Friday 30 May 2014

Maori

A culture in which pantheistic, spiritism animistic and paganism is so intertwined they are one.

Māoritanga - Points 1.0 - 6.0



Point 1.0: Māori creation traditions: Read Here
Point 2.0: Traditional Māori religion – ngā karakia a te Māori: Read Here
Point 3.0: Māori mythology: Read Here

Point 4.0: en.wikipedia.org States: original source
Six major Māori departmental gods represented by wooden godsticks:
  1. Tūmatauenga
  2. Tāwhirimātea
  3. Tāne
  4. Tangaroa
  5. Rongo
  6. Haumia
Six major Māori departmental gods represented by wooden godsticks:
left to right, 
TūmatauengaTāwhirimāteaTāneTangaroaRongo, and Haumia




















Point 5.0: whanaushow.co.nz States: original source
The Maori have a close kinship with their environment. The basis of the Maori culture lies in its Polynesian belief of a divine direction in all matters. In the beginning a host of gods such as Tane Mahuta (God of the Forest) and Tangaroa (God of the Sea), and four others who are : wind, wild food, planted food, and mankind, were born to Rangi (the Sky Father) and Papa (the Earth Mother). They are remembered through song and dance. All mortal matters were subject to rules laid down by one or another of these godly children, issued as edicts through earthly priests called tohunga ahurewa . It is also the priest's duty to memorize their sacred chants and seeing that they were passed on to the next generation.  
The priest also conduct rituals at planting and harvesting of crops, communicated with gods when there was drought or other natural disaster, they also saw that the burial of chiefs was taken in a proper manner. Spells were also laid on people who behaved badly towards their friends, or broke the ruling that certain tapu (sacred) places, such as the scene of a recent death, should not be visited for a time. Priest therefore not only influence the gods, but encouraged the people to behave properly towards others. Ancient Maori traditions and art forms have become precious taonga (treasures) of the modern Maori. Status and prestige are gained from ancestors who contribute to the living by giving spiritual strength and guidance to those who call on them. It is for this reason that traditional art forms such as the carved walking sticks, greenstone necklaces and bone carvings are treated with respect, as they carry the spirit of the original owners. 
Point 6.0: encyclopedia.com States: original source
Religion and Expressive Culture 
Religious Beliefs. The Maori held an essentially spiritual view of the universe. Anything associated with the supernatural was invested with tapu, a mysterious quality which made those things or persons imbued with it either sacred or unclean according to context. Objects and persons could also possess mana, psychic power. Both qualities, which were Inherited or acquired through contact, could be augmented or diminished during one's lifetime. All free men were tapu to a degree directly proportional to their rank. 
Furthermore, an object or resource could be made tapu and therefore off-limits. The punishment for violating a tapu restriction was automatic, usually coming as sickness or death. The Maori had a pantheon of supernatural beings (atua). The supreme god was known as Io. The two primeval parents, Papa and Rangi, had eight divine offspring: Haumia, the god of uncultivated food; Rongo, the god of peace and agriculture; Ruaumoko, the god of earthquakes; Tawhirimatea, the god of weather; Tane, the father of humans and god of forests; Tangaroa, the god of the sea; Tu-matauenga, the war god; and Whiro, the god of darkness and evil. There were also exclusive tribal gods, mainly associated with war. In addition, there were various family gods and familiar spirits. 
Religious Practitioners. The senior deities had a Priesthood (tohunga ahurewa), members of which received special professional training. They were responsible for all esoteric ritual, were knowledgeable about genealogies and tribal History, and were believed to be able to control the weather. Shamans rather than priests served the family gods whom they communicated with through spirit possession and sorcery. 
Ceremonies. Most public rites were performed in the open, at the marae. The gods were offered the first fruits of all undertakings, and slaves were occasionally sacrificed to propitiate them. Incantations (karakia ) were chanted in flawless repetition to influence the gods.
Where do the born again believers fit in practicing such cultural practices.
Verses 17 of 2 corinthians chapter 6 clearly states God's position concerning us in such things.
Therefore, come out from among unbelievers,  and separate yourselves from them, says the LordDon’t touch their filthy things,  and I will welcome you.
II Corinthians 6:14-17 MAOR
Kei iokatia ketia koutou ki te hunga whakaponokore: no hea hoki te whakahoatanga o te tika raua ko te tutu? no hea hoki te huihuinga tahitanga o te marama ki te pouri? Ko ehea mea a te Karaiti i huihuia ki a Periara? na tehea wahi ranei i huanga ai te tangata whakapono ki te tangata whakaponokore? A kei hea he tatanga mo te whare tapu o te Atua ki nga whakapakoko? he whare tapu hoki koutou no te Atua ora; ko ta te Atua hoki tena i mea ai, ka noho ahau i roto i a ratou, ka haereere ahau i roto i a ratou; a ko ahau hei Atua mo ratou, ko rat ou hoki hei iwi maku. Mo konei, Puta mai i roto i a ratou, kia motu ke, e ai ta te Ariki. Kaua hoki e pa ki te mea poke; a ka riro mai koutou i ahau;

2 Corinthians 6:14-17

New Living Translation (NLT)

The Temple of the Living God

14 Don’t team up with those who are unbelievers. How can righteousness be a partner with wickedness? How can light live with darkness? 15 What harmony can there be between Christ and the devil[a]? How can a believer be a partner with an unbeliever? 16 And what union can there be between God’s temple and idols? For we are the temple of the living God. As God said:
“I will live in them
    and walk among them.
I will be their God,
    and they will be my people.[b]
17 Therefore, come out from among unbelievers,
    and separate yourselves from them, says the Lord.
Don’t touch their filthy things,
    and I will welcome you.[c]

Traditional Māori religion

Traditional Māori religion – ngā karakia a te Māori

by Basil Keane

The Māori natural world teemed with gods and unseen beings and required thoughtful navigation. Tohunga (priests) assisted people with special incantations and rites to appease the gods.

Ngā atua – the gods

At the centre of Māori religion were the atua or gods. In Māori belief the natural and supernatural worlds were one – there was no Māori word for religion. The use of the term ‘whakapono’ for religion was introduced by missionaries. Whakapono also means faith and trust.

Te Kore

Accounts of creation usually began with Te Kore (chaos, or the void), then Te Pō (the night), and then Te Ao Mārama (the world of light). This proceeded over eons of time. There are numerous stages of Te Kore, Te Pō and Te Ao Mārama recorded in different whakapapa, with each stage begetting the next. Sequences vary in different tribal retellings.

Rangi, Papa and their children

A significant creation story concerns Rangi and Papa. Ranginui (sky father) and Papatūānuku (earth mother) were locked in an eternal embrace. Their children, the departmental gods, were trapped between them in eternal darkness, and decided to try and separate their parents. The children (except Tāwhirimātea) tried and failed to separate them. Then Tāne used his legs to push the sky apart from the earth.
Tāwhirimātea became god of the wind, Tāne god of the forest, Tangaroa god of the sea, Rongo god of cultivated foods and Haumia god of uncultivated foods.
Other significant gods were the war gods, Maru, Uenuku and Kahukura.

Gods and whakapapa

In Māori tradition all living things were linked through whakapapa. Tāne, the god of the forest, shaped the first woman, Hineahuone, from soil and took her as his wife. They became the ancestors of human beings.
In another tradition it is a different god, Tiki, from whom humans descend. There are whakapapa that show how people, birds, fish, trees and natural phenomena are all related.

Godly tics


People searching for evidence of Māori having one supreme being, Io, have researched early manuscripts. Missionary John White recorded the term ‘io’ in an account of Ngāti Ruanui traditions. The manuscript includes interpretations of omens such as muscular twitches in various parts of the body. Some twitches are termed io, and occasionally the word has an initial capital. But as scholars have pointed out, this alone does not constitute evidence of a Māori God.

Io – supreme god

There has been debate about whether there was a supreme god in Māori tradition, centred around a god known as Io. Io has many names, including Io-matua-kore – Io the parentless one.
Those who argue for Io as a pre-European supreme being point to traditions collected by Te Whatahoro Jury from two Wairarapa tohunga, Te Mātorohanga and Nēpia Pōhūhū. They argued there were references to Io in early traditions.
The fact that there was a higher and a lower form of knowledge, the Kauwaerunga (upper jaw) and Kauwaeraro (lower jaw), is also used as proof of Io as a supreme being. Only certain people had access to the Kauwaerunga while all knew of the Kauwaeraro. In the 20th century Io was an accepted part of Ngāti Kahungunu and Ngāpuhi traditions.
Those who think that Io came from the Christian concept of God argue that there is no concrete evidence of such a being in early Māori traditions. Māori scholar Te Rangi Hīroa (Peter Buck) observed, ‘The discovery of a supreme god named Io in New Zealand was a surprise to Maori and Pakeha alike.’1

Other supernatural beings

Supernatural beings are known as tipua. Taniwha are tipua who dwell in the environment. Sometimes described as monsters or dragons, they take many different forms and often act as guardians.
Lesser gods were also known as tipua and were often placated by small offerings of branches or twigs when passing by places they inhabited.

Rākau and kōhatu tipua

Sometimes trees and rocks were seen as embodying supernatural entities and were termed tipua. Rākau tipua (supernatural trees) and kōhatu tipua (supernatural rocks) would often have offerings such as twigs or branches left near them by passing travellers.
Footnotes
    • Peter Buck, The coming of the Maori. Wellington: Whitcombe & Tombs, 1950, p. 526. Back

Tohunga

What is a tohunga?

Priests were known as tohunga. Māori scholar Te Rangi Hīroa (Peter Buck) suggested that the term derives from tohu, meaning to guide or direct. Ngāpuhi elder Māori Marsden suggested tohunga comes from an alternative meaning of tohu (sign or manifestation), so tohunga means chosen or appointed one.
The term tohunga is also used for an expert in a particular field. An expert in tattooing (tā moko) was a tohunga tā moko. An expert in carving (whakairo) was a tohunga whakairo. A priest was a tohunga ahurewa (sacred place tohunga).

Too tapu

Some tohunga were so tapu that they were unable to feed themselves. They were fed with food placed on a stick and put in their mouths, and water was tipped into their mouths from a container. In some cases, a specially made funnel, a kōrere, was used to pour water into their mouths. Tapu tohunga could not get their hair cut.

Mediums

Atua and spirits would communicate through a tohunga, who acted as their medium. The tohunga would speak in a different voice, regarded as the voice of the god. One example is a famous tohunga of Ngāi Tūhoe named Uhia, who became a medium of a spirit, Hope-motu, whom he renamed Te Rehu-o-Tainui.
A person through whom a god was being channelled was termed a waka atua (vessel of a god), or kauwaka (medium).

Matakite

A matakite was someone who could divine information about the future, or about present events in other places. A tohunga was often a matakite.
In one example a group was marching to battle when the god Maru appeared to their tohunga. He instructed where the battle ground should be, and, despite being outnumbered, they overwhelmed their enemy.
In the mid-1840s a tohunga was accompanying a large party who had been spear-fishing at the island of Rua-papaka in Northland. When they landed the tohunga told the group that a young girl named Nga-ripene had died, as her spirit had passed the bow of the boat and informed him. She had been young and healthy when they last saw her, and they doubted his word. However, on their return it was confirmed that Nga-ripene had indeed died.

What did tohunga do?

It was the role of tohunga to ensure tikanga (customs) were observed. Tohunga guided the people and protected them from spiritual forces. They were healers of both physical and spiritual ailments, and they guided the appropriate rituals for horticulture, fishing, fowling and warfare. They lifted the tapu on newly built houses and waka (canoes), and lifted or placed tapu in death ceremonies.
Ruahine (elderly women) and puhi (young virgins) also played a role in the removal of tapu from canoes and buildings.

Spiritual concepts

Mana

Mana describes an extraordinary power, essence or presence. It relates to authority, power and prestige. Mana comes from the atua (gods) and is highest amongst rangatira (those of chiefly rank), particularly ariki (first born), and tohunga (experts).
The concept of mana is closely tied to tapu.

Tapu and noa

A person’s tapu is inherited from their parents, their ancestors and ultimately from the gods. Higher born people have a higher level of tapu.
Flora, fauna and objects in the material world could all be affected by tapu. When a person, living thing or object was tapu it would often mean people’s behaviour was restricted.
Noa means ordinary, common or free from restriction or the rules of tapu. Often ceremonies were carried out to remove the influence of tapu from objects or people so people were able to act without restrictions.

Mauri

Mauri is the life principle or vital spark. All people and things have mauri. People placed physical objects in forests as talismans. These embodied the mauri, and were protected.
If people’s mauri becomes too weak, they die.

Travelling hau


When the demigod Māui had fished up the North Island he said to his brothers, ‘[K]aua hoki e kotikotia tatou ika; e ngari waiho kia tae au ki te kawe atu i te hau o tenei tanga-ika; a, kia tae atu au ki te tohunga, kia whangaia ki te atua, ka hurihia te hurihanga takapau, ruahine rawa, kakahi rawa, ka noa’ (do not cut up our fish, but wait until I can carry the essence of this offering, and, when I get to a tohunga, its essence will be offered to the atua, and the hurihanga takapau (lifting of tapu), the ruahine rites and the kakahi rites will be carried out, and then it will be free from tapu).1

Hau

The hau of a person or other living thing is its vital essence, or power. A talisman known as a mauri protects the hau of a person, or of a locality. A forest with a mauri talisman was considered to have greater numbers of birds or fish because of the talisman.

Wairua

Wairua is the spirit of a person. Wairua can leave the body and go wandering. When a person dies it is their wairua which lives on. Traditionally Māori believed that when they died they would go to rarohenga (the underworld). In northern traditions, this involved travelling te ara wairua (the pathway of spirits) to te rerenga wairua (the leaping place of spirits). Wairua would then descend to the sea.
Footnotes
    • George Grey, Ko nga mahinga a nga tupuna Maori. London: George Willis, 1854, p. 22. Back

Karakia

What are karakia?

Karakia are the way people communicate with the gods. Te Rangi Hīroa (Peter Buck) suggested a karakia was ‘a formula of words which was chanted to obtain benefit or avert trouble.’1 Karakia were not used to worship or venerate gods. One type of karakia, a tūā, was a spell.

Who used karakia?

Tohunga (priests) were the most appropriate people to use karakia, as they were mediums for the gods. Karakia relied on the words chanted, and also on the mana of the speaker.
All people – children as well as adults – used karakia. For adults, a simple chant to ward off unseen presences was ‘Kuruki, whakataha!’ (Lose power, pass aside.)

Types of karakia

There were numerous kinds of karakia. There were a number of karakia tamariki (children’s karakia). This is a simple karakia for children, to halt the rain:
E rere te kotare
Ki runga i te puwharawhara
Ruru ai ia o parirau
Kei maku o kuao i te ua
Mao, mao te ua
Fly o kingfisher
On to the bunch of astelia
And there shake your wings
Lest your young become wet by the rain
Cease, cease the rain.2
The kī tao type of karakia was used to infuse a weapon with power in battle. Tā kopito was a karakia used for sickness. Tūā moe was a spell used by fowlers to make the tūī go to sleep. Tūā pana was a spell to help with childbirth. Hoa tapuae were a group of karakia used by warriors to increase their speed.
Common endings for traditional karakia are:
Tūturu ka whakamaua kia tina, tina, haumi e, hui e, tāiki e!
and:
Whano, whano, hara mai te toki, haumi e, hui e, tāiki e!

Classes of karakia

Types of karakia include:
  • ātahu: love charms
  • hoa: to split stones, wither leaves or kill a bird
  • hoa tapuae: to give speed to the feet and to retard an opponent
  • hono: to unite fractures
  • kaha: to gain success in fowling
  • kawa: to remove the tapu from new houses
  • kī tao: to give power to spears – also known as reo tao.
  • kī rākau: to give power to weapons
  • ngau paepae: to avert sorcery against a war party
  • pou: to fix memory during instruction
  • rāoa: to expel the foreign body in choking
  • rotu: to put people or the sea to sleep
  • tā kōpito: to cure abdominal troubles
  • tohi: to instill tapu and mana into a baby
  • tohi taua: to sprinkle a war party proceeding to war
  • tūā: to dedicate children after cutting the navel cord
  • tūā pā: to ward off ill luck
  • whai: to cure injuries, burns, choking
  • whakanoa: to make common (noa) by removing tapu.
Footnotes
  1. Peter Buck, The coming of the Maori. Wellington: Whitcombe & Tombs, 1950, p. 489. Back
  2. The coming of the Maori, p. 491. Back

Rituals and ceremonies

Because spiritual forces such as mana, tapu and mauri were seen as all-pervasive, people navigated the spiritual world through karakia and ritual. Most ceremonies and rituals required the services of tohunga.
Scholar Te Rangi Hīroa (Peter Buck) defined ritual as ‘the form of conducting the whole rite relating to one subject and it may include various ceremonial acts in addition to the chanting of appropriate karakia.1

Tūā

Babies were named after the tāngaengae (navel cord) was severed. The tūā rite was performed in the place where the child was born. It removed the tapu from both the mother and child, and ensured health for the child.

Tohi

The tohi ceremony followed the tūā rite. It was performed at a sacred stream. Children were dedicated to particular gods at the tohi ceremony. Boys were often dedicated to Tūmatauenga, the god of war, and girls to the goddess Hineteiwaiwa.

Pure

The pure rite followed the tohi rite. This made the child’s spiritual powers or mana permanent. Adults who had taken part in the tohi and pure rites then underwent a process of whakanoa (the removal of tapu) at a ceremony conducted near the latrine (turuma), or at a stream.

Rāhui

Tapu could be placed on particular places or things to limit people’s access to them. This was called a rāhui. Rāhui might be placed where a person had died. For example if someone drowned, a stretch of water might have a rāhui placed on it by a rangatira or tohunga to prevent it being used for a period.

Tā i te kawa

Tā i te kawa literally means to strike with a branch of kawakawa. This was a ceremony carried out in connection with the opening of a new carved house, or the launching of a new canoe. It could also occur at birth, or during a battle.

First fruits

Most activities involving the cultivation or collection of food were under the domain of an atua. The first fruits were reserved for the relevant atua.
  • People fishing would throw their first catch back for Tangaroa, god of the sea. In one traditional story, Manuruhi, the son of Ruatepupuke took a fish without saying a karakia to Tangaroa, and did not offer up the first of the catch. Tangaroa was enraged. He came and took Manuruhi under the sea, and turned him into a tekoteko on top of his wharenui.
  • Rongo, the god of cultivated foods, would be offered the first kūmara harvested. The kūmara for offer were planted in a separate garden plot, called a māra tautāne.
  • Bird fowlers offered their first catch to Tāne, god of the forest.
  • Tūmatauenga, the god of war, would receive te mata-ika (the face of the fish), the first man killed in battle.

Tapu removal

There were a number of rituals to remove tapu and make a person or thing noa (free from the restrictions of tapu). Whakanoa means to make noa.

Bite the bar


Anthropologists Allan and Louise Hanson studied early manuscripts in their bid to understand the rite of ngau paepae. Their conclusion was that the gods did not shun the latrine in the way humans did – when Rupe ascended to the home of the god Rehua, there was excrement lying about – so biting the beam of the latrine was a way of conducting tapu from their realm, or back to it.

Whakahoro was a ritual to remove tapu from people using water. Another ceremony was hurihanga takapau (turning the mat). This was used by Māui to lift the tapu from his great fish (the North Island).

Whāngai hau

Whāngai hau involved a ceremonial offering of food to an atua. It was to feed (whāngai) the essence (hau) of the offering to the atua.

Ngau paepae

A ceremony conducted to increase the tapu of warriors going into battle, and also to neutralise certain types of tapu, was ngau paepae (biting the beam between the two posts of a latrine).
Footnotes
    • Peter Buck, The coming of the Maori. Wellington: Whitcombe & Tombs, 1950, p. 500. Back

Tūāhu and wāhi tapu

Tapu places and objects

Particular places and objects were tapu. These included shrines, objects used to contain gods, waterways set aside for religious purposes, and places which were intrinsically tapu, or tapu due to important events which had happened there.

Tūāhu

A tūāhu was a simple shrine located away from a kāinga (village). It consisted of a heap of stones. A tūāhu with an enclosed post was a pouahu. A wooden waka (box) containing the tribal god would be kept in the enclosure. Small carved wooden houses set on posts – kawiu – also contained waka. Sometimes a whata (stage) was erected.

Village latrines

Village latrines were known as turuma or paepae. These were used by tohunga in various rituals, including ngau paepae (biting the cross-bar of the latrine).

Wai tapu

A number of rituals required water from a stream or pond. Wai tapu (sacred waters) were set aside for the purpose. These waters were used for the dedication of children to gods, cleansing of people from tapu, and lifting tapu from warriors returning from battle.

Wāhi tapu

Some areas were considered tapu (restricted). These included burial grounds, sites where people had been killed, trees where the whenua (placenta) of children had been placed and the tops of tribal mountains. Certain prohibitions applied to these areas. People either had to stay away from them, or refrain from doing things which would break their tapu, for instance taking food to wāhi tapu.

Taumata atua and godsticks.

Some objects contained atua and were used in ceremonies associated with fertility. Taumatua atua (abiding place of the gods) were images shaped from stone that were placed near food crops as mauri to protect their vitality. Whakapakoko atua or atua kiato (god sticks) were usually carved and had a pointed end so they could be inserted into the ground. They were used as temporary shrines for atua, and were also used to ensure the fertility of crops, or the abundance of fisheries.

Māori creation traditions

Māori creation traditions

by  Te Ahukaramū Charles Royal

Every culture has its traditions about how the world was created. Māori have many of them, but the most important stories are those that tell how darkness became light, nothing became something, earth and sky were separated, and nature evolved. Through the spoken repetition of these stories, the world is constantly being recreated.

Common threads in creation stories

Stories about creation have preoccupied people the world over. Every culture has developed and continues to develop an explanation of the origin of the world that speaks meaningfully to contemporary experience. These explanations take numerous forms, including the scientific, artistic and mythological.
Mythological creation traditions arise from a reflection on the nature of life and existence. Once, mythologies were the most common explanation of existence. Every society had a mythic narrative about the origin of life, the nature of being human, the forces of the natural world, and the design of the cosmos. Although unique in their content, Māori creation traditions can be seen in this wider context.

Themes in Māori creation myths

All Māori narratives about the creation of the world have some major themes in common. These include:
  • the movement from nothing or darkness to something or light
  • the separation of earth and sky
  • the work of the gods in fashioning the natural world.
Apart from these shared threads, there is considerable diversity among various tribal versions of the creation story – particularly with respect to the role of a supreme being.

Darkness and light

Most versions use the terms Te Kore (nothingness, the void), Te Pō (darkness, the night) and Te Ao (light, the world). The movement between these different states is described in each story. Often the movement is represented by a whakapapa (genealogical chart): like a descent line, one state is born from another. The following example of the progression from darkness to light is adapted from a version given by Hūkiki Te Ahukaramū, a 19th-century Ngāti Raukawa chief:
Te Pō (night, darkness)
Te Ata (dawn)
Te Ao (light, world)
Te Ao-tū-roa (longstanding world)
Te Ao Mārama (world of light)
This second example, adapted from Te Ahukaramū’s version, incorporates the movement from nothing to something:
Aituā (calamity, misfortune)
Te Kore (nothingness)
Te Mangu (darkness)
Rangipōtiki (the sky)

The separation of earth and sky

Most mythological traditions speak of an event or act that brought about the world as we know it. In the biblical tradition, it is God who creates the world over a period of seven days. In the Navajo tradition, creation is thought of as a sequence where worlds emerge from other worlds. In the Māori tradition, the central act of creation is the drama of the separation of earth and sky.
The Māori creation story begins with a description of darkness and nothingness, out of which Ranginui, the sky father, and Papatūānuku, the earth mother, emerge. Initially, earth and sky are joined together, and their children are born between them. But the children conspire to separate their parents, and this allows light to flow into the world. The movement from darkness to the world of light is therefore achieved by the separation of the parents by the children.

The basis of the natural world

Finally, the story explains how the children of earth and sky become key figures or deities of various domains of the natural world. For example, Tāne becomes the atua (divine presence) of the forests, Tangaroa of the sea, Rūaumoko of earthquakes, and Tāwhirimatea of the winds and weather. The weaving together of these deities in a vast genealogy is the traditional Māori method for explaining the natural world and its creation.

Different creation traditions

Tribal versions of the creation story

There are different tribal versions of each of the three creation sequences – the movement from darkness and nothing to light and something, the separation of earth and sky, and the fashioning of the natural world. Sometimes it is the moon that prompts the children to separate their parents, Rangi and Papa; in other accounts it is the sun. In some versions, Tāne succeeds in raising the sky by using a post; in others Tāne stands on his head and thrusts his feet upwards.

The Io tradition

Cosmology

This is part of a cosmological chant recited by Te Kohuora of Rongoroa:
Nā te kune te pupuke
Nā te pupuke te hihiri
Nā te hihiri te mahara
Nā te mahara te hinengaro
Nā te hinengaro te manako
Ka hua te wānanga.
From the conception the increase
From the increase the thought
From the thought the remembrance
From the remembrance the consciousness
From the consciousness the desire.
Knowledge became fruitful. 1
The presence or absence of a supreme being, known as Io, is one of the distinguishing features of different versions of Māori creation traditions. The notion of a godhead in Māori society and culture is the subject of great debate. This is mainly because early manuscripts of Māori mythological material do not contain reference to Io, who only begins to appear in manuscripts and oral discourse late in the 19th century. Particularly important in the history of the Io discussion was the publication of S. Percy Smith’s The lore of the whare-wananga (1913), thought to contain the first extensive account. Some have even said that this had been secret and esoteric lore held by the initiated only, until Smith discovered it and made it more generally known. As a consequence, Smith and his informants – Te Whatahoro Jury, Nēpia Pōhūhū and Te Mātorohanga, all of Wairarapa – were regarded with some suspicion. Others have argued that Io was invented to bring Māori cosmology more into line with Christianity. Nevertheless, the Io tradition appears to have enjoyed the attention of many 19th- and 20th-century tribal elders, and almost all tribes have a view on Io.

Creation genealogies

Some versions of the Māori creation story also include ‘genealogical’ charts, which list organic processes in terms of cause and effect. The following sequences, recorded by the Reverend Māori Marsden of Te Tai Tokerau, describe growth of various kinds. One tells of the germination of seeds:
Te Pū (shoot)
Te Weu (taproot)
Te More (laterals)
Te Aka (rhizome)
Te Rea (hair root)
Another describes the increase of energy:
Te Rapunga (seeking)
Te Whāinga (pursuit)
Te Kukune (extension)
Te Pupuke (expansion)
Te Hihiri (energy)
Yet another depicts the growth of wisdom and knowledge:
Te Mahara (primordial memory)
Te Hinengaro (sub-conscious wisdom)
Te Whakaaro (seed word)
Te Whē (consciousness)
Te Wānanga (achieved wisdom)
Finally, a sequence outlines the rise of space and time, which existed before Ranginui (the sky) and Papatūānuku (the earth):
Te Hauora (breath of life)
Te Ātāmai (shape)
Te Āhua (form)
Wā (time)
Ātea (space)
These sequences do not describe a central act of creation, but are rather an attempt to understand the perennial process of life itself.
Footnotes
  1. Anne Salmond, Two worlds: first meetings between Maori and Europeans, 1642–1772. Auckland: Viking, 1991, pp. 171–172. › Back

Creation and the Māori world view

Often a mythological creation tradition is so compelling that it can influence all aspects of life. In this way customs, practices and institutions can become an expression of a culture’s foundation story. Many aspects of the Māori world view are influenced by the essential elements of the Māori creation narrative.

A model for behaviour

Creation stories give people a way of looking at their world. These stories tell us about individuals acting in particular ways and securing their position in the world. They stand, therefore, as a model for individual and collective behaviour and aspirations. Legendary heroes act as exemplars of human potential. By capturing the sun, entering the underworld, or fishing up an island, Māui represents the character of the individual who can bring about change and development in a community. The ascent of Tāne through the 12 heavens to obtain the baskets of knowledge symbolises an individual striving toward insight and understanding.

Creation and the oral tradition

Many Māori creation traditions use symbols of childbirth, the growth of trees, thought, energy and the fertile earth to convey the idea of constant, repeated creation. These symbols convey the idea of a world in a state of perpetual ‘becoming’. This idea is a key aspect of the traditional Māori world view.
Pūrākau (mythological traditions) are statements about the nature of the world, and their repetition echoes the creation story. Every time creation whakapapa (genealogies) and kōrero (stories) are recounted, the world is ritually ‘recreated’.
Many of the gods who represent the divine character or spirit of an aspect of the natural world, such as Rongomātāne of cultivated foods, are included in a genealogical chart, the recitation of which establishes a fundamental relationship between humans and the natural world.

The pōwhiri ritual

The dawn of creation

Carved meeting houses are opened in dawn ceremonies because they represent the world created by the separation of Rangi and Papa. The arrival of the sun at dawn symbolises the creation of the world of light.
In many societies and cultures, mythic stories form the basis of rituals. The pōwhiri (welcome ceremony), which is conducted on marae, has its basis in Māori creation stories and traditions. The ritual guides participants from Pō, a state of darkness upon the marae itself (hence, pōwhiri) to Ao, the state of lightness and resolution. This latter state – referred to as Te Ao Mārama (the world of light) – is represented by the structure of the carved meeting house as an image of the world. The roof represents Ranginui (the sky) and the floor represents Papatūānuku (the earth). The posts of the house represent those that Tāne used to separate earth and sky, and the carving above the doorway represents Hine, the custodian of the threshold between night and day, darkness and light. The pōwhiri ritual is a process where participants move from one state to another, re-enacting the mythological creation of the world.