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Issue 65

Mark Adams

1991. Matiaha Tiramorehu. Kotahitanga Church. Moeraki. North Otago. Digital scan from 10×8 inch negative Kodak Tmax 400 negative.

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From the CEO

Chief Executive Officer, Te Rūnanga o Ngāi Tahu, Arihia Bennett The year began with a festival of Māori performing arts as Christchurch hosted Te Matatini Kapa Haka Aotearoa. Leading up…

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Areta Wilkinson

Ngāti Irakehu, Te Hapū o Ngāti Wheke, Ngāi Tūāhuriri The artwork of Areta sits between traditional Māori adornment still produced in the present, and the histories and practices of New…

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From the editor

Ngā hau e whā Megan Tamati-Quennell The invitation to be the guest editor for this issue of TE KARAKA was an opportunity that allowed me to make a contribution to…

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Te Matatini 2015

The pōwhiri is about to begin. Two great encampments stand before the mānuka palisades, Ngāi Tahu to the east, the motu to the west. The Rātana band lines up. Warriors pad through the crowd to take their place out front, patu pounamu cradled in their arms. One breaks away to greet a kaumātua. They grasp shoulders in a quick fierce hongi, voices quiet.

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A Puzzling absence

The East Coast tradition of Ruatepupuke bringing carving to the world from the House of Tangaroa was not familiar to the people of Ngāi Tahu. In fact the closest to a carving origin story one is likely to find in Ngāi Tahu tradition is that of Tama who encountered the gods and their full face moko. He demanded the same decoration, in order to become handsome and win his wife back.

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Master Carvers
redefine the faces of Ngāi Tahu

With the revival of Ngāi Tahu language and culture and the reconstruction of whare tipuna throughout the motu in recent years, these craftsmen have been given artistic license to express themselves through a combination of historical research and contemporary design.
As West Coast master carver Fayne Robinson explains it, “Today’s contemporary is tomorrow’s tradition.”

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The first language of Te Waipounamu

Rock art is one of the oldest and most significant of the traditional arts, and considered by some an early form of written language: meaningful marks left for others to read. Some of those marks offer a glimpse of the world in the time of moa and pouākai (Haast’s eagle). Earlier that morning I’d witnessed a drawing of the giant eagle soaring across a cave roof at Frenchman’s Gully. In this landscape of hawks and falcons, it’s easy to imagine the artist looking up to see that vast shadow pass above.

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Keeping the well filled

Louise Pōtiki Bryant (Kāi Tahu – Kāti Taoka) is invariably described as one of New Zealand’s most exciting Māori choreographers. Her biography describes her as a choreographer, dancer, and video artist. Since graduating from the Unitec Department of Performing and Screen Arts with a degree majoring in Contemporary Dance, she has amassed an astonishing body of work.

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Nathan Pohio

Nathan is a conceptual artist working in video and other photo media producing minimal cinematic installations. He has exhibited nationally and internationally and his work combines Ngāi Tahu and contemporary Māori society histories with cinema history.

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