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ORIGINS -
By Mark
Kopua
Everybody's account about Mataora being responsible for
bringing Moko to this world would be correct. In general,
we all know that Mataora journeyed to Rarohenga on a quest
to win back the heart of his beloved wife, Niwareka, and
in doing so received the Moko from his father in-law,
Uetonga. As a result of that he also learnt how to apply
Moko - or Ta-Moko. However, it is apparent by this account
that, Moko was an art form and a practice already
developed and established somewhere other than the
original homeland of Hawaiki. So it is that, the more
curious may further enquire
"Where than, was Rarohenga?"
It is interesting to find, in one easily acquired source,
that on the return of Mataora to Te Aoturoa, he was
informed by one of the Rarohenga residents, Tiwaiwaka, to
postpone his return until the O-Rongonui (warm) season, in
the period of Te Tatau-Uruora (November). Surprisingly
enough this corresponds with the O-Rongonui navigational
directives, to Aotearoa, as provided by Kupe in Hawaiki.
So it indicates that, Rarohenga, as opposed to being a
mythical "Underworld," had navigational points
of reference as if it were in an island or islands far off
in the West (Uruora).
It is also interesting to find that, this same source,
mentions that Mataora was a Poporo- Kewa, suggesting by
translation, that he was of either Fijian or Melanesian
extraction. So fuelling the notion that Mataora traveled
to another island as opposed to the
"underworld."
This well known story not only tells us that Mataora
brought Moko back to us, but more importantly, it points
us to the sacred or godly origins of Moko. That mantle of
course, by virtue of genealogy, lies with Ruaumoko, the
last unborn child of Rangi and Papa who, still dwelling
within the belly of his mother, presides over earthquakes
and volcanic activity. Hense his name - Ruau - MOKO or The
Trembling Current That Scars The Earth.
Genealogy table 1.
Rangi-nui = Papa-tua-nuku
Whaka-Rua-u-moko = Hinenuitepo
Hineoi = Putahaga
Manu-tiongi = Uetonga
Niwareka = Mataora
Genealogy table 2.
Rangi-nui = Papa-tua-nuku
Tane-nui-o-Rangi = Hine-ahu-one
Hinenuitepo = Whaka-Rua-u-moko
By this account, we see that our ancestors, through the
simple observation of the natural phenomena of
earthquakes, albeit rather destructive, saw that this
deified ancestor, Ruaumoko, was responsible for the deep
uneven grooves left within the surface terrain of their
primal parent, Papa-tuanuku. In short, they witnessed, a
natural form of Moko.
Not only that but it gives a relative indicator as to the
time frame of Moko origins. So much so that considering
the time frame of Ruaumoko as somewhere near the time of
earths creation, the optimist could theorise that Moko has
been around and developing since then.
It is also interesting that early sources also say that
upon the return of Mataora and Niwareka to Te Aoturoa,
that Niwareka's moko included simply 2 markings on her
forehead and her cheeks. In fact it states that it wasn't
until some time later that the first actual Moko lips were
applied upon a woman called Ruhiruhi, during either the
period or the reign of Tiwhana-a-rangi. Additionally, it
also states that it wasn't until well into the Maori
occupancy of Aotearoa that the first "Pu-Kauwae"
or chin Moko was applied. So this, if accepted, clearly
refutes the post-European or modern opinion that chin Moko
was the only woman's moko. It also clearly indicates that
Moko, like the culture that it is derived, was never
static. It was dynamic and adapted to changes and
progressions of the time in order to validate its
existence.
MOKO MESSAGES
Every Moko, moreso the Mataora and even the Mata-kiore
facials, contain ancestral/tribal messages that pertain to
the wearer. These messages narrate a wearer's family,
sub-tribal and tribal affiliations and their placing
within these social structures. In terms of the wearers
"placing," a message would basically contain the
wearers "value" by way of their genealogy,
perhaps their knowledge or expertise and their
participation within each social level.
INHERIT OR CREDIT
There is a main thread in Moko that details whether a
person received status based upon purity of blood lines or
quality of participation. This is either by virtue of
inheritance or accreditation. For example;
An ariki, is an ariki solely by virtue of aristocratic
genealogy. This title is his/her birthright and cannot be
removed from them. However, a rangatira is made such by
either the whanau, hapu or iwi, through the quality of
their personal participation. The position is accredited
so could be removed by the power of the whanau, hapu and
iwi... or ariki.
These markings of birthright or qualification are
prominent throughout moko.
GENEALOGY
Because most people were born into and lived within the
hapu "small group/village" structure the
genealogical markings made broadcasts of that fact. This
particular information was more important to these
specific levels alone, and only relevant to any higher
groups like Iwi, if the genealogical lines warranted such
attention. So, in terms of participation, if a wearer, was
to bear some authority over any such hapu matters, the
markings would symbolize whether this was through
bloodlines or through qualification.
This was
fundamental in the conceptual and practical rituals of
encounter. As it is still recognised, the utmost respect
was afforded to those with senior birthrights and so forth
beneath them, so any diversion from that was regarded as
insult and could easily end in fatalities or worse yet,
generations of unresolved feuding. So Moko, for this
practical sense, became a tool by which a hierarchical
custom could be observed and maintained.
QUALIFICATION
Maori oral history highlights the immense value that early
Maori society placed on any form of higher learning or
understanding because knowledge was a godly given gift,
sought after by Tane-tiki-wananga. So traditional society
saw this attained skill as warranting recognition by way
of Moko markings. The pursuit of knowledge became a focal
activity for many people of those times, therefore it was
by virtue of skills and levels of knowledge attained that
markings were placed within a Moko.
Again, as
oral history tells, there was the knowledge of everyday
matters as well as the understanding of matters beyond
common grasp so these in themselves were separate
institutions of learning. Again, recognition was afforded
to such learning or qualification and in terms of
participation, if a wearer, was to bear some authority
over any such hapu orientated skills, as in being an
authority to speak or to teach, the markings to symbolize
their progression, growth and rankings were apparent.
PARTICIPATION
Moko portrayed information pertaining to an individual
wearer. Usually that information registered the type of
participation that the wearer took within their respective
groups. As mentioned previously, there were markings that
symbolized whether an expert in knowledge of the occult,
for example, was either an authority or perhaps a teacher
on the matter. These markings showed the extent of their
participation in hapu/iwi affairs. Another example, at the
iwi level was perhaps how did an individual play a role in
runanga affairs. Yet another example was an activity that
by necessity became so prevalent within Maori society,
warfare. Again Moko portrayed the appropriate markings
that relayed pertinant information relating to an
individual's prowess within this area. What command the
wearer reached. Were they simply bearers of weapons or
were they commanders and leaders of battalions? All these
had the markings in Moko. This was their individual
participation within whanau, hapu or iwi activity.
HOW TO READ THE
MARKINGS.
Some of the previous Moko information can be easily
acquired from written resource, however in most cases, the
fact that it is difficult if not near impossible to
actually read these markings, to fully comprehend them,
still remains . The above "authors" advice also
makes a point, that the meaning of one single or common
Moko symbol does not uniformly apply across all tribes or
sub-tribes so it is difficult, from that perspective, to
have a comprehensive understanding amongst so much
adversity. I do understand however, that in order to read
a Moko, one needs to be looking with a holistic mind as
opposed to two eyes. One needs to take in every single
part of a Moko, like a facial, in order to make a start in
understand what the messages are. One needs even to not
only look at what is there, but to also carefully look, at
what is not there.
This reinforces the common understanding that Moko is not
purely art, but is primarily, when applied to the wearer,
information about that person. Yet in these modern times,
we are all too aware that the information about Moko
symbolism, the directions, the instructions about how to
read them is insufficient and inadequate, to say the
least. Due to the gradual breaking down of cultural
purity, there is no abundance of human resource with that
particular knowledge and instruction. There is also the
fact that Maori art and its symbolisms are largely
suggestive, also very ambiguous to a degree and moreso,
frought with many tribal and sub-tribal variants.
There is, however one
certain piece of good advice that does make understanding
Moko much easier, albeit that it is very involved. This
advice requires that a person needs to have a
comprehensive grasp of the traditional or customary;
1. social structures and their inherent hierarchical
systems.
2. lifestyles, activities and past-times. And
3. belief system and its inherent controls.
3. concepts within their arts.
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ENCOMPASSING
- ALL MAORI DESIGNS
I have seen and applaud other Moko orientated websites
that relay the similarities and common relationships
between Moko and other Maori art forms. So it is without
hesitation that I must support their advise by reinforcing
that all these art forms have common threads that tie the
conceptual understandings of each form together. There is
for example the Kowhaiwhai and it's Koru. The carved
Poupou figures with their whakapapa and their chiseled
grooves. The Taniko weaving and lattice stitching with
their lineal systems and symbolism. All of which have
common ground with Moko. What this does, coupled with the
above, is point a person in the direction of understanding
what are the messages contained within Moko. They give the
researcher a good starting point based upon their
commonness, upon their regularities.
In all, the things to note are;
1. Maori art is usable. (Carved houses, decorative attire)
So is not purely art.
2. It is enshrined in genealogy and has a godly origin,
therefore is part of the belief system.
3. It is enshrined in history so is educational and
distributes specific information.
Koru
Moko design and symbolism, like the other art forms and
the culture it was born from was never static. It is a
dynamic form of expression that evolved in constant
development, adapting to the changes in lifestyle.
Validating its existence. Yet in saying this, researchers
will note that even over the last 200 years, there are
Maori designs that have partially withstood the colonial
process, the speed by which the culture changed, by which
it was broken down. One such design is the infamous Koru.
However, when you closely inspect the developments of the
last 60-100 years you will find too that the Koru has also
undergone various developments. From those developments
the koru grew an eye, a head, neck, body and tail. It was
given by virtue of symbolism, human characteristics that
intern gave artists a license to design and use koru which
could represent actual ancestral figures.
You will note too that Koru is the single most used
element in Moko. Even to the extent where what initially
looks like a spiral, is actually double or triple grouped
lines that spiral inward into a single koru. This grouping
of spiraling lines, albeit of a circular nature, merely
creates a spiral illusion, but is in fact, right in the
centre, a koru.
A Maori Proverb says,
"Ka hinga atu he tete-kura - ka hara-mai he tete-kura"
Translated this means,
"As one fern frond (person) dies - one is born to
take it's place"
This proverb explains that the primary meaning of the koru
is "birth," "re-growth" and
"re-generation." It is an analogy of what Koru
can represent. Coupled with the human characteristics, as
previously explained, we can see that as one supports the
other, it is safe to assume that koru represents or
personifies actual ancestors. With this in mind we can
also assume that single Koru with secondary protrusions
growing from it symbolises, by the above definition, the
natural phenomena of parenthood, of whakapapa. It
symbolises, sustainability. "Taonga Tuku Iho" .
The passing of life, information and resources from one
generation to the next.
Examples
Earlier on, the concept of inheritance and accreditation
was explained, and said to have a fundamental part within
Moko symbolism. So it is without surprise that a koru with
secondary protrusion, will represent an inheritance
through a bloodline
For double headed Koru, known as Mango Pare, most Maori
artists will tell you that this design pertains to the
warrior. This double headed "analogy" takes its
form from the Hammerhead Shark. A symbol of strength and
ferocity that best fits the warrior and the attitude
required to be successful in that occupation.
It is no wonder that Koru, with such comprehensive and
important meanings, should dominate Moko.
Haehae Lines
When you look at a facial Moko, whether the Mataora or
Mata-kiore type, the one dominating component, other than
koru, is the lines. These are prominent around the mouth,
on the lips, up the forehead and on those deceiving cheek
"spirals." Even the filling of positive areas
comprises of lines, whether they be the hatch rec-linear
or "ladder" type, the semi-curvlinear or
"ray" type or even the more contemporary notched
"chevron" type. Each line or group of lines is a
component of a larger picture and a larger story. In this
instance they have been known to refer to battles
attended, perhaps chiefs slain or even wounds received.
Which suggests that to a certain degree and even at
certain instances, it is the actual number of lines that
tells the story.
As important as it is to identify "what?" It is
equally important to know "where?" In this
instance where we talk about filling lines we do note that
fillings on the body actually differ from those on the
face. For instance the short "ladder" type is
most prominent on the legs as opposed to the
"ray" which dominates certain facial and body
areas. This mere fact, should manipulate the approach of
the researcher. It is a regularity that should be noted
and investigated. It is the "whole holistic
view" that is required. It is a view that includes
"Space and Placement."
Positive & Negative Space.
Another "common" element of single dimension
Maori art is the positive and negative components. The
positive and negative space. It is very prominent in Moko,
with each component being as vital to the story as the
other. This positive and negative characteristic has roots
implanted within the belief and hierarchical systems of
traditional Maori society.
A Maori Proverb says,
"Ma whero, ma pango - ka oti ai"
Translated this means,
"By the unity of reds (Chiefs) and blacks (villagers)
will the work be done"
This proverb conveys the communal environment and concept
that a person was born from and into. It communicates that
their lives are dictated by that system. That the
individual was part of a more powerful, more unified, more
structured and more supportive social network. They were
part of a team.
Further into this proverb the researcher will find that it
has clear and powerful links to a concept more commonly
referred to as "tapu" and "noa," which
is a huge and complex subject that includes, "Ira-atua,
Ira-tangata" and "wairua". These concepts
are fundamental to the Maori tribal belief system which
includes their traditions, rituals, ceremonies and
customs. And as such is without a doubt the single most
dominating influence within both traditional and modern
Maori society.
Placement
Placement too, is such an important part of the whole Moko
picture, yet it often gets overlooked. With Moko being
very much part and parcel of "Whakairo", Maori
carving, experienced carvers will tell anyone that
placement in their discipline, of house or canoe building,
is often a crucial element of the whole process. It is a
fundamental element of the "Kaupapa", theme or
story telling that occurs in house or canoe building. So
it is, in Moko.
Examples
With regard to placement of the woman's chin Moko. We know
that it sits upon the lower part of the mouth. We also
note that it was more customary for this Moko to be
applied when the "child" reached puberty or
there approximately. Amongst various other things this
signified 2 main things;
1. That the child/woman had reached womanhood or a
stage in her life where she was ready to marry or more
importantly, bear children.
- And with that....
2. She now commanded certain speaking rights having
naturally acquired a value of participation in her whanau
and hapu.
We note here that it is the placement around the mouth
that gives indication of her "speaking rights."
Placement Elsewhere.
Moko on other parts of the body were also relative to
their placement, meaning that the full leg and buttock
Moko, known commonly as "Puhoro" and/or "Taurapa",
had messages relative to transport and movement. For
instance, take a look at the 2 names provided.
Puhoro = Quick, fast to move or abundant speed.
It is also the name for a scroll pattern adorning the
rafers of a house and the bow of a canoe. In addition to
this the origin of the design comes from the pattern that
both, canoe paddles working through water leaves, as well
as the wake pattern left by the canoe as it travels. So in
a sense, there is a puhoro at the front, down the sides
and at the back.
Taurapa = The stern post of a canoe.
If you see some definite links between both names and
their respective explanations, it is no coincidence! It
was made and thought of, that way.
Moko on the arms, known as "Tuhonohono" and
"Tatahau" contained message relative to
occupational activity. Tatahau have oral referals as
having common ties with the puhoro pattern, so also has a
relationship through the canoe history's and activities.
CONTINUE READING
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