Mana Waka | |
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Directed by | Merata Mita |
Produced by | Te Puea Estate |
Narrated by | Tukuroirangi Morgan |
Cinematography | R.G.H Manley |
Edited by | Annie Collins |
Release date |
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Running time | 85 min. |
Country | New Zealand |
Languages | English Māori |
Mana Waka is a 1990 New Zealand film documenting the construction of waka for the 1940 centenary of the Treaty of Waitangi. It uses footage shot between 1937 and 1940 by R.G.H Manley, and edited 50 years later by Annie Collins and director Merata Mita. [1]
In 1937, in anticipation of the 1940 centennial celebrations, Māori leader Princess Te Puea commissioned seven waka taua (war canoes), in an attempt to recreate the legendary seven canoes of the Māori migration, though only three were built due to funding shortages. Stills photographer R.G.H "Jim" Manley was asked to film the process, from the felling of massive trees to the maiden voyage. The filming also met financial hurdles and never entered post-production. [2]
The waka named Ngātokimatawhaorua was ultimately launched on Waitangi Day, 6 February 1940. It is launched every February and is housed at the Waitangi Treaty Grounds. [3] The other two waka, Tumanako and Te Rangatahi, are located at Tūrangawaewae and sail annually during the Tūrangawaewae Regatta. [4]
In 1983, the New Zealand Film Archive began restoring the footage. Merata Mita joined the project in August 1989, editing the film on location at Tūrangawaewae Marae so that the materials could be handled with traditional blessing practices, and to allow elders originally present in the 1930s to advise. As the original film was almost completely silent, the soundtrack was created from scratch based on the remembrances of these elders. [5]
Disagreements between Mita and the family of R.G.H Manley over the direction of the film came to a head after an early workprint screening, when family members took the workprint from the projection booth. A period of mediation occurred afterwards, though contention over the ownership of the original footage persists. [2] [6]
Mana Waka premiered at Auckland’s Civic Theatre on 21 January 1990. Its next public screening was twenty-one years later at the 2011 New Zealand International Film Festival. [7] It was one of fifteen films chosen by the New Zealand Film Archive in 1995 to represent the country’s most important cinematic heritage, in response to a UNESCO survey. [8]
The Treaty of Waitangi, sometimes referred to as Te Tiriti, is a document of central importance to the history of New Zealand, its constitution, and its national mythos. It has played a major role in the treatment of the Māori people in New Zealand by successive governments and the wider population, something that has been especially prominent from the late 20th century. The treaty document is an agreement, not a treaty as recognised in international law. It was first signed on 6 February 1840 by Captain William Hobson as consul for the British Crown and by Māori chiefs from the North Island of New Zealand. The treaty's quasi-legal status satisfies the demands of biculturalism in contemporary New Zealand society. In general terms, it is interpreted today as having established a partnership between equals in a way the Crown likely did not intend it to in 1840. Specifically, the treaty is seen, first, as entitling Māori to enjoyment of land and of natural resources and, if that right were ever breached, to restitution. Second, the treaty's quasi-legal status has clouded the question of whether Māori had ceded sovereignty to the Crown in 1840, and if so, whether such sovereignty remains intact.
Waitangi Day, the national day of New Zealand, marks the anniversary of the initial signing—on 6 February 1840—of the Treaty of Waitangi. The Treaty of Waitangi was an agreement towards British sovereignty by representatives of the Crown and indigenous Māori chiefs, and so is regarded by many as the founding document of the nation.
Te Puea Hērangi, known by the name Princess Te Puea, was a Māori leader from New Zealand's Waikato region. Her mother, Tiahuia, was the elder sister of King Mahuta.
Ngāpuhi is a Māori iwi associated with the Northland regions of New Zealand centred in the Hokianga, the Bay of Islands, and Whangārei.
Tūrangawaewae is a marae and a royal residence in Ngāruawāhia, Waikato, New Zealand. It is the official residence of the Māori monarch and the administrative headquarters of the Kīngitanga movement. Of its numerous buildings, the two principal ones are the Māhinārangi meeting house, and Tūrongo House, which is official residence of the queen or king.
The Māori King movement, called the Kīngitanga in Māori, is a Māori movement that arose among some of the Māori iwi (tribes) of New Zealand in the central North Island in the 1850s, to establish a role similar in status to that of the monarchy of the United Kingdom as a way of halting the alienation of Māori land. The first Māori king, Pōtatau Te Wherowhero, was crowned in 1858. The monarchy is non-hereditary in principle, although every monarch since Pōtatau Te Wherowhero has been a child of the previous monarch. The eighth monarch is Ngā Wai Hono i te Pō, who was elected and crowned in September 2024.
Ngā Toki Matawhaorua of Pewhairangi, often simply known as Ngā Toki, is the name of a New Zealand waka taua.
Piercy Island, also known as "The Hole In The Rock", is located off the north coast of the North Island of New Zealand. It is at the very northern tip of Cape Brett in the Bay of Islands. It is Māori freehold land, which is administered by the Motu Kōkako Ahu Whenua Trust for the benefit of the descendants of the traditional owners.
In Māori tradition, Ngātokimatawhaorua was one of the great ocean-going, voyaging canoes that was used in the migrations that settled New Zealand.
Uruaokapuarangi was one of the great ocean-going, voyaging canoes that was used in the migrations that settled the South Island according to Māori tradition.
Merata Mita was a New Zealand filmmaker, producer, and writer, and a key figure in the growth of the Māori screen industry.
Wiremu "Piri" Te Ranga Poutapu was a New Zealand master of Māori carving and a carpenter.
George Eric Oakes Ramsden (1898–1962) was a New Zealand journalist, writer and art critic. He was born in Martinborough, Wairarapa, New Zealand on 1 August 1898 and died at Wellington on 21 May 1962.
Te Raukura, otherwise known as Te Wharewaka o Poneke is a building located on Taranaki Street Wharf, Wellington waterfront, New Zealand. It houses a conference venue, Karaka Cafe, and waka house.
Ngāti Whātua Ōrākei or Ngāti Whātua-o-Ōrākei is an Auckland-based Māori hapū (sub-tribe) in New Zealand. Together with Te Uri-o-Hau, Te Roroa and Te Taoū, it comprises the iwi (tribe) of Ngāti Whātua. These four hapū can act together or separately as independent tribes. The hapū's rohe is mostly in Tāmaki Makaurau, the site of present-day Auckland. Ngāti Whātua Ōrākei has around 6,000 members whose collective affairs are managed by the Ngāti Whātua Ōrākei Trust.
Tāmaki Māori are Māori iwi and hapū who have a strong connection to Tāmaki Makaurau, and whose rohe was traditionally within the region. Among Ngā Mana Whenua o Tāmaki Makaurau, also known as the Tāmaki Collective, there are thirteen iwi and hapū, organised into three rōpū (collectives), however Tāmaki Māori can also refer to subtribes and historical iwi not included in this list.
Ainsley Amohaere Gardiner is a film producer from New Zealand.
Mana motuhake is a phrase in the Māori language that means self determination, with the principle being autonomy and control. It is sometimes translated to the concept of sovereignty.
Waka hurdling, also sometimes called waka peke, is a Māori sporting competition of jumping unornamented waka tīwai over wooden beams set in the water. There have been attempts to revive the sport and keep the tradition going. The Auckland Museum has a photograph of the sport and spectators. The hurdles are made of long tree branches. Albert Percy Godber photographed the sport in 1910. The competition is part of the festivities of traditional Māori regattas.
Patu! is a 1983 New Zealand documentary film directed by Merata Mita about the controversial 1981 Springbok tour. It follows the inner workings of the campaign against the tour, and captures scenes of violent conflict between police and protesters. It is a significant work of activist and indigenous filmmaking, and of New Zealand filmmaking in general.