Pakiwaitara and Pūrākau

Every culture has its genesis, a beginning, a creation history. It is these histories that shape and give order to the world of that society. From these stories, lessons are learnt which shape a ‘world-view’ or philosophical standpoint (value and belief system).

For Māori, the recording and transmitting of social history was oral inclusive of whakapapa, whakataukī, pepeha, waiata, pakiwaitara and pūrākau (the telling of stories in metaphoric fashion).

Jayne Matenga-Kohu states ‘They [pūrākau] influenced and regulated social attitudes both publicly and privately, and gained physical expression through tikanga (customary practises)’.

Pūrākau today are often described as myths, fanciful stories consigned to the bookshelves of children however like religious symbols, myths aren’t invented; they arise from the unconscious. They use supernatural explanations for natural phenomena and cosmic issues like creation and death. They need not be historically accurate as they are designed to teach a moral lesson or esoteric truth.

The following video clips tell parts and variations of the story of Maui, whom some tribes believe, fished up New Zealand.

Pūrākau (poo-ra-cauw)

Pūrākau are usually described as stories that relate to the deeds and activities of ngā atua Māori (the gods & demi-gods of Māori), and are generally focussed on creation and pro-creation.

The word ‘pū-rākau’ gives some insight into its relationship with this era:

Te Pū: origin, source, base, foundation
Rākau: tree - a metaphor for creation is imaged as a living, breathing tree, growing over periods of time and space.

Jayne Matenga-Kohu in her descriptive of ‘time/creation’ writes:
‘The era of Te Pū established the root, the foundation. Te More, Te Weu and Te Aka followed, planting and generating the taproots, thin long rootlets and fibres. These allowed for the period of extension, expansion and growth – Te Rea. Here life gained movement.

Te Waonui issued the era of long standing time, a moment where [the] ancient forest is slowly growing. Here, creation as permanent and self-promoting moves into the time of Te Kune followed by Te Whē, the introduction of sound – tree branches creaking’.

The following periods, Te Kore and Te Pō, describe eras of sterility and barrenness where a great emptiness consumes the universe [Te Kore]. In the period of darkness and its various stages [Te Pō] creation is rejuvenated so that a season of birthing can occur. It is from this season that Papatūānuku and Te Ranginui come into being and from them their children, ngā atua tamariki – the gods of Māori creation.





Whilst today the ‘pūrākau’ of Ranginui and Papatuanuku is used as a given Māori creation narrative, it must be stressed that not all tribes from Aotearoa New Zealand believe that this is their descent path. This is but one narrative that also has variations in ‘its telling’.

Pakiwaitara (par-key-why-tar-ra)

Pakiwaitara can be used to describe stories that contain a moral within (interwoven). Unlike the transmission of whakapapa (genealogy of bloodlines, stories etc) the ‘layers’ need not be exact.

The word paki-wai-tara reinforces this viewpoint.

Wai (in this context): describes a memory or a recollection of words
Tara: describes a lack of exactness
Paki (the story): expresses what the storyteller has to say about this topic or subject.

Pakiwaitara can also be described as stories that provide accounts of local history. By that, stories that mark reference points to tribal territories, relationships with other groups (inter-marriage), kinship links and recognition of ancestors.

It is important to remember that there are variations in tribal interpretation of what pūrākau and pakiwaitara are. Some tribes will describe ‘their’ creation story as a pakiwaitara whilst others as a pūrākau.

Waiata, Songs - Songs for Hui Gatherings

Waiata (why-ar-tar) the Māori word used to describe song/s, have always featured in Māori culture. They are instrumental not only in expressing feelings or views of the singer and/or composer but also in reflecting the issues of their time; including the transmission of genealogy and history.

In hui, powhiri and or other social gatherings, waiata are used to:

• Endorse or 'kīnaki (key-nah-key)' - 'add relish' to the speakers topic
• Add the 'voices of old' sorrow to the loss of a loved one
• Recite whakapapa that enriches whanaungatanga (far-no-ng-ah-tongue-ah) links
• Remember past journeys, battles, marriages, unions and history that connect tribes, each to the other
• Express the anger, wrath or victorious slants to wrongs that were done; reminding both the listener and performer that these slights and consequences, whilst forgiven, are not forgotten
• Tell of great love stories over generations of time, in a poetic language worthy of any 'civilised culture'
• Recite paths to travel on journey's both here in the physical world and those of the after-life
  
  In short, waiata at hui melodically express every aspect, event, era and emotion of human existence!
  

This song 'Born of Greatness' was written by Hohepa Tamehana. He composed it for for the Manu-ti-oriori Show, a Māori 'Pop Idol' type programme established in 2001. For the words and more history on both the song and the composer, click here.

Waiata Tira

Waiata tira are choral pieces used to warm up the vocal cords and introduce the group to the audience. Through a waiata tira the group announces its arrival in a manner that is generally light and positive.

The following waiata tira, performed by Te Iti Kahurangi, acknowledges the passing of significant Māori and in particular Māori queen, Dame Te Arikinui Te Aatairangikaahu. The rangi or tune has been adapted from the song 'Bath in the River' sung by Hollie Smith which featured in the New Zealand Movie, No 2.

Haka

When describing or speaking about haka, it is difficult to go past the New Zealand All Blacks rugby team and their use of the haka, Ka mate. This haka has now obtained fame internationally through its performance prior to the All Blacks playing. Often referred to as Māori War dance or Māori dance, its beginnings have a different story.

Ka mate is the final verse of a haka ngeri performed by a Ngāti Toa Chief, Te Rauparaha. Whilst escaping his pursuers, he was hidden by a kuia (elder woman) in a rua, a storage pit for kumara or sweet potato. By sitting at the entrance of the rua with her legs aside either side, Te Rauparaha was able to escape death that day because his enemies would never have believed that he would hide beneath or between the legs of a woman. However it was this factor also that saved Te Rauparaha, for it was the genitalia of his protector (Te Rangikoaea), that absorbed the karakia (prayer incantations) of his enemies as they searched for him. In the first verse of this haka, Te Rauparaha describes his feelings of readiness should he be discovered.

Johannes C.Anderson, when writing on haka, notes:

‘… the haka … was intended not only to intimidate the enemy, but also work up the performer to the pitch of excitement necessary to enable him to ‘go over the top’. (Gardiner, Wira. Haka a Living Tradition).

The following clip shows the All Blacks performing Ka mate prior to a game against Tonga, who in turn respond with their own ‘haka’ equalling the challenge and showing determination to win.

Haka Pōwhiri

Haka pōwhiri is a chant sometimes used in the rituals of formal welcoming (pōwhiri see further down in blog). The purpose is likened to that of of hauling a waka (large canoe) to shore. In the case of haka pōwhiri, the guests or manuhiri, are 'hauled onto the marae' by the home people (hunga kāinga) with a rope woven during the karanga process.

In the following video clip is a perfect example of a haka pōwhiri. This one is performed by senior students of Rutherford College who are welcoming new entrants (Yr 9) to their school. The karanga or call of the girls draws the crowd forward, with the support of the haka behind.