This presentation accounts a journey of the researcher’s practice-led doctoral project, Tangohia mai te taura: Take This Rope. The study involves researching, directing and producing a documentary about historical grievances to exhume stories from a Māori filmmaker’s community that call into question colonial accounts of the 1866 execution of their ancestor Mokomoko, and the preceding murder of the Reverend Carl Sylvius Völkner in 1885. As a consequence of an accusation of murder, Mokomoko was arrested for the crime, imprisoned and hanged, all the while protesting his innocence. In retribution, our people had their coveted lands confiscated by the government, and they became the pariahs of multiple historical accounts. The practice-led thesis study asks how a Māori documentary maker from this iwi (tribe) might reach into the grief and injustice of such an event in culturally sensitive ways to tell the story of generational impact. Accordingly, the documentary Ko Wai Au, seeks to communicate an individual’s reconnection to, and understanding of, accumulated knowledge and experience, much of which is stored inside an indigenous, dispossessed whānau (family), whose whakapapa (genealogy) is interwoven with historical events and their implications. As a member of a generation that has been incrementally removed from history and embodied pain of my whanau, through the study I come seeking my past in an effort to understand and contribute something useful that supports my people’s aspirations and agency in attaining value, healing, and historical redress. This presentation advances a distinctive embodied methodological approach based on whenua (land) and whanau (family). In this approach, the researcher employs karakia (traditional incantations), walking the land, thinking, listening to waiata (traditional songs) and aratika (feeling a ‘right’ way). My position is one of humility and co-creation. I am aware that the rōpū kaihanga kiriata (film crew) with whom I work will be called into the trusting heart of my whānau and we must remain attentive to Māori protocols and sensitivities. Given the responsibility of working inside a Kaupapa Māori research paradigm, methodology and methods are shaped by kawa and tikanga (customary values and protocols). Here one moves beyond remote analysis and researches sensitively ‘with’ and ‘within’, a community, knowing that te ao Māori (the Māori world) is at the core of how one will discover, record, and create.

Este artigo relata uma jornada do projeto de doutorado conduzido pelo pesquisador, Tangohia mai te taura (Pegue esta Corda). O estudo envolve pesquisar, dirigir e produzir um documentário sobre as queixas históricas de Te Whakatōhea e Te Whānau ā Mokomoko. Especificamente, explora os potenciais da prática e forma documental em relação a Mātauranga Māori (costumes e conhecimento maori) e kaupapa Māori (abordagens de pesquisa maori). O estudo busca questionar certas narrativas construídas por Pākehā sobre o assassinato exoticizado do missionário, o reverendo Carl Sylvius Völkner, em 1885. Como consequência de uma acusação de assassinato, meu ancestral Mokomoko foi preso pelo crime, preso e enforcado, protestando o tempo todo por sua inocência. Em retribuição, nosso povo teve suas cobiçadas terras confiscadas pelo governo e se tornaram párias de vários relatos históricos. A tese pergunta como um documentarista maori desta iwi (tribo) pode chegar ao luto e à injustiça de tal evento de maneiras culturalmente sensíveis, para contar a história do impacto geracional. A pesquisa considera quatro características distintas da abordagem do autor como um cineasta indígena. Whakapapa – genealogia– Em maori, o pensamento whakapapa conecta o realizador com o filme, os entrevistados e a comunidade. No entanto, as conexões do whakapapa carregam a responsabilidade de navegar na produção de filmes com respeito e cuidado. Whenua e whanau – terra e família – Metodologicamente, minha abordagem através da incorporação. Passo o tempo residindo e reconectando-me com minha família extensa e as terras em que vivemos. Eu ando, penso,ouço e sinto meu caminho através de um mundo complexo, buscando ativamente oportunidades de participar de wānanga (discussões) e apoiar kapa haka (artes performáticas maori) relacionadas à nossa terra e família. Minha posição é de humildade e cocriação. Estou ciente de que o rōpū (tripulação) com quem trabalho será chamado ao coração confiante de meu whanau. Assim, semanas antes do início da produção, convivemos com o mundo que o documentário busca registrar Tikanga – alfândega – O processo e as estruturas de fazer este filme permanecem cientes de tikanga Māori (costumes maori). Karakia e waiata (orações e canções maori) acompanham o processo de criação da obra. A grande tripulação maori está atenta aos protocolos e sensibilidades. Estas práticas também afirmam nosso rōpū (grupo) como uma família. Koha – reciprocidade – Ao contrário de muitas abordagens convencionais para a produção de documentários, onde os filmes são “filmados” de maneira econômica e eficiente, este projeto é baseado no conceito de koha (reciprocidade). As comunidades são entendidas como presenteando seu tempo e suas histórias e, em resposta, há os presentes do projeto de volta. Como artista, faço esforços conscientes para apoiar os iwi (tribos locais); repatriar conhecimentos e artefatos que localizo em minhas pesquisas, sendo um membro ativo dentro da cidade e apoiando iniciativas comunitárias. Como cineasta, sou membro de uma geração que foi cada vez mais afastada da história e da dor incorporada de meu whanau. Venho em busca de meu passado, em um esforço para compreender e contribuir com algo útil que apoie as aspirações e a agência do meu povo na obtenção de valor, cura e reparação histórica.

Este artículo relata un viaje del proyecto de doctorado dirigido por la práctica del investigador, Tangohia mai te taura (“Toma esta soga”). El estudio implica investigar, dirigir y producir un documental sobre agravios históricos dentro de Te Whakatōhea y Te Whānau ā Mokomoko. Específicamente, explora el potencial de la práctica y la forma documental en relación con Mātauranga Māori (costumbres y conocimientos maoríes) y kaupapa Māori (enfoques de investigación maoríes). El estudio busca cuestionar ciertas narrativas construidas por Pākehā sobre el exotizado asesinato del misionero, el reverendo Carl Sylvius Völkner en 1885. Como consecuencia de una acusación de asesinato, mi antepasado Mokomoko fue arrestado por el crimen, encarcelado y ahorcado, mientras protestaba su inocencia. En represalia, a nuestro pueblo le confiscaron sus codiciadas tierras por parte del gobierno y se convirtieron en parias de múltiples relatos históricos. La tesis pregunta cómo un documentalista maorí de esta iwi (tribu) podría llegar al dolor y la injusticia de tal evento de maneras culturalmente sensibles, para contar la historia del impacto generacional. La investigación considera cuatro rasgos distintivos del enfoque del autor como cineasta indígena. WHAKAPAPA - GENEALOGÍA: En el pensamiento maorí, whakapapa conecta al realizador con la película, los entrevistados y la comunidad. Sin embargo, las conexiones de whakapapa conllevan la responsabilidad de navegar la realización de películas con respeto y cuidado. WHENUA y WHANAU - TIERRA Y FAMILIA: Metodológicamente mi enfoque a través de la encarnación. Paso tiempo viviendo y reconectando con mi familia extendida y las tierras en las que vivimos. Camino, pienso,escucho y siento mi camino a través de un mundo complejo, buscando activamente oportunidades para asistir a wānanga (discusiones) y apoyar las kapa haka (artes escénicas maoríes) relacionadas con nuestra tierra y nuestra familia. Mi posición es de humildad y cocreación. Soy consciente de que el rōpū (equipo) con el que trabajo será llamado al corazón confiado de mi whanau. Así, semanas antes de que comience la producción, vivimos con el mundo que el documental busca grabar. TIKANGA - ADUANAS: El proceso y las estructuras de realización de esta película siguen siendo conscientes de tikanga Māori (costumbres maoríes). Karakia y waiata (oraciones y canciones maoríes) acompañan el proceso de creación de la obra. La tripulación, en gran parte maorí, está atenta a los protocolos y sensibilidades. Estas prácticas también afirman nuestro rōpū (grupo) como familia. KOHA - RECIPROCACIÓN: A diferencia de muchos enfoques convencionales para la realización de documentales, donde las películas se “filman” de manera económica y eficiente, este proyecto se basa en el concepto de koha (reciprocidad). Se entiende que las comunidades regalan su tiempo e historias y, en respuesta, los regalos del proyecto regresan. Como artista, hago esfuerzos conscientes para apoyar a la iwi, repatriar conocimientos y artefactos que ubico en mi investigación, ser un miembro activo dentro de la ciudad y apoyar iniciativas comunitarias. Como cineasta, soy miembro de una generación que se ha ido alejando gradualmente de la historia y encarnado el dolor de mi whanau. Vengo a buscar mi pasado en un esfuerzo por comprender y contribuir con algo útil que apoye las aspiraciones y la capacidad de mi pueblo para lograr valor, curación y reparación histórica.

“Me tiro whakamuri, ki te haere whakamua. We must look to our past in order to move forward.” This whakataukī (proverb) speaks to Māori perspective of time and the importance of knowing your own history in order to move forward. We must look to our past and move as if we are walking backwards into our future. The present and past are certain, however, the future is unknown. Tangohia mai te taura: Take This Rope - is a practice-led research project, that enquires into a disputed narrative of the past. The thesis study involves researching, directing and producing a feature documentary about historical grievances within Te Whakatōhea and Te Whānau ā Mokomoko. The project artistically explores the potentials of documentary form in relation to Mātauranga Māori (Māori customs and knowledge) and kaupapa Māori (Māori research approaches). The research seeks to exhume stories from iwi members and question certain Pākehā constructed narratives (The Church Missionary, 1865; Taylor, 1868; McDonnell, 1887: Grace, 1928). Accordingly, the documentary will communicate outwards from accumulated experience and storytelling within my whānau. Thus, it will interweave the narratives of people whose whakapapa (genealogy) has been interwoven with historical events and their implications, related to the execution of my ancestor Mokomoko in 1866, and the preceding murder of the Reverend Carl Sylvius Völkner in 1885. Artistically and theoretically, the project constructs a new form of Māori documentary through a consideration of pūrākau (Pouwhare & McNeill 2018). The significance of the study lies in the potential to rethink documentary form based on the tenets of pūrākau. In so doing, the study will not only expand the corpus of research about Mokomoko but also extend how indigenous documentaries might be thought of as structures. Four key concepts that will guide the development of the film are: WHAKAPAPA - GENEALOGY Through genealogy, it builds my personal connection with the film, the interviewees and the community. But it also holds a strong responsibly for me to complete this film with the utmost respect and care. WHENUA & WHANAU – LAND & FAMILY With land and family at the centre of the film. Embodiment is an important part of how this film is created. I reconnected more with my extended family and actively seek out opportunities to attend wānanga (discussions) and perform kapa haka (Māori performing arts) specific to our land and family. TIKANGA – CUSTOMS The process and structures of making this film have followed tikanga Māori (Māori customs). Practising karakia and waiata (Māori prayers and songs) to perform before and after we film were key customs we believe are important when creating this film. These protocols are practised by the crew and affirm our rōpu (group) as a family. KOHA - RECIPROCATION Unlike traditional filming structures that schedule films to be completed in an economically and efficient way. Koha reinforces the concept of reciprocation, to give and receive. As the community gifts their time and stories, the film will be gifted back to those from which it came. Myself as the ringa toi (artist) must make conscious effort to go back to the iwi (local tribe) and being an active member within the town and supporting community initiatives. In addition, the study will demonstrate how the process of documentary making inside iwi can function as a form of raranga (weaving) where collaborating fragments may take form and through this increase feelings of value, healing, and historical redress.

It is generally accepted practice that research writing should include a review of literature that serves to locate the study within the field of inquiry. However, in indigenous research, the over reliance on published literature as a repository of knowledge can be problematic. By considering the Māori, doctoral thesis: ‘Tangohia mai te aura’ (Take this rope), this article argues that a review of written material must be extended to embrace non-written forms of knowledge including indigenous documentary making that challenges sanctioned historical narratives, and the oral repositories of experience that exist in indigenous waiata (songs), oriori (chants), karakia (prayers) and pūrākau (storytelling). As an extension of this, indigenous inquiry that seeks to exhume lived experiences of injustice must also frame the genealogically connected, orally accounted experiences of communities, as valued repositories of knowledge.