National Identity in New Zealand Films - Essay Example

National Identity Running Head: National Identity in New Zealand THE NATIONAL IDENTITY IN NEW ZEALAND FILM In APA Style National Identity 2 Abstract New Zealand films have started to be celebrated internationally not only for the beauty of its land, the talents of its directors, actors and scriptwriters but also they offer to the world unique cinematic images that their makers culled from its well of culture that is so rich and multi-dimensional. They are unique and are representative of the national identity of New Zealand because such national identity is a fusion or amalgamation of several cultures that are forged and melded to form one cultural identity that represents each NewZealander. New Zealand films were first noticed with Roger Donaldson's movies and then with Jane Campion's The Piano but it is in the 2000's where movies such as The Lord of The Rings trilogy, The Whale Rider and The Last Samurai were truly exalted everywhere. Main Body New Zealand is a cultural melting-pot. Its national identity didn't come ready-made to be served in a silver platter but it is a fusion of many cultures that are varied and oftentimes contradictory to each other. All of this hodge-podge of cultures that was the outcome of intermingling and sometimes violent embroilment of diverse heritages for hundreds of years produced a unique national cultural identity that is one of its kind and which is so "quite unlike anywhere else in the world" (New Zealand Facts). This can never be truly understood and Ruth Harley's claim that "our culture is the well from which filmmakers draw their inspiration" will never be fathomed if we do not dissect the various cultures that make up this multi-cultural nation that is called New Zealand. And this has to start by tracing New Zealand's history and describing the cultures that these various people possess. Oral tradition of the Maoris claimed that a dark-skinned people called Morioris or moa hunters were the original inhabitants of New Zealand. Legend has it that these pre-Maori Polynesians (Australia, New Zealand Encyclopedia 1975, p.1013) came to the eastern North Island to hunt for moas, which were extinct wingless birds standing about 12 feet tall. Various literature failed to give us their kind of culture but only that they were assimilated into the Maori society. A Maori navigator named Kupe was the known discoverer of the land he called Aotearoa or Long White Cloud at about 950AD. Thereafter the Maoris came to settle the land National Identity 2 at about 1350 AD. They came in 8 outrigger canoes from either Society Islands or Tahiti and with their advent, they brought with them their own distinct culture. Although described as cannibalistic warriors, these tough, resourceful and handsome people were and are closely-knit who are "bound in families and subtribal communities" and have a deep "sense of closeness and homeyness" (Schafer 1998, p.11). The Maori society was already highly evolved at that time and was characterised by division of social classes i.e. chieftains, commoners and slaves. Yet despite this, they had remained family-oriented rather than individualistic (MacInnes 1964, p.109). They are also highly eloquent and witty with a predilection for debating. Maoris are also gifted with the talent for wood carving which is distinguished by intricate convolutions and feature pseudo-Oriental masks that are probably the finest in the world. What makes Maori culture so unique is that they always strive to achieve physical perfection through dancing and their dance-exercises (haka) contain war chants that are unparalleled in the world. These are not only systematic schemes of race culture but are meant to be " a rational and ordered system of body building and personal hygiene"(Rout & Te Rake 2003, p.44). The Maori moral code and age-old customs are just so contrary and diverse from most European cultures. There is the "Maori value of aroha-love, community" which is the basis for Maori hospitality and sense of sharing. The values of domicile (turangawaewae) and heritage (Maoritange) are so strong, no amount of Pakeha (white New Zealander) migration can uproot them (Schafer 1998, p.11). There is also the eerie way of Maori welcome or salutation which consists of touching of noses and handclasps. The Maoris also have a communal assembly where problems are threshed out. Each village or pa provides itself with a meeting house consisting of a large social hall and a kitchen. This usually faces a marae, or a grassy lawn. As part of its ceremonial traditions, Maoris have successfully developed the art of tattooing (Grolier Inc. 1967, National Identity 3 337-8). New Zealand culture and thus formation of its final national identity received further sculpting with the arrival of the white European Pakehas from Scotland, England, Ireland and a smattering of French, Danes and Norwegians. The impetus of this European colonisation was brought by the European discovery of the new land by Dutch Abel Tasman in 1642 and the possession and claim of the land for Great Britain by British explorer James Cook. At the outset, the Maoris violently resisted the new barging in of a different civilisation and heritage but Cook's diplomacy prevailed and the whalers, adventurers and missionaries were able to gain a foothold in Aotearoa which they renamed New Zeeland. Soon, systematic immigration was pushed in 1839-40 by the London-based New Zealand Co. Unlike Australia's immigrants who were convicted prisoners, these waves of immigrants were educated and thus brought with them a more sophisticated culture that enticed acceptance and respect like the introduction of newer agricultural methods and tools. The introduction of Christianity by Samuel Mardsen in 1814 modified a bit of Maori culture, erasing its belief of polytheism, dissolving cannibalism and abating its belligerent attitudes. Despite the Pakeha culture of autonomy, independence, egalitarianism, can-do attitude, anti-intellectualism and pop culture, Maori culture managed to survive. Because Europeans, mainly British, comprise 67.6% of the population, while Maoris only make up 14.6% of the population (Move2nz 2008, p.2), Maoris were forced to adapt many Pakeha ways of life and culture when they decided to embrace Christianity. They also learned the English language and practiced European art, learning, literature, sciences and on the whole accepted European civilisation. However, they refused to fling aside their own culture, preferring to have the best of both worlds. National Identity 4 The Pakehas, whose motherlands are at the other side of the globe, never showed a posture of hostility, snobbishness, intolerance and prejudice to the Maori culture. In fact many Maori customs and culture are integrated in the Pakeha way of life. Most noticeable is how the All Blacks rugby team always do the haka posture dance prior to each game, internationally or locally. Many Pakeha artists, novelists, singers, musicians and filmmakers make use of Maori culture, which is almost always reflected in their work. To show their being New Zealanders, many Pakehas use and and express themselves in Maori culture. Even Maori names of cities, streets and buildings as well as the declaration of the Maori language as the nation's national language (together with English) evidence acceptance of Maori culture. To complicate further this cultural mish-mash is the increasing presence of Asian and Pacific immigrants. They may retain their own cultures but they are left with no recourse but to conform and integrate to the prevailing culture in order for them to become members of the nation. So that they may integrate with the national mainstream, they are forced to be united to the Maoris and Pakehas in the adaptation of one and national cultural identity (Taylor & Wetherall 1995, p.69-84). The amalgamation of the above cultures has formed this unique and fortified national identity which protects, honors and values Maori culture. National cultural identity has a special role and purpose in the nation's being because the citizens are given the chance to identify themselves as New Zealanders with a particular culture, which in this case is an amalgamated one. With it, they are given a sense of well-being, a sense of belonging, a sense of security and a sense of possession of national charactersitics and traits. With it , they are given access to social networks, from which they can obtain sustenance and can share with fellow citizens, the same aspirations, values and ambitions. "Social networks can help to break down barriers and build a sense of trust between people- a phenomenon sometimes referred to as social capital (Ministry of National Identity 5 Social Development 2008, p.1). Without this national identity, citizens especially the minorities, will certainly feel excluded from the national mainstream and will be bereft of a sense of pride of being a New Zealander and thus cannot be active participants in the promotion of economic advancement of the nation. Their creativity will be greatly impeded. By fostering cultural diversity, by allowing artists especially filmmakers to express themselves using diverse cultural values and by allowing all cultural traditions to be freely passed unto the next generations, and by unblocking the main arteries for cultural expression in the cinema, the arts, media and other avenues, the national identity can be made to be shown for posterity in such art forms as the cinema, the television, magazines etc. in any language that the artist seems fit for his own expression's sake. Since we have established the national cultural identity of New Zealand, then the "well from which filmmakers draw their inspiration to create cinematic images" (Harley, 2004) which had been clearly identified as a composite of sieved, diversified cultures of Pakeha and Maori amalgamation, is ready for the accessible use of all New Zealand filmmakers whether of Maori, Pakeha or Asian descent. And we salute the work of director Niki Caro for deftly utilising the Maori culture to the hilt to serve as backdrop to the stirring and valiant tale (penned by Witi Ihimaera) about a 12-year old girl's (Paikea or Pai) fight to fulfill her destiny and claim her rightful place in Maori society despite all the adversities, rejections and hindrances. After viewing the movie, I can assert with certainty that this is one movie which owes its beauty not only to the masteral painting of a girl's struggle to prove to all and sundry that leadership knows no gender barriers, but to the exposition of Maori ways and culture that contrive a "culturally specific background " to Paikea's story. Everybody can relate to Pai's National Identity 6 dilemma and silently wish that the damn, stupid tradition be amended pronto to ensconce Pai to her rightful niche as the original Paikea, the whale rider's, lawful successor. 1000 years had elapsed and tradition commands that Koro, the grandfather chieftain's heir has to succeed as tribal leader. Since the father Porourangi abdicated, then Pai must be enthroned. Customs has it that only a male heir can succeed (Shary & Seibel 2007, p.177). But then director Coro has to show to us all that Maori culture vis--vis this tradition has been supplanted by the New Zealand national cultural identity, which makes egalitarianism supreme. This means that male and female are given equal opportunities in this amalgamated society. As proof of this egalitarianism, Helen Clarke is the prime minister and more women serve in the government. This movie must reflect and construct the New Zealand national identity. The movie is made memorable by a repletion of colorful Maori customs, For instance, there's the marae meeting place; the leadership training which involves dances, haka movements; the traditional ceremonies; the different carvings which made the Maoris famous; and the predilection for debates. Thus, Whale Rider transported worldwide audiences to life in a small Maori village of Ngati Porou with its microcosm of Maori lifestyle and dilemmas. Whale Rider is a raving success in the sense that it is able to successfully present to audiences New Zealand's unique cultural qualities and heritage. At the same time, it deeply affects each New Zealander because he or she recognises his or her own story and his own culture as presented on the big screen and thus is allowed to feel a deep sense of being himself. When the movie ends, he or she, Maori or Pakeha can rightfully claim that this movie depicts New Zealand's national identity. It's not American or European life that is depicted but New Zealand life, replete with its customs and mores that serve as a culturally specific background to the universal tale of a 12-year old girl's struggle for acceptance and her defiance to age-old National Identity 7 Maori tradition that she was convinced was unfair and flawed. Director Cono deserves all those kudos that were heaped on her because she took full advantage of the richness of Maori mores and customs and from them, she was able to "create unique cinematic images that are also internationally accessible" (Harley, 2004). The movie Goodbye Pork Pie, on the other hand, belongs to another genre, which is comedy adventure. It is directed, produced, acted and written by New Zealanders and filmed entirely in New Zealand. It features New Zealand scenery with its lush greenery, pristine mountains and lakes and shows typical New Zealand characters as well as uses New Zealand lingos and slangs (Conrich & Murray 2007, p.154). Thus it presents New Zealand as it is. The story, which is about a road trip which has gone haywire covers practically the whole length of New Zealand from the North Island to the South Island and affords the international viewer, a glimpse of New Zealand. But its being New Zealandish stops there. The plot and the storyline obviously is lifted from American and British movies like Easy Rider, Butch Cassidy and the Sundance Kid and Thema and Louise (except that the 2 'folk heroes' or hooligans are men) and the Vanishing Point. Ruth Harley's statement of the culture being a "well from which filmmakers draw their inspiration" doesn't apply to this movie as the well from which the producers drew their cinematic images belongs to other civilizations. Like Goodbye Pork Pie, Sleeping Dogs is also a product of New Zealand talents as well as filmed in New Zealand. The exception is that the plot is entirely fictitious and seems to emanate from the scriptwriter's fertile imagination. That Sam Neill's character rents a house in desolate Coromandel Peninsula and happens to find a cache of arms left by the Resistance movement which makes him a subversive in the eyes of law is certainly an original concept (Mayer & Beattie 2007, p. 101). But there's nothing in it that relates to national cultural identity. The New Zealand viewer can never claim that it expresses the nation's cultural identity and National Identity 8 cannot relate to it as representing the national ethos and cannot recognise his own story and his own culture and heritage as presented in the wide screen. But anyway, it is a gripping and beautiful movie to watch and should be enjoyed for what it is. Ruth Harley, though, would definitely be disappointed to know that New Zealand's well of culture was not taken advantage of. National Identity 9 REFERENCES Australia, New Zealand Encyclopedia (1975). Morioris.Sydney: Bay Books. Conrich, I. & Murray, S. (2007). New Zealand Filmmakers, Wayne State University Press. Grolier Inc. (1967). Lands and Peoples, vol. 5, New York: Grolier Inc. Press. Mayer, G. & Beattie, K. (2007). The cinema of Australia and New Zealand, Wallflower Press. MacInnes, C (1964). Australia and New Zealand, Life World Library, New York: Time Incorporated. Ministry of Social Development (2008), Cultural Identity, 2008 social report. http://www.socialreport.msd.govt.nz/cultural-identity. New Zealand Facts. New Zealand culture and society. ww.fourcorners.com2/new-zealand/culture-society/-39k Rout, E. & Te Rake, H. (2003). Maori symbolism, Kessinger Publishing. Schafer, WJ. (1998). Mapping the godzone, University of Hawaii Press. Shary,T & Seibel, A. (2007). Youth culture in global cinema, University of Texas Press. Taylor, S. & Wetherall, M (1995), Doing national construction work:discourses on national identity, national culture, Sites no. 30. Read More