Musician, activist, writer, academic, feminist, politician. (FOTOPRESS/Ross Setford. 2003.)
Musician, activist, writer, academic, feminist, politician. (FOTOPRESS/Ross Setford. 2003.)

PartnersAugust 8, 2018

The feminist who roared: Donna Awatere Huata on her legacy

Musician, activist, writer, academic, feminist, politician. (FOTOPRESS/Ross Setford. 2003.)
Musician, activist, writer, academic, feminist, politician. (FOTOPRESS/Ross Setford. 2003.)

How will history remember Donna Awatere Huata? Saraid Cameron hopes it’s for her feminism. 

Donna Awatere Huata will be speaking on a panel discussing the #MeToo movement at LATE at Auckland Museum on Wednesday 15 August.

I spent much of last summer (for theatre-geek reasons) in the New Zealand Women’s Archives, an almost forgotten collection at Tāmaki Paenga Hira Auckland War Memorial Museum. It’s an unedited, alphabetised collection of newspaper and magazine clippings and handwritten biographies of New Zealand women; they don’t have to be famous or important to make it into this collection, their stories just need to be written down. This was where I found Donna Awatere Huata.

I remembered her a little. Her name and her sunglasses were in my brain somewhere, along with the famous fraud. There were big gaps.

Awatere Huata started as an opera singer, training with the same teacher as Dame Kiri Te Kanawa, no big deal. She eventually gave up singing when her father was put in prison. Calling it “the lightning bolt to push her into action”,  Awatere Huata says it was her father’s imprisonment that led her to study educational psychology and get involved in social activism. In 1984 she published Māori Sovereignty, a book on the cost of colonisation to New Zealand’s indigenous people, which became instrumental in the Māori Protest Movement. She worked as a cultural consultant for various government bodies, before being elected to parliament as a member for the ACT party in 1996.

So: musician, activist, writer, academic, government advisor, politician. And fraudster. Damn.

The more I read, the more Donna Awatere Huata really lodged herself in the “inspo/hero” part of my brain because of quotes like this:

“New Zealand missed its opportunity to have the first working class women’s movement in the world. It was begun by working class women but the middle class movement usurped it. Those working class women had their role sabotaged. It was so divisive, the vitriol… oh the bitterness with which the women treated each other to gain ascendancy.”

From a profile headlined ‘Meet the Feminist Who Roars’ in the Auckland Star, May 30 1979.

I’m used to bringing up class or race in feminism around middle-aged women and having them stare at me like I’m speaking another language. But Awatere Huata was an expert on it more than 30 years ago. She’s quoted in the Are We There Yet? Women and Equality in Aotearoa exhibition, from a 1982 interview where she protests the unique oppression of women of colour:

“Feminists have concentrated on the sex oppression part of it and have fixated on the fallacy that it is possible to achieve goals for women without also making challenges to white supremacy and capitalism. Without these challenges all that is sought are goals that don’t change the system and which are priorities only for the elite who aren’t as oppressed by these powers as others.”

It feels almost impossibly ignorant to not see what happened to Awatere Huata through the lens of what very recently happened to Metiria Turei. Two highly successful Māori women in powerful positions, spending years fighting for those less privileged, committing very different degrees of fraud, but both facing the possibility of being remembered for that and nothing more.

When Awatere Huata speaks at the LATE at Auckland Museum on Wednesday 15 August, it goes a way to proving this not to be true. I am very happy to be working, living and reading at a time where I can rewrite my memories to reflect her more fully.

Donna Awatere Huata, the feminist who roars (Image: Gil Hanly Collection. Donna Awatere, 1982. Auckland War Memorial Museum Tāmaki Paenga Hira. PH-2015-2-GH191-10-10A ©.)

How did people see you and respond to you when you were writing and speaking about race and class in feminism in 1979?

Very badly. It got so bad. I had mates who I did things with that weren’t necessarily feminists but I would entice them into doing things like going out for a beer and sitting in a pub – even that was a radical action cause we’d be the only women sitting in the bar. So you’d be noticed. And they would find the attention and the body language of the men very intimidating but I didn’t. I just thought this is my place – I have a right to be here so I’m gonna be here. I want to have a beer with my mates. Just ordinary women who happened to be my mates but got dragged along to whatever I wanted to do. I didn’t allow any barrier to be put in my way. I simply was brought up to believe that I had my own power, by both my parents. So I exercised it often.

I got beaten up in the pub after Māori Sovereignty came out so often that I stopped going. And in those days I wasn’t a big drinker. It was like our marae, it was a social thing.

I’m a hedonist and that’s what kept me going as an activist. But even I had to give up that pleasure of going out with my mates. I got beaten up so often by angry Pākehā men, and I have no physical fear but it really did get dangerous for me. And dangerous for whoever I was with.

So what was the reaction? Extreme.

What do you see as the issues and difficulties of the current women’s movement?

I think after the 70s we got a lot better. I think things for women and Māori and for other ethnic minorities improved by the sheer power of – well they call us radicals – but those of us striving for our sheer humanity to be respected. The women’s liberation movement definitely moved things forward.

But where we got knocked back was neoliberalism. It’s knocked the poor, and it’s knocked women, and it’s knocked Māori. We’re so much worse off now than we were in the 50s, 60s and 70s because the economic chasm has grown. And the selfishness of the handful of privileged New Zealanders who hold that power have been allowed to get away with it. So the movement for change can’t be one for just Māori or just women. It really has to be united.

I feel like I’m part of a multitude of our people that have put their hands up and said stop. I realise I also am privileged. They suffered the worst of it. The complete assault to their mana, to their mauri. I’ve never had that. All I’ve had is white racist New Zealand give me a few hidings and assault me and not give me jobs and sack me but it’s bearable because I don’t value them at all.

What was your immediate response to the #MeToo movement?

Really uplifted. I was really uplifted. The feminist movement was very much an upper middle class white American privileged women’s movement. And it centered on the things that affected them: equal pay, abortion, decent child care, middle class issues.

But what it evolved into… I was part of the very first rape crisis centre that was set up on Ponsonby Road. I remember thinking vividly that I must go along to that meeting because this affects Māori women. We need a refuge for women who have been raped. It was all Pākehā, all middle class privileged women in that room but I was there to make sure that in their planning and organising the Māori need was included. It probably would have happened without be being there but I think it might have been slower.

The great things about the #MeToo movement is that it will percolate. It will meander its way through, it will get to the factory floor in 30 or 50 years’ time and it will be women collectively. It will help the poor and it will help Māori women who deal with this. So I was uplifted by that.

Do you think controlled discussions in historically white and colonial institutions go any way to fixing the problems caused by those institutions?

No, not at all. But I loved the approach they took to the exhibition that I’m a part of (Are we there yet?). I loved their consultative way and the humility. I loved the approach that the women I spoke to have taken. I love that it is a celebration of not just the well known, but the people who were there.

I stopped doing media probably ten years ago, but I am honouring the women I met and the work they are doing at the museum.

We need to transform away from museums. The Māori worldview is so much more beautiful than the Pākehā worldview.

How would you like to be remembered?

I’m not actually thinking of being remembered by anyone other than my family. Why would people remember me?

Donna Awatere Huata will be speaking on a panel discussing the #MeToo movement at LATE at Auckland Museum on Wednesday 15 August. Tickets.


The #MeToo movement has inspired countless women, and some men, to share their experiences with sexual assault or harassment through the internet. This LATE we assess the repercussions and reactions that are redefining the sexual landscape and explain how society might change in the process. Join us for contemplation and exchange that brings ideas and people together. 

Keep going!
Harvesting pinot noir at Martinborough Vineyard, a pioneering producer of the variety (Photo: Supplied)
Harvesting pinot noir at Martinborough Vineyard, a pioneering producer of the variety (Photo: Supplied)

KaiAugust 7, 2018

We’ve come a long way, baby: Why Kiwi pinot just keeps getting better

Harvesting pinot noir at Martinborough Vineyard, a pioneering producer of the variety (Photo: Supplied)
Harvesting pinot noir at Martinborough Vineyard, a pioneering producer of the variety (Photo: Supplied)

With its fascinating regional diversity, New Zealand’s most popular red has evolved into a wine that’s making the world sit up and take notice.

Pinot noir is a fickle friend. It’s one of the most difficult grapes to grow and wines to make. It requires a sunny, cool climate; its tightly clustered bunches are particularly susceptible to rot and disease; its thin skins give the grapes little protection from the weather and produce low-tannin wines that can be unpredictable in the winemaking and ageing processes.

It is also one of the most difficult wines to buy. A bad pinot noir is one of wine drinking’s greatest disappointments – fruity, but dull, like over-sugared cherry juice. A great pinot noir, on the other hand, is perhaps the wine most likely to elicit a religious metaphor – an ‘epiphany’ of elegance and complexity.

All of which is exacerbated by pinot noir’s price. Due to a combination of its difficulty to produce and its popularity (it’s the most popular red wine in New Zealand and Fine Wine Delivery Co’s top-selling variety overall), it can be difficult to find dependable bargains on the lower shelves, and risky to reach up to the top shelves where a tough vintage or a winemaking misstep can lead to expensive, disappointing wines. There is no wine purchase that benefits more from guidance than pinot noir, no wine where mediocrity might sit so close on the shelf to a revelation.

The first pinot noir was planted in Otago, Martinborough and Canterbury in the early 60s with clones from Switzerland. It wasn’t an immediate success, but over the next 30 years, more clones were imported – mostly from Burgundy, France, the traditional home of pinot noir.

In 1990, Rippon in Central Otago produced what is considered one of the first great New Zealand pinot noirs (Photo: Supplied)

It took until the 80s for a pinot noir, made by Danny Schuster in Waipara, north Canterbury, to win a gold medal. In 1990, Rippon in Central Otago produced what is considered one of the first great New Zealand pinot noirs, made by Rudi Bauer, who is now the winemaker at Quartz Reef.

Other pioneers included Martinborough Vineyard, whose winemaker Larry McKenna (now at Escarpment) is known as the “prince of pinot”,  Dr Neil and Dawn McCallum at Dry River, and Clive Paton at Ata Rangi, also in Martinborough. “Even in those early days, all of those early adopters – they were the ones who showed that pinot noir had a serious future in New Zealand,” says Fine Wine Delivery Co founder Jeff Poole.

Despite these leading lights, most early pinot noir in New Zealand was made from pinot noir planted to make méthode traditionnelle (i.e. sparkling wine made like Champagne but not from Champagne). “There wasn’t enough to go around so there was lots of mediocre wine commanding a lot of money,” Poole says.

In 1997, Poole started Fine Wine Delivery Co with his wife Virginia. In 1998 they moved the business out of their spare room on Auckland’s North Shore, which is when local pinot noir really caught his attention.

Three years later, in 2001, Fine Wine Delivery Co was the retail sponsor for the first New Zealand international pinot noir conference in Wellington, which showcased pinot noirs from around the country with a week of workshops, lectures and tastings. One of the most famous wine writers in the world, Jancis Robinson, was there. New Zealand pinot noir was truly on the world stage.

Jeff and Virginia Poole, founders of Fine Wine Delivery Co, with son Richard and daughter Tracey, who are both involved in the business (Photo: Supplied)

“With all that early promise,” says Poole, “all that was needed was to identify the sites where pinot noir would do best, identify the clones to see which had the best suitability to the local climates, the experience of the winemakers – going to the northern hemisphere to work vintages in Burgundy, the home of pinot noir, learning how they’ve traditionally done things – and most importantly, vine age. Vines don’t really give those better structures and characters until they’re at least 10 to 12 years old, and they really come into their own at 15 to 20 and beyond.”

Fairly early on, five regions developed: Martinborough, Marlborough, Nelson, Waipara, Central Otago, each with their own style and expression. Martinborough tends to red fruit and a herby spiciness; Marlborough is typically sweet red fruit – plum, cherry – but less herbaceous; Nelson is similar but with a little darker fruit; Waipara tends towards spicy, not herby, darker fruit; Central Otago is darker cherries and plums with stronger, deeper fruit characters – charming, fuller wines.

In 2003, Fine Wine started its annual pinot noir roadshows, tasking through a whole vintage of pinot noirs, narrowing it down to 90 to 100 out of about 400 from the entry level to the top end. After 14 years of roadshows, Fine Wine Delivery Co’s Passion for Pinot is now down to a more manageable – and carefully selected – 30 wines, showing not only the main regions but the diverse expression of the sub-regions that have developed their own distinctive characteristics as New Zealand pinot noir continues to develop.

“Pinot noir has come so far in terms of vine age and experience of the winemakers,” says Poole. “Now we’re really starting to sing and make great pinot noirs, even at the entry level. You’re seeing what the French call terroir – the soil, the air, the clones, the management of the vineyard, the people, but significantly driven by the site itself. What we’re seeing now is not just regional differences, which we’ve always seen, but distinct sub-regional differences within those regions. So it’s not just Central Otago, it’s Gibbston Valley, Bannockburn, Bendigo, Lowburn Terraces, Waitaki, Wanaka. They’re all different.”

Clockwise from top left: Helen Masters of Ata Rangi, Kevin Judd of Greywacke, Jen Parr of Valli Wines and Dom Maxwell of Greystone (Photos: Supplied)

Next week in Auckland, Fine Wine Delivery Co is hosting three special tastings that explore New Zealand’s unique pinot noir, including a four-course dinner matched to four different wines (pinot noir of course) at Cibo in Parnell. Guests will be guided through the nuances of this famous grape by legendary winemakers Kevin Judd from Greywacke in Marlborough, Helen Masters from Ata Rangi in Martinborough, Jen Parr of Valli Wines in Central Otago and Dom Maxwell of Greystone in North Canterbury, who will be showcasing their wines alongside the acclaimed food of chef Kate Fay on Tuesday 14 August.

Poole mentions Prophet’s Rock as an example of a New Zealand pinot noir with a modern yet traditional expression of place. Winemaker Paul Pujol has made wine around the world before settling in Bendigo, Central Otago, to make pinot noir and aromatic whites, which have been lauded by some of the most renowned winemakers in the world.

A few years ago, Burgundy winemaker François Millet, from Comte Georges de Vogüé in Musigny, was invited to a Central Otago pinot noir celebration and identified Prophet’s Rock as a wine with a wonderful expression of site. He invited Pujol to go to Burgundy to work a vintage and then, two years ago, returned to Bendigo to make a wine for Prophet’s Rock with his pick of Pujol’s grapes, which became the Prophet’s Rock Cuvée Aux Antipodes.

“It was absolutely stunning,” says Poole. “And it showed that the more traditional touch of the winemaker produced a sublime expression of the tannins, the acidity, the texture were all very fine and elegant. There’s a Frenchman telling us that we have it all here to be as good as anything that comes out of Burgundy. And in the next 10 years, it will be exponentially further again.”

Our soils and climates are perfect for growing pinot noir. Our vines have come of age, our winemakers are experienced and pinot noir is now a major factor in New Zealand’s reputation as a producer of world-class wine. “We’ve come so far in such a short time,” says Poole. “And there are still things we can learn.”


The Spinoff’s beverage content is brought to you by Fine Wine Delivery Co, which is completely and utterly devoted to good taste, whether it’s wine, food, craft beer, whisky, rum… Check out their website or pop into one of the two Auckland superstores.