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James Butterworth and the Old Curiosity Shop, New Plymouth, Taranaki
Tuhinga 16: 93–126 Copyright © Te Papa Museum of New Zealand (2005) James Butterworth and the Old Curiosity Shop, New Plymouth, Taranaki Kelvin Day PO Box 315, New Plymouth, Taranaki ([email protected]) ABSTRACT: James Butterworth established a successful Mäori curio dealing business in New Plymouth during the latter part of the nineteenth century. The coastal Taranaki settlement of Parihaka was a favoured place to obtain artefacts for his shop. Butterworth produced three sales catalogues and many of the artefacts he sold carried important information regarding provenances and associations. Some of Butterworth’s artefacts found their way into the Canterbury Museum in 1896. Other items helped form the foundation of the taonga Mäori collection of the Colonial Museum, Wellington. Locating where other items, which passed through Butterworth’s shop, are now held has proved very difficult. This study highlights the need for further analysis of curio dealers who operated within New Zealand and the artefacts in which they dealt. KEYWORDS: history, James Butterworth, curio dealer, Parihaka, Canterbury Museum, Colonial Museum, New Plymouth Industrial Exhibition, New Zealand International Exhibition. Introduction nineteenth and early twentieth centuries was seen as a legitimate practice. A number of dealers operated during This paper examines the life and times of James this period, such as Eric Craig (Auckland), Edward Butterworth (Fig.1), a New Plymouth dealer of Mäori Spencer (Auckland), Sygvard Dannefaerd (Auckland and ‘curios’. Research indicates that Butterworth was the only Rotorua), and David Bowman (Christchurch), satisfying commercial dealer in Mäori artefacts to operate in the the demand of collectors like Willi Fels (Dunedin), Taranaki region and, so far as is known, he was one of Augustus Hamilton (Hawke’s Bay, Dunedin), Alexander two New Zealand dealers – the other was Eric Craig Turnbull (Wellington), Thomas Hocken (Dunedin), and (1889) – to issue sales catalogues (as opposed to auction Walter Buller (Wellington), to name but a few. -
Oldman Maori.Pdf
[499] Mummification Among the Maoris. Following recent newspaper discussions, Mr. H. D. Skinner sends the following extract from a private letter from Mr. George Graham, 26th July, 1935: “I have myself seen (in situ) human bodies in the urupā (burying-place) in a perfectly preserved condition, in a sitting posture, as originally arranged after death; probably not more than a century or so in age (Kaipara, Arawa, and Kawhia). I am sure mummifying was not a Maori art, the necessary processes would be derogatory from the Maori point of view. “The nearest approach to mummification in New Zealand I ever heard of was connected with the death of Rangitihi (Arawa ancestor of Ngatirangitihi). His body was encased or folded in eight (waru) wrappings (pu), and after some years of retention for wailing over, - 190 at last consigned to the urupā. Hence the pepeha (motto) of that clan: 1. E waru nga pu-manawa a Rangitihi or 2. Rangitihi pu-manawa waru i.e.— 1. Eight were/are the bowel-bindings of Rangitihi. 2. Rangitihi (of the) eight bowel-bindings. “Why Rangitihi was thus provided for after his death is another story—but it seems to have been a historical incident—though unique of its kind. Of course there is another alleged interpretation of the term pumanawa. “The bodies I saw at a cavern urupā at Kaipara (1883 about) were all sitting around the sides of a spacious cavern vault, clothed and bedecked with feather plumes, and the tattooing (all were men) as clear and perfect as can possibly be imagined. -
Material Culture of New Zealand
2.3 Introduction to Pacific Review of Pacific Collections Collections: Material Culture in Scottish Museums of New Zealand Produced as part of Pacific Collections in Scottish Museums: Unlocking their knowledge and potential project 2013-2014. For full information and resources visit www.nms.ac.uk/pacific The following summary provides an overview of material you are likely to come across in Scottish collections. These are written according to island region. New Zealand/Aotearoa New Zealand has two main islands: the North Island and the South Island. In Māori these are named Te ika a Māui (the fish of Māui) and Te waka Māui (the canoe of Māui) respectively. There are a number of smaller islands off the coast and politically New Zealand encompasses the dependent territory of Tokelau, the self-governing states of Cook Islands and Niue, and the Ross Dependency in Antarctica. New Zealand was settled by Polynesians around 750 years ago from which a distinct Māori culture and identity developed. During the 19th century Aotearoa was used in reference to the North Island but today it is the name given to the whole of the country, usually translated as ‘land of the long white cloud’. The first European to visit New Zealand was Dutch explorer Abel Tasman in 1642. In 1769 Captain Cook mapped the New Zealand coastline. European settlement grew immensely with the establishment of the New Zealand Association (later the New Zealand Company) in 1837, which aimed to create a British colony in the Pacific. A series of events ultimately led to the signing of the Treaty of Waitangi in 1840 proclaiming New Zealand as a British sovereignty. -
Creating a Modern Māori Identity Through Kapa Haka Te Rita
Creating a Modern Māori Identity Through Kapa Haka Te Rita Bernadette Papesch Doctor of Philosophy Department of Theatre and Film Studies University of Canterbury 2015 ii He Rārangi Tuhinga - Table of Contents Nama Whārangi Momo Tuhinga Explanation (Page Number) i Whārangi Ingoa Tuhinga Title Page ii Rārangi Tuhinga Table of Contents 1 He Mihi Acknowledgements 4 Ariā Abstract 5 Kupu Whakamārama By way of explanation 8 Rārangi Kupu Glossary 21 Whakaeke Introduction 55 Waiata Koroua Chapter 1 96 Poi Chapter 2 127 Haka Chapter 3 154 Waiata-ā-ringa Chapter 4 185 Whakawātea Conclusion 198 Āpitihanga 1 Appendix 1 199 Āpitihanga 2 Appendix 2 205 Āpitihanga 3 Appendix 3 210 Pukapuka Tautoko Works Cited 218 Ā Te Ipurangi Web Sources 1 He Mihi: Acknowledgements I te tuatahi e tuku whakaaro ana ki a rātou i whomai te Kapa Haka ki a tātou. Rātou ko ngō tātou tūpuna, mātua, ko Tā Apirana Ngata, ko Paraire Tomoana, ko Te Puea Herangi, ko Tuini Ngawai. Heke iho ki tana irāmutu, ki a Ngoi Pewhairangi, ki a Wiremu Kerekere, ki a Tā Kīngi Ihaka, ki Te Kēnana Wi Te Tau Huata. Moe mai rā koutou ki roto i te tauawhi a te wāhi ngaro. Kei te waiatatia tonutia ngā koutou waiata hei kōrero ki te iwi, hei whakangahau i te iwi. Ka tuku whakaaro hoki ki a Te Rangihau. Nōku te waimarie i whakaako ia i ahau ki ngā tātou tikanga a te karanga me te mau patu. Moe mai rā i tō moengaroa. E kore rawa koe e wareware i ahau. Ki a koe hoki Tīmoti, taku whakaruruhau, taku kaipoipoi, taku kaiarahi i roto i ngā tau, ngāku mihi nui. -
New Zealand Collection
Glasgow Museums New Zealand Collection COLLECTIONS LEVEL DESCRIPTION Data Entry form Title of the Collection New Zealand collection, Glasgow Museums Author(s) Eve Haddow Curator responsible for collection Curator of World Cultures (if different from author) Date Completed 25th September 2014 There are 163 items from New Zealand. There are eleven capes or cloaks of New Zealand flax (Phormium tenax). Two have feathers; one is for a child (kākahu) and the other is a chief’s cape with new Zealand pigeon and possible kākā feathers. There are two kaitaka cloaks, one from the 19th century incorporating pieces of red wool and a woven triangle border design symbolizing a fish (patiki). There are two rain capes and another is described as a robe with flax tags .There are three skirts (piu piu), the earliest acquired in 1887. There are also two belts of flax worn by men. A freestanding 18th century male figure (A.1948.105) carved in wood with human hair is the earliest item in the collection. The figure has eyes inlaid with shell. It was collected around 1780 by Samuel Folker, a naval officer. Three large carved wooden architectural posts (pou whakairo) were brought from New Zealand on HMS Havana in 1850 by Admiral John Erskine. Each features figurative carving. There are four 19th century wooden canoe carvings including two canoe stern posts (tau rapa), a canoe prow ornament (tau ihu), and a prow ornament from Taranaki, which would have been attached to a smaller canoe, purchased in 1878. In the collection are seventeen clubs of the following type: mere; kotiate; taiaha; wahaika; and tewhatewha. -
Te Tohu-A-Tuu = the Sign of Tuu : a Study of the Warrior Arts of the Maori
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. Massey University Library MasseY University Library Palmerston North New Zealand & Pacific Collection :rurltea TE TOHU-A-TUU (THE SIGN OF TUU) A STUDY OF THE WARRIOR ARTS OF THE MAORI A thesis presented in partial fulfillment of the requirements for the degree of ~erofPhilosophy in Maori Studies at Massey University Hirini George Reedy 1996 11 ABSTRACT The title ''Te T ohu-a-Tuu {The Sign ofTuu)" is the name of a taiaha on-guard position that invokes Tuu, the Maori god of war. It has been chosen to reflect the subject of Maori warfare in the pre-European period. Maori warfare during this period was very much influenced by the cosmological and environmental beliefs of the Maori. These beliefs were mainly articulated through the oral histories of the Maori. Accounts of pre-European Maori warfare has mainly been written by early European historians who were greatly influenced by the prevailing social customs and intellectual thinking of the time. No linkage was made between the Maori protocols and processes of warfare with the cosmological and environmental beliefs practiced by the Maori. As a result the current understanding of Maori warfare has largely stemmed from written accounts by non-Maori. This thesis '-"<""lores Maori warfare through the institution of Tuumatauenga, the ugly faced Maori god of war. It will show the processes and the protocols that the Maori warrior used to prepare the mind and body for war and battle in the pre-European period. -
Charles Smith, Whanganui
Worlds Apart: Indigenous Re-engagement with Museum-held Heritage: A New Zealand - United Kingdom Case Study by Michelle Horwood A thesis submitted to Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy in Museum and Heritage Studies Victoria University of Wellington 2015 To my family Margaret MacKenzie, Basil Horwood, Nicola Horwood, John Verstappen, Henry Horwood Verstappen, Mackenzie Horwood Verstappen Contents Abstract .................................................................................................................................... iii Acknowledgements .................................................................................................................... v Abbreviations ........................................................................................................................... vii List of Figures ........................................................................................................................... ix Introduction: Worlds Apart ........................................................................................................ 1 Chapter 1: Methods for Reconnecting Indigenous Communities and Museums .................... 31 Chapter 2: An Assemblage—Charles Smith, His Collection, Ngā Paerangi and Pitt Rivers Museum.................................................................................................................................... 57 Chapter 3: Disassembling a Heritage Network—People and Things, Events -
2585 Define Māori Art Forms to Generate Māori Design
NZQA registered unit standard 2585 version 9 Page 1 of 4 Title Define Māori art forms to generate Māori design Level 5 Credits 20 Purpose This unit standard is for people furthering their knowledge in whakairo. It supplements the Mana Whakairo and Whakaraupapa Whakairo unit standards. People credited with this unit standard are able to define style, composition and function in Māori art and design. Classification Whakairo > Toi Whakairo Available grade Achieved Entry information Critical health and Unit 2581, Explain design principles used to generate two- safety prerequisites dimensional Māori design; Unit 2583, Explain pattern conventions used to generate whakairo design; and Unit 2598, Manipulate material surfaces to create Whakairo; or demonstrate equivalent knowledge and skills. Recommended skills Unit 2582, Explain design principles used to generate three- and knowledge dimensional whakairo design; Unit 2584, Define Māori art images to generate whakairo design; Unit 2587, Implement process decisions to generate Māori design; and Unit 2599, Generate relief form to create Whakairo. Explanatory notes 1 Tikanga and kawa related to the content of the Whakairo subfield refer to specific interpretations and understandings of whakapapa, te reo, symbolism, concepts and representation within a Whakairo context. They are distinctive from those within the broader context of Te Ao Māori. 2 Glossary Style, composition and function refer to conventions associated with traditional Māori art; Form – a configuration of details that together comprise a visual entity; Serpentine is also known as pakohe; Format encompasses style and manner of arrangement; Tukutuku is also known as Arapaki and/or Pukiore within different tribal areas; NZQA Māori Qualifications Services New Zealand Qualifications Authority 2016 SSB Code 194 NZQA registered unit standard 2585 version 9 Page 2 of 4 Aspective form is the application of aspective representation where a frontal and/or profile presentation of figurative images with no indication of pictorial depth results. -
Taiaha Weapon D1914.61 Wood, Pāua Shell on Loan from Cambridge Museum of Archaeology and Anthropology
printed object captions Please return after use Showcase 1 Left to right Pouwhenua weapon D1914.62 Wood On loan from Cambridge Museum of Archaeology and Anthropology The pouwhenua is the most ancient of all the two handed weapons. The war-god Tūmatauenga killed Tūhapairangi by stabbing his spear through the back of Tūhapairangi’s head so that its point protruded though Tūhapairangi’s mouth. This is said to be the origin of its distinctive shape. The sharp point is known as the kurupā, and the carved band which provides a good grip is the tīngongi. This pouwhenua has an additional symmetrical carving design near the ate (side blades) which could also function as a grip. Fundamentally, the pouwhenua has the same functions as the taiaha. Tewhatewha weapon D1914.64 Wood On loan from Cambridge Museum of Archaeology and Anthropology As a single handed weapon, this was the chief’s signaling staff; as a double handed weapon it was his quarter staff. Its unique characteristics include an axe-head shape at one end, usually adorned with an array of feathers (pohoi). Along the body (rapa) is a carved gripping piece (tīngongi), and the pointed portion is known as the ate. The flat side (kurupā) of the axe-head is used for striking and also for deflecting, while both ends were used for thrusting. Taiaha weapon D1914.61 Wood, pāua shell On loan from Cambridge Museum of Archaeology and Anthropology Taiaha are one of the more common double-handed staffs. They are used for quick, sharp strikes or stabbing thrusts which require agile toroparawae (footwork). -
Sustaining Each Other New Zealand (Aotearoa) Large Print Information
Large print information Please do not remove from this display Sustaining each other New Zealand (Aotearoa) Hawaiian Mariana Islands Islands Marshall Islands Caroline Islands Solomon Islands C o o k PAPUA NEW Is Samoa l Society GUINEA an Islands Fiji ds Tonga Au str al Is AUSTRALIA la n Easter d s Island NORTH ISLAND Auckland t s Rotorua a o C NEW t s a ZEALAND E SOUTH ISLAND PACIFIC OCEAN Large panel in centre of display: Sustaining each other New Zealand (Aotearoa) In Aotearoa (the Māori name for New Zealand) relationships within the Māori community are greatly valued.The focus of each community is the marae, an open space where important gatherings and meetings are held. Each marae belongs to a different tribal group Hannah Swale, Paula Dixon, Gina Coatsworth, and there is often a meeting house at its centre. Alana Watson and Renee Kitto, of the London When visitors come to the marae, the host group Māori Club Ngāti Rānana, at the meeting house demonstrates its authority and prestige through Hinemihi (Clandon Park, Surrey), 2008. the quality of their oratory, observance of tribal protocol, their hospitality and, most importantly, © 2009, Scott Boswell the meeting house (wharenui) itself. Sustaining each other Haere mai, haere mai. Gathering together Welcome, welcome. Mauria mai ō koutou tini mate Gatherings held on the marae are an Bring with you the spirits of your dead opportunity for people to support each other and reaffirm family ties. Kia mihia That they may be greeted Weddings, funerals, birthdays, political meetings and less formal gatherings take place on the Kia tangihia. -
Healing Maori Through Song and Dance? Three Case Studies of Recent New Zealand Music Theatre
HEALING MAORI THROUGH SONG AND DANCE? THREE CASE STUDIES OF RECENT NEW ZEALAND MUSIC THEATRE. _________________________________ A thesis submitted in partial fulfilment of the requirements for the Degree of Master of Arts in Theatre and Film Studies in the University of Canterbury by Emma Johnston University of Canterbury 2007 ________________ CONTENTS Abstract……………………………………………………………………………1 Introduction……………………………………………………………………….2 Chapter One: Once Were Warriors, the Musical-Drama: Healing the Urban Maori? ..................17 Chapter Two: The Whale Rider, On Stage… A journey between two worlds: Healing the Rural Maori and Saving the World? .................................................... 35 Chapter Three: Footprints/Tapuwae: Curable Maori and Incurable Pakeha? ……………………...54 Conclusion…………………………………………………………………………73 Acknowledgments....................................................................................................79 Bibliography……………………………………………………………………….80 1 ABSTRACT This thesis investigates the way “healing” may be seen to be represented and enacted by three recent New Zealand music theatre productions: Once Were Warriors, the Musical-Drama; The Whale Rider, On Stage; and Footprints/Tapuwae, a bicultural opera. This thesis addresses the ways each of these music theatre productions can be seen to dramatise ideologically informed notions of Maori cultural health through the encounter of Maori performance practices with American and European music theatre forms. Because the original colonial encounter between Maori and Pakeha was a wounding process, it may be possible that in order to construct a theatrical meeting between the “colonised” Maori and the “colonial” non-Maori, “healing” is an essential element by which to foster an idea of the post-colonial, bicultural togetherness of the nation. In all three productions, Maori song and dance forms are incorporated into a distinctive form of western music theatre: the American musical; the international spectacle; Wagnerian opera.