Conference at Te Kaha

Te Ao Hou, November 1973, Page 22

Conference at Te Kaha by Witi Ihimaera THE SIGNS WERE GOOD: Tanemahuta had sent birds to sing, Tangaroa had sent four whales to appear on the horizon, and Ranginui had shed tears upon the marae at Te Kaha. Bill Tawhai, chairman of the conference. With these signs, nothing but success and optimism could attend the first national conference of Maori Artists and Writers, sponsored by the Queen Elizabeth II Arts Council, and held at historic Tukaki marae during Queen's Birthday Weekend. Convened by poet Hone Tuwhare, the conference attracted over two hundred people either involved or interested in Maori culture. They included writers, poets, artists, sculptors, photographers, actors, dancers, carvers and culture group leaders. Among them were Ralph Hotere, Kura Rewiri, Buck Nin, Selwyn Muru, Rei Hamon, Para Matchitt, Tui Zanetich, Micky Wairoa, Paul Katene, Rowley Habib, Dun Mihaka, Witi Ihimaera, Dinah Rawiri, Rose Denness, Ngahuia Rawiri, Roka Paora, Mana Cracknell, Ivan Wirepa, Donna Awatere, John Taiapa, Tuti Tukaokao, Bub Wehi, Elizabeth Murchie, Val Irwin, Syd and Hana Jackson, Sonny Waru, Haare Williams, Don Soloman, Paul Manu, Mihi Roberts, Bill Tawhai, Malta Sydney and Dr Douglas Sinclair. Many of these people have appeared in the pages of Te Ao Hou. Together with the other visitors — school and university students — they came to express their concern about the development of Maori creativity and tried to formulate ways in which this could be stimulated. One felt that the late Dr Maharaia Winiata would have been pleased with the result. Before his death, Dr Winiata had tried to organise a conference such as this one. Opened by Mr P. B. Reweti, Member for Eastern Maori, the conference began with Te Whanau-A-Apanui District High School Cultural group performs.

Selwyn Muru, Para Matchitt and Malta Sydney. discussion groups being formed to talk over the following topics: The position of the Maori artist in New Zealand society; what directions are needed; are our people sensitive to our presence; is there communication in the development of our art and artists in relation to our people; use of the marae for creativity; and the dilemma of the Maori artist in expressing Maori concepts or feeling within a Pakeha medium. Reports from each discussion group were then thrown open for debate at the first plenary session. The recommendations made concerning greater encouragement of Maori creativity were passed at the second and final session. Most important among these was that the Government be approached with a view to establishing a Government-endowed Maori Cultural Foundation, and to introducing the Maori language in schools as a recognised subject from infant level. Maori art as a University Entrance subject, and the stimulation of creative writing by Maori children in schools, were also recommended. As far as art was concerned, it was recommended that two art scholar-

ships be established, and both the Maori Council and Queen Elizabeth II Arts Council were named as possible sponsors. A New Zealand Painters Group was formed with Buck Nin as president. The possibility of setting up a printing press for Maori writers was one of the main recommendations to result from the writers' session. An urgent need for more creative writing prompted another recommendation that the Maori Purposes Fund Board, Maori Tribal Committees and the Maori Education Foundation establish grants for Maori writers and poets. Rowley Habib voiced the feelings of many when he said that, at present, the leaves of the tree (the performing arts) were being fed while the roots were being neglected. The main concern voiced by the carvers was that carving was becoming a commercial tourist industry. It was felt that a design mark should be instituted to identify authentic carving from ‘plastic’ carving. Tukaki marae became rather like an anvil upon which was hammered out the voice of concern. But it was also a place where the versatility of the Maori as an artist was proven. An impromptu concert, featuring the talents of the artists, proved this beyond doubt. For instance, to hear Donna Awatere singing was to realise the enormous potential of Maori creativity and artistry. Even more revealing was the piano recital given by Ivan Wirepa, Auckland pianist, on a grand piano within Tukaki meeting house. Accompanied by Stephen Sheath, cellist, Ivan played work by Bach, Mendelssoh, Mozart, Beethoven, Chopin and Bartok. It would have been quite easy for Ivan to present a less demanding and more popular selection for his debut. He had the courage not to compromise his talents, and was rewarded with a tremendous ovation from the audience. The recital was an astonishing experience, and the grand piano did not seem out of place at all. Certainly, the recital exemplified a remarkable fusion of Maori talent working within a European artistic framework. Next year's conference is to be held at Wairoa Marae, under the chairmanship of Dr Douglas Sinclair. Head convener is Mihi Rogers, and organising the travel arrangements from specific centres are: Don Soloman (North Auckland), Hone Tuwhare (Auckland), Dr Sinclair (Hamilton), Witi Ihimaera (Wellington), Para Matchitt (East Coast), Elizabeth Murchie and Kura Rewiri-Thorson (South Island).