The last living co-designer of the tino rangatiratanga flag, Linda Munn (Photo montage: supplied/Tina Tiller)
The last living co-designer of the tino rangatiratanga flag, Linda Munn (Photo montage: supplied/Tina Tiller)

Summer 2022January 17, 2023

The enduring legacy of the tino rangatiratanga flag

The last living co-designer of the tino rangatiratanga flag, Linda Munn (Photo montage: supplied/Tina Tiller)
The last living co-designer of the tino rangatiratanga flag, Linda Munn (Photo montage: supplied/Tina Tiller)

Summer read: The last surviving kaitiaki of the tino rangatiratanga flag, Linda Munn (Ngāi Pōtiki, Ngāpuhi) wants people to ask first before capitalising on its symbolic imagery.

First published February 6, 2022

With the striking red and black background and bold white koru in the centre, the tino rangatiratanga flag is unmissable. It’s become a well-known symbol of colonial resistance since its creation in 1990. Whether it’s flying at Waitangi, or in the face of Richard Seddon on the streets of Paremata, the tino flag stands tall as a visual reminder of the failed promises of the Treaty.

In the Māori text of Te Tiriti o Waitangi, recognised by the United Nations Declaration on the Rights of Indigenous Peoples as having legal precedence over the English text, Māori specified that they would retain tino rangatiranga (self-determination, sovereignty, autonomy, self-government, rule, control and power) over whenua, kāinga and taonga.

This obviously didn’t happen, so the struggle for tino rangatiranga continues and the flag’s relevance remains. Arguably, it’s more visible now than ever, with a new generation of activists embracing the symbol and flying it proudly.

Sadly, as its popularity has increased, so too has appropriation of it. In recent times, fringe activist groups have co-opted the tino flag for protests unrelated to kaupapa Māori. Flags are also being mass produced for profit, on the likes of AliExpress for $11.

Linda Munn, one of the original three designers of the flag, and the last living kaitiaki, wants the original kaupapa of the flag to be upheld.

“The main thing is for our people to feel like they’re unified. This is their flag, but don’t go and rip it off — still ask.”

In 2009, then-Māori Party leader Pita Sharples called for the flag to fly alongside the New Zealand national flag on the Auckland Harbour Bridge during the Waitangi Day celebrations in Auckland. (Photo: Hannah Peters/Getty Images)

A symbol of liberation and identity

The flag was born out of a design competition run by Te Kawariki, a collective of activists in the Far North in 1989. They wanted to create a national Māori flag to fly at Waitangi the following year for the 150th anniversary of the signing of Te Tiriti o Waitangi.

As the story goes, the design for the flag was drawn up by Hiraina Marsden on a napkin in a wharekai. It was later used as a basis for 10 flags of the same design that were sewn by hand by Linda Munn and Jan Dobson, supported by many others. Linda Munn emphasises the flag is the result of a group initiative, acknowledging the influence of Hilda and Hone Harawira within the Te Kawariki collective.

An official poster of the flag, printed by Te Kawariki, explains what the different elements represent. Munn attributes elder Poua Erstich for setting the kaupapa and tikanga of the flag:

The black represents Te Kore, the realm of potential being. It is the long darkness, from whence the world emerged: the formless, passive, the male element. The white represents Te Ao Mārama, the realm of being, the physical world. The koru represents the unfurling of new life: a promise of hope for the future. The red represents Te Whai Ao, the realm of coming into being, Papatūānuku, Earth Mother, sustainer of all living things. Red is the colour of the earth from which the first human was made. 

A $5 poster was printed locally to cover the costs of promoting the flag. Within days people were asking for one for their kohanga reo or to use the logo on their team uniforms. (Image: Mana News/Te Kawariki)

“It was meant to take away from the colonised flag, the New Zealand flag. The main point about designing something that is uniquely Māori, is that it’s for Māori and represents Māori,” says Munn.

Some of the kaupapa set by Te Kawariki included that it must never be worn on someone’s behind, that the dimensions can’t be changed, and it must be used to support kaupapa Māori, not for personal gain. The original artists also wanted any royalties to go towards setting up an arts wānanga in Ngāpuhi.

As the last surviving kaitiaki of the flag, Munn says she appreciates it when people approach her first and explain their kaupapa.

“There is a process, it’s not a huge one, I don’t make people jump through hoops. The key thing is that they have to give back. They have to pay it forward.

“Give back to your marae, you kōhanga reo, your community. If you’re working with homeless people, make some money, feed them, house them. It has to be going back into the community.”

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In service of the collective

Alongside her work to protect the mana of the tino flag, Munn is dedicated to helping rangatahi and wāhine Māori.

She’s a mother, grandmother, daughter, sister, niece, and long-serving member of Te Rōpū Wāhine Māori Toko i te Ora (Māori Women’s Refuge).

“It’s something I’ve been involved with since I was kid,” she says, which put simply is about “keeping our women safe and alive”.

“Last year and in 2020, we lost some girls that I was personally working with, they were killed, and that really knocked us around. It really hurts us when our girls… get taken.”

This is the stark reality of the negative impacts of colonisation that Munn works tirelessly against. Beyond that, she also sits on hapū trusts that support rangatahi through education by finding them places in kura kaupapa, and getting them out of “mainstream bullshit”.

“If there’s a need, there needs to be something there to help them. Who better to help them than our own people? To help them know that there’s another way to learn.. to come back to the marae and learn wānanga space, not classroom-colonised.”

The tino rangatiratanga flag flies on the maunga during the occupation at Ihumātao. (Photo by Phil Walter/Getty Images)

Mahi toi as healing

Munn’s mahi has always been about wāhine, she says. This extends to her down time – she’s an avid painter, and says it helps clear her mind. She is currently preparing works for an upcoming exhibition she’s curating alongside Robyn Kahukiwa and Tracy Tāwhiao. The exhibition ‘Wāhine Māori – The art of resistance’ features the works of 12 Māori women who have opposed colonisation and the impact on their culture, their history, their language and belief systems.

From her garage studio, she has poured onto canvas her own whānau mamae caused by colonisation in the form of the work, Hineteiwaiwa.

“My grandmother died as a result of poor care in a hospital following childbirth, after being beaten up by my grandfather [causing her] to go into early labour. She haemorrhaged to death in Kawakawa hospital in a hallway.

“So this is acknowledging her and all our other wāhine who haven’t been looked after properly in a health service.”

Her other piece is about stories her grandmothers would tell, transmitting whakapapa, which she says is at the heart of her work. “It’s just me painting memories. That’s all art is. It’s a visual tool. It’s like when you’re in the marae or wharepuni, and you look at the carvings, you’re able to relate whakapapa.”

Read more about the history of the flag here.

The exhibition Wāhine Māori – The Art of Resistance opens on the 13 March at Northart Gallery, Auckland.

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Keep going!
(Illustration: Naomii Seah)
(Illustration: Naomii Seah)

Summer 2022January 17, 2023

Toasted buns: A first-timer on why you should go naked this summer

(Illustration: Naomii Seah)
(Illustration: Naomii Seah)

Ever been curious about nudism? Maisie Nhao braves the beach naked for the first time, and explains why you should, too.

First published January 12, 2022

I like being naked. Who doesn’t? From the relief of taking your bra off after a long day, to the feeling of warm water running over your puku in the shower, there’s an innate sense of freedom and joy that comes with being starkers. 

But there’s also a heavy dose of shame and stigma. Ever since I developed boobies at the tender age of nine, I became painfully aware of the need to censor my body. My mum would tut over my clothes, buttoning buttons, pulling skirts down and yelling at me for wearing crop tops. Don’t even get me started on the muscle-tee trend of the mid-2010s. This message was reinforced everywhere. From Tip Top’s togs, togs, togs, undies campaign; to school dress codes; to the adult world of “professional dress”; it seemed the whole world was saying the same thing: your naked body is unacceptable. 

But in the midst of all the social stigma around nudity and bodies, there remains a small oasis: naturism. Or, as it’s more commonly known, nudism. Predominantly associated with the hippie movement of the 60s, naturism in its modern form began in New Zealand in the 1930s. It’s defined by the International Naturist Federation as “a way of life in harmony with nature, characterised by the practice of communal nudity, with the intention of encouraging self-respect, respect for others and for the environment”. 

It sounded good to me. Growing up, I’d always wondered why nudity was such a big deal. We all have bodies, don’t we? The only time I’d been naked in public was in the women’s changing rooms at the pool. It was drama and fuss-free, with people simply going about their business. I wished bodies were treated that way everywhere. I wondered if naturism could provide what I was looking for. 

There’s a number of nude beaches in and around Auckland, with Ladies Bay being one of the most popular and well known. So on a sunny Wednesday in December, I recruited my oldest friend to have a go. 

Ladies Bay is a small, hidden beach near St Heliers, with a steep walkway from the road to the water. On the way down, a number of Auckland Council plaques declared “CAUTION: past this point you may encounter nude bathers”. It didn’t help much with the nerves as we picked our way toward the sand. 

Auckland council warning at Ladies Bay (Photo: Supplied)

The first people we saw were clothed: two young women in bathing suits by the shallows. Further along, there were more people lounging around partially – and some fully – nude. The two women left pretty soon after we arrived, and my friend and I realised that we may have been the only two women on the beach. 

But as we went along, our self-consciousness began to dissipate. A few others glanced our way, and then quickly went back to minding their own business. We picked a spot around the middle of the beach, and settled in with our books, tanning in our bikinis (don’t worry, we were well sun-blocked and partially in the shade). In five minutes, I was comfortable enough to go topless. My friend followed suit. Another glance confirmed no one cared, so I took a deep breath and committed. Full. Honky. As I took my bottoms off, a gentle breeze rippled through the trees, and I felt a deep sense of happiness and peace. For a moment nothing else mattered – it was just me, naked and unashamed. 

It sounds dramatic, but in reality no one batted an eye. It’s counterintuitive that a beach populated by naked, older, mostly Pākehā men would be a comfortable environment for two young-dumb, twenty-something women of colour, but it was. Weirdly, the age gap made me more comfortable. These men had probably been practising naturism for longer than I’d been alive. A couple of naked women was nothing new or exciting for them. 

My friend took a little longer than me, but she quietly got into her birthday suit too. Maybe it was a function of how long we’d been pals, sharing changing rooms through our awkward teen years, but after a while it was no longer a novelty that we were both nude. It wasn’t that we weren’t aware of it – we just weren’t embarrassed. We discussed the new sensation of the wind on our bits, and the books we were reading. For some, being naked around your mates may sound like a waking nightmare, but I was glad of her company. After all, without her I would’ve been a lone woman on a nudist beach. 

We braved a dip, in full view of the sunbathers. There were a few others in the water, but everyone kept a respectful distance. One man yelled across, “water’s nice, isn’t it?” My friend and I experienced a brief surge of anxiety, but then the man calmly turned around and swam back onto the beach. And he was right, the water was nice. We even ventured around the corner and encountered another bay of fully clothed patrons, but none of them seemed surprised or offended. That’s in line with a 2008 poll that found almost a third of New Zealanders weren’t fussed about nudity on the beach. 

It was a strange experience. As young wāhine, my friend and I are used to being on edge even in fully clothed environments. In fact, immediately after the nude beach experience, my flatmates and I went to dinner – fully dressed in pants, heels and blouses – and were promptly harassed by a car full of dudes. By contrast, the clothes-free environment of the beach, and of the naturism movement, came with an explicit culture of respect and consent.  

The only beach-goer that raised our eyebrows was a younger man sunbathing next to us. He stared a bit, and when we left the beach we discovered he’d tucked a note under the windscreen wiper of my car. My friend and I laughed, but on reflection it was one of the more respectful ways we’ve been approached. No harassment, no intimidation, no coercion, just a name, a number and an invitation to “chat” (though he didn’t specify which one of us he was interested in… suss). And if you’re reading this, Thomas, maybe don’t stare at women in public, OK?

Photo: Supplied

As a thin, able-bodied, cis-woman, I’ve had the privilege of being relatively OK with my body my entire life. Most of the bodies I saw represented in film, TV and print more or less looked like mine. But the power of seeing bodily diversity (though not demographic diversity) on the beach wasn’t lost on me. My body wasn’t privileged in this space. It also wasn’t sexualised, or demonised. On the beach, bodies were bodies were bodies. And a small number of cross-sectional and experimental studies have shown a correlation between increased self-esteem and social nudity. 

Another paper, which focused on women in naturalism, found that “much of the sense of achievement and confidence [for women] lies… in confronting social taboos and overcoming them”. Being naked on a beach was a big “fuck you” to every institution and person who’s sexualised me against my will. It was a confirmation that the issue wasn’t with my body – it was with the attitudes of those perceiving me. 

Although my experience with naturism has been positive, it’s hard to ignore the lack of women and people of colour in these communities. In Australasia, Pākehā have been able to increase the social acceptance of nudity, even though indigenous populations have been characterised as “savage” for that same pre-colonial practice. The movement also has a long way to go, as the real effects of race, class and gender are largely ignored in favour of creating an idealised “free” and “equal” space. 

But it’s 2022 now. If you’re looking for a new experience for a new year this summer, and especially if you’re a woman, gender diverse, or a person of colour, I think the time is ripe for a resurgence of nudism. Given the recent social discourses of body neutrality, degendering and decolonising, naturalism and nudism could be an ideal space to action that change in Aotearoa. 

As we drove away, my friend and I excitedly discussed which beach we would go to next, and who else we could rope in. Apparently Pōhutukawa Bay on the North Shore and Little Palm Beach on Waiheke Island are good spots. This summer, we plan on claiming naturalism for the girls, gays, theys and POC. Maybe you could come join us. 

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