Arama Cooper, Te Wānanga o Aotearoa, Christchurch
Spotted at AFFIRM Aranui Family Festival
Christchurch, Dec 2011
Tuesday, December 13, 2011
Wednesday, December 7, 2011
From the Tattoo Files
Seen at the 10th AFFIRM Aranui Family Festival,
Aranui, Christchurch
December 3, 2011.
Tuesday, December 6, 2011
Tuesday, October 18, 2011
To Market, To Market
Over 250 Maori artists gathered in Porirua, near Wellington Murray
Top chef, Rex Morgan (centre) was joined by two trainee Maori chefs, Thomas McBride from Porirua (right) and Graham Snelgar from Grenada (left), both students at Whitireia Polytechnic. Morgan ran cooking demonstrations at the Market, based around contemporary Maori food, which included the use of tradition favourites like titi (muttonbird) and karengo (seaweed). He also gave away the secrets to achieving the subtle hangi flavours in a contemporary way, producing food delicately infused with the mildly smoky flavours of hangi feasts on the marae. Morgan, who is a business partner and chef at Wellington’s classy Boulcott Street Bistro, is a regular on New Zealand television food shows, he’s won every major New Zealand culinary award, is the consultant chef to Air New Zealand, and he has travelled the world cooking for members of the Royal family, European presidents and the world’s rich and famous.
Contemporary Maori clay artist, Carla Ruka attracted the crowds with her exhibition of Maori Angel clay pieces. Auckland-based Ruka was introduced to clay as a medium back in 2000 and she’s never looked back. “I love the journey that comes from creating my visions from Papatuanuku – from the earth to the creation to the firing, everything is an exciting event and you’re forever learning,” she says.
“The Maori Art market is about coming together. It’s not often we see senior artists alongside emerging artists like myself,” or that we get the opportunity to create bridges with other cultures. It’s always an honour to be invited,” he says.
In addition to local Maori artists, the market also featured works by invited international artists, among them, Dan Namingha from USA, Danny Eastwood from Australia, Filipe Toho, a New Zealand Tongan, Fat Feu’u a New Zealand Samona, documentary film maker, Peter Coates and Bunmei Okabe from Japan.
All images supplied by the Maori Art Market.
Friday, October 7, 2011
Tuesday, October 4, 2011
Friday, September 30, 2011
Friday, September 23, 2011
Wednesday, September 21, 2011
Tuesday, September 20, 2011
Village Life Re-Enacted
Tamaki Maori Village near Rotorua is an excellent place to see how a traditional Maori village may have looked hundreds of years ago. The night tour takes you south of the city and into the brooding darkness of a small forested site, where the Tamaki brothers have re-created a traditional village, complete with contemporary lighting and local Maori dressed as they would have been in the old days. The local people reenact the various traditional tribal roles including the arts of tattoo, weaving, song and dance and story telling.I was amused by the number of international tourists on the night I visited, who thought this was a real village and that the 'actors' always dressed this way.
Friday, September 16, 2011
Wednesday, September 14, 2011
Tuesday, September 13, 2011
Exploring Maori Rock Art
I travelled down to Timaru and South Canterbury in February, to visit the new Te Ana Ngai Tahu Rock Art Centre. I've written about the centre itself previously (click on Te Ana Rock Art Centre in the label line below), so this time I'm focussing on one of the many South Canterbury rock art sites, that you can now tour through the Rock Art Centre.
This is a well known site on Craigmore Station at Maungati - that can only be accessed via the Te Ana tours.
The landscape is impressive - rolling green hills and craggy limestone outcrops as far as the eye can see.
We were taken to the location by Ngai Tahu Rock Art Trust curator, Amanda Symon, who spoke of the enigmas of rock art discovered so far, in over 500 South Island locations - 95% of them on private land. She led us down steep paths and into a large overhang, where rock drawings completed hundreds of years ago are still clearly visible.
On this particular site, some of the ancient drawings were 'enhanced' during the 1940s by well known artist, Theo Schoon. Schoon, born in Java to Dutch parents, emigrated to New Zealand with his family in 1939. During the late 1940s he began observing and cataloguing many of the South Island rock art sites and, in some cases, he drew over them to enhance them. Wherever he did this, he also left his signature. On Craigmore, that signature (above), is tucked around the corner from the main cavern - as hidden as the drawings themselves would once have been.
As well known as some of these sites now are, visiting them is still a special experience. Sitting there, in the deep and all-pervasive silence, it's hard not to wonder about the lives and times of the original Maori travellers who created these enigmatic marks and symbols on the limestone cave walls.
If you're in Timaru, the Te Ana Rock Art Centre is definitely worth visiting - and, if you have the time, take one of the tours for a first-hand look at these precious taonga.
Monday, September 12, 2011
Conserving Taonga For the Future
Back in February, several Awarua runanga members gathered at Te Rau Aroha Marae at Bluff to attend a two-day workshop on taonga and korowai conservation, run by Wellington-based freelance conservator, Rangi Te Kanawa (Ngati Maniapoto), who is on leave from her role as Textile Conservator at the Museum of New Zealand
Stories of treasured taonga being stored in unlikely and often very damaging places are not new to Rangi Te Kanawa. She’s spent twelve years visiting iwi all around New Zealand in the hope of saving as many taonga as she can.
“Whanau usually keep their taonga close because they know they’re precious but I’ve heard of them being folded and tucked away in the back of cupboards or under beds. I remember one case of a Rarotongan cape – now in Te Papa’s Pacific Gallery under push button lighting – coming to me for restoration. It had been folded and folded and stored in a Griffin’s biscuit box but the rats had gotten into it.”
“Whanau usually keep their taonga close because they know they’re precious but I’ve heard of them being folded and tucked away in the back of cupboards or under beds. I remember one case of a Rarotongan cape – now in Te Papa’s Pacific Gallery under push button lighting – coming to me for restoration. It had been folded and folded and stored in a Griffin’s biscuit box but the rats had gotten into it.”
Gavin Reedy (Ngati Porou), is Te Papa’s National Services Te Paerangi Iwi Development Officer, who coordinates workshops like these all around New Zealand and often travels with Rangi. He too, has seen taonga emerge from unexpected places.
“This workshop is all about helping iwi take care of taonga that are held in homes, on marae, stuffed in boxes, or in attics. One lady up north brought in a beautiful kahu kiwi stuffed in a rubbish bag. Rangi has seen a 300 year-old cloak in the Far North but you only see those sorts of things if the iwi and whanau trust you. That’s why we see these workshops as a cornerstone, a beginning. It’s about building relationships with iwi, to see where they’re at in relationship to their heritage and culture and, depending on their needs, we then run workshops in either textile conservation, digital photography (so iwi can record and preserve their marae photos in case of fire), building a taonga database, or paper conservation to protect things like whakapapa papers, kaumatua diaries and Maori Battalion souvenirs,” he says.
“The important thing about all the workshops is that we teach our people to teach others. We can’t go to every marae, so we tell them how to get the funding, where to buy materials and then we visit them with the best tutors we can find to teach them the skills they need to pass on.”
Rangi Te Kanawa says iwi react to the workshops with intense interest. They share their experiences; they talk of taonga and whakapapa; and they leave with a renewed sense of pride.
“It’s lovely to go onto marae and have people bring in their taonga – which we often transform from stressed, tired or damaged treasures into a piece that looks like new. I’ve seen tears fall when cloaks have been cleaned and repaired, and put into their new boxes. Most whanau truly care about their taonga but they don’t always know how to physically care for them. My job is to get the word out there – roll, don’t fold and don’t use handles to hang garments; and store your cloaks, piupiu, kete and whāiki in acid-free boxes.
“There are those who want to have their treasures on display, not shut away in boxes; but the majority, once they see the cushioning, safe environment of the boxes, accept that this is the best way to give their treasures a much longer life – sometimes fifty to a hundred years longer life. People can always put photographs of the items on the outside of the box, or have a replica made that they can use and display, knowing the original will last for future generations to enjoy.”
Rangi comes from a long line of traditional Maori weavers. Her mother was Diggeress Rangituatahi Te Kanawa (1920-2009) and her grandmother was Dame Rangimārie Hetet (1892-1995) – both of whom dedicated their lives to the promotion and preservation of traditional Maori weaving arts. Diggeress Te Kanawa was also one of the co-founders of the Aotearoa Moananui-a-Kiwa Weavers Association in 1983, which was the driving force behind Rangi’s own conservator’s training.
“It all happened after the Te Maori exhibition in the early 1980s. There was a growing awareness then, of the need for Maori to be involved in the preservation and conservation of taonga, and Aotearoa Moananui-a-Kiwa were approached to find someone to train. They found me,” says Rangi.
“I was at home in Oparure, near Te Kuiti and in my early 30s at the time and when my mother got the call, she nominated me. I grew up surrounded by weavers and I also weave, so I took up the challenge.”
After studying conservation at Canberra College of Advanced Education in Australia, Rangi’s passion for conservation was ignited. She speaks of “a tremendous feeling of accomplishment” that comes with every successful project or workshop.
“Conservation makes for fabulous before and after treatments but more than that, you know you have helped arrest the degradation of a treasure, that you’ve upheld the integrity of the taonga and its wairua, its history, its stories. There’s a very real sense of pleasure of giving and iwi receiving, of them grasping the idea that if they roll a garment, it won’t be damaged by fold lines.
“That’s like an awakening and when they rest their cloak into a box they’ve made themselves, there’s a feeling that the taonga has been given the special attention it commanded, that it’s become a part of them and an item of even greater value for that. It gives them peace of mind knowing that the archival box they’ve created has provided the best storage that can be had and that their taonga can now safely be handed down through the generations. The workshops also bring communities together and the kaupapa is great. I love it.”
Sunday, September 11, 2011
Friday, September 9, 2011
Sunday, September 4, 2011
Friday, September 2, 2011
Tuesday, August 30, 2011
Traditional Kai - Karengo
Karengo is a member of the Porphyra species of edible seaweeds and is eaten throughout the world. It is closely related to Japanese nori and Welsh laver and is highly prized by South Island Māori. It is listed as a Ngāi Tahu taonga in the Ngāi Tahu Claims Settlement Act 1998 and during World War II, dried karengo was sent to the Māori Battalion in the Middle East and soldiers chewed it while they were on the march.
I visited Onuku marae, near Akaroa recently, where karengo is a seasonal delicacy.
Every spring, between July and september, the locals on the kaik, go down to the rocky shore and gather the brown seasweek off the rocks. A bulk harvest of karengo was traditionally dried in the sun. But if they want to eat it the same day, they pan dry it. To cook it hinu (mutton fat) or butter, is added and it's cooked slowly, with small amounts of water added over a two hour period. “Karengo is not easy to cook. It’s tough and it takes a long time to make it soft but it’s worth the effort,” the locals say.
The day I visited, they added cream to the cooked karengo mixture for extra richness and flavour and this is placed in the tiny filo cases and set aside.
Eel, or tuna, was also on the menu, along with titi (mutton bird), and both were given a modern twist in sushi.
Many of the Onuku whanai have been going to nearby Te Roto o Wairewa between March and May since hthey were young and they're familiar with all the old ways of tuna gathering.
“We hook them out of the canals into the pararu and on a good night we’ll get around 200. They’re gutted, washed in the sea and then hung by flax threaded through their gills. With their tails cut off they bleed out; then they’re deboned, salted and dried on hooks in the whata above the beach by the marae. These days the eels are then frozen or smoked and stored ready for use,” they say.
