Professional Documents
Culture Documents
Detail from a thh (ridgepole of a house), Ngti Awa, Bay of Plenty, New Zealand, circa 1840.
Believed to represent one of two ancestors: Twharetoa or Kahungunu.
Myths are set in the remote past and their content often have to do with the supernatural. They
present Mori ideas about the creation of the universe and the origins of gods and of people. The
mythology accounts for natural phenomena, the weather, the stars and the moon, the fish of the
sea, the birds of the forest, and the forests themselves. Much of the culturally institutioned
behaviour of the people finds its sanctions in myth. "Perhaps the most distinctive feature of myth, as
distinct from tradition, is its universality. Each of the major myths is known in some version not only
throughout New Zealand but also over much of Polynesia as well" (Biggs 1966:448).
The Mori understanding of the development of the universe was expressed in genealogical form.
These genealogies appear in many versions, in which several symbolic themes constantly recur.
"Evolution may be likened to a series of periods of darkness (p) or voids (kore), each numbered in
sequence or qualified by some descriptive term. In some cases the periods of darkness are
succeeded by periods of light (ao). In other versions the evolution of the universe is likened to a tree,
with its base, tap roots, branching roots, and root hairs. Another theme likens evolution to the
development of a child in the womb, as in the sequence the seeking, the searching, the conception,
the growth, the feeling, the thought, the mind, the desire, the knowledge, the form, the quickening.
Some, or all, of these themes may appear in the same genealogy" (Biggs 1966:448). The cosmogonic
genealogies are usually brought to a close by the two names Rangi and Papa (father sky and mother
earth). The marriage of this celestial pair produced the gods and, in due course, all the living things
of the earth (Biggs 1966:448).
The earliest full account of the origins of gods and the first human beings is contained in a
manuscript entitled Nga Tama a Rangi (The Sons of Heaven), written in 1849 by W Maihi Te
Rangikheke, of the Ngti Rangiwewehi tribe of Rotorua. The manuscript "gives a clear and
systematic account of Mori religious beliefs and beliefs about the origin of many natural
phenomena, the creation of woman, the origin of death, and the fishing up of lands. No other
version of this myth is presented in such a connected and systematic way, but all early accounts,
from whatever area or tribe, confirm the general validity of the Rangikheke version. It begins as
follows: 'My friends, listen to me. The Mori people stem from only one source, namely the Great-
heaven-which-stands-above, and the Earth-which-lies-below. According to Europeans, God made
heaven and earth and all things. According to the Mori, Heaven (Rangi) and Earth (Papa) are
themselves the source' " (Biggs 1966:448).
https://en.wikipedia.org/wiki/M%C4%81ori_mythology
http://history-nz.org/maori9.html
TOI - MORI ARTS
Mori creative arts like weaving and carving celebrate the past and continue to evolve through fresh
inspiration and new materials.
When Mori first arrived in Aotearoa, they encountered a climate that was
extreme compared to their homelands in Polynesia. They adapted quickly
by utilising their existing twining and weaving skills to produce korowai
(cloaks) and other practical objects such as kete (baskets) and whriki
(mats). The most widely used weaving material was (and still is) harakeke -
otherwise known as New Zealand flax.
Symbolism
"Maori weaving is full of symbolism and hidden meanings. embodied with the spiritual values and
beliefs of the Maori people."
- Erenora Puketapu-Hetet, 1989.
"Weaving is more than just a product of manual skills. From the simple rourou food basket to the
prestigious kahu kiwi [kiwi feather cloak], weaving is endowed with the very essence of the spiritual
values of Maori people. The ancient Polynesian belief is that the artist is a vehicle through whom the
gods create".
- Erenora Puketapu-Hetet 1989 p2
"Of all the Maori weaving techniques, raranga is the one that has best survived colonisation. It also
has the strongest links with Pacific Island weaving".
- Erenora Puketapu-Hetet, 1989, p44.
The sybolism and hidden meanings are contained in the many patterns, both ancient and modern,
used in the many forms of weaving, and in the fibres themselves.
For Maori, raranga is also a powerful symbol that evokes tribal memories of the ancestors and the
arts they brought with them to Aotearoa / New Zealand, and that the ancestors passed down to us.
A living art and a living symbol that has survived with us, our language and culture, and that moves
with us beyond the temporary setbacks of the colonial era.
The kete itself has power as a symbol for a container of knowledge and wisdom. This is an ancient
symbolism contained in the story of how Tane-te-Wananga obtained for all mankind the
three kete of knowledge from Io, the supreme spiritual power.
Raranga is still in use in every day household products, and is living symbolic proof that our culture
has survived.
In many ways the kete / basket, carried now by many Maori men and women in lieu of purses,
handbags and briefcases, has become a symbol of liberation from the shackles of an alien Western
European culture which has tried for two hundred years to submerge, and at times to obliterate, all
traces of Maori culture.
Raranga evokes all these feelings. And it evokes strong feelings of unity and togetherness; the
weaving together of the people into their families and tribes and into the Maori nation, and
spiritually, the weaving together of all of creation into a single indivisible living wholeness.
Raranga also serves as a symbol for this website; the gradual weaving together of many strands of
information, insight and knowledge into a story of the Maori people of Aotearoa / New Zealand..
Whakairo the art of carving
Rather than purely being decorative, whakairo (Mori carvings) each give a unique narrative. The
stories passed down through generations explain cultural traditions and tribal history. Traditionally
Mori carvers were men; their craft included precious adornments, weapons, tools, musical
instruments, canoes and decorative panels and posts for the various buildings within the village.
A sign of prestige
Precious adornments were (and are still) worn as a sign of prestige; they included ear pendants,
breast pendants and carved combs worn in the hair. These were made from pounamu (jade or
greenstone), whale ivory and whale bone, although other materials, like albatross feathers and
sharks teeth, were also incorporated. Pounamu from the South Island is highly prized for its beauty
and strength, and is still used for making adornments today.
Symbols and patterns
Maori carvings are rich in symbolism and use common patterns, though styles differ between tribes.
Symbols include the tiki, which represents the human figure, and the manaia, a creature with bird-
like head and serpent-like body, associated with guardianship. Traditional patterns used in carving
were often inspired by the natural environment, including spider webs (pungawerewere), fish scales
(unaunahi) and the unfurling fronds of the fern (koru).
https://tepuia.com/maori-village-and-architecture/