Auraki, a character created by Hōhepa Thompson. (Image: Tina Tiller)
Auraki, a character created by Hōhepa Thompson. (Image: Tina Tiller)

ĀteaNovember 4, 2022

Newsflash, mainstream media: te ao Māori is the mainstream

 Auraki, a character created by Hōhepa Thompson. (Image: Tina Tiller)
Auraki, a character created by Hōhepa Thompson. (Image: Tina Tiller)

Meet Auraki, a digital character designed by multidimensional artist Hōhepa Thompson to enter media companies and educate them in tikanga Māori. And if he’s not invited in he’ll scale the walls and peer in the windows. 

Many media outlets in Aotearoa pay lip service to being culturally aware, but how deep is their commitment?

This is the question being posed by Hōhepa Thompson (Ngāti Kahungunu ki Wairarapa, Toa Rangatira and Ngāi Tahu) through a tech-based art demonstration.

Better known by his artist name The Hori, Thompson’s latest project, We Are the Mainstream, takes us into the future with Auraki, an augmented reality character created to support media organisations with cultural competency and awareness of te ao Māori.


Listen to Nē? kōrero with Hōhepa Thompson on Apple Podcasts, Spotify or your favourite podcast provider. 


“There are constant fuck-ups that happen with headlines and you wonder, how did that get through? This isn’t to whakaiti those people, yes it starts with a challenge, we throw that wero at them first but it definitely comes from a place of manaaki, like you’re better off knowing those things,” says Thompson.

The multidimensional artist based in Ōtaki has a habit of raising topics that some people might find difficult, such as exploring our colonial past and the ongoing impacts of colonisation on the attitudes and actions of people in Aotearoa today.

Recently he’s been raising awareness around the country, and internationally, through an initiative called This is Aotearoa.

Artist Hōhepa Thompson, aka Te Hori (Photo: @tehori)

With a background in studying digital media at university, the artist uses humour, art and technology to hold conversations from a Māori perspective.

The catalyst for his latest challenge was at an exhibition that he did with artist Tame Iti (Tūhoe) where, Thompson says, a media reporter revealed his lack of cultural awareness. “I could tell Tame wasn’t vibing with the guy. At the end the journalist said, ‘it’s great to get these Māowry stories into mainstream media’. Tame then turned to him and said, ‘We are the mainstream’. That’s always stuck with me,” says Thompson.

The new project takes that idea and expands upon it. “From a te ao Māori perspective, we are the stream, we are the awa, we allow you to swim in our streams but just remember, ko mātou kē te auraki, we are the mainstream,” says Thompson.

Focusing particularly on media, Thompson says it’s no secret how Māori have been mistreated over the years. “If you take Stuff for example, who made a public apology a couple of years ago, maybe we could look at other media agencies and flip the script and ask them to be more transparent around that,” says Thompson.

Through that process of reflection, Auraki was formed. A 3D augmented reality (AR) character based on carved Māori figures, which can be downloaded via an app, it is envisioned that Auraki will be welcomed into these organisations and housed in a central area where it can interact with staff by answering questions through an app.

“I see it like te ao Māori is the IRD, Auraki is the accountant and these media agencies are the clients. So what can Auraki do to help in a more creative way to give insight into our world and give them some tips on why Māori think the way we do?” says Thompson.

Using AR, Thompson has mapped the buildings of six different media companies in Aotearoa. For the organisations who don’t welcome Auraki, the character will be outside knocking on the windows and scaling the walls until a face-to-face interaction is possible.

“Once the piece is welcomed into the building, we leave the taonga with them for a couple of months where it actually learns from its environment,” says Thompson.

Each of the media organisations who participate will have their own unique-looking Auraki with its own colours and movements, another artistic element through an AR collaboration with toi.world and iSPARX.group.

Thompson donned a bodysuit and used motion capture technology to bring his idea to life. “There are different actions that it makes, it can walk up and down the building, so it’s constantly doing things. Once it’s in the space, it acts like a pou in their whare,” says Thompson.

Acknowledging that tikanga are expressed differently at most marae, Thompson understands that each organisation will have their own strategies and protocols as well as their own unique culture.

“It represents te ao Māori, you might not be able to see it but it’s there, so I love that part of it, and I love the part that your media (phone) is the thing that gives you your lens to that world,” says Thompson. 

Auraki strives to gauge where staff within the organisation are at as a collective in terms of cultural understanding of te ao Māori. “It starts off with questions like, ‘do you speak te reo Māori?’ It’s as simple as that. Some of the questions are, ‘Have you read any of the articles of the Treaty?’ which many people haven’t,” says Thompson.

For him, the art is about getting Auraki inside the door and the goal is to support the organisations with their own aspirations of cultural competency. “It’s hard to create real, authentic competencies when you’re dealing with this kind of kaupapa. This is long-game stuff,” says Thompson.

After the two-month trial run, the data will be collated and analysed by Thompson and his team who will look to tailor some specific recommendations and allow the organisations to keep Auraki on. “It kind of becomes like a cultural consultant within their space,” he says. 

While the demonstration proposal has been sent to selected media organisations, not all have signed up just yet. “The thing about working in that virtual space is that Auraki can sit there forever. If you don’t want to be involved, kei te pai, but it will sit there forever and it will constantly want to come in and be invited in.”

The We are the Mainstream art demonstration will launch on the 28th of November at six separate sites in Tāmaki Makaurau and will be opened to the public on December 2.


Follow our te ao Māori podcast Nē? on Apple Podcasts, Spotify or your favourite podcast provider. 

This is Public Interest Journalism funded through NZ On Air.

Keep going!
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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Madeleine Chapman
— Editor

“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.”


Follow our te ao Māori podcast Nē? on Apple Podcasts, Spotify or your favourite podcast provider. 

Ātea