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Indigenous
Autoethnography
Illuminating Māori Voices
Edited by
Kelli Te Maihāroa · Adrian Woodhouse
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Indigenous Autoethnography
Download Complete Ebook By email at etutorsource@gmail.com
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Kelli Te Maihāroa · Adrian Woodhouse
Editors
Indigenous
Autoethnography
Illuminating Māori Voices
Download Complete Ebook By email at etutorsource@gmail.com
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Contents
1
Introduction to Indigenous Autoethnography
Adrian Woodhouse and Kelli Te Maihāroa
1
2
Me aro koe ki te hā o Hine-ahu-one
Kelli Te Maihāroa
13
3
Ko Wai Tenei?
Jamie Addison
29
4
F*** You I Won’t Do What You Tell Me
Mawera Karetai
39
5
Wisdom Is Universal
Takarua Tawera
53
6
Waipuna-a-Raki
Jeffrey Francis Huia Thomas
79
7
A Chant to Ancestral Landscapes
Vicki Rangitautehanga Murray
93
8
Identity Matters
Jody Takimoana
125
9
Growing up in Aotearoa as Māori in the Education
System
Gary Te Waaka
137
v
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vi
CONTENTS
10
The Shroud of Whiteness
Adrian Woodhouse
155
11
Editorial Discussion
Adrian Woodhouse and Kelli Te Maihāroa
169
Glossary
187
Index
195
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Notes on Contributors
Jamie Addison (Ngāti Porou) is an Addictions practitioner at Moana House, Dunedin,
New Zealand. Jamie embraces the values of
tika, pono, and aroha within his practice,
enabling transformative changes within the
lives of his clients and their wider whānau.
Mawera Karetai (Waitaha, Kāti Mamoe, Kāi
Tahu) is a lecturer at the School of Business, Te Whare Wānanga o Ōtākou University
of Otago, Dunedin, New Zealand. Maweras’
practice is located within social justice and
transformative change where she works tirelessly as an advocate for the marginalised and
voiceless within society.
vii
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viii
NOTES ON CONTRIBUTORS
Rangi Kipa is a renowned Māori sculptural artist whose creative practice is at the forefront of defining the aspirations of Māori today. Kipas’
practice embraces the intertwinement of Māori motifs, techniques, and
contemporary materials to create a kōrero between the past and present.
Vicki Rangitautehanga Murray (Ngāti
Pūkeko, Ngāti Awa) is a Māori practitioner,
immersed in te ao Māori (Māori world),
where Māori philosophy is central to her
community of practice, principles, processes,
and traditions. Traditional rituals of taonga
tuku iho (gifts handed down) shape her work,
where spiritual elements are fundamental to
her personal and professional practice.
Jody Takimoana (Nga Puhi) is the Tumuaki
Whakaako, at Te Pūkenga ki Otago, Dunedin,
New Zealand. Jody’s work focuses on the
inherent ideological structures that exist
within New Zealand’s education system, and
how he can challenge these for better
outcomes for Māori learners.
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NOTES ON CONTRIBUTORS
ix
Takarua Tawera (Ngāti Awa, Ngāi Tuhoe) is
a clinical psychiatrist dedicated to empowering
Māori men through te ao Māori-centred counselling. Harassing the wisdom of his tupuna
wisdom, he works tirelessly to build reintegration pathways and a brighter future for his
community.
Kelli Te Maihāroa (Waitaha, Ngāti Rārua
Ātiawa, Taranaki, Ngāti Maniapoto) is the
Kaihautū: Te Kāhui Whetū/Capable Māori
at Te Pūkenga ki Otago, working with
cohorts of Māori undergraduate learners and
mentors on the doctoral programme. Her
research areas include Indigenous methodologies, autoethnography, peace traditions, and
decolonization.
Gary Te Waaka (Ngā Ruahine) is an IT
lecturer at Te Pūkenga ki Taranaki, dedicated
to decolonising New Zealand’s education
landscape incorporating Māori knowledge,
perspectives, and values into his curriculum
development and teaching methodologies.
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x
NOTES ON CONTRIBUTORS
Jeffrey Francis Huia Thomas (Waitaha,
Kāti Mamoe, Kāi Tahu) is a dedicated
food secondary school teacher in Taranaki,
Aotearoa New Zealand. He passionately champions learner-centred pedagogy, employing
inquiry-based teaching methods alongside the
principles of manaakitaka and whānaukataka
to cultivate purposeful and genuine learning
spaces.
Adrian Woodhouse (Kāi Tahu) is the Head
of Programmes at the Food Design Institute, Te Pūkenga ki Otago, Dunedin, New
Zealand. Adrian’s research explores the explicit
and implicit institutional systems and structures of society and their influence on kai
(food), power, and identity formation.
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List of Figures
Fig. 11.1
Fig. 11.2
Three States of Being (Walker, 1992)
Indigenous autoethnography Praxis model. Te Maihāroa
and Woodhouse (2024) adaption of Walker (1992)
177
178
xi
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CHAPTER 1
Introduction to Indigenous
Autoethnography
Adrian Woodhouse and Kelli Te Maihāroa
It is with great pleasure that we introduce Indigenous Autoethnography:
Illuminating Māori Voices. Our co-editorial relationship began several
years ago, when Kelli Te Maihāroa worked in the Office of the Kaitohutohu at Te Kura Matatini ki Otago (Otago Polytechnic) as a cultural
research adviser, and Adrian Woodhouse was in his first year of his Doctor
of Professional Practice studies at Capable NZ. After realising that they
shared many cultural synergies, Kelli joined Adrian’s academic mentoring
team, where Adrian successfully achieved the first Doctor of Professional
Practice qualification at Te Kura Matatini ki Otago (Otago Polytechnic).
As an ākonga (learner) and kaimahi (staff member) at Capable NZ, both
academics have borne witness to the rise and empowerment of Māori
learners who have embraced Indigenous autoethnography as their epistemological sense-making tool within the field of academia. It is these
A. Woodhouse (B) · K. Te Maihāroa
Te Pūkenga ki Otago, Dunedin, Otago, New Zealand
e-mail: Adrian.woodhouse@op.ac.nz
K. Te Maihāroa
e-mail: kelli.temaiharoa@op.ac.nz
1
K. Te Maihāroa and A. Woodhouse (eds.), Indigenous
Autoethnography, https://doi.org/10.1007/978-981-99-6718-6_1
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A. WOODHOUSE AND K. TE MAIHĀROA
earlier adopters of Indigenous autoethnography who have paved the way
for other Māori to find their authentic voice, in doing so, enriching the
higher education with mātauraka: (Indigenous knowledge and understandings) which has until recently largely been ignored and excluded
from the academy.
Indigenous autoethnography has more recently been adopted as a
reflexive tool for Māori and Indigenous academics to explore new and
alternative means to make sense of and communicate the impact of colonisation. For Adrian, his doctoral research explored the cultural trauma
and identity dislocation that was suffered by his tı̄puna (ancestors) and
whānau (extended family). Generations of colonisation and racism within
the lower reaches of Te Waipounamu (South Island of New Zealand),
had taught Adrian, and his whānau to hide their Kāi Tahu identity
within the shadows of a dominant white society. As an indigenous
researcher exploring the impacts of colonisation, kaupapa Māori theory
provided Adrian with the epistemological platform to explore his story.
With kaupapa Māori theory being premised upon acts of conscientisation, transformation, and resistance (G.H. Smith, 1997, 2003, 2017),
Indigenous autoethnography became a means for him to enact this
kaupapa.
Many of the contributing authors within this manuscript have subsequently embraced Indigenous autoethnography as a personal and professional means to pause, reflect, and make sense of one’s life and
professional practice. Paul Whitinui, a seminal academic in the field of
Indigenous autoethnography, notes:
Indigenous autoethnography aims to address issues of social justice and to
develop social change by engaging indigenous researchers in rediscovering
their own voices as “culturally liberating human beings.” Implicit in this
process is also the desire to ground one’s sense of “self” in what remains
“sacred” to us as indigenous peoples in the world we live, and in the way,
we choose to construct our identity, as Māori. (2014, p. 1)
During his Master’s thesis (Woodhouse, 2015), Adrian describes his first
encounter with autoethnography as a means for self-exploration and
professional interrogation. Deeply inherent within autoethnography is the
act of reflexivity, the ability to reflect on the reasons why we think and act
in the ways that we do (Ellis et al., 2011). As White (2001) points out,
practising autoethnography can be an act of self-surveillance; to check in
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1
INTRODUCTION TO INDIGENOUS AUTOETHNOGRAPHY
3
on the self and to critically examine the social, cultural, and political forces
which influence and inform our lived realities.
Kelli worked as a Lecturer with Professor Paul Whitinui for several
years at the University of Otago, and she also drew on Indigenous autoethnography to contextualise her position as a researcher for
her Master’s thesis within the te reo Māori speaking community in
Ōtepoti (Te Maihāroa, 2012). Her Doctor of Philosophy thesis highlights a Kaupapa Māori research approach which aligns with Indigenous
Autoethnography (Te Maihāroa, 2019) and aims to present authentic
Māori voices with, for and within Māori and Indigenous communities. In
keeping with an Indigenous Autoethnographic approach, further information about the co-editors Associate Professor Adrian Woodhouse and
Associate Professor Kelli Te Maihāroa can be found near the end of the
book , thus privileging the Māori contributors, for whom this book is
collated for, along with their whānau, hāpori Māori (Māori community)
and wider global Indigenous Peoples.
Autoethnography: A Critical
Methodology for ‘Self’ Examination
In the first instance, we wish to introduce the over-arching philosophies and academic practices which are situated within the meta-research
paradigm of autoethnography. By its nature, sense-making and disseminating knowledge in an autoethnographic manner is an intertwined
process of research and writing, as its intent is to seek, describe, and
systematically analyse (graphy) the personal lived experience (auto) in
order to understand the social, cultural, and political experiences (ethno)
that exist within it (Bochner & Ellis, 2016). As an academic practice,
autoethnography is both a process and a product, in which the research
process and the research artefact are considered as a whole, as opposed to
being separated from each other (Hughes & Pennington, 2016).
Interpreting and utilising the philosophies and practices of autoethnography therefore requires the researcher/storyteller to meld the interpretive methodologies of the human sciences with the aesthetics of the
creative arts and the humanities (Benson, 1993). This presents aesthetic
and creative storytelling challenges for the author as engagement, authenticity, and connectivity must all be managed to create autoethnographic
legitimacy. As Wall (2008) argues, writing within an autoethnographic
methodology is much easier said than done, due to the methodology
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4
A. WOODHOUSE AND K. TE MAIHĀROA
requiring the academic storyteller to artistically blend the emotional
realities of the lived experience into an evocative and engaging story
(Ellis & Bochner, 2000). However, creating emotional and evocative
stories is only one dimension within the autoethnographic methodology,
with an appropriate thread of systematic analysis and analytical rigour,
critical to defining the work’s academic legitimacy (Anderson, 2006).
With autoethnography situated within the interpretivist realm, autoethnographic authors do not seek to provide a truth, instead, their work is
driven by a desire for the reader to ask themselves moral and ethical questions as to how we might live our lives in more purposeful and meaningful
ways (Bochner & Ellis, 2016).
As practitioners of autoethnography, herein lies its true power: within
autoethnographies reflective processes and authentic voices we can break
cultural silence, reclaim insider’s voice and evoke a critical consciousness
within each of us (Holman Jones et al., 2013). As a methodology, it acts
as a reflective tool for enabling critical awakening and transformation of
action, whilst at the same time ensuring that the authentic insider voice
of the researcher is never lost. It is through the practice of autoethnography and its inherent processes of praxis and conscientisation that we
can potentially expose and emancipate ourselves from a set of personal
embodied dispositions that can influence and change our views of the
world and practices within it. We are reminded of the words of Freire
(1970, p. 72) when he stated ‘looking at the past must only be a means of
understanding more clearly what and who they are so that they can more
wisely build the future’; autoethnography provides us with the voice of
the past, but more importantly, insights and lessons for the future.
Indigenous Autoethnography
and the Spiritual Dimension
As Māori, wairua (spirituality) is fundamental in defining our cultural and
spiritual selves (Marsden, 2003a; Mead, 1934). For Māori researchers
who choose to embrace autoethnography as their research methodology,
incorporating a spiritual and metaphysical dimension into their work is
an important aspect of their worldview and realities. This worldview and
realities have traditionally presented a challenge for Māori autoethnographers as traditional approaches to autoethnography ‘lacks a certain
esoterically, metaphysical, and w(holistic) edge, specific to an indigenous
reality’ (Whitinui, 2014, p. 6). To this end, Whitinui (2014) has laid
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1
INTRODUCTION TO INDIGENOUS AUTOETHNOGRAPHY
5
the academic foundation for Māori researchers to embrace Indigenous
autoethnography as a culturally responsive means to claim a voice in
academia.
Within Whitinui’s (2014) conceptual framework of Indigenous
autoethnography, perspectives and world views that have a spiritual
dimension, and therefore align with the realities of Indigenous People,
are valued and celebrated as legitimate and meaningful knowledge
within academia. As a culturally responsive methodology, Indigenous
autoethnography intentionally seeks out our personal experiences and
insider stories to bring about cultural revitalisation (Whitinui, 2014). This
point is of particular importance to Māori, as historically, Indigenous
knowledge and cultural practices have been ignored or misrepresented,
notably so, when gazed upon through a western lenses (L. T. Smith,
1999). Until now, there has been a limited number of Māori researchers
who have embraced Indigenous autoethnography within the hallowed
halls of the academy (Carey, 2016; Kainamu, 2013; Whitinui, 2014;
Woodhouse, 2021).
Through the pioneering work of several Māori academics, our traditional storytelling approaches are now acknowledged within academia, yet
as Indigenous Peoples, our stories are never ours alone. With te ao Māori
(the Māori world view) premised on the concept that our physical and
spiritual selves are developed through whakapapa (genealogy) (Henare,
2001; Marsden, 2003a); Indigenous autoethnography is framed within
a multidimensional, cultural, spiritual, and collective premise (Whitinui, 2014). At the heart of the collective premise are the concepts
of cultural replenishment and nourishment (Whitinui, 2014). These
concepts of replenishment and nourishment are both internal (social,
cultural, emotional, and spiritual), and external (people and the environment). With this perspective in mind, when an Indigenous autoethnographer is describing and analysing the ‘self’, the self will often include
whānau, hapū (subtribe), iwi (tribe), whenua (land), and te ao (the
world). It is by embracing the concept of self as it is situated within the
wider constructs of the Indigenous reality, that Indigenous autoethnography differentiates itself from other western forms of autoethnography.
For Māori, it is these spiritual realities that are naturalised within our ways
of knowing and being (Marsden, 2003b).
Therefore, the stories contained within this book are not simply that
of the self and the knower. They embrace Heshusius’ (1994) notion that
within the pursuit of a deeper sense of kinship, coming to know the
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A. WOODHOUSE AND K. TE MAIHĀROA
cultural self reflects the needs of the cultural collective. To that end, the
stories within this book speak of our collective Indigenous struggles for
self-determination, autonomy, and empowerment , whilst also indirectly
bonding us as the First Nations People of Aotearoa New Zealand and our
traditional ways of knowing and being.
Introducing the Storytellers
The title of the opening chapter Me aro koe ki te hā o Hineahunoe, written
by Kelli Te Maihāroa, is based on a Māori Womens’ Welfare League
(1984) whakatauki (proverb), and follows her challenging journey from
being a pēpi (baby) through to being a mother herself to her adult five
sons. She is grounded within her Waitaha whakapapa and the southern
landscapes that have moulded her as a wahine championing for Mana
Māori (the power, prestige and sovereignty of Māori). Despite growing
up in Wānaka with limited opportunities to learn and engage in te ao
Māori, Kelli has immersed herself within Māori communities and in her
roles which see her work with Māori across Aotearoa.
Throughout her story, Kelli refers to the strength of her spiritual faith
and tohu (signs) from her tı̄puna sent to guide her journey towards
a deeper sense of self and connection to te ao mārama (the human
world). Her pathway has been greatly tested, especially when her loved
ones transitioned through the veil, although Kelli believes that she is
always surrounded and supported by her tı̄puna. Kelli wears her moko
kauae (traditional chin markings) with pride, as a co-representative of her
whānau Te Tiriti claims.
In the chapter Ko Wai Tenei? Jamie Addison presents a self-monologue
that recounts growing up in a household where gang life and domestic
violence were acts of normality. With constant movement in his youth
and indoctrination into a world where love was communicated through
the actions of the fist, Jamie charts his life from a disillusioned and angry
gang member to that of a loving father and addictions practitioner at
Moana House, Ōtepoti (Dunedin).
As a story of personal struggle and transformation, Jamie has written
his story as a heartfelt testimony of transformation. He speaks from a place
of rawness and honesty, and encourages those who face similar struggles, to pursue a different life for themselves. Having found solace in
the Lord and his culture, Jamie’s new-found self drives its sense-making
from the Bible and whakatauki. Acutely reminding us that as Māori, our
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INTRODUCTION TO INDIGENOUS AUTOETHNOGRAPHY
7
world views and sense-making mechanisms often come from positions of
complexity and spiritual intervention.
At the centre of Jamie’s practice are his values of tika, pono, and aroha.
Jamie defines these values as being tika which is correct, pono meaning
the truth, and aroha, which is ultimate love. These values have been borne
from deep moments of reflection and are values that Jamie hopes others
will connect with, as they come to sense with their life struggles and issues
with addiction. As a self-identified agent of transformation, Jamie brings
to the fore a story of hope and change in a world full of challenges and
struggles.
As a creative storyteller, Mawera Karetai artistically plays with words
within the opening lines of her story to remind us that our personal and
professional identities are never fixed, but an ever-evolving mix of dreams
and aspirations. At the heart of Mawera’s story is a love of knowledge and
the empowerment of others. Having lost her sister and changing houses
28 times before the age of ten, Mawera describes an early life that was
filled with tragedy, violence, and character-building moments. These early
experiences led Mawera to becoming a social justice advocate, dedicating
most of her adult life to helping others within her community. As such,
Mawera wears many hats in her field of professional practice; with each
hat advocating for justice and fairness, especially for those who have been
left voiceless in our society.
Being brought up in te ao Māori, looking to the past to make sense of
the future, comes naturally to Mawera. Reflection and lifelong learning
are resounding themes in Mawera’s work and are driven by an intentional
accumulation of knowledge for the purpose of sharing and empowerment of others. As Mawera reminds us, reflection comes naturally for
Māori; however, reflection is not always pleasant. Yet, the power of reflection comes from the realisation that we are part of a greater universe;
something which is much greater than ourselves.
Ignored and abandoned within the Pākehā education system, Takarua
Tawera recalls his story of growing up believing he was not academically
minded. Within his chapter, Takarua embraces the story of his whakapapa,
allowing him to draw connections between his tūpuna and his present-day
professional practice as a cultural and clinical practitioner for Māori men
through counselling and navigating the re-integration pathway.
Deeply embedded within Takarua’s work is the application of
whakatauki as an epistemological sense-making tool. Throughout his
story, he artistically weaves whakatuaki with stories, reiterating to the
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A. WOODHOUSE AND K. TE MAIHĀROA
reader, that through harnessing the knowledge of our ancestors, we have
the knowledge and means to build a better future for our people and
planet. Like many authors within this book, Takurua is a lifelong learner,
and maps out a pathway for other native te reo Māori (Māori language)
speakers and the journey to not only learn but to also be an articulate and
accomplished academic within his second language.
Heralding from the deep south of Te Waipounamu, Jeff Thomas
recounts his story of being rejected as Māori due to his fair complexion
and lack of te reo Māori. Jeff recalls the complexities of his life, starting
with his early experiences of being brought up in Taranaki, where local
iwi definitions of Māori identity differed from his own. Within Jeff’s story,
he takes us into the emotional realities of what it feels like to know you
are Māori, yet to be culturally rejected when you do not fit traditional
stereotypes. As a chef and secondary school kaiako (teacher) teaching food
technology, stories of education and kai (food) are woven throughout
Jeff’s chapter. Along the way, Jeff traverses into his career in hospitality,
where often the manaaki presented to the guests, failed to transition into
the back-of-house workplace culture and practices.
With a degree in linguistic studies, Jeff draws upon his poetic tongue to
create an imagery of words that situates us within his realities. Portrayed
through an emotional storytelling approach, this is a story that takes the
reader through a rollercoaster of laughter and tears. From the opening
scenes where we see a young boy standing in his classroom discussing
the importance of his whānau pounamu (family jade pendant) and tı̄tı̄
(mutton-bird) stick, to the closing remarks in which Jeff returns to his
tūrakawaewae (place of standing), Te Wehi a Te Wera on Rakiura, this is
a story of the importance of Māori connecting with their mana whenua
and returning to their place of standing.
In her story A Chant to Ancestral Landscapes, Vicki Rangitautehanga
Murray delves into an exploration of self by drawing on her traditional iwi
(tribal) chants to unpack and reinterpret her current professional practice.
Within each chant, Vicki presents a range of discourses which allows her
to examine and reinterpret her taken-for-granted assumptions. Assumptions have become important elements within Vicki’s theory of self and
have allowed her to culturally and professionally locate herself as a proud
Ngāti Pūkeko and Ngāti Awa wahine (woman).
Vicki’s chapter illuminates how the insights that are woven into the
verses of each chant can guide Māori in the development and transformation of their professional identity. It is through the ability of chants
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INTRODUCTION TO INDIGENOUS AUTOETHNOGRAPHY
9
to traverse land, river, and ocean edifices, that Vicki’s chapter further
encapsulates how traditional chants are personified legacies and sentient
chronicles of Māori ancestry and ways of knowing. In this way, Vicki’s
chapter positions that traditional chants are guiding theories of practice
for Māori; an important insight when attempting to define one’s cultural
and professional identity.
In his chapter Identity Matters, Jody Takimoana critiques the inherent
ideological structures that exist within New Zealand’s education system
and its impact on young Māori learners. Adopting pūrākau and critical
reflection as a means of systemic interrogation, Jody recalls his personal
and professional experiences of being both a learner and educator within
the New Zealand education system. Within his story, Jody exposes the
dark underbelly of New Zealand education, whereby personal acts of
racism and an institutional adherence to colonial ideologies have collided
to marginalise many of our Māori learners.
Jody’s story includes the retelling of his father’s experience of New
Zealand schooling in the 1950s. Through acts of physical and psychological abuse towards Jody’s father, he learnt from a young age that the
quality of education that young Māori receive had a direct impact on their
sense of self-worth and cultural identity. As a previous secondary school
kaiako and current Deputy Chief Executive of Māori Development at Te
Pūkenga ki Otago, Jody is today focused on empowering Māori learners
through the implementation of a culturally responsive pedagogy. Within
this pedagogy, Jody places the needs and aspirations of Māori at the centre
of learning, thus transforming their educational experiences and sense of
cultural self. Jody’s chapter concludes with a series of critical questions
which inherently asks those within education to challenge the status quo.
Gary Te Waaka’s story is one of a series of life changing events
woven with acts of personal resilience and determination. Having been
forced to leave secondary school at an early age, Gary recounts his
emotional story of re-entering education in his mid-twenties through to
his current role as an Information Technology Kaiako at the Western
Institute of Technology at Taranaki. As a creative storyteller and a process
of sense-making, Gary weaves poetry throughout his story to express the
key learning moments and critical turning points within his life. These
learning moments have led to him developing a series of deep insights
into the New Zealand education system, whereby adopting the principle
of whanaungatanga is central to ensuring Māori succeed. At the heart of
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10
A. WOODHOUSE AND K. TE MAIHĀROA
Gary’s kōrero is the importance of decolonising the New Zealand education system by embracing Māori ways of knowing and being. Although
Gary’s chapter discusses the decolonisation of education in relation to the
discipline of information technology, his whakaaro provides insights into
the wider education sector.
Finally, the chapter, The Shroud of Whiteness by Adrian Woodhouse
presents his own story of cultural trauma and identity dislocation. His
story opens with an onslaught of anger and frustration, as he discovers
that the deep ideologies buried within whiteness have clouded his indigenous reality and cocooned him within white privilege.
Applying the processes of reflexivity, Adrian ventures back into his
formative years to untangle and decipher the roots of his whiteness. Here
he recounts the story of being brought up in a mixed-race whānau, where
the cultural practices and worldviews of his northern Māori pāpā rua
(stepfather) seemed foreign to him. It is within the process of labelling
traditional Māori cultural practices as ‘other’ that Adrian finally exposes
his whiteness within.
Spurred to find the puna (source) of this whiteness, Adrian begins
to recall and critically analyse the stories and realities of his tı̄puna and
whānau. What Adrian soon comes to realise, is that becoming culturally
‘white’ was not a choice for many Southern Māori, but a simple means of
survival in a society dominated by Pākehā (New Zealander of European
descent) cultural lifeways. Just as the other authors have expressed within
this book, it is a story of raw emotion and self-vulnerability to provide
meaningful insight into the cultural views and lived realities of Māori.
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A. WOODHOUSE AND K. TE MAIHĀROA
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