TU MAI June/July #123 by TU MAI Media Plus Ltd

NZ’S LEADING INDIGENOUS LIFESTYLE MAGAZINE

For a Fo allsorts lls ls of people

JUNE/JULY 2012 - ISSUE #123

Post-settlement savvy For Fo For or alls a al allsorts lls lso lso s rts rts of pe people eopl op o plle e

TŪ T Ū MA MAI AI | May Ma / Jun Ma June e2 2011 011 011 01 1

Cover Image supplied Bettle & Associates Hamilton Model Devon Te kanawa

James Johnston (Ngāti Porou) is Chariman of Partners and heads the Commercial Teal of Rainey Collins. James had been a Partner since January 1994 and is former Chair of the New Zealand Law Foundation.

CONTRIBUTORS

Lani Lopez Lani is a Naturopath for which natural health is both her passion and profession. Lani graduated as a Naturopath with an Advanced Diploma in Natural Medicine (South Pacific College of Natural Therapeutics) and gained a BHSc (Health Science degree) from Charles Stuart University, Sydney.

Te Rina Triponel (Auckland) Pamela Fleming (Wellington) Craig Miller (Brisbane) Montess Hughes (Wellington) Production Editor Helen Courtney Design Sheree Bridge, Design Doer Ltd sheree@designdoer.co.nz

Editorial ‘Mat-ter-reeky’ still hasn’t clinched itself as a public holiday, but it’s certainly infiltrated the Nu Zooland winter and its culture in the 21st century. Though Lord help us if we reach a cultural compromise and end up spelling either Māori or English words phonetically. No Thanks – they look far too wrong to ever be right. In this age of technology, it’s hard to fathom how humans will communicate, behave, work or play in the future. Traditional stuff is being redefined and the currency in which it operates is a new ball game. When TŪ MAI dropped the print magazine format in favour of being completely online in 2010, we knew little of what we know now, less than two years later. It turns out ‘knowledge sharing’ replaces ‘publishing’, local readers are now ‘global viewers’, and instant, multiple access to information has blown the hands-on print format to smithereens – whatever smithereens are (case in point so Google it). The online global market has an insatiable appetite, and suppliers, of which we are no exception, are scrambling to accommodate this info-starved community as best they can – while doing business. So it’s just as well, cultural occurrences like Matariki are celebrated. May the Māori New Year, like the other cultural New Years, remain a bastion to remind us of cycles unaffected by technology or the economic situation. A new era of blossoming in the greater Waikato is the very public realisation of the first Treaty of Waitangi Settlement 17 years ago to Tainui iwi, for Crown confiscated land. The feature on page 26 signals a sustainable future, as opposed to an instant fortune, for the tribe. Any fame or infamy will be read about in history ‘books’ a hundred years from now, but for this Matariki moment, it’s a proud one that all Māori in and beyond Waikato/Tainui can share. The payout is the largest deal to date between a Māori iwi group and the Government. Ironically, a Government official who was recently charged with fraud signed off the historically significant documents making an interesting spin on the ‘swings and roundabouts’ theory. But has it ($170mil) made a difference to individuals of the tribe? Would an annual payout of 30–40 bucks to thousands of individuals make a difference? Simple math favours the consolidated commercial investment approach many times over.

TŪ MAI | June /July 2012

For allsorts of people

Contents • • •

Click on an image below to view the article. Keep an eye out for website links and video clip icons throughout. You can join us on Twitter, Facebook or email us using the icons at the bottom of the page.

DIGITAL DIVAS

GC VS PC

KIA KAHA

CARVED IN HISTORY

BLAST FROM PAST

POST SETTLEMENT

SCIENCE LINGO

FARMING SUCCESS

LITTLE BLACK DRESS

Published by TŪ MAI Media Plus Ltd, TŪ MAI is the ONLY Indigenous Lifestyle Onlinemagazine published in New Zealand.

All previous Online editions are available FREE at www.tumai.co.nz A Level 5, 35 -37 Victoria St, PO Box Wellington 6149 P 04 473 0557 F 04 473 0558 E info@tumai.co.nz All material within TŪ MAI is copyrighted and not available for reproduction without permission.

For allsorts of people

TŪ MAI | June /July 2012

STRANGERS BEARING GIFTS | POLITICAL OPINION

Strangers bearing Gifts Rosina Hauiti is a New Zealand-based analyst reporting on geopolitical matters in the South Pacific region. An award-winning documentary producer, Rosina (of Ngati Porou, Nga Puhi descent) has a strong connection to Pasifika having spent her childhood in Tonga and her later years in New Caledonia and Tahiti.

he increasing presence of new commercial and political entrants in the Pacific – brought about by expansionist motives – as well as the need for resources and the withdrawal of foreign aid by New Zealand and Australia, has to be of increasing concern to Pasifika people.

requires on the ground, grassroots and stakeholder representation and input. Otherwise, any proposed activity is impotent and doomed to failure. The new entrants need to take on board the errors of their predecessors, lest they too are viewed by the ‘masses’ as patronising, Eurocentric and elitist.

Though collective governments, such as the Pacific Islands Forum and similar, are in a much stronger and more informed position to engage, analyse and negotiate than in times past – there still remains a chasm. There is a disconnect of significant proportions among the power players of government, the ‘masses’ governments and the new entrants to the Pacific. The strangers bearing gifts: the Chinese, Club of Madrid, the EU–Pacific development partnership, the Rockefeller Foundation and others, would do well to learn from the well-meaning yet often patronising efforts of the New Zealand and Australian governments. Failing to understand basics, such as the dynamics of the cultures of the Pacific, plying Western terms and conditions to those who espouse Pasifika worldviews and values, is always going to create friction and resentment. Limiting access to the Club of Madrid’s Asia Pacific Forum in Tahiti to leaders and high performing policy makers, and excluding locals will be a recipe for disaster. The high level forum in Tahiti for the ‘Promotion of Socioeconomic Development’ in the Pacific Island Countries

TŪ MAI | June /July 2012

People of the Pacific know there is no such thing as a free lunch and the big question in their minds is not, “How much money can you give us?” but “What do you want in exchange?” Hosted by former NZ Prime Minister Jenny Shipley and Australian business mogul Clive Palmer, the high level and exclusive conference suggests a liaison between political and corporate interests. But who knows? The conference is so exclusive that gaining access and therefore a balanced and accurate perspective seems nigh on impossible. Pasifika people would be better to spend time analysing the dynamics of the Chinese and the US and its allies. But well before this occurs, submissions from and on behalf of the most vulnerable – those affected by climate change, poor education, employment, housing, etc – should be factored into any high level discussions being denied to them now. It should not be assumed that the people of the Pacific are docile and accommodating, but rather wizened and wary. They know as surely as offers come from the Northern Hemisphere, whatever the agenda, if the deals don’t fly, don’t gain any legs, the East is lying in wait. ■

For allsorts of people

tfull plaace â&#x20AC;&#x201C;

MAORI AND ETHNIC COMMUNITIES BUSINESS NETWORKING EXPO

Te Awe in conjunction with the Wellington City Council and Te Puni Kokiri Invites you to join us at the Maori and Ethnic Communities Business Networking Expo. Join the Te Awe Members and the people whose culture and traditions distinguish them from the majority in New Zealand. Ethnic people and their families are part of New Zealand's national identity and support our nation's economic transformation. Meet the rest of New Zealand and share your story, your culture and what you do. DATE

Thursday 28 June, 2012.

VENUE

Te Raukura Te Wharewaka o Poneke, Taranaki Wharf, Wellington.

TIME

5.15pm for a 5.30pm start.

RSVP

to Kay Johnston by calling 04 803-8149 or email kjohnston@raineycollins.co.nz

COST

Nibbles and non-alchohol drinks suppled. Cash bar.

Please RSVP by 22nd June 2012 to Kay Johnston. I shall be attending this hui with Contact name: Email: Company/Org: Name (first and last name for label):

guests. Contact number: Iwi:

A significant point in time

hen Te Manatū Taonga - Ministry for Culture and Heritage relocated to ASB House in Wellington recently, Strategic Māori Manager, Ripeka Evans and Ronald Milne, Deputy Chief Executive were delighted to place punga stones in a kono collection to mark the event. The punga –anchor stones are symbolic of a journey and arrival at a significant point in time, as well as, the anchoring of the waka on arrival and the blessing of new partnerships. The punga were carved from clay and embellished with different tribal tohu (symbols) by Sonny Davis, Ngai Tūhoe. Veranoa Hetet, Shar Morelli and Tiana Joyce wove the dyed harakeke kono in which the stones nestled. Lilian Hetet from the Hetet Studios at Waiwhetu, Lower Hutt developed the concept and design said “the idea was to give contemporary expression to the tradition of placing mauri – life principle stones in a new whare.” ■

TŪ MAI | June /July 2012

For allsorts of people

Ripeka Evans and Ronald Milne

MPRES IM SIONS

ITIANIT IN VES TIV 2

MAY 201 1 APRIL /

ISSUE #00

AI : HAER E-M

e land Welcoome to th

[V\YPZT Z 4อ VYP U\TLYV\ Z U[Z U\T \Z P PZ LU[Z YLZL Y MVJ\Z Y MV WYLZ YLW T YL YPZT SHUK 6\ \YPZ ;V\ VYYP ;V อ VYP [ 5L^ ALH A 4อ V V\[ Z KL]LSVW OV\ UZ \NO PZPVU YV\N JPZPV [OYV [OYV KLJ Z [O LZ U[[ KL ZLZ ZZL LZZ L TLU PULZ VY[HU[ ]LZ[[TL I\ZPUL L [V PTW PSP[H[L PU VU[YPI\[ HUK MHJ JL H UJL UJ [OH[ ZOPWZ J NPLZ [PVU [V PUร \L YLSH S` Z[YH[L ` J[VY \ZZZ[Y`` ZL \Z[Y HUK HWW \YPZT RL` PUK KL]LSVW 4อ VYP [V [OL HUK P[PH[[PP]LZ P[P[PH[ LYP[` MVY WVSPJ` PU UK WYVZW T` NYV^[O H NL N HNL HN H A LJVUV LUJV\YH YVHKLY 5 K [OL I UK [ HUK HU H ZLJ[VY H

of...

CULTURE

media plus

OPPOR ES ITIE TUNIT V\YPZT 4อ VYP [ \HSP[` VM K THRL [` HUK X PJHSS` HU LY ]HYPL KYHTH[ OL U\TI J ZLK NPVUHS L PUJYLH Z YLNPV ยปZ YL ZLZ OH] ALHSHUK T YPZT \YPZ I\ZPULZ [V 5L^ ;V\ อ VYPYP ;V 4อ V PI\[PVU A 4 A 5A UK 5 SL JVU[Y VUK L `VU L`V LH[L IL` K IL K V JY V JYLH[ [V J H ]HS\HI Y HUK I Y HU VY [VY [ [ `LH `LH ZLJ ZLJ T PZT YPZT \YPZ \Y PLZ ;OPZ [V\Y [OL [V\ MM [OL LJVUVT SS WHY[Z V HISL! R ^P[O H PLZ [V LU ^PSS ^VY WVY[\UP[ Z HUK VW WH[O^H` UPUNZ [O PU LHY ย .YV^ UZPVU ZZ L_WH ย )\ZPUL Z[TLU[ PU]L ZLK TLU[ ย 0UJYLH U LTWSV` WH[PVU P ULYZOPWZ ย 7HY[PJP PUN WHY[ NLULYH[ ย =HS\L

P[VY 5A =PZ ` [V [OL WPYP[\HS P[HS X\HSP[ HS HUK Z ]PKL H ] WO`ZPJ อ VYP WYV [YPLZZ U[YPL JV\U JV\ J\S[\YHS LY J [OLY V[O T V UJL H HU JHU J MYVT L JH ^L Z \ZZ MYV ,_WLYPL Y ^ LZ \ [V [VY PZOL LJ[V ZLJ ZLJ PUN\PZO PUN\ T Z PZT KPZ[[PUN \YPZ [V\Y [OH[ KPZ อ VYPYP [V PVU [OH[ อ VYP [OL OL 4อ V [OL KPTLUZ LZZ [V 4 VPJL MVY LU[ HJJ SLJ[P]L ] YUT JVS (Z H LYZ UK NV]L [HRLOVSK K\Z[Y` H UK RL` Z MHJPSP[H[L PU [VY H ZLJ [V\YPZT IYVHKLY

EXPERIENCE

service rienced โ From expers through to provides provide J[Zโ ty au be ic องVYP WYVK\ YP X\HSP[` 4 โ If our scen LU 4องV M 4อ VYP PHS UH[\YL V ยป MHJ[VY [O ZPVU PU [OL ZWLJ โ HU PU[LYLZ[โ factorYPLUJL H IYVHKLY [ PTWYLZ [OL ยบVVOO PZP[VYZ OH]L ร YZ L_WL hh L ISL [V โ ah UV^ H [O ML e L`ยปYL อ VYP SP thT ;O HYR VM [OL THPU TZ VUL LTWVYHY` 4 VYHUNLs[V\YPZ VM IV โ 4ององVYP OL YPJ PVUS[\YL P HS HUK JVU[ H[VYP J\ provide TVM 4อ PVU _WLYPLUJLZ [O [YHKP[PVU JSH H[PVU U HWWYLJPH[ YP YLSH[LK L O ]HYP HS L_ ALHSHUK ( UK MVY 4อ V LHUPUNM\S eโ \Y OVZWP[HSP[` VTL [V 5L^ Z[PUN KLTH K [[OL ร U H[LZ TVYL T UZ ]PZP[VYZ J perienc M\Y[OLY IVV HUK S ]LZ [OPZ JYL TVM ]HSYLHZV Ex Y[HU[ [V 4อ VYP ยถ VM RUV^ S[\YHS ZVJPH r PTWV V\YPZT ILSPL SLKNL VYP ^P[O J\ H[ HYL 5A 4อ VYP ; Vis \LZ [Oito YZOPW I` 4อ YPUN V ร [ [OL UK [OL ZOH [ HUK V^UL [OH[ Z [OH[ ILUL [LYHJ[PVU H onn the NZ LUNHNLTLU >L RUV^ YLUJL WLYZVUHS PU VPU[ VM KPMML [OL ILH\[` PNUPร JHU[ W YP[HNL ^P[O WYV]PKLZ H Z PNLUV\Z OL HISL Y \UPX\L PUK VU :\Z[HPU H TP_ VM V\ JVTIPUH[P PTWVY[HU[ PZ H ^PUUPUN \S[\YL PZ HU VM V\Y SHUK KPNLUV\Z J UK L[OVZ U[ VM V\Y PU VWTL Y Z[YH[LN` H KL]LS \YPZT ZLJ[V 5A 4อ VYP [V WHY[ VM [OL

IFIC CATHAY PAC IA MED

AWARDS

TIC AUTHEN TURAL

CUL VNESS DISTINCTI

E ADVENTURNG

PPI DAM DRO FLOW WITH THE GO WI

W\ [HW อ [H 9อ 9อ [HW\ 9

[ 1<5, ] 9อ WHYL

9อ HWH

9อ [ฮ

OPUH 9อ O 9อ OPUH

9อ [HW\

9อ OVYVP

9อ TLYL

9อ OPUH

9อ [ฮ

[ SEPTEMBER ]

9อ [ฮ

[ DECEMBER ] 9อ HWH

9อ WHYL

9อ TLYL

9อ OVYVP

7V\[ฮญ [L YHUNP | 7HLUN

harvested. The crops are now at the bor All straw is now stacked P[Z ;OL *YVWZ HYL UV^ Z[VYLK PU W Source: Maori Calendar

506

C 021 222 Ua P[V\YPZT JV e I\[JO@THVY

;PUV 9อง

organisation To provide an e of enabling for the purpos effectively members to al, al, ituual rit spirritu atee in the spi ticippat partici ental al, environm ssocial, cultur of ing llbe we ic aand econom community. w whanau and

9อ [HW\

9อ OPUH

9อ [ฮ

9อ HWH

9อ [HW\

9อ OVYVP

9อ TLYL

9อ WHYL

9อ OPUH

9อ [ฮ

WH HW อ H อ HW 9อ 9อ HWH

9อ HYYL 9อ 9อ WHYL

A We Welfar Womenโ s The Mฤ ori 0ฤ 25, $+,1( 238 : 7( 52 KO I TE ORA TO

>OองPUNH

E TE

/LYL [\YP Rฮ Rอง |

[

9อ OPUH

9อ [HW\

9อ [ฮ

9อ HWH

7V\[ฮญ [L

E ] [ OCTOBER

]

[

| |

Hakihea | 2VOP [อง[LH | Hakih

Hui-tanguru

in their nests. of the season. Birds arre now sitting eats of the new food Y[O are now ripe, and man Fruits a Y UV^ YLZ[Z \WVU [OL LH V[ VM 9ฮ Oอง H Z\TTLY Z[H ;OL MVV alendar Source: Maori Ca

S] LS

[

7HLUN

2VOP [อง[LH 2

]

9อ HWH

9อ [ฮ

9อ OPUH

9อ [HW\ 9อ [

[ 1(5<(9@ ]

9อ OPUH

9อ [HW\

9อ OVYVP

9อ TLYL

9อ WHYL

9อ OVYVP

9อ TLYL

9อ WHYL

9อ [ฮ

9อ OPUH

9อ [HW\

9อ OV 9อ O 9อ OVYVP

9อ 9อ TLYL

OPU TE RO ,7, $:+ฤ :+$llin.gton-based Branche Leaofgue

[ SPECIAL ]

R\ U\R\ H อง U\ H >OPYPUNH อง

/ฮ UNVUNVP

0U Z`SSHISLZ! ;L ;H\ TH [H ÔH RH [H UNP OH UNH Rอป HISL LZ! ;L ;L L ;H\ H\ \ T TH [H ÔH RH [H UNP OH UNH Rอป H\ H\ อป [H TH [L H [\ H\ H\ อป [H TH [L H [\ YP W\ RH RH WP RP TH \ UNH YP W\ RH RH WP RP TH \ UNH OV YV U\ R\ Wอป RHP Ô OV YV U\ R\ Wอป RHP ÔL L U\ H RP [H UH [อ O\ PZ [OL 4อ VYP UHTL MVY H OPSS H[ 7V RP [H H UH [อ O [อ O\ O\ PZZ [[OL 4อ VYP UHTL MVY H OPSS H[ 7VYHUNHOH\ ZV\[O VM >HPW YHUNHOH\ ZV\[O VM >HPW\R\YH\ PU ZV\[OLYU /H^RLยป > \R\YH\ PU ZV\[OLYU /H^RLยปZ )H` 5L^ ALHSHUK Z )H` 5L^ ALHSHUK 0[ [YHUZSH[LZ YV\NOS` HZ ยบ;OL Z\TTP[ ÔLYL ;HTH[LH ZSH[[LZ YV V\NO V\ OS` S` H HZ ยบ;OL Z\TTP[ ÔLYL ;HTH[LH [OL THU ^P[O [OL IPN [OL THU ^P[O [OL IPN RULLZ [OL JSPTILY VM TV\U[H RULLZ [OL JSPTILY VM TV\U[HPUZ HUK [OL SHUK Z^H PUZ HUK [OL SHUK Z^HSSV^LY SSV^LY [OH[ [YH]LSSLK HIV\[ HUK WSH`LK OPZ UVZL ร \[L [V OPZ YH]L LSSLK H HIV V\[ H HUK UK WSH`LK OPZ UVZL ร \[L [V OPZ SV]LK VULยป ([ SL[[ SV]LK VULยป ([ SL[[LYZ P[ OHZ ILLU SPZ[LK PU [OL .\ LYZ P[ OHZ ILLU SPZ[LK PU [OL .\PUULZZ >VYSK 9LJVYK PUULZZ >VYSK 9LJVYKZ HZ Z HZ VUL VM [OL SVUNLZ[ WSHJL UHTLZ PU [OL ^VYSK M [OL OL SVU UNLZZ[ WSSHJ JL UHTLZ PU [OL ^VYSK

9อ OPUH

9อ [HW\

9อ OVYVP

9อ TLYL

9อ WHYL

9อ HWH

[HJ[ MYLL [V JVU 7SLHZL MLLS ley Butch Brad 6WLYH[PVUZ NPVUZ HUK +PYLJ[VY 9L 1437 p +64 4 385

With compliments t +64 4 385 1433 e info@maoritourism.co.nz 6149 a PO Box 19-122, Courtenay Place, Wellington A 259 Wake๏ฌ eld Street, Wellington 6011

Hakihea

Mahuru

iri piiri ip Pip Pi P

YJPHS WYPVYP[PL UK JVTTL LJVUVTPJ H LJVUVT` IYVHKLY 5A

arrive โ Where people de t as rs and par tors ssito visi as vvi an uโ ur whana our members of

[ IM 7

9อง 5\P

Q ฤ R ฤ R 0ฤ

0U Z`SSHISLZ! ;L ;H\ T H [H ^OH RH [H UNP OH UNH Rอป H\ H\ อป-ta-m nu-a-ki-ta-na-tอ O\ PZ a-te-a-tu-ri-pu-ka-ka [OL 4อ VYP UHTL MVY H -pi-ki-ma-u-nga-ho-ro OPSS H[ 7VYHUNHOH\ ZV 0[ [YHUZSH[LZ YV\NOS` H -nu-ku-pอป-kai-whe\[O VM >HPW\R\YH\ PU Z Z ยบ;OL Z\TTP[ ^OLYL V\[OLYU /H^RLยปZ )H` ;HTH[LH [OL THU ^P [OH[ [YH]LSSLK HIV\[ H 5L^ ALHSHUK [O [OL IPN RULLZ [OL J UK WSH`LK OPZ UVZL ร \ SPTILY VM TV\U[HPUZ H [L [V OPZ SV]LK VULยป ( VUL VM [OL SVUNLZ[ WSH UK [OL SHUK Z^HSSV^LY [ SL[[LYZ P[ OHZ ILL JL UHTLZ PU [OL ^VYS U SPZ[LK PU [OL .\PUUL K ZZ >VYSK 9LJVYKZ HZ

H[LVV X DURX

INGS

Y MEET MONTHL

ย

$. 238 :+

W 3 R ย

0 :

did you know...

FWV WKH Kฤ LWL UHร H :KDNDZ IURP 5RRSX UL ZRPHQ QDPH 7H WO\ 0ฤ R ZRUNLQJ KH %UDQFK RPLQDQ

OLYLQJ DQG KLS ยฒ SUHG KDX H ZKฤ PRQ DLP PHPEHUV V Qฤฟ QJฤ ZLWK D FRP WULEDO DUHD Q WRJHWKHU U IDPLOLHV GLIIHUHQW DUH GUDZ DQG WKHL HQ ZKR RQ RWKHU UL ZRP RI HDFK LQ :HOOLQJW V RI 0ฤ R VXSSRUW H WKH OLYH DQG LS DQF ZVK 7R HQK \ WKH IHOOR DV HQMR DV ZHOO XGH WRULQJ DLP LQFO QJ PHQ PHHW WKLV QHWZRUNL YLWLHV WR V IRU IXQ 2XU DFWL WRJHWKHU V RI 6RFLDO JHW J ย DFWLYLWLH QVWRUPLQ LQJ WKH VXSSRUW DQG EUDL H ZLWK DQG SRVVLEO ZRUNLQJ LVW V ZKHUH DVV FKH KW ย 1HW ZH PLJ :/ EUDQ V ZKHUH RWKHU 0: RUWXQLWLH WLI\LQJ RSS ย ,GHQ U ZKDQDX DQG WKHL HQ ZRP

7( 52

H ย

,7,

$:+ฤ

ย

V IURP PHHWLQJ PRQWKO\ ZKฤ LWL KDV SX :KDND 7H 5RR HPEHU \ WR 'HF )HEUXDU LV EHUVKLS XDO 0HP 3HQH ,ULD | ย $QQ DQ VLGHQW LQH 1RO QFK 3UH 6KDUPD ย %UD UHWDU\ | V LRQ QFK 6HF 0DWWKHZ ,NDURD 5HJ ย %UD 1RHOLQH QJV WR WKH VXUHU | 3DQDSD ZKDLWL EHOR ย 7UHD LV )DLWK SX :KDND QWDWLYH 7H 5RR ย D 5HSUHVH ,NDURD $UH ย 7KH

ย

TO JOIN

Wawata

NPP อง YYHHHUUUNP ององ YHUN H อง YHUN

\ >OPYPUN Mahuru >OPYPUNH อง U\R

d trees. ngth. ng

[

]

DQ LQH 1RO 6KDUPD FRQWDFW LO FRP 3OHDVH Q#JPD LQH QROD E VKDUPD P

NP NP Hui-tanguru HUUN YYHHHUN อง YHU H อง Y NH อง YPUUNH YPUN >OPYPUN > 6=,4),9 ]] [ 56

9อ [HW\

UH OPU 9อ OPUH

อ [ฮ 9อ [ฮ

9อ HWH

H 9อ WHYL

9 9อ TLYL

O 9อ OVYVP

9อ [HW\

9อ OPUH

9อ [ฮ

9อ HWH

9อ TLYL

9อ OVYVP

9อ [HW\

9อ OPUH

YP Rฮ Rอง

Pipiri | Hongonui | /LYL [\

man. of the cold; likewise contracted because ^OPJO OL IHZRZ All things on earth are SK HUK RPUKSLZ ร YLZ ILMVYL M THU 4HU PZ UV^ L_[YLTLS` JV L PZ ZLLU VU [OL RULLZ V ;OL ZJVYJOPUN LMMLJ[ VM ร Y

M ยทA ยทR ยทA ยทM ยทA ยทT ยทA ยทK

Source: Maori Calendar

TU MAI Media Plus offers solution based packages for print and digital. Be a part of the knowledge sharing buzz. Be noticed, read, recognised and connected with personalised brand collateral. Call or email us and pose our next exciting communication challenge. P 04 473 0557 | E info@tumai.co.nz

For allsorts of people

Hara [ -,)9<(9@ ]

9อ WHYL

TU MAI Media dia Plus For allsorts of people

ยทA ยท

Beginnings Kiwa Media moves Anne Geddes into digital era

ince the first edition of My First Five Years by Anne Geddes was published in pre-digital 1996, millions of copies have been sold across the world. This figure is expected to multiply many times over with the launch of a digital version built in Auckland and now available exclusively via the Mac App Store. Described as a world-renowned photographer and New York Times bestselling author, Anne Geddes is also heralded in her place of birth Australia, but it’s New Zealand where she has lived most and where she chose a local company to help her entry to the digital era. Imbedded clips and images of first gurgles, gooey smiles (and no doubt spectacular spills) will supersede the traditional hard copy versions to create unique digital accounts of those special milestones in the first five years of life. The self taught photographer behind the Anne Geddes brand says it only takes a moment to create a memory and, in this case, it is tech-savvy, enthusiastic, new parents who will race to record treasured keepsakes of a time that passes all too quickly. When asked how the opportunity to work with Anne Geddes arose, Rhonda Kite of Auckland-based Kiwa Media said she was “thrilled to be invited by Anne and her team to create a digital version of her best-selling baby book. She is an extraordinary photographer and like other mothers I have always admired her work.”

TŪ MAI | June /July 2012

The software and solutions firm now has QBooks as 100 per cent of its business. Since QBooks launched in April 2010, downloads have reached in excess of 200,000. Available in many languages including English, Māori, Spanish, Portuguese, Mandarin, Arabic and Japanese, Ms Kite says QBooks “bring a whole lot of learning together with music and sound effects that result in very effective education with fun.” Kiwa has converted more than 488 titles into QBooks for Apple and Barnes & Noble NOOK, including Hairy Maclary from Donaldson's Dairy, Margaret Mahy's A Summery Saturday Morning, and The Wotwots story Lanky Landing Legs. Having a working relationship with Anne Geddes has added another string to Kiwa Media’s international bow, and a meaningful connection with a new market that has obvious synergies with Kiwa’s QBooks.

It’s been a challenging past 24 months for the Kiwa Company who convert printed books into QBooks: interactive digital coloured picture books for touchscreen devices such as the iPad, iPhone, Android tablets and smartphones.

Its genesis was in television production, and it has awards and accolades to match; Kiwa Media recently relocated from its original base in Eden Terrace, Auckland to an up-market inner-city office studio. The company has also acquired Chinese business partners and investors, and continues to add to its growing library of mainly children’s books. There are new titles as well classic favourites that offer the reader interaction such as colouring in, swipe to hear, tap to hear text for word audio, playback reader recording, and even double tapping on words to have them spelt out.

One of five Māori publishers invited to the 2012 prestigious Frankfurt Book Fair in October, which sees New Zealand as the official Guests of Honour, will no doubt see the Kiwa Media company further expand its profile, appeal and business says Kite.

For allsorts of people

Anne Geedes

About Anne Geddes Throughout her career Anne Geddes has continued to give back. In 1992, Anne, with her husband Kel, founded The Geddes Philanthropic Trust to raise funds and awareness worldwide for the prevention of child abuse and neglect. In 2011, Anne was proud to announce her partnership with the United Nation’s ‘Every Woman Every Child’ initiative, which she hopes will continue to help make the health and welfare of pregnant women, and newborn children, a global priority.

For allsorts of people

Rhonda Kite

Anne’s work has been published in 83 countries and her books have sold more than 18 million copies worldwide. Her English-language my Pregnancy: A Woman’s Story™ magazine launched in the U.S. April 2012. Her book Beginnings received gold in the 2011 Independent Publishers Book Awards, won both the photography and e-book non-fiction categories in the USA Best Books 2011 Awards, and was one of the top bestselling photography books of the year. ■

TŪ MAI | June /July 2012

Gold Coasting I

am happy to admit that I have a soft spot for the young Māori characters on The GC. I will even go as far as to say that I am a little protective. Why?

I am comfortable to accept that these young and colourful characters actually do represent parts of Māoridom, but do they represent the future of Māoridom as well? Let’s get serious, probably not. However, whether we like it or not they are a part of what the future looks like. Why? Because we are not one homogenised group of people who think and act the same. Who look or behave or practise lifestyles that are the same. Fortunately in 2012, many Māori live independently, striving to realise their aspirations while asserting their right to define what being Māori means. Regardless of what viewers think, the GC crew are within the current definition of ‘being Māori’. The show follows typical, predictable reality TV-show format: good-looking cast and a confident exhibitionist willing to play up for the camera if required. Don’t get me wrong; I think it’s great to see good-looking ambitious Māori on prime time TV. The problem is that the show is framed to lead you to believe the aspirations of the cast do not extend beyond money, sex and fame – although some might argue it’s a good start. I don’t believe this reflects the real attitudes of all the characters deep down. It’s often painfully obvious that these young people are vulnerable, and not immune to the trials and tribulations we all face in the social jungle. Unfortunately, any storyline that might provide an ounce of credibility is buried, instead the viewer suffers through

TŪ MAI | June /July 2012

too many cliché moments; it was not until episode four, that a storyline worth following (or not) emerged. This is when viewers learned about Cole Smith (32) and his struggle to establish his own gym. We also got a brief glimpse into the career of property developer, Jade Ruwhiu (25). Putting aside the public backlash, negative media, politics and questioning whether or not this was a waste of tax payers money – what I want to know is why the producers felt like they needed to hide these stories under the guise of trash reality TV? With the viewership reportedly declining by 50% over the first three episodes, it is unlikely that audiences will have the patience to slog through the rest of the series where stories might be important and relevant. Why would they? The original proposal presented to NZ on Air had a number of successful Māori business owners and individuals from whom they could create a well rounded, informative, yet entertaining and inspirational observational series. Why are these people not profiled in the show? It is also disappointing that DJ Tuini is the only Māori female represented on the show. The Jade character is the actually the saving grace, combining with DJ Tuini to present positive wahine representation. The other two females are obviously present to fill the eye-candy quota. My soft spot for the GC cast stems from my ability to recognise my own ‘mozzie cousins’ who have migrated to Australia; I can’t say I’ll remain a loyal viewer, but I am willing to give them a chance. ■

For allsorts of people

Neil Dawson piece from his Plates (2010) collection relates directly to the first earthquake that Christchurch experienced in September 2010.

Based in Christchurch, Dawson’s practice has been influenced through these recent events. And are in line with other iconic pieces including his first suspended work Echo (1981) installed in the Christchurch Arts Centre. Then came the suspended sphere, Globe, for the exhibition Magiciens de la Terre at the Pompidou Centre in Paris, the

Rain Droplet at the Museum of Waikato and most notably Ferns, installed in Wellington's Civic Square in 1998. Neil holds a Diploma of Fine Arts (Hons) from Canterbury University and a Graduate Diploma in Sculpture from the Victorian College of the Arts in Melbourne. Since his earliest installation in 1979 for the Robert McDougall Art Gallery, Seascape, he has gone on to compile an impressive portfolio of works held both in New Zealand and overseas. ■

For allsorts of people

TŪ MAI | June /July 2012

Warp and Weft

T的 MAI | June /July 2012

For allsorts of people

he artist selected for the 2012 Toi Sgwigwialtxw (pronounced: sgweg-voi-out) Residency in North America, weaves exquisitely detailed poi, as well as bold, striking kākahu (clothing). He is a man working in what is a female dominated area. The Toi Sgwigwialtxw Residency is a biennial exchange between Creative New Zealand through Te Waka Toi, and the Longhouse Education and Cultural Centre in Washington State. Sgwigwialtxw means ‘house of welcome’ in the language of South Puget Sound Salish. Previous recipients of the residency include Dr Takirirangi Smith (2007), June Northcroft Grant (2008) and Henare and Tawera Tahuri (2010). From next week senior weaver, carver and performer Karl Leonard (Ngāti Rangiwewehi, Ngāti Ngararanui, Ngāti Pahipoto, Ngāti Raukawa) will spend six weeks at Evergreen State College. He will collaborate with Native American and Alaska Native artists from the Pacific Northwest and be based at the College’s recently opened Northwest Native Woodcarving studio, which is also used for weaving. “Words cannot describe how excited and fortunate I feel,” says Rotorua-based Karl. “I look forward to

exploring any shared techniques, designs and traditions we may have with First Nations artists and breaking ground in my own work, through exposure to new indigenous ideas.” It was Karl’s grandmother Ranginui Parewahawaha Leonard, who still wove at age 100, who inspired his passion for weaving. Karl grew up watching his father and Uncle Pakake Leonard carve, and studied the art under another accomplished Uncle, Kaka Niao. In 1986 Karl began in Māori performing arts and is now a composer, choreographer, regional kapa leader and national judge. He is also passionate about the art of language and holds a Masters of Te Reo Māori. In 2011, Karl became the first male elected to the committee of Te Roopu Raranga Whatu o Aotearoa (the national Māori weavers’ collective). “Male or female is not an issue for me. The issue is the future of weaving and its sustainability as an innovative art form and cultural icon.” The Toi Sgwigwialtxw Residency is open to established Māori artists who have demonstrated excellence in visual arts, are culturally proficient ambassadors and are able to establish networks with the First Nations peoples of North America. ■

For allsorts of people

TŪ MAI | June /July 2012

Dance Thriller a passion for storytelling

KAHA isn’t your standard ‘dance theatre’ experience. These are works that continually step past the boundaries of predictability creating a captivating programme that speaks to a wide audience of dance lovers, families and those who want to experience an explosive live event.

ynamic, exhilarating, powerful: a mere three words hardly sum up the breathtaking collection of short works that are KAHA, Atamira Dance Company’s exciting new compilation of dance that rolled out on stages across Aotearoa last month. A powerful selection of eight short works, KAHA unites hallowed, established works from leading choreographers Moss Patterson, Taane Mete and Jack Gray, alongside some incredible new works that include a contemporary version of the mighty Haka performed by a full cast of professional dancers. KAHA isn’t your standard ‘dance theatre’ experience. These are works that continually step past the boundaries of predictability, creating instead a captivating programme that will speak to a wide audience of dance lovers, families and those who want to experience an explosive live event. Drawing from the personal experiences of their performers and whakapapa, KAHA boldly exudes a passion for storytelling unrivalled by others. The unique, important voice of Atamira Dance Company as Māori in New Zealand has become more important now than ever – KAHA channels these stories through the unprecedented contemporary dance that critics and audiences alike have come to expect from the choreographers, the dancers and the company itself.

TŪ MAI | June /July 2012

KAHA sees the return of stunning works Haka, Moko, Piata and Mitimiti from Patterson, Mete and Gray. Originally drawing universal acclaim from critics and audiences during their run earlier this year in Hou, these four works set the tone for a special feature excerpt from Ngai Tahu 32, choreographed by former Atamira member, the renowned Louise Potiki-Bryant. KAHA also debuts a high-vibe work, performed to Drum’nBass music from award-winning choreographer Kelly Nash, who has previously worked with the likes of Douglas Wright and Shona McCullagh. The evening also shows it’s up to speed with modern pop culture, with a full stage version of Poi E Thriller – as seen in the hit Kiwi movie Boy; it is choreographed by long-standing Atamira member Dolina Wehipeihana. Combining kapa haka and Michael Jackson moves, this piece will get the crowd singing and dancing: POI E! “This ability of Atamira as a company to mix the traditional with the now, to take the solid grounding of their culture and make it speak in new ways and forms is … one of their great strengths. This idea resonated throughout the performance.” (Haka) – Jess Quaid, NZ Theatreview2012. This exciting, high calibre contemporary dance show is supported by Kiwi electronic music, original acoustic recordings; live waiata, and haka! Dance at its best! ■

For allsorts of people

PHOTO _ John McDermott For allsorts of people

T的 MAI | June /July 2012

SHOWCASING THE WORLD’S LARGEST COLLECTION OF MĀORI CLOAKS

AT TE PAPA | 8 JUNE – 21 OCT 2012 VISA PLATINUM GALLERY | FREE ENTRY Visit tepapa.govt.nz/kahuora Atareta Te Rangimārie Sciascia, a descendant of Rāwinia Ngāwaka Tūkeke, wears Rāwinia’s kiwi-feather cloak, named Pīata. Te Papa (ME011807). Photograph by Norm Heke

16 6

TŪ T ŪM MAI AI | Jun JJu June un ne //July July 201 2012 12

For allsorts of people

Exhibition partners

Living and loved T

he recently opened Kahu Ora: Living Cloaks exhibition at Te Papa was heralded by Professor Piri Sciascia as being of the same calibre as the Te Māori Exhibition, which in the 1970s was regarded as a milestone of the Māori cultural renaissance. Featuring traditional Māori artwork (but no woven works), the Te Māori exhibition toured the United States in 1984 and was shown in New York, St Louis, Chicago and San Francisco to rave reviews. On its return, it was reported to have caused ‘a swelling of Māori pride’ and few, if any, Māori exhibitions have been likened to Te Māori since. So after the dawn opening ceremony and the kai hakari, Prof Sciascia was applauded for his comparison; many in attendance were overwhelmed with the display of majestic, intricately woven cloaks from the early 1800s, through to the contemporary installations that weave the years of this craft into a winning exhibition for Te Papa and the weavers. Sciascia also acknowledged the purpose of museum collections, referring to a cloak that belonged to a noted woman from the people of Ngāti Kere, Ngāti Pihere, Ngāti Manuhiri and Ngāti Hinetewai, 150 years ago. How the cloak came into the museum collection was pieced together from archival records, under the guidance of Te Papa staff; the cloak was welcomed on to the Rongomaraeroa marae, Porangahau in early May for a special ceremony before returning to Wellington. Having established the cloak belonged to Rāwinia Ngāwaka Tūkeke, it was named ‘Pīata’ which means ‘to shine, to glisten’, and was the name of Rāwinia’s mother. Pīata is included in Kahu Ora; Living Cloaks,

and is featured as the main promotional image for the exhibition (worn by Prof Sciascia’s daughter, Atareta). The story of Pīata is indicative of many of the cloaks, hence the title Living Cloaks. Accompanying the exhibition is an equally impressive book titled Whatu Kākahu: Māori Cloaks, edited by Awhina Tamarapa, curator of the exhibition. Tamapara was able to draw directly on the knowledge from the Te Papa collection and the research for Whatu Kākahu: Māori Cloaks to curate the Kahu Ora: Living Cloak exhibition. As the largest kākahu collection in the world, the exhibition and publication are significant and may lead to an international show, not unlike Te Māori. Featuring customary and contemporary taonga, the exhibition covers the cultural and spiritual symbolism of weaving, the connections and relationships between people and cloaks, the science and technology of cloak weaving, the innovation from European influence through to the revival of cloak weaving from the 1950s to today. “Being able to share the stories of these kākahu with the nation is a celebration and a tribute to the art of Māori weaving” says Tamarapa. Of special interest is a kind dog skin cloak on loan from the Puke Ariki museum in New Plymouth. This cloak is made of eight whole dog pelts, stitched together with dog hide, made 1810–1815, and is the only one in existence. Visitors will have the opportunity to experience the complexity and specialised skill-sets required for the living, dynamic art form of kākahu with live weaving demonstrations in the exhibition, which is free and open until October 2012. ■

For allsorts of people

TŪ MAI | June /July 2012

Tangonge an oldie but a goodie

ne of New Zealand’s most significant carvings, usually on permanent display in Auckland War Memorial Museum’s He Taonga Māori gallery, is spending 12 months in Kaitaia at the Te Ahu Heritage Centre. The carving was welcomed to Pukepoto Marae before travelling on to the Te Ahu Heritage Centre in April.

“When it was loaned to Te Rarawa for just one week the positive impact upon the spirit and morale of our people was clearly discernible. Now with this one year loan, this will make a major contribution to empowering iwi, an essential element for the community development of our whanau and hapu.”

Carved from totara and dated between the 14th and 16th centuries, Tangonge was discovered in 1920 when Lake Tangonge, between Kaitaia and Ahipara, was drained.

Far North Regional Museum chairman Phil Cross says the loan is hugely significant for the Te Ahu Centre and the region.

Auckland War Memorial Museum director Roy Clare says the piece is an important linking point in New Zealand’s history, because of the difference in its form and style when compared to other carving that followed.

“It’s so exciting for our curator Don Hammond and for me as chair of this little museum trust, someone who is totally besotted by securing its successes, that this loan is taking place. It is one of the most momentous things to happen and it is happening at the right time.

“Historically and culturally it is hugely significant, which is why it holds such an important place in our museum. It also holds massive significance for the people of Te Rarawa, Te Tai Tokerau and the Far North. The museum is very pleased that Tangonge is able to be shared with the people of Kaitaia and the surrounding communities through the Te Ahu Heritage Centre.” “The return of the carving to the Far North is recognition of the bond this taonga forges between the museum as its custodian, the people of Te Rarawa, its spiritual guardians, and Te Ahu Heritage Centre.” Haami Piripi, chair of Te Runanga o Te Rarawa, says housing the taonga in the Te Ahu Heritage Centre will ensure that all people of the region can have an association with it and its significance as a national treasure.

TŪ MAI | June /July 2012

“With the museum opening in its new space in the Te Ahu Centre, with the security and professional processes in place, we are ready to receive the Kaitaia carving and look after it.” Cross says when Tangonge was previously brought back to the region by the runanga for a short loan it was an incredibly positive experience for the community. “It was an incredibly emotive, incredibly positive experience and one that created a real sense of pride. It is indicative of that ethos that unless you know where you’ve come from, you don’t know where you are going. The Kaitaia carving provides that sense of where things have come from.”

For allsorts of people

The taonga carving is of huge significance to people in the Far North; the carving is also seen as a very important work because it shows the evolution of Māori art from its origins in Polynesian styles. The design structure, with its central figure and outwardfacing manaia motifs at each end, is like later ‘pare’ or door lintels. Unique to the Kaitaia carving, both sides are fully carved for viewing, which suggests it may have stood over a gateway. Earlier this year, Auckland Museum worked with Ngapuhi to share a precious greenstone mere, thought to have belonged to Hongi Hika, and three other taonga of local significance for the duration of the bi-annual Ngāpuhi Festival. “It is very important to the relationship of people to our museum that we are able to explore and facilitate conversations with communities who have ancestral connections to taonga in our collections,” says Clare. Taumata-a-Iwi representative Bernard Makoare says this is an exciting development for iwi and for the museum.

It is indicative of that ethos that unless you know where you’ve come from, you don’t know where you are going. The Kaitaia carving provides that sense of where things have come from.

“Exploring relationships with communities related to significant taonga in the museum’s collections is exciting for the museum and indeed for those communities like the iwi of Te Rarawa and the Far North.” The carving is spending a year at the Te Ahu Heritage Centre in Kaitaia under the care of Te Rarawa iwi and will return to Auckland in Autumn 2013. ■

For allsorts of people

TŪ MAI | June /July 2012

Lala Brooks Breaking the Wall of Sound

Recommend viewing video clip prior to reading.

By Te Rina Triponel

Te Rina (18) takes a break from her music

mother and African American father. Her talent was first demonstrated by singing gospel music in church. At an after-school kids’ homework programme she was ‘discovered’ by her friend Dolores Kenniebrew’s mother, who also happened to manage a girl group called ‘The Crystals’ and was looking for a replacement for a member who had left.

of choice, like controversial US rapper Hodgy and his rebellious and anti-establishment expletive-loaded lyrics, to revisit a singing sensation of the 1960s.

met him on a Monday and my heart stood still ... Da Doo Ron Ron ... Da Doo Ron Ron ....’ Duhh? No one I know speaks like that, let alone listens to songs with lyrics like that. Actually who meets anyone interesting on a Monday? So when I was asked to write a profile of the iconic 60s singer Lala Brooks, I couldn’t think of one reason why I would want to. None of my generation (GenZ) would be remotely interested and they are, after all, my currency, my world. But I do know it’s music my Nana loves. As a six-year-old, I have a vivid memory of her dancing to the ‘do ron ron’ song, arms twisting round and round, oblivious; it transports me back to a happy and special moment in time. My mother suggested if I thought about it long enough, studied the video clips, the research notes and listened to the subject’s interview, I could ‘possibly’ learn a lot about how Lala Brooks and women like her made a massive contribution to popular music. “And if that’s not incentive enough ... write it for Nana .... She’d love to read all about her.” So for Nana, with the hope that I become more enthused and enlightened along the way: Dolores Lala Brooks was born in New York 20 June 1947, the youngest of 11 children, to a Cherokee

TŪ MAI | June /July 2012

Watching the ‘do ron ron’ music clip I find myself mesmerised by The Crystals and in particular Lala’s voice and beauty. She is 18 years old. The same age as me yet she looks so much older (in the nicest possible way) and, I suspect, wiser. I am also puzzled by the fact that apart from The Crystals, no one else is black. The footage is taken from a television show called Shindig which ran from 1964–1966 in the US and worldwide. It featured all of the great music artists of the time like Marvin Gaye, Chuck Berry and Elvis Presley to name a few. The Crystals are beautiful. They look stunning in their ensembles and low heels. Classic pencil skirts with fitted matching tops, pinched to accentuate teeny waistlines, and to-die-for toned biceps – despite it being the pregym era. They have energy and a look that’s clean and wholesome compared to today’s artists, but undeniably svelte and subtly sexy. Despite the abundance of skin and flimsiness of attire in any nite club these days, The Crystal’s look would turn heads – for all the right reasons. Did someone mention timeless vogue? It’s awesome to watch the ‘old school’ studio camera on a crane and despite limited technology (advanced for its time no doubt) capture the bigness of the moment in sound and visuals as well as a peppering of social politics of the time.

For allsorts of people

Former studio technician Dave Walt recalls, “We’d pack out the studio with kids and though black kids would show up for the show, it was only a small percentage allowed in. You understand what I am saying – this was the 60s and even though this was the North; President Kennedy was not long dead.”

Sound’ was created by the legendary and colourful recording producer, Phil Spector. Brooks was just 13 years old when she first came to Spector’s attention and employ. She recalls him as a perfectionist who made her work very long hours, during which he fed her very little in case she got fat.

The thought of my brownness excluding my entry to anything these days is unconceivable.

Currently serving a 19-year sentence for murder (a whole other story), Spector, whose clients included John Lennon, Paul McCartney and Michael Jackson, created the ‘Wall of Sound’ – a recording system that uses an echoing technique to create a richer fuller sound.

Walt describes the huge sound system that flooded the studio space with sound. “It was deafening, I would be surprised if those poor kids up on the stage don’t all have hearing problems today. The scaffolding wouldn’t pass muster today and how those Go-Go girls didn’t fall off of those platforms is a miracle, but we also had a lot of fun along the way. ” In listening to her earlier recordings, it’s obvious Brooks not only has a mega voice, but a very distinctive sound, almost netherworld-ish. It’s still powerful and beautiful today, but different to her sound in the 60s. I discovered this sound has a name – the ‘Wall of

To improve on the mono sound of AM radio, the ‘Wall of Sound’ was one of few marketing tools of the time that gave The Crystals and other girl bands of the same era that distinctive reverberating sound. Interestingly, Spector credits Brooks as being the only artist to break through his ‘Wall of Sound.’ While she was achieving over and above expectations and exceedingly popular, Brooks’ resentment of the racial inequality caused her anguish. “I remember

PHOTO _ The Crystals, LaLa Brooks 2nd from the right

For allsorts of people

TŪ MAI | June /July 2012

coming off a tour and being really angry. I’d tell my father I hate those white people and he’d say ... now Lala don’t be like that ... but I was just a kid and I’d have to do things like pick up that microphone by myself … they were heavy and then look in to the crowd and see whites on one side and coloureds on the other, it was hard.” And she wasn’t alone, according to Brooks, the iconic Diana Ross had to endure second-rate motels while white artists stayed at the upmarket Sheraton Hotel. “We weren’t allowed in the restaurants either and had to stay on buses and eat our food there. But you know as you grow older, you realise that it’s not just about black or white, but a whole lotta other stuff,” says Brooks. Despite the hardships and hurdles, Brooks credits the producers of Shindig for providing exposure and opportunities she may never have had. “The show’s producers were in it for the money sure, but they were also trail blazers in removing racial barriers in music.” For Brooks and her Crystals team, Shindig was the catalyst for them to address the racial undercurrent. They refused to accept substandard or second-rate treatment; their efforts are now credited with paving the way for emergence of Motown. Motown was essentially established to fill in a gap in the market for black artists. On reflection and at 64, Brooks says of Spector, “He was a sweetheart to me then and a vision in all his cool clothes. But I was a teenager, and easily impressed.” Admitting she should’ve read the signs with Spector’s treatment of his own mother, Bertha. “She'd sit on this crate holding a sandwich for Phil, and he just wouldn’t let her in. I should have seen that as a warning: a man who doesn't respect his mother doesn't respect women.” Things soon soured between the pair when Spector relocated to Los Angeles. “He totally changed. He lost all perspective. I’d be flown out to LA by myself, a teenager, to record my vocals. He’d pull in different singers, including Cher, to do background vocals, and forgot about all the other young girls who had got him the praise he was now getting. And that was just the beginning.” As it turned out, Spector had been ripping off The Crystals. It surfaced when, at 19 and the mother of two young children, the promised royalty cheques from Spector didn’t arrive; she couldn’t afford to fight the legal

TŪ MAI | June /July 2012

LaLa Brooks

battle. The Crystals claim Spector owes them royalties worth millions. “Yes, he’s a genius, but he’s a thief, too.” Now many years on Brooks says she would give him a hug. “I don’t want him to suffer but you reap what you sow. I’m free and he’s stuck in a cell. And if that ain’t karma, I don’t know what is.” After leaving The Crystals, Brooks married jazz musician Leo Morris, with whom she had two daughters and two sons. Shortly after, she and Morris converted to Islam. In 1983, the family relocated to London where she and Morris continued their careers in music, before moving to Austria where she continued singing, writing songs and hosting a local radio show. In 2000, Brooks returned to the US where she continues to perform and record. Describing artists and music from the 60s and 70s, my mum uses the word ‘substance’. Fair enough. I still prefer my Gen Z music, but yeah I have to admit, it doesn’t have the substance or the struggle of music from the 1960s era. I feel a gap in my knowledge has been filled, and I definitely have a new respect for these black kui whaea from the US. To my own kuia, thanks for breaking out some moves to The Crystals, and sharing your ‘happy place’ all those years ago. ■

For allsorts of people

Right now we are looking for artists & stockists interested in becoming a part of the Toi Iho™ community.

To i

t its ng isi pr

r ad

s ition

and values, creativity a nd in

no va t i on ,t

For allsorts of people

cu l t ur ec

an ion t a rv es e pr

essence of the M ā ore or o ri a he c rt to t

ring of knowledge t d sha hro ugh

the

ns ti o

e on authenticity and stenc i qua s n i lity an . d n ,a

ers ref o™ Ih

ge ne ra

If you would like more information CLICK HERE.

TŪ MAI | June /July 2012

Top 10 Music Clicks What's the point of an e-magazine if you're not using all the bells and whistles? Word alone music reviews go so far but video clips go a heck of a lot further. Enjoy our Top 10 this month ...

Kalani's WASM Audition 2010 Circles

http://www.youtube.com/watch?v=xKtQ6oZ2ORc&feature=related

AWA feat. Che Fu Papatuanuku

http://www.youtube.com/watch?feature=player_embedded&v=wTxv-y_wx38#!

2 Te Kore Hartley at Turangi's Soulful Youth Bust Your Windows http://www.youtube.com/watch?v=6nnIZhUaWoU&feature=related

ReQuest Dance Crew carter to you

http://www.youtube.com/watch?v=v0VvE27OLa8

Nas & Jade Straight Up from the GC - The X Factor Australia 2011 Audition BOOM BOOM POW

Stan Walker & Jessica Mauboy Beyonce Mash-Up from NovaFM http://www.youtube.com/watch?v=iM9vi7KLbpY&feature=related

http://www.youtube.com/watch?v=4EWkAdF_6XA

9 Annah Mac Focus

Jessica Mauboy ft. Stan Walker Galaxy

http://www.youtube.com/watch?v=yGwm5vIYKDY&feature=related

http://www.youtube.com/watch?v=V58KZIVGHDQ

Genesis Storie Agape Shazzreal Moana Ma Te Kahukura http://www.youtube.com/watch?v=L2tqMOYiCvg&feature=related

T的 MAI | June /July 2012

Janine and the Mixtape Bullets

http://www.youtube.com/watch?v=YjHq9VvrULA

For allsorts of people

Feature Māori on Mars http://www.youtube.com/watch?v=fiGuhKhChWI&feature=relmfu

āori on Mars is an intended mobisoap serial, about the dramapacked lives and nail-biting adventures of the lost Māori tribe, who have been fighting a war on the Red Planet for over 200 years. According to the Whiteman's calendar, the tribe disappeared in 1796. Sometime around 3am on 22 August, when the mother of all snowstorms was raging, an interstellar slaveship burst out of hyperspace above their remote South Island pa and all hell broke loose. Those that were not mown down during the battle-suited aliens’ merciless assault were rounded up; every man, woman and child were loaded like cattle into the slaveship's stinking holds. In chains, the survivors were then not only transported across space but also way back in time, 65 million years, to a nightmare on Mars. Joining untold millions of other godforsaken creatures, abducted from every corner of the galaxy, breaking their backs under the lash, building the colossal Face on Mars. But the slavers made a big mistake when they abducted the Māori tribe, who planned and plotted, as they endured decades of remorseless toil. As with most goodie versus baddie stories, the tribe made their legendary great escape, and ever since, the Nga Maia ("the brave") have been on the warpath, kicking alien butt all over Mars, while forever searching for a way back home to the islands of Aotearoa. This film introduces Bloodstone by music director Tiki Taane, the new theme song for Māori on Mars. Singer Hollie Smith. ■

For allsorts of people

TŪ MAI | June /July 2012

Based on success I

t has been 17 years since the ‘fiscal envelopes’ of $170,000,000 under the Raupatu Redress by the NZ Government were signed, sealed, stamped and delivered to Tainui, followed two years later by the same amount to Ngai Tahu. For more than the historical significance of the Crown’s acknowledgement of its confiscation or seizure of Māori land (whenua raupatu) over the previous century – the offer of compensation, rightly or wrongly calculated, then triggered Treaty of Waitangi claims from almost every other iwi to whatever government was in power at the time. Since 1995 more than $1.43 billion has been distributed to approximately 51 iwi groups. The complexity of the Treaty of Waitangi (TOW) claim process has been fraught with lengthy timeframes, legal ‘variances’ of types of claims, and the pressure to present adequately researched information during the long negotiation periods and subsequent stages.

TŪ MAI | June /July 2012

Currently, 30 claims remain – at different stages of pre-negotiation, negotiation, detailed negotiation, deed of settlement and legislation. With the National government’s September 2008 deadline for lodging TOW claims, one might assume (unwisely perhaps) that the era of Treaty of Waitangi claims is on the home stretch. Settlement claims paid by the government thus far have ranged for $44,000 to $170 million. Initially spurred on by unsubstantiated opinions that the government’s compensation to iwi groups had been mostly taxpayer derived, public outcry was inevitable but has now lessened somewhat. As the first iwi out of the blocks, Tainui’s commercial investments and business activity copped strong criticism and negativity. The early days saw the constant prying of mainstream media feeding an often anti-Māori community; this media attitude has subsided. The other iwi preparing their respective cases, claims, strategies and

For allsorts of people

pathways watched carefully and learned from those first iwi claimant groups compensated by the government. The Treaty of Waitangi claim topic has long gone off the menu of after-dinner conversations. According to a media spokesperson for the Office of Treaty Settlements (and despite the often intense news coverage), no one actually asked what the total amount of treaty claim money spent was to date – an indicator perhaps of how much the process has lost its news-worthiness. Iwi representatives involved in the claims process, which now spans years and generations, have mostly been isolated from the bulk of their home people – those they represent. And there’s no doubt, the legal fraternity has been kept busy and well recompensed for playing their pivotal role; it has been an arduous, time consuming and challenging mission for all parties concerned. However, current Minister for Treaty of Waitangi Claims, Chris Finlayson, told TŪ MAI he believes he has the best job in the world: “Being part of righting wrongs is indeed a great job.” Tainui’s investment of those compensation dollars is finally coming into fruition. Their commercial arm, Tainui Group Holdings (TGH) is arguably Hamilton’s most noted landlord, having converted land that previously housed the former NZ Royal Air force Base into the largest retail mall in the country. The Base with its mall, Te Awa, carves an impressive mark on Hamilton’s landscape and in their comprehensive commercial portfolio. With an unparalleled 81,000m2 of retail space, 172 stores, over 2,600 free car parks and 28 food and

Tainui Group Holdings Managing CE, Mike Pohio

beverage stores, The Base complex is New Zealand’s largest shopping centre, and has Australasia’s only true hybrid mall with Te Awa. As well as The Base on the city’s northern edge, within the CBD, joint venture relationships with the Hamilton City Council, sees the establishment of Hamilton Riverview Hotel which owns the Novotel Tainui and Ibis Tainui. More collaborative work is being carried out for the latest District Plan Review that will begin to develop and

For allsorts of people

TŪ MAI | June /July 2012

expand Ruakura – an area adjacent to Waikato University on the eastern side of town and commonly known as the ‘Ruakura Research Centre’. In other parts of Hamilton’s CBD, ongoing activity sees other significant developments for TGH, notably, the new offices for PricewaterhouseCoopers (PwC) and energy company, Mighty River Power. TGH Managing CE, Mike Pohio credits the development of The Base with stimulating other development activity. “The Base has always been a development to service the Waikato and beyond.”

TŪ MAI | June /July 2012

It turns out only 40% of revenue at The Base is from Hamilton City with the remaining 60% from outside the city boundary and as far north as South Auckland, Tauranga in the east and Taupo in the south. “Over $80m was spent at The Base from outside of the Waikato area last year and we expect that to exceed $100m this year,” says Pohio. From the outset, TGH undertook research to identify gaps and opportunities in the market and in doing so, identified the wider catchment for The Base to total some 312,000 people. “We recognised we did not initially have the necessary skill sets, experience or

For allsorts of people

networks to complete such a large development. In that regard, we have drawn in specialist skills and experience to compliment our own capabilities and deliver the outcome you see today.” Pohio explains TGH have also concentrated their efforts on fine-tuning a master plan seeking the necessary input along the way to meet customer requirements as best they can. As is typical of all landlords with spanking new premises to let or lease, there is an urgency to secure tenants and ideally, influential and longterm tenancies. “Securing an anchor tenant like ‘Farmers’ was not only fundamental to both the early establishment of a complex like Te Awa at The Base, but also the ongoing success with the foot traffic generated from such a tenant.” Along with large format retailers and the DressSmart outlet store, other retailers have been sourced to complement and offer a broad range of fashion, food, and hospitality to the mix. World-class cinema operator Hoyts ensures the time customers spend at The Base can be over and above the mere shopping requirements (or in some cases sprees), with an entertainment-spiked retail experience. Getting the new premises and big ticket retailer tenants was affected by the financial crisis, Queensland floods, Christchurch earthquake, etc. Pohio says TGH approached over 400 potential tenants to secure the 100 that are now domiciled in Te Awa at The Base: “We have been clear, however, that The Base and Te Awa significantly raises the bar for retail in the Waikato and indeed New Zealand. On that basis there is mutual benefit for us and the tenants to work together in what is a flagship for us and a strategic location for them.” A constant in the TGH strategy is adding to their commercial portfolio with other investments. As lead developer and investor, the $65million Novotel at Auckland Airport greets visitors to New Zealand in stunning style. In a joint venture with the Accor Hospitality Hotel chain and the Auckland Airport, the world class, 4-star plus, 260-room hotel stands as an impressive sentinel. Pohio says TGH is certainly far better positioned today than five years ago. “While there was momentum and recognition five years ago, we have worked hard to generate increasing levels of

Novotel Auckland Airport

confidence that we can deliver projects of scale and quality and to work collaboratively with our commercial partners.” Pohio also acknowledges, the most challenging task has been to secure confidence within their own operation, commercial partners and the wider community. “Having confidence that we can deliver on what we say we will do, and to complete flagships projects like The Base and the Novotel Auckland Airport, is fundamental to TGH’s ongoing success.” However, Pohio is not too proud to reveal that a very close second to securing confidence from the commercial sector is the onerous task of seeking funding at a time when world markets are in turmoil. “It had not been that long ago that Tainui defaulted on loans.” It is an area navigated in Pohio’s ongoing commitment to robust decision-making, respecting caution and applying attention to detail. ■

For allsorts of people

TŪ MAI | June /July 2012

Being Parehuia Mafi P

arehuia Mafi is passionate in her belief that her clients deserve nothing but the best, which is why she regards her current studies at Auckland University Medical School as an expression of manaakitanga. A rangatahi and whanau support worker with Whakatohea Iwi Social Services, Parehuia is studying for a Certificate in Alcohol, Drug and Tobacco studies through the University’s Faculty of Medical and Health Science. Her course has a distance-learning component. She can do a certain amount online, but once a month she leaves her husband and eight-year-old twins in their Opotiki home to attend lectures and tutorials in Auckland for three days. The more she learns it seems, the more she realises how much she already knows. “It’s fascinating to see how often current research into clinical approaches of working with people affected by addictions and mental health issues validates our traditional knowledge base which has never really been lost. “Such things as whakapapa and korero awhi provide an ethical approach to working with whanau which should be standard practice, not just something labelled ‘cultural’ as opposed to ‘clinical’. So, for me, the resources that E Tu Whanau provide are actually are at the cutting edge of our work because they build on our traditional knowledge.

PIC _ Parehuia Mafi by OpotikiPhotolab

Manaakitanga is at the heart of her work and for Parehuia harnessing modern clinical research to enhance the work she has always done within a traditional Māori knowledge base and health philosophy is pure maanaki. “Auckland University Medical School has information which can help our people. I see my role as helping bring that knowledge back to this community. The work I’m

TŪ MAI | June /July 2012

For allsorts of people

doing, for example, can help us understand how drugs and alcohol affect our community by finding out how these psychoactive substances affect the biology and brain function of Māori people, our bodies and minds.”

A very important part of our world view as Whakatohea people is that everyone is born into greatness because they carry with them a long line of ancestors. She says that a lot of the successful interventions are actually moving towards what her tutors call ‘a social paradigm which prescribes a genealogical approach of working with people’. Sounds familiar? "A very important part of our world view as Whakatohea people is that everyone is born into greatness because they carry with them a long line of ancestors. That person who walks through our door is not just someone presenting with problems of addiction or mental health. They are born of greatness, which is whakapapa, and they deserve the very best.” Parehuia cites collaboration between Whakatohea Social and Iwi Services, the police and Ministry of Justice as an example of this philosophy in practice. “Under the Oho Ake programme whanau can refer a young person in trouble to our service instead referring them to agencies like CYFS. This gives whanau the choice of accessing a kaupapa Māori service. This is proving to be successful and we’re seeing a decline in youth offending as a result. This is as another affirmation that the whanau ora approach – of addressing an individual’s problems within the context of their family – works.” The whanau not doing so well are the ones who are disconnected from whanau, hapu and communities. We believe that reconnecting people is the way to overcome addiction and mental health issues and now we have the research to back it up. The relationships that person has with those supporting him or her is the key to achieving wellbeing not the treatment itself, although that is also important.” While Parehuia appreciates the educational opportunities she now has, she also sees herself as

fortunate that so much of her learning has been within a traditional Māori framework. Her postgraduate course at Auckland University builds on the double diploma in social work and co-existing disorders that she gained through the Anamata private training establishment run by the Ruatoki Indigenous Education and Training Authority. This, in turn, built on the already extensive knowledge she had gained through six years working with the mauriora based training establishment, Te Korowai Aroha, her time with the local kohanga reo and her ongoing work on the committee of her marae. The fact that she is also a talented athlete who has travelled the world representing New Zealand as a member of the NZ and Māori women’s rugby sevens teams provides her with another set of skills and another way of connecting with young people. “Like many people in this community often unpaid work is just part of your life when you commit yourself, as I have, to a community – but we learn so much through these activities. You could say we’re studying all our lives.”

The relationships that person has with those supporting him or her is the key to achieving wellbeing, rather than the treatment itself… Parehuia has a vision for her people. “I want our rangatahi to be free of pain and trauma, free to be the great people that they are. As the saying goes, ‘It takes a whole village to raise a child,’ so our values need to be clear and positive. I know that in our tribe of Whakatohea the Ringatu faith is very strong. The Ringatu prophet, Te Kooti ‘s vision for us is held within his prophecy or kupu whakairi. “Kei hea te orange o te Whakatohea, kei runga, kei raro, kei kora nei, kei konei – where will the wellbeing of Whakatohea be found. Is it above? Is it below? No, the wellbeing of Whakatohea is within. “He said that we have the answers within us and I believe in that vision. It’s what drives us every day in at our work.” ■

For allsorts of people

TŪ MAI | June /July 2012

BECOMING A FATHER IS EASY BEING A DAD ISN’T

TŪ MAI | June /July 2012

For allsorts of people

SET A GOOD EXAMPLE t :PVS DIJMESFO NBZ OPU MJTUFO UP XIBU ZPV TBZ CVU UIFZ XJMM JNJUBUF XIBU ZPV EP SHOW THEM THAT YOU LOVE THEIR MOTHER t $IJMESFO GFFM TBGF BOE TFDVSF XIFO UIFJS QBSFOUT BSF IBQQZ BOE SFTQFDU FBDI PUIFS TALK TO EACH OTHER POSITIVELY t (JWF IFBQT PG QSBJTF UP ZPVS GBNJMZ BOE UP ZPVSTFMG UPP 4QFBL PQFOMZ BOE IPOFTUMZ XJUI DPNQBTTJPO

For allsorts of people

TÅª MAI | June /July 2012

Plunket Part of NZ Culture P

lunket is one of New Zealand’s iconic organisations – as much a part of our culture as the All Blacks. Nine out of ten New Zealanders are ‘Plunket babies’.

Plunket has been welcomed into the homes of New Zealand families for over 100 years – giving our parents the support they need to nurture healthy, happy pēpi. Many people, when they think of Plunket, think of the Plunket nurses – but there’s much, much more to Plunket. One of the many very useful things whānau need to know about is PlunketLine.

TŪ MAI | June /July 2012

PlunketLine (0800 933 922) is a toll-free telephone advice service available to all families, whānau and caregivers 24-hours a day, seven days a week, whether you’re enrolled with Plunket or not. PlunketLine is a completely free service; a fact that is probably not as well known as it could be, so Plunket is encouraging people to spread the word, especially among Māori communities. Māori have higher fertility rates than non-Māori, and Māori also tend to have pēpi earlier than non-Māori. This results in more pēpi born to younger Māori, which in traditional terms is great. It’s a measure of great

For allsorts of people

wealth and prosperity, as well as assurance that future generations will continue. Whānau, hapu, iwi bloodlines – Taonga tuku iho: treasured lives or ‘taonga,’ who therefore deserve the very best start in life. Parenting, especially for the first time, can be a challenge. Often a new mother or whānau member caring for a young child may want some advice, guidance or reassurance. When you call PlunketLine your call will be answered by a Plunket nurse, who can give you advice and information on parenting issues and your child’s health and wellbeing.

PlunketLine is a completely free service; a fact that is probably not as well known as it could be, so Plunket is encouraging people to spread the word, especially among Māori communities. As well as providing high-quality advice, PlunketLine is a great way to access Plunket’s nationwide family support network. It is a gateway to many services, including referrals to local Plunket nurses, car seat rentals and Plunket family centres. Many parents call us with questions about their tamariki like: • How can I stop pēpi crying? • Where do I get a car seat? • It’s cold – is it ok to sleep with pēpi? • When does my pēpi crawl? • When does pēpi need his immunisation jab? • How do I know pēpi is getting enough kai? • I’m going to a mate’s party tonight, can I still breastfeed? • Is there a group for teen mums and dads? • I’ve moved – how do I get another Plunket Nurse? And something for proud and doting kuia or koro – a call to PlunketLine can provide some information on the progress of moko. Ensuring the very best of care for pēpi can be a wider whanau objective and experience, kia kaha koutou mā, waea mai waea atu. Ko tē kaupapa nei: Mā te mahi ngātahi, e puawai ai a tātou tamariki! ■

For allsorts of people

Together, the best start for every child | Whanau awhina

TŪ MAI | June /July 2012

Over the language barrier Craig Miller is an environmental scientist working in sustainable development and climate adaptation. He has a PhD from the University of Canterbury and currently works out of Brisbane in the Asia Pacific region.

cientists often have a reputation as smart people but with little connection to the real world. The language they use is often hard to understand, and the things they talk about seem to bear little resemblance to everyday concerns. This is unfortunate, because science has improved many lives, immeasurably.

People live longer than our ancestors ever did. We can produce more food than ever before and talk to people thousands of kilometres away, thanks to the work of scientists. So the scientific community acknowledges it has a communication problem. Scientists tend to communicate well with other scientists in a scientific environment. They speak the same language, understand the shorthand but this means their communication can be isolating. Research carried out by scientists is instrumental in understanding how the world and universe work; how to address significant social and environmental problems; and how to improve quality of life. It is very important that scientific research affects the people that need it most. Students are now being trained in getting their results across to non-scientists, as well as being trained in scientific methods. This is an important step to bridging the gap, but it is still based on a one-way transfer of information from experts to non-experts. Communication is a two-way thing. It requires at least two people sharing and understanding a common

TŪ MAI | June /July 2012

idea. It requires trust, a common language, and common understanding. I am a scientist. I was trained in ecology but was fortunate to have a supervisor who recognised that people are important. This may seem self-evident, but many of my scientific friends and colleagues were happiest when they were alone studying nature and did not have to interact with people. People were a complication. Over time I developed an appreciation for the role that our environment has in shaping our communities, and the role of our communities in shaping our environment. I recognised that the decisions we make affect our quality of life and the lives of our children. I came to recognise that the decisions we make are based on our knowledge, the beliefs we hold about the world, and our internal goals and aspirations. We confront some very serious issues at a global scale. Many of these are issues of our own making. Some are due to the lack of knowledge – however if knowledge of facts changed behaviour then nobody would smoke, we would all exercise, and we wouldn’t continue to over-fish, clear forests, or pump vast quantities of carbon dioxide into the atmosphere. The physics and chemistry of climate science tells us that carbon dioxide is a key factor in regulating the earth’s weather and climate. We understand that transferring vast quantities of stored carbon into the atmosphere as carbon dioxide at a rate faster than it can be stored back in the ground will affect our weather and our climate. We know that the weather and climate affect our agriculture, our capacity to fish, and the availability of our fresh water. We know that changing climates change the sea level.

For allsorts of people

So why is there so much resistance to changing the way we do things? It certainly isn’t because of a lack of factual knowledge – we know more now than we have ever known. It certainly isn’t because people want to destroy their environment – we all want to have sustainable and prosperous livelihoods. Scientists communicating more facts is not going to change anything. The reality is that we all have different degrees of knowledge, different beliefs, and different goals and aspirations. Understanding what is important to people is essential to understanding why people make the decisions that they do. One role that scientists can play is working with people to understand the consequences of decisions that they and others make, and to work out why the decisions have the results that they do. This is co-learning. It requires a common language and a common understanding of ideas and concepts. Social scientists, rather than scientists who study the physical world, have led the way in co-learning through what has been called participatory action research. Participatory: because it considers that non-scientists are partners in the research. Action: because it seeks to result in some behavioural change through the research and learning process. This sort of research takes time because it takes time to build trust and develop the common language. It can take time because it involves wrestling with complexity. It can take time because it involves exploring ideas that may challenge strongly held beliefs. It is difficult to get funding and support for this sort of research, mainly because scientists are under pressure to publish their findings quickly in scientific journals. Co-learning research can be messy, unlike a nice tidy experimental design, and the results may not be of interest to the top scientific journals. Scientific careers are made by publishing in the top journals. But we need to communicate and co-operate if we are to solve the problems that confront us all. Scientists have a toolbox that helps us compensate for our very fallible human perceptions in understanding why things happen. Scientists are experts in the trade. But there are many other experts out there: elders who hold and care for the knowledge of their ancestors; fishermen who understand the tides and the weather; parents who care for their children and who know their personalities; entrepreneurs and business people; yes, and even politicians.

I was working with a group of farmers who felt that they were caught on a treadmill. They had to work harder and harder in order to make any money. They were smart people who knew how to farm, but they were caught in a system that was grinding them down. They were unsure about the future and were concerned about what climate change might mean for them (even if they didn’t necessarily believe that humans had anything to do with it). We taught the farmers how to develop simple conceptual models that showed how feedback from the effects of their management decisions could affect their future management requirements. The models required their knowledge to be of any use, and they became the basis of the common language for communication. My colleague and I could have made some informed guesses, but they would not have been relevant to the farmers and wouldn’t have contributed to mutual learning or changed behaviour. We were able to demonstrate how the rational decision of an individual farmer to make profit through producing more milk as cheaply as possible led to milk gluts and depressed prices, because every farmer is seeking to do the same thing. The counter-intuitive answer is for all farmers to co-operate to produce less milk. This is a situation where rational individual decision making feeds back over time to put pressure on the individuals. Farmers have responded to market pressures by becoming as efficient as possible. But we were able to demonstrate that this was risky in an environment where both the climate and the milk price were variable, and likely to become even more so. One answer the group came up with was the need to create and retain buffers, such as stored fodder and insurance. They realised that their drive to efficient production had depleted their buffers and left them vulnerable to weather or financial shocks. This communication and mutual learning helped us all to understand how these farming systems worked, and helped the farmers to develop strategies to adapt to an uncertain future. It was successful science communication. The real challenge for science communication is to make science accessible and useful as part of everyday life. Science doesn’t have cultural or racial boundaries, so it seems obvious to me that we need to get beyond the language barrier. ■

For allsorts of people

TŪ MAI | June /July 2012

LEGAL | SELLING A BUSINESS Click to view website

James Johnston is a Partner with Rainey Collins Lawyers. Rainey Collins is based in Wellington looking after a range of clients across New Zealand. Comments to jjohnston@raineycollins.co.nz or follow us on Twitter @RaineyCollins For further articles please visit www.raineycollins.co.nz PO Box 689, Wellington, or 0800 RCW LAW (0800 733 424).

Setting up a Charity Some things to consider … Regular contributor and lawyer James Johnston highlights some points you need to consider before establishing a Charity.

e receive regular approaches from people seeking advice on setting up a charity. A year on from the Christchurch Earthquake people are still thinking of ways to help – including fundraising initiatives and establishing trusts to support those with long term injuries or who have lost their homes or belongings. ► Existing charities Before you go to the trouble of establishing a new charity, consider what you’re planning to achieve and think about whether there is an existing charity that already does what your proposed charity will do. Are you able to assist, donate to, or partner with that charity, rather than establishing your own? Some people like to establish their own charity because it gives them autonomy, profile and an ability to focus on their particular objective, whereas others may prefer to work as part of a larger team, be a silent funder or remain anonymous. ► Registering as a Charity After establishing your charity, it is a good idea to register with the Charities Commission and become a ‘registered charity’. This can be a relatively straightforward process (if your charity is compliant), and can be done online through the Charities Commission website. There are several benefits of registering your charitable organisation, including being exempt from paying tax. ► Purpose The Charities Commission will look closely at your organisation’s purpose when considering your application for registration, so it is important that your purposes are

TŪ MAI | June /July 2012

For allsorts of people

charitable. A charitable purpose can relate to: 1 The relief of poverty 2 The advancement of education or religion, or 3 Any other matter beneficial to the community. The Courts look very closely too. For instance a trust, which provided assistance to people and families to purchase houses in Queenstown, was found not to be charitable by the High Court. First, the people who received assistance from the trust were not poor enough to justify the trust being classified as a charity based on the ‘relief of poverty’. Second, as the benefits were given to individuals, the trust was unable to be classified as a charity based on being ‘beneficial to the community’. Your legal adviser will be able to assist with determining whether your purpose is ‘charitable’ or not. ► Rules To register as a charity, your organisation needs to have a set of rules. Your rules should include: The purposes of your charity Who the trustees (or other officers) will be and how they are appointed A statement that your organisation is not for private financial benefit or profit to an individual What will happen with the money and assets of your charity if it ceases to operate or winds up How the rules can be amended. ► Structure You should think about what sort of structure your charity will have. For example, it may be preferable to establish a corporate body such as a charitable trust or an incorporated society, compared to an unregistered trust or society. The Law Commission is reviewing the law surrounding incorporated societies so we will be watching that space for developments. If an organisation is a corporate body it is able to fundraise, borrow money, own property, employ staff, or enter into contracts in its own right. On the other hand, organisations that are not incorporated, such as a trust, act in the names of the individual trustees. This can raise liability issues for the individual trustees involved and can also create administration hassles when trustees retire and new trustees are appointed. If you have a question about establishing a charity, please do not hesitate to contact us. ■

For allsorts of people

t’s been more than a decade since Leon Wharekura’s career as a singer and entertainer began under the guidance of such legends as the late Billy T James and Dalvanius Prime. But hundreds of gigs, both nationally and international, numerous television appearances and two albums later, Wharekura is riding a wave of popularity. His newly released ChameLeon sat at #15 in its first week, then a week later shot to #6 on the IMNZ Independent Charts which caters for independently managed NZ music. A mix of pop, R’n’B and reggae, laced with te reo Māori, ChameLeon features lyrics and melodies that suggest hope, identity, celebration, caution, and love. In a cameo appearance from the incomparable Annie Crummer and, ukulele player extraordinaire, Jarome Pare, ChameLeon ticks off a Pacific-infused version of Unchained Melody that Wharekura says is a “result of pure kumara and coconut gold.” ChameLeon is produced by Paul Voight of Sound Pictures and mastered by Chris Winchcombe of York Street Studios. With chart positions governed by album sales, Wharekura says he is delighted to have already “restocked with distributors for obvious reasons, especially given the official launch in Wellington is not until 1 July at Te Papa.” ■

TŪ MAI | June /July 2012

Nga Kaiarahi O Nga Whakaari Leading through Theatre www.takirua.co.nz

Through theatre, Taki Rua continues to lead the way for Māori artists, audiences and stories. For 29 years we have celebrated our rich past, present and future by showcasing our unique identity throughout Aotearoa and the world. Theatre is a collaborative event, we work closely with other industry leaders, using our shared kaupapa to shape and impact the performing arts in Aotearoa. This month we hear from Christian Penny, Director of Toi Whakaari: NZ Drama School.

As part of the week, we both wanted to show little pieces of work back to the local community. I want to tell you about what I witnessed in the Taki Rua showing. It was a piece developed under the direction of Ngapaki Moetara, which involved two of the young ‘character’ school students who were based in the village. They are going to be acting in this show as a part of their educational process. The showing took place in the whare kai of Whakatō marae. A big group gathered to watch, including local school children who knew the performers. As the company performed their piece the children were transformed.

TŪ MAI | June /July 2012

As this drama ensued, all of the boys in the audience became transfixed. Completely hushed they could only watch this personal battle. Here was a challenge they knew; one that related to them as boys who would one day be men. This was a male testing himself. The longer he squatted – the more he committed – the harder they watched. I saw metaphor. I was reading in the extreme effort of the Atua, Tane, as he separated Rangi from Papa. The battle that has enabled us all to enter the world of light.

ihei Mauri Ora!

Last month I was with Taki Rua, in Manutuke, just south of Gisborne. I was there with Toi Whakaari: NZ Drama School, the school I am a part of. Taki Rua was there with its company, developing its new Te Reo Māori season.

As part of the, mostly non-verbal, showing, the young boy took up the role of a warrior – he squatted – and then held the squat position. The two women in the piece circled him in different movement patterns. At first this was not unusual. But, as time went on, his breathing deepened and he began to release noises and sounds to help him endure the physical trial he had set himself.

At the point of release, the room shared a moment of breath. We were all released. As the audience dispersed I felt a sense of something new being born. The community was acknowledging its own – working to portray an important aspect of Te Ao Māori. Taki Rua were venturing into a new world. Using younger performers more linked to tikanga to carry this production. Our school was affected by the direct link between purpose and event. I think that this is one of the gifts this company is able to keep focusing on. This link between performance and purpose – while still balancing the commercial realities of delivery. That’s a dance and struggle – a bit like what I saw on the stage. It’s never going to go away; but it can be worked. ■

For allsorts of people

TAKI RUA

TAKIRUA.CO.NZ

For allsorts of people

T的 MAI | June /July 2012

Collaborative Interpretations A

new album of music reworking the Māori language

“His songs are multi-layered,” the pair explains. “On one

masterpieces of the late Dr Hirini Sidney Melbourne

level, they are catchy tunes to seemingly simple Māori

is the beginning of a unique multimedia resource.

words and rhythms. “Yet the songs, in fact, reflect a deep knowledge and

‘He Rangi Paihuarere’ comprises collaborative

profound understanding of Māori language and music

interpretations – by established and emerging Māori

and its association with the unique environment in

musicians – of melodies composed by the renowned

which it was fostered, Aotearoa-New Zealand.

songwriter, music educator and author.

“This project supports and encourages all artists to incorporate te reo Māori (Māori language) into their

Credited with the revival of taonga pūoro, or traditional

work to the highest international recording standards.”

Māori musical instruments, Dr Melbourne encouraged tuākana-tēina (older-younger) mentoring in the

He Rangi Paihuarere revives Dr Melbourne’s melodies

industry. The CD is part of a larger project based on

in a range of genres – from classical opera to electronic

this philosophy with experienced musicians working

dub, from acoustic soul to rap – with well-known artists

alongside up-and-coming rangatahi (youth) talent.

such as Te Awanui Reeder (Nesian Mystik) and Warren Maxwell (ex-Trinity Roots) included in the line-up.

The CD features an impressive line up of talent with

“We wanted to be able to cross over on mainstream

whom the late Melbourne would have been proud to

radio and we wanted to try and make a hit the way we

share his music, including: Horomona Horo (taonga

would a Nesian track,” says Reeder.

pūoro) Tama Waipara, Maisey Rika, Ria Hall, Katera Maihi, Maitreya (Jamie Greenslade) Kawiti Waetford, Soul Sister

Maxwell says he loves the ‘Beatle-esque’ nature of the

Aotearoa (Mel Davis), Majik Paora, Anna Coddington,

song he chose, reminiscent of Eleanor Rigby or Simon

Te Awanui Reeder (Nesian Mystik), Warren Maxwell and

and Garfunkel’s Scarborough Fair.

Teremoana Rapley.

“I love the musical contrast of a melancholy song infused with poi rhythms giving it drive. The kōrero of the lyrics

The educational resource includes a DVD documentary

– asking our tūpuna to awhi each generation – I believe

and booklet tracking the entire recording process,

is so important to acknowledge in this politically

allowing artists to share their knowledge and skills. It will

correct digital era.”

be launched by record label, Black Media, in time for the Māori New Year, Matariki, in June.

Jamie Greenslade, aka Maitreya, says he and Jason Kerrison changed their tune to reflect the times, both

Co-producers Peata Melbourne and Ngatapa Black say

musically and with regard to the journey of te reo Māori.

the completed project will celebrate Dr Melbourne’s iconic

“We did it with an electronic vibe – because that’s the

music as interpreted by a new breed of Kiwi entertainers.

music we love – and with vocal effects which shoot te

TŪ MAI | June /July 2012

For allsorts of people

reo into the future. We also sampled the original vocals which were recorded by Hirini and a group of children at his marae in Ruātoki.” Musician Anna Coddington says she wanted to keep her song of choice simple to showcase the beauty of the lyrics and melody. “I think a lot of Hirini Melbourne’s songs are like that – the lyrics and melody alone are enough. To me, that’s the hallmark of a good song.” Peata Melbourne and Ngatapa Black say the completed project will be for all New Zealanders to enjoy. “I worked closely with my uncle and was with him when he set up the Māori music showcase, ‘Pao! Pao! Pao!’” says Peata Melbourne. “His aim was always to encourage young and emerging Māori artists in all fields, particularly in music as that was his passion – so this is the perfect vehicle to use his waiata.” ■

& studios swell gallery present... is proud to

phs of photogra n o i io t c e le se A wight by James D

‘He Rangi Paihuarere’ is funded by Te Waka Toi, the Māori arts board of Creative New Zealand. It is distributed by Ode Records and available in stores & online at http://www.oderecords.co.nz

opening event 5.30 PM - 7.30 PM, 08 june exhibition showing until 21 july 2012 hrs 10.30AM - 5.30PM, closed sun & mon 70 rongotai rd, kilbirnie, wellington 04 387 8259 info@swellcreative.co.nz

www.facebook.com/ SWELL creative

swell

PIC _ by John Cowpland / alphapix <info@alphapix.co.nz>

Kapenga Trust cleans up

T的 MAI | June /July 2012

For allsorts of people

commitment to maintaining land and resources for future generations was a strong theme at this evening’s final of the prestigious 2012 Ahuwhenua Trophy – Bank of New Zealand Māori Excellence in Farming competition which was won by the Kapenga M Trust from Rotorua. Chairman Roku Mihinui accepted the Ahuwhenua Trophy at tonight’s Award dinner at Auckland’s Sky City Convention Centre, on behalf of his farm staff, board, trustees and shareholders. “Look after Mother Nature and she’ll look after you. Recognise when she is stressed and work with her as naturally as possible to achieve a sustainable environment,” he said. The Kapenga M Trust has 915 shareholders of Tuhourangi descent. His Excellency, Lieutenant General, the Right Honourable Sir Jerry Mateparae, GNZM, QSO presented Roku Mihinui with the trophy before an enthusiastic audience of over 580 people. “Platinum sponsor BNZ’s Head of Agribusiness Richard Bowman who presented the winner with a gold medal said BNZ has long recognised that Māori agribusiness is a dynamic part of the wider sector. “We have sponsored the competition for 10 years now and have seen it, and the farms it showcases, go from strength to strength and become industry leading businesses for the benefit of their iwi, communities and the country as a whole. “We're truly honoured to partner with this prestigious Award and recognise the mana associated with all who are connected.” The other two finalists in the competition were Tauhara Moana Trust (Taupo) and Wharepi Whanau Trust, (Te Puke). Chair of the Ahuwhenua competition’s management committee, Kingi Smiler said that the success of Kapenga M highlights the sophistication of an increasing number of highly successful Māori owned agribusinesses.

The Kapenga M dairy unit, 20 km to the south of Rotorua is a 330ha property currently running a mixed Jersey/Friesian herd of 1,020 stock units. Its stock performance centres on a strategy of developing high breeding worth cows that can harvest high levels of pasture. Since 2009 the farms total milk production has increased steadily from 241441kg in 2008 to 371169 kg although its herd has only increased by nine cows. Production per cow has gone from 246kgMS to 372kgMS. The farm is owned by the Kapenga M Trust which has a proud association with the Ahuwhenua Trophy competition having won the Ahuwhenua Trophy for sheep and beef farming in 2003. The Kapenga M Trust has 915 shareholders of Tuhourangi descent. They own a total of 1,858 hectares which include a sheep and beef farm and a deer farm. The Trust is currently harvesting 100 hectares of forestry woodlots planted 28 years ago. Proceeds from this harvest, coupled with last year’s record Fonterra payout, encouraged the Trust to consolidate its property and grow its holdings to include land with genealogical connections to its current owners. In 2008 it sold its dairy farm situated some 60 kms away at Mamaku and has bought a 250ha dairy farm adjacent to its Waikite Valley holdings. Both properties are on land that Tuhourangi have a whakapapa connection to since the eruption of Tarawera in 1886. The Kapenga M Trust pays regular annual dividends to its owners. It also provides education and kaumātua grants and is a Foundation investor in the Te Arawa Future Farming Training programme.

“At the heart of their success is the priority they put on environmental and cultural concerns. They know that as the current caretakers of their land they are responsible for ensuring this precious resource is available to future

For allsorts of people

TŪ MAI | June /July 2012

generations to provide for themselves and their families and to contribute to the wealth and prosperity of the whole country,” he said. The Ahuwhenua Trophy is the premier award for Māori in agriculture. It acknowledges and celebrates business excellence in the New Zealand pastoral sector and is open to Māori farming properties either owned individually, or managed by Māori Trusts and Incorporations in New Zealand. Each year it alternates between beef and sheep farms and dairy farms. This is the fourth year since the competition was revived in 2003 that entrants have competed for the Ahuwhenua Trophy for excellence in Māori dairy farming. The winner of the Young Māori Farmer Cadet/Trainee Award was announced earlier in the evening. The

TŪ MAI | June /July 2012

PHOTO _ Members of the Wharepi Whanau Trust at their marae,Te Whetu o te Rangi, south of Te Puke. The Wharepi Whanau Trust's farm, Waewaetutuki was one of three finalists alongside Tauhara Moana, Taupo and Kapenga M, in the 2012 Ahuwhenua Trophy BNZ Māori Excellence in Farming Award. By John Cowpland / alphapix <info@alphapix.co.nz>

inaugural winner was Tangaroa Walker (Ranginui/ Pukenga). This, another prestigious award, is sponsored by AgITO, Te Puni Kokiri, Allflex and Māori Trustee. BNZ is the Platinum Sponsor for the Ahuwhenua Award. Gold sponsors are Fonterra, Dairy qNZ and Te Puni Kokiri. Silver sponsors are AgResearch, AgITO, PGG Wrightson and Ballance Agri-Nutrients. Bronze sponsors are the Ministry for Primary Industries, Allflex, AFFCO, BDO, Māori Trustee, LIC, Re:Gen and Polaris. Sponsor support was also be supplied by Tohu Wines, FOMA, Landcorp, Agrecovery, DB Breweries and Ecolab. ■

For allsorts of people

EDIBLE ENERGY | HEALTH

Edible Energy: foods to thrive By Naturopath Lani Lopez

The Glycemic Index (GI) Measures increases in blood glucose (a type of sugar) from eating a carbohydrate (food containing sugar). High GI foods release glucose quickly causing a rapid rise in glucose. Foods with Low GI release glucose slowly into the blood. A GI score over 70 is considered high. Between 56 and 69 medium and a low score is under 55. Avoid » Steer clear of sugar under any of it’s guises; sucrose, glucose, maltose, fructose, corn syrup etc » Avoid processed and refined carbohydrates like white flour products (even multi-grain bread can be white flour with grains added, read the label).

n my work as a naturopath, one popular question is “How do I get more energy?”

Part of the answer is in energetic eating, foods to support and sustain us. A key tool is the Glycemic Index or GI of food; a guide to the rate energy is released from food for our body to use. Basically the slower energy is released the lower the GI number of a food and the better for us. Low GI foods are more satisfying, suppressing appetite for longer and providing long-lasting energy. Dr David Ludwig of Boston Children's Hospital showed in 1999 that foods with lower GI scores reduced hunger in his obese teenage patients. Higher GI foods Ludwig says “trigger a rise in blood sugar, followed by a cascade of hormonal changes, which tend to make you hungry again sooner because they are metabolised quicker than low-GI foods” which, he explains, “are more satisfying than high-glycemic foods. Low-GI foods take longer to absorb and help dieters feel full longer, so they are less likely to overeat. High-GI foods break down faster, leaving you hungry and less satisfied.” More recent Californian research suggests that high GI food increases the risk of bowel cancers, a lethal killer in NZ. With a few simple changes to your diet and eating habits you can enjoy these huge benefits: better health, long-term weight loss and improved energy every day. It is time to say hello to Low GI.

For allsorts of people

Eat More » Eat fibre rich food: legumes and beans, kidney beans, chickpeas, lentils, whole grains, brown rice, wholemeal pasta, barley, quinoa and oat bran. » Eat fruit and veges and with the skin on whenever it is possible. » Eat smaller amounts more often – snack freely between meals keep a stash of raw nuts, fruit, hummus and cut up fresh veges handy like celery or carrot sticks. » Include protein with each meal, add nuts to your cereal, tuna or chickpeas in salad, eat fish and red meat. Odd Facts » Refrigerating boiled potatoes significantly lowers their GI. Boil potatoes and eat them cold for slower energy release. » A capful of vinegar at every meal reduces GI. » Liquid Energy: Choose Water. Dehydration is a common source of fatigue. Keep hydrated to keep energised by drinking water. Sugar-laden so-called energy drinks will dehydrate you, not to mention the huge amounts of calories they pack in. ■

Find me on facebook : https://www.facebook.com/lanilopezcom

Lani Lopez Ngai Tamarawaho has a Bachelor in Science, an Advanced Diploma in Naturopathy and a Diploma in Jamu Obat Asli (Indonesian Herbal Medicine). The founder of Lanilopez.com you can email her at naturopath@lanilopez.com and find her on facebook.com/lanilopez.com

TŪ MAI | June /July 2012

FASHION | 5 FASHION STYLE UPDATES THROUGH FOR TRADITION WINTER

5 Style Updates for Winter Blogger Miss Mondo looks at the top five tips that will energise any winter wardrobe. Accessories to covet, or splashes of colour to inject pizzazz into otherwise safe separates, have been common female garb on the runway, and the street.

By Montess Hughes

Click to view blog

1. 48

T的 MAI | June /July 2012

For allsorts of people

5 STYLE UPDATES FOR WINTER | FASHION

FABRIC | Sheers Sheers in winter is doable; it’s all about layering transparent t separates over solid denims or trousers with varying varyi levels of modesty. Whether you prefer a bold or subtle look, lo sheer maxi skirts and translucent shirts don’t leave much to the imagination. Equipment Signature Tortoise Shirt - $299.00 http://www.superette.co.nz

PALETTE | Spices Incorporating warm hues and colours to create bold colour blocking on shifts, dresses, and tunics. From red and burgundy to currant and plum, it’s all about implementing a spicy shade into the wardrobe. Glassons Fur Trim Coat - $99.99 http://www.glassons.com

INSPIRATION | Athletic This season, designers are using mesh to express their ongoing interest in athleticism. The perforated fabric forms skirts, dresses, jackets, and even accessories, oversized day clutches and sporty heels. Mardle Clutch - $190.00 http://www.mardle.co.nz

DETAIL | Buckles Aggressive lacing and a vast array of buckles are used on shoes to bring this trend to life. Whether its ankle boots or knee-highs, lacing and buckles have featured greatly on boots this winter so consider investing in the perfect pair. Kathryn Wilson Julie Loafer - $245.00 http://www.kathrynwilson.com

PATTERN | Florals For winter, designers favour head-to-toe florals on slim-cut suits. The flowery prints descend from tailored blazers to skinny pants; two piece suits (and easy-tomix separates). Vibrant florals, Navajo graphics, and apocalyptic prints are twisted, flipped, and faded through high-tech printing methods to give feminine dresses a fresh edge. Topshop Moto Baroque Print Jeans - $100 http://www.topshop.com available at Karen Walker and The Department store

For allsorts of people

TŪ MAI | June /July 2012

FASHION | FASHION LITTLE BLACK THROUGH DRESSTRADITION

LBD Scheherazade is easy. The little black dress is hard.

- Coco Chanel

B Montess Hughes By Click to view blog C Since Coco Chanel introduced the term ‘LBD’ (little black dress) it’s become the embodiment of timeless fashion. In the trend-crazed industry of fashion the LBD remains an icon; it answers the eternal question “What shall I wear?” with simplicity and sex appeal. The LBD concept has no boundaries, whether it costs $2,500 or $25, is a size 6 or a size 16, it is still a ‘little black dress’. And everyone wants to own at least one perfect LBD. Through the years, the little black dress has undergone hemline, shoulder, strap and fabric variations and this season is no different.

❤ 1. Lover - Gothic Dress http://www.superette.co.nz

❤ Layer your bling. Feel free to embellish your look with oversized earrings, a statement bag or a mass amount of bracelets. Accessorize well to compliment your LBD. ❤ Always in style: an above the knee length – a hint above, or a nudge below to create the ultimate chic look ❤ Patterned hosiery is the perfect way to dress up your legs this winter! Whether they are striped, adorned with spots, a delicate floral or metallic, opaque’s can take your favourite LBD from subtle to statement. Be bold and pull on a pair of playful opaques. Keep an eye out for IWI CREATIONS traditionally-inspired hosiery.

TŪ MAI | June /July 2012

For allsorts of people

❤ 2. Glassons - Peter Pan Collar Ponti Dress http://www.glassons.com

❤ 3. Miss Crab - Rain dress worn Virgo slip http://www.misscrabb.com/

❤ 4. Iwi Cretions - Kowhai is yellow http://www.iwicreations.com

❤ 5. Jill & Ange - Armoury dress http://www.jill-and-ange.co.nz/

❤ 6. Alexandra Owen - LBD collection http://alexandraowen.co.nz/

LITTLE BLACK DRESS | FASHION

1. ❤

❤ 4.

2. ❤

3. ❤

❤ 6.

❤ 5.

For allsorts of people

TŪ MAI | June /July 2012

Have 200,000+ Maori this week? Kaitaia Te Hiku o Te Ika & Tai FM [Rangatahi] Whangarei Ngati Hine FM Mangamuka Bridge Tautoko FM

Paeroa Nga Iwi FM

Auckland Radio Waatea

From Te Hiku o Te Ika to Te Waipounamu over 200,000 Maori tune-in to 22 Maori Radio Stations.

Ngaruawahia Tainui FM

Rotorua Te Arawa FM Whakatane Sun FM

Tokoroa Raukawa FM

A “whanau-friendly” format in both Maori and English caters for the whole whanau 24/7. To find out how Maori Media Network can help you reach this Maori audience visit our website. You'll also be able to listen to the stations online.

Tauranga AM & Tahi FM [Rangatahi] Moana A

Ruatoria/Eas Coast Ruatoria/East Radio Ngati Porou

Te Kuiti Maniapoto FM

Gisborne Turanga FM

New Plymouth Te Korimako o Taranaki aranaki

Napier/Hastings Kahungunu FM

Whanganui hanganui Awaa FM

www.maorimedia.co.nz

Palmerston North Kia Ora FM

Turangi Tuwharetoa FM

Wellington Te Upoko o Te Ika

Kaikoura Tahu FM

Christchurch Tahu FM

Maori Media Network is a national advertising bureau specialising exclusively in Maori media and communications. Whether you need advertising placement on 6 stations or 22, full ad production, translation, a Maori music bed — it takes just one call to Maori Media Network to deal with it all! Contact us today for media advice or an obligation free quote.

Dunedin Tahu FM Invercargill Tahu FM

Maori Media Network Ltd Phone : 04 496 3330 Fax : 04 496 3332 Email : info@maorimedia.co.nz Web : www.maorimedia.co.nz For allsorts of people