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Matau: traditional hooks

9 October 2012 – 8.21am

The exhibition Matau: Traditional hooks, innovative designs, closes at the end of November. Next Monday, Te Papa’s Chris Paulin, curator for the exhibition, will be giving an illustrated talk on the intriguing story of matau, and how Māori quickly integrated European tools and technologies with the traditional matau form that had served them so well.

Traditional bone hooks were used to catch large quantities of fish. As some of the hooks were more efficient than steel hooks, the designs have recently been adopted by present-day fishers. ME004877. Copyright Te Papa.

Whilst early European explorers considered the traditional matau ‘ill-made’ and ‘of doubtful efficacy’, in fact, the design was sophisticated and highly effective, as modern-day fishers have recently rediscovered.

The exhibition features several exquisite examples of contemporary hei matau made from pounamu, ivory, and wood: sturdy bone hooks big enough to land a shark, and delicate double-barbed rotating hooks made to catch small-mouthed fish. There are trolling lures fashioned from pāua shell, and slender matau toroa – hooks designed especially for catching albatross.

http://www.tepapa.govt.nz/WhatsOn/exhibitions/Pages/MatauTraditionalhooks.aspx

Monday’s talk will describe how, without the technology to extract metal, Māori originally made fish hooks from wood, bone, stone, and shell. European introduction of metals led to the loss of the traditional techniques and bone and stone matau were initially discarded but soon acquired new significance as highly collectible artefacts and, more recently, as personal adornment and symbols of cultural revival.

Matau: Traditional hooks, innovative designs
When: Monday 15 October 2012, 10.30am–12noon
Where: Te Papa
Cost: Friends of Te Papa $15, Guest $20 (includes refreshments)

By chrispaulin | Comments (0)

Celebrating Vagahau (Language) Niue

8 October 2012 – 3.31pm

To celebrate Vagahau Niue: Niue Language Week (6-13 October 2012), the Pacific Cultures team are highligting stories about Niue focusing on taoga (treasures) from Te Papa’s collection.

Canoe Making in Niue; CT.027510; 1972, Te Papa

In 1972, over a few months, a group of scientists from Te Papa, then known as the Dominion Museum, made a visit to Niue as part of an expedition to survey the natural environment. Included in the group was Curator of Birds, Frederich-Carl Kinsky who took images of vaka (canoe) making at Lalokafika on the Alofi–Hakupu road. Some images capture the cutting down and shaping of the moota tree (Dysoxylum forsteri) by local Niueans including Piavale and Dr Harry Nemaia, who was formerly Director of Health in Niue and a respected vaka maker. These images are now in the Photography Collection and are available through Collections Online.

Canoe Making in Niue; CT.027509; 1972; Te Papa

On the same trip, zoologist John Yaldwyn collected several kato (basket) from the local market. The kato range in style from kato tupe (money purses) to oval ribbed styles for storage. Along with cultural items, specimens of birds, fishes and plants were also collected. These images and objects are a reminder of the museum’s relationship with Niue, and provide an important time capsule in the country’s history.

Kato (basket); Niue; FE006157; Te Papa

By Safua Akeli | Also posted in Pacific, Photography | Tagged kato, museum, Niue, scientist, Te Papa, vaka | Comments (0)

Going International, Part II – What caught my eye at two recent botany meetings

24 September 2012 – 6.20pm

Here are just a few of the many highlights from the two international botany conferences I recently attended: Botany 2012 (Columbus, OH, USA) and Biodiversity and Evolutionary Biology 2012 (German Botanical Society 21st International Symposium, Mainz, Germany).

Plant identification goes visual, interactive and mobile

Plant identification keys are useful when you want to identify an unknown plant specimen to a species. Traditionally, keys have been found in books or other printed media, and have used written, verbal descriptions as choices that user must make (see an example here for Plantago from the 1961 New Zealand Flora). When using a conventional key, a user must proceed down the key and finally “key out” or identify the plant specimen of interest.

But keys are becoming increasingly interactive, making use of specialised computer software and including photos and drawings to aid identification (see for example Key to the Flowering Plant Genera of New Zealand). Keys are also becoming exteremely mobile, with the development of smart phone applications for plant identification (such as Leafsnap for the USA). I saw one talk by Alexander Krings about the development of these great apps for the Flora of North Carolina. Wouldn’t it be fantastic to have such mobile plant identification apps for the New Zealand flora?

I also attended a hands-on workshop about so-called “visual keys“, which rely exclusively on photos and other visual aids. At the workshop, which was run by Bruce Kirchoff from the University of North Carolina Greensboro, we were divided into groups whose task was to create our own visual key for oak tree leaves using only a set of images. Then other workshop participants tested our group’s visual key by keying out leaves from another set of images. The workshop was fun and challenging, would be a great exercise for high school or university biology courses, and got me thinking about different ways I might create plant ID keys, especially for the forget-me-nots I am currently working on.

DNA Sequencing: The Next Generation

Use of so-called “Next Generation Sequencing” in (NGS) evolutionary biology research was a dominant theme at both conferences I attended. (And even though this might sound more like something from a certain television programme from the 1980s and 90s, I can assure you I was attending botany conferences, not sci-fi conventions!) The relatively new technology of NGS allows sequencing of large portions of the genome quickly, giving us orders of magnitude more DNA data from the organisms we study and allowing researchers to understand them better and answer more interesting questions about them.

In fact I have come to Oldenburg, Germany to learn and perform NGS methods to study the evolution of certain polyploid New Zealand and European Veroncica species (more on that later). By the way, on the conference field trip to “Mainzer Sand”, I saw my first European Veronica species in its native habitat, check it out (with thanks to Aaron Liston for the photos):

Heidi Meudt on the botanical field trip to the “Mainzer Sand”, at the “Biodiversity and Evolutionary Biology” meeting, the 21st International Symposium of the German Botanical Society (DBG) , Sept. 2012. I am kneeling just behind the European plant species Veronica spicata. Photo by Aaron Liston.

Veronica spicata flowers from the “Mainzer Sand”, Mainz, Germany. Sept. 2012. Photo by Aaron Liston.

Veronica spicata fruits from the “Mainzer Sand”, Mainz, Germany. Sept. 2012. Photo by Aaron Liston.

By Heidi Meudt | Also posted in Biodiversity, Field trips, Plants | Tagged DNA sequencing, international conferences, New Zealand, next-generation sequencing, plant identification, plant identification keys, workshop | Comments (1)

Te Papa is coming to Gisborne!

12 September 2012 – 11.05am

The Museum of New Zealand Te Papa Tongarewa is coming to Gisborne! The Education and Discovery Centre teams will be based at Tairawhiti Museum for a week of exciting art workshops and learning programmes. Schools in the Gisborne area are taking part in free hands-on workshops, exploring kākahu (cloaks), taonga (treasures) and their connection to the area of Gisborne. Two large artworks, in the form of cloaks, will be created by the students, using digital photography and mixed media. The cloaks will be on display at Tairawhiti Museum and then at Te Papa in Wellington for thousands of visitors to see.

The education staff at Tairawhiti Museum. Aaron Compton and Jen Pewhairangi. Courtesy of Dudley Meadows, Tairawhiti Museum.

Joining the team is Te Papa educator Khali Philip-Barbara, who is no stranger to the Gisborne community. Having grown up in Gisborne, Khali is excited to be returning to her roots to work with local students, extending Te Papa’s reach beyond the Wellington Region. The Te Papa team come from a variety of backgrounds, including Wellington, Sweden, Ruatoki, the Pacific Islands and Gisborne.

The Gisborne Outreach Team (from top left, clockwise) Ati Teepa, Herbert Bartley, Khali Philip-Barbara, Kim Gustavsson, displaying their favourite taonga.

Added to the mix is gifted master carver Anaru Rondon from The Bay of Plenty Matata. Anaru is offering a workshop that will give people a rare chance at making traditional tools using customary methods.

For more information contact Tairawhiti Museum or Te Papa’s Education Team.
Te Papa will be based at Tairawhiti Museum from 17 – 21 September. This is part of Te Papa’s annual national outreach programme. Te Papa wish to thank the staff at Tairawhiti Museum for their support of this programme.

By gabby lawton | Also posted in Art, Education, Kids, Museums, Māori, Pacific | Comments (2)

Kahu Ora – Toi Whakarākai, Te Wānanga o Raukawa weavers

8 September 2012 – 5.56pm

It is an honour for Te Papa to welcome this month’s resident weavers for the Kahu Ora exhibition – tutors and students from the Design and Art course of Te Wānanga o Raukawa, Otaki.

Under the name of Toi Whakarākai, senior weavers Sonia Snowden, Pip Devonshire and Elaine Bevan later to be joined by others, will occupy the weavers’ studio until the 30^th September. Famous for their beautiful work in kete whakairo, piupiu, poi and kākahu, each of these accomplished weavers bring their own special magic to Kahu Ora.

Elaine and her potae. Image copyright Te Papa.

Elaine is weaving a shaped muka and feather pōtae or cap. She deftly twines in tiny delicate tūī feathers individually with each weft row, starting at the crown and working round, adding warp threads as she goes. It is very exacting work. Elaine’s pōtae is based on two fragile and unique examples that she has studied in the Te Papa collection. We don’t know much about them, but think that they may be aged over a hundred years old. Can’t wait to see how Elaine’s pōtae progresses.

Whaea Sonia talks to an interested visitor. Image copyright Te Papa.

Whaea Sonia is processing muka, the fine, silky threads extracted from green harakeke leaves for weaving. Her finely coiled twists of muka in groups are beautiful. Visitors are enthralled watching her demonstrate the haro (extraction) process of the muka with a mussel shell.

Whaea Sonia’s coiled muka. Image copyright Te Papa.

Pip Devonshire is weaving a muka and kiwi feather tauira (sample), using a pair of driftwood turuturu (weaving pegs) attached to a wooden base, to suspend her work. The method is an adaption of the use of turuturu for weaving kākahu in the past, the only difference is that the turuturu were held upright in the ground.

Pip weaving and talking with a visitor. Image copyright Te Papa.

Te Papa host Hohepa Potini is doing a great job with his own weaving. Hepa has been busy extracting, rolling and coiling muka fibre into bundles in preparation for a kākahu for his own children and grandchildren one day. So far he has produced over 1400 threads, phenomenal. Hepa’s feathered friend prefers to keep one eye on Hepa rather than sit with his manu-mates on the touch trolley. He’s got his hands (beak) full too. So goes the whakatauki, or proverb, of Tamaterangi from Ngāti Kahungunu-”He ao te rangi ka uhia, he huruhuru te manu ka tau. ” As clouds bedeck the heavens, so feathers adorn the bird. Meaning, being appropriately dressed is everything.

Hepa coiling muka. His mate manu helps out. Image copyright Te Papa.

Come see and talk to the Toi Whakarākai weavers, with Hepa, Lucy and the host team in Kahu Ora, from Wednesday to Sunday, 12-4pm.

By Awhina Tamarapa | Also posted in Exhibitions, Māori | Tagged Kahu Ora | Comments (0)

Documenting history on Tongan fangufangu

7 September 2012 – 1.57pm

As part of celebrating Tongan Language Week: Uike Kātonga’i ‘o e Lea Faka-Tonga (1-8 September) the Pacific Cultures team are highlighting some of the Tongan items in Te Papa’s collection. Today’s blog is the last of our series.

Tongan fangufangu (nose flutes) are beautifully crafted musical instruments. Historically, fangufangu were used to awaken the Tongan royalty from their sleep. Made from bamboo, they have intact nodes at each end, forming a sealed cylinder. However they also document important moments in Tonga’s history. Te Papa has three fangufangu in the Pacific Cultures Collection, which date from the 1800s. Etched on each fangufangu are images, words and names that tell us a story.

Translated with the kind help of Tongan staff member Lute Langi, it was discovered that the fangufangu above has several motifs written in the Tongan language including ko e fonu (this is a turtle), ko e fai (this is a sting ray) and moa ta’ane (rooster). There is also an image of a woman named ‘Malia’ and a picture of a ‘Manuao Falanise’ or French ship. The artist has possibly recorded the introduction of Catholicism to Tonga by French Marist brothers during the 1850s. Malia perhaps references Mary the mother of Jesus.

This fangufangu has the name Sione Latu inscribed. It gives the location as Tuanuku, Vava’u, the former is a coastal village in the Vava’u group of islands. There are pictures of 15 birds, 12 ships and two human figures. This fangufangu, possibly records the coming and going of European ships in the harbour area in the 1800s.

Click on the link to view the playing of fangufangu during Queen Elizabeth II’s royal visit to the Kingdom of Tonga: Watch video

For more about fangufangu, see:

Mahina, ‘Okusitino 1984 Observations of a Tongan Nose-flute (fangufangu). Records of the Auckland Institute and Museum 21 (1): 33-36.

By Safua Akeli | Tagged documenting, fangufangu, Tonga, Tongan language week, Tuanuku, Vava'u | Comments (0)

A sense of touch

6 September 2012 – 3.57pm

Written by Lucy Moore, Exhibition Supervisor

One of the joys of being a Te Papa Host is when that ‘light bulb’ moment happens – when a visitor sees or experiences something profoundly new as a result of being in an exhibition. We’ve had many of these moments in Kahu Ora in the last 2 months, often centred around the weavers’ studio, Ngā Pā Harakeke o Hine-te-iwaiwa. In this hub of activity, visitors have the opportunity not only to see and talk to weavers as they do their work, but also to pick up and feel some of the materials and tools involved in the making of these beautiful kākahu.

The sense of touch seems to bring everything together – once a visitor has immersed themselves in the displays and the stories around the gallery, they are often itching to get their hands on something! Somehow when they get to feel (and smell!) freshly-stripped muka (flax fibre) in the studio, they ‘get’ the hours of work, dexterity and creativity required to transform this magic material into something to keep you warm, safe, or recognised.

Maryjane Winiata (right foreground) showing how the haro technique is done. Image copyright Te Papa.

Many of our weavers have used hands-on samples to illustrate their mahi in their kōrero with visitors. One of our most commonly heard visitor comments is ‘I had no idea!’ as people handle a hank of whenu strands, or pick up the satisfyingly heavy patu muka, used for beating and softening the harakeke fibre.

Weavers from Porangahau interacting with visitors. Image copyright Te Papa.

We also have the touch trolley loaded with examples of muka, weaving samples, feathers, and birds – very popular with the kids (though we often have to explain how come we have a ‘real’ kiwi sitting waiting to be patted!). And our international visitors in particular seem to love giving weaving a go, using our samples set up for learning the whatu technique.

Hands on weaving for the first time. Visitor from France with hosts Hohepa Potini and Catriona McPherson. Image copyright Te Papa.

Perhaps the most moving example for me of the power of tactile experience came when a group of young women bounded into the gallery one day at the end of a school trip to Te Papa. Three of them found their way to the touch trolley and were picking up all the items with enthusiasm.

When I showed them how to strip a blade of harakeke, and gave them the length of silky smooth muka to feel, they fell silent; the eyes of one student in particular opened wide, and she asked how she could learn the craft. She took away not only the rolled strand of muka, but also the details of Kohai Grace’s weaving class at Whitireia Polytechnic. As the group left the studio, I called after her, ‘Good luck on your journey,’ and she stopped, turned around and said that that was her name – Journey!

We’re looking forward to a further 6 weeks of magic in Kahu Ora, with lots more touching moments.

Touch trolley in Ngā Pā Harakeke o Hine-te-iwaiwa. Image copyright Te Papa.

By Awhina Tamarapa | Also posted in Exhibitions, Māori | Tagged Kahu Ora | Comments (1)

The Berry Boys – the story of the Scambary brothers

4 September 2012 – 5.10pm

I often wonder when uncovering the stories of the soldiers in the Berry & Co images how I would react when faced with their situation. In times of crisis and stress we all respond differently – this must have been the same for the men who went to war. For some it was an opportunity to excel and learn new skills, for others it brought out the worst. Given the army was totally intolerant of insubordinate behaviour the outcome could be disastrous for those who rebelled. Brothers Walter and Norman Scambary illustrate this point. Even though they were from the same family they were very different people and their war stories ended very differently too.

For Gunner Walter George Scambary, pictured here with his wife Ida and son George, the war appears to have been the begining of a life long interest in weaponry. When Walter began his service in 1917 he was 24 years old, lived in Kilbirnie, Wellington and worked as a salesman. He was in the New Zealand Field Artillery, 32nd Reinforcements. He specialised in the use of heavy trench mortar, a tube like weapon designed to fire a projectile at a steep angle so that it falls straight down on the enemy. The mortar was ideally suited for trench warfare which is what Walter was engaged in.

Walter George, George and Ida Scambary, circa 1917, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

After the war, he returned home to Ida and George in Kilbirnie where he had grown up and where he lived for the rest of his life until the age of 76. He continued his interest in weaponry at the Aotea and Petone Rifle Clubs where he competed in competitions for many years.

Walter’s brother Norman William Scambary, sometimes recorded as Scambury, also served but his story sheds light on a completely different side of the war.

Norman William Scambary and unknown woman, circa 1917, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

Norman appears to have been an unsettled and possibly troublesome character in his early life. Unlike Walter who was a high achiever at the Kilbirnie Primary School, Norman attended many schools in the South Wellington area. He had been in the courts for burglary on three separate occasions. In the New Zealand Truth, Issue 408, 19 April 1913 he was dubbed ‘Scambury the Scamp’.

He attested for service in 1915 just 20 years old and served at Gallipoli and later in France. He continued his rebellious conduct while in military service and often didn’t follow orders. His records show he was punished for insolence and disobeying orders, stealing an egg, and abusive language. The punishment for crimes like these could be harsh. Norman for example received 60 days ‘Field Punishment No.1’ which typically consisted of the convicted man being secured to a gun wheel or other fixed object. He could be left there for up to two hours in 24, for three days at a time. This punishment was often known as the ‘crucifixion’ and due to its humiliating nature was viewed by many as unfair.

During World War I, 2009 New Zealanders were convicted by courts-martial many of which were sentenced to field punishment and a prison sentence. Disobedience wasn’t tolerated, misfits and those suffering battle fatigue were not treated with compassion. Norman’s final conviction was a 10 year prison sentence for deserting. He paid the ultimate price in the end. He died while in military prison from pleurisy and congested lungs on 13 January 1918.

By lynettet | Also posted in Collections Online, History, Photography | Tagged New Zealand, World War One | Comments (0)

Unsolved mysteries

22 August 2012 – 4.24pm

Perhaps you know where some of the photographs below were taken? If you can help, please note the number related to each image with your comment below. Click on the images to enable enlargement.

1) Its summer here…

Untitled (pohutukawa fringed beach), circa 1965, New Zealand. National Publicity Studios. Purchased 2003. Te Papa

2) North Island wharf

North Island wharf, 1960 s, New Zealand. Eric Lee-Johnson. Purchased 1997 with New Zealand Lottery Grants Board funds. © Te Papa.

3) Is it Otago harbour? And if so, what is the view of?

Untitled, 1880s. Burton Brothers. Te Papa

4) Coastal view – probably North Island

: New Zealand coastline scenery, 1950 s, New Zealand. Eric Lee-Johnson. Purchased 1997 with New Zealand Lottery Grants Board funds. © Te Papa.

5) Pushing a car through a township somewhere in the North Island

North Island township scene – pushstarting a stalled motorcar, 1950 s, New Zealand. Eric Lee-Johnson. Purchased 1997 with New Zealand Lottery Grants Board funds. © Te Papa.

6) Summer again…

Untitled (beach cove), circa 1965, New Zealand. National Publicity Studios. Purchased 2003. Te Papa

7) 19th century factory – perhaps near Dunedin?

Untitled, 1880s. Burton Brothers. Te Papa

8) A coastal Northland township

Coastal scenery, Northland, 1950 s, New Zealand. Eric Lee-Johnson. Purchased 1997 with New Zealand Lottery Grants Board funds. © Te Papa.

9) A real local in Rona Bay, Eastbourne – is the house still there?

Eastbourne Villa, 1921. Maker unknown. Gift of Margaret and John Christie, 1979. Te Papa

10) Somewhere in the Coromandel?

Untitled, 1880s. Burton Brothers. Purchased 1991. Te Papa

11) No clues here….

Untitled, 1890s, New Zealand. Maker unknown. Purchased 1999 with New Zealand Lottery Grants Board funds. Te Papa

12) Damage from the 1931 Napier earthquake – which bridge is it?

Untitled, circa 1931, Hawke’s Bay. Maker unknown. Gift of Mrs J Paterson, date unknown. Te Papa

13) Main street, Greytown?

Street scene, circa 1875, Wairarapa. James Bragge. Te Papa

By Lissa Mitchell | Also posted in Collections Online, Photography | Tagged beaches, cars, earthquakes, factories, harbours, houses, small towns, wharves | Comments (19)

Kahu Ora weavers – Te Roopu Miro

17 August 2012 – 3.13pm

Joy Andersen enthralling Te Papa hosts. Photo copyright of Te Papa.

After being away from work for over two months it was such a joy to see the Kahu Ora exhibition again. Over 48,000 people have visited so far in the two and a half months since its opening. That’s really amazing. One of the aims of this exhibition was to bring the cloaks out from their storeroom drawers “into the light of day”, so that people are able to see some of the rare and significant Māori cloaks of Te Papa, and learn more about this important, living art-form. It’s great to see so many people are enjoying this experience and is a testament to all the contributors and staff who made the exhibition happen.

Weavers studio graphic showing Veranoa Hetet with Huhana Smith and Rachel Collinge. Photo copyright of Te Papa.

Within Kahu Ora is a space specially dedicated for weavers to show the public exactly how much skill, dedication and knowledge is required for cloak weaving. There is no denying that actually seeing and talking to weavers in action is the best way to understand the intricacies of this highly specialised practice. There have been many ‘magic’ moments between visitors and weavers to date. Last week a gentleman came in to show the weavers a beautiful cloak that he had woven. He was from Levin and aged 80 years old. Remarkable! Thank you Lizzie, Te Papa Host, for taking the photo.

Kaumatua weaver. Photo copyright of Te Papa.

‘Te Roopu Miro’, expert weaver Veranoa Hetet and her students Joy Andersen, Robin Bargh and Susan Luke, are the current resident weavers in the Kahu Ora weaver’s studio. At least two weavers at a time will be demonstrating cloak weaving from Wednesday to Sunday 12pm-4pm, until the 2^nd September. Veranoa, of Te Ātiawa, Ngāti Tuwharetoa and Ngāti Maniapoto descent, teaches from her papakainga community base at Waiwhetu, Lower Hutt. Veranoa comes from generations of illustrious artists; her parents being the late Erenora Puketapu-Hetet, a master weaver and Rangi Hetet, a master carver. Veranoa’s great grand mother was Dame Rangimarie Hetet, Rangi’s grandmother and a beloved, highly acclaimed master weaver.

Veranoa has three beautiful cloaks on display in the weaver’s studio, two that she wove especially to be displayed in the Kahu Ora exhibition. ‘Tuhono’ is a contemporary work of black dyed muka fibre plaited in the whiri technique, incorporating panels of paua shell. Veranoa explained that the cloak is an expression of the joining of the sea (as in the paua shell) and land (as in the muka) elements that represent her and her sea loving carver husband Sam Hauwaho.

‘Tuakana’ woven by Veranoa Hetet, 2012. Back view, showing intricate houheria pattern. Photo copyright of Te Papa.

‘Tuakana’ is a stunning, white muka cloak that has very fine houheria or lace bark strands, interwoven in an intricate design on the back of the cloak. Veranoa named this cloak ‘Tuakana’, meaning senior, to pay homage to the ancient weaving connections that Māori have to the Pacific peoples. The cloak is expertly shaped like the ‘ahu ‘ula, or Hawaiian feather cloaks. Veranoa has used houheria to reference its use through other parts of the Pacific.

Joy Anderson showing muka strands to visitors

Joy Andersen showing muka strands to visitors. Photo copyright of Te Papa.

Joy Andersen comes from Foxton and is also affiliated to Ngāti Kapumanawawhiti, Otaki, through her mother. She currently lives in Island Bay, Wellington. Joy was first inspired by Erenora, Veranoa’s mother, in 2006, after watching Erenora and a group of other weavers on the marae at Te Papa. She remembers admiring Erenora as she wove. Weaving was always something that Joy’s mother wanted them to learn together. Unfortunately that did not come to pass, but by chance a few years later, Joy read about Veranoa’s classes. She joined, and from that point, says, “I got hooked.”

Joy says she enjoys working with harakeke (NZ flax, Phormium tenax) generally. She likes to weave big kete or baskets called wahakura. Joy made one at the same time as a hieke, or type of raincape, for her brother Basil. It was named ‘Kahurangi’, after the different hues of blue that Joy dyed the harakeke. Joy has on display a piupiu woven for her daughter Ellen in 2009. It is a beautiful example.

Joy is weaving her first korowai. The foundation is muka, with dyed black hukahuka and pūkeko feathers incorporated on the sides. This cloak will be for Joy’s whānau (family). What a precious taonga to have .

Weaving with Veranoa today was Susan Luke. Like Joy, she’s working on her first korowai, which has a muka foundation incorporating feathers and hukahuka. It is absolutely stunning. Do come in to meet them, admire their work and view the exhibition. Thank you to all the previous resident weavers too. You all have given so much more to the exhibition experience, just by your presence.

Awhina Tamarapa

By Awhina Tamarapa | Also posted in Exhibitions, Māori | Tagged Kahu Ora, Maori cloaks, Maori weaving, Veranoa Hetet | Comments (1)

Te Papa's Blog

Category Archives: Uncategorized

Matau: traditional hooks

Celebrating Vagahau (Language) Niue

Going International, Part II – What caught my eye at two recent botany meetings

Te Papa is coming to Gisborne!

Kahu Ora – Toi Whakarākai, Te Wānanga o Raukawa weavers

Documenting history on Tongan fangufangu

A sense of touch

The Berry Boys – the story of the Scambary brothers

Unsolved mysteries

Kahu Ora weavers – Te Roopu Miro

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