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Being Heard: A Māori Community Narrative

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Intersecting Cultures in Music and Dance Education

Part of the book series: Landscapes: the Arts, Aesthetics, and Education ((LAAE,volume 19))

Abstract

This is the story of a yearlong journey with the people at Parihaka, a small rural Māori community near thewestern cape of Te Ika-a-Māui, the North Island of Aotearoa New Zealand. It is a depiction of their generous acts of reciprocity, their commitment to manaakitanga (hospitality) and their passionate advocacy of the tikanga (values, principles) of their forebears. It is a narration of our work together to create Witnessing Parihaka, a semistaged musical work. It is a portrayal of consultation, collectivism and collaboration between a community, a composer, a poet and the performers and musicians, both Māori and Pākehā. This led to tamariki (children) and pahake (learned elders) travelling from Parihaka to Tāmaki-makau-rau (Auckland)—New Zealand’s largest city—to perform on stage with the Auckland Philharmonia Orchestra.

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Notes

  1. 1.

    Tāmaki-makau-rau—Auckland City.

  2. 2.

    Maunga Taranaki—a 2518-metre-high dormant stratovolcano visible across the whole Taranaki region.

  3. 3.

    “Te Raukura represents spiritual, physical, and communal harmony and unity. It is an acknowledgement of a higher spiritual power, which transcends itself upon earth. It is a symbol of faith, hope, and compassion for all of mankind and the environment that we live in.” Port Nicholson Block Settlement Trust (2015). Feather. Retrieved 2015, September 21 from http://www.pnbst.maori.nz/who-we-are/feather/

  4. 4.

    The opening lines of Witnessing Parihaka, text by Robert Sullivan.

  5. 5.

    E rere rā was composed by the people of Muaupoko and Horowhenua and speaks in support of the Parihaka leader Tohu Kākahi. This waiata poi dates back to the earlier days of Parihaka’s establishment.

  6. 6.

    For example, at several points in the score the orchestral music incorporates elements of the original rangi (melody) of two Parihaka mōteatea, Piukara and Ko Aotea Taku Waka.

  7. 7.

    Te Ika-a-Māui—the North Island of Aotearoa New Zealand.

  8. 8.

    What happened at Parihaka is a complex story. As there are inaccurate versions in the public domain the author recommends research undertaken by Taranaki based Māori researchers, for example (a) http://www.parihaka.com, and (b) Hohaia et al. (2001). Parihaka: the art of passive resistance, Wellington, New Zealand: City Gallery Wellington/Victoria University Press/Parihaka Pā Trustees.

  9. 9.

    Marae ātea—courtyard, the open area in front of the wharenui, where formal greetings and discussions take place.

  10. 10.

    Papalagi—a word in the Sāmoan language describing foreigners, usually European Westerners or Caucasians. This term or similar is also used in a number of other Western Pacific countries for example pākehā (te reo Māori) and palangi (Tongan).

  11. 11.

    Sullivan, R. (2005). Voice carried my family.Auckland, Auckland University Press, p. 63.

  12. 12.

    Excerpt from Poems from Another Century, for Parihaka. This section of the poem Big Voice/Little Voice was also used in Witnessing Parihaka.

  13. 13.

    Heretaunga—Hastings, Hawkes Bay, on the east coast of Te Ika-a-Māui.

  14. 14.

    Carved pou are also used to represent significant tūpuna (ancestors) although Parihaka leaders did not allow this practice to be used on the papa kāinga.

  15. 15.

    This waiata was composed by Tonga Awhikau, an imprisoned Parihaka ploughman who returned to Taranaki to lead the land struggle in the 20th Century. The English translation was written by Te Miringa Hohaia (Hohaia et al. 2001, p. 48).

  16. 16.

    Ngāmotu—New Plymouth.

  17. 17.

    Tāmaki-makau-rau—Auckland City.

  18. 18.

    Papa-tū-ā-nuku—Earth, Earth mother and Rangi-nui—atua of the sky. All living things originate from them.

  19. 19.

    The Auckland Philharmonia Orchestra is a publicly funded professional orchestra with a long record of supporting contemporary composition through the commissioning, performance and recording of new work.

References (He Rārangi Pukapuka)

  • Hohaia, T. M., O’Brien, G., Strongman, L., City Gallery Wellington, Parihaka Pā Trustees. (2001). Parihaka: The art of passive resistance. Wellington: City Gallery Wellington/Victoria University Press/Parihaka Pā Trustees.

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  • Louis, R. P. (2007). Can you hear us now? Voices from the margin: Using Indigenous methodologies in geographic research. Geographical Research, 45(2), 130–139.

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  • Moorfield, J. C. (2003–2015). Te Aka online Māori dictionary. From http://www.maoridictionary.co.nz

  • Smith, L. T. (1999). Decolonizing methodologies: Research and indigenous peoples. New York/Dunedin: Zed Books/University of Otago Press.

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  • Sullivan, R. (2005). Voice carried my family. Auckland, Auckland University Press.

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  • Wendt, A. (1987). Novelists and historians and the art of remembering. In A. Hooper, S. Britton, R. Crocombe, J. Huntsman, & Macpherson (Eds.), Class and culture in the South Pacific (pp. 78–91). Auckland: Centre for Pacific Studies, University of Auckland/Suva: Institute of Pacific Studies, University of the South Pacific.

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Acknowledgements

Being Heard: A Māori Community Narrative would not have been written without the generous support, guidance and contributions made by the people of Parihaka. Ngā mihi aroha ki a koutou katoa. Special thanks to Kiri Eriwata, our son Te Awanui Matthews, Maata Wharehoka, Ruakere Hond, Ngapera Moeahu and Whero Te Rangi Bailey. The Witnessing Parihaka performers were: Whero Te Rangi Bailey, Rangiawhina Hohaia, Courtney Ngaia-Pompey, Jameco Ngaia-Pompey, Tatijana Smith, Maata Wharehoka, Ngapera Moeahu, Kiri Eriwata, Makere Pike, Agnes Wharehoka, Whakaarahia Koroheke, Len Robinson, Te Kohe Tuhaka, Stuart Devenie, Kenneth Young, Hamish McKeich and the Auckland Philharmonia Orchestra.

Music study guide

A Witnessing Parihaka secondary school music study guide is available by contacting the Education Manager at the Auckland Philharmonia Orchestra, http://apo.co.nz, or the author at http://stephenralphmatthews.com

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Correspondence to Stephen Ralph Matthews .

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Glossary (He Papakupu)

Glossary (He Papakupu)

The following translations were referenced from Te Aka Online Māori Dictionary (Moorfield 2003–2015).

Hongi (verb) to press noses in greeting.Karanga:

(verb) to call, call out, summon

(noun) formal call, a ceremonial call of welcome to visitors onto a marae, or an equivalent venue, at the start of a pōwhiri.

Karakia:

(verb) to recite ritual chants, say grace, pray, recite a prayer, chant.

(noun) incantation, ritual chant, chant, intoned incantation, charm, spell.

Kaumātua:

(noun) adult, elder, elderly man, elderly woman—a person of status within the whānau.

Koro:

(noun) elderly man, grandfather—term of address to an older man.

Kui:

(noun) elderly woman, grandmother—a term of address for an older woman.

Marae ātea:

(noun) courtyard—the open area in front of the wharenui, where formal greetings and discussions take place. The word marae is often also used to include the complex of buildings situated around the marae ātea.

Mana:

(noun) prestige, authority, control, power, influence, status, spiritual power, charisma—mana is a supernatural force in a person, place or object.

Mātauranga:

(noun) knowledge, wisdom, understanding, skill

(noun) knowledgeable person, sage, scholar, intellectual, academic.

Mōteatea:

(noun) lament, traditional chant, sung poetry—a general term for songs sung in traditional mode.

Pākehā:

(noun) New Zealander of European descent. Also English, foreign, European, exotic—introduced from or originating in a foreign country.

Pahake:

(noun) a Taranaki regional word for learned elder, similar in meaning to the more widely used word, kaumātua.

Papa kāinga:

(noun) original home, home base, village, communal Māori land.

Poi:

(verb) to toss up, swing the poi, toss up and down, toss about.

(noun) poi—a light ball on a string of varying length which is swung or twirled rhythmically to sung accompaniment.

Pūkana (verb) to stare wildly, dilate the eyes. Done by both genders when performing haka and waiata to emphasise particular words.Tangihanga:

(noun) weeping, crying, funeral, rites for the dead, obsequies—one of the most important institutions in Māori society, with strong cultural imperatives and protocols.

Tikanga:

(noun) correct procedure, custom, habit, lore, method, manner, rule, way, code, meaning, plan, practice, convention, protocol—the customary system of values and practices that have developed over time and are deeply embedded in the social context.

Taonga:

(noun) treasure, anything prized—applied to anything considered to be of value including socially or culturally valuable objects, resources, phenomenon, ideas and techniques. Also property, goods, possessions, effects.

Tapu:

(stative) be sacred, prohibited, restricted, set apart, forbidden, under atua protection.

Tūpuna:

(noun) ancestors, grandparents—western dialect variation of tīpuna.

Waiata:

(verb) to sing.

(noun) song, chant, psalm.

Waiata poi:

(noun) song performed with a poi—modern songs are usually set to European-type tunes.

Waiata ā-ringa:

(noun) action song—a popular modern song type with set actions and European-type tunes.

Waiata tawhito:

(noun) old, ancient, traditional song.

Wairua:

(noun) spirit, soul—spirit of a person which exists beyond death. It is the non physical spirit, distinct from the body and the mauri. Also attitude, quintessence, feel, mood, feeling, nature, essence.

Whaea:

(noun) mother, aunt, aunty.

Whaikōrero:

(verb) (−tia) to make a formal speech.

(noun) oratory, oration, formal speech-making, address, speech—formal speeches usually made by men during a pohiri and other gatherings.

Whakaahua:

(noun) photograph, illustration, portrait, picture, image, shot (photograph), photocopy.

Whānau:

(verb) (−a) to be born, give birth.

(noun) extended family, family group, a familiar term of address to a number of people—the primary economic unit of traditional Māori society. In the modern context the term is sometimes used to include friends who may not have any kinship ties to other members.

Whanaungatanga:

(noun) relationship, kinship, sense of family connection—a relationship through shared experiences and working together which provides people with a sense of belonging. It develops as a result of kinship rights and obligations, which also serve to strengthen each member of the kin group. It also extends to others to whom one develops a close familial, friendship or reciprocal relationship.

Wharenui:

(noun) meeting house, large house—main building of a marae where guests are accommodated.

Whenua:

(noun) land—often used in the plural, country, nation, state, ground, territory.

(noun) placenta, afterbirth.

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Matthews, S.R. (2016). Being Heard: A Māori Community Narrative. In: Ashley, L., Lines, D. (eds) Intersecting Cultures in Music and Dance Education. Landscapes: the Arts, Aesthetics, and Education, vol 19. Springer, Cham. https://doi.org/10.1007/978-3-319-28989-2_13

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