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RUINS FUTURE
CHAPTER I: ORIGIN CHAPTER II: DECIPHER CHAPTER III: DREAM
INTRODUCTION—BRIGHTON BIENNALE
2022
Office for
Speculative The Brighton Biennale 2022 is a collaboration between the Office of Speculative Design and
Spatial the Near Futurists’ Alliance. Aimed exclusively at establishing emerging speculative future
programmes, tackling the changing (or stationary) adapting norms and social constructs in
Design relation to space through both designing and formulating codes which could be used to form
a typology.
Whilst prototypes will be conceived in Brighton, the starting point for the biennale, the codes
will be disseminated globally; making connections and links with other cultures and spatial
practices.
In collaboration with...
This almanac is the research accompaniment to ‘Future Ruins’, an emerging programme aimed
at creating a storytelling initiative and space centred around community, vernacular design,
education, and celebrating both diversity and shared stories of the land around us.
Near
Futurists’
Alliance
4.0
CHAPTER ONE: ORIGINS
‘The truth about stories is, that’s all we are’
Prof. Thomas King, Author of Cherokee descent.
Critical Aims: - Analyse the existing legalities and legislation surrounding storytelling. Conduct this in the global scope, but give particular currency to UK specific conditions. - Understand storytelling in a historical setting, this information will then be curated into a time line. - Conduct interviews from First Persons (Tanagata whenua). They are the original storytellers, and their histories of oral histories is imperative to the global future of storytelling.
Preparation research: ‘After-hours’—What I was reading//watching//doing at the point of research for this chapter:
ORIGINAL STORYTELLERS
First Nation, or Indigenous culture, have long been the champions of oral storytelling within both a historical and contemporary context. Indigenous Australians and Torres Strait Islanders are one
of the oldest known culture of people that are still very much a community, and with the same tradition of storytelling as a method for disseminating information, cementing ethical practices, and
archiving historical and ancestral events.
Budj Bim & the 37,000 year old story...
A fitting example of the longevity of some of the oral stories told by Indigenous Australians and Torres Strait Islanders, is that of the volcano Budj Bim, told by
the Gunditjmara people. A tale of four giants whose stationary stances transformed them into a volcano—an eruption of seismic proportions that birthed new
land and caused the trees to ‘dance’ for miles. This tale has been held within the community through an oral tradition or storytelling, and can be traced back
through countless generations as one of Gunditjmara’s oldest story. Interestingly, no one has previously known how ancient both the Budj Bim and its story
actually were. Recent volcanic evidence sampled from the site has indicated that the eruption may date back 37,000 years. Making the story the oldest that has
every been told. There is concrete archaeological evidence which places the Gunditjmara tribe in modern-day south western Victoria at least 13,000, alongside
further evidence that shows human occupation of the land prior to the eruption of Budj Bim 37,000; although it is unsure whether they were Gunditjmara. An
interesting observation to note here is the general populations reaction to the geological evidence over the evidence of storytelling. Why is it that the longevity
of the tale was only a point of interest and awe when it was backed up by methods of western science? A similar instance occurred when scientists collated
historical evidence to corroborate Indigenous Australian oral stories which warned of the rising sea levels in a collection of small coastal tribes. The reliability of
these stories were maintained through an intense tradition of generational fact-checking, ensuring that the content would stay true to it’s origins, whilst giving
1
linguistic space for contemporary changes in spoken word so that it can be understood by the next generation 1
A 19th century depiction of Budj Bim, the crater of the ancient volcano that sparked a 37,000 year old story
Alfred Nayingul, in the doco-series ‘Oceans Apart’
2
This was an opening section in the third instalment of the series, and was particularly interesting because of the why in which Nayingul spoke about the land in relation to both ancestors and future generations. Here, he speaks about Mawundaddja
a place in which his creation ancestors, Nayuhyungki, walked through there many years before him and left a line of stones to mark the path which they walked, so that generations after could follow their lead. Nayingul speaks of how, when he
sees how his ancestors lived in those caves, it fills him with a sense of responsibility—to care and to continue traditions of the culture by teaching and speaking of them to his children. It is quite remarkable how this sacred space, not completely
dissimilar to the henges and ancient monoliths within the UK, sparks such a rich and eternal tradition of passing down stories of the responsibilities we have to the land around us. Why is it, in England, do we feel so separated from our ancient
cultural landmarks. That we choose to commodify them like Stonehenge, rather than use them as a spatial allegory for how we preserve the natural landscape around us; as well as the nurturing of culture—particularly diversity.
1. https://www.sciencemag.org/sites/default/files/styles/article_main_large/public/Budj_Bim_Volcano_illustration_1280x720.jpg?itok=afQtMOhL
2. Oceans Apart: Art and the Pacific with James Fox, Episode 3, BBC. https://www.youtube.com/watch?v=pra-rItJANo
ORIGINAL STORYTELLERS—RECLAIMING THE NARRATIVE
In Pursuit of Venus [Infected] by Lisa Reihana
In Pursuit of Venus, by Maori artist Lisa Reihana, is is a moving image interpretation of the French scenic wallpaper Les Sauvages de la Mer Pacifique. With
200 years between each piece, both the static wallpaper and moving visual feature a Tahitian landscape backdrop. Les Sauvages de la Mer Pacifique visually
espouses peace and amalgamation of cultures within idyllic scenary, Reihana’s interpretation of these historical events portrays a more sinister and understated
tone. Pursuit of Venus portrays the complex nature in regard to cultural identity and colonisation by re-creating scenes of encounters between indigenous custo-
dians of the land, and would-be settlers. As you approach the end of in Pursuit of Venus [infected] scenes previously ommitted from it’s static inspiration begin
to take shape; such as sexual relations in exchange for western goods, and the differing ideas of ownership resulting in violent outburts. Challenging historical
and contemporary stereotypes, in Pursuit of Venus [infected] returns the gaze of imperialism with a speculative twist that disrupts notions of beauty, authenticity,
history and myth. It is thirty-two minutes long and designed for multi-channel projection to create an immersive cinematic experience. 3
4
3
5
Djinjama: Defying the Grid, Danièle Hromek
Indigenous Australian’s relationship with intergenerational storytelling and dissemination of oral histories is not an ancient
anthropological concept, it is an ongoing tradition and social concept which is very much present within the contemporary fold
of Australia, and can be seen most tangibly in the work of talented artists and designers who interpret and collaborate with their
ancestors and traditions through their contemporary work. One such designer is Dr Danièle Hromek, who is a Saltwater woman
of the Budawang tribe of the Yuin nation. A particularly interesting aspect of her work is her consideration of the urban Aboriginal
condition, indigenous identity within contemporary settings and experiential elements of heritage within the modern landscape.
Djinjama:Defying the Grid, is a particularly interesting piece for the way in which it challenges western or euro-centric visions of
urbia mapped using grids; a practice which she notes completely neglects the fluid lines and nebulous boundaries of Aboriginal
tradition. Aboriginal objects have been made with a tradition of meaning and purpose, designed ‘iteratively, intergenerationally,
and collaboratively.’ Hromek in her own words in relation to Djinjama: Djinjama re-imagines ideas from the past to challenge the
conception that Aboriginal objects are art, but rather perfectly designed works. It contests the notion that Aboriginal people are
not part of the urban grid by creating a type of grid using the ancient technology of net making. It weaves together ideas of the
grid and urbanity using ancient techniques and designs to form a net – a type of micro grid of detailed spaces.
6 6 As a family group together we explore what narratives, memories and histories will be caught in our net. 6
3. http://www.inpursuitofvenus.com/about
4. https://www.rnz.co.nz/assets/galleries/45520/full_Lisa_Reihana_In_Pursuit__of_Venus-3.jpg?1517435912
5. https://ago.ca/sites/default/files/styles/image_large/public/2019-09/inPursuitofVenusinfected00000edut_0.jpg?itok=sqDWTcRs
6. https://danielehromek.com
ANTHROPOLOGICAL STORYTELLING
Human Interference Task Force 1981
Whilst storytelling and cultures of oral histories have been given little currency in the western world, the human interference task force was a point in history where storytelling inevitability leant itself to speculative nature of deal-
ing with far-away futures. A collective of scientists anthropologists, linguists, and behavioural scientists formed groups tasked with creating long-term warning signs, messages, and cultural approaches to help reduce the risk
of future human communities unintentionally interracting with nuclear waste set to be installed in a deep nuclear repository in Yucca mountain. Many of these groups created strategies which relied on a culture of generational
fact-checking and oral storytelling to ensure that the message or tactic would evolve with the changing language and social sensibilities of the communities which carried them. The resounding reason for not simply plastering
written messages is simple; written word is not efficient as it evolves at a rate that means future generations may not be able to undertand text from today years to come—for instance Beowulf is only 1000 years old and there
are very few scholars who understand it in it’s original form with translation. Below are two of the most relevant strategies which relate to storytelling. 7
Developed by a French author
(Bastide) and Italian Semiotician
(Fabbri)
Focused around playing on the already
established social construct of feline
inhabitation of domestic dwellings. This
method relies on the continuation of this
practice of keeping cats as pets.
7
Proposed breeding domestic cats to react
‘Ray-Cats’, Françoise Bastide and Paolo Fabbri to radiation by changing colour. Thus
warning their owners of potential dangers
should they start to build on or inhabit the
space near radioactive material.
This method largely relied on there being
a culture created around the cats. A
collective awareness of their importance
within everyday life through the use of
storytelling, myths, fairytales, and songs.
7. https://www.vice.com/en/article/9aey95/radioactive-cats-and-nuclear-priests-how-to-warn-the-future-about-toxic-waste
8. https://i0.wp.com/sebastiengarnier.net/wp-content/uploads/2019/06/rainbow-cat-moebius-2.jpg?w=1080&ssl=1ANTHROPOLOGICAL STORYTELLING
Human Interference Task Force 1981
Developed by linguist Thomas
Seboek, who was building upon the
suggestions from other members
by proposing a form of nuclear
religion formed around leaders Like ‘Ray-Cats’, it relied on already
called ‘Atomic Priests’. established practices of religion
and worship. Similar to Christianity
which has both preserved and
disseminated the same message
for thousands of years, the
priesthood would be charged with
both preserving the whereabouts of
nuclear waste, and teaching of the
dangers of disturbing these places.
7
The proposal would create a
hierarchy amongst society, creating
divisions which would promote
abuse of power and the potential ‘Atomic Priesthood’, Thomas Seboek
The Priests would also disseminate
to capitalise on knowledge about
rituals and myths targeted at keeping
nuclear waste. Like most religious
society away from radioactive
sectors it could also branch off
waste. Whilst this concept is highly
and evolve into unknown sects,
interesting, it was also the one which
potentially forming extremist groups.
raised the most concerns over how
it might evolve in the future.
9. https://antinuclearinfo.files.wordpress.com/2017/01/nuclear-priesthood.gifLEGISLATION & STORYTELLING
There are few to none bills that are currently passing through parliament that actively support storytelling as a concept within the realm of politics. There is however the ‘Wellbeing for future generations’ bill, which is:
‘A Bill to make provision for requiring public bodies to act in pursuit of the United Kingdom’s environmental, social, economic and cultural wellbeing by meeting wellbeing objectives, publishing future generations impact
assessments, accounting for preventative spending, and through public services contracts; to establish a Commissioner for Future Generations for the United Kingdom; to establish a Joint Parliamentary Committee on Future
Generations; to require companies to consider the impact of their activities on the United Kingdom’s wellbeing; and for connected purposes.’ 10
Furthermore, the bill is sponsored by green MP Caroline Lewis, who is the MP for Brighton Pavilion. Below are pages of the most recent incarnation of the Bill, with highlighting and further annotations where appropriate.
1 2 4
10. https://bills.parliament.uk/bills/2736A space created for storytelling
must adherre to a code of
Understanding how policy changes and new legislation respect for the environment
will impact future generations is an important part of and sustainable use of local
wellbeing for future generations, alongside making sure materials and techniques which
that anything passed is communicated in a way in promote low-carbon or neutral
which all of the community and greater community will carbon construction.
understand. The way in which politicians disseminate
information is not given enough thought; could
storytelling be a way to do this in the future?
5
A storytelling space could
3 also be a method for teaching
and developing skill-sets
amongst the community. Either
through the space itself, or the
construction of it.
Who does the office of Future
Generations consist of? Surely To create something which
it should be someone who is is sensitive to both the
personally invested? environment and community
around it. A programme that
can adapt with the community.
Storytelling, specifically
A set of principles is an expressing your own
interesting construct, could this As stated above the personal narrative, can
be decided through actively space could act as a promote mental health
engaging and communicating way of learning skills in and wellbeing—especially
with ‘the future’? construction techniques, amongst young people.
specifically sustainable
ones. Alternatively it
could also be a way
of networking through
10 storytelling, a way of
potentially meeting people
who you otherwise would
not.
Could the committee be
chosen on a basis of a diversity
of personal narratives, so each
could learn from one another?
So often wrong choices are
made because we do not
consider the impact of outcome This could come under
on others who are in different The code and
accompanying prototype both an experiential
situations from our own. and spatial condition.
within the Brighton
biennale, will be adaptable The experiential coming
to wherever it goes. The under the dissemination
storytelling space will of collective community
adhere to a code which stories, as well as the
responds directly to stories of individuals within
the social, cultural, and it. Spatially this could be
environmental nature achieved through the
of the place where it is participation of young
being built. people in the construction
of the storytelling place.AN EXPERIENCE OF BEING ETHICALLY ACCESSED
W hen approaching ethical standards within
academia, we must also access the way in which
This injustice only began to be recognised by So, when approaching my friends in regards
western law in 1975, when the Waitangi Tribunal to having a conversation about the tradition of
their inherent beauracracy can transcend into was introduced. It acted as a way for Iwi to storytelling , I wanted to make sure there was
the unethical. Yes, ethics processes and their enter conversation with crown representatives also space to talk about the dissemination and
necessary forms and committes can safeguard (through the court) to begin reparation of land and amalgamation of customs and tradition. The
vulnerable persons and their data; but what monies. Taking into account the history between ethical standards, or safeguards,set in place by
happens when they inhibit a persons ability to Tangata whenua and its British colonisers, it the university through the tier system had always
express their cultural identity and preferances? is perhaps easier to recognise how western been a process in the peripheral. I started the
When the decision was made to conduct interviews ethical standards may not be appropriately process through initially emailing the appropriate
to ethically explore Tangata whenua culture of applicable when entering into discussion with people. I filled out the appropriate forms as
storytelling, it was a given that consent would be an indigenous person. Expressing how I was ethically as I could, and awaited a conformation
obtained. The research, the purpose of which was going to approach this research to the faculty, email. What I received back was a request to
to create a platform where an understanding of I was already aware that I would be required to obtain written consent, something which goes
Tangata whenua storytelling could be established prove the ethical nature of the interviews. I was against Tanagta whenua's long tradition of
from those within the community itself, was also already at an advantage; I was raised in Aotearoa verbal agreements. This is not an attack on the
to be presented in a context with the utmost [New Zealand], with close friends from a diverse instituition or on those who run the ethics panel
transparancy and fairness. In doing so, I wanted group of Iwi [tribes], all of whom are incredibly at the university. But ethics, and establishing
for the research to be conducted on the ground generous and patient with people outside of ethical values or safeguards, is a process which
of Te reo cultural customs—namely maintaining their Iwi who are interested in learning more is undertaken because we care. Not to tick boxes
spoken exchanges as the primary mode of about Aotearoa's traditional customs. There is and cover our backs, but because we want to
communication and, most importantly, consent. a tentativeness when approaching indigenous ensure anyone brought into an ongoing project
From the position of a pakeha [caucasian] person culture as a third party pakeha [caucasian], is not only treated fairly and is safe; but is able
of British origin, it is easy to see how pushing (in and rightly so. Appropriation of culture is not to fully express themselves to the fullest extent.
this case electronically) white paper forms in the only unethical, it is a painful 'trend' which is An appropriate point of conducting ethics is to
direction of a person who is constantly battling very much a contemporary issue, as much as it first ask how your subject wishes to be portrayed
for their cultural customs to be given currency is an intrinsic part of our colonising past. But within your research; what is their ideal outcome
within such exchanges, might not only look in a there is a fall-out from being overly politically and how does that align with the project
greater context, but make that individual feel. correct; a censorship of marginalised people and holistically. This approach can lead to open and
Tangata whenua have a long , and drawn out their culture which results in the wonderful art, academically and socially nuturing conversations
history of exchanges instigated by British which complex language, and rich customs not being which promote the intrests of all parties, without
would incurr a favourable colonial outcome; disseminated in the same way, or being given the the formality of the black and white consent
namely the Treaty of Waitangi of 1840. Advertised same currency as western cultures. It seems to forms that seem to be the at the crux of academic
as a means for instilling peace between would- be an unspoken rule within the west that people ethical standards.
be-settlers and surrounding Iwi, it was a outside a culture, such as Maori, are unethical
document drafted to unlawfully claim land and should they engage in it—ironic given that this
undermine both Tangata whenua verbal culture, view is usually espoused by the same group of
and it's infant written language Te reo. When people whose relatives (popularly referred to as
translated using a contemporary understanding, their 'ancestors', likely to create space between
the dichotomies and inconsistences between Te the former and the latter) colonised them. Art,
reo and English are rife. Leading Tangata whenua in all it's forms within Indigenous cultures, is
to sign an agreement that was not only created often viewed as Anthropology or Archaeology
without respect to their cultural customs within through a western lens; even when pieces
exchanges, but was not holistically in their best fall within 'modern' art bracketts of history
interest. And because of the little understanding and time .There is a sweet spot of engaging in
of Te reo at the time, the English version and culture other than your own, par-taking when
collating narrative was taken as the correct welcomed, for instance, is not appropriation;
version. This then led to what is now known as more often than not appropriation arises from
the New Zealand land wars. a distance between culture and perpetraitor.MY RECEIPT OF FAVOURABLE ETHICAL OPINION
School of Architecture and Design Research Ethics Panel
58-68 Grand Parade
Brighton
BN2 0JY
27/04/2021
Ref: 2021-8463-Isaacs Future Ruins
Dear Rosa
The School of Architecture and Design Research Ethics Panel are happy to offer a favourable ethical opinion for this study.
A favourable ethical opinion is subject to the following conditions:
Favourable ethical opinion is given on the basis of the information provided in your application, including a project end date of 19/04/2021. Please note that
the School of Architecture and Design Research Ethics Panel must be informed of any changes to the research process after a favourable ethical opinion
has been given. If you need to make changes to your proposal, including requesting an extension, please complete and submit a change request form in
order that the School of Architecture and Design Research Ethics Panel can determine whether the changes will necessitate any further ethical review.
We wish you all the best with your research and hope that your research study is successful.
Best wishes
Dr Carlos Peralta
Chair, School of Architecture and Design Research Ethics PanelWE WUNT BE DRUV.
TANGATA
WHENUA
In conversation with two Tangata whenua [Maori] women from
Aotearoa [New Zealand]. First nation people are the original
storytellers—giving currency to the benefits, and cultural shelter
provided through oral histories. The purpose of this informal
interview is to begin to understand how storytelling was used in
a historical context, and how the tradition is continued through a
contemporary lens.
Tracey Peters & Myrah Walters
Interviewed by Rosa Isaacs
11. https://upload.wikimedia.org/wikipedia/commons/3/30/Tino_Rangatiratanga_Maori_sovereignty_movement_flag.svgThe reason that this interview was conducted over independent
research, was for the purpose of beginning to explore research
in relation to storytelling—particularly first person narratives. Whilst
independent study has been done in terms of reading and
preparing for this interview, this conversation is the main point of
reference in terms of research into Tangata whenua's culture of
storytelling.
Whilst this conversation was centred around Maori culture and
the storytelling within Aotearoa, it is impossible to neglect or
censor the enourmous impact that Western, namely British,
colonisation had on Tangata whenua, and how it continues to
impact and shape Aotearoas cultural landscape. Themes such
as de/colonisation are imperative within storytelling, not only in
the southern hemisphere, but in the UK also. De-colonising, or
reclaiming/framing the narrative, is the path which will allow us to
share transparent stories—beyond what is true and what is false,
but into the amplification of everyone's truth, not just a handful of
privileged persons.
Please note that the following text has been extracted and
transcibed from part of a longer informal conversation [1 hour
40 minutes] held through an online video call. The fully recorded
conversation is available to appropriate parties. The interviewer
has done the upmost to ensure that any viewpoints or aspects
of the conversation are placed within a fair context/portrayal, and
participants have consented to the transcription. The interviewer has
then sorted the extractions into order by time, the conversations
from the interview have then been further annotated.0.00-25.19 0.00-25.19
Rosa: Thanks so much for entering into this conversation Myrah: It’s gone from that, that element where tribes would
with me guys, I really appreciate it. I have to ask you if you kind of work it out together and now in a post-treaty
consent to this interview, but as I said before, I wanted to world…contemporary world…it’s done through the courts
do it verbally which is more in line with Maori traditional system. Like [it’s] an example of that effect of colonisation
customs. essentially.
Tracey: Absolutely, yes. Rosa: How do people, because I know obviously the
Treaty of Waitangi itself is a tangible piece of colonisation.
Myrah: Yes!! But in terms of the tribunal how do you think that effected
culture and I guess kind of the communications through
Rosa: Would you mind starting things off by telling me a bit the different Iwi. Do you think that that made a difference
about your iwi [tribe]? An interesting, and slightly as you said like going through the courts rather that
unexpected, response to my communicating in say, a Whare for instance?
Myrah: Our iwi, if you can see where the little yellow line initial question. The concept
is, it has Auckland or Tamaki Makaurau. Our iwi stretches that something so formal Tracey: I think the positive of in terms of the Waitangi
from Auckland right up to the top, um so mum’s [Tracey] could be looked upon as a tribunal process is that it gives each claimant, for instance it
Iwi is Ngati Whatua way of further immortalising can be an individual, under the act um but you know, more
heritage and culture, is a really than often the claimants are groups formed through Iwi
Tracey: and Ngati Wai. interesting viewpoint to have. or sub-tribes. What it does do [inaudible] there is a lot of
preparation that goes into it, including the Iwi having to find
Myrah: Ngati Wai are kind of on the coast, on the ah East their tribal histories [inaudible] and on the other side the
coast. Um, mostly we come from Whananaki, so north of crown has to provide all their histories as well. [Inaudible]…
Whangarei. But it’s kind of quite a large area. Then my so then the tribal histories are recorded in reports, the
dad’s side of the family, they come from like the very top tribunal reports are real rich um foundations which form
of the [North] island, which is the Ngati Kuri, Te Aupouri, archival history. And the other thing too, is which when
and um also Ngai Takoto. They’re kind of like in this group 12 you look back a lot of these claims they usually have been
of like six small iwi’s that call themselves Muriwhenua. Um, lodged say 20 years ago and claims have different stages
yeah…those are our iwi! so it’s also capturing our leaders as they pass away as
well.
Rosa: That’s amazing, I’ve never seen a map like this
before. Myrah: [inaudible] …before colonisation everything was told
through oral history so through a contemporary setting of
Myrah: It kind of just shows you like clear indications of um the tribunal it does allow for that to be captured in a way
areas. And so, like Ngati Whatua it’s kind of like, both my that it might not have been before. Um, but also kind of
parents are Ngati Whatua, and we came over on a canoe bouncing off that as well I suppose it gives things like by
to the top of the North Island and then kind of travelled having the Waitangi tribunal you’ve got like a mediator, it
down Hokianga, and then from that hapu, so sub-tribes, kind of gives things more balance than before.
um and then on my dad’s side one of those sub-tribes
is Ngati Whatua Orakei. Um, which is like right in the Rosa: And I guess recognition from the crown as well
centre [inaudible]…Bastion Point in Auckland…[Inaudible] which is something that is at times seemingly impossible in
…settlements that tribes kind of spanned into the outer these settings, isn’t it?
regions, but as with like any group there was always kind
of like warring and like battling for land and regions, and its Tracey: Mmm yeah, that’s right, the recognition goes
still very much like a contemporary issue. through often once you go through the tribunal process,
there um, that lays a foundation for the opportunity to
Rosa: Really! negotiate a settlement with the crown, so that’s the next
phase. And then once a settlement has been negotiated
Myrah: Um, at the moment Ngati Whatua [have been in] and it’s not compensation, it’s um not premised on a full
court for like the past 10 weeks. Because there’s another compensation it’s premised on reparations [inaudible]…
Iwi’s that’s trying to say that from the Coromandel area, but as you go through the process and the next phase is
they’re trying to say that they have rights over our land in legislative um phase to enshrine that settlement negotiation
central Auckland. into legislation and exactly as you’re saying you often see
at the front of the, in the pre-amble you’ll see the apology
Rosa: Does that stem from the Treaty of Waitangi… or from the crown that’s quite common.
rather the Waitangi tribunal?
Rosa: gosh, that’s really interesting. Because you were
Tracey: [Inaudible for 10 seconds]…the modern day battle talking, Myrah, about kind of this idea of a whare where
for territory is through the courts and through the tribunal. those conversations could take place.
12. https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/IwiMap.png/500px-IwiMap.png0.00-25.19 The way in which Tangata whenua 0.00-25.19
Dr Danièle Hromek and her work which traditionally introduce themselves, tells
Myrah: Yeah, I was telling mum I went to um to this was aimed as ‘defying the grid’ springs of the land [whenua] that they come Recognising that often the person that’s passed away
meeting, like a few weeks ago. And it was this group, a to mind, this concept that not all land from. But instead of connecting to a has many affiliations. Some of those stories are also
part of my work is working in freshwater fisheries and it’s is divided so perfectly and in such a specific grided section of Aotearoa, they around cultural process and how that’s emerged and
like this advisory group [inaudible-Rosa intervenes and sterilised way; it is more fluid than that. refer to the natural landscape around recognising that each iwi or sub-tribe has their own way
Myrah readjusts laptop]. In the meeting I was talking about the area—the river, mountain etc. of doing things, and so there’s often explanations. It’s really
how sometimes those talks, with like, crown agencies can interesting too when you go to pay tribute to someone
be really difficult, and it was what people were talking who is not from your iwi you find out about their tribal
about in terms of like a whare, which kind of relates to one history. An example is when we went to Taranaki for my
of your other questions, is that how can you create this like godmother, who was very close to mum- Joy Rakena.
safe space for yourself and your own, like, wellbeing um Because we went in and there is a mirror at the back
when you’re having these conversations. Like people were This kind of material or object that wall of the marae, and I had never seen it before and
talking about going to crown agencies and talking about inherently carries a memory or a story, they explained that why the mirror was on the wall was
things like the bottling of fresh water, and how for us like seems to be a reoccuring aspect of this because, you think about the occupation of all those British
water is such an important aspect of our culture and our research. They aren’t an essential part troops way back in the day, and they put the mirrors on
lives and how that is sort of like capitalised and monetised, of the storytelling, but they do seem to the wall so that they could see who was coming in terms
it doesn’t respect iwi. And when you’re having discussions impart a sort of collective memory upon of defending themselves.
about that with crown agencies, they might not necessarily the community.
understand your viewpoint or where you’re coming from. Myrah: At a base level when you’re doing your mihi
It’s almost like…they were talking about a whare in a mental [greeting] or pepeha [identifying through ancestry],
construct, and like a well-being construct. Um, it’s a way introducing yourself, you’re inherently storytelling in that
to help yourself when you’re going through those kinds of aspect too because you’re saying this is my ancestor or
discussions… when you’re at that kind of a journey. this is my waka [canoe] , this is my maunga [mountain],
this is my awa [river], my iwi [tribe], my marae [meeting
house], like it’s sort of like a path of who you are, and
Rosa: Yeah, do you think that’s because a lot of the time your behaviour-you don’t always necessarily recognise that
the crown doesn’t give currency, I guess to, cultures of but it’s just kind of like what we do when you first meet
places that they have colonised... still to this day. I mean, someone, you introduce yourself and you’re telling your
they don’t take the time to understand it. own story straight away.
Myrah: We are quite lucky, more so than other Indigenous
cultures. Um, and like I like personally have seen a really Myrah: Tuakiri is like beyond your skin, so it’s like your
big shift over the past like 10 years…20 years…in terms identity, and kind of looking at the diagram in terms of like
of the way that I think the crown… but in the sense that I spatial awareness- we are always I suppose a part of this
think the way that the crown from ministries down and how triangle. You’ve got your whanua and your relationships
that feeds into society and helps embrace Maori culture and who you are, but there’s also like that relationship
and the essence of what they are trying to do, has made with the environment, but then a really big part of Maori
such a big impact in terms of those kinds of discussions culture in terms of storytelling is beyond the mortal realm.
people can have. But I think Maori are forever going to That kind of like unknown void, in terms of spirituality that’s
be…a part of you is always going to grieve for what you’ve really key with all of Maori storytelling and also who we are
lost, because we are always looking back to make sure as people.
we are not making the same mistakes in the future. And I
think for a lot of people that can be really hard to let go of
sometimes. Rosa: A story I tell again and again is when we went to the
British Museum Myrah, and you saw a picture of your aunt
in an exhibition about ‘Oceania’?
Was storytelling a significant aspect of both your upbringing
in terms of your understanding of Tangata whenua history Myrah: I knooow, so crazy? I remember telling [my] dad.
and culture? This is reminiscent of when Prof. That was such a surreal experience. I remember being so
Thomas King spoke of how excited like ‘woooo this is the British Museum, it’s going to
Tracey: So there’s the immediate sort of family stories that objects were of little importance be so cool’. But then leaving with a sense of ‘wow, this is
I heard from my Grandfathers, because both of them on to indigenous Americans, really just a hall of all your trophies’.
both sides were Maori. Um, and then there’s the other when paired against their oral
collective storytelling when you go to the Marae and hisitories and stories, those are
listen to stories, and these can be at different events like the true treasures.
a ceremonial event ah for instance where Myrah’s uncle
was made a knight, so there’s a ceremonial event where
there is tribal stories and histories. Or um, quite often at a
Tangihanga [funeral] there is a three-day process you’ll
hear all kinds of stories, and they’ll be tribal stories from
your tribe, also how your tribal histories interconnect with
other tribal histories as well. Cont’d. next column26.05-27.21 38.58-43.44 Tapu
Fact checking/Intergenerational storytelling Myrah: do you still want to talk about Tapu?
Myrah: One of your questions was kind of about the Fascinating that iwi readily Rosa: Absolutely
intergenerational between iwi and storytelling, in a fact accept and understand that two
checking sense. But when you think about it for your iwi it’s truths can exist within the same Myrah: Tapu, from my own understand, we think of it in a
kind of like what you know to be true and what another iwi culture; and to be able to share very small way but it is just this bigger thing.
knows also to be true, so in the sense of like fact checking them with an understanding or
or things that might differ between iwi in terms of their own that co-existing element. Tracey: Yeah, and to expand on that, when we are young
protocols or practices like nothing is wrong or right. It’s the ‘small’ way is we are told off for certain things, and as
sort of like what you do is true to you, and to your whanau a child you weren’t given a reason. You’d come out of
[family], and to your iwi. So, there’s not always a lot of the cemetery, you must wash your hands with water, we
crossover. weren’t told why. We were told things like we went to this
massive Maori church service and I had a comb, and I
31.03-33.00 took it out and put it to my hair, and my father just took me
outside.
Mythology
Rosa: so, it’s like a code of sorts?
Myrah: for me mythology was a huge thing growing up,
Tracey: It is a code!
but it is something that in terms of like papatuanuku and
ranginui, I would always hear people talk about it in these
Myrah: then there is Tikanga which are the practices which
big speeches made in maraes, where people would be
enhance tapu. You may know it as restricted access to
recalling back to our oldest history. But they were also
things or beings. It’s why you do a powhiri before you
used to kind of dictate what to do and what not to do also. 13
enter a marae. Or in the sense like, mum said, when you
enter a tapu place, when you leave you have to lift that
Rosa: so almost like allegories or ways of setting a moral
tapu in some way…
compass?
Tracey: so, the way I was trying to explain it as when you
Tracey: yeah, it’s values. Papatuanuku literally you’ll hear
go into a cemetery it’s a sacred place, then your physical
people translate it to ‘earth mother’ and so that translates to
being takes on that sacredness, so that’s why we use
values of nourishing the whenua, caring for it so it can live
water, and we flick it onto our bodies to return it to a state
sustainably for generations to come. Protecting the land,
of normality. A modern-day example is if you’ve been
protecting the resources.
Maori, like many indigenous to Te papa [national museum in wellington], there is a
cultures, place an importance Gallipoli exhibition and there is a receptacle at the end for
Myrah: Um, at Te Ohu Kaimoana, which is the Maori
on preservation. Whilst medieval people to actually dip their hands in water when they come
fisheries, our motto is ‘Te ha o Tangaroa’, which is the
allergories were telling of the out.
breath of Tangaroa. And that kind of guides all our work
wrath of god, Maori traditions
in terms of the way that we look to protect that interest
surrounding deities were teaching
of Maori when it comes to fishing rights-whether that be
sustainability.
customary or commercial. But then there is also the other
side of it which is looking after the sea, and everything in it The importance we place on 50.40-51.30
within a sustainable way. meaningless western material
constructs over traditional In reference to the political representation of Maori culture
36.51-38.45 objects that hold heritage and and tradition
ancestral histories is unsettling.
Tracey speaking about her upcoming novel Myrah: things are changing, because Rawiri Waititi the
Maori MP, was called out because he was not wearing a
Tracey: It’s a fantasy novel, it has two main characters Kiara tie and was instead wearing his pounamu [green stone].
and Kahu and it’s this whole quest that they have to go And Maori were like well he is wearing something of his
through all these tests so that they have to liaise with the whanau and ancestors that, to him, they shouldn’t say’we
wise one who basically is this massive hōkioi eagle, who are gonna kick you out because youre not wearing a tie’
has been alive and foretells what is coming. It delves into because he is wearing something so much more sacred
things like, there’s one priest-because the priests were so and representative of his identity. Then after a lot of
elevated they were almost higher than a chief-I’m exploring backlash they decide to back down and let him wear it. But
how because they are so elevated, vanity can start to creep that’s a rule that’s been there [in New Zealand parliament]
in- so we’ve got one of these priests who is actually quite for 100 years.
corrupt um so I’m sort of like painting his character. One of
the chapters there is this massive lizard and poor Kiara has
to solve these riddles that he poses to her.
Myrah: I would really recommend watching the tv series
‘The Deadlands’, it’s really relevant to this chat we are
having. 13. https://i.pinimg.com/474x/f9/13/0f/f9130f43a5208475342ea03fc27bc46b.jpg56.49-1.00 Collectiveness 1.06-1.14 Spatial aspects of storytelling
Rosa: When my Oma and Opa immigrated to Aotearoa [New Rosa: I wanted to ask you about the wharenui and marae
Zealand] in the 1950s, tangata whenua were often the only and about how that structure works as a spatial programme
people in the wider community (apart from their immediate Dutch within maori culture and storytelling?
one) that readily accepted them-my Oma working for a time in
a Maori maternity ward. I’ve often wondered whether this was Myrah: So yes, you have the Wharenui and then in front of
because they could sense that my Grandparents were put into a that is like your marae atea, which is like your courtyard.
category of ‘other-ness’ by other pakeha [Caucasian]. I wanted to Then you’ve got your waharoa, which is the gateway you
get your thoughts on this, and also whether you think stories and walk through.
the sharing of stories can result in diffusing the negative aspects
of cultural barriers? Tracey: and then affiliated with a meeting house of course
is the dining room-whare kai. Associated with that is 14
the ablution blocks- because that’s all part of the village
Myrah: Even through our own histories, Maori obviously formed concept. And then you know you’ll have areas…a nice
relationships with British pakeha, but I do think they formed better Marae will have a Marae pit. And then some Marae as well,
relationships with other European cultures- which can be seen especially these days, will also have a Kohanga Reo [early
in contemporary Maori genetic make-up. My grandad on my child-care centre that is taught immersed in Maori culture
dad’s side was Croatian for instance. They would go to these and language] for the small children often in the same
Maori heavily populated areas and form connections with them complex too.
through their morals, how they treat your elders, the stories you
tell. It’s that sharing of cultures in the way you see the world. But Myrah: where I grew up we were literally just down the
marginalisation is such a big thing because you may not conform road from our marae, so on bastian point um Ngati whatua
in your thoughts on how the country may be run, and you’re orakei marae. The way we have just described it to you
able to form bonds through that with other people who are from the marae is the central focus of the point, and there
different cultures, who think differently, but also you find those like everything the court yard, the wharekai, and then we
overlapping points in terms of the ways they live their lives. were just down the road and we lived on a street where
we were related to everyone. And we lived in this very
Tracey: I just think it’s that shared, underlying unstated shared contemporary village nature, but there was also like the
experience of being marginalised or suffering prejudice and it’s a kohanga school, there was the doctors up the road, um
connecting thread. they had like a commercial office just next store. So in a
contemporary sense it was a village concept.
1.02-1.04 Rosa: So interesting. I’ve just seen [in relation to the
onscreen diagram] the ‘world of light’ is that almost like a
Rosa: do you think also with immigrants, a lot of them only carry code in terms of how a wharenui is created? Because one
their stories with them-they have few personal possessions or of the first western building codes was the right to light.
things of great value. And maybe because your culture [Maori]
is such a rich culture of storytelling, maybe that’s also a binding
link?
Often stories are the thing which Myrah: It’s more of a spiritual thing from my understanding.
Myrah: I think that’s a really big thing. Because we’re, as a help to eleviate cultural barriers Because if you think of a marae, at the front of the whare,
people, nothing without our stories. As mum said, they’re like which inhibit a collective where the courtyard is like the area for the god of war, and
a guiding force, they teether you to this world and how you community. Stories have the you’re kind of like walking through that into this harmonious
live your life. So, when other people’s cultures have that same ability to teether you to a place. house where you’re meant to…
perspective of their own storytelling that is why we sort of
embrace other cultures. You look at after March 15th, and the Tracey: [inaudible]
horrific terrorist incident that happened down in Christchurch, like
maori where a really big part of that recovery and healing. At the Rosa: did you call it a body?
service there was a powhiri, there were Kaumatua, there were
waiata. That’s a sort of contemporary example of where you see Myrah: yes, a body. You always have, like at the top of the The materials and methods
like another culture that might feel that otherness, and you feel structure you have an ancestor, and that is kind of like their used to construct whares
that kinship. And that through their own storytelling of the people body or their physical form. I just included [in relation to [meeting houses], are able to
they lost, really forged a bond between the people down there onscreen image] some things in terms of the beams being tell a story of the people whom
[Christchurch]. like a source of power or knowledge. And then you look belong to the space.
Collectiveness is a powerful tool down the rafters at the kowhaiwhai patterns which often
Tracey: And the other thing too in terms of that bond, I think it which can help to bond people the way that theyre drawn and designed are the history of
comes from the collectiveness. You know like our family concept together; shared memories or the people that whakapapa relate back to that marae. Then
is very broad and I can imagine that with your family that there memories of similar experience theres also the weaving which tells stories as well.
is that broad sense of family and community and there’s that can create lasting relationships
connection too. So it’s not the nuclear you know, mum dad and within communities. Rosa: So there are quite a lot of power or metaphor in the
two children-it’s actually far broader than that. material as well? Cont’d next column
14. https://teara.govt.nz/files/41366-enz.gifTracey: yes! 1.22-1.23 Participation in culture
1.16-1.21.06 Carving
Myrah: from the outside of the structure to the inside and Rosa: in terms of mainstream teaching in schools about
the small details, all relates in some way. There’s always Myrah: whakairo [carving] is form Tangaroa because his
Maori culture, how do you feel about all cultures learning
a meaning. Like Maori love to put meaning in everything, son/grandson did the first carving when he carved a hook.
about it? Such as children taking part in kapa haka for
even a word will have six meanings. It’s still very traditional, more so than any other art form with
instance? Appreciation over appropriation I suppose.
Maori culture.
Rosa: Do you think in terms of contemporary wharenui Tracey: I think it’s really important you know, we see…
construction, and also in terms of a traditional sense would Tracey: yes, it is still very traditional.
how can I put it…the uptake of te reo [Maori language]
that have been quite a circular or vernacular use of material for example, in mainstream and people being encourage
in relation to material use? Myrah: They’re very specific about things, like we have
for instance a tangible example is if you watch one news,
talked about how with tapu for instance on a wharenui or
you’ll see that all the presenters use follow on phrases,
Myrah: I think so, I think in a contemporary sense now marae you would never eat or drink in the meeting house,
they sports reporter he uses Maori, that’s a normalisation
obviously building supplies you’ve got to get them from and that’s the same for that cultural space [of carving/
or a recognition of te reo as our national language. In
wherever, but I imagine in the way that you build those whakairo]. You would always like bless your materials and
terms of it being taught in schools I think that’s where
[whare] structures you would still be, say if you were what you are doing, but also the roles themselves are
our champions are, and that’s where you break down the
building a wharenui and you were from Auckland but you very gendered- men are traditionally carvers. I was in a
barrier and the prejudice is through that knowledge and
were getting logs from up north, I imagine that there would workshop recently where someone was talking about a
its just that responsibility that the imparting of knowledge
still be some sort of ceremonial element that would lead carver that he knew that was eating and drinking around
is done by those that know tikanga [practices] so that…
into that, like you would form connections with the local iwi, his carving as a way to break that tapu so that he could
for instance, poi, I remember I was in a kapa haka group
or bless where they were from. Quite often in terms of like, teach female carvers because although there is that
and Myrah came up, came along to the group, and she
even giving things-pieces of art or design they’re gifted to protocol and sort of tradition it’s still not seeing enough
was quite young and we were learning a poi. Myrah was
you from another iwi-if that makes sense? numbers of men that want to carve, because perhaps more
all over the poi, and I remember the tutor Lance hawk said
western ideas of what man should do um, they’re just not
‘ok so with the poi, it’s quite a sacred art form, and we
going into that profession as much. So theyre trying to find
don’t let our children go nuts with the poi’. So that was like
Tracey: [inaudible] building a tribal structure, immediately ways that you can kind of work around for women to carve
just kind of an example of a teaching.
what you’ll do is look to someone with that expertise in but it’s very…innovative…for maori culture.
terms of carving within your own, they have the knowledge
of the ancestry so that where youll look to. But that’s also Tracey: and it’s a very physical, taxing activity or art form.
not always possible so with our meeting house where So its dealing with those massive logs and chipping away
we’re from on my mum’s side in Dargaville we didn’t have at it you have to be really strong. But on the flip side in
terms of the research ive done, with greenstone [ponamu], 1.25-1.26
anyone when that was built that had expertise within the
family so they actually had carvers that came from the east the unworked greenstone was highly sacred, whats really
interesting is that a female was the one that had to bless Myrah: I, personally, am like all for embracing it, even down
coast down in Gisborne, that actually came up and did the
that unworked greenstone-men couldn’t. They had the to people just pronouncing things correctly. I think like for
carving but had other ones from our iwi alongside them so
power to break the sacredness and then the men could most of my life I’ve just kind of ignored it [mispronouncing],
they could learn.
work on it, so that’s really interesting as well. but as mum said it’s the younger people that um…like a
kid corrects as adult! And I’m like-oh yeah, so we’re doing
Rosa: I guess the crafts are kind of broken down to ‘soft’ that now, I’m gonna do this too! It really is a thing… that it
and ‘hard’ power art forms, which inevitably take on female feels really nice that other people who are not from your
and masculine connotations. It does seem like weaving culture are trying to embrace it, and even when friends say
plays a part in the structural make up of a wharenui? something and then say, ‘did I say the right thing?’ or ‘is
This relates back to storytellings that an appropriate thing for me to say?’, it kind of fills me
ability to disseminate important with a lot of warmth, because you’re like aw, thank you!
Tracey: you know, the panels the tukutuku panels, that
heritage crafts. Precedents exist That’s nice that you’re acknowledging that.
were gifted by New Zealand to United Nations ah there
in relation to the teachings of
were male weavers and female weavers that made those
heritage crafts through building
panels.
storytelling spaces. Rosa: I guess it’s one of things, where a large part of
breaking down the negative barriers between culture is
this tentativeness to engage and learn? The fear of doing
something wrong, and so they never ask? But the worst
thing that will happen is you’ll be corrected, you apologise,
and you say that you’ll do better next time.1.30-1.34 Te whare tapu wha
Tracey: Whare tapu wha it actually represents the four sides
of the house, and Sir Mason Durie who was at massey
university and a prolific writer he actually formed this
concept of to have complete wellbeing you need to have
these four elements to be a whole person and to thrive.
So it’s your spiritual, when you have balance between your
spiritual, your mental and your emotional, you family and
social, and physical all coming together that’s a complete
house-a complete house of wellness. It’s a wellness
framework, even if you just google Te whare tapu wha it’ll
probably come up with Mason durie and his papers.
Myrah: It’s almost like the concept that you need a
wharenui and the four pillars that hold it up, and you need
all those for your own wellbeing. So you can’t just have it
in one area and still be this whole healthy person. That’s
why they use it so much in health, the ministry of health
uses it so much as a framework.
15
Rosa: Is it kind of tangible things, spatial things, but it’s
also based on experiences, so like an experiential element
connected to the whare? Could it be applied to any
space?
Tracey: Yeah
Myrah: [inaudible] it could be anything, it’s kind of like the
sense that in all government departments they always have Could a similar construct or
their strategy of what they want to achieve and they their pillar system be related back
principles, that guide them through their work. These are into a building could for ‘Future
much the same, but the whare is such a familiar concept Ruins’?
to us so that’s the way in which we think of it, but it doesn’t
mean you couldn’t take the same kind of thing and say ‘ive
got this space’ and what are the four principles, or what
are the four things that are going to make this space the
way I want it to be.
15. https://www.healthnavigator.org.nz/media/8695/te-whare-tapa-wha.jpg?width=650&height=433.0075187969925You can also read
