Elisepa Taukolo and Gemella Reynolds-Hatem (Images: Supplied; additional design: Tina Tiller)
Elisepa Taukolo and Gemella Reynolds-Hatem (Images: Supplied; additional design: Tina Tiller)

ĀteaDecember 8, 2021

From South Auckland to North Dunedin: Finding home at Otago University

Elisepa Taukolo and Gemella Reynolds-Hatem (Images: Supplied; additional design: Tina Tiller)
Elisepa Taukolo and Gemella Reynolds-Hatem (Images: Supplied; additional design: Tina Tiller)

Thousands of students make the move down to Dunedin each year for university, and for some, that shift means moving away from whānau. That’s why the university’s Māori and Pacific centres are creating a safe space for their students to thrive.

This content was created in paid partnership with the University of Otago.

Elisepa Taukolo had never set foot in Te Waipounamu before starting university. 

The youngest of six, with parents who wanted to keep her close, Taukolo says the move to Dunedin for university seemed like a shift to a different world. Her close-knit family are in South Auckland, where she’d grown up, and she’d wanted to remain near them after high school.

“Honestly, I was never supposed to go to Otago. But it was the only place that offered me a scholarship,” Taukolo explains. 

That initial entrance scholarship, set up specifically for first-year Māori and Pacific students, was the first step in what’s become nearly five years of Dunedin study for Taukolo. 

She’s in the final semester of her Bachelor of Laws and Bachelor of Arts, majoring in Pacific studies. She’s also in the midst of completing her Profs course, the final stage before admission to the bar to practise as a solicitor. 

The 22-year-old, who is of Tongan descent, is also the new president of the University of Otago Pacific Island Students Association, a role which will take her into the start of her postgraduate studies next year when she begins a Master of Laws.

This year she’s one of about 1,300 Pasifika students at the University of Otago. Amidst a 20,000-strong student population, and against the backdrop of a city traditionally less diverse than other parts of the motu, being Pacific at Otago can be confronting at first, she says.

“Even just walking down Castle St, [you’re] trying to spot a brown person, because there were just so few of us. And then when you see one, you kind of just grin and they grin back at you because they’re pretty much doing the same thing.”

When she arrived as a first-year student in 2017 her sister Lucy flew down with her. Neither had been south of the Cook Strait before. Another big help to Taukolo settling in during that first week: the official welcome for first-year students at the Pacific Islands Centre on campus. 

That early connection proved to be one of the more important experiences of her university years. She was able to meet other first-year Pacific students, as well as the more senior ones and the centre’s ever-present staff, who are in charge of coordinating a range of academic and non-academic activities for students. 

“It was just really good knowing right at the start there were other [Pasifika students] and the centre was there, and that there were heaps of services available.”

It’s also a connection that’s developed over the years. Now, Taukolo is one of the more senior students at the centre and she helps ensure those coming through also feel at home there. It’s important for both getting access to services and having a support network, that home away from home, Taukolo says. 

Tagiilima Feleti, Pacific Centre manager (Image: Supplied; Additional design: Tina Tiller)

Tagiilima Feleti, who took over as manager of the Pacific Islands Centre in March, says that connection with students has become particularly critical during the disruptions and uncertainty of Covid-19. Travel restrictions both in New Zealand and overseas have meant prolonged periods away from home for some students.

“For those who have stayed here, things like making sure they have kai, and warmth and everything they need in that sense” has been a major focus of the centre’s mahi, Feleti says. 

“Overall, our role here at the centre is about providing that pastoral, holistic, academic support for our students at whatever stage of their academic pathway.”

Michelle Taiaroa-McDonald (Ngai Tahu, Kati Mamoe and Waitaha) is tumuaki of Te Huka Mātauraka, the Māori Centre. Like Feleti, she started her role at the beginning of the academic year.

“We’re in the same waka,” Taiaroa-McDonald says of her counterpart at the Pacific Islands Centre. 

Both have similar desires for the students their roles are set up to support: that they succeed in their academic careers and are connected with the services and support they need to do just that. The pair also meet once a week to discuss how things are going, and how their journeys to “reinvigorate and renew” their respective centres are progressing.

They’re also looking forward to the imminent relocation of the Pacific Islands Centre to Castle St North. When that happens, it’ll mean both centres, along with the Office of Pacific Development and Office of Māori Development, will be in one place on-campus. 

“We plan to really capitalise on that vibrancy and visibility and being able to use our meeting spaces together [to] extend the whānau feel of both teams,” Taiaroa-McDonald says.

Being across the road from each other will also mean more opportunities to collaborate. In August, the centres worked together with the Māori and Pacific student associations to support a mass student vaccination event at Forsyth Barr Stadium. Joint events for next year’s O-week are also being planned. 

“We’re always under the spotlight being Māori and being Pacific, and we just want to make sure that’s a positive light that we’re getting on different kaupapa that we might be behind.”

This year, about 2,000 enrolled students at Otago identified as Māori. Of those, about 600 have connected with Te Huka Mātauraka. Taiaroa-McDonald says the numbers reflect two things. 

First, that the bulk of support and services at Te Huka Mātauraka – as at the Pacific Islands Centre – are focused on first-year students. This is because the transition between high school and university has clearly been identified as a significant challenge for students.

“Coming from a high school, in terms of environment shift, you’ve got very supportive teachers, you’ve got your whānau. Then you get here and you’re being taught by an international [lecturer]. That will come as a bit of a shock too,” says Taiaroa-McDonald. “Even just the shift from a classroom of about 30 to an auditorium of 500.” 

Second, she says, the gap between the number of enrolled Māori students and those connected to the centre reflects the large number of students who aren’t confident to “come through the doors”. Both leaders want to close that gap. 

“Those are the tauira we really need to connect with,” Taiaroa-McDonald says.

Michelle Taiaroa-McDonald, Māori centre manager (Image: Supplied; Additional design: Tina Tiller)

Part of the solution will be finding ways to connect with Māori and Pasifika students earlier, during their final high school years. But it’s also about finding ways to reach out beyond those who bring themselves to the centre, Taiaroa-McDonald says.

“It’s pastoral care, Māori-styles. Because there’s so much support available for our tauira, and if one Māori student doesn’t succeed, it means we haven’t connected them with what they need – which just shouldn’t ever happen.”

One familiar face at Te Huka Mātauraka over the past three years is Gemella Reynolds-Hatem. The 21-year-old is in her final year of a Bachelor of Arts and Science, majoring in genetics and indigenous development. She grew up in South Auckland and says she picked Otago both for its world-class genetics department and the opportunity to be closer to her extended family. 

“I’m Ngāi Tahu and my marae and a lot of my family are based in Moeraki [about 50 minutes north of Dunedin]. I wanted to be closer to them, my tūrangawaewae, and my grandmother is also in Christchurch.”

For Reynolds-Hatem, the Māori Centre has provided invaluable support, friendship and whānau. Throughout her studies, she’s made the most of tutorials held for her genetics papers – which otherwise would only be available through private paid sessions. She’s also become friends with all her mentors over the years, and is involved in supporting first-year students coming through. 

“From day one at the pōwhiri it was like the aunties coming to get their nephews and nieces at the marae,” Reynolds-Hatem says.

“That was the vibe I got, that it’s like a whānau thing rather than a university thing. And that’s what it’s been like ever since.”

Keep going!
Lance Savali and Lydia Peckham star in Raymond Edwards’ short film True Love. (Image: NZIFF)
Lance Savali and Lydia Peckham star in Raymond Edwards’ short film True Love. (Image: NZIFF)

ĀteaDecember 4, 2021

A decade of Māori and Pasifika film at the NZ International Film Festival

Lance Savali and Lydia Peckham star in Raymond Edwards’ short film True Love. (Image: NZIFF)
Lance Savali and Lydia Peckham star in Raymond Edwards’ short film True Love. (Image: NZIFF)

Ten years ago, the New Zealand International Film Festival had the foresight to support the creation of the Ngā Whanaunga Māori Pasifika Shorts. Co-curator Leo Koziol reflects on a decade of nurturing new talent, and looks at this year’s line-up.

Ten years ago the New Zealand International Film Festival (NZIFF) was looking to reshape its short film programming, following the closure of the Moving Image Centre in Auckland. As a result, it introduced a New Zealand’s Best competitive short film programme and the new Ngā Whanaunga Māori Pasifika short films programme.

Back then, there was not the plethora of film festivals we have now. Wairoa Māori Film Festival (which I founded in 2005) had a relationship with NZIFF whereby we could screen some of the films at our marae in Wairoa before their official premiere in the big cities. This relationship was formalised and expanded with the creation of Ngā Whanaunga in 2012, which I have curated from the beginning (and with Craig Fasi of Pollywood since 2014).

I honour the late NZIFF festival director Bill Gosden who had the vision and foresight to partner with Wairoa Māori Film Festival and Pollywood a decade ago, and thank outgoing festival director Marten Rabarts (Ngāti Porou) who bravely rebranded his festival to Whānau Mārama and has woven te reo throughout NZIFF.

Looking back at the first programme 10 years ago is a fascinating snap shot of where we were.

The first year included films by Nikki Si’ulepa, Hamish Bennett, Briar Grace-Smith and Libby Hakaraia. All four filmmakers have gone on to direct or produce landmark feature films.

Si’ulepa made the film Same But Different, an adaptation of her true love story of meeting partner Rachel Aneta Wills at the Wairoa Māori Film Festival (I had a cameo in the film, as Hemi the festival director). Bennett’s story of life on a dairy farm, Bellbird, was released in 2019. Grace-Smith co-directed (with Ainsley Gardiner) the landmark adaptation of Patricia Grace’s Cousins, a box office smash this year. Hakaraia was a producer of Cousins, and in 2014 launched the Māoriland Film Festival in Ōtaki (a festival inspired by Wairoa Māori Film Festival, after Libby’s uncles visited for the screening of Lawnmower Men of Kapu and came home to say: “We want one, too!”).

Ana Scotney as Mata in this year’s breakout hit Cousins, co-directed by Briar Grace-Smith and Ainsley Gardiner. (Image: Cousins)

Over the past decade more than 50 short films made by or starring Māori and Pasifika talent have screened at NZIFF thanks to the curation of Ngā Whanaunga. At the time, the name of the programme was a gift by my late mother Huia Kaporangi Koziol as an expression of “connectedness by culture and bloodlines across the Pacific”. My mum always loved the Māori and Pasifika stories that came through each year, and it’s a privilege for me that this film programme continues in the spirit of her aroha for movies.

For eight of the past 10 years this whanaungatanga has been expressed by the presence of co-curator Craig Fasi (Niue), the founder and festival director of Pollywood Film Festival. Wairoa Film Festival has been going for 17 years, but Craig’s festival has been going for way longer – more than two decades at last count. Based in Tāmaki Makaurau, Pollywood plays to its urban Pasifika fan base each year, with its latest iteration screening this very weekend in the post-lockdown city.

It has been a privilege to work alongside Fasi each year to uplift Indigenous voices across Aotearoa and Moana-nui-a-Kiwa. Two years ago he fulfilled a lifelong dream by taking Pollywood to his home village in Niue. Like me, his strength and passion for film comes from the wellspring of his own people and tribe. In Wairoa, we screen films in a big commercial venue (the historic Gaiety Theatre) but I am most proud of our film nights and afternoons at our marae, this year for the aunties at Kahungunu Marae, Nūhaka, and Iwitea Marae, Iwitea.

Looking at this year’s programme for Ngā Whanaunga (now in cinemas and online) we see the strength of Māori and Pasifika storytelling continue.

Chantelle Burgoyne’s Sista (also screening at Pollywood) tells the heartfelt and honest story of how her sister got in trouble (with a boy!) and the punishment eked out on the return home. Burgoyne was there at the start: her debut film Tatau was in our first line-up back in 2012. She has just wrapped filming a chapter in the new anthology feature Ngā Pouwhenua, which I am very excited to see out on the festival circuit.

Stills from Sista, directed by Chantelle Burgoyne. (Image: supplied)

In Disrupt, playwright and journalist Aroha Awarau tells a wrenching tale of redemption and hope in the face of the horrors of P addiction in our community. Directed by veteran actress Jennifer Te Atamira Ward-Lealand, Awarau’s story finds full expression on screen with Kararaina Rangihau as the powerful and forgiving nanny we all wish we had. His story puts down a wero for us all: whānau are whānau, no matter what, and we must never turn away. We must turn our face to the sun, and let the shadows fall behind us.

Mīria George expresses her Kuki Airani heritage in Fire in the Water, Fire in the Sky. Pilgrimage and potential are explored in this adaptation of a dance performance work, with cinematographer Elise Lanigan’s work immersing audiences in George’s vision. She is also a rising star of Pasifika film-making, having been one of the directors of the stories in anthology feature Vai back in 2019.

Raymond Edwards’ talents have shone mostly in other people’s works – most recently as the cinematographer on Cousins – but in True Love he tells a true-to-life story of a Māori fulla in Ōpotiki who just has to “get the fuck out” if he is to protect his partner and whānau. Edwards shot on 16mm and his gentle film is saturated with East Coast light and modern romance angst.

Maruia Jensen is a new talent at NZIFF this year, and it’s exciting to see her Māori potential being realised. She, like Aroha Awarau, was supported by the Māori screen production agency Ngā Aho Whakaari, one of two Aho Shorts in this year’s Ngā Whanaunga. Jensen took out two top prizes at NZIFF this year – the Unesco Wellington City of Film Award and the Letterboxd Audience Award.

Scotty Cotter stars in Maruia Jensen’s dark tale, Disconnected. (Image: supplied)

Her film Disconnected is a surprise, and for me as a film curator, has a feel, look and story I have not seen before. Jensen lets young actor Scotty Cotter’s talent shine through in a rough and tumble story about grieving for your mum. Like Disrupt, this film deals with addiction, but in a darkly personal way. We’ve all experienced dark times in our lives, and perhaps for some this film will touch on memories and moments that break our heart. It certainly did for me.

At last year’s Ngā Whanaunga, I was asked by Hiona Henare (rising filmmaking star and Wairoa creative partner for over a decade): “Leo, what is the state of Māori cinema?” I said to Hiona: “The state of Māori cinema is good.” That year’s programme included Mika’s breakout hit Gurl (the story of trans diva Carmen), Forgive Me by Oscar-nominee Chelsea Winstanley, and Kath Akuhata-Brown’s meditative calling card Purea. This year, Akuhata-Brown was winner of Best Short at NZIFF NZ’s Best, along with fellow Māori filmmaker Josephine Stewart Te Whiu. Trans actress and director Awa Puna took out emerging director in the same programme.

The state of Māori cinema is good, and the state of Pasifika cinema is good. I look back at the past 10 years with pride at how Ngā Whanaunga has been a kōhanga kiriata for up and coming filmmakers and actors in Aotearoa and across Moana-nui-a-Kiwa. It is a privilege each year when the latest crop of films come through for me to sit down with Craig Fasi over a cup of java (or kava) to muse and make our final selection. We’re both excited for the new talent coming through, and look forward to following their journeys ahead – as they and their short films travel the world, and they make the transition to the grand feature filmmaking tradition.

Most of all, we are simply just happy to see ourselves and our stories on screen.

Ngā Whanaunga Māori Pasifika Shorts 2021 are now available online at NZ Film On Demand