Te Hono ki toi. a history of Maori painting. From the Hoe to the Whare to the art gallery

About this research

Stephen Gibbs (Ngati Tamanuhiri, Ngati Rangiwaho, Rongowhakaata, Rongomaiwahine), Massey University

Toi Tamanuhiri – Hua Uri Kuri –Mana Moana, Mana Whenua, Mana Tangata 

As a prelude to my research, the first part of my process was the curation of a series of Iwi based exhibitions that were held at Tairawhiti Museum - Gisborne, Verve Café  - Gisborne and Ngai Tamanuhiri Marae in Muriwai south of Gisborne, over the period of December 2013 – March 2014.

The curation process involved the establishment of an Iwi taonga data base and an Iwi artist’s database. This lead to establishing networks with a number of national and international museums and associated agencies. Other curatorial project’s followed. These included ‘Rangiwaho – Ihu Ki Te Moana’ an iwi collaborative project that I designed and curated, for the National Maritime Museum in Greenwich, England (2018) and ‘Tū te Whaihanga – an acknowledgement of creative genius. Tairawhiti Museum (2019), where I was co-curator with Eloise Wallace and exhibition designer.

As a consequence of establishing an Iwi Taonga data base, we were introduced Dr Amiria Salmond and researchers for the ‘Artifacts of Encounter’ project, where we were able to establish working relationships with Cambridge University, The British Museum, The Great North Museum, Newcastle, Pitt Rivers Museum, Oxford in the UK, Auckland University and Te Papa Tongarewa in Wellington. A preliminary hui in 2010 when Ngai Tamanuhiri iwi hosted anthropologist Dr Amiria Salmond who provided information about an exchange that took place between Maori and the crew of the Endeavour in 1769, where a number of hoe waka and other significant items were exchanged. The focus of my research has been locating and documenting the hoe waka that have contentiously been referred to as the Poverty Bay paddles, that were part of that exchange that took place in 1769.

While these particular hoe waka have unifying dimensions, that include elaborately carved manaia forms that appear on the butt and the neck of the paddles, the manaia form on the neck of the paddle has an intricate surface notching system known as ‘taratara a kae’. The most significant aspect for these hoe are the painted designs that appear on most of the blades. The painted designs are the oldest examples of painting that appear within Maori art and are said to be the precursor for what we now regard as kowhaiwhai. The design elements form the basis of a visual language that has been developed into contemporary Maori painting today. My research traces this development of maori pattern painting from the hoe waka to contemporary maori painting.

This process and discussions that followed have lead my research to believe that the creators of these waka hoe have very strong genealogical links to the people now known as Ngati Rangiwaho, Ngai Tamanuhiri and Rongowhakaata

Aims of my Research:

To verify who was responsible for the construction of (the carving and painted designs) the waka Hoe, that were exchanged with Cook in October 1769. Who they belonged to, and where they come from. 

The connection between the Hoe designs and the development of Painting on the Heke – rafters of the meeting house and the development of contemporary Maori painting by artists who use elements of traditional kowhaiwhai in their works

1. Methodology – The Language of Kowhaiwhai

2. Curated exhibitions: Whakapapa a Ngai Tamanuhiri – Toi Tamanuhiri exhibition: Mana Moana, Mana Whenua, Mana Tangata. (Tairawhiti Museum, Muriwai Marae). Rangiwaho – Ihu ki te Moana, (British Maritime Museum). Tū te Whaihanga, a recognition of creative genius.(Tairawhiti Museum)

3. Whakapapa a Hoe – Literature Review –Neich: Transition of Hoe Designs from Hoe to Whare

4. Nga Hoe a Tipene – Creation of new works based on the research undertaken