Māori creativity in advertising
Advertising has always served as a reflection of culture—national culture, popular culture, subcultures. A glance at the history of advertising provides a snapshot of us as a nation. Remember the McDonald’s Kiwi burger jingle from the past? “Hokey pokey, Marry haka, Kiwiburger that's our tucker.” It was a proud representation of “Kiwi culture” at the time, and it remains a topic of conversation decades later. Back then, they understood that mispronouncing Māori was frowned upon, but they dismissed it as “not a big deal”.
The question is, have we progressed since then? Many Māori don't identify as Kiwi; we are Māori or identify with our iwi, yet brands continue to market themselves as ‘for Kiwis’ and discuss the ‘Kiwi way of life’. This isn't done out of malice, but they assume “it's not a big deal”. However, when your grandparents had their Māori names stripped from them at school, you tend to be adamant about preserving your Māori identity—it can't simply be a subset of being Kiwi, gradually diminishing to the status of a buzzy bee, a gumboot or blowing on a pie. Regardless of how inconvenient it might be, we can’t all be lumped together. Māori who wish to be recognised as such, must be. The essence is, advertising does more than just mirror our society's culture at a given time; powerful advertising has the potential to shape it. Therefore, it's of utmost importance that our narrative as Māori is seamlessly woven into this framework.
It’s encouraging to see a rise in demand for a Māori perspective, especially within governmental circles, primarily driven by political and social pressure, and Te Tiriti obligations. But at the same time, the nation is awakening to something we as Māori have always known—our culture is bloody cool! This recognition is largely due to our Māori musicians, artists, creators, and of course the reo movement, to which our nation owes a great debt. Globally, there's a growing understanding that our interconnectedness with each other and our environment necessitates a radical shift in perspective. We need to transition from a singular focus on wealth accumulation to fostering a genuine sense of community and preserving our planet for future generations. It's becoming increasingly clear that Mātauranga Māori, along with other indigenous cultures, holds invaluable wisdom in this regard.
Some brands are embracing this shift. Among the multitude of brands that have Manaakitanga listed as a core value, Nau Mai Rā stands out as one that truly understands and practises it, reaping rewards in terms of business success and contributing to a better Aotearoa. I don’t think it's the case that we’re seeing the rise of te ahurea Māori in the industry, but rather the industry is rising into te ahurea Māori.
From an advertising perspective, in recent years, we've seen remarkable work from Māori agencies, such as Run's collaboration on the Seek NZ Tourism campaign, and Mahi Tahi's efforts to promote Matariki. I hold a particular admiration for the efforts of Māori agency Wawata Creative and the Puhi Moana Collective in their bowel cancer screening campaign. It resonates with the humorous side of our identity, and having that well-rounded perspective as we move forward is important. We were privileged to collaborate with Kapa Haka guns from Ngā Tūmanako to promote Te Matatini. From a design and branding perspective, Anzac Reihana Tasker at Design Works and Tyrone Ohia at Extended Whānau consistently deliver stunning work. Non-Māori agencies have also produced some great work too. Motion Sickness recently crafted a compelling ad for Whānau Ora. Special’s collaboration with the amazing Kiri Nathan produced stunning graduation gowns for Manapou ki te Ao (Education New Zealand). Possibly the busiest Māori in the advertising industry this year has been content creator Te Ao Pewhairangi, who has created brilliant content to promote a number of kaupapa from Te Matatini to Matariki, and not least his amazing Waewae 35 initiative.
With increased demand for a Māori perspective, some of the questions we might ask are; how do we want to be represented going forward, and what’s our place within the industry?
What does it mean to be Māori in 2023? Quotes from two different, but equally awesome Waititis speak to different aspects of who we are. Rawiri Waititi says, "You may not know your mountain. But your mountain knows you. You may not know your language but your language knows you. You are enough because your tipuna made it so." On the other hand, Taika Waititi quips, "Indigenous people in films, it’s all, like, nose flutes and panpipes and, you know, people talking to ghosts…which I hate."
Rawiri's words echo the spiritual bond we share with our ancestors, our land, our maunga, and our awa. They gently remind us that even if we may feel disconnected, we are never alone, and we belong. Taika, in his typical style, highlights that we are not just mystical beings dwelling in the mist of mountains, entranced by the melody of the kōauau. We are a vibrant tapestry of individuals – dark-skinned, light-skinned, humorous, imperfectly perfect, academics, business people, cops, robbers, magnificent singers…some tone deaf but magnificent nonetheless.
The 'Waititi' Duality: As we navigate towards the future, it's crucial to acknowledge both sides of our identity. The AI image generator Mid-journey labels certain images as "idealised Native American". I think similarly there’s an "idealised Māori" perception, a sort of tourist's perspective of us, embodied by waka, korowai, haka, moko, and marae life. While these elements are real and very much us, they don't represent the totality of who we are. The TV show Ahikāroa masterfully showcases the broader aspects of contemporary Māori life.
The Cultural Safety Paradox: In advertising, cultural safety can be a double-edged sword. It's now commonplace to see a Māori section in most RFPs or briefs, particularly from the government. Questions like "Do you understand tikanga Māori?" or "Can you provide cultural safety?" are now standard. This mirrors the industry's current focus and the media's penchant for controversy over celebration. The fear of causing offence often leads to a cautious approach that can suppress creativity. For Māori Creative Agencies, cultural safety is a given, not a unique selling point. It's as basic as avoiding spelling mistakes - necessary, but hardly inspiring. To truly tap into the rich potential of te ahurea Māori, we need to treat cultural safety as a given and not the primary focus. We need to act and be seen as creators and ideators, not as ‘the cultural police’.
Redefining the Standard: Once cultural safety becomes a baseline expectation, we can shift our focus towards nurturing innovative ideas. Our culture is a living, evolving entity. Sometimes, this evolution involves challenging the status quo. The recent Te Matatini festival, with the group Angitu pushing boundaries and sparking dialogues about traditional roles within kapa haka, is a testament to this. It sparked some controversy and debate, and the need for further discussions, it created a new way for people to look at and connect with kapa haka. To make our presence felt and appreciated, we need to be bold and innovative. We need to ensure that the ahikā of te iwi Māori shines brightly across all facets of modern society, from technology and art to politics and advertising.
Decoding 'Authenticity': Innovation begins with purposeful communication. Words like 'authentic', 'inclusive', and 'cultural lens' are great at getting heads to nod, but what do we mean when we invoke the term “authentic”? Are we talking about a true-to-life reflection? Let's face it, reality can sometimes be a bit dull - who'd want to watch a John Wick movie anchored in the mundane? Do we simply mean 'safe' or 'non-offensive'? If so, why not just say that? Or perhaps 'recognisable', but then, to whom? To Māori? Which Māori? David Seymour or Rawiri Waititi? My suspicion is that 'authentic' often substitutes for 'idealistic'. While it’s hard to go wrong with 'idealistic', it risks leading us into a sea of sameness that scarcely engages people in new ways. Try this exercise: in your next hui, don’t say 'authentic' - it might be challenging, but it could guide you towards more interesting places. Or, initiate a conversation: "what's 'authentic' in this context?".
Stunning Content and Creative Solutions: For too long, Māori and our culture have been underrepresented in advertising. Nowadays, witnessing Māori narratives, perspectives, design, or music feels refreshing and exciting to those outside of it, and for us Māori, it's heartwarming to see ourselves depicted in a manner that resonates with us. However, it's essential to distinguish between content and ideas. The industry's transition from 'ad agency' to 'creative agency' signals a wider evolution - we’re not just about ads anymore, we’re about creative problem-solving. Our efforts aren't confined to ads; they develop in line with societal behaviours, technology, and culture. We're on a constant quest for fresh inspiration and innovative solutions, and I believe mātauranga Māori, te ahurea Māori and te ao Māori are treasure troves not just for compelling content, but for ingenious solutions.
Talent
The Talent Gap: Unlocking the potential of te ao Māori and te ahurea Māori largely depends on talent, with two obstacles ahead. Firstly, Māori are underrepresented in the industry. Secondly, there's a Māori skills gap. It's essential to see these as separate obstacles. A gamer has insight into the gaming community but might lack the skills to develop games.
Māori Representation: The sole criteria is whakapapa. If you whakapapa Māori, you have a Māori lived experience. These experiences could be painted with the hues of marae life, kapa haka, or mainly Māori towns and schools. Others might stem from predominantly Pākehā culture, where some might feel deeply disconnected, and others might question the need for Māori on our road signs. None of these experiences are more ‘valid’ than the others, but the former is generally more sought after in the hiring process.
The Māori Skills Gap: Whether Māori or non-Māori, those who've ventured into the diverse domains of mātauranga Māori to gain knowledge are critical. Whakairo, moko, haka, mōteatea, rongoā, waka, ngā whetū, moana, ngahere, raranga, the list goes on. Reo crosses all boundaries and is often said to be the key to the Māori world view. This educational journey isn't just about knowledge acquisition; it's about the experiences gained along the way. It's about immersion in te ao Māori, understanding karakia, tikanga, values, and worldviews. It's about the responsibility that accompanies received knowledge. No book can replicate this journey. Some embark on it as adults; others have been immersed since birth. If you're a product of a kura kaupapa or kura rumaki, our industry needs you. We need your skills, your mātauranga, your world perspectives.
However, as we integrate these individuals, we must consider their nurturing. Will we welcome their worldviews only to expect them to adapt to a predominantly Pākehā culture? The pressure to be the face of diversity, or provide Māori leadership and insight can be overwhelming, especially without a support network and when it's not officially your job.
There are countless instances where businesses unfairly turn to people who are Māori for approval of work they're not qualified to approve, much like asking a gamer to verify the code for a new game simply because they play video games.
A Māori offering
Remember when 'digital' was a segregated element in advertising, standing alongside TV, Press, and Radio. Today, it's just like air, it’s everywhere. Ultimately, we want to see Māori capability woven into all aspects of our industry. At present, it remains a specialised area.
For clients who desire an agency offering a Māori perspective, four general models exist today. First, agencies may employ the expertise of a consultant well-versed in Te Ao Māori, while they provide the advertising prowess. Second, agencies may nurture the required skills internally, so their team possesses a dual comprehension of advertising and Māori expertise. Third, a collaboration may occur between a non-Māori Creative Agency and a Māori Creative Agency. Lastly, they could directly engage a Māori Creative Agency.
Mana Motuhake
To quote Taika again, from a speech he delivered at an event discussing Diversity in Hollywood, he remarked, “When we make our things, don't give us a white showrunner to dictate the rules and tell us how to execute them. Let us figure it out, and let us structure the story in our way, drawing from our own experiences”. This sentiment holds significant resonance for us too. If we aspire to truly unlock what Māori culture, perspectives and knowledge systems might offer, we need to figure out what a Māori approach to work might look like, we need to chart that path. It might involve building upon the process and culture long established by Creative Agencies, or it might differ entirely.
Māori owned businesses, deeply rooted in our cultural values and language, serve a dual purpose in our societal tapestry. On one hand, they stand as testament to the indomitable Māori spirit, marking our path on the journey of reindigenisation. They are not just business ventures, but markers of our identity, granting us the option to engage with commerce through the Māori lens. It's refreshing and empowering to see non-Māori businesses embracing our culture and creating spaces where Māori can thrive, yet there's an unmatchable gravitas to organisations that are quintessentially Māori. Increasingly Māori are seeking this in their career choices, so it’s important the option exists across all sectors.
Beyond mere representation, these Māori businesses also allow us to explore the unique fusion of our culture with the business landscape. Imagine creative minds convening, their ideas blossoming within a space that reverberates with the heartbeat of our Māoritanga. If we can replicate the strength and freedom people feel at Kura Kaupapa Māori and Kura Reo in an agency environment, it’s exciting to think of the ideas this might produce.
There's a trend in the industry to label Māori Creative Agencies as Cultural Agencies or Consultants. It subtly diminishes their mana as Creative Agencies and insinuates that for some reason they have expertise spanning various cultures. This misguided perception often leads to unexpected queries from potential clients, like "are you also Pacific?" No offence intended towards our Pacific siblings, but such questions, although innocently asked, inadvertently suggest a preference for dual Māori and Pacific agencies over purely Māori ones. If it results in penalising Māori businesses, it warrants a deeper conversation. Creative Agencies that happen to be Māori, must be seen as Creative Agencies. And furthermore, it must always be enough to just be Māori in Aotearoa.
Māori skills, capabilities and understanding of our culture and perspectives must eventually be interwoven throughout the industry, harmoniously co-existing alongside a multitude of cultures. Yet, we must also cultivate centres of excellence, trailblazing fresh pathways, and pioneering new methodologies. If we can do that, it’s exciting to think about what we might see in the coming years.
Nā Alex Hirini
