Blood as narrative/narrative as blood: Constructing indigenous identity in contemporary American Indian and New Zealand Maori literatures and politics Item Type text; Dissertation-Reproduction (electronic) Authors Allen, Chadwick, 1964- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 11/10/2021 11:21:26 Link to Item http://hdl.handle.net/10150/289022 INFORMATION TO USERS This manuscript has been reproduced from the microfihn master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. 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Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road, Ann Aibor MI 48106-1346 USA 313/761-4700 800/521-0600 BLOOD AS NARRATIVE/NARRATIVE AS BLOOD: CONSTRUCTING INDIGENOUS IDENTITY IN CONTEMPORARY AMERICAN INDIAN AND NEW ZEALAND MAORI LITERATURES AND POLITICS by Chadwick Allen Copyright ® Chadwick Allen 1997 A Dissertation Submitted to the Faculty of the GRADUATE INTERDISCIPLINARY PROGRAM IN COMPARATIVE CULTURAL AND LITERARY STUDIES In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 19 9 7 DMI Number; 9729477 Copyright 1997 by Allen, Chadwick All rights reserved. UMI Microform 9729477 Copyright 1997, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 2 THE UNIVERSITY OF ARIZONA ® GRADUATE COLLEGE As members of the Final Examination Committee, we certify that we have read the dissertation prepared by Chadwick Allen entitled Blood as Narrative/Narrative as Blood; Constructing Indigenous Identity in Contetrporary American Indian and New Zealand Maori Literatures and Politics and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy professor Barbaj^ Babcock Date , c'/ ^ ^ l ^ . 7 ProfepsorJ~Annette Kolodny, Date ^ N hi ProSssor LarrwBvers Date/ / Date Date Final approval and acceptance of this dissertation is contingent upon the candidate's submission of the final copy of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation requirement. - ^ ' 7 A . ^ ^ j I Dissertation Director Barbara Babcock Date 3 STATEMENT BY AUTHOR This dissertation has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this dissertation are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: 4 ACKNOWLEDGEMENTS Research for this dissertation was made possible in part by a Sheldon Travelling Fellowship from Harvard University to New Zealand and Australia (undertaken 1987- 1988) and by an HE Fulbright Fellowship to New Zealand (undertaken 1994). In Aotearoa/New Zealand, I would like to thank oku hoa ma, the staff, students, and faculty in the Department of Maori Studies at Auckland University, for welcoming me onto Waipapa Marae. Toku aroha ki a koutou katoa. I especially want to thank Ranginui Walker for encouraging my study of the World Council of Indigenous Peoples and for generously allowing me access to his private files; Sir Hugh Kawharu for challenging me to think deeply about key Maori concepts; and Anne Salmond for her guidance, inspiration, and friendship. I would also like to thank the staff at the National Archives in Wellington for their kind assistance in helping me locate editorial materials related to the journal Te Ao Hou. Finally, I would like to thank Jenny Gill, Director of the New Zealand office of the Fulbright Foundation, for her enthusiastic support of my project. In the United States, I would like to thank the members of my committee from the Program in Comparative Cultural and Literary Studies and the Department of English at the University of Arizona, Barbara Babcock, Annette Kolodny, and Larry Evers, for their unfailing support and key insights during the drafting stages of this dissertation. I also want to thank Professors Joan Dayan, Jane Hill, and Michelle Grijalva, who were not on the committee but who nonetheless lent me their time, expertise, and encouragement. I would also like to thank my colleagues, Maureen Salzer and Alesia Garcia, for putting up with my need to talk endlessly about my ideas; you made the writing process immeasurably more sane. My graduate education and this dissertation would not have been possible without the continuing love and moral support of my parents. Sue and Richard Allen, and my grannie, Marie Holder. In southern Oklahoma, ten years is a long time to have to say that your son is "still in school." Thanks for hanging in there. 5 TABLE OF CONTENTS ABSTRACT 7 PREFACE: LEARNING TO READ THE INDIGENOUS IN CONTEMPORARY INDIGENOUS TEXTS 9 A Note on Maori Language 23 Notes 24 1. BLOOD AS NARRATIVE/NARRATIVE AS BLOOD: DECLARING A FOURTH WORLD 25 Imposing an "Objective" Optics 32 Focusing an Indigenous Minority Lens 36 Inventing a Fourth World 42 Reading Indigeneity 58 Notes 66 2. A MARAE ON PAPER: WRITING A NEW MAORI WORLD IN TE AO HOU 73 Maori Affairs: A Controlled Transformation 86 Maori Voices in Te Ao Hou-The New Net Goes Fishing 95 Te Ao Hou 1962-1966: Ka Korero Ke Te Pukapuka Maori/ The Maori Magazine Speaks Differently Than Expected Ill Te Ao Hou After 1966: He Karanga Ki Te Mahi/ A Call To Action 135 The Literary and the Political 139 Notes 144 3. REBUILDING THE ANCESTOR: CONSTRUCTING SELF AND COMMUNITY IN THE MAORI RENAISSANCE 148 A Critique From Within 151 E Kui Ma, E Koro Ma, Mokopuna Ma: A Maori Literary/Genealogical Calculus 161 Me O Ratou Taonga Katoa: "Prized Possessions" and the Mobilization of Treaty Analogy 172 Hanga E Te Iwi He Whare Tipuna Hou/ The People Build A New Ancestral House 192 Whakahoua E Te Tipuna Te Wairua O Te Iwi/ The Ancestor Renews the Spirit of the People 211 Other Realisms 215 Notes 226 6 TABLE OF COmEmS-Continued 4. INDIAN TRUTH: DEBATING INDIGENOUS IDENTITY AFTER INDIANS IN THE V/AR 231 Protecting Ne-he-mah in the War of the Whites 237 Causing the Ghosts to Linger, But Not Stay: Toward a Directed Self-Determination 249 From the War to Termination 278 A Humanly Acceptable Landscape: D'Arcy McNickle and the Discourse of Transformation 281 A Declaration of Accommodation 296 From Accommodation to Renaissance 303 Notes 305 5. BLOOD (AND) MEMORY: NARRATING INDIGENOUS IDENTITY IN THE AMERICAN INDIAN RENAISSANCE 311 Broken Treaties, Broken Lives 313 The Discourse of Hides and Treaties: Reclaiming Textual Artifacts of American Indian Memory 327 Quantum Fitness: Repoliticizing Blood, Imagination, Memory 350 Trickster's Healing Dialogue Between the Margins 379 Destruction into Survival, Fabrication into Truth: Indigenous Identity as Public Memory 388 Notes 391 6. CAUTIOUS THEORY 399 Toto Me Korero/Blood As Narrative: Colonial Hybridity and the Discourse of Treaties 409 Narrative As BIood/Korero Me Toto: Ethno-Dramas, Indigenous Identities, Texts 415 Notes 421 APPENDIX A: INTEGRATED TIME LINE 422 WORKS CITED 437 7 ABSTRACT Following the end of World War II and the formation of the United Nations organization, indigenous minorities who had fought on behalf of First World nations- including record numbers of New Zealand Maori and American Indians—pursued their longstanding efforts to assert cultural and political distinctiveness from dominant settler populations with renewed vigor. In the first decades after the War, New Zealand Maori and American Indians worked largely within dominant discourses in their efforts to define viable contemporary indigenous identities. But by the late 1960s and early 1970s, both New Zealand and the United States felt the effects of an emerging indigenous "renaissance," marked by dramatic events of political and cultural activism and by unprecedented literary production. By the mid-1970s. New Zealand Maori and American Indians were part of an emerging international indigenous rights movement, signaled by the formation and first general assembly of the World Council of Indigenous Peoples (WCIP). In "Blood As Narrative/Narrative As Blood," I chronicle these periods of indigenous minority activism and writing and investigate the wide range of tactics developed for asserting indigenous difference in literary and political activist texts produced by the WCIP, New Zealand Maori, and American Indians.