Never mind the naysayers, kōrero Reo Māori mai!

I wasn’t going to wade into the debate around Te Reo Māori in schools. The argument shouldn’t even exist. But then I saw this video, and decided to write a note of support for those who understand the value, the necessity, the rich taonga that is Te Reo Māori.

The video has been shared 11,942 times and ‘liked’ 14,000 times in this facebook post alone. That’s a lot of  enthusiastic loving.

Te Hātea Kapahaka group from Te Tai Tokerau (Northland) stand in a Sicilian Church in Italy and sing their hearts out. It made my heart explode. I have no idea when they sung it, but that is beside the point.

It comes as no surprise to me that someone has carefully and beautifully translated this Leonard Cohen classic (Hareruia aka’Halleluah’) into Te Reo. If you can understand Māori, you’ll hear how well it is done. The arrangement is breath-taking.

And there is more to this waiata than beautiful words and a clever harmonies. They stand and sing to pay their respects to the Sicilian people, to the different cultures around them, to the church they are in and to their own people. They stand in acknowledgement and awe of the religion they are interacting with, and they do it all in Te Reo. It is hard to explain just how intricately linked Te Reo and tikanga are (put simply – the correct way/s of doing things). You cannot have one without the other. They could not have done this in English.

When people whine about why they shouldn’t have to learn Te Reo. I mostly ignore them. Because their standpoints are not worth the time it would take to have a really frustrating and dead-end conversation. But inside, it hurts.

It hurts because Māori is beautiful. It is powerful. It is central to Māori culture. Just like all languages are. Cultures simply cannot operate without their own languages. Whether it is New Zealand English (yes, there is more than one kind of English, including ‘street English’…languages grow and evolve –  youse people gotta understand this’), NZ Sign Language or computer programming speak. All systems of knowing and being, express themselves differently. Concepts are not universal. Only so much can be translated.

It also hurts because my partner and I go to great lengths to ensure that Te Reo Māori is our kids first language. It is hard work. There are only so many schools that offer bilingual education, and a few Kura Kaupapa in each main centre. Building your networks of Reo Māori speaking people takes time and effort. But it is worth it. We wish it wasn’t so hard.

But the crux of the matter is understanding each other. Even if our ‘collect-nationwide bunch-of-beautiful-kids’ don’t all go on to speak fluent Te Reo, and to have daily interactions with it, they will learn about Te Ao Māori – about tikanga Māori.

To understand each other, to afford each other the respect we all need, we have to know how different cultures are constructed, and this is done though language.

Those who harp on about the ‘racism’ of forcing 5 year olds to learn Māori, appear oblivious to the fact that the Te Reo is a national language, and no one cries foul that all our children are FORCED to speak English. The double standards go on and on.

I can’t be bothered arguing with old stuck in their ways bigots. It’s too late for them. Better to put our energies into the people who are going to change the way this country talks.

Leave it up to the educationalists, the neurologists, the linguists, the people who give a shit about other people. But for goodness sake, leave the decisions about how it rolls out up to Māori (because it IS going to happen). Give the power back. Once you start to learn, you come to know just what a formidible bunch Te Reo Māori teachers are. They are among the most effective, motivated and passionate teachers in existance!

And heck  – if you can speak English and want to speak English only, good on you – knock your self out. If you are a grown person, no one is suggesting you must also learn Māori. Don’t sweat it.

Kids however, love learning anything new. And they do so with ease. They’ll learn as many languages as you can consistently speak to them. Happily.

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I am a New Entrant teacher, and yesterday I taught my little 5 year olds three new waiata, and by the end of the day (their first day at school), they could name all their fingers and toes in Te Reo. Many adults struggle to do this in English.

Kōnui, kōroa, māpere, mānawa, kōiti – ko ēnei ngā matimati!

Mauri ora.

 

 

 

What I really wanted to say about music criticism in Aotearoa…

A guest post by Anna Coddington

(Editor/Flip That Script’s note)- “As the New Zealand Music Awards of 2016 was running, a group of women in the industry were talking.  Facebook chat. We’re professionals.  We have babies. We were talking, because the music industry can be an uncomfortable place for women. 

The industry is simply over run by men. It’s hard to get a foot in the door, let alone a word in. It doesn’t matter whether you are an instrumentalist, a producer, a lighting-rigger, a manager, or a singer – you’re outnumbered. We’d realised that only one woman had ever won ‘Best Video’  since the awards inception, and not a single woman had been nominated since 2011 for that award.

It really is a boys club. So we were sending power vibes to Aaradhna, we hoped she would take the night out. And she did. Very calmly and succinctly, she explained that she would not accept her second award of the night for Best Urban/Hip-hop artist, as she was a singer – not a rapper (giving it to Onehunga based rappers SWIDT instead). And more importantly, she showed the award for what it was, the ‘brown musician’ award. Boom. Institutionalised racism called OUT.

So once again, the internet has blown up  – because women have stuff to say. AND sometimes, these women have been brown. I know, its shocking right. Who knew women were even allowed to express their opinions at all?

Another singer who experiences being lumped together with other brown musicians is Anna Coddington. As Aaradhna was laying it down at the awards that night and we were chatting, Anna brought up another pertinent issue, one which compounds the ‘brown-blindness’ – The seeming dearth of female music critics in New Zealand. We talked at length.

Then Anna wrote this. He mihi nui ki a koe e hoa – you speak for many of us.”

‘Recently, I was part of a panel for ‘LATE at the Museum: ‘The Music Machine’, a curated evening of discussion, performance and exhibitions at the Auckland Museum. Chaired by the lovely and knowledgeable Charlotte Ryan, the other panelists were musicians Chip Matthews and James Milne, and music manager Scott MacLachlan. We were charged with discussing, basically, whether musos give a shit about what critics think.

It seemed a potentially interesting discussion so, despite my 5-month-old baby induced sleep deprivation and inability to string a sentence together at the best of times, I signed up.

It was well received, “blew up my twitter for a minnit” and we covered a lot of ground in the time available.

What’s the role of a critic these days? Do musicians care what they think? Do listeners? Are they still relevant? etc. But as the hour started winding down I got a sinking feeling as I realized the issue that I thought was the most glaring, relevant and important was not going to be raised – unless I raised it.

In the last ten or so minutes I was trying to find a way to slip it in without straight up yelling over top of my fellow panelists, but no one else seemed to be going anywhere near it. “What is it?” You say. “WHAT?!”

Do a roll call of the first names of music critics in NZ, those you can think of who are writing today. The ones that spring to mind. The “main” ones for lack of a better term. I got:

Simon, Graham, Russell, Grant, Gary, Henry, Nick, Marty, Michael…

My list was short because it’s a small country and an even smaller industry, and like I said, I’m eternally tired slash lazy. Even still – the fact that they are all male and possibly (probably) all white was striking to me. Google the term “music critic” and you’ll see 15 images of white males, then a brown male, then more white males.

White males. They are great. I have two children with one. My Dad’s one. But to note that they dominate yet another element of our industry/society/life – is it surprising? No. Is it noteworthy? Well, it certainly is to a brown female. That’s me. And many of my friends.

I realize now, it was on me to bring it up that night but I missed my chance and immediately regretted it, and it’s been eating at me ever since. Happily though, I feel like Aaradhna and her delightful refusal of the “brown person” Tui at the music awards has opened a window for this kind of sentiment to be aired….

So why didn’t I say it on the night? Other than the fact that the opportunity just didn’t present itself between one hour and five people’s opinions’- I just couldn’t see a way to come out with it and not seem like a brown female with an axe to grind. It is intimidating to be the minority in the room and speak out on a minority issue – to be “that feminist” or that brown person “claiming racism”.

The opinions of white males are as valid as anyone else’s sure, but we all listen to music. Surely the lens through which it’s analysed in the media could be a little broader.

As Aaradhna pointed out, there’s a feeling that brown musicians get lumped in together. And brown female musicians – even more so. I’ve spent my pretty low-key career being compared to my famous brown female mates Anika Moa and Bic Runga. And I do get it – there are musical similarities and our personal relationships probably encourage it a bit, plus they are great and that’s fine. But I’ve not been compared in the same way to my famous friends who are not brown or female, even where I think there are some musical similarities. I haven’t really witnessed any of NZ’s male solo artists suffer the same fate. For example Liam Finn, Connan Mockasin and Lawrence Arabia aren’t exactly occupying different musical continents but they are (rightly) celebrated as individuals even with their ongoing collaborations.

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Actors, not musicians, but you get the idea.

So is it really that us brown women fail to differentiate ourselves while the white men succeed? Or is it that the people publicly assessing these things are better at discerning between one group than they are the other? It’s not for me to answer those questions and they are only examples of course, but in an alternate universe where all the “main” music reviewers were female and brown (you can’t even imagine it, admit it!) I reckon things would pan out pretty differently.

pjimage2Above: The Koi Boys, wrongly identified as Sol3 Mio at the awards, and the real deal, right.

We recently had a prominent female music writer who was well-respected and even (gasp) well liked by musicians. She was criticized for not being brutal enough and giving too many positive reviews. I understand that if someone is only giving out A+s all the time, that mark loses its value a bit, but that wasn’t the case. It felt a bit like saying she needed to be more man-like in her criticisms. (If she had, no doubt she would’ve been considered a bitch but that’s another essay…)

I also heard of a woman who tried to get in as a music writer for a well-known magazine but the male critic-in-residence had such a fit, the suggestion was shut down.

The problem of a lack of women’s voices being heard is of course not unique to music criticism, or to the music industry.

The tendency for everyone to gravitate to a male voice over a female voice as the voice of reason and authority is everywhere. This happens at a subconscious level where it goes unnoticed aaaallll the time.

A woman who went through broadcasting school told me that one of the first things she learned was to lower her voice in pitch. Why? Why can’t a lady sound like a lady? (And for another essay again, why not a whole slew of interesting linguistic variation in our media being taken seriously?)

For the record, we do have female music critics (listed at the end of this post). They’re just not given the platform that the male ones are. And unfortunately, as Ellen Willis says in this article,

‘Female expertise, when it appears, is repeatedly dismissed as fraudulent….. and becoming a recognized “expert” (a musician, a critic) will not save you from accusations of fakery.’

At the end of the panel discussion the lingering conclusion seemed to be that music critics don’t matter these days. Maybe they do, maybe they don’t, but I think it’s important for music to have that space in the media, as music has been so severely devalued overall, that discussing it in these public forums is helping to hold it aloft as something actually worth paying for (yes everyone- musicians like to get paid for their work).

The Spinoff adding a new music arm to their website is great and I think Henry Oliver is a great choice for editor, but I do hope they introduce a wider range of voices to the chorus of humans opining about music, because- shit do I really need to say why?

Diversity comes in all shapes, sizes, colours, genders, sexual orientations, etc. There’s a big ol’ range of humans making music and an even bigger range of people listening to it so it seems strange to have such a small range listened to for comment on it.

So here I am- a brown female grinding my axe about a thing that it seems most people don’t even notice. Not my usual vibe to jump in at length on this stuff but I’ve seen a lot of mana wāhine lately speaking up on “the issues” and I feel like not saying this in the panel was shirking my responsibility as the brown woman in the room. Because of course I was the only one who felt this way. Of course it was on me to say it. And now I have. Kia ora.’

Āmene to that, and kia ora to you Anna!

If you are interested in changing the tide, and supporting women in the industry, you can do so! Here are some of the female music writers and critics in New Zealand. We all need to know their names and work:

  • Charlotte Ryan – Air NZs ‘The Pitch’
  • Silke Hartung – NZ Musician
  • Lydia Jenkins – formerly NZ Herald
  • Vicki Anderson – The Press
  • Melody Thomas – RNZ music 101
  • Kirsten Johnstone – RNZ, music 101
  • Yadana Saw – RNZ music 101
  • Emma Smith – formerly RNZ & formerly The Listener
  • Leonie Hayden – Spinoff & Mana Magazine
  • Briar Lawry  – RNZ ‘The Wireless’
  • Eliza Beca – bFM
  • Rachel Morton – RDU
  • Amanda Mills – NZ Musician & Audioculture
  • Aleisha Ward – Audio Culture & nzjazz.wordpress.com, NZ Musician
  • Laura Dooney – Dominion Post
  • Sam Vegar – NNZ Musician
  • Kiran Dass  – NZ Listener, NZ Herald, Sunday magazine, Sunday Star-Times, Metro, Landfall, The Wire (UK), RNZ & 95bFM
  • Claire Duncan – Pantograph Punch
  • Anna Loveys -NZ Musician
  • Danielle Street – Undertheradar
  • Ania Glowacz – Radio active & NZ Musician
  • Dee Muir – NZ Musician
  • Jennifer Sheilds – RDU
  • Pip Ormrod – Newstalk ZB
  • Ellen Falconer – RNZ
  • Frances Morton – VICE/ ex Metro
  • Courteney Peters – Gather & Hunt

And I know there will be more of you! Please mention yourselves/others in a comment

Here is another comprehensive list of women from all over the world, who write about music!

Their writing shines a bright light on other women in the industry, and brings a bit more justice into our world.

How Moana Maniapoto’s APRA speech proves Don Brash wrong

This week was a good one for my young whānau. We spent it at a kura reo (language course), run by and for the various hapū of my partner and children’s marae. We spent the days extending our Te Reo, composing mōteatea and pātere (forms of waiata) and whakataukī (proverbial sayings). As well as collecting pipi, and wrangling many, many children at the local papa rēhia (playground).

The marae was noisy, busy and happy the whole week. There was a real sense of arriving at a destination for these whānau, or at least being back on track. Fulfilling the dreams of many tīpuna who had been punished for speaking their own language, by bringing Te Reo back into the marae. Reclaiming and revitalising a culture and language that were long suppressed, and bringing life to land that was stolen, forcibly removed or sold under duress – is no mean feat. It takes decades.

One evening, after my kids were asleep, and while far too many were not, I took advantage of the wireless connection at the local motor camp. Far enough from all the haututūs, I loaded up the APRA Silver Scrolls live stream on my computer. This night has become an annual event in my living room. I was so happy when I remembered that Moana Maniapoto was being inducted into the New Zealand Music Hall of Fame that night. Rawe!

My mother in law and I sat absolutely mesmerised throughout her heart-felt and thoroughly straight shooting speech.  Less than a minute in I wished I had stayed at the marae to watch this after all. All those kids ruckusing around on their mattresses needed to hear her acceptance speech.

It is an affirmation that being Māori is fantastic and a rousing call to action for everyone. Kids need both those things. And after reading and listening to a lot of media over the past week, I realise almost all New Zealanders do.

After her speech, and in between the other awards, I flicked back and forth between various news sources. I noticed my social media feeds (so news-y) were heaving with Don Brash and separatism – goodie, oh how I had missed him. I read a few articles; academic, personal blogs, Māori TV and the Spinoff about Hobsons Pledge and got the picture. Brash’s racism, ignorance and attitude momentarily indented a little corner of my over inflated bubble – but it didn’t pop it. You’re just not that sharp sorry, Don.

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Moana Maniapoto, Don Brash

All week, I had been floating on a cloud of hope and vision held high by the steadfast fortitude of the many dedicated Māori who include me in their lives, share with and teach me.  People who are committed to their language, their (and our shared) histories, and not the least of all, their children’s futures.

The contrast between Moana’s speech and all the rubbish about ‘one law for all’ and the appropriation of the phrase ‘he iwi tahi tātou’ couldn’t have been more stark that night. Moana has worked tirelessly in her 30 year career to advance opportunities for Māori. She sees politics and her music as inseparable. And thank goodness for that. Still, since the 90s she feels that very little has changed.

When she grew up, her people didn’t hear their own reo on the radio. Recalling this bought her to tears. Because, apparently it didn’t  ‘fit the format’ – to this day there is no quota for music in Te Reo, it still doesn’t fit the format.

Music in sung Te Reo rarely gets played on mainstream radio, even when the likes of Park Jae-Sang’s Korean language ‘Gangnam Style’ single swept the country and globe. So we know it isn’t really about the language.

It’s about the culture, the people and the politics of power and greed. And if we’re being honest, the Pāhekā fear of te Ao Māori. It is about the largely unchallenged and accepted dominance of Pākehā culture in this country. Whiteness is the format, and this is what Brash really means when he says we can all be one.

Now, I’m sorry to go back to Brash for a bit. But only so we can see the connect, or more, the disconnect between his thinking and Moana’s.

He is Pāhekā, and I am Pāhekā, and as such I have a responsibility to say that I utterly disagree. To stress that he is completely misguided. To show he does not understand Te Tiriti o Waitangi, that he does not get mana motuhake, and that his followers do real damage every time they wave the separatist flag (they are the ones raising it, not Māori) and cry foul at supposed special race based treatment. Does he not understand cultural structures, and that New Zealand is entirely guided by British, Western and Pāhekā frameworks?!

For years there was scant representation of things Māori at the APRA awards – (this was the structural real race based privilege, Don) until Moana and some friends asked Mike Chunn if APRA would create a Maioha award for Te Reo Māori music content. It has been in existence since 2003.  Now, I’m sure Brash can’t stand this, race based treatment! How dare they!

It is glaringly obvious that Brash denies history and doesn’t understand equality verse equity. So perhaps this image will help. Because at the top of the list of what the Hobson’s Pledgers believe is:

  • All New Zealanders should be equal before the law, irrespective of when they or their ancestors arrived in New Zealand.

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When one group (English/Pāhekā) not only take the vast majority of resources from another group (Māori) but actively strip a culture of its centrifugal force, its language, the playing field is completely unfair. Thus, the Maioha award is necessary all these decades after colonisation began. It is needed because Te Reo music does not get fair play. And because Te Reo is not understood by most New Zulanders. If these songs were in the mix with the other entries, they would have much less of a chance. And we would all hear less waiata Māori.

When one culture has been oppressed for over 150 years by another, the descendants of the oppressors are obligated to right the wrongs, and this is APRAs contribution. This is equity in action.

Now, on the note of most Pāhekā not bothering to learn Te Reo, ka aroha, you missed a lot during the Silver Scrolls.

The Māori world is one of eloquent speakers. What can be expressed in Te Reo is not necessarily translatable into English. Connections are made, acknowledgements are given and the love is spread at the start of speeches in Te Reo. Rarely is all this said again in English.

Rob Ruha’s acceptance speech for his second Maioha award was no exception. He spent at least the first 2/3 of talking about others, and made special note of Moana.  During his tribute, he said:

“E tika ana te whakahonore i a koe i tēnei pō, i te whakahōnoretanga i a koe, e ta, kua wini katoa mātou”.  “It is right that you are honored tonight, and in your honouring, my friend, we all win.” I urge you to watch his whole speech, click on the Te Reo above.

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Beautiful eh. And so true.

After their parents and grandparents were stripped of their rights to a Māori identity in the eyes of the law,  her peers struggled to see themselves reflected in the world around them, to see that their lives mattered. “music and the arts are not just a window to the world, but a mirror to our own”. She uplifts all Māori – and Te Reo really was the winner on the night. She has done her generation proud and has changed the course for those who follow her.

I support a Māori music commission in order to see Te Reo really hit the airwaves and stages with full force. So that more bands like Alien Weaponry have a fair shot at success. It is about putting things right, celebrating Māori, Te Reo, and ourselves in this country. So go take that race based idea Don, put it in your pipe and smoke it.

What you feed, grows

This week has been one foot in front of the other. All week. Plod plod, hurry hurry, bang crash, slam and slide. Shuffle. Each step has felt heavy and unavoidable but somehow deliberate and purposeful. Perhaps thanks to all the self talk I’ve been doing. Trying to keep it all in check. ‘It is ok to feel this way’, ‘Stop for a minute and think, ‘Take a few breaths’, ‘What really matters right now?’, and my favourite – ‘I am the adult, they are the children, I am the adult, they are the children’….it so easy to say isn’t it?

And this is just my parenting.

Thoughts have been swirling around my head, thick and hazy. Hard to get a hold of. I feel really tired. But the kids aren’t hanging off me right this second, so I have a little time to myself. They are sleeping in fact. I really love them when they are sleeping, for obvious reasons. Also, all kids are beautiful to gaze at as they sleep. Their big juicy lips, pouting. Their eyelids, crescent and peaceful. Their day is done, another is on its way. A fresh start. A clean slate. I wish adults would operate like this too. But we hold on so tightly to everything, until we are so full it hurts.

My partner and I have recently finished a parenting course. Because parenting is hard and all too often it is done in isolation. But we did this together. Along with 16 other parents who also have challenging children.

Of all the wonderful things we got out of this time, one thing really stood out to me. A gem of wisdom I think the whole world could take heed of. Something I don’t do enough of myself.

‘What you feed, grows’

In the context of parenting, it is fundamental. But it is also a principal for all to take hold of. Give attention to the behaviours you want to see. Even when they are only being displayed them 1% of the time. Even when you are so mad and bad yourself. And they are mad and bad to you. Make a big deal of the 1%, or the 15%, or the 50%. Be consistent with your attention. Ignore as much of the bad behaviour as possible, and be straight to the bone with any negative behaviour you do need to address. Practice restorative solutions. Simple and clear. Focus on what they have done, rather than them when they are off target. And really hone in on exactly what it is they did well when they are on track. As well as letting them know they are amazing and that you love them all the time.

Kids constantly seek attention and they are excellent at getting it any way they can. So give them good attention. Play with them. Celebrate them. Then, get better behaviour. It doesn’t take too long until they re-wire themselves to seek attention positively.

It makes complete sense. There are no holes to be picked in this theory. It is so solid, it isn’t even a theory, it just is. It is a simple truth: Water plants, they grow, smile at someone, they (usually) smile back, practice makes perfect, eat well, rest and cope for another day – see, all of these things. Proof.

But as always, there is a flip side – Worry too much and everything compounds, plant vegetables in the shade and they won’t thrive, only ever yell at your kids and your relationship will turn toxic, burn the candle at both ends….and so on it goes.

‘What you feed, grows’

I need to fess up here, I am a glass half full kind of person. I am very practical, I like to get things going, get things done – subsequently I focus on perceived gaps in situations. The parts that I feel are less than. I notice when things have gone wrong in my books, or if I think something should be done better, or a certain way. As a result, I often fail to see what IS already there, what HAS been done and the things that ARE working well. It is great to see the next step, but it is crucial to know what is actually already happening too.

As a society, we need to think about what we focus on. What we shine a light on. Who we give air time to. What we celebrate and who we celebrate. Because, what we feed is what will grow. We have a choice in this.

This week I’ve felt the weight of the world. There are days when it feels like everything is coming together – not in a ‘ohh, this is really coming together now’, kind of way, more of a – ‘argh there a bit and pieces of broken dreams, scary nightmares and devastating lived realities all flying around and smashing into each other, kind of a coming together.  And potentially getting together, against you, despite your best efforts, kind of a way.

Like you are falling into a vortex of darkness, with said small sharp things swirling, which you are of course, deftly ducking to avoid.

Images of our awful government flash in front of my eyes as I watch my children playing, feeling frustrated that there is literally no way we can buy a house, or even hope to continue affording renting in the suburb they were born and raised in, no matter how hard we work.  Angry thoughts that my friends with small babies are not fully supported to stay at home with them if they so choose. A horror at the growing number of people living in poverty in our communities, and the contempt in which the rich of this country hold them.  A sense of doom when reading world news and politics.

All the while a moaning ‘why do I even bother’ bellows from somewhere deep within.

There really is a whole bunch of bad shit going down in our communities. There is no disputing this. We hear about it all the time. Sometimes I think it is all we hear about, purposefully. It is overwhelming. Bad news is disempowering. The dark spots are joining up, blocking out the light, the good, hard work people are doing. This doesn’t have to happen.

 ‘What you feed,  grows’

How are we to counteract all the narrow-minded, hateful news reporting we are feed? How can we show each other that there are other ways? How do we raise children who are understanding of each other and respectful and celebratory of difference?

We feed what we want to grow.

In this week of heavy footsteps, another mantra of mine is:

‘People are good, and they are doing good things’

If we stop and think, if we look around and take stock. We see that people are good. Almost everyone wants to do right by each other (there sure are some bad eggs out, but I’m not talking about them right now).

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Philly Pride Parade 2015

People are trying really hard every where I look, in spite of what is thrown their way. This is where the focus needs to be. I’m sick of hearing about Isis attempting to take over the world and Trump wanting to build a wall. Of course we need to know and understand these things, but I want to hear more about all the amazing peace work on the ground. The grassroots – these people are the majority. Then surely there will be more hope and fewer people mindlessly nodding along to the news in their living rooms at the ‘need’ for more civilian airstrikes. Because this is what they are. It is the civilians who suffer.

Mainstream news is spun to incite more hatred, to create more power for the greedy. I don’t buy it. Muslims are not terrorists.  Governments and corporations are. I want to know more about LGBTI communities in the US, and their work in dismantling decades of prejudice against them. Can this be the news please, rather than Omar Mateen?

I’m tired of hearing about lazy indigenous people (not true), instead I want to read news about all their awe-inspiring social and education initiatives – and just about them, amazing them. The Ainu of Japan and their friends at Parihaka this month for example.

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Māori teach Ainu the ‘Te Ataarangi’ method of language learning, June 2016

And, as funny as ‘like Mike’ is, I’m tired of hearing about Mike Hosking. I want to know more about the peace hīkoi from New Plymouth to Parihaka at the moment.

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New Plymouth mayor Andrew Judd is back by his supporters as they hīkoi to Parihaka.

We each have visions of how we hope the world will grow. But these visions are purposefully blurred in the deprivation of what should be receiving positive attention, the love, the nourishment. To the point that we stop looking up as we walk about. Instead, we look down at our tired and drudging footsteps. ‘Why bother’.

This week, I’ve been consciously looking up, looking around and taking stock. And I’ve seen people everywhere who are thinking differently, who are trying new ways of doing things, people who refuse to put their energies into vortexes of darkness, sadness and doom.

I am certain that if we all read and learn about each others successes and ideas, and just hear each others voices more often, uninterrupted by mainstream media – we would feel much more secure in the knowledge that people are good.

We would be much more likely to reach out and help each other. Much more likely to give something new a go, or to support someone else in their ventures. We would be less likely to believe that we are powerless. It is in the interests of the corrupt and powerful to lead us to this conclusion. It is not true.

The people are the majority, we have the power. We are not all our to get each other. Quite the opposite.

Stop and reflect, attend to and nourish those around you. And we will all grow.