Tuesday, 22 November 2016

Tangihanga

The tangihanga
ceremony which Māori use to mourn the dead has changed very little over time. The body is prepared by an undertaker, then taken to the dead person’s marae.

 Visitors are welcomed and speeches are made. After the body is buried at the urupā (cemetery) a minister or tohunga walks through the dead person’s home to remove the taupo of death. Sometimes a photograph of the person will be taken to another marae so people who could not attend the tangi can mourn the death.

Hine-nui-te-pō
Hine-nui-te-pō was the goddess of death who Māui attempted to crawl through in order to end death. He failed, and humans continue to die.
Death is also personified as Aituā.

Tangihanga traditions
A rangatira about to die would deliver a ōhākī, a final speech to the tribe which often reminded them of revenge to be taken on other tribes.

A dead person’s body was smeared with red ochre and oil and put in a sitting position with the chin resting on the knees. They were wrapped in mats and cloaks.

Speeches were addressed to the dead person as if they were still alive.
The whanau pani (bereaved family) were expected to stay with the tūpāpaku (corpse) and not eat. People wore wreaths of greenery on their heads.

The body was buried and later retrieved. The bones were scraped clean and painted with ochre. Tohunga hid the bones so the dead person’s remains could not be desecrated.

Tangihanga today
Nowadays the body is in a casket which lies on the marae, in the wharenui, on the porch or in a separate house.
The whānau pani can eat at the end of the day when no more visitors will arrive.
People are encouraged to express their emotions. Sometimes there are arguments over where the body should lie. These are considered a tribute to the mana of the dead.

Wednesday, 9 November 2016


Haka – a type of waiata Haka can be said to form a particularly large subclass of waiata. In 1975 Arapeta Marukitipua Awatere explored the features of different types of haka and their uses. He noted, ‘Each …


There are many different types of haka, each appropriate for a different occasion. According to haka and Māori-language expert Tīmoti Kāretu, the haka provides a platform for its composer to ‘vent his spleen, to sing someone’s praises, to welcome his guests, to open a new meeting house or dining hall.

Haka and poi

Haka and poi were associated with most gatherings and were popular entertainment. ‘Contests were sometimes held between different hamlets, when a party of poi performers from a village would visit another in order to play against a local team. Such visits also took place in connection with the haka. In the traditional context, haka referred to a wide range of dance styles, including many performed by women.
Poi-
The poi is a genre of music exclusive to New Zealand Māori. The poi is a ball attached to the end of a cord, which is swung around by the kapa haka performer to complement the performance. Men primarily used poi as an exercise device to help warriors wield their weapons more effectively in battle; women used poi to relieve muscular strain and to keep their hands and arms flexible and strong for use in everyday tasks such as weaving. Although the modern poi is now largely performed to European melodies, pre-colonial poi were recited in a way similar to haka, especially by the people of Taranaki.


‘Kia kōrero te katoa o te tinana – the whole body should speak,’ said haka master Henare Teowai of this traditional art form. Kapa haka has adapted to contemporary … ability to perform haka (dances) and the expertise of the haka leader. There are many different types of haka, appropriate for different occasions. Waiata … Kapa haka, Waitangi Day 1947 …

Types of haka

Contrary to popular belief, haka is not only a war dance. There are many different types of haka, each appropriate for a different occasion. According to haka and Māori-language expert Tīmoti Kāretu, the haka provides a platform for its composer to ‘vent his spleen, to sing someone’s praises, to welcome his guests, to open a new meeting house or dining hall, to pay his respects to the dead, to honor his ancestors, to teach his traditions to the succeeding generations. What each of these variants has in common is the mauri (life force) that permeates every aspect of the art. Haka draws on the performers’ spirits as well as their thoughts.


TRADITIONAL MAORI WARFARE



Some of the early European observers Maori behaved with unbridled savagery. These observers were entirely wrong. Warfare in Māori society was ritualized and controlled according to an established set of rules. The decision to take up arms was usually a last resort, preceded by careful deliberation. The fighting was fierce and bloody, however, Māori war parties did not usually seek to annihilate their enemy. Traditional warfare was not about wanton killing and destruction. It was about seeking utu (repayment) for past wrongs. Māori were not constantly at war, but they did live with the constant threat of war. This fact of life is literally carved into the New Zealand landscape. In the upper North Island in particular the remains of Māori pā (fortifications) are clearly visible on precipitous headlands and hilltops near the coast. Māori developed the art of fortification well before arrival of the pākehā and the musket.
In 1845-6 the British Troops were facing an enemy with centuries of experience in combat. Māori were excellent strategists and tacticians and they had adapted their fortifications to face an enemy armed with guns. The actions and successes of Māori leaders during the Northern War can only really be understood in the context of traditional Māori warfare.


Warfare and Society


The concept of utu really is the key to understanding traditional Māori warfare. Utu is sometimes translated as “revenge” but this is incorrect. Utu actually means “repayment” or “balanced by an equivalent”. If an offence was committed, the party wronged would seek repayment to restore their mana. A failure to extract utu would cause the offended party to lose face, to suffer a loss of mana. In a worst-case scenario a desire for utu could lead to war.
Without a paramount chief or a formal justice system, Māori had their own ways of resolving disputes. Some rangatira acted as mediators, negotiating peaceful solutions which satisfied the need for utu and maintained the mana of the feuding parties. In more serious cases, the sending of taua muru (a stripping party) was a way to obtain utu without actually killing anybody (or at least, without killing anybody important). A taua muru was a hostile expedition, where a party of warriors was sent to plunder or destroy property belonging to those who had committed the offence. Taua muru were very dramatic, the warriors brandishing their weapons and making a great display of aggression. However physical violence didn’t happen, or if it did, it was directed towards a few low-ranking individuals. Despite appearances, taua muru were a means of maintaining the peace.
Warfare often arose from an act which affected the mana of a group. The murder of a tapu person was the most serious offence. However, wars were also fought over seemingly minor incidents, such as petty theft or insulting words. The “Girls War” is an example: it happened in 1830 in the Bay of Islands, and began with a dispute between four young Māori women of high-rank. Two of them were the former wives of a particular whale ship captain, and the other pair were his current wives. The argument began as a play fight, but it escalated, and the women uttered dire curses at each other. The situation was serious, because the women had insulted the mana of each other’s chiefly relatives. In the end, the exchange of insults led to a battle during which a number of warriors were killed.
The rationale for taking up arms was presented in terms of mana and utu, and the usual purpose of warfare was to settle disputes. However, underlying economic motives did come into play. Māori, like people everywhere, were sometimes driven by a desire to obtain property or to access some natural resource. In some cases, an insult to the mana of the antagonists could provide a convenient justification for confiscating property or taking over gardening land


Attack


Wars were fought at the level of the hapu, but not always between individual hapu. Others were drawn in by close kinship ties or by their duty to support a dominant chief. Most hapu could field between 100 to 400 warriors, who fought as separate units commanded by their respective rangatira.
Planning an attack required a great deal of work, especially if it was directed against hapu living far away. To begin with, there were arrangements to be negotiated with potential allies. There was visiting to be done, feasting, discussions and debates. Then there were practical considerations. Extra crops were planted well before a long-distance campaign. Some of the harvest went with the war party, and the rest was to make sure there was enough food and seed stock for the following year. Haste and stealth were not necessarily important. It was not unusual for the enemy to hear word of the attack well in advance, allowing them plenty of time to prepare.
It is important to remember that Māori warriors were not professional soldiers – they were also the bulk of the male workforce. When the men were off fighting, they were clearly not available to undertake their usual work. Furthermore, many women and older children would travel with the war party to provide logistical support. The withdrawal of the most capable men and women from the workforce inevitably put pressure on the resources of the hapu.
Once the battle began, each unit would function in a separate but co-ordinated manner. Rangitira were not generals in the European sense – they led by example, fighting alongside their men. The course of a battle depended upon the situation: gaining access to an enemy pā (fortification) was quite different to skirmishing in the forest or on the beach.
Without guns, Māori couldn’t kill each other from afar. The fighting was very real, hard-fought, with warriors and civilians killed at close quarters. There hasn’t been a lot of biological anthropology carried out on Māori skeletons, because ko iwi (human remains) are tapu in the extreme. However some of the skeletons which have been examined show that person died violently, by a sharp blow to the head with a patu-like weapon.
The fighting was constrained and controlled by tikanga, “rules of engagement” that both sides understood. Although the fighting was brutal and bloody, the objective wasn’t necessarily to annihilate the enemy. Most war parties set out to kill at least some people. However, it was not uncommon for a victorious war party to withdraw, having killed a sufficient number of people to achieve utu. If the warring hapu were connected by kinship a handful of deaths would suffice – the fighting would stop and peace talks would begin. Battles between non-related hapu were more protracted and brutal. The survivors of a hapu defeated might be driven from their lands, forced to seek an entirely new place to live.



Wednesday, 26 October 2016

Image result for pa site


 What is a pa site?

The hill fort or pa was erected on suitable hills with the wooden poles surrounding the village or ridges as well as on strategic situations with sea, river, lake, or swamp forming a natural barrier on one side.

All pas varied with terrain and locality. Stockades, as well as trenches and ramparts, were built or built around to protect the sides from open attacks from the enemy.

Inside the pa site is a village with sleeping huts, food such as kumara, and other foods with specially built in pataka as well as a large hole in the ground for water or special access to a spring if near bye.

A wooden gong (pahu) is built on the highest point of the hill or mountain, it was beaten to warn of an approaching attacks (enemy's).

Fighting stages were built over the gateways and other vulnerable places in the pa site to give protection, they would shot darts and throw stones down on there enemy. people defending a Pa feared fire.

A unfriendly force would try to use red-hot stones and fire brands to cause panic by setting fire to the village which were inside the barrier.

Every pa had its protective god or goddess. This was often a special stone which wasn't there possession the mana or prestige of the pa and was buried under one of the side posts.

In general the pa was the strongest defense  of the tribe, a place to go for safety and protection when danger cam and threatened there security for all in time of war.

When Europeans came and invaded the Maori decided not to build as many Pa’s on hills because the main hut was more open to rifle fire.

What was important in a pa site?

  • When invaders came it would be a great source of protection.
  • A great way to counter attack invaders
  • Showed your rank as you got higher the more important you were. 

 How did they store food in the pa site?

  • On the lower terraces of the pa they kept Kumara in small huts, the huts were equipped with wide trays to hold the Kumara, the trays were tilted 20 degrees to drain water.
  • Food could also be buried underground to keep its heat.
 How did they make pa site?
  • Wooden Poles
  • Flax
  • Branches
  • Driftwood
  • Native Plants
  • Dead Plants
  • Wooden tools
  • Large crane like object

Tuesday, 25 October 2016





The powhiri is the ritual welcoming ceremony.
Traditionally the process served to discover whether the visiting party were friend or foe. As the ceremony progressed, and after friendship was acknowledged, it became a formal welcoming of manuhiri by the tangata whenua. As the ceremony progresses also, the tapu or sacredness surrounding manuhiri is removed, and they become one with the tangata whenua.

It begins with the karanga, the high pitched voices of women from both sides, calling to each other to exchange information about each other and to begin to establish intent and the purpose of the visit. Kaikaranga between them weave a mat laid upon Papatuanuku (Mother Earth) binding the two sides together.

In traditional times a wero or challenge was performed by a warrior or warriors, advancing on the manuhiri to look them over and further establish intent. The wero is sometimes performed today, particularly for the most prestigious manuhiri.

The tangata whenua will perform the haka powhiri, a haka of welcoming, during which the manuhiri are symbolically drawn onto the marae. The chants often use the symbolism of hauling a waka or canoe onto the shore.

Next is the mihi or exchange of greetings by the kaikaranga’s from both sides. Oratory is much prized. An expert will display his knowledge of whakapapa and mythology, and his mastery of language. During whaikorero links between the ancestors and the living are made, and genealogical links between tangata whenua and manuhiri. The kaupapa or purpose of the occasion will be discussed, and perhaps general present day issues and concerns might be talked about.

Each speech is followed by the performance of a waiata, or sometimes a haka, by the kaikaranga’s support group. The quality of the performance is a matter of concern, and reflects on the kaikaranga, and the Kaikaranga’s party.

At the completion of their speeches the manuhiri will present a koha to the tangata whenua. Today it is usually in the form of money, but in the past it would have been food or valued possessions.
Then the manuhiri move across the marae to hongi with the tangata whenua. The hongi signifies the mingling together of the sacred breath of life, and the two sides become one.

Wednesday, 19 October 2016

Tauparapara

TUIA I RUNGA
To bind above

TUIA I RARO
To bind below

TUIA I ROTO
Bind inside

TUIA I WAHO
Bind outside

TUIA I TE HERENGA TANGATA
Bind the people

KA RONGO TE PO
Listen to the night

KA RONGO TE AO
Listen to the day

NAU MAI TE IHI, TE WEHI, TE WANA, TE MANA
The power, the fear, the thrill, the authority

HEI WHAKAKAPI I A MATOU MAHI
For finishing our mahi

KIA OTI AI MO TENEI WA
Let us finish for now

TUTURU WHAKAMAUA KIA TINA! TINA!
Gather, bind, entwine

HAUMIE HUI E, TAIKI E

Join together

Tuesday, 18 October 2016


Tuhi Tuhi

I te rua tekau o whiringa-a-rangi I tere tau, I haere au ki te puna taupo. I haere au ki te kaukau ai ki te whanua, I a au I te puna kaukau I taupo   au ki te wai.  Naku nga aihikirimi I hoko moki te whanua, kaore au ki te hoko ki te aihikirimi.   Na te mea I te ngenge rawa matou, me na te mea I pirangi ka matou ki te matakitaki I te pikita ka’arn ruku puna taupo.

I ta matou taenga ki te puna taupo ka puta ka puta atu matou I te motoka, I a matou e taraiwa ana ka tangi taku waea.  Ko reira took mama korere ahau ki te kia haumaru, na ka whiti matou I te huarhi ki te I ke’ern ruku I roto I te roto taupo.  I te mutunga o te ao te ra I haere matou te fare he ra nui.