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OPINIONSocietyMarch 6, 2021

All the things Michael Bassett got wrong in his noxious article

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While it has since been deleted and an apology issued, an op-ed by former Labour MP Michael Bassett published by the Northland Age and the NZ Herald this week caused an uproar for its racist cherry-picking and false reporting of historical facts. Historian Scott Hamilton sets the record straight.

Michael Bassett is an angry man. The historian and former Labour minister believes that he and other Pākehā are becoming second-class citizens of this country. In an opinion piece that was printed in the Northland Age and on the website of the New Zealand Herald, Bassett insists that a cabal of “Māori revolutionaries”, “woke” academics, and civil servants is working with sinister efficiency to turn Aotearoa New Zealand into a bicultural dystopia.

Bassett complains that he can’t tune in to Radio New Zealand without being assaulted by Māori words. He’s upset that Aotearoa is increasingly being used as a name for his country. He doesn’t like the fact that Auckland’s forthcoming Arts Festival will feature lots of Māori song and dance. And he thinks that New Zealand educators want to teach the nation’s kids that white people are evil.

Bassett’s article was soon pulled from both the Northland Age and from the New Zealand Herald. The managing editor of NZME, the company that owns both papers, called the text “unacceptable”. Hobson’s Pledge, the right-wing lobby group founded by Don Brash, condemned the removal of Bassett’s words, claiming that it shows “how far New Zealand has drifted” in the wrong direction.

I think that Bassett’s article is unacceptable, not because his skin is white or because he is a political conservative, but because he makes a series of demonstrably false claims about the history of Aotearoa New Zealand. Sometimes Bassett cherry picks an event from the past and tries to make it mean something it doesn’t. In other places in his text he says things that simply aren’t backed by evidence. Bassett used to teach history at the University of Auckland. He has written a series of competent, if rather dull, books about the history of politics and government in this country. But his latest effort wouldn’t be acceptable if it came from a first year undergraduate student.

Bassett begins his piece by complaining that Aotearoa, a “relatively recent” Māori name for this country, is increasingly being used alongside or even instead of New Zealand, which is supposedly “the name by which our land has always been recognised”.

But the use of Aotearoa is much older than Bassett suggests. The name appears in a song that George Grey collected, where it refers to the land discovered by the legendary navigator Kupe. The song was already old when Grey heard it in 1845. Auckland’s War Memorial Museum displays an exquisite flag that was captured by colonial troops from King Taawhiao’s men in the Hunua Ranges in 1863, during the early phase of the Waikato War. The flag is emblazoned with the name Aotearoa. When Taawhiao founded his own bank he called it Te Peeke o Aotearoa. The banknotes he issued carried the name. A search of 19th century newspapers at the Papers Past online archive turns up 1,379 references to Aotearoa, the vast majority of them in Māori-language media.

A bank note issued by Kiingi Taawhiao’s Peeke o Aotearoa, recording the name Aotearoa as early as 1886 (Image: Te Ara / Reserve Bank of New Zealand)

Nor does the name New Zealand have quite the history Bassett claims. Until the late 19th century, it had a meaning very different from the one we know today; it was associated with indigeneity. It was Māori, and not Pākehā, who were referred to as New Zealanders. In a famous text written in 1840, the English writer and historian Thomas Macauley imagined a far-off future in which London had become an abandoned ruin, which some “visitor from New Zealand” had come to study and sketch. Macauley’s imagined New Zealander was Māori.

It was only late in the 19th century, when a group of whites born in these islands founded the New Zealand Natives Association, that many Pākehā began to identify with the name New Zealand. (Māori were banned from membership of the New Zealand Natives Association.)

Bassett claims that New Zealand was always the preferred name for this country, but in the late 19th and early 20th centuries many Kiwi preferred Māoriland. Books like Adventures in Māoriland and Musings in Māoriland appeared. A national paper called itself the Māoriland Worker. In 1895, parliament debated making Māoriland the nation’s official name. A popular patriotic ditty sung during World War I was called ‘For Motherland, oh Māoriland’. A search of Papers Past finds 73,121 references to Māoriland in our media between 1839 and 1950. Nor was Māoriland unknown abroad: a search of Trove, the database of Australian media, turns up more than 20,000 uses of the name.

Bassett goes on to complain about the renaming of streets in Auckland Tāmaki Makaurau. He tries to downplay the importance of Tāmaki Makaurau to Māori by claiming that only 800 Māori lived in the area in 1840.

But why did Bassett pick the date 1840, and not, say, 1820 or 1860? The answer, of course, is that in 1840 an abnormally small number of Māori lived in Tāmaki Makaurau. Iwi that had moved into other territories after Hongi Hika’s Musket Wars campaign in the 1820s were only beginning to return to the isthmus.

A patriotic cartoon promoting the song ‘Oh Motherland Oh Maoriland’ (Image: The Observer, 1917); and right, the cover of Chris Bourke’s Songs and Sounds of New Zealand’s Great War

But even at the low ebb of 1840, there were many more than 800 Māori in Tāmaki Makaurau. In his history of the city, Bassett’s old university colleague Russell Stone notes that by 1835, 600 Māori had returned from exile and established a village called Karangahape, at present-day Cornwallis. There were other villages at Onehunga, at Māngere, and at Rangitoto-iti near the Tāmaki River. Bassett’s figure is badly wrong.

In 1820, before Hongi Hika’s campaign, many thousands of Māori lived in Tāmaki Makaurau. By 1860, Māori communities were thriving on the fringes of the Pākehā colonial city. The Manukau harbour was home to half a dozen increasingly prosperous kāinga. They grew wheat, planted orchards, and built a handsome scoria stone church at Māngere.

In 1863, Tāmaki Makaurau was again depopulated, as Governor Grey demanded Māori swear allegiance to the queen or go and join Tainui iwi in Waikato, with whom Grey was about to declare war. Kāinga were abandoned, looted and burned. The Great South Road filled with refugees. Bassett’s article neglects to mention the ethnic cleansing of Tāmaki Makaurau in 1863.

The ultimatum issued by Governor George Grey to Māori living in Auckland

Bassett gives the inter-iwi Musket Wars of the early 19th century a prominent place in his text. He believes that these wars show the shortcomings of Māori civilisation. But Bassett has a one-sided understanding of the Musket Wars. He is very aware of the massacres that Hongi Hika inflicted on traditional enemies using new-fangled guns. But he appears to know little about the peacemaking that slowly ended most of the wars, well before the signing of the Treaty of Waitangi.

In 1823, Hongi and his Ngāpuhi warriors invaded the rohe of Te Arawa. They dragged waka up streams and through bush so they could reach Mokoia, the supposedly impregnable island pā in Lake Rotorua. Hongi’s men stormed the island and killed many of its defenders. Immediately afterwards, though, peacemakers amongst Ngāpuhi and Te Arawa arranged a feast where the two iwi settled their differences. Māori culture had mechanisms for war-making, but like most cultures it also had mechanisms for stopping war. The interconnecting whakapapa of iwi like Ngāpuhi and Te Arawa always made it possible to appeal for amity, even amid calls for utu.

Bassett makes no mention of the tremendous impetus that the arrival of Europeans and the sale of guns gave to inter-iwi warfare. In Guns and Utu, his classic study of the Musket Wars, Matthew Wright compared the inter-iwi wars to the Thirty Years War that devastated northern Europe in the 17th century. In both cases, firearms upset an old order. In both cases, devastating warfare was eventually followed by a peace made by diplomacy. It would be unfair to use the Thirty Years War to suggest that Europeans were inferior to other peoples. Similarly, it is wrong to use the Musket Wars to denigrate Māori.

Bassett wants historians and schools to celebrate the “more developed culture” that Britain supposedly brought to the South Pacific. I suspect, though, that Bassett, with his conservative political views, would be horrified if schools taught the real reason many Britons came to these shores. A very large number of migrants were refugees from poverty and persecution in the mother country.

In his great book The Farthest Promised Land, Rollo Arnold showed how English farmers tormented by eviction threats and falling wages protested and set up unions in the 1860s and 70s. The rural workers went on strike and staged huge marches. In 1874, though, their largest strike collapsed, as hungry men went back to work. In response to this failure, the leader of the rural workers, future Liberal MP Joseph Arch, urged families to migrate to Britain’s colonies, in the hope of leaving their misery and oppression behind. Using archives on opposite sides of the world, Rollo shows how migrant recruiters sent to Britain by New Zealand’s government were able to persuade tens of thousands of impoverished and angry men and women to come to this country. I doubt whether many of these refugees would agree with Bassett’s simplistic veneration of British civilisation.


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The past is composed of an infinite number of events. Historians have to select a few. The events they select, and the stories they tell with those events, to some extent reflect their personal beliefs and experiences. That’s why history is always partly subjective as well as partly objective, and why there is no final, single historical narrative. But Bassett’s cherry-picking of events goes far beyond what would be acceptable to serious scholars of the past, and his evidence-free claims about Māori population and the history of our toponyms would also be rejected. It is hard to believe that the author of the text printed by the Northland Age was once a history professor. Bassett’s intellectual decline proves once again that bigotry is injurious to scholarship.

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Everybody’s been affected by these shifts in alert level, but the arts are being completely disrupted. (Image: Tina Tiller)
Everybody’s been affected by these shifts in alert level, but the arts are being completely disrupted. (Image: Tina Tiller)

SocietyMarch 4, 2021

Not just a bump in the road: Performing artists on lockdown’s cruel blows

Everybody’s been affected by these shifts in alert level, but the arts are being completely disrupted. (Image: Tina Tiller)
Everybody’s been affected by these shifts in alert level, but the arts are being completely disrupted. (Image: Tina Tiller)

The move to level three in Auckland, and level two across the rest of the country, has once more thrown the live arts into disarray. Sam Brooks asked some practitioners to tell us how the pandemic continues to disrupt their work.

There’s no doubt that New Zealand has been able to withstand the pandemic better than many countries. Our live arts have been able to weather this past year – and in some cases even thrive – thanks to a robust government response and extremely low case numbers. Almost anywhere else in the world the idea of going to a gig, a play, or an opera is still a dim light in the distant future. Here, for the most part, we can still bop to Six60 or bliss out to Schubert.

The situation is far from perfect, though. Auckland has had four lockdowns so far, and the rest of the country has moved to level two from level one three times. These alert shifts, while necessary for art to happen at all, have huge impacts on the industry. Cancellations, postponements and audience restrictions aren’t just bumps in the road, they’re gaps in the railway.

I reached out to artists, venues and companies whose work has been affected by this particular shift into level three and two. It’s a cruel irony that part of the beauty of the arts is not letting the audience see all the effort behind the final product. Hopefully, this will give you an idea of how hard the process is, and how it’s even harder when you can’t finish the job.

Jennifer Ward-Lealand and Anna Julienne in Auckland Theatre Company's Two Ladies.
Jennifer Ward-Lealand and Anna Julienne in Auckland Theatre Company’s Two Ladies. (Photo: Michael Smith)

Jennifer Ward-Lealand is an actor who appeared in Auckland Theatre Company’s Two Ladies. The show was disrupted by the earlier February level three lockdown, and has since had to cancel a North Island tour.

I didn’t find out (about the latest lockdown) till I’d stepped off the stage. Five minutes earlier a barrage of Covid alerts went off for the 550 audience members but we on stage didn’t know what the hell was going on. It was loud but not fire-alarm loud, and no one from front of house was coming into the theatre with high-vis vests on so… we just ploughed on and finished the show, and the Auckland season. My first words in the wings were “What the hell was going on?!” and our lovely stage manager answered, “Level three from 6am tomorrow for a week.” I knew then that our tour to Hamilton would be affected but I was still holding out for the rest of the tour to go ahead.

On Monday, we found out that the whole tour had been cancelled. To say that I’m gutted is an understatement and it’s hard to shake off the disappointment. I’ve been attached to this production since June 2020 with the show and tour in the diary since July 2020. I started research about November then seriously started learning lines from December 2020 before rehearsals on January 5th.

Beyond me, the work that has gone into organising the tour has been significant: production management, tour management, publicity, travel bookings, rental vehicles, hotel bookings… you name it. If there is a bright side, it’s that we got a whole season of a show completed albeit with four socially-distanced performances and three cancelled shows – and the audiences came, laughed, stood up and applauded. That’s got to be a good thing in a pandemic.

Cat Ruka, executive director of Basement Theatre.
Cat Ruka, executive director of Basement Theatre. (Photo: Ralph Brown)

Cat Ruka is executive director of the Basement Theatre in Auckland. The theatre has had to postpone shows twice this year due to Auckland moving into level three.

When the announcement was made I was doing some late-night housework. Just as I was starting to sink into my sacred unwinding, the announcement hit and took my brain straight back into crisis mitigation mode. Thankfully for us at Basement Theatre, we are in the privileged position of being well-resourced with an exceptional team and great response plans, so the management around level changes has so far been doable. Not easy, but doable. 

Regardless, I have concerns around the long-term impact this disruption will have on us and our wider industry, both in regards to our economy and the hauora of our workers. As we all know, constant change and the need to relentlessly problem-solve can be exhausting and demoralising, and the artists who invest their blood, sweat and tears into making work that is already challenging to create on a good day, suffer the most.

When we go into Covid restrictions, it’s our programmer Nisha who gets hit with the biggest and most challenging piece of work. Her role is to work quickly with each artist whose show has been affected by a level change, and together they have to arrive at a new delivery plan that will best suit the artist and their needs, taking into account their financial and mental wellbeing every step of the way. Once a solution is found – whether it be a season postponement, a postponement with a reduced season, a postponement with reduced audience capacity, a cancellation, or an alternative mode of presentation – then Tim and Ali kick into gear with comms and the fiddly work of re-ticketing, while Helen and I work to ensure there is a solid financial frame around it and that the new plans can be staffed well, and Trigg and Joel work to get the venue ready. It requires us all to show up in our fullest, have our thinking caps on at all times, and work in a deeply collaborative manner.

In comparison to the festivals that we have on at the moment, and other large scale events, I am really conscious of how lucky we are at Basement in the grander scheme of things. It’s for this reason that I’m trying to keep it all in perspective, and remind myself frequently that lockdowns are there for a very, very important reason.

Ella Becroft, director of Dakota of the Flats for Red Leap Theatre. (Photo: Andi Crown Photography)
Ella Becroft, director of Dakota of the Flats for Red Leap Theatre. (Photo: Andi Crown Photography)

Ella Becroft is the director of Red Leap Theatre Company’s YA show Dakota of the White Flats. The show was midway through its tour when it was forced to cancel due to the level three lockdown.

It is so out of my hands that I feel a sense of surrender. I mostly felt very very lucky that we managed to get three shows up in Whangarei after having to cancel our first shows due to the three day level change, and that lockdown had ended in time for us to get to perform in Hamilton. This tour was nearly over before it began, which would have been really devastating.

We initially did a two week workshop for Dakota of the White Flats in early 2019. We followed this up with three weeks in November 2020, and five weeks rehearsal leading up to this tour. We worked 8am to 4pm, Monday to Friday. Devising original theatre requires everyone, from the actors to the creative team, to invest huge amounts of creative, physical and mental energy.  

It makes you feel like you are on constantly shifting sands, and that it’s a real gamble to invest so much energy into creating new work that might have its chance to be in front of an audience snatched away in the very final moments. You throw the dice and hope for the best. Maybe you live a little in denial.

I find it hard when the conversation about the show that was such a joy to make and going really well out in the world, suddenly becomes focused on financial loss. That conversation can very quickly muddy the feeling of creative success. The tour ended so abruptly and without warning or celebration, so that very real post-show blues feeling is amplified.

Katie Wolfe, writer and director of The Haka Party Incident.
Katie Wolfe, writer and director of The Haka Party Incident. (Photo: NZ Herald)

Katie Wolfe is the writer and director of Auckland Theatre Company’s The Haka Party Incident, scheduled to premiere on March 4 as part of the Auckland Arts Festival. The entire season has been postponed.

I was in an Uber on the way home from our final studio rehearsal on Saturday night. We had just packed down the rehearsal rooms at Auckland Theatre Company and said goodbye to the space. We had an amazing run the day before and were really looking forward to getting into the ASB Waterfront Theatre. The driver said, “there’s gonna be a press conference at 9 o’clock” and I knew it was all over. 

I walked in the house, and I heard “seven day lockdown”. It was a very raw moment, in that it was kind of surreal. I actually think I felt absolutely nothing. Jonathan Bielski, CEO of Auckland Theatre Company, rang very quickly and told me that ATC will be presenting The Haka Party Incident, somewhere, somehow – that they were going to do it. That made me feel reassured and calm.

The Haka Party Incident began in 2017. It was presented at the ATC Navigator development season and since then I’ve been working towards this production. I am now in Taranaki, staying in my apartment which is next to the Len Lye building and about to publish the tenth draft of The Haka Party Incident. I’m looking forward to bringing it to the stage. Hā ki roto, hā ki waho – breathe in, breathe out. Mauri ora.

The dancers from Celtic Illusion. (Photo: Christopher Hopkins)

Anthony Street is producer, choreographer and lead male dancer of Base Entertainment’s Celtica The show is currently set to tour across the country in March.

The whole journey since landing in New Zealand has been an emotional and stressful one. The country went into lockdown the day before I was released out of MIQ which was horrifying, because all of my budget was in TV commercials and there was no turning back. The financial commitment was beyond comprehensible.

The second (2021) lockdown came as a huge shock and worry. I was sitting down watching TV at about 8:50pm, I just made a cup of tea after a nice day in the sun, relaxing and looking forward to what was looking to be a successful tour. Sales had picked up once again, but the 9pm press conference caused my world to come crashing down once again. I felt helpless but had to stay strong and work out an immediate plan to work around this issue, despite how terrified I was. Being so far from breakeven (a matter of hundreds of thousands of dollars) and then being told that we are going into lockdown, is something that I hope nobody else ever has to experience.

This job is a 24/7 role. I go to bed thinking of the tour and wake up thinking of the tour. We have 13 shows meaning that 13 venues are in constant communication with me. We are talking hundreds of emails daily. As alert levels change, so do our plans with each venue. My mood is really dominated by ticket sales at the moment, unfortunately. I have a certain number that I need to hit each day based on the number of days until opening night, and if we drop below, it has a huge impact on me.

Emma Katene and Rutene Spooner in Sing to Me. (Photo: Philip Merry)

Alex Lodge is the writer of Taki Rua theatre company’s Sing to Me. Sing to Me is currently in season in Wellington and due to be performed in Auckland next week as part of the Auckland Arts Festival, ahead of a nationwide tour.

I came out of the opening night of Sing to Me at Te Whaea in Wellington and was standing around with friends when someone got an alert from the RNZ app. Then everyone’s phones started doing the freaky alarm noise.

I have been writing Sing to Me since 2015 and developing it with Taki Rua since 2019. We did a lot of early workshopping with our amazing design team over the 2020 level four lockdown. The cast and crew are from all around the motu, so many people have been trapped in and out of Auckland during the rehearsal period and the Wellington season already.

Personally I am relieved for our Taki Rua family that we have got to open a complete show, because there have been many false starts. I was working for the Auckland Arts Festival when the 2020 festival was shut down and remember how demoralising that was. So I’m hopeful for the works that can be rescheduled, even though making that happen will be an epic task. I’m also interested in how we as an industry adapt to this as a long term, volatile environment. 

For myself and most of my performing arts colleagues, we plan at least two years in advance, so that we may have funding and scheduling lined up for projects. That simply isn’t possible now, so how can we make this unpredictability work in our favour?