Te Kuini Raua ko te Iwi Maori

Kua kake ki te torona ona tipuna he Kuini tamawahine, i te wa e taukumekume ana te Ao, e anga nui mai ana hoki nga take nunui whakahirahira. Na tona kawa tonu, na te mea hoki he uri tipu iha ia, ka whakatapua nei (a, nana ano hoki ia i tapae) ki tona turanga teitei, i tetahi karakia whakawahinga ihiihi mona.

E Haere mai ana ia ki a tatou he Kuini, he Mangai hoki no te Kotahitanga o te Emepaea. Tera tetahi korero a taua a te Maori no mua iho, e ki ana, ki te whakarangatiratia te wahine, ka tutuki te kawa, he tohu pai, ka moai roki-roki te marino, ka ranea nga mea katoa ma tona iwi.

He mea nui tenei hei korerotanga maku i muri tata tonu o nga Pakanga e rua mo te Ao, me te noho weherua o te Ao, ko nga mea o roto, ko nga mea o waho o te Arai-Rino o Ruhia. Kei te ringa tonu o te tangata i raro i te maru o te Atua tona whakamutunga, he whakamarumaru ranei, he whakamomoti ranei. Kaati koa, ahakoa i roto o enei mea katoa, ka here tonu te piripono ka u tonu. No reira ka maiohatia te Kuini, ka panga nga kupu a te iwi, mai no te po:

Kia hora te marino,
Kia whakapapa pounamu te moana,
Kia tere te karohirohi
I mua i tou haunui.

Ko te mea nui kei te hopungia e te hinengaro i runga atu i etahi mea katoa, ko te haere a te Kuini ki Waitangi.

Katahi te raru, katahi hoki te mea kihai e taea e te whakaaro, mehemea i tae mai te kuini ki tenei whenua, engari kaore i peka atu ki tenei wahi tapu. I reira ka motiotia te hitoria o tenei whenua, a ka hiiritia te whanaungatanga o tatou iwi e rua.

Kei ko tata atu o te takutai, he whakahua kau naku i tetahi o nga wahi rongo nui o Pewhairangi, ko Oihi, ko te akau i tu ai a te Hamuera Matenga ki te whakahaere i te karakia Karaitiana tuatahi, a i kauwhau ai ia i ‘te maungarongo hari nui, mo nga tangata katoa’. Ko taua rangi ko te ra o te Kirihimete o te tau 1814. Kaore e tapepa taku ki penei, wahemea kahore tenei, kua kore tetahi atu ra; na, mehemea kahore i tae mai nga Kai-kauwhau-o-te-Rongo-pai, kua kore hoki te Tiriti o Waitangi. He pepeha Maori ta tatou:

The Queen and the Maori People

A young Queen has ascended the throne of her forbears, at a time fraught with great difficulties and faced with vast issues. In her own right and by right of succession, she has been consecrated (and she has consecrated herself) to her exalted office in a deeply religious Coronation Service. She comes to us as our own Queen and Head of the Commonwealth. We have a traditional belief among our Maori people that when a woman takes over the Chieftainship, the cycle is complete, and it spells peace and prosperity for her people. This is a tremendous thing to say following on two world wars, and with a world sharply divided within and without the Iron Curtain. Man's destiny under God lies in his own hand, either for construction or destruction. And yet, despite all this, the conviction persists and remains. And so we shall greet Her Majesty in the traditional words of our people:

Let the calm be widespread,
Let the sea glisten like greenstone,
And let the shimmer of summer dance
Across thy path.

The visit of the Queen to Waitangi, more than any other single event, has captured the imagination of the Maori people. It would have been unthinkable that Her Majesty could visit this country without a pilgrimage to this sacred spot. There, history began in this country, and the relationship sealed as between our two peoples. Further along the coast, to mention only one of the significant spots in Pewhairangi, lies the Oihi beach where Samuel Marsden conducted the first Christian service and delivered his message of ‘good tidings of great joy, which shall be to all people’. That was on

‘Ko te amorangi ki mua, ko te hapai o ki muri.’

Na wai ra, ahakoa i pakangatia i taua wa, a i muri nei ano hoki, i oti taua Kirimina Tapu; a no te ono o nga ra o Pepuere te tau 1840, ka hainatia te Tiriti o Waitangi i waenganui i a Kapitana te Hopihona, me nga ranga tira o te Kotahitanga o te iwi Maori.

He mea whakamiharo ki te hinengaro tenei, te ngakau nui o nga Kaiwhakahaere o te Raipera a Turnbull i Poneke, i whakanohoia ai e ratou tenei kaupapa nui, i runga ano i te ahua tika mo tenei mea rongo nui.

Na, ki o tatou iwi e rua, a ki te iwi Maori motuhake, me korero tenei kupu, a me whakapumau hoki. Ehara i te mea ko te ha o te korero ka whiua ki te mea nui, engari ko te whakatinanatanga o taua ra. He Kuini ke tenei, ko te mokopuna tuatoru a Wikitoria, ko ia te waewae tapu ka takahi i te marae ki Waitangi.

Na te tahuhu korero o te Whare-runanga kei Waitangi i ki, ko tatou katoa ka tae ki reira. Ko te whakahaere poto he whakarite whakamohotanga, ka whakaotia e te karakia whakamoemiti ki te Atua Kaharawa.

Kei te paoho tonu te wairua o te Tiriti o Waitangi, kei te ora te Kirimina Tapu. Ma tatou ma nga iwi e rua e atawhai hei mauri mo tatou, mo naianei a mo nga ra kei te heke mai.

Hei tui i aku korero, lo te ut mo to tatou piripono ki te manawa o to tatou whenua tupu. I te Pakanga Tuatahi, kihai te Maori i whakaaetia kia tu i nga parepare o mua o te riri, ehara i runga i tona hauarea mo taua turanga, engari na te whakaaro tupato kei mate nui ia i nga mea whakahouhou o te pakanga o tenei ra. I te whawhai ka taha ake nei, i tono ia kia tu-a-rite tana riri ki roto tonu o te mura o te ahi, a i purena ki tana i hiahia ai.

Kua ea ranei tana tono kua whai hua a ia ki tenei whenua? Kua utua ranei e ia te utu tika mo tenei taonga piripono ki tona whenua tupu, me tou? Kua wareware ranei nga iwi o Niu Tireni, tangata ma, wahine ma, ki te hohonutanga me te whanuitanga o tenei ngaki i tu ngatahi ai te Pakeha me te Maori i tenei papaatanga ihiihi whakamutunga, mo te taumata o to tatou tika ki to tatou whenua kura?

E haere mai ana to tatou Kuini ki a tatou, ko te tapaiuru matamua o to tatou Emepaea, kororia nui, whakaharahara, hei hiiri i to tatou pumautanga ki te oneone o tenei whenua ataahua. Kia matapopore tatou, kia kake rangatira nga whakaaro, kia atawhai tetahi ki tetahi, kia whiwhi katoa ai tatou i te taonga tuku iho a nga tupuna kia tatou e noho tahi nei i konei.

Christmas Day, 1814. It is not too much to say, that without this the other could not have taken place; that without the influence of the missionaries there would not have been a Treaty of Waitangi. We have a trite Maori saying: ‘Ko te amorangi ki mua, ko te hapai O ki muri’, or The Emblem of Deity to the forefront, and the bearers of food in the rear. And so it was, in the face of opposition then and afterwards, the sacred Pact was made; and on February the 6th, 1840, the Treaty of Waitangi was signed between Captain Hobson as the direct representative of Queen Victoria and the Maori Confederation of Tribes.

It is significant that the authorities of Turnbull Library in Wellington have thought it fit to house this Great Charter in a manner commensurate with its historical importance. And so to our two peoples in general, and the Maori people in particular, let this be said and stressed. It isn't what may be said at Waitangi that matters, but the significance of the occasion itself. Another Queen, the direct mokopuna of Queen Victoria, will set her ‘sacred feet’ (waewae tapu) on the marae at Waitangi. In accordance with the inscription in the Waitangi Meeting House, we shall be there also. The short ceremony of recognition will close with a brief service of Thanksgiving to Almighty God. The spirit of Waitangi lives, the Sacred Pact remains. It is for our two peoples to carry out that spirit into our lives now and in the days to come.

Lastly, there is the price of Citizenship. In the First World War the Maori was denied a place in the front lines, not because he was deemed unworthy, but because of a sentiment that he should be spared the decimation of modern warfare. In this last war he asked for his full share in the forefront of battle, and in this he has been fully indulged. Has he proved a claim to be an asset to this country? Has he paid the price of full citizenship in his own country and yours? Have the civilians of New Zealand, men and women, fully realised the implications of the joint participation of Pakeha and Maori in this last and greatest demonstration of the highest citizenship?

Our Queen comes to us as the First Citizen of our great and glorious Empire, and sets the seal on our full citizenship in this fair land of ours. Let us then be worthy and proud to share in the great and grand heritage that our forbears have handed down to us in this country.

THE LANDING

‘We are all standing in suspense when suddenly the boom of the Galatea's gun is heard. It is the salute for the Duke, who is about to leave the Royal vessel. All is now expectation. The Maori band who face the edge of the wharf begin to move their arms and limbs, the rest of us press forward to get good places. Nearer and nearer comes the sailor Prince. The excitement of the Maoris becomes uncontrollable. They gesticulate, they dance, they throw their weapons wildly in the air, while they yell like fiends let loose. But all this fierce yelling is of the most friendly character. They are bidding the Duke welcome. “Haere mail Haere mail” they yell and the boat's crew seem profoundly puzzled to know what on earth they mean.’

On the night of the Prince's arrival there was a grand civic ball in his honour. All Wellington's notables were present: the number of dancers was such that there was no hall in Wellington large enough to accommodate them. The halls of the Legislative Council and the House of Representatives were therefore appropriated for the purpose. It is interesting to see how the Maori chiefs joined with the pakeha in entertaining the Duke of Edinburgh

at this ball. The Wellington Independent has this to say:

‘The speech for the Maoris at this ball was delivered by Wi Tako. Many leading chiefs and their wives attended and it is due to them to say that they behaved with the utmost propriety — some of them joining in the dances in a way which would not have disgraced any ballroom in the world. Wi Tako's wife had her little baby with her, and although it was only a few months old, it behaved admirably and never caused the least annoyance.’

Te Rangihiwinui, known as Major Kemp.

VISIT TO GALATEA

Tamihana Te Rauparaha and fifteen other chiefs were invited to visit Prince Alfred on his ship, the Galatea. This visit is described in Tamihana's own words, in a letter to the Independent:

‘On gaining the deck we saluted the Queen's Flag. The Prince then met us and led us over his ship; but who can speak of the great excellence of this ship. After this, we went to see his room. It glittered like the rainbow arched in the sky. We sat down to dinner with the Prince. After we had finished, Mr Cooper (Native Secretary), said: ‘Tamihana, present the Motoi Kahurangi named Kaitangata to the Duke.’ I then gave him the greenstone, and with it an account of how it had descended to me. After I had given this greenstone of so great a name, there was no strength left in my body. When we took leave of the Prince he presented to each of us his own likeness.’

RECEPTION IN AUCKLAND

It had become known that the grand reception of the Maori chiefs by the Duke of Edinburgh was to take place at Government House in Auckland. This gave the tribes in many parts of New Zealand about a month to organise parties to travel to Auckland. Here many chiefs, some from as far south as Whanganui, gathered in May for the Duke's arrival.

The Auckland newspaper of the time, the Southern Cross, gives an interesting description of Prince Alfred's meeting with the assembled tribes. The Maoris were allowed the honour of escorting the Royal gig to land, when the Galatea appeared in Auckland harbour on May 10:

When suggesting this proceeding, the chiefs said, ‘Why should you pakehas go out to meet the Prince? We all know you are glad he has come. He is a pakeha and so are you pakehas. It is for us Maoris to go out in our canoes, according to Maori custom, and welcome the pakeha Prince to our shores.’

Two large canoes, fully manned, put off to the Galatea from the Wynyard Pier. The first was the wakataua known as Toki-a-Tapiri, which was manned by 60 of the Ngati-whatua and Rarawa, under their chiefs, Reihana and Taiawhio. The second was the canoe Ngapuhoro, which contained 50 of the Ngati-paoa under Hetaraka Takapuna, and Hoera Te Wharepunga. A third canoe also put off, named Te Tuatara, which was manned by 70 of the Ngati-paoa under their chief Te Ngohipaki. The heads of the Natives were decorated with feathers, and as they paddled out towards the Galatea their appearance was picturesque in the extreme. The Ngati-Paoa canoes bore the British Ensign at the bows and stern, and the figure-heads were effectively decorated with feathers. The stern-posts were highly carved and embellished.

On May 14, chiefs from Whanganui, Waikato, Tauranga, East Coast, Mercury Bay, Hauraki, Tokerau and Upper Thames assembled on the lawn in front of Government House. The flag presented to the Whanganui Maoris in 1864 as a reward for their heroism on the island of Moutoa was borne by Meiha Keepa, and occupied a prominent position at the extreme left of the assembly.

Loyal addresses were delivered and priceless heirlooms from all over the North Island were presented to the Duke. The Duke left New Zealand after a few weeks in Auckland. His visit was regarded by many as a ray of light in the darkness of the times.

Historic Battle

Early in May, 1864, information reached the inhabitants of Whanganui that a taua, led by the fanatic prophet Matene Rangitauira, was on its way to attack the river settlement. A force of defenders was rapidly assembled, and left the township in five canoes, commanded by Kereti te Hiwitahi, Hemi Nape (both later slain in the battle), Riwai te Atua, Mete Kingi and Apereniko. Reinforcements were gathered at Pamoana—a famous river stronghold near Koriniti (Corinth).

Well up river, negotiations in Maori fashion between the opposing forces were opened, and it was decided that they meet to the death on Moutoa Island the following day—May 14, 1864.

The island is said to be a part of Taranaki, which broke from his flank as he drew the deep gorges of the Whanganui riverbed on his flight from the wrath of Tongariro and Ruapehu after he had failed to abduct Pihanga, Tongariro's wife.

The battle on Moutoa Island surged so much in favour of the hostile force in its early stages that victory was within an ace of the Hauhau's grasp. A rally led by Tamehana te Aewa, Haimona Hiroti and Mete Kingi with reinforcements saved the day, and the raiders, variously estimated at from 118 to 300 strong, were routed by the original 100 of the force—nearly 400 strong—who were put on the island to meet the first assault. Hauhau losses were between 50 and 80, with as many wounded, and the Wha-

nganui force suffered 14 killed and about 30 wounded.

One unusual incident of the engagement reported at the time was the use of chloroform by a doctor of the 57th Regiment, during an operation to amputate the badly wounded leg of the Whanganui man of rank, Tamehana. But perhaps the most amazing features of the clash were that it lasted only 15 minutes, and that when rank met opposing rank the riflemen shot at targets only inches away from them.

After the battle the women in the Whanganui district raised funds from which were purchased materials to make the flag, and clothing, and food. The flag was later presented to the survivors of the Whanganui force, and a distribution of the clothing and food was made to the families of all who participated in the action. Independent and individual gifts were made by residents of the town to their Maori friends. Presents of tobacco seemed to be among those most readily acceptable.

In addition, a memorial was built by public subscription to commemorate the battle, and the column, with its superlative inscription, rears high and proud in Moutoa Gardens, adjacent to the city's courts of justice.

The flag is made of white silk and oversewn with a Union Jack in the upper left canton and a gold crown in the centre, while underneath are displayed a European and a Maori hand clasped in friendship.

‘Moutoa’ was presented to the museum authorities 40 years after it was made and given, with full honours and ceremony, tribute and gratitude, to those who had defended with their lives the struggling river settlement. For many years it was in the safekeeping of the Mete Kingi family, and from them it passed into public possession.

The flag has been used on various occasions and flown in Moutoa Gardens, and it has paid its own silent tribute to Major Kemp and other notable Whanganui chieftains as it lay draped over their funeral caskets.

In this article an attempt has been made to outline the story of an historic flag and the event it commemorates. Elsewhere in New Zealand flags are known to exist with equally important historical backgrounds.

Before it is too late, before history itself perishes with these tribal and other emblems, could the author, through Te Ao Hou, make a plea that further flag histories be gathered and recorded with appropriate diagram, description and story?

1. THE CAMP

II. THE DUKE MEETS A FAMOUS CHIEF

On June 14, at ten o'clock, the Royal coach started for Ohinemutu. The welcome party here was lead by Pokiha Taranui, of the Ngati-Pikiao, known better to the pakeha as Major Fox, carrying the sword of honour—a large, handsome claymore—presented to him by Queen Victoria for his brilliant services.

Kneeling, facing the Duke and Duchess, they swung their weapons in perfect time, chanting in perfect unison together, the chiefs marching up and down in front of the lines leading the measure with martial gesture. Old Pokiha brandished his claymore, and they shouted their words with stentorian power and unanimous emphasis.

After the ceremony, the tribal presents were offered by Pirini Mataiawhea. The Duke and Duchess bowed low, and the Duke thanked the Arawa warmly for their gifts. Strolling back between the lines of the warriors, Their Royal Highnesses found old Pokiha seated on a chair, his exertions having been too much for him. The veteran at once stood to attention, and was presented. In the course of conversation he handed over his bright sword of honour for the visitors to admire, and when the Duchess, in her kindly way, found fault with him for

Pohika Taranui (Major Fox)

He, too, made his present to the Duke, an ancient, elaborately carved ‘toki’ (adze) with greenstone blade, handing it to the Royal visitor with stately grace. The Duke, who was wearing in his hat a huia feather presented to him on his arrival at Tama-te-Kapua, accepted the ‘toki’ with cordial thanks, and kept it in his hand, not putting it with the heap of presents made by the tribe. The Duke wore the feather and carried the ‘toki’ throughout the Rotorua celebrations, the Maoris greatly appreciating this respect for the badge of chieftainship and for the weapon of many traditions.

III. THE GREAT DISPLAY

The brawny warriors were in full war costume, their own buff relieved by the ‘piupiu’ round the waist, white ‘toroa’ feathers in their hair — all but the Ngati-Porou, who were in their white, purple and black. Their arms were spears, ‘taiahas’, ‘koikois’, ‘tewhatewha’, and ‘meres’. The chiefs, in characteristic array of rich feather cloaks and huia plume, carrying their ancient weapons proudly, were the great martial figures of the pageant.

In front of all, in the space between the pageantry and the stand, was seated the venerable figure of the veteran Pokiha Taranui wrapped warmly in rugs; on his shoulders a rich cloak of feathers, on which his full beard descended picturesquely, his head covered with a fur cap; at his side his great ‘taiaha’, ornamented with feathers and dogskin, his sword of honour in its red scabbard across his knees. On one side of him was the handsome model of Arawa canoe, which, with other gifts lying upon it, he was to present later on to the Duke, and on the other side stood his wife in rich feather mat and ‘piupiu’, with feathers in her hair. The ‘painful warrior famoused for fight’ sitting there broken and spent, waiting for the son of his King, gave a finishing pathetic touch to the scene.

The tribes gave the Duke their best in wardance, ‘haka’, ‘waiata’, ‘powhiri’, ‘poi’, and every dance and chant of their elaborate ceremonial of welcome. The manhood of Maoridom went through their dances, doing justice in whole-souled fashion to their various moods. They gave all the war-cries of their race, many ancient ‘waiatas’, laments on the death of the Queen, and verses composed for the occasion. ranging over a variety of subjects: war, welcome, politics; the relations of the races; loyalty to the Throne. In vehement, athletic action, frankness, detestation of the enemy, humour, pathos, courtesy, generosity of sentiment, and facility of expression, it was a splendid display of Maori manhood. The graceful ‘poi’ girls on the other side, a spectacle abounding in rhythmic accord of movement, in elegance of rippling words, in brightness of colour, in halo of twirling raupo balls, was a beautiful presentation of Maori womanhood. This mixture of martial manhood and feminine grace made a scene the like of which will never be seen in New Zealand again. Some invisible hand moved those masses of colour with kaleidoscopic rapidity, keeping the living picture ever restless, vibrating at one moment with the quiver of the ‘pois’, at another with the fierce whirl of brandished spears. Now the scene was dominated by coy glances from soft dark eyes and fascinating

smiles, and now the leading note was of warriors frowning savagely in mimic war. Love succeeded battle, and war gave way to mirth, each time changing the broad face of the scene in a twinkling; and then the frenzied ranks subdued their wild song and action to the moderate stateliness of the ‘haka’ — ‘finest physical drill in the world’, as one of the soldiers in the Duke's suite put it — with military enthusiasm. And ever amid the yells of the ‘peruperu’ and the triumphant chorus of the ‘haka’, ever amid the broad humour of the chants and the playful musical phrases of the women, there was a note of sadness woven into the restless fabric of sound, just as the tone of mourning ran right through the ever-changing masses of colour. It was the ‘irirangi’, as the Maori calls it, growing fainter as the martial cries rose in volume, only to return as they fell away; and as the other sounds decreased it rose higher and higher, until it became the pervading wail of the tribes, the song of mourning for the Great Queen, the ‘tangi’ that every section in its turn raised with mournful cadence and sorrowful expression.

IV. A POI DANCE

A shout and a call of ‘Haere mai’, a tumultuous waving of branches and poi-balls, a tremendous brandishing of weapons, greeted the approach of Royalty. As the party mounted the stand the Tuhoe drum-and-fife band struck up the National Anthem. At once the ‘poi’ ranks bowed to the knee, while the mass of warriors behind, with one stentorian shout, raised their spears and ‘taiahas’ aloft, then sank crouching on the ground. As the strains of the National Anthem died away the Ngaiterangi women advanced in two ranks—their two leaders, both men, one at each end and slightly ahead—to dance the ‘poi’. The right leader opened with a chant, and ere he paused to take breath the left leader caught the measure, and so the song alternated from right to left and back again. Between them the ranks, in perfect time, quickening as the measure hurried on, accompanied the song with the ‘poi’—the ‘poi’ of which the Maoris sing:

‘How my heart longs for the poi-leaf,
How beautiful a flower it is to grace
Thy breast; my love.’

The poi-balls twirled; the hands twirling them moved up and down, sideways, backwards and forwards, hovering now over the shoulders, now over and across the knees, the flying balls appearing to surround with a network of gossamer the bodies of the dancers as they swayed from side to side, lifting alternate feet and throwing them across gently in front with a lilting motion, giving the effect partially of a waltz step. The women were handsome and shapely; they waved with grace; they sang soft words of welcome with musical voice in exact accord of time, in a strangely attractive monotone; they did it with flashing teeth and smiling lips, and beaming great eyes, as they kept their ‘pois’ twirling and waving with daintiest play of arm and wrist, and the rhythmic swaying of bodies from side to side. Sometimes the song was of welcome, sometimes it saddened and slowed down to a weird lament for the Queen; again it quickened, with a note of triumph as the maidens bowed ‘Kia ora’ to the Duke and Duchess, and wished long life to the King and Queen far across the ocean; then it wandered gracefully over many appropriate topics. The effect was superb. The soft voices, the ordered motion, the bright colours of dress and mat and ‘piupiu’ moving with brilliant beauty, together with the white albatross feathers in the black hair, completed a singularly gracious, delicate example of the poetry of motion.

At length came the end, like the finale of some admired composition the approach of which gives the absorbed listener a pang of regret. As the ‘pois’ flashed overhead the command suddenly rang out. The poetry and the movement ceased at once, the flashing colours were still, the infinite variety of the faces gave place to a settled gravity, and in the same instant each poi-ball came down over the right breast of its owner, and was caught firmly in her left hand. Then the shining ranks bowed once more to the knee; a long, steady, courteous salute. Having bowed they filed off with dainty precision, disclosing the massed ‘matuas’ in the second line; and as they went, thunders of applause went with them from enthusiastic Royalty and all the assembled shouting people, pakeha and Maori.

The old Maoris say that the ‘poi’ dances of their time were even more effective; the strings used with the poi-balls being far longer; some six feet, and extending the picturesque gossamer effect of the twirling balls; the dancers being necessarily in extended order, and the display more imposing. The old dance was slower, and allowed more time for the display of grace and the elaboration of gesture. The ostensible object of the ‘poi’ from the first was to give graceful welcome to strangers (‘manuhiri’), visiting tribes, ‘tino rangatira’, and other persons of distinction. But gradually there grew up another object, which was to attract

(Continued on page 58)

H.R.H. Prince Edward, Prince of Wales, in New Zealand (Turnbull Library).

Welcome haka (Turnbull Library).

Prince replies to Maori loyal speech, spoken by the Hon. Sir William Herries (on steps). Left of Prince on dais: Sir Maui Pomare (Turnbull Library).

1920—PRINCE OF WALES: H.R.H. Prince Edward, Prince of Wales, who visited New Zealand in 1920, met the Maori people at Rotorua on April 27–29. The Prince visited Ohinemutu, where a welcome address was given by Rangi Te Aorere and Kiwi Amohau. The Royal party also visited Whakarewarewa, where Bella Papakura and Miriam acted as guides, and the welcome address was spoken by Mita Taupopotei.

At the main celebration in Athletic Park, Sir James Carroll led the Maori welcome. The loyal address was spoken by Sir William Herries, Minister of Maori Affairs, and interpreted by Dr Maui Pomare. Guy Scholefield states that the number of Maori hosts on this occasion was 5,500, which might be slightly larger than the figure for 1901.

Late Paul Thomas, wei [ unclear: ] known taiaha expert of Ngat [ unclear: ] Tuharangi (Turnbull Lib [ unclear: ] rary).

Women ready for poi dance (Turnbull Library).

Duke and Duchess of York. (National Publicity Studios.)

1927—DUKE AND DUCHESS OF YORK: Permanent monument of the visit to Rotorua of Their Royal Highnesses the Duke and Duchess of York, later King George VI and Queen Elizabeth, is the Arawa War Memorial, unveiled by the Royal visitors. Arriving by train on Saturday, February 26, 1927, the Royal Party was welcomed by the Rt. Hon. J. Gordon Coates, who had with him his colleague, Sir Maui Pomare. There was again a grand demonstration of Maori dancing at Arawa Park, chief marshal this time being Dr Peter Buck. On the Sunday night, the Duke and Duchess attended divine service at the beautifully carved Maori church at Ohinemutu. The service was conducted by the Rev. F. A. Bennett in the Maori language. The collects for the Royal Family were repeated in English.

Canoe poi. (National Publicity Studios.)

1934—DUKE OF GLOUCESTER: Another grand display of Maori dancing took place when His Royal Highness, Prince Henry, Duke of Gloucester, visited Rotorua on December 22, 1934, during his New Zealand tour. On this occasion the loyal demonstration was organised by Sir Apirana Ngata, H. H. Balneavis and Tai Mitchell. The loyal address was read by the Rt. Rev. F. A. Bennett, by then Bishop of Aotearoa, who also conducted a divine service for the Royal visitor at the Ohinemutu church. Although this gathering was somewhat smaller than those on previous Royal visits, there were still 2,000 Maoris fed and accommodated in and around Rotorua on this occasion.

Duke of Gloucester with Guides Rangi and Bella. (Weekly News.)

Duke meets Sir Apirana Ngata and Mita Taupopoki, paramount chief of Arawa tribe, in Rotorua. (Auckland Star.)