Rediscovering Aotearoa: Mātauranga | Knowledge

Summary

The video script features a conversation between Safari Hynes and Peter McKenzie as they walk through Wellington, reflecting on the lack of recognition for Māori narratives in public memorials and statues. They discuss the historical inequities and the need for equal representation, questioning the current focus on European figures and advocating for Māori voices to determine their own recognition. The dialogue highlights the importance of oral history and the desire for a living connection to Māori heritage, beyond mere statues.

Takeaways

• 🗿 The script discusses the statue of Kupe and his wife, a tohunga, highlighting their historical significance in Aotearoa, predating Captain Cook and Abel Tasman.
• 🏛 There is a focus on the lack of recognition for Māori narratives in public memorials, with only 10 out of 110 statues in Wellington representing Māori perspectives.
• 👤 Peter and Safari, the speakers, express their limited knowledge about certain historical figures, indicating a broader societal gap in understanding Māori history.
• 🏡 The conversation touches on the controversial nature of memorializing figures like William Wakefield, who was involved in the purchase of Wellington from local Māori, a transaction that is much disputed.
• 🌿 Safari Hynes introduces himself, sharing his Māori heritage, tribal affiliations, and the importance of his祖先' connection to the land.
• 🌊 Peter McKenzie shares his own heritage, with roots in New Zealand's South Coast and a family history tied to Canterbury and Australia.
• 📚 Both speakers are students at Victoria University, studying fields that reflect their commitment to Māori language, law, and social advancement.
• 📝 Safari wrote an open letter to the mayor about the lack of Māori recognition in statues, advocating for a more balanced representation of history.
• 👑 The script critiques the presence of Queen Victoria's statue and the broader implications of colonialism, including the theft of land and cultural erasure.
• 🏙️ It is suggested that instead of statues of foreign figures, monuments to local Māori ancestors like Hamuera Tamahou Mahupuku should be erected to honor their contributions.
• 🔄 The conversation emphasizes the need for Māori to have autonomy in determining how their narratives are recognized and the importance of oral history in this process.

Q & A

Who is the statue of Kupe, his wife, and the tohunga a representation of?

The statue represents Kupe, his wife, and the tohunga, who were significant figures in the discovery of Aotearoa (New Zealand) long before the arrival of Captain Cook and Abel Tasman.

What is the significance of the memorial for William Wakefield discussed in the script?

The memorial for William Wakefield is a point of discussion for the characters, who question the extent of his recognition and his role as a settler involved in the disputed purchase of Wellington from local Māori.

What does Safari Hynes express concern about regarding the recognition of Māori narratives in Wellington?

Safari Hynes expresses concern about the lack of recognition for Māori narratives in the form of statues, noting that out of 110 memorial sculptures in Wellington, only 10 are anchored in Māori thought.

What is Peter McKenzie's perspective on the recognition of Māori narratives in public spaces?

Peter McKenzie acknowledges the importance of recognizing Māori narratives and suggests that the government should provide resources for Māori to determine who and how to recognize in public spaces.

What is the purpose of the open letter written by Safari Hynes to the mayor?

The open letter written by Safari Hynes to the mayor discusses the lack of recognition for Māori narratives in the form of statues and calls for a more equitable representation of Māori history and culture.

What is the role of the Māori language policy called Te Tauihu mentioned in the script?

Te Tauihu is a Māori language policy aimed at promoting the use of the Māori language. However, Safari Hynes argues that the policy should encompass more than just the language itself, it should also include the broader cultural narratives.

What does Safari Hynes suggest as an alternative to the statue of Queen Victoria?

Safari Hynes suggests that instead of having a statue of Queen Victoria, who represents colonial history, there could be a statue of the first Māori king, which would be a more appropriate representation of local history.

What is the significance of the statue of Kupe and his wife in the context of the script?

The statue of Kupe and his wife symbolizes the early discovery of Aotearoa by Māori and serves as a reminder of the rich history and culture that predates European colonization.

What does Safari Hynes propose regarding the naming of streets and public spaces after Māori ancestors?

Safari Hynes proposes that streets and public spaces should be named after Māori ancestors to pay homage to their contributions and to ensure that Māori narratives are equally recognized in public spaces.

What is the role of the character John Howard Wallace in the script?

John Howard Wallace is an ancestor of Peter McKenzie who came to New Zealand on one of the first ships and was a successful businessman in Wellington. Streets in the area are named after him, reflecting his impact on the region.

What is the underlying message of the script regarding the recognition of Māori history and culture?

The underlying message of the script is the call for equal recognition of Māori history and culture in public spaces and narratives, as well as the need for non-Māori, particularly the government, to support this process without imposing their own perspectives.

Outlines

00:00

🗿 Recognition of Māori History and Colonization

The first paragraph discusses the statue of Kupe and the significance of his discovery of Aotearoa (New Zealand) before European explorers. It highlights the lack of knowledge about historical figures like William Wakefield, who is commemorated despite his controversial past, including the disputed purchase of Wellington from local Māori. The speakers, Safari and Peter, express discomfort with celebrating individuals with problematic legacies while downplaying the impact of colonization and land theft on Māori people.

05:02

🏛 Statues and the Representation of Māori Narratives

The second paragraph explores the theme of statues as a means of historical representation, specifically the lack of Māori narratives in public memorials. The speakers, including the narrator, Safari Hynes, and Peter McKenzie, discuss the need for greater recognition of Māori history and figures, such as Hamuera Tamahou Mahupuku, and criticize the focus on colonial figures like Queen Victoria. They argue for a more balanced and accurate portrayal of history that respects Māori culture and contributions, rather than just physical monuments.

10:03

🌿 The Importance of Māori Oral History and Cultural Lands

The final paragraph emphasizes the importance of Māori oral history and the living connection to the land. It critiques the use of statues as a static and insufficient method of conveying the rich and dynamic history of Māori people. The paragraph suggests that the recognition of Māori narratives should be determined by Māori themselves, with the government and Pākehā (non-Māori New Zealanders of European descent) stepping back and providing resources without imposing their own perspectives. The call is for equality and respect for Māori culture and history in all forms of recognition.

Keywords

💡Aotearoa

Aotearoa is the Māori name for New Zealand, signifying the theme of the video's focus on the indigenous perspective and history. It is used in the script to highlight the Māori presence and contributions long before the arrival of European explorers like Captain Cook and Abel Tasman.

💡Tohunga

A tohunga in Māori culture refers to a person of high rank, often a spiritual leader or expert in traditional knowledge. The script mentions 'tohunga' in the context of Kupe's journey, emphasizing the importance of spiritual and intellectual figures in Māori society.

💡Colonisation

Colonisation is the process of establishing control over a territory and its people, often involving the displacement of indigenous populations. The script discusses the negative impacts of colonisation on Māori land and culture, such as the appropriation of 95% of Māori land by colonisers.

💡Māori Narratives

Māori narratives refer to the stories, histories, and perspectives of the Māori people. The video's theme revolves around the recognition and representation of these narratives in public spaces, such as statues and memorials, and the need for equal representation alongside Pākehā (New Zealanders of European descent).

💡Whakapakoko

Whakapakoko, in this context, refers to the act of commemorating or memorializing, often through statues or monuments. The script critiques the lack of Māori representation in these forms of public commemoration in Wellington.

💡Kāwanatanga

Kāwanatanga is the Māori term for 'government.' The script suggests that the government should step back and allow Māori to determine how their narratives are recognized and represented, without imposing their own views.

💡Te Tauihu

Te Tauihu is a policy related to the Māori language. The script mentions it as an example of existing initiatives but argues that recognition of Māori narratives should extend beyond language to include history and cultural representation.

💡Kīngi Māori

Kīngi Māori refers to the 'Māori King,' a significant figure in Māori leadership and unity. The script proposes the idea of commemorating the first Māori King as an example of how Māori narratives could be better represented in statues and public memory.

💡Bastion Point

Bastion Point is a historical site in New Zealand known for its significance to Māori resistance against land confiscation. The script uses it as an example of a place where Māori unity and resistance against colonial pressures were demonstrated.

💡Hokonga

Hokonga, in the context of the script, refers to a 'purchase' or 'acquisition,' particularly the disputed purchase of Wellington from local Māori. It highlights the controversial aspects of land transactions during the colonial period.

💡Ture

Ture is the Māori word for 'law.' The script mentions a student studying law, indicating the importance of understanding and engaging with the legal system as part of advancing Māori well-being and rights.

💡Te Reo Māori

Te Reo Māori is the Māori language, which is central to the cultural identity and heritage of the Māori people. The script discusses the importance of te reo Māori as part of the broader recognition and revitalization of Māori culture.

💡Kaupapa

Kaupapa, in Māori, refers to 'projects' or 'initiatives.' The script mentions involvement in various kaupapa aimed at advancing the well-being of the Māori people, reflecting the commitment to community development and empowerment.

💡Whakamaharatanga

Whakamaharatanga is a concept that relates to 'memorialization' or 'monumentalization.' The script discusses the lack of Māori representation in memorial sculptures, suggesting a need for greater recognition of Māori history and figures.

Highlights

The statue of Kupe, his wife, and the tohunga represents the early discovery of Aotearoa, predating Captain Cook and Abel Tasman.

Discussion about the lack of knowledge regarding the historical figure William Wakefield and the need for greater public awareness.

The irony of celebrating a settler with a criminal past, who negotiated a disputed land purchase from local Māori, is highlighted.

Safari Hynes introduces himself, sharing his Māori heritage, tribal affiliations, and connection to the Waiarapa region.

Peter McKenzie's introduction includes his family's history from Canterbury, New Zealand, and Australia, with tales of ancestors and their impact.

Safari, an 18-year-old law and te reo student, discusses his involvement in advancing the well-being of the Māori people.

Peter's role as a law, politics, and Mandarin student, alongside his work as a journalist and government freelancer, is outlined.

Safari's open letter to the mayor addresses the lack of recognition for Māori narratives in public statues.

A critique of the current number of Māori-focused memorial sculptures in Wellington, with a call for more representation.

The historical impact of Queen Victoria's colonial actions is discussed, including the colonization and cultural theft.

A proposal to commemorate the first Māori king alongside statues of other historical figures as a sign of respect and equality.

The significance of Bastion Point as a historic Māori stronghold and its role in uniting Māori against colonial pressures.

Hamuera Tamahou Mahupuku is recognized as a local Māori ancestor, a leader of wisdom and action, deserving of memorialization.

John Howard Wallace, an ancestor of Peter, was a successful early settler in Wellington, with streets named in his honor.

The racial wealth gap in New Zealand is highlighted, with Māori families facing significant economic disadvantages due to historical land appropriations.

A call for the government and Pākehā society to provide resources and step back, allowing Māori to determine their own recognition and narratives.

The importance of oral history in Māori culture and the need for a living concept of history rather than static statues.

A final emphasis on the pursuit of equal recognition for Māori narratives, as a matter of justice and respect.

Transcripts

- This here is a statue of Kupe, his wife, and the tohunga -Ko tēnei tētahi whakapakako o Kupe rātou ko tāna wahine, ko te tohunga

who came with him on his discovery of Aotearoa, i eke tahi ki a ia i tana kitenga i Aotearoa,

a long time before Captain Cook and Abel Tasman, he wā roa i mua i a Kāpene Kuki rāua ko Abel Tasman,

I've got to tell you. me pēnei tāku ki a koe.

(peaceful instrumental music) (pūoro whakatangitangi āio)

- [Peter] Kia ora. - [Peter]Kia ora.

- [Safari] Hey, man. - [Safari]Tēnā koe, e mara.

So let's go. Ka hoake tāua.

- Yeah. - Āna.

- Let's go have a look at this memorial - Me haere tāua ki te titiro ki tēnei whakamaharatanga

the William Wakefield. arā ko te William Wakefield.

Do you know much about him? He nui tō mōhio ki a ia?

- Not much, to be honest. - Kāore e nui, kia pono taku kōrero.

- [Safari] I don't either, and I don't think - [Safari] Kāore hoki au i te tino mōhio, ā, ki ahau nei kāore

lots of people do. te nuinga i te tino mōhio ki ngā kōrero mōnā.

- [Peter] No. - [Peter] Kao.

- Must be an outstanding citizen in our eyes, - Me noho ia hei tangata whakaharahara ki a tātou,

if we're gonna hold him to such high esteem mēnā ka pēnei tā tātou whakamana i a ia

in this great here place. ki tēnei wāhi whakahirahira ki konei.

- [Peter] What a role model. - [Peter] Kātahi rā te tangata hei whai.

- [Safari] I know. - [Safari] E kī, e kī.

- I just find it remarkable that, you know, - E mīharo ana ki ahau, me kī,

we're so comfortable talking about his personal failings tā tātou hāneanea ki te kōrero mō ana hē whaiaro

and the fact that he was a criminal, me te mea e mōhiotia ana he tangata hara ia,

the fact that he was a settler, he kaiwhakanoho whenua ia,

but the only reference to stealing Māori land engari anō ko te kōrero anake mō te tāhae i te whenua Māori

is, on arrival, he negotiated a much-disputed purchase ko te, i tana taenga mai, nāna i whakarite tētahi hokonga e tino tautohea nei

of Wellington from local Māori. o Te Whanganui-a-Tara mai i ngā Māori o tērā rohe.

Like, we're just not comfortable at all Anō nei, kāore tātou i te paku hāneanea

with confronting the reality of it. ki te anga ki te āhuatanga tūturu o tērā.

(peaceful instrumental music) (pūoro whakatangitangi āio)

- Kia ara. - Kia ora.

My name is Safari Hynes. Ko Safari Hynes tōku ingoa.

We are in the Waiarapa at the moment. Kei Wairarapa māua i tēnei wā.

We are at one of my marae called Papawai. Kei tētahi o ōku marae māua, ko tōna ingoa ko Pāpāwai.

My ancestor is Ngatuere. Ko Ngatuere tōku tūpuna.

My mountain is Tararua, my waka is Takitimu. Ko Tararua tōku maunga, ko Takitimu tōku waka.

My tribes are Ngatikuhungunu and Rangitone. Ko Ngāti Kahungunu rāua ko Rangitāne ōku iwi.

My subtribe is Ngati Kahkurawhitia. Ko Ngāti Kahukurawhitia tōku hapū.

- Hi, my name's Peter McKenzie. - Kia ora, ko Peter McKenzie tōku ingoa.

I come from just over on the South Coast, Nō tata atu, nō te Takutai Tonga o Te Upoko o te Ika ahau,

so Houghton Bay, Wellington, which is beautiful, and stormy, nā ko Houghton Bay, ki Te Upoko o te Ika, he ātaahua, he paroro,

and amazing, so I'm very proud. he mīharo hoki, nō reira kei te poho kererū ahau.

My mum's side comes from the back blocks of Canterbury, Ki te taha o tōku whaea i ahu mai mātou i te taiwhenua ki Waitaha,

and I think before that, we came over from Aussie. ā, ki taku nei mōhio i mua i tērā i tae mai mātou i Ahitereiria.

There's all sorts of crazy stories about some, He nui ngā kōrero heahea mō tētahi,

however many great grandads stealing a beehive mātua tūpuna mō ngā tini reanga ki muri nāna i tāhae tētahi whare pī

to get exiled to Australia deliberately, kia āta panaia atu ia i Ahitereiria,

so, some crazy stuff like that. nā, ētahi āhuatanga mīharo pērā i tērā.

(peaceful instrumental music) (pūoro whakatangitangi āio)

- I'm 18 years old, and I'm a student - 18 ōku tau, ā, he tauira ahau

at Victoria University, studying law and te reo. ki Te Whare Wānanga o te Upoko o te Ika, e whai ana i te ture me te reo.

What do I do besides that? Atu i tērā he aha atu āku mahi?

I try and involve myself in as many kaupapa Kei te ngana ahau ki te whai wāhi atu ki ngā tini kaupapa

that aim to advance the well-being of our people e whai ana ki te kōkiri whakamua i te oranga o ō mātou iwi

as much as possible. kia eke rawa ki tērā ka taea.

I mean, the Māori people that have been disadvantaged Arā, ko te iwi Māori kua tino whakatikihia

due to progressive colonial policies i runga i ngā kaupapahere koroniara kaihaka

throughout six years of governments, yes. puta noa i ngā tini kāwanatanga, āe.

- I'm a law, politics, and Mandarin student He tauira ahau ki te ture, te tōrangapū me te reo Manarini

at Victoria University. ki Te Whare Wānanga o te Upoko o te Ika.

I work part-time, freelance, as a journalist, Kei te mahi kirimana ahau, wā wāhi, hei kairīpoata,

and in addition to that, ā, hei tāpiritanga ki tērā,

I do a little bit of work around town for government, kei te mahi au i ētahi mahi ki te tāone mō te kāwanatanga,

so I work over at Parliament as a glorified water boy. nō reira kei te mahi au ki te Whare Pāremata hei kaikawe wai kua whakamōmomonatia.

(peaceful instrumental music) (pūoro whakatangitangi āio)

- I think about a month ago I had really nothing to do, Tata ki te kotahi marama ki muri, kāore āku tino mahi,

so I decided I'd write an open letter to the mayor nō reira i whakatau au ki te tuhi reta tuwhera ki te Mea

talking about the lack of recognition for Māori narratives e kōrero ana mō te kore whakamana i ngā kōrero Māori

in the form of statues, so, naturally, so I had to look, i te āhua o te whakapakoko, nā, nā ka whai, me tiro e au,

and there were 110 memorial sculptures in Wellington ā, 110 ngā whakairo whakamaharatanga ki Te Whanganui-a-Tara

and 10 of them were anchored in whakaaro Māori, ā, 10 o rātou i noho pū ki te whakaaro Māori,

which, I personally think isn't good enough. ā, ki ahau nei kāore tērā i te eke ki te pai.

- Yeah. - Āna.

- Plenty of respondents saying it's in the -Tokomaha ngā kaiwhakahoki e kī ana kei te

te reo Māori policy called Te Tauihu, kaupapahere reo Māori e kīia nei ko Te Tauihu,

and my response was that that's nice, ā, ko tāku whakahoki e pai ana tērā,

but te reo Māori is more than just the turehu. engari he nui ake te reo Māori i te tauihu noa iho.

It's the whole canoe, and so hopefully, one day, Ko te waka katoa, nō reira ko te tūmanako, ā tōna wā,

we get to recognition for Māori narratives across the board, ka tae atu tātou ki te whakamana i ngā kōrero Māori puta noa,

considering we've got about 500 years me te whakaaro hoki tata ki te 500 anō ngā tau o tā mātou

more history here than Pākeha. hītori ki konei i tā te Pākehā.

Yeah, good old Queen Victoria's statue. Āna, ko te whakapakoko o te tino Kuini Wikitōria.

- She doesn't look very well. - Kāore i te tino ora tōna āhua.

- No, I mean, I wouldn't, too, if I had - Kāhore, nā me kī, kāore hoki ahau, mēnā nāku i

colonised probably about a third of the world, whakanoho te hautoru pea o te ao,

killed off, stolen lots of cultures, i whakakore, i tāhae hoki i ngā tini ahurea,

and stolen lots of land off people either. i tāhae hoki i te maha o te whenua mai i ngā tāngata.

I'd have a pretty guilty conscience if I was her. Mēnā ko au tērā kua tino hara tōku ngākau whakawā.

- [Peter] Yeah, it'd be a pretty rough life. - [Peter] Āe, he uaua rawa tō noho.

- The argument I have for Queen Victoria's statue is, - Ko tāku tautohe i te whakapakoko o Kuini Wikitōria ko tēnei,

okay, it's really cool if you're gonna memorialise her, ka pai, he rawe mēnā ka whakamaharatia ia,

but why don't, you know, for example, here, engari he aha i kore ai, me kī, hei tauira, ki konei

you put up a statue of the first Māori king, you know? te whakatū i tētahi whakapakoko o te kīngi Māori tuatahi, nē?

100% Tautoko

- You know? - Nē hā?

And it's-- Nā, he--

- One-hundred percent. - Tino tautoko.

- [Safari] And there's nothing wrong with that. - Ā, kāore he hē ki tērā.

You've got a green space. He wāhi kākāriki ki konei.

You've got a memorial to someone who never set foot on here, He tohu whakamahara ki tētahi kore rawa i tau mai ki konei,

never did anything here. kāore āna paku mahi ki konei.

- Or even just like, not even like, a green space. - Tērā rānei e pēnei ana i, kāore i te pēnei i, tētahi wāhi kākāriki.

Like, we've got, we've just moved past like, four car lots. Arā, kātahi anō tāua ka whakawhiti atu i ngā wāhi whakatū waka e whā.

- Yeah. - Āna.

- Like, that's a shit tonne of concrete space Arā, he nui rawa te wāhi raima tērā

that you could just use for so much better stuff. ka taea te whakamahi mō ngā kaupapa tino pai ake.

- This Māori, in it's time, it was bastion point - Ko tēnei Māori, i tōnā wā, ko Bastion Point tērā

for Māoridom, and provided a platform for Māori mō te ao Māori, i whakatakoto i tētahi kaupapa mā te Māori

to come together and to be one, e whakarauika tahi, te whakakotahi,

to stand against colonial pressures. te tū ki ngā pēhitanga koroniara.

This is a memorial to one of the ancestors of this region. He maumaharatanga tēnei ki tētahi o ngā tūpuna o tēnei rohe.

His name was Hamuera Tamahou Mahupuku. Ko tōna ingoa ko Hamuera Tamahou Mahupuku.

He was from many marae around here. Nō ngā tini marae o te rohe nei ia.

A person of great wisdom and foresight. He tangata whakaaronui, he matakite.

A natural leader, and quickly got things done. He tino kaiārahi, he tere tana whakaoti i ngā mahi.

So this is the source of my open letter. Nā ko tēnei te pūtake o taku reta tuwhera.

Why don't we pay homage to these ancestors He aha tātou e kore ai e whakarangatira i ēnei tūpuna

around or towns and on our streets puta noa i ā tātou tāone, ki ā tātou tiriti

with the names we give these places. me ngā ingoa e tapaina e tātou ki ēnei wāhi.

- So this way is John Street, down here, - Nā, ko John Street tēnei, ki raro nei,

and, I suppose, back that way is Wallace. nā, ko tērā pea, ki muri ko Wallace.

So John Howard Wallace was an ancestor of mine Nā ko John Howard Wallace tētahi tūpuna ōku

on my mom's side, and he came over to New Zealand ki te taha o tōku whaea, ā, ka tae mai ia ki Aotearoa

on one of the first ships. i tētahi o ngā kaipuke tuatahi.

I think the first ship to land in Wellington, the Aurora, Ki tāku nei mōhio ko te kaipuke tuatahi ki te tau ki Te Whanganui-a-Tara, arā ko te Aurora,

and he was just a business person around Wellington, ā, he tangata pakihi noa iho ia ki Te Whanganui-a-Tara,

and, clearly, a successful one. ā, ko te āhua nei, he angitu.

They named these two streets and one just down that way I tapaina ēnei tiriti e rua, me tētahi ki tērā pito

all after him, so it's weird. mōnā, nō reira he rerekē.

It's a whole part of town He wāhanga o te taone

that's just got this remnant of him. e whai ana i tēnei waihotanga mai ōna.

I find it really weird, but it's interesting. He tino rerekē ki ahau, engari he whakamere hoki.

It's fascinating. He ātahu.

New Zealand's racial wealth gap at the moment Ko te āputa whairawa ā-iwi i tēnei wā ki Aotearoa

is about $93,000, so the average white family ko te tata ki te $93,000, nā kei te whānau mā wawaenga

has $93,000 more wealth, so whether that's like, te $93,000 nui atu o te whairawa, nā ahakoa ko tērā

on their house, or they have a car, ko tō rātou whare, mēnā rānei he waka tō rātou,

or they don't have bad debts, than the average Māori family, kāore rānei he nama kino ā rātou, i tō te whānau Māori wawaenga,

and that's entirely because, you know, ā, kei runga katoa tērā i te take, e mōhio ana koe,

150 years ago, 200 years ago, colonisers came mō te 150 tau ki muri, te 200 tau ki muri, i tae mai ngā kainoho whenua

and appropriated 95% of Māori land, right? me te tango i te 95% o te whenua Māori, nē hā?

It's directly traceable. Kei te hāngai tōtika atu ki tērā.

As a white man, I benefit from Hei tāne mā, ka whaipainga ahau mai i

that ongoing legacy of colonisation tērā tukunga iho haere tonu nei o te pēhitanga

and cyclical-colonialism, and because I benefit, me te mahi koroniara huri haere, nā, i runga i taku whaipainga,

I have an obligation to do something about it, so. he kawenga tāku ki te whakarerekē i tērā, nā.

(peaceful instrumental music) (pūoro whakatangitangi āio)

- This, here, is a statue of Kupe, his wife, Kuramarotini, Ko tēnei, ki konei, ko tētahi whakapakoko o Kupe, rāua ko tāna wahine a Kuramarotini,

who came with him on his discovery of Aotearoa, i eke tahi ki a ia i tana kitenga i Aotearoa,

a long time before Captain Cook and Abel Tasman, he wā roa i mua i a Kāpene Kuki rāua ko Abel Tasman,

I've got to tell you. me pēnei taku kōrero ki a koe.

- I mean, like, throughout this whole walk, - E kī ana ahau, arā, puta katoa mai i tēnei hīkoi,

I've been thinking that, you know, the inequity kua whakaaro atu ahau ki, me kī, te kore ōrite

in how Māori history is represented through statues o te whakaatu i te hītori Māori mā ngā whakapakoko

is obviously terrible, but, I mean, I just think that he tino kino, engari, me kī, ki ahau nei he

statues themselves are a terrible way kino hoki ngā whakapakoko ake hei

of telling that history. whakakōrero i taua hītori.

Like, it has to be a living concept that, I mean, Nā, me noho kē hei ariā ora kia, me kī,

it ties back into that oral history. tūhonotia atu anō ki taua kōrero tuku iho.

The Māori culture is so focused on that. Kei te tino aro atu te ahurea Māori ki tērā.

Like, the only way is to build up these lands. Nā, ko te ara anake ko te whakapakari i ēnei whakapaparanga.

(peaceful instrumental music) (pūoro whakatangitangi āio)

- When we're talking about recognising Māori narratives, - I a tātou e kōrero ana mō te whakamana i ngā kōrero Māori,

I think they need to be left to Māori to determine ki ahau nei me waiho ki te Māori māna e whakatau

who to recognise and how to recognise. ko wai ka whakamanahia, ā, ka pēhea e whakamana.

I think the opportunity needs to be given to Māori, Ki ahau nei me tuku te ara ki te Māori,

and Pakeha, especially government, ā ko te Pākehā, ā, ko te kāwanatanga ake,

doesn't actually have a place. kāore i te whai wāhi atu.

They really just need to step back and say, you know, Me mātua noho rātou ki muri me te kī, arā,

"Well give you all the resources to do that." "Mā mātou ngā rawa e tuku atu ki a koutou kia pēnā."

We're not asking for the Crown to steal land. Kāore mātou i te tono kia tāhae whenua te Karauna.

We're not asking for the people to be imprisoned, Kāore mātou i te tono kia whakaherea ngā tāngata,

and the English language to be taken away. kia tangohia te reo Ingarihi.

We're just asking for them to be open to learning, Kei te tono noa iho mātou kia noho tuwhera rātou ki te ako,

and that's not a difficult or hard thing to ask. ā, ehara tērā i tētahi mea uaua, taumaha rānei hei tono.

Because it is just, this whole idea of Māori narratives, Nā te mea, ko tēnei ariā pū mō ngā kōrero Māori,

and the lack of recognition, and the unequal recognition me te kore whakamana, me te whakamana kore ōrite

that's being given at the moment, and that's the thing. e tukuna ana i tēnei wā, koirā te take.

All we're asking for is equal recognition. Kei te tono noa iho mātou kia ōrite te whakamana.

It's just equality. Ko te ōritetanga noa iho.

It's nothing more than Pakeha. Kāore e nui atu i tō te Pākehā.

It's just equality. Ko te ōritenga anake.

(peaceful instrumental music) (pūoro whakatangitangi āio)