Toioho XX

CELEBRATING 20 YEARS OF MÄ€ORI VISUAL ART AT MASSEY UNIVERSITY

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Cover image: Aaron Te Rangiao, Another Parihaka Peace, 2002.

A CALL OF WELCOME Hone Waengarangi Morris Ngāi Te Rangitotohu ki Rangitāne, Ngāti Mārau ki Kahungunu, Ngāti Maru ki Rongowhakaata Uea waerea Waerea ā uta, Waerea ā tai Waerea ā rangi, Waerea ā nuku Waerea te ara Kia tāwhia, kia tāmaua, kia ita i roto i a Rua i te pupuke, a Rua i te pukenga, a Rua i te horahora, a Rua i te wanawana, Kia takoto te ara ki Te Kunenga ki Pūrehuroa, Ki te whenua o Turiātea Ki te Pūtahi-a-Toi Ki Toioho ki Āpiti Āpiti ki runga, āpiti ki raro Tāwhia mai i waho, rawea mai i roto Kia rarau ngā tapuwae o Tāne i whakairihia E Tāne ka irihia Ka irihia te whatu He whatukura He whatumanawa He whatu i te korowai o Toi.

Julia Taiapa Ngāti Porou; Te Whānau-a-Apanui, Ngāti Kauwhata In 1995, the Bachelor of Māori Visual Arts was offered for the very first time by the Department of Māori Studies at Massey University. It was a four year programme providing students with both theoretical and practical courses in Māori visual arts and Te Reo Māori me ōna tikanga. This emphasis on te reo Māori as well as contemporary art forms made it quite unique and very different from other Fine Arts degrees on offer at other universities.

The last twenty years has seen it grow from strength to strength under the direction of strong, academic, Māori artists who are leading the world in their particular field; Robert Jahnke, Kura Te Waru Rewiri, Shane Cotton, Rachael Rakena, Israel Birch, as well as graduates of the programme, Ngataihaururu Taepa, Saffron Te Ratana and more recently Erena Arapere, Ephraim Russell and Rongomaiaia Te Whaiti.

It has indeed made a huge contribution to the ‘landscape of contemporary Māori art’ and grown some of the country’s leading Māori artists who are making their mark in the art world, here in Aotearoa and abroad; Ngataiharuru Taepa, Saffronn Te Ratana, Areta Wilkinson, Kelcy Taratoa, Nigel Borrell, Huhana Smith, Ngahina Hohaia to name a few.

“The graduates from Toioho ki Āpiti, Māori visual arts programme learn the skills that will take Māori art to the edge of innovation in world art. That has to be good for us as a people.” – Darcy Nicholas As I reflect on the journey the programme has made thus far, tribute must be paid to the vision and creative minds of Professor Sir Mason Durie, the late John Bevan Ford, the late Pare Richardson and the late Te Pakaka Tawhai. They envisaged new pathways for Māori students at Massey University and were instrumental in planting the seeds for this programme. I tāwhia, i tāmaua ratou, kia ita i roto i a Rua i te pupuke, a Rua i te pukenga, a Rua i te horahora, a Rua i te wanawana, I whakatakoto ratou te ara mo ngā tauira ki te Kunenga ki Purehuroa, ki te Putahi-a-Toi, ki Toioho ki Āpiti.

No reira Toioho ki Āpiti, congratulations on achieving this milestone and all the best in your future endeavours.

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A VOICE FROM THE PAE Emeritus Professor Sir Mason Durie Rangitāne, Ngāti Kauwhata, Ngāti Raukawa.

Twenty years ago the possibility of a bachelors degree in Māori visual arts was both exciting and risky. The excitement stemmed from the potential of the degree to lead to fresh horizons for scholarship and to generate new forms of knowledge. A programme that combined visual arts, tikanga Māori, te reo Māori, and academic rigour, would bring with it the possibility of extending conventional academic pathways and at the same time moving Māori art into the next century.

But the element of risk was linked to the largely unchartered waters and a high level of uncertainty about a viable student cohort.

Twenty years later the excitement has grown while the risk has faded. The success of Toioho ki Āpiti can be largely attributed to Robert Jahnke; his determination, his vision, his resilience, and his ongoing leadership. As an accomplished artist himself, as a scholar, and as a teacher he has been able to enthuse successive waves of students, many of whom have completed higher postgraduate degrees in Māori Visual Arts, and enrolled in doctoral degrees.

Te Pūtahi-ā-Toi Photo: Erena Baker-Arapere

The success can also be credited to inspirational teachers who have joined the team; initially Shane Cotton and Kura Waru-Rewiti, and later Ngatai Taepa (currently Director of Māori Arts), Rachael Rakena and Israel Birch. However, the strength of the programme and to some extent its justification, lies with the graduates who have gone on to make great contributions to Māori art, Māori knowledge and Māori education.

From its somewhat humble beginnings in Te Pūtahi-ā-Toi, the School of Māori Studies, to its present location in the College of Creative Arts, Toioho ki Āpiti remains an inspirational programme that draws on Māori language, culture, and tikanga in order to reach into the future and to locate Māori within a 21st century reality.

Kia piki, kia matatū, kia māia.

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THE BIRTH OF TOIOHO KI ĀPITI Robert Janhke Ngāi Taharora, Te Whānau a Rakairoa, Te Whānau a Iritekura o Ngāti Porou.

Robert Janhke, I AM IWI, I AM KIWI (This land is made for you and me), 2011.

2015 heralds a milestone for Toioho ki Āpiti Māori visual arts as it marks two decades of the Bachelor of Māori Art degree (BMVA) at Massey University in Palmerston North. It also cements the shift of the programme from under the umbrella of the College of Humanities and Social Sciences to the College of Creative Arts, which occurred in 2015. It also marks a shift from Te Pūtahi a Toi the School of Māori Art, Knowledge and Education1 to Te Whiti o Rehua the School of Art. The exhibition Toioho XX: Twenty years of Māori Visual Arts celebrates two decades of Toioho ki Āpiti, the awakening of creativity at the Manawatū gorge.

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Toioho ki Āpiti was originally the name for the Bachelor of Māori Visual Arts degree (BMVA) introduced within the School of Māori Studies at the Massey University in Palmerston North in 1995. The four-year Bachelor degree was the first Māori Visual Arts degree in the tertiary sector at the time, and it was unique for its inclusion of papers in Māori language, Māori visual culture and the Treaty of Waitangi. The name Toioho ki Āpiti has subsequently been applied to the Māori Visual Arts section and programmes that include the Postgraduate Diploma in Māori Visual Arts (PGDipMVA), the Master of Māori Visual arts (MMVA) introduced in 1999, and the PhD in Fine Arts introduced in 2008.

It is often difficult to decide what is important in the birth of a child as you are confronted with decisions over

naming, nourishing, and ultimately bringing a child to maturity. Of course there are many who contribute to the journey besides the parents. At the risk of sounding self-indulgent and claiming the BMVA as my child it is important to acknowledge those who have contributed to the BMVA and transforming an idea into a reality.

One of the critical early decisions was to locate the BMVA within the School of Māori Studies to ensure that the students were part of a cultural hub that was actively involved in Te Ao Māori. The other was to initiate the start of the academic year with a noho marae, which tended to be Taharora at Waipiro Bay, East Coast (with the exception of one wānanga hosted by Huhana Smith at Kuku and another in Taranaki). The intention of the wānanga is to foster whānaungatanga and manaakitanga and to bring students into contact with the art they would study as part of the Māori visual culture component of the degree. Over the years students have visited tribal houses like Tūkaki at Te Kaha, Tūwhakairiora at Hicks Bay, Porourangi at Waiomatatini, Waho o te Rangi, and Whitireia at Whāngārā, and Rongopai at Waituhi to name a few.

The BMVA programme owes its existence to John Ford’s suite of Māori visual arts papers on traditional and contemporary Māori art and the foresight and vision of Professor Mason Durie who approached me to teach the papers. After some procrastination, I accepted the role

on the condition that a four-year Māori Visual Arts degree be introduced. As the Head of School for 14 years, Mason supported the design, introduction and growth of the programme through the 1990s, ensuring its capacity with staff that included Shane Cotton and Kura Te Waru Rewiri during the infancy of the programme. There was of course the input from the School of Māori Studies staff; Māori language was the prerogative of staff including Taiarahia Black, Pare Richardson, Ian Christenson, and later Darryn Joseph and Hone Morris. Professor Mason Durie informed BMVA students of the Treaty of Waitangi with later contributions from Te Kani Kingi, Hākopa Tapiata and Veronica Tawhai, while Lindsey Cox, Monty Soutor, Huia Jahnke and Julia Taepa covered tribal traditions. Huhana Smith contributed as Assistant Lecturer prior to taking up a position as Māori Curator at the Museum of New Zealand Te Papa Tongarewa.

And, there was the indispensible contribution of our technician Colin Rolfe.

Over the last two decades the BMVA has seen contributions from contemporary Māori artists and teachers including John Ford, Dianne Prince, Jacob Scott, Brett Graham and Saffronn Te Ratana as well as inevitable departures with Shane Cotton leaving to become a full time artist and Kura Te Waru returning to North Auckland to care for her

mum after the passing of her father.

In their place Ngatai Taepa, Rachael Rakena and Israel Birch assumed teaching roles ensuring continuity within the programme. With Rakena’s arrival the BMVA expanded beyond its earlier focus on painting, sculpture and installation to embrace moving image. Her contribution is evident in video works by Erana James, Te Utanga Tautahi and the video component of Ngahina Hohaia’s multi-media installation. Israel Birch is the latest addition to the Toioho ki Āpiti staff coming initially to complete his MMVA degree. Birch adds, ‘what I love about the school is that as long as the work is grounded in kaupapa Māori, the artwork will be an outward reflection of this. [The]…programme pushed the notion of what Māori art is, and I think it’s very important for us all to keep pushing the boundaries’.2 The last two decades would not have been possible without the support of the School of Māori Studies and its staff.

Mana mahi toi There have been several milestones associated with two decades of the BMVA so I apologise in advance for this overview, which can only acknowledge a few BMVA graduates and staff as a brief record of the BMVA journey.

I begin with an acknowledgement of the feature image for the Toioho XX 20 years of Māori Art and Culture branding; a lacquered steel saw blade ‘Another Parihaka Peace’ (2002) created by Aaron Te Rangiao for the

Matatau 2002 graduation exhibition.

An inspired choice as Aaron won the supreme award at Sculpture on the Peninsula 2015 at Lyttleton Harbour with a sculptural installation ‘Ten Green Bottles’.

Huhana Smith was the first graduate completing the BMVA and a Postgraduate Diploma in Museum Studies in 1997. She subsequently left to work at Te Papa in 2000. During her time at Te Papa she completed a Doctorate in Māori Studies and was responsible for curating the Taiāwhio: Continuity and Change exhibition, which featured Toioho staff and graduates. With Oriwa Solomon, Awhina Tamarapa and Megan TamatiQuennell, Huhana was general editor for ‘Conversations with contemporary Māori artists’ (2003) and ‘Taiāwhio II Contemporary Māori artists, 18 new conversations’ (2007). Fourteen of the eighteen visual artists in Taiāwhio II had an association with Toioho ki Āpiti as teachers or graduates.

She was also responsible for ‘E Tū Ake: Māori standing strong’ (2010) a catalogue for the travelling exhibition with the same name.

She was also co-editor with Arapata Hakiwai of ‘Toi ora: Living Treasures’ (2008). Since the completion of a PhD, Huhana’s research and art focus has shifted towards the reinstatement of mauri in valued ecosystems and kaitiaki whenua. Pā Harakeke: Ideas towards healing (2015), a mixed media installation is Huhana’s contribution to Toioho XX.

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Julie Paama-Pengelly was the first BMVA graduate to attain a Master of Māori Visual Arts. With a background in teaching at both secondary and tertiary levels she went on to head the faculty, Te Toi Whakarei, Art and Visual Culture at Te Whare Wānanga o Awanuiārangi in Whakatane. She has several curatorial contributions including ‘Nga Korero Aoteatea – Fifty Māori artists’ (1999) at the Dowse Museum and ‘Roundabout’: 108 Artists’ (2007-10). She is the author of ‘Māori art and design: a guide to classic weaving, painting, carving and architecture’ (2010), and currently runs Creative Studio Art + Body, a gallery and tā moko studio in Mount Maunganui. Julie has developed a reputation as one of the most respected female tā moko artists with her contribution ‘Janette Rata moko tangata (March 2014)’, exemplifying her practice.

“TE KOOTI STRATEGICALLY EMBRACED CHANGE AND ADAPTATION AS A MEANS OF CULTURAL SURVIVAL.” Nigel Borell

Ngahina Hohaia, a 2007 recipient of the Te Waka Toi scholarship3, received an Arts Foundation New Generation Award in 2010 after exhibiting her Masters Thesis exhibition ‘Paopao ki tua o rangi’ (2009) at Puke Ariki Museum4 in New Plymouth with subsequent showings at the Wellington City Art Gallery,

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the Suter Gallery in Nelson and Ngā Toi o Uenuku, the Mangere Arts Centre. Its inaugural showing at Te Manawa is testimony to the power of a work ‘enmeshed…in the embroidered symbols of theological transformation, colonisation and pacifism’5.

Mana wānanga Kura Te Waru Rewiri, who joined the BMVA staff in 1996 after teaching at Elam, recalls, ‘because the kaupapa was Māori, it was so different from Elam or Ilam. You studied te reo, tikanga, the Treaty of Waitangi, as well as Toi Māori. It was a direction that I was ready to go in, building new knowledge from the grassroots with Hapū and Iwi, but it was challenging if you came from mainstream’.6 2015 sees the opening of Kura’s latest project, the Northtec campus wharenui, which she has been responsible for managing as the creative leader and director of the project. Kura’s ‘Tēnei au, Tēnei au’ (2006) acts as a link between staff and students and acknowledges her contribution to the programme as a lecturer and as the first graduate of the MMVA degree.

Nigel Borell recalls, ‘…It initially took some time to find my feet within the Massey programme. I needed time to dial into that conceptualist shift and it was challenging. It was really…[the] mining of the conceptual space that was distinctive and that is the key to the success of the programme. To the fore was the million-dollar question, ‘What is Māori art?’ We studied that inside out and upside down; we examined critically the proposition that Māori art can only be red, white and black…[the programme] taught us that Te Kooti strategically embraced change and adaptation as a means of cultural survival…it…reminds us today to be innovative, creative and forward thinking’.7 2015 sees Nigel take up his new position as Curator Māori at the Auckland City Art Gallery. Nigel’s contribution ‘Hawaiki Hue’ (2010) reminds us of our origins in Hawaiki.

Ngatai Taepa remembers taking issue with the idea that Māori art was a cultural construct: “I was appalled by the term because of the way I was raised – where did the notion leave

you spiritually? Yet for Israel Birch it was liberating, you had to recognise that some parts of what you had learned about who you were as a Māori were written by non-Māori, and had to be unlearned…” Ngatai’s contribution to the exhibition is Tane Pupuke (2014) that formed part of ‘Te Tini a Pītau Ngataiharuru Taepa 12 years of kowhaiwhai’ at Pataka Art and Museum earlier in 2015. It is a work that marries the graphic qualities of kowhaiwhai with router technology.

Mana toioho The exhibition features work of BMVA graduates selected by staff who have contributed to Toioho ki Āpiti including Shane Cotton, Kura Te Waru Rewiri, Rachael Rakena, Ngatai Taepa, Israel Birch, among others. Robert Jahnke, as the founder of the BMVA has assumed the role of curator. The works range across video, installation, sculpture and painting including work completed as part of the degree with a third year work (Te Utanga Tautuhi); BMVA exhibitions (Erena Arapere (nee Baker), Liz Grant, Erana James, Aaron Te Rangiao, and Fleur Waipouri), PGDipMVA exhibition (Glenn Skipper, Kereama Taepa); MMVA exhibitions (Reweti Arapere, Tanu Aumua, Ngahina Hohaia, and Kelcy Taratoa) through to work created specifically for the 20 year anniversary exhibition (Huhana Smith) and post-Toioho ki Āpiti work (Nigel Borrel, Charlotte Graham, Asher Newbery, Ngataiharuru Taepa and Saffron Te Ratana) along with Kura Te Waru Rewiri.

1. The School of Māori Art, Knowledge and Education was formerly the School of Māori Studies. The name change occurred while I was the Head of School under the Professor Susan Mumm, Pro-Vice Chancellor of the College of Humanities and Social Sciences to acknowledge the presence of the Māori Visual Arts programme alongside other areas of Māori knowledge.

2. Tyler, Linda. ‘A strategic essentialist in the Manawatu’ in Artnews New Zealand Spring 2014, page 87.

3. Te Utanga Tautahi is the most recent recipient of the scholarship. Other recipients in the exhibition include Aaron Te Rangiao, Glenn Skipper, Kelcy Taratoa and Nigel Borell.

4. Her BMVA graduation exhibition work Roimata Toroa was acquired by the Puke Ariki collection in 2007.

5. Jahnke, R. (2011). ‘Ngahina Hohaia: A journey in fibre’.

Matariki catalogue. Auckland Council.

6. Tyler, Linda. ‘A strategic essentialist in the Manawatu’ in Artnews New Zealand Spring 2014, page 85.

7. Ibid. page 86-7.

REFLECTIONS ON THE INFLUENCE OF MANA WHENUA AND MANA TIRITI Huhana Smith Ngāti Tukorehe, Ngāti Raukawa.

This contribution to Toioho XX is dedicated to both Māori customary activities of ultimate potential, creativity and promise of well being to come1 as evident in Mana Whakapapa highlighted within Professor Robert Jahnke’s introductory essay. It also acknowledges all the Toioho ki Āpiti (ToKA) trained artists who are socially, politically and culturally engaged in kaupapa Māori approaches to contemporary art practice. They function within the compelling interface of ‘indigenous’ and ‘western’ art.2 ToKA has enabled its students to ground themselves in Māori cultural attributes of mana in its many forms. As Māori customary knowledge bases, or mātauranga Māori and its development emerge from cosmological, genealogical, spiritual and natural realms, these understandings have ongoing relevance to contemporary art practice. Māori artists might reapply them in different ways to what our ancestors faced in the past3, or Mātauranga Māori is also considered a modern or contemporary term, however it is stated by key Māori scholars (who actively respect, use and develop our Māori knowledge systems) that our tasks are:

Huhana Smith, Pāharakeke, 2015.

‘…not merely to reconstruct a worldview so as to return to it… but rather to develop an understanding of aspects of that worldview, and to explore how they might inform a new paradigm…[Māori] have to shape a worldview that weaves these elements convincingly and into a lived whole. One way to do this is to draw connections between key themes and ideas in our traditional knowledge bases and critical issues facing human society everywhere. For why revitalise and revive mātauranga Māori if not to make a contribution to our world?’ 4 Within the whanau (family) of ToKA, Sir Mason Durie elevated our Treaty understandings with his highly influential Treaty of Waitangi lectures as did other Māori academics, Professors Linda and Graham Smith who led us with their kaupapa Māori research methodologies. They all challenged us as artists and creative thinkers, ‘to take active responsibility for the part we play in the global, indigenous collective, so that we might fashion new models of thinking about ourselves, and creating ourselves within this world.’ 5

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Huhana Smith, Installation view of ‘Tiaki’ at Bartley Art and Company, Wellington, 2015.

In reflecting on the power of Mana Whenua and Mana Tiriti during the course of my ToKA experience, my art and work place development in Aotearoa New Zealand and more recently, through my research team’s endeavours for Manaaki Taha Moana: Enhancing Coastal Ecosystems for Iwi and Hapū (MTM) from 2010 to 2015 - these values continue to help our Hapū (collective of family groups) to determine new collaborative models of thinking about how we exist. Such values underpinned how we might combine contemporary art, culture, design/landscape architecture and science for better solutions to live sustainably on Papatūānuku.

Our MTM research endeavour tried very hard to be transformative in its activities in the promise that Aotearoa New Zealand with its two cultures - both indigenous and settler (with meaningful application of Mātauranga Māori and cultural values to environmental revitalisation and cultural resilience) will finally acknowledge the importance of Māori knowledge systems, culture and identity as valuable to everything government says and does. It needs to be welcomed and centred in all ways we conduct ourselves and do things in this country.6

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In valuing and actualising the use of our Māori knowledge, further funding has been secured (in October 2015 until 2017) for a focused research project that this author (as principle investigator) will lead with Iwi and Hapū researchers, Māori farm boards and leaders, our ongoing Massey and Victoria University collaborators, a leading climate change scientist and geomorphologist.

The Ministry for Business Innovation and Employment (MBIE) is funding the successful bid, ‘Adaptation Strategies to Address Climate Change Impacts on Coastal Māori Communities’. It is a Vision Mātauranga project funded by the ‘Deep South’ National Science Challenge and administered by National Institute for Water and Atmospheric (NIWA). It aims to develop a framework for building resilience in coastal Māori farming communities by identifying culturallyinformed, climate change adaptation strategies and testing their economic, environmental and cultural implications through a series of three designed, whole-of-farm scenarios. The project will build Māori capacity to proactively

and productively adapt to climate change, leading to new processes of effective social engagement for dealing with this issue. Because of quite specific ownership patterns and Hapū relationships to coastal tracts of whenua, key Iwi and Hapū participants have the potential to act as role models for other coastal farms in Aotearoa New Zealand.7 In addition to this research, another co-team has been assembled for a cocreated project based on the findings of Adaptations. It is called ‘Whakatairangitia, rere ki uta, rere ki tai. Proclaim it to the sea, proclaim it to the land: how Art, Design, Culture and Science demonstrates climate change adaptations from an indigenous perspective’. This proposed project will be hosted by School of Architecture at Victoria University, Wellington. A Māori research team will again work alongside Massey and Victoria, Iwi and Hapū, contemporary indigenous artists (Inuit, Native American and Māori) and world-leading artist/design groups such as The Harrison Studio from University of Santa Cruz, California USA and Lateral Office based in Toronto, Canada. This project is underpinned by crossindigenous knowledge and perspectives, and acknowledges how, ‘art and design are often the basis for transformative change because they can integrate many threads of scientific research and make knowledge accessible to communities.

This approach to research on environmental threats such as climate change can achieve a step change in the public’s understanding of environmental science.

Through art we can demonstrate the impact of threats facing the 21st century; with design we can show how we might adapt to inevitable change.’8 From these kinds of vantages, Māori visual culture might be used to take stock of the capacities and resources of everyone involved in creative practice, and how we might construct ‘worlds’ collectively.9 In this way too, Māori visual arts might help lift the imagination of our people to better engage with the complex and precarious world we inhabit. With this view in mind, engaging in contemporary art practice is all about achieving social justice and sustainability through creative processes. Additionally, a collaborative sensibility of artists, designers and other specialists can collectively create works and practices that influence actions – all based on multidisciplinary, interventionist and social practices.10 ToKA has been a game-changing and forward-thinking experience.

In recent years as an external examiner I have also kept abreast of the pursuits of many ToKA Masters and PhD graduates. I applaud their influences upon contemporary art and visual culture. ToKA has been an important platform from which leading corpuses of artists, university-based educationalists, curators, gallery and museum professionals are now subtly, but certainly shifting education and cultural institutions, via their practice around the country and into the world.

1. The nature and dimension of whakapapa transmits or expresses the attributes of atua (environmental entities), where their activities are recalled and recited on occasions to reaffirm connections to the environment, ancestors and future generations to come.

2. www.massey.ac.nz – Master of Māori Visual Arts (MMVA) 3. S.M Smith, 2007, Hei Whenua Ora Hapū and Iwi approaches for reinstating valued ecosystems within cultural landscape, Unpublished PhD Thesis, Te Pūtahi ā Toi, School of Māori Studies, Massey University, Palmerston North, page 18.

4. After Charles Te Ahukāramu Royal, 2004, Mātauranga Māori and Museum Practice, A Discussion paper prepared for the Museum of New Zealand Te Papa Tongarewa, page 3.

5. Based on comments made by Professor Linda Smith at the He Manawa Whenua conference, Kirikiriroa, Hamilton, 1 July 2013.

6. Waitangi Tribunal. 2011, Ko Aoteroa tēnei: a report into claims concerning New Zealand Law and policy affecting Māori culture and identity, Te Taumata Tuatahi, Waitangi Tribunal, Wellington, page xviii.

7. Derrylea Hardy et.al, 2015, Submitted proposal document for ‘Adaptation Strategies to Address Climate Change Impacts on Coastal Māori Communities’, The Deep South - Te Kōmata o Te Tonga National Science Challenge, National Institute of Water and Atmospheric Research (NIWA) and Ministry for Business Innovation and Employment (MBIE): Wellington.

8. Sourced from Martin Bryant, Huhana Smith & Penny Allan, 2015, A Research Proposal to Catalyst Fund, Ministry for Business Innovation and Employment (MBIE): Wellington.

9. Nato Thompson, 2015, Seeing Power: Art and Activism in the 21st Century, Melville House: Brooklyn and London.

10. ibid.

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WHAKAWHITI KORERO

Israel Birch, E kau ki te tai e, 2012.

Israel Birch Ngāpuhi, Ngāi Tawake, Ngāti Kahungunu, Ngāti Rakaipaaka.

Tokatini celebrates the BMVA, MMVA and PhD graduates of Toiho ki Āpiti from over the last 20 years. As alumni of Toioho ki Āpiti their creative identity has been strengthened by understandings of mana as the central lifeforce of one’s prestige, authority, power, influence, status, spiritual power, charisma. Mana is a supernatural force within a person.1 This innovative approach reminds me of my childhood hero or TV mentor, Bruce Lee. He created a movement similar to Robert Jahnke’s ToKA2 approach. Lee, a master of Wing Chun, created his own martial art called Jeet Kune Do or ‘Way of the Intercepting Fist’. Lee created this system after a match with Wong Jack Man whereby his system did not live up to Lee’s potential. Lee’s view was that traditional martial arts techniques were too rigid and formal to be practical. Lee, perhaps like

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Jahnke, recongnised the need to develop a person with dexterity and tenacity to survive the rigors of combat, whilst grounding and training that person in philosophy.

Lee developed his Jeet Kune Do method with an emphasis on practicality, flexibility, speed and efficiency.3 It became an extension to his whakapapa or genealogy of martial arts. While this may seem a very obscure parallel to be making, as a child I firmly believed that Bruce Lee was a Māori innovator in the arts!

A system will always confront the need for change and development, therefore ToKA’s system was built on a foundation of mana. Our students engaged with creative processes underpinned by the cultural values of Mana Whakapapa, Mana Whenua, Mana Tiriti and Mana Tangata. Students engaged with te reo Māori (Māori

language), Tīkanga Māori (Māori Customs) and Te Tiriti o Waitangi (The Treaty of Waitangi). This multifaceted learning takes a Māori ‘whole of person’ and ‘whole of system’ approach into account.

ToKA has now become a creative movement, centred on manaenhancing outcomes.

Similarly, we are all products of how Sir Mason Durie developed a system called Te Whare Tapawhā - the four cornerstones of Māori Health.

Te Whare Tapa Whā recognised four Māori principles of health; taha tinana (physical health), taha wairua (spiritual health), taha whānau (family health) and taha hinengaro (mental health). This health system was also a mechanism to recognise and uplift one’s mana, which impacted on the way Māori defined themselves with new frameworks that achieve mana enhancement and tinorangatiratanga (self-determination).

EHARA TAKU TOA, HE TAKITAHI, HE TOA TAKITINI. MY SUCCESS SHOULD NOT BE BESTOWED ONTO ME ALONE, AS IT WAS NOT INDIVIDUAL SUCCESS BUT SUCCESS OF A COLLECTIVE. Toioho ki Āpiti is grounded by innovative ideas. It recognises the spaces that creative Māori students inhabit. There have been many agents who have contributed to the lifeforce that is Toioho ki Āpiti, in particular Kura Te Waru Reweti, Shane Cotton, Huhana Smith, Rangi Kipa, Julie Paama-Pengelly, Fleur Waipouri, Jacob Scott, Saffron Te Ratana, Ngataiharuru Taepa, Brett Graham, Rachael Rakena, Erena and Reweti Arapere, Ephraim Russell, and our very own ‘Macgyver’ or studio technician, Colin Rolfe.

In particular, it is important in this celebration to acknowledge two current lecturers or creative agents who have contributed significantly to the development of ToKA and Māori visual culture. Ngataiharuru Taepa, as a graduate of the BMVA went on to teach and develop a painting programme inspired by his childhood memories of lying in the whare whakairo (carved meeting house) and looking up at kōwhaiwhai on the heke (painted rafters). His fascination for kōwhaiwhai would take him into the classroom and become the mauri (essence and vitality) of his practice.

During Taepa’s 14 years of teaching for BMVA, he has also chaired Te Ātinga (the contemporary Māori artists group supported by Toi Māori), and advocated for talented Māori art students. Taepa is currently Associate Professor and Kaihautu Toi Māori (Director of Māori Arts) for the College of Creative Arts in Wellington. He will continue to dream, analyse, envision and create a future, which is healthy for the next generation of creative ‘dreamers’.

Rachael Rakena, current BMVA programme leader, created a major shift for Māori moving image as she developed her own movement, Toi Rerehiko as encapsulated in her Master’s study at Ōtago University.

Rakena’s inspirational practice freed students to create their own work in a virtual world. It is no secret that Rakena dreams of being an astronaut!

As an ‘art teaching astronaut’ Rakena takes her students into new spaces to think and develop new forms of Toi Rerehiko. Rachael’s 11 year contribution to teaching has empowered students to project their aspirations on the virtual world.

In a Māori world view, we are reticent to acknowledge our own contributions to teaching on BMVA, however over the last 9 years I too have ‘dreamed’ a painting practice into being, based on Whakamāramatanga or illumination.

I would like to thank all contributors to BMVA for sharing their dreams and aspirations with me. You have all taught me some very important lessons regarding mana toi Māori.

In all, the collective mana of ToKA is bestowed by others who support the creative agency of our tauira (students) and staff. Tokatini exhibitions at the White Room and Square Edge galleries, also celebrate all students’ agency since leaving Te Pūtahi-a-Toi. Many have gone on to shape and create new directions in Māori visual culture. They have inspired the landscape of teaching by working across all forms of wānanga (education). Teaching is a vital vehicle for Māori development especially within mainstream education spaces.

Graduates continue to be innovative as full time art practitioners in Māori television, curation, academic and creative writing, museums, design, architecture, tā moko and fashion - to name a few. Some have pushed their creativity into other areas such as food, as we can add a chef to the list who has taken his work to the world! Together, Toioho ki Āpiti continues to elevate the mana of Te Pūtahi-a-Toi. The shifts within Māori Visual Culture over the last 20 years have been significant. We recognise those who have carved a pathway for us to succeed, and hope that we in turn develop that for others. With mentors such as Lee and Jahnke, and with the collective of creative agents and students, I am optimistic that the future looks positively brown!

Most critically, the next phase for our movement will be to engage with issues about the health of our planet.

Climate change is one of the biggest generational issues we face. We have the potential to be leaders in this field, once we realise our creativity in this context.

As my mentor would say, “be water my friend”.

1. http://maoridictionary.co.nz/search?idiom=&phrase= &proverb=&loan=&histLoanWords=&keywords=mana 2. ToKA is an acronym for Toioho ki Āpiti and translates as ‘solid as a rock’. ToKA represents the strengths and solidarity bound by mana. Tini translates as many, multiple, a great number and myriad. Therefore, Tokatini reflects the strength of many, that have shaped and driven this movement.

3. https://en.wikipedia.org/wiki/Bruce_Lee#cite_note-46

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TOIOHO AND CONTEMPORARY MĀORI ART DEVELOPMENT Anna-Marie White Te Ātiawa

Toioho ki Āpiti evolved as part of a broad strategy for the development of contemporary Māori art. This strategy was implemented by contemporary Māori art leaders who sought to claim a space for Māori within New Zealand art as an assertion of Māori rights by way of the Treaty of Waitangi.

Through activism and advocacy they established a bureaucratic structure modelled on the dominant New Zealand art system. This bureaucracy included a succession of governmentfunded Māori art organisations to advance contemporary Māori art development.

From the 1950s Māori artists began to participate in the Western tradition of fine arts. These artists created exhibition contexts to present their work albeit in untraditional spaces such as public halls and education rooms. In the 1960s, a number of these artists began to exhibit in traditional public art gallery spaces though these opportunities were limited and wholly reliant on support from non-Māori.

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In 1973 Māori art leaders initiated the Māori artists and Writers Society (later known as Ngā Puna Waihanga). The purpose of Ngā Puna Waihanga was to support and develop contemporary Māori art. Their strategy was two-fold: to claim a portion of government arts funding in accordance with Māori rights under the Treaty of Waitangi, and create opportunities to present and discuss their work. Ngā Puna Waihanga held annual hui at marae throughout New Zealand and also staged exhibitions within those spaces for predominantly Māori audiences. However, Ngā Puna Waihanga leaders were also determined to gain stronger representation in New Zealand art galleries.

Through the 1970s Ngā Puna Waihanga leaders successfully lobbied for the establishment of a government fund to support Māori art. They were successful and the Māori and South Pacific Arts Council was established in 1978. MASPAC

was a subsidiary of the Queen Elizabeth II Arts Council, which supported the broader field of New Zealand arts.

Through the 1980s MASPAC provided funding to Māori artists to train, travel and produce art works.

In this same period, the landmark exhibition of Māori taonga, Te Māori, toured metropolitan museums in North America and New Zealand from 1984-87 and generated unprecedented attention and opportunities for contemporary Māori art; opportunities that Ngā Puna Waihanga had not only engineered but were perfectly poised to effect.

Matatau Exhibition, 2011.

These incremental achievements culminated in the Kohia Ko Taikaka Anake exhibition held at the National Art Gallery of New Zealand in 1990.

This exhibition was curated by Para Matchitt, representing Ngā Puna Waihanga, and Sandy Adsett, who was chair of Te Ātinga ,the contemporary Māori arts panel of Te Waka Toi (formerly MASPAC). The exhibition featured the work of Ngā Puna Waihanga members and other Māori artists who were affiliated with, or simply recognised, by members of the group.

In many respects, Kohia Ko Taikaka Anake was a major achievement and indicated the effectiveness of the Ngā Puna Waihanga movement.

This success and momentum within the New Zealand art sector was undermined, however, by Choice!, a small and relatively modest

exhibition that was held in an experimental public art space called Artspace in Auckland just months before Kohia Ko Taikaka opened in Wellington. Choice! was the work of independent Māori curator, George Hubbard, and critically responded to the dominance and influence of Ngā Puna Waihanga. Hubbard framed the work of a young generation of tertiary-trained contemporary Māori artists in opposition to the principles of Ngā Puna Waihana (despite the fact that a number of those artists actually went on to participate in Kohia Ko Taikaka Anake). Specifically, Hubbard challenged the Māori cultural obligations implicit in the Ngā Puna Waihanga movement as limiting the potential of contemporary Māori art.

The transgressive nature of Choice! quickly caught the attention of nonMāori curators and art aficionados previously unsympathetic to the Ngā Puna Waihanga movement.

Furthermore, Choice! signalled the emergence of a new generation of tertiary-trained contemporary Māori artists whose work aligned more closely with the Western histories, preferences and values of contemporary New Zealand art discourse. The momentum gained

by Ngā Puna Waihanga and Te Māori within the New Zealand art system shifted to a younger generation: Shane Cotton, Jacqueline Fraser, Brett Graham, Michael Parekowhai, Lisa Reihana and Peter Robinson.

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With the force of the New Zealand art system behind them, these artists gained a leading position in contemporary New Zealand art as evidenced by their inclusion in seminal exhibitions in public art galleries, national and international through the 1990s.

Toioho ki Āpiti was established at Massey University in Palmerston North in the midst of this shifting terrain.

This programme fulfilled the desire to offer tertiary Māori art education as part of the broader strategy to establish a Māori arts infrastructure within government. The establishment of Toioho should also be considered in light of Choice! and Kohia Ko Taikaka Anake and the need to train contemporary Māori artists to take up the opportunities created by the Māori arts bureaucracy, taking back the ground in New Zealand art that had been lost.

Toioho was established by Robert Jahnke, who had featured in the emerging leaders grouping in the Kohia Ko Taikaka exhibition structure.

Jahnke had engaged in a rigorous course of tertiary art education, with two Masters level art degrees undertaken at the Elam School of Fine Art at the University of Auckland and the California Institute of the Arts. By the time of his appointment to head the school he had gained international attention for politically motivated sculpture that systematically critiqued the colonial project in Aotearoa.

Shane Cotton joined Toioho in 1993.

At that time Cotton was recognised as one of the most promising artists in New Zealand. He had graduated with a Bachelor of Fine Arts from Ilam School of Fine Arts at the University of Canterbury, Christchurch, and rose to prominence with abstracted biomorphic paintings in the manner of North American painter, Terry Winters.

When he was appointed to Toioho, Cotton had began to reference Māori art histories in his art works, inspired by paintings that featured in nineteenth century Māori architecture. Cotton’s conversion

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to Māori subject matter intensified the interest in his work and propelled his career. His appointment to Toioho at that moment in his career also indicated a sense of obligation to Māori – to contribute to Māori art development but also to his own development as a contemporary Māori artist – and this immediately distinguished (and enhanced) his standing as an artist from both a Māori and Pākehā perspective.

Jahnke and Cotton were joined by Kura Te Waru Rewiri in 1995. Te Waru Rewiri was a formative member of Ngā Puna Waihanga and a Masters graduate of Ilam School of Fine Art at Canterbury University. Te Waru Rewiri was broadly recognised as a leading Expressionist painter and was involved as an exhibiting artist, project curator and advisor at the Auckland Art Gallery, and with Selwyn Muru, established Toi Hou, the Māori art department at Elam in 1993. Her departure from Toi Hou so soon after its inception, and relocation from the centre of contemporary New Zealand art to the regional city of Palmerston North is a measure of her belief and commitment to training contemporary Māori artists within a Māori paradigm.

The reputation of the Toioho leaders was confirmed by their prominence in a cluster of important exhibitions around the turn of the twenty-first century. Most notably was Pūrangiaho: Seeing Clearly 2001, a major survey show curated by Ngahiraka Mason, the first Māori curatorial appointee at Auckland Art Gallery Toi Tāmaki.

Pūrangiaho rivalled Kohia Ko Taikaka Anake in terms of scale, ambition and institutional commitment to contemporary Māori art. Pūrangiaho also acknowledged the status of the Toioho faculty, recognising Jahnke and Te Waru Rewiri as central figures in contemporary Māori art. Cotton’s paintings were positioned at the front of the exhibition, preceded only by the work of Saffronn Te Ratana, one of the first graduates of the Toioho programme and her position in the exhibition was a bold statement given the early stage of her career.

Interestingly, the work of Ngatai Taepa, who was in the same year as Te Ratana, was one of the last works in the exhibition narrative.

In these ways, the Toioho leaders not only set a standard of practice for their students, they also fulfilled an ambition of the Ngā Puna Waihanga movement: to gain a strong position for Māori within contemporary New Zealand art discourse. By doing so, Toioho leadership also secured a space for the next generation – trained by them – to hold that ground and uphold the principles of earlier generations.

Yet the direction of the Toioho school has not followed that trajectory. As a consequence of their immersion in a Māori educational environment, which prioritises mātauranga Māori and cultural responsibility, many Toioho artists have found the conditions of practice in the New Zealand art scene to be incompatible – even opposed – to their education.

Some have turned their attention away from the art gallery as their primary site of practice favouring other sites and models of creative endeavour. This includes networking with other indigenous artists at an international level along with collective and community-based projects.

“TOIOHO KI ĀPITI FOCUSSES ON DEVELOPING CONFIDENT AND COMPETENT PRACTITIONERS”

The motivations of the school have recently been described by Ngatai Taepa, Associate Professor at Massey University College of Creative Arts in Wellington, which Toioho joined recently, “Toioho ki Āpiti focusses on developing confident and competent practitioners. The programme aims to achieve this through providing a wānanga (learning environment) where Māori Art is informed by Māori culture, and where Māori Art contributes to Māori Development…

This approach is primarily aimed at developing Māori Art graduates who will be creative from a Māori cultural perspective and feel comfortable connecting with other areas of Māori development.”

In that regard, the Toioho school seems to be moving away from an original ambition of Ngā Puna Waihanga, which was to actively engage with contemporary New Zealand art discourse and achieve a strong position of representation for Māori in that field. This is not to say that the current proliferation of Māori artists within the sector is lacking strength: rather, their priorities and values as Māori, and as artists, are focussed elsewhere.

The twenty-year anniversary of the school provides an opportunity to reflect on these changes and thoughtfully consider the direction of Toioho and how their objectives will align – and alight – with the bureaucracy and institutionalisation of contemporary Māori art.

Ngataiharuru Taepa

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Nigel Borell, Hawaiki hue II, 2010.

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Julie Paama-Pengelly, Moko Tangata, 2004.

Tanu Aumua, A Gift of Tongues, 2011.

Tanu Aumua, Te Rongomaiwhiti, 2011.

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Reweti Arapere, 1, 2012

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Reweti Arapere, 2, 2012

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Erena Baker-Arapere, Tangowhakaahua #1, 2006.

Erena Baker-Arapere, Tango Whakaahua (Cluster), 2006.

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Glen Skipper, Te Arai Awa, 2005.

Ngahina Hohaia, Paopao Ki Tua o Rangi?, 2009.

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Huhana Smith, PÄ Harakeke: Ideas towards healing (Detail), 2015.

300 x 2430mm

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Erana James, Untitled, 2013.

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Saffron Te Ratana, Whakarongo ki te karanga, 2014.

Ngataiharuru Taepa, Tane Pupuke, 2014.

Photo: Alex-Efimoff.

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Fleur Waipouri, Ko te aupouri te iwi, 2003.

Kereama Taepa, Mona Lisa Smile, 2005.

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Kelcy Taratoa, Episode 001, 2003.

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Te Utanga-ki-Whangaparaoa Tautuhi, The Impenetrable Core, video stills, 2013.

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Charlotte Graham, Kaitiakitanga, 2015.

Liz Grant, Hung Out to Dry II, 2002.

Photo: Erena Baker-Arapere

Asher Newbery, Te Okiwa-Te Urewera (Detail), 2015.

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WHAKAWHITI KORERO Rachael Rakena Ngāi Tahu, Ngāpuhi Tini whetū ki te rangi, Ko Tānenui-a-rangi ki te whenua.

Tini whetū ki te rangi, Ko Toioho ki Āpiti.

Tini whetū ki te rangi, Ko ngā ringatoi ki te ao.

Like the multitude of stars in the sky, So great is Rangitāne on the earth.

Like the multitude of stars in the sky, So awakens creativity in the Manawatū.

Like the multitude of stars in the sky, So many are the artists moving into the world.

When we met to decide how best to acknowledge and celebrate the 20-year anniversary of our programme, there were plenty of ideas and opinions. The ideas we kept returning to reflect the principles and values of the Toioho ki Āpiti programme; whakapapa; whanaungatanga; toiohotanga; wānanga; mana whenua; manaakitanga, mana, and especially mahi toi.

With these in mind, we agreed that our celebration would give every graduate of Toioho ki Āpiti (approximately 150 across BMVA, Postgrad MVA, MMVA, and PhD) an opportunity to exhibit his or her mahi toi and that this would happen as a movement across the city, through public, community and commercial organisations who partner and support our artistic projects. Israel Birch accepted this challenge with his trademark exuberance rallying approximately 70 artists into the multi-venue Tokatini exhibition.

A bespoke exhibition at Te Manawa celebrating the success and strength of the programme through the artistic achievements and excellence of its BMVA graduates would be curated by Professor Robert Jahnke, bearing the high standards he has set over the past two decades, with a view to touring.

Kura Te Rewiri, Tēnei au, tēnei au (This is me, this is me), 2006.

Rachael Rakena, Ka puna te wai, ko te kāawai puna, 2015.

The Matatau 2015 graduating students’ exhibition at Te Manawa would give a public gallery platform to this year’s graduates, as it does every year, and to celebrate the occasion I have featured Robert Jahnke alongside them as the only lecturer to have taught each and every BMVA student.

We would contribute to and move forward Māori visual culture through wānanga that would feature our senior artists and thinkers alongside those dealing with issues of our present generation and the future. This wānanga would be instigated and overseen by Associate Professor Ngataiharuru Taepa in his new capacity as Kaihautu Toi Maori, signalling a new era in Māori visual culture leadership at Massey.

We agreed to acknowledge the university, the city, its impact on us, and our creative contribution to it, with an art trail, Te Ara Toi, that traces the journey of our students, from an exhibition at Te Pūtahi ā Toi, Massey University, through the community of galleries, organisations and public spaces around town, to Te Manawa Art Gallery and beyond.

This event has evolved, as it needed to… and we are very happy to be celebrating 20 years of Māori visual art and culture at Toioho ki Āpiti, Massey University, with aroha… TOIOHO XX.

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AWARD TO RECOGNISE EMERGING MĀORI ARTISTS

Note: This award was called Ngā Karahipi a Te Waka Toi (Te Waka Toi Scholarships) from 1999 – 2013.

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2014

Te Utanga-ki-Whangaparaoa Tautuhi Ngāti Ranginui, Ngāi Te Rangi, Ngāti Raukawa, Ngāti Porou

2012

Rongomaiaia Te Whaiti Ngāti Kahungunu ki Wairarapa, Kāi Tahu, Rangitāne

2011

Karangawai Marsh Ngāti Maniapoto, Ngāti Raukawa, Te Arawa

2010

Reuben Friend Ngāti Maniapoto

2009

Kylie Tiuka Tūhoe Te Urewera, Ngāti Tawhaki, Ngāi Te Riu, Ngāti Ruapani

2008

Aimee Rose Stephenson Ngāti Mārau

2007

Ngahina Hohaia Taranaki

2005

Glen Skipper Te Atiawa

2005

Israel Birch Ngāpuhi, Ngāi Tawake, Ngāti Kahungunu, Ngāti Rakaipaaka

2004

Aimee Ratana Tūhoe

2003

Shane James Rangitane

2003

Hemi MacGregor Tūhoe, Ngāti Kahungunu

2002

Kelcy Taratoa Ngāi Te Rangi, Ngāti Raukawa

2001

Aaron Te Rangiao Ngāti Ruanui, Ngāti Apa

2000

Nigel Borell Ngāi Te Rangi

INTERNATIONAL AND NATIONAL

SCULPTURE ON THE PENINSULA (LYTTLETON HARBOUR) 2015

Aaron Te Rangiao Ngāti Ruanui, Ngāti Apa

RASMUSON FOUNDATION FELLOWSHIP 2014

Nick Galanin Tlingit, Aleut

EITELJORG CONTEMPORARY ART FELLOWSHIP 2014

Nick Galanin Tlingit, Aleutt

UNITED STATES ARTISTS FELLOWSHIP 2014

Nick Galanin Tlingit, Aleutt

CNZ BLUMHARDT CURATORIAL INTERNSHIP AT THE DOWSE ART MUSEUM

ARTS FOUNDATION OF NEW ZEALAND NEW GENERATION AWARD 2010

Ngahina Hohaia Parihaka, Ngāti Moeahu, Ngāti Haupoto, Taranaki Iwi

EARLE TRUST GRANT 2015

Asher Newbery Ngāi Tuhoe

Erena Baker-Arapere Te Atiawa ki Whakarongotai, Ngāti Toa Rangatira, Raukawa, Ngāti Ruanui

Bridget Reweti Ngāti Ranginui, Ngāi Te Rangi

Terri Te Tau Rangitāne and Ngāti Kahungunu

RYOICHI SASAKAWA YOUNG LEADERS’ FELLOWSHIP

2014

Bridget Reweti Ngāti Ranginui, Ngāi Te Rangi

2011

2010

Reuben Friend Ngāti Maniapoto

MASSEY UNIVERSITY MASTERATE SCHOLARSHIP

NORSEWEAR ART AWARD 2006

Israel Birch (Joint winner) Ngāpuhi, Ngāi Tawake, Ngāti Kahungunu, Ngāti Rakaipaaka

ROTORUA ART MUSEUM SUPREME ART AWARD 2013

Kylie Tiuka Tuhoe Te Urewera, Ngāti Tawhaki, Ngāi Te Riu, Ngāti Ruapani

Terri Te Tau Rangitane, Ngāti Kahungunu

2012

Rongomaia Te Whaiti Ngāti Kahungunu ki Wairarapa, Rangitane, Ngāi Tahu

2011

Bridget Reweti Ngāti Ranginui, Ngāi Te Rangi

2010

Karangawai Marsh Ngāti Maniapoto, Ngāti Raukawa, Te Arawa

2009

Areta Wilkinson Ngāi Tahu, Ngāti Irakehu, Ngāti Wheke

2008

Erena Baker-Arapere Ngāti Toa

MASSEY UNIVERSITY DOCTORAL SCHOLARSHIP 2015

Karen McIntyre Pākehā

2010

Elizabeth Grant Ngāti Huia, Ngāti Raukawa

2009

Areta Wilkinson Ngāi Tahu, Ngāti Irakehu, Ngāti Wheke

2009

Johnson Witehira Tamahaki, Ngā Puhi, Ngāti Haua

2008

Julie Paama-Pengelly Ngāi Te Rangi

FREEMASON’S POSTGRADUATE SCHOLARSHIP 2015

Karen McIntyre Pākehā

CLAUDE MCCARTHY FELLOWSHIP 2015

Karen McIntyre Pākehā

THE NEW DOWSE GOLD AWARD 2009

Areta Wilkinson Ngāi Tahu, Ngāti Irakehu, Ngāti Wheke

CREATIVE NEW ZEALAND CRAFT OBJECT FELLOWSHIP 2015

Areta Wilkinson Ngāi Tahu, Ngāti Irakehu, Ngāti Wheke

CREATIVE NEW ZEALAND EARTHQUAKE FUNDING 2015

Areta Wilkinson Ngāi Tahu, Ngāti Irakehu, Ngāti Wheke

MASSEY UNIVERSITY VICECHANCELLOR’S SCHOLARSHIP 2015

Karen McIntyre Pākehā

2010

Areta Wilkinson Ngāi Tahu, Ngāti Irakehu, Ngāti Wheke

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BMVA Robert Jahnke 1991 – present Ngāi Taharora, Te Whānau a Rakairoa, Te Whānau a Iritekura o Ngāti Porou.

Rachael Rakena 2005 – present Ngāi Tahu, Ngāpuhi Israel Birch 2007 – present Ngāpuhi, Ngāi Tawake, Ngāti Kahungunu, Ngāti Rakaipaaka Ngataiharuru Taepa 2002 – 2014 Te Arawa, Te Ati Awa Shane Cottton 1993 – 2007, 2011 – 2014 Ngā Puhi, Ngāti Rangi, Ngāti Hine and Te Uri Taniwha Kura Te Waru Rewiri 1995 – 2001, 2006 – 2007 Ngāpuhi, Ngāti Kauwhata, Ngāti Rangi Saffronn Te Ratana 2002 – 2004, 2014 – present Ngāi Tuhoe Huhana Smith 1996 – 1999 Ngāti Tukorehe, Ngāti Raukawa.

Brett Graham 2005 Ngāti Koroki Erena Baker-Arapere 2015 Te Atiawa ki Whakarongotai, Ngāti Toa Rangatira, Raukawa, Ngāti Ruanui Ephraim Russell 2015 Te Aitanga-a-Mahaki, Rongowhakata, Ngāi Tamanuhiri, Rongomaiwahine, Ngāti Kahungunu, Kati Mamoe, Ngāi Tahu Jacob Scott 2001 Ngāti Kahungunu, Ngāti Raukawa Te Arawa and Te Atiawa Dianne Prince 1998 Nga Puki and Ngāti Whatua John Bevan Ford 2000 Ngāti Raukawa ki Kapiti, Ngāti Wehiwehi

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2015

2006

Alex Leaf Justin-Leigh Manuel Kim Williams Richard Mudford Samantha Tui-Ihaia McKay Te Utanga-Ki-Whangaparoa Tautuhi Teaomana Reti-Tahuriorangi

Erueti Tutaki Piata Winitana-Murray

2014 Mark Te Hau

Jenny Katene-Morgan Tanumafili Aumua

2013

2003

Beatrice Ropata-Te Hei James Kelly Te Iwihoko Te Rangihirawea

Elizabeth Grant Emma Brame Fleur Waipouri Kelcy Taratoa Philiip Cockle

2012 Erana James Jacob Davey Janell Wilson Jermaine Reihana Rongomaiaia Te Whaiti Waimarie Hunt 2011 Kristy Bedi 2010 Bridget Reweti Karangawai Marsh Senia Eastmure 2009 Asher Newbery Joel Martin Terri Te Tau 2008 Kelvin Kara Marianne Hodge 2007 Aimee Stephenson Colin Parker Erena Baker-Arapere Marc Kawana Ngahina Hohaia Reweti Arapere

2005 Gordon Thompson Shane Wilson 2004

2002 Aaron Te Rangiao Cynthia Kapene Glen Skipper Jacqueline Wardle Kate Tua Seas-Buan Cookson 2001 Charlotte Graham Denise Tohiariki Isiaha Barlow Ngataiharuru Taepa Nigel Borell Raewyn Waaka-Tangira 2000 Freda Amopiu Leisa Aumua Saffronn Te Ratana Sharon Goomes 1999 Brian Campbell Delwyn Hakaria Jannette Hitchcock Julie Paama-Pengelly Makareta Jahnke 1998 Huhana Smith

PG DIP MVA

MMVA

2014

2009

2015

Adrienne Spratt

Aimee Stephenson Henry Tahuri Kura Puke Paerau Corneal Venus Tahuri

Anna Valdoni Helen Potaka

2014 Asher Newbery Ephraim Russell Karen McIntyre Mary Clifford Rongomaiaia Te Whaiti 2013 Ariti Ransfield Baye Riddell Bridget Reweti Erana Kaa Kelvin Kara

2008 Christian Bryant Christina Wirihana Cynthia Kapene Jodi-Ann Tautari Kohai Grace Ngaromoana Raureti-Tomoana

2014 Catherine Cocker Te Hemo Ata Henare 2013 Dorothy Waetford Lisa Purda 2012 Baye Riddell Terri Te Tau

2007

2011

Donald Ratana Gordon Thompson

Louis Ratana Mary Clifford

2006

2010

Chanz Mikaere Kereama Taepa Marc Kawana Ngahina Hohaia Rychel Therin Tanumafili Aumua

Hemi Macgregor Isiaha Barlow Kelcy Taratoa Marie Anderson Peter Kipa Raymond Adsett Sharon Goomes

Elizabeth Grant Erana Kaa Marie Anderson

2011

2004

2008

Andre Te Hira Gina Matchitt Israel Birch Regan Balzer Reuben Friend

Ngataiharuru Taepa Saffronn Te Ratana

Charlotte Graham Jacqueline Wardle Tania Lewis-Rickard Tawhai Rickard

Kylie Tiuka Meika de Maxton Michelle Nichols 2012

2010 Aimee Ratana David Pearce Erena Baker-Arapere Nicholas Galanin Ngahirata Mason Rawhakarite Tupaea Reweti Arapere Stephan Gibbs

2003 Denise Tohiariki 2002 Julie Paama-Pengelly 2001 Kura Te Waru-Rewiri

2009 Areta Wilkinson Rychel Therin

2006 Bazil Brown Glen Skipper Raewyn Waaka-Tangira Wi Taepa 2000

PHD

Kathleen Morrison

2015 Areta Wilkinson Elizabeth Grant 2014 Johnson Witehira

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TOIOHO XX Dr Huhana Smith Nigel Borell Liz Grant Kereama Taepa Fleur Waipouri Kelcy Taratoa Saffronn Te Ratana Ngataiharuru Taepa Julie Paama-Pengelly Tanu Aumua Ngahina Hohaia Asher Newbery Charlotte Graham Glen Skipper Aaron Te Rangiao Erana James Te Utanga Tautuhi Erena Baker-Arapere Reweti Arapere Kura Te Waru Rewiri TOI WHENUA Tina Wirihana Kohai Grace Mari Ropata-Te Hei Karangawai Marsh Te Hemoata Henare Adrienne Spratt Natalie Ball Gary Whiting Wi Taepa Paerau Corneal Baye Riddell MATATAU 2015 Tegan Hautapu Mahaki Akauola Puawai Taiapa Robert Jahnke Glenn Hauraki TAIPĹŒ Rongomaiaia Te Whaiti Bridget Reweti Terri Te Tau

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Raewyn Tangira Jannette Anglea Makareta Jahnke Delwyn Hakaraia Freda Tutaki Leisa Aumua Isiah Barlow Seas Cookson Shane James Gordon Thompson

Karen McIntyre Mere Cliford Tania Lewis-Rickard Dorothy Waetford Louis Ratana Joe Mansell Sonny Hawkins Helen Potaka Catherine Cocker Lisa Purda

Jenny Katene-Morgan Erueti Tutaki Todd Parker Marc Kawana Joel Martin Kelvin Kara Marianne Hodge Senia Eastmure Jacob Davey Waimarie Hunt Te Iwihoko Te Rangihirawea Mark Te Hau Alex Leaf Justin Leigh-Manuel Kim Williams Richard Mudford Te Aomana Reti-Tahuriorangi Denise (Tohiariki) Tamou Phillip Cockle Stephen Gibbs Chris Bryant Ngaromoana Raureti-Tomoana Henry Tahuri Tawera Tahuri Donna Tupaea Andre Te Hira Gina Matchitt Reuben Friend Chanz Mikaere Rhycel Therin Kylie Tiuka Mikaere Gardiner Erana Kaa Meika De Maxton Michelle Nichols Ephraim Russell

Joshua Campbell Claudine Muru Rachael Rakena Samantha Olive-McKay Johnson Witehira Anna Voldoni Tina Ngata Israel Birch

Dr Areta Wilkinson Kristy Bedi Aimee Ratana Janelle Wilson Regan Balzer Shane Cotton Rangi Kipa Hemi Macgregor Jermaine Reihana Nicholas Galanin

Ngā mihi aroha… warm thanks to the staff and team at Te Pūtahi a Toi, Whiti o Rehua School of Art, and the Comms team at Massey University’s College of Creative Arts for their support of this project. Special thanks to Dr Huhana Smith and our writers in this publication, to Nigel Borell for the wānanga planning and design, and to all the alumni and artists included in Toioho XX 20th anniversary celebration. Thanks to Creative New Zealand for the Quick Response Arts Grant that enabled Huhana to make her work for the show. We are also very grateful to our gallery partners at Te Manawa, The White Room Gallery and Square Edge.

We couldn’t have done it without you!

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