1. Classical Studies 2.5

2.  Christchurch artist Marian Macguire is a contemporary printmaker who has drawn significant inspiration for her past and present works from the Classical world.  Specifically her works reveal direct and indirect reference to Classical Attic vases, along with Greek Mythology.  Elizabeth Rankin states in her introduction to Maguire's work “ for more than a decade, Marian Maguire has been examining New Zealand history through the lens of Ancient Greek myths and legends, developing a distinctive visual language that draws on a very personal mix of Greek vase decoration, early voyager records and colonial paintings and photographs.” 1.

3. Macguires 2010 exhibition “Titokowaru's Dilemma” references the land wars of South Taranaki in the late 1860's, through the juxtaposition of Fifth century Athens and colonial New Zealand. Specific reference is made here to the Athenian philosopher Socrates and the Maori General Riwha Titokowaru. 2010 EXHIBITION WITH SPECIFIC REFERENCE TO CLASSICAL ANTI QUITY

4.  Lithograph, 2010  Edition 25  572 xs 767 mm  Exhibited as part of “Titokowaru’s Dilemma” exhibition 2011

6.  In this work Maguire has drawn upon Attic Black figure vases to portray a dialogue between the protagonist Riwha Titokowaru and Greek philosopher Socrates.  Titokowaru was a skilled Maori military leader and strategist, that had several victories over colonial forces during the Taranaki land wars in the 1860s. However he also became a leader of pacifist resistance against colonial land confiscation.  This dichotomy of views is referenced by the artist through the inclusion of Socrates and the sense of discussion or debate that is taking place between the two figures in the work.  In reference to Titokowaru, Rankin states “ his interaction with Ancient Greece comes not by his adoption of Greek dress or accoutrements but through a symbolic dialogue with possibly the greatest of Greek philosophers.” (2)  The two figures are seated at a table surrounded by 3 Greek vases, as if attending a Greek Symposium. This is referenced by the types of vases used during a Symposium. Specifically the kantharos and kylix drinking cups and the large krater mixing pot.

7.  Titokowaru is portrayed dressed in a traditional Maori cloak holding what appears to be his spear. Socrates is also seated and is dressed in typical Classical Greek dress.  Maguire has used classical statues representing Socrates to provide evidence for the facial features of Socrates. (3)

8.  Riwha Titokowaru was born approximately 1823 of Ngati Manuhiakai descent. He was raised as both a Maori tohunga (spiritual leader) and a Methodist missionary teacher. During the 1850s he was an active promoter of peace amongst the Maori and Pakeha, during rising tensions between both groups within the Taranaki and Waikato regions.  This pursuit of peace was again evident, in the face of ever increasing land confiscations, in 1867, when Titokowaru is recorded as leading a peace march from Waihi to Pipiriki.  A distinct change was evident in his strategy in March 1868 when his village was raided by pakeha authorities in response to a muru (punitive plunder) that Riwha’s men had carried out.  Titokowaru’s war started on 9 June 1868.

9.  Titokowaru proved to be a very effective General, using both exceptional military tactics, raids of enemy supply chains, along with instilling fear into his opposition through threats of cannibalism.  Despite having the numerical disadvantage he won several significant victories causing him to become problematic for colonial authorities. The historian James Belich goes so far as to claim Titokowaru was “arguably the best general New Zealand has ever produced”. (4)  Abruptly in February 1869, his army fell apart and he lost both his mana and the support of the majority of his men. Furthermore his Pa, Taurangaika, was abandoned in the middle of the night.  Reasons for the retreat, and subsequent loss of mana are uncertain, however it appears it may be due to an alleged sexual liaison with another chiefs wife.

10.  Titokowaru was absolved of his transgression through the services of a Tohunga, and his following and mana were restored. However he returned to non violent activism. He was imprisoned three times during his involvement with Te Whiti and the passive defence of Parihaka.  Notably this man of resistance to violence is regarded by Belich as being perhaps “the greatest threat to European dominance in the history of New Zealand.” (5)

11. The Dialogue of Titokowaru and Socrates Marian Maguire 2010 Achilles and Ajax Attic Amphora Exekias 540 – 530BC

12.  Attic Amphora  Exekias 540 – 530BC  Black figure

14.  This amphora, currently held in the Vatican, shows the Greek heroes Achilles and Ajax, both identified by their names, written on the vase. They are seated adjacent to each other, focusing on a block/table situated between them. They are playing a game of dice. The words written next to the two players indicate that Achilles has thrown a four while Ajax threw a three. Although the two of them are pictured playing a game, they are obviously depicted as being prepared for battle, wearing their body-armour, both holding a spear, and the close proximity of their weapons, suggesting that they are prepared for immediate return to the battle if required. The figures of both Achilles and Ajax are decorated with fine incised details, showing almost every hair.

17.  The two figures in Maguire's work, mimic the figures of Ajax and Achilles in the Greek vase. However in this work Titokowaru and Socrates are represented in a cropped picture plane, which draws the eye into the image. Rankin claims that the subject of the debate is being referred to by Titokowaru, specifically through the pointing of his finger to the large red figure krater between them. In reference to the dichotomy of Titokowaru’s life of passive and aggressive resistance to British colonialism, the pot is decorated with an unarmed, naked, passive figure in confrontation with a fully armed attacking Greek hoplite. (7)

18.  Just as in the Exekaias vase, where Achilles and Ajax remain armed, Titokowaru too remains armed with his spear. He is dressed in a traditional dog skin cloak, (kahukuri). In contrast Socrates is dressed in historical Greek dress of chiton and himation, carrying his walking stick.  How does this juxtaposition of cultures and characters connect with the modern audience? Maguire, by transposing figures such as Titokowaru into the historical setting of an ancient Greek symposium “serves to continually surprise and delight us, and tease our imaginations with human connections across time”. (8)

19.  Titokowaru is presented in this work in deep thought/discussion with the great Greek philosopher Socrates. This complex Maori man is presented “more as a thinking man than a fighter”, and through this form of representation “Maguire frames history in terms of questions that Socrates asked”. (6) Questions such as What is Virtue?. What is Peace? Or perhaps even, what is the virtuous way to obtain or establish this Peace? This dialougue is set within the context of a Greek Symposium (drinking party). This is evident by the pots between the two figures. Within the context of ancient Greek society, the symposium was a male dominated event where much debate, discussion and rhetoric took place. Contextually the setting is appropriate for the historical intellectual debate taking place.

20.  What are Socrates and Titokowaru discussing? Perhaps Titokowaru is revealing the situation that caused his loss of mana? Perhaps Socrates is responding through the Socratic method of dialogue, by questioning Titokowaru. Socrates' guiding rule was, "Know Thyself." These words are of eternal significance.  By linking historical Aoteoroa and Ancient Greece, Maguire provokes the thought that these questions and dialogue exist as timeless. As such they were as significant in Ancient Greece as they were in nineteenth century New Zealand, and resonate with relevance today.

21.  In the next two slides two other works by Marion Maguire are included. Both of these works by the artist have also been created using the Achilles/Ajax vase as the model for the subject matter.

22. Lithograph 2005

23. Lithograph 2010/2011

24.  1. Rankin, Elizabeth. Essay - What is History? Socratic questions and colonial answers. Titokowaru’s Dilemma. Paper Graphica 2011  2. Rankin, p10  3. philipcoppens.com 300 × 581  4. http://www.nzhistory.net/war/titokowarus-warhttp://www.nzhistory.net/war/titokowarus-war  5. http://www.nzhistory.net/war/titokowarus-war /a-return-to- peace http://www.nzhistory.net/war/titokowarus-war  6. Catalogue handout from Titokowaru’s Dilemma Exhibition. 7 Nov – 10 Dec, 2011.  7. Rankin, p11  8. Catalogue handout from Titokowaru’s Dilemma Exhibition. 7 Nov – 10 Dec, 2011.  http://mkatz.web.wesleyan.edu/vases/vase_shapes.html http://mkatz.web.wesleyan.edu/vases/vase_shapes.html  http://www.theoi.com/Gallery/P23.4.htmlhttp://www.theoi.com/Gallery/P23.4.html  http://en.wikipedia.org/wiki/Exekias http://en.wikipedia.org/wiki/Exekias  http://www.spaceandmotion.com/Philosophy-Socrates- Philosopher.htm http://www.spaceandmotion.com/Philosophy-Socrates- Philosopher.htm