Questions asked, answered about Ko te Tuhono
WHEN the artist Ayesha Green discussed her practice at the Dunedin Public Art Gallery, her recent sculpture commission for Dunedin city’s Octagon was brought into question.
What appeared to be an impromptu delegation of Maori from the East
Coast raised the question as to whether it was appropriate for her to be using the iconography taken off the concrete caste carvings on Otakou marae’s Tamatea meeting house for this purpose, as their being on these buildings in Otakou was still in dispute.
As it is relatively commonly known that these concrete castes have a questionable provenance, it then asks the question of the selection process that awarded this commission to Green.
Bear in mind the ODT had reported that the Puketeraki runanga were consulted by the DCC before Green’s proposal was accepted for selection, and that the runanga was documented as conceptual collaborators in Green’s proposal.
Because the DCC’s expert panel did not adequately address the nature of Green’s appropriation, it brings into question again what appears to be a flawed public art policy for the city, and again the likely delivery of yet another dubious public monument in the city. Stuart Griffiths
Dunedin
[Ayesha Green replies:
‘‘Thank you for the concern, but you needn’t worry. The points you have raised are good and would be concerning to me as well, but they are unfounded. What you are worried about isn’t what is happening.
‘‘I would like to correct you on one point, though. Otakou runaka collaborated with me, not Puketeraki.
‘‘My cousins, the delegates from the East Coast, raised valid points about appropriation and repatriation. However, you didn’t quite catch the full conversation. My cousins are supportive of the sculpture — it’s a common mistake to interpret a challenge as opposition and I can assure you that’s not the case. I am grateful for your thoughtfulness, and I am glad that the talk I did at DPAG helped you to be mindful of the sinister traits of cultural appropriation within the national discourse.’’
DCC Ara Toi group manager Nick Dixon replies:
‘‘The panel which selected Ms Green’s work, Ko te Tuhono, included representatives from Te Runanga o Otakou and Kati Huirapa Runaka ki
Puketeraki, four arts community members selected from an open call for applicants, and three DCC staff members. The panel felt that Ko te Tuhono possessed a deep connection to place and all panellists recognised the importance of a visible mana whenua presence in the central city.
‘‘Ms Green’s submission was accompanied by unequivocal letters of support from members of Te Runanga o Otakou and descendants of tupuna HK Taiaroa, who is also honoured by this work.
‘‘Ko te Tuhono embodies the treasured place of Kai Tahu in Dunedin’s identity. Celebrating this is a principle of both Ara Toi Otepoti (Dunedin’s Arts and Culture Strategy) and the Public Art Policy. The panel is confident the work will be embraced by the community and by visitors to the city.’’]