LISA REIHANA

As a leading multimedia artist of Maori descent, Lisa Reihana’s work explores themes related to Maori culture, history and lore through a contemporary gaze and with reference to modern societal issues. In this, the body and face markings – Tā moko – central to Maori culture often feature on the models she photographs and films.

Such cultural signifiers are particularly evident in the lauded Digital Marae (meeting place) series which presents Maori ancestors in modern settings or as the proud embodiment of underrepresented groups. In doing so, the past and present meet, and the Maori culture remains strong, resilient, and proud.

Reihana explains, “The Tohunga Suppression Act of 1907 had dire consequences for Maori, amongst which was an end to many creative practices including Tā moko.”

“Tā moko is an obvious way of asserting identity – and if my photographs attain integrity and dignity, then I revise negative notions about the past, and provide positive imagery for present generations. Making space for takatāpui within my contemporary wharenui was so important to me; creating a place for my friends to stand tall. Takatāpui is ‘a person whose special friend is the same sex’. So takatāpui is not a gendered word - it’s

Dandy (from Digital Marae series) [detail] 2007 used by men and women who wish to speak to their cultural identity as well as their sexuality.”1

Reihana suggests a link between the rise in the popularity of tattooing and the growth in the plastic surgery industry, which she sees as resulting in the acceptance of any and all types of body modification. Tattooing’s rise in popularity has led to popular culture appropriations of the Tā moko however, which Reihana remains both concerned and philosophical about.

“It concerns me that people use Tā moko, but then I am inspired by other forms not my own. Perhaps it creates interest and a starting point for dialogue. When I see particularly bad examples it does make me laugh or cringe. However, there are amazing practitioners here, who travel abroad a lot, so there are opportunities to wear something authentic.”2

The work Dandy from the Digital Marae series features within the exhibition, and is indicative of the deep narratives present in Reihana’s works, and carried on through the traditions of Tā moko. Dandy draws its inspiration from a story told to Reihana by the work’s model, Victor Biddle, which Reihana recalls begins “when early European ships arrived in Aotearoa; the takatāpui men were sent out as the emissaries.”

“Imagine these strange colonial apparitions, Māori didn’t know who or what was on-board the boats, nor what language they spoke, so, takatāpui were the mediators, they retain their own spiritual knowledge and insights beyond binary model of male and female.”

“Victor told me takatāpui were heavily tattooed with equivalencies with Arioi. The Arioi were a secret religion of the Society Islands marked from head to toe with tattoo. They included men and women of all social strata. The Arioi venerated the war god ‘Orothe founder of their order. Entrance was granted for those with physical beauty, religious knowledge, and skills in recitals, dance and pantomime. With the initiation, the new member earned the right to wear tapa in certain colours and with certain tattoos, beginning with a small ring-shaped pattern on the ankle. As the member ascended, the tattoos became increasingly large and ornate. Arioi lived in sexual freedom as long as they weren’t married.”

“So, perhaps I am promoting acceptance, a love of my culture, and making space for further possibility. Dandy integrates different cultural norms. It offers something new to counter the prevalence of colonial imagery. Dandies were a class of elite gentlemen and philosophers who heralded in modes of new thinking in the late nineteenth century. The elegant Tā moko was created by Tim Worrall, and much of the design’s appeal is due to the lightness and space, as well as the placement on Victor’s handsome face.”3

Notes

1 Quote from an interview with the artist conducted by Curator Eric Nash, 7 August 2014

2 Quote from an interview with the artist conducted by Curator Eric Nash, 7 August 2014

3 Quote from an interview with the artist conducted by Curator Eric Nash, 7 August 2014

Image: Lisa Reihana

New Zealand b.1964

A Maori dragon story [still] 1995 DVD: 15 minutes, colour, sound Acc. 2002.182

Purchased 2002. Collection: Queensland Art Gallery Image courtesy: Queensland Art Gallery | Gallery of Modern Art

Image: Lisa Reihana Waltz [still] 1998

Film, MiniDV format: 6 minutes 43 seconds, colour, sound Courtesy of the Artist, Lisa Reihana © Lisa Reihana

Photograph: Aaron Ashley