HEADLANDS essay ‘MAORI AT THE CENTRE: ON THE MARGINS’ (with permission)
‘First published by the Museum of Contemporary Art Ltd, Sydney, Australia in 1992 in Headlands: Thinking though New Zealand Art, exhibition publication page 122’ MCA
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Monsieur l'abbé, I detest what you write, but I would give my life to make it possible for you to continue to write.
Voltaire, letter to M. le Riche, 6 February 1770
Headlands is such an exquisitely uncomfortable exhibition that it may not prove popular. But it should be seen, both for the quality of the works and for the way it reveals a darker but more interesting side to our nearest neighbours.
Joanna Mendelssohn, New Views of NZ, The Bulletin, 21 April 1992: 104
Black music has very often been stolen and co-opted by white people. But there is a complexity to the story of the blues. Early blues records had vanished by the 1950s. They were disposable things on their way to being forgotten completely. And it was a coterie of white collectors who rescued them from oblivion. Now there are problems with the white taste for the authentic, and the patronizing way that some of the old bluesmen were dug up and exhibited as authentic primitives.
Hari Kunzru interview with Sigurjón Birgir Sigurðsson ‘Sjón’, BOMB, 15 May 2017
White man, hear me! History, as nearly no one seems to know, is not merely something to be read. And it does not refer merely, or even principally, to the past. On the contrary, the great force of history comes from the fact that we carry it within us, are unconsciously controlled by it in many ways, and history is literally present in all that we do. It could scarcely be otherwise, since it is to history that we owe our frames of reference, our identities, and our aspirations. And it is with great pain and terror one begins to realize this. In great pain and terror one begins to assess the history which has placed one where one is and formed one’s point of view. In great pain and terror because, therefore, one enters into battle with that historical creation, Oneself, and attempts to recreate oneself according to a principle more humane and more liberating; one begins the attempt to achieve a level of personal maturity and freedom which robs history of its tyrannical power, and also changes history. But, obviously, I am speaking as an historical creation which has had bitterly to contest its history, to wrestle with it, and finally accept it in order to bring myself out of it.’
James Baldwin, ‘White Man’s Guilt’, Ebony, August 1965
Headlands aimed to present an overview of New Zealand art which opened up ways of thinking, extended knowledge, and shifted this knowledge into new possibilities of awareness. By building on pre-existing notions of the culture and art of New Zealand, this exhibition reflected and reconsidered those judgements, presenting new ideas, and re-presenting the familiar in a new context.
Museum of Contemporary Art statement, MCA, Sydney web site, accessed 20 December 2017
I have been thinking through Baldwin’s comments. With the past everpresent, musing over HEADLANDS, its many responses, over the decades, means contesting less helpful frames of history many critics have sought to impose and reiterate but seldom to revise. American writer Susan Sontag once confided, ‘Reading criticism clogs conduits through which one gets new ideas: cultural cholesterol.’ For me various reactions to, not so much my 1992 essay (‘Maori at the Centre, On the Margins…’ for HEADLANDS, MCA, Sydney) but rather to, its authorship, constitute ongoing cultural constriction. Too much has been written, is still being written about me rather than the eleven paragraphs (of a more broadly positioned essay) I penned.
‘Reading criticism clogs conduits through which one gets new ideas: cultural cholesterol.’ Susan Sontag diary 1964
It would be difficult, unnecessary even, to fractionally respond to these critiques when references to arguments in my HEADLANDS essay have become something of a diversion. Like ‘true north’ its’ position exists in that direction over there: like the angle that one might point one’s house to capture the sun. Immediately after my PhD examination, 2003 novelist Witi Ihimaera (part of the examination panel) breezily described this compass point as a pragmatic reference. The essay he said was one of his points of bearing, out there, on the periphery. For me the edginess of Ihimaera’s remark has deeper resonance. ‘Maori at the Centre…’ has been impaled, muted and neutered. It doesn’t argue back. It mostly offers up a couple of oft-quoted phrases obediently receiving endless re-inscription. If anyone has difficulty understanding this controversial treatment ask the text – it saw it all: monologues not discussions, soliloquy not dialogue and silence from, not debate with, the protagonists.
DEBATE: ‘A formal discussion on a particular matter in a public meeting...in which opposing arguments are put forward...’ Oxford Dictionary
So after a quarter of a century…
Maori-Kunst sprechen ‘Let’s talk Māori Art’. This is part of the work I do with international clients helping them understand some of the key areas that make Māori a unique global artform. The kaupapa of my kōrero follows aspects of the book ‘Māori Art’ but is specifically related to objects or architecture in the Auckland central city area. I used to walk around Auckland landscapes and cultural collections with students but I find working with the public (individuals or small groups) just as challenging and, in a number of respects, more rewarding. If anyone is interested in looking further at what our small family based company Pihirau offers visit other areas of this site and also look at my other contributions in the publishers public site for the book ‘MĀORI ART, History, Architecture, Landscape and Theory‘: 
