Engaging with Māori Art and Identity: A Conversation with Māori Artists in Otepoti. 2

Literature addressing Māori artists is predominantly within a Western framework.
- This framework has marginalized Māori epistemology and artistic integrity.
- Cultural subjugation attempted to eliminate Māori culture by comparing it to Classical European art forms.
The research explores the experiences of Māori artists in Otepoti and contrasts literature with the artists’ voices.
- Competing discourses are a recurring theme.
- Artists assert their worldview stems from a strong cultural history, evolving into contemporary Iwi identity.

Literature about Māori artists falls into two discourses showing ambiguities of competing worldviews.
- Recognizes that individuals can never write from a neutral stance, influenced by context, culture, history, and identity.
- Ignoring this can lead to reactive responses that simplify complex cultural interpretations.
Indigenous writers contribute to the master narrative of their culture when focused on truth-seeking (Panoho, 1995).
Distinction made between narratives of the coloniser and the colonised, neither free from their relationship with one another.
- Narratives carry both overt authority messages and covert superiority, risking a lack of substantive narratives for future direction.
The central purpose of the project is to explore the experiences of five Māori artists in Otepoti in a contemporary context that includes culture and identity.
Culture and identity are dynamic, shaped by history and influencing contemporary realities while informing future developments.
- Access to knowledge is crucial for informed representations of cultural identity in the era of colonial and neo-colonial interactions.

Māori art encompasses diverse meanings with Western paradigms historically influencing its interpretation.
- Initial modernism exploration characterized the encounter between Western and Māori art, often overlooking reciprocity.
- New materials introduced to Māori art allowed for style development (whakairo, Mataira, 1984).
- Influence rooted in imperialism sought control and subjugation through economic, political, social, and intellectual means.
Intellectual control justified the reduction of Māori knowledge, framing it as primitive compared to Western knowledge.
- Referenced by Smith (1999) and Matahaere-Atariki et al. (2001) who described the inferior portrayal of Indigenous knowledge.
- Edward Said (1993) articulated this in his work on Orientalism, explaining the dependence on notions of resistance and silence.
The Western paradigm measures different cultures through comparative discourse to justify redefinition and appropriation (Matahaere-Atariki et al., 2001).
Scientific inquiry classified Indigenous peoples to reinforce narratives of superiority, leading to a perception of immaturity in Māori culture.
Kant’s view on Enlightenment emphasized the transformation from immaturity to reason through independent understanding (Kant, 1996).
The paternalistic approach viewed Indigenous traditions as primitive for not aligning with Western scientific explanations (Matahaere-Atariki et al., 2001).

Epistemologies shape both academic and public understanding, established through prevailing ideologies of the time.
The means of communicating Indigenous knowledge requires comprehension of differing worldviews and motivations (Mithlo, 2004).
Historical colonial discourse encompasses attempts to homogenize Māori culture within anthropological frameworks, framing art as primitive.
Camouflaged by European frameworks, Māori artistry is often trivialized, despite its richness in spirituality and practical application.

Historical representations by colonial figures often portrayed Māori art through a sympathetic but reductive lens.
Māori artistic expressions, such as moko and kowhaiwhai, are interwoven with spiritual, emotional, and cultural significance rather than being mere artistic endeavors.

A qualitative approach was chosen, informed by a Kaupapa Māori perspective.
- This aims to respect the mana of Indigenous knowledge holders while integrating literature insights.
Indigenous epistemologies have historically faced disengagement, leading to a disconnect from academic frameworks.
- The rejection of Indigenous knowledge has led to new knowledge systems forming as reclamation within academia.
Kaupapa Māori methodology enables the assertion of Māori identity and values within research contexts (Smith, 1999).
- It emphasizes reciprocity and respect, aiming to allow the ‘researched’ voice to be authentically heard.

The participant sample comprised five Māori artists, primarily from Otepoti, reflecting diverse artistic practices and experiences.
- Recruitment initiated through local Rūnanga committees, reflecting respect for mana whenua.
- Ethical practices involved ensuring participant-awareness of their roles and rights throughout the research process.

Competing Discourse: The discrepancy between Western narratives and Māori artists' authentic expressions.
Resistance: Artists resist imposing stereotypes and colonial frameworks regarding Māori art.
Reclamation: The artists assert their identities through their work, promoting Iwi identity and cultural continuity.
Appropriation: Discussion of Pākehā influence on Māori designs and the implications for artistic integrity.

Hine Forsyth (Waitaha and Kai Tahu): Painter, also runs a Treaty consultancy.
James York (Rakiura, Kai Tahu, Ngāpuhi): Carver, trained at Rotorua Arts Institute.
Kelly Tikao (Kai Tahu): Media artist with experience in radio and television.
Lisa Phillips (Te Whānau a Apanui, Kai Tahu): Expert in mahi raranga (weaving).
Paulette Tāmati-Elliffe (Kai Tahu, Te Ātiawa): Known for waiata composition and music.

The participants assert strong cultural identities, claiming their artistic practices as grounded in Māori epistemology and rejecting Western comparisons.
The influence of colonialism manifests in gender representations and conservation practices affecting their art forms and resources.

Artists express that traditional Māori art’s qualification as ‘primitive’ fails to recognize contemporary artistry that melds tradition with modern expressions and narratives.
Emphasis on self-representation and rejection of external validations as benchmarks of authenticity.

Artists use their art as a vehicle for cultural expression and reclamation, drawing from historical traditions while engaging with contemporary art forms.
The overlap of individual identity with Iwi identity is crucial in their artistic practices, going beyond mere aesthetics to embody deeper cultural narratives and values.

The exploration of Māori art highlights discrepancies in literature, reinforcing the need for contemporary narratives that encapsulate current Māori identities and artistic expressions.
Cultural subjugation is challenged by the assertion of Māori voices in the art scene, reclaiming Indigenous knowledge and identity through innovative artistic practices.
Further development of literature acknowledging the vibrancy and contributions of contemporary Māori artists is essential for their recognition globally.