Dame Naida (Ngāti Whātua) is also a stalwart of Te Pāti Māori — and they follow her example in important ways by reminding us that the path from subjugation to prideful autonomy lies ahead of us still. Their campaign to properly fund Te Matatini in line with other cultural institutions, in particular, struck a powerful chord and I’m with them. And yet I humbly offer this note of caution: the NZ Symphony Orchestra and the Royal NZ Ballet do not sit across a binary divide from legitimate Māori cultural aspirations.
In fact, at least in the orchestra’s case (I’ve had few dealings with the ballet), it is certainly no longer true to dismiss it as a monocultural monolith. Under the stewardship of chief executive Peter Biggs, the NZSO has made impressive strides in repurposing itself as a truly inclusive national orchestra. Take their partnership with Tūhoe known as Te Ahi Tahutahu.
Te Ahi Tahutahu reaches into Māori communities across the Bay of Plenty and invites artists and creators at the community level to be part of a shared journey.
Taking two rich but distinct cultural traditions, Te Ahi Tahutahu begins with what binds us — storytelling and place — and builds out from there. It represents a new fusion made possible through partnership in the true sense with Māori at the forefront — drawing on Western traditions but creating something brand new.
When I spoke to Peter Biggs about the project lately, he told me, “what we’re doing here is embracing partnership in an innovative and joyful way”. I also spoke to the artist and activist Tame Iti, who’s involved along with his whanau on the iwi side, and told me Te Ahi Tahutahu is a far cry from the tokenism that may have characterised earlier efforts to partner with Māori by organisations like the NZSO. “The orchestra is not our benefactor, and we are not their dial-a-powhiri — this is an authentic creative collaboration. They are our allies”.
The NZSO is seeking to expand beyond traditional audiences in plenty of other ways too. As Stuff’s Andre Chumko wrote in August last year: “Its first woman principal conductor. A new waiata developed with Māori. Its first Pasifika board member. A Pasifika conductors’ masterclass. A new partnership with a 50-member Pasifika choir. More collaboration with Māori and Pasifika composers and musicians and arts festivals. More online content. Te reo appearing in concert programmes”.
No surprise then that Arts Minister Carmel Sepuloni finds a lot to be proud of in the orchestra’s transformation under her watch, especially considering much of it took place under the pandemic cloud.
It may have once been true, but this revitalised NZSO doesn’t feel like a Pakeha institution only interested in celebrating some other culture and time, offering little more than a backing track for imperialism and solace for the elderly and well-heeled. It feels vital, curious, innovative ånd engaged in the world around them.
Will some future National Government roll back these changes, citing “wokeness gone mad”? Will they seek to nix collaborations like Te Ahi Tahutahu on the grounds it all sounds a bit like “co-governance”? Not a chance. They will cheer on its success, revel in the plaudits, and eventually claim it for themselves”. Some tides aren’t meant for turning. After all, everyone says “kia ora” at NZ Post these days, and the mail still gets delivered on time.
Mā tini, mā mano ka rangatira a kapa haka.”
Kapa haka flourishes through the efforts of many.
