MAORI ARTS IN TARANAKI

Taranaki Daily News, 29 September 1930, Page 9

MAORI ARTS IN TARANAKI

FIRST SCHOOL OF CARVING REMARKABLE DISCOVERY MADE. EXPERT’S VISIT TO WAITARA PA. (Special Correspondent.) Mr. T. Heberly, who is on the staff of the Dominion Museum, Wellington, was at Waitara during last week. He was sent by the Department of Interr nal Affairs to investigate further the matter of Taranaki Maori carvings, and to be allowed to search the swamps round the' pa. In both cases he has been successful, and some of the European settlers have also given him permission to search any likely places on their properties. : On his mother’s side Mr. Heberly belongs to the Atiawa tribe, and his peo- ' pie at one time lived at Waihi, about ~ two miles north of Waitara. Although, far from being an old man, he is one of the best and most reliable authorities living on Maori carvings and in- . terpretation. In conversation with him one is immediately impressed with hissincerity and enthusiasm, together with his very extensive knowledge of the meaning and significance of every notch in any model. • The culture of art in the Maori is gradually being recognised by designers ' and architects as something very much more than ordinary. In the past only the barbaric side of the art was known; the beautiful decorative designs which are a reflection of Maori genius were not understood. Carving, painting and weaving were as means by which the story of each tribe might be told. Each design is a story—the soul and romance of native life. The land they lived in and its natural beauty around them were ■' very important factors in the creation of designs. By the old Maori carving was looked upon as a very sacred art, which could not be taught in the ordinary way because the desire for the art was supposed to be inherent. The course of instruction in the old days, though simple, was strikingly effective. The youngXaspirant interviewed a to-' hunga, who ordered his immediate isolation. for a period of some five or six months. The instruction proper commenced with the teaching of Maori songs and incantations appropriate to the art, dwelling upon the meaning of almost every word, the mind of the pupil being gradually trained to see only the subject set before him. No attempt was made to do any actual carving, yet at the' end of the period, the young man, aged in thought, left his teacher, not a schooled,’but an inspired carver. z ' “REQUIRES INSPIRATION.” . Before Mr. Heberly begins on any important model he makes up his mind to observe a strict rule of sobriety, at any rate for the time the model is under construction. “It may seem out of place,” said Mr. Heberly in conversation, “to be talking in Maori, myths during these days of civilisation.” Yet his own experience has absolutely convinced him that even to-day no one can produce the genuine article without observing those principles. “It is an art,” he exclaimed, “a composition, , something that requires real inspiration.” ' . ■ ■ ' ' » ■ Mr. Heberly has often been compelled to criticise supposed famous carving on t’ ground of the use made of modern machinery. He maintains that in order to bring out the required Maori effect in a*"niodel there must be the necessary crudeness, and the only tools that h< uses are chisels of different sizes. It was Mr. Heberly who carved the famous casket which now contains the ashes of Sir Maui Pomare. On the lid are two male figures representing two guardians of the contents of the casket. On each side of the casket proper there are three figures. The central one, more prominent and a little elevated, represents the Goddess of Light. On either side and turning towards the central figure are two “manaias,” evil spirits, concentrating as it were upon trying to lower the dignity of the Goddessof Light, which they, fail to . <lo—the Maori conception of life after death. On the outside of the two 'Uprights, at each end of the casket are the lizards of death. The designs under the ridge pole resting on the two uprights represent the backbone of life. „ i There seems to be a newly-born in- ... terest in wood-carving at the present time throughout the Dominion, which has culminated in the creation of the Maori Arts and Crafts Board. . This was established by Act of Parliament, passed in 1926, entitled, “An Act to Encourage the Dissemination of Know- ■ • ; ledge of Maori Arts and Crafts.” The boards duty is to encourage the study and practice of Maori arts and crafts, ■ and already a school of carving and Uf other arts is established at Rotorua under the management of the board, and Mr. Hiberly does not see why another school cannot be established at Waitara. At the present time he is carving the old Wanganui war canoe “Teremai” for the Dominion Museum, and he is of opinion that if that work was carried on at Waitara it W’ould be an incentive to the younger generation, } . which would eventually justify the ee- 1 tablishment of a school of art. . The most striking feature. of Mr. Xi; Heberly’s visit is a remarkable discovery—that the first school of carving among the Maori people originated in the Taranaki district. He is inviting criticisms and objections to his theory. His opinion has been arrived' at from the designs of the actual carvings found in the district, full explanations of which will be published by Mr. Heberly himself. With the annual income -of £5OOO granted by the Government to the Maoris of Taranaki it should be possible in the near future* to see the arts and crafts of the race in the district.