"1-2-3, Ngāti!" This is a behind the scenes look at the Ngāti Porou East Coast Rugby team’s 2001 campaign. Beginning with a Ruatoria marae live-in, the film follows the team’s unlikely efforts to win National Provincial Championship’s 2nd Division. The classic underdog story captures grassroots rugby’s strong community ties. The secret weapon of NZ’s only iwi-founded union? "Whānau spirit". As prop Orcades Crawford says: "when you put on a sky blue jersey it’s totally different to anything else - it’s probably better than the All Blacks [jersey]!"
This collection celebrates rugby in New Zealand as it has been seen onscreen: from classic bios and tour docos, to social history, dramas and protest. In the accompanying backgrounders, broadcaster Keith Quinn looks at the on air history of rugby in NZ; and playwright David Geary asks if rugby is a religion, and argues it is a good test of character.
This People Like Us episode profiles Apirana Mahuika, before he became leader of Ngāti Porou. Having left lecturing at Massey University to return to his East Coast hometown of Tikitiki, Mahuika talks at his farm 'laboratory' about tamarillos, gangs, and coming home. He hopes his progressive farming (trialling kiwifruit and wine) will encourage young Ngāti Porou to remain and find jobs. A key figure in many Treaty of Waitangi claims and lead negotiator of Ngāti Porou's claim, Mahuika died in February 2015; Tau Henare said "his passing will cut a swathe through the forest".
This documentary tells the story of Moana Ngārimu the sole soldier from the Māori Battalion to be awarded (posthumously) the Victoria Cross during WWII. On 26th March 1943, at Tebaga Gap in Tunisia, the Second Lieutenant took a key position and defended it (as well as injured men) overnight, before being killed in a counter-attack. He was 24. The doco was made for TVNZ for the 50th anniversary of his death. It looks at his life and features moving archive and interviews with Ngārimu's friends and family in Ruatoria, and battalion comrades. Presented by Wira Gardiner.
This item from arts show Kaleidoscope looks at pioneering Māori feature film Ngāti. There are interviews with director Barry Barclay, screenwriter Tama Poata, producer John O’Shea and actor Wi Kuki Kaa – who discuss the film’s kaupapa – and a visit to its premiere at Waipiro Bay Marae on the East Coast (where the film was shot). Barclay’s first dramatic feature, Ngāti also marked the first feature film to be written and directed by Māori. Many of the crew were enlisted via a scheme aimed at redressing the lack of young Māori working in the screen industry.
This item from arts show Frontseat asks whether it is right for actors to portray other races than their own. Samoan Kiwi David Fane — who won both fans and criticism, after voicing Jeff da Māori on bro'Town — argues that playing another ethnicity is only an issue when the actor does a bad job. Actor Rachel House (Whale Rider) raises wider issues of indigenous people telling their own stories; and Cliff Curtis, known for a wide range of ethnicities on screen, says he needs to be just as careful playing Māori of other iwi, as when he is playing other races.
The Camera on the Shore is a feature-length portrait of a man who argued eloquently for the rights of indigenous people to control the camera. Based on extensive interviews with Barry Barclay and those who knew him — and footage from his work — it traces the path of one of the first people to bring a Māori perspective to the screen. The documentary ranges from Barclay's early years in a monastery to speeches at his tangi, touching en route on landmark TV series Tangata Whenua, battling corporations on doco The Neglected Miracle, and behind the scenes conflict on Te Rua.
This edition in Prime’s television history series surveys Māori programming. Director Tainui Stephens pairs societal change (urbanisation, protest, cultural resurgence) with an increasing Māori presence in front of and behind the camera. Interviews with broadcasters are intercut with Māori screen content. The episode charts an evolution from Māori as exotic extras, via pioneering documentaries, drama and current affairs, to being an intrinsic part of Aotearoa’s screen landscape, with te reo used on national news, and Māori telling their own stories on Māori Television.
Ka Haku Au — A Poet's Lament won Best Māori Language show in 2009. The one-hour documentary drama celebrates the life and songs of Kohine Whakarua Ponika. The largely unsung Tūhoe, Ngāti Porou composer — who couldn't read a note of music, created some of the most popular Māori waiata written, including 'Aku Mahi', 'Kua Rongorongo' and 'E Rona E'. Mostly in Te Reo, the show features Kohine's whānau in dramatic roles, performances and interviews. Kohine's children produced a CD of her waiata, available on iTunes, which in turn inspired the documentary.
In 1973 Prime Minister Norman Kirk announced that the anniversary of the signing of the Treaty of Waitangi would be a unifying national holiday called New Zealand Day. The inaugural 1974 day featured a royal entourage, was watched by 20,000 people and screened live for TV. Excerpts include the Aotearoa pageant (from giant moa to the Age of Aquarius, including kapa haka, settler cabaret, and Howard Morrison as Kupe), and Kirk’s iconic — and more enduring — speech. New Zealand Day was abolished by the next (National) Government, who renamed it Waitangi Day.