Abel Tasman wrote the first account of the native people upon discovery of New Zealand in 1642 and despite his detailed descriptions of their appearance and the clothing they wore; there was no mention of the tattoos that were prominent 127 years later when Captain James Cook arrived in 1769.
Origin of Ta Moko According to Maori Myth
"You see how useless your painted moko is,” Ue-tonga said. “You have not learned the art. Here in Rarohenga we carve designs in the flesh so they will never wear out.”
The evolution of the Ta Moko has been preserved in the myth of Niwareka and Mataora. Niwareka was the daughter of high-born Ue-tonga of Rarohenga (the Underworld). She journeyed to the Overworld and married Chief Mataora who struck his beautiful wife in a rage. She retreated to Rarohenga and Mataora, remorseful, followed. It was here that Ue-tonga introduced him to the art of Ta Moko; a permanent tattoo design chiselled into the skin, and replaced the painted design he wore on his journey. Mataora, reunited with Niwareka returned to the overworld where he shared his newly discovered knowledge of Ta Moko and Niwareka her knowledge of weaving.
What is Ta Moko?
Ta Moko is an art form of Maori tattoo that represents many things; it denotes rank, traces one’s whakapapa (genealogy) and iwi (tribal history). Each line, each spiral, each whorl represented an important aspect of the individual who bore the markings. It is believed to have begun as a need to look fierce by streaking one’s face with charcoal and red ochre which became an intricate art form of grace and beauty while also maintaining a sense of fierceness and pride.
A person, either man or woman, who bore no markings was considered to be plain looking and this was a status in itself usually reserved for slaves. Even children as young as 8-10 years old displayed body tattoos. No child bore the markings of Mataora (facial tattoo) as could be observed by the early settlers. The reasoning for this appears to be that a child’s face had yet to grow into maturity and this growth could alter the markings.
Traditionally Ta Moko was not sought by the individual but by the iwi (tribe) who recognised the mana of that individual. Young children that would have been seen with ta moko would have come from a whanau (family) whose mana was inherited.
It was also used as a form of identification. Without the aid of a mirror, a Maori person could replicate his or her Ta Moko with complete accuracy. This could be seen on old documents where their signature was a replication of their Ta Moko.
Ta Moko – Men
Designing the appropriate Ta Moko for each man was a long process that could take weeks or even months as there was much to take into consideration. No two were ever the same even though the meaning of each design was based on recognisable principles.
Some men are free of facial hair naturally, however Maori men were not. As a moko was a distinguishing mark that not only catalogued their history but showcased their ability to withstand pain, a beard was a distracting feature. As a result men used to remove the hair using shells. An elderly man whose beard grew over their moko was considered to no longer care about his appearance.
Ta Moko – Woman
Females were tattooed on the lips, chin, and nostrils and sometimes above their eyebrows, although this was not as common. Those females with tattooed blue lips were considered to be at the height of feminine beauty.
A mourning woman attending a tangi was known to cut their skin with sharp shells and stones in a methodical manner. The bleeding wounds were then stained to commemorate the moment. This practice would leave the woman with an ornamental tattoo.
Decline and Revival of Ta Moko
A strong contributing source for the decline of Ta Moko was the missionaries who were amongst the early European settlers of New Zealand. It was they who created schools to educate the Maori children. In this position they were able to influence the younger generation of Maori. It was their belief that the practice of Ta Moko was a heathen practice, and they passed along their disapproval for the vulgar practice.
Recently there has been a revival in Maori culture. Included in this is the art of Ta Moko although not all the skill has been retained. The traditional art of Ta Moko involved chiselling the details into the persons face and body which involved a tremendous amount of skill and knowledge of biology.
Ta Moko designs can now be seen on many people, both Maori and non-Maori. Given the significance of each stroke, the lack of research into the designs worn by some, including celebrities have angered some Maori. There is much meaning attached to each design that it is considered ignorant for a person, Maori or non-Maori, to use a design without understanding its relevance.
Ta Moko is an art form of exquisite beauty showcased on skin. The traditions of a culture can be observed in its delicate patterns and designs.
References
Reed, A. W., Maori Myths and Legendary Tales. Birkenhead, Auckland: New Holland Publishers (NZ) Ltd., 1999
Robley, H. G. Maori Tattooing. Mineola, NY : Dover Publications Inc., 2003
Simmons, D. R. Ta Moko: The Art of Maori Tattoo. Harwich Port, MA: Reed Books, 1997.
Bridget Murray - Kia Ora, Nga mihi nunui kia koutou Nau mai haere mai ki tooku nei wharangi Ko Bridget Murray ahau My name is Bridge and i live ...
