-~<Coa:oa.oa:oa.

like arm around the shoulder There wouldn't be a lot oftalk but the people came, and they stayed and theybecame part of the dream.

Then there was Whale Watch another Ngai Tahu"strings and mirrors job" no resources, just dreams anddetermination to build an independent economic base.There was the money to find, the Crown to fight in thecourts and, as with the Takahanga Marae project, muchnoisy, nasty, deeply racist opposition. Bill, Wharetutu andRipeka reached out beyond Kaikoura to their "mates'"whanau, lawyers, money people, architects and artists- even the odd Crown official and politician. The NgaiTahu Trust Board, now financially fitter than it had everbeen, was there too, there still wasn't much money butwe had all found a sense of purpose we were on themove as a people. In a social sense, Kaikoura becamea spearhead.

We had lots of ambition in those days but not muchexperience in developing an enterprise like this, indeed,at that time, no one had. Several times we came closeto disaster Bill remained at the heart of it all drawinghis support to him and to the company, calling on his"mates" people of all types and persuasions. In time itworked. Whale Watch became something of a nationaltourism icon.

Bill had a great way of devolving authority andgetting others to make it happen. He was able to get theyounger people up and functioning and growing in thebusiness while he insulated them -and the company­from the lower levels of marae politics. He was a realistthough. He knew that no community, marae-based orotherwise, is ever free of low-level politics.

He did his best to establish a structure at Kaikouraby which the Kati Kuri assets worked for the benefit ofthe marae and the people, but which insulated theenterprises from those politics. It was a local version ofwhat we tried to do with the larger Ngai Tahu structure.Time alone will tell whether our generation got it rightboth at Kaikoura and within Ngai Tahu. For the moment,though, it's not working any worse than the modelssurrounding us.

Bill was a big warm bear of a man with a generousheart but he had his sadness. I remember once manyyears ago on a fine Friday afternoon we were leaningon the balcony of the Adelphi Hotel looking down on abustling sunny late afternoon in Kaikoura. He turned tome and he said, "Y'know Mate, I know everyone I cansee in that street and every one of them knows me. Andthere's not one of them would call me 'friend'!" That wasback in the years of the firebombings and the arson andthe sabotage and police looking the other way and longlitanies of nakedly racist objection to marae buildingpermits. It had all become very different by the time Billdied and Ngai Tahu were the town's biggest investors ­but it's hard to forget, Bill didn't forget, but he managedto park the memories and got on with the dream.

When I farewelled Bill in Maru Kaitatea I observedthat this was not the first time he'd died. The agony thathe and Reo went through with young Wiremu's murdera few years ago will not easily be forgotten by the whanauor the tribe. Seeing their pain was itself unbearable. Thealmost unbelievable strength with which they learned tolive with their agony and return to us was itself something

We recruited the support of Cliff Whiting of Whanaua Apanui, Ngoi Pewhairangi of Ngati Porou and, laterTe Aue Davis of Ngati Maniapoto. These gifted peoplewere drawn to Bill, Wharetutu and Ripeka as if bymagnets. They entered into the dream, and became partof it. Year after year there were wanaka on kowhaiwhaiand tukutuku and te reo wanaka on mahinga kai, onwhakapapa and on tribal history' individuals from otherNgai Tahu rOnanga became involved. As the arts beganto flourish amongst us so too did identity and confidence- Bill loved it.

As the people gathered in renewal they were alsogathering around the big, gentle man who preferred tolead from the side. For the man himself, though, it wasthe new knowledge with which he was engaging thatempowered him and fuelled his spirit. The jigger runningup and down the coastal rail track became one ofKaikoura Ngai Tahu's key re-development tools. He'dsee the people on one side and the coast and its richeson the other and he was seeing them both in new waysevery day.

At the trust board table Bill was very much like hisfather had been. He didn't say much but when he spokewe all listened. He would listen for a long time and thencut right through to the heart of an issue. He seldomasked a question he just made penetratingobservations. He was utterly dependable on hard issues,happy to confront the impossible and the impracticableif it was the right thing to do. He was a very moral man.

When the going got tough you could always findhim sitting in his sister Wharetutu's kitchen drinkingendless tea working it out with her wrestling with issuesbeing confronted, building the dream.

They were difficult times. We sometimes felt thatwe were defying financial gravity. We all had this hugecommitment to the Ngai Tahu Claim, to the tribunal case,to Titi island title - countless battles in courts and withparliament. And always there was the old struggle overour fisheries. Bill was at the heart of all that but he hadanother load on him as well.

The "restructuring" of the Lange Labourgovernment had seen the Kaikoura coast socially andeconomically massacred as roads, rail and fisheries were"reformed" Kati Kuri had far more than their fair shareof casualties. Tribally we had no money, locally we hadless. But Bill knew that the marae had to be built to givethe people fresh purpose to fight the economicdevastation that had been rained down on them. Heknew they needed the project itself to lock down around.The new situation made the marae a much largerkaupapa than fulfilling his father's ohaki

While we kept the trust board battles going at thetribal level with "strings and mirrors", Bill, Wharetutu andRipeka drove the Takahanga dream. They understoodthat if you were going to build the people you had tobuild the marae. "It's simple, Mate!" he'd say, "they'vegot to keep believing in themselves, to see themselves.The marae's their mirror They can see themselves in it

and there's nothing much else left round here!He learned to beg, borrow and exploit every

opportunity, but he didn't do it like your average, driving,bustling Maori community "whakahaere" He'd just cometo someone and hold out that giant hand, or put a bear-

observation. He took an almost childlike pleasure inshowing me fossils in the coastal rocks, explaining theengineering problems in the constantly shifting curve ofthe rail track at Mikonui or expounding on some aspectof seaweed or fish. He would point out old urupa andthen tell me which of our tOpuna was buried there. Isensed quite qUickly that those tOpuna were hiscompanions, the ones he greeted each day as hetravelled up and down, while he saw himself as just"keeping an eye" on the old places, shifting a few boneswhen there was a slip, making sure they were properlyreburied - it was clear that he was already much morethan a caretaker. As well as being extraordinarily wellinformed about the life of the coast he was also theguardian of its memories - the takata kaitiaki of KatiThat was the rather lonely, self-contained, role Ilegrowing and he loved it.

When Rangi Solomon died in 1977 there was awhanau decision made that Bill would succeed his fatheras the Kaikoura member on the Ngai Tahu Maori TrustBoard, at least until there could be an election. In fact hewas to stay there until the board was abolished by theTe ROnanga 0 Ngai Tahu Act in 1996 - only once beingchallenged in an election. The trust board was a wholenew world for Bill and it wasn't one that he liked - atleast at first. He had never talked a lot and he was terrifiedof speaking in public. I found this out when I was giventhe task of taking him around and introducing him to hisnew "electorate" - an area was much wider than hisbeloved Kaikoura.

As we travelled he would practise his mihi for ournext meeting, getting more and more nervous with eachmile that passed. I had suggested that he should put hishands on a table or a chair to stop them shaking, so onenight in Nelson he stood up to speak with his hands on ahigh-backed chair. I shall never lose the memory of thathuge man resting his hands on a chair and starting hisfumbling mihi to the people. Within a minute the handswere grasping the chair and it was in the air and amoment later it was a splintered mess of kindling on thefloor. It was many years before he developed facility inkorero, but he never really liked the role. He could speakeloquently when aroused but arousing Bill Solomon wasalways a challenge. He learnt quickly as Upoko how tofully exploit our kawa of the senior person speaking last.After he'd put up any other speakers available he'd closeproceedings with a short sharp statement or - hispreference - a karakia.

Bill's father's ohaki had been the recovery of theTakahanga land and the building of a new marae for KatiKuri. Fulfilling that dream was to take a long time. I endedup with the land recovery job - the first time Ngai Tahuhad fully exploited our trust board letterhead in such acause. In those days that letterhead was all we had ­there was no money - but it was a greattool for capturingthe attention of officialdom. Bill and his older sisters,Wharetutu and Ripeka, led the marae development; theirgreat initial task was building the skills and capacity ofthe people in the traditional arts. The people needed afocus to express themselves through.

U)

~:::J

8.9ait

Bill Solomon was born at Oaro on the Kaikoura coast in1939 and grew up there when it was one of the manypublic works camps involved in the bUilding of both thecoastal highway and the Main Trunk railway. His father,the late Rangi Wawahia Solomon, was a fisherman fromPort Levy who had married Miriama Ahipuia Beaton andreturned to her home at Oaro to live. Rangi was tobecome one of Ngai Tahu's most respected andinfluential kaumatua in later years, but when Bill and hisbrothers and sisters were young the most defining tribalinfluence within that part of Ngai Tahu was still that oftheir taua, the chiefly Hariata Whakatau Pitini and herhusband Hoani Beaten. Hariata had died in 1938, theyear before Bill was born, but the shadow of herpersonality was still a powerful force, being quoted andreferred to right up into the late 1960s and 19708 when Ifirst started spending time at Oaro.

Bill was Rangi and Miriama's eighth child. Heattended the Oaro primary school and then the KaikouraHigh School for a couple of years before leaving for thenewly opened Maori boarding college, Hato Paora, inthe Manawata. He returned to Oaro in 1958 for a timebefore moving to Christchurch where he lived with hisolder brother George. His first job was with True CapTyres. From there he went to work on the buses and healso drove taxis for a while. It was in Christchurch thathe met his wife, Reo Manahi. After marrying, Bill andReo moved back to Oaro to settle and raise their family.

When 1was spending time with his father, Rangi, inthe 1970s, Bill and Reo were liVing at Oaro. He was thebig quiet chap who worked on railway maintenance,always amiable but always in the background of theconstantly active discussion of Ngai Tahu affairs. Hisolder sister, Wharetutu, was a powerful influence in thefamily. It was only later, riding up and down the coastalrailway with him on his jigger that I came to appreciateBill's insatiable curiosity and the keenness of his

~ Wiremu Te Haere Solomono (born November 1939; died February 2001)a:oa.oa:oa.

Kahuru I Autumn 2001 TE KARAKA

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2 TE KARAKAKahuru I Autumn 2001 Kahuru I Autumn 2001 TE KARAKA 3

Malta Georgina PITAMABorn 18 Akuhata 1921, Passed over 20 Hanuere 2001

-~«oa:oa.oa:oa.

been in vain. He believed that, the true preservation ofour mana couldn't be brought about by investment ofmoney alone. Honour, truth, selflessness, a great respectfor nature and high ideals are virtues he had inabundance. Even at this stage we might emulate thesevirtues in the preservation of our mana as South IslandMaori. It's not too late to acknowledge our gratitude toMartin for his efforts on behalf of our people. In doing sowe can recognise the power of faith and one person'sability to make a difference for the good of all.

motet and Classical Te Reo Rakatira few will equal letalone surpass, of athletic-in-stature, fair-skinned urukehuwho roamed the length & breadth of this great land,picturesque-in-view, panoramic-in-scene Te-Waka-o­Aoraki.

Regardless of our weaknesses Mum, yourespected our differences & uniqueness, and you passedthis gift on to all who crossed the paepae of yourdoorway. You called your mokopuna to your bedsideMum, to witness your candlelight expire. We sang, wecried, we laughed, we cried and with gentle concern yournieces ensured your quality care. A genteel wind partedyour mountain grass upon Aoraki, Hine Parilakilakiechoed the first news of your passing to Kea, who fliesand darts about in those lonely remote areas far abovethe perpetual snows & pristine ice fields of our highmountainous interior. Her plaintive scream is carrieddown to Mopo, our guardian of the night who takes upthe cry & passes it on to Toroa, who soars up and downour rugged coastlines & across seas to lands far beyond.

Born of loving parents and now united with them,A Mother who promised she will be there to guide usalong the pathway-of-Tane, pre-destined aforetime,Taua of many mokopuna, to whom she passed on as alegacy, unconditional aroha with the guarantee ofeverlasting life.Your earthly journey is complete MUM,Your heavenly odyssey begins.

wealth, security and honour, while also recognising thosewho have gone before.

His greatest fear, however, was voiced when heused to say, "The last thing we want is for some idiot tonegotiate a compensation deal with those self-servingbastards in Wellington". He took it on as his duty toprevent that outcome - a thankless task.

Overall, his burning desire was for justice,something he never gave up on even when defeatseemed inevitable. Some may have called him fanatical,but if we share in his vision, his efforts wouldn't have

MUM - what does a son say to whom he is so proud?As you lay there in the aftermath of a massive strokeand paralysis, fighting for breath, I ask the question thatbegs an answer, why you, Mum? Memories! ThanksMum and Dad for bringing my brothers, sisters and Iinto this world in these latter days surrounded withsecurity, and unconditional love.

Enfolded by poua and taua who handed on theirdepth of knowledge and overwhelming care. Dad pushedus to our physical limits and beyond, but you were thereMum, to massage our aches and soothe our challengedmentality. When Dad left us bereft, that big bear hugwas gone and we grieved with intensity, we forgot Mumthat he was your chosen partner for life eternal, affirmedby Temple vows and to whom you remained loyal foryour lifespan.

You told us stories Mum, of Te Aritaua who couldspellbind listeners with outstanding Oxford English, Latin

Takatakahia e koe ki te wahi tapu 0 Otu-reika,kai taha 0 te puna moana 0 Marukore me Te Raki­orahina,te taniwha tipua e rua 0 Te Waipounemu,ki tau O-kai-po me tau kaika pOmanawa 0 Opukutahi,ki te hikoka uira i ruka i aTe Upoko-o-Tahumata meTe Ahu-patiki, ka mauka whakaruruhau 0 Kati Irakehu.Ka tae atu koe ki Te-Rapaki-o-Te-Rakiwhakaputa,kai raro i te mauka a Te-Poho-o-Tamatea-pokai-whenua,kai kona te wai kaukau na to tipuna a Hine-te-a-wheke,ki ka moe whariki a 0 tipuna matua me a tamarikikahuraki.Heoi ana, takoto, e moe, ki te urupa 0 Kai Te Rakiamoaki Tuahiwi, i te uruka 0 te kahuraki, te whatu 0 te ahuruna...e.Kua whawhaitia e koe te whawhai pai,Kua omakia e koe te oma pai.

Ko John Charles Tama-nui-a-raki TIKAONo Kurakura Kai Tahu, Kati Mamoe me Waitaha anaKa moe iaKo Taura Hinewhareua ROPATANo Te Atiawa, Ngati Raukawa-ki-te-tonga meToarangatiraHe tohu aroha, ka puta ki wahoKo Malta Georgina TIKAO, ka moe ia ko Hare KaahuPITAMAKua hika aku Papa-to-a-nuku

Tipene O'Regan

thought. Father and son - both leaving this life with theirsoul singing, doing what they loved.

Bill's back at Oaro now. He lies up over the sea inthe urupa on the old Oaro Pa. He lies with his sistersand his brothers, his parents and his grandparents. Andby him lies his beloved son. The train still thunders upand down his old track below. His boats go out and hisboats come back. The karanga still goes out across hismarae. His life is all about us. It's hard to think of ourworld without him - without the sound of that deeprumbling chuckle.

We can only grieve that he's gone and value whathe gave us. He left us richer, both as individuals and asa people. He showed us that we need never stopgrowing. He showed us that if you have a dream that islarger than yourself then dreams can come true.

cry of injustice which was to galvanise in him an intenseinterest in our Maori heritage. What he learnt ignited afire in him that never went out till his death."

His wealth was in his knowledge and not in moneyor material things. He carried with him the wisdom ofthe old ways and would remind us that what you knowin your mind is a far greater gift than what is written onpaper. His principle was that a person may hold a title toland but he cannot take it with him when he goes. Itnurtures us, so we must nurture it for those to comeafter us.

Like the centaur with his arrow aimed high,enthusiasm towards his ideals sometimes made himoblivious to the more mundane demands of life. But thatwas the intensity of his vision, when the irresistible forcemet the immovable object he just soldiered on. He oftensaid he knew there was nothing in it for him, but he wasrelentless in the giving of his own time and money toprevent the further loss of our land. Always on the phoneto MPs and even travelling to Wellington to make hisappeal, his vision was that if the younger generationscould reap the rewards then his battle would beworthwhile.

Continued Government promises to compensateland with cash was definitely not Martin's ideal. Hewanted land returned, to prove that in Maori hands itwould be looked after as well as utilised in a sustainableway. If his ultimate dream had been realised, a dealwould have been struck which would bring all our people

Tipene O'Regan is a former chairmanof the Ngai Tahu Maori Trust board

Haere atu ra te rakatira, te tuakana, te hoa tautoko 0

ka tau taumaha.Haere i roto 0 ka tini mahara 0 ka tau kakari 0

KaiTahu.E te toa hDmarie, te hoa mahana, te hoa tiituru,

Haere wairua e.

Kua haere taku hoa tiituru 0 nga tau.Ka tangi to karoro, ka tangi te tai, ka tangi ahau.

Ka roimata aroha ki a koe, e Reo me to whanau hoki.

Martin Rautahi McColganMartin was the eldest son of Mercia Mei Henry andMartin John McColgan. He was the 1Oath baby born atTemuka Maternity Hospital and affiliated to Kai Tahu,Kati Mamoe, TOahuriri and Rongoma.

He attended Arowhenua Maori School and TimaruTechnical College. Although he was a top student, hisneed to work was a high priority. His academic careermay have been cut short, however his passion forlearning remained as sharp as his wit.

His talents were vast. He was director of MurihikuFisheries, a Justice of the Peace and a skilled organiser,which some confused with being bossy. He was avisionary and an initiator. Catching muttonbirds andinventing plucking machines were close to his heart. Benton improvement, he made the recommendation thatusing a helicopter to unload gear and ferry passengerswould lighten the mutton-birder's load.

Everything he did was his best and, relishing achallenge, he became a talented rugby player, possumskinner, solo butcher, builder, fisherman, white-baiter andeel catcher. He carried on traditions such as catchingkanakana (blind eel) and making rourou (baskets).

He had knowledge of whakapapa and South Islandland areas. His learning of whakapapa from hisgrandfather Poua King proved that he was a man oftenacity and endurance. Martin's sister Grayaana recalls:"during those times in front of Poua he heard the plaintive

of a miracle. The family felt deeply betrayed by the factthat justice was not done, or even seriously attempted,by the authorities. For Bill and Reo it was agony heapedupon agony - Bill carried a deep indignation and sadnessabout that to his grave. His profound sense of justicewas offended and it burdened him heavily.

But Reo turned back to the wharekai and Bill turnedto his art, both drew strength from their mokopuna. Hishealth seemed better, Whale Watch was having a goodseason, Takahanga looked great, and the young familieswere flourishing. Bill headed south to work with Cliff onthe new wharenui at Awarua. That's where - on WaitangiDay - I had the last of 32 years of conversations withhim. We sat for a long time in the new house anddiscussed the history being carved and woven into it.We reminisced about when Takahanga was at the samestage and we talked about Wharetutu. We chuckled alot and then we went back to see how the kowhaiwhaiwas coming on and indulged ourselves teasing AuntyKera. We had a cup of tea with Cliff and talked somemore.

Bill died at Awarua a few days later. He was carving,doing what he had come to love, shaping new creationfrom big old wood. That great big generous heart juststopped. He was gone.

I was in South Australia when the news got to me.When I learned what had happened my thoughts wentback to his father, Rangi, the old fisherman. On a gloriousmorning at sea off the Kaikoura coast Rangi had lookedback across the water into the hills and, with the birdsswooping about him, he'd closed his eyes for the lasttime. There has to be a tohu of some sort in there I

-~«oa:oa.oa:oa.

Nga Reta - Letters to the Editor

Orossword

What's Cooking?

Tamariki Ma

Kahuru / Autumn 2001 TE KARAKA 5

Book ReviewDonald Couch reviews Southern Capital Christchurch - Towards a City Biography1850-2000

The Oall of the TIUJan West shares her experiences as a birder on the Tit; islands

The Boundary Disputes - What are They?North island iwi challenging Ngai Tahu mana whenua

A Oloak for every MaraeAn initiative to ensure the revival of traditional cloak making

Peter BurgerAward-winning young director provides an insight into the film industry

A Business with BiteGraham Kitson's flourishing wasabi production business

Amiria Marsh - A Rising Star Flying HighSeventeen year-old Amiria Marsh, one of this country's most gifted sportswomen

Ngai Tahu Finance LtdCreating wealth, benefits and employment for Ngai Tahu whtlnui

Ahua - The story of MokiDonald Couch reviews the premiere of a joint production by Ngai Tahu, theChristchurch City Choir and the Christchurch Symphony Orchestra

REGULAR FEATURES

Ahakoa he iti, he pounamuNews and views from members of Ngai Tahu whtlnui

From the KaiwhakahaereThe Ngai Tahu Vision Statement

News from Whakapapa Ngai Tahu

Te Pataka KOrero

Being Kai TahuKai Tahu whanui share their experiences

Young AchieversThe successes of Ngai Tahu Rakatahi

Website Reviewwww.culture.co.nz

DEVELOPMENT CORPORATION

Te Puna Reo ki Ngai TahuNgai Tahu and Maori Language Commission Develop Puna

Aukaha Kia Kaha - Strengthen the BindingsThe successful inaugural Kai Tahu Arts Festival

Toi Rakatahi

Ngai Tahu Development Product Order Form

RQnaka Profile

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TE KARAKA - Kahuru/Autumn 2001

contents

GAB R I ELL'E H URI A

editorial

Cover: Gifted Ngai Tahu sportswoman, Amiria Marsh(photo courtesy of the Press)

Tena koe.Twenty years after the Treaty of Waitangi was signed challenges emergedfrom North Island iwi to Ngai Tahu rangatiratanga and mana. Boundarydisputes have involved eight past generations of Ngai Tahu and theinvestment of our precious resources defending these challenges. Ahistorical piece by Sandra Cook on what the boundary disputes are,provides us with an overview of this argument which now lies with thecourts.

Muttonbird season is approaching fast and we have a great storyfrom Jan West. Over the years Jan has been a frequent visitor to the nnislands. She explains what it takes to be a mutton-birder. Ngai Tahu canbe proud of the fact that the Titi islands are one of the very few examplesworldwide of mahinga kai being practised by indigenous people.

Amiria Marsh is a truly gifted athlete and a woman to watch. At theage of seventeen she has already distinguished herself as a double­capped national sportswoman in cricket and rugby, while still attendingcollege. Her motivation and attitude are an inspiration to us and we haveno doubt that Amiria will achieve her goals in life.

Te ROnanga 0 Ngai Tahu has now completed the 25-year Vision forSuccess based on the consultation hui held throughout the country in1999 and 2000. The vision was presented at the Hui-a-Tau in November2000 and in this issue the Kaiwhakahaere provides an overview of thevision statement. In planning for the future we have taken the valuesand traditions of the past and presented them in story form. See whatyou think!

During the nationwide round of hui the iwi identified the importanceof culture and identity and from that direction came the Kai Tahu ArtsFestival in Dunedin and the Ahua world premiere in Christchurch. Theseevents were the perfect tonic for reminding us that we can conquer alland indeed do.

A good number of te Karaka survey questionnaires have arrivedon my desk and the general consensus is we appear to be on track withmagazine content. Your contributions and letters are the heart of themagazine so keep them coming. Be sure to ring 0800 KAI TAHU tofollow up at anytime or email your thoughts to me ongabe@ngaitahu.iwi.nz.

Adrienne Anderson

Gabrielle Huria

Spectrum Print

EDITOR

ASSISTANTEDITOR

CONTRIBUTORS Debbie AmeriksHelen BrownRoss OalmanSandra OookDonald OouchDavid HigginsMelanie McOolganTa Tipene O'ReganRiki PitamaHana PotikiTahu PotikiTarlin PrendergastVicky RatanaKaraitiana TaiuruTe Maire TauLynne Harata Te AikaAriana TikaoRob TipaToni TorepeMagehta WesleyOlaire White

Jenny RendallDESIGN

PRINTING

PUBLISHER Ngai Tahu Publications LtdPO Box 13 046, OhristchurchPhone 03-366 4344Fax 03-365 4424

€) ,~~,.. ,?~ '~.~,~, -~".~~,?,~.~

Issue 16 published March 2001

© Ngai Tahu Publications LimitedISSN No, 1173/6011

THE NGAI TAHU MAGAZINEKahuru / Autumn 2001

Oontributions and letters to the Editorshould be sent to:

TE KARAKAThe Editor, Office of Te ROnanga 0 Ngai Tahu

PO Box 13 046, OHRISTOHUROH

© 1995 The entire contents of Te Karaks are copyrightand may not be reproduced in any form either in partor in whole without the written permission of thepublisher, All letters addressed to Te Karaka will beassumed intended for publication unless clearlymarked "Not for Publication".

Opinions expressed in Ta Karaka are those of thewriters and not necessaily endorsed by Te RQnanga 0

Ngai Tahu.

In December MarkSolomon received a letter from a young NgalTahu carver named CaineTauwharewho had carved a poupou that he wanted to gift to Ngai Tahu.

Caine Tauwhare has connections to Rapaki and Te Tai Poutini through his father MoeroaTauwhare, who was a whangai to Uncle Ollie Tauwhare. His mother Maire Duffell is of Waikatodescent from Ngati TamainupO hapO. Caine was born in Christchurch but has spent most of his lifein the North Island.

After some time in the army at Burnham, he found himself back in Christchurch with a needto find out about himself. Until this point he had thought of himself as a "Kiwi" without ever consideringhis Maori connections. Unfortunately his search wasn't particularly successful. His growing interestin whakairo (carving) as a way of exploring who he was in a creative way proved difficult inChristchurch. At one point he was told that the only place to learn in Christchurch was in prison!With no avenues left in Christchurch at that time he turned his attention to the north.

cant. on page 38"

He Koha Aroha

Ngai Tahu Opera DivaTimua Brennan began a new journey in October 1997, when she entered and won the Maori song section of theLockwood Aria Competition performing "Aue Meri", an original composition she performed at her brother David'swedding in Italy. It was at this debut performance that renowned opera singer the late Greg Tata, recognisedTimua's potential in opera and encouraged her to study music.

Three years later Ttmua has completed two years of a three-year Bachelor of Music degree at the Universityof Waikato. She has also performed at a number of prestigious engagements including Lakeside '98 with theAuckland Philharmonic, Madama Butterfly at the Waikato Japanese Gardens and Opera in the Pa in Rotorua, aswell as winning the Te Awamutu Singing Competition in 1999.

Timua, a mother of four, has been singing since she was a small child. She believes her musical gift camefrom her father HorL

When she moved with her family to Rotorua in 1993 she joined the National Maori Choir and was a memberof the Royal Lakeside Novotel Hotel Maori Culture Group, where she was also working as a receptionist Currentlyher weeks are spent in Hamilton at university and weekends back home in Rotorua.Timua loves the challenge andexcitement that her new life brings and the opportunity to work alongside her mentor, Dame Malvina Major.

Recently Timua auditioned to attend the Royal Schools of Music in London, where she hopes to do postgraduatestudies in opera. Her dream is to be New Zealand's next well-known Maori opera singer performing on theinternational stage.

For Timua the key to her success is "to be your true self because if you're not you can't reach your fullpotential... you must blossom in your own life at home before you can do it anywhere else".

Christchurch artist Matt Caiman (Kat Tahu, NgattRaukawa, Ngati Toa) has just released his first CD withthe band, Gasoline Cowboys. The CD entitled "Party" isthe band's third recording but the first that Matt has workedon. Matt and his friend Matt Westbrooke composed thesongs and had them recorded within a few months. Notonly that but in the interim Matt decided that his Instrumentwould be the drums so taught himself to play some basicdrumbeats. Matt also sings lead and backing vocals onsome of the songs.

of the tracks are atmospheric soundscape of the indie~pop variety. If you are interest

copy (at a discounted rate of $25) yI cl r.net.nz also availa

o Records in Christchurch. Check outclectic cover design created by Matt.Matt is an honours graduate of the Design & Arts

College of New Zealand, majoring in photography. fiewas one of the artists e~bibited In Ka Puta Mai, anexhibition at the Aukaha J{II:1Ka1faarts festival in Dunedinlast year.

6 TE KARAKA Kahuru / Autumn 2001

» ~~;iin~~~Uan~t~~~q~;~~; Ngai Tahu Artists on World Stage::r:: Fraser are to be New ~» Zealand's first ever r-ep- 5l­-r" resentatives at the Venice ~

O~ Biennale of Art to be held in :-9

June 2001. New Zealand ~» has been vying for a ~

position at this prestigious ti::r:: art event for the past thirty ~

m years and finally received .s:an invitation from the Italian ~

-fGovernment late last year ~1.(.

to send two artists. ~ .~

:-- Creative NZ set up a i5 a3::J~

selection panel to choose g-.::r:: the artists and the decision ~ ~m l:l Q)

was announced by Prime c: §Minister Helen Clark. The ~ ~-C . ~.~criteria for selection .s: 0o included artists with an ~ 8.

C established New Zealand '-. '<l::

profile, an international ex- *~Z hibiting history, experience a... CI:l» with complex projects, work that contained references to New Zealand identity, and is current and original. The,. Prime Minister said that Creative NZ had identified the Venice Biennale as a major opportunity to promote New:::.. Zealand art to a massive and influential audience.C The Venice Biennale of Art is regarded as the most important event on the international visual art calendar.

The inclusion of New Zealand artists is an acknowledgement of an international interest in contemporary NewZealand art.

Jacqueline, based in Auckland, has had numerous exhibitions both in New Zealand and overseas. Peter hasrecently returned from a year's residency in Berlin at the Kunstlerhaus Bethanien, his third year in Germany. Healso has been represented in a number of exhibitions both here and overseas.

Embracing our 25-year vision.":IJo~

-f:I:m

~-~:I:»~:I:»m:IJm

As we begin the second year ofthe new century we are now in astrong position to complete ourplanning for the future.

This is an imperfect science butone undertaken with much thoughtand great care by all those involvedin the debate, the decision andfinally, the implementation of ourTribal Vision for Success 2025.

The Vision was presented atthe Hui-a-Tau at Takahanga Maraein late November 2000 and has beendebated throughout the papatipurOnaka. A national roadshow addedsignificant resources to the vision­planning process. In 2001 we planto develop the next stage of the 25­year plan - the action plan to achievethis vision.

Our Vision is how we want NgaiTahu to look and feel in 25 years andhow we are going to exercise controlof our future by planning for it now.We are continuing the work of ourforebears who set up the Ngai TahuMaori Trust Board with the adage:ma tatou, a, ma ka uri a muri ake nei

for us and our children after us.The Vision is the road map

showing us how to get there.Our Vision is based on five

overarching values:Mana - the power and authority ofNgai Tahu whanuiWhanaukataka - the familial re­lationships in Kai Tahu communitiesManaakitaka - looking after ourpeopleRakatirataka - chieftainship - beingin control of our own destiny at apersonal and tribal levelKaitiakitaka - guardianship over thenatural and economic resources thatare ours.

Te ROnanga 0 Ngai TahuTribal Vision for Successin 2025ManaKai Tahu travels to visit another iwiand we are greeted as Te Mana 0

Te Wai Pounamu. The takatawhenua deploy their bravest toa tolay the challenge and their greatestorators are seated on the paepae.

The Kai Tahu kaumatua wearkakahu of fine whitau and huruhuru,adorned with pounamu andwhalebone that have been shapedand crafted by skills honed in KaiTahu wanaka.

The kuia send out their karakato the approaching party and theresponse from the Kai Tahu taua isfull of our unique idiom and proverb.Then our kaikorero move forward totake their place on the paepae andthe whaikorero and the waiataconfidently sung as kinaki is full ofKai Tahu idiom and proverb, with thereo immediately recognisable as thesouthern dialect.

The kaihaukai protocol isenacted as the young people moveforward and a pyramid of food is leftto one side of the marae atea so allmay see the poha and the bucketsof titi, koura, tio, tuaki and other kaibrought as koha for the hui.

WhanaukatakaOur rakatahi have emerged from TeKura Wanaka 0 Kai Tahu and areculturally confident and know­ledgeable in iwi affairs. They areaware of local and global issues thatimpact upon them, upon their iwi andwhanau and upon Aotearoa as awhole.

The values that influence theirmost important life choices havebeen an integral part of theirupbringing in the Kai Tahucommunities within which they havebeen raised.

There is a range of training andeducation opportunities availablewithin te reo Maori ·and all school-

age children within the Kai Tahutakiwa will have the opportunity todevelop multilingualism.

Kai Tahu parents are able tosend their children to educationalcentres imbued with the values ofKai Tahu culture and identity whileproviding academic opportunities ofthe highest standard.

Graduating students haveemployment options as well as localand global educational opportunitiesof the highest standard. Many ofthese educational opportunities areavailable within te reo Maori.

The children of our children arewell-equipped to participate in theglobal community.

ManaakitakaKai Tahu children and their familiesare safe, enjoy good health, generaleconomic security and have accessto affordable housing.

Kai Tahu continues to engagein discussions with the Crown onsocial conditions and a range of jointstrategies are in place to ensure aparity of access to opportunity.

Kai Tahu whanau have readyaccess to high quality education,health and social services and theyrank positively on all the socialindicators.

There are tribal and rOnaka­driven initiatives in place for the careof taua and poua including kaumatuahousing, iwi health insurance and aco-operative superannuation pro­gramme.

Kai Tahu whanau eagerlyparticipate in a range of communityactivities, including sports, culturalevents and the arts, which raises thequality of life for all whanau, bothMaori and Pakeha, living in ourtakiwa.

Our Kaitahutaka has long sincebeen re-secured, revitalised andtested. It is now an easily unfoldingcontinuum of indigenous tribalculture. We are living in a world thatsupports its development, where it

will be easy for whanau to contributeto its continuance and to access it.

All members of Kai Tahuwhanui that wish to be involved iniwi activity will be able to do so viatheir papatipu rOnaka as well asparticipating in broader iwi initiatives.

The rOnaka and whanaucontribute to local marae life andactivity and our traditional wharenuiand marae are vibrant and wellmaintained.

RakatiratakaTe ROnanga 0 Ngai Tahu is anorganisation that is recognised for itsleadership, stability, adaptability andexcellence of performance.

Te ROnanga 0 Ngai Tahu is anorganisation governed entirely byduly elected rOnaka representatives.

Te ROnanga 0 Ngai Tahu isresponsible for tribal policy andstrategic direction.

Te ROnanga and its interestsare a major employer of staff, whoare appointed on the basis of "bestperson for the job". These em­ployees are largely Kai Tahu.

Te ROnanga 0 Ngai Tahu is acost-effective and lean organisationwhose employees and structurereflect the culture and the values ofKai Tahu.

Tribal social policy and thebenefits of common tribal pro­grammes are managed centrally,although papatipu rOnaka havesubstantial responsibility for thedistribution of benefits to tribalmembers.

New Zealand has a constitutionthat confirms the Treaty of Waitangias the nation's founding documentand the rights of iwi are con­stitutionally protected.

Although the process for thesettlement of historic grievances iscomplete, the Crown/iwi relationshiphas been renegotiated withpermanent recognition of the sharedtreaty responsibility.

The nature of aboriginal

property rights has been establishedand iwi customary managementregimes are in place for resourcesincluding energy, water andcoastline.

There is a Maori forum whereissues such as the allocation ofaboriginal property rights can bedecided according to customary law.

The Crown recognises KaiTahu rights to self-determination.

Kai Tahu participate in thedevelopment of legislation andpolicy.

Kai Tahu produces soph­isticated analysis and qualityinformation and is the authority onMaori knowledge and information inthe South Island. They havecelebrated the 25th anniversary of apermanent presence in Wellingtonthat enables an appropriateinfluence over the social, cultural,environmental and politicalprocesses that most directly impactupon Kai Tahu and their takiwa.

Kai Tahu are active participantsin politics at a national and local bodylevel. They exert influence throughparticipation on significant in­stitutional and corporate boardsoperating from or affecting TeWaipounamu. Ka rOnaka areinfluential leaders in their owncommunities.

Kai Tahu have formed strategicalliances with other iwi and Maoriorganisations of influence.

Te Waipounamu festivals areimportant political and social eventson the nation's calendar.

Kai Tahu is a wealth generatorthat provides a sustainable dividendfor iwi developmental initiatives andfor future generations.

Kai Tahu own businesses andinvestments, in New Zealand as wellas offshore, that collectively rival thetop New Zealand corporations. Tribalownership of assets ensurescentralised economic strength and,whilst the stand-alone entitiesdetermine their own strategies, the

iwi values and collective visionshape all activities anddevelopmental initiatives.

All Kai Tahu initiatives arerecognised as economically re­sponsible and environmentallysustainable.

Kai Tahu has relationships withall papatipu rOnaka and sub­sequently Kai Tahu businesses arethriving throughout the takiwa.

Many Kai Tahu are self­employed and employ others.

KaitiakitakaThe Kai Tahu cultural relationshipwith the environment and theirkaitiaki functions are flourishing.

The gardens of Tane andTakaroa are abundant and mahikakai is available to Kai Tahu whanauand hapO.

Culturally significant resourcessuch as pounamu, taramea, tikumu,harakeke, pikao, huruhuru manu, kaimataitai and paraoa are available tothe iwi.

Wahi tapu, wahi taoka andmahika kai are a safeguarded andrespected element of the naturalenvironment and taiapure, mataitai,rahui and rauiri are a daily reality forthe people of Te Waipounamu.

Kai Tahu is a recognised leaderin scientific rese9rch in relation tonatural resources and our educationprogrammes have restored therelationship of Ngai Tahu withtraditional sites, resources andareas.

Natural resource managementpractices align with Kai Tahu valuesand matauraka Kai Tahu will beacknowledged and accepted by thecommunity.

We welcome your input orfeedback on the Vision for Success.For a copy of the full documentplease contact:Debbie AmeriksCommunications Unitph 0800 KAI TAHU or emailDebbie.Ameriks@ngaitahu.iwi.nz.

."::co3:-I:I:m

~-~:I:»~:I:»m::cm

..8 TE KARAKA Kahuru I Autumn 2001 Kahuru I Autumn 2001 TE KARAKA 9

iti »rr

na Rob Tipa raua ko Jan West 0

"--I::I:m::f.::J.

-Bats Cave anchorage, Rerewhakaupoko. Taken from Goodwil/iesPoint looking up passage toward Potted Head. Taukihepa (BigSouth Cape) on left, 1970.

all ofThe

Mokinui and Mokiiti with nugget in front ofRerewhakaupoko (Solomons),1970.

Harvests are governed by the seasons, which varyconsiderably, Jan says.

"For some obscure reason, every five to sevenyears or so, there's a really, really poor one, maybe two.There'll be an outstanding one in that period and therest are generally standard."

"I am absolutely certain these islands would notstill be in our hands today if we did not take the stepswe do to protect them. The fact that they are one of thevery few sources of mahinga kai world-wide still beingmanaged by the indigenous people is testament to this."

Ma tatou, a, ma ka uri a muri ake nei is a guidingphilosophy for birders that is as strong today as it was acentury ago.

Mutton-birders are a special breed of people. Theyhave to be able to deal with life on the Titi islands forprolonged periods. The isolation, hard work, lack ofsleep, harsh climate and living conditions and,sometimes, lack of UU, do not make it easy to keep goingback year after year. Yet the pull to return is strongerthan ever for beneficial owners like Jan West, whosebirding rights date back to her great-great-grandparents,who retained those rights when Rakiura (Stewart Island)was sold to the Crown in 1864.

Jan and her children follow generations of herwhanau who have continuously exercised their rightson their present sites on Rerewhakaupoko (SolomonIsland) and Makinui (Big Magi) just off the south-westerncoast of Rakiura.

"For me there is no other place on earth where Ifeel such presence of my topuna... surrounding me andmine with their wisdom and protection," Jan explains."These are the places of the spirits of our ancestors,those who came before us and who stay with us as wecarryon as guardians of the uti and the islands for ourchildren.

"It's very, very special. At the start of the season, ifI'm stuck on the mainland and everyone else is downthere, I feel like the bird who has missed the migration."

According to TIU islands regulations, only Ngai Tahutribe members who can whakapapa to the originalowners of Rakiura at the time of its sale to the Crowncan claim beneficial ownership of the Titi islands.

"The right to bird is zealously guarded andindividuals must prove their whakapapa right before theyare allowed to go," Jan says. "Even those who havefrequented the islands for generations must getpermission to build and gain approval for the proposedsite, from the majority of beneficiaries on their particular

island, before they erect a dwelling."When I look out to sea or out to the other islands,

I know I am looking at exactly the same things myancestors saw. When I fish off the rocks, when I smellthe peat earth, when we build our dwellings, when weshow our children how to carryon after us, there is anenormous sense of privilege and a keen awareness ofthe responsibility we carry during our lifetime."

Around Christmas every year, Jan's family beginspreparations for the birding season - planning repairsand provisions, sorting gear, booking the boat andhelicopter and ordering wax, salt, buckets, batteries andeverything else they need to be self-sufficient for two tothree months.

Everything is packed into heavy-duty plastic barrelsthat are stowed on deck then hoisted ashore at the islandby helicopter. The boats generally attempt the voyageregardless of the weather, but the helicopters do not flyin winds greater than 30 knots. When conditions aresuitable to land or leave, it is often a hectic scramble topack up at short notice making the most of the settledconditions.

The trip by fishing boat used to take between eightand thirteen hours, sometimes with an overnight stop,but today most birders travel by helicopter or fastcatamaran, which takes around three hours.

The uti, or sooty shearwater, is a member of thepetrel family, the most prolific seabird in the world. Thebirds arrive in the Titi islands to breed about Octoberand the chicks are generally well developed by April 1,when the mutton-birding season begins. Initially, thechicks remain in their underground burrows while theirparents (kaika) leave the island at dawn every morningin search of food, returning around dusk.

"These are really special times," Jan says. "Sitting

in the dark listening to the slight rustle in the bush ashundreds and hundreds of birds make their way downhillto the kaika runway. Then, as they return at dusk, the airbecomes filled with darting, dipping uti as they fly aroundat tremendous speeds before crashing through the treesto land within feet of their burrows."

Early in the season the chicks are harvested byreaching into the burrow with a cane or wire with a hookon the end. About three weeks after the start of theseason, the chicks emerge from the burrows at night tostrengthen their wings for their long ocean migration.Birders start work as soon as it is dark, so this period isknown as torching. Many factors affect this phase ofbirding. Unfortunately, Jan says, wet, rough blusteryweather is often the best time for birds to learn thefundamentals of flight with their flapping practice.

"Like all birders, I have many childhood memoriesof dragging myself through mud two feet deep, bonetired, trying to get home with wet and very heavymuttonbirds on my shoulders."

Birds were once cleaned after plucking by dippingthem into a copper of boiling water but hot wax is thepopular method used today because it is faster, cleanerand easier on hands. Wings and legs are removed andthe birds are hung for up to 24 hours in a cool, darkroom to solidify, before being processed, packed andstored.

The days are long and the work is heavy. Betweentorching for much of the night or early morning andprocessing birds, there are plenty of chores to be done- collecting and cutting firewood, gut-boxes and featherbags to empty, wax to render down for re-use andbuckets to clean - as well as the usual housekeepingand cooking meals. Space is precious when Jan's familyshares hut space of roughly five square metres, which

includes range, freezer, table, bench, beds, clothing and c:i~ofood for three months. "We don't spend much time inside§­

anyway, but it gets interesting when there are five or six ~

of us," she admits. <1l~Jan acknowledges the voluntary work of the uti @

committee, elected representatives of the tangata ~

whenua who ensure the islands and their flora and fauna t::oare well managed. The committee works closely with c:-the Department of Conservation and zoologists from the ~University of Otago on programmes to eradicate rats, .8restore populations of saddlebacks and to monitor ~

sustainable harvests of uti. :g"There are still people around who do not approve -E

of these islands being managed by iwi, not to mention ~ownership," Jan says. "Where traditional knowledge was ~

once paramount in dictating the size of catches, we are ~increasingly pressured to be able to prove sustainability ~

'<1land various other things by western scientific methods. tX:

<b"This is not all bad of course, but must be carefully ~

integrated with traditional knowledge, not imposed over .9it." ,g

Cl.

-g::le~(,)

~

10 TE KARAKA Kahuru I Autumn 2001 Kahuru I Autumn 2001 TE KARAKA 11

Boundary Disputes CDoczc»:IJ-<C-en-CC-fmen

Mervyn N Sadd, Messrs R PStafford andH M Solomon together with any othergrievances affecting lands in thenorthern South Island beyond thedetermined rohe of Ngai Tahu will indue course be dealt with by the tribunal.(emphasis added)

With the Maori Appellate Courtholding that only Ngai Tahu held therelevant rights within the areas under ....

Note:The following Iwl from Te Tau Ihu have made claims within theNgal Tahu Takiwa:Rangitane, Ngiltl Tea, Ngilti Awa, Ngilti Apa, Ngatl Kuia,Ngati Rarua, Te Ati Awa & Ngilti Tama

Their claim localities are In the following Land Purchases:- Kalkoura Purchase- Arahura Purchase- Waipounamu Purchaseand the Port Adventure & Toltoi SILNA Blocks on Rakiura.

The Waitangi Tribunal had thisto say about the Maori AppellateCourt decision:The decision of the Maori AppellateCourt is binding on the tribunal by virtueof section 6A(6) of the Treaty of WaitangiAct 1975.The tribunal observes however that thegrievance claims already filed with thetribunal from Kurahaupo-Rangitane, Mr

~.~.

Rakiura •.Port Adventure Block

.~ . Toltol Block

LegendArea Claimed by Te Tau Ihu Iwi

-- Ngiil Tahu Boundary

-- Rivers_ Lakes'

r---------------

-What are they?Court to determine, inrespect of the landcovered by the ArahuraDeed of Purchase (dated21 May 1860) and theKaikoura Deed of Pur­chase (dated 29 March1859):

During the next 18months or so the MaoriAppellate Court heard agreat deal of evidencefrom kaumatua, historiansand representatives ofthe various Te Tau lhuiwi, as well as from NgaiTahu.

At the conclusion ofthese lengthy hearings,the findings of the MaoriAppellate Court wereunequivocal:

Which Maori tribe or tribesaccording to customarylaw principles of take andoccupation or use, hadrights of ownership inrespect of all or anyportion of the landcontained in thoserespective Deeds at thedate of those Deeds.(emphasis added)If more than one tribe heldownership rights, what areaof land was subject to thoserights and what were thetribal boundaries.

The Ngai Tahu tribeaccording to customary lawprinciples ~ ~ke and ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

occupation or use had the sole rights ofownership in respect of the landscomprised in both the Arahura andKaikoura Deeds of Purchase at therespective dates of those Deeds.(emphasis added)Having decided that Ngai Tahu only isentitled, question two above does notrequire an answer.3

Tau lhu iwi. That was until 1986when, following an amendment tothe Treaty of Waitangi Act 1975allowing investigations of historicalclaims, Ngai Tahu lodged its fullclaim with the Waitangi Tribunal. Thiswas to be the first time that a com­prehensive investigation of all of theNgai Tahu claims would be heard inthe context of the Crown'sobligations to Ngai Tahu under theTreaty of Waitangi.

Just as the first WaitangiTribunal hearings were about tobegin in 1987, a new round ofchallenges to Ngai Tahu rights in itsown takiwa was initiated by anumber of Te Tau lhu iwi. TheKurahaupo Waka Society lodged aclaim with the Waitangi Tribunalstating that the claim was beingadvanced on behalf of several TeTau Ihu iwi and asserted that thoseiwi had claims to (amongst otherthings) land, forests and fisheries inthe Ngai Tahu takiwa.

The Waitangi Tribunal rec­ognised that these claims were nottruly claims against the Crown, butwere in fact Maori vs Maori claims.Obviously, unless an iwi actuallyholds rights guaranteed under thetreaty, the Crown cannot be inbreach of any duty or obligationunder the treaty in respect of thoserights. As more than one iwi wereclaiming the same set of rights, theWaitangi Tribunal wanted toestablish which iwi held the rightswithin the Ngai Tahu takiwa beforeissuing its findings on Ngai Tahu'sclaim.

It was also acknowledged that,because this was a Maori vs Maoriissue, and because the tribunal wasestablished to inquire into mattersbetween Maori and the Crown, themost appropriate forum for the issueto be resolved was in the MaoriAppellate Court.2

In March 1989 the WaitangiTribunal asked the Maori Appellate

By the 1820s Ngai Tahu waswell established in Te Waipounamuand was quite able to defend itsterritory using traditional weapons.However, in the 1830s, Ngai Tahuwas attacked by musket-bearinginvaders from the north. Many NgaiTahu people were slaughteredbefore these invaders wereeventually driven from the takiwafollowing a number of Ngai Tahucounter-attacks (carried out as farnorth as Cloudy Bay) and thecomprehensive defeat of Te Puohoat Tuturau, which led to the finalretreat of the northern iwi to Te TauIhu.

In 1840 Ngai Tahu, along withmany other iwi, signed the Treaty ofWaitangi. Article II of the treatyconfirms and guarantees to iwi suchrights and interests in lands, forestsand fisheries as the iwi possessed. 1

In 1840, as today, no other iwi heldany such rights within the Ngai Tahutakiwa.

However, in the first twenty orso years after the treaty, Ngai Tahuwas forced to defend its rights withinthe takiwa against both the Crownand Te Tau lhu iwi. Between 1840and 1860 the Crown entered into anumber of agreements to purchaseland in Te Waipounamu. In severalinstances the Crown failed toestablish which iwi "owned" the landit was seeking to purchase and as aresult the Crown attempted to"purchase" Ngai Tahu land from TeTau lhu iwi. In every instance, whenthe Crown eventually investigatedthe Ngai Tahu claims to ownerShip,the Ngai Tahu claim was found to begood and the Crown was forced toenter into negotiations with NgaiTahu to secure the title to the land.

20th CenturyFor over 140 years Ngai Tahucontinued to seek justice for TeKereme from the Crown, largelyuntroubled by counter-claims by Te

In 1998 when the Ngai Tahu ClaimsSettlement Act was passed, NgaiTahu as an iwi rejoiced. The burdenof Te Kereme (the Ngai Tahu claim)was now lifted from these and futuregenerations of Ngai Tahu whanui.The Crown and Ngai Tahu hadreached an agreement that would"allow the taniwha of Te Kereme" tobe laid to rest.

The Crown however is not theonly party who has historically failedto acknowledge Ngai Tahu ranga­tiratanga and mana within the NgaiTahu takiwa. Ngai Tahu is today, asit has been many times before,locked in a series of battles with otheriwi who have lodged claims to therights confirmed and guaranteed bythe Treaty of Waitangi and held byNgai Tahu whanui within the NgaiTahu takiwa.

These challenges by Te Tau lhuiwi to Ngai Tahu rangatiratanga, andthus to "rights in", or "ownership" or"possession" of land and resourcesin the Ngai Tahu takiwa, began manygenerations ago and they continuetoday. For over 160 years Ngai Tahuhas successfully defended itselfagainst these challengers and it mustcontinue to do so. If these latestchallenges were to succeed theywould undermine the very foundationstones on which the settlement of TeKereme rests.

19th CenturyThe traditional history and whakapapaof Ngai Tahu whanui is inextricablylinked to the lands ofTe Waipounamuand its geographical features. Amongother things, these histories tell of themythological events and people thatformed the land; the migrations ofpeoples to the area and the eventsand experiences of those peoples,as over time they asserted theirmana and established theirrangatiratanga within thegeographical boundaries of the NgaiTahu takiwa.

I

I~I~c»:IJ-<C-en-cc-fmen

1 This does not preclude the iwi from benefitting from the 'develoment potential' of those pre-existing rights.

2. In 1988 on the recommendation of the Waitangi Tribunal, the Treaty of Waitangi Act 1975 was amended allowing the tribunal to refer Maori vs Maori issues to the Maori Appellate Court for determination. 3 The full judgement is in the Ngai Tahu Report 1991, p. 1122.

12 TE KARAKA Kahuru I Autumn 2001 Kahuru I Autumn 2001 TE KARAKA 13

K a h u r u I Au 1u m n 2001 T E K A R A KA 15

na Helen BrownParata, Kahu Te Kanawa, Te Aue Davis from Aucklandand Kath Waiari of Te Teko were all members of theinitial group who made the decision at this exhibition towork collectively on a kakahu. Amonth before completionof the panels was due, two weavers who had originallybeen involved, were unable to complete their panels.At the last minute Digger Te Kanawa's daughter Muriand moko Cloudy joined the group and speedily wovethe two reqUired panels in time for all seven panels tobe joined together. It was then taken to Noumea as aworking display project where the final rows werecompleted at the South Pacific Arts Festival.

"Because it was a bit different there was somediffidence about whether it would work or how it wouldfit together," says Cath. But the completed kakahu isexquisite to behold. From the feathered side, the cloakappears seamless and on the back the joining lines arevisible but beautifully integratetl. Cath says that workingon this project made apparent the need for the weaversto be close together to allow for ongoing comparison oftheir weaving and to ensure a similar tension ismaintained for ease of joining.

Cath has started working on a cloak with a groupfrom Oraka Aparima who are currently about halfwaythrough their preparation and, as she says, "it's thepreparation as much as the weaving that takes the time".It is hoped that the weaving will get underway in 2001and the cloak itself will be completed by the end of theyear. Collective cloak-making projects at Puketeraki,Taumutu and Tuahiwi are also likely in the near future.Cath says, "my dream is for every marae to have atleast one cloak, and then when the people know how todo it the whanau can get together and make their own".

Diggeress Te Kanawa, Oath Brown and Reihana Parata holding the kakahuafter the joining was completed.

A Cloak for Every·marae

The history of cloak-making in Ngai Tahu is very oldbut in recent years there have been few of our peopleusing traditional methods to make kakahu. While somebeautiful examples from the past exist in the South, manymarae have no cloaks at all.

Cath Brown is keen to change that. She is at theforefront of a movement towards the revival of traditionalcloak-making among Ngai Tahu.

Central to this revival is an innovative approach toweaving which involves making separate panels that arelater joined together to form a complete kakahu. Thisallows more than one person to work on the same cloakconcurrently. Cath sees this method as a feasible andless frightening way for Ngai Tahu to make cloaks

"I was thrilled about it. I saw it as a way that wehere in the South could make cloaks. The prospect ofweaving a whole cloak on yourown would preclude mostfrom ever getting round to doing it Whereas it everyoneonly had to do a small panel. .. then it was possible.

This technique was developed by reknownedweaver Diggeress Te Kanawa, and was the method usedfor the creation of Nga Here 0 Te Ao, a cloak woven inseven panels by weavers from throughout Aotearoa,including Cath Brown.

The idea for the creation of Nga Here 0 Te Aointerpreted as "the weaving of the threads of the newworld together" was born at a major exhibition of thesame name held at Te Papa as part of Festival 2000.The exhibition, showcasing some of Aotearoa's mostaccomplished weavers, drew huge crowds - more than50,000 people visited. Alongside their cloaks, theweavers themselves worked on weaving projects duringthe festival.

Ngai Tahu weavers Cath Brown and Reihana

na Sandra Cook

Court has now been enshrined inlegislation and ''forms an integral partof the Deed of Settlement".However, Ngati Apa are permitted toattempt to seek a ruling from theHigh Court that there were someprocedural issues which may haveresulted in a breach of natural justiceto a small number of Ngati Apapeople. This case is expected to beheard early in 2001 (over 10 yearsafter the original decision).

Te Tau Ihu iwi have also beenactive in the political arena. Severaliwi made submissions eitheropposing or seeking changes to TeROnanga 0 Ngai Tahu Bill and theNgai Tahu Claims Settlement Bill.None of those submissions weresuccessful. Six of the iwi are involvedin a petition to Parliament asking thatthe conclusions in the MaoriAppellate Court decision beinvestigated. That inquiry is on hold,pending the outcome of the NgatiApa case in the High Court.

In addition to those challengesall Te Tau Ihu iwi, with the exceptionof Ngati Koata, have lodged claimsto the Waitangi Tribunal claiming thatthey have rights within the Ngai Tahutakiwa protected by the Treaty ofWaitangi and that the Crown has insome way breached those rights.Those hearings got underway inAugust 2000 with the first week ofhearings of the Ngati Rarua claims.

As a general proposition, NgaiTahu supports all other iwi as theyseek to establish their WaitangiTribunal claims and to seek redressfrom the Crown for breaches of thetreaty. However, when those iwiseek to claim rights within the NgaiTahu takiwa, then Ngai Tahu willonce again be forced to take allavailable steps to defend its rights.

accepted, the settlement containedboth cultural and economic redressand, most importantly the Crownacknowledged that:

"Ngai Tahu is today, and wasat the time of the signing of theTreaty, the tangata whenua withinthe boundaries already confirmed inthe Te ROnanga 0 Ngai Tahu Act1996."6

And in the Apology, the Crown:

When the Maori AppellateCourt decision was first released itwas the subject of a number ofunsuccessful legal challenges by TeTau Ihu iwi, including an attempt tohave the case appealled to the PrivyCouncil in 1993. With those appealsdismissed, and with the MaoriAppellate Court and WaitangiTribunal findings with respect to NgaiTahu's exclusive status and rights inthe Ngai Tahu takiwa incorporatedinto a Deed of Settlement and threesets of legislation, Ngai Tahu thoughtthat the challenges of Te Tau Ihu iwiwere finally put to rest.

But that has not proved to bethe case. If anything, Te Tau Ihuchallenges have increased inintensity and diversity. In 1998, NgatiApa initiated a fresh set ofproceedings in the High Courtseeking a ruling that the MaoriAppellate Court decision should beset aside. Both the High Court andthe Court of Appeal have ruled thatthe application could not succeed asthe decision of the Maori Appellate

"apologises to Ngai Tahu for its pastfailures to acknowledge Ngai Tahurangatiratanga and mana over the SouthIsland lands within its boundaries, and,in fulfilment of its Treaty obligations, theCrown recognises Ngai Tahu as thetangata whenua of, and as holdingrangatiratanga within, the takiwa of NgaiTahu Whanui: 7

investigation, the Waitangi Tribunalthen issued its findings on the NgaiTahu claim. In essence, the majorityof the claims to the Waitangi Tribunalwere upheld, including the claim thatthere were repeated failures onbehalf of the Crown to recognise andprotect Ngai Tahu rangatiratangaover its lands and to ensure that NgaiTahu retained full exclusive andundisturbed possession of thoselands for as long as they wished todo so.

In particular, the tribunal foundthat the Crown, on numerousoccasions and in various ways, failedto recognise and respect Ngai Tahurangatiratanga and status as thetangata whenua within the Ngai Tahuclaim area and recommended thatthe Crown "restore to Ngai Tahu theirrangatiratanga and hence theirmana within the Ngai Tahu whenua".The Waitangi Tribunal went on to saythat it was clear that appropriatetribal structures would need to be putin place to control and administertribal assets.4

That recommendation of thetribunal eventually led to thepassage ofTe ROnanga 0 Ngai TahuAct 1996, which incorporated theMaori Appellate Court decision intothe act in its definition of the NgaiTahu takiwa.5

Ngai Tahu then entered into fullnegotiations with the Crown to settleTe Kereme. Those negotiationsconcluded with the signing of theNgai Tahu Deed of Settlement in1997 and the passage of the NgaiTahu Claims SettlementAct in 1998.Again, the decision of the MaoriAppellate Court was incorporatedinto the legislation as the definitionof the Ngai Tahu takiwa, and fromthat definition the Ngai Tahu Claimarea.

The justice of the Ngai Tahuclaims against the Crown had been

4 Paragraphs 24.2 and 24.3, Ngai Tahu Report 1991, p. 1052.

5 Section 5, Te ROnanga 0 Ngai Tahu Act 1996.

6 Paragraph B, The Threads of lime, Ngai Tahu Claims Settlement Act 1998.

7 Section 6 (7) Ngai Tahu Claims Settlement Act 1998.

8 Ngati Apa Ki Te Waipounamu Trust v the Queen per Blanchard and lipping JJ, p. 692 NZLR.

14 TE KARAKA Kahuru I Autumn 2001

OJoczc»~c-en-cc-Imen

c-:IJmod:IJo."-I:::cm-<m»:IJ

and performance, and I've also always been intotechnical gadgetry.

My mother (Irihapeti Ramsden) later said she didn'tknow how I'd ever be able to resolve my interests in twosuch apparently opposing areas, but I seem to havefound my niche.

When I was studying for my BA at VictoriaUniversity, majoring in History and Maori, I spent as muchtime at the theatre and film department as in my officialclasses. So much so, that even the tutors in the theatreand film department thought I was majoring in theirsubject: I just must have been in someone else's class!

TK: What do you hope to achieve (professionally/creatively) in the future?

TK: What are your all-time favourite movies?

PB: City of Lost Children, Brazil, Matrix. Most recently, Ireally recommend the Iron Giant.

PB: If I can carve a career in which I do a combinationof commercials and longer form drama and films, I'd behappy. Commercials are a great rewarding short buzz,but a drama is better for something to sink your teethinto. They also have a lot more cred in the real world.Although you'd be surprised at how similar the craft isbetween a big budget commercial and a film.

TK: Who is your greatest inspiration?

PB: Professionally, Peter Jackson's got to be a biggie.And not really because he's shooting the biggestcinematic project in the world, ever, which in itself is mind­blowing. But that he's making it at home. Lord of theRings has its base about 1km from my house;Hollywood's come to him. I'm a bit of a home-boy, soPeter's a great inspiration from that point of view.

Personally, Hoani Tikao rates. He signed the treatyas "John Love" at Akaroa. He toured the world, schooledup, picked up a couple of extra languages, learned mathsand trigonometry, then brought it back home and fought ~

PB: Commercials - only very slightly. Drama - certainly.Being Maori probably affects my work in all sorts of waysthat I don't consciously realise because I've neverexperienced not being Maori.

The biggest way it overtly affects me is in the kindof production I choose to work on. Given the option, Iwould rather tell a Maori story than a non-Maori one.

Partly this is for selfish reasons. There are so manyfantastic stories to be told, and our history is sointeresting and unique, that it's easy to find a story totell.

However given that any film-making project is alsoa financial one, the stories also need to be universal, toreach a broader audience than just Maori. Again, manyof our pOrakau and much of our recent history haveparallels overseas.

TK: How did you get started in the industry?

PB: The hardest thing about the job for me is thediplomacy required. It's a really important skill that I didn'treally think about when I started. In the commercial world,working with an advertising agency and with clients whoare paying the money can be stressful. With drama, it'sproducers and whoever is putting up the cash. Andbroadcasters, in the case of television.

You may be the director, but unless you're GeorgeLucas you never have complete creative control overwhat you're doing. That can be painful if the project hasbecome your baby.

TK: Is there much support for Maori working within thefilm industry?

PB: An official network does exist, in the form of NgaAho Whakaari - Maori in Film, Video and Television. Ithink it's particularly strong in Auckland, but it's definitelya good start for other people around the country. Theiremail addressiswhakaari@airforce.co.nz. There arequite a few Maori dotted throughout the industry, butthere's definitely room for more.

TK: Does being Maori influence your work in any way?

PB: I went to the New Zealand Broadcasting School inChristchurch, which I really recommend as a place toget a solid background in the technical aspects oftelevision production. It's not an arty film school, so don'texpect to learn much about Russian film-making, orGerman Expressionism, but it's a good basic training. Ifyou want to get arty from there, great, go ahead.

TK: Did you always want to be a film-maker?

PB: Not at all. As a kid, I don't think I really thought aboutbeing anything. However I've always been into drama

Young Director of

TK: What has been the most exciting project worked onto date?

PB: Lots of different moments across lots of differentjobs. Usually involving helicopters! Diving into theWestpacTrust stadium in a helicopter for a commercialfor Super 12 was pretty fun.

TK: How about the most challenging?

PB: Officially I'm self-employed, although I spend a lotof my time at Silverscreen Productions in Wellington, acommercial production house. The television film I shotthis year, "Fish Skin Suit" written by Briar Grace-Smith,was done through Kahukura Productions, also inWellington. This screened on TV3 in January.

I also co-directed the "Blastback" ride film thatscreens as an interactive ride at Te Papa in Wellington.

Commercials I've done that have been on airrecently include the Toyota Rav4 ad (in which a buildingcollapses and a man falls down a manhole - ha haslapstick), DB Draught "Pub Heaven" (classic beercommercial), and Land Transport Safety Authority "FarmGate", in which two cute kids get thrown thirty feet into aditch by a reckless speeding driver. Apparently that'sone of the most hated ads on air. Well, that was mybrief.

TK: What have you been working on recently?

PB: There are zillions of different skills you need as adirector, from technical know-how, to peoplemanagement and diplomacy, to visual and conceptualcreativity. It's the fact that people come to the job withso many different kinds of skills that makes differentdirectors interesting. One of the main and mostconsistent things is that because film is always acollaborative effort, you need to be able to work withother people and communicate well.

TK: How do people react when you tell them what youdo?

PB: They go "ooh" when I tell them I'm a director, then"oh", when I tell them I make ads.

PB: Trying to work within the deadlines of a 10 or 12hour shoot day, trying to minimise overtime (which getsvery expensive very quickly), without making too manycompromises. There never seems to be quite enoughtime in the day, so that's always a stress.

TK: What is the hardest thing about being in this line ofwork?

TK: What is the best thing about working in the filmindustry?

Peter Meteherangi Tikao Burger

TK: What area in particular do you specialise in?

TK: Does it (as an industry) deserve its glorifiedreputation?

Peter Burger was recently awarded "Young Director ofthe Year 2000" at the Australasian Television Awards inSydney. Of Kati Irakehu, TOtehuarewa, Kati KUri andRangitane descent, he is from the Tikao, Solomon andManawatO whanau. One of his ads (Toyota Rav4) alsowon "Best Commercial" in the Fair Go "Best and WorstAds" awards last year. Te Karaka catches up with thistalented young man and gets the low-down on the filmand television industry...

PB: The basic thrill is about telling a story and gettingpeople to respond to it. Shooting drama (includingstorytelling commercials that are shot using cinematiclanguage) is my personal favourite, because an audiencewatches a story that never actually happened.

They can see a person going through an emotionor an experience, they can see another characterresponding to that, and yet it's all rubbish. Everybodyknows it's not real, and yet the suspension of disbeliefthat people allow you so you can tell them a story isamazing. The fact that an extremely contrived situationcan come across on screen as a natural moment - Ifind that magical.

PB: Yes. (Ha ha.) No. Um ...yes and no. The actual workthat goes on within the film industry doesn't deserve anymore interest than many other industries. It's work: it'slong hours and having to get on with your co-workersand stress and all that other normal stuff.

There can also be creativity, great locations,overcoming obstacles in clever ways, and greatteamwork; but that also applies to building a big bridge.

The only place that there is glory is in what's actuallyon screen. The fact that people save the earth time andtime again deserves lots of glory, but that's in the movies,not in real life.'

PB: I'm a director. Most of the time I make commercials.I seem to be particularly working on jobs that require astory to be told, good performances from actors, andalso special effects. I'm lucky enough to be generallyworking on bigger budget ads, which means Iget to playwith lots of toys, get to work with highly skilled peopleand spend time crafting the project.

TK: What kind of a person do you need to be, to dowhat you do?

16 TE KARAKA Kahuru I Autumn 2001 Kahuru I Autumn 2001 TE KARAKA 17

18 TE KARAKA Kahuru I Autumn 2001

PHOTOGRAPHS FROM WHAKAPAPA NGAI TAHU

Kahuru I Autumn 2001 TE KARAKA 19

na e en Brown"I have had tremendous reward out of this, and W

have enjoyed getting back to my roots, and feeling as L­though I have been able to make some kind of Ccontribution to our tribal activities as well." al

More recently Graham accompanied a group ofNgai Tahu and representatives from other iwi to Japan J:in 2000. This visit familiarized the group with the fishing ....scene in Japan and highlighted the Japanese _commitment to supporting the development of :::::::­indigenous fisheries. >

By the late 1980s JATRA had grown into a tradingrather than a consulting business and was sourcing enproducts for the Japanese market as well as beginning ento actually produce products for the market under its Wnew flagship company High Tech Foods, run by ZGraham's eldest son, Michael. It was at this time while -working closely with Japanese food manufacturing encompanies that Graham developed an interest in wasabi,the distinctively green, hot condiment that is particular ::Jto Japan. al

Graham set up a company to trial growing wasabiat the mouth of the Rakaia. Initial trials led to the <conclusion that a large-scale wasabi operation wouldbe near impossible due to the lack of availability of thehigh volumes of water required. Traditionally wasabi isgrown in running water on terraces, its main nutritionalrequirement being aerated water. Ambitiously it wasdecided to trial growing wasabi in soil, a process forwhich there were few precedents internationally.Research and development ensued.

Many trials and a number of failures later, Graham'scommitment to wasabi has paid off. His company hasnow developed a formula that is working well. In additionto their own production operation (which is run byGraham's second son), they have four contract growerswho have been taught the necessary productionmethods. Further trials are now being carried out inSouthland, where wasabi is being successfully grownwithout the shade necessary for production inCanterbury. It is projected that in the future most of thecompany's volume of wasabi production will come fromSouthland.

The launch of a new range of wasabi-basedproducts is set for some time in the first quarter of 2001.The range will include culinary delights such as sataysauce with wasabi, smoky tomato sauce with wasabi,wasabi mayonnaise and even wasabi cheese. The labelfor these innovative products is PIRANHA (after the fish)- check them out, they're guaranteed to bite!

From advancing Ngai Tahu's fishing interests in Japan,to growing wasabi, Graham Kitson, whose Ngai Tahulinks are in Murihiku, has pursued a diverse range ofbusiness ventures. As Managing Director of JATRACorporation Ltd he heads a group of companies uniquein that their business focus is almost entirely on Japan.

Graham Kitson's enthusiasm for Japan is obvious.He speaks the language, has lived and worked there ona number of occasions and visits Japan frequently. Whenhe describes the wasabi production branch of hisbusiness, the appropriately green-coloured book on thesubject that he draws from a nearby shelf is written inJapanese not English.

This avid interest in Japan developed in the 1960s,a time when there was not even a direct flight to Japanavailable. On completion of his master's degree inAgricultural Economics at Lincoln University, Grahamand his family spent a year in Japan on a fellowship. Helater returned to Lincoln University, where he worked onJapan/New Zealand relationships, with a specific focuson market research and trade policy. Further work inJapan involved studying business distribution andagricultural policy, including an analysis of potentialproducts that New Zealand could grow for the Japanesemarket.

Inefficient methods and expensive aspects ofJapanese agriculture mean that importation of productsfrom elsewhere is often more economical than localproduction. Graham's first-hand knowledge of Japan andunderstanding of the Japanese market placed him in afavourable position for starting a consulting business in1980 that investigated Japan/New Zealand tradeprospects. Horticulture was the initial focus of thebusiness; that marked the starting point for developmentof the impressive group of companies known today asJATRA.

The subsequent and ongoing success of Graham'sbusiness endeavours has stemmed from commitment,passion and long-term business relationships withJapanese companies and individuals. Personal andprofessional links are inseparable in JATRA's businessphilosophy. This is exemplified in the liaison role thatGraham has played in relation to Ngai Tahu fishinginterests in Japan. JATRA has a strong relationship witha Japanese group called Yamada Corporation. In 1989Graham personally accompanied Sir Tipene O'Reganto Japan to meet Mr Yamada, the head of this corporation.He enabled and coordinated what has been an ongoingrelationship between Ngai Tahu and this Japanese group.

face of all those "Northies", even though I was born andraised in Wellington.

It means going home is an event, because there'sa body of water and reasonable distance to cover to getthere.

It means knowing that some day in the future I willmove back home, but not for a long while, because thisis where the work is.

It also means being proud of the recentachievements of Kai Tahu, without having had any directinvolvement at all, and it means going in to bat aroundthe dinner table on a regular basis.

the good fight, personally measuring land that was beingsold around Banks Peninsula so they didn't get rippedoff by the surveyors. My full name is Peter MeteherangiTikao Burger, so I'm always reminded of him.

TK: What does being Kai Tahu mean to you?

PB: While working in Wellington, being Kai Tahu meansnot seeing relatives at all, on a day-to-day basis. It meansflying the flag really high because you're in a minority.

While I was at varsity it was great because mycousin Hana and I could rant on about Kai Tahu in the

Right:Ellen Reynolds (daughter of Annie Haberfield andGeorge Reynolds, married Martinus Waterreus)pictured with her children George (back left), Annieand Leslie (front). The photo was sent to us by JuanitaHoani, a great-great-grand-daughter of EllenReynolds.

::JJ:

~--<CJZ<a.<a.~<J: L--_--"'--''---,~:''::'''''O.; t.

3: Above:The Hunt and Finnerty family photographed at LeithValley, Dunedin, around 1906.Back row (I-r): Bill Hunt, Lizzie Hunt, Michael Finnerty,Susan Finnerty (nee Hunt), Fred Hunt, Tom Hunt,Agnes.Centre: Charlie Hunt, Lisa, Clara, Jim, George and TomFinnerty, Alice (Dolly).Front: John, Mary (Diddie), Nellie, Annie and EvaFinnerty. Photo provided by Rita MacDonald.

Heralded as "one of the country's most gifted sportswomen", AmiriaMarsh has achieved sporting success that most could only dream of.At just seventeen years of age she has represented New Zealand atbasketball, cricket and rugby and was also a member of the Olympic2000 development squad.

II~AMIRIA MARSHI~~ A Rising Star Flying High:1«:'0:.f_

~« Amiria (Ngai TOmatak6kiri, NgaiTahu) is the youngest of five children.She was born in Melbourne,Australia, where she lived until theage of five, when she and her motherTina returned to New Zealand andsettled in Temuka. It was at this veryyoung age that Amiria first showedher sporting talent when she cleanedup in every event at the TemukaPrimary School athletics champion­ships. Something she continued todo throughout her primary schoolcareer while also excelling at cricket,netball, miniball, hockey and rugby.

In 1996 they moved toChristchurch, where Amiria attendedShirley Intermediate before movingto Avonside Girls' and then on to StAndrew's College, where she iscurrently deputy head-girl.

In 1999 Amiria was picked asa member of the national WhiteFerns training squad for the worldcup cricket held in December. Shewas also picked as a member of theBlack Ferns women's rugby squadto go to Canada for the Canada Cup.A remarkable feat for anysportsperson at any point in theircareer, but even more so for aseventeen-year-old schoolgirl.

Being a double-capped nat­ional sportswoman eventually tookits toll on Amiria and after months oftwice daily, seven days per weektraining she decided to relinquish herposition with the White Ferns squadto focus on her rugby, which shebelieves is her stronger sport. Amiriasays that it all got a bit much for herafter a while and that lead to herdecision. Added to the training

pressure was her schoolwork, whichshe says suffered as a result of herrigorous sporting commitments.Making tough decisions regardingher sporting career isn't new forAmiria. At the tender age of fifteenshe had been faced with choicesbetween athletics and basketballand basketball and cricket.

Amiria had a successful debutwith the Black Ferns in Winnipeg,Canada. Their coach Darryl Suasuadescribed her as CIa true all-roundathlete" and said he was veryconfident about her position in theteam. They spent three weeks inCanada and won the competitionplaying in temperatures of minuseight degrees.

Playing in teams where she isoften the youngest doesn't botherAmiria. She says that she generallygets on well with her team-matesand actually finds it more difficultgoing back to school to friends herown age after long periods away withsport. She puts this down to havingalways played in age groups olderthan her own. The only problem shefinds is that sometimes she feels heropinions aren't taken seriouslybecause of her age.

In 1999 Amiria received anumber of acknowledgements forher sporting prowess. The list in­cluded: Junior Female Sportspersonof the Year in the 2000 Canterburyof NZ Sportsperson of the yearawards, a Zonta Sports Award for thebest all-round young sportswomanwho has achieved in more than onesporting code, Highly Commendedand Champions Awards, in the

Sunday Star Times Sportfit FutureChampions Awards, finalist in thejunior sportswoman section at theMoana Pacific Maori Sports Awardsand was a recipient of a Mana MahiMana Taakaro Scholarship entitlingher to $1000.

This year, if selected to playwith the Black Ferns, there's theHong Kong Sevens in March, a visitfrom the English team and then a tripto Australia. And, apart from rugby,Amiria plans to focus on her schoolwork to ensure her grades are goodenough for her to attend universityin the future. As yet she's not surewhat she will study but one can onlyimagine that her choices won't belimited.

It hasn't been easy for hercombining her schooling with sport.With time away for competitions,personal training and team practices,school and study has often had tocome second-best.

The motivation for heroutstanding successes are her highexpectations, ambition and herattitude - she doesn't go out for fun,she goes out to win. As Amiria says,she would play social grade if shejust wanted to have fun.

Where will the future takeAmiria? Wherever her heart desires.Her short-term sporting goal is tomake the team for the 2002 WorldRugby Cup in Barcelona. By agetwenty-five she plans to have retiredfrom playing competitive sport andwould like to be concentrating on hercareer - perhaps as a national sportscoach - she's not sure.

:cena:«~

«-a:-~«

20 TE KARAKA Kahuru / Autumn 2001 K a h u r u / Aut u m n 2001 T E K A R A K A 21

Ngai Tahu Finance LtdCreating Wealth, Benefits and Employment formembers of Ngai Tahu around New Zealand

There has been some redefinition of personnel. WWith the anticipated accelerated growth, Kevin Coakley,a director since 1997, has taken up a part-time role as 0Managing Director. Ngaire Mason continues in a full- Ztime role as Manager of Customer Services. Mr Richard «Parata joins the board as Chairman in place of KuaoLangsbury, who has taken over the very demanding role Zof Chairman of Ngai Tahu Holdings Corporation, and ­Roy Tikao joins the board as a new director. L1..

The overriding vision is to create a special finance ~company where Ngai Tahu can obtain funding which will --'give them opportunities to live and work in an :I:environment equal to all other New Zealanders, while «providing benefits back to the Ngai Tahu Group that will I­enable it to meet its own objectives by way of bothfinancial and non-financial dividends. _

Funds are currently available for business lending 1«and Kevin Coakley and Ngaire Mason welcome your ,"enquiries. They can be contacted on: '-'

Kevin (03) 3667154 or 025 226 4613; ZNgaire (03) 371 2603.

for consumer and/or small business (commercial)lending on behalf of the Ngai Tahu Group;

• to provide affordable financial assistance to NgaiTahu to establish themselves in business or to enablethe expansion of existing financially viable operations;

• to provide financial assistance to approved trainingschemes through the vehicle of Ngai Tahu DevelopmentCorporation to enable the training which will give NgaiTahu members preferred placement in segments of theemployment market;

• to provide financial market returns for the Ngai TahuGroup for the ongoing investment and welfare of all NgaiTahu whanui.

The company has undergone a capital restructureand the decision has been made to create a trust deedand appoint a trustee with the aim of putting Ngai TahuFinance Ltd in the same market as any other financecompany. Future funding of the company's lendingactivities will come from client deposits. Ngai Tahu willtherefore become depositors as well as borrowers. Theywill also have their own institution to accumulate savings.

•.

Since 1994 the company has operated in a muchlower interest rate environment than the Mana EnterpriseScheme and it has not been able to provide the samediscounted interest rates. A natural progression of a lowerinterest rate environment is the need to reduce theincidence of bad debt provisions and this has created amore stringent credit assessment policy. While manystill regard the company as a type of Mana EnterpriseScheme, there is no room for venture capital type lendingas the company must operate on a truly commercialbasis.

From July 1999 some lending to other than NgaiTahu has been made but only if 80% of the loan portfolioconstitutes Ngai Tahu lending. The current lending toother than Ngai Tahu is very small. The directors seethe expansion of lending outside Ngai Tahu as thequickest way to expand the loan portfolio and financialbase that will ultimately provide greater profits anddividends for the shareholders and therefore greaterbenefits for all Ngai Tahu.

The board of Ngai Tahu Finance Ltd remainscommitted to the future success of the company but seesa need to look beyond the present scale of operations.

The Ngai Tahu Finance Ltd objectives have beenredefined and expanded as follows:

• to be the sole provider of financial assistance

When the Mana Enterprise Scheme stopped in April1994, Ngai Tahu Finance was formed to take over theexisting loan portfolio. As there would be no furthergovernment involvement by way of grants foradministration or further funding to increase the loanportfolio the new company needed to be strictlycommercial in all aspects.

The board of directors came from those memberson the Mana Enterprise Committee at the time, with theaddition of a further person to provide loan assessmentexpertise. In order to be competitive in the market, anddrawing from the experiences of the Mana committee,the finance company had to lay down a number of newservice standards for itself and its customers.

In the years since 1994 the company has grown ata steady rate and provided good profits and dividendsfor its shareholder and therefore ultimately for all NgaiTahu whanui. Lending until July 1999 was exclusivelyto Maori with 90% to Ngai Tahu. The objective of anylending was to give assistance to Maori for thedevelopment of business and, through this, provideMaori with employment opportunities.

Since 1994 the loan portfolio has grown to over$4.4 million, 120 successful business ventures havebeen funded and over 300 full-time jobs were sustainedas a result of this support.

22 TE KARAKA Kahuru I Autumn 2001 Kahuru I Autumn 2001 TE KARAKA 23

Shall I turn on the stove? Mahaku te to e whakaka?

What are the (breakfast) foods? He aha ka kai mo te parakuihi?

Can you please wash the dishes? Horoia koa ka rihi?

Homai te (huka)Kororitia te (hupa)Tapatapahia ka (karoti)Tapahia te (mlti)Mauria mai te (koko)Warua ka (riwai)Haere ki te whakataka (kai)

Kua reri te (tina)?

He (kapu ti) mahau?

He (paraoa) ma koutou?

Mahaku te (kOmete) e whakapiako?

Is (dinner) ready yet?

Would you all like some (bread)?

Would you like a (cup of tea)?

What time will (breakfast) be ready? He aha te wa ka reri ai te (parakuihi)?

Shall I fill the (water jug)? Mahaku te (takawai) e whakaki?

Naia etahi patai rna te kautaHere are some questions for the kitchen

Koinei etahi karero whakahau hei tirnataHere are some commands to start with

Ko ka kiaka e whai ake nei ko etahi 0 ka korero hei awhina i a koutou ko towhanau i a koutou e taka kai ana. He pai pea kia whakairia enei kiaka kiruka i ka pakitara 0 to kauta kia taea ai e koutou ka kupu te panui i a koutoue mahi ana.

The phrases that follow are some sentences and words to help you andyour whanau when preparing food. You could perhaps make them intolabels to hang on your kitchen wall so that you can refer to them when youare working in the kitchen.

Shall I empty the (bowl)?

Pass me the (sugar)Give the (soup) a stirDice the (carrots)Cut the (meat)Bring me the (spoon)Peel the (spuds)Go and prepare the (food)

Korero

JJ

1

Now some people mistakenly think that it is a waste of time using te reo ifthey don't know a lot - but they are truly mistaken! The truth is no matterhow much reo you know it is good to use it. We need to speak ourlanguage so that our children and grandchildren can hear the beauty andsweetness of te reo Maori.

Te Pataka

Na, kei te pohehe etahi, he moumou wa noa iho te mahi i te reo mena he itite reo to te takata. Ehara! He pohehetaka nui tera. Ekari ano e hoa ma,ahakoa te iti, te rahi - mahia to tatou reo! Korerotia tenei taoka 0 tatou kiaroko ai a tatou tamariki, mokopuna i te ataahua me te reka 0 te reo Maori.

Kia ora ano aku whanauka! Na, kua mutu te Kirihimete me ka hararei, a,kua t1mata ke te tau 2001. Apea kua whakatau ke koutou i 0 koutoutOmanako mo tenei tau? Mena kaore ana kia tau ... whakaaro ana mo totatou reo. Ka pehea "koe" e whakaora nei i te reo i roto i to tatou iwi, i tohapO, i to whanau?Kia ora fellow Kai Tahu! Now, Christmas and the holidays are over andthe new year has already started. Perhaps you have already decided onyour new year's resolutions? Well if you haven't... why don't you thinkabout our reo! In what way could you help to revive our language in ourtribe, in your hapO, in your whanau?

So, the challenge has been laid! Give it heaps guys and think about thelanguage when you decide what your personal objectives will be for2001.

Na, kua takoto te manuka! Na reira kia kaha ra koutou ki te ata whakaaromo te reo i a koutou e whakatau ana i a koutou ake whaika mo te tau 2001.

Ka karero rna te kautaSome words for the kitchen

Perhaps you are fed up with the kitchen at this point in time. You'vecooked the Christmas dinner and washed the mountain of dishes thatfollowed... and perhaps your puku is still slightly protruding from all of thekai? Despite all of that, the kitchen is still an important place for thewhanau so perhaps we'll start there!

Ka karero ma te Kauta me te Wharekai

Tera pea kua hoha katoa koutou i te kauta i tenei wa. Kua tunua te kai 0 teKirihimete, kua horoia te mauka 0 ka rihi i muri mai, a, kei te puta whakawahotonu te puku i te nui 0 te kai? Ahakoa tera, he wahi whakahirahira tonu tekauta ki te whanau, na reira he pai pea te whakaaro ki te t1mata ki reira!

In the next issue of te Karaka, we will take a look at some phrases you canuse to praise or give instructions to your child or baby. Mothers and fathersbe alert - if you have any questions or thoughts about phrases you mightlike to know, then send them to Te Pataka Karero. Hei konei rat

Kaua e whakama. He tina pai mena kua mahia e koe te kupu kotahi, terereka karero kotahi ranei! He pai ake te iti i te kore - no reira karawhiuakoutou! Tunua tera kai! Karerotia te reo! Whatiwhati a hope, whiua aurikarika... aaa... kati Hana - hoki ana ki te kaupapa... kai Hana, kai!!!

owa:<CZ:::>a.w.....

ELO

K a h u r u I Aut u m n 2 0 0 1 T E K A R A K A 27

I to te ra whakatuwhera ma te Puna Reo ki Ngai Tahu i te 20o Waru (Hakihea) 2000, ki te whare 0 Te Waipounamu iOtautahi nei. I tae mai nga tangata maha ki te tautoko itenei kaupapa. I tae a tinana te Minita ma nga take Maori aParekura Horomia. Ko tenei te wa tuatahi kua tae ia ki TeWaipounamu hei Minita Maori. Ko ia te kaikarero matua, arate kaiwhakatOwhera 0 te Puna Reo. I mihi mai ia ki a NgaiTahu ma nga mahi kua timatahia e matou ki te whakaora i tereo Maori me nga mahi waiata. I tuku ia i tetahi taonga ki amatou, he pOtatara, he tohu aroha, he tohu whakamaumaharao te ra whakatOwhera i te Puna Reo. Ko te ingoa 0 te pOtatarako "Tataki".

I reira hoki te rangatira 0 Te Taura Whiri, a Haami Piripi,te Pou Whakahaere. Ko ia te kaikarero tuatahi i tewhakatOwheratanga. I whakamarama ia i nga tina mahi 0 tePuna Reo, ara te mahi kohikohi kupu a Ngai Tahu whanuime te tone ma te rorohiko i aua kupu ki te kaikohi kupu mate papakupu matua ki Paneke. E toru tau te roa 0 te mahinei.

to iwi, to mana; to tOraka, to mahi

Te Puna Reo ki Ngai Tahu

Kei te whakatO aTe Taura Whiri i nga puna reo tekau ki nga rohe katoa 0 Aotearoa. Ko te hiahia hoki kia aromai nga tari Kawanatanga ki te Puna Reo ki Ngai Tahu nei me te tautoko ma te pOtea i nga kaupapa reo i TeWaipounamu. Ka whakaritea hoki e nga kaimahi a te Puna Reo ki Ngai Tahu nei etahi wananga reo a Te TauraWhiri. Tirohia ki raro nei ma te wananga reo ki Kaikaura ate 17 0 Kai te Haere (Paenga-wha-wha), 2001.

I tautoko hoki etahi mema 0 te Poari 0 Te Taura Whiri i te hui nei, a Ruka Broughton raua ko Waireti Tait­Rolleston. I reira hoki etahi atu kaimahi aTe Taura Whiri me nga kaimahi e whakarite ana i te papakupu hOu. I taehoki te mema ma Te Tonga, a Mahara Okeroa, me te Pou Whakahaere aTe Mangai Paho, a Trevor Moeke.

I karero a Tahu Potiki, te Tiamana 0 te Poari 0 Te Kaporeihana Whanake a Ngai Tahu, ma te taha ki a NgaiTahu, a, i tuku ia i tetahi kahatu pounamu me te tohu 0 Ngai Tahu ki runga ki Te Taura Whiri. I tautoko nga kaikarerokatoa ki nga waiata ataahua a Ngai Tahu. I rere pai nga waiata kinaki a nga kaimahi ki te whare 0 Te Waipounamume te rapO waiata 0 Te Ahikaaroa. Katahi te ra miharo ma tatou, a, ma te reo Maori.

Ngai Tahu has embarked on a ground-breaking Maori language project in partnership with Te Taura Whiri i te Reo Maori,The Maori Language Commission. The project sees the establishment of an iwi-based "Puna Reo" or Language Spring.

The Puna Reo will become a hub for Ngai Tahu language regeneration and a key link between Maori communities,Government education and Maori Language initiatives in Te Waipounamu.

"We've made a strong iwi commitment to our reo. We already have two people working full-time on projectscontinued over... ~

Ngai Tahu and Maori Language Commission Develop Puna

Ko enei ka (huarakau) ma te (pOrini)

Pokea katoatia ka mea whakauru

Tapiri atu koa he (pepa) ki te (hupa)

Karaka atu ki a ratou kia haramai kite kai

Karoritia te (huka) i roto i to (ti)

He kiaka atu anaSome other phrases

This (fruit) is for the (pudding)

Call them to dinner

Please add some (pepper) to the(soup)

Stir the (sugar) in your (tea)

Mix all the ingredients together

So don't be shy. It is excellent even if you try and use one word or onesentence and just take your time! In terms of using our language, a little isbetter than nothing at all - so give it heaps Kai Tahu! Cook that food!Speak the reo! Shake those hips! Throw your arms about... ahh ... OkHana, enough is enough - get back to the topic... food Hana, food!!!

A te Karaka e heke mai nei, ka huri tatou ki etahi 0 ka kiaka pai hei mihi atu,hei tohutohu atu i te tamaiti, i te pepi ranei. No reira hakui ma, hakoro makia mataara - mena he patai a koutou, he whakaaro ranei e pa ana ki kakarero pai ma a koutou tamariki, tena tukua mai ki Te Pataka Korero. Heikonei ra!

Q advancing the regeneration of our

Wlanguage. We also have the support ofa Ngai Tahu Language Advisory

(I: Committee to help develop a long-termlanguage strategy for the next 25 years.

<C We know that Ngai Tahu reo is the mostZ endangered of all iwi with less than one~ per cent of our tribe fluent in te reo.--' This joint venture project with Tea.Taura Whiri strengthens our capacity to

research our dialects, our idiom and theW language of our tipuna. It is importantI-- that we reconstruct our language, as it

is an integral part of our identity as NgaiTahu," said Mark Solomon, Kaiwhakahaereof Te ROnanga 0 Ngai Tahu. Manuhiri at the Puna Reo launch - among them the Hon Parekura Horomia,

Mahara Okeroa, MP for Te Tai Tonga, Haami Piripi,Chief Executive TeTaura Whiri i te Reo Maori, Trevor Moeke,Chief Executive Te Mangai Paho.

The Maori Language Commission will contribute by establishing a linguistics outpost within the puna, whichwill submit Ngai Tahu words into the first ever online, Maori-only, dictionary. At least 10 such Puna Reo will eventuallybe established around the country for the dictionary project.

"We see these puna as the first step towards establishing iwi and hapO tino rangatiratanga over their languageand dialectal uniqueness," said commission CEO, Haami Piripi.

"It's their reo and their taonga. We just want to bring it together into a resource that will allow them (Ngai Tahu)to access and use it.

If a reo is not used it can't survive. This puna is about Ngai Tahu developing and maintaining Ngai Tahu reo.They are in the best position to protect their reo and we want to help them."

"Our hope is that the new dictionary will become the definitive work for Maori words. The papakupu (dictionary)will become the reference source for the Maori Language," said commission Chairman and kaumatua Patu Hohepa.

"The dictionary is an absolute necessity for the Maori language. The language must be defined in its ownterms, otherwise it remains nothing more than a translation of the dominant English language. The dictionary willprovide an opportunity to learn the Maori language in its own contextual space. That's an exciting and new conceptfor most second language learners."

"I anticipate that as our puna grows it will start to be the centre for a number of other government Maorilanguage initiatives, particularly the Ministry of Education and Community Development programmes," said MarkSolomon. "We're thrilled that national organisations such as Te Taura Whiri are supporting our development."

28 TE KARAKA Kahuru I Autumn 2001

It was a time to relax and forget thepain and politics of the last 150 years.There was no need to look anyfurther than the faces alongside in thehalf-light of the auditorium to see it.A baby beamed. So did his parentsand their parents too - smilesstretched a mile wide.The songs,harmonies and stories took us allback to our childhood and openedup an emotional floodgate ofmemories. We sang, we laughed andwe cheered.

Surrounded by the warmth ofwhanau there was something else ­deeper bonds and a new sense ofunity, as though we were all survivorsof a shipwreck. For many, it was acelebration of the identity and cultureof Kai Tahu in the deep south afteryears of drifting in a culturalwilderness.

There were tears too, perhapsof relief, and an overwhelming floodof pride that warmed the heart. Thefaces around us said it all. This is whowe are. It was a feast for the soul.

The theme for the inaugural KaiTahu Arts Festival held in Dunedin

from September 29 to October 1 wasto strengthen the bindings on thewaka Arai Te Uru. Aukaha kia kaha.

The inspiration for the festivalcame from the iwi itself, after a seriesof hui held throughout the countrygave Ngai Tahu DevelopmentCorporation a clear indication of theimportance of culture and identity inits strategic plan for the next 25years.

The public support for thefestival was overwhelming, with 600people participating in the weekend'sactivities. Of that total, 465 peopleofficially registered and 11 % took thetime to complete a writtenquestionnaire to gauge feedback onthe festival content and programme.Of those, 77% rated the festival as"very good" and 22% as "good".

Critical to the success ofAukaha Kia Kaha was rOnangaownership and commitment to thefestival through its working party ledby Alva Kapa, playwright and artsadvocate Dr John Broughton, KoaMantell, Christine Rimene, HineForsyth, Moana Wesley, Simon

Kaan, Rachael Rakena, Cindy Diverand Rua McCallum.

The most popular event on theprogramme was the Po Whakakahau(concert), followed by Ka Rawe (TheWow Factor), the 13 wanaka, thecontemporary theatre performanceof The Space Within and two visualarts exhibitions Ka Puta Mai andAukaha Kia Kaha (Strengthen theBindings).

The traditional arts wanaka andseminars were stretched to theirlimits with 75 people attending thewhakapapa wanaka and 79 peopleat the puoro whakatangitangi(traditional sound instruments)workshop. Whaikorero (oratory),karaka (ceremonial calling), whakairo(carving), raraka (weaving), ta moko(traditional body art) and mau taiaha(drill) wanaka were well supported andcontemporary workshops on waiata,dance, writing and theatre were alsovery popular.

The two exhibitions of con­temporary Ngai Tahu art, Ka PutaMaiatthe Logan Park Art Gallery andAukaha Kia Kaha at the Dunedin

Kahuru IAutumn 2001 TE KARAKA 29

Reihana Parata demonstrating the art of raraka

heard nothing but good feedbackand had expressed his congratulationsto the organisers. "It was a hugesuccess and Ngai Tahu should bevery proud of themselves," he says."An important feature of the festivalwas how much younger peopleenjoyed it, participated fully andreally felt a part of it." Mr Langsburysays that he would like to see thefestival repeated every two or threeyears with the only change being toopen it up to the general public as ameans of improving relationsbetween cultures.

with no political pressures," Mr Higginssays.

There were many lessonslearnt from the first festival that wouldmake it easier for organisers nexttime, he says. The programme wasambitious with many competingevents split between several venues,making it difficult for strangers to thecity to find their way around. "Onevenue would have been better," hesays. "I would like to see the artsfestival repeated once every four orfive years and maybe more specificevents in the intervening years."

Otakou Upoko Kuao Langsburysaid that although he was unable toattend all of the activities, he had

For a short play promoted as a piece of light, romantic comedy, The Space Within struck a surprisingly emotionalresponse with its iwi-only audience at its opening at the Fortune Theatre during the Kai Tahu Performing ArtsFestival in Dunedin.

The 45-minute theatre performance was specially commissioned by Ngai Tahu Development Corporation forthe festival and continued its season with ten performances during the Otago Festival of the Arts.

The script was developed by Rua McCallum, and supported by script dramaturg Simon O'Connor. The workwas directed by Martin Phelan and produced by Cindy Diver.

The play tells the story of Oraumoa (Keri Hunter) and her old friend Paritea (Maaka Pohatu), who worktogether on board a fishing boat. She meets Matt (Chris Horlock), a confident, articulate student who persuadesher to leave the sea and join him on a journey of self-discovery through drama classes.

Oraumoa is thrust into the role of Miranda in Shakespeare's The Tempest and struggles with a language andculture that is almost foreign to her. She turns to the voice of her tupuna taua, who guides her through her troublesand helps her harness the strengthwithin.

Absence makes the heart growfonder as Oraumoa yearns for herfriend Paritea, whose mana grows inher eyes with his quiet assurance andease in his modest, unassuming life.Paritea and Matt represent twodifferent worlds and she has to choosebetween them.

Disguised under a veil of music,laughter, bold expression and youthfulbanter is a piece of theatre that triggersall sorts of deeper emotionalresponses in its unsuspectingaudience.

The fun starts after the show,figuring out what it was that hit thenerve. Weeks later people are stilltalking about it. Great stuff.

Kahuru I Autumn 2001 TE KARAKA 31

The Space Withil1eviewedbYRobTiPa

consuming, so the festival was awelcome release from the politics ofthat.

Puketeraki Te ROnanga 0 NgaiTahu representative MatapuraEllison agrees that the festival was"great fun without the politics."

"We had almost forgotten theneed to set time aside for ourselvesjust to have fun," he says. "We needmore such opportunities with morelocal events and events organisedbetween rOnaka."

Personal highlights for himwere the high calibre of per­formances in Ka Rawe (The WowFactor) and the wealth and range ofexciting talent in the Po Whakakahau,the two concerts at the DunedinCentre on the Friday and Saturdayevenings.

For Moeraki Upoko DavidHiggins "the inaugural festival wasa success in all sorts of ways",starting with the symbolic delivery ofthe kohatu mauri from Moeraki at thepowhiri.

It was also the culmination of aseries of events that started with ahui for kaumatua at Oraka Aparimaand another hui for 100 rakatahi atMoeraki marae. The Po Whakakahau(concerts) and the play The SpaceWithin at the Fortune Theatre werepersonal highlights. "I saw TheSpace Within twice and it seemseveryone could readily relate to thestory. We're still talking about it. Alot of people would like to see itagain," he says.

"Many older people just enjoyedthe chance to relax with their relations

Highlights for Te ROnanga 0

Ngai Tahu deputy kaiwhakahaereEdward Ellison were the "fantasticfamily atmosphere" and the focus onculture and identity that took manyolder people back to their childhood."I think it should be run annuallybecause it is a celebration of ourculture that relies on peoplethemselves. I really thought itbrought the three rOnanga togetherwithout losing their individualidentity."

Mr Ellison says that the iwi hadfocused its attention on somecomplex issues leading up to thesettlement of the Ngai Tahu claim in1998, which had tended to be all-

Public Art Gallery, had their seasonsextended for ten days when theywere opened to the general publicattending the Otago Festival of theArts. The Logan ParkArt Gallery had3,500 visitors and the DunedinPublic Art Gallery hosted 10,400visitors.

"Attendances even surprisedthe organisers, who ran out ofregistration forms on the first nightof the festival," says festivalkaiwhakahaere Alva Kapa. Peopletravelled from all over New Zealandand even Australia to participate.

"Collectively, the festivalbrought together enthusiasticyoung artists and performers whowere able to stand alongside world­class artists like Jacquie Fraser andPeter Robinson and dancer/choreographer Merenia Gray. Theconcert also produced an amazingcollection of talented performers,"she says.

Ms Kapa says the organisationis in place to run the festival again,perhaps using a bigger venue likethe college of education, poly­technic or university campusesduring the summer holiday periodand possibly alternating each yearbetween Christchurch andDunedin. "I want it to be a festivalof who we are," she says.

Spokespeople for Te ROnangao Ngai Tahu and the three rOnangainvolved - Te ROnanga 0 Moeraki,Kati Huirapa ROnanga ki Puketerakiand Te ROnanga 0 Otakou wereunanimous that the festival shouldbe repeated in some shape or form.

30 TE KARAKA Kahuru I Autumn 2001

BealeWhy?Don't be like a

UselessYellowWrinklyStinkTestCost

GlossaryE to hei rakatiraHe aha ai?Kaua e mahi pemai te hipi!KoretakeK6whaiKOreherehePiroWhakamatautauUtu

awaroNicotil s the principal chemicalfound in Tobacco.

The Maori word for nicotine isparawaro. "Para" meaning impurity 01"waste and "waro" meaning carbONicotine stands near the top of thefor its powerful and bad effects onhuman body. Any experiencgardener will tell you that nicotine ISone of the best bug killers. This ISbecause nicotine is one of the mostpowerful poisons known to mankind.The usage of nicotine in smokingproducts is more addictive than allottter substance abuses put together.

When not smoking, a smokerbecomes very nervous, hypersensitiveand anxious due to nicotinewithdrawal. Thus, when smokersdescribe smoking as relaxing what isreally happening is that smokingsatisfies their nicotine addiction.

1. How many chemicals is tobaccomade up of?A. 640B. 12C. 4000

2. Tobacco contributes to:A. Chronic bronchitis and

emphysemaB. StrokesC. Cancer of the stomach, gullet

and cervixD. All of the above

3. Every cigarette smoked takesapproximately how many minutes offa smoker's life?A. 2 yearsB. 25 minutesC. 45 seconds

4. What percentage of deathsamongst Maori are related totobacco consumption?A. 5%B. 10%C. 30%

He WhakamatautauI mohio ai koe?Did you know?Before the Pakeha arrived, Maoriwere a smoke-free people. CaptainCook first brought tobacco to thisland. Following its introduction,tobacco became valued as an articleof trade. Tobacco was one of the giftsdistributed at Waitangi by WilliamHobson prior to the signing of theTreaty of Waitangi in 1840.

Maori have recognised thenegative effects of smoking for atleast a hundred years. At the start ofthe 1900s, Dr Maui Pomare notedthat smoking around Maori childrenwas bad for their health.

Today the statistics are a realworry. Maori, especially women,have lung cancer rates that areamongst the hiQllest in the world.Tobacco smok mls a factor in mantypes of di$@se and is thereason tot high death raMaori One in twoNearly two-thirds ofsmoke. Therefore rwant to look goo

healthy -

It makes your brIt makes yourIt makes youIt makes yourYou lose theyummy kailThe utu for a packet of cigarettes istino nuil

There is an old whakatauki saidamongst our people.

Ko te mea nui -NI te mahi kaipaipa, ka mate te tangata".

Hui Rakatahi Moeraki,September 2000

Pene Waterreus's first experience ata hui rakatahi has helped motivate alife-long interest in his tribal roots. Ithas also assisted in setting hisacademic goals and he now thinksthat these rakatahi hui should happenat least twice a year.

Pene said that coming home tohis wa kainga and treading thepathway to Aoraki has inspired himto one day come home to TeWaipounamu after being brought upin Te Ika a MauL

Listening to our poua and tauakorero at Moeraki taught him a lotabout the- tlkanga and protocolsrelated t() mahinga kai values.

The rakatahi IUIJoyed theexperiences of aWhanaunga-tanga and g e opportunity tomeet othel". ahu rakatahi withthe same ts. The marae wasbuzzing tahi from dawn tilldark a d by aln

aua

/,

III

Qty: Price:

O~I==:101 I01 I01 I01 I

1$5.00 1

TOTAL! I

PHONE:

Kahuru I Autumn 2001 TE KARAKA 35

AORAKI T-SHIRT - ADULTSOrder No. NTDC3 - Teal S - 5XLOrder No. NTDC5 - Bottle S - 5XLOrder No. NTDC6 - Red S - 5XLOrder No. NTDC8 - Navy S - 5XL$ 20.00 S - 3XL$ 28.00 4XL$ 30.00 - 5XL

AORAKI T-SHIRT - CHILDRENS Sizes 2 - 14Order No. NTDC11 - PinkOrder No. NTDC12 - LemonOrder No. NTDC13 - GoldOrder No. NTDC14 - TealOrder No. NTDC15 - NavyOrder No. NTDC16 - BottleOrder No. NTDC17 - RedOrder No. NTDC18 - Black$20.00

TOI RAKATAHI FOLDER & STICKERSOrder No.NTDC53Ready-to-assemble Toi Rakatahi cardboardfolder and 3 sheets of school stickers. Folderfeatures the Toi Rakatahi bomb.$5.00

Order No: Colour: Size:

ITIIIJJ I IIITIIIJJ I IIITITDJI IIITITDJI IIITITDJI IIPostage and Handling(covers up to five items within New Zealand: Others negotiable)

POSTAL ADDRESS:

HE WAKA HUlA STORYBOOKEnglish - Order no. NTDC43Te Reo - Order No. NTDC44$ 5.00

TE WAKA HURUHURUMANUSTORYBOOKOrder No. NTDC47A5 size$ 5.00

TE WAKA HURUHURUMANU STORYBOARDOrder No. NTDC51Cutout images from the book to stick on the wall,make your own stories. and much more.$ 5.00TE WAKA HURUHURUMANU MAPOrder No. NTDC54$ 5.00

MastercardD

Date:__-'--__!..-__

Complete the order form below and mail to:

Product Orders.Ngai Tahu Development Corporation, PO Box 13-046, Christchurch. Phone (03) 371 0190. Fax (03) 374 9264.

VisaD

TE KETE 0 RAKAIHAUTU STORY BOARDOrder No. NTDC50Beautiful cutout images from the book to stick onthe wall. play games andmuch more.$ 5.00

ALPHABET FRIEZEOrder No. NTDC46Colourful frieze in te reo Maori for tamariki.Each image is an A4 size. (Total 2.52m wide.)$ 5.00

PAYMENT OPTIONS

TE KETE A RAKAIHAUTU STORYBOOKOrder No. NTDC41A5 size$ 5.00

Expiry Date: -1- _

Credit card -

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Signature:

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TE HA 0 TAHUPOTIKIOrder No. NTDC39Tape and booklet of traditionalNgai Tahu waiata$ 5.00

CUSTOMARY FISH ROUND -NECK T- SHIRTOrder No. NTDC23"Customary Fishing Responsible Management.Resist greed, just take a feed." printed on theback.Royal Blue S. M. L. XL. XXL$ 15.00

NUMBER FRIEZEOrder No. NTDC45Colourful frieze in te reo Maori for tamariki.Each image is an A4 size. (TotaI2.73m wide.)$ 5.00

TEAKARAUPOOrder No. NTDC52Tape and bOOklet of creative songs for tamariki.$ 5.00

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MOKI-BOOKOrder NO.NTDC49Moki -A tribal ancestor and the realms ofmyth and history.$ 15.00

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Te ROnanga 0 Moeraki

David HigginsUpoko ROnaka

Careful consideration is being given to other Winvestments. A mataitai application is ready for release ..Jshortly and when successful, will be the largest mataitai _in existence, extending from halfway along Te Kaihinaki LL(Boulders Beach) in the north, surrounding the entire 0peninsula down to halfway along Katiki beach to the a:south.

The rOnaka has received strong local community a..support for this initiative. As a result of thesedevelopments, many of our whanau have returned, and ~many wish to return, home. The rOnaka is keen to notonly ensure that they do, but also that there is somethingfor the many to do when they come home to live - «ensuring the continuance of te ahikaroa practised by Zour tipuna. ~

Although the Moeraki takiwa is large, extending I..."from the Waitaki to the Waihemo, and with shared a:interests inland to the main divide, life and activities arecentred around Moeraki Peninsula as if it were the centreof the universe! Te pito 0 te ao.

Kia ora koutou katoa

peninsula today. Fishing has been in steady decline withmany forced to sell what little quota they had beenallocated and become subservient to the large fishingcompanies.

The local school has now closed and families havemoved away, leaving the only positive glimmer of hopewith the rOnaka and our Kai Tahu families.

The original "Uenuku" was built at the Kaik 132years ago and was relocated to the northern boundaryof the reserve in the early 1900s. As most of our familieshad since moved from the Kaik to be closer to theEuropean settlement, it seemed appropriate at the timeto move the original Uenuku as well.

In 1986 the whanau built a new whare to replacethe dilapidated old hall and Uenuku still stands proudlyon the same site. Fishermen would remove gumbootsand don nail bags at the end of a hard day at sea toensure completion of the building project.

As with every other papatipu marae and theirrOnaka, Moeraki whanau meet monthly for rOnakameetings. Whanau members travel regularly fromAwarua, Waihopai, Otautahi, Otepoti and Arowhenua.The rOnaka has acquired the existing school propertyand school house. The school is used as the rOnakaoffice and the school house is rented to a kaumatua.

Whale washed ashore at Onekakara (Port Moeraki) in the1940s. The blubber from the whale was rendered down to oil.

Tihei mauri ora!

Tiramorehu travelled south following the sackingof Kaiapoi and Onawe pa and settled at Moeraki in thelate 1830s.Those accompanying Tiramorehu includedtohuka such as Te Mamaru, Mauhara, Wi Te Paa andWaruwarutu.

Some of these tohuka received Christian nameswhen baptised at Waikouaiti after settling at Moeraki.The peninsula has been continuously settled by theirdescendants ever since.

In 1849 Tiramorehu wrote his now famous wordsto Govenor Eyre setting the fires of "Te Kereme" alight.A fire that was to continue to burn culminating in theeighth generation of my own whanau being involved withTe Kereme when my mokopuna travelled to Wellingtonfor the final reading of the settlement legislation.

Another migration, this time from the south, arrivedwith the whalers in the 1830s. Amongst those arrivalswere Teitei and her daughter Pokiri. Teitei was thedaughter of Piki and Pahi and the niece of Matarehu, TeWairua and Te Maiharanui (born at Moeraki). Teitei isburied at Tikoraki urupa on the peninsula.

Whaling had a short lifespan in Moeraki lasting onlyten years from 1837 to 1847. A total of 106 whales werecaught and processed at the whaling stations atOnekakara (Port Moeraki).

Other means of survival had to be found and mosttook to fishing. Many descendants of those early whalersstill fish the reefs and tauraka hi ika surrounding the

Ko HateateaKo TOhaitaraKo Te AotaumarewaMe TOahuriri nga hapOKo Te Ahi Tapu 0 Tamatea te takiwaKo Moeraki te kaikaKo Uenuku te tipuna whareKo Tiramorehu te takata

Some say that Moeraki is the repository of Waitaha, KatiMamoe and Kai Tahu whakapapa.This may be so, butsadly, the whanau in Moeraki are no longer thecustodians of their family manuscripts. Thosewhakapapa manuscripts have long since disappearedinto the archives of others. Copies have since appearedand the whanau can once again cherish those wordswritten by their tipuna. I am somewhat bemused as towhy those documents were retained by others for somany generations.

My own whanau have been able to recover themanuscript written by Wiremu Pokuku and Herewini Iraat Moeraki in 1887 entitled: "Ko te pukapuka whakaakoki te korero tipuna", na William Pokuku/Selwyn Eli,Moeraki 26 January 1887. The whakapapa is based ondescent to Rawiri Te Mamaru and his wife Maata Tohu,and includes many stories about Kaiapoi Pa andMoeraki.

The whanau of Aunty Hariata Beaton Morrel (neeHampstead) from Kaikoura have managed to retain theold papers and manuscripts from Moeraki, the onlyoriginal papers of any substance still held by our whanautoday.

Moeraki is an ancient name that occurs throughoutTe Moana-nui-a-Kiwa from Ra'iatea to Rarotonga. Thepeninsula has a long history of settlement from earliesttimes by our Waitaha tipuna through to the present day,where most of the householders are "cribbies".

Ko Te Kohurau te maukaKo Kakaunui te awaKo Te Wai Mataitai te rotoKo Te Tai 0 Arai te Uru te moana

Ko te RapuwaiKo WaitahaKo Kati MamoeMe Kai Tahu nga iwi

W..J-LLoa:a..

~«zI::Ja:

36 T E K A R A K A K a h u r u I Aut u m n 2 aa 1 K a h u r u I Aut u m n 2 aa 1 T E K A R A K A 37

:J:rn-0o

This picture accompanied an articleentitled "Eel and Kanakana harvest"featured in The Australian Woman'sMirror in 1949. There was no captionattached with the names of thewomen. Mrs Ulva Belsham oflnvercargill found the article in ascrapbook and sent it to us. Pleasecontact us at te Karaka if you cangive us any clues.

Promotion for Director of the NgaiTahu Maori Health Research Unit

Photo by Jonathan Cameron

Can anyone identify these taua?

John Broughton, Director of the Ngai Tahu Maori Health Research Unit,has recently been promoted to the status of Associate Professor at theUniversity of Otago. John's contribution to Maori health locally, regionallyand nationally, for and on behalf of Ngai Tahu and iwi Maori, has beentireless and it is wonderful to see him rewarded in this way.

The Vice Chancellor of the University of Otago said that it gave him"considerable pleasure to see meritorious performance acknowledged".

Moeraki Kapa Haka Group entertaining at Oamaru Garden Fete. February 16, 1929Back Row (1- r): Bob Malfhus, the Lighthouse Keeper at Moeraki and Piki (Aunty Bliss) Rehu Tipa.Third Row (1- r): Pani Rehu McKay, Winnie Tipene, Mary Whitau and Lola Reynolds.Second Row (kneeling, I - r): Piki Tipa Reynolds, Queenie Hampstead, Ruby Rehu, Kitty McKay and Billy Edmondson.Front Row (1- r): Rata Pollett, Flora McKay, Lizzie Edmondson, Frances Edmondson Hilda Booth and Vivian Hampstead.

East Coast Iwi visit International Fish Markets

...continued from page 7

By chance Caine saw a newspaper article about Dean Flavelland the training course offered by Manaakitia Trust inWanganui.This private training establishment offered a NationalCertificate in Whakairo and was the opportunity Caine was lookingfor. For the next eighteen months he studied under the guidanceof Dean Flavell, as well as holding down a job in the local freezingworks.

Caine says that since the day he saw Dean Flavell in thepaper, his life has changed and he now has a sense of belonging.It has been a special time for him, learning about mahi whakairo,tikanga and especially being Maori.

Caine hopes to continue with his carving and dreams thatone day Ngai Tahu will have a whare wanaka whakairo in TeWaipounamu, so people like him won't have to move away.

Caine's koha to Ngai Tahu was his first poupou, which hefeels in his heart belongs in Te Waipounamu where he himselfwould like to be one day. With supporters from Wanganui toaccompany him, he handed over his pou whakairo to Mark Solomonat a small ceremony held late last year at Te Waipounamu Housewhere the poupou will be displayed.

Tena koe Caine mo tau koha aroha, tau koha whakahirahiraki tau iwi, Ngai Tahu.

Explanation of the poupou(Based on korero contained in Song of Waitaha)The series of upoko running down the left-hand side representsother iwi and depicts their different carving styles. They symbolisethe takata of the waka of Aoraki. Mahuru is the upoko at the topand Hione is his wife at the bottom.

The tohora and wheke represent the journey to Aotearoa of ""'"'"c.;;a...c....im~__-'--~~~--""""

the Matawhaorua waka. The wheke represents the struggles ofthe people in coming to Aotearoa and the struggles we continue to have today. The tohora also represents te iwiMaori, our majesty, our strength as a people - a people who won't go away.

The main figure represents Rakaihauto and his ko, depicting his exploits including the ropes used to tie thestars (paua insets) to Papa.

Lastly there are three manaia figures representing the three principal taniwha: Huriawa, TOrangihaunoa and TOtekapo.•••

In July 2000 a group representing East Coast Iwi (ECI)made a visit to Japan, the United States and Europe aspart of a wider strategy to develop relationships andsynergies with iwi and grow their involvement andprofitability in the international fishing industry. Thegroup included four Ngai Tahu representatives: CharlesCrofts, Gavin Holley, the General Manager of Ngai TahuFisheries Limited, Clive Morrison and Richard Coleman,also of Ngai Tahu Fisheries.

The market visit provided participants with theopportunity to experience international fish markets first­hand. It also allowed them to meet the major customersof the ECI and to develop an understanding of the keyplayers for their businesses and their future requirements.

Gavin Holley believes that "the New Zealand

fishing industry needs to accept that it can often do little Photo Caption: (I-r): Graham Kitson (JATRA Corp), Charlesto influence the world fish market, but conversely should Crofts (Ngai Tahu Tribal Representative), Ngahiwi Tomoanaalways be able to find customers for its products". (Ngati Kahungunu), Gavin Holley (General Manager,Ngai Tahu

It was a successful endeavour for the ECI members Fisheries Limited ), Dawn Pomana (Ngai Tamanuhiri), Josieand the tour ensured participants developed strong A~derson (Hauraki), Richard C.0lema~ (Nga! .Tahu Fisheriesassociations and friendships, leaving the door open for Limited, Q~ota Ma~ager), D~mse Reld/Ngatl Porou). _.

... Absent: ClIVe Mornson(Wetflsh Marketmg Manager, Ngal Tahufuture communication and bUSiness growth. Fisheries Limited), Toro Waaka (Ngati Kahungunu).

38 TE KARAKA Kahuru I Autumn 2001

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­...

I

II

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Eleven-year-old Rulon Nutira hasbeen playing rugby league since theage of five, was representingCanterbury Country at seven andthe South Island at eight. Rulon is agifted natural all-round athlete whoexcels at most things he attempts,including rugby, soccer, hockey andathletics.

His long-term dream is to playfor the Kiwis and also the Englishleague side the Bradford Bulls. Forthe time being however, he is keento maintain his fitness and hisposition in the Canterbury and SouthIsland teams.

When not playing sport, Rulonattends Templeton Primary Schoolwhere he is currently in Form 1,plays on his playstation and hangsout with his cousin and his mates.

Rulon is the son of Sally Nutira,brother of Jeremy and Arahia andmokopuna of Ben Nutira.

, Glossary:I Home page =First page of a website. Newsgroup =email sent. Hits =visitors to a web page/site.I Skin = A picture that sits on top of your browser etc to make it more attractive.

Kristi Carpenter (centre) with Sheryn Carpenter (left) and Kaja Jungersen

Tahu ceremony by kaumatua Takutai Wikiriwhi and Anita Garland of NgatiWhatua, and Heather Levack, Occupational Therapy Advisory, A+ MentalHealth Service. Matapura Ellison and Khyla Russell represented Ngai Tahu,supported by School of Occupational Therapy staff and students.

Kristi, in accepting the cheque and certificate, said that she would doher best to provide the services that will be required. She acknowledgedher family, particularly her mother who came for the presentation, and herclassmates. She also thanked the school, especially Kaja Jungersen (aNgai Tahu Senior Lecturer) and Alva Kapa (Ngai Tahu Programme Developerwith Otago Polytechnic), who had supported her in her studies andapplication.

CuIture.cO'.:n:i"'ls"rewery compr-el'iensive::ti7Iaori -r-esour.ce -wift:! .cuItur-sr daiIy-wh,ikaf3UKi.,. free. <lCCSSSO lies, Maorilportraits of'publtc figures, fl'ee"onJine're6 M~ori 'courses 'aM much' more;~'"1 One of the more popular facilities of this site is the free web-based email (as discussed in my last article)jir:iCluding @aotearoa.gen.nz. Simple instructions are available and there is a good chance you can get the email8'&dress you want, unlike many of the 'tlther rear eb-based ehJai17li>raviqgrs. ii

Alink with many high-quality free resources for Maori is also available and includes culture.net.nz's own frees.kins for your browser and Winamp.J Media articles of interest to the webmaster are updated r gularly on the home page. There are also discussiongroups for Maori political news, gossip and general Maori issues for all to participate. Also on the home page are:regular whakatauki. If you are really keen to read them all, click the refresh button on your browser, which willbring up a new whakatauki each time.I 0 Gradually Maori portraits with associated biographies are being added of past and present public figures.lSome of the current portraits include: Tahu Potiki, Wirernu Ratana, Whina Cooper, Ap'trana Ngata and Pita Sharples.

Part of the site is dedicated to Maori history and acknowledges the Moriori iwi. Some of the Maori histoiincludes information and pictures of the two Maori battalions that fought in the world wars., This is an excellent, high quality in content and high quality in visual display and navigation, website with alarge number of international visitors. According to the webmaster, over 1000 visitors a day visit this site. To keepi\up to date about the new developments you should join their mail update list. nil Karaitiana .1 Email: karaitiana@dream-it.co.nz

1

Terri Wilson

Take a dash of screaming Hendrix, blend in some BobDylan, smooth it over with a few strokes from Picassoand you have young Maori artist Terri Wilson (Kai Tahu,Te Rarawa).

A fourth year student at Elam School of Fine Arts,and with two successful exhibitions at Te Taumata galleryin Auckland and the Auckland City Gallery, he has alreadybeen heralded as the next Colin McCahon or RalphHotere.

He is fiercely proud to be Maori, is socially informedand is not afraid to speak his mind or to not fit into anypre-conceived perceptions about Maori artists.

Terri draws much of his inspiration from the past,yet has his feet firmly set in the present. His work is basedon observation and experience, is political and makes astatement. He is interested in the complexities of Te AoMaori and seeks to highlight the positive and negativeaspects of the culture, its practices and beliefs.

If the success of his exhibitions is any indication ofhis future, we are sure to hear more of Terri and his work.

Prestigious occupational therapyscholarship awarded to Ngai Tahustudent

Kristi Carpenter, daughter of Sheryn and the late RonaldBlair Carpenter (na Awarua) was the sole recipient ofthe inaugural Maori Mental Health Occupational TherapyScholarship awarded by Auckland Healthcare (A+).Educated in Nelson, Kristi went to Otago Polytechnic in1998 to study and is currently a fourth-year student atthe School of Occupational Therapy.

This scholarship has been awarded to encourageoccupational therapists who identify as Maori to workwith Maori. The scholarship consists of the right forrecipients to undertake their final eight-week placementwithin A+ services, a position within the new graduaterotation team, two years guaranteed employment withinthe Maori Health Team of A+ and a sizeable contributionto assist in clearing student debt.

To honour the occasion, the scholarship waspresented at a special joint Otago Polytechnic and Ngai

Congratulations to Rawiri Waru, who has returned fromHanover, Germany, where he was named as one of thetop five researchers at the World Young Researchersfor the Environment (WYRE) forum.

Rawiri invented a model that is able to measurethe temperature flows of the geysers at TeWhakarewarewa geothermal area and also measurehow the different springs are interconnected. The modelwas one of 10,000 projects put forward and one of onlyfive to win a $4500 award.

In 1997 he won the national FRI Junior Scienceaward and in 2000 he was selected as one of Rotorua'sYoung Achievers. Due to his accolades, Rawiri has beenoffered a three and a half year scholarship by StanfordUniversity to study in America and has also been offeredan all-expenses paid internship in Singapore with thepharmaceutical company Bayer Medicines.

Rawiri, who is head prefect and in his final year atRotorua Boys' High School, has enjoyed growing up inan environment that allowed him to explore, to play andto experiment right at home in his own backyard. Histeacher Pani McLean said she had always noticed histhirst for learning and for hard work.

Rawiri comes from a very supportive and lovingwhanau who have encouraged him in all his educationalendeavours. Rawiri attended Te Kahanga Reo ki Kuirauwhere his learning of the reo was assisted by hisgrandparents Alec and Dolly Wilson. His mother Bevwanted to learn to speak Maori as well and regularlyattended kahanga reo with Rawiri at her side.

Rawiri was a participant at the 2000 Nga ManuKarero Speech Competitions in Ruataria. He is also aband member of Pacifika Flavor that made it to theSmoke-free Pacifica Be<;lts rockquest regionals inWellington and a member of the Rotorua Boys' Highkapa haka rapO.

Rawiri has whakapapa links on his father's side ofthe whanau to Waihao, Hokonui and Otakou rOnaka,through his tipuna Ihaia Potiki. Rawiri also has strongwhakapapa ties to Te Arawa, Te Whanau-a-Apanui andNga Puhi.

Rawiri is an excellent role model for rangatahi,excelling in a field of expertise in which very few Maorifeature.

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I

42 TE KARAKA Kahuru / Autumn 2001 Kahuru / Autumn 2001 TE KARAKA 43

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Composer AnthonyRitchie spent the first 27years of his life inChristchurch, but as headmits, "for most of thoseyears I had no knowledgeof Ngai Tahu or theirhistory". He has certainlyworked hard to learnsince. Ritchie says:"there is a big differencebetween classicalmusic and Maori music,but it is interesting and worthwhileto discover things in common and to celebrate thedifferences".

The six soloists all contributed to the overallsuccess, but inevitably Teddy Tahu Rhodes was thestandout performer in the demanding lead role as Moki.

Rhodes is a descendant of Robert Rhodes whofarmed POrau in Whakaraupo before the pilgrims arrivedin 1850, (a family name still remembered in the RhodesMonument peak overlooking POrau).The PakehaRhodes family, out of respect for tangata whenua, stillgive their children Maori names.

The Waka Pounamu cultural group with Te AriBrennan as tutor and Te Maire Tau as leader had lessthan 20 on stage but they more than adequately metthe need to match the 50+ symphony orchestra and 150­voice Christchurch Choir! Full marks also for negotiatingwhat seemed a perilously steep ramp down to the stage!

And the reviews:The Listener reviewer described the "... fusing of

two disparate musical cultures - music as life versusthe European idea of art for art's sake - to the mostdeeply integrated level (he has) heard in a musical work... possibly Christchurch's most significant musicalmemorial. .. blockbuster".

The Press reviewer commented that Ritchie andHulme "...produce in "Ahua" the finest melding of Maoriand Pakeha performance I have experienced ... therewas drama, space, costume, and movement that broughtthe story of the journey of Moki to the south wonderfullyalive".

Judgements probably echoed by most of usprivileged to be present at the performance.

For all those who never had the opportunity to seethis wonderful version of the story of one of our mostmemorable tIpuna we wonder when and if it will return.

By Donald Couch

Ahua - The story of MokiMusic by Anthony Ritchie, words by Keri Hulme.World premiere, Christchurch Town Hall, November 4, 2000.

It is gradually dawning on New Zealand artists thatdrawing on both of this country's principal cultures inmajor compositions may provide the most distinctcreative music opportunities available from and for thepeople of this land.

At the Sydney Olympics Arts Festival, NewZealand's biggest hit in the Sydney Opera House was"Te Wairua 0 Te Whenua" - a joint performance by theNew Zealand Symphony Orchestra and a kapa hakagroup from Tainui. When that same work was latertoured around New Zealand, limited advance noticemeant that many weren't aware of it and thereforeaudiences were small. (perhaps also because NZreviewers easily restrained their enthusiasm.)

Not so two weeks later when the ChristchurchSymphony Orchestra, Christchurch City Choir andWaka Pounamu (Ngai Tahu) Cultural Group produceda stunning performance which sold out the ChristchurchTown Hall.

All credit to the Christchurch City Choir who firstmooted the idea back in 1994. Even in those early dayswhen it was proposed to commission a special choralwork especially relevant to Canterbury to celebrate themillennium and the 150th anniversary, the originatorswere determined to involve Ngai Tahu. The challengeof integrating a large choir, a symphony orchestra andkapa haka lay ahead.

The final result was to be "Southern Horizons"- aconcert in two parts. Part one, "Around the curve ofthe world ", is a cantata by English composer FrancisGrier musically interpreting the voyage of theCanterbury "pilgrims" in 1850. The first performance ofthis work was in England earlier in 2000 and as theListener reviewer notes, "it has done the British choralcircuit with good reviews".

Ahua, the story of Moki, was of course thecentrepiece of the evening for Ngai Tahu. The story ofMoki is reasonably wellknown within Ngai Tahu. Ahuais based on Te Maire Tau's account from RawiriMamaru's text, with Ngai Tahu premier author KeriHulme writing the libretto. To make it work musically,Keri has Moki reflect on the outstanding events of hislife - and what a life!

As Tahu Potiki has said, "... the tradition (makes)for a superb story".

There is violence, lust, sorcery and two beautifulsisters who have been slighted by a warrior... (Moki's)saving grace is his courage and loyalty to his olderbrother and father TOrakautahi and TOahuriri".

and the landscape,Tau firmlyestablishes our base in thetraditional whakapapa in part­icular and then expands on ngahau and explains how importantTe Mauru (the nor'wester) was/is to Ngai Tahu 0 Nga PakihiWhakatekateka 0 Waitaha.

In less than twenty pageswe are introduced not only to keyelements of NgaiTahu whakapapa,but also, in Te Maire's typicallyexpansive style, to a wide-ranging series of comparativereferences to Vikings, Greek gods, the biblical Gardenof Eden, conquistadors, and of course to Te Maire's guru,his fellow former Cantabrian, Sir Karl Popper.

Chapters nine and ten provide interesting examplesof differing perspectives by two different historians. TeMaire Tau's chapter is a recapitulation of Ngai Tahuexperiences from the 1890s until the 1990s. AnnParsonson's deals with the later period from the 1960s,focusing particularly on the 1990s.

Inevitably there is some overlapping of topics - ifnot treatment, eg, Tau discusses at considerable lengththe process and ramifications of building Nga Hau e Whamarae in Christchurch. The other (earlier) across townurban marae, Rehua, is dismissed in one sentence whileParsonson virtually starts her chapter with a couple ofpages of discussion on Rehua's development.

There is no doubt about Tau's origins and loyalties.He is extremely well versed in matters concerningTOahuriri, Tuahiwi and his whanau whakapapa. It shows- at times to the neglect of other people and places thatmay be deserving of at least equal recognition.

Ngai Tahu has been very fortunate in having severalcapable non-Ngai Tahu historians who have made long­time commitments to understanding and writing aboutour iwi.

Harry Evison's seminal Te Wai Pounamu and TheLong Dispute are required reading on our history. JimMcAloon also has two chapters - on non-Ngai Tahutopics - in Southern Capital.

Ann Parsonson's chapter starts the essentialprocess of stepping back from the claim process,settlement and implementation and putting it all inperspective. As she writes, "by November 1998 the tribewas already emerging as a powerful force in the SouthIsland economy and as a high profile iwi nationally".

Ann's essay highlights the incredible changes andimpact that Ngai Tahu has made over the past fifteenyears. It is to be hoped that historians writing fifteen yearshence may similarly be able to describe continuingpositive progress by Ngai Tahu.

Southern Capital Christchurch -Towards a City Biography 1850 - 2000Anniversaries, centenaries, sesquicentenaries - whatwonderful opportunities to indulge in that pervasive Kiwiobsession with nostalgia tripping. In Canterburythroughout 2000, and particularly in December, we didwith gay abandon. Even I dutifully toiled up the BridalPath from Lyttelton to Heathcote recalling all the whilehow much easier it had been 50 years previous as aboy. I looked on with amazement at the people who haddonned crinolines, suits and top hats to make the climbin recognition of those settlers of 150 years ago whomade the same trip dressed that way.

Such times are also an opportunity for histories andto publish special supplements and books incommemoration of Canterbury's sesquicentennial. Onepositive sign of progress was that in the year 2000 allsuch publications had at least one article or chapter onNgai Tahu, unlike most earlier "local histories" thatmanaged to completely avoid any mention of tangatawhenua.

In a challenging year for the University ofCanterbury History Department, John Cookson andGraeme Dunstall have provided a major contribution inediting this collection of essays on Christchurch 1850­2000. Interestingly, three of the fourteen essays arefocused on Ngai Tahu. This review looks at those threechapters only. However, one should note in passing TaTipene's nervy Foreword to the whole collection in whichhe envisages the first settlers having to go through aresource consent process to establish the Christchurchsettlement in the swamps and wetlands of Otautahi!

Te Maire Tau wrote chapter two, "Ngai Tahu andthe Canterbury Landscape - a broad context", andchapter nine, "Ngai Tahu - from 'better be dead and outof the way' to 'to be seen to belong"'. Ann Parsonsonwrote chapter ten, "Ngai Tahu - the whale that awoke:from claim to settlement (1960-1998)."

One of the well-established and widely practisedtraditions among most Maori iwi was that of limitingaccess to iwi and hapO knowledge and information toan elite few. Only gradually is this changing. Interestingly,two of the most knowledgeable Ngai Tahu, Ta TipeneO'Regan and Te Maire Tau have written a lot about usand our tIpuna. For many Ngai Tahu however, theirwritings are often in obscure or hard to access places.

Ta Tipene's recent appointment to the Universityof Canterbury should provide him with the opportunityto make much of his matauranga Ngai Tahu more readilyavailable to us.

Te Maire Tau provides a wealth of information inhis two theses: "Kurakura Ngai Tahu" (MA 1995), and"Nga Pikituroa 0 Ngai Tahu: The oral traditions of NgaiTahu" (PhD,1997). He is now starting to make thatknowledge more widely available.

Similarly, in chapter two of this book on Ngai Tahu

Review

44 TE KARAKAKahuru / Autumn 2001 Kahuru / Autumn 2001 TE KARAKA 45

46 TE KARAKA Kahuru I Autumn 2001

• Preheat oven to 1800 C/350° F.• Combine dates with baking soda and 1 cup of boiling water. Setaside for an hour.• Beat butter and sugar til/light. Gradually beat in egg. Sift flour witha pinch of salt and stir in to mixture with vanilla. Mix in dates (with thesoaking water) and chopped apple.• Spread mixture into a 20cm lined cake tin. Bake 40 minutes.• Combine topping ingredients in a small saucepan and stir overmedium heat until well combined.• Remove cake from oven, spoon topping over evenly and cook 20­30 minutes longer until topping is golden and cake is cooked through.

28. He, she, it 029. They, two of them :D31. Rain 032. One en33. Look after en35. River ~36. Completed 037. Challenge, dance :D38. To, at, with 039. Isn't it?

40. Fishing

42. Paid for, avenged

43. Meeting

44. Fire

Clues Down

1. Group cultural competition

2. Calm, peaceful

3. Nose, prow

4. Mud, mire

5. Cook Strait

6. Daylight world

7. Tribal ancestor

8. First killed in battle

11. Stewart Island

13. Physical love

17. Brown

18. And, with

20. Thin

21. Barrier, discriminatory

22. Long flat club

23 Foreigner

25. Habitual or usual action

26. Showing which or where

30. Although

31. Yam

32. Abdomen

33. Clear, free

34. Shore, beach

36. Sand

40. Breath, taste

41. Quicksands

Kahuru I Autumn 2001 TE KARAKA 47

16. Mussel

19. Where

22. Ministry, Department

23. The, singular

24. Sad

26. A version of I, me

27. Corner or angle

1 cup shredded coconut60g butter

1 egg, beaten1 1/2 cups plain flour1 tsp vanilla essence2 apples, peeled and diced

Topping2/3 cup packed brown sugar3 tbsp milk

Lumberjack Cake1 cup chopped dates1 tsp baking soda125g butter3/4 cup castor sugar

Clues Across

1. Takahanga Marae at

7. Cabbage Tree

9. Dolphin

10. Mt Cook

12. Jade

14. Anything

15. Well now

('-.enc.-~oou'"--­..a

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continued on page 48 ~

Dear Sir/MadamI am writing to inform you about my

recent trip to Australia. I travelled withassistance from Ngai Tahu ... which I amvery thankful for.

I arrived in Sydney on August 13,1999, to attend a "Mastering fluency in theworkplace" course. The course, was runby Doctor Ashley Craig, who has beenworking in the field of stuttering for the past16 years. He recently published state ofthe art research on the nature and treatment of children andadolescents. He has delivered numerous papers atinternational conferences, and is regularly invited to speakat speech science conferences in Australia and overseas.

Dr Craig believes there is a window of opportunity thatexists for children aged less than 14 years of age. "Effectiveintervention in childhood may prevent psychological andsocial harm developing in the long term."

Effective treatment strategies are known to reducestuttering by lowering speech demands and enhancing thebrain's capacity to process speech. An example of such atreatment is using an electromyography (EMG) speechmuscle monitoring system. This treatment trains the personwho stutters to develop EMG mastery, that is to control theirmuscle activity before and during speech so that stutteringis reduced.

Stuttering is a processing problem of the brain thatresults in speech muscle dysfunction such as high levels ofspeech muscle activity before speech and during speechwhile attempting to say certain sounds and syllables. Thisprocessing problem most likely results in repetitions ofsyllables and/or complete blocks or sounds. Other symptomsoften associated with stuttering are psychological and socialin nature, including such things as speech-related anxiety,frustration, avoidance, anger and shyness. EMG feedbackis designed to help the person who stutters to control speechmuscle dysfunction by teaching them to:

reduce muscle tension to low levels before beginningto speak and;have overall levels of muscle tension while speaking.

These two skills are taught initially with the aid of thecomputer based EMG programme. After learning to controltheir speech muscle tension (called EMG mastery) theperson using the EMG programme should eventually learnto use the EMG mastery skills without the computer feedback.

The programme is also designed to help the person toraise their level of confidence, increase their feeling of controlover their speech and raise their levels of self-esteem.

If anybody is interested in going over to Sydney to dothis course, please feel free to contact me as I recommendthe course to others to help improve their speech. I will alsobe returning to meet with Dr Ashley Craig early next year soif there is anyone who would wish to travel with me, pleasecontact me on 07 357 4534.

Yours SincerelyMichael Peebles121 Main RoadNgongotahaRotorua

Hei kona maioMa te Atua koutou e tiaki e manaaki i nga wa katoa.Shirlene, Mark, John, Christina, Brooke and Kirk Paterson.

Dear GabrielleWe do wish to thank you for all the wonderful work put

into the publication of te Karaka. My two little girls do keephandy the one with them in it, pictured at the Taranaki hui. Icertainly make use of Te Pataka Korero. We thank you forthe time taken to put these together.

I am also keen always to see the resources for thechildren. I'm looking into the two books, Te WakaHuruhurumanu and Te Kete a RakaihaufO, for my ownchildren and also for our local playcentre. They seem to beawesome resources and we can make the cutouts intomagnets for the magnetic board, which is always so popularwith our tamariki. For it to be acceptable in our centre it wouldhave to not use the "k" as it is known only to southernersand would need to be "user friendly" for all the locals. I haveseen few, if any, educational resources produced from otherlocal iwi. Iwould dearly love to use the "k" personally howeverI'm only just starting out with learning our precious languageand it will need to be the next stage for me.

Can I please ask, as I'm sure you will either know orhave access to the correct answer on this, our playcentre asalways is doing its very best to use items which are onlyculturally correct for each purpose. The question is how dowe stand on the use of ice cream containers? While theyhave been used as a food item they are plastic and will berecycled when no longer intended for food and can be sovery useful for other reasons within the centre. There arevarying views on this up here. Tena koa whakamohiotia maiahau. Aku mihi nui ki a koe.Keep up the awesome work - we appreciate you.

Editor: We sought kaumatua advice and they said: "whenin Rome, do as the Roman's do". If the kawa of thepeople is not to use containers it would be incorrect totrample on mana whenua. However, down here in theSouth they wouldnotsee anything wrong with recycling them.

Dear EditorI was wondering if anyone has transcribed our Maori

cemeteries? I'm looking for information on the deaths of JimmyWhaitiri and Hine Cameron. Both were at Little River in 1942when I was given the chance to go there for the evening. AnnThompson nee Beaton Wakefield, Wini lini and I got a ridedown in a taxi with one of the Robinson or Robertson men whowas in the army. I was always glad I got the chance as I metMei and her daughter Monica there, who were whanau of ours- but I didn't know it at the time.

I was pleased to meet Aunty Hine too, she was marriedto my mother's half-brother, but the marriage didn't last morethan a few months and she and Jimmy Whaitiri were a couple.Hine was a Parata from the Otakou area and I'm almost sureJimmy was one of our Ruapuke Whaitiri. They both could beburied up there, but not at Tuahiwi or Onuku.

I also have Te Kai-a-te Atua at Kaiapoi and TaumutuCemetery, but there must be a lot more up there that I haven'tgot. Could you give me any idea where I could ask? I wouldappreciate any help.

Editor: If anyone can offer advice to VIva in her search,please write to us here at te Karaka and we will pass it on.

SincerelyUlva L Belsham

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48 TE KARAKA Kahuru / Autumn 2001

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DearGabeSo, I have another live contact over there. For a person

who has been on the Internet and has a web page that hasbeen on the web for six years, it seems strange to me that ithas only recently blossomed. Anyway, I do enjoy reading feKaraka and following all of the activities of Ngai Tahu.

My Maori is pretty rusty and consists of the little that Ilearned from the shearers on our farm in the Wairarapa. Arethere any books published dealing with the language?

As background, my great-great-grandmother wasMotoitoi, daughter of Mahora and Kahutia, who marriedRichard Driver, a one-time ships' pilot out of Akaroa. Wepresently have three grandchildren and two great­grandchildren living here in Vancouver. I have been aconsulting engineer since 1952 and prior to that date workedas an apprentice with Anderson's Ltd. in Christchurch,working on such projects as the Snowy River Intake Gatesand Spillways in Australia as well as on butter churns andbutter packers.

I married a Toronto girl in 1946 in Masterton and welived in Christchurch until 1952, when Iemigrated to Canada.I have worked over here as a consulting engineer since thattime and have been instrumental in the mechanical designof such varied projects as fish canneries, meat-packingplants, pulp mills, sawmills and commercial and residentialbuildings of all types. My largest project was the VancouverInternational Airport. I am still working as a consultingengineer on many interesting projects and have just finishedthe design of the Olympic Flame for the 2002 WinterOlympics in Salt Lake City. I was International President ofthe American Society of Heating, Refrigerating and AirConditioning Engineers (ASHRAE) in 1984.

Great to see that the magazine is continuing to printsuch interesting articles.

RegardsRichard PerryPerry Engineering LtdTel: (604) 731-1402Fax: (604) 731-1402

Dear Sir/MadamKia ora. I was given your address by Maania Niha of theNgati Ranana London Maori Club after I wrote asking how Icould contact Maori in the South Island.

I am from Cornwall in the extreme south-west of theBritish Isles. I have never visited your country but havebecome very interested in it since the Maori culture exhibitionhere recently and some television documentaries on theunique flora and fauna.

Basically I am looking for Maori penfriends so that Ican learn more about your culture and heritage. I feelparticularly drawn to the South Island and Stewart Island. Ihave tried writing to local newspapers but got no response.

Could you please help by suggesting some addressesto contact or perhaps including my letter in your nextnewsletter.

Very best wishes.Yours FaithfullyMorwen Tregudda124 Tottenhall RoadLondon N13 6DGUnited Kingdom

Dear GabrielleThank you for your recent

edition of fe Karaka.It is with both sadness

and pride that I flick through thepages of the magazine and tryto pronounce and interpret theMaori words. Receiving feKaraka is a pleasant reminderof who I am and where I comefrom. It reminds me thatalthough I do not speak orunderstand much of thelanguage I am still considereda Maori.

Reading Hana Potiki'sstory in "Being Kai Tahu" brought back memories of my ownstruggle.

I attended a predominantly white Catholic school andbecause I was dark and our family not "well off" I was thenconsidered a Maori. (Maori equals dark and poor.)

After ten years of this I chose to attend a high schoolwhich was considered to be "the Maori school", hoping toblend in a little better. Although choosing Maori as a subjectI soon gave it away as it became clear that if you were aMaori you should already know certain things, and I wasfrowned upon, as I was totally ignorant. I opted out for Frenchinstead...

Unfortunately being a Maori at this school meant beingrough, ready to brawl and talking with an inaudible accent. Iwas considered a white Maori (whatever that meant). I knewI definitely wasn't white and now it seems I wasn't a realMaori either. Three years of that was enough for me.

Ten years on I still know next to nothing of the languageor culture and the few times I have found myself on a maraeI tried to act as inconspicuous as possible. Needless to sayI stood out like a sore thumb.

It is with great sadness that I realise that I am able toimpart very little of the Maori culture on to my children.

Thank you again for fe Karaka.

RegardsKiri Kahukura

PS: Could you please tell me if there are any Maorilanguage courses available. They would have to be distancelearning as I live in Queensland and start right from the basic"kia ora." I would dearly love to teach my children and as myyoungest is just starting his first words I'd like to hear himspeak Maori.

Editor: Kiri, see the website review on page 43, it may beuseful for you.

Ifanyofourreaders can suggestan appropriate coursefor Kiri, please contact us here atte Karaka and we will passit on.

See iF you Gin spol' yourselF or your mates in these pllotos taken of hlmariki

and some of the awesome mahi done at the Nyii Tahu Festiual, l\ukaha Kia Kaha'