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New Zealand Electronic Text Centre collection on Ta Moko, mokamokai, Horatio Robley and his art. A bibliography provides further links to other online resources. The rise of the Maori tribal tattoo, BBC News Magazine, 21 September 2012, Ngahuia Te Awekotuku, University of Waikato, New Zealand
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 ...
Te Awekotuku has researched and written extensively on the traditional and contemporary practices of tā moko (tattoo) in New Zealand. Her 2007 (re-published in 2011) book Mau Moko: the world of Maori tattoo, co-authored with Linda Waimarie Nikora, was the product of a five-year long research project conducted by the Māori and Psychology Research Unit at the University of Waikato, funded by a ...
It is an integral symbol in Māori art, carving and tattooing, where it symbolises new life, growth, strength and peace. [3] Its shape "conveys the idea of perpetual movement," while the inner coil "suggests returning to the point of origin".
Tyson saw the tattoo as representing the Māori, whom he described as a "warrior tribe", and approved of the design, [29] which consists of monochrome spiral shapes above and below his left eye. [30] According to Tyson, it was his idea to use two curved figures rather than one. [31] The tattoo drew significant attention before the fight.
The tā moko (or ‘kauae’ for women) is a sacred facial tattoo still frequently practiced in Māori society. [9] Its name is derived from the mythological figure ‘Atua Rūaumoko’ – the latest child of Ranginui et Papatūānuku of Rarohenga. [9] [10] The origin of the art is recorded in several
Lindauer's Maori paintings are, like many by Ellen von Meyern and Frances Hodgkins, associated with symbolist portraits of demure females with or without a child. [5] One of these, a young poi dancer without a facial tattoo, was so admired by the Prince of Wales that Buller gave it to him. [ 4 ]
Her art practice includes paintings, printmaking, installation, and tā moko. She has authored books on Māori art, curated art exhibitions and contributed to critical discourse on Māori art. [11] [12] [13] Her work has helped lead to a revival of indigenous tattoos in both New Zealand, but also worldwide. [5] [14]