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Ihimaera Witi - Pūrākau: Māori myths retold by Māori writers

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Ihimaera Witi Pūrākau: Māori myths retold by Māori writers

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Ancient Mori creation myths, portrayals of larger-than-life heroes and tales of engrossing magical beings have endured through the ages. Some hail back to Hawaiki, some are firmly grounded in New Zealand and its landscape. Through countless generations, the stories have been reshaped and passed on. This new collection presents a wide range of traditional myths that have been retold by some of our best Maori wordsmiths --;James Ormsby decodes his tokotoko form -- Introduction / Witi Ihimaera & Whiti Hereaka -- Prologue / Whiti Hereaka -- Part one: Creation. Te P / Patricia Grace -- We, who live in darkness / Hone Tuwhare -- Papatnuku / Whiti Hereaka -- Skin and bones / Tina Makereti -- Hine-ahu-one / Patricia Grace -- Hine-ttama: Ask the posts of the house / Witi Ihimaera -- Part two: The ancestors. Headnote to a Mui tale / Keri Hulme -- Born. Still / Briar Grace-Smith -- Mui goes to Hollywood / David Geary -- Me aro koe ki te h o Hineahuone! / Jacqueline Carter -- Twhaki: Real life / Paula Morris -- Rata / Hmi Kelly -- Moon story / Patricia Grace -- Hinepkohurangi and Uenuku / Kelly Joseph -- Kuramrtini / Briar Wood -- Waka 86 / Robert Sullivan -- Part three: The sea to the land. A story from the sea / Witi Ihimaera -- Shapeshifter / Tina Makereti -- I have a stone / Keri Hulme -- Te ara poutini / Tina Makereti -- Moving mountains / Clayton Te Kohe -- The kmara god smiles fatly / Hone Tuwhare -- The potato / Witi Ihimaera -- Part four: Mythical beings. Kurungaituku / Nghuia Te Awekotuku -- Blind / Kelly Ana Morey -- Te Pura, warrior taniwha of Te Wairoa / Rene -- Getting it / Keri Hulme -- Hine Tai / Apirana Taylor -- he & her / Frazer Rangihuna -- Rarohenga and the reformation / D.Avid Gear.y -- Niwareka and Mataora / Witi Ihimaera -- Epilogue: The future. Waka 99 / Robert Sullivan.

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Contents
A LIVELY RETELLING OF PRKAU MORI MYTHS BY CONTEMPORARY MORI WRITERS Ancient - photo 1
A LIVELY RETELLING OF PRKAU MORI MYTHS BY CONTEMPORARY MORI WRITERS Ancient - photo 2

A LIVELY RETELLING OF PRKAU MORI MYTHS BY CONTEMPORARY MORI WRITERS.

Ancient Mori creation myths, portrayals of larger-than-life heroes and tales of engrossing magical beings have endured through the ages. Some hail back to Hawaiki, some are firmly grounded in New Zealand and its landscape. Through countless generations, the stories have been reshaped and passed on. This new collection presents a wide range of traditional myths that have been retold by some of our best Mori wordsmiths. The writers have added their own creativity, perspectives and sometimes wonderfully unexpected twists, bringing new life and energy to these rich, spellbinding and significant taonga.

Take a fresh look at Papatnuku, a wild ride with Mui, or have a creepy encounter with Rruhi-Kerep, for these and many more mythical figures await you.

Ka mua, ka muri

Explore the past, from it shape the future

James Ormsby Decodes his Tokotoko Form The drawing of a tokotoko the - photo 3
James Ormsby Decodes his Tokotoko Form The drawing of a tokotoko the - photo 4
James Ormsby Decodes his Tokotoko Form

The drawing of a tokotoko, the walkingtalking stick held by speakers on the marae, depicts the versions of the creation myth that tell of Tne using his trees to help separate Ranginui and Papatnuku. It was Tne, too, who became the progenitor of humankind, so the tokotoko shaft also represents his ure. The tokotoko has small forms extending from it, with a thin shadow of aho, or fishing, lines behind.

There are five sections down the shaft, which relate directly to the books parts: Creation; The Ancestors; The Sea to the Land; Mythical Beings; and Rarohenga.

(1) At the top, Matariki stars drift behind the handle/ure, spilling whakapapa marks. The lashing of the handles binding symbolises the whakapapa or the layered stages of creation itself (Te Kore, Te P, Te Ao, etc). A crushed Mui attempts to separate the handle from the shaft, the first part of the creation. (2) Beneath this, a moon cycle orbits the ancestors. (3) The water cycle (encompassing cloud, waterfall and rainbow colours) floats from the third part of the tokotoko, referencing the Sea to the Land section. (4) Further down, taniwha arms escape from the tokotoko to depict the mythical beings. (5) The fifth part of the book, Rarohenga or the underworld, is represented with whakarei lines (customary whakairo or carving ornamentation).

Ng mihi

James F. Ormsby

Introduction
BY WITI IHIMAERA & WHITI HEREAKA
1.

Gods and monsters are at the very beginning of all cultures.

Horus and Set battled each other for the rule of Egypt. Zeus and his fellow gods arbitrated over the world from the heights of Mount Olympus. In the Norse pantheon, Odin presided over Valhalla, riding his winged eight-legged horse, Sleipnir, over the land. Ahura Mazda was a god of light in Persia fighting against Ahriman, the Spirit of Darkness, who controlled a three-headed demon known as Ai Dahka.

In New Zealand, where Earth and Sky were the first parents, one of their sons the mighty Tnemahuta did nothing less than raise the sky so that life and light could flood the world between. This act might have freed the sons, but it also led to aeons-long battles between them.

Such tales come from long-ago times when people saw divinity in everything. They worshipped the gods, and from their veneration developed entire belief systems which flourished long before Christianity.

Mazdayasna (or Zoroastrianism) was one of the worlds oldest extant religions. Hinduism was particularly polytheistic, with 33 million gods and goddesses. The Celts, who could count 1200 named deities, were, like Mori, animists. They believed that all aspects of the natural world were imbued with spirits and, therefore, gods were forces within nature. For instance, the sun was a god, the wind was a god, the ocean was a god and so on. Whenever thunder boomed, the gods were said to be walking overhead. If the crops failed, the gods must have been angry at some slight and therefore needed to be appeased.

Pity the poor human race. You negotiated your way through life very carefully.

One misstep and you could be zapped.

2.

Scientists consider that Mori came from the last of the migrations out of Africa, making the final push from Asia into Polynesia and then down to Aotearoa. Thus Mori share our gods and monsters with other Polynesian cultures. However, it is astounding that from a people considered to be the youngest of all human populations has come one of the most magnificent and richest inventories of origin narratives. From our ancestral homeland, Hawaiki (Raitea, French Polynesia) around 700 AD, we carried our atua and taniwha with us and installed them in the new land.

Are the stories, myths and folklore imaginary? Not to Mori. The narratives that have come down as Mori say, i ng w o mua, from the times in front of us may be fabulous and fantastic but they are also real. They are so actual that today, although mostly Christianised now, Mori still ritually acknowledge sky and earth whenever in formal Mori settings:

Ko Ranginui kei runga The Sky Father is above.

Ko Papatnuku kei raro The Earth Mother is below.

In so doing, Mori affirm the first parents of most indigenous civilisations and our kinship with all native peoples.

Not only do Mori do this, but we still pay homage to our gods (for instance, the first fish of any catch is ritually returned to Tangaroa, the sea god). We are also still able to establish our mythology on the landscape. In 2002, Transit New Zealand modified its roading plans for State Highway One when local Mori protested that the upgrade would infringe on the habitat of taniwha, swamp-living monsters.

Our funeral services may begin within a Christian setting but, most often, they end with the farewelling of our dead back to Hawaiki.

The Mori inventory of gods and monsters is still, therefore, relevant today.

Nor is there any separation of the fanciful stories of our origin, i.e. mythology and folklore, from the believable or factual, the real from the imagined, rational from the irrational, or what can be believed in and what cannot. Mori do not make those distinctions. Its all history, fluid, holistic, inclusive not necessarily linear and it may be being told backwards, which is why, to orient ourselves, we always place our origin stories in front. The stories are actually the beginning of a whakapapa, a genealogy. And what they establish is the beginning of a distinctive world view.

First, there are the accounts of the origin and development of the universe. The stories provide a logical account of the coming of light, increasing by degrees and intensity until, lo, comes the dawning of the first day. Everything is happening all at once and over many aeons; Mori call this period of the making of the solar system the time when the world was shining. And it is during these first days that the Sky Father and Earth Mother appear in the genealogy, tightly wrapped in each other.

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