Koru Pa

Hocken Collections - Uare Taoka o Hākena, University of OtagoUniversity of Otago, Hocken Collections - Uare Taoka o Hākena, University of Otago, University of Otago

Reference Number: P1910-008-004f Description: This is a photograph of a carved door lintel or pare. This is identified as being from Koru Pa and part of the Skinner Collection at the Taranaki Museum. Names: Taranaki Museum Names: Koru Pa Names: Skinner, H.D. (Henry Devenish), 1886-1978 Collection: T.M. Hocken's Māori-related photograph album - P1910-008 Creator: Unknown Subjects: Wood carving, Māori Subjects: Art, Māori Subjects: Pare Subjects: Whare whakairo Media: Photographic prints Media: Albumen prints

Uepohatu concert: Song 'Koru koru'

Manatū Taonga, the Ministry for Culture and Heritage

Reference: Sound file from Ngā Taonga Sound & Vision, ref: 43116. Any re-use of this audio is a breach of copyright.Image Tukutuku panels for the Uepohatu Hall, Ruatoria - Photog...

Untitled (Maori design)

Auckland Art Gallery Toi o Tāmaki

colour pencil and felt tipped pen on paper 160 x 144 mm - below image (l.r.) (ink) Theo Schoon '60 Auckland Art Gallery Toi o Tāmaki, gift of Mr Ronald Brownson, 1983

Maori Pattern

Auckland Art Gallery Toi o Tāmaki

tempera on whakatane board 800 x 1110 mm - Chartwell Collection, Auckland Art Gallery Toi o Tāmaki, 1994

TARANAKI B v. MAORI REPS. (Hawera & Normanby Star, 18 August 1913)

National Library of New Zealand

IN THE KING COUNTRY. (Evening Post, 04 November 1907)

National Library of New Zealand

A stone faced scarp at Te Koru pa. Oakura, Taranaki

Victoria University of Wellington

The Maori - Volume 2 - XV The Pa Maori or Fortified Village - A stone faced scarp at Te Koru pa . Oakura, Taranaki.

MR. JENNINGS ON TOUR. (Taranaki Herald, 04 November 1907)

National Library of New Zealand

Mamaku koru

Manatū Taonga, the Ministry for Culture and Heritage

The spiral shoots of mamaku are called pikopiko, and they were a traditional food of Māori. Slimy when fresh, they were sometimes hung to dry before being eaten.

Koru mamaku

Manatū Taonga, the Ministry for Culture and Heritage

Karangatia ai ngā pihi tōrino o te mamaku he pikopiko. He tino kai tēnei nā te Māori. He pūrikoriko te pikopiko, koirā ka whakairia kia maroke i mua o te kai.

The Guardians

Manatū Taonga, the Ministry for Culture and Heritage

Puke The Whiti has significant cultural importance to Taranaki Whanui and featured in the creation of Te Toka a Rahoto ..the Guardian of the flight path..who guided Mount Taranaki from the Central Plateau to his present place. if you like to know more, read on..but the webpage is not easily to navigate

[Koru design]

Hocken Collections - Uare Taoka o Hākena, University of OtagoUniversity of Otago, Hocken Collections - Uare Taoka o Hākena, University of Otago, University of Otago

Accession Number: V2014-009-008 Media & Size: 379 x 277mm (paper), 306 x 226mm (plate) Creator: Maclennan, Stewart B., 1903-1973 Inscriptions: below image in pencil: 9/12 Stewart Maclennan Description: Maori koru designs in red/brown, black and white. Provenance: Purchased, 2014 Subjects: Koru

MAORI FOOTBALL (Hawera & Normanby Star, 01 July 1913)

National Library of New Zealand

New fern growth; The Koru Mt Pirongia, NZ

Manatū Taonga, the Ministry for Culture and Heritage

The koru is an integral symbol in Māori art, carving and tattoos. The shape of a new unfurling fern frond symbolises new life, growth, strength and peace

Koru Whistle

Museum of New Zealand Te Papa Tongarewa

Contemporary: Cross-cultural collisions Since Bone Stone Shell, much contemporary New Zealand jewellery has concerned itself with the politics of cultural exchange. The brooches of Warwick Freeman, an artist of European descent, combine Māori and European forms to point to a shared cultural heritage. He styles himself as a referee in the cultural-appropriation debate with his red whistle - a reference to the ‘koru’ works of fellow Pākehā artist Gordon Walters. Jason Hall, too, uses Māori motifs, reassembling colonial wrought-iron gates to suggest kōwhaiwhai (painted rafter patterns). By contrast, Areta Wilkinson’s work comments on the dangers of removing culture from its original context. Her 96.04 necklaces reference the numeric systems that museums use to categorise indigenous ‘artefacts’.

Te koru

Manatū Taonga, the Ministry for Culture and Heritage

Whakamahia ai te koru i roto i ngā toi Māori hei tohu ki te orokohanga. Taketake mai ai ia i te pītau o te kaponga. Ka hāngai tōna āhua ki te tōrino, e huri ana ki tōna takenga mai. Nā reira ka kōrero te koru mō te whanaketanga me te noho tonu o te koiora.

The koru

Manatū Taonga, the Ministry for Culture and Heritage

The koru, which is often used in Māori art as a symbol of creation, is based on the shape of an unfurling fern frond. Its circular shape conveys the idea of perpetual movement, and its inward coil suggests a return to the point of origin. The koru therefore symbolises the way in which life both ...

MP hopes for better protection of all things Maori

Radio New Zealand

The MP for Te Tai Tonga hopes the release of a long-awaited Waitangi Tribunal report will bring an end to companies using Maori art and knowledge inappropriately.

Untitled (koru panel)

Museum of New Zealand Te Papa Tongarewa

This work by Theo Schoon was painted in the late 1950s, while Schoon was living in Home Street, Grey Lynn, Auckland. Schoon had begun growing and decorating gourds, and Untitled was painted as a backdrop against which the finished gourds could be photographed. This panel was one of two that were given by Schoon to Wanda Bidois-Edwards, a good friend of the artist and part of Schoon's bohemian circle of friends. Schoon never signed these works, which were created as backdrops for his carved gourds, and while the artist might not have intended Untitled and its companion to be viewed as works of art, both panels are excellent examples of Schoon's interest in Māori art. Repeated motifsUntitled is organised according to a system of discrete elements that draw on the koru motif in Māori art. Schoon has organised his spirals into bands that create an optical play between positive and negative, background and foreground. The large spirals that form the background of the image interact with the smaller bands of repeated koru-type forms that run across the surface of the work. They come together at certain points and the illusion of foreground and background is disrupted, only to be re-established elsewhere in the painting. The colours of Untitled - red, black, and white - establish a connection to Māori kōwhaiwhai patterns - the curvilinear patterns used on the heke (rafters) of whare whakairo (meeting houses). Different stylesThere are similarities between Untitled and other paintings by Schoon drawing on Māori art. Colours, motifs, and a strong interest in positive and negative relations are some obvious points of comparison. But there are also some major differences between this image and others painted by Schoon in the 1950s. Other kōwhaiwhai-style paintings, such as the companion panel for Untitled, tend to be more flowing and asymmetric, and as such closer to Māori art. Untitled is constructed from repeated motifs and is more geometric, precise, and regular in its composition. The visual rhythm is quite different to other works, and pulls Untitled away from its Māori sources and more towards European modernism.

Institute award for work on Maori architecture

Radio New Zealand

The New Zealand Institute of Architects has given a president's award to Auckland University teacher and researcher Deidre Brown for her work on Maori architecture.