The Hei matau fish hook symbolizes prosperity, and sometimes strength, determination, and good health. The Pakati dog skin cloak is representative of warriors, battles, courage, and strength. The Taratarekae inspired from whale teeth , along with any other whale reference, symbolizes strength and sensitivity. The Unaunahi fish scales represent abundance and health. After learning the cultural meanings behind the different markings of the Moko , my reaction has changed from fear to respect.
Maori Gift Box. Made in New Zealand. Creation at Dawn. Kilauea Volcano at Dawn. Big Island of Hawaii. Maori Tekoteko. Because Europeans made regular contact with Maori tribes, a group of missionaries later decided to study Maori and try to convert them to the ideals of Christianity. In , taking with them a chief by the name of Hongi, the Europeans sailed back to England. While Hongi was there he worked with an Oxford University professor to write a bilingual dictionary and translate the Bible into Maori language.
He was granted an audience with King George IV and was presented with trunk loads of gifts as a reward for his evangelical efforts. Hongi exchanged his gifts for a number of muskets and an ample supply of ammunition on the way home, in Sydney. Upon his return to New Zealand, he used the weapons to launch a series of raids against enemy tribes.
The Maori later discovered that Europeans would actually trade tattooed Maori heads for weapons. Soon, the Maori people would actually raid neighbouring tribes for the sole purpose of obtaining tattooed heads, which could be traded for guns and more ammunition.
The traders then sold the heads to museums and private collectors in areas of Europe. Desperate to obtain as many weapons as possible, the Maori would behead slaves and commoners who were captured in battle and tattoo their heads post mortem. Often, even heads of poor quality or those with unfinished tattoos were still offered for sale.
One of the most noted collectors of tattooed heads was Major General Horatio Robley, who in his lifetime acquired some 35 tattooed heads. Today, 30 out of the 35 heads in his collection can be found in the Natural History Museum of New York.
Major General Robley also published a book; entitled Moko which gave extensive details on the process and meaning of Maori tattoo designs. A less historical explanation of the origin of Maori tattoo can be found in the local legend which suggests that ta moko, the Maori tattoo, came from the underworld, called Uetonga.
The legend states that there was a young warrior called Mataora, who fell in love with the princess of the underworld, called Niwareka. Niwareka came above ground to marry Mataora. However, Mataora mistreated Niwareka, which in turn, made her return to the underworld. Mataora, sick with guilt about the way he treated his wife pursued her to the underworld, only to be greeted by her relatives who laughed at his ragged appearance and smudged face paint. Mataora brought back these skills to his people and that was how the Maori came to have their distinct type of tattoo.
Maori tattoo traditionally does not involve the use of needles; rather the Maori used knives and chisels made from shark teeth, sharpened bone or sharp stones. The chisel, also called the uhi, was made from albatross bon although some were said to be made of iron.
Knives and chisels were either plain and smooth or serrated, and these were used interchangeably depending on the intended pattern or design in the skin. The inks that were used by Maori were made from all natural products. Burnt wood was used to create black pigments; while lighter pigments were derived from caterpillars infected with a certain type of fungus, or from burnt kauri gum mixed with animal fat.
The pigments were then stored in ornate containers called oko, which became family heirlooms. Oko were often buried when not in use. The black pigment that was made from burnt wood was reserved solely for facial tattoos; while those made from bugs or burnt gum was used for outlines and other less revered tattoos. Before the beginning the tohunga ta moko would study the persons facial structure to decide on the most appealing design.
As mentioned before, no two Maori tattoos are alike. Having a Maori tattoo applied was a very painful experience. First deep cuts were incised into the skin and then the chisel was dipped into the pigment and tapped into the cuts.
Another variation on this process involved dipping the chisel into the jar of pigment and inserting it into the skin by striking the end with a mallet. This manner of tattooing leaves the skin with grooves after healing, instead of the usual smooth surface left after needlepoint tattoos. Maori tattoo was once a long and labour intensive process, because it was very painful only a few parts of the body were tattooed at a time to allow healing.
There are two designs for the Maori tattoos — the normal design only involved the blackening of the lines whilst the second called for blackening the background and leaving the lines clear — this was called puhoro.
Due to the sacred nature of the Maori tattoo, those who were undergoing the process, and those involved in the process, could not eat with their hands or talk to anyone aside from the other people being tattooed. Whitcombe and Tombs Ltd, Wellington, , p. But perhaps the biggest shift in practice was the adoption of needle tattooing during the late 19th century and early 20th century.
Louis John Steele, Portrait of a young Maori woman with moko , , oil on canvas. Te Papa Combined with the interest of academics like Michael King and the continued popularity of the published works of Gottfried Lindauer and Charles Frederick Goldie, and colonial artists like George French Angas, it helped reawaken the interest of a new generation in this venerable and unique art form.
But it really hit its stride in the s. During the tattooing, Mataora sung of his sorrow and his search for Niwareka in the underworld. Niwareka heard the news and returned to him. Then permission was granted for Mataora's return to the upper world. His tattooing served as a reminder to avoid the evil actions of the upper world. He brought tattooing to the upper world and Niwareka brought a woven girdle from the underworld and so introduced the art of weaving.
The Australian Museum respects and acknowledges the Gadigal people as the First Peoples and Traditional Custodians of the land and waterways on which the Museum stands. Image credit: gadigal yilimung shield made by Uncle Charles Chicka Madden. This website uses cookies to ensure you get the best experience on our website.
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