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Background

The Moriori were the indigenous people (tchakat henu) of Rekohu, now known as the Chatham Islands, in modern times part of New Zealand. The Moriori migrated there from New Zealand some time between 1400 and 1600. They share common ancestry with the Maori, and are Polynesians, but their own distinct culture developed over the period of 400 years of isolation. Their first contact with the outside world was in 1791, when a British ship stumbled upon the islands. They lived in relative peace with both Europeans and Maori until 1835 when the islands were invaded by Taranaki Maori tribes. A fifth of the population of Moriori were slaughtered, and the rest taken into slavery. Over the next 30 years of slavery the population sharply declined, and eventually the last full-blooded Moriori, Tommy Soloman, died in 1933.

Before contact with the outside world, the Moriori had adapted to their harsh environment, and eked out a subsistence living based mainly around fish, seals, and birds. A unique feature of their culture was a taboo against the killing of another human. According to their ancient traditions, a chief named Nunuku stopped warring parties from fighting to the death, as he realized this was counter-productive to survival of the small population on the islands. men still fought, but only until blood was drawn – then they stopped.

When the Taranaki tribes commandeered a British ship to the Chathams in 1835, the Moriori at first welcomed them. The Maori initially ignored them, as they explored the islands. Concerned by a possible theta, the Moriori held a large gathering, discussing whether or not they should fight the Maori (who they greatly outnumbered). The older chiefs prevailed, citing Nunuku’s law of non-violence. The Maori, on the other hand, did not hold back: they massacred 300 Moriori (men, women and children) and held a large cannibal feast in accordance with their tikanga, or fighting customs. The treatment of the survivors was horrendous. The Moriori continued to be treated poorly, being regarded by most Europeans as an inferior race, low in intellect, lazy, and degenerate; of course the Europeans were seeing only the sad remnants of an oppressed people. In addition to these in justices, the land courts of the 1870s awarded the vast majority of the land to the Maori, and not to the Moriori.

It was not until late in the 20th century that the true story of the Moriori became better known, thanks largely to Michael King’s book Moriori: A People Rediscovered (1989). The marae on the Chatham Islands has been restored, and in 2005, relatives of Moriori submitted a claim to the Waitangi Tribunal.

A Survivor from Rekohu was inspired by the story of the Moriori and commissioned by Alexa Still, for flute, piccolo and Maori flute. It is based around the life of a Moriori named Koche who witnessed the 1835 massacre, survived years of slavery under the Maori chief Matioro, and made many attempts to escape from captivity.

Eventually he did escape, permanently, on a ship to the USA where he told his story to an American lawyer. His whereabouts after this are unknown. The music recalls three main passages from Koche’s life:

his childhood on Rekohu in the days before the invasion
the massacre of 1835
slavery and escape

These are framed by four little melodies (variations on a theme) played on different Maori instruments, acting as meditations on the events. They are each labelled ‘Kopi Grove’, after the sacred place on Rekohu where chiefs would meet and ceremonies were held.

• Ritchie, A.: A Survivor from Rekohu; computer-set 

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• Ritchie, A.: A Survivor from Rekohu; computer-set 

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• Anthony Ritchie: A Survivor from Rekohu 

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• Anthony Ritchie: Octopus  Year: 2011 

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I became inspired to write this piece by a rather disparate selection of influences: the Golden Years permanent exhibit at the Te Papa Tongarewa museum in Wellington, Giacometti’s Women of Venice sculptures, and a photocopy of an old poster from the early 1900s.

I had been aware of Giacometti’s striking sculptures of emaciated figures, but hadn’t seen them in the flesh until the beginning of this year at an exhibition in Christchurch. I was particularly enamoured with Women of Venice, an apparently loosely arranged group of stationary female figures all facing straight ahead in a mesmerising and somewhat disarming display of trance-like fixed focus. I imagined a similar group of performers stationed about the stage like petrified soldiers risen from a swamp, who then come to life at random and begin to channel voices from their pasts. This idea of channelling voices was also inspired by the Golden Years exhibit, where museum patrons are lead into an old junk shop that has closed down for the day, only to find items in the shop seemingly coming to life in a display of a potted history of New Zealand.

I then came across a copy of Henry Wright’s infamous poster from the early 1900s cautioning women to abandon exercising any political assertions whatsoever. The poster read:

Notice to EPICENE WOMEN
Electioneering Women are requested not to call here

They are recommended to go home, to look after their children, cook their husbands’ dinners, empty the slops, and generally attend to the domestic affairs for which nature intended them.

By taking this advice they will gain the respect of all right-minded people – an end not to be attained by unsexing themselves and meddling in masculine concerns of which they are profoundly ignorant.

Henry Wright,
103 Mein Street,
Wellington

I found the poster amusing in its ridiculousness, and played with the words so as to make nonsense of them, or to blatantly give them a feminist angle. Here is an example of one of the tweaked versions:

Notice to Sloppy Children
Affairs of sloppy husbands are requested not to attend Wellington.

They are recommended to unsex their meddling masculine nature and generally concern themselves in their profoundly ignorant nature.

By taking this advice they will slop their children’s dinners by unsexing themselves – an end not to be attained by cooking their children or Henry Wright.

I also used John Cage’s method of ‘reading though’ the text using a mesostic with the words “EPICENE WOMEN”, as he did with James Joyce’s Finnegan’s “Wake” in his Roaratorio: an Irish Circus on Finnegan’s Wake (but using the name JAMES JOYCE).

Despite my amusement, I was struck by the use of the word “epicene” in the poster. It implied that women who involved themselves in politics must not really be women, renouncing their sexuality so as to cause infinite trouble with all the devilish potency of a coven of Lady Macbeths. Similar attitudes still exist today, particularly amongst women, and there is still an apparent suspicion of ‘tomboys’ as well as a tug of war between traditionalism and feminism within individuals. It is this ironic fact that interests me the most – that, despite the extraordinary amounts of courage and hard work from women of the past to be seen as equals with men, many women today unwittingly foster oppression by adhering to gender steriotypes.

In this piece I’ve played with aspects of bitchiness, misogyny, sadness, political fieriness, the natural unaffectedness of growing up rurally, the silliness yet appeal of TV commercials, the comfort of crackly old radio songs, and the determination and single-mindedness of women intent on having their voices heard. I’ve also been interested in the potential for double meanings by setting the texts in certain ways, an example being Helen Clarke’s statement about the struggles of her early parliamentary days being sung by the baritone voice. I consider this a rejection of the notion that all people must tidily fit into the category of male or female and therefore must at all times show undeniable evidence either way.

Claire Scholes

• Scholes, C.: Epicene Women; computer-set 

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• NZ Premieres 2008 Vol. 3 

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Rona e te Marama was written for a collaboration between dancer Didik Nini Thowok, and Gamelans Taniwha Jaya and Padhang Moncar. In the traditional Maori Story, Rona goes out one night to fetch water. As she walks through the bush the moon disappears behind a cloud in the darkness Rona trips over a tree root. She curses the moon for making her fall. In retaliation the moon tries to pull Rona up into the sky. Rona grabs hold of a small shrub but the moon is too strong for her. Ever since, the story goes, if you look at the full moon you can see Rona there, still clutching the shrub.

The unusual combination of Balinese and Javanese gamelan in this piece contrasts the different tuning systems which are generally thought to be incompatible.

Gareth Farr

• Now I Know - New Music for Gamelan and Winds 

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• Grenfell: Stealing Tutunui; computer-set 

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• Grenfell: Stealing Tutunui; computer-set 

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• Maria Grenfell: Selected Works 

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• Grenfell and Psathas: Works 

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• Landscapes: New Zealand Orchestral Music 

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• Maria Grenfell: Ceol na Fidhle and Stealing Tutunui 

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Na Aroha Yates-Smith koropupu ake ana nga wai o te matapuna he wai matao he wai reka ki te korokoro he wai tohi i te punua waiora waimarama wairua te puna o te tangata te putanga mai o nga reanga hei poipoi I nga taonga tuku iho pukenga wananga manaaki tangata tiaki whenua tamaiti taiohi taiao.

Bubbling upwards rise the waters from the spring cool, refreshing water fluid delighting the taste buds blessing the young water – life-giving, clear – the spirit. The springs of humankind producing generations who will nurture their inheritance learning from the storehouse of knowledge hospitality/generosity to all guardianship of the land Child Youth Universe. The waiata acknowledges the vital role natural springs have in providing clean, delicious drinking water, which nourishes humankind and the wider environment. The water is also used in traditional and contemporary forms of blessing our young. The line “waiora waimarama wairua” refers to the life-giving force of the water, its clarity and purity, and the spiritual essence which pervades it and every life force. The second verse focuses on the importance of generation after generation preserving all that is important: “Te puna o te tangata” refers to the fountain of humankind, that is, the womb which produces the future progeny of our people. From woman is born humankind: generations of people who continue to nurture and maintain those treasures passed down through eons of time: knowledge and wisdom, the importance of caring for others and looking after the environment. The final line, “tamaiti taiohi taiao”, creates a link between the (tiny) infant, youth and the wider environment, and ultimately the Universe.

• Whitehead: Taiohi taiao; computer set 

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• Whitehead: Taiohi taiao; computer set 

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• Tower New Zealand Voices: Spirit of the Land  Year: 2006 

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Te Hau o Tawhirimatea is dedicated to Richard Nunns and Bridget Douglas. The music aims to create a space in which the musicians, and the voices of their instruments, may speak together. The musical space is flexible, encouraging spontaneous dialogue between the various instrumental voices. Tawhirimatea, the wind god, child of Earth and Sky, represents powerful elemental forces, but he is also capable of gentle playfulness. Te hau refers also to human breath, the force which animates the wind instruments. From the mingling of breath, sweet voices are brought into being.

• Brownlee: Te Hau o Tawhirimatea; computer-set 

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• Te Hau o Tawhirimatea 

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• Selection 05  Year: 2005 

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This is pure program music. I wanted to write a sort of New Zealand “Till Eulenspiegel” and chose the legend of how Maui fishes up Aotearoa. All the main events of the story are depicted: how Maui hides in his brothers’ canoe with his magic hook, how he helps his brothers to a fabulous catch, how he lets down his own special hook and catches something unbelievably big which leads to a herculean struggle, how the brothers cut up Maui’s “fish” while he is going to get help, and then the final realisation that the gods are not pleased with the behaviour of the brothers.

The figure of Maui is played by the clarinet, a part which is so important that the work became a Concerto for Clarinet and Orchestra.

This is the first part of a projected four movement Maui Cycle which will include Maui slowing the sun, Maui getting fire and the death of Maui.

Kit Powell

• Powell: Te Ika a Maui; computer-set 

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• Precious Legacy: Museum music by Jonathan Besser  Year: 2007 

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Toru means ‘three’ in Maori, here referring to the trio of players.
The written score of Toru lays out the structure, dramatic shape and instrumentation of the music, but the musical details is left to the creativity of the performers, so the musical voyage complete each time Toru is performed will be unique. An aim in Toru has been to draw the cello and clarinet into the sound world of the taonga puoro in the course of the performance.

Notes taken from Toru, Atoll CD (ACD 143)

• Toru - Chamber Music by Martin Lodge  Year: 2011 

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Images of the bush and wild west coast: their beauty and their darkness, their dynamic and contrasting moods, are the starting point for this work which paints visual and auditory elements encountered here – metaphors also for spirit of place.

• Bisley: Waitakere Overture; computer-set 

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• Bisley: Waitakere Overture; computer-set 

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