Hine Moa The Maori Maiden

Three hundred years ago, Hinemoa swam across Lake Rotorua to be with Tutanekai on Mokoia Island. This beautifully written book retells one of Aotearoa New Zealand's best-known love stories. Soft pictures in pastels and watercolours bring alive this famous Te Arawa legend.

ISSN: 2397-9607 Issue 221 In this 221st issue of the Baba Indaba’s Children's Stories series, Baba Indaba narrates the New Zealand, Maori tale of Hine-Moa (Hin-ee-moh-ah). This story occurs in and around Lake Rotorua, in the central North Island of New Zealand. Rangi-Uru was the name of the mother of a chief called Tutanekai; she was the wife of Whakaue-Kaipapa (the great ancestor of the Ngatiwhakaue tribe (Naa-ti-fak-ou-eh)); but she at one time ran away with a chief named Tuwharetoa (the great ancestor of the Te Heuheu and the Ngatituwharetoa tribes); before this she had three sons by Whakaue, their names were Tawakeheimoa, Ngararanui, and Tuteaiti. It was after the birth of this third son, that Rangi-Uru eloped with Tuwharetoa, who had come to Rotorua as a stranger on a visit. From this affair sprang Tutanekai, who was an illegitimate child; but finally, Whakaue and Rangi-Uru were united again, and she had another son whose name was Kopako; and then she had a daughter whom they named Tupa; she was the last child of Whakaue. They all resided on the island of Mokoia in Lake Rotorua. Word reached the sons of Tutanekai of a maiden of rare beauty named Hine Moa and each of the brothers desired to have her as a wife. Tutanekai played the horn, and his friend Tiki the pipe. In the evenings they would play their instruments, and in calm evenings the sound of their music was wafted by the gentle land--breezes across the lake to the village at Owhata, where dwelt the beautiful young Hine-Moa, the younger sister of Wahiao Often Hine-Moa would hear the sweet sounding music of the instruments of Tutanekai and Tiki, which gladdened her heart 'In the great assembly of the people Hine-Moa had seen Tutanekai, and they often glanced at each other and sometimes caught the eye of one another which they both found pleasing. They found this pleasing, and thought each other worthy of love, so that in their breasts the secret passion for the other grew. But what of their unrequited love? Tutanekai was the youngest and would be the last of the brothers to be considered a suitable husband for Hinemoa. What were they to do? Would young love and their passion find a way? You are invited to download the story here and find out what the outcome of their growing love was? 33% of the profit from the sale of this book will be donated to charities. INCLUDES LINKS TO DOWNLOAD 8 FREE STORIES Each issue also has a "WHERE IN THE WORLD - LOOK IT UP" section, where young readers are challenged to look up a place on a map somewhere in the world. The place, town or city is relevant to the story. HINT - use Google maps. Baba Indaba is a fictitious Zulu storyteller who narrates children's stories from around the world. Baba Indaba translates as "Father of Stories".

How did the European settler perceive M&āori? What images of M&āori society and culture did European artists create for their distant audiences? What preconceptions and aesthetic models lay behind early European depictions of M&āori? These are some of the questions explored by art historian Leonard Bell in this major study of the relationship between the visual representation of M&āori and the ideology of colonialism. He explores the complex and unbalanced cultural interchange between Europeans and M&āori in nineteenth-century New Zealand, in addition to showing how the great range and variety of pictures often revealed more about the artists &– and their society and its attitudes &– than they did about M&āori themselves. This lively and readable book is well illustrated with examples of the artists' work and will be an important contribution to the understanding of colonial New Zealand and the role played by the artist in expressing and creating cultural patterns.

Preface: THE following tales are an outcome of a long residence in New Zealand, and of many opportunities whilst travelling amongst the Maoris of becoming acquainted with their folk-lore, superstitions, and customs. From a vast mass of legendary tales, rich in variants, and recorded often in a fragmentary manner, I have chosen those in this little volume as the oldest and best known amongst the natives. I have endeavoured to adhere to the true spirit of the tales themselves, and to give them the form, expression, and speech characteristic of the country and clever native race. The Maoris, as a rule, are eloquent, and their language is full of metaphor and poetical allusion, and musical with open vowels. Every syllable ends with a vowel, every vowel is sounded, and that according to the Italian method. Though the Maori practice of cannibalism in times past is revolting to a higher civilisation, it may, to a certain extent, have been due to the entire absence of any quadrupeds larger than a rat, and to the craving for flesh food so well described in Stanleys accounts of some of the races in Central Africa. The Maoris are a strong race both physically and mentally. Revengeful and cruel to their enemies, they were passionate in love and ever fearless in war. Religious, they venerated their gods, and believed in an atzkn, or spiritual essence, their deities being rarely represented by any image. Their priests were consulted on all great occasions and their mandates obeyed, especially when they spoke as the oracle making known to the people the will of the gods. Whence came the race, with their strange superstitions their worship of Tane, the creation-god, of the sun-god. I must leave for others to discuss. But it is an accepted fact that the natives of New Zealand, and of some of the groups of Pacific Islands, in many respects show evidence of a common origin for instance, their general appearance, long straight hair, ignorance of bows and arrows, of the art of pottery, and their knowledge of the same legends and folk-lore, though told in various forms. When Captain Cook first visited New Zealand he had a native of Hawaii who acted as interpreter. In ancient New Zealand tradition, the Maoris are said to have come from Hawaii in four large war-canoes, about the twelfth or thirteenth century. For these reasons I have not hesitated to include in this book four South Sea tales, which, though not told by New Zealand natives, will, I hope, be acceptable for their beauty and peculiarities, They are specified in the Notes. The illustrations are by the late Mr. R. Atkinson, and are of special value, as they were drawn by that able artist Preface from sketches of natives and native surroundings made by him while staying amongst the Maorjs both in the remote King country and in the hot-lake district Rotorua. His picture of the little grandchild of Ic-heu-heu, the well known war-chief of Lalie Taupo, was exhibited in the Royal Academy in 1891. I regret that the size of the book does not make it possible to do full justice to the beauty of the original drawings.

Prior to 1500 A.D. the Polynesians were the most widely spread people on earth, having settled an area of the Pacific, the Polynesian Triangle, twice the size of the United States. In this first reference guide to the mythology of these Vikings of the Pacific, Craig reviews Polynesian legends, stories, gods, goddesses, and heroes in hundreds of alphabetical entries that succinctly describe both characters and events. His wide-ranging and thorough introduction sets the subject in its geographic, historical, anthropological, and linguistic contexts, offering an illuminating overview of the origin of the Polynesians as a distinct people and tracing their voyages and settlements from Indonesia to Malaysia, Tonga, Samoa, the Marquesas, the various islands of eastern Polynesia, including Hawaii, Easter Island, and New Zealand. The introduction presents fascinating information on Polynesian navigational skills and the voyages themselves, as well as a chart that details the evolution of the thirty Polynesian languages and compares cognates from several of these languages. A simplified pronunciation guide and a selected list of Polynesian dictionaries and/or grammars are provided for those interested in pursuing the richness of the Polynesian languages. This introductory survey gives readers the necessary background to understand the origin, development, and dispersion of the myths throughout the Pacific basin. The Dictionary of Polynesian Mythology is the result of many years of research. The individual entries were gleaned from nearly 300 sources in English, German, French, and Polynesian languages with the majority extracted from a number of primary sources that date generally in the nineteenth and early twentieth centuries. The printed source materials for this volume are fully described and listed by geographical group, including Maori, Cook Islands, Tahitian, Marquesan, Hawaiian, Samoan, and Tongan. General collections that retell the Polynesian stories are also surveyed. The entries are alphabetically arranged by major mythological figure; lesser characters can be located in the index. Short bibliographical citations--author, date, and page number--are included at the end of each main entry to direct readers to fuller information contained in the printed sources. An appendix provides valuable supplemental information on Polynesian gods and goddesses. This dictionary is sure to become a basic reference tool for libraries, students, and scholars of Pacific history and culture, as well as for courses in mythology, religion, and philosophy.