Conversations – Task 5

“Roger Neich has observed that – ‘Māori self-consciousness was one of the first effects of European contact. Māori became aware of themselves as Māori. Eventually Māori artists became aware of their art as ‚Māori art,‛ different from European art. They were made aware of their own aesthetic concepts, and of the conventions governing them” (Wheoki, J.M, 7). The arrival of Europeans began the process of making the art of Aotearoa become ‘Maori Art’, in which it became apparent that there were aesthetic differences between the art the Europeans used, and the art Maori people used. Another example of this is in the description that “…the common things of humanity prevailed over the particular things of human culture.” (Anderson et al., 135), in which the European idea of ‘humanity’ was appropriated to describe the Maori people and their way of life.

City to Sea Bridge, Wellington, 1993, by Paratene Matchitt (Ngati Porou, Te Whanau-a-Apanui, Te Whakatohea)

This work was created with multiple symbols, the key representations are the links to the celestial navigation used by early Polynesian ancestors, as well as being a reference to the multiple different cultures that have traveled to New Zealand. Second to that, it is a direct reference to Te Wepu, the battle flag of Te Kooti Arikirangi Te Turuki, flown during his campaigns of resistance in the 1860s. All of these are a part of matauranga Maori, the underlying body of knowledge brought to New Zealand by the Polynesian ancestors of Maori people, thus are important in maintaining the set of values and ideals still upheld by Maori culture today.

Anderson, Atholl, Binney, Judith and Harris, Aroha. “Chapter 9: Wars and survival”. Tangata whenua: An illustrated history. Bridget Williams Books, 2014. Print.

Wheoki, J.M. (2011). Arts Histories in Aotearoa New Zealand

Conversations – Task 4

“Chapter 9: Wars and surivival” is a chapter focused on the years between 1860-1872, in which Anderson goes into the various conflicts over and around the pursuit of establishing British sovereignty, explaining how “The wars touched almost all the tribes in New Zealand to a greater or lesser extent.”(Anderson et al., 282). The wars kicked off in Taranaki, where there was a forced survey of the Pekapeka block in March of 1860. This was the beginning of a nationwide series of conflicts, spreading from Taranaki through to Waikato, where aggression and mistrust simply fed the flames of war. The Tauranga area soon became involved, along with Whanganui and many other neighboring areas. The effects of the war were disastrous for some, with land and resources being confiscated from multiple tribes, leading to repercussions echoing over many generations.

These actions, because they still affect people today, influence the visual and material culture in New Zealand today. There are still disputes over land and ownership of areas that were wrongfully confiscated or colonised, and this influences people to reflect these grievances in their art work and design, as a way of communicating the issues they face.

Anderson, Atholl, Binney, Judith and Harris, Aroha. “Chapter 9: Wars and survival”. Tangata whenua: An illustrated history. Bridget Williams Books, 2014. Print.

Conversations – Task 3

Take-utu-ea

Take-utu-ea is the process of resolving a breach of tikanga. First, it must be decided what the breach is, and upon being decided that action becomes the take. Following this, there is an appropriate utu, or recompense/gesture to be made towards the people(s) who were wronged. If this action reaches a satisfying resolution in which all ‘wrongdoings’ are forgiven, ea has been reached, which is a state of ease and resolution.

The concept of take-utu-ea can be applied to art and design practices almost literally if it concerns art/design that takes direct inspiration from Maori tradition or art. For example, an artwork heavily referencing traditional Maori art might not ring true with what that specific artform should be used for, and thus doesn’t represent that specific ideal in the way that it needs to be. The artist must then understand how they have breached tikanga, take action to right their wrong and finally reach a resolution in which all parties are happy.

Taonga Works

Intellectual property and copyright laws work reasonably well in westernised society, but when it comes to Taonga and traditional Maori ideals, knowledge and insights, perhaps it does not cater so well. For example, oral traditions in Maori culture such as whakapapa, traditional korero or moteatea, are not fixed in material form, and thus will fail the requirement for copyright that it must be in material form (39, Taonga Works and Intellectual Property). Along with this, the Trade Marks Act does not address kaitiaki realtionship to taonga works, and nor do intellectual property rights provide kaitiaki with the means to prevent said works from being inappropriately used in ways that are culturally offensive. Because the understandings of intellectual property and copyright are slightly different from the understandings of taonga works thier relationship with kaitiaki, it is very difficult to make standard laws suit the needs of kaitiaki. Modern laws require modern evidence, most often material, to allow protection of ideas or creations, whereas kaitiaki exists to rely on the people concerned to uphold the ideals and traditions, with no need to supply official evidence, because it is down to the people to respect the values. It is because of these two similar yet all too different ideals that means modern copyright laws cannot fully suit the needs of taonga works and intellectual property.

Glossary – Conversations

Take-utu-ea
Take-utu-ea is the process of resolving a breach of tikanga. First, it must be decided what the breach is, and upon being decided that action becomes the take. Following this, there is an appropriate utu, or recompense/gesture to be made towards the people(s) who were wronged. If this action reaches a satisfying resolution in which all ‘wrongdoings’ are forgiven, ea has been reached, which is a state of ease and resolution.

Kaitiaki
Those who are, by lineage or calling are obliged to guard over and keep watch over taonga works.

Matauranga Maori
The body of knowledge, values and ideals upheld by the first Polynesian Ancestors who arrived in New Zealand.

Taonga
A creative or industrial work that is comprised of or inspired by any part of matauranga Maori. It always has a direct relationship to kaitiaki, as there is always a person or persons who are obliged to watch over it.

Tikanga
The process or custom of doing things the ‘right’ or ‘proper’ way. The generally accepted way of doing something.

 

Conversations – Task 2

Rei Niho Paraoa (chevron type sperm whale tooth pendant)

This pendant was found in Marlborough, is of an unknown maker, and is dated between 1300-1500. In traditional Maori culture the bone of the sperm whale is both rare and incredibly precious, but the significance of these pendants have been shrouded by history. They may have transferred the mana of the whale on the wearer, or indicated some spiritual connection. There has always been a significant relationship between Pacific cultures and whales, Maori cosmology specifically stating that whales are descendants of Tangaroa, god of the oceans. “It is a rare example of an early, intricately fashioned, traditional Māori pendant – only about 20 pieces have ever been found…” (Rita Angus). It is decorated with unique details that have been compared with the designs of belongings and ornaments in the Marquesas. Because of this they reinforce the link between the cultural background of Maori culture and other cultures of the Pacific.

“Te Ara Encyclopedia of New Zealand.” 8. – Māori Clothing and Adornment – Kākahu Māori –. N.p., n.d. Web. 10 Aug. 2016.

“Rei Niho (chevroned Pendants).” – Rita Angus: Life and Vision. N.p., n.d. Web. 10 Aug. 2016.

Conversations – Task 1

Photo: Stuart Bedford
Tangata Whenua: An Illustrated History, “Ancient Origins” (2014).

This Lapita pottery is important as it serves as a kind of ‘migration time stamp’ for the migrations of peoples across the Pacific. Pottery such as this can be found across western Pacific islands like New Caledonia or Samoa. The creation of pottery such as this began at about 1300 BC, when the ‘Lapita cultural complex’  was believed to have been formed. This pottery was then “…produced repeatedly throughout the early Lapita domain and probably marked a sense of community…” (Anderson, 23). This form of pottery also lead to the discovery that the migration of the Lapita people approximately coincided with the settlement of western Micronesia , where very similar pottery was discovered that more closely resembled that of the pottery found in the Philippines. This similar pottery appeared in Palau, Marianas and Yap at around 1300-1100 BC, further enforcing the theory that the Lapita culture and the Marianas colonisation had similar origins in the eastern islands of Southeast Asia.

Anderson, Atholl. “Chapter 1: Ancient Origins”. Tangata Whenua: An Illustrated History. Ed. Atholl Anderson, Judith Binney, and Aroha Harris. Aotearoa: Bridget Williams Books, 2014. 16 – 41. Print