HONO

Ka hua te wānangā

Ka noho i a rikoriko

Ka puta ki waho ko te pō Ko te pō nui, te pō roa

Te pō i tūturi, te pō i pekepeke

Te pō uriuri, te pō tangotango Te pō wāwā

Te pō tē kitea

Te pō i oti atu ki te mate.

Nā te kore i ai

Te kore te wiwia

Te kore te rawea Ko hotupu Ko hauora

Ka noho i te ātea

Ka puta ki waho te rangi e tū nei Ko te rangi e teretere ana i runga o te whenua Ka noho te rangi nui e tū nei

Ka noho i a ata tuhi Ka puta ki waho te marama

Te rangi e tū nei, ka noho i a te werawera

Ka puta ki waho ko te rā Kōkiritia ana ki runga Hei pū kanohi mō te rangi Ka tau te rangi

Te ata tuhi te ata rapa

Te ata ka māhina, ka māhina te ata i Hikurangi Ka noho i Hawaiki Ka puta ki waho

Ko Tāporapora, ko Tauwarenīkau, ko Kūkūparu Ko Wawauātea, ko Wiwhi-te-Rangiora

Knowledge became fruitful

It dwelt with the feeble glimmering And so night was born

The great night, the long night, The lowest night, the loftiest night, The thick night, to be felt, The night to be touched, The night not to be seen, The night of death.

From the nothing to the begetting, From the nothing to the increase, From the nothing to the abundance, The power of increasing, The living breath;

It dwelt with the empty space

And the sky above was born The atmosphere which floats Above the earth; The great firmament above us Dwelt with the early dawn

And the moon sprung forth; The sky above us dwelt with the heat, And the sun was born; They were thrown above, As the chief’s eyes of Heaven: Then the Heavens became light, The early dawn, the early day, The mid-day, the blaze of the day from the sky. The sky above dwelt with Hawaiki, And land was born Tāporapora, Tauwarenīkāu, Kūkūparu, Wawauātea, Wiwhi-te-Rangiora

Translation – Rev. Richard Taylor (1855) Te Ika a Maui

Tāporapora was an island just inside the mouth of the Kaipara Harbour, and was the location of important cultural icons and activities. Knowledge about artistic expression was learned in this place, and in times of threat important artifacts were taken there for security. Unfortunately, as in the story of Atlantis, Tāporapora was consumed by the sea and is lost to this day. Nonetheless, Tāporapora remains an important reference in Ngāti Whātua cultural and artistic identity.

ngÄ upo Ko

KÖrero

Whakatau 8 Mihimihi

Hei Tīmatanga 12

Ngā Whakaritenga o te Pukapuka 14

Ngā Taonga Motuhake o Ngāti Whātua 17

Te Waitematā ki Te Kaipara 53 Ōruawharo/Ōtamatea 127

Te Wairoa ki Whāngārei-terenga-parāoa

11 141

Rārangi Taonga 156 Taonga Donors 169 Kupu Whakamārama 175 Rārangi Pukapuka 185 Ngā Mihi 194 Te Kaituitui 197

Wha K atau

Ngā reo, ngā mana, ngā karangatanga maha o te motu, tēnā koutou. Ngā mate e hinga atu nei, e hinga mai nā, e hinga mai rā haere, haere, haere. Koutou ki a koutou te hunga mate, tātou ki a tātou te hunga ora.

Tēnā koutou katoa.

I kite atu i ētahi o ngā kōrero e mau ana ki ētahi o ngā taonga, ā tōna wā ka puta mai ngā kōrero, hei whāngai i ō tātou tamariki, i ō tātou mokopuna.

Ka tae ki tō rātou wā, ngā taonga e takoto hāngū nei i roto i ngā whare tiaki taonga, kei hōhā ai pea rātou kia kite nei ō rātou mokopuna e haere ana i roto i te pōuri. Ka hoki wairua mai rātou ki te awhi i ō rātou mokopuna kia tū ai rātou i runga i te huarahi i mahue ake e rātou. Nā, ka puta mai ngā taonga, ka puta mai ngā kōrero kia whakahonohono ai tātou ki a rātou ngā tūpuna, tātou ki a tātou anō hoki, kia taea ai tātou te whāriki i ēnei kōrero ki runga i ō tātou marae maha mō ā tātou mokopuna. Koia tēnei te hōhonutanga o tēnei pukapuka, me ngā taonga e whai nei tātou.

Hena! Kua reri tātou mō ā rātou kōrero? Tukuna kia puta mai!

Te Ramaroa Tito Kaumātua Advisor

Te Rūnanga o Ngāti Whātua

Hāpainga Lead Team

mihimihi

Ngāti Whātua Heru Hāpai is an ancient kōrero which Te Rūnanga o Ngāti Whātua has adopted as its identity. It speaks to us clearly about the aspirations of unification and shared kinship pride as Ngāti Whātua.

This kaupapa, HONO, celebrates the energy and creativity of previous generations of Ngāti Whātua creators and leaders, and also those with whom they were related by circumstance, alliance and kinship. In this resource it is hoped that you, the reader, will be inspired to rediscover the richness of cultural identity encrypted into the landscape and preserved as infor mation accessible with careful investigation. Special attention has been given to highlighting some of the qualities which compelled composers, crafters, orators and leaders to express their identities in the form of taonga and how the results of these beautiful expressions enhanced the lives of people.

HONO is an encouragement to demonstrate the sophistication and quality of thinking that our ancestors drew upon in the original creation and care of the taonga presented in this book. The challenge for us in our modern times is to represent these taonga with the dignity and understanding that our ancestors did in theirs.

This is the first important step in rediscovering what it was for our ancestors to flourish in their cultural identity, and it is there for left to us to recover our own flourishing, and to revitalise a living Ngāti Whātua-tanga in the days, weeks, months and years ahead – heru hāpainga.

Bernard Makoare

hei t Ï matanga

Taonga tuku iho, the cultural legacy from our ancestors, can provide us with a physical connection to our unique history, and to our heritage. Taonga, which can be found in a variety of forms and information formats, provide us with examples of the expression of the distinctive identity of our ancestors.

Through generations, new beliefs and religions, colonisation, land loss and cultural degradation, the once strong and familiar relationship between Māori people and taonga has diminished and taonga have become quite unfamiliar in everyday life. The inspiration to create and exchange taonga between people is no longer a vital and flourishing part of Māori culture. This book, Hono, has been developed primarily for Ngāti Whātua, with the specific aims of encouraging and promoting the re-connection between them and their taonga, and therefore their heritage and unique identity.

The title of this book has been chosen carefully. Most simply put, ‘Hono’ means to join or connect. It is also a term that is used to describe a gathering of people whose purpose is to unite and make decisions about issues of importance. Hono is also a traditional healing practice used to mend broken bones or limbs. All of these meanings are especially fitting for the kaupapa of this book.

Hono has been developed as a part of the Ngāti Whātua Heru Hāpai strategies, and in particular the Mua strategy (cultural heritage and taonga) over the past five years. The main purpose of the Mua kaupapa is to reposition Ngāti Whātua heritage information and taonga firmly within Ngāti Whātua authority.

In order for this to happen, Ngāti Whātua people must them selves reconnect and regain the essence of what has been lost to them in terms of cultural heritage. Taonga are physical manifestations, masterpieces that embody the stories of com mitment, relationships, honour, pride and obligation between tūpuna of the past, and people of today. Hono is an opportunity for inspiration and motivation to find out more, to learn more, to reconnect and regain.

These modern and fast paced times have seen many Māori become disconnected from their culture and heritage, and therefore desensitised and ignorant of the principal tenets of Māori culture. One of these is the important role that taonga have to play in life, and includes the responsibility to keep alive the stories surrounding them, and to maintain the relationships which are bound by them.

In recent times, particularly with the advent of the Waitangi Tribunal claims process, research and study have revealed to many the extent of loss suffered by Māori communities. This includes the loss of land, natural resources and taonga as well as the right to manage and develop culture. At times it has been hard for people to identify what exactly has been lost to them, and in many cases taonga are being redefined as reminders of the losses that have been endured. Some think that by repatriating taonga back into Māori homes and communities some of their grief will be alleviated. Taonga are not merely two-dimensional objects; they are multi-dimensional wonders. It is not possible to regain or recover what you don’t know you

have lost. Hono provides a reintroduction for people to carefully consider and learn about the extent and depth of taonga.

Hono presents beautiful photographs and provides informa tion about a very small selection of taonga from the Auckland Museum-Tāmaki Paenga Hira, the Kauri Museum in Matakohe, the Whanganui Regional Museum and the British Museum in London. The taonga selected to feature in this book are not only of Ngāti Whātua origin; included are some that have spent at least the latter part of their existence in the care and protection of Ngāti Whātua lands and people. Some of these have been gifted to Ngāti Whātua people or by Ngāti Whātua people to institutions for long term safe-keeping.

The processes for accepting and registering items into heri tage institutions are well established and the determination of provenance is a vital part of this process. Fortunately, or unfortunately, depending on how the benefit is perceived, the vast majority of taonga that have been gifted, sold or loaned to museums have come by way of Pākehā individuals or families. Therefore, more often than not, most taonga are provenanced to Pākehā individuals – these are interesting stories in their own right, and some have been mentioned in this book.

From a Māori perspective, these institutional processes, while providing necessary and useful evidence and facts for research today, have also served to introduce and define new notions of ownership and authority over taonga, thereby increas ing the gap between taonga and Māori. Nowadays, there is a very real situation where many Māori feel and know of the

connections with identity and heritage through taonga, but that evidence in official administrative records denies them the right to connect fully. Physical separation, distance and the passage of time have instilled a sense of unfamiliarity. Feelings of grief and attitudes of indignation toward heritage institutions are typical responses.

However, there is a place for museums, archives, libraries and other heritage and information institutions in modern Ngāti Whātua culture and identity, and there has long been a dependence on these places to provide access to and vital information about unique tribal identities, designs and art forms. Now the time has come for Ngāti Whātua people to reconnect with and regain their cultural identity, and taonga can and will play a central, and essential, role in this process.

Each taonga has its own unique purpose and story. Some are elaborate and stately, some humble and simple, some are surrounded by heated controversy and some emit a peaceful serenity. However complex or simple, well known or not, they have all loaned their images for the purposes of reconnecting. For this is the true taonga of taonga.

Hono forms a solid foundation for much further research and investigation of the taonga held within heritage institutions and private collections. It is a major step toward building a full catalogue of taonga Ngāti Whātua, and is the first instalment of many wonderful and inspirational resources to come.

Tēnā koutou katoa

ng Ä W ha K aritenga o te puK apu K a

The first section of Hono is opened by a number of taonga that are known to originate from Ngāti Whātua lands and people –these are ‘Ngā Taonga Motuhake o Ngāti Whātua’. Subsequent sections are arranged according to the rohe geography, begin ning in the south at Tāmakimakaurau and travelling through to the northern reaches of the rohe at Maunganui and Whāngārei. Taonga are ordered throughout the book according to the locations in which they were found, or where their donors resided. Where possible, and appropriate, some information and stories are included with their description. Hono is primar ily a book of inspiration and every attempt has been made to allow the taonga and their beauty to speak for themselves. Text has been kept to a minimum. This is only the reintroduction: there will be many opportunities in the future to share more in-depth information.

Where there is no information, research will continue, and in future editions of this book new findings will be added.

The centre pages feature a large fold-out image of the Kaipara Harbour taken from the lower slopes of Pukeatua. The entire Ngāti Whātua rohe is connected to this great waterway – there is barely one natural river, stream, or creek in the entire rohe that does not find its way to the Kaipara. Interleaved throughout the taonga are images of significant sites, in particular maunga whose rivers and creeks eventually find their way through the lands to the sea, connecting and collecting along the way.

More often than not, books like this are arranged into catego ries of ‘like taonga’; for instance a section on clothing, one on

weapons, one on fishing implements – this kind of categorising is sensible if the purpose of the book is provide the reader with an understanding of the evolution of technology, design and trends of the material culture of a people. In this case, the book aims to provide the reader with information that has been arranged and presented to highlight Ngāti Whātua identity.

One of the problems with arranging taonga by type is that people who are interested in learning about taonga (in particu lar Māori people) most often do so within the confines of a set of values, judgments and categories that are based primarily on a modern, theoretical and intellectual perspective. Hono takes a more innovative approach by presenting taonga in a way that encourages the investigation of stories of relation ships with the environment and natural resources, and of course between peoples.

Generally, names and descriptions of taonga in most museums and institutions are standardised – for example the generic name ‘pou’ or ‘poupou’ is often used to describe a post of some description. Another example is of short hand-held weapons often labelled simply as ‘club’. Once this initial description of a taonga is officially registered by an institution (or collector) in their records, this name or term is what the taonga becomes known as. Some of the terms used by institutions to describe many of the taonga featured in this book are in fact inaccurate, inappropriate and/or insufficient. Where a more accurate or appropriate term or name has been identified through our research, these new names are used in the body of the book.

It is important for identification and publishing compliance purposes to retain the ‘official’ institutional terms, names and reference numbers for taonga. A table of taonga, their images and institutional descriptions has been included in the supplementary information towards the back of the book.

A table of donors has also been included in this supplementary information.

16 honohono t Ä tou Ki a t Ä tou

Te Tuere o Tāheretikitiki

This is the tuere of the waka Tāheretikitiki. It was carved by Pāora Kāwharu. Tāheretikitiki was well known as a racing canoe in the Auckland Regatta and was the pride of Ngāti Whātua in Ōrākei. In his time,

Pāora Tūhaere made a number of gifts to Waikato and this waka was gifted to King Tāwhiao not long before Tūhaere’s death in 1892.

Ngā Pou o Tūtangimamae

There are many accounts of the origins of these poupou. According to Te Hira Te Kawau, Ngāti Pou, a hapū in the Waimamaku area, built and carved a house some three to four hundred years ago. Over the years the whare is said to have moved to several locations until it eventually came to stand at Otakanini Pā, on the South Kaipara Peninsula. It was used by Ngāti Whātua as a whare karakia. The house was dismantled and the carvings were hidden for safe-keeping where they remained hidden in a tidal creek until 1918.

250 x 35 cm

Te Pare o te Whare

Ngā Tai-tūria-ki-temarowhara

According to local Kaipara oral history, this pare once adorned a whare in the area called Ngā Tai-tūria-kite-marowhara. It is thought to be well over a hundred years old. As with many of the old carvings in the Kaipara, it was dismantled and hidden in a swamp for safe-keeping. It resurfaced and was found in 1971. 81.5 x 26.3 cm

Whakapakoko

Found in a burial cave in the Northern Wairoa by land surveyor Edwin S. Brookes, who resided at Wharehine, Ōruawharo in 1862. 50 x 27 cm

Pare – Te Whare Rūnanga o Aotearoa, Tānoa

This pare and the pou on the following page once decorated the whare, Aotearoa. Aotearoa has stood at a number of locations over the past two hundred years: Māngere, in South Auckland, Kohimārama near Ōrākei, Shelley Beach (Aotea) on the South Kaipara peninsula, and today it is the whare rūnanga at Ōtamatea Marae. Sometime around the early 1920s all the carvings were removed and sold. These two have been located; this pare is in the British Museum, London, and the pou on display in the Auckland Museum.

65 x 20 cm

© Trustees of the British Museum

This poupou is on long-term loan from the Rotorua Museum. It was previously owned by Mr F. O. Peat, an active collector of taonga Māori throughout Tai Tokerau in the 1920s. 205 x 22 cm

Poupou – Te Whare Rūnanga o Aotearoa

Tiki – Te Whare-o-Riri

This tiki was gifted to Auckland Museum in 1895 by Kaipara rangatira Hāmi Tāwaewae. According to Hāmi Tāwaewae, it was erected at Otakanini Pā in 1841 by Ngāti Hine rangatira, Mate, in memory of Te Whare-o-Riri, once a great rangatira at Otakanini Pā.

The term ‘tiki’ or ‘hei tiki’ today is often limited in its use to refer to pendants which roughly represent the human form. In this case we are reminded that ‘tiki’ were also sculptures that were fashioned and erected in memory of outstanding individuals.

Approx. 4 m

These words of lament were composed by Hāmi Tāwaewae at the time the tiki ‘Te Whare-o-Riri’ was despatched to the Auckland Museum.

Ko tōtō ana kohu ē – i roto o Kaipara

I puna whakatōtō riri ē

Nā ō tūpuna, nā ō mātua ngā kī – ē

He tahuri waka nui

E kore e ngaro ē

He kōpua nganangana i rangi ē

Me tuku atu koe rā

Ngā whare o Kuini

Ka tapua koe rā

Te hua o te waero

He taonga rūrū tonu – ē

I roto te whare kino

Ka hē ngā hau – ē

I a tātou, e te iwi – ē!

Haere rā e kara! E te Whare-o-Riri! Haere atu i roto o Kaipara!

Haere ki roto kī ngā whare nunui o tō tāua iwi Pākehā!

Me mihi atu koe ki ō tātou hoa Pākehā, inā tae atu kia kite i a koe, “Ko ahau tēnei Te Whare-o-Riri e mihi atu nei ki a koutou e”.

Composed by Hāmi Tāwaewae

The misty clouds in Kaipara gather

In the anger propelling fountain

’Twas the angry ancestors, thy parents declared

’Twas like the wreck of a great canoe

Which will never be forgotten

Like a deep-red cavity in heaven

From hence we must depart

To stately mansions of the Queen

And there be sacred kept

With many dog skin garments

Thou art a treasure closely prized

In the depths of this gloomy heart

The winds seem gone astray

With us, oh people!

Go oh sir! Te Whare-o-Riri! Go hence, depart from Kaipara. Depart to the mansions of our European people!

Thou shalt greet our friends the Pakehas when they come to visit thee saying, “Tis I, Te Whare-o-Riri, that salutes you all”.

Translated by S. Percy Smith

Rei Puta

This large rei puta was found by Mr Percy Monk near Te Pua-a-te-marama Pā in the Helensville area around 1916. The museum description gives its name as “ngākau – a neck ornament.” Research of the term ngākau revealed that a ngākau is something used to indicate to a friendly tribe that their assistance was desired in a war expedition. The ngākau might be an article sent, a song sung. The reason this particular rei puta was identified as a ngākau is not yet known.

15 x 6 cm

Tīheru

This tīheru was acquired by land surveyor Edwin S. Brookes around 1862, possibly from local rangatira Te Aria, also known to his Pākehā friends as ‘Solomon’. 50 x 20.3 cm

Tīheru has become the most commonly used word for a bailer. However, the word ‘tatā’ was once commonly used too. Tatā is also the word to describe the action of bailing.

Pū Moana

This pū moana once belonged to Mīhaka Makoare of Poutō. He gifted it to Mr George Graham, who presented it to the Auckland Museum in 1916. This instrument is made from a large triton conch shell from the Pacific.

The native conch is known as the pūpūtara. Pūpūtara were used to make the instrument known as the pūtātara.

35 x 15 cm

Tewhatewha

This tewhatewha, with unique and distinctive carving patterns, complete with split hawk feather decoration, was presented to the Auckland Museum by Mr Edwin Mitchelson. It formerly belonged to rangatira, Parore Te Āwhā.

Parore Te Āwhā was a leading rangatira in the Northern Wairoa district and was instrumental in the development of Dargaville township.

His principal wife was Tāwera, daughter of Kūkupa, and half-sister to Tirarau and Te Ihi. These alliances were close and very important throughout the years of settlement, missionaries and trade.

Edwin Mitchelson was a very successful businessman in the gum, timber and shipping industries. In the 1880s he became a politician, went on to become Minister of Native Affairs, and later the Mayor of Auckland (1903-05). 132 x 16.5 cm

Mere Pounamu

This mere pounamu was gifted to Edwin Mitchelson (1846-1934) by Tīrarau Kūkupa (? - 1882). Tīrarau was a leading rangatira throughout the northern reaches of the Ngāti Whātua rohe and the southern boundaries of the Ngāpuhi rohe –which explains the inscription ‘Ngapuhi’ on the mere. With his position along this important geographical boundary, Tīrarau was well connected to all the iwi and hapū surrounding the area, either by whakapapa or through one of his wives.

Tīrarau was a contemporary of Parore Te Āwhā, and together throughout the mid to later part of the nineteenth century they had huge influence and authority over land dealings, missionary influence and Pākehā settlement between Dargaville, Whāngārei and down into the Kaipara Harbour. It is most probable that the gift or exchange of taonga such as this mere pounamu was part of an agreement or an acknowledgement between Tīrarau and Mitchelson.

32 x 9 cm

Mere Pounamu

This mere pounamu was presented to the Auckland Museum in 1929 by Mr Edwin Mitchelson. It formerly belonged to rangatira Parore Te Āwhā. 36.5 x 11 cm

52 honohono t Ä tou Ki a t Ä tou

TÄ M AKI M A KAU R AU

Tīheru o Te Toki-a-Tāpiri

Te waka Te Toki-a-Tāpiri

Te Toki-a-Tāpiri was built around 1836 in the Wairoa district (Ngāti Kahungunu). Its building and carving were overseen by Waaka Tarakau who presented it to Waaka Perohuka (Rongowhakaata). In 1853 it was presented by Perohuka to Ngāpuhi rangatira Tāmati Wāka Nene and his brother Patuone. In return he was given a stallion named Taika, who was one of the first horses on the East Coast. Te Toki-a-Tāpiri was then brought to Auckland and later sold to Te Katipa of Ngāti Te Ata at Waiuku. In 1863, after the outbreak of war in the Waikato, government

forces seized the waka and took it to Onehunga where it was badly damaged and left to deteriorate for several years. In 1869 the waka was restored, and it took part in a regatta on the Waitematā Harbour during the visit of Prince Albert, Duke of Edinburgh. Pāora Tūhaere was then asked to care for the waka as he had the resources and manpower to do so. It remained in his care until it was presented to the Auckland Museum in 1885. This story is a great example of a taonga that has carried with it stories of skill, exchange, conflict, relationships and beauty.

Poupou

This poupou was discovered in a field near Auckland while ploughing.

134 cm

© Whanganui Regional Museum

Uhi

An uhi is a tool for doing tā moko. Uhi were often made from albatross bones which can frequently be found along the Kaipara’s west coast. 4 cm

Kō Approx. 160 cm

72 honohono tatou Ki a tatou

Rei Puta 10 x 4.8 cm

Matau 15 x 13.5 cm

Patu Parāoa 29 x 8.5 cm

Kotiate 32.5 x 13.2 cm

12 x 4 cm

Heru 6 x 3 cm

These taonga are featured in the first section of this book under ‘Ngā Taonga Motuhake o Ngāti Whātua’. They originate from the lands between Waitematā and Kaipara.

tau W hare ( r e

eti)

Patu Ika

This patu ika is a part of the P. R. Gardner collection. In 1962 P. R. Gardner wrote an article for the Journal of the Polynesian Society; in it he describes how the patu was found at the mouth of the Mataia Stream where it enters the Kaipara Harbour. He goes on to say it is considered to be a pātuki, a club used for killing sharks before pulling them into the canoe. Like most Māori implements, it is beautifully balanced.

The mouth of the Mataia Creek was a favourite base for shark-fishing expeditions by the Ngāti Rongo branch of Ngāti Whātua. The beach was lined with several hundred yards of fish-drying frames made of mānuka poles.

37.4 x 10.4 cm

Wahaika 35.5 x 10.7 cm

Hei Tiki

This hei tiki was presented to the Auckland Museum by Mr A. Brodie in 1933. It was found in a cave near Whāngārei. 10.4 x 7 cm

110 honohono t Ä tou Ki a t Ä tou

Hei Tiki

Toki Pounamu

This large toki pounamu was found by Mr Thomas Coates at the foot of Pukekaroro around 1895. 33.5 x 9.4 cm

Patu Parāoa 33 x 5 cm

Hei Tiki

This is a part of the P. R. Gardner Collection. Made of whalebone and quite unusual in design, its origins are not known.

8.5 x 6.8 cm

Patu Parāoa

This patu parāoa is now in the Whanganui Regional Museum. All that is known is that it is from the Kaipara area, according to the inscription on the label.

It is interesting to note that red sealing wax has been used to fill the natural holes and pitting in this whalebone weapon.

43 x 12 cm

© Whanganui Regional Museum

honohono t Ä tou Ki a t Ä tou

Kākahu

The following two cloaks are from the Joseph Gordon Coates collection at the Kauri Museum, Matakohe. Little is known about their origins other than that Coates did have good relations with local Māori in his time, including the Pōmare family.

Kākahu

Patu Parāoa

140 honohono t Ä tou Ki a t Ä tou

Kuru

This kuru was found by Mr Alfred Webb in Aratapu. 13.3 x 0.8 cm

Toki Pounamu

This toki pounamu was found in the Waikiekie area by Mr Shewring. 24.4 x 8.6 cm

Pū

Tewhatewha

Maung a nui

r Ä rangi taonga

This table is to provide information about each taonga. The details to the right-hand side of each image are all taken directly from each institution’s records. Listed are the institution’s description, main reference number, the acquisition source and locality. To the left are the terms which have been applied as a result of research for this publication.

Canoe prow

AM 167 Pāora Tūhaere Auckland (pp.18-19, p.91)

Carving

AM 6206

250 x 35 cm

Mr A. S. Bankart South Kaipara (pp.20-23, p.90)

Carving

AM 6394 250 x 35 cm Kapowairua Moki South Kaipara (pp.20-23, p.90)

Door lintel

AM 45048

81.5 x 26.3 cm

Daniel Quigley Helensville (pp.24-27, p.91)

Te Tuere o Tāheretikitiki

AM: Auckland Museum-Tāmaki Paenga Hira | KM: Kauri Museum | WRM: Whanganui Regional Museum | BM: British Museum

Ngā Pou o Tūtangimamae

Te Pare o te Whare Ngā Tai-tūriaki-te-marowhara

Whakapakoko

Pare – Te Whare Rūnanga o Aotearoa, Tānoa

Poupou – Te Whare Rūnanga o Aotearoa

Tiki – Te Whare-o-Riri

Carved head

AM 244 50 x 27 cm

E. S. Brookes Ōruawharo (p.29, p.130)

Pare/Door lintel

BM Oc 1639 65 x 20 cm British Museum London (p.31, p.131)

Post AM 49396 205 x 22 cm P. O. Peat Rotorua (pp.32-33, p.131)

Tiki or Post

AM 162 Approx. 4m Hāmi Tāwaewae South Kaipara (pp.34-37, p.90)

Rei Puta Ngākau

Tīheru

Pū Moana

Tewhatewha

Neck Ornament

AM 6050 15 x 6 cm

Percy Monk South Kaipara (p.39, p.90)

Bailer

AM 261 50 x 20.3 cm

E. S. Brookes Ōruawharo (pp.40-43, p.130)

Trumpet

AM 6065 35 x 15 cm

George Graham Auckland (pp.44-45, p.152)

Tewhatewha

AM 5248 132 x 16.5 cm

Mr E. Mitchelson Dargaville (pp.46-47, p.152)

Mere Pounamu

Mere Pounamu

Tīheru o Toki-a-Tāpiri

Te waka Te Toki-a-Tāpiri

Greenstone Mere

AM 4401 32 x 9 cm

Mr E. Mitchelson Dargaville (p.49, p.152)

Greenstone Mere

AM 4400 36.5 x 11 cm

Mr E. Mitchelson Dargaville (p.51, p.152)

Bailer

AM 266 54 x 27 cm

Hon. William Rolleston Auckland (pp.56-57)

Waka

AM 150 Hon. William Rolleston Auckland (pp.58-61)

Poupou

Uhi

Poi

Kō

Poupou

WRM 1933.49.75 134 cm

Mr A. K. Newman Whanganui (p.63)

Bone tattooing blade

AM 31754 4 cm F. G. Fairfield Helensville (p.65)

Poi

AM 782 18 x 11 cm

Rev. Rachel Paul South Kaipara (p.67)

Implement

AM 13697

Approx. 160 cm Malcolm Buckland South Kaipara (pp.68-69)

Kākahu

Rei Puta

Matau

Patu Parāoa

Cloak

AM 52699 126 x 131 cm

Trudy Gardner Glorit (pp.70-73)

Pendant

AM 52656 10 x 4.8 cm

Trudy Gardner Glorit (p.75)

Fish-hook

AM 52677 15 x 13.5 cm

Trudy Gardner Glorit

Club

AM 52690 29 x 8.5 cm

Trudy Gardner Glorit (p.79)

Kotiate

Club

AM 52665 32.5 x 13.2 cm

Trudy Gardner Glorit (p.81)

Comb

Heru

Heru

Geoff Nevill Helensville (p.83)

Fragment of bone comb

AM 21475 6 x 3 cm

Geoff Nevill Helensville (p.85)

Needles

AM 20968.2/AM 20968.1-3 4 x 0.3 cm

Au

162 honohono t Ä tou Ki a t Ä tou AM 17055 12 x 4 cm

Geoff Nevill Helensville (pp.86-87)

Rei Puta

Kete

Patu

Patu Parāoa

Ornament

AM 17009

5.9 x 2.4 cm

Geoff Nevill Helensville (pp.88-89)

Kete

AM 6402 30 x 22 cm

George Graham Auckland

Club

AM 5528 43 x 12.2 cm

r Ä rangi taonga 163 George Graham Auckland (pp.96-97)

AM 18668 42 x 12 cm

Surgeon Commander R. Buddle Whangaparāoa (pp.98-99)

Patu Ika

Wahaika

Hei Tiki

Hei Tiki

Club

AM 52687 37.4 x 10.4 cm

Trudy Gardner Glorit (p.101)

Club

AM 52664 35.5 x 10.7 cm

Trudy Gardner Glorit (pp.103-104)

Pendant

AM 52653 10.4 x 7 cm

Trudy Gardner Glorit (p.111)

Ornament AM 190261.1 8 x 5 cm

A. Brodie Whāngārei (p.113)

Pounamu

Patu Parāoa

Hei Tiki

Greenstone Fragment

AM 51474 4 x 1.5 cm

Geoff Nevill Helensville (pp.114-115)

Adze

AM 240 33.5 x 9.4 cm

Thomas Coates Pukekaroro (p.117)

Club

AM 17010 33 x 5 cm

Geoff Nevill Helensville (pp.119-121)

Pendant

AM 52658 8.5 x 6.8 cm

Trudy Gardner Glorit (p.123)

Toki Pounamu

Patu Parāoa

WRM 1937.6.2 43 x 12 cm

Patu Parāoa

Pekapeka

Kākahu

Kākahu

Pekapeka

AM 5801 7.2 x 4 cm

Mr J. L. McLeod Kaiwaka (pp.132-133)

Cloak KM Gordon Coates Matakohe (pp.134-135)

Cloak KM Gordon Coates Matakohe (pp.136-137)

166 honohono tÄtou Ki a tÄtou Mr W. Marmaduke Smith Whanganui (pp.125)

Kuru

Ketu

Whalebone Club

KM 1998/34 Approx. 40 cm

Dave McCarroll Matakohe (pp.138-139)

AM 5616 13.3 x 0.8 cm

Mr Alfred Webb Aratapu (p.145)

Adze

AM 5688 24.4 x 8.6 cm

Mr J. Shewring Waikiekie (p.147)

Cultivating Implement

KM 1998/38 45 x 9 cm

Dave McCarroll Matakohe (pp.148-149)

Patu Parāoa

Toki Pounamu

taonga D onors

The following table gives some information about some individual donors of taonga featured in this book. The term ‘donor’ is being used loosely here; some of these people were donors, some sold their collections, and some have loaned their collections to museums. The purpose of this information is to give readers a better idea of where taonga came from prior to being deposited in these institutions.

A. S. Bankart

South Kaipara

Carving, AM 6206

Auckland Museum

No information about A.S. Bankart has yet been found.

A. Brodie

Hei Tiki, AM 190261.1

Auckland Museum

No information about A. Brodie has yet been found.

Edwin Stanley Brookes (1840-1904)

Ōruawharo

Carved Head, AM 244 Bailer, AM 261

Auckland Museum

Edwin Stanley Brookes (1840-1904) came to New Zealand on the first Albertlanders’ ship in 1862. He was a surveyor of lands in the Ōruawharo area and later Taranaki. The Brookes family purchased over 400 acres along the Takapau Creek at Ōruawharo where they built their homestead ‘Minnesdale‘.

Malcolm Buckland (1878-1934)

South Kaipara

Implement, AM 13679

Auckland Museum

The Buckland family were an early settler family in the South Kaipara Heads area. Malcolm Buckland was the managing director of Alfred Buckland & Sons Ltd. He built the homestead Te Kawau in later life for his retirement.

Surgeon Commander R. Buddle (1891-1940)

Whangaparāoa

Weapon, AM 18668

Surgeon Captain Roger Buddle OBE, RN (1891-1940) was educated at Otago University, where he graduated MB, ChB in 1913. Entering the Royal Navy, he became surgeon commander on 5 August 1926, and retired as surgeon captain on 29 September 1939. He served through the war of 1914-18, later receiving the OBE. He was a member of the Auckland Institute and was a contributor to various articles on Māori and archaeology.

Joseph Gordon Coates (1878-1943)

Matakohe Cloak Cloak

Kauri Museum

Gordon Coates was the first New Zealand born Prime Minister and the only Prime Minister to date to be fluent in te reo Māori. He was also Minister of Native Affairs from March 1921 to December 1928. Sensitive to land grievances, he counted Apirana Ngata a close friend and between them they drew Te Puea Hērangi of Waikato into support for a commis sion to investigate the confiscation of Māori land after the wars of the 1860s. He was integral in the passage of the Māori Arts and Crafts Act to enhance knowledge of Māori arts and crafts and to protect Māori antiquities.

Thomas Coates (?-1905)

Pukekaroro

Adze, AM 240

Auckland Museum

Thomas and his brother Edward Coates arrived in New Zealand in 1866. They settled on the Unuwhao block on the Hukatere Peninsula and farmed there together, eventually acquiring a large farm. In 1873 Thomas married and moved east to Kaiwaka at the foot of Pukekaroro mountain. Thomas farmed here for many years before moving his family to Ōrākei.

F. G. Fairfield Helensville

Tattooing Blade, AM 31754

Auckland Museum

Little information has been found about F. G. Fairfield other than that he was a local resident in the South Kaipara Heads area.

Trudy Gardner

Auckland, 1987 Cloak, AM 52699 Fish-hook, AM 52677 Club, AM 52665 Club, AM 52690 Pendant, AM 52656 Club, AM 52664 Pendant, AM 52653 Club, AM 52687 Pendant, AM 52658 Auckland Museum

Trudy Gardner (depositor) is the wife of Richard Gardner, grandson of P. R. (Peter Robertson) Gardner – who was a grandson of John Gardner. John Gardner emigrated from Scotland in 1859, and in 1868 bought the Mataia block in Glorit from local rangatira Hori Te Mori. P. R. Gardner (1885-1971) was very interested in, and passionate about, Māori culture and was fluent in te reo Māori. Some of the taonga featured in this book belong to his collection which is on loan to the Auckland Museum.

George Graham

Auckland

Wooden Mere, AM 5528 Trumpet, AM 6065 Kete, AM 6402

Auckland Museum

George Graham was born in Auckland in 1874. In his life he was an accoun tant, lawyer, ethnographer and native agent. He married a Māori woman by the name of Mary Magdalene in 1899 and from this union came seven children. After this relationship ended, Graham formed a number of liaisons with Māori women. George Graham’s family background and his relation ships gave him a lifelong interest in Māori history, language, culture and artefacts. George Graham retired in 1949, although he continued with his collecting. He died at Rotorua in 1952.

Dave McCarroll

Matakohe

Club, KM 1998/34 Ketu, KM 1998/38 Kauri Museum

Dave McCarroll was a local farmer in the Matakohe area.

Mr J. L. McLeod

Kaiwaka, c.1914

Pekapeka, 5801

No information has yet been found about Mr J. L. McLeod

Kapowairua Moki

South Kaipara

Tūtangimamae, AM 6394

Auckland Museum

Kapowairua Moki was a descendant of Hāmi Tāwaewae. She was consulted over the deposit of one of the Pou o Tūtangimaemae into the Auckland Museum.

Percy Monk

South Kaipara

Ngākau, AM 6050

Auckland Museum

Richard (1823-1912) and Jane Monk were some of the first Pākehā to settle in the Woodhill area. They bought the Paeroa block, built their home and raised seven children, one of whom was Percy. Percy owned and farmed the Te Heke Block in Parakai and later land near the Te Pua Block.

Geoff Nevill

Helensville

Hei Tiki, AM 190261.0

Patu Parāoa, AM 17010

Shell Rei Puta, AM 17009

Heru, AM 17055

Heru, AM 21475

Bone Needles, AM 20968.1-3

Auckland Museum

No information has yet been found about Mr Geoff Nevill.

A. K. Newman (1849-1924)

Whanganui

Poupou, WRM 1933.49.75

Whanganui Regional Museum

Alfred Kingcome Newman emigrated with his parents to New Zealand in 1853. He qualified as a surgeon in London and returned to New Zealand to marry in 1879, purchasing a number of farms throughout the lower North Island. Newman led a very active public life as a politician, scientist, ethnologist and keen supporter of sport and horse racing in the Wellington region.

Newman had a keen interest in Māori culture and its decline. In 1912 he wrote the book Who are the Maoris in which he argued the Māori race came from Aryan stock, which implied Māori and Pākehā were long lost cousins.

Rev. Rachel Paul

South Kaipara

Poi, AM 782

Auckland Museum

No information has yet been found about Rev. Rachel Paul.

Rotorua Museum of Art History

F. O. Peat

Rotorua Pou, AM 49396

Auckland Museum

This was once the property of Mr F. O. Peat, a serious collector who sold his collection of Māori artifacts to both Auckland Museum and the Dominion Museum in his later life. It is not yet sure how he came to own this poupou, or indeed how it came to be in the Rotorua Museum of Art History. It is currently on long-term loan to Auckland Museum.

Daniel Quigley

Helensville

Pare, AM 45048 Auckland Museum

Daniel John Quigley was a schoolboy in 1971 when he found this pare in a swamp drain on the Crosland Estate at South Kaipara Heads.

J. Shewring Waikiekie

Greenstone Adze, AM 5688 Auckland Museum

Not much information has been found about the Shewring family other than that they were originally a small settler family who lived at Waikiekie for a number of years before leaving for Auckland.

Hāmi Tāwaewae

South Kaipara

Tiki or Post, AM 162 Auckland Museum

Hāmi Tāwaewae was a rangatira from the South Kaipara Area. When the tiki was taken to the Auckland Museum he composed the waiata featured in this book. His sentiments are heartfelt and fitting as it was in this era (1895) that huge cultural change was taking place and taonga were moving from their cultural landscapes into museum institutions.

Alfred Webb Aratapu, c.1912

Greenstone Needle, AM 5616 Auckland Museum

No information has yet been found about Alfred Webb.

K upu W ha K amÄrama

aha, ahaaha shark tooth knife

ahi-kā-roa n. literally, long-burning fire, title to land by long occupation

ahorangi n. term for teacher or scholar of high standing āhua n. form, appearance ai v.t. begat, procreated; pron. who, which; used only in the oblique cases

aituā n. tragedy, misfortune, bad luck, death, an ill-omen amo n. upright carved posts on either sides of a post entrance; a litter upon which a sick person is carried; v. to carry on the shoulders, to rush, to charge

Aotearoa n. place name, indigenous term for New Zealand; literally, Long White Cloud atamira n. stage, platform ātea adj. clear, free from obstruction; v. to be clear, to be jealous, to be cautious atua n. God; ātua adv. first

au n. a traditional type of needle usually made from stone or bone

aute paper mulberry tree (Broussonetia papyrifera); n. a band for the hair made from the bark of a tree

awe n. tuft of animal hair used for decoration

haehae n. carved pattern, of side-by-side v-shaped grooves; v. to cut with a shell as in mourning, to tear as a garment; to be jealous to be suspicious; adj. cutting, tearing

hāhunga secondary burial of bones in a cave; n. removal of bones, a feast on occasion of removal of bones haka n. dance, usually applied to male posture dancing hanga n. form, appearance; v.t. to make, build, fashion; n. a work, goods, property; adj. made; v. to make hapū n. literally, pregnant; a social division below the level of tribe (iwi), hence, sub-tribe harakeke n. flax (Phormium tenax) hāro n. scraper, scraping; v. to scrape flax hauora n. health, vigour; adj. healthy, well, fresh, lively Hawaiki place name, mythical homeland of the Māori people hei n. an ornament for the neck; prep. at, for hei-tiki n. pendant worn at the neck hei-matau n. neck ornament in the form of a fish-hook hei-pounamu n. neck pendant of jade heru n. comb; v. to comb, to flow as the tide hinengaro n. mind; but traditional meanings refer to spleen, as seat of thoughts and emotions hoe n. a paddle, an oar; v. to paddle, to row hoeroa n. weapon, usually made of bone, curved, not pointed, and shaped like a long paddle hongi n. ceremonial greeting which involves touching of noses hōu adj. new; n. a feather; v. to be new

hua n. fruit, product, progeny; a screen from the wind, a division of land; a handspike; adj. bearing fruit; v. to bear fruit, to abound, to be at the full; to think, to know; to name; to raise by a lever; to overturn hue n. calabash, gourd (Lagenaria vulgaris)

hui n. meeting of people, coming together to talk; a starting in the sleep; v. to startle

huia n. rare bird (Heteralocha acutirostris), feathers of the huia huinga n. the gathering hunga n. company of persons, people

ihi n. power (as in an artistic statement); adj. has force, authority, and dread, usually linked with wehi and wana, q.v. iho n. kernel, pith, heart; loc. particle, implies direction from superior to inferior, or from above to below; adv. down, lower ihu n. nose, prow

ika n. fish; a tribe, a body of men, a battle īnanga n. whitebait, adult of minnow (Galaxis attenuatus), and fry of smelt (Retropinna retropinna)

ira n. mark on the skin of a child at birth

ira atua n. life principle (ira) of gods (atua) ira tangata n. life principle (ira) of humans (tāngata)

iti adj. small

iwi n. literally, bone; a social unit – knit together by bonds of kinship and locality – above level of hapū, tribe ka v. particle, denoting beginning of a new action, condition or state of things new to the speaker

kā adj. burning; v. to burn kaha adj. strong kāhui n. group of, a herd

kāhui ariki n. group of people who are descended from nobility, eg. from the first Māori king, Pōtatau Te Wherowhero kahukākā n. cloak of parrot feathers kahukura n. red cloak kahurangi n. prized, precious, honourable, distinguished kāinga n. home kaitaka n. a cloak with patterned border, a bordered mat; sapwood, wood patterned by worm holes kākano n. seed, stock, descent; Ngā Kākano (The Seeds), a historical period (900-1200)

kakī n. neck

kanohi n. face kanohi ora n. pl. living faces

karakia n. incantation; modern meaning of prayers; a religious service; adj. belonging to religious services; v. to perform a religious rite, to worship karanga n. calling; ceremonial calling performed by women usually to welcome visitors onto a marae but not confined to that

kāwai rangatira n. genealogical line of ancestry; dialectal variant term for painted rafter pattern (Ngāti Whātua) kaupapa n. matter under discussion; platform, layer; a floor, a surface

kauri n. forest tree (Agathis australis) suitable for woodcarving, highly prized; now difficult to obtain kino, kikino adj. evil, bad, ugly

kiwi n. well-known flightless bird often used as a metaphor for New Zealanders. The feathers of this bird are highly prized in cloaks

kōauau n. a musical instrument, usually straight, tubular in shape, with three holes, played with nose or mouth koe pron., 2nd pers. sing. you

koha n. gift, present to give to hosts Kōhanga Reo n. language nest. A new language teaching programme introduced by Department of Māori Affairs to teach pre-school children from infancy to speak Māori kōhao n. hole or perforation

kōrari n. a variety of flax (Phormium colensoi); flower stem of flax

kore n. nothingness, lack of anything kōrere n. funnel, a spout or gutter

kōrero v. to tell, say, speak, talk; n. conversation; here given a special meaning – story or iconography

koropepe n. a coiled ornament

korowai n. cloak ornamented with black twisted thrums

kōrupe n. another name for a door lintel, same as pare koruru n. a carved figure placed on the gable of a house kotiate n. a lobed club

kotiate parāoa n. a flat weapon with a lobed blade made of whalebone

koutou pron., 2nd pers. pl. you (three persons or more) kōwhaiwhai n. painted patterns, traditionally on house rafters and canoe hulls

kūmara n. sweet potato kūmete n. wooden bowl kura n. treasure, red, glowing kūwaha n. doorway kuta n. a plant, rush (Scripus laucustris) a weaving fibre used in making floor coverings and garments mahau n. porch of a house māhē n. sinker for a fishing line mai loc. particle, direction toward the speaker; adv. hither maihi n. barge-boards; a verandah, the facing boards of the roof of a traditional whare

mana n. psychic force, authority, control, prestige, power, influence; same as wana, q.v.

manaaki v.t. to show respect or kindness to, look after, care for

manaia n. an art form in which the face and sometimes the body is shown on this profile manu n. bird

mānu v.t. to float, be launched Māori n. name for indigenous people of New Zealand

Māoritanga n. concept of Māori identity and aspirations, often used to mean Māori culture

marae n. enclosed space in front of a meeting house, the courtyard

marakihau n. a carving pattern representing a water monster marama n. moon māripi n. cutting instrument, knife mata n. edge, point of a spear, headland; the face, a surface; meshes of a net; name of a fish; adj. raw, uncooked matapihi n. window matau n. fish-hook mātauranga n. knowledge, education, philosophy mātauranga Māori n. Māori education, knowledge mate n. death; adj. dead mātua n., pl. parents mātou pron., 1st pers. pl. we, us (excluding person spoken to) mau n. pendant; productions of the earth; v. to carry, to be fast mau kakī n. pendant (mau) to wear around the neck (kakī) maunga n. mountain mauri ora n. life principle, source of life, of vitality mere, meremere n. hand-held weapon of symmetrical shape made of nephrite, jade mihi v.t. to greet; n. a sigh; v. to sigh moana n. ocean, sea moe n. to sleep, lie at rest; to dream

moko n. tattoo patterns, tattoo as an art form; lizard mokopuna n. grandchild mua n. the front, forepart; former time, the past muri loc. behind ngā def. art. plur. the ngārara n. reptile, monster; literally, the (ngā) ribs (rara) ngaro n. fly; adj. hidden, out of sight, disappeared, missing, lost, absent ngāti n. tribal prefix, usually followed by the name of eponymous ancestor; the progeny or people of nguru n. a curved flute played with breath from the nose noa adj. free from tapu (taboo) or restriction, of no moment, ordinary noho v.t. to dwell, stay, remain nui adj. big, large Nukuroa n. traditional Ngāti Whātua name for New Zealand, literally ‘long land’ o/ō prep. of, belonging to ōnewa n. basalt (usually patu ōnewa – basalt club) ora adj. alive, well, in health oti part. with atu means gone for good, finished pā n. fortified and stockaded village often on a hilltop; now used to mean where the village and the carved meeting house stands paepae n. beam or bar across the front of carved house or storehouse at floor or ground level

Pākehā n. common term for non-Māori and typically referring to persons of European, American, or British origin pakitara n. wall of a house pakohe, pakohi n. a dark-gray close-grained stone, black argillite

papa n. anything broad, flat, and hard, layer, earth floor, site of a house

papahou n. a carved box or chest for holding huia feathers; term applied to flat chests, while wakahuia is used for more rounded and oval ones

Papatūānuku personal name – Earth Mother pare n. door lintel, same as kōrupe pātaka n. storehouse raised on posts pātiki n. flatfish much sought after for eating, flounder, several species, eg. Rhombosolea plebia pātiti n. tomahawk blade often hafted into a whalebone or wood handle which can be short or long, hatchet pātū n. wall, structural barrier patu n. one-hand weapon of symmetrical shape used to hit or strike

patu muka n. a beater, for beating and softening fibres of flax patu parāoa n. a hand club made of whalebone patu pounamu n. greenstone (jade) club patu whakairo n. a mallet used in carving pāua n. univalve mollusc, eg. abalone (Haliotis australis), but several species

pekapeka n. a small pendant ornament pēpeke v.i. to draw up the legs as one is sitting down so as to stay in a crouching position pīpīwharauroa n. bird, shining cuckoo (Chalcites lucidus); also a variety of greenstone pirau n. decay, death; adj. rotten pītau n. perforated spiral carving piupiu n. traditional garment worn around the waist; now used during ceremonial occasions or for dancing performances pō n. night popo n. rotten, decay poto adj. short pou n. general term for post pounamu n. jade or greenstone poupou n. side post inside a house, usually flat so as to present a surface for carving poutokomanawa n. the centre post which holds up the ridgepole of a large house pouwhakamaharatanga n. memorial post pouwhenua n. a two-handed weapon similar to the taiaha (q.v.), but with a smooth point in place of the tongue pua n. flower, seed puhi n. a woman set apart, a virgin, a betrothed woman, usually of high status

pūkenga n. pool of tribal heritage, knowledge, and people to teach it

puku n. stomach

pūmanawa n. natural talents, intuitive cleverness puta v.t. associated with to appear, to come into sight, as in the phrase ‘puta ki waho’, to be born pūtara, pūtātara n. trumpet pūtōrino n. a kind of flute, longer than a kōauau, one large hole near the centre, narrow at the ends rāhui v.t. prohibition, warning rākau n. wood, timber, tree rākau whakapapa n. shaped and notched piece of wood used as an aid to reciting genealogy rangatahi n. fishing net in good condition, modern word for youth

rangatira n. chief rangi n. sky, heaven, abode of supernatural beings Ranginui personal name – Sky Father – the ultimate father of the Māori people

rapua v.t. to seek, look for, ascertain rārangi n. line, row, rank raro loc. below, lower part, bottom rātou pron., 3rd pers. plur. three or more persons, them, they rauawa v.t. side strake of a canoe rawa adv. intensive, quite, very, very much

rei n. tusks, large tooth, ivory, anything made of ivory rei puta n. ornament made of a whale tooth reo n. language rere v.t. to travel, sail, flow, fly rikoriko n. twilight, dusk, feeble glimmering rino n. modern word for iron

riri v.i. to be angry, quarrel, fight; n. strife riro v.i. to be gone, depart roa adj. long

rua n. underground pit for storing food, a storepit, a grave; adj. two ruha adj. ragged, worn out, as of a net runga loc. the top, upper part; prep. above taha Māori n. literally, the Māori side (of culture) in the cultural context of New Zealand tai n. the sea or water, as opposed to land; salt-water, tide; adv. on the opposite side, over-against; a term of address to a married woman

taiaha n. two-handed weapon having one end carved in the shape of a tongue with a face on each side and adorned with a fillet of hair or feathers

taimaha n. heavy take n. cause, reason, root of a tree or plant, stump, origin takoto v.i. to lie down taku pron., poss., 1st pers. sing. my

takutai n. seacoast

tā moko v.t. to tattoo (tā) with tattoo patterns (moko) tāmure n. good eating fish, reddish in colour, eg. snapper (Pagrosomus auratus)

tangata n. human being, man tangata whenua n. people of the land, the hosts opposed to the visitors

tangi n. mourning and funeral ceremony tango v.t. to take possession of, acquire, remove, take away tangotango adj. intensely dark tāniko n. tapestry weaving taniwha n. monster

taonga n. anything highly prized, property taonga tuku iho prized possessions, eg. heirlooms, handed down to present generations

taonga whakairo n. carved object, art object tapa n. cloth made from bark of paper mulberry tree; the side of anything; v. to command, to name tāpā adj. to be chapped tapu adj. under religious restriction, ceremonial restriction tārai v.t. to dress, shape, fashion, especially applied to working wood tatā n. bailer for canoe tauihu n. carved prow of canoe tauira n. teacher, skilled person, pupil; a copy, an example a pattern; a disciple, a pupil

taumaha adj. heavy dialectal variations include, but are not limited to: taimaha, toimaha taumata Atua n. resting place for gods taurapa n. carved stern post of a canoe te def. art. sing. the te ao hōu n. the new world te ao tawhito n. the old world opposed to the new Te Aomārama first Māori art school in Rotorua, established in 1910; name means ‘world of light’ Te Ika-a-Māui Fish of Māui, ie. the North Island of New Zealand

Te Kore n. place of mythology, characterized by nothingness out of which the primal parents emerged tekoteko n. technically, the carved figure on the gable of a house or the figurehead of a canoe; commonly taken to mean a carved figure tēnei def. pron. this (near speaker)

Te Waipounamu the South Island of New Zealand tewhatewha n. weapon, made of wood or bone, shaped something like an axe, with short rounded blade at one end, pointed handle at the other tīheru n. bailer, vessel to bail with tiki n. neck ornament usually made of greenstone or bone, image in the shape of a man tohi n. baptism; a religious ceremony performed after a battle; a religious ceremony performed at the native baptism of a child; v. to cut; to perform the ceremony of native baptism

tohunga n. skilled person, priest, wizard tohunga whakairo n. carving expert toki n. adze; an axe, an edged tool; v. to fetch [as in tiki] toki pounamu n. adze made of jade or greenstone toki pou tangata n. adze to dispatch men or to stand men up, a ceremonial adze

tōna pron., poss. his, her, its tōtara n. sacred place where certain rites were performed; n. a native tree (Podocarpus totara) tuatini n. seven-gilled shark tuere n. carved canoe prow common to Tai Tokerau tribal carving traditions (toiere) tuhi v.t. to redden, cause to glow tūhua n. obsidian, volcanic glass tūī n. bird, also called kōkō (Prosthemadera novaeseelandiae), commonly the parson bird tuku iho adj. handed down, used with taonga to mean heirloom

tukutuku n. latticework with decorative features expressed in stitches, usually placed between carved posts tūpāpaku n. corpse tupu, tipu v.t. to grow tupuna n. ancestor, grandparent turuturu whatu n. weaving peg tū tangata n. concept of standing up like a man

tūturi v.i. to draw up the knees; v. to kneel uhi n. bone tattooing chisel ūnaunahi n. carving pattern associated with fish scales, often a complex of rolling and connected spirals uri n. descendant utu n. return for anything, ransom, reward, price, reply wā n. linked with kāinga, to mean the homeland or home village

wahaika n. a hand weapon asymmetrical in shape and made of wood or bone waharoa n. entrance to a fortified village, often an elaborately carved figure wāhi ngaro n. the lost portion (of the heritage) waho loc. outside wai n. water, juice; bag of a fishing net; pron. who waiata v.t. to sing; n. song waiho v.i. to remain, let be, leave alone waimarie adj. lucky, quiet wairua n. spirit of an individual or of a group, an indistinct and shadowy image, style, flair, waka n. canoe, any long narrow receptacle or trough wakahuia n. carved box, literally, a container for prized huia feathers; see papahou wā kāinga n. home village, home waka taua n. war canoe

wana n. same as mana, authority wānanga n. knowledge, meeting to discuss transmission of traditional knowledge; house of learning wehi n. awe, fear werawera n. warmth, sweat, heat whaea n. mother, auntie waihanga v.t. to make, build, construct; n. architecture whaikōrero n. oration, speech whaitiri, whaititiri, whatitiri n. thunder whakaāhua n. picture, v. to look at, to sketch whakāhuatia v.t. to pronounce, recite, call out the name whakairo v.t. to ornament with a pattern, used of carving, tattooing, painting, weaving; more generally applied today to wood carving whakapakoko n. carved image, dry, mummy whakapapa n. genealogy whakataukī n. proverbial saying whakautu v.t. to reply, to reciprocate whakawae n. the side carvings surrounding a door of a meeting house whānau n. family, extended family unit at the level of the sub-tribe; literally, to be born whao n. wood chisels traditionally made of stone

whaowhia be gathered up, be collected, be put into a receptacle; the action of carving with the whao or traditional chisel

whare n. house wharenui n. large house, usually the main carved house whare whakairo n. carved house whenua n. land, country, ground; also placenta or afterbirth whiti v.i. to cross over, reach the opposite side

r Ä ra ngi

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PUBLISHED BOOKS

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King, Michael. 1972. Moko. Maori Tattooing in the 20th Century. Alistair Taylor. Christchurch.

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Lambert, T. 1936. Pioneering Reminiscences of Old Wairoa. Thomas Avery and Sons Ltd. New Plymouth.

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Mead, Hirini Moko. 1968. The Art of Taaniko Weaving. A Study of its Cultural Context, Technique, Style, and Development Reed. Auckland.

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— 1976. The Maoris of New Zealand. Routledge & K. Paul. London.

Mitcalfe, Barry. 1984. Northland New Zealand. Coromandel Press.

Moon, Paul. 2007. The Struggle for Tamaki Makaurau. The Maori Occupation of Auckland to 1820. David Ling. Auckland.

Museum of New Zealand. 2004. Icons Ngā Taonga: From the Collections of the Museum of New Zealand Te Papa Tongarewa. Te Papa Press. Wellington.

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— 2001. Carved Histories. Rotorua Ngati Tarawhai Woodcarving Auckland University Press. Auckland. Ngata, Apirana Turupa. 2002. Nga Moteatea. Volumes I & II. Kiwi Publishers. Christchurch.

Ngata, H.M.; Ngata, Whai; New Zealand Ministry of Education. 1993. English-Maori Dictionary. Learning Media. Wellington.

Ngata, W.T.; McLean, Mervyn. 1983. Catalogue of Maori Purposes Fund Board Recordings: Recorded by W.T. Ngata 1953-58, MPFB 1-120. University of Auckland. Auckland.

O’Regan, Gerard. 1997. Bicultural Developments in Museums of Aotearoa. What is the Current Status? Museum of New Zealand, Te Papa Tongarewa, National Services in partnership with Museums Association of Aotearoa New Zealand, Te Ropu Hanga Kaupapa Taonga. Wellington.

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Pownall, Glen. 1976. New Zealand Maori Arts and Crafts Seven Seas Publishing. Wellington. Prickett, Nigel. 1999. Nga Tohu Tawhito. Early Maori Ornaments. David Bateman Ltd.

Puller, Margaret McCarroll. 1995. ‘McCarrolls Gap – Mareretu.’ In The McCarroll Story. Kauri Museum Archives. Reed, A.H. 1974. The Happy Wanderer. A.H. & A.W. Reed. Wellington.

Reed, A.W. 1974. The Maori: Yesterday, Today, and Tomorrow. A.H. & A.W. Reed. Wellington. Reed, A.W.; Mikaere, B. 2002. Taonga Tuku Iho. Illustrated Encyclopedia of Traditional Maori Life. New Holland. Auckland. Reischek, Andreas. 1930. Yesterdays in Maoriland. Jonathan Cape. London.

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Centre for Resource Management Studies. 2000. ‘Mangroves and Estuarine Ecologies – Mangroves in the Kaipara Harbour their impact on Amenity Values and Heritage.’ [online] Curnow, Jenifer; Graham, Edward Rahiri. 1998. ‘George Samuel Graham (1874-1952)’ in Dictionary of New Zealand Biography, Vol. 4 (1921-1940). Wellington. Ministry of Culture and Heritage.

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MANUSCRIPTS

Barr, John Manson. Transcripts of taped interviews with friends and colleagues of J.G. Coates. 74-038. Alexander Turnbull Library. Wellington.

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— ‘Rough Notes of My Visit to Kaipara, Mangawai, Waipu, Whangarei, Mangapai, Wairoa.’ MS-0363. Alexander Turnbull Library. Wellington.

Gardner, Gillian. P.R. Gardner Family Files, Private Family Collection. Glorit.

Graham, George. ‘Te Hira’s Account of Tutangimamae.’ Graham, George MS 120, MS 120, M12. Auckland Institute and Museum.

Hamilton, A. 1913. Turnbull collection of Maori articles.

In ‘A catalogue of Maori and Pacific Islands artifacts presented to the Dominion Museum by Mr A.H. Turnbull’. MS-0906. Alexander Turnbull Library. Wellington.

Pihema, Ani. ‘A History of the Ngati Whatua Tribe.’ MS 770, Auckland Museum Library. Auckland.

Tapsell, Paul. 1998. ‘Taonga: a tribal response to museums’ [unpublished thesis]. University of Oxford.

Tuhaere, Paora. ‘History and Genealogy of the Ngati-Whatua Tribe. The events which brought about the coming hitherward of Ngati Whatua to Kaipara.’ Translated by G. Graham, MS-Papers-1286. Alexander Turnbull Library. Wellington.

Underwood, Thelma (nee Coates). ‘The Story of Pukekaroro.’ Coates Collection, 2006/97. Kauri Museum Archives. Matakohe.

n g Ä Mihi

The entire Hono kaupapa and this resulting publication has been fully focussed on reconnecting links between individuals, groups, Māori and Pākehā histories, institutions and their users and of course taonga and their lost or forgotten stories. Every meeting, discovery, research finding and personal interaction is as necessary and important as the resulting achieve ments, such as this book.

We would especially like to acknowl edge and thank Auckland MuseumTāmaki Paenga Hira and Kauri Museum (Matakohe) for their generous assistance and access to taonga for photography.

The Hono kaupapa is a never ending journey and the road so far has been brightly lit with the generous advice, support and assistance of many people – past and present. Tēnā koutou katoa. Mā te Runga Rawa tātou katoa e manaaki, e tiaki.

Whānau Kakanui/Araparera/Puatahi

Haahi Walker

Kiwa Hemana Richard Nahi Cath Nahi

Glenn Wilcox

Gillian and Kevin Adshead Richard and Trudy Gardner

Jane Hammond

Stephen Gardner Ōruawharo/Ōtamatea

Kua-Pania Te Iwi Māori Shelford Tārangiroa i Te Aroha Shelford Tapihana Shelford

Violet Smith Kohi Hemana Ben Connelly Ben DeThierry Thomas DeThierry

Reweti Margaret Kawharu Ētahi anō kai āwhina

Rangi Kipa Te Āti Awa, Ngāti Toarangatira, Ngāti Tama

Lyonel Grant Ngāti Pikiao, Te Arawa Te Aniwa Makoare Ngāti Whātua, Te Rarawa, Niue Jane McRae

Institutions

Auckland Museum

Antoine Coffin

Ngāi Tūwhiwhia, Ngāti Kahu-oNgāmarama, Ngāi Te Rangi, Ngāti Ranginui

Nicola Railton, Ngāti Tuatahi, Ngāi Tū, Ngāti Kurī, Ngāpuhi

Chanel Clarke

Ngāpuhi, Te Rarawa, Ngāti Porou, Waikato

Chris Jones

Vasiti Palavi Te Rarawa, Ngāti Kuia me Hoi, Tongātapu

Geraldine Warren

Ngāti Porou, Ngāti Kahungunu, Ngāti Maniapoto

Te Papa Tongarewa

Arapata Hakiwai Ngāti Kahungunu, Rongowhakaata, Ngāti Porou, Kāi Tahu

Shane James Muaupoko, Rangitāne, Te Āti Awa, Te Arawa, Ngai Tahu

Helensville Museum

Judy Lloyd

Kauri Museum – Matakohe

Betty Nelly Louise Nowell Jocelyn Keay Michael Lawton

Whanganui Museum

Michelle Horwood

British Museum

Natasha McKinney

Production Paradigm

John Ringer

Danielle Wilson

La Gonda Studio

Mark Adams Haruhiko Sameshima

Alliance Printers

Bob Ferguson

Lead Team

Allan Pivac Naida Glavish Te Ramaroa Tito Tame Te Rangi Tepania Kingi

Hāpainga Team

Bernard Makoare Warren Moetara Sonya Peters Thalea Pompey Ruth Tamihana-Milne

t e Kaituitui

Ko Ngapuhi me Ngāti Toarangatira ngā iwi

Ko Ngāti Ruamahue tōku hapū i te taha o tōku pāpā

Ko Te Uri Taniwha, Ngāti Hineira, Ngāti Korohue me Ngāti Ueoneone ngā hapū o tōku Māmā

I tipu ake au i te kāinga o ōku karani ki Ōhaeawai, ki runga hoki i te marae o Parawhenua

Kei Kaihū māua ko tōku hoa rangatira me ā māua tamariki e noho ana. Tēnā koutou katoa.

I was invited to undertake the research for this project based on my professional experience in the heritage sector and back ground as an archivist, librarian and researcher. It has been my privilege to work on this kaupapa. I am especially grateful and humbled by the generosity that has come from everyone

I have spoken with throughout the development of this book –doors to people’s hearts, homes, offices, storerooms and read ing rooms always opened with warm enthusiasm and support.

E kore rawa aku mihimihi i mutu. Tēnā koutou katoa.

Hinerangi Himiona

Published by Te Rūnanga o Ngāti Whātua, PO Box 1784, Whangarei, Aotearoa-New Zealand

First Published 2009

© 2009 Te Rūnanga o Ngāti Whātua ISBN 978-0-473-16173-6

Editor: Hinerangi Himiona

Cover: Bernard Makoare

Design: Danielle Wilson/Paradigm Associates, Ponsonby, Auckland

Photography: Mark Adams and Haruhiko Sameshima, La Gonda Studio, Auckland; with the exception of the following taonga: Poupou 1933.49.75 and Patu Parāoa 1937.6.2 from Whanganui Regional Museum (pp.63,125); and Pare/Door lintel Oc 1639 (p.31) from the British Museum.

Image scanning by Phreon, Henderson, Auckland

Printed on Sumo Matt with vegetable oil based inks by Alliance Printers Limited, Freemans Bay, Auckland. Bound by Bookbinding Press Ltd, Glenfield, Auckland.

ISO 14001