Ngāi Tahu/Ngāi Tūāhuriri celebrate Te Omeka

The long awaited opening of Te Omeka (The Justice Precinct) in Christchurch today marks a significant achievement in the recovery of the city. Te Omeka is also further evidence of the major role that Ngāi Tūāhuriri/Ngāi Tahu has played in the city rebuild.

Te Omeka is a special space – the Justice and Emergency Services Precinct is a significant building representing the future of Christchurch, and for Ngāi Tūāhuriri/Ngāi Tahu it represents a visual embodiment of the partnership that has seen the iwi contribute as an important participant in the rebuild.

Ngāi Tūāhuriri/Ngāi Tahu values, narratives and aspirations have been woven into the fabric of the anchor projects and other projects associated with the recovery of greater Christchurch. Ngāi Tūāhuriri is the local Ngāi Tahu sub-tribe (hapū) that holds mana whenua (traditional rights and responsibilities) over the Christchurch CBD. The Matapopore Charitable Trust was established by Ngāi Tūāhuriri as the vehicle to provide cultural advice to the rebuild by forming project teams that combine professional expertise with traditional knowledge in the areas of ecology, architecture, landscape architecture, fine arts whakapapa, natural and cultural heritage, mahinga kai, tikanga, te reo Māori, raranga and Toi Māori.

“Very early in the rebuild process Ngāi Tūāhuriri called on the values of their ancestors to guide the process,” says Dr Te Maire Tau, ūpoko of Ngāi Tūāhuriri . “We selected the principle – Kia atawhai ki te iwi – Be kind to your people – the founding kaupapa, recounted by Pita Te Hori, first ūpoko Rūnanga of Ngāi Tūāhuriri in 1861, to be at the centre of our contribution to the rebuild. Ngāi Tūāhuriri believes the anchor projects must demonstrate care for the citizens of the city and encourage warmth and a sense of welcome,” says Dr Tau.

Te Omeka is a stunning example of the expression of Ngāi Tūāhuriri values, traditions and concepts embedded in a contemporary urban environment through the use of visual indicators.

The name Te Omeka comes from the Biblical terms Alpha and Omega – both terms were deployed by Tahu Potiki Ratana when he visited the South Island and Tuahiwi. Ngāi Tūāhuriri led the Ngāi Tahu Claim and took responsibility for resolving issues concerning the Treaty of Waitangi with the Crown. This role was recognised by Tahu Potiki Ratana when he visited Ngāi Tūāhuriri marae and prophesised that the South Island would see the resolution of the Treaty of Waitangi – “the Treaty will be realised when the hearts and minds of all peoples speak as one”.

“Te Omeka is a legacy left by the people of Ngāi Tūāhuriri. It asks that our hearts and minds and different faiths be bound as one to the law of Crown and Queen so that the Treaty may speak to us all. It is a fitting name for the precinct and we thank the Government for the opportunity to be involved in the naming and the development itself,” says Dr Tau.

Ngāi Tahu artists Lonnie Hutchinson and Fayne Robinson have played key roles in the development of the precinct.

Kahu Matarau by Lonnie Hutchinson is one of the works that has been visible for many months. Situated on Tuam Street, the eight metre high, 36 metre long aluminium kākāpo feather cloak wraps around the precinct carpark as an expression of high status or mana. This cloak of chieftanship is a garment of protection for the city that orients towards Tuahiwi, the heartland of Ngāi Tūāhuriri. Below the cloak sits a garden that depicts a whāriki (woven mat) with a zigzag tāniko pattern emerging through clever use of native planting.

At the entrance to the building stand Tutura (Tu Rangatira). These sandblasted basalt columns feature distinctive kowhaiwhai and the integration of these cultural symbols at the building entrance are a statement of the Ministry’s relationship with Ngāi Tūāhuriri/Ngāi Tahu. The Mangōpare or hammerhead shark is a symbol for strength and resolve in kowhaiwhai. As a food source Mangōpare also represents mahinga kai. The customary ownership and uses of natural resources was asserted by Ngāi Tahu rangatira through the judicial system with successful outcome in the resolution of the Ngāi Tahu Claim.

The Durham Street glazing features further work by Lonnie Hutchinson. Pikihuia I Te Ao, I Te Pō uses the prestigious feathers of the extinct native Huia bird as a reminder of consequences when we don’t act with care. The feathers are visible both day and night.

The 1998 Ngāi Tahu Settlement included a formal Crown apology. For Ngāi Tahu this refers to a period and process of healing. These concepts are embedded in the Ngāi Tūāhuriri integrated artworks within the Māori Land Court, brought to life by carver Fayne Robinson.

Robinson’s work is also evident in the entrance portal or Ngūtu. These are places to pause, reflect or pay respect. Robinson has designed a sinuous kōwhaiwhai for this ngūtu leading into the Māori Land Court, where mangōpare, pūhoro and tāniko designs flow through timber and stone. Ngāti Waewae of the West Coast sourced Rimu (a rakau rangatira or chiefly tree) and Tahutahi Pounamu (Snowflake jade) for the prestigious entrance to the Māori Land Court.

Robinson is also responsible for the hand carved handles of the four entrance doorways, carved from native timber of the black Maire tree to represent both tuna (eel) and patu (weapon). The carved tuna come in pairs - the male eel identified by eyes of marsden stone and the female eel identified by eyes of aotea stone. Implicit is the Ngāi Tahu history of traditional food gathering, natural resources and customary practices.

Further works by Hutchinson and Robinson feature in the precinct.

“Ngāi Tūāhuriri are proud of the elements depicted and the visual representation of our history, art and traditions. We encourage people to visit the precinct for the pure experience of viewing the art work and understanding better the role we each have to play in this rebuild process,” says Dr Tau.

ENDS

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