A kaumatua &– an elder of the Maori people &– reflects in poetry and prose on his journey from te ao Maori on the East Coast to contemporary Auckland, New Zealand.Ko te kopara anake e tarere ki te tihi o te makauri. Oti rawa! Kia oti rawa, e!Haare Williams grew up with his Tuhoe grandparents on the shores of Ohiwa Harbour on the East Coast of New Zealand in a te reo world of Tane and Tangaroa, Te Kooti and the old testament, myths and legends and of Nani Wai and curried cockle stew &– a world that Haare left behind when he learnt English at school and moved to the city of Auckland.Over the last half-century, through the Maori arts movement, waves of protest and the rise of Maori broadcasting, Haare Williams has witnessed and played a part in the changing shape of Maoridom. And in his poetry and prose, in te reo Maori and English, Haare has a unique ability to capture both the wisdom of te ao Maori and the transformation of that world.This book, edited and introduced by acclaimed author Witi Ihimaera, brings together the poetry and prose of Haare Williams to produce a work that is a biography of the man and his times, a celebration of a kaumatua and an exemplar of his wisdom.

When the New Zealand Supreme Court ruled on Wi Parata v the Bishop of Wellington in 1877, the judges infamously dismissed the relevance of the Treaty of Waitangi. During the past 25 years, judges, lawyers, and commentators have castigated this &“simple nullity&” view of the treaty. The infamous case has been seen as symbolic of the neglect of Maori rights by settlers, the government, and New Zealand law. In this book, the Wi Parata case—the protagonists, the origins of the dispute, the years of legal back and forth—is given a fresh look, affording new insights into both Maori-Pakeha relations in the 19th century and the legal position of the treaty. As relevant today as they were at the time of the case ruling, arguments about the place of Indigenous Maori and Pakeha settlers in New Zealand are brought to light.

Sixty traditional Maori songs of Tuhoe sung by Kino Hughes are presented in this book and CD collection. The text of each song is given in both English and Maori along with a musical transcription. Kino Hughes was an outstanding singer, orator, and respected Kaumatua who, determined to preserve for future generations all the songs he knew, asked these authors to compile this magnificent record. The introduction includes information on Kino Hughes, on the people of the Tuhoe Maori tribe, on the song categories used, and on the music. This important record of Maori music includes photographs, a glossary, notes on the texts, transcriptions, and an index of song types. Includes 2 CD-ROMs.

Striding Both Worlds illuminates European influences in the fiction of Witi Ihimaera, Aotearoa New Zealand’s foremost Māori writer, in order to question the common interpretation of Māori writing as displaying a distinctive Māori world-view and literary style. Far from being discrete endogenous units, all cultures and literatures arise out of constant interaction, engagement, and even friction. Thus, Māori culture since the 1970s has been shaped by a long history of interaction with colonial British, Pakeha, and other postcolonial and indigenous cultures. Māori sovereignty and renaissance movements have harnessed the structures of European modernity, nation-building, and, more recently, Western global capitalism, transculturation, and diaspora – contexts which contest New Zealand bicultural identity, encouraging Māori to express their difference and self-sufficiency. Ihimaera’s fiction has been largely viewed as embodying the specific values of Māori renaissance and biculturalism. However, Ihimaera, in his techniques, modes, and themes, is indebted to a wider range of literary influences than national literary critique accounts for. In taking an international literary perspective, this book draws critical attention to little-known or disregarded aspects such as Ihimaera’s love of opera, the extravagance of his baroque lyricism, his exploration of fantasy, and his increasing interest in taking Māori into the global arena. In revealing a broad range of cultural and aesthetic influences and inter-references commonly seen as irrelevant to contemporary Māori literature, Striding Both Worlds argues for a hitherto frequently overlooked and undervalued depth and complexity to Ihimaera’s imaginary. The present study argues that an emphasis on difference tends to lose sight of fiction’s capacity to appreciate originality and individuality in the polyphony of its very form and function. In effect, literary negotiation of Māori sovereign space takes place in its forms rather than in its content: the uniqueness of Māori literature is found in the way it uses the common tools of literary fiction, including language, imagery, the text’s relationship to reality, and the function of characterization. By interpeting aspects of Ihimaera’s oeuvre for what they share with other literatures in English, Striding Both Worlds aims to present an additional, complementary approach to Māori, New Zealand, and postcolonial literary analysis.

Maori mythology and endless summers: the sparkling second collection from a daring new poetic voice I am made in the image of my mother ... I am made in the image of / my mountain / my river / my whenua In Rangikura, plastic tiaras melt into boiling rivers, and family memories blur with ancestral mythologies. Satanic stepbrothers play jenga while the deity Mahuika burns - and the temperature is rising. Here, anger and loss, history and pop culture are spun into verses woven with vernacular and Te Reo Maori. At the collection's centre, our protagonist whirls through a love/hate story for the internet age, facing the sting of unanswered texts and unmet expectations with wit, sensibility and devastating glamour. Rangikura is the captivating second collection from award-winning poet Tayi Tibble. From feminism to colonialism, skuxes to daddies, wild swimming to schoolboy hakas, these poems at once mark the end of the world and the dawn of a new day. Poignant, hilarious and liberatory, Rangikura reminds us that the personal is sometimes political, the political is always personal, and poetry can be revolutionary.