Configuración de un SFCR

ThePrivilegeproject(2007–2011)wasfundedbytheHealthResearchCouncilofNew Zealandtoexplorehowsocietalprivilegeisimplicatedintheunevenexperienceof socialdeterminantsofhealthandinthedeliveryandqualityofhealthservices (CommissiononSocialDeterminantsofHealth,2008). Datasetsincludedhealth policydocuments,mediacasestudies,keyinformantinterviewswithpolicymakers andinͲdepthinterviewswithover20PĈkehĈparticipants.ItistheinͲdepthinterview datathatthispaperismostinterestedin.Iproposethatitispreciselythehidden andinvisiblenatureofsocietalprivilegethatdisruptsanddestabilisesPĈkehĈ people’stalkandunderstandingofit.Theyoftendrawondescriptorsofwhatitis

not,focusingonvisiblemarkersofmarginalisedidentities,soprovidingadiscursive backdropwhichMĈoriepistemologycanilluminate.

Twenty participants were interviewed: three heterosexual couples, three generationsofwomenfromonefamily,and11individualinterviewswitheight womenandthreemen.Participantsweremostlyagedbetween30and50years, withoneretireeagedapproximately70.Mostparticipantswereemployedandlived inhomestheyowned.Somehadtertiaryleveleducationandidentifiedaseither workinginprofessionaloccupationsorbeingselfͲemployed.Theywereaskedabout arangeoftopicsincludingtheirupbringingandfamily,workandleisureactivities,as wellashealthbehavioursandtheirviewsaboutthecausesofhealthdisparities betweendifferentethnicgroupsinAotearoaNewZealand.Ofparticularinterestto thispaperareasetofresponsesparticipantsairedwhenaskedaboutwhat constituted‘mainstream’NewZealand.Congruentwithmuchoftheinternational literatureaboutprivilege,weanticipatedthatparticipantsmightstrugglewith identifyingandnamingthesecharacteristicsofNewZealandculturalcentrality.The ‘verbalfumbling’silences,pausesandrhetoricalincoherence(BonillaͲSilva,2006, p.68)thatensuedhasbeendescribedelsewhere(B.Borell,MoewakaBarnes, Gregory,McCreanor,&Nairn,2017).Thispapersituateswhatwassaidinresponse toquestionsaboutmainstreamNewZealandidentityalongsidethetheorisingofa MĈorifineartsscholarasawayofexpandingthepossibilitiesandapplicationof MĈoriframeworkstononͲMĈoricontent.

KuraTeWaruRewiri–epistemologyandpaintingpractice

KuraTeWaruRewiriisawellͲregardedMĈoriwomanandestablishedpainterand fineartsscholar.Muchofhervisualartscareerhasinvolvedexaminingthemesof deeprelevancetoMĈoricommunities,includingtheTreatyofWaitangi,MĈoriland, whakapapa(ancestralconnections),tapu(spirituality,religionandfaith),andmana wahineMĈori(theinherentpowerandsacrednessofMĈoriwomen)(Highfield,1999; Mason,2014).TeWaruRewiriisanastutethinkerandeducator.AsBorell(2011, p.20)describes:

“KuraTeWaruRewirihasreͲpositionedWesternͲdominatedconversations

ofabstractexpressiontospeakclearlyaboutaMĈoriexperienceand

worldview…Objects,colourandformbecomeimbuedwithMĈorispiritual

andculturalencodingthatrequirestheviewertodecipherelementsofa

visuallanguagethatisspecificallycentredinanappreciationofMĈori

knowledgesystems.”

Iarguethatheruseanddescriptionsoftheconceptof‘wĈhingĈro’inrelationtoher paintingpracticeprovidesimportantparallelsforunderstandingqualitativedata fromPĈkehĈparticipantsaboutmainstreamidentity.Ifirstreadandresearchedthe literatureandmediaonTeWaruRewiri’spracticeandtheories,beforeseekingan interviewwithheronthemanyaspectsofMĈoriepistemologyandwĈhingĈro’.I beganmyanalysisofTeWaruRewiri’spracticebysourcinganepisodeofthe televisionseries“KeteAronui”(NZOnScreen,n.d.),whichscreenedonMĈori Televisionfrom2002–2011(TheBigIdeaEditor,2009).Eachepisodepresenteda halfͲhourexposéofMĈoriinthecreativedisciplines. Ialsoexaminedallthe informationaboutTeWaruRewiriavailableintheEHMcCormickResearchLibrary intheAucklandArtGallery.ThecollectedinformationonTeWaruRewiriextends backmanyyearsandcomprisesexhibitioncatalogues,newspaperclippingsand reviews,aswellasotherscholarlymaterialincludinginͲdepthessaysthatexamine herworkandtheory(N.Borell&MangereArtsCentre,2011;Highfield,1999;Mason, 2014).IinterviewedTeWaruRewiribytelephoneinJune2016.Theinterviewwas recordedandtranscribedverbatim.Thetranscriptofthisinterview,alongwithmy fieldnotesandinitialanalysisweresenttoTeWaruRewiriforfeedbackand correction. Wherepossiblewecommunicatedelectronicallytocheckmyanalysis wasacceptable,andshemadeseveralcommentsontheearlydraftsofthispaper.In thenextsectionIintroducetheconceptofwĈhingĈroandTeWaruRewiri’sgiven explanationofitsmeaninginherworkandtheory.

WĈhingĈro

LikemanywordsandphrasesofimportanceintheMĈorilanguage,wĈhingĈrohas layersofmeaning.WĈhingĈrocombinestwowords–wĈhi(noun),meaningplace,

location,oranallocation;andngĈro(verb),tobehidden,outofsight,orabsent (Moorfield,2011).WĈhingĈrothenmaymean“lostplace”,referringtoaplacethat isunseenandunknown. Forthisreasonitmaybeinterpretedasaplaceof supernaturalandspiritualmystique;a“worldofgodsandspirits,divineintervention, aplaceoutofsight”(Moorfield,2011).WĈhingĈroisoftenmentionedspecificallyin MĈoriritualsofencounter,inoratoryandingatheringstomournthedead,asdeath markstherealmofultimatedarknessandunknowing.

InthepaintingpracticeofTeWaruRewiri,wĈhingaromarksanimportantpointin herdevelopmentasaKaupapaMĈoritheorist.Mostnotably,inherworktitled“Ia ra,Iapo(InTePotherearemanybeginnings)”(seeoverleaf)shetapsintothis intangibleandunseenspace,andexpresseshowwemayoccupythedimensional spacebetweenworlds.Whenrelatingconversationsshehadwithherfatherabout wĈhingĈro,sheoffered:

IusedimageslikeKaitaialintelfloating,andthewhenuawascloaked,you

knowtherepresentationofthekorowaiwasonitorthekĈkahuwasjust

twoangledlinesintothemiddle,likethistiedinthemiddleoflikeyour

chestandtheninthemiddlepanelwasawakakƃiwibutitwaspushedback

intothebackandIpusheditbackintothemiddlepanelandyoucanonly

seeitinacertainlight,andhesawitandsaid“Yougotreallyimportant

worktodobecauseyou’reworkingwiththewĈhingĈro”.

Asshedevelopedtheideafurthershecametounderstandthat:

“WĈhingĈro’wassomethinginyourself,thatwaslostoryouknow,aplace

inyourselfthatwasoraholethatneededtobefilledorthatsortofor

waitingtoreceivethatsortofstuff”

Here,TeWaruRewiriisnotdescribingwĈhingaroasaspaceofnothing,negative space,oravoidofemptiness.Instead,sheseesitasaspaceofimmensepotential– ofyettoberealisedunderstandings;aninternalised,unfilleddynamicspace,anas yetuntappedreceptacleoffutureknowledgeandendeavour. WĈhingĈrothen representsagatewaytonewrealmsandexperiences.

Kura Te Waru Rewiri

Ia ra, Ia po (In Te Po there are many beginnings) 1994 Acrylic and tempera on canvas

2100mm x 910mm (3 panels) Private Collection, Wellington