Light shines on history

Maata Te Taiawatea, c.1957-1960 by Sidney Moko Mead
Collection of Hawke’s Bay Museums Trust, Ruawharo Tā-ū-rangi, 85/20/1

Open today is The Light Shone Clear: History. Perspectives. Art. It’s an exhibition that looks at times and events that have shaped Te Matau-a-Mauī/Hawke’s Bay and Aotearoa. It also brings together a wonderful selection of artworks from the Hawke’s Bay Museum’s Trust collection. Each piece in the exhibition offering a view on the past.

What is a bit special about the exhibition is that it brings some significant works out of the collection. This region’s collection is extraordinary, not just in size—although, by comparison, if you take just the Trust’s art collection, it is equal in size to the entire collection of the Dowse Art Museum—but for the number of exceptionally high quality of works in the collection.

Over the last few years, due to the support of the MTG Foundation, the Trust has been able to make some important acquisitions. Among others, a large piece by Ayesha Green (Ngāti Kahungunu), which has recently been on loan to City Gallery in Wellington; and an important work, Ringatu by Paratene Matchitt. Recently, the Trust was gifted a fantastic piece by artist Greer Twiss, Hobson’s Baggage. This will be the first time these large works have come out of storage to be shown at the museum. These fine pieces will sit alongside art works by Philippa Blair, Tony Fomison, Sandy Adsett, and Fiona Pardington.

Central to the exhibition is a recognition of the historical themes embedded within many of the art works. From reflections on land ownership to critiques of periods in history, the artworks offer a window into the complexities of the past.

Alongside overtly political art works, there are those that simply capture the essence of their era, providing a snapshot of bygone times.

What these artworks have in common is their ability to convey unique perspectives; every artwork being a window into an attitude, a point of view. Through the artist’s work, often marginalised or overlooked voices are brought to the forefront, enriching our understanding of the past and challenging dominant narratives.

Now that the history of Aotearoa is being taught in schools, it’s important to give art a real place in telling our stories. We hope that art can open students up to new perspectives, the exhibition serving as catalysts for deeper inquiry, fostering empathy and a more nuanced comprehension of our collective history.

One artwork that encapsulates this ethos is Sidney Mead’s carved portrait Maata Te Taiawatea, created between 1957 and 1960.

The 1950s and 1960s marked a pivotal time among Māori artists, who were reconciling their experiences of both Māori and Pākehā worlds and considering how customary approaches to art making interfaced with international art movements. Mead, reflecting on that time, wrote ‘Māori artists trained in the art schools of the Pākehā are spearheading a movement to change the face of Māori art more radically than ever before.’

In Maata Te Taiawatea, Mead pays homage to his Tūhourangi and Ngāti Awa grandmother, Te Taiawatea Rangitūkehu, a figure renowned for her diplomatic advocacy for tribal land ownership. In carving his ancestor, Mead’s work aligns with the tradition of ancestral carvings that hold narratives of whakapapa. In Te Taiawatea Rangitūkehu’s spiralling hair – likened to currents in the sea – Mead represents oral traditions, where Māori carving originates from the sea. More contemporary however, is the sculpture’s sleek, glossy finish and absence of surface decoration which shows the influence of international modernism on the work.

In this way, The Light Shone Clear: History. Perspectives. Art. not only celebrates the artistic power in the Trust’s collection but also serves as a testament to the enduring power of art to critically reflect on who we are and how we live.

Published in the Hawke’s Bay Today newspaper 13 April 2024 and written by Toni MacKinnon, Art Curator at MTG Hawke’s Bay.

Set for another year of educational fun

Educational fun and games at MTG

As for everyone in Hawke’s Bay, 2023 was a tough year, and for the education team at MTG Hawke’s Bay Tai Ahuriri, it was no different. We started term one with our calendar full, but in the blink of an eye, a cyclone hit, and everything changed. Our educators had to adjust bookings, teaching spaces, and adapt the way some of the programmes were taught. We took our programmes out to some schools as they were unable to travel to Napier, reaching as far north as Te Pohue and as south as Porangahau.

Even with all the disruptions (adding COVID into the mix too), our educators delivered programmes to 5567 students during the year. Our most popular primary school programme in 2023 was “Pānia and Moremore,” exploring how Pānia Reef got its name, who she was, and the kaitiaki role Moremore plays around Ahuriri. For intermediate students, the “Hangarau me te Māori: Māori and Technology” programme delves into early Māori tools and their adaptation to modern tools. Students then create their tools using natural resources. The new programme, “The Great Ahuriri Escape,” was a hit with junior high school students, offering an escape room scenario where they solve puzzles to learn about local landmarks. All our programmes align with the New Zealand Curriculum and, notably, the Aotearoa Histories Curriculum, which classroom teachers are required to teach from 2023 as part of the curriculum refresh.

Over the Christmas break, our educators have been busy preparing for another busy year—refreshing old programmes and designing new ones that classroom teachers have requested. Yes, we work alongside teachers to ensure our programmes align with classroom learning outcomes and the localised curriculum – Hawke’s Bay stories.

New programmes for 2024 include “Waka Huia,” taught to Year 11 NCEA visual arts students. They get a close-up look at different waka huia, hue (gourd), and treasure boxes from the MTG collection—an amazing opportunity to see primary source artefacts. “Te Wā o ngā Tohorā,” the Time of the Whales programme, explores how Māori and Pākehā lived and worked together, their connection to the natural world, and tells the story of the Tohorā whales of Te Matau-a-Maui / Hawke’s Bay through primary source collection images and artefacts. “Art Deco: Rising from the Ashes” looks at the Art Deco architecture sweeping across the world in the 1930s and how the region embraced the style following the February 3rd earthquake in 1931, exploring the symbols, motifs, and meanings behind these different shapes.

Don’t worry early childhood educators – we haven’t forgotten about you. Our educators are putting the final touches on our “Rongokako” programme designed especially for early childhood and hope to roll this out over the coming months.

Now we come to February; schools are back this week, our calendar is starting to fill up, and the educators at MTG are sending positive thoughts out to the universe. We would love to get through a year with no COVID, no cyclones, no disruptions—please!

Published in the Hawke’s Bay Today newspaper on 3 February 2024 and written by Debbie Ormsby, Visitor Engagement Manager at MTG Hawke’s Bay.

Celebrations and a challenging anniversary

Straight into the New Year there’s are already a lot on the go at MTG Hawke’s Bay Tai Ahuriri – plans are in place for a number of upcoming events/milestones. For Waitangi Day 6 February we’re encouraging people to read and learn more about Tiriti o Waitangi / Treaty of Waitangi. To that end, starting Monday 29 January we’re offering a 20 percent discount on any books in our shop related to the treaty. Why not take the opportunity to come in, grab a bargain and learn more about our history in the process.

Chinese New Year is celebrated on 10 February and this year is the year of the dragon – an auspicious and extraordinary creature. We’ll be providing dragon themed activities in our Drop-In-Zone for children and adults alike to enjoy.

Wednesday 14 February is the first anniversary of the devastation wrought by Cyclone Gabrielle. It’s a challenging anniversary as people were affected very differently, with some still displaced, others grieving, and many stuck in limbo trying to navigate insurance, payouts, etc. Consequently, there is no right encompassing message for the whole cyclone community. We will have an acknowledgement of the anniversary and a space to add your thoughts.

Then there is the Art Deco Festival – the first in four years! Hard to imagine the last three years of no festival, disrupted first by Covid-19 and then by Cyclone Gabrielle. We hope for the Art Deco Trust and the region that this year’s festival beginning, 15 February, is a huge success. It is a celebration of resilience – Te Matau-a-Māui / Hawke’s Bay, a region that re-emerged from the devastating earthquake (still the largest in terms of loss of life in Aotearoa) resulting in a reconstruction encompassing Art Deco as something new and unique across the region. We invite you to bring any visitors you may be hosting, to view the 1931 Hawke’s Bay Earthquake exhibition and learn about the disastrous event that led to the region becoming an important Art Deco centre.

Of course, MTG is right in the centre of all the activity. We’ll have a small display of recently acquired Lalique vases in our front window, along with the display of Clarice Cliff ceramics downstairs next to the earthquake exhibition. On Saturday 17 February you can enjoy Swingin’ Deco Delights: A Jazz Variety Night in the Century Theatre. To book for this new event visit the Art Deco Trust website for ticket information. We hope to see you around Napier and Hastings supporting this important festival for Te Matau-a-Māui.

Published in the Hawke’s Bay Today newspaper on 26 January 2024 and written by Laura Vodanovich, Director at MTG Hawke’s Bay.

Talented team thrives amid challenges

This year started out well and we were hopeful for a ‘normal’ year after our years of Covid-19. Cyclone Gabrielle very quickly put paid to those ideas, reeking devastation and chaos across the region. Like everyone, the day after the cyclone, we were in a state of shock and confusion. Being part of Napier City Council many of our staff were able to join in the initial response undertaking tasks such as, preparing and serving meals, doing deliveries, welfare checks, etc. Other staff utilised their specialised skills helping with issues such as providing archival boxes for koiwi unearthed during the cyclone, providing advice on immediate treatment for taonga and helping individuals understand how to preserve textiles and other items they had rescued or recovered from the water and silt.

Although lawlessness was exhibited by some, the vast majority of the community were helping out in any way they could, and it was wonderful to see such great community spirit on display. Following the immediate aftermath, we were approached by EIT to see if we could help with a temporary home for some of their students and were pleased to find a space for them.

Despite the incredibly difficult start to the year the talented team at MTG Hawke’s Bay Tai Ahuriri still managed to complete eight exhibitions and displays. A highlight for many was Refuge in Fashion: Minh Ta, which displayed our wonderful collection of Minh Ta costumes – many of which were award winners. At the opening a number of people dressed in their own Minh Ta outfits, which was a lovely sight and a tribute to a truly talented person. Another local legend was celebrated in Making A Mark: the work of Fane Flaws. Many around Te Matau-a-Māui knew of Fane Flaws’ artworks – however Making A Mark focused on his incredible outputs as a director, musician and designer.

We were delighted to share Tāku Huia Kaimanawa, a series of Fiona Pardington works based on the huia birds and feathers held in our collection. These stunning works were a showstopper in our linkway gallery. We’re even more delighted to say that two works from the display are now in our collection – one gifted by Fiona as a commissioners copy, and one purchased and gifted by the MTG Foundation. During the year our front foyer had a dazzling work, Chromacade, by Janna van Hasselt. A series of ‘extrusions’ in rainbow colours popped against a fluorescent green surface. Falling in and out of a herringbone shape these forms seemed to dance across the wall.

Another playful display, Eye Spy: Curious Stories, looks at patterns and design in a range of objects from the collection. Exploring touch, smell, sight and sound this exhibition invites visitors to look a little closer. A giant collaborative ‘ei (think lei) adds the final touch, allowing visitors to contribute their own piece of design to Eye Spy. Having hosted EIT students over the year, we were happy to display some of their work in Through Lens and Light. This display showcases their range of photographic skills – from studio and documentary to product and landscape shots and provides insight into their unique skills, interests and perspectives.

Pictures and other works celebrates 10 years of the MTG Foundation fundraising and purchasing works for the collection. This group of dedicated and generous patrons work to ensure Hawke’s Bay has a collection that is worthy of the region and will be enjoyed for many generations to come. The final exhibition for the year, Pūrākau o Te Whenua, opened on 23 December and explores the legends and tales of Te Matau-a-Māui. The special names given to hills, mountains and lakes are all explored in this display – with stories told by local people we learn the cultural and historic connections about the whenua/land of our beautiful region.

This year also saw the building project in Hastings break ground. This purpose built facility will provide a permanent and appropriate home for the magnificent collection that the Hawke’s Bay Museums Trust cares for on behalf of the community. With over 90,000 objects this is the largest collection outside the four main centres and one of the older collections in the country. Te Matau-a-Māui is privileged to hold such a significant collection and it is gratifying to know it will be cared for appropriately into the future.

It has been a very challenging year and, although I think I say this every year, 2023 has definitely been a long year and one that has tested many of us. For those of you who work through the holiday season I hope people recognise that sacrifice, treat you with kindness and respect and that you get your own opportunity to have a well-deserved break at some point. For everyone else I hope you take the opportunity to spend time with family and friends, stop, relax, re-energise and refresh.

Published in the Hawke’s Bay Today newspaper on 23 December 2023 and written by Laura Vodanovich, Director at MTG Hawke’s Bay.

Museum pays tribute to sculptor Paul Dibble

The Gold of the Kowhai, Paul Dibble, 2014 [2014/46] gifted by the MTG Foundation

Last week we were saddened to hear about the passing of Paul Dibble. Dibble, based in Palmerston North, was a powerhouse in the New Zealand sculpture world and his works grace many cities around the country. Thanks to the work of the MTG Foundation there are two of his works in the MTG collection – both permanently on display. One, The Gold of the Kowhai, was purchased in 2014 and can be viewed across from the entry to MTG Hawke’s Bay and in front of the Masonic Hotel. A second work, The Garden, is situated in Havelock North by the i-site building. Both are displays of artistic talent and philanthropy coming together to enrich the community. We, like many, mourn the passing of Dibble.

Completely coincidentally, we also held a function last week to celebrate the exhibition Paintings and Other Works, which shares a taste of the amazing collection of works acquired by the MTG Foundation over the last 10 years. Contemporary and mid-century works sit cheek by jowl in this exhibition, with some beautiful and stunning juxtapositions along with complimentary elements highlighting colour, style, content, etc. This is a showing of a rich range of art all brought together by the generosity and passion of the MTG Foundation and its members. We’re incredibly grateful for their continued energy and support.

Some works purchased by the MTG Foundation are not included in the display as they are already earmarked for other exhibitions. One such exhibition will use the art and archive collection to tell some of the history of Te Matau-a-Māui. It will include two fairly recent acquisitions made by the MTG Foundation. 

Meanwhile work is seriously underway on the building project in Hastings. This new facility will provide a permanent safe and appropriate home to store our collection, including artworks, when they are not on display at MTG. Those who have driven past will see that demolition work is all but completed and we are now left with a shell – pillars and a roof. We’ve even had the first of many concrete pours this week, which will form the foundations of the ‘darkhouse’ the collection store area. It’s hard to envision, looking at it today, the facility that it will become, but such an exciting prospect.

Staff at MTG have a lot of work ahead of them preparing the collection to move. So, while the building progresses, so will the preparation of the collection. To have the collection ready for the big move we do have to stop our normal services – this means enquiries, visits to the collection and accepting acquisitions are all impacted in the short term. We acknowledge this will impact people who expect the normal level of access to the collection but we hope you will appreciate that this is for the greater long term good.

Having permanent fit-for-purpose storage for the collection, away from the tsunami zone, with the right environment and space for researchers and visitors has been the dream for a long time and it is finally within reach. We aim to have the new facility up and running by the end of 2025. We look forward to welcoming you then.

Published in the Hawke’s Bay Today newspaper on 16 December 2023 and written by Laura Vodanovich, Director at MTG Hawke’s Bay.

Preparing for a busy summer

To prepare for the influx of visitors MTG has been stocking the museum shop with items
to tempt visitors from overseas and locals alike.

With the arrival of cruise ship season we’re looking forward to a busy time for MTG Hawke’s Bay and the region. After two years of Covid-19, followed by cyclone Gabrielle, Te Matau-a-Māui deserves a good summer! With the first of the large cruise ships arriving on Wednesday we’re hoping it will bring much needed benefit for all. It’s always lovely to see the streets full with the buzz of many people enjoying this beautiful part of the country.

To prepare for the influx of visitors we’ve been stocking our museum shop with items to tempt visitors from overseas and locals alike. Our retail space is stocked to the brim with great options for christmas gifts and stocking stuffers so come in and have a look at what we have on offer.

Last week we opened a display of photography work completed by EIT students who have been based at MTG following Cyclone Gabrielle. These students are level 6, so halfway through their studies for a design qualification. It was a pleasure having these students at MTG and, while they’ve had to compromise on the space available to them, they worked diligently with good grace in their somewhat constrained temporary home. The work they’ve produced is on display close to the entry to Napier library. While this is a display of photography work from the students there is also a delightful 3D miniature scene that was created on display. While we had to give up some space and undergo constrain ourselves, I do miss having the students and all their creative energy around the place. We invite you to visit and see some of their work while it’s on display.

2023 has seen multiple groups making MTG their home for one reason or another. Napier library has been with us for a number of years now and, while work is underway on creating the new library, they’ll be with us for a while yet. EIT students from design and performance found a home at MTG while their campus was devastated following the cyclone. More recently the i-site team have had a base here while rebranding work was happening in their site. They have their last day with us tomorrow, Sunday 19, and will reopen with a new look and feel back in the i-site building on Monday. It’s certainly created some challenges fitting all these people into the building but we’ve been really happy to have them here and pleased to be able to help our community when help is needed.

Meanwhile, behind the scenes, the team is busy working on the final two exhibitions for the year. Pictures and Other Works celebrates ten years of the MTG Foundation who have raised funds to acquire items for the collection. This exhibition features a sampling of the 87 works acquired over the years by this group, who continue to support the museum and grow the collection for the benefit of the region. Pictures and Other Works opens to the public on Saturday 25 November. Pūrākau ō Te Whenua will share stories behind some of the place names in Te Matau-a-Māui. Some stories may be familiar to you – others less so. This exhibition will open to the public just before Christmas. Why not come in over your summer break and learn about the whenua on which we stand.

Published in the Hawke’s Bay Today newspaper on 18 November 2023 and written by Laura Vodanovich, Director at MTG Hawke’s Bay.

Bringing the huia back into the light

Taku Tahu, MTG Hawkes Bay, 2022, Fiona Pardington. Collection of Hawke’s Bay Museums Trust, Ruawharo Tā-ū-rangi

We’re thrilled to announce that two works by Ngāti Kahungunu artist, Fiona Pardington, have been gifted to the Hawke’s Bay Museums Trust collection.

Fiona and her representatives, Starkwhite Gallery, have donated the work pictured, and the MTG Foundation, have funded the purchase of a second work; Manawarahi Female Huia, MTG Hawkes Bay. The actual feathers and female huia, subjects of these fine works, are held in the Trust’s collection.

A finalist in the Forest and Birds ‘Bird of the Century,’ the huia has been extinct now for over 100 years. MTG is supporting and championing the huia for Bird of the Century and we’d love you to help us by voting for the huia through the Forest and Bird website or just search for bird of the century. Please tell your friends and whānau and help us get the spectacular huia recognised in this way.

To say that the huia bird is culturally and symbolically charged is an understatement. Its mana and significance are underlined by the story of its whakapapa, which sets it apart from other birds that dwelt in the realm of Tāne-mahuta. The huia is a sacred bird.  

At one time the bird was worn by rangatira and their whānau as a symbol of mana. Feathers were worn in the hair, dried skins and heads worn from the ears. Walter Buller noted about the heads, “the beaks of which, hanging down all round and coming into contact make a rattling sound as the wearer moves about. These are called ‘pōtae huia’ and only a woman of high rank would presume to wear one”.

To an extent, huia numbers declined through the early days of Māori settlement in Aotearoa, the birds being traded across the country in return for other valuables.

Sadly, for the huia, its distinctive beak also saw it prized by European collectors and international trade of the birds in the nineteenth century saw its numbers decline even further. In 1901 the gift of a huia feather to the heir to the British throne made the feathers so widely desired it ultimately set in place the bird’s extinction. The last huia seen were two males and a female, in 1907.

Like a rescue operation, Fiona is concerned with giving the huia new life. The act of photographing them brings them into the light, back into the living world and reinvests them with mauri.

As a symbol of rangatira too, the feather seen at such a large scale makes a statement about the allocation of wealth and power in this country. Like time travellers, they’re reminders of a place where Māori were rangatira and able to govern themselves in their own lands.

Last week, I wrote about the new collection access and storage facility in Hastings. As a reference to the sacredness of the huia, the outside of this building, along Queen St East and Hastings St North, will be faced in a protective cloak of large scale steel huia feathers, each 6m high.

These significant feathers, glowing at night, will turn the building into a Hawke’s Bay landmark. Each feather will be laser engraved with a single name: be it an individual, a family or an organisation. The names of eighty generous supporters will be preserved permanently, a record of the people who understand the value of protecting and caring for Hawke’s Bay’s collection of precious objects and taonga. Contact https://www.themtgfoundation.com if you’d like to support this heritage project and donate a feather.

In the meantime, we’re wishing best of luck to the huia becoming the ‘Bird of the Century’. You still have a chance to see these photographs in all their glory, in Tāku Huia Kaimanawa – Fiona Pardington, on display at the museum until 3 December 2023.

Published in the Hawke’s Bay Today newspaper on 4 November 2023 and written by Laura Vodanovich, Director at MTG Hawke’s Bay.

The gigantic kawekaweau is surrounded by great myth

Kumete, (circa 1800s), on loan from Shrimpton Collection, Hawke’s Bay Museums Trust, Ruawharo Tā-ū-rangi 61/104

Fuelling rumours that a gecko as long as your arm lived in Aotearoa until the late 1800s is an antique taxidermied gecko in the Musée d’Histoire Naturelle in Marseille, France.  

This specimen has been steeped in mystery since its rediscovery in 1870.  However, in June this year, DNA from the specimen proved it’s probably a relative of New Caledonian geckos – not as previously thought, a member of Hoplodactylus delcourti, a species endemic to New Zealand.

Enigmatically however, a few vivid anecdotes were also compelling enough to have supported the premise that a giant gecko or kawekaweau had actually lived in Aotearoa.

Addressing the Wellington Philosophical Society in 1870 (around the time the French specimen was rediscovered), Walter Buller noted the presence of a beautiful striped lizard attaining two feet in length that lived in the forests north of Auckland. Buller also mentioned a man in Hokianga had obtained a pair of the lizards, but that “unfortunately one had been eaten by a cat and the other made its escape.”

Another story a couple of years later, had an Urewera rangatira noting a kawekaweau under a dead rata in the Waimana valley. This reptile “was about two foot long, as thick as a man’s wrist; coloured brown [and] striped longitudinally with dull red.”

Most certainly the gigantic kawekaweau is surrounded by great stories – including that Kahungunu himself kept one in an oversized box, only to open it for gullible friends and family, giving them a terrific fright.

Interestingly, about the same time as the famed Hoplodactylus delcourti was brought to life by these reported sightings, ngārara / lizards appeared more regularly in architectural and decorative art works by Māori.

And, while ngārara forms still appear in Māori art works infrequently, they appear to be significant when they do. In 1906 Te Arawa master carver Tene Waitere incorporated ngārara in a poutukomanawa for the house Rangitihi held at Auckland Museum and ngārara forms appear on other Te Arawa houses named for the eponymous leader of Ngāti Rangitihi.

On this kumete, from the Hawke’s Bay Museums Trust collection, a ngārara keeps watch, guarding precious objects inside. Although quite huge when compared to the figures holding the kumete aloft, like a harmless gecko, the protecting creature appears to be in service, a friendly guard dog.

Carvings such as this were made for the commercial market, which was really taking off In the 1870s, and the centre of that market was Rotorua, where tourist attractions drew the crowds and entrepreneurial artisans seized the day.

But it was not only travelling Europeans who were commissioning pieces, many works went to Māori patrons also. Another form of customer was the avid, sometimes not so ethical, Pākeha collector. One such collector was Gilbert Mair, the brother of Major William Gilbert Mair (whose 1872 report recorded the Urewera rangitira’s sighting of the last of the kawekaweau).

Like the gecko specimen held in the museum in France, the kumete in the photo has no information on its origin.

I like to fancy that the appearance of such a large reptilian character on its lid is a creative response to new knowledge of the day. That late into the evenings the Mair brothers, one a naturalist, the other an avid art collector talked at length of their specialist interests. And that in this way, the story of the mysterious kawekaweau passed from naturalist to art collector and in turn the local art scene where stories of the rare gigantic lizard were stylised into pieces such as this one.

And this may be the case, but is likely as fanciful as the now debunked myths that surrounded the kawekaweau in the first place. Either way, it is fascinating to ponder the contexts in which art works as beautiful as this have been realised.

You can see the kumete in Eye Spy: Curious Stories at MTG Hawkes Bay. Free Entry.

Published in the Hawke’s Bay Today newspaper 7 October 2023 and written by Toni MacKinnon, Art Curator at MTG Hawke’s Bay.

Exhibition features the beautiful huia

 Letter written by William Colenso to John Burtton along with huia feather

The Hawke’s Bay Museums Trust is fortunate to hold in its collection three items which are closely associated to both William Colenso and the now extinct huia bird. The first is a letter written by Colenso to John Burtton of Kumeroa, near Woodville, dated 17 July 1886.  In the letter Colenso sincerely thanks him for his “kind note” which was hand-delivered to him by Burtton’s daughter. Within the folds of Burtton’s letter was carefully wrapped “a deformed huia’s bill”, which Colenso enthused was a “natural curiosity” further stating that he was “eager and would have much pleasure” in showing the beak at the next meeting of the Hawke’s Bay Philosophical Institute.

The second item is a booklet titled “A Description of the curiously-formed Bill of a Huia, (Heteralocha acutirostris), an endemic New Zealand Bird” written by William Colenso and published, along with a sketch of the curiosity in the “Transactions and Proceedings of the Royal Society of New Zealand”, Volume 19, 1886. When the booklet and letter (minus bill) were donated in 1962, enclosed within the folds of paper was a lone huia tail feather glistening iridescent blue-black and tipped with distinctive white.

Within days of receiving the letter and deformed beak Colenso had written an essay about the unusual find, and on 9 August 1886 read it (along with three other scientific papers) to an avid audience at the monthly meeting of the Hawke’s Bay Philosophical Institute. He aptly described the deformed female huia’s upper mandible as resembling a “gigantic corkscrew” which measured approximately 15 centimetres – three longer than usual. Near the end of the meeting Colenso was thanked for the rendition of his “valuable papers” as well as being warmly congratulated for recently receiving science’s ultimate honour – that of Fellow of the Royal Society conferred by Britain’s Royal Society.

Of all bird species in the world, the huia had one of the most pronounced distinct difference in bill shape. The female’s bill was long, thin and elegantly arched downward while the male’s was short and stout. This enabled each to assist the other in search for food. Particular delicacies were the fat juicy huhu grub and weta which they extracted from logs and trees. The male huia with his shorter bill would perforate the hard outer trunk, followed by the female who would insert her long curved bill into the hole made by her mate, thereby extracting the larva, which both shared.

Of all Tane’s (the God of Forest and Birds) children, the huia was the most sacred bird to Māori. Their tail feathers (each bird had twelve) were an extremely revered taonga and when worn, symbolised leadership and mana. In pre-European times, only rangatira /chiefs of noble rank and their whānau wore the distinguished tail feathers in their hair.

The Bush Advocate reported on 10 June 1890 that at a large hui in Wanganui, Kāwana Pitiroi Paipai, (Ngāti Ruaka hapū of Te Āti Haunui-a-Pāpārangi) a prominent rangatira was sitting to “receive company”. For the occasion, Paipai wore a magnificent korowai / cloak, made entirely of the green and gold feathers of the kerēru fastened at his shoulders with a shark’s tooth and his “cloud of iron-grey hair” was surmounted by the “precious white-tipped plumes of the sacred huia, the sign of chieftainship”. In his lap lay a magnificent pounamu mere.

Examples of wear proliferated in print. On 18 December 1845 Colenso recorded in his diary while visiting Parangarahu near Wellington that the huia was “so highly prized by Māori all over the Island for their handsome skins which they hang in their ears.” Other uses encountered was the wearing a tuft of huia feathers as a mau taringa / earring or as a headdress composed of huia skins.

An unusual use of the huia feather was reported by the Hawke’s Bay Herald on 21 June 1882 when Rēnata Kawepō entertained a large hui of both Māori and Pākehā at Omahu to celebrate the marriage of his adopted son, Wiremu te Muhanga Paratene (William Broughton) to Atiria Te Hauwaho. After the service it was noted that the wedding cake was “profusely ornamented with huia feathers”.

Pākehā quickly copied the Māori tradition of wearing huia feathers but alongside incorporated their bills into jewellery. At the last session of Parliament on 11 September 1882, the Hawke’s Bay Herald reported that a large number of Members of Parliament were wearing huia feathers in their hats. John Sheeham, Minister of Māori Affairs from 1877–1879 conceived the idea that the wearing of the feather would appropriately mark the “closing days of the session” so he procured a “quantity of huia feathers and distributed them amongst members for that purpose”.

And as late as 1901 (by which time the huia was almost extinct), Woodville jeweller S Boustein, had designed a gold-mounted engraved brooch with a miniature gold snake wound between the two portions of the female huia beak, as well as a gold-mounted huia bill pendant fastened to a watch chain. Both items were displayed in his shop window for the public to admire and contemplate purchasing.

As demand for feathers, skins, bills and taxidermy specimens grew the huias population plummeted causing some Māori and Pākehā to become concerned. During Colenso’s 1845 journey to Parangarahu he noted that a group of Māori had “living specimens of the elegant and rare bird the huia”. On 24 July 1874, Heta Matau from Pōrangahau wrote a letter to the Hawke’s Bay Times stating that local Māori had established a rāhui / protection order against the killing of the huia and furthermore it had been in place for the last four years but was seemingly disregarded.  

Taylor White from Wimbleton was also anxious about the fate of the huia. In a letter published 4 April 1890 by the Hawke’s Bay Herald he stated “formerly there were numbers of a rare bird, the huia, here” and their birdsong “used to be sounding on all sides”. He feared the huias extinction “unless a haven or refuge is provided for them in Government Reserves”.  Sadly, it was too late for the huia – official record considered the bird extinct by 1907. The last officially confirmed sighting was on 28 December 1907 when three huia were reportedly seen in the Tararua Ranges. 

Currently at MTG Hawke’s Bay we are extremely privileged to have on display the exhibition Tāku Huia Kaimanawa by artist Fiona Pardington, featuring five large-scale photographs of the Museums Trust taxidermied huia and feathers – one of which is the Colenso feather featured above. We warmly invite you to visit, pause in front of the images and take time to contemplate, appreciate and be enveloped by the pure beauty of the now extinct huia.

Published in the Hawke’s Bay Today newspaper on 5 August 2023 and written by Gail Pope, Social History Curator at MTG Hawke’s Bay.

Exhibition says a lot about how land changed hands

Te Poho o Kahungunu heke crated ready to travel

The upcoming exhibition on Te Poho o Kahungunu at the Hastings Community Art Centre, set to open Monday 24 July at 4pm, has ignited a palpable sense of anticipation and excitement among the local community and beyond. It represents more than just a mere display of artifacts; it symbolises a reconnection to ancestral roots and a celebration of an enduring spirit that has withstood the trials of time.

Carvings which have been on loan to MTG Hawke’s Bay Tai Ahuriri since 1986 will form part of the exhibition. The carvings’ return to Pōrangahau marks a profound step towards reconciliation and healing. For too long, these taonga were separated from their rightful home, scattered across the country in various museums. Now, as they are brought together for one final exhibition, the significance of this moment cannot be overstated. It is a time for reflection, appreciation, and a reawakening of cultural identity.

The story of Te Poho o Kahungunu echoes through generations, reminding us of the resilience and strength of the people who fought for their land and culture. The whare stands not just as a testament to architectural brilliance but as a living testament to the determination of Henare Matua and those who dared to resist foreign dominance.

The Auaka Tumutumu Te Kura i Awarua Archives and Taonga Māori Symposium that follows the exhibition presents a unique opportunity for scholars and researchers to delve deeper into the historical context surrounding these carvings. The symposium promises to be a gathering of minds, fostering discussions on indigenous knowledge, cultural heritage, and the importance of reconnecting taonga.

Taonga from the house Te Poho o Kahungunu were scattered across Otago Museum, Whanganui Regional Museum, MTG and the homes of Kuia Kauia Tipene Stevenson, and Dr. David Tipene-Leach. All parties worked together to realise the vision to reunite these taonga after being apart for 37 years.

The broader public, regardless of ethnicity, is encouraged to participate and witness this significant moment in history. This exhibition stands as a bridge, fostering understanding and appreciation for the rich cultural heritage that defines Aotearoa.

As the doors of the Hastings Community Art Centre open for the exhibition, it also opens hearts and minds to the deeper connection between taonga, people, and the land. The return of Te Poho o Kahungunu marks a turning point in acknowledging the past, while paving the way for a more inclusive and culturally enriched future.

The stories etched in the intricate carvings come to life once more, captivating visitors with their tales of triumph and perseverance. With reverence, the community stands united, paying homage to the legacy of those who came before and the promise of a brighter, more culturally vibrant tomorrow.

Published in the Hawke’s Bay Today newspaper on 22 July 2023 and written by Te Hira Henderson, Curator Taonga Maori at MTG Hawke’s Bay.