aotearoa liberators - Wintec Research Archive

arists+writerssimon cuming dion hitchens katerina mataira james ormsby josh watenenicola farquhar tessa laird warren olds jenny rhodes leafa wilsonjon bywater te rita papeschposterprojectxavier meadeherman@skia oraThis poster collection is the creative response by artist amig@s from Aotearoa to theinvitation to design a poster and write a text about a liberator/activist from theseislands whose work resonates personally with them.The designs were printed in the legendary screenprint shop of the ICAIC (InstitutoCubano de Arte e Industria Cinematográfica) in Havana, Cuba. The ICAIC printershave produced seminal posters vital to the Cuban Revolution, and cinema andeducation since 1959. Justino and Enrique have worked in that print shop formore than 40 years and Justino’s team did a great job under basic conditions thathave not changed since the Revolution. They don’t have a computer, making thecommunication ‘old style’ and the designs had to be sent by courier. They only usemanual techniques. The designs are hand cut and their colour system - they call it‘vitrina’ - amounts to using whatever they have on the shelves. Nevertheless, Abdul,the colourist, managed to get all the colours right.For reasons no one can explain, the designs stayed in the Cuban customs officefor two months, putting pressure on the printers first to ‘liberate’ the artworkand second to meet the deadline. Then we got the news from my main contact inHavana, Nilda Blanco ‘Cuqui’, that the printery was closed because there was noaotearoa liberatorspaper available, an effect of the USA embargo. At the time we left Havana we saw yet anotherconsequence of the embargo. The printers could not continue the work required for the yearly Cubanfilm festival because they could not get alcohol (a main ingredient in the cleaning of the screens).By the time we got to Havana all the posters were printed with the exception of “the one withthe elephant”,as they put it - Nicola’s about Richard Henry (really it’s a kiwi). She had specifiedtransparent inks, something unheard of by the Cuban printers, as they work with poor quality Cubaninks mixed with Spanish when available. We took some drastic decisions about the image. Jenny’s(Eva Tuaiwa Rickard) needed some reprinting, too. All the final products are just fine in my opinion.They bear an artisanal look. The process of numbering the 50 series of 12 posters at the printery wasdelightful with the aid of Baby’s strong sweet coffees. Our project injected some energy they needed:new imagery, colour schemes, and the fact that people from the other side of the world required theirskills.During our time we were invited to the première of a documentary about the Cuban poster since therevolution in 1959. Even though Justino and Enrique featured in the documentary, they and the restof the printer’s crew (another five) were unable to go as, at the screening time, the ‘guaguas’ (publicbuses) had stopped running and to take a taxi home is just beyond their budgets (needless to say theydon’t have private vehicles). All this we found out the next day.The posters were ready for their first showing, as arranged by Flor de liz Lopez Hernandez, at theISDI’s FORMA 2007 open day to coincide with the World Design Congress organised by ICOGRADA(International Council of Graphic Design Associations). The Aotearoa Liberators had the toughestcompetition they will ever have. There were poster shows in almost every gallery in Havana from over30 countries around the world.After two intense weeks in Cuba we left, having made the decision not to courier the bulk of theposters (25 kilos skilfully packed by Carolyna and Justino) from Cuba given the customs experienceof the artwork but to take them on the plane to Cancun, Mexico, and to courier them from therevia DHL. At the José Martí Havana airport boarding gate I got the call: “Xavier, you are required atcustoms”. The last thing we wanted was to open the package. Customs did not have any sticky tape (weonly had a little left ourselves) or a cutter. Finally a huge knife - probably used by the army in Angola- arrived, we made the cut. They confirmed that the two packages contained the posters. A quick patchup, and off to Cancun.We were relieved and relatively happy, as we were not charged for extra weight by the airline.Everything will be easier in Mexico we thought… wrong! Customs in Mexico wanted to charge importtaxes. The officer did not want to know about cultural exchange or educational material and, moreto the point, that the final destination of the posters was New Zealand. We left the posters there withcustoms and washed away our bad experience for three days (national holidays – día de los muertos)on the beautiful coast of the Mexican Caribbean before facing up again to the fact that we had to payto be able to get to Merida in time for the ‘Jornada de Diseño’ to hang the posters for the conference.The welcome from Mariana Estrella, Patricia Etcharren and their team from the Modelo Universitywas awesome: they were ready and had done a great job with the introductory statement and texts thatwere displayed by each poster.Then the bonus. Exhibiting the posters in Oaxaca. While in Oaxaca in September we had talked aboutthe poster project with several artists and curators. Letitia Dufracantel and Rocio Carvajal from Casade la Ciudad had liked the concept, set the exhibition for the 15th of November, and asked me to do anhour-long presentation for the opening. Casa de la Ciudad is a prestigious cultural centre and galleryof the Oaxaca City Council in a magnificent colonial building located in the heart of Oaxaca. By thetime we got back to Oaxaca with the posters, we encountered posters for our show on the city walls(they adapted ‘Te Ika a Maui’ by Josh Watene). They had issued invitations, arranged a newspaperarticle, a TV interview, and had the mezcal ready for the opening.An unexpected outcome of the exhibitions was the amount of time people spent looking at theposters and reading the accompanying texts. It was as if they were looking at a huge book walkingfrom one page on to the next. For many people it was their first glimpse of the cultural history ofAotearoa.Today, Oaxaca is the most exiting city for graphics. The walls are a constant flow of communication, inthe form of grafitti, stencils and posters. The political unrest since 2006 has increased the visual flowand there are serious young artists who use the walls to ‘talk’ to the people and there are governmentpainters who constantly erase the comunicados, creating an interesting patchwork. The ASAROgroup (Socialist Assembly of Revolutionary Artists from Oaxaca) printed a special run for Aotearoa ofxilographs - plywood engravings - some of which occupy the Ledge and small space at Ramp Galleryto coincide with our Aotearoa Liberators.ArohanuiXavier Meade de la Cueva

jon bywateressayISBN: 978-0-9582902-1-0All content in this publication is © 2008 Copyrightof the respective artists and writers.graphic design: Xavier Meadeweb design: Pranesh Lalprinted in Hamilton Kirikiriroa, New ZealandAotearoaGRACIAS:Carolyna Hart-Meade (Raukaramea, Whaanga Coast),Te Miringa Hohaia (Parihaka, Taranaki), AngelineGreensill (Whaingaroa, Raglan), Margi Moore(Mediarts Head of School), Surya Pandey (WintecResearch Director), David Cook (Mediarts ResearchLeader), Michelle Mayn (mainart.co.nz), Nick Spratt(Room 103 Gallery, Auckland), Jon Bywater (Elam Schoolof Arts, Auckland), Danny Butt.Abdul, Justino, Enrique & ‘el músico’.ICAIC printers. Havana, Cuba 2007WINTEC Researc Office Funded ProjectKirikiriroa / Hamilton, Aotearoa / New ZealandLOGISTICS IN CUBA:Nilda Blanco (Cuqui) & Flor de Lis López HernándezSILK SCREEN PRINTING:Justino Rodríguez (jefe de taller) & team. ICAIC Printery,Havana, Cuba.TRANSLATIONS:English to Maori: Te Rita PapeschEnglish to Spanish: Xavier, Carmen & Gaby MeadeEXHIBITIONS (From September 2007 to March 2008):CUBA•Instituto Superior de Diseño Industrial, Havana (coordinadora:Flor de Liz López Hernández)MÉXICO • Universidad Modelo, Mérida, Yuc. (Coorinadora:Mariana Estrella) & Casa de la Ciudad, Oaxaca (coordinadora:Leticia Dufrancantel)AOTEAROA • Parihaka International Peace Festival (JocelynMillard) • Te Ao Marama Festival, Whaingaroa Raglan (AngelineGreensill) & Ramp Gallery, Wintec Hamilton (JaniceAboGanis)CONTACT: xavier.meade@wintec.ac.nzInitiated by a Mexican New Zealander, designed in Aotearoa,crafted in Cuba, exhibited in both places and in Mexico, theAotearoa–Cuba Liberation Posters project relates distant cultural,political and artistic locations. Something about its successfuladdress to each can be traced out of Xavier Meade’scall for participation, which named the subject of the posterswith the alternate terms “liberator / activist”.This unusual disjunction or equivalence derives from thepreceding translation between the Americas and here, Xavierhaving arrived in Aotearoa from Mexico; and so one betweenhis first language, Spanish, and his additional language,English. In it is embedded the history of the Libertadores,Simón Bolívar, José de San Martín and others, honoured withthis word – written the same way in Spanish and Portuguese– for leading the early nineteenth century revolutions whichgained the nations of Latin America independence fromtheir European colonisers, Spain and Portugal; among themMiguel Hidalgo (Cura Hidalgo, Priest Hidalgo) regarded asthe founder of the movement that led to the Mexican War ofIndependence.In this connection, then, the word ‘liberator’ has a primarilyanti-colonial sense, and in the selection of figures fromAotearoa celebrated in the posters, Tāwhiao, Rua Kenana, TeWhiti o Rongomai, Eva Rickard, and Dean Hapeta answer toit directly in for their various parts in the struggle against theBritish Crown who colonised this land; what Ranginui Walker’sbook (first published in 1990) has named Ka WhawhaiTonu Mātou: Struggle Without End, using a phrase attributed toRewi Maniapoto. (In 1864 Maniapoto led a resistance againstthe invasion of the Waikato region by government troops,and defying a call to surrender at Orakau, he retorted: “kawhawhai tonu matou, ake ake ake” [we will fight on againstyou for ever and ever].)The twentieth century political term ‘activist’, on the otherhand, might be projected back onto Richard Henry, a protoenvironmentalist,and is regularly applied to Susi Newborn,founder of Greenpeace, and researcher and protester OwenWilkes (whose boldly oppositional stance is advertised herewith a “vs.”). Considering them as liberators, their own emancipationas free thinkers or free spirits can be seen as somethingthey have shared, leading others to have the courage tosupport ‘radical’ positions.The conjunction of both sets of connotations resonatesparticularly with a selection like Maui, that might otherwiseseem unusual. At once a founder of a nation, in a sense, aLibertador, he is also himself liberated, a trickster who goesagainst the tribe, transgressing to activate for greater eventualbenefit, even at his own expense; slowing the sun, hauling theNorth Island out of the sea, and stealing fire for human use.As does one of Xavier’s own choices, Tane Mahuta, who tearsapart his parent’s embrace, creating the world between them- Ranginui the sky father and Papatuanuku the earth mother- we can therefore inhabit.Many of the poster figures are associated with the powerof story or image, and it is the aesthetic gesture that unitesTe Kupu’s hip hop and ‘rapumentary’, Hemi Baxter’spoetry, and Ralph Hotere’s painting most closely with theform of the works themselves. The medium of the poster,though, is foremost a tribute to its heritage in Cuba andMexico, and its role in political struggle there [q.v. LincolnCushing, ¡Revolución! Cuban Poster Art, Chronicle Books,2003.].2007 was the fortieth anniversary of the death Che Guevara,who joined Fidel Castro’s revolutionary 26th of JulyMovement while in Mexico in 1956, and who went on tolead Cuban guerrillas. The legacy of his activism is powerfuland confused. Created in 1968, the iconic two-colourposter image of Che, made by Irish designer Jim Fitzpatrickfrom Cuban photographer Alberto Korda’s classicportrait, for example, is at once the most legible and themost exhausted and empty signifier of revolution: Whatdoes it mean when Venezuela’s President Hugo Chávezoften appears wearing a Che t-shirt, while here in NewZealand a few years ago you could buy a novelty ice creamnamed after him? [Cherry Guevera, part of the “Sixties 9”limited edition of Magnum ice creams made by Australiancompany Streets, a division of Unilever; also featuringJohn Lemon, Jami Hendrix, and Candy Warhol.]In Wellington, New Zealand, you can sit in the a cafécalled Fidel’s (formerly Castro’s!) in Cuba Street and sipcoffee made from beans roasted by the Havana CoffeeWorks, but political conditions are remote from the Carribean(and for that matter the recent actions in Oaxaca,Mexico, where the poster project has also been shown).From here, it would be easy to be cynical about the gestureof making a political poster. Not only the technology ofthe printing press (so tied to the history of socialism), theform of the poster (adopted for advertising almost as soonas colour lithography was invented in Europe at the turnof the nineteenth century), but the handmade look, theurgency of the stencil or the graffito, and the very iconographyof particular political struggles, have been appropriatedby commerce.Working in and between the contexts it does, the posterproject demonstrates how an image, or indeed a medium,can retain the possibility of political efficacy in the faceof these conditions. Being produced at the ICAIC, whatXavier here describes as the posters’ “artisanal look” is, ofcourse, determined by material necessity rather than fashion.The consistency of the results of these restrictions,as it shows up in Hamilton, New Zealand, and its relativefamiliarity to a Cuban audience, give the posters a relatedeffectiveness in each situation. The colour and line of thehand-rendered prints in combination with their NewZealand content is thus something in the posters themselvesanalogous to the specificity I have begun to makeout in Xavier’s conceptual couplet “liberator / activist”.In this way, the geographic and cultural translations thisproject makes effectively return us (in the most inclusivesense) to the images, and to our own connections to anddistances from them.

xavier meade artistaTane Mahuta – El ViejoHubo un tiempo cuando los padres originalesestaban enlazados en un primordial abrazo.Sus hijos comenzaron a protestar dada sucreciente incomodidad apachurrados todosjuntos en la oscuridad y buscaron un caminohacia el mundo de la luz. Entre estos diosessurgió una batalla para decidir quién de ellosiba a separar a sus padres. Tane tenía enmente el bienestar de todos ellos, por ello noparticipó en la pelea, así que dejó a su hermanoTumatauenga enfrentar una batallacon sus hermanos menores. La sangre quecayó formó los arroyos y ríos en el cuerpo dela madre tierra. Tu desterró a sus hermanosa los lugares en que ahora se encuentran –Tangaroa como dios de los mares; Haumietiketikey Rongo-ma-tane a la tierra, a serdioses de los alimentos cultivados y salvajes;Tawhirimatea a los cielos para habitar con supadre Ranginui y a Raumoko; el mas joven aquedarse nonato en las entrañas de su madrePapatuanuku.Finalmente Tane fue abrumado de tristezaal ver lo que Tu había hecho e hizo valer suposición como hermano mayor y se dió a latarea de separar a sus padres. Para hacerlo,usó sus piernas para empujar a su padre alos cielos y sus manos para empujar a sumadre abajo a la tierra. Ellos continúan hastaahora en ese estado de separación.A pesar de que Tane no quería separar a suspadres, él sabía que era la única forma enque podía alcanzar la meta deseada. Esta esla primera constancia de protesta de la visiónmaori del mundo que resultó positiva. Tanees personificado por los majestuosos árbolesdel bosque, en que aún se pueden ver suspiernas como ramas manteniendo a su padrearriba y las raíces de sus árboles abrazandopara siempre a su madre, brindándole cobijo.TANE MAHUTA– Te MātaamuaTērā te wā i te kore e noho piri ana ngā mātua,arā, a Ranginui me Papatūānuku. Nā tēnei piritata ka tīmata ngā amuamu, ngā whakahē angā tamariki i te kōtē me te kōpā o tā rātounoho. Ka puta te whakaaro kia whakaweheangā mātua kia puta ai rātou ngā tamariki ki teao mārama. Heoi he pakanga i tū i waenganuii ngā atua nei kia kite mā wai e whakawehe.I a Tāne te whakaaronui mō te katoa, ā, i tetīmatanga kāore ia i uru ki te whawhai. Iriro mā Tūmātauenga, mā Tūkariri kē heipakanga ki ngana tēina. Ko te toto ka heke ingā whawhai ka uru ki te poho o te whaea, oPapatūānuku. I tana toa ka tukuna e Tū nganatēina ki ngā wāhi e noho nei rātou i tēnei wātonu nei; a Tangaroa ki te moana, a Haumietiketikeki te whenua, a Rongo–mā- tāne kite whenua, a Tawhirimātea ki ngā ringa kapuaawhi o tana matua, o Ranginui. Ka ngungurutonu a Rūaumoko, te pōtiki, i te poho o tanawhaea. Nā ngēnei mahi kino a Tū ka ara akea Tāne ki te whawhai ki tana tēina me tanakī,” Ahakoa te aha ko au tonu te tuakana, temātaamua, nā reira he tika kē atu māku ngōtātou mātua e whakawehe.” Ka pupuri ia kitana whaea ki ngōna ringa me te whātoro atui ngōna waeawae hei pana atu i tana matua.Tae noa ki tēnei wā kei te noho wehe tonu ngāmātua.Ahakoa kāore ia i te hiahia kia pērātia ngōnamātua i mōhio kē ia koirā tonu te huarahi eputa ai rātou ki te whei ao. Ko Tānemāhuta heitauira tuatahi i te ao Māori mō tēnei mea tewhakahē engari he hua pai i puta i ngāna mahiwhakahē. Ko tātou ngā uri whakaheke ka nohopai i tēnei ao tūroa nā tana mahi whakahē. Kakitea tonuhia a Tāne e whakatinanahia ana heirākau kākahu i tana whaea, arā, ko ngā rākau epiri tonu ana ki a Papatūānuku ki ngōna ringame tōna pane, me ngōna waewae e ahu tonuatu ana ki te Rangi, hei tauira o tāna mahi.Tāne Māhuta – The ElderThere was a time when the primeval parentswere bound in a close embrace. Their childrenbegan to protest at the growing discomfortof being squashed together in the darknessand sought a way out into the world of light.A battle ensued between these gods to decidewho should part their parents. BecauseTāne had the welfare of all in his mind he didnot enter the fight but left it up to his brotherTūmātauenga to battle with his younger siblings.The blood that fell became the streamsand rivers in the body of the earth mother.Tū banished his brothers to the places theynow dwell in – Tangaroa as god of the sea;Haumietiketike and Rongo-mā-tāne to theearth to be gods of cultivated and uncultivatedfoods; Tawhirimātea to the heavens to dwellwith his father Ranginui and Rūaumoko, theyoungest, to be unborn and dwell within thebosom of Papatūānuku. Eventually Tāne wasoverwhelmed with grief at what Tū had doneand asserted his elderly status and took overthe role of separating his parents. In order todo this effectively he used his legs to push hisfather up into the heavens and his hands topush his mother below to be the earth. Theyremain in this state of separation today.Although Tāne did not want to separate hisparents he knew that it was the only way theycould achieve their desired goal. This is thefirst record of protest from a Māori world viewwhich resulted in the desired outcome. Tāneis personified in the great trees of the forestwhere his legs as branches can still be seenkeeping his father at bay and the roots of histrees his arms forever embracing his motherand keeping her clothed.Text / Texto:Te Rita PapeschKirikiriroa/Hamilton, Aotearoa/New ZealandAugust 2007

josh watene artistaMAUIEl Pez de MauiIncómodos y sospechosos debido a los poderesmágicos de Maui, sus hermanos detestabanque él fuera de pesca con ellos.Sin embargo, Maui se escondió en su canoa,armado con un anzuelo encantado que habíatomado forma de la famosa quijada de ballena.Él no salió de su escondite hasta queestaban ya mar adentro y luego exhortó asus compañeros a ir mas y más lejos. En ladistancia se detuvieron, y la pesca comenzó,pronto la canoa se llenó con la captura.Los hermanos querían regresar pero Mauideseaba probar su suerte. No tenía cebo ysus hermanos no le quisieron dar, sin alterarsese golpeó la nariz y untó su sangre en elmágico anzuelo. Este anzuelo tomó la casade Tonga-nui, nieto de Tangaroa, dios delocéano, y el pescado que estaba colgandodel anzuelo de Maui era no menos que unaporción de la tierra. La canoa hizo tierra yMaui dejó a sus hermanos con instruccionesprecisas de no comerse ni cortar el pescadohasta que él hubiera hecho las oraciones yofrendas apropiadas a los dioses. Pero sushermanos no le obedecieron, el resultado fueque el pescado comenzó a brincar – de ahílo accidentado de la tierra hoy en día-. Estatierra es hoy conocida como la Isla del Nortede Nueva Zelanda o El Pescado de Maui. Elanzuelo, según la leyenda, se convirtió en elcabo en la punta sur de la Bahía Hawkes.Te Ika a MauiNā te mataku me te harawene kāore ngātuākana o Māui i te hiahia kia haere tahi ia kite hī ika. Heoi anō i huna a Māui i te takereo tō rātou waka me tana matau nō te kauae oMurirangawheuna. Ka tae ki waho rā anō i temoana ka puta ia me te akiaki o ngōna hoa kiatawhiti ake te haere. Nā wai rā, nā wai rā ka tū,ka tīmata ki te hī. Kāore i roa ka kī te waka i teika. I te hiahia ngā tuākana ki te hoki, engari aMāui ka hia hī ika tonu. Kāore ngāna mounu,ā, kāore ngā tuākana i hoatu ngētehi ki ia. Nāreira ka huri ia ki te whati i tana ihu kia rere tetoto ki runga i te matau miharo. I hopu tēneimatau i te kāinga o Tonganui, te mokopuna aTangaroa, atua o te moana. Ko te ika ka iri i teaho o Māui he wāhanga o te whenua tonu. Katau te waka ki uta ka kī a Māui kia kaua ngōnatuākana e tapahi, e kai rānei i te ika i mua i tetuku karakia ki ngā atua. Kāore ngā tuākana iaro atu ki ngāna tohutohu nā reira ka oreore,ka nukunuku te ika. Nā taua tū mahi kua pērāte takoto o te whenua i ngēnei rā me nganapuke katoa. Ko Te Ika a Māui o Aoteaora tēneiwhenua. E ai ki ngā kōrero ko te pito whakatetongao Heretaunga te matau a Māui.The Fish of MauiUneasy and suspicious because of Maui’smagical powers, his brothers were loathe tohave him accompany them fishing. Notwithstanding,Maui hid himself in the bottom oftheir canoe, armed with an enchanted hookwhich had been shaped by the famous jawbone.He did not emerge until they were wellout to sea and then urged his companions togo yet further and still further. At length a haltwas made, the fishing began, and soon thecanoe was filled with the catch. The brothersnow wished to return but Maui desired to tryhis luck. He had no bait and the others refusedto give him any; however, undeterred,he struck his nose and smeared the bloodwhich gushed over the magic hook. This hookcaught the home of Tonga-nui, grandson ofTangaroa, god of the ocean, and the fish thatwas hanging from the line of Maui was no lessthan a portion of the earth. The canoe cameaground and Maui left his brothers with strictinstructions neither to eat nor cut up the fishuntil he had made appropriate prayers andofferings to the gods. But the brothers disregardedthese warnings, with the result that thefish started to toss about – hence the unevennessof the land today. This is now known asthe North Island of New Zealand or Te Ika aMaui, the fish of Maui. The fish hook, accordingto legend, became the cape which nowforms the southernmost tip of Hawke’s Bay.Source:http://www.teara.govt.nz/1966/M/MauiLegendsOf/The-FishOfMaui/en

xavier meade artistaTaranaki, la montaña, ¡confiscada!Taranaki, la tierra, ¡confiscada!Taranaki, el mar, ¡confiscado!Taranaki, ¡su dignidad, ¡sigue firme!¡Tihe Mauri ora!Acérquense, bienvenidos, gente de la tierrapara que puedan ver la fuente de la canción.Para que puedan ver a los guardianes. Para quevean a Tohu Kaakahi y a Te Whiti de Rongomai,quienes dan voz a las quejas del país, elque despliega el emblema, quién plantó la semillade la paz como fundación del mundo…Te Miringa Hohaia.Haka verses (1881). Cánticos guerreros.La palabra es proclamada a las masas.El gallo está calmado y tranquilo.El hermano pato vuela rápidamente haciadelante.No hay comida que picar, no hay comida querecoger.La gente está arrejuntada como papas.Y presos se encuentran los fuertes y firmes.En su canoa de paz.“Cuando hablo de la tierra, su medición, losaradores, y ese tipo de pequeñeces, los lápicesde los reporteros vuelan a la velocidad delviento, pero cuando hablo las palabras delespíritu, ellos dicen que es el sueño de unloco.”Te Whiti de Rongomai, Parihaka, junio 1979.Pa l a b r a f i n a l“Yo soy el fruto del proceso correcto,una hierba curadora del emblema sagrado,mi emblema sagrado es un seguro para elmundo”Discurso de Te Whiti o Rongomai, documentado por TeKaahui Kararehe.EXTRATh e Ne w Ze a l a n d Ti m e s(p u b l i c a d o d i a r i a m e n t e)Sá b a d o, n o v i e m b r e 6 d e 1881NOTICIAS DESDE PARIHAKA.PARIHAKA RODEADA.LECTURA DE ACTA DE MOTIN.UNA HORA DE GRACIA OTORGADA.A l a s 11 d e l a m a ñ a n a e l g o b i e r n o r e c i b i ód e l Sr. Bry c e e l s i g u i e n t e t e l e g r a m a.Ll e g u é a Pa r i h a k a a l a s 9 a.m.En c o n t r é e l r e c i n to m a o r i l l e n o d e n at i v o s.El Sr. Bu t l e r t u v o o r d e n d e s o l i c i ta r d e TeWh i t i u n a respuesta a l a Pr o c l a m a c i ó n.Te Wh i t i n o r e s p o n d i ó.A l a s 9.30 e l Ac ta d e Mo t í n f u e l e í d a y sed i o u n a h o r a d e g r a c i a d e a c u e r d o c o n l al e y. De s p u é s d e l a h o r a e l á r e a s e r í a r o-d e a d a.Hi r o k i e s t á a h í. Lo s n at i v o s e s t á n v e s t i d o sd e g a l a. Se r i a m e n t e n o h ay i n t e n t o d e o f-r e c e r o t r a c o s a q u e r e s i s t e n c i a pa c í f i c a. TeWh i t i l e s d i j o a l o s n at i v o s q u e se s e n ta r a nj u n t o s y t u v i e r a n c o r a j e.MAS TARDE.Te Wh i t i, To h u y Hi r o k i f u e r o n h e c h o s p r i-s i o n e r o s a l a s 11.30, sin o p o n e r r e s i s t e n c i a.TE WHITIKO TARANAKI MAUNGA, MURUHIA!KO TARANAKI WHENUA, MURUHIA!KO TARANAKI MOANA, MURUHIA!KO TARANAKI TANGATA E TŪ TONU NEI!TIHE MAURI ORA!HAERE MAI, E TE MOTU KIA KITE KOE I TE PUA-PUAKIA KITE KOE I NGAA WEREWERE,KIA KITE KOE I A TOHO KAAKAHI RAAUA KOTE WHITI O RONGOMAI, TE TANGATA NAANAI HERE MAI TE MAMAE MOO TE MOTU,TE TANGATA NAANA I WHAKAURA TE KARAKAE TUU NEI,KO TE RAINGIMARIE KO TE RONGOMAU KI TEAAO.NA TEENEI IWI O PARIHAKA I ROTO I NGAATAU MAHA.TE MIRINGA HOHAIA.HAKA (1881)KA PAANUIA TE KUPU KI TE IWI NUI TONUTOKITOKI KAU ATU TE HEIHEITERE HAERE ANA TE KUUAO PAARERAKAAHORE HE KAI PIPIPI KAAORE HE KAI KOKOKOKAA OPEHIA TAEWATIA NGAA TAANGATAKA HEREA I REIRA TE KAHA ME TE UAUAKI RUNGA KI TOONA WAKA KI TE RANGIMAARIEHE KUPU WHAKAMUTUNGAHE PUAWAI AU NOO RUNGA I TE TIKANGAHE RAU RENGARENGA NOO ROTO I TE RAUKURAKO TAKU RAUKURA RAA HE MANA WANUIKI TE AAOTE WHITI O RONGOMAITexts from the book:Pa r i h a k a: The art of passive resistanceEdited by: Te Miringa Hohaia, Gregory O’Brienand Lara Strongman. 2001City Gallery, WellingtonVictoria University PressParihaka Pā TrusteesGr a c i a s a Te Miringa p o r su a y u d a y a p o y o.Taranaki Mountain, confiscated!Taranaki Land, confiscated!Taranaki Seas, confiscated!Taranaki Mana still stands firm!Tihe Mauri Ora!Draw close, welcome, people of the land soyou can see the source of song.So you can see the guardians. So you can seeTohu Kaakahi and Te Whiti of Rongomai, theman who brings together the grievancesof the country, the man who unfurled theemblem, who planted the seed of peace as afoundation of the world...Te Miringa Hohaia.Haka verses (1881)The word is proclaimed to the massesThe fowl is calm and collectedThe sibling duck flies quickly onwardThere is no food to peck, there is no food toscoopThe people are gathered like potatoesAnd imprisoned there are the strong andfirmOn their canoe of peaceA final word“I am the fruition of righteous procedureA herb of healing from the sacred emblemMy sacred emblem is an assuranceTo the world”Speech by Te Whiti o Rongomai,recorded by Te Kaahui Kararehe.

jenny rhodes artistaCarta de Eva Rickard a la reina de InglaterraEditada por Xavier MeadeRte.: Te Kopua Road Raglan/WhaingaroaAotearoa (Nueva Zelanda) 13 de septiembre de1995.Saludos, oh reina de Inglaterra:...Yo soy originaria de Aotearoa, tangata whenua (delcolor de la tierra), y soy también de los primeros nativosde la Primera Nación de esta isla....Actualmente tengo 70 años y recientemente hetenido presentes a mis bisabuelos, a quienes asesinaronen Rangiriri Pa, así como a mi abuelo, quien, apesar de que lo hirieran soldados británicos, escapócon su hermana de dos años de edad nadando por elrío Waikato y caminando más de 110 kilómetros portierra hasta llegar con su tribu en Whaingaroa. Deno haber escapado en aquella ocasión, yo no habríanacido. ...Quienes negociaron con su gobierno exigierontambién que se disculparan por haber llamadorebelde a mi gente. Como descendiente de dichossupuestos rebeldes, yo no espero una disculpa paralos del Waikato. ...Para serle honesta, mi gente preferiríaacciones en vez de palabras... No hay palabrasque puedan borrar los errores o el dolor ni enjugarla sangre de mis ancestros. Mi madre me decía queperdonara si me era posible, pero que jamás olvidara,y como puede ver, no he olvidado.El 28 de octubre de 1835, hace ciento sesenta años,su ancestro el rey William firmó la Declaración deIndependencia reconociendo a nuestra nación maoríde acuerdo con la Confederación de los Jefes. Fueuna época de comercio, de sustento económico y deprosperidad para nosotros.Ciento cincuenta y cinco años atrás, se firmó elTratado de Waitangi. Fue entonces cuando comenzóla decadencia de mi pueblo maorí. Una vez firmadoel tratado, sus colonos empezaron a reclamar los 66millones de acres de nuestra tierra. Desde entoncesse han ocupado en vender nuestra tierra y sus tesorosa extranjeros sin nuestro permiso. Si usted así lodesea, puede detenerlos, o bien puede limitarse a seruna imagen en los billetes de 20 dólares....Por desgracia, los gobiernos sucesivos de este paíshan continuado faltando a los términos de dicho documentosagrado lucrando con ello, y el costo ha sidomuy alto para nosotros, sus socios en el tratado....Así pues, el verdadero propósito de mi carta esinformarle que haré la declaración de Whaigaroa,Aotearea, Nueva Zelanda, como estado independientepara mi tribu el día 12 de febrero de 1995.La firma se llevará a cabo en los 63 acres de tierraque nos confiscaron para instalar un aeródromo durantela segunda Guerra Mundial. Demolieron nuestraaldea dejando a los nuestros sin hogar con estacampaña solidaria forzosa de civiles en tiempos deguerra. ...Nos arrestaron el 12 de febrero de 1978durante una ceremonia sagrada en el cementerio denuestros ancestros. Finalmente, en 1984 nos devolvieronparte de la tierra donde se erigía originalmentenuestra aldea. El resto sigue siendo un aeropuerto.Ya no puedo seguir cruzada de brazos. Ya no tengoque seguir escuchando a los ancianos de mi pueblopidiéndome ser pacífica y creer en Dios. Mis diosesson mi madre tierra, mi padre cielo y todos sus hijos.Declaro la independencia de mi pueblo, cueste lo quecueste. Al igual que mis ancestros, estoy dispuestaa morir por la libertad de los míos. Es hora de quedecidamos nuestro propio futuro en nuestra propiatierra. Si he de morir por esta causa, no será sinola historia misma que se repite y habré cumplido conmi destino....Así como usted nació para ser reina, yo nací paraser luchadora de los derechos de mi pueblo. Sigosiendo, a través de mis ancestros, una de sus sociasen el tratado y espero con interés su respuesta.TUAIWA (EVA)RICKARDO TE RANGATIRATANGAO WHAINGAROAI roto i tēnei wā, te tekau mātahi o ngā rā oHui Tanguru o te tau 1996, e hoki ana ngāmahara ki ngā wā i tūkunotia, aa, takahia ai eTauiwi ngā Iwi Tūturu Tangata Whenua o teao, ā, i ngaro ai ō rātou Mana Motuhake.Kia ahatia. Tērā anō hoki te wā i taea ai erātou te karo i tauatūkinotanga.Kia tū ake anō tō Mana Motuhake i tangohiarā.Kua tae ki te wā, mō te iwi o Te Whaingaroaki te whakatau i tō rātou Mana Motuhaketangame tō rātou Tino Rangatiratanga.Ko tenei kaupapa e tautoko ana, Ka whakahaeretiae te iwi o Te Whaingaroa i raro i ngātikanga whakahaere katoa e noho pumauana i raro i te kaupapa Mana Motuhake.Aa, Ka whakahaeretia hoki i raro i ngā tikangatuawhakarere a ngā tūpuna.Ki te hoki anō ki aua tikanga, kei te hoki kite tūturutanga o Te Tino Rangatiratanga o teiwi whānui, tatū atu ki te Mana Māori Motuhakemai rā anō.Ko te hikinga o tēnei kaupapa, kei hikihoki i ngā taumahatanga, engari kei rotoanō i te wairuatanga e haere tahi ana tehumārietanga me ihiihi.Hei whakapumau i tō tātou Tino Rangatiratangame unuhi atu te mana o te hunga etakahi tonu nei i ā tātou engari kia pahure atātou i ngā tikanga muru oranga a tauiwi.Anei hoki, kia mōhio mai koutou ngā hapūme ngā iwi puta noa i te motu, Ka whakariteaake he tikanga e taea ai te tuitui te rangarangai te whanaungatanga me te tōtikao te nohongatahitanga, arā hoki ki ō tātouwhanaunga, ngā Tūturu Tangata Whenua ote Ao.Nō reira e ngā Kārangaranga o roto i a tātou,Kia hikina tēnei kaupapa, kia eke ki tonutaumata.Tūturu whakamaua kia tinaa! Tinaa! Hui e,Tāiki e.Nota: Jamás hubo respuesta alguna de la reinaIsabel, simplemente uno de sus secretarios escribióalgo parecido a un acuse de recibo de lacarta donde le agradece la molestia.Eva Rickard’s letter to the Queen of EnglandTe Kopua Road Raglan/WhaingaroaAotearoa13 September 1995. [Edited by Xavier Meade].Tena koe e te Kuini o Ingarangi,Greetings to you oh Queen of England, I am a nativeof Aotearoa, tangata whenua, one of the FirstNation Peoples of this land.… I am now 70 years old and have recently beenreminded of my great grandparents who were slainat Rangiriri Pa, and of my grandfather who thoughwounded by British soldiers escaped with his twoyear old sister by swimming the Waikato River andwalking 70 miles overland to his tribe at Whaingaroa.Had he not escaped then I would not havebeen born.… An apology for calling my people rebels wasalso demanded by those negotiating with your government.As a descendant of those rebels, I don’texpect an apology to Waikato.… To be honest, my people would prefer action notwords.… no amount of talking is going to erase the mistakes,the pain, or dry the blood of my ancestors.My mother told me, to forgive if I could but never toforget, and as you can see I haven’t forgotten.One hundred and sixty years ago on 28 October1835, your ancestor King William signed the Declarationof Independence recognizing our Maorination under the Confederation of Chiefs. That wasat a time when we were trading, had an economicbase and were prospering.One hundred and fifty five years ago the Treaty ofWaitangi was signed. Then began the decline ofmy people, te iwi Maori.Once the treaty was signed your colonists beganto claim the 66 million acres of our land. They havebeen busy ever since selling our land and its treasuresto foreigners without our permission. Youcan stop them if you want to, or you can just be apicture on a $20 note.… unfortunately successive governments in thiscountry continue to betray that sacred documentand have used it for their own purposes at enormouscost to us, your treaty partners.… I come now to the real purpose of my letter. Iwrite to inform you that I am declaring my Tribe’sIndependent State in Whaingaroa, Aotearoa, NewZealand on the 12 February 1995.The signing will take place on the 63 acres of landwhich was confiscated for an aerodrome duringWorld War 2. Our village was demolished and ourpeople made homeless by our forced contributionto the war effort.... We were arrested on the 12 February 1978 duringa sacred service on the burial grounds of ourancestors. Finally in 1984 some of the land, ouroriginal village site, was returned. The remainderis still and airport.I can no longer sit and do nothing. No longer do Ihave to listen to my elders telling me to be peacefuland believe in God. My gods are my earth mother,my sky father, and their numerous children.I am declaring my tribe’s independence, no matterwhat it may cost. Like my ancestors, I am willingto die for my people’s freedom. It is time that wedetermine our own future in our own land. If I haveto die for this cause it will only be history repeatingitself and I will have fulfilled my destiny.… Just as you were born to be a queen, I was bornto be a fighter for my people’s rights.I remain, through my ancestor, one of your treatypartners and await your reply with interest.Heoi ano,Tuaiwa Hautai Kereopa

dion hitchens artistaRua Kenana fue un profeta y líder espiritual de losTuhoe, forma parte de una lista de hombres comoél en la sociedad maori en tiempos de pobreza ydesesperación para comunidades maori de principiosdel siglo XX. Nuestra población maori habíadecrecido tanto que los antropólogos la llamaban‘raza moribunda’. Hubo muchos factores que contribuyeron:las guerras de mosquete, las guerraspor la tierra, y lo que más muertes causó: Influenzay enfermedades.Los Tuhoe también sufrieron bajo la ‘política detierra quemada’ gubernamental, que consistía enla quema de cosechas y aldeas, seguida de robosde tierra por parte del gobierno colonial por presuntoscrímenes. A finales del siglo IXX los Tuhoeescondían al profeta Te Turuki (conocido tambiéncomo te Kooti). Te Turuki, que tenía muchos seguidoresentre los Tuhoe, profetizó la llegada de unhombre del este para guiar a los maori a la salvación.Rua Kenana alegó ser ese visionario profeta queTe Turuki había vaticinado. Adoptó el símbolo delrey de trébol pues se consideraba el cuarto y últimoprofeta maori. ‘La estrella de la mañana’, representaal este y el diamante Maungapohatu, conlas líneas curvas representando al cometa Halley.Todos estos símbolos adornaron la entrada a la comunidadde Maungapohatu. La historia nos cuentaque una noche la ancestral Whaitiri apareció tresveces en un sendero brumoso, ella guió a Rua ya su primera esposa Pinepine a la cima de Maungapohatudonde al amanecer tuvieron la visión deCristo junto a ella.Cuando Rua se percató de la realización de sunuevo propósito, comenzó una travesía por tierrasde las tribus de la canoa Mataatua. Él reunió gentea su alrededor y entre ellos construyeron su Nuevopueblo y comunidad en Maugapohatu, la Nueva Jerusalén.Maugapohatu es un antiguo sitio ancestrallocalizado en el bosque de Urewera y es ahora residenciade los ‘Iharaira’ o seguidores de Rua. Erauna gran caminata con condiciones extremas paraentrar o salir de ese espacio. El primer año fue unode los más difíciles causando muchas bajas, lasseveras condiciones del terreno, el clima, la pobrezay especialmente la influenza cobraron su cuotaa los primeros habitantes de la comunidad. Muchosmurieron en el primer invierno por enfermedades,pero Rua y sus seguidores resistieron, y continuaroncreciendo con fuerza.El éxito de Rua no dependía de los pakeha (europeos).Al mismo tiempo, el mundo que habíacreado adoptó y se adaptó rápidamente al cristianismoy a una economía autosuficiente. Ellostrabajaron para ganaderos y trajeron dinero a lacomunidad. El rápido crecimiento de los seguidoresde Rua fue tal que se convirtieron en una amenazapolítica. Su voz y opinión tuvieron fuerte influenciaen gran parte de los ciudadanos maori en todo elpaís.Rua y los Iharaira establecieron el pacifismo de laBiblia y se llamaron a ellos mismos el pueblo de lapaz duradera. Su postura en contra de maori alistándoseen la primera Guerra mundial fue socavadapor rumores y mentiras publicadas en el AucklandStar y Rotorua Cronicle para desacreditarlo y alimentarel deseo de participar en la guerra del país.La unidad, la fuerza, el orgullo y esperanza inculcadaspor Rua a los Tuhoe, aún es patente hoy endía, el espíritu de independencia, paz y resistenciacontinua. La lucha por retener aspectos de su autonomíasigue. A mis primos que continúan la resistenciapacífica, yo los aplaudo; les envío mi aroha(amor) y mi respeto.RUA KENANAHe matakite a Rua Kenana, he amorangi tiaki wairuai tōna iwi, i a Tūhoe. I te tīmatanga o te rau tau 20koia tētehi o rātou ngā tāngata i pēnei ai i te wā ote rawakore me te pōuri, i waenganui i ngā hāporiMāori. Kua iti haere te iwi Māori nā ngā pakangapū, ngā pakanga whenua me te māuiui rewharewhakia kīia ai he ‘dying race’.Kua raru hoki te iwi o Tūhoe i ngā kaupapa here ate Kāwanatanga pērā i te ‘scorch earth policy’, arā,te tahuna o ngā kai me ngā pā ki te ahi me te muruwhenua a te Kāwanatanga mō ngā whakapae rupahu.I te mutunga o te rau tau 1800 i te huna a Tūhoei a Te Turuki (Te Kooti). He maha o rātou i whai i aTe Turuki nāna te whakakitenga ka haere mai tētehitangata i te rāwhiti ki te whakaora i a rātou.I kī a Rua Kenana koia tonu te tangata i matakitehiae Te Turuki. I whakamahia e ia te kīngi karapu heitohu atu koia te tuawhā me te whakamutunga o ngāmatakite Māori. Ko Meremere-tū-ahiahi te whetūe tohu ana i te rāwhiti, ko te taimana hei tohu i aMaungapohatu, ā, ko ngā rārangi pikopiko e tohuatu ana i te ahitūroa a Halleys. Katoa ngēnei tohu ewhakapaipai ana i te kuaha ki a Maungapohatu. E aiki ngā kōrero e toru ngā wā i puta a Whaitiri i tētehihuarahi kohukohu hei ārahi i a Rua me tana wahinetuatahi a Pinepine ki te tihi o Maungapohatu. I tewhitinga mai o te rā i kite rāua i a Ihu Karaiti e tūana i tana taha.Ka mōhio a Rua ki tāna mahi hou, ka tīmata ia ki tehuri haere i te rohe o Mātaatua waka ki te whakaemii tōna iwi ki te hanga i tō rātou ake wāhi noho,i a Maungapohatu, i te Hiruharama hou. Ka tū aMaungapohatu hei kāinga mō ngā ‘Iharaira’, ngātāngata a Rua, kei tētehi wāhi tawhito o ngā tūpunai te ngahere o te Urewera. He roa rawa te hīkoi kiroto, ki waho i taua wāhi, ā, he kino ngā rangi i reira.I te tau tuatahi ki reira he maha o rātou i mate nā tekino o ngā rangi, te rawakore me te māuiui. Heoi ingana rātou ki te tiaki i a rātou anō kia ora pai mai.Kāore he hiahia nō Rua ki te Pākehā kia ora ai. I tauawā tonu i tere mau i tana iwi te Hāhi Karaitiana mete whai moni i ngā mahi pāmu kia ora ai. Nā te teretipu o tana iwi ka āwangawanga te Kāwanatanga. Karangona tōna reo me ngōna whakaaro e te mahatonu o ngāi Māori i te motu whānui. I whai a Rua mengana Iharaira i te rangmarie mai i te Paipera Tapu,ā, ka tapaina rātou ko te iwi o te rangimarie roa. Kotana tautoko kia kaua a Ngāi Māori e whawhai i tepakanga tuatahi i whakararungia e ngā rupahu menga harihari kōrero i tāngia ki te niupepa AucklandStar me te Rotorua Chronicle. I whakahēngia ia kiatautokongia kētia te hiahia o te motu kia whawhai.Ka taea tonuhia te rongo ite kotahitanga, i te kaha,i te whakahīhī me te tūmanako mō Tūhoe i ngēneirā tonu nei. Kei reira tonu te motuhaketanga, terangimarie me te whakahē. Kei te whawhai tonu kianoho motuhake a Tūhoe. E mihi ana au ki ngōkuwhanaunga e whawhai tonu ana i te rangmarie. Henui te aroha me te whakamihi.Rua Kenana was a prophet and a spiritual leaderfor Tuhoe he joined the list of many such men inMaori society in a time of poverty and despair forMaori communities, in the early 20th century. TheMaori population had decreased rapidly to thepoint where anthropologists referred to us as ‘thedying race’. There were many contributing factors:the musket wars, the land wars, and the biggestkiller of all, influenza and disease.The Tuhoe people had also suffered the government’s‘scorched earth policy’ which amountedto the burning of crops and villages, followed bygovernmental land theft for alleged wrongs. Tuhoewere harbouring the prophet Te Turuki (otherwiseknown as Te Kooti) in the late 1800’s. Te Turuki hada large Tuhoe following and he prophesised that aman would come from the east and lead Maori tosalvation.Rua Kenana laid claim to being this visionaryprophet that Te Turuki had foreseen. He adoptedthe king of clubs as a symbol that he was the fourthand last Maori prophet. The star is the ‘morning star’representing the east and the diamond representsMaungapohatu, with the curved lines representingHalleys comet. All these symbols embellished thegateway to the Maungapohatu community. Thestory goes that one night the ancestress Whaitiriappeared three times on a misty track, she led Ruaand his first wife Pinepine to the top of Maungapohatuwhere at sunrise they saw the vision of Christstanding beside her.Once Rua was awakened to the realization of hisnew found purpose, he started a journey of recognitionfrom all the lands of the Mataatua canoetribes. He gathered people around him and theybuilt their own town and community at Maungapohatu,the New Jerusalem. Maungapohatu is an ancientancestral site located in the Uruwera Forestand now the home of the ‘Iharaira’ Rua’s followers.It was a long walk in and out of this space, withvery extreme conditions. The first year up therewas one of the hardest with extremely high casualtyrates, the weather, poverty, the harsh environmentand especially influenza paying its toll on theinitial community inhabitants. Many died during thatfirst winter due to illness, but Rua and his followerswere resilient, so they proceeded to grow strong.Rua’s success wasn’t dependent on Pakeha. Atthe same time, the world he had created adoptedand adapted very quickly to Christianity and a selfsufficient economy. They worked for farmers andbrought the money back to the community. Rua’sfollowing grew rapidly to the point where he becamea major political threat. His voice and opinionhad an influence on a major portion of the Maoripopulation across the country. Rua and the Iharairadrew their pacifism from the bible and they calledthemselves the people of lasting peace. His standagainst Maori enlisting in the First World War wasundermined by rumours and lies published in theAuckland Star and the Rotorua Chronicle to discredithim and fuel the country’s desire for war.The unity, strength, pride and hope that Rua providedfor Tuhoe can still be felt today, the spirit ofindependence, peace and resistance is still strong.The fight to retain aspects of our autonomy carrieson. To my cousins who continue peaceful resistance,I applaud you; I send you my aroha andrespect.Dion Hitchens, July 2007Tamaki Makau Rau/AucklandAotearoa/New Zealand

james ormsby artistaHace ya más de 70 años Texaco se adueñóde imágenes del revolucionario Rey Tawhiaopara promover su gasolina a los locales.Llamándo a la marca simplemente “PowerChief” (jefe poderoso).Entonces, ¿quién fue este Rey Tawhiao, ypor que no usar su cabeza y su moko (tatuaje),para vender cualquier porquería?Tamihana Te Rauparaha, un maori de NuevaZelanda, había visitado Inglaterra a mediadosdel siglo IXX y visitó a la reina Victoria. Éldedujo que los maori perderían menos tierrassi se unían bajo un soberano, pero ésta vezpor un soberano maori. La búsqueda de unsólido líder, un rey, comenzó de inmediato.En 1856, hubo una convocatoria para unagran asamblea de jefes de tribus. PotatauTe Wherowheo fue nombrado jefe de jefes.Desde entonces, y en línea directa sus descendientescontinúan siendo soberanos.Te Heieta Paki en 2006 ascendió como elséptimo soberano desde 1858. Kingitanga (elreinado maori), es un símbolo de unión queincluye a todos los maori bajo una mismaasociación royal de autoridad y bienestar social.Esta figura fue establecida para prevenirmás pérdida de tierras y para unir a las tribusmaori. Hoy en día el mecanismo del reinadomaori continua vigente, especialmente en elárea de Waikato, donde yo resido.Tawhiao, hijo de Te Wherowhero, fue elSegundo rey maori en 1860, él lideró el movimientodurante los difíciles tiempos de laGuerra de Waikato de 1863-1864 así comolas confiscaciones de tierras que le siguieron.Estos fueron tiempos cruciales para el incipientemovimiento activista del Kingitanga.Tawhiao, quien era también un profeta, dirigióa su gente al exilio al sur de Te Awamutu,una área ahora llamada King Country(donde tengo mi estudio). Él logró mantenerel movimiento de Kingitanga vivo en tiemposen que se le veía como una amenaza a lacorona británica y a la colonización europeaen general. El rey Tawhiao es recordado y respetadocomo luchador por la causa maori,profeta, poeta, maestro y líder de los maori(indígenas de Nueva Zelanda). Yo no sé queextrañas estrategias de mercado decidieronusar la imagen de este gran hombre paravender gasolina hace tantos años.Hoy, como artista contemporáneo con afiliacionesa Kingitanga, soy un activo manipuladorde imágenes de mis ancestros. El escudode armas del rey Tawhiao, elaborado a peticiónsuya a finales del siglo IXX, incluye lassiete estrellas de la constelación de Matariki yes conocido como Te Paki o Matariki (el buenclima de Matariki (Pléyades), las siete hermanas.En este retocado cartel del rey Tawhiao,el título del original cambia de ¡ “Tetra-EthylLead” a “Terra-Lethal Head” !. Quizás suoriginal mana (prestigio) es restaurado en sucontexto gráfico pues la estrella, logo de Texaco,se convierte en “Utu” (balance). Hoy endía los maori ya no son pasivos recipientesde promociones y ventas de occidente. Estareapropiación es una bofetada de regreso alas corporaciones multinacionales que noscolonizaron, hasta con la imagen de nuestrosancestros. Confío que este cartel representeequilibrio y hasta un buen clima para el futuro.Paz.KING TAWHIAOE whitu tekau tau i mua i whanako a Texacoi te mata o te toa, o Kīngi Tāwhiao hei hokoatu i tā rātou penehinu ki te iwi. I tapaina ia“Power Chief”.Nā, ko wai tēnei Kīngi Tāwhiao? He aha te takeme whakamahi i tana ūpoko hei hoko mea?I haere a Tamihana Te Rauparaha, he Māorinō Aotearoa, ki Ingarangi i te 1850s kia toroi a Kuini Wikitōria. I whakapae ia kia mutu tewhakangarotanga atu o te whenua me whakakotahii raro i te maru o tētehi Kīngi Māori. Itīmata ki te rapu rangatira, he kīngi. I te tau1856 i hui katoa ngā rangatira Māori o te motu,ā, i whakatūria a Potatau Te Wherowhero heiKīngi. Ka heke taua rārangi Kīngi ki a TūheitiaPaki (i eke i te tau 2006) he Kīngi tuawhitu maii te tau 1858. He tohu te Kīngitanga e tūhonoana i ngā Māori i raro i te whanaungatanga, teora me te mana. I whakatūria te Kīngitanga kiamutu te whanako i te whenua me te whakakotahii ngā iwi Māori. Kei te ora rawa atu tonu teKīngitanga i Waikato, tōku kāinga noho.I eke a Tāwhaiao, te tama a Te Wherowhero,hei Kīngi tuarua i te tau 1860. Nāna te iwi iārahi i te wā o ngā pakanga a Waikato i nga tau1863 – 64 me nga whenua raupatu i whai mai.He wā uaua ngēnei mo te Kīngitanga. He matakitehoki a Tāwhiao, a, nāna tōna iwi i ārahi kite noho wehe i te tonga o Te Awamutu ki tētehiwāhi e mōhitia ana ko te Rohe Pōtae. Nānaanō i pupuri te Kīngitanga kia mau i te wā ikitea i taea e te Kīngitanga te Kāwanatanga mete noho hāpori i te iwi Pākehā te whakararu.Ka whakanuia a Kingi Tāwhiao hei toa mō teiwi Māori, hei matakite, hei kaituhi waiata, heikaiako, hei rangatira i te iwi Māori. Kāore i temōhiotia he aha i hiahiatia ai ko tōna matahei hoko atu i te penehinu i aua tau o mua.He kaitoi ahau o nāianei e whakapapa ana kite Kīngitanga. Kei te raweke au i te mata o tōkutupuna. Ko te tohu a Kīngi Tāwhiao, i hangaiai te mutunga o te rau tau 1900 i runga i tanatono. Kei te tohu e whitu ngā whetū e tohuana i Te Paki o Matariki. I tēnei whakaahuaka rerekē te taitara mai i te ‘Tetra-Ethyl Lead”ki te ‘Terra –Lethal Head”! Tērā pea ka hokiatu tōna mana ki tēnei whakaahua hou nāte tīni o te tohu a Texaco ki te “Utu”. I ngēneiwā kāore a Ngāi Māori i te whakaae noa ihomai ki ngēnei tūmomo mahi hokohoko. Keite whakautu rātou i ngā kamupene nunui iwhakapākehā mai i a mātou me ngā mata otō mātou tupuna. E whakapono ana au kuawhakatikahia tēnei tūāhuatanga e tēnei whakaahua,ā, tērā pea hei wā pai kei te tū mai.Pai mārire!Over 70 years ago Texaco appropriated imagesof revolutionary King Tawhiao to helpsell their petrol to locals. They branded himsimply a “Power Chief”!So, who was this King Tawhiao, and why notuse his head – his moko, to sell stuff?Tamihana Te Rauparaha – a Maori from NewZealand, had been to England in the 1850’sand visited Queen Victoria. He deduced thatMaori would be more likely to prevent the lossof land by uniting under the rule of a sovereign-this time from among Maori. The searchfor a strong leader – a king, was immediatelyinstigated. In 1856, a great assembly of tribalchiefs was called. Potatau Te Wherowherowas honored as chief of chiefs. From then, indirect line, the decent continues with Te HeitiaPaki (ascended 2006), as the seventh sovereignsince 1858. The Kingitanga is a symbolicbond that links Maori together in common associationof kinship, welfare and authority. Itwas established to prevent further alienationof land and to unite Maori tribes. Today theKing Movement is very much alive in myhome area of Waikato.Tawhiao – the son of Te Wherowhero, becamethe second king in 1860, and led themovement during the difficult times of theWaikato War of 1863–4 and land confiscationsthat followed. These were crucial timesfor the fledgling activist movement Te Kingitanga.Tawhiao, who was also a prophet, ledhis people into exile south of Te Awamutu, anarea now known as the King Country (this iswere my studio is). He managed to keep theKingitanga together when it was viewed asa direct threat to the authority of the BritishCrown and to European settlement in general.King Tawhiao is respected as a fighter forMaori - a Prophet, Poet, Teacher and leaderof Maori (New Zealand’s indigenous people).I don’t know what strange marketing planscaused this great man’s image to be used tosell petrol many years ago.Today - as a contemporary artist with tribal affiliationsto Kingitanga, I’m an active manipulatorof the image my tipuna (or ancestor). KingTawhiao’s coat of arms, devised at his requestlate in the nineteenth century, includes theseven stars of Matariki and is known as –TePaki o Matariki (The fine weather of Matariki -or Pleiades, the Seven Sisters cluster of stars).In this re-worked poster, King Tawhiao’s titlechanges from the original “Tetra-Ethyl Lead”to “Terra-Lethal Head”! Perhaps his originalmana (or prestige) is restored to this graphiccontext as Texaco’s logo star mutates to “Utu”(or balance). Nowadays Maori are no-longerpassive receivers of Western sales and marketing.This reappropriation is a slap back atthe multinational corporations that have in thepast colonized us - even our ancestor’s image.I trust this poster now presents equilibrium,even fine weather for the future.Rangimarie (peace)…James Ormsby (09/07/07)Te Awamutu, Aotearoa/New Zealand

tessa laird artista SUSI NEWBORNI whānau mai a Susi Newborn ki Rānana i te tau 1950.Susi Newborn nació en Londres en 1950. De padresargentinos, hija de diplomático, ha viajado portodo el mundo, actualmente vive en Nueva Zelanda.Desde muy temprana edad Susi expresó interés enla política radical, su primera manifestación fuesalvando a un árbol de ser derribado en su jardín,¡abrazándolo! Como estudiante fue partidaria de lacampaña de desarme nuclear, siendo muy joven,fue uno de los miembros fundadores de Greenpeace.Susi ayudó a comprar un buque de segundamano que se convirtió en el Rainbow Warrior (Guerrerodel Arco iris), junto con un grupo de activistasquienes se dedicaron entre otras actividades a laprotección de las ballenas, especie en vías de extinción,participaron como vigías en los océanosdurante las pruebas nucleares, y el transporte yvertido de residuos radioactivos. Ella fue una de lasfirmantes en ese cheque histórico. El nombre delbuque se debe a ella, quien lo llamó así en honor deun libro sobre profecías de indígenas del Norte deAmérica llamado: “Guerreros del Arcoiris: Extrañosy Proféticos Sueños de los Indios” de William Willoyay Vinson Brown.Una India Yaqui le dijo una vez: “sigue el caminode tu corazón”, no cabe duda que Susi demuestraque ha pasado su vida haciendo precisamente eso.Ella escribe en su autobiografía, (A Bonfire in myMouth -Una hoguera en mi boca) cándidamente,acerca de una vida vivida plenamente, protegiendoen lo que ella cree, ya sean ballenas, focas o ideales.Ella escribe “No era acerca de animales, me dicuenta. Era sobre la Creación, punto y aparte. Erasobre la destrucción del planeta por el hombre porla satisfacción de su avaricia a corto plazo. Hambrede poder en que el pito más grande gana.”En 1978 el Rainbow Warrior dejó Londres para interceptarballeneros de Islandia en el Mar del Norte.Este fue un buque diferente –la tripulación usaba elmétodo de adivinación china, el I-Ching para navegar,mientras sus banderas comunicaban “FuckWhalers” (malditos balleneros)-. La tripulaciónconsistía de diecisiete personas, representando aocho nacionalidades, incluyendo a la neozelandesaHilari Anderson, la cocinera del barco, quien podíahacer un soufflé de limón durante un vendaval decategoría 11 en el Atlántico Norte.En sus actividades entre campañas, Susi pasó untiempo en la isla griega de Samos. Ella dijo: “Era mifirme creencia que si yo iba a ser una activista efectiva,necesitaba desvincularme, a veces por mesesy hacer algo totalmente diferente –vivir en otrasculturas, aprender otro lenguaje-. Esa era para míla mejor manera de no perder el entusiasmo, de noquemarme. Era importante buscar una ruta integraly multidimensional para hacer campañas.”En 1985, agentes secretos franceses bombardearonel Rainbow Warrior en la bahía de Auckland, estabanen camino al atolón de Mururoa con el objetivode protestar contra las pruebas nucleares francesasen el Pacífico. El fotógrafo Fernando Pereira murióahogado tratando de recuperar su equipo. Añosmas tarde, el gobierno francés pagó compensacióna Greenpeace, y eventualmente cesó su programade pruebas nucleares.Susi vive actualmente en la Isla de Waiheke,Aotearoa, en compañía de su marido Luc Tutugoro,artista y activista Kanak y de sus hijos. Ella continúasiendo una activista y comentarista en derechos delos indígenas del Pacífico Sur.Nō Argentina ngōna mātua. Kua huri rauna ia i te aoengari ināianei kei Aotearoa e noho ana. Ka mahitōna pāpā mā te Kāwanatanga engari mai i tōna taiohitangaiwhakahē a Susi i ngā mahi kāwanatanga itāna mahi awhi i tētehi rākau i tāna māra kia kaua etapahia! I a ia e ako tonu ana ka tautoko ia i te ‘Campaignfor Nuclear Disarmament’, ā, ka tupu ake nānaanō a Greenpeace i whakatū i Uropi. Nā Susi rātouko ngōna hoa i hoko i te poti tawhito, i te RainbowWarrior, kia tiakina ngā wēra i ngā tāngata hopu mete titiro ki ngā mahi whakamātau karihi, te kaweme te tuku i te karihi pirau. Nā susi I waitohu I tehaki, ā, nōna anō te whakaaro kia tapaina te poti mōtētehi pukapuka matakite a ngā Māori o Amerika“Warriors of the Rainbow: Strange and PropheticDreams of the Indians” nā William Willoya me VinsonBrown.Tērā te wā i tohua a Susi e tētehi wahine Yaqui kia“whai i tōna ngākau”, ā, i tana tuhinga mōna anō, ABonfire in my Mouth, ka whakaatu a Susi i pērā ia.He pono ngāna tuhinga mō ngā mea katoa kua otii a ia te mahi pērā i te tiaki i ngā wēra, ngā kekenome te whakapono ki ngōna ake whakaaro. Ka tuhi ia:“Ehara ko ngā kararehe anake te take. Ko te ōrokohangao te ao, ka mutu! E pā ana ki te whakamate i te ao a tetangata kia tutuki pai ai ngōna nei hiahia mōna anō.Kia riro i a ia te mana whakahaere, ka toa ko te tangatanōna te ure nui.”I wehe te Rainbow Warrior i Rānana i te tau 1978, kite tūtaki ki ngā kaitohorā nō Iceland, i te Moana ki teRaki. He rerekē tēnei poti – I whai ngā kaiwhakaterewaka i te taonga Hainamana I-Ching ki te whakaterei te waka mā ngā whetū me te tuhinga kei rungai ngā ratou haki e kīia ana “Fuck Whalers.” 17 ngākaiwhakatere waka nō ngā whenua e waru. Ko HilariAnderson nō Aotearoa tētehi. He kuki ia, ā, i taea eia te tunu lemon soufflē i a te hau e kaha pupuhi anai te North Atlantic.Kia whakatā a Susi ka noho ia ki te motu Kāriki oSamos. Ka kī ia. “ I whakapono au kia pai ngāku mahiwhakahē me wehe au mō ngētehi marama kia whai mahirerekē – noho ki waenganui i iwi kē me te ako i ngō rātoureo me ngā rātou tikanga. Koirā te huarahi pai ake, ki aau, kia kaua au e maroke, e whakapau kaha. Me nganatonu kia whai whakaaro ngā mātou mahi tiaki me tewhakahē ki ngā āhuatanga katoa e pā ana ki ngauamahi.”I te tau 1985, i mua i tana haerenga ki Mururoa kite whakahē i ngā mahi pahū karihi a ngā Wīwī i teMoana-nui-Kiwa, i whakapahūngia te Rainbow Warriorki Akarana e ngā pūraho nō Wīwī. I toromi kiamate a Fernando Pereira, he hopu whakaahua, i tewā i ngana ia ki te tiki i ngāna taputapu hopu whakaahua.Ka hipa te maha o ngā tau ka hoatu moni tekāwanatanga Wīwī ki a Greenpeace , ā, ka mutu temahi pahū karihi.I tēnei wā kei te noho a Susi rātou ko tana tāne, koLuc Tutngoro, he kaitoi Kanak, ko ngā rāua tamariki,ki te motu o Waiheke. He kaitiaki, kaiwhakahē,kaikōrero tonu a ia i tāna take: ngā mana ā iwi o teMoana-nui-ā-Kiwa.Susi Newborn was born in London in 1950 of Argentineanparents, has travelled the world, andnow lives in New Zealand. Her father was a diplomat,but very early Susi expressed an interest inradical politics, saving a tree from being cut downin her front garden by hugging it and refusing to letgo! As a student, she was a supporter of the Campaignfor Nuclear Disarmament, and as a youngwoman, she was one of the founding members ofGreenpeace in Europe. Susi helped purchase thesecond-hand ship that became the Rainbow Warrior,along with activists that protected endangeredwhales from being hunted, as well as keepingan eye on nuclear testing and the transport anddumping of radioactive waste. Susi was one of thesignatories on that historical cheque, and it washer idea to name the boat after a book of NativeAmerican prophecies called Warriors of the Rainbow:Strange and Prophetic Dreams of the Indiansby William Willoya and Vinson Brown.Susi was once told by a Yaqui Indian woman thatshe should “follow the path with heart”, and in herautobiography, (A Bonfire in my Mouth), Susi demonstratesthat she has spent her life doing just that.She writes candidly of a life lived to the full, spentprotecting what she believes in, be it whales, seals,or ideals. She writes: “It wasn’t about animals, I figured.It was about Creation, full stop. It was aboutman’s destruction of the planet for the satisfactionof short-term greed. Hungry for power, the biggestdick wins.”In 1978 the Rainbow Warrior left London to interceptIcelandic whalers in the North Sea. Thiswas a boat with a difference – the crew used theancient Chinese divining system the I-Ching fornavigation, while their signal flags spelled out“Fuck Whalers.” The crew consisted of seventeenpeople representing eight nationalities, includingNew Zealander Hilari Anderson, ship’s cook, whocould make a lemon soufflé in a force 11 gale inthe North Atlantic.Between her active campaigning, Susi spent timeon the Greek island of Samos. She said, “It wasmy firm belief that if I were to become an effectiveactivist, I needed to get away, sometimes forseveral months at a time, and do something entirelydifferent – live among other cultures, learn anew language. That was the best way, I figured, ofnot becoming stale, jaded, or burned out. It wasimportant to strive for a holistic, multidimensionalapproach to campaigning.”In 1985 French secret agents bombed the RainbowWarrior in the Auckland harbour, on her way to MoruroaAtoll to protest French nuclear testing in thePacific. Photographer Fernando Pereira drownedwhen he attempted to retrieve his equipment.Years later, the French government paid compensationto Greenpeace, and eventually ceased theirprogramme of nuclear testing.Susi now lives on Waiheke Island, Aotearoa, withher husband, Kanak artist and activist Luc Tutugoro,and their children. She remains an activistand commentator in her particular field of concern:indigenous rights in the Pacific.Tessa Liard, June 2007Tamaki Makau Rau/AucklandAotearoa/New Zealand

artistakaterina matairaAhora, Ralph a sus 76 años es uno de los principalesartistas de Nueva Zelanda con reputacióntanto internacional como nacional. Su obra es unade las adquisiciones mas valuadas en muchas galeríasneozelandesas y en colecciones privadas.De ascendencia maori, él creció en una remota villajunto al mar en la costa oriental de la isla del nortede Nueva Zelanda. La villa se llama Mitimiti, quesignifica ‘lamer’, nombre que recuerda lo amargode las batallas tribales cuando los Ngapuhi cayeronsobre el pequeño asentamiento y masacraron a sugente. En la playa esta en pie una roca grande yprominente en la cual parte de la batalla ocurrió.Se dice que los victoriosos Ngapuhi lamieron lasangre derramada de sus víctimas en esa roca.Este horrendo evento, dicho y vuelto a decir porgeneraciones, pudo muy bien haber influenciadoel total rechazo a la violencia a la generación deRalph, especialmente la violencia justificada porsucesivos gobiernos del mundo contra la humanidady el medio ambiente.Sus pinturas de protesta comenzaron cuando estudiabaen la Escuela central de Arte en Londres.Fue durante el período de la guerra fría contraRusia. El gobierno de EEUU había persuadido yconsiguió un arreglo con el gobierno británico parapermitir la construcción de bases para misiles en elReino Unido, de donde los misiles Polaris podíanser lanzados contra un posible ataque ruso. Esefue un volátil período de marchas de protesta yde una serie de expresiones públicas de repudioa las políticas internacionales. En el lienzo, Ralphcapturó la furia, el miedo y la anticipada violenciade la inminente guerra en su serie Polaris de granformato.Nacido en la fe católica de Roma y educado comointerno en una escuela católica-romana, no debesorprender que Ralph use el crucifijo como símbolorecurrente de expresión contra la guerra y lasvidas sacrificadas de hombres y mujeres jóvenesen batallas. Es más, uno de sus hermanos muriópeleando y su cuerpo quedó en Sangrio, Italia.Después de visitar el cementerio en Sangrio ycontemplar la tumba de su hermano, realizó unaserie de pinturas llamadas “la Serie de Sangrio”,estos trabajos están pintados en sombríos tonosgrises y reflejan las líneas angulares y encrestadastexturas de las tumbas. El sentimiento de estaobra es de profunda tristeza.La intrusión de los Estados Unidos en los asuntosdel Medio Oriente también han sido alimento parael pincel de Ralph. En estas obras los colores delhumo, fuego y explosiones se combinan con palabrasy símbolos arábicos que expresan su continuaprotesta contra la guerra.En su propia tierra, Nueva Zelanda, él es igualmentefuerte en sus protestas contra acciones delgobierno que ponen en peligro el medio ambientey los recursos naturales de la nación. A su regresode sus estudios en el exterior, Ralph se asentó enPort Chalmers, Dunedin. Desde ahí defiende y protegeferozmente la vida marina que abunda en lasaguas de la Isla del Sur y la bahía en donde vive.Cuando las autoridades locales quisieron construiruna fundidora de aluminio en un sitio cercano a labahía, otra serie de trabajos inspirados en el tema,salieron a la luz.Mientras la mayor parte de su obra es de protesta,oscura y no fácil de entender, también nos habladel profundo sentimiento que Ralph tiene por lasantidad de la vida en todas sus formas.RALPH HOTEREKua 76 tau nei te pakeke o Ralph, ko ia tētahi o ngā tino tohungawhakairoiro o Aotearoa, kua horapa hoki tōna rongoki ngā tōpito o te ao. He tino taonga āna mahi ki ngā wharewhakaaturanga toi me te hunga kohi whakairoiro.I pakeke mai a Ralph i te papa kāinga ō ona tīpuna i te tahahauāuru o te Ika a Māui, o Aotearoa. Ko Mitimiti te ingoa otaua kāinga, he ingoa whakamaumahara i ngā pakanga ā-iwime te hekenga iho o Ngāpuhi ki te patu i te hapu o Ralph.Kei te onepū e tū ana tētahi toka nui, koia i tū i waenga o ngāhoariri o te pakanga. E ai ki ngā kōrero, i mitimitia e ngā toa oNgāpuhi te toto o te hunga mate i maringi ki taua toka.Nā tēnei kōrero wetiweti, koia i whakahuahuatia kia rongongā taringa o ia whakatipuranga, o ia whakatipurangi i tokomai ai i roto i a Ralph tana kore whakaae ki ngā mahi ririhaukatoa, kore rawa hoki e whakaae ki ngā mahi kōhuru i te hungatangata me te wheiao e whakaaetia ana e ngā kāwanatangao te ao.I toko tuatahi mai ēnei whakaaro ōna i āna whakairoiro i tewā i te Central School of Art o Rānana, a ia e kura ana. Koirā tewā whakatumatuma ai a Rūhia rāua ko Amerika. I whakaaetiae te kāwanatanga o Ingarangi kia whakatutū papa kurupere ngā Marikena hei kurukuru mā rātau ki ngā Rūhia inapakanga mai rātau. Koirā hoki te wā i kaha te takahi whenuame te kauwhau a te hunga kore whakaae ki terā kaupapa mengā kaupapa manene a te kāwanatanga. Ko Ralph tērā e hopuana i te pukuriri, te mataku me te wehi ki ngā pakanga i roto iāna whakairoiro. I tapaina e ia ēnei mahi ko te Polaris Series.Nā tana tipu mai pea i roto i te Hāhi Katorika i tiki atu ai aRalph i te rīpeka hei tohu auau māna mō ngā pakanga o te aome te matemate o te hunga tangata i roto i aua pakanga. Kotana tuakana tonu tētahi i hinga i te pakanga tuarua o te ao, itanumia hoki ki Sangrio, Itāria. I tae atu a Ralph ki te moengaroao tana tuakana whakamomori ai. Nā tērā ka puta hoki hewhakairoiro anō. I tapaina ēnei whakairoiro ko te SangrioSeries, e mau ana hoki i konei ko ngā tūāhua kiwikiwi, konae,kōputaputa, kōhakihaki o ngā pohatu. Mau ana ano te tinopōuri o te whatumanawa.He take whāngai anō i te taitai whakairoiro a Ralph tērā ote kuhu atu o ngā Marikena ki ngā take nui o ngā whenuaWaenga Rāwhiti. I konei ka mahi ngātahi ngā kupu tauiwi,ngā kupu Arabic me ngā tae o te kauruki, te pohu me te murao te ahi hei whakaputa i te tino kino o Ralph ki aua pakanga.I te hau kāinga, i Aotearoa, kaha anō te whakahē a Ralph i ngākaupapa tūkino i te whaiao, a ngā kaunihera. I tana hokingamai i rāwāhi i noho a Ralph ki Koputai, Otepoti. Kaha tanawhawhai kia ora tonu ngā ika me ngā mātaitai o te Waipounamume te whanga o Koputai. Nō te putanga o te kaupapawhakatū whare tahu konumohe a te kaunihera o taua takiwā,ka puta anō ngā whakairoiro whakahē a Ralph. Kīhai tauawhare i tū.He whakahē i ngā mahi tūkino a te hunga kāwanatanga tenuinga o ngā whakairoiro a Ralph. Ahakoa te pōuriuri me teuaua o te kite marama atu he aha te tikanga o ana whakairoiro,koia tērā te tino tikanga, arā, ko te tapu o te toiora o ngāmea katoa.Now 76 years old Ralph is one of the foremost artistsof New Zealand with both a national and internationalreputation. His works are a valued acquisitionin most New Zealand art galleries and manyprivate collections.Of Maori descent he grew up in a remote seasidevillage on the west coast of the North Island ofNew Zealand. The village is called Mitimiti, meaning‘to lick’, a name which recalls the bitterness oftribal battles when the Ngapuhi descended on thequiet settlement and slaughtered its people. On thebeach stands a large and prominant rock on whichpart of the battle ensued. It is said that the Ngapuhivictors licked the spilled blood of their victims fromthis rock.This horrendous event, told and retold through thegenerations, may well have influenced Ralph’stotal rejection of all violence, especially the violencecondoned by successive world governmentsagainst humanity and the environment.His protest paintings began when he was studyingat the Central School of Art in London. It was duringthe period of the cold war with Russia. The governmentof the USA had pursued and won an agreementwith the British government to permit the buildingof missile bases in the United Kingdom, fromwhich Polaris missiles could be launched against apossible attack by the Russians. That was a volatileperiod of protest marches and public expression ofstrong disagreement with government foreign policy.On canvas Ralph captured the anger, the fearand the anticipated violence of impending war inthe large works, of the Polaris Series.Born into the Roman Catholic faith and educatedin a Roman Catholic boarding school it is not surprisingthat Ralph should use the crucifix as a recurringsymbol of expression against war and thesacrificed lives of young men and women in battle.Indeed, one of his bothers was killed in action andburied in Sangrio, Italy. After visiting the cemeteryat Sangrio and contemplating his brother’s grave,a series of paintings resulted. Called the SangrioSeries, these works are painted in sombre tonesof grey and reflect the angular lines and encrustedtextures of tombstones. The mood of the works is adeep and ineffable sadness.The ongoing intrusion of America in the affairs ofthe Middle East has also been fuel for Ralph’spaintbrush. In these works the colors of smoke, fireand explosion combine with words and Arabic symbolsto express his continuing protest against war.On the home front in New Zealand he is equallystrong in his protests against the actions of localgovernment that threaten the environment andthe natural resources of the nation. On his returnfrom study abroad Ralph settled in Port Chalmers,Dunedin. He is fiercely protective of the marine lifethat abound in the waters of the South Island andthe harbour where he lives. So when the local authoritiesplanned to build an aluminum smelter on asite near the heads of the harbour another series ofworks was triggered.While most of his paintings are works of protest,are often dark and not easily understood. They infact tell us how deeply Ralph feels for the sanctityof all life.Katerina Te Heikoko Mataira, August 1 2007Hamilton/Kirikiriroa, Aotearoa/New Zealand

simon cumingPacifiista e investigador escrupuloso, Owen Wilkesfue fundador de CAFCA (Campaña Contra ControlExtranjero en Aotearoa) y la Campaña Anti-Bases(ABC).Educado en la Universidad de Canterbury (Lic.Ciencias Sociales), especializado en geología, Wilkestrabajó en varias excavaciones dirigidas por elmuseo de Canterbury junto con el artista Tony Fomison,documentando arte rupestre maori. En 1962Wilkes trabajó como asistente de campo en Antárticapara el museo Bishops de Hawaii. El se diócuenta de la naturaleza militar del programa DeepFreeze (congelador), con Antártica siendo usadacomo un gigantesco campo de entrenamiento militar.Mas tarde en el verano de 1965-66, fue una vezmas empleado por el museo Bishop, él trabajabapara encontar la evidencia que demostrara que elproyecto Deep Freeze era una operación militar.En 1966 Wilkes fue empleado en Nueva Guineapara coleccionar parásitos y se dió cuenta que estarecolección era parte de un proyecto de guerrausando gérmenes, utilizando al museo Bishopcomo fachada.En junio de 1968, trabajando con Phil Howell deldepartamento de Física de la universidad de Canterbury,él presentó un artículo sobre la propuestainstalación “Omega” de la marina estadounidenseen el lago Pearson (cerca de Athur’s Pass). Esteartículo fue impreso en Canta y publicado (Editadopor Bill Guar, 72,000 copias) como una ediciónespecial de emergencia. El articulo describía alsistema Omega el cuál consistía de ocho transmisoresalrededor del mundo, utilizando Very LowSignals (VLF,) frecuencias muy bajas, que viajan através del agua, como guías de navegación parasubmarinos, Omega, de haberse realizado, la basetransmisora hubiera hecho a Nueva Zelanda unobjetivo nuclear.A principios de los setentas el, junto con TimShadbolt, fue uno de los editores del New ZealandWhole Earth Catalogue que tuvo gran influencia ensu época.Vivió seis años en Suecia, donde trabajó para elStockholm International Peace Research Institute(SIPRI) -Instituto Internacional de Investigaciónpara la Paz-. La policía lo capturó en una redadacuando regresaba de un viaje en bicicleta alrededorde las islas entre Suecia y Finlandia y fuesentenciado a seis meses de prisión.El jugó parte importante exponiendo varios esquemasde desestabilización de la CIA (AgenciaCentral de Inteligencia de los Estados Unidos), dirigidosal Labour Govermnet, como el “Maori LoanAffair” y el supuesto submarino soviético visto enlas Islas Cook.Durante los ochentas fue pieza clave en el movimientoanti-bases que formó la Campaña AntiBases (ABC). Este comité fue conocido como “LosPatriarcas Barbudos”.Mientras trabajaba con el Departamento de Conservaciónen los noventas completó un inventariode aproximadamente 1000 sitios arqueológicos entierra administrada por el mismo departamento alrededorde Kawhia y Awakino. La documentacióntrataba sobre historias verdaderas de la isla Cuviery el bosque de Pureora, desde el primer asentamientomaori, pasando por exploraciones europeas,hasta el periodo moderno de conservación.Fué en esta zona en la que Owen Wilkes se suicidó,hundido en una depresión.La contribución de Owen Wilkes al movimiento depaz en Aotearoa así como su conocimiento históricodel país son inmensos. Tenemos una deuda conél.artista OWEN WILKES 1940-2005OWEN WILKESHe tangata whakahē, mātau hoki ki te rangahau aOwen Wilkes, ā, nāna a CAFCA me te Anti-BasesCampaign (ABC) i whakatū.I kuraina ia ki te Whare Wānanga o Waitahā (BSc).Ko tana kaupapa matua ko te Geology. He mahangāna mahi kēri whenua mā te Whare Taonga oWaitahā, ā, i mahi tahi hoki ia ki te kaitoi a TonyFomison ki te tuhi i ngā kōrero mō te ‘Māori RockArt’. I te tau 1962 he kaimahi ia i te Antarctica mā teWhare Taonga Bishop o Hawaii. I mōhio haere iaki ngā mahi whakangungu hoia a Deep Freeze ki teAntartica, ā, i a ia e mahi ana mā Bishop i te raumatio ngā tau 1956 – 66, i āta rapu haere ia i ngētehitohu hei whakamana i ngōna whakaaro.I te tau 1968 i whakaputa rāua ko Phil Howell, nō teTari Physics i te Whare Wānanga o Waitahā, he pepae pā ana ki te whakatū i te US Navy Omega Installationki Lake Pearson, ki Arthur’s Pass. He mea ohorerete whakaputa e te etita, e Bill Gruar, ā, 72000 ngākape i tāngia ki te Canta. Ko te Omega he pūnahakei te ao whānui e ārahi ana i ngā submarines ki tenuku ki raro i te wai. Ki te tū tēnā ka whakararungiaa Aotearoa e ngā mahi karihi.I ngā tau 70 nā rāua ko Tim Shadbolt i etita i te pepaNew Zealand Whole Earth Catalogue.E ono ngā tau i noho ia ki Sweden hei kaimahi māte Stockholm International Peace Research Institute(SIPRI). I mauheretia ia mō te ono marama engā pirihimana i tana hokinga mai i tētehi haerengamā runga paihikara i waenga i a Sweden meFinland. I kaha hoki ia ki te whakaputa kōrero e pāana ki ngā mahi whakararu i te kāwanatanga Reipa1984 – 90 a ngā US Central Intelligence Agenciespērā i te Māori Loans Scheme me te kite atu i ngāsubmarine nō Ruhia i ngā moutere Cook.I ngā tau 80 he maha ngāna mahi mā te ABC. I tapainatā rātou komiti ko ngā Bearded Patriarchs. I aia e mahi ana mā DOC, i ngā tau 90, i tuhi rārangikōrero mō ngā wāhi 1000 o ngā whenua kēri e tiakinaana e Te Papa Atawhai kei ngā takiwā o Kāwhiame Awakino. I tuho kōrero hītori ia mō te motu oCuvier me te ngahere o Pureora, mai i te wā i whakanohoiate whenua e ngā Māori tae noa ki nāianei.I te tau 2005 i whakamomori ia i a ia anō nā tanapōuri, kei tēnei takiwā. He maha ngāna kōrero mengāna mahi kia tau mai te rangimārie ki Aotearoa.E mihi ana ki a ia.Peace activist and fastidious researcher OwenWilkes was a founder of both CAFCA (CampaignAgaisnt Foregin Control of Aotearoa) and the Anti-Bases Campaign (ABC).Educated at University of Canterbury (B.Sc), majoringin Geology, Wilkes worked on various CanterburyMuseum digs and alongside Tony Fomison(NZ artist), documenting Maori rock art. In 1962Wilkes worked as a field assistant in Antarctica forthe Bishop Museum of Hawaii. He became awareof the military nature of the whole Deep Freeze programme,with Antarctica being used as a giganticmilitary training ground and later in the summer of1965-66, again employed by the Bishop Museum,he was consciously looking for evidence of OperationDeep Freeze being a military operation.In 1966 Wilkes was employed in New Guinea tocollect parasites and he discovered that it was partof a US Army germ warfare project, a military projectusing the Bishop Museum as a front.In June 1968, working with Phil Howell of the University(of Canterbury) Physics Department, hesubmitted an article on the proposed US NavyOmega installation at Lake Pearson (near Arthur’sPass). It was printed in Canta, and published (Editor,Bill Gruar, 72,000 copies) as a “special emergencyedition”. The article described the Omegasystem consisting of eight transmitters around theworld, utilizing Very Low Frequency signals (VLF),which travel through water, as a navigational guidefor submarines, Omega, the transmitting relay basewould have made New Zealand a nuclear target.In the early 70s he, along with Tim Shadbolt, wasone of the editors of the hugely influential NewZealand Whole Earth CatalogueHe lived six years in Sweden, where he workedfor the Stockholm International Peace ResearchInstitute (SIPRI). Police swooped on Owen as hewas returning from a bike trip around the islandsbetween Sweden and Finland and was sentencedto six months in prison.He played a leading role in exposing several ofthe US Central Intelligence Agency destabilisationschemes aimed at the 1984-90 Labour government,plots such as the “Maori Loans Affair” andthe alleged Soviet submarine spotted in the CookIslands.Throughout the 80s he was a major component ofthe anti-bases movement that formed as The AntiBases Campaign. The ABC committee becameknown as The Bearded Patriarchs.While working with DOC in the 90’s he completedan inventory of the approximately 1000 archaeologicalsites on land administered by the Conservancyaround Kawhia and Awakino. Documentingdefinitive histories of Cuvier Island and the PureoraForest from the earliest Maori settlement, throughEuropean exploration to the modern conservationperiod.It was in this area Owen Wilkes sadly took his ownlife, succumbing to depression, in 2005.Owen Wilkes’ contribution to the peace movementin Aotearoa and the historical knowledge of theland and its people is immense. We are indebtedto him.Simon Cuming, July 2007Tamaki Makau Rau/AucklandAotearoa/New Zealand

leafa wilson artistaTe kupu en maorí significa la palabra, que en ingléssignifica the word. Por ende, conocido tambiéncomo D Word, su nombre está estrechamenteligado a la difusión del mensaje pronunciado enmaorí del sistema de Babilonia conocido tambiéncomo presencia colonial y a las desventajas queimplicó el cristianismo.Dean Hapeta (como lo llamaron sus padres)podría ser considerado, acertadamente, uno delos profetas maoríes contemporáneos de nuestrotiempo. Las letras de sus canciones apasionadasy sin miramientos no tienen ningún reparo en sulínea de fuego dirigida directamente a la otredadcolonialista. En el mismo ánimo en que todo promotorde causas de los oprimidos emplea palabrastal como un antiguo guerrero maorí emplearía eltaiaha, como buen guerrero diestro se vale de suarma para herir al enemigo en cuestión justo enel corazón.En adhesión con otras ideologías de resistenciaque cuestionan el statu quo de los indígenas y devíctimas de racismo, Te Kupu es una voz que seniega a que lo acallen como parte de una minoría,y es que los maoríes constituyen apenas el 14% dela población total de Aotearoa o Nueva Zelanda.En la letra original de E TU, Hapeta (Te Kupu) hacereferencia a guerrilleros de sus antepasados: eljefe Te Rauparaha, un arrojado guerrero, así comoHone Heke, quien desafió la presencia colonialque habían hecho permanentemente visible cortandoel asta de la bandera británica en Kororareka(Russell). De hecho, la palabra TU fue extraídadel nombre Tu-mata-uenga, el atua o dios que dioorigen a todas las guerras en la mitología maorí. Etu es, en efecto, una frase con connotación bélica.No evoca la paz. La inspira la defensa y el desafíoante un poder opresivo.Ampliamente conocido como uno de los integrantesoriginales del grupo neozelandés de hip hop estiloreggae Upper Hutt Posse -o UHP- formado en1985, Te Kupu, junto con Matt Hapeta (MC Wiya),Aarón Thompson (Blue Dread), Darryl Thompson(DLT), Bennet Pomana (MC Beware), TeremoanaRapley (Tere) y Steve Rameka (Acid Dread), crearonuna fusión de hip hop, reggae y kapa haka(o cantos tradicionales maoríes). La correlaciónque guarda el espíritu de su música promovió suestrecha afinidad con las luchas que debieron librarlos afroamericanos, el mensaje rastafarianode solidaridad, la liberación de los opresores y laconstancia del desposeimiento, cuyas manifestacionessiguen surtiendo efecto en los indígenasactualmente. Este compromiso total con la soberaníade las culturas autóctonas le ha permitidoconectarse con formas musicales afroamericanasasí como con ritmos sincopados y con los fundamentospolíticos del reggae para poder crear loque estilísticamente es un estilo maorí de hip hopde resistencia y de conciencia política maorí, dirigidoclaramente a los desposeídos y a quienesorgullosamente se hacen llamar maoríes.Te Kupu es uno de los héroes tácitos de la historiamusical de nuestra nación en lo que respectaal kaupapa de tino rangatiratanga y al abrumadormensaje de resistencia, usando sus dones comoartista para divulgar la soberanía maorí exhortandoa todo maorí a sentirse orgulloso de su tikangao maoritanga sin reparo alguno.Ten autodeterminación en lo que tepropongasKia kaha, kia mau ki al maoríNo permitas que nadie te pisoteeTe Kupu - Dean Hapeta, 1988DEAN HAPETAaka TE KUPUNGĀTI HUIA b.1966E TūKia KahaKo te Atua te kupu tīmatangaKo te Atua te kupu whakamutungaStand ProudSay It LoudDean Hapeta 1988He hononga te mahi o te kupu; i roto i ngā Whakatauo ngā kōrero mai rānō ka noho ko te kupu heihere i whakaaro. Atu i te tīmatanga o te Ao nei anōte kupu i waihotia ake rā e ngā atua ki te ao nei.Hei aha? Hei here i ngā whakapapa kōrero o te AoTawhito ki tēnei rā. Ko te kupu kōrero o tēnei whakaaturangahei here i te wairuatanga o tona whakamaramatangaki te taha kikokiko.He reo anō tōna ahakoa i whea, ko te mana o te kupukei roto i te whakatakoto o te kōrero mō ngā kaupapakatoa. Ko te ia o taua kupu ko te hari i te maurio te whakaaro. Ko te kupu whakamutunga kei rotoi te rere o te kōrero, maana hei whakatutuki i ngāwhakaaro o te ngakau.He whakaaturanga tēnei nō tēnei uri o Ngāti Huiaa Dean Hapeta.Ko ngā kupu whakatakoto e ia ki roto ī enei mahiaana; ka taea te hāpai o te kupu i roto i ngā mahi katoaahakoa tawhito tae noa atu ki tēnei rā. Kua nohoēnei mahi hei tauira ki tēnei reinga rangatahi.“E tū rangatira mana motuhake i ngā wā katoa”Na0 Leafa WilsonOverview/Translation by Mamae Takerei WaikatoIwi, Tainui WakaMamae Takerei is Tangata Whenua Curator at theWaikato Museum Te Whare Taonga o Waikatoand is a Kingitanga Consultant.Also assistance from April Le Mon, TangataWhenua Education Programme Leader, WaikatoMuseum Te Whare Taonga o WaikatoTe Kupu in the Maori language means The Word,also known as D Word. His name is specificallylinked to spreading the word, delivering Maori fromthe system of Babylon otherwise known as colonialpresence and also the binds that came withChristianity.Dean Hapeta (as his parents named him) couldrightly be deemed one of the contemporary Maoriprophets of our time. His impassioned and hardcorelyrics make no apologies for their direct lineof fire to the colonial Other. In the same spirit asall liberationists for the causes of the oppressed,he uses words as the early Maori warrior woulduse the taiaha, a skilled warrior who exacts blowsstraight to the heart of the concern.Aligning with other resistance ideologies that challengethe status quo of the indigenous peoplesand the racially oppressed, Te Kupu is one voicethat refuses to be drowned out as a minority;Maori make up only 14 percent of the population ofAotearoa New Zealand.In the original lyrics of E TU, Hapeta (Te Kupu)makes reference to the freedom fighters of hisforebears, Chief Te Rauparaha who was a fearlesswarrior, Hone Heke who challenged the Colonialpresence being made permanently visible by thecutting down of the British Flagstaff at Kororareka(Russell). In fact, the word TU is derived from thename Tu-mata-uenga the Atua/god from whenceall war originated in Maori Mythology. E tu areindeed fighting words. They do not mean to bringpeace but are words inspired by defense and defianceagainst oppressive power.Known widely as one of the original musicians inthe Aotearoa reggae hip-hop crew called UPPERHUTT POSSE (UHP formed in 1985), Te Kupu,along with Matt Hapeta (MC Wiya), Aaron Thompson(Blue Dread), Darryl Thompson (DLT), BennetPomana (MC Beware), Teremoana Rapley (Tere)and Steve Rameka (Acid Dread), created a fusionof Hip Hop, Reggae and kapa haka or traditionalMaori performing arts. Their music’s ethos sharesa close affinity to the struggles suffered by AfricanAmericans, the Rastafarian message of solidarityand freedom from oppression and indigenouspeoples who endure disposession to this day. Thistotal commitment to the sovereignty of indigenouscultures has enabled him to connect with the African-American musical forms as well as syncopatedbeats and the political rationale of Reggae tocreate what is a Maori resistance style of Hip Hop,a Maori political consciousness, distinctly targetingthe dispossessed and those who proudly callthemselves Maori.Te Kupu is one of the unspoken heroes in our nation’smusical history. He delivers the kaupapa oftino rangatiratanga and the overwhelming messageof resistance, using his gifts as a performer todisseminate the word about Maori Sovereignty. Heurges each Maori to stand proud in one’s tikangaor Maoritanga without apology.Have self determination in what ya gonna doKia kaha, kia mau ki to MaoriDon’t let no-one stand on youTe Kupu - Dean Hapeta 1988

warren olds artistaHemi / James Baxter (1926-1972) fue uno delos más prominentes poetas de Nueva Zelanda.Baxter en 1969 adoptó ‘Hemi’, la traducciónmaori de su primer nombre James. Enseptiembre del mismo año fundó la primerade dos comunas rurales en Jerusalén en elrío Wanganui. Fue consistente con la contraculturainternacional de las comunas querechazaron el materialismo y la cultura delconsumo. Aún más interesante fue el hechode que Baxter trató de formar una comunidadque abarcara los conceptos sociales y laespiritualidad maori, sugiriendo que conceptosperdidos en la sociedad urbana ‘pakeha’(europea / blanca) de Nueva Zelanda podríanser recuperados de esta forma. Baxter decidiótrabajar con los ‘nga mokai’, los desplumados,jóvenes marginados por la sociedadurbana que a menudo llegaban a Jerusaléncon problemas de adicción.Warren Olds, Julio 2007Tamaki Makau Rau / AucklanndAotearoa / Nueva Zelanda***Programa de Hierro Forjado para ActividadComunal en Jerusalén, para Habitación Temporalo en Hogares Permanentes.Alimenta al hambriento;Dale de beber al sediento;Dale ropa a aquellos que no tienen;Dale hospitalidad a desconocidos;Cuida al enfermo;Da fianza para sacar gente fuera de la cárcel,visítalos en la cárcel, yCuídalos cuando salgan de ella;Ve a los funerales de tus vecinos;Dile a otra gente ignorante lo que en tu ignoranciacrees que sabes;Ayuda al que duda a clarificar su mente y aformar sus propias decisiones;Consuela al triste;Reprende a los pecadores, pero suavemente,hermano, suavemente;Perdona a lo que parece haberte hechodaño;Soporta a gente difícil;Reza por todo aquello con vida, incluyendolos espíritus de los muertos.Donde estas cosas se han hecho, Te WaiuraTapu (el Espíritu Santo) viene a vivir en loscorazones, y las diferencias de doctrinas y lasdificultades comienzan a desvanecerse comola nieve del verano.James K. BaxterDiario de Jerusalem (1971)HEMI / JAMESKEIR BAXTERHe kaitito whiti rongonui a Hemi / James KeirBaxter nō Aotearoa. I tapaina ia ko Hemi, tekupu Māori mō James, i te tau 1969. I te Mahuruo taua tau i whakatūria e ia te mea tuatahi ongā ohu e rua ki Hiruharama i ngā tahatika ote awa o Whanganui. He whakaaronui i te putamai i te ao whānui i taua wā kia kaua e whairawa, ā, i whāia tērā kaupapa e ia. Anō nei kiarerekē ai tā rātou noho i whāia e ia ngā tikangaMāori mō te noho a tōna iwi kia whakahokiamai ngērā tū āhua whakaaro mō te tangata kite hāpori whānui o Aotearoa. I mahi tahi ia kingā mōkai, ngā tāngata kore matua, arā, ngārangatahi kāore i te tiakina e te hāpori, rātou itae atu ki Hiruharama me ngō rātou mate inuwaipiro.He Hōtaka Kore Whati mō Te Noho Tahi a teIwi ki Hiruharama, ki ngā ‘Crash Pads’, ki ngākāinga rānei.Whāngaia te hiakai;Hoatu he wai ki te hiainu;Hoatu he kākahu ki ngā tāngata kore kākahu;Tiakina ngā tūroro;Whakawāteangia ki te pūtea ngā mauhere;Toroa ngā mauhere;Tiakina ngā mauhere ina puta i te whareherehere;Haere ki ngā tangihanga;Whāngaia ki te kuare tēnā ka mōhiotia e koe itō kuaretanga;Awhinatia ngā mea kāore i te whakapono, kite whakatau take;Awhingia te pōuri;Tiakina ngā tāngata ka taka ki te hē, ātatiakina;Ki te whakararungia koe, arohaina;Tautokona ngā tāngata hōhā;Me tuku karakia mō ngā mea katoa e ora aname ngā wairua mate.Oti rawa atu ngēnei mea, ka tau mai te WairuaTapu ki ngō tātou ngākau, ā, ka ngaro haerengā whakapono rerekē me ngā raru pērā i tehuka rewa i te raumati.Nā James K. BaxterPukapuka Rā (1971)Hemi / James Keir Baxter (1926-1972) wasone of New Zealand’s most prominent poets.Baxter adopted ‘Hemi’, the Maori transliterationof his first name James, in 1969. InSeptember that year Baxter founded the firstof two rural communes at Jerusalem on theWhanganui River. Consistent with an internationalcounter-culture movement the communerejected the materialism of consumerculture. More interestingly though, Baxtersought to form a community that embracedMaori spirituality and social concepts, suggestingvalues lost within New Zealand Pakehaurban society might be recovered in thisway. Baxter chose to work with ‘nga mokai’,the fatherless ones‚ young people alienatedby urban society who often arrived at Jerusalemwith addiction problems.Warren Olds, July 2007Tamaki Makau Rau/AucklandAotearoa/New Zealand* * *A Cast-Iron Programme for Communal Activity,at Jerusalem, in Crash Pads, or in People’sHomesFeed the hungry;Give drink to the thirsty;Give clothes to those who lack them;Give hospitality to strangers;Look after the sick;Bail people out of jail, visit them in jail, andlook after them when they come out of jail;Go to neighbours funerals;Tell other ignorant people what you in yourignorance think you know;Help the doubtful to clarify their minds andmake their own decisions;Console the sad;Reprove sinners, but gently, brother, gently;Forgive what seems to be harm done to yourself;Put up with difficult people;Pray for whatever has life, including the spiritsof the dead.Where these things are done, Te Wairua Tapu[the Holy Spirit] comes to live in our hearts,and doctrinal differences and difficulties beginto vanish like the summer snow.James K. BaxterJerusalem Daybook (1971)

artistanicola farquharRichard Henry es uno de los primeroscon- servacionistas de Nueva Zelanda. En1894 Henry estuvo encargado de la IslaResolution en el estrecho Dusky en Fiorland,durante los siguientes catorce añostransportó pájaros nativos que no vuelande la masa de tierra principal a la isla. Pasómuchos trabajos en esa labor, incluyendointerrupciones causa- das por cazadoresde focas y de todo tipo, la mayor parte deltiempo se la pasó trabajando solo en eseremoto paraje.Henry guardó extensas notas sobre suinter- acción y sus observaciones de lavida silves- tre. Documentó cuidadosamentela biología de los pájaros en peligrode extinción, como el kakapo, kaka y elkiwi, así como el impacto en las coloniasde pájaros de las nuevas es- pecies introducidascomo comadreja y armi- ño. Fuecautivado por el carácter y la inteli- genciade las aves, tenia gran compasión y respetohacia ellas. Esto se refleja en muchasanotaciones en sus escritos, entre los quese encuentran los siguientes:“Tengo un silbato metálico y a veces lotoco en las tardes –si los mosquitos melo per- miten- algunos kakas a menudovienen y se sientan lo mas cerca quepueden. Luego se consultan entre ellosmismos para saber qué piensan de lossonidos y hacen algún tipo de comentarioque yo no entiendo, pero pienso que es desu agrado, a pesar de que yo no soy ungran músico que digamos. Y así casi todaslas cosas salvajes son suficientementecuriosas para acercarse; solo las que hantenido contacto con humanos han abandona-do ese peligroso hábito.” 1Tristemente, Henry no pudo proteger a lospájaros de la invasión de ratas, depredadoresintroducidos, ni tampoco de cazadoresy per- ros. Para principios del sigloXX era claro que las colonias de pájarosque Henry había establecido estaban desapareciendo,una en- cuesta a cargo delservicio de flora y fauna a finales de 1880en la isla Resolution y otras islas del estrechoDusky confirmaron que ningúnkakapo sobrevivió en esa zona.Actualmente quedan 86 kakapo en NuevaZelanda, todos en espacios controlados yla cantidad de kaka y kiwi están bajo obser-vación. Hoy, la conservación de muchospá- jaros nativos incluye su trasladoa islas libres de depredradores, justamentecomo Henry trató de establecerlo hace 100años. Las notas, observaciones y artículosde Henry sobre los pájaros nativosprovén un invalu- able y atractivo cuerpode investigación para conservacionistascontemporáneos. El mas viejo y único supervivientede los kakapo en Fiorland sellama Richard Henry en su honor.RICHARD HENRYKo Richard Henry tētehi o ngā kaitiaki taiaotuatahi. I whakatūria a Henry hei kaitiaki o temotu o Resolution i Dusky sound, Fiordland,ā, i roto i ngā tau tekau mā whā whai muri maii whakawhiti ia i ngā manu kore rere mai iAotearoa whānui tonu ki te motu rā. He mahangā uauatanga ka pīkaungia e ia i tōna wā, ā, ite nuinga o te wā koia anahe e noho ana ki tauawāhi kei tawhiti.He maha ngāna tuhinga mō tāna i kite ai, mōtāna i mahi ai. I āta tuhia e ia ngā kōrero mō ngāmanu i te ngaro haere pērā i te Kakapō, te Kākā,te Kiwi me ngā mahi whakararu a ngā kararehehou i kawea ki reira, i ngā kāhui manu. He pai kia ia ngā āhua me te mātau o ngā manu me tōnaaroha nui ki a rātou. Ka kitea tēnei tūāhuatangai ngāna tuhinga.“I have a tin whistle & sometimes playit outside of an evening – if the sandflieslet me - & some kakas will oftencome after their dinner & take thenearest seats they can get.Then they will consult each other aboutwhat they think of it & pass all sortsof remarks which I do not understandbut I think is their general approvalthough I am not much of a player. Andthus nearly every wild thing has curiosityenough to bring it near; and it isonly those well acquainted with manthat have discarded such a dangerousand bad habit.” 1E pōuri ana kāore i taea e ia te āta tiaki i ngāmanu i te mahi whakanoho a ngā kararehe houpērā i ngā kiore, i ngā kurī me ngā tāngata whakangaupoaka. I te tīmatanga o te rau tau 1900 ikitea i te ngaro haere ngā kahui manu nā Henryi whakatū. I mahia tētehi arotake e te RatongaKararehe Ngahere i ngā tau 1980 ki ngā motuo Resolution me Dusky Sound kātahi ka mōhiorawa kua mate katoa ngā Kakapō o reira.I tēnei wa kei te āta tiakina ngā Kakapō 86 me tetitiro tonu ki gā Kākā me ngā Kiwi. I tēnei wā kiatiakina paitia ngā manu Māori me kawe ki ngāmotu wātea i te kararehe kino pērā i ngā mahi aHenry 100 tau i mua. Kua waiho mai ngā tuhituhingame ngā kōrero a Henry e pā ana ki ngāmanu Māori hei puna rangahau mō ngā kaitiakio nāianei. Kotahi tonu te Kakapō kei te ora tonui Fiordland, ā, hei whakanui i te tangata nei kuatapaina taua manu ko Richard Henry.Richard Henry is one of New Zealand’s earliest conservationists.In 1894 Henry became the curator of ResolutionIsland in Dusky Sound, Fiordland, and over thenext fourteen years transported native flightless birdsfrom the mainland to the island. He endured many difficultiesin his tenure, including the disruptions to hiswork caused by sealers and hunters, and for much ofthe time lived alone in a very remote environment.Henry kept extensive notes on his interactions with andobservations of wildlife. He carefully documented boththe biology of threatened birds such as the Kakapo,Kaka and Kiwi, and the impact on the bird colonies bynewly introduced species such as stoats and weasels.He was charmed by the character and intelligence ofthe birds, and had a great compassion and respect forthem. This is illustrated in many instances in his writing:“I have a tin whistle & sometimes play it outside of anevening – if the sandflies let me - & some kakas willoften come after their dinner & take the nearest seatsthey can get.Then they will consult each other about what theythink of it & pass all sorts of remarks which I do notunderstand but I think is their general approval thoughI am not much of a player. And thus nearly every wildthing has curiosity enough to bring it near; and it is onlythose well acquainted with man that have discardedsuch a dangerous and bad habit.” 1Sadly Henry was unable to protect the birds from theencroachment of rats and introduced predators, andthe intrusion of hunters and dogs. By the early 1900’sit was clear that the bird colonies that Henry had establishedwere disappearing, and a Wildlife Servicesurvey later in the 1980’s of Resolution and other islandsin Dusky Sound confirmed that no Kakapos hadsurvived there.There are currently 86 Kakapo left in New Zealand, allin managed environments, and Kaka and Kiwi populationsare monitored. Today, conservation of manynative birds involves their relocation to predator freeislands just as Henry had attempted 100 years ago.Henrys written notes, observations and articles aboutnative birds provide an invaluable and engaging bodyof research for contemporary conservationists. Theoldest and only surviving Fiordland kakapo is namedRichard Henry in his honour.Nicola Farquhar, May 2007Tamaki Makau Rau / AucklandAotearoa / New Zealand1. Page 245, Richard Henry of Resolution Island, Susanneand John Hilll. John McIndoe, 1987.Reference:Hill, Susanne and John, Richard Henry of ResolutionIsland, John McIndoe. 1987.Henry, R. The Habits of the Flightless Birds of NewZealand; With Notes on Other New Zealand Birds.Government Printer: Wellington. 1903.