Analysis Of The Maori Theme In The Film Whale Rider

Introduction

This essay is a fictional screen production analysis utilizing the Kaupapa Māori theoretical framework to focus on a Māori theme of the film ‘Whale Rider’. Therefore, probing various significant themes that highlight the Kaupapa Māori such as understanding that breaking impediments in Whale Rider and overcoming gender roles is important in uniting the people of Whangara and empowering Maori women. Through a Kaupapa Māori analysis of ‘Whale Rider’, this essay focuses on how the film portrays the struggles of the main character in pursing to be in a patriarchal tradition.

Whale Rider (2002) is based on a novel written by Witi Ihimaera (1987) to display a story outlining the Maori cultural concepts on thematic concerns. To which many significant issues are portrayed in the film. The story sets in the land of Whangara on the east coast of New Zealand, a place where the people of Whangara follow ancient traditions that dates back a thousand years ago. These traditions are centered on their belief to a specific ancestor, Paikea, who endured the difficulties when his boat capsized in the center of the ocean therefore, he got safely to the coast on the back of a whale. As the whale symbolizes a link to their ancestors, holding a taboo meaning of sacred and only certain selected members of the tribe can correspond with the ancestors through them. Thereon, the custom was set only for male figures to become the next chief. However, the selected rising chief passed during his birth and his twin sister survived. She was named after Paikea and lived among her people including her grandparents. Paikea deeply believes that she is bound to become Whangara’s first female chief, but she must crush the adamant gender patterns established by her traditional grandfather, Koro, and convince him that she can educate herself on the ways of her ancestor, Paikea and become a leader for her people.

Scene one Analysis

In the mid shot scene in where Paikea (Kiesha-Castle Hughes) and Hemi (Mana Taumaunu) one of Koro’s students that he teaches in his school, are in a heated moment of challenging one another in a taiaha (a traditional Maori weapon made from either wood or whalebone carved into a spear shape) fight. Paikea, defeats her opponent and leaves her grandfather, Koro (Rawiri Paratene) furious of her for betraying and breaking the ancestor’s way by learning the taiaha after it has been forbidden for any female and especially for her. As Koro states, “The knowledge that’s been passed down by our ancestors. From my grandfather to me, to those boys. Kuawhati! It’s broken”. Koro is left feeling angered by her actions in fighting with his student in a sacred place of Maori martial arts taught to male only. Let alone exploiting something that is not for someone like her. The scene portrays a heavy sense of anger that seethes through Koro’s character and the hurt that is felt by Paikea is also displayed. The mid shot scene used here is to enable viewers to see the characters emotions through their dialogue exchanges, body language and facial expressions. In this scene, it is clear that Paikea feels hurt that her grandfather is still blinded by belief that only men/boys can do the taiaha and that its meant for a chief in the making to become the greatest and prove his place. Throughout the film, Paikea constantly exceeds in all the challenges that she faces with her male classmates, hoping her grandfather will see and realize that she is made for the role of chief. Here Paikea has proven that she fits perfectly as a chief and excels in the taiaha, but Koro has not yet accepted that she can be the next chief due to her being a girl.

Paikea’s character is the representation of many women who have been ignored and shut down due to gender equality or sexism. She represents the women who are not seen as equal or up to standard to men. Gender roles are commonly characterized by diploid judgement and structured systems that classes ranks unfairly. Men are painted to represent culture, masculinity and such. Whereas, women are rather the representation of nature and femininity. As Estelle Disch states in her book, “As a process, gender creates the social differences that define ‘woman’ and ‘man’. This constructs individuals to act and sustain gender role as how society and culture expects it to be. However, Paikea goes against the norms of gender roles by eagerly learning the taiaha from her Uncle Rawiri (Grant Roa) and being a natural born with the skill. The taiaha is a very sacred weapon connected with chiefs and warriors. It is practiced in Maori martial arts for men as a significant skill that become an opprobrium of their own. Paikea masters the taiaha and becomes a skilled fighter. To which she breaks the barrier that not only men can do the taiaha and so can women. But her work as a skilled fighter is not held at a level of importance and disregarded as disgrace to the ancestors and the ways that were paved for them many years ago. In traditions like these ‘it’s very common for men’s work and activities to be valued more highly than women’s because they are valued more as the superior group’. However, such an act is overpowering for Maori women and young girls who have lived in a male-controlled tradition or society and certainly for all women to take control and find their place without no gender role that will hold them back in becoming the women they are meant to be.

Scene Two Analysis

Leading up to the ending of the movie there is a wide shot of Paikea on the whale of her ancestors. The scene up leading to this were the incident in where Paikea called out to her ancestors to help her Koro. Her calling has led her ancestors to her need but were stranded in danger as the whales die out slowly. Here Paikea, then sits on one particular whale that stood out from the rest. In which she knew it was the exact whale her ancestor Paikea had ridden. She leads them back to where they came from. The wide shot displays the moment Paikea is ridding on the whale from a distance, and the people of Whangara watches and awaits what will happen next and they worry as they see their future chief disappear into the ocean with the whales. This is also the medium shot in where Koro realizes how small minded, he had been, and he finally understands that his granddaughter is the chosen one.

Whales are a sacred creature that carries the connection to their ancestors and only a chosen individual can communicate with the whales. The whale scene is empowering to the point that viewers are able to see how Paikea has gone to an extend to really prove that she was born to be the next chief. That she can communicate with ancestors and lead her people. The wide shot was used to create depth and purpose. Just as the scene of Paikea on the whale gives the audience a sense of her purpose of why she was born and the depth of her justification. Whereas, the medium shot of Koro is him in a realization moment that he had been too obscured by his stereotypes on his granddaughter that it took him so much time to accept her as she is. His raw emotions and shock are displayed through the medium shot. Therefore, as Paikea was made the chief. This united the village and her relationship with Koro was mended. But most importantly a wider path was opened to allow a sense that not only men can do it but so can women. Paikea paints a path for all women in Maori patriarchal traditions to keep pushing because they will be heard. Because it is important for Maori women and young girls to address their worth and their importance in society and their communities and not labelled as nothing less than they are. That gender role is not stable, that Maori women can carry out the same responsibilities as Maori men. That they can lead and be future leaders just as Paikea did. As Judith Butler argues that there is no stable gender identity or role. It’s an illusion that is painted rather than established as something that can evolve and transform.

Conclusion

The film is very influential and powerful. It is an excellent precedent for Maori women and their positions in the Maori culture and traditions. Paikea overcomes the gender expectations dictated on her as a female and breaks the stereotype of her culture. Paikea creates a free pathway for all Maori women that can cross that path with no restrictions because of stereotypes or gender roles. Just as Gloria Anzaldúa’s call for a bridge to destroy gender roles and identification but rather appreciate and accept people as they are. “A bridge is not just about one set of people crossing to the other side: it’s also about those on the other side crossing to this side”. Paikea strongly builds a bridge that unites her people to be able to understand one another, share and combine knowledge and strength to walk together into a promising and all- embracing future that allows change and growth. As well as empowering Maori women in becoming freer and more open in their rightful places.

Works Cited

• Anzaldúa, Gloria. “(Un)natural bridges, (Un)safe spaces.” The Gloria Anzaldúa Reader. Durham: Duke University Press, 2009. 243-248.
• Disch, Estelle. Reconstructing Gender: A Multicultural Anthology. Boston: McGraw-Hill Higher Education, 2003. Print.
• Glover, David, and Cora Kaplan. Genders. London: Routledge, 2000. Print.
• Whale Rider. Dir. Niki Caro. South Pacific Pictures, 2002. Film.