Ana Apatu.
ANZAC Weekend. A time to reflect on those who fought for our country and those who lost their lives for us in the hope we can enjoy our lives in a peaceful time.
My generation reflects on how we are the lucky ones, fortunate because we have not had to go to war. I have, however, friends who fought in the Vietnam War and every one of them carries scars from their experience.
A highlight for me this weekend was Kahurangi Maori Dance Company presenting Whakaaria Mai at St John's Cathedral. My cousin Sandra Mauger quietly translates words spoken in Maori during the performance.
Wi Te Tau Huata, padre for the 28th Maori Battalion, is recognised. We listen to his recorded words describing what it must have been like for those mothers watching their sons leave the shores of Poneke (Wellington). He describes how these young men, some teenagers, too young to have wives or girlfriends, would have been reflecting on their mothers as they left, knowing they might never return.
Whakaaria Mai is composed of short performances, waiata highlighting songs written by Wi Te Tau Huata, another a theme of colonisation, intermarriages between Maori and non-Maori. Wi Te Tau Huata was depicted as bringing people together through the revitalisation of the Anglican church, and included his marriage to his wife - all of these events brilliantly choreographed.
The professionalism of this performance - hair, costumes, war footage, old photos, quality of dance, acting and waiata (singing) - was brilliant.
I am particularly drawn to two of the performers, Tuakana Miria and Michelle Huata. I met them to ask how they were introduced to Kahurangi Dance. Tuakana, from Flaxmere, had lived in Flaxmere for 30 years. From a Cook Island father and Maori mother, Tuakana felt more connected to his Cook Island ancestry growing up. He tells me their Maori mother had lost her connection to her Maori culture.
Tuakana gently describes how he struggled to connect with his schooling, a Kimi Ora student and then only Karamu High School, out of a number of secondary schools, finally accepted him. I am particularly fascinated to learn what made Tuakana connect with learning. I want to learn how we can support our young people to understand the joy of learning to ensure young people meet their potential.
Tuakana tells me growing up he felt more connected to his "bros", members of the Mongrel Mob. The turning point for Tuakana was when he watched his younger brother performing kapa haka at the Kura Kaupapa. He asked his parents if he could attend and went on to achieve school certificate in Maori. He entered Manu Korero - speech competitions. He was introduced to Kahurangi via the star or gateway programme. Michelle Huata from Raupongo (who grew up with Black Power whanau) tells me she did not know her Huata whanau founders of Te Whare Tapere o Takitimu. This school provides certificate level year one, diploma year two and year three a degree in performing arts, right here in Heretaunga. Founder Tama Huata saw a need to connect young people with their Maori culture. I also learn that Tama would gather young people up from the court system, street kids, young people that needed guidance and probably acceptance. Tuakana and Michelle have graduated with a degree in performing arts and now teach. Michelle tells me this experience has changed her world: the opportunities, the people she met, performing with other indigenous peoples overseas and in New Zealand. Tuakana and Michelle have travelled to Canada, the United States, Malaysia, Singapore, Thailand, Australia and India. They sit opposite me and look so healthy and fit.
At the end of the performance Whakaaria Mai is sung, everyone stands to clap to acknowledge all involved with this outstanding performance. As we leave Sandra grabs me by the hand and whispers, "I am so glad to be a Kahungunu wahine". Why? I ask her. Because it is so wonderful to see our Kahungunu striving for excellence.
- Ana Apatu is chief executive of the U-Turn Trust, based at Te Aranga Marae in Flaxmere.