Six-part documentary on culture of Māori
Situations and topics previously inaccessible to television — marae ceremonial, tangis, reburials, tapu, mana taniwha — were cautiously opened to Pacific Films for their production of “Tangatai Whenua” which commenced on N.Z.B.C. television on Sunday.
“Tangata Whenua — The People of the Land” is a six-part series that deals with the tribal, regional and general culture of the Māori people. The series was directed by Barry Barclay; and produced by John O’Shea. Research and scripts were prepared by Michael King, who also took part in many conversations recorded for the film.
Māori attitudes are growing in strength and confidence. Māori are more forthcoming than they have been in the past and there has been an upsurge in the practical expression of Māori things. By projecting into New Zealand’s awareness this new confidence, this television series can help promote a blueprint for future and workable race relations.
How many New Zealanders are conscious, other than in a superficial way, of another distinctive and intense culture in New Zealand? Few have seen a kuia calling to the dead. Few have been a guest in a Māori house. Few have, in fact, seen the Māori being Māori.
CONCERN OF N.Z.B.C.
Two years ago Barry Barclay, Michael King and John O’Shea discussed the need for documentary programmes on Maori topics. John O’Shea was aware of the concern of N.Z.B.C. for the difficulties of securing programmes about aspects of Maori life in New Zealand and. was commissioned by N.Z.B.C. to undertake production of “Tangata Whenua” in programmes that woitld cover the interests and preoccupations of Maoris themselves. Planning, shooting and editing extended over a year on the largest documentary programme series undertaken in New Zealand.
The aim of the film makers was to show things as they were through the eyes of participants in the programmes, with the choice of subject matter arising from the Māori people’s own awareness.
Intermediaries and pakeha commentators were avoided. The attitude of the series director, Barry Barclay, was that of a listener and a viewer, opening up for audiences a world they might not have seen before.
The series makes no comparisons, and attempts no sociological or anthropological assessments. There is no intention of preaching about Māori values or rituals.
The crew filmed in almost all the main tribal areas, from Taranaki and the: East Coast to Northland. Sequences were shot in the main cities as well as the most remote and previously removed rural communities such as those in the mountains of the Ureweras.
APPROACH TO ELDERS
Much time was spent in explaining the idea of the series and seeking permissions. Michael King says, “We first approached the elders of the Māori people we wished to film. What we wanted to shoot was discussed in detail, then the elders were asked to call a meeting of the whole community so that everyone could listen to the plan, ask questions, and reach a concensus.”
“Living with people and sharing their lives is a very personal thing,”- says Barry Barclay, director of “Tangata Whenua.” “It depends a lot on mutual trust. We wanted to be sure people knew, what we were doing and that they were willing to co-operate ’’with us.”
“It was a long process,” says John O’Shea, producer of the series, “but well worth it. When our crews did film, there was no doubt of their right to be there. We were given access to situations people had never been allowed to film or photograph before—poukais, tangis, Parihaka. the ritual of Ringatu Church, a tomb resealing. When filming, our crews were careful not to intrude on the lives of people or distract them in any way. This meant for instance, that no movement was allowed during the Ringatu services, microphones were not thrust into the faces of elderly people talking, crying, or singing. We bent the technology of the film making process rather than mould people and ceremonies to our needs.”
The programmes offer a set of glimpses into the lives of Māori people and communities. None are comprehensive or definitive, but supply a background against which more immediate issues can be considered.
Barry Barclay and Michael King, who worked together on the scripts for the series, say: “We didn’t attempt to obtain a conclusive coverage of topics. We set out to be suggestive rather than definitive, to evoke the feelings people have about what is going on.”
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