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Te Taura Whiri, The Māori Language Commission is reviewing how the word was created. (Image: Tina Tiller)
Te Taura Whiri, The Māori Language Commission is reviewing how the word was created. (Image: Tina Tiller)

ĀteaNovember 4, 2022

New word for ‘Chinese’ in te reo Māori dropped after calls of racism

Te Taura Whiri, The Māori Language Commission is reviewing how the word was created. (Image: Tina Tiller)
Te Taura Whiri, The Māori Language Commission is reviewing how the word was created. (Image: Tina Tiller)

Nīhaomā was created as an alternative to the potentially offensive Hainamana. But to many, the new kupu carries its own shade of prejudice. 

Since the first Māori voyagers arrived on the shores of Aotearoa, we’ve been creating new kupu to accommodate our ever-changing surroundings. 

Sometimes that’s by way of compound words, like the word for computer, rorohiko, which combines the word roro, meaning brain and hiko, meaning electricity. On occasion, words are created by way of naming something newfangled like a glass bottle, after something familiar that it resembles – pounamu. Other times, it’s by way of delightful transliterations, like miraka for milk or āporo for apple.

In keeping with that tradition, when Te Taura Whiri i te Reo Māori, the Maori Language Commission was established in 1987, it took responsibility for creating a number of new words alongside translators. 

Today, the proliferation of these kupu hou sits for the most part with the speakers of te reo Māori, but Te Taura Whiri still creates and publishes hundreds of words every year. In a consistently evolving world, it’s a vital part of keeping the language alive and flourishing.

In 2019, Te Taura Whiri announced a collection of neologisms, including rūma tīni kope for baby change and koriana for coriander. Another of these freshly-created words was Nīhaomā – a loan of the Mandarin greeting “ni hao ma”, meaning “how are you?” (or translated more directly, “you good?”) in English – to be used in te reo to mean “Chinese”. It was a replacement for a pre-existing kupu for Chinese in use since the 1800s – Hainamana, a transliteration of “Chinaman”.

But this week, a commenter on Twitter, upon discovering a 2019 article reporting on the new kupu, wrote “wow….nīhaomā being a new kupu..are they serious…experience a decade of my own language greeting being used as verbal assault by wypipo [white people] in Ōtepoti.”

The tweet ignited a bevy of similar criticisms. Many who took to Twitter to denounce the word expressed dismay about the racist connotations of the phrase and questioned why a new kupu for Chinese was necessary, when there already was one. Meanwhile, others debated the imperfect nature of that existing word, Hainamana. 

The next day, Te Taura Whiri responded on Twitter and said, “Kia ora, Auē we are very disappointed to discover these translations from some time ago and will be looking into how this has happened and will also be in touch asap.”

The Twitter response from Te Taura Whiri i te Reo Māori. (Image: Twitter)

It’s not the first time the word Nīhaomā has come under scrutiny since its inception three years ago. Race relations commissioner and Chinese learner of te reo Māori Meng Foon said he received an email in his first year as race relations commissioner to inform him that Te Taura Whiri was considering changing the word Hainamana to Nīhaomā. “I responded to say no,” he said in a text to The Spinoff. “It’s not appropriate to call Chinese people “hello” or a direct translation of ‘you good?’.”

Another Chinese learner of te reo Māori, filmmaker Julie Zhu, remembers cringing when she first heard the word spoken on the radio a few years ago. “When I first came across ‘nīhaomā’, I think I felt disappointed in the translation but didn’t feel like it was my place to speak out,” she says. “Reading the responses on Twitter from other Chinese people who have discovered it in the last few days, I can see the real hurt it has caused.”

That hurt comes from the context of the common derogatory use of the greeting in Aotearoa, explains Zhu. “A lot of Chinese or even ‘Chinese-looking’ people will have experienced being greeted or shouted at with an unsolicited and badly pronounced ‘ni hao’ by a non-Chinese person at some point in our lives,” she says. 

Zhu has also experienced the greeting being delivered with well-meaning intentions, and adds that there’s nothing innately belittling about being greeted with a phrase from your mother tongue – if it is your mother tongue, that is. Despite that, for many Chinese New Zealanders, the word is more associated with being mocked and belittled, than with anything positive.

In the past, tongue-in-cheek translations for other groups have gone without criticism. The kupu for French, for example, is Ngāti Wīwī, a reference to the prevalence of French settlers saying “oui, oui”. And then there’s the kupu for Scottish, Kōtimana – a transliteration of Scotsman. Understanding the difference in connotations requires reflecting on our history. The experience of being Chinese in this country has been distinctly tinted by racism — and that’s not the case with being French or Scottish.

I will never claim to ever be able to understand all the nuances and depth within te reo Māori,” Zhu says. “As a reo speaker I can simultaneously see how this transliteration happened without offensive intentions as well as see why it is offensive.” 

Part of the complexity of the discussion is that the original and more commonly used word Hainamana is tinged with racism too, “because it is a transliteration of ‘Chinaman’, which is an outdated and offensive term for Chinese people historically,” Zhu says. 

Still, Zhu feels that there’s a difference between the connotations of the two words. “Maybe I have just become so accustomed to using the kupu, but when I hear the kupu Hainamana I feel very differently than when I hear the English word ‘Chinaman’,” she says. “To me, and I think some others, we have felt the kupu Hainamana is a reclamation of sorts.” 

Foon’s advice? “Leave Hainamana alone, it’s been with us since 1842,” he says. “I don’t feel Hainamana is derogatory.”

Race relations commissioner Meng Foon.

The discussion surrounding both terms opens up the potential to create a brand new kupu – perhaps one that’s more expressive of contemporary Chinese identity and all its nuances, the direct relationship between Chinese New Zealanders and Tangata Whenua, and potentially one that bypasses the need to be mediated by the English language altogether.

At least, that would be the ideal. “I’m sure there aren’t enough resources for Te Taura Whiri to do deep-dive analysis of all cultures,” Zhu says. “So I can understand why the shorthand of transliterations from English happens, as imperfect as it is.”

In a statement to The Spinoff, a spokesperson from Te Taura Whiri said, “We are reviewing how these words were created as the use of the words Hainamana and Nīhaomā in this context is inappropriate and incorrect. We apologise for the confusion their use has created.”

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“From now on and until further notice we will be requesting that our staff no longer use Hainamana and Nīhaomā in these ways and that the word Haina is used in the interim as a way to refer to China,” the spokesperson said.

In the end, while language authorities have a vital influence, it’s the community that decides how words are used, and how commonly proliferated they become. In the case of “Nīhaomā”, uptake seems relatively scant – and at this rate it looks unlikely it will be adopted in place of its predecessor word Hainamana. Still, there are lessons to be learnt from the conversation. 

“I think the answer is just for dialogue to happen and it’s great that Te Taura Whiri responded quickly on Twitter to acknowledge the hurt caused,” says Zhu. “Everyone makes mistakes and now that hurt has been realised, we can only discuss together what changes can be made to prevent that from happening again.”


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Co-founders of Flying Fetu, Grace Iwashita-Taylor and Lana Lopesi. (Image: Tina Tiller)
Co-founders of Flying Fetu, Grace Iwashita-Taylor and Lana Lopesi. (Image: Tina Tiller)

ĀteaNovember 3, 2022

When writers festivals make you feel like a token Pasifika, you create something new

Co-founders of Flying Fetu, Grace Iwashita-Taylor and Lana Lopesi. (Image: Tina Tiller)
Co-founders of Flying Fetu, Grace Iwashita-Taylor and Lana Lopesi. (Image: Tina Tiller)

Nathaniel Lees, Tusiata Avia, Victor Rodger and more are coming together for an event that budding Moana writers shouldn’t miss. 

Lana Lopesi remembers it as the time of her life. The non-fiction author and journalist was speaking at this year’s Auckland Writers Festival with Coco Solid (Jessica Hansell) in what she describes as one of her best sessions she’s ever had. The two wāhine toa held an hour-long conversation about their recent books, until the floor opened up for questions, one of which left the pair temporarily speechless.

“A man asked us what our thoughts were on Foucault. And we both looked at each other, not sure of what to say,” Lopesi says. “My face was stunned because neither of us brought up the French philosopher and so Jess responded to that before we moved on. It was so weird.”

That encounter is typical of the kind of thing writers of the Moana face when invited to such spaces. Lopesi talks about having to act a certain way at writers festival events, awkwardly trying to share her wisdom for the one or two Pasifika audience members in the hopes of inspiring them, knowing that it won’t be of much interest to the wider audience and thus having to keep it short or vague.

Those feelings meant that when Lopesi received a message from poet and spoken-word performer Grace Iwashita-Taylor, she was very ready to receive it. Iwashita-Taylor was asking Lopesi to collaborate with her in establishing a festival to celebrate Moana writers and writing. And this weekend the inaugural Flying Fetu festival will take place.

Award-winning Samoan poet Grace Iwashita-Taylor. (Photo: RNZ Pacific)

Established this year, Flying Fetu is an organisation committed to building abundant futures for artists of upu (word), whether that’s through poetry or theatre. Their mission is to create spaces for budding Moana writers to unapologetically display their craft.

The festival, which begins tomorrow (Friday), is for anyone who’s interested, but in particular it’s a chance for writers from the Moana to get together without having to act “that certain way” of mainstream festivals. “All the shared stories that happen in the green room or after a show when you debrief with your friends, we want those discussions centre-stage during the Flying Fetu festival,” Lopesi says.

The opening night kicks off with a writers’ lab showcase where attendees get to listen to brand new works in development by 12 Moana writers including Jahra Wasasala, Nora Aati, Fetūolemoana Tamapeau, David Feauai-Afaese and Amber Esau. On Saturday, the schedule is filled with on-stage interviews, guest writers talking on certain topics and panel discussions. Each session will be recorded and available to listen to online beyond the festival and there will be giveaways throughout the event.

Amber Esau
Amber Esau is a poet, essayist and slam champion. (Photo: Supplied)

Iwashita-Taylor and Lopesi have spoken at and attended writers festivals both locally and abroad, and they brought that experience into shaping the Flying Fetu festival. “Most of the time, the audience are old, white people with maybe three Pasifika sisters in the corner of the room and I’ll get a question from a white person asking how we can help or fix the problems you’re going through as a brown writer and I’m like, answering that question is out of my paygrade,” Lopesi says. “We want our Moana writers to feel comfortable when sitting in these sessions and feel comfortable to ask questions, be curious and share their experiences with people who have walked that road.”

But that kind of discomfort is only part of the reason why the Flying Fetu festival is needed in Aotearoa. A lot of the time Pacific writers aren’t included at writers festivals at all. And, Lopesi adds, not all Pacific writers write books, which creates another barrier.

“There are a lot of brown writers, but the criteria for a writers festival is that you have to have published a book in the past year and so automatically our numbers shrink,” she says. “And often when we are included, it’s for these Pacific sessions and I struggle with that because you feel tokenised and there are all these conversations that you would really like to have, that you don’t get to have when it’s just Pacific writers in the room.”

Another reason for establishing the organisation and the festival is acknowledging the lonely path of the writer, where it’s often just yourself and your laptop. Lopesi explains that coming out of writing her book Bloody Woman, she realised that all the conversations she had during the writing process were actually bringing together missing pieces in the book. “If I didn’t have those conversations, the book wouldn’t have been made,” she says. “I know that everything I do is 100 times better when I’m able to talk through those ideas and build communities of writers and like-minded people, so I hope for the Flying Fetu festival to be that for our young and old writers from the Moana,” she says.

Faith Wilson from Saufo’i Press (Photo: Supplied)

Flying Fetu means shooting star, and Iwashita-Taylor and Lopesi wanted to create a collective that encompasses big dreams and blue-sky thinking. “Reaching for the stars is the aspiration we want for all Moana writers and to have it be our core, centre principle rather than using the word ‘writer’ in our name as it limits who we include,” says Lopesi. 

Saufo’i Press, which is an independent press that publishes Moana Pacific poetry in Aotearoa, is co-presenting one of the talanoa (talk) sessions called Fanua Feels – Moana Motions. The founder Faith Wilson says this opportunity is a chance for Moana writers to be in one space, to have something that’s ours. “It feels like finally we get to experience a writers festival that recognises the full breadth and scope of our artistry and who we are. We don’t need to shrink ourselves or fit moulds of what it is to be a writer or storyteller,” she says.

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Award-winning playwright Victor Rodger who has over 20 years of literary experience will be chairing a session at the Flying Fetu festival called The Naughty Corner. He also plans to attend most of the other sessions as a spectator. “I’m excited for this space where we can all gather together on our own terms, which has been a long time coming,” he says.

Flying Fetu festival opens Friday 4 November, 6:30pm – 8pm, at the Basement Theatre, Tāmaki Makaurau, with sessions all day Saturday 5 November.

This is Public Interest Journalism funded through NZ On Air.