The ancient Taranaki tradition of poi manu is the central concept of this installation.  Poi manu describes the ceremonial use of poi to maintain the rhythmic timing of complex recitations of whakapapa (genealogy) and karakia (ritual incantation).  In this context, manu translates as ‘messenger’ or ‘story teller’.  In the poi manu tradition, the movement and rhythm of the poi reflects the development of a storyline.  By referring to this tradition of poi within my visual art practice, I am activating a cultural tradition of ritual narration. 

The poi within this installation have been constructed from 100% New Zealand wool blankets.  My choice of this material relates to the well documented transactions during colonial times, when woollen blankets, muskets, alcohol and tobacco were used to trade by settlers for massive tracts of Maori land.  I use the blanket within my work as a metaphor for land, and the poi, made from this material, symbolises the ongoing imbalance of wealth and power in New Zealand. 

The narrative in this installation is about the history of my marae, Parihaka pa.  Parihaka is a pan-tribal Maori community which was established in the 19^th century on the western side of Mount Taranaki as a consequence of New Zealand Wars land confiscation.  It was a site of passive resistance against ongoing discrimination by armed colonial forces.  In 1881 it was invaded by New Zealand Government military forces, its leaders and followers imprisoned without trial for many years following. 

The stories associated with this history are symbolised by the embroidered images on the poi.  These symbols are referred to in Parihaka poi chants and oratorical passages.  Parihaka oratory is symbolic in nature and from the 19^th century began to intertwine both ancient Maori and biblical identities into a liberation theology which expressed this community’s philosophy of passive resistance.

While the poi are static and fixed to the wall, their movement and sound is inferred through the visual rhythm of projected images.  These include details from historic photographs of my tupuna (ancestors), self portraits and animated sound patterns.  The static poi and moving images are woven together by an audio recording of my father reciting karakia and waiata sung by myself.  Our voices are layered with the sound of poi beats, taonga puoro (Maori musical instruments) and military marching drums.  The appropriation of the bass marching drum as the primary accompaniment to Parihaka poi chant relates to the history of conflict associated with this site but also how this instrument was ‘claimed’ by Maori to sing songs of liberation. 

This work is reflective of a living relationship that I have with my history, and how that history has carved out the political, social, economic, and spiritual landscape within which I exist today.

Project assistance crew: Johnson Witehira, audio and visual technician; Natalie Robertson, sound archive; Te Miringa Hohaia, karakia and taonga puoro; Waiora Hohaia, taonga puoro.