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Tribal art has been one of the greatest inspirations for twentieth-century Western artists. Picasso, Matisse, Ernst, and Brancusi responded in unforgettable ways to masks, sculpture, and other forms of indigenous African, Oceanic, and American art. The politics of this relationship have long been a matter of contention: is it a cross-cultural discovery to be celebrated, or just one more example of Western colonial appropriation? This revelatory book looks at the distinctive situation of the settler society--countries in which large numbers of Europeans have displaced, outnumbered, but never entirely eclipsed native peoples. In this dynamic of dispossession and resistance, settler artists and designers have drawn on tribal motifs and styles, while powerful indigenous art traditions have been used to assert the presence of native peoples and their claim to sovereignty. Cultural exchange proves to be a two-way process, and an unpredictable one: much contemporary indigenous art draws on modern Western art, while affirming ancestral values and rejecting the European appropriation of tribal cultures. ... Read more

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Possessions
This book is a comprehensive survey of the social problems that face indigenous artists in Pacific. Focusing on Australia, the book extends its discussion to New Zealand, other islands of the Pacific, and Canada. It also provides exposure to artworks that are often marginalized by contemporary art historical discourse. ... Read more

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Cultural and national identity have changed dramatically in New Zealand during the latter part of the twentieth century, with the emergence of policies on biculturalism, the development of new immigrant communities, and the increased focus on the Treaty of Waitangi and the settlement of treaty claims. Recalling Aotearoa examines why these changes have occurred, and considers the new directions for New Zealand as a nation. ... Read more

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Beautiful
This is a very sacred special book and would recommend it to anyone .

The Carvings in this book have given me much more depth and knowledge to the Maori culture and there ways and life .

And has also given more meaning to there symbols and there reasoning ... ... Read more

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For early Maori, art was inseparable from daily life, whether it was the pattern on a sculpted spade handle or the magnificently carved prow of a war canoe. Julie Paama-Pengelly traces the evolution of art and design in historic Maori culture and brings that art to life, focusing on four major disciplines:Weaving and fibre arts: includes tukutuku, kitemaking, basketry, netting and clothing; Painting and pigmentation: includes rock drawing and painting wooden objects; Sculpture and carving: includes stone, bone, wood carving and patterning; Architecture and structural arts: includes villages, storage and meeting houses, burial structures and bone containers. Chapters review the various art forms within each discipline and identify the source elements. Illustrated tables outline development periods, design conventions, and common figurative elements and motifs that distinguish Maori art and design. This book will be of great interest to readers who are new to the subject as well as to students and experts ... Read more

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Taonga Puoro - Singing Treasures: The musical instruments of the Maori is the first book to be published that comprehensively covers the world of Maori musical instruments, a fascinating and little-known area of traditional Maori culture. The book has been written by master carver and instrument maker Brian Flintoff, and was inspired by the late Dr Hirini Melbourne, one of the leaders of the modern revival of this art form. Taonga Puoro includes a background to the tunes played on these instruments and the families of natural sounds with which they are associated, while there are sections covering the various types of instruments, such as flutes, gourds, wood and shell trumpets and bullroarers. And to further breathe life into this book, the technical information about each instrument is interwoven with the stories and myths that belong to each intrument. In addition, instructions are given for making and playing these singing treasures, and there is an explanation of the art forms used in Maori carving. This is a beautiful book, heavily illustrated with colour photographs of exquisite contemporary instruments, as well as ancient taonga held in museums around the world.The book also comes with a CD sampler, compiled from a selection of recent releases and featuring tracks of contemporary Maori music and the natural sounds which inspires it. ... Read more

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Ta Moko is an outstanding work of Maori scholarship. The art of Maori tattoo has always been regarded with fascination, and this was one of the first comprehensive books on the subject. The author, formerly ethnologist with the Auckland Museum, provides an examination of Maori moko in all its aspects - its historical develpment, tribal variations, design principles and social significance. In this illustrated study of male and female moko, the author draws on the records, journals and sketches of early European observers in New Zealand - explorers such as Cook, de Surville and du Fresne and later traders and missionaries. He relies, too, on visual sources, including the work of artists such as Earle, Angas, Robley, Lindauer and Goldie, to document the increasing standardisation, and eventual decline and disappearance of male moko in the nineteenth century. ... Read more

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Maori
The book by Michael King, Revised Edition of a photography and social history, which submission all the facts of life among Maori before the Euporean time of settlements in NZ, what are the Maori like in past andtoday are totally different ... Read more

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This account of an ethnomusicologist's experience conducting fieldwork offers a glimpse into the life of New Zealand's Maori people through his documentation of traditional songs. The audio recordings included span 1958-1979, a time when many of the culture's traditions were fading. Sensitive writing and attention to the challenges of anthropological fieldwork shed light on postcolonialism in New Zealand and its effects on Maori and Polynesian cultures and the continuance of traditional music. ... Read more

Customer Reviews (6)

Not what I expected, but just as good.
When I purchased this book I expected more historically traditional photographs, but I was happily surprised to find this book just as interesting with its modern take on traditional Maori tattoo culture. The subjects of the many photos reflect the modernized interpretation of moko as it exists today. I recommend this book to any tattoo enthusiast who has an interest in Polynesian or pacific island tattoo practices.

a green place
a beautiful book fully loaded with ownership.good to hear the voice of maori in the world.

Good start........
Let me first say that this is a impressive photo essay that contains very impressive photographs, but the majority of these photos are of tattoos and not moko in it's truest sense.If someone is looking for a book thatdocuments contmporary moko and not contemporary tattooing by Maori thenthis may disappoint you.Moko is not just tattoo and not all tattoo areelevated to that of moko.The moko not only consist of the laying of adesign in the skin but also of the relationship of the individual to his orher geneology, tribal affiliation, and spirituality.The facilitator ofthis is the Ta Moko, tattooist for lack of a better word.There is no partof the book in which the tattooist are interviewed and allowed to sharethis paramount aspect of the culture.

The begining of the book starts offvery well with some impressive moko kanohi and moko kauwai.The inclusionof the individuals tribal affiliations is very important and is a credit tothe authors and planners of this book, but then the book diverges, in myopinion, and shows many facial tattoos and not moko.These tattoos areworn very proudly by gang members, predominately Black Power and MongrelMob, and Rastafarians as an expression of their individual beliefs andcommitments and not necessarily reflective of the strict cultural tapu ofthe moko.This is not to challenge these individuals Maoritanga, butmerely to point out the difference between the beginning of the book andthe rest of it.

I was also dissapointed with was the fact that the Puhoroand Rapa are not really represented in the photo essays.With theexception of one moko kanohi that is done in the puhoro style the rest ofthe moko is done in the mataora style.

I would recommend this book onlyto those that have a basic understanding of the moko and contemporary Maoriculture or to those that appreciate well done photos.

Good start........
Let me first say that this is a impressive photo essay that contains very impressive photographs, but the majority of these photos are of tattoos and not moko in it's truest sense.If someone is looking for a book thatdocuments contmporary moko and not contemporary tattooing by Maori thenthis may disappoint you.Moko is not just tattoo and not all tattoo areelevated to that of moko.The moko not only consist of the laying of adesign in the skin but also of the relationship of the individual to his orher geneology, tribal affiliation, and spirituality.The facilitator ofthis is the Ta Moko, tattooist for lack of a better word.There is no partof the book in which the tattooist are interviewed and allowed to sharethis paramount aspect of the culture.

The begining of the book starts offvery well with some impressive moko kanohi and moko kauwai.The inclusionof the individuals tribal affiliations is very important and is a credit tothe authors and planners of this book, but then the book diverges, in myopinion, and shows many facial tattoos and not moko.These tattoos areworn very proudly by gang members, predominately Black Power and MongrelMob, and Rastafarians as an expression of their individual beliefs andcommitments and not necessarily reflective of the strict cultural tapu ofthe moko.This is not to challenge these individuals Maoritanga, butmerely to point out the difference between the beginning of the book andthe rest of it.

I was also dissapointed with was the fact that the Puhoroand Rapa are not really represented in the photo essays.With theexception of one moko kanohi that is done in the puhoro style the rest ofthe moko is done in the mataora style.

I would recommend this book onlyto those that have a basic understanding of the moko and contemporary Maoriculture or to those that appreciate well done photos.

Good start........
Let me first say that this is a impressive photo essay that contains very impressive photographs, but the majority of these photos are of tattoos and not moko in it's truest sense.If someone is looking for a book thatdocuments contmporary moko and not contemporary tattooing by Maori thenthis may disappoint you.Moko is not just tattoo and not all tattoo areelevated to that of moko.The moko not only consist of the laying of adesign in the skin but also of the relationship of the individual to his orher geneology, tribal affiliation, and spirituality.The facilitator ofthis is the Ta Moko, tattooist for lack of a better word.There is no partof the book in which the tattooist are interviewed and allowed to sharethis paramount aspect of the culture.

The begining of the book starts offvery well with some impressive moko kanohi and moko kauwai.The inclusionof the individuals tribal affiliations is very important and is a credit tothe authors and planners of this book, but then the book diverges, in myopinion, and shows many facial tattoos and not moko.These tattoos areworn very proudly by gang members, predominately Black Power and MongrelMob, and Rastafarians as an expression of their individual beliefs andcommitments and not necessarily reflective of the strict cultural tapu ofthe moko.This is not to challenge these individuals Maoritanga, butmerely to point out the difference between the beginning of the book andthe rest of it.

I was also dissapointed with was the fact that the Puhoroand Rapa are not really represented in the photo essays.With theexception of one moko kanohi that is done in the puhoro style the rest ofthe moko is done in the mataora style.

I would recommend this book onlyto those that have a basic understanding of the moko and contemporary Maoriculture or to those that appreciate well done photos. ... Read more

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A groundbreaking collection of essays by leading academics and intellectuals, this record examines the confiscation of Maori land in 19th-century New Zealand and the broader imperial context. Based on a 2008 conference entitled Coming to Terms? Raupatu/Confiscation and New Zealand History, this study examines topics associated with land confiscation, such as war, European settlements, colonialism, property rights, and politics. Contributors include Michael Allen, James Belich, Judith Binney, Alex Frame, Bryan Gilling, Mark Hickford, Vincent O’Malley, Dion Tuuta, Alan Ward, and John C. Weaver.

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The layer cake of colonial history
Since 1985, the Waitangi Tribunal has had licence to investigate Maori claims of violations of the Treaty of Waitangi throughout Aotearoa/New Zealand's history. The Tribunal's mandate went beyond the purely legal realm which Iwi claims had taken place in for 140 years, and entered into a new, historical setting. In the wake of political events that have shattered nearly 20 years of political consensus on the Tribunal's role in Aotearoa/New Zealand society, Tribunal Historian Michael Belgrave has produced a book which outlines the histories and intricacies of four of the major claims.

Belgrave's approach in Historical Frictions is not simply to describe the nature of each claim, and its resolution. Rather, each of the four case studies -- Muriwhenua, Ngai Tahu, Taranaki, and Chatham Islands -- is discussed as a layered history; a history whose narrative changes over time, in response both to the needs of the Iwi making the claim, and to the legal setting in which the claim is made. It may surprise readers to discover that almost all of the claims heard so far by the Waitangi Tribunal have been tested in court at some time, even many times, over the past 150 years. Historical arguments have thus developed in response both to iwi's needs to understand their past, and to assert their rights within a Western judicial system that has been reluctant to hear them, to say the least. Change over time is thus a major theme of Belgrave's work, and indeed one of the key strengths of Historical Frictions is to bring to light the connections between Aoteroa/New Zealand's past and present, to demonstrate the relationship between the actions of settlers and rangatira in the nineteenth century and the politics of settlement today.

The strongest part of Belgrave's book is also the densist. The first two chapters, which lay the historiographical and methodological groundwork, are a complex assessment of the role of the Tribunal in New Zealand society, and the conflicting emphases of the legal and historical discourses with which the Tribunal must contend. Of particular importance is the latter, where the so-called `objectiveness' of Western academic history contrasts not only with Maori oral history, but also the long and involved legal, and thus adversarial, approach to `truth'. These tensions are perhaps borne out best in Belgrave's analysis of the Treaty itself -- Belgrave finds that the Treaty is a text whose meaning is indeterminate and shifting, and whose meaning today would be barely recognisable in the context in which it was signed.

This, of course, is where the Frictions come in. For Belgrave, the past in a colonial society is not a foreign country, but an object that is negotiated and renegotiated, and cultural contact is not something that happens once, and for one generation, but is ongoing, perhaps for all times. Belgrave's book will give little comfort to supporters of Don Brash's `one law for all' arguments -- indeed, Belgrave believes that the Waitangi Tribunal is unlikely to put an end to Maori claims -- but it offers an indepth and nuanced analysis of the Waitangi Tribunal process, as well as the histories behind the claims. Not given to simplification and reductionism, Belgrave has rendered the complexities of a history of colonisation and loss, and attempts at redress and resistance, in ways that are engaging, and perhaps offer new avenues of historical inquiry at a time when history is once again up for grabs. ... Read more

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This stunning book presents a photographic survey that traverses the concepts and values of traditional Maori weaving and innovative, contemporary weaving practice. The evocative photos and text reveal the spiritual significance of weaving within Maori culture. A number of the works in the book are featured in the international touring exhibition of Maori weaving, "Toi Maori: The Eternal Thread." ... Read more

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A look at the techniques, styles and history of the art of Maori women's weaving. ... Read more

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Contents
Te Aho Tapu: The Sacred Thread

Traditional Maori Weaving

Mick Pendergrast and Brian Brake

1987



In Maori traditions, these worlds are woven together by Te Aho Tapu, 'the sacred thread', a concept that expresses the sacredness of all existence. This book is based on the Te Aho Tapu exhibition of traditional Mâori clothing, mainly cloaks, put on by the Auckland Institute and Museum. The exhibition was planned to coincide with the Te Mâori exhibition which toured the United States in 1984, later returning to tour New Zealand. Illustrated with colour photos, there is a huge amount of information in the descriptions of the different types of cloaks and their manufacture. Cloaks are catalogued by type, name of weaver if known, measurement, materials used and other general information. AN essential reference for any weaver interested in the Maori weaving techniques or their culture.

Excellent
I HAVE REVIEWED THIS BOOK......AND IT DOES ME ALOT OF HELP THROUGH MY ASSIGNMENTS ......IT IS A TRADITIONAL MAORI ARTS WEAVING BOOK AND IRECOMMEND THAT MAORI'S READ THIS BOOK

THANK YOU ... Read more

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Tene Waitere of Ngati Tarawhai (1854-1931) was the most innovative Maori carver of his time; his works reached global audiences decades before the globalisation of culture became a fashionable topic. Rauru is the highlight of a famous anthropological museum in Germany. Hinemihi, the carved house featured in one section of this book, sheltered survivors of the Tarawera eruption in 1886 before being removed to the park of an English country house. The magnificent His carved Ta Moko panel is one of Te Papa the Museum of New Zealand's icons. Three out of four historic Maori meeting-houses located outside New Zealand were carved or partly carved by Waitere. The travels of his work tell us something about the interplay between empire and art, about what is made of history now. The combined perspectives of his descendants, of a leading contemporary carver, of a master photographer and a distinguished anthropologist and historian of Pacific art make this book unique as a dialogue as well as a revelation of great works of Maori art. ... Read more

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The Reed Book of Maori Exploration is a revision of A.W. Reed's Treasury of Maori Exploration (1977). Sensitively reworked for the 21st century, it presents Reed's lively retellings of these classic stories of waka, voyaging and discovery. The stories gathered together here are central to Maori. Sourced from tribal traditions throughout the country, they also explain many familiar New Zealand place names?an interesting subject in its own right. New Zealanders from all backgrounds will find the stories appealing and fascinating. Like its companion volume, the highly acclaimed Reed Book of Maori Mythology (2004), this is the definitive reference work on its subject. ... Read more