The Welcome to the Duke.

New Zealand Graphic, Volume XXVI, Issue XXV, 22 June 1901, Page 2 (Supplement)

The Welcome to the Duke.

A noteworthy feature of the reception tendered the Duka on Thursday afternoon and again on Saturday morning here was the numerous striking songs, war-chamts, elegiac ballads and other poetical compositions of the tribes, some breathing the fierce spirit of Tu-mata-uenga, the Angry-faced God of War, others in a lighter vein which was sung by the various divisions of the Maori people. In their tangi songs or “apakuras” for the dead Queen they make touching reference to the will make touching reference to the passing away of Wikitoria, their great “Tapairu-Ariki,” as they style her, to the dismal regions of death. I was present by invitation at a “full-dress” (that is to say very little dress) practice by the combined men of the East Cape and surrounding districts, chiefly Ngatiporou, in their large marquee in the encampment. The tent was crowded with half-naked dancers, aimed with “tewhatewhas,” and with their admiring friends. Ngatiporou were careful to admit no members of outside tribes who might be wandering round to pick up “point*” in dance-songs from the East Cape tribes, who are acknowledged past masters at thia sort of thing. For a couple of hours the rehearsing of songs and postures went on, and many a wild refrain was chorused to the accompaniment of resounding slaps, as one man, on the bare bodies of the “ope"’ of Ngatiporou. Here was to be seen the curious spectacle of an M_A. and L.L.B. of the New Zealand University, a polished gentleman, and a clever young lawyer, bounding up and down, stripped to his trousers, a flax girdle round his waist, spear in hand, leading his tribe in the wardance of their ancestors. For Mr Apirana Ngata, one of the finest members of the Maori race living, does not disdain the martial [tarades of his forefathers. and patriotically encourages his tribe iu healthy emulation with other peoples, whether in these sports or in more serious matters. He and others- of the more advanced men of Ngatiporou pride themselves on having eliminated a great deal of ths more objectionable features of the dances and songs; they have in fact succeeded in Rowdlerising the haka. The great war-song of the Ngatll>orou. sung before the Duke by the company from the East. Cape, as they danced their “pertrperu” is in part an adaptation of a celebrated old fighting-chant beginning. “kia kutia.” etc. The composer of the song is apparently a close student of European and South African contemporary history, and is as loyal as any John Bull, for the song runs thus:— , “Whiti, wbiti E! Ka paahi Ruhia, Ka I’oharu Tiamini; Ka miere Tame I’oa. Ko to arero tena E whatero i mua ra i o rangi. Koroke whakakapowaitia kei te poharutanga pou pa. Ka tohe au! Ka tohe au. Ka tohe au kia Kurutia! Ki taku karaka i whakaura i te want. E tu nei kati Kawana. Kia kutia! Au—au! Kia wherahia. Au—au! E kia rere atu te kohuru Ki tua o Awheriks, Titiro mai ai! A—e! A—e! a—a." “Russia is beaten, Germany is confounded. And Tommy Boer is cornerei ! Ah! your tongue lolled out in the day of your defiance. But now your head is forced into the mud. I strive, I strive, I contend against Kruger; He is my karaka berry boiled red, ready for eating. In the eighth month of the year; It is elected! au—au! It is open! au—au! Let fhe treacherous one floe away To the farthest depths of Africa, And turn as he flies And fearfully gaze at me!”

The original of tne latter part of this song, beginning “Kia Kutia,” etc., has many historical associations connected with the war days. It was a famous war song of old, and some of these same Ngatiporou who will yell it forth for the Duke chanted it when they captured the murderer (kohuru) Kereopa inland from Whakatane in 1871. “Kruger” and “Africa” are np-to-date topical allusions introduced by these tri be spec pie, who themselves were anxious not long ago to volunteer for service in the Boer war. The suug which was the most effective of any in Ngatiporou’s repertoire, liowever. was the famous old war-chant called “Ruaumoko,** which it is said by the tribe was composed and dancer! some sixty-six years ago, in the man-eating days, by the Ngatiporou at the time of their great battle with ihe Whanau -a-Apanui at Toka-a-Kuku, on the East Coast. It abounds in ancient allusions, symbolical and legendary, the meaning of which cannot lie well explained even by members of the tribe. It begins with the words: “Ko Ruaumoko e ngunguru nei! Au-ou-e ha'” —an allusion to the earthquake god of Maori mythology, Ruaumoko, whose home is deep in the lower earth, and whose turnings and angry growings were what we call earthquakes. The translatable portion of the histone chant is as follows: — (The Leader): “’Tis Ruaumoko, Earthquake-god, Whose rumblings now are heard. Au—au—e ha! A ha-ha! ’Tis the weapon of the dread Tungawcrewcre, A ha-ha! (The ranks rise and yeU): “Tis the sacred weapon of Tutaua, Dasiied against the demon Rangitopeka. Smashing the head! Yonder ou the lofty range of Hikurangl Stands the sacred carven rock. ’Tis a man! No, a god! A man—Ho, a god! (Tbe Leader): “A god, a god! (All): A ha-ha! Gnash your teeth like a dog! Au -au—au eha! (The ta-ader): Spread out your wings like a Kawau (shag)! (All): Ha! (The leader): At tiie side-slabs of the house. (AU): I stand gnashing, grinding my teeth, grinning like the carved figures of th* sacred house.” The third principal song (also • “taparahi”) of the Ngatiporou people, makes some rather quaint aUusions to New Zealand politics and the native land legislation. It is intended as a welcome to the Duke of York. (The Leader.) ‘The Tai-Rawhiti murmurs, The tide of the Eastern Sea, Au-au-au-eha! The tide of the Rising Sun Is rumbling on the shore. Au-au-au-eha! Ah, it is the Duke, Great Stranger from Beyond the sky. Ask ye, and let it be answered Who is the pillar (of the house)? (AU.) The Governor is the prop, the Govern nor is the prop! (The Leader.) We sink, we fall, we die! The Government will eat up all tha money Of my dwelling-place, The solid land drawn up bv Maui. (AU.) The first of our troubles Was in the Land Court, The second was the survey; Then Te Whiti pulled uselessly Against the Government. Waikato locked up their lands. The land-buyers squeezed us And narrowed our boundaries. Alaa! Alas! (The leader.) A ha hs! (All.) What i* the Goverumeut doing?

It is preparing' to swallow up New Zealand, alas! (The Leader.) A ha ha! (All.) Haramai ra ture kino. Haramai ra ture kino! (Come, ye bads laws!) See they are assembled At Wellington in the den of lions (■aping open for us. Au-au-au-e ba!” The Whanganui armed men, 150 strong, have some effective songs which they intend ehanting as they dance before the Duke, as a poetical welcome to the grandson of the Queen: “Flashes hitherwards The star Puanga; Whakahti rushes through the sky! The heart of the island rejoices At thy coming! Draw near us! Approach us! Indeed ’tis the offspring Of the great Queen, Who will uphold The ‘mana’ of the Maoris. Cling tightly—Aue! Raise heavenwards your spear*"’