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Kete were traditionally woven by women, with specific skills and techniques being passed down within families and closely guarded from outsiders. [12] Following colonisation, kete and other traditional textiles became less popular due to the introduction of manufactured containers. However, the practice of weaving kete did not fully die out and ...
purapura whetū – meaning "star seeds", also known as pukanohi ("herring's eyes") and kowhiti ("to cross"), is a simple cross-stitch pattern representing the stars and great numbers of people. [13] [14] Distinctive tukutuku can be seen in the Hotunui meeting house that is being looked after by the Auckland Museum.
Women continued receiving moko through the early 20th century, [12] and the historian Michael King in the early 1970s interviewed over 70 elderly women who would have been given the moko before the 1907 Tohunga Suppression Act. [13] [14] Women's tattoos on lips and chin are commonly called pūkauae or moko kauae. [15] [16]
Moko facial tattoos were traditional in Māori culture until about the mid-19th century, when their use began to disappear. There has been something of a revival from the late 20th century. In pre-European Māori culture, they denoted high social status. Generally only men had full facial moko. High-ranked women often had moko on their lips and ...
An example is invoking a god or atua by using a specific design on an object can make the item more effective due to the Māori world-view of natural and spiritual worlds being closely connected. [8] Māori art is connected to the art of Moana Oceania Indigenous groups, the peoples of the wider Pacific region.
The design is sometimes interpreted as the arms of warriors caught in haka (fierce rhythmic dance) action. The niho taniwha (taniwha tooth) pattern is a notched-tooth design found on all types of objects, mats, woven panels, belts, and clothing. The poutama is a stepped design signifying the growth of man, striving ever upwards.
The publication, Toi Tū Toi Ora: Contemporary Māori Art, was edited by Nigel Borell, designed by Tyrone Ohia and the layout by Katrina Duncan. [5]The publication won multiple awards, including Gold at the Best Design Awards 2022 (Designer's Institute of New Zealand) for 'Editorial and Books' along with Gold in the 'Toitanga' Maori design category.
The award-winning designer, Adrienne Whitewood (Rongowhaakata), demonstrates a new wave of Māori designers connecting customary designs and techniques with modern designs. Her work Tāniko was the Supreme Award Winner of the Cult Couture Fashion Awards in 2012.