Vunilagi Vou gallery in Ōtāhuhu. Image supplied.
Vunilagi Vou gallery in Ōtāhuhu. Image supplied.

ĀteaJune 23, 2019

‘Art belongs to us’: Behind the scenes at Ōtāhuhu’s first-ever art gallery

Vunilagi Vou gallery in Ōtāhuhu. Image supplied.
Vunilagi Vou gallery in Ōtāhuhu. Image supplied.

Earlier this month Vunilagi Vou opened in Ōtāhuhu, the first art gallery the south Auckland suburb has ever had. Its director, curator Ema Tavola, is passionate about centring South Auckland communities and art makers in conversations around contemporary New Zealand art.

Ōtāhuhu is home to a large migrant population, more than half are from Pacific Island nations, but a lack of investment for years by the council means that its residents aren’t focused on fine arts as a community issue.

A well-established curator of mixed Fijian-Pākehā heritage, Ema Tavola rejects the idea that art should be confined to rich, white areas. She says moving to New Zealand to study a visual arts degree in Ōtara highlighted the huge difference in expectations of rich and poor suburbs.

“It was just the most extreme thing to be talking about fine art from Europe and walk out the gate into a community that was 70% Polynesian. I really wanted to find out what art looked like that lived in communities like this and create space where our communities can find value in the things we love to do, which is make work in this fine art context.”

Ema Tavola. PHOTO: Pati Solomona Tyrell

That contrast pushed Tavola to work with Pacific communities and after a time volunteering at a community-run Ōtara gallery, she moved into a full-time role at Manukau City Council. While there she established Fresh Gallery Ōtara, a gallery that celebrated local and South Auckland artists. After curating 66 shows there, she made the move to Ōtāhuhu.

While the concept is very similar, Tavola says there is a huge difference between the areas.

“Ōtara is a very connected community, and they’ve got together and done a lot of things as a group, they have agency and they participate a lot in things that affect their lives… Ōtāhuhu has very siloed cultural communities, big Vietnamese community, Sikh community, if you go to any local board things here… the participation levels are quite different to Ōtara”

Vunilagi Vou is a Fijian name, vunilagi meaning ‘horizon’ and vou meaning ‘new’. Tavola says the name represents the life-giving energy of the sun. “The sunrise and sunset is that metaphor for projects, in the way that I work methodologically, that I love when things have a beginning and an end.”

The gallery’s opening exhibition is made up of works from 13 different artists, and includes weaving, photography, painting and printwork. Tavola aims to highlight female artists in the space, and says in her experience, they’re less likely to be pushing their own work into these galleries.

“Since I’ve become a mum it’s made me realise how much mother-artists completely put their practise on the back burner. My daughter is almost five and for the last five years I’ve really tried to enable women and mother artists to have opportunities because they’re not out there so much, they often get overlooked.”

Of the 13 artists on show at Vunilagi Vou, eight are women. But Tavola says it was an exercise in questioning her own biases. She curated a show in the International Biennale of Casablanca last year, and says most of the artists she initially thought of taking were men.

“I had to really take a step back and say who are the women artists doing great things but not out there on the front lines showing it off all the time… You have to check your biases. It’s definitely easy to work with male artists when you just do a quick scan and forget to think more deeply about it, but I have a lot of intention to enable women artists.”

“Mind That Māori” (2019) by Melissa Cole in collaboration with Rudi Robinson. PHOTO: Vunilagi Vou.

Tavola curates her art carefully, selecting pieces for her shows that speak to the heart of the community she’s involved in. Looking straight through the doors from the tiled arcade is a portrait of social media star Boom Bullet, by artist Niutuiatua Lemalu. He’s well known in the Pasifika community, and the work is a prime example of how when art is taken out of its societal context, it can lose meaning.

“A lot of people have come in and wanted to ask questions, the thing I love about curating in this kind of setting are the themes and how they resonate with these audiences… [Boom Bullet’s] famous for his tattoo, he gets heated in videos and takes his shirt off and smacks his chest, and here, people are like ‘ohh Boom Bullet!’ they know it straight away, and that opens up a conversation.”

A dark portrait placed in the corner of the room was a late selection for the gallery. Tavola says she chose it after hearing the news that Sāmoan actor Pua Magasiva had died.

“That had such an impact on our community and it just makes me think about the darkness that sits within our communities. Every group of Pacific Islanders have this behind the surface and its things that we don’t want to look at and we don’t want to confront.”

That kind of conversation is what’s missing from other, more traditional galleries. Tavola wanted to make a space for Pasifika art not just to bring the art to the people, but to make the people more comfortable with seeking out art that resonates with them.

“This is about accessibility, and I’m not going to sell a $2000 painting to my average customer here, but it’s about seeing that our work is part of this community, reflects this community, and hopefully bring the art community to us.” 

“Octopus Dream” (2019) by Daniel Weetman, “Boom Bullet” (2019) by Niutuiatua Lemalu and a photograph by Julia Mage’au Gray. PHOTOS: VUNILAGI VOU.

She’s worked all over the world and says one of the barriers to lower income or minority communities enjoying art is the walls of the galleries themselves. Vunilagi Vou has a glass storefront, which is one of the reasons the space stood out to Tavola.

“At lots of gallery openings, you’ll find Pacific people outside. They’ll be outside because they don’t often feel that comfortable inside. I love that we can say this is an inside outside gallery. The arcade makes it sort of a safe space as well, you don’t have to have an intention to go to an art gallery, it’s just here as part of our landscape.”

It’s probably no surprise that most of the artists in Tavola’s show have jobs outside their creative pursuits. The arts have always been seen as an elusive way to make money, and there is no difference here. “One of Daniel’s jobs is being a musician in the Black Seeds, but like most creative pursuits, there’s often a need to subsidise creative incomes with other work.”

But exhibitions like the one at Vunilagi Vou do create moments where more established artists and new artists can take a space on a wall next to each other. Tavola says this exposure can help both of these groups in different ways. “It’s really good having the likes of Daniel Weetman who’s never exhibited before, be able to say his first exhibition was alongside Andy Leleisi’uao, who is one of our most successful contemporary Pacific artists. It’s beneficial for emerging artists, and it’s really beneficial for Andy as well because, in the art world, success is about selling work mostly to people not in your community.

“Our artists are our prophets, they connect us to our past and present and future and they hold a special place. It’s about bringing it back and not letting art be held and seen as a palagi thing because it’s not. It belongs to us, it sits in our communities, it should sit and be accessible to our people.”

Keep going!
black and white image of adult holding a babies hand
Survivors testified to the inquiry about the ongoing impact of suffering they endured in care as children Image: Getty

ĀteaJune 19, 2019

Uplifting children is not a Māori problem. It’s a colonisation problem

black and white image of adult holding a babies hand
Survivors testified to the inquiry about the ongoing impact of suffering they endured in care as children Image: Getty

Last week the Ministry for Children’s practices around uplifting children and putting them in state care were exposed in a harrowing investigation by journalist Melanie Reid. It’s no coincidence Māori are disproportionately targeted, writes Tina Ngata.

If you venture into the websites for the Ministry for Women, Ministry for Children and Ministry of Health, the images and language around a maternal healthcare journey, and subsequent support for parents and children, paint a very particular, positive picture: smiling upturned brown faces, the sun beaming down on them – full of hope and aspirations, looking up towards a bright future. Declarations of support for loving, nurturing environments and belief in young people living up to their full potential. The use of our potent moko kauwae as the logo for the Ministry for Women implies an acknowledgement of the sacred role of wāhine in the family and community.

What has been made very clear in the Newsroom article that rocked our nation is that the reality for young Māori mothers is very, very different. Like rats circling a bird’s nest, Ministry for Children agents come back, again and again, trying to wear down the mother and her family, trying to isolate and cajole, then threaten, intimidate and deceive. It’s a relentless assault upon the young māmā, her family and her child, a jarring testament to what young Māori mothers are put through within the health system.

This is not a new problem, but what Melanie Reid’s documentary did was put a face to the problem that Māori and Pacific whānau already know is out there. We live the reality of these intimidating tactics every day. Our health system has been identified as racist towards Māori from within its own ranks, and by the international Commission for the Elimination of Racism and Discrimination in Geneva. We have known for a long time that Māori children are many times more likely to be taken from their families than non-Māori. We have known for a long time (and unequivocally so since Aaron Smale and Mihingārangi Forbes’ reporting on Ngā Mōrehu) of the statecare-to-prison-pipeline. What Melanie Reid did was burst through the systemic walls – put up by the police, hospital staff and the DHB – that protected this practice, to expose the human face of this particular dimension of New Zealand’s colonial legacy.

What is also clear, in the documentary and in the language used by the state, is that overwhelmingly these babies are being considered and assessed as individuals, not as the child of a whānau or a community that is irrevocably damaged by their removal. Certainly not the victims of a racist system that was conceived to disadvantage non-Pākeha. But they are all of these things. They are mokopuna, and I would go into all of the beautiful, profound meanings of that word but I’m jaded from reading the hollow rhetoric on these state agency websites which demonstrate no idea of how to implement that understanding, let alone the intention to implement it.

All we need to know right now is that this is not an isolated case.

The figures show that excessive uplifts for Māori and Pacific Island whānau are happening nationwide, but now we also have evidence that the intimidation captured by Reid on camera is used as a matter of routine.

The E Hine – reducing barriers to care for pregnant Māori women under 20 years and their infants study has walked with Māori women aged under 20 in Hawkes Bay and Wellington through their journey into motherhood, seeking to understand their lived experience of a health system that is clearly failing them, their whānau, and their babies. This study included a maternal care system stocktake, and interviews with state agencies and service providers, whānau, fathers and of course the mothers themselves.

Having walked alongside and advocated for a number of young Māori mothers over the years, I can say that the Newsroom video did not shock or surprise me in the least. Many who are unfamiliar with the system may assume a parent must have demonstrated harm to a child in order to come to the attention of these services. In fact, the only thing you need to do is be considered ‘high risk’. The statistical storytelling of our colonial government means that when a Māori mother is xx% more likely to suffer violence, to not engage in healthcare, or to have a difficult birth, this is not treated as an indication of a flawed system – it is treated as an indication of a flawed mother. In that sense, minister for children Tracy Martin and her staff – who consistently point the finger of blame elsewhere – are very much the voice of the system.

Consequently, belonging to the statistical at-risk category (by virtue of being young and Māori) and walking into a hospital triggers a systemically racist treadmill of hyper-vigilant surveillance, unrealistic expectations and increased risk of state intervention. If you meet the additional criteria of having a Māori mother who was caught up in this same treadmill when you were born, it increases the likelihood of state assault significantly. It may never occur to most parents that going to hospital to give birth or taking their child to hospital for treatment will result in having them removed or permanently taken. But this is a real consideration for young Māori and Pacific Island parents. The young wāhine in the E Hine study were also therefore not unique in facing this threat.

Here are some of their experiences:

“Cause CYF got involved with my first son so we’ve had all that stuff and we’ve had to be like monitored… You never know what’s going on because they never tell you anything… I don’t like it. (Ngaio, interview 3)”

“They turned up on my doorstep… apparently we were beating up the kids… ‘Do you see anything on my kids? Do they look hurt? No, they look happy.’ And I wouldn’t let them in my house, because my house was a big mess, and ‘cause they would have claimed that as neglect… So I just talked to them at the door. And they just wanted me to strip my kids down so they could see them and see if there’s any bruises. (Mere, interview 6)”

“[CYF were] trying to trick me with questions like, ‘So you would leave your daughter with your mum if you go out drinking and that and do drugs and that?… And then they tried to ask me that again and I told them again, ‘I don’t do it!’ They just wouldn’t listen to me. Trying to be real assholes… It was just ticking me off. (Marama, interview 1)”

 “Mum had spoken to them not to speak to me by myself, a few times… but they kept coming in and asking me questions, and I had already said to them, ‘I’m not in the state of mind to answer questions,’ and they’d just come back in, keep on coming in and out… I was not in the state of mind to be answering questions from them, I was worrying about my son, not them. (Tia, interview 2)”

This last quote is from a young mother who came under Ministry for Children surveillance while in hospital with her baby son who had nearly died of SIDS. While he was recovering, the ministry agents and hospital social workers closed in on her in a manner she found intrusive, intimidating and judgmental, and the pressure remained that way for months afterwards.

Over the years I have seen this betrayal of trust – young mothers who go into hospital and are then subjected to questionnaires asking a raft of hypothetical, convoluted questions, or intrusive questioning about their home life that lack clarity and context. In some cases the young mothers innocently believe the social worker is there to help them, and answer the questions openly, not knowing that the information is being interpreted and used to justify putting them under scrutiny.

So no, what Melanie Reid has reported on was not an isolated case. Nor will it be fixed by the replacement of any one person. Should accountability be held by Oranga Tamariki CEO Grainne Moss and minister Tracy Martin? Absolutely. But just as this treatment is not isolated to Newsroom’s report, accountability is not isolated to those specific workers who facilitated that invasion, or even the leaders of that agency. This is a systemic issue that is fed into through education, health, justice and corrections, not to mention economy, culture and heritage. This is a colonial, racist system doing what it was set up to do from its very inception: dispossess indigenous peoples in every way. Make no mistake: the system is not broken. It is operating exactly as it is intended.

As Dr. Rawiri Karena points out in the clip below, the taking of indigenous children is a purposeful technique of the colonial commonwealth machine that was developed in England for application around the world.

https://www.facebook.com/joe.trinder/videos/10216805714767821/?t=31

For a clear understanding of how effective this has been we need only look to other settler colonial nations and their records of indigenous children, youth and adults in state custody:

Source: Te Wharepora Hou

If you look at these locations, all of the indigenous groups associated to them are radically different from one another, and there are even radical internal indigenous differences in countries like Australia and Canada. There’s no cultural common ground that predisposes us to crime, but what we do have in common is an experience of colonisation.

As Moana Jackson states:

“Māori and other Indigenous peoples aren’t born genetically poor nor collectively dysfunctional. Instead, it has been the dispossession through colonisation that has created the deprivation and that has destroyed the cohesion of once strong family units. No Māori prisoner can be isolated from the collective costs of that traumatic dispossession”.

Indeed, in reflection of the above statistics, it is quite clear that no indigenous prisoner can be isolated from the cost of their traumatic dispossession from their whānau. As Khylee Quince reported in a recent article:

Over 70 percent of our prison population has a care and protection background – many removed from families into state care. Children in care are 107 times more likely to be imprisoned by age 20 than other children.

Equally disturbing and connected – the ‘state care’ to mental health pipeline:


It is not an Aotearoa problem, it is not a Māori problem. It is a racism problem.

We cannot continue to look at these issues besetting Māori and Pasifika people – abuse in state care, homelessness, hyper-incarceration, higher mortality rates, and the taking of children from their homes – and assess them independently, as if the core issue of colonial racism is not the driving factor. How many times must our government continue to address these issues at an agency level before it will accept that the entire system needs an overhaul?

In the same article, Khylee recalled:

A couple of months ago I met with a Māori inmate in Mt Eden Prison. He was 50 years old, and told me that his cellmate had first been his room-mate when they were eight years old in Hokio Beach Training School 42 years earlier. He talked of their life-long relationship, and their “graduation” from state care, to youth justice residence, to adult prison as if it was inevitable. This is one of the “pipelines” those of us who work in criminal justice refer to – the “welfare-to-justice pipeline” – a metaphor referring to the connection between being removed or uplifted from family into state care, and offending as young people and as adults.”

It is chilling to think that this is the same trajectory that could have been set were the midwives and whānau of the young woman in the Newsroom story not as vigilant as they were – and equally chilling to consider the other families, every week, who are not as fortunate. Each of them will have a story as heartbreaking and harrowing. Ironically, this evening while I was writing this, a tweet from United Nations Rapporteur for Indigenous Rights Vicky Tauli-Corpuz popped up:


Our māmās are sacred. They are strong, resilient, and capable. Given a chance they are amazing mothers. We must view this as the default for our young Māori mothers. Wraparound, whānau-inclusive support and protection for a young Māori māmā does not just serve her – it serves her baby, her whānau, and as that trajectory continues, it serves our entire community. We must shift the perception from one of a young parent as an individual, to that of us as a community who, in failing them, are failing ourselves.

We must also strip these harmful organisations of the Māori façades they use to cloak their ongoing colonial project. The first step on the pathway to justice is truth, and every day that we allow these groups to maintain their lies about caring for and supporting Māori whānau we are denying them an important opportunity to confront their own racism. For 250 years now, colonial forces have assumed rights over Māori lands and Māori bodies that simply are not theirs to take. This will only halt when we call it for what it is: a continuation of the racist colonial project of indigenous dispossession.

Then, and only then, will we start our journey to true justice for our children, their māmās and whānau.

Ātea