Ka hao te Rakatahi
My never-ending journey of learning te reo

I remember my māmā speaking te reo in our whare. I don’t remember what she said, only that she was telling me off. But I also remember times when tamariki at our school spoke more reo than we learnt in class and feeling left behind; feeling like I could never learn this and as a five-year-old told my parents I wanted to move into an English-speaking class.
Looking back at my five-year-old self, I wish I had told her that it was her birthright to freely speak her mother tongue and that a few mistakes is part of learning, a part of life.

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He Whakaaro
Titia ki te uma…
Hold fast to your heart…

“E hau nei tō reo pōhiri, ki ngā iwi puta noa i ngā motu e toru – o te Ika, o te waka, o te papaonekura, kia huihui ai tātou…”
The opening lines to ‘Te Matatini ki te Ao’ by Rob Ruha and friends, which became the theme song of the 2019 Matatini Festival of the same name. The last Matatini held in the ‘before Covid-19’ time and space which now seems, for some, a lifetime ago.

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A tiny dream becomes a reality

Not many people can say they have physically built their own home, and you certainly wouldn’t expect a young wahine with no building qualifications to be one to say they have, but Georgia-Rae Flack (Kāi Tahu, Kāti Māmoe, Waitaha, Rapuwai, Hawea) of Karitāne can say exactly that.

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“Picturing” Kāi Tahu in 1830’s Poihākena: A Preliminary Sketch

In December 1834 three young Kāi Tahu visitors to colonial Sydney sat before a german-born French artist. Using charcoal, graphite and watercolours, the man produced a series of head and shoulder portraits that capture the trio’s natural beauty and their tā moko. Who are these tīpuna and why were they in Sydney? Who was this artist and why was he in Sydney? And what is the enduring significance of their encounter?

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