
Open Letter: Standing In Solidarity With Te Pūkotahitanga
Te Whāriki Manawāhine o Hauraki, Te Whakaruruhau Waikato Women's Refuge and The Basket Hauraki (Tangata Tiriti Rōpū), stand in solidarity with Te Pūkotahitanga following the Crown's unilateral disbanding of this critical tangata whenua collective.
As collectives serving whānau across Hauraki and Waikato, we speak alongside our wider hapori and social service partners, in our concern about the Crown's ongoing failure to honour Te Tiriti based partnership and Te Aorerekura commitments.
What Happened
On 26 June 2025, Te Pūkotahitanga formally advised Minister Chhour of their decision to reclaim the gifted names Te Pūkotahitanga and Te Puna Aonui from all Crown use. These names were not branding assets but taonga, gifted with purpose, tikanga, and expectation. When the Crown failed to uphold those responsibilities, Te Pūkotahitanga exercised their customary right to reclaim them.
The following day, Minister Chhour announced she was disbanding Te Pūkotahitanga and dropping the names from government use, without acknowledging that tangata whenua had already reclaimed these taonga or the tikanga based reasoning behind this decision.
Upholding Te Tiriti Obligations
Te Pūkotahitanga was established under Te Aorerekura as a critical mechanism to ensure Māori led solutions, shared leadership, and cultural integrity in our national strategy to eliminate family and sexual violence. This is a serious breach of Te Tiriti obligations and Te Aorerekura commitments.
The reclaiming of the gifted names by tangata whenua leaders is not a political gesture. It is a tikanga based response to the Crown's failure to honour its responsibilities. Decisions of this significance must be made in partnership, not imposed unilaterally.
Supporting Māori Led Solutions
Our experience a cross our communities demonstrates that effective responses to violence require cultural frameworks that acknowledge whakapapa, whanaungatanga, and tikanga. We reject any suggestion that Māori names or tikanga based leadership exclude others.
Many of our hapori partners carry their own intergenerational experiences of violence, healing, and whakapapa responsibilities. We uphold tikanga not to exclude, but to ensure that solutions reflect the lived realities of the whānau most affected. The lived experience of tangata whenua IS the expertise required to address intergenerational trauma and violence and is essential to achieving the vision of Te Aorerekura. To remove this voice from national decision making is not just short sighted; it is grossly negligent when whānau safety is at stake.
Our Resolve
We, as collectives across Hauraki and Waikato, remain committed in our support for Māori led approaches and advocate for the reinstatement of meaningful Māori leadership mechanisms in national governance. We will continue our mahi to protect and heal our whānau through culturally grounded practices and call on the Crown to honour its Te Tiriti obligations.
We are not stepping back. We are stepping forward to protect the mana of our mokopuna.
Call for Accountability
We call on Minister Chhour and the Government to acknowledge the essential role of Te Tiriti based partnership in addressing family and sexual violence. They must reinstate meaningful mechanisms for tangata whenua leadership and recognise that effective solutions require the expertise and leadership of those most affected.
We will continue to stand with Te Pūkotahitanga and all those working to ensure that tangata whenua voices remain central to the kaupapa of ending family and sexual violence across Aotearoa.
Ngā manaakitanga
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If artists could afford to live downtown e.g. if tax system changes did enable unused commercial properties to be occupied at peppercorn rentals – this could revitalise the inner city, boost retail spending, provide part time labour for cafes and restaurants, and enhance the value of adjacent downtown properties through the added foot traffic (and tourism) being generated. Footnote: In 2019 Victoria University academic Jonathan Barrett analysed how a capital gains tax could make more people feel inclined to invest in art. Don't Rely On The Market Some people, including a few artists, find the very notion of state funding of the arts to be a hard concept to embrace. For one thing, there's a certain lack of romance involved. An artist starving in a garret is a more heroic image (at least, until the gum rot sets in) than an artist pulling a government cheque from the mailbox en route to the potting shed. Charges of elitism over arts funding (why this art form over that one, why them, not me) tend to clang up hard against the sense that this stuff is really important, contributes to our national identity etc etc. All of which is worthy of debate, provided it doesn't lead to policy paralysis, One way to justify spending on the arts is to demand a commercial return, as one would with any other commodity. That argument is self defeating. Why? For one thing, society benefits from what economists call the 'spillover' benefits of arts creation and consumption, just as it does in other non-quantifiable areas. Inevitably, the 'spillover' returns to society from spending on art, public healthcare, state schooling, science and the military are notoriously difficult to quantify, and establish a market value. Defence spending for instance is as costly as its benefits are nebulous. Yet for some reason, successive governments have been willing to write the NZDF – and them only – a blank cheque. Why not science? Why not the arts? There is also a so-called 'option value' argument for arts funding, whereby whilst you or I may not choose to patronise an art gallery or a ballet, many of us would still like to see such things supported, and kept as a viable option for others, or for our grandchildren. To illustrate this notion of option value, economists routinely offer the jokey old anecdote about the King of Naples, who once told the composer Antonio Scarlatti that he felt fine about supporting the Naples Opera, just so long as he was never actually invited to attend the confounded thing. Another key economic driver for regular boosts in arts funding was a point made decades ago by the economist William Baumol – namely, that arts activity is simply not conducive to the technological advances and the productivity gains that have been obtainable elsewhere in the economy. This syndrome – routinely called 'cost disease' or 'Baumol's disease' – applies equally to the funding for public health and education as much as it does to the arts. All such sectors entail services – creating art, educating kids, caring for sick people – that are next to impossible to automate and to mechanise. 'This means that as wages go up in these handicraft services,' Baumol said, 'there is no productivity offset to rising costs.' (Lorde, Taikla Waititi, Shane Cotton etc do not come off a production line.). At this point, the free marketers would probably say – well, why not leave it the market? If people want art, then let them pay for it. Yes, Baumol wrote, but what quality would the prevailing market settle for? Wouldn't such a market be inclined to downsize by cutting out rehearsals and other production costs, and concentrate on the likes of sure-fire Broadway hit musicals, rather than on Shakespeare or on untried new talent? In other words, the centre-right formula of holding the funding at current levels – and looking to the market and/or the community for extra money – is unlikely to result in (a) quality (b) diversity and (c) anything other than the recycling of the known and the safe. All of which would quickly erode the option value and the cultural capital of our art, both here and overseas. It would be self-defeating, in that it would diminish/destroy the value of the product. Besides…at the very worst, an added investment by the state in art and culture is certain to deliver better social and economic returns than gifting landlords with a $3 billion handout. Footnote : Australia is a wealthier country than New Zealand. Yet its artists hardly have it easy. According to the SMH article linked to above, the average annual income of professional artists in Australia is $A54,500, earned via insecure projects and commissions. A writer's average annual income is just $A18,000, and the median annual income for musicians is $A15,000. Plainly, starving in a garret for your art isn't a lifestyle ' choice' that died out at the end of the 19th century. Needing The Love There's no particular reason for linking to this, beyond it being an all-time favourite video. Oh baby lady girl. Art is its own reward :