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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rules: you can only say “guilty” or “innocent.” you are not allowed to explain anything unless someone messages or asks you. repost, don’t reblog!
asked someone to marry you? — innocent
kissed one of your friends? — guilty
danced on a table in a bar / tavern? — innocent
ever told a lie? — guilty
had feelings for someone you can’t have? — guilty
ever kissed someone of the same sex? — guilty
kissed a picture? — innocent
slept until 5pm? — guilty
fallen asleep at work / school? — guilty
worked at a fast food chain / restaurant? — guilty
stolen something? — innocent
been fired from a job? — innocent
done something you regret? — guilty
laughed until something you were drinking came out of your nose? — guilty
caught a snowflake on your tongue? — guilty
kissed in the rain? — innocent
sat on a rooftop? — guilty
kissed someone you shouldn’t have? — innocent
sang in the shower? — innocent
been pushed into a body of water with all your clothes on? — innocent
shaved your head? — guilty
slept naked? — guilty
made a boyfriend / girlfriend cry? — innocent
shot a gun? — innocent
still loved someone you shouldn’t? — innocent
have / had a tattoo /piercing? — guilty
liked someone, but will never tell who? — innocent
been too honest? — guilty
ruined a surprise? — guilty
been told that you’re beautiful by someone who totally meant what they said? — innocent
stalked someone? — innocent
thoughts about murder? — innocent
how about mass murder? — innocent
cheated on someone? — innocent
gotten so angry that you cried? — guilty
tried to stay away from someone for their own good? — innocent
thoughts about suicide? — innocent
had a girlfriend / boyfriend? — guilty
gotten totally drunk during a holiday? — guilty
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tagging: @thedevil-diabolical | @h3lls-bells | @phasmophobie | @apex-champion |
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𝒘𝒉𝒂𝒕 𝒂𝒓𝒆 𝒚𝒐𝒖 𝒔𝒆𝒆𝒌𝒊𝒏𝒈?
⸻ ✶ HOME ✶ ⸻
❝I wish I could say I am a light that never goes out, but I flicker from time to time.❞ // Oh, little one, you have burned for so quietly for so long, haven't you? Burnt yourself out trying to give others light? Wishing, desperately, that they would notice the way your hands shake or the wildflower bruises under your tired eyes. But they never have, have they? And so, it obviously wasn't bad? Right? You had more to give, didn't you? how much could you pour yourself out before they noticed? It is all you've ever known, after all. Help, help, help, help. (Are you providing it, or begging for it?) But you've given too much, spread yourself too thin, didn't you? You are so heavy, so tired. You have spent your life carrying for others the way you wished someone would care for you. But you're worried, aren't you? That if you can't be what they need, if you can't be the pillar for others to lean on, they'll leave you. What you seek is home, a safe place to rest and be taken care of. And little light, you deserve it. You have earned it. You are worth more than what you can provide for others: you deserve the same care you so freely give out. They will love you all the same, honey. Set down the world, and rest that weary heart of yours.
tagged by: @geisterseherintagging: @thedevil-diabolical | @a-neverending-story |@apex-champion | @trauma-report | and whoever wants to. You can tag me if you want. I like reading these things. (Tbh I have no clue who hasn't done this one yet.)
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