Witi Ihimaera’s bildungsroman novel offers a profound exploration of the relationship
between Nani Flowers the wife of the Rangatira, meaning chief, and her great
granddaughter Kahu that is set within the rich cultural tapestry of the Maori people which
provides valuable insights into their evolving relationship and how it is affected by Koro’s
patriarchal views. Written in 1987 a time when Maori identity and rights where coming to the
forefront of New Zealand’s political agenda, this novel combines tradition with modernity,
challenging existing notions of what it means to be a leader and presents a fresh perspective
on Maori leadership within the twentieth century that challenges the systemic misogyny
Ihimaera’s own daughter complained was so often present in literature and media.
Nani and Koro’s relationship is tested by Kahu’s birth. Koro represents the older style of
command and control leadership. He has a clear idea of how a leader should be and is
unable to handle or hear any opposition or alternative ideas from those around him. Nani
Flowers often undermines the authority granted to him through his position as Rangatira,
meaning chief, she does this through her nickname for him, when she calls him “An old
Paka.” Kahu adopting Nani’s nickname for Koro undermines his authority much like her birth
undermines the patrilineal leadership that is so important to him. The fact that she is named
after Kahutia te Rangi a name that Nani approves without consulting her husband only
makes Koro resent her more for not being born a son since she is named after the first
leader of their Iwi, who brought prosperity to their lands. This in turn increases the feeling of
guardianship Nani feels for Kahu as she attempts to shield her from Koro’s anger. Nani
flowers herself is of “Muriwai” blood and comes from an Iwi, meaning tribe, where women
could become the Rangatira. This is a source of contention in their marriage and Nani
Flowers often threatens to get a “Divorce” whenever Koro dismisses Kahu. With every
rejection that Kahu faces from Koro, the bond between her and Nani simply gets stronger as
her great grandmother attempts to comfort her. Koro’s characterisation is typical of a
bildungsroman novel and his change in mindset when surrounded by strong women is
essential to improving his relationship with both Nani and Kahu but his transformation is
especially important when you consider that Ihimaera wrote this novel for his two young
daughters to show them that women were just as capable as men.
The Maori culture with its deep rooted traditions and spiritual beliefs form the backdrop
against which Koro and Nani’s relationship is examined in the novel. Central to Maori beliefs
is the concept of whakapapa, the interconnectedness of all living things and their ancestral
lineage. Within this framework, the Maori people must ensure the survival of animals
considered tapu, meaning sacred, to themselves and their Iwi’s as well as preserving Maori
traditions and beliefs. Koro is nicknamed “Super Maori” for his work in ensuring the tikanga
maori, meaning Maori culture, and Maori language live on through the series of schools he
helps found, this makes him seem like a highly contemporary character since Maori only
became an official language in the same year that the book was published (1987). However
Nani Flowers is forced to bury Kahu’s birthcord with only Rawiri for help because Koro “Will
have nothing to do with her.” This traditional practice is ignored by Koro even though it is
meant to strengthen Kahu’s connection with Whangara. Nani assumes the duties that should
have been carried out by Koro, defying gender roles and doing something she knows her
husband will not like. She regularly ignores his commands in the book to fight for what she
believes in, even saying “He’s no chief. I’m his chief.” By burying Kahu’s birthcord she
ensures she “will always return.” This strengthens both Kahu’s relationship with her
between Nani Flowers the wife of the Rangatira, meaning chief, and her great
granddaughter Kahu that is set within the rich cultural tapestry of the Maori people which
provides valuable insights into their evolving relationship and how it is affected by Koro’s
patriarchal views. Written in 1987 a time when Maori identity and rights where coming to the
forefront of New Zealand’s political agenda, this novel combines tradition with modernity,
challenging existing notions of what it means to be a leader and presents a fresh perspective
on Maori leadership within the twentieth century that challenges the systemic misogyny
Ihimaera’s own daughter complained was so often present in literature and media.
Nani and Koro’s relationship is tested by Kahu’s birth. Koro represents the older style of
command and control leadership. He has a clear idea of how a leader should be and is
unable to handle or hear any opposition or alternative ideas from those around him. Nani
Flowers often undermines the authority granted to him through his position as Rangatira,
meaning chief, she does this through her nickname for him, when she calls him “An old
Paka.” Kahu adopting Nani’s nickname for Koro undermines his authority much like her birth
undermines the patrilineal leadership that is so important to him. The fact that she is named
after Kahutia te Rangi a name that Nani approves without consulting her husband only
makes Koro resent her more for not being born a son since she is named after the first
leader of their Iwi, who brought prosperity to their lands. This in turn increases the feeling of
guardianship Nani feels for Kahu as she attempts to shield her from Koro’s anger. Nani
flowers herself is of “Muriwai” blood and comes from an Iwi, meaning tribe, where women
could become the Rangatira. This is a source of contention in their marriage and Nani
Flowers often threatens to get a “Divorce” whenever Koro dismisses Kahu. With every
rejection that Kahu faces from Koro, the bond between her and Nani simply gets stronger as
her great grandmother attempts to comfort her. Koro’s characterisation is typical of a
bildungsroman novel and his change in mindset when surrounded by strong women is
essential to improving his relationship with both Nani and Kahu but his transformation is
especially important when you consider that Ihimaera wrote this novel for his two young
daughters to show them that women were just as capable as men.
The Maori culture with its deep rooted traditions and spiritual beliefs form the backdrop
against which Koro and Nani’s relationship is examined in the novel. Central to Maori beliefs
is the concept of whakapapa, the interconnectedness of all living things and their ancestral
lineage. Within this framework, the Maori people must ensure the survival of animals
considered tapu, meaning sacred, to themselves and their Iwi’s as well as preserving Maori
traditions and beliefs. Koro is nicknamed “Super Maori” for his work in ensuring the tikanga
maori, meaning Maori culture, and Maori language live on through the series of schools he
helps found, this makes him seem like a highly contemporary character since Maori only
became an official language in the same year that the book was published (1987). However
Nani Flowers is forced to bury Kahu’s birthcord with only Rawiri for help because Koro “Will
have nothing to do with her.” This traditional practice is ignored by Koro even though it is
meant to strengthen Kahu’s connection with Whangara. Nani assumes the duties that should
have been carried out by Koro, defying gender roles and doing something she knows her
husband will not like. She regularly ignores his commands in the book to fight for what she
believes in, even saying “He’s no chief. I’m his chief.” By burying Kahu’s birthcord she
ensures she “will always return.” This strengthens both Kahu’s relationship with her
