- Title Pages
- Part 1 Makali‘i: Identity
- Chapter One … And I who am still a woman woven … !
- Chapter Two A Contemporary Response to Increasing Mele Performance Contexts
- Chapter Three Un/Civilized Girls, Unruly Poems
- Chapter Four The Fisherman
- Chapter Five Pasin/Ways
- Chapter Six Nau mai, hoki mai
- Chapter Seven Tiki Manifesto
- Part 2 Peleiake: Institutions
- Chapter Eight let’s pull in our nets
- Chapter Nine Speeches from the Centennial of the Overthrow
- Chapter Ten Something in the Wind
- Chapter Eleven Sovereignty out from under Glass?
- Chapter Twelve The Many Different Faces of the Dusky Maiden
- Chapter Thirteen Stealing the Piko
- Part 3 Kūpuku: Community
- Chapter Fourteen “I Lina‘la‘ Tataotao Ta‘lo”
- Chapter Fifteen The Words to Speak Our Woes
- Chapter Sixteen All Things Depending
- Chapter Seventeen Pasin Pasifik/Pasifik Way
- Chapter Eighteen He Huaka‘i ma Hā‘ena
- Chapter Nineteen Words & Music
- Part 4 Ke Aweawe a Makali‘i: Word
- Chapter Twenty I write (J’écris)
- Chapter Twenty-One Ka Li‘u o ka Pa‘akai (Well Seasoned with Salt)
- Chapter Twenty-Two First Class
- Chapter Twenty-Three Adventures in Chronicling
- Chapter Twenty-Four When will I be content with my words? When will I sound out my poem words?
- Production Notes
Nau mai, hoki mai
Nau mai, hoki mai
Approaching the Ancestral House
- (p.71) Chapter Six Nau mai, hoki mai
Alice Te Punga Somerville
- University of Hawai'i Press
This chapter explores a number of Māori poems in which individuals come home onto their own marae. Through analyses of Apirana Taylor’s “Sad Joke on a Marae,” Vernice Wineera’s “Toa Rangatira” and “Tangi,” and Kāterina Mataira’s “Restoring the Ancestral House,” the chapter shows that wharenui are ancestors, carvings are ancestors, and ancestors are ever-present. It argues that homecoming is an act of return—nau mai, hoki mai—and that the poems all foreground the act of creative production through the materiality of the carvings. It also suggests that, for all of the speakers in the poems, the approach to the ancestral house is tinged—even shaped—by the complex structures of proximity to and distance from the ancestral space and, ultimately, the ancestral.
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