Taranaki Maunga (Photo: Getty, design: Archi Banal)
Taranaki Maunga (Photo: Getty, design: Archi Banal)

ĀteaJanuary 17, 2022

The naming of Taranaki Mounga

Taranaki Maunga (Photo: Getty, design: Archi Banal)
Taranaki Maunga (Photo: Getty, design: Archi Banal)

Taranaki Mounga or Mount Egmont? Your preference depends on which history you most align with, writes Airana Ngarewa.

This article uses Taranaki mita (dialect).

Whakaari or White Island, Gate Pā or Greerton, Wanganui or Whanganui. The conversation around place names has oscillated in and out of public discourse for a long time and will do so for a long while yet. In Taranaki this has centred most passionately around our mounga, one rōpū insisting upon the name granted by Captain Cook and the other upon the name granted by an ancient rite. The latter, Taranaki: named for Rua Taranaki who, through karakia, anchored the mounga high up the source of the Hangatahua River; dug a cave into and lived inside the composite volcano; and sent his son to scale that towering thing to light a ceremonial fire atop its peak. No single nor small feat.

The former is Egmont: named for the second earl of Egmont, John Perceval. A supporter of Cook’s voyage but a man with no real connection to this mountain or motu. This division in meaning is not uncommon when comparing more contemporary vs more traditional names in Aotearoa New Zealand.

I’ve come to think the fervour that motivates these conversations is a disparity in stories founded in two largely separate histories. The oldest on this land near a millennium – though a good number of pūrākau tell a much lengthier tale – and the younger a couple of centuries. These distinct biographies persisted even beyond the treaty, with most Māori living among Māori until the second half of the twentieth century, and Pākehā doing the same. And so two seldom connected and even more seldom communicated histories have created a country built upon two unique sets of narratives. One Māori. One Pākehā.

In the case of Taranaki Mounga, this meant Captain Cook’s designation of Egmont carried among Pākehā populations and Rua’s rite among Māori.

Now, of course, times have changed. The years have carried these once separate people into the same spaces, same communities, and a far-reaching reappraisal has begun to take place. The Big Sorting Out. In some cases a marrying of stories, as in Aotearoa New Zealand or Aoraki Mount Cook, and in other instances a prioritising of one story over another. Too often, until very recently, this has meant Māori place names being absent from official records, these taonga surviving only through esoteric texts and wānanga.

The politics of it all is complicated and without any obvious precedent, although the tide appears to be moving towards a greater recognition of the names confirmed by mana whenua. This is largely a consequence of a rising consciousness, more and more people of all creeds and colours gaining a greater appreciation of the enormous history of these names and the people who have fought so hard to keep them alive. It is by this process, a mutual sharing of stories, that I’ve come to think the Big Sorting Out will be sorted out. Because of course Taranaki is Taranaki.

Let Cook and the earl be honestly acknowledged for their contributions, altruistic and otherwise, but let it also be known that neither ever stepped foot in this rohe or laid down their heads in the shadow of our mounga. Certainly, neither story is as compelling or as connected as Rua’s is to the west coast.

And so, in the spirit of story, let me share another about Taranaki Mounga, his former names being Pukeonaki and Pukehaupapa. Before the time of man on this motu, mounga were the original chiefs. They were incredibly powerful and could move, think and feel. At this time, Pukeonaki stood in the heart of Te-ika-a-Māui with Tongariro and the Lady Pihama – a graceful wooded mountain. He and Tongariro both longed after Pihama and as it happened, warred for her affection. Some say they threw fire and lava, others say they fought with their hands and feet. Tongariro won out, striking Pukeonaki so hard the scar can be seen today in a hollow below Fanthom’s Peak.

Struck down and having lost the fight for Pihama, Pukeonaki retreated underground and down the Whanganui River. Led by the guide stone Rauhoto, he happened upon Pouakai, a mountain range in the west. Pukeonaki took his place beside her, the place he remains now, eventually fathering the trees, plants, birds, rocks and rivers that run down their slopes. Rauhoto now rests at Puniho Pā near Warea.

This pūrākau is remembered in the following waiata tawhito:

Tū kē Tongariro. Tongariro stands apart. Motu kē Taranaki. Separated off is Taranaki. He riri ki a Pihanga. By the strife over Pihanga. Waiho i muri nei. Hiding in later times.

Keep going!
CEO of Kotahi Rau Pukapuka, Pānia Papa, surronded by some of the translated books.
CEO of Kotahi Rau Pukapuka, Pānia Papa. (Images: supplied/Tina Tiller)

ĀteaJanuary 13, 2022

An epic quest for a hundred books

CEO of Kotahi Rau Pukapuka, Pānia Papa, surronded by some of the translated books.
CEO of Kotahi Rau Pukapuka, Pānia Papa. (Images: supplied/Tina Tiller)

Summer reads: Pānia Papa has devoted her life to te reo revitalisation. In the quest to translate 100 popular book titles into te reo Māori, the Kotahi Rau Pukapuka CEO – and former Silver Fern – is making sure reo speakers have high-calibre literature at their fingertips. 

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First published November 25, 2021

A new generation of te reo advocates are on the rise, weaving new threads, thoughts and flavours into the multidimensional fabric of te reo revitalisation. Earlier this month Ngāti Rānaki me Te Ranga Tipua, a fresh te reo take on the classic Marvel comic Avengers vs X-Men by teacher and translator Te Korou Whangataua, became the latest addition to a growing body of te reo literature. The launch took place on Facebook live and was introduced with an epic Marvel-inspired karakia by Paraone Gloyne. It’s part of a wider strategy under Kotahi Rau Pukapuka which aims to translate 100 books into te reo and fill a gap in Aotearoa book publishing.

The Kotahi Rau Pukapuka Charitable Trust launched in 2019, with Pānia Papa (Ngāti Korokī-Kahukura, Ngāti Mahuta) weaving together this korowai of Māori literature in her role as raupine (CEO).

“Our main goal is to increase the amount of te reo being consumed by those who are passionate about reading it. Beyond that, for those who have a desire to let their imagination soar within these creative texts, within these novels, and the many forms of written language available within them,” she says.


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With six publications to date, including Te Ruānuku (a te reo rendition by author Hemi Kelly of Paulo Coelho’s classic The Alchemist), Papa is confident these books will find their place within Māori homes.

That aspiration is becoming a reality, with the Ministry of Education having purchased 26,000 copies of Hare Pota me te Whatu Manapou, Leon Blake’s translation of Harry Potter and The Philosopher’s Stone. An additional 13,000 copies of Nōu te Ao, e Hika e! – Dr Seuss’s Oh, The Places You’ll Go – by linguist and lecturer Dr Karena Kelly, have also been purchased and distributed to kura kaupapa Māori, kura-ā-iwi and rūmaki reo around the country.

“My hypothesis is that this move by the ministry will elevate the status of these books to the level of those Māori language books that are already out in the world. Will children read them? Who knows. That’s difficult to research, but at least the ministry is sending this book into the schools and homes where our children are,” says Papa.

Māori language novels are few and far between, and we’re at a point where demand is greater than supply. There is a flourishing group of kura kaupapa Māori and whare wānanga graduates, as well as second language learners, whose interests in te reo need to be stimulated with a range of high-quality literature.

Papa says this group can be engaged by promoting “the uncommon reservoirs of knowledge within these books and the quality of te reo – the language of the distant past, of our ancestors, that is illustrated through many different subjects”.

For speakers of te reo who wish to further develop their understanding and command of the language, Papa points to these publications, highlighting that the level of excellence demonstrated by today’s reo idols can be found between the pages of these books.

“If they want to speak like Te Korou Whangataua, like Mataia Keepa and Leon Blake, then the direct route to the high-calibre te reo that they possess is by reading what they have written in their translations.”

She acknowledges that setting a target of 100 books is ambitious, but explains that unreasonable ambition is what’s required for te reo to survive.

“It’s a formidable target, perhaps not unlike most objectives related to regenerating this language. It’s a distant goal, and it must be so, in order for it to succeed,” says Papa.

A panel from Te Pakanga a Ngāti Rānaki me Te Ranga-Tipua/Avengers vs X-Men (Image: Marvel/Auckland University Press)

The first publication, Mātāmua ko te Kupu! by none other than Tā Tīmoti Kāretu, is a collation of waiata and haka supplemented by his invaluable interpretation and knowledge of their meanings. Patron of the Kotahi Rau Pukapuka Charitable Trust, Witi Ihimaera’s own award-winning book, Bulibasha, has been translated by Te Tairāwhiti language champion Ruth Smith and given the reo name Puripāha – Te Pane Kaewa.

It’s through this variety of books, both novels and non-fiction, that Papa says the extent of the language is being covered.

“Tīmoti’s [book] is factual, it’s not an imagined topic. That’s its own genre. Hare Pota is the epitome of imagination, that has its own genre. This Marvel comic contains conversational and interactive dialogue, it has argumentative and combative language, as well as colloquial sayings and onomatopoeic words,” explains Papa.

She adds: “Witi’s novel has fictional narratives and contains the language used by sheep-shearing gangs. So there are no bounds to the styles of language that have been written by the authors, which we are translating.”

How the books are selected depends on timing and relationships. Some are requested by the authors themselves, others are suggested by those who are passionate about te reo, some by publishers, while some are put forward by trustees of the Kotahi Rau Pukapuka Charitable Trust.

“In terms of titles, we aren’t focusing on books for young children, because there is already a vast amount of those being written, so we are targetting 12-year-olds and above,” says Papa.

The stories will be made into audiobooks. This is where the strategy in terms of language revival really kicks in, says Papa.

“Ki a au nei, koirā te game-changer i roto i ēnei mahi. Koirā au e kaha akiaki nei aku hoa kia hurihia ngā pukapuka ka whakaputaina e mātau hei pukaoro, e hoki mai ai te mauri o te reo kōrero ki roto i ngā mahi pānui, kōrero pukapuka me kī, koirā te kupu tawhito a ngā kaumātua ko te kōrero pukapuka, kaua ko te pānui nā reira ka tino hāngai tērā ki ngā pukaoro.”

“To me, audiobooks are the game-changer. That’s why I’m eagerly encouraging my peers to transform the books that we’re translating into audiobooks, to allow the essence of the spoken word to be reinvigorated.”

Having audio accompany written text is a useful tool when learning te reo, especially for those who aren’t competent readers.

“By listening and reading congruently, those who are enthusiastic about te reo can improve those skills and gain awareness around its use,” says Papa.

Hare Pota has already been voiced by Pānia Papa and actor Tiare Tāwera, and Ruānuku has been completed by Hēmi Kelly. Puripāha and Nōu te ao, e hika e! are also lined-up to be released as audiobooks next year – although due to the challenges around gaining permissions from publishers, Ngāti Rānaki me Te Ranga Tipua won’t be receiving the same treatment.

More than just capturing audio to accompany the te reo translations, Papa says it’s about bringing the essence of the language to life with all of its subtleties and nuances.

“The feeling of reading differs significantly from the feeling of language being spoken. That’s where the real work is. Therefore, if we succeed in our pursuit to produce a number of Māori audiobooks, there will be a greater number of verbal examples, of a high-standard, that are being transmitted within communities,” says Papa.

Next year, the goal is to publish an additional eight books in te reo. Papa acknowledges that while it may take 20 years to reach one hundred books, each book contributes to the overarching objective, which is to restore the mauri of te reo.