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I still recall the middle-aged American’s line, a half-joke thrown into the wind as our boat flew down the Shotover Gorge at 85 kilometres an hour. “I think,” he said, “I just wet my pants.” I remember vividly, too, our driver, an ice-cool Slavic type in a black roll-neck and leather driving gloves, whose insouciant demeanour spoke of either competence or recklessness, depending on how you felt about being driven within centimetres of the canyon rocks.
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The photo by Ngāi Tahu artist Arana Cassino Edwin is of a face coated in what looks like tar, two large eyes swimming in the blackness. They stare out from some unreachable place, registering some private horror. It’s only after a long moment that the features become obvious and you realise, with a start, that it’s Edwin himself.
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Ngāi Tahu Tourism boss Quinton Hall describes it as a “kind of mihi”. Whenever he and his colleagues visit China – and they’ve been doing that a lot during the past four years, tapping into an important emerging market – they talk about where they come from, about the history and values of Ngāi Tahu, and the tribe’s identity as tangata whenua of Te Waipounamu.
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The Paemanu rōpū brings together a diverse group of artists dedicated to the development of Ngāi Tahutanga through contemporary visual arts. Kaituhi Matt Philp reports. In 2006, a group of Ngāi Tahu contemporary artists exhibited in a group show at a cultural centre near Melbourne. For several of the 14 artists involved, it was the…
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