tu mai july/aug 2011

TŪ MAI | May / June 2011For allsorts of people 1

MAY / JUNE 2011 - ISSUE #118NZ’S LEADING INDIGENOUS LIFESTYLE MAGAZINE For allsorts of people

Tim Ward HolmesParis based Māori model aligned to big industry names

TŪ MAI | May / June 2011 For allsorts of peopleFFoForFoFFo2

Editorial

For a couple of decades Matariki was hardly mentioned by anyone, including Māori. Then it made a comeback and the ‘bi-culturally friendly’ embraced it with gusto. Now it’s the norm on kiwi calendars, posters and social events … but not so much that it warrants a public holiday.

That honour still belongs to Elizabeth – our Royal Highness – riding a new wave of interest courtesy of a glorious royal wedding. Their Royal Highnesses, The Duke and Duchess of Cambridge may have captured a decent dollop of limelight with their fairy tale love story, but at 85 Elizabeth, Lizzie or Irihapeti has had a sterling reign and we do get a holiday for her party.

A lot less majestic is King Tuheitia, head of Tainui’s Kingitanga movement; a movement supported by many followers. Equally, there are some in (and out of) Tainui who are not followers. But who cares what detractors of dubious creditability outside Tainui think? They do nothing more than expose themselves as ill-informed, egotistical Māori on media speed dial, which then translates to regurgitated and boring non-news.

Newsfl ash, we are not all hooked up to dialysis machines for diabetes, swallowed up in Treaty of Waitangi Claims or obsessing about Hone. A whole bunch of innovative and creative stuff is happening; it’s changing how we see ourselves and we’re waiting for the rest to catch on. Our people are more discerning, more equipped and, importantly, more confi dent in our contemporary world.

Throughout the following pages there is a plethora of creative talent, a momentum that’s building and a certainty that Māori indigeneity is this country’s point of difference. I say exploit it as much, and as often, as possible.

On this edition’s cover is Paris-based Māori model, Tim Ward Holmes. Throughout these pages there is a plethora of creative talent on stage, catwalk, beauty pageants – and a whole bunch of fi t and healthy types scrambling to book a place in the triathlon months in advance. Wow!

Arohanui

Lillian Hetet (Ngāti Maniapoto, Ngāti Tuwharetoa and Te Atiawa) is mum to 18-year-old Ani and 11-year-old Wirihana. She is also a freelance writer and educator who returned to NZ from the UK in the early 90s. She has a boutique tourism operation and art gallery in Waiwehtu – Lower Hutt where she resides.

Nathan Hoturoa Gray (Tainui, Ngai Tahu) completed his fi rst book First Pass under Heaven that tracks the trials and tribulations of being one of the fi rst four Westerners to have walked the Great wall of China.

Lewis Scott is an African American jazz poet and writer from Georgia. His fi rst published collection is The Coming of Lewis E.Scott (1972). Lewis has been a writer with TŪ MAI since 2002 and was instrumental in TŪ MAI getting the scoop on Barack Obama being the fi rst black US President in 2006.

James Johnston (Ngāti Porou) is Chariman of Partners and heads the Commercial Teal of Rainey Collins. James had been a Partner since January 1994 and is former Chair of the New Zealand Law Foundation.

Maxine Bluett (Wellington)Chalotte Carr (Dunedin)Rosina Hauiti (Auckland)Charlie Holland (Wellington)Lani Lopez (Auckland)

Production EditorHelen Courtney

Design Sheree Bridge, Design Doer [email protected]

NTR

IBU

TOR

S

TŪ MAI | May / June 2011For allsorts of people TŪ 3

Published by TŪ MAI Media Plus Ltd, TŪ MAI is the ONLY Indigenous Lifestyle Onlinemagazine published in New Zealand.

All previous Online editions are available FREE at www.tumai.co.nz

A Level 5, 35 -37 Victoria St, PO Box Wellington 6149 P 04 473 0557 F 04 473 0558 E [email protected]

All material within TŪ MAI is copyrighted and not available for reproduction without permission.

Contents

282422

141006

403634

• Click on an image below to view the article.• Keep an eye out for website links and video clip icons throughout. • You can join us on Twitter, Facebook or email us using the icons at the bottom of the page.

MISS UNIVERSE

AWANUIARANGI PLAYS HOST

NEW NATUROPATH COLUMNIST

JOCKS IN BOXES

TOI MOKO HOME BUT NOW WHAT?

MATAROA

BROTHERHOOD

BUSY PARISIENNE LIFESTYLE

FASHION ENERGY


At 7am on Saturday 26 March more than 700 hundred Māori and Pacifi c Islanders hit the registration

button for this year’s Ironmāori. In those 11 minutes, 361 individuals and 441 team members put their names down to either swim two kilometres, cycle 90 kilometres or run 21 kilometres, or to do all three stages.

However, there was a glitch. Ironmāori organisers only had places for 250 individuals and 250 teams. Missy Mackey and Heather Skipworth, two of the key people who initiated Ironmāori back in 2009, were aghast with the level of interest.

Missy met Heather a few years ago and has since joined her as a lifestyle coach. They started their own business and developed the Ironmāori event. Both ladies hail from Hawkes Bay so their connections are well established. Their interpretation of a lifestyle coach is someone who can support and mentor another person into a healthier lifestyle. The business side of this venture includes the hosting of Ironmāori.

The inaugural Ironmāori realised 300 registrations, but it took nearly four months. A year later, and with a little bit of word-of-mouth, the dynamics of the entries have shifted. From what had been a predominately Ngāvti Kahungunu event, an almost even split between local and out of town entries emerged in 2010. By the time the call for 2011 registrations opened, it was apparent the Ironmāori event had exceeded expectations – and it took only 11 minutes!

A Facebook post was in order: ‘Overwhelmed, regos have sold out in eleven minutes, everyone pushed the rego button at the same time, we have 445 trams, 361 individuals. Whānau we only have places for 250 teams and 250 individuals, but we are taking you all. Thanks for

Eleven MinutesBy Charlie Holland

your support, we are at capacity and will not be having a waiting list – thank you.’

But later that afternoon another Facebook post read, ‘COMPUTER GLITCH, whānau. Teams registrations only, not individuals, will open at 5pm, be ready – it will open and close just as fast as this morning.’

When asked to explain, it appears ‘blaming the computer’ was a cover up for panic, Heather admitted: “We saw all the numbers coming through and we just panicked and pulled the registration line.”

Regardless of the ‘glitch,’ registrations had already reached the limit of 250 teams – leaving Missy and Heather to fi gure out what the best course of action would be. They concluded that since they had successfully dealt with the shock of thinking they had 400 teams entered, they would re-open for teams only and take entries up to that number.

It’s an understatement to say Ironmāori has become increasingly popular. Traditional means of advertising have not even been considered, because people passing on their personal experiences of immense satisfaction have been so successful in swelling the numbers of registrations.

Taking on a challenge as big as a half ironman can be quite intimating says Heather, “But that’s the whole point.”

Two years ago she completed a New Zealand Ironman challenge and for her it was a massive accomplishment. When she crossed the fi nish line she says an awe-inspiring sense washed over her and she knew at that moment that she had the ability to achieve anything she put her mind to.


“By setting challenging distances, people have to make signifi cant lifestyle changes. Once they have completed the event, ideally, they will be able to transfer their skills and energy to something like their career, so we’re not taking the average ‘jobs’ we’re succeeding in being the best that we can be.”

In Hawke’s Bay there are group training sessions for swimming, running and cycling with Heather, Missy and the Ironmāori team on hand to advise and support as much as possible. And, whether supporters know it or not, they are as valuable as training.

On the actual day of the event, it is the supporters and course marshals that keep people going with their words of encouragement, smiley faces and cheers. More than half of last year’s marshals have decided to leave their posts to become an Ironmāori this year. One woman in

Heather’s swim squad advised her friend, “You should do it, become a marshal this year and do it next year because that’s how I got hooked.”

TŪ MAI will follow over two individuals and two teams over the next seven months as they take on the challenge of getting up in the dark to train, managing time with work, children and families and sacrifi cing personal luxuries and vices for healthier options – it may not always be pretty.

For more information visit the Ironmāori website or become a fan of their facebook page.

‘Enjoy your trainings, make them a choice and not a chore, discipline with your nutrition, and your life will be the best it’s ever been. Your whānau is very proud of you all xo’ (Facebook post, March 28). ■

Iron Māori organisers Missy Mackey and Heather Skipworth


Miss Universe NZ

When Priyani Puketapu was crowned Miss Universe NZ last month, she became New Zealand’s

representative to one of the biggest beauty pageants in the world. But Priyani is not just representing her country, she told TŪ MAI she was honoured to be representing her various cultural heritages as well. Her mother, Cindy, is from English, German and Swedish stock while her father Pip is of Māori (Te Atiawa), Rarotongan and Tahiitian heritage.

Priyani’s name is Indian, chosen for her by her father because he liked the sound of Priya – a name he had once heard on television. An Indian doctor was in the hospital the day Priyani was born and he explained to her father that Priya was short for Priyani, which means beautiful. Her mother, Cindy, says that Priyani is not only beautiful on the outside but she has an inner beauty and is a very caring person. She is also conscientious, studious and is studying towards a degree in communications at Massey University.

Beauty and brains run in the family. Priyani’s sister, Tara (22), has also competed successfully in beauty pageants and is a straight-A student in chiropractic studies. Twenty-year-old Priyani hales from a family of three brothers – Mania (33), John (16) and James (14) and two sisters – Brooke (33) and Tara. Her mum says the family are proud and excited for her and want to support her in every way they can. In the whirlwind of radio, newspaper and television interviews following her daughter’s win, Cindy has been acting as PA, fi elding phone calls, emails and organising schedules from the family home in Levin. Even proud grandfather, John Puketapu, has been taking calls at his home in Lower Hutt.

The cost of attending the pageant in Brazil will be partly met by the event organisers who foot the bill for

travel, accommodation, the evening gown and national costume. Priyani will need to meet all other costs including her wardrobe for the month that she will be there. To help out with costs her mum has taken on a cleaning job at the local freezing works, in addition to her day job looking after animals at the Horowhenua animal shelter.

The family will still need to fundraise to meet the additional expenses. Pryiani’s persistence in fulfi lling her dream of winning the title, being able to travel and represent the country overseas is something her mum is particularly proud of. For Priyani “the thrill of winning was the highlight” as this was the last pageant she was going to enter and it has been “so much fun.” She is grateful to her family and friends who have supported her to realise that dream.

As well as attending media commitments and public appearances, Priyani will be spending the next three months preparing for her trip. The national costume is something that Priyani is especially excited about. She is working with a designer to incorporate her heritage, especially her Māori and Rarotonga sides, into the garment.

Her grandfather, John, has lived at Waiwhetu Marae most of his eighty-something years and her grandmother, Joan Puketapu, was from Rarotonga. Priyani’s Nanny Joan was there along with her uncle, John Musgrove, and her Granny when Priyani fi rst attempted to win the Miss Universe NZ title in 2009; she came runner-up. The three having since passed away, Priyani thought of them when she won the title this time around and dedicated her win to them in her acceptance speech. She says she will carry them and the pride of her whānau with her when she travels to Brazil in her bid to win the Miss Universe title.

Second place getter was Talia Bennett of Te Arawa. ■

By Lillian Hetet


Images by Brady Dyer | www.bradydyer.com


Golden SoulsBy Montess Hughes

When the late Hirini Melbourne, a traditionalist for Māori music and instruments founded the

inaugural Pao Pao Pao show in 1993, he could not have envisaged it growing to be a leading gig on the NZ Music month calendar of events.

Last year, Matiu Te Huki (of Ngāti Kahungnunu and Italian descent) attended the 2010 showcase and decided he would not be in the audience in 2011. “I said to myself, ‘Next year I’m going to be on that stage’ – this year I was invited.”

In its ninth year the annual event saw organiser Ngahiwi Apanui and Toi Māori Aotearoa bringing together Māori musical talent; all ticket sales were donated to the Christchurch Earthquake appeal.

With several years experience behind him, Matiu has collaborated with Fat Freddie’s Drop, Anika Moa, DLT, Rhombus, Hikoikoi and King Kapisi just to name a few. He is also a singer songwriter and founding member of the popular roots band Homefi re Burning and is now a member of the soulful roots band, My Golden Soul.

The two-hour 2011 Pao Pao Pao show was held at Pipitea Marae in Wellington over two memorable nights. Satisfying both the younger and older audience, the contemporary concert was presented in an intimate, traditional setting that was by all accounts a winner.

Headliner Maisey Rika warmed the audience with a soulful performance from her debut album Tohu, then the line up of talent moved through to Wellington based artists – Tyna Keelan & The Nok, Ria Hall, Lisa Tomlins, David Grace & Injustice, Matiu Te Huki, Wai, Toni Huata, Bebe Deluxe and Porirua reggae band Vintage – who featured a range of musical genres from Puoro Māori to soul, hip hop, reggae and funk, all with Māori musical infl uences. ■

Singer songwriter Matiu Te Huki


Toi Iho™ refers to the co

re or essen

ce of th

e Māori art culture com

prising its traditions and values, creativity and innovation, t

he pre

serv

atio

n a

nd

sh

arin

g o

f k

no

wle

dge

th

rou

gh th

e ge

nerat

ions,

and an insistence on authenticity and quality.

Right now we are looking for artists & stockists interested

in becoming a part of theToi Iho™ community.

If you would like more information CLICK HERE.


Jocks in Boxes

It’s been a few years since Don Brash hung up (mid interview) on TŪ MAI’s political writer, Rosina Hauiti. She recently attempted to revisit the former National Party leader and also peers into Hone Harawira’s party’s aspirations in her political round up this election year.

Broaching Brash about his infamous Orakei speech wasn’t the reason for challenging him back then.

Rather it was his inability to articulate the practical applications of his economic policies. That’s right, back in 2004 he couldn’t communicate what was on the agenda, because he didn’t have any policies to share.

He assumed I was going to tussle with him over the race speech, for which he was abundantly prepared, and was caught out when the interview took a totally different course. Fast forward to 2011, Rodney Hide has been dumped and replaced by Brash, who by the way is still pedalling the same anti-Māori doctrines coupled with the same extreme economic policies.

Brash, however, does gain some traction with the disaffected, in the same way Hitler did with disaffected middle and lower class Germany. On that, Hone Harawira and I agree. However, if Hone is the new pied piper of Māori, he needs to wake his ideas up if he wants to

capture the undecided middle Māori vote. Indeed,I count myself in that group.

There’s no two ways about it, the Māori Party sold out on the Foreshore issue. How is it possible to have undisturbed usage when the laws of the land prevented many from doing so? It’s a cunning and deceitful piece of trickery designed to extinguish the bona fi de and moral rights of entitlement of as many Māori as possible. In my view, the Māori party should have opposed the deal.

Having aroused our interest in the new Mana party however, what we don’t want to see is the incessant and prolonged goading, yelling and screaming at those who let us down. It’s off-putting.

The vitriol, the anger, the disappointment that comes from unfulfi lled expectations most can understand, but when it pervades all else, smothering the Mana Party policies and applications, then there is not a lot more going on for Māori than Brash has for right wing New Zealand.

The dumping of Rodney Hide shows the calibre of Don Brash. It’s not so much the brutality and awkwardness usual in such situations, it’s the messianic air that Brash seeks. He’s here to make a difference – he says it’s because he is so concerned at the way our country is headed – like Roger Douglas made a difference when he sold off our assets and the livelihoods of many Māori.

ecided ndeed,t group.

s about it, ld out on

e. How is it ndisturbed aws of the

any from doing and deceitful piece ned to extinguish the oral rights of entitlement ri as possible. In my view, should have opposed the

our interest in the new Mana what we don’t want to see is

nd prolonged goading, yelling g at those who let us down. It’s

he anger, the disappointment that unfulfi lled expectations most can

but when it pervades all else, smothering the policies and applications, then there is not a ng on for Māori than Brash has for right wing d.

ng of Rodney Hide shows the calibre of Don ot so much the brutality and awkwardness

ch situations, it’s the messianic air that Brashhere to make a difference – he says it’s

e is so concerned at the way our country is D las made a difference when he


So is Hone any different? Well, let’s see. Is he a messiah? I believe he is to many disaffected

Māori. Like Brash he is concerned about the future of New Zealand. They both want a fair deal for all,

except that Brash and his supporters would assimilate Māori back in to the ‘fold’. We too can become just like

‘normal’ Pākehā, with the added bonus of being a part of a multi-cultural society, if we just give up this silly notion that we

are special because we are Māori.

Hone on the other hand espouses a fair shake for all (especially for low income New Zealand), but through policies that are Māori specifi c. Meaning, whatever he achieves for Māori can be used as a blueprint for the rest. Brash wants to abolish the place Māori are accorded as Tangata Whenua, and Hone wants to uphold and

entrench it in the New Zealand psyche.

So how will Hone bring in undecided disaffected left-leaning Pākehā votes? Enter John Minto, long time activist and advocate of Māori

rights. Minto may bring support if he can convert this group to the policies of economic prosperity for low-income families and individuals

through Māori. Hone will also need to allow Minto his voice and not blast him to smithereens when he gets huffy.

Poor Don doesn’t seem to have a John Minto up his sleeve, unless it’s John Banks, or the Exclusive Brethren can pull something out of the hat. The last Māori person of note that was pro-ACT was Donna Awatere Huata. Her demise aside, no decent Māori would want to be seen aligning themselves with Don Brash and his supporters.

In the meantime both National and Labour are calculating on the sideline. They both stand to lose. A vote to either Act or the Mana Party is not only a vote lost, but also a concession each may need to make when dealing with and voting on matters of conscience and supply.

For the moment I am staying put. Once the screaming and yelling has ceased, once I can see the wood and not the trees, the policies and how they will be implemented, I along with many others in the ‘undecided’ group will make some decisions. ■


By Nathan Hoturoa Gray

With as many promoters as protestors, there was always going to be a reef of hysteria surrounding

the passing of Hon Christopher Finlayson’s ‘Marine and Coastal Area Bill’ – a legislated resolution to the ongoing debate over Māori customary control of the foreshore and seabed.

The morass of opinion – ranging from iwi interests to core ACT and Coastal Coalition dissent – has soaked into the New Zealand community. A lot of inaccurate information being publically disseminated has resulted in scaremongering, confusion and has proved largely off putting to most.

Political party ACT states the general public will be prevented from visiting beaches under Māori customary control over certain areas in Aotearoa’s Foreshore and Seabed as a result of this legislation. What isn’t mentioned by this dissenting minority political party is the lack of access that is currently the case with the 11,000 or so private properties – (mainly non-Māori) that take up approximately a third of the 18,000 kilometres of New Zealand coastline. These ‘owners’ can and do, deny access to their coast whenever they so wish. Following ACT and the Coastal Coalition’s line of political reasoning, the logical start to the process would be for

Seashore promoters

and protestors

the Crown to take back this one third of coastlines in private hands so that public access can be fully assured.

Of local iwi interests, the general consensus is that the legislation does not go far enough in asserting Māori customary rights because proof of such ownership is so diffi cult to achieve. Given the politically-charged propaganda that has bombarded the public – competing factions exploiting the general miscomprehension about the basic workings of the legislation – this article serves to point out a few facts for readers to consider.

The famous hikoi of 2004, where more than 20,000 Māori and Pākeha converged on Parliament grounds, protesting the then Labour Government’s legislation blocking Māori access to the courts to assert ownership of the foreshore and seabed as a customary right, saw an incredible crescendo of unity within Māoridom. Although the Bill wasn’t altered at this time, one tangible outcome was the formation of the Māori Party.

Seven years later, the core of that protest has since marinated in a spicy and heated fermentation. The current legislation aims to put ongoing issues to rest and, much like National’s current Treaty Settlement Policy, hopes that organised tribal groups can resolve


their claims with haste – moving on from the past and capitalising on the situation at hand. Many protestors however are feeling despondent.

In a nutshell, the Marine and Coastal Area (Takutai Moana) Bill allows Māori to go to court and have their case for customary ownership of their ancestral foreshore and seabed heard. There is currently a timeframe of six years for Māori to lodge a claim. However, it will be extremely challenging for Māori claimants to assert customary ownership by proving exclusive use and uninterrupted occupation of a particular area of the foreshore and seabed since 1840.

If proof can be established by Māori claimants, then those exercising rangatiratanga will be granted a new form of property right called ‘Customary Title.’ (It must also be noted that Māori can also negotiate with the Minister of Treaty Settlements on a one-on-one basis rather than going to court, but if they do, the negotiated agreement must also be put before Parliament to be approved.)

If granted Customary Title, the area in which the iwi can exercise Customary title will extend from the high tide mark out to sea about 26m kilometres. However, there are conditions: Iwi cannot sell this area of land nor block

access for any recreational use of the beaches involved as stated in the legislation.

Under Customary Title, Māori will be able to assert the ability to agree or disagree with any developments that might take place in the area such as the building of marinas and wharfs. Any developers can also be charged for the right to build. As is part of the practice of kaitiaki, Iwi with Customary Title will also have a say in all planning and conservation decisions, and will be able to protect sites deemed culturally signifi cant. This might, or might not, restrict public access to certain areas. With regard to resources that were not mined back in 1840, Iwi with Customary Title will have autonomy over minerals found in the area excluding government-owned gold, silver, petroleum and uranium.

Essentially the law applies to approximately 2000km or 11 per cent of all coastal foreshore and seabed, and despite consternation from extremists such as ACT and the Coastal Coalition – Māori customary owned titles are not likely to prevent the regular Joe Blogs from enjoying the daily surfi ng breaks or idyllic family picnic areas that bless the boundary of Tangaroa.

Private ownership on the other hand does. ■


Brotherhood’s

Poetic Voice

Silo Theatre will present the NZ Premiere of The Brothers Size, a tour-de-force from the leading young

voice of the African American theatre. Tarell Alvin McCraney’s The Brothers Size is set to thrill audiences with its sheer kinetic energy – words, bodies and actions rebound at Auckland’s Herald Theatre.

Silo Theatre has engaged a trio of some of New Zealand’s fi nest Māori and Pacifi c Island talent to bring alive this physical, poignant epic. Pua Magasiva (Sione’s Wedding, Well Hung), Jarod Rawiri (Matariki, The Arrival) and Te Kohe Tuhaka (Tama Tu, Shortland Street) explore the counterpoint between our own cultural heartbeat and contemporary African-American culture. Auckland composer Tama Waipara has been commissioned to create a soundtrack that will fuse West African drumming, soul, R&B and hip-hop.

Following his critically acclaimed 2010 productions That Face and When The Rain Stops Falling, Silo Theatre Artistic Director Shane Bosher directs his fi rst production of 2011.

The story line traces the recently paroled Oshoosi Size, who fi nds an uneasy home with his older brother Ogun in the atmospheric bayou country of Louisiana. Ogun – straight living and hard working – feels both the charge and resentment of a life-long duty to protect his ‘permanently innocent’ younger brother. With the arrival of the charming and sinister Elegba, an ex-con with his own claims to the brotherhood, a delicate stability is threatened and fraternal ties will be tested.

Tarell Alvin McCraney’s work relocates Nigerian myth to the grit of urban reality, the projects. His writing touches on a wealth of traditions while re-imagining


“…Listen closely, and you might

hear that thrilling sound that is

one of the main reasons we go to

the theatre, that beautiful music

of a new voice...” – The New York Times

TŪ MAI has two tickets to give away on a fi rst serve basis. Simply email the answer to the question:What African country does the myth used inThe Brothers Size originate from?Send you answer to: [email protected]

Tickets are also available through THE EDGE:www.buytickets.co.nz or 09 357 3355

their relevance to contemporary audiences. Armed with the voice of the street, McCraney folds together slangy vernacular with bursts of glorious heartfelt poetry, making The Brothers Size next generation theatre that is spiritually infused, highly theatrical but immediately accessible.

“… McCraney writes with a passion and urgency that can’t be faked, in a style that invests ordinary lives with the grandeur of ancient gods. Watching these plays, you experience the excited wonder that comes from witnessing something rare in the theatre: a new, authentically original vision … ” New York Times

McCraney was raised in the projects of Miami, with family members who battled drug addiction and a mother who died from an AIDS-related illness at the age of 40. He’s described the world of theatre as a lifeline out

of the poverty which dominated his upbringing: “Theatre, as well as dance and music, allowed me the ability to put the large questions into a form that, at least, ordered them into a more beautiful chaos. That’s all we ever really want in life, right? To feel like we can for a moment order the chaos into something manageable, or at least perceptible.”

Described by the Chicago Tribute as “the greatest piece of writing by an American playwright under 30 in a generation or more”, The Brothers Size was written when McCraney was just 25. It forms the second part of a trilogy called The Brother/Sister Plays and has been met with critical acclaim and clutches of awards. It has gone on to become on of the most performed plays on international stages, with acclaimed companies such as Steppenwolf, the Young Vic and New York’s Public Theatre picking it up for production. ■

Click to view website

Click to email


Hemi Berry is used to people doing a double-take when he introduces himself “‘I’m Hemi Berry from

Women’s Refuge” they get a bit of a fright.” But once he’s explained his role at Te Whare Tu Wāhine, where he works as a community social worker, the surprise is lessened.

Te Whare Tu Wāhine is trying new ways of tackling increasing levels of violence in Tairawhiti, the wider Gisborne area. Their three-strong Whānau Ora team work with wāhine, tāne and tamariki using different approaches tailored to meet their specifi c circumstances.

For Te Whare Tu Wāhine, the fi rst step in a violent situation is to respond to the immediate crisis by making

sure whānau is safe. Hemi then explains one of their recent initiatives comes into play – a respite whare for men, removing the perpetrator of the violence.

Essentially this means the man, rather than the partner and children, leaves the family home – facilitating a better base from which Te Whare Tu Wāhine can work to try and bring about long-term change for men, their partners, and children as well as extended whānau.

“We will deal with the initial incident until we get a bit of clarity around what’s really going on – the dynamic in the whānau. Then our Whānau Ora team will try to build a relationship with the whānau as a whole. If we see a particular need, a wrap-around service for example, we will send out the team and that has been proving really effective,” explains Hemi.

The work of Te Whare Tu Wāhine is driven by police fi les on each domestic violence incident they attend (POL 400s). While the police might respond to a call from a partner, child, or concerned neighbour, it’s likely Hemi will get the report, will knock on door the next day and will ask if everything is ok.

Respite for

violent men

YOUR ANCESTORS SIT ON YOUR SHOULDERS TO KEEP YOUR FEET ON THE GROUND

AD

VER

TOR

IAL


RIGHTS & RESPONSIBILITIES

YOU ARE RESPONSIBLE TO YOUR ANCESTORS

ALL THINGS YOU NEED TO KNOW HAVE ALREADY BEEN DONE FOR YOU

He says that often the response from the householders is that everything is fi ne, despite his knowledge of a likely hostile environment. It is important for him to familiarise himself with the family by getting inside the home and addressing the crisis, issues, dynamics and above all, safety. Getting indoors is a catalyst for the next initiative a three-week programme called He Ara Tāne, which sets out to help men understand what violence does to them and their families, and to help fi nd a pathway to non-violence.

However, the fi rst challenge is to get men to attend the course. Hemi believes voluntary action is the real key to success. Encouraging men to sign up has seen Hemi successfully recruit nine for the pilot programme and one on the suggestion of a whānau member.

The shape of Te Ara Tāne was based on Hemi’s view that programmes that run over a number of weeks often lose participants. The pilot was three two-hour sessions over three weeks. “I wanted it to be effective. It introduced tāne to different ways of looking at the impacts of violence on their whānau, on their tamariki, mokopuna, on the next generation.”

Hemi Berry


“Not many men actually know what their behaviour is about. The fact that men in the group shared similar backgrounds and stories made it easier for them to talk,” says Hemi. Their past experiences makes them experts in violence for all the wrong reasons, but a change in behaviour is one they know they all have to make. “I don’t know whether they are scared of making that change or maybe a fear of not knowing how to.”

Over the duration of the course, Hemi identifi es what organisations and services the group needs to meet with to provide ongoing support. “It’s about bringing in the different services from throughout the community. And that is a real positive for these men because they weren’t aware of what was out there.”

Evaluations suggest the Te Ara Tāne pilot programme is a success. One of the participants said he felt as though someone actually cared about him. Hemi believes that’s because he was there voluntarily, not ordered to

attend the programme. “Time will tell whether or not it’s effective but so far, so good.”

Until now, Te Whare Tu Wāhine has used word-of-mouth to promote their courses and services. “We want men to say to each other or whānau members, ‘There’s a programme run by Te Whare Tu Wāhine, why don’t you go and check it out?’”

When Hemi looks to the future, his sights are fi rmly on the goal posts. “The ultimate goal for me is to be able to reduce those statistics in terms of family violence. We’ll look at those stats at the end of the year and see how they pan out.”

Hemi also believes youth are where some real long-term changes need to be made. “While we do have success with the men we work with, it’s really hard to change 30 years of violence. We say to them, even though this is your reality, the reality doesn’t have to be the same for your children; they can have a different look at life; they can have a different belief system. That’s what we are working towards.” ■

“...Even though this is your

reality, the reality doesn’t

have to be the same for

your children; they can

have a different look at life;

they can have a different

belief system. That’s what

we are working towards.”

Hemi Berry

ALC0

112/

01

WE’RE MATES RIGHT?

For information on how, visit www.alac.org.nz or call

the Alcohol Drug Helpline on 0800 787 797 to talk.

However you do it,

tell them to ease up on the drink.

Click to view video link


Whānau Ora

Revolutionises

West Auckland

A one-stop frontline Whānau Ora hub integrating health, social, justice and education services has

been launched by Te Whānau o Waipareira Trust in West Auckland.

The Whānau House – a four-storey complex in the central business district of Henderson – is the home of the trust’s new-look workforce: kaimahi (service workers), kaiarahi (navigators) and kaiwhakahaere (leaders). As a specialist Whānau Ora provider, Waipareira is offering families ‘wrap-around’ services tailored to their needs.

A kaiarahi, or navigator, will work with whānau to identify the aspirations and outcomes they seek, develop an outcomes focused plan to achieve them and then broker their access to a range of services available both internally and externally in the wider community.

Waipareira chief executive, John Tamihere, says the design of the Whānau House is a credit to all who worked on the development. The centre has fi ve levels where families can access more than 70 services. These include primary health care in the GP clinic, dentist and pharmacy as well as a range of ‘secondary services’ offered by the Waitemata District Health Board, which is locating specialists’ services closer to whānau and the West Auckland community. Families are already applauding the links with some ACC services through the WINZ Community Hub, reporting that access is better and faster by having the information all in one place.

The Whānau House will also be the corporate offi ces of the Waitemata PHO West Locality and the National Urban Māori Authority known as NUMA. NUMA is the parent body for the Whānau Ora provider collective that includes Waipareira, Manukau Urban Māori Authority

in South Auckland, Te Runanga o Kirikiriroa in Hamilton with approved affi liate Te Kohao Health, and Te Roopu Awhina ki Porirua in Wellington which is in development.

Currently, 25 provider collectives involving 158 health and social service providers nationwide are beginning to work collaboratively to deliver the innovative approach to engage families. “Whānau Ora enables the urban Māori authorities to deliver services that are whānau-directed and whānau-centred,” explains Mr Tamihere. “We are moving beyond the traditional service provider structures towards a more inward focus on organisational mastery, inspiring innovation and creativity – and ultimately placing the whānau at the heart of our core activities and initiatives.”

Several hundred people have already attended the ongoing ‘Open House’ evenings at the Whānau House 6-8 Pioneer Street in Henderson.

Information: phone 0800 WAI Whānau or visit the

web: www.waipareira.com

NUMA web: www.numa.org.nz

Whānau Ora web: www.tpk.govt.nz/en/in-focus/

whānau-ora/.

nt.

AD

VER

TOR

IAL


CLOCKWISE FROM TOP LEFTThe Mataora model used by NUMA to ensure that every engagement with whānau moves them closer towards their outcomes and goals | The new Whānau House in Henderson | The chief executive of Te Whānau o Waipareira, John Tamihere | Kim Wi – kaiwhakahaere or nurse co-ordinator at the Whānau House in West Auckland


Indigenous principles

attract visiting scholars

Indigenous university Te Whare Wananga o Awanuiarangi proved a drawcard for a group of American scholars

visiting New Zealand learning institutions in May.

The group, consisting of two academic staff and 16 post-graduate students, were formally welcomed to the wananga’s Whakatane campus on 19 May for a one-day visit to investigate how indigenous principles are used in the provision of tertiary education.

The 16 students are completing Masters degrees in student services administration at Bowling Green State University, the University of Maryland, Penn State University, University of St Thomas, Kent State University, Indiana University and University of Akron.

Dr Carney Strange, Professor of Higher Education and Student Affairs at Bowling Green State University in Ohio, said the group was delighted to be able to experience Te Whare Wananga o Awanuiarangi and to learn how kaupapa Māori infl uences the design and delivery of a wananga education.

Awanuiarangi has 7000 students enrolled at campuses throughout New Zealand. Dr Strange said the wananga system and the story of Māori educational advancement, history, culture, traditional knowledge and learning were exactly what the group had come to learn about in its study tour of New Zealand.

“Our goal is to challenge our students to learn about a tertiary system other than their own and in particular how indigenous principles can inform the design of learning experiences and resources,” Dr Strange said.

“We understand the power of a university in the lives of those who study there, as well as for those who

teach there. Our research and study has shown us how important a sense of community is to the students and staff of a university. Now we have come to see how kaupapa Māori supports and challenges students who experience it.”

Awanuiarangi’s chief executive offi cer and vice-chancellor Distinguished Professor Graham Smith and executive dean Professor Wiremu Doherty were among the group of staff and academics who welcomed the visitors. Professor Smith presented an overview of the

“Our goal is to challenge our

students to learn about a tertiary

system other than their own and

in particular how indigenous

principles can inform the design

of learning experiences and

resources,” Dr Carney Strange

wananga, and the group was introduced to the work of the wananga’s National Institute of Māori Education, School of Indigenous Graduate Studies, Tokorau Institute for Indigenous Innovation and National Institute of Māori Education.

Various areas of student services were an additional focus. Professor Doherty also took the group to Kaputerangi,an historic pā site overlooking Whakatane. ■


make te whare wānanga o awanuiārangi

your choice for education!

we’ve got what you need! from foundation to certificate, degrees to masters and phd programmes.

SCHOLARSHIPSAVAILABLE

C O N D I T I O N S A P P L Y

AUCKLAND | WHAKATĀNE | WHANGAREI

OR VISIT OUR WEBSITE AT WWW.WANANGA.AC.NZ

0508 92 62 64

to enrol or for more information please call

Visiting scholars and Te Whare Wananga o Awanuiarangi Staff after powhiri


Closer to Home

After 136 years in the Rouen Museum of Natural History (France), the fi rst of many toi moko mokai

(preserved heads) and kōiwi tangata (skeletal remains) in French museums and private collections have made their way to Aotearoa and subsequently closer to home.

Records show a toi moko offered to the Rouen Museum of Natural History in 1875 was accompanied by a note suggesting it was that of a Māori warrior, but there are no other clues as to his identity. In a fi tting ceremony at Te Papa in early May toi moko were welcomed home along with other kōiwi tangata from four other European institutions.

Alongside representatives from Sweden and Germany, the French delegation was made up of Mr Deneux, President of the France-New Zealand Friendship Group; Mr Raoult, Mayor and Senator of Le Quesnoy; Mr Richard Tuheiava, Senator of French Polynesia; Robert Laufoaulu, Senator of Wallis and Futuna; and Mrs Morin Desailly, the senator responsible for the creation of the law allowing the return of toi moko to New Zealand.

The repatriation of toi moko from international museums has been ongoing since the late 1900s; the late Dalvanius Prime led a campaign not only to have them returned, but also to support them being viewed as opposed to an earth burial.

Catherine Morin-Desailly who is a member of the Union Centriste Party led the bill to support the repatriation and authorised the restoration of toi moko at the Rouen Museum of Natural History, as well as all toi moko (estimated to be between 15 and 20) held in other French public collections. The bill has been signed by nearly 60 senators and by the members of the Senate’s

By Amanda Kirby

France-New Zealand Friendship Group who were thrilled that the law was passed by the Senate.

Catherine Morin-Desailly was elected senator of the Seine-Maritime Département in 2004 but in 2008 she left the democratic movement, for which she was a board member, to join the Nouveau Centre Party. In 2009, she was appointed national secretary for culture and media for the Nouveau Centre Party. Due to her election as regional councillor for Haute-Normandie in 2010, she resigned from her role as city councillor for Rouen. She has also been the deputy mayor of Rouen, head of culture and international relations for the Rouen City Council from 2001 to March 2008, community Councillor for the Community Agglomeration Council of Rouen until March 2008, and deputy mayor of Bois-Guillaume in 1995.

She spoke to TŪ MAI about the importance of returning the remains of Māori ancestors to their homeland.Te Papa repatriation manager Te Herekiekie Herewini says a tangi was carried out for each of the Toi moko and that repatriation staff will work to identify the tupuna’s iwi and where possible, return them to their fi nal resting place. The toi moko, which is the fi rst to be

Click to view video link


ABOVE: H.G. Robley with his moko mokai collection

repatriated from France following the law-change, has been preserved incredibly well. Swirling lines of moko sit boldly on the cheeks and forehead with the skin and teeth still intact.

It is believed toi moko were traditionally preserved by a long process that included removing the eyes and brain, being stuffed with fl ax, then steamed, basted in shark oil and eventually dried. The craftsmanship and resources that were used in the preservation process is staggering given the excellent condition of the toi moko, most of which are now more than 200 years old.

Currently there are 101 other preserved heads in Te Papa’s wahi tapu, which is afforded the same degree of respect as an urupā or burial site. Te Papa’s repatriation staff are adamant that at no time will any kōiwi tangata (human remains) be displayed by Te Papa as part of its collection. “The ultimate aim of the repatriation programme is to return all kōiwi tangata held at Te Papa to iwi,” says Te Papa Kaihautū Michelle Hippolite. This process will start with ta moko experts analysing the moko to identify a place of provenance. “We’ll be trying to identify regional differences in tattoo design and try to get to specifi c locations or iwi that these designs may belong too.”

The repatriation team will use this information, as well as other research, to compile a kōiwi tangata report. The report aims to include information about the collector, the trader, how the remains left New Zealand and what year they were acquired by the international institution. This will help identify the iwi, or number of iwi, with an interest to the place of origin. Following this a meeting will be organised between the repatriation team and the iwi to discuss the fi nal resting place for kōiwi tangata.

Mr Herewini says the domestic repatriation process can vary in length: “Sometimes the return of the kōiwi to their place of origin may take from six months to many years. “In some situations, iwi are no longer in possession of traditional tribal lands, and therefore there is a need to fi nd alternative resting places for these tūpuna.”

Although Te Papa have returned a total of 81 kōiwi tangata to their respective tribes since 2003, there is still no long-term solution for the balance of remains that

will be impossible to identify due to lack of information. Suggestions include a putunga kotahi (mausoleum) built in Wellington to house the remains or agreeing to a Ngati Kuri request for burial near Te Rerenga Wairua (Cape Reinga) where Māori believe spirits of the dead depart for Hawaiki.

TŪ MAI posted the question of where the most appropriate resting place would be for the kōiwi tangata on its Facebook page and robust debate ensued. While most people felt burying the remains was more ideal and logical, the question of ‘preservation’ prompted the option of them being held in a special crypt for viewing.

Whatever the outcome, the toi moko have returned from the international museums to Aotearoa, the country of their origin. ■

TŪ MAI posted the following on our Facebook page. An active debateensued with most people believing the toi moko should be buried.The late Dalvanius Prime instigated the call for repatriation of toi moko in the 1990s and believed if and when they were returned, they should NOT be buried but incased for viewing. His point was had these museums not kept them safe, they would've/could've been lost forever, do you think they should be buried or incased and able to be viewed?


We have been hearing many people talking about the relative safety of buying a franchise,

particularly in the current economic environment. They are right to a degree. A good franchise offers a ‘tried and true’ brand method of selling a product or service. Further, your investment covers business training and on-going support, and often provides you with the ability to spread business costs with other franchisees. These are all very positive factors given these uncertain times.

However, there are some elements of a franchise business that require special attention, and these should be weighed carefully when deciding whether or not to take the plunge.

Five things to consider if you are thinking about buying a franchise:

1. Are the revenue targets reasonable in

light of the current economic climate?

A franchise might seem like a safer bet than a start-up business in the current environment, however consider the revenue targets outlined in your franchise agreement – and be mindful of the implications of not meeting them. In some circumstances a failure to meet targets can result in a breach of your franchise agreement and leave you without a business!

2. Carefully consider previous fi nancial documents

in light of the current economic environment.

While prior fi nancials are important, be aware that they will not always be a reliable source of information for ensuring future viability.

3. Check that your major competition

is not partof the same franchise.

Depending on the nature of the business involved it may not survive another one operating in close proximity. Make sure you have a territorial right to exclusive use of a geographical area.

4. Does the franchisor (the seller) own

the Intellectual Property you are buying?

When you buy a franchise you buy access to the existing intellectual property of the business in question. In most cases it is the intellectual property in the brand or operating systems that makes a franchise less risky than starting from scratch. Therefore, make sure it is the franchisor’s to sell. Consult a professional advisor to check IP ownership for you.

5. Get independent legal advice i

relation to the franchise agreement.

Once the agreement is signed, the parameters, good or bad, are set for your business. Your success therefore re-lies on a favourable and fair agreement. Have it checked out before embarking on your business venture. ■

James Johnston is a Partner with Rainey Collins Lawyers.Rainey Collins is based in Wellington looking after a range of clients across New Zealand.

PO Box 689, Wellington, or 0800 RCW LAW (0800 733 424). For further articles please visit www.raineycollins.co.nz

Comments to [email protected] Follow us on Twitter @RaineyCollins

Buying a Business

Is a Franchise a Wise Investment?

Regular TŪ MAI contributor and lawyer, James Johnston, provides some tips on buying a franchise business.

LEGAL | BUYING A BUSINESS



In an historic ‘fi rst’, the current holder of the Ahuwhenua Trophy for Dairy Farming, Waipapa 9 Trust, has also

won the prestigious Ahuwhenua Trophy – BNZ Māori Excellence in Farming Award 2011 for its outstanding sheep and beef operation.

His Excellency the Hon Sir Anand Satyanand (GNZM, QSO) presented Dawson Haa with the trophy before an audience of 580 people. Accepting the Trophy on behalf of his staff, board and shareholders at the awards night dinner held 3 June at the Energy Events Centre, Rotorua, Chair Dawson Haa said their success was due to a great team and good governance.

“I hope our historic win encourages other Māori farmers to make the most of their land and to know that with a great team, hard work and a commitment to improving the land for future generations excellence in farming is within their grasp.”

The Chairman of the Ahuwhenua competition, Kingi Smiler described Māori farmers are an economic force to be reckoned with. “We’ve made history here tonight. Waipapa’s extraordinary success is indicative of the strength and systematic growth of the Māori agribusiness sector.” The Ahuwhenua Trophy competition, which was established in 1932 by Sir Apirana Ngata, is known for its rigorous judging criteria and the high level of scrutiny applied by judges to each competing property. The competition recognises excellence in farming and sets the benchmark for the industry.

It was relaunched in 2003 to take account of the changing face of Māori farming and the increasing

contribution that Māori agribusiness is making to the economy. Each year it alternates between beef and sheep farms, and dairy farms. This year the competition is for sheep and beef farmers. The Waipapa 9 Trust administers 6,537 hectares of land

“...Waipapa’s extraordinary success

is indicative of the strength and

systematic growth of the Māori

agribusiness sector.” Kingi Smiler

Waipapa Station Manager, Denys Gayton, Chairman, Dawson Haa with His Excellency the Hon Sir Anand Satyanand, holding the Ahuwhenua Trophy, Hon Bill English and Minister of Māori Affairs, Hon Dr Pita Sharples,Photo Credit | Alphapi/John Cowpland

Historic First for Waipapa 9 Trust

north west of Taupō, a mix of ancestral lands and land purchases made between 1997 and 2009. The original development was into three sheep and cattle stations (Waipapa, Otanepae and Takapau Stations). These were administered and managed for the Trust by the Lands and Survey Department until 1989 when Waipapa 9 Trust took back the land and full responsibility operating the business.

The judges said they were impressed by farm operational strategies and policies and an implementation plan that is being executed with precision and passion. The Trust currently has 1,208 shareholders representing seven hapū of Ngāti Tūwharetoa and Ngāti Raukawa descent. ■


Moving in Paris

fashion circles

Chauffeur Tim Ward Holmes (Ngāti Tama and Te Ātiawa)

sits behind the wheel of a late model Mercedes Benz

and schmoozes while transferring the fashion elite of Paris

between airports, hotels, functions and photoshoots.

His independent business operation offers more fl exibility

than larger fl eets, but it also means he’s in demand; his

customised service for the ‘Who’s Who’ of the fashion

scene is always booked well in advance.

TŪ MAI tracked down the expat of 16 years relatively

easily, but for the 41-year-old businessman/part-time

model, time is scarce. And time differences between

the northern and southern hemispheres don’t help, so

conversations and emails were snatched when possible.

“I’m run off my feet again this week... When is your

deadline to upload your magazine? It's been absolutely

mad and non-stop. I’m up now at 4:15am.”

Although Tim is Christchurch born, a move to Auckland

soon followed; his parents Waari and Margaret Ward-

Holmes went on to have another three children, including

a set of twin daughters who also now live abroad.

On the verge of starting university, 16-year-old Tim was

scouted on the street in downtown Auckland by an

American agent.

“At the time I didn’t take it too seriously, but later on

when I went to university I decided to try it and joined

an agency. My best mate’s mother was a photographer

who took my fi rst test shots. After that, the agency soon

started booking jobs for me.”

Predictably the money from modelling was handy during

university, and also for his OE. Tim decided to backpack

across America as soon as he completed his studies.

“An agent from Italy saw my Auckland portfolio and

invited me to Milan. I was in New York at the time so

I went directly to Italy. I spent a few months in Milan, a

few months in Paris and then a few years based out of

Amsterdam, modelling. I always worked well in Paris

though, so I eventually moved back to Paris in 1996.”

Tim refl ects that his 12 months sojourn backpacking has

since extended to nearly 16 years and, for the time being

at least, he’s happy to remain in Paris.

“What keeps me here is my little family, my wife, my

business, my 10-year-old daughter Bobbi-Jade who says

she feels completely French, or as she says … Parisienne.”

Tim met his Dutch wife Chantel in Amsterdam, the couple

share an interest in the fashion scene and as well as the

Chauffeur operation; Chantel runs the couple’s fashion

and photography production agency, called Chantal

Hoogvliet Paris.

Chantal essentially sources assignments for fashion

photographers and consults for fashion designers which

sometimes involves fashion production services.

“I produce a lot of times as an on-set producer,” says

Tim, who believes the transition to VIP fashion transport

was relatively easy because he had worked in the fi eld

for some time and modelled for all the big names in the

fashion industry. Names such as Giorgio Armani, Thierry

Mugler, Claude Montana, Balmain, Hermès, Lanvin,

Ozwald Boateng, Gianfranco Ferré, Pierre Cardin, Ungaro,

Hugo Boss and Brioni.

CLOCKWISE FROM TOP LEFT Tim Ward Holmes for Cartier | Tetu | Frans Molenaar | Men Vogue


Tim’s modelling assignments often sound enviable. “For

the Marlboro clothing campaign I had to ride a fatboy

Harley Davidson for ten days in Santé Fe and El Paso,

Texas. Last year, I spent a week in Tokyo driving the new

luxury car, Renault Latitude and I also had to go to the

Austrian Alps for a snowboarding shoot.”

Away from the glamour, exotic places and surreal shoots,

Tim says there are the pitfalls of modelling.

“Insecurity of not knowing when the next job might

be confi rmed …. Then there’s the anticipation of a ‘big’

money job, only to fi nd they decided to choose the other

guy because he fi tted the profi le better.”

Tim acknowledges it’s easy to get caught up in hope,

faith and ego or what else to do – modelling means one is

never able to plan far in advance.

“My travel bag is on standby all the time, which can be

seen as a glamorous thing, or as a prisoner of the job.”

Travelling to exotic locations all over the world and having

the potential to earn a lot of money in a short amount

of time have been the stand out perks of modelling

assignments. Referring to Linda Evangelista’s famous

quote, ‘We don’t wake up for less than $10,000 a day’, Tim

was much more philosophical and modest.

“She said that way before the fi nancial crisis and even

before 9/11. The industry has evolved since then with

photoshop and the internet, and there are many more

models. The 90s were all about Cindy, Linda, Christie,

Claudia, Naomi …. If the job pays the rent and a little

extra, that’s a good guideline.”

Although familiar with all the big names on the European

circuit, Tim’s been keeping an eye on what’s been

happening in NZ.

“The NZ Fashion industry has some big designers and new,

up and coming talent. And it’s a bit easier to follow these

days with the opening of a new boutique in Paris called

Kõkõ, dedicated to New Zealand fashion designers.”

The fi rst Parisian boutique entirely devoted to the

offspring of the truly progressive New Zealand fashion

scene – Kõkõ, aka la mode de Nouvelle Zélande au Coeur

de Paris, stocks iconic NZ labels Zambesi, WORLD, Karen

Walker and Kate Sylvester. Opened by former Aucklander

Catherine McMahon on the Rue Charlot, the decor has

a New Zealand theme and has plans to showcase fi lm,

music and design.

Tim and Chantal subscribe to global iAM magazine which

often features new models and designers. “The New

Zealand Fashion industry is on top of it all. My wife and I

are in this fi eld so we have to stay up with the play.”

His perspective of his adopted country and its people:

“The French are passionate about maintaining a good

quality of life and they succeed well. My favourite area

is the Southwest coast of France that is great in the

summertime. It’s where I go most often – to the beach

where there is sun, sand, surf and beautiful sunsets on the

Atlantic Ocean.”

Tim says returning to New Zealand is in the back of his

mind, but not in the near future, adding, “I’m keeping my

eyes open for opportunities.” ■

"My travel bag is on standby

all the time, which can be seen

as a glamorous thing, or as a

prisoner of the job."


“... Strange Resting Places is theatre crafted from extensive research, contemporary storytelling and personal experience.” ~ Robyn McLean: The Dominion Post

Monte Cassino, Italy, 1944:

Strange Resting

Places

On tour in June and coming soon to a town near you

Click here for more information on dates and venues

Visit our Facebook page to watch a preview


Rona and Rabbit

on the Moon

Whiti Hereaka (Te Arawa, Ngāti Tūwharetoa) is a typical groovy cosmopolitan, the day we meet

she’s wearing a dress she made from Karen Walker fabric, grey with tiny orange and black bees fl ying all over it. “This was my birthday fabric,” she offers.

This woman’s creative talents seem endless: the striving creative writer has won the Best Play by a Māori Playwright section of the Adam New Zealand Play Award, shortlisted for the Commonwealth Writers Prize and has a new play showing in July.

The play Rona and Rabbit on the Moon is about two female characters who live on the moon for different reasons. Of Māori legend fame there is Rona, after being snatched by the moon living with Jade Rabbit, who grows herbs for the mortals from Chinese folklore.

The idea for the play came to Whiti after she found herself watching daytime television. She heard a comment about the reality of men and women being friends, and some generalisations were made about women “wanting to sit around talking about how many babies they’re going to have, their bras and shoes.” Whiti thought it was terrible that women still thought so little of their gender, so she decided to write a play that showed two women from different cultures, with different perspectives and different agendas, talking.

Her interest was prompted further when she found a piece on the internet about women in fi lms that asked

simple questions: 1 Are there two or more women in the movie? 2 Do they talk to each other? 3 Do they talk to each other about anything besides a man?

Yes, these sorts of issues surrounding the portrayal of women on-screen have been discussed and analysed by academic and feminist groups for many years, but how much does the general movie-going audience actually know about the ‘trope’ in today’s fi lms and entertainment?

A trope, according to Anita Sarkeesian who studies pop culture, is a common pattern in a story or a recognisable attribute in a character that conveys information to the audience. Unfortunately, a trope can sometimes become a cliché that perpetuates offensive stereotypes.

Sarkeesian states that it was when feminist essayist Katha Pollitt wrote to the New York Times, after realising there was a lack of substantial female characters for her young daughter to watch, that she came up with the term the ‘Smurfette Principle.’ Unless a show is purposefully aimed at a female viewing audience, the main characters will tend to be disproportionately male. Popular fi lms such as Thor, Star Wars and Transformers and Taika Cohen’s Boy have a primary cast that is male with female characters as subsidiaries – in a world where fi fty per cent of the population is female.

Whiti’s play Rona and Rabbit on the Moon avoids the Smufette Principle, as does her novel The Graphologist’s

An interview with Māori playwright Whiti Hereaka

By Charlie Holland


Apprentice published by Huia Publishers in 2010 and later shortlisted for the Commonwealth Writers Prize for Best First Book.

In Whiti’s novel the two main characters, January and May, are female and the only male love interest discussed between the women is an imaginary man drawn from the romance fi ction that January is obsessed with reading. Without giving too much away, it is because the two female protagonists don’t talk about how many babies they’re going to have, bras and shoes, that they are both able to grow emotionally and physiologically stronger as people, even if one of them does die at the end – OK, now I may have given too much away.

Becoming an established playwright in Aotearoa is no easy feat and Whiti is the fi rst to admit that she has had to put in the long hours, build the relationships and keep up with what is happening in the thespian world. Her persistence in getting her work produced has paid off. Whiti has had seven of her plays produced with another two plays scheduled to appear in theatres.

In 2010 she showcased, Te Kaupoi, directed by Nancy Brunning and produced by Bush Collective in Wellington and Auckland. Theatre reviewer Paul Diamond stated, “Te Kaupoi challenges us to consider what the impact might be if, as some do argue, the Māori seats were to be abolished … The language in Hereaka’s plays is signifi cant.”

Te Kaupoi was strongly infl uenced by the 2007 Terror Raids in the Urawera Ranges near Ruatoki and Whiti challenged her audience with a concept that would have devastating consequences for Māori people: “I don’t know if it’s true or not, but because I am a Māori playwright … and I feel whatever I do refl ects upon everyone else.”

That ‘everyone else’ being other Māori people and Whiti proudly uses the title of a Māori playwright rather than just ‘playwright’, because she feels it acknowledges the Māori playwrights before her and those that will follow.

For those wanting to see Whiti’s up-and-coming play, For Johnny, it will be showing at Bats Theatre as part of the Young and Hungry Festival 22 July – 6 August at 6.30pm.

For Johnny has been described as a beautifully moving coming-of-age drama about six young people dealing with love, life and loss. It is set during the fi nal year of high school; friendships will be tested as the fl eeting nature of life becomes an abrupt reality. ■Playwright Whiti Hereaka


By Lani LopezNaturopath BHsc, Adv Dip Nat.

Health: More Than

Taking Medicine

Across many cultures there are centuries of learning and practice in health and healing that have been

distilled into six laws of natural medicine. These six fundamental principles of natural medicine provide guidelines in work and life for Naturopaths and other professionals in all aspects of natural health.

As a Māori naturopath, these principles seem to have a real resonance with a Māori worldview, one that I believe holds the key to the wellbeing for all people.

Familiarity with these principles can give back to individuals, even whole communities, by empowering their own wellbeing. With understanding, comes the ability to make informed decisions about health and treatment. These fundamentals of health deserve a little explaining.

The six laws or fundamental principles of natural medicine are:

1 The Healing Power of Nature 2 All Natural Approach 3 Identifying and Treating the Causes 4 Self Understanding 5 Prevention 6 Treating the Whole Person

FASHION | FASHION THROUGH TRADITIONHEALTH | MORE THAN TAKING MEDICINE


MORE THAN TAKING MEDICINE | HEALTH

1 The healing power of nature

Naturopaths understand the body has the ability to heal itself. Our job is simply to do all we can to support that ability. The human body is amazing; it has a wide range of tools and actions dedicated to healing. This is obvious every time we cut or graze ourselves. The body instinctively rushes to clean, then close, and heal the wound. Internally, the body is equally affective. An immune system is ever vigilant, ready and able to counter-attack illness. Natural medicines prioritise balancing the immune system for any challenges it confronts. Right now, colds and infl uenza pose the most frequent challenges for the immune system of all age groups. Boosting immunity in the cold and fl u season is the topic of my next column.

2 All natural approach

Naturopathy is a very gentle, non-invasive approach to healthcare. As treatments are packaged in the most natural form, medicines by naturopaths are easily absorbed by the body.

3 Identifying and treating the cause

True healing doesn't come from suppressing or treating just symptoms. Healing is a thorough process that starts with uncovering the fundamental cause(s) of disease. To be effective and prevent recurrence, any treatment must fi rst address the source of disease. This is often where lifestyle and nutrition are important and effective factors. Many of our daily decisions and habits can affect long-term health.

4 Self understanding

No one can fully understand another’s body and physical experience. It is the role (and expectation) of doctors, in fact every healthcare professional, to educate people about their own health and wellbeing. However, health professionals are aware that many patients struggle to comprehend the content and quality of information needed to best treat themselves.

For Naturopaths, two of the greatest healing assets are self-understanding and awareness. Individuals and families taught and mentored by healthcare professionals are best placed to practise healing and promote wellbeing for themselves. It is the health professional’s role to encourage people to take

responsibility for their wellbeing and to assist in their learning. It is never too early or too late to learn about being and living well.

5 Preventative medicine

While cliché, it is true, ‘prevention is better than a cure.’ The aim is to avoid having to treat illness by fi rst doing everything in one’s power to prevent it. A planned approach to sanitation is the key to individual systemic health. Avoiding environments and actions that pose a risk is logical. Likewise, being aware of things that weaken and stress the immune system is valuable in prevention. Learning when and how to take precautions against an illness is also useful. And practising this translates into planning to be well.

This principle is one I believe we all need to take to heart; it would save us pain, discomfort and end so much unnecessary illness and suffering. My naturopathic speciality is formulating health supplements and while they do assist in overcoming illness, the essential aim is to prevent getting sick at all.

My immune formula OLE-Up is a great example. A combination of Olive Leaf Extract (the noted anti-viral), Acai Berry (Brazil’s anti-oxidant super food), Turmeric (nature’s anti-infl ammatory) and Schisandra (the stress soother), OLE-Up taken in high doses will attack a cold or fl u and speed recovery time. But it is most effective taken every day to boost the immune system to prevent bugs taking hold in the fi rst place.

The last principle is probably my favourite and the key to both accurate diagnosis and effective treatment.

6 Treating the whole person

Good health is more than the absence of symptoms or disease. True health and wellbeing can be evident when the whole person is cared for. When mental, emotional, physical, environmental and spiritual wellbeing is in tune and supported, one can claim to be in a good state of health and wellbeing.

These are the principles and laws my predecessors, mentors and teachers have given me. I live by them, daily. My work as a naturopath is motivated by an ambition to see these principles more widely understood, practised and lived in Aotearoa.

Live well, you deserve to. ■


Passion and Porangahau

From babes to schoolmates, to adult friends and now life-long residents of Porangahau (a small coastal settlement in South Hawkes Bay), Marina Sciascia and

Hilary Pedersen are women with a passion to record stories about people and the place in which they were raised.

The final of the trilogy contains stories gathered and written by themselves and the people from the Porangahau District, Matatoa, Father’s and Sons follows Tuahine, Sisters of Porangahau and Hakui, Mothers of Porangahau.

The pair’s common denominator is their shared family histories and therefore a slice of the area’s history; it is a bi-cultural experience that spans many generations, and remains as strong and robust as the time when their pioneering ancestors first settled in the area.

Marina Sciascia explains: It is recorded that there is a moment in time when in a state ‘between life and death’ that your life flashes before your eyes. I am sure we all have wondered how that can be – especially in the grace of ‘old age’ when you have forgotten more then you will ever remember.

I have pondered such an event; trying to decide what actions will be dredged up for me to account for. It led me to a realisation that over my life there have been occasions, events, actions, words that come to me as clear as a bell; they pop up from somewhere and I can relate every moment, feeling, reaction. These could be the gems from whence stories arrive.

I grew up with storytellers; stood at the kitchen sink or sat around the table while stories were told. About families, about events, about local happenings and about global things; a real mixture of topics depending on the teller. Mostly the tellers were men, the uncles of our family. Later there were others, but few women. It led to writing; I wrote things down from day dot. Thought I would be a great writer – one day. Always said I carried four books in my head. Now, those four books are written. But not by me.

In the seventies there was Tangi by Whiti Ihimaera; I read it thinking, ‘This is my story’. Years on he wrote a book about life in a shearing gang; shearing was the life-blood of my world. By this time I had been on my first great world trip; I thought should write about it but Wira Gardiner wrote about the 28 Māori Battalion, so that was done. In these past few months it has come to me as clear as a bell ringing that my fourth book has been

A trilogy of stories gathered and shared

TŪ MAI | May / June 2011For allsorts of people 37MAMAMAMAMAMAMMAMMMAMAMAIIIIIII |||| ||| MayMayMayayMayMayMayyyMayy //// /// // JuJunJunnnnnnnnnunnnnnJunnnJunnnJuJJJ nnnnnnnnnnnnnnnnnnnnnnnnnnnJuunnnnnnnnnnnnnnnnnnnnunnnu 2e 2e 2e 2e 2e 2e 2e 2e 2e 2e 2e 2e 2e 22e 2e 2e 2e 2e 2e 2e 2e e 2e 2e 2e 2e 2e 2e 2e 2e 2e 2e 2e 2e e e 2e e 2e 2e 2e 2e 22e 2e 2e 2e 2e 2ee 2e 2e 2e 2e 2e 22e 0110110110101010110110110110110110110110110110101101100110110110110110100110111100001101101011010110110011011010110110110110110101101011011011011010111001111001101010001ForFoFoForForForForForForF r allallallllallallllallllallalallsorsorsorsorsoroorsorsorssosorso tststststststs ts offfofffofof foof peopeopeopeoeopeopeopeopeopeooppp pleplepleplepleplelplepleplepleppp TTTTTTTTTTTTTŪŪŪŪŪŪŪŪŪŪŪŪ 373737373737373737373373737377337373737373737373773737377373737373737373737373773373737377373373737373337333373733377773733

GRAPHIC SOLUTIONS

DESIGN DOER is STOKED

[04] 388 7377 027 6987 811

LTD.

Images by Sal Criscillo <http://www.criscillo-photo.com/>


written – again not by me – by all the writers of this fabulous book telling the story of the greatest love of my life: Porangahau.

It was part of my destiny to produce this manuscript. As I recognise the passion others have for their sense of place and the telling of their stories, I feel pleased and humbled to have carried out a role in this treasured book called Matatoa, Fathers and Sons.

In some ways it is like an onion, peeling away the layers to reach the core. The outer skin is the next generation, Bevan and Jason Tipene are two rich and special stories, remembering these are men who have children of their own.

Layer two is our generation: Mike Sidwell, John Ormond, Daren Coulston, Donald Tipene, brother Paul etc. Another layer has to be the generation of our fathers and yet another our grandfathers. People firmly connected to this modern time but whose beginnings start in a period we have only known about through the stories.

The next layer is composed of those who chose to come here to live: the Mouats whose time impacted

so positively on this community. Then we have the layer of those who married into the families of this valley: the Sciascia, Wakefield, McGregor, Sidwell, Hales and Warren stories. Then comes the solider settlement era across two world wars: McLeans, Willis, Stoddarts etc.

Another important layer is the first European settlers: Ormonds, Cannings, St Hills, Whites, Lamberts, Hunters – and finally at the core you find the descendants of the original families of this district and community: Te Kuru, Te Ropiha, Rakapapa Nohoturuturu who married Tutaki, Te Atua, Tipene-Matua. Tracing their journey back to the earliest times.

Many of these families no longer live in this community but their stories are here. These are the building blocks of a small New Zealand place. The stories may be lost, sometimes altered with the telling but ultimately living on. The land endures that’s true, but it changes hands, new generations arrive, new people become the owners. History is not always respected and life demands change; while all that we hold true risks being lost, the written story remains known. ■

OLE-Up™ EXCLUSIVE OFFER

for TU MAI readers.Normally $94.95 for six months' supply, TU MAI readers pay just $84.95, that’s less than $15 month. OLE-Up™ provides daily support for immunity, fortification and rejuvenation.

It is a potent immune tonic with Olive Leaf Extract, Schisandra, Turmeric and 24,000mg of Acai Berry.

It’s taken Lani Lopez more than 12 years to develop her new Olive Leaf Extract formula. It includes Schisandra which is a key herb that combats stress and is not found in other Olive leaf extract formulas. The capsules are also made up of 24,000mg of Acai berry and is one of the highest Acai berry formula’s around. Acai helps feed the body with antioxidants, protecting the ill effects of stress and supporting energy, immunity and rejuvenation.

�

�



Dunedin’s

fashion

energy By Charlotte Carr

FASHION | FASHION THROUGH TRADITIONFASHION | DUNEDIN'S FASHION ENERGY

This year’s 11th Dunedin iD Fashion week showcased

fashion design masterpieces of international emerging

designers alongside the high quality line up of locals.

The ever popular fashion spectacle uses a railway station

platform as a venue for the well established and invited

guest designers and it provided the perfect finale for

April’s week of fashion with all its trimmings.

But it’s the iconic iD International Emerging Designer

Awards that brings the fashion hype closer to boiling

point with a healthy reputation for attracting significant

interest from emerging fashion designers around the

world, as well as the growing pool of New Zealand’s talent.

Designers who are not governed by pressure to design

for the commercial market can explore concepts and

innovation to create designs that may influence what

is seen on the humble street, even if unlikely to be

represented in their entirety.

This year’s Emerging Designer Awards featured 27

finalists who were selected from over 120 entries and 20

different countries.

First place was awarded to Kate Bolzonello (Royal

Melbourne Institute of Technology, Australia) who

picked up $NZ5000 in prize money. Second place

Shenaz Engineer (Queensland University of Technology,

Australia) collected $3000, while Sarah Mok (Sydney

University of Technology, Australia) at third earned

$1000 in prize money.

Italian based and highly respected fashion institution

Mittlemoda has long cemented its interest in the

competition by offering a prize of direct entry to their

annual prestigious Mittlemoda Fashion Award in

Gorizia, Italy.

Mittlemoda’s School of Design representative, Stefano

Sopelza, has become a regular face in Dunedin since

2005 when he first attended as a special judge for the iD

International Emerging Designer Awards. This position

also allows him to scrutinise who will be selected to be the

iD International Awards Mittlemoda sponsored participant.

All photos by Chris Sullivan, seen in Dunedin.Models by Ali NcD Model Agency


DUNEDIN'S FASHION ENERGY | FASHION

DESIGN Kate Bolzonello



DESIGN Shenaz Engineer



DESIGN Sarah Mok DESIGN Marie Kelly


DESIGN Kate Bolzonello



So in July, Massey University’s Marie Kelly will travel to

Gorizia to line up next to 16 other designers from across

Europe, the US, Asia and anywhere in between.

This international platform for rising local and

international fashion design talent across the globe

provides finalists with a world-class opportunity to

network, showcase their cutting edge collections and

gain priceless professional fashion show experience.

The judging panel featured International personalities

including Australian Designer Akira Isogawa, Vogue.

com.au editor Damien Woolnaugh, Mittlemoda School

of Design’s Stefano Sopelza and Dunedin’s own fashion

veterans – Nom*D’s Margi Robertson and Carlson’s Tanya

Carlson.

Unhindered by Autumn’s falling temperatures, 3000

fashion followers simply wrapped up to attend the two

iD Fashion Shows on the 110m long catwalk.

Australian fashion designer, Akira Isogawa, wowed

audiences with his collection of exquisite designs to

further demonstrate his internationally renowned flair

for innovation, intellect and culture. Further highlights

included Liz Mitchell’s spectacular couture collection,

as well as standout vintage pieces from Australian

Charlotte Smith’s Darnell Collection.

A total of 16 labels showed their winter collections

including crowd favourite Carlson, followed by

dramatic collections by equally popular Nom*D, Mild

Red and sophisticated pieces by Charmaine Reveley.

Twentyseven Names, Company of Strangers and Lela

Jacobs also graced the stage, alongside footwear

designer, Kathryn Wilson, who made her iD debut at this

year’s events.

“There’s a particular energy about Dunedin which makes

it very special and I was surprised by the iD International

Emerging Designer Awards – it was a good surprise!

There was such a diverse range of styles from all over the

world and the standard of work was very high. Dunedin

is a unique city. It is relatively small, but it has an intimate

atmosphere which I find charming,” said Akira Isogawa. ■



By Maxine Bluett

Nomenclature holds a fascination for some people and New Zealand geography is rich in interesting

and provocative examples. Nomenclature applies to the system of naming.

Off the Whakatane coastline is a small island named Moutohora or Whale Island; it’s shaped like a whale, so maybe that’s where its name originates. This was the typical English naming process as shown by the multiple Shoe/Boot/Slipper/Double/Flat/Rabbit/Goat islands dotted around the New Zealand coastline: the most unimaginative being the North and South Islands, of course. But I digress.

On 1 November 1769, Captain Cook anchored his ship on the landward side of Moutohora. There is, however, a more signifi cant story attached to the island, although not very well known amongst today’s town’s folk.

In 1829, the brig sailing vessel Haweis was captured off Moutohora and the lives of its crew terminated at the hands of local iwi, Ngāti Awa. The only survivor was the fi rst mate John Atkins, who was held captive, then ransomed; he later wrote an account of his ordeal.

There is more than one version of the event, but this account portrays the local Ngāti Awa iwi as marauding murderous natives intent on slaughtering an innocent Pākehā crew. The ‘local’ version of the event explains that the Haweis’ crew disembarked at Moutohora after replenishing their food supplies at Tauranga and Maketu. Having hunted wild pigs on the island, the sailors-cum-hunters decided to prepare their fresh wild meat before transporting it back to the moored Haweis.

Moutohora has some special geographic features and contours for such a small bit of land. There is a signifi cant sulphur pool used by the Ngāti Awa people for therapeutic and healing purposes; a well-used resource that would rival any modern luxury spa used by today’s wealthy clientele.

On fi nding the sulphur pool on Moutohora, the crew rejoiced in it being ideally suited to preparing their wild game, so they set to work amidst much frivolity and mirth contaminating the otherwise clean pool with blood, offal, skin and hair, totally unaware of their transgression or the cultural invasion.

Their frenzied desecration did not go unnoticed however, and all but one life of the Haweis’ crew was taken. Several similar stories exist in New Zealand – and no doubt other countries.

Burney’s Beach north of Wharehunga Bay on Arapawa Island in the Queen Charlotte Sound has a similar story. In 1773 during Captain Cook’s second expedition, Lieutenant James Burney found the remains of ten men from the ship Adventure, following an affray with local Māori the previous day. The men had been sent to shore by Captain Tobias Furneaux to gather fresh food for the ship in anticipation of sailing from Ships Cove.

The late Honourable Duncan McIntyre in commemorating the naming of the beach, acknowledged Burney for his courage in landing and driving off the natives to reclaim the remains of the deceased for burial at sea.

Burney stated: ‘Captain James Cook and I are yet to learn of the reasons for the actions of those naughty natives … ’ ■


Body painted model, Ebony Mercedes Kite-Bell who has featured on TŪ MAI cover as a 12-year-old, also

paraded on the catwalk for the opening of the 2010 Miromoda Showcase at NZ Fashion Week. Earlier this month at the Auckland premiere of the long anticipated X-Men: First Class, she popped up (literally) as ‘Mystique’ the evil accomplice to Magneto. ■

PHOTO Ewen Cafe | www.3dlightingdesign.com


In September 2010, African poets from more than 15 countries gathered for a major poetry reading at the

Book Cafe in Harare, Zimbabwe. Among the many poets who performed were Frank Chipasula of Malawi, Lebo Mashile of South Africa, Barolong Seboni of Botswana, Ngwatilo Mawiyoo of Kenya, Mama C of Tanzania, and Julius Chingono and Batsirai Chigama of Zimbabwe.

Political observers, particularly those of the West, might find it rather curious that such a gathering of poets could take place in Zimbabwe. They, along with much of the world, can’t get past the view of Zimbabwe as a failed state led by the deranged old dictator Robert Mugabe. There are, however, other views of President Mugabe on the African continent. Some believe that a tough stance towards the West is justified because they see that the West is still colonising Africa via the world market. There are others who believe once President Mugabe is gone, Zimbabwe will again become a powerful nation in Africa. But this article is not about whether Robert Mugabe is a dictator or just a fading old freedom fighter who has lost his way, but about how the poets of Africa are voicing their concerns and aspirations for Africa and its future.

One of the key concerns expressed in the work of African writers today is how a continent that has been so blessed with natural resources and endowed with people of energy and enterprise can be so poorly served by its leaders.

This concern was recently reflected by the Nigerian author Elechi Amadi in an article in The Nation newspaper in Nairobi, Kenya entitled The Trouble with Africa is that its Rich Leaders are so Poorly Educated.

Amadi believes that in spite of all the gains the people of Africa have made since they threw off the yoke of colonisation, their leaders have not stood the test of time and the morals of those leaders have sunk to an all-time low.

One does not have to look far to see the truth of his words. Corruption and greed is an ongoing dance with many African leaders and the people on the streets know that, to their cost, too many of their leaders are intoxicated on power. And so we saw in the Kenyan election of 2007 that leaders played the tribal card and thousands of Kenyans were killed because an old president chose to wash his country with the blood of his people rather than give up power. And in the last few months we have watched the same wretched scenario being played out in Ivory Coast.

But the poets are speaking out against the violence their leaders are visiting upon them. As Denise Barlow-Byarubaga writes: Oh Luwero, Don’t you mourn when you remember The serpent that came in search of blood? The laughter of your people that was drowned By the tears of pain and sorrow? Your soils were red with the blood The innocent blood that flowed all round.

African PoetsBy L. E. Scott


And from Kang’ethe Gitu: The African Politician Has the money, Lots of it. Studied medicine but has no use for it. He must contest to become the man, the big man, The Honourable. The art of politics calls For few qualifications.

One of the first countries in Africa to gain its independence from the hand of colonization was Ghana in 1957. Its first president, Kwame Nkrumah, called on all Africans to fight for their freedom and, once that freedom had been gained, for their leaders to commit themselves to the betterment of their people.

But here we are more than fifty years later and the people of Africa can point to few leaders who have served their people well. Tragically, too many of Africa’s intellectuals and scholars are reluctant to criticise leaders because they know that the Western media is quick to portray Africa as a basket case. But in being muzzled by trying to protect Africa's image, they in turn protect the cesspool of political corruption swirling beneath the surface.

The poets of Africa know that there are millions of talented and skilled young Africans, eagerly waiting to transform the continent and fulfil its potential, who are being stifled by leaders clinging to power and by corruption and greed from within and without. The warriors of the pen owe it to their young to call to account those who fall short of providing Africa with the leadership it deserves. ■


Stories Without End:Essays 1975 - 2010by Judith BinneyBridget Williams Books: $49.99Reviewed by L. E. Scott

BOOK REVIEW | JUDITH BINNEY - STORIES WITHOUT END

Anyone in Aotearoa/New Zealand who is interested

in the past, present and future relationship

between Māori and Pākehā will know the work of the

late historian Dame Judith Binney, who was Professor

Emeritus of History at the University of Auckland and

author of many books, among them: The Legacy of Guilt:

A Life of Thomas Kendall, Mihaia: The Prophet Rua Kenana

and His Community at Maungapohatu, Redemption Songs:

A Life of Te Kooti Arikirangi Te Turuki, and Encircled Lands:

Te Urewera, 1820–1921.

Her work explores the core of what this nation is and

isn’t and as she has said:

“If we who live in the present in Aotearoa can discuss

our shared history in the nineteenth and twentieth

centuries, then we may gain from the past. If we cannot

do this, then we will have learnt nothing from the past

and we will have exchanged nothing with each other.”

Judith Binney had a life-long quest to use her

considerable skills as a writer and historian to engage

with and encourage both Māori and Pākehā to come

together to examine their past encounters, their present

state and how these would shape and infl uence the

future of this nation. As most readers of TŪ MAI will be

aware, Judith Binney is no longer with us. Her recent

death is a signifi cant loss, but she has left a large body

of work to learn from that will continue to fuel this

discourse. And with that in mind we now have Judith

Her pen is not a knife of

judgment; rather, it is one that

seeks to draw the cause and

effect of two worlds meeting.

Binney’s last contribution, published just before her

death, entitled Stories Without End.

Stories Without End is a selection of Binney’s essays

drawn from the period 1975 – 2010. These essays cover

the full tapestry of Aotearoa/New Zealand and by fi lling

out the history through portraits and explorations of

the people, communities and events that shaped it; she

expands our perspective of our past.

Her pen is not a knife of judgment; rather, it is one

that seeks to draw the cause and effect of two worlds

meeting. And while Judith Binney was not one to

shy away from exposing the rape that comes with

colonisation and the consequences of that violation, at

the core of her work is a belief that human beings have

it within their power to right the wrongs of the past – if

they can but fi nd the courage to do so.

The gift of Judith Binney’s hand as an historian was that

she saw with clarity the equal value of written history

and oral history traditions. What she did in her work was

to use the written word to show the history of a people

in things not written. ■


COMPETITION RESULTS

2011MIROMODAMAORI FASHION DESIGN AWARDS

ESTABLISHED AND OVERALL WINNERAdrienne Whitewood (Rotorua)

RUNNER UPDMonic Intent (Auckland)

EMERGING WINNERTara Warren (Brisbane)

HAUTE COUTURE WINNERDMonic Intent (Auckland)

TEE SHIRT PLACEMENTKereama Taepa (Rotorua)Tai Kerekere (Wellington)

-

WATCH THENEXT EDITION

OF TU MAI FOR IMAGES

-

REAL New Zealand Festival(Wellington)

As one of the premier events in the REAL New Zealand Festival (that runs alongside Rugby World Cup 2011), Miromodawill host a Mãori fashion and catwalk extravaganza, a special traditional cloak exhibition and a trade and networking event on Friday, September 30, 2011.Limited seating does meantickets should be reserved.

To request more information or reserve tickets CLICK HERE.

New Zealand

Fashion Week

(Auckland)

The Miromoda component of

NZ Fashion week will once again

showcase an indigenous genre

of fashion to an appreciative

audience of national and

international media and buyers.

Voted best show by Dominion

Post Fashion editor, Carolyn

Enting, Miromoda has become

a credible brand on the

New Zealand fashion scene.

To view images from 2010

CLICK HERE.

Ruatoria/East CoastRadio Ngati Porou

TaurangaMoana AM & Tahi FM [Rangatahi]TaurangaMoana A

PaeroaNga Iwi FM

NgaruawahiaTainui FM

GisborneTuranga FM

KaikouraTahu FM

DunedinTahu FM

Turanga

Napier/HastingsKahungunu FM

Palmerston NorthKia Ora FM

WellingtonTe Upoko o Te Ika

TokoroaRaukawa FM

KaitaiaTe Hiku o Te Ika& Tai FM [Rangatahi]

InvercargillTahu FM

Ruatoria/Eas

WhakataneSun FM

Te KuitiManiapoto FM

ChristchurchTahu FM

WhanganuiAwa FM

New PlymouthTe Korimako o Taranaki

hanganuia FM

aranaki

TurangiTuwharetoa FM

AucklandRadio Waatea

Mangamuka BridgeTautoko FM Paeroa

Nga Iwi FM

WhangareiNgati Hine FM

Maori Media Network is a national advertising bureau specialising exclusively in Maori media and communications. Whether you need advertising placement on 6 stations or 22, full ad production, translation, a Maori music bed — it takes just one call to Maori Media Network to deal with it all! Contact us today for media advice or an obligation free quote. Maori Media Network LtdPhone : 04 496 3330Fax : 04 496 3332 Email : [email protected] : www.maorimedia.co.nz

From Te Hiku o Te Ika to Te Waipounamu over 200,000 Maori tune-in to 22 Maori Radio Stations.

A “whanau-friendly” format in both Maori and English caters for the whole whanau 24/7.

To find out how Maori Media Network can help you reach this Maori audience visit our website. You'll also be able to listen to the stations online.

www.maorimedia.co.nz

Have 200,000+ Maori

this week?

RotoruaTe Arawa FM

tu mai july/aug 2011

Documents

mori indigeneity

egotistical mori

bunch of t

parisbased mori model

lewis scott

plethora of creative

ngti tuwharetoa

creative stuff