Another Spectrum

Personal ramblings and rants of a somewhat twisted mind


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Spirituality, is it “woo”

Over on Nan’s Notebook, Ark wrote in a comment[T]hey love to include bullshit terms such as spirituality and other ‘Woo’ words“. To Ark there’s no doubt that it’s woo. I’m not persuaded that spirituality is “woo”.

Twelve days ago I attended a pōwhiri at a marae about an hour’s drive from home. The experience, as has every other pōwhiri I have been part of, is indeed intensely spiritual. Before I continue, here’s a brief description of a pōwhiri:

A pōwhiri usually begins with manuhiri (guests) gathering outside the meeting grounds. An older woman from the host side performs a karanga (call) to the manuhiri. This is when the visitors start moving on to the marae. A woman from among the visitors will send a call of response and acknowledgement. The visitors walk onto the marae as a group, slowly and silently with the women in front of the men. They pause along the way to remember their ancestors who have passed on.

Once on the marae grounds, the guests and hosts sit down facing each other. When they are all seated, speeches are made and a song is sung following each speaker to support their address. Customarily, the final speaker for the visitors will present a koha (gift) to their hosts.

To finish the ceremony, visitors and hosts greet each other with a hongi (the ceremonial touching of noses). After the pōwhiri, kai (food) is shared, in keeping with the Māori tradition of manaakitanga (hospitality).

What is a pōwhiri? Understanding the traditional Māori welcome

In total there may have been fifty guests and hosts, perhaps a few less. All the speeches during the pōwhiri were in Te Reo Māori, as were many of the speeches during the sharing of kai. I struggle in crowds. I find them overwhelming and I mean in a negative way, even in large family gatherings. Yet when I move onto a marae I feel “at home”, in much the same manner as I feel when attending a Quaker Meeting. I feel embraced, becoming one with those present. It seldom happens elsewhere.

I cannot speak Te Reo, and the few words of Māori I do know did little to help me understand the speeches, but even so I could detect the speakers’ connectedness through their pepeha. More importantly I felt the connection. It’s the being connected, being one with something beyond self that makes one’s experience spiritual. That connection enabled me to stand and speak, and for the first time in a long while I didn’t need to rehearse what I wanted to say.

Morning rain

I felt the same type of connection this morning, not with people or a community, but with nature. I stood on our balcony while steady rain fell, hiding the Ruahine and Tararua ranges and the Manawatu Gorge that separates them. The rain muffled the sounds of Feilding traffic below As I stood I felt I became one with the environment. I noticed a slowing of my breathing and of my pulse. There was a sense of belonging, a calmness that I don’t usually experience.

I noticed too that I stopped scripting. For those who don’t know what scripting is, it’s a bit like learning lines of a script for a play. I’m not really able to create sentences on the fly so my head is always shuffling words around to make intelligible sentences, memorising them and then storing them away for moment when it might be useful to pull it out and recite. It’s a process that seldom stops while I’m awake, and at times it becomes so distracting that I lose concentration on whatever task I’m undertaking at that moment. But this morning it wasn’t there – silence, serenity, being one with nature, or perhaps the universe? It then hit me that in the ceremony of the pōwhiri I wasn’t scripting either.

If I had been living several centuries ago, I might have attributed the “being one” with some type of agency – a spirit or mystical force or energy, as that is certain how the experience feels. At a time when the existence of such agencies were taken for granted, I would have had no reason to suppose it was anything else. But I live in a “rational” secular world with a better understanding of how the mind functions, so I can attribute the experience of “oneness” to the marvel that our brain is. Knowing it’s caused by chemical and electrical circuitry in the brain doesn’t make it any less an awe inspiring experience.

Dismissing such experiences as “woo” diminishes what it is to be human. I don’t know if Ark has ever fallen in love, experienced the euphoria of a crowd of spectators when their team wins a sports event or the satisfaction that comes when a difficult task has been completed. I haven’t. I can’t even imagine what those experiences feel like. But I’m certainly not going to call them “woo” simply because I don’t understand or experience them. I’m not usually aware of emotions, mine or anyone else’s. I’m not able to predict what people might do in a second’s time let alone in a minute or an hour, so I’m always of an uncertainty when around people. But in the environment of a pōwhiri or a Quaker meeting everyone becomes part of a whole which is predictable. There’s a routine created by custom fashioned over centuries.

A similar predictability applies to nature. Seasons come and go regularly as does day and night. Clouds tell me when rain is likely and how much will fall. Wind changes direction over hours as does its intensity. In one sense nature and ritualised social occasions talk to me, informing me what will happen next. There is no need to rehearse what I might need to say in the next moment, minute, hour, nor predict what might happen.

Being autistic is a little like taking part in a play where you have been given the script to Sound of music (even though I can’t hold a single note in tune) while everyone else is working to the script of Hamlet. It’s disorientating, confusing and stressful. So spiritual experiences take on even more significance whenever they do occur. It’s a sense of calm, peace and euphoria all at once, and unless you’ve experienced it, you have no idea what it is like. It is, literally, indescribable.

Woo? I think not.


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Musical Monday (2022/09/12) The Bridge

The tune for this song is possibly familiar to many of my readers. It’s Il Silenzio, an instrumental composed by the Italian jazz trumpeter Nini Rosso, which is itself an adaptation of the opening to Tchaikovsky’s Capriccio Italien. The Bridge is the first song in te reo Māori (the Māori language) to gain a number 1 spot on the NZ hit parade. This it achieved in April 1981, knocking John Lenon’s Woman from the top ranking. The Bridge ranked number 1 on April 5, 19 & 26.

The Bridge was sung by Deane Waretini and the lyrics were written Waretini’s cousin, George Tait. The bridge in question represents two ideas. One is the Māngere Bridge which was under construction at the time (completed in 1983), linking opposite sides of the Manukau Harbour and two distinctly different urban settings. The other refers to the linking together of Māori and Pākekā cultures.

Unusual for the period, the single was self-financed by Waretini and he was so cash strapped that he paid the backing group in KFC. He then used guerrilla marketing to get the record on air and into the hands of the public, even recruiting a newspaper boy to sell copies to passers by. The techniques succeeded in getting the attention of CBS, and as they say, the rest is history.

I’m not usually a fan of the trumpet as it often sounds harsh to my ears. But I find they are beautiful in this melody, perhaps because it was composed by a trumpet player? And they balance the rich voice of Deane Waretini perfectly. Enjoy!

The Bridge – Deane Waretini
Taku aroha – i aue, i aue
Ki nga pou1 o te piriti
Āki, pakia mai rau
E nga tai kaha ra e
Pukepuke, i aue

Nga roimata e aku kamo
I rite ki te ngaru
Whati mai, whati mai
I waho e, whati mai.

My concern is for the piles of the bridge, 
Constantly pounded by the strong tides.
The tears well up in my eyes
They are like the waves that break without

…e nga tai kaha ra e
Pukepuke, i aue

Nga roimata e aku kamo
I rite ki te ngaru
Whati mai, whati mai
I waho e, whati mai.


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How racism improves sales in Aotearoa

Every nation has some who for want of a better word are haters, and Aotearoa New Zealand in no exception. Cameron Slater is a notorious right-winger blogger and tweeter. According to Slater, he’s not a racist, he claims instead “I am simply stating that I will not buy from woke companies“. I beg to differ.

Recently Whittaker’s, a large NZ owned and operated confectionery and chocolate manufacturer, announced it intended to rename blocks of its Creamy Milk chocolate as Miraka Kirīmi to celebrate Te Wiki o te Reo Māori (Māori Language Week), an annual event that this year will occur from September 13th through 19th.

Slater, not surprisingly, does not approve and tweeted with the comment “Go woke, go broke… see ya @WhittakersNZ”. And he should know all about broke, having been declared bankrupt by the courts for failing to pay out on defamation judgements made against him. While I like to believe there’s “that of God in every person”, in Slater’s case it is exceptionally well hidden.

The response to the tweet has been overwhelming and almost unanimous. It should provide Whittaker’s with sales beyond their expectation if comments on Twitter and elsewhere are any indication. An article on Newshub is typical of the public and the media’s response to Slater’s tweet. I too will be purchasing extra Whittaker’s chocolates because (a) they make the best chocolate, (b) I support woke (in it’s true meaning of being alert to injustice and discrimination in society,), and (c) most importantly, to piss off Slater.

Personally, I’d be more than happy if Whittaker’s made all their labelling and packaging bilingual on a permanent basis, after all re reo Māori (the Māori language) is an official language of this nation, and if it’s to survive, it needs to be nurtured, not just by Māori themselves, but by all Kiwis. Three out of five New Zealanders now believe re reo Māori should be a compulsory subject at school. Only 23 years ago the singing of out national anthem in Māori caused an outrage amongst some Kiwi, now the convention is that the first verse of the anthem is always sung in Māori. How things have changed (but not for some people such as Slater).

Some comments on Twitter tickled my fancy. Here’s a few:


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Musical Monday (2022/01/03) Kōauau

Creative Commons: Kete New Plymouth

Today’s music is somewhat different in that the title of this post refers not to a song but to a musical instrument – the kōauau. This a traditional Māori instrument usually made from wood or bone and often elaborately carved. It one of many types of flute used by Māori and produces, at least to my ear, a hauntingly beautiful sound.

To western ears, traditional Māori music (as opposed to modern forms of Māori music) does not use musical scales with specifically set notes or tones, but instead uses microtones that slide, instead of stepping, from one tone to the next. To the Western ear it may sound monotonous and somewhat mournful or melancholic, but then to those who are more familiar with forms of traditional Asian music, Western music sounds similarly monotonous and dull.

I frequently suffer migraines at which times many sounds become unpleasant and painful. This often includes music especially if percussion instruments are present or where the tune generates a beat or repetitive pattern. Usually the human voice is fine, but if accompanied by piano, guitar or similarly struck or picked instruments, the result is at best unpleasant during a migraine. Interestingly, during a migraine attack, most drum sounds are unpleasant, with the exception of taiko drums, which I actually enjoy. I have no idea why that might be.

I find the microtonal sliding shifts created by the koauau and many other traditional Māori wind instruments very soothing to the soul when a migraine interferes with my ability to feel human. At such times, the haunting sounds of the koauau and similar instruments provide an anchor to reality – the knowledge that I actually exist.

Here are a few Youtube video clips that convey the sound of the koauau. The first clip includes an accompanying guitar, which can be unpleasant depending on the nature of the migraine.

Traditional kōauau sound with accompanying guitar

I find this next clip absolutely beautiful. The koauau is accompanied unobtrusively by traditional percussion instruments, and if you listen carefully, you’ll also hear the purerehua (bullroarer).

koauau accompanied by purerehua and percussion instruments.

Finally, a video clip where taonga pūoro(taonga: Treasure, pūoro: sounds/vibrations of nature), Māori musical instruments, are combined through the magic of modern technology into my ideal “migraine music”. It’s doubtful that traditional musical instruments were played together as an ensemble. It seems to have been a single instrument played alone or accompanying the human voice.

Experience Jerome’s collection of around 40 unique and rare Māori musical instruments from Nguru (Whale tooth nose flute) to Pōrutu Pounamu (Greenstone long flute), Kōauau Toroa (albatross wing bone flute) to the unique Pūtōrino (a cocoon shaped bugle flute made from the mighty totara tree)


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Cliff Whiting

This post is a little different from my usual fare. It’s a documentary on the life of a specific person who was a peripheral influence in my youth. It’s more as a handy point of reference for myself than something I desire to share with the world. In particular it reminds me of the mana (personal and collective strength, pride, identity and humility) that is present in so many people that have been an inspiration to me over the years. Having said that, it does illustrate how aspects of Māori culture, and particularly Māori art are finding their way into mainstream life in Aotearoa New Zealand, and some of my readers may find it informative.

For a while, Cliff Whiting and my father were work colleagues. They shared adjacent offices, and while my father travelled the region teaching school teachers how to teach phys ed (sports, folk dancing, use of playground equipment, safety etc), Cliff taught teachers how to teach art.

The documentary below provides me with some of his background that I was unaware of and brings me up to date with what Cliff has been up to since my father’s retirement in the 1970s. The video is recorded in Te Reo (the Māori language) so I recommend turning on English language Closed Captions if you choose to watch. Some words have not been translated as they are well understood by all Kiwis, but are unlikely to be understood by others. I’ve included those of significance below the video


Iwi: extended kinship group, tribe, nation, people, nationality,
Kahawai: schooling coastal fish (Arripis trutta)
Kōrero: speech, narrative, story, news
Kōwhaiwhai: painted scroll ornamentation – commonly used on meeting house rafters
Kūmara: Sweet potato (Ipomoea batatas)
Marae: the area in front of a meeting house where formal greetings and discussions are held; informally, it includes the complex of buildings around the marae
Māui: a mythical demi-god who, among his many other deeds, captured the sun in a net in order to slow it’s travel across the sky.
Nīkau: a NZ palm (Rhopalostylis sapida)
Pākehā: Non-Māori
Pōnga: silver tree fern – especially its tree-like trunk
Tāne, Tāne-mahuta; mythical guardian of the forest, a child of Ranginui (the sky father) and Papatūānuku (the earth mother), who separated them from their tight embrace to allow light into the world.
Te Reo: the (Māori) language
Waka huia: treasure box, also the name of a TV documentary series on Māori Television
Weka: several species of flightless birds endemic to NZ(Gallirallus australis greyiGallirallus australis australis) with a reputation for stealing objects, especially if they are shiny (cutlery, jewelry etc)
Whakapapa: genealogy, lineage, descent
Whānāu: extended family, family group




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Manaakitanga – a Kiwi answer to Covid

One aspect of Pākehā (European) cultural dominance that we Kiwis have historically downplayed is the undervaluing and sometimes the suppression of Māori culture. Sometimes it has been the result of a misplaced belief that one culture is more advanced or otherwise better than another. Other times it resulted directly from a notion of entitlement – that settlers had a right to indigenous resources and if that necessitated the overriding of Māori customary law by British law, so be it.

A hundred and fifty years later, the courts are beginning to recognise that customary law has equal footing with common law, and not before time. In legislation we are seeing a start to the recognition of the Māori world view as a legitimate perspective on equal footing with the Western world view. One example of a change from the Western perspective has been the granting of personhood to forests, to rivers and their catchments, and to mountains. I wouldn’t be surprised if in the next few decades much more of the landscape is also granted personhood.

I accept that such a concept is alien to most people immersed in Western monoculture where personhood can only be granted to individual humans, and to a limited extent, to corporate entities. In the West, two thousand years of Christian thought has separated humanity from nature and has placed mankind, collectively and individually, above and in control of nature. It hasn’t worked out too well in my view.

Since the revival of Māori culture, from the 1970s onwards, aspects of Māori culture have started to infiltrate our once Western culture. At first, it was merely the acceptance that aspects of Māori culture were “allowed”. In other words, Pākehā “granted” Māori the “right” to express their culture publicly – a form of tokenism. But over the decades something more profound has occurred.

Not only have Pākehā accepted, and more recently welcomed aspects of Māori culture, they are also embracing it. By this I mean that not only have Pākeha recognised that Māori culture has equal standing with their own, their world view is being coloured by it. Perhaps Pākehā have been influenced more by Māori for more than a hundred and fifty years, but it’s only very recently that they have acknowledged the fact.

I return now to the topic of this post: manaakitanga. If you look up the term in the Māori Dictionary, you’ll see that it is defined as “hospitality, kindness, generosity, support – the process of showing respect, generosity and care for others“. But it’s more than that. It’s also about recognising the collective – that one’s freedom as an individual is only as strong as one’s place in the community.

The importance of the “collective” has probably been an unconscious part of the Kiwi culture for more than a hundred years. Perhaps some on the right of the political spectrum will identify this with socialism, but I believe that is only partially correct. Socialism is “a political and economic theory of social organization which advocates that the means of production, distribution, and exchange should be owned or regulated by the community as a whole“. Manaakitanga is more about values than about process.

Concepts such as universal suffrage and welfarism that became part of the New Zealand landscape in the latter part of the nineteenth century, and more recently, a universal no fault accident compensation and recovery system, can I believe, be at least partially attributed to manaakitanga, although Pākehā have been slow to recognise the source. Today manaakitanga is a core part of the education system in Aotearoa New Zealand.

So what has manaakitanga to do with the current pandemic? It is, I believe, the reason why this nation has been successful in keeping Covid-19 out of our communities. While being an island nation has made the shutting of borders somewhat easier than most nations, given the will, any nation could do the same. And the argument that a nation can’t shut its border due to commerce doesn’t cut it either. This nation is more dependent on international trade and the steady inflow and outflow of travellers than most. For example, as a percentage of GDP, international trade in NZ is twice that of the US.

Manaakitanga can be seen in our willingness to forgo personal freedoms for the sake of the community as a whole. When this nation went into lockdown for six weeks from late March last year, they were the most restrictive anywhere, (with the possible exception of Wuhan.) If you believe Kiwis accepted the hardships and pain the lockdown caused because we’re “subservient to our overlords” (yes, I’ve seen that description used of Fox), then you really don’t know Kiwis at all.

We made our sacrifices in the interests of the the collective – what we have called a “team of 5 million“. And it worked. Our lives are for the most part like they were before Covid appeared on the scene. The experience has reinforced the idea that an individualistic approach is not enough and that it takes a team for us all to gain true freedom.

Perhaps the relative failure of many nations in the West compared to those in the East, is due to the notion that personal individual freedom, and “rights” are paramount and above the interests of the collective. I’m not sure that such a concept has ever been held in the high regard in this nation. It’s not part of the Māori world view, and when we consider the motives of many of the early settlers, it wasn’t high on their agenda either. A “fair go”, an escape from the excesses of unregulated capitalism, egalitarianism, equity and equality in equal measure, and fair sharing, were more on their minds than personal liberty and bettering their peers.

The influence of a Māori world view has, I think, lead us to better understand what it is that we have always, if unconsciously sought, and now Pākehā too have a name for it: manaakitanga.