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Te Ao Haka
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TAH Learning Matrix
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Te Ao Haka

TAH Learning Matrix
TAH Learning Matrix
Download Download pdf  |  147KB Download

What is Te Ao Haka about?

Te Ao Haka is a culturally responsive art form, providing opportunities for all ākonga to engage in Māori culture, language, and traditional practice. Te Ao Haka is founded on traditional knowledge, but is progressive in the development and evolution of the art form.

Intrinsic to Te Ao Haka are culture, language and identity. Te Ao Haka is a vehicle used to wānanga and communicate culture, tikanga, knowledge systems, and iwi traditions. Te Ao Haka is enabling and centres around the importance of family, marae, iwi, hapū, and waka through connection with the past, present and future. This belonging gives ākonga a purpose to strive towards and achieve to their full potential, including empowering them to have fun and enjoy the performing arts.

Ākonga who engage with Te Ao Haka recognise that pride in their culture also comes with a responsibility to create a positive space for others to continue expressing themselves in developing their craft. Therefore, ākonga are able to understand their contributions to the art form.

Big Ideas and Significant Learning

At Level 6 of the curriculum, students in Te Ao Haka discover, identify, access, and explore foundational knowledge and ideas in and about Te Ao Haka. 

At Level 7, students explore their own creativity, based on their grounding in Te Ao Haka. They innovate and experiment, exploring their own role and connections within Te Ao Haka.

At Level 8, students refine their analysis of Te Ao Haka and their skills in performance. They are able to effectively express narrative and embody their performance.

The Big Ideas capture the essential knowledge of and about Te Ao Haka. The Significant Learning captures the ways in which students engage with these Big Ideas at each level of the curriculum.

[ Big Idea ]
Te Ao Haka is born of its context

It is essential that students understand and engage with the origins and development of Te Ao Haka as an artform. Concepts of whakapapa and taiao, and of place space and time, are intrinsic to Te Ao Haka.

Big
Idea

Te Ao Haka is born of its context

It is essential that students understand and engage with the origins and development of Te Ao Haka as an artform. Concepts of whakapapa and taiao, and of place space and time, are intrinsic to Te Ao Haka.

[ Big Idea ]
Narratives are the catalyst for all composition

Te Ao Haka is built on and communicates narratives. To engage with Te Ao Haka students will require both interpretive and communicative skills - such as listening, pānui, tuhituhi, reo-ā-waha.

Big
Idea

Narratives are the catalyst for all composition

Te Ao Haka is built on and communicates narratives. To engage with Te Ao Haka students will require both interpretive and communicative skills - such as listening, pānui, tuhituhi, reo-ā-waha.

[ Big Idea ]
He taonga tuku iho

Te Ao Haka is a treasure and an inheritance. It is rooted in, and elevates Māori culture and language. For many students, it is an access point to engaging with te ao Māori. 

Big
Idea

He taonga tuku iho

Te Ao Haka is a treasure and an inheritance. It is rooted in, and elevates Māori culture and language. For many students, it is an access point to engaging with te ao Māori. 

[ Big Idea ]
Te Ao Haka is uniquely and recognisably Māori

To engage with Te Ao Haka, students must engage with tikanga, reo, and Māori culture and identity. The essence and distinctiveness of Te Ao Haka come from its cultural and contextual origins.

Big
Idea

Te Ao Haka is uniquely and recognisably Māori

To engage with Te Ao Haka, students must engage with tikanga, reo, and Māori culture and identity. The essence and distinctiveness of Te Ao Haka come from its cultural and contextual origins.

[ Big Idea ]
Te Ao Haka can only be truly understood through performance

Performance is an intrinsic component for students of Te Ao Haka. Through performance, students can explore foundations, skills, creativity, expression and refinement. Performance will form a key part of their learning as they progress on their Te Ao Haka journey.

Big
Idea

Te Ao Haka can only be truly understood through performance

Performance is an intrinsic component for students of Te Ao Haka. Through performance, students can explore foundations, skills, creativity, expression and refinement. Performance will form a key part of their learning as they progress on their Te Ao Haka journey.

Key Competencies in Te Ao Haka

Students of Te Ao Haka develop a range of skills and dispositions that enable them to become life-long learners and equip them for future success.

Te Ao Haka embodies several dispositions, giving ākonga the opportunity to grow into proud, confident, disciplined, resilient, accountable, hard working, committed, humble leaders who are able to work collaboratively. The skills of manaaki, tiaki, aroha, whakapono, aumangea, tiaki wā, and tōngakingaki will provide lifelong learning for ākonga.

For many learners, Te Ao Haka provides access to Te Reo Māori that they have not previously had. Te Ao Haka encourages and facilitates learning about reo ā-waha as well as reo ā-tinana, allowing students to expand their skills as communicators.

Te Ao Haka offers a variety of opportunities for students to nurture and grow their leadership skills. Te Ao Haka requires and supports many different types of leadership, both on and off stage. This gives ākonga the chance to explore and exemplify leadership.

Te Ao Haka requires self-discipline, hard work and dedication. Students in this subject develop a strong work ethic, resilience, perseverance, and problem-solving skills.

Whanaungatanga is embodied within the work of Te Ao Haka. Students learn about each other, create important bonds, and learn to co-operate and work together.

As with any arts practice, Te Ao Haka fosters creativity and expression. Students will learn and grow as performers as well as fostering their lateral and critical thinking skills.

Learning Pathway

Te Ao Haka provides ākonga with opportunities both within and outside of the subject. The development of Te Ao Haka skills provides lifelong learning, and creates viable career pathways that lead on to further studies, in areas such as theatre, TV and film, the tourism industry, or government.

Te Ao Haka provides opportunities for all ākonga to develop as global citizens and promote te ao Māori on a global stage, through performances both to visitors to Aotearoa New Zealand, and abroad. This provides the opportunity for Māori culture to be a model for indigenous cultures across the world, giving relevance and value not only to itself, but to others, too.

[ Audio Resource ]
Title:
TAH Podcast - Te Tairāwhiti
Description:
Mātai Smith shares his Te Ao Haka journey
Audio File Type:
mp3
Audio File Size:
27MB
Audio URL:
https://ncea-live-3-storagestack-53q-assetstorages3bucket-2o21xte0r81u.s3.amazonaws.com/s3fs-public/2022-05/IV08%20Te%20Tairawhiti%20Matai%20Smith_PODCAST.mp3?VersionId=wt750J_MswP8iwqilkoar9maIbz3qtN1
Transcript:

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00:00:09,840 --> 00:00:12,060
Kapa haka was my line to my Māoritanga.

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00:00:12,760 --> 00:00:16,900
We knew that we were the new kids on
the block, so we had a lot to prove.

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00:00:18,400 --> 00:00:21,610
It was resonating throughout
Tūrangu-nui-ā-Kiwa and
I remember that moment

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thinking I wanna be in that core group.

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From the naughty little girl that I was
to grow up and to be able to hold that

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00:00:28,811 --> 00:00:29,970
leadership. It's an honor.

7
00:00:33,950 --> 00:00:37,640
Welcome to Te Ao Haka podcast
for the Ministry of Education.

8
00:00:38,520 --> 00:00:39,353
Our kaikōrero today is Mātai Rangi Smith

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00:00:51,710 --> 00:00:53,430
Dear. Uh, Kia ora hoki koutou ngā
rangitara o Te Tāhuhu o te Mātauranga,

10
00:00:53,430 --> 00:00:54,043
heoi anō, kia tīmata ā tāua
kōrero i te tīmatanga ake,

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00:01:03,580 --> 00:01:05,440
you we weren't raised in the
Kapa haka scene were you?

12
00:01:05,950 --> 00:01:09,240
Kind of humble Kapa haka beginnings
Kaiti school in the eighties?

13
00:01:10,640 --> 00:01:12,280
Don't think you were singing
Haramai a Paoa back then.

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No, we weren't doing any
mōteatea back in the eighties,

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00:01:16,121 --> 00:01:19,840
growing up as a kid here
in Tūranga-nui-ā-Kiwa, we
were more accustomed to,

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"Tōia mai TE waka nei,
Kūmea mai TE wa..." and

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there was the, I dunno
if you can note the "TE",

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there was the "TE" that's how we
used to sing it. Yeah. So, so no,

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00:01:36,711 --> 00:01:41,030
we weren't as privileged as the
kids are of today, you know, we,

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00:01:41,350 --> 00:01:46,260
we hear those mōteatea being performed
with such passion and command

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00:01:47,280 --> 00:01:49,300
now, like 'Haramai a Paoa, even 'Pō Pō'.

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00:01:50,280 --> 00:01:53,780
One of our renowned mōteatea here in Tai
Rāwhiti those kids can rattle it off.

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00:01:54,440 --> 00:01:57,620
You know, it's all second nature
to them, but back in my days, yeah,

24
00:01:57,640 --> 00:01:59,460
we were just the basic
Tōia Mai, Ūtaina Mai,

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00:02:00,840 --> 00:02:02,420
and How much is that kurī in the window?

26
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But Kaiti School,

27
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were to participate in the
royal pōwhiri at Poho-o-Rāwiri

28
00:02:09,970 --> 00:02:13,050
to Princess Diana and Charles
Prince Charles. And you were there?

29
00:02:14,030 --> 00:02:15,290
Yes, I was at the, uh,

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00:02:15,291 --> 00:02:19,130
pōwhiri Princess Diana and Prince Charles
who visited Te Poho o Rāwiri marae,

31
00:02:21,010 --> 00:02:23,090
uh, here in
Tūranga-nui-ā-Kiwaback in 1983.

32
00:02:23,790 --> 00:02:28,720
And I remember being fascinated at
the time by all of these kapa haka,

33
00:02:28,721 --> 00:02:32,760
who I didn't know at the time didn't
know their significance or who they were

34
00:02:32,820 --> 00:02:36,120
and what pari they were wearing,
what bodice represented, who,

35
00:02:36,620 --> 00:02:41,040
but of course there was the Waihirere
the Hokowhitu-a-Tū all of these senior,

36
00:02:42,240 --> 00:02:46,670
uh, tautōhito or veteran
groups of our rohe coming

37
00:02:46,910 --> 00:02:49,750
together as one. And it was, there
were hundreds of them, you know,

38
00:02:49,751 --> 00:02:54,670
there were lines of them performing Tai
Rāwhiti haka so that was probably a very

39
00:02:54,900 --> 00:02:58,270
significant moment in my life where
I thought, wow, haka's pretty cool.

40
00:02:58,910 --> 00:03:00,920
That was your first whoa moment.

41
00:03:02,340 --> 00:03:06,120
And then you had another
whoa, moment as a 16 year old,

42
00:03:06,121 --> 00:03:08,760
the first time you were
exposed to Waihirere.

43
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That's right.

44
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I remember going to a Waihirere practice
back in 1992 with my cousin. She said,

45
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oh, I've got practice. I said,
oh, I'll come for a ride.

46
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And I remember walking into the whare
kai where they practice and being blown

47
00:03:23,580 --> 00:03:24,413
away,

48
00:03:24,640 --> 00:03:29,310
mesmerized fascinated by Waihirere sound.

49
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It was like booming, uh, resonating
across the recesses of the wall.

50
00:03:34,370 --> 00:03:37,070
And in fact, probably
throughout Tūranga-nui-ā-Kiwa,

51
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that's how massive the sound was.

52
00:03:39,200 --> 00:03:42,860
And I remember that moment
thinking that is a cool group.

53
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I wanna be in that cool group. How do
I get in this cool group? Um, so yeah,

54
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the rest is history. I was at
practice the following week.

55
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And you're looking at this group thinking,
uh, I know you, uh, that's my cousin.

56
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Uh, you are my uncle.

57
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Yeah, that's right. Uh,

58
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I didn't realize you know quite
ignorant at the time actually,

59
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because I wasn't raised in haka as such.

60
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I didn't know that all my uncles
and my cousins were in this group,

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nor did I know the significance of this
group. I mean, they are one of the,

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tautōhito veteran groups of Te Ao Haka
and here's my cousins and my aunties and

63
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my uncles, and they're all
performing to him. And I'm thinking,

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how come I didn't know about this
group? So that was another benefit of,

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of joining, Waihirere is uh,

66
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I got to stand with my
cousins and perform with them.

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I also wanted to learn how to,
you know, be a part of the sound.

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00:04:37,110 --> 00:04:39,090
The sound was just so electric. Can.

69
00:04:39,090 --> 00:04:41,720
You describe the sound, the
Waihirere, of that time?

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It was a big sound. It was a big, um,

71
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bellowing quality sound. So
if, I think back to that sound,

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a lot of my aunties and uncles and
cousins that were in that group,

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they were natural singers.

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00:04:56,670 --> 00:05:01,450
So they just had this natural
ability to sing loud, but also,

75
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well, I suppose, loud proud, but also
with quality. And so you could tell that,

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um, a lot of them, uh, knew
how to round their sound.

77
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They knew how to put a little bit of
light and shade in their sound when to go

78
00:05:16,161 --> 00:05:19,600
boom, and when to pull it back.
So, yeah, that was, that was, uh,

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a moment where I thought I
wanna learn how to do that.

80
00:05:23,630 --> 00:05:28,410
And so how did you get to learn how to
do that? Because you sing very loud.

81
00:05:29,560 --> 00:05:34,140
Yes. Well, yes, I do sing very
loud and my Aunty Tangiwai, I, uh,

82
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had a very diplomatic way of telling
me, you need to round your sound, boy,

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you need to round that sound.
And also when you sing,

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you stay on the one note,

85
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do not pick pekepeke haere
and jump to every other note,

86
00:05:48,740 --> 00:05:52,330
which was a bad habit of mine back
at, in the Junior's days. Anyway.

87
00:05:52,590 --> 00:05:54,250
So it was a skill that, uh,

88
00:05:54,650 --> 00:05:58,880
that I had to develop
and also rectify. Uh,

89
00:05:59,060 --> 00:06:04,000
but one I, why is that? Well, because,
because my sound was quite loud,

90
00:06:05,140 --> 00:06:08,120
you could tell the audience
could tell or well,

91
00:06:08,121 --> 00:06:11,040
auntie and uncle could tell when they're
standing up the front and say, Hey,

92
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what happened to that lead
sound? It's now gone to a tenor.

93
00:06:14,420 --> 00:06:17,030
Why is he jumping up to the tenor,
Mātai? You need to pull sound back,

94
00:06:17,370 --> 00:06:20,230
go jump up, back on the lead
and stay there. You know,

95
00:06:20,390 --> 00:06:24,230
cuz I used to love trying to, you know,
sing every parts of the tree, you know,

96
00:06:24,250 --> 00:06:27,790
the top canopy as well as
come down to the roots. Uh,

97
00:06:27,791 --> 00:06:31,070
but I was told to stay on
the one note and that is, uh,

98
00:06:31,071 --> 00:06:33,430
something that I hold
in. Good steed today.

99
00:06:35,800 --> 00:06:38,290
What did Tangiwai say to you
about your voice in particular?

100
00:06:38,641 --> 00:06:42,120
Just to control it and maintain the
note and follow the lead, stick to it?

101
00:06:44,310 --> 00:06:49,080
So Aunty Tangiwai always said to
me "round your sound" round that

102
00:06:49,441 --> 00:06:53,000
sound boy, you've got a big sound, but
I need you to, you know, quality-fy

103
00:06:54,650 --> 00:06:57,260
it, I think is, is there such a word?

104
00:06:57,480 --> 00:07:01,090
So basically you got a lot
of quantity is the quality.

105
00:07:01,390 --> 00:07:06,130
We need to find the quality in your
sound. So, and she was an absolute,

106
00:07:06,810 --> 00:07:06,970
uh,

107
00:07:06,970 --> 00:07:11,970
professional and mātanga
expert when it came to rounding

108
00:07:11,980 --> 00:07:15,610
sound, you know, she came from some great
leaders who, you know, Bill Kerekere,

109
00:07:15,610 --> 00:07:19,650
Ngapo and Pimia Wehi, so all of this, uh,

110
00:07:19,930 --> 00:07:24,120
all the skills that she possesses,
um, were being filtered down to us,

111
00:07:24,121 --> 00:07:25,720
including myself. So yeah.

112
00:07:27,060 --> 00:07:29,040
And I don't know if a lot of
people know this out there,

113
00:07:29,660 --> 00:07:34,270
but you are a really good
guitarist and you play

114
00:07:34,850 --> 00:07:38,390
the guitar on the Matatini stage. That
means you are really, really good.

115
00:07:39,340 --> 00:07:40,630
Doesn't it? There's a lot of pressure.

116
00:07:41,310 --> 00:07:44,300
I would go so far as to
say, yes, I'm a guitarist.

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00:07:46,720 --> 00:07:47,940
And I like to play the guitar,

118
00:07:47,941 --> 00:07:52,660
whether or not I'm a really good guitarist
is debatable. But in saying that,

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00:07:52,900 --> 00:07:53,733
I mean,

120
00:07:53,780 --> 00:07:58,380
I think people underestimate the
value of a guitarist because we

121
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are responsible not only for
keeping the 39 others in tune

122
00:08:03,480 --> 00:08:07,530
literally, but also when
it comes to the beat, uh,

123
00:08:07,531 --> 00:08:09,330
when it comes to the vibe, you know,

124
00:08:09,360 --> 00:08:14,230
guitars provide a lot of vibe and
momentum for the group. You know?

125
00:08:14,250 --> 00:08:19,220
So if your strum is a little bit
teats or koretake or not with it,

126
00:08:19,490 --> 00:08:23,610
then that is going to pretty
much filter throughout the group.

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The group, uh,

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kapa haka is an all kapa haka
keep saying kapa haka rōpū,

129
00:08:29,731 --> 00:08:33,810
don't say that kapa haka
feed off the guitarist.

130
00:08:34,470 --> 00:08:38,010
So if your teats and your
strum is not the best,

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or you go to the wrong note, you know,

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basically whatever you provide
to the group, they will feed off.

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And if it's not a good feed, well,

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you'll be hearing about it later
when you get off the stage.

135
00:08:49,520 --> 00:08:51,900
But you weren't a
guitarist when you arrived.

136
00:08:53,240 --> 00:08:55,400
No. So I'm a learned guitarist.

137
00:08:55,940 --> 00:09:00,840
So I basically can pick up the
guitar and you show me and then

138
00:09:00,841 --> 00:09:01,674
I can do it.

139
00:09:02,740 --> 00:09:06,160
So that's why kind of say that
I'm not the greatest guitarist,

140
00:09:06,500 --> 00:09:08,960
but I have stood next to some
of the greatest guitarists.

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00:09:08,961 --> 00:09:12,560
I've had the privilege of standing with,
uh, my cousin Choocky in Waihirere,

142
00:09:12,560 --> 00:09:13,173
Wī Pere in Tū te Manawa Maurea.

143
00:09:15,610 --> 00:09:20,230
So I'm lucky that I've been able to
feed off them and learn their skills.

144
00:09:20,770 --> 00:09:25,430
But in saying that it's, it's really
nerve wracking. I mean, as a kaihaka,

145
00:09:25,900 --> 00:09:28,990
I've performed in the groups and
that's nerve wracking enough.

146
00:09:28,991 --> 00:09:31,630
But when you are responsible,
it's an added responsibility.

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It's an added huge responsibility
being the guitarist of the group,

148
00:09:35,370 --> 00:09:39,720
because if you falter
and may have happened

149
00:09:40,190 --> 00:09:44,680
once, or that wasn't my fault.
If you do make a mistake,

150
00:09:46,040 --> 00:09:49,620
the buck stops with you and the tutors
will come and chat to you and say, Hey,

151
00:09:49,890 --> 00:09:52,300
that wasn't the note we practiced.
How come you took it up?

152
00:09:52,600 --> 00:09:55,660
So on that, um, you sound like
you've experienced this, these stares

153
00:09:58,440 --> 00:10:01,090
from tutors or kaitātaki.

154
00:10:02,150 --> 00:10:02,440
Yes.

155
00:10:02,440 --> 00:10:03,610
What did you hit a wrong note?

156
00:10:04,270 --> 00:10:09,050
No, well, it wasn't my fault.
So allow me to explain.

157
00:10:10,780 --> 00:10:12,560
So in 2007,

158
00:10:13,180 --> 00:10:16,320
we did our first performance with Tū te
Manawa Maurea representing our Manutūke

159
00:10:16,320 --> 00:10:20,510
Rongowhakaata whānau I was one of the
guitarists and because it was our first

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performance at a Te Matatini,
we started singing our choral.

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And you know, the thing about it is
that people get really revved up.

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And my father were, you know,

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obviously revved up about our first
performance and the women hit a note

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that was a little bit pitchy.

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And so I remember I remember vividly Wī
Pere and I were strumming the same night

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that we'd strummed at
every single practice.

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And we had two of the women,

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two of the women tutors who shall
remain nameless turn in whilst they were

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00:10:54,301 --> 00:10:58,140
performing turned back to the guitarists
and give us the stare of death,

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all your fault, fix it.

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And I remember that moment thinking I
never wanna play the guitar ever again.

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I did, but it was one of those
moments I'll never forget.

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And then later on we found out that
it was the women that got a little bit

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excited, um,

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00:11:16,640 --> 00:11:20,850
by their performance and went to a note
they shouldn't have as opposed to my

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00:11:20,851 --> 00:11:25,370
fault as the guitarist. But yeah, the
guitarist role is huge. And I think,

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you know, many at oo uh, underestimate
just the value of the guitarist.

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Who, who has set the benchmark for you?

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Who's the Joe Satriani of te Ao Kapa Haka.

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00:11:35,650 --> 00:11:38,130
Oh, without a doubt the
Joe Satriani of kapa haka,

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are the Wehi brothers,
uh, Boy, and Wī Wehi.

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When I was growing up
as a Junior's guitarist,

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even Tū te Manawa and even
in Waihirere, were my idols,

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the way they command a strum,
it's got vigor, it's got meaning,

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it's got ah, vibe.

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And so every song that they play, they,
they play with such passion, you know,

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and you can see it on their faces as
well. You're just like we got you,

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we are here to do business.
We're not here to play.

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We're here to win this competition.

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So even though I would
try and be, you know,

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I would aspire to be a
Boy or Wī Wehi. I mean,

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they were in the league of their own,
they were in the league of their own. And,

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and in fact,

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00:12:26,371 --> 00:12:29,730
if they took to the stage today and
played again together for Te Waka Huia,

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I dare say, they'd still be
in the league of their own.

196
00:12:32,550 --> 00:12:35,800
Is it a thankless job? What's
that? Is it a thankless job?

197
00:12:36,680 --> 00:12:38,760
Kinda like being a steerer
in a Waka Ama crew.

198
00:12:38,780 --> 00:12:42,120
Nobody wants to talk to you unless
you've done something wrong.

199
00:12:43,060 --> 00:12:46,360
That's, that's a great
analogy. Yeah. So yeah, you,

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00:12:46,361 --> 00:12:50,440
you kind of feel because there's two
of you in the middle of the group, um,

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and you've got 38 others, you know,
most of theconcentration goes on,

202
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you know, the singing,
the choreography, uh,

203
00:12:59,730 --> 00:13:01,590
the soloists going out,
et cetera, et cetera.

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And sometimes the guitarists do kind
of just do their thing in the middle.

205
00:13:05,250 --> 00:13:08,870
But as I say, it's a huge
responsibility when you,

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00:13:08,890 --> 00:13:11,110
uh have to maintain the beat,

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the tune as well as provide the vibe.

208
00:13:15,600 --> 00:13:20,540
So that those 38 others that you're on
stage with feel your vibe and deliver

209
00:13:20,780 --> 00:13:22,260
their best performance ever.

210
00:13:23,600 --> 00:13:27,370
Okay. Let's talk about some
of your Matatini performances.

211
00:13:27,390 --> 00:13:28,530
The first one was with Waihirere?

212
00:13:30,510 --> 00:13:34,730
My first Matatini performance
was back in 1994 at Hāwera

213
00:13:36,160 --> 00:13:40,680
I was 17 years young
and I was on stage with

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00:13:41,300 --> 00:13:42,680
all of my uncles and aunties.

215
00:13:43,260 --> 00:13:45,360
And actually some of my
cousins made the team as well.

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00:13:46,000 --> 00:13:47,280
I wasn't the youngest in the team though.

217
00:13:47,281 --> 00:13:49,320
There were two that were
one year younger than me.

218
00:13:49,500 --> 00:13:51,800
Did you have a mullet that year?
What's that you had a mullet?

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00:13:53,120 --> 00:13:55,870
I think in Hawera 1994,

220
00:13:56,070 --> 00:14:00,150
I had shaved number one sides and
I had a Māui-Tikitiki-ā-Taranga

221
00:14:02,020 --> 00:14:05,990
kind of top knot thing.
Yeah. The mullet came in

222
00:14:07,790 --> 00:14:08,950
2007, I think, a few years later.

223
00:14:09,730 --> 00:14:12,670
And what was the iconic song
of that stand for Waihirere.

224
00:14:13,590 --> 00:14:17,860
I think the iconic song
for that particular year
in 1994 was a song called E

225
00:14:17,860 --> 00:14:18,334
tipu tamaiti pūhou i roto
i te whare tangata and it

226
00:14:26,541 --> 00:14:29,500
talks about raising
beautiful children. Yeah.

227
00:14:31,480 --> 00:14:35,700
And then there were more Matatini
stands to come as a kaihaka and also as

228
00:14:35,701 --> 00:14:36,740
guitarist tell us about those.

229
00:14:38,510 --> 00:14:40,450
So I did two stints with
my whānau at Waihirere.

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00:14:41,210 --> 00:14:45,370
I did 1994 and then I had
a bit of a break. Oh no,

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00:14:45,371 --> 00:14:50,030
I didn't have a break I didn't make
the team in 96 anyway, that aside,

232
00:14:50,470 --> 00:14:52,840
uh, 98, I decided to, uh,

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00:14:53,420 --> 00:14:55,560
go back for practices and
have a shot at the team,

234
00:14:55,580 --> 00:15:00,160
but then an opportunity to present as a
roving reporter on the live coverage on

235
00:15:00,160 --> 00:15:02,240
TV Two popped up. Um,

236
00:15:02,241 --> 00:15:06,080
so I decided to do the coverage and
then Waihirere that year, heoi anō,

237
00:15:06,590 --> 00:15:09,840
year 2000 I went back to Waihirere uh,

238
00:15:09,841 --> 00:15:11,430
who were the national
champions at the time,

239
00:15:11,850 --> 00:15:13,910
did a stint with them in Ngāruawāhia
on the banks of the Waikato.

240
00:15:15,490 --> 00:15:20,070
And then I pretty much had had
enough of kapa haka. So I had a rest,

241
00:15:20,830 --> 00:15:23,470
I thought, done and dusted I'm over it.

242
00:15:24,010 --> 00:15:28,870
But then in 2006, uh, my far it Manutūke,

243
00:15:28,870 --> 00:15:30,670
Tū te Manawa Maurea formed a new group.

244
00:15:31,400 --> 00:15:34,780
And I thought this is a chance for me
to get my Rongowhakaatatanga happening.

245
00:15:35,200 --> 00:15:39,220
And so I went and did, uh, three
festivals with them 2007 in Rangitāne,

246
00:15:41,340 --> 00:15:45,940
2009 in Tauranga and 2011
here in Gisborne at Waiohika.

247
00:15:47,040 --> 00:15:51,970
So that's seven, five as a kaihaka
two sd a guitarist. Is that right?

248
00:15:52,530 --> 00:15:54,290
No. So there's five all up.

249
00:15:54,880 --> 00:15:55,330
Five all.

250
00:15:55,330 --> 00:15:57,330
Up. Yep. So there was Hawera, Ngāruawāhia,

251
00:16:00,430 --> 00:16:01,263
Palmerston North, Tauranga
and Waiohika Gisborne.

252
00:16:04,610 --> 00:16:05,710
So five festivals,

253
00:16:05,711 --> 00:16:10,150
two with Waihirere three with Tū te Manawa
Maurea and two as a guitarist for Tū

254
00:16:10,150 --> 00:16:14,060
te Manawa Maurea. So
I, uh, the festival in,

255
00:16:15,100 --> 00:16:20,060
uh, Palmerston North in 2007
and the festival in 2011 as a

256
00:16:20,061 --> 00:16:20,690
guitarist.

257
00:16:20,690 --> 00:16:23,300
Okay. So which do you prefer
being a kaihaka or guitarist?

258
00:16:23,300 --> 00:16:27,380
Definitely preferred being a
kaihaka. Guitarist is stressful, man.

259
00:16:28,010 --> 00:16:32,220
Like I just did Tamararo a couple of
years ago with Waihirere and because

260
00:16:32,970 --> 00:16:35,250
I hadn't ridden the bike
for a while, you know,

261
00:16:35,251 --> 00:16:38,050
it's like jump back on
the bikes. Like, oh God,

262
00:16:39,290 --> 00:16:43,690
I was like a possum in headlights
when I stepped down on stage

263
00:16:44,350 --> 00:16:46,810
and I could feel my hands trembling,

264
00:16:47,310 --> 00:16:49,810
not because I was doing the wiri cos you
know, I didn't have to do the actions.

265
00:16:49,930 --> 00:16:50,770
I was a guitarist,

266
00:16:51,350 --> 00:16:56,200
but it was quite nerve wracking getting
back on the stage with the guitar.

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00:16:56,420 --> 00:17:01,040
And that's what I mean, you
underestimate the value of the guitarist,

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00:17:01,760 --> 00:17:04,720
uh, who has to basically, uh, hold

269
00:17:06,240 --> 00:17:11,200
everyone together by way of tune
by way of strum by way of vibes.

270
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Uh, so I made it through that performance,

271
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but I kind of came off stage and thought,
I don't think I want to do that again.

272
00:17:19,610 --> 00:17:20,550
The thing about, um,

273
00:17:20,551 --> 00:17:24,710
being guitarist is when you are at the
marae or the 21st birthday or wedding,

274
00:17:24,780 --> 00:17:28,190
it's like, Hey Mātai, here's the
guitar. I'm like, oh sweet. You know,

275
00:17:28,290 --> 00:17:29,071
if I make a mistake,

276
00:17:29,071 --> 00:17:32,590
it's all good it's only whānau you can't
really make a mistake on the Matatini

277
00:17:32,871 --> 00:17:36,030
stage. Yeah. It's not a good look.

278
00:17:38,020 --> 00:17:42,540
And now of course you're presenting
Matatini on uh, as a broadcaster.

279
00:17:44,680 --> 00:17:46,980
Yes. So I've got the
best seat in the house.

280
00:17:47,960 --> 00:17:51,440
Not that I'm saying that doesn't come
with its stress without its stress. Sorry.

281
00:17:52,320 --> 00:17:53,121
Um, yeah,

282
00:17:53,121 --> 00:17:56,080
I've got the best seat in the house as
the presenter and what a privilege and

283
00:17:56,081 --> 00:17:58,560
honor it is to be able to, uh,

284
00:17:59,350 --> 00:18:01,880
host the Olympics of kapa haka.

285
00:18:02,020 --> 00:18:05,680
So you've done Rotorua in
2013, 2015 in Christchurch,

286
00:18:06,180 --> 00:18:07,360
2017 ki.

287
00:18:07,900 --> 00:18:08,733
Heretaunga.

288
00:18:09,490 --> 00:18:10,290
And then.

289
00:18:10,290 --> 00:18:11,550
And the Cake Tin Wellington.

290
00:18:12,010 --> 00:18:15,190
Excuse me. And then 2019 in
Wellington that's five. Yeah.

291
00:18:15,990 --> 00:18:17,430
Uh, Rotorua.

292
00:18:19,310 --> 00:18:19,590
1, 2, 3, 4.

293
00:18:19,590 --> 00:18:22,510
Oh, hang on. Rotorua,
Christchurch, Hastings,

294
00:18:24,200 --> 00:18:28,030
Wellington. Aye. That's
all of them me. No,

295
00:18:28,031 --> 00:18:32,340
I think I have done five
Rotorua 2013 Ōtautahi 2015,

296
00:18:32,820 --> 00:18:36,520
Hastings 2017 and then,
oh yeah, no, it's four.

297
00:18:37,350 --> 00:18:39,400
I've done four, five coming up.

298
00:18:40,510 --> 00:18:43,400
Does being a kaihaka, give you
an advantage as a broadcaster?

299
00:18:44,560 --> 00:18:47,360
I think being a kaihaka
and having experienced the,

300
00:18:48,080 --> 00:18:52,910
the vibe of a national festival as
both a performer and as a guitarist,

301
00:18:53,950 --> 00:18:58,510
uh, it gives me an absolute sense of how

302
00:18:59,350 --> 00:19:02,190
our kaihaka are feeling as they're
making their way to the stage.

303
00:19:02,210 --> 00:19:06,390
So that's my role as a
broadcaster is to communicate, uh,

304
00:19:06,391 --> 00:19:09,390
that kind of kōrero to the viewers, um,

305
00:19:09,610 --> 00:19:13,340
and also update them on, uh,

306
00:19:14,000 --> 00:19:18,780
the tutors, who's in the group. So
because of my connections with kapa haks,

307
00:19:19,820 --> 00:19:24,340
um, be it tutors, be it performers.
I'm able to look at a team and go, oh,

308
00:19:24,341 --> 00:19:27,540
that's, it's a bit like rugby, you know,

309
00:19:27,840 --> 00:19:30,020
you certainly wouldn't see
me commentating, you know,

310
00:19:30,200 --> 00:19:31,033
the chiefs and the Hurricanes.

311
00:19:32,450 --> 00:19:33,370
It's specialist knowledge though.

312
00:19:33,640 --> 00:19:38,090
It's it's, it's a specialist
category kapa haka so yeah,

313
00:19:38,270 --> 00:19:40,050
unless you have that really intricate,

314
00:19:40,690 --> 00:19:45,010
intimate knowledge of how
kaihaka operate, um, the,

315
00:19:45,490 --> 00:19:49,690
the stresses of build up to Te
Matatini there, done that, but also,

316
00:19:50,570 --> 00:19:54,200
uh, having the experience as a
performer, be it at regionals,

317
00:19:54,201 --> 00:19:56,720
be it at nationals, be it internationally.

318
00:19:56,721 --> 00:19:59,200
So I've had the privilege of traveling
overseas with Waihirere and Tū te Manawa

319
00:19:59,200 --> 00:20:02,000
Maurea as a cultural ambassador.

320
00:20:02,220 --> 00:20:07,160
So there are all these
facets to being a broadcaster

321
00:20:07,860 --> 00:20:12,710
and being able to draw on all your
past experiences to be able who

322
00:20:12,780 --> 00:20:15,950
communicate to the viewers. I
actually know what I'm talking about.

323
00:20:17,230 --> 00:20:17,590
How.

324
00:20:17,590 --> 00:20:18,423
Because I've been there.

325
00:20:18,550 --> 00:20:23,350
How does broadcasting enhance your
performance as a kaihaka and vice versa?

326
00:20:24,760 --> 00:20:29,210
Well, if you have a look at kapa
haka and presenting kapa haka,

327
00:20:30,070 --> 00:20:34,240
the similarity is that I wanna
give my best performance. So I,

328
00:20:35,100 --> 00:20:37,720
whilst I may not practice
as much as a kaihaka does,

329
00:20:38,460 --> 00:20:41,640
but I am continually
watching kapa haka regionals.

330
00:20:41,740 --> 00:20:46,200
I'm continually watching social media
to see what the latest vibes, you know,

331
00:20:46,380 --> 00:20:48,800
not just, um, the adults. I mean,

332
00:20:48,870 --> 00:20:52,520
secondary schools now fuu I tell you what
some of those secondary schools would

333
00:20:52,521 --> 00:20:55,320
give some of these adult teams a
good go, good run for their money,

334
00:20:55,460 --> 00:20:56,400
but also our kids.

335
00:20:57,060 --> 00:21:01,200
So you really must invest
your time and your energy

336
00:21:01,790 --> 00:21:06,440
into mahi rangahau or researching
what is happening not only at,

337
00:21:06,510 --> 00:21:11,110
at the national, uh, adult level,
but across the board, you know,

338
00:21:11,111 --> 00:21:15,630
right down to our kids. And, and that
gives you a greater appreciation, uh,

339
00:21:15,770 --> 00:21:20,430
of Te Ao Haka but also the, the
involvement as well. I mean,

340
00:21:20,431 --> 00:21:21,550
there's huge involvement,

341
00:21:21,810 --> 00:21:25,870
but there's also huge involvement
of Te Ao Haka and our kids,

342
00:21:26,530 --> 00:21:28,540
you know, I was talking
to you earlier about,

343
00:21:28,660 --> 00:21:31,820
I did to Tōia mai te waka well,

344
00:21:31,821 --> 00:21:35,740
these kids nowadays are
pulling out, honestly,

345
00:21:35,741 --> 00:21:37,860
some of the numbers they're
pulling out and doing solos,

346
00:21:38,620 --> 00:21:43,340
stepping out onto the stage like Beyonce
and you know, it, it, and Stan Walker,

347
00:21:43,480 --> 00:21:47,180
you know, these kids can, can deliver
performances that are just so passionate,

348
00:21:47,550 --> 00:21:50,210
but the thing is they know
what they're singing about.

349
00:21:50,790 --> 00:21:53,970
We didn't know we were pulling a waka.
That's why, you know, my actions used to,

350
00:21:53,970 --> 00:21:57,650
say tōia mai, we were pushing
the boat out, out to sea,

351
00:21:58,270 --> 00:22:01,170
not pulling it in, whereas
these kids now, um,

352
00:22:01,440 --> 00:22:05,250
it's just so wonderful
and so invigorating and

353
00:22:06,240 --> 00:22:10,360
just gives you a, such a sense of
pride when you see these kids, uh,

354
00:22:10,361 --> 00:22:13,400
performing with, with such
passion and vigor. So yeah.

355
00:22:13,401 --> 00:22:16,280
Watch out to adults Te Matatini
these primary school kids are,

356
00:22:16,440 --> 00:22:17,273
are coming for you.

357
00:22:17,630 --> 00:22:20,520
Just one last thing on
the broadcasting and, uh,

358
00:22:20,660 --> 00:22:24,560
how being a kaihaka obviously gives you
an advantage because it's a tough crowd

359
00:22:24,560 --> 00:22:28,440
the haka crowd clubs just
don't open their doors to any

360
00:22:29,120 --> 00:22:30,950
Māori with a microphone as, um,

361
00:22:31,540 --> 00:22:35,150
many journalists can attest to with the
clubs particularly here in Tai Rāwhiti.

362
00:22:36,590 --> 00:22:37,070
So,

363
00:22:37,070 --> 00:22:40,350
but being a kaihaka has obviously helped
you get some scoops on the rest of us.

364
00:22:41,100 --> 00:22:41,430
Yeah.

365
00:22:41,430 --> 00:22:46,230
I think having had those connections
and relationships with both

366
00:22:46,490 --> 00:22:50,100
tutors of other kapa and not
just here in Tai Rāwhiti, I mean,

367
00:22:51,340 --> 00:22:56,200
I'm fortunate that I can go and
see Sir Derek from Whangara I can

368
00:22:56,201 --> 00:22:58,400
go and see obviously Aunty Tangiwai
and Uncle George from Waihirere.

369
00:22:58,960 --> 00:23:02,000
I can go and see, um, our whānau from
Tokomaru Bay and Te Hokowhitu-ā-Tū,

370
00:23:02,760 --> 00:23:05,120
I can go out to Tū te Manawa Maurea.
I can go and see Max out Whānau-ā-Kai.

371
00:23:06,120 --> 00:23:07,720
I can go to Selwyn Parata and
Nanny Kuini Moehau at Hikurangi.

372
00:23:09,830 --> 00:23:10,663
Auntie Sha over at Poho.

373
00:23:10,830 --> 00:23:13,590
And Aunty Sha at Poho-o-Rāwiri. I have
those connections, those relationships,

374
00:23:14,210 --> 00:23:16,430
not only locally, but nationally.

375
00:23:16,690 --> 00:23:21,630
And that is I think a huge advantage
for me having built up as a kayaker and

376
00:23:21,631 --> 00:23:24,870
as a broadcaster as well, are
those relationships and networks.

377
00:23:24,871 --> 00:23:26,710
But also the key here is trust.

378
00:23:28,030 --> 00:23:30,070
I would like to think that
they trust in me to be,

379
00:23:30,140 --> 00:23:33,060
be able to turn up to one of
their practices and not say, oh,

380
00:23:33,300 --> 00:23:38,020
there's Mātai from from Waihirere he's
come to spy on us. Um, no, I haven't.

381
00:23:38,410 --> 00:23:42,340
It's just that we have a relationship
and I have a job to do, and I want to,

382
00:23:42,440 --> 00:23:44,340
you know, be the best at my job.

383
00:23:44,400 --> 00:23:47,720
And so if that means that I have to
come and interview you at your marae,

384
00:23:47,870 --> 00:23:52,280
when you're having a practice, then I,
I need to know that you entrusted me,

385
00:23:52,590 --> 00:23:55,360
that we're gonna do this
interview and at no, uh, time,

386
00:23:56,350 --> 00:24:00,800
will you think that I'm going to share
what you are performing with others,

387
00:24:01,220 --> 00:24:05,070
cos that's not why I'm here. I'm here
to do a job, one job and I wanna do it.

388
00:24:05,071 --> 00:24:05,904
Well.

389
00:24:07,240 --> 00:24:09,830
We're starting to wrap up a
little bit and um, you know,

390
00:24:10,470 --> 00:24:13,670
you spoke a lot about what kapa haka
used to be like when you were at Kaiti

391
00:24:13,671 --> 00:24:18,670
school and you'll remember the
Tūranga-nui Festival, it's uh,

392
00:24:18,671 --> 00:24:22,310
kind of an institution here
and it's really developed
over the years. Hasn't it?

393
00:24:22,990 --> 00:24:26,540
Goodness me. It has grown
in both size and stature,

394
00:24:26,541 --> 00:24:31,140
but also in terms of passion,
I think from our kids.

395
00:24:31,400 --> 00:24:34,500
So if I reflect a lot of
the mainstream schools like

396
00:24:36,290 --> 00:24:40,410
Elgin and Te Wharau and Hapara,
you know, they would stand up,

397
00:24:41,680 --> 00:24:44,770
Gisborne Intermediate is a typical
example of a mainstream school,

398
00:24:44,771 --> 00:24:47,280
where back in my day, you'd be
lucky to get a 'ka tangi te tītī,

399
00:24:47,280 --> 00:24:49,640
ka tangi te kākā' out of them.

400
00:24:50,300 --> 00:24:52,880
And now these kids in
the recent competition,

401
00:24:54,150 --> 00:24:57,400
they were that much away from qualifying
for the nationals. This was huge.

402
00:24:58,180 --> 00:24:58,990
They entered Tamararo?

403
00:24:58,990 --> 00:24:59,823
Yeah. They entered Tamararo.

404
00:25:00,150 --> 00:25:05,000
They entered one of our biggest
competitions where you were

405
00:25:05,001 --> 00:25:08,910
competing against Kura Kaupapa
Māori as well as some other, uh,

406
00:25:08,911 --> 00:25:13,070
other kura like Manutūke who are former
primary national champions twice.

407
00:25:13,850 --> 00:25:18,830
And here's this gezunt that
turn up and give it a go. And I,

408
00:25:18,870 --> 00:25:19,650
I, you know,

409
00:25:19,650 --> 00:25:24,550
that's why I say there's huge
involvement and involvement in

410
00:25:24,551 --> 00:25:27,220
terms of kapa haka particularly
here in Te Tai Rāhwhiti,

411
00:25:27,900 --> 00:25:30,860
a lot of the mainstream schools wanna
come and be a part of Te Ao Haka.

412
00:25:32,010 --> 00:25:34,740
What does that say about the future
of the region, given that, you know,

413
00:25:35,650 --> 00:25:38,540
half of population here is
Pākehā, the other half is Māori.

414
00:25:39,340 --> 00:25:41,500
Oh, I think it's positive.
I'm I'm ever the optimist,

415
00:25:41,501 --> 00:25:45,820
but I think that it is an indication
that we are starting to, uh,

416
00:25:46,050 --> 00:25:50,420
personify Tūranga tangata
rite, that we all is one. Um,

417
00:25:50,480 --> 00:25:51,080
the other thing,

418
00:25:51,080 --> 00:25:55,700
the other benefit of kapa haka here in
the region for mainstream schools is they

419
00:25:55,720 --> 00:26:00,240
get taught the real history
of this place. You know?

420
00:26:00,700 --> 00:26:03,320
So whether it's Haramai a Paoa or Pō Pō,

421
00:26:03,740 --> 00:26:07,240
or other mōteatea pertaining
to our local stories,

422
00:26:08,130 --> 00:26:11,590
our local history, our local whakapapa,
all of these kids now Pākehā mai,

423
00:26:11,590 --> 00:26:12,203
Māori mai, Whītī mai are

424
00:26:15,310 --> 00:26:17,390
learning about Tūranga, Tūrangatanga,
Turangatanga, Tūranga tangata rite.

425
00:26:23,500 --> 00:26:25,650
Let's, uh, end at the
beginning, Kaiti school.

426
00:26:27,650 --> 00:26:28,483
Kaiti school Wow.

427
00:26:29,160 --> 00:26:29,993
They do Tamararo now.

428
00:26:30,380 --> 00:26:32,980
Well, Kaiti school when I was
a kid, we didn't do Tamararo.

429
00:26:33,120 --> 00:26:37,660
We just did the Tūranga-nui-ā-Kiwa
festival and did Tōia Mai, um,

430
00:26:38,240 --> 00:26:40,220
but now that could mine,

431
00:26:40,550 --> 00:26:44,840
which I'm very proud to say
I'm a ex student of, uh,

432
00:26:44,840 --> 00:26:48,920
ka pai Kaiti that school is
now up there in terms of kapa

433
00:26:49,300 --> 00:26:53,480
haka. It never used to be, it used
to be what we call teats, koretake,

434
00:26:55,180 --> 00:26:59,560
not the best, but now obviously
they have evolved. Um,

435
00:26:59,660 --> 00:27:03,430
and these kids are now
starting to grow, uh,

436
00:27:03,431 --> 00:27:08,310
both in terms of their confidence
and as well as they're fortunate to

437
00:27:08,311 --> 00:27:11,510
have some kaihaka that have
performed on the Te Matatini stage,

438
00:27:12,230 --> 00:27:17,030
I know of a couple that are a kaiako
there who are now sharing their taonga,

439
00:27:17,031 --> 00:27:19,950
their knowledge, their vast
knowledge. It must be said, uh,

440
00:27:19,951 --> 00:27:21,190
with these kids and it's paid off.

441
00:27:21,290 --> 00:27:25,620
So these kids are now off to the national
and Nelson later this year. Yeah.

442
00:27:25,621 --> 00:27:28,180
Which is pretty cool for Kaiti school.

443
00:27:29,240 --> 00:27:31,220
If you hadn't have hitched a ride to, um,

444
00:27:31,221 --> 00:27:35,300
watch Waihirere club
that day back in 94, was.

445
00:27:35,300 --> 00:27:36,220
It 94? Yeah.

446
00:27:36,570 --> 00:27:37,390
Yeah.

447
00:27:37,390 --> 00:27:40,420
Would you be the same person that you
are now if you didn't have kapa haka in

448
00:27:40,421 --> 00:27:41,254
your life?

449
00:27:41,280 --> 00:27:42,900
No, absolutely not.

450
00:27:43,220 --> 00:27:48,090
I think kapa haka gave
me so many skills, uh,

451
00:27:48,480 --> 00:27:53,170
that have contributed to who I am.
Uh, when, when I broadcast, you know,

452
00:27:53,171 --> 00:27:56,610
it's a performance, whether it's a
game show, whether it's Te Matatini,

453
00:27:57,360 --> 00:27:59,970
whether it's current
affairs, you know, it's,

454
00:28:00,480 --> 00:28:04,720
it's a performance and you wanna put your,
you wanna put your best foot forward.

455
00:28:05,220 --> 00:28:07,640
So every time I step in front
of the camera, like today,

456
00:28:08,320 --> 00:28:13,160
I wanna ensure that this is
my best performance and I
want to give it 150%. Uh,

457
00:28:13,161 --> 00:28:15,920
obviously I don't do as much practice
as kaihaka could do for the Matatini,

458
00:28:16,300 --> 00:28:20,280
but that's not to say that I don't, uh,
have a passion, uh, for broadcasting.

459
00:28:20,830 --> 00:28:23,240
What was your question again? Sorry.
I went a little bit off tangent.

460
00:28:24,040 --> 00:28:27,030
Uh, would you be the same person
without kapa haka in your life?

461
00:28:28,660 --> 00:28:32,520
No, I don't think I would be. Um,
kapa haka has given me so much to, uh,

462
00:28:33,680 --> 00:28:36,960
contributed so much to the person that
you see sitting in front of you today in

463
00:28:36,961 --> 00:28:38,320
terms of confidence. You know,

464
00:28:38,720 --> 00:28:42,280
I know it's a little bit different
when you're on stage with 39 others,

465
00:28:43,380 --> 00:28:44,240
but at the end of the day,

466
00:28:44,260 --> 00:28:49,110
you still gotta remember that you have
one spot that someone else may have

467
00:28:49,130 --> 00:28:52,430
got, but you got it. So you gotta make
the most of it. And it's the same.

468
00:28:52,431 --> 00:28:56,550
When I sit in a chair or stand in front
of a screen presenting whatever show I'm

469
00:28:56,551 --> 00:28:59,590
presenting, it's an honor and a
privilege to have that one spot.

470
00:29:00,050 --> 00:29:03,430
So don't muck it up.
Don't make a mess of it,

471
00:29:04,300 --> 00:29:08,350
own it and give it your best
shot. And that's kind of, uh,

472
00:29:08,690 --> 00:29:12,750
the skills or the, the values,
the taonga that I've, uh,

473
00:29:13,080 --> 00:29:15,670
attributed to kapa haka
that have contributed to,

474
00:29:16,350 --> 00:29:17,510
to my broadcasting career as well.

475
00:29:20,150 --> 00:29:20,983
Martha Smith, tēnā koe.

476
00:29:21,690 --> 00:29:22,523
Tēnā koe.

477
00:29:23,700 --> 00:29:27,980
This was a podcast for the Ministry
of Education, thank you for listening.


[ Audio Resource ]
Title:
TAH Podcast - Te Arawa
Description:
Howard Morrison Jnr shares his Te Ao Haka journey
Audio File Type:
mp3
Audio File Size:
28MB
Audio URL:
https://ncea-live-3-storagestack-53q-assetstorages3bucket-2o21xte0r81u.s3.amazonaws.com/s3fs-public/2022-05/Te%20Ao%20Haka%20Te%20Arawa_HOWIE%20MORRISON_PODCAST%20mix.mp3?VersionId=HtQzXRzjUc97s9cheDbjrlPA4rno.FpU
Transcript:

1
00:00:04,440 --> 00:00:05,273
Kia ora Cousin,

2
00:01:05,410 --> 00:01:09,520
first question here is how long
has haka been a part of your life?

3
00:01:12,040 --> 00:01:13,680
Oh, I don't wanna show my age

4
00:01:15,760 --> 00:01:19,000
probably when I was about
five, starting off doing

5
00:01:21,160 --> 00:01:26,030
concerts down at, um, inside Tama te
kapua down Ōhinemutu with, um, the family

6
00:01:27,540 --> 00:01:31,030
alongside my cousins and my
sister, my brother, and, um,

7
00:01:31,810 --> 00:01:36,430
taught by our auntie Dina and Uncle
Trevor and Aunye Linda. And, uh,

8
00:01:36,431 --> 00:01:41,110
your mum. I remember great
voices and great exponent of the,

9
00:01:41,130 --> 00:01:46,110
of the as five year olds.
Our, our idols were, um,

10
00:01:46,900 --> 00:01:50,340
Pearl gray and uncle Buster, man.

11
00:01:50,370 --> 00:01:54,580
They were big for us and they could
haka and all we wanted to do was be like

12
00:01:54,581 --> 00:01:58,780
them one day, going back
to the 1960s there cus,

13
00:01:59,770 --> 00:02:04,380
long time between drinks and
obviously a few more wrinkles and

14
00:02:04,560 --> 00:02:05,393
kgs since then.

15
00:02:08,630 --> 00:02:13,370
So true. Now you speak of idols
and growing up in your whānau,

16
00:02:13,660 --> 00:02:17,650
especially thinking of
uncle Howard and Nanny Gerty

17
00:02:18,800 --> 00:02:21,050
entertainment is no stranger to you.

18
00:02:22,190 --> 00:02:24,810
How did that impact on your life?

19
00:02:26,560 --> 00:02:29,920
Well, I think it exposed,
uh, all of us to, um,

20
00:02:30,180 --> 00:02:33,040
the world of entertainment at
a really early age. And, um,

21
00:02:33,910 --> 00:02:38,440
like every Morihana is able to do.
They adapt very well because, uh,

22
00:02:39,210 --> 00:02:42,160
we've been told that we,
uh, enjoy the limelight,

23
00:02:43,310 --> 00:02:46,120
some of us anyway. So, um,

24
00:02:48,380 --> 00:02:49,213
legends,

25
00:02:49,750 --> 00:02:54,630
I use like my nanny
Gert and uncle Trev and

26
00:02:54,790 --> 00:02:57,430
auntie Din Uncle Hamu

27
00:02:59,180 --> 00:03:03,050
later on in life, Irirangi, we
were very fortunate to have a,

28
00:03:03,210 --> 00:03:07,450
a very wide range of, um,
experts in the art of, um,

29
00:03:07,450 --> 00:03:11,010
kapa haka. So, uh,

30
00:03:11,011 --> 00:03:15,090
obviously it was gonna rub
off on all of us and about 90%

31
00:03:16,510 --> 00:03:21,120
of us cousins and brother and sister
carry that on further in life.

32
00:03:23,190 --> 00:03:26,250
You were fortunate enough to perform
as a young man with Ngāti Rangiwewehi.

33
00:03:28,230 --> 00:03:31,050
Can you tell me about that experience?

34
00:03:31,830 --> 00:03:34,370
My first competitive experience
was at Tūrangawaewae.

35
00:03:36,530 --> 00:03:39,600
I think it was one of
the coronation festivals.

36
00:03:39,601 --> 00:03:44,360
They have up there every
year and I performed in

37
00:03:44,880 --> 00:03:45,880
the Rangiwewehi midgets?

38
00:03:47,500 --> 00:03:52,040
And we used to some of our smaller ones
used to have to wear tīpare because we

39
00:03:52,120 --> 00:03:57,000
were so small as a tāpeka and white
shorts and all the ones that play

40
00:03:57,001 --> 00:04:00,070
rugby would go on the stage with
their piupiu, with their white shorts,

41
00:04:00,460 --> 00:04:03,710
with the grass skid marks on them. So, um,

42
00:04:04,220 --> 00:04:09,190
that was my sort of first exposure to
performing with a big group in front

43
00:04:09,191 --> 00:04:11,910
of a big crowd. And I'll
always remember that. Yeah.

44
00:04:13,120 --> 00:04:14,780
In 1983,

45
00:04:14,920 --> 00:04:18,860
you were part of a Ngāti
Rangiwewehi team that won,

46
00:04:19,140 --> 00:04:22,570
in 1996 Ngāti Rangiwewehi

47
00:04:24,211 --> 00:04:26,930
took it out again. What was
that experience like for you?

48
00:04:29,050 --> 00:04:33,890
Well, I suppose you gotta go
back to how kapa haka the journey

49
00:04:33,950 --> 00:04:38,850
of kapa haka changed over those, um,
those years and those dig age. I mean,

50
00:04:39,650 --> 00:04:42,040
back in 1975, I think we're in Gisborne

51
00:04:43,740 --> 00:04:45,920
and one group come out and they'd done a,

52
00:04:46,430 --> 00:04:50,440
they started an entry like this and they
just done a wave and they brought the

53
00:04:50,441 --> 00:04:55,360
house down because that wasn't kapa
haka like we know kapa haka back in the

54
00:04:55,361 --> 00:04:59,960
day then obviously since then the
choreography and the movement nowadays

55
00:05:00,860 --> 00:05:04,870
is far different than what we
used to do back in the day.

56
00:05:05,930 --> 00:05:09,430
So, um, when I first
like joined Rangiwewehi

57
00:05:10,220 --> 00:05:13,390
75, 77, 79,

58
00:05:14,550 --> 00:05:19,390
Irirangi Tiakiawa came on
board with us 79, 81 and 83.

59
00:05:20,010 --> 00:05:23,980
And the group started molding into a, uh,

60
00:05:24,140 --> 00:05:27,340
a competitive group because
prior to that, you know,

61
00:05:27,341 --> 00:05:30,860
we were getting our nonos kicked from
Waihirere and all those Coasty groups.

62
00:05:31,840 --> 00:05:36,020
So I think Irirangi was a
great influence on Rangiwewehi

63
00:05:36,840 --> 00:05:41,620
as in changing our mindset of
how we should perceive kapa

64
00:05:41,880 --> 00:05:43,890
haka, not just getting up and,

65
00:05:45,130 --> 00:05:48,930
and walking on and doing a few
items and then walking off, he,

66
00:05:49,830 --> 00:05:52,370
he made us think outside
the square and use more,

67
00:05:54,050 --> 00:05:57,200
imagine be more imaginative. So, um,

68
00:05:57,580 --> 00:06:00,640
if you go back in the decades
and the years, you'll,

69
00:06:00,641 --> 00:06:04,840
you'll see the progression of where
Rangiwewehi was. And we had progressed to,

70
00:06:04,841 --> 00:06:07,600
until we left, I think it was 2002.

71
00:06:08,770 --> 00:06:11,710
And a lot of things changed. You know,

72
00:06:11,711 --> 00:06:15,830
members changed the back in
the day when I first started,

73
00:06:15,990 --> 00:06:20,980
I think we had Nanny Kato was in then
she was in her seventies. But, uh,

74
00:06:20,981 --> 00:06:24,900
nowadays kapa haka is such a youngies, uh,

75
00:06:26,660 --> 00:06:29,700
a youngies activity now because,
um, because of the fitness,

76
00:06:30,320 --> 00:06:34,860
the physical demand on the body,
you know, but within every group,

77
00:06:34,861 --> 00:06:38,250
you've still gotta have
those stalwarts those,

78
00:06:38,900 --> 00:06:42,090
those people who can awhi,
and guide our rangatahi,

79
00:06:43,280 --> 00:06:44,770
because sometimes, um,

80
00:06:44,771 --> 00:06:48,690
they might get a bit carried away and it
takes someone with a bit of experience

81
00:06:48,691 --> 00:06:52,450
just to pull 'em back and say,
look, there's the line in the sand.

82
00:06:52,870 --> 00:06:56,090
You cross it gone too far,
but always try and push it.

83
00:06:56,830 --> 00:07:01,480
And when I start had a tutor in
back in 85 alongside my auntie

84
00:07:01,700 --> 00:07:06,480
Dina, once again, your mindset
has to change because, um,

85
00:07:07,140 --> 00:07:10,120
you don't ever ask the group to
do something that you wouldn't do.

86
00:07:10,900 --> 00:07:14,040
And then suddenly I found myself
in, in a leadership role in,

87
00:07:14,940 --> 00:07:18,040
it was hard for me to adapt
because I was the biggest tutu,

88
00:07:19,310 --> 00:07:23,750
I was always late and always had a
great excuse, always used my aunty,

89
00:07:23,890 --> 00:07:28,750
but you sort of had to mature very
quickly because, um, surrounded,

90
00:07:29,030 --> 00:07:33,550
I was surrounded by performers
who were as good as me and

91
00:07:33,551 --> 00:07:37,470
sometimes better. So I had to
push myself to try and be better.

92
00:07:37,930 --> 00:07:41,260
So that they'll look up to me and
respect me as, as a leader, cuz um,

93
00:07:41,880 --> 00:07:46,540
if you haven't got the respect of
your performers, you're pushing, um,

94
00:07:47,160 --> 00:07:50,180
what's that word uphill. Yeah.

95
00:07:50,960 --> 00:07:53,020
So speaking about leadership,

96
00:07:53,800 --> 00:07:58,300
you are also a previous
winner of a male leader's

97
00:07:58,610 --> 00:08:01,210
role. Tell me about that experience.

98
00:08:03,810 --> 00:08:08,330
Uh, I won it once alongside my
Aunty in 1992 in Ngaruawahia

99
00:08:08,971 --> 00:08:10,730
and we weren't pushing for the leadership,

100
00:08:11,870 --> 00:08:15,650
we were pushing more so
for the group to win.

101
00:08:17,430 --> 00:08:20,400
So after receiving that trophy,
I actually actually, um,

102
00:08:21,700 --> 00:08:22,533
put it in my wardrobe for
a year and a half until

103
00:08:24,441 --> 00:08:26,800
my aunty found out about it
and she come up and got it.

104
00:08:26,801 --> 00:08:29,680
And then she put my name on
it because I felt as a leader,

105
00:08:29,760 --> 00:08:30,880
I didn't achieve my job,

106
00:08:31,940 --> 00:08:36,800
my mahi because a leader's job
responsibility is to lead the

107
00:08:36,801 --> 00:08:39,160
group to victory,

108
00:08:39,180 --> 00:08:43,470
not use the group to benefit
yourself. So I thought, I thought,

109
00:08:44,130 --> 00:08:48,710
you know, later on in life, I
got to, um, appreciate the award,

110
00:08:48,810 --> 00:08:53,110
but I felt for the rōpū because I felt
it was the group that actually got me

111
00:08:53,111 --> 00:08:56,740
that award. So we came second
that year to, uh, Waka Huia,

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00:08:57,720 --> 00:09:02,140
second again in 94. And
in the 1996 we won it.

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00:09:03,760 --> 00:09:07,380
But it's funny that the parties in 92
and 94 when we were second were actually

114
00:09:07,580 --> 00:09:11,140
better than the one we had here in
Rotorua when we won it. But, um,

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00:09:12,200 --> 00:09:15,890
it was a relief. And, and
the thing about winning,

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You've got more chance of
going down than going up.

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00:09:22,510 --> 00:09:25,210
So in 98, we, we come up
with another great program,

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00:09:25,350 --> 00:09:27,290
but we pipped at the post by, um,

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00:09:29,350 --> 00:09:31,530
Waihirere this time. So in the nineties,

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00:09:33,170 --> 00:09:37,520
that was the era of Ngāti
Rangiwewehi second 92,

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00:09:37,521 --> 00:09:41,600
second 94, first 96, second 98.

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00:09:41,620 --> 00:09:44,680
And those were the flourishing years.

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00:09:44,880 --> 00:09:47,040
I think of Ngāti Rangiwewehi.

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00:09:47,041 --> 00:09:50,120
And especially with the group we had then,

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00:09:50,121 --> 00:09:54,920
because many of them had joined the
group in the seventies and gone right

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00:09:55,120 --> 00:09:57,310
through to 98, 2000.

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00:09:57,610 --> 00:10:01,390
So we all sort of paddle the waka together

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and um, it takes time.

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00:10:04,610 --> 00:10:09,430
You just can't create a group
because you always have to have that

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00:10:09,431 --> 00:10:14,070
experience, but you know, then someone
might say, what about, um, Rongomai?

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00:10:15,270 --> 00:10:17,500
They've done tremendously
well, but then again,

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00:10:18,000 --> 00:10:22,780
you've got two very experienced
leaders at the helm. You've also got,

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00:10:23,020 --> 00:10:27,540
um, our other nephew, um, Who had Kataore,

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what's his name? Riki. So within
that blend of new ones, there's,

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00:10:31,421 --> 00:10:32,660
there's still got that,

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00:10:33,300 --> 00:10:37,330
that backbone of performers Who
bring experience to the group

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00:10:38,690 --> 00:10:41,450
Tūmanako another group with, um,

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00:10:43,090 --> 00:10:46,810
expat members from other groups, but, uh,

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00:10:49,690 --> 00:10:54,130
a new group as well, but with the
experience. So, um, I think the,

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00:10:54,190 --> 00:10:59,040
the major thing for a leader
is, um, just to be fair.

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00:10:59,560 --> 00:11:00,393
I mean,

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00:11:01,660 --> 00:11:05,200
you sort of lost friends when
it was time to name the lineup

143
00:11:07,260 --> 00:11:09,960
and Aunty Dina would get
calls from her cousin saying,

144
00:11:10,020 --> 00:11:14,920
why isn't my daughter in the front
row and I'd get calls and I said,

145
00:11:15,320 --> 00:11:18,430
I'd blame uncle Trev. And I said, no,
no, cuz I never, I never picked the rows,

146
00:11:18,551 --> 00:11:21,870
Uncle Trevor did you know? So
you always got politics within,

147
00:11:22,870 --> 00:11:26,030
within the group of positioning.
And why is that one singing a solo?

148
00:11:26,871 --> 00:11:30,990
When my daughter should be singing
solo te mea, te mea, te mea. But uh,

149
00:11:31,110 --> 00:11:33,470
I think for any group to be successful,

150
00:11:33,471 --> 00:11:36,670
you have to have a great
matriarch and leader who's

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00:11:38,541 --> 00:11:43,540
not scared to tell you what's on
her mind and what she actually

152
00:11:43,541 --> 00:11:44,860
thinks of you. And that, um,

153
00:11:45,380 --> 00:11:50,100
I don't think Ngāti Rangiwewehi would've
been the force that it was without my

154
00:11:50,101 --> 00:11:54,000
Aunty, Aunty Dina,
Atareta, who, by the way,

155
00:11:54,001 --> 00:11:58,400
won the leadership twice. Yeah.

156
00:11:59,840 --> 00:12:01,880
Speaking about legends too cousin,

157
00:12:04,750 --> 00:12:07,960
composing waiata is
another strength of yours,

158
00:12:08,660 --> 00:12:10,560
we spoke about that Rangiwewehi sound,

159
00:12:11,940 --> 00:12:15,910
can you elaborate on the Rangiwewehi
sound a little more for us?

160
00:12:18,460 --> 00:12:22,790
Well, I was very fortunate
that I was musically,

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00:12:24,950 --> 00:12:29,590
um, better off than others because of the
time I spent on the road with Dad as a

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00:12:30,090 --> 00:12:34,620
six, seven year old and
right up to he, he passed

163
00:12:36,180 --> 00:12:40,740
and learning his stagecraft
of entertainment.

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00:12:41,200 --> 00:12:43,140
He, didn't not regard himself as a singer,

165
00:12:43,141 --> 00:12:48,020
he regarded himself as an entertainer
and all those little lessons

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00:12:48,500 --> 00:12:50,740
I learned right through
him, a singing career.

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00:12:51,890 --> 00:12:56,810
Finally come back to awhi me when
it was time for me to take over the

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00:12:56,811 --> 00:12:59,090
mantle as the male, um, tutor,

169
00:13:00,550 --> 00:13:05,130
and many of his techniques
and ways of composing tunes

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was easy for me because
of that background.

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00:13:09,180 --> 00:13:11,280
But a rangi is nothing without the kupu.

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00:13:12,260 --> 00:13:15,790
And we've been very fortunate over
the years to have some really,

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00:13:16,050 --> 00:13:20,750
really great starting with Nanny Kato.

174
00:13:22,470 --> 00:13:26,230
Uh, Timoti Karetu. I
asked him for some kupu,

175
00:13:26,550 --> 00:13:31,150
for a poi that we did on the pink and
white Terraces. He sent me a thesis.

176
00:13:32,830 --> 00:13:34,710
Is that the word? It was about four pages.

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00:13:34,800 --> 00:13:39,260
So I cut it and I send it back
to him and he rings my Aunty

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00:13:40,180 --> 00:13:44,660
that bloody Hiwaroa. Look what he's done
to my blimmin story. Look before I had,

179
00:13:44,880 --> 00:13:47,900
for example, today I went to the shop,

180
00:13:48,770 --> 00:13:52,220
he's taken it all out and
now it says today shop.

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00:13:54,300 --> 00:13:58,890
I says, come on, uh, come on matua,
you are, you are the professor here,

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00:13:58,960 --> 00:14:03,650
make it, make it sound
good. So we had him and he,

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00:14:03,890 --> 00:14:08,290
he had never had a composition
that had won an item before if I

184
00:14:09,130 --> 00:14:11,650
remember correctly. I dunno why
because he's the pro professor.

185
00:14:12,230 --> 00:14:16,280
So we did the poi in
2000 and his haka Taane

186
00:14:17,030 --> 00:14:21,120
that we'd done also come
first equal. Then we have, um,

187
00:14:21,120 --> 00:14:22,800
Uenuku Fairhall.

188
00:14:25,740 --> 00:14:28,880
Of course what's his
name? Irirangi Tiakiawa,

189
00:14:29,970 --> 00:14:34,520
Uncle Hamu Mitchell, uh, Henry
Northcroft I think his name.

190
00:14:36,120 --> 00:14:40,110
So been very fortunate to have
some really humdinger legends,

191
00:14:41,280 --> 00:14:43,490
legends, you know, some people use that,

192
00:14:45,240 --> 00:14:47,410
that term very lightly, but, uh,

193
00:14:48,390 --> 00:14:51,920
we were very lucky with Rangiwewehi to
have a lot of people who actually asked

194
00:14:52,420 --> 00:14:55,640
to do compositions for us. So yeah,

195
00:14:55,990 --> 00:14:59,200
without tohunga like that in the reo

196
00:15:01,660 --> 00:15:02,493
our waiata, whakaeke, whakamutunga

197
00:15:05,930 --> 00:15:07,720
would not have come to life.

198
00:15:08,180 --> 00:15:12,790
And it's always good to have their
ingoa at the bottom of the paper

199
00:15:14,060 --> 00:15:17,510
because, um, believe it or not, not many,

200
00:15:17,710 --> 00:15:20,830
many people liked us in the
nineties Ngāti Rangiwewehi,

201
00:15:22,370 --> 00:15:26,990
but because we had the mana of their
name on our paper, they, you know,

202
00:15:28,020 --> 00:15:31,420
they were a bit more fair. I dunno why
they always pick on the penny divers.

203
00:15:33,360 --> 00:15:37,780
So composing, cuz and
composing haka in particular.

204
00:15:39,050 --> 00:15:40,060
Tell us about that.

205
00:15:42,900 --> 00:15:46,940
I remember in 1991, uh, there was a, um,

206
00:15:47,930 --> 00:15:52,930
hui with all the candidates who
wanted to be judges at the 1992

207
00:15:53,130 --> 00:15:55,410
festival and Koro Hamu was still alive.

208
00:15:56,870 --> 00:16:01,290
And he proceeded to lecture all the
judges and whoever was else was present

209
00:16:01,291 --> 00:16:02,730
there on the word haka

210
00:16:04,620 --> 00:16:09,250
means dance does not mean
men's posture dance it

211
00:16:10,180 --> 00:16:15,080
means dance. So that year
in 1992 Rangiwewehi, the,

212
00:16:17,740 --> 00:16:21,520
the program that we had was

213
00:16:23,000 --> 00:16:25,480
haka, whakaeke obviously mōteatea,

214
00:16:28,440 --> 00:16:31,440
haka poi, haka
waiata-ā-ringa, haka taparahi,

215
00:16:32,860 --> 00:16:37,550
haka whakawātea, but
it's sort of lost again.

216
00:16:37,650 --> 00:16:41,110
And now the haka is
the male posture dance,

217
00:16:42,330 --> 00:16:45,830
but in regards to composing
and like once again,

218
00:16:45,840 --> 00:16:47,990
we've had Te Ururoa
Flavell, Fairhall and Timoti

219
00:16:50,650 --> 00:16:55,220
and Irirangi. And I don't
think we really had a,

220
00:16:55,380 --> 00:16:59,140
a political haka if I can remember.

221
00:16:59,820 --> 00:17:03,540
I think Irirangi wrote
one that's for us in

222
00:17:05,320 --> 00:17:10,000
Avondale in 79, that is, um, is used
a lot nowadays by, um, Ngāti Pikiao.

223
00:17:11,400 --> 00:17:13,160
His one, he wrote in 1986,

224
00:17:15,470 --> 00:17:19,510
I think we won was about, um, drugs,

225
00:17:19,900 --> 00:17:21,390
different sort of drugs. Um,

226
00:17:21,970 --> 00:17:25,870
and there was a coup itself that we won
that haka because we had nine policemen

227
00:17:25,871 --> 00:17:29,430
in the group and we had to act
stoned, or they had to act stoned,

228
00:17:29,431 --> 00:17:31,750
but luckily they had, um,

229
00:17:33,870 --> 00:17:37,300
cousin and relations who could
tell 'em how to look, you know,

230
00:17:41,300 --> 00:17:45,420
uh, but one of the haka I
enjoyed most was doing was, um,

231
00:17:47,060 --> 00:17:50,520
well we did in 90, 92 was about,
um, based on Rangi and Papa

232
00:17:52,900 --> 00:17:56,640
Uenuku Fairhall come back with a haka
that was about eight minutes long.

233
00:17:56,820 --> 00:18:01,000
So we had to edit it down
to about five minutes 20,

234
00:18:03,060 --> 00:18:07,720
But in that haka we displayed our

235
00:18:07,721 --> 00:18:08,554
history,

236
00:18:09,450 --> 00:18:14,150
How Rangi and Papa were
separated By lying on the back

237
00:18:14,330 --> 00:18:16,430
and pushing up of the legs.

238
00:18:17,730 --> 00:18:19,990
And in those days they didn't
have the Olympic system.

239
00:18:19,991 --> 00:18:24,190
And I think we had a a hundred, a
hundred, a hunderd, eighty nine.

240
00:18:26,530 --> 00:18:31,380
And his comments, which Kingi Ihaka
actually put it in his book as well.

241
00:18:32,100 --> 00:18:34,620
And he said, oh my God
is a haka come to that.

242
00:18:34,640 --> 00:18:38,940
Now people lying on their
backs Showing their bums.

243
00:18:40,180 --> 00:18:42,220
And in fact, all we were
trying to do is depict

244
00:18:44,320 --> 00:18:49,260
the separation as it was written
in history. So, um, but nowadays

245
00:18:51,240 --> 00:18:56,170
there's, there's no more boundaries
anymore, but, uh, once again, you know,

246
00:18:56,171 --> 00:19:00,130
you gotta have, um, first of all, you
gotta come up with a, a kaupapa and

247
00:19:02,011 --> 00:19:04,450
then he down with the,
the, the gurus, like, uh,

248
00:19:05,060 --> 00:19:08,250
Timoti one of his haka
that he wrote for us too,

249
00:19:08,270 --> 00:19:09,103
in 2000 was on Ngā Tamatoa o Tūmatauenga.

250
00:19:14,060 --> 00:19:18,000
And I think between us, we came up
with the name rōmera he said, Hiwaroa,

251
00:19:18,000 --> 00:19:22,760
Hiwaroa, he aha te kupu māori mo Rommel?
I don't know you're the professor.

252
00:19:23,800 --> 00:19:25,280
How about Rōmera? Okay. That's it.

253
00:19:26,420 --> 00:19:30,870
But I really enjoyed that haka
only because the boys all read

254
00:19:33,271 --> 00:19:38,150
up on the Māori battalion and how Rommel
said if he had the Māori battalion in

255
00:19:38,151 --> 00:19:39,950
that, uh, second world
war he would've won.

256
00:19:40,730 --> 00:19:44,990
And another favorite of mine
also was my, um, Koro Haane,

257
00:19:45,480 --> 00:19:47,590
Haane Manahi who missed out on the VC.

258
00:19:48,740 --> 00:19:52,060
Many people don't know the
relationship. My second name is Hiwaroa.

259
00:19:53,080 --> 00:19:53,913
And Hiwaroa was Haanes tuakana.

260
00:19:55,880 --> 00:19:59,860
Hiwaroa didn't get to go to the
war because he had kawharangi ears.

261
00:20:02,040 --> 00:20:05,860
And, um, my koroua Hiwroa didn't
like me much because I was fair.

262
00:20:06,120 --> 00:20:09,500
He didn't like girls So he didn't
like Donna, but he liked Richie,

263
00:20:09,501 --> 00:20:10,460
cos he was a little kākahi.

264
00:20:10,461 --> 00:20:14,250
He called him kākahi cos everyday ge'd
come back with about a dozen kākahi from

265
00:20:14,270 --> 00:20:17,570
the, um, from the lake anyway, I
dunno where I'm going in this track,

266
00:20:17,571 --> 00:20:22,210
but it was Uncle Haane who taught
me how to hunt and fish because,

267
00:20:22,211 --> 00:20:27,130
because of my koroua not
fancying me as much as, um,

268
00:20:28,190 --> 00:20:32,560
he did, um, to Tau my brother. But yeah,

269
00:20:32,950 --> 00:20:36,400
when you get a great kaupapa like
that and you instill into the boys,

270
00:20:36,430 --> 00:20:40,360
read the history, what he done,
it sort of lifts, especially

271
00:20:42,430 --> 00:20:44,200
When a leader sees him going down.

272
00:20:45,740 --> 00:20:47,480
If they keep going down and don't lift

273
00:20:49,860 --> 00:20:54,440
the leaders the fault, not the boys. So
he's the one who's gotta walk the ranks,

274
00:20:54,860 --> 00:20:58,680
go to the side and look at his men and
hopefully they can see him and just try

275
00:20:58,681 --> 00:20:59,514
and give them that

276
00:21:00,900 --> 00:21:04,800
bit more push to end the
as it starts because, um,

277
00:21:05,320 --> 00:21:08,270
a good haka will always end as it starts.

278
00:21:08,810 --> 00:21:12,590
You see a lot of now they go
like a bull out of a gate,

279
00:21:12,750 --> 00:21:14,070
but by the time they get to the end,

280
00:21:15,060 --> 00:21:19,310
they phased out and it's actually
their wahine that lift that,

281
00:21:19,380 --> 00:21:24,310
lift that item up again. So, uh,
yeah, one of my favorite items,

282
00:21:24,490 --> 00:21:28,460
but not my really favorite. My favorite
of all time would have to be the, um,

283
00:21:28,460 --> 00:21:32,700
whakaeke because then you can expand and

284
00:21:33,080 --> 00:21:34,340
go outside the boundaries
of haka taparahi, peruperu,
te mea, te mea, te mea,

285
00:21:34,440 --> 00:21:35,273
Hmm.

286
00:21:41,480 --> 00:21:45,220
Now just speaking about
leadership cuz in your opinion,

287
00:21:45,400 --> 00:21:46,500
can anyone be a leader?

288
00:21:48,190 --> 00:21:51,450
No, not anyone can be a leader.

289
00:21:52,470 --> 00:21:54,810
The group nine times outta 10,

290
00:21:55,360 --> 00:21:59,530
usually pick who they
want the leaders to be.

291
00:22:00,510 --> 00:22:04,050
But if you ain't got
respect from the rōpū, uh,

292
00:22:04,770 --> 00:22:09,320
you might as well stay home and not,
not decide not to compete. Um, very,

293
00:22:09,430 --> 00:22:13,280
very important to have
the respect from you rōpū,

294
00:22:14,180 --> 00:22:15,120
to be the leader yea.

295
00:22:16,740 --> 00:22:20,120
How far has Te Ao Haka taken you in life?

296
00:22:21,710 --> 00:22:26,470
Well, we have a saying in
our family have piupiu,

297
00:22:26,470 --> 00:22:28,470
will travel and because of that,

298
00:22:29,700 --> 00:22:34,300
I've traversed the world about three
or four times back in the eighties,

299
00:22:34,301 --> 00:22:39,180
when we toured, um, north America
and Canada. And then later in Europe,

300
00:22:39,760 --> 00:22:44,620
you get to shake hands with
dignitaries, presidents of, uh, uh,

301
00:22:44,621 --> 00:22:47,340
sorry, prime ministers of
Canada and all these countries.

302
00:22:47,360 --> 00:22:51,610
And you you've been entertained at the
government house and you're standing

303
00:22:51,611 --> 00:22:55,610
there and at the time I was on the
dole. So what do you do back home? Um,

304
00:22:55,610 --> 00:23:00,130
Howard, Howard as they speak
in the proper English in

305
00:23:00,680 --> 00:23:05,210
England Howard What do you do? Howard
and Uncle Trev quick as a flash come in,

306
00:23:06,440 --> 00:23:09,570
he's in a third year of training to
be a brain surgeon. That's right.

307
00:23:10,220 --> 00:23:13,840
That's right. But you know,
because of kapa haka, it's,

308
00:23:15,150 --> 00:23:18,360
it's opened so many doors for me
that otherwise would not have.

309
00:23:19,980 --> 00:23:23,760
And um, I would encourage all our people,

310
00:23:25,580 --> 00:23:30,000
not just Māori to have a
go at kapa haka at kura,

311
00:23:30,780 --> 00:23:33,950
because it gives you confidence
to stand up in front of a crowd.

312
00:23:34,530 --> 00:23:38,390
It gives you the, the feeling
of being proud of who you are,

313
00:23:39,180 --> 00:23:42,990
because while you're on that stage,
you are the center of the universe.

314
00:23:43,090 --> 00:23:46,960
You have their undivided attention for
the 20, 30 minutes while you're up there.

315
00:23:47,740 --> 00:23:52,200
So make use of it and just be proud
of, of who you are in your culture.

316
00:23:53,080 --> 00:23:53,660
It, it, um,

317
00:23:53,660 --> 00:23:57,360
upsets me when I see our kids walking
around with their pants down around their,

318
00:23:58,040 --> 00:24:01,000
their knees and they're calling
me G I dunno what a G is or,

319
00:24:01,520 --> 00:24:04,910
or homey and all like that. You
know, that that's a different, it's a

320
00:24:06,780 --> 00:24:11,630
Afro-American culture that they actually
just made up themselves because they're

321
00:24:11,631 --> 00:24:15,950
not originally from America, they were
taken to America as slaves. So, um,

322
00:24:16,470 --> 00:24:19,430
I feel for them because they don't
have their own culture, whereas us,

323
00:24:19,710 --> 00:24:23,030
we have our own culture, you know,

324
00:24:23,360 --> 00:24:24,950
where would we be without our marae?

325
00:24:27,440 --> 00:24:32,380
So just speaking about some of our
rangatahi who have lost their way,

326
00:24:34,920 --> 00:24:37,300
How can you see kapa haka

327
00:24:40,690 --> 00:24:41,860
enhancing their lives?

328
00:24:42,970 --> 00:24:47,650
Well, it gives them, um,
confidence, bit of self-esteem

329
00:24:49,270 --> 00:24:49,840
And, uh,

330
00:24:49,840 --> 00:24:54,290
it's amazing the transformation that
many people who just take up kapa haka,

331
00:24:54,910 --> 00:24:59,810
how they, they end up because I've
had, um, many performing arts modules.

332
00:24:59,850 --> 00:25:01,330
I helped Donna down in Gisborne.

333
00:25:02,050 --> 00:25:05,970
I had one in south Auckland
with Waipareira and you,

334
00:25:06,200 --> 00:25:09,280
you get these shy boys, you know,
they or girls and they come down,

335
00:25:09,281 --> 00:25:12,320
they can't even, they look at,
they can't even look at you,

336
00:25:12,780 --> 00:25:14,400
but you put them on the
stage in the piupiu,

337
00:25:14,400 --> 00:25:16,240
shesh it's a different sort of person.

338
00:25:17,020 --> 00:25:19,440
And it's just trying to teach them,

339
00:25:20,030 --> 00:25:24,080
instill in them to have that same
confidence they have on the stage with,

340
00:25:24,600 --> 00:25:26,480
with normal life. It's a very,

341
00:25:26,830 --> 00:25:31,030
very good mechanism for our
people to set a platform. I mean,

342
00:25:31,031 --> 00:25:33,430
and nowadays we can get into varsity,

343
00:25:34,000 --> 00:25:37,510
which was shunned back by certain
politics back, back in the day.

344
00:25:37,530 --> 00:25:41,750
But if they get their unit standards
and standards in kapa haka,

345
00:25:42,380 --> 00:25:43,390
they got a foot in the door,

346
00:25:43,391 --> 00:25:46,990
otherwise they wouldn't have had that
foot in the door to pursue their,

347
00:25:47,550 --> 00:25:49,540
their life in universities.

348
00:25:49,960 --> 00:25:54,500
And if they decided not to learn the
reo and do something else, hei aha.

349
00:25:55,760 --> 00:26:00,340
The thing is it gives them an opportunity
to further their education. Hmm.

350
00:26:02,800 --> 00:26:07,140
How important is competitive haka

351
00:26:09,510 --> 00:26:10,343
to you?

352
00:26:12,450 --> 00:26:15,250
Uh, back in the nineties, it
was A and B all, everything,

353
00:26:16,710 --> 00:26:20,370
No one liked to lose. I
was a very sore loser,

354
00:26:22,070 --> 00:26:26,810
But I got over myself
because to be a good winner,

355
00:26:27,590 --> 00:26:29,000
you have to be a good loser.

356
00:26:30,300 --> 00:26:32,720
So when Waka Huia beat us,

357
00:26:32,880 --> 00:26:37,480
I went up and I'm very close to the Wehi
family me, shook, shook, Richie's hand.

358
00:26:38,060 --> 00:26:41,280
See you next time cuz yea. 94 they
beat us. I shook his hand again,

359
00:26:41,700 --> 00:26:42,760
see you next time cuz.

360
00:26:43,380 --> 00:26:46,920
And then we beat him the 96 and he
come first one to come out to me,

361
00:26:48,020 --> 00:26:51,080
see you next time cuz. So, um,

362
00:26:52,460 --> 00:26:54,920
as I got older, it wasn't
about the winning anymore.

363
00:26:55,780 --> 00:27:00,560
It was just sitting back and
playing the guitar and having

364
00:27:00,620 --> 00:27:04,470
39 other people in front
of you and just going, wow,

365
00:27:05,460 --> 00:27:08,390
this has been a journey.
Everyone in this group,

366
00:27:08,391 --> 00:27:12,590
39 people have got their own
story to tell they've spent about

367
00:27:13,440 --> 00:27:16,270
three to $5,000 each getting
to the dang festival,

368
00:27:16,900 --> 00:27:20,870
babysitters and nohos and,
and new uniforms. And,

369
00:27:22,270 --> 00:27:24,740
and, uh, not that the Rangiwewehi
girls ever suffered from this,

370
00:27:24,741 --> 00:27:29,140
but they used to use a lot of makeup,
hairdos, all those other things.

371
00:27:29,380 --> 00:27:31,340
They go that ladies like doing
before they hit the stage.

372
00:27:31,440 --> 00:27:35,980
But there's the commitment
that, that not only the 39,

373
00:27:35,981 --> 00:27:37,980
you've got all your kaumatua
and your kuia and your,

374
00:27:38,620 --> 00:27:41,900
your aunties and your uncles and, and
your tamariki all sitting out there,

375
00:27:41,901 --> 00:27:45,730
they've all spent big money on you.
So when you're standing up there,

376
00:27:45,731 --> 00:27:50,450
it's not about just you, you
are the face of your whānau.

377
00:27:50,710 --> 00:27:53,530
You are the face of your hapū,
you are the face of your waka.

378
00:27:54,190 --> 00:27:58,810
You are the face of, of māoridom.
And there's no better feeling.

379
00:27:58,970 --> 00:28:03,730
I mean, dad used to say to me and Donna,
why do you fellas rehearse so long?

380
00:28:04,430 --> 00:28:08,400
Just for 20 used to be 20 minutes on
the stage. And we try to explain to him,

381
00:28:08,470 --> 00:28:11,400
it's just something that's
been instilled in us,

382
00:28:11,590 --> 00:28:15,920
just going on that stage,
and strutting your stuff.

383
00:28:17,070 --> 00:28:20,360
This is me. This is us.
Take it or leave it.

384
00:28:20,740 --> 00:28:25,670
It was your opportunity to
show the world who you were and

385
00:28:25,671 --> 00:28:29,310
how proud of you or
who you were. So, yeah.

386
00:28:30,650 --> 00:28:34,550
Ka pai tērā, final
question back to composing.

387
00:28:35,240 --> 00:28:37,230
Where do you draw your inspiration from?

388
00:28:38,140 --> 00:28:38,973
Past events?

389
00:28:40,960 --> 00:28:43,770
Like the eruption of Tarawera,

390
00:28:46,160 --> 00:28:50,920
um, Māori battalion. My
koroua Haane Manahi, once

391
00:28:54,241 --> 00:28:58,760
you pick a good kaupapa
ideas, just come naturally.

392
00:28:58,761 --> 00:29:01,600
But the worst thing you can
do is try and force an idea.

393
00:29:01,601 --> 00:29:04,840
Once you start forcing an,
an idea, it becomes fake.

394
00:29:06,350 --> 00:29:10,990
Our entry in 1992, Ohomairangi
tells the whole history of our waka,

395
00:29:12,370 --> 00:29:13,203
the name.

396
00:29:14,410 --> 00:29:19,310
So once you pick that kaupapa
your mind starts ticking over,

397
00:29:19,590 --> 00:29:22,830
oh man, we can depict the, like
this, the Korokoro o te Parata, Ooh,

398
00:29:22,850 --> 00:29:27,260
that's another one, you know, Koro
Haane, Pink and White Terracess.

399
00:29:28,460 --> 00:29:31,860
Um, our entry in 1992 was, uh,

400
00:29:32,740 --> 00:29:34,380
I think that was a trend setter for us.

401
00:29:34,880 --> 00:29:38,140
That's when Rangiwewehi started
to change their style a bit.

402
00:29:39,800 --> 00:29:43,080
It took a long time for the group to
accept that entry. But once we did it,

403
00:29:43,480 --> 00:29:48,240
it was, um, yeah, I was either a hero or
zero, but I was a hero after that one,

404
00:29:49,470 --> 00:29:54,400
obviously the Māori battalion. So
once you've got a really meaty,

405
00:29:54,450 --> 00:29:58,320
meaningful kaupapa, all the, all the
ideas start filtering through your head,

406
00:29:58,321 --> 00:30:03,030
you know, you can do this,
you can action as a, as a, uh,

407
00:30:03,320 --> 00:30:07,190
throwing a hand grenade or something
like that using the koikoi as a,

408
00:30:07,750 --> 00:30:10,510
as a bayonet. So, uh, you know,

409
00:30:10,511 --> 00:30:13,110
when you dig deeper into the
kaupapa of what you're saying, it,

410
00:30:13,350 --> 00:30:16,110
you sort of instills you, oh man,
I've gotta do this properly or,

411
00:30:16,670 --> 00:30:20,230
or don't do it at all. But, um, yeah.

412
00:30:21,840 --> 00:30:24,060
Any final kōrero from
you about Te Ao Haka?

413
00:30:26,770 --> 00:30:31,180
Well, for me personally, Te Ao Haka,
if I didn't have Te Ao Haka in my life,

414
00:30:32,720 --> 00:30:33,900
I'd probably be a boring person.

415
00:30:37,000 --> 00:30:38,660
Be proud of who you are, Māori.


[ Audio Resource ]
Title:
TAH Podcast - Waikato
Description:
Te Rita Papesch shares her Te Ao Haka journey
Audio File Type:
mp3
Audio File Size:
29MB
Audio URL:
https://ncea-live-3-storagestack-53q-assetstorages3bucket-2o21xte0r81u.s3.amazonaws.com/s3fs-public/2022-05/IV6%20Waikato%20Te%20Rita%20Papesch_PODCAST.mp3?VersionId=IXy_0jucgWFB7NRvHtfgl3ulUAlRzSTQ
Transcript:

1
00:00:10,340 --> 00:00:15,000
Kapa haka is very much the essence.
It's the performing art of the language.

2
00:00:15,760 --> 00:00:18,480
But I think they were our
superheroes. We're like, man,

3
00:00:18,579 --> 00:00:19,840
one day we wanna be like that.

4
00:00:20,360 --> 00:00:21,989
So we trial, I was 14.

5
00:00:22,310 --> 00:00:26,790
I just thought it was the most
amazing thing that I had made reserve.

6
00:00:27,220 --> 00:00:31,110
Leading the is probably one of
the best privileges of my life.

7
00:00:33,260 --> 00:00:36,950
Welcome to Te Ao Haka podcast for the
Ministry of Education our kaikōrero today

8
00:00:36,950 --> 00:00:38,150
is Te Rita Papesch.

9
00:00:44,050 --> 00:00:48,170
Oh, nei rā te mihi ki a koe Aunty.
For as long as I've known you,

10
00:00:49,270 --> 00:00:53,510
Te Ao Haka has been your life,
but what was your earliest memory?

11
00:01:00,650 --> 00:01:02,300
ĀE. Um, me kī, i tipu ake au i roto i
tētahi whānau e ngākaunui ana ki te puoro.

12
00:01:02,300 --> 00:01:02,300
Āna, ko taku Pāpā, i
Pirongia mātou e noho ana,

13
00:01:02,300 --> 00:01:02,300
a ko taku Pāpā he tangata whakarite
cider mai i te taramu kōwhai ngā mea

14
00:01:02,300 --> 00:01:02,300
pakupaku nāreira ia tau he
pīki pāti i roto i a Pirongia,

15
00:01:02,300 --> 00:01:02,300
ka haere mai ngā pakeke o te wāhi rā,
a ka noho ki reira inu ai, kai ai,

16
00:01:02,300 --> 00:01:02,300
waiata ai. Ana ka maumahara au i
taku Māmā e pūrei ana i te piana,

17
00:01:02,300 --> 00:01:02,300
i reira tētahi e pūrei ana i te Ukulele,

18
00:01:02,300 --> 00:01:02,300
i reira tētahi atu e pūrei
ana i te T Chest, slap bass,

19
00:01:02,300 --> 00:01:02,300
kua hangaia ki te T chest ana ka
puta mai ngā waiata māori i taua wā.

20
00:01:02,300 --> 00:01:02,300
Ahakoa kāre tōku reo māori i taua wā,
i tau pai ai ngā kupu ki aku taringa.

21
00:01:02,300 --> 00:01:02,933
Nāreira me kī koira te tīmatanga ana ka

22
00:01:51,920 --> 00:01:52,753
whakatūria he

23
00:02:11,971 --> 00:02:11,971
community center ki te wāhi e tū ai
to mātou marae o Pūrekireki inaeanei.

24
00:02:11,971 --> 00:02:11,971
Engari i te tīmatanga he
community center noa iho.

25
00:02:11,971 --> 00:02:11,971
Ana ko tētahi o ngā mahi
ki reira ko te mahi haka.

26
00:02:11,971 --> 00:02:11,971
Nāreira i kite au i aku pakeke, aku
tuākana, tungāne pakeke i ahau e mahi ana.

27
00:02:11,971 --> 00:02:11,971
Kāre a Te Rita i haka, i whakarongo
noa au, i waiata i nga waiata.

28
00:02:11,971 --> 00:02:11,971
Tae atu ai au ki te kura tuarua ki
Sacred Hart ki roto o Kirikiriroa.

29
00:02:11,971 --> 00:02:11,971
He kapa haka tō mātoui tō mātou kura.

30
00:02:11,971 --> 00:02:11,971
I taua wā ko tō mātou
kaiako ko Maria Bradshaw.

31
00:02:11,971 --> 00:02:11,971
Whai muri mai i hurihia hei Tini, Maria
Tini, i mārena ia ki tētahi o kōnei nā,

32
00:02:11,971 --> 00:02:11,971
nō Waikato nei. Nā te mea,

33
00:02:11,971 --> 00:02:11,971
he kōtiro tonu a Maria me tana
mōhio ki ahau hei kaipuoro me kī,

34
00:02:11,971 --> 00:02:11,971
i āwhina ahau i a ia ki te taha waiata
me te taha whakaako i ngā waiata.

35
00:02:11,971 --> 00:02:11,971
Nāreira i tere kuhu au ki te ao haka i
ōku tau tekau ma toru, tekau ma whā, ana,

36
00:02:11,971 --> 00:02:12,804
kāre he otinga i taua wā.

37
00:03:32,740 --> 00:03:36,960
So in 1979, you won the female leadership.

38
00:03:37,060 --> 00:03:40,110
It was the first time that they'd
actually had that category, kōrero mai.

39
00:03:43,100 --> 00:03:43,100
Well me kī, kāre au te paku mōhio,

40
00:03:43,100 --> 00:03:43,100
koira tētahi o ngā taonga e
āhei ana mātou ngā kaihaka.

41
00:03:43,100 --> 00:03:43,100
Kāre mātou i te paku
mōhio ki tērā āhuatanga.

42
00:03:43,100 --> 00:03:43,100
Nā runga anō te whiriwhiri o Timoti
ko ahau hei kaitātaki mo te kapa,

43
00:03:43,100 --> 00:03:43,100
mo Te Whare Wānanga o Waikato.
Kāre he pōti he aha rānei,

44
00:03:43,100 --> 00:03:43,100
nā te atua kē i kī mai 'ko koe!'.

45
00:03:43,100 --> 00:03:43,100
Ahakoa ngā hiahia o ngētehi atu o te kapa
me te whiu pātai 'Ko wai ia?' 'Nō whea

46
00:03:43,100 --> 00:03:43,100
mai ia?' He hononga kē tō māua ko
Timoti mai te wā e tamariki ana au.

47
00:03:43,100 --> 00:03:43,100
Tino mōhio ia ki ētehi o aku
tuakana. I te wā i mārena ia,

48
00:03:43,100 --> 00:03:43,100
i tū mai a Timoti mō tana tāne nā
te mea he reo Tiamana tō Timoti.

49
00:03:43,100 --> 00:03:43,100
Ana kāre he reo pākehā tō te tāne o
taku tuakana engari he reo Tiamana tōna.

50
00:03:43,100 --> 00:03:43,100
I te wā hoki tuatahi mai
ai a Timoti i Rānana,

51
00:03:43,100 --> 00:03:43,100
ko taku Māmā hoki tērā i poipoi a ia,
whakamōhiohio haere ia ki tēnei takiwā,

52
00:03:43,100 --> 00:03:43,100
ki tēnei taone. Nāreira i whakaritea
e Timoti, ko au te kaitātaki,

53
00:03:43,100 --> 00:03:43,100
i titoa tētahi poi e kōrero ana
mo Te Whanganui-ā-Tara me te roto,

54
00:03:43,100 --> 00:03:43,100
te Moana-o-Raukawa. Ngā momo
moutere kei roto rā i taua moana.

55
00:03:43,100 --> 00:03:43,100
Ngā mahi a te wheke ā
Kupe. Nāreira āe me kī,

56
00:03:43,100 --> 00:03:43,100
he tino ohorere ano mātou katoa i te
wā i karangahia ko ahau hei kaitātaki

57
00:03:43,100 --> 00:03:43,100
wahine matua o te motu i
taua wā. He mea ohorere noa.

58
00:03:43,100 --> 00:03:43,100
Kāre i whakaritea kia wini i
au. I mahi noa au i tāku mahi.

59
00:03:43,100 --> 00:03:43,100
I rongo kōrero nō muri mai,
nā ngā kaiwhakawā tāne kē
ahau i whakatau. Ko ahau.

60
00:03:43,100 --> 00:03:43,100
Ana ko John Te Rangianiwaniwa Rangihau
tērā, ko Tenga Rangitauira tērā,

61
00:03:43,100 --> 00:03:43,100
Aunty Ngoi Pewhairangi koia
hoki tētahi. Taku maumahara,

62
00:03:43,100 --> 00:03:43,100
nā ngā tāne kē i akiaki i ngā wāhine
kaiwhakawā ki te whiriwhiri ko au tēnā.

63
00:03:43,100 --> 00:03:43,933
He aha ai, ki tō whakaaro, he
aha ai i whakaihu waka koe?

64
00:07:45,500 --> 00:07:46,333
With.

65
00:09:09,130 --> 00:09:09,963
And.

66
00:09:19,650 --> 00:09:22,150
So besides performing arts,

67
00:09:23,350 --> 00:09:28,190
the reo has also been an important
part of Te Ao Haka for you and Te Whare

68
00:09:28,190 --> 00:09:28,803
Wānanga o Waikato. Can

69
00:09:30,751 --> 00:09:34,550
you tell us about those very early
years within Te Whare Wānanga o Waikato.

70
00:10:01,070 --> 00:10:01,070
I te wā i tīmata ai Te Whare Wānanga
o Waikato hei kapa whakataetae,

71
00:10:01,070 --> 00:10:01,070
he kapa kē i reira mo te ngahau noa
iho engari hui tahi mātou ki ngā pō reo

72
00:10:01,070 --> 00:10:01,070
rangatira. Ki te whakapakari
te reo o ngā ākonga.

73
00:10:01,070 --> 00:10:01,070
I puta i reira te whakaaro
kia tū he kapa whakataetae.

74
00:10:01,070 --> 00:10:01,070
I reira a Aunty Greta
i taua wā, a Hekia mā.

75
00:10:01,070 --> 00:10:01,070
So koira te hiahia o Timoti
me ngētehi atu o ngā kaiako,

76
00:10:01,070 --> 00:10:01,070
me mātou kia tū te kapa. Heoi anō, mai i
tana tīmatanga tae noa ki tana matenga,

77
00:10:01,070 --> 00:10:01,070
ko te reo whakaako, te reo whakahaere,
te reo kōrerorero ko te reo māori.

78
00:10:01,070 --> 00:10:01,070
Kāre a Timoti, ā wai ake. Ka eke
māua ko Tio hei kaiako i te kapa,

79
00:10:01,070 --> 00:10:01,070
ko maua hoki tērā.

80
00:10:01,070 --> 00:10:01,070
Engari kāre ōku reo maori i te wā
i tīmata nāreira ka taea pea te kī,

81
00:10:01,070 --> 00:10:01,070
ko au tētahi, i pakari taku reo nā
ngā tohutohu ā Timoti i roto i te reo,

82
00:10:01,070 --> 00:10:01,070
nā te whakarongo ki te reo e
whakaehaerengia ana i roto i te mahi haka.

83
00:10:01,070 --> 00:10:01,070
Koira te tino wāhi i mau
pū i au tōku reo māori.

84
00:10:01,070 --> 00:10:01,070
Me taku mōhio whai muri mai i au,

85
00:10:01,070 --> 00:10:01,070
he maha tonu ngā kaihaka i kuhu ki roto
ki te kapa o Te Whare Wānanga o Waikato

86
00:10:01,070 --> 00:10:01,070
kāre o rātou reo māori engari nā te kapa,

87
00:10:01,070 --> 00:10:01,070
nā te ako i te haka i ū ai ō
rātou reo and kei reira tonu.

88
00:10:01,070 --> 00:10:01,070
Ko rātou kei pēnā i a koe i
mua, kei te whakaako i te reo,

89
00:10:01,070 --> 00:10:01,070
te nuinga o ratou inaeanei. Kua
whai oranga ai ratou i te reo.

90
00:10:01,070 --> 00:10:01,070
Ahakoa te ki o tangata ō waho rā kāre
he paku hua ki roto i te reo māori,

91
00:10:01,070 --> 00:10:01,070
tokomaha o mātou kua
whai oranga mo te wā roa.

92
00:10:01,070 --> 00:10:01,070
Ahau nuku i te whā tekau tau
kua ora ai au i taku reo.

93
00:10:01,070 --> 00:10:01,070
Nāreira taku mihi nui ki Tā Takuta
Timoti Karetu mo te mau pūmau ki te reo

94
00:10:01,070 --> 00:10:01,070
māori.

95
00:10:01,070 --> 00:10:01,070
Maumahara au i te wā ko Doug Hauraki
tonu to matou kaiwhakahaere i te ao o Te

96
00:10:01,070 --> 00:10:01,070
Matatini,

97
00:10:01,070 --> 00:10:01,070
ka huri rauna ia ki ngā kapa katoa e
whakarite ana mō i taua wā ko te Aotearoa

98
00:10:01,070 --> 00:10:01,070
Traditional Māori Performing Arts Festival
tonu te ingoa, me tana kī kia mātou,

99
00:10:01,070 --> 00:10:01,070
ko mātou anakē te kapa i whakahaere
ana ingā mahi katoa i roto i te reo.

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00:10:01,070 --> 00:10:01,903
Kāre mo te paku reo rua, paku
huri ki te reo pākehā. He uaua.

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Um,

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it's about breathing,

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your main tool is controlling
your breathing and your breathing

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00:18:24,200 --> 00:18:28,260
allows you one to get
clarity of tone, to get, um,

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00:18:28,550 --> 00:18:30,050
range of note,

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to maintain those ranges of
notes. With the clarity of tone,

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it's all about the breathing. You know,
that's why we say to people, if you can,

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00:18:39,690 --> 00:18:40,530
you know, if you don't smoke,

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it's a real good helper in terms
of getting a really clear tone and

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a clear high tone. Um, and you know,

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we know some kapa and some singers
are already well known for that.

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Um,

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and I certainly encourage
my kaihaka wahine and,

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and the men, those who have got tenor
voices or good strong high baritone. No,

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no, you're not gonna go around
haka haka haere, you know,

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te whakaputa i tērā reo hakahaka ō raro.

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I force them or encourage them, uh,

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to lift and especially with rangatahi
because their voices haven't settled,

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their voices haven't
settled, but unfortunately,

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a lot of our young kaiako
create their rangi too low.

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And so you're not getting that beauty
of voice that still exists in a young

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voice. I remember doing
a master class, um,

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when I was learning opera
and Joan Sutherland,

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who was a well known international opera
singer was doing the masterclass for

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us. And I was one of the ones
that was picked to sing for her.

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And the first thing she asked me,

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I only sung about two lines and
she stopped playing. And she goes,

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when did you start learning?
I said, oh, when I was 10,

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she goes way too early. She
goes way too early. She goes,

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because I was 26, about
this time. She said,

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because your voice doesn't find
itself until you're about 18.

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And I think our secondary school
tutors don't understand that

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about the kind of voices
they've got in front of them,

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because they don't understand the side
of music and singing and how to produce

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and project, your voice
and those techniques.

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We're not taught them in Te Ao
Haka. Um, and I think we need to,

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I think that's a, an absolute
area that we tend to neglect.

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We think about all the Maori stuff,

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but we forget about the tools
that our bodies bring with us.

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And, you know, that's why I've always
said to my babies, my younger daughters,

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you are not singing anywhere except
soprano. And this was before, you know,

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Te Ingo 20. I said, no, no.
And even now, um, Te Wairere,

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even though she's in her
late twenties and thirties,

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her soprano voice is still flourishing,

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00:21:03,040 --> 00:21:07,650
but because she's been teaching for a
while and teaching damages, your voice.

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00:21:08,910 --> 00:21:10,890
So, you know, once you become the teacher,

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especially if you are like me and
you tend to yell a bit, you know,

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which is not good for the voice. Um, yeah.

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So I think we need to have
that in Te Ao Haka the absolute

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understanding of how a voice
grows the physiology of the tinana

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and how things grow and
develop and not smash our kids,

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um, by creating low melodies,
which is what I hear.

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Can you talk to us a little bit
more about those low melodies,

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00:21:42,131 --> 00:21:46,570
because I've often found that yes,
they you'll get a male composer

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who'll set it quite low. Yeah.

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00:21:50,720 --> 00:21:54,040
And unfortunately, um,

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00:21:54,390 --> 00:21:55,920
even in the poi and the waiata-ā-ringa,

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00:21:58,000 --> 00:22:02,920
in the tune side of it, a lot of
the males are dominating there. Um,

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00:22:03,119 --> 00:22:08,080
I think females have to take over
more of the creating of not only the,

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00:22:08,410 --> 00:22:10,470
the actions, but the, the melodies.

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00:22:11,290 --> 00:22:15,830
And I certainly know that with my
own that's their concentration.

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00:22:16,609 --> 00:22:21,590
Um, but it's, it really is
down to the kaiako. And I,

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00:22:21,830 --> 00:22:26,790
and I think if they know that
young voices have not matured,

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00:22:27,330 --> 00:22:31,420
so they're not set into any
space, you can push them.

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And in fact,

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00:22:32,701 --> 00:22:37,619
for longevity of clear tone and
ability to reach the high notes,

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sorry, best you don't push them,

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00:22:41,530 --> 00:22:43,900
otherwise you ain't gonna get
any high notes out of them.

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00:22:44,480 --> 00:22:48,460
And I've seen that in a lot of secondary
groups, which, which, you know,

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00:22:48,461 --> 00:22:52,690
I get amazed when they come on
stage and they're blaring really

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00:22:53,160 --> 00:22:56,410
blaring, but, and I mean, it's
hard on the ears and I think,

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00:22:56,411 --> 00:23:00,570
but you've got beautiful, sweet voices.
Why aren't your teachers using them?

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00:23:01,030 --> 00:23:01,370
So I think me akiaki
tātou i ngō tātou kaiako,

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00:23:01,370 --> 00:23:01,370
rātou e huri ana ki te whakako i te haka.

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00:23:01,370 --> 00:23:02,203
Me whai whakaaro i ngā reo o ngā
tmariki. Kāre ano kia tau hei reo pakeke.

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00:23:17,520 --> 00:23:19,960
I still wanna stick
within the feminine realm.

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00:23:20,480 --> 00:23:21,313
Mm-hmm ara ko tēnei wāhanga o
te mau patu, ērā momo āhutanga.

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00:23:28,369 --> 00:23:33,160
Okay. Well, I mean, I, I
don't tell this story often,

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but my children know it and some of, um,

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00:23:37,020 --> 00:23:41,720
his children know it, but, uh,
after I won the first prize,

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00:23:42,619 --> 00:23:47,000
um, and at that time Rangihau was
our kaumātua in the research center.

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And the research center was in the
same papa as the tari māori. And, um,

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I was a student still at, at
Waikato. And it was after that,

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that after I won the first time he
come and asked me if I would like

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00:24:01,921 --> 00:24:02,800
to be taught by him. Hika!,
Ko wai te pōrangi ka kī kāo?

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00:24:02,800 --> 00:24:02,801
I tere pēnei au ki a ia nāreira
nā Te Rangihau ahau i whakaako.

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00:24:02,801 --> 00:24:02,801
He whakakoranga roa tērā. I a
toru pō nuku atu i te ono marama,

188
00:24:02,801 --> 00:24:02,801
ka haramai ia ki tōku taha ki te
whakaako i ahau. Mai te māramatanga,

189
00:24:02,801 --> 00:24:02,801
he aha tēnei mea te patu?
Patu tangata kia mate,

190
00:24:02,801 --> 00:24:02,801
i ako au i ērā āhuatanga me te mau i
te patu rā hei tiaki i taku tinana,

191
00:24:02,801 --> 00:24:02,801
hei arai atu i ngā mea kino ērā momo
whakamāramatanga ka tō ana ki au.

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00:24:02,801 --> 00:24:02,801
Nōku te waimaria, engari
ko tana kī mai ki au,

193
00:24:02,801 --> 00:24:02,801
nā te tiaki o taku Māmā i a rātou ko
tana whānau i te wā i nuku mai ia ki

194
00:24:02,801 --> 00:24:02,801
Kirikiriroa, i te noho
nama ia ki taku Māmā.

195
00:24:02,801 --> 00:24:03,634
Ki ā ia koira te huarahi hei utu
i taua nama. Nōku te waimaria.

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00:25:14,609 --> 00:25:17,840
Right place, right time me kī. Um,

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00:25:17,980 --> 00:25:22,680
but I remember the first,
very large judges hui,

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that they ever held, um,

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00:25:25,420 --> 00:25:30,030
was at Tūrangawaewae where they
brought, there was kind of that time in,

200
00:25:30,310 --> 00:25:31,270
in the growth of the festival,

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00:25:31,790 --> 00:25:35,390
bringing all the judges together
and starting to create, um,

202
00:25:36,190 --> 00:25:40,630
a way of looking at how to judge,
because they didn't have set rules down.

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00:25:40,930 --> 00:25:43,830
The very first festival
had handwritten rules,

204
00:25:44,400 --> 00:25:48,340
which I do have a copy of
an appendices on my PhD.

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00:25:49,280 --> 00:25:53,180
And it was because Uncle Bill Kerekere
had kept the copy written in Kingi Ihakas

206
00:25:53,181 --> 00:25:56,540
handwriting that were their rule.

207
00:25:56,541 --> 00:25:59,700
That's where those were their
rules for the very first festival.

208
00:26:00,280 --> 00:26:05,260
But years after that, there
were no hard and fast rules. So,

209
00:26:05,600 --> 00:26:09,890
um, now I digressed a bit,
what was the question again?

210
00:26:10,770 --> 00:26:15,570
Uh, round Mau Rākau. Oh, around Mau
Rākau and Mau Patu yeah, Mau Patu.

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00:26:16,630 --> 00:26:20,090
And I remember, um, being at that hui
and I was really a tonotono mo Timoti

212
00:26:22,310 --> 00:26:25,609
and, um, Hamuera Mitchell and
he matua nōku tērā koroua.

213
00:26:25,609 --> 00:26:25,609
Koia e Uncle o taku Māmā ake.

214
00:26:25,609 --> 00:26:25,609
Uh I haere mai ia me te kī 'he aha
i kore ai haramai ki au to matua,

215
00:26:25,609 --> 00:26:26,223
māku koe e whakaako'

216
00:27:19,180 --> 00:27:19,180
Ka huri a Timoti me te kī ' Kāre
koe i tono ki aia kia haere atu'.

217
00:27:19,180 --> 00:27:19,180
Koira te take.

218
00:27:19,180 --> 00:27:19,180
Āe e kore au e haere atu ki te pātōtō i
te kuwaha me te pātai atu 'Me whakaako

219
00:27:19,180 --> 00:27:19,180
mai i ahau koa?' Nā te mea i aua wā,

220
00:27:19,180 --> 00:27:19,180
kāre anō a Irirangi kia
tīmata i tana whare tū taua.

221
00:27:19,180 --> 00:27:19,180
Hei whakaako i ngēra momo
mau patu, mau rakau roa hoki.

222
00:27:19,180 --> 00:27:19,180
Kāre anō te whare tū taua o Pita
kia tū. Nāreira koira noa iho,

223
00:27:19,180 --> 00:27:19,180
ko ngā mea mōhio, ka whaiwhai
haere i ngā mea e kite ana rātou,

224
00:27:19,180 --> 00:27:19,180
kei a rātou te hiahia i te tuatahi,
me ngā pūkenga me te tinana kai mau.

225
00:27:19,180 --> 00:27:19,180
So koira tāku, nā Te
Rangihau ahau i whakaako.

226
00:27:19,180 --> 00:27:19,180
Ehaki te mea he tino flashy nei te
mahi, engari he take tō ngā ringa katoa.

227
00:27:19,180 --> 00:27:19,180
Koira tāku i whāngai ki ngā mea kua
haramai ki au, ngā mea kua kite ai au,

228
00:27:19,180 --> 00:27:20,013
me whakaako au i tēnā, mena ka hiahia.

229
00:27:55,640 --> 00:27:55,640
Āe, tokowhitu aku tamariki,

230
00:27:55,640 --> 00:27:55,640
ko te mātāmua ko rima tekau ma whā pea
i tēnei tau nāreira i huri au ki te kī

231
00:27:55,640 --> 00:27:55,640
atu ki wāku, kua tū koutou katoa,
ki kapa kē, ki te atamira o te motu,

232
00:27:55,640 --> 00:27:55,640
me hoki mai ki te kainga ki te whakatū
kapa mō to mātou ake hapū o Ngāti Āpakura

233
00:27:55,640 --> 00:27:56,473
nā te mea torutoru noa iho ngā kapa o
Maniapoto nāreira ko te tautoko i te taha

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00:29:02,410 --> 00:29:02,410
Waikato Maniapoto to mātou iwi.

235
00:29:02,410 --> 00:29:02,410
Ko to mātou marae kei te border
me kī o Waikato me Maniapoto.

236
00:29:02,410 --> 00:29:02,410
Nāreira ko te whakanui ake i ngā
kapa no Maniapoto i te tuatahi.

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00:29:02,410 --> 00:29:02,410
Me te rauemi whakarauika i nga rauemi
katoa i roto i ngā ringaringa o ngāku

238
00:29:02,410 --> 00:29:02,410
tamariki, mātou ko ngāku
tamariki. Ko tā mātou tino whai,

239
00:29:02,410 --> 00:29:02,670
kia tū i to mātou ake tū, ka waiata i
te āhuatanga waiata e hiahia ana mātou.

240
00:29:02,670 --> 00:29:04,190
I remember Timoti saying to us,

241
00:29:04,191 --> 00:29:08,700
the first regionals that we
performed at coming to say to me,

242
00:29:08,920 --> 00:29:09,750
please,

243
00:29:09,750 --> 00:29:14,620
don't stop encouraging your
singers to sing as they do.

244
00:29:15,280 --> 00:29:20,020
You may not be loud and boisterous
and, you know, thrash the floorboards,

245
00:29:20,040 --> 00:29:23,580
the stage boards, but your
singing was just beautiful.

246
00:29:24,160 --> 00:29:29,010
So I'm trying to hold on to that, to
maintain the fact that we can sing.

247
00:29:29,750 --> 00:29:34,610
And we need to keep that as our focus
and not so much winning festivals,

248
00:29:34,611 --> 00:29:39,010
because we run all over the place and we
have heaps of props and everything else

249
00:29:39,011 --> 00:29:43,000
that, you know, just blows the judges
away. So ko te waiata kē tō mātou whai.

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00:29:43,000 --> 00:29:43,613
Kei te ora tonu, kei te tū
mātou hei tērā atu o ngā

251
00:29:51,000 --> 00:29:52,440
regionals and, uh ka taea e au i tēnei

252
00:30:02,960 --> 00:30:02,960
wā, te whakatū kapa katoa
ngā kaihaka nāku ake.

253
00:30:02,960 --> 00:30:06,340
Koira te tokomaha o taku whānau me o
rātou you know, husbands cousin, uh,

254
00:30:06,590 --> 00:30:10,100
boyfriends, girlfriends. Um,
but I do, we do have a, a,

255
00:30:10,220 --> 00:30:14,620
a base of Apakura people and other
people that have always supported us as a

256
00:30:14,620 --> 00:30:18,300
whānau that still
perform with us. So yeah,

257
00:30:18,350 --> 00:30:22,930
we're pretty lucky we can stage
a performance with just my own

258
00:30:23,650 --> 00:30:26,370
children and their children. And the

259
00:30:28,270 --> 00:30:32,690
mokopuna tuarua actually, one of the
oldest will be able to stand next stand.

260
00:30:32,990 --> 00:30:36,130
She'll be 15 already.
So, yeah. And that's,

261
00:30:36,220 --> 00:30:41,130
Raana's oldest if she wants to.
Of course. Yeah. They may not,

262
00:30:41,860 --> 00:30:44,520
not all my, mokopuna haka.

263
00:31:00,190 --> 00:31:04,430
This was a podcast for the ministry
of education. Thank you for listening.


[ Audio Resource ]
Title:
TAH Podcast - Te Arawa
Description:
Laurelle Tamati shares her Te Ao Haka journey
Audio File Type:
mp3
Audio File Size:
20MB
Audio URL:
https://ncea-live-3-storagestack-53q-assetstorages3bucket-2o21xte0r81u.s3.amazonaws.com/s3fs-public/2022-05/Te%20Ao%20Haka%20Te%20Arawa_LAURELLE%20TAMATI__Podcast%20mix.mp3?VersionId=evHMG.xxuofjwqWjC7teHqF5WIOBPOCJ
Transcript:

1
00:00:04,650 --> 00:00:05,530
No way.

2
00:00:57,950 --> 00:00:57,950
Nei ra te mihi ki a koe,

3
00:00:57,950 --> 00:00:58,783
kia whakaae mai kia haramai ki
tēnei o ngā uiui mō Te Ao Haka. Uh,

4
00:01:03,580 --> 00:01:06,000
first question here is Laurelle,

5
00:01:06,140 --> 00:01:09,400
how long has haka been
a part of your life?

6
00:01:11,200 --> 00:01:15,400
My earliest memory of kapa haka, um,

7
00:01:15,700 --> 00:01:19,660
was when I was at primary school. And, um,

8
00:01:20,819 --> 00:01:25,620
a lot of people have inspired me along
the way, but one woman in particular,

9
00:01:27,050 --> 00:01:28,930
um, was Beatrice Yates.

10
00:01:29,510 --> 00:01:32,370
And I remember when I was a
student at Whakarewarewa, for,

11
00:01:33,470 --> 00:01:38,290
she would show up much like
Mary Poppins with her guitar and

12
00:01:38,291 --> 00:01:42,810
she would walk across our field
with her guitar and we all knew

13
00:01:43,950 --> 00:01:48,680
it was kapa haka time. And
we would sing songs with her,

14
00:01:49,640 --> 00:01:54,360
um, like one day a taniwha, which
was my absolute favorite song.

15
00:01:55,700 --> 00:01:58,200
And so kapa haka has been a part of my,

16
00:01:59,460 --> 00:02:01,880
has been a part of my entire life.

17
00:02:05,050 --> 00:02:08,750
So when you were at school in
secondary school, in particular

18
00:02:10,480 --> 00:02:11,790
doing kapa haka,

19
00:02:13,250 --> 00:02:17,030
who were your tutors and who
were your mentors in those days?

20
00:02:18,590 --> 00:02:23,430
Um, my mother's brother was a
kapa haka tutor for many years

21
00:02:23,710 --> 00:02:27,230
in. He was inspirational
to my sister and I,

22
00:02:28,130 --> 00:02:31,300
as well as our cousin, our
older cousin Chadwick Manga.

23
00:02:32,160 --> 00:02:36,900
He was a tutor and Turu
Grace who actually comes,

24
00:02:38,300 --> 00:02:42,460
uh, from Ōtaki. So they were our
tutors. Uh, we also had Aunty

25
00:02:44,060 --> 00:02:46,820
Chrisy, Chrissy Papuni, who was a tutor.

26
00:02:47,480 --> 00:02:49,180
Aunty Julie

27
00:02:51,260 --> 00:02:55,190
Hahunga was a tutor while
I was at John Paul College.

28
00:02:55,940 --> 00:03:00,000
Awesome. Now you spoke about your
sister, so you are a mahanga,

29
00:03:00,300 --> 00:03:02,760
what's it like being a twin in Te Ao Haka?

30
00:03:05,260 --> 00:03:10,160
Having my twin sister means
that I'm never alone and I am

31
00:03:10,900 --> 00:03:12,760
who I am because of her.

32
00:03:14,020 --> 00:03:17,120
She gives me the strength
that I need to stand,

33
00:03:17,650 --> 00:03:22,470
especially on a Matatini stage
it's her that I draw my strength

34
00:03:22,471 --> 00:03:25,950
from to perform, to lead my team.

35
00:03:27,740 --> 00:03:30,919
So speaking about
performing while at school,

36
00:03:31,220 --> 00:03:34,240
how old were you when you
first took to a senior stage?

37
00:03:36,680 --> 00:03:39,910
Uh, my first experience, um,

38
00:03:40,730 --> 00:03:45,230
was in 1993 with Tūhourangi Ngāti Wāhiao

39
00:03:46,810 --> 00:03:51,530
regionals. Um, was my
very first experience.

40
00:03:51,570 --> 00:03:52,570
I was 14 years old.

41
00:03:54,120 --> 00:03:54,953
So

42
00:03:56,600 --> 00:04:01,020
Senior kapa haka even coming
through in a senior kapa

43
00:04:01,640 --> 00:04:03,340
haka realm, did

44
00:04:04,941 --> 00:04:07,220
you have idols that you looked
up to in Tūhourangi Ngāti Wāhiao.

45
00:04:09,880 --> 00:04:10,713
As a little girl?

46
00:04:10,900 --> 00:04:15,540
I used to attend practices
with my mum in 1986,

47
00:04:16,000 --> 00:04:18,220
and I remember sitting in our whare kai,

48
00:04:20,529 --> 00:04:25,410
looking up at all of my
aunties, my nannies, and, um,

49
00:04:27,000 --> 00:04:31,740
my uncles and my koro.
And I used to think, man,

50
00:04:31,900 --> 00:04:34,020
I cannot wait for the day.

51
00:04:34,640 --> 00:04:37,420
I'm going to stand for
my kapa for my hapū.

52
00:04:39,640 --> 00:04:43,170
So I wanna, I talk about discipline here.

53
00:04:43,800 --> 00:04:48,730
What are some of the key learnings that
you took away from your nannies and

54
00:04:48,731 --> 00:04:51,250
your koros and your aunties?

55
00:04:53,130 --> 00:04:57,170
Uh, definitely commitment and
just commitment was definitely,

56
00:04:58,110 --> 00:05:00,010
um, something that,

57
00:05:01,700 --> 00:05:04,980
that I pride myself on.
If I commit to something,

58
00:05:05,410 --> 00:05:09,220
then I'm there 110%. Um,

59
00:05:09,480 --> 00:05:13,860
so commitment definitely
has played a key role in me

60
00:05:14,400 --> 00:05:16,860
and my journey along the way. So I'm,

61
00:05:17,210 --> 00:05:20,060
I've been absolutely committed to my team,

62
00:05:20,920 --> 00:05:23,650
but not just my team. It
means that I committed,

63
00:05:23,980 --> 00:05:26,610
especially as a leader to
our paepae and our iwi.

64
00:05:30,970 --> 00:05:33,260
Have you only ever
performed with Tūhourangi?

65
00:05:37,230 --> 00:05:40,910
At senior level and in
terms of Matatini? Yes.

66
00:05:40,911 --> 00:05:42,270
I've only ever performed for
Tūhourangi Ngāti Wāhiao um,

67
00:05:44,490 --> 00:05:46,820
I've been actually quite
fortunate to be the leader.

68
00:05:46,890 --> 00:05:49,020
I've been the leader since I think

69
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2004,

70
00:05:53,910 --> 00:05:56,130
and I've also had, um,

71
00:05:56,410 --> 00:05:59,520
a role as part of our creative team.

72
00:06:00,700 --> 00:06:04,580
I took part in super twelves and super 10

73
00:06:05,180 --> 00:06:09,580
competitions with my cousins
and which I've really enjoyed,

74
00:06:10,660 --> 00:06:11,279
um,

75
00:06:11,279 --> 00:06:16,220
in terms of senior haka
Tūhourangi is where my heart

76
00:06:16,221 --> 00:06:17,054
is.

77
00:06:18,330 --> 00:06:21,640
Absolutely. Now, back to leadership,

78
00:06:22,270 --> 00:06:25,000
what skills do you need to be a leader,

79
00:06:25,510 --> 00:06:27,800
both on and off stage.

80
00:06:29,589 --> 00:06:32,800
Role modeling, role modeling, what it is

81
00:06:36,180 --> 00:06:41,089
that you want your students to be?

82
00:06:42,820 --> 00:06:44,920
So I, even as a tutor,

83
00:06:46,920 --> 00:06:51,779
I'm always role modeling
what it is to be as a leader,

84
00:06:52,560 --> 00:06:57,300
as well as a tutor by showing
commitment. Commitment is a huge,

85
00:06:57,620 --> 00:07:02,500
is an integral part of
tutorship and leadership.

86
00:07:04,020 --> 00:07:08,160
It means that you need to
be available all the time.

87
00:07:09,700 --> 00:07:12,720
Um, it means that you have to,

88
00:07:13,180 --> 00:07:18,020
it means there's also
other work outside of

89
00:07:18,580 --> 00:07:23,430
practice times that needs to be done. Um,

90
00:07:23,460 --> 00:07:28,110
there's other practices that
need to be had before practice

91
00:07:28,820 --> 00:07:31,470
with your entire group. Um,

92
00:07:32,490 --> 00:07:36,930
but definitely role modeling
the behavior of what it takes

93
00:07:37,710 --> 00:07:41,120
to be an inspiring leader.

94
00:07:43,020 --> 00:07:46,160
Ka pai, what do you like
about being a leader?

95
00:07:48,790 --> 00:07:53,630
I love the challenge. I love the
challenge that it gives that, um,

96
00:07:54,670 --> 00:07:57,790
is laid before you. I like that.

97
00:07:58,390 --> 00:08:00,390
I love that when I'm on the stage

98
00:08:03,520 --> 00:08:04,650
That I can draw

99
00:08:06,920 --> 00:08:11,290
and feel inspired by those
around me, my cousins,

100
00:08:12,110 --> 00:08:15,270
by my aunties, by my nieces.

101
00:08:17,370 --> 00:08:21,490
I love that. I inspire them. I
love that. I inspire my students

102
00:08:24,450 --> 00:08:27,430
to do more, to develop further.

103
00:08:29,780 --> 00:08:31,110
What don't you like?

104
00:08:36,809 --> 00:08:37,642
Don't think there is anything.

105
00:08:37,840 --> 00:08:42,030
Good. That's the answer <laugh>
thinking. You can say that.

106
00:08:42,390 --> 00:08:42,790
I don't think there's anything.

107
00:08:42,790 --> 00:08:46,470
There isn't anything that
I don't like about leading.

108
00:08:48,110 --> 00:08:51,920
What I love most is the
red scarf that I wear,

109
00:08:53,400 --> 00:08:57,400
because it's a representation of
those who have gone before me.

110
00:08:58,179 --> 00:09:01,520
It is our legacy that has been
left behind by our kuia who

111
00:09:02,680 --> 00:09:05,700
inspired haka inside our village,

112
00:09:07,420 --> 00:09:11,600
the likes of Makareti
Papakura, Rangitiaria um,

113
00:09:13,320 --> 00:09:17,960
<inaudible> people who have
inspired us who have inspired me.

114
00:09:19,660 --> 00:09:20,840
Can anyone be a leader?

115
00:09:23,240 --> 00:09:27,340
Absolutely. Absolutely.

116
00:09:27,790 --> 00:09:29,140
Think if you find that,

117
00:09:30,559 --> 00:09:33,210
find someone that inspires you

118
00:09:35,510 --> 00:09:39,390
and then find what it is
that you're inspired by

119
00:09:40,530 --> 00:09:44,450
and a, um, just reaching your potential.

120
00:09:45,030 --> 00:09:49,490
What's the best life lesson you've
learned from the performing arts.

121
00:09:50,580 --> 00:09:54,610
Discipline. Discipline
on and off the stage.

122
00:09:55,990 --> 00:09:59,010
Um, perseverance,

123
00:10:00,800 --> 00:10:05,690
resilience. Those are
definitely things that,

124
00:10:06,550 --> 00:10:09,510
um, I take with me.

125
00:10:10,340 --> 00:10:15,220
They have taught me that no matter
how hard things get, you know,

126
00:10:15,880 --> 00:10:19,860
if you keep practicing and practicing
and practicing, you'll get there.

127
00:10:20,840 --> 00:10:25,300
So you've, how long have
you been tutoring haka?

128
00:10:29,340 --> 00:10:30,173
Since

129
00:10:32,270 --> 00:10:36,610
2001, Two?

130
00:10:38,330 --> 00:10:39,163
Um,

131
00:10:39,730 --> 00:10:44,500
my first haka team that I tutored was,

132
00:10:45,679 --> 00:10:46,620
um, Whare Kotua and Kahurangi

133
00:10:49,980 --> 00:10:54,770
was their team at Kaitao
Intermeidate and it was,

134
00:10:54,870 --> 00:10:59,190
um, a national campaign. Mm.

135
00:11:00,170 --> 00:11:04,710
And then, so following on, and,
um, you're now a teacher at

136
00:11:06,360 --> 00:11:08,760
Rautāwhiri Rotorua Girls High School.

137
00:11:09,260 --> 00:11:11,920
You're also the tutor of,

138
00:11:12,030 --> 00:11:16,030
of a kapa that has taken
out nationals back to back.

139
00:11:17,130 --> 00:11:18,350
So tell us about that.

140
00:11:18,710 --> 00:11:23,150
You're a back to back tutor
of a secondary kapa haka team.

141
00:11:23,770 --> 00:11:24,750
What's that been like?

142
00:11:26,580 --> 00:11:29,240
The journey has been amazing. Um,

143
00:11:31,210 --> 00:11:34,070
the students definitely, um,

144
00:11:38,030 --> 00:11:41,770
have made my journey
much more pleasurable,

145
00:11:42,870 --> 00:11:45,650
um, over these past few campaigns,

146
00:11:46,559 --> 00:11:51,450
when I think back to our
very first one at national

147
00:11:51,500 --> 00:11:55,360
level in 2016, at Te Haaro o te Kahu

148
00:11:58,700 --> 00:12:02,990
I think about the bond that we had,

149
00:12:04,010 --> 00:12:06,270
the bond that, that particular team had,

150
00:12:07,230 --> 00:12:10,790
which came from the trip that we took to

151
00:12:11,710 --> 00:12:16,590
Portugal and the situation
that we were in there,

152
00:12:18,170 --> 00:12:23,150
Um, really bonded us as a team.

153
00:12:24,059 --> 00:12:27,950
Therefore, when we came back,
we were ready for nationals.

154
00:12:29,760 --> 00:12:32,940
Our students were in tune with our voices.

155
00:12:35,290 --> 00:12:39,890
Um, so they basically,

156
00:12:39,891 --> 00:12:43,010
would do whatever we ask them to do. Um,

157
00:12:43,950 --> 00:12:47,890
and really it was about
taking care of them And it,

158
00:12:48,090 --> 00:12:52,330
and it wasn't just us. It was
everybody around us, all our supporters

159
00:12:53,850 --> 00:12:57,950
took care of our kids. And, uh,

160
00:12:57,970 --> 00:13:02,150
so that really was what

161
00:13:04,600 --> 00:13:07,020
got us to that next level of performance

162
00:13:09,429 --> 00:13:13,890
was trusting each other on the
stage, moving together as a team, mm.

163
00:13:17,080 --> 00:13:19,850
Yeah. ka pai, and then
you took it out again.

164
00:13:21,750 --> 00:13:26,679
So how hard was it as
a tutor to take out a

165
00:13:26,680 --> 00:13:28,280
second national title?

166
00:13:29,860 --> 00:13:33,900
You know, you have to
draw on whatever it takes.

167
00:13:35,780 --> 00:13:38,120
You've got to take care of your students.

168
00:13:39,179 --> 00:13:43,510
You've all gotta take
care of each other. Um,

169
00:13:44,429 --> 00:13:45,429
we went there with a kaupapa

170
00:13:47,850 --> 00:13:52,630
and our inspiration for
that year was Koro Hōri

171
00:13:52,809 --> 00:13:55,630
who was a past, um,

172
00:13:56,100 --> 00:13:59,980
manager of our team who
was laid to rest down in

173
00:14:01,220 --> 00:14:02,053
Rangitāne.

174
00:14:04,380 --> 00:14:09,290
So we had a connection there and really,

175
00:14:09,291 --> 00:14:14,210
it was about us going down
there and telling our story and

176
00:14:14,211 --> 00:14:16,530
celebrating his time with us.

177
00:14:18,820 --> 00:14:20,310
That was our purpose.

178
00:14:23,010 --> 00:14:24,430
Ka pai tērā Laurelle.

179
00:14:26,010 --> 00:14:30,900
How far do you think kapa haka or
haka will take you in your life?

180
00:14:32,160 --> 00:14:36,880
Haka has been my life. Um, it is,

181
00:14:37,870 --> 00:14:41,260
this is what I do. This
is my bread and butter.

182
00:14:42,590 --> 00:14:46,730
It has done given me experiences

183
00:14:47,990 --> 00:14:52,880
that, um, beyond the
imagination really, um,

184
00:14:53,860 --> 00:14:58,630
you know, I've traveled the
world as a young person.

185
00:14:59,310 --> 00:15:00,070
I began,

186
00:15:00,070 --> 00:15:04,830
I began traveling at the age
of 15 and I would travel for

187
00:15:05,000 --> 00:15:09,950
Te Puea and do month long trips to

188
00:15:09,960 --> 00:15:10,793
Japan

189
00:15:13,010 --> 00:15:15,110
And it wasn't until I
started teaching that,

190
00:15:16,110 --> 00:15:18,150
I realized that

191
00:15:20,370 --> 00:15:22,950
If I'm not there, how are
my students going to learn?

192
00:15:23,050 --> 00:15:27,120
So that's when I chose this pathway

193
00:15:28,140 --> 00:15:30,840
of, um, teaching haka in schools

194
00:15:32,870 --> 00:15:34,410
and in particular at Rotorua Girls.

195
00:15:36,290 --> 00:15:40,670
So you talk about traveling
overseas, what did that,

196
00:15:40,940 --> 00:15:45,710
what did you have to do when
you were overseas as a cultural

197
00:15:45,711 --> 00:15:46,544
ambassador?

198
00:15:48,610 --> 00:15:53,230
As a cultural ambassador,
traveling overseas, Um,

199
00:15:53,840 --> 00:15:58,220
meant that one I had to
grow up very quickly. Uh,

200
00:15:58,500 --> 00:15:59,940
I needed to be where I need,

201
00:16:01,580 --> 00:16:05,940
I needed to be where it was we
had to be at the right times.

202
00:16:06,480 --> 00:16:11,400
So I had to learn self-management
I had to work I was constantly

203
00:16:11,401 --> 00:16:14,730
working. Some days we'd have five shows.

204
00:16:15,270 --> 00:16:19,400
The next day we may have eight shows
the following day we may have only one

205
00:16:19,401 --> 00:16:21,400
show. So, um,

206
00:16:22,020 --> 00:16:25,300
it was about being there
for the right reasons

207
00:16:27,030 --> 00:16:28,730
to showcase our culture to the world.

208
00:16:30,700 --> 00:16:32,270
What makes Te Arawa haka

209
00:16:34,100 --> 00:16:35,950
different to everyone else?

210
00:16:39,100 --> 00:16:43,880
The beauty and the love
we have for Rotorua,

211
00:16:45,420 --> 00:16:48,230
our home and our legacy.

212
00:16:50,010 --> 00:16:54,550
Definitel.y Our people have been
performing for years and years and years

213
00:16:55,570 --> 00:16:59,190
on a daily basis. And

214
00:17:00,750 --> 00:17:03,480
we definitely here in Te Arawa.

215
00:17:05,460 --> 00:17:06,293
Um.

216
00:17:07,609 --> 00:17:10,460
Love to sing the praises of our Tupuna.

217
00:17:12,010 --> 00:17:16,450
And I think that's the most beautiful
thing about haka is being able to sing

218
00:17:16,451 --> 00:17:20,490
those praises of your tupuna and, um.

219
00:17:21,940 --> 00:17:22,773
Yeah.

220
00:17:23,940 --> 00:17:24,773
Ka pai tērā.

221
00:17:25,350 --> 00:17:29,210
How important is being
competitive to performing arts?

222
00:17:34,270 --> 00:17:35,450
On a competitive platform, there

223
00:17:38,730 --> 00:17:43,690
is space in there to correct skill Skill

224
00:17:45,900 --> 00:17:50,350
Because at the end of the
day, that's, what is all about

225
00:17:52,010 --> 00:17:52,843
is about

226
00:17:55,260 --> 00:17:58,000
having 40 people on a stage,

227
00:17:59,240 --> 00:18:00,990
being able to move as one,

228
00:18:03,850 --> 00:18:05,520
being able to, um,

229
00:18:07,590 --> 00:18:11,770
inspire my students, to be the very,

230
00:18:11,840 --> 00:18:14,770
very best that they can be as performers

231
00:18:17,359 --> 00:18:18,780
has a place in competition.

232
00:18:22,200 --> 00:18:25,980
How important is winning
in performing arts?

233
00:18:31,800 --> 00:18:32,633
Winning

234
00:18:36,410 --> 00:18:38,750
has lots of meanings in performing arts.

235
00:18:39,869 --> 00:18:43,119
Winning is when you
finally get that action.

236
00:18:45,510 --> 00:18:47,810
It is it's when you
finally get that action.

237
00:18:47,960 --> 00:18:52,730
It's when you finally make
that team it's when you finally

238
00:18:53,940 --> 00:18:54,910
make top nine,

239
00:18:57,060 --> 00:19:01,810
there are so many meanings behind
the word winning and performing

240
00:19:01,840 --> 00:19:03,800
arts and haka.

241
00:19:05,190 --> 00:19:07,520
Ka pai Laurelle. We're
gonna talk about discipline.

242
00:19:09,150 --> 00:19:13,920
What are some pointers that
you would give to somebody

243
00:19:14,500 --> 00:19:17,720
around lining up in a straight line?

244
00:19:19,580 --> 00:19:20,980
That as you move around the stage,

245
00:19:23,140 --> 00:19:27,990
you can feel the person on your right.
You can feel the person on your left.

246
00:19:28,450 --> 00:19:33,310
You can also see them without
having to turn your head left

247
00:19:33,330 --> 00:19:36,390
or right. You can see them
through your peripheral vision.

248
00:19:38,350 --> 00:19:42,180
And so if you are slightly out of line

249
00:19:44,830 --> 00:19:48,570
judges, won't mind if you
move forward slightly,

250
00:19:50,390 --> 00:19:53,490
As long as you can compose yourself,

251
00:19:54,040 --> 00:19:56,450
hold your head up and move confidently.

252
00:19:58,200 --> 00:20:00,490
What about levels like hand levels,

253
00:20:01,359 --> 00:20:06,130
getting all of those levels in sync?
What are some pointers around those?

254
00:20:07,700 --> 00:20:08,533
Um,

255
00:20:09,340 --> 00:20:13,600
That's really important to have levels,

256
00:20:15,619 --> 00:20:19,900
Um, for the pure reason

257
00:20:22,619 --> 00:20:25,990
that we do want to watch
one show and not 40.

258
00:20:27,130 --> 00:20:28,830
And so if you are taller,

259
00:20:30,010 --> 00:20:33,980
then you may need to bring your hands
down slightly. And if you're shorter,

260
00:20:34,560 --> 00:20:39,410
you may need to come up so
that everybody's working at

261
00:20:39,411 --> 00:20:44,330
the same level. And it's the same when
you're doing poi and doing taiaha.

262
00:20:45,070 --> 00:20:45,903
Same thing.

263
00:20:47,109 --> 00:20:51,890
Can you talk about the poi and
how important it is to follow

264
00:20:51,920 --> 00:20:55,130
your poi? What does that depict?

265
00:20:56,390 --> 00:21:00,410
The poi is an extension of the hand.
So it's just like Waiata-ā-ringa,

266
00:21:01,869 --> 00:21:05,170
you always follow your right
hand. It's the same with the poi,

267
00:21:06,910 --> 00:21:09,690
um, mōku ake,

268
00:21:10,830 --> 00:21:14,090
it really shows, um,

269
00:21:14,830 --> 00:21:18,490
the confidence in a performer when
they're able to follow their poi.

270
00:21:19,910 --> 00:21:24,570
It tells me as the audience that you

271
00:21:24,890 --> 00:21:26,850
actually know what you're singing about,

272
00:21:28,730 --> 00:21:33,480
which is ultimately what we want
to, what we want our audience

273
00:21:35,020 --> 00:21:35,440
to see.


More Support

This page will be a home for Te Ao Haka resources to help kaiako and kura to teach and deliver the new NCEA assessment materials.

Two short videos have been made to launch Te Ao Haka as an NCEA subject with Achievement Standards. These videos tell the story of the development of Te Ao Haka and illustrate the value of this subject for ākonga throughout Aotearoa. To view the videos, click the links below:

Te Ao Haka: Māori Performing Arts - Kua Tae Te Wā

Te Ao Haka: Māori Performing Arts -Taku Ara Anamata

Teaching and Learning Plans

These Teaching and Learning Plans have been developed to provide you with exemplars of a full year’s teaching and learning programme using the new Achievement Standards, aligned specifically to the ‘Te Ao Haka’ Learning Matrix.  

These examplars are here as a valuable resource to support the creation and development of your own Teaching and Learning Programs in Te Ao Haka at NCEA Level 1, 2 and 3. 

Te Ao Haka ki te hoe! 

T&L Plans 2021 - Level 1

[ File Resource ]
Title:
T&L Plan 2021 - Level 1
Description:
Nā Henderson High School tēnei mahere ako i whakarite
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T&L Plan 2021 - Level 1

Nā Henderson High School tēnei mahere ako i whakarite
Nā Henderson High School tēnei mahere ako i whakarite
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[ File Resource ]
Title:
T&L Plan 2021 - Level 1
Description:
Nā Te Kura o Te Whānau a Apanui tēnei mahere ako i whakarite
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https://ncea-live-3-storagestack-53q-assetstorages3bucket-2o21xte0r81u.s3.amazonaws.com/s3fs-public/2022-04/T%26L%20Plan%202021%20-%20Level%201%20-%20Te%20Kura%20o%20Te%20Wh%C4%81nau%20a%20Apanui.pdf?VersionId=bOsy1vEe479Vc5C_d2Y9nXohFyHk.3cL
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T&L Plan 2021 - Level 1

Nā Te Kura o Te Whānau a Apanui tēnei mahere ako i whakarite
Nā Te Kura o Te Whānau a Apanui tēnei mahere ako i whakarite
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[ File Resource ]
Title:
T&L Plan 2021 - Level 1
Description:
Nā Te Pā o Rākaihautū tēnei mahere ako i whakarite
File URL:
https://ncea-live-3-storagestack-53q-assetstorages3bucket-2o21xte0r81u.s3.amazonaws.com/s3fs-public/2022-04/T%26L%20Plan%202021%20-%20Level%201%20-%20Te%20P%C4%81%20o%20R%C4%81kaihat%C5%AB.pdf?VersionId=jxR6o28KGFvVmTKJzdatztP1CME.gYbD
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T&L Plan 2021 - Level 1

Nā Te Pā o Rākaihautū tēnei mahere ako i whakarite
Nā Te Pā o Rākaihautū tēnei mahere ako i whakarite
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[ File Resource ]
Title:
T&L Plan 2021 - Level 1
Description:
Nā Te Wharekura o Rakaumanga tēnei mahere ako i whakarite
File URL:
https://ncea-live-3-storagestack-53q-assetstorages3bucket-2o21xte0r81u.s3.amazonaws.com/s3fs-public/2022-04/T%26L%20Plan%202021%20-%20Level%201%20-%20Te%20Wharekura%20o%20Rakaumanga.pdf?VersionId=pTWTTjhy7onfAaLUNrLQ8oD_U.MBfJ.6
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T&L Plan 2021 - Level 1

Nā Te Wharekura o Rakaumanga tēnei mahere ako i whakarite
Nā Te Wharekura o Rakaumanga tēnei mahere ako i whakarite
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T&L Plans 2021 - Level 2

[ File Resource ]
Title:
T&L Plan 2021 - Level 2
Description:
Nā Henderson High School tēnei mahere ako i whakarite
File URL:
https://ncea-live-3-storagestack-53q-assetstorages3bucket-2o21xte0r81u.s3.amazonaws.com/s3fs-public/2022-04/T%26L%20Plan%202021%20-%20Level%202%20-%20Henderson%20High%20School.pdf?VersionId=p1r.e79QYqDPzTe403FU.ChNeu6YH.XJ
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T&L Plan 2021 - Level 2

Nā Henderson High School tēnei mahere ako i whakarite
Nā Henderson High School tēnei mahere ako i whakarite
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[ File Resource ]
Title:
T&L Plan 2021 - Level 2
Description:
Nā Te Kura o Te Whānau a Apanui tēnei mahere ako i whakarite
File URL:
https://ncea-live-3-storagestack-53q-assetstorages3bucket-2o21xte0r81u.s3.amazonaws.com/s3fs-public/2022-04/T%26L%20Plan%202021%20-%20Level%202%20-%20Te%20Kura%20o%20Te%20Wh%C4%81nau%20a%20Apanui.pdf?VersionId=MdSvD82xNCTu7Y90.6H1BsO10jj_9Xd1
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T&L Plan 2021 - Level 2

Nā Te Kura o Te Whānau a Apanui tēnei mahere ako i whakarite
Nā Te Kura o Te Whānau a Apanui tēnei mahere ako i whakarite
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[ File Resource ]
Title:
T&L Plan 2021 - Level 2
Description:
Nā Te Pā o Rākaihautū tēnei mahere ako i whakarite
File URL:
https://ncea-live-3-storagestack-53q-assetstorages3bucket-2o21xte0r81u.s3.amazonaws.com/s3fs-public/2022-04/T%26L%20Plan%202021%20-%20Level%202%20-%20Te%20P%C4%81%20o%20R%C4%81kaihat%C5%AB.pdf?VersionId=aG2STQh4jMGmmi6OKO2YRxtvKeIFh88M
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T&L Plan 2021 - Level 2

Nā Te Pā o Rākaihautū tēnei mahere ako i whakarite
Nā Te Pā o Rākaihautū tēnei mahere ako i whakarite
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[ File Resource ]
Title:
T&L Plan 2021 - Level 2
Description:
Nā Te Wharekura o Rakaumanga tēnei mahere ako i whakarite
File URL:
https://ncea-live-3-storagestack-53q-assetstorages3bucket-2o21xte0r81u.s3.amazonaws.com/s3fs-public/2022-04/T%26L%20Plan%202021%20-%20Level%202%20-%20Te%20Wharekura%20o%20Rakaumanga.pdf?VersionId=dvpRgK1x4hJP4hIhRz2_PL0Tr2GKkEOa
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T&L Plan 2021 - Level 2

Nā Te Wharekura o Rakaumanga tēnei mahere ako i whakarite
Nā Te Wharekura o Rakaumanga tēnei mahere ako i whakarite
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T&L Plans 2021 - Level 3

[ File Resource ]
Title:
T&L Plan 2021 - Level 3
Description:
Nā Henderson High School tēnei mahere ako i whakarite
File URL:
https://ncea-live-3-storagestack-53q-assetstorages3bucket-2o21xte0r81u.s3.amazonaws.com/s3fs-public/2022-04/T%26L%20Plan%202021%20-%20Level%203%20-%20Henderson%20High%20School.pdf?VersionId=bX78XROSGHolfszrh4UFSAKIAjB0176R
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T&L Plan 2021 - Level 3

Nā Henderson High School tēnei mahere ako i whakarite
Nā Henderson High School tēnei mahere ako i whakarite
Download Download pdf  |  377KB Download
[ File Resource ]
Title:
T&L Plan 2021 - Level 3
Description:
Nā Te Kura o Te Whānau a Apanui tēnei mahere ako i whakarite
File URL:
https://ncea-live-3-storagestack-53q-assetstorages3bucket-2o21xte0r81u.s3.amazonaws.com/s3fs-public/2022-04/T%26L%20Plan%202021%20-%20Level%203%20-%20Te%20Kura%20o%20Te%20Wh%C4%81nau%20a%20Apanui.pdf?VersionId=3TP2Ow8aYHNA7mTK1yKF3MmYnr0xz.tS
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T&L Plan 2021 - Level 3

Nā Te Kura o Te Whānau a Apanui tēnei mahere ako i whakarite
Nā Te Kura o Te Whānau a Apanui tēnei mahere ako i whakarite
Download Download pdf  |  193KB Download
[ File Resource ]
Title:
T&L Plan 2021 - Level 3
Description:
Nā Te Pā o Rākaihautū tēnei mahere ako i whakarite
File URL:
https://ncea-live-3-storagestack-53q-assetstorages3bucket-2o21xte0r81u.s3.amazonaws.com/s3fs-public/2022-04/T%26L%20Plan%202021%20-%20Level%203%20-%20Te%20P%C4%81%20o%20R%C4%81kaihat%C5%AB.pdf?VersionId=rkcjqYmziICFiYk67mn5JQhRE_8QCgzg
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T&L Plan 2021 - Level 3

Nā Te Pā o Rākaihautū tēnei mahere ako i whakarite
Nā Te Pā o Rākaihautū tēnei mahere ako i whakarite
Download Download pdf  |  423KB Download
[ File Resource ]
Title:
T&L Plan 2021 - Level 3
Description:
Nā Te Wharekura o Rakaumanga tēnei mahere ako i whakarite
File URL:
https://ncea-live-3-storagestack-53q-assetstorages3bucket-2o21xte0r81u.s3.amazonaws.com/s3fs-public/2022-04/T%26L%20Plan%202021%20-%20Level%203%20-%20Te%20Wharekura%20o%20Rakaumanga.pdf?VersionId=AZ3maVaxrw9CHUswbMeurV7UEeICJO4_
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T&L Plan 2021 - Level 3

Nā Te Wharekura o Rakaumanga tēnei mahere ako i whakarite
Nā Te Wharekura o Rakaumanga tēnei mahere ako i whakarite
Download Download pdf  |  329KB Download

T&L Plans 2021 - Levels 1 - 3

[ File Resource ]
Title:
T&L Plan 2021 - Levels 1-3
Description:
Nā Te Kura Kaupapa Māori o Ngāti Kahungunu ki Heretaunga
File URL:
https://ncea-live-3-storagestack-53q-assetstorages3bucket-2o21xte0r81u.s3.amazonaws.com/s3fs-public/2022-04/T%26L%20Plan%202021%20-%20Level%201-3%20-%20TKKMONK%20ki%20Heretaunga_0.pdf?VersionId=OYUyJOifdLRyr_3Jk7gUBl3tPIpmNBKM
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T&L Plan 2021 - Levels 1-3

Nā Te Kura Kaupapa Māori o Ngāti Kahungunu ki Heretaunga
Nā Te Kura Kaupapa Māori o Ngāti Kahungunu ki Heretaunga
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[ File Resource ]
Title:
T&L Plan 2021 - Levels 1-3
Description:
Nā Manutuke School tēnei mahere ako i whakarite
File URL:
https://ncea-live-3-storagestack-53q-assetstorages3bucket-2o21xte0r81u.s3.amazonaws.com/s3fs-public/2022-04/T%26L%20Plan%202021%20-%20Level%201-3%20-%20Manutuke%20School.pdf?VersionId=tjXiuCycU1UEFptynr0Kw54.hCvFVWBf
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T&L Plan 2021 - Levels 1-3

Nā Manutuke School tēnei mahere ako i whakarite
Nā Manutuke School tēnei mahere ako i whakarite
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[ File Resource ]
Title:
T&L Plan 2021 - Levels 1-3
Description:
Nā Pukekohe High School tēnei mahere ako i whakarite
File URL:
https://ncea-live-3-storagestack-53q-assetstorages3bucket-2o21xte0r81u.s3.amazonaws.com/s3fs-public/2022-04/T%26L%20Plan%202021%20-%20Level%201-3%20-%20Pukekohe%20High%20School.pdf?VersionId=1mW8OBQk3vGrXU42FEIsJtYU_FkDdywx
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302KB
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T&L Plan 2021 - Levels 1-3

Nā Pukekohe High School tēnei mahere ako i whakarite
Nā Pukekohe High School tēnei mahere ako i whakarite
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T&L Plans 2021 - Levels 1 - 3

Nā Te Wharekura o Mauao tēnei mahere ako i whakarite hei rauemi mō Te Ao Haka

[ File Resource ]
Title:
T&L Plan 2021 - Levels 1-3
Description:
Te Wharekura o Mauao - Part One
File URL:
https://ncea-live-3-storagestack-53q-assetstorages3bucket-2o21xte0r81u.s3.amazonaws.com/s3fs-public/2022-04/T%26L%20Plan%202021%20-%20Level%201-3%20-%20Te%20Wharekura%20o%20Mauao%20-%20Part%201_1.pdf?VersionId=.HpGKBvVdiGWFdMo62LNwIREZRwr_Cwi
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T&L Plan 2021 - Levels 1-3

Te Wharekura o Mauao - Part One
Te Wharekura o Mauao - Part One
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[ File Resource ]
Title:
T&L Plan 2021 - Levels 1-3
Description:
Te Wharekura o Mauao - Part Two
File URL:
https://ncea-live-3-storagestack-53q-assetstorages3bucket-2o21xte0r81u.s3.amazonaws.com/s3fs-public/2022-04/T%26L%20Plan%202021%20-%20Level%201-3%20-%20Te%20Wharekura%20o%20Mauao%20-%20Part%202_1.pdf?VersionId=Yp1YG3xC2IcQiUeYIp161Et.VP1Cpu7l
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T&L Plan 2021 - Levels 1-3

Te Wharekura o Mauao - Part Two
Te Wharekura o Mauao - Part Two
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External Assessment Specifications

[ File Resource ]
Title:
TAH Assessment Specifications
Description:
TAH External Assessment Specifications for 2022 RAS Pilot
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TAH Assessment Specifications

TAH External Assessment Specifications for 2022 RAS Pilot
TAH External Assessment Specifications for 2022 RAS Pilot
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Assessment Matrix

Conditions of Assessment for internally assessed standards

This section provides guidelines for assessment against internally assessed Standards. Guidance is provided on:

  • appropriate ways of, and conditions for, gathering evidence
  • ensuring that evidence is authentic
  • any other relevant advice specific to an Achievement Standard.

NB: Information on additional generic guidance on assessment practice in schools is published on the NZQA website. It would be useful to read in conjunction with these Conditions of Assessment.

The school's Assessment Policy and Conditions of Assessment must be consistent with the Assessment Rules for Schools With Consent to Assess. These rules will be updated during the NCEA review. This link includes guidance for managing internal moderation and the collection of evidence.

For all Achievement Standards

Internal assessment provides considerable flexibility in the collection of evidence. Evidence can be collected in different ways to suit a range of teaching and learning styles, and a range of contexts of teaching and learning. Care needs to be taken to allow students opportunities to present their best evidence against the Standard(s) that are free from unnecessary constraints.

The design of assessment should reflect and reinforce the ways students have been learning. Collection of evidence for the internally assessed Standards could include, but is not restricted to, an extended task, an investigation, digital evidence (such as recorded interviews, blogs, photographs or film), or a portfolio of evidence.

The collection of evidence for internally assessed Standards should not use the same method that is used for any external Standards in a programme/course, particularly if that method is using a time-bound, written examination. This could unfairly disadvantage students who do not perform well under these conditions.

A separate assessment event is not needed for each Standard. Often assessment can be integrated into one activity that collects evidence towards two or three different Standards from a programme of learning. Evidence can also be collected over time from a range of linked activities, for example, in a portfolio. This approach can also ease the assessment workload for both students and teachers.

Effective assessment should suit the nature of the learning being assessed, provide opportunities to meet the diverse needs of all students, and be valid and fair.

Authenticity of student evidence needs to be assured, regardless of the method of collecting evidence. This needs to align with school policy. For example, an investigation carried out over several sessions could include teacher observations or the use of milestones such as a meeting with the student, a journal, or photographic entries recording progress etc.

1.1
Demonstrate understanding of key features of Te Ao Haka

The material for this standard will be student-generated information which may be presented in verbal or written form, and may be accompanied by physical demonstration or visual images.

Teachers should ensure the rigour of the outcome is appropriate for Level 6 of the New Zealand Curriculum.

Evidence may be presented by the student in a range of forms, including:

  • annotated visual information
  • oral presentation
  • physical demonstration accompanied by verbal or written explanation
  • written information
  • digital formats
  • audio and visual recordings
1.2
Perform an item from a Te Ao Haka discipline

The evidence for this standard will be a student performance. This performance may be given with or without an audience.

Performances may be given as an individual or in a group.

Performances given for another purpose, for instance at a community or school event, or as part of a competition may be used as evidence for this standard.

Teachers should ensure the rigour of the outcome is appropriate for Level 6 of the New Zealand Curriculum.

Evidence may be submitted in a number of ways:

  • video recordings of the performance
  • performance in front of a kaiako or examiner
  • performances on digital platforms.
2.1
Explore elements to create a section of a Te Ao Haka item

The evidence for this standard will be a student's original composition, which may be presented as a written text, a recording, or a live performance. Students will also submit accompanying written or verbal text as part of their evidence.

Performances may be given as an individual or in a group.

Performances given for another purpose, for instance at a community or school event, or as part of a competition may be used as evidence for this standard.

If kaiako are not able to attend the performance live, a video recording of the performance must be captured for assessment purposes.

Teachers should ensure the rigour of the outcome is appropriate for Level 7 of the New Zealand Curriculum.

Evidence may be submitted in a number of ways, and must include both evidence of the original composition and accompanying written or verbal text:

  • written text
  • audio or video recordings
  • in-class presentation
  • performance in front of a kaiako or examiner
  • performance on digital platforms.
2.2
Perform a Te Ao Haka item to respond to a local kaupapa

The evidence for this standard will be a student performance. This performance may be given with or without an audience.

Performances may be given as an individual or in a group.

Performances given for another purpose, for instance at a community or school event, or as part of a competition may be used as evidence for this standard.

Teachers should ensure the rigour of the outcome is appropriate for Level 7 of the New Zealand Curriculum.

Evidence may be submitted in a number of ways:

  • video recordings of the performance
  • performance in front of a kaiako or examiner
  • performances on digital platforms.
3.1
Reflect on a personal learning journey in a discipline of Te Ao Haka

The material for this standard will be student-generated information which may be presented in verbal or written form, and may be accompanied by physical demonstration or visual images.

Teachers should ensure the rigour of the outcome is appropriate for Level 8 of the New Zealand Curriculum.

Evidence may be presented by the student in a range of forms, including: annotated visual information, oral presentation, interview, physical demonstration accompanied by verbal or written explanation, written information, digital formats, audio and visual recordings.

3.2
Perform three categories within a discipline of Te Ao Haka

The evidence for this standard will be a student performance. This performance may be given with or without an audience.

Performances may be given as an individual or in a group.

Performances given for another purpose, for instance at a community or school event, or as part of a competition may be used as evidence for this standard.

Teachers should ensure the rigour of the outcome is appropriate for Level 8 of the New Zealand Curriculum.

Evidence may be submitted in a number of ways:

  • video recordings of the performance
  • performance in front of a kaiako or examiner
  • performances on digital platforms.

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