Creating a Modern Māori Identity Through Kapa Haka Te Rita Bernadette Papesch Doctor of Philosophy Department of Theatre and Film Studies University of Canterbury 2015 ii He Rārangi Tuhinga - Table of Contents Nama Whārangi Momo Tuhinga Explanation (Page Number) i Whārangi Ingoa Tuhinga Title Page ii Rārangi Tuhinga Table of Contents 1 He Mihi Acknowledgements 4 Ariā Abstract 5 Kupu Whakamārama By way of explanation 8 Rārangi Kupu Glossary 21 Whakaeke Introduction 55 Waiata Koroua Chapter 1 96 Poi Chapter 2 127 Haka Chapter 3 154 Waiata-ā-ringa Chapter 4 185 Whakawātea Conclusion 198 Āpitihanga 1 Appendix 1 199 Āpitihanga 2 Appendix 2 205 Āpitihanga 3 Appendix 3 210 Pukapuka Tautoko Works Cited 218 Ā Te Ipurangi Web Sources 1 He Mihi: Acknowledgements I te tuatahi e tuku whakaaro ana ki a rātou i whomai te Kapa Haka ki a tātou. Rātou ko ngō tātou tūpuna, mātua, ko Tā Apirana Ngata, ko Paraire Tomoana, ko Te Puea Herangi, ko Tuini Ngawai. Heke iho ki tana irāmutu, ki a Ngoi Pewhairangi, ki a Wiremu Kerekere, ki a Tā Kīngi Ihaka, ki Te Kēnana Wi Te Tau Huata. Moe mai rā koutou ki roto i te tauawhi a te wāhi ngaro. Kei te waiatatia tonutia ngā koutou waiata hei kōrero ki te iwi, hei whakangahau i te iwi. Ka tuku whakaaro hoki ki a Te Rangihau. Nōku te waimarie i whakaako ia i ahau ki ngā tātou tikanga a te karanga me te mau patu. Moe mai rā i tō moengaroa. E kore rawa koe e wareware i ahau. Ki a koe hoki Tīmoti, taku whakaruruhau, taku kaipoipoi, taku kaiarahi i roto i ngā tau, ngāku mihi nui. Ki te kore ko kōrua ko te Koroua, e kore a Te Rita e tū ki te atamira a te motu i tāna momo nei tū, e kore rānei e huri ki te tuhi i ngēnei kōrero. He aroha mutunga kore ki a kōrua. Koutou katoa i tohatoha i ngō koutou whakaaro mō tēneki mea, mō te Kapa Haka, hei āwhina i ahau ki te tuhi, anō ki a Tākuta Tīmoti Kāretu, ki a Poua Pura Parata, ki a Tamatea Pahi, ki a Geno Wharekawa, ki a Kahu Pou, ki a Paraire Huata, ki a Chris Winitana, ki a Paora Sharples, ki taku tino hoa, ki a Raana Kerekere-Tangira, ngāku mihi nui rawa atu mō ake tonu atu. Ahakoa kua huri a Pararire ki tua i te arai kua waiho mai ngā māua tamariki, mokopuna hei kawe tonu i ngā māua mahi. Moe mai rā, e te hoa. I konei ka huri au ki te reo Pākehā kia mārama pai ai ngāku kōrero. Where would I be and what would I have done without the continuing encouragement, support, frequent visits with cake in hand and to sleep on my couch; to whip me into shape and conviction that this unwilling student of hers could complete this thesis, of my chief supervisor and forever friend, Dr. Sharon Mazer. I have dragged her to many a Kapa Haka practice and Te Matatini performance so she could view first-hand what I was talking about. Never such a staunch 2 supporter was ever had by anyone, not only of me but my wider whānau as well. Many thanks too to my fellow students who gave encouragement along the way. Kia haka! I ngāku haeranga katoa ki Te Waipounamu i kaha manaakitia ahau e ngōku hoa pūmau, e Jeanette King rāua ko Jeffrey Paparoa Hollman. Ki te kore ko kōrua kua raru a Te Rita nā reira ngāku mihi nui mō ake tonu atu. Ka mihi hoki au ki taku tuakana, ki a Haupai. Nāna ngāku kōrero i pānui me te whakatika, ahakoa he mahi anō tāna, i māuiui rānei ia. Ki taku teina, ki a Te Rehia, ngā mihi hoki mō tāu tautoko i ahau, i te ao, i te pō, ahakoa te aha. Ka kore a Māmā e ora ki te kore e ora pai nei ngāna tamariki, mokopuna, nā reira he aroha nui rawa atu ki a koutou katoa ngāku tamariki pūkenga nui, mōhiohio ki te ao Kapa Haka. Ka rere hoki ngēnei mihi ki ngāku irāmutu e whakatinana hoki ana i ngōku whakaaro mō te mahi haka nei. Ko te tūmanako ka noho ngēnei tuhinga hei āwhina i a koutou katoa i tā koutou whīkoi i te ao Kapa Haka, hei tauira hoki ki a koutou katoa kia whai i te mātauranga, ahakoa nō whea, ahakoa nō wai. E pupū ake ana te aroha mutunga kore. E mihi hoki ana au ki ngāku mokopuna nā te mea kua uru kē ngētehi o rātou ki roto i te ao Kapa Haka me ngō rātou whakaaro, mōhio hoki ki tēneki mahi ātaahua. Ko te tūmanako he tauira pai rātou ki ngā mokopuna kei te tū mai. Ki te haka koutou, ko Nana Rita tēnā kei ngō koutou taha. Arohatinonui. Me mihi hoki au ki taku kapa, ki Te Whare Wānanga o Waikato. Ki te kore koutou kāore a Te Rita e tū ki te atamira o te motu ki te whakatinana i ngōna wawata mō tēneki mea, mō te Kapa Haka. I reira koutou hei tauawhi i ahau, hei whakangahau i a mātou ko ngāku tamariki i ngā wā o ngā parakitihi. Ngāku mihi nui rawa atu. Ki ngōku hoa pūmau, ki a Tio kōrua ko Tāwhiro. E Tio, ahakoa tō tāua hoa a Tāwhiro, kua ngaro ki te pō, ka maumahara tonu ki ngā wā i reira kōrua hei taituarā mōku ki te tiaki tamariki kia wātea ai au ki te whakatā i te mahi ako. He aroha nui tēneki o te tuahine ki te tūngāne. 3 Hei kōrero whakakapi me mihi hoki au ki Te Whare Wānanga o Waitahā i te tākoha mai o te Ngata Centennial Karahipi, ki te Pae o te Māramatanga mō te pūtea āwhina; ki ngā Poari o Maniapoto me Waikato-Tainui, ngā rōpū ā iwi i tautoko i ahau ki te moni kia oti pai i ahau tēneki tuhingaroa nei. Kāti rā! Tukuna te reo o tēneki pukapuka kia rere! Pai mārire, hau! Nāku iti noa nei, nā Te Rita. 4 Ariā – Abstract This thesis is concerned with discovering if and how Māori cultural performance, which we now know as Kapa Haka, has contributed to the creation and development of a modern Māori identity. Māori cultural identity is traditionally traced through whakapapa and is confirmed by a practising knowledge of te reo Māori, kawa and tikanga. Whakapapa links a person to his or her atua, tangata, whenua, tūrangawaewae, marae, whānau, hapū, iwi and waka. The question arises as to whether these are still essential elements in defining a modern Māori (cultural) identity. I want to find out what that modern Māori identity looks like and how it is described. I say it is described in and by Kapa Haka. The framework used for this thesis is that of a Kapa Haka performance, starting with the whakaeke – introduction, and ending with the whakawātea - exit. It weaves together personal histories - my own and those who have memory of the first Festival in 1972 and other developments. It also incorporates social history as it has affected Māori. It looks at the impact this has had on Kapa Haka from the early concert parties set up for tourist consumption, to iwi and Hāhi hui, to Te Matatini in the present, all the while developing an argument for a modern Māori identity. In undertaking to write this doctoral thesis in Theatre and Film Studies, I have placed myself in a position where I have to step outside of my assumptions of what I think I know about who I am and what I am. This is in order to attempt to explain what I mean by not only a cultural identity, but also a modern Māori identity, as identified in Kapa Haka, so that others will understand. I need to be able to sing the song when I need to, remembering that it is what I do best. 5 Kupu Whakamārama – By way of explanation. Methodology: Performance Studies This is a Performance Studies thesis. Performance Studies is an interdisciplinary discipline that emerged in the late 1970s, in the first instance, at New York University, as an outgrowth of conversations between theatre professor and director Richard Schechner and anthropologist Victor Turner.1 Performance Studies as a methodology works at the interstices between theory and practice. Its theoretical reach ranges from anthropology and sociology to psychoanalysis and phenomenology, often intersecting with other ‘studies’ including indigenous, cultural, feminist, and so on. Performance scholars witness, create and participate in theatre and performance in a wide range of contexts, generally valuing the local with an eye to the global academic and artistic conversation as enabled and essential in the 21st century. At the centre of Performance Studies is an understanding that almost any activity from theatre to ritual, sport and everyday interactions can be described and analysed as performance using diverse social frames and disciplinary perspectives. My decision to write this thesis using a Performance Studies methodology was based on its direct relationship to the act of performance and its socio-cultural theories. While my deep knowledge of te reo and tikanga Māori has been essential to my research, I have chosen to write in English, because I believe it is important for this knowledge to reach a wide readership, and because I can continue to develop this work in both languages and cultural frames. My key theoretical touchstones, as presented in the Introduction and thereafter, are Richard Schechner, Victor Turner, Rustom Bharucha and Diana Taylor. Taken together they allow me to consider Kapa Haka as a performance and cultural practice, based in ritual and as such an ‘invented tradition’ (following Bharucha), and in action as a form of ‘repertoire’ (in Taylor’s configuration).