Draft 2 PhD Introduction - ResearchSpace@Auckland

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was able to “draft a rough script based upon observable behaviour”. 480 The problem, as
he saw it, was how to film this behaviour, since the need for flexibility was essential.
But if one sequence could not be filmed, it was not always possible to use another piece
of action in its place to make the same statement. For some sections of the film, he
made storyboards, which were particularly helpful when he was not doing the filming
himself and wanted to communicate his ideas on how it should be filmed to the
cameraman. He also made a list of some of the things he had observed and wanted to
say in the film. These were written on a separate piece of paper “so they could be
reshuffled and so that each idea could be given separate consideration”. Some
examples of this method were: “Niki’s reaction in a city environment; the telephone
metaphor – the phone ringing throughout, but never for Niki or Puhi; a woman who has
outlived her generation; the body as being less important than the spirit; the body as
strength – ankles, determination in cheekbone, worn face, scaly hands, wideshot with
bent back”. 481
In his dissertation, Ward states his specific aims in making the documentary. It was not
intended to be a study of the Tuhoe tanga or a study of Maori community “except in so
far as that community reveals more about the two people under study”. Instead, he
focussed on the spiritual aspect of Puhi’s life: “Every action is imbued with this sense of
the spirit. Each movement and action appears like part of an enormous ritual. The
ordinary becomes extraordinary; the most menial task, because of the way it is
performed becomes an act of devotion”. Ward refers to Rev J.G.Laughton (longtime
minister to the Tuhoe people) who theorised that the ancient Maori religion did not
differentiate between “sacred” and “secular” - religion was an integral part of life.
Ward cites Puhi’s concentration on the “rituals” involved in preparing meals and the
prayers (karakia) that she recited for three hours at the beginning of the day, before
meals and before giving her son medicine, as examples of the integration of religion
with daily life. Puhi belonged to the Ringatu Church founded by Te Kooti, who
combined some aspects of the Old Testament Pakeha faith with the Maori rituals. Ward
asserts however, that In Spring One Plants Alone is not about the Ringatu religion
(which as he pointed out, was “adequately” explored in the Tangata Whenua television
480
Ward, “A Documented Account of the Making of In Spring One Plants Alone,” Section on Approach.
481
Ward, “A Documented Account of the Making of In Spring One Plants Alone,” Section on Pre-
Production 11 July-24 September 1978.