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Encountering Tūrangawaewae and Whanaungatanga: Māori, Interconnection and a Place to Stand in Kairākau and Aroha Bridge

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Encountering Tūrangawaewae and Whanaungatanga: Māori, Interconnection and a Place to Stand in Kairākau and Aroha Bridge Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. Encountering Tūrangawaewae and Whanaungatanga: Māori, Interconnection and a Place to Stand in Kairākau and Aroha Bridge A thesis presented in partial fulfilment of the requirements for the degree of Master of Arts In Media Studies at Massey University, Manawatū, New Zealand. Kristian Williams 2018 Abstract The establishment of Māori Television, alongside the development of public funding agencies like NZ on Air, and the expansion of media consumption to include online spaces has meant that Māori media has become an increasingly significant presence in the lives of both Māori and non-Māori viewers. However, there remains relatively little research into the ways in which this media can facilitate understanding of te ao Māori. Combining elements of postcolonial theory and kaupapa Māori criticism, this thesis examines the ways in which the textual representations, production practices, and distribution methods of the webseries Aroha Bridge and the television series Kairākau shape an understanding of tūrangawaewae and whanaungatanga. The thesis shows how the textual representations within the two series construct tūrangawaewae and whanaungatanga in complementary but also contrasting ways, providing a place to stand and fostering connections that are, for example, dynamic and informed by tradition, and that value cultural hybridity and autonomy. Through analysis of the production and distribution contexts in which the series are situated, the thesis also highlights the economic, cultural, and technological factors that present opportunities or obstacles for the realisation of tūrangawaewae and whanaungatanga on and off screen. The thesis thus reveals the value of Māori media as a resource for learning about te ao Māori, the ways in which te ao Māori is evolving in the contemporary mediascape, and the structural factors upon which these developments are contingent. ii Acknowledgements Firstly, I would like to thank my supervisor, Dr. Ian Huffer, for helping to shape this thesis into what it is today. Your guidance has been invaluable from the outset and I have appreciated all the time and energy you have invested into making sure this is a work I can be proud of. This thesis has benefitted immensely from your many contributions, and I have enjoyed working alongside you in this endeavour. I would also like to thank Dr. Tina Makereti for helping me to navigate some of the cultural complexities of encountering te ao Māori. Your perspectives on my introduction and literature review shone new light on my thesis as a whole, and encouraged me to approach my research in new ways. I have no doubt that without your insight, my thesis would not be the same. Finally, I would like to thank Miranda. Without you, this MA would have been vastly more difficult. Thank you for keeping me on track and always encouraging me to persevere. You have made this experience incredible, and I would not have been able to do it without you by my side. iii Table of Contents Introduction .......................................................................................................................................... vi Selection of primary texts .................................................................................................................... xiv Locating myself ................................................................................................................................... xiv Methodology ........................................................................................................................................ xvi Chapter One: Literature Review ......................................................................................................... 1 Chapter Two: Aroha Bridge ............................................................................................................... 13 Aroha Bridge as a televisual foothold ................................................................................................... 14 Hybridising and enriching tūrangawaewae ........................................................................................... 18 Issues of biculturalism .......................................................................................................................... 23 Māori as one .......................................................................................................................................... 25 Whanaungatanga and the racialisation of family tensions .................................................................... 29 Stereotypes ............................................................................................................................................ 34 Capitalism and celebrity culture ........................................................................................................... 35 Conclusion ............................................................................................................................................ 37 Chapter Three: Kairākau .................................................................................................................. 40 Fighting the loss of language: te reo and cultural autonomy ................................................................ 41 Narratives of the past, empowering to the future? ................................................................................ 42 Connection to the past: Tupoūtahi Winitana and koru time ................................................................. 47 A return to the land: physical tūrangawaewae, natural beings and unrecognisable landscapes ........... 49 Masculinity and Femininity .................................................................................................................. 53 The living histories of cultural artefacts: whanaungatanga across space and time ............................... 59 Conclusion ............................................................................................................................................ 61 Chapter Four: Production and Distribution .................................................................................... 63 The Political Economy of the media in Aotearoa New Zealand ........................................................... 65 A brief history of Aroha Bridge and Kairākau ..................................................................................... 71 Authorship ............................................................................................................................................ 74 iv The politics of animation ...................................................................................................................... 78 Martial arts and Māori .......................................................................................................................... 81 A product of the age: Aroha Bridge in mobile spaces .......................................................................... 84 The reformation of production practices in Māori Television .............................................................. 85 Māori media online: a Place to Stand and interconnection in virtual spaces ........................................ 87 The constant cycle of content: Māori voices lost in the noise? ............................................................. 92 Conclusion ........................................................................................................................................... 98 Bibliography ...................................................................................................................................... 105 v Introduction The contemporary televisual terrain of Aotearoa New Zealand has become an increasingly inclusive territory for Māori, as evidenced by a rising number of on and off screen industry professionals. Despite this growth in presence and representation, there remains relatively little research into the ways in which this media can facilitate understanding of te ao Māori. Relevant existing research, particularly Jo Smith’s canon of works including Māori Television: The First Ten Years, “Māori Television's Indigenous Insistence”, “Postcolonial Māori Television?”, and “Ka Whawhai Tonu Mātou”, written in collaboration with Sue Abel, suggest that in the revolutionary organisational structures and ideological objectives framing the production of Māori media lies the potential for Māori viewers to engage in processes of cultural renewal and language revitalisation. In “Kanohi ti ke Kanohi”, Acushla Deanne O’Carroll asserts that the innovative modes of connection and communication promoted in online distribution platforms has created virtual arenas for engagement with Māori tikanga, which when read alongside Smith and Abel, reveals that interacting with Māori media in online spaces can facilitate new understanding of te ao Māori. However, Melanie Wall’s “Stereotypical Constructions” and Awanui Te Huia’s “Pākehā Learners” highlight that significant concerns remain regarding the perpetuation of reductive representations of Māori in the media of Aotearoa New Zealand and the role such representations may play in shaping perceptions of Māori in wider society – a legacy of colonial discourse
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