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Tā moko From Wikipedia, the free encyclopedia (Redirected from Ta moko) Jump to: navigation, search Māori chief, late 18th century dövme tattoo Māori Moko in 1908Tā moko is the permanent body and face marking by Māori, the indigenous people of New Zealand. It is distinct from tattoo and tatau in that the skin was carved by uhi (chisels) rather than punctured. This left the skin with grooves, rather than a smooth surface. dövme tattoo It was brought by Māori from their Eastern Polynesian homeland, and the implements and methods employed were similar to those used in other parts of Polynesia (see Buck 1974:296, cited in References below). In pre-European Māori culture, many if not most high-ranking persons received moko, and those who went without them were seen as persons of lower social status. dövme tattoo The receiving of moko constituted an important marker between childhood and adulthood, and was accompanied by many rites and rituals. Apart from signalling status and rank, another reason for the practice in traditional times was to make a person more attractive to the opposite sex. Men generally received moko on their faces, buttocks (called raperape) and thighs (called puhoro). Women usually wore moko on their lips (kauae) and chins. Other parts of the body known to have moko on it include the foreheads, buttocks, thighs, neck and backs of women, and backs, stomachs and calves of men. dövme tattoo Contents [hide] 1 Instruments Used 2 Changes 3 Tā moko Today 4 References 5 External links [edit] Instruments Used Originally tohunga-ta-moko (moko specialists) used a range of uhi (chisels) made from albatross bone which were hafted onto a handle, and struck with a mallet. dövme tattoo The pigments were made from the awheto caterpillar for the body colour, and ngarehu (burnt timbers) for the blacker face colour. The pigment was stored in ornate vessels named oko, which were often buried when not in use. The oko were handed on to successive generations. Men were predominantly the moko specialists,dövme tattoo although King records a number of women during the early 20th century who also took up the practice. There is also a remarkable account of a woman prisoner-of-war in the 1830s who was seen putting moko on the entire back of the wife of a chief. dövme tattoo Changes King (see below) talks about changes which evolved in the late 19th century when needles came to replace the uhi as the main tools. This was a quicker method, less prone to possible health risks, but the feel of the moko changed to smooth. Women continued receiving moko through the 20th century, but moko on men stopped around the 1860s in line with changing fashion and acceptance by Pākehā (white New Zealanders). Tā moko Today Since 1990 there has been a resurgence in the practice of moko for both men and women, dövme tattoo as a sign of cultural identity and a reflection of the general revival of the language and culture. dövme tattoo Not all moko applied today is done using a tattoo machine. Recently there has been a strong revival of the use of uhi (chisels). Women too have become more involved as practitioners, such as Christine Harvey of the Chathams, Henriata Nicholas in Rotorua and Julie Kipa in Whakatane. Te Uhi a Mataora was recently established by practitioners to discuss issues facing the art form, such as the practice by non-Māori, dövme tattoo an issue which is increasingly of concern to Māori. References Hiroa, Te Rangi (Sir Peter Buck)(1974). The Coming of the Maori. Second Edition. First Published 1949. Wellington: Jahnke, Robert and Huia Tomlins Jahnke, dövme tattoo ‘The politics of Māori image and design’, Pukenga Korero (Raumati (Summer) 2003), vol. 7, no. 1, pp. 5-31. King, M., and M. Friedlander, Moko: Māori Tattooing in the 20th Century, (1992) 2nd ed., Auckland: David Bateman. Robley, Major-General, Moko, or Māori Tattooing, (1987) Papakura: Southern Reprints. Nikora, Linda Waimarie, Mohi Rua and Ngahuia Te Awekotuku, 'Wearing Moko: Māori Facial Marking in Today's World', dövme tattoo in Nicholas Thomas, Anna Cole and Bronwen Douglas (eds.), Tattoo. Bodies, Art and Exchange in the Pacific and the West, London: Reacktion Books, pp. 191-204. dövme tattoo Te Awekotuku, Ng., ‘More than Skin Deep’, in Elazar Barkan and Ronald Bush (eds.), Claiming the Stone: Naming the Bones: Cultural Property and the Negotiation of National and Ethnic Identity (2002) Los Angeles: Getty Press, pp. 243-254. Te Awekotuku, Ng, ‘Tā Moko: Māori Tattoo’, Goldie, (1997) exhibition catalogue, Auckland: ACAG and David Bateman, pp. 108-114. |
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