Kete: Rangatah

Throughout my paper the majority of the people mentioned are of Māori descent. Also the content of the paper is directed towards Māori concepts, Māori Mental Health models and Māori protocols and customs from a Māori perspective.

In this section I direct attention towards Pākehā and Tauiwi Rangatahi and their place as learners, participants, sharers and observers of Māori approaches in music therapy. Māori and non-Māori Rangatahi who have participated in the Haka at the Facility have been given the correct meaning and instructions to perform it in the respective manner it deserves by Kaumātua, outside sources and me.

7.4.1 Working with Pākehā and Tauiwi Rangatahi

Using Māori approaches with Music therapy concepts has been a learning curve for most Pākehā and Tauiwi Rangatahi. There are times when Pākehā Rangatahi would share with me and/or the group a particular song that represents their school (sung in Māori) or a Waiata they remembered as a child.

My observations of their participation in music therapy have made me push towards the ideas of assisting their needs as much a possible when implementing a Māori cultural approach. These needs are issues such as creating an atmosphere towards a therapeutic means, a place of inclusion, keeping the concepts simple and at times raising the level in order to challenge them, creating a safe environment, learning from and listening to them, creating a realm with understanding and meaning and most of all, making it fun. From a cultural perspective, under the umbrella of the Acute Mental Health Facility for Rangatahi lies a bicultural system of containment, community and Healing. With the Facility being a bi-cultural unit, Rangatahi have learnt to adjust and take on the rules and protocols that it uses.

From a music therapy perspective, Pākehā and Tauiwi Rangatahi responded well to the cultural approaches (A2.3.4, p.130). Many would give praise and felt grateful about learning Māori arts, such as the Haka.

I stated it before (see Chapter 3) and I will state it again, those who want to implement Māori musicalities in music therapy sessions must first learn about Māori culture and the people on a practical basis in order to confidently and properly share what you have learnt.

7.4.2 Cultural approach by cultural means. (A2.2.1 p.123)

Tangi Tamaiti (weeping child) was a Rangatahi who carried a very strong cultural background. Coming from the country to the city to undergo treatment, Tangi Tamaiti took a while to get used to his new surroundings. He was diagnosed with having auditory hallucinations. When he talked to nature (e.g. birds) the outcome was always the same, heavy crying, anxiety attacks, appearing to be lost, and singing and chanting. He reminded me of my Kui who spoke little English but carried the old and traditional mannerism of Māoridom. Kui would talk with us and all that was nature in a song-like voice. Tangi Tamaiti carried many of the same traits.

At one stage he was outside the Facility and was reacting emotionally to his hallucinations pleading for guidance. Observing momentarily, the cultural and music therapy side of me took over, and I made myself present by playing my guitar and joined him in song. I felt that supporting him (both musically and physically) and bringing the moment to a conclusive and natural end allowed Tangi Tamaiti to go through the full process of his experience with no disruptions. I ended with a Karakia, which was a request from him. Tangi Tamaiti’s anxiety appeared to settle where crying had slowly diminished and conversations became more “coherent”.

The inner most cultural side of me saw a Rangatahi who was saturated in culture. My observations of him differed immensely from many other observers. I wanted to show them that what may hve looked unusual behaviour to them was in fact slightly similar to what I had observed as a youngster. The only exception with him was his highly emotional responses and reactions to his hallucinations. Such as anxiety attacks.

7.4.3 Changing the rules (A2.2.2 p.124)

As a music therapist at the Facility, I have formed many non-musical relationships with Rangatahi. Here I will briefly discuss short experiences I had with one Rangatahi in particular. Having spent a lot of time talking and taking part in activities that he was interested in, I concluded that our relationship contained mutual trust and containment. Even though he had much disinterest in music, I thought of a way to involve him in something therapeutic and something he enjoyed. I shared my idea with him and he agreed to try. Creating a ‘Word Game’ through word associations was motivated by

what motivated him. I changed the therapeutic approach based on my intuition of what would be best for the Rangatahi. Intuition has played an important part in my approach to music therapy all the way through.

7.4.4 Hip hop influence (A2.2.3 p.126)

Musically, hip hop uses rap as an outlet, a rapper uses a rhythm style of speaking while expressing in rhyme. This is rapped acapella or with accompaniment. This can be achieved in two ways, electronically such as with turn tables or drums machines or acoustically such as by making turn table impressions and drumbeats with the mouth. When two people rap against one another, this is called a battle. This is usually a non violent means to settling disagreements and other issues.

At the Facility, there were many Rangatahi who connected themselves with the Hip hop movement. One boy in particular would speak to me in rap. When he did so his whole body would be animated. His head, arms legs and facial gestures matched the words he was conveying. I decided to meet the boy from where he was at and battled against him. He conveyed messages of violence, street status, strength, calling me names and the people from my region, and speaking with a lot of foul language.

I saw a boy who was angry, lost and had something to say. In turn, my messages countered his. They expressed words targeting his Māori heritage, what our main focus in life should be (e.g. our Mokopuna), where strength can be found and what it means to me and that things will get better. My point here is that having a Māori cultural element in a music therapy session can also encompass reminding the Rangatahi of his or her Māori cultural connections and values, even if it has to be conveyed in a very different musical way. I gained recognition from the boy, and he initiated a Hongi in acknowledgement. In turn I started to hear his rap become less American orientated and more socially and geographically connected to Aotearoa. His lyrics were still strong, but were much more real.

7.5 Kete: Haka

I have mentioned introducing the Haka to primary school children earlier on in this chapter (7.3.4, p.84). The teaching of the Haka to my hosting country of Norway has been a way for me to share my culture with the world.

During my time at the primary school our learning was mutual. I taught the children a Waiata (E Toru Ngā Mea) and they taught me some Norwegian. They seemed so intrigued about my culture and would ask many questions. Over time I felt that they were ready to learn a Haka. Toia Mai came to mind. It involved the call and response mechanism, the actions spoke the words, it was a welcoming chant (school production and parents day presented us with an opportunity to include this in their repertoire), it was group orientated, and most importunately, the final line of the chant was altered and redesigned to accommodate the lyrical gymnastics they found very difficult to say (A2.6.1 p.137).

7.5.1 Girls and the Haka

Speaking to my Kui on my Marae I posed a question about girls performing the male sections of the Haka to her. She replied that men and women play a significant role that creates balance within the aura of the performance.

The arms and legs of the female performer are of small movements. The parting of the legs or revealing of the armpits are said to be of negative projection because a man from a neighbouring tribe or one’s own tribe may be tempted to confront her.

The voices create a harmony where freedom is expressed. The male tend to chant in a more middle to lower note tonality, while the females take the middle to higher range. Focus is not so much on the melody or harmony of the Haka but rather in the reciting of the words. As a whole, the togetherness in voice can be heard when all these elements are present (A2.3.1 p.128).

Sometimes I was placed in a position where the choices I made to alter aspects of Māori culture were motivated by long and numerous observations and by a close patient – therapist relationship (A2.3.2 p.128).

Allowing girls to perform the boys section of the Haka with both male vocals and actions was a negotiable passage. Consultation with Kaumātua is a must when wanting to implement anything that affects cultural aspects. Seeking assistance acts as a backing to protect you from unforeseen forces (from the physical and spiritual realms) (A2.3.4

p.130).

Putting the Haka together is only achievable when Rangatahi have been given the proper instructions about the process. To teach the Haka involves knowledge and this knowledge enables you to convey that knowledge in a comfortable and articulate manner. In turn, with the right support (e.g. Kaumātua and consultation) and knowledge (protocols, customs, etc) one is able to present their teachings and information in the appropriate manner (A2.3.1-A2.3.4, p.128-130).