Pipiwharauroa - June 2020

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Pipiri 2020

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Pipiwharauroa

Pukapuka: Rua Tekau Ma Whitu

Panui: Ono

He Hōnore, He Whakaaronui Tika tonu, Tika tonu!

Tika tonu te whakaaro o Derek Lardelli ki tana iwi. Tēra pea kei te mahi nanakiatia ia e tōna iwi, kei te tinihangatia rānei i te putanga mai o te pānui ki a ia, arā kei runga ia i te rārangi whakahōnore ā Te Kuini i tana Huritau. Āe, he iwi tinihanga, hātākēhi engari, mātāmua he iwi whakapono, manaaki, tautoko i te tangata e tōtika ana kia ūhia tēnei hōnore nui, tēnei hōnore whakahirahira, āe, ana ko koe tēnei.

I ūhia hoki te hōnore nui ki a Taka Mackey arā Te Mema o Te Ota o Aotearoa mo ana mahi Toi Tauā. He tangata maha ngā pūkenga me ōna tohungatanga i waenga i te hapori me ngā taiohi. Whakamihi, whakamenemene ana mo ana mahi whakahirahira.

Tika tonu kia whakawhiwhia tēnei hōnore i runga i ngā āhuatanga o āu mahi, te tangata aumāngea, tō whakapau kaha, te ngāwaritanga o tō tuku i ō mātauranga ki ngā iwi puta noa i te motu, puta noa i te ao. Ehara ō mahi toi te rangona i Te Tairāwhiti anake engari kei ngā tōpito o Aotearoa me te ao. Nā whai anō te whakaaronui kia ūhia te taitara Whareariki ā te Kuini ki a koe, Tā Derek Arana Te Ahi Lardelli, tika tonu. Ahakoa he hōnore nui ki a Tā Derek Lardelli ake, ka kii tonu ia, nōna mo te iwi, nō te iwi kē. Tū whakaiti ana ia mo te iwi.

He Porotēēhi At a protest this month organised by Haeranga Awatea held outside of the Gisborne District Council offices, Tangata Whenua clearly articulated their frustration and hurt with the Gisborne District Council’s failure to fulfil its responsibility to tangata whenua under its Treaty of Waitangi obligations. Not only had the majority of the councillors agreed to the reinstatement of the two Endeavour replicas, but they also agreed to bypass the consultation process, but a number of ill-informed comments and assumptions were made during their proceedings on the matter. It has been less than a year since Cook 250 and so disappointing and concerning that some of our representatives and members of our wider community are so ill-informed that they still want to acknowledge Cook’s tragic arrival here in Tūranganui ā Kiwa which marked the start of a long and painful process of the ruthless colonisation of tangata whenua. Or, is it sheer arrogance? Photo: Gisborne Herald

Inside this month...

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Kōrero o Te Wa

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Sir Derek Lardelli

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Taka Mackey (MNZN)

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Te Ao Hinepehinga Rauna

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TŪranga Health


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Pānui

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Memories that speak of times when we had full knowledge of ourselves, of colonization, of war…. and memories of ourselves in realtime as Māori.

Founded October 1898 Pukapuka: Rua Te Kau Ma Whitu Pānui: Ono Te Marama: Pipiri Te Tau: 2020 ISSN: 1176-4228 (Print) ISSN: 2357-187X (Online)

Pīpīwharauroa takes its name from ‘He Kupu Whakamārama Pīpīwharauroa’, which was printed in October, 1899 by Te Rau Print and edited by the late Reverend Reweti Kohere. Pīpīwharauroa was re-launched on 20 October, 1993. Produced and edited by: Te Rūnanga o Tūranganui-ā-Kiwa Tūranga Ararau Printed by: The Gisborne Herald Email: pipiwharauroa@ta.org.nz Phone: (06) 868 1081

Through mōteatea (chants), karakia (prayer) and the retracing of whakapapa (geneology) we have found a doorway that enables us to understand and appreciate the past, as well as this new pōuri (sorrow) that we are feeling.

Pō! Pō!

Nikora Tori Te Kahu and Rangimarie Makowharemahihi-Pahi Exhibition/whakaaturanga Dates: 11/07/20 - 06/09/20 Opening: 10/07/20 5:30 pm

http://www.facebook.com/pipi.wharauroa

Returning to the East – Ebony Whitaker

Pō! Pō! seeks to address the seriousness of mental health issues amongst Māori with a particular focus on the causes and effects for Māori women. We, as women, are the ūkaipō, the nurturing element for all – yet – where is our sanctum? Here we aim to provide a space for self healing and reflection. Pō! Pō! acknowledges pōuri (sorrow), as we have come to know it, through generations of memories.

Exhibition/whakaaturanga Dates: 29/05/20 - 05/07/20 Ebony Whitaker has created a visual feast of the changing beauty in the natural environment, reflecting his own change since returning to the East Coast of New Zealand after a decade away. Ebony’s journey as an artist started when he was a young grom surfing at Ōhope, Whakatane. He started to surf semi-professionally and would travel to find the best surf, this brought him to Tairāwhiti. He has always had a love of the natural environment and he nurtured this when he was at Art school in Far North Queensland, again, chasing warmer waters and waves. He found that the perfect medium for him was landscape photography, capturing images in nature and developing them in his digital darkroom, to fully represent how he feels in the natural world. Coming home after a decade in Australia, a very different person now living with a disability, has meant that the work has taken on a more personal and rueful edge. To create these works Ebony must battle fatigue, body strain and cognitive issues to shoot and edit, but it is all worth it to this artist who lives and breathes the natural world.

Experience a sense of comfort… or discomfort within our installation of painting, sculpture and sound we aim to inspire a sense of enlightenment and well-being through a shared acknowledgement of pain. -Nikora Tori Te Kahu


Pipiwharauroa Kōrero o Te Wa

Meka Whaitiri

We have been privileged to have great rangatira Māori representing Te Tairāwhiti by being a point of difference, and clearly advocating for our Iwi, Hapū and Whānau. My predecessor, Parekura Horomia is one out of many rangatira who I want to acknowledge from within our rohe. He worked tirelessly for our people and made sure he covered all bases of our IkaroaRāwhiti electorate. An unforgettable Member of Parliament with great mana who is still spoken about today. He is my point of reference when it comes to all the roles he held within his beloved Mangatuna, Central Government and Te Ao Māori. In acknowledging our rangatira who have gone before us, I want to mihi to our rangatira still here with us creating opportunities for the Tairāwhiti people. Our very own Sir Professor Derek Arana Te Ahi Lardelli (Ngāti Porou, Rongowhakaata, Ngāti Konohi –Ngāi Te Riwai, Ngāti Kaipoho, Ngāi Te Aweawe) who received the insignia

THE BIG RIG CAME TO TOWN

of an Officer of the New Zealand Order of Merit for his service to Māori arts in 2019. And just early this month he received the highest honour of a Knighthood to further acknowledge his service to Māori Arts, both nationally and internationally, as a carver, kapa haka performer, composer, graphic designer and researcher of whakapapa, and whaikōrero. As many will know Derek is considered a pioneer of modern day ta moko and has conducted exhibitions and workshops here in Aotearoa / New Zealand and overseas. He has shown innovation and communication through performing arts using the skills to better equip our own people, especially our rangatahi. In 2004, he was the director of the Ta Moko Delegation to the South Pacific Arts Festival in Palau and led a working exhibition at Te Papa as part of the New Zealand Festival of the Arts. He composed the All Black Haka, Kapa o Pango, designed the logo for the 2006 Commonwealth Games Uniform and has a design included on selected pieces of the Air New Zealand Uniform.

mahi he has produced over the years. The rangatahi who have been uplifted by words of encouragement which he has given in our local schools / Kura to ensure our rangatahi can see a future for themselves. His achievements in Kapa Haka speaks for itself, tutoring one of our renown national groups of Te Tairāwhiti; Whāngārā Mai Tawhiti. He led them to success of acclaiming two national titles at the Te Matatini Festival of Performing Arts having done this through tutoring and leading our own rohe in Regional and National Kapa Haka competition. Even on an international stage showcasing our talents in haka and waiata a true display of Te Tairāwhiti comes through his compositions and choreography.

Amongst all these achievements I want to acknowledge Derek’s whānau, his wife Rose and children Hinemihiata and Te Ahimanuka for sharing Derek with our wider community, and supporting his amazing mahi. Having a strong support system is important, Ngā mihi koutou! A true example of humility, and leadership and one to encourage our whānau, as well as the wider community to A man of stature, and an example for our continue to represent and lead our people. rangatahi and tamariki who have been gifted with the same taonga as Derek; to create Nō reira, kia manawanui, kia tu kaha, kia and design, to lead roopu Māori through puawai ai ngā wawata a o tātou tīpuna. ‘whaikōrero me mahi toi.’ I am honoured to whakapapa to Derek bearing witness to the

Ben’s passion for the sport also inspired him to give back to the community, especially at a junior level, he took up the opportunity to share his experiences and hang out with the members of Tao Matarau Academy while in Gisborne. During his kōrero he related to our young people very quickly using the example of playing video games. “If you can spend 4-5 hours on the game a day and get good at it, you can do the same with darts, because that’s what I did,” he told them.

Tao Matarau Junior Darts Academy had the pleasure of meeting one of New Zealand’s finest dart players, Ben Robb who has been playing darts for five years and excelled in the sport nationally and internationally. His passion for the sport has grown considerably over the years, in the eyes of the community he is a great role model for the sport of darts in New Zealand. He has won numerous titles, played on the world stage, represented New Zealand in Korea and will represent New Zealand in the JDC Just that alone has inspired our Virtual Amateur World Champs to be held tamariki to work and train harder for the sport they love. later this year. He was overwhelmed with the amount of them who play darts in our community and astonished with the talent they have. The young people and their parents had the opportunity to play against him in a fun drawn pair’s tournament. Ben was paired up with the youngest member, Joel Horua and they made it all the way to the final where they met two of the newer members, Jarrod Waikawa-Nepe and Apirana Taukamo-Pohio. This is one game these young men will never forget as they took the win against Ben and Joel. Ben Robb enjoying the moment

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Ben Robb and Tao Matarau members

Tao Matarau Junior Darts Academy members and the wider whānau members thank Ben Robb for his time, the gifts and also the experience he shared. We can’t wait to see him on the world stage again and our tamariki will cherish this day forever. All the best for your future endeavors Ben. If you would like to know more about Tao Matarau Academy please contact Matiu Hawea 0275395845 or email Taomatarau@ gmail.com


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Pipiwharauroa

Professor Ahorangi Sir Derek Arana Te Ahi Lardelli was knighted for his services to Māori art in the Queen’s Birthday Honours List released 1 June. Pīpīwharauroa caught up with him on his thoughts about the honour and many wide reaching topics connected with his Award. To my thinking, this award is an acknowledgement of the survival of Māori art and not just in its traditional form. The Award tells me that Māori art is valued by others and we need to promote it even more as an expression of who we are as a people, the visual arts and the performing arts. It recognises Māori art as a vibrant, valued expression of who we are as Māori in our communities and its benefits to New Zealand society, that’s the key. After 100 years of being told under the Tohunga Suppression Act that you are not valid, you shouldn’t be practicing art along with your lore and you need to follow Pākehā ways, it is now being recognised that we do exist and that we have survived. In actual fact, not even Covid-19 will kill us. It means a lot when general society says ‘that’s right’. Damn right it’s right! That’s why we are still here today. We are continually having to battle against things that we shouldn’t have to, but I suppose it is through those battlefields we have grown a bit of steel in our spine about who we are as a people. We have so many young people here at Toihoukura who have not done well in a system that has actually been quite damaging to them, yet schools like ours allow the opportunity for them to express themselves through their visual arts. In that light, a lot of students who come here have gone back into their tribal groups and done really well as visual communicators for their people through their art. So Tairāwhiti needs to be congratulated first and foremost because Toihoukura and people like us come from this region, from this pool of creative excellence. If you were to look back in history at the arrival of Cook and the art and images that were taken from here, if we travel through time to the Raharuhi Rukupo, Te Waaka Perohuka era, you begin to see a people who were vibrant, alive, able to adapt and able to succeed using their arts. It became quite obvious to them that the dominant European culture needed to be looked at through a different set of eyes. Our people, like Te Kooti, and through the painted images of the Haahi Ringatū, used images and a delivery that the colonisers struggled with. It came out of a Rongowhakaata thinking pattern that we are diverse and need to adapt and need to know how to change. As I said to Erena Kopu, I think that if you look at our people, our Tairāwhiti people, the

He Hōnore Kua Uhia

images that they were creating at that time were radical, they pictured a third dimension that was untamable and unstoppable. Even in the throws of colonisation, Māori art survived in many forms, principally a radical medium that confronted and challenged the imposition of a forced change, the colonisation that threatened our very existence as an indigenous people. Te Kooti and his uncle, Rukupo envisaged a new future through the arts. With the constraints of a world that was continually changing on them, they used those challenges to forge a new direction. However that direction was not necessarily the one the colonial people wanted so there was a process of trying to close them down, hence the 1907 Tohunga Suppression Act. For all that, in 2020, we find we have survived and that’s the key, that Māori Art, it doesn’t matter what you do, will survive and in fact will flourish. We will keep on challenging boundaries that are put in front of us because, in regards to our Tairāwhititanga, the key, to me, is that creativity is our tradition. To be creative is a tradition. Not to just paint red, black and white. We are every colour under the sun.

We have just been through the promotion of Cook, 250 years. There is nothing good about that to me and, within a span of hardly a year, images are being put up to glorify him, images that are quite painful to us as a people. Why would you do that when you know how much hurt there was last year. It’s about having the right leadership in place to keep saying if you don’t get it, this is why. Only less than a year ago there was talk of creating understanding about the indigenous korero and now it is blatantly being ignored again. They really have to have a look at themselves as a Council and our community as a whole. Over half of our community identify as Māori. You can't erase or whitewash the history. It is for Māori to tell their own stories, not as part of a mainstream celebration of Cook. The Endeavour replicas are part of a movement as we become more politicalised and aware. That is just one small element of ‘Black Lives Matter’. It is such a potent statement, it makes you look back into your own backyard. But let’s not take away the power of ‘Black Lives Matter’ because that’s where the focus should be. Visual communication is about making sure we have conversations in the community about kaupapa like that. The power of visual art is meant to shock as well, it is not all supposed to be lovey dovey, art is also supposed to make a statement and provoke kōrero, but not to deliberately offend or cause hurt. One of the strongest visual communicators that said, ‘I am from here’ was the moko. The moko patterns come out of the land. So to alienate the land from its people, the colonisers started to take away the forms and the figures that represented it. Moko was outlawed. People with moko couldn’t vote. Māori art was deemed to be heathenistic, you remove the art, you remove the connection back to the land, then you remove the language because the language is too strong.

You can have knowledge but it is finite. It has a beginning and an end, but creativity encircles the world. It was that thinking that Raharuhi Rukupo, the Te Kooti people, Pine Taiapa and Sir Apirana Ngata through to the most modern of tipua, Cliff Whiting had. I think the secret behind those artists is in the water, the strength behind them came from the tipuna and it is the same tipuna blood that runs through our veins. We all come out of the Tairāwhiti pool and it’s that thinking that makes us, as artists, so valued and valuable in communities like ours. It is something you cannot change but what you can do is be part of that change. If you open that up to who we are in the Pacific, it allows others to be part of it because Tairāwhiti people have always been inclusive of others, we have never locked ourselves away.

The missionaries also helped to try and destroy Māori art, William Williams didn’t like aspects of the imagery that was being used and thus required the carvers to redesign things. But here again we see the power of the creative mind, the creation of the pitau a manaia pattern. The missionaries couldn’t see it but, in actual fact, the images were still there. The positive negative balance between form and figure and space was so cleverly done that they couldn’t see them, such was the brilliance of those artists. That’s probably that whole thing about moving into spaces and making them your own and filling them with your own, your own mauri, your own wairua, that is what Toihoukura is about. This is their house, this


Pipiwharauroa He Hōnore Kua Uhia

is their school, this is their place. I have been here over 25 years now, over a quarter of a century, that’s been a long time. What keeps me here is those students walking in the door. They are all different, they all come with different ideas, different home backgrounds, different tribal groupings at times but they have all got a hunger, a hunger for visual communication and that’s the key.

For a lot of these young people here they do not want to have to sit down with a book and have to read and write. Their writing is on the walls. We are a people who came from a society of indigenous people who have art as their visual communicator, not reading and writing. These young people, that is what they do, they are artists, you can see it in their artwork and this is the only time in their lives when they can be with other students who are very similar to themselves, these are going to be the best days of their lives! What we see today is an expansion of Māori art that has an ability to connect back to the Hawaiki we talk about; Hawaiki nui, Hawaiki roa, Hawaiki pāmamao. For me, in the modern sense, it is about reconnecting with other indigenous peoples who have the same stories as us. Part of showing the connection with one another is through the creation of art pieces that reflect this. There you see the beauty of the work of the takarangi pattern, that of the sky spiral, a level of creative intelligence with like minds from other countries. Māori art evolves depending on what is put in front of you, if you look at moko, moko grew out of this particular part of the world. In the traditional forms, there may be some recto-linear shaping but overall moko is about RŪaumoko, it is curvilinear rather than rectilinear. It has been explained to me how moko came out of this land. A whirlpool does a circle, it doesn’t do a triangle. The mark of the land was placed on our bodies to show our commitment back to the land that is our home. So the artform came out of the land and therefore it was indigenous and unique in its application and in its presence as a visual communicator. Today we are using modern machinery but the mauri and the wairua, the essence is still coming from the tipuna. How do we know that, we need not look any further than the great Raharuhi Rukupo who picked up a steel chisel and revolutionised carving. They were masters of adaption.

thinking, and it is the same creative thinking of the painted images of the Ringatū and Te Kooti. Rukupo found another pathway of expressing who we were as Māori in a world that was continually under change. It was about indigenous people seeing something and utilising it. Look at these young people today, they are using drawing tablets. If Rukupo was alive he would be the best on a drawing tablet. Today you look at people like Lionel Grant, again brilliant, the best I know of personally as a 3D artist, he is at the top of the tree but he also has all of these other skills. His artistic brief is very open and very wide and flexible. Art is about flow, I’m talking about creative water. I think about the exemplers of excellence for Māori art for their time. If you look at Te Hau Ki Tūranga, it stands out as the creative mind of a genius. It is that sort of thinking, how did that person do that? How did they get to that level of excellence? A lot of it, I would say, is because they were totally nourished by their tribal groups! So the taonga of having a creative mind, the brilliance of a creative mind like that was nutured by the people. If you don’t nurture it, what does it do? It lays dormant until someone comes along and nourishes it, but it still takes a lot of courage to get up from there and make a statement. I think for our young people we have just got to remember, if we nourish and give them encouragement they will succeed. One of the main influences in my life was Moni Taumaunu. He gave me a foundation to work from, a very sound framework to draw from. It wasn’t his actual art that captured me, it was the manner in how he spoke about it. People like Te Wairakau (Nanny Blossom) and Mate Ratapu, Joe and Porua Green and a whole lot of other people who were in that art bubble in the 1970s. Weaving is still really strong, people like Wi Tom Pohatu with the Ngāi Tāmanuhiri weavers, they are strong, they are brilliant.

Where to now? You don’t have time to rest, a man once said to me you have plenty of time to rest when you are dead. There is still a lot to do! As long as we are here and as long as we are still pushing, that’s good. The more young people we encourage to get involved the better. It will be for the future. The thing about the Tairāwhiti is that we have been so generous in sharing what we have with other tribal groups and that’s about whakapapa, that’s about knowing our whakapapa connections with other tribal groups and sharing that knowledge base. If it is good for us, it is good for the country. We have always shared our resources, we are not a people who just lock it up for ourselves, although People are still trying to capture that sometimes this is to our detriment. brilliance without realising the essence wasn’t in trying to follow Rukupo, it was Part of the knighthood acknowledges to find your own pathway, like Cliff Whiting performing arts. This part of us is as strong who went in and created places like Te as the visual arts, they are interconnected. I Hono ki Hawaiki at Te Papa. It’s that do not like to separate them either because

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a lot of the young ones in here they are very good at kapa as well. The kapa side of them is encouraged because it’s a strength and kapa haka is another vehicle to gain knowledge. It’s a strong connector to the culture. So you have Erena Koopu who has just put out her first book and it has her visual imagery of the writings of Rikirangi Gage, the visual images are his waiata, karakia, pātere and haka. And then you have the actual performance of these taonga by Te Whānau ā-Apanui which is excellent. Creating volumes of these sorts of resources so that other people can access them would be an awesome task. If you look at Te Kooti that was what he was doing, the images within the Haahi and the deepness of thought in the karakia, that’s the same process. It’s just the imagery was inside the meeting house and the karakia, the waiata was all part of one movement, brilliant. If you look at the carvings in the house Hāmokorau, I believe they were brought from the Hangaroa Valley by Te Waaka Perohuka and others. Carvings were not just locked in one place and that was it. They were articulated to move so, if the chief moved, the house moved. Right now with what is happening with Covid19, I would be investing in the creative sector, the computer age came out of the creative mind, these fellows were highly creative. If you want to find out where the next big bubble is get a whole lot of creatives together, they will come up with something because there are no boundaries there and they are not hampered by strict guidelines. If you give them an opportunity they will go and find some other place. We have got a young person in here who uses the computer upsidedown but the images are brilliant. It's important to provide a base so our young people have a connection but you’ve got to let them explore their own talents and pathways too. We have always encouraged our children Hinemihiata and Te Ahimanuka to do their own thing, and that’s exactly what they are doing! Living their lives their way. They know we will always be here for them, no matter what life may have in store. We are so very proud of them and love them to bits because they are us, and we are from Te Tairāwhiti. I also want to say that Rose is my strongest pou, she is humble in what we have done. She won’t admit it but she is the biggest influence on why we managed to get to where we are, if where we are is seen to be successful. She will always say ‘no, she’s just Rose’ and I’m just Derek and that is how we like to be.’


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Local man Taka Mackey (MNZN), life member of Rangataua o Aotearoa (ROA) and mentor for 43 years in a discipline which unites martial arts and alternative education through a Māori lens, has been deservedly recognised as a Member of the New Zealand Order of Merit (MNZN) in the 2020 Queen’s Birthday Honours. He was nominated by his daughter, Rangataua o Aotearoa Pouwhenua Zac Te Maro and numerous local and national members.

Over the many years Taka has committed to Rangataua o Aotearoa, his efforts have helped thousands of young people take up his challenge to better their lives. A number of them would have easily taken quite a different road leading to the negative aspects of our community. His whānau, friends and colleagues will tell you, although a man not to waste his words, he has a natural talent to get the best out of people by fundamentally developing and maintaining their trust then pushing them to their limits. Learning discipline and self control is a key focus of Rangataua o Aotearoa. The purposes and aims of the discipline is to channel mankind’s “restless, intrinsic aggression to benefit the community in eliminating ignorance, exploitation and injustice by an efficient alternative education programme.” Takapuna (Taka) Eruete Whaipooti Mackey was born on September 26, 1957 at Waipiro Bay on the East Coast. Of Ngāti Porou descent, he was the sixth of seven children born to Ihaka (Nobby) Te Roha Parae Mackey and Rangi Hawea Mackey née Whaipooti. His siblings include Pani, Witawaho (Wi), Timoti, Walter, Ruby and Matire (Tum). He grew up in Ruatōria with his grandparents in Pukerimu in Tikitiki and the Tapuwaeroa valley in Ruatōria. He identifies with Uepohatu, Mangahanea and Mangarua Marae. His grandparents would say of his time with them, ‘waste of time’ but that’s another story. He attributes his success with young people to his own upbringing where he learnt all the shortcuts and dodging tactics. It was this well honed skill he developed over many years that, when these youngsters tried to pull the wool over his eyes, he was always on to them. It wasn’t until he grew up that he found the best way was the right way. He frequently would say, “I know all the tricks, now do it properly.” Apart from his normal family mentors, Taka was lucky enough to have Hughie Hughes, with his endless energy and passion, shape his outdoor and first aid skills. He says even today Hughie’s teachings

He Hōnore Kua Uhia

back then have kept him in good stead. The other was Robin Beigby, the principal of Rangitukia School, who was six foot twenty with shoulders measured in axe handles. Rob was one of the most well respected martial artists in the country and many Coasties were blessed to have been trained by him.

Brought up in the bustling environment of Ruatōria Taka benefited from having access to everything needed for an informative upbringing including a picture theatre, pool hall, numerous shops, plenty of open spaces, TV for 5 hours a day and a list that goes on. His uncle called him a ‘townie’ because he was able to get up when the sun had already risen and he went to the shop to get milk so didn’t have to milk cows. He started his formal schooling in 1964 at Manutahi School and progressed to Ngata Memorial College in 1971. By 1976 he had left school and commenced as a trainee New Zealand Post Office lineman in Wellington in 1976. In his formative years, through martial arts tournaments, he met up with a Wellington based club, Tien Sian Pai which had a reputation of being physical with a strong mental toughness. When Rob realised that Taka was heading to Wellington he encouraged him to join up with them which he did. Through this he got involved with the other major influence in his life, Rangitihi (John) Tahuparae who shared his vision and basically asked who would like to help him develop it. There were a few debates with other members back then before they peeled away and formed ‘Rangataua o Aotearoa mai tawhito rangi ki te whai ao ki te ao marama.’ Being a bit of a mouthful Rangataua o Aotearoa or ROA became the recognised name. However the club continues to refer back to the fuller name which is their guiding whakatauaki. Transfering to Gisborne with the help of the Minister of Māori Affairs to be closer to home after his father passed away, it wasn’t long before Taka met up with like minded people and ROA in Gisborne was formed. In 1984 Taka married Patricia Ngarui Hayes at Omarumutu Marae in Opotiki and they have four daughters; Melissa, Maiangi, Natalie and Ihipera. Melissa Mackey-Huriwai is now the chief instructor of the Rangataua o Aotearoa (Tumuwhakarae). With her daughter Ishtar, aged 13, also fully involved, the Mackey family’s involvement with Rangataua o Aotearoa spans three generations. Gisborne Rangataua o Aotearoa has 60 active members aged from five to 45. Melissa and Ishtar, along with other talented members from the local club, have had continuous success in competitions in many parts of the world. Those opportunities have been given a boost with Muay Thai being recognised as an Olympic event which validates participation

in the martial arts as a vehicle to create a positive pathway for all whānau. Multi talented, Taka played rugby for Horouta and between 1978 and 1986, represented Poverty Bay as a loose forward. In 1989 he enlisted in the Army with the sole purpose of joining the New Zealand Special Air Service (NZSAS). After passing the demanding mental and physical selection tests and completing the cycle of training, he was ‘Badged’ in 1991 and remained with the unit until 2003. Over the years he has, on and off, worked for Tūranga Ararau delivering their Māori Adventure Tourism, Outdoor Experiences and Preparation For Services programmes, his students will tell you he challenged them just as much as his members of Rangataua o Aotearoa. “Such an awesome man, he helped me a lot through Māori Adventure Tourism and Outdoor Leadership many years ago. Taka always went above and beyond to help.” - Anna “I was lucky to join Tūranga Ararau tutoring their programmes as they were a good fit for me,” says Taka. The content was challenging and diverse and I think all the students took a lot away from it as did I.” Taka has represented New Zealand in the martial arts and is the current Vice-President of the New Zealand Muay Thai Federation having served on its committee since 2015. His talents, interests and whole persona naturally led him to work and train in the security industry. For the past 10 years he has provided professional services for our Rhythm and Vines (R&V) festival and other similar local and national events. He uses these opportunities to provide employment and upskilling opportunities for local people emphasising with them that it is their festival in their rohe. He sees this as giving ownership of how the security tasks are shaped. With involvement in many sectors of the community Taka has made many very good friends and has taken up opportunities that have taken him to various corners of the globe with most of them being memorable ones. When you ring him, you never know what isolated part of the world he will answer from or what he is doing there. He is currently doing a year’s secondment in the Asia Pacific region and reckons the lockdown has been good for him. He has learnt to effectively work from home and it has given him an insight to the ‘new normal’ way of working.


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Early days of ROA in Gisborne. L-R: Nigel and Pip Te Aho, Taka, Teddy Daly and, at rear, Zac Te Maro and Tonto

Ready to fly

Still flying

Taka with Melissa and Nigel Te Aho Relaxing at the Dead Sea

Rugby Days

The ROA roopu with ROA Stalwart John Tahu. L-R: Taka, Pera Ngerengere, Zac Te Maro, John Tahu, John and Luke Marshall and Charlie Moeke

With Henry Winkler 'The Fonz' from the long running American sitcom series 'Happy Days

'Big George' - the Boxer George Foreman

With William Shatner, Captain James T Kirk from the Star Trek series

In Bagdad Taka a few kilos ago


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The Unknown

Over the last few months we have seen and experienced many significant changes, to our enviroment and to our way of living. Covid-19 has and will continue for some time yet to have a huge impact on people here in Aotearoa and across the globe. While COVID-19 posed and continues to pose a major risk to the health and wellbeing of people, it has by comparison enabled the planet to ‘literally and figuratively breath, to replenish itself without being buffeted by the relentless exploitative habits and pursuits of humankind. Planet Earth was given some much needed time to replenish itself and the flora and fauna it is home to. Animals were free to wander the planet, free for a brief period of time, from the predatory behaviours of humankind. This return to the way it once was, gave us all the necessary ‘wake-up’ call to ask ourselves why this brief respite should not be our new norm. We all cheered when we saw satelite images of continents and landmasses that we had given up on ever seeing again, because our cities and airways had become choked up by smog.

The first stranding and fatality occurred on May 26th involving a mother and calf. We were told the mother whale was 40 years old and she was less than half the size that she should have been, the calf was about 9 months and would still have been suckling and solely dependant on a very undernourished mother.

During covid people enjoyed taking walks along Waikanae stream and seeing and enjoying the litterless terrain and in the evening observing the increase in the number and types of birdlife along the stream, which seemed to have returned to roost in environs that seemed safer with less humans. Our Taiao thrived during the significant reduction in the number of people frequenting these natural habitats. While these moments were joyous they were sadly short lived.

The second stranding involved another female pygmy sperm whale who was at the time in calf. The DOC officers said that it was very unusual for these whales to be beached in this particular area.

As the country moved to Alert Level 2, there were two separate whale strandings within a two week period. Rongowhakata Iwi Trust were approached by DOC management to provide cultural leadership on both ocassions, in how we would attempt to save the whales and sadly, as it transpired how we would lay these amazing mammals to rest, with dignity and respect for them and the eco-system that became their final resting place.

These two incidents highlighted our lack of understanding and knowledge of what is truly happening in our Moana and on our planet. It reminds us that notwithstanding our best efforts it all seems too little, too late, we are still not doing enough. We thank those who took part in Karakia to honour and farewell ‘nga tamariki o Tangaroa,’ who came ashore, for whatever reason, to live out their final moments.

Rongowhakaata would personally like to thank the locals who came to assist with the rescue of the whales and their efforts to save them. We would also like to thank the Department of Conservation, and especially Malcom Smith and Jamie Quirk who shared their knowledge about pygmy sperm whales and the circumstances and conditions that drive them to beach themselves .

Soraya Pohatu and Samuel Lewis, the two RIT staff involved were both deeply impacted by these two incidents, being part of both rescue operations and then overseeing the burial process of these majestic mammals.

There is a tohu (sign) for us in these two whale strandings, a reminder to us all of the frailty of life and how little we truly know of what is happening to and in our world, that forces some of life’s most glorious creatures to take such extreme and fatal actions or is this just another natural phenomenon in the ‘Circle of Life’.


Pipiwharauroa Rongowhakaata Iwi Trust

Rongowhakaata Iwi Trust

typically did not interact with museum content, thereby proving the value of Rongowhakaata's innovative storytelling approach.

KO RONGOWHAKAATA EXHIBITION REOPENED AFTER NATIONWIDE COVID19 LOCKDOWN On March 20, 2020 Te Papa Tongarewa, which houses the ‘Ko Rongowhakaata’ exhibition, closed its doors to the public due to the nationwide Covid-19 lockdown. In a press statement, Te Papa Chair Dame Fran Wilde said “We’ve made this decision after careful consideration. We are not able to enforce social distancing within the museum, and we want to protect our community and support the efforts of all of New Zealand to reduce the risk of Covid-19". Te Papa Kaihautū Dr. Arapata Hakiwai also added that “The wellbeing of our community must be the number one focus, and closing our doors temporarily is the best way we can tautoko the efforts across Aotearoa, and across the world.” This was a cautious decision that would bring about unprecedented change.

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In addition, the Rongowhakaata Iwi Trust are also in preliminary discussions around digitalising the 'Ko Rongowhakaata' exhibition in order to conserve the memory of the exhibition itself and also to create digital copies of taonga that will eventually be repatriated to their respective owners across the world. This has also inspired a movement around the protection and conservation of taonga and the intellectual property they hold.

If return on investment can look more like partnership and shared outcomes, then the investment that’s going on at the moment becomes about making everything and everyone better". As iwi in residence, this gave Rongowhakaata a unique opportunity to Moreover, the Rongowhakaata Iwi Trust is help shape Te Papa's post-Covid future. investing in new digital technologies that In April, the Rongowhakaata Iwi Trust and would help establish an innovative platform Te Papa sought to create a unique and that allows whānau to directly connect innovative working relationship that would with taonga. In a recent statement, Iwi Trust General change the way the museum world interacted Rongowhakaata with its source communities. Fruitful Zoom Manager Amohaere Houkamau said that discussions turned into the development of "Rongowhakaata are looking at conducting a new digital wānanga program that would online virtual exhibitions of our taonga that center around the Rongowhakaata Treaty are housed all around the globe. Thereby of Waitangi story. From May 5th to 13th assisting Rongowhakaata to reconnect Rongowhakaata facilitated live discussions with our taonga irrespective of distance around present-day Treaty issues in Aotearoa and therein rebuild our knowledge of the and established a series of short films that Matauranga inherent in all our taonga." This depicted tipuna who were instrumental in will allow the Rongowhakaata Iwi Trust to the environmental, artistic and economic pave the way in taonga digital development.

Upon closing the museum, Rongowhakaata Pou Tikanga Taharākau Stewart and April Nepia-Su'a were tasked with conducting a karakia that would allow our taonga to rest safely during the lockdown period. This was done with a small group of staff members before closing the museum to the wider public. And so, the 'Ko Rongowhakaata exhibition, including our whare whakairo prosperity of Rongowhakaata in TūranganuiTe Hau ki Tūranga, Rongomaraeroa and a-Kiwa. The Treaty settlement process and the contemporary issues Rongowhakaata face other iwi taonga were put to sleep. today were also explored. With bold language In the wake of the Covid-19 lockdown, and beautiful visuals, the program was museums around the world, including deemed a huge success attracting hundreds Te Papa, were faced with the reality of of people from different backgrounds to the adapting to their new circumstances. In an series, which produced a robust discussion interview with 'the Spinoff', Te Papa Tumu around the Treaty and its relevance today. Whakarae Courtney Johnston indicated In addition, statistics from Te Papa's social that “The language of the last 10 years has media and digital platforms saw an increase been about return on investment and that’s in engagement from demographics that usually in terms of numbers through the door, hotel nights – your economic benefit.

As Te Papa prepared to move into lockdown level 2, Rongowhakaata was able to guide them in their endeavours to establish a Covid-19 tikanga strategy around managing public access to taonga. On May 28th, during lockdown level 2, Te Papa decided to reopen the museum to the general public albeit with strict Covid-19 sanitation practices. Te Papa had been closed for a total of 68 days, which is the longest in the museums history. However not


The reopening of the 'Ko Rongowhakaata' exhibition was conducted in the early hours of Saturday morning and was attended by Mana Whenua, Te Papa representatives and many whānau members and kaumātua from Rongowhakaata who had travelled especially from Tūranga. The ceremony began with a series of karanga and karakia performed by Mana Whenua from Raukawa, Te Ati Awa and Ngāti Toarangatira on level two, they led everyone up the stairs to level 4 where Rongomaraeroa marae was the first to be reawakened. The ope then proceeded to the 'Ko Rongowhakaata' exhibition led by Taharākau Stewart and Sir Derek Lardelli accompanied by kaikaranga April Nepia-Su'a, Chrissy Moetara and Kathryn Te Kurapa. When the group approached tipuna whare Te Hau ki Tūranga, emotions ran high as the yearning for reconnection came to the forefront. Rongowhakaata kaumātua were the first to enter the whare in a gesture of whakamahana before the official whaikōrero commenced.

would conclude with a hongi and hākari, which included speeches and entertainment from the Te Papa staff.

Rongowhakaata Iwi Chair Moera Brown described the ceremony as 'beautiful' and that we should take a moment to remember those who have passed on. "The exhibition opened some time ago but just remembering those who have passed on, such as Uncle Lewis Moeau and Erica Jones and her role in setting up the exhibition, and those who were present when we did the big opening here, it was a time to reflect on how well we've done and how far we've come, and just a time to appreciate that actually we are extremely lucky to be involved in this exhibition and to have quite a big footprint, it's just really good to reconnect with our taonga and our tipuna, it was a pretty special day." All parties who attended the ceremony shared these sentiments.

The Chair of Te Papa, Dame Fran Wilde also expressed her thoughts, "I regard the heart of the museum as Rongomaraeroa and, of course, Te Hau ki Tūranga and the Rongowhakaata exhibition." She continued to show Te Papa's commitment to Rongowhakaata by adding, "We have had Rongowhakaata here as the iwi in residence, now we need to go to your place, and so it would be the Board and the senior management coming up there and meeting you and hopefully we would be able to have an agreement about our future The whakaoho ceremony started with relationship." The Rongowhakaata a Ringatū karakia service performed by Iwi Trust welcomes this initiative. kaumātua Jeffrey Pohatu from 'Ngāri uri o Te Kooti' followed by whaikōrero and The relationship between waiata kīnaki from all representatives. Rongowhakaata and Te Papa has The Rongowhakaata delegation showcased only strengthened during the their cultural prowess by performing waiata Covid-19 lockdown and as we look tahito 'Pōpō' that resonated all across towards our post-Covid future we the exhibition and served to mirimiri the must foster this relationship for the wairua of the taonga. Furthermore, it was sake of our taonga. Furthermore, important to acknowledge Rongowhakaata the unique circumstances we faced taonga, whakapapa and kōrero in this during the Covid-19 lockdown has space so that they reawaken from their propelled Rongowhakaata into temporary slumber and also to whakawātea leading the digital space for iwi and for museum visitors. indigenous peoples the world over. The reopening ceremony was a Towards the end of the ceremony, testament to the strength of Rongowhakaata Rongowhakaata took the opportunity whānau to represent Rongowhakaata values to acknowledge one of their own, Sir of rangatiratanga and kaitiakitanga. And Derek Lardelli on his latest knighthood so, like our tipuna before us, we must keep achievement. A beautiful waiata and striving to uphold our mana tangata and whaikōrero was performed ending with mana taonga for future generations. a rousing haka. The official proceedings

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all the exhibitions were reopened, the Gallipoli, Te Taiao, Mana Whenua and the 'Ko Rongowhakaata' exhibition remained closed. The Rongowhakaata Iwi Trust’s decision to delay the reopening of the 'Ko Rongowhakaata' exhibition and Te Hau Ki Tūranga was also steered by the Ministry of Health guidelines and the fact that the Mana Whenua Iwi had decided that they would not reopen their Marae to the public until the country had moved to Alert Level 1. Ultimately, Rongowhakaata were guided by the tikanga of the Mana Whenua. The Rongowhakaata Iwi Trust alongside Te Papa then decided that 'Ko Rongowhakaata' would stay closed until lockdown restrictions were lifted. Once the Government gave the all clear, the reopening date was set for June 20th.

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Pipiwharauroa Old Pipiwharauroa

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Te Ao o Hinepehinga Rauna Nōu te Ao

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enjoyment she and her other teenage friends got from learning dance routines through her mother’s ‘Hip Hop’ classes.

He mokopuna i poipoia, i pakeke mai i ngā rekereke o ana kuia, koroua. He uri i heke mai i ngā kāwai rangatira ō Te Aitanga āMāhaki, Rongowhakaata, Ngāi Tāmanuhiri, Ngāti Kahungunu. He tamaiti i takahi i te motu, i te ao kia puea ana moemoea, ōna wawata i te ao kiriata, ana kua pūāwai. Nōu te kaha, nōu te ao. Me mihi ka tika ki ō mātua, me ngā kaitautoko i a koe. Kei runga noa atu. Ask any of her aunties, they will tell you Te Ao o Hinepehinga Rauna was born a star, even at her birth she had a sizable audience. After spending time with Nanny Kui and Nanny Doll at Rongowhakaata Kohanga Reo, Te Ao graduated to Te Kura o Manutuke before moving with her whānau to Tolaga Bay where she attended Tolaga Bay Area School before spending her final high school year at Lytton High school. On leaving school she trained in musical theatre at the National Academy of attention by joining the chorus but with the Singing and Dramatic Art in Christchurch. encouragement of Mrs Radice, she embraced Her natural love of the theatre was challenges of more prominent roles. immediately recognised and nutured by Tolaga Bay Area School’s drama teacher Julie Although her Papa Tio was very supportive Radice who saw great potential in her. At that of her acting ambitions he was not totally on time in her life drama gave Te Ao a place to board with them in the beginning and tried escape to, a safe place where she could find to encourage her to pursue a ‘real’ job that would provide a stable income. Over the herself and develop her creativity. years he told her many old stories he had Her passion was Shakespeare. Although heard from his mother, Nanny Meritaiakupe, she also performed in musicals she those times were very special to them. initially tried to avoid being the centre of Te Ao did consider a career in law or training as a chef. However, once she had a taste for shakespeare through the Sheila Win Shakespeare competition she was hooked and became even more determined to follow her passion for the theatre, her Papa accepted that, first and foremost, she needed to do whatever made her happy.

Te Ao spent some time travelling overseas fulfilling her adventurous desires in places like Europe while searching for performing opportunities wherever she could find them. Te Ao found a renewed passion for dance in the Latin scene in Sydney Australia, training and performing in Samba, salsa, bachata and a variety of showgirl style performances, this lead her to be noticed by photographers for different projects where she had the opportunity to try out modelling and a very different kind of storytelling than what she was used to. From these opportunities and connections she was invited to represent her country in the Miss Tourism of the World Pageant in China, this involved weeks of exploring China, teaching people of the cultural wonders of Aotearoa and Māori and awarded the title of Miss Congeniality during the final show. She was then invited to continue her tour through China, spending almost 2 months modelling, performing, teaching and learning in over 9 different cities through China. These adventures came to a sudden end when she returned home in 2018 on the passing of her beloved Papa Tio. It took her several months to start to pick up the pieces of her life from there. Eventually in 2019 she moved to Auckland, found a great agent with Graham Dunster and the team at Auckland Actors and took on a variety of theatre work including performing in shows around New Zealand such as Theatre Company's Mythmakers, Mahuika!, a production of Little Black Bitch by award-winning playwright Jason Te Mete.

With this also came the opportunity to audition for the new TV3 series Head High Quite the opposite, from the beginning which was a totally new medium for her. her mother Tania was right behind Te Ao’s passion for performing, she had wanted to When he told her the part represented a 15 be a dancer herself but instead followed her year old she thought he must be kidding. parents’ desire for her to go to university. However after spending hours practicing She consistently reminded Te Ao that the lines with her partner and still feeling whatever she did she needed to do it for the nervous about the ordeal she soon relaxed right reasons, for herself, not to meet the on meeting and immediately clicking with expectations of others, and has been her the casting director, Mike Dwyers. “Never say never, you can do this,” she thought. daughter’s number one fan all the way. One thing she learnt from her mother was that she would constantly be tested in trying to achieve your goals, it would certainly not be a ‘walk in the park. Irrespective, whatever idea Te Ao came up with, her immediate response was, “Alright Bub, let’s do it.” She did not miss a beat. Te Ao remembers the

Afterwards, she says, she walked out feeling good and within two days received the call back which meant she had made it to the final round of auditions for the role. For her it was an opportunity to be part of a new kind of show, one that would give an honest and accurate representation of the life and dreams of New Zealand families.


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One that included our Māori culture and family that you see on Head High. We could language. not have built such a strong connection without everyone involved. At the same time she was just as excited to get an audition for the Pop Up Globe Acting in the Head High series was a most Theatre which she dealt with ease. enlightening and eye opening experience,” Shakespeare excited her as it had been says Te Ao says. “I can take what I learnt from the spark that ignited her passion for it anywhere, I gained so much from being in acting and where she started in her acting it. I will never stop being grateful for the career. people and experiences had.” Within a week of her second audition she received a call from South Pacific Pictures offering her the role of Aria. Although her preference was still with the theatre and knowing the medium of television would be quite different, she needed to follow her head, not her heart. An appearance on a television series would give her greater exposure and better pay. She also felt a strong connection between Aria’s life journey and her own which many young girls also go through, to her the part felt right. “Despite being an actor I am a bit of an introvert so it's really scary for me, the thought of being on tv but I felt the importance of honouring Aria's story and telling it truthfully, I gave part of myself to Aria, and I hope I did her story justice” she says.

On her first day on the set Miriana came in to congratulate her, she had just won the lead role in the Pop Up Globe’s rendition of Shakespeare’s Romeo and Juliet. Although a difficult decision, Te Ao turned it down with some regret but she had already developed a very strong connection to her role as Aria in Head High acting the part of a young lady with dreams growing up in a working class Māori family in New Zealand and to Aria’s Television whānau. Te Ao waits anxiously for the start of the series on 28 June hoping it will be so well received that it will warrant a second season. In the meantime she takes on any work that comes her way, working in cafes, supermarkets and packhouses. They may not be as glamorous With stepfather/coach Vince and police officer mum Renee behind them, the boys but certainly pay the bills. fight and train towards the ultimate goal Her future? Well, depending on further acting of All Black status. Meanwhile, Aria comes opportunities, Te Ao will consider a degree to resent the attention poured on her two in Art Psychology giving her the tools to older brothers so, to be different, takes encourage and support other young aspiring up platform diving which also reflects her growing desire to push boundaries to performers just as Julie Radice did for her. challenge her own fears.”

Te Ao connected strongly with her TV whānau, Aria’s brothers, Mana (Jayden Daniels) and Tai (Lionel Wellington) were just like her own brothers and she became very close to the actors Miriama McDowell and Craig Alan Hall and Andi Crowne playing the roles of Renee and Vince and ABOUT HEAD HIGH: Gabe taught her so much and she found herself looking up to them as parents to “Aria is a young, spunky, girl with big dreams her growing career and role models to who battles for attention in the family follow. against her rugby prodigy brothers.” Head High is set in the home of a working-class "The crew, the cast, production, every family and follows the rise of high school member of the team that was part of rugby stars, Aria's brothers Mana and Tai. creating this show became part of the


Kei te whakamāoritia ngā kōrero, ā, ko Te Rūnanga o Ngāti Porou kei te whakahaere i te kaupapa nei, i raro anō o te mana i tukua mai e ngā mōrehu o C Company o Ngā Taonga a Ngā Tama Toa Trust. Nā Wiremu and Jossie Kaa i whakamāori tēnei wāhanga.

(Continued from last month)

TE MAHI TIAKI I NGA HUARAHI Ki ORSOGNA Ka pau te rima ra e whakata ana, ka tonoa ano te 5 Brigade kia hoki ano ki nga pihi maunga o Pascuccio. I wikitoria nga pihi maunga o Pascuccio. I wikitoria te 23 Battalion, no te mea i riro mai i a ratau nga rohenga rori e haere atu ana ki Orsogna. No te 16 o Tihema ka tuku mai aua rohenga rori nei ki a B me C Company. Otiia, he wa ke ano tenei, kare i pera me te wa kare i tae atu nga tanks hei awhina i te artillery me nga hoia no te mea kua taea e nga bulldozers te hanga i nga rori kei nga pihi o nga maunga e tu tata mai ra, kia tae atu ai nga tanks hei awhina i nga hoia. E mohio whanuitia ana kei nga Tiamana e pupuri ana te pihi maunga e rima rau iari nei te tawhiti atu i te Battalion. Ko te mea ke kare i te marama, mehemea kei nga Tiamana ano te wahi e tu watea mai ana i waenganui o nga taha e rua o te huarahi, kare ranei. Na 2/ Lt Baker me tana patrol i whakamatau mehemea he Tiamana ano kei te wahi i whakaarohia nei kei reira ratau, engari, kare he Tiamana i kitea e Baker ma i taua waahi. Otiia, kare tonu i rata nga whakaaro o Fairbrother ki te whakautu, kare he Tiamana i reira. Katahi ka kii atu a Fairbrother ki a Wirepa kia tonoa noatia, he patrol tuarua ki te whakamatau ano i taua wahi ra. Ka tonoa e Wirepa ko 2/Lt Mahuika hei mahi i te mahi nei. Ka tohua e Mahuika ko Le Helmbright, ko Pipiteri (Bill) Hiroki me Hatu 'Boothill' Herewini hei hoa mona. Ko ta ratau whakatutu i a ratau, he rite ki te koi o te pere, ara, ko Mahuika kei mua o te koi e arahi ana, a tokorua kei nga taha e rua o te koi, a, ko tetahi kei muri e whai mai ana.

Ko te mea waimarie ke, kare nga Tiamana i whakaaro tera ratau ka kokiritia i te ata, na reira ka noho mai ki wo ratau rua whakata mai ai. Ka tae atu te tokowha nei ki tera taha o te riu whenua nei, katahi ka piki atu ki tetahi paripari. Katahi ka kitea atu e ratau he whenua raorao e toro atu ana i tua atu o te kitehanga kanohi, e roha mai ra i wo ratau aroaro. Anei nga whakaaro o Mahuika mo taua wa: E putu haere ana i nga waahi katoa nga kaupeka o nga rakau oriwa, na nga pu a nga artillery i puhipuhi kia takoto whatiwhati mai ki te whenua, kare i tino tawhiti mai, ko tetahi o nga rakau oriwa nei e tu mai ana i mua tonu i awau ... tekau iari noa pea taku tawhiti mai i taua rakau ra, ka kite atu awau e rewa haere mai ana te potae tini nei i waenganui o nga kaupeka me nga rau oriwa ra. Katahi ka puta ake te kanohi tangata; tino kino te ma o tena kanohi. He kanohi Tiamana. Mai i taua wa tae mai ki tenei wa, kare tonu 56 awau i te mohio ko wai o maua i tino ohorere - ko te Tiamana ra, ko wau ke ranei. No te mohiotanga o Mahuika kua taka te magazine o tana pu, katahi a ia ka tuku heke; tetahi o wana pona, i a ia e tu mai ana i muri i tetahi rakau pakupaku nei. (Ka mea a Mahuika) Tata ana te tihaetia mai e wau taku peke i au e rarau atu ana he magazine hou mo taku pu. Kua tino ata tu mai a Helmbright me Herewini i a raua e whiriwhiri mai ana he ra mai taku ana ki mahi te ... sitting room wa o to tonu ka matau whakaata whare, e mai paenene ki taku ana t hinengarte waku ino ma matraua ma e nrao wha atu tenei kitenga aku i waku matua, me te mea nei i reira au i o raua taha e tauawhitia ana e te mahana o to matau kaenga.

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Ko tēnei kōrero e pā ana ki te pukapuka rongonui nei, ara Ngā Tama Toa: The Price of Citizenship.

I a au te tommy gun, me te magazine pupuri kariri. Ko te tino raruraru ke o wenei momo pu, ko te tino makerekere haere o nga magazines. Ko te Bren gun kei a Len ... Ka whiti atu matau i te railway, ka haere tuku heke atu ki wetahi whare e tu tahanga mai ana. I tenei wa kua tino koi rawa atu wa matau mauri, i a matau e whakamatau ana i nga wahi katoa o te whenua. Kei nga Tiamana te painga no te mea kei ro rua whakaruru ratau, a, anei matau e haere marakerake atu nei hei tirohanga mai ma te hoariri. Ko tenei te rima rau iari tino tawhiti rawa atu kua haeretia e au mai i taku whanautanga tae mai ki naianei.

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Pipiwha'rauroa Nga Tama Toa

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Padudi (Boy) Tawehi Kemp 25 February 1948 – 18 June 2020

He Whetū ki te Ao He Whetu ki te Rangi Kua tō o rā ki te whenua Kua rere koe ki tō Kaihanga Tō Atua nui i te rangi. Whakatā, kua mahia e koe ngā mahi papai Mā tō iwi, mō tō hapori. Kua tipu tō pāharakeke Haere i runga i ō mate. E kore e taea te pēhea. Nā tō Ariki te karanga Haere mai, whakatā. Okioki, kua ea.


Pipiwharauroa Tūranga Health

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JUNE 2020

WHĀNAU SAFER THANKS TO CHINESE CONNECTION

Former Gisborne diary owner Lei Zhang organised for thousands of face masks donated by Wenzhou charities to be sent to Tūranga Health with the help of former Gisborne Mayor Meng Foon. The 6700 masks were shipped to Gisborne direct from the Wenzhou Municipal Foreign Affairs Office.

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FRIENDSHIP born in a Gisborne dairy has resulted in the donation of thousands of face masks for a local Māori health provider. The timing could not be better with the World Health Organisation advising that, to help protect against the Covid-19 virus, people should wear masks where social distancing cannot be maintained. So, when the box of 6700 non-clinical masks arrived at Tūranga Health, chief executive Reweti Ropiha said they would be put to good use. “The reality is that Covid-19 has not gone away, it will be with us for a long time, so we are all going to have to stick to the hygiene practices adopted for our protection,” he says. “For many people wearing a mask will be an important part of that so to have

stocks on hand for staff and whānau is a big relief.” The donation came from former Gisborne woman Lei Zhang, who struck up a friendship with then Mayor Meng Foon during the period she ran a Gladstone Road dairy. Though she has since returned to China she maintains strong connections with the region – and her children still live here – so contacted Mr Foon to see how she could help. “When Lei offered to make a contribution, I immediately thought of Tūranga Health as I had been involved with them in the past and seen first-hand the amazing work they do,” Mr Foon says. “We thought that, especially for frontline workers, the masks would be useful going into the future and Reweti said they

would gratefully receive them.” Mrs Zhang made the offer in April but because of customs issues around the shipping of health protection equipment, the masks – donated by charities in her home city of Wenzhou -- took a while to reach their destination. Now they are here, however, they will be an important part of Tūranga Health's virus protection arsenal. “As Covid-19 will be a living thing for a long while yet, it is vital that we do all we can to protect staff and whānau, especially the elderly or those that are immunocompromised,” Mr Ropiha says. “So we're very grateful for the support of Meng Foon, Lei Zhang and the Wenzhou Municipal Foreign Affairs Office.”

“When Lei offered to make a contribution, I immediately thought of Tūranga Health as I had been involved with them in the past and seen first-hand the amazing work they do.” — Former Gisborne Mayor and now Race Relations Commissioner Meng Foon

www.turangahealth.co.nz  REDPATH COMMUNICATIONS LTD


Pipiwharauroa Tūranga Ararau

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2020 COURSES Tūranganui ā Kiwa | Gisborne

All of our programmes are running and open for further enrolments Come in and see us onsite on Kautia Street or call and leave a message on 0508 38 38 38 or email: enquiries@ta.org.nz

Bee Keeping Farming Forestry Logging Foundation Skills Hospitality Māori Tourism Preparation for Services Sport & Recreation Te Reo Māori

Kia haumaru te noho Kia Atawhaia Be Safe - Be Kind

... and more NZQA Category One Provider Ka whai mana te iwi mā te matatau i roto i ngā akoranga Empowering Iwi through responsive learning