Watching youth perform in the poi, haka and action song competitions

The impressions of a younger member of the Maori race who attended the jubilee at Ngaruawahia last May

MUSICAL APPRENTICESHIP

Te Wiata had always dreamed of studying under Garcia, who was the teacher of that other great New Zealand bass Oscar Natzke. This dream was not to be fulfilled as Garcia died just before Inia reached England. Upon reaching England he enrolled as a student at the Trinity College of Music and took private lessons from James Kennedy Scott. As well he took daily lessons at the Berlitz School of Languages, studying German, Italian and French. He remembers this period as the most difficult period of his life. Each day he took a separate language which meant that he became so mixed up that he could not absorb any of them. Eventually he decided to concentrate on German, until he had mastered it a little and attempted Italian later. He gave up French altogether, largely because his voice was not really suited to the French type of song.

At Trinity College he took counterpoint and theory and so forth but was disappointed to find that his great interest in opera was not catered for. There was no opera class. Some of the students worked together by themselves on operas but he felt that this was not a good grounding for the real thing. He also sensed that the voice production which he received from his teacher was not improving his voice, in fact it was going back. So he decided to put his cards on the table and ask the advice of his teacher. He was received very sympathetically by Kennedy Scott and they parted the best of friends.

He then joined the Opera Company run by the great English soprano Joan Cross. The students paid about £80 a term in fees and operas were performed in the provinces by the students themselves and produced by Joan Cross. This was wonderful experience. It was in the Tothams Theatre in Devon that Te Wiata performed the part of Sir Astra from the Magic Flute. The Tothams Theatre had a romantic history as it was built by the son of the great writer Chekov. This performance was such a success that it was repeated nine times in Devon, and then in other towns. The end of the three year term sponsored by the N.Z. Government was near when Peter Fraser visited England. Te Wiata

took his opportunity to apply for a further year in which to continue his experience with the opera company. This was granted.

Towards the end of this year Te Wiata began to see that it was time he thought of striking out on his own. Against the advice of all he decided to try an audition at Covent Garden. This was an adventurous step as it was not easy to be engaged once an audition had failed. One can imagine the singer's feelings as he stood on the stage and looked into the empty theatre where somewhere in the darkness sat the judges.

Amongst the ten singers who were being auditioned there was an American called Anthony Marlow who also became well-known as an opera singer. He was the only one to ignore the custom to render two songs for the audition, so Te Wiata decided to follow his lead and when his turn came he sang arias one after the other until he was asked to stop. His performance was followed by the usual “we shall advise you by post how your audition was received”; when a very high masculine voice rose from the darkness of the empty theatre to enquire if he knew the part of the Speaker in “The Magic Flute”. He didn't but he said Yes very promptly. The voice told him to come for a rehearsal the next day to prepare for a performance at Covent Garden the following night. Te Wiata spent the whole night learning the part and sang it perfectly on the night of the performance. Among the principal singers in that performance was the Australian soprano Rosina Raysbeck whom New Zealanders will remember from the very successful concerts she gave here just before she went to England. Others in the cast were the famous English tenor Peter Peers and the polish singer Marion Nowkski.

SUCCESS WAS RAPID

This was the beginning of his career as a world performer and he was to take parts in such operas as The Marriage of Figaro, La Boheme, Billy Budd and Gloriana, parts for the last two being specially written for him, by Benjamin Britten. For those familiar with the music of this composer it will be realised what a great achievement this was. At Covent Garden he was to sing under the baton of great conductors such as Sir Malcolm Sargent, Sir John Barbirolli, Sir Thomas Beecham and others. He sang before the Queen on three separate occasions, one of which was at a concert in the Festival Hall given in honour of the Queen before she left for the Commonwealth tour. Once his reputation was established he began to have invitations to perform on television and in the films. He played the lead in three films including the J. Arthur Rank production of “The Seekers”. In television films he took parts in the Agi series and the Saba series. Recently he played the part of a Maori in the play “In the Wake of the Long White Cloud”. This was written by a New Zealander named Bruce Stewart and is all about New Zealand. His talks on television to children are mostly about Maori culture and Maori clothing and weapons. When he returns to England he will take part in the musical “The Most Happy Fella”. This was written by the same author as “Guys and Dolls” but so far there has been no film version of this production.

These are the highlights of Te Wiata's life since he left these shores some eleven years ago but the isolation of New Zealand makes it difficult for us to realize what is needed in performance and tenacity to reach the heights which he reached, in a highly competitive field in a world class. Inia Te Wiata has developed his talents as a singer and an actor to a remarkable degree and only he will know the self-sacrifice and hard work which is the background of his success. His talent as a musician is of an unusual kind—he loves a ‘spicy programme’ moving from classical arias to simple folk music from the serious to the comic. For every song and almost every phrase he has a different mood and voice. Even old favourites like ‘Ole Man River’ and ‘The Song of the Flea’ are brought to life by unexpected but very apt voice modulations and mimicry. The gramophone records give no idea of what the performance is like, as so much acting comes into it. Every word and idea comes out with perfect clarity. His enormous presonality portrays the character of the songs, yet he never intrudes himself as a person. This is probably the test of any great artist and the most difficult achievement.

Unfortunately it is impossible for Inia Te Wiata to stay in New Zealand. There are no opportunities for him here. He has drawn out his tour as long as he could, spending some time in his home town Otaki where there is still a building site specially kept open for him when he wishes to make his home there.

Meanwhile, haere ra, Inia.

KO Ruakapanga te tohunga ako i taua mea katoa e pa ana ki te kumara te oneone pai, te takoto o te whenua, te anga ki te ra, te marumaru i nga hau, te whenua maroke, me te mahana te whenua hoki whiwhi ki nga marangai e rite ana mo te whakatipu me te whakamangaro i te kumara.

Huri ai ia wa, ia wa nga tangata whiriwhiri o ia iwi, o ia iwi ki te kimi matauranga i tona whare wananga a bora noa te mohiotanga ki nga iwi katoa.

I muri iho i te taenga mai o Kupe ki Aotearoa nei, ka whakaaro a Ruakapanga me tuku mai e

RUAKAPANGA was the priest who taught the cult of the Kumara; the soil suitable for its cultivation, the lie of the land whether it was lying to the sun, shelter from the prevailing winds, the moisture content of the soil, soil temperature, and the availability of moisture from the rains, conditions suitable to produce sweet and delectable tubers.

Planters of the kumara from time to time resorted to the teachings of the priest and thus the cult of the kumara as taught in the ancient house of learning became universally practised.

After the visit of Kupe to Aotearoa Ruakapanga sent one of the teachers from his house of learning Tairangahue to explore the possibilities of this land for the cultivation of the kumara. Tairangahue landed at Gisborne and from his observations decided that would be a suitable place for kumara growing.

The signs, the singing of the birds, the fantail,

ia tetahi o ona tino tohunga, a Tairangahue, ki te rapu i te ahua o tenei whenua mo te whakatipu kumara. I u a Tairangahua ki Turanga, a kite katoa ia i nga tohu o te whenua pai mo te kumara.

Ko nga tohu o te koanga e whakaatu ana ki a ia, ina hoki, te tangitangi a nga manu, te horirerire, te pipiwharauroa, te kiwi me te weka, te piki ake hoki o nga pua o nga rakau, me te kowhai ka ngaore, mohio tonu ia me hoki ia ki Hawaiki ki te whakaatu. Waiho iho e ia tana wahine a Kaniowai, me etahi o ona ope, ka hoki.

Ka tae ia ka korero i te pai o te Tairawhiti o Aotearoa mo te whakanoho kainga mo te whakatipu kai.

I te mohiotanga o Ruakapanga, he koanga te wa o te tau i Aotearoa, ka tapaea e ia ana manu a Harongarangi raua ko Tuingarangi hei whakahoki i a Tourangahua ki Aotearoa.

Ma runga i a Harongarangi a Pou, ko nga kopura kumara whai tipu ma runga i a Tuingarangi. Tapiri, ki enei, ko nga ko, ko Mamainuku, ko Mamairangi, hei ko i nga maara o roto o Turanga.

I mua o te rerenga mai o Pou, i runga i nga manu ka tohutohu mai a Ruakapanga i a ia, ki nga karakia e pa ana ki tenei manu, te karakia me te whakawhetai ina tae ki Turanga, me te karakia mo te whakahoki ora mai i nga manu.

Ka rere mai a Pou, a, ka tau ki Turanga.

Wareware iho nga kupu a Ruakapanga, nga manu ra, nga karakia ra, i tona whawhai ki te mihi atu ki tana wahine.

Hoki rawa mai ona whakaaro mo nga tohutohu a Rua, ka kite atu ia e tangi ana nga manu ra e tuohu ana.

Katahi ia ka karakia i te whakakawhetai me te karakia tuku te whakatekainga i nga manu ra; a rere atu ana raua, a hoki ana.

I te huarahi, ka patua haeretia nga manu nei, e nga tipuna i kiia nei ko Tunuioteika, ko Hautaketake, a tae-a-kiko atu ana nga manu nei ki to raua rangatira.

Ko te whiu a Ruakapanga e toru nga ngarara, ko ta ratou mahi he kai, he patu i te tipu o te kumara. O ratou ingoa, timata i te ngarara tuatahi, he Anuhe, muri iho he Mokowhiti.

Last year the pupils of Tikitiki Maori District High School, under the supervision of Mr Koro Dewes, wrote a story about the growing of kumara. Mr Pine Taiapa, the well-known carver, contributed a most interesting old tale as a preface.

This gave us the idea of publishing a series of articles on this important traditional Maori vegetable. We are printing the first instalment, Mr Taiapa's story here, in his original Maori, with an English translation.

the shining cuckoo, the kiwi and the weka, the blossoms on the trees, the kowhai and others, indicated it was Spring. Tairangahue thereupon decided that he would return to Hawaiki and make his report. He left behind his wife Kariowai and others of his group.

He arrived back at Hawaiki and reported that he had found that Eastern parts of the North Island of New Zeaalnd were most suitable for settlement and for the cultivation of plants for food generally.

When Ruakapanga learnt that it was Springtime in Aotearoa he sent his birds Harongarangi and Tuingarangihei to bring Tairangahue back to Aotearoa.

Pou came with Harangorangi and the tubers of kumara with shoots came with Tuirangi as also the digging tools. Before Pou left Ruakapanga instructed him in the particular incantations partaining to the birds, the thanks-giving prayers on his arrival at Gisborne and the incantations for the return of the birds.

Pou flew hence and landed at Gisborne. He forgot all the instructions Ruakapanga had given him about the incantations so eager was he to greet his wife when he did remark he heard the cry of the birds as they bowed their heads in sorrow. He chanted the prayers of thanksgiving and those for the safe return of the birds. So those birds flew off homeward bound. On their way, they were maltreated by those ancestors Tunuioteika and Hautaketake and they arrived back to their master in a state of collapse.

To avenge the maltreatment of his birds Ruakapanga sent three pests to affect the growth of the kumara, the anuhe a grub, and mokowhiti and the mokoroa.

The Anuhe or grub is a small brownish insect with a reddish head and not unlike a crab in shape. This pest attacks the leaves of newly planted shoots. In this particular case the survival of the plant depends upon the vigour of growth and multiplication of the early leaves. If however the attack of the grub is so vigorous

KAHAWAI FISHING IN THE WAIAPU RIVER

I am collecting short accounts of Maori customs still in existence today. The main reason is to reveal to Maori children these aspects of their Maoritanga. Even if they are not exactly the same as the ancient customs, they are urged to retain knowledge of these remnant customs of their ancestors.

The following account deals with Kahawai fishing at the mouth of the Waiapu River in the Ngati Porou district. Rutene Reihana and his wife. Hana, first related the account to me, which was later checked by Tipi Kaa and Kuki Kahaki. Here is an ancient custom observed today by the Rangitukia people. First, is described the sacredness of net making, secondly, the ritual connected with a new net and should be re-cast before any new net is taken into the water, thirdly, the making and types of mesh, fourthly, scaling the fish, fifthly, drying, smoking, preserving.

THE construction of a fishing net is a sacred undertaking, and the net would be contaminated by cooked food or by women walking over it. If these precautions are not adhered to, the task of the net-maker becomes difficult and the final product is not satisfactory.

There are three types of net. The first is made for December when the three-inch mesh is used. For January the four or four and a half-inch mesh, and for February the five-inch mesh. In December the Kahawai are small in size, hence the three-inch mesh, and in January the fish are a little larger, reaching maximum size generally in February.

When the net is complete, a fishing line is threaded through the outside loops of the net. This is known as the “heart of the fishing net”. After this the net is hung up and a weight placed in the bottom of it to help to tighten the mesh ties. Then a length of red manuka pole is fashioned and some supplejacks. These are dried and made into an oval frame according to the size of the net. At this stage the new net is ready to be taken to the beach where it is fixed on to the framework.

Before entering the water, the fisherman performs a special rite by urinating on the net and sprinkling some too over his body. Only after this ritual will he enter the water. This ritual is still performed today.

When the first fish is caught, the head is broken off so that the blood spills over the net, after which the fish is hung up on a stake well ashore. That particular fish is not eaten. Then one may proceed to fish. Only after performing the above ritual is the tapu of a new net lifted. (With an old net the urination ritual only is performed) Sharks and other destructive creatures of the sea will not enter the net.

After having fished the required number, the fish must not be scaled at or near the fishing area. Rather this must be done elsewhere. If scaling is to be done at home, then this must be done outside to avoid contamination by cooked food. Another necessary precaution is that the fisherman is still in the water. If he does not meet with an accident, then he invariably fails to catch any more for the rest of the day.

The Society for the Prevention of Cruelty to Animals has awarded its Certificate of Merit to a 17-year-old Maori boy, Morris Gray of Darga-ville. At present he is at the Post and Telegraph Department's staff training school, Trentham.

Last year in Dargaville where Morris was then a Post Office message boy, he saw a cat obviously in distress up a tall pine tree. He obtained a ladder from the Post Office yard and pursued the cat which had landed itself “out on a limb”. On his approach the cat climbed farther out towards the end of a branch but by perseverence he eventually managed to secure it.

The award is jealously guarded and this is one of the few that have been made.

⋆ ⋆ ⋆

Mr W. J. Phillipps, a noted expert in Maori arts and crafts, and well-known to readers of this magazine, has retired from the Dominion Museum, where he had worked since 1918. Trained at the Museum in the years of the late Elsdon Best, Mr Phillipps' most important works have probably those on “Maori Houses and Food Stores” and on “Carved Houses of the Western and Northern Districts of the North Island”. A work on “Old Maori Culture” is about to be published. Mr Phillipps has recently been given a grant by the Maori Purposes Fund Board to enable him to continue his study of carving, to finalize his work on the eastern districts of the North Island.

ALL KINDS OF FISH

by Mary Matiu (11)

Under the deep deep blue sea, shaped like a demon's heart, there lives a school of fishes that are of all kinds. Some with spotted backs and blossom colours that are just like silver.

In the deep deep blue sea there are funny sounds like the roaring thunder …. The painted coloured fishes twist around their tails like the fantail and the gold on their backs sparkles like stars and gleams like the light in our night porch.

WINDS

by Mary Heremia (14)

The pine trees stand
Long and thin
A thousand pin points
Glittering in the sun.

THOUGHTS

by Owen Foster (13)

What's that humming away over the hill? I think it must be John Hodges discing; it has gone away in a gulley but comes closer again; then it goes right away for about half an hour and in that half hour I can hear in the distance a shining cuckoo singing in the yellow wattles.

Sea Egg, by Michael Heremia

THOUGHTS

by Irene Matiu (13)

Over the mountains faraway the one crash of the waves could be heard.

Sea noises echoing throughout the misty gulley.

Foam on the shore is swept to sand.

Seaweeds hanging on.

Shells, their beautiful colours on their backs are scraped and faded

Sand colours disappeared away

There must have been a storm yesterday. everything is ruin and broken around the shores chipped rocks lie at the edge of the bank.

Small sandhills just by the sandy beach are built up by the angry winds.

WAIPIRO

by Bernard Heremia (13)

On the last few Saturdays a man called Ted went down to Kaeo to have parties. When he went down last Saturday he went to the hotel to get cartons of beer for a party.

By the time he came out of the hotel he was a bit wobbly from side to side. He started his truck and put it in gear and started back home.

On the way back when he was coming up Kahoe Hill his truck stalled and he reversed over the bank. So he walked down the hill to the bottom to Renets and asked him to pull him out.

So Renet woke himself up and went on his Fordson to pull Ted's truck on to the road.

Going top speed pulling the truck out of the water table, skidding from side to side like a drunken man. When he got out he went right away. He never paid Mr Renet because he was too drunk.

THE PAINTING I DID

by Barbara Heremia

Pinned on the wall are my coloured paintings gleaming in the hot yellow sun, and as one sticks on the wall it stays there stiff and old until it's torn to bits. If it stays there too long our teacher comes along and throws it in the rubbish bin, and Ted comes along with a box and burns it in the incinerator. Our incinerator is very big. Ted is in charge of it. We pick up all the rubbish in our school and Ted burns it in the white incinerator.

Fern, by Michael Heremia

FLYING SAUCER OVER NEW YORK
CHAPTER 2

by Brett Iggulden (9)

A door opened in the flying saucer. “Keep all guns trained on the door,” a man shouted. A man stepped out of the saucer, he was like a mortal human except his brow was a bit high. He showed no sign of carrying a weapon. Then one of the men shot at him and he fell to the ground wounded. Then out came a robot ….

THE WANDERING ORUAITI RIVER THE SUN DRAWING PICTURES

by Irene

Searching from the thick blue sky is the sun Making picture clouds upon the hills

THE PORPOISE

by Irene

One sunny day I went up the hill to find a fantail nest, suddenly I heard a shushing noise: I looked out to sea and saw splashing water. Soon I saw it was a porpoise rolling over like hundreds of cartwheels one after another.

TEN INCH CENTIPEDE

by Irene

Over the deep pointed hills
Across the snakey river (twisted)
In amongst the shrubby stones
Where the ferns stand straight up with their curved designed heads.
Under the logs where the fungus sticks like pauas
The ten inch centipede slept soundly
With legs and claws like pine needles
And eyes that are shaped like tacks,
And body like a crayfish's back.
He creeps through and out of the small dirty rotten logs
Where all the small creatures skim away from the horrible ten inch centipede
He sticks his catchers right out
With his legs lying flat to the ground
Waiting for something that just passes his way
And two minutes later he struck his prey
And took it into his leaf shaped mouth …

EDITORIAL

Our school newspaper is called Puhia te Weri which was named by Frances Heremia, who is fifteen years old and has just left school. Puhia te Weri means shoot the centipede. We were going to call it Puhia te Pakeha which means shoot the white man but we didn't because that might start a war and we don't really want a war here. (NELL.)

Irene won the centipede poem competition and for the prize she had two tree tomatoes, two pencils, a pencil sharpener and some sweets. David Windust did the front cover which he calls ‘centipede hunting’. Edward Martin designed and printed the name page. (TED H.)

THE WEATHER

by Mary Matiu

This is a cold day because it is going to be a storm again and it is going to be a flood too. I think it is wonderful to have a swim in the flood. Today it is heavy rain and it rains every other day.

One of our ducks died because it was rambling down in the flood. The next morning we saw the duck's flipper marks on the banks and his head and body was in the ditch. I wept and wept that my duck was dead.

When the flood was over I saw sticks, stones, rags and old clothes. I was glad when the storm was over, but I never noticed that the drake died too. I was just that glad and happy that I never noticed. I laughed and laughed and laughed.

BABY BIRDS

by David Heremia (12)

Baby birds open their beaks
Like open buckets
The bucket waiting for water
And the baby birds for worms …

THOUGHTS ABOUT LIGHT

by Irene

English Light
As Mum fills our seven year old light
It mumbles as the kerosene rises up.
Light Sprinkling through the coloured curtains
Light flits through and out of the window blinds
And through it, makes a coloured film.
Moonlight; Passing through the tangled bushes
Streams; trees wading in the water
Lifting their umbrellas up to shade
Cars:
Rushing through tar sealed streets
are cars, trucks passing like lightning.
Waves thrashing upon the beaches,
Foam bubbling below it
Birds hiding in their nests
Seaweeds waving like cotton threads ….

BELOW THE SEA

by Irene

Swimming below the sea is a fish
Combing open the tangled seaweeds
And shaking them like the smoke
That curls up to the sky.

CENTIPEDE

by Valerie Foster (10)

A centipede creeps through the grass
With long and active nippers
It eats the small insects.
With six legs on the ground it rears up
Then flops down onto the wiwi ground
And works the tangled grass
Until it comes to another insect.
He never moves away until he has devoured that insect ….

A CHAFFINCH

by Valerie

Sitting on a stalk of grass
Is a little bird.
A fat bird
A pretty bird
It's a chaffinch
A red and brown chaffinch
Why he's eating thistle tops.
The parachuted thistle tops.

KIWI VOICES

by Irene Matiu (14)

I can hear the kiwi's voice
Slowly crying out into the dark
He walks from out his hiding place out of the ponga
He stops and listens to noises that are coming nearer
But he keeps walking on the dry tin taraire leaves
Soon clatter clatter he runs across the leaves to his hiding place.

HOW I FIRST SAW OPO

Although I had heard that there was a dolphin in the Hokianga Harbour I did not make her acquaintance until June of 1955. I was returning from Rangi Point School about 6.30 p.m. and the sea was rather choppy. Suddenly there was a big splash and a boiling swirl. A large fish was streaking for my boat just under the surface. I really thought it was going to hit my boat, when about 10 yards away, it dived and surfaced on the other side. It played round and round the boat. Such was the way I first met Opo. I was afraid she would be hit by my outboard, so I went in-shore as close as I could. When I was in about 4 feet of water I looked back. She was about three feet out of the water, standing literally on her tail and looking at me from a distance of about fifty yards away. She sank out of sight and that was the last I saw of her that afternoon.

In August of the same year, two other chaps and I went to Rangi Point to gather pipis. We had not gone far when we were joined by Opo. By this time, whenever we went out fishing we were always on the look-out for her and rarely were we disappointed. Opo really gave a charming display that day. She played round and round our boat and then swam just under the keel. When she did this you could feel the boat being lifted in the swell she made as she swam under the boat.

One of the chaps sat right in the bow and kept putting his hand in the sea trying to touch Opo. At last he did. As far as I know he was the first person to touch Opo with his hand. While picking pipis three boats passed going to Opononi but she stayed just out from our boat cruising round. Then she followed us all the way back to Opononi.

A TOURIST ATTRACTION

By the beginning of the warmer weather Opo had begun to be a drawcard. One of my daughters who had to work at weekends as the proprietor of the tearooms was unable to cope with the crowds.

By the time the Xmas holidays had begun Opo had really hit the headlines. The tearooms were doing a roaring trade and two other helpers had to be employed. We asked our daughter how many people were there each day and she said round about fifteen hundred to two thousand. We were a bit sceptical so we went to Opononi one Sunday afternoon, just out of idle curiosity.

If I had not seen it for myself I would never have believed it. I have heard of traffic jams and crowded beaches but to see them at Opononi was a wonderful experience. This did not happen once or twice but every Saturday and Sunday. Cars, buses, trucks, vans and motor-bikes were seen parked on either side of the road for half a mile or more on each side of Opononi, with barely room to drive along the centre of the road. If a vehicle was held up or was to meet one coming the opposite way a traffic jam was the immediate result. Traffic was so congested at times that officers had to be brought in to direct it. Two officers were on duty most Sundays and they did a very good job in untangling traffic. Two Sundays before Opo died a special parking place was made available which was a very real boon.

These are my own reflections after her demise. I had never seen her with her mouth open. When she died I had a look at her mouth and I was surprised at her teeth. She had conical teeth about one and a half inches long, about one inch apart in both jaws. If she had a notion to be savage she would have been able to rip a person to pieces with one bite.

With the record traffic on the roads I never heard of a single motoring accident in coming to or returning to Opononi. As for swimmers there were easily over a hundred young and old in the water but there was not a single drowning fatality.

With all these people coming during the weekends, Saturdays in particular when up to 1500 people were jammed on the beach, there was no case of drunkenness, fights or arguments. Everybody was in the gayest of holiday moods.

GAMES WITH OPO

As for herself she was really and truly a children's playmate. Although she played with grownups she was really at her charming best with a crowd of children swimming and wading. I have seen her swimming amongst children almost begging to be petted. She had an uncanny knack of finding out those who were gentle among the young admirers, and keeping away from the rougher elements. If they were all gentle then she would give of her best. When playing with a rubber ball no one could help but be thrilled by her antics with it. She would push the ball along the water and then flip it in the air, catch it on her nose then toss it in the air again, or she would try and sink the ball by pressing it under her body or tail. She must have got it fairly deep at times as the ball bounced nearly four feet up in the air when it escaped from under her. Then she would toss it in the air and hit it with her tail. To watch her was one of the most fascinating sights imaginable.

Then there was her game of playing with empty beer bottles. Toss her a beer bottle, empty or full, and she would treat it with disdain. She had to find her own bottle from the bottom of the sea. How she balanced it on her nose I cannot imagine but she really did and she would toss it quite a distance up in the air.

I have tried to make her play with a glass ball, a float from a seine net, but she never seems to use it which makes me think she could not see anything clear like glass. It had to be coloured before she would take notice. She even tried to toss a piece of brown paper which I threw overboard.

THE LURE OF THE MOTOR

Opo had a real weakness for the sound of an outboard motor. Many times I have gone to watch the people playing on the beach with Opo. I would be about a quarter of a mile away with the motor idling when I would hear “Oh” from her admirers on the beach. Next thing I would see Opo coming towards me. Many times I have rowed away from Opononi, started my motor only to find Opo had left her admirers and was following my boat, but I always returned her to

the beach and then by rowing a long way off before starting my motor I could leave her to her friends. I have seen her following a boat which had its motor going full speed, yet she could overtake it without the least effort. Many times when she overtook a boat she would leap clean out of the water. She would hit the water and, still at top speed, keep on swimming round and round the boat.

One of the funniest sights I have seen was the crowd of amateur and press photographers trying to take a snap of Opo from a boat. Opo would surface on one side of the boat. By the time the cameras were focussed on the spot Opo had dived out of sight. They would wait for her to appear in the same place. Instead, she would appear in a totally different place. All hands would train their cameras on her but before a snap could be taken she would disappear again. This could go on for a quarter of an hour or more. When Opo seemed to tire of her teasing ways then she would give a good pose for a perfect snap.

People came to Opononi from many parts of the country, arriving in the morning and waiting for Opo to appear. She was nearly always handy cruising around nearby. If an outboard boat was conveniently near, the owner was only too willing to go and get her. Once she heard the motor she followed just like a dog, playing or cruising round the boat. As soon as she arrived people swarmed to the wharf and the beach, taking snaps, marvelling or just enjoying themselves watching her. In fact I have felt sorry for her as she never seemed to have the time to feed during the day. If she had an urge to wander, an outboard had only to be started and she would return to her admirers again.

Some people got so excited when they saw Opo that they went into the water fully clothed just to touch her. One chap was heard to say. “I didn't believe what I'd heard. Now I've seen Opo I still don't believe what I've seen!” Such was her popularity that I have seen the same people come weekend after weekend with their families to enjoy and marvel.

WHY DID SHE DIE?

The news of her death came as a stunning shock to everyone. The uppermost feeling was sorrow and sadness and a deep sense of loss as of a loved member of a family.

She lies buried by the Opononi Memorial Hall near the beach which she had made so popular and famous. Telegrams and letters from all over New Zealand came expressing their sorrow over her death and conveying their heartfelt sympathy to the people of Opononi, but to the children in particular. Such was the contents of a telegram received from Sir Willoughby Norrie, Governor General of New Zealand at that time.

Why and how did she die? She was found stranded between two rocks on a point past Koutu, about three miles up-river from Opononi.

There are two schools of thought concerning the cause of her death. Foul play which was possible but improbable. She was skinned on one side of her body, but that could be caused by dashing against the rocks when she was in her death throes. She may also have stranded through the tide receding before she knew she could not get out. This is quite possible.

My own humble opinion, for what it is worth, is that she committed suicide. I base my conjecture on two points. Opo was a female dolphin and there was no male to keep her company. A dolphin is a mammal and her young are suckled and get their milk from a shallow dent under her flippers where they join her body.

As she was a lone dolphin the urge to reproduce like any other animal could not be satisfied. This hankering for young to mother is one reason why she got so friendly with humans, especially children, also why she liked being stroked by an oar or a mop. Invariably when being stroked she would turn over on her back to be stroked on her stomach. But her greatest urge was for reproduction of her own kind. When this urge was not satisfied she committed suicide by deliberately getting herself stranded.

It was weeks after her death before I could venture to go out fishing. When I did I could not help but look around expecting Opo to come cavorting to meet my boat, but all in vain.

I have tried to express my thoughts and things which I have seen when Opo was alive. She was one of the most wonderful and short-lived friends of everyone. To those who did not have the privilege of seeing her I wish to say this: you have missed seeing something so wonderful that my story is a very poor substitute for the real and short-lived, but so world-famous. Opo, the Gay Dolphin.

RULES OF THESE RACES

Watching the finish of a race; L. Royal, official time-keeper, J. Puti, Patron of the Club, and the newly appointed President, J. Martin

EARLY RACING

In his book on early Horowhenua. Rod McDonald has recorded that a meeting was held near Otaki in 1854 at which his father, Hector McDonald, held the combined positions of steward, starter and judge. The race course was at that time at Katih [ unclear: ] ku on the south bank of the Otaki River and events were run on a straight course, the riders doubling around a post and finishing at the starting point. When McDonald attended his first meeting at Otaki in the early 70's the starting post was outside the old Telegraph Hotel. The horses ran a gruelling race down the unmetalled Beach Road, round a post at Dodd's Corner, and back to the Hotel again.

Although most of the horses competing at local meetings were Maori hacks, some of the best blood imported into New Zealand was to be found on this coast and there were among those hacks some excellent gallopers. Rod McDonald was himself the owner of many thoroughbreds. One of these, Volcano, by Southern Chief out of a Don Juan mare, won numerous races at Otaki during the 1880's, and after he was sold accounted for most of the big steeplechases in Auckland and Taranaki. Another horse which he raced at Otaki and which afterwards claimed bigger stakes was Uranus, by Blair Athol from a Kakapo mare. Shortly after being sold this horse won the steeplechase and two hurdle race at one Auckland meeting.

Manuriki Tehiwi, clerk of the course in 1900. (Turnbull Library Photograph)

Receiving the bets. On the table, far left, is one of the issuing machines on which all bets are entered. All bets are at once relayed technically to the totemobile

A skilled operator works out the dividend from the total of bets shown on each veeder. he does this with the aid of a logarithm table. His calculations are relayed to the indicator board. Sometimes the Otaki Club has put more money through the tote than metropolitan clubs

THE TOTEMOBILE

Part of the equipment of a modern racecourse is a “totemobile” which is seen at the right of the picture. A totemobile is a vehicle carrying the electronic equipment with which dividends are calculated. It has wheels because it is not permanently at Otaki but is moved from course to course. The owners and operators are Automatic Totalisator Ltd., of Sydney.

It is wired to the issuing machines and every bet is recorded behind one of the windows of the totemoble, each window representing a horse. The progress of the betting can therefore be seen from the windows which are usually known as “veeders”. These allow very rapid calculation of dividends; the balancing of the tote can be completed in two minutes or less.

At the indicator board anothers operator receives the latest dividend figures over the intercom and displays them to the public. Before the races all eyes are glued to this board which shows how the betting on each horse is progressing

Back in the club room, in the main tote building, the tote steward, Mr A. Hakaraia (left) generally supervises the tote operations. He is responsible for giving the all-clear signal at the commencement of a race and for deciding when windows for issuing tickets are to be closed. With him are the calculator directly in charge of the totalisator company, a government officer and other official

McDonald was of the opinion that racing in those days was pursued more for the sport of the thing than is done in these days of commercialised racing. The stakes were not attractive and £15 and £20 for the main race of the day was considered a worthy prize. It is even recorded in the minutes of an early meeting that a vote of thanks was passed to the donor of one white rooster as the stake for a race.

Nearly all events were weight for age, welter weights being more usual. Hurdle races were quite popular and were normally run over a distance of two miles. Other events which sometimes drew large entries were pony races, these were usually not less than a mile.

The events were run in heats, and all horses finishing the course became eligible to enter for the second heat. This meant that a horse had to win two heats straight out to win a race; if two different horses won first and second heats they were required to run it off for first place.

The first official racing club at Otaki was formed in 1880. This was a European one for which John Jillett, who died three years later, was secretary. They raced on an area of land known as the Rikiriki which formed the first circular course in the district. It was of a mile in length, and on one side followed the Rangiuru stream not far from the mouth of the Otaki River. After functioning for eight or ten years the Club encountered financial difficulties, and the course became overgrown with dense variegated thistle which in most places grew so tall that spectators were unable to view the progress of the horses until they made the home stretch. Attendances soon decreased until the club was finally disbanded, being superseded in 1885 by the Otaki Maori Racing Club. After spending £250 on reforming the course and a further £170 on the construction of a Stewards stand and grandstand the Otaki Maori Racing Club became firmly established. In 1896 they claimed to have never had a loss at any meeting held. They also boasted in the following year that they had achieved a record in the number of nominations for a hack race meeting anywhere in New Zealand. Their entries on this occasion totalled 170.

(Concluded on page 51)

A large number of part-time workers are employed inside the Tote as payout clerks

All Maori Carving is of Ngati-Awa origin

We now come to the earlier Ngati-Awa work which we say was distributed over the North Hauraki and Taranaki. In Percy Smith's story of the Peopling of the North (printed as a supplement to Vol, VI of the Journal of Polynesian Society) the period of the Ngati Awa occupation of the North was shown to have occurred in the 15th and 16th centuries, when the Ngati Awa were forced southwards to Tauranga and Taranaki. The northern traditions speak of a Ngati-Kahu section, which occupied the Mangonui district, and connects it with Ngati-Kahungunu. There appears to be a conflict between these and the East Coast traditions which bring Tamatea and his sons from overseas in Takitimu. The latter agree, however, that Kahungunu—the Kahungunu who established himself in the Gisborne-Mahia area—at one time resided near Tauranga where he quarrelled with Whaene and whence he migrated to the East Coast.

If traditions conflict or are obscure the extant evidence of Ngati Awa culture is eloquent enough,

Carving found in river silt near Opotiki. (Photo from Phillipps, Maori Carving Illustrated)

Above: One of the Te Kaha carvings reputed to be the best Maori work in existence, now in the Auckland War Memorial Museum. (Photo Peter Blanc.)

This points to two schools of carving so ably distinguished by Dr Archey. In opposition to the theory of diffusion from the Western Pacific of Melanesian sources Dr Archey stressed local development of both schools and this I believe to be correct.

However, the work of the two schools as they are known to us, was produced at different stages in their development, the eastern carvings being more recent than the North-western ones. This made me wonder whether the comparison was a fair one; and whether features which may really be of a later stage in the evolution of East Coast-Bay of Plenty technique and designs have not over-shadowed other features of the carvings of that area, which establish a close relationship to those of the Northern area and suggest that there was a time when much of the Northern work was typical of the other area. The Ngati-Awa School—if we may attribute the North Auckland. Hauraki, Taranaki carvings to that people—ceased developmnt in the Stone Age period in the North and Hauraki, possibly in Taranaki also—leaving its monuments in caves and swamps. The students disposed to look for a diffusion from some centre will not overlook the Bay of Plenty origin of Ngati-Awa and will attach great value to the early inhabitants of that district. And if a tribe of the Toi Blood, closely connected with the Bay of Plenty is also found in the 14th–15th, centuries, in full possession of the same art a presumption is permissible of one origin. Confirmation that a branch of this carving tradition was taken north comes from Percy Smith “The Peopling of the North”. Speaking of Rauru, son of Toi, he quotes supporting East Coast traditions regarding the same ancestor:

“Ko te tipuna o te uri mohio ki te whakairo, o Ngati-Kahungunu”—

This is the ancestor of the tribes learned in carving of Ngati-Kahungunu.

The latter tribal name was as often applied to the East Coast-Poverty Bay people as the name Ngati Porou—that branch did not develop much further in the north because the Ngati Awa were driven out. The specimens found in the Taranaki district show little if any elaboration on those from Helensville and are probably unaffected by European tools.

Early East Coast Carving resembled Northern in many ways

It would be interesting to compare this Northern work with Bay of Plenty and East Coast specimens of the pre-European period and to see how much of the characteristics of the former may be found in the work of the East Coast School even of post-European times.

To answer such questions we must first discover the limitations imposed by stone implements as evidenced by undoubted pre-steel carving and then consider the opportunities provided by steel tools for the elaboration and development of tendencies present in old time carving.

An inspection I made recently of Auckland Museum specimens suggested that the chevron pakati is less conspicuous in the Northern and Te Kaha carvings than in the Rotorua and East Coast carvings; that the half-moon details are more favoured in these old carvings; that the pitau spirals, the spirals decorating the shoulders and knees go with the chevron pakati in Rotorua and East Coast work of later date. My suggestion is that this great burst of ornamentation came after steel tools were introduced and when the art, which had died out in the North in the Age of Stone implements, had its scope only in the Bay of Plenty-East Coast area.

I suggest a closer examination of carvings, old time and late in this area for features characteristic of the work of the Northern school which have lingered in the former. The Turanga House in the Dominion Museum, carved it is said circa 1842 by that great expert Raharuhi Rukupo and members of his hapu is well worth intensive study for evidence of these features, I find there:—

Except the elongated head with a high domed and undecorated forehead and with flat disc eyes, I think you will find most features of Northern carvings present or suggested in those of the Eastern school, though subdued or dominated by the elaboration of spirals and other ornamentation.

I am arguing for a common centre somewhere between Whakatane and the East Coast—probably nearer the former than the latter (the Opotiki Carvings will have to be studied more closely) followed by a sharp diffusion northwards as well as extension through the parent territory—greater development in the latter because of the more stable

One of the ‘epa’ of the meeting house ‘Te Hau Ki Turanga’ in the Dominion Museum. Note the peculiar head, claw-like features, notched details and other typical Northern features on this old carving. (National Publicity Studios Photograph)

conditions and the presence of superior artists and perhaps of more suitable Stone Tools—a suspension, then a summary ending of the art in the North, while it received a greater filip in the parent territory from the introduction of steel tools.

Was there any Melanesian influence on Maori Art?

If the centre was as suggested among a people which traditions persist in placing centuries before the fleet of 1350 and connecting with a non-Polynesian strain, should we eliminate the possibility of Western Pacific influence

Buck strongly supports the theory of local development and is sceptical of the idea of any Melanesian influence; but in a recent letter telling me of a visit to a village in Fiji, where he had a glimpse of a house with similar forms and ornamentation, he is not quite sure, Elsewhere he has emphasised the conservatism of Maori art. The art of carving exemplified in the work of all schools does show a strong tendency to stick to certain features and conventions. But another strong characteristic of the Maori is copying—the art would not have been so greatly diffused over the Eastern area but for this. He copied a new thing, adopted its characteristic features, then transmitted them through the generations.

Students need a classified collection of photographs

There is an urgent need for a comprehensive study and tabulation of material connected with superior Maori houses and ornamentation—carvings, panels and painted patterns—classifying the same, recording the technique of each branch of the art, arranging the matter in such a way as to assist students of Maori art not only to follow the development of the art and the classification according to the schools, but also to understand the principles and essential details of construction. The subject should be pursued down to the present day, as it is certain that building by-laws, and new customs among the Maori people such as sitting on chairs, entertaining from elevated platforms, using dressing rooms, other facilities and convenient doors will perpetuate the modifications in carved halls which have come in in the last thirty years (the M.S. says nine.—Editor.)

We want a classified collection of photographs with sub-classes and so forth including material from overseas. Recent adaptation and development should be recorded. If Maori ornamentation is ever to find its way into public and private buildings in this country it may be popularised through the medium of such collections.

Figure from ‘Te Hau Ki Turanga’ (N.P.S. Photograph)

HOW WINE IS MADE

Red wine is left to ferment as soon as the grapes are crushed and stemmed. After five to seven days in the vats, the colouring from the skins has entered the juice and the fermenting wine is pressed and transferred to the storage vats. After a few weeks fermenting is finished and then the clarifying, aging and maturing begins.

The special white wine grapes, from which white wine is made, are pressed as soon as they arrive in the winery. Right through, the processing of white wine is more delicate than red.

TERA tetahi huihuinga i tu ki te Paku-o-te-rangi, te marae o Putiki, wahi o Whanganui. Tokoiti nei nga tangata i reira, a ko taua huihuinga, he whiriwhiri i etahi take iti nei. Ka puta nga korero mihi … ka waiatatia nga waiata whaka-aroha. Kua taha ke i te waenganui-po, ka hoki-hoki ki o ratou kainga, te hunga i hui mai.

Ko tetahi o te hunga i hui nei, he wahine whakapono, a, he wahine hoki e whakamatautau ana ki nga waiata a nga tupuna. Ko tona hokinga atu ki te kainga, kei te noho tonu te ngakau pouri i roto i a ia, mo nga korero me nga waiata o taua po. Ka moe ia, a, ka moemoea. I roto i tana moemoea, ka kite a ia i tetahi huihuinga nui rawa. No te timatatanga o nga whaikorero, ka tu a ia ki te waiata i tana waiata. I a ia tonu e waiata ana, kei te tangi ia. Ka oho ake a ia i tana moe, kei e tangi tonu ia, engari me te mau tonu o nga kupu me te rangi o te waiata i waiatatia e ia i roto i tana moemoea. Ka tahuri a ia ki te whakaara i tana tane, kia tikina he pene, he pepa, hei tuhi i te waiata ra. Ko te waiata nei, he tangi nana mo te minita mo Kingi lhaka, ka tata te wa e nukuhia ai ki Poneke. Ko te wahine nei, ko Waiharakeke Waitere, o Ngati Apa, o Mua upoko, o Whanganui, na, i tuhia ai enei korero, me tenei waiata, hei whakaatu ki nga iwi, kei te mau tonu inaianei, te mana o o tatou matua, tupuna, mo runga i nga taonga o nehera. He waiata ataahua te waiata nei, a e tika ana kia uru ki roto i nga waiata a muri ake nei uru ai ki “Nga Moteatea.”

Ko te kaitito o te waiata nei, ko Waiharakeke Waitere, kei Utiku e noho ana, a he tangi ki a Kingi Ihaka me tana whanau, E whai ake nei te waiata nei:

Taku piki amokura, amohia te aroha;
E kore rawa e mutu i nga tau maha e.
Ka haere koe te takiwa, titiro iho ki nga awa (1.)
He roimata no te iwi e tangi atu i muri nei e.
Ko Whanganui tenei, hei putiki i te aroha;
Tiehutia te wai ko Whangaehu tera.
Turakina te rakau, ko Turakina te awa:
Tikeitia te waewae, ko Rangitikei e.
Ka tangi taku mapu i konei e taku piki amokura,
E tuku nei te roimata i aku kamo e….

Nga Whakamarama: (1.) “Titiro iho ki nga awa”: Ko te pariha e karangatia nei ko Aotea-Kurahaupo, ko ona rohe i timata atu i Parewanui ki Opunake, a ko nga awa, ko Rangitikei, Turakina, Whangaehu me Whanganui. (2.) Katahi ano tenei wahine, ka tito waiata, a me ki, na te po i homai ki a ia.

THERE was a gathering at Te Paka-o-te-rangi, the Putiki marae, at Wanganui. There were only a few persons present to arrange and finalise a few matters. During the occasion, speeches were delivered, all of which were followed by the singing of ancient Maori songs of a somewhat sad nature. It was well after midnight, when those assembled departed for their respective homes.

Amongst those present, was a woman of faith and one who took an interest in learning the ancient Maori songs of her particular tribe. Arriving home, she was saddened by what was said and sung during the night. Eventually, she retired o bed and soon fell asleep. No sooner was she asleep however, when she had a most vivid dream. In her dream, she witnessed a vast gathering of Maoris at which a number of orations were given. Following one of the speeches, she was obliged to sing a lament, and whilst doing so, tears readily came to her eyes. When she awoke, her face was wet with tears, but the strange feature of this true incident, is the fact that she not only remembered the words of her lament, but also the air. She had sung this as a farewell song for the Rev. K. Ihaka who was about to be transferred to Wellington. The woman concerned is Mrs Waiharakeke Waitere, of the Ngati-Apa, Muaupoko and Whanganui tribes, and this incident is recorded in order to reveal to the public in general that Maori ‘mana’ still exists today. It is a beautiful song—a real Maori classic, which should find a place in future editions of “Nga Moteatea.” Here then, is the English rendition of the song composed by Mrs W. Waitere of Putiki, as a lament to the Rev. K. Ihaka and his family, prior to their departure:

My esteemed, beloved one, uplift that which bears love;
A love that will ever flourish till eternity.
Where'ver you walk, ever behold our ancient rivers;
For they are but the tears of those who mourn your loss, my loved one.
Tis Whanganui that calmly flows, to bind together charity;
Turbulent waters run close by, for tis Whangaehu
A tree once felled: the origin of Turakina;
Long steps taken: the origin of Rangitikei.
My lament flows freely, oh my esteemed, beloved one;
Freely too do tears flow from my eyes, my loved one.

ON THE FARM

NEWS IN BRIEF

A novel feature of the dining hall built recently at Waiohau (near Tekoteko) is a clinic—a side room next to the stage. Here the local doctor, Dr L. E. Spencer of Kawerau, makes regular visits to meet his Waiohau patients. The idea is an excellent one and well worth consideration in the planning of future community halls in isolated districts.

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The Wai Ohorere Rugby Club, formed recently, has been granted affiliation to the West Coast Rugby Union.

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At the Whangara Hui Topu last January, old girls of Hukarere College met the principal, Miss Hunter, to form a Hukarere Old Girls' Association. This was done and the following committee elected: President, Mrs S. Kaa; Vice-presidents. Mrs M. Tureia, Gisborne and Mrs H. Ngarimu, Ruatoria; Secretary, Mrs L. Robin, Hastings; Treasurer, Mrs E. Tawhiwhirangi, Ruatoria; Members, Mrs H. Nepia, Tikitiki, Mrs T. Green, Rotorua, Mrs R. Rewa, Nth. Auckland, Mrs R. Baker, Waikato, Mrs B. Collier, Tokomaru Bay and Mrs M. Davies, Taneatua.

The Association decided to raise money for a scholarship tenable at Hukarere by a girl from any part of New Zealand, to be known as the Pilsen scholarship. The building of the swimming baths for Hukarere was also discussed, but no further money is being raised until final estimates are known.

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Mr W. F. Porter, the new Maori Land Court Judge in the Tokerau district, comes from Wairoa where as a solicitor, he was a vice-president of the Wairoa Rotary Club and the force behind the building of a new home for the Wairoa Old Folks' Association.

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Pukehina Maori School will not be transferred to Board control, in spite of a majority vote in favour of the change. The Senior Inspector of Maori Schools, Mr K. Robertson has advised the headmaster, Mr T. Reweti, that “in view of the division of opinion I feel that we have not a mandate to effect any changes and it is not proposed to proceed further in the meantime.”

NGARIMU AWARDS FOR THIS YEAR

The Ngarimu V.C. and 28th (Maori) Battalion Memorial Scholarship Fund Board met in Wellington this week, following which the successful Ngarimu scholarship and prize winners were announced.

The Ngarimu Post-Graduate Scholarship has been awarded to Dr Peter W. Tapsell, of Te Tumu, Te Puke.

He was educated at Te Puke and Rotorua High Schools, and completed his medical course at the University of Otago in 1954. Since his graduation, he has worked at Rotorua. Waikato and Dunedin Hospitals and has also spent a year as demonstrator in the Anatomy department of the Medical School, University of Otago.

Dr Tapsell has taken an active part in sport—particularly in rugby football, representing Otago and New Zealand Universities and the Maori All Blacks, being vice-captain of the Maori All Blacks in 1954.

He at present holds the position of surgical registrar at Dunedin Hospital, and proposes to take up his scholarship toward the end of this year, when he will proceed to Great Britain, and attend the Royal College of Surgeons, to study for the fellowship degree of that college.

Other prizes awarded by the Ngarimu Scholarship Board are: Essays in English: Forms I and II—Faith Benny, Opunake Primary School; Forms III and IV—Georgina Manunui, Turakina Maori Girls' College; Eliza Edmonds, Queen Victoria School, Auckland; Forms V and VI—Edward Durie, Te Aute College, Pukehou.

Essays in Maori: Forms I and II—Nan Hariata Kingi, Rotokawa Maori School, Rotorua; Forms III and IV—Loraine M. Smith, Queen Victoria School, Auckland; Forms V and VI—Tukaki Waititi, St. Stephen's School, Auckland.

Ngarimu Secondary School Scholarships: John Apanui, Rerekohu Maori District High School: Genet Campbell, Rerekohu Maori District High School: Maui John Mitchell, Nelson College.

Two Ngarimu University Scholarships were awarded. One goes to Meihana Harold Durie, of Feilding. This student attended Te Aute College. Pukehou, last year and has gone to the University of Otago, where he hopes to study medicine. The other Ngarimu University Scholarship goes to Colin David Mantell, of Dunedin. This student attended Kings High School, Dunedin, last year and is doing a science course at the University of Otago this year.

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The talented young Maori pianist from Wanganui, Joseph Kumeroa, has gained his A.R.C.M. Diploma at the Royal College of Music, London. Joseph Kumeroa went to London two years ago.

PLANNING A GARDEN

by R. G. FALCONER
Horticulturist, Department of Maori Affairs Tauranga

Many maori people today are acquiring new homes, and when the day arrives for them to occupy their new place of residence, quite a lot of enjoyment is obtained in setting out the home surrounds. Usually, and very wisely, the first job is to fence in the section on which the home has been constructed. A beautiful garden should not be just a side issue but should be part of the home. It is only a garden that can alter the harshness of a wooden or brick home. Secondly, paths should be formed, usually to approach the front entrance of a home, then diverting to the side or rear. It is always a good policy to construct a footpath of permanent material, such as concrete, three feet wide according to the desires of the owners. Lawns are usually established in the front of the home with shrubs suitably spaced. On many occasions the lawn extends around the house on either side to what is commonly called a back yard. After having considered a suitable position for the accepted revolving clothesline, the rear portion of the section is reserved normally, for the vegetable garden, and odd fruit trees which may be desired. Some provision must be made for shelter from prevailing winds. This can usually be made by planting an attractive hedge such as Abelia florabunda, which is becoming very popular. The hedge has been planted in Rotorua and Mangakino districts having established well under cold and rather harsh winter conditions. Sometimes the initial work of establishing the home surrounds is rather neglected, and if only the persons concerned would endeavour to get the work done, the work involved pays dividends in beauty, colour, and attraction.

If the home is acquired during the winter months or early spring, it is advisable, if the lawn is to be a satisfactory one, to sow during the Autumn months. Spring sowing always gives rise to a risk of the young grass being destroyed, owing to dry weather and the hot conditions prevailing during the following summer. However, from new land a good crop of potatoes can usually be harvested, making the preparation of a seed bed to receive the lawn grass seed, much more friable. When the lawn is established and it has been decided to plant shrubs or ornamental trees, it is necessary to select the plants sometime before planting. If the land is subject to dry conditions the following shrubs could possibly be recommended: Cassia, Cotoneaster, Oleanda, Proteas (in variety) and Veronicas. In shady situations such as the side of the house or in damp situations, Azaleas, Camelias, Rhododendrons, Hydrangeas, Tamarix (or flowering cypress). In frost free areas the meyer lemon, grapefruit or sweet-orange is often grown to advantage. Often it is a wish to break the lawn from the rear part of the garden. In this case Loaicera nitida, a box like hedge, which ultimately reaches about five feet high, is a very hardy plant and most attractive. On the other hand if a suitable trellis has been erected and climatic conditions are suitable, passionfruit vines are very attractive and a profitable acquisition.

The vegetable garden must also be planned. Usually this is situated at the rear of the home and for some reason or other, often becomes neglected. If the home surrounds are to be kept neat and tidy, systematic planning of the garden must be apparent. Immediately a crop has been harvested, dig the land and allow to fallow until such times as it is required for another crop, always remembering to rotate your crops. For instance follow tomatoes with carrots, parsnip, beet, etc., or after the above crops plant cabbage, cauliflower and lettuce. Never attempt to grow the same crops in the same situation.

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Three Maori welfare officers were awarded bursaries for the two-year Social Science Course at Victoria University and are studying at Wellington this year.

They are Miss Anne Delamere, welfare officer at Whakatane; Miss Ngahina Te Uira, welfare officer at Te Kuiti and Mr Paatu (Ted) Taua, now at Kaitaia.

Miss Te Uira, who is 25 years of age, is a Licensed Maori interpreter 1st grade. She comes from Maika in the Kawhia district.

Miss Delamere, although stationed in Whakatane, comes from the well-known Maori family of the Opotiki-Omaio area. She was formerly an N.C.O. in the W.A.A.F.

Mr Taua, who is 28, comes from a well-known North Auckland family. His grandfather, Mr Tau Henare, was a Member of Parliament for many years. His uncle, Mr James Henare, was Commanding Officer of the Maori battalion at the end of the war. Mr Taua's father, Mr Paihana Taua was a well known officer of the Department of Maori Affairs. It is believed that Mr Taua was the only New Zealander to top the British Commonwealth Division's senior N.C.O. course.

Another Maori Welfare Officer, Mr John Rangihau. Whakatane, is already half way through the Social Science Course.

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A birthday cake with red and gold candles marked the fifth anniversary of the Huirapa Maori Women's Welfare League held at Puketeraki (Otago) recently. Members were dressed in traditional Maori costumes. After a Maori concert programme, the secretary Mrs Rata Kent cut the cake.

MEMBERSHIP

Officers: Patroness, Mrs Reremoana Hakiwai; President, Mrs Maata Hirini; Vice-Presidents. Mrs Tina Ripene and Mrs Mary Christie; Secretary, Miss Ahi Heperi; Treasurers, Miss Ahi Heperi and Mrs M. Logan.

League Branches: (a) Senior. (12): Aotea, Karamu, Mangamaire. Moteo, Omahu, Porangahau. Pukehou. Takapau. Te Awhina. Te Haroto, Waipatu, Waiohiki.

(b) Junior (2): Porangahau and Takapau. Total membership (financial): 178. Executive meetings were held quarterly.

EDUCATION

Bursaries: In the past years the various branches have been raising funds for Education purposes. One branch has two children attending Boarding School and has raised towards their upkeep, £30, by way of dances, bring and buy and raffles. The members of this particular branch appreciate very much the Government subsidy.

A young branch raised £50 towards assisting two children in their area. One of their parents is a pensioner and the other is buying a new home; if it had not been for this kindly help the children would have had to leave school and both are very brilliant.

School Affairs: We encourage our members to become members on School Committees and Parent and Teachers Associations and get an insight into the work that is being done for the betterment and welfare of our children. The following figures show the very satisfactory number of mothers who have resigned: Porangahau 4, Omahu 2. Mangateretere 2. Parkvale 2. Te Hauke 2. Pukehou 2. Takapau 2.

Adult Education 1957: Classes so far have not been arranged through Adult Education, but our Welfare Officer. Mrs Otene, has been keeping the branches active in weaving, pottery, home furnishing, upholstery and millinery and the members appreciate very much her efforts to keep the work ahead.

Scout Jamboree: One of the highlights of the year was the selection of a member's son to attend the Scout Jamboree in England. The branches were so proud that they gave donations amounting to £26 towards the cost of the trip.

HEALTH

Crippled Children: Two members have been most co-operative with the Officers of the H.B. Crippled Society in having their children attend the Physiotheraphy for “Falapes.” I am pleased

This class in the Maori language meeting every Saturday is one activity of the Hastings branch. The teacher is Mrs M. Hirini (left), president of the Heretaunga District Council. On the right: Mrs B. Otene, Maori welfare officer. Hastings. (Photography by Russell Orr.)

to report that these two children's feet are almost normal and they can take part in any sports or folk dancing at school.

Hospital Christmas Cheer: October and November are busy months, members get together a working bee and make fancy boxes, gifts and sweets to put in them when they are distributed to every inmate in hospital during the Christmas period. Christmas cheer flowers are also given. We remember those words “Peace on earth, goodwill towards men.”

Friends of Hospital: Tray cloths, face cloths and plastic toilet bags are made for Hastings. Napier and Waipukurau Hospitals. Knitted garments, baby coverlets, jug covers, singlets, pilchers, jerseys and cardigans also are made and pan covers and patchwork quilts for the staff quarters.

Rest Home, Waipukurau: One of our branches has “adopted” this home and jams, pickles, jellies, cases of apples and cakes have been sent to the patients. They have also sent shell food for the Maori patients.

GIFTS FROM THE LEAGUE

Distress: A disastrous fire, occurred at one of our Pa's resulting in the death of one of Mr and Mrs Hakiwai's children. Every assistance was given throughout the night of the fire. A Distress Fund was opened by the Omahu Tribal Committee to which the League Branch contributed the sum of £30.

Bereavement: The Welfare League branches come to the fore when there is a tangi at their respective marae. They help financially and physically. In one area the bereaved families of that locality were assisted to the extent of £100.

April Showers: A Gift is given to every baby born to League Mothers in one branch.

Mother's Day Honour: Mother's Day is celebrated by one Branch where the mothers are honoured by the presentation of a white rose from the fathers.

Gift Evening: A Gift Evening is held for League Mothers moving into new homes. Each member of the particular branch takes along a Gift and one is given from the branch itself.

Hospital Visits: Hospital visits are made regularly. Gifts of flowers, books, fruit and sweets are taken and distributed among the patients both Pakeha and Maori thus fufillling our motto: “Tatau tatau.”

Kindred Organisations: The branches and District Council gave donations to the following organisations: H.B. Crippled Society, H.B. Children's Home. Leper Fund. Hard of Hearing. Plunket Society. Friends of Hospital and Manning Street Appeal, Red Cross Society, Old Folks Association. Free Kindergarten. Maori Missions.

MAORI LESSONS

A Maori class has been formed in our area for children from 5 to 14 years. Sixteen children attend the class which is held on Saturday mornings and all show a keenness to learn the language. The children have in many cases given up their pictures to attend these classes.

COMMUNITY WORK

Blossom Festival: We took part in this great Hastings week, held last September with visitors coming from all parts of New Zealand. We entered a Maori float and are happy to say it came second. A stall also netted us £180.

Building Project: In dire need of a meeting house, the Waipatu Community got together with the full support of the Welfare League Branches and worked on weekly euchre nights and Sunday night dinners and concerts at the pa to raise funds for this worthwhile project. The League members worked hard with the others and

through their efforts a sum of £1300 was realised. At this stage owing to shearing and freezing works all money raising was held in abeyance. We have started to raise funds for the project by having dances on the “Green” at the home of Mr and Mrs O. Otene, Ruahapia Road, Hastings, and quite a sizeable amount has been collected. Hail to this good work, so much of Maori History and Culture is entwined in our Meeting Houses and Maraes.

Community Centre: It is the aim of one of our branches to build a Community Hall for Hastings City. Being a City branch they find it necessary to have a building such as this.

Renovations: Much work is being done by several branches in the district in renovating their “Whare puni” and dining room, the maraes and also buying crockery for the dining hall.

Church Work: “Lawn dances” are held annually at one of our member's home. These dances have been very successful and large amounts have been raised for the Parish.

Gardening Competitions: A Silver Cup for the Best Kept Home and Garden was presented by Mrs Whyte. This has been competed for for four years. Mrs Whyte has offered prizes for 2nd, 3rd, 4th and 5th places. Mrs Whyte has also offered another trophy which is called the “Daisy Whyte Special Project Cup” which is presented for the best vegetable garden.

The Norah Edwards Rose Bowl is competed for by the Takapau Branch annually, for the Best Home and Gardens. Many thanks are extended to the donors of these trophies, as they have been the means of inspiring the Maori residents to beautify their homes.

Christmas Tree Parties: Christmas parties were held at various meeting places where gifts, sweets, drinks and ice cream were distributed to the children. At Waipatu alone children numbered 127 between the ages of 12 months and 11 years.

APPRECIATION

On behalf of the Heretaunga District Council I wish to tender my thanks and appreciation to the Maori Affairs Department without their loyal support we would not have attained the standard we have today.

I also wish to express my sincere thanks and gratitude to our Welfare Officer Mrs E. Otence, whose help and guidance is a tower of strength and inspiration to the Heretaunga District Council Branches, Officers and Members.

Also, I wish to thank the District Council Secretary, Miss Ahi Heperi, who has worked so tirelessly for our cause during the past twelve months.

Tatau tatau i roto i te whare kotahi.

Maata Hirini, President.

There is a great lack of knowledge among both Maori and Pakeha about what are the really good buys on the market. A series of articles of which this is the first will bring authoritative advice to our readers.

HOW TO JUDGE QUALITY

The best-grade pelts are characterised by long hair which is thick and full. Usually the animal has hair of two different lengths, a short underfur and a longer, coarser growth of so-called “guard” hairs. The best fur has a thick growth of underfur which holds the guards hairs erect. It has a thick, fluffy appearance.

Every fur has its distinctive texture, but any good pelt has a live lustrous appearance, whereas low quality is indicated by dullness or artificial lustre. It takes experience, however, to distinguish between fine, natural texture and an artificial simulation of it.

Always examine the skin. Its condition to a great extent determines the life of the pelt. It should be soft and pliable because of the presence of sufficient oil, but tough and thick enough to withstand a strong pull.

TREATMENT OF FURS

A little understanding of how furs are processed should help the buyer in estimating quality.

As they reach the manufacturer, pelts are still

and dry, with vestiges of fat and flesh still adhering to them. There are imperfections and damaged spots. Extensive processing is necessary before they are ready for wear.

They are first soaked in a tanning solution to make the pelts soft and pliable. All flesh and fat are removed. Oils are rubbed in and the skins then stretched to make them larger and more pliable. Imperfect spots and damaged areas are removed by drawing together and stitching the trimmed edges.

The skins are then matched for size and colour. If a coat is to be made the matched pelts are laid out on a pattern and stitched together to form back, front, collar, sleeves, etc. Then the stitched parts are dampened, stretched and tacked to a board—fur downwards—and allowed to dry. This gives the pieces their permanent shape.

Poorer inexpert handling at this stage will result in over-stretched, thin spots, for which a fur garment should always be examined.

When the pieces are dry they are cut to pattern and stitched together to make up the complete garment.

TRADE TERMS

Bleaching: White furs are seldom free of yellow stains. Such spots usually undergo a bleaching operation which tends to weaken the hair. Other furs often are partially bleached to improve their colour.

Blending: This occurs when different skins in a garment do not match in colour. In such cases the lighter skins will be “blended” in by brushing a dye over the tips of the hairs. Blended furs may fade quickly over the treated parts. The buyer should inquire whether this process has been used.

Dropping: Skins are sometimes lengthened or broadened by cutting them into narrow strips and stitching them together to give evenness or impart line. This is a highly skilled, lengthy process used only with the best pieces, such as mink and sable.

Dyeing: Though experts claim this art has now been developed to the point where the wearing qualities are not seriously impaired, dyeing tends to weaken furs. Some furs are dyed only to improve the colour of poorer pelts. Sometimes when the hair is thin the skin alone is dyed to hide this thinness. Dyeing can be detected by blowing aside the hair and examining the skin. Undyed skins are white or light buff. Dyed leather will range from a dark, golden colour to black.

Leathering: There is only one purpose to this—cheapening. Furs with particularly thick hair are cut into strips, interspersed with leather strips and then sewn together. This practice can be

detected by blowing aside the hair and examining the base.

Pointing: Red and white fox are often treated to simulate the more expensive silver fox. The pelts are first dyed black and then “pointed” by trimming white badger hairs to the correct length, dipping the ends in glue and attaching these as near the skin as possible.

Staying: Fine furs are often “stayed” to prevent strain on the skins and to keep seams from ripping. It is done by stitching the skins to a high quality cloth lining by regular rows of stitches about an inch apart.

CARE OF FURS

Moths, friction, heat, light and rain are a fur's worst enemies.

When furs are worn infrequently in the season take them out of the closet every week, give them a good shaking or a gentle but thorough beating. In the off-season it will pay to put an expensive fur away in cold storage, if available.

If your fur-piece gets wet do not under any circumstances dry it near a radiator. Heat dries out the leather and seriously shortens the life of the fur.

Avoid repeated rubbing on any part of the garment such as may result from a habit of always carrying a handbag the same way. Rubbing produces static electricity, which makes fur brittle.

An old notion that furs should be sunned periodically is quite unfounded. Strong light is destructive and causes even undyed furs to fade. Keep furs hung in the dark as much as possible.

There is, unfortunately, not sufficient space to list even some of the better known furs, with details of their various properties and qualities. It should be realised, though, that high price is by no means always synonymous with high wearing quality. The high-priced ermine, and chinchilla, for example, rate poorly for durability against the cheaper Kolinsky or Grey Fox. Fur prices being so closely related to scarcity value, of course, this is understandable.

Be extremely wary of “bargains.” These may be entirely legitimate and real at times when decided changes of style occur. At other times they may be only slow-selling lines that have been on hand for several years and have deteriorated in consequence. All bargain furs should be carefully examined inside and out.

Watch the size. A fur should be loose-fitting, so that seams in both the lining and the pelts will not split. Also watch the sales slip to see that it really describes what you are supposed to be buying. It may be helpful in the case of later disappointment.

Above all, buy from an established and reputable fur-house. Have no truck with back-door dealers. There is still quite a racket in furs.