week 10: kaupapa māori

Waitangi Tribunal

Wai 262 Claim

Interested group submission from the

Designers’ Institute of New Zealand Inc15 September 2006

___________________________________________

Contact details: Michael Smythe, Convener, DINZ Wai 262 Working Group

59 Queen Street, Northcote, North Shore 0627

Phones (09) 418 2348 027 240 6853

[email protected]

Cathy Veninga, Executive Officer

Designers’ Institue of New Zealand, Inc

PO Box 109423, Newmarket, Auckland

Phones (09) 529 1713 027 473 2399

[email protected]

_____________________________________________________________________________

Contents: Mihimihi

Preamble

1. Summary

2. Credentials

3. Relevant areas in the Statement of Issues

4. Professional platform

5. Professional perspective

6. Case studies

mailto:[email protected]

mailto:[email protected]

Wai 262 – DINZ Submission – 15 September 2006 –

Mihimihi

E nga waka, e nga hau e wha, e nga mana, e nga iwi, e nga reo, e nga manu korero o runga i nga marae

Whakarongo, whakarongo ki te tangi a te manu

E karanga nei tui tui tuituia

Ka rongo te ao, ka rongo te po

Tuia i te kawai rangatira i heke mai

I hawaiki nui, i hawaiki roa i hawaiki pamamao

I hono ki te wairua ki te wheiao, ki te ao marama

e te mohiotanga e nga rangatira ma, tena koutou, tena koutou, tena koutou katoa

E kore e taea e te whenua kotahi

Ki te raranga i te whariki

Kia mohio tatou i a tatou

Maa te mahi tahi o nga whenua

Maa te mahi tahi o nga kairaranga

Ka oti tenei whariki I te otinga

Me titiro tatou ki nga mea pai ka puta mai

A tana waa

Me titiro hoki

Ki nga raranga I makere

Naa te mea he korero ano kei reira

He toi whakairo he mana tangata

(The tapestry of understanding can not be woven by one strand alone

Only by the working together of strands and the working together of weavers

Will such a tapestry be completed

With its completion, let us look at the good that comes of it

And in time

We should also look at those stitches which have been dropped

Because there is a message there also

Where there is artistic excellence there is human dignity)

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Preamble

The means by which this submission has been compiled has been significantly compromised by the short time frame available for adequate consultation with the membership. It is regretted that his has led to an inability to engage the broad input of all Maori members of the Designers’ Institute of New Zealand (DINZ) in particular, according to tikanga. Ideally DINZ would have also engaged with Toi Maori, Te Waka Toi and other Maori interests representing ropu mahi Toi. It is hoped that constructive dialogue will take place in the future. In the meantime we accept that the compilation and presentation of this submission reflects an essentially Pakeha delivery process. We hope we have achieved some success in honestly reflecting the diverse working world of professional designers in Aotearoa/New Zealand, and that this is seen as a useful by the Tribunal.

The formal training of creative professionals, including designers, in Aotearoa/New Zealand takes place predominantly within programmes based on so-called ‘Western’ theory, practices and principles in education, pedagogy and programme structure. ‘Experts’ with little or no knowledge of New Zealand culture have often been asked to ‘advise’ on the design, content and delivery of tertiary diploma and degrees. As a result, the understanding and development of significant areas of study, of vital components of the design process native to this country, is often ignored or overlooked. There are, nevertheless, some courses in which some students are exposed to New Zealand’s indigenous design heritage and tikanga – with varying degrees of success.

Regional and cultural distinctions reflected in the arts, design, history, music and literature are important aspects of identity, the way we see ourselves, and the way we prefer others to see us. In New Zealand we have been successful in correcting many historical misconceptions and we have begun to establish a stronger national voice in our arts, music and literature. All of these disciplines have profited from the dynamic interaction of our indigenous and immigrant cultures as a unique platform for creative enquiry.

In this cultural context, the design industry now finds itself in a challenging position. While wanting to embrace the promise and potential of diversity, bias in the education and training of designers has meant that some of the most fertile ground for authentic expression of our Maori/Polynesian/ Pacific roots has been ignored – and in many institutions still is. The mere possibility of doing something often overruled a reflexivity regarding the desirability and ethics of what may be done. More recently, rampant advances in the application of new technologies have absorbed even more of a much needed circumambient attention. Important and significant dimensions of culture continue to be marginalised, notwithstanding that this marginalisation is often not intended.

The issues under consideration in the Wai 262 claim underline the need for an amplified and sophisticated understanding of definitions of taonga, kaitiakitanga, rangatiratanga, and other issues that are given comprehensive rights under the Treaty of Waitangi, and that are crucial to the accurate representation of Aotearoa/New Zealand in a design context.

The Designers’ Institute of New Zealand does not claim that this submission represents a definitive, expert position. It simply seeks to bring a range of practitioner perspectives to the table to inform an ongoing dialogue aimed at continuously improving designers’ contribution to New Zealand’s cultural, social, environmental and economic growth.

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1. Summary

1.1 The Designers’ Institute of New Zealand Inc. (DINZ) has set out, within the inadequate time available, to represent the position of practising professional designers in New Zealand.

1.2 This submission focuses on the claimant issues relating to ‘taonga works’ as applied to graphic design, interior design and product design. (DINZ does not represent artists, craft artists or architects.)

1.3 The membership of DINZ, and the wider professional design community, covers a spectrum ranging from those who take cultural and ethical issues very seriously to those who exercise a perceived right to express themselves, their clients and their clients’ customers in a way that achieves the project objectives. There are also designers who avoid references to Maori culture altogether for fear of causing offence, or because they see it as irrelevant to ‘mainstream’ New Zealand life.

1.4 This submission, therefore, is not an idealised representation. It seeks to honestly present the way things are within the design profession now.

1.5 Designers seek to create a path of continuous improvement but there is, inevitably, a wide range of opinion as to what that would look like.

1.6 DINZ sees it as in New Zealand’s cultural, social and economic interests to nurture and strengthen the cultures that call this land home.

It is in all New Zealanders’ interests for the culture of the tangata whenua to go from strength to strength.

It is important for other cultures to find ways of expressing their identity without relying on appropriating Maori culture.

When each culture is operating from a position of equal strength, enriching and productive cross-cultural interaction can occur.

1.7 In addressing historical grievances, the Crown might consider increasing investment in Maori initiatives such as museums, research facilities, education resources, and support resources for professional practitioners in the creative sector to help restore cultural economic and spiritual strength.

1.8 Many designers would welcome access to authoritative advice regarding consultation and collaboration with tangata whenua from the early stages of a project. This is seen as more effective than legal mechanisms applied at the end of a project.

1.9 The Maori Language Commission is seen as a model for an advisory body.

1.10 The DINZ working party recommends to its professional body that DINZ take constructive steps to engage with appropriate groups, organisations and individuals to enable a productive way forward.

1.11 Case studies are provided to scope what has actually been happening in the field of design. These examples seek to represent the diverse output of design practice and provide opportunities for discussion.

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2. Credentials

2.1 The Designers’ Institute of New Zealand Inc. (DINZ) represents professional practitioners in graphic, interior and product design, design management and design education. It was formed in 1991 through a merger of the New Zealand Society of Designers (est. 1960) and the New Zealand Association of Interior Designers (est. 1969).

2.2 The DINZ mission is “to have professional designers valued and rewarded for the contribution they make to the economic, cultural and social growth of New Zealand”.

2.3 At the DINZ Annual General Meeting, 31 July 2006, it was unanimously resolved: “That the Designers Institute of New Zealand register with the Waitangi Tribunal as an interested party to the Wai 262 claim, that Council appoint a working group to prepare a submission that represents the views of professional New Zealand designers.” This resolution was ratified by the DINZ Council meeting, 8 August 2006.

2.4 It was agreed that the DINZ submission would focus on issues confronting contemporary designers, both Maori and Pakeha, who seek to draw upon imagery construed as Maori, ie: potentially ‘developing taonga’, when fulfilling a client brief.

2.5 Michael Smythe was asked to convene the working group. All professional practitioners were invited to offer input regardless of whether they belonged to DINZ. Contemporary Maori designers were included in the invitation to participate. The Toi Maori organisation was not contacted as it was assumed they would make representations of their own.

Working group participants included:

Michael Smythe, Creationz Consultants, a graduate professional designer since 1967 with experience in bi-cultural and cross-cultural design, who has more recently focussed on design strategy as well as researching, teaching and writing design history in general and New Zealand design history in particular.

Carin Wilson, Studio Pasifika, a past president of DINZ, who has increasingly become involved in design, making, management and teaching grounded in his Maori heritage. Carin’s many activities include involvement in the Awatoru growth and innovation project promoting ‘Maori design for business advantage’ by offering professional design skills to authentically integrate Maori culture and values into the tourist experience.

Dr Tina Engels-Schwarzpaul, AUT, an Associate Professor in Design and Programme Leader Postgraduate Studies, whose 2001 University of Auckland Art History and Education PhD thesis Myth, Symbol, Ornament: the Loss of Meaning in Transition explored the impact of Pakeha cultural norms on Maori.

Tina Wilson, Stephenson and Turner, an interior designer who has been responsible for Interior Design at the Auckland International Airport for the last eight years and who has also completed projects at Turangawaewae Marae.

Other designers provided input and some were able to offer case studies. Others indicated that they avoided referencing Maori design because it was “too much of a minefield”. The DINZ Executive Council was kept in the loop although time constrains did not allow for an official sign-off. This submission represents a consensus view of the working party.

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3. Relevant areas in the Statement of Issues

DINZ has read the Wai 262 Statement of Issues and identified two areas of focus and other related clauses. Key words of relevance to our submission are underlined:

3.1 “Taonga works include artistic and literary works such as carving, weaving, waiata, patere, oriori, haka, moteatea, painting, crafts, written works, graphic works, dramatic works, musical works, oral traditions, performing arts, symbols, images and designs, artefacts and the mauri of those taonga works, where the work reflects in some way the culture and/or identity of the kaitiaki of the works and includes the knowledge, skill, cultural or spiritual values upon which the work is based.” (p. 6, 1.1.1)

Professional designers working for clients in the tourism, cultural, social and community services sectors see their services to clients as embracing issues of, for instance, origins and a development of identity. This may entail the investigation of appropriate gestures and imagery, to secure successful outcomes in branding, visual communications design, interior design, architectural elements and product design (‘artefacts’).

3.2 “For the purpose of this statement of issues, kaitiaki in respect of taonga works, biological and generic resources and indigenous and/or taonga species, the environment, te reo Maori, tikanga Maori matauranga Maori, means the individual(s), whanau, hapu or iwi (as the case may be) whose relationship of kaitiakitanga and tino rangatiratanga with those taonga gives rise to an obligation and a corresponding right to:protect, preserve, control,regulate,use,develop and/ortransmitthose taonga and the relationship of kaitiakitanga with them; and kaitiakitanga is intended to have a corresponding meaning.For the purposes of this statement of issues ‘tino rangatiratanga’ includes the right of kaitiaki to make and enforce laws and customs in relation to their taonga.” (p. 5)

Professional designers, who are conscious of their ethical responsibilities to a public beyond their clients’ interest, would respect the importance of cultural principles and relationships founded in kaitiakitanga and rangatiratanga. They would try to understand the profound connection embodied in the spiritual and physical attachment to taonga. However, it must also be recognised that issues of kaitiakitanga and rangatiratanga are attributable to gestures and imagery shared by multiple whanau, hapu and iwi. Designers have to deal competently with complex questions of ownership, stewardship and use. Attempts to narrowly define such questions in terms of currently available legislation may place complicated, and perhaps even unmanageable, restrictions on artistic or creative freedom, and responsibility.

It should also be noted that design practitioners range from the deeply respectful, through the well-meaning who make some effort, to those who assert their right to draw upon their own context and experience without consultation or collaboration. The Case Studies present examples of a range of outcomes that have occurred over time.

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3.3 “Does the right to object to derogatory treatment (sections 98-101 [of the Copyright Act 1994]) provide adequate protection for kaitiaki against false attribution of taonga works?” (p. 15, 1.4.1 (h))

“If the answer … is “no” does that mean that copyright is not applicable to aspects of traditional knowledge in taonga works and this is a breach of the Treaty?” (p. 15, 1.4.2 (h))

Professional designers do not feel competent to analyse these questions from a legal perspective. The DINZ working party knows of no example where this clause of the Copyright Act has been applied to professionally designed works – unless the recent decision not to proceed with the Maori Performing Arts stamp issue was a result of that clause being invoked. This submission will suggest that access to good advice at early stages of the design process is preferable to legal sanctions at the end.

3.4 “Does the requirement of distinctiveness for trade mark registration prevent taonga works (particularly symbols and designs) from being registered by kaitiaki?” (p. 17, 1.4.12 (b))

“Is the use of the trade mark registration system by third parties in relation to taonga works (particularly design and symbols) a breach of the Treaty?” (p. 17, 1.4.12 (e))

Again professional designers do not feel competent to answer these legal questions. It can be noted, however, that “the requirement of distinctiveness” should prevent any third party from registering any existing image, including taonga works, as a trade mark. Issues relevant to contemporary Maori and ‘third party’ designers arise when taonga works are defined as including “the mauri of those taonga works, where the work reflects in some way the culture and/or identity of the kaitiaki of the works and includes the knowledge, skill, cultural or spiritual values upon which the work is based” (see 3.1 above).

It should also be noted that the Trade Marks Act 2002 includes a clause stating that the Commissioner must not register a trade mark or part of a trade mark if he considers that, on reasonable grounds, its use or registration would be likely to offend a significant section of the community, including Maori. The Waitangi Tribunal may be able to assess how effectively this clause has been applied in practice.

3.5 Design registration and passing-off issues are also relevant to professional design practice.

4. DINZ platform

4.1 DINZ recognises that the definition of ‘Taonga’ includes the artefacts, apparel, environments and visual communications created by the first inhabitants of this land. DINZ also recognises that the absence of effective guidelines defining appropriate or inappropriate use of taonga risks offence. This is a matter of increasing concern to some professional designers. The DINZ working group advocates the development of a comprehensive information programme to actively promote clarification and definition of principles and values in this domain. This would be a reflection of DINZ’ own role and responsibility as a kaitiaki of national taonga as part of its ‘design heritage’.

4.2 It has been suggested, to a wide national and international audience through the Better by Design website, that traditional Maori design sets a standard of excellence and quality that has yet to be exceeded in Aotearoa/New Zealand. In an article titled The Creative Continuum: tracing the trajectory of New Zealand Design Michael Smythe has proposed that “New Zealand designers brought up in the mainstream western culture’ could benefit

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from investigation and understanding the Maori concepts of Ihi, Wehi and Wana which grapple with the intangible and emotive qualities of quality.”

4.3 Professional designers aspire to contribute to Aotearoa/New Zealand’s economic, cultural and social growth through design excellence. It is recognised that such a contribution would benefit from a willingness by Maori and Tauiwi designers to engage in a vigorous dialogue investigating this country’s cultural heritage and to represent, express, refresh and develop in a way that not only informs questions of identity, but also recognises that exchange can most fruitfully (and ethically) take place from equal positions of strength.

4.4 Designers often create branding, visual communications, products, and environments for clients serving a broad New Zealand and/or visitor community. Many designers, when contemplating references to Maori culture in their work, have felt ‘damned if they do’ (appropriation) and ‘damned if they don’t’ (mono-cultural). It is recognised that different contexts and criteria for such work need to be distinguished, eg: different requirements apply to designs undertaken for local communities or public bodies (such as health care providers, educational institutions and government departments) and designs for commercial enterprises – especially those targeting international markets.

4.5 DINZ welcomes this opportunity to confront important issues of cultural integrity and to contribute constructively to the process of identifying a way forward.

5. Professional perspectives

5.1 Design is an integrative process that seeks to reconcile potentially conflicting requirements.

5.2 Aotearoa/New Zealand’s patent, copyright, trade mark, design registration and ‘passing off’ laws continue to evolve in parallel with international agreements This is done both by creating an incentive for originality by providing a period of exclusive right, and by creating opportunities for further development by limiting both the scope and timeframe of the exclusive right. In the case of trade marks and design registration the timeframe can be limitless. The intention is to protect authenticity and ensure the public is not misled.

5.3 Designers, like other creative professionals, deal in originality. They and their clients make use of intellectual property law to ensure their investment in originality is not capitalised upon by those who did not make that investment. On the other hand, ‘originality’ exists in a collective continuum – new work builds on what has gone before. While being inspired by existing imagery, referencing and ‘paying homage’ are generally considered acceptable, imitating and plagiarising are frowned upon.

5.4 Professional designers, as represented by DINZ, recognise that it is in the interests of all New Zealanders for Maori design to evolve within a strong, living, contemporary culture characterised by integrity, authenticity, creative excellence and quality. DINZ values the existence of both Te Waka Toi within Creative New Zealand and Toi Maori as places where Maori kaupapa is able to underpin Maori design development. Active discourse between DINZ members and organisations representing a Maori approach to creative endeavour will contribute to the development of a vibrant, inclusive design culture.

5.5 The dominant New Zealand culture is finding ways of distinguishing itself alongside other mainstream Western cultures. Some professional designers strive to be in the vanguard of those who contribute to this process at a level deeper than expressions of ‘kiwiana’. A

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willing, equitable and inclusive exchange between Maori and Tauiwi in creative industries would be a constructive approach to forwarding this aspiration.

5.6 Maori culture has long embraced the principle of kotahitanga as a process for achieving understanding, and a constructive path to the definition and achievement of common objectives. An equivalent co-operative forum – as a representative of design professionals in Aotearoa/New Zealand and the Pacific – could facilitate greater understanding and provide a context for the amplification of dialogue. If Aotearoa/New Zealand designers want to be in the vanguard of those who constructively deal with questions of internal difference, support the needs and contributions from Pasifika communities, as well as enter a globalised arena together with Maori (rather than avoid confrontation), then now is the time to grapple with the complexities of such ideals. The working party recommends that DINZ, as their professional organisation, can provide support for this endeavour.

Many non Maori professional designers and their clients do wish to be culturally inclusive and to honour Maori culture as intrinsic to New Zealand identity. They have no desire to cause offence and would welcome access to reliable information and advice on consultation and collaboration, early in the design process. The working party proposes a pragmatic and inclusive approach through the development of protocols with Maori experts, accepting, however, that the advice of tohunga and kaumatua can be invaluable where no clear guidelines point to a way forward. Acceptance of the contribution of recognised Maori arts practitioners in the exploration of issues impacting on professional understanding and ethics is part of an informed approach to developing a knowledge-base.

5.7 It is considered to be in the cultural, social and economic interests of all New Zealanders that Maori culture goes from strength to strength. Maori design will be able to contribute most effectively to inevitable cross-cultural interactions if it is operating from a position of strength within a living, growing, contemporary culture with a valued heritage. In addressing historical grievances, the Crown might consider increasing investment in Maori initiatives such as museums, research facilities, education resources, and support resources for professional practitioners in the creative sector to help restore cultural economic and spiritual strength.

One possible vehicle for such an initiative could be an expansion of the role of the Maori Language Commission to include visual language, eg: a Maori Culture Commission encouraging continuous improvement. In this way the Crown would actively support a process encouraging setting guidelines for acceptable consultation and the use of Taonga in modern design practice. DINZ could help this process by supporting the implementation of these guidelines among its members

A second positive initiative may involve encouraging vigorous discussion and wide academic investigation at tertiary level of issues relating to the use of Taonga through graduate and post-graduate research undertaken by both Maori and Tauiwi scholars.

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6. Case studies

These examples seek to demonstrate the trajectory that designed references to Maori imagery have taken over time. Has this been a journey of continuous improvement? If not, how do we do better?

6.1 Past examples of Maori culture being recognised/appropriated in design.

Over the years Maori imagery has been included with the intention of providing positive elements in both commercial and government visual communications. The fact that they were out there, and thus could be critiqued as tokenism, patronising, crass, clumsy and/or well-meaning but naïve, may be more useful to continuous improvement than if Maori imagery was completely ignored.

Comparisons can be made between the bold ‘hobnail boots’ directness of the signwriter’s efforts and the well researched, sensitively integrated designs of the professional architect. The inclusion of Maori motifs in the post 1931 earthquake art deco architecture of Napier can be either be seen as respecting and honouring the design heritage of the tangata whenua or as taking Maori design out of context in an effort to make an imported style feel as though it belongs in New Zealand.

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1937


Rua Kenana used playing card symbols to adorn his temple at Maungapohatu, c.1910. The New Zealand Maori Playing Cards, designed and produced by Dave Cowie and John Barnett of Supergraphics in the 1970s, were proudly publicised by the New Zealand Industrial Design Council as good examples of souvenir design. They came out at the time that Witi Ihimaera’s 1972 book of short stories, Pounamu Pounamu which included ‘A Game of Cards’, was gaining popularity.

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The Air New Zealand mugs seem particularly offensive. It could be argued that one person’s tasteless kitsch is another person’s delightfully naïve folk art, but designers and businesses have no desire to cause offence and would welcome access to advice early in the process.

6.2 Arts /culture context

Dick Frizzell’s Tiki series (c.1992) caused controversy and received critical recognition for confronting sensibilities and engaging in cross-cultural commentary. Contemporary Maori artist Shane Cotton responded to Frizzell’s ‘Grocer With Moko’ with a work entitled ‘Sold’. For some time the Weekend Herald newspaper has been running a regular ‘Te Maori’ section using a grocer/tiki image which was not designed by Frizzell. For Maori culture to withstand such interaction, and even become more robust, it must engage from a position of strength.

The abstract visual language, inspired by Maori art, which Gordon Walters developed in the 1960s, has in turn been drawn upon by designers. Walters wrote: “… art depends on artists reinterpreting and extending the work of earlier artists. That’s what keeps it going.” (Letter to M Smythe, 8 Sept, 1993.)

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The ongoing evolution of Maori design has included contemporary Maori artists embracing materials and processes that were not traditionally used prior to contact with Europeans. Manos Nathan and Colleen E Waata-Urlich are two of many Maori ceramic artists, and practitioners in other media, who are extending the range of Maori art and design.

6.3 Contemporary examples of design

When the Bernard Roundhill Studios worked with Air New Zealand (c.1965) to create a corporate identity and fuselage livery, the intention was to honour the heritage of travel across oceans to reach this land. Reference to the stern post of waka, and the adaptation of kowhaiwhai to a unique logo suggesting forward travel, is seen by most as respecting Maori culture and enhancing its international recognition. Although it is known that at least one designer of Maori heritage worked on the project, in may be that it would have benefited by access to consultation with some entity able to represent the interests of pan-Maori heritage.

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When the AIT (later AUT) logo (left) was designed by Kel Marsh he consulted with Pauline Kingi who was on the AIT Board. The inclusion of the three baskets of knowledge was intended to recognise the long heritage of learning in this country. Some designers, including Toi Te Rito Maihi, questioned the authenticity of the concentric circles – the image looked more African than Maori. While the older logo may have concerned some, there seems to be general acceptance of the new logo, in spite of it looking as though it would be most at home on an American college sweatshirt. This can be seen as an example of homogenisation through globalisation, an approach that New Zealand designers might choose if referencing Maori culture is seen as a ‘minefield’.

The Mt Rosa wine and the Methven designs show how images that can be perceived as Maori can occur unintentionally. The designer of the Mt Rosa logo was referencing Palaeolithic cave drawings in depicting Central Otago rams. When a trademark lawyer suggested there could be problems because the brown ram’s horn spiral had created a white koru form, the designer chose to assert his right to create this work. The Methven designers were seeking to symbolise the process of mixing hot and cold water. When they realised they had created a form that could be read as Maori they sought advice which led to consultation with a range of respected people involved in Maori art and design. The finding was that Maori felt they could not claim exclusive ownership of the spiral form and that it could only be defined as Maori design if it was done ‘by Maori for Maori’. The advice was to proceed with the visual device but not use a Maori word to name the mixer. The model name for that mixer is ‘Isis’. This choice could be seen as a respectful avoidance of cultural appropriation or a lost opportunity for proudly locating an export product in Aotearoa New Zealand.

Brian R Richards Brand Strategists led this project for Creative New Zealand /Te Waka Toi. The project was “to unite Maori in their commitment to retain control over their cultural heritage maintaining the integrity of their art forms in a commercialised world.” The design process involved “uniting 22 Iwi groups throughout New Zealand in a single brand strategy to identify Maori works of merit” as well as collaboration with Maori designers to develop this mark of authenticity.

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Management and interpretation of cultural references / imagery / stories of place and time within public realm of Auckland's CBD [Design: Studio Alexander, notes written by ACC client.]

The work was mainly focused on informational and directional data. Through the design process an opportunity was identified to explore and reference aspirational ideas and interpretations of place from bi cultural and historical perspective.

During the development of the first prototype plinth sign a collaborative approach was undertaken with Ngati Whatua representatives to develop an appropriate and fitting graphical representation relating to place and time, which in this case had a direct link with the previous work undertaken by Ngati Whatua in the form of the sculptural artworks with Waterfront and Britomart Precinct - (Fire mountain/ and Takutai Square). The graphical content which came out of this process translated and built upon the narratives of primordial landscape, place, people and cognitive interpretations of fauna and flora which the artworks revealed. This work had an outcome and provided an integrated representation on this first prototype plinth - all parties were happy with the first outcome.

Other sites around the CBD were identified by Ngati Whatua as having particular significance / and strong interest and intent was shown to developing ideas for their implementation. Resourcing/ timing/ sign off processes were complex and would have potentially delayed the delivery of the wayfinding network which was of high priority to complete. So the informational data for the wayfinding network was rolled out and the door was left open to re address particular sites at a future date when resourcing, funding and sign off processes (externally) could be agreed. [This shows how difficult it can be to consult well. Opportunity lost? Or inadequate time allowed?]

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Brian R Richards Brand Strategists were awarded this project in a strongly contested tendering process. Following consultation with respected moko artist Gordon Toi, four non-iwi-specific Maori patterns were developed to mirror the organisation’s particular aspirations. Close-up photographs of plants important to Maori were commissioned so that they could be used in conjunction with Maori sayings. Minor changes were also made to the TPK logo to enhance its clarity, particularly in respect of electronic media. Initial feedback from the many internal groups was extremely positive.

The winner for Graphics at the 2006 DINZ Best Awards was produced by DesignWorks Enterprise IG, of Wellington. The New Zealand Business Council for Sustainable Development and Westpac joined forces to bring together an Enterprise model for Maori 15 months ago. The outcome: Let’s Settle This, is a 112 page book that outlines the key issues that will be faced on the journey to successful outcomes. It focuses on sustainability, with a long term vision of Maori economic self sufficiency and prosperity for future generations.

The book is designed to be both provocative and accessible. The issues are illustrated by large quotes and by specially commissioned drawings by emerging Maori artist, Wayne Youle. Wayne is known for his edgy and ironic take on Maori/ Pakeha relationships to each other, Government and the land. The judges said that his drawings were “confronting and highly unique – making for a refreshing, distinctive publication that

pulls no punches. Communicating the complex issues around opportunities to develop sustainable enterprise for Maori communities based around the settlement of the Treaty of Waitangi, are assisted by delightful illustrations from Wayne Youle.” (From upcoming PRODESiGN article.)

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6.4 The post-modern generation

The distinctions between art, craft and design have become increasingly blurred at the hands of a generation who have done 3D design courses and who choose to be self-employed and entrepreneurial. A new generation of Design Stores is delivering their work to a middle-class sector of society keen to engage with cool design, kiwiana and expressions of identity on a level that intuitively ‘feels right’. This trend is mostly not the outcome of deep academic thinking. Its tone is mostly celebratory and humorous with an ‘in-your-face’ directness.

M.I.A. (Made in Aotearoa) in Napier is owned and run by Maori husband and wife team graphic designer Rakai Karaitiana and fine arts graduate and photographer Melaina Newport. Karaitiana says, “What we sell doesn’t have to come from a Maori perspective, but there’s huge interest in the stuff that does. One of our most successful fashion items has been a T-shirt with a stylised tiki on it. When those traditional symbols are taken by talented designers and fashioned into commercial items, they really strike a chord with buyers.” (NZTEs Bright magazine, November 2005).

The tiki has taken off as a fashion item. Is this offensive appropriation or celebratory iconography? Is it okay if it is done by Maori designers and not okay if it is done by non Maori? Josh King, “exposed to Maori design heritage at school,” the designer-maker of the Tiki Tock reports an entirely positive response from both Maori and Pakeha retailers and customers.

The Esther Diamond cushion draws on Dick Frizzell’s ‘Red Harring’ print (a designed discourse involving the tiki, USA artist Keith Harring and the Four Square grocer). It has emerged from Esther and Dick’s involvement with the Hawkes Bay Business Network. They sell at M.I.A... Does the fact that Frizzell’s work has moved from the world of art to the world of design make any difference to its acceptability?

‘Tiki Victoriana’ image was created by Pakeha designers Leonie Whyte and John Shepherd: “As New Zealanders we have grown up with things like ‘kia ora bro’, a haka that raises the hair on the back of your neck before every rugby game, whirling poi, Ten Guitars and a National Anthem being just as familiar in Maori as it is in English. The Tiki is yet another distinctly New Zealand icon that our generation have grown up with and embrace as part of our unique Kiwi heritage. Tiki Victoriana was created as a personal project done out of love.”

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week 10: kaupapa māori

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