute).Theput pure andisreplicated by thesoundofput the deitytheysay: “Hervoice (aspiritualphenomenon)is Hineraukatauri’s legend isreferred to explicitly. Indescribing In MelbourneandNunnsTe Ku Te Whe(1999), and agame inventor oflongago” (p.69). Maori, Hineraukatauri was describedasa“Hawaikian dancer Interestingly, inPomare andCowan (1987)Legends ofthe the beautifuloneandexalted one” (1959,p.169), in anoriori(lullaby)describingheras“thepossessive one, entertainment ofKae” (p.270).Ngata refers to her again refers to thedeityasonewho“leadsachantduring references to Hineraukatauri, isby Potae in1928,who According to Komene (2008),oneoftheearliestwritten Meremaihi Aloua. he meawhakakiniite rongo ote t He urutapu ataahua, ko t e hihiko anate wairua kite rongo atu. Manu anate mauriaHineraukatauri Alluring andseductive. Her songpureandethereal. As thespiritquickens shecan beheard. The mauri 107 Sheisstillreferenced by Maoriwomen today.

of Hineraukatauri floats 110

ona tangi orino isthemechanism, ane. orino 108

109 (large PAGE NEXT 57 | CONTEXTUAL REVIEW OF KNOWLEDGE 111 case mothlives herentire life inacocoon, According to MelbourneandNunns(1999),thefemale 113 112 and itisoften identified as theatuaofflute: Teput sound through theput It isonlywhenthisspiritualphenomenontranslated into put resembles theput a Raukatauri” (ibid.,p.6). Kohurehure. waiata tangi (lament)composed by Te (1857), reference to Hineraukatauri ina made from wood andbird bone. (Flintoff, 2004,p.66). Nowdays kōauau are albatross bone,moaboneorhumanbone” cross blown flutes. Traditionally madefrom caterpillar insideit. vegetation andare dragged around by the bags comprise ofsilkandpieces of spin newbags around themselves. These foliage. After a few days, thenewcaterpillars hatch andemerge to populate surrounding of thisencasement.Hereggseventually abdomen into anopeningatthenarrow end by themalemothinsertingtipofhis caterpillar. Thefemale casemothisfertilised tough, cylindricalbagthatitmakes asa its (>80mmlongand>9indiameter), Thefemale25mm inlength). never leaves but awinglesscaterpillar (approximately male andanadultfemale, thatisnotamoth, species has ablack,furry, nocturnaladult omnivore) isadistinctive animal.The The native NewZealandcasemoth(Liothula orino issaidto bebeyond therange ofhumanhearing. In herdiscussion,Komene cites Grey’s Kōauau –“traditional Māoriflute, whichare orino. Theauthors note, “thesoundofthe orino thathumansare ableto hearit 111 which orino helinkstheoriginsofk performance, journey, aspects ofconstruction, socio-cultural relevance, and In Komene’s (2008),MAthesis,Ko teK is associated withWheke, thedaughter ofRaukatauri. playing thisinstrument which He says there may alsobeathird voice thatappears when flute”. Flintoffdescribesthemasa‘crying sound’ (ibid.). “the maleisplayed asatrumpet andits female voice asa (2004, p.74)thepūtōrino hastwo complimentary voices male andfemale components. According to Flintoff Hineraukatauri because thecasemothhasdistinctive p. 66).Thepūtōrino isinterwoven into thestories of broken bones,to helpmemoriseknowledge” (ibid., people into life andto ushertheirspirits out,to heal pūtōrino were utilised inMāorisocietyto “welcome Flintoff (2004)notes thatthediverse functionsofthe male partnerasheleaves thecocoon. case moth’s barely audiblesoundwhenshecriesfor her touchstone ofallMāorimusicisattributed to the female was personified asthecase moth,andheargues thatthe and Nunns(1999),Flintoff notes thatHineraukatauri as theGoddessofflute music” (p.65).Like Melbourne Raukatauri. Shewas thedaughter ofTāne …bestknown claims, “All flutes oftheMāori come down to usfrom Hine a significantbodyof research aboutHineraukatauri. He – themusical instrumentsoftheMāoriandhisbookcontained In 2004,Flintoff publishedTaonga Pūoro–singingtreasures Hineraukatauri. Māori flute)to thegods, thenatural world andthegoddess and earthmother)”(p.10). Tane-Māhuta whoisachildofRangi andPapa(skyfather regarded astheGoddessofflute music andisachildof 113 Komene states, “Hineraukatauri is

oauau: Itshistorical oauau 112 (traditional PAGE NEXT 58 | CONTEXTUAL REVIEW OF KNOWLEDGE her presence known by strange, aerialnoises” (ibid.,p.74). her “flute” andnote thathere “she stillabidesandmakes domicile after sheleftthe air. They refer tothisdomicileas long cocoon onthemānuka(teatree),becameherplace of to mate” (p.75).Theauthors claimthat Hineraukatauri’s and callwithabeautifulflute-like voice whenshe wanted by herearthlyhome,would riseto thetop ofthecocoon elders, “Hineraukatauri, beingflightlessandencumbered Nunns andThomas(2014)note thataccording to Māori 114 tangaroa-the-sea/page-3. of NewZealand,https://teara.govt.nz/en/ Retreived from Te Ara, theEncyclopedia are calledTe Aitanga-a-Te Poporokewa. was thepriestinstory, hispeople Tangaroa and theguardian offish.Kae Tinirau in Māoricosmologyisthesonof kata-uri’, whowas oneofthedancers ofTinirau andKae. of Raukatauri canbetraced to theoriginalword ‘Hine-rau- refers to thebagmoth,andshesays Māoriunderstandings Matira-Ranapiri-Ransfield. Shebelieves the word Raukatauri However, one ofthemostinsightfulexplanationsisfrom Tūī device oneplays. from thesameinstrument, dependingonwhere uponthe accords bothatrumpetsoundandhigherflute sound describes thepūtōrino asauniqueflute becauseits design to thepūtōrino astheearthlyhomeofHineraukatauri. He of HineRaukatauri: TheGoddess ofFlutes,Westbrook refers In his2014articleNgaUriOHineRaukatauri –TheChildren She, says, engaging withaportrait. moth-inspired cocoons thatlisteners encounter before she ismademanifest inmy useofput complexity, musicandmystery. Inalloftheaudio-portraits, in thisstudy. Hineraukatauri epitomises womanhood, is understood asintegral to theconcept ofaudio-portraiture In reviewing someoftheexistingliterature, Hineraukatauri (personal communication, July11,2019). and thenattheotherendofflute ithasalow sound one kōkiri orendoftheflute isahigh mellifluoussound it isrepresentation ofthebagmoth, hermaphrodite, unique to ourancestors whocreated thatinstrument…. of its design,itiscompletely autonomous, originaland reason thatinstrumentisnamedafter herisbecause –raukatauri’and that‘pū’ isshortfor pūtōrino andthe the pūtōrino. Sometimessheisreferred to asthe‘pū she becamelike thedeityofsoundandinparticular she alsohadahuge range insingingcapabilityand and becauseshewas abeautifulperformer (aperson) Hineraukatauri isto dowithmovement, like kapahaka, orino andinthecase 114

PAGE NEXT 59 | CONTEXTUAL REVIEW OF KNOWLEDGE 116 115 (when creation first cameinto being). set by Atua,ite orokotimatanga ote ao ground rules)governing creation was The kaupapa(thesetofprinciples or source ofalltapu. Thatsource isAtua. “All authority(mana)derives from the power’”. Tate (2010,p.85)explainsthat defined as‘beingwithpotentiality of to thenotion ofmana,whichmay be notionoftapu“the primary islinked mana.” Shirres (1997,p.29)states that p. 6).Hesays, “tapu manifests itself in tapu isexplainedby Marsden (2003, The interconnectedness ofmanaand and status” (p.84). spiritual power, authority, andprestige Tate (2010) furtherdefinesmana“is ‘vested andacquired authority’(p.38). also explainedby Pere (1988)asmana take effect, 8.Be avenged’. Manais with effective authority, 7.Beeffectual, Having influence orpower, 6. Vested Effectual, binding,authoritative, 5. prestige, power, 3.Psychic force, 4. as ‘1.Authority, control, 2. Influence, Williams (2008,p.172)defineMana material andphysical” (pp.33-51). means ofunderstanding dimensionsthatreach beyond the which centres thenotionofwairua inouranalysisis a Tuhiwai- Smith(1992)whonotes, “...spiritualdiscourse, influence” (ibid.,p.14).Thisclaim isaffirmed byLinda human life emanated from Io,thesupreme supernatural internalised withinaperson from conception –theseedof She alsonotes that“spirituality was seenasadimension word depicts spirituality, Shesays wai thatthe causes usto (water),rua(two). identify Pere (1988)notes thataliteral translation of“wairua” Pākehā and doesnotrefer to thespiritofMāoriwomen. (ibid, p.214).Whatisinteresting to note isthatBest wairua andthe“spirit ofman” continued to existbeyond death Supreme Being”. Heexplainedthat,withinMāoriunderstanding, manawa ora(thebreath oflife) …were provided by Io,the (2005, p.121)hesuggests thatboth“wairua (spirit),the According to 1 Best’s -Part MāoriReligionandMythology Wairua these concepts are alsoconnected to tapu andmana. constructs ofwairua andmauri.WithinMāoriknowledge atua wāhine andallMāoriwomen through theesoteric In theaudio-portraits, aconnection isposited between Wairua andmauri environment. (ibid.,p.13) one interacted withotherpeopleandrelated to the supernatural forces governed andinfluenced the way physical andspiritualimplications.Apowerful beliefin and otherinfluences were considered to have both integrated with,thespiritualrealm. Every act,natural, Maori saw thephysical realm asimmersed in,and 115

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PAGE NEXT 60 | CONTEXTUAL REVIEW OF KNOWLEDGE mana, whenua,tapu Ruwhiu (2001)suggests thatwairua ‘isconcerned with nurturing andguidingthenatural order.” Inaddition, and permeates through thewholeoflife, supporting, Jenkins (1988,p.493)argues thatwairua, “...penetrates 118 117 mauri andhauthus, wairua” (p.47).Hedescribesthesynonymous nature of and life. Mauriistheelemental essence imparted by breath ofthedivinespirit) is thesource ofexistent being Marsden (2003)explainsthat,“wairua(spirit)orhau(the experienced asalived phenomenon” (p.65). to marae protocols. distinctive andstrictkawa pertaining p. 173).For example,eachiwihas Maori isordered (Marsden, 2003, which theprogressive steps oftikanga Kawa is appliedto theway in to mana andtapu (p.7). debilitating transgression orchallenges neutralise orward ofthemalevolent and or neutralised. Noaisdesignedto Marsden (2003)asto bemadecommon Noa orwhakanoaisexplainedby to animate life. (2003,p.44) applied to inanimate objects; whilsthauisappliedonly adjective ‘Ora’Mauri withoutthequalifying (life) is hau-ora asappliedto animate objects are synonymous. objects bothanimated andinanimate. Mauri-oraand and from whichmauri(life-principal) ismeditated to ‘Hau-ora’ -thebreath oflife’ istheagent orsource by

and noa

117 , tikanga andkawa

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and 1988; Marsden, 2003;Mead,Pohatu, 2011)thatis In thisthesis,wairua isunderstood as“spirit, soul”(Pere traditions andtikanga. are honoured, andthesignificance oftheirknowledge, connection to tupunaandtheway inwhichthesetupuna with whichwairua isassociated. Theseinclude the suggest thatthere are anumberofconsistent meanings Moewaka-Barnes, Muriwai, Wetherell andMcCreanor (2017) Matauranga Maoriandsenseofbelonging.Barnes, is alsorelated to connections ofwhakapapa,whenua, individual to theconnection to Io.” Pohatunotes thatwairua connection to oneselfbut,italso“extends beyond the Pohatu (2011,p.3)argues thatwairua represents a hapū, iwi,Maori(ibid,p.281). indication asto theroles ofMaoriwomen withinwhanau, the place ofatuawāhine and thestories thatgive usmore Papatūnuku, shebelieves is“aboutthereassertion of association between Māoriwomen andEarthMother, “recognition ofwairua withinManawahine” (p.281).This relationship ofwāhine Māorito Papatūnukuasthe within Māoriunderstandings ofspirituality. Shelocates Pihama (2001)considers wairua animportant concept te-pō istheprotecting motherofthesouls” (ibid.). underground …itisaworld oflightandpeace where Hinenui- belief recorded by Mead,claimsthat“thewairua travels to the towards Ranginui,theSkyFather” (ibid.,p.147).Another of aperson “wairua leaves thebodyandjourneysupwards the womb asitgrows. Meadstates thatafter thephysical death conceived withintheembryoofchildandisdeveloped in is boundto onehumanbeingfor life” (p.55).Wairua is wairua, whichisusuallytranslated as‘soul’ or‘spirit’ and Mead (2003)states that,“every Māorichildisbornwitha PAGE NEXT 61 | CONTEXTUAL REVIEW OF KNOWLEDGE 119 entity” emotions, theessentialqualityorvitality ofabeingor nature, amaterial symbol ofalife principle–source of describing mauriasa“life principle, vital essence, special providesonline dictionary a relatively expansive definition, emerged relating to theconcept ofmauri.TheMāori In thelasttwo decades,asignificantbodyof work has Mauri significance ofatuaw binaural andimmersive sounddesigncanreassert the and propose thatthisrecognition andinterpretation through Pihama (2001),Irecognise thewairua withinmanawahine and lives onafter death.Adoptingapositionsimilar to created whenoneisconceived. Itdwells withintheindividual described mauriasadeep,abstract concept thatisoften living things, therefore allhumanbeings have amauri. She Pere (1988)definesmauriasa“life-force” that resides inall sacred life principle” (1954,p.47). ora, mauriisalsounderstood to “beaprotective quality, the beyond thisdefinitionbecause,underthe concept ofmauri spiritedness). However, henoted thattheword extends might belikened to theGreek concept ofthymos (aninward begin withElsdonBest(1954),whosuggested thatmauri In reviewing thediscourses aboutmauri,itisusefulto is located” (ibid.). individual, ecosystem orsocialgroup inwhichthisessence https://Māoridictionary.co.nz/word/3960 119 andthedescriptionextends to “aphysical object, ahine incontemporary artform. energy source” (p.208). mauri is“aconcentration oflife itself, like thecentre ofan the cosmos” (2001,p.204).According to Henare (2001) force thatimbruesandanimates allforms ofandthings of in asingularsource oflife inwhichthatlife continues asa spirit. Theunderstanding ofvitalism for Māoriis“thebelief intrinsically linked to thenatural world inmind,bodyand Henare (2001)noted thatMaoribelieve thattheselfis alcohol anddrugs. and despair, andToko Mauriwiththeuseandmisuseof of healthandwell-being, MauriNohowithdespondency health, MauriTū, withajourneytowards aMāoripsychology and good health,Whakatau Mauriwithfoundations for associations, includingaligningMauri-Ora withwell-being well-being. Withinthis,hemakes anumberofinteresting Durie examinesconcepts of mauriinrelation to healthand With similaritiesbetween mauriandenergy andvitality. recognises anetwork ofinteracting relationships” (p.x). relationships, describingit as“adynamicforce, [that] Durie (2001)discussedmauriasacomplex ecologyof together. Onlythemauriorpower ofIocanjointhem” (p.83). person isborn,thegods bindthebodyandspiritofhisbeing that itemanates from asinglesource andnoted that,“whena Barlow (1991)alsodefinedmauri as a“life force.” Hestated and inanimate things” (1954,p.32). pertaining to “thelife principleandtheethosofanimate fruitfulness” (1991,p.12).Like Best,shesaw maurias symbol ofthehiddenprinciplethatprotects vitality, people, oritcanalsopertain to talisman, thephysical “can pertain to anindividual’s psyche alongside other difficult to translate into English.Shenoted thatmauri, PAGE NEXT 62 | CONTEXTUAL REVIEW OF KNOWLEDGE Marsden (2003)andMead(2003),asserted thatmauri In 2008Kereopa, inalignmentwithDurie(1998,2001), the mauriofchildren. appreciation thatitisimportant to nurture andprotect at peace)” (ibid.,p.53).Atthecore ofhisargument isan is inastate ofbalance, known asMauritau (themauriis When thechildisphysically andsociallyhealthy, themauri with mauri,whichremains withthatchildallofhis/herlife. of Māorichildren, Meadargues thata“Morichildisborn (ibid., p.53).Whendiscussingthehealthandwell-being human-being. Itisanactive signoflife, anattribute ofself” [he suggests] isanessentialandinseparable aspectofa life, theactive elementthatindicates oneisalive. Mauri things are connected. Hedescribesmaurias“thesparkof force. Heargues thatalllivingthings have amauriandall upheld. Mead(2003)alsodescribesmauriasageneric life and survivethere are certain conditions thatneedto be and hau-ora. Hebelieves thatinorder for maurito thrive they are: hihiri(pureenergy ), mauri-ora (thelifeprinciple) describes theevolutionary stages thatrelate to mauri, cosmological creation stories. Withinthesestories he mauri alsohasawhakapapathatcanbetraced to Māori creating unityindiversity” (p.60).Hebelieves that [and hesuggests that]mauriacts asthebondingelement interpenetrates allthings to bindandknitthemtogether Marsden (2003)definesmaurias“that force that life andmeaning”(ibid.,p. 44). treated notwithapassive reverence butwithpassionand of Māoripeople,itmustbenurtured andfed. Itmust be claims that,“thelife force ofMāoriwomen isthelife force “powerful, active, inspiringandalive” (ibid.,p.44),andshe to Papatūnuku.Pihamaasserts thatMāoriwomen are Pihama (2001)related maurito wāhine Māori’s relationship

claims thatmauriholds Pohatu (2011)inherarticleRethinkingHumanwellbeing, mauri)” unique andparticular ( whakarite kaupapa,kei tera kaupapaanotana ake mauri. Quoting oneofhiselders, Edwards notes: “Nate iscreatedandconnected pūtake). (fromwhicheverything central tenets ofmauriemanate from apuna(spring)or and elements (ibid.,p.164). Edwards proposes thatthe anything, theobjectacquires its spiritualessence, wealth “when mauriisplaced withorbecomes resonant within mauri, anexistence, apresence” (p.123).Hestates that explains thatinaMāoriworldview “everything hasa with any similarPākehā concepts, Edwards (2009) Although theconceptto ofmauri canbedifficult align be explained”(ibid.). no singledefinition for mauribecauseoften “amaurican’t notes thedifficultnature ofthe word, assertingthatthere is away (cited inMoon 2008,p.72).Like Pere (1988),Kereopa when itiscreated, peopleare its holders anditdoesnotgo (2008) argues thatconversations may alsohave mauriand weather, arock, oradiscussion.Significantly, Kereopa might alsoextend to objects andsystems includingthe Kereopa, like Pere (1988)andBest(1954)state thatmauri that everything canhave amauriincludingalllivingthings. together andistheconnection to everything.Healsonoted describes aforce orenergy thatholdsorbondsallthings As a specific activity emanatesitismanifestwithitsown activity As aspecific relationships and kaupapa. (p.1) heartbeat andrhythm andiscrucialinthewell-being of knowledge, culture andlanguage with auniquecultural lives take theform they do.ItimbuesMāorithinking, …a central place ininforming Māori,how andwhy our (ibid., p.162). PAGE NEXT 63 | CONTEXTUAL REVIEW OF KNOWLEDGE things, bothanimate andinanimate” (ibid.). world butothermetaphysical dimensionsanditiswithinall mauri (inte aoMāori)“incorporates notjustthephysical communication, July12,2019).Pouwhare observesthat life, thevitality oflife, it’s aforce, alife principle” (personal has awhakapapa.Hedefinesmaurias“theessence of and everyone. Thisisthereason heclaimsthatmaurialso to whakapapaandtheinter-connectedness ofeverything mauri asaforce thatisintrinsicallylinked andpredicated Robert MarunuiIkiPouwhare (Ngāi Tūhoe) heconsidered In my personal discussionswiththelanguage revivalist, mauri” (ibid,p.2). andemanatingsource nurturing,unifying of the primary that inte aoMāori,“Iosettheoriginaltemplate for mauri… Like Barlow (1991)andHenare (2001),Pohatualsonotes 120 and perceive audiomaterial. and psychology ofhow humansreceive with research related to thephysiology Accordingly, thereview is notconcerned sound designsthatforge aconnection to thelistener’s mauri. “presence” (Edwards, 2009)becomes discernible inbinaural and my process asanartisthasbeento refine thissoits By extension, theaudio-portraits themselves contain mauri recognisable -andcapableofbeinginterpreted artistically. she interprets. Mauriistheessence ofbeingandits vitality is whakapapa, andisactive inboththeartistandwahine 1991; Pihama2001;Mead2003),thatisconnected to thesis, mauriisunderstood as“life force” (Pere 1988;Barlow Appreciating its complex andnuanced meaning,inthis recent literature. field recorder. Impactingon my decisions was abodyof lapel, binaural and3Dambeomicrophones andaF8Zoom capturing interview material. Theseincludeddirectional, In thisproject Iconsidered avariety ofrecording devices for Field recording utilised inthestudy. sound, andthenature ofbinaural audiotechnologies gathering audiodata, theauditory experience ofimmersive Specifically, inthissectionI review thinking relating to the shapes andcommunicates theknowledge Iproduce. the technological isinseparable from thethinkingthat exegetical reviews inartbasedprojects, Iincludeitbecause Although suchmaterial is sometimes excluded from of certain technical knowledge relating to theinquiry. Finally, itis useful to consider theevolution andstate sound capture technologies Knowledge related to 120

PAGE NEXT 64 | CONTEXTUAL REVIEW OF KNOWLEDGE dynamic mic). shotgun mic)andthe Shure SM57(acardioid moving-coil the potentials oftheSennheiser MKH416(afilm-world working withhighlevels of sibilance. Brennan alsoassesses for recording vocals andtheAKG C414microphone when the RodeNT3(cardioid small-diaphragm capacitor mic) variety ofmicrophones andhediscussesthequalitiesof sound orvoice. Herecommends experimentingwitha wind andbackground noisewhenrecording anindividual and Asia.Heoffers solutions to minimalizingtheimpactof discusses working withartists inoutdoor locationsinAfrica In thearticleAdventures infieldrecording (2018),Brennan 122 121 a loss ofatmosphere. insulation” (2018,para. 5),whichheobserves canleadto cautions against theuseof “layers ofsoundasemotional need for portability andspeedinsetup/breakdown, andhe in whicharesearcher mightcapture ‘vocal intimacy’, the the soundofherbreathing). I could record intimate material (like positioned closeto theindividualso selecting amicrophone thatcould be Brennan, Iwas concerned with listener closer to thewahine. Like In my work, I soughtto bringthe ambeo microphones. shotgun-video-mke-600) andbinaural sennheiser.com/camera-mic-dslr- directional microphone (https://en-us. In thisstudy, IusedaSennheiserMKE 121 Significantly, Brennan discusses ways 122

vibrations, reinventing space through sound”(p.574). the world its by andintensifying repeating, amplifying, of machines,here inthepresent, field recording reiterates “the listener isinfact vibrating together withanensemble material, addingtheirown vibrational movement. Heclaims, recordings, individualsbecome partoftheaudiospatial Gallagher (2015)suggests thatwhilelistening to field suggests thatitmightalsoinclude, should beunderstood asmore thanaudiocapture. He listening andcomposing. Heargues thatfield recording sounding ofspaces” places considerable emphasison Gallagher ina2015article,“Fieldrecording andthe different spaces. (p.562) recording, ifpresented indifferent ways, canproduce salient thantheprocess ofrecording itself, since asingle processes [hesuggests] are arguably more geographically composition andmixing,playback andaudition.These …practices oflistening, reviewing andeditingrecordings, PAGE NEXT 65 | CONTEXTUAL REVIEW OF KNOWLEDGE 126 125 124 123 127 quality ofstored orreproduced sound. file. Ahigherbitdepthensures ahigher used to represent abyte inanaudiodata ‘Bit depth’ describesthenumberofbits records directional sound. omnidirectional condenser capsulethat because itcontains ahighquality4.5 com/microphones/rodelinklav) lapel microphone (http://en.rode. research, Iemployed aRØDELinkLAV To ensure ahighlevel ofclarityinmy Search&isQuickSearch=true ac.nz/search?q=Azimuth&searchBtn= oxfordreference-com.ezproxy.aut. August, 2019from https://www- of theradar propagation”. Retrieved direction atrightanglesto thedirection meridian. Inradar terminology, the surface of theEarthwithmagnetic is “Theanglemadeby alineonthe Azimuth asdefined by Colman (2015) (http://www.soundonsound, 2018). interpretation ofanaudiofrequency” of 1Hz(Hertz). Pitch isthemusical repeats once persecond hasafrequency that occur in1second. Awaveform that complete cycles ofarepetitive waveform Frequency describes“thenumberof 9780199657681-e-4236 acref/9780199657681.001.0001/acref- com.ezproxy.aut.ac.nz/view/10.1093/ 2019 from https://www-oxfordreference- difference inloudness”. Retrieved August waves by thehead, leadingto abinaural reflection andabsorptionofsound from asoundsource, asaresult of intensity around theearthatisfurther difference as “An area of reduced sound Colman (2015)definesinteraural intensity understand humanperception ofsound. to explore how binaural soundcapture mighthelp usto because itdeveloped oneofthefirst binaural dummyheads ear andtheauditory cortex. Theirresearch was significant degree andlocalisationofhearinglossbetween theouter difference head. Theirstudywas concerned withinteraural intensity employed intheconstruction ofanartificial human early developments inscientificandengineering design In 1963,Nordlund andLidén’s Head,discussed AnArtificial worthy ofnote. the placement of3Daudiomaterial), two earlyarticlesare sound andits relationship to headphones Given thesignificance inthisproject ofbinaural immersive Binaural soundcapture andplayback be swamped by noiseand difficult tohear”(ibid.,p.2). [and ifitis]too weak thespeechonewishesto record may levels because“ifthesignalistoo strong itwillbedistorted of arecording. Henotes theimportance ofcheckingaudio positioned inaninterview to enhance orlessenthequality discusses typesofmicrophones andtheway theyare and structure therepresentation ofanevent” (p.1).He employs ablendof“technology andtechnique to frame Stockdale (2002)notes thateffective audio recording for interviewing Digital recording technologies He alsorecommends abitdepth using asamplerate of44.1kHzorhigherto achieve clarity. When interviewing participants, Stockdale recommends frequency 125 126 asafunctionofcapturingthefacets of andazimuth. 127 Their inquiry explored Theirinquiry the 124 ofatleast16kHz.

(that enable 123

PAGE NEXT 66 | CONTEXTUAL REVIEW OF KNOWLEDGE recorded inoneear was alsoonlyreproduced inthatear. over headphonesthatensured thatsoundwhichhasbeen where binaural recordings were ableto beplayed back significant inhis research, was hisdiscussionofplacement, were allcreated aspart ofthisconstruction. Whatwas also how ahumanhears. Thenose, pinnae,andearcanals placed intheleftandrightears, enablingasimulationof use ofanartificial ‘dummyhead’ thathastwo microphones how soundisrecorded binaurally. Healsoconsidered the he discussedthetechnologies available atthetimeand signals (soundpressures) ateachoftheeardrums” (p.171), recording asaninputto thehearing,“consisting oftwo reviewed thestate ofbinaural recording. Definingabinaural In 1992,inFundamentalsofBinauralTechnology, Møller 129 128 walking alongastreet. a NewYork subway train, andpeople an office space, StPatrick’s cathedral, room attheNewYork library, peoplein These includedpeopleinthereading (Ha¨usler, Colburn&Marr, 1983). different sound colouration theydisperse higher frequencies ofsoundandthe ability to perceive both thelower and Frontal localisationdependsonthe texture ofourexperience ofaplace. Henoted, unconsciously), yet cumulatively they constitute the many sounds go unnoticed (asiftheyare perceived recordings inNewYork City architecture. Providing examplesbinaural spatial had thecapacityto sonicallycapture thesoundof In 2015,Kimmelmanexplored how binaural recordings nature andimplicationsofbinaural sound. to contextualise my study. Allofthesehave explored the Three recent applicationsofbinaural sounddesignserve Binaural applications localisation. Møller (1992)alsodiscussedissuesrelated to frontal He noted atthetime, as spatiallydifferent from thatoftheoriginalsource. therefore listeners were ableto perceive thesesounds sound sources didnotreact to headmovement and the person). Møller(1992)noted thatrecorded binaural (even ifittheoriginalaudiowas captured from infront of perceive ifthesoundiscoming from infront orbehind, of soundwiththesetypesrecordings canbedifficult to You canimaginetheclinkofglassesandplates, the sonic profile that’s textured, enveloping, open,bright. A bistro, like Lafayette inManhattan, hasadistinctive problems withfront/back confusions. (p.173) not react onheadmovements, andthismay explainthe for soundsources behind…abinaural recording does left earandlater to therightear. Theopposite happens cause soundfrom frontal sources to arrive earlierto the between front andback.Aright turnoftheheadwill … humanscanusesmallheadmovements to distinguish 128 Henoted thatattimes,one’s perception 129 , heargued that PAGE NEXT 67 | CONTEXTUAL REVIEW OF KNOWLEDGE 130 understanding ofsonicspace, arguing that, He advocated through theseexperiments, for agreater the ways inwhichsoundoccupies anenvironment. on thevisualconstruction ofspaces withoutconsidering Kimmelman argued thatarchitects tend to focus primarily 131 132 product&scope= search?q=binaural&sa_f=search- See https://www.bbc.co.uk/ www.bbc.co.uk/sounds demand content from theBBC.https:// service for television, radio andon BBC iPlayer isanonlinestreaming streaming servicesto BBCiPlayer. The and connection to theinternet via and anincreasing smartphoneuptake in headphoneuseby theirlisteners relevant, given thesignificantgrowth The BBCconsiders thisdevelopment as sound andvideodesign. work andinnovative useoflighting, tightly choreographed ensemble visually richstage language, layered, Complicité hasbecome noted for a collaborative devising process, touring theatre company. Employing London, Complicité isaninternational Founded in1983andbased complicite.org/ourhistory.php inextricable from theexperience. (2015,para. 4) voices reflecting offmirrors andwindows. Thesoundis scrunch ofbodiesonleatherbanquettes, thehumof http://www. work, thetheatre company Complicite In thesameyear thatKimmelmanreleased hisNewYork content experiences. BBC’s traditional programming, especiallyintheirinteractive Binaural techniques have alsobeenincorporated withinthe television, radio, podcasts andnewinteractive content. techniques across awiderange ofmediagenres, including been instrumental insupportingtheuseofbinaural sound experiences for headphonesusers. Thedepartment has are beingutilisedinthecreation ofimmersive spatial Department inLondon,binaural soundtechnologies Currently, attheBBCResearch andDevelopment company provided headphonesfor theaudience. dissemination ofimmersive soundelements, thetheatre sound designoftheperformance. To achieve aneffective Tropical Medicine.Theserecordings featured heavily inthe aircraft andmosquito colonies attheLondonSchoolof KU 100dummyhead. Healsobinaurally recorded aCessna his binaural capturingofsoundelements usingaNeumann the Encounter (2015),sounddesignerGareth discussed Fry performance thatbuiltashifting world ofsound.InMaking by incorporating innovative technology into asolo McIntyre’s journeyinto thedepthsofAmazon rainforest 1969). Inthiswork, theactor, SimonMcBurneyportrayed found himselflostintheremote Javari Valley inBrazil, McIntyre, (aNationalGeographic photographer who Popescu, theproduction explored theadventures ofLoren Encounter. Inspired by thebook Amazon Beamingby Petru and thesoundwe expectitto make. (2015,para, 6) correlation between thefunctionofaplace oranobject sometimes hard to pindown exactlyhow, there isoften a (think ofthesoundanemptyhouse).Andwhileit’s Acoustics canactindeep,visceral ways, notunlike music 132 Thebinaural immersive headphones 130 produced The 131

PAGE NEXT 68 | CONTEXTUAL REVIEW OF KNOWLEDGE 135 134 133 mixes, produced for theBBCProms 137 136 fundamentals andtheperception ofimmersive audio. production, includingresearch into signalprocessing audio production techniques for binaural andimmersive content, thedepartmentisalsoinvestigating emerging impact onlistener experience. Inadditionto producing dramas suchasSkyIsWider(2017) Rockefeller centre andCentral park. Village, UnionSquare subway station, Locations includedChinatown, Greenwich michaelmusick.com/pubs/i-hear-ny3d/ See, IHearNY3Dproject https:// positions, includingheight. to begathered from four directional directional capsules.Thisallows sound uses microphones madeupoffour known ascapturingasoundsphere, y, zdimensions.3Dambeo,commonly record 360soundwhichincludesthex, 3D ambeosoundcapture is theabilityto wins-Best-Drama-2016 post/2017/01/31/The-Sky-is-Wider- https://www.anilseth.com/single- patient withminimalconsciousness. ethics surrounding thetreatment ofa that explored theneurology and “The SkyisWider”was aradio drama Hall inLondon. BBC andtake place attheRoyal Albert Concerts’ whichare organised by the ‘Proms’ isanabbreviation of‘Promenade 134 133 , have hadasignificant , andbinaural audio relating to 3Dambeosoundcapture. Finally, itisusefulto consider recent literature 3D ambeosoundcapture application. 3D ambisonicdata hasbeenintegrated into auser Recently, therecording andreproduction ofthis soundscape onto its visuallayout. utilising soundcartography asaway ofmappingaspace’s explored theuniquecultural andsonicnature ofNewYork, and loudnessofstreet-level sonicstheIHearNY3Dproject over aday andacross seasons.Usingtheshiftingcharacter discussed how urbansoundscapeschange significantly Audio Research Laboratory. Intheirstudy, theauthors Immersive Audio Research Group atNYU’s Musicand This project was created anddeveloped through the soundfields ofNew York City, intheIHearNY3Dproject. Roginska, discussedthecapture andreproduction of3D In 2013,Musick,Andreopoulou, Boren, Mohanraj and impedance, sensitivity, equivalent noise level, total harmonic microphones, suchasfrequency response, directionality, dependent ontheelectrical andacoustic properties ofthe accuracy. Thesetimbre qualitiestheynoted are, “largely timbre andspatialfacets inorder to capture perceptual record acoustic environments andthenecessity to consider interest to thisthesiswas theirdiscussionofhow onemight techniques anddevices available for capturing3Dsound.Of Gan outlinedarange ofcurrent, spatial-audiorecording In 2017,Hong,Jianjun,Bhan,Rishabh of eachrecording. ground, andremained stationarythroughout theduration mounted onastand atapproximately 1.7meters from the a TetraMic four-channel ambisonicmicrophone. Thiswas 136 To capture thisdata theresearchers used 137

135

and Woon-Seng PAGE NEXT 69 | CONTEXTUAL REVIEW OF KNOWLEDGE 140 139 138 141 143 142 up-down, respectively, captured X=S•cos directions, i.e.,front-back, left-right,and X, Y, ZW=Scorresponds to three spatial to anomnidirectional microphone and W, X,YandZ,where Wiscorresponding desired four components as:labelledas lvto angle elevation com/microphone-3d-audio-ambeo-vr-mic microphone. Seehttps://en-us.sennheiser. project IusedaSennheiserAMBEOVR recordings for 3Daudiocapture inthis relative positions.To achieve ambiosonic capsules record soundsource signalsfrom with eightmicrophone capsules.These recording device thatisconstructed the soundfield. elements andspatialinformation within of direction, distance, sonicambient These spatialaspects includethesense Order Ambisonics. tools for spatialization usingHigher- Kronlachner’s research into software Boren alsodiscussesMalhamand three orthogonal dipoleterms. included anomnidirectional signaland around a listener’s position” (2018,p.53). originating from many different directions could encode theportionsofasoundfield spherical harmonicbasisfunctionsthat Boren describes ambisonicsas“theuseof components are azimuthangle of thetwo otherdimensions-thefour of XYstereo recording withaddition For agiven source signal,Swithextension capsules. (ibid.,p.7) Ambiosonic soundcapture usesa Gerzon’s soundfieldmicrophone •cos usingfigure-of-eight microphone , ambisonics pans the , ambisonicspansthe ,

and and

century. In his discussionofambisonics an acoustic environment through multiplemicrophones. the authors recommend capturingspatialcharacteristics of distortion” (ibid.,p.4).Intheirconsideration ofrecording, They alsodiscussedambiosonicrecording first soundfieldmicrophone. origins ofambiosonicmicrophone technologies to Gerzon’s pertaining to suchrecording. surround” (ibid.,p.7),and the technical considerations for capturingandreproducing soundas“full-sphere 32-channel microphone array. Manola, Genovese &Farina, whoin2012,developed a techniques. Thesedevelopments, helargely attributes to advances insurround sound recording andreproduction with respect to soundcapture, hesuggests, ledto further to feel immersed in thesamelocationasmaterial was created asphericalspatialdepth, whereby alistener isable reproduction ofthese360-ambeo soundrecordings, and exterior environments relative to eachwāhine. The means to recording 360-soundspheres ofbothinterior in theaudio-portraits becausethetechnology provided a contributed to thecreation ofanimmersive experience personal, cultural andsocialsettings. These recordings environmental ambientspaces relative to theparticipants' technological applicationbecauseitenabledmeto record In my study, ambisonicsound capture was animportant world soundscapeswithincreasing accuracy, since the19 trace improvements inrecording andreproducing real- sound. Hishistorical overview ofdevelopments inthefield, and multi-channelaudio,Boren explores thehistory of3D andscience ofbinaural (2018) book,Immersivesound:theart Contextualising thisresearch, inRoginskaandGeluso’s 140 142 143

Thesedevelopments

141 heattributes the 139 asamethod 138 th

PAGE NEXT 70 | CONTEXTUAL REVIEW OF KNOWLEDGE of space andtime. increase sonictexture andemphasiseauniqueexperience recorded. Ambisonicsoundcapture alsoenabledmeto 147 146 145 144 150 149 148 brass, piano,synths, andstrings. of virtualinstruments, includingdrums, Pro Xlibrary. Ithasanextensive number This facility isalsoknown astheLogic software applications. recording ofaudiodata into audio that allows for theconversion and An audiointerface isanexternal device at https://www.apple.com/nz/logic-pro/ The LogicPro Xapplicationisavailable Digital Interface. MIDI -stands for MusicalInstrument tracks to astereo fileoutput. This term refers to exportingmultiple plugin for 3Dimmersive mixing. In particular, IusedtheFacebook360 (known as‘plugins’). This includedarange ofaudioeffects and audio-drafting experiments. was also utilisedforX audio-sketchingPro material. Logic The DAW was employed for arranging andeditingaudio digital audioworkstation (DAW). including my useofLogicPro X10.4.6onamacOS technologies thathave helpedto shapetheproject, for MIDI create avisual,region-based audioproduction environment in 1993andwas namedNotator Logic.Itwas developed to Logic Pro Xevolved from theC-Lab’s Notator andCreator of LogicPro XinLogic prox:Audioandmusicproduction. Cousins andHepworth-Sawyer (2014)provide anoverview Logic Pro X This and binauralmixfor headphones Sound designtechnologies these devices, asounddesignerhastheabilityto create and mixingaudio. Pro Tools Ultimate 2019.6onmacOSsoftware for editing device recorded into LogicPro X by usinganaudiointerface Audio data suchasvocals andorinstruments canbe primarily works withtwo typesofdata; audioandMIDI. bounced down Tools Ultimate. assigning asoftware instrument to that keyboard. connecting aMIDIkeyboard device to LogicPro Xandthen developed the LogicPro X was acquired by AppleIncin2002andtheysubsequently arrangement ofaudioandmusicalinformation. Logic section dealswithothersoundrelated 149 147 . Conversely, MIDIinformation canberecorded by sequencing,asaway ofstructuringthe 146 for headphonereproduction usingPro 145 Therendering ofbinaural mixes was 148 application.LogicPro X 144 Inaddition,Ialsoused

150 Using

PAGE NEXT 71 | CONTEXTUAL REVIEW OF KNOWLEDGE 153 152 151 156 155 154 automation ofthesefunctions. delay andequalizationpluginsthe sound from left to right,insert reverb, the abilityto raise orlower volume, pan applied to eachtrack; theseinclude of functionsthatcanbeseparately the mixingwindow there are avariety or slower), are also available. Within time stretch of audio (to make itfaster also beset.Otherfunctionssuchas tempo, musicalkey andtimingcan pasting anddeleting.Theoverall functions includesplitting, copying, MIDI data canbeedited. Available Within theeditingwindow, audio or designer cancontrol treatments over time. independent step sequencers, sothe and to atrack by arranging filters, effects Step FXaddsrhythmic movement synths, guitar, bass,anddrums. warmth, intensity andpresence to Phat FXisamulti-effect thatadds and the1970s. EQs developed between the1950s three plug-ins modelledonhardware The Vintage EQplugin features a widerange ofacoustic spaces. space anddepthto tracks andsimulate audio effect thatallows users to add ChromaVerb algorithmic reverb, isan all thecontent inaproject. automatically manages tempo across tempo detection technology that Smart tempo -anewadvanced

capture andsounddesignadditionthatevolved primarilyin 3D immersive and binaural sound as developed was This Facebook 360Spatial Workstation’ plug-ininto its suite. In 2017,Pro Tools HDUltimate integrated the‘SpatialAudio Pro Tools Ultimate and Facebook 360 arrangement (ShimonskiandBasile,2009). high-quality plugins,automation andcontrol over audio in terms ofsoundmanipulationbecauseits comparatively functions. Thetechnology provides considerable flexibility primarily anaudio-basedfacility capableofcomplex editing music andrecording studiosandaudiopostfacilities. Itis Pro Tools 8isaDAW thatiswidelydistributed across techniques thatincludeboth MIDIandaudiocapabilities. authors discusscomposing, recording, editingandmixing technologies andworkflow functionalities.Init,the instructional manualdealingwithmusicproduction The ProTools 8Kitby ShimonskiandBasile(2009)isan Pro Tools and mixing. There are two mainwindows inLogicPro Xfor editing multiple tracks ofeitheraudioorMIDIinstrumentation. Vintage EQ plugins alsofeature aChromaVerb algorithmic reverb, remain insync withothertempo-based content. Thenew metronome orclicktrack, (whileenablingperformance function, anincreased capacity for recording withouta production software, includesintheSmart Tempo Pro X.Thecompany’s latest LogicPro X version 10.4music Importantly, AppleInc(2019)continue to update Logic 154 151 , thePhatFX

155 andtheStep FX 156 . 152

153 a PAGE NEXT 72 | CONTEXTUAL REVIEW OF KNOWLEDGE on Facebook, OculusorotherVRapplications. stereo down mixthat isplayable over headphonesorback enables oneto render ambiosonicaudioformats into a Importantly, Facebook360, withinPro Tools HDUltimate, to pan,editandsync to visualelements ifrequired. designers to importambisonicaudiosources, andthen when working withimmersive audio. Italsoallows sound 16-channel tracks &busses). Thisaffords flexibility audio mixes becauseitsupports Ambisonics(4,9,and with theabilityto create dynamicandimmersive spatial Spatial audio Facebook 360,provides asounddesigner believable VRexperience. Pro Tools HD Ultimate and that mimicsthe‘real’ acoustic world andsupports amore provide listeners withafullyimmersive audioexperience integrating 360audiospatialapplications,sotheycan Media aggregators like YouTube andFacebook have begun the realms ofgaming, VR,AR,filmand television. 158 157 com/techniques/pro-tools-voice-choices a session.https://www.soundonsound. independent ofthenumber of tracks in inputs andoutputs. Thenumberis can berouted to andfrom tracks, or In Pro Tools HD‘voices’ oraudiostreams and audioplayback. Facebook360 visualplayer for 360-video The 360-audiocanbesynced to the

to berendered to abinaural headphonemix. Audio360Control pluginthatallows ambiosonicrecordings Facebook360 audiospatialiser. Italsoshows how to usethe how to place andmanipulate ambiosonicsoundwithinthe offers for working withambiosonicsandVR,itdemonstrates capture. Featuring thetools andpluginsthatPro Tools by Avid (2018)unpackstheintricaciesofambiosonic sound in the field, theVRAudio:Intro to AmbisonicsinPro Tools video In additionto technical data relating to recent developments is, “to identify soundsourcesis, “to identify withrespect to theirnature and process information about theirenvironment, that Blauert argues thathumanslisten inorder to accumulate is Blauert’s examinationofwhy of thehumanbinaural hearingsystem. Ofparticularinterest provides acomprehensive examinationofadvanced models Blauert’s (2013),TheTechnology ofBinauralListening knowledge relating to binaural mixes for headphones. Finally, itisusefulto consider three texts thatdealwith Binaural mixfor headphones of thenumberaudiostreams (voices) Pro Tools’ 2019.3,recent features -discussestheincrease Lebowski (2019),inaninterview withMeieraboutAvid experiment withneweffects withoutstopping theplayback. technological improvement, onecanwork more fluidlyand create ordelete tracks withoutstopping playback. Withthis add plugins,change loopduration, perform routing and In addition,heconsiders Avid Pro Tools’ 2019.3abilityto maximise theuseandmixingofsoundsamplelibraries. 512 to 1024,thatenablesproducers andcomposers to MIDI track count inPro Tools andPro Tools Ultimate from sound designercanwork. Healsodiscusses thedoublingof humanbeings listen. 158 withwhichthe 157

PAGE NEXT 73 | CONTEXTUAL REVIEW OF KNOWLEDGE on how we defineaural spaces. events (whatwe hear)andtheway inwhichthisimpacts advantages ofbinaural listening inrelation to auditory to-noise ratio. Inherdiscussion,Blauertalsoexplainsthe positions inthesoundfieldmeansthere isabetter signal- (ibid., p.2).Having two ears placed atslightlydifferent the differences oftheinputsignals to thetwo ears” binaural cuesprovide “information whichisencoded in sound localization(binaural cues).According to Blauert, perceive soundbinaurally. Sheexaminesthisby considering Blauert’s studyalsoexaminestheway humanbeings cognitive interest” (ibid.). state, for instance, listening for pleasure, moodcontrol, or featureaddition, asensory one’s used“to modify internal that, listening alsoacts asacommunication tool andis,in movement inspace” (2013,p.478).However, shesuggests and characteristics, includingtheirpositionsandstates of 159 https://www.google.com/glass/start/ computer with atransparent display. Google glassisalightweight wearable mobile augmented reality (AR)devices suchasGoogleglass consoles andinternet accessed media.Theyshowed how listening devices suchasmobilephones,computers, gaming sophisticated sonicexperiences whenpaired withassisted technologies have thecapabilityto provide richer, more environments. Theauthors note that new headphone enhance audioperception inreal, augmented, andvirtual discuss how assisted listening, usingaheadset,can Välimäki, Franck, Rämö,Gamper, andSavioja (2015), typically hearamultitudeofsounds. result sheargues, canbeperceived intheway thathumans by asounddesignerin360-immersive environment, the and designedsoundscapes.Whenstrategically arranged produced from an ensemble ofnatural environments, music headphones, isthecapacityto regenerate soundsthatare that whatissignificantaboutbinaural audio,delivered over human, audiolocalisationimpressions. Roginskaasserts spatial cuesthatare intended to imitate environmental and binaural sound.Theseinclude time,intensity andsound components thatcontribute to theexperience ofhearing Finally, Roginska (2018)discussesthevariety ofaudio reproduced sounds derivingfrom thedevice. mixed boththeambientsounds oftheenvironment with were by 2015,already employing anaudiofunctionalitythat 159

PAGE NEXT 74 | CONTEXTUAL REVIEW OF KNOWLEDGE employed intheinquiry. the research paradigms, andmethods methodology Having now reviewed thismaterial, itisusefulto consider of value inthedevelopment andpositioningofŌtairongo. authentically articulate what knowledge was found to be expanded andrefocused theconcept ofa‘Review’to more relevant technologies. Accordingly, thechapter has artefacts (including audiotexts andperformances) and include: unpublishedinformation heldby Maorischolars, contextualizing my practice extends beyond ‘literature’, to However, inthisthesis,knowledge impactingon,or like thiswould beframed asaReviewofLiterature. I accept thatinmany traditional doctoral theses,achapter Conclusion PAGE NEXT Chapter 3 DESIGN RESEARCH 76 | DESIGN RESEARCH from bothte aoMāoriandte aoPākehā worldviews. the thesis.Beingof MāoriandPākehā ancestry, Idraw In thischapter Idiscusstheresearch designunderpinning 160 the applicationof twelve practice-led methods(Figure 3:1). practice methodology(Schön,1983),actualizedthrough (Smith, 1992&1999).Theresearch employs areflective inquiry (Klein2010)withinaKaupapaMāoriparadigm duality permeates thestudy’s orientation asanartistic Whaoa- Ngāti Tahu andNgāti Pākehā. Ngāti Tūwharetoa, Raukawa, Ngāti asNgāti Maniapoto-Waikato,I identify 160 This Diagram ofthethesis’ research design. FIGURE 3:1. values andthatshapemy research perspectives. is oriented by Māoricultural understandings andartistic Crotty, 1998;Gage, 1989;Guba&Lincoln, 1985),thisstudy or poststructural (Candy, 2006;Carr&Kremmis, 1986; generally describedaspositivist,interpretivist, radical investigation” (p.105).Althoughresearch paradigms are as the“basicbeliefsystem orworldview thatguidesthe Guba andLincoln (1994)definea research paradigm Research paradigm K A U P A P A INDWELLING M A O R I REFLECTIVE PRACTICE Methodology GATHERING Paradigm Methods ARTISTIC ENQUIRY DATA

PROCESSING M

DATA A

I N E PAGE NEXT 77 | DESIGN RESEARCH traditions, spiritualunderstandings understandings ofallthings Maori,from histories, A Maoriworldview encompasses connections to, and as central to processes, analysesandintended outcomes. locates Maoriunderstandings andphilosophicalbeliefs Western-orientated research” (p.41).Suchaparadigm epistemological andmetaphysical foundations than research we undertake asMāoriresearchers hasdifferent Māori researchers. It allows usto acknowledge that provides or philosophy amethodology thatguides states that,“asanapproach to research, KaupapaMāori followed duringthe research process. FionaCram (2000) Māori research andensures thatMāoriprotocols are describe KaupapaMāoriasaphilosophy thatguides Bishop 1996;Cram 2001;and Smith1992&1999,all karakia, mihimihi(togreet,paytribute)andwhakataukī. of expressing thoughtandbeing,includingwaiata, Māori includingte aoMāoriphilosophiesandourways Paradigmatically thestudyisinformed by Kaupapa Kaupapa MāoriParadigm central to Māoriknowledge andunderstandings. genealogical relationships are at thecore ofte aoMāori and essential connection to one’s iwi,hapūandwhānau.These whenua. According to Rangihau (1992), whakapapaisthe includes aconnection to theresearcher’s whakapapa and informed by anunderstanding of Maoricultural identitythat such aresearch paradigm, engagement withparticipants is provides thecontext for Kaupapa Maoriresearch. Within position presupposes aholisticweb ofrelationships that use ofte reo Maorito transmit cultural knowledge. This 161 , tikanga 162 andthe actors inprocesses ofchange. of knowing Maoriwomen aworld ascritical thataffirms is committed to the articulationofMaoriwomen’s ways within Maorisociety, within whanau,hapūandiwi w our tupunaw 162 161 Yates-Smith, 1998).ManaWahine theory women (Pihama,2001;Smith,1992;Te Awekotuku, 1991; the power, legitimacy, authorityandspiritualityofMaori the audio-portraits are allwahine. ManaWahine asserts Mana Wahine research approach. Astheresearcher and As anextension to employs KaupapaMāori,theinquiry a Mana Wahine ahine. Itisdedicated to ofMaoriwomen theaffirmation (pp. 416-417). “rule, plan,method,custom orhabit” provides arange ofmeanings including suggests” (p.11).Williams(2003) as “correctness, ortikaasthename also provides analternative meaning according to Māoricustom (p.11).Mead Māori means‘theway’ ordone According to Mead(2003)tikanga research process. in thespiritworld, are brought to the These values, conceived inthepast- predicated onng an indigenous Maoriorientation is Linda Smith(2011)suggests that ahine (womenancestors) andouratua a wāriu (values). remembers PAGE NEXT 78 | DESIGN RESEARCH I upholdtheprincipleofmanaakitanga colonised society(Pihama,2001,p.263).Withinthis, with ouridentityandhow we consider ourpositionina framework thatenablesMaoriwomen to engage critically Yates-Smith, 1998)becauseithasprovided atheoretical 2001; Ramsden,1995;Smith,1992;Te Awekotuku, 1991; (Jenkins, 1988,1992;Mikaere, 1994,1995;Pihama, Wahine hasattracted anincreasing numberoftheorists As away oforientingresearch, theconcept ofMana 163 (face toface ) discussionsandengagement. tangata (loveforthepeople)andkanohikite kanohi research by utilisingM aori principlessuchasaroha kite kindness,) towards generosity thewomen involved inthis (Williams, 2003,p.172) respect, generosity, kindness” Manaakitanga –“theshow of

163 (hospitality, ‘researcher’ concerned (p.169). withmethodology” physically, ethically, morally andspirituallynotjustasa to beinvolved somaticallyintheresearch process; thatis to a process ofiterative development ofthinkingthrough practice” (Candy, 2006,p.1).By apractice-led Irefer inquiry to new knowledge that hasoperational significance for that research “isconcerned withthenature ofpractice andleads In thisthesis,Idescribesuchresearch as‘practice-led’. Such Practice-led research evolution underpinning its development” (ibid.). “it isnottheartitself thatisresearch buttheprocess of process” (ibid.,p.4).Withinsuchresearch Kleinargues that, perception, researchmustbethemodeofa thenartistic of artisticexperienceisamode andheargues, “ifart Artistic research hesays isbasedonasubjective perspective that artisticresearch strives for, isafeltknowledge” (ibid.). knowledge, is“embodied knowledge [and]theknowledge discourse” (Klein,2010, p.5).Kleinargues thatartistic publication, intheevaluation, [and]inthemannerof conception andcomposition, inimplementation, inthe discussion, intheformulation ofresearch questions,in facets includingthe“motivation, inspiration, reflection, artistic methodsto research thatsurfaces through multiple paradigm asanorientation, where theresearcher applies an artisticinquiry. Klein(2010)describessucharesearch Co-jointly, this thesisproject may alsobeconceived ofas Artistic inquiry that “Māoriresearchers needto as articulated by BishopandGlynn(1999)whentheynoted am alsoactively practising away ofbeingaMāoriwoman, By applyingKaupapaMāoriandManaWahine principlesI understand themselves PAGE NEXT 79 | DESIGN RESEARCH an audio-portrait). refined versions ofanartisticartefact (inthisinstance, its abilityto raise questionsanddiscoveries thatshape It isartisticpractice that‘leads’ theresearch through immersion withinconceptual andmaterial development. 165 164 practice” (p. 10). and understanding to furtherresearch andprofessional role ofreflection withinaprocess to derive newinsights to Niedderer &Roworth-Stokes (2007)“emphasises the Schön’s concept ofreflective practice (1983)that,according concept ofreflective, practice-led research relates to Donald various waiata by thewāhine andwas doneonmy own. The into exploringavariety oflyricsandchord structures of intoartistic inquiry audioportraiture, thismethodevolved due to thedevelopment andnature ofapractice-led of “jamming”islisted asone oftwo methodologies.However Indicative consent form, 23January, 2017, thedescriptive Practitioner (1987). (1983) andEducatingtheReflective works were TheReflective Practitioner In thisregard Schön’s two seminal practice isinformed by theory.” a reflexive practice atthesametimethat practice, whereby emerges theory from “double articulationbetweenand theory that intheprocess ofmakingisa Barbara Bolt(2006,para. 7)suggests 164 Asindicated intheappendices 1.3

“succeeds whenitreflects anintended discrimination Scrivener (2000, p.6)suggests thatsuchanexperiment, describes as“hypothesis-testing” (ibid., pp.143-144). Schön alsoposits athird typeofexperimentthathe immersive nuances ofsoundwithinthe design. the audio-portraits, andinthedevelopment ofspatial testing or‘audio-drafting’ was usedwhileI was editing or developed into amore sophisticated text. Thisform of whole andafter critical reflection; they are eithernegated specific change. Suchmoves are considered in terms ofthe action thatisundertaken inadeliberate way to make a as “move-testing” (ibid.,pp.146-147),whichinvolve an the inquiry. Thesecond form ofexperimentSchöndefines broad understanding andinterpretation ofthesubject are generated asaway ofexploringpotentials withina environmental recordings) wheninitial‘audiosketches’ gathering (inmy caseskanohikite kanohiandambient emerges. Thisform ofexperimenttends to occur after data of actionsistaken withthepurposeofseeingwhat (1983, pp.141-149).Thisiswhenanactionorseries research. Thefirst Schön callsan “exploratory experiment” experiments, andofthese, three are important to this production projects mightutilisearange ofSchön’s Scrivener (2000,p.6)observesthatdoctoral, creative- Forms of experimentation inside aprocess ofiterative experimentation. and inthisstudy, itfunctionsasameansto refine thinking developed by DonaldSchönbetween 1983and1987, Reflective practice asa research methodology was Methodology 165

PAGE NEXT 80 | DESIGN RESEARCH 166 • • • forms ofexperiment: iterative development ofmy portraiture through three Within aprocess ofreflective practice, Icantrace the most effective interpretation ofthesubject’s identity. are thenanalysed,compared andrefined inpursuit ofthe same audio-portrait are refined. Thesepotential approaches evidenced ininstances where several possibleversions of the among competing hypotheses.” completed portrait) [Schön’s hypothesis testing]. are compared andevaluated before oneisrendered asa Refined hypothesis testing (where advanced experiments developed andtrialled)[Schön’s move testing] Audio-drafting (where thinkingwithinawork isiteratively discovered) [Schön’s exploratory testing] of audio‘thumbnailsketches’ to seewhatmightbe Audio-sketching (where theresearcher tests inaseries is developing. intuitive senseofcohesion asthework value ofamove are madefrom insidean impact. Instead decisionsasto the from the work to reflect uponthe overall involve any objective ‘standing back’ are intuitive. Thesedecisionsdonot decisions thatare ‘inthemoment’and be makingaestheticandtechnical manipulating andorchestrating sound, I may, whileinsidetheprocess of audio draft from earlieraudiosketches For example,whenIamdeveloping an This type of experiment is Thistypeofexperimentis not beverbalised. tacit knowingon and thinkingthatmay draw often I broaden therange ofconsiderations oraudiowithinaportrait. by returning to aprocess ofaudio-sketching to explore and me to respond to reflection ona hypothesis oraudio-draft purely linearfashion. For example,itisquite common for often notthecase.Idoalways progressa thinkingin to offer aseeminglyobjective, delineated process, thisis Although thesethree forms ofexperimentation may appear through theprocess ofembodiedpractice. (p. 23).Insuchastate, Ireflect onthinkingasitemerges for consideration withoutpremature rushto judgment” focusing onproblematic situationsandofholdingthem reflection as“adiscursive way of creating aspace for the ‘action-present’). Hoyrup &Elkjaer(2006) seesuch a problem thatisbeingaddressed, (inwhatSchöncalls on action’. Reflection inactionoccurs whilstworking inside forms ofreflection; ‘Reflectioninaction’ and‘Reflection Inside my research processes Iengage withtwo distinct values andbeliefs” (ibid.). solving abilitiesare triggered by questioning“actions, suggests are thecentrality oftheselfwhoseproblem some commonalities exist”. Theseshared features she that hasdefiedconsensus ofdefinitionalthough (2005, p.3)argues that“reflection isacomplex concept conceptual perspectives orunderstandings. McClure way anindividualusesexperiences to leadinto to new reflection insideandthrough practice, canbepartofthe to Schön;Boud,Keogh andWalker (1985)observedthat The concept ofreflective practice isnotnew. Inaddition Forms of reflection 166 Here,

PAGE NEXT 81 | DESIGN RESEARCH 168 167 drafts ofmusicorsound compositions. to as‘sketching’ whenreferring to early listening. Thisisalsosometimesreferred as aprocess oflistening –moving – for sounddesigners thisisexplained seeing-moving-seeing process. However, (1992)definedasa Schön andWiggins characteristics ofdesignwork that sound ormusic,adopts thesame or sounddesigner, whenworking with (2012) describehow acomposer and situation” (pp.8-9). appreciations are alsoshapedby the with it,sothathisown modelsand situation isshaped,butinconversation to thesituationistransactional. The and distance. Thepractitioner’s relation experiment, whichcallsfor objectivity violates thecanonofcontrolled production projects, “thepractitioner idea whenhesuggests thatincreative- p. 150).Scrivener (2000)supports this as a“transactional relationship” (1983, and emerging data, whichherefers to relationship between theresearcher practice involves asubjective Interestingly, Knyt (2010)andWilliams Schön alsoemphasisesthatreflective and it talks back to me. talks and it environment, where Icommunicate withtheemerging data unconscious processes operate insidethistransactional and ‘feel’ how aportrait mightbedeveloped. Consciousand feelings andexperiences. Ihearsound,thenthink values, this subjectivity isintimately connected to my cultural Scrivener (2000, p.7)indescribingthisprocess says, what isimaginedwithcanbecome evidenced. is, “subjectively reflective andtransactional” (ibid.), This kindofprocessing andanalysisIngs (2005)argues that describedby Ings (2005),thatinvolves In bothforms ofreflection, Iengage inaprocess similar to and articulableoverview ofmy decisions. often useitasaprocess for gaining a more dispassionate consciously andcriticallyundertaken, itisevaluative andI when decisionshave become manifest. Suchreflection is Conversely, reflection onactionoccurs afteranexperiment, between intention andrealization). and created) to somethingbetter (e.g.,equilibrium trans-forming thesituation(i.e. psychological, emotional ... there isarecognition thatthe creator’s interest isin into theproject. (p.80) information, andfrom this,[I]project newquestionsback potential patterns, parallels andassociations withinthe bodies ofdata. Withinthis,[I]continuously investigate … complex level ofanalysisandsynthesis withinemerging 168 Insidethisprocess, Idraw together 167 and PAGE NEXT 82 | DESIGN RESEARCH three distinctphases.These are illustrated inFigure 3.2. I willdiscusstherelated methods withineachoftheinquiry’s analysing information” (Gray &Malins,2004,p.17).For clarity, refers to a“specific technique or tool for exploring, gathering and in theexplicationofstudy. Aresearch methodnormally published, itisusefulnow to consider specificmethods employed Given thatareflective practice-led hasbeen methodology Methods indwelling BEING WITHIN PHASE 1

KARAKIA

KANOHI KI TE KANOHI Interviewing data gathering PHASE 2

AMBIENT Sound recording

ARCHIVE MATERIAL AUDIO-DRAFTING &HYPOTHESISTESTING. into andsupportingthe3methods:AUDIO-SKETCHING, Change figure to show immersion andflow as feeding and artisticexpression, allofwhichare integrated. perception, spiritualawareness, cultural understanding phases draw knowing, uponsensory emotional Diagram showing phasesoftheinquiry. Thethree FIGURE 3.2.

IMMERSION data processing development iterative AUDIO Sketching PHASE 3 FLOW

AUDIO Draing

AUDIO Hypothesis testing

CRITIQUE + FEEDBACK PAGE NEXT 83 | DESIGN RESEARCH safety for myself andtheresearch I amundertaking. By thisI wairua andimportantly, itsupports theidea ofspiritual in Moon,2008,p.58).However, italso helpsto settle my maintains that “karakia directs theway we think” (cited Hohepa Kereopa awell-known tohunga from Tūhoe, energy andconnection whenever necessary. to everything(Moon,2008;Marsden, 2003) andIdraw onthe that holdsorbondsallthings together andistheconnection around me.Iunderstand thisto bemauri,theforce orenergy said silently. Here, alife force orenergy circulates withinand karakia are spoken outloudbut on otheroccasions theyare my wairua isactivated withinmy physical being.Sometimes in mind,bodyandspirit(Barlow, 1991;Walker, 1990)and In te aoMaori,theselfisintrinsicallylinked to thenatural world consciousness andto thecare andguidance ofmy ancestors. Karakia connects me to my beliefinahigherpower and Karakia plays asignificant role inthekaupapaofthis research. Karakia karakia andorientingtheself. with gestation andself-orientation. Theyare thesaying of There are two methodsinthisphase.Bothare concerned Karakia andbeingwithpotential Phase 1: experimentation andfeedback. Theseare discussedinorder. gathering. Phasethree isconcerned withimmersion, iterative it involves kanohikite kanohiinterviewing andaudiodata potential. Phasetwo isconcerned withdata gathering and acknowledged asaperiodofdwelling andbeingwith Phase oneispositionedpriorto data gathering andis and aware thatherancestors willlikewise becaringfor her. somebody else’s world secure inthecare ofmy ancestors and by cleansingmyself spiritually, Icross thethreshold of become. By askingfor care andprotection for allparties, reach towards theauthentic,more vulnerable allparties amongst portrait artists becauseoften, thedeeper we prescribed. Thisdepthisnotanuncommon experience and Iamcrossing into territories thatare notobjectively another wahine, my spiritisseekingto engage withher spirit mean, Iamaware thatwhenIseekto interpret theessence of incomplete and is opento extension orreorientation. bringing withmearemembered essence ofthewoman thatis me to go intuitively and appreciatively into anencounter, relaxed andlessconscious ofoutside influences. Itprepares might surface. Thisprocess generally takes place when Iam the nuances Isitquietly, of memory remaining opento what I feel thanwhatItechnically remember. By dwelling within pre-existing intersections ofourlives, dwelling more onwhat explore. Inadvance ofourmeeting,Irecall memoriesfrom of questionsbutrather, Ithinkaboutideaswould like to like, Idonotapproach my timewithherachecklist about thepotential ofwhat heraudio-portrait mightsound questions Imightask.Because,aminspired by thinking particularly helpfulasIbeginto consider thenature of at thesametime,depthofwhatIdon’t know. Thisis ‘understand’ whatIalready know ofherandappreciate wahine intellectually, emotionallyandspiritually, Iseekto might unfold. Inorientating my thinkingtowards the within aconsideration ofhow ourinitialkōrero (discussion) Beyond theuseofkarakia, there are moments where Idwell Being withpotential

PAGE NEXT 84 | DESIGN RESEARCH 172 171 170 169 recording andresearching archive material. process: kanohikite kanohiinterviewing, ambientsound gathering. There are three methodsemployed inthis Phase two oftheresearch designisconcerned withdata Data gathering Phase 2: 173 or reciprocal relationship. researcher develops aclosefriendship extended withpeopleto whoma of family connection, itcanalsobe associated withkinshiporasense Although whanaungatanga isoften research” (ibid.). explorers andco-contemplators ofthe researcher “considers participants asco- the person beingstudied.Assuch, the mind”, consciousness andwairua of understanding thefeelings, state of consists ofinterviewing withaviewto Here the artist“overall approach developing essentialistportraiture. Witz’s (2006,p.2)methodfor gathering hasparallels withKlaus The mannerinwhichIbegindata (Ryan, 1995,p.308). Whakarongo – “To listen” important relationality isundermined. e-mail correspondence, becausean through surveys, questionnaires or of thevalue ofremote questioning Inherent inthisconcept isaquestioning Titiro –“To look” (Ryan, 1995,p.262).

kanohi threads together theelements oftitiro conversation andinformation. Inthisprocess, kanohikite My approach draws uponanexchange ofstories, research (Cram andPipi,2000). senses astheyassessandevaluate theirinvolvement with consultation allows peopleto usearichspectrumoftheir accountability ofresearchers” (p.441).Thismethodof of KaupapaMāoriresearch liesina“credibility and argues thatthevalue ofkanohikite kanohiinthecontext respect for theperson(s) beingstudied.O’Carroll (2013) acting thatisformed onreciprocity anddemonstrates a and theparticipantbecauseitimpliesacorrect way of value asamethodfor engagement between theresearcher participants. the researcher isphysically ‘with’ aparticipantor The term isoften applied to anapproach where phrase thatliterally means“face to face”’ (Keegan, 2000,p.1). Kanohi kite kanohiisreferred to inanimportant Māori Kanohi kite kanohi as arelationship developed through shared experiences and whakarongo ao Māori.Inrespecting theconcept ofwhanaungatanga interpret deeperlevels ofidentityandways of beingwithinte responses to questions.Asaportrait artist,Iamseekingto Appendix 1),my approach hasbeento domore thangather Although theresearch project gained ethicsapproval (see of interviewing. This form ofdata gathering goes beyond theparameters can beshared between theresearcher andparticipant. bond ofmutualrespect andtrustfrom whichknowledge to thedata gathering process becausetheyhelpto form a to LindaTuhiwai Smith(1996),theseelements are integral 171 169 (listening)andk KaupapaMāoriresearchers draw uponthis 172

orero (speaking).According 170 (looking), 173

PAGE NEXT 85 | DESIGN RESEARCH 174 to discussion.Earlyinour meetings, Iexplainedtheproject space for theparticipants thatisintimate andconducive of theparticipants. Thisenvironment provides afamiliar initial kanohikite kanohidiscussions were inthehomes of trust.However, theproject ispotentially intrusive sothe wāhine before theproject sothere isapre-established level I donotseeaninterview asasingle instance. Iknewallthe and aresponsiveness to wairua. experiences andopinionsbutalsoaconnection ofmauri parties ashared senseofbelonging.Withinthis,we traverse in practice asanintimate kōrero thatreinforces for both working together,Iapproach interviewing conceptually and ambient soundfrequencies. record dialogue/voice, filtering out other microphones are specificallyutilised to lapel microphones anddirectional 3d-audio-ambeo-vr-mic. Sennheiser en-nz.sennheiser.com/microphone- spherical 360soundcontent https:// listener gets afullyspherical ambisonics from one singlepoint.Asaresult, the to capture thesurrounding sound 360 microphone isespeciallydesigned com/ku-100. TheSennheiserambeo headphones https://en-de.neumann. event into alistener’s environment over experience transferring anacoustic gives thelistener atrulyimmersion sonic uses two channel,spatialdepictionthat Neumann KU100binaural microphone Sennheiser lapelmicsand directional microphones. microphone, aSennheiserAmbeo360microphone, positioned devices includingaKUNeumann binaural with clarity. To achieve this,Iusearange ofstrategically inflections, spatial variations andambience willbe recorded and Iamalsoconfident thatsubtlenuances ofsound, voice there isnoanxiouscheckingduringtheflow ofour kōrero and Itested itcarefully before we began talking. This isso When recording interviews, Iused highqualityequipment and theirwhānau. well asenabling meto record interactions between them how eachwahine operated indifferent environments, as These locationsprovided anavenue to observeandrecord such asmarae, workplaces, whānauhomesandchurches. Subsequent interviews took place inavariety oflocations and form questionsfrom whathasjustbeendiscussed. kōrero, Ilisten intently to whatIambeingtold, thenIreflect, encouraging descriptive answers orexplanations.Duringour what sheisworkingto on.Itry keep my questionlinesopen, about herwhānau,askingwhere sheisfrom, andasking common to allinterviews. Theseincludedaskingthewāhine I generally usedafew establishing questionsthatwere to everyconversation. process was carriedoutevery timewe metandapplied that mightbeconsidered for useintheportrait. This recorded andcanask for itto beremoved from thedata have finishedaninterview, theycanlisten back to anything and manaakitanga, Ileteachwahine know thatwhenwe operating withtheirpermission.Aspartofshowing respect it asanormalised,integrated partofourkōrero thatis and setupatape recorder sopeoplebecome familiar with 174

PAGE NEXT 86 | DESIGN RESEARCH mentioned by thewāhine on thismaterial, Iwould often travel alone to locations initial kanohikite kanohidiscussion,after Ihad reflected Although someambientsoundwas gathered inthe Ambient soundrecordings 176 175 recalled andexperienced. to beusedto emphasiseconnections between whatwas ambient andemotionalpalettes intheportrait or was able the congestion oftraffic. Thismaterial contributed tothe as wind,water, insects, bird life, therustlingoftrees or (the originalhome)andwhānau,natural soundssuch and exterior soundsofhomes andmarae, papakāinga This environmental material could includetheinterior anecdotal sonic reference. sparsely inheraudioportrait asan Maniopoto’s permission.Thiswas used of the‘IamMoana’ show withMoana I alsorecorded onelive performance In additionto pre-published material, has beenshared inconversation. for soundsthatcorrelate withwhat place …to reflect onstories andlisten environments; to feel themauriofa with andreflect on,natural This gives meachance to engage 175 to gather additionaldata.

5) for embeddinginsidetheaudio-portraits. secure theuseofmusicalcopyright material (seeAppendix relationships withthethree wāhine, Ihave beenableto andpre-existing,New Zealandmusicindustry personal As aresult ofmy professional relationships inthe connections across timeandnon-physical space. the capacityto evoke deepemotionsandcansuggest and whakapapa.ThisisbecauseMāoriinstruments have referencing te aoMāori,specifically, connections to whenua draw uponthesetraditional Māoriinstruments asaway of recordings ofwaiata thatincludetaonga puoro sounds.I from participants, like MoanaManiapoto, to utiliseher as MahinaKaui.Ihave alsohave beengiven permission have collected recordings oftaonga puoro withartists such also gathered archived audiomaterial. Over several years I In additionto thedata recorded explicitlyfor theproject, I Researching archival audiomaterial which sheexpressed heridentity. composition asaway ofdrawing to thefore themannerin to integrate references to herhistory ofpersonal, musical fundamental partofeachwahine inthisinquiry, Iwanted Association (APRA).Thisisbecause,given thatmusicisa secured clearances from theAustralian Performing Rights 176 Ialso PAGE NEXT 87 | DESIGN RESEARCH portraits, to consider thesetwo states ofbeingandthinking. actual ‘methods’ employed initerative development ofthe the entire creative process, itisusefulbefore discussingthe and criticalreview. Becauseimmersion andflow permeates three broad methods;immersion, iterative development and processing ofrecorded data. Data synthesis utilises Phase three involves oftheinquiry thecreative synthesis Creative process, synthesis, ideationandflow Phase 3: influence” (pp.13-14). human life emanated from Io, thesupreme supernatural internalised withinaperson from conception –theseedof creative process. Pere (1988)describesthisas“adimension connection to wairua andmauri,aswell asmy internalised process Idwell inaspiritualdimensionthatsupports my I draw itinto myself andcontemplate its potential. Inthis 1985; Sela-Smith,2002;Ings, 2011).Once data iscollected environment are internalised (Douglass&Moustakas, into inamannerwhere aninquiry thequestionand Immersion refers to aprocess ofindwelling orentering Immersion awareness thatare purely [her]own” (ibid.). must stay intouch withtheinnumerable perceptions and for immersion to operate productively, theresearcher “... of theproblem are recognised” (p.47).Theyalsoargue that, understandings oftheresearcher grow andtheparameters meaning anddirection emerges astheperceptions and characteristic inthebeginning,butagrowing senseof that inthisstate “vague andformless wanderings are ‘being’ are centred on thethemeinvestigated. Theysuggest in anauto-centric mode,where aspects oftheresearcher’s researcher becomes integrated withtheresearch problem describe immersion asaparticularstate ofmindwhere the of aparticularmomentorexperience. Inthissense,they allows for anintensive andcomprehensive understanding According to DouglassandMoustakas (1985)immersion into thestimulusfielddefined bytheactivity”(p.239). approach where “attention becomes completely absorbed He seescreative flow asaunifiedand coordinated Csikszentmihalyi (1990,2004) hasdiscussedsuch‘flow’ as: that constitutes aforward momentumincreative thinking. synthesis isdistinguishedby apronounced senseofflow correlations between data andtheself, theactofcreative Although aprocess ofimmersion enablesmeto draw Creative process - Flow over limitation. (2004,p.266) uniquely humanmotivation to excel, exceed, andtriumph engaging work, orspiritualpractice, isadeepand Flow, whetherincreative arts, athleticcompetition, …ourexperience ofoptimalfulfilmentandengagement. PAGE NEXT 88 | DESIGN RESEARCH deeper Iamimmersed, themore momentumIachieve. myself from distraction, Iloseasenseoftimeandthe 178 177 maintaining thisautotelic state that isemerging from theundefinedinto thedefined. In creating, experimentingwith, andevaluating something my world; Ipossessandam possessedby theprocess of In thisstate, theworld oftheemerging portrait becomes with artisticcreation, everything elsebecomes peripheral. concentration. Wheninaflow, Iam completely engaged yet paradoxically itrequires animmenseamountof 239). Iexperience flow asspontaneous andeffortless, to theperson’s fullestcapacitysoasto create" (ibid.,p. weaving momentby momentthefocus andattention artistic process. Itis,“anintense experientialintricacy, This state ofcomplete involvement permeates my 179 be utilisedonmacOSandPC. sequenced information. LogicPro Xcan has thecapabilityto write andeditMIDI editing andmanipulatingaudio. Italso interface thatiscapableofrecording, called LogicPro Xisanaudioandmusical The digital audioworkstation (DAW) Hineraukatauri (Flintoff, 2004). as Tane Mahuta, Tangaroa and goddesses ofnatural world such Papatūānuku andthegods and are associated withRanginuiand I amaware thatdifferent instruments While working withtaonga puoro end orpurposeinandofitself. Self-resourcing andhaving an

177 Iamcareful to isolate reflect a connection to herwhenua. wahine, herwhakaaro andkōrero. Taonga puoro canalso kōauau, asaway ofcomplementing or‘speaking with’ each the potential oftaonga puoro suchastheput When developing audio-sketches Iwillsometimesexplore ‘What istheessence ofthiswahine?’. rapid assembliesthatare initial responses to thequestion material thatshehascomposed. Theseare interwoven in that surround her. I also draw onmusicandarchival her laughter andtheenvironmental andambientsounds through herkōrero, herbreath, herhumming,singing, to nuances ofhermauriandwairua, astheysurface important to hersociallyandpolitically. Here, Iamattentive understandings ofidentity. to Ialsotry discern whatis kōrero ofeachwahine andIlookfor whatexpresses her might find.Inthisexploratory approach, Ilisten to the to athumbnailsketch orarapid assemblyto seewhatI and archived sound.So,anaudio-sketch may belikened I create thumbnailsonicsketches usingaudiorecordings Audio-sketching is a form ofinitialexperimentation where Audio-sketching sketching, audio-drafting and refined hypothesis testing. passes through three forms ofexperimentation: audio- of flow, theiterative development of my audio-portraiture From astate ofimmersion, moving outward into aprocess Iterative development samples soundsfrom theLogicPro X Throughout theaudiosketching process, Itrialsynthesised guitar orpianoplaying. what Ihave experienced insmallcompositions ofmy own other media.Imay alsoembedreflective expressions of 178 179

soundbank,or orino andthe PAGE NEXT 89 | DESIGN RESEARCH which are more substantial soundarrangements. as reflections, althoughsome may expandinto audio-drafts, normally lessthantwo minutes induration andare utilised arrangements andemphasises.Theseexperiments are compilations thattest thepotential ofdiverse sound of ‘listening-experimenting-listening’ to produce quick Audio-sketches are arranged andrearranged inaprocess delete acomposition orretain parts ofit. and feels like. Atthispoint,Ieitherchooseto preserve or After listening to anaudiosketch, I reflect onwhatitsounds 183 182 181 180 Digital Interface) keyboard. assigned to my MIDI(MusicalInstrument as well asbanksofinstruments thatcanbe samples thatIamableto experiment with, Logic Pro Xprovides amultitudeofsound audio- drafting and hypothesis refinement. and more advanced developments like an environment for bothaudio-sketching process, editlarge volumes ofaudio.As Tools HDhasthecapacityto record, producers andfilm television. Pro standard for audioengineers, music Technology. Itisknown astheindustry developed andreleased by Avid Pro Tools HDisadigital audioworkstation expressiveness. to addto theportrait’s potential to hearhow soundscanbemanipulated When sketching anddrafting Iamable interviews andsite visits. Including material from additional audio hypothesis. audio sketches, audiodrafts andan See Appendix3for examplesof

180 also utilisedPro Tools HD of audiomaterial. involves acriticallyexpandedandanorchestrated palette draft isessentiallyadeeperorchestration ofelements that may bedifferentiated from a rapid pencilsketch. Anaudio- compared to themannerinwhichadrawing or‘study’ An audio-draft, asdistinctfrom anaudiosketch, may be Audio-drafting experiment withreverb, delay (echo)andequalisation(EQ). to useLogicPro X,Iintroduced soundeffects orplug-ins to listening, soundarrangement, soundcreation, editing evolve, itdevelops amauriofits own. Through deep nature ofeachwahine. Asanaudio-portrait beginsto With audio-drafts Iampursuing theexplicitandesoteric resonant interpretation. process ofmove testing, untilIcould feel andheara sound spheres were created andreworked through a audio representation ofthewahine. locations ofsoundmightcreate animmersive, evocative spheres. Ilistened backonheadphonesto hearhow these with thepositioningofvarious soundswithin360sound audio work flow. Whenaudio-drafting Ialsoexperimented elongating orshortening elements. I thenrearranged thesesounds;adding,subtracting, captured anexpression ofmauriorwairua. combinations ofsoundhadconveyed certain emotions,or and musicalsoundscapes.Ididthisto consider how initial sketches, listening to thenuances ofvoice, narrative Before embarkingon anaudio-draft, Iimmersed myself in level ofsyntheses andrefinement. The experimenttherefore engages amore sophisticated extended amountoftimeis spentdesigningandcritiquing. 181 Inconstructing anaudio-draft an 183 for experimental mixingina3D 182

These 360immersive AlthoughIcontinued I PAGE NEXT 90 | DESIGN RESEARCH Baldock in a collaborative processin of3Dmixingfor binaural Baldock sound mixingadvice andskillsofaudioengineerNeil Facebook360 spatialworkstation plugin.Iengaged the a 3Dspatialaudiowork flow environment utilisingthe portraits required soundmixinginPro Tools |HD than audio-drafts. Developing hypotheses ofaudio- These experiments were more technically advanced of theportrait ofeachwahine. the qualitiesandpotentials ofmore thanonerefined version (Schön, 1983,p.146).Inmy research, itisusedto compare an intended discrimination amongcompeting hypotheses” ‘Hypothesis testing’. Thistypeoftesting isusedto “effect The final form ofexperimentation issimilar to Schön’s Hypothesis testing: finalisingportraits totrying acoustically draw itinto anaudioform. and mixingprocesses, Iresponded to thismauri… 185 184

and capabilitiesfor mixing. robust configuration ofaudioplugins visuals andmixing.Pro Tools HDhasa production for syncing audiowith Pro Tools HDisalsoutilisedinpost- sustained conversation with theportrait. more refined form. Here, Iamindeepand doing, itisshapedanddeveloped into audio-portrait talks to meandinso transactional relationship becausethe be likened to Schon’s (1983)subjective On anon-esoteric level, thisprocess may 184 185

in in that theportrait mightplay insidealistening self. presence, theessence ofbeing andsonicplacement such of laugher. Iwas concerned withdesigningaholistic their ear, traffic driving through theirbodyandthe intimacy representation. Iwanted themto hearbreathing nextto I wanted alistener to experience animmersive sonic When encountering aportrait ina3Daudio environment, also refined timbre, dynamicsand texture. and enhanced thewhakaaro andkōrero ofthewāhine. It spatial realms. Thisprocess of3Dsoundmixingilluminated re-mixing, experimenting,andplacingaudiosources into The finaliteration ofaportrait could take up to 5days of synthesis ofthefinalportrait. Their feedback prompted my thinkingandhelpsmeina • • • asked themthree questions: provided themwithminimaladvance information andI in ablacked-out environment, through headphones.I prior exposure to theproject. Theylistened to thework knew hadhighlevels ofartisticcriticalitybuthadno been completed, I drew inanumberoflisteners whoI Once thesemore elaborate versions ofportraits had and stereo withdirectional andbinaural microphones. Some oftheotheraudiosources were recorded bothinmono 3D space thatincludestheXandYaxis(widthheight). within Pro Tools HDallows meto place asoundsource ina dissemination. TheFacebook360 spatialworkstation plugin What critiquemightyou offer ofthe work? What features oftheportrait were prominent for you? What istheessence ofthisperson? PAGE NEXT 91 | DESIGN RESEARCH 186 and ReneBullinga (Protel, NewZealand). Hinematau McNeill(Ngāti Moko, Tapuika), Welby Ings (Filmdirector), Professor a-Māhaki, Rongowhakaata), Professor Māori Advancement, AUT, Te Aitanga- (Pro Vice Chancellor Culture andSociety/ Ngāti Tuwharetoa), Professor Pare Keiha Sheehan (Ngāti Maniapoto, Waikato, Television Producer andDirector), Ariana Smith, (Ng (who was my Nicola M.Phil.Supervisor), These criticshave includedDrElisaDuder, whose portrait hasbeencomposed). (including ineachinstance thewomen designers, soundengineers andwahine selected. Theyincludemusicians,artists, Reviewers ofmy work are strategically ati Kahungunu,Ngāti-P akehā/ offer feedback. to listen to alternative audio-drafts or hypotheses and times whendeveloping thework, Ihave asked critics experience andinterpretation oftheportraits. Atstrategic is concerned withgaining feedback ontheimmersive use ofreviewers’ critique.Thistakes two forms. Thefirst The third methodsupportingreflective practice was the Critique andfeedback Phase 4: discuss thisandIcould reconsider theportrait. amiss or‘wrong’ inthework, we were able to discussthis wahine, ifthere was somethingthatshefelt was deeply work to beanobjective interpretation ofself-vieweach but alsoafinalcheckso,althoughIdonotpropose the and kaitiakitanga (guardianship).Theportrait isanoffering interpretation formed partoftheprinciplesmanaakitanga are my interpretation, thissharingofmy response and feedback from thewahine. AlthoughIaccept thattheworks Just before aportrait was completed, Ialsosought considerations ofthecommunicative potential ofmy work. provided reference points for furtherreflection andcritical of eachwahine theyencountered. Theirfeedback made them‘feel’ andhow theyinterpreted theessence understanding ofhow iterations oftheportraits have 186 Thesesessionshave given mean

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187

Technology, WF713. Symposium. Auckland University of Technology 2018PostgraduateResearch of Beyond whatisseen,AucklandUniversity Sheehan. M.(2018).Thesoundofportraiture: www.aes.org/events/145/papers/?ID=6147 Engineering Society. Retrieved from http:// Javits Center, Manhatten, New York: Audio Enquiry.. InAudioEngineeringSociety Sound ofIdentity, anIndigenous Artistic Sheehan, M.(2018).Audio Portraiture –The lib/browse.cfm?elib=19815 . Retrieved fromSociety http://www.aes.org/e- Enquiry. JournaloftheAudioEngineering Sound ofIdentity, anIndigenous Artistic Sheehan, M.(2018).Audio Portraiture –The doctoral-conference http://www.mai.ac.nz/news/2018-mai- Nga wai oHorotiu Marae. Retrieved from . into audioportraiture enquiry indigenous artistic Sheehan, M.(2018).Thesoundofidentity, an ac.nz/abstracts-and-programme http://www.indigenousresearchconference. Research Conference. Auckland. Retrieved from Maori. In8thBiennialInternationalIndigenous intoAn artisticinquiry theidentityofw Sheehan, M.(2018).Thesoundofportraiture: abstracts-and-programme indigenousresearchconference.ac.nz/ Auckland. Retrieved from http://www. International IndigenousResearchConference. Inanahi, InāianeimeĀpōpō.In8thBiennial Sheehan, M.(2018).LivingTaonga: Nga Wai oHorotiu Marae. Faculty ofDesignandCreative Technologies. Technology ArtandDesignPhDStudentHui Māori ArtisticEnquiry. Auckland University of Sheehan, M.(2018).SoundofIdentity:A thinking inthefollowing environments: These have madepresentations ofmy

ahine

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literature tothedigitalecosystem (2018-2019). te punahahauropimatihiko: Purakau: fromoral Robert Pouwhare’s Purakau -Maimatakōrero ki polyvocal book,SaintsofParadox(2019) Tatiana Tavares’ Brazilian interactive, Exhibition –ThePassing (2019) The F4Collective: TheTudor Collins America) Hokioi/vWohāli eagleproject(2019) the ExhaleDance Company (United States of The Ōkareka Dance Company (Aotearoa) and following identity-oriented projects: relationship assounddesigneronthe I have worked inacollaborative (Sennheiser Australia) Chris SmithPro Audio Solutions (NYU, Steinhart) Associate Director ofMusicTechnology Professor ofMusicTechnology, Agnieszka Roginska-MusicAssociate Auckland University) (Sonic Arts, SchoolofMusic, Dr John Coulter, SeniorLecturer, Rene Bullinga (Protel, NewZealand) with thefollowing professionals: I have hadindepth,technical discussions

identity, research was concurrently concerned withexpressions of collaborative working withotherindigenous artists whose immersive sound. who were current leaders inthefieldofbinaural or academic fora like conferences andsymposia, This feedback was gained through presenting my work at or cultural reflection thatIhadnothitherto considered. it enabledmeto draw into my work technical expertise the intimacyofcreative artefacts but The second form offeedback isslightlyremoved from 188 andintechnical discussions withprofessionals 189 relevant because 187 through

PAGE NEXT 93 | DESIGN RESEARCH 191 190 and reciprocity. (Ryan, 200,p.143).Itexemplifies care mana “integrity, charisma,prestige” fit. (pp.427-428). them to pickup,whenandastheysee of others to self-determination; itisfor very powerful recognition oftheright process of`laying down’ akoha isa specific details oftheprotocol, the the handsofhosts. Whatever the It isnotusuallygiven directly into past, thiskoha was often agiftof food. generally agiftoranoffering …Inthe (1998) states that“Thekoha is… taonga (precious greenstone). Bishop Each wahine was gifted apounamu Kai orfood offering, for Māori,holds sharing ofkai(food)oracuptea. Meetings withtheparticipants were centered around the technological expertiseand thecriticalfeedback ofothers. the respectful andappreciative way thatIworked with wahine andherwhānau.Thisvalue was extended into manner inwhichIhave developed relationships witheach manaakitanga hasbeenaguidinglight,orientingthe that supportMāorivalues inthisresearch. Ofthesevalues, contributors. Tikanga hasprovided protocols andprocesses time, my research draws upontheknowledge ofnon-Māori woman working withother Māoriwomen, butatthesame These values have proven effective becauseIamaMāori research orientation thatutilisesfamiliar cultural values. Employing aKaupapaMāoriparadigm hasprovided auseful Advantages implications andchallenges inherent intheresearch design. In closingthischapter itisusefulto reflect onthe Critique of theresearch design Phase 5: research. wahine akoha (gift)for hergenerous contribution to the a more fluidandpersonal way produced highlevels of of recollection andopinion.Beingwiththe wāhine in lines through informal channelsinto very richlevels intrusive orexploitative. Iwas alsoableto pursue question recordings withouttheprocess beingexperienced as allowed metheopportunityto obtain multipleaudio employment of kanohikito kanohi,titiro andwhakarongo 191 Astrustandrespect was established, the 190 Ialsogave each PAGE NEXT 94 | DESIGN RESEARCH They enabledmeto bemore interrogative becausethey extended theway Ihave worked asamusicianinthepast. and refining theportraits (through hypothesis testing), The three forms ofexperimentation: sketching, drafting development anddiverse forms ofthinkingandrethinking. provided aframework thatwas integral for bothiterative The methodologicalapproach ofreflective practice for future applications. pushed boundariesthatsuggest richandexciting potentials art practice, theresearch openedupnewpathways and the emerging soundtechnologies hadnotbeenutilisedin technically focused realms ofinquiry. Given thatmany of expertise normallyfunctionedinmore objective and support andexpertisefrom soundengineers whose arena. Thismeantthatthe project attracted very generous technological knowledge operated inahighlycreative The adoptionofanartisticparadigm meantthat spirit permeated theresearch. cultivated aconnectedness where trustandgenerosity of knowledge andwhakapapaover multiplevisits, that It was theprocess ofsharingourstories, understandings, a senseofhelping,sharing,tautoko) andaroha. (support response’ interviews, becausemanakitanga operated as audio gatherings went beyond thestandardised ‘question- discovery whichisreflected intheaudio-portraits. My 192 the arrangements we hadmade. always turnedupontimeandabided by I was always considerate ofthis,andI If somebodyneededto reschedule then thinking andexplicitcommunication. me to negotiate anongoing balance between introspective Feedback was drawn backinto my thinkingandenabled insight into thecommunicative potential ofmy experiments. employment ofcriticalfeedback. Thisprovided mewith Balancing thesevery internal approaches, was the a physical andmetaphysical level. how Imightapproach thecreation oftheportrait onboth background. Iwas ableto thinkabouteachwahine and necessary (andrelatively ingrained) partofmy professional patterns ofstrategic production thathadbecome a resourced my creative spiritandenabledmeto challenge of opennessto boththephysical andnon-physical. This self andvalidated timeto imagine,reflect andbeinastate important becauseitreinforced connections to my creative beginning thecreative process (andattimesduringit),was reflection. Asa researcher, thetime to dwell prior to elevated theimportance oftime,risktaking andcritical demonstrate respect for commitments ofeachwahine, of thisinvolves effectively managing my own schedule. To degree ofconsideration for people andtheirtime,part I have always attempted out to carry research withahigh to gather environmental material. complicated by theneedfor multiplevisits to locations with wāhine, their whānauandfriends.Thisisfurther was time.Audio-portraiture requires multipleconversations it alsoposedanumberofchallenges. Thefirst ofthese Although theresearch designhadmany advantages, Challenges we were going to bedoingandto allow plentyofadvance I found itveryimportant to communicate anoutlineofwhat 192

PAGE NEXT 95 | DESIGN RESEARCH data for me. I alsoasked Erana to transcribe andtranslate recorded a crucialrole inassistingmy kōrero withTe Rita Papesch. services ofmy whanaunga (relation).Erana Foster played language. To address this,inoneinstance, Iengaged the was sometimesachallenge becauseIamalearnerofthe times wheneachwahine andIspoke inte reo Māori.This their multi-dimensionalityandcultural identity, there were A second challenge related to language. Aspartofexploring resulted inamore favourable response to furtherinterviews. depth kōrero. Inaddition,keeping sessionsshortnormally wāhine's timeandthefatigue thatcansurface after in- not to go beyond 2hours eachtime,outofrespect for the time before visits. Ialsodiscovered that itwas important 194 193 195 waves.com/hardware/nx-head-tracker this material seeAppendix7. which Iwas uncertain. For transcripts of aspectsto ofte clarify reo Māori about support ofmy sister ArianaSheehan, Wave NXheadtracker. https://www. At othertimes,Ialsodrew onthe See Appendix1. 193

can explainresearch intentions anduses, where itwas leadingto. Althoughethicsinformation sheets useful to beclearattheoutset aboutboththeprocess and outcome beingexhibited inthepublicdomain,Ifound it them. Given thatresearch like thisresults inavery intimate produce work thatwas authenticto theperception Ihadof whom Iwas working andalsotheresponsibility Ihadto I was very aware ofthevulnerability ofeachwahine with when we ‘face’ suchinterpretations itcanbedisconcerting. us understand ourselves through theperceptions others so, portrait, theyare undertaking averyintimate act.Noneof researcher andthewāhine. Whenanartistcreates a Finally, aproject like thisisveryexposingofboththe trust andrespect. experimentation andanestablished workflow basedon rapport andwe haddeveloped ahistory ofcourageous and producer, we hadalready established ahighlevel of in2013.InourrespectiveLight’ roles asasoundengineer worked professionally together onmy album‘Chasingthe very productively. ThisisbecauseNeilBaldockandI level ofdislocation,butwe were actuallyableto collaborate sound engineerwork together onemightassumeacertain knowledge inverynewcontexts. Whenanartistanda devices suchastheWavesNX headtracker, because we were having experimentwithnewtechnological like NeilBaldock.Thisprocess was largely co-creative environments meant thatIhadto engage thehelpofexperts technological challenges suchassoundmixingin360 use ofsupportpermeated post-production processes where help ofmy sister andsonto operate equipment.Thissame wahine duringourkōrero. To address this,Iengaged the equipment whileremaining focussed andconnected to each The third challenge related to operating soundrecording 195 194 Ifound thata andapply PAGE NEXT 96 | DESIGN RESEARCH release theportrait into thepublicdomain. something thattheyfelt was deeply‘wrong’, Iwould not they would beableto raise any concerns. Ifthere was share theportrait withthembefore final completion and nor disparage them.Aspartofthis,theyknewthatIwould The wāhine trusted thatIwould neitherdeliberately harm All three ofthesefactors permeated ourongoing kōrero. multi-dimensionality. these portraits were anotherartist’s interpretation oftheir what isbothphysical andnon-physical. Theyknewthat in embodiedways, whatit is to usesoundto interpret They alsohadlived experiences ofinterpreting. Theyknew principles andunderstandings. Finally, theywere allartists. be working together insidemutuallyunderstood cultural knew ofmy whānauandtheyunderstood thatwe would life. Second, theyalsoknewthatIwas Māori.Theyeither values andtheimportance thatartisticintegrity hasinmy as amusician.Theyknewthecare Itook withproduction helped by three things. First, thesewāhine knewofmy work much deeperlevel oftrustneededto beinplace. Thiswas sensitivity given thevulnerability ofparticipants. up to highlevels ofdiscovery andworked withadegree of explain how theresearch was undertaken soitopeneditself and theoverarching paradigms, thischapter hasaimedto its insidewhichtheyoperated, methods,themethodology might beproduced for ascientificinquiry, butindescribing complexity. Itisnotasneatlyoutlinedaframework that The research designfor thisproject hasinvolved balancing In closing PAGE NEXT Chapter 4 CRITICAL COMMENTARY 98 | CRITICAL COMMENTARY design employed inexplicatingthework. audio processes andthebinaural andimmersive sound application. Iconclude withabriefdiscussionof digital of eachportrait andconceptual challenges faced inits design of theexhibition,thenIexplainkeys features presented. Ibeginby discussingformative ideasinthe the designof theexhibition Ōtairongo inwhich theyare development andnature of thethree audio-portraits and This chapter provides acriticalcommentary onthe OIo –ofDivineBeing/ Source NGākau /manawa –oftheheart Ongā mātuatūpuna–ofourancestors deity oflove Rongohīrea /Rongomaraeroa /Rongomātāne /Rongo – derives/originates from Rangi&Papa Itakea maiiaRanginuirāua ko Papatūanuku– unconditional love /Ārohirohi –feeling sense Aroha mutunga kore – nature, country of theworld, Earth,natural world, environment, Taiao – of theseataffection, emotion, feeling, sensation Ōwhatumanawa – vowels andconsonances. word asanacronym andattaching meaning to eachofthe explains thenameofŌtairongoby creatively unpackingthe continuums ofawareness. Tūī Matira Ranapiri-Ransfield resound, echo,ringandsubtly shiftalongtrajectories and what reverberates in between, asthefrequencies vibrate, heard andfelt above, outside andwithin.Italsoembraces Ōtairongo isaway ofexpressing immersion into whatis Exhibition title Ōtairongo PAGE NEXT 99 | CRITICAL COMMENTARY case moththatisthepersonification ofHineraukatauri. enclosure' thatcontains ametaphorical reference to the is notcompleted, thespace isconceived ofasa'borderless listener. Althoughatthetimeofsubmissionfinaldesign high qualitySennheiserheadphones,whichare worn by the Moana, Te Rita orRamon.Eachportrait hasits own setof cocoon pods.Eachmarks the site ofaseparate portrait of In thedarkness,subtlelightingpicksoutthree, discrete visual borders, soone’s physical parameters are undefined. in suspension;itisaspace thatawaits. Here, there are no a place where thephysical andtheesoteric mightcoexist concept underpinningthe design isarealm ofimmersion; constructed theinstallation withminimalelements. The Because Ōtairongoisalready required to travel, Ihave Auckland Arts Festival inMarch, 2020atArtspace Auckland. examination, Ōtairongohasalsobeenselected for the Although theexhibitionisinstalled inthisspace for the box’ withatheatre lightingframe andsoundsystem. Technology. Theroom isanacoustically sealed,‘black a performing arts space attheAuckland University of Ōtairongo isadesignedenvironment insideWG210, Exhibition design and whatlieswithinbeyond. permeating force ofmauri,referencing boththephysical each wahine. Thedesignoftheexhibition draws uponthe causing anintimate connection to thelayers ofidentity above, below, behind,infront, andpassingthrough, listener thesenseofsurround soundbeingdirected from shifts. Sonicelements have beencreated thatgive the headphones willprovide thelistener withsubtlespatial duration. Theimmersive 360andbinaural audiomixover The portraits are between 07.00and08.00minutes in appropriately positionedandthelights have beendimmed. be activated by asoundtechnician once thelistener is Each portrait willplay once through inits entirety. Itwill rises automatically whena portrait isconcluded. the intimate nature ofthespace intensified. Thelighting dark. Thisissoone’s senseofsoundcanbeheightened and inside acocoon, thelights dim,andtheworld becomes a portrait atany given time.Once thelistener isenclosed Ōtairongo isdesignedsoonlyoneperson canexperience PAGE NEXT 100

| CRITICAL COMMENTARY considerations andlighting. for Ōtairongo showing spatial The finalexhibitiondesign FIGURE 4.1. PAGE NEXT 101

| CRITICAL COMMENTARY 197 196 The audio-portraits 198 whānau andwhathasbeentaught. on thecustoms ofindividualiwi,hapū, surrounding it.Thistikanga isdependent have varyingaccounts ofthetikanga are steeped inthepractice ofkaranga ritual withinte aoMāori.Wahine who the complexities andsacredness ofthe In discussingkaranga, Iunderstand recordings oftaonga puoro. whānau kapahakarecordings and used waiata, excerpts ofclassicalmusic, made inherhome.InadditionIhave Hamilton). There are also recordings in Pirongia andHuiTe Rangiora in I recorded atTe Rita’s maraes (Pūrekireki This includessonicmaterial Māori express heritage andidentity. Kapa hakaisamediumthrough which (dance) refer to Māoriperforming arts. The words kapa(group) andhaka

uniquely delivered by wāhine Māori,whogenerally are of Karanga isacustomary callofwelcome orsummons, whenua, whakapapa,whānau,te reo Māori,kapahaka The portrait ofTe Rita Papeschacknowledges karanga, KARANGA Te Rita Papesch Portrait 1 discussions withTe Rita, andsheexplainsitthus: The karanga surfaced through deepandthoughtful audio data and synthesises diverse mono,stereo, binaural andambeo an insightinto herwairua. Thework artisticallyarranges unfolding oflayers ofrecollection thatincomposite, provide identity. These are combined inachronological folding and music andtaonga puoro, assignificantdimensionsofher The portrait callsusinto arural world andinto karanga. interviews inte reo MāoriandEnglish. acknowledge eachother. (personal communication, 2019) whichever side,guestorhost,themainpurposeistogreet and ofthings.But the purposeofgatheringandthosetypes are many otheraspectslike karakia, genealogy, talkingabout This isthemainpurpose–togreetandwelcome. Thenthere ofthemale. greeting, awelcome, similartotheformaloratory The purposeofthekaranga onthemaraeisasa maioha,a whenua rānei, hepōwhiri, hemaiohate mahi. ahakoa tēwhea taha, taha manuwhiri, taha tangata whakapapa, ite kaupapa,ērā momoāhuatanga. Engari mai ko ērā atuāhuatanga kakuhupērā ite karakia, ite mahi matua–hemihi,maioha,pōwhiri. Nōmuri he pōwhiri pēnāite whaikōrero ate tāne. Koirā hokitāna Anā, ko tāna mahikirunga ite marae, hemaioha,mihi, 197 thatismixed withdialoguefrom multiple 196 198 ,

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| CRITICAL COMMENTARY 200 199 medium ofspiritualengagement. the land,local people)andmanuhiri( guests), italsoacts asa arena for thephysical meetingoftangata whenua(peopleof (1986) suggest thatalthoughthekaranga provides aspatial the physical andspiritualrealms, andTauroa andTauroa notes thatkaranga conveys Māoriunderstandings ofboth emotional atmosphere to themarae” (p.137).Hibbs(2006) which sendsgreetings, invokes thedead,andbrings an Salmon (1975)describesthekaranga as“along,highcall woman whocaused thewonder ofthedawntoappear(ibid.,p.1). te wahine nānaitūte ata hāpara -You arelike Hine-ruhi,the wahine Hine-ruhiinrelation to karanga as“Ko Hine-ruhikoe, people, katūte kaikaranga eee...!The ritualrefers to theatua karanga isexplainedas,“thecallofthewahine …thecallofher Palmer &Barnett,2016).InPoupouKaranga (2019,p.3), heard inapōwhiri (ritualofencounter) onamarae (Forster, status withintheirwhānau,hapūandiwi.Itisthefirst voice 201 202 with themarae. The two mountains associated rauemi/tikanga-protocol/ See https://akoMāori.wordpress.com/ formal, withfewer protocols observed. a pōwhiri in that itisconsidered less hui (gathering). Itis different to ceremony andisusedto begina A mihi whakatau is awelcoming record hervoice. of thiswelcoming andallowed meto Te Rita bestowed uponmethehonour Ngāti Apakura andNgāti Maniapoto. The marae isaffiliated tothetribesof

recorded onFebruary 1st,2019atPūrekireki marae Te Rita’s karanga, aswe enter theportrait, (00.19)was to thelandscapesofPirongia andKakepuku maunga. reverberations that echobackfrom Papatūānukuthrough and itcarriesits own mauri.Itencompasses hervocal karanga hasthepower to communicate theintangible a vocalised connection to herwairua. Inthissense,the her distinctive voice, tone, sonicfrequencies andprovides Like allkaranga, Te Rita’s karanga isunique;itembodies complex identitiesmeet;Te Rita andthelistener. that ispassedinthecompany ofone’s ancestors. Here two karanga alsoservesasacallinginto theportrait, athreshold shared atthistimeisunderstood asmauri.However, the and whakapapa.Inte aoMāori, thebondandenergy we her tūpuna.Shealsoacknowledged ourshared ancestry both aphysical andspiritualintroduction to hermarae and ritually welcoming my ancestors andme,Te Rita provided in Pirongia, NewZealand. and by extension, to theatuawahine, Hineraukatauri. and are reminiscent ofancestral connections to hertūpuna ethereal voices thatexpress theunseenessence ofwairua (at 01.02).Theseare sonicevocations, representative of the soundofanotherkaranga (by herdaughter MariaHuata) I have placed thefaint soundsofthepūtōrino (at00.37)and upwards, towards Ranginui.Inresponse to Te Rita’s karanga, The karanga iscarriedonthewindsofTāwhirimātea generally involves pōwhiri, karakia ormihiwhakatau. Tainui dialectfor manuhiri]for thefirst timeonto amarae protocol ofwelcoming manuwhiri[thisistheWaikato- 200 TheMāoricultural practice/ 199 201 202

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| CRITICAL COMMENTARY 203 sonic confluence ofwind, grass, trees, birds andinsects Ranginui, Tāwhirimātea andTāne Mahuta are heard asa physical world. Thecollective realms ofPapatūānuku, to Pūrekireki marae. Theseare intimate recordings ofa the soundofherwalking andtheopeningofgate – 00.18);from thesilence we are withTe Rita through References to thelandare thefirst things we hear(00.00 whenua linkswhakapapato iwi,hapūandwhānau. Rita’s portrait. Theseconnections are important because Sonic representations ofwhenuaare heard throughout Te WHENUA services to theart form). kapa hakafestival (inrecognition to her Achievement Award attheTainui Waka in 2018shewas awarded theLifetime national kapahakachampionshipsand been asked several timesto judge the are involved withkapahaka. Shehas has seven children andallofthem championships inGisborne.Te Rita Wahine titleatthenationalkapahaka the first woman to receive theKaitātaki greenstone patu).In1979,shebecame and mere pounamu(flat,broad-blade patu (short-handedclubweapon) the traditional Māoripractice ofthe Rangihau to betaught karanga and kapa hakaexponentJohnAniwaniwa Royal Tour. Te Rita was alsochosenby for QueenElizabethduringthe1970 formed in1978.Shealsoperformed University kapahakagroup whichwas member oftheinaugural Waikato involved inkapahaka.Shewas a Te Rita Papeschhasbeendeeply of kapahakainTe Rita’s whānau. theimportancesentiment ofunityandlove, butalsosignify language andcollective harmonicvocalisation create a Māmā speak,speakthelanguageofourancestors). TheMāori singing thewords ‘Kōrero Māmākōrero, kite reo’ (speak performance ofhertamariki (children)andmokopuna As shesays thisintheportrait, we hearthekapahaka her. Shesays, her whānau,children andmokopuna (grandchildren)inspire remembered life experiences. Family iseverything to herand and inthesynthesis ofmusic.Sheisawoman withrichly Whakapapa andwhānauare represented inTe Rita’s kōrero WHĀNAU connected te aoMāori. no-nonsense, earthedandyet innately andintimately fact’ way thatTe Rita seestheworld. Sheisstraight forward, the ritualisticIwas attempting to honourthe‘matter of is surrounded by farmland. Incombining theprosaic and Highway 29between Pirongia andKakepuku mountains. It and cars, becausePūrekireki marae issituated onState Integrated withthisare theprosaic soundsoftractors, dogs the whenua,sonicallyconnecting Te Rita to herworld. that surround her. Thesesoundsembodythemauriof when shediscussesher motherblamingherfor hisillness him thatshewas pregnant for thefirst time(04.11),and Te Rita speaksaboutherfather’s heartattack after she told The dynamicsofwhānaurelationships alsosurface when grandchildren, Ican’t deny myself (05.50). and energy andlove andeverythingto my children and I can’t besolitary, Ican’t beselfish,Ihave to give my time 203

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| CRITICAL COMMENTARY 206 205 204 grandfather suggested thathewould raise thechildifitwas baby, despite thesocialnormsoftime.Even thoughher Te Rita’s integrity isrevealed inherdecisionto keep her affectation Te Rita faces herwhānauandthe world. of hermotherto show how truthfullyandwithoutsanitised of herrelationship withhermother. Iintegrated hercriticism recollection, thisdoesnotdemonstrate thefullcomplexity (04.25). Althoughshemakes adisparaging remark inthis 208 207 watch?v=RCR0hWOwhIg kino athttps://www.youtube.com/ Te HaonaKahasingTahi neitaru musical-terms.php org.uk/res-musical-terms/italian- musical terms http://www.musictheory. plucked strings. Retrieved from Italian Pizzicato isamusicalterm whichmeans musical-terms/italian-musical-terms.php http://www.musictheory.org.uk/res- Retrieved from Italian musicalterms means to gradually become louder. Crescendo isamusicalterm which italian-musical-terms.php musictheory.org.uk/res-musical-terms/ from Italian musicalterms http://www. pleasure orcontentment. Retrieved happy, andorshowing afeeling of Felice isamusical term thatmeans and adeeperdepictionofheremotions. that becomes more sombre intonation underscored by thetone inhervoice the words “pōuri”and“yeah”. Thisis drawing attention to thesilence between an insightinto tenderness by subtly Here, Iusesilence asacounterpoint,

bass contribute to asenseoffelice. her motherandauntiessingingwithanoldslap tea-chest made from yellow plums,the neighbourhoodpartiesand joy andimmersion inarichworld ofmusic.Thewine outside herfather’s garage portrays asenseofchildhood her younger brother, friendsandhersingingOhmy Papa in Pirongia andsingingasa child.Therecollection of earlier intheportrait when shetalks aboutgrowing up Happier memoriesofTe Rita’s whānauare experienced to reinforce amelancholymood. The juxtaposition ofmajorandminorchords isalsodesigned D-Major, A-Majorand E-Minorintheintroduction andverses. of anacoustic guitar withthe cyclic chordal repetition of To underscore thisemotion,Imixed thelanguishingtempo sadness. Themusicaltone is reminiscent ofdoloroso and maringi(spilling)inthewaiata evoke aprimalsenseof (Appendix 5),sungby Te Rita. Thekupu(word)roimata (tears) the waiata NgāRoimatacomposed by HiriniMelbourne singing thewaiata Tahi neitarukino. to melodically fitwith Te Rita’s whānaukapahaka group arrangement ofsamplesthe slaptea chestbassarranged a playful side of herfather. Thethird musicalthread isan for its playful pizzicato orchestral introduction to Schubert’s Ave Mariaisemployed (03.19) andreaches acrescendo The first is,thesongOhmy Papaunderpinsherkōrero at through three musicalthreads that are woven together. yeah” (05.09). sad rather hurt,Iwas thanhurt,notangry sadhurt,pōuri… underscored whenshetalks aboutbeingsentaway: “Iwas my baby up,I’m keeping it”(5.00).Thisstrength is “I remember saying to myself, noyou’re not!I’m notgiving a boy, shewas adamantthatshewould keep thechild. 204 Atthispointinherportrait Iincorporated 207 strings which sonicallyrepresent 206 at(03.25).Second, the 205 208 Thisisexpressed (sorrow).

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| CRITICAL COMMENTARY 209 euphemisms. Suchathingisreal, butsheismatter of fact she found outabouthermedicalcondition, there are no attitude. When Te Rita speaksof“beingdown” when the portrait becauseherpractical strength isapermeating the world directly. Herkōrero isplaced atthebeginningof because itshows thefearlessness ofawoman whofaces of kidneyfailure. Thisexcerpt from herinterview isused One oftheseconcerns her having dialysisevery day because essence anddistinctiveness. I diddraw into herportrait instances ofindividual of te reo Māori,educationorwhakapapa.However, to herwhānau;whetheritwas karanga, therevitalisation Te Rita, herkōrero rarely shifted far from connections Throughout themultipleinterviews Irecorded with THE INTIMATE SELF 211 210 com/watch?v=7Ns2qopr-7U Retrieved from https://www.youtube. Te HaonaKahakapahakagroup. vocal ornamentation. requires assinger to perform elaborate describes averyhighvocal range that Coloratura isamusicalterm that browse/arpeggio from https://www.dictionary.com/ separated notes ofachord. Retrieved means thesoundingandorplaying of ismusicaltermsArpeggio which and ittiesherto kapahaka, hertamariki andmokopuna. part ofheridentity;sheexpresses herself through singing played inanarpeggio at thispoint(01.43)for two reasons. First, thechords are issues onherown. Aclassicalpianosonata was imbedded about it.Where possible,sheprefers to dealwithemotional Te Rita’s classicaltraining asacoloratura and sometimestiessectionsofherportrait together. accompanies herkōrero asaform ofsonicunderpainting, recollections asadirect association.Musicsurrounds and portrait. WhenTe Rita talks aboutmusic,itresponds to her with direct address. Thisisarelatively figurative, human because ofTe Rita’s preparedness to face theworld in focus, despite its layering. Itisunaffected yet arresting If ourears could see,thisportrait would berealistic, sharply MUSIC ANDTHEVISCERAL her father’s brother (Appendix5). learning classicalpianoasachildwhilepaying homage to forward. Second thepiece responds to hermemoriesof of movement becausesheknows herlife hasto move This process ofwater cremation leaves onlythebones. the disposingofherbody through resomation (06.36). closing moments oftheportrait whenTe Rita talks about A relationship between musicandtheprosaic occurs inthe sonically pays tribute to herEuropean heritage andtraining. about itandisusedasarecurring musicalmotifthat the real. Itintroduces usto classicalmusicbefore shespeaks the karanga itissituated inthereal, butitalsotranscends I chosethisariabecauseTe Rita sangitasateenager. Like space between thekaranga and the first time Te Rita speaks. have positionedSchubert’s aria Ave inthetransitional Maria 209 arrangement thatprovides asense 210 is a significant isasignificant 211 I PAGE NEXT 106

| CRITICAL COMMENTARY singing thewaiata Rongomai. (06. 48).ItisatthispointthatIutilisetherecording ofher made into taonga puoro thathermokopuna mightplay In herkōrero, Te Rita suggests thatherbonesmightbe 212 (2018, p.235)notes, burial practices thatemployed asimilarprocess. Rangiwai viewed asaradical idea,Te Rita isaware oftraditional Māori conformity. Althoughfor somepeople,resomation mightbe accepted. Herpower andmanaare notassociated with success andherabilityto thinkbeyond thesanctionedand her convictions; to suggest acorrelation between herpublic (Appendix 5).Iusedthesonginhomage to thestrength of title atthenationalkapahakachampionshipsinGisborne became thefirst wahine to receive the“Kaitātaki Wahine” because itwas thewaiata shesangin1979,when on February 1st,2019. This was recorded atPūrekireki marae prepared for thehāhunga ceremony. appropriate. Theboneswere thencleanedand beneath asanddune,orinwhatever way deemed suspension inatree, burialintheearth,swamp or was left to rot away using various meanssuchas Following thetangihanga, thefleshfrom the corpse 212 Thiswaiata issignificant beginning andTe Rita’s kōrero astheportrait closes(07.27). moments ofte reo (thelanguage)are thekaranga atthe complete impressions ofheridentity. Two ofthesignificant Te Rita’s useofte reo Māorito discuss deeper, more 7), whichenabledmeto locate segments thatdemonstrated transcribed andtranslated into Englishby Erana (Appendix wairua, mauri,whānauandidentity. Theinterview was rich kōrero aboutherlife andherwhakaaro onkaranga, certain nuances ofherconversation. Theinterview provided not fluent,I was able to understand muchofthe kōrero and interview withTe Rita entirely inte reo Māori.AlthoughIam Māori, Iasked my colleague Erana Foster, to conduct an to sonicallyrepresent herlove andcommitment to te reo Te Rita’s portrait combines two languages. BecauseIneeded TE REOMĀORI underground world ofHine-nuite pō. of thepūrerehua were integrated to suggest thedeep, nature ofhersoprano voice. Thelow rumblingsounds 59), Iinfusedahighlypitched kōauau to accentuate the get nanniethekōauau, ornanniethepūtōrino!” (06. great gran’ mokopuna to know …Oohthat’s nannie!Go When Te Rita remarks, “Iwould love my mokopuna and I absolutely know whoIam.Yes very muchso! where Ioriginate from. That’s me,my search iscomplete. I have beentaught well how to findoutwhoIamand Mōhio paianaau.Aētino! wai au,nōwheaau.Ko autēnā, kuamututaku rapu. Kua paite whakaako maikiaaume pēwheate rapu ko PAGE NEXT 107

| CRITICAL COMMENTARY useful to discussherspeechprosody Because dialogueisakey feature ofTe Rita’s portrait, itis SPEECH PROSODY 213 vibration ofthework. and alignsthehumannessoflistener withthehuman The technique lifts asenseofpresence anduniqueness prosody asaway ofsubtlyheightening asenseofcharacter. we are standing nextto. Intheportrait, Iemphasisespeech visceral thanwhatwe would experience withaspeaker who experienced binaurally theseshifts are more intense and higher andthetimbre ischaracteristically harder. When in volume andrichness,thepitch becomes slightly (04.21) and“Ko autēnā” (07.19).Here, hervoice increases example, “How longI’ve got before Idie?”(01.40),“For reals” communicates feistiness, strength andself-assurance. For other occasions, theacoustic nature ofherspeechpatterns of herwairua andlove for her mokopuna. However, on timbre inhervoice convey asoftnessand reveal theessence pai, kei te takoto nana” (02.20).Thetone, pitch andrange of mishy mishy …aww good girl…beep,beep,kua to visitandshegreets hergranddaughter, “Kiaora, hello warmth andkindnesscanbeheard whenherwhānauarrive distinctively inherspeech.For example,emotionslike within thework. Thepattern ofacoustics changes psychoacoustic indicators to create emotive emphases Laukka 2003,p.658). of verbal comprehension.” (Juslin& “communicate meaningindependently changes withinspeechthat Speech prosody describesacoustic 213 becauseIhave used away from homeasachildat(05.15). know!” (04.08) andnotably, after she talks aboutbeingsent before Idie?”(01.41),“How thehell my parents did it,don’t in herlife. For example,after shesays “How longI’ve got pauses’ occur after Te Rita has revealed emotional moments ceases andIstripbackotheraudibleelements. These‘sonic to reassert asenseofintensity. Insuchinstances dialogue pared backinorder to accentuate particularemotionsor punctuation device. Here soundisremoved orsuddenly Another form ofsuspensionisusedinthework asa sense ofdisorientation. accustomed to flowing forward andbackward withouta work, thetransitions are notsodisruptive, andwe become identity. By dislocatingthelistener nearthebeginningof be moving between layers andassertionsof ofmemory suspension occurs earlybecause, intheportrait we will and whakapapa.This definable dimensionsofmemory mountains ofPirongia andKakepuku andfrom theless the prosaic andvoices come to us,resounding offthe evident duringthekaranga whenwe are drawn away from state offloatingdetachment. Thisstate ofsuspensionis it canascend ordescend, brushpastus,orholdusina that envelop it.Soundcansurround andpermeate us; to besuspendedinsideanidentityandtheenvironments When we experience a portrait binaurally, we have the ability THE SOUNDOFSUSPENSION PAGE NEXT 108

| CRITICAL COMMENTARY her personal archives. recorded onlocation andmusicsheeithersings orexists in home. Theportrait contains agreat dealofambientsound recordings ofthenatural environments ofhermarae and tied to stories andobservations.Theseare supported by portrait. Te Rita’s emotions,motivations and actionsare this by infusingasubstantial amountofherkōrero into the naturalistic andunembellished depiction.Iaccomplished challenges Ifaced was communicating adiscernibly comparatively realistic expression ofherlife, oneofthe Considering thatTe Rita’s portrait draws upona Integrity anddiffering belief Challenges 214 sincerely held beliefsofanother. can encounter when depictingthe I amexpressing thechallenge anartist Māori spiritualityispono(truth ). Rather beliefs orpersonal understanding of I amnotsaying here, thatmy spiritual connections sonically. how Imightrepresent theessence ofancestral wairua from my Māorispirituality, itwas achallenge to negotiate of theloved oneswhoremain. Becauseherbeliefsdiffer after death, rather shebelieves itlives inthememories She alsodoesnotbelieve thataperson’s wairua lives on Te Rita explainedthatshedoesnotbelieve inGodorAtua. Differing beliefs of themore complex cultural constructs Te Rita discussed. because itenabledmeto understand thenuances ofsome then translated itinto English(Appendix7).Thiswas helpful of theirconversation. Erana transcribed theinterview and that Iwas ableto experience boththecontent andmauri in English,soIcould Iunderstand. Thisgenerosity meant and Erana would kōrero to meinmore simplified reo and Te Rita inte reo Māori.Duringtheinterview, bothTe Rita With thesupportofErana Foster, Iwas ableto interview Te reo Māori that Te Rita wishesto becrafted into, after herdeath. real things. Thetaonga puoro isphysical anditistheobject Hine-nui-te-pō. However, thesemusicalinstruments are also represent linkages to atuawāhine like Hinerakatauri and the portrait there are othersounds ofthetaonga puoro that device thatrepresented connections to tūpuna.Throughout faint soundofherdaughter callingthegreeting asasonic in thefirst sectionofherkaranga andIalsoembeddedthe sounds oftaonga puoro asareference to theethereal world 214 Intheportrait, Iincludedthe PAGE NEXT 109

| CRITICAL COMMENTARY 218 217 216 215 Performing Rights Association. watch?v=quF-ta0f6Hw from https://www.youtube.com/ speech, APRASilver Scrolls, 2016 Moana Maniapoto, HallofFame on July2,2017. recorded atTitirangi theatre, Auckland The MynameisMoanaperformance was marae, Turangi, 8-9,2019. January Recordings were made atWaitetoko APRA isanacronym for theAustralasian

Maniapoto atWaitetoko marae church inTurangi, live performances ofsingingwithheryounger sister Trina from multipleinterviews atherhomeinMuriwai Beach, Moana’s portrait was constructed usingmaterial gathered are thesource ofher kaupapamusic. that herwhakapapaandrelationships withinherwhānau tenderness ofherfamily. Thisisimportant becauseIbelieve dimensions ofheridentitythatconnect herwairua to the have endeavoured to reach into more intimate andpersonal 4). Inthisstudy, whileacknowledging herpublicpersona, I has acareer spanningmore thanthree decades(Appendix counterpointing ofMoana’s publicandprivate lives. Moana known ideadrivingthisportrait activist.Theprimary isa a multi-tiered portrait ofapowerful musicianandwell- stereo, ambeoandbinaural soundhasbeenarranged into The amalgamation ofdiverse audiodata includingmono, music, whānau,whenua,whakapapa,andte reo Māori. The portrait ofMoanaManiapoto reflects onprotest, CONCEPT Moana Maniapoto Portrait 2 scroll awards segments ofherHallFame speechattheAPRASilver With permissionfrom MoanaandAPRANewZealand, in Turangi. Environmental soundswere alsorecorded here. whānau were captured attheirwhānaupapa kāinga home of herhumming,breathing, laughingandinteractions with the MynameisMoanaperformance. taonga puoro (played by MahinaKaui). (Appendix 5).Withthis material, Ihave mixed thesounds of sampled segments ofheroriginalmusiccompositions 218 have alsobeenutilised.Inaddition,Ihave 216 Theaudiorecordings 215 andat 217

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| CRITICAL COMMENTARY 219 222 221 220 with hersister. Moana andhasperformed extensively counterpoint andharmony with Moana andtheTribe. Shesings in Trina Maniapoto ispart oftheband connection to thisplace. Moana’s given nameprovides adirect the significantname for thislocation. Taupō Moanaisrecognised inMāorias Moana’s whānaupapakāinga inTurangi. This material was recorded beside as Taupō Moana. Arawa waka. Thelake isalsoreferred to Ngaatoroirangi andtheoriginsofTe in associationwithparamount chief Island ofNewZealand.Itisnamed situated inthemiddleofNorth place namefor Lake Taupō, whichis Taupō-nui- a-Tiaisthetraditional Māori

Taupo) to emphasiseherconnectedness to thewhenua. inward andoutward tidalmotionsofTaupō-nui-a-Tia (lake weather). Thetimingofherbreathing was interwoven withthe a-pēpeke’ (theinsectworld)andTāwhirimātea (theatuaof link herto Tangaroa (theatuaofseaandfish),Te Aitanga- natural world ofherwhenuainmind,bodyandspirit-which the soundsofcicadasandwindto linkMoanawiththe of Taupō-nui-a-Tia The calmingandrepetitive vibrations oftheripplingwaters creating immediate senseofsonicintimacy. of herbreathing early, asaway of‘calling in’ thelistener and opening assheinhalesandexhales.Ipositionedthissound of hermauriiste ha(breath).Thiscanbeheard inthevery The first representation ofMoana’s wairua andthesource CALLING IN accompaniment ofhersister Trina’s voice sense offamily isreinforced intheportrait, by theearly and profound associationswithherancestors. This a woman deeply connected to the warmth ofwhānau activist andanassertive artist,behindthispersona is may beseenpublicly asastrong individual,aforceful Her assertion“I’m notalone”, indicates thatalthoughshe is alsoamemberofrichwhānaugroup ofiwiandhapū. partner to Toby Mills(NgaiteRangi,NgātiRaukawa). She Hikurangi JacksonandManawanui Maniapoto-Mills, and Maniapoto’s sixchildren. SheisthemotherofKimiora Moana’s istheeldestchildofNepiaTauri andBernadette and verystrong. IchoseNotAlone becauseofits literality. immediately encounter awoman whoisresonant, deep precedes singing.Hervoice openstheportrait andwe Not Alone(00.19).Often withmusic composers, humming Moana’s voice isfirst heard whenshehumshersong 219 placed at(00.05) 220 are mixed with 222 (00.53).

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| CRITICAL COMMENTARY and physical realms. metaphorical becausewe move fluidlybetween spiritual liquidity oftheopeningthisportrait isbothliteral and Moana’s depth,currents, stillnessandturbulence. The Water isasonicsymbol intheportrait thatreferences Waitetoko marae church The recording ofMoanaandTrina was madeinsidethe 224 223 that runsatthebackoftheirwharenui (meetinghouse). hear thefaint soundsofacreek calledTe KapuaWhakapipi, through depthsofwater. Mixed withtheirharmonieswe are liquid,echoinglike ripplesrunningacross anddown reverberations thatcalldirectly to theirtūpuna.Theirvoices the sisters singinginsidethechurch provides mnemonic This buildingislocated ontheirwhenua.Thesoundsof Tauranga Taupo andtheroto Taupo. waka, themaunga Tongariro, theawa that connects ancestrally to Te Arawa Te KapuaWhakapipiisatūpunaname image.asp?id=43381. www.naturespic.com/newzealand/ Anglican church isavailable at:https:// An image ofWaitetoko marae andthe 223 inTurangi 9,2019. onJanuary 224

sounds ofTaupō moana. Here, theevocation ofmauriisemphasisedthrough the cyclic motionconnectsa unifying past andpresent worlds. combination pūkāeaandMoana’s oftheairy breath actas as ansonicintroduction to herwhakapapa.Theauditory to thephysical world. Collectively, theseelements serve is integrated withthisrecitation to suggest aconnection her pepeha(01.18).At(01.30),thesoundofheartbeat worlds ofhertūpuna,before shebeginschantingaform of (long woodentrumpet)(01.14)isusedto callto thespiritual career. Inthispartoftheportrait, thesoundofpūkāea influence, apositionshehasoften adopted inhermusical acts asamusicalstatement ofactivismagainst colonial the recording. Moanasingingherown songinthechurch whānau. Thesmallchurch provided anintimate setting for Moana’s father isburiedalongside many ofherManiapoto Surrounding thechurch onthemarae istheurupāwhere sliding dooropeningat (01.51). invited insidethe Maniapoto homethrough thesoundofa sounds ofHighway 1outside Moana’s papakāinga. We are a transition from esoteric dimensions to thephysical realism and theirland.At(01.47)we hearacarpassing.Thissignals the deepsenseofmauriwhichconnect herto herpeople environmental soundssurrounding herpapakāinga convey relationships thatsurround her. Theutilisationofambient the intimacyandaffection shehaswiththepersonal whānau. Heridiosyncratic kōrero withherwhānauconveys Moana’s connection to herwhenua,whakapapaand kāinga (originalhome,communal Māoriland ) represents The sonicenvironment insidetheManiapoto whānaupapa INTIMATE DIMENSIONS PAGE NEXT 112

| CRITICAL COMMENTARY physical whānaulife. At(01.59)shetalks to herdogTere. barking provide thesonicrepresentation ofMoana’s kitchen withglassesclinking,jugs boiling,andthedog The ambientsoundsofMoana’s whānaubustlinginthe 226 225 sound ofherUncleJimmy’s breathing As areference to Moana’s deceased father, Iplaced the of herhomeandthespecialbondbetween thetwo women. section oftheportrait demonstrates thenatural dynamics The conversation between Moanaandhermotherinthis between them. a subtlelinkto herfather’s wairua andthebondshared (Appendix 5). being inducted into theHallofFame recording madewhen Moanawas This audiowas taken from thevideo home inMuriwai). Moana (whetherinTurangi orather he isheard constantly whenvisiting of thedoginportrait because I have placed theinsistent barking

226 at(02.15),as 225

sample “it’s timeto” taken from hersongAEIOU. to hersongTreaty. Thesequence concludes withthevocal of thissectionwithbreakbeats taken from theintroduction playful intimacyoffamily affection. Iunderpinthelatter part robot dancing,speakto Moana’s comedic nature andthe part ofherportrait; thewhānau holidays, musicalchairs, and This senseoflight-hearted affection permeates this central Moana’s nephewsighingandthechildren laughing(04.21). familiar affection. Theclosingsoundinthissectionisof speech parsody ofMoanaandToby suggests agentle, with (02.37)“Are you allrightdarling…Okey dokey”. The when heasksherfor thekeys to thecarandsheresponds be heard at(02.35)between MoanaandherpartnerToby permeates herfamilial relationships. Thesamewarmth can conversational banter encapsulates thewarm affection that are you doing?”(02.25)ashetriesto explainhimself. This year-old nephewAwanui, followed by Moanaasking“What of hervoice. At(02.21)we heartheburbling’s ofherthree- Moana haswithherwhānaucanbeheard intheintonation the family’s limbodancing. Theaffectionate relationships between Moanaandhersonat(03.34)whensherecounts in herdaughter’s activitiesandwe hearacheekyexchange affection andplay. The kōrero at(02.26)shows herinterest the portrait, Ihave depicted itby integrating samplesof Motherhood isadeeppartofMoana’s nature andin The ringingisfollowed by thesoundofbreathing andthe marae anditmarksthesecond transition in theportrait. This soundisoften associated withacall to actiononthe significantly intheportrait ringingofabellat(04.24). An essentialfacet ofMoanaisheractivism.Thissurfaces CALLING OUT PAGE NEXT 113

| CRITICAL COMMENTARY 227 theatre inAuckland onJuly2,2017. Moana” performance attheTitirangi recording taken atthe “Mynameis displayed. Thisexcerpt isfrom alive resilience, fortitude and unitythey of ourtūpunaandacknowledges the around the great migration journey The waiata Tahi was conceptualised live recording ofhersongTahi repetition ofthewords “aue,aue” (tocry, towail)from the is calledforward from love, griefandcommitment. Her of aroha andpain.Heractivismasportrayed inhermusic, through adesire for mediaattention orposturing,butout In thisportrait, Ishow thatMoana’s activismsurfaces not we are drawn forward by thecallofkōauau (04.45). pain reside andgather intensity inthismoment…andthen tūpuna, theirstrength andtheculminationoftheirancestral pause here thatIhave notremoved. Thepower ofher voice breaks andshealmostcries.There isamomentary window. … a window …aww Jesus” (04.40).Atthispointher adamantly …“So,musicandthearts hasnotjustbeena this associationreaches an apotheosiswhenshestates she hastravelled theworld andtheemotionalintensity of how thestories ofherancestors have touched peopleas tūpuna andtheirrelationship to herart.Shetalks about to draw attention to thedepthandpresence ofMoana’s between thephysical andtheesoteric. Iusedthisapproach this sectionoftheportrait we experience again, thelayering of ourancestors, we wanted to tell thestories” (04.30).In tūpuna, justbefore shesays, “We wanted to walk thetalk room. Thissignallingisassociated withacallingto Moana’s often heard justbefore akarakia. Thisalerts peopleinthe This tapping isasoniclinkto thetapping ofastickor utensil, tapping ofthetītītōrea (sticksusedinMāoristickgames). instrument to alertourpeopleto danger. Thepūkāea can and ofasonicconnection to ourancestors, whousedthis I utilisedthesoundof pūkāea(05.01)asacallto action colonisation of Aotearoa. pain thatherancestors endured asaresult oftheBritish sorrowful soundofthekōauau (04.52)are soniclinksto the The suckinginofherbreath at(04.43),followed by the 227 illustrate thissentiment.

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| CRITICAL COMMENTARY 230 229 228 watch?v=vYmszJ00aMM at before matches. Itcanbeviewed by the AllBlacksrugby team is famous becauseitisperformed captain oftheTainui waka. Thehaka was adescendent ofHoturoa, Ngāti Toa chiefTe Rauparaha who Ka Mate was composed by the watch?v=u20OF_1bHPA viewed athttps://www.youtube.com/ music videofrom 1985canbe through theirmusicTheoriginal were expressing thesestruggles Māori. Composers like JoeWilliams efforts beingmade to revitalise te reo was atimewhenthere were significant political andeconomic It struggles. for landrights andagainst social, when many Māoriwere protesting songs released inthe1980sanera first contemporary Māoriprotest significant becauseit was oneofthe the bandAotearoa. Thissongis Joe Williamsandperformed by Maranga Ake Aiwas composed by sovereignty. to recover andreassert theirlost movements, inarestless search political, socialandcultural characterised by thecreation of The history ofMāoriactivismwas the electionofaMāoriKingin1858. of theMāorinationproclaimed by mana motuhake, the sovereignty The dynamicofMāoriactivismis to theTreaty ofWaitangi in1840. activism inits genesis goes back Walker (1984)asserts thatMāori https://www.youtube.com/

233 232 231 between-the-texts treaty/read-the-Treaty/differences- at https://nzhistory.govt.nz/politics/ detailed information canbeviewed be honoured (Orange, 1987).More this day Māoricallforto theTreaty the eventual violentcolonisation. To the Britishledto muchconflict and create unity. However, breaches by and was supposedlyintended to British Crown. Itwas signedin1840 partnership between Māoriandthe Zealand’s founding documentin The Treaty ofWaitangi isNew youtube.com/watch?v=cYKf7ZS4JIQ. Tribe canbeviewed athttps://www. Treaty performed by Moanaandthe Nono to meananus,backside,bum. performed asachallenge. Inaddition,Moana’s songTreaty is underpinnedby thefamous hakaKa mate assertion thatdemonstrates herihiandwehi. Herstatement on thekaupapabecausethatwas my life.” Thisisapowerful a walking, breathing politicalstatement …well Iwas always out over amegaphone “You know whenyou’re Māori,you’re at (05.07)acts like thechantofaprotest leader-bellowing your nonos” (05.28). years now, stuffallhaschanged … we’re here, stickitup since herfirst music release inthe1990s,“Soit’s beenthirty iterates thatnothinghaschanged inmainstream media count”. Sheendsherkōrero withacommanding linethat radio, it’s easy to get theimpression your culture doesn’t see yourself ontelevision, you don’t hearyourself onthe radio andtelevision. At(05.16)shesays, “Whenyou don’t allocated to playing ofte reo Māorimusiconmainstream attention to injustices andinequalitiessurrounding airtime In depictingheractivism,Ihave referenced Moana’s “won’t go away, Treaty won’t go away”. also beheard atMāorilandmarches andpoliticalprotests. famous Māoriprotest songMarangaAke Ai. movement onthestreet”. Theselyricsare taken from the protest andactivism.At(05.01)shesings “There’s amovement, It isalsousedhere asadevice to herald intheMoana’s voice of as shereturns to amore situated self. echoes itself multipletimesandprovides a transition echo hasbeenplaced ontheword ‘nono’. Thisanger background Ihave elongated theword ‘Treaty’ andan who stands, Moana whobrooks noexcuses. Inthe and depthofconviction. ThisisMoanathefighter, Moana Through allofthissectionwe hearhermana, strength must honourtheTreaty ofWaitangi. is sampledasareference to herassertionthatNewZealand 233

232 Shereminds us,it 229 230 Moana’s dialogue which is often whichisoften

228

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| CRITICAL COMMENTARY move into Moana’s songTheWholeWorld’s Watching. The reverse cymbalat(05.35)provides atransition aswe PEPEHA music. Overlaying thesong Moanarecites herpepeha: career andherunwavering commitment to kaupapa-driven song isasymbol acknowledging thelongevity ofhermusic (05.39) Belonging tothetribesofbothNgātiPikiaoandTūhourangi Belonging totheTe Arawacanoe Te Heuheuarethepeople Tūwharetoa isthetribe Taupō isthelake Tongariro isthemountain Nō Ngāti Pikiao,Tūhourangi hokiahau Nō te waka oTe Arawa ahau Ko Te Heuheute tangata Ko Tūwharetoa te iwi Ko Taupō te moana Ko Tongariro te maunga 234 235 This 236 235 234 a live performance ofMoanaandtheTribe music thatforms suchacentral partofheridentity. Here Following thepepeha,portrait reconnects withthe device to express thesenseofhertūpunabeingwithher. breath ofherUncleJimmy canbefaintly heard asasonic her linkages to PapatūānukuandRanginui.At(05.50)the the namesofheriwi,rohe and tūpuna,alsoreaffirms whakapapa becausesheaccounts hergeographic locations, Through herpepehasheisconnected to herwhenuaand Māori expresses hervery grounded senseofmanawahine. her place intheworld. Moanareciting herpepehainte reo her activismto its roots; to thecore ofherbeing,andto At thispointintheportrait we hearawoman returning still maintaining apoliticalvoice for herpeople. reference to hergaining aninternational reputation while com/watch?v=Lr4A4piBnOo 2014. Available at:https://www.youtube. Chiemsee reggae summer, inGermany political protest against injustice. Broadly, thesongisstatement of a commentary onthewar inSyria. Tour ofNewZealandin1981.Itisalso protest against theSpringbok Rugby in 2014.Thesongreferences the by MoanaandtheTribe was released The WholeWorld’s Watching performed whakapapa andancestral locations. that often locates theperson to whānau, A pepehaisaformulaic recital ofidentity Moana and theTribe live performance at 236 surfaces in PAGE NEXT 116

| CRITICAL COMMENTARY the essence ofMoana. the portrait ontheedge ofwater (07.39);thetidalmauriand and breathing. We have returned to thebeginning.We leave The sombreness flows backinto thesoundofherhumming structure inthesongunderscores thesentimentoflonging. summation ofmany parts. Therepetitive A-Minorchordal the portrait. Moanahere, isareflective woman -the These words return usto thesongNotAlonethatopened strength shesings, hear therepresentation ofherinneressence. Withplaintive borders” (06.31). Inthemomentofsilence thatfollows, we being authenticthenmusichasthepower to cross alotof to ourwairua. Sheaddresses usdirectly: “Whenyou’re compassionately, Moanastands infront ofusandspeaks connect hermusic,whānauandactivism.Assertively but As theportrait pullsthestrands ofheridentitytogether I MANAWANUI -TOTHEHEART me here, hopecanmove mountains…” (06.35). something, place to belong,windandthewaves carried “I’ve come sofar, thejourney’s beenlong,searching for is drawn into question. is destroyed, andtheverysubstance ofcultural veneration than thework isdamaged, theessence ofarelationship principles. Iftheyare notrespected, more these values become mutuallyrecognised andunderstood the artistandsubjectofportrait are wāhine Māori, the researcher andparticipantSmith(1999).Becauseboth through whichknowledge canbeshared between they helpto form abondofmutualrespect andtrust which are integral to theresearch process inquiry because together theelements oftitiro, whakarongo andkōrero, practices ofkarakia andkanohikite kanohi,whichthread make themselves vulnerable. Iwas guidedhere by Māori very intimate layers oftheirworld, andindoingsothey I interpret somebody’s identity, thattheyallow meinto portrait artistandtheperson theydepict.Iamaware when Witz (2006)bothtalk abouttheneedfor trustbetween a of herportrait. Lawrence-Lightfoot andDavis (1997)and reverently Iwas approaching thecomplexity andmana of showing herhow seriously Itreated hertrustandhow is aninterpretation), butsharingmy thinkingwas away are bothartists andwe understand thatthework we create final portrait. This was notdone to seekpermission;(we trust, Iplayed heriterations ofthework andeventually, the private andshewas ofcourse cautious.Aspartofbuilding began the portrait, but I was asking her to reveal something months. Trust isanimportant thing.IknewMoanabefore I This necessitated numerous interviews over aperiodof ‘surface’ persona, Ineededto establish highlevels oftrust. Because Isoughtto reach behindMoana’s more publicand and aroha andinsodoing,Iadopted apalette of contrasts. This was acomplex portrait to create. I was balancingpain Challenges

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| CRITICAL COMMENTARY 239 238 237 241 240 queens-panguru www.Māoritelevision.com/shows/ programme canbeviewed athttps:// “The QueensofPanguru” television viewed athttps://www.mikahaka.com/ The MikaHakaFoundation website canbe diversity andcafé culture. with boutiqueshopping,ethnic that itisnow increasingly associated gradual process ofgentrification, such the 1990sroad hasundergone a queer societyandprostitution. Since historical associationswithboth a sociallymarginal area, thathas district. Ithasoften been considered edge ofthecity’s central business that runswest–east alongthesouthern (Queen Street) andrunsalongaridge perpendicular to Auckland’s mainstreet Karangahape Road (K’ Road),issituated destinations/north-hokianga/panguru New Zealandhttps://hokianga.com/ Hokianga harbour, inNorthland, Panguru isacommunity inthenorthern com/marae/taita of northernWairoa. https://Māorimaps. Dargaville. Itbelongs to Ngāti Whātua Taita marae islocated inMamaranui, footpath. Theymark outtime,pace andattitude.The tempo a maelstrom ofsound.Her heelsclickontheconcrete along theKRoad.Here, sheismoving purposefullythrough In theopeningseconds oftheportrait we hearherwalking vibrancy andintensity isasmuchapartofhersheit. life, andvice versa. InRamon’s world thestreet withits a traversed landscapecanbecome woven into thewalker’s (2004, p.331),andChristopher Tilley(1997)argues that walking canbe aform of“circumambulatory knowing” is bothphysical andconceptual. TimIngold suggests that A dominantthemeinRamon’s portrait iswalking. Walking [MOMENTUM] WALKING WITH PURPOSE INTHEWORLD (Ramon’s mother’s marae) dialogue andambientenvironmental soundsatTaita marae gathered from multipleinterviews. Icollected whānau and activism.Theportrait was constructed usingmaterial themes are discernible includingwhānau,music,urbaninity as atransgender wahine. non-binary Withinit,anumberof The portrait ofRamonTe Wake acknowledges heridentity CONCEPT Ramon Te Wake Portrait 3 Panguru’. I integrated audiofrom thetelevision series‘Queens of whenua). (K Road) home. WiththepermissionofMikaHakaFoundation (See Appendix5). original musiccompositions andlive performances 239 238 241 inAuckland, whichistheheartofRamon’s city Ialsorecorded soundsofKarangahape Road Inaddition,Iincludedsegments ofRamon’s 237 andPanguru(Ramon’s father’s 240 , PAGE NEXT 118

| CRITICAL COMMENTARY she “minces” reflects thevitality andenergy inherent inhermauri. As 242 my light.” Thus,to thebeatofherown music. on herown terms. Shesays, “Ihave worked too hard to dim away inthemomentumofapublicworld thatsheconfronts and yet we allhave similarvulnerabilities (05.46).Shewalks expresses thebeautyofhow humanbeings are alldifferent her own music.To theCoreisanoriginalsongshewrote that congestion ofstreet calling.Instead shewalks to thebeatof on Kroad, butnow sheisnolonger accompanied by the also takes usout.Atthecloseofwork we return to her Although walking accompanies usinto Ramon's portrait, it and negative), thatsurround her. motion andsheisalertto theexternal forces (bothpositive as frequencies ofenergy. Herinnerwairua isalways in experience ways inwhichherbody, mindandspiritvacillate conversations, expressive reactions andsinging.We and herreactions to theimmediate. We hearinternal As shewalks, we dwell withtheintimacyofherthinking coping mechanism” (00.38). safe. Shesays ofherwalking, “It’s my protection, partofmy because ofhertransgender identity. Herworld isnotalways is constantly aware thatshecanbethesubjectofviolence that thispurposefulwalking comes from thefact thatshe 1970s (Brickell, 2008). community between 1900andthe widely usedby theNewZealandgay from Polari,theunderground language in anaffected manner. Itisa verb drawn To mince inqueerslangmeansto walk 242 alongthestreet, sheexplainsparadoxically also heard asvernacular exchanges asRamonwanders to connect to herwhakapapa.References to whānauare that conveys how proud sheisofherdaughter’s journey Flavell family lines. Itisthejoyful intonation inTilly’s voice to whakapapathatcamedown boththe Nathanand Ramon was excited after realising how she was connected her daughter’s visitto Taita marae. Shediscusseshow conversation. We hearhermother(TillyTe Wake) talk about by extension herwhakapapa,isrepresented through The connection to Ramon’s immediate whānauand of herancestors callingto her. a callingto Ramonto come home;aspiritualrepresentation television crew of“Queens ofPanguru”. Itwas embedded as part ofthewelcoming ceremony by tangata whenuato the The karanga heard at(02.01)was recorded atPanguruas WHĀNAU, WHAKAPAPA ANDWHENUA of whānauacceptance. unique wahine, navigating social maelstroms andthegrace and atMuseumopenings (05.22).Ihave portrayed herasa her marae ofrelationships (03.05),inthememory (03.42), (00.22), inthewharekai (dininghouse,place ofeating ) of interactions withthem.So,we encounter heronthestreet and attitudessheasserts heridentitythrough her moving, always intransition. Herworld is fullofpeople worlds. Butinthisportrait, herplace to stand isalways literally tūranga (standingplace), waewae (feet),inpopulated multiple relationships. Shefindshertūrangawaewae; I have interpreted herasasocialbeingwhonavigates is tāngata (people). Ramon’s isarichlypeopledportrait. Another themethatsurfaces intheaudio-portrait TĀNGATA PAGE NEXT 119

| CRITICAL COMMENTARY manifest thewhakataukī: kōrero ofwhānauinthekitchen. InthemixIhave made sounds insidethewharekai are mixed withthebustling whānau works together asaunitontheirmarae. Ambient her widerwhānau.Italsosonicallyillustrates theway her she isworking. Thiscallingoutisavocalised connection to around hermarae, greeting herunclesandauntieswhile 243 we often associate withher. the land,theyform acounterpoint to theurbansoundscape the whenuaofherTe Wake whakapapa.Asexpressions of These soundsactasasonicdevice thatconnects Ramonto Panguru ranges into theHokianga, theinsects andthewind. with thesoundofWhakarapa stream thatflows from the than Ihave ever been” (03.15).Herstatement isunderpinned whakapapa onbothsides,Ifeel like Iamconnected more so Ramon says “I’m really proud ofmy lineage andmy her motherandbrother Cy. Duringtheseexchanges, intimate exchanges ofwhānaudiscussionsbetween Ramon, and tikanga. Inthemiddle of thissonicpalette, I recorded the This proverb speaksto theheartofmarae; its operations 244 te_puna/index.html here: http://folksong.org.nz/wairua_o_ Wairua ote punawaiata canbeheard Toro+Mai+T%C5%8D+Ringa.pdf here: file:///Users/Maree/Downloads/ Toro maitō ringa waiata canbeheard front -andallthingswillgosmoothly.(Traditional) willbegoodinthe If thingsaregoodintheback,everything Ka paikimuri,kamua,ngā meakatoa. the waiata Wairua otepuna interior ofhermother’s marae, Ihave accompanied herwith However, whileRamonwalks around theexterior and whakapapa onherfather’s side(Ray Te Wake, from Panguru). comes from thefar northandsonicallyconnects to Ramon’s being proud ofbothsides herwhakapapa.Thiswaiata underpins Ramon’s kōrero at(03.10)whensheacknowledges life shehasrecorded and independentlyreleased two writing since shewas ateenager andthroughout heradult feelings andreflections onthe world. Ramonhasbeen complex, creative expression thatspeaksto herinner Music ispartofRamon’s essence. Hersongwritingisa connects Ramonto herwhānau. marae andissungby Ramon’s aunties.Asa sonic device this when Ramon’s uncleconcludes hisstatement at(03.26): in thiswork asaform ofpunctuation.Thedevice isevident As intheportraits ofTe Rita andMoana,Iusedasonicpause 2003). Inparticular, thewaiata “Toro maitō ringa” (Ka‘ai-Mahuta, 2010;McLean,1996;Orbell,1991;Smith, and language have beenpasseddown through generations traditional mediumthrough whichMaorihistories, culture texture, tonality andemotion.Waiata hasalways beena features inherportrait. Musicisusedto emphasisedynamic Both waiata andRamon’s originalmusicare significant WAIATA ANDMUSIC significance ofwhathesaid. recognition andIusedpauseto draw addedattention to the This statement isadeepexpression ofacceptance and you’re gay, whatever eh… Ireckon that’s abrave thing.” “In ourworld, hey–you come outintheopenandsay 244 whichwas recorded atTaita 243

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| CRITICAL COMMENTARY 245 she talks aboutherkuia,WhinaCooper settings. HersongTo theCorecanbeheard at(05.13)when playing itinherhome(01.49)orsurrounds herinsocial everything -whethersheislistening to itonheriPhone, In herworld, musicisaconstant feature; itpermeates sound asifitiscoming from insideashopsheispassing. This material hasbeensonicallyequalisedandeffected to of hersongUntitledat(00.35)asshetravels down K’ Road. a underlyingurbantexture. We encounter alive recording expression ofherwairua. AttimesRamon’s musicacts as The portrait isinfusedwiththismusicbecauseitadirect albums TheArrival(2003)andMovementisEssential (2009). 247 246 express acore value thatunderpinsheridentity: lyrics ofthechorusare particularly pertinentbecausethey increases its velocity to reach acrescendo (at05.44).The article.cfm?c_id=1&objectid=3586177 https://www.nzherald.co.nz/nz/news/ gay relationships legal recognition. proposed NewZealandlegislationgiving protestors organised amarch against On 23August, 2004,theDestiny church transgender MemberofParliament. as well astheworld’s first openly world’s first openlytransgender mayor, Member ofParliament.Shewas the politician andformer LabourParty Georgina Beyer isaNewZealand nz/en/biographies/5c32/cooper-whina Dame WhinaCooperhttps://teara.govt. core, we allare elusive atthecore, we allare beautiful.” “We allare different atthe core, we allare breakable atthe 245 andthemusic empowered.” (05.35). hard inorder to dimmy lightinorder to make you feel determined woman whosays, “Ihave worked too bold” (04.03).Thisistheassertionofaresolute and her wairua resides intheline:“You shouldbebeautifully and theneedto elevate thelives ofothers. Theheartof being devalued –butshealsoknows dignityandpower She knows what violence is,sheunderstands fear and Ramon’s wairua istenacious. Italsoexpresses survival. hatred (04.44). she faces whenconfronted by otherpeople’s ignorance and the presence ofsuicidalthoughts (01.55)andthestruggle sense ofsadnessisacknowledged whenshespeaksabout scars shehasendured for beingtransgender (01.32).This bullied andofthephysical andemotionalwounds and about painfulmoments in her life. Shespeaksofbeing counterpointed this withhermore intimate revelations and violence (04.23).However, intheportrait Ihave talks aboutsharingherstories ofsexualobjectification the voice ofGeorgina Beyer paved theway before her. Inreference to this, Ihave placed (03.43). Sheacknowledges thetranswomen whohave her transgender identityasbothpersonal andpolitical paradoxical strength thatemanates from it.Shesees tender. Sheisquite clearabouthervulnerability andthe Ramon AT THEHEART in Wellington Church protestors onthe“EnoughisEnough” march Ramon’s courageous wairua canbeidentified transgender women. has committed herself to protecting something 247 (03.51),asahomage to theactivismof 246 confronting theDestiny as she PAGE NEXT 121

| CRITICAL COMMENTARY processes behind theportraits. is usefulto discusssome ofthetechnical decision-making having considered themes intheirdepictions,it theprimary words. Thisisthereason theaudio-portraits exist. However, These three wāhine cannotbeadequately describedin Cooper, she“felt” deeplyconnected to herwhānau. Museum nextto thephotograph ofhernanny DameWhina she encountered herimage onthewall oftheAuckland belong. Herheart“justdiedofgorgeousness” (05.23), when assertion sheshowed mehowshebelonged andwanted to of recollection thatshedrew delicacyto thefore. Beyond I triedto reflect thisintheportrait. It was inthefluidity because inherprivate world, thesethings are integrated. her strengths andvulnerabilities outunderequallight In theend,Ramonwas fearless. Shewas prepared to lay during aninterview to whatliesbehindastatement. dialogue andinteraction. Shealsoshowed mehow to listen discussed techniques for achievingmore meaningful I talked withanotherprofessional television director who construction inaninterview. To helpaddress thissituation dishonest, itisjustthatsheinnately aware ofidentity understands interviewing techniques. Itisnotthatshe a professional television director andtherefore she my initialinterviews were too superficial.Ramonis After listening to my early recordings, Irealised that a thinggrow outofsomething. politics were false butbecause Iknewthattheroots ofsuch lay behindherassertive politics,notbecauseIthoughtthe conversational manner. AswithMoana,Iwas seekingwhat it was hard attimesnotto conduct theinterviews ina Considering thatRamonisaveryclosefriendofmine, Challenges PAGE NEXT 122

| CRITICAL COMMENTARY wairua andmauri. relationship between binaural soundandthedesignof discuss two ideas:immersive sound spatiality, andthe In considering thesounddesignofportraits Iwill simulated intimate hearingcues. wahine withinthisspace emerged through techniques that spatially sonicexperience. Theinterpretation ofeach of theaudio-portraits Iwas ableto create animmersive By employing binaural soundtechnologies inthedesign and immersive sounddesign Critical commentary onbinaural sounds were distant (forming contextual backgrounds), one was positionedinaspace encasedby sound;some rather thanmovement being horizontal (asinastereo mix), As eachportrait progressed, Iadjusted material sothat, over headphones. then folded down into astereo downmix thatIlistened to and behindthelistener. Theambisonicaudiocontent was in additionto canvassing soundsources from above, below I calibrated thelocalisationofhorizontal soundsources 360-degree surround soundenvironment. To produce this, decoded and strategically positionedto create afullsphere, insects, wind,tractors, animalsandroad traffic wasthen the listener’s rightear. Additionalrecorded material including recording ofthegate, placingthesoundincloseproximity to the azimuth,positionspread andattenuation ofthebinaural the environment. To achieve thiseffect, Iexperimented with done sothelistener would gain theimpression ofbeinginside Facebook 360audiospatialiserinPro Tools HD.Thiswas cues ofthelocation’s ambientenvironment withinthe distinctive spatialitywas achieved by positioningbinaural to hearthesonicenvironment ofPūrekireki marae. The In theopeningofTe Rita Papesch’s portrait, itispossible The immersive environment around andthrough thebody. experience ofstereo listening to astate where soundmoves when experiencingtheseportraits, onemoves beyond the This space may beunderstood asimmersive. By thisImean Ramon Te Wake, are constructed inasonic360space. The portraits ofTe Rita Papesch,MoanaManiapoto and Immersive soundspatiality

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| CRITICAL COMMENTARY ancestors forward, sothey cohabited theportrait’s space the pastandpresent. However, Ialso useditto bring inapresentmemory space, itelidedthedistance between device Iusedfor dissolvingthechronology oftime.Itplaced the instrument.Thus,binaural reverberation becamea it alsosuggests oflearning to achildhoodmemory play imply thatthepianoisbeingplayed inadistant room, but on thepiano.Ononelevel, thisprovides aspatialcueto Rita’s audio-portrait at(01.47),whenareverb isplaced documentary material. Thisapproach isidentifiablein Te what mightbeperceived ofasstrategically positioned the natural andprosaic, itcausedusto feel beyond figurative space intheportraits. The reverberation expanded the uniqueinternal andexternal shapesofambientnon- able to produce aseriesofacoustic reflections thatcreated spatiality. Using theFlexreverb pluginPro Tool HD,Iwas simulated binaural reverberation to produce immersive In additionto suchpositioning Ialsoemployed natural and Binaural reverberation position to apanoramic position. also supports thetransformation from alinearhorizontal in theleftear. Panning inamixsupports movement, but footsteps from therightear, through theheadandlanding the other(02.20).Thiseffect was achieved by panninghis nephew Awanui runningfrom onesideofthelounge to environment. InMoana’s portrait, thelistener canhearher requires theweaving ofactionrecorded inacertain The perception ofanimmersive environment attimes dimensionality orinterchange). or thesenses),andothers moved (creating animpression of others were accented orintimate (playing closeto theheart ethereal world. her Uncle’s Jimmy’s sighto emphasisetheintimacyof (as inMoana’s portrait (02.16)whenreverb was placed on aesthetic thatbecamea differentiating feature ineach dynamics ofeachtrack. Thisproduced alayered, sonic by mixingthevolume levels, frequency content and editing andrepositioning. Audio material was synthesised solo tracks withinPro Tools HDandarranged themby and synthesising audiodata. Whenlayering Iassembled In thework Ialsoemployed processes oflayering, mixing Layering andmixingbinauralsound surround hermarae. bouncing offthemountains ofKakepuku andPirongia that delay effects were placed onher voice to simulate anecho Rita’s karanga at(0.20–01.20)bothlongandshortdecaying suggest very wideacoustic spaces. For example,withTe short thedecay oftheechoisheard. Thisenabledmeto adjust how fast orslow anechoisrepeated orhow longor I employed avariety ofdelay effects thatenabledme to delay onherstatement. says, “Stickitupyour nono” (05.32),Ipositionedashort Moana’s portrait, to accentuate herindignationwhenshe spatial cuesorelevate anemotionalaccent. For example,in audiorecordingoriginal dry inorder to emphasiserealistic echo plugininPro Tools HDto echotheplayback ofan environments. Specifically, Iemployed themodulardelay accuracy ofthetimbre andspatialfacets ofacoustic Simulated binaural delay was utilisedto capture perceptual Binaural delay PAGE NEXT 124

| CRITICAL COMMENTARY has beenmixed inmuchcloser proximity to thelistener. dialogue withTe Rita talking aboutherfather dying,which of thebirds chirping.We thentransition to amore intimate same timeasherdialoguestops, leaving theisolated sound know” (04.09).Here, themixdrops outthebasslineat portrait after shesays, “How thehell my parents didit,don’t used asaform ofpunctuation.Itcanbeheard inTe Rita’s abrupt termination ofdialogue. Asonicpauseissometimes breathing space) withinthework thatoften followed the information. Thiscreated spatiallyhollow moments (or I created sonicpausesintheportraits by removing Sonic pausing Road, was employed to create theenvironment ofKarangahape portrait. Intheportrait ofRamonTe Wake, thislayering 248 sound ofherhighheelswalking on thepavement. proximity to Ramon’s humming,singing,dialogueandthe and nightclubs. Thisexterior world was layered inclose talking, traffic moving, andmusicblaringoutside shops https://www.kroad.com/heritage More information can befound at place for theLGBTQIcommunity. and fringe art.Itisalsowell known asa bohemian scene withmany venues, bars became acentre for muchofAuckland’s streets. Since themid1990sK’Road Auckland’s mostliveliest innercity as K’Road iswell known asoneof Karangahape Roadbetter known 248 asaprotean urbansoundscapeofpeople

another sequence intheportrait. become more expansive andflow elegantly forward into enhance adecay orrelease time,sotheechoesandreverbs sound continue for afew measures. Usingautomation, Ican breath following amonologue,thatsuggests lettingthe in thedecay ofareverb, the finalechoofa synth, orthe para. 5).Thus,itissometimes information oneidentifies be more important thantheactualcontent” (Childs,2018, placement ofwhere atransition beginsandendstends to feeling where thebridge mightstart, beingaware that“the I tend to sensemy way into thedesignofsuchtransitions, of Ave Maria. (with herwhānau),to thereverberating vocal performance portrait (02.32)asanatural roll offfrom herhomelounge signals. Thistechnique isidentifiable in Te Rita’s audio- and out(theincrease ordecrease ofvolume) ofaudio To achieve theseshifts Ioften simultaneously faded in emotionally between very different realms, inaseamlessflow. between worlds. Theyenableusto travel geographically and Transitions intheportraits functionas conceptual bridges Transitioning

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| CRITICAL COMMENTARY it was positionedandmixed spatially in theFacebook echo. Once thematerial was imported into Pro Tools HD, which provided a uniquereverberation anddelayed spatial environment ofthesmallchurch onhermarae atWaitetoko, dummyhead. Thismaterial was recorded withintheacoustic sing incloseproximity to theleft andrightears oftheKU record suchmaterial, Iasked Moanato breathe, humand and voice andanenvironment thatsurrounds her. To physically close to thevibration oflife. We hearherbody sounds; theyexistwithinthebodyandsuggest something of herbreathing andhumming.Theseare veryinternal opening ofMoana’s portrait, Iemphasisedtheintimacy suggest this,Ioften worked forward from thehau.In their spatialpositioningandthelistener’s perception. To required sensitive negotiations between soundsources, The expression ofwairua through binaural soundcues ihi, wehi andwana. within aportrait may beexperienced by herdescendants as Tapsell (2000)suggests thatthepresence ofwairua residing existent beingandlife.” Itisnon-physical yet always present. 47) describeswairua asone’s spirit,thatis“thesource of Remember thattheReverend MaoriMarsden (2003,p. sonic designoftheportraits, thewairua ofthewahine. 1975; Walker, 1990).Accordingly, I soughtto depictinthe and secularworlds (Barlow, 1991;Brown, 2016;Salmond, Maori women, there isnoattempt to separate thespiritual is alsoesoteric. Becausethese are portraits ofthree unique In the portraits space is not only physical or chronological, it Wairua Binaural sound,wairua andmauri of herbeing. Moana asaphysical presence andtheesoteric dimensions create binaural cuesthatacted assonicconnections to azimuth, positionspread andattenuation I was able to with Moana,insideherchurch. By experimentingwiththe 360 audiospatialiserto create asenseofbeingimmersed behind itwe feel somethingverytender. situatedness andclaim.Itisintense andassertive, yet to herbreath. InRamon’s portrait themauriisaforce of is cyclic innature andmovement. Itbeginsandreturns experienced as apowerful butcompassionate essence that and emotion.ThemauriofMoana’s audio-portrait can be is felt asavitality thatconveys strength, courageousness to atidalebbandflow. Within Te Rita’s portrait themauri This vibration creates amovement, whichcanbelikened the blendingofsoundfrequencies thatmove vibrationally. an intimate relationship. Thislife force isexpressed through reaches outto thelife force ofthelistener andcallsitinto essential livingvibration of thework; theessence ofwhat is distinctfrom adepiction ofwairua. Themauriisthe Therefore, Iseeanaudio-portrait ashaving maurithat hidden principlethatprotects vitality, fruitfulness” (ibid.). artefact shedescribedmauriasa“physical symbol ofthe individual’s psyche” ora“talisman” (Pere, 1994, p.1).Inan concept to translate, shesuggested itmightpertain to “an things. AlthoughPere admitted thatmauriisadifficult principle thatmay bepresent ineitheranimate orinanimate Best (1994)andPere (1988) definemauriasalife-force orlife Mauri PAGE NEXT 126

| CRITICAL COMMENTARY the designofbothwairua andmauriwithinthework. by outlininghow theseapproaches were brought to bearon in explicatingthestudies.Ihave concluded thisdiscussion binaural andimmersive sounddesigntechniques developed of eachwork, Ihave outlinedthedigital audioprocesses and terms oftheirfeatures andchallenges. Following ananalysis have thenbeenconsidered conceptually andtechnically in positioned withintheexhibitionŌtairongo.Theportraits Papesch, MoanaManiapoto andRamonTe Wake are to be This chapter hasdiscussedhow theportraits ofDrTe Rita Conclusion PAGE NEXT Summary and Conclusion Introduction

Ōtairongo is an expression of identity. The audio-portraits … the reality of the public realm relies on the simultaneous within it depict three wāhine for whom music is a central presence of innumerable perspectives and aspects in part of their being. Moana Maniapoto, Ramon Te Wake and which the common world presents itself and for which Te Rita Papesch come from very different worlds that they no common measurement or denominator can ever be navigate in distinctive ways. However, they are all connected devised. For though the common world is the common by a central thread; these are Maori women for whom meeting ground of all, those who are present have different locations in it, and the location of one can no more Mātauranga Māori is a way of knowing and understanding coincide with the location of another than the location of everything visible and invisible that exists in the universe. two objects. Being seen and being heard by others derive These portraits are an assertion of mana wahine and they

SUMMARY AND CONCLUSION | SUMMARY their significance from the fact that everybody sees and exist as distinctly Maori expressions. hears from a different position. This is the meaning of 128 As a Maori woman working creatively inside a kaupapa public life… Only where things can be seen by many, in a variety of aspects, without changing their identity, so Māori paradigm, and its values, methodology and histories that those who are gathered around them know they see shape my research differently to much that is presented sameness in utter diversity, can worldly reality truly and internationally as artistic inquiry. However, because of reliably appear. (Arendt, 1958 p. 57) this, my work makes valuable contributions to how we understand the rich diversity of creative human expression. In concord with Arendt's assertion that only when things In 1958, the American philosopher and political theorist can be seen by others in a variety of aspects, without Hannah Arendt noted, changing their identity, can we truly understand the world we inhabit, this study concludes with me standing in the position adopted at its opening.

In the karakia my thesis was framed as a fledgling equipped with wings, seeking to soar on the winds. Guided by my ancestors I knew that my thinking had to make a journey between the heavens and the earth, dispersing seeds that were as authentic as possible.

Given such a commitment it is useful to turn and face where we have been and what has been created.

NEXT PAGE Thesis summary The practice The first is the exhibitionŌtairongo that contains three Drawing on Mātauranga Māori, this study has artistically audio-portraits in a darkened, acoustically protected reconfigured how we might perceive the complexity of room. The seven to ten-minute portraits are experienced wāhine Maori as both physical and non-physical beings. through Neumann NDH20 headphones that allow for a 3D The study asked: binaural audio recording and composition to be presented

How might the multi-dimensionality of wahine be in 360-sound environment of simultaneous sound cues. interpreted, represented and expressed through binaural The physical and spatial design produces an intimate and and immersive sound, as a form of audio-portraiture? immersive experience of identity.

In addressing this question, the research is presented SUMMARY AND CONCLUSION | SUMMARY as two complementing bodies of work. Exegetical writing Accompanying the exhibition is this body of exegetical 129 writing. This has been designed as an interactive pdf that affords access to sound files and contextualising information through the activation of live links. The document has been written to ‘speak to’ the thesis through both its aesthetic249 and written registers.

In 2011, Jillian Hamilton noted that doctoral exegesis writing often requires a reconciliation between “the disinterested perspective and academic objectivity of an observer/ethnographer/analyst/theorist [and] the invested perspective of the practitioner/producer” (2011, para. 2). Like a number of other theorists, (Brabazon & Dagli, 2010; Hamilton 2011; Ings, 2015; Paltridge, Starfield, Ravelli & 249 The document is distinctive in that it Nicholson, 2011), she saw such writing as a navigation is not heavily ‘illustrated’ with visual between reflective subjectivity and objective review. In material (with the exception of indicative examples of visual portraiture discussed this exegesis, my writing moves between the objectively in the review of knowledge and a few analytical (Milech and Schilo, 2004), the poetic (Hamilton contextualizing personal photographs & Jaaniste, 2010; Nelson, 2004), the culturally voiced in its introductory chapter). Instead the (Pouwhare & McNeill, 2018; Ings, 2018), and a form of design elevates the concept of non- pictorial design through an elegant use reflective narration (Scrivener & Ings, 2009). By adopting of type, space and amorphous pattern. and adapting such fluidity I have sought to “synthesise NEXT PAGE various perspectives, subject positions, writing styles and Contributions to the field voices into a unified and coherent text” (Hamilton, 2011, para. 2). Accordingly, this exegesis has explored approaches that Given that portraiture of wāhine Māori has remained largely reach beyond the dispassionately prosaic to touch not only confined to concerns with pictorial imagery, I demonstrate in the humanity of the researcher (Ings, 2015) but also the values this thesis how representations might artistically draw on the and poetics of Maori thought (Pouwhare & McNeill, 2018). potentials of a rich spectrum of purely aural modes (including This exegesis is bookended by an introduction and kōrero, waiata, karanga and taonga puoro), that are integral a conclusion. Between these, its four chapters have to Māori ways of expressing knowledge and identity. positioned the researcher, reviewed knowledge resourcing The study makes three contributions. First, it contributes or contextualising the inquiry, discussed the research design to artistic interpretations that emanate from Māori ways of

SUMMARY AND CONCLUSION | SUMMARY and finally, offered a critical commentary on the portraits. knowing. By responding sonically to multiple dimensions of wāhine Maori, the study shows how audio-portraiture 130 might provide a way of reconceptualising biographical material within a Māori epistemological framework through the integration of what is physically accountable (music, history, environment, kōrero and ritual) and what is esoteric (wairua and mauri).

Second, the study contributes to the conceptualisation and advancement of an emerging media form (audio-portraiture) (Levack Drever, 2002; Miller, 2008; Sudhir & Kakar, 2009). In my work, I demonstrate that audio-portraiture is capable of communicating an inherent essential life force or vital essence (mauri) that can connect with the mauri of one who encounters it.

Finally, the study contributes to recent technological applications by artistically applying binaural research to personal depiction. The study demonstrates how binaural technologies can be used to not only record audio data but also create an immersive interpretation of identity where auditory spatial perception enables one to hear multiple, simultaneous sound sources in a 3 dimensional (3D) localised space. NEXT PAGE Further research Publications I am aware that this thesis is concerned with a distinctive It is my intention that the research developed in this kind of sound-based artistic inquiry, emanating from a Maori thesis is disseminated through a range of journal epistemological framework. In an international context, I publications, conference presentations and exhibitions. see this as both its strength and a challenge.250 Accordingly, it is my intention to publish material reconstituted from the study in both indigenously focused journals and in those concerned with artistic inquiry. In the first arena I intend to write an article on the sonic identity of wāhine Māori for MAI - The New Zealand Journal of Indigenous Scholarship. This is a biannual, open access, peer reviewed, multidisciplinary journal SUMMARY AND CONCLUSION | SUMMARY that publishes scholarly articles that engage with intellectual indigenous scholarship in Aotearoa New Zealand.251 131 I published an article in this journal in 2017 that explored how contemporary popular music provides a place of belonging.252

In the arena of artistic inquiry, I will prepare an article on audio-portraiture as artistic practice for the Journal 250 Although the thesis is culturally 253 explicit, I would suggest that it may of Artistic Research [JAR]. Given that (like MAI), this is be of interest internationally to other an international, peer reviewed, open access journal, my indigenous artists. thinking may gain comparatively wide distribution both 251 MAI Journal http://www.journal.mai. inside and outside of the academy. Because of the structure ac.nz/ considers scholarship that extends of JAR, the journal enables me to embed sound files of the beyond standard Western academic portraits. However, good quality headphones are required knowledge. The publication complements AlterNative: An International Journal of to hear the sonic nuances and the binaural constructs of Indigenous Peoples. the audio-portraits, so I will be suggesting that the listener

252 Sheehan, M. (2017). Contemporary immerses themselves in a darkened room and closes their popular waiata provide a place eyes so they can experience the depth of the work; sensing of belonging. MAI Journal, 6(2). the wairua of the wāhine and feeling the mauri that is doi:10.20507/MAIJournal.2017.6.2.13 shared between the listener and each audio-portrait. 253 The journal’s website is available here: http://www.jar-online.net/ I will also be submitting a paper to the Journal of the Audio Engineering Society, AES254 in association with the AES 254 Journal of the Audio Engineering Society http://www.aes.org/journal/ Conference (scheduled for May, 2020). This article will NEXT PAGE discuss the binaural and immersive sound technologies 255 Sheehan, M. (2019). Capturing the ‘sound of that contributed to the creation and development of the portraiture’: A exploration into the Binaural and real spatial sound capture for a 3D 3 audio-portraits. immersive experience. Sydney, Australia. Retrieved from https://www.metexpo.com. au/conference-program-2019/ Conference presentations Sheehan, M. (2019). The sound of Portraiture: During the journey of this research I have presented An Artistic Inquiry into the Indentity of Wāhine 255 Māori. Waikato University, New Zealand. iterations of my thinking at numerous conferences. Retrieved from https://naisa2019.waikato. This has enabled me to connect into an international ac.nz/conference/programme/ network of scholars working in the fields of sonic design Sheehan, M. (2018). Sound of Identity: A and indigenous expression. After lodging the thesis I am

SUMMARY AND CONCLUSION | SUMMARY Māori Artistic Enquiry. In Auckland University of Technology Art and Design PhD Student Hui preparing a paper for the NAISA Conference in Tkaronto, Faculty of Design and Creative Technologies. Canada (May, 2020). This work will discuss how sonic 132 Nga Wai o Horotiu Marae. artistic practices have the ability to express the voices of our Sheehan, M. (2018). The sound of tūpuna and connections to wairua and mauri. portraiture: An artistic inquiry into the identity of wahine Maori. In 8th Biennial International Indigenous Research Conference. I have been invited to present my PhD research at Waahi Auckland. Retrieved from http://www. marae, Waikato-Tainui at the Poukai256 in October, 2020. I indigenousresearchconference.ac.nz/ will also be submitting a presentation of my PhD research abstracts-and-programme at the Nga Pae o Maramatanga International conference Sheehan, M. (2018). Audio Portraiture –The in November 2020. These presentations are important Sound of Identity, an Indigenous Artistic Enquiry. Journal of the Audio Engineering because they return my research to the Mātauranga Māori Society. Retrieved from http://www.aes.org/e- that has resourced my journey. lib/browse.cfm?elib=19815

Sheehan, M. (2018). The sound of portraiture: Beyond what is seen, Auckland University of Exhibition Technology 2018 Postgraduate Research Symposium. Auckland University of The Ōtairongo exhibition257 will premiere at the Auckland Arts Technology, WF713. Festival (AAF) in March 2020 at Artspace, in Karangahape 256 Waahi Poukai https://www. Road. As part of gifting back to the wāhine, we have arranged waikatotainui.com/events/waahi- a special event for them and their whānau to be welcomed poukai/ into the exhibition and to share in the opening celebrations 257 Ōtairongo exhibition, Auckland Arts of their audio-portraits. As part of the exhibition I will be Festival, March-May, 2020 https:// www.aucklandfestival.co.nz/events/ providing a special kōrero for the blind and low vision otairongo/ consultation group on Thursday 19th March, 2020. NEXT PAGE Nigel Borell has also invited me to exhibit the audio-portraits Future as part of the inaugural contemporary Māori art exhibition As I turn this research towards the future I see three related at the Auckland Art Gallery in October, 2020. I am also trajectories. First, I would like to create portraits of the looking at possible presentations of my work at my two wāhine within my own whānau. I am especially focused 258 259 marae (Te Kōpua marae and Motiti marae ), in addition on one of my older aunties, Taka Te Amohanga (nee Ruki) 260 to a possible exhibition for Ngāti Tūwharetoa. to whom I am very close. The significance of creating this audio-portrait would be its potential to convey an essence of her wairua as a sonic record, into the future for her whānau.

Second, beyond, wāhine Māori, I am interested in exploring audio-portraiture of tāne Māori; looking at how

SUMMARY AND CONCLUSION | SUMMARY audio-portraiture might give a ‘voice’ to the identity of Māori men that goes beyond a figurative reflection. By 133 considering the complexity and spirituality of tāne Māori, I might challenge promulgated misconceptions about tāne in a post-colonial world.

Finally, I would like to explore the possibility of developing audio-portraits of other indigenous women for many of the same reasons that I created the audio-portraits of wāhine Māori. However, I would like to explore the opportunity of collaborating with other indigenous women in the creation of these works.

258 Te Kōpua marae is located on Morgans Road, Pokuru https://Māorimaps.com/ marae/te-k%C5%8Dpua

259 Motiti marae is located Mangatea Road, Te Kuiti.

260 Ngāti Tūwharetoa is a tribal iwi based in the central North Island of New Zealand. I whakapapa to this iwi. (See Appendix 6).

NEXT PAGE In closing

I stand in a darkened room, Where borders of blackness fold into blackness. Here there is no edge. Although I am physically alone, Beside me stand three wāhine.

In this research these wāhine have been my resource and my inspiration. They have trusted me as an artist and a

SUMMARY AND CONCLUSION | SUMMARY wahine. Using sound, I have crafted a portrait of each of them. This portrait does not have a canvas skin. You can 134 neither touch it physically nor stand in front of it as a spectator. These are portraits that we enter. We stand inside the wairua of these wāhine, suspended in darkness but anchored to very deep things; to mana, to aroha, to music and to the resounding beauty of what it is to be Māori.

This exegesis is the same. It speaks analytically to explicit knowledge but poetically to the complexities that lie beneath such things. It is an offering I make in homage to the sacrifices of my mother who saw the importance of guiding me towards the depth and beauty on being Māori. It is my humble gift, to an unfolding future.

He wāhine, he whenua, e ngaro ai te tangata. (By women and land, men are lost).261

261 The whakataukī refers to the essential, nourishing roles that women and land fulfil … without which humanity will be lost.

NEXT PAGE References 136

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| REFERENCES Välimäki, V., Franck, A.,Rämö,J.,Gamper, H.,&Savioja, L. Woodall, facingthesubject. J.(1997).Portraiture: Witz, K.(2006).Theparticipantasallyandessentialist Wishart, T. NewYork, (1996).OnSonicArt. NY:Routledge. Williams, K.(2012).Improvisation ascomposition: Fixityof Williams, H.W. oftheMaorilanguage(1 (2003).Dictionary White, A.(2014).Saffron Te Ratana Tikanga Toi. InN. White,. A.(2012).LisaReihana:aradical Māori artist Westbrook, P. (2014,7November). Nga UriOHine (2015). Assisted Listening UsingaHeadset:Enhancing Manchester, UK:Manchester University Press. doi:10.1177/1077800405284365 portraiture. QualitativeInquiry,12(2),246-268. com/doi/abs/10.1080/17494060.2012.729712 6(1-2), 223-246.Retrieved from http://www.tandfonline. Diminuendo andCrescendo inBlue.Jazz Perspectives, form andcollaborative composition inDuke Ellington’s Ed). Wellington, New Zealand,GPPublications. New Zealand:Auckland Toi ArtGallery oTāmaki. & L.Furrey, FiveMāoripainters(pp.178-187).Auckland, Mason, J.Mane-Wheoki,A-M.White, N.Borell, S.Hillary Auckland, NewZealand:Papakura Arts Gallery. goddess-of-flutes/ o-hine-raukatauri-the-children-of-hine-raukatauri-the- Players. Retrieved from http://flutejournal.com/nga-uri- Goddess ofFlutes. FluteJournal–AResource forFlute Raukatauri-The Children ofHineRaukatauri: The st Yates-Smith, A.(2003).ReclaimingtheAncientFeminine Yates-Smith, A.(1998).Hine!Ehine!Rediscovering the Yablon, N.(2014).Posingfor Posterity: Photographic documentSummary;dn=884456339650618;res=IELIND 19. Retrieved from https://search.informit.com.au/ Journal ofMaoriandPacificDevelopment 4(1),10- in MāoriSociety. Kei wareware iatātou te Ūkaipō! University ofWaikato, Hamilton, NewZealand. (Unpublisheddoctoralfeminine inMāorispirituality thesis). ofphotography.89. History 38(4),331–355. portraiture andtheinvention oftheTimeCapsule,1876- environments. IEEESignalProcessing Magazine, (2), 92. audio perception inreal, augmented, andvirtual PAGE NEXT Appendices APPENDIX 1

Documentation relating to ethical approval

| APPENDICES 1.1 AUTEC approval letter

150 1.2 Information sheets 1.3 Indicative consent form

NEXT PAGE 1.1 AUTEC APPROVAL LETTER AUTEC SECRETARIAT Auckland University of Technology 21 March 2017 D-88, WU406 Level 4 WU Building City Campus Welby Ings T: +64 9 921 9999 ext. 8316 Faculty of Design and Creative Technologies E: [email protected] www.aut.ac.nz/researchethics | APPENDICES

151 Dear Welby It is a condition of approval that AUTEC is notified of any adverse events or if the research does not commence. Re Ethics Application: AUTEC approval needs to be sought for any alteration to 17/44 Kaati ko te aroha te tiapu I Kakepuku; the research, including any alteration of or addition to Kia rere arorangi te tihi ki Pirongia any documents that are provided to participants. You are responsible for ensuring that research undertaken under (An outpouring of love leaps over Kakepuku; this approval occurs within the parameters outlined in the Soaring heavenwards to the peak of Pirongia) approved application.

Thank you for providing evidence as requested, which AUTEC grants ethical approval only. If you require satisfies the points raised by the Auckland University of management approval from an institution or organisation Technology Ethics Committee (AUTEC). for your research, then you will need to obtain this.

Your ethics application has been approved for three years To enable us to provide you with efficient service, until 20 March 2020. please use the application number and study title in all correspondence with us. If you have any enquiries about As part of the ethics approval process, you are required to this application, or anything else, please do contact us at submit the following to AUTEC: [email protected]. • A brief annual progress report using form EA2, which is available online through http://www.aut.ac.nz/ All the very best with your research, researchethics. When necessary this form may also be used to request an extension of the approval at least one month prior to its expiry on 20 March 2020; • A brief report on the status of the project using form EA3, Kate O’Connor which is available online through http://www.aut.ac.nz/ researchethics. This report is to be submitted either when Executive Secretary the approval expires on 20 March 2020 or on completion of Auckland University of Technology Ethics Committee the project. Cc: Maree Sheehan; [email protected] NEXT PAGE 1.2 INFORMATION SHEETS

Participant Information 5. The primary purpose of an Information Sheet is to Sheet Exemplar ensure that people are able to give informed consent to participating in your research. The quantity and quality

| APPENDICES Instructions for use of this exemplar: of the information needs to be adequate. Remember that 152 1. This section is provided to assist you in the effective use you may only use the data for the purposes for which of this exemplar. it has been given so please ensure that you advise your participants of all likely uses. 2. Comprehensive information about AUT’s ethics approval processes may be found on the Research ethics website 6. The question and answer format is used in the exemplar at http://aut.ac.nz/researchethics and in particular the because participants and researchers have advised that guidelines for the use of this exemplar (Appendix D). it is a successful format. If you think that your research

3. If your research requires ethics approval by a Health and would be better served by a different format, then use it, Disability Ethics Committee, please ensure that your but ensure that you’ve covered all the points. In the same Information Sheet conforms to the template given in the way, feel free to delete or add questions and answers as is Quick Links section on the HDEC website at http://ethics. appropriate to your research. health.govt.nz/. 7. Do delete sections that are not applicable to your research. 4. It is recommended that researchers use the format of this exemplar though this is not compulsory. The 8. Do adjust the header and footer sections. following content however is compulsory and must be 9. It is very important that your language is appropriate for incorporated into your Information Sheet: the culture and age-group of the people who will read it. • The AUT brand and logo; 10. This is an Information Sheet for participants which will • The two paragraphs in the section titled ‘What do I do if I be used under the auspices of the University – please have concerns about this research?’ (note that the wording given in the template must be used); use simple language to describe your research and the processes involved, be friendly and encourage the reader • The AUTEC approval details (Note that the date of approval is the date of the memo from the Executive Secretary giving to participate in your research, and ensure that your final ethics approval, not the date of the AUTEC meeting). grammar and spelling are of a high quality.

NEXT PAGE 11. When you have drafted your Information Sheet, and before you submit it with your application, delete this instruction section and ensure that you have deleted all the advice typed under the headings in the exemplar.

Before submitting this with your application, please note the following: | APPENDICES • Incomplete or incorrectly formatted applications will not be 153 considered by AUTEC; • Please check online for the most recent version of this exemplar before submitting your application;

This Information Sheet needs to be submitted, along with the application and all associated documents as follows:

• In printed form; • With the required signatures in the relevant part of the application form; • Single sided; • Using clips rather than staples; • By 4 pm on the agenda closing date at: The AUTEC Secretariat Room WU406, level 4, WU Building, 46 Wakefield Street, City Campus. • The Internal Mail Code is D-88. If sending applications by Internal Mail, please ensure that they are posted at least two days earlier to allow for any delay that may occur.

NEXT PAGE 1.3 INDICATIVE CONSENT FORM voluntary and you will in no way be disadvantaged if you choose not to take part. You may withdraw at any time before you commit to being interviewed. However as part of Participant Information Sheet the this research you will ne named, considering you are a well known Māori singer/songwriter and publically known as Date Information Sheet Produced: a popular contemporary music recording artist. | APPENDICES 23 January, 2017 154 What is the purpose of this research? Project Title The research examines particular contemporary waiata that Kaati ko te aroha te tiapu i Kakepuku; you wrote in the time of the late 1980s and early 1990s Kia rere arorangi te tihi ki Pirongia and why you wrote them. It looks at what inspired you to (An outpouring of love leaps over Kakepuku; write these waiata and what your creative process is. This Soaring heavenwards to the peak of Pirongia). research provides a deeper understanding of contemporary Maori music and how Maori women singer/songwriters have An Invitation contributed to Maori knowledge and cultural understandings Ko Tainui te waka through their composition and performance of waiata Ko Kakepuku me Pirongia nga maunga and also how your waiata was part of a wider New Zealand Ko Waikato te awa audience through recording and release. It also looks at your Ko Motiti me Te Kopua nga marae leadership, initiative and courage to distribute. Ko Ruki Te Ruki toku koroheke This research draws on an ethos of Matauranga Maori, No Ngati Maniapoto, Waikato or Maori knowledge to engage with the phenomenon of Ko Maggie Waitapu Emery toku ruruhi. musical and cultural contemporary waiata that was created No Ngati Maniapoto, Ngati Tuwharetoa and performed by you as one of a significant cohort of Ko Marjorie Mata Ruki Sheehan toku mama Maori women in the late 1908s and early 1990s. Ko Colin Sheehan toku papa Ko Maree Sheehan ahau The concept of audio-portraiture emanating from waiata has to date not been explored as a creative phenomenon. Tēna koe I am enrolled in a PhD at AUT. My research focuses on How was I identified and why am I being invited to Māori women singer/songwriters in the late 1980s and participate in this research? early 1990s for my PhD thesis. It would be a honour to have I am asking you to participate in this study because you are you participant in my research and therefore I would like one of the most significant Māori women singer songwriters to formally invite you to be a participant. Participation is of the late 1980s and 1990s in Aotearoa/New Zealand. NEXT PAGE How do I agree to participate in this research? withdraw from the study, then you will be offered the choice In the first phase of first phase of the inquiry I use kanohi ki between having any data that is identifiable as belonging to te kanohi (face to face interview/kōrereoro) as an appropriate you removed or allowing it to continue to be used. However, cultural method because it threads together the elements of once the findings have been produced, removal of your data titiro (look), whakarongo (listen) and korero (conversation). These may not be possible. elements are integral to the data gathering process because | APPENDICES they help form a bond of mutual respect and trust from What will happen in this research? 155 which knowledge can be shared and creative collaborations This thesis is concerned with the kaupapa (topic, policy) can be formed with the researcher and participants. In this and mauri (life principle, vital essence) of contemporary phase of the inquiry I will utilise audio recording equipment Maori women’s waiata (song, chant, psalm). The first part to record conversations. The second method utilised involves of the inquiry examines musical and contextual material jamming, a musician’s co-understanding of thinking and in the work of five Maori women who were at the forefront musical knowledge, and as such, it reaches beyond both of New Zealand music in the late 1980s and 1990s. Your interview and observation. This process affirms the respect contemporary waiata fused te reo Maori, Maori cultural and warmth of the research relationship and allows me knowledge and understandings and traditional indigenous to observe subtleties in the work that can be discussed in instruments and did much to shape and progress Maori identity in Aotearoa. By examining your work in relation to the context of re-performance. I explore the kaupapa of the cultural and social contexts, the thesis seeks to understand contemporary waiata through jamming with the participants, the meanings of contemporary waiata in this period. utilising our voices, and playing the guitar and keyboards with them. These jam sessions will be recorded with a digital The second phase of the research is concerned with ‘audio audio recorder and integrated into the digital thesis (digital portraiture’. Here as a composer and musician I creatively ebook) as audio files. reflect on the origin of a selected work by you. This reflection artistically considersithe stories and kaupapa that I would like you to fill out the participation and consent motivated your work. As an extension of this, the research forms. If you received this invitation in the post, you will find also considers and responds to the mauri of these waiata. In the Questionnaire and Consent Form in the same envelope. doing so, I utilise an auto-ethnomusicological, practice-led If you agree to participate, you need to sign the Consent approach to suggest that the mauri of contemporary Maori Form, fill out the participation and consent forms and send women’s waiata may be a living entity capable of ongoing them both back to me in the self-addressed envelope. interpretation and re-iteration. Your participation in this research is voluntary (it is your choice) and whether or not you choose to participate will What are the discomforts and risks? neither advantage nor disadvantage you. You are able There are no known risks associated with this interview to withdraw from the study at any time. If you choose to and jamming process, but if you are uncomfortable with NEXT PAGE any of the questions, please do not feel obliged to answer What compensation is available for injury or negligence? or you can contact me or my research supervisor with any In the unlikely event of a physical injury as a result of your concerns you may have. participation in this study, rehabilitation and compensation for injury by accident may be available from the Accident How will these discomforts and risks be alleviated? Compensation Corporation, providing the incident details satisfy If you feel there are any discomforts or risks associated with the requirements of the law and the Corporation’s regulations.

| APPENDICES being interviewed or participating in jamming sessions with 156 me, please do not feel you have to answer or participate. How will my privacy be protected? This research will not be undertaken anonymously, AUT Health Counselling and Wellbeing is able to offer three which means that the your name and identification as a free sessions of confidential counselling support for adult participant in this research will be reflected in the research participants in an AUT research project. These sessions are interviews and findings. only available for issues that have arisen directly as a result of participation in the research, and are not for other general What are the costs of participating in this research? counselling needs. To access these services, you will need to: There are no costs associated with these interviews, beyond the • drop into our centres at WB219 or AS104 or phone 921 time taken to spend with you being interviewed and jamming. 9992 City Campus or 921 9998 North Shore campus to make an appointment. Appointments for South Campus can be made by calling 921 9992 What opportunity do I have to consider this invitation? I would like to have an initial korero with you over the • let the receptionist know that you are a research participant, and provide the title of my research and my name and phone to talk about the research and your involvement. At contact details as given in this Information Sheet which point we can discuss your availability to participate. Secondly I would like to send you formal participation and • You can find out more information about AUT counsellors and counselling on http://www.aut.ac.nz/being-a-student/current- consent forms for you to consider. I would like to receive postgraduates/your-health-and-wellbeing/counselling. your acceptance or not to participate within a month of receiving the invitation. What are the benefits? The findings from this study will enable me to complete Will I receive feedback on the results of this research? my PhD thesis, which is of benefit to me. While there are Information will be disseminated to each participant once no direct benefits for you, I am hoping that the results they have registered their interest. Participants living in the of this research will provide a deeper understanding of wider Auckland area will be met and informed verbally and contemporary music and how Maori women contribute to then given the required written documentation. Participants Maori knowledge and cultural understandings through their living out of Auckland will be sent the required written composition and performance of waiata. documentation via mail upon registering their interest. NEXT PAGE What do I do if I have concerns Whom do I contact for further Project Supervisor Contact Details: about this research? information about this research? Any concerns regarding the nature of Please keep this Information Sheet and a Maree Sheehan, Lecturer this project should be notified in the first copy of the Consent Form for your future Te Ara Poutama instance to my primary supervisor and or reference. You are also able to contact the Auckland University of Technology my secondary supervisor, on: research team as follows: Private Bag 92006, Auckland Ph 09 921-9999 ext 6010

| APPENDICES Dr. Welby Ings Researcher Email: [email protected] Professor Graphic Design Contact Details: 157 Mobile: 021994169 Ph.D. and M. Phil. programme co-ordinator Maree Sheehan, Lecturer School of Art & Design Te Ara Poutama Dr. Welby Ings AUT University Auckland Auckland University of Technology Professor Graphic Design +64 9 9219999 ext: 8621 Private Bag 92006, Auckland Ph.D. and M. Phil. programme co-ordinator [email protected] Ph 09 921-9999 ext 6010 School of Art & Design http://www.aut.ac.nz/profiles/welby-ings Email: [email protected] AUT University Auckland Mobile: 021994169 +64 9 9219999 ext: 8621 Associate Professor Hinematau McNeill [email protected] Te Ara Poutama programmes http://www.aut.ac.nz/profiles/welby-ings AUT University Auckland +64 9 9219999 ext: 6077 Associate Professor Hinematau McNeill [email protected] Te Ara Poutama programmes AUT University Auckland Concerns regarding the conduct of the +64 9 9219999 ext: 6077 research should be notified to the Executive [email protected] Secretary of AUTEC, Kate O’Connor, [email protected] , 921 9999 ext 6038.

Approved by the Auckland University of Technology Ethics Committee on type the date final ethics approval was granted, AUTEC Reference number type the reference number.

NEXT PAGE 1.3 INDICATIVE CONSENT FORMS • The Consent or Assent statements; • The AUTEC approval details (Note that the date of approval is the date of the memo from the Executive Secretary giving Consent and Assent Form Exemplars final ethics approval, not the date of the AUTEC meeting).

Instructions for use: 4. Do rewrite sections to better reflect your research and the contents of your Information Sheet. | APPENDICES 1. This section is provided to assist you in the effective use 5. Do make additional provision for the signatures of 158 of these exemplars. parents or guardians where the participant is aged

2. Comprehensive information about AUT’s ethics approval between 16 and 20 and legally able to give consent and processes may be found online at http://www.aut. when parental agreement is appropriate**. ac.nz/researchethics and especially section 2 Informed 6. Do delete sections that are not applicable to your research. and Voluntary Consent of Applying for Ethics Approval: 7. Do adjust the header and footer sections. Guidelines and Procedures to guide your use of these exemplars. It will also assist if you read the information 8. This is a Consent Form for participants, which will be in the Glossary on the distinction between Assent and used under the auspices of the University – please Consent** as well as the Frequently Asked Questions use language appropriate to the potential participants section. If your research requires ethics approval by a involved, be friendly and encourage the reader to Health and Disability Ethics Committee (HDEC), please participate in your research, and ensure that your grammar ensure that your Consent Form conforms to the template and spelling are of a high quality. given in the quick links section of the HDEC website 9. If you will be using an anonymous questionnaire as your (http://ethics.health.govt.nz/) research instrument, then a Consent Form may not be required. Please refer to the Frequently Asked Questions 3. The format of these Consent and Assent Forms is AUTEC’s preferred format. You may choose to format section of the Ethics Knowledge Base (see above).

it differently, in which case you will need to provide 10. When you have drafted your Consent Form, and a reason for this in the appropriate section of the before you submit it with your application, delete this application form and you also need to know that instruction section and any instructions (usually in the following content is compulsory and must be coloured font) in the exemplars. incorporated into your Consent Form: **You have understood the difference between assent • The AUT brand and logo; and consent, haven’t you?

NEXT PAGE Before submitting this with your application, please note the following:

• Incomplete or incorrectly formatted applications will not be considered by AUTEC; • Please check online for the most recent version of this exemplar before submitting your application; | APPENDICES This Consent Form needs to be submitted, along with the 159 application and all associated documents as follows:

• In printed form; • With the required signatures in sections A.8 and A.9; • Single sided; • Using clips rather than staples; • By 4 pm on the agenda closing date at: The AUTEC Secretariat Room WU406, WU Building, 46 Wakefield Street, City Campus. • The Internal Mail Code is D-88. If sending applications by Internal Mail, please ensure that they are posted at least two days earlier to allow for any delay that may occur.

NEXT PAGE Consent Form

For use when interviews are involved.

Project title: Kaati ko te aroha te tiapu i Kakepuku; | APPENDICES Kia rere arorangi te tihi ki Pirongia 160 (An outpouring of love leaps over Kakepuku; Soaring heavenwards to the peak of Pirongia).

Project Supervisors: Professor Welby Ings, Researcher: identifiable as belonging to me removed or allowing it to Associate Professor Hinematau McNeill Maree Sheehan continue to be used. However, once the findings have been produced, removal of my data may not be possible. • I have read and understood the information provided about this research project in the Information Sheet dated dd • I agree to take part in this research. mmmm yyyy. • I wish to receive a summary of the research findings • I understand that I will be identified in the research and in (please tick one): any future publications that arise from the research Yes / No • I have had an opportunity to ask questions and to have them answered. • I understand that notes will be taken during the interviews and that they will also be audio-taped and transcribed. • I understand that taking part in this study is voluntary (my Participant’s signature: choice) and that I may withdraw from the study before data Participant’s name: collection without being disadvantaged in any way. Participant’s Contact Details (if appropriate): • I understand that if I withdraw from the study then I will be offered the choice between having any data that is Date:

Approved by the Auckland University of Technology Ethics Committee on type the date on which Note: The Participant should the final approval was granted AUTEC Reference number type the AUTEC reference number retain a copy of this form. NEXT PAGE Consent and Release Form • I permit the researcher | artist to use the photographs that are part of this project and/or any drawings from them and any other reproductions or adaptations from them, For use when photographs, videos or either complete or in part, alone or in conjunction with other image recording is being used any wording and/or drawings solely and exclusively for (a) the researcher’s | artist’s portfolio; and (b) educational Project Title exhibition and examination purposes and related design | APPENDICES works; and (c) all forms and media for advertising, trade Kaati ko te aroha te tiapu i Kakepuku; 161 and any other lawful purposes as stated on the Information Kia rere arorangi te tihi ki Pirongia Sheet (used only where the next statement does not apply). (An outpouring of love leaps over Kakepuku; • I understand that the photographs will be used for academic Soaring heavenwards to the peak of Pirongia). purposes only and (omit this phrase only when c in the previous statement is used) will not be published in any Project Supervisors: form outside of this project without my written permission. Professor Welby Ings, Researcher: Associate Professor Hinematau McNeill Maree Sheehan • I understand that any copyright material created by the photographic sessions is deemed to be owned by • I have read and understood the information provided about the researcher | artist (where the researcher | artist has this research project in the Information Sheet dated dd been commissioned to do the work, the name of the mmmm yyyy. commissioning person or organisation needs to be used instead of ‘the researcher | artist’) and that I do not own • I have had an opportunity to ask questions and to have copyright of any of the photographs. them answered. • I agree to take part in this research. • I understand that taking part in this study is voluntary (my choice) and that I may withdraw from the study at any time without being disadvantaged in any way. Participant’s signature: • I understand that if I withdraw from the study then I will be offered the choice between having any data that is Participant’s name: identifiable as belonging to me removed or allowing it to Participant’s Contact Details (if appropriate): continue to be used. However, once the findings have been produced, removal of my data may not be possible. Date:

Approved by the Auckland University of Technology Ethics Committee on type the date on which Note: The Participant should the final approval was granted AUTEC Reference number type the AUTEC reference number retain a copy of this form. NEXT PAGE APPENDIX 2 MOANA MANIAPOTO AUDIO-PORTRAIT FINAL 2019 Three audio-portraits as wav. Link: https://soundcloud.com/maree-sheehan-1/moana- Files via soundcloud hyperlinks maniapoto-sonic-portrait/s-99LJU

CLICK ON THE LINK | APPENDICES In order to experience the full immersive and binaural nuances, it is 162 important to have the best quality headphones, such as Sennheiser, Bose, Sony or Beats. Refrain from using mobile headphones or pods. Also the listening experience should be conducted in a darkened space with eyes closed. TE RITA PAPESCH AUDIO-PORTRAIT FINAL 2019 Link: https://soundcloud.com/maree-sheehan-1/te-rita- papesch-audio-portraiture-final/s-eMzpS

CLICK ON THE LINK

RAMON TE WAKE AUDIO-PORTRAIT FINAL 2019 Link: https://soundcloud.com/maree-sheehan-1/ramon-te- wake-final-audio-portrait/s-gY8bK

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NEXT PAGE APPENDIX 3 AUDIO DRAFT AS WAV.FILE VIA SOUNDCLOUD HYPERLINK Audio-sketch, audio draft and hypothesis comparatives as wav. Moana Maniapoto Files via soundcloud hyperlinks audio-draft #1 | APPENDICES Link: https://soundcloud.com/maree-sheehan-1/moana-

163 In order to experience the full immersive and binaural nuances, maniapoto-audio-portrait-draft-1/s-zPgu7 it is important to have the best quality headphones, such as Sennheiser, Bose, Sony or Beats. Refrain from using mobile CLICK ON THE LINK headphones or pods. Also the listening experience should be conducted in a darkened space with eyes closed.

AUDIO SKETCH AS WAV.FILE AUDIO HYPOTHESIS COMPARATIVE TESTING VIA SOUNDCLOUD HYPERLINK AS WAV.FILES VIA SOUNDCLOUD HYPERLINKS

Moana Maniapoto Moana Maniapoto audio-sketch #1Tahi audio-hypothesis test #1 Link: https://soundcloud.com/maree-sheehan-1/moana- Link: https://soundcloud.com/maree-sheehan-1/moanamaniapoto-hypothesis-test-audio-portrait-draft-1/s-TwUvd maniapoto-tahi-audio-sketch1/s-9YPqL

CLICK ON THE LINK CLICK ON THE LINK

Moana Maniapoto Moana Maniapoto audio-hypothesis test #2 comparative audio- sketch #1Moana and Toby Link: https://soundcloud.com/maree-sheehan-1/ Link: https://soundcloud.com/maree-sheehan-1/moana- moana-maniapoto-audio-hypothesis-test-2-comparative- and-tobysounddome-audio-sketch-2/s-lWNtd final/s-0PJXu

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NEXT PAGE APPENDIX 4 Te Rita Bernadette Papesch (Ngāti Apakura, Waikato-Maniapoto, Biographical profiles Ngāti Porou, Ngāti Whakaue) Te Rita Papesch is well recognised for her long involvement in kapa haka (Māori performing arts). With over forty years

| APPENDICES of experience, she is considered a consummate exponent of this artform. In 1979 she became the first woman to 164 receive the Kaitātaki Wahine title at the national kapa haka championships in Gisborne. Prior to this, she performed for Queen Elizabeth during the 1970 Royal Tour and was part of the inaugural Waikato University kapa haka group, which formed in 1978. Te Rita was presented with the Lifetime Achievement Award for services towards kapa haka at the Tainui Waka Kapa Haka Festival in 2018.

Te Rita was born in 1950 and grew up in the little rural village of Pirongia in the Waikato, with her parents, nine siblings and her grandfather. Her father is of Czechoslovakian heritage and her mother is Māori. Music was always a huge part of the family, and both of her parents sang. From a young age she was encouraged to pursue classical piano and vocal lessons. She often acknowledges her blind Uncle Claude Papesch,262 who was a famous blind organist. Te Rita describes her voice at the time as coloratura soprano. Because of her vocal talents, Te Rita was sent to Auckland in her teens to be taught by Sister 262 Claude Papesch profilehttp://www. 263 audioculture.co.nz/people/claude- Mary Leo but because she suffered from home sickness, papesch she soon returned to Waikato.

263 Sister Mary Leo profile athttps://teara. Te Rita continued to study music and performed as a solo govt.nz/en/biographies/4n8/niccol- mary-leo vocalist in various productions and competitions until she became pregnant at a young age to Paraire Huata, (the 264 Canon Wi Te Tau Huata profile athttps:// 264 teara.govt.nz/en/biographies/5h39/ eldest son of Canon Wi Te Tau Huata). She describes huata-wiremu-te-tau this as a difficult time, when pregnancy out of marriage NEXT PAGE was very frowned upon. At this point her parents sent her away to Christchurch and it was proposed that if the child was a male that the grandfather and family would raise it (personal communication, 2019). However, Te Rita was determined to keep her baby. Returning to the Waikato with her child, she eventually married Paraire Huata and they

| APPENDICES had five children together before they separated. It was at this time that she began to focus on studying Māori music 165 and kapa haka under the guidance of her family, John Te Rangianiwaniwa Rangihau,265 Sir Timoti Karetu266, Professor Wharehuia Milroy267, and Hirini Melbourne268. Kapa haka became her passion and she has frequently been asked to judge at Te Matatini Kapa Haka National competitions. Te Rita has given birth to seven children and has 32 mokopuna (grandchildren), to whom she has dedicated her life. She is also the matriarch of her whānau kapa haka group, Te Haona Kaha.

265 John Te Rangianiwaniwa Rangihau Alongside Kapa haka and her whānau, education has been profile athttps://teara.govt.nz/en/ biographies/5r6/rangihau-john-te- a huge part of Te Rita’s life. She graduated with her doctorate rangianiwaniwa from Canterbury University in 2015, with a PhD titled “Creating

266 Sir Timoti Karetu profile athttps://www. a Modern Māori Identity Through Kapa Haka.” She currently tvnz.co.nz/one-news/new-zealand/ lectures in the Master of Applied Indigenous Knowledge degree sir-timoti-karetu-one-m-oridoms-most- at Te Wānanga o Aotearoa at Mangakōtukutuku campus in respected-linguists-takes-step-limelight Hamilton. She is proud of all her children, who have also been 267 Professor Wahrehuia Milroy profile successful in tertiary education. at https://www.waateanews.com/ waateanews/x_news/MjE2NjM/ Breakfast%20with%20Dale/Te- Wharehuia-Milroy-Morpheus-of- M%C4%81oridom

268 Hirini Melbourne profile athttps://www. sounz.org.nz/contributors/1166

NEXT PAGE Moana Maniapoto (Ngati Tūwharetoa, Tūhourangi, Ngati Pikiao)

Since the release of her first album Tahi in 1982, Moana Maniapoto is regarded as one of the most significant voices in the Aotearoa music scene (Bourke, 2016). She

| APPENDICES is a political activist who continues to write and produce contemporary Māori music that legitimises and brings 166 Māori language and culture into the mainstream. In 2016, Maniapoto’s significant contribution to music and the impact on New Zealand’s culture was honoured by the Australian Performing Rights Association (APRA), when she was inducted into the New Zealand Music Hall of Fame. Her success has inspired other artists and she has contributed significantly to the empowerment and strengthening of te reo Māori and mātauranga Māori.

Moana was born in Invercargill where she lived for many years with her parents Nepia and Bernadette and her five younger siblings. The family eventually relocated to Rotorua so they could care for Moana’s grandfather. As an adolescent, Moana attended St Joseph’s Māori Girl’s College in Napier and it was here that she was involved in kapa haka and the choir. It was these influences, as well as listening to her father and his brothers playing the guitar and singing in bands, that contributed to Moana’s early foundations in music. Being on the marae was a constant part of her life, both in Rotorua and Turangi. She describes her childhood as “fun and full of many good times” (personal communication, 2018).

269 The documentary “Syd Jackson: Life After secondary school, Moana attended Auckland and times of a fully-fledged activist” can University and studied to become a lawyer. It was in these be viewed at https://www.nzonscreen. 269 com/title/syd-jackson-life-and-times-of- years that she met Syd Jackson and other Māori political a-fully-fledged-activist-2003 activists and in this environment she says her political and NEXT PAGE activist education began (ibid.). It was also during these years that she met her former-husband Willie Jackson,270 who became her music manager and introduced her to Dalvanius Prime271 who is known for co-writing the famous song “Poi E”272. Prime wrote and produced one of Moana’s first songs “Kua Makona.” 273

| APPENDICES 270 Willie Jackson’s profile can be In 1993, Moana and the Moahunters released their debut 167 viewed at https://www.labour.org.nz/ willie_jackson album “Tahi.”274 This work was significant because it was

271 Dalvanius Prime’s profile can be viewed one of the first successful contemporary pop albums to at https://www.nzonscreen.com/profile/ fuse traditional Māori instrumentation with pop beats [as dalvanius-prime evidenced in songs such as AEIOU and Tahi (roots mix)]. 272 “Poi E” is an iconic New Zealand song Moana has subsequently produced five albums275. Both written by Dalavinus Prime and Ngoi and now the reformed Pėwhairangi. It reached number one in Moana and the Moahunters Moana and the New Zealand Top Ten and remained the Tribe have had domestic and international success and there for four weeks (Ka‘ai, 2008, p.87). toured globally. Her songs are filled with political, social and It remains an iconic contemporary cultural commentary and she describes herself as “kaupapa waiata Maori in Aotearoa, supremely successful in promoting te reo Maori driven” (ibid.). Moana was the recipient of the New Zealand and Maori culture throughout New Order of Merit in 2005 and has been awarded numerous Zealand in the mainstream music scene other accolades including the Arts Foundation Laureate (Ka‘ai, 2008). It can be viewed at https:// www.nzonscreen.com/title/poi-e-1983 award in 2007.

273 “Kua Makona” can be viewed Moana lives in Muriwai with her partner Toby Mills and her at https://www.youtube.com/ daughter Manawanui. She also has a son Hikurangi Kimiora watch?v=1IAwdr6T5bY Jackson to her former husband. She has recently directed 274 The Tahi album is available at http://www.moananz.com/music.html the television series “Treaty Negotiators” with Toby (who also works in television and film as a producer). In 2019, 275 The Moana Maniapoto website is available Moana was asked to host her own show “Te Ao with Moana” at http://moananz.com/music.html 276 for Māori Television. She remains an advocate and 276 Māori Television’s “Te Ao with Moana” can be viewed at https://www. activist for Māori and Indigenous rights and continues to maoritelevision.com/shows/te-ao-moana write and produce music.

NEXT PAGE Ramon Te Wake (Te Rarawa, Ngā Puhi, Ngāti Whātua)

Ramon Te Wake is a New Zealand singer-songwriter and television presenter. Ramon was born on the 25th of March 1976 in Dargaville to Ray and Tilly Te Wake. She

| APPENDICES grew up in Ascot Park, a suburb in Porirua. She moved to Wellington in the early 1990s and then to Auckland 168 shortly afterwards. In her 20s, Ramon was dedicated to music; writing, performing and touring nationally and internationally. She released her debut EP, The Arrival in 2002 and her album, Movement is Essential, came out in 2008. Ramon is also a well-known model and the first transgender girl to appear in music video clips and a Coca-Cola commercial.

Ramon’s first presenting job was for Māori Television, where she fronted the show Takatāpui (close or intimate friend of the same sex), New Zealand’s first LGBT (Lesbian, gay, bisexual, transgender) programme. Ramon’s most celebrated work from the program was the coverage of the 2011 death of activist Carmen Rupe277, about whom she had made a documentary programme in 2006. In 2008 Ramon was one of the actors selected to portray Georgina Beyer, in a feature-length film about the world’s first openly transsexual mayor and Member of Parliament. In 2009 “The Making of Ramon” a 30-minute documentary for the

277 Carmen Rupe (10 October 1936 – 14 Takatāpui show, directed by Maree Sheehan looked at her December 2011) is one of New Zealand’s life and achievements. This aired as part of Triangle TV’s most iconic drag queens. She was also “Sunday Nights Out”. transgender. Rupe moved to Kings Cross in Sydney in the 1950s and became In 2011, Ramon directed a 25-minute video Pacific Voices for Australia’s first Māori drag performer. the New Zealand AIDS Foundation. This work considered She was also known for her work as an anti-discrimination activist for the LBGT issues affecting the Pacific LGBT community such as community and as an HIV Aids advocate. identity, sexual health, bullying and family estrangement. NEXT PAGE The documentary sought to heighten awareness and provide hope through mutual support and self- determination. Ramon has subsequently directed numerous productions including the Aroha – K’Road series278 and Queens of Panguru.279 She says,

I’m obsessed with telling stories of the underdog. The | APPENDICES stories that tend to go un-noticed … to me it’s not a job, 169 storytelling has always been a part of my life journey. If not others’ then my own. I don’t think I can do any creative expression without that joy, pain, passion and challenge. There’s a certain truth and profoundness that fuels that fire - a fire I could neither escape, tamper with nor ignore (personal communication, 2019).

Ramon is currently a freelance television director, after working for the last two years for Attitude Pictures280 for whom she directed and produced stories about New Zealanders living with disabilities.

278 The Aroha K’Road series can be viewed at https://www.nzonscreen.com/title/ aroha-2015

279 The Queens of Panguru series can be viewed at https://www.maoritelevision. com/shows/queens-panguru

280 Attitude Pictureshttps://www. attitudepictures.com/about

NEXT PAGE APPENDIX 5 List of granted copyright music used in the audio-portraits.

Copyright Musical Material Maniapoto, M., & Morrison, S. (2014). The Whole World’s Watching. [Recorded by Moana and the Tribe]. On Rima ([CD]. Auckland, New Zealand. | APPENDICES Maniapoto, M., & Ripia, M. (1993). AEIOU (Akona te reo). 170 [Recorded by Moana and the Moahunters]. On Tahi ([CD]. Auckland, New Zealand.

Maniapoto, M. (2014). Not Alone. [Recorded by Moana and the Tribe]. On Rima ([CD]. Auckland, New Zealand.

Maniapoto, M., & Morrison, S. (2014).Treaty. [Recorded by Moana and the Tribe]. On Rua [CD]. Auckland, New Zealand.

Melbourne, H. (1991). Nga Roimata. [Featuring Te Rita Papesch]. On Toiapiapi [cassette].

Schubert, F. (1825). Ave Maria.

Te Wake, R. (2003). To the Core. On The Arrival [CD]. Auckland, New Zealand.

Te Wake, R. (2003). I Will Change. On The Arrival [CD]. Auckland, New Zealand.

Te Wake, R. (2009). Still Remains. On Movement is Essential [CD]. Auckland, New Zealand.

NEXT PAGE Live recordings

Aperehama, H., Maniapoto, M., & McNaughton, A. (1993). Tahi [Recorded live at Titirangi Theatre, June, 2017, by Moana and the Tribe].

| APPENDICES Melbourne, H. (1991). Rongomai. [Recorded live at Pūrekireki

171 marae, February, 2019, performed by Te Rita Papesch].

Te Wake, R. (2007). Untitled. [Recorded live at Wigs on the Waterfront, March, 2007, Viaduct Harbour, Auckland].

Tomoana, P. (n.d). Tahi nei taru kino [Performed by Te Haona Kaha, June 2017]

Williams, J. (1985). Maranga Ake Ai. [Recorded live at Muriwai Beach, August, 2017, performed by Moana Maniapoto].

NEXT PAGE APPENDIX 6

Aotearoa, New Zealand Iwi Map

Reprinted from Creative New Zealand Arts Council of New Zealand Toi Aotearoa. | APPENDICES Copyright (2019). 172

Te Rita Papesch Tainui

Moana Maniapoto Taupō-nui-a-Tia

Ramon Te Wake Hokianga

Source of information: Individual Iwi 1986, 1993; Department of MĀori Affairs 1993

NEXT PAGE APPENDIX 7 ERANA: Begins with a mihi to the interviewee, to the whare Interview with Te Rita – Part 1 and ancestral photographs.

ERANA:

| APPENDICES He mea whakahirahira te kapa haka, arā, ko ngā mahi a Tānerore, ki a koutou ko tō whānau. He aha i pēnei ai? 173 Kapa haka (Māori performing arts) is very important to you and your family. Why?

TE RITA: Āe, me kī ko te whakautu i te pātai, āe mārika. Mātou katoa tērā. Heoi anō i tīmata ai au ki te aro kē ki te ao Pākehā me ngāna waiata. Kātahi ... i rongo au i te haka i a au e tipu ake ana, e maumahara ana ahau i ako au i ētahi waiata engari kāore mō te āta whakaū ki roto i tāua kaupapa i a au e tipu ake ana. Tae noa mai rānei mātou ki konei ... āe ... ki te tāone nui kātahi ka huri au anō nei nā taku māmā. Ko ia te mea i whakatauirahia i tēnei mea te waiata, te mahi haka, ngā mahi tikanga i runga i te marae me kī. Hāunga taku pāpā me taku koroua, rātou katoa. Heoi anō kia tae rā ano mai mātou ki te tāone nui nei, kātahi ka tūtaki ahau ki te pāpā o taku tāne tuatahi. Nā taku māmā anō tēnā, nāna ahau i kawe ki tana whare me tana tono kia whakaaengia taku uru ki roto i tana kapa.

TRANSLATION: Yes, the answer to the question is absolutely. All of us. However, I began with a focus on the Western world and Western genres of song/ performance. Then ... I experienced haka growing up and I remember learning specific waiata but I didn’t fully immerse myself while I was growing up. Until we arrived here ... yes ...to the city - then I took an interest and it was due to my mother. She was the one who exemplified NEXT PAGE waiata, performance and tikanga on the marae. And of course, TE RITA: my father and grandfather, all of them. However, it wasn’t until Āe, nāku anō i whakakapi me kī nā te mea kua mate aku we arrived in the city, then I met my first husband’s father. This mātua, kua wehe taku tāne, tokorima waku ... well tokotoru again was due to my mother, she took me to his house to ask if I aku tamariki kātahi ka hapū au i ngā māhanga. I whakaaro would be allowed to join his group. au ka pēwhea taku whai tonu i taku hiahia ki te waiata opera mēnā ko au anake me aku tamariki tokorima? Nā reira ka

| APPENDICES hoki mai au ka whai au i te reo. I huri au, ko te reo taku ERANA: 174 kaupapa matua kaua ko te waiata Pākehā, me kī. Anā, ka Tēhea kapa? hoki mai au ki Te Whare Wānanga o Waikato nā te mea i a Which group? au e whai ana i te taha opera, i Te Whare Wānanga o Tāmaki ahau e ako ana. Nā, i huri mai au ki konei, hoki mai ki konei, haere ki te Tari Māori o konei, timata au ki te whai haere i TE RITA: te reo. Anā, i taua tau tuatahi i whakaarohia kia tū tētahi Ko Te Rau Aroha te ingoa o te kapa. He kapa mō ngā kapa haka a te whare wānanga whakataetae nei. Yeah. I rangatahi anahe. Anā, āe. Nā taku uru ki roto i taua kapa i mua i tērā he kapa tō Te Whare Takiura (Hamilton Teachers’ tīmata taku hīkoi ki roto i te ao haka. Engari, i te haere tonu College) engari he mea ngahau noa iho. Heoi anō, waimaria taku whai i te ao waiata Pākehā, haere ngātahi ai i taua wā au i taku tau tuatahi ki te whare wānanga ako ai i te reo i ērā momo mea. Tae noa ki te wā i wehe ai māua ko taku timata ai te kapa haka o Te Whare Wānanga o Waikato. tāne, ka raru au. Kāore i kitea te hinātore me kī, e kimo mai ana ki a au, e pōwhiri mai ana ki a au, kia haere tonu i te Yes. It was me myself, who closed off that avenue, because my parents had passed, I had separated from my husband, I had taha ao Pākehā. I āhua aukatingia tērā huarahi mōku. five children, well ... I had three children and was pregnant with The name of the group was ‘Te Rau Aroha’. It was a youth group. the twins. I thought about how I would be able to continue to And, yes. It was through joining that group that my journey in the pursue my dream of opera performance if I was a solo parent world of haka/performing arts began. But I was still pursuing the with my five children. Therefore, I returned and pursued the Western world of performance, doing both at that time. Until my language. I changed my focus - the language became my husband and I separated, then it became difficult. I could not see main purpose instead of opera. I returned to The University of a way, it was not clear to me how I could maintain my pursuit of Waikato because while I was studying opera, I was a student at opera. That career pathway was cut of to me. The University of Auckland. I returned here, became a student of the Māori Studies Department here and began my pursuit of the language. And in that first year it was decided to establish ERANA: a competition group at the university. Yeah. Before that, the Te ao Pākehā? Hamilton Teachers’ College had a performing arts group but The Western world/performance? it was for entertainment only, it wasn’t a competition group. NEXT PAGE Therefore, I was very fortunate in my first year at university which was her passion – opera. And because she had the five learning the language that The University of Waikato’s Māori children – she was hapū with the twins at that time, and that performing arts group began. was when she turned to te reo and kapa haka. Also, when she started at whare wānanga, that was when they decided to have a competition group and yeah … that’s where we got to. And ERANA: also, that was where she trained in te reo and kapa haka.

| APPENDICES Nāu anō i whakatō tēnei kākano ...?

175 Mic adjustment and Maree asking for translation. MAREE: Ka pai. Erana begins next questions but mic adjustment is needed. ERANA: And we all know that she became the leader … well we need ERANA: to talk about that too. So even though kapa haka … she witnessed it when she was young and saw it all the time, it wasn’t something that she MAREE: instantly grabbed hold of or … she was more interested in We still want to know why it’s so important. Pākehā waiata.

ERANA: And we didn’t actually have a kapa haka to join. TE RITA: That’s why I asked …

ERANA: Yeah. There wasn’t a kapa haka to join. Nāu anō i whakatō te kākano, te aroha mō ēnei momo mahi, ki āu tamariki?

TE RITA: No. Did you instil the seed, the passion and love for performing arts, amongst your children? ERANA: And so, she had pursued the Pākehā waiata and was training TE RITA: in opera. It wasn’t until she was married to her first tāne and it Awww. (chuckles) E hiahia ana au ki te kī, “Āe”, engari tupu was her mother who took her and asked if she could join their ake mai aku tamariki i roto i te ao haka. Ahakoa huri ki whea kapa haka group which was Te Rau Aroha. And it was then that kei reira te haka e mahia ana. she began and this was working side by side, so learning about te ao kapa haka but also carrying on with her studies in opera. I want to say, “Yes”, but my children grew up in the world of Then when her and her first husband separated that was when performing arts. Wherever they are, wherever they go, there is she decided she would give up te taha Pākehā, would give up … always haka being performed. NEXT PAGE Erana: Nō reira he aha i hirahira ai ki a koutou, ki a tātou? roto hoki i aku tamariki nā te mea ko te taha o tō rātou pāpā He aha ngā tino … he aha te tino ngako, e tino rata ai, he whānau haka hoki. Nā reira ō rātou taha e rua he whānau e arohaina ai e koutou tēnei mea ngā mahi, te haka a haka, he whānau reo Māori, he whānau aha rānei i te ao Māori. Tānerore, ngā mahi a Hine Rēhia? You know … whai mahi i roto i te ao Māori, whai oranga i roto i te ao Māori. Engari kāore au i āta tohutohu ki ngaku tamariki Why is kapa haka so important to you all, to all of us? kia uru ki roto i ngā kapa haka ahakoa ko au te kaiako. I te wā What is the main reason that you have a passion and a love | APPENDICES i timata ai waku tamariki pakeke ki te whai i te ao haka ko au te for Māori performing arts? 176 kaiako. Heoi anō he māmā mā rātou te huri ki tērā ao. Ka tere tū rātou hei kaitātaki. TE RITA: Yes – both sides of the family. Not my father but his older brother. Nā te kaha o taku rangahau i roto i ngā tau e whakapono Yes, he was a composer of Gregorian chants in his time. He was an ana au ināianei i roto kē i te ira. I roto kē i te ira nā te mea ko organist, an internationally well-known, blind organist. He travelled aku mātua e rua he kaiwaiata. the world doing his work. So ... the world of music is in the genes Through my research over the years I believe now that it is in the of that side of the family. The Māori world, Māori performance and genes and DNA. It is in the genes because my parents were both song, comes from my mother. Therefore, it was not surprising to me singers/performers. at all how easy it was for me to transfer from the world of opera to the world of Māori performing arts. Not surprised in the least. And I firmly believe now that this is also in my children because on their ERANA TRANSLATING FOR MAREE: father’s side his family is renowned for Māori performing arts as It’s in the genes. Her two parents were singers and well. Therefore, on both their sides they come from performing arts composers – he kaitito hoki? families, speakers of the language, anything pertaining to the Māori world. You know ... working within the Māori world and making a Were they also composers? living. But I did not instruct nor advise my children to become part of Māori performing arts groups, even though I was the tutor. When TE RITA: my older children began their pursuit of Māori performing arts, I Āe, ngā taha e rua. Kaua ko taku pāpā ake, ko tana tuakana. was the tutor. It was easy for them to become entrenched in that Āe, nāna anō i tito i ngā Gregorian chants o taua wā. He was world and very soon become leaders. an organist, an internationally well-known, blind organist. Ana, ka huri rauna ia i te ao mahi ai i tāna mahi. So ... i roto i te ira o ERANA: tērā whānau te ao pūoro me kī. Engari taku māmā te ao Māori, Ki ōu nā whakaaro, Whaea, he aha ngā hua, he aha ngā te ao haka, te ao waiata Māori. Nā reira kāore au i ohorere i te painga o ēnei momo mahi? māmā māku hei huri mai i taku ao opera ki te ao haka. Kāore au i te ohorere ki tērā. Anā, e whakapono ana ahau ināianei i What are the benefits of these types of activities? NEXT PAGE TE RITA: whenua. Nōku anō tēnei marae, nāku i hanga. Nā te mea he He maha ngā hua. Ki a au nei ko te mea nui kia mōhio pai te whakatūwhera anō ki roto i taku whare, taku kāinga. Kāore tangata ki tōna ake tuakiri. Koirā te mea nui. E mōhio ana i au i te kite i tēnei hei marae motuhake me kī. Koirā te take tuhituhi koe mō tērā kaupapa. I whērā hoki au. I tuhi tonu he māmā noa iho māku te kuhu mai. E mōhio ana ahau kei au i tērā kaupapa i roto i taku PhD. Nā reira koirā te mea nui konei aku mātua hei kaitiaki, aku tungāne hei tāwharau i ki a au nei, kia mōhio pai te tangata ki tōna ake tuakiri, ki ngā tāngata e kuhu mai ana. Nā reira he rite ki te kāinga ki

| APPENDICES tōna ake reo, ki ngāna ake tikanga me te whakatinana i aua a au nei. Tēnei whare, tēnei wāhi, ahakoa nō tangata kē te 177 mea. Kaua ko te mōhio noa, kia memeha, kia mate. Kāo! mana whakahaere kei konei tonu te kōmiti hei whakahaere. Me te whakatinana. Mahia te mahi hei painga mō te iwi! Anā, ko taku teina kei runga tonu i tērā kōmiti. Nā reira he paku rerekē heoi anō ko ahau hoki tētahi wahine kāore e There are many benefits. To me, the main benefit is that a karanga ki rō whare. Ana, kua kōrero au mō tērā kaupapa. person will learn and know about their identity. That is the most He wahine whērā hoki au - ... (not able to hear entirely) ... important thing. I know that you have written on this topic. I Itāriana, gesture when I speak, mōhio au ki tērā. have also. I wrote about this in my doctoral thesis. Therefore, that is the most important thing to me, that a person is able [murmured conversation between Maree and Te Rita – just to know/understand/recognise their identity, their indigenous do it out here, just do it here] language, their customs and be able to embody these things. It Very well. A good example is this morning because I didn’t call is not about merely knowing about these things but they become to you to come into the house because this is my ... well ... I lost and disappear. NO! It is about manifesting and embodying believe that this is my land. This is my marae, I helped to build it. these things (putting into practise). All actions and undertakings Because it was a welcome into my house, my home. I don’t see must be of benefit for the wider community. this as an independent/stand-alone marae.

That is why is it easy for me to access and enter. I know that ERANA: my parents are the guardians here, and my brothers shelter all Kia ora. Ka huri au ināianei. He kōrero tēnei mō te karanga. people who may enter. Therefore this is like a home to me. This He aha te tikanga o te karanga ki a koe? house, this area, although the authority belongs to others, there is a committee established here who run things. My younger Agree! I would like to turn our discussion now to the ‘karanga’, sibling is on that committee still. Therefore it is slightly different the ceremonial call. What does ‘karanga’ mean to you? but I am a female who does not do karanga inside buildings. I have spoken already about this. I am one of those females ... TE RITA: Italina ... gesture when I speak, I know that ... Ka pai. He tauira pai tēnei ata me kī, nā te mea kāore au i karanga ki a koutou kia haere mai ki roto nā te mea nōku [murmured conversation between Maree and Te Rita – just anō tēnei … well … e whakapono ana au nōku anō tēnei do it out here, just do it here] NEXT PAGE TE RITA: tāne. Koirā hoki tāna mahi matua – he mihi, he maioha, he Umm, āe. Nā reira kāore au i karanga i tā tātou kuhunga nā pōwhiri. Nō muri mai ko ērā atu āhuatanga ka kuhu pērā i te te mea ehara ahau i te wahine karanga ki rō whare i runga karakia, i te whakapapa, i te kaupapa, ērā momo āhuatanga. anō i ngā tikanga i whakaakongia mai ki a au. Engari ahakoa tēwhea taha, taha manuwhiri, taha tangata whenua rānei, he pōwhiri, he maioha te mahi. So yes. Therefore I did not karanga when we entered into the

| APPENDICES house because I do not call inside a building based on the I was thinking about the karanga that is heard on the marae. The purpose of karanga on the marae is as a maioha, a greeting, a 178 customs that have been taught to me. welcome, similar to the formal oratory of the male. This is its main purpose – to greet and welcome. Then there may be other aspects ERANA: like karakia, genealogy, talking about the purpose of the gathering He aha te tikanga o te … kia kore ai e karanga ki rō whare? and those types of things. But whichever side, guest or host, the main purpose is to greet and acknowledge each other. What is the custom pertaining to not calling inside buildings?

ERANA: TE RITA: Nā wai koe i whakaako ki ngā mahi a te karanga, ki ngā Nā te mea ka noho tonu taku reo ki roto i ngēnei … i tikanga a te karanga? waenganui i ēnei pakitara e whā. Kāore e pāorooro ki waho kia rere i runga i ngā hau. E tika ana kia whērā. Who taught you about karanga and the customs pertaining to karanga? Because my voice would remain inside, amongst these four walls. It would not resound outside and travel upon the winds. This is what should correctly happen. TE RITA: Nā Te Rangihau, John Te Rangihau, John Te Aniwaniwa Rangihau. Nāna ahau i ako ki te karanga. He rerekē taku ERANA: ako. I roto i tētahi waka i a mātou e haere ana ki tētahi Nō reira he aha kē te karanga ki a koe? tangihanga. Ka whiua mai … i mua i tērā … I think … kua Therefore, what is karanga to you? kōrero kē au mō tēnei. I mua i te wehenga i te whare wānanga nā te mea ko ia tō mātou kaumātua i taua wā. I te rangahau hoki ia i ngā karakia a Te Ringatū, koirā tana mahi TE RITA: rangahau i taua wā. Ana, i tono mai ki a au kia haere ki tana Ummm …i whakaaro noa au mō te karanga i te tuatahi ki taha me ngētahi atu mā runga waka. Kāore i te mōhio i te runga i te marae. Anā, ko tāna mahi ki runga i te marae, haere ki whea, ki te aha, engari i taua haerenga i whiua mai e he maioha, he mihi, he pōwhiri pēnā i te whaikōrero a te ia ngētehi kupu kia mau ki te hinengaro. Anā, tae atu mātou NEXT PAGE ki te marae ka whakaeke mātou, ka tukuna e au taku karanga TE RITA: tuatahi. Kāore i mutu i reira. I waimaria au i a ia me ērā atu o Karekau. None. ngaku kaiako, a Tīmoti, a Te Wharehuia, a Hirini. Mai i taua wā ko au te wahine i kawea haeretia e rātou katoa ki te mahi i ERANA: ngā rātou karanga nā te mea ko au anake te wahine pakeke i te whare wānanga i roto i te Tari Māori i taua wā. Karekau? He aha ai? | APPENDICES It was Te Rangihau, John Te Rangihau, John Te Aniwaniwa None? Why? 179 Rangihau, who taught me to karanga. My learning was somewhat different and occurred whilst we were travelling in a TE RITA: vehicle to a funeral. Before then ... I think I may have already Karekau. Kāo. Kāore he maha o ōku kuia i te ora, kāore spoken about this. It was before he left from the university hoki he maha o ōku whaea i te ora. Anā, ko ngā mea i te ora because he was our kaumatua at that time. He was also kāore i te mōhio ki te karanga. Arā a Tainui whānui engari researching Ringatū karakia at that time. He requested that I he uaua māku te haere atu ki tētahi kuia me te tono. I aua travel by his side along with a few others on the vehicle. I didn’t wā me tatari koe kia huri mai tētahi ki a koe ki te kī, “Kua tae know where we were going or to do what, but it was on that ki te wā me whakaako ahau ki a koe. Tē taea te haere ki te journey that he presented me with some words that I had to rapu". Ko ahau hoki te tuawhā o waku tuākana, e toru waku learn off by heart. And so, once we arrived at the marae and tuākana. Ahakoa i te wā i timata ai au kāore anō tētahi o were going onto the marae, I did my first karanga. But it didn’t rātou kia timata ki te karanga, nō muri mai i a au i ako ai te end there. I was very fortunate to be able to learn from him and tuakana tata ki a au ki te karanga. Ināianei kei a ia te mana, several other tutors including Tīmoti [Karetu], Te Wharehuia ko au te teina. [Milroy] and Hirini [Melbourne]. From that time onwards, I was taken by them to all their meetings etc. to do the karanga There were none. No. I did not have many surviving female because I was the only elder female in the Māori Department of elders or aunts at that time. And those who were still alive did the university at that time. not know how to karanga. There were many Tainui elders but it was very difficult for me to go to an elder and ask to be taught. In those days one had to wait until you were told, “It has reached ERANA: the correct time for me to teach you”. You can’t just go and find Nō reira he wahine anō, tērā pea tētahi o ō whaea kēkē, he someone to teach you. I am the fourth child, I have three older kuia hei whakaako ki ētahi atu taha o te karanga? sisters. Although when I started to karanga none of my older siblings has yet started to karanga, after I had learnt my older Were here any particular females, an aunt or elder female who sister closest to me learned to karanga also. Now, the mandate also taught you about the karanga? and authority is hers, because I am the younger sibling. NEXT PAGE ERANA: have I been doing this?” No! I quickly turned to the roles Nō reira ka karanga tonu koe? behind, and how fortunate I was, to be free to do this.

Therefore, do you still karanga? ERANA: Nōnahea i timata ai koe ki te ako i te karanga i te taha o … TE RITA:

| APPENDICES nōnahea i tīmata ai? Āe, āe, nā te mea ahakoa taku tuakana e mau mārō, whai 180 mārō ana ki āna tikanga kua tukuna kētia ahau e ia ki te When did you begin to learn to karanga? karanga ki tōna taha. Ahau i te taha manuwhiri i te tuatahi, ko ia i te taha tangata whenua. I tono mai ia ki a au, “Haere ki te tautoko i tēnā rōpū e whakaeke mai ana nā te mea karekau TE RITA: ō rātou kaikaranga”. Me tana mōhio ki aku mahi o mua. I I te tau 1978 tonu. Āe, nā reira āhua tamariki tonu au. Rua mua noa atu taku tū hei kaikaranga mō te whare wānanga i tekau mā waru noa iho aku tau engari i taua wā ko au te tana taenga atu ki te whare wānanga hoki hei kaiako. Nā, ka pakeke nā te mea ko te toenga tekau mā waru noa iho ngā tae mai rātou ko ētahi atu kuia Māori ki Te Whare Wānanga tau o ngā ākonga. o Waikato, ko Te Rita ka haere ki muri ki te tautoko i te taha waiata. Māmā noa iho tērā whakawhiti māku. Kāore au i tū In 1978. Yes, therefore I was still quite young. I was only 28 tonu me te kī, “Kāo, kei a au te mana”. You know … well … years old but at that time I was the oldest because the rest of the “Pīkau au i tēnei mahi e hia kē ngā tau?” … Kāo! I tere huri au students were only around 18 years of age. ki muri me te waimaria ki a au. Kua wātea.

Yes, yes, I do because even though my older sibling is very ERANA: staunch and committed to custom, she has already gotten I te wā i timata ai tō whakaako i ngā tikanga e pā ana ki te me to karanga by her side. I will karanga on the guests’ side karanga, ka tono atu koe ki ō tuākana mena kua … mena ka and she will karanga for the host side. She requested me whakaae mai ka āhei koe ki te tū ahakoa ko koe te teina? to support a particular group who were visiting as they did not have a kai-karanga. And she is aware of me taking on When you started to learn about the customs pertaining to the role in the past. I was a kai-karanga for the university karanga, did you seek permission from your older siblings long before she came to the university as a lecturer. When to allow you to stand and karanga, even though you are the she and other elderly women arrived at The University of younger sibling? Waikato, that is when I stepped back, to support with the singing of waiata. That transition was easy and natural for me. I would never stand and say, “No, I have the mana to TE RITA: uphold this position”. You know ... well ... “How many years Karekau. No. NEXT PAGE ERANA: learn the language. However, if you were to ask her she would Karekau? No? quickly state that I am the one who is most knowledgeable. She was the one who followed in my footsteps. And it is like that also with the language. We worked closely together when we were at TE RITA: The University of Waikato. And even now she still comes to me Karekau. No. to ask if I can read her work and check to see that it is correct.

| APPENDICES However, there are also many kaupapa where I will go to her for assistance. We know each other. What are ... however, I am very 181 ERANA: quick ... you can tell ... I will be the first to sit myself down if any Mahia te mahi? Nā Te Rangihau? of my elders, those who are older than me, siblings and older Take up the role, because of Te Rangihau’s instruction? females, are there. I have no problem at all with that.

TE RITA: Mahia te mahi nā te mea kāore rātou i reira. Mena me tono au ki tētahi ko te tuakana tata mai ki a au. Ana ko māua māua tērā. Ko ia te mea … you know … i whakaaengia māna e haere ki te whakaako i te reo, māku e haere ki te ako. Heoi anō ki te uiui koe i a ia ka tere kī mai ia ko au kē te mea e mōhio ana he aha te aha. Ko ia whai muri mai i a au. Anā, i whērā hoki i te taha o te reo. Ka piri tahi ia ki a au ki Te Whare Wānanga o Waikato. Ko ia tonu ināia tonu nei me te hara mai ki a au, “Tēnā, pānuihia waku kōrero kia kite mena kei te tika”. Heoi anō wērā anō te tokomaha … te maha o ngā kaupapa ko ia te mea ka haere atu ai au ki te tono āwhina. E mōhio ana māua ki a māua. He aha ngā … heoi anō ka tere … i rongo koe … ka tere whakanoho ahau i a au anō mena kei reira waku kuia, pakeke i a au, kei reira ngā tuākana, ngā kuia. Kāore he aha ki a au.

I had to take on the role because they weren’t there. If I had sought permission, it would have been from my sibling closest to me. We are very similar. She is the one ... you know ... it was agreed upon that she would teach the language and I would

NEXT PAGE APPENDIX 7 ERANA: Kua kōrero mai koe, Whaea, mō tō timatanga ki te ako i ngā tikanga Interview with Te Rita – Part 2 e pā ana ki te karanga. Tēnā, kōrero mai mō te wā i tae atu koe ki te tangihanga, koutou ko Te Rangihau, te wā tuatahi i karanga ai koe. He aha ō whakaaro i taua wā tonu, te wā i tae atu ki te waharoa, i tuku i tō karanga. Kōrero mai mō taua āhuatanga. | APPENDICES You have spoken, Whaea, about when you began to learn about the 182 karanga. Please, tell us about when you arrived at the tangi, with Te Rangihau and the others, the first time that you did the karanga. What were you thinking at that time, when you arrived at the entrance to the marae, and when you did your karanga? Tell us about that experience.

TE RITA: Aaah, i te tuatahi i te mataku. He rite ki te tū i runga i te atamira i mua i te minenga nui tonu. Ērā momo hopo o roto. Aaah … heoi anō i mōhio kē au me pēhea te whakaputa i taku reo kia rangona i te mahau tonu o te whare mai i te tomokanga. Nā aku ako ki te waiata i roto i te reo Pākehā. Heoi anō he mōhiotanga hoki ōku ka pēhea te whakaputa i te rangi, ā-oro nei, o taua momo karanga nā te mea i roto i a mātou kotahi tonu te rangi. Kāore he piki, kāore he heke. Ka puta i tō waha i taua rangi, ka noho ki taua rangi tae noa ki tōna mutunga. Tērā pea ka paku heke i te mutunga rā anō o tō karanga ahakoa e hia ngā rerenga kōrero ka puta i a koe. Engari kotahi tonu te tangi o te reo, arā, he ‘monotone’. Koirā.

At first, I was scared. It was like standing on a stage to perform in front of a large audience. Those kinds of feelings of apprehension and fear. However, I knew how to project my voice so that it could be heard on the porch of the wharenui from the entrance. This came from my teachings in opera. And so, I knew how to produce the correct sound and note for the karanga because within our tribes there is only one note. There are no inflections, no changes in pitch, no rises or falls. The note that comes out of the mouth at the beginning of your karanga is the note that you NEXT PAGE will stay on until the end of your karanga. Perhaps there might ERANA: be a slight drop in pitch at the very end of your karanga, and it Kei te whakaaro au mō te karanga ka kitea i runga i te papa doesn’t matter how many sentences you may have. But there will whakatū waewae - he karanga? I te mea ehara i te marae only be one pitch, it is monotone. That’s that. engari he karanga tonu?

I am thinking about the ‘karanga’ heard on the performance ERANA: | APPENDICES stage – is it ‘karanga’? Because it is not a marae, but is He pērā anō ngā karanga i rongo ai koe i ēnei rā? it still ‘karanga’? 183 Are the karanga you hear nowadays like that? TE RITA: Tē taea e au pea te kī ehake i te karanga. Heoi anō, ka karanga TE RITA: ērā wāhine ki a wai? I ētahi wā, kāore au i te mōhio i runga Kāo. Ki a au nei, kua rerekē rawa atu ngā momo karanga. Ko anō i ngā rātou kupu. Aaah, he roa te wā kua wānanga ahau tāku e whakapae nei, kua uru ngā momo rangi, ka piki, ka i tērā, āna, kua tuhi pepa hoki au mō taua kaupapa. Engari i heke, ka aha rānei, nā ngā mahi haka. Koirā taku whakapae. te wā ka whakarite au mā ngāku tamariki, kōtiro, tamāhine, Engari kāore au i te haere ki te rangahau, ki te rapu mena e e karanga i tō mātou ake kapa, aaah, ka āta whakarite mātou tika ana taku whakapae. Koirā tāku e rongo ai, ā, me tāku mā wai tēnā kaupapa, mā wai tēnā kaupapa, mā wai tēnā whakapono nā te kaha uru o te ao Māori ki roto i tēnei mea te kaupapa. Mēnā ko te kaikaranga kotahi anake, anā, ka riro kapa haka kua āhua rerekē te whakaputa i te rangi, i te tangi o mā te kaitātaki i taku kapa tērā mahi. Kaua ko te kuia o te te reo i a te kuia, i a te wahine, i a te kōtiro e karanga ana. Āna, kapa, ko te kaitātaki o te kapa, nā te mea he whakatū ki te kei te rongo hoki au i ētahi o ngā kuia, engari tamariki ake i a whakangahau i te iwi, ahakoa he whakataetae. Nā reira me tū au, e rerekē rawa atu ana te rangi o te karanga. i runga i tō pai me tō mōhio ki te whakangahau. Nā reira, ka waiho au māna tāna kaupapa e whakarite, kātahi ka whakaae No. To me, the types of karanga are now very different. It is my atu au. Anā, ko te painga ia o ngāku tamāhine katoa, anā, he suggestion that the variations in pitch, the intonations, rises whakahīhī tēnei kōrero āku, kei a rātou te reo, mōhio pai ana and falls or whatever, have occurred due to the influence of the rātou ki ngā rātou tikanga, nā reira ka taea e rātou te hanga i performing arts. That is my suggestion. I have not researched ngā rātou ake karanga. Ehara i te mea mā māmā e tito me te or gone to seek out if this is correct. But this is based on what I whoatu. Kāhore. am hearing, and my belief that it is because Māori have really immersed themselves in the performing arts, that the sound I can’t say that it is not karanga. However, when those women do and tune of the karanga of elders, females and young girls, has their karanga, who are they calling to? Sometimes I am unsure changed slightly. I am also hearing some female elders, but who based on what they are saying. I have deliberated on this for a long are younger than me, and the sound of their karanga is very time and have also written papers on the topic. But when I am different indeed. deciding who of my children, daughters, girls, will karanga for our NEXT PAGE group, we carefully organise who will do each different karanga. TE RITA: If there is to be only one kaikaranga, then that will be done by the Āe, kua kōrero kē au ki a Maree mō tērā tū āhuatanga. Ko leader of the group. Not the eldest female of the group, but the au tētahi o wērā kuia/māmā e whakaae ana kia mahi aku leader of the group, because it is an opportunity to entertain the tamāhine i a au e ora tonu ana. Kia mōhio ai au ina mate au, crowd even though it may be a competition. Therefore, one should kua pai rātou. perform the role based on their skill and knowledge at entertaining.

| APPENDICES And so, I leave it for them to prepare how they will do their karanga, I have already spoken to Maree regarding this. I am one of those elders/mothers who allows my daughters to do this while I am 184 and then I give my consent. The good thing about all my girls, and I say this proudly, they have the reo, they are well-versed in their still alive. So that I know when I pass, they will be fine. tikanga therefore they are able to compose their own karanga. It is Erana translates for Maree. not the case that I as their mother come up with the words and then hand them over to them. No. We talked about how did she knows how to karanga. So, I asked her about that, remembering the time with Te Rangihau. And she spoke about how she utilised her skills that she had ERANA: learned in te ao Pākehā; the projection of the voice. As for the Engari nāu anō āu ake tamariki i whakaako ki te karanga? sound, the pitch etc. from what she had heard herself in te ao Māori but also that … she was talking about the ‘oro’ or the But did you teach your children to karanga? sound, is very monotone, we’re very monotone. And sometimes it will drop at the end. So, we were talking about how the sound TE RITA: of karanga has changed from what we have seen and heard Kāore au i whakatūtū haere i a rātou me te kī, “Anei” i te when we were growing up. Now there’s more rise and fall and wā ako ki te karanga. Kāo. I tuku au i a rātou kia ako mā te it’s much more melodic. whakarongo, mā te titiro.

I did not make them stand individually and say, “Here” TE RITA: when it was time to learn karanga. No. I let them learn Mmmm … yeah. by listening and watching.

ERANA: ERANA: She said this is what she thinks - it comes from the influence I kōrero mai koe ‘rātou’, nō reira kaua ko te mātāmua anahe, of kapa haka and the stage performance. ko rātou katoa?

You used the word ‘rātou’ meaning ‘they’, therefore it wasn’t just MAREE: the eldest girl, but all of your daughters? That’s cool. I like that kōrero. NEXT PAGE ERANA: ERANA: And then I asked … so then I asked … so, does she think that Yeah, she said she’d spoken to you about how she believes what is performed on stage, is that still ‘karanga’? And she it’s right for her children to be able to karanga while she’s said she’s not going to say it’s not karanga but sometimes still alive so that she knows when she goes, everything’s set we need to … when she talked about what karanga was and in place. she spoke about how it’s a mihi, it’s to acknowledge and | APPENDICES those specific things, sometimes what you see on stage is MAREE: 185 not that, depending on what they’re saying. So, it’s a bit And you said that? hard to say whether it is a karanga or not. Then she talked about how in her own kapa haka group how specific people have certain things that they say. Or if there is one female TE RITA: leader sometimes it will just be left to the female leader to Yes. Yeah, yeah I did … I did say that. compose her own, depending on their skill of the language etc. And then I asked Whaea … it was very interesting that (mumbled conversation and laughing) she used the term ‘rātou’ (they, 3+). So not only the eldest daughter will be allowed to karanga, but all of her female MAREE: Ka pai. children. And she said, “Yes”. She’s one of those who believes that … TE RITA: Yeah… bang on. Bang on, Erana. I did say that. MAREE: On stage? ERANA: She keeps saying, “Did she say that? Did I record that?” TE RITA: Āe. Yes.

TE RITA: MAREE: Or offstage? Yes, no! I said that. Tika tāu, tika tāu. Yeah.

TE RITA: Yes, no! I said that. You’re right, you’re correct.Yeah. Both. It started offstage.

ERANA (TO MAREE): MAREE: Is there anything else you wanted to ask about karanga Yes. You’ve talked to me … before we move on to the next questions? NEXT PAGE MAREE: i te māmā, kāhore! Nā te mea i taku hokinga atu ki Te Whare No, ‘cos Whaea has already talked to me in … Wānanga o Waikato, aku tamariki tokotoru i te kura, ko aku pēpi mahanga nei i tōku taha. Ana, ka hopu pahi au mai i Te Rapa kia haere rā anō ki Hillcrest, ki te whare wānanga TE RITA: mā runga pahi. Ia rā! Nā reira ehara i te mea māmā, he uaua A lot about that … māku. Nā reira ki te uaua te huarahi, me uru tō katoa kia

| APPENDICES rongo i ngā painga. Ki te kore, he taiapa kei reira hei whaka … hei aukati i tō haere whakamua. Anā, ka pakeke haere aku 186 MAREE:… in English … tamariki, ka whai haere hoki rātou i te reo, ka tae mai, ka piri anō ki taku tāne tuarua, ā, ka piri ki taku tāne tuarua, TE RITA: Yeah. ka whai tamariki anō māua. Waimaria ahau i taea e waku pēpi te haere tōtika ki Te Kōhanga Reo, Kura Kaupapa, MAREE: Wharekura. Kāore wērā momo i konei i te wā o aku mea … about that so hopefully I can put pieces of the reo in and pakeke. Kuraina tahi rātou ki roto i ngā kura Pākehā. Heoi you could translate it. anō, i te wā i huri au ki te ako i te reo, i ngā haikura rātou e ako reo ana. Nā reira mātou katoa i te wā kotahi. Aaah, ka ERANA: whānau mai waku pēpi, whērā i taku kī, kua whakatūria kētia e au he kōhanga reo. Whai muri mai he kura kaupapa, Ka pai. All good. nā, ka kuhu rātou ki aua whare. I te wā i haere te tuakana o So, I think it would be good if we go on to this question next. rāua ki te wharekura, ko Rākaumanga anahe i tēnei takiwā. Nā reira haere a Te Ingo ki Rākaumanga, ako ai. Mutu ana ki Kua kōrero mai koe, Whaea, mō tō ako i te reo Māori. Ko te reira, haere tōtika ki te whare wānanga. Puta atu ia me tana whakarauora reo, me te oranga tonutanga o te reo he mea Master’s. Whērā hoki tana teina a Te Wairere - Kōhanga Reo, nui rawa atu, ki a koe, ki a koutou ko tō whānau, ki a tātou. Kura Kaupapa, Wharekura. Ngā whare katoa nāku anō i He aha ai? hanga, kātahi ka haere mai ki tēnei whare wānanga ka puta You have spoken to us about learning the language. The i tana Master’s of Management. Nā, he whakamātautau aku revitalisation and the survival of the language is of utmost pēpi kia whakaatu ki te ao Pākehā mātauranga nei, ahakoa importance to you and your family, to all of us. Why is this so? kuraina ai te tamaiti i roto i tōna reo, puta atu ana, ka taea hoki te haere ki te whare wānanga, whiwhi tohu paerua i roto i te reo Pākehā. TE RITA: Koirā tō mātou oranga. I te wā i whakatau ki roto i a au anō It is our sustenance. When I decided to pursue the language ki te āta whai i te reo me ngā waiata i roto i te reo Māori, kaua and Māori waiata, not opera, my world changed/everything ko te ao Pākehā, i huri taku katoa. Nā te mea ehara i te mea changed. Because it wasn’t easy, no! Because when I returned to NEXT PAGE The University of Waikato, three of my children were at school, ERANA: and my twins remained by my side. I would catch the bus from Nō reira, he aha ngā tino hua o te tipu haere Te Rapa travelling all the way to Hillcrest to the university, on me te ako i te reo Māori? the bus. Every day! So, it wasn’t easy, it was difficult for me. When the pathway is hard, you must give it everything you’ve Therefore, what are the benefits of growing up got so that you can reap the benefits. If you don’t, there will immersed in the language?

| APPENDICES be obstacles that deter you from advancing forward. Well, my children grew up and they also pursued the language. And then I 187 TE RITA: married my second husband and we had our own children. I was Me kī, he maha ngā tāngata i kī mai ki ahau, moumou tāima. fortunate that my babies were able to go straight into kōhanga Kāore koe e whai oranga i tēnei ao i te reo. Kua whērā au. reo, kura kauapa and wharekura. These were not around when Mai i te wā i huri au i te tau 1978, kāore anō kia oti taku my older children were growing up. They were all schooled in whakaako i te reo, whāngai i te reo, poipoi i te reo, waiata Pākehā schools. However, when I started to learn the language, tonu i te reo, haka tonu i te reo. Kei te ora rawa atu a Te they were in high-school learning as well. So, we were all Rita me tōku whare. Katoa, ehara tēnei i te rūpahu, katoa learning at the same time. When my babies were born, just as aku tamariki ka whai oranga ai i te reo. Kua tīmata ngaku I have stated, I had already established a kōhanga reo. After mokopuna, katoa o ngaku mokopuna ka kōrero Māori. Ngā that was a kura kaupapa, and they were able to attend these. mea ka taea te kōrero. Ko aku pēpē, rua ngā tau, ko tētahi When the older of the two went to wharekura, Rākaumanga was kotahi tau, kāore anō kia tīmata ki te kōrero, engari ngā mea the only one in this area. So Te Ingo went to Rākaumanga to e rua ō rāua tau kua tīmata ki te kōrero. Ko te reo Māori kei learn. When she finished there, she went straight to university te puta, nā te mea koirā tā rātou i rongo ai i te ao, i te pō. Nā and graduated with her Master’s. It was the same with her reira ka taea e au te kī he wāriu tō te reo Māori. Mārika nei! younger sister, Te Wairere. She attended kōhanga reo, kura Nā te mea tokowhitu waku tamariki kei te whakaako i te reo, kaupapa, wharekura; all of these I had helped to establish. Then i roto i te reo, mahi i roto i te reo rānei … she came here to university and graduated with her Master of Management. Well then, my babies were a test, to show the It should be stated, many people told me that it was a waste of mainstream Pākehā educators that even though a child had time. You won’t find a livelihood in this world from the language. been schooled in a Māori medium, once they had finished I have done exactly that. Since I began my journey in 1978, college they would be able to go on to university and be awarded I have not yet finished teaching the language, nurturing the a Master’s degree taught in English. langauge, caring for the language, singing in the language, performing in the language. Te Rita and my house (my family) are thriving! All of us, and this is not a lie, all of my children have a livelihood because of the language. All of my grandchildren have begun to speak Māori, those that are able to speak. Our babies who are two years old, one is only one year old and is NEXT PAGE not yet speaking, but those that are two years old have begun tētahi whakapaipai makawē”. Ērā mea katoa. Nā, ko wētahi speaking. And the language that comes forth is Māori because it o waku mokopuna kua kaiako i te reo kē, ko ētahi, kāo. Kua is the language that they hear all the time. Therefore, I can say whai i ngā ‘trades’ … he arborist, he welder, he hairdresser that there is value in the Māori language. Absolutely! Because … Nā reira kei te kitea e ō rātou mātua he pai tonu kia seven of my children are teaching in the language, surrounded whaiwhai haere i ngētehi atu mahi i tēnei ao. Ahakoa kei te by the language, or are working with the language … karangahia e te Pāremata, e Te Tāhūhū kia whakaakongia,

| APPENDICES kia whakangungua tonuhia he kaiako reo Māori, kāore he 188 nawhe, ummm … kāore au i te tohu whērā ki aku mokopuna. ERANA: Nō reira e toru ngā reanga? Yes, it has begun … not the majority of my grandchildren because it has come to the time when I will be vocal about what Therefore, there are three generations I want for my grandchildren. I wasn’t like that with my children. [in your family who are able to speak Māori]? I left them to follow their own paths. They all led to me and my focus (the journey). Indeed, that can’t be disputed. But when it comes to my grandchildren, I have said to them, “Nanny would TE RITA: like a mechanic, a hairdresser” … all of those things. Now then, E toru ngā reanga. some of my grandchildren are already teaching the language, There are three generations. but others are not. They have pursued ‘trades’, one is an arborist, one is a welder, one is a hairdresser. And their parents can see that it is fine to pursue other forms of employment in this ERANA: world. Even though Parliament and The Ministry of Education Ākuanei, e whā ngā reanga? is calling out for more Māori language teachers because there is not enough, I have not instructed my grandchildren to do that. And soon there will be four generations?

ERANA: TE RITA: Tērā pea … he aha ki ō whakaaro, Whaea … tērā pea i te Āe, nā te mea kua tīmata … kaua ko te tokomaha o waku mea e toru ngā reanga e matatau ana ki te reo, e taea ai ō mokopuna nā te mea, kua tae ki te wā i whakaputa au i mokopuna te whātoro atu ki ngā mahi katoa i te mea he reo taku waha me te whakaputa i ōku whakaaro mō waku ora i te kāinga? mokopuna. Kāore au i whērā mō aku tamariki. I waiho noa au mā rātou e whai i ō rātou ake huarahi. Te katoa i huarahi Perhaps … what do you think, Whaea … perhaps it is because you mai ki a au me taku kaupapa. Heoi anō, tē taea te whakahē have three generations who are steeped in the language, that i tērā. Engari ka tae mai ki ngaku mokopuna kua kī au ki a your grandchildren are able to pursue any type of employment rātou, ‘Awww hiahia a Nana ki tētahi kaiwhakatika waka, because the language is very much alive in the home? NEXT PAGE TE RITA: amazed because I visit my grandchild all the time at their place Āe. Yes. of work so we can eat together or whatever. And we speak Māori, and the Pākehā boss turned to us and said, “Gee! I haven’t yet heard this child speak in Māori”. The response was, “It’s their ERANA: mother tongue”. But it’s awesome, the language is ‘sweet to his Ki te kore e pērā, ka rerekē pea? ears’. And this is a real Pākehā, Pākehā! | APPENDICES If this weren’t the case, do you think things would be different? 189 ERANA: TE RITA: Nō reira, ki ōu nā whakaaro me whakaako te reo i ngā kura?

Tērā pea, āe. Engari i whakaaro au ina ka taea e au te So do you think that the language should be taught in schools? whakatō i te hiahia ki roto i te ngākau, i te whatumanawa o ngāku ake tamariki, te reo ka heke ki wā rātou. Engari e tika ana tō whakapae, e tautoko mārika ana ahau i tērā, nā te TE RITA: mea kua toko te reo ki roto i ngaku mokopuna. E hiahia ana Āe. E whērā ana au nā te mea … anō nei ko waku pēpē te au kia puta tērā ki te whai ao, ki ngā mahi katoa. Kia rongo tauira. Ahakoa i tuku au i a rāua ki ngā wāhi kia rangona te ai aua tāngata he mea noa mā mātou ko aku mokopuna te reo ia rā, hāunga te kāinga, kia ako ai rāua i roto i te reo, e kōrero Māori i wā rātou ake mahi. Anā, kua rongo. You know mōhio tonu ana au i taea e rāua te mahi tonu i te reo Pākehā … mīharo te pāhi o tētahi o waku mokopuna, te mea welder, ahakoa kāore i āta whakaakongia ki a rāua. Kei ngā wāhi nā te mea ka tae atu au ki tana taha kia kaikai tahi māua, katoa te reo Pākehā, kei te rangona ki ngā wāhi katoa, kei te aha rānei. Rere ana te reo me te huri mai o te Pākehā, ka kī, kitea e mātou ia rā, ia pō. Kei te rangona ia rā, ia pō. Nā reira “Gee! Kāore anō au kia rongo i tēnei tamaiti e whērā ana”. Kī kāore au i te māharahara mō te reo Pākehā. Ka ora rawa atu atu, “Koirā tōna reo matua”. Engari, aww … he pai, he reka, te reo Pākehā. Engari kei te māharahara tonu au mō te reo he reka ki tana taringa. Engari, he Pākehā rawa tēnei Pākehā! Māori. Koirā te take.

Perhaps, yes. But I thought that if I could instil the desire and Yes, I feel like that because … my babies are the example. Even passion for the language into the hearts and minds of my children, though I sent them both to places where Māori could be heard then it would be passed on to their children. But I agree with your every day, other than at home, so that they could learn in the suggestion, I absolutely support that because the language is language, I absolutely know that they are able to use the English entrenched in my grandchildren. I want this to be seen all over the language as well, even though it was not specifically taught to world, in all areas of employment. So that people can experience them. English is everywhere, we hear it everywhere, we see it that speaking the language is a normal thing for my grandchildren all the time. It is heard everywhere. Therefore, I am not worried and me at their places of work. Indeed, this has happened. You about the English language. It will continue to survive. However, know … one of my grandchildren who is the welder, their boss is I am still worried about the Māori language. That is why.

NEXT PAGE ERANA: MAREE: Nō reira, ka whakaae koe kia ‘compulsory’ te reo? For everyone?

Therefore, you agree that learning the language should be compulsory? TE RITA: Yeah. And I said why. | APPENDICES TE RITA: 190 Yeap. Āe. MAREE: Ok. Can … Did you say it in a whole sentence? ERANA: ‘I think it should be compulsory’? Kei ngā kura tuatahi, tuarua? TE RITA: In primary or secondary schools? Yeah.

TE RITA: Ngā kura katoa. MAREE: Did we get that?

ERANA: Ngā kura katoa? ERANA: No, I just asked … All schools?

MAREE: TE RITA: Āe. Did we get Whaea saying that?

MAREE: TE RITA: Did you just say that you think it should be compulsory? Yeah, I did say it.

TE RITA: MAREE: Yeap. ‘Cos I don’t want her to say, “Yes, I think it … NEXT PAGE TE RITA: ERANA: No, I explained exactly why I think that. But go out and pursue Pākehā jobs to be able to … and I said … are her tamariki or her mokopuna able to do that because they have a solid foundation of the language of three generations MAREE: now? And may it have been different if the language wasn’t That’s good ‘cos I think I want that. instilled? And she said yes, and then I led into ‘Do you think

| APPENDICES that the language should be taught in schools?’.

191 ERANA: We were talking about her journey in the language and her TE RITA: children’s and her grandchildren’s. And so, I asked … and Yeah. how she’s now encouraging her grandchildren to go into the [Erana and Maree conversing about the trades and be a hairdresser and a … next set of questions …]

MAREE: ERANA: And speak the reo? Kia hoki anō ki aua pātai mō te ‘compulsory’. Me whakaako te reo i ngā kura katoa ki ōu nā whakaaro. Atu i te reo, me ERANA: pēhea e whakawhānui ai, e whakanui ai, te rata o te tangata And speak the reo. ki te ao Māori me te ahurea Māori? Me pēhea e hōhonu atu ai te māramatanga o te tangata ki ngā āhuatanga Māori i Aotearoa nei? Tērā pea he tangata Pākehā, Aotearoa whānui. TE RITA: Me pēhea e rata ai ko Aotearoa whānui ki te ao Māori? Yes, yeah. Let’s return to the question about learning the language being made compulsory. You think that the language should MAREE: be taught in all schools. Other than the language, how can we But … everywhere? increase people’s interest in the Māori world and Māori culture? How can we increase people’s understanding of things Māori here in New Zealand? Perhaps it is European or wider New Zealand TE RITA: society. How can mainstream New Zealand’s interest in the Yeah. Māori world be increased?

NEXT PAGE TE RITA: initiatives that are drawing in Pākehā, French, Chinese, Mēnā i mōhio au ki te whakautu o tau pātai kua whērā Japanese and others, based on how good they are and the kē. Tē taea e au te whakarata i tētahi atu kia huri mai great activities that are part of that learning. That is what I ki tōku ao. Heoi anō, kei te kite au i ētahi o ngā momo have seen. Whether that is enough to change the world? No! whakaakoranga reo kei te kume mai i te tangata Pākehā, Because we have just experienced a racist act here in New i te tangata Wīwī, i te tangata Hainamana, Hapanihi, aha Zealand. This problem is seething beneath this land and is | APPENDICES rānei ki te ako i te reo nā te pai, nā ngā mahi hīkaka i roto everywhere. In the Māori and Pākehā worlds. We can’t say that 192 i aua momo akoranga. Koirā tāku i kite ai. Mēnā he nawhe Māori do not suffer from this. Yes, we are also racist, the Māori tērā kia huri mai te ao? Kāo! Nā te mea kātahi anō tātou ka world, to other people. I see this, my daughter is experiencing rongo i tētahi āhuatanga i puta i te kaikiri kei roto i tēnei in her classes the discrimination of some of her Māori students whenua. Kei raro tata nei taua mate ki ngā wāhi katoa o against their Pākehā lecturers. Therefore, it can be found on tēnei whenua. Ao Māori mai, ao Pākehā mai. Ehara i te mea both sides. Therefore, I don’t believe that there is a miracle tātou ngā mea Māori kāore i te raru ki tērā āhuatanga. Āe, solution to this question. Perhaps this won’t change in my kei te kaikiri hoki mātou, tātou i te ao Māori ki ngētehi atu lifetime. Do you understand? It may not happen in my lifetime. iwi. Kei te kite au i tērā ia rā, kei te rongo taku tamāhine i We should continue to fight, but fight the good fight, not in ana karaehe i te whakaparahako a ngana ākonga Māori i anger, so that the world and Aotearoa will acknowledge our ngā kaiako Pākehā. Nā reira kei ngā taha e rua. Heoi anō, language. Things are good when it comes to our customs. Yes, nā reira kāore au i te whakapono kei reira te whakautu they are very good at picking and choosing our customs when merekara nei i tērā pātai. E kore pea rātou e huri i tōku it needs to be on show … ooo … here we are as New Zealanders oranga. Mārama? It may not happen in my lifetime. Me supporting our indigenous people! You know … when Prince whawhai tonu tātou engari whawhai i te whawhai pai, kaua William or Prince Harry or whoever visits, the Māori world is ko te whawhai riri, kia huri mai te ao, o Aotearoa nei, ki tō put to the forefront. Yet when they are gone, we are pushed to tātou reo. Kei te pai ki te taha tikanga. Āe, tere rawa ana background again. Therefore, that’s difficult. I won’t answer that rātou ki te tīkaro i ngā tātou tikanga kia kitea … ooo … anei mātou o Aotearoa e tautoko ana i te iwi kāinga! You know other than what I have stated. … kia haere mai a Prince William, a Prince Harry, a wai ake … ooo … ko te ao Māori ka puta ki mua tonu. Ngaro ana ERANA: rātou, (makes a whistling sound), kua hoki ki muri anō. Kia hoki anō ki tētahi o ngā pātai, i te kōrero kē kōrua i Nā reira, he uaua. Kāore au i te whakautu ki tēnā, hāunga waho rā nei … Kia hoki anō ki ngā kōrero mō ngā pānga o te waku kōrero. tāmitanga, mō ngā tāmitanga Pākehā ki runga i a Ngāi Māori If I knew the answer to that, I would have done it already. I me tō tātou tirohanga ki te ao. He aha ki āu nā mōhio, ki ōu can not make someone else become interested in my world. nā whakaaro, he aha ngā pānga o te tāmitanga Pākeha ki a However, I have seen various types of language learning Ngāi Māori? NEXT PAGE I’d like to return to a question that you were discussing outside, doing here? Did you bring a cake or anything?” And I said, “No, the discussion about the effects of colonisation on Māori and our I only brought my babies’. And he didn’t really like those babies. world view. What to your knowledge and in your thoughts, what However, I said, “No. I need to learn the language. You are the are the effects of colonisation on Māori? person for this, you are my friend, therefore I come to you to find a pathway to be able to do this”. Therefore, that was the beginning of my journey … TE RITA: | APPENDICES Kāore au i mārama ki ngērā kōrero i rongo ai au i a au e tipu 193 ake ana. Kia pakeke rā anō au, kia hoki anō au ki te whare ERANA: wānanga ki te whai i taku taha Māori, ahakoa kāore au i te Nā, mā ō rangahau i te whare wānanga kātahi ka kite, ka pai ki te kōrero whērā, me haere ki te whare wānanga whai rongo, ka mōhio ki ngā tāmitanga a te Pākehā? haere ai i tō taha Māori. Heoi anō, nā te mate o aku mātua Therefore, it was through your research at university that you me taku koroua i … he hononga kē i waenganui i a māua ko came to understand about colonisation? Tīmoti. I piri kē ia ki tō mātou whānau i mua i taku haerenga ki te whare wānanga. Nā reira i taku taenga atu ki te whare wānanga, koia te mea i mōhio pai ai ahau. I haere tōtika TE RITA: ahau ki a ia me te kī kua tae ki te wā me ako au i taku reo. Āe, ērā mea katoa. Nā te timata ki te rangahau i tōku ao Ahakoa tana pātai mai ki a au, “He aha te take kei konei koe? Māori, i kite, i rongo ai au i ngā tāmitanga a te iwi Pākehā, Hari keke mai koe, aha rānei?” Kī atu au, “Kua hari pēpi mai a te iwi Wīwī, a te iwi Amerikana i ngā rātou taenga mai ki noa iho”, me tana kore hiahia ki ngaua pēpi. Heoi anō, kī atu konei. Ahakoa i tae mai te Tatimana i tae noa mai, tiro haere au, “Kāo. Me ako au i te reo. Anā, ko koe te tangata, ko koe ai, wehe atu. Kāore te Tatimana a Abel Tasman, kāore i tino taku hoa, nā reirā kua hara mai au ki a koe ki te rapu huarahi whakapā mai ki te whakapēhi i te iwi. Engari, ērā atu iwi - te me pēwhea”. Nā reira, taku timata ki te takahi … iwi Pākehā, te iwi Wīwi, me te iwi Amerikana … āe. I tae mai ki konei, kei konei tonu wētahi mea i waiho mai e rātou. Nā I did not understand these types of things that I experienced … āe. Nā te whare wānanga, nā te Tari Māori i whakatūwhera growing up. It wasn’t until I was older, when I had returned to i ōku whatu, i aku taringa, i taku hinengaro ki te tāmitanga a university to pursue my Māori side, although I don’t like to say te Pākehā i a tātou. that, you should go to university to pursue your Māori side. However, my parents and my grandfather had passed on … there Yes, all of those things. It was when I began research into my was already a connection between Tīmoti and I. He was already Māori world, that I saw and recognised the oppressions of close with my family before I went to university. Therefore, when the European, French and American when they arrived here. I arrived at the university, he was the person that I knew. I went Although the Dutch arrived here, they merely arrived, looked straight to him and said that it was time for me to learn the around and then left. Abel Tasman did not really make contact language. Even though his question to me was, “What are you or oppress the people. But other people - the European, French NEXT PAGE and American, yes, they did. They came here and there are still Ahakoa kua huri me te kī, kāo, he hāhi Māori ngēnei hāhi, things here that they have left behind. So … yes. University and te katoa he Paipera, he kōrero Paipera kei roto. Te katoa. Nā the Māori Studies Department opened my eyes, ears and mind reira tē taea hoki e au te whakapono ki tētahi hāhi Māori. to the oppression of the Pākeha upon us. Ahakoa kei a au ngā karakia ka puta i taku waha, kua ako i a au te katoa, nā taku piri ki tērā tangata, ki tērā tangata, kua ako au ki ngā karakia a ō rātou hāhi engari a Te Rita ake nei, ERANA: | APPENDICES karekau aku hāhi. Ko tōku ao Māori taku hāhi. Kei te ako Ki ōu nei whakaaro, kei te ngau tonu aua pānga o te aku tamariki ki tērā momo. Kua roa te wā kua rongo, engari 194 tāmitanga ki a Ngāi Māori, i ēnei rā tonu? ko ētahi kua whaiwhai haere tonu i aua hāhi, kua piri ake, Do you think that Māori are still suffering from the effects kua piri tata ki aua hāhi, nā te mea i roto i te whakapapa. Ko of colonisation nowadays? tō rātou koroua he minita Mihingare. He uaua mō ētahi te wehe. Engari mō Te Rita, marama pai ngaku tamariki ko taku hāhi, ko tōku ao Māori. Mārama pai. Kei te ako haere aku TE RITA: mokopuna ki tērā. Oh āe, oh āe! Tino, tino … i rongo noa au i tētahi kōrero i te pouaka whakaata i te ata nei. Heoi anō, ahakoa he Oh yes … oh yes! Very much so. I just heard on the television this taupatupatu i waenganui i te iwi kotahi, tētahi taha e taki morning. There is a debate going one amongst a tribal grouping, whawhai ana i tētahi atu taha kei a wai te mana. Tohetohe one side is fighting the other side over who has the mandate. kia hoki mai te whenua. Kei reira tonu ērā āhuatanga e pēhi They are fighting over the land. There are still lasting effects that tonu ana i a tātou. Te rapu me pēwhea te whakahoki mai i continue to oppress us. Trying to seek the return of land that te whenua e toe tonu ana, e āhei tonu ana tātou. Nā reira, is left, that we are legally able to claim. Therefore, the claims ngā kerēme katoa a te Taraipiunara, kei reira taua nawe of the Tribunal, there are still grievances there. Some tribes are tonu. Kei te pēhia rawatia tonuhia ētahi iwi. Kāore anō kia still severely suffering from colonisation and its effects. They kitea te huarahi kia whakahokia mai he rawa ki a rātou kia have not yet sought a way to have assets returned to them to āhei rātou ki te whakapakari anō i a rātou i tēnei ao. Āe, e be able to strengthen themselves in this world. Yes … its effects kaha ana. Ā … he aha te kōrero … Ā-hāhi nei hoki kei reira are still overwhelming. And then … there are the religious groups engari kei te kitea atu he roa te wā kua rapu te hāhi i tētahi also where the effects can be seen, but religious groups have huarahi e taea ai ngā ao e rua te piri tahi. Tērā pea ko te long been searching for a way to unite both worlds. Perhaps hāhi te momo … ahakoa ko rātou hoki ngā waha mō ērā they will be the ones … although they were also the mouthpiece atu i hara mai ki te muru i te whenua, muru i ngā rawa. You for those who came to confiscate the land and its resources. know … ki reira mātou whakarongo, mātakitaki ai ki ngā mea You know, there we were listening and watching their religious o te hāhi e pahupahu mai ana ki a mātou, i te tangohia te sermons whilst the land was being taken from us at the same whenua i taua wā tonu. Kei te kitea kei te piri tonu e hia kē o time. It is evident that many Māori are joining different types te ao Māori ki ō rātou momo hāhi. Nā te Pākehā i kawe mai. of religious groups. They were brought here by the Pākehā. NEXT PAGE Although they have stated that no, these are Māori religions, they te pēhia rawatia tonuhia tātou e te ao Pākehā. E ngana ture all have scriptures from the bible. All of them. That is why I can not me pēhea te noho i tēnei whenua, ia rā, ia pō. Ka pēhiatia say that I have faith in any particular Māori religion. Although I mātou e aua ture, ki a au nei. Heoi anō, kua rapu huarahi know all the karakia and am able to say them. I have learned them a Te Rita e taea e au te noho pai ki tēnei ao, hāunga aua all through my friendships with different people, I have learned the pēhitanga, aua tāmitanga a te hāpori nei. E mārama pai ana various types of karakia of their religions. But for Te Rita, I don’t he kāwanatanga tā tātou e whakahaere ana i tēnei whenua,

| APPENDICES have a religion. My Māori world is my religion. My children are mā rātou anō e whakarite … learning about this too. They have experienced this for a long time, 195 Yes, yes, but I have been taught well how to find out who I am but there are others who continue to adhere to their religions, who and where I originate from. That’s me, my search is complete. are very close to their faiths, because it is in their genealogy. Their I absolutely know who I am. However, I also know, yes, we grandfather was an Anglican minister. It can be difficult for some to continue to be severely oppressed by the Pākeha world. By their leave the church. But for Te Rita, my children are fully aware that laws that tell us how we must reside in this land, every day. my religion is my Māori world. They understand this completely. My We are oppressed by those laws, that is what I think. However, grandchildren are learning this as well. Te Rita has found a way to be able to live well in this world, despite all the oppression and subjugation by those parts of our ERANA: communities. It is understood that we have a government and Nō reira he maha ngā mea rerekē i tēnei ao. Kua rerekē ētahi it is they who run things in this country, they put in order the tikanga, kua rerekē hoki te tirohanga o te Māori ki tōna ao. He governing laws of the land. aha ētahi pānga o te tirohanga Pākehā ki runga i a tātou kua kite nei koe? Nāu te kōrero ko tō ao Māori, ko te ao Māori tō oranga, tō hāhi, engari ka pēhia tonutia e te ao Pākehā?

There are lots of different things in this world. Many customs have changed, and the way Māori view the world has also changed. What are some effects of the Western viewpoint that has impacted us? You stated that your Māori world, the Māori world is your sustenance, your religion, but does that continue to be oppressed by the Pākehā world?

TE RITA: Āe, āe, engari kua pai te whakaako mai ki a au me pēwhea te rapu ko wai au, nō whea au. Ko au tēnā, kua mutu taku rapu. Mōhio pai ana au. Heoi anō, e mōhio tonu ana, āe, kei NEXT PAGE APPENDIX 7 TE RITA (CONTINUED FROM SOUND FILE II): [E mārama pai ana he kāwanatanga tā tātou e whakahaere Interview with Te Rita – Part 3 ana i tēnei whenua, mā rātou anō e whakarite] i ngā ture whakahaere i te whenua. I te Pāremata Matua, i ngā kaunihera ā-rohe rānei. E mārama pai ana ahau ki ngērā āhuatanga katoa, engari kua rapuhia e au he huarahi e | APPENDICES pai ana mōku, mō ngaku tamariki me ngaku mokopuna, 196 mokopuna tuarua, tekau mā aha rānei wāku mokopuna tuarua, e ora pai ai i tēnei ao. Anā, waimaria ahau whai haere rātou katoa i a au i runga i te māramatanga me te kitenga ā-kanohi, rongo ā-tinana, he hua tō te ao Māori. Nā reira, kei te pai mātou, me kī. Kua whai au i ngā moni ka homai e tēnā kamupene, e tēnā whare wānanga, aha rānei, kia piki ai ō mātou oranga. Kua whai whare au, ērā mea katoa. Kei te hiahia, kei te ngana kia pērā hoki aku tamariki, mokopuna. Me taku mōhio, nā tā mātou whai i te ao mātauranga, me te ao Māori i ora ai mātou. He tauira tino nui, tino pai taku whānau i tērā āhuatanga. E mōhio ana au ki tērā. Kāore au i te kite i te tokomaha o ngā whānau he rite ki tō mātou whānau. Nā reira, me whakahīhī ka tika nā te mea ehara mō mātou anahe, kāhore! Kei te tukuna kētia waku tamariki i ngō rātou mōhiotanga ki aua tāngata e hiahia ana. Nā reira kāore mātou i te matapiko kia pai ai ko mātou anahe. Karekau! Ehara tērā i te kaupapa matua.

It is understood that we have a government and it is they who run things in this country, they put in order the governing laws of the land. In Parliament or the District Councils. I am familiar with all those aspects, but I have found a pathway that is suitable for me, for my children and for my grandchildren, and great-grandchildren, however many I have (over ten), in order to survive in this world. I am fortunate that they have followed me on the understanding and seeing first-hand and experiencing themselves that there are benefits from the Māori NEXT PAGE world. Therefore, we are good. I have been able to attain money TE RITA: Ka pai. All good. from companies, universities, various things to help with our livelihood. I have a house, those kinds of things. I want, and ERANA: will persist in ensuring the same things for my children and Ki ōu nā whakaaro, he aha tēnei mea te wairua? I ōu nā grandchildren. And I know that it is all because of our pursuit of whakaaro, hāunga anō ērā atu whakaaro mō tēnei mea nui knowledge and the Māori world that we have our livelihood. My rawa atu, te wairua. He aha ōu nā whakaaro, āu nā kupu hei | APPENDICES family is a great example of this. I know that. I don’t see many whakamārama mai i tēnei mea te wairua? 197 families that are like our family. Therefore, I am proud and rightly In your perspective, what is this thing ‘wairua’? Apart from so because the benefits are not just for us, no! My children are others’ thoughts on wairua, in your own words could you explain always requested, because of their knowledge, to help anyone what wairua means to you. who wants it. Therefore, we are not greedy, in it for ourselves. No! That is not the main objective. TE RITA: He wairua tō ngā tāngata katoa. Ki te whakarongo rātou ki ERANA: tōna taha pai i ngā wā katoa, kāore au i te mōhio, whērā i tōna Tēnā koe, Whaea, i aua whakaaro rangatira taha kino. Nā reira ki a au, ko te wairua tētahi mea i roto tonu hei painga mō te katoa. i a au e tohu ana ki a au, “Āe, whāia tērā huarahi. He painga o roto. Oh ... Taihoa ake! Me āta rapu koe he aha ngā āhuatanga Thank you for those chiefly thoughts, Whaea, o tērā huarahi e pai ai ki a koe”. Nā reira he mea akiaki, he for the betterment of all. mea whakatūpato. Koirā taku wairua ki a au. Koirā hoki tāku whakaako ki aku tamariki. Ki te hiahia koe te mahi i tētahi mea TE RITA: engari kei te kī mai tō wairua ki a koa, “Oh, taihoa! Tērā pea kāore i te pai, kāore i te tika”, me whakarongo koe. Mēnā kāore Āe, āe. Yes, yes. koe i te rongo i aua āhuatanga, tēnā, whāia! Mahia te mahi! [ Erana and Maree discussing questions ...] Nā reira koirā pea te taputapu e ‘discipline’ ai te tangata. Nē? Koirā. Kāore au mō te kī, “Kaua e mahi whērā!” Kāore au mō te tohutohu ki ngaku mokopuna, ki ngaku tamariki kia kaua e ERANA: mahi i tētahi mahi. Ka waiho au mā rātou anō, mō ō rātou ake Ko te hiahia o Maree kia rongo ai i ō kōrero e pā ana ki ēnei wairua e rongo. Koirā te wairua ki a au. āhuatanga, te whakamārama mai i ōu ake whakaaro mō ēnei kupu ka hoatungia e au. All people have wairua. If they listen to their good side all the time, I don’t know .. perhaps they listen to their bad side. To Maree would like to hear your thoughts and explanations for me, the wairua is something within that guides and instructs some words that I will give to you. me to pursue certain things because they will be of benefit. Or NEXT PAGE to wait and decide if a decision will be beneficial. Therefore it is MAREE: something that encourages us but also cautions us. That is And what does the word ‘wai-rua’ mean? what wairua is to me. That is what I teach my children as well. If you want to do something but your wairua is telling you to wait, TE RITA: perhaps it is not the best choice or isn’t right, you should listen. Ok. If you wanna break it up ... and mōhio ana ahau he maha If you don’t feel any negative aspects then by all means, do it!

| APPENDICES ngā tāngata ka rawe ke i a rātou te whakawehewehe i ia pū Therefore perhaps it is like an instrument that disciplines a person. reta, ki te rapu māramatanga i roto i te reo. Nā reira, ko te 198 Isn’t it? That’s that. I’m not one to say, “Don’t do that!” I don’t wai, āe, he tangata, he mea e rere ana, he oranga kei roto, ka instruct my grandchildren or children to not do particular things. taea te inumia. Āe. I leave it up to them to decide, for their own wairua to sense what is right and what is wrong. That is what wairua is to me. Ko te rua, e mōhio ana tātou e kōrero ana mō e hia ngā mea. He tino kōpū rānei ka keria ki roto i te whenua. Koirā hoki he MAREE: rua. He maha ngā momo māramatanga mō ia wāhanga o te kupu. Ka taea hoki te whakawehe i ia pū. He kupu kei roto. What did you say, Whaea? Ok. I you wanna break it up ... and I know lots of people who TE RITA: like to separate each letter to look for a deeper understanding of the language. Therefore, wai, yes, refers to a person, a thing that It tells you when something’s right or when something’s flows, provides sustenance, and can be drunk. Yes. wrong. And you should blimmin well listen. And I tell my children. I don’t tell them what to do and what not to do. I tell Rua – we know that this can indicate how many things there are. them, “Figure it out for yourself. What is it telling you? And be Or it can refer to the bosom of the earth, a hole that has been honest”. If you put that voice that’s telling you don’t do it to dug. That’s also rua. There are many meanings for each part of sleep, ka hinga koe (you will be undone), you’ll get into trouble. the word. You can also separate each letter or syllable. There are lots of words contained therein.

MAREE: Ko te wā – i tēnei wā kei konei tātou. In Pākehā, what do you think wairua is? Kei whea? – I – i roto i tēnei rūma Rū – koinā te kupu poto mō Rūaumoko. Ka rū te whenua, ka TE RITA: rongo koe i te weriweri. Ko te ‘a’ – koinā hoki tētahi reta ka tohu atu ki tētahi mea, ki It’s just that. It’s the thing inside you that disciplines you, that tētahi tangata. tells you something is right, or something is wrong. And when your wairua is really in a good space, you can do incredible The time – at this time we are here. things. When it’s not, listen to it and sit down! Have a rest! Where? – located in – inside this room NEXT PAGE Rū – this is a shortened version of Rūaumoko, the god of one word to me. I look for its meaning in that way. Even though earthquakes. When the land shakes you feel scared. grammatically and with my knowledge of the language I am The letter ‘a’ – this is also a letter used to refer to a thing or a able to dissect each letter. I am not a person who does that. One particular person. year a great gathering was convened at Waikato. Hirini was Nā reira, he maha ngā māramatanga kei roto i te kupu our Dean at that time. And he had three words, waiata, I can’t kotahi. Ehara au i te tangata e whērā ana. Ko te wairua, nā blinken remember the second word. Waiata, wai something, | APPENDICES te mea kua hangaia hei kupu ‘wairua’, kaua ko te ‘wai’ me and wairua. This was the WAI conference. But the main focus of 199 te ‘rua’, ko te wairua hei kupu kotahi ki a au nei. Ka rapu the gathering was waiata. Hirini had requested several elders to au i tōna māramatanga ki reira. Ahakoa, ā-reo nei me te come and discuss the connections between those three words. mārama ki tōku reo, ka taea te whakawehe i ia reta. Ehara It was for research purposes, to stimulate the mind. But to me, I au i te tangata e whērā ana. Yeah, nā te mea i tētahi tau i didn’t pursue those other explanations. What is wairua? When whakaritea he hui nui ki Waikato. Anā, ko Hirini tō mātou the male essence mingles with the female essence, the wairua Dean i taua wā. Anā, e toru wana kupu – ko te waiata ... is instilled as the result of that joining, in that instant. And it is kei te purari wareware ahau i te mea tuarua. Waiata, wai with a person until they perish. And I believe that even though something else, wairua. Anā, ko te WAI conference tērā. a person may have passed on, their mauri is extinguished at Engari ko te waiata te tino ia, te tino kaupapa matua o te that time, I firmly believe that. But the wairua does not travel to hui nui. Engari i tono ia ki ngētehi kaumatua ki te hara another world or astral plane. No! It stays with the living, in their mai ki te whakamārama he aha ngā piringa o aua kupu memories of the wairua of the person who has passed. To me, wai e toru. He mea rangahau noa iho, whakakorikori i te that is the the ending of wairua as such, here in this world, not in hinengaro noa iho. Engari ki a au nei, kāore au i rapu i ērā another world or astral plane. That’s what I believe. atu māramatanga. He aha tēnei mea te wairua? I te wā i tūhono te ira tāne ki te ira wahine i tōngia te wairua o te MAREE: hua o taua hononga i taua wā tonu. Ā, haere tonu ake Did you just say that you believe that the wairua resides in us? kia mate rā āno te tangata. Me taku whakapono, ahakoa mate atu te tangata, ka ngaro tana mauri i taua wā – e TE RITA: whakapono ana au ki tērā. Engari tōna wairua kāore i Yeah. noho rērere haere ki tētahi atu momo ao. Kāo! Ka noho tonu i ngā tāngata kei te ora, i ō rātou maumaharatanga ki MAREE: te wairua o taua tangata. Ki a au nei, koirā tana otinga ki Not floating around? konei tonu, kaua ki tētahi atu ao kē. Ahau tēnei.

Therefore, there are many explanations within the one word. I TE RITA: No. am not a person who likes to dissect words. Wairua, because the word was created as ‘wairua’, not as ‘wai’ and ‘rua’, wairua is MAREE: Pai. NEXT PAGE