Photography is a colonial art form, historically feared by Māori people. It is said that the mauri (spiritual essence) of a person is held in a photo, some believing that a part of their mauri is taken away from them by the camera.
I believe this too. Each photo holds the mauri of the person or object within it, making it tapu (sacred). So how do we navigate this? What is the tīkanga (correct procedure)?
As a Māori photographer, I am most comfortable capturing images within a te ao Māori environment. At least here, there are already tīkanga being followed to keep us all safe and protected. All I must worry about then, is the additional tīkanga needed with photography.
However, this is easier said than done sometimes, when layers upon layers of tīkanga are to be navigated. Capturing images for Te Whare Tū Taua o Aotearoa (The Inter-National School Of Māori Weaponry), for example, requires a sound knowledge of both tīkanga on a marae and those upheld within the art of Māori weaponry and warfare. How do I capture images of an art form so deeply entrenched in tapu?
Generally, I do not eat while shooting or editing. This can be hard when kaupapa are long, or when eating is already part of the tīkanga, such as a pōwhiri. At these times, I put my trust in the karakia already laid upon the kai and have a sneaky piece of cake or sandwich. Like, which tīkanga is the most important here? I should, at least, put my camera down, nē?
As an architectural photographer, I treat the building with the same respect as I would a person. Within reason (and legal requirements), any items that are detracting from the mana of the building are removed. Cracks and mould or even branding and security cameras are all taken away during the editing stage. All to ensure that the beauty of the building is seen by everyone.
Photographing a karanga (ceremonial call of welcome) is becoming more popular, and for a while I refused to capture the process. More recently I have, choosing to believe that the essence of karanga is love, and that is the mauri being shared. However, I am careful with the parts I capture.
For me, love is the guide. I see this in other Māori photographers’ work too. As we saturate the media with images and videos taken from a Māori perspective, it is always done based on love and respect. Images shared are ones that whakamana (empower) the people or objects within.
Perhaps this is the tīkanga for capturing mauri, the image must whakamana the person or object within it. If we are to flippantly share our images online and in the media, they should at least add to the mana of a person. My hope is that mana and aroha can flow through to the viewer, to help collectively empower us all.
