{"id":295,"date":"2019-05-17T06:34:57","date_gmt":"2019-05-17T06:34:57","guid":{"rendered":"http:\/\/engp07.epgpbooks.inflibnet.ac.in\/?post_type=chapter&p=295"},"modified":"2019-05-17T09:04:51","modified_gmt":"2019-05-17T09:04:51","slug":"maori-plays-of-the-south-pacific-hone-kouka-nga-tangata-toa-1994","status":"publish","type":"chapter","link":"https:\/\/ebooks.inflibnet.ac.in\/engp07\/chapter\/maori-plays-of-the-south-pacific-hone-kouka-nga-tangata-toa-1994\/","title":{"rendered":"M\u0101ori Plays of the South Pacific: Hone Kouka \u2013 Nga Tangata Toa (1994)"},"content":{"raw":"
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\r\n\r\nIntroduction:<\/strong>\r\n\r\n\u00a0<\/strong>\r\n

Originating in Polynesia and sharing features with languages from the eastern parts of the South Pacific such as Rarotongan, Tahitian, and Hawaiian, M\u0101ori language has flourished in New Zealand for over a thousand years. The language of today developed with the occupation of Aotearoa by Eastern Polynesian immigrants in AD 800. The language has variations across the South and North Island communities, and within the North Island indigenous communities, the language differs across east and west \u2013 though in all cases, the language is still mutually intelligible.<\/p>\r\n \r\n

However, given the impact of colonization and the hegemonizing presence of the English language, M\u0101ori language suffered a crisis until recent years, where there has been a concerted and sincere effort towards a rejuvenation and revival of the language as a living practice. Learning programmes, concerned linguists and activists and New Zealand\u2019s official policy to have M\u0101ori as an official language \u2013 are all reasons of the survival of the language in its present form today. M\u0101ori today thrives as the language in street signs, cultural gatherings, oral traditions as well as modern publications of children and adults.<\/p>\r\n \r\n

M\u0101oris have a strong oral tradition as well integral to their Polynesian heritage. The oral is part of a ritualistic tradition which upholds the M\u0101ori way of life through diverse knowledge systems. Genealogy, incantations, rituals, song, prose narratives and dance encapsulate the various ramifications of oral traditions. The tradition is founded upon a common heritage, preserved by various communities in Aotearoa. Oral texts were composed, memorized and narrated with ceremony and religious rituals. Each occasion merited the observation of songs, chants and complex overviews on the Indigenous world. The oral tradition is a living experience of M\u0101ori life since it is intimately connected to the idea of performance and spiritual existence.<\/p>\r\n \r\n

The beginning of M\u0101ori writing script may be ascertained from the works of a lay reader of the Church missionary society, a Cambridge scholar and two M\u0101ori chiefs in 1820. The Williams family of clerics and missionaries promoted the use of the written script and devised the structure and vocabulary. The M\u0101ori -English dictionary entitled A Dictionary of the New Zealand Language and a Concise Grammar<\/em>; to which are Added a Selection of Colloquial Sentences (1844), <\/em>which, after revision, seven editions, and a new title, A Dictionary of the M\u0101ori Language (7th edn, 1971), <\/em>were produced by William Williams and\u00a0his grandson, Herbert Williams. W. L. Williams (son of William Williams) was responsible for the compilation of the grammar book with the title <\/span>First Lessons in the M\u0101ori Language with a Short Vocabulary (1862), <\/em>with later editions revised by his son Herbert W. Williams.<\/span><\/p>\r\n\r\n<\/div>\r\n

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In 1969, linguist Bruce Biggs authored the seminal book on M\u0101ori linguistic system and pedagogy entitled Let's Learn M\u0101ori<\/em>. Biggs also wrote the Complete English-M\u0101ori Dictionary (1981), <\/em>which largely comprises the English meanings taken from the M\u0101ori headwords in Williams\u2019 dictionary. Further, new words and terms were also recorded in phenomenal H. M. Ngata's English-M\u0101ori Dictionary (1993) <\/em>--- which provides an intricate and scholarly illustration of colloquial, formal and classical usage of M\u0101ori language. The M\u0101ori Language Commission's Te Matatiki <\/em>(1996) further enhanced the structural framework and vocabulary.<\/p>\r\n \r\n

The second half of the twentieth century witnessed a large number of publications on M\u0101ori language and teaching such as John Moorfield's series Te Whanake <\/em>(1987-2002), and the linguistic analysis by Winifred Bauer, M\u0101ori <\/em>(1993). Cleve Barlow's translation of Biggs's Let's Learn M\u0101ori <\/em>as Me Ako Taatou i te Reo Maaori (1990) <\/em>is one of the first major workers on M\u0101ori language in M\u0101ori. Initial written literature in M\u0101ori reflected the religious and political proclivities of the church\u00a0and state and their imperialist aspirations. Herbert W. Williams\u2019 A Bibliography of Printed<\/em><\/p>\r\n \r\n

\u00a0M\u0101ori to 1900 <\/em>(1924) provides a well-documented resource on such publications. As the written script established itself, the Bible, orders of service, hymns and church doctrines were translated into M\u0101ori. Further, government aided publications disseminated information on British and European cultural, political and social history and policy to M\u0101ori readers in M\u0101ori. As government, churches, philanthropists, activists promoted the use of M\u0101ori language to divulge their local and international activities, M\u0101ori newspapers flourished in the nineteenth century. Newspapers also became the medium of protest used by M\u0101ori individuals, the M\u0101ori Parliament and members of the M\u0101ori King Movement to express resistance against colonial rule since the 1850s. Also, letters from M\u0101ori people to government officers, records of tribal meetings and minutes of the M\u0101ori Land Court constitute significant unpublished material in M\u0101ori and also provide evidence on crucial linkages between oral traditions and the written script.<\/p>\r\n \r\n\r\n<\/div>\r\n

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Therefore, since the 1840s, personal records of Indigenous history, customary practices, genealogies, songs, proverbs, idioms have been retained in written M\u0101ori. However, these have been mostly preserved as private documents rather than for public usage. The decline of the use of M\u0101ori, the concerns of making public traditional language are some of the reasons as to why these documents have not been printed as widely. In recent years, some such personal records have been brought to the public domain and constitute a very rich M\u0101ori written tradition as well.<\/p>\r\n \r\n

Much of Oral M\u0101ori literature today can be accumulated from public libraries where nineteenth century linguist, anthropologists, administrators, folklorists, or missionaries collected the material in the form of genealogy, song or incantations. For instance, governor Sir George Grey and government official John White obtained similar material from Indigenous communities. In Grey's and White's collections are manuscripts by several M\u0101ori writers, notably Aperahama Taonui and Wiremu Maihi Te Rangikaheke. From such material, Grey published innumerous works, including Ko Nga Mahinga a Nga Tupuna <\/em>(1854, with a very free English version, in Polynesian Mythology, published in 1855). This book contains heavily edited narratives on the creation of human life, legendary heroes and the settlement of Indigenous groups in Aotearoa. In Ko Nga Moteatea me Nga Hakirara o Nga M\u0101ori <\/em>(1853) Grey published nearly five hundred texts of the song poems. White's six-volume Ancient<\/em> History of the M\u0101ori <\/em>(1887-90) encapsulates the creation of the gods and human life, through the migration and settlement of Aotearoa, to the arrival of the Europeans.<\/p>\r\n \r\n

S. Percy Smith's M\u0101ori Wars of the Nineteenth Century <\/em>(1910), and Elsdon Best's monographs on customary practices and Indigenous history, Tuhoe <\/em>(1925) are both books based on informants\u2019 data and are evidence of the passionate interest in M\u0101ori traditions nurtured by Europeans in the early years of the twentieth century. The Journal of the Polynesian Society (1892-) <\/em>is a substantial resource of articles in M\u0101ori about Indigenous knowledge systems. Bilingual texts with histories written in English and extensive quotations in M\u0101ori have seen the light of the day in the middle of the twentieth century such as J. H. Mitchell's Takitimu <\/em>(1944) and John Grace's Tuwharetoa <\/em>(1959). The oral indigenous inheritance has been inscribed in the written and published in M\u0101ori with English translation as emblematic in Anaru Reedy's edition of his ancestors' writings, Nga Korero a Mohi Ruatapu <\/em>(1993), and Pei Te Hurinui<\/em>, Jones and Bruce Biggs's history of the Tainui people, Nga Iwi o Tainui <\/em>(1995).<\/p>\r\n\r\n<\/div>\r\n

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From the 1960s scholars have also published from M\u0101ori manuscripts, with translation, such as the ethnographic monograph M\u0101ori Marriage <\/em>(1960) by Bruce Biggs and the compilation He Whiriwhiringa <\/em>(1997), Margaret Orbell's Traditional M\u0101ori Stories <\/em>(1992), Agathe Thornton's The Story of Maui by Te Rangikaheke <\/em>(1992), and in the journal Te Karanga <\/em>(1985-90). Songs from the oral tradition have also been extensively published. The song poems of the oral tradition find frequent publication. Three volumes of Nga Moteatea <\/em>(1959, 1961, 1970), compiled by M\u0101ori scholars Sir Apirana Ngata and Pei Te Hurinui Jones, are wonderful in combining song texts with extensively annotated translations. Discourse about the oral tradition, almost always in English, has also favoured the song texts, as in Margaret Orbell's M\u0101ori Poetry <\/em>(1978). The formulaic oral tradition is reflected in the sayings compiled by Hirini Moko Mead and Neil Grove, Nga Papeha a nga Tipuna <\/em>(2001).<\/p>\r\n \r\n

C.\u00a0\u00a0 R.\u00a0\u00a0 H.\u00a0\u00a0 Taylor's\u00a0\u00a0\u00a0 comprehensive\u00a0\u00a0\u00a0 work\u00a0\u00a0\u00a0 A\u00a0\u00a0\u00a0 Bibliography\u00a0\u00a0\u00a0 of\u00a0\u00a0\u00a0 Publications\u00a0\u00a0\u00a0 on<\/em> \u00a0the New Zealand M\u0101ori <\/em>(1972) discusses traditional M\u0101ori culture. Jeffrey Sissons, Pat Hohepa and Wiremu Wi Hongi's The Puriri Trees are Laughing <\/em>(1987) discusses Indigenous history\u00a0 while\u00a0\u00a0 M\u0101ori\u00a0 knowledge\u00a0 systems\u00a0 are\u00a0 revised\u00a0 in\u00a0 Margaret\u00a0 Orbell's\u00a0\u00a0 Hawaiki:<\/em>\u00a0\u00a0\u00a0 \u00a0A New Approach to M\u0101ori Tradition <\/em>(1985) and Agathe Thornton offers a comparative study of M\u0101ori and Greek literatures in M\u0101ori Oral Literature <\/em>(1987).<\/p>\r\n \r\n

Well known M\u0101ori writers such as Patricia Grace and Katerina Mataira have produced books for children to learn M\u0101ori. Cleve Barlow published a bilingual edition on cultural concepts, Tikanga Whakaaro <\/em>(1991); companion volumes to the Dictionary of New Zealand Biography was published as Nga Tangata Taumata Rau <\/em>(1990-2000); books were written about individual lives --- the minister, Hemi Potatau's autobiography He Hokinga Mahara <\/em>(1991), Ruka Broughton's told the story of his ancestor Ngaa Mahi Whakaari a Tiitokowaru <\/em>(1993); elders' published and unpublished articles and letters were edited by Wiremu and Te Ohorere Kaa (1994, 1996), and nineteenth-century newspaper correspondence was reproduced with translation by Margaret Orbell, in He Reta ki te Maunga <\/em>(2002).<\/p>\r\n \r\n

Song texts have also been an important part of M\u0101ori cultural traditions. D.S. Long and Witi Ihimaera edited Into the World of Light <\/em>(1982) dedicated to life and works of composer Tuini Ngawai. Again, Tuini, Her Life and Her Songs <\/em>(1985) has been compiled by Ngoi Pewhairangi.\u00a0\u00a0 Song\u00a0\u00a0\u00a0 texts\u00a0\u00a0\u00a0 have\u00a0\u00a0\u00a0 also\u00a0\u00a0\u00a0 been\u00a0\u00a0\u00a0 published\u00a0\u00a0\u00a0 in\u00a0\u00a0\u00a0 The\u00a0\u00a0\u00a0 Penguin\u00a0\u00a0\u00a0 Book\u00a0\u00a0\u00a0 of New Zealand Verse <\/em>(1985) and The Penguin Book of Contemporary New Zealand Poetry <\/em>(1989), both edited by Harvey McQueen and Ian Wedde; and in Margaret Orbell's Waiata:<\/em><\/p>\r\n \r\n\r\n<\/div>\r\n

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M\u0101ori Songs in History <\/em>(1991). Song texts are symptomatic of a thriving tradition of performance and a living language that has evolved with contemporary glocal changes.<\/p>\r\n \r\n

Performance is an integral part of M\u0101ori oral tradition. Storytelling, dance, music and games were enacted on traditional sites called \u201cWhare tapere\u201d central to M\u0101ori society. The \u201cwhare tapere\u201d indicated an outdoor location, or the base of a tree which was designated as the space for performance. A whare m\u0101toro was a form of whare tapere that offered entertainment specifically by and for young people in the community. A travelling troupe of entertainers who staged whare tapere in a succession of communities was called a whare karioi.<\/p>\r\n \r\n

By the late nineteenth century, with the onslaught of colonization, whare tapere as a tradition was being eradicated with the loss of its associated customs. In 2008, the \u014crotokare Trust\u00a0 was formed by Charles Royal. The trust aimed at rejuvenating the whare tapere tradition by offering a conglomeration of the old performative rituals and new approaches to M\u0101ori performing arts. In 2010, the trust held its first whare tapere at Waimango marae, Hauraki. There have been several performances since with the usage of traditional M\u0101ori instruments and marionette type puppets called karetao as well as the presence of modern digital soundscapes.<\/p>\r\n \r\n

The dramatic elements in M\u0101ori forms such as haka <\/em>were exploited in early New Zealand stage dramas such as The land of the moa <\/em>(1895) and Tapu <\/em>(1903). M\u0101ori people were given only minor roles in these productions and were almost never consulted over the script or the staging. The very early feature film entitled Hinemoa <\/em>(1914) employed M\u0101ori actors, but did not\u00a0 involve\u00a0 M\u0101ori\u00a0 expertise\u00a0 on\u00a0 the\u00a0 content.\u00a0 Some\u00a0 of\u00a0 Rudall\u00a0 Hayward\u2019s\u00a0 films,\u00a0 such\u00a0\u00a0\u00a0 as Rewi\u2019s last stand <\/em>(1940), were exceptional since attempts were made to incorporate M\u0101ori viewpoints therein. The ambitious 1941 production of Hinemoa <\/em>in Rotorua by the M\u0101ori Musical Society offer evidence of M\u0101ori initiative and demonstration of culture and art.<\/p>\r\n \r\n

The first New Zealand play reflecting domestic racial relations can be found in Bruce Mason\u2019s The Pohutukawa Tree <\/em>(1957). While Director Richard Campion struggled to find M\u0101ori for the lead roles, he was lucky to find M\u0101ori actress Hira Tauwhare who gave a powerful performance in the role of the protagonist, Aroha Mataira. In 1971 Te raukura: the feathers of the albatross<\/em>, the first play by a M\u0101ori playwright was written by journalist Harry Dansey. The play dealt with the destruction of Te Whiti\u2019s settlement at Parihaka, and was first staged, with George Henare as Te Whiti, at Auckland\u2019s Mercury Theatre in 1972. Two\u00a0years later <\/span>Te raukura <\/em>was performed at Wellington\u2019s Ng\u0101ti P\u014dneke marae by members of Victoria University\u2019s Te Reo M\u0101ori Society. Henare also starred as Hongi Hika in the highly successful musical <\/span>Mr King Hongi<\/em>, first produced at Auckland\u2019s Mercury Theatre in 1973.<\/span><\/p>\r\n\r\n<\/div>\r\n

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In 1965 the New Zealand Opera Company performed Porgy and Bess, <\/em>George Gershwin\u2019s opera of African-American life, with \u012ania Te W\u012bata in the lead and 30 other M\u0101ori in the chorus. Several of them, such as Don Selwyn, George Henare and Apirana Taylor, went on to become leading theatre personalities. The success of this production led to the establishment of the M\u0101ori Theatre Trust. In 1967 the Trust performed a classical drama, He <\/em>mana<\/em> toa, <\/em>and a comedy of life before European settlement, The golden lover<\/em>. Both plays paved a new direction and sense of identity in M\u0101ori theatre. In 1970 the M\u0101ori Theatre Trust\u00a0 embarked on an international tour whereby members first contributed to New Zealand\u2019s large-scale pageant at Expo 70 in Osaka, Japan, then toured to Hungary and several cities in the then Soviet Union. The Trust eventually disbanded due to financial crisis.<\/p>\r\n \r\n

The mid - 1970s witnessed a revival of M\u0101ori theatre with the rise of M\u0101ori\u00a0 political activism. In 1976, Te Ika a Maui Players was the first theatre company formed and run by M\u0101ori and staged Rowley Habib\u2019s The death of the land<\/em>. For three years, the play toured nationally and it was also rendered for television in 1978. Two founding members of Te Ika a Maui, Jim Moriarty and Brian Potiki would soon become well known theatre personalities themselves. In fact, it was Potiki who formed the radical theatre company Maranga Mai which staged contemporary events from the M\u0101ori political movement. In 1979, the company toured schools, marae and also gave an invited performance at Parliament Buildings in Wellington. While they invited much adverse criticism for provoking \u2018racial disharmony\u2019 but the Maranga Mai also encouraged young M\u0101ori to join theatre such as the Samoan actor Eteuati Ete. The 1970s saw the emergence of M\u0101ori graduates in theatre such as Rawiri Paratene from the QE II Arts Council Drama School (later the NZ Drama School and Toi Whakaari) in 1972. Rangimoana Taylor graduated in 1975 and would then go on to form the Te Ohu Whakaari, a M\u0101ori theatre cooperative. Through its extensive tours in schools and marae for 15 years, this group performed stories on the basis of lives of individuals and events in M\u0101ori history. Te Ohu Whakaari went on to produce plays written by\u00a0 Rangimoana\u2019s brother Apirana Taylor (Kohanga<\/em>, Te whanau a Tuanui Jones<\/em>), and their sister Riwia Brown (Roimata, Te hokinga<\/em>, Nga wahine<\/em>). Founding member Briar Grace-Smith, who was 17 when Te Ohu Whakaari was set up, later became a noted playwright.<\/p>\r\n\r\n<\/div>\r\n

In 1983, the Depot Theatre (later renamed as Taki Rua) was opened in Wellington with the aim of producing work from New Zealand only. They produced significant M\u0101ori plays such as Nga morehu <\/em>and Tupuna <\/em>(1987) and Fragments of a childhood <\/em>(1988) \u2013 all by Rowley Habib. One of the founder members of this group was Hone Kouka (1966 -). Kouka, Ngati Porou, Ngati Raukawa, Ngati Kahungunu, attained famed with his plays based on specifically M\u0101ori themes. For Hide \u2018n\u2019 Seek<\/em>, with Hori Ahipene in 1992, he became the youngest playwright to receive the Bruce Mason Award. A versatile writer of short fiction, poetry and children\u2019s writing, he has worked as a theatre artistic director and in journalism as well. Graduating in English from University of Otago 1988 and from Toi Whakaari \/ New Zealand Drama School 1990, he has collaborated with director Colin McColl in the hugely successful Nga Tangata Toa<\/em>, a version of Ibsen\u2019s revenge play The Vikings<\/em>, performed in Wellington and Auckland 1995. Set on the East Coast in 1916, the play is concerned with family conflicts (a recurrent Kouka theme) on the return to the marae of a war hero, and the dramatic dominance of the woman warrior Rongomai. According to David Carnegie, \u201cHone Kouka has both extended the range of contemporary M\u0101ori drama, and avoided its two frequent pitfalls: tired Western televisual dramaturgy, and adaptation of traditional M\u0101ori song and dance into a merely ornamental alternative to substantial dramatic complexity.\u201d 1His other plays include Mauri Tu<\/em>, Hide \u2019n\u2019 Seek <\/em>and Five Angels<\/em>. The 1996 New Zealand International Festival of the Arts commissioned Waiora Te U Kai Po (The Homeland) <\/em>for a national and international tour and in 1997, published it with an introduction by Roma Potiki and afterword by Judith Dale. The play comprises waiata and haka by Hone Hurihanganui, performed by spirit characters enmeshed in conflict and conscience. Reflecting on the predicament of a sawmill worker\u2019s family who left their home in the North Island in search of work at Christchurch, the play highlights the irony inherent in the immigrant status of the M\u0101ori. The 1956 setting of the play replicates both racial tensions in New Zealand as well as the forces of global historical and political changes. The Prophet <\/em>(2006) completes a trilogy of plays including Waiora <\/em>and Home Fires<\/em>, and is as powerful as Kouka\u2019s earlier oeuvre.<\/p>\r\n \r\n

The 1990s witnessed the powerful presence of M\u0101ori theatre in New Zealand with worldwide recognition.\u00a0 In\u00a0 1991\u00a0\u00a0 John\u00a0\u00a0 Broughton\u2019s\u00a0\u00a0 passionate\u00a0\u00a0 monologue entitled\u00a0\u00a0 Michael\u00a0\u00a0 James Manaia <\/em>was first performed by Jim Moriarty at the Edinburgh Festival. In that year Hone Kouka\u2019s Nga <\/em>tangata<\/em> toa<\/em>, an epic based on Ibsen\u2019s The Vikings at Helgeland, <\/em>was\u00a0developed in collaboration with Norwegian theatre worker Halldis Hoaas. The protagonist Rongomai was played by the brilliant actor Nancy Brunning. Carnegie writes: \u201cThe 1919 M\u0101ori society of this play is volatile in ways that resonate with contemporary political concerns: they are a people undergoing the stress of change. Taneatua's wife, wearing the traditional women's moko (chin tattoo), has been content to keep the home fires burning for her warrior husband. Rongomai, on the other hand, was never tattooed, has married a European farmer, and visibly chafes at her woman's role.\u201d2 Nga tangata toa <\/em>was later performed by Rangimoana Taylor\u2019s group Kilimogo Productions in 1997, and by Taki Rua Productions in 2006. Hone Kouka, whose theatre career began at Taki Rua\u2019s predecessor The Depot, later founded the Wellington independent company Tawata with playwright Miria George. Tawata has held a Matariki Festival annually since 2010, incorporating theatrical voices from M\u0101ori knowledge holders. In 2009 Kouka was made a member of the New Zealand Order of Merit for his services to M\u0101ori theatre. The 1990s also saw the development of\u00a0 the\u00a0 marae\u00a0 theatre\u00a0 where\u00a0 the\u00a0 marae\u00a0 was\u00a0 seen\u00a0 as\u00a0 a\u00a0 space\u00a0 for \u00a0performance,\u00a0 where\u00a0 the kaum\u0101tua is crucial to the production and according to Hone Kauka, the kaum\u0101tua\u2019s name should head the list of cast members.<\/p>\r\n \r\n

Te reo M\u0101ori theatre which includes Briar Grace-Smith's Waitapu <\/em>(1996) along with new theatre forms in the twenty first century have moved beyond the agitprop theatre and marae based traditional stories. Taika Waititi and Jemaine Clement, also well-known as screen actors and directors, turned legends into irreverent comedy in The untold tales of Maui, <\/em>which toured nationally in 2003\u20134. Playwrights\u00a0 such as Albert Belz\u00a0Awhi <\/em>tapu<\/em>, Yours truly, Te karakia) <\/em>and Whiti Hereaka (Fallow, Te kaupoi, Raw men<\/em>) have dealt with issues not previously seen as intrinsically M\u0101ori. In 2010, the first annual Taonga Whakaari \u2013 M\u0101ori Playwrights Festival in Auckland included the 24-Hour Deadline Theatre Challenge, in which five playwrights had 12 hours to write a 15-minute play, which was performed the following night. In April 2012 six feature-length dramas appeared on television as the series Atamira. <\/em>Each work had originally been written for the stage by a different M\u0101ori playwright. The series was co-produced by Taki Rua as part of an expansion into film and television production.<\/p>\r\n \r\n

It is evident therefore that M\u0101ori theatre is a living tradition, which reflects the tumultuous changes in M\u0101ori society and culture. In the words of Hone Kauka, \u201cI think M\u0101ori-language literature can help strengthen the language. I am working more in that area, and there are great initiatives of more work (drama) in Te Reo M\u0101ori (the M\u0101ori language). Plays in the M\u0101ori language and the establishment of M\u0101ori television have helped to strengthen the M\u0101ori voice. I think not only the word but putting out any element of M\u0101oridom to the art world is beneficial to all.\u201d<\/p>\r\n \r\n

M\u0101ori theatre reflects M\u0101ori identity and ethnicity and form a trajectory of the revitalization of M\u0101ori language and culture.<\/p>\r\n\r\n\r\n\r\n\r\n
you can view video on M\u0101ori Plays of the South Pacific: Hone Kouka \u2013 Nga Tangata Toa (1994)<\/strong><\/td>\r\n\"\"<\/a><\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>\r\nReference\u00a0<\/strong>\r\n