Weaving their Magic
Weaving is one of the oldest art crafts. The uniqueness from a Maori perspective about weaving flax is that you don’t have to use a loom, you only need your hands and fingers in order to craft beautiful items.
“The weaving process termed whatu by the Maori was performed without loom or shuttle; the threads were manipulated by the unaided fingers only. The only aid employed, a very crude one, consisted of two sticks or pegs inserted in an upright position in the earth (in some cases four pegs were used).
When about to weave a garment a strong thread was fastened tautly in a horizontal position to the two uprights. To this thread, called the tawhiu, were attached the upper ends of the io, the warp or vertical threads that are arranged close together.
The process consists of working in cross-threads from left to right, these woof threads being known as aho; they are about half an inch apart. The closer these threads are together the better the garment, for the closer is its texture. In weaving the coloured borders of a cloak, as also the pauku cape used as a defence against spears, the cross-threads are quite close together, making a close, strong, fabric like coarse canvas.
In the case of fine garments four threads are employed in the forming of each aho. The operator passes two of these threads on either side of the first io or vertical thread, thus enclosing it. In continuing the process the two pairs of threads are reversed; those that passed behind the first vertical thread would be brought in front of the next one, then behind the next, and so on.
Thus each of the down threads was enclosed between two or four cross-threads every half-inch or so. This process is an extremely tedious one, and the making of a fine cloak occupied a woman for many months. The threads used consist of dressed Phormium fibre twisted by a rolling process, generally performed on the bare leg. The same rolling added to the length when required.
This rolled thread is called a takerekere (East Coast), the miro being a two-strand twine formed of two takerekere rolled together. The word whiri is used to denote twisting or plaiting several strands together with the fingers. Plaiting in mat or basket making is known as raranga.
The art of weaving is said in Maori myth to have originated with Hine-te-iwaiawa also known as Hina who was the personification of the moon. This identification of the so-called moon-goddess with the art of weaving is also noted among the beliefs of ancient Egypt.
Another old Maori myth is that when Mataora visited the spirit-world he brought back with him to this world the knowledge of the art of tattooing and also a famous cloak and belt known as Te Rangi-haupapa and Te Ruruku-o-te-rangi. These two prized possessions were utilised as pattern garments by the women of this world, who have continued to weave garments in a similar manner ever since.
Baskets were a very important article in a native household. They were plaited from Phormium strips as a rule; occasionally other materials were used. Coarse ones were used for domestic and field work; finer ones, worked in varied designs of black and white, were employed for other purposes.
Some were made with a flap, and these were much used to keep small articles in, and were often carried by travellers for that purpose. A pocketless garment was a great drawback thus the basket replaced pockets among the Maori.
Floor-mats were made by the same plaiting process as that employed in belt-making. Coarse mats, called tuwhara and whariki, were used for laying on fern-fronds or Lycopodium spread on a hut-floor and finer, closely woven mats known as takapau were placed over them.
These latter were often fine white fabrics made from bleached strips of the kiekie, or Freycinetia. Large mats were made in several widths (papa) or sections that were joined together.
At the other end of the spectrum, exponents of the art of weaving created finely woven korowai or cloaks that were worn to symbolise the mana or prestige and social standing of the wearer.”
Tomorrow I’d like to introduce you to three women I consider have led and continue to lead by inspiration the vanguard of New Zealand weaving. They are truly an inspiration to me, I hope they will be to you.
