Text Analysis Journal
ICIB 8071
Ngā Kai Para i te Kahikātoa: Māori Filmmaking, Forging a Path by Angela Moewaka Barnes
Barnes claims there is a connection between Kaupapa Māori theory and filmmaking. Kaupapa translates as the first principles. Continuing the claim there are six categories of which Kaupapa Māori can be implemented through film; these are, Māori voices, Māori worldview and concepts, collectivity and relationships, responsibility and accountability (of the filmmakers) challenge and resistance and transformation. Barnes claims each category supports showing the diversity and the multiplex of Māori experiences and how Māori understand the world. Her claims carry on to state the most influential stage Kaupapa Māori is at the beginning of scriptwriting.
As I understand what Kaupapa Māori is and how this theory can be active through filmmaking, I also believe we should not be limited to applying these values to only Māori worldviews and filmmaking. There is a large potential for these concepts to be applied to any part of life, this could be teaching, relationships and other workforces. A simple whakataukī (Māori proverb) has come to mind through this reading as I have greatly appreciated this Kaupapa Māori theory concerning film. He kai kei aku ringa, There is food at the end of my hands. This to me means with my understanding, being able and having access to resources I will be able to create my own success. Barnes intention of implementing Kaupapa Māori through film is to develop a confident theory that is centred around legitimising Māori films. I want to highlight that Barnes continues to argue that Māori filmmaking should not only be about survival but celebrate the indigenous creativity and success in unfavourable conditions (adversity.) I believe in this also.
I want to continue to reflect upon Kaupapa Māori and my work by questioning if my future work provides liberatory and inspirational representations of Māori? Will my work engage people to unite and uplift each other and topics. How can my work evoke and inspire change?
New Zealand Feature Film: Cousins directed by Ainsley Gardiner and
Briar Grace-Smith
Cousins (2021) is an adaptation of a Patrica Grace novel (1992) which is told through the themes of loss, identity, whanau (family,) colonisation and institutions.
This film claims and shows the protocols and processes that are in place to reshape a persons identity. This is shown through one cousin, Mata who is upheld into state care as a child who then is challenged by her own bewilderment. Cousins claims to be a unique kiwi story but many people in the audience will be able to relate to a character, an event or words that are spoken throughout the film.
Merata Mita wanted to film an adaptation of the novel 20 years ago but Mita’s project was never completed. I think if this film came out 20 years ago, we kiwis would not be ready to hear this story. I think 2021 was the right time for this raw and emotion-provoking film to have been heard and seen on the big screen, people are ready to hear it. It was the right time to be released especially after COVID-19, where this film is about connection, to the land and to their people. This film gives people something to connect to in a world right now that is lacking connection. The directors’ subtlety interwoven the stories of the three cousins, it reminds me of harakeke (woven flax.) I believe this was a deliberate decision to represent not only how māori can connect and be woven between each other but also to papatūānuku (mother earth) as a practice of Te Ao. The woven pieces (each cousin) are all diverse in their experiences as Māori but come together as one. Cousins is told going in and out of the present time; being time fluid, following the cousins when they were primary school-aged, as young adults and as nannies. This reflects māori traditions of storytelling, where stories are told in fragments and are non-linear. The directors have not only told a story that shows māori traditions and how the indigenous practice Te Ao but the creatives incorporated the same values of Te Ao into their film making.
The main characters (the three cousins) are portrayed with gentleness and hope throughout the film, if all kiwi films follow and portray their māori protagonists in similar light rather than the negative stereotypes we commonly see in the cinema, what will the cinema of Aotearoa soon look like? Will this inspire other māori to be filmmakers? Will this ignite a flame where we see more indigenous stories being told by indigenous on the big screen?
The creative spirit: emancipatory Māori entrepreneurship in screen production in New Zealand by Ella Henry
Henry initiates her academic journal by claiming that oral traditions are the basis of indigenous cultures, that storytelling has been an essential passage for knowledge. This claim is continued by the author stating indigenous people are using the medium of films to communicate knowledge. Indigenous entrepreneurs own screen companies that produce content that revitalises the Māori culture and language through film or television. Henry concludes this claim with Māori owned production companies creates a social impact and influences the indigenous economy by employing within their community.
Māori entrepreneurship as I understand it catches on like a sore throat, when one person has it, it is passed on. My iwi Ngāi Tahu is seen as one of the best Indigenous entrepreneurs. My iwi (tribe)/hapu (sub-tribe) have not been selfish with their success but encourage everyone within our hapū to follow in similar steps, funding entrepreneur grants to people who belong within the tribe. This is because Māori success is a success. Henry’s studies show evidence that within Māori entrepreneurs they share a communality which is commitment or known as innovation for Māori. These commitments can be between whānau (family) , Papatūānuku (the environment/land) or their iwi (tribe.) There is always a commitment to collectivity and relationships. Culture should be seen as an asset, I hear people are discouraged by having to do extra “work” at the dispense of culture. Cultural values and Kaupapa Māori act as governing bodies as they set boundaries and implement common ground/vision, culture is never an inconvenience.
Moving forward I believe it is important to question what role do Māori concepts of collectivity and connectivity play in increasing Māori hope within filmmaking? This question can be concerned with entrepreneurship or any development of work. I believe this is important to question as it challenges our social structures.
“I Am Not a Fairy Tale”: Indigenous Storytelling on Canadian Television by Joanna Hearne
In her academic journal, Hearnes claims are based around the concept of indigenous storytelling through television. The author claims once indigenous stories are created for mainstream television it becomes a complex environment as the lines between genres gets blurred. Hearne claims that westernised story systems influence indigenous pieces and how they are told. It alters the true essence of the indigenous stories and knowledge. Indigenous stories that have been televised face issues that are all centred around culture and the mistranslation through media. This centre issue is public media funding. This is because major organisations and production companies have regulations that do not align with tribal copyrights and intellectual property Heane claims.
I believe television should continue to evolve like it has with online web series but in this case adapt and work with indigenous tribunals to develop a platform where westernised systems have not imposed and influenced the story. For example, New Zealand production companies should honour Te Tiriti (the Treaty of Waitangi) and respect the indigenous land (when filming.) Ngā Aho Whakaari works closely with the New Zealand Film commission that has incorporated some elements by working with indigenous formal elements and sacredly blessing where they film. Although there are topics that Hearne discussed that I resonate with and am interested in, her journal only scratched the surface and spoke about how Indigenous storytelling can come across as a “fairy tale” and didn’t dive too deep into other aspects of appropriating cultures through television. Hearne concluded her journal by claiming that moving forward we should focus on the relationship between the storytellers and listeners, how viewers will welcome the story because the interpretation of how they react to the piece is what the viewers/readers will take away and learn from. I agree with this as it should be a key focus.
Media production companies should ask these questions as a focus on cultural awareness and representation. Is the indigenous voice centred? Does our work legitimate, honour and reflect the indigenous knowledge, history and experiences? How are the viewers going to interpret the knowledge? This article made me question where the genre of Indigenous stories is?
Māori on the Silver Screen: the evolution of indigenous feature filmmaking in Aotearoa/New Zealand by Emiel Martens
Martens claims in his academic journal Māori on the Silver Screen: the evolution of indigenous feature filmmaking in Aotearoa/New Zealand that the successes of Once We Were Warriors (Lee Tamahori, 1994) contributed to growing the māori silver screen with contrary opinions. These contrary opinions are based on commercial success and cultural influence, traditionally these two terms are seen as opposites. Martens claims carry on to say the film can be seen as an ‘Indegingeous blockbuster’ as Tamahori’s film sat as an educational Māori produced film but also was confined to commercial filmmaking where it was sold to over 100 countries.
Marten claimed that interest is fading for emerging Māori filmmakers that are inspired and engage in work with cultural differences and political concerns. He backed his claims by giving the example of Taika Waiti as his films Eagle vs Shark and Boy are toned down in the areas of cultural differences and political concerns. Although Taika casts local and has a majority Māori crew behind him he has remained politically neutral and lacks emphasis on cultural difference through his hilarious easily consumable films.
Being apart of this generation of storytellers and filmmakers, I disagree with this claim that interest is fading for emerging Māori filmmakers that are inspired and engaged in work with cultural differences and political concerns. I will be happy to devote a chunk of my future career to delving into cultural differences and political concerns through filmmaking.
To conclude my point, I have been involved in conversations with my peers and emerging filmmakers that are currently considering using their practice as cultural activism. My generation of storytellers wants to continue using filmmaking as a ramp for cultural activism. I have been present to current discussion on practising Barclay’s idea of Fourth Cinema which leaves me feeling hopeful for the future of the Māori silver screen.
Being an emerging Māori filmmaker wanting to focus my work on being authentically diverse, complex and critical I have been asking myself many questions on how I can make this possible. How can I develop work that will stand as a negotiation site for Indigenous and be key to cultural survival? How can we break the cycle of large commercial studios imitating indigenous films?
Storytelling for Our Own People: A Reflection on Working with Māori Filmmaker Barry Barclay by Christina Milligan
Milligan claims Barry Barclay’s intentions through his filmmaking was to faithfully represent the stories of indigenous being told, he intended to do the indigenous justice as he is Tangata Whenua (people of the land/indigenous people/person.) Barry Barclay argued that indigenous moving images (films) must be in the hands of indigenous people themselves. Milligan claims that Barclay as a Māori filmmaker was obligated to navigate through a Eurocentric focused industry. This reflects to me that Aotearoa’s film heritage, unfortunately, lacks richness, honesty and pride as our Tangata Whenua was not represented with the entitlement they deserve until recent years.
According to Milligan, Barclay’s screenwriting techniques were not conventional but unique, it is lengthy and slows the reader down but in a poetic way. Working with Barclay Milligan claims he uses five senses. The readers can see, smell, feel, hear and taste what he writes through the script. Whilst working as a producer alongside Barclay, Milligan states that the writer brings the land to life as if it was its own character. He is embodying the environment/setting which is a custom in Te Ao (Māori world.) Māori understands earth as “Papatūānuku,” earth mother who breathes through her lungs. In Te Ao earth and the environment is seen as a living being, which is embodied through all aspects of life including songs, stories, carvings. The Māori people are visual storytellers, Māori tell stories through a physical form such as Whakairo (carving) or tāmoko (sacred tattoo.) I can see a connection between Barclay’s storytelling techniques and his DNA. Barclays style of storytelling is a reflection of his whakapapa (genealogy,) he is a visual writer.
From learning of Barclay’s approach of indigenous storytelling, I have been reflecting. Is it possible to tell an indigenous story by only scratching the surface, or is there a protocol we should abide by to faithfully represent the indigenous stories we are sharing and uphold the least justice that their ancestors deserve? How do we guarantee that filmmakers will be held accountable? Can only indigenous people tell their indigenous stories?
A cultural-historical reading of Patricia grace’s cousins by Judith Dell Panny
Panny absorbed and digested Patricia Grace’s novel Cousins and claims people who value the raw truth of history and appreciate cultural stories that resonate with wider communities will greatly appreciate the experience they are taken on as a reader. Panny claims that the view of indigenous work from the inside out is Important. People are influenced by postcolonialism which sways their understanding of the reading in a more peripheral view, rather than getting a hold of the true essence of the piece of work. I agree with this as Cousins is an English written literature and other indigenous pieces written in English, English speaking critics decide that they can effortlessly assess these pieces. The critics are not equipped for this as they cannot understand and appraise the work as they are not knowledgeable of Māori culture and Te Ao. To conclude Panny’s claim, being able to view indigenous work from the inside out means the reader have extensive knowledge about Māori culture and an in-depth understanding of key Māori aspects. This is because Māori work of art (art includes academic/novels) clasps its own mauri, mauri is distinctive qualities that hold its own life presence. Panny finishes this claim by stating that a postcolonial measure and evaluation of a Māori work can be defined as being culturally incentive because the spiritual significance of the work is not acknowledged through systematic measures.
I have questioned myself through reading Panny’s academic journal. As I am still on my individual journey of whakapapa am I adequate enough to be basing my research on the influence of Te Ao Māori? I believe non-Māori readers are subject to delegitimising Māori work as the true meaning is not understood. People will grow a greater appreciation of the pieces of work if the readers have an understanding of Māori culture. I believe having knowledge of the history of Aotearoa will also grow the readers’ appreciations.
Does my work represent Māori worldviews and practices? And how does it do so? How is Te Ao Māori central to my work or is it from a peripheral view? I believe Māori filmmakers should consider these questions when developing their art as this will be fundamental for growing a wider understanding of Māori worldviews, concepts and practices that people are able to view from the inside out.
Persistent primitivisms: Popular and academic discourses about Pacific and Maori cinema and television by Sarina Pearson
Some of the New Zealand television series and films with a Māori or Pasifika cast that has influenced and impressed critics nationally and internationally is Bro Town (2004–2009) Sione’s Wedding (2006) and Boy (2010) have achieved popular appeal. These works helped modernize their cultures’ industries, which isn’t something that should be modernised. Pearson claims Taika Waititi’s feature film Boy was a let down as it frequently referenced American Pop Culture rather than letting the cast’s and characters culture shine. The claim was then followed by saying many kiwis could relate to the film as underlying themes of child neglect, domestic dysfunction and disenfranchisement resonated with them. These discouraging themes allowed Waititi to establish new grounds of putting a comedic twist on disheartening topics. A high stake claim made was that Boy put at stake other indigenous films as it featured modernity but in a bad light when it came to modernising the Māori culture.
Pearson leads me to think about my appreciation for Taika Waitit as a director and writer. Should I be inspired by a filmmaker who is too cowardly to bring to attention true indigenous culture? Yeah, his humour is impressive but can’t he be more interesting and push the boundaries by bringing awareness to real honest Māori stories. I am questioning one of my greatest inspirations as a filmmaker, do I have poor taste in filmmakers. I do however take my hat off to Taika for being highly adaptable and incorporating new elements to film making, mashing Māori culture and American pop culture, who else would have thought of that? Many kiwis in the 80s were thrashing Micheal Jackson hits and coping with every dance move but no one else had the idea to mash them together. I admire his contemporary work and since Boy he has developed more sensitive work.
Embodying Decolonisation: Methodologies and indigenization
by Heather Ritenburg, Alannah Earl Young Leon, Warren Linds, Denise Marie Nadeau, Linda M. Goulet, Margaret Kovach, Mary (Meri) Marshall
Kovach claims there is a connection and role between the body and decolonising. The role of the body in decolonisation is highlighted through indigenous methodologies. Continuing her research Kovach affirms indigenous teaching, learning and living is centred around the body, we understand this practice as an embodiment. Kovach explores and comes to understand the commonalities with centring the body when dealing with decolonisation and identifies a crucial element of indigenous methods that involve bodily wisdom.
Through reading this academic journal this whakataukī (Māori proverb) kept coming to mind Piki kau ake te whakāro pai, hauhake tōnu iho: When a good thought springs up, it is harvested, a good idea should be used immediately. I understand this proverb speaks about taking ideas as opportunities we can collectively come together to develop a path for the generations to come. To work together as a collective to foster a great outcome for a brighter future or goal. If we can come together and practice embodiment and acknowledge our bodily wisdom we will be able to continue the decolonisation of the oppressed and indigenous in our learning and living environments. Embodiment is often compared to being holistic and pragmatic which leads to people overlooking this practice as they cannot see any theoretical stances. I understand embodiment needs to be detached from the terms of being holistic as people are blinded by things that do not follow a theoretical concept.
As I am an aspiring filmmaker and want to represent myself as an emerging Māori filmmaker; how can filmmakers and myself practice embodiment through our practice to decolonise the film industry? What systems and processes can we welcome together as a collective and implement on set every day?
Anticolonial Strategies for the Recovery and Maintenance of Indigenous Knowledge by Leanne R. Simpson
Simpson’s claims that being an advocate for recovering and promoting traditional Indigenous knowledge is a crucial element in decolonisation and relationships between indigenous and the colonisers/settler governments. This is her most crucial and important claim that she hopes is understood and implemented. Being able to implement this element to any aspect of life (education, environment, health, government etc) Is key to decolonising indigenous nations. It is a liberation strategy if you can possess this contemporary way of thinking. Simpson continues the claim by saying this is vital to liberating and decolonising indigenous knowledge to recover and maintain their valuable indigenous knowledge for future generations.
Simpson academic writing made me reflect and focused my motivations to engage with anticolonial strategies to be an ally to protect and continue the recovery of indigenous knowledge. We must be prepared to pull apart colonial ways of thinking and our colonial understanding of Indigenous knowledge. Whaiwhia te kete mātauranga, fill the basket of knowledge. This whakaraukī speaks about the importance of education and the power of knowledge, it is a thought-provoking passage that in hopes should inspire others to do the same.
How can I be an advocate and be an ally to decolonising Indigenous filmmaking? What aspects of my understanding and colonial view on things do I need to pull apart and challenge to rejuvenate my understanding of indigenous knowledge?
References
(1) Barnes, A. M. (2011). Ngā Kai Para i te Kahikātoa: Māori Filmmaking, Forging a Path. https://www.massey.ac.nz/massey/fms/Colleges/College%20of%20Humanities%20and%20Social%20Sciences/Shore/reports/Angela%20Moewaka%20Barnes%20PHD.pdf?90DE8E3A5821A39E2866481980CC946D
(2) Gardiner, A., & Smith, B. G. (Directors). (2021). Cousins [Film]. Miss Conception Films.
(3)Henry, E. (2017). The creative spirit: Emancipatory Maori entrepreneurship in screen production in New Zealand. Small Enterprise Research, 24(1), 23–35. https://doi.org/10.1080/13215906.2017.1289853
(4) Joanna Hearne. (2017). “I am not a fairy tale”: Indigenous storytelling on Canadian television. Marvels & Tales, 31(1), 126. https://doi.org/10.13110/marvelstales.31.1.0126
(5) Martens, E. (2012). Maori on the silver screen. International Journal of Critical Indigenous Studies, 5(1), 2–30. https://doi.org/10.5204/ijcis.v5i1.92
(6) Milligan, C. (2017). Storytelling for our own people: A reflection on working with Maori filmmaker Barry Barclay. MEDIANZ: Media Studies Journal of Aotearoa New Zealand, 17(2). https://doi.org/10.11157/medianz-vol17iss2id192
(7) Panny, J. D. (2006). A cultural-historical reading of Patricia grace’s cousins. Kōtare : New Zealand Notes & Queries, 6. https://doi.org/10.26686/knznq.v6i1.742
(8) Pearson, S. (2013). Persistent primitivisms: Popular and academic discourses about Pacific and Maori cinema and television. Journal of the Polynesian Society, 122(1), 21–44. https://doi.org/10.15286/jps.122.1.21-44
(9) Ritenburg, H., Leon, A. E., Linds, W., Nadeau, D. M., Goulet, L. M., Kovach, M., & Marshall, M. (2014). Embodying decolonization: Methodologies and indigenization. AlterNative: An International Journal of Indigenous Peoples, 10(1), 67–80. https://doi.org/10.1177/117718011401000107
(10) Simpson, L. R. (2004). Anticolonial strategies for the recovery and maintenance of Indigenous knowledge. The American Indian Quarterly, 28(3), 373–384. https://doi.org/10.1353/aiq.2004.0107
