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Māori relied on their precise cosmological knowledge to navigate their travels, tell time, plant food and harvest kaimoana. With the arrival of Europeans, most of this knowledge was lost or misinterpreted in Western society. Indigenous views of their relationship to the natural world seem to be more natural and organic, the way that they plant and harvest is in a way that doesn't damage the planet like western society does with overplanting and genetically modifying, it is also is a guide to help with the moon phases which are important when it comes to fishing, swimming and any ocean activities as gravity pulls on the ocean.
Māori used the stars to determine the season and time by viewing the different stars that rose in the morning just before Rā rose (the sun). The science behind the knowledge and ways was that stars rise 4 minutes earlier every day, so the star that sits on the horizon lets you know what season it is. In winter, Takurua, which is the equivalent of July and the brightest star, will be the star that comes up just before the Sun, and in the summer, it's Rehua (Douglas) which is equivalent to January.
The Māori used the moon to let you know what events could take place, such as fishing, planting or sowing. When Māori arrived in New Zealand they found the land/ soil was a lot different to the land in Polynesia, so they adapted their soil to help grow their kūmara, adding sand or stones, they did trials and experiments of this until they found the perfect balance especially for the kūmara, a lot of the plants they bought with them couldn't survive the cooler climate.
Māori cosmology has a solid connection with the planting and harvesting of crops. The full moon is when different iwi planted crops because the Moon was thought to draw water nearer the surface, and when the seedling went into the ground (Douglas), they would suck up that water faster than any other time so their plants would do better.
Ralph Hotere and Bill Culbert with Blackwater, 1999
The English name for Matariki is the Pleiades, the seven sisters in Greco-Roman World, in Hotere and Culbert's work they use the light or 'little eyes' to texture the darkness to provide knowledge of navigation and also what they are yet to see. In the Māori tradition, black is transitional: te kore, the void, becomes te pō, the night followed inexorably by dawn (Bohemen).
"When Ranginui, the sky father, and Papatūānuku, the earth mother, were separated from their dark embrace by Tāne, Tāwhirimātea was distraught. He tore out his eyes, crushed them into pieces and stuck them onto the chest of the sky. This is why Tāwhirimātea is the blind god, feeling his way around the sky and bringing winds from different directions." (Matamua). Māori look to Matariki to determine what will come in the year, its read in combinations so the brightness of certain stars with others will tell you how well your crops will do or if the fishing will be good. Matariki is the Māori name for the cluster of stars that signify the start of the new year, each Iwi and Hapū have different iterations of the story behind Matariki, so the names and spelling of the stars differ depending on who you hear it from.
Māori Tradition follows a lunar calendar rather than a western calendar which is 12 months, usually the gregorian calendar. When it came to navigation, it required complete familiarity with the stars, the sun and the moon. When travelling so far in vast oceans, the Māori started to learn more about currents, clouds, waves and migration of wildlife. Its thought that Māori navigation slowly became less used once arrived into New Zealand, and possibly lay dormant for a thousand years because once in New Zealand, the main focus when from navigation to exploration to the new land. Eventually, the most knowledgeable experts on navigation would have passed away and slowly, knowledge was lost. The revitalisation of Oceanic navigation happened in the '80s started by hector busby, and it was saved from extinction by Mau Pialug who was from a long line on master navigators who had persevered their knowledge and continued to pass it on. "The great knowledge of the stars they possessed enabled them to guide their vessels from end to end of the pacific" - Smith (28). On long voyages Māori carried on their wakas with them two expert star-gazers who were men versed in the lore of Tātai Arorangi, they watched the stars in the night to direct the waka and be able to foretell weather conditions. Māori believe that the credit in these voyages lies with the gods, though, they were guided and kept safe. (Best)
Like Aboriginals, Bruce Pascoe states, Māori were looked at as just hunters and gatherers, the term being tattooed with unworthiness. Māori were the first agriculturalist, scientists and navigators of New Zealand, with their ingenuity being disregarded. Western constructs of nature have led to the almost near exclusion of indigenous cosmologies and have finally begun to be revitalised with the help of Matariki becoming such a big event in New Zealand now. In the mid-1700s, much of the Māori cosmology information was lost or retold as Myth or stories – deeming it to be untrue and disregarding it as childish and also denied as the science that it is. Matariki is the abbreviation of 'Ngā Mata o te Ariki' which translates as 'The Eyes of God' - Tāwhirimātea, is the god of the winds and weather feeling his way around the sky (Merton)
The tohunga kokorangi and tohunga tatai arorangi - the teachers and specials of Māori cosmological knowledge, were taught the more in-depth information and were in charge of looking after it and using it responsibly because knowledge is power. Māori were always careful about who they shared certain information with so it wouldn't be used in the wrong way or abused, so a lot of the knowledge has been lost - Māori are now coming together to uncover past Māori science which they are finding in many art forms like carvings and waiata. Māori look at the stars in a more spiritual way as well, deriving omens from some. Stars close to the moon was always cause for curiosity. They studied intently, if a star was near the cusp of the crescent moon it was meant that there was an enemy force quickly approaching, so Māori would be extra cautious around their Whenua. The sighting of Matariki is now a celebration of remembrance and fertility, but it was once welcomed with grief, some said that the stars housed those departed from the earth that year. They say that Taramainuku casts his net down from the sky every night to collect the souls that were lost that day, carrying them with him alongside his waka for eleven months until May when the constellation sets and he goes into the underworld and emerges a month later in June when the constellation rises to release the souls into the night to become stars - Kua Whetūrangihia Koe.
Revitalising Māori Astronomy. Edited by Megan Douglas, 31 May 2016, www.sciencelearn.org.nz/resources/1274-revitalising-maori-astronomy.
Merton, Eleanor. "Matariki and Māori Astronomy with Dr Rangi Matamua." McGuinness Institute, 23 July 2018, www.mcguinnessinstitute.org/foresightnz/matariki-and-maori-astronomy-with-dr-rangi-matamua/.
Best, Elsdon. "The Astronomical Knowledge of the Māori, Genuine and Empirical" Dominion Museum,
Bohemen, Catharina van. Matariki: Light and Three Artists. 24 July 2018, www.artzone.co.nz/post/matariki-light-and-three-artists.
Performance by Bruce Pascoe, A Real History of Aboriginal Australians, the First Agriculturalists, TEDxSydney, 15 June 2018, tedxsydney.com/talk/a-real-history-of-aboriginal-australians-the-first-agriculturalists-bruce-pascoe/.
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All who live on islands - Rose Lu
Lack of support for chinese writers
teachers introduced rose to winnie because they were both chinese
lack of chinese in media and cultural contexts in New Zealand
“I absorbed culture and language so i could behave enough like them, to downplay the parts of my life that needed to be explained”
can only recall two asian characters in all of her childhood, both have bad representations.
Family ate cats
never had the chance to read on themes specific to migatory experience
comparison of how white chirstchurch is to whanganui
“i was chinese, but i wasnt chinese chinese”
We are used to being cast as one-dimensional characters, or being entirely left out.”
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Maori Woman: Caught in the contradictions of colonised reality
Western Adaption - Whangai (Whāngai adoption, often referred to simply as Whāngai, is a traditional method of open adoption among the Māori people of New Zealand.)
Domestication of roles for woman (sevitude)
Christianity played a huge part
maintain whanau connections for children which the crown didn't approve of as it was a threat to the colonial structure.
Structure enabled Maori woman to have roles of leadership - spiritual and political, womans mana was recognised.
Hapu: Tribe or Pregnant
Whanau: Family or Give birth
Whenua: Placenta or land
Woman were thought of as being needed to be trained or used as good wives and mothers, and to be looked at in disgust if you didnt agree with the terms of marrage.
Maori culture looked at by Pakeha as the man being the head of the house and the cheif being more important than Wahine, which is not true, Maori pride themselves on being equal, Marrage wasnt even a concept they had pre colonisation, when a maori woman and maori man were ‘married’ the wife kept her whanau name and stayed mostly with her own family.
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Ko Aotearoa Tēnei: Taonga Works and Intellectual Property
Pg. 35 - 39
Copyright law protects the expression of facts and ideas, not the ideas and facts themselves, you can only hold copyright laws for one or two generations, but oral traditions such as whakapapa will not qualify as they are deemed to be in a non-fixed material form.
Hence copyright does not preclude others from using the underlying ideas. With performers rights, they are infringed if performance or a part of the account is recorded or shown to the public for non-private purposes without permission from the performer.
The rights remain in forces until 50 years from the end of the calendar year from when the performance happens. Only rights of individuals are upheld, not collective or communal performances.
Trademarks prevent people from freeloading off the reputation of others and helps to ensure a product to be genuine and correct in stating where that product has come from. You can't trademark something in New Zealand if it's likely to deceive or cause confusion for a consumer, or likely to offend a significant section of a community, including Maori. If you want to trademark something that involves anything Maori related (image, text or a Maori word) you are referred to the Maori trademarks committee, and they decide whether it's likely to offend or not but the advice they give is non-binding. There is a 'Toi Iho' (Maori made) mark which is available to around 215 Maori artists.
There are specific names and symbols, including the New Zealand flag and government names that are perpetually protected.
The IP law doesn't protect the use of images of people unless they are trademarked photos, so the copyright owner can do as they please with the picture, but the actual person in the image has no rights. Several photographs of Maori are used in a commercial context without permission, with pictures of tipuna being sold in antique stores and being used of food labels which are extremely tapu. Taonga and Matauranga works have no protection because the law doesn't recognise the perpetual nature of the kaitiaki relationship with them so that they can be freely misused and or offensively by third parties.
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Te Tiriti O Waitangi/The Treaty of Waitangi
Preamble:
William Hobson appointed to build a government in New Zealand so that No evil will come to both Māori and European. To Maintain peace and protect chiefs and land.
The First:
Soverignty and government - what is the difference.
Maori are to give up all authority to the crown.
Maori Version - Agree to be governed by the crown but keep soveringty as chiefs.
The Second:
English - Maori have full exclusive and undisrupted protection of land but the corwn can dispose of land owners and sell as she pleases.
Maori - Cheifs can chose to sell land to the crown.
The Third:
To give everyone equal rights.
Final:
Both - Agree to Treaty and sign names.
English - “we the seperated and individual chiefs of New Zealand.. Claiming authority over tribes and territories”
The Treaty of Waitangi was alot more in depth and precisce with information, and was specific whearas the Te Tiriti O Waitangi is alot more eery, nothing is said very pointed of in place, it almost seems as so you can interprit it anyway you want.
Kawanataga - no understanding of government in the sense of sovereignty
Handing over of land and ‘Treasures’
- Taonga: All dimensions (wahi tapu, whakapapa).
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Written Component: Tapu/Noa
Tapu and noa work as a mutual dependent duality, rather than as binary opposites. Tapu and noa are relational principles which are kept in balance yet can vary depending on context or events. Tapu is the strongest force in Māori life. It has many meanings. Tapu can be ‘sacred’, or defined as ‘spiritual restriction’, Typically principals such as touching someone's head, or food are common forms of noa, and when associated with tapu matter, it is considered offensive (Higgins). For example, associating Māori elements with certain goods, like alcohol, could be considered offensive as these things can devalue Māori culture. "A Rangatira avoided scratching his head with his hand because this would make the hand tapu. Until correct procedures had been followed to reverse the Tapu to the state of noa - the opposite of Tapu, it would be dangerous to use his hand for common activities." (Tapu - sacred Māori code)
There are times where you can possess more of one than the other. Tapu represents something forbidden or restricted, "Noa is the antithesis of tapu, describing the state of a place, resource or activity that is deemed ordinary or safe, and not subject to control" (Ataria). Tapu helps to control the randomness and thoughts you have with Noa. Stories throughout my childhood have given me the sense that Māori men exercised power over Women, from racially insensitive adverts and movies of Māori men beating their wives to even in primary school when you learn stories of Whakapapa. Predominantly male characters are the main focus and influential female roles are downplayed.
Colonisation has skewed peoples views on Tapu and Noa, this is in part to enable westerners understanding of it to be more comfortable. In doing this, women in Māori culture seem inferior to men and have had their mana stripped of them, with dominant western ideologies positioning Non-Māori as well as Māori men as being superior to Māori women (Pihama). Mana is something that comes from knowing who you are and the connection to where you come from. You can test someone's mana by the equal respect you get from them, such as standing above someone while talking takes that persons mana away, as it insinuates you are not equal. If you look at the Maiori language, it becomes apparent that inequality between sexes was not even a concept, as both personal and possessive personal pronouns are gender-neutral. Because women carry more Noa than men, they have been perceived to be only useful to cook and to carry children and not have any form of status.
Women and Men are essential parts in the collective whole of Tapu/Noa, both forming part of the Whakapapa that links Maori with the past present and future. Mikaere explains "The very survival of the whole was absolutely dependent upon everyone who made it up, and therefore each and every person within the group had his or her own intrinsic value." (Mikaere). In western society Males are perceived as the head of the household, when born you are property of your father, and once you are married you are property of your husband, 'woman and children were chattels to be used and abused by the paterfamilias as he chose.' (Mikaere). When comparing western and Māori ideologies of marriage it is evident that the way women are perceived in Maori culture has been whitewashed, but in fact once 'married' they retain their name and their primary source of support is with their whānau, not the husband.
'You could say that Kahukiwa's art is a form of biochemical warfare: in thrall to a hormonally-driven gynocentric world view, she relegates males to a secondary role. Women, it's stressed, articulate muscular energy every bit as impressively as males.' (Eggleton)
To Māori, women are te whare tangata – the house of humanity, Robyn Kahukiwa is regularly celebrating essential female elements in Māori culture. The series 'Upoko Tapu' is based on traditional Tikanaga, with the head being the most tapu part of your body. Huia feathers have been used to emphasise the Tapu because huia feathers are Taonga which are the treasures of ancestors and nostrils are flared to draw in Te Ha (the breath of life). The Woman in Kahukiwa’s painting possesses a lot of Mana. She makes a point of these women being important with the use of their Moko Kauae, For Māori women, as historian Michael King notes in his seminal book Moko, the moko was a rite of passage, marking the passage between girl and adulthood. Kahukiwa’s art has a strong feminist theme.
When the influx of English settlers arrived, Māori were pushed from their land and conformity began. Tohunga was then banned, and children were not allowed to speak Māori at school and by the 1970s the Moko had died out. Only a few elders wore Moko Kauae, and facial tattoos carried a negative connotation 'adopted by disaffected urban Māori, they became associated with gangs and crime.' (Duff).
For Maori Woman, it spoke of healing, reflection, empowerment and identity. Kahukiwa quickly shows all of these things through her artwork, 'she attempts to redress the conventional portrayal of women as less important than their male counterparts.' (Ministry for Culture and Heritage). In her paintings, Kahukiwa makes a secure connection between the Mana of birds/land with Wahine and helps Māori Woman as a form of holistic healing from the impact of colonisation, and helps to remove the stigma that Māori woman have been burdened with and encourage equality between Men and Woman - ‘kanohi ki te kanohi’ eye to eye as equals’ (Iti)
Reference List.
Higgins, Rawinia. “Te Mana o Te Wāhine – Māori Women.” Te Ara - the Encyclopedia of New Zealand, 5 May 2011, www.TeAra.govt.nz/en/te-mana-o-te-wahine-maori-women/print.
“Tapu - Sacred Māori Code.” TNZ Media, 7 Mar. 2016, media.newzealand.com/en/story-ideas/tapu-sacred-maori-code/.
Ataria, James. From Tapu to Noa – Maori Cultural Views On Human Biowaste Managment , stream.massey.ac.nz/pluginfile.php/3837535/mod_label/intro/Ataria, James (Ngāti Kahungunu and Ngāti Tūwharetoa), et al. %22From Tapu to Noa-Māori cultural views on biowastes management- a focus on biosolids.%22 Centre for Integrated Biowaste Research Report 16-01 (2016)..pdf?time=1594808802452.
Mikaere, Annie. “Maori Woman: Caught In the Contradictions of a Colonised Reality.” Maori Women: Caught in the Contradictions of a Colonised Reality - Annie Mikaere - Te Piringa: University of Waikato, 1994, www.waikato.ac.nz/law/research/waikato_law_review/pubs/volume_2_1994/7.
Simmonds, Naomi. “Mana Wahine: Decolonising Politics.” Women’s Studies Journal, vol. 25, no. 2, Dec. 2011, www.wsanz.org.nz/journal/docs/WSJNZ252Simmonds11-25.pdf.
Pihama, Leonie. “Tihei Mauri Ora: Honouring Our Voices. Mana Wahine as a Kaupapa Maori Theoretical Framework.” Tu Tama Wahine o Taranaki, 2001, www.tutamawahine.org.nz/tihea_mauri_ora.
'Hinetitama by Robyn Kahukiwa', URL: https://nzhistory.govt.nz/media/photo/hinetitama-robyn-kahukiwa, (Ministry for Culture and Heritage), updated 8-Mar-2019
King, Michael. Moko Māori Tattooing in the 20th Century. David Bateman Ltd, 2014.
Duff, Michelle. 'It's Transformative': Māori Women Talk About Their Sacred Chin Tattoos, 13 Sept. 2016, www.vice.com/en_us/article/9k95ey/its-transformative-maori-women-talk-about-their-sacred-chin-tattoos.
Catnip, Published by Content. “Mana Wahine: The Female Moko in Māori Culture.” Content Catnip, 11 Nov. 2018, contentcatnip.com/2018/07/15/mana-wahine-the-female-moko-in-maori-culture/.
Ocarrol, Hine. “Biography.” Hineocarroll, 11 Nov. 2015, hineocarroll.wordpress.com/biography/.
Eggleton, David. “Earth and Spirit Robyn Kahukiwa's Mauri Ora! Exhibition.” Art New Zealand, 2003, www.art-newzealand.com/Issue105/robyn.htm.
Pitts, Pricilla. “Book Review.” Art New Zealand, 1984, www.art-newzealand.com/Issues31to40/books3101.htm.
Iti, Tame. “Mana: The Power In Knowing Who You Are.” TED, 17 June. 2015, www.youtube.com/watch?v=qeK3SkxrZRI&feature=emb_title
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A kiwi at my table
All communities. nations built from ideas and imaginings
Identity baed on patriarchial coloniations, inequality, precipitaes war and racism
importance of a nation used to support a call to arms to the populace - in the sense of offering political support.
war - flags fly proudly, nationalism is invoked.
flag always means the same thing “this nation”
you’re either “a kiwi” or “not a kiwi”
Kiwi - outdoorsy, typical - middleaged/white/rural/racist “’they’ ‘go home; OUR national identity.
You’re not a kiwi if you this ‘this’ or to do ‘that’ wouldnt be kiwi
sexist - woman - opposition or masculine, national identy.
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Mana: Huhana Smith
Defined as a ‘Supernatural origin that exists throughout the universe’. encouraging qualities like respect, its exteremely sacred and powerful. in the 50s an historical event happened when pakeha population over-ran maori population, which started the decline of maori language which eventually led to it being banned in schools. Upholding mana of the maori language is meaning you need to repects and educate yourself on maori views, culture and history. As a child i went to a school that tried to incorporate maori language and culture where it could, i had a maori class once a week and a maori singing class every two weeks.
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Ataria James et al. "From tapu to noa: Māori cultural values on biowaste management: A focus on biosolids"
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