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Trick Or Treat Indigenous Voices from Aotearoa Edited by Sally

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Trick Or Treat Indigenous Voices from Aotearoa Edited by Sally The Open Page T. I. Nepia - P. Moore - B. Grace-Smith – K. Kawana Trick or Treat Indigenous voices from Aotearoa edited by Sally Tiriti o Waitangi / Treaty of Waitangi was signed in 1840 by Te Itirawa Nepia some Maori Chiefs of Aotearoa UNDERSTANDING IS THE KEY (New Zealand) and representatives Ko Horouta raua ko Nukutere oku nei waka of Queen Victoria, who offered (Horouta and Nukutere are my canoes) protection in return for peaceful Ko Hikurangi toku nei maunga settlement of British immigrants. (Hikurangi my mountain) The First Article is in English, the Ko Uepohatu toku nei hapu Second Article in Maori, and they (Uepohatu my collective families) do not exactly correlate. Maori Ko Ngati Porou toku nei iwi signed in the belief that they would (Ngati Porou my tribe) retain sovereignty, land Tihei Mauri Ora ownership and control of their forests, fisheries and taonga (sacred I have always been attracted to the creative energy of treasures). For 150 years the performance. I was on the dole for many years after being Crown ignored the Treaty, but expelled from school at fifteen. From then on I had to take today it is the legal basis for settling paths on which I knew I would be okay. I could not do the disputes between Maori and materialistic thing: work for money or at things I did not Government. believe in. Lots of what I did for ten years was in the arts; visual arts, healing arts, massage, reiki. I have a diploma in massage. Instinctively I feel safe and competent with creative energy. I feel I can understand. Three years ago I was asked to be stage manager at the Performance Cafe. Then I was production assistant at Taki Rua Theatre’s last Te Reo Season. They presented full- length shows all in Maori. The aim was to support the learning and speaking of the Maori language. There is a great need for this kind of work. It was amazing to see big groups of Maori people coming to the theatre. Maori performance needs to be presented differently to 39 European theatre. It does not work in an urban black box theatre. Maori theatre needs to travel around, or be residen- tial. We must play on marae (traditional meeting places). We must take performances to where the people are, to the land, to the marae, to the community. They should reach Theatre Women Trespass - Voices from Aotearoa everybody, not just an urban élite. They Wave Festival. I want to go to New York, should not be about starting times, tickets and take a perfor mance group like them - a and going in and out of a theatre building. A group of Maori and Pacific Island women. performance must say something, send out a After that, I will move back to the East message. It creates a ripple effect, a vibra- Coast, to Gisborne, where my people are tion, it spreads out. Before the Community from, to develop a cultural policy within the comes the Self, then the Whanau (family), runanga (tribal committee). Gisborne is the then the Hapu (group of families), then the most isolated regional centre in Aotearoa. I Iwi (tribe). Starting from the Self, the ripple want to tour works in te reo Maori for begins. kohanga reo and kura kaupapa (nursery and Maori women must be acknowledged for primary schools teaching in te reo), and what they do - their contribution to family productions for adults too. and community. They are strong, Wahine toa. Men need to know women At the moment I am preparing the Festival have a place. Carving is mostly done by men, at Paekakariki which I see as an exchange yet we have invited women carvers to the between indigenous women, hosted by Maori Paekakariki Festival. I believe women were women. I know instinctively that the Festival equal in former times. Traditionally should be residential, because it is tradition- a god always had a woman twin by his ally based. All creative energy - including side; for example, Tangaroa always had the performances - should be kept in the Hinemoana. same area where people eat, sleep and live A theory of Maori women’s performance together. The European women will find needs to be developed. It must be docu- their place if they have a strong connection mented and discussed. From the exploration to their own culture. of the personal and emotional, real discov- Traditional skills will be taught in the eries will come, firstly in relation to the workshops at Paekakariki - mau rakau things around us - families, partners, chil- (moving stick), taiaha, patu (Maori martial dren. Political issues will come later when arts), raranga (weaving), karanga (calling), the form is stronger. Strong state ments are composing waiata (song). All Maori perfor- being made in music, it is the first art form to mance groups contain aspects of traditional find its political voice - waiata, soul, funk, culture, as well as contemporary costume hiphop, rap - by artists like Mahinarangi and dance, rap, hiphop and story-telling. A Tocker, Maree Sheehan, Emma Paki, Moana decision is made by Maori culture to offer Jackson, Katarina Kawana, and others. the teaching, and a decision is made by other cultures, for example the European, to The Pacific Sisters are a performing group of participate in the workshops. Maori/Samoan/Cook Islands women working collectively with a common interest. They The healing of Maori is something I am happen to come from different Pacific always working towards, for now in the cultures, but they share stories and mytholo- performing arts. I am most worried about gies. They are constantly working to get a women. They are not necessarily in a threat- balance in the group, so one culture does ened position, but they need to be strength- not overshadow the others. I am very excited ened. They will be the ones who make the by the Pacific Sisters, who are currently changes. Women do so much unacknowl- creating a storm in Sydney at the Pacific edged work. A healthy Maori society is one 40 The Open Page where everyone participates and engages in in Porirua, affectionately known as what is going on. A perfor mance can change “Bongaroa” (so named by racist Europeans), perceptions. Most people in society today and nowadays famous as the New Zealand are just trying to survive, they are not government’s playground for pilot engaged, they have covered up their programmes on health, welfare and educa- passions. Performance is a way of disrupting tion. It is a Maori/Polynesian slum vibrant this blankness, this not feeling, not seeing, with character and strength - home to me. this lack of engagement. A karanga is These past three years, among many other powerful, emotional and it can be confronta- things, I have been writing, not necessarily tional to someone who doesn’t understand; for publication, but for the pressing need to throwing a stick around could be misinter- put pen to paper. Before this I had been preted. Understanding is the writing in my head, phrasing words, stringing key. One culture must understand the sentences, creating poems and collecting the other. This is why we are working together deepest of thoughts. I have loads of note- on this project. We need jolts like the books and journals where pages spill over Festival. But it’s hard. We need faith. I with words, doodles, drawings - all captured believe bi-culturally, Magdalena Aotearoa and permanent on paper. will work, because of our commitment to the Every so often I become braver and step project. out with my writing. This is one of those occasions, with much more to come yet. I write about being Maori, a woman, an urban Parekotuku Moore Maori. I write about being indigenous to this A HEAD FULL OF WORDS land, Aotearoa - the land of the long white cloud; about my conscious and unconscious Ko Taupiri te maunga connections to the land, to mother earth - (Taupiri is my mountain) Papatuanuku; about self-identity and all the Ko Waikato te awa confusion or growth around identity. I also (Waikato is my river) write for and about my mother, who left this Ko Tainui te waka life in 1992. (Tainui is my canoe) Ko Ngati Raukawa, Ngati Koroki I would like to share a poem I wrote while Ngati Ahuru, Ngaiterangi travelling abroad. It has its roots in an earlier Oku iwi time in my life when I was questioned by my (Are my tribes, my people) Maori sisters in the political movement. I Ko Mangakaretu te marae endured three days of many challenges and (Mangakaretu is my ancestral home, my meeting accusations that left me stripped of words, place) emotionally scattered to the four winds, yet Ko Parekotuku Moore ahau spiritually pulsating like a stubborn flame (Parekotuku Moore is my name) that wouldn’t go out. I left the battleground proud in my walk, but humbled, and with a I am the daughter of Margaret Te Atuakawa head full of words, words and more words. Haumaha and David Davenport Moore, The poem is called Questions. born in 1964, half-caste Maori. “A girl with Questions the best of both worlds”, was what my Who are you? adoring white grandmother told me. Raised Where do you come from? 41 Theatre Women Trespass - Voices from Aotearoa You say you’re Maori! Who are you? Where do you come from? You say you’re Maori! (Huh! We wonder.) Sitting smug in that urban chair Cast judgement, point finger Make a decision for us Us, here! (Huh! We see you.) What are you? A corporate suit yuppy-muppy Born again Potato Try-hard Walking Text Book Maori Just found yourself? Or are you … … still lost? (Huh! We think so.) Accountable to who are you? Family, community, lover, land? Politically correct are you? (Huh! We think not.) More like the bald-head’s Money and philosophy Is your accountability.
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