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At The Te Papa Museum In Wellington,
There Is An Electronic Box On The Wall
Where Visitors Can Press Buttons And
See If Their Choices Enables Them To
Become A Citizen Of New Zealand.

I Suppose That I Am Not Pressing The
Right Buttons !

I Will Continue To Press Buttons Until
I Get Some Form Of Citizenship,
Or At Least That Denied Student Visa
Where I Was The First International Student
To Inquire About Taking Te Reo Māori,
At Waiariki, Rotorua,
And The First International Citizen To Be
Officially Accepted To Take Te Reo Māori.

I Was Supposed To Start My Course On
17 February, 2012 !

I Am Still Pressing Buttons !


--------------------------

PREFACE:

Let Me Tell You About This One !
A Indian Named Javia Works At The Auckland National
Museum, And In A Direct Conspiracy With The Indian
Security Guard, Did A Most Heinous Act !
Entrance Fees Were Paid, Stickers Were Given, And
Placed On Individuals Concerned, (Me And My Whaanau)
But The Conspiracy Was That The Security Guard Rudely
Caused Such An Incident Against Whaanau (Whanau)
Friends Of Mine At The Museum !

JAVIA (Employee) Is A Conspiracy, Very Evil And
Treacherous And So Is What Is Going On At The Auckland
National Museum !

I Suppose That The Conspiracy Arose Because I Was
Wearing A Clearly Tri-Colour Ethiopian Shirt With The
Lion Of Judah On It \ The PAGAN Indians Hate
Ethiopia And Most Notably Ethiopian Orthodoxy And
Haile Selassie !

JAVIA <----- Another One To SMACK !


------------------------------------------------------------

Museums as artifacts of colonisation
(Opinion – Rangituhia Hollis)
http://news.tangatawhenua.com/archives/16578

3 March, 2012


Notes from a first vista to the Auckland War – Puehu Blog (17 Nov 2010) –
http://puehu.tumblr.com

At this point I realized that in an instant I had accepted how the carvings
were displayed, associated my own history with the example provided and
wanted some degree of reciprocated validation of its value, from these
representatives from America.
Inside the Auckland Museum I took in the offerings of Maori artifacts in the
frontispiece.

Walking amidst the dim light restricted corridors of Oceanic art’s display
cases, I entered the permanent ‘Maori treasures’ exhibition – lending my
weight to an arm support that eased my transition between spaces and allowed
me to balance awkwardly on a gradient aside a successive series of
poutokomanawa (Carved Poles).

These were carvings that seemed wholly divorced from any functional context
I had ever seen them in before. The black matte steel supports and similarly
painted shelves upon which the carvings were rested, seemed in essence to
allude to the linear vertical edges of Hotere or perhaps posterized outlines
of textural cloak weaves.

There was in evidence some degree of effort on the part of the museum to
present the traditional with the neo-traditional or contemporary as a
progressing continuum of thought. However the contextual allusion appeared
to direct itself better toward the bleak and temporary housing qualities of
a social welfare home.

I was standing there, aware of their detachment from their previous lives –
on Marae or in Whare – realizing that they bared little semblance to
functional participles of traditional Maori ideology – when placed on a
shelf – and that supposedly there were objective museum directives at work,
when I recognized an example of Ngati Porou carving.

Identified by the form of the eyes, and confirmed by a supplicant title to
be from my own Iwi (tribe). This is where I noted that anyone intending to
look at the carvings would have to stand in the same lop sided stance that I
was in, in order to view what in my understanding is a symbol of my own
Maori identity.

It seems almost surreal now but as I was thinking this, a couple of generic
American tourists laden with gift shop plastic bags and wearing baseball
caps trundled down the slope.

They didn’t look at the carving that I had by now identified with, which
pissed me off somewhat and I remember raising a discerning eyebrow at them
as they waddled off in a centripetal direction toward the wharenui (Main
carved house).

At this point I realized that in an instant I had accepted how the carvings
were displayed, associated my own history with the example provided and
wanted some degree of reciprocated validation of its value, from these
representatives from America.

I’d fallen into the trap that the museum has for the naive viewer – the
false impression that it offers more than just a contrived representation of
a people (one that people and Marae reveal as false).  By mistakenly reading
truth onto this space one reveals a people eclipsed by colonization. With
artifacts left in fragmented debris for curators to aggrandize the auspices
of museums.

But maybe this is just one way that colonizations work.

With subtle changes in context to alter the meaning of the text/objects
supported, then after a little while you begin to forget the change and take
things for granted. And it’d be easy enough to think that this is the way it
was or is or should be, without questioning it all.

Background

Rangituhia Hollis has a background in visual arts and bicultural social
practice, and this interesting combination feeds into his moving image work
which focuses on urban identity and relationships through the structures of
gaming, animation and home video.

Rangituhia believes “we make meaning through our banal activities in real
spaces”, and he looks forward to “getting close to the source of the old
colonial British Empire to explore the implications of appropriating place”.

Rangituhia has recently finished his MFA (hons) at Elam School of Fine Art
in Auckland. Recent shows include Ka wi wi, Ka wa wa at Tairawhiti Museum,
Gisbourne, and Architecture for the Nation, the 2008 ‘new artists’
exhibition at ARTSPACE, Auckland.



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