17 November 2021
With COP26 now over in Glasgow, I have looked to the Library’s Oceania collections for examples of book artists tackling some of the themes under discussion by world leaders during this crucial conference. The items selected use creative responses to recollect, witness, and foretell the impact of climate change in the Oceania region and beyond.
Carbon Empire by Allan McDonald
A primary goal of COP26 was to secure global net zero emissions by the middle of this century and keep the target of limiting global warming to 1.5 degrees. Getting anywhere near to achieving this aim will require radical change and commitments from countries around the world to limit deforestation, phase out coal for renewable energy, and switch from petrol and diesel to electric cars. Allan McDonald’s 2017 photobook, Carbon Empire (YD.2020.b.233), documents petrol stations across New Zealand in different stages of transition. The photographs capture the effect of a change in petroleum laws which forced many independent stations out of business - weeds flourish where petrol pumps once stood, for sale signs replace advertising logos, and a full car park is more reminiscent of a graveyard than a sign of prosperity. And so, the images also offer a vision of a world where petrol stations have fallen out of use and lie abandoned to become rusting monuments of the past.
Witness by Clyde McGill
Our reliance on fossil fuels and its impact on Indigenous cultural heritage is explored in Clyde McGill’s monumental book, Witness (HS.74/2407). The Australian artist travelled to Murujuga (Burrup Peninsula), northern Western Australia to see the petroglyphs, or rock art, first created by the Aboriginal people of Murujuga over forty thousand years ago and added to continuously until the nineteenth century when this community of artists was eradicated through European colonisation. There are between 1-2 million petroglyphs depicting thylacines, megafauna, ceremonies, human faces, and geometrics on this site which is considered the largest continuous rock art gallery of its kind. Yet this part of northwest Australia is also home to massive iron ore, oil, coal, mineral and gas reserves, and when McGill visited prior to creating the book in 2016, this highly significant cultural heritage site was at risk of destruction from large-scale mining operations. Witness doesn’t attempt to document the petroglyphs, but rather records the artist’s experience of his visit to the sacred site through a collection of visceral and confronting paintings, handwritten notes, and performance.
Stolen Waters by Marian Crawford and Peter Lyssiotis
The damage wreaked by the extraction of fossil fuels is similarly interrogated in Stolen Waters (RF.2018.a.87), a collaboration between Australian book artists Marian Crawford and Peter Lyssiotis. This compact 2013 artists’ book examines the environmental damage to our waterways from mining. The names of major disasters are emblazoned on the pages including the BP Deepwater Horizon oil spill in the Gulf of Mexico in 2010, and the OK Tedi Mine disaster during the 1990s in Papua New Guinea. This accusatory typography is in stark contrast to the black and white images of a jellyfish suspended in a dark sea (or is it an oil slick?).
Picturing the Island by Marian Crawford
A further goal of COP26 was to protect the communities and ecosystems most affected by climate change, including the Pacific Island region; an early and increasingly visible victim of the climate crisis with much at stake in the outcome of COP26. Rising sea levels here are already contaminating fresh water supplies and agriculture, and threatening to engulf many of these small island nations, including Kiribati; a set of low-lying islands in the central Pacific Ocean. Artist Marion Crawford spent her childhood on the island of Banaba (previously Ocean Island), part of the nation of Kiribati where her parents worked for the British Phosphate Commission (BPC). The BPC managed the mining of the island’s phosphate resources until these were exhausted in 1979. The environmental impact of extensive mining has left the Banaba Islanders without fresh water sources and reliant on a desalination plant for clean water. Crawford’s 2016 photobook, Picturing the Island (RF.2017.b.99), uses colonial archival material, including text in Gilbertese and English and photopolymer prints, in juxtaposition with her own memories to reflect on the changes, including environmental damage, undergone by her childhood home.
Miami Underwater by Bronwyn Rees
The topic of global warming and rising sea levels is similarly interrogated in Bronwyn Rees’ Miami Underwater. Rees is an Australian printmaker whose richly textured work explores landscape and wilderness, often depicting nature as an unforgiving force. Although her work is primarily focused on Australian landscapes, in 2014 she turned a city in the USA at the mercy of the encroaching sea to create Miami Underwater. This small handmade book has a strong environmental message and incorporates text extracts from Tony Davis’ Underwater Cities (2011). The varying sizes and texture of the pages require careful handling of this item by the reader, lending a feeling of vulnerability. The overall effect is of a portent; the book feels as if you have just retrieved it from floodwater.
Lucy Rowland, Oceania Curator
Crawford, Marian and Lyssiotis, Peter (2013) Stolen Waters. Victoria, Australia: Carbon, Masterthief. Shelfmark RF.2018.a.87
Davis, Tony (2011) 'Underwater Cities: Climate change begins to reshape the urban landscape' [Online] October 27, 2011. In Grist.org Available at: https://grist.org/cities/2011-10-26-underwater-cities-climate-change-begins-reshape-urban-landscape/
Crawford, Marian (2016) Picturing the Island. Melbourne, Australia: Marian Crawford. Shelfmark RF.2017.b.99
McDonald, Allan (2017) Carbon Empire. Auckland, New Zealand: Rim Books. Shelfmark YD.2020.b.233
McGill, Clyde (2016) Witness. Fremantle, Australia: Clyde McGill. Shelfmark HS.74/2407
Rees, Bronwyn (2014) Miami Underwater. Melbourne, Australia: Bronwyn Rees. Shelfmark (awaiting shelfmark)
06 February 2021
In this blog post, Lucy (Oceania Curator) and Scott (Conservation Support Assistant) use a selection of collection items from Aoteaora New Zealand to discuss Waitangi Day, the country’s national day commemorated annually on 6th February.
Waitangi Day marks the anniversary of the signing of te Tiriti o Waitangi (the Treaty of Waitangi) by representatives of the British Crown and Rangatira (Māori chiefs) at Waitangi on 6th February 1840. The treaty, drafted by the governor, William Hobson, was translated from English into te reo Māori (the Māori language) by the Christian missionary, Rev. Henry Williams with help from his son, Edward. This version was used to outline the agreement to Rangatira and gather signatures around the country, but it was not an exact translation of the English document. The result was two treaties with significantly different interpretations; the English version asserting the sovereignty of the Crown, and the reo Māori version retaining the full authority of the chiefs, an authority previously affirmed in the Declaration of Independence document of 1835.
Whilst the treaty documents officially confirmed European settlement in Aoteaora New Zealand, the exact meaning and intentions of the treaty text has since been fiercely debated. In 2014, the Waitangi Tribunal, set up to mediate the differences between the two texts, found that the Rangatira who signed te Tiriti o Waitangi in February 1840 did not cede sovereignty to the British Crown, but did agree to share power through different roles. The tribunal ruled that the Crown has the right to govern (kāwanatanga), subject to the protection of Māori interests (rangatiratanga). This ruling is not universally accepted in Aotearoa New Zealand, and public commemorations on Waitangi Day are often when this dispute is brought firmly into the spotlight.
Lucy: The dual language book pictured above is an example of the resources now used in schools to teach children about the events that led to the signing of Te Tiriti o Waitangi, and what has happened since. What are your memories of Waitangi Day when you were growing up in Aotearoa New Zealand?
Scott: It was quite difficult to be Māori growing up in Aotearoa New Zealand, particularly in the South Island. The media tend to portray the day as ‘rogue’ elements of Māori ruining a lovely sunny day by harassing the terrified politicians running the gauntlet to Te Tii Marae at Waitangi [the sacred Māori meeting ground at Waitangi - politicians are usually invited here on Waitangi Day]. Growing up, the first flag I ever knew was the United Tribes of New Zealand flag and, as a (reputed) descendant of Wiremu Tamihana Tarapipipi Te Waharoa (the ‘Kingmaker’), the affirmation of the Kīngitanga [Māori King] movement. But when I moved to a rural area of the South Island, I found that my Pākehā friends and classmates inherited and perpetuated their parents' fear and anger that Māori were going to ‘claim their land back’.
Combined with a lack of teaching in school around the Treaty and the New Zealand Wars, in many areas that has led to a continuation of the same attitudes towards Māori. I learned swiftly that we were, and often still are, seen as second-class citizens in our own land. But while restitution is a part of the Waitangi Tribunal process, for me it is about establishing Māori as equal partners to the Crown; to regain the equality with Pākehā which our ancestors never gave away. This graphic novel superbly illustrates what I feel is the best part of Aotearoa New Zealand; the combination of both Māori and Pākehā working together in both languages, educating us all on the importance, but also effects, of our founding document. As the book says on page 15, “If we are honest about our country’s past, we can try to fix some of the damage that still affects us today”.
Lucy: The Treaty of Waitangi is often used as a case study, as in the title above, to explore the role of cultural memory and worldviews in translation studies. The Library looks after this 1845 printed handbill of te Tiriti o Waitangi in te reo Māori and you can see the disputed terms, kāwanatanga and rangatiratanga there in articles 1 and 2 (paragraphs 4 and 5). These are the most significant examples of where the translation from English to te reo Māori led to different interpretations of the treaty. What meaning does this item hold for you?
Scott: It’s a good reminder of what many New Zealanders, even today, still struggle to understand; that while it is one document, there are two versions of Te Tiriti [The Treaty]. This is an issue which has been at the heart of race relations and the struggle to preserve not only our heritage, our whenua [land] but also ourselves as a people from Pākehā [non-Māori] assimilation. Here in the handbill, the te reo version of the treaty which most Rangatira, or chiefs, signed on February 6th 1840, allowed the British government over the land by having a governor who could rein in the settlers which had been troublesome to Māori. My ancestors also wanted the protection of the British from possible French incursion, but most importantly, while keeping their own sovereignty; their Mana [authority, prestige and spiritual power] and land.
At the urging of missionaries, Māori signed the te reo version in good faith, assured that we could keep our lands, freedom and way of life. But the British utilised the mostly unsigned English version, which ceded sovereignty to the Queen and led to the horrific New Zealand Wars, mass land confiscation as punishment for ‘rebellion’, and the suppression of Māori way of life and tikanga [customs]. Whether the change in language was deliberate or not is debatable. However, I grew up in a household which regarded Te Tiriti as one of the great con-jobs of history, a Trojan horse of trauma and devastation disguised as friendship.
Lucy: The Library also holds a contemporary artists’ book, pictured above, which considers the bicultural aspect of the Treaty of Waitangi by combining design elements, images from Treaty documents, the Treaty House plans, and Māori and British illustrations from historical documentation in such a way that they become entangled and the distinctions blurred. This blending of cultures is similarly explored in books such as Always Speaking, pictured above, which interrogates the role of the Treaty in everyday life and public policies including broadcasting, housing, maternity care, youth services and the electoral system. How do you embody the Treaty in your everyday life?
Scott: On the basis of the Treaty, Aotearoa New Zealand is a bicultural society, though this sits uncomfortably with many Pākehā. Much in the way the artists’ book blends both Totara [a type of Aotearoa New Zealand wood] and Oak together, the two strongest materials from our cultures, the combination of the two peoples, positively, respectfully and equally is the way forward for us as a nation. For years, the government has acknowledged failure in providing the key concepts of protection, participation and partnership to Māori, but I do believe we are taking slow steps forward. As Tangata whenua, as Māori, I choose to embody the treaty by embracing and celebrating my Māori culture as part of my mixed heritage, to choose to live in te ao Māori [the Māori world]. This was a fairly recent decision after reflecting on the impact 2020 Black Lives Matter movement on myself, as well as so many others.
So now, here in the home of Cook and Banks, and the launching point of some 10,000 soldiers that marched under guns through the Waikato in the New Zealand Wars, I undertake to embody the Treaty by being openly and proudly Māori; utilising my basic understanding of te reo in my emails and in my work. And committing to that partnership with the Crown as equals by exploring how aspects of my culture, such as our view on Kaitiakitanga [holistic guardianship], can be applied here within the British Library for all our future generations.
Lucy: Your role at the Library involves training users in the handling and care of collection items. How would the principles of Kaitiakitanga apply to the stewardship of the Treaty of Waitangi handbill, for example, in the Library’s collection?
Scott: For an item such as the 1845 handbill, active and inclusive custodianship would mean that this material would be seen as a taonga, or treasure, to be kept safe. Effective and inclusive custodianship of such a key item in the joining of both Māori and Pākehā cultures is important. It has immense significance for those who may wish to understand not only the differences in language and meaning that led to the horrors that we as Māori had to endure, but also the ‘spirit’ of the treaty, the joining of two cultures, which is especially significant for someone like myself, a blend of both Māori and Pākehā bloodlines.
Custodianship, or kaitiakitanga, fits within the ideals that we already have here at the British Library. We work to ensure such culturally significant material from our past, is preserved in the present for our future generations. Even though the handbill itself hasn’t come forth from my people, or our whenua [land], the fact that it is in te reo, our language, which is regarded as sacred, means it must be handled with active respect for its status, as well as its own mauri [life-force].
Scott, Conservation Support Assistant and Lucy, Oceania Curator
References and further reading:
Sue Abel, Shaping the news : Waitangi Day on television (Auckland 1997) YA.1999.a.9098
Rachael Bell et al., The Treaty on the ground : where we are headed, and why it matters (Auckland 2017) YD.2017.a.2655
Siobhan Brownlie, Mapping memory in translation (London 2016) ELD.DS.299497
William Colenso, The Authentic and Genuine History of the Signing of the Treaty of Waitangi, New Zealand ... 1840 ... With copies of the treaty in English and Maori, etc (Wellington 1890) 9004.l.33.(8.)
Robert Consedine & Joanna Consedine, Healing our history : the challenge of the Treaty of Waitangi (Auckland 2012) YD.2012.a.4861
William Hobson, Handbill of the Treaty of Waitangi 1840 (Paihia 1845) 74/B.I.1/3.(7.)
I. H. Kawharu, Waitangi : Māori and Pākehā perspectives of the Treaty of Waitangi (Auckland 1989) YC.1990.b.2501
Patrick A. McAllister, National days and the politics of indigenous and local identities in Australia and New Zealand (Durham, N.C. 2012) m13/.12015
Toby Morris, The Treaty of Waitangi/Te Tiriti o Waitangi (Wellington 2019) YD.2019.b.1189
Dominic O'Sullivan, Beyond biculturalism : the politics of an indigenous minority (Wellington 2007) YD.2007.a.8667
Claudia Orange, An illustrated history of the Treaty of Waitangi (Wellington 2004) YD.2010.b.171
Claudia Orange Te Tiriti o Watangi = The Treaty of Waitangi, 1840 (Wellington 2017) YD.2017.b.550
Vanya Steiner, The Tiriti Book (Auckland 2002) Awaiting shelfmark
Veronica M.H. Tawahi and Katarina Gray-Sharp, 'Always speaking' : the Treaty of Waitangi and public policy (Wellington 2011) YD. 2012.a.5143
Nicola Wheen and Janine Hayward, Treaty of Waitangi settlements (Wellington 2012) Y.2013.a.86
25 January 2021
From bodily autonomy and the right to education, to self-expression and protest, the British Library’s exhibition, Unfinished Business: The Fight for Women’s Rights, explores how feminist activism in the UK has its roots in the complex history of women’s rights.
Although the physical exhibition space is currently closed due to lockdown restrictions, you can discover more about the stories, people and events that have shaped society, as well as the work that remains unfinished, through the exhibition web resource, podcast and fantastic series of online events.
As part of this events series, on Friday 29 January curators will discuss women’s rights in Europe, the Americas and Oceania through items from their collection areas that they think deserve a spotlight.
Looking beyond the UK focus of Unfinished Business: The Fight for Women's Rights, the curators will be in conversation about their handpicked choices that speak to the themes of the exhibition and, in many cases, challenge and disrupt pre-conceptions of women’s activism, experiences and struggles for equality.
This free, online event will take place on Friday 29 January 2021, 12.30 – 1.30pm. To register, please visit the Library’s event page. Bookers will be sent a Zoom link in advance giving access.
01 October 2020
The Americas and Oceania collections are pleased to offer three new electronic resources on women's rights, Native American studies, and early settlers in Australia and Aotearoa/New Zealand. The resources can be accessed by Readers in the British Library Reading Rooms which are currently open but in a restricted capacity. Our hard-working Reference Enquiry Team are also able to access these new resources in order to support your virtual enquiries. You can contact them on their Quick Chat service for short research enquiries from Monday to Friday: 09.30–17.00, or get in touch with individual Reading Room teams via the 'Ask the Reference Team' function.
This digital collection is comprised of records of three important women's rights organizations in the US: the National Woman's Party, the League of Women Voters, and the Women's Action Alliance. Material included shows the organisations’ concerns with issues such as employment and employment discrimination, childcare, health care, and education and U.S. politics from 1920 to 1974. Types of content include party papers, correspondence, minutes, legal papers, financial records, printed material and photos. It’s an absolutely fascinating range of documents; lots of correspondence letters, offering a very different kind of approach to historical research on the topic of women’s rights
The collection provides a good primary resource for the study of first and second wave feminism. It includes the records of three important women's rights organizations in the US for the period 1913-1996, with additional material dating back to the 1850s. This resource complements existing areas of the British Library’s collections, particularly in regard to printed material around women’s suffrage movements in America. Later this month, the Library will be highlighting its collection around women’s rights with its major exhibition, Unfinished Business: The Fight for Women’s Rights, taking place, and this resource will provide researchers with further ways to investigate the stories and issues touched upon in the exhibition.
Related e-resources which can be accessed in the Reading Rooms and by our Reference Enquiry Team to support virtual enquiries during this time include:
For researchers looking at Indigenous Studies, American Studies and Canadian Studies, North American Indian Thought and Culture brings together more than 100,000 pages, many of which are previously unpublished, rare, or hard to find. The project integrates autobiographies, biographies, First Nations publications, oral histories, personal writings, photographs, drawings, and audio files for the first time. The result is a comprehensive representation of historical events as told by the individuals who lived through them. The database is an important resource for all those interested in research into the history of Native Americans, Alaska Natives, and Canadian First Peoples. It includes an archive of key texts about and by Indigenous peoples, including biographies, oral histories (audio and transcript), and photographs.
This resource complements existing collection strengths on North American Indigenous peoples at the British Library. Covering several centuries, its value particularly lies in the numerous accounts by Indigenous people (written and oral) which add a much needed dimension to the collections. Many of the materials it provides access to are otherwise unavailable in the UK. Autobiographies by Black Hawk and Okah Tubbee can be accessed, and rare books included represent Sequoyah and Standing Bear. Twenty prominent Native Americans have been selected for special emphasis, with multiple biographies presented, including Tecumseh, Sitting Bull, Chief Joseph, and Plenty Coups.
Virtually all North American groups are represented—nearly 500 in all. Some nations are covered in great depth, including the Eskimos and Inuit of the Arctic; the sub-Arctic Cree; the Pacific Coastal Salish; the Ojibwa, Cheyenne, and Sioux of the Plains. Biographies have been collected from more than 100 Native American publications, such as The Arrow, the Cherokee Phoenix, and the Chickasaw Intelligencer. The collection includes 2,000 oral histories presented in audio and transcript form and at least 20,000 photographs including from the archives of the Bureau of Indian Affairs, and other rare collections.
Related e-resources which can be accessed in the Reading Rooms and by our Reference Enquiry Team to support virtual enquiries during this time include:
For researchers in settler colonial studies, history, area studies, migration studies, Indigenous studies, and more, this collection of first-person accounts provide a unique and personal view of events in Australia and Aotearoa/New Zealand from the arrival of the first settlers through to Australian Federation at the close of the nineteenth century. Through letters and diaries, narratives, and other primary source materials, we are able to hear the voices of the time and explore the experiences of women and men, settlers and Indigenous peoples, convicts, explorers, soldiers, and officials . Thousands of unique documents have been drawn from the archives of the State Library of Victoria; State Library of New South Wales; State Library of Queensland; Flinders University; University of Melbourne; and University of Waikato.
A key feature of this resource is the extensive indexing of material which allows the sources to be browsed and cross-searched in a variety of ways, including by date, person, and subject. Content can be explored by writer, region, audience, personal and historical event, environmental features including fauna and flora, and more. Supporting material such as images, maps, and photographs supplement the first-person narratives and provide additional context. The resource builds on the legacy of the James Cook: The Voyages exhibition in providing first-hand accounts of those who settled in Australia, New Zealand and the South Pacific following Cook’s exploration in the region.
Related e-resources which can be accessed in the Reading Rooms and by our Reference Enquiry Team to support virtual enquiries during this time include:
Lucy Rowland, Curator of Oceania Published Collections
14 September 2020
September 14th 2020 marks the start of Te Wiki o te Reo Māori (Māori Language Week): the annual celebration of a pivotal moment in the revitalisation of the language in Aotearoa/New Zealand. In this post, we look at the journey of te reo Māori (the Māori language) following the arrival of Europeans in the 19th century, and hear from Scott Ratima Nolan, a member of staff here at the British Library, about his own relationship with te reo (the language).
Te reo Māori in Aotearoa
The history of te reo, considered so sacred in Māori culture that it now has protection under the Treaty of Waitangi, is a tale of highs and lows. Before the 19th century, te reo Māori was predominately a spoken language, with meaning and information also communicated through symbols and patterns embedded in crafts such as weaving and carvings. Te reo (the language) developed as a written form in the beginning of the 19th century with the arrival of Christian missionaries, and dominated the early years of publishing in Aotearoa. The first books printed in the country were written in te reo: extracts from the Bible printed on the missionary press in the 1830s at Paihia in the country’s North Island. Early Māori language newspapers, such as the government-owned Ko te Karere o Nui Tireni (shelfmark LOU.CMISC67), began publication in the following decade.
Te reo remained the most widely spoken language of Aotearoa during the first half of the 19th century, with Europeans learning the language in order to communicate, trade and convert the Māori population. However, this changed with the increase of settlers arriving in the country, and Europeans emerged as the majority population by the second half of the 19th century. The English language now dominated, forcing assimilation among Māori through suppression of the use of te reo in schools and discouraging its use in public life. Confined to use in the home, te reo Māori became at risk of extinction by the mid-20th century. The Māori language, culture and identity are intricately entwined, with te reo considered taonga (treasure) in Māori culture. Taonga require protection and this prompted a revitalisation of the language in the 1970s. On September 14th 1972, Parliament was called upon to allow te reo to be taught in schools: a place where its use had previously been actively discouraged, and often forbidden. Language recovery programmes began in earnest and te reo Māori became increasingly heard on radio and television, and read in Māori newspapers, magazines and books. Te reo education systems were established including Kōhanga reo and Kura kaupapa which immersed students in Māori language and culture. Following a successful language claim under the Treaty of Waitangi which argued that, as a taonga, the language deserved protection, te reo Māori was made an official language of Aotearoa/New Zealand through the Māori Language Act in 1987. The Māori Language Commission (Te Taura Whiri i te Reo Māori), was set up in the same year to promote the language, and published guides such as Māori for the office = Te reo Māori mō te tari (shelfmark YK.2000.a.5008) and Te Matatiki contemporary Māori words (shelfmark YK.1996.a.20438) to promote use of te reo in daily life.
The Commission also exists to expand the language, and they have recently developed Māori terminology for a very serious 21st century situation: COVID-19. New terms to enter the Māori language this year to support the fight against COVID-19 include:
- Mate Korona = Corona Virus
- Patuero ā-ringa = Hand Sanitiser
- Tū Tīrara = Social Distancing
- Rere ā-Hapori = Community Transmission
The aim is for Aotearoa to eventually become a bi-lingual country, and while Te Wiki o te Reo Māori (Māori Language Week) celebrates that crucial moment in the trajectory of te reo in 1972, it also acts a source of inspiration and encouragement for all New Zealanders to connect or re-connect with te reo Māori. In doing so, they help safeguard a language deeply woven into their country’s history and identity. Te reo Māori is also safeguarded outside Aotearoa through diaspora communities, including here in the UK. The Ngāti Rānana London Māori Club keep the Māori culture and language strong and proud in New Zealanders living in London and the rest of the UK. Ngāti Rānana also meet to learn, practise and share knowledge of kapa haka: traditional performing arts. Anyone with an interest in Māori culture is welcome at their regular gatherings at the New Zealand High Commission in London (moved online during COVID-19).
A personal connection with te reo Māori
Although the British Library is the national library of the UK, our staff are international and have personal connections to countries, languages and cultures all over the world. In the story below, Conservation Support Assistant, Scott Ratima Nolan, explains his own relationship with te reo Māori.
It hasn’t been easy to write about being tangata whenua: being Māori here in the UK. When I think about Aotearoa, the land I call home, it is a strong wrench. The ties of a thousand flaxen cords are interwoven with both Pasifika and Pākehā (White NZ) threads, bound with the hands of ancestors known, and (to my shame) unknown. Ever does it pull; He taura here whenua. Such are the ties that bind.
Growing up in South Auckland, that North Island city of effervescent Polynesian culture, I was wrapped in the warmth of my whānau and a proud people. My father, a man as gifted as Herodotus in blending truth and fiction, maintained my first language was te reo Māori. While this is debatable, I certainly was strong in my tikanga (custom or practice); the first flag I ever knew was the United Tribes of New Zealand. I remember my visit to the Auckland War Museum as a child, where I was moved to tears in seeing the taonga, the treasures of my people, on display. It resolved me, even then, to become a Kaitiaki: a custodian. And, emblematic of my own shared bloodlines, caring for the heritage and the taonga of not just my own, but many cultures.
Now, as any reproachful teenager would tell you, growing up is hard. And in moving to the South Island of New Zealand, I was confronted by another culture: that of the South Island Pākehā. My school had no legitimate te reo course. Culture was limited to theatre and musicals. Speaking te reo out loud was looked down on. In history, we spent an entire term on the Irish Civil War, but knew next to nothing on the New Zealand Wars, the Treaty of Waitangi and Māori land confiscation. Frustratingly, both teachers and my fellow students were aghast at my claims to be ‘native’. I looked like them; why would I want to be any different? In a grand spectacle of Pākehā dominance, in front of what seemed to be the entire school, my Principal forced me to remove my Pounamu, a sacred greenstone (which my father had forbidden me to remove), from around my neck. The trenches and palisades of my cultural pride and resistance were assaulted and hewn down into the cold embrace of southern conformity. And, while I rebuilt my confidence somewhat over my university years, I had lost a lot of my pride, and my language. There were scars across my heart, and it was with some relief that I left Aotearoa to come to the UK. I hoped I could reconnect with my culture by becoming a Kaitiaki, working with heritage collections.
However, attempting to build a career in heritage institutions here can be a real struggle for BAME and Indigenous peoples. To work in this sector, I found I had to suppress my culture: a necessity for those doors to open. I did this not out of shame over being Māori, but rather the sadness of not being accepted and welcomed here (especially in this sector) as such. And for years since, I railed against those ties that bound me until they diminished. And I stopped my ears to the whispers of my tīpuna (ancestors) who know me as Māori until they quietened. I even stopped using what te reo I knew, because I had grown up understanding that my language was sacred, and I felt I profaned it by using it when I did not honour my people. And thus, I lived, but I lived with a hole in my heart.
But the murder of George Floyd and the Black Lives Matter movement was a real catalyst for me. That hole in my heart cast a long shadow across my soul, and a real despondency overtook me. This despondency rose not just from those events, but also the slow dawning realisation of how much I had given up just to be here to work in a field I had, in ruthless irony, chosen as a place where I could honour my people by being a Kaitiaki, a custodian, to the treasures we hold here.
A taniwha, a guardian spirit that had long lain dormant inside me, had awoken, and it was hungry for change. And somehow, I gained the strength to put aside fear of exclusion, embarrassment or castigation, to speak up and identify myself as Māori. And I found a workplace that is incredibly supportive and responsive to the BLM movement, and is taking steps to become more inclusive: to accept me as I am. In a matter of weeks, I was working alongside others on the Front Hall busts reinterpretation, which, in redressing some of our collection legacies, has restored Mana to both my people and the British Library.
So, in this year’s Te Wiki o te Reo Māori, I’m celebrating my rebirth. I’m Māori, and I’m proud. I take courage from the very language itself, which at one point faced extinction and has come back so strong. Te reo Māori is an essential part of my culture, and I’ve made it my resolution to relearn it. I’m starting now, haltingly, to use the words of my people in every day speech and in email, to celebrate and share my culture, and to reach out to my friends back home in Aotearoa: to not only kōrero (talk), but also to whakarongo, (listen).
And every word I speak tears down another brick in the walls I have built up, filling the hole in my heart. And at long last I can hear my ancestors again.
Tihei Mauri ora! Behold the breath of life!
Scott Ratima Nolan
Ngāti Kahungunu ki Wairoa
Aotearoa: ‘The Land of the Long White Cloud’ the Māori name for New Zealand
Kaitiaki: Guardian or a custodian, someone who works to protect and safeguard
Pākehā: White New Zealanders of (usually) European descent
Pasifika: Peoples of the Pacific or of Pacific Island descent, who call Aotearoa home
Pounamu: NZ nephrite jade, or Greenstone. A sacred stone considered taonga, or treasured. Often used in jewellery or weapons with a deep spiritual connection
Tangata whenua: ‘The People of the Land’ how we as Māori often refer to ourselves; the indigenous inhabitants of this land
Taniwha: a Mythological being, often found in water. They can be Kaitiaki (guardians) or monsters punishing those that breached tikanga (custom)
Taonga: the treasures, artefacts or resources that are considered of great value, including our language
Tikanga: the customs, culture, etiquette and practices of being Māori
Tīpuna: alternatively spelled as tupuna, this refers to Ancestors and grandparents
Whānau: Family and extended family
Belich, J. (2015). The New Zealand wars and the Victorian interpretation of racial conflict. Auckland, New Zealand: Auckland University Press. BL shelfmark ELD.DS.322292
Cooper, G. (2004). Te rerenga ā te pīrere : a longitudinal study of Kōhanga reo and Kura kaupapa Māori students. Pūrongo tuatahi = Phase 1 report. Wellington, N.Z.: New Zealand Council for Educational Research (NZCER). BL shelfmark YD.2010.b.826
Curnow, J., Hopa, N.K. and McRae, J. (2013). He pitopito kōrero nō te perehi Māori = Readings from the Māori-language press. Auckland, New Zealand: Auckland University Press. BL shelfmark ELD.DS.322290
Higgin, R. Rewi, P. and Olsen-Reeder, P. (2014). The value of the Māori language = Te hua o te reo Māori. Wellington, New Zealand: Huia Publishers. BL shelfmark YP.2014.a.6419
Karetu, T. and Milroy, W. (2019). He kupu tuku iho : ko te reo Māori te tatau ki te ao. Auckland, New Zealand: Auckland University Press. BL shelfmark ELD.DS.306747
Moon, P. (2016). Ka ngaro te reo: Māori language under siege in the nineteenth century. Dunedin, New Zealand: Otago University Press. BL shelfmark YC.2020.a.2630
Moon, P. (2018). Killing te reo Māori. Palmerston North, New Zealand: Campus Press. BL Shelfmark YD.2018.a.3686
Williams, H.W. (1924). A Bibliography of Printed Maori to 1900. Dominion Museum Monograph. no. 7. Wellington, New Zealand. BL shelfmark Ac.1990.ca.
Williams, W. (trans). (1835) Ko nga pukapuka o Paora te Apotoro ki te hunga o Epeha, o Piripai /Epistles to the Ephesians and Philippians. Paihia, New Zealand: Pahia Missionary Press. BL shelfmark C.23.a.15.(2.)
Ko te karere o nui tireni. (1842). Auckland; New Zealand. BL shelfmark LOU.CMISC67
Māori Language Commission. (1997) Māori for the office = Te reo Māori mō te tari (2nd ed). Auckland, New Zealand: Oxford University Press. BL shelfmark YK.2000.a.5008
Māori Language Commission. (1996). Te Matatiki : contemporary Māori words. Auckland, New Zealand: Oxford University Press. BL shelfmark YK.1996.a.20438
Māori Language Commission. (2020). Māori terminology for Covid-19 [online]. Available at: https://www.tetaurawhiri.govt.nz/en/te-reo-maori/press-releases/maori-terminology-for-covid-19/
Lucy Rowland, Curator Oceania Published Collections (post-1850)
03 October 2019
National Poetry Day is a UK-wide celebration of poetry held annually in October. The theme for 2019 is 'Truth' and this year also marks the 25th anniversary of the national event. The British Library will be joining celebrations by hosting the Josephine Hart Poetry Hour in the evening of National Poetry Day 2019 with leading actors reading aloud the poetry of Byron, Keats and Shelley.
On the theme of Truth, the Americas and Australasian team have put forward two of their favourite poems. The first marks truth in the sparseness of the text: a poem laid bare and stripped of punctuation and capitalisation. The second offers truth in the language and the message: a bilingual poem for a bilingual country.
‘The Red Wheelbarrow’, found in Go Go by William Carlos Williams (New York: Monroe Wheeler, 1923), Cup.501.aa.35.
Chosen by Rachael (Curator, American Printed Collections Post 1850)
I love how Williams conveys such a vivid image with so few words in ‘The Red Wheelbarrow’, and the fact that whenever I think about the poem I’m able to picture not only the scene the words create, but the layout of the words themselves. To me, the poem is as striking to look at as its flow is to hear when you read it aloud. I can’t help but pause for breath whenever I finish it; it makes me think of how it’s possible to find beauty in even the simplest or most seemingly ‘every day’ of things. The poem first appeared in Spring and All in 1923, under the title ‘xxii’. In Go Go (pictured here) it has the title we are familiar with and is printed alongside Williams’s ‘The Hermaphroditic Telephones’, which was the first time this particular poem had ever been presented.
Tātai Whetū: Seven Māori Women Poets in Translation edited by Maraea Rakuraku and Vana Manasiadis (Wellington, New Zealand: Seraph Press, 2018) YD.2018.a.3672
Chosen by Lucy (Curator, Australasia Published Collections Post 1850)
Tātai Whetū is a delicately handbound chapbook in the Seraph Press Translation Series celebrating Māori writing and te reo Māori (the Māori language). This bilingual collection of poems from seven women writers has text in both te reo Māori and English. The featured poets are Anahera Gildea, Michelle Ngamoki, Tru Paraha, Kiri Piahana-Wong, Maraea Rakuraku, Dayle Takitimu and Alice Te Punga Somerville. Their poems have been translated by Hēmi Kelly, Te Ataahia Hurihanganui, Herewini Easton, Jamie Cowell, Vaughan Rapatahana and Dayle Takitimu
From this beautful collection, I have chosen the poem pictured above. Rākau is by Alice Te Punga Somerville, an Indigenous scholar whose poem was selected for the 2018 publication of Best New Zealand Poems journal. The poem has been translated from English into te reo Māori by Te Ataahia Hurihanganui and you can listen to Rākau in both languages here on the Best New Zealand Poems site. 'Rākau' refers to both wood and a tree in the Māori language and the poem explores the link between the careful carving of wood and the acquisition of a language which has long been hidden in the learner.
Below is the poem in English.
We know that carvers coax something or someone
Who’s already there in the wood.
They remove small pieces of timber, one by one,
until it’s ready.
We both know a language is waiting inside my tongue.
Please put down the adze, the skillsaw, the file:
Speak gently to me so I can recognise what’s there.
No, don’t chip away at pink flesh and taste buds:
Oozing and swollen, I will choke on my blood
before you’re done.
The wood you’re trying to carve is still a tree.
12 January 2018
Following on from my last post were I outlined some resources I have found useful for learning about contemporary Indigenous Australian issues; I have turned my attention to Māori resources in this post. As with the previous post, I have tried to provide resources that are written by Māori people, in some cases this is easier said than done as it is certainly not up to me to decide who is Māori and who is not. I am an outsider to Māori culture and this collection of resources is only intended to skim the surface in order to provide a few avenues for further research. If you think there is anything I have overlooked in this post or have other suggestions for me, I encourage you to tweet me: @JoannePilcher1
Te Ara – The Encyclopaedia of New Zealand has been an invaluable resource for me, the website splits into themes that contexualise contemporary Māori life such as The Bush, The Settled Landscape and Economy and the City. It is possible to browse around topics based on these themes or it is an excellent place to go to read up on a specific issue but simply searching key words. They also feature stories and articles, for example this week’s featured story is Deep-sea Creatures. https://teara.govt.nz/en
Maori.org.nz – This website provides useful summaries of elements of contemporary Māori culture and their historical context. I particularly enjoyed looking at the section on Korero O Nehera (Stories of Old), which is a collection of traditional Māori stories written by Māori authors. It also includes a selection of further links to learn more about each of the themes it addresses. http://www.maori.org.nz/
Māori Television has a news section on their website that covers current affairs from a Māori perspective. The Headlines section gave an interesting overview all news and I found the Politics section really useful for understanding how Māori issues are represented within the political structures in New Zealand. http://www.maoritelevision.com/news/headlines
While New Zealand History is not a specifically Māori focused website, it has been recommended by other Māori sites as a useful resource for providing historical context on Māori culture. It provides a Brief pre-history of how Māori peoples came to settle in New Zealand as well as going into a lot of detail on key dates in Māori history. It also has a really useful section on the various wars that took place between different Māori tribes and the Pākehā (non-Māori New Zealanders) and how this shaped the treatment of Māori peoples in New Zealand today. http://history-nz.org/maori.html
He Pukenga Korero – A Journal of Māori Studies website http://www.hepukengakorero.com/
The New Zealand Human Rights Commission’s page discusses equality and human agency more broadly and often shares information relating to Māori issues. https://www.facebook.com/NZHumanRightsCommission/
New Zealand Māori Arts and Crafts Institute shares a wide array of Māori art and design for anyone interested in learning more about traditional Māori visual culture. https://www.facebook.com/nzmaci/?ref=br_rs
Māori Rights in NZ shares a range of posts, from more political think pieces to more community-based information. https://www.facebook.com/MaoriRightsInNz/?ref=br_rs
Te Ahi Kaa – this podcast provides a bilingual discussion of various Māori experiences from the past, present and future. https://www.radionz.co.nz/national/programmes/teahikaa
There is a very wide selection of books on Māori New Zealand in the British Library collections. In this list I have outlined ones that provide a more general context of Māori beliefs and culture, I will be revisiting some of these titles in future blog posts.
Rawinia Higgins, Poia Rewi and Vincent Olsen-Reeder eds, The value of the Māori language /Te hua o te reo Māori, Wellington : Huia Publishers, 2014, [shelfmark: Asia, Pacific & Africa YP.2014.a.6419] A bilingual collection of essays in Te Reo and English that discuss the importance of preventing the Māori language from dying out.
Tracey McIntosh and Malcolm Mulholland ed, Māori and social issues, Wellington, N.Z. : Huia Pub., 2011 [shelfmark: Asia, Pacific & Africa YD.2012.a.4357] This book is part of the same series as The value of the Māori language, it aims to highlight social issues faced by Māori people from their perspective and suggests solutions that are Māori-centred.
Cleve Barlow, Tikanga Whakaaro : key concepts in Maori culture, Auckland : Oxford University Press, 1991 [General Reference Collection YC.1991.a.5030] Written by a Māori man who comments that his combination of Māori upbringing and western style education has inspired the book's structure. He focuses in on key Māori themes, selecting ones that are most relevant to contemporary Māori life. Each entry is bilingual.
Tania Ka'ai, Ki te whaiao : an introduction to Māori culture and society, Auckland, N.Z. : Pearson Longman, 2004 [shelfmark: Document Supply m04/30485] This book is structured so that the first part focuses on the Māori world, Te Ao Māori, and the second, Ngā Ao e Rua (The Two Worlds), looks at how the worlds of the Māori and Pākehā have interacted and existed alongside each other throughout time.
Auckland Art Gallery, Pūrangiaho: seeing clearly: casting light on the legacy of tradition in contemporary Māori art, Auckland, N.Z. : Auckland Art Gallery, c2001 [shelfmark: General Reference Collection YA.2002.a.20895]. There is often a risk of associating the traditional art of First Peoples of any country as historical or anthropological objects. While they can be both historical and anthropological (like all artworks) they can also be considered as great pieces of contemporary art. This exhibition catalogue looks at how contemporary Māori artists have utilised traditional techniques in their work.
By Joanne Pilcher
PhD Placement Student
British Library and Brighton University
21 May 2015
Above: cloth sample with text description [BL: C.112.e.1, restricted item]
If you have been through the Entrance Hall Gallery recently you will note that our own Lines in the Ice has given way to a wonderful new work by Cornelia Parker. Designed to capture the process of collective memory (and history) making that underpins our ideas about the Magna Carta and its legacy the work is a multi-authored depiction of Wikipedia's entry on the Magna Carta. At first glance, the idea of craft, needlework and textiles in the national library might seem a little odd, but this isn't the only place you'll find such materials in the Library.
Above: one part of the Magna Carta embroidery. From the Library's press release.
As Lines in the Ice showed, the Library holds a number of unusual items and accounts relating to the efforts of explorers from the 18th and 19th centuries, not least those accumulated as a result of the voyages of Captain Cook. Amongst the materials relating to Australasia is a book snappily titled, 'A Catalogue of the Different Specimens of Cloth collected in the Three Voyages of Captain Cook, to the Southern Hemisphere; with a particular account of the manner of the manufacturing the same in the various islands of the South Seas; partly extracted from Mr. Anderson and Reinhold Forster's observations, and the verbal account of some of the most knowing of the navigators: with some anecdotes that happened to them among the natives. [With 39 specimens of cloth, restricted item held at C.112.e.1]' - lest we forget it was published in 1787.
There's a lot to say about this book and it has recently been the focus of research at the University of Otago (you can read the outputs here) but what struck me today was, like Cornelia Parker's piece in the Entrance Hall gallery, this is fundamentally a collaborative effort with a large number of individual stories bound into it. As the title alludes, the collection and publication of these samples of textile are endeavours awash with stories, as are the textiles themselves; and today we are much more aware that the stories of the cloth makers, not just the collectors, need recording too. They communicate, history, heritage and culture in their weave. As a result, the book represents a fascinating and complex historical object, as does the embroidery on display in the Entrance Hall Gallery.
Speaking of complex and contested artistic histories, Team Americas and Australasia are heading over to the British Museum's new exhibition, 'Indigenous Australia, Enduring Civilisation' later this week - so a bonus exhibition / collection items cross over for this post.
American Collections blog recent posts
- Witnessing climate change: COP26 and Oceania book artists
- Two treaties: Waitangi Day in conversation
- Beyond the Exhibition: Unfinished Business – Curators' Lunchtime Session
- New additions to our electronic resources
- Māori Language Week 2020
- National Poetry Day 2019
- Resources for engaging Māori contemporary culture and politics
- Stories Weaved in Cloth
- Marking ANZAC Day: 'Fighting Australasia'
- From the Collections: Captain Cook and the Nuu-Chah-Nulth