Committees
Te Uhi a Mataora
Cultural Māori Tattoo
Committee members:
- Derek Lardelli, Pouwhakahaere (Gisborne)
- Turumakina (Tu) Duley (Brisbane)
- Richard Francis (Rotorua)
- Mark Kopua (Wellington)
- Patrick Takoko (Gisborne)
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Mission:
To preserve, enhance, and develop tā moko as a living art form. |
Vision:
Te Uhi strives to uphold the traditions of the past. It looks to the future, as the art of tā moko continues to evolve. |
Background:
A national gathering of 50 artists in April 2000 at Waipapa Marae, Auckland, discussed the formation of a national forum for Ta Moko. There was an agreement in principle for the establishment of a group and for it to become a member of Toi Maori. In July that same year, a National Hui followed at Apumoana Marae, Rotorua. An executive was elected to develop a programme to achieve the desired outcomes of the national collective.
Leading moko artists have experience as trained carvers, however, there is also a healthy number of practitioners who emerge from a design background. The depth of understanding of the traditional forms and designs depends on prior learning of the artists.
The call for research and development of current practices of Ta Moko is addressed through workshops. Members collectively gather and disseminate the considerable volume of knowledge of traditional Ta Moko. This is a primary role of the group and ensures a healthy growth of understanding of the art.
Strategic Objectives:
A national gathering of 50 artists in April 2000 at Waipapa Marae, Auckland, discussed the formation of a national forum for Ta Moko. There was an agreement in principle for the establishment of a group and for it to become a member of Toi Maori. In July that same year, a National Hui followed at Apumoana Marae, Rotorua. An executive was elected to develop a programme to achieve the desired outcomes of the national collective.
Leading moko artists have experience as trained carvers, however, there is also a healthy number of practitioners who emerge from a design background. The depth of understanding of the traditional forms and designs depends on prior learning of the artists.
The call for research and development of current practices of Ta Moko is addressed through workshops. Members collectively gather and disseminate the considerable volume of knowledge of traditional Ta Moko. This is a primary role of the group and ensures a healthy growth of understanding of the art.
Strategic Objectives:
- Te Uhi a Mataora is a national collective of tā moko artists formed in 2000 to preserve, enhance, and develop tā moko as a living art form. Many of these highly skilled artists come from a carving background, while others specialise in design. They share a depth of understanding of traditional forms and designs.
- Te Uhi has developed a strong kaupapa (set of fundamental Māori principles) for the practice of tā moko. This kaupapa provides boundaries and guidelines: respect for traditional customs and practice; care for physical, spiritual, and emotional well-being; and utmost care for the health and safety of the person receiving the moko.
- Tā moko belongs within Māori communities and Te Uhi works to strengthen the knowledge of the art in whānau (family), hapū (sub-tribes), and iwi (tribes). But there is also strong international interest in Māori moko design, through the tattoo industry. Te Uhi continues to address pressing issues concerning the intellectual property of tā moko and to make sure it is always practised with integrity.
- Te Uhi strives to uphold the traditions of the past. It looks to the future, as the art of tā moko continues to evolve.
Nga Waka Federation
Traditional Canoe Skills
Committee members:
Committee members:
- Robert Gabel, Pouwhakahaere
- Hekenukumai (Hector) Busby
- Francis Mamaku
- Hohepa Mason, Life Member/Founding Chairperson
- Joe Conrad
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Mission:
To confirm Kaupapa waka as a living art form by embracing its traditions and innovations. Retain and preserve the traditions and construction practices associated with kaupapa waka and nurture its development as a living art. |
Vision:
Nga Waka Federation aspires to be the principle national forum for all matters relating to kaupapa waka. |
Background
On 6 February 1990 at Waitangi in the Bay of Islands, 23 ceremonial waka were present for the largest gathering in living memory. Over 1000 men were trained in the construction and operation of a variety of waka, serving as emblems of a tradition and custom for the tribes of Aotearoa.
The cost of maintenance of waka, crew and transport are prohibitive. Existing waka have developed a role within their own regions and their appearance at public events is a main attraction.
Today, there is an increased interest in waka being developed for life skill and education training. A leading institution in this work is Te Wananga o Aotearoa.
The development of an ocean voyaging waka with Hekenukumai Busby and Maatahi Whakataka Brightwell has been added to by the work of Tom Davis of Rarotonga basing his waka in Auckland, New Zealand.
Waitangi Commemoration in the Bay of Islands is an annual event on 6 February with public displays of ceremonial waka. The home fleet of waka include Nga Toki Matawhaorua, Te Ika A Maui, Te Au Kaha, Mataatua Toroa and Te Aurere. Waka crews are hosted in a waka village with the nearby marae of Te Tii and the town of Paihia accommodating many international visitors.
Strategic objectives:
Kaupapa Waka
This national forum was established in 1992 to promote participation and traditional practices of ceremonial waka.
On 6 February 1990 at Waitangi in the Bay of Islands, 23 ceremonial waka were present for the largest gathering in living memory. Over 1000 men were trained in the construction and operation of a variety of waka, serving as emblems of a tradition and custom for the tribes of Aotearoa.
The cost of maintenance of waka, crew and transport are prohibitive. Existing waka have developed a role within their own regions and their appearance at public events is a main attraction.
Today, there is an increased interest in waka being developed for life skill and education training. A leading institution in this work is Te Wananga o Aotearoa.
The development of an ocean voyaging waka with Hekenukumai Busby and Maatahi Whakataka Brightwell has been added to by the work of Tom Davis of Rarotonga basing his waka in Auckland, New Zealand.
Waitangi Commemoration in the Bay of Islands is an annual event on 6 February with public displays of ceremonial waka. The home fleet of waka include Nga Toki Matawhaorua, Te Ika A Maui, Te Au Kaha, Mataatua Toroa and Te Aurere. Waka crews are hosted in a waka village with the nearby marae of Te Tii and the town of Paihia accommodating many international visitors.
Strategic objectives:
- Establishing Nga Waka Federation as a central figure for the development of kaupapa waka.
- Acknowledging that those involved in kaupapa waka have a high capacity to add value to the kaupapa.
- Establishing clear policies that guide traditional and contemporary waka practises
- Convening a national forum and confirming its governing policies
Kaupapa Waka
This national forum was established in 1992 to promote participation and traditional practices of ceremonial waka.
Te Runanga Whakairo
Te Runanga Whakairo Statement
Advisory Board Members:
Advisory Board Members:
- Mark Kopua, Pouwhakahaere
- Hemi Sundgren, Deputy Chairperson
- Jack Brocking
- Riki Manuel
- Rangi Kipa
- Lyonel Grant
- Bernard Makoare
- Takirirangi Smith
- Sam Hauwaho
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Mission:
To maintain the retention of traditional knowledge and skills associated with Whakairo and the development of new forms in sculpture based on concepts and designs derived from traditional sources |
Vision:
Te Runanga Whakairo aspires to be the pinnacle of the arts for aspiring carvers and the progression of their art form |
Background
Represents the visual art form of sculpture including large and small scale works in various media. More traditionally associated with wood carving, however the contemporary materials and processes now available provide a greater scope for art work.
Strategic Objectives:
Represents the visual art form of sculpture including large and small scale works in various media. More traditionally associated with wood carving, however the contemporary materials and processes now available provide a greater scope for art work.
Strategic Objectives:
- The retention of traditional knowledge and skills associated with the art
- The development of new forms in sculpture based on concepts and designs derived from traditional sources
- The role of tohunga whakairo as repositories and resources for Whakairo, and acknowledgement of the wide range of skill areas required for such a position
He Awhi Tikanga
Protocol within the arts
Committee members:
Committee members:
- Joe Harawira, Pouwhakahaere
- Wharehoka Wano
- Robert Ruha
- Rose White
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Mission:
To ensure the integrity of tikanga is upheld throughout Toi Maori Aotearoa and its art forms |
Vision:
The foremost forum for tikanga within the Maori creative arts sector |
Background
The karanga, whaikorero, waiata and karakia were the most obvious expressions, however all types of creative activity in and around the marae were seen as worthy of development of promotion.
A number of national and regional hui have enabled marae to discuss resource people the form, purpose and meaning of what is seen as ceremonial interaction on the marae.
National hui in Kawhia, Te Teko and Otamatea brought together resource people who spoke on their experiences and understandings of particular protocols. Representatives from marae could compare what was the current tikanga on their various marae and see those in relation to other practices across the country.
In January 2003, during the Toi Maori Festival in Christchurch, He Awhi Tikanga gathered resource people to discuss the arts on marae. In preparation for this series of regional hui have been convened to build a comprehensive network of people keen to study and practice the maarae arts at their highest level.
He Awhi offer its members and resource people to assist in workshops and wananga on marae.
Strategic Objectives:
The karanga, whaikorero, waiata and karakia were the most obvious expressions, however all types of creative activity in and around the marae were seen as worthy of development of promotion.
A number of national and regional hui have enabled marae to discuss resource people the form, purpose and meaning of what is seen as ceremonial interaction on the marae.
National hui in Kawhia, Te Teko and Otamatea brought together resource people who spoke on their experiences and understandings of particular protocols. Representatives from marae could compare what was the current tikanga on their various marae and see those in relation to other practices across the country.
In January 2003, during the Toi Maori Festival in Christchurch, He Awhi Tikanga gathered resource people to discuss the arts on marae. In preparation for this series of regional hui have been convened to build a comprehensive network of people keen to study and practice the maarae arts at their highest level.
He Awhi offer its members and resource people to assist in workshops and wananga on marae.
Strategic Objectives:
- To encourage the emphasis on creativity and strength of the arts as they relate to the marae.
- The karanga, whaikorero, waiata and karakia were the most obvious expressions, however all types of creative activity in and around the marae are seen as worthy of development and promotion.
- He Awhi Tikanga offers its members and resource people to assist in workshops and wananga on marae.
- To provide advocacy and tikanga advice to all Toi Maori art form teams
Te Roopu Raranga Whatu o Aotearoa
Māori Weavers New Zealand
Committee members:
Committee members:
- Christina Hurihia Wirihana, Chairperson
- Awhina Tamarapa, Deputy Chair
- Ruth Port
- Paula Rigby
- Te Hemoata Henare
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Mission:
To nurture, develop and preserve the techniques and tikanga of Raranga, whatu and taniko in traditional and modern contexts for Maori weavers. |
Vision:
Te Roopu Raranga Whatu o Aotearoa aspires to be the organisation of first choice for all matters relating to the techniques and tikanga of raranga |
Background:
Established in 1983 as 'Aotearoa Moananui a Kiwa Weavers' by the Maori and South Pacific Arts Council (MASPAC), the organisation received tremendous interest as it sought to revive the traditional arts of weaving. The partnership of Pacific weavers and Maori saw a dynamic exploration of materials of Aotearoa and also the experimentation of materials more common in the Pacific homelands.
Due to internal funding changes, the Maori and Pacific weavers group split in 1994. Te Roopu Raranga O Whatu was adopted as the new organisational name.
A major feature of the organisations programmes has been the indigenous weavers network throughout the Pacific Rim. The National Weavers Symposium at Papakura Marae, Auckland in 1993 was a significant reference point for the weavers and involved a large number of international guests. These relationships were strengthened again with the Indigenous Weavers International Symposium in Rotorua 2010.
The weavers National Hui is now held biennially. At this time members elect new members and share progress and developments within Maori weaving techniques.
A key element in the resurgence and strength of weaving has been the development of a new generation of teachers of weaving in the tertiary institutions of the country. Many of the courses now include the National Weavers Hui as part of the course requirements.
Strategic Objectives:
Established in 1983 as 'Aotearoa Moananui a Kiwa Weavers' by the Maori and South Pacific Arts Council (MASPAC), the organisation received tremendous interest as it sought to revive the traditional arts of weaving. The partnership of Pacific weavers and Maori saw a dynamic exploration of materials of Aotearoa and also the experimentation of materials more common in the Pacific homelands.
Due to internal funding changes, the Maori and Pacific weavers group split in 1994. Te Roopu Raranga O Whatu was adopted as the new organisational name.
A major feature of the organisations programmes has been the indigenous weavers network throughout the Pacific Rim. The National Weavers Symposium at Papakura Marae, Auckland in 1993 was a significant reference point for the weavers and involved a large number of international guests. These relationships were strengthened again with the Indigenous Weavers International Symposium in Rotorua 2010.
The weavers National Hui is now held biennially. At this time members elect new members and share progress and developments within Maori weaving techniques.
A key element in the resurgence and strength of weaving has been the development of a new generation of teachers of weaving in the tertiary institutions of the country. Many of the courses now include the National Weavers Hui as part of the course requirements.
Strategic Objectives:
- Retain and maintain the intellectual property rights of Maori Fibre Arts.
- Continue to support and maintain the art of traditional and contemporary Maori Fibre Arts;
- Organize biannual national hui to continue to meet the needs of weavers to come togetherfor revitalization.
- Convene wananga for skilled practitioners
- Initiate international linkages through hosting hui, symposiums and conferences forIndigenous Weavers.
- Maintain working relationships with indigenous weavers through out the Pacific.
- Initiate, support and participate exhibitions both nationally and internationally.
- Assist conservators, curators and practitioners to maintain the integrity of Maori Fibre Arts.
- Actively participate with issues of conservation, research, and cultivation of raw andprocessed materials.
- Promote through publications.
- Be responsive to approaches from external stakeholders
Pūatatangi
Māori Music
Current committee members:
Current committee members:
- Ngahiwi Apanui, Pouwhakahaere
- Mere Taylor-Tuiloma
- Hone Ngata Jnr
- Toni Huata
- Ngatapa Black
- Tama Waipara
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Mission:
To support the Maori music industry and represent Maori music in the development of Toi Maori |
Vision:
To provide information to Maori in the music industry by communicating through technology and in person; To promote Maori music and its role within Toi Maori. |
Background:
Contemporary Maori Music continues to evolve, using traditional practises in conjunction with modern tools and methods to create a distinctive sound.
It encompasses four worlds;
‘Te Ara Puoro’ - The Spectrum of Maori Musical Creativity
Puatatangi aims to do the following:
Strategic Objectives:
Contemporary Maori Music continues to evolve, using traditional practises in conjunction with modern tools and methods to create a distinctive sound.
It encompasses four worlds;
- Participation - all genres of music including mainstream, pop, rock and reggae music
- Kaupapa/experience - music that comes out of the political struggle for Maori rights, te reo Maori
- Te reo Maori - music in te reo
- Maori Puoro Hou - music that is based on traditional Maori rhythms, lyrical expressions, uses traditional instruments
‘Te Ara Puoro’ - The Spectrum of Maori Musical Creativity
- Moteatea
- Taonga Puoro
- Music from the Whare Tapere
- Maori hymn composition and singing
- Maori in opera
- Music of kapa haka
- Kaupapa bands/music of resistance
- Maori show bands
- Karakia
- Music in contemporary theatre
- Music of the natural world
- Hip Hop
- Rhythm and Roots
Puatatangi aims to do the following:
- To bring together Maori music artists from all the world of Maori music
- To showcase and promote contemporary Maori music within Aotearoa and internationally
- To advocate for contemporary Maori music artists
- To plan and work with other partners to develop contemporary Maori music artists and contemporary Maori music
- To encourage the discussion and expression of contemporary Maori music
Strategic Objectives:
- Puatatangi will be made up of people willing to share responsibility and expertise in Maori music;
- Puatatangi will be coordinated by an officer conversant with and respected by Maori for the knowledge and experience in music;
- Develop a database of Maori in the music industry;
- Develop the various sectors and categories identified in the music industry
- List musical events throughout New Zealand;
- Prioritise musical events suited to Toi Maori;
- Determine the need for other art forms to interface with Puatatangi ICT unit
- Embracing Te Ara Puoro - the Spectrum of Maori Musical Creativity
Te Ha - Contemporary Māori Writers
Contemporary Māori Writing in Te Reo
Committee members:
Background:
Te Ha was established in 1991 as a forum for contemporary Maori writers to promote excellence in writing and encouragement of new writers.
Committee members:
- James George, Pouwhakahaere
- Dr. Bridget Underhill
- Tina Makereti
- Robert Sullivan
Background:
Te Ha was established in 1991 as a forum for contemporary Maori writers to promote excellence in writing and encouragement of new writers.
Nga Pou Kaituhi Māori
Contemporary Māori Writing in English
Committee members:
Committee members:
- Wena Tait
- Paora Tibble
Background:
Te Hunga Taunaki Kaituhi Maori was originally established as a funding panel of the former QE II Arts Council of New Zealand in 1993, and as a committee of Toi Maori Aotearoa encouraged writers to publish works reflective of the best of writing in te reo Maori.
In 2006, the committee changed its name to Nga Pou Kaituhi Maori.
The largest field for writing in Maori is in tertiary institutions, however there are a small number of outstanding writers whose manuscripts are of a more personal nature and recorded for future generations of a family or hapu.
The primary role of the group is the retention of Maori knowledge through publication in the Maori language. This is achieved through commissioning of manuscripts and hosting of writing workshops to promote the writing for the purpose of publishing. The committees assists in finding a publisher and providing a mentoring role for new writers.
Notable publications assisted by Nga Pou include:
Editors Te Ohorere and Wiremu Kaa have produced three of their works as a part of the programme of publications:
A collection of writings by acknowledged experts in Te Reo is also in progress.
Te Hunga Taunaki Kaituhi Maori was originally established as a funding panel of the former QE II Arts Council of New Zealand in 1993, and as a committee of Toi Maori Aotearoa encouraged writers to publish works reflective of the best of writing in te reo Maori.
In 2006, the committee changed its name to Nga Pou Kaituhi Maori.
The largest field for writing in Maori is in tertiary institutions, however there are a small number of outstanding writers whose manuscripts are of a more personal nature and recorded for future generations of a family or hapu.
The primary role of the group is the retention of Maori knowledge through publication in the Maori language. This is achieved through commissioning of manuscripts and hosting of writing workshops to promote the writing for the purpose of publishing. The committees assists in finding a publisher and providing a mentoring role for new writers.
Notable publications assisted by Nga Pou include:
- He Hokinga Mahara, by Hemi Potatau (1991)
- Ngaa Mahi a Titokowaru, by Ruka Alan Broughton (1993)
- He Pukenga Wai, edited by Morvin Simon (1999)
Editors Te Ohorere and Wiremu Kaa have produced three of their works as a part of the programme of publications:
- ‘Nga Korero a Reweti Kohere Ma’ (1994)
- ‘Mohi Turei Ana Tuhinga | Roto | Te Reo Maori’ (1996)
- ‘Apirana Ngata Ana Tuhinga | Roto | Te Reo Maori’
- ‘Eruera Manuera’ by Onehou Phyllis was published in 2002 by Huia Publishers and went on to win a Special Award in the Montana New Zealand Book Awards in 2002.
A collection of writings by acknowledged experts in Te Reo is also in progress.
Te Atinga
Māori Contemporary Visual Arts
Committee Members:
Committee Members:
- Nigel Borrell, Pouwhakahaere
- Chris Bryant
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Mission:
To provide a platform and give access to aspiring artists involved in contemporary visual arts. |
Vision:
Te Atinga aspires to be at the forefront of the contemporary maori visual arts movements |
Strategic Objectives:
Te Atinga develops projects to develop and promote contemporary Maori art through exhibitions, wananga (symposia), publications and artist networks operating within regional to international tribal or urban centres.
Te Atinga fosters the development of emerging and established painters, sculptors, clay-workers, print-makers, digital and multi-media artists.
Te Atinga develops projects to develop and promote contemporary Maori art through exhibitions, wananga (symposia), publications and artist networks operating within regional to international tribal or urban centres.
Te Atinga fosters the development of emerging and established painters, sculptors, clay-workers, print-makers, digital and multi-media artists.
- Need a forum outside of institutions to learn from experienced local & international artists
- Through Te Atinga, young Maori artists have a unique access to the people of experience via marae
- Toi Maori committee structure gives us a learning environment outside of institutions
- Need to develop a fighting fund so as to be able to conduct such Rangitahi hui
- Concern about loss of identity for Te Atinga within the collective of Toi Maori.
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