A happy Māori man lifts up his laughing baby.
Photo: Getty Images

OPINIONĀteaMay 21, 2021

Māori and Budget 2021: What’s needed is a $50 billion colonisation recovery fund

A happy Māori man lifts up his laughing baby.
Photo: Getty Images

Māori law, business and policy analyst Joshua Hitchcock on whether incremental progress is, in fact, progress at all.

“Not shit.” As far as budget 2021 takes go, this one by Emma Espiner on Twitter best summed up the feelings I’ve seen expressed by Māori since Thursday’s budget. The lack of ambition to address the serious crises affecting many communities around Aotearoa – both Māori and non-Māori – was at least counterbalanced with several initiatives directed towards ensuring that life does not get measurably worse for those already struggling to survive our modern, crony capitalistic society.

In the context of the government’s budgeting process it’s easy to see why Labour’s Māori caucus is celebrating over $1 billion of new Māori initiatives. It is unprecedented. Never before have we seen this level of investment into Māori communities through the adoption of “by Māori, for Māori” approaches. But let’s be honest, the bar was set pretty low to begin with. We have had one-off initiatives in the past – Whānau Ora and the kura kaupapa movement for example – but this is the first time that a government has made a sustained investment, over three consecutive budgets, towards kaupapa Māori initiatives.

Yet, we will never reduce the inequality between non-Māori and Māori through small carve outs each year. It might feel good. It might even feel like progress. But it is going to require true, systemic transformation to achieve equity. Add this year’s $1 billion to the $900 million secured in 2020 and the $600 million in 2019 and you almost – but not quite – reach the same amount of money we spend each year on our armed forces. Now that’s progress.

After budget 2020 made increased investments into Māori education and employment, budget 2021 shifts the focus towards much needed responses to Māori housing and health. That these are priority areas for this government is easy to understand. We are in the middle of a housing crisis. For Māori, this crisis has been ongoing since the early 1990s when home ownership rates started to plummet and the economic reforms of the fourth Labour government decimated Māori employment and whānau incomes. In health, Māori continue to experience worse outcomes across the board and the funding for the new Māori health authority is a step in the right direction towards addressing these inequities.

Earlier this week, The Side Eye highlighted the 2,700-day gap in life expectancy between Māori and non-Māori and discussed the experience of Māori dealing with a health system not designed with us in mind. It is one sobering example of the hundreds of inequities that Māori experience in Aotearoa. From life expectancy to health outcomes, employment and incomes, housing and incarceration – Māori are at the negative end of almost every statistical indicator of health, wealth, and prosperity in Aotearoa. The small carve outs and incrementalism of this government is unlikely to shift the dial on these statistics.

The government has the ability to fix these issues if they want to. We saw in 2020 the full power and potential of the state when it sets its mind to averting a catastrophe. With the threat of unemployment reaching double figures and an impending economic crash, a $50 billion Covid recovery fund was developed and allocated in a matter of days towards addressing the crisis. Jobs were protected, the economy stabilised, and life returned to (somewhat) normal. We need that same sense of urgency, of commitment, of direct action towards improving Māori outcomes. We need the full power of the state to partner with Māori to achieve this. We need a $50 billion colonisation recovery fund based on the three promises of Te Tiriti o Waitangi: equality, self-determination and equity. A fund that takes a strategic approach to addressing inequity, not a year by year, incremental, take what we can get and try again next year approach.

Progress in this area is always a positive outcome but it is one which is currently beholden to party politics. There is a massive risk in this piecemeal, incremental approach – evidenced by the current direction of the National party, which has come out strongly against key elements of these “by Māori, for Māori” initiatives. When the government changes and the strong Māori voice we currently have around the cabinet table disappears, what happens next?

Keep going!
Frankie Adams stars in episode one of the horror anthology Teine Sā (supplied)
Frankie Adams stars in episode one of the horror anthology Teine Sā (supplied)

ĀteaMay 20, 2021

Horror series Teine Sā is bringing a new kind of Pacific storytelling to the screen

Frankie Adams stars in episode one of the horror anthology Teine Sā (supplied)
Frankie Adams stars in episode one of the horror anthology Teine Sā (supplied)

Ancient legend meets contemporary life in the new anthology TV series made entirely by Pasifika people, writes Lofa Totua.

Ancient Indigenous Pacific deities, and their role in the lives of Pacific people, are the subject of Teine Sā: The Ancient Ones, a five-episode anthology brought to the screen by a village-sized collection of Moana talent, on both sides of the camera.

In the series, which debuted on Prime last week and is streaming now Neon and The Coconet TV, five sacred gods cross paths with five different women in the modern world, helping them with their struggles and leaving lessons in their wake. While the myths that form the basis of the series are ancient, the issues explored in each episode are contemporary and relevant to the Pacific diaspora, from school bullying to gender identity to the impacts of disrespecting one’s own heritage.

Close to home

In Sāmoan mythology, teine sā are beautiful spirit women who fiercely protect their local village or area. The series explores the nature of these beings and their role as protectors, and reclaims the powerful legends about their presence that are often kept alive by mothers and aunties across Pacific communities.

For Mario Faumui, the Sāmoan director of the first episode, ‘Teine Sa’, the series has been both a healing experience and way to honour his ancestors. He says he felt it was important that he uphold the essence of the ancient stories by treating them with respect. “These are not little goosebump stories that we have just devised, these are the real stories of our people.”

Teine Sā is a unique proposition for the Pacific screen industry: as a horror anthology, it marks a welcome change in tone after years of more light-hearted fare, dominated by documentary-style storytelling and comedy skits. Exploring another genre has its challenges, but Faumui says the project was a powerful one for all involved.

“We’ve all heard these stories so many times in different mediums. Whether it’s visual art, in plays or with photography, everyone has had their own version of the teine sā. This was an opportunity to explore another genre and these stories were the perfect fit.”

Elsie Polosovai, the young lead actor in the episode ‘Hiami’ (supplied)

Matasila Freshwater is the director of a story with strong ties to her Soloman Island heritage. Her episode, ‘Hiama’, is the first project in New Zealand to be created – written, directed and acted – entirely by Melanesians.

The episode was inspired by a story from Freshwater’s own family, and her mother was part of the creative process from the start. Freshwater, the 2019 SPADA young director of the year, says whakapapa was a vital element of the series – and of her episode in particular, which relied on family knowledge and oratory passed down through the generations.

“I was really lucky to have had that gifted to me and have been supported by family in that – and to be able to also reshape [the story] too.

“Projects like this can be really tapu and sacred; we have to navigate it carefully and thoughtfully and, hopefully, do the best job. We won’t always get it right but it is still a step forward.”

It takes a village

The series features some of our biggest Pacific stars, including Frankie Adams (Shortland Street, The Expanse), who takes the lead role in four out of the five stories. Joe Naufahu (Game of Thrones) and Dominic Ona Ariki (One Lane Bridge) also appear, as well as a raft of newcomers including Samoan LGBTQ+ actor Petmal Petelo Lam and young actor Elsie Polosovai, the lead in Frehswater’s ‘Hiami’. Bringing new stories, new voices and new faces to the screen was a key part of the project, with veteran directors Toa Fraser and Sima Urale acting as mentors for those with less experience. Alongside Faumui and Freshwater, the directing roster includes the comedian and writer Mario Gaoa of the Naked Samoans, talented short film maker Miki Magasiva, and acclaimed actor and director Anapela Polata’ivao. The driving creative force behind the series was producer Lisa Taouma, the co-founder of Pacific content hub The Coconet, where each episode is streaming.

Holistic thinking and values ensured an on-set environment that felt generous to work in, says Freshwater, while Faumui says he felt empowered by the ability to freely speak his mother tongue whilst directing in a culturally safe space – a hopeful sign for aspiring directors and creatives that screen production is becoming a more welcoming environment for people from all cultural and social backgrounds.

Frankie Adams in the episode ‘Sina and Tuna’ (supplied)

Story sovereignty 

Teine Sā is part of a new chapter in Aotearoa New Zealand television and film, which has long been an arena where Pacific storytelling and creatives are underrepresentated. Both Freshwater and Faumui say Pacific values were integral to their directing, particularly the Sāmoan value of tautua, or service, along with the duty they both felt to their communities in sharing these stories. They also hope the series will contribute to the ongoing conversation about delconisation and anti-blackness. For Freshwater, the spirit women at the centre of her episode are not subjects of fear, but of reverence. Since its earliest days, television and film has associated blackness and darkness with evil, and Freshwater says she hopes Teine Sā will help address that damaging stereotype.

“Horror has typically demonised people of colour, women, trans bodies and queer bodies. We are dealing with a film language that has rendered us invisible or murdered us. To be able to play in that space – in that grey area – and hopefully present something different and new to what that Eurocentric view of horror has typically done, is really cool.”

For these two Pacific directors, the series represents a space for real cultural reclamation, and an opportunity to embrace the parts of Pacific history and mythology that are far more complicated than just “scary stories”. Quoting his episode’s writer, Lindah Lepou, Mario Faumui says the series is about “language and reference” – about Pacific people getting to see their own stories on screen.

“The dream and ultimate wish would be that our people don’t get to study Shawshank Redemption and Romeo and Juliet. They can choose to study us.”

Teine Sā: The Ancient Ones is streaming now on Neon, Prime TV and The Coconet TV

Ātea