Depiction of Modern Maori Culture in The Whale Rider

Niki Caro’s 2002 best feature film Whale Rider takes place in present day New Zealand, where a 12-year-old girl named Paikea (Keisha Castle-Hughes) is growing up in an all-Maori community.

The Maori, native Polynesian people of New Zealand are decedents from Paikea, the brave leader who escaped death on the back of a whale to lead them and restore their tradition.

In every generation for more than a thousand years, only a male heir is to succeed to the title of Chiefdom. Unfortunately for Paikea, both her mother and twin brother died during birth, leaving the ancient customs upset, with no male heir, there would be no hope for future generations. At the age of 12, grandmother (Vicky Haughton) and uncle Rawiri (Grant Roa) help Paikea on her quest to claim her birthright. However, as the story unfolds, it becomes apparent to Paikea that she would have to do the impossible; win against her old-fashioned grandfather Koro (Rawiri Paratene), who’s attitudes blind him from Paikea’s potential as successor. It is only when disaster strikes that Paikea is able to prove to her grandfather that the village’s link with the spiritual world of the Maori lives on.

Within the small village of Whangara, just off the north island of New Zealand, Whale Rider is set in modern times with many references that link it into the late 1970’s and early 1980’s.

Despite being small, Whangara is home to the Maori, a very tight knit community that pride respect, passion and believe strongly in their ancestral ways. The Maori are believed to be descendants of the Polynesian people, saved by the brave leader Paikea. Their tradition plays a pivotal role in the film, with many of the plot lines and conflicts surrounding the traditions manifesting differently in each of the unique characters. This can be seen throughout the different generations for example, the eldest of the bloodline, Koro, who still holds firm to traditional Maori cultural beliefs and practices. This evidence is not only seen through the way he communicates with Paikea but through his chiefly character.

One of the main themes Whale Rider explores is how modern-day settlement has disturbed not only Maori traditions but how it’s caused common issues within the community. From the opening of the film, when Porourangi (Cliff Curtis) first left the village after the death of his wife and newborn, the people of Whangara are portrayed as a generation who has moved on from their cultural ways. This if further supported by Porourangi’s brother Rawiri, uncle to Paikea. Rawiri and his mates can all be seen lounging around, drinking and using some sort of illicit substance, a behavior which is unknown to tradition. The Maori lived off the land, hunting, growing food and contributing to their history through traditional songs and arts.

Despite their firm communion, high level of respect and passion for their culture, Whale Rider portrays the community as having many societal problems which creates an image of a culture broken by the modern era.

Through myth and legend, Whale Rider uses narrative structure in many forms to better describe the story of Paikea. It is mainly used to link the plot together through a number of techniques including point of view.

Caro uses Point of View in a very powerful way, especially through Paikea’s narrations which combined with the music and feel of the movie, sometimes sad, anxious or inspirational, create a strong connection between Paikea and her audience. In Paikea’s case of becoming the future leader of her people, changing the Point of View enhances the effect of showing the different characters feeling towards the situation.

Although Paikea is generally always the main focus of a scene, Caro has incorporated many scenes throughout the film which Paikea is not present, allowing other characters to share their opinions as well as background information that the audience may not previously been aware of, thus adding context to the film, for example, the emotional argument between Porouragni and his father after returning home from Germany. The changes add dimension to the story and concentrates on all the main characters points of view, ultimately brining the plot to life.

The use of soundtracks and camera angles were another reason for the success of the film. At a certain point in the film, Paikea’s dad returns home and asks her if she would like to go back to Germany with him. After careful consideration, Paikea accepts the invitation and the film cuts to a clip of them driving in Porourangi’s car. It is in this moment when the cameras are facing the ocean and ethereal like music starts to play. This combination of mysterious music and the concentration on the ocean shows the audience the strong spiritual connection Paikea has with Taniwah, the mythological whale which the ancestral Paikea rode to Whangara over a thousand years ago.

Caro further emphasizes Paikea’s spiritual connection with the ancient ones through symbolism. Paikea is portrayed as a highly interested and determined young girl. Within one of the first opening scenes of the film, Paikea approaches her grandfather as he is working on a boats motor. Using a piece of rope, he explains to Paikea how each thread is like their ancestors. Each plays its own role and together they are strong. This is when Koro attempts to start the motor but the rope breaks, symbolizing the broken community and how it is slowly falling apart. It is only when Paikea fixes the rope and starts the motor we as an audience see that the rope symbolises the ancestral line of the Maori community, with Paikea being the missing thread.

Another instance of the rope being used as symbolism is after Paikea called upon the ancient ones and they answered. Taniwah was one of the many whales who washed ashore the following morning. On behalf of Koro, his son Rawiri commanded the village to get Taniwah back into the water. They used a tractor and rope but because Paikea was a girl she was not allowed to help, resulting in the rope breaking once again. It is only later on in the film that Paikea speaks to Taniwah and saves the rest of the whales. This signifies once again how the rope symbolises unity between the community and how Paikea is the missing thread that mends the community together.

The film centers on the dynamic relationship between Paikea and her grandfather Koro. From the outset of the film Koro is primarily concerned with the continuation of the royal bloodline via the arrival of a grandson – The Maori tradition only allowing male successors. When only his granddaughter survives, he is not only bitter towards her, but is also preoccupied with remedying the situation for the sake of his people.

Despite being rejected by her grandfather Koro, Paikea’s grandmother, Nanny Flowers (Vicky Haughton) argued against his ways, forcing him to accept her as his granddaughter, “She is of your royal blood” Flowers argued.

While the setting of Whale Rider is very important to the film’s narrative, one of the key themes explored by Caro is the changing role of women in a modern society. Still heavily attached to ancient ways, Koro and other members of the elder generation act in an attempt to fill the leadership void. A formal search for the next tribal chief, one that will adequately equip all male candidates with the knowledge and practice of Maori traditions – chanting, dancing and using the taiaha, a warrior’s weapon.

Throughout the entirety of the film Paikea is eager to gain acceptance from her grandfather however, Maori tradition not only prevents this from happening but threatens their relationship. As Paikea grows up she develops a deep sense of pride regarding her heritage, to the point of winning a countrywide contest with a speech on her ancestral line. Taking it upon herself to memorize traditional Maori chants and dances, Paikea consistently proves her ability to lead throughout the film. She demonstrates her understanding of how important the traditional values of the Maori people are as well as adapting to new challenges and ideas.

Through what seemed as an everlasting conflict between Paikea and her grandfather, the film ends with members from all three generations participating in Maori tradition by setting out to sea in chief Koro’s longboat. A significant scene that signifies the evolution of the Maori culture.

In conclusion, Whale Rider is an accurate representation of modern Maori culture. Caro effectively uses the different generations starting with the eldest, that of Koro and other traditional leaders, to the youngest generation of Paikea through a complex story that shows traditional change. Overall a highly effective film that not only achieved its purpose but was able to connect with a with a wide range of audience due to its straight forward narrative structure. A personal critic would be that the film could have been portrayed as “too innocent”, not displaying the true severity of the Maori’s broken culture throughout the decades as well as the true consequences Paikea would of faced for her intrusion in the male selections.