Decolonisation through Maori Film

                                              
                                                             

Shigeyuki Kihara’s painting From ‘Fa’a fafine: in the manner of woman from last week’s postcolonialism lecture made me think about decolonisation in New Zealand media. It made me reflect on the way Maori film in particular, encourages decolonisation. New Zealand Maori films such as Taika Waititi’s Boy, Toa Fraser’s The Dead Lands and Niki Caro’s Whale Rider are all examples of films that are based on Maori Culture and are told through a Maori perspective. These films act as a discourse for decolonisation; they present Maori culture in a way that is not culturally appropriated, and incorporate traditional aspects of Maori culture and Maori history. Although they don’t usually overtly dismantle colonialist power, the plotlines are solely based on issues relevant to Maori culture, history or way of life. This helps to re-establish Maori identity, and advocates Maori culture on a global scale through international audiences that watch the film. Although Maori films such as the ones stated above do not explicitly deal with colonisation, the way they portray Maori people and culture helps to combat colonial ideologies, and contributes to the revival of the culture, as well as influencing young Maori to reconnect with their cultural heritage. These films enforce that Maori culture is not something that lives in the past, but is contemporary, and that Maori culture is not just for Maori, but can be relevant to everyone, and should be celebrated by everyone too, which I think is extremely important. Maori film plays a significant part in the decolonisation of Maori culture, and I think it is a positive medium that has allowed Maori to express their culture and promote kotahitanga, whether it be in a serious or comedic way, without the influence of colonialism or Eurocentric views.