MOKO
NOTES
1. Blackley 2012: 46 and the Argus Newspaper,
Melbourne, 21 March 1884, p. 5.
2. The West Australian, Perth, Saturday, 10 May 1884.
3. Blackley 2012: 37–38. This portrait by Seppings Wright
and Tāwhiao’s drawings are yet to be rediscovered.
4. Also spelled Te Rau Miria te Haunui. In the collections
of Te Papa is another image taken by McDonald
(C.025089) which shows Te Akakura Ru and the woman
in this present image, making the attribution of her
identity as Te Raumiria te Haunui compelling.
5. “Maungapohatu, Maori’s Last Stronghold,” New
Zealand Herald, Volume LXIX, Issue 21136, 19 March
1932, Supplement. Digitized at https://paperspast.natlib.
govt.nz/newspapers/NZH19320319.2.174.6 I thank
Matiu Baker for making me aware of this article.
6. Binney, J. 1996. Dictionary of New Zealand Biography
digitized at https://teara.govt.nz/en/biographies/3r32/
rua-kenana-hepetipa
7. Voyce, M. 1989 p.108.
8. Historical Records of New Zealand. Captain Reynolds to
Earl Bathurst, April 18, 1825. http://nzetc.victoria.ac.nz/
tm/scholarly/tei-McN01Hist-t1-b10-d18.html
9. Traill was a founder of the Liverpool Royal Institution.
He also had a bird named in his honor by John James
Audubon.
10. Craik 1830: 317–336.
11. Craik 1830: 330–331. Kupe’s name was recorded at
Tupai (perhaps a version of Te Pehi) and moko was noted
as amoco. These have been corrected for this text.
12. Simmons 1986 (2010): 66. When referring to the self-portrait
by Kupe, Simmons also notes his moko shows that Kupe was a
master carver, a tohunga-whakairo.
13. Sanborn 2011: 87.
14. Sanborn 2011.
15. Simmons 1986, p. 71.
16. The Carte des Visite is collection number O.004272.
17. Inscription is very faint and interpretation here is an
approximation.
18. George Nuku, pers. comm., May 2018.
BIBLIOGRAPHY
Binney, Judith. 1996. “Rua Kenana Hepetipa,” in Dictionary of
New Zealand Biography, digitized at https://teara.govt.
nz/en/biographies/3r32/rua-kenana-hepetipa
Blackley, Roger. 2012. “King Tāwhiao’s Big O. E.,” in
Turnbull Library Record, vol. 44, 2012, pp. 36–52.
Brown, Deidre. 2016. “Hongi Hika’s Self-Portrait,” in
Muse Magazine, issue 14, University of Sydney, pp.
19–22.
Cowan, James. 1921. “Maori Tattooing Survivals. Some
Notes on Moko,” in The Journal of the Polynesian
Society, vol. 30, no. 120, pp. 241–245.
Craik, George Lillie. 1830. The New Zealanders, London.
Richards, Rhys. 2015. Tracking Travelling Taonga.
Paremata Press, NZ.
Salmond, Anne. 1997. Between Worlds: Early Exchanges
between Maori and Europeans, 1773–1815. Viking,
Auckland, NZ.
Sanborn, Geoffrey, 2011. Whipscars and Tattoos: The
Last of the Mohicans, Moby-Dick, and the Maori. Oxford
University Press, UK.
Simmons, David, 1984. “Te Rarangi Taonga: Catalogue,”
in S. M. Mead (ed.), Te Māori: Maori Art from New
Zealand Collections, Abrams New York.
pp. 175–235.
———, 1986. Ta Moko: The Art of Maori Tattoo. Reed
Publishing, Auckland, NZ.
Te Awekotuku, Ngahuia & Becky Nunes. 2007, Mau
Moko: the World of Maori Tattoo. Viking, Auckland, NZ.
Voyce, Malcolm, 1989, “Maori Healers in New Zealand:
The Tohunga Suppression Act 1907,” in Oceania, vol. 60, no. 2
(Dec. 1989), Sydney, pp. 99–123.
81
FIG. 9 (above): Naboua Nuku, Hori (George) Tamihana
Nuku, and Haki Williams. Ngāti Kahungunu, Ngāti
Manunui. By Serena Stevenson.
Auckland, Aotearoa, 2002.
Digital print. 50 x 70 cm.
From Face Value by Serena Giovanna Stevenson.
FIG. 10 (below): Naboua Nuku, Hori (George) Tamihana
Nuku, and Haki Williams. Ngāti Kahungunu, Ngāti
Manunui. By Serena Stevenson.
Auckland, Aotearoa, 2002.
Digital print. 50 x 70 cm.
From Face Value by Serena Giovanna Stevenson.
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