Rangi Ruru Cultural Narrative

NGĀ MIHI / ACKNOWLEDGMENTS This narrative was developed by Boffa Miskell, in conjunction with kaiako/staff, ākonga/students and their whānau who gave their time to share their knowledge and provide their input and feedback to ensure the information contained within was an authentic expression of their history, heritage and values.

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RĀRANGI ŪPOKO / CONTENTS He Kupu Whakataki / Introduction Tāhuhu Kōrero / Background Ngā Kauneke / Methods

6 7 7

Manawhenua Ngāi Tahu Whānui Ngāi Tūāhuriri Te Hapū o Ngāti Wheke

8 8 10 11

He Kōrero a Wāhi / Cultural Context Wāhi Taonga / Sites of Significance

12 12

He Kōrero a Kura / The Cultural Narrative of Rangi Ruru An Unexpected Friendship Between a Warrior and a Harbourmaster / The Story of Paora Taki & Captain Gibson An Evolving Māori Identity at Rangi Ruru / How Rangi Ruru has Embraced a Bicultural Identity Rangi Ruru Core Values

24 31

Whakaaro Toi / Cultural Design in the Built and Natural Environment Mana / Relationship with Manawhenua Whakapapa / Identity Mahi toi / Artwork & Graphic Design Te Taiao / Landscaping

32 32 33 34 36

He Kupu Whakamutunga / Conclusion

41

Ngā Tohutoro / References

42

18 18

Reference to Artwork: Michel Tuffery, ‘Matariki Stars’ 2022.

CULTURAL NARRATIVE | 5

HE KUPU WHAKATAKI INTRODUCTION T

he Cultural Narrative Report (CNR) provides insight into the cultural history of Rangi Ruru and its surrounding landscape, to allow for these aspects to be acknowledged, respected and shared.

Aspects of this history can be called upon to be incorporated into both the physical (buildings, landscaping etc.) and the non-physical (curriculum, values and knowledge systems) aspects of the kura/school.

The report begins with a brief background, including the methods

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undertaken in producing this CNR. This is followed by a manawhenua statement and an explanation of key cultural values and narratives.

Recommendations are then provided to identify opportunities for how this CNR can be meaningfully embedded. Finally, as this document is a living record, as the kura evolves its cultural responsiveness and relational pedagogy, activities and completed projects that reflect this will be noted to demonstrate how Rangi Ruru continues to weave its cultural identity into all that it does.

TĀHUHU KŌRERO / BACKGROUND In 2020, Rangi Ruru identified a new strategic goal, “To evolve cultural responsiveness and relational pedagogy”.

Te Reo Māori teacher, Sherrilee HerangiHarrison lead Friday workshops with Rangi Ruru kaiako/staff to learn karakia, waiata and to generally build our cultural capability. Staff then attended a hui at Rehua Marae which helped form a connection and culminated in a better understanding of our shared history and people.

In 2021, the first parent hui was held where establishing a cultural narrative for Rangi Ruru was first tabled and later supported by whānau, kaiako/staff

and ākonga/students. To complete this work, Rangi Ruru engaged Boffa Miskell to develop this CNR in conjunction with representatives of Te Ngāi Tūāhuriri.

This CNR aims to identify and explore manawhenua values and consider how these can be manifested into the built and natural environment.

This report captures the information gathered from working with members of Te Ngāi Tūāhuriri Rūnanga, and is aimed at providing an overview of the cultural narratives and values of the surrounding area that can be incorporated into and inform any future design and development on campus.

NGĀ KAUNEKE / METHODS In preparing this CNR, the following process was undertaken: ■ Gathering of information from a range of trusted references including consultation with Rangi Ruru’s Archivist, Johnann Williams.

■ Researching and reviewing relevant background documentation, including: Э The Mahaanui Iwi Management Plan. Э The Grand Narrative prepared for CERA by Ngāi Tahu representatives.

■ Meeting with representatives of Rangi Ruru which included kaiako, ākonga and their whānau.

■ Consultation with cultural specialists.

■ Preparation of a written report, and discussion with representatives of the kura and cultural specialists to gain feedback and approval of a final report.

Э Historical texts, maps, images and other information about the local area.

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MANAWHENUA M

anawhenua refers to the mana or ‘authority’ held by an iwi, hapū or whānau over the land, territory and/ or resources of a particular area. This authority is passed down through whakapapa/genealogy and is based on the settlement and occupation, and

continued use and control of the land and the natural resources within an area.

Manawhenua is also used to describe the people who hold this authority, and who are considered the kaitiaki/guardian of their particular area or takiwā.

NGĀI TAHU WHĀNUI Ngāi Tahu Whānui is the iwi/tribe who hold manawhenua over a large portion of Te Waipounamu/the South Island.

The modern iwi originates from three main tribal strands; Waitaha, Ngāti Mamoe and Ngāi Tahu. Through intermarriage, warfare and alliances,

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these tribal groups migrated, settled, occupied, amalgamated and established manawhenua prior to European arrival.

Specific hapū or sub-tribes established control over distinct areas of the island and have maintained their mana over these territories to this day.

Year 11 History class at the Kaiapoi Pā Te Rūnanga o Ngāi Tahu is the mandated iwi authority established by Ngāi Tahu Whānui under Section 6 of the Te Rūnanga o Ngāi Tahu Act 1996 to protect the beneficial interests of all members of Ngāi Tahu Whānui, including the interests of the Papatipu Rūnanga and its members. Te Rūnanga o Ngāi Tahu is governed by elected representatives from each of the 18 Papatipu Rūnanga and has an administrative office as well as a number of commercial companies.

Papatipu Rūnanga are the administrative councils of traditional Ngāi Tahu hapū based around their respective kāinga/ marae-based communities, Māori reserves, pā, urupā and mahinga kai areas. The takiwā of each Papatipu Rūnanga is set out in Schedule 1 of the Te Rūnanga o Ngāi Tahu Act 1996.

There are two Papatipu Rūnanga who have a shared interest and/or authority over the area in which Rangi Ruru is located that is important to the cultural history of the kura; they are described in the next section.

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NGĀI TŪĀHURIRI Ngāi Tūāhuriri is a primary hapū of Ngāi Tahu whose tribal boundaries centre on Tuahiwi. Tūāhuriri is the ancestor from whom they descend. The following is a traditional Ngāi Tūāhuriri pepehā, or tribal statement of identity.

“Kō Maungatere te maunga, Our mountain, Maungatere [Mount Grey] stands above us; Kō Waimakariri, kō Rakahuri ngā awa, Our rivers – the Waimakariri and Rakahuri [the Ashley] – flow below; Kō Tūāhuriri te tangata.

Tūāhuriri is our ancestor.”

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Tuahiwi is the home of Ngāi Tūāhuriri and has played a vital role in Ngāi Tahu history. The takiwā of Ngāi Tūāhuriri Rūnanga centres on Tuahiwi and extends from the Hurunui River to the Hakatere River and inland to the Main Divide, thus holding territorial authority over the land in which Rangi Ruru is located.

Kaiapoi Pā was established by the first Ngāi Tahu ancestors when they settled Te Waipounamu/the South Island. It became the major capital trading centre and from which further penetration of the South Island occurred, making the area a genealogical centre for all Ngāi Tahu whānui. Kaiapoi Pā was established

by Turākautahi who was the second son of Tūāhuriri, hence “Ngāi Tūāhuriri” is the name of the hapū in this area (Mahaanui Kurataiao Ltd., 2013).

TE HAPŪ O NGĀTI WHEKE Te Hapū o Ngāti Wheke is the modernday representative structure of the hapū of Ngāti Wheke. The takiwā of Ngāti Wheke reflects the events and deeds of Te Rakiwhakaputa (a Ngāi Tahu rangatira/ chief of Ngāti Kuri descent) and his sons Manuwhiri and Wheke, that secured their descendants’ manawhenua rights to the area.

The takiwā of Ngāti Wheke centres on Rāpaki and the catchment of Whakaraupō, it is described in the Port Cooper Deed of 1849 (English Translation) as: “The inland boundary commences at the mouth of the Ōpawa thence along [the Halswell River] to Waihora; the outer

boundary commences at Kaitara [Port Levy], thence by Te Pohue [Monument], thence by the Ahupatiki [Mt Herbert] ridge to Waihora following the line of the said mountain to Kuhakawariwari.”

(Mahaanui Kurataiao Ltd. 2013).

Although the authority of the takiwā in which Rangi Ruru is located sits with Ngāi Tūāhuriri, prominent Ngāi Tahu leader Paora Taki - who had a relationship with Captain Gibson, the patriach of the school’s founding family - was an active member of Te Hapū o Ngāti Wheke and so acknowledgment of the school’s relationship with Rāpaki is important to this cultural narrative.

Year 9 Te Ara class Waka on Avon experience CULTURAL NARRATIVE | 11

HE KŌRERO A WĀHI CULTURAL CONTEXT WĀHI TAONGA / SITES OF SIGNIFICANCE

Ō

tautahi/Christchurch was once an area rich in natural resources; the diversity in landscape typologies - from mountain ranges capped with snow, to sheltered bays and braided rivers - is what Ngāi Tahu travelled here for and came to rely upon for survival.

The area, now commonly known as Christchurch, is of special significance to Ngāi Tahu who maintained numerous permanent and temporary kāinga and pā (sites of settlement) within the greater Christchurch area. From these settlements, Ngāi Tahu gathered the natural resources from the network of springs, waterways, wetlands, grasslands and lowland podocarp forests that once thrived along the Ōpāwaho/Heathcote, Ōtākaro/Avon, Pūharakekenui/Styx rivers and around Te Ihutai/Avon-Heathcote Estuary, Te Oranga/Horseshoe Lake and Te Riu o Te Aika Kawa/Brookland’s Lagoon.

Ngāi Tahu lived a highly mobile way of life that relied upon knowledge shared across generations; they traversed nearly

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the whole of Te Waipounamu/the South Island, hunting and gathering the natural resources the landscape provided such as birds, fish, plants and animals.

Within the city of Christchurch, and immediate landscape surrounding Rangi Ruru, were once a number of permanent and seasonal settlements from which Ngāi Tahu gathered their natural resources. The entire landscape was once imbued with numerous names and narratives that mapped this terrain.

Although occupation and use of the land by Ngāi Tahu has diminished since the Crown land purchases in the 19th century, Ngāi Tahu names and whakapapa remain entrenched in the land as do the spiritual, cultural and historical values (Matapopore Charitable Trust. 2017).

The sites of significance of particular interest to Rangi Ruru are discussed in the following section, and provide cultural context to the landscape within which the kura sits, acknowledging the natural environments and habitats that once thrived here.

Year 9 Te Ara class visit to Rehua Marae

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ŌTĀKARO / AVON RIVER The Ōtākaro/Avon River formed a major part of the network of trails that connected the various settlements within the wider Christchurch area and further afield. The river begins at a spring source in Avonhead, meanders its way through the central city and out to sea via the estuary.

Tautahi - the chief after whom Ōtautahi/ Christchurch takes its name – would travel from Koukourārata/Port Levy to gather food from the river; pātiki (flounder), tuna (eels), pūtakitaki (ducks), inaka (whitebait) and native trout were among the resources in abundance.

The Ōtākaro provided access to Te Ihutai/ Avon-Heathcote Estuary, west to an inland trail which lead to Papanui and Pūtaringamotu (Riccarton Bush) and north to Kaiapoi Pā and the Waimakariri River which provided the route through to the Ōtira-Waimakariri trail (Arthur’s Pass) to access pounamu (greenstone) on Te Tai Poutini/the West Coast.

During the time of Tautahi, it wasn’t very common for Māori to settle along the Ōtākaro; instead, people would only visit seasonally to gather food that was then preserved for eating during the colder months when fresh food was in short supply.

Ōtākaro, translated to be ‘a place of game’, was named after the children who often played on the banks of the river during times of food gathering.

There were streams known to once feed into the river and be used by tohunga/ spiritual leaders for healing purposes, these rituals were cited to occur in the Ōrakipaoa/Fendalton area in the Wairarapa and Waiwhetū stream (Pauling et. al. 2007).

WAIPAPA / LITTLE HAGLEY PARK Waipapa is a pocket park located by the Carlton Mill Bridge; it was set aside in 1862 for Māori to use as a meeting or resting place when they visited Ōtautahi.

In 1868, 150 Māori camped in the area

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while they argued their claims in the Native Land Court for the banks of the Ōtākaro/Avon River between Barbadoes and Madras Streets.

PUARI PĀ / MARKET SQUARE Puari Pā is a site of early Waitaha settlement; the pā stretched along the banks of the Ōtākaro/Avon River at Victoria Square out towards Bealey Avenue and was occupied between the years 1000 and 1500. Little is known about this settlement or its occupants, however many artifacts have been found

in this region that suggest that at its height, the pā would have been home to an estimated 800 Waitaha people.

The burial place for Puari Pā was situated where the old public library and police station once stood, at the intersection of Cambridge Terrace and Hereford Street.

Sites of Significance, Cultural Context Map

ŌRUAPAEROA

Marae Locations - Rehua Marae - Ngā Hau E Wha

M AIR EHAU

TE ORANGA

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Ngā Ara Tawhito Historical Trails

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NZAA Archaeological Sites Middens

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- ŌTĀKARO / Avon River - ŌPĀWAHO / Heathcote River - WAIRARAPA

Nohoanga Traditional Settlement Sites

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Residential Red Zone

ŌTĀKARO

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LEGEND

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REHUA RANGI RURU WAIPAPA

PŪTARINGAMOTU

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TAUTAHI

TE KAI A TE KARORO

PUĀRI PĀ

BR OM LEY

IHUTAI

TE IHUTAI

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A DDINGT ON

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KĀ TIRITIRI O TE MAOANA / TE KURA TAHIWITI / HINE-PAAKA / AORAKI / HURITINII

WAIMAKARIRI / K A I K A N U I / T E R I U O T E A I K A K A W A / R A K A H U R I / T U A H I W I / K A I A P O I P Ā / P Ū H A R A K E K E N U I

T E

ĀKARO

Students at Little Hagley Park

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TE HERU O KAHUKURA / TE IRIKA Ō KAHUKURA / TE TIHI Ō KAHUKURA / RAPANUI / TAUMUTU / WAIHORA / WAIREWA

W

A

TE RAEK

Students at Pūtaringamotu / Riccarton Bush

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TAUTAHI PĀ / THE BRICKS Tautahi Pā was located approximately in what is now the triangular area of Barbadoes Street, Kilmore Street and Oxford Terrace. It is an old mahinga kai site claimed before the 1868 Native Land Court by Hākopa-te-ata-o-tū who made claims on behalf of Ngāi Tūāhuriri; his claim was uncontested by other hapū.

The Native Land Court dismissed the claim on the basis that the Crown had already sold the land. Tautahi was one site among many along the Ōtākaro/Avon

River claimed by Ngāi Tūāhuriri, and the Crown’s failure to set aside land in the Ōtautahi region added fuel to the Ngāi Tahu claim.

In 1868, as this site was being prepared for the building of the St. Luke’s Anglican vicarage, a complete skeleton/tangata kōiwi was uncovered. Considering its proximity to Tautahi Pā and approximate length, the kōiwi was thought to be the remains of Tautahi himself (Matapopore, 2016).

PŪTARINGAMOTU / RICCARTON BUSH Pūtaringamotu/Riccarton Bush is situated in the upper parts of the Ōtākaro/Avon River. Pūtaringamotu is believed to translate to mean ‘the place of an echo’ or ‘the severed ear’; the latter refers to the isolation of the bush from the rest of the ecosystem as a result of the great forest fires that once swept across Kā Pākihi Whakatekateka o Waitaha/the Canterbury Plains. It was once believed that at certain places amongst the forest, by putting an ear to the ground you could hear the sound of people approaching on the trails amongst the swamp; hence the name ‘place of an echo’.

The former swampy region of Pūtaringamotu was one of the many sites of settlement that Māori established in the maze of swamps, waterways and lagoons lying between Te Waihora/Lake

Ellesmere and the Waimakariri River.

This area was often frequented by Ngāi Tahu tohunga and was a place where Māori from Kaiapoi would come to work the wetlands, waterways and off-shore fisheries and species such as tuna/ eels, kanakana/lamprey, harakeke/flax, and āruhe/bracken fernroot were once gathered (Tau et al. 1990).

Today, Pūtaringamotu is a 7.8ha reserve of important remnants of the historic floodplain forests of Canterbury.

Dominated by kahikatea, tōtara and mātai, it represents only 2% of the original forest type of this area.

The bush is now protected by a predator proof fence and is home to small populations of pūtangatanga/ Canterbury tree wētā and four roroa/ great-spotted kiwi.

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HE KŌRERO A KURA THE CULTURAL NARRATIVE OF RANGI RURU AN UNEXPECTED FRIENDSHIP BETWEEN A WARRIOR AND A HARBOURMASTER / THE STORY OF PAORA TAKI & CAPTAIN GIBSON

B

orn in the early 19th century, Paora Taki - a prominent Ngāi Tahu rangatira - belonged to the Ngāi Te Rakiāmoa hapū of Ngāi Tahu.

Paora Taki was renowned for serving alongside Ngāi Tahu leader Tama-i-haranui in the infamous Kai Huanga feud of the 1820s. The violent warfare of Kai Huanga had barely ceased when Ngāi Tahu suffered a series of major raids in 1828 by southern North Island based iwi Ngāti Toa, under the leadership of Te Rauparaha. Paora Taki fought against Ngāti Toa on the basis of his obligation to his Ngāti Kuri kin who had been killed at Kaikoura during the war movement of Te Rauparaha, as he ventured south along the East Coast.

Paora Taki went on to play a leading part in Ngāi Tahu’s retaliation expeditions

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against Te Rauparaha and Ngāti Toa. He travelled north in the war party which nearly captured Te Rauparaha at Kapara-te-hau/Lake Grassmere in roughly 1833. He also took part in subsequent expeditions in 1834, 1838 and 1839, earning great distinction as a warrior. During this time, Paora Taki became a trusted compatriot to many Ngāi Tahu leaders.

Paora Taki then went on to serve as an assessor for the Native Department from 1865 to roughly 1875 alongside William Donald, a resident magistrate from Whakaraupō/Lyttelton. Māori chiefs were appointed as assessors to deal with disputes and matters relating to customary land titles. It was said that this was a way of forming a relationship between Māori and European authorities.

Photograph of Paora Taki in his later years with his characteristic bell topper hat and taiaha (speared weapon).

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Recognising the inevitability of colonisation, Paora Taki became influenced by the European way of life.

Colonisation brought with it religion, and the Christian message was first preached to Māori at Koukourarata/Port Levy and at some point, Paora Taki was baptised. He was an active member of the Wesleyan Methodist Rāpaki Church, and at his death was buried with full church rites from the Anglican Church at Kaiapoi.

Paora Taki maintained equal balance in working alongside European settlers whilst maintaining his Māori identity and mana, continuing to work for and represent his people. Whilst living most of his years at Rāpaki, and in his capacity as an assessor; this is how it is believed

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that a relationship between Paora Taki and Captain Gibson began.

Captain Frederick Gibson was the Port Officer of Whakaraupō/Lyttelton, surveying the river ports, during the 1860s. He was then appointed as Harbourmaster right up until 1877 when the provincial government system was abolished.

Captain Gibson then served as a clerk to the Resident Magistrate’s Court in Lyttelton and in 1884, he moved with the younger members of the family to Dunedin. In 1887, after losing money in a failed venture, he and the family moved back to Christchurch where support of the family largely fell on Mrs Gibson and the older children.

Left to Right: Ethel, Winifred, Lucy & Ruth Gibson c.1890

Helen Gibson c.1930

The family were close to the Gresham sisters who ran Hessle House, and when they wished to dispose of their school and move to Australia, Captain Gibson purchased the goodwill of the school as an employment opportunity for his many daughters.

In 1890 he purchased half an acre of land on the southern corner of Papanui Road and Webb Street, and the house (financed by his daughters) was built to accommodate the growing school.

By the time he was building the house on the corner of Webb Street in 1890, Paora Taki was well advanced in his years.

It is understood that upon once visiting Captain Gibson during the time the

house was being constructed, Paora Taki suggested the name Rangi Ruru, which generally translates to ‘wide sky-shelter’.

The original house was owned by the Hunt Family until 1963 when as Roseneath House, it was purchased by the Māori Trustee for use as a Māori Affairs Hostel. The following year it was transferred to the Crown to provide accommodation for young Māori women who were moving to cities for educational and employment opportunities.

In 1995 it was transferred to Ngāi Tahu Property who sold it to Siegfried and Moira Lindlbauer the same year, which concluded the history of ownership of Roseneath House by Māori.

CULTURAL NARRATIVE | 21

The story of the meeting of Paora Taki and Captain Gibson, and the gifting of the name Rangi Ruru, has become part of the history of the kura. The name is generally translated as wide sky-shelter, but Helen Gibson also referred to it as ‘a home under the skies’. What both versions of the translations carry, is recognition of housing generations of young women, Māori and non-Māori, for the purpose of education.

The name Rangi Ruru held its position when the school moved from the original house Captain Gibson built to a larger dwelling, Te Koraha, located in Merivale in 1923 where they continued to provide education, shelter and nurtured many more generations of young women.

Te Koraha began construction in 1886 by Arthur Rhodes and was the centre of the family’s active social life. Fabled for hosting the Duke and Duchess of Cornwall and York in the early 1900s, the dwelling was sold by Arthur’s son Tahu to Mrs Gibson in 1923. Te Koraha served as Rangi Ruru’s boarding house for almost 80 years before becoming the school’s administration building after extensive renovations in 2002. After further damage to Te Koraha as a result of the 2010-2011 Christchurch earthquakes, Te Koraha was once again restored and reopened in 2012.

Arthur Rhodes originally gave the name Te Koraha to his home to mean ‘the wilderness’, potentially referencing the hearty rimu, matai and kauri trees out of which Te Koraha was built. The Rhodes children, Tahu and Mairehau, also carried Māori names and was a way the Rhodes family assimilated Te Reo Māori into their traditional, European way of life.

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Webb Street homestead

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AN EVOLVING MĀORI IDENTITY AT RANGI RURU / HOW RANGI RURU HAS EMBRACED A BICULTURAL IDENTITY

R

angi Ruru continued to embrace their bicultural history and identity over time.

The below sub-sections provide an account of that evolution.

WHAIA TO TE RANGI In 1953 a motto was chosen for the school by Rangi Ruru Old Girl, Miss Betty F. Webb. She selected the words from Colossians 3:1 which are quoted on the memorial window to Miss Helen Gibson in St Mary’s Church as, ‘Seek those things which are above.’

They were later translated into Māori by Rev. J. G. Laughton, who was at that time the superintendent of Presbyterian Māori

mission work and the main translator of the most recent edition of the Māori Bible, to become ‘Whaia to te Rangi.’

The present version of the motto ‘Whaia to te Rangi - Seek the Heavenly Things’ is a reminder that education cannot be limited to physical, cultural or academic studies only, but must include a spiritual dimension if worthwhile values are to be sought in life.

RANGI RURU BOARDING HOUSES In 1964, Rangi Ruru bought the house at 74 Hewitts Road and the following year it opened as Moerangi - translated to mean ‘a sleeping place’ - that provided accommodation for an additional twelve boarders and two housemistresses.

Another house, Tuarangi - translating to mean ‘the house on the other side’ opened at 66 Hewitts Road in 1970 and could accommodate an extra twelve girls; increasing the number of boarders to ninety.

The names Moerangi and Tuarangi were transferred to two more recent

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purchases on Rossall Street, making the old Hewitts Road houses available for renting or for sale. The new Moerangi was opened for 18 girls in 1973 and the new Tuarangi two years later.

In 2002, Rangi Ruru closed the original Te Koraha Boarding House and opened a purpose-built boarding facility named Te Whare Aroha o Rangi Ruru - which translates to mean ‘The Loving House of Rangi Ruru’. An older part of the original Moerangi house is still attached to the new facility.

Te Whare Aroha o Rangi Ruru entrance

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MANA WĀHINE In August 2012, engagement began with Master Carver, Riki Manuel, to discuss commissioning the carvings that now adorn the Mana Wāhine building.

At the breaking of dawn on the 29th of May 2014, Rangi Ruru whānau gathered to unveil and bless the school’s new building and carvings. The name ‘Mana Wāhine’ was gifted by Ngāi Tahu and represents the many girls who will pass through its doors, under the carvings, and leave to pursue life as influential women.

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Mana Wāhine houses social sciences and student services; names of the rooms celebrate strong women, including Helen Clark, Kate Sheppard, Dame Atairangikahu and Malala. A main corridor of Mana Wāhine is lined with doors recovered from the old Fergusson Block and are signed by girls and staff who were at the kura during the February 2011 earthquake.

The carving that adorns Mana Wāhine has four main components that link

Detail: Carving adorning Mana Wāhine building

the past to the present. Beginning with the two kaitiaki/guardians situated at the bottom, one male and one female kaitiaki wairua/spiritual protectors represent the founders of the kura and those who come from different cultural backgrounds who find common ground at Rangi Ruru. Just like the parents of Rangi Ruru’s students, the two kaitiaki provide guardianship over the girls throughout their journey, with their arms outstretched they welcome students, teachers, whānau and friends into Mana Wāhine and the wider Rangi Ruru campus.

Carved forms of Helen and Ethel Gibson then adorn the top sides of the carving.

As the first two Principals of Rangi Ruru, the Gibson sisters are turned inwards to welcome everybody into Mana Wāhine and watch over the students as they navigate their life at Rangi Ruru.

Flowers that can be found in the plastered ceiling of Te Koraha can also be found in the carving, representing the blossoming of each individual student and further providing a link between the old campus and the new.

Lastly, a well-known Celtic design sits alongside the design of a puhoro (a traditional kōwhaiwhai design), which signifies progression at a steady pace.

Riki Manuel incorporated a traditional Māori design with the Celtic pattern by overlapping the two throughout, representing the many cultural backgrounds that hold a place in the school’s history.

The circular carving in the centre is a replica of the first ever carving to adorn Rangi Ruru after a group of Year 11 students took it upon themselves to carve a piece that represented the Māori culture at Rangi Ruru.

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Rangi Ruru Kapa Haka performing at Prize Giving

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SCHOOL HAKA The first school haka was adopted in the 1920s and appeared in the inaugural school magazine in 1923.

The second haka was originally composed in 1971 by the father of Rangi Ruru Old Girl, Carlene Pehi, for supporters to use at sporting events.

This version has had minor changes made over the years and is written below in its present 2024 form.

Taringa whakarongo!

Kia mau hi!

Tēnā whiua - waewae takahia Kia kino, kia kino Rangi Ruru tei tei Pike ake Rangi Ruru Wai o te Rangi a turuturu.

Kia kai ai te minenga e tū nei E whai nei I te ao Ki te ao marama!

Rangi Ruru tū tonu Rangi Ruru tū kaha Kia rite koe ki te toka Toka tū moana Toka o te aroha Toka Karaitiana hei ha Kore te whakama e piri ki ahau Ko whai atū mātou Kia anga nui tonu Rangi Ruru hei Rangi Ruru ha Rangi Ruru hei ha!

Rangi Ruru of the highest Keep striving Rangi Ruru Water of the Heavens, drip drip unending To nurture the minds of those gathered here Engaged in seeking the world For knowledge and clear understanding Rangi Ruru stand upright Rangi Ruru stand strong Be like a rock - a rock that stands the pounding of the oceans A rock of love - a rock of Christianity We shall never shy away from our responsibilities We shall always be as steadfast as you have made us Rangi Ruru hei Rangi Ruru ha Rangi Ruru hei ha!

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RANGI RURU BY ROSEMARY BRITTEN The tapestry on the cover of the Rangi Ruru book written by Rosemary Britten, was designed and woven by Joy Prebble, an Old Girl of Rangi Ruru. Woven between August 1986 and March 1987, using the traditional Gobelin technique, the tapestry was inspired by Māori folklore and native flora including Rangi, the sky father, Ruru, the bird hunter, and Pouakai, a huge bird. It is said that Ruru lured Poua-kai from its home in the Torlesse Range, from where it preyed on the people of the plains. The baskets of knowledge, also depicted, were brought to earth by Tane after he had ascended on rising whirlwinds. The stones in the three baskets represent the sealing of knowledge in the minds of Rangi Ruru students.

Tapestry designed and woven by Joy Prebble (née Manhire)

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RANGI RURU CORE VALUES It is difficult to be precise about the birth of the school values, but former Principal, Gillian Heald is known to have led the kura on the journey to determine what the defining values at Rangi Ruru were, some time between 1996 and 1998.

During their conception, there were several brainstorming sessions that included Rangi Ruru kaiako to agree on appropriate descriptors that best described the Rangi Ruru education and culture.

Over evening and weekend hui, focus groups were established including the Board, PTA, interested parents and Year 13 ākonga to socialise the ideas and seek their input.

Upon agreement, two facilitators then worked with staff in the final phase to establish the right words that ultimately defined the critical values using the R.A.N.G.I acronym.

These values were then presented to the community and have since been central to the culture of Rangi Ruru and are intended to be learned and lived.

The Māori translations were a result of much research carried out by Mel L’Eef (former Assistant Principal, Teaching & Learning) in 2020. Mel sought advice from a variety of Māori experts and Te Reo translations were provided by Ngāi Tahu that were then moderated by the Te Reo Department at the University of Otago.

RESPECT WHAKAUTE AROHA AROHA ENTHUSIASM & ENDEAVOUR RIKARIKA & NGANA GENEROSITY OF SPIRIT MANAAKITANGA INTEGRITY TIKA

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WHAKAARO TOI CULTURAL DESIGN IN THE BUILT AND NATURAL ENVIRONMENT T

his section provides an overview of some of the key ways cultural values can be incorporated into the design of any future built or natural environment work at Rangi Ruru.

MANA / RELATIONSHIP WITH MANAWHENUA One of the most important aspects of incorporating cultural values into the built and natural form of the kura, is through maintaining a relationship with both Ngāi Tūāhuriri - as manawhenua who hold territorial rights over the central city - and Te Hapū o Ngāti Wheke - who have a relationship with Rangi Ruru due to the influence of Paora Taki, and his critical role in the school’s history.

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Ngāi Tūāhuriri has a sub-committee, Tuahiwi Education, who work with various schools to ensure that their educational environment is nurturing of Ngāi Tūāhuriri and Ngāi Tahu identity.

Initiating and/or maintaining annual or regular noho marae (marae stays/visits) of ākonga at Mahaanui II (Ngāi Tūāhuriri) or Wheke Marae (Ngāti Wheke) is also important in fostering a relationship with manawhenua.

WHAKAPAPA / IDENTITY Reflection of whakapapa and history of the surrounding landscape in the school’s identity should be supported and encouraged. Doing this creates an authentic sense of heritage and builds an understanding of both Māori and European history and values. Some suggested ways of doing this include: ■ Adoption/use of appropriate Māori names for any new or existing buildings. Rangi Ruru is encouraged to approach Ngāi Tūāhuriri - as manawhenua - regarding the gifting of names. It is expected that these names are honoured by having the same status as any English names.

It is important that kaiako and ākonga are provided with appropriate pronunciation support, to uphold the mana (authority) of these names.

Generally, tūpuna or ancestor names are not to be used but the use of concepts, species and values associated with culturally significant sites are favoured.

■ Give consideration to the introduction of bilingual signage across the campus i.e. car parking, toilets, welcome signage, wayfinding etc.

■ Consider the integration of manawhenua stories, history and values into the curriculum which articulates and recognises Rangi Ruru’s commitment to manawhenua and recognition of their shared history.

■ Ensure that spatial arrangements are placed appropriately and provide opportunities to reflect the cultural narrative by: Э Allowing for spaces and places to be directed toward landscape features of importance. Э Adopting a material palette that is reminiscent of the natural environment - timber, water, stone.

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MAHI TOI / ARTWORK & GRAPHIC DESIGN Embracing and utilising design details and ideas drawn from Māori artwork and traditional stories and histories, allow the kura to appropriately represent and acknowledge Māori identity. It is important this occurs in collaboration with Ngāi Tūāhuriri and provides the opportunity for Ngāi Tahu artists, or other Māori artists identified by the rūnanga, to work with the kaiako and ākonga in commissioning their work. Some suggested ways of doing this include: ■ Incorporation of the traditional Rangi Ruru colours (navy and gold) into any standalone artworks planned for development.

■ Use of traditional mahi toi such as kōwhaiwhai and tukutuku either in its literal form or as design inspiration for use in paving patterns, glass frit designs, internal carpeting, painted murals etc.

■ Commissioning of built forms such as a waharoa or pou whenua to recognise the cultural narrative and history of the kura.

■ Install interpretation panels near any artworks that allow manuhiri/visitors, kaiako and ākonga to understand the narratives that sit alongside these works.

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This page: Kareama Taepa, ‘Tiki 1.3’ 2022 Opposite: Michael Parekowhai, ‘In the Bossom of Abraham’ 1999

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TE TAIAO / LANDSCAPING Landscape design and planting on the school grounds provide an opportunity to enhance the school’s identity and foster a connection to the natural environment and a better understanding of cultural values, particularly with the traditional practice of mahinga kai. Some suggested ways of doing this include: ■ Incorporating plant species into the landscaping that are known to traditionally grow in the Ōtākaro/Avon River catchment.

■ Increasing knowledge of visitors, kaiako and ākonga by including plant labels amongst the landscape that describe plants’ traditional use and medicinal qualities.

■ Where possible, provide spaces to learn about traditional practices - pā harakeke/ harakeke plantations, māra kai/productive gardens and māra rongoa/gardens for medicinal plants.

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■ Adopting elements such as traditional mahinga kai species, plants, birds, fish and other traditional stories in any symbology that might be required.

■ Encouraging kaiako, ākonga and whānau to become involved in restoration projects around the Ōtākaro/Avon River catchment as a way of fostering their connection to the surrounding environment and to engage in manaaki manawhenua/care of the land initiatives.

■ Considering low impact design approaches to the management and treatment of stormwater; this includes retro-fitting small scale, cost effective landscape features that manage stormwater as close as possible to its source.

Staff planting day

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“

Inā kei te mohio koe ko wai koe, I anga mai koe i hea, kei te mohio koe. Kei te anga atu ki hea.

If you know who you are and where you are from, then you will know where you are going.

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HE KUPU WHAKAMUTUNGA CONCLUSION T

his Cultural Narrative Report exists to assist Rangi Ruru Girls’ School in identifying the cultural values, history and narratives associated with the school and its surrounding landscape.

It was completed in conjunction with representatives of Ngāi Tūāhuriri and is intended to inform and guide any future design and development of Rangi Ruru, including both the physical (buildings, landscaping etc.) and the non-physical (curriculum, values and knowledge systems) aspects of the kura.

The report provides a brief background to the project, the methods undertaken to develop the report, followed by information on manawhenua.

Key cultural landscapes and their associated narratives are then provided,

along with a summary of opportunities for the future development of Rangi Ruru, as well as a record of projects the school has undertaken since the completion of the CNR to fulfil this.

The basis of this cultural narrative is centred on further exploring the known relationship between Paora Taki and Captain Frederick Gibson; it was this unexpected friendship between a warrior and harbourmaster that allowed for the bicultural identity of Rangi Ruru to grow. Having a record of this history and timeline of how Rangi Ruru has embraced its bicultural history, is an important part in providing a basis for meaningful expression in the future growth of the campus, staff and students of Rangi Ruru.

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NGĀ TOHUTORO / REFERENCES Britten, R. (1988). Rangi Ruru. Waihora Press, Christchurch.

Christchurch City Council. (2015). District Plan – Listed Heritage Place: Heritage Assessment – Statement of Significance Heritage Item Number 423: Former Dwelling/School and Setting, Former Rangi Ruru/ Roseneath House – 110 Papanui Road, Christchurch. [Online] Available at: https://districtplan.ccc.govt.nz/Images/ DistrictPlanImages/Statement%20of%20Significance/Christchurch/HID%20423.pdf Christchurch City Council. (2014). District Plan – Listed Heritage Place: Heritage Assessment – Statement of Significance Heritage Item Number 270: Former Dwelling and Setting, Te Koraha – 59 Hewitts Road, Christchurch. [Online] Available at: https:// districtplan.ccc.govt.nz/Images/DistrictPlanImages/Statement%20of%20Significance/ Christchurch/HID%20270.pdf Christchurch City Council Libraries. (n.d.). Hagley Park. [Online] Available at: https://my.christchurchcitylibraries.com/hagley-park/ Mahaanui Kurataiao Limited. (2013). Mahaanui Iwi Management Plan. [Online] Available at: https://www.mahaanuikurataiao.co.nz/wp-content/uploads/2019/08/Full-Plan.pdf Matapopore Charitable Trust. (2017). Matapopore Cultural Design Strategy: The Ōtakaro Avon River.

Matapopore Charitable Trust. (2016). Matapopore Cultural Design Strategy: The Botanical Gardens Spatial Plan.

O’Regan, T. (1993) Story: Taki, Paora. [Online] Available at: https://teara.govt.nz/en/biographies/2t5/taki-paora Papers Past. (1897). The Late Paora Taki. [Online] Available at: https://paperspast.natlib.govt.nz/newspapers/LT18971214.2.9 Pauling, C., Lenihan, T., Rupene, M., Tirikatene-Nash, N., & Couch, R. (2007). Cultural Health Assessment of the Avon – Heathcote Estuary and its Catchment. [Online] Available at: https://ngaaho.maori.nz/documents/ resources/20100914212427StateoftheTakiwa.pdf Rangi Ruru Girls’ School. [Online] Available at: https://web.archive.org/web/20130205085927/http://rangiruru.school.nz/ Tau, T. M., Goodall, A., Palmer, D., & Tau, R. (1990). Te Whakatau Kaupapa: Ngai Tahu Resource Management Strategy for the Canterbury Region. Aoraki Press.

Walk Christchurch: 60 Short Walks That Explore Your City / edited by Mark Pickering; compiled by Kjesten Nilsson, Karen Theobald and Ledley Symington. [Christchurch, N.Z.]: Leisure Unit, Christchurch City Council, 1998.

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