Category Archives: Māori

Unique dog skin cloak – soon to be on show at Te Papa

Every exhibition I work on is different. Each time I learn more and my basket of knowledge (my kete) expands and grows. This time it’s a wonderful exhibition about Māori cloaks, which features many kākahu from Te Papa’s collection, plus a small number of unique taonga which we’re fortunate to borrow from elsewhere.

Kahu Ora Living Cloaks opens in about 2 weeks time on Friday 7 June, and we start to install the taonga in the gallery next week. A week or so ago a very special cloak, a huru kurī, made from eight dog skin, or kurī, pelts stitched together arrived on loan from Puke Ariki in New Plymouth.

I was one of a  group of staff  who were excited to see this unique cloak – the only one of its kind that exists today – for the first time. We had read about it, researched it, and written about it for the exhibition, but this was the first chance to see this taonga close up. The person who once wisely cautioned me to never write a label for an object without seeing it for yourself – well they were right…

Te Papa staff look at the huru kurī cloak in Te Whare Pora, the collection store. Photograph by Moana Parata, copyright Te Papa.

Te Papa staff look at the huru kurī cloak in Te Whare Pora, the collection store. Photograph by Moana Parata, copyright Te Papa.

What really struck me was that each of the eight dog pelts stitched together to make the cloak is different. Some are white, some are dark black, and one has fox-like fur of quite a different texture. The white fur on another pelt is quite curly. And while I knew that the tails and pointed ears of the dogs were visible on this cloak it was another thing altogether to see them!

Te Papa staff look at the huru kurī, cloak stitched from whole dog skins, on loan from Puke Ariki. Photograph by Moana Parata, copyright Te Papa.

Te Papa staff look at the huru kurī, cloak stitched from whole dog skins, on loan from Puke Ariki. Photograph by Moana Parata, copyright Te Papa.

Under the careful supervision of Conservator Anne Peranteau we  looked at the other side of the cloak.  Anne pointed out where you could see the imprint of the dogs’ ribs, still visible in the dried skin. To see the thickness of the leather and the quality of the stitching made me realise how much skill and effort was involved in making this cloak.

This taonga will now be carefully mounted and displayed in a section of the Kahu Ora Living Cloaks exhibition that looks at Māori sewing technology and recent research in this area by experts such as Dr Patricia Te Arapo Wallace.

To find out more about the huru kurī, the history of the cloak and see more images go to:
http://vernon.npdc.govt.nz/search.do?id=294155&db=object&page=1&view=detail

Mere pounamu (greenstone weapon) named Whakaae-whenua. Te Āti Awa iwi (tribe) (ME024035)

Whakaae-whenua – a recent acquisition

Mere pounamu (greenstone weapon) named Whakaae-whenua. Te Āti Awa iwi (tribe). Te Papa (ME024035)

Part of our roles as curators is to acquire, or purchase, taonga Māori (Māori treasures) to further strengthen and develop Te Papa’s collection.

When considering taonga tūturu (customary taonga) for acquisition, it’s the interesting, the novel, and the extraordinary that we tend to focus on these days – not surprising given that we have been collecting since 1865 and have in excess of 30,000 taonga in the Mātauranga Māori (taonga Māori) collection. With over 100 mere pounamu (greenstone weapons), we have more than enough to adequately represent the form.

However, in recent months we purchased two mere pounamu to complement our collections, Whakaae-whenua and Tinirau.

Whakaae-whenua belonged to the Puketapu chief Rāwiri Waiaua. It has become symbolic of the events that defined Māori–colonial relations in the 19th century. Today it remains a witness to the important historical events that became known as the Puketapu Feud.

Selling Te Hua (Bell Block)

In 1854, Waiaua was one of the principal rangatira (chiefs) involved in the sale of the Te Hua land block, part of the greater Bell Block in Taranaki, to the colonial government. The sale occurred at the same time that a group of Taranaki iwi (tribes), later referred to as the ‘Māori Land League’, proclaimed their determination to cease all Māori land sales between Ōkurukuru (near New Plymouth) and Kai-iwi in southern Taranaki.

Fitzroy’s Pole, Taranaki, close to Bell Block, 1856, by William Strutt (1825–1915), watercolour. Alexander Turnbull Library (E-452-f-015-3)
This pole was erected by Kātātore on the disputed Te Hua block as a boundary marker and to warn against European encroachment. It was called Te Poutūtaki by Puketapu, and Fitzroy’s Pole by Europeans. Made of pūriri wood, it stood approximately 9 metres in height and featured the carved effigy of the Puketapu leader Parata Te Huia looking down upon the cowering Europeans.

Waiaua and Kātātore clash over the sale

Waiaua’s cousin, Te Waitere Kātātore, was among those who had campaigned for the retention of Māori land for some years. He warned Waiaua not to proceed with the sale of the Hua block.

The colonial government considered this a hostile obstacle to the pastoralisation of the rich Taranaki lands by Pākehā (European) immigrants, and the continued economic growth of the colony.

The events that followed were witnessed by a neighbouring Pākehā farmer, William Hulke. Hulke farmed part of the Bell Block and was a neighbour and friend to Waiaua.

On the morning of 3 August 1854, Waiaua went to visit Hulke, expressing his concern that his dispute with Kātātore may escalate. He had been on his way to cut the boundaries for the block when he had seen someone suspiciously loading a rifle. Waiaua wished to say his farewells in case things should take a turn for the worse.

Later that morning, Hulke heard rapid gunfire. Riding out to Waiaua’s property, he encountered a terrible scene. The bodies of 4 of Waiaua’s men lay dead across the track, while 12 other men lay scattered and wounded. Waiaua was among them, mortally wounded with a gunshot to his side.

Hidden taonga – Waiaua gives Whakaae-whenua to Hulke

Hulke attended to Waiaua, who drew him near and whispered that he had secreted his mere pounamu, ‘a tribal one of great beauty and value to the Māori eye’, between his legs. He told Hulke to take it away and ‘conceal it in a place of absolute security’.

Hulke took Whakaae-whenua and returned home. His wife hid the mere in their feather mattress, which she quickly restitched. Kātātore and his men later appeared at the Hulkes’ house, accusing them of possessing the mere and demanding that they hand it over. Kātātore’s men searched the house thoroughly, but failed to find the precious mere!

Of the original 26 members of Waiaua’s party, 16 had been shot. Of those men, 6 died, including Waiaua’s brother, Pāora. Rāwiri Waiaua died 3 days later, on 6 August 1854.

William Strutt, 'The Maori Widow - Rawiri's Grave', 1855. E-453-f-002-1. Alexander Turnbull Library.

William Strutt, ‘The Maori Widow – Rawiri’s Grave’, 1855. E-453-f-002-1.
Alexander Turnbull Library.

Back home – Hulke returns Whakaae-whenua to Waiaua’s whānau

Several years later, the Puketapu tribe met with Sir Donald McLean, then Chief Protector of the Natives. At this meeting, William Hulke presented the mere pounamu to McLean and explained how it had come into his possession. Hulke told McLean that he hoped the mere might now be passed on to Waiaua’s young son.

McLean addressed the Puketapu people and related how the mere had been entrusted into Hulke’s care. Waiaua’s young son was called forth, and Whakaae-whenua was placed into his custody.

Two other murders, the killing of Rīmene of Ngāti Ruanui and, later in 1858, that of Kātātore (ambushed in retaliation for Waiaua’s death), triggered a series of violent retaliatory intertribal feuds. These feuds eventually collided with the ongoing political tensions around Māori land and resulted in the violent conflagration that was the Taranaki land wars.

The whānau give Whakaae-whenua to Parris

Whakaae-whenua was later presented to District Land Purchase Commissioner Robert Parris by two elder relatives of Rāwiri Waiaua, Karepa and Haena. They said it had been promised to Īhāia Te Kirikūmara as payment for the killing of Kātātore. Karepa and Haena now feared that handing over Whakaae-whenua to Īhāia might escalate hostilities.

Parris agreed to accept the mere on the condition that he could consult Īhāia and seek his approval. Īhāia consented on the understanding that Whakaae-whenua would remain with Parris. Parris retained the mere for the remainder of his life.

On one occasion, Rāwiri Waiaua’s widow visited Parris to see the mere. ‘I put it into her hands, and she lay down on the floor with it on her breast, weeping and sorrowing in true Maori fashion.’

Whakaae-whenua remained among Parris’s descendants for the following four generations. It was acquired by Te Papa Tongarewa in 2010.

References

Taranaki Herald, 28 October 1908, issue 13794, page 3, ‘Early reminiscences’ (related by the late Mr W K Hulke to Mr W H Skinner)

Puke Ariki website

Memorial Cross. Margaret Marks

The inscription reads: ‘He pou whakamahara ki a Rawiri Waiaua me ona hoa i hinga i ten[e]i takiwa i te 3 o nga ra o Akuhata 1854 i a ratou e hapai ana i te mana o te kawanatanga.’

Translation: ‘This is a memorial to Rāwiri Waiaua and his tribesmen, who died here on 3 August 1854 while they were upholding the mana of the government.’

In actual fact, they were asserting their own mana and independent authority, rather than that of the British Crown.

‘Pīata’ – a cloak returns home

He kanohi kitea, he hokinga mahara.
To see a face is to stir the memory.

On Sunday 6 May 2012, a beautiful kahu kiwi cloak from the Te Papa collection, was named by her descendants as part of a special church service held at Rongomaraeroa marae, Porangahau.

Te Papa Press recently published a cloak book Whatu Kākahu: Māori Cloaks edited by Awhina Tamarapa, Māori Curator. The cover of the book features a detailed image of this stunning kahu kiwi.

Part of the research for this book included liaison with weavers, textile experts, researchers and descendants to bring together information on the cloaks held by Te Papa. We were fortunate to have the guidance of Professor Piri Sciascia from Victoria University, Wellington for this particular kahu kiwi. How the cloak came into the museum collection was pieced together from archival records. Piri, his sister Marina, and their whanaunga Morehu Tūtaki, gave the history and whakapapa of their tipuna whom the cloak originally belonged to – an amazing wahine Rangatira- Rāwinia Ngāwaka Tūkeke. Her story and the journey of her cloak unfolded.

The journey home of Rawinia’s kahu kiwi after more than 150 years away was an emotional and joyous occasion. The whānau of Ngāti Kere, Ngāti Pihere, Ngāti Manuhiri, Ngāti Hinetewai and members of the Porangahau St Hill-Warren and Lambert families connected to the cloak’s history, welcomed Te Papa representatives with the pōwhiri onto the marae.

Te Papa was led by Tainui iwi resident kaumātua Taki and Ratau Turner, with Hema Temara and Tamati Cairns from Ngāi Tūhoe. Te Herekiekie Herewini and Mark Sykes were the cloak’s couriers.

Awhina Tamarapa and Hawke’s Bay Museum kaitiaki Tryphena Cracknell carried the cloak to the mahau of the wharenui during the pōwhiri. The sun peeked out and the mist rose, during the whaikōrero. Soft rain fell while the people gathered inside for the church service. “Kei te heke ngā roimata o Ranginui” – tears of happiness were shed”. A taonga returns to be with her people.

Descendants of Rāwinia Ngāwaka Tūkeke gather around the kahu kiwi before the blessing inside the wharenui Te Poho o Kahungunu. Rongomaraeroa marae, Porangahau. 6 May 2012.

Descendants of Rāwinia Ngāwaka Tūkeke gather around the kahu kiwi before the blessing inside the wharenui Te Poho o Kahungunu. Rongomaraeroa marae, Porangahau. 6 May 2012. Photographer Mark Sykes, Te Papa.

The blessing service inside the wharenui Te Poho o Kahungunu was led by Reverend Harriet Cutbush and Reverend Leo Te Kira. The cloak was carried into the wharenui by Ashton St Hill-Warren and placed on a table at the front of the assembly.

During the service, Rāwinia’s cloak was named ‘Pīata’, meaning ‘to shine, to glisten’, by Morehu Tūtaki. Pīata was the name of Rāwinia’s mother. Such a powerful, symbolic act, transcends the physical world. All present witnessed the spiritual and cultural reinstatement of the people to their taonga. ‘Piata’ remains a beautiful and precious symbol of their whakapapa and the community’s entwined relationships, which completed a full circle that day.

‘Piata’ will be on display in the upcoming Te Papa cloak exhibition Kahu Ora Living Cloaks, which opens on Friday 8 June. Piri’s daughter Atareta, has been photographed wearing ‘Pīata’ as the main promotional image for the exhibition.

Our thanks and best wishes to the people of Porangahau, and for all those that contributed to the day.

E kore e kitea ngā kokona o te ngakau.
The corners of the heart cannot be seen.

Awhina Tamarapa and Pamela Lovis

Arnold Manaaki Wilson

Arnold Manaaki Wilson
1928–2012
Ngāi Tūhoe and Te Arawa iwi (tribes)
Artist

Arnold Wilson in his studio. Photo: Norman Heke, Te Papa

Arnold Wilson in his studio. Photo: Norman Heke, Te Papa

Ahakoa ruarua noa o kupu i takoto
Anō te rite he whakatauākī te reka
I puta ai āu mahi tohungatanga
I runga i te tatangi o te kī.
Tirohia mai rā aku pewa
I taurite tēnei ka tītoko
Kei te ngaru whakateo
E tere atu rā i Ohinemataroa
Kia tū mai koe Parekohe
Me koe Taiarahia tāria ake rā
Kia rite tonu ki te mata rākau
He wā poto noa
Kia whakatau ake au
Ki runga o Maungapōhatu
E kore a muri e hokia.

Dr Arnold Manaaki Wilson was one of the pioneers of modern Māori art. Of Ngāi Tūhoe and Te Arawa descent, Wilson was the first Māori artist to graduate from the University of Auckland’s Elam School of Arts. In 1955, he gained a Diploma of Fine Arts with first class honours in sculpture.

Wilson was influential as an artist, educator, and mentor. He was one of a group of artists – including Ralph Hotere, Muru Walters, Selwyn Muru, Paratene Matchitt, Fred Graham, and the late Katarina Mataira and Cath Brown – who became known as the Māori modernists. They were the first generation of Māori artists to engage with the styles and forms of international modern art, and to experiment with new ideas about the style and function of Māori art.

As ambassador, advocate, agent provocateur, educator, and exemplar, Arnold Wilson played a pivotal role in the positioning of such art in national and international forums. 

- Professor Jonathan Mane-Wheoki, Elam School of Fine Arts

In 2001, Wilson received the Te Tohu Toi Kē Award from Te Waka Toi for new directions in contemporary Māori art. He received an Arts Foundation Icon Award in 2007 and, in 2008, an honorary doctorate from AUT University, acknowledging his work in education and the arts. He was a made a Member of the said Order (MNZM) for services to Māori and the arts in the 2010 Queen’s Birthday Honours list.

Fresh on the bookshelf – Tangata o le Moana: New Zealand and the People of the Pacific

Tangata o le Moana: New Zealand and the People of the Pacific, Te Papa Press, 2012

Aotearoa New Zealand is home to a large Pasifika population. This illustrated collection of essays is the first of its kind to tell their stories – from the legendary feats of the ancestors of modern Māori, to the politically explosive dawn raids of the 1970s, and beyond.

This beautiful book is lavishly illustrated with hundreds of historical and contemporary photos and archival documents. Drawing on a rich cache of oral history, it is a fresh and surprising record of over a thousand years of discovery, encounter, and cultural exchange. The research for this book commenced in 2003 and produced a major  exhibition which opened in 2007.

For more information about the book click on the image above.

To view details about the exhibition Tangata o le Moana: The story of Pacific people in New Zealand  click on the image below.

Mannequin (Marquesan warrior), 1959, White, Gordon, Wellington. © Te Papa.

How much is that doggie in the window? The one with the…

A waggley tail is among the many body parts missing from this particular dog. One of the more unusual items acquired by Te Papa recently was this mounted dog’s head, claimed to be a kurī (Māori dog).

LM002857. Mounted dog head, claimed to be a kurī (Māori dog). Photo: Alan Tennyson, Te Papa

Kurī were brought to New Zealand from Polynesia by the ancestors of Māori, and were found throughout the country at the time of early European contact. Kurī were highly valued by Māori as a source of skins, meat for consumption by chiefs and priests, as well as for hunting birds. Kurī bones were used to make tools, and their bones, teeth and fur were used to make necklaces and pendants. However, kurī were rapidly replaced by or crossed with European dogs, a pattern repeated throughout Polynesia. As a result, kurī have long been extinct, and few specimens are known to exist.

Kurī were small, long-haired dogs about the size of a border collie. Like other Polynesian dogs, they were short-legged, with pricked ears, a terrier-like snout, and a powerful jaw. Most were white, or white with dark patches, but some were black.

LM000828. Kurī (Māori dog) on display in Te Papa exhibit ‘Blood, Earth, Fire: Whangai, Whenua, Ahi Ka’. Te Papa image MA_I006390

Te Papa has a mounted kurī on display in the exhibition ‘Blood, Earth, Fire: Whangai, Whenua, Ahi Ka’. This was one of two shot in the Catlins district in 1876. The only other intact mounted kuri known to exist is in Otago Museum.

Little is known about the provenance of the head recently acquired by Te Papa. Is it genuine? Is it a hoax? Is it a case of mistaken identity? We can address these questions now that the specimen is in the Te Papa collection. The Natural Environment team will be investigating further using a variety of genetic and forensic techniques.

LM002857. Mounted dog head, claimed to be a kurī (Māori dog). Photo: Alan Tennyson, Te Papa

Behind the scenes: installing the Collecting Contemporary exhibition

Over the last couple of weeks, we have been busy installing an updated selection of works in the Collecting Contemporary exhibition on Level 5. Collecting Contemporary is an exhibition featuring some of the contemporary New Zealand art works that Te Papa acquired between 2006 and 2011.

Read more about Collecting Contemporary

As a curator, the installation period, or changeover, of exhibitions is always an exciting time – stressful, fun, tiring, and exhilarating. Other tasks have to be put on hold while the project team concentrates on getting the show ready to open.

In this blog post, I wanted to share some behind-the-scenes photos that were taken as we installed the exhibition. I always love seeing these sorts of images from other museums – to see the craft of skilled technicians carefully installing art works and to get a sneak preview of what’s going to be on show.

Watch this space. One of the rooms before the new works are installed. On the left are two paintings by Simon Morris, Pause 4.5 and Pause 5.5, 2006. Photo: Sarah Farrar, Te Papa

Watch this space. One of the rooms before the new works are installed. On the left are two paintings by Simon Morris, Pause 4.5 and Pause 5.5, 2006. Photo: Sarah Farrar, Te Papa

Leftovers after a work has been de-installed. Photo: Sarah Farrar, Te Papa

Leftovers after a work has been de-installed. Photo: Sarah Farrar, Te Papa

Te Papa installers patch up the gallery walls. Exhibitions Co-ordinator Hutch Wilco estimates there are probably about 60 layers of paint on this particular wall from different exhibitions over the years.

Te Papa installers patch up the gallery walls. Exhibitions Co-ordinator Hutch Wilco estimates there are probably about 60 layers of paint on this particular wall from different exhibitions over the years.

Getting the equipment ready to show Lisa Reihana’s video installation Groundswell, 2005. Photo: Sarah Farrar, Te Papa

Getting the equipment ready to show Lisa Reihana’s video installation Groundswell, 2005. Photo: Sarah Farrar, Te Papa

Te Papa installer Callum prepares the gallery for a selection of works from Gesamtkunsthandwerk, a collaborative work by Karl Fritsch, Martino Gamper, and Francis Upritchard. Photo: Sarah Farrar, Te Papa

Te Papa installer Callum prepares the gallery for a selection of works from Gesamtkunsthandwerk, a collaborative work by Karl Fritsch, Martino Gamper, and Francis Upritchard. Photo: Sarah Farrar, Te Papa

Te Papa installer Sam installs a suite of works by Wellington photographer Anne Noble, Ruby’s room, 1998–2007. Photo: Sarah Farrar, Te Papa

Te Papa installer Sam installs a suite of works by Wellington photographer Anne Noble, Ruby’s room, 1998–2007. Photo: Sarah Farrar, Te Papa

Te Papa installers Brad and Callum install the suspension rig for Jim Allen’s works. Photo: Te Papa

Te Papa installers Brad and Callum install the suspension rig for Jim Allen’s works. Photo: Te Papa

It’s a team effort. Art Collection Managers Lucy and Frances lend a hand. Photo: Te Papa

It’s a team effort. Art Collection Managers Lucy and Frances lend a hand. Photo: Te Papa

Thank you to all the crew who worked on getting this show ready and, especially, a heartfelt thank you to each of the exhibiting artists.

If you happen to be in Wellington, please pop in and visit the exhibition. It’s free and on Level 5.

Out-of-towners, check out the show online

See video interviews with some of the artists

Sarah Farrar

Curator, Contemporary Art

More stories than you can shake a tokotoko at

Sorry about the length of time between posts, I’ve been juggling a bunch of different gigs and research duties. The fun don’t stop! But regardless of my shameless plea about time poverty, I better get this blog back up off its flatline….eep.

I’ve only been a curator for 7 months and even if you were the brainiest most well read person in the world, a curator is really only as good as their knowledge of their museum’s collection. So in familiarising myself with the Taonga Maori collection at Te Papa, I’ve been systematically going through all the collection areas, drawers, shelves and trawling our collection database, trying to cast my eye over as many of the taonga as possible. With 35, 000 pieces in the Maori collection alone, you can imagine this is going to be a long getting-to-know-you process. There are stories and mysteries at every turn in the museum, more than you can shake a tokotoko at, the place heaves with detective trails just waiting to be followed up. I’ll eventually try and cover them all, should take me about 200 years.

But for this blog I thought I’d talk about one interesting little object that I stumbled across in one of the drawers in our collection stores.  In a small metal drawer, secured in a cliplock plastic bag was this little oddity.

Small, about the size of an outstretched hand, and weighing about as much as a tea cup – it had no information other than a small accompanying cardboard label in the plastic bag.

 

Now immediately before anyone gets the wiriwiris, this isn’t a skull tiki. Even I blanched a bit when I saw the label but most of the objects made from modified human bone or remains are all in a specially designated room in Te Papa, well-secured and with restricted access. So I knew it was highly unlikely that this was human bone. It was too heavy and dense a material, and there was a glossy quality to its surface that looked too artificial to be bone. I guessed it was probably ceramic or something along those lines but held off making a decision until I had investigated everything.

I examined it carefully, photographed it, weighed it, noting any strange qualities or clues. It was a beautifully carved four-limbed creature. Piko-o-rauru (plain spirals) embellish the buttocks, while rauru (notched spirals) are found on what could be termed the back/shoulders. The head is small with two large very round blue-glazed eyes, a mouth with teeth, and a small suspension hole. The splayed left hand is held upright while the right hand terminates in a manaia joined to the right foot. On the reverse side, there are pencil markings and cross-hatch markings, presumably from a mesh cloth used in a plaster-making process (establishing pretty quickly it was probably made from plaster or ceramic). A small length of coarse twine is tied to the hole between the right hand and foot.

Once I was satisified with the physical once-over of the object, I went to the archives to check if any record existed of it (none did). So I happily went on a detective hunt (the fun part of the job).

First thing is start with the written material that came with the object. The cardboard label held a clue that I used to establish the most probable period or year the replica might have been made. The G.R. and the image of the crown is a definite time marker. The G.R. stands for George Rex, a regal stamp for George V. George Vs reign started in 1910, so the label has helped me figure out that the replica was made at least after 1910 and no later than 1936, when George V’s reign ended. Good, timeframes are handy for museum records…

The second lookup was to scan for any mention of ‘skull tiki’ and I found several references relatively quickly. The best were found in two written sources: a 1932 JPS article by Henry Skinner about Maori amulets and a large book published 1898 by James Edge-Partington called Ethnographical Album of the Pacific Islands. The James Edge-Partington book was probably the most helpful. In the late 1800s, Partington – a keen collector and ethnologist of Pacific material – researched and documented private and public collections of Pacific and Maori material. These collections were found in NZ, England, and Australia; his book is a fascinating sketched record of holdings at that time. And nestled within the pages of this enormous book was the following sketch of a “skull tiki” held at the British Museum, recorded between 1890-98 (Partington’s research period for the book):

Bingo. So what I had at Te Papa was probably a plaster replica of a British Museum original. I tracked the records at the British Museum and reconciled on our database where the Te Papa copy came from. The original at the BM is classified as a ‘skull tiki’ and probably from the occipital section of the skull. The British Museum has no acquisition information about this piece but they have made an attribution to Taranaki, early 19th century. It was worn as an adornment, across the chest hanging from the neck. While it is described as a tiki by the British Museum, there has been some korero among my curatorial colleagues and me about whether it can be rightly called a tiki. It deviates from the template a hei tiki usually conforms to. But that can be left for a proper discussion at another time.

So I now have a source for the replica and a year it probably made its way to Te Papa’s museum predecessor – the Dominion Museum. But what was still unknown was how did it get into the collection store? Why did Te Papa have a copy of a British Museum piece? To answer that required more archival digging…

Because I now had a date (circa 1910), I hunted through old correspondence held from that time in the museum’s archival records. There was one letter from Augustus Hamilton dated June 4th 1909 addressed to James Edge-Partington requesting permission to take a cast copy of a putorino (bugle flute) that had caught his attention after reading Edge-Partington’s book mentioned earlier.

Also in the letter, Hamilton mentions he had written to the British Museum asking for casts of pieces he had seen. It suggests that as he read Edge-Partington’s Ethnographical Album of the Pacific Islands, Hamilton may have been treating it almost like a shopping catalogue and, he would have seen the image of the British Museum skull tiki and added that to his list of requests for replicas.

So the mystery is sort of solved…the British Museum ‘skull tiki’ would have been seen by Hamilton in Edge-Partington’s book around 1909. Hamilton then sent a request to the BM asking for a cast replica to be made, which would have made its way back to New Zealand around 1910. And ever since then, it has sat in the Collection Stores. There are no records of it ever being exhibited and certainly, it has never been researched until now. It had never been registered and no records were ever kept with it and, the funny thing about museums, if an object isn’t registered or recorded, it is almost as if it is invisible or doesn’t exist.

So now after a bit of hunting, we are able to figure out this quirky little object’s history and reconcile the records accordingly. It is a replica of an even more mysterious original held in a museum thousands of miles away. And even though it’s a replica and easily dismissed because it is a copy, I think its existence and story alludes to some interesting trade/copy traditions between 19th/early 20th century museums. I’m not sure if today you would see such a willing response by a museum to copy a collection item for another museum. And in a time of Google or Collections Online where access to other museum’s collections around the world is usually at the click of a mouse button, it is should be easy to imagine how eager museum professionals of the late 19th/early 20th century would have received or taken up opportunities presented by a large book such as Edge-Partington’s tome.

William Colenso Bicentenary – conference registrations open

This year marks the bicentenary of William Colenso’s birth (1811-1899). In celebration our colleagues at the Hawke’s Bay Museum and Art Gallery, Napier are hosting a bicentennial event this coming November (9 – 13 November 2011).

The aim of the bicentenary is to explore the highly complex character of Colenso ‘in the round’ – as ‘a talented polymath, at home crossing the Ruahines, providing Kew Gardens with knowledge of New Zealand plants, or writing and printing the only published eyewitness account of the signing of the Treaty of Waitangi’.

The celebrations will be centered on a two-day academic conference featuring international author and science historian, Dr Jim Endersby of the University of Sussex and Peter Wells, author of the new book The Hungry Heart – A Journey with William Colenso, as keynotes. They will be joined by 12 speakers new research into all aspects of William Colenso’s life.

An accompanying programme of events held across Hawke’s Bay, hosted by HBMAG and partners will include; a journey into William Colenso’s Napier, a tramp to the foot of Colenso Spur in the Ruahine Ranges, a Choral Evensong and Sunday Service at the Waiapu Anglican Cathedral and a exhibition, floortalk and workshop by award winning Havelock North botanical artist Terrie Reddish at the Hastings City Art Gallery.

Visit the William Colenso Bicentenary website to see the full programme of the conference and events taking place, and to register for the bicentenary.

A cross-tree from the crossroads – ME001431

A large part of our role as Matauranga Maori curators is to constantly research and find out more about the taonga Maori that Te Papa holds. We research for exhibitions, books, and ensure as much is known about the collection as possible. However, with 35, 000 taonga, curatorial research can be a lifelong pursuit. One of the taonga I’m researching at the moment is this cross-tree. If you were to come and visit Te Ahuru Mowai – the largest Maori collection store in Te Papa – as part our Back-of-House tours; I would guide you towards the back of the storeroom and direct your attention to this – sitting high on a storage grid:

© image Puawai Cairns
© Te Papa

This unusual looking item is called a cross-tree, dates from probably 1864-1870. It is over 5 metres long. At its widest it is the width of an old telephone pole and and its narrowest, it’s the width of an upper arm. It is covered with a fading red paint, some parts are particularly still bright red though. And there are two carved manaia at either end. One looks pretty fierce with a protruding tongue and the other is tongueless but no less impressive. Associated with the Pai Marire faith that emerged around 1862 from Taranaki, cross-trees were components of a larger flagpole called a niu. The cross-tree name describes essentially how it was attached to the flagpole, where it was fixed horizontally approximately two-thirds or halfway up a central pole.

Flags were flown from the central niu, from the cross-trees or from the ropes that bound the structure together, as you can see in the example image below.

James Cowan (1956) The New Zealand Wars: A History of the Maori Campaigns and the Pioneering Period: Volume II: The Hauhau Wars, (1864–72). Wellington, NZ. p 297.

Te Papa’s cross-tree was acquired from THOMAS EDWARD DONNE who had been collecting taonga Maori for many years before selling his collection to the Dominion Museum in 1905. It has never been in an exhibition before and has always caught my attention.

I called this blog ‘A Cross-tree at the Cross Roads’ and pretty deliberately so. The period of the New Zealand Wars, the rise of Pai Marire (and the slightly later rise of Ringatu and Te Kooti) was a period of intense change and conflict for Maori and Pakeha. Other well-known historians have gone into this crucial nation-breaking/nation-building time for Aotearoa so I won’t go into a big essay about it here – save that for another time. But needless to say, the volcanic times of the mid 1860s created a hotbed for immense change – it was a cross-roads of sorts for this country.

Also geographically, the history of this cross-tree is important. Donne collected it from Galatea which, during the period of Pai Marire, was a hub of colonial, tribal and military activity – so again, it was another crossroads. The famous soldier Gilbert Mair Jr had a base there called Fort Galatea that he used to push into the Urewera country in campaigns against the Tuhoe and Pai Marire converts. It is important to know that at the time, Pai Marire were considered dangerous rebels and there was a concerted mission to supress the rise of converts. Whenever a band of government soldiers would overtake a pa that had aligned itself with the Pai Marire, one of the first things they were reported to have done would be to cut down the niu. Interesting that this action confirms that importance that both warring parties placed on its potency as a symbol….

But back to the business…when I take visitors through the stores, I usually stop in front of this piece and ask them what they think it is. The various answers I get are “a ship’s mast”, “a crane for lifting things” and so on. And this isn’t so far fetched. The very first niu to have been erected by the main Pai Marire prophet Te Ua Haumene, had reportedly come from the mast of a ship called the Lord Worsley. So it isn’t so bad sometimes when looking at taonga for the first time to trust some of your guesses.

I’ve said earlier that researching taonga can take a considerable amount of time and effort. Last week a crew of Collection Managers and one of our photographers worked hard to get images of the cross-tree, a slightly awkward task given the size and shape of the cross-tree. It was too large to comfortably take down to the photography studio so it was arranged that it would be photographed in the collection store.

© Puawai Cairns

I also had one of the Conservators to assist in checking it over, and to examine the paint and wood. The paint or pigment on the cross-tree appeared pretty unstable. While we handled it with rubber gloves, the pigment still left a residue on our hands, even with very careful handling. It has a very powdery quality – kind of like the old powdered tempera paint that primary school kids from the 70s and 80s would have used. Because of this I had suspected it was kokowai rather than European paint that had been used to colour the cross-tree (kokowai is a fascinating story all on its own but click here if you want to know more about it). And while Maori in the 1860s had access to european paint, the contemporary writings from the 19th century also describe niu as being painted with the traditional kokowai rather than european lead-based paints.

© Puawai Cairns
I’ve written the official description and that’s now available on Te Papa’s Collections Online here, along with more images of the cross-tree.

I have been researching it for the last four months and hope to have a more detailed paper and presentations readied for the public within a few months time. While there is very little knowledge about this actual cross-tree, the more research I uncover about it the more intriguing and hugely significant the stories attached to it become. That is the marvellous thing about working closely with taonga; you never know what it will tell you until the timing is right.

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