In addition to these issues, the study also deals with the reasons why Māhia was selected as the most suitable refuge. This dissertation examines the reasons for this migration, paying particular attention to external threats and utu, the indefensibility of Heretaunga, Ahuriri and Wairarapa areas, the alliance with Te Wera Hauraki of Ngāpuhi, and the role of tohunga prophecy. In the 1820s, Te Pareihe, a chief of the hapu Ngai Te Whatuiāpiti from the Te Aute area led a varied contingent of East Coast migrants to refuge at Māhia. Those who moved north to Māhia would stay for nearly 20 years in a migration common for many iwi and hapu affected by the upheaval, danger and violence, of the ‘Musket Wars’ that took place across Aotearoa New Zealand in the early nineteenth century. Taken together, these films suggest that while traditional myth, art, and ritual are central to the shaping of Maori post-colonial identities, their precise role is a subject of intense scrutiny and debate.Īt the juncture of 1823-24, thousands of people from the Heretaunga (Southern Hawkes Bay), Ahuriri (Northern Hawkes Bay) and Wairarapa communities of the lower East Coast of the North Island migrated to the Māhia Peninsula.
Te Rua, exploring Maori efforts to repatriate ancestral carvings from European museums, suggests the power of the carvings themselves and highlights the virtues of consulting with one's community more than martial arts. Both films have been criticized for their emphasis on gender and their silence regarding economic and political forces, although Whale Rider's enactment of mythical connections between human and animal communities suggests subtlety in the transmission of animist religion. Whale Rider in contrast, has a peaceful rural setting but also emphasizes the teaching of haka to young males as an initiatory rite for potential leaders. In Once Were Warriors, the central problem is conceived in terms of a loss of the traditional means of disciplining male aggression and attempts to revitalize them, including the teaching of haka (war dance) and the martial arts of taiaha (spear) to young offenders and the adoption of tattoos resembling traditional moko by local gangs. Moreover each film has both drawn from and generated debate about the roles of religion, ritual and cultural performance in the negotiation of resources and identity for indigenous peoples against a background of post-colonial late capitalism. This paper analyses three key films of the Maori Renaissance, which, in addition to being art forms in themselves, depict ritual song, traditional dance, martial arts, tattoos, carvings, and mythical storytelling.
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