Ta'aroa in the Creation Myths of the Society Islands
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Rangi Above/Papa Below, Tangaroa Ascendant, Water All Around Us: Austronesian Creation Myths
UNLV Retrospective Theses & Dissertations 1-1-2005 Rangi above/Papa below, Tangaroa ascendant, water all around us: Austronesian creation myths Amy M Green University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/rtds Repository Citation Green, Amy M, "Rangi above/Papa below, Tangaroa ascendant, water all around us: Austronesian creation myths" (2005). UNLV Retrospective Theses & Dissertations. 1938. http://dx.doi.org/10.25669/b2px-g53a This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Retrospective Theses & Dissertations by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. RANGI ABOVE/ PAPA BELOW, TANGAROA ASCENDANT, WATER ALL AROUND US: AUSTRONESIAN CREATION MYTHS By Amy M. Green Bachelor of Arts University of Nevada, Las Vegas 2004 A thesis submitted in partial fulfillment of the requirements for the Master of Arts Degree in English Department of English College of Liberal Arts Graduate College University of Nevada, Las Vegas May 2006 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 1436751 Copyright 2006 by Green, Amy M. -
ASTROBIOLOGY ORIGINS and WHAKAPAPA MĀORI of How the Phenomenological World Came the Potential: - a PARALLEL
Aotearoa – New Zealand IN THE BEGINNING... Māori Ways of Te Kore the nothingness, Knowing ASTROBIOLOGY ORIGINS AND WHAKAPAPA MĀORI of how the phenomenological world came the potential: - A PARALLEL. I.H. Mogoșanu1,2, T.N.W.T.A. Waaka 3, J.G. Blank1,2,4, K.A. Campbell1,5, K.P. Paul6, C.L.R. Newton7,8, E.H. to be. In the creation of the world, Rang- Tait6,7,8,9, E. Gregory10, 1New Zealand Astrobiology Network inui and Papatūānuku were the first physi- (Wellington New Zealand; [email protected]), 2Blue before the Big Bang Marble Space Institute of Science (Seattle WA USA), 3Society cal representations of ancestors that link us for Māori Astronomy, Research, and Traditions SMART (Wel- back to the creation of the Universe. Their - lington NZ), University of Otago, 4NASA Ames Research Cen- children ruled the natural world. Tāwhiri- Te Po ter (Moffett Field, CA USA),5 School of Environment and Te Ao Mārama – Centre for Fundamental Inquiry, University of matea was guardian of the winds, Tangaroa Auckland, Auckland, 1142, New Zealand, 6Ngati Whakaue, 7Te was guardian of the sea, Tāne-mahuta of Taumata O Ngati Whakaue Iho Ake, Rotorua, New Zealand, the forest, Tūmatauenga of war and man- the night: 8Ngāti Pikiao, Ngāti Manawa, 9Tuhoe, 10Waikato, Maniapoto. kind, Rongo of cultivated foods and Haumie of uncultivated foods. The children gave rise the Universe is The unwritten teachings of Mātauranga to both humans and all aspects of the natu- Māori (Māori way of knowing) in Aotearoa – ral world. New Zealand encapsulate the traditional way just energy, of relating to and rediscovering one’s own Mātauranga Māori is based on empirical linkage to the land, sea and sky based on the observations of the environment to which first atoms emerge connectedness that knowledge has with re- Māori are profoundly connected. -
Rangi and Papa Script
Rangi and Papa script Benjamin Burrell Animation: Ink droplets on watery canvas. 0:01 DARKNESS, THE BEGINNING OF TIME AND SPACE. WE SEE POWERFUL MUSCULAR GODS CRAMMED TOGETHER IN DARKNESS, RESTLESS. MONOTONE BODY SHAPES CURLED IN TO FOETAL POSITIONS REST AND SLUMBER. Ranginui and Papatūānuku are the primordial parents, the sky father and the earth mother who lie locked together in a tight embrace. They have many sons, who are forced to live in the cramped darkness between them. 0:18 WE SEE SOME MOVEMENT, AN IDEA GROWS AND WE SEE A SOFT GLOW. THE GODS COMMUNICATE. SOFT SHAPES MOVE BUT ARE INDISTINGUISHABLE. These children grow. 0:24 PANNING SHOT AROUND THE FACES OF THE CIRCLE OF GODS, THEY SIT CROSS LEGGED IN DEEP DISCUSSION, SERIOUS EXPRESSIONS AND GRAVE FACES. The god children discuss among themselves what it would be like to live in the light. Tūmatauenga, the fiercest of the children, proposes that the best solution to their predicament is to kill their parents. But his brother Tāne, god of forests and birds, disagrees, suggesting that it is better to push them apart, to let Ranginui be as a stranger to them in the sky above while Papatūānuku will remain below to nurture them. 0:33 TU THE GOD OF WAR FLEXES HIS MUSCLES AND WE SEE COLOUR FOR THE FIRST TIME, RED EYES AND HANDS 0:41 WE SEE THE FACES OF THE SKY FATHER AND EARTH MOTHER AND THEIR ARMS WRAPPED TIGHTLY AROUND EACH OTHER. RANGI WITH HIS LONG FLOWING HAIR THAT CHANGES FROM DARK BLUE TO LIGHT BLUE AND PAPA WITH HAIR LIKE ROOTS THAT CHANGE TO TREES AND LEAVES AT THE ENDS. -
Te Wairua Kōmingomingo O Te Māori = the Spiritual Whirlwind of the Māori
Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. TE WAIRUA KŌMINGOMINGO O TE MĀORI THE SPIRITUAL WHIRLWIND OF THE MĀORI A thesis presented for the Degree of DOCTOR OF PHILOSOPHY in Māori Studies Massey University Palmerston North, New Zealand Te Waaka Melbourne 2011 Abstract This thesis examines Māori spirituality reflected in the customary words Te Wairua Kōmingomingo o te Maori. Within these words Te Wairua Kōmingomingo o te Māori; the past and present creates the dialogue sources of Māori understandings of its spirituality formed as it were to the intellect of Māori land, language, and the universe. This is especially exemplified within the confinements of the marae, a place to create new ongoing spiritual synergies and evolving dialogues for Māori. The marae is the basis for meaningful cultural epistemological tikanga Māori customs and traditions which is revered. Marae throughout Aotearoa is of course the preservation of the cultural and intellectual rights of what Māori hold as mana (prestige), tapu (sacred), ihi (essence) and wehi (respect) – their tino rangatiratanga (sovereignty). This thesis therefore argues that while Christianity has taken a strong hold on Māori spirituality in the circumstances we find ourselves, never-the-less, the customary, and traditional sources of the marae continue to breath life into Māori. This thesis also points to the arrival of the Church Missionary Society which impacted greatly on Māori society and accelerated the advancement of colonisation. -
Creation Narratives of Mahinga Kai
CREATION NARRATIVES OF MAHINGA KAI Mäori customary food-gathering sites and practices Chanel Phillips* Anne- Marie Jackson† Hauiti Hakopa‡ Abstract Mahinga kai, Mäori customary food-gathering sites and practices, emerged at the beginning of the creation narratives when the Mäori world was fi rst formed and atua roamed upon the face of the land. This paper critically evaluates the emergent discourses of mahinga kai within key Mäori creation narratives that stem from the Mäori worldview. The narratives selected for analysis were the following three creation narratives: the separation of Ranginui and Papa-tü- ä- nuku, the retribution of Tü- mata- uenga and the creation of humanity. The multiple discourses that emerge from these narratives involved mahinga kai as whakapapa, whanaungatanga, tikanga with the subsequent discourse of tapu, kaitiakitanga with the subsequent discourse of mauri and mätauranga. A discursive analysis of mahinga kai in Mäori creation narratives confi rms mahinga kai as an expression of Mäori worldview and reveals a myriad of understandings. Keywords mahinga kai, customary food gathering, creation narratives, Mäori worldview * Ngäti Hine, Ngäpuhi. PhD Candidate, School of Physical Education, Sport and Exercise Sciences, University of Otago, Dunedin, New Zealand. Email: [email protected] † Ngäti Whätua, Ngäpuhi, Ngäti Wai, Ngäti Kahu o Whangaroa. Senior Lecturer, Mäori Physical Education and Health, School of Physical Education, Sport and Exercise Sciences, University of Otago, Dunedin, New Zealand. ‡ Ngäti Tüwharetoa. Teaching Fellow, Mäori Physical Education and Health, School of Physical Education, Sport and Exercise Sciences, University of Otago, Dunedin, New Zealand. DOI: 10.20507/MAIJournal.2016.5.1.5 64 C. -
Religious Education Programme
Creation and Co-Creation LEARNING STRAND: THEOLOGY RELIGIOUS EDUCATION PROGRAMME FOR CATHOLIC SECONDARY SCHOOLS IN AOTEAROA NEW ZEALAND 9E THE LOGO The logo is an attempt to express Faith as an inward and outward journey. This faith journey takes us into our own hearts, into the heart of the world and into the heart of Christ who is God’s love revealed. In Christ, God transforms our lives. We can respond to his love for us by reaching out and loving one another. The circle represents our world. White, the colour of light, represents God. Red is for the suffering of Christ. Red also represents the Holy Spirit. Yellow represents the risen Christ. The direction of the lines is inwards except for the cross, which stretches outwards. Our lives are embedded in and dependent upon our environment (green and blue) and our cultures (patterns and textures). Mary, the Mother of Jesus Christ, is represented by the blue and white pattern. The blue also represents the Pacific… Annette Hanrahan RSCJ Cover: Creation / Michelangelo / Sistine Chapel GETTY IMAGES Creation and Co-Creation LEARNING STRAND: THEOLOGY GETTY IMAGES 9E © 2014 National Centre for Religious Studies First published 1991 No part of this document may be reproduced in any way, stored in a retrieval system, or transmitted by any means, without the prior permission of the publishers. Imprimatur + Leonard Boyle DD Bishop of Dunedin Episcopal Deputy for Religious Studies October 2001 Authorised by the New Zealand Catholic Bishops’ Conference. Design & Layout: Devine Graphics PO Box 5954 Dunedin New Zealand Published By: National Centre for Religious Studies Catholic Centre PO Box 1937 Wellington New Zealand Printed By: Printlink 33-43 Jackson Street Petone Private Bag 39996 Wellington Mail Centre Lower Hutt 5045 Māori terms are italicised in the text. -
Ngā Atua Māori
Ngā Atua Māori Student Name: ______________________ CONTENTS I te Tīmatanga – In the Beginning ...................................................................................... 2 He Karakia ...................................................................................................................... 2 Introduction .................................................................................................................... 3 He Kōrero Tīmatanga – The Creation Mythology .......................................................... 3 Papatūānuku – Our Earth Mother ....................................................................................... 4 Ko wai ia? Who is She? .................................................................................................. 4 Personifying Papatūānuku .............................................................................................. 5 Papatūānuku, our Mother ................................................................................................ 6 Ranginui – The Skyfather ................................................................................................... 7 Ngā Tamariki – Their Children .......................................................................................... 8 Tawhirimātea – The God of Wind & Weather ............................................................... 8 Tāne Māhuta – The God of the Forest ............................................................................ 8 Tūmātauenga – The God of War & People ................................................................... -
Oceanic Mythology
Oceanic Mythology Roland B. Dixon Oceanic Mythology Table of Contents Oceanic Mythology....................................................................................................................................................1 Roland B. Dixon............................................................................................................................................2 Author's Preface.............................................................................................................................................3 Introduction....................................................................................................................................................4 PART I. POLYNESIA................................................................................................................................................6 CHAPTER I. MYTHS OF ORIGINS AND THE DELUGE........................................................................7 CHAPTER II. THE MAUI CYCLE............................................................................................................24 CHAPTER III. MISCELLANEOUS TALES..............................................................................................30 CHAPTER IV. SUMMARY........................................................................................................................44 PART II. MELANESIA............................................................................................................................................47 -
Urban Maori Art : the Third Generation of Contemporary Maori Artists
Urban Maori Art: The Third Generation of Contemporary Maori Artists: Identity and Identification A thesis submitted in partial fulfilment Of the requirements for the Degree of Master of Arts in Art History In the University of Canterbury By Kirsten Rennie University of Canterbury 2001 THESIS II Photo Ted Scott Design. Observe the young and tender.frond of this punga:shaped and curved like a scroll of a .fiddle: .fit instrument to play archaic tunes. A.R.D. Fairburn ABANDON AU HOPE YE WHO ENTER HERE! Peter Robinson Divine Comedy ( Detail) (2001) 111 Contents Page Title i Frontispiece ii Contents iii Acknowledgments v Abstract vi Kaupapa 1 Introduction 2 Section !:Continuity and Change 6 1.1 The Space Between: DefiningA Voice 6 1.2 Contemporary Maori Art: An Evolving Definition: 1950- 2000 in Context 10 1.3 The Third Generation/Regeneration 24 Section 2: Mana Wahine 30 2.1 Reveal the Tendrils of the Gourd so that You May Know Your Ancestors 30 2.2 Patupaiarehe: The Construction of an Exotic Self 39 2.3 Pacifika 44 Section 3: 'Essentially' Auckland 49 3.1 Essentialism 50 3.2 The Space Between 57 3.3 There Are Words Attached To It 60 3.4 Biculturalism and the Arts 63 Section 4: 'Constructing' Canterbury 68 4.1 Reconnection 1964 - 1992 71 IV 4.2 Identity in Focus: Shifting and Strategic 1993 - 1995___ __________79 4.3 Careerism: The InternationalArtist 1995 andBeyond____ __________�85 Conclusion: Journey Without End___________ 89 Appendix ____________________97 References�---------- ---------102 Illustrations v Acknowledgments I would like to thank the artists who gave so generously of their time, in particular for the hours spent with Brett Graham, Eugene Hansen, Chris Heaphy, Lonnie Hutchinson, Kirsty Gregg, Michael Parekowhai, and Peter Robinson. -
Rangi and Papa Level Matariki Level
Level Rangi and Papa 24 Level Matariki 25 Inquire to Learn! There are many ways in which Rangi and Papa/ Matariki can be used as a base for Inquiry Learning. This is just one suggestion. Session 1 Using the Big Book, share-read Rangi and Papa, Do brothers and sisters always agree? What do stopping at natural points for discussion. Draw on they do when they disagree about the best way to the students’ prior knowledge of creation stories, do something? Talk about the value of discussion Māori folk tales and gods, family relationships and agreement. and rebellion, native plants and animals, and the night sky. Native Plants and Animals: What is a native plant or animal? How many native plants and animals Possible Starter Questions for Discussion can you name? Creation Stories: Why are there lots of stories Text and Illustration Based Inquiry Questions about how the world came to be? Discuss that many cultures have folk tales explaining how things Cover: Look at the cover. Without reading the came to be, and that these stories must all be text, how can you tell that this is a story from New respected. Zealand? Can you name the New Zealand native plants and animals? Discuss that both the moa and Māori Folk Tales and Gods: What Māori gods huia are now extinct, but they are included here can you name? Brainstorm Māori gods and because Rangi and Papa is a creation story from demi-gods that the children have heard of/read Aotearoa. about. Introduce the following characters: Rangi or Ranginui (some South Island iwi use Raki or Title page: Look at the title page. -
Maori Pantheon
MAORI PANTHEON Maori religion is complex, with many gods that represent the sea, sky, mountains, war, etc. A very important part of Maori religion is what they call the life force (mauri), spirit (wairua) that can be found in all people and spiritual power or prestige (mana). HINE was the first mortal woman, created by Tane, god of the forest. She later became Tane’s wife, and her children were the first of the Maori peoples. HINENUITEPO is the goddess of death. MANAIA is a half-bird, half-human deity. It has a bird's head and a human form. MARAKIHAU is half-fish and half human with a tube-like tongue. MATAAHO is the god of the secrets hidden in the earth. PAPATUANUKU (Papa) was the mother earth goddess in the Maori tradition. Her husband was Rangi, the Sky Father. This couple had many powerful children, including the gods of the sea, forest and winds. Papa’s grandchil- dren were the first of the Maori peoples. RANGINUI (Rangi) was the Sky Father, and the husband of Papa, the Earth. He was the father to the first gods and grandfather of the Maori race. His love for his wife almost destroyed his children and prevented the creation of the world of the Maoris. RONA was the mortal daughter of the Sea God Tangaroa. She became the goddess of the tides, controlling the movement of her father’s empire. Once, when she was out fetching water in the dark she tripped and fell. She swore at the moon. The moon was so angered by her rudeness that she was kidnapped and taken into the sky. -
Tiki-Hebrew Arabic Persian Greek.Pdf
Fair Gods and Feathered Serpents: A Search for Ancient America’s Bearded White God (by Terry J. O'Brien) The self-sacrifice on the tree came to them from a white-bearded god who visited them 2,000 years ago. He is called different names by different tribes: Tah-comah, Kate-Zahi, Tacopa, Nana-bush, Naapi, Kul-kul, Deganaweda, Ee-see-cotl, Hurukan, Waicomah, and Itzamatul. Some of these names can be translated to: the Pale Prophet, the bearded god, the Healer, the Lord of Water and Wind, and so forth http://www.spiritualjourneys.com/article/diary-entry-a-gift-from-an-indian-spirit/ טִיקִי تِي ِك يّ Τίκι Tiki This article is about the large Polynesian carvings in hu- manoid form. For other uses, see Tiki (disambiguation). In Māori mythology, Tiki is the first man, created by A Māori man retouches the painted tattoo on a carved wooden tiki at Whakarewarewa Model Village, New Zealand, 1905. Hawaiian Kiʻi at Puʻuhonua o Hōnaunau National Historical Park either Tūmatauenga or Tāne. He found the first woman, Marikoriko, in a pond; she seduced him and he became the father of Hine-kau-ataata. By extension, a tiki is a Tāne (Orbell 1998:178, Tregear 1891:510-511). In fact, large wooden carving in humanoid form, although this is a Tiki is strongly associated with the origin of the procre- [3] somewhat archaic usage in the Māori language. Carvings ative act. similar to tikis are found in most Central Eastern Polyne- In one story of Tiki among the many variants, Tiki was sian cultures.