Thank goodness that didn’t happen. The organisers had the good sense to go back to all the regions to seek their guidance and views.
I understand there was unanimous support for the festival to go ahead as planned. It was outstanding.
The logistics around holding an event where 60,000 people would be present, not for one or two days but four days, would have been a huge undertaking.
I have never been to Eden Park Stadium; the place is massive and built slap-bang in the leafy suburb of Mount Eden.
Hanging around waiting for transport to get back into the city must have been a nightmare for those who had to rely on public transport. But I suspect nothing dampened the spirits of those attending. You had to be there - and I was.
It was four years since the last Te Matatini.
The biennial event hadn’t been held since 2019 because of Covid-19.
It had been a long time coming, so the 45 kapa haka groups competing were primed and ready to hit the stage.
It appeared each was giving the best performance of their life.
Everyone around me shared their opinions after each group performed.
A great number of these were past performers who told me what I should be looking out for.
In the end, I preferred to just watch and be enthralled. I don’t envy the judges. They, of course, know what goes into making a stand-out performance.
I was content to consider every group a potential winner.
They all made me feel proud to be Māori. I saw this same pride reflected in the faces of the attendees, young and old, and you could see and hear it in the messages beaming in from around the world.
Thousands of New Zealanders let us know they were watching. Sending pictures of their families, wishing they were home to be there.
There was an audience of more than 1.1 million watching on television or on the livestream.
What I saw was Te Matatini showcasing the best kapa haka in the world.
The best in traditional Māori cultural performing arts. They portrayed and reflected tribal stories and also included contemporary themes and issues as well.
While the performances tell of the past, one observer told me this Te Matatini was also focused on promoting a vibrant future for Māori, too.
She said, “The whole competition and amplification of te ao Māori symbolises a wave of power that is rising up”.
This is the power that I see supporting Māori to reach their potential in all their endeavours.
I saw performers all deserving of their place. They put their heart and soul into their performance, and while we were all busy watching the groups on stage, a huge thank you must go to the hundreds of volunteers working in the background to make sure everything went like clockwork.
Without their input, there would be no Te Matatini.
Now that the festival has finished, the regions and their groups start to prepare for the next Te Matatini, usually after a five or six-week break.
What a commitment from the performers and their families. They are playing a major role in ensuring Māori performing arts, language and customs continue to be relevant, appropriate and empowering for future generations.
Merepeka Raukawa-Tait has worked in the private, public and non-profit sectors. Today she writes, broadcasts and is a regular social issues commentator on TV. Of Te Arawa, Merepeka believes fearless advocacy for equity and equality has the potential to change lives.
