IT’S ABOUT THE LAND! KA MĀORI & INDIGENOUS PERFORMANCE STUDIES SYMPOSIUM

14-16 November 2019 The Presidio, San Francisco

1 2 1 2 CONTENTS

Welcome! 4

Greetings 5

Hosts 6

Ka Haka 8

It's about the land! 9

Schedule 10

Abstracts 13

3 WELCOME!

We are coming together these handful of first time for Turtle Island (North days in the Presidio National Park of San America), it is an honor to support these Francisco, located on the unceded and good circles of voice, knowledge and occupied territories of the Ramaytush exchange. We are excited to collectively Ohlone. We recognize and acknowledge expand and deepen the conversation the heritage and sovereignty of the on the relationship between Indigenous Ohlone peoples – past, present, and cultures, lands, and performance. We future. We honor these first sacred are grateful to the American Indian relationships of land and people and Studies Department at San Francisco their continued connections. State University for their support and contributions to our time here. We very We give thanks for the gift of this day much look forward to our time together. and ask in a good way to be here on this land, the land that has been nurtured Kia ora! Welcome! since time immemorial by the Indigenous peoples, the native landscape, and all original beings. Melissa K. Nelson Boozhoo, Lios em chaniavu, PhD (Anishinaabe/Cree/Métis) President & CEO, The Cultural The Cultural Conservancy is deeply Conservancy honored to co-host the third Ka Haka Professor, American Indian Studies, Māori and Indigenous Performance College of Ethnic Studies, San Francisco Studies Symposium with our Te Ara State University Poutama colleagues and whanau at Sara Moncada Auckland University of Technology. As MA (Yaqui) the symposium leaves for the Vice President of Programs, The Cultural Conservancy

4 GREETINGS

Takahia te ara Poutama ki ngā pae tāwhitiwhiti, tēnā koutou, tēnā koutou, tēnā koutou katoa.

It is a special pleasure for me to welcome you to Ka Haka 2019. The power of performance to remind us of our attachment to the land, to reflect ideas of belonging, to build identities, create communities and empower peoples is strongly felt in Te Ara Poutama. The presentations you make and the performances you share here will, I’m sure, create important conversations now and in the future.

Professor Pare Keiha (Te Whānau-a-Taupara o T’Aitanga-a- Māhaki, and Rongowhakaata) QSO, MSc, PhD, MBA, MComLaw, FRSA MinstD Pro Vice-Chancellor for Māori Advancement Tumuaki/Dean of Te Ara Poutama and the Faculty of Culture and Society Auckland University of Technology

5 HOSTS

The Cultural Conservancy Auckland University of Technology

The Cultural Conservancy (TCC) is a Te Ara Poutama, the Faculty of Māori Native-led, San Francisco based non- and Indigenous Development, aspires to profit organisation whose mission lead AUT as a faculty of excellence and is to protect and restore Indigenous innovation in teaching, research and cultures, empowering them in the scholarship relevant to the communities direct application of traditional we serve. Our qualifications are at the knowledge and practices on their cutting edge and have been developed ancestral lands. Founded in 1985, we in response to the need for skilled Māori work with Indigenous peoples both professionals in the fast-growing Māori locally and globally on a wide variety of community-based projects, from sacred sectors of business and media. Our range site protection to the conservation of of courses give students the tools not endangered languages, the preservation only to succeed in Māori development, of song and arts traditions and the language revitalisation, Māori media revitalisation of Native Foodways. Critical and te reo Māori (the Māori language), to our work is the acknowledgement but also in leadership, innovation of the sacred relationship that Native and technology. Most importantly, we peoples have to their lands and waters, celebrate the values and contributions of and the importance of this relationship all peoples to the future advancement of to their physical, mental and spiritual Aotearoa. health. Takakawehia te ara poutama, kia whakareia koe ki ngā tohu o te mātauranga. Traverse pathways of learning to acquire knowledge and wisdom.

6 American Indian Studies at San Francisco State University

American Indian Studies offers an interdisciplinary and comparative curriculum committed to providing educational programs and services grounded in Native values and cultural practices. It is distinguished in its continuing work with community organizations, tribes, and other academic disciplines to foster understanding about the political and social importance of Native sovereignty and self determination inclusive of the Native peoples of the Americas and the Pacific. Its mission is to educate, inspire, and prepare undergraduate students for engaged careers and/or graduate school and to be an educational hub and site for community participation and learning focused on the Native Peoples of California and the United States.

7 KA HAKA

The Ka Haka Māori and Indigenous Now, for the first time, Ka Haka leaves Performance Studies Symposium was Aotearoa for Turtle Island. Co-hosted created by Te Ara Poutama, the Faculty of by The Cultural Conservancy in San Māori and Indigenous Development, at Francisco, in collaboration also with San Auckland University of Technology as a Francisco State University, we are looking way of providing a platform for exploring forward to expanding and deepening the enormous, as-yet largely untapped, our conversation on the relationship body of knowledge stored within Māori between Indigenous performance and and Indigenous performance, from the culture. traditional to the contemporary, and from the popular to the avant-garde.

The first Ka Haka Symposium – ‘Empowering Performance’ – brought together academics and artists at AUT in 2016. Ka Haka 2018 – ‘Old Ways of Knowing, New Ways of Doing’ – followed as part of the International Indigenous Research Conference (IIRC), hosted by Ngā Pae o te Māramatanga (University of Auckland). Proceedings from both Ka Haka 2016 and Ka Haka 2018 were published in Te Kaharoa – the e-Journal on Pacific Issues (tekaharoa.com).

8 IT’S ABOUT THE LAND!

For Ka Haka 2019, participants will stake As the climate shifts and with it the earth a position in a conversation about the on which we stand, how can Indigenous relationship between performance, performance in the 21st century be power and land in the development of seen to touch on commonalities across Māori and Indigenous identities and the differences and particularities of communities. What might it mean to cultures, peoples and places worldwide? perform the act of taking a stand on As we gather our acts of performance, the land? What can contemporary bringing our words and dances into Indigenous performance make present the Ka Haka meeting space, how can for us: socially, culturally, politically, we come together in celebration, rising personally, ecologically? How, that is, is from our own places into a space of performance performative – constructive unification? of memory and identity, of time and place? How does performance re- connect Indigenous peoples to the land? Conversely, how might performance serve to un-settle the colonial identification with and attachment to land?

9 SCHEDULE

Thursday 14th November

9.00am Registration 10.00am Formal welcome 12.30pm Lunch 1.30pm Symposium kick-off 2.00pm First panel session 4.00pm End of first day

Friday 15th November

9.00am Coffee and conversation 10.00am Second panel session 12.00pm Lunch 1.30pm Third panel session 3.30pm Tea break 4.00pm Fourth panel session 6.00pm Break 6.30pm Dinner 8.00pm Performances 9.30pm End of second day

10 Saturday 16th November

9.00am Coffee and conversation 10.00am Fifth panel session 12.00pm Closing reflections 1.00pm Lunch and farewell 2.30pm End of event

11 12 ABSTRACTS

Amelia Jones with headphone-piped music; softly University of Southern California singing to themselves, Nopera then painstakingly retrieves the shards of Tāwhanga Nopera’s Māori (Queer) broken objects. The artist notes that in Performance as Space and such performances they activate public Time-making space as vā as well as tā: taking over the space in a minor, yet trajectory shifting This paper pivots around the way, they slow people down, encouraging performance works of Tāwhanga them towards greater awareness of Mary-Legs Nopera, a self-identified the indigenous occupation of time queer Māori performance artist (and and space in colonized lands such as PhD) who lives in , Aotearoa Aotearoa . In such works, New Zealand. Their performances such Nopera offers a new way of thinking as Wrapping Up (2018) explore place- about gender liminal bodies against the making and place-claiming through grain not only of the literal European enacting their body in public space (in colonization of indigenous lands, but this case, a plaza at Waikato University, also of normative North American queer where they obtained their PhD). They and performance theory—gently, quietly, operate through the temporality of relationally reconfiguring public space performance as an overtly gender liminal and time through their positioning of body signaling a range of masculine private objects and gestures enacted via and feminine attributes. In Wrapping a complexly identified Māori body. Up Nopera places small objects from their personal collection (stones, shells, trinkets, jewelry) to mark the space, masking the painful sounds of passersby stepping on and crushing the objects

13 Edwardo F. Madril and amplify the voices and visions of (Pascua Yaqui) traditional knowledge, Native sciences San Francisco State University and worldviews. As such, the power of the pahko’ola performance offers a path Sara Moncada towards bringing traditional knowledge (Yaqui) systems into understanding with a The Cultural Conservancy current worldview. It is in this time of critical need of alternative systems of Exploring Hiakim: The Movement of living in the world that we explore the Land and People possibilities of strengthening our human, social and ecological relationships In the Yoeme language, the traditional through ourselves as hiakim. language of the Yaqui or Yoemem people, there is a word that is used to describe both the people and the land – the place where the two energies come together and engage. It is hiakim. Hiakim is used to describe the people in direct relationship to the land; in other words, understanding people through hiakim makes it impossible to separate us from the land from which we come. Yaqui pahko’ola (pascola) dancers are in part an embodiment of hiakim, bringing into space and time in direct relationship to the land, the powerful knowledge systems of the people that synthesize

14 Ella Henry and highlighted the divide between (Ngātikahu ki Whangaroa, Te Rarawa, rural and urban tribespeople, those with Ngāti Kurī) access to the privileges of middle-class Auckland University of Technology life, and those eking out an existence in rural isolation and poverty. This Hohepa Spooner presentation will combine a photo- (Ngāti Kahungunu, Ngāti Hineuru) video montage, a documentary about Auckland University of Technology the Ngātikahu ki Whangaroa Treaty Claim (from the perspective of the tribal When giving back the land is not negotiator), and a poster to articulate enough! the key issues for the tribe. These will be complemented by dialogue with the This presentation will explore the authors, in a process Māori call Wānanga experiences of one Māori tribe, (deep, cultural discourse). The purpose of Ngātikahu ki Whangaroa, from lodging the presentation is to highlight the ways their Treaty Claim in 1987, to Settlement that colonialist/imperialist attitudes by in 2017. The Settlement process is the dominant culture, and overweening fraught with tension, with Crown governmental control, continue to divide agencies, and inter- and intra-tribal and conquer Māori, creating tension conflict. Whilst the tribe has had over in the ties between whānau, hapū and 10% of their lands returned, and $6.3 iwi, at a time when Māori most need to million in cash, the acrimony continues, unite, and work collaboratively, to find as factions struggle for supremacy and solutions for the raft of social, cultural control of the assets. The return of land and economic issues that plague the has not resulted in the panacea that Māori world. was hoped for by those elders who took the Claim to the Waitangi Tribunal. If anything, it has exacerbated the struggle,

15 Hēmi Kelly landmarks from their childhood in New (Ngāti Maniapoto, Ngāti Tahu, Zealand or their birth country. Ngāti Whāoa) Auckland University of Technology When pepeha is recited, performative connections are established between Pepeha: Performing a connection the speaker and audience through to people and place in Aotearoa identifications of people and place. New Zealand These connections are predicated on , which is a distinctively Pepeha is a set form of words Māori concept. It is exciting that people customarily used to introduce oneself have learned the first step, which is in Māori in formal situations. The to announce themselves formally speaker will introduce themselves by in Aotearoa; however, they’re not acknowledging prominent landmarks necessarily equipped for what might within their tribal boundaries and come back to them as they move into claiming belonging to those landmarks the reciprocal environment. This paper through whakapapa (genealogical) ties will explore the social implications of to their tribe. Pepeha is widely taught the non-Māori claim to belong to tribal and common now as a practice among landmarks that they do not affiliate to students and speakers of the language, through whakapapa. It will also address including non-Māori. In recent years how Māori language teachers might the popularity of the Māori language better teach pepeha, or other forms of has grown and, as a result, pepeha speech, to people who are, essentially, has become the default performance keen and well-meaning, so that they offered in a wide range of contexts. This may continue to introduce themselves has led to non-Māori creating pepeha in Māori, in ways that are respectful and that acknowledge their immediate meaningful. surroundings or other prominent

16 Jamie Cowell or even stand in for the connections (Waikato/Ngāti Porou) to place and a sense of belonging Auckland University of Technology customarily offered by whakapapa. For some, the sense of displacement is Taku ahi tū tata, taku mata escalating with each generation born kīkoha: Rekindling ahi kā and away from their homeland. tūrangawaewae connections This research looks at the practice of Disconnection from tūrangawaewae, oriori: chanted lullably sung during a place to stand, established through pregnancy, birth and upbringing whakapapa and kinship ties, is a that transmit crucial knowledge of reality for many Māori raised outside whakapapa and tūrangawaewae as of their tribal homelands, who are not a mnemonic device. Oriori will be considered ahi kā on their respective explored historically and presently (gathering place). Ahi kā are as a way of strengthening our bonds the burning fires of occupation or to each other and our homelands a metaphor for those who keep the irrespective of where we are. As home fires burning on their respective increasing generations of Māori live homelands. away from their marae, and indeed from Aotearoa (NZ), how might oriori Many urban Māori find alternative and other such practices help us tūrangawaewae and sources of ahi kā, to sustain identity and culture in of learning and cultural connectedness meaningful ways? How might it help in their urban environments through us rekindle ahi kā and tūrangawaewae schooling, work and pan-tribal connections? haka (Māori performing arts groups), which to some degree supplement

17 Javier Stell-Fresquez tribal communities (home/land). We get (Piru & Tigua Pueblos, Xicanx, personal, asking: “What medicine can I British, Spanish) offer as a Two-Spirit within and outside The Cultural Conservancy of my Indigenous communities?” We are finding ways into and through this Chaac & Yum: A Two-Spirit Dance question via land acknowledgements and Project with Snowflake Towers right relationship to California Native (Yoeme, Tzeltal Mayan) Two-Spirit leaders. Working from the depth that our Two-Spirits too often feel disconnected respective cultural connections allow from our communities and our us, we decolonize our bodies, minds, traditional roles in them. Thanks in and, increasingly, the contexts where we part to what California native scholar dance. Deborah Miranda terms “gendercidal” policies across colonization, Two-Spirit Two-Spirits stand at the center of cultural practices are far too scarce the four directions, offering liminal today, precluding our right relationships perspectives, reminders of the fluidity to each other and to the land. Welcoming of identities, and comfort (sensual joy, Two-Spirit expression in Indigenous even) in the deep complexities/dualities space allows healing from colonial ideas of existence. In celebration of Bay Area of gender and sexuality, which are so American Indian Two-Spirits’s (BAAITS) toxic to the entire community. 20th anniversary, we are lifting up the community, holding as a guiding In this project, we explore modern intention Professor Andrew Jolivette’s Indigenous Two-Spirit identities, call to heal our community’s traumas situated as we are in our specific cultural through a “return to a Two-Spirit cultural backgrounds, speaking from our specific ethic of support, intergenerational lenses as urban Natives (of the Bay mentoring, and ceremonial healing.” Area) with specific ties to our rural/

18 Jenna Gerdsen of the University’s foundation as well University of Maryland as the oppression and limitations students and faculty of color often Staging Ōlelo Hawai‘i: Hawaiian face in an academic institution. I will Theatre at the University of take this production and examine it in Hawai‘i Mānoa the context of the graduate student strikes of 2015 as well as the Thirty This paper will examine the University Meter Telescope protests that began of Hawai‘i Mānoa’s Hawaiian language in 2014. I investigate the possibilities production of Lā‘ieikawai (2015) written of using theatre and performance and directed by indigenous playwright to reconnect Hawai‘i’s indigenous and scholar Tammy Haili‘ōpua Baker. population to their stolen land, and The production marked the beginning reconfiguring the university, a colonial of the theatre department’s first site, into an alternative space for Hawaiian theatre program. Through indigenous cultural expression. The this production, which is an adaptation dynamic interaction between what of the traditional Hawaiian mo‘olelo Diana Taylor calls the archive and the (story) of Lā‘ieikawai, the theatre repertoire is the backbone of department features the Hawaiian state education. I argue that Lā‘ieikawai language and performance traditions exposes this epistemological of , oli (chant), mele (song). foundation by prioritizing Hawai‘i’s indigenous cultural repertoire and I use the production and the program shows all that is missing in the state’s to consider the political and cultural archives. negotiations of contributing to the Hawaiian sovereignty movement while acknowledging the colonial history

19 Kirsten Sadeghi-Yekta community-based work has been done University of Victoria, BC, Canada in reversing language loss, but there is an urgency to accelerate the work as the Indigenous Language Learning Elders and fluent speakers are passing Through Theatre on.

In the last two centuries, colonization This paper will focus on how to support ravaged many groups, and in this century the cross-generational transfer of the economic pressures of globalization the Indigenous language and culture are causing many groups to shift to a through the medium of theatre. I will language with national or international discuss alternative ways of language status. The dire prediction is that 90% of learning such as how to workshop the world’s 7000 languages will cease to indigenous stories into plays, perform exist by 2100. The decline and death of them, and teach others how to make and languages is an important global issue. perform plays.

From the point of view of the indigenous speakers, languages are important because they embody cultural heritage, they encode knowledge about the relationship between people, land and nature, and they provide a framework that defines an individual within a family or society. Thus, a high priority has been placed on the preservation of indigenous languages through ongoing research and language teaching. Already, important

20 Māhealani Uchiyama What is it about hula that sustained Mahea Uchiyama Center for this connection to the land in the face International Dance of colonial displacement? What does it mean to be kama’āina (child of the Dancing Through Sacred Ground land)? How can we appreciate the hula as a form of prayer? How does the Hula, the dance of Hawai`i, was hula inform a way to a balanced future received by the Hawaiian people as that holds relevance for all the world's a result of entering into a state of people? meditation with the wind, ocean, rain, and other aspects of the environment. We will examine the impact of Hula teaches its practitioners to colonialism on Hawai`i through appreciate these natural phenomena, analyzing the suppression and to honor the cycles of life and death, renaissance of indigenous cultural and to recognize the intelligence of the practices and the continued universe. commodification of Hawaiian lands. We will explore the ways in which Kaulīlua I Ke Anu O Wai ale ale is sacred connections to the land and one of the oldest temple dances ancestral wisdom practices were and in the cannon of classic hula. We are disseminated worldwide through will take an in-depth look at how Hawaiian dance-songs. I will also share Kaulīlua illustrates geneology, how the ways in which this specific form of it explores the symbolic connection ancestral wisdom has been a catalyst between heaven and earth, and how which nurtured my personal journey it celebrates the attachment of the of healing and connection to my own people to their land. African heritage.

21 Romana Tekaharoa Potts and melodies, which are techniques (Ngāti Kurī, Muriwhenua) used by our ancestors to pass down the Te Wānanga o Aotearoa knowledge. So today we weave the walk and the talk of these ancient knowledge Te Tangi o ngā Manu Tū Rangatira systems, and thus we tune in to our (Our chiefly birds speak out!) natural world. Through the flowing manu footwork and their calls you will be taken From Aotearoa my homeland, the land back into the ancient forests to learn the of manu (our chiefly birds), manu over knowledge of ultimate survival, moving thousands of years have developed together as one, uplifting everyone to systems of ultimate survival in a predator stand strong and surefooted with a voice free environment. They come from of wisdom. This is about the art of true ancient lines of genealogy unique to leadership. Aotearoa and like my own ancestors have survived from the mists of time till Te tangi a te Tui – Rere tōtika rapu now, Te Ao Hurihuri (the world of fast hua tū kōtahi tū kōtahi tū tū tū! turning change). My presentation is an interactive workshop developed over 30 The learning song of the Tui bird – Fly years as a Pou Ako in Māori language straight and true to seek the fruits from and dance, weaving the qualities of these the knowledge trees, then we can all manu and their movements with ancient stand strong and united forever! cultural values and lores that are strongly needed today to carry on our continuity of consciousness, so it will never ever be lost. The tangi (chiefly voice) from our manu has also been important, passing on ancient stories through sweet songs

22 Sharon Mazer The premise underlying Colonial Auckland University of Technology Combat is anachronistic and preposterous, even by WWE standards. The fix is in:Colonial Combat It’s also fascinating. Wrestling is an unsporting sport. The fight is fixed. What might it mean to tell the story The guy with the money decides who of colonisation in Aotearoa/New wins, who loses, and on what terms. Zealand through the lens provided Justice turns a blind eye, and virtue by professional wrestling? Colonial is no guarantee of success – in fact Combat is a new web series being it’s often the opposite. To envision developed by Awa Films for TVNZ. wrestling matches between Māori The year is 1840. Europeans have and Pākehā at the pivotal moment in been landing in Aotearoa for several the colonial encounter would seem decades, mingling with Māori, to make light of the appropriation putting down roots as missionaries, of land and consequential erosion traders and settlers. The Treaty of of Māori language and culture. But Waitangi is being signed between the perhaps there is something to be learnt British crown and Māori rangatira; by upending postcolonial pieties in its implications will play out over this way. After all, like professional subsequent generations. Instead of wrestling, colonialism has carried with waging war, the British and the Māori it a certain degree of performative con have, momentarily, stepped away from artistry – the appearance of a this- their muskets and taiaha to face each for-that exchange of lands, goods and other in the squared circle . . . promises belied by the less-equitable, more insidious reality behind the scenes.

23 Te Rita Papesch Te Pae o te Riri performances keep the (Waikato-Maniapoto, Ngāti Porou, Indigenous people of Aotearoa, New Ngāti Whakauē) Zealand, connected to our land. These Te Wānanga o Aotearoa performances quite noticeably un- settle any colonial delegation present – Te Pae o te Riri possibly because they call into question any postcolonial rights to ownership of In the previous two years there has been what was once Māori land with a vivid an up-rise amongst Māori iwi and hapū reminder of how the land was acquired. to remember, in performance, the Māori Or, it might be that the descendants of Land Wars of the nineteenth century. the settlers cannot be sure, from the These performances are known as Te performance spectacle that they are Pae o te Riri (sites of war). Prior to said confronted with, how safe they are in Wars the Māori had a strong economy in the presence of these life re-creating part based on possession of land and its performances. This presentation sets use. With the invasion of British troops, out to stimulate discussion on how often supported by kūpapa (traitor) performance can serve to sharpen the Māori, Māori land right across Aotearoa memory of dispossession and reignite was systematically confiscated thus our – Māori and Indigenous – claims to depriving Māori of their economic base. the land. The result was not only a loss of land but a loss of language use and customary practice that also brought with it poverty and criminal activity.

24 Timoteo I. Montoya II Re-sowing indigenous lifeways within (Lipan Apache) a futurism framework that incorporates The Cultural Conservancy technology – imbued with the same careful use, prayer, and sanctity Technology, Ceremony, and The bestowed on traditional implements of Sacred: Visioning Ourselves into the ceremony – is essential to encouraging Future future generations in continuing our work as stewards and healers of The intersections of story, dance, song, ancestral and diasporic places. ritual, and place intrinsic to Indigenous people’s traditional ceremonies are Rebirthing traditional ceremonies essential to their lived experience to accommodate these shifting and identity. As Indigenous peoples boundaries will enable several move from their ancestral homelands generations of displaced and urban and their identities shift, expand, indigenous bodies to again feel the and push against the boundaries of stories, songs, and dances our peoples traditional lifeways, there is a risk have practiced since the beginning of of losing generations of knowledge time. What might our ceremonies look held not only in the minds, but in like in the future when technology the stories, and the bodies of the is just as sacred as our fireplace, people. Engaging future generations our water, our songs, and our lands? of indigenous peoples in practicing How might we use technology in our ceremony and embodying these ceremonies as we heal, manage, and traditional intersections means pray for our lands? finding new ways to accommodate the shifting boundaries and visioning of indigenous selves into the future.

25 Valance Smith (ancestral homelands), whānau (family), (Te Parawhau, Te Uriroroi, and kaumātua (respected elders). Te Mahurehure, Ngāti Mahuta) However, many Māori living overseas Auckland University of Technology continue to maintain connections to their heritage and identity through kapa Erana Foster haka (Māori performing arts groups). (Tainui/Waikato, Ngāti Maniapoto, These groups develop a strong sense of Ngāti Hako) community, living and practising Māori Auckland University of Technology cultural values. Kapa haka is now an important pathway to cultural identity Mate kāinga tahi, haka kāinga rua – The (Papesch, 2015). How do overseas kapa world is my marae, the world is my stage: haka groups support and foster their The role of kapa haka in perpetuating Māori cultural pursuits and aspirations? Māori identity and culture abroad. How does kapa haka assist the Māori diaspora to maintain a connection The connections indigenous peoples to their cultural identity? With the have with their ancestral lands are development of multigenerational intrinsic. Whilst Māori are tangata diasporic communities, the role of kapa whenua (indigenous people of the land) haka becomes even more important. This in Aotearoa, our connections with the presentation explores these questions in land can be made anywhere in the world a discussion with members of London- as our cultural narratives tell us that we based kapa haka group, Ngāti Rānana, descend from Papatūānuku, the Earth and San Francisco-based kapa haka Mother. Currently, one sixth of Māori live group, Māori Mō Ake Tonu. It will provide abroad (Haami, 2018), which can lead to a insight into the importance of overseas disconnect from Te Ao Māori, homeland kapa haka in maintaining Māori identity and culture. At the heart of this cultural and culture in a different land. disconnection is alienation from ūkaipō

26 Image credits: Cover: Indivisibility by Joanne Barker Page 11: Photo of Eddie Madril Page 12: Photo of Mika and Saginaw Grant

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