Te Mahanahana me Tiriwa - Karel Witten

Te Mahanahana
me
Tiriwa
Karel Witten-Hannah
1
Te Mahanahana
me
Tiriwa
Karel Witten-Hannah
Copyright © 2011 Te Whanau Te Mahanahana
All rights reserved
ISBN
c/o Massey High School
274 Don Buck Road
Massey
Auckland
1
Acknowledgements
Firstly I would like to thank Whaea Awa Hudson, she is an inspirational kuia and mentor. I owe
her a huge debt of gratitude for her love, kindness and generosity throughout this journey. I
would like to thank Kauamatua Des Ripi for his wisdom, guidance and strength during the
carving project. I thank my fellow prison visitors Graeme Paniora, Te Rangi Allen, Howe James
and especially Kevin Herewini and Graeme Hammonds. My thanks too go to all the staff and
Whanau members Charles Joe, Lily Lee, Moira Lagaluga, Mary Hammonds, Ken Havill, Rewa
Selemeci, Shirley Cranston and all the others who have contributed their time and support to
this project. Thanks also to Karen Graves for the use of some of her photographs.
I would like to thank my wife Caroline and children Daniel, Shalema and Rebecca for their
support throughout the carving project and their assistance with this book.
Last but not least I would like to thank Lisa Smith who gently prodded me to start writing this
book and who has supported me throughout the process.
I dedicate this book to my six grandchildren Kate, Jessica, Sarah, Ben, Max and Tom.
Karel Witten-Hannah
2
Te Mahanahana
me
Tiriwa
Karel Witten-Hannah
4
Tenei au, tenei au
Te hokai nei i taku tapuwae
Ko te hokai-nuku
Ko te hokai-rangi
Ko te hokai o to tipuna
A Tane-nui-a-rangi
I pikitia ai
Ki te Rangi-tuhaha
Ki Tihi-i-manono
I rokohina atu ra
Ko Io-Matua-Kore anake
I riro iho ai
Nga Kete o te Wananga
ko te Kete Tuauri
ko te Kete Tuatea
ko te Kete Aronui
Ka tiritiria, ka poupoua
Ki a Papatuanuku
Ka puta te Ira-tangata
Ki te whai-ao
Ki te Ao-marama
Tihei mauri ora!
Here am I, here am I
here am I swiftly moving by
the power of my karakia for swift movement
Swiftly moving over the earth
Swiftly moving through the heavens
the swift movement of your ancestor
Tane-nui-a-rangi
who climbed up
to the isolated realms
to the summit of Manono
and there found
Io-the-Parentless alone
He brought back down
the Baskets of Knowledge
the Basket called Tuauri
the Basket called Tuatea
the Basket called Aronui.
Portioned out, planted
in Mother Earth
the life principle of humankind
comes forth into the dawn
into the world of light
I sneeze, there is life!
5
Contents
Introduction..................................................................................................................7
The Mists of Time........................................................................................................8
First Steps..................................................................................................................10
The New Marae..........................................................................................................12
The Paremoremo Project..........................................................................................15.
Prison Visits...............................................................................................................16
Extending the Project................................................................................................20
Transferring the Project to East Division................................................................22
Paremoremo to Massey............................................................................................24
Whakatu Nga Whakairo (Installing the Carvings)...................................................27
Whakamutunga o Whakatakanga (The Completion of the Project)......................38
A Mua – Nga Wero (The Future – The Challenges).................................................40
Appendix 1: Nga Whakairo.......................................................................................41
Appendix 2: Postscript ............................................................................................52
Appendix 3: Clippings from the Journey................................................................54
Appendix 4: Te Patu Roimata...................................................................................65
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Introduction
What follows is a brief overview of the origins of the Massey High School Marae, Tiriwa. An
intrinsic part of this journey was the carving project at Auckland Prison at Paremoremo, to
decorate the wharenui Te Mahanahana. This project, lasting over four and a half years, was
the first of its kind in a maximum-security prison. With mutual respect and dignity the project
bridged the huge difference in backgrounds between the inmates doing the carving and the
Whanau group supporting them. The project was of immense significance to all of those
involved; prison management, inmates, School staff and Whanau. It is hoped that the Tupuna
Whare and marae, by providing a cultural taonga in the School, will be of lasting benefit to all
students, particularly Maori students, who pass through the School.
It is fitting to acknowledge the support of then Principal Owen Hoskin and the School Board
of Trustees during the establishment of the marae. Similarly, Principal Bruce Ritchie and the
School Board of Trustees had the foresight to appreciate the positive impact that the carvings
would have on the School. They always provided support and the required funds tthroughout
the project.
Pare at the Haranui wharenui, Ngataituria Kite Marowhara
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The Mists of Time
Massey High School started in 1969 under Principal Jack Adam. By 1974 there was a sufficient
number of students wanting to take Te Reo Maori as a subject. Ted Jones, the Australian born
HOD Physical Education, volunteered and became the first teacher of Te Reo Maori. (Ted’s
wife Ana was one of the founders of the Kohanga Reo movement.) Awa Hudson, who was not
on the staff, prepared the lessons for Ted to teach. That year, after a meeting of Maori and
Polynesian parents in the school library, Jack felt that there was sufficient support to employ a
Maori language teacher the following year. In 1975 Awa Hudson, a Te Reo Maori teacher, and
Karel Witten-Hannah, a mathematics teacher, joined the staff. Mary Hammonds was a homescience teacher; her husband Graeme Hammonds was to become one of the key drivers of the
marae and the carving project.
Awa at Haranui 2011
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Awa is of Ngati Whatua and Ngapui descent. She grew up at Haranui on the South Kaipara
and joined the Royal New Zealand Airforce after leaving school. In the beginning Awa taught
other subjects, like social studies, as well as Te Reo Maori. She was the sole Maori on the staff
of the School for many years. This was a difficult, challenging and at times a lonely position for
Whaea Awa.
Albie Tahana was the first Maori elected to the School Board of Governors, serving from 1979
through 1981. The School Board created the Multi Cultural Committee to support Awa. This
Committee included staff members Ken Havill, Rewa Selmeci, Awa and Karel and parents Padre
Charles Joe RNZAF, Lily Lee and Graeme. Ken Havill was the Chairperson of the Committee.
The Committee sought ways to improve the educational outcomes for Maori students.
There was significant support for the School to build a marae from a meeting of parents in the
School hall. But fear and suspicion especially around the possibility of the marae being used
for tangi meant that the idea was dismissed.
In 1985 Padre Charles Joe and Lily Lee were elected to the School Board of Governors. This
gave a greater opportunity for Maori aspirations to be heard in the governance of the School.
At the end of 1985 the Principal Jack Adam retired after 17 years. He was succeeded by the
Deputy Principal Owen Hoskin.
9
First Steps
Awa generously invited the School staff and their families to a two day hui on her marae at
Haranui, near the Kaipara Harbour, during Anzac weekend in 1986. The aim was to increase
staff understanding of matauranga Maori and their understanding of the Treaty of Waitangi.
The program for the hui began with the pepeha:
Nau te rourou
Naku te rourou
Ka ora te manuhiri
With what you have to offer,
and with my contribution,
significant achievements are to be accomplished.
This was followed by the statement: “In this spirit of cooperation and purposefulness, the
teachers of Massey High School are joining with the tangata whenua to guide the educational
experience of our young.” This set the tone for what was to be a very positive hui.
The hui was facilitated by John and Kahu Tapiata. Some prefects and senior students also
attended. Those attending the hui were guided through marae protocol by John and Kahu.
They were also introduced to aspects of Maori culture like waiata, bone carving, flax weaving
and kowhaiwhai. Indeed this was the source of the kowhaiwhai panels that are now in the
Whare Kai. They continue to provide a link to the staff and students who were present at the
beginning of the journey.
During the hui John Tapiata composed the following waiata:
E tu ra
E te tipuna whare
Ngataituria kite marowhara
Awhi mai
Nga moemoea
Nga wawata
Hei puawai
Mo nga reanga
This ancestor house
Ngataituria kite marowhara
Stand tall
Embrace the dreams
The aspirations
To flower for the benefit of others
For the coming generations
During the poroporoaki at the conclusion of the hui John Tapiata challenged the staff to do more
to support Awa and to build a marae at the School. For Karel the poroporoaki was the first time
he had delivered a mihi in Te Reo. This hui had a defining influence on Massey High School.
10
The hui involved a huge amount of work from Awa, her Whanau and some of the Multi Cultural
Committee members, especially Graeme. Most of the staff had never been on a marae before.
The inclusiveness and embracing warmth shown by Awa and her Whanau was the inspiration for
the name Te Mahanahana for the Wharenui that was to come. They represented manaakitanga
at its finest.
The Multi Cultural Committee with the help of parents and the School Board responded to this
challenge. After many, many meetings and within a year, two prefabs had been joined to form
a wharenui, the start of the School marae.
The kowhaiwhai panels, started at the hui, were completed and placed as pou in the wharenui.
Awa and Karel encouraged Maori and other students like Jenny Lee, Angela Joe and Jason
Snell to use this room at lunchtime for various activities including finishing the kowhaiwhai and
carving. At first this room was called a “whare waananga” (culture room), as there was still
some sensitivity about having a marae at the School.
The kowhaiwhai panels in the Wharekai
To be fully appreciated this progress needs to be viewed within the context of that time in New
Zealand history. It was not long after the divisive 1981 Springbok tour. It was a time when
the fight to acknowledge society’s obligations under the Treaty of Waitangi was in its infancy.
It was not long after the Government had introduced its “Tommorrow’s Schools” policy. This
policy placed school governance in the hands of the School Board of Trustees. it mandated a
greater role for parents in the running of schools. For many Maori parents this represented an
opportunity to have Maori kaupapa play a greater part in the school. The presence of Padre
Charles Joe and Lily Lee on the Board of Trustees was crucial to this progress.
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The New Marae
Growth in the School roll meant that the wharenui had to be shifted to make room for a new
metalwork room and clothing room. The Whanau did not want the wharenui to be used as a
fulltime classroom. So, after lobbying by the Whanau, the existing wharenui was joined with
another prefab forming a wharenui and a wharekai as part of the shift. Office and storage
space was also added. Significant work was undertaken to improve the quality of the building.
Later in the year past student Jason Snell died after struggling with cancer. His tangi was held
at the Auckland City Council Youth Resource Centre (run by Ted Jones) and at Massey High
School. The tangi in the Whare Waananga and the service in the School hall were very moving.
Principal Owen Hoskin wrote in the School magazine ‘Jason Snell’s tangi enriched the school
community in many ways which is what Jason would have wanted. Rarely does a school have
the occasiion to reflect upon the real meaning of life and to draw close in a multi-cultural way
to mourne the passing of a loved one.’
In 1988 two new Maori language teachers joined the staff - Mrs Iriaka Wensor and Mr Charles
Pirini. Unfortunately Iriaka left in August and Charles left and the end of the year. The Multi
Cultural Committee became the Whanau Committee chaired by Padre Charles Joe. On Anzac
week-end the complex was dedicated and blessed. Race relations conciliator Wally Hirst was
the main guest, and Charles also invited Kevin Herewini to the blessing. Later Kevin was to
have a significant role in the carving project. The name Te Mahanahana for the wharenui came
from Kaumatua Jack Wihongi.
In 1989 the School made a second attempt at establishing a bilingual/bicultural class. A previous
attempt, in 1987, had met difficulties because of a lack of alignment between the goals of the
School in setting up the class and the goals of the parents. The number of students with
behaviour difficulties had also been a problem. Determined not to repeat past mistakes, the
new bicultural class was built around a strong partnership between the School and parents. It
gained strength from the successful Kapa Haka group and the strong support of the Whanau
Committee. The Kapa Haka group tutored by Awanui Black performed at the Polynesian
Festival and at Ngaruawahia.
One of the key aims of setting up this class, and indeed for having a marae within the School,
was to retain Maori students within the school system for a greater length of time. Prior to this
the majority of Maori boys left school during what is now Year 10 and the majority of Maori girls
left during what is now Year 11. It was hoped that by providing appropriate support for this class
and the Marae as a cultural base within the School it would whakamana (empower) the Maori
students, engage their parents and encourage the students to stay longer at school.
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13
Taiohi Tataki outside Te Mahanahana 1991
This bicultural class was much more successful; students stayed significantly longer at school
and almost all of the students went on to complete tertiary qualifications. Among them was
Lisa Smith who later returned to Massey High School as a Te Reo teacher and became HOD
Maori for 2 years. The recognition that successful outcomes for the students involved a threeway partnership between School staff, students and their parents was an integral part of the
thinking of the Whanau Committee.
The strength of this partnership was enhanced by service on the School Board of Trustees of
Whanau members Moira Lagaluga, Graeme Hammonds, Fred Holloway, Hector Wairepo and
Graeme Paniora. The lack of cultural taonga in the School was seen as a problem. In an effort
to increase the mana of the marae and to make it a more significant place for Maori students
the Whanau Committee approached a local carver, Tipene Bailey, to prepare plans for carvings
to be installed on the front of the wharenui.
In September 1992 the Whanau held a two day hui in the marae at School. On the Friday
night Tipene introduced his sketches of proposed carvings. On the Saturday Kaumatua Heta
Tobin led a fuller discussion on the nature of the carvings. The kaupapa for the roro (verandah)
was to be Nga Puhi and Ngati Whatua. The kaupapa for the outside carvings (maihi, amo and
poupou) should come from the Whanau and School. They should then be taken to kaumatua
for consultation. The importance of the wharenui being a place for all to share in Maori culture
was stressed. Heta reiterated the need for the history to be recorded in a book. Karel and
Charles were allocated this task!
An old photocopy of Tipene’s sketch
The projected cost of around $75 000 was beyond the limited means of the Whanau Committee
and School Board of Trustees, so the idea of carvings for the marae was put on hold.
14
The Paremoremo Project
In 1994 John Inkpen and Des Ripi, managers of Auckland Prison at Paremoremo, wanted
to link inmates with communities outside the prison. They suggested a carving project using
inmates from B-block at Paremoremo. While there had been other carving projects in New
Zealand prisons, this was the first carving project that involved maximum-security inmates.
Massey High School’s contribution to this partnership involved supplying the required tools and
timber and having a group make regular fortnightly visits to meet with the inmates. Te Rangi
Allen, Graeme Hammonds, Graeme Paniora and Karel Witten-Hannah committed themselves to
make those regular visits. Te Rangi was employed as a kaiawhina in the Guidance Department,
supporting Maori students. Both Graeme Hammonds and Graeme Paniora were members of
the Board of Trustees.
The School Whanau had an expectation that the inmates would observe appropriate Maori
tikanga while working on the project. The carvers readily agreed to this. These protocols
involved the use of karakia before beginning carving and at the end of each carving session.
The carvings were not to be stored with their heads touching and people were not to step over
the carvings. The chips and shavings from the carving process were to be returned to the
whenua.
The entrance to Auckland Prison at Paremoremo
15
Prison Visits
The prison visits took place on Thursday evenings between 5:30 pm and approximately 7:00
pm. The visiting group would arrive at the prison, sign their names in the book, and after
screening through a metal detector, would proceed through a number of sally-ports to B-block.
A sally port is a controlled space where the first door is closed and locked after you enter
before the second door is opened. Once inside B-block they would then proceed downstairs to
the room used for carving. The visits began with karakia and mihi. Visiting was vastly different
to the expectations of rigidly supervised prison visits portrayed in films and television. The
razor wire, the sally ports, and the inability to see outside made the prison at Paremoremo an
oppressive and daunting place. Des Ripi accompanied us on the early visits. He is a man with
immense mana in the prison and a key figure in the project.
Initial discussions resolved that the project would be for seven carvings, and that they be
non-threatening and non-controversial. After a request from some Whanau members, it was
decided that the carvings should not include male genitalia.
The carvings for the amo (uprights) and maihi (barge boards) of the whare depict the journey of
Tane to the uppermost of the twelve heavens, the realm of Io Matua Kore, the supreme being,
to collect the three baskets of knowledge: Te kete Tuauri, Te kete Tuatea and Te kete Aronui.
Tane returned to earth with these three baskets. This is how Te Ira Tangata (humankind) gained
its knowledge of things both earthly and spiritual from Te Ira Atua (the gods).
Graeme Hammonds and Karel selected the large macrocarpa boards at a Whenuapai sawmill.
Sorting through large stacks of heavy long boards in an extremely noisy environment was not
an easy task. Graeme Hammonds purchased the carving tools. Getting the timber into B-block
proved difficult because they were too long for the sally ports.
Of the four visiting, Graeme Hammonds had experience carving wood and bone and Karel had
experience carving bone and pounamu. However, the purpose of the visits was not to instruct
the inmates in carving but to encourage and support the carvers in their work, and talk to them
about the project and about the School. The visits also involved providing books and other
written material. For the inmates, the carving project involved a lot of learning about Maori
tikanga, carving styles and techniques, as well as developing the required carving skills. At the
end of each visit the inmates counted all the chisels
Some at School were uneasy with the idea of carvings for the School being produced by
inmates. Those in the visiting group while acknowledging that the carvers had offended, often
in a very serious way, accepted them for their common humanity and for what they were
offering for the benefit of the School and its students. Neither judging nor apologising for their
past, the visiting group proceeded in friendship and respect in a common endeavour.
16
The main inmates involved in the initial part of the carving project were: Rufus (their
spokesperson), Ranga (the most experienced carver), Richard, Bobby and Tama. At times
other inmates were involved. Ranga, as a tohunga whakairo or master carver, had an important
role in teaching the others the required skills. Initially the less skilled carvers would chisel back
to an outline leaving Ranga to carve the detail. Through this they mastered the use of the
different chisels and developed their skills. In prison they had the time to learn.
The inmates were in maximum security and were serving long sentences because they had
committed very serious crimes. The meetings took place a long way away from the nearest
prison staff. Paremoremo is not a pleasant environment and the inmates are often frustrated
and tense. There was also a heavy gang influence. The visiting group did not ask about their
crimes and it was only after rapport and trust had been developed over time that they felt able
to talk about those matters.
For the inmates being part of the carving project was a privilege. As well as the mana being
part of the carving group, there was the freedom of association with the other carvers and the
access to carving chisels (not normally available to violent offenders). Added to this was the
enjoyment of the regular visits.
There were times when it was very stressful, especially when only two of us could make the
visits. For Karel, whose hobbies involve the outdoors: tramping, climbing, kayaking and surf
lifesaving, being shut up in maximum security was not pleasant, even if only for an hour and a
half at a time. With the end of each visit, the sense of relief at being outside under the sky again
never diminished. The drive home was always a real joy.
As a result of an indiscretion, Rufus was temporarily transferred from B-block. Richard then
took over leadership of the project. When Rufus returned he had to accept a subordinate role
and continued to work hard on the project.
Once or twice a year hakari were held to enable the carvers to meet Awa and other members of
the School Whanau. These larger meetings were held in either the gymnasium or the chapel.
The hakari and Christmas parties were special times. At the hakari at the end of the first year
the inmates presented Massey Principal, Bruce Ritchie, with a carving that stands proudly at
the entrance to the School Administration. For Karel, whose wife Caroline counselled victims of
serious crimes, persuading her to bake for the inmates was sometimes difficult.
At times there were frustrations and problems. Like arriving at maximum security after a long
day to find our names not in the book and having to rely on hurried phone calls to get in.
Sometimes when the inmates had transgressed in some way the warders in B-block would
deny us entry as a way to punish the inmates who looked forward to our visits.
17
The carving presented to Bruce Ritchie
At times, other gang members were present and this could be intimidating. The presence
of chisels, coupled with the absence of prison staff and the knowledge that some inmates
had anger management issues and had committed violent crimes in the past meant that the
word ‘hostage’ sometimes crossed the thoughts of those visiting. Fortunately, the mana of the
carvers always ensured the security of the visiting group amongst these outsiders.
18
Unfortunately Des Ripi’s services were always in demand in many parts of the prison system.
This meant that he often could not be present at the visits. However, he always made himself
available to help troubleshoot the more difficult times.
Chips and shavings from the carving process were disposed of according to tradition by being
returned to the earth rather than burnt. Many of the pieces of timber selected by Graeme and
Karel were longer than required for the pou. The off-cuts from these pieces of timber were often
used by the carvers for their own private projects. This enabled the inmates to make gifts for
their family and friends. Ranga and Karel cemented their friendship when they exchanged a
wooden figure carved by Ranga for a pounamu carved by Karel.
Over time our friendship and rapport with the inmates grew. As the beauty of the carvings was
revealed from within the timber our sense of privilege in being part of the project grew. The
visiting group looked forward to the visiting the carvers. On a number of visits the inmates
invited the visitors to their cells in the upper part of the block. This was seen as a sign of
increased friendship and trust, demonstrating the significance of the visits to them.
An amusing incident took place at one of the hakari in the Prison Chapel. Deputy Principal
Rewa Selmeci commented on the tattoos of one of the carvers. He responded by pulling down
his trousers and displaying the tattoos on his upper thighs and buttocks, much to her surprise
and the amusement of everybody present.
In 1995 difficulties arose when Rufus was due to appear before the Parole Board. The Whanau
had indicated to Rufus that the School would write a letter outlining his involvement in the
project. The letter did not arrive for the hearing and Rufus’s parole application was declined.
The first visit after this Rufus was too whakama (embarrassed) to be present. At the next
visit Graeme Hammonds and Karel arrived to find the carving room packed with angry gang
members as well as the carvers. They blamed the School for the failure of Rufus’s parole
application and their anger was palpable as each spoke in turn. Near the end of the meeting
Karel spoke, and while apologising for the School’s failure to supply the letter, he indicated to
Rufus that the nature of his crimes, the intense media publicity and other factors outside the
School’s failure were responsible for his not being granted parole. At the conclusion of the
meeting Rufus apologised. This was a measure of the progress he had made in his personal
development while working on the project.
19
Extending the Project
In 1995 the inmates asked to extend the project to include carvings for the inside of the
wharenui. This involved an additional 15 carvings. This request was largely driven by two
things: firstly the mana that would be derived from having carved the complete Whare and
secondly from their desire to stay together and to retain the privileges associated with being
part of the carving group. The School agreed to this extension and provided the extra timber.
The Whanau spent time discussing what the extra carvings should depict. The wharenui has
seven roof frames spanning across room. It was felt by the School that the pou supporting each
of these roof frames should in some way depict each of the seven learning areas in the school
curriculum, rather than ancestor figures of a traditional wharenui. The carvers decided to carve
the pou on the eastern wall, to the right as you enter the wharenui, in a traditional style while
exercising more freedom and creativity with a mixture of traditional and contemporary styles in
the carvings on the western wall.
In 1996, as a result of interference by some outside parties, the inmates made demands for
some kind of financial remuneration. This arose because of the extended nature of the project
beyond the original agreement for the carving of the outside of the Wharenui for a koha only.
In August 1996, after some tense and difficult discussions and as a result of strong desire
not to lose the achievements already made, an agreement was reached providing for the
School to pay the Prison Authorities $5 000. This was to be divided among the carvers on the
completion of the project. The carvers realised that the tikanga, aroha and wairua involved
in the project, for the students of the School, was more important than monetary rewards. Te
Rangi Allen and Graeme Paniora were unhappy with this agreement and with the pressure of
other commitments dropped out of the visiting group. About this time Te Rangi and his wife
Veronica left Massey High School to set a small Christian Maori primary school. For several
months the visiting group was reduced to Graeme Hammonds and Karel.
Howe James joined the Guidance Department at Massey High School in 1995 after a
distinguished career in the NZ Army from 1951 to 1982. Between leaving the army and joining
Massey he worked with Case Management and truancy in Waitakere Schools. In 1997 Kevin
Herewini, also an ex serviceman, joined the Guidance Department. They both agreed to join
the group visiting the inmates. Their strong military background, in common with some of the
prison staff, improved relationships between the visiting group and the prison staff. They were
denied entry much less frequently and were invited to meet staff in the control room after a visit.
In early 1997 disturbances in B-block brought the project to a temporary halt. There was also
concern for the safety of the carvings. Graeme, Kevin and Karel met with prison management
and with Des’s help the project was able to resume. However, the disturbances meant that
some of the inmates were shifted to other units or other institutions. Rufus was shifted to West
division.
20
Visiting arrangements were formalised shortly after this. Members of the visiting group were
issued letters from the Unit Manager Mr Sweet allowing visits and stipulating that the carving
supplies should be delivered to the front office marked for his attention.
With a somewhat changed group of inmates working on the project, progress again became
very positive. There was also a reduction in the gang influence in B-block, which was attributed
both to the shifting of inmates and the positive influence of the carving project. This made
visiting less stressful.
Graeme, Kevin, Karel and especially Howe, lived a considerable distance away from School.
From School to Paremoremo was also a considerable distance. This meant that the time
commitment involved in the prison visits was significant. From the shared commitment to the
carving project a really strong bond developed between Des, Graeme, Kevin, Howe and Karel.
Money again proved to be an issue when some of the inmates decided to test the boundaries
by ‘recollecting’ that the financial agreement had been for the carvers to receive $5 000 each.
This festered for a while. Then Des organised a meeting between Kevin, Graeme and Karel and
the carvers, held in the management section of the prison. After a couple of poor recollections
the dispute was settled when one of the carvers forcefully remembered the actual agreement.
In early 1997 Ranga felt that he had completed his share of the work on the carvings. Ranga
was one of the key original carvers on the project. Ranga’s Whanau lived in Wellington and he
wished to be closer to them so he was transferred to Rimutaka Prison. Richard was transferred
to Rangipo Prison and Tama took over leadership of the carvers.
21
Transferring the Project to East Division
In March 1998 inmates in A-block and B-block in the Maximum Security wing of Paremoremo
Prison rioted. Although all staff were safe and no major injuries were sustained by inmates,
the riots caused a significant change in conditions for the inmates. The inmates were moved
around so that most of the carvers were no longer in B-Block. The situation regarding visitors
was tightened considerably. Very few visitors were allowed and stringent checks including
X- rays, metal detectors and sniffer dogs took place at the main entrance. The inmates were
locked down for most of the time and were not able to associate in groups.
Des Ripi, in weekly contact with Karel, tried to renegotiate the project with the Prison
management. There remained approximately two months work to complete the carvings. The
carvings were safe, but no work could take place.
Ra Kareka, the Acting Unit Manager of West Division Unit 2, contacted Karel regarding the
possibility of moving the project to West Division (Medium Security). This was at the instigation
of Rufus Marsh who was in West Division Unit 2. Rufus was keen to work on the project again.
Des had spoken to Tama and he had agreed that the project should go to West Division. In
August a hui, with Des Ripi from Paremoremo and representatives from Massey High School,
was held to discuss the carving project. It was agreed to transfer of the carving project from
East Division Maximum Security to West Division (Unit 2) Medium Security. The importance
of keeping the carvings together was recognised. Some of the original carvers were already
in Unit 2 and Tama and William, who had worked on the project in the past, were transferred
so as to be able to work on the project. The management structure for the completion of the
project had Trevor Tohil, the Unit manager of Unit 2, in charge. Tama was still in charge of the
carving. Some discussion also took place regarding the transfer of the carvings to Massey on
the completion of the project so that planning could begin for this important occasion.
The Hiki to lift the carvings from B Block in East Division Maximum Security to West Division
(Unit 2) Medium Security involved: Trevor Tohil (Unit Manager Unit 2, West Division), Karl
Mannings (A-block), Bill Conolly (B-block), Murray Frew (Site Manager), Des Ripi (Special
Projects) and from Massey High School: John Riddell (Board Chair), Bruce Ritchie (Principal),
Mark Jones, Graeme Hammonds, Kevin Herewini, Awa Hudson and Karel Witten-Hannah.
Awa provided a karanga for the carvings. The Hiki was on 12th August and took around 3 hours.
Kevin Herewini noted that, ‘… during an emotional karakia and hiki of the whakairo from B-block
to West Division Ngati Whatua kaumatua Takutai Wikiriwhi stated that his opinion had changed
regarding the carving project being completed in prison. This occurred after he witnessed the
inmates pass the carvings from one to another, after which they embraced and shared tears’.
(Kevin Herewini Iwi/Hapu 104 Practical Maori Art Assignment)
22
Two of the benefits of the shift to Medium Security were the ability to visit weekly and the
much more relaxed atmosphere. Work on the carvings progressed rapidly. The carvers were
Tama, Rufus, Charles, William and Ra. Graeme provided paua shells for the eyes on the pou.
Karel arranged for Mr Joass, a parent from School, to get Wattyl NZ to donate the stain for the
carvings. On our visits we were able to assist with staining.
By mid-October there were two pou and a lintel to finish and the fitting of paua and staining.
The lengthy process of planning for the completion of the project was going on in earnest. A
key focus of this was the effort to convince Prison management to allow some of the carvers
to be present when the carvings were to be delivered to the School. This was important from
a cultural and spiritual perspective and for the four in the visiting team this was seen as very
important in terms of their relationship with the carvers.
Changes were needed to the Wharenui Te Mahanahana so that when the pou were mounted
beneath the roof beams they would not obstruct the windows. Some other alterations and
repairs were also needed.
Rufus and Tama commenced work on a koruru to sit at the junction of the maihi on the front of
the Wharenui. The koruru was not finished in time to be delivered with the other carvings in the
handover ceremony.
23
Paremoremo to Massey
On 14th January 1999 a very moving ceremony was held at Paremoremo for the handover
of the carvings to the School. There was a very large contingent of senior staff from the
Corrections Department, senior managers from Auckland Prison and inmates, including the
carvers. Richard had been brought up from Rangipo Prison and Ranga from Rimutaka Prison.
The School was represented by Kaumatua Takutai Wikiriwhi, Heta Tobin and Mr B. Edwards,
Principal Bruce Ritchie, Awa Hudson, members of the Board of Trustees, senior staff, members
of the School Whanau, a group of students and the four members of the visiting group and their
families.
KAUPAPA (Programme)
Date/Time
8:00 am
9:00-9:15 am
9:30 am
11:00 am
12:30 am
1:00 pm
2:00 pm
2:30 pm
3:00 pm
5:00 pm
7:00 pm
7:30 pm
Event
Meet at Whare. Karakia, finalise protocols for Paremoremo
and MHS
Meet at West Division Paremoremo
Commence Powhiri – Wero – Haka Powhiri – Karakia – Mihimihi - Waiata – Manuhiri Whakatau (reply MHS ) – Waiata
– Hongi Hariru – Whakanoa
Karakia Whakarite Nga Taonga
Kai
Whakamarama nga whakairo. (Explanation and concepts of
the carvings.)
Kapa Haka
Manuhiri korero
Poroporaki ki nga Taonga me nga manuhiri
Load vehicles and return to Massey
Unload carvings at MHS carpark.
Powhiri
Carry carvings and position them on the marae atea.
Karakia – Mihimihi – Waiata – Manuhiri Whakatau (reply) –
Hongi Hariru
Hiki (Lift and position the carvings in the whare)
Hakanoa
Kai
Noho Whare. Overnight stay for those who choose to do so.
Such was the significance of this occasion, that in the beginning there was a contest over the
mana of speaking rights between the Ngati Paoa Kaumatua, mana whenua of Paremoremo,
and the Kaumatua representing the School Whanau.
24
As Kevin Herewini wrote, ‘Despite the necessary security procedures, the powhiri, presentation
karakia and hand over of the whakairo was a moving experience for all concerned. A special
warmth, deep sense of unity and accomplishment was felt. As the two trucks carrying the
whakairo arrived at Massey it started to rain.’
The ceremony had great significance for many members of the Whanau who had resolutely
supported the project from the beginning and were now seeing the fruits of their efforts, the
beautiful whakairo, for the first time. The ceremony received significant, positive media attention,
including a feature in the Corrections Department magazine.
For the journey to Massey traditional protocols were adhered to. The heads of the carvings
were not allowed to touch, nobody was allowed to step over the carvings, the carvings travelled
head-first and the most direct route possible was taken. The carvings were welcomed to the
School with karanga and karakia.
From the darkness that is the prison, the whakairo emerged into the light. Ki te whai-ao, ki te
Ao-marama. This was a magnificent achievement for the carvers and a tremendous gift to the
School.
Unloading the carvings
25
Welcoming the carvings with a haka
26
Whakatu Nga Whakairo
(Installing the Carvings)
Woodwork teacher Alan Price made a big contribution to the installation of the carvings. As well
as needing to be cut to length, the back of each pou had to be machined approximately flat, so
the carvings could be fixed in place. This was a difficult task as many of the macrocarpa pou
had warped slightly over the four years of the project.
It was decided that a start should be made on fixing the carvings to the outside of the Wharenui.
Unfortunately because of insufficient time, it was not possible to get temporary day release for
any of the inmates. A meeting at Paremoremo with Des, Cheryl Mikaire, Graeme, Kevin and
inmates Rufus, Tama and Charles agreed that the pare should not be fixed until at least one of
the carvers could be present. After a karakia by Des the now completed koruru was presented
to Graeme. The meeting concluded with a karakia from Des and a mihi from Kevin.
Des Ripi, Awa Hudson, Graeme and Mary Hammonds, Kevin Herewini, Brendon McLister,
Mark Rudolf and Karel were all part of the group installing the maihi, koruru and amo. Des
provided karakia before the commencement of the work and again as each of the whakairo
was lifted into place.
Kevin and Graeme after attaching the Koruru
27
Graeme, Kevin, Mark and Karel attach the maihi
Kevin attaching an amo
28
Kevin, Mark, Karel, Des, Mary, Awa, Graeme and Brendon
This was truly a marvellous day with an immense feeling of satisfaction and pride in the project.
As Des said on the completion of that first day ‘It is quite a privilege that you were part of the
birth of this Tipuna Whare’. He then recounted the story of Tane’s journey to retrieve the three
baskets of knowledge. ‘One of the most sacred of the sacred tasks, the erecting the maihi and
amo and the koruru ... so you have worked under the spiritual umbrella of tohunga … I am
privileged that I can be here to witnessed this that because in our time I guess we will never
witness that again’.
A date of Saturday 6th March 1999 was set for the fixing of the remaining carvings, prior to the
visit of Her Royal Highness, the Princess Royal, Princess Anne on Monday 15th March 1999.
It was important for all concerned that the carvings be fixed prior to her visit to the Whare Te
Mahanahana.
Strenuous efforts were made to try and get permission for some of the carvers to be present for
the fixing of the remainder of the carvings. Des and the Unit Manager Cheryl Mikaere assisted
with this process. The request was based on the Tikanga Maori protocol that the carvers be
present during the blessing when the central Pou Tu Rongo, the Pare and all the carvings have
been fixed, thereby lifting the Tapu off the carvers and the carvings. However despite all the
strong arguments and efforts only Tama was given permission to attend.
29
The suggested programme of events for Saturday 6th March 1999 was:
8:00 am
8:45 am
9:45 am
12:15 pm
1:00 pm
2:00 pm
Carvers and escorts depart Paremoremo.
Powhiri at Te Whare Mahanahana, karakia, mihimihi, hongi hariru and
whakanoa.
Karakia mo nga whakairo. Whakatu nga whakairo (fixing of the carvings).
Hakari.
Whakamarama nga Pou Pou
Poroporaki ki nga manuhiri and depart Massey High School.
The carvings were laid out on the floor of the Wharenui in their respective positions (apart from
the pare and korupe). The position of each pou was marked on the wall and stainless steel
brackets were prepared to hold each pou while the adhesive dried.
On Saturdaymorning Tama arrived, accompanied by Des and a number of senior prison
managers. Again this was a most significant occasion. At each stage Des provided a karakia and
an explanation of the spiritual meaning of each step and the significant parts of the Wharenui.
After a short mihi by Kevin and Awa the fixing of the pou began. The pou were attached using
construction adhesive. A temporary bracket at the top of the pou was used to hold them in
place. Some of the pou had long screws used to help hold them in place, where this could be
done without damaging the carving. Fixing the pou proceeded quite rapidly because of the
prior preparation. Again there was a feeling of being privileged to be part of this process, and to
have at least one of the carvers present was a blessing. Nga ihi me nga wehi of the whakairo
had a deep emotional effect on all those present.
30
Des greeting carver Tama before the inside
pou are mounted
Des during his introductory mihi
31
Attaching the Pou Turongo at the centre of the end wall
Karel, Graeme, Tama, Des, Kevin and Ra with the Pou Turongo
32
Attaching the Pare
33
The team at the conclusion of the very special day placing the carvings
Karel and Tama
34
Des Ripi explains the carvings to Her Royal Highness the Princess Royal
35
Bruce Ritchie introduces Princess Anne to Kevin, Graeme and Karel
Lisa Smith delivers the karanga to welcome Princess Anne
On Monday 15th March 1999 Her Royal Highness, the Princess Royal, Princess Anne visited
Massey High School. There was a powhiri on the field that involved all the School students with
ex student Lisa Smith as kaikaranga to welcome Princess Anne. Princess Anne then met Awa,
Des, Graeme, Kevin and Karel in Te Whare Te Mahanahana. Des described the significance
and meaning of the carvings to the Princess. A moment occurred when explaining the pou
depicting her ancestor Queen Victoria, who was depicted with bare breasts. Des explained that
this depicted her as ‘the mother of the Commonwealth’. Princess Anne laughed and said that
she had ‘never seen such an unusual depiction’ of her forbearer.
Des Ripi’s immense knowledge of matauranga Maori and mana was a vital to the carving project.
He was able to guide the Whanau members involved in the project through their dealings the
prison system, and more significantly provide, the appropriate framework of tikanga (protocol)
and karakia that allowed the project to be completed successfully. Des was vastly overworked
and trod a delicate path balancing the demands of the Corrections Department and those of the
36
inmates. The time he devoted to our carving project was very much appreciated. An enormous
feeling of respect and gratitude was developed for Des, a living taonga.
It is also important to acknowledge the support of other senior prison staff like Trevor Tohil, Ra
Kareka and Cheryl Mikaere. Their support of the project was much appreciated.
Graeme lives at Kumeu at the northern end of what was Te Wao Nui o Tiriwa. He regularly
fished at Muriwai and on the Kaipara. He brought smoked fish to many of the hakari with the
inmates at Paremremo. I live at Karekare at the southern end of Te Wao Nui o Tiriwa. I was the
first person to swim the Manukau Heads and am heavily committed to surf lifesaving. During
our visits with the carvers Graeme was often referred to as the Taniwha of the Kaipara and I
was referred to as the Taniwha of the Manukau. Our contribution throughout the carving project
is reflected in one of the carvings, Rua Taniwha.
In August 1998 it was arranged that Des would try to facilitate visits by Kevin, Graeme and
myself to mmet with Richard Karena at Rangipo and possibly Ranga at Rimutaka to make
notes on the whakapapa of the carvings. Unfortunately time constraints meant that these visits
never took place. Visits to the carvers in West Division continued for a short time after the
completion of the project, with Graeme and I attempting to gain more information about what
each of the pou represented. Some at School felt Graeme and I were holding this knowledge
to ourselves. This was not the case. The carvers were reluctant to part with the information
about the whakairo as they wanted the visits to continue. However, the finish of the project and
transfer of some of the carvers meant that the prison authorities felt they must end.
37
Whakamutunga o Whakatakanga
(The Completion of the Project)
There was immense satisfaction at the completion of the project. There was an appreciation of
the time regained in ones’ life, not spending Thursday evenings in prison. But at the same time
there was a feeling of loss at the parting of friends when the visiting finished.
Kevin Herewini reflecting on the project said, ‘It has been a truly uplifting emotional, educational
and spiritual journey for myself as well as many others who were involved in the diversity of the
project. There has been so much to learn about the complexity of carving, the tikanga relative
to each stage of the whakairo and the importance o the taha wairua of each stage of the
process. From the humanistic and wairua dimensions, the project brought so many different
people together from a diverse range of cultures and communities.’
During the course of the carving project the visiting group observed very significant changes
in attitudes and behaviour of the carvers. For some there was an evolution from a staunch,
at times angry, gang member into a more mellow person able to look outside of their selves
and consider others more, negotiate and speak on the paepae. In the early part of the project
there were some visits where groups of gang members not directly related to the project were
present. The carvers felt they needed this support group. In later times they had sufficient selfconfidence that they were able to stand by themselves without this support. They have gained
the skills to debate and negotiate reasonably without the “menace” of a gang support group.
Instead of getting their self-esteem from gang membership, they now command respect from
a much wider community for their skills, knowledge and achievements. To play a major role in
producing a fully carved school wharenui is a significant and valuable contribution to society.
This has given them increased self-esteem and new goals to make changes in their lives.
Projects like this are not a miracle cure, but they do provide a pathway to rehabilitation, selfworth and mana that may reduce the likelihood of re-offending.
In some ways it was disappointing that the carving project could not be completed in maximum
security, B-block, where it started. However it only fell short by a few months in a project lasting
over four years. The shift was not brought about by failings in the carving project or as a result
of the behaviour of the carvers. It is hoped that projects of this kind will at some time again be
possible in maximum security. The positive changes seen in the carvers would certainly justify
this.
The names of the carvers have been used in this book not to shame them or disrespect them,
but to whakamana them. To acknowledge with great dignity and respect their accomplishment
and the treasured taonga they have given to the School. To acknowledge also, their friendship
developed over the visits working together on the project. The names of other inmates who had
a smaller contribution to the project are: Charles, Brownee, Jimmi, Skip, Wati, Leigh, Hemi and
Frank. The contribution of each one is valued.
38
The wharenui is called Te Mahanahana (warmth). The wharekai is called Manawanui
(perseverance, determination, persistence). The Marae is called Tiriwa after Te Wa Nui o
Tiriwa, the great forest of Tiriwa that is the Waitakere Ranges. Tiriwa was the great chief of the
Turehu people, who inhabited the area in ancient times. In the past Te Wa Nui o Tiriwa reached
out through Massey. Massey High School is called Te Kura Tuarua o Tiriwa. The Marae
stands as a tribute in a very real sense to the aroha, manaaki, inspiration and determination of
Whaea Awa Hudson.
On March 31st March 1999, Waitakere City Mayor Bob Harvey presented Certificates of
Appreciation to Awa, Des, Graeme, Kevin and Karel. The Waitakere City Council acknowledging
their outstanding contribution to the Massey High School Carving Project.
39
A Mua – Nga Wero
(The Future – The Challenges)
School marae present many challenges. Firstly, the challenge to ensure that they continue to
be a place of significance to the Maori students, to be a place to whakamana them, a place
where they can stand and a place where they feel safe. Events like the annual Pou Whakanui
to acknowledge students’ academic achievements exemplify this.
Secondly, the transient nature of the school population, both staff and students, also presents
a challenge to ensure that past staff and students continue to feel a connection to the school
marae. To feel that it is still their place, a place where they can continue to support the new
generation of students.
Thirdly, the strength of the School Whanau Committee seems to fluctuate from times when it
is very strong and vibrant to times when School staff out-number parents. The challenge in a
busy modern society is to keep this vital engagement with parents as strong as possible.
Fourthly, it would be nice to see the Wharenui decorated with kowhaiwhai and tukutuku. There
is also a need for ongoing maintenance to preserve the carvings on the outside of the whare.
In the 12 years since they were installed Graeme Hammonds, Bryn Kelley and Karel have
removed lichen and repainted them twice. Because the underlying structure of the Wharenui is
two recycled prefabs movement in the walls has meant that some of the pou become partially
detached and need remedial work. Indeed during a powhiri for students from the Language
School, one pou became detached and fell during a vigorous haka. It hit one of the students.
This journey has made very significant changes to the lives and personalities of all of those
involved, especially the carvers and those visiting them. As in days long past, the creation of
a Tipuna Whare is a sacred task. Through hard work, the realisation of this dream brings a
deep sense of accomplishment and a rare feeling of privilege at the opportunity to have been
involved. It is hoped that the treasured taonga will continue to provide a source of inspiration
to, and an affirmation of cultural identity for, students, parents and staff, and that this will help
them to reach their full potential.
Nga Whakairo
Nga Tupuna
Tu mai, Tu mai
Tu mai Manaaki Tonu
40
Appendix 1: Nga Whakairo
Maihi and Amo: Ranga, Richard, Rufus.
The maihi and amo depict the following legend:
‘When Tane decided to climb up to the heavens to seek the baskets of knowledge for mankind,
his brother Whiro was angry. Whiro thought he had more right to the baskets than Tane, because
he was the elder brother.
The two brothers struggled for power, but it was Tane who was favoured by Io, the supreme
power, so Tane was allowed to ascend the twelve heavens.
His task was made more difficult by Whiro who sent plagues of insects, reptiles and carrioneating birds to attack Tane.
But Tane, with the aid of the winds, was able to proceed until he reached the summit of all the
heavens.
Here, at Toi-o-nga-rangi, he was welcomed by Io and received the three baskets of knowledge
and the two sacred stones.
The baskets, or kete were The kete-aronui
The kete-tuauri
and the kete-tuatea
The stones, or whatukura held the power of knowledge and added mana to the teaching of
knowledge.
On his return journey, Tane was again attacked by Whiro and his allies, the birds and insects.
Tane would have been defeated if the winds had not once more, come to his rescue. The winds
blew the birds and insects back down to earth where they remain today.
When Tane finally reached earth again he placed the baskets and stones in a special house of
knowledge - whare kura, which he had built before his journey to the heavens.
Whiro was back on earth too, and he demanded that he should be the one to take care of the
treasures.
But Tane and his supporters refused Whiro’s demands and Whiro was eventually banished to
the underworld where he still lives, and continually tries to cause trouble for gods and mankind.‘
(New Zealand Research Archive)
Sometimes the three baskets are named - Te Kete Ururu-Matua, Te Kete Ururu-Rangi and
Te Kete Ururu-Tau. The two stones are named Hukatai and Rehutai.
The kete are depicted immediately on the right of the koruru and the two stones immediately
on the left of the koruru.
41
Maihi (bargeboards)
42
Amo (uprights)
43
Korupe: Ranga.
Te Ao Marama
There are three figures, with upraised arms, resting on Papa. They represent the three states
of existence that together make the world complete.
Korupe: Ranga, Tama.
Pare: Richard, Bobby.
There is a squatting female figure flanked by manaia, with spiral forms providing a tribal link.
The female figure is the source of life. Hinenuitepo is the guardian of the underworld – the
threshold between inside and outside, between life and death. Passing under the female figure
as you enter the whare removes tapu.
Pare (Wharikai): Rufus.
Ngati Whatua – Kaipara, with the central female figure Papatuanuku. This is similar to a pare
at Haranui, Awa’s marae.
Koruru: Tama, Rufus.
44
Pou 1: Ranga, Richard.
Tawhiao – Second Maori King and the son of Te Wherowhero
Pou 2: Skip, Tama.
Kaitiaki o Nga Whetu – Kigi Toru
Pou 3: Richard.
Pou 4: Jimmy, Tama, Bobby, Wati.
Mataatatua – Tuhoe Potiki
Tuhoe Potiki was the youngest son of Tamatea-ki-te-huatahi the grandson of Toroa the Captain
of the Mataatua waka His mother Paewhiti was the daughter of the Priest Taneatua of the
Mataatua waka.
Pou 5: Richard.
Kanohirima
Five children of Papatuanuku and Rangi: Tumatauenga, Tane, Tangaroa, Haumiatiketike and
Rongo.
Pou 6: Brownee.
Pou 7: Richard, Tama.
Uru
Rauru is the ancestor of the tribes learned in carving, of Ngati Kahungunu. Rauru was the son
o Toi.
Pou Tu Rongo: Rufus.
Pou 8: Charles, Rufus.
Mataatua- Toroa Puhi Wairaka
‘ E, kia whakatane ake au I ahau. “Let me now be a man”
When the Mataatua canoe arrived on the beach near present day Whakatane, the men left the
canoe to climb a hill and observe the new land. According to Ngati Awa and Tuhoe, Wairaka,
daughter of Toroa, took it on herself to see to the safety of the vessel, uttering the quoted
words. And therby providing the place name. It should be noted that Whakatohea of the Opotiki
region believe it was Muriwai who uttered these famous words.’ (Nga Pepeha o nga Tipuna –
Hirini Mead and Neil Grove)
Perhaps Whaea Awa Hudson, who for so long stood alone in the Maori
Department, is acknowledged here.
45
Pou 9: Leigh, Tama.
Tama nui te Ra
‘ “The Great Son of the Sun”. The true name of the sun. One evening, Maui decided that the
days were too short for work, and the nights too long. He and his brothers attempted to catch
the sun in a snare, but the ropes were too dry so the sun burnt them and broke free. Then
Maui used ropes made of wet flax (in the original myth he used his sister’s hair) and this time
succeeded. He beat the sun and demanded that it must travel more slowly through the sky
to make the days longer, and the sun agreed. Tama Nui-Te-Ra also gave some of his fire to
humanity as a boon, for life.’ (Micha F. Lindemans)
Pou 10: Rufus, Tama.
Rua Taniwha o Ngati Whatua
The Taniwha of the Manukau Heads and of the Kaipara.
Pou 11: Tama, Rufus.
Te Huri Ora The change of life.
Pou 12: Charle, Rufus, Tama.
The Treaty of Waitangi. The top figure represents Maori signing the treaty. The middle figure is
Queen Victoria the other Treaty partner. The lower figure represents laying down the musket
after the Treay has been signed.
Pou 13: Tama, Frank.
Nga whakaaro o Apirana Ngata
Head Boy and Head Girl.
Sir Aprirana Ngata’s whakatauki:
E tipu e rea mo nga ra o tou ao.
Ko to ringa ki nga rakau o te Pakeha hei ara mo to tinana.
Ko to ngakau ki nga taonga a o tipuna Maori hei tikitiki mo to mahuna.
Ko to wairua ki to Atua, nana nei nga mea katoa.
Grow up and thrive for the days destined to you.
Your hands to the tools of the Pakeha to provide physical sustenance.
Your heart to the treasures of your ancestors as a diadem for your brow.
Your soul to God to whom all things belong.
Written by Sir Apirana Ngata in an autograph book belonging to one of his granddaughters.
Pou 14: Charles, Rufus.
Kai pupuri Nga Kete Toru
The figures represent the Principal, Teachers and Support Staff. Each is holding one of the
three baskets of knowledge.
46
1
47
2
3
4
5
6
48
7
49
Pou Turongo
8
9
10
11
50
12
51
13
14
Appendix 2: Postscript
On his release from prison, Ranga contacted Karel. Karel provided Ranga with photographs
of the whakairo he had worked on during the project. Ranga used these as the basis for a
portfolio to gain entry to a University Design course. Ranga graduated in 2008. Ranga, a
tohunga whakairo, has since been acclaimed for both his carving and painting.
In mid 1999 Rufus was again before the Parole Board. This time he had a letter of support from
Graeme, Kevin and Karel. Although Rufus had made significant progress his application was
declined. Rufus passed away still in prison in late 2009.
Howard James retired in 1999. Howe was an amazing kaumatua and will be remembered with
great reverence by all those he came into contact with. Howe passed away on 16 November
2007 after a long illness and he is buried at Opotiki. Whaea Awa, Graeme, Kevin and Karel
attended his Tangi.
Awa Hudson retired from teaching in 2004. She received a very emotional farewell in Te
Mahanahana. Awa was a Ngatiwhatua representative on Waitakere City Council Taumata
committee and Te Whanau o Waipareira Trust. She was on the West Education Sector Trust,
PPTA Huarahi Maori Auckland Representative. Awa is currently a trustee on: Unitec Taumata,
West Auckland Refuge, Haranui Marae and Otakanini Farm Corporation. Awa has received
numerous awards for her work in the community.
Whaea Awa’s farewell in the Te Mahanahana
52
In late 2001 the wharekai received an extensive upgrade, including new windows. More recently
the wharenui had new carpet installed.
Kevin became The Iwi liasion between Lincoln Heights, West Harbour School ,Royal Road
Primaryand Massey High School. He was ordained as an Anglican Minister in 2002 and resigned
from the Massey Iwi Liasion project in 2005 to begin work as Chaplain to the Northern Region
Corrections Facility at Ngawha. He was contracted as Chaplain to the NZ Army in Papakura
2009 for one year and has returned to NRCF. He is also coordinator for the Whangaroa Maori
Pastorate.
Karel Witten-Hannah retired from teaching in 2006 and he too received a very emotional
farewell in Te Mahanahana. Karel is a St John First Responder, volunteer fireman, an active
lifeguard and President of Karekare Surf Life Saving Club.
Both Awa and Karel retain their links with the School Whanau and Marae.
At the time of writing, Whaea Shirley Cranston holds a position of Deputy Principal at Massey
High School. The School now has a separate Faculty Maori, combining the areas Te Reo,
Maori Performance and Maori Student Support and Maori Achievement. The Faculty currently
has six Te Reo speaking staff. This huge progress is heart warming.
53
Appendix 3: Clippings from the Journey
54
55
Western Leader 1986?
56
Western Leader 1995?
57
58
Western Leader 15/1/99
59
Western Leader 19/1/99
60
61
Waitakere Week 20/1/99
Western Leader 4/2/99
62
63
Western Leader March 1999
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Appendix 4: Te Patu Roimata
Te Patu Roimata refers to the “wall of tears” at the rear of the whare. This is where photos of
people who are significant to the marae and have now passed on are displayed.
Te Hira Te Kawau - Important Ngati-Whatua Chief Te Hira Te Kawau was the son of famous
warrior Chief Apihai te Kawau who signed the Treaty of Waitangi for Ngati Whatua
David Horne - Senior Master at Massey School
John Tapiata - Facilitator of Hui at Haranui
Ted Jones - HOD Phys Ed and first Te Reo teacher
Jason Snell - inspirational ex student who died of cancer
John McPherson - member of Guidance Department at Massey
Tao Fullerton - ex student
Elaine Scott - ex student
Mother Teresa - received Nobel Peace Prize for her work with the poorest of the poor
Dame Te Atarangi Kahu - Maori Queen
Rena Richards Bycroft
Jack Wihongi - Massey High School Kaumatua
Tauhia Hill - Awa’s brother
Charles Hetaraka - ex student
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Richelle Murphy - ex student
Bruce Cotterill - Chairperson Whanau Committee
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This korero concludes with a waiata composed by our kuia Whaea Awa Hudson linking the
Marae to the land, the people and the waters.
Ka piki whakarunga
Ki te tihi o te puke
Pukewhakataratara e
Hoki nga whakaaro
Ki te Ao Kohatu
Ki te iwi Turehu
Ki te iwi Maruiwi
Ki te iwi Moko-Torea
O te Kawerau
Ki Ngati Poa Taniwha
Waiohua Te Taou
Ki Ngati Whatua e
Ko nga wairere
Ko Ngongo te para
Ko wai moko
Te Wai-Arohia-o-Ririki
Te Pakinui, Te Huruhuru
Te Wai-o-Pare-ira e
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