{"pageProps":{"article":{"categories":[{"_id":"category-16","_type":"category","name":"Performance","handle":{"current":"performance"}}],"name":"The World’s First Lovers ","content":[{"_key":"row-10050","_type":"articleText","description":[{"markDefs":[],"children":[{"marks":[],"text":"Kāi Tahu, Waitaha writer and director Jessica Latton’s show ","_key":"de3abf4b6d0e0","_type":"span"},{"marks":["em"],"text":"The World’s First Lovers","_key":"de3abf4b6d0e1","_type":"span"},{"_type":"span","marks":[],"text":" follows a Māori wahine in 1980s Ōtepoti as she is pulled from the destruction of racism, disconnection, addiction and ill-fated love through refinding her whakapapa origins within Hineahuone. This work has the potential to become a defining piece of Ōtepoti and Kāi Tahu theatre.","_key":"de3abf4b6d0e2"}],"_type":"block","style":"normal","_key":"de3abf4b6d0e"},{"_type":"block","style":"normal","_key":"4d863b555668","markDefs":[],"children":[{"_type":"span","marks":[],"text":"To tell a story so particular to the south, it’s important to unpack the place in which this work is set and shown. Ōtepoti Dunedin is within Kāi Tahu’s large takiwā and is a port and university city, with visiting rural populations from nearby. Kāi Tahu have a long and complex history with tākata pora, who arrived early in the settlement process as whalers and sealers. Scottish settlers prided it as the Edinburgh of the south, and overlaid the town plans for the capital of Scotland on the distinctly hilly and swampy whenua. As this work uncovers, Ōtepoti has struggled through its own ","_key":"4d863b5556680"},{"text":"Trainspotting","_key":"4d863b5556681","_type":"span","marks":["em"]},{"text":" era.","_key":"4d863b5556682","_type":"span","marks":[]}]}]},{"_key":"row-10054","_type":"articleShortquote","description":[{"style":"normal","_key":"a72cfc8c195e","markDefs":[],"children":[{"_type":"span","marks":[],"text":"Ōtepoti has struggled through its own Trainspotting era","_key":"a72cfc8c195e0"}],"_type":"block"}]},{"_type":"articleText","description":[{"markDefs":[],"children":[{"_type":"span","marks":[],"text":"The show is presented as a “homage to Hineahuone, the world’s first woman crafted by Tānemahuta.” The poster shows Tānemahuta and Hineahuone in embrace, and the title, ","_key":"9ae55ccf22310"},{"marks":["em"],"text":"The World’s First Lovers","_key":"9ae55ccf22311","_type":"span"},{"marks":[],"text":", gave me the impression that I was walking into their love story. I quickly realised that was not what I had stepped into. Tānemahuta and Hineahuone are spliced in (along with a bigger creation story) as a dramatic device. The pair share one affectionate scene with almost no dialogue. Instead, the work focuses around a central protagonist, Fortune, moving through the trials and awakenings of being both a woman and Māori in Ōtepoti during the 1980s.","_key":"9ae55ccf22312","_type":"span"}],"_type":"block","style":"normal","_key":"9ae55ccf2231"}],"_key":"row-10053"},{"_key":"row-10055","mode":"default","image":{"alt":null,"_key":"d09e36689ded","asset":{"_ref":"image-29466fcbe45b87a6784af106b7f308d557ddce52-800x534-jpg","_type":"reference","_weak":true},"railsData":{"metadata":{"height":534,"filename":null,"size":137605,"mime_type":"image/jpeg","width":800},"id":"image/10452/attachment/c8c6ebded0139bd6c4037b46e0619f0d","storage":"store"},"_type":"image"},"_type":"articleImage","description":[{"markDefs":[],"children":[{"_type":"span","marks":[],"text":"Princes St at Moray Pl, Dunedin, 1980 (Photo credits: Leroy W. Demery, Jr/Flickr)","_key":"b9844f0a52190"}],"_type":"block","style":"normal","_key":"b9844f0a5219"}]},{"_type":"articleText","description":[{"markDefs":[],"children":[{"_type":"span","marks":[],"text":"Atua pūrākau and creation frameworks are used as a dramatic device to explore transformation. The punctuating moments with atua cleverly and gently mirror the journey of Fortune’s life. Celestial Aoraki and Tānemahuta share a moment of unifying brotherhood – “we’re brothers. There are no half brothers” – a contradiction of Fortune’s description of her fractured family unit. The creation of Hineahuone by Tānemahuta, and their meeting, parallels Fortune’s destructive relationship and deteriorating mental health. The show opens with a message, “You are all gods”, setting up the central idea that to live well we must remember we descend from atua – because disconnecting from whakapapa, recent and metaphysical, has severe effects. After she is created, Hineahuone implores: “If you forget me, you will forget who you are. Remember my name.” Using pūrākau as a narrative device, or framework for performance, is becoming common in Māori theatre. These works could form a genre in their own right, characterised by atua appearing as characters within a work, pūrākau framing the piece, or atua as an allegory.","_key":"21cbd462bcbe0"}],"_type":"block","style":"normal","_key":"21cbd462bcbe"}],"_key":"row-10056"},{"_type":"articleShortquote","description":[{"_type":"block","style":"normal","_key":"2a34de53af42","markDefs":[],"children":[{"_type":"span","marks":[],"text":"Using pūrākau as a narrative device, or framework for performance, is becoming common in Māori theatre","_key":"2a34de53af420"}]}],"_key":"row-10057"},{"_type":"articleText","description":[{"markDefs":[],"children":[{"_key":"05c1f456f3900","_type":"span","marks":[],"text":"This work offers a cathartic process for Māori raised in Te Waipounamu, which I assume could resonate more for generations who lived through the 1980s. I tread carefully into storytelling about trauma as it can overwhelm me. I need to laugh, and to hear all the other experiences beyond trauma that make us three-dimensional people. But the reality is that all of these stories can, and should, be told simultaneously to describe a holistic world of being Māori. The atua in this work allow it to tell a difficult and familiar Māori story without further scarring the audience. Pūrākau are growing in usage across many disciplines, even as a treatment method in mental-health care, by people such as Dr Diana and Mark Kopua. There are confronting moments of violence, racism and mental distress within the work, but these aren’t dwelled upon. During a haunting mental breakdown, a narrator calls out, “Psychosis or matakite. A blessing or a curse.” Taoka pūoro, waiata and characters changing into atua provide relief and bring us out of the heaviness, reaffirming that live performance is a potent and transformational medium. By using sensory processes like ihi, wehi and wana, and the unity and release of waiata, we are able to feel all of these experiences. Rather than keeping them to rot within us, we exhale them out in our next breath."}],"_type":"block","style":"normal","_key":"05c1f456f390"}],"_key":"row-10058"},{"image":{"_key":"a2429a4b22e6","asset":{"_weak":true,"_ref":"image-a94274da2ac9fc3fb754c76f17e820a98c4e3200-850x510-jpg","_type":"reference"},"railsData":{"metadata":{"filename":null,"size":784358,"mime_type":"image/png","width":850,"height":510},"id":"image/10453/attachment/f28b6d5f9ce2ded764ec11c74948d7c6","storage":"store"},"_type":"image","alt":null},"_type":"articleImage","description":[{"_key":"23217c11084a","markDefs":[],"children":[{"text":"Photo credits: Kassandra Lynne","_key":"23217c11084a0","_type":"span","marks":[]}],"_type":"block","style":"normal"}],"_key":"row-10059","mode":"default"},{"description":[{"markDefs":[],"children":[{"_type":"span","marks":[],"text":"By using sensory processes like ihi, wehi and wana, and the unity and release of waiata, we are able to feel all of these experiences. Rather than keeping them to rot within us, we exhale them out in our next breath.","_key":"1fa0645e0fac0"}],"_type":"block","style":"normal","_key":"1fa0645e0fac"}],"_key":"row-10060","_type":"articleShortquote"},{"description":[{"markDefs":[],"children":[{"text":"There was great theatre craft within this production. The lighting design by Martyn Roberts sublimely recreated the pink-lit 80s clubs. Ben Whitaker supported with a responsive taoka pūoro score. Manu Syme-Hepi, the youngest cast member, performed an impressive rotation of roles with presence and ease. Syme-Hepi and Nick Tipa gave energetic performances of cataclysmic creation moments, with Dragon Ball Z-style kāmehameha attacks, but with a twist of tīhei mauri ora! The cast worked well with quick scene-changes, a bare set and a runway-like performance space had them constantly walking forwards and backwards – ka mua, ka muri. At times it was hard to follow where in time a scene had jumped to, especially with cast members playing multiple people, deities and narrators. This lack of clarity didn’t overshadow the quality of the work, and I anticipate these finer delivery details will get sharper in the play’s premiere season.","_key":"1cf1faf3bce00","_type":"span","marks":[]}],"_type":"block","style":"normal","_key":"1cf1faf3bce0"}],"_key":"row-10061","_type":"articleText"},{"_type":"articleShortquote","description":[{"markDefs":[],"children":[{"_key":"687953783a8c0","_type":"span","marks":[],"text":"...energetic performances of cataclysmic creation moments, with Dragon Ball Z-style kāmehameha attacks, but with a twist of tīhei mauri ora!"}],"_type":"block","style":"normal","_key":"687953783a8c"}],"_key":"row-10062"},{"_type":"articleText","description":[{"children":[{"_type":"span","marks":[],"text":"The script is a consistent merit of the work. As Latton’s debut full-length written play, the story has been developed extensively through programmes, festivals and residencies. This development and research time is clear in the detail of the script. One example is the extensive descriptions of Hineahuone’s creation, impressively the many atua who gifted the intricate parts of her genitals are named. The dialogue is poetic, including lines revealing that Fortune’s marae is at Rāpaki, on Te Pātaka-o-Rākaihautū Banks Peninsula:","_key":"f9efb6969cba0"}],"_type":"block","style":"normal","_key":"f9efb6969cba","markDefs":[]}],"_key":"row-10063"},{"_type":"articleLongquote","description":[{"style":"normal","_key":"1bd1bae80c19","markDefs":[],"children":[{"_type":"span","marks":["em"],"text":"“Rāpaki is as real as a mountain.\"","_key":"1bd1bae80c190"}],"_type":"block"},{"markDefs":[],"children":[{"_type":"span","marks":["em"],"text":"“There are taniwha in the harbour. Takaroa take us home.”","_key":"e026492ebaa70"}],"_type":"block","style":"normal","_key":"e026492ebaa7"}],"_key":"row-10064"},{"_type":"articleText","description":[{"_type":"block","style":"normal","_key":"fc59a988cd3b","markDefs":[],"children":[{"_type":"span","marks":[],"text":"Latton’s poetic and descriptive language elevates the script and creates an immersive, distinctively Ōtepoti wairua within the theatre. The script cuts between vignettes of cruel kids who sell possum skins at school, skinheads in Caversham and punks in cold mansions. A disturbing favourite was the description of living in exile in a haunted house surrounded by paddocks, swamps and dog shit, where a kaumātua is paid $5 and a packet of cigarettes to clear out a ghost.","_key":"fc59a988cd3b0"}]}],"_key":"row-10065"},{"_type":"articleShortquote","description":[{"markDefs":[],"children":[{"_type":"span","marks":[],"text":"a haunted house surrounded by paddocks, swamps and dog shit, where a kaumātua is paid $5 and a packet of cigarettes to clear out a ghost","_key":"b788c135610f0"}],"_type":"block","style":"normal","_key":"b788c135610f"}],"_key":"row-10066"},{"_type":"articleText","description":[{"style":"normal","_key":"484bcdf8bab1","markDefs":[],"children":[{"_type":"span","marks":[],"text":"The layers of ahurea Kāi Tahu in this work add a complexity I want to see live performance keep moving into. The Kāi Tahu creation whakapapa shared covered the web of relationships between Pokoharuatepō and Rakinui (which birthed Aoraki), and the love triangle between Takaroa, Papatūānuku and Rakinui (the latter two who birthed Tānemahuta). I was absorbed, wondering how and which whakapapa would be recited. The only other time I’ve felt a similar Kāi Tahu-specific creation excitement in a performance was Rua McCallum’s ","_key":"484bcdf8bab10"},{"_type":"span","marks":["em"],"text":"Wairua","_key":"484bcdf8bab11"},{"_type":"span","marks":[],"text":" (2021). The script is supported by seamless use of Kāi Tahu mita, replacing ‘ng’ with ‘k’. Another highlight was fellow Kāi Tahu designer Amber Bridgman’s costuming. I spied a kākahu, potentially made from neinei, on Hineahuone and admired the understated details of mahi toi Māori in the costuming for the rest of the cast. The piece closed with the uplifting waiata ‘Ka haea te ata’, with the final lines declaring that as mokopuna of Tahupōtiki we settle here. This work represents a direction in which theatre should be moving, towards Māori-led and performed works, telling iwi stories, within our rohe.","_key":"484bcdf8bab12"}],"_type":"block"}],"_key":"row-10067"},{"_type":"articleShortquote","description":[{"markDefs":[],"children":[{"_type":"span","marks":[],"text":"the piece closed with the uplifting waiata ‘Ka haea te ata’, with the final lines declaring that as mokopuna of Tahupōtiki we settle here","_key":"c70bbebf1dab0"}],"_type":"block","style":"normal","_key":"c70bbebf1dab"}],"_key":"row-10068"},{"_type":"articleText","description":[{"children":[{"_key":"cb27358e3cda0","_type":"span","marks":[],"text":"My lasting sentiment is that, for Māori living in Ōtepoti, and wider Te Waipounamu, works like "},{"marks":["em"],"text":"The World’s First Lovers","_key":"cb27358e3cda1","_type":"span"},{"_type":"span","marks":[],"text":" are essential. A core part of tikanga Māori is acknowledgement. We mihi to the whare, to the dead, and we chant whakapapa to keep focus through karakia. Have all Māori wāhine in Te Waipounamu lived versions of the same life? In a rural schoolyard-scene a young boy mocks Fortune crudely about blood quantum: “Are you a half? Or a quarter? An eighth? Or what are you, a 32th?” (pronounced as “thirty two-th”). This moment, among others within the work, has been lived by many in Te Waipounamu but, until recently, has not been a big part of our local cultural conversations. As the play ended, I wanted to crawl back into smoke-hazed 80s Ōtepoti, into the family kitchen where Fortune’s mother is urging her to forget Māoritaka including “the old gods” and back into the velvet embrace of Hinenuitepō. I understand this desire as the same reason I poke bruises or pick scabs. To examine injuries and to witness them. This timely work witnesses the experiences of Māori wāhine, and calls for our restoration as the descendants of atua in Ōtepoti and beyond.","_key":"cb27358e3cda2"}],"_type":"block","style":"normal","_key":"cb27358e3cda","markDefs":[]}],"_key":"row-10069"},{"_type":"articleShortquote","description":[{"children":[{"_type":"span","marks":[],"text":"I washed my hands to whakanoa as I left the show, and thought of all the other people who need to witness this Ōtepoti, and Kāi Tahu, 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Te Haukāinga is home for these companies and for others, including Hāpai Productions and Tikapa Productions, who work in Te Hau Tūtū independent producers office.","_key":"08782271c0870","_type":"span","marks":["em"]}],"_type":"block","style":"normal","_key":"08782271c087","markDefs":[]},{"style":"aside","_key":"65680c86dc8c","markDefs":[],"children":[{"_type":"span","marks":[],"text":"Te Haukāinga's building on Taranaki Street.","_key":"65680c86dc8c0"}],"_type":"block"},{"image":{"_type":"image","asset":{"_ref":"image-2bd49c957267461e7f86a94a660a81e51a8a475b-1572x1180-png","_type":"reference"}},"_type":"articleImage","_key":"7d0a3fec5d83"},{"markDefs":[],"children":[{"_type":"span","marks":["em"],"text":"Hundreds of creatives from across the Pacific and the world will land at Te Haukāinga every year. Many are drawn by the Kia Mau Festival, held annually in May/June. Kia Mau grew from a need to celebrate all the Indigenous theatre being produced in Wellington and beyond, to hold a central platform amidst the wider Wellington arts scene and say, “Hey, these are the voices you need to be listening to.” That was the goal of festival directors Mīria George and Hone Kouka. Last year they programmed the Whangarei Girls High production of ","_key":"733f0967a6490"},{"_type":"span","marks":[],"text":"Waiora","_key":"733f0967a6491"},{"_type":"span","marks":["em"],"text":" – one of Kouka’s own works. Not only did the show receive incredibly positive reviews, but those rangatahi spent a week in workshops as part of Kia Mau Festival, learning from the pakeke in Te Haukāinga a broad range of theatre, dance and production skills. Similarly, Nina Nawalowalo and Tom McCrory built Conchus Youth as a way to engage with young Pacific practitioners of theatre. Conchus Youth has moved out of Te Haukāinga into their own independent space.","_key":"733f0967a6492"}],"_type":"block","style":"normal","_key":"733f0967a649"},{"children":[{"_type":"span","marks":["em"],"text":"It is precisely because Te Haukāinga is a dynamic and culturally strong space that so many strong works have been produced in the last few years. The Conch’s ","_key":"a7ce8d4c3bb30"},{"_type":"span","marks":[],"text":"The White Guitar","_key":"a7ce8d4c3bb31"},{"_type":"span","marks":["em"],"text":", Hāpai’s ","_key":"a7ce8d4c3bb32"},{"_type":"span","marks":[],"text":"Portrait of a Artist Mongrel","_key":"a7ce8d4c3bb33"},{"marks":["em"],"text":", Taki Rua’s ","_key":"a7ce8d4c3bb34","_type":"span"},{"text":"He Kura E Huna Ana","_key":"a7ce8d4c3bb35","_type":"span","marks":[]},{"text":", Tawata Productions’ ","_key":"a7ce8d4c3bb36","_type":"span","marks":["em"]},{"_type":"span","marks":[],"text":"The Vultures","_key":"a7ce8d4c3bb37"},{"_type":"span","marks":["em"],"text":". Taki Rua has just commenced a season of the Patricia Grace story ","_key":"a7ce8d4c3bb38"},{"marks":[],"text":"Te Kuia Me Te Pūngāwerewere","_key":"a7ce8d4c3bb39","_type":"span"},{"_type":"span","marks":["em"],"text":". This is theatre that centres Te Ao Māori and Te Moana Nui a Kiwa in its worldviews. Weaving in characters who are recognisably voices of the Pacific. Separate from the token brown character often utilised in mainstream theatre, spaces like Te Haukāinga encourage storytelling that is as diverse as our people. With many narratives left to be told.","_key":"a7ce8d4c3bb310"}],"_type":"block","style":"normal","_key":"a7ce8d4c3bb3","markDefs":[]},{"children":[{"marks":["em"],"text":"With kai and cups of tea, Kahu Kutia talked to some of the voices who occupy Te Haukāinga. Those voices were: ","_key":"8ad89f5c461d0","_type":"span"},{"_type":"span","marks":["em","strong"],"text":"Tanemāhuta Gray, ","_key":"8ad89f5c461d1"},{"marks":["em"],"text":"Chief Executive of Taki Rua Productions; ","_key":"8ad89f5c461d2","_type":"span"},{"_type":"span","marks":["em","strong"],"text":"Nina Nawalowalo","_key":"8ad89f5c461d3"},{"_type":"span","marks":["em"],"text":", Artistic Director and co-founder of The Conch; ","_key":"8ad89f5c461d4"},{"_type":"span","marks":["em","strong"],"text":"Nancy Brunning","_key":"8ad89f5c461d5"},{"_type":"span","marks":["em"],"text":", Company Director of Hāpai Productions; ","_key":"8ad89f5c461d6"},{"marks":["em","strong"],"text":"Helena-Jane Kilkelly","_key":"8ad89f5c461d7","_type":"span"},{"_type":"span","marks":["em"],"text":", co-founder of Prospect Park Productions and producer for the Kia Mau Festival; and ","_key":"8ad89f5c461d8"},{"text":"Erina Daniels","_key":"8ad89f5c461d9","_type":"span","marks":["em","strong"]},{"_type":"span","marks":["em"],"text":", independent performer, producer and director of productions like ","_key":"8ad89f5c461d10"},{"_key":"8ad89f5c461d11","_type":"span","marks":[],"text":"Party with the Aunties"},{"_key":"8ad89f5c461d12","_type":"span","marks":["em"],"text":" and "},{"_type":"span","marks":[],"text":"Shot Bro: Confessions of a Depressed Bullet","_key":"8ad89f5c461d13"},{"_type":"span","marks":["em"],"text":".","_key":"8ad89f5c461d14"}],"_type":"block","style":"normal","_key":"8ad89f5c461d","markDefs":[]},{"children":[{"marks":[],"text":"From left to right: Nina Nawalowalo, Helena-Jane Kilkelly, Nancy Brunning, Erina Daniels, Tanemāhuta Gray and Kahu Kutia. Image credit: Na'a Tau'alupe.","_key":"dbaabed0f24c0","_type":"span"}],"_type":"block","style":"aside","_key":"dbaabed0f24c","markDefs":[]},{"_type":"articleImage","_key":"838d62d5b022","image":{"_type":"image","asset":{"_ref":"image-1f834e980b94752d820ec84e1f6dc03db4d57d9e-1600x1067-jpg","_type":"reference"}}},{"style":"normal","_key":"3cde27bd10de","markDefs":[],"children":[{"_type":"span","marks":["strong","em"],"text":"Kahu Kutia: First off I want to go back to the inception of the space. Te Haukāinga. Why was this space needed for you guys? Why did you need to work together?","_key":"3cde27bd10de0"}],"_type":"block"},{"markDefs":[],"children":[{"marks":["strong"],"text":"Tanemāhuta Gray:","_key":"d1cbc45a0f010","_type":"span"},{"marks":[],"text":" I’m going back to my time at Taki Rua on Alpha Street, when it was a theatre space. Back then we still felt on the fringe of the community, but what we had was such a broad community. It was Māori and Pacific, the Gay and Lesbian community. There was a broad range of theatre forms coming through. A lot of artists’ first works were coming in there.","_key":"d1cbc45a0f011","_type":"span"}],"_type":"block","style":"normal","_key":"d1cbc45a0f01"},{"children":[{"marks":[],"text":"When that space closed down, it was like the community had no place to gather. Myself and The Conch were sharing a room in 170 Cuba St, and trying to fit in that 40-square-metre room with both of us was just hell. I realised that if we could pile our forces together we could get a much bigger space, with all the separate little entities we’ve got like Taki Rua, like The Conch. That’s kinda how that desire came through. Tawata were a big part: they said, “Yep, if you can get it we’ll be jumping in on that as well.” Those three partners together were vital: Taki Rua, The Conch, Tawata Productions.","_key":"1bdd05fbc3ac0","_type":"span"}],"_type":"block","style":"normal","_key":"1bdd05fbc3ac","markDefs":[]},{"markDefs":[],"children":[{"marks":["strong"],"text":"Nancy Brunning:","_key":"4fde49ce470b0","_type":"span"},{"_type":"span","marks":[],"text":" We had Te Pūtahitanga a te Rēhia, which had regular meetings. This was at the time when Māori were being ignored on the mainstages, there was a real disconnect with some of the practitioners and industry people, so we decided to come together and form Te Pūtahitanga in 2013, and just talk and support each other.","_key":"4fde49ce470b1"}],"_type":"block","style":"normal","_key":"4fde49ce470b"},{"markDefs":[],"children":[{"_type":"span","marks":["em"],"text":"[Te Pūtahitanga a te Rēhia was formed out of a disconnected Māori theatre scene to rebuild trust and communication between individual Māori practitioners and Māori companies. They advocate, tautoko, and create platforms and opportunities for Māori artists. Hāpai Productions, Tawata Productions, Te Rakau Hua o te Waotapu, Tikapa Productions, as well as many individuals in the industry, founded Te Pūtahitanga in 2013.]","_key":"7186484e37380"}],"_type":"block","style":"normal","_key":"7186484e3738"},{"_type":"block","style":"blockquote","_key":"66f0601b9381","markDefs":[],"children":[{"_type":"span","marks":[],"text":"[But] the message is very important that Māori and Pacific, we are all one, so for us it was just a natural thing to come together.","_key":"66f0601b93810"}]},{"style":"normal","_key":"7c0affdbab9a","markDefs":[],"children":[{"_key":"7c0affdbab9a0","_type":"span","marks":[],"text":"A space where we could all come together was really important because it meant we could all share our resources. We found out there were a lot of emerging artists who did not know what to do once they graduated drama school, and there wasn’t a physical place that could welcome them in. We’d have meetings just in each other’s houses or whatever and we’d talk about what we needed. Yeah, we were homeless for a long long time! Fifteen years."}],"_type":"block"},{"style":"normal","_key":"2490608ae4ec","markDefs":[],"children":[{"_type":"span","marks":[],"text":"The majority of work [getting made at that time] was made by people who probably weren’t getting funded, but they were upskilling. They were producing new works, and they were actually creating a name for themselves without the help of any mainstream organisations out there.","_key":"2490608ae4ec0"}],"_type":"block"},{"_type":"block","style":"normal","_key":"e2087c430fb7","markDefs":[],"children":[{"marks":["strong"],"text":"Nina Nawalowalo:","_key":"e2087c430fb70","_type":"span"},{"marks":[],"text":" For The Conch it is political. Because when the offer and the conversation came about to come together collectively and you have to look for money – the natural thing is to work against each other. Everyone’s trying to survive. [But] the message is very important that Māori and Pacific, we are all one, so for us it was just a natural thing to come together.","_key":"e2087c430fb71","_type":"span"}]},{"children":[{"_type":"span","marks":[],"text":"But it also provides safety for us as a company because it’s a collective where we’ve got key companies being funded. That allows the holding of everybody else. It created a lot of interest all around the country when all of us came together.","_key":"b0581caa53cb0"}],"_type":"block","style":"normal","_key":"b0581caa53cb","markDefs":[]},{"markDefs":[],"children":[{"_type":"span","marks":[],"text":"Tanemāhuta Gray. Image credit: Na'a Tau'alupe.","_key":"0964327781ce0"}],"_type":"block","style":"aside","_key":"0964327781ce"},{"image":{"_type":"image","asset":{"_ref":"image-bf68d97df7f143a01552f956cf462aa4e896cf25-1067x1600-jpg","_type":"reference"}},"_type":"articleImage","_key":"9608a8f2d077"},{"children":[{"_key":"868f55a7d4a50","_type":"span","marks":["strong","em"],"text":"KK: Being homeless for so many years and then coming together: were there any leaders in that? Or was it just general wide consensus that this was needed?"}],"_type":"block","style":"normal","_key":"868f55a7d4a5","markDefs":[]},{"markDefs":[],"children":[{"_key":"d0b5114fb2790","_type":"span","marks":["strong"],"text":"TG:"},{"_type":"span","marks":[],"text":" It was a general, wide consensus that we needed something because what was happening wasn’t working and we were being siloed off. I thought that if we could build a beacon of community, it just needed the response and the connectivity of our energies together. We knew we could make a force that was quite unstoppable!","_key":"d0b5114fb2791"}],"_type":"block","style":"normal","_key":"d0b5114fb279"},{"children":[{"marks":[],"text":"In a way I think Wellington actually needed this. In its other theatres, Wellington was lacking the leadership to guide Māori and Pasifika as well. We weren’t being served in those whare at all. If you end up being the chosen one for one particular theatre company, yes, you’ll get those opportunities but you’ll never build that sense of your tino rangatiratanga. You’re always running things the way they dictate it! We had enough experienced practitioners to say not only can we run it, but we can also be quite revolutionary. We get to dictate it rather than being manuhiri in another person’s whare.","_key":"c9847752e31d0","_type":"span"}],"_type":"block","style":"normal","_key":"c9847752e31d","markDefs":[]},{"_type":"block","style":"normal","_key":"13e0f0f8f86e","markDefs":[],"children":[{"text":"NB:","_key":"13e0f0f8f86e0","_type":"span","marks":["strong"]},{"_type":"span","marks":[],"text":" That’s hard yeah, being a manuhiri in someone’s space all the time…You don’t develop at all and you’re constantly giving your intellectual property to somebody else. Meanwhile they’re growing and they’re getting more funding because they’ve got you in their building. But they don’t do any of the thinking, the planning, the strategy and they don’t do the production. That’s all you.","_key":"13e0f0f8f86e1"}]},{"style":"blockquote","_key":"2dd6c0c9ed5d","markDefs":[],"children":[{"marks":[],"text":"We had enough experienced practitioners to say not only can we run it, but we can also be quite revolutionary. We get to dictate it rather than being manuhiri in another person’s whare.","_key":"2dd6c0c9ed5d0","_type":"span"}],"_type":"block"},{"_type":"block","style":"normal","_key":"5c36ded74272","markDefs":[],"children":[{"_type":"span","marks":[],"text":"Me and Erina and HJ, we’re part of Te Hau Tūtū. As independents working in that little office space, we’ve had to figure out how to contribute more to Te Haukāinga. It’s like any pā or marae really, where everyone has a role to play and we all have to contribute in some kind of way.","_key":"5c36ded742720"}]},{"children":[{"_type":"span","marks":[],"text":"It’s also a space where we can nurture our babies at the same time. But our challenge is bringing our kaumātua up here more so that their korero can be shared with some of the young ones that come through.","_key":"096ecd757a0d0"}],"_type":"block","style":"normal","_key":"096ecd757a0d","markDefs":[]},{"markDefs":[],"children":[{"_type":"span","marks":["strong"],"text":"TG:","_key":"1c2d837240690"},{"text":" Look at what's happened the last three years, works from this building have inhabited ","_key":"1c2d837240691","_type":"span","marks":[]},{"_type":"span","marks":["em"],"text":"so many ","_key":"1c2d837240692"},{"_type":"span","marks":[],"text":"festivals. Kia Mau Festival, the Indigenous theatre festival, is now something that all the other festivals are coming to raid. Each year it keeps establishing itself; its purpose or focus will change every year. I think what Mīria and Hone have established is really on the pulse of what we need.","_key":"1c2d837240693"}],"_type":"block","style":"normal","_key":"1c2d83724069"},{"_type":"block","style":"aside","_key":"e14d6c676d7b","markDefs":[],"children":[{"text":"From left to right: Erina Daniels, Tanemāhuta Gray and Kahu Kutia. Image credit: Na'a Tau'alupe.","_key":"e14d6c676d7b0","_type":"span","marks":[]}]},{"_type":"articleImage","_key":"86cfc6f24b05","image":{"_type":"image","asset":{"_ref":"image-32114209efbcfa3e358f2944ec36551ea3f87f84-1600x1067-jpg","_type":"reference"}}},{"markDefs":[],"children":[{"_type":"span","marks":["strong"],"text":"NB:","_key":"8851550463440"},{"marks":[],"text":" At the moment we have the freedom for the art to dictate who the audience is, rather than the audience dictating what the art is. We’re at that stage and hopefully it won’t change too soon, because it means artists can be ","_key":"8851550463441","_type":"span"},{"_type":"span","marks":["em"],"text":"artists","_key":"8851550463442"},{"text":".","_key":"8851550463443","_type":"span","marks":[]}],"_type":"block","style":"normal","_key":"885155046344"},{"_type":"block","style":"normal","_key":"89ea406b9d77","markDefs":[],"children":[{"marks":[],"text":"Added to that mix is the stuff that Indigenous manuhiri from overseas, which New Zealand doesn’t show at all. It’s really amazing to be able to attract people like that into a space like Te Haukāinga where you can pōhiri them in and give them a feed, or if they need somewhere to use a computer they can do that here. It’s creating a space where people can become more accessible to one another.","_key":"89ea406b9d770","_type":"span"}]},{"style":"normal","_key":"38f8e60a17c2","markDefs":[],"children":[{"_type":"span","marks":["strong"],"text":"NN:","_key":"38f8e60a17c20"},{"text":" What has come out since we have been in this space is not by chance. It has to do with the collective energy of Te Haukāinga. It’s a tough business and it’s tough to have an idea. There’s too much elbowing in this business, and what we’re saying is that we don’t buy in to that.","_key":"38f8e60a17c21","_type":"span","marks":[]}],"_type":"block"},{"style":"normal","_key":"ea2836449b86","markDefs":[],"children":[{"marks":["em"],"text":"[Collective agreement from everyone in the room.]","_key":"ea2836449b860","_type":"span"}],"_type":"block"},{"style":"blockquote","_key":"7ab301324afd","markDefs":[],"children":[{"_type":"span","marks":[],"text":"Haukāinga is a platform for meeting, creating, discussing, sharing, then growing. But that’s not only in these walls.","_key":"7ab301324afd0"}],"_type":"block"},{"_type":"block","style":"normal","_key":"2a153b54573b","markDefs":[],"children":[{"_type":"span","marks":["strong"],"text":"Erina Daniels:","_key":"2a153b54573b0"},{"_type":"span","marks":[],"text":" I don’t know if there’s much more to say except, this morning I was late for a job and I went to Anvil House. I went to the fourth floor and Java Dance Company was having their hui. Usually Java’s here, so I felt crack-up going in to their new space and feeling like I was at home again. We’ve got that connection! Haukāinga is a platform for meeting, creating, discussing, sharing, then growing. But that’s not only in these walls.","_key":"2a153b54573b1"}]},{"children":[{"_type":"span","marks":["strong"],"text":"NB:","_key":"70dd8139230c0"},{"_type":"span","marks":[],"text":" We know each other.","_key":"70dd8139230c1"}],"_type":"block","style":"normal","_key":"70dd8139230c","markDefs":[]},{"_key":"d13cf9ae8ffb","markDefs":[],"children":[{"_key":"d13cf9ae8ffb0","_type":"span","marks":["strong"],"text":"ED:"},{"marks":[],"text":" Yeah, we know each other better so it’s easier to talk. Sometimes you go into people’s houses and you feel like you’re going to spill wine on the carpet or break something. You don’t know how to be there, so it’s nice to talk real.","_key":"d13cf9ae8ffb1","_type":"span"}],"_type":"block","style":"normal"},{"_type":"block","style":"normal","_key":"70c6d7207d18","markDefs":[],"children":[{"_key":"70c6d7207d180","_type":"span","marks":[],"text":"When Oioi Productions turned one we had a party thing. But it was also a recognition that you are significant in the industry you fullas. Well done for just getting up and going, and you’re one year old! You bubbas."}]},{"_key":"99c7a6e242cd","markDefs":[],"children":[{"_type":"span","marks":["strong"],"text":"NB:","_key":"99c7a6e242cd0"},{"_type":"span","marks":[],"text":" And they win awards all the time those guys, they’ve worked so hard.","_key":"99c7a6e242cd1"}],"_type":"block","style":"normal"},{"markDefs":[],"children":[{"_type":"span","marks":[],"text":"Erina Daniels. Image credit: Na'a Tau'alupe.","_key":"ea4f92caaca10"}],"_type":"block","style":"aside","_key":"ea4f92caaca1"},{"image":{"_type":"image","asset":{"_ref":"image-0ff4aa2249b66d6b9c13086251e2b4628772f18c-1067x1600-jpg","_type":"reference"}},"_type":"articleImage","_key":"f7ade6a9a0be"},{"markDefs":[],"children":[{"text":"KK: You were talking about before Haukāinga and before this coming together. How back then you weren’t able to put on as many shows and you had no place to call your base. Do you think those mainstream powers are responding to you differently? Or do you think these younger ones are coming up against the same challenges that you faced?","_key":"bfab2232d51c0","_type":"span","marks":["strong","em"]}],"_type":"block","style":"normal","_key":"bfab2232d51c"},{"_key":"4efa0b34765d","markDefs":[],"children":[{"_type":"span","marks":["strong"],"text":"NB:","_key":"4efa0b34765d0"},{"text":" I think people generally get fearful that we’re all collectively coming together. They all wonder what the hell is going on here.","_key":"4efa0b34765d1","_type":"span","marks":[]}],"_type":"block","style":"normal"},{"_type":"block","style":"normal","_key":"cba19c44775e","markDefs":[],"children":[{"_type":"span","marks":["em"],"text":"[Everyone laughing.]","_key":"cba19c44775e0"}]},{"style":"normal","_key":"349e6ec566a6","markDefs":[],"children":[{"_key":"349e6ec566a60","_type":"span","marks":["strong"],"text":"NB:"},{"_type":"span","marks":[],"text":" They get frightened and they’re watching like a hawk to see what your next move is.","_key":"349e6ec566a61"}],"_type":"block"},{"_key":"74caec1f7951","markDefs":[],"children":[{"_type":"span","marks":["strong"],"text":"NN:","_key":"74caec1f79510"},{"marks":[],"text":" And I think that’s a good thing.","_key":"74caec1f79511","_type":"span"}],"_type":"block","style":"normal"},{"markDefs":[],"children":[{"_type":"span","marks":["strong"],"text":"NB:","_key":"fb0b3d39239d0"},{"_type":"span","marks":[],"text":" It’s a good thing and it’s a bad thing because for me, we all need to survive in Wellington. Our industry is only gonna be interesting if we all feel confident enough to be individuals and make our own stuff and still be able to work together. That would be an amazing relationship, if all the theatre spaces weren’t afraid of having their own voice. One thing I liked about Wellington City when I first moved here was that it was so diverse and every single shop had a different something. Now you’ve got all these amazing pretty shops and they’re all selling the same product. Wellington as a whole is so in danger of becoming like that.","_key":"fb0b3d39239d1"}],"_type":"block","style":"normal","_key":"fb0b3d39239d"},{"markDefs":[],"children":[{"_type":"span","marks":[],"text":"One thing I liked about Wellington City when I first moved here was that it was so diverse and every single shop had a different something. Now you’ve got all these amazing pretty shops and they’re all selling the same product.","_key":"d50f55271b390"}],"_type":"block","style":"blockquote","_key":"d50f55271b39"},{"markDefs":[],"children":[{"marks":["strong"],"text":"TG:","_key":"cc8da268a3420","_type":"span"},{"_key":"cc8da268a3421","_type":"span","marks":[],"text":" Before us were those kaumātua who helped pave the way for us: Wi Kuki, Rona Bailey, Sunny Amey, Apirana Taylor, Jim Moriarty, Tungia Baker. Back then they were fighting just to exist! Because of their fight we are here and we have had the chance to build our skill level and our craft."}],"_type":"block","style":"normal","_key":"cc8da268a342"},{"_type":"block","style":"normal","_key":"a4ebbbd19ef5","markDefs":[],"children":[{"_type":"span","marks":["strong"],"text":"NB:","_key":"a4ebbbd19ef50"},{"_type":"span","marks":[],"text":" Something that they brought to the industry was that they all came from different hapū and they were all forced, through urbanisation, to work together. They were forced to work together. They had their own voices as whatever hapū they came from and then they had their own style of making stuff. When they started making stuff it was an explosion. When the likes of Rawiri Paratene came along with Ngā Tamatoa they were more politicised and skilled. They were just coming through and making even more explosive stuff.","_key":"a4ebbbd19ef51"}]},{"_key":"8779aad7298e","markDefs":[],"children":[{"marks":[],"text":"When that happened, we went, “Hey, all of that stuff’s working, let’s try and make some money.” But that’s when everything fell apart! Doors got shut, and people weren’t getting employed.","_key":"8779aad7298e0","_type":"span"}],"_type":"block","style":"normal"},{"style":"aside","_key":"04707114f549","markDefs":[],"children":[{"_type":"span","marks":[],"text":"Nancy Brunning. Image credit: Na'a Tau'alupe.","_key":"04707114f5490"}],"_type":"block"},{"image":{"_type":"image","asset":{"_type":"reference","_ref":"image-4cae169786a90d6d744df82d55c1a9a5e9d4aa9f-1067x1600-jpg"}},"_type":"articleImage","_key":"3468866d35a9"},{"markDefs":[],"children":[{"_type":"span","marks":["strong","em"],"text":"KK: Can you go into more detail? What fell apart?","_key":"061b3d20ffda0"}],"_type":"block","style":"normal","_key":"061b3d20ffda"},{"style":"normal","_key":"fe169029a6ae","markDefs":[],"children":[{"_type":"span","marks":["strong"],"text":"NB:","_key":"fe169029a6ae0"},{"text":" We just started making less and less. Once Taki Rua shut as a venue it just became a production company, which was very invisible. You went from being a landowner to being a manuhiri, and then being an immigrant in your own city, really. You ended up having to go round to other people’s venues and beg to be programmed.","_key":"fe169029a6ae1","_type":"span","marks":[]}],"_type":"block"},{"markDefs":[],"children":[{"_type":"span","marks":[],"text":"I remember one comment made was, “I’m not gonna programme any more Māori stuff. All they talk about is identity.” Shit like that. I remember that whole collaborative KPI that came from the funders to try and get Māori to collaborate more with mainstream, but all that happened [with that KPI] was it just assimilated us and made us completely invisible. The voice of Māori was so thin on the ground.","_key":"8b81e1915cad0"}],"_type":"block","style":"normal","_key":"8b81e1915cad"},{"markDefs":[],"children":[{"_type":"span","marks":["strong"],"text":"TG:","_key":"f9d4e335089e0"},{"_type":"span","marks":[],"text":" Yeah, it really was. We were a collective force and we thought, “Whoa, what happened here?”","_key":"f9d4e335089e1"}],"_type":"block","style":"normal","_key":"f9d4e335089e"},{"children":[{"_type":"span","marks":[],"text":"I think people generally get fearful that we’re all collectively coming together... they’re watching like a hawk to see what your next move is","_key":"19ab039d4c090"}],"_type":"block","style":"blockquote","_key":"19ab039d4c09","markDefs":[]},{"markDefs":[],"children":[{"_type":"span","marks":[],"text":"But I’m finding in Wellington at the moment, even in the last six months, that it’s ramped up another energy level. There are a lot of us who want to get people to come back to Wellington. Because there has been a big migration to Auckland, especially from the drama schools.","_key":"1e284f15df9e0"}],"_type":"block","style":"normal","_key":"1e284f15df9e"},{"_type":"block","style":"normal","_key":"7fc50941d725","markDefs":[],"children":[{"_key":"7fc50941d7250","_type":"span","marks":["strong"],"text":"NB:"},{"_type":"span","marks":[],"text":" They get told to, aye! They get told to.","_key":"7fc50941d7251"}]},{"_type":"block","style":"normal","_key":"2bebad68cb07","markDefs":[],"children":[{"_type":"span","marks":["em"],"text":"[Agreement in the room.]","_key":"2bebad68cb070"}]},{"_type":"block","style":"normal","_key":"aa5babcf5ab8","markDefs":[],"children":[{"_type":"span","marks":["strong"],"text":"TG:","_key":"aa5babcf5ab80"},{"_type":"span","marks":[],"text":" Totally. But if opportunity provides itself, you’re gonna go where the work is. If the opportunity is sticking there, they’ll do it.","_key":"aa5babcf5ab81"}]},{"style":"aside","_key":"882cfc1d09de","markDefs":[],"children":[{"_key":"882cfc1d09de0","_type":"span","marks":[],"text":"From left to right: Tanemahuta Gray, Nina Nawalowalo, Helena-Jane Kilkelly and Erina Daniels. 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The thought that you’ve got an office, ha!","_key":"a2b37311ae531"}]},{"_type":"block","style":"normal","_key":"347463687dff","markDefs":[],"children":[{"_type":"span","marks":["em"],"text":"[Collective laughing.]","_key":"347463687dff0"}]},{"children":[{"marks":["strong"],"text":"NN:","_key":"c829822df4900","_type":"span"},{"_type":"span","marks":[],"text":" I’m gonna have a vase! It’s real. I can leave my house and we don’t have to meet in cafés. There’s a whole legacy, way back, of very senior Pacific people who have had to exist independently and collaborate in different ways.","_key":"c829822df4901"}],"_type":"block","style":"normal","_key":"c829822df490","markDefs":[]},{"markDefs":[],"children":[{"_type":"span","marks":["strong"],"text":"NB:","_key":"64238be699e70"},{"text":" Taki Rua used to have a stream that was specifically about developing the work of Pacific writers. Toa Fraser, I think, came through that. Justine Simei-Barton, Victor Rodgers.","_key":"64238be699e71","_type":"span","marks":[]}],"_type":"block","style":"normal","_key":"64238be699e7"},{"style":"normal","_key":"61f777c82d75","markDefs":[],"children":[{"_type":"span","marks":["strong"],"text":"NN:","_key":"61f777c82d750"},{"marks":[],"text":" And there’s Pacific Underground [in Christchurch] as well, isn’t there? I mean, that’s an incredible story in itself. There’s Tusiata Avia and Victor in the Christchurch scene. They’ve got a very pure thing, and they’ve all grown to be leaders in so many different ways.","_key":"61f777c82d751","_type":"span"}],"_type":"block"},{"_type":"block","style":"blockquote","_key":"f8338bae952f","markDefs":[],"children":[{"_type":"span","marks":[],"text":"...coming into an office is a massive moment in my life. The thought that you’ve got an office, ha! I’m gonna have a vase! I can leave my house and we don’t have to meet in cafés.","_key":"f8338bae952f0"}]},{"markDefs":[],"children":[{"_type":"span","marks":["strong"],"text":"NB:","_key":"94be0ba821730"},{"_type":"span","marks":[],"text":" There was a time when there was kickback from Pasifika artists, when they were like, “We don’t need Māori platforms anymore. We’ve got to do it on our own.” For us it was a bit like, “Ouch.” But Pasifika makers needed to cut those ties to see how far they could go without us. Fuck man, it was amazing.","_key":"94be0ba821731"}],"_type":"block","style":"normal","_key":"94be0ba82173"},{"_key":"a8a6decf592a","markDefs":[],"children":[{"_type":"span","marks":[],"text":"I think the same thing had to happen with some of our Asian company artists like Ahi Karunaharan. He started out with Tawata Productions, writing and performing his own piece [","_key":"a8a6decf592a0"},{"_type":"span","marks":["em"],"text":"The Mourning After","_key":"a8a6decf592a1"},{"marks":[],"text":"]. Now he’s in one of the most amazing companies in Sydney, performing a Sri Lankan piece [","_key":"a8a6decf592a2","_type":"span"},{"_type":"span","marks":["em"],"text":"Counting and Cracking ","_key":"a8a6decf592a3"},{"text":"by S Shakthidharan, for Belvoir St Theatre]. His work’s gonna get picked up over there because he’s probably the most experienced Sri Lankan actor over there at the moment!","_key":"a8a6decf592a4","_type":"span","marks":[]}],"_type":"block","style":"normal"},{"markDefs":[],"children":[{"text":"If this place works well, there will be more people that come to test their mettle here.","_key":"39d4ada8fd230","_type":"span","marks":[]}],"_type":"block","style":"normal","_key":"39d4ada8fd23"},{"style":"normal","_key":"51802fb760cc","markDefs":[],"children":[{"text":"TG:","_key":"51802fb760cc0","_type":"span","marks":["strong"]},{"_key":"51802fb760cc1","_type":"span","marks":[],"text":" And launch off."}],"_type":"block"},{"_type":"block","style":"aside","_key":"ac4e96331002","markDefs":[],"children":[{"_type":"span","marks":[],"text":"From left to right: Nina Nawalowalo, Helena-Jane Kilkelly, Nancy Brunning, Erina Daniels and Tanemāhuta Gray. Image credit: Na'a Tau'alupe.","_key":"ac4e963310020"}]},{"image":{"_type":"image","asset":{"_ref":"image-a73c874d1cda72518237b0fb79ba1e6014d9b175-1600x1067-jpg","_type":"reference"}},"_type":"articleImage","_key":"dc0b898d9772"},{"_key":"a828f787511f","markDefs":[],"children":[{"text":"NB:","_key":"a828f787511f0","_type":"span","marks":["strong"]},{"_type":"span","marks":[],"text":" They can launch off and just do their own thing. And if they can stand on their own two feet and start producing their own mahi at the same time, then this place is working. That’s kinda how it worked with us and Keri and Wi Kuki you know? All of those growlings, they weren’t in vain. They were trying to say, “When we’re not here, you guys have to do it on your own.”","_key":"a828f787511f1"}],"_type":"block","style":"normal"},{"_type":"block","style":"normal","_key":"cbb8fed13803","markDefs":[],"children":[{"_type":"span","marks":["strong"],"text":"TG:","_key":"cbb8fed138030"},{"_type":"span","marks":[],"text":" Remember that shock period when we had so many kaumātua pass away...There was quite a lot of grieving when we lost them, and that 15 years of not having a space probably didn’t help. There was a bit of trauma all around because those who held the platform for us had gone. We had a conversation of who are our kaumātua and who is gonna do that for us now? And we realised no one’s going to do it for us. It’s on us now.","_key":"cbb8fed138031"}]},{"markDefs":[],"children":[{"_type":"span","marks":["strong"],"text":"NB:","_key":"e937c4dd6c9e0"},{"_type":"span","marks":[],"text":" You’ve just gotta bite the bullet and do it now…It’s scary because there’s that experience level that you haven’t quite reached yet. Couple more years and you might get there but because the hole’s getting bigger and bigger, you just have to jump in and fill it up.","_key":"e937c4dd6c9e1"}],"_type":"block","style":"normal","_key":"e937c4dd6c9e"},{"_type":"block","style":"blockquote","_key":"065ff0d51801","markDefs":[],"children":[{"_type":"span","marks":[],"text":"...our challenge is bringing our kaumātua up here more so that their korero can be shared with some of the young ones that come through.","_key":"065ff0d518010"}]},{"markDefs":[],"children":[{"_type":"span","marks":["strong"],"text":"TG:","_key":"7d5afb406b420"},{"text":" That might be a humility thing as well. Thinking ooh, are we ready? I think we are more ready than ever.","_key":"7d5afb406b421","_type":"span","marks":[]}],"_type":"block","style":"normal","_key":"7d5afb406b42"},{"_type":"block","style":"normal","_key":"025efb4ee114","markDefs":[],"children":[{"_type":"span","marks":["strong"],"text":"Helena-Jane Kilkelly:","_key":"025efb4ee1140"},{"_type":"span","marks":[],"text":" I was gonna say, do you think we ever get to that level?","_key":"025efb4ee1141"}]},{"_type":"block","style":"normal","_key":"c7ad6200dff4","markDefs":[],"children":[{"_key":"c7ad6200dff40","_type":"span","marks":["strong"],"text":"TG:"},{"marks":[],"text":" It’s interesting when you go and spent time with our Indigenous brothers and sisters in Canada and Australia and in the USA. Where we were 40 years ago is where they are just now, so people have walked this journey to have an industry for a long time.","_key":"c7ad6200dff41","_type":"span"}]},{"_key":"8f782288a3ea","markDefs":[],"children":[{"text":"Helena-Jane Kilkelly. Image credit: Na'a Tau'alupe.","_key":"8f782288a3ea0","_type":"span","marks":[]}],"_type":"block","style":"aside"},{"image":{"_type":"image","asset":{"_ref":"image-3ccb6ae1809a4f84562b306c2a0d8d6008bb4573-1067x1600-jpg","_type":"reference"}},"_type":"articleImage","_key":"2f8ebd0465ff"},{"_key":"d7f52f442d01","markDefs":[],"children":[{"_key":"d7f52f442d010","_type":"span","marks":["strong","em"],"text":"KK: Looking forward, as Taki Rua, The Conch, Te Hau Tūtū. Where are your thoughts looking forward? What is interesting to you?"}],"_type":"block","style":"normal"},{"markDefs":[],"children":[{"text":"TG:","_key":"c6f063e9c8a10","_type":"span","marks":["strong"]},{"_type":"span","marks":[],"text":" This is probably me on my own little bandwagon but there’s no Māori organisation that’s on the level of what our Pākehā symphonic or philharmonic or other major theatre companies are. There’s no Māori that’s ever come close to that area. I just think that’s unacceptable. As part of a treaty partnership.","_key":"c6f063e9c8a11"}],"_type":"block","style":"normal","_key":"c6f063e9c8a1"},{"_type":"block","style":"normal","_key":"3cc9e01203a7","markDefs":[],"children":[{"marks":[],"text":"I think now that the mainstream is starting to see the value in an Indigenous worldview, our time is now to ask and push and advocate and demand what should have happened years ago.","_key":"3cc9e01203a70","_type":"span"}]},{"markDefs":[],"children":[{"_key":"a02dbbc4aaa70","_type":"span","marks":["strong"],"text":"NN:"},{"_type":"span","marks":[],"text":" It’s also about the stories we choose to tell at this time, having the platform and the privilege to tell a family’s hidden stories. ‘Things that need to be revealed to society’ is a really big part of where The Conch is coming from right now. For myself, I want to have opportunities in key theatres in key parts of the country, which have been predominantly Pākehā in their patronage. I want to be able to have an opportunity to be in those spaces.","_key":"a02dbbc4aaa71"}],"_type":"block","style":"normal","_key":"a02dbbc4aaa7"},{"markDefs":[],"children":[{"marks":[],"text":"...there’s no Māori organisation that’s on the level of what our Pākehā symphonic or philharmonic or other major theatre companies are... I just think that’s unacceptable. As part of a treaty partnership.","_key":"36733c4504e50","_type":"span"}],"_type":"block","style":"blockquote","_key":"36733c4504e5"},{"markDefs":[],"children":[{"text":"ED:","_key":"a69a4e811c1d0","_type":"span","marks":["strong"]},{"_key":"a69a4e811c1d1","_type":"span","marks":[],"text":" It doesn’t feel like a true relationship though, if you’re there to tick one of their boxes."}],"_type":"block","style":"normal","_key":"a69a4e811c1d"},{"children":[{"text":"NN:","_key":"a5e8688f347f0","_type":"span","marks":["strong"]},{"_type":"span","marks":[],"text":" No, and so I suppose you work out how to navigate it if you do get an opportunity. Yes, in the beginning it might be that they were forced into it, but ultimately if you can get in there you still have your voice and your moment, and that’s the important thing. Because sometimes you can feel like you’re not entitled, or like we shouldn’t go there.","_key":"a5e8688f347f1"}],"_type":"block","style":"normal","_key":"a5e8688f347f","markDefs":[]},{"markDefs":[],"children":[{"marks":[],"text":"It can be so frustrating that you’re kind of trying to beg people to come in. Why am I putting myself in a situation where someone is telling me they’re not gonna have me? We are enough.","_key":"5ce9e9b921690","_type":"span"}],"_type":"block","style":"normal","_key":"5ce9e9b92169"},{"children":[{"_type":"span","marks":["strong"],"text":"ED:","_key":"a49f27352b0a0"},{"_type":"span","marks":[],"text":" I think about the future. How do we make sure that we are fed and sustained with what we need to survive for our families? That thing of making money is always going to be a question, no matter if you’re in the arts or whatever you do. Sustainability is something that can’t be ignored by any of the gatekeepers, and so what is it in our whole society that we need to shift?","_key":"a49f27352b0a1"}],"_type":"block","style":"normal","_key":"a49f27352b0a","markDefs":[]},{"markDefs":[],"children":[{"_type":"span","marks":[],"text":"In relation to the arts, I think it should be an easy solve because we are about communicating and collaborating. For the artists that do the mahi we know this, but there’s always the people who are administering all these resources who don’t seem to know this. Or maybe they do know this but they are stuck in a system that doesn’t allow them to share. I think Haukāinga is a place that proves that our system enables people.","_key":"8d6abceec8790"}],"_type":"block","style":"normal","_key":"8d6abceec879"},{"markDefs":[],"children":[{"_type":"span","marks":[],"text":"From left to right: Tanemāhuta Gray (just off-frame), Nancy Brunning and Erina Daniels. Image credit: Na'a Tau'alupe.","_key":"66c6081425d50"}],"_type":"block","style":"aside","_key":"66c6081425d5"},{"image":{"_type":"image","asset":{"_ref":"image-abbcb21687c1f44e13d44ecd4f23c7f9cb1c0768-1600x1067-jpg","_type":"reference"}},"_type":"articleImage","_key":"56a8fc4d623c"},{"_type":"block","style":"normal","_key":"0c6297b6d791","markDefs":[],"children":[{"_type":"span","marks":["strong"],"text":"TG:","_key":"0c6297b6d7910"},{"_type":"span","marks":[],"text":" It provides more for less, in a way.","_key":"0c6297b6d7911"}]},{"style":"normal","_key":"9a5e3d135fe7","markDefs":[],"children":[{"_type":"span","marks":["strong"],"text":"ED:","_key":"9a5e3d135fe70"},{"_type":"span","marks":[],"text":" Yeah the quality is there so things can happen faster.","_key":"9a5e3d135fe71"}],"_type":"block"},{"style":"normal","_key":"1fabaf7b6328","markDefs":[],"children":[{"_key":"1fabaf7b63280","_type":"span","marks":["strong"],"text":"NB:"},{"_type":"span","marks":[],"text":" How do you measure success in Māori terms? We’ve still got a Māori industry that a lot of people try and mimic, and they don’t know how we manage but we just do. So that’s a success on my terms – it’s growing confidence in people to tell stories.","_key":"1fabaf7b63281"}],"_type":"block"},{"_key":"8d34cd4e7d17","markDefs":[],"children":[{"_type":"span","marks":[],"text":"It’s getting to the point of being able to tell iwi-specific stories or hapū-specific stories. In the old days it was all generic, you were all Māori and you couldn’t be ","_key":"8d34cd4e7d170"},{"text":"too ","_key":"8d34cd4e7d171","_type":"span","marks":["em"]},{"_key":"8d34cd4e7d172","_type":"span","marks":[],"text":"specific because people didn’t know what dialect you were speaking. You couldn’t even speak Māori sometimes. So I guess that’s changed."}],"_type":"block","style":"normal"},{"markDefs":[],"children":[{"_type":"span","marks":[],"text":"I would love to be able to spend the time to just ask my designers, what does a Māori world look like post-settlement? I’ve never walked into a space where I’ve thought, “This is Te Ao Māori.” I’ve walked into a space and thought it’s interesting, or it feels like the ocean. But I’ve never ever gone in there going, “This is Te Ao Māori.” Those are the sorts of things that I’d like for our people to really start exploring as artists. Maybe we can’t because we’re all so colonised! Maybe we don’t know what that is anymore. But even having that conversation is really interesting.","_key":"64ace49457900"}],"_type":"block","style":"normal","_key":"64ace4945790"},{"markDefs":[],"children":[{"_type":"span","marks":[],"text":"Regionally as well, we’re all so different... There’s people there crying out for that safety, to feel held, to feel manaaki.","_key":"bc70f983a6ae0"}],"_type":"block","style":"blockquote","_key":"bc70f983a6ae"},{"style":"normal","_key":"f523bbf1091b","markDefs":[],"children":[{"_key":"f523bbf1091b0","_type":"span","marks":["strong"],"text":"TG:"},{"_type":"span","marks":[],"text":" Yeah that’s vital. How much has transformed and what are we happy with and what are we not, and what does it actually mean to sit where we sit in the landscape of our work?","_key":"f523bbf1091b1"}],"_type":"block"},{"_type":"block","style":"normal","_key":"3f693fcf0959","markDefs":[],"children":[{"_type":"span","marks":["strong"],"text":"HJK:","_key":"3f693fcf09590"},{"marks":[],"text":" It feels almost like you’ve got a chance to do something and you’ve gotta get it right and tick all these boxes, and if it doesn’t work you’re written off. It’s that attitude versus having the time and the space to experiment and develop work. Not just having that one chance.","_key":"3f693fcf09591","_type":"span"}]},{"children":[{"text":"We were talking the other day about the need for another Pūtahi Festival: having the space to develop works, and to have a go and feel like you don’t have to get it right the first time. What you thought it might look like, it might actually be something quite different. There are lots of voices and everyone needs their story told, but they’re not always gonna be in the same way. And regionally as well, we’re all so different.","_key":"4f7f4dd8d8830","_type":"span","marks":[]}],"_type":"block","style":"normal","_key":"4f7f4dd8d883","markDefs":[]},{"_type":"block","style":"normal","_key":"4873919c56f0","markDefs":[],"children":[{"_key":"4873919c56f00","_type":"span","marks":[],"text":"I work a lot in Ōtepoti, and hearing what Māori theatre makers need there is very different to what you’ll hear here or in Tāmaki."}]},{"children":[{"text":"Nancy Brunning. Image credit: Na'a Tau'alupe.","_key":"ef003b7fe4660","_type":"span","marks":[]}],"_type":"block","style":"aside","_key":"ef003b7fe466","markDefs":[]},{"_type":"articleImage","_key":"eb6bb648c5b9","image":{"asset":{"_ref":"image-e4d7774e4c0a3d8234b25b624da54cdaaa6787cf-1067x1600-jpg","_type":"reference"},"_type":"image"}},{"markDefs":[],"children":[{"text":"KK: What do they need?","_key":"6788920bc85c0","_type":"span","marks":["strong","em"]}],"_type":"block","style":"normal","_key":"6788920bc85c"},{"_key":"4d8bdb3b006b","markDefs":[],"children":[{"marks":["strong"],"text":"HJK:","_key":"4d8bdb3b006b0","_type":"span"},{"text":" Connection. Connection with their language, with tikanga. There’s not a lot of it. I think of what you said earlier about mihi and process. It’s intrinsic to us here in Wellington, and down there you’ll often go into a space that feels unsafe, actually. There’s people there crying out for that safety, to feel held, to feel manaaki. Basically just to feel safe, and that’s not intrinsic to everyone to understand. I think acknowledging that Māori aren’t all the same! It’s not a homogenous group of people. Our stories need to be told in different ways and we need to have the ability to explore and to play and develop, and to not get it right the first time and to not have it a particular way.","_key":"4d8bdb3b006b1","_type":"span","marks":[]}],"_type":"block","style":"normal"},{"_type":"block","style":"normal","_key":"5cbd0d2e3710","markDefs":[],"children":[{"_type":"span","marks":["strong"],"text":"NN:","_key":"5cbd0d2e37100"},{"_key":"5cbd0d2e37101","_type":"span","marks":[],"text":" And that is resources. That is resources. To be able to go in a room and play around and it not having to have an outcome. Just that space…It’s a resourcing issue because you need that money. You get used to being like, a little bit of change here, little bit of change there, and that’s part of the brilliance of everybody because we are so resourceful. We work out how to do it."}]},{"style":"normal","_key":"05e3b1d44c97","markDefs":[],"children":[{"_key":"05e3b1d44c970","_type":"span","marks":["strong"],"text":"NB:"},{"_type":"span","marks":[],"text":" The thing that happens all the time is like, now’s the time! We’re gonna give you money, you can be as Māori as you wanna be and no one’s gonna criticise you, and everyone’s gonna support you. Then ","_key":"05e3b1d44c971"},{"_type":"span","marks":["em"],"text":"slam ","_key":"05e3b1d44c972"},{"_type":"span","marks":[],"text":"– the door shuts and they say, “Sorry, we haven’t got any more funding.” I’ve seen it happen three times in my life.","_key":"05e3b1d44c973"}],"_type":"block"},{"style":"blockquote","_key":"be3e69f5cf07","markDefs":[],"children":[{"_type":"span","marks":[],"text":"...what does a Māori world look like post-settlement? I’ve never walked into a space where I’ve thought, “This is Te Ao Māori.\"","_key":"be3e69f5cf070"}],"_type":"block"},{"markDefs":[],"children":[{"text":"Around 1994 things were really heating up for us, then in 1997 that all turned to shit. Around 1999, more people were coming through and our Māori and Pasifika industry picked up again. Then I think it was around 2003 that Creative New Zealand introduced that KPI for collaborative funding I mentioned earlier. That was intended to get Māori and the mainstream working together, but it took funding out of Māori hands. Funding was influenced by the politics of the time, and Don Brash really turned people against anything Māori. Then because of the financial crash, everything was shit from 2007 to around 2013. Lots of independents didn’t really get funded, it was all mainstream.","_key":"ba2f7f102aa20","_type":"span","marks":[]}],"_type":"block","style":"normal","_key":"ba2f7f102aa2"},{"children":[{"_type":"span","marks":["strong"],"text":"ED:","_key":"9c2f2157aae10"},{"_type":"span","marks":[],"text":" We need champions everywhere because I feel like, with our art form, that’s what we have to put out into the world: the stories of the people who don’t necessarily have their story told, so that the general public feel that there is a champion for them. I like that idea that we need champions everywhere.","_key":"9c2f2157aae11"}],"_type":"block","style":"normal","_key":"9c2f2157aae1","markDefs":[]},{"markDefs":[],"children":[{"_type":"span","marks":["strong"],"text":"NB:","_key":"6222f703b2090"},{"_type":"span","marks":[],"text":" When we grew up there were no Māori visible. Everyone was trying really hard to be as little Māori as they could in order to survive. You had to get on stage and you had to have a lovely voice, you know; you don’t talk like a Māori. I was constantly being told to open my mouth because no one could understand me...that probably hasn’t changed.","_key":"6222f703b2091"},{"_type":"span","marks":["em"],"text":" [Laughs.]","_key":"6222f703b2092"}],"_type":"block","style":"normal","_key":"6222f703b209"},{"markDefs":[],"children":[{"_type":"span","marks":[],"text":"Tanemāhuta Gray and Kahu Kutia. Image credit: Na'a Tau'alupe.","_key":"5239e9ab46150"}],"_type":"block","style":"aside","_key":"5239e9ab4615"},{"image":{"_type":"image","asset":{"_type":"reference","_ref":"image-2e401b2dfb457715eefdcb426bce3b98c4a07193-1067x1600-jpg"}},"_type":"articleImage","_key":"0b31168b631e"},{"markDefs":[],"children":[{"_type":"span","marks":["strong","em"],"text":"KK: Has the appetite for theatre changed in Wellington? Is it stronger or weaker? Have people’s tastes changed?","_key":"ded2dafc3d930"}],"_type":"block","style":"normal","_key":"ded2dafc3d93"},{"children":[{"_type":"span","marks":["strong"],"text":"NB:","_key":"486a155090b90"},{"_type":"span","marks":[],"text":" With Kia Mau Festival, people do still come for the theatre.","_key":"486a155090b91"}],"_type":"block","style":"normal","_key":"486a155090b9","markDefs":[]},{"_key":"91c749698c17","markDefs":[],"children":[{"_type":"span","marks":["strong"],"text":"TG:","_key":"91c749698c170"},{"_key":"91c749698c171","_type":"span","marks":[],"text":" Yeah, Wellington is still active. In Wellington we don’t struggle. It’s the regions where we’re really challenged to get people to come and take that risk. That’s my worry."}],"_type":"block","style":"normal"},{"children":[{"_type":"span","marks":["strong"],"text":"NN:","_key":"c09d017a2b3c0"},{"_type":"span","marks":[],"text":" I think that in Wellington we are very lucky because we are a hub! I think that we’re not, “Oh, I can’t be bothered because I’m too far out.” Wellington has a buzz and when there is stuff happening we’re actually very strong as a city. I think the barriers that are in place are something to do with the mathematics and figuring out how theatres work. But like Kia Mau Festival, when stuff comes into town there is a buzz. Because people want it, they do want it!","_key":"c09d017a2b3c1"}],"_type":"block","style":"normal","_key":"c09d017a2b3c","markDefs":[]},{"markDefs":[],"children":[{"_type":"span","marks":[],"text":"Nina Nawalowalo and Helena-Jane Kilkelly. Image credit: Na'a Tau'alupe.","_key":"21b495b89b4a0"}],"_type":"block","style":"aside","_key":"21b495b89b4a"},{"_type":"articleImage","_key":"72adb8ea5944","image":{"_type":"image","asset":{"_ref":"image-d443c7208e2669841599f2f8b19288cbcb75f028-1067x1600-jpg","_type":"reference"}}},{"_type":"block","style":"normal","_key":"1e642bcdf12e","markDefs":[],"children":[{"_key":"1e642bcdf12e0","_type":"span","marks":["strong","em"],"text":"KK: Does anyone have any final reflections?"}]},{"markDefs":[],"children":[{"_type":"span","marks":["strong"],"text":"NB:","_key":"e072d74eede30"},{"marks":[],"text":" I think working in a space like Haukāinga you have to get to a stage where you know yourself in order to work as part of a collective. If you don’t, then go and do your thing and suss it out. Go figure out what you’re gonna make and who you wanna be.","_key":"e072d74eede31","_type":"span"}],"_type":"block","style":"normal","_key":"e072d74eede3"},{"_key":"26a551291920","markDefs":[],"children":[{"_type":"span","marks":[],"text":"In my career there’s always been the opportunity to come back…You can make a massive balls-up and go away, but there’s always the opportunity to come back. There has to be if you’re a true whānau. You’ll be allowed to come home, just got to sort your shit out.","_key":"26a5512919200"}],"_type":"block","style":"normal"},{"style":"blockquote","_key":"3704e3b59c5e","markDefs":[],"children":[{"_type":"span","marks":[],"text":"You can be depressed, you can not know what the fuck to do, but you can come in here and have a cup of tea. You know?","_key":"3704e3b59c5e0"}],"_type":"block"},{"_key":"a386d8337a3e","markDefs":[],"children":[{"_type":"span","marks":["strong"],"text":"NN:","_key":"a386d8337a3e0"},{"text":" It is a very exciting time, ultimately. With all the different struggles and all the different things we think may never be enough. I think we feel we are all pushing boundaries. Life is not easy and falling down is all part of the journey. There’s nothing wrong with that.","_key":"a386d8337a3e1","_type":"span","marks":[]}],"_type":"block","style":"normal"},{"style":"normal","_key":"80e1fc540738","markDefs":[],"children":[{"marks":[],"text":"I suppose the main thing collectively is allowing people to be. You can be depressed, you can not know what the fuck to do, but you can come in here and have a cup of tea. You know? That is the thing that we have to continue to allow because it’s exciting times that we are all privileged to be in.","_key":"80e1fc5407380","_type":"span"}],"_type":"block"},{"children":[{"_type":"span","marks":["strong"],"text":"HJK:","_key":"2d1c3e59d8220"},{"_type":"span","marks":[],"text":" It is a privilege.","_key":"2d1c3e59d8221"}],"_type":"block","style":"normal","_key":"2d1c3e59d822","markDefs":[]},{"markDefs":[],"_type":"articleBreak","style":"normal","_key":"67db70ccc725"},{"style":"normal","_key":"b8304638fe70","markDefs":[],"children":[{"_type":"span","marks":["em"],"text":"Header image: Nina Nawalowalo, Helena-Jane Kilkelly, Nancy Brunning and Erina Daniels. Image credit: Na'a Tau'alupe.","_key":"b8304638fe700"}],"_type":"block"},{"style":"normal","_key":"704906e56408","markDefs":[],"_type":"articleBreak"},{"children":[{"_type":"span","marks":[],"text":"This piece is presented with support from","_key":"1da3ad1f1dcd0"}],"_type":"block","style":"normal","_key":"1da3ad1f1dcd","markDefs":[]},{"mode":"central","image":{"_type":"image","asset":{"_ref":"image-dc35af2beed209fcd6c5aca615a00d39b31c193f-1842x732-png","_type":"reference"}},"_type":"articleImage","_key":"8cb0b0357b6b"}],"_key":"row-1329","_type":"articleLegacy"}],"categories":[{"_id":"category-16","_type":"category","name":"Performance","handle":{"current":"performance"}}],"excerpt":[{"children":[{"_type":"span","marks":[],"text":"The artists of Te Haukāinga on holding the history and building the future of Māori and Pacific Theatre in Pōneke","_key":"0002"}],"_type":"block","style":"normal","_key":"0001","markDefs":[]}],"tags":[]},{"_type":"article","tags":["kia mau festival"],"_id":"article-1805","image":{"_key":"f515945c27c3","asset":{"_weak":true,"_ref":"image-61da27bbb022d05ac703ce580aff0f6508c35318-2000x1333-jpg","_type":"reference"},"railsData":{"metadata":{"height":3456,"filename":null,"size":2254708,"mime_type":"image/jpeg","width":5184},"id":"image/8763/attachment/16bf7b328d9e813d6fbf9a250d1fbc38","storage":"store"},"_type":"image","alt":null},"name":"Te Kauhanganui o Ngā Ao","_createdAt":"2022-09-08T01:53:10Z","videoUrl":"","categories":[{"_id":"category-16","_type":"category","name":"Performance","handle":{"current":"performance"}}],"_updatedAt":"2023-04-22T09:21:48Z","publishedAt":"2021-07-05T06:10:00.000Z","readTime":"12 mins","content":[{"_type":"articleText","description":[{"markDefs":[],"children":[{"_type":"span","marks":[],"text":"Ko te whare wānanga te horopaki i nōhia ai te kura mō ngā mokopuna a ngā atua Māori i te whakaari o Te Rongomaiwhiti. Nā reira, e tika ana kia mihia, otirā, kia wānangahia ngā pou o taua whare wānanga kia kitea ai ngā kōrero i whakairia e te hunga o Te Rongomaiwhiti ki ngā pātū o te whare whakaari o BATS, tōna kotahi wiki ki muri.","_key":"89a80b1baff50"}],"_type":"block","style":"normal","_key":"89a80b1baff5"}],"_key":"row-5236"},{"_type":"articleLongquote","description":[{"_key":"1e23e2827e7c","markDefs":[],"children":[{"_type":"span","marks":["em"],"text":"Pou hihiri","_key":"1e23e2827e7c0"}],"_type":"block","style":"normal"},{"_type":"block","style":"normal","_key":"ac6e24170780","markDefs":[],"children":[{"_type":"span","marks":["em"],"text":"Pou rarama","_key":"ac6e241707800"}]},{"_key":"e5d6aeb11650","markDefs":[],"children":[{"_type":"span","marks":["em"],"text":"Tēnei te pou","_key":"e5d6aeb116500"}],"_type":"block","style":"normal"},{"children":[{"_key":"6deb5b760c5c0","_type":"span","marks":["em"],"text":"He pou atua"}],"_type":"block","style":"normal","_key":"6deb5b760c5c","markDefs":[]},{"children":[{"_type":"span","marks":["em"],"text":"He pou taketake ki a au","_key":"1adab2977bca0"}],"_type":"block","style":"normal","_key":"1adab2977bca","markDefs":[]},{"_key":"771622a82987","markDefs":[],"children":[{"_type":"span","marks":["em"],"text":"Kia hui ai te ora","_key":"771622a829870"}],"_type":"block","style":"normal"},{"markDefs":[],"children":[{"_type":"span","marks":["em"],"text":"Kia whiti ai te mārama","_key":"fc3eef9299d80"}],"_type":"block","style":"normal","_key":"fc3eef9299d8"}],"_key":"row-5237"},{"_key":"row-5238","_type":"articleText","description":[{"_key":"ee03a6129146","markDefs":[],"children":[{"_type":"span","marks":[],"text":"Ka tākina e au te kupu whakamiha ki te manawa o te whare nei, ki te tāhuhu rānei o Te Rongomaiwhiti, mōna i whakakōrero i te ao o te Māori ki tā te Māori titiro. Mōna i whai kia whakapūrangiaho ai i tā te Māori kawe i a ia, i tā te Māori whakahāngai hoki i ngā mahi a ngā atua ki ngā mahi a te tangata. Me te aha, nā te manawa o te kaupapa nei i whakahuihui ai te rahi kia whai māramatanga ai rātou ki ngā reka o te ao Māori. Kai aku manu whititua nō te pōkai o Te Rongomaiwhiti, nei te ngākau ka mihi ki tō māia ki te whakatū i tēnei kaupapa hai kai mā te tangata. Kāti, kāore i kō atu i tēnei hai tīmatanga kōrero.","_key":"ee03a61291460"}],"_type":"block","style":"normal"}]},{"_type":"articleLongquote","description":[{"_type":"block","style":"normal","_key":"fb29702734b9","markDefs":[],"children":[{"_type":"span","marks":["em"],"text":"Tēnei te pou","_key":"fb29702734b90"}]},{"_type":"block","style":"normal","_key":"3beb6dc7a572","markDefs":[],"children":[{"_type":"span","marks":["em"],"text":"te pou o tai whakarongo wānanga","_key":"3beb6dc7a5720"}]},{"_type":"block","style":"normal","_key":"e83b6397fdab","markDefs":[],"children":[{"_type":"span","marks":["em"],"text":"Ko te pou tū-a-rongo","_key":"e83b6397fdab0"}]},{"_key":"bbc2aaee311a","markDefs":[],"children":[{"_type":"span","marks":["em"],"text":"Ka tō ake nei me he tatau","_key":"bbc2aaee311a0"}],"_type":"block","style":"normal"},{"_key":"1c04202b9691","markDefs":[],"children":[{"marks":["em"],"text":"ki Te Toi-o-ngā-rangi","_key":"1c04202b96910","_type":"span"}],"_type":"block","style":"normal"}],"_key":"row-5239"},{"_type":"articleText","description":[{"style":"normal","_key":"0fca43345d6f","markDefs":[],"children":[{"_type":"span","marks":[],"text":"Ka tākina ngā kupu whakaohoooho o runga kia huaina ai te pou tū-a-rongo o Te Rongomaiwhiti hai kōrero māku i tēnei wā. Ko te pou tēnei ka pupuri i ngā reka o te ao Māori i kōrerohia ai i mua rā i te whakaari o Te Rongomaiwhiti. Ko te reo Māori tēnā, ko te kapa haka tēnā, ko ngā mahi a rēhia tēnā, ko te raranga whakaaro tēnā, ko ngā tikanga Māori anō hoki tēnā. Ka noho ko ēnei nuka nō te whakaari ki te pou tū-a-rongo nā te mea, koinei te wāhi o te whare ka nōhia e te tohunga. Nā, mārakerake te kitea, te rāngona anō hoki, kua waia tēnei hunga ki ēnei nuka o te ao Māori. Ka mutu, koinei ētahi āhua matua a te Māori ki te whakakōrero i āna kōrero. Nā reira, kia paku wherawhera i ngā whakaironga o tēnei pou. Ka tīmata atu ki te reo Māori.","_key":"0fca43345d6f0"}],"_type":"block"}],"_key":"row-5240"},{"_type":"articleShortquote","description":[{"_type":"block","style":"normal","_key":"51ebfdccf653","markDefs":[],"children":[{"text":"I noho ko te reo Māori hai whakamīharotanga mā te katoa i tae atu ki Te Rongomaiwhiti","_key":"51ebfdccf6530","_type":"span","marks":[]}]}],"_key":"row-5250"},{"description":[{"_key":"9925d7dd25c6","markDefs":[],"children":[{"marks":[],"text":"I noho ko te reo Māori hai whakamīharotanga mā te katoa i tae atu ki Te Rongomaiwhiti. I pēnei ai nā te kounga, nā te rangatira hoki o te takoto a te kupu. Mēnā he taringa pīkari te tangata ki te takoto o te kupu Māori, ka rongo ia i ngā kupu ngahau, i ngā kupu whakatoi rānei a tēnā, a tēnā, he rite tonu te rongo atu ki ērā i ngā kāuta o te marae. Mēnā he taringa hou pea te tangata ki te reo Māori, ka pōhēhē ia ko te reo i kawea e ngā kaiwhakaari, he reo ōkawa anake. Engari, koinei te koi o te ringatuhi nāna te whakaari i tuhi. Nā te mea, ahakoa he kōrero atua, he kōrero nā ngā atua te mahi, i rongo i ngā wā e tika ana kia ōkawa mai ai te reo. I rongo anō hoki i ngā wā e whakaaetia ana kia ōpaki ai te reo. Nā, i te mutunga iho, koinei te whakatinanatanga o te whakaaro Māori, arā, kia whai i te kauhanganui i roto i ngā mahi katoa a te Māori.","_key":"9925d7dd25c60","_type":"span"}],"_type":"block","style":"normal"},{"children":[{"_type":"span","marks":[],"text":"Nā reira, e kore e mutu ngā mihi ki te kaupapa nei i whakarangatira i te reo Māori, i whai hoki kia noho mātaamua ia nō te ōrokohanga mai o te whaaari tae noa atu ki tana whakaaturanga ki te marea. Engari, kotahi noa iho pea taku kupu whakatenatena ki ngā kaiwhakaari o Te Rongomaiwhiti; arā, e mārama ai te rere o te whakaaro, me tika hoki te whakahua i te kupu kōrero. I ētahi wā, i raru te whakahua o te kupu. He hua noa iho pea o te wana, o te āmaimai i rangona e ngā kaiwhakaari. Heoi anō, ehara i te kupu whakatakē tēnei - nā te mea, kua kino kē atu te whakahua a ētahi atu kaiwhakaari, i kaupapa kē atu anō hoki - he kupu āwhina noa iho tēnei.","_key":"ed9fd79ba0b50"}],"_type":"block","style":"normal","_key":"ed9fd79ba0b5","markDefs":[]},{"_key":"53b7cc4ef174","markDefs":[],"children":[{"_key":"53b7cc4ef1740","_type":"span","marks":[],"text":"Nā, ka tahuri atu ki ngā unaunahi a Hine Rēhia, a Tānerore. Kāti, kāre i kō atu, kāre i kō mai te hunga o Te Rongomaiwhiti ki te whakatinana i ēnei nuka whakakōrero i ā tātou kōrero. Eaoia ko te whakamīharotanga o ngā mahi nei, ko tā te hunga whakakōrero i te tītī tōrea, i te tī rākau, i te rākau, i te poi, kia kite atu ai i te hirahiratanga o te ao kapa haka ki a tātou te Māori. Tēnā koutou, e ngā ihi, e ngā wehi, e ngā whakamataku o Te Rongomaiwhiti i kawea atu ā tātou mahi ki tua rā anō o kapenga."}],"_type":"block","style":"normal"}],"_key":"row-5251","_type":"articleText"},{"description":[{"_type":"block","style":"normal","_key":"1a4eeb623e24","markDefs":[],"children":[{"_type":"span","marks":["em"],"text":"Tēnei te pou","_key":"1a4eeb623e240"}]},{"_key":"840b30754c5e","markDefs":[],"children":[{"marks":["em"],"text":"te pou o tai whakarongo whenua","_key":"840b30754c5e0","_type":"span"}],"_type":"block","style":"normal"},{"children":[{"marks":["em"],"text":"ko te pou tokomanawa","_key":"6a32ac2f28160","_type":"span"}],"_type":"block","style":"normal","_key":"6a32ac2f2816","markDefs":[]},{"style":"normal","_key":"e0542d4b3387","markDefs":[],"children":[{"_key":"e0542d4b33870","_type":"span","marks":["em"],"text":"Ka tō ake nei me he mataaho"}],"_type":"block"},{"markDefs":[],"children":[{"_type":"span","marks":["em"],"text":"ki te toi o te whenua","_key":"2f400363c0d50"}],"_type":"block","style":"normal","_key":"2f400363c0d5"}],"_key":"row-5241","_type":"articleLongquote"},{"_type":"articleText","description":[{"style":"normal","_key":"0009162c6ff2","markDefs":[],"children":[{"_type":"span","marks":[],"text":"Ka tākina anō he kupu whakaihiihi kia huaina ai te pou tokomanawa o Te Rongomaiwhiti hai wānanga māku i tēnei wā. Ko te pou tēnei ka pupuri i ngā mīharotanga nō te ao whakaari o nāianei me tana hāngai ki te whakaari o Te Rongomaiwhiti. Ko te mahi whakaari tēnā, ko te pae whakaari tēnā, ko te whahoahoa rama tēnā, ko te whakahoahoa oro puoro hoki tēnā, otirā ko ngā nuka katoa nō te ao whakaari o nāianei.","_key":"0009162c6ff20"}],"_type":"block"},{"_key":"49d2641c5897","markDefs":[],"children":[{"_key":"49d2641c58970","_type":"span","marks":[],"text":"E tika ana kia mihi ki te tokowhā i whakatinana i ngā kiripuaki matua, arā, ko Nehenehe Nui, ko Marangai, ko Tamangarengare, ko Rongotaketake anō hoki. I a rātou te matū o ngā mahi whakaari kia whakaatu ai te ia o te kōrero. Ka hoki ngā mahara ki ngā wāhine i te noho i muri i a au me te nui o tō rātou whakamīharo ki te hanga hako nei a Tamangarengare. Me te aha, kāore a Tamangarengare i paku mataku ki te whakapoapoa tonu i taua hunga wahine rā - otirā, i ngā wāhine katoa. Ki konei, mihi atu ai ki te rangatira o āna mahi. Heoi anō, mōku ake, ko Nehenehe Nui te kiriwhakaari i titia ki te ngākau. He hanga Māori te āhua o tana kawe i a ia, kāore ia i whakameremere i a ia anō, kāore hoki ia i whakamōmona i te āhua o tana kōrero, i te āhua hoki o tana tū. I tino kite ahau i te momo pēnei i ōku tungāne, i ōku karanga tungāne, i ngā rangatahi tāne Māori hoki i te āhua o tā Nehenehe Nui kawe i a ia anō. Nā reira, kai te uri o Tāne, nei au ka tuohu, ka whakanui i a koe i te tōtōtanga mai o tō tāua ahurea pono ki roto i ēnei mahi."}],"_type":"block","style":"normal"}],"_key":"row-5242"},{"_type":"articleShortquote","description":[{"style":"normal","_key":"e2312d0abba3","markDefs":[],"children":[{"_type":"span","marks":[],"text":"Engari, mā ēnei momo nuka o te ao whakaari e eke ai te whakaari ki taumata kē","_key":"e2312d0abba30"}],"_type":"block"}],"_key":"row-5253"},{"_key":"row-5252","_type":"articleText","description":[{"_key":"55db0c7381f1","markDefs":[],"children":[{"_type":"span","marks":[],"text":"Nā, i tua atu i ngā rākau Māori, kāore he pae whakaari. He rite anō te āhua ki te whakamahinga o ngā rama. Mō te āhua ki ngā whakaritenga oro, i waiho mā te waiata Māori, mā te haka rānei te nuinga o ngā whakahoahoa oro e kapi. Nā reira, ko te hanga o te atamira he rite ki ngā atamira e tū ai te kapa haka, heoi anō, mā te aha i tēnā. Ko ngā kākahu o ngā kiriwhakaari i hāngai ki te ia o te whakaari, arā, he kākahu kura. Nā, kia kī noa iho au i konei, ehara i te mea me whai pae whakaari, me whai kaihoahoa rama whakaari, me whai whakaaro nui ki ngā whakahoahoa oro, ki ngā kākahu rānei, e kounga ai tētahi whakaari. Kāo. Engari, mā ēnei momo nuka o te ao whakaari e eke ai te whakaari ki taumata kē. Pēnei i tā te Māori mahi i te ao kapa haka. Ka whakaniko i āna kupu ki te rangi, i āna rangi ki te mahi ā-ringa, i ngā mahi ā-ringa ki te ihi, ki te wehi, ki te wana. Kāore tēnā tukanga i te rerekē ki te ao whakaari. Mā te āpiti atu i ngā reka katoa o te ao e kite atu tōna ātaahua, tōna tino pitomata rānei. Heoi, he whakapae nōku, he whakaari pea a Te Rongomaiwhiti ka whakatūria e tōna tira ki ngā atamira huri noa i te motu, ka pēnei ai tā rātou whakaaro kia kaua e tino aro ki ēnei nuka nō te ao whakaari.","_key":"55db0c7381f10"}],"_type":"block","style":"normal"},{"children":[{"text":"Heoi anō, kai kīia he whakawā noa iho taku mahi, kārekau. He nui te pitomata kua whakaaturia mai e tēnei whakaari, otirā e te hunga o Te Rongomaiwhiti. Nā reira ko tāku kē he hoatu he kongakonga whakaaro kia tautoko noa iho i te kaupapa, otirā i ā rātou mahi. Tērā pea, kai te hē katoa ahau, ā, kai te pai noa iho tēnā. Ko tā te Māori mahi, he kōrero hāngai mō te tūpono ka kitea he ara e kitea ai te pitomata o tētahi tangata, o tētahi kaupapa kia puta atu ai ia ki te whai ao, ki te ao mārama.","_key":"819bd6b8e78b0","_type":"span","marks":[]}],"_type":"block","style":"normal","_key":"819bd6b8e78b","markDefs":[]}]},{"_type":"articleLongquote","description":[{"children":[{"_type":"span","marks":["em"],"text":"Tēnei te pou","_key":"badce4f581a80"}],"_type":"block","style":"normal","_key":"badce4f581a8","markDefs":[]},{"markDefs":[],"children":[{"_key":"fcf10b7afbbb0","_type":"span","marks":["em"],"text":"te pou o tai whakarongo tangata"}],"_type":"block","style":"normal","_key":"fcf10b7afbbb"},{"_type":"block","style":"normal","_key":"a7752fb11184","markDefs":[],"children":[{"_key":"a7752fb111840","_type":"span","marks":["em"],"text":"Ka tō ake nei me he ara"}]},{"children":[{"marks":["em"],"text":"ki te toi o te tangata","_key":"52a414cca8150","_type":"span"}],"_type":"block","style":"normal","_key":"52a414cca815","markDefs":[]}],"_key":"row-5243"},{"_type":"articleText","description":[{"children":[{"_key":"2a21189df8ec0","_type":"span","marks":[],"text":"Ka tākina i konei te kupu whakahihiri i te ngākau tangata kia huaina ai te pou tāhū o Te Rongomaiwhiti hai wherawhera māku i tēnei wā. Ko te pou tēnei e whakaatu atu ana i te whenumitanga o te ao whakaari ki te ao Māori me tana hāngai anō ki Te Rongomaiwhiti. E hika, kāore i ārikarika ngā mihi ki te hunga nei i whakapau kaha ki te whakaatu atu i te āheinga o te ao whakaari ki te noho i te ao Māori. Koinei tētahi o ngā painga matua o te whakaari nei ki a au. Nā te mea, kāore i whakamōreareatia te ao Māori kia noho mātaamua ai ko te ao whakaari ki tā te Pākehā titiro. Me te aha, kai te mārama kehokeho ahau ki te uaua o te whai kia kaua e pokea tētahi kaupapa Māori e te ao Pākehā."}],"_type":"block","style":"normal","_key":"2a21189df8ec","markDefs":[]},{"style":"normal","_key":"1318628e14c7","markDefs":[],"children":[{"_type":"span","marks":[],"text":"Heoi anō, mēnā ka whai te tangata kia kitea ai te kauhanganui o ēnei ao e rua, ka kitea he ao hou. Nā, e kitea ana e Te Rongomaiwhiti taua ao hou. Kāore anō kia tomokia taua ao, engari, kāore e roa ka turakina e Te Rongomaiwhiti taua tatau rā kia pokea ai taua ao. Ko tētahi kupu āwhina a tōku matua kēkē ki a au i taku whai kia pokea te ao whakaari ki te ao Māori ko tēnei: \"Kaua e mataku, kāore o tīpuna i mataku.\" Ko te ia o te kōrero nei e mea ana, me kaua te tangata e mataku ki te toro atu ki ngā mea kāore anō ia kia rongo, kia pā. Mā konā anake koe e mōhio, e mārama, e wheako i tōna painga, i tōna kino rānei. Engari, he māramatanga ka hua i ngā wā katoa. Nā reira, kai aku kauwaka o Te Rongomaiwhiti, whāia tonutia taua ara kia puta atu anō ai te ao Māori ki te whai ao, ki te ao mārama. Mā konā anō ka hui te mārama, ka hui te ora, hui e, tāiki e!","_key":"1318628e14c70"}],"_type":"block"}],"_key":"row-5244"},{"_type":"articleText","description":null,"_key":"row-5254"},{"mode":"default","_type":"articleRule","_key":"row-5245"},{"description":[{"markDefs":[],"children":[{"_type":"span","marks":[],"text":".","_key":"e9a417a39a650"}],"_type":"block","style":"normal","_key":"e9a417a39a65"}],"_key":"row-5247","mode":"central","image":{"alt":null,"_key":"f0053ceee7dc","asset":{"_type":"reference","_weak":true,"_ref":"image-ca7169606772d59479b25f06f252c6342c961387-1000x500-jpg"},"railsData":{"metadata":{"filename":null,"size":29024,"mime_type":"image/jpeg","width":1000,"height":500},"id":"image/8764/attachment/16083793d3f5dccb36c4789acb8a99ca","storage":"store"},"_type":"image"},"_type":"articleImage"},{"_type":"articleText","description":[{"_type":"block","style":"normal","_key":"e477dd26423c","markDefs":[],"children":[{"text":"This piece is presented as part of a partnership with Kia Mau Festival. 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","title":"Te Kauhanganui o Ngā Ao"},"handle":{"current":"te-kauhanganui-o-nga-ao"},"authors":[{"_weak":true,"_ref":"author-587","_type":"author","_key":"587"}]},{"_updatedAt":"2023-08-16T00:07:53Z","_rev":"rzB7ZZwXvpWyqJAaDYXMn1","readTime":"14 mins","videoUrl":"","_createdAt":"2022-09-08T02:33:02Z","articles":[{"_weak":true,"_ref":"article-1175","_type":"article","_key":"9f73727eea5f"},{"_key":"0fa2eaf97fd4","_weak":true,"_ref":"0235a90d-f19f-4058-a55e-38f2d704196b","_type":"article"},{"_weak":true,"_ref":"99abac04-eeaa-489a-8083-55b6705c9404","_type":"article","_key":"a591791b6c08"}],"categories":[{"_id":"category-16","_type":"category","name":"Performance","handle":{"current":"performance"}},{"_id":"category-12","_type":"category","name":"Reviews","handle":{"current":"reviews"}}],"excerpt":[{"markDefs":[],"children":[{"text":"Adam Goodall reviews the centrepiece of this year's Kia Mau Festival, Mīria George's darkly funny satire The Vultures.","_key":"0002","_type":"span","marks":[]}],"_type":"block","style":"normal","_key":"0001"}],"name":"Review: The Vultures","isFeatured":true,"viewCount":5816,"tags":["kiamaufestival"],"authors":[{"_key":"95","_weak":true,"_ref":"author-95","_type":"author"}],"_type":"article","publishedAt":"2016-06-12T23:00:00.000Z","image":{"railsData":{"metadata":{"mime_type":"image/jpeg","width":521,"height":790,"filename":"The_Vultures_-_poser_image.jpg","size":533917},"id":"image/1092/attachment/395abc69a6605a06fef15eecfcabad75.jpg","storage":"store"},"_type":"image","alt":null,"_key":"f9de0fe79c30","asset":{"_ref":"image-733696c10af039ef341895010458627fb2a55a16-1419x800-jpg","_type":"reference"}},"content":[{"_type":"articleLegacy","description":[{"style":"normal","_key":"4752705e0ac6","markDefs":[],"children":[{"_type":"span","marks":["strong"],"text":"Adam Goodall reviews the centrepiece of this year's Kia Mau Festival, Miria George's darkly funny satire The Vultures.","_key":"4752705e0ac60"}],"_type":"block"},{"markDefs":[],"children":[{"text":"The Vultures ","_key":"3e05208b50470","_type":"span","marks":["em"]},{"_type":"span","marks":[],"text":"is covered in thorns: barbs sharp enough to draw blood, designed to be buried in the heads and hearts of the Pākehā powers-that-be and the conservative Māori that give them their ‘credibility’. With her fifth play, Miria George takes this establishment to task for maintaining a society that has at every level built Pākehā up at the expense of Māori. Our financial system, our judiciary, our government, the Treaty itself: all come under fire for the role they play in sustaining this inequality.","_key":"3e05208b50471"}],"_type":"block","style":"normal","_key":"3e05208b5047"},{"style":"normal","_key":"68ca2698f281","markDefs":[],"children":[{"_type":"span","marks":[],"text":"One of the sharpest thorns is one you might not even notice the first time around. Toward the end, Champion Gymnast Te Rāwhitiroa (the charming and nimble Tola Newbury) takes a seat under the towering set so he can read a book in peace. Two scenes pass before he’s disturbed by his cousin Kiwi banging down the door. What he’s reading, though, is far from incidental detail; it’s Ranginui Walker’s notably incisive and critical history of New Zealand, ","_key":"68ca2698f2810"},{"_type":"span","marks":["em"],"text":"Ka Whawhai Tonu Matou - Struggle Without End.","_key":"68ca2698f2811"}],"_type":"block"},{"style":"normal","_key":"0c063d4f3e8b","markDefs":[],"children":[{"_type":"span","marks":[],"text":"No-one draws any attention to this, not that their silence is a surprise. Of the five characters in ","_key":"0c063d4f3e8b0"},{"_type":"span","marks":["em"],"text":"The Vultures","_key":"0c063d4f3e8b1"},{"_type":"span","marks":[],"text":", three - Sister Nurse Hinemoa, Magazine Magnate Atawhai and Prodigious Businessman Petara - are far more preoccupied with the dying family farm. The land’s tired, the water’s toxic and the whole thing’s locked inside a trust, only accessible if all three siblings consent. But where Hinemoa sees her hapū and all its connections to this whenua, Atawhai and Petara see stone-cold profit: if they can get the farm out of the trust, they can leverage its value for the purchase and development of two adjacent properties. First, though, they need reluctant Hinemoa’s signature - assuming the younger generation doesn’t get in the way.","_key":"0c063d4f3e8b2"}],"_type":"block"},{"markDefs":[],"children":[{"marks":[],"text":"The mechanics of this ","_key":"4840303f74fe0","_type":"span"},{"_type":"span","marks":["em"],"text":"Chinatown","_key":"4840303f74fe1"},{"_type":"span","marks":[],"text":"-style intrigue are never especially clear, but they’re not especially important, either. At its most basic level, ","_key":"4840303f74fe2"},{"_key":"4840303f74fe3","_type":"span","marks":["em"],"text":"The Vultures "},{"marks":[],"text":"is a satire of Māori one-percenters, the generation of tribal executives and chairs who opened their arms to market capitalism and damn the consequences for their tangata whenua. The land is just one victim of that embrace.","_key":"4840303f74fe4","_type":"span"}],"_type":"block","style":"normal","_key":"4840303f74fe"},{"_type":"block","style":"normal","_key":"cdd0a1bd78fb","markDefs":[],"children":[{"text":"George focuses most of her scorn on Atawhai and Petara and what they represent. Magazine Magnate Atawhai’s gotten meaner and more judgmental as the economy’s put a squeeze on her business, while Petara’s her hunchbacked partner in crime, an energetic missionary for the gospel of business. They’re callous and conniving villains, make-believe kaumātua dressed to the nines in equestrian-wear and sleek tui-feather pauldrons, and the actors more than rise to the challenge.","_key":"cdd0a1bd78fb0","_type":"span","marks":[]}]},{"_key":"b10ff7328988","markDefs":[],"children":[{"_type":"span","marks":[],"text":"As Atawhai, Awhina Rose Ashby acts as though everything’s an obstacle on the road to her Hollywood biopic, glaring at people without provocation and rattling through conversations like it’s everyone else’s job to keep up. Natano Keni’s ‘Prodigious Petara’ is the opposite, a blusterer who rocks and stumbles under the weight of his own self-regard, not to mention his hunch. Ashby and Keni relish the extravagance of their characters, casually intruding on everyone else’s personal space and drawing out grandiose lines like “No empire is gained without a battle”. They are puffed-up preeners, buying into their own hype, and are absolutely delicious to watch.","_key":"b10ff73289880"}],"_type":"block","style":"normal"},{"children":[{"_type":"span","marks":[],"text":"Hinemoa and her daughter, Child Genius Kiwi, are their nominated antagonists, so Carrie Green and Hine Parata-Walker push those characters to extremes in the opposite direction. Hinemoa’s a peacemaker in mothballed furs, a hen in a den of wolves; to match her character’s agonising concern for everyone else’s humanity, Green turns the exasperation up to eleven. Meanwhile, Parata-Walker plays her teen scientist as perpetually precocious, a breathless and slightly obnoxious voice of reason. Unfamiliar with the whānau and convinced she can push back against their negligence and greed, Kiwi’s the closest ","_key":"daff99ed8eb30"},{"_type":"span","marks":["em"],"text":"The Vultures ","_key":"daff99ed8eb31"},{"_type":"span","marks":[],"text":"has to a detective, a figure of audience identification. Parata-Walker’s broad performance means she’s often too much of a caricature, though; she’s a collection of idiosyncrasies searching for something in which to ground themselves.","_key":"daff99ed8eb32"}],"_type":"block","style":"normal","_key":"daff99ed8eb3","markDefs":[]},{"children":[{"_key":"7f1472b9878f0","_type":"span","marks":[],"text":"As in her previous work - "},{"text":"and what remains, Urban Hymns","_key":"7f1472b9878f1","_type":"span","marks":["em"]},{"_type":"span","marks":[],"text":" - George diagnoses our nation’s ills with elegant language and an uncompromising understanding of our political and cultural landscape.","_key":"7f1472b9878f2"}],"_type":"block","style":"blockquote","_key":"7f1472b9878f","markDefs":[]},{"_type":"block","style":"normal","_key":"d9185a4e4652","markDefs":[],"children":[{"marks":["em"],"text":"The Vultures ","_key":"d9185a4e46520","_type":"span"},{"text":"is best when it’s moving at speed, characters insulting and conspiring with each other with the speed and chemistry of leads in a hardboiled ","_key":"d9185a4e46521","_type":"span","marks":[]},{"_type":"span","marks":["em"],"text":"noir","_key":"d9185a4e46522"},{"_type":"span","marks":[],"text":". George sets a cracking pace from the very start, using this verbal duelling to tease out details about these characters and their past, building their whakapapa through a sort of snowball effect. A fly-by joke about the Global Financial Crisis, for example, reveals the irony of ‘Prodigious’ Petara’s nickname, but it also points to a gap in the history of their whānau and their iwi, hinting at what’s to come.","_key":"d9185a4e46523"}]},{"markDefs":[],"children":[{"_type":"span","marks":[],"text":"This savage repartee screeches to a halt when we need to be brought up to speed with the story. Kiwi’s lack of familiarity with her whānau is the usual excuse, particularly in the first half; when she’s around, everyone else is much more likely to drop into monologues or extended dialogues so that they can tell her who they are, where they’ve come from, how they’ve gotten to point, what the deal is with everyone else. George front-loads this exposition so that we have a better understanding of what’s being held up to ridicule the further in we get, but the “Whos” this and the “Hows” and the “Whys” shove a stick in the wheels so often that it’s hard to fall into a steady rhythm, especially during the first act.","_key":"e7952cd0d8c90"}],"_type":"block","style":"normal","_key":"e7952cd0d8c9"},{"style":"normal","_key":"bfcf0769b2e4","markDefs":[],"children":[{"_type":"span","marks":[],"text":"When ","_key":"bfcf0769b2e40"},{"_type":"span","marks":["em"],"text":"The Vultures ","_key":"bfcf0769b2e41"},{"text":"finds and locks into that rhythm, it’s as fiery and intelligent as anything I’ve seen in Wellington in the last decade. George’s script and direction is fuelled by a compassion for her subjects, all prey for a carnivorous system they believe they can conquer against all odds. That’s most clear in the way that George punctuates her scenes with brief tableaux that give a physical life to each character’s most raw and fundamental emotions. From Petara’s pleas to an unnamed god to spare his life to Atawhai’s progression from her predatory inner life, George exposes growth even when the characters try to hide it, finds something worth saving even when they’re plotting murder and betrayal.","_key":"bfcf0769b2e42","_type":"span","marks":[]}],"_type":"block"},{"_key":"3538f4291fc5","markDefs":[],"children":[{"_type":"span","marks":[],"text":"This compassion doesn’t soften George’s bite. As in her previous work - ","_key":"3538f4291fc50"},{"_type":"span","marks":["em"],"text":"and what remains, Urban Hymns","_key":"3538f4291fc51"},{"_type":"span","marks":[],"text":" - George diagnoses our nation’s ills with elegant language and an uncompromising understanding of our political and cultural landscape. As ","_key":"3538f4291fc52"},{"_type":"span","marks":["em"],"text":"The Vultures","_key":"3538f4291fc53"},{"_type":"span","marks":[],"text":" moves toward its melancholic end, George unravels the ways that Māori have been degraded, exploited and divided by an imported capitalist tradition that prizes individual gain over wider well-being.","_key":"3538f4291fc54"}],"_type":"block","style":"normal"},{"style":"normal","_key":"04ae7a067ee7","markDefs":[],"children":[{"_type":"span","marks":[],"text":"Overshadowed by Tony DeGoldi’s grim obelisk of a set - a set of lacquered wood panels and a tilted pier of weathered 2x4, splitting the stage into two linear planes that limit actor movement in ways both helpful and unhelpful - Atawhai and Petara gloat about playing off politicians (John, James, Te Ururoa) and wielding their platforms and privilege like they own the coolest toy in the playground. But their decades-old conservatism, their obsession with the dollar value of everything at the expense of its spiritual and personal value, has left them vulnerable and oblivious to what they’ve become. “The land is not well,” Hinemoa tells them, and neither are they - their whakapapa rots with the land, and ","_key":"04ae7a067ee70"},{"_type":"span","marks":["em"],"text":"The Vultures ","_key":"04ae7a067ee71"},{"_type":"span","marks":[],"text":"documents that loss with both palpable sadness and productive anger.","_key":"04ae7a067ee72"}],"_type":"block"},{"markDefs":[],"children":[{"_type":"span","marks":[],"text":"Like in Briar Grace-Smith’s landmark play ","_key":"3e360883d5fc0"},{"_type":"span","marks":["em"],"text":"Purapurawhetū","_key":"3e360883d5fc1"},{"_type":"span","marks":[],"text":", the only ones in ","_key":"3e360883d5fc2"},{"_type":"span","marks":["em"],"text":"The Vultures ","_key":"3e360883d5fc3"},{"text":"who truly seem to understand what’s going on are the young, Kiwi and Te Rāwhitiroa. Kiwi’s driven to action against her scheming elders, but it’s Te Rā, the champion gymnast motivated by his desire for a ‘simpler life’ free of all this business, who leaves us with one of the show’s most ferocious and poetic images. He reads ","_key":"3e360883d5fc4","_type":"span","marks":[]},{"text":"Struggle Without End ","_key":"3e360883d5fc5","_type":"span","marks":["em"]},{"text":"through two scenes of arguing and scheming, barely moving from his spot. ","_key":"3e360883d5fc6","_type":"span","marks":[]},{"_type":"span","marks":["em"],"text":"The Vultures ","_key":"3e360883d5fc7"},{"_type":"span","marks":[],"text":"is a satire - ","_key":"3e360883d5fc8"},{"_type":"span","marks":["em"],"text":"Purapurawhetū ","_key":"3e360883d5fc9"},{"_type":"span","marks":[],"text":"with a vicious sense of humour - but this one image makes clear that everything happening around Te Rā has happened before. It’s been happening for centuries. The only absurd thing is to deny it.","_key":"3e360883d5fc10"}],"_type":"block","style":"normal","_key":"3e360883d5fc"},{"style":"normal","_key":"10a820337cc7","markDefs":[],"_type":"articleBreak"},{"markDefs":[{"href":"https://bats.co.nz/whats-on/the-vultures/","_key":"ab976a0f284a","target":"","_type":"link","rel":""}],"children":[{"_type":"span","marks":["em"],"text":"The Vultures ","_key":"bd0b0a00d2750"},{"text":"runs at\nBATS Theatre, Wellington\nfrom Wednesday 8 to Saturday 18 June\n\n","_key":"bd0b0a00d2751","_type":"span","marks":[]},{"_type":"span","marks":["ab976a0f284a"],"text":"For tickets and more information, go here.","_key":"bd0b0a00d2752"}],"_type":"block","style":"normal","_key":"bd0b0a00d275"}],"_key":"row-661"}],"seo":{"image":{"_type":"image","asset":{"_ref":"image-733696c10af039ef341895010458627fb2a55a16-1419x800-jpg","_type":"reference"}},"description":"Adam Goodall reviews the centrepiece of this year's Kia Mau Festival, Mīria George's darkly funny satire The Vultures.","title":"Review: The Vultures"},"_id":"article-688","handle":{"current":"review-the-vultures"}}],"authors":[{"_updatedAt":"2023-11-01T21:32:30Z","handle":{"current":"mya-morrison-middleton"},"status":"team","lastName":"Morrison-Middleton","_type":"author","name":"Mya Morrison-Middleton","_rev":"6A1LlYz54jYGCn2JRLaYkQ","role":"Kaituhi Kaupapa Māori | Kaupapa Māori Staff Writer","description":[{"_type":"block","style":"normal","_key":"d3b8c7b88771","markDefs":[],"children":[{"text":"Mya Morrison-Middleton (Ngāi Tahu) is an artist, writer and organiser based in Ōtepoti. 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