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The journey features 414 pages of photos and images interspersed with text from Muru, Robin, or Sam Walters – the three authors. Bishop Muru Walters is an Anglican Minister, master carver, and former Māori All Black. His son Robin and daughter-in-law Sam are both photographers. Each recites a story from a whānau view with thoughts, discoveries, musings, and impressions from their travels over three years.
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In April 2015 a hearing panel of the Canterbury Regional Council issued its decisions on the Te Waihora/Lake Ellesmere catchment plan, which goes by the technical name of “proposed Variation 1 to the proposed Canterbury Land and Water Regional Plan”. The plan has a significant vision: “To restore the mauri of Te Waihora while maintaining the prosperous land-based economy and thriving communities.”
Read MoreSometimes we all need a little hand-holding to manage our money better. You know the whānau would be better off if you made changes, but it’s hard to get started.
The answer for some is to get a financial mentor, someone who works with you over time to change your ways financially. Being accountable to someone else and taking small regular steps is proven to work.
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Dr Karyn Paringatai is a lecturer in Te Tumu – School of Māori, Pacific, and Indigenous Studies at the University of Otago, where she teaches Māori language and Māori performing arts. Karyn also has a research interest in identity development, particularly amongst those living away from their tribal areas.
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1991. Matiaha Tiramorehu. Kotahitanga Church. Moeraki. North Otago. Digital scan from 10×8 inch negative Kodak Tmax 400 negative.
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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 to the event I watched exponents weave the traditional stories of whakapapa and kōrero into an eloquent demonstration of kapa haka during practice sessions. Our…
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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 Zealand contemporary jewellery. Areta says her practice has developed into explorations of craft methodology forming out of collective Ngāi Tahu cultural values. Much of her…
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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 the tribe in a way that I could. It enabled me to draw on some of the expertise I have developed as an art curator…
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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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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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