Category Archives: Racism

WALKING TOGETHER

I was chatting with a couple of guys in Murupara a while ago, waiting for an event to start. One of them was telling us that he farmed a piece of land that his father had been balloted after World War II. That is when land was given to returned soldiers, to rehabilitate them back into civilian life. The Government wanted to channel any discontent into hard work. And work hard they did.

I looked at our other companion. He was from Ngāti Manawa. I knew that his father had been maimed in that war and had returned home to Murupara to find his tribal lands taken and given to Pākehā soldiers. Māori were not eligible under the land scheme. I wondered what he was thinking. He showed no outward animosity and our farmer friend showed no awareness of what it might mean to him. He had no reason to feel guilty. He hadn’t stolen the land. His father hadn’t either and probably had no idea that it was even stolen. They had been given an opportunity and had used it to build a productive farm over generations by the sweat of their brows.

It was such a telling illustration of our country. One set of people dispossessed by a government that saw them as incapable and undeserving. Another set of people who had worked hard to make a good life but had no idea of the injustice that they had benefitted from. In that gulf between those worlds I see a huge amount of graciousness from tangata whenua, like the pōwhiri that we were attending, which welcomed everyone into the ancestral house and treated us all with respect and care.

Māori / Pākehā relationships in this country cannot be simplified into good guys / bad guys. Real life is more complex, interesting and rich. But it can be useful to step back and look at the broad picture. Waitangi Day gives us an opportunity to remember where we have come from and reaffirm where we want to go as a nation.

It is important to understand that Māori never did cede sovereignty in Te Tiriti. The Māori language version of the Treaty of Waitangi – the one signed by most Rangatira and the one that takes precedence under the international legal doctrine of contra proferentum – clearly affirms the sovereignty (tino rangatiratanga) of hapū. Hobson’s Choice and other groups can try to rewrite history but Governor Hobson’s own words at Waitangi in 1840, recorded by eyewitness William Colenso, state clearly that the British were not seeking to make laws to govern Māori. They were seeking only to govern their own unruly people that had come to this land.

It was only when large numbers of settlers arrived and a new Governor was appointed that an attempt was made to assert British authority over Māori communities. There are plenty of good history books, and Waitangi Tribunal reports, that document the way that successive Governments used legislation, debt and war to take Māori lands and resources, and destroy their political and economic structures to force them to come under the authority of the Crown.

Our own history in the Whakatāne District is full of terrible things that were done to local iwi and hapū. That includes the deliberate desecration of some of their most sacred places by previous incarnations of the Council. While there have been real efforts over the past few decades to acknowledge these wrongs and to stop adding to the list, we continue to deal with a legacy of local authority decisions that ignored Māori interests, concerns and authority. As mayor I am still grappling with some of these issues today. I am aware that although the population in our district is around 50% Māori, their voices have historically carried little weight in council decisions. We have made it a collective priority in the last few terms of council to address that.

Our Māori Relationships Strategy – Te Toi Waka Whakarei – outlines what we need to do as a council to build better relationships with iwi, hapū, and whānau. It starts with building our own capacity to engage and listen, and it means taking on board what we hear. It’s a journey but we are already seeing some progress. Instead of fighting – in court, in the media and around the table – we are starting to work together. At the end of the day, we all want the best outcomes for our communities.

We have an opportunity to do something really significant as a district. We can show how to live together with integrity as Tangata Whenua and Tangata Tiriti. We can create political and social processes and institutions that marry the best of Te Ao Māori and Te Ao Pākeha. We can demonstrate what it means to be bi-modal and multi-cultural by simple virtue of our demographics and the strength of our connections with each other. We can show the world an alternative to the hatred and fear being fostered to keep us all distracted and divided.

(Mayoral column in the Whakatāne Beacon 26 Feb 2026)

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Black is an invisible colour

I used to say I like every kind of music except Country. That was until my good friend Steve Abel made me sit down and listen to ‘Johnny Cash at San Quentin’, recorded live at the infamous prison. I was an instant fan.

So when “Walk the Line”, the Johnny Cash biopic, was released in 2005 I was eager to see it. I thought it was a great movie, with some brilliant scenes, like the one where Ma and Pa Carter see off Cash’s dealer with shotguns as he quits cold turkey. They seemed to epitomise the best of White Southern Christian Decency, in contrast to the usual treatment we see of Southern hypocrisy, malice and racist cruelty.

The romance between Johnny Cash and June Carter was of course the main thread of the movie. It winds around his protracted wooing of her and ends with a caption celebrating their 35 year partnership on and off stage after she finally agrees to marry him. His first wife Vivian is portrayed as a woman just never suited to be his wife and who drove him away with her bitterness, jealousy and resentment. I remember idly wondering what she was really like, and whether this was a fair portrayal of her character, as the story moved back to his great love for June.

Watching the movie for a second time the other day I was again swept up in what a nasty, bitter woman Vivian was, even as another part of my mind again questioned the representation. In the garden with my wife the following day, we began deconstructing the movie as we worked. As we talked through different elements of the plot, I began to feel more and more uneasy. Later I decided to google Vivian Cash. I found a review of her book ‘I Walked the Line’, written after the film came out. Not surprisingly it gave a very different story to the film, suggesting that their marriage had been very happy until June stole John away. What WAS surprising, though, was when I looked at photos of Vivian. Turns out that she was a black woman.

john and vivian cash 1jonny and vivian cash 3

You’d never know from reading any of the articles about her.

You’d certainly never know from watching the movie, where she is played by Ginnifer Goodwin.

ginnifer goodwin

In fact the only thing I found in my admittedly brief search that referenced her ethnicity was a newspaper headline from when he was busted for drugs that says “ARREST EXPOSES JOHNNY CASH’S NEGRO WIFE”. Presumably exposes her for the sin of being black in the USA.

Interestingly, in contrast to the newspaper article from the time, the film shows him leaving court alone and coming home to her censorious displeasure. It is shortly after this arrest that the chronology of the film shows them separating.

johhnycash

I’d noticed before that there are almost no black people in the film. Two shoe shiners are the sum total are far as I remember. I imagine the director, James Mangold, justifies this by saying that there are no black characters who are important to the story. That is if you don’t include his first wife.

Suddenly the treatment of Vivian makes complete sense. In the world of American Country music, of course the black woman is the villain of the story – even when her husband leaves her and her four daughters for another woman. June and John are considered one of the most iconic couples in country music history, and no black woman is going to undermine that narrative. Her character has to be destroyed. But even that is not enough. Her very identity is robbed from her, made invisible by whitewash.

They say that black is not a colour, it is the absence of light. That certainly seems to be true in Hollywood.

EDIT: I have been asked in some of the comments to withdraw my post because Vivian’s birth certificate and recorded genealogy state that she is white. I will not do so, for two reasons:
1. Regardless of what was written on her documents, it is apparent to many of us (especially those of us of mixed ancestry ourselves) that she is black / mixed (there must be a better word for that). This is an opinion based on every single photo of her to be found. There is a one photo from later in life which some say shows that she is white. I guess if you don’t have elderly multiracial friends or family (and ignore every other photo of her) you might think so but it is not convincing. There are numerous possible explanations for the discrepancy between her official papers and her appearance, many of them outlined in the comments.
2. Given the effort made in the movie to try to cast actors who resembled their characters, casting Ginnifer Goodwin for someone who is at the very least ethnically ambiguous is still whitewashing. Her ethnicity was important to their story, as evidenced by the attacks upon them both.
Ethnicity and racism are very touchy subjects to be sure. I have never had such interest in a post, and almost exclusively from North America. Why? Perhaps the USA needs some kind of national reconciliation process to help it deal with the trauma and shame of its past.
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As of 13 May 2020 I am closing the comments because a growing number of posters from the USA are getting increasingly abusive of each other.

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