Moko Pounamu Knowledge Library

A Heart of Stone That Beats for our Community

Thu, 23 Apr 2026 22:51:13 GMT

Introducing the Crusade with Heart Kouma – a partnership between Moko Pounamu and the Crusade with Heart Foundation.

At Moko Pounamu, we believe pounamu carries more than beauty. It carries stories, values, and purpose. That’s why we are honoured to partner with the Crusaders and their Crusade with Heart Foundation to create a taonga that embodies the very best of what it means to show up for one another.

For Each Other – A Value That Runs Deeper Than Rugby

The Crusaders’ core identity is built on three simple but powerful words: For Each Other . It means being part of something bigger than any individual – on the field, in the stands, and far beyond the stadium. To live that value is to lead with courage, yes, but also with compassion and understanding. It is kindness in action, generosity that doesn’t wait for applause.

That spirit is what gave rise to the Crusade with Heart Foundation in 2022. The Foundation exists to build belonging and connection where they are needed most – not as a side project, but as a commitment to become one of the most impactful sports organisations in the world.

Over $1 Million for Youth And Growing

Since its first steps, the Foundation has raised more than $1,000,000 for youth‑focused charities across Aotearoa. Initiatives like The Long Run , the Hall of Fame Charity Lunch , and themed rounds such as Connection Round have turned fundraising into genuine community action. Every dollar stays local, helping young Kiwis find stability, hope, and a sense of place.

Now, every sale of the Kouma you see here will add directly to that work.

Carved from Hapopo – Stone Shaped by Time and Water

This heart‑shaped Kouma is not an ordinary pendant. It is carved from Hapopo Pounamu , a stone formed through immense time, pressure, and the quiet forces of whenua and wai – land and water. It carries the memory of place, of ancestors, and of the enduring connection between people and the environment.

The stone is sourced from Te Tai Poutini , the West Coast of the South Island, and shaped entirely by hand here in Ōtautahi Christchurch at Moko Workshops by carver Josh Manning . The craftsmanship is local, grounded in whānau, guided by aroha, and expressed through manaaki.

Te Mānawanui – The Strength of the Next Generation

At the centre of this Kouma lies Te Mānawanui : the enduring strength and wellbeing of our young people. It is a living promise that what we shape today will sustain them tomorrow.

The form itself speaks to connection – two halves reaching toward one another, holding a space between them for care, responsibility, and growth. This is a heart made of stone, not to harden, but to endure.

A Symbol of Resilience Worn Close to the Heart

Traditionally, the Kouma represents the sternum, the central structure of the body that provides support and endurance. Worn close to the heart, it symbolises protection, inner strength, and the ability to meet life’s challenges with determination.

The coolness of the stone against the skin is no accident. It connects the wearer to Papatūānuku , grounding them in their own journey while reminding them they are never truly alone.

A Taonga of Meaning and Purpose

Moko Pounamu is proud to stand alongside the Crusaders and the Crusade with Heart Foundation. This Kouma is more than a beautiful object – it is a tangible commitment to community, to young people, and to the values that make Aotearoa strong.

Every Kouma sold helps build belonging, one heart at a time.

Interested in owning this taonga or gifting it to someone who leads with heart?

You can choose your unique Kouma here or visit our showroom in Ōtautahi Christchurch to see the Kouma in person.

Gifting a Pounamu Touchstone to the BrainTree Community

Mon, 26 Jan 2026 02:51:48 GMT

He Koha nā te Ngākau: A Gift From the Heart

In December 2025, amidst a gathering of community, caregivers, and team members, a new and serene presence was welcomed into the BrainTree whare.

BrainTree is NZ's first wellness centre for brain health that supports people living with neurological conditions to live well in the community.

On behalf of Moko Pounamu, founders Deane and Jennie Moreton gifted a substantial pounamu touchstone, crafted and installed as a permanent taonga for all who walk through BrainTree's doors.

This gift was more than a donation; it was a deeply considered contribution to the kaupapa (purpose) of an organisation that provides vital support and resources for individuals and families navigating life with Dementia, Parkinson's, and Multiple Sclerosis in Christchurch.

During the unveiling, Deane Moreton shared the whakaaro (thoughts) behind this unique taonga:

"At Moko Pounamu, we’ve spent many years working with taonga shaped by the whenua (land), the wai (water), and the passage of te wā (time). When Jennie and I learned more about the incredible kaupapa here at BrainTree, it felt right to contribute something that reflects strength, grounding, and connection."

The choice of a large, mounted touchstone rather than a small, handheld piece was intentional. As Deane explained:

"This is no small touchstone. It’s not the type you pass around or tuck into a pocket — it’s firmly anchored in this place. This pounamu is here to hold space. It brings calm, it brings grounding and it carries a quiet connection to the whenua beneath us."

He Taonga Whakamaumahara: A Stone to Hold Memory and Presence

A core Māori belief is that pounamu can absorb and hold wairua (spirit) and mana (prestige). This inspired a beautiful and inclusive intention for the stone's use within the BrainTree community.

"We encourage people to touch the stone. Pounamu has a beautiful way of absorbing the natural oils from our hands - our warmth, our wairua, our mana. Over time, that becomes part of the stone. It carries the presence of the people who connect with it, building a shared story and a sense of continuity within this space."

In this way, the touchstone becomes a living archive of connection. For individuals facing conditions that affect memory, it offers a tangible, calm point of focus. For whānau and staff, it becomes a symbol of collective strength and the enduring impact of their care and compassion.

He Mahi Tahi: A Collaboration of Craftsmanship

Bringing this vision to life was a true collaboration, honouring both the stone and its new home. Deane acknowledged the master craftspeople who made it possible:

"I also want to acknowledge the outstanding craftsmanship that made this installation possible: the team at Frontal Lobe, who created the beautiful wooden plinth, and the artisans at Flaxton Iron, who crafted the secure and elegant iron cradle. Their skill and attention to detail ensure this taonga stands proudly and safely in its new home."

This collaborative spirit mirrors the partnership and community effort at the very heart of BrainTree's own mahi.

Te Kunenga: The Lasting Intention

The touchstone was gifted with a heartfelt hope for its role. Deane concluded:

"So, on behalf of Jennie and myself, this touchstone is gifted to the BrainTree community as a symbol of connection, resilience, and partnership. May it stand here as a steady presence. May it add warmth to this space. And may it reflect the incredible mahi happening here every single day."

At Moko Pounamu, we believe in the profound connection between taonga and people. We are deeply honoured to have created a piece that will serve as a source of calm, grounding, and connection for the vital BrainTree community for years to come.

This project stands as a reminder that pounamu is more than an adornment; it is a stone of the land, capable of holding space, offering peace, and telling the story of a community’s strength, one gentle touch at a time.

If you would like to learn more about the meaningful work of the BrainTree community, you can visit their website.

To explore pounamu taonga that carry their own stories of connection, please take the time to browse our collections .

The Audacious Greenstone Gamble

Thu, 18 Dec 2025 21:25:07 GMT

How Pounamu Became New Zealand’s First Mineral Export

(based on the research of Julia Bradshaw, Senior Curator Human History, Canterbury Museum)

Pounamu has long been treasured in Aotearoa for its beauty, strength and spiritual significance. For Māori, it was far more than a material - it was a taonga, woven into whakapapa, trade, ceremony and daily life.

Long before European arrival, pounamu was carefully sourced, worked and traded throughout the country, with Ngāi Tahu hapū holding mana over much of the stone’s movement to the North Island.

Pounamu has always carried deep cultural meaning, shaped by whakapapa, place and careful stewardship - values that continue to guide how we work with the stone today. Learn more about the cultural significance of pounamu .

When European whalers, sealers and traders began arriving in the late 18th and early 19th centuries, their metal tools slowly reduced the practical need for pounamu as a tool or weapon. Yet rather than diminishing its value entirely, this period set the stage for one of the most ambitious — and ultimately ill-fated — chapters in the stone’s history.

During the 1840s, a group of international speculators attempted to turn pounamu into a global export commodity, bypassing traditional Māori trade networks altogether. In doing so, they launched what is believed to be New Zealand’s first large-scale mineral export by Europeans.

A Partnership Born of Change

The venture unfolded between 1842 and 1846, at a time when the sealing and whaling industries that had sustained many southern communities were in decline. Māori–Pākehā families, already closely connected through marriage and shared work, began searching for new economic opportunities.

The pounamu speculation was a collaboration of necessity. Sydney-based merchants provided capital, European mariners brought ships and logistical know-how, and Māori supplied the most critical element of all: knowledge of the land and the stone itself.

At the centre of the operation was Captain William Anglem, an Irishman who spoke several languages and was married to Maria Te Anau, a woman of high rank within Ngāi Tahu and a close relative of the leader Topi Pātuki. Anglem’s relationship with his wife’s whānau was fundamental to gaining access to pounamu — access that could not be achieved without trust, whakapapa and permission.

Financial backing came primarily from Captain Ranulph Dacre, a prominent Sydney trader, and Henry Elgar, an English banker’s son then based in China. Their aim was bold: to source pounamu in volume and sell it into Asian markets where jade was already highly prized.

Searching for the Stone

The first export attempts began in South Westland. Early shipments collected in 1842 likely consisted of bowenite (tangiwai) from Anita Bay in Piopiotahi (Milford Sound). Bowenite was more accessible and easier to split than nephrite, but it was widely regarded by Māori as inferior to nephrite jade – it was valued for its colour, but was softer and less durable.

With the first shipment of Bowenite having proven reasonably successful, the suggestion from Anglem’s Māori whanau was that sourcing and sending the higher-quality nephrite might provide an even greater return in the Chinese market.

After consultation with his Māori relatives, Anglem redirected efforts north to Papaki (Barn Bay), where a significant nephrite source was eventually identified.

For the European crew, finding pounamu proved extraordinarily difficult. In its natural state, nephrite is almost indistinguishable from surrounding rock. Only a trained eye shaped by generations of experience could recognise it. Māori involvement was therefore essential. One account records that a kaumātua brought from Bluff located suitable stone after entering a deep sleep, before guiding the crew directly to the site.

Danger, Desperation and Disaster

Once large boulders of pounamu were found, including a massive stone estimated at around 50 tonnes, (which is still visible today) the work became increasingly dangerous. Traditional methods of breaking and shifting the stone were abandoned in favour of blasting it with gunpowder.

This decision had devastating consequences. In January 1843, a mistimed explosion seriously injured Anglem and several others. Anglem’s hands were shattered, he later lost the sight in one eye, and a finger had to be amputated and spent a month in Nelson trying to recover.

Despite the cost, risk and human toll, large quantities of nephrite were eventually shipped to Manila and then Macao onboard the Royal Mail , captained by Anglem. But the result was not what the speculators had hoped for.

Rejected by the Market

While nephrite was highly prized by Māori, Chinese jade dealers were unimpressed with the South Westland stone. The distinctive colour variations and black inclusions, typical of South Westland pounamu and features that many now consider part of the stone’s character, were reportedly viewed as flaws by the Chinese buyers. Dealers preferred the purer green jade they were accustomed to.

It is also likely that the use of explosives had fractured or weakened the stone internally, rendering it unsuitable for carving - something the prospectors would not have understood at the time. Some accounts even suggest that jade merchants in Canton deliberately declined the shipment to protect their existing market.

The financial fallout was severe. Henry Elgar was ruined. Dacre reportedly lost around £10,000. Captain Anglem returned to Rakiura (Stewart Island) in poor health and in dire financial straits and died shortly afterwards in 1846.

The final destination of the 50 boxes of unsold pounamu that had been exported to Macao is unknown. It was retrieved from storage in 1851 apparently by Dacre at the cost of £7,000 but no further information is available about what happened to it.

A Shift in Trade, and a Legacy That Remains

Although the international export venture failed, the pounamu itself did not disappear. After the syndicate withdrew, Māori workers in Te Wahi Pounamu who were left unpaid and short of supplies buried the remaining stone on the West Coast.

Soon after, Māori–Pākehā families recovered this pounamu and shipped several tonnes directly to the North Island between 1845 and 1846, particularly to Wellington and Whanganui.

This new trade route bypassed traditional Ngāi Tahu networks and is believed to have influenced the number of taonga produced during the contact period. Many of these pieces are now held in North Island museum collections.

Physical traces of the ill-fated 1840s operation remain today: pounamu boulders bearing drill holes from metal tools, and scars from blasting along the South Westland coast. This period also marks the beginning of Pākehā attempts to claim control over pounamu, based on the incorrect assumption that the Crown held mineral rights to the South Island thanks to the Treaty of Waitangi.

That assumption was finally corrected more than a century later with the Ngāi Tahu (Pounamu Vesting) Act 1997 , which returned ownership and authority over pounamu to Ngāi Tahu.

This remarkable chapter in our history speaks to the resilience and ingenuity of Māori–Pākehā communities, the irreplaceable value of Ngāi Tahu knowledge, and the enduring power of pounamu itself. It is a reminder that while pounamu may travel across oceans, its origins - and its mana - are always rooted here.

He Arotahi ki ngā Uara: The Values That Guide us at Moko Pounamu

Thu, 20 Nov 2025 01:58:07 GMT

Here at Moko Pounamu, every piece of pounamu tells a story millions of years in the making. But the story doesn’t end when the carving is complete.

It continues with the whānau, businesses, schools and individuals who choose one of our taonga to mark their own special moment.

We believe that gifting pounamu is a profound act, one that deserves to be supported by deep knowledge, genuine care, and absolute integrity.

This belief is the foundation of our business, which is built on three core pillars that guide every interaction, both in our Christchurch shop and across the globe with our online whānau.

Ngākau Pono (Honesty): The Heart of Our Craft

For us, honesty begins with the stone itself.

"Our promise is simple: every piece of pounamu we offer is genuine Aotearoa New Zealand pounamu, sourced with respect for its cultural and spiritual significance," says Deane Moreton, founder of Moko Pounamu.

"We work directly with some of the country's most skilled and respected carvers, ensuring that the mana of the stone is honoured from the rivers of the West Coast to your hands."

This ngākau pono means we are transparent about the origins of our pounamu. It means we will gladly explain the differences between the shades of Kawakawa, Kahurangi, Īnanga, or Tangiwai.

It also means that if a piece isn't quite right for your needs, we’ll let you know and help you find the one that is. This commitment to authenticity is non-negotiable; it’s the foundation of the trust our customers place in us.

Ratonga Kiritaki (Customer Service): Your Journey, Our Guidance

Walking into our shop or browsing our website can feel like a big step. You’re often choosing a gift for a significant milestone, and we understand the weight of that decision.

The Moko team, led by Deane’s 40 years of experience, is here to be your guide. We don’t just process orders, we listen to your stories.

Are you celebrating a new birth? A graduation? A significant birthday? Acknowledging a lifetime of work?

This context allows us to share our knowledge and help you select a taonga whose symbolism aligns perfectly with your intention.

This dedication to ratonga kiritaki is what our international customers frequently mention in their reviews. They appreciate the prompt, personal responses to their enquiries and the knowledgeable guidance that makes them feel connected to Aotearoa, even from thousands of miles away.

We see every customer, whether in person or online, as part of our extended whānau, and we are honoured to play a small part in your journey.

Whakaute (Respect): For the Stone, the Craft, and You

Respect is the thread that weaves everything together at Moko Pounamu.

It is the whakaute we have for Papatūānuku (the Earth Mother) and the sacredness of the pounamu.

It’s the deep respect we hold for our carvers, whose hands and tools transform raw stone into a legacy. And most importantly, it is the respect we have for you, our customer, and the reason you are seeking to buy a taonga from us.

This means we treat every question with patience, every story with confidentiality, and every purchase with the care it deserves. We take the time to ensure you understand the meaning behind your pounamu, how to care for it, and the traditions it carries, fostering a connection that lasts for generations.

A Taonga is More Than a Purchase - It's a Partnership

When you choose to buy from Moko Pounamu, you are not just buying a product. You are entering into a partnership built on ngākau pono (honesty), ratonga kiritaki (customer service), and whakaute (respect).

You are benefiting from the collective knowledge of a team that is passionate about sharing the beauty and significance of Aotearoa’s most treasured stone.

We invite you to experience the difference these values make. Visit us in store for a conversation, or explore our collections online with the confidence that our team is here to support you.

He waka eke noa – We are all in this waka together.

The Living Spiral: How the Koru Connects Nature, Whakapapa and Balance

Tue, 18 Nov 2025 01:29:19 GMT

The koru is one of the most recognised forms in Māori art, a soft spiral that feels both ancient and alive. Its lines are simple, yet its meaning runs deep, carrying generations of wisdom about how we grow, connect, and live in balance with the world around us.

At first glance, the koru represents the unfurling frond of the native ponga fern, capturing that perfect moment when new life begins. But to understand the koru only as a symbol of growth is to see just one part of its story.

Within Te Ao Māori, the koru reflects the interconnected flow of life itself - a continuous movement linking people to nature, to their ancestors, and to the generations yet to come.

Nature in Motion

In the natural world, nothing stands still. The spiral of the koru captures that movement - the cycle of birth, growth, maturity, and renewal. Each curve of the form speaks of energy that never truly ends, only changes.

When carved from pounamu, this sense of movement becomes something you can hold in your hand. The depth of the stone, its light and shadow, its smoothness and strength, all remind us that life is both delicate and enduring.

The koru form in pounamu holds the stillness of stone and the vitality of nature in one piece, a harmony of opposites.

Whakapapa: The Line That Connects Us

The spiral of the koru can also be seen as a visual expression of whakapapa , the Māori concept of genealogy and connection. Every part of the koru flows from its centre - a single point of origin that extends outward, just as each generation grows from those before it.

This is why the koru often carries such personal meaning for its wearer. It can represent family, ancestry, or the beginning of a new chapter in life but always as part of a larger story.

A koru carved from pounamu may be gifted to celebrate the arrival of a child, a new relationship, or a milestone achievement, each one marking growth, continuity, and belonging.

Finding Balance in a Changing World

The koru’s graceful symmetry reminds us of balance between people and the environment, between giving and receiving, between what is past and what is still unfolding.

In Te Ao Māori, wellbeing comes from harmony with the world around us. The koru embodies this principle: its outer curve reaches forward into new possibilities, while its inner coil returns inward, drawing strength from its source.

In a world that often moves too fast, the koru invites us to pause and reconnect - to breathe, reflect, and find steadiness in change.

A Symbol Alive in Every Form

From the intricate designs of traditional carving to the modern koru pendants created at Moko Pounamu, this symbol continues to evolve. Every carver brings their own interpretation, but each koru retains that same heartbeat - a reminder of nature’s rhythm, of continuity, and of peace.

Whether gifted as a taonga or worn as a personal symbol, a pounamu koru carries the quiet power of renewal. It speaks of growth grounded in connection — a living spiral that binds us to the land, to each other, and to the endless unfolding of life itself.

Discover our Koru Collection

Explore Moko Pounamu’s range of handcrafted koru pendants and sculptures, each carved with respect for tradition and inspired by the living energy of Aotearoa.

Our carvers have created koru taonga from pounamu and bone, single and double koru designs and open and closed koru. You can browse some of the collection below or go straight into the shop section of our site to see more.

Elevate Your Gifts this Christmas with Moko Pounamu’s Premium Packaging Options

Mon, 03 Nov 2025 00:22:00 GMT

Make sure the taonga you gift this year is perfectly wrapped ...

The festive season is here, and at Moko Pounamu, we believe the thought and care put into a gift extends to how it’s presented. Our range of packaging options ensures your pounamu taonga is gifted in a way that honours its significance and reflects the spirit of giving. Here’s a closer look at our packaging choices, designed to make your gifts truly unforgettable this Christmas.

1. Premium Gift Wrapping

Our professional gift-wrapping service uses high-quality materials to transform your chosen piece into a beautifully presented package. Whether it’s a Christmas morning surprise or a meaningful thank-you, our wrapping ensures your gift is ready to delight.

2. Wooden Boxes – A Timeless Touch

Handcrafted to highlight the natural beauty of Aotearoa, our wooden boxes provide secure and elegant packaging for treasured pieces such as toki or pendants. These sturdy boxes are not only protective but also serve as keepsakes that can be cherished for years to come.

3. Black Cardboard Boxes

Available in black only, our cardboard boxes offer a sleek, modern look while remaining eco-friendly. Ideal for smaller items or when gifting multiple pieces, they are a simple yet stylish option that focuses attention on the pounamu within. We have recently introduced a longer size black box that is perfect for heru combs and larger sized toki and other pendants.

4. Flax Kete – A Connection to Tradition

For a unique and meaningful presentation, our flax kete (woven bags) are a beautiful choice. Each kete is handwoven from natural harakeke (New Zealand flax), celebrating Māori craftsmanship and tradition. Perfect for gifting pounamu with an authentic, cultural touch, the kete can also be reused, making it an eco-conscious and practical option.

5. Personalised Gift Notes

Nothing makes a gift more special than a personal message. Include a customised gift card with your taonga to share your thoughts, blessings, or Christmas greetings. We’ll ensure your message is beautifully presented alongside your chosen packaging, just add your message into the notes field when you go through our online checkout.

Why Choose Moko Pounamu Packaging?

Honour the Taonga: The significance of pounamu deserves equally thoughtful presentation.
Eco-Friendly Choices: Many of our packaging options, including the flax kete, align with our commitment to sustainability.
Convenience: Leave the wrapping and boxing to us, so you can focus on the joys of the festive season.

Perfect for All Occasions

While these packaging options are perfect for Christmas, they’re also ideal for other special occasions like birthdays, anniversaries, or corporate gifts. Whatever the occasion, we’ll help you create a gifting experience to remember.

Shop Now and Add the Perfect Touch

Explore our full range of packaging options here and ensure your gift is as beautifully presented as the taonga itself. This Christmas, let Moko Pounamu help you share the magic of pounamu in a way that reflects its beauty and meaning.

Welcoming the Newest Branch of the Family

louise@moreton.nz (Louise Wedlake) — Fri, 10 Oct 2025 22:16:53 GMT

Pounamu: Stone of Beginnings & Belonging

The arrival of a pēpi (baby) ignites any whānau with joy and a sense of connection. As we gather for their naming, tohi (dedication), or baptism, we seek taonga that embody our hopes and anchor them to their whakapapa.

Gifting pounamu at birth weaves ancient symbolism into new life:

Connection to Papatūānuku: Born of the earth, it grounds pēpi to the whenua (land).
Manaaki (Protection): A silent guardian, echoing the whānau’s encircling love.
Pure Potential: Like a seed holding a forest, it honours the journey ahead.
Whakapapa Anchor: A tangible link to tūpuna (ancestors) and the living whānau.

The First Sacred Act: Pounamu in the Birth Journey

For generations, pounamu’s role began even earlier, guiding pēpi from womb to world.

Our Pito Cutter Sets honour this tradition, reviving the practice of Tapuhi (midwives) who used ceremonial stones to sever the pito (umbilical cord), symbolising the transition to new life.

The Pito Cutter Set: Ceremony & Practical Aroha

Each set includes:

Inanga Pounamu Blade: Sourced ethically from Te Waipounamu (South Island), sharpened for precision.
Muka Pito Ties: Hand-gathered, naturally antibacterial flax fibre - soft on skin, eco-friendly, and nappy-safe.
Rimu Wood Board & Flax Kete: A sustainable cutting surface and woven basket for safekeeping.

Why choose this ritual?

Symbolism: The pounamu blade "cuts old ties" while welcoming pēpi into the physical world.
Gentleness: Muka ties nurture delicate skin, free from plastic or metal.
Legacy: The set becomes a sacred heirloom, marking the whānau’s first act of love.

Moko Pounamu: Crafting Beginnings with Reverence

We honour these traditions by offering:

Pito Cutter Sets: Ethically crafted, each blade blessed as a ceremonial tool. [Link to Collection]
Pono (Integrity): Pounamu sourced from Ngāi Tahu rohe with iwi stewardship. Muka ties handwoven sustainably in Otautahi.

Next in our series: Celebrating your pēpi’s First Birthday (Tahi Tau) with pounamu - a milestone of strength and joy!

Owen Mapp and the Art of Whale-Bone Carving

louise@moreton.nz (Louise Wedlake) — Tue, 30 Sep 2025 04:03:59 GMT

Dragons and Taniwha: 50 Years as an Artist Carver

Owen Mapp is a highly regarded bone carver from Aotearoa New Zealand. At Moko Pounamu we are privileged to have some of Owen’s collection of pieces for sale in our retail shop and online.

We welcome anyone who would like to come into the shop to view our collection in person.

But we thought it was time to share more about this talented artist, his background and his approach to carving the taonga he creates.

Let’s start with The Mapp Code . Owen’s approach in his own words:

I make things to last at least a thousand years
I am attracted by ancient artefacts and attempt to translate their influences into contemporary concepts of lasting quality by creating a timeless object
I see myself as a South Pacific carver influenced directly by my culture and surroundings
Throughout history we have adorned our bodies with treasure, rare things, beautiful common objects and animistic amulets. My own involvement is a continuation of creating, carving and wearing of amulet type adornment
I make objects that are to be handled and fondled while on the body, or carried in the pocket, not just objects to be seen
I believe in the magic or spirit of the carving.

“I am an avid collector … I started collecting Māori stone and bone artefacts on my parents farm in the Wairau Valley. Every country I travelled in later I added more stone artefacts and then the collecting expanded drastically.”

The Wairau Bar Dig

At the age of 14, in 1959, Owen was invited to join an archaeological dig at the famous Wairau Bar site, near Blenheim.

“It was an early dream of mine, that I become an archaeologist, with a museum. As a teenager, this wish was realised! This was the starting point of my involvement with and commitment to carving.”

Subsequently, Owen has worked on archaeological projects in New Zealand, Israel and Sweden, further pursuing his fascination with archaeology and ancient stone tools.

For someone enthralled by bone and bone carving, it is not surprising that Owen was drawn to Māori carving as this was the carving culture accessible and relevant, especially given his powerful experience at the Wairau Bar.

1969 – A Career Begins

Self-taught and carving since 1969, Owen is acknowledged as Aotearoa’s first professional bone carver. As you can see in the video, he has assembled his carver’s toolbox (of self-made tools) through observation, experimentation and being mentored.

All his adult life he has been a student of museum collections, studying works and imagining how they were made.

At the beginning of his carving career, he was reproducing ‘old artefacts from whale teeth that were readily available’ while being mentored in the knowledge of Te Ao Māori by Ngāti Porou kaumatua Selwyn Hovell, Bill Kerekere and Pine Taiapa.

Owen’s relationship with Te Ao Māori is a fundamental consideration in any assessment of his work given contemporary sensibilities and the fact that his work has sometimes been deemed Māori.

“I’m approached by government departments for “Māori” carvings, often by Māori advisors”.

While some may describe Owen’s work as ‘Māori’, this is a description he rejects.

“I have no Māori blood, I am not a European carver, I’m a fifth generation New Zealander … I may be a Pākeha carver but I’m comfortable in New Zealand’s bicultural mixed blood situation. I see myself and family developing with Māori and Pākehā influences.”

Japan – Netsuke

In 1989, Owen travelled to Japan to explore his interest in netsuke, and find new opportunities to carve and exhibit. He was introduced to Japanese carving, particularly netsuke, through collections at Te Papa, Auckland Museum and Olveston in Dunedin. Owen is now globally recognised as a distinguished netsuke carver – a remarkable achievement.

In Japan he was widely recognised and was regularly selected into significant local exhibitions, publications, international exhibitions and represented in prestigious collections.

You can find some of Owen's work available to browse and buy in our online shop (as well as in our Durham Street showroom) - simply head to our whalebone collection .

Celebrating Māori Language Week – Te Wiki o te Reo Māori

Tue, 02 Sep 2025 01:03:00 GMT

The Importance of te Reo Māori to Aotearoa New Zealand

Every year since 1975, Aotearoa New Zealand has celebrated Te Wiki o te Reo Māori, also known as Māori Language Week.

This important week, starting around 14 September each year, brings the Māori language (te reo Māori) into the spotlight and gives all New Zealanders the opportunity to explore their relationship with the language, customs, and culture of the Māori people.

The theme of this year’s celebration is 'Ake Ake Ake - A forever language' - marking the the 50th anniversary of Te Wiki o te Reo Māori (Māori Language Week).

Te Wiki o te Reo Māori is a government-sponsored initiative, forming part of the broader effort to rejuvenate and normalise the Māori language across all aspects of society.

Over the course of the week, there are events, activities, and discussions across the country that honour and celebrate Aotearoa's unique heritage.

This week-long observance encourages all New Zealanders to engage with te reo Māori and use it in their everyday lives, whether at home, at work, or in the community.

Why is Te Wiki o te Reo Māori Important?

The Māori language is a core part of New Zealand’s identity. The history of te reo Māori is one of resilience and revitalisation. Once the primary language of the land, it faced decline due to colonial pressures and the dominance of the English language.

However, through dedicated efforts by iwi (tribes), whānau (families), educators, and the government, the language has been making a powerful resurgence.

The week provides an opportunity for everyone in New Zealand to take part in this resurgence. It is a chance to learn new words, perfect your pronunciation, and discover the cultural richness of te reo. From haka (Māori dance) performances to waiata (songs), storytelling, and language lessons, Te Wiki o te Reo Māori is a celebration that invites all people to embrace the language, no matter their proficiency level.

The Power of Words in Te Reo Māori

Words in te reo Māori carry much more than just their literal meanings; they are deeply connected to identity, spirituality, and history. For instance, the everyday greeting 'Kia Ora’ goes beyond pleasantries.

It is a powerful recognition of a person’s mana (prestige or spiritual power), their whakapapa (genealogy), and their wairua (spirit).

It is a reminder of the interconnectedness of all people and acknowledges a person’s essence and life force.

The Progress So Far

Over the years, the revitalisation of te reo Māori has made remarkable strides. Today, you’ll find dedicated Māori-language schools (kura kaupapa Māori), Māori radio stations, and Māori television channels broadcasting throughout Aotearoa.

More businesses are using te reo Māori in their branding, and an increasing number of workplaces incorporate te reo into daily operations. Even in everyday conversation, we’re hearing more te reo Māori in public spaces.

But there is still work to be done. The rejuvenation of te reo Māori is an ongoing process, and it relies on the commitment of people from all backgrounds.

The more of us who make an effort to use te reo Māori in our daily lives, the more it will become a natural and visible part of New Zealand society.

How Can You Get Involved?

Take a moment to reflect on how you can become more comfortable with te reo Māori. Whether it's through using a simple greeting when you arrive at your mahi (work), learning new phrases, or exploring Māori customs and traditions (tikanga), your involvement matters. Every step we take towards normalising the use of te reo Māori is a step towards a more inclusive and culturally rich society.

If you’re interested in learning more about te reo Māori, or if you’d like to take lessons, there are plenty of online resources available. Visit the Reo Māori website at www.reomaori.co.nz/courses to find courses that suit your learning level.

Most local councils around Aotearoa will also have a list of events and activities happening near you during the week, including language workshops, cultural performances, and other interactive sessions. A quick online search should show what’s happening near you!

Useful Māori Words and Phrases:

Here are some common te reo Māori words and their English translations to help you get started:

E noho rā Goodbye (from a person leaving)
Haere rā Goodbye (from a person staying)
Haere mai Welcome! Come!
Hei konā rā Goodbye (less formal)
Kia ora Hi! G’day! (general informal greeting)
Mōrena (Good) morning!
Nau mai Welcome! Come!
Tēnā koe formal greeting to one person
Tēnā kōrua formal greeting to two people
Tēnā koutou formal greeting to many people
Tēnā tātou katoa formal inclusive greeting to everybody present, including oneself.
Aroha compassion, tenderness, sustaining love
Ihi power, authority, essential force
Mana authority, power; secondary meaning: reputation, influence
Manaakitanga respect for hosts or kindness to guests, to entertain, to look after
Mauri hidden essential life force or a symbol of this
Noa safe from tapu (see below), non-sacred, not tabooed
Raupatu confiscate, take by force
Rohe boundary, a territory (either geographical or spiritual) of an iwi or hapū
Taihoa to delay, to wait, to hold off to allow maturation of plans, etc.
Tapu sacred, not to be touched, to be avoided because sacred, taboo
Tiaki to care for, look after, guard (kaitiaki: guardian, trustee)
Taonga treasured possession or cultural item, anything precious
Tino rangatiratanga the highest possible independent chiefly authority, paramount authority, sometimes used for sovereignty
Tūrangawaewae a place to stand, a place to belong to, a seat or location of identity
Wehi to be held in awe
Whakapapa genealogy, to recite genealogy, to establish kin connections
Whenua land, homeland, country (also afterbirth, placenta)
Hui meeting, conference, gathering
Marae the area for formal discourse in front of a meeting house; or the whole marae complex, including meeting house, dining hall, forecourt, etc.
Haere mai! Welcome! Enter!
Nau mai! Welcome!
Tangihanga funeral ceremony in which a body is mourned on a marae
Tangi short (verbal version) for the above; or to cry, to mourn
Karanga the ceremony of calling to the guests to welcome them onto the marae
Manuhiri guests, visitors
Tangata whenua original people belonging to a place, local people, hosts
Whaikōrero the art and practice of speech making
Kaikōrero or kaiwhai kōrero speaker (there are many other terms)
Haka chant with dance for the purpose of challenge ( see other references to haka on this site)
Waiata song or chant which follows a speech
Koha gift, present (usually money, can be food or precious items, given by guest to hosts)
Whare nui meeting house; sometimes run together as one word – wharenui
Whare whakairo carved meeting house
Whare kai dining hall
Whare paku lavatory, toilet
Whare horoi ablution block, bathroom
Rāhina; Mane – Monday
Rātū; Tūrei – Tuesday
Rāapa; Wenerei – Wednesday
Rāpare; Taite – Thursday
Rāmere; Paraire – Friday
Rāhoroi – Saturday
Rātapu – Sunday
Kohitātea – January
Hui-tanguru – February (also Pepuere)
Poutū-te-rangi – March
Paenga-Whāwhā – April
Haratua – May
Pipiri – June
Hōngongoi – July
Hereturi-kōkā – August
Mahuru – September
Whiringa-ā-nuku – October
Whiringa-ā-rangi – November
Hakihea – December
Raumati – summer
Ngahuru – autumn
Takurua – winter
Kōanga – spring

Te Wiki o te Reo Māori is a time for celebration, reflection, and action. Whether you’re fluent or just beginning your journey with the language, this week is for everyone. The Māori language is for all New Zealanders, and the more we use it, the more it will thrive.

Let’s all do our part in making te reo Māori a natural part of our everyday lives – Kia kaha te reo Māori!

Choosing the Perfect Pounamu Gift for Father’s Day

Fri, 22 Aug 2025 01:48:00 GMT

How to pick pounamu for your Dad

Father’s Day is a special occasion to honour the men in our lives who have guided us, taught us, and supported us. A meaningful way to celebrate this day is by gifting a piece of pounamu (greenstone) from Aotearoa New Zealand.

Pounamu is not only a beautiful gemstone but also carries deep cultural significance in Māori tradition.

Here's our guide to help you choose the perfect pounamu pendant, ring, or cufflinks for your father, husband, or any special man in your life.

1. Toki (Adze) Pendant

Symbolism and Meaning

The Toki pendant, shaped like an adze or axe head, is one of the most popular and significant pieces in Māori culture. It represents strength, courage, and determination. Traditionally, it was worn by Māori chiefs and skilled craftsmen to signify their status and prowess.

Choosing a Toki Pendant

When selecting a Toki pendant, consider the wearer’s personality and the message you wish to convey. Toki are perfect for men who exhibit leadership, resilience, and a pioneering spirit. The sleek, elongated design of the Toki also adds a touch of elegance, making it a versatile accessory for both formal and casual occasions.

2. Manaia Pendants

Symbolism and Meaning

The Manaia is a guardian figure with a bird-like head and a human body. It is considered a protector against evil and a symbol of balance between the sky, earth, and sea. The Manaia often serves as a spiritual guide.

Choosing a Manaia Pendant

A Manaia pendant is an excellent choice for men who are spiritual, compassionate, and in tune with their surroundings. It’s a meaningful gift for someone who values protection and balance in their life.

The intricate design of the Manaia makes it a standout piece that can be both a conversation starter and a cherished talisman.

3. Koru Pendants

Symbolism and Meaning

The Koru pendant is inspired by the unfurling fern frond, symbolising new beginnings, growth and harmony. It is a popular design due to its elegant curves and profound meaning.

Choosing a Koru Pendant

The Koru is ideal for men who are embarking on a new journey, whether it's a career change, a new phase in life, or personal growth. It's also a wonderful symbol of peace and tranquillity, making it suitable for those who appreciate nature and serenity.

The Koru's timeless design ensures it will be a treasured piece for years to come.

4. Hei Tiki Pendants

Symbolism and Meaning

The Hei Tiki is one of the most recognisable and revered symbols in Māori culture, representing the first human and often associated with fertility, knowledge and strength. Traditionally worn as symbol of power and status, the Hei Tiki carries significant mana (spiritual force) and is often passed down through generations as a treasured heirloom.

Choosing a Hei Tiki Pendant

A Hei Tiki pendant is more than just a piece of jewellery - it is a connection to the rich history and traditions of Aotearoa New Zealand. Each Hei Tiki crafted by Moko Pounamu's skilled carvers is made with the utmost care, ensuring that the cultural significance of the pendant is honoured.

Whether your father has a deep connection to Māori culture or simply appreciates the beauty and history of pounamu, a Hei Tiki pendant is a gift that will be cherished for years to come.

5. Hei Matau Pendants

Symbolism and Meaning

Another thoughtful and symbolic option for Father's Day is a Hei Matau (hook) pendant. The Hei Matau is a traditional Māori symbol that represents a fish hook, embodying strength, determination, and prosperity. It is also a symbol of safe travel over water, making it particularly meaningful for fathers who have a strong connection to the sea or who embody the traits of a protector and provider.

Choosing a Hei Matau Pendant

Gifting a Hei Matau pendant from Moko Pounamu is a powerful way to acknowledge your father's role in guiding and supporting his family. The design of the Hei Matau is elegant and timeless, and like all Moko Pounamu pieces, each pendant is carved with precision and respect for its cultural significance.

A Hei Matau pendant not only makes a striking accessory but also serves as a daily reminder of the wearer’s strength and resilience.

6. Patu Pendants and Sculptures

Symbolism and Meaning

The Patu or Mere is a traditional Māori weapon, symbolising authority, power, and respect. Patu pendants and sculptures are less common but hold significant cultural weight.

Choosing a Patu or Mere Pendant or Sculpture

A Patu pendant or sculpture is a powerful gift for a man who embodies leadership, respect, and strength. It’s particularly fitting for someone who values heritage and tradition. A Patu sculpture can also serve as a striking decor piece, adding a touch of cultural heritage to his office or home.

7. Pounamu Rings & Cufflinks

Symbolism and Meaning

Pounamu rings and cufflinks are elegant, understated accessories that carry the same cultural significance as pendants. They symbolise commitment, connection, and status.

Choosing Pounamu Rings & Cufflinks

These pieces are perfect for men who appreciate subtlety and sophistication. A pounamu ring can be a daily reminder of his strength and resilience, while pounamu cufflinks add a touch of distinction to his formal attire.

Consider his style and preference when selecting these items to ensure they complement his wardrobe and personality.

Tips for Choosing the Right Piece

1. Consider his personality: Choose a design that resonates with his character and values. Whether it’s the strength of a Toki, the protection of a Manaia, or the growth symbolised by a Koru, the right piece will reflect his unique qualities.

2. Think about his lifestyle: Select a piece that suits his daily activities. A pendant might be perfect for everyday wear, while cufflinks and rings might be reserved for special occasions.

3. Cultural significance: Pounamu is deeply rooted in Māori culture. Ensure your gift is chosen with respect and understanding of its cultural importance.

Gifting pounamu for Father’s Day is more than just giving a beautiful accessory, it’s offering a piece of Aotearoa’s heritage and a symbol of deep respect and affection.

Whether it’s a Toki pendant for a man of strength, a Manaia for a spiritual guide, a Koru for someone embracing new beginnings, or a Patu for a respected leader, each piece carries a story and significance that will be cherished forever.

Explore our collection at Moko Pounamu to find the perfect pounamu gift for the man in your life this Father’s Day.

Why Choose Pounamu as a Corporate Gift

Wed, 13 Aug 2025 05:23:00 GMT

A Timeless Gesture of Appreciation

In the corporate world, the act of gifting is more than just a tradition; it’s a meaningful way to express appreciation, build relationships, and commemorate significant achievements. At Moko Pounamu, we specialise in creating pounamu gifts that carry deep cultural significance, making them ideal for corporate gifting .

Whether you’re looking to honour a sports team, reward students, thank corporate clients, or celebrate a major milestone, our range of pounamu products offers something truly special. With generations of experience in sourcing and crafting this precious stone, Moko Pounamu is your partner in selecting the perfect gift that reflects the values of your organisation.

1. Ordering Multiples for Teams, Classes, and Prizegivings

When it comes to recognising the efforts and achievements of a group, nothing speaks more powerfully than a pounamu taonga. Whether it’s a team of athletes at the end of a successful season, a class of students who have excelled, or as awards at a school prizegiving, pounamu gifts serve as lasting reminders of the occasion and the values it represents.

At Moko Pounamu, we have been providing multiples of items such as toki pendants for schools, sports organisations, businesses, and community groups for many years. Our range includes a variety of styles that can be ordered in bulk, ensuring that every member of the group receives a piece of New Zealand’s heritage.

If you’re unsure which item would best suit your needs, our team is available to consult on the most appropriate options and pricing, ensuring that the final product meets both your budget and your expectations.

2. Special One-Off Pieces for Retirement and Milestones

Celebrating the retirement of a valued team member or marking a significant milestone within your organisation calls for a gift that is as unique and irreplaceable as the individual being honoured. For these special occasions, Moko Pounamu offers bespoke one-off pieces, meticulously crafted to reflect the significance of the moment.

These special sculptures range from $1,000 to $20,000, depending on the complexity and size of the piece. Each item is designed to be a timeless tribute, a lasting reminder of the contributions made by the individual to your organisation. Our expertise ensures that every detail of the piece resonates with the story it is meant to tell, making it a truly personal and meaningful gift.

3. Gifts for Corporate Clients and Business Delegations

In the realm of business-to-business relationships, the right gift can strengthen bonds and leave a lasting impression. Whether you are hosting an international client in New Zealand or representing your business on an overseas delegation, a pounamu gift is a powerful way to convey respect, goodwill, and the uniqueness of New Zealand’s culture.

Moko Pounamu offers a range of corporate gifts suitable for these occasions, from smaller items that can be easily transported to more elaborate pieces that embody the mana of pounamu. Each gift is crafted with care, ensuring that it reflects the quality and values of your organisation, and leaves a lasting impression on your clients and partners.

4. Special Taonga for Prominent Placements

For organisations looking to make a statement within their physical spaces, a large, unique taonga positioned in a prominent location such as the foyer of a new building or headquarters can be an impressive and meaningful addition. These one-off pieces are often crafted from large pieces of West Coast pounamu and can serve as a powerful symbol of the organisation’s values, heritage, and connection to the land.

These special taonga are available in a price range that can reach $50,000 or more, depending on the size and intricacy of the piece. At Moko Pounamu, we offer a consultancy service to help you select the perfect taonga for your space. Our experience in sourcing and working with pounamu ensures that each piece is a masterpiece, created to resonate with the space it will inhabit and the people who will see it.

Corporate gifting with pounamu is more than just a transaction; it is an opportunity to connect, honour, and inspire. Whether you are looking to order multiples for a group, commission a special piece for a milestone, gift an international client, or enhance your organisation’s physical space with a unique taonga, Moko Pounamu offers the expertise and craftsmanship to make your vision a reality.

Contact us today to discuss how we can help you choose the perfect pounamu gift that will reflect the values of your organisation and create lasting memories for those who receive it.

Whakapūmau & Whakatō Whetū: Pounamu for 21st, Engagement & Marriage

Wed, 13 Aug 2025 04:45:10 GMT

Celebrating life's milestones

Whakatō Whetū! To plant stars is an expression of aspiration as young adults step fully into their mana.

"The stars are the eyes of the ancestors, watching and guiding. To plant stars is to cultivate their enduring presence."
— The Woven Universe: Selected Writings of Rev. Māori Marsden

At the 21st birthday , in the celebration of engagement , or at the threshold of marriage , these are the moments when identity crystallises and whānau bonds deepen.

These milestones mark the transition from individual potential to whakapūmau - enduring commitment.

In te ao Māori, such occasions call for gifting taonga that embody both personal strength and eternal unity, including pounamu, the living stone of Aotearoa.

21st Birthday: Whakatō Whetū (Planting Stars)

The 'coming of age' or 21st birthday is a celestial celebration in many cultures. In Māoritanga, it signifies:

Rangatiratanga (Self-Determination): Full adulthood, embracing responsibility for one’s path.
Whakapapa in Action: Honouring tūpuna (ancestors) while defining your place in the whakapapa stream.
Tūrangawaewae: Standing firmly in one’s "place to stand" - identity affirmed.

The pounamu chosen to mark this milestone speaks of grounded strength and ancestral connection. Some of the pieces you might like to choose from include:

Toki (Adze): A larger, finely carved toki signifies the strength to shape one’s future, echoing chiefs who wielded ceremonial adzes. Its clean lines reflect clarity of purpose.
Hei Tiki: Linking the wearer to Tiki, the first human, symbolising self-discovery and ancestral guardianship.
Koru with Toki Elements: Merging growth (koru) with action (toki), representing the blossoming of adult potential.

The 21 ^st birthday piece often transitions from a symbol of independence to one of leadership, worn during pivotal life choices, then passed to a child facing their own coming-of-age.

The pounamu gifted at 21 becomes a touchstone, a physical reminder: 'You carry the strength of those who walked before you.'

Engagement & Marriage: Whakapūmau (To Make Fast)

Marriage and engagement are more than unions: they are whakapūmau, the fastening of two lives into one lineage.

Finding the perfect gift for your friends or whānau members to celebrate their engagement or marriage can take you down two paths - one to find practical gifts that help establish a new life together, and the other - something that will last for generations and symbolise the love that this couple have found in each other.

Pounamu here embodies:

Kotahitanga (Unity): Two whānau weaving together.
Aroha (Love) as Lifeforce: Manawa (heart) symbolizing shared breath and vitality.
Permanence: Like pounamu itself, unyielding yet flowing through time.

Suggested Symbols for Eternal Bonds

The designs of our pounamu pieces represent spiritual and emotional ties, and we are happy to help you find the perfect piece as an engagement or wedding gift.

Pikorua (Twist) : The single twist signifies inseparable connection between two people. The double/triple twist deepens this, representing interwoven whānau, past and future generations.
Manawa (Heart): Carved with undulating lines mimicking a heartbeat, it speaks of aroha as the pulse of whānau and is a symbol of love used around the world. Heart pendants split into complementary halves, forming one when joined is a beautiful option.
Matching Toki: A pair of toki - symbolising complementary strengths, united in purpose.
Rings - Pounamu and silver or gold - for engagement and wedding rings

Marriage pounamu accrues layers of meaning: worn on wedding days, at births of tamariki, during life's challenges and celebrations.

As the decades pass, a pikorua pendant gifted at engagement might be placed in a grandchild’s hand with the words: "This held our love. Now it holds yours."

The Circle of Mana

Like named hei tiki of old, these pieces of pounamu absorb the whakapapa of their wearers. A toki worn by a 21-year-old in 2025 may echo in 2125 - its mana amplified across generations.

Beyond Matariki: Discovering Puanga and the Southern Stars of New Zealand's Winter Celebration

louise@moreton.nz (Louise Wedlake) — Mon, 16 Jun 2025 00:43:07 GMT

As the Southern Hemisphere settles into winter and the nights grow longer, many New Zealanders have become familiar with watching for Matariki (the cluster of stars also known as the Pleiades) to signal the beginning of the Māori New Year - and a public holiday to enjoy with our families.

But there's another celestial guide that deserves our attention, particularly here in the South Island: Puanga, the brilliant star that serves as an equally significant marker for this sacred time of year.

Puanga: The South Island's Guiding Star

While Matariki captures much of the national conversation around this time, many iwi, particularly those in Te Waipounamu (the South Island), have traditionally looked to Puanga as their primary herald of the new year.

Puanga, known to astronomers as Rigel in the constellation Orion, is a luminous blue supergiant that shines with remarkable brightness in our winter sky.

From southern Aotearoa, Puanga appears more prominent and easier to spot than the Matariki cluster, making it a natural choice for navigation and seasonal timing. The star's brilliant light has guided our ancestors for centuries, and today it offers us another lens through which to understand and connect with this important time of reflection and renewal.

Regional Variations in Celestial Tradition

The diversity in New Zealand's astronomical traditions reflects the rich tapestry of iwi knowledge across Aotearoa. While some iwi in the upper North Island focus primarily on Matariki, southern iwi such as Ngāi Tahu have long honoured Puanga as their seasonal marker.

This isn't a matter of one being "correct" and another being "wrong" - but it demonstrates how different communities developed intimate relationships with their local sky, observing which stars were most visible and reliable from their particular geographical locations.

Other iwi recognise both stars, along with additional celestial markers like Rehua (Antares) and Pohutukawa (Capella). This multiplicity of tradition reminds us that Māori astronomy was—and remains—a sophisticated and locally-adapted system of knowledge.

The Deeper Meaning Behind the Stars

Whether we look to Matariki or Puanga, the essential themes remain consistent: this is a time for remembering those who have passed, celebrating the present moment, and preparing for the future. It's a season for gathering with whānau, sharing kai, and reflecting on the year that has been while setting intentions for the year ahead.

Both Matariki and Puanga rise before dawn during winter, symbolically bringing light into the darkness. This metaphor resonates deeply during New Zealand's coldest months, offering hope and connection when the natural world appears dormant. The stars remind us that even in the depths of winter, renewal is coming.

Observing Puanga in Your Own Backyard

For those keen to spot Puanga this season, look towards the northern horizon in the early morning hours before dawn. Puanga appears as a bright blue-white star, noticeably brighter than most others in the sky. It's positioned in what many know as Orion's "left foot," making it relatively easy to locate once you've found the distinctive shape of the constellation.

Bringing Ancient Wisdom into Modern Life

As we navigate our busy modern lives, there's profound value in reconnecting with these ancient rhythms and observations.

Whether you choose to acknowledge Matariki, Puanga, or both, the underlying invitation remains the same: to pause, reflect, and align ourselves with the natural cycles that continue to govern our world.

Consider creating your own winter solstice traditions that honour this time. Perhaps it's a special meal shared with loved ones, a moment of gratitude for the year passed, or simply stepping outside to look up at the stars and feel your connection to the vast southern sky that has guided generations before us.

A Time for All New Zealanders

The beauty of this season whether marked by Matariki or Puanga is that it belongs to all of us who call Aotearoa home. These stars shine for everyone, offering their guidance and marking time in the same way they have for over a thousand years. By understanding and respecting both traditions, we enrich our collective experience of what it means to be New Zealanders living in harmony with our unique place in the Southern Pacific.

As you go about your winter days, take a moment to look up. Whether you see Matariki twinkling in the pre-dawn sky or Puanga blazing with blue fire, remember that you're witnessing the same celestial dance that has marked time, guided navigation, and inspired reflection for countless generations of tangata whenua. In acknowledging these stars, we honour both the wisdom of the past and our responsibility to carry these traditions forward into the future.

This Matariki season, why not challenge yourself to spot both star groups? Share your observations with whānau and friends, and become part of the continuing story of New Zealand's relationship with the stars.

The Creation of Pounamu: Tears of the Earth Mother

louise@moreton.nz (Louise Wedlake) — Tue, 10 Jun 2025 04:45:53 GMT

Aroha in Stone

According to tradition, pounamu was born from Papatūānuku herself. One legend describes how her tears of sorrow and joy flowed into the rivers of Te Waipounamu (the South Island) after her separation from Ranginui (the Sky Father).

These tears crystalised into pounamu, imbuing the stone with her mauri (life force) and mana (spiritual power).

Another narrative tells of her children, the atua (gods) crafting pounamu from her bones as a symbol of her enduring presence. This is why pounamu is often called the "blood of Papatūānuku" or "kōhatu whakairo" (the living stone), revered as a physical fragment of her essence.

Tāne Mahuta (god of forests) used pounamu to create the first humans after separating Papatūānuku and Ranginui.

He shaped their eyes from pounamu to reflect the wisdom and clarity of the Earth Mother, ensuring humans would always carry her guidance.

This legend reinforces why pounamu is gifted to mothers and children - it is a reminder of their sacred bond to the land and each other.

Symbolism for Mothers and Whānau

Papatūānuku’s role as the nurturing Earth Mother mirrors the sacred role of human mothers. Just as she sustains all life, pounamu is seen as a vessel of her strength, protection, and unconditional love.

Key connections include:

Strength and Resilience : Pounamu’s hardness and durability reflect a mother’s enduring spirit.
Connection to Ancestors : As Papatūānuku links all living things to the past, pounamu carries the stories of those who wore it before.
Healing and Growth : Like the Earth Mother’s regenerative power, pounamu is believed to absorb negative energy and foster emotional healing.

The Art of Choosing Pounamu

When selecting pounamu for a mother, consider:

Personal Connection : If you need help to choose a piece with a particularly personal connection, please talk to our team for assistance. We are always happy to help in our shop, over the phone or online.
Presentation : Our handcrafted wooden boxes and woven flax kete are designed to honour the mana of each taonga, making them perfect for gifting.

Mothers are the heartbeat of our families, and pounamu is the heartbeat of Aotearoa. Whether celebrating a birth, a milestone, or simply the everyday strength of motherhood, a pounamu taonga speaks a universal language of aroha that lasts across generations.

"He taonga te mokopuna, he taonga te pounamu."
(Grandchildren are treasures, as is pounamu.)

Māori Whakatauki

1001 shades of Pounamu: Varieties of Greenstone

Wed, 04 Jun 2025 21:37:00 GMT

A common misconception about New Zealand pounamu/greenstone

....is that it’s all green! While imported stone varieties, from British Colombia, China and Siberia, commonly known as jade tend to be more green and have less variety in their shades, New Zealand pounamu comes in a range of shades from dark, opaque black to milky, translucent grey and just about every colour in between!

Pounamu is generally categorised into four main varieties: inanga, kahurangi, kawakawa and tangiwai.

There are so many colours and shades that fluctuate between these four varieties, too many to define - and sometimes qualities of two varieties can be found in the same stone - but this is the very reason that no two pieces of pounamu are alike, making them all uniquely special.

Here are some of the varieties of stone we work with

Marsden Flower

Pounamu from the Marsden, West Coast area. The centre of this stone is a highly translucent, light-ish green shade, free from dark spots and other flaws. One of the rarest varieties, held in high esteem by Māori. The most prized Greenstone in New Zealand is Flower Jade, Greenstone with pale green or ochre clouds of colour. This distinctive patterning and colouring come from the outside rim or 'rind' of the greenstone boulders or stones where the surface has oxidised.

Caused by the edge (rind) of the stone being oxidised, flower stone appears to have blooms of colouration throughout the stone. The colours of these blooms can range from grey and green to vibrant yellow and orange. This characteristic is unique to nephrite from this part of the world and is considered to be a prized variety of pounamu.

Inanga

Aptly named after the native fish, otherwise known as whitebait, this stone is a pearly greyish colour which sometimes has a blue hue in certain light. It also ranges in opacity. The lighter, soft shades tend to be translucent and the grey to light brown shades tend to be more opaque. Inanga is perhaps the most fragile variety; softer and quite heat-sensitive. If it’s not kept cool during the polishing process, white burn marks can appear which spoils the overall look.

Kahurangi

A very bright green, translucent variety of pounamu without spots or flaws, this variety of greenstone seems to radiate its colour even without being held to light. The word kahurangi means prized, precious, treasured which is befitting of a stone as vibrant as this.

Kawakawa

Quite the opposite in vibrancy, kawakawa is named after the tree, whose leaves are rich green and heart-shaped. It is characterised by its dense appearance - only translucent at the extreme edge or, if thinly sliced, when held up to a strong light. It was historically considered too dark for jewellery but because it’s the strongest of all varieties was used frequently for tools such as toki (adzes) and patu (clubs). Some types of kawakawa exhibit beautiful orange-brownish colourations which are often referred to as Waimea Stone.

Kōkopu

Describing the fish-skin-like resemblance of this stone, kōkopu is the name of the native fish that whitebait grow up to be. This interestingly-patterned stone is also known as ‘mountain trout’ stone because of its appearance. Colours vary from darkish brown to light fawn. It’s mainly found in the Wainihinihi Creek and Arahura River.

Hapopo

It's colour ranges from medium green to a dark forest green with a unique mottled texture. The name originating from Kā Umu o Hapopo (Big Bay) which is in Poutini ki te toka (South Westland).

Auhunga

Genuine West Coast Greenstone from the Arahura River area, West Coast. Auhunga Pounamu is a pale opaque green colour. Resembling the Southern New Zealand mountains, its --name translates to frosty, given as the intermediate of Inanga and Kawakawa

Douglas Creek (Serpentine)

Found only on the West Coast of the South Island in the vicinity of its name’s sake, each piece of Serpentinite has inclusions of many minerals that make a stunning piece of Artwork. Two or more Serpentine minerals can form a Serpentinite Rock and many other sub varieties of this stunner. This is regarded as one of the three stones that make up the Pounamu family.

Serpentinite

has amazing healing qualities; to replenish and restore energy in the body, it also creates a protective and energetic field around us. Serpentinite can be a porous stone; in some cases, it will absorb the oils from your skin and deepen the colour of your stone. Each piece of Serpentinite has inclusions of many minerals that make a stunning piece of Artwork. Two or more Serpentine minerals can form a Serpentinite Rock and many other sub varieties of this stunner. This is regarded as one of the three stones that make up the Pounamu family.

Pakohe

Also known as Argillite, and to geologists as metamorphosed indurated mudstone, argillite is particularly associated with the Nelson-Marlborough region in New Zealand. It is found on Rangitoto (D'Urville Island), along the Whangamoa mineral belt , and in the upper reaches of the Maitai, Wairoa and Motueka Rivers. Māori valued Argillite’s strength, hardness and ability to hold a sharpened edge – which made it ideal for making tools (especially Adzes).

Kahotea

I s a shortened form of Kakahotea, meaning “the white flowering seed head of the Toetoe.” Tradition tells of a daughter of Kupe who discovered a white-skinned Pounamu boulder high on the bank of the Arahura River beside a flowering Toetoe. The name commemorates that first discovery. Many boulders are white on the outside and known as Kahotea, when cut open, their inner variety is revealed, which has led to some confusion around the use of the name.

Mutton Fat Stone

A lesser-known, and quite rare, variety of pounamu is Mutton Fat, which was given its name by the late Hettie Feith-Wells, a gemstone expert, regular buyer of unusual stones, and founder of the well-known rock and crystal shop “Hettie’s” in Christchurch. The stone has no distinct grain, making it easy to work with. It’s a muddy grey-green colour and when polished, the surface of the stone is very wax-like.

Pīpīwharauroa

Named after the shining cuckoo - a short-tailed, bronze-green bird with a dark green-and-white face - this type of stone can be found in the tangiwai, inanga and kawakawa varieties. The shimmering qualities of this stone are similar to the chatoyant stone which are rather eye-catching.

Raukaraka

Often displaying impressive streaks of colour that range from yellow to olive green, raukaraka is typically a darker stone named after the karaka tree. It’s opaque and hard with almost no grain, and it’s not often seen in carved items because of its comparative rarity. Mainly found in the Arahura River, it’s also been found in the Kawhaka and Goldsborough areas.

Totoweka

Characterised by its reddish-brown tint, totoweka is named after the bird - weka, whose brown feathers are spotted, and toto meaning ‘blood’ for its reddish hues that appear through the stone. It is another of the more rare varieties of pounamu.

Tangiwai

Despite tangiwai being bowenite stone as opposed to nephrite, it is still recognised as being part of the pounamu family, and is in fact the most ancient variety of pounamu. This stone is sometimes completely transparent, with a glass-like appearance, and has been found in various shades ranging from olive green to brown to yellow to blue-ish green.

Even between these 11 variations of pounamu there is great diversity, and characteristics that transcend between familiar types. The thing that rings true for us here at Moko is that each piece of stone is beautiful in its own way and carries its own story which is often best told when it’s carved with great care into a shape that best represents each stone’s unique characteristics.

Te Wahi Pounamu - The Place of Pounamu

Tue, 22 Apr 2025 21:52:37 GMT

Learn about the history of Pounamu and where it was discovered on the South Island of New Zealand - Te Waipounamu.

This semi-precious stone is only found in the South Island, and most often in the rivers of the West Coast.

Discover more about this taonga and where it has been found in our video series below.

Blessing Videos

Tue, 22 Apr 2025 21:22:27 GMT

A guide to the question - Should I bless my Pounamu?

Discover the significance of blessing your Pounamu with our guide. Learn about the traditions around blessing Greenstone at Moko Pounamu in New Zealand.

The Timeless Elegance of the Pounamu Toki

Mon, 10 Mar 2025 03:06:00 GMT

History and Meaning of Hei Toki

At Moko Pounamu, we are deeply honoured to share the stories and traditions behind the pounamu treasures we create. Among our most popular and cherished designs is the pounamu toki , a pendant steeped in history, cultural significance, and timeless beauty. In this blog, we explore the origins of the toki, its profound meaning, and the variations crafted by our skilled artisan carvers.

The History of the Toki

The toki, traditionally known as an adze, or form of axe, was a vital tool used by Māori for carving, shaping wood, and building waka (canoes), whare (houses), and other essential structures.

Made from pounamu (New Zealand greenstone), the toki was not only a practical tool but also a symbol of strength, determination, and skill. Pounamu was particularly prized as a material for making toki due to the ability to create a finely honed edge, perfect for shaping wooden taonga, waka and weapons.

Adzite and nephrite (pounamu) are found only in the South Island of Aotearoa, yet adzes made from these materials have been found throughout New Zealand, indicating extensive trade occurred between the North and South Islands.

Making a stone adze was a skilled job. Boulders or blocks were broken up using other boulders. Selected pieces were then worked into the desired shape (termed a roughout) by striking flakes off the edges with hammer stones, which were also used to smooth rough surfaces by ‘pecking’ or ‘bruising’. The final step was to polish the adze and sharpen the cutting edge by rubbing it back and forth on a wet grinding stone (hōanga) – a time-consuming task.

Over time, the toki evolved from a functional tool into a revered taonga (treasure), worn as a pendant to represent the qualities it embodied. Today, the pounamu toki is a powerful symbol of resilience, leadership, and the ability to overcome challenges.

The Meaning of the Toki

The toki is more than just a beautiful piece of pounamu—it carries deep spiritual and cultural significance. In Māori culture, the toki represents:

Strength and Power: Just as the toki was used to carve and shape, it symbolizes the strength to carve one’s own path in life.

Leadership and Authority: The toki is often associated with chiefs and leaders, embodying wisdom and the ability to guide others.

Determination and Focus: The precision required to use a toki reflects the importance of focus and perseverance in achieving one’s goals.

Wearing a toki is a way to connect with these values and carry them with you in your daily life. These particular attributes and values are part of the reason we have incorporated Toki into each of our licensed collections for the All Blacks , Black Ferns and Super Rugby . We believe there is a strong connection between our leading sportspeople and the mana of Toki.

The Art of Crafting a Toki at Moko Pounamu

At Moko Pounamu, each toki is handcrafted by our skilled artisans, who honour the traditions of their ancestors while infusing their own creativity and expertise. We take great care to select the finest pounamu, ensuring every piece is unique and of the highest quality.

Our artisans create multiple variations of toki, each with its own distinct character: 1. Traditional Toki: A classic design that stays true to the original form of the adze, with clean lines and a timeless silhouette. This style is perfect for those who appreciate the simplicity and strength of the toki’s traditional shape.

2. Curved Toki: A modern interpretation of the toki, featuring a gentle curve that adds a touch of elegance. This design is ideal for those seeking a balance of tradition and contemporary style.

3. Notched Toki: Toki designed with notches along one side or both sides were traditionally created to enhance the working edge and make it easier to release the tool from the material being worked.

Why Choose a Toki from Moko Pounamu?

When you purchase a toki pendant from Moko Pounamu, you’re not just buying a piece of jewellery—you’re investing in a taonga that carries the spirit of Aotearoa (New Zealand). Our commitment to authenticity, quality, and respect for Māori culture ensures that every toki is a meaningful and lasting treasure.

Caring for Your Toki

Pounamu is a durable and long-lasting stone, but it also requires care to maintain its beauty. To keep your toki looking its best :

Wear it close to your skin, as the natural oils will help preserve its lustre.
Clean it gently with a soft cloth and avoid harsh chemicals.
Store it in a safe place when not in use to prevent scratches or damage.

A Taonga for Generations

A pounamu toki is more than a pendant—it’s a connection to the past, a symbol of strength for the present, and a legacy for the future. At Moko Pounamu, we are proud to continue the tradition of crafting these beautiful taonga, ensuring that the stories and values of the toki live on for generations to come.

Explore our collection of pounamu toki today and find the piece that speaks to you. Whether for yourself or as a gift, a toki from Moko Pounamu is a treasure that will be cherished forever.

Kia kaha, kia maia, kia manawanui. (Be strong, be brave, be steadfast.)

Celebrating the Spirit of Te Matatini

Fri, 21 Feb 2025 00:45:00 GMT

Te Matatini o Te Kāhui Maunga 2025 : The Olympics of Kapa Haka

As the countdown to Te Matatini o Te Kāhui Maunga 2025 begins, the excitement is palpable. This biennial festival, often referred to as the "Olympics of Kapa Haka," is a celebration of Māori culture, artistry, and tradition.

From 25 February to 1 March 2025 , the stage at Pukekura Park, New Plymouth, will come alive with the power of haka, the grace of poi, and the beauty of waiata. With a record number of 55 groups competing this year, this is an event you won’t want to miss. Festival organisers estimate this year’s event will bring 70,000 people to Taranaki and another 1.8 million live viewers via TVNZ 2, TVNZ+ and the fan zones in Tamaki Makarau and Whanganui-a-Tara.

The Essence of Te Matatini

Te Matatini is more than just a competition; it’s a showcase of Māori excellence and a testament to the resilience and creativity of the Māori people. Each performance is a carefully crafted masterpiece, blending traditional elements like mōteatea (chants) and haka with innovative choreography and storytelling .

The festival is a platform for teams from across Aotearoa and Ahitereiria (Australia) to compete for the coveted title of Toa Whakaihuwaka (National Champion).

The Adornments of Kapa Haka

One of the most striking aspects of Te Matatini is the visual spectacle created by the performers. From intricately carved heru (combs) to shimmering pounamu and bone pendants, the adornments worn by kaihaka (performers) are as much a part of the performance as the movements themselves.

These pieces are not just accessories; they are taonga (treasures) that carry cultural significance and tell stories of identity and heritage.

Pounamu Pendants: The deep green hues of pounamu are a symbol of strength and connection to the land. At Moko Pounamu, we offer a range of handcrafted pendants that embody the spirit of kapa haka.

Our Koru Pendants , with their spiral designs, represents new beginnings and growth - perfect for performers stepping onto the national stage.

Heru (Combs): Traditionally used to secure hair in place, heru are often intricately carved with patterns that reflect the wearer’s whakapapa (genealogy).

Our Heru collection features stunning bone and pounamu designs, ideal for adding a touch of elegance to any performance.

Earrings: The sparkle of pounamu earrings catches the light with every movement, enhancing the visual impact of a performance. Our Tāwhiri Earrings, inspired by the unfurling fern frond, are a popular choice for kaihaka looking to complement their traditional attire.

Moko Pounamu: Your Partner in Cultural Expression

At Moko Pounamu, we are proud to support the kapa haka community by offering pieces that celebrate Māori culture. Whether you’re a performer, a supporter, or simply someone who appreciates the beauty of pounamu, our collections are designed to help you connect with your heritage.

As we gear up for Te Matatini 2025, we invite you to explore our online store and discover the perfect taonga to accompany you on this journey. From pendants to earrings and heru, each piece is crafted with care and respect for tradition.

Join the Celebration

Te Matatini is not just for the performers; it’s for everyone who values the richness of Māori culture. Whether you’re attending in person, tuning in via Whakaata Māori, TVNZ 2 or TVNZ+, or watching from the fan zones, take a moment to appreciate the artistry, the passion, and the stories behind every performance.

Let’s celebrate the "Olympics of Kapa Haka" together, honouring the talent, dedication, and cultural pride that make Te Matatini a truly unforgettable event.

Visit Moko Pounamu today and find your perfect taonga to help celebrate Te Matatini 2025!

UPDATED MARCH 3, 2025
Congratulations to all the performers and the winning teams at Te Matatini 2025. What an amazing event! You can find all the results of this year's event here. www.teaonews.co.nz/2025/03/01/te-matatini-o-te-kahui-maunga-full-results-announced/

How to Clean and Care for Your Pounamu Pendant

Thu, 30 Jan 2025 04:48:00 GMT

Why Proper Care for Pounamu Matters

At Moko Pounamu, we believe that your pounamu necklace is more than just a piece of jewellery — it’s a taonga (treasure) that carries deep cultural significance and personal meaning.

Whether you’ve recently purchased your first pounamu necklace or have cherished one for years, proper care is essential to maintain its beauty and integrity.

In this guide, we’ll walk you through the best practices for cleaning and caring for your pounamu, ensuring it remains a timeless treasure for generations to come.

Pounamu, also known as greenstone, is a durable and precious stone that holds immense cultural value in Aotearoa (New Zealand). It’s believed to carry the mauri (life force) of the land and its people, making it a sacred and meaningful adornment.

By caring for your pounamu necklace, you’re not only preserving its physical appearance but also honouring its spiritual and cultural significance.

How to Clean Your Pounamu Necklace

Over time, your pounamu pendant may accumulate dirt, oils, or residue from everyday wear. Here’s how to gently clean it without damaging the stone:

1. Use Warm, Soapy Water

- Fill a small bowl with warm water and add a few drops of mild dish soap.

- Submerge your pounamu necklace in the water and let it soak for a few minutes.

2. Gently Scrub with a Soft Cloth

- Use a soft, lint-free cloth to gently wipe the surface of the pounamu. Avoid using abrasive materials like brushes or scouring pads, as they can scratch the stone.

- Pay special attention to any crevices or carvings where dirt may accumulate.

3. Rinse Thoroughly

- Rinse the necklace under clean, lukewarm water to remove any soap residue.

4. Dry with Care

- Pat the pounamu dry with a soft towel. Avoid leaving it to air dry, as water spots may form on the surface.

Tips for Maintaining Your Pounamu

To keep your pendant looking its best, follow these simple maintenance tips:

1. Avoid Harsh Chemicals

- Remove your necklace before using cleaning products, swimming in chlorinated pools, or applying lotions and perfumes. Chemicals can damage the stone and its natural lustre.

2. Store It Safely

- When you’re not wearing your necklace, store it in a soft pouch or cloth to protect it from scratches and dust.

3. Recharge Its Energy

- In Māori tradition, pounamu can benefit from being recharged in natural environments. Place your necklace in a stream or under the light of the moon to restore its mauri (life force).

4. Wear It Often

- Pounamu thrives when worn close to the skin. The natural oils from your body help maintain its shine and keep it looking vibrant.

5. Restring when Needed

- If your cord breaks, get in touch with us for a new cord or bring it in to the Moko Pounamu shop for restringing. Find out more about restringing here .

What Makes Moko Pounamu Unique?

At Moko Pounamu, we take pride in crafting authentic pounamu pieces that honour the traditions and stories of Aotearoa. Each piece is carefully selected and hand-carved by skilled artisans, ensuring that every necklace carries the essence of the land and its people.

When you buy or receive a pounamu necklace from Moko Pounamu, you’re not just purchasing jewellery — you’re embracing a piece of New Zealand’s rich cultural heritage. Our commitment to quality and authenticity means that your pounamu will remain a cherished taonga for years to come.

Final Thoughts

Caring for your pounamu necklace is a simple yet meaningful way to honour its cultural significance and preserve its beauty. By following these cleaning and maintenance tips, you can ensure that your pounamu remains a treasured part of your life and a connection to the whenua of Aotearoa.

At Moko Pounamu, we’re here to help you every step of the way. If you have any questions about caring for your pounamu or would like to explore our collection of handcrafted greenstone jewellery, feel free to reach out to us. Your pounamu journey is our passion, and we’re honoured to be a part of it.

Moko Pounamu Partners with I Am Hope in 2024

Mon, 14 Oct 2024 04:28:00 GMT

A New Pounamu Pendant to Support Youth Mental Health

At Moko Pounamu, we believe in the power of pounamu to carry deep meaning and support causes that truly matter. Once again this year, we’re proud to partner with the I Am Hope charity to create a special pendant aimed at raising funds to provide much-needed counselling services to young New Zealanders. This limited edition pendant is not just a beautiful piece of jewellery—it’s a symbol of support, strength, and connection for those facing mental health challenges.

The Pendant Design

Crafted from kahurangi pounamu (greenstone), this unique pendant is a circular disc featuring one large koru and three small koru. The koru, inspired by the unfurling fronds of the native New Zealand fern, represents new life and a sense of hope. For those struggling with depression or mental health issues, this symbol is a reminder of growth, renewal, and the comfort of connection. The pendant hangs from a silver cord, which takes inspiration from the underside of silver fern leaves. In this design, the silver cord represents light in the darkness, a guiding force for those in need of hope and healing. To complete the design, a brown half hitch connects the cord to the pounamu disc, symbolising whenua (the earth) and the importance of feeling grounded and supported by our environment.

Limited Edition with a Powerful Purpose

Only 100 of these I Am Hope pendants have been created, each coming in a wooden presentation box signed by Mike King, the driving force behind I Am Hope. At $595 each, these pendants not only offer a beautiful and meaningful addition to your collection but also provide tangible support for young Kiwis facing mental health challenges. Proceeds from each of these pendants sold goes directly towards funding counselling services for tamariki in need, helping to create a brighter future for the next generation of New Zealanders.

Our Commitment to I Am Hope

This pendant is just one of the ways Moko Pounamu is proud to support I Am Hope. Earlier this year, we also donated a stunning greenstone mere to the charity, which was successfully auctioned to raise an incredible $15,000. Our partnership with I Am Hope reflects our passion for helping tamariki in Aotearoa access the mental health support they deserve.

How You Can Help

If you’d like to be a part of this meaningful cause, you can purchase one of the limited edition I Am Hope pendants directly from our website or at the Moko Pounamu store. By wearing this pendant, not only do you carry a piece of Aotearoa’s rich culture and history, but you also offer a sign of hope and support to those who need it most. Let’s join together in supporting the mahi of I Am Hope and helping our tamariki grow stronger and healthier. Every pendant sold makes a difference.

Get Yours Today

With only 100 pendants available, don’t miss out on owning this special piece and contributing to such an important cause. Order your I Am Hope pendant today and carry with you the strength, resilience, and hope that pounamu embodies. Together, we can make a difference.

Caring for Your Pounamu

Tue, 01 Oct 2024 01:09:00 GMT

Rebinds and Repairs by Moko Pounamu

Pounamu (New Zealand greenstone) is more than just a piece of jewellery - it’s a taonga (treasure) that carries deep personal, cultural, and spiritual meaning.

Whether gifted, inherited, or chosen for yourself, pounamu often holds significant connections to its wearer. Over time, however, wear and tear can impact the cord or binding of your pounamu. That’s where we come in. At Moko Pounamu, we offer rebinds, repairs, and replacement cords to ensure your taonga remains wearable and cherished for generations.

Why Rebind or Repair?

Daily wear, exposure to the elements, and even accidents can cause damage to your pounamu bindings or cords. A frayed cord, loose binding,or missing loop can mean your taonga is no longer secure. Repairs protect the safety and longevity of your piece while restoring it to its full beauty and functionality.

What We Offer at Moko Pounamu

We provide a range of professional repair and rebind services to suit your needs. Here’s how we can help:

1. Pendant Rebinds If your binding has become loose or frayed, we can expertly rebind your pendant, ensuring it is securely and beautifully tied. You can choose the colour for your cord from Black, Silver/Grey, Sage Green, Rich Brown or Caramel. You can also choose from the same colour range for the half hitch (the straight bind between the carving and the cord) which can be a different colour if you wish.

2. Pricing We have three prices for rebinds based on size: Small $40.00, Medium $50.00 and Large at $65.00.

3. Replacement Cord for DIY Repairs If you prefer to handle your repairs yourself, we offer high-quality replacement cords so you can rebind or restring your pendant at home. If you like, you can add an extra cord to your order when you buy one of our strung pendants.

Why Choose Us?

At Moko Pounamu, we treat every repair with care, respect and expertise.

Craftsmanship You Can Trust: With years of experience in designing and repairing pounamu, we understand the importance of each piece and ensure it is handled with the utmost care.

Quality Materials: We use durable, premium cords and bindings to guarantee your taonga will last and stay secure.
Cultural Integrity: All repairs are done with respect to tikanga Māori, honouring the spiritual and cultural value of pounamu.

Tips for Caring for Your Pounamu

Inspect Regularly: Check your cord and binding for wear and tear to avoid accidents.
Gentle Cleaning: Use a soft cloth and warm water to clean your pounamu—avoid using chemicals.
Store Securely: When not wearing your taonga, store it in a safe place to prevent damage or tangling.

Let Us Help You

To organise a repair or purchase a replacement cord, simply visit the Repairs and Commissions section of our website. Whether you need a professional repair or a DIY replacement, we’re here to make sure your treasured pounamu continues to be a meaningfulpart of your life.

At Moko Pounamu, we’re passionate about preserving the stories, connections, and beauty of every taonga. Let us help you honour andcare for your pounamu so it remains with you and your whānau for generations to come.

Prestigious Te Puhoro Trophy Unveiled for NZB Kiwi Race

Fri, 27 Sep 2024 02:33:00 GMT

Trophy created by Moko Pounamu and Frontal Lobe

At Moko Pounamu, we are honoured to have been chosen by New Zealand Thoroughbred Racing (NZTR) to contribute to a significant piece of New Zealand’s sporting history – the creation of Te Puhoro, the trophy for the inaugural running of the Southern Hemisphere’s richest three-year-old horse race, the NZB Kiwi. This prestigious race, scheduled for 8 March 2025 at Ellerslie Racecourse , represents a major milestone in New Zealand’s Thoroughbred racing scene, and we are proud to have played a key role in crafting a trophy that embodies the mana of this extraordinary event.

The Design of Te Puhoro: Symbolism and Craftsmanship

At the heart of Te Puhoro is the collaboration between Moko Pounamu and Christchurch-based design company Frontal Lobe . The contemporary design, brought to life through a stunning split Koru pattern, symbolises swiftness, speed, and agility – characteristics central to the racehorses competing in this world-class event. The Koru design, significant in Māori culture, also represents a storm or tempest, perfectly reflecting the powerful and often fiery nature of a stallion. For Moko Pounamu, incorporating Māori imagery into the design was an essential element of this project, as it reflects both the dynamic spirit of the race and the deeper cultural connections to the land and its people.

The Pounamu: Carving the Soul of Aotearoa

One of the most striking features of Te Puhoro is the incorporation of pounamu, sourced from the rugged landscapes of South Westland. The Hāpopo variety of pounamu used in the trophy was carefully selected for its unique qualities and was carved into the silhouette of Aotearoa, symbolising the connection between the land, the people, and the sport. At Moko Pounamu, we take great pride in ensuring that every piece of pounamu we work with tells its own story. For Te Puhoro, the choice of Hāpopo pounamu was deliberate – its strength and beauty reflect the prestige and history of New Zealand’s Thoroughbred industry. It was a rewarding experience for our owner Deane Moreton to work with this stone, and to highlight its natural beauty alongside other native materials featured in the trophy’s design.

Whakapapa and Mana: Layers of Meaning

The multi-layered design of Te Puhoro holds special significance for us at Moko Pounamu. Each layer represents whakapapa, the Māori concept of ancestry and lineage, which is a powerful source of mana for Māori and holds a deep connection to the race itself. Just as the whakapapa of each competing horse tells the story of its lineage, so too does this trophy represent the ancestry and bloodlines of Aotearoa, adding another layer of significance to this momentous event.

A Collaborative Effort

Working alongside the talented team at Frontal Lobe, we were able to bring Te Puhoro to life through the fusion of traditional carving techniques and contemporary design. Our work was supported by acclaimed writer and poet Ben Brown, who helped guide the naming process of this special piece. Additionally, Ngāti Whātua Ōrākei honoured Te Puhoro with a blessing ceremony, adding a spiritual element to the unveiling of this unique taonga.

A Symbol of Excellence in Racing

NZTR Chairman Russell Warwick expressed the significance of Te Puhoro, noting its role in celebrating New Zealand’s world-class breeding and racing industry. The trophy will be awarded to the winner of the NZB Kiwi race – a race featuring the top three-year-old Thoroughbreds conceived, born, or sold in New Zealand. We at Moko Pounamu are proud to have contributed to this initiative, which not only elevates New Zealand’s Thoroughbred racing but also honours the deep cultural connections embedded in the land and its people. As we look ahead to the NZB Kiwi on 8 March 2025, we are excited to see Te Puhoro awarded to a worthy winner – a symbol of both sporting excellence and the enduring legacy of pounamu, forever tied to the land and people of Aotearoa.

The Legacy of Kiingitanga

Fri, 30 Aug 2024 05:01:00 GMT

A Journey Through the Life of Kiingi Tūheitia

The passing of Kiingi Tūheitia Pōtatau Te Wherowhero VII marks a significant moment in Aotearoa New Zealand’s history. As we reflect on his life and leadership, it’s essential to understand the origins of the Kiingitanga movement and the role it has played in shaping the nation.

The Birth of Kiingitanga

The Kiingitanga movement was established in the 1850s as a unifying force for Māori across Aotearoa. In response to increasing European settlement and the growing pressure on Māori land and sovereignty, the chiefs of several iwi (tribes) sought a way to preserve their land, culture, and independence. The idea of a Māori King, who could unite the iwi and provide a central figure of authority and leadership, was born. In 1858, Pōtatau Te Wherowhero, a respected leader of the Waikato iwi, was crowned the first Māori King. This was a momentous occasion, as it marked the beginning of a movement dedicated to the preservation of Māori identity, land, and self-determination. The Kiingitanga has since become a symbol of unity and resistance, standing as a beacon of Māori strength and resilience through challenging times.

The Role of the Māori King

The role of the Māori King is not one of absolute power but of guidance, representation, and advocacy. Each successive King or Queen has worked to protect the rights and interests of Māori, foster unity among the iwi, and maintain the cultural traditions that are central to Māori identity. Over the years, the Kiingitanga movement has navigated the complex landscape of colonialism, land confiscations, and the ongoing struggle for Māori rights. The movement has been instrumental in advocating for the return of land, recognition of the Treaty of Waitangi, and the revival of te reo Māori (the Māori language) and tikanga (customs).

The Life and Leadership of Kiingi Tūheitia

Tūheitia Pōtatau Te Wherowhero VII, born Tūheitia Paki in 1955 in Huntly, was the seventh Māori King, following in the footsteps of his mother, Te Arikinui Dame Te Atairangikaahu, who held the position of Queen for 40 years. Educated in Waikato and Auckland, Kiingi Tūheitia brought a strong sense of continuity to the Kiingitanga movement while also navigating the challenges of modern leadership. His reign began in 2006 and was marked by a deep commitment to the wellbeing of Māori and the promotion of unity. Kiingi Tūheitia was a vocal advocate for the health and education of Māori, understanding that these were key areas where improvements could make a profound impact on the lives of his people. He worked tirelessly to address disparities and support initiatives that aimed to uplift Māori communities across the country. One of Kiingi Tūheitia’s significant achievements was his involvement in the Whānau Ora programme, which aimed to improve the social and economic wellbeing of Māori families by empowering them to take control of their own futures. His leadership in this area was a testament to his belief in the strength and potential of whānau (families) as the foundation of Māori society. Another important aspect of his reign was his focus on the environment. Kiingi Tūheitia was a staunch advocate for the protection of Aotearoa’s natural resources, recognising the deep connection between Māori and the land. He supported initiatives that promoted sustainable practices and the protection of waterways, forests, and other taonga (treasures) of the natural world.

A Legacy of Unity and Strength

Kiingi Tūheitia’s legacy is one of unity, resilience, and a deep commitment to the wellbeing of Māori. His leadership was characterised by a quiet strength and a determination to see his people thrive in a rapidly changing world. Under his guidance, the Kiingitanga movement continued to be a source of inspiration and pride for Māori, as well as a crucial advocate for their rights and interests. As we reflect on the life of Kiingi Tūheitia, we also look back on the history of the Kiingitanga movement and its enduring significance in Aotearoa. The movement has been, and continues to be, a vital part of the Māori struggle for self-determination, cultural preservation, and justice.

Honouring the Past, Looking to the Future

The passing of Kiingi Tūheitia marks the end of an era, but his legacy will undoubtedly continue to inspire future generations. As we honour his memory, we also acknowledge the ongoing journey of the Kiingitanga movement and the vital role it plays in the lives of Māori and in the history of Aotearoa New Zealand. Through the leadership of Kiingi Tūheitia and his predecessors, the Kiingitanga has remained a powerful force for unity and strength. As the movement continues to evolve, it will undoubtedly continue to be a source of guidance and inspiration for Māori, ensuring that their voices are heard, their rights are protected, and their culture is preserved for generations to come.

The Meaning Behind the Manaia

Sat, 24 Aug 2024 20:39:00 GMT

A Deep Dive into the Mythology of a Guardian Spirit

The Manaia is one of the most distinctive and spiritually significant symbols in Māori culture. Often depicted as a figure with the body of a human and the head of a bird, the Manaia is more than just an artistic motif, it is a profound emblem of protection, balance, and the connection between the physical and spiritual realms. At Moko Pounamu, we honour the Manaia through our handcrafted pieces, each one steeped in the rich mythology of this ancient guardian.

Origins of the Manaia

The origins of the Manaia are deeply rooted in Māori mythology, where it is often described as a messenger between the earthly world and the spiritual realm. The name "Manaia" itself is derived from the word "mana," meaning spiritual power or authority, and the suffix "ia," which can denote the essence of something. This reflects the Manaia's role as a carrier of spiritual energy and its connection to the concept of mana, which is central to Māori belief. In traditional Māori art, the Manaia is frequently depicted with a bird-like head, a nod to its role as a spiritual messenger. Birds, in Māori culture, are often seen as symbols of freedom and the ability to move between the heavens and the earth, further reinforcing the Manaia's role as a bridge between worlds.

Symbolism and Meaning

The Manaia is typically shown in profile, with one half of its body representing the physical world and the other half the spiritual world. This duality is a key aspect of its symbolism, embodying the balance between the material and the metaphysical, life and death, the known and the unknown.

Guardian and Protector: One of the primary roles of the Manaia is that of a guardian. It is believed to protect its wearer from harm and evil influences, acting as a spiritual shield. This protective aspect is often why the Manaia is incorporated into personal adornments like pendants and carvings, where it serves as both a talisman and a reminder of the wearer's connection to the spiritual world.

Messenger Between Worlds: The Manaia’s bird-like head signifies its role as a messenger between the living and the dead, the natural and the supernatural. In this capacity, it carries prayers and messages to the gods, ancestors, and spiritual beings, ensuring that the spiritual needs of the living are communicated and that guidance is received from the other side.

Balance and Harmony: The Manaia’s dual nature also symbolises the importance of balance in life. In Māori belief, maintaining harmony between the physical and spiritual aspects of existence is crucial for well-being. The Manaia serves as a reminder to strive for this balance, to respect both the seen and unseen forces that shape our lives.

The Manaia in Māori Carvings and Art

In Māori art, the Manaia is a versatile motif, appearing in wood carvings, bone and pounamu (greenstone) jewellery, and other traditional forms of adornment. Each representation of the Manaia may vary, but certain elements remain consistent, such as its distinctive profile, bird-like head, and the intertwining of human and animal forms.

Pounamu Manaia : Carvings of the Manaia in pounamu are particularly valued for their spiritual significance. Pounamu itself is considered a taonga (treasure) with its own mana, and when shaped into the form of a Manaia, it becomes a powerful symbol of protection and spiritual connection. These pieces are often passed down through generations, becoming cherished heirlooms that carry the mana of both the stone and the wearer.

Wood Carvings: In traditional Māori wood carvings, the Manaia often appears as a decorative element on waka (canoes), wharenui (meeting houses), and other important structures. Here, it serves both an aesthetic and protective function, guarding the space it adorns and imbuing it with spiritual energy.

Modern Interpretations: Today, the Manaia continues to inspire contemporary artists and jewellers, who blend traditional symbolism with modern techniques. At Moko Pounamu, we honour this tradition by crafting Manaia pendants and carvings that are both deeply rooted in Māori culture and designed to resonate with today’s wearers.

The Manaia as a Personal Talisman

For many, wearing a Manaia is not just about putting on a piece of jewellery—it's about carrying a piece of spiritual protection and cultural heritage with them. The Manaia serves as a constant reminder of the wearer’s connection to their tupuna, the spiritual realm, and the values of balance and harmony.

In a modern context, the Manaia is also a symbol of identity and pride, representing a connection to Māori culture and the timeless wisdom that it embodies. Whether worn for its protective qualities, its cultural significance, or its aesthetic beauty, the Manaia is a deeply personal symbol that resonates with individuals on multiple levels.

The Manaia is much more than purely decorative: it is a powerful symbol of protection, balance, and spiritual connection in Māori culture. At Moko Pounamu, we are proud to craft pieces that honour the Manaia’s rich mythology and its enduring relevance in the lives of those who wear it. Whether you seek a guardian for your spiritual journey, a connection to your cultural heritage, or a piece of art that carries deep meaning, the Manaia offers all this and more.

By choosing a Manaia from Moko Pounamu, you are not just acquiring a piece of jewellery—you are embracing a piece of New Zealand’s spiritual and cultural heritage, a talisman that has protected and inspired countless generations.

Shepherd's Whistles: Blending Tradition, Craftsmanship, and the Perfect Gift

Wed, 21 Aug 2024 03:06:00 GMT

Get in behind! A story of high country farming in NZ

On New Zealand farms, where the landscape is as rugged as it is beautiful, shepherds have relied on low-tech tools to manage their flocks since the first sheep farms were established in the 1800s. Among these, the shepherd's whistle has stood the test of time as a crucial instrument in controlling sheepdogs, the indispensable partners of any kiwi shepherd or shepherdess. At Moko Pounamu, we have honoured this tradition by crafting shepherd's whistles with a modern twist, using materials that reflect New Zealand’s rich heritage and natural beauty. Our range includes whistles made from pounamu (greenstone), silver, gold, and a combination of silver and pounamu, each piece a testament to the enduring legacy of this simple yet powerful tool. But these whistles are more than just practical tools; they are also perfect gifts, especially for those with a deep connection to rural life. Whether for men or women, they offer a unique blend of functionality and style, making them ideal as a piece of practical, functional jewellery.

A Short History of Shepherd's Whistles in New Zealand

The origins of the shepherd's whistle in New Zealand trace back to the early days of sheep farming, a practice introduced by European settlers in the 19th century from their homes in England. As sheep farming spread across the wide open spaces of New Zealand, the need for effective communication between shepherds and their dogs across the sprawling high country farms was essential. The shepherd's whistle, with its clear, high-pitched sound, became the tool of choice, enabling shepherds to send commands over long distances, even in challenging terrain. In the hands (and mouths) of skilled shepherds, these whistles could produce a variety of sounds, each one conveying a specific command to their dogs. Over time, the shepherd's whistle became not just a practical tool but a symbol of the close bond between a shepherd and their dog, and by extension, a symbol of rural New Zealand life. The skills of an experienced shepherd and their dogs are fascinating to observe, as seen in the obsession of the entire country with popular TV show "A Dog’s Show" which ran for 15 years, showcasing the skill of dog trialing – shepherd, whistle and dogs at their very best - and a small flock of headstrong ewes being most unco-operative!

Craftsmanship and Materials

At Moko Pounamu, we have reimagined the shepherd's whistle, blending tradition with artistry to create pieces that are both functional and beautiful. Each whistle is crafted with care, ensuring that it produces the clear, precise tones that are essential for working with sheepdogs. These whistles are also cherished as unique, thoughtful gifts, particularly for men or women who value both practicality and tradition. However, their appeal extends to anyone with a connection to the land or an appreciation for functional jewellery. Pounamu Whistles : Our pounamu shepherd's whistle is more than just a tool; it's a piece of New Zealand's history. Pounamu, or New Zealand greenstone, has been valued by Māori for centuries for its strength and beauty. When you hold a pounamu whistle, you’re not just holding a whistle—you’re holding a piece of Aotearoa’s soul.
This whistle combines the practical utility needed on the farm with the deep cultural significance of pounamu, making it a cherished item for both shepherds and collectors alike. As a gift, it offers a meaningful connection to New Zealand’s heritage, making it perfect for those who value tradition and craftsmanship. Sterling Silver Whistle: Sleek and elegant, our sterling silver shepherd's whistle is a nod to the traditional metal whistles used by shepherds around the world. Crafting your whistle from silver, known for its durability and classic appeal, ensures that this whistle will stand the test of time. It's a perfect blend of functionality and style, suitable for those who appreciate the finer things in life, even when working in the great outdoors. As a gift, it’s ideal for men who value understated elegance in their everyday tools, turning a practical item into a piece of functional jewellery. Gold Whistle: For those seeking a truly special gift, our gold shepherd's whistle offers a luxurious take on this timeless tool. Gold, with its enduring value and lustrous shine, transforms the humble shepherd's whistle into a statement piece. While still fully functional, this whistle is also a symbol of success and prestige, perfect for someone looking to honour tradition with a touch of opulence. As a gift, this whistle is a standout choice, offering a blend of functionality and luxury that appeals to those who appreciate the finer things in life. Silver and Pounamu Whistle: This unique whistle brings together the best of both worlds, combining the natural beauty of pounamu with the sleek elegance of silver. The result is a whistle that is not only functional but also a work of art, embodying the spirit of New Zealand in every note it produces. It’s a versatile option, perfect for those who appreciate the blend of tradition and modern craftsmanship. As a gift, it appeals to both men and women who value quality, heritage, and the connection to New Zealand’s natural beauty. Shepherd's whistles have been a staple of New Zealand farming for generations, and at Moko Pounamu, we’re proud to continue this tradition with our unique range of whistles. Made from pounamu, silver, gold, or a combination of materials, each whistle is a reflection of the skill and care that goes into every piece we create. These are not just tools - they are pieces of history, art, and New Zealand culture, designed to be cherished for a lifetime. For those who understand the value of heritage and craftsmanship, a shepherd's whistle from Moko Pounamu is more than just an accessory—it’s a connection to the land, the past, and the enduring legacy of New Zealand's farming community. Whether to mark a special occasion like Father’s Day, a graduation, a new job on the farm or just because, a shepherd’s whistle from Moko Pounamu is a New Zealand made gift that will be treasured for years to come.

The Meaning Behind The Toki

Sat, 17 Aug 2024 20:26:00 GMT

Recently we’ve been writing in depth about Pounamu shapes and their meanings.

That is to say, what shapes the carvings represent, their historical origins and why they’re relevant today. We get asked a lot about greenstone shape meanings which is why we’ve been writing in such detail about a variety of shapes that we commonly have in our gallery and shop.

Previously in this series we have written blogs about the meanings of hei tiki (the form of a man), greenstone koru (a spiral) and hei matau (a fishhook). Each shape and form carries significant and special meanings which makes for interesting reading. Have a read of them all in our blog library - click here .

Another very common shape seen in pounamu carvings is the toki. When hung around a person’s neck it looks unassuming, simple and familiar. We see this shape a lot in pounamu jewellery carving. But in fact, many years ago it was originally a widely-used and important tool.

Toki translates to ‘adze’ in English and if you look closely at the form of a toki you will see that one end is left thick (sometimes with some notches in it), and the other slopes away into the sharp edge of a blade. The thick end was traditionally attached to a stick with flax to create a tool for chiselling and cutting things. Resembling the blade of an axe. Some of the denser varieties of pounamu (greenstone) are able to be carved into very sharp edges, offering a blade sharp enough to cut meat, wood and flax, and for carving too.

Various sizes can be found throughout Aotearoa of taonga (family heirlooms) handed down and newly carved artwork, too. Traditionally a toki was made according to its intended use. It might have been for carving larger pieces of wood, or more intricate and detailed work. It was considered a sign of strength and power for a toki to be used ceremonially by notable iwi (tribe) members, to cut down a large tree for example.

Moving into modern day, the toki is a symbol of courage, strength, determination and authority. Toki are often given as gifts to represent these things, and to honour the mana (pride) of the person receiving it.

Here at Moko Pounamu we have many toki pieces which have been artfully carved and are ready to be viewed and purchased. Take a look at our Toki pendant collection to find a piece that catches your eye, and keep an eye out for our next blog as we go into more detail about the meaning behind another recognisable pounamu carving shape.

Welcome to the Moko Pounamu Greenstone Shop

Sun, 28 Jul 2024 01:50:00 GMT

The Mana of the Moko Pounamu Greenstone Shop

Based in beautiful Te Wai Pounamu (South Island of New Zealand) where pounamu is found, you can find our Moko greenstone shop in the heart of Ōtautahi Christchurch, at 340 Durham Street.

With our on-site workshop, many of our pieces have been carefully created by our talented carvers in the back of our shop. We also sell unique pieces from a range of artists across Aotearoa, with many of our team working on the West Coast where pounamu is freshly sourced from the local rivers (awa).

Taking classic Māori designs and crafting them with love and care, these pieces of jewellery , sculpture and taonga reflect the natural beauty of our surroundings here in Aotearoa.

Pounamu carvings are designed to resonate with you and what you believe in, providing owners with a statement piece that can be passed down through generations, growing in mana and value with each generation that wears it.

Deane Moreton has brought together a talented team of artists to supply Moko Pounamu, growing the business from a childhood spent working alongside his father in their family greenstone business.

With more than 40 years’ experience sourcing and handcrafting Aotearoa pounamu, Deane is one of the leading experts in the industry, blending traditional and contemporary design to create one-of-a-kind statement pieces that will last a lifetime.

If you’re looking for a piece to love, we recommend visiting our store, where your special stone can pick you. Our shop team can help explain the meanings behind each different piece, tell you how to best look after your pounamu and advise you on blessings, if that is important to you. We don’t offer pieces by commission, as each stone is unique, and our carvers work to tell a story in each piece, inspired by our indigenous culture.

We respect the iwi of the area and work with Te Runanga o Ngāi Tahu to ensure that we only work with stone from legitimate sources, and source pounamu with sustainable practices. All our artists carve with respectful intentions, and we work hard to consciously create an environment that ensures the sustainability of pounamu for our tamariki.

The pricing of pounamu is subjective, based around the appearance, artistry and time taken to carve each piece. We have a range of pieces to suit all budgets, including a section of pieces to love priced at $100 or less , making sure that everyone can enjoy the beauty and mana of pounamu.

We’re proud to be a locally owned, Kiwi-made business, sharing the art of craftsmanship with our community – and the world. We’d love to show you our store, which is open to the public from Monday to Saturday, 10am – 5pm.

Top tip: you can have up to an hour of free parking at the nearby Christchurch Casino!

Deane Moreton - Pounamu Carver

Collaborating with I AM HOPE

Tue, 16 Jul 2024 22:43:00 GMT

In 2023, following a chance phone call to Mike King of Gumboot Friday, Moko Pounamu developed and produced this Limited Edition, exclusive pounamu breastplate to help raise funds for I AM HOPE.

Designed by Susan Aratema and Mike King, this breastplate was handcrafted by our talented Moko craftsmen, presented in a Christchurch made sustainably sourced and hand crafted limited edition box, made by the clever gents at Frontal Lobe - check them out here !

Each lid was signed by Mike King and Richie Barnett (legends!) and proceeds of the sales went directly to I AM HOPE to help fund counselling sessions for New Zealanders under 25 with mental health issues.

Our design work and photography was put together by Jason Bird at Design Co Creative - Check them out here www.designco.co.nz
Lee Weir from the Rock Radio Station jumped on board too! The Rock are huge supporters of I Am Hope and Gumboot Friday and do so much to raise awareness of the mental health issues facing so many New Zealanders.
Check out what Lee had to say here:

And check out Mike's video here:

I AM HOPE shines as a beacon of hope in the darkest moments of young lives. Their unwavering belief is that every young person, irrespective of their background, deserves the nurturing support and a safe haven to openly discuss their challenges. They stand united for all the tamariki across New Zealand, with a resolute goal: to see zero suicides. Together, we can create a future filled with light, strength, and endless possibilities.

https://www.iamhope.org.nz/

https://www.gumbootfriday.org.nz/

A breastplate signifies strength and protection in battle, traditionally going into a physical battle. Mental health is an everyday battle for many New Zealanders and the breast plate shape has been chosen not only to acknowledge this battle but to give strength and protection every day.

Koru - The shoots of the silver fern, we have chosen 4 koru for this design, The circular movement to the inner core refers to "going back to the beginnings" as, at times, this is where we need to start. The unfurling frond itself is symbolic of hope, personal growth, a new phase in life, the spirit of rejuvenation and peace, significant as we journey through life with its ebbs and flows, ups and downs.

Kahurangi - Genuine West Coast Greenstone from the Marsden, West Coast area. Kahurangi is the rarest variety of pounamu. It is highly translucent and often comes in vivid shades of green. Small, feather-like markings in the stone can give a cloud effect – although to be classed as Kahurangi, this effect must not reduce the stone’s clarity. The word Kahurangi also indicates nobility and refers to precious jewels and held in high esteem by Māori.

NEWS For 2024

We are super excited to be launching a new silver I am Hope line in the very near future and will be releasing the 2024 Limited edition carving in November - pre-orders will open mid October. Watch this space!
And thank you for your overwhelming support of this fabulous charity.

The history, meaning, types and how to choose your pounamu

Fri, 05 Apr 2024 10:23:00 GMT

(Insights from the founder of Moko Pounamu, Alf Moreton in his book Te Wahi Pounamu: The Place of Greenstone.)

Since its discovery, greenstone has become part of New Zealand's history. Often called "the luck stone", it was worn by our gallant warriors for protection in military conflicts.

Visitors to New Zealand rarely leave without a piece of greenstone, as it is a part of the land connected to the people and serves to remind them of their time here.

People are confused about the different types of greenstone. I've often been asked, "Where does it come from? I heard you can't buy it for yourself, can you? Is there any difference in the value between the light and dark colours?" and, "I thought it was scarce but it's everywhere. Is it all from New Zealand?"

The History of Pounamu in Aotearoa New Zealand

The Chinese Connection

Jade describes a stone which exists in many parts of the world, and is particularly linked to the variety found in China. In that country Jade is known as the Stone of the Loins, and in ancient days was believed to have great medicinal powers. The Chinese claimed that if the stone was laid on the body in the area of the lower back or sides it would cure kidney disorders.

In fact, Nephritis is a medical term used to describe inflammation of the kidney, and the word Nephrite is derived from this name. There are stories of Chinese people powdering the stone, then drinking the milky solution to make them impervious to heat and cold.

For the Chinese, Jade symbolised all that was high and pure. Kwan Chung, in the seventh century BC, wrote that its smoothness symbolised benevolence; its brilliant lustre, knowledge; its toughness, justice; its rarity, purity of the soul. The fact that the smallest crack on its surface was immediately visible, typified candour and that it may be passed from hand to hand but was never soiled made it a symbol of a life governed by high moral principles.

Superstitious ideas largely contribute to the popularity of Jade in China. One such story is of a Russian officer who saw a block of Jade on one of the roads in Turkistan that had evidently been abandoned in the course of transportation. He was told that while it was on its way from the Raskem-Darya quarry to Peking, an order came to leave it on the road, as the heir apparent to the Chinese throne had just been attacked by a serious disease after having slept on a couch made of Raskem Jade.

Early New Zealand Greenstone Discoveries

Discovering greenstone often meant a bonus for gold miners on the West Coast of New Zealand, especially if it looked good it could be sold for between ten cents and twenty cents per kilogram. It all depended on how it looked. Buyers were always visiting old mining sites and looking for stone.

"Seebec' was a well known name on the Westland Goldfields. Louis Seebec lived in Kumara where he established a butcher's shop which also served as a base for buying stone. Little is known of this family.

It is thought that they came from somewhere in the northern part of Germany, where Louis most probably learnt the art of buying stone. This is a great skill indeed. The criteria for buying stone would have been the shape, looks and suitability for shipping.
The true quality of stone can only be determined once the stone is cut and there were no diamond saws in those days to immediately discover the quality of the stone.

This method, called "buying on the blind", was considered a sure way to lose one's money especially considering only 15% of stones turned out to be suitable for high class jewellery. Stones that were not so attractive were placed aside, along with those encrusted with the talc rind.

Sometimes stones would be placed at the entrance of a tunnel if they were too heavy to cart back to the camp for safe keeping. Often heavy stones were found in the tunnel itself, rolled into a custom built hole in the tunnel wall. The hole was usually neatly repacked with smaller stones to reform the wall. I have entered and explored many tunnels at Seddon Terrace, and in one tunnel found a very large stone in 1984. Although it was of reasonable quality it was considered to be too risky to retrieve.

These tunnels, dug by early gold miners, still exist today. Straight, level and dry, you can stand up inside with headroom under the arched roof. Very rarely have any collapsed, although occasionally you do find a roof cave-in. Pick marks are still clearly visible on the tunnel walls.

Although mining exposed an abundance of greenstone in those early gold rush years, the ancient river channels were where the great wealth lay, not just gold but greenstone too. Washed clean of all alluvium, vast piles of mountainous rock called "tailings" preserve the great bulk of this resource. Bulldozers were dwarfed in this sea of stones, and when small surface areas were levelled off for tree planting, much greenstone was exposed.

In the majestic stone walls found in the Marsden, Kumara and Rimu gold diggings, millions of stones were stacked, neatly forming great trail races. It is very rare to find any greenstone here. These areas were thoroughly inspected by the miners of the time and any reasonable looking stones were either placed aside or carried back to camp sites for safe keeping. Old sites sometimes yield slabs of stone that the Chinese diggers used to split and use for fire surrounds. The stone was able to withstand the extreme heat of the fireplace on those miserable wet and cold wintry nights. Heat from the fireplace hardens the stone and changes its colour to a dun-red.

The Different Varieties of Greenstone

The endless colour variations with shades from black to white and all shades in between, make Greenstone unique to this part of the world, standing apart from the Nephrite Jade found in many other countries.

1) Chatoyant

Found mainly in the Arahura River, occurs as thin bands in the Inanga variety. Such stones exhibit a narrow silvery band of light which changes its position as the gem is turned. It is extremely rare.

2) Flower Jade

So called because of the never ending range of colours which occur in all the main varieties, these colourations are exclusive to Nephrite from this part of the world. Carvings made from flower jade are extremely rare and expensive. It was once cast aside as being of little use except for paperweights or pen stands, yet this stone reminds all who cast eyes upon it, that the greenstone from New Zealand is something special, different from all they have seen.

3) Inanga Pounamu

Named after whitebait, the famous young fish delicacy, Inanga Pounamu is a pearly greyish colour which can look bluish in a certain light. It is very translucent in the lighter soft shades and can also be opaque when grey to light brown.

A relatively soft stone and highly prized by Maori, it is often perceived as too grey to be greenstone. Many museum tiki and patu are artefacts made from this variety and are most probably made from stone from the South Westland deposits. These are so much softer than those of the north.

The Inanga from the Arahura River can be very brittle, with asbestos fibrous striations that shatter the stone when worked on the lap wheel. Yet those stones that are well felted produce beautiful colourations.

This variety, unlike the others, is very heat sensitive and must be kept cool during the polishing process, otherwise white burn marks can spoil the overall look.

It is found in the Arahura River watershed and also in the Kawhaka and Waimea Creeks.

4) Kahurangi Pounamu

This is the colour that most people perceive our Nephrite to be. A very bright apple green shade and very translucent, this variety of greenstone radiates its colour without being held to a light. Soft black iron spots can spoil the overall look of the stone and customers often think these black spots suggest impurity. However, ninety percent of New Zealand Greenstone has this feature, these iron spots scattered throughout the stone. When a thin slice is held up to a light it can best be described as looking like a slither of kiwifruit.

A beautiful combination is obtained when the iron spot is hard, and it is also believed that the spot brings good fortune to the wearer. This variety often has inclusions of white and yellow, giving the appearance of rolling clouds, referred to as "the garment of heaven". It is found mainly north of the Arahura River.

Kahurangi Pounamu also has beautiful colourations in its surface rind caused by water seeping along its grain-like structure, staining the outer surface of the stone.

Colour combinations within this variety include the Raukaraka colourations , yellow to orange, brown and white. These, combined with other varieties make for an endless array of patterns which in recent times have become known as the "Flower Jades".

5) Kawakawa Pounamu

The darkest shade of all New Zealand green stone which ranges from almost black to a deep shade of emerald green. It is translucent only at the extreme edge or when sliced very thinly and held up to a light.

This variety was used mainly for hei tiki , considered too dark for jewellery, although it is suitable for cuff links and men's rings. It is found in all the main gathering districts. Being the strongest of all varieties, its toughness and strength found favour with Maori who used it for toki (adzes) and patu (clubs), as it kept a keen edge.

Kawakawa Pounamu can appear almost black when on display, but out in the sunlight it has a beauty that is unmistakably the colour of traditional Māori greenstone. It looks as soothing and restful to the eye as it is to the touch.

Some types of Kawakawa, found in the districts from Waimea to Kumara, exhibit beautiful effects of brownish to orange colourations, and are often referred to as Waimea Stone.

6) Kokopu Pounamu

Known as 'Mountain Trout stone' because it resembles the skin of a fish. Kokopu pounamu is found mainly in the Wainihinihi Creek and Arahura River. This predominantly brown coloured variety is not often seen.

Some interesting patterns are found in this spotted variety, as colours vary from darkish brown to light fawn with many shades in between. It is often said every stone has a destiny (or use) and this stone is one that fulfils the prophecy, as no other variety is more perfect for carving a trout. Alf Moreton purchased several blocks from a very large stone of this variety which was found in the Wainihinihi Creek in 1972 by Murray Fleming.

7) Mutton Fat Stone

A variety found in the Waimea District and also in the Wainihinihi Creek. Mutton Fat Stone has no distinct grain and is easy to work. Once polished, the surface of the stone is very wax like.

This variety is not widely known except in the local trade where it was given its descriptive name by the late Hettie Feith-Wells, a gemstone expert and regular buyer of unusual types of stone in the early 1970s. It is extremely rare.

8) Raukaraka Pounamu

A stone that has a prevalence of various shades of yellow (all shades from dark to very bright) through to olive green. These colours can make this a very attractive variety. Raukaraka is rare and comes mainly from north of the Arahura River but also occurs in the Kawhaka and Goldsborough areas.

Opaque and rather hard with almost no structure, Raukaraka is an interesting stone and barely seen in shops today. It is another stone not perceived by the buying public to be Greenstone because of its yellowish coloration. It sometimes has inclusions of dark to olive green merging with orange to a muddy red and when worked into carvings this looks most attractive.

How to Choose Pounamu

Well, that's a tricky one!

We understand the culture, history, traditions and significance of these stones make it sacred. While choosing a Pounamu you could turn to the peak of the sentient being you are but do not over-complicate it.

Simply put, browse through our beautiful pounamu catalogue and take a good look. Let the stone pick YOU.

Let it resonate with the being you are and what you believe in, let it bring you the luck you deserve and the charm it holds.

The House of Weaving Part 2: Tuatahi, Te Muka - First, The Muka

Wed, 25 Oct 2023 20:47:00 GMT

The chances are if you grew up in Aotearoa New Zealand, or at least went to primary school here, you will have made something out of harakeke (flax) before. Maybe a headband or a mat. You might have even tackled a small basket or kete.

My mother showed me how to make a bullwhip out of harakeke when I was ten or eleven. There was a massive harakeke that dominated the front lawn like a Pā. Many of the great tupuna leaves that surrounded the bush like a palisade were well over 2 metres long while the flower stalks where Tui clanged their authority with mixed results were longer still.

She’d made many things from that great clattering beast of a plant in the four or five years we’d lived on the farm since moving from a smaller holding just up the river. Kete mostly, of varying sizes depending on their intended use. A sun hat for herself that still gave her shade five years on. There were always two kete as smoko baskets for the workers plus a spare.

There might be half a dozen people or more working in the paddocks during the Season. The same number working at the sheds as well until more efficient ways of dealing with the harvest were developed. The farm produced tobacco as did just about every farm along the river for twenty miles or so.

The kete for smoko baskets had to hold at least two full thermos flasks of tea, 8 enamel mugs, a bottle containing milk, a jar of sugar and a cake tin or some other container big enough for 6 or 8 scones or whatever else mum decided to feed the crew.

The handles had to allow the kete to hang securely on a trailer post or some other handy appendage that would allow carriage out to the paddock or over to the sheds. Failing that, the handles had to function comfortably for whoever was given the job of carrying smoko out to the workers on foot because he wasn’t yet old enough to drive the tractor.

Mum also made kete for the garden and the house, general purpose carry-alls identical to those fashioned by her ancestors to carry kumara from the gardens of old. These items were all made using Raranga and Whiri techniques of Te Whare Pora and tupuna leaves from the great harakeke bush on the front lawn.

Mum said it must have been part of a pā harakeke in the past, which is a plantation of harakeke, either naturally occurring or cultivated by the people who once lived in the area before the arrival of the first Pākehā settlers in the 1850s. We lived on a farm that was alluvial terrace

and it once had a stream that cut through the property on its way to the Motueka river that gave the Valley its name. The great harakeke would have grown on the bank of this stream, that disappeared not long after those settlers arrived.

First, the forests that grew to the riverside were cleared. Totara, Rimu, Matai. Kahikatea where swamps intervened. Harakeke and Kōwhai along the banks of creeks, streams and rivers.

Here and there on farms along the river, including our farm, small remnant stands of native bush remained behind testifying as to what had once been there.

Kereru, Ruru, Tui and Pīwaiwakawaka made good use of these old bush stands, as did possums, pheasants, quail and occasional geese descended from someones errant flock two generations gone. And of course, wherever swamp remained, the ubiquitous Pūkeko were there in numbers.

Māori living here in the Motueka Valley prior to Pākeha settlement would have much need of Raranga and Whiri techniques in particular to create the rourou - food baskets, kete - carry-all basketry and kawe - carrying straps for heavier loads.

The river was a great source of food. The forests as well were full of birds. Not to mention timber. The upper reaches of the river was known for Pakohe - the argillite prized for tool making. Important resources in quantity need something to carry them in. Timber needs ropes to haul.

Raranga and Whiri could make the baskets and straps of carriage and containment, the cords and ropes for binding and hauling. And more importantly still, the Motueka Valley followed the Western ranges for a while - towards Te Tai Poutini. It was part of a pounamu trail.

Generally speaking, weaving involves bringing together fibre threads of some description by means of twining, twisting, braiding, threading, knotting, stitching or some similar action, resulting in textiles of various kinds applicable to a multitude of uses. Usually these fibre threads will combine at right angles to each other.

Imagining this page as a woven example; vertical threads running from top to bottom [length] are known as warp. Threads running horizontal [width] are weft. Raranga means ‘to bring together’. The metaphor is unity. A Rangatira can be seen as ‘one who brings people together’. A leader. A unifier. Rangatahi are young Rangatira in a sense. We know raranga generally as an under - over type of hand weaving, usually of strips of harakeke, ‘bringing them together’ in a plaiting type of weave at right angles.

We have seen how skill, patience and an understanding of the material can yield both functional and attractive kete as essential items of life. Whāriki produces a similar but far more complex weave that works on the diagonal, and generally proceeds as a co operative group project; the finished result being finally patterned mats that by coming into being display all the discipline and kaupapa of Te Whare Pora, illuminating in the woven arts, the nature of human engagement with the universe.

Whiri is the technique of braiding fibres to produce threads, cords, bindings and ropes, creating belts and handles and strappings, hems and seams for some basketry. When mum made me the bullwhip, she used whiri techniques to do so, beginning with a braid of as many as a 8 or 9 long thin strips of harakeke leaf so that they formed a rope like chord that slowly narrowed towards the end and the ‘cracker’. Whiri uses a number of materials including muka [prepared harakeke fibre], harakeke strips, kiekie, ti kouka, certain vines and wool as soon as it became available.

Probably the most utilitarian of the weaving arts in terms of universal application, there is virtually no part of human existence that whiri does not bind to in some way, from the necklines of cloaks to the cord that hangs the tiki, hauls the net and binds the house together.

If Whiri provides a firm neckline and the means to keep the cloak in place, Whatu provides the fine clothed from the rau [leaf], firstly by a process known as haro; scraping away the cellulose layer usually with a mussel shell, then applying a patu muka [a stone mallet similar to a pestel, beating the revealed fibres on a stone ‘anvil’ ] and finally, a washing process [ unless pigments are desired in the final product ]. A muka thread can bind to another simply by twisting the ends together between your fingers, or rolling them under your hand along your thigh.

These longer cords can then be braided, knotted, twisted or plaited in so many ways, producing textiles and materials of great strength and beauty. Muka is the base thread that hangs the warp and patiently twists and twines the weft, one patient thread at a time.

It is also the knot that neatly, tightly conveys the Taniko pattern to the belt or the band or the patterned border of a cloak in Poutama, Niho Taniwha, Patiki or such combinations of these and many other striking designs that further enhance and elaborate by their simple aesthetic, balance and innate dignity the grace and mana of Te Whare Pora in the life, art and culture of Te Iwi Māori.

Design Elements of the Maori Carving Arts

Mon, 16 Oct 2023 19:25:00 GMT

NGĀ AHUATANGA HOAHOA O TE TOI WHAKAIRO MĀORI

DESIGN ELEMENTS OF THE MĀORI CARVING ARTS

PART 3: ADORNING THE NARRATIVE

All Māori art has narrative. Every part of the wharenui, every element contributes to the story of the House. Within each major piece, each pou, each tukutuku panel, each kōwhaiwhai decorated rafter, there are narratives, stories, reminders and cues, references to spiritual and earthly requirements, lessons that remain constant. Narratives can be structured any number of ways depending on the nature and purpose of the story. Placement and unity or discord of symbols. Proximity and scale. How void spaces engage with solid and with light. How relief yields depth and suggests movement. These are all considerations the tohunga whakairo, the carving expert must weigh, assess and eventually render according to their own judgements, aesthetic sense and abilities.

Modern tools and materials, contemporary themes and new applications, all offer the carvers of today so many varied and wonderful opportunities to extend and progress their artform, in a sense, creating new tikanga - the right and proper practices and procedures - as they go. Still the one imperative will remain. Whatever the object, once whakairo technique is applied, so too has a narrative commenced. The decorative embellishment on the handle of a heru - a hair comb - whether rendered as a spiral in relief as a relatively simple motif, or more elaborately decorated with the use of void spaces to render koru, pītau (takarangi) or pikorua for instance, these examples all have in them the beginnings of a narrative according to the meanings and symbolism of the chosen design. But also in the person for whom the comb is intended, their story, or some specific element contained therein might be imagined as having some consequence or emphasis accentuated by the presence, use or even just the possession of a heru with a handle design that speaks appropriately to the head whose hair it will groom and keep in place.

This manaia heru offers a spiritual narrative with the association of the manaia to that of a messenger between the earthly and spiritual dimensions but more importantly I think, by its physical presence, its real attendance on this heru as an adornment for someone’s head - the most tapu or spiritually important part of the human body as far as tikanga is concerned; to me, it talks to the idea that in a Māori world view, the Spiritual aspect or dimension is not remote but carried along with us in the living of our lives and even within us, and that we, to a certain extent are carried along either within or beside or as part of an all encompassing Physical Spiritual universe, in which case I imagine anyone drawn to spiritual enquiry might find some extra association or interest in such an object beyond that of a decorative adornment. Void spaces alternating with solid have similar allusions to the eternal interconnectedness of the living to the past, of the world of light, te ao marama - to te pō and the eternal night of those who have passed on and left us here to get on with things and indeed, to the collective mana

accumulated as the legacy and responsibility handed down to us as whakapapa. While the gentle suggestions of koru incorporated into the body and forming aspects of the manaia speaking to growth and renewal is not out of place at all in the narrative so far revealed, only adding to the idea that we, the living are aware of our deeper responsibilities. There is also present what appears to me as a pattern style much in the vein of niho taniwha - taniwha teeth - where the manaia figure sits and the patterning drapes the top of the comb piece almost as a whāriki woven mat, in the shape of a fishtail.

Taniwha are supernatural beings sometimes described as a ‘dragon’ or ‘monster’, sometimes as a great fish or some other extraordinary creature. Taniwha are powerful, often magical and often as well they are dutiful in the role of guardian and protecter to

a particular place and people. Generally they are said to live or dwell either in the waters or the earth. Some of them are shape changers and may even take human form. I am from the Waikato tribes Ngāti Mahuta and Ngāti Koroki and we hold the Taniwha sacred as a symbol and example of tribal identity; Waikato taniwharau he piko he taniwha he piko he taniwha - Waikato of a hundred Taniwha, on every bend, a taniwha. Metaphorically, this pepeha alludes to the many great chiefs who came from the Waikato river tribes. There are places along the Waikato river where, for many miles, there was literally a Pā, and therefor a chief on every bend. If it is niho taniwha, the associations are of a chiefly lineage all the way to the gods. It can also pertain to the whanau houses set within a Pā or papa kainga among the people. The teeth have been said to represent the ‘historian’ as well. Not just as we might think of the gatherer of such stories. But also as an explorer of origin, wherein gods, demi gods and a host of other beings and personifications existed for a time alongside human men, women and children from every conceivable frame of reference, Here then, within the heru, we can perhaps begin to understand and appreciate the narrative range and depth that might be attained by the tohunga whakairo.

Ben Brown October 2022.

Design Elements of Maori Carving | New Zealand Pounamu

Fri, 13 Oct 2023 20:32:00 GMT

DESIGN ELEMENTS OF THE MĀORI CARVING ARTS

NGĀ AHUATANGA HOAHOA O TE TOI WHAKAIRO MĀORI

Ben Brown. October 2022.

PART 2:

FORM AND PATTERN LIGHT AND SHADOW

Form, pattern, light and shadow are the main components of Toi Whakairo. The predominant form is the human figure. The head is always prominent in terms of the scale of a piece, and can be naturalistic or highly stylised in appearance.
The common human forms noted in Whakairo include Tiki, Manaia and Tekoteko.
While the Manaia figure has been described as part human, part bird or sometimes part human, part fish, it is probably more likely that Manaia in fact represent a stylised human form in profile.
In complex carvings such as the Tauihu - the ornate and dramatic carved prow of a waka taua as seen in the image introducing his blog, the head of a Manaia form can be noted at the bottom of the piece behind the legs of the main figure at the front of the prow.
Facing upwards, the Manaia shows one eye revealed by the profile, wide and all seeing in the classic pūkana expression, while the nose, mouth and always protruding tongue - called whētero - the warrior’s gesture of defiance you’re sure to see in a properly performed haka; these features are suggested by curved elements also alluding to koru and takarangi, two of the major design motifs of Toi Whakairo and Kōwhaiwhai, which I’ll elaborate upon further as we go.
All the components and design elements of toi whakairo have narratives of their own, as do the carvers, the tohunga whakairo who bring their experience, skills and sense of aesthetic to the work. The head for example, receives attention and prominence because it is the most tapu part of a human. Think of your head as the house where your mana resides and you’re likely to keep a tidy house.
The human form in carving is sacrosanct in the sense that in nearly all cases it is representational of ancestry, whakapapa or some other narrative that relates directly to the people of a particular place or context or to the Māori collective experience as a whole.
The three dimensional aspect of carving brings light - te ata - and shadow - te atakau into the work. The play of light and shade across a large carved figure adds drama and the suggestion of movement where a tongue may protrude from the dark void space of a mouth or ridged curvilinear reliefs form spirals ornamenting knees, shoulders and buttocks.
Smaller spirals can be observed sometimes on the treatment of the hands and elbows, the hinges and leverage points of the human form that allow us action and physical gesture, expressions of life, vigour, vital energy. The use of the void space to introduce light itself as both form and pattern is most notably observed in the example of pītau as seen here in a detail from our waka tauihu above.

This perforated example of takarangi, the spiral or more correctly, double spiral pattern has the effect of the void space itself forming its own spiral with suggestions of the koru at its centre.
The perforations in the context of a waka prow are also a matter of function and utility, allowing the wind and wash of the waves to pass through the prow piece which, as a solid slab would be counterproductive to the entire enterprise, no matter how wonderfully

adorned and decorated the tauihu might otherwise be. There are narratives that of this type of spiral representing the inextricable link of the present in Te Ao Mārama, the world of light and life to ngā o mua, the ever attendant past of our origin. It is a way of saying that our past is always with us, it is our whakapapa and the source of our mana.
Again, these are narratives that speak directly to maintenance and well being of the human condition. The spiral of course is a universal motif, a pattern found across the world and throughout antiquity almost always with similar narratives and symbolism attached to it; the cycle of life and continuity. In the spiral we can also note suggestions of the koru, probably the most universally recognised Māori motif. Elegantly simple in its expression, at once enigmatic and yet so obvious in its quiet insistence of growth and renewal.

Ben Brown. October 2022.

ĀHUATANGA POUNAMU - THE IMAGERY OF POUNAMU

Sat, 26 Aug 2023 22:45:00 GMT

We know by now the value of pounamu as a Taonga in Te Ao Māori

Possessed of those enigmatic qualities that lift mere coloured stones to objects of majesty, mystique and desire, pounamu brings with it a tangible life force - a mauri - of such immense mana and energy, imbued with complexity, subtlety and seemingly unknowable wisdoms.

Understanding taonga

In terms of a material object pounamu is without doubt a great taonga - a ‘treasure’ of the highest order. And we haven’t even touched on the incredible utility of this legendary stone. Tools. Weapons. Ritual pieces. Personal adornments of inimitable beauty and great value. Yes. Taonga.

Let’s explore the word ‘Taonga’ for a moment. The root of the word is ‘Tao’, a verb that means ‘to weigh down’. ‘Nga’ in this case is a suffix applied to certain types of verb to derive a noun pertaining or relating to the action of the verb.

Consider then, the broad meaning of ‘taonga’, which includes material possessions, property and goods, all manner of object and paraphernalia. Taonga also embraces significant and valued ideas, rituals, customs and traditions, cherished beliefs, practices, rights, freedoms and so forth - language is taonga, food is taonga, the right to believe in your gods is taonga, clean water and fresh air are taonga - so you see that a ‘taonga’ comes ‘weighed down’ with certain values and particular worth. The greater the taonga, the more weighed down it will be. Pounamu comes laden. It is an epitome of Taonga, incomparable in value.

Ahakoa he iti, he pounamu

As the whakatauaki says ‘Ahakoa he iti, he pounamu’ Though it may be a small thing, it is precious’ This saying might apply to a small gift of great value, or indeed to a dearly loved child.

Equating value with pounamu might be seen as the gold standard of metaphor. Metaphor, imagery,. aphorism and proverb, whakatauaki and pepeha - analogous and artful sayings cleverly constructed, containing layers of meaning; these are profoundly important elements in the high art of whaikōrero - the speech making finery of the manukōrero, where poetry, argument, philosophy, drama, performance, rhetoric, persuasion, insult, humour and wisdom conspire to elaborate and embellish, to incite and enrage and further enhance mana kupu - the power of words, of language, of oratory and story - of kōrero.

It is kōrero that carries and transmits the vast and varied storehouse of knowledge, tradition, experience and aspirations - the stories of an oral culture. So the words used to convey meanings of great importance are chosen carefully, specifically.

The complexity and depth of imagery contained within the orators vast array of precisely considered utterances, specifically crafted sayings and phrases, forms and constructions, allows a vivid rendering of the world to which it speaks, multi layered in reference and meaning, passed on mouth to memory to mouth with unerring accuracy down generations, building whakapapa upon whakapapa, embedding and sustaining tikanga and tradition, working, always working - he mahi kai takata, he mahi kai hoaka - though the work may diminish men as working pounamu diminishes hoaka, the sandstone - still the pounamu has been beautifully shaped, its mana elevated, its value enhanced.

The authority of the Tatau Pounamu - the greenstone door - a metaphorical transition point to unbreakable peace may be considered in a similar light. Even the great seaways should succumb to the majesty of the stone, kia whakapapa pounamu te moana, where the ocean is made smooth as pounamu.

Waikato horopounamu - Waikato, swallowers of greenstone - talks to a different kind of majesty, an opposing, fearsome kind. When the tribes of the great river united under the cloak of the war chief and Arikinui, Te Rauangaanga and flowed to the shores of Ngaroto (a lake, since drained, near Te Awamutu), there to destroy an enemy horde that numbered perhaps ten thousand warriors.

This was the battle called Hingakaka, the biggest ever fought beneath the long white cloud with over sixteen thousand warriors on the field. Slaughter on a grand scale by traditional means - kanohi ki te kanohi - face to face, with patu, taiaha and mere.

When the enemy chief falls, his mere pounamu is swallowed by the victor. Te Rauangaanga’s son was Te Wherowhero, himself a warrior unsurpassed and a leader in the mould of his father, he was both feared and respected throughout the land.

It was Te Wherowhero who consolidated the power of the Waikato confederation of tribes in the first few decades of the 1800s, who evicted Te Rauparaha and his people from their Ngāti Toa Rangatira stronghold at Kāwhia, who protected and supplied a young and aspirant Auckland as it grew from the volcanic fields of Tamaki Makaurau.

It was Te Wherowhero as well who sought a partnership with Pākeha, recognising the shifting times of his mature years, forgoing traditions of utu and brutal retribution, accepting the Christian faith, trusting to a degree of certain Pākeha institutions, openly suspicious of others.

In 1858 with great reluctance, he would take up the mantle of Kingitanga, becoming Potatau I, the first Maori King. It would set his Waikato people on a collision course with colonial intentions and the greatest power in the world, but he would not live to see the worst of it.

He pounamu kakano rua , we could say of such a man - a pounamu of two grains - a man of history who knows he is moving between worlds - one old and dying, one new and largely unknown to him except that he recognises great power when he sees it.

Such is the imagery - te āhuatanga - of pounamu.

Ben Brown 2021.

Māori Pounamu Weapons and Their Uses: Mere, Patu and Taiaha

Thu, 20 Jul 2023 02:39:00 GMT

With hand carved Rākau Māori (Māori weaponry) being passed down through generations, the history of pounamu weaponry is storied. Instead of guns or spears, Māori predominantly used hand-to-hand combat, utilising stone, bone and pounamu weapons to take into battle.

One of the most revered weapons was the Mere Pounamu, a type of short, broad-bladed weapon in the shape of an enlarged tear drop. This beautiful yet dangerous weapon was used to strike or jab opponents.

Using the traditionally rich, green pounamu that Aotearoa is famous for, Mere Pounamu signified high status, imbuing warriors with courage and strength when they entered battle – as well as a fierce weapon.

The Mere Pounamu was kept safe with a hole drilled through the handle, enabling the wearer to attach a cord and keep their Mere attached to their wrist. Although pounamu is traditionally found in Te Waipounamu (the South Island), the stone was highly treasured by all iwi and extensively traded throughout Te Ika-a-Māui (the North Island).

Due to their treasured status, Mere Pounamu were passed down through generations, celebrating the feats and strength of the great warriors that once wielded them. This not only meant passing down an heirloom item and valuable weapon, but also kept Māori ancestors alive, through stories and waiata (songs). Many Mere Pounamu were named, and Māori believed that the weapons themselves developed characteristics and their own mana (spiritual power). Today, a range of these taonga (treasures) can be seen at Te Papa thanks to the generosity of local iwi – or you can buy one yourself at Moko Pounamu.

Here at Moko Pounamu, our carvers have created a series of special Mere – including a unique and rare piece made from Whale Bone that has been ethically sourced from the Chatham Islands.

With a range of Mere Pounamu varying in size and cost, our hand carved patu (weapons) make for extraordinary sculptures for your whare (home) – or can even be worn if you’d prefer a miniature Mere ! Providing owners with courage, strength, and a unique heirloom, you can view our full range of Mere Pounamu here .

One of our talented carvers has also crafted a unique Kawakawa stone knife , a beautiful sculpture that can also be used as a one-of-a-kind letter opener.

Unique, storied and full of mana, our pounamu weapons are one-of-a-kind heirloom pieces designed to be passed down through generations, keeping te ao Māori (the Māori world) alive.

Exploring the Origin Stories of Hei Tiki

Thu, 15 Jun 2023 04:22:00 GMT

Grooved eyes, raised knuckles and distinctive features...

There are many customary uses and meanings attached to hei tiki . One view is that they constitute an ancient form which has been continually reinterpreted, so that many of the current meanings for the form are of comparatively recent origin.

An adaptation of this view is favoured here, as it allows for a diverse range of uses and meanings co-existing at any one time, with the likelihood that so-called new uses and meanings are often old uses and meanings which have been brought to the fore again due to changing circumstances.

Hei tiki are multifaceted taonga. They embody a range of meanings and purposes on which emphasis can change from day to day, moment to moment, or between different historical time periods and tribal localities, depending on social occasion or circumstance.

The meaning of the name 'hei tiki ' can be explained by breaking it down into its separate parts. The word hei denotes something worn around the neck. (Hei and 'hei' are names for the collarbones; the hei delineate that part of the upper body upon which hei tiki and other neck adornments naturally rest.)

Tiki is a generic word used by Maori and other Polynesian cultures for human images, large or small, whether carved in wood, stone, bone, or some other material.

A hei tiki is therefore an image carved in human form that is worn suspended around the neck. At Moko Pounamu, we also have tiki in our collections of sculptures and these are not referred to as hei tiki since they are not pendants.

Tiki as the First Man

It is sometimes explained that Tiki was the first man created by Tane. According to some traditions, Tiki and Hine ahu-one were the first human pair. Others consider Tiki, or Tiki-ahua, to be an atua himself, and the progenitor of humankind. Man god, or demi-god, there seems to be consensus that humankind descends from Tiki's lineage.

Tiki is an early expression for humanity and was used as an accolade to designate persons of high birth. That these pendants take their name from the human form in a general sense, rather than represent Tiki himself, is indicated by the fact that when the sex of early hei tiki is shown they are invariably female.

Ngahue and Poutini

A pakiwaitara (traditional story) tells of how the ancestor-like god Ngahue fled from tropical Hawaiki, the ancestral homeland, with his coveted pounamu fish Poutini. They were chased away by Hine-tua hoanga and her abrasive cutting stone Whaiapu.

After a long journey Ngahue and Poutini made landfall at Tuhua (Mayor Island) in the Bay of Plenty. But they soon sensed the arrival of their foe and continued onwards, arriving at length at the remote Arahura River on the South Island's West Coast.

Here Ngahue deposited Poutini, making this an eternal resting place for his precious stone. He then returned to Hawaiki with a portion of pounamu taken from the side of his fish.

Back in Hawaiki, Ngahue told the people of the richness of the large land he had discovered. He worked upon the pounamu to fashion the first hei tiki adornments, making also kuru-pounamu (ear pendants) and toki (adzes). The adzes were used to construct ocean-going canoes, and voyages of settlement began, bringing the people and their pounamu treasures to Aotearoa.

Hine-te-iwaiwa

Another hei tiki creation narrative involves Hine-te-iwaiwa and is set in tropical Polynesia. Hine-te-iwaiwa was a goddess of exceptional beauty, who acquired the first hei tiki as a gift from her father, Tane.

Another name by which Hine-te-iwaiwa is known is Hinauri. Hinauri was married to Irawaru; a dispute arose in which Irawaru was transformed into a dog by his brother-in law, Maui.

One account says Hinauri threw herself into the sea out of grief for the loss of her husband, and she eventually came ashore at the island home of Tinirau, who was highly regarded as the most handsome man of his time.

Other versions say that Hinauri/Hine-te-iwaiwa had heard of Tinirau, and she made her way to his island either by swimming or by sailing upon a shellfish. She and Tinirau then slept together, and this angered Tinirau's other wives, Makai-atua-uriuri and Makai-atua-hachae. A fight took place in which Hine-te-iwaiwa killed these two co-wives.

In one account, she killed the women by intoning a powerful karakia (incantation) and by throwing stones at them. As they were hit the women's bodies burst open, letting forth a mass of greenstone, and it was by this means that pounamu had its origins.

The Meaning Behind The Koru

Wed, 01 Mar 2023 01:15:00 GMT

What does the koru represent and why is it relevant today?

Of course, here in New Zealand greenstone is known most commonly by its Māori name ‘pounamu’, so pounamu shape meanings is another very common topic of conversation with our customers.

Recently we wrote a blog about the meaning of the shape hei tiki. Hei tiki is a very recognisable form in Māori culture, and indeed throughout some polynesian cultures too. Check out our Hei Tiki blog here .

The second most common shape found in pounamu carvings is the koru, so today we thought we’d write about the koru meaning and why it’s such a popular shape carved out of pounamu.

In Māori, the word ‘koru’ means fold, loop or coil. It is also the name of a curled shoot, on a ponga tree for example.

The associations of this word include new life, regeneration, continuation, whole, one, growth and peace. The representation of a koru is found in many places throughout Māori art and culture; from weaving to wood, bone and stone carving, to tattooing and other art mediums as well.

Another similar form to touch on is the double koru meaning; usually represented by two koru within one circular form. This is widely regarded as a symbol of two lives growing together. Specifically as a nod to the Māori world (Te Ao Māori), the sky father (Ranginui) and earth mother (Papatūānuku) working together as one while being physically apart.

Technically speaking the koru is a simpler shape to represent through art than other more complicated shapes such as hei tiki, and that possibly has something to do with how often we see this shape represented.

But it’s the way that the koru can be applied to so many different situations through symbolism and spirituality that make it a popular choice for gifts.

Here at Moko Pounamu we have several koru artfully carved and ready to be viewed and purchased. Take a look at our koru collection to find a piece that catches your eye, and keep an eye out for our next blog as we go into more detail about the meaning behind another recognisable pounamu carving shape.

The House of Weaving: Part 1, The Most Important Dominions

Tue, 18 Oct 2022 20:25:00 GMT

According to many traditions, after Tāne Mahuta had separated his parents Ranginui [Sky father] and Papatuānuku [Earth mother], he placed te whānau marama, the family of light in the sky, including the sun, moon stars and other celestial bodies, to brighten his newly created world and try to bring comfort to his mother - and himself.

But Tāne couldn’t help feeling something was missing from his creation, something essential but somehow unknown to him. So he continued his search for. . . well, he didn’t really know - except that he was pretty sure he’d know it, when he found it.

While he was searching his newly created star laden heavens he came across Hinerauāmoa, the smallest, most fragile of the stars and yet, within this star he could feel a kind of strength and energy . . . and power that he had never felt, never known of before, and straight away he knew that this was what was missing from his world. Hinerauāmoa was te uha, the female element. From Tāne’s union with her came Hineteiwaiwa.

Te Whare Pora, the House of Weaving is the House of Hineteiwaiwa. She is the atua of the female arts, childbirth and the transmission of knowledge. In some traditions she is also Hina, the female personification of the moon and so, is in charge of the cycles of the moon. Of the female arts, weaving is of the greatest importance. Not only are the objects created beautiful, but in many ways, they guarantee the survival of the people.

When Tāwhirimatea rages at his brothers for separating his parents, bringing his winds and storms to bear; the work of the weavers keeps the wind and rain at bay with their rain capes and cloaks. When the Kumara needs to be carried, the kete are to hand. When the muka needs to be prepared from the harakeke, the weavers know the secrets of releasing the threads from the great leaves of flax.

From muka, the finest cloaks can be made. A net can be fashioned to feed the people, or even capture and hold the sun to convince him to slow his travel across the sky.

All manner of bindings can be twisted and plaited and braided together from muka. The delicate chord that hangs the tiki. The thong that keeps the blood soaked mere in hand after striking.

The lashings, chords and ropes that bind the ama to the waka, the kōmaru to the mast, the roof to the Whare and all the posts in the palisade are first and foremost threads of muka. Maui had a fishing line made of muka. Women from Te Whare Pora will have provided it.

The tikanga of weaving is complex. Weavers need a thorough knowledge not only of the various techniques, but also the most appropriate materials; the fibres, threads, sinews, vines and so forth. How are these materials to be prepared?

When should they be gathered? And then the body of traditions that go with those materials. The harakeke alone, probably the plant most associated with weaving in Aotearoa, has enormous tikanga attached to it that goes far beyond the practical utility it provides through the garments, threads, chords, kete, matting and many things besides.

The plant that many people refer to as native or New Zealand flax is actually not a true flax at all. The fibres within the leaves give harakeke the flax reputation, though some would argue harakeke is the superior material.

True flax of course is the source of linen. Harakeke you could say, is the source of much more than that. For one thing, it is unlikely Māori would have survived here beyond a generation or two, without harakeke.

The stories and traditions associated with this plant of matchless mana in many respects reach into the very lives of the people, providing example and metaphor revealing family and tribal arrangement and the nature and strength through unity and cooperation.

The underlying story of harakeke is suggested in the name of the juvenile plant; the seedling, which is called Te Awhi Rito. Rito is the new shoot. Te Awhi - the supporting embrace.

If you observe the seedling, you will note the new young shoot in the centre. Fanning out on either side are three or four bigger leaves. Those leaves directly either side of Te Rito - think of it for a moment as a child - those first two leaves are called Mātua - Parents. The leaves either side of those are Kaumātua - Grandparents. All the leaves outside the Kaumātua; they are the Tūpuna leaves - the Ancestors.

You may notice that harakeke repeat this growing habit as the plant matures, surrounding itself with whānau as it goes. So the outermost leaves on a mature harakeke will always be Tūpuna leaves.

When you harvest harakeke for use, always harvest tūpuna leaves and never harvest Rito. Ever. And perhaps, if you’re wondering how to arrange yourselves in a new and somehow different land than the islands and faraway places you came here from, you might consider observing a harakeke for a while.

And still there are techniques, correct procedures and other plants to learn about across all the weaving disciplines; Whatu, Whiri, Taniko and Tukutuku, Raranga and Whāriki.

Patience, perseverance, strong focus and concentration for long periods, methodical, dextrous, delicate yet strong, possessed of great stamina, a capacity to memorise and recall an immense body of tikanga and kōrero and to recall it accurately and completely; these are many, but not all of the attributes of the women of Te Whare Pora.

Perhaps this is why the Matriarch of the Whare has been assigned the most important dominions. Hineteiwaiwa will bear the child; weave the cloth that keeps it wrapped, secure and warm, and compose and sing the oriori - the lullabies that begin the communication of whakapapa, knowledge and wisdom.

In Te Whare Pora, Part 2: Tuatahi, Te Muka - First, the Muka we’ll explore the muka, the secret strength of harakeke; how its released from the tūpuna and the techniques used to turn it into works of beauty and utility. We’ll also see how different needs led to other styles and techniques being developed to accomodate more functional kete, matting, panelling and belting uses as well as binding, chords and lashing.

Design Elements of the Māori Carving Arts: Toi Whakairo

Thu, 13 Oct 2022 02:16:00 GMT

NGĀ AHUATANGA HOAHOA O TE TOI WHAKAIRO, PART I Ben Brown. October 2022.

Before literacy, Māori communicated knowledge through Art. Oral traditions are considered art forms; of story, proverb; song and incantation.
Kōrero, pūrākau, whakatauki, pepeha, tauparapara, karakia, takutaku, whakapapa, pakiwaitara, waiata and haka. These are oral traditions that navigated Te Moananui-a-Kiwa;
The Pacific Ocean, enabling settlement here in Aotearoa and the institution of Whare Wānanga - Houses or Places of Knowledge and learning.
The Visual Arts of Māori were also carriages of knowledge extending from all the twelve heavens down to Te Rerenga and the underworld, ki ngā hau e wha, to the four winds.
And even beyond, to the past, the future, the spiritual realm, to Te Pō and further still, to Te Kore - the absolute Nothingness of infinite potential. Toi Whakairo - the carving arts - can be observed in virtually every aspect of traditional Māori society and arrangement adorning both the great and the mundane with symbolism, meaning and spiritual utility.

Many of these symbols and motifs are also reflected in Kōwhaiwhai; the stylised and decorative painted patterns you see expressed and realised in the carved houses in concert with toi whakairo, in turn adding their narrative and symbolism to the ever unfolding of story. Wood, stone, bone, ivory, shell and human skin were the mediums of carving. You’ll see the symbols ,motifs and traditional design elements associated with whakairo to a greater or lesser degree expressed across the full spectrum of human activity and engagement. Carving adorns houses of mana, implements, structures and buildings of importance, Pātaka, Pouwhenua, weapons of war, gateways and door lintels, places of transition. But also, combs and fish hooks and calabashes and digging sticks for the gardens have motifs and highlights of adornment and decoration. With Pounamu; when added to the emblematic power of the toki, the matau, the pikorua and koru for example; the mana, tikanga and traditions that emanate from toi whakairo only add to the enigmatic and aesthetic qualities present within the stone and its rendered form.
Waka taua, the war canoe, and the Wharenui or Whare Whakairo will reveal the highest expressions of Toi Wakairo elaborating both the skills of tohunga whakairo, the carvers and the stories, traditions and ancestries associated with the people of the house and the waka. Also the faces and bodies of men and women of immense mana and importance, they too will be incised in spiral and other curvilinear motifs, as well as particular designs drawn from the waters, the forests and even the stars invoking lineage, leadership, life achievements and loss. Themes of vitality, energy and defiance resolve to invocations of health and well being, fertility, growth and renewal. References to the natural world and all its resources abound, reminding the people of the value and importance of proper and respectful engagement with the environment around us, our provider.
The constant is the human aspect in shape and spirit, so defining the fundamental design element within Toi Whakairo; the human body. The human form. Manaia, Tiki and Tekoteko. The representation of tūpuna - the ancestors that we see in the poupou of the wonderful carved houses on Mārae. Whereon the various tools and components, the symbols, motifs of Māori design have been brought to bear, to elaborate, adorn, decorate and inform the people, offer comfort and opportunities to grieve, reflect, and remember. It should be noted here that this human aspect also brings with it a mauri, an existential essence, a life force felt by the people related by whakapapa to these works of great mana and immutable presence.
Ben Brown. October 2022

Celebrating Matariki in Aotearoa

Fri, 27 May 2022 01:20:00 GMT

NGĀ MATA O TE ARIKI TĀWHIRIMĀTEA - MATARIKI

It was Tāne Mahuta of the brother gods who tore apart his parents embrace, thrusting Ranginuiatea forever heavenward to become the sky, leaving Papatuanuku prone to lie beneath as the all encompassing mother that is the earth. Tāwhirimātea, alone of the brothers, was against the separation of his parents and went to war bringing his winds and storms against his brothers, defeating them one by one, sending Tangaroa to hide in his ocean, Tāne to his forests, while Haumia and Rongo buried themselves in the earth of their mother.

Only Tūmatauenga stood firm, finally defeating his brother Tāwhiri. Enraged and grieving, Tāwhirimātea gouged out his own eyes, crushed them in his hands and flung them up onto his father’s chest where they can still be seen as ngā mata o Te Ariki Tāwhirimātea - the eyes of the god Tāwhirimātea - shortened to Matariki.

Te Maramataka is our guide not only to Matariki, but to our day to day progress and conduct through life should we accept it as such. As the Maramataka - the lunar calendar describes each of the 29.53 nights/days of the lunar month from Whiro to Mutu, it also

serves as a record of meticulous observation and accumulated wisdoms of untold generations of tradition that understands a different imperative to the modern drivers of an industrial-technological world that can’t quite figure out what the problem is.

Te Maramataka perceives the relationships that exist between the celestial bodies of the whānau marama - the family of light - that are the sun, the moon, the stars and the lesser known light children, and their effects on Te Ao Mārama - our own world of light - the earth upon which we find ourselves. Maramataka says to us, observe your world, pay attention to her cycles, to her moods.

With the rising of Matariki at the beginning of each year, we are drawn to remind ourselves of our place and ultimate purpose.

This blog was written on Thursday 25 May 2022 according to the Gregorian calendar. The moon entered its third quarter phase on 23 May. The cusp of winter. The black face of the new moon occurs on May 30.

This third quarter phase of the moon begins auspiciously and fortuitously with the gods, namely Tangaroa, Tāne and Rongo, so marking a change in fortune from those a few days prior; korekore-te-whiwhia, korekore- te-rawea (both bad days for food gathering or any such enterprise, better off staying home) before korekore-hahani marks a slight improvement as an okay sort of day.

The third quarter phase begins with Tangaroa-ā-mua, Tangaroaā-roto and Tangaroa whakapau are all good days for fishing, before Tangaroa-ā-kiokio proves excellent, if a little misty on land. Ōtāne tells us it’s a good day for eeling. Ōrongonui is also a desirable day.

So Tangaroa, Tāne and Rongo announce days of abundance and good fortune at this time of the month. But every month goes through its cycles. Bad days follow good. Dark days follow light.

So the third quarter wanes toward the darkness of Mutuwhenua and Whiro, the new moon of the following month. Neither are good days for anything much. Every night of a lunar month has a name and various aspects attending it that should be considered before any course of action is taken. These ‘nights’ are the days of each month.

The sun that gives us the days of the Gregorian calendar and the measure of a solar year instead give Māori the seasons. The sun moves north and south along the horizon as it rises and sets. Days get longer and shorter, warmer and colder as it does. Birds fly away or come home, Fish spawn, Eels migrate, Kumara sprouts, Kihikihi calls, rhythms and cycles, tides and currents, weather systems threaten.

The solar calendar also neatly breaks our days into hours by which we can neatly measure our efficiency, improve our productivity, calculate down to the moment how many whatsits we can thingy.

The Māori system demands we pay attention to the environment, to the elements, to the movement of celestial bodies and what they may divine. Certain stars, by their rising and disappearing, by their placement, by their movement across the sky, their relationships to each other - these stars determine which month we are in and the activities we should involve ourselves with.

Te ngahuru ma rua o Haratua - the twelfth of Haratua; The crops are stored in the pits. The tasks of the people are complete. This is the last month of the Māori year. As I write this we mark the ending of Haratua and anticipate the beginning of Pipiri or Te Tahi o Pipiri, the first month of the new year when Matariki rises. How do we know?

Te Waka o Rangi, captained by Taramainuku travels across the sky for eleven months of the year. The prow of the waka is Matariki itself. Tautoru - Orion’s Belt sits just before the tauraparapa - the sternpost.

Te Kokotā in the Taurus constellation marks the sails of the waka. During those eleven months, with each sunset, Taramainuku casts his great cosmic net to the earth and trawls for all the dead of that day.

With each sunrise he hauls in his net and adorns the tauraparapa with the souls of the dead. Towards the end of Haratua, Taramainuku and Te Waka o Rangi draw closer to the sun until sometime during the Tangaroa phase of the moon, the great waka of the sky, and Matariki at its prow will disappear with the setting sun for a month.

Tradition says Taramainuku has taken the gathered souls to the underworld to prepare them.

With Matariki lost from sight, the winter stars of Pipiri can be seen announcing Matariki will soon return and with it, another year.

Te Tahi o Pipiri - when everything on earth contracts and clings together with cold, including the people

We celebrate Matariki when the prow of Te Waka o Rangi is first seen to rise in the Tangaroa phase of Pipiri. ‘Ka puta Matariki i nga Tangaroa’ Aperahama Taonui of Taitokerau wrote in 1875.

Wiremu Tāwhai, Māori lunar calendar expert endorses this view as does Dr Rangi Matāmua, astronomer of Tuhoe. The Tangaroa Lunar phase this year is from June 21 - 24, with the new Matariki public holiday taking place on Friday 24 June. Matariki is visible before these dates but a celebration of the new year must occur in the correct phase.

On the eve of Matariki we light the warming fires and we feast. We recount and we recall with kōrero and reminiscence. We remember and lament. It is a time of gathering as whānau, friends and community to reflect on what has been, to consider what is coming, to make plans and prepare.

As Matariki rises we observe the cluster, seeking in each star and in the kāhui - the gathering - some indication as to the nature of the year ahead. By the clarity and brightness of the constellation and of the individual stars themselves, we might discern the prospects of vitality and wellbeing, whether wind and rain will deluge or delight, whether the gardens will yield and the waters provide. Or will the earth request respite, will the rivers offer tears and the vast oceans plead.

To Pohutukawa who gathers our dead, we acknowledge and we name them, and as we do, Taramainuku flings them into the sky and they become new stars as we release them from the bondage of grief, and we karakia and waiata and we know that with the sunrise the new year is at hand.

Note: Because the lunar month is 29.53 days long, it means each 12 month lunar year counts 354.34 days, 11 short of the solar year, which itself lags enough each spin round the sun to warrant an extra day every fourth February.

Keeping the seasons marked by the sun in phase with the days and months of the moon required close attention to all the rhythms and cycles around them from the hatching of insects to the first godwits home to the great shoals of whitebait amassing offshore and of course, the judicious addition of a thirteenth month every third year or so, which nicely keeps things in sync.

Also; this account of Matariki is only one of many, many tribal variations throughout the motu. I am indebted to the work of Dr Rangi Matāmua for his insights, experience and expertise in both traditional Māori astronomical lore and his ongoing engagement with and exploration of the whānau marama and Te kete nui a Tāne, the basket of stars that was spilled by a god in a hurry.

Ben Brown. Haratua 2022

Capturing the Essence of Aotearoa: Moko Pounamu

Wed, 27 Apr 2022 01:55:00 GMT

At Moko Pounamu we take pride in supplying the highest quality of craftmanship and product, using only the finest pounamu from the West Coast of New Zealand.

The Moko Pounamu brand was founded by Deane Moreton, son of renowned carver and pounamu miner Alfred Moreton .

Deane learnt his craft whilst working alongside his father, and is now one of the country’s leading pounamu carving experts with more than 30 years’ experience.

Moko Pounamu’s range of designs are the perfect blend of traditional and contemporary, inspired by Aotearoa’s rich culture and natural beauty.

All artists carve with acknowledgement and respect for this natural taonga and work hard to ensure the longevity of the resource and craft for future generations.

Find out more about the artists who create pieces for our customers to appreciate and purchase from Moko Pounamu.

Visit our inner-city store at 340 Durham Street, or shop our range online at www.mokopounamu.co.nz.
Ph 03 421 6495

Pounamu Blog #2 - Blessing Your Pounamu

Thu, 21 Apr 2022 03:53:00 GMT

Pounamu Video Blog #2 - Blessing Your Pounamu

Alf Moreton

Fri, 25 Mar 2022 00:32:00 GMT

All About Alf Moreton

Alfred Moreton was a master carver, a stone expert, and the father of our founder, Deane Moreton. He wrote the book Te Wahi Pounamu (The Place of Greenstone) which is an important record of some of the most fascinating stories of pounamu discovery, telling the story of New Zealand nephrite jade and how it came to be known as pounamu - the jade of New Zealand, as well as the different varieties and their characteristics.
Alf’s connection with the West Coast started from birth. He was born in Tetaho in South Westland and spent his first years in Bruce Bay. His family relocated to Hokitika and when Alf was old enough he took jobs that took him out of town: postal service and then the AIr Force. But in 1963 he returned to Hokitika and took a job with the railways - an industry that was booming at the time.
It was while working at the railways that an opportunity arose for another adventure for Alf. Tourism was booming and the government of the day was constructing a new hotel in Franz Josef. The hotel was to be clad in local stone gathered from the nearby Waiho riverbed. Opportunity knocked.
Alf and his brother Morrell secured a contract for the stone cladding and a little over 300 tons of hand-picked stones were gathered for the job, carted to the site and cemented to the walls. This took them 18 months to complete. The stone boulders were gathered from the bed of the Waiho River and carted by tractor and trailer to the site, then cemented to the concrete walls, columns and chimney.
Soon after, an empty building was bought in Hokitika and Alf set up Micastone Products Ltd, which was later named “The Rock Shop.” Alf’s company held mining licences to take schist stone from certain rivers, all hand split on site then stacked on decks and trucked to the new factory. Here it was hammer chipped to shape, then laid out onto frames to form fire surrounds and decorative walls.
Schist is a metamorphic rock found in many places along the West Coast. Because of its many colours it was a popular choice for use in the fire surrounds and wall claddings. It was not uncommon for two men to split and load four tonnes of schist in one day.
Like greenstone, various places produced different coloured schist. Some split easily, such as that gathered from the Waitaha District. This was an even charcoal colour and huge blocks could be reduced to thin slabs within minutes by striking the stone along the grain with steel bolsters and using short-handled, heavy square hammers.
Diedrichs Creek produced beautiful greens of all colours, whilst the Toaroha gave up light browns and more pale shades. The beaches were looked to for gathering pure quartz stones and flat pebbles, these were usually used for garden enhancement and beautification.
In 1965 Micastone Products Ltd was successful in gaining a contract for the supply of 400 tiles, to be used in the construction of the Katherine Mansfield Memorial in Wellington. A special diamond saw was constructed for the job, enabling the extremely heavy stone slabs, which measured 126cm square by 8cm thick, to be cut into tiles measuring 61cm x 61cm and 46cm x 61cm. Once cut to size, the slabs were re-split to 25mm thick then crated and railed to Wellington. A huge job!
One day, while working amongst a great pile of unsplit stone at the factory, Alf looked up and saw Mac - the manager of Westland Greenstone Ltd. Mac asked Alf if he would finish off the front of their factory for them - he wanted it clad in serpentine with polished agates set into the entrance panels.
Alf started work the very next day, despite the crowds of locals and tourists - some bringing greenstone in for appraisal, and some sorting through large wooden bins on shelves, selecting greenstone priced ar $3.10 per kg. At that time, greenstone was able to be publicly fossicked and it was another draw for the tourism industry.
Alf pretty quickly decided he wanted to work with greenstone instead of schist, and devoted himself to learning all about the best ways to handle the stone, the history and origins of the stone, and what it meant to Te Ao Māori. His neighbour was an expert lapidary (worker who cuts, polishes, and engraves precious stones) and not long after Alf’s decision to foray into the world of greenstone, a close contact of his alerted him to a possible huge greenstone find from a location not normally known for its greenstone.
In May 1970 Alf Moreton purchased the largest alluvial greenstone stone ever found in New Zealand, and possibly the world. It is known as The Nicholson Stone, and it weighed in at over eight thousand pounds. At the time it was the talk of Hokitika and surrounding towns. It broke all kinds of records and provided Alf with a definite ‘in’ to the commercial greenstone industry.

Alf’s “Rock Shop” soon became the Hokitika Jade Company Ltd, quickly constructed and filled with various pieces of state of the art machinery to cut down and craft the stone.
Glassed-in viewing areas in the new factory allowed tourists to see into the workshop, rather than wander at will amongst the polishers, interrupting production. The Nicholson Stone was also on display, set on a concrete plinth together with text describing its history which proved to be a great attraction.
Business was hectic. The factory was open seven days a week and employed seven staff plus sales representatives on the road selling jewellery to an ever-increasing market.
The company received a major boost when they secured a contract to supply cabochons (polished oval shaped gemstones which have not been faceted) to a Blenheim-based company. The demand for cabochons increased significantly after that, and in the first year of Hokitika Jade Company Limited, 65,000 were produced alone. Now take into account the fact that the larger Auckland factories were producing greater quantities than that, and we have some idea of how large the industry was in the seventies.
Hokitika’s flourishing new industry was growing and becoming a significant employer of the locals. People started bringing stones to the new factory, usually after they had been cut and rejected by Westland Greenstone. New competition was welcomed by the local prospectors and ultimately it started to drive the asking price of greenstone up. In 1970 greenstone was fetching up to $5 per kilo.
Everyone who was fit and able seemed to be on the hunt for greenstone and the Arahura River was pegged out from the bridge near the coast to Olderog Creek.
Alfred’s next move was to secure a mining licence, and with the assistance of a trusted right hand man and a very expensive bulldozer ($120 per hour) they embarked on what ended up being a days-long mission to find some more stone.
The irony is, after manoeuvring the bulldozer carefully near the headwaters of the New River, it was when Alf bent down to pick up the head of his hammer which had flown off as he hand picked his way through the gravel, that he found a notable stone. The size of a 44 gallon drum and weighing 364 kgs., a waterworn stone of the kahurangi variety showed itself right before his eyes - a special and thrilling moment.
With Alf’s newly acquired mining licence (which in those days took up to 4 years to be approved through the system), he also had gold added to the list when it became apparent that significant gold deposits remained in the spots he was mining.
During the 1980s world gold prices fed a mini gold boom throughout Westland and as a result large amounts of greenstone were uncovered which was also rising in value. Prices for stone had risen to around $40 per kg, not much considering its scarcity. By this time stone was also being imported from overseas.
But despite the stone’s scarcity, Hokitika Jade Company was unable to process the vast amounts that we were bringing in from our mining endeavours. Alf and his team eased off collecting stone, but kept a note of where we wanted to return to collect some. One stone Alf found, estimated to be around 12 tonnes, still lies buried along with a great many others.
Alf held a mining licence until 2001, though greenstone was not able to be commercially mined after the ownership of pounamu was given back to Ngai Tahu in 1997 - meaning they could have full control of who could do what with any greenstone found. An important moment in New Zealand’s history.
Carving was a favourite pastime, and eventually a highly specialised skill of Alf’s and he became one of the most well known New Zealand jade carvers. A true labour of love. In New Zealand, jade is most commonly known as pounamu or greenstone and it is of great importance to the indigenous culture of this land.
Alf is a highly regarded part of New Zealand’s greenstone story and here at Moko Pounamu we’re proud to have him as part of our story too.

A special Taonga

Mon, 17 Jan 2022 21:13:00 GMT

A treasured possession

My husband’s most-treasured possession for 23 years was a pounamu taonga - necklace, presented to him when he left a teaching position in Porirua East when we moved back to the South Island after our first son was born.

The school community which gave him the pounamu were poor by socioeconomic standards but rich in cultural identity, connection, and sense of family and community – whanāungatanga.

That community remains in his heart and in mine – they were very, very special to us, and the pounamu necklace was hugely significant to him and to our whole whānau. Sadly, on a visit to Wellington last year, the taonga was lost. We all grieved for it and lived in hope that the finder would ensure it was returned.

Pounamu should be gifted, and so while my husband missed his necklace dearly, he did not want to just go and replace it – it would not be right for him to do this himself. To me though, he seemed so incomplete without it.

A great friend of mine, connected with through a shared love of cycling, is the owner of Moko Pounamu, and I told him about our loss.

He arranged for one of his great team of carvers to create a new taonga, reminiscent of my husband’s original one, yet unique and perfect in its own right. It is beautiful, carved to perfection in exquisite pounamu.

He gifted the new pounamu taonga to my husband, and the look on his face when he received it was one of pure joy. I can’t even describe my gratitude to Deane and his team.

I’ve purchased a couple of taonga from Moko Pounamu and they are true treasures, and the perfect gift to people of significance to us. I could not recommend them highly enough.

The Art of Stone Carving

Tue, 17 Aug 2021 21:46:00 GMT

For hundreds of years, tangata whenua (the people of the land) have heralded pounamu as a sacred stone.

It has been traditionally used to create jewellery, weapons and pieces of precious art for people to have as taonga (treasure) in their homes. Today, the history of this craft lives on through the wares that we create at Moko Pounamu. Our work draws from the deep and rich history of Māoridom, allowing you to embrace the culture of Aotearoa and draw strength and beauty from our unique carvings. Craftmanship is our priority, with over 15 skilled carvers contributing work to our Moko shop. Each of our artists make their products with love and care from natural materials. Each stone is distinctive, with our carvers assessing each piece of pounamu to let the spirit and energy inspire their design. Many of our artists talk about how their pounamu speaks to them, with Hohepa Brown saying “I let the stone guide me.”

“I let the stone guide me.”

Traditionally, the craft of carving has been passed down through families, with a hub of activity around the West Coast, where pounamu is found in abundance. Moko Pounamu owner Deane Moreton has lived experience of that tradition, having learnt his trade from his father, when he grew his talents working in the family greenstone business. The artform can be done using basic tools, files and small chisels, with professional carvers using saws, grinders and rotary tools, which are needed for larger and more detailed pieces. Here at Moko Pounamu we have our own studio, where our carvers can express their talents on-site. Carving is a very personal art form, and our artists share their vision through their work, putting their own statement on each piece of pounamu they carve.

You can view a special range of artistic carvings here, each embellished with a creative twist. For carver Sheree Warren, “each piece of stone I work deserves huge respect, no matter what type it is.” “As a carver, I recognize that once I work the stone, I become part of its journey and evolution through time. What I create will survive well beyond me.” With pieces to treasure for generations to come, you can pick your own precious taonga here.

Corporate Gifting Pounamu and More

Mon, 26 Jul 2021 00:03:00 GMT

Appreciation, Service, Commitment - giving pounamu as corporate gifts

Pounamu has long been regarded as a unique and special type of gift to give and receive. It has mana (strength and power) about it which commands respect and attention, and goes some way to honouring the history of our beautiful country of Aotearoa.
We thought we’d delve into the art of gift giving a little bit more, because it’s gifting in the corporate world that we get asked about from time to time.

From smaller pieces of jewellery to give to each team member, to larger items that deserve a special place on a display shelf, to statement pieces that catch people’s eye when they visit a business, Moko Pounamu has a huge amount of experience in the creation of corporate gifts.

Since the souvenir boom in the tourism industry, New Zealand pounamu (greenstone) has most commonly been carved into smaller items - jewellery, trinkets, and other small items that are easily transported back to a tourist’s home country. These pieces of course serve well when it comes to finding multiple items to give among a team of people; each one representing a moment or an achievement in their journey within an organisation.

Larger items like sculptures and representations of traditional weaponry might be more appropriate for a one-off gift, or a business-to-business gift, but what a statement they make. Consider the possibilities. An homage to a business’s beginnings or connections to Te Ao Māori, an offering of the giver’s connection of the same nature, recognition of a business’s strength or commitment or bravery.

Moko Pounamu has a long relationship with the art of stone carving, particularly breathtaking sculptures that have drawn international attention. Our founder - Alf Moreton - was a well-known carving artist in his own right and some of his work is here on display in our Rūnanga (pay us a visit sometime, photos don’t do any justice to the beauty of pounamu!).

The words that are commonly associated with pounamu, carving shapes and stone types can all be considered when choosing a meaningful gift for a business, a team, or for your employees. If you’re thinking about choosing pounamu as a gift for someone in a work setting, think about your company’s origins and connections to the land and its people. What’s an appropriate way to honour that? Or indeed to honour a person’s time with a particular organisation if their time to leave has come.

Pounamu serves as a wonderful option for a leaving gift to someone who has shown commitment to a business. It’s an opportunity to offer the person departing a gift to take forward; a show of goodwill, to offer them good fortune, and a special something to remember their journey by.

While no two pieces of pounamu will ever be the same, we would be delighted to help you choose a selection of smaller pieces for personal gifts, or a larger statement piece depending on your corporate gifting needs. Have a look at our range of sculptures here .

For a gift that will last for generations to come, Moko Pounamu has a beautiful selection to choose from. We look forward to helping you pick out the perfect piece.

Is it OK to buy pounamu for yourself?

Thu, 01 Jul 2021 21:37:00 GMT

A very common question that we get asked at Moko is whether it’s OK to buy pounamu for yourself.

In short, we believe the answer to be yes.

But to understand why we believe this, what superstitions exist around pounamu, and where the common perception is that it’s bad luck to buy pounamu for yourself, let’s take a moment at the history of Aotearoa’s most precious stone.

Pounamu or Greenstone is an umbrella term to describe different types of stone found in Aotearoa, one of which is nephrite (also known as jade). Different varieties of jade are found in other parts of the world and have other associations with blessings specific to other cultures, too.

But since Moko is here in Aotearoa and because we have a long relationship with the discovery and use of pounamu, this article is specifically about the relationship that all types of pounamu have to Māori culture and to Aotearoa New Zealand.

Pounamu - given its worth as an effective tool, and used in ceremonial situations, has long been highly regarded as taonga (treasure) - usually worn as jewellery after carved pieces had lost their efficacy as tools. Heirloom items increase in mana (prestige) as they are passed down through generations and the most valuable pieces are those that carry these rich histories within iwi.

So, historically speaking, pounamu wasn’t carved to be worn as jewellery in the first instance. It was a mark of gratitude and a sign of manaakitanga (hospitality) between iwi and within whānau across Aotearoa. Modern day people’s attraction to this beautiful stone has meant it’s become a way of expressing connection to the land, and to its people.

We believe that choosing a piece of pounamu for yourself can be just as special as being gifted one. Buying a piece of pounamu for yourself is about honouring the culture and traditions associated with this special stone, not breaking any rules.

Now the fun part begins - what colours do you resonate with? What textures catch your eye? What shapes do you have a special connection with? What we’re saying is: choose something that means something to you, because then your piece of pounamu is destined to become as special as you determine it to be.

Is it OK to bless pounamu for yourself or when giving a gift?

Thu, 01 Jul 2021 21:18:00 GMT

Blessing pounamu is a hot topic of conversation when it comes to purchasing and gifting pounamu. We get asked a lot if we bless pounamu here at Moko, or whether it can be done online.

Before we share our thoughts about blessing pounamu, let’s take a moment at the history of Aotearoa’s most precious stone.

Pounamu has long been regarded as a tapu (sacred) part of Te Ao Māori (the Māori world); traditionally used for tools, trade currency and gifts, and highly regarded as taonga (treasure) - usually worn as jewellery after carved pieces had lost their efficacy as tools. Heirloom items increase in mana (prestige) as they are passed down through generations and the most valuable pieces are those that carry these rich histories within Iwi.

The reason that blessings became associated with the giving and receiving of pounamu is because of the significance of the belief system of Māori: the importance of tapu (sacred) and noa (non-sacred) items, and the close relationship that Māori have with the natural world.

If an object, or a person, is tapu it means it has, or they have, been put into the realm of divinity. It is considered untouchable and revered, and carries connotations of higher strength and good fortune. Traditionally, a Rangatira (Chief) or Tohunga (expert/healer) are the regarded channels through which to gain tapu from Atua (ancestors/higher power) for objects by using karakia (prayers) or ceremonies.

However, Tohunga Whakairo (Master Carvers) have long been regarded as keepers and educators of knowledge about the spiritual world and so historically everything they created was considered tapu, hence the direct relationship to pounamu.

Contemporary practices to honour past traditions can vary quite a lot depending on a person’s beliefs, their connection with Māori culture, or indeed their connection to the natural world.

So, whether you choose to bless a piece of pounamu is entirely up to you and your own beliefs, your relationship to Te Ao Māori, or your connection to Aotearoa. In our opinion having a piece of pounamu blessed honours the traditions and beliefs that have been passed down over time, and offers a level of respect to tangata whenua (the people of the land) of Aotearoa.

We have heard stories of people blessing their own greenstone (or gifts for others) in streams or rivers that mean something to them, and by all accounts this is an acceptable practice which honours and respects past traditions.

We believe in the act of blessing the gift together with the person who’s receiving it, so that the blessing is passed from you to the person receiving it. This is another modern-day practice honouring past traditions.

While our pounamu comes to us in a blessed state, we do not bless each individual carving as a standard practice. However, we are happy to bless your piece for its journey to you upon request. Over the years, we’ve found that many people prefer to carry out this meaningful act themselves or with the intended recipient.

The blessing of pounamu is a deeply personal and significant ritual, which may differ depending on your beliefs or connection to whakapapa (ancestry). You may also choose not to bless your pounamu.

WELLBEING AND WATER

Tue, 29 Jun 2021 22:37:00 GMT

n Te Ao Māori - the Māori World - particularly in pre- European times, the health and wellbeing of an individual might be regarded as an indication of the state of that person’s engagement or relationship with their immediate environment or the wider world around them. Illnesses and ailments could be seen as a clear sign of some imbalance between the whole of the individual, that is the emotional/physical/spiritual self and the physical/spiritual realms wherein he or she exists on a day-to-day basis.

Perceiving the causes of these imbalances and rectifying or correcting appropriately according to context and circumstance falls to the tohunga, the specialist in such matters where Rongoa - traditional Māori healing practice - is called upon in times of need. Rongoa tikanga uses a combination of plant based remedies, karakia, blessing and cleansing rituals, and what we might recognise today as forms of ‘counselling’ to treat and hopefully resolve these imbalances, sometimes calling on or delving into whānaungatanga - familial relationships and/or whakapapa - ancestry and heritage aspects to fully explore every conceivable perspective regarding causal and curative possibilities.

In simple terms, if you’re sick, something is out of whack between you and the world in which you live. Maybe the fish you had for dinner was off, or deep down you’re still upset at Aunty’s passing because you didn’t get to say goodbye, or you just can’t find your late Mum’s pounamu pendant anywhere and you’re beside yourself with grief. These are three of the many examples I’ve witnessed myself over the years where the tohunga was called instead of the doctor, but tikanga proved as effective when applied appropriately, with knowledge and compassion.

Bad fish might be attended to by certain herbal remedies, appropriate cleansing and perhaps a karakia to Tangaroa just to be on the safe side. Aunty’s passing will require a measured and delicate approach with an esoteric understanding of particular tikanga and karakia, a deep awareness of the nature of tapu and noa, and an intimate knowledge of Te Pō with more than just a passing acquaintance with the dead. As for your late Mum’s pounamu though, time will temper the grief, but the weight of such a loss will remain heavy in the heart so long as the taonga remains lost. And as with many an heirloom piece, the tapu that attends it has been magnified through generations of whānau and whakapapa manifesting a spiritually charged context that must be navigated carefully for the well being of everyone involved.

Traditionally, pounamu is not generally associated with Rongoa practice though clearly there are spiritual associations with greenstone that speak to a sense of security and well being, of peaceful and harmonious relationships, of being in accord with things. I’ve referred in previous blogs to the empathic nature of pounamu, how it seems to have the capacity to imbue itself with the energies around it, to take on the warmth of its wearer for example. But also to absorb the bad with the good. Which means there will be times when pounamu requires very careful and specific handling. Tapu and noa need careful attention. Balance is key to maintaining the calmness of spirit that wellness requires.

But Māori are not the only people to perceive the mana - the spiritual energies and properties - that emanate from pounamu. New age techniques and practices based on often ancient indigenous traditions of energy healing cite pounamu and jade as variously a heart stone, a healing ‘crystal’ beneficial to heart and lungs, or indeed a healing stone of sufficient energy to heal all ‘chakras’ - the spiritual energy centres of the human body - of which there are anything from seven to over one hundred, depending upon which belief system you adhere to.

I’m completely open to the idea of the human body as a kind of dynamo or generator of many different energies, from the electromagnetic interactions and forces at play in our atoms, to the chemical processes expending and releasing energy in our muscles and organs, to the heat and mystery of our livers to the toxic acidity of our stomachs to the 100 watts of power our body’s produce at rest by the simple expedient of cells powering up to maintain lines of communication

with each other and with ‘mission control’ i.e. the brain, which itself generates around 12 - 24 watts of power as it goes about an average days business of running a body, directing a life and trying not to get carried away with its thinking processes, so the idea of ‘energy centres’ spread around the body or situated along energy ‘meridians’ isn’t of itself an outlandish notion.

‘Spiritu al’ energy is a concept I find a little harder to pin down, although having said that, Māori concepts such as Tapu, Mana, Wairua, Mauri, Ihi, and Wehi allow me to readily entertain the possibility of at least six different ‘types’ of such energy right here, right now. The Māori world view also allows these energies to exist outside of a human source or emanation so that we can detect tapu and mana, mauri and wairua, ihi and wehi throughout the natural world as well. Rivers and mountains, rocks and trees, even phenomena like winds or lightning or rainbows, or transient states such as mist or cloud are known to manifest such energies.
We know already that pounamu occupies a spiritually charged position or status. Sometimes that’s a blessing. As often as not, it’s grief. But the most ubiquitous of these sources of energy gets plundered hard out every day for both its spiritual and physical energy qualities as well as its universally acknowledged healing properties. We’ve pillaged, sacked and squandered the stuff since time immemorial and will continue to do so across every culture in every land wherever humans care to tread because without it, we’re all as dead as dust.

Maori have always acknowledged the existence of this energy source in the most intimate, yet subtle way imaginable. We ask any other human we come across that we don’t already know, one simple question; Ko wai koe? - Who are you? It’s a kind of riddle, meant as a gentle reminder of the proper way of things, or in other words, tikanga. But just about everyone gets it wrong. They will inevitably answer Ko Bill au or Ko Betty au. You know, I’m Bill or I’m Betty. No No No!
Look… If I ever ask you that question, Ko wai koe? like, Who are you? This is what you say, ok? You say this - Ko wai au? Like, ‘What - Who am I?’ Then YOU pause for a second or two before continuing Ha! Ko wai au! Say Exactly the same thing! But the intonation should assert not enquire. Make a statement, don’t ask a question. As a statement the phrase says: I AM WATER! Ko wai au!

As water we exist as part of every other thing that yields from the source as well. And so, as part of the pounamu, we can draw strength and durability from the stone, from its attributes and character, yet we cannot sustain and renew ourselves.
We must then attend to what remains of our mana with resolve and acceptance, and imagine instead our small forgotten river as a last and secret tributary spilling only the deep and pure light of majestic and immortal consequence, cascading thunderous through towering ravines of origin where first the Wai Pounamu - the greenstone waters - flowed before there was even a minor stone of any poor hue or a mumbled and hesitant legend to give either Gods or grace.
Ben Brown June 2021

Victorian Colonial Jewellery & Pounamu

Thu, 24 Jun 2021 23:18:00 GMT

Bracelet from the late 19th century

Māori might have imagined, for a moment or two at least, that they’d signed up for British citizenship in February 1840, with a vague third clause in the treaty at Waitangi representing someone’s ideal (Henry Williams maybe?) of an engagement between the natives and far off Kuini Wikitoria, then not even twenty-one years old and nearly three years into the job of being Queen of the United Kingdom of Great Britain and Ireland, Empress of an Empire - the Sovereign and symbol of the Greatest power in the world.

Born in the mother country back then, to the right station or status, in the right house for instance, to the right lord and lady noblesse oblige notwithstanding, one might reasonably expect a life of particular privilege and advantage, with access to opportunity, education, even liberty if liberty means freedom to choose anything above duty, drudgery, or destitution and dead in the tenements by thirty.

Man’s ring, gold with pounamu tiki c.1860

Liberty there must have been, in some allocation at least. A lot of those children of Empire found enough of it to come here. In spite of Edward Gibbon Wakefield’s best efforts to establish a kind of class oriented society built on the notion of ‘sufficient price’ (for land in the first instance), new modes of thinking about social mobility arrived with the aspirations of our settlers and remain stubbornly persistent to this day. Wakefield’s ‘systematic colonisation’ would have kicked off at the top, with a land owning class who, possessed of property, capital and insight, would set about building Utopia with diligence, good judgement and prudent investments in labour and industry, science and the arts, and all would be well in the end.

To be fair, the land owners did have their day, with the great run holders of Canterbury, Hawkes Bay and Wairarapa leaving their mark on the landscape, culture, industry and politics of much of 19th Century New Zealand, traces of which you can still recognise in the shape and manner of things we like to think of today as ‘ours’. Long before dairy herds milked us to riches, sheep cockies showed us the way. But the labourers, scullery maids and crofters from the clearances who came here looking for the dream didn’t go to the run holders homestead to find it. So it is that colonials become New Zealanders.

These new New Zealanders have it in mind to express themselves to the world, to the old world in particular, to show how far you can come, how much you can grow in such a short time. Objects of beauty and adornment allow such expression, wrought from the minerals and labours of the new world, rendered in form, aesthetic and utility from old world ritual, tradition and craft creating for a ‘moment’ in time genuine artefacts of story and place.

A pounamu pendant displaying in gold what seems to be an example of the masonic palm symbol, but with a heart instead of an all-seeing eye (see above), could be a colonial mason’s unique expression of love to a sweetheart, or is it simply a way of saying ‘my heart is in your hands’. Maybe its both, stands to reason it could well be. The piece is dated around 1880 and New Zealand was awash with masons then. Whatever the inspiration, to me there is a naive confidence in the idea of this piece. I mean naive in the nicest possible way, like a genuine innocence. I think the idea is prettier than the piece itself, though its not without a certain charm.

Matters of the Victorian heart gave romance currency with the Queen herself so openly besotted with her German cousin the consort Prince Albert. And rightly so by all accounts if her journals are accurate in their gushing recollections of his courtship, wooing and so forth. These days we can see for ourselves how the public love of royalty does strange things to the masses

Nonetheless the eternal heart shaped pendant seemed ubiquitous and why not. Pounamu set with gold is a striking liaison with a symmetry about it that makes perfect sense in a West Cosat River like the Taramākau for instance. Sentiments expressed in te reo suggest a certain pride in the exotic association. Ake Ake - Ever and Ever, as popular almost as Kia ora back in the late 1800s

These two items in particular speak to the writer in me, the paper knife with its defiant little hei tiki, and a Victorian page turner so as not to mark or curl the corners of a page as one reads, probably used as a bookmark as well for convenient utility. It’s what I would’ve done with it anyway. I can imagine these items on someone like Alexander Turnbull’s desk in his library surrounded by his beloved books and correspondence. The page turner probably looks like an eccentric or frivolous or even pretentious device through today’s eyes but I don’t know, it shows great regard for books if nothing else and

books are worthy objects in their own right. Books are greater by far than the sum of their parts. Books represent the human journey. They are the record of our existence. Why not treat them with respect. Personally, if I was looking for pretentious frivolity, I’d go no further than a single chopstick.

With neither morsel nor a mouth to serve, what use. . .

Chopstick, square in section c.1890

‘KIA ORA FROM NEW ZEALAND’- Chapter Eleven:

Wed, 16 Jun 2021 23:03:00 GMT

Victorian Colonial Jewellery & Pounamu: Part one.

Humanity has a propensity to name the ages through which we live and progress. It gives us a sense of being aware of what’s going on at the time I suppose, as if we’re all a part of the programme. The Age of Reason, the Age of Enlightenment, The Industrial Age, The Age of Discovery, The Age of Information and Technology or if you’d rather, the Digital Age in which we now find ourselves, for example.
These were and are ages marked by clear determiners, great agencies and engines of change and innovation, and even disruption. These Ages are periods in history of massive shifts in thinking and action that seem to propel us forward inexorably into an unknown yet somehow, more predictable and prosperous future. Or so we’d like to imagine.

New Zealand enters the official documents of record towards the end of the Age of Discovery and the beginnings of the Industrial Age in Great Britain. We might lay claim as well to the last colonial acquisition of Empire when Britannia really did rule the world, or at least the waves that crashed around it.

It seems more likely that there was a period of migration, perhaps over two or three generations, primarily from islands of East Polynesia around seven or eight hundred years ago, though all those figures are still hotly debated today among Māori and non-Māori, scholar and layperson alike. For my own Tainui whakapapa, we place our arrival at Kawhia around 1340 AD and acknowledge the presence of people already present in these lands. But we found the harbour at Kawhia abundant and the hills around to our liking and so we stayed and we settled. Settlers are pioneers. Pioneers begin to build a sense of place they can call Home. In time, if they stay, this new Home of theirs will become part of their bones, as their bones will become part of the land of this new Home. How they build this new Home will reflect where they have come from and will adapt to where they are.

Soon, if they become comfortable enough and find the time, they will make art and adornments that display this sense of being at ease in this place that, while new in the collective memory, feels more and more their own. Again, these artworks and adornments will reflect where they have come from and will adapt to where they are. Better yet, if they prosper, they might export to the world or at least, to the old Home Country Herself, both quaint and beautiful examples of this sense of being at ease.

Blessing Your Pounamu

Sun, 16 May 2021 00:11:00 GMT

Is it customary to bless a Pounamu before wearing it?

This tradition not just begins with Pounamu , but is an integral part of the Maori culture. Their connection with spirituality and the earth around them makes it sacred, which, throughout history has been used to seal bonds; whether for friendship, relationships, peace, or to show gratitude and thanks.

The concept of gifting is central in the lives of Maori. It was a guiding principle and helped maintain the social balance & mana of individuals, communities and tribes.

Greenstone is held in high regard as a taonga (treasure) within Maori culture. This is why pounamu carvings are considered a special and significant family heirloom. It is a strong and durable stone, so these carvings last for many generations, being gifted down the family line, as a true taonga (treasure).

Many traditional items from history are still with the original family, having been passed down for many years. Alongside gifting within their tribes and families, pounamu was also historically used when tribal wars were over, signifying a gift that was to seal the peace treaty between the two tribes.

Why bless Pounamu?

Pounamu can represent ancestors, connection with the natural world, or attributes such as strength, prosperity, love, and harmony.

Tapu

This means to put someone or something under the sacred protection of the atua (gods) which is away from the profane. The violation of tapu would result in retribution, sometimes including the death of the violator and others involved directly or indirectly.

Appropriate karakia and ceremonies could mitigate these effects. Tapu was used as a way to control how people behaved towards each other and the environment, placing restrictions upon society to ensure that society flourished. Making an object tapu was achieved through rangatira or tohunga acting as channels for the atua in applying the tapu.

Members of a community would not violate the tapu for fear of sickness or catastrophe as a result of the anger of the atua.

Source - https://maoridictionary.co.nz/word/7504

Noa and Whakanoa

Noa lifts tapu from a person or object. When tapu is removed, things become noa, the process being called whakanoa.

This means that the object that was tapu is now free from restrictions. It is now able to be put to common use. Noa is similar to a blessing. Tapu and noa remain part of Māori culture today, although people today are not subject to the same tapu as that of previous times.

For this reason, many people like to have their carving blessed. This blessing, if done correctly, will purify the carving of any negativity that have been inadvertently placed into it during the process of its creation.

Further to this, one who is qualified, may go a step further and invite powerful blessings of various holy beings to raise the vibration of the carving and thereby transform it into a true Taonga (treasure).

Source - https://maoridictionary.co.nz/search?idiom=&phrase=&proverb=&loan=&histLoanWords=&keywords=no a

The Meaning Behind Hei Matau

Tue, 09 Mar 2021 22:19:00 GMT

Discovering the significance of hei matau - or the fish hook design

Here in New Zealand greenstone, or Māori greenstone is known most commonly by its Māori name ‘pounamu’, so pounamu shape meanings is a very common topic of conversation with our customers here at Moko Pounamu.

A popular shape found in pounamu carvings is hei matau, so today we thought we’d write about the hei matau meaning and why it’s such a popular shape carved out of pounamu.

In Māori, the word ‘matau’ means fish hook. ‘Hei’ indicates that the matau hangs around the neck. Traditionally for Māori there is a special connection to the fish hook because according to Māori legend, the North Island of New Zealand was once a fish, and was caught and brought up to the surface by Maui; son of the sky father (Ranginui) and earth mother (Papatūānuku).

The connection to the ocean is another special connection, because te moana (the ocean) is regarded as a very spiritual and sacred life source.

Fish hooks made from bone and pounamu would be stored around people’s necks for safekeeping in the early days, and slowly they became more ornamental than practical.

The associations of hei matau include strength, abundance, connection, affiliation with the ocean, and of course a love of fishing!

Hei matau are found in a variety of stylised figures; some incorporating other elements of Māori design, and some more traditional in their shape.

Here at Moko Pounamu we have many hei matau individually designed and carved and ready to be viewed and purchased.

Take a look at our collection to find a piece that catches your eye, and keep an eye out for our next blog as we go into more detail about the meaning behind another recognisable pounamu carving shape.

What Exactly is Pounamu?

Mon, 22 Feb 2021 01:07:00 GMT

There are a few interesting facts about pounamu that make it what it is, and we may be biased, but we think it’s all pretty interesting stuff. Let’s start with the name. Pounamu is a Māori word used to describe greenstone, the colour green, and early glass bottles which were coloured green. It is unclear as to the exact origin of the word, but ‘pou’ carries connotations of strength and importance which is relevant to the way that pounamu is regarded in Māori culture. Although greenstone is also known as jade, and is found in other parts of the world, pounamu is specific to greenstone found in New Zealand and describes a variety of different colours of stone, not just green. Check out our blog about the colours of pounamu to see what we mean!

Now let’s look at the science. What we know about pounamu/greenstone and its origins from the Mother Earth is that it is a metamorphic rock - that is to say rock which has been formed through tremendous heat and pressure - and evidently came into contact with various minerals which gave it certain properties.

Geologists have been able to determine that a series of events which defined certain eras in geological history resulted in rock formations which had been lifted, depressed, mixed with other rocks, enveloped in swamplands, covered in limestone and heated under pressure (not necessarily in that order). Given the unique combination of locations - being South Westland as we know it today - and surrounding materials and minerals, all of this rocky business resulted in Pounamu. Lucky us, we say.

Bands of pounamu formations, which tend to run in a north-easterly direction, consist mainly of dunite and similar olivine rock, serpentine, talc formations and actinolite. The addition of other minerals explains why these formations are often referred to as a mineral belt.

Pounamu/greenstone is classified as a semi-precious gemstone. This is because it has some of the qualities of precious gemstones, but at the end of the day… it’s still a rock. A beautiful one at that!

The connection to Te Ao Māori (the Māori world) is of huge importance in Aotearoa / New Zealand.
Māori legend features the story of Poutini - a taniwha (a water spirit / mythical creature) that swims up and down the West Coast of the South Island, providing guardianship to its people. The legend states that while Poutini was swimming around the Bay of Plenty region, it came across a beautiful woman, Waitaiki, bathing. She enchanted Poutini and he kidnapped her and fled back to the West Coast with her. Waitaiki’s husband came looking for her and to ensure Poutini wouldn’t lose her, he turned her into pounamu and laid her down into the riverbeds. It is therefore believed that pounamu carries a strong, feminine energy and ultimate guardianship for its wearers.
In modern history, pounamu was used by Māori as tools because they could cut and carve it into sharp blades and hammers. When these tools had lost their efficacy, they became family heirlooms, and the smaller pieces were adored as jewellery: a statement of pride and mana for the person lucky enough to adorn it. Specifically, toki (adze) blades were carved into hei tiki forms and were gifted or traded.
Today, shapes and styles are recreated to look like the original tools they were carved to be, as well as stylised figures and more modern shapes too. Check out our blog on the shapes of pounamu to see some of the descriptions of commonly found shapes.
We often get asked what colour pounamu is better. We don’t think any colour is better than another, because they all have their own wonderful and unique qualities; from colour to imperfections, to grain in the rock. Owing to the way in which pounamu came to be, no one piece is the same. And that’s just one reason why pounamu is an incredibly precious resource in Aotearoa, New Zealand.

Origins of Aotea Stone

Mon, 08 Feb 2021 00:31:00 GMT

All of the pieces that we have for sale in our shop are striking in their own ways, but there’s something rather special about pieces carved from Aotea stone. We have several pieces showcasing this rare and precious stone. Aotea stone is sometimes called bluestone because - yep, you guessed it - it has a distinctive blue hue to it that makes it look quite different to the shades and hues of pounamu.

Its origins as a semi-precious stone are similar to pounamu in the way that it was formed - under tremendous pressure and extreme heat many many years ago - but its makeup of different types of stone is what makes it unique.

A combination of kyanite (blue), fuchsite (green) and quartz (white) give this stone its turquoise appearance, with bands of iridescence and glitter from the mica in the quartz. These features are near impossible to capture in photographs.

Aotea stone is regarded as a stone that carries a feminine energy. This is for a couple of reasons. It’s a softer stone than pounamu and that’s evident when it’s held and felt in one’s fingers. It’s true that the feel of the stone is starkly different to that of pounamu which is harder and intrinsically carries a masculine and powerful energy.

The stone’s characteristics speak for this feminine energy too. According to gemologists and those who have an understanding of precious gemstones’ properties, kyanite stimulates intuition and personal truth. Fuchsite is said to support a sense of self-worth. And quartz is said to absorb and regulate energy. For those in tune with stones’ spiritual and healing powers, this is a pretty special one.

Aotea stone is only found in one area of South Westland - the Makaawhio (Jacobs) River , where local iwi Ngati Mahaki ki Makaawhio have cared for, gathered and traded it for generations. As with pounamu, it is regarded as the manifestation of the goddess Waitaiki who was chased into the sea and cast into stone.

Unlike pounamu, which is found in various locations, Aotea has only ever been found from this one river. It’s a much more precious and rare natural resource than pounamu, though pounamu has its own very special qualities of its own.

All stones and all pieces carry their own unique story of connection to the land - most of which will be locked away within the stone’s energy until the end of time. That in itself is a mysterious and enticing reason to own a piece of this unique stone. Take a look at our current collection in our shop.

Where Pounamu is Found

Sun, 31 Jan 2021 22:57:00 GMT

Found in the South Island of New Zealand. What we know about Pounamu/Greenstone and its origins from the Mother Earth is that it is a metamorphic rock - that is to say rock which has been formed through tremendous heat and pressure - and evidently came into contact with various minerals which gave it certain properties.

One of the most common misconceptions about pounamu/greenstone is that it’s all green. While imported stone varieties that are commonly known as jade tend to be more green and have less variety in their shades, New Zealand pounamu comes in a range of shades from dark, opaque black to milky, translucent grey and just about everything in between!

Bands of Pounamu formations, which tend to run in a north-easterly direction, consist mainly of dunite and similar olivine rock, serpentine, talc formations and actinolite. The addition of other minerals explains why these formations are often referred to as a mineral belt.

Although rocks of similar qualities have been found further afield, it is widely accepted that Pounamu is found throughout Westland’s alluvial glacial moraines. Also known as part of the Southern Alps - and following a gigantic fault line which creates the backbone of the South Island. The main historical gathering places are between Greymouth and Hokoitka. Just exactly where certain varieties and types of stone originated from remains a mystery, locked away in a distant past, when all was upthrust and under ice.

Specifically speaking, the boundaries of pounamu discoveries are from Taramakau River in the north, the foothills of the Southern Alps in the east, Hokitika River in the south and various coastal locations in the west - owing to rocks being brought down rivers and then deposited on beaches along the West Coast.

The most important things to know about the discovery and distribution of pounamu are:

Any member of the public is allowed to fossick for pounamu on the beaches of the West Coast of the South Island and they can take what they find as long as they can carry it on their person without assistance
If raw pounamu is discovered outside the areas open to public fossicking and/or is larger than what one person can carry, it is the property of Te Runanga o Ngāi Tahu and should be notified to the Pounamu Management Officer immediately

At Moko Pounamu we have a longstanding and vested interest in the discovery and sustainability of pounamu, and we thoroughly enjoy inspecting any new pieces of stone that come through our doors.

*referenced from the Pounamu Management Plan

https://Ngāitahu.iwi.nz/wp-content/uploads/2013/06/Pounamu.pdf

Wāhanga Tuatekau - Chapter Ten:

Sun, 24 Jan 2021 20:56:00 GMT

KI NGĀ HAU E WHA I ATU RA TO THE FOUR WINDS AND BEYOND

I can find no other record of the Orient adventure mentioned by Mr W Lyon in the closing remarks of his lecture on the various geological strata of New Zealand to the merchants of an aspirant young Wellington, though both the schooners ‘Royal Mail’ and ‘Anita’ plied these islands in the 1840s. These early days of Colony present both risk and opportunity to bold and entrepreneurial ship owners and masters. I can well imagine the idea of a couple of holds full of ‘New Zealand jade’ landed in Shanghai at £1500 a ton inspiring just such a speculative enterprise. There is a record of the ‘Anita’ arriving in Port Nicholson (Wellington) on Christmas Eve 1842 from Manilla so It’s certainly not beyond the realms of possibility that the crew of Anita made it back to New Zealand just in time for Christmas dinner, cashed up presumably, after a dash up to China with a hold full of Tangiwai, the bowenite lookalike to nephrite jade that Piopiotahi or ‘Milford Haven’ is known for when it comes to pounamu, technically speaking however, bowenite is not jade.
F or want of nothing more than a start date I’m going to assume that this was the first reported commercial, industrial scale international export of pounamu from Aotearoa. With that in mind, we can say that it was a business that lasted just over 100 years, 1842 - 1947, though the Milford - China run seems a one-off transaction in the record, albeit conceivably several hundred tons worth. Between 1842 and 1866 however, the record is more or less silent. I think it’s reasonable to assume that there will have been moments of opportunity in the interim, just as there was prior to 1842. Tucker the Sydney souvenir trader for example, the chancer whom we met in chapter five dying his death at Murdering Beach, Otago in 1817.

George Weller-Poley from Boxted Hall in Suffolk, England travelled down to New Zealand in the 1820s, returning home to his moated country manor house set in gloriously picturesque grounds near Bury St Edmunds, with a mokomokai - the preserved head of a Māori warrior - and the mere pounamu pictured here. But the gentleman adventurer wasn’t in it for profit. These were memories manifest of an exotic road less travelled, which he had no intention of selling. That would fall to his descendants. The mokomokai was offered for sale in 1988 but caused something of a stir. The remnant warrior was withdrawn from auction and eventually came home, exchanged in an expression of gratitude and good will for another mere pounamu, a modern reproduction. The older mere pounamu, George Weller-Poley’s memento, sold for £12,500 in June 2020. The reproduction gifted to the Weller-Poley family was also offered for sale at the same auction but failed to reach reserve and was passed in with a final bid of £3000.
It seems to me that some people have funny ideas about concepts like ‘propriety’, ‘value’ and ‘worth’, but that’s just my opinion. I can’t say I’m comfortable with old George Weller-Poley’s original ‘souveniring’ of taonga, but to be fair, there’s an even chance he would have traded for his goods with Māori, or just stumped up with the readies. Māori by then were not necessarily averse to either, so long as the barter had utility or there was something worth buying with the cash. Anyway, viewing 1820s actions through 2021 eyes is less than helpful sometimes, not always, but sometimes. Of his era and in his way, Weller-Poley expressed a measure of respect for these artefacts by keeping them as part of a cherished household collection. I’m not sure what to make of his descendants view on the matter though. It all feels a little bit, I don’t know, cheap and tacky somehow. But as I say, that’s just my opinion.
N ew lands in the cradle of Nationhood always attract adventurers and opportunists. Even pioneer settlers are speculators to some degree. Taking a chance on the unknown comes with the territory, literally. But the pioneer’s perception of a profitable outcome often looks less like money and more like a future filled with promise, although it’s always a bonus when one attends the other. The pioneer settlers that descended on Poutini’s shore from all around the world chasing riches in the gold rush of 1865 came clearly with profit in mind.

Diggers dreamed the ends of rainbows, but mostly they just got rain. Merchants took stock of every make and manner working the margin with precision down to the nth of a pennyweights worth. Prostitutes prettied themselves and pretended. Bankers charged interest and collected or foreclosed. Thieves and deceivers thieved and deceived. Priests found new souls to pray for and hoteliers in their hundreds did a roaring trade supplying them, for a while anyway. Meanwhile, Māori looked around and wondered what exactly happened.
In Hokitika, German businessman Joseph Klein opened a jeweller tobacconist premises on Revell Street in 1865. He was also the owner of the West Coast Times which advertised a range of greenstone jewellery in 1868 newly arrived in the colony from far off Idar-Oberstein, a twin town settlement on the Nahe river in Germany, where his brother Karl worked as a lapidary in the 400 year old gemstone industry centred there. Agate had been mined in the surrounding countryside since the 1400s, utilising the Nahe - a tributary of the Rhine - to power the mills and grinding stones. By the 1800s the agate fields were all but mined out so the industry cast further afield to the new world, and Idar-Oberstein kept going. ’GREENSTONE PENDANTS, PINS, EAR-RINGS &c.’ were now on display and available at J.P. Klein’s on Revell Street. The ‘GREENSTONE’ was pounamu all the way from here.
It would seem an historical inevitability that a commercial greenstone trade should emerge from tailings of the West Coast rush and the happy geological coincidence of gold awash in rivers of greenstone. But from the mid 1860s, jewellers and lapidaries began working with the local resource in earnest. Very soon a distinct Victorian colonial aesthetic began to appear in the windows and display cases of jewellery shops from Dunedin to Auckland. Kia Ora, Aroha, Aotearoa appeared in delicately cursive gold or silver on pendants and brooches of pounamu hung from finely wrought chains or framed in elaborate filigrees. Ake Ake Ake, spelling ‘forever’ in gold on greenstone cut and set in a classic jewellery motif suggests to me aspirations of permanence and a feeling of confidence in this far flung corner of Empire. Interestingly, it also reveals a readiness among the colonists to express some kind of indigenous context to an emerging sense of national identity. Ironically however, the greenstone rush that began in the mid 1860s saw most of the vast tonnage of pounamu extracted from the West Coast riverine being loaded onto ships and sent off to the industrialised workshops of Germany and England, part of a circular trade that would last until the second world war.
References: Street, Kathryn. The Colonial Reinvention of the Hei Tiki: Pounamu, Knowledge and Empire, 1860s - 1940s. Victoria University of Wellington, MA (History) 2014
George Weller-Poley mere and information: https://www.antiquestradegazette.com/print-edition/2020/july/2452/auction-reports/maorigreenstone-brought-to-britain-by-1820s-adventurer/
For all historical News Paper references: https://paperspast.natlib.govt.nz

The History of Ngāi Tahu & Pounamu

Sun, 17 Jan 2021 21:29:00 GMT

Ngāi Tahu is the iwi (tribe) that holds kaitiaki (guardianship) over all of South Island’s pounamu (greenstone). But New Zealand’s colonial history means it hasn’t always been this way.

Before we detail the importance and relevance of Ngāi Tahu, we thought it would be helpful to go back a bit in history and provide some context as to why.

Ngāi Tahu is the largest occupying iwi in New Zealand; covering most of the South Island, including all of the known natural sources of Aotearoa’s precious pounamu stone.

Ngāi Tahu is an iwi that includes the interweaving of three whakapapa lines from Waitaha, Ngāti Māmoe and Ngāi Tahu.

They were the first people to occupy Te Waipounamu (South Island) - and they held pounamu as an incredibly important resource for their day-to-day living (using the stone as tools) as well as a valuable asset with which to trade and gift.

The arrival of British settlers in the 1800s led to disruption for all iwi around New Zealand, and large-scale land transactions happened without the full understanding of Maori who were unknowingly giving up their rights to an imminent democracy.

The proposed document which was presented and signed in the form of Te Tiriti o Waitangi (The Treaty of Waitangi) in 1840, was apparently intended to formally unite Aotearoa / New Zealand as a new nation. However it carried significant discrepancies between the English and Maori translations and Maori essentially lost independent control over their most valuable and important assets.

It wasn’t until 1997 that the New Zealand government officially returned the ownership rights of pounamu to Te Runanga o Ngāi Tahu as an important part of their treaty settlement. They now manage the discovery and distribution of pounamu in accordance with the 2002 Pounamu Management Plan.

But what exactly does this mean?

It means that Aotearoa’s most precious stone is sustainably managed and looked after by an elected group of our country’s indigenous people; acknowledging its virtue as a natural resource and that it’s long been tapu (sacred) as a taonga (treasure) for Maori.

This is in part why pounamu is handed down through generations as a family heirloom - carrying great mana (strength) and meaning with it.

In a day-to-day sense the regulations around pounamu should be understood and respected by all. Genuine New Zealand pounamu is governed by a trace code system. Trace codes identify the origin and whakapapa (genealogy) of a stone which honour and respect its journey to us from the land.

The most important things to know about the discovery and distribution of pounamu are:

*referenced from the Pounamu Management Plan

https://Ngāitahu.iwi.nz/wp-content/uploads/2013/06/Pounamu.pdf

Any member of the public is allowed to fossick for pounamu on the beaches of the West Coast of the South Island and they can take what they find as long as they can carry it on their person without assistance.
If raw pounamu is discovered outside the areas open to public fossicking and/or is larger than what one person can carry, it is the property of Te Runanga o Ngāi Tahu and should be notified to the Pounamu Management Officer immediately
If an artefact is discovered - such as a Toki (adze) or Hei Tiki (stylised pendant) - it is the property of the Crown and is of particular significance to Ngāi Tahu. It is illegal to remove or interfere in any way with the artefact or the site where it was found. If discovery of an artefact is made on DOC land, DOC should be notified and they will notify Ngāi Tahu. On all other land the local regional museum should be notified who will in turn notify Ngāi Tahu
When taking pounamu out of New Zealand, it is forbidden to take more than 5 kg of stone. Those wishing to take pounamu out of the country above this limit must apply in writing to The New Zealand Customs Service

There are several other important points about the supply and preservation of pounamu which are also detailed in the Pounamu Management Plan. We highly recommend consulting this governing document if you have a commercial interest in pounamu.

At Moko Pounamu we have a longstanding and vested interest in the discovery and sustainability of pounamu, including a family connection to one of the largest known discoveries of a pounamu boulder, back in the 1970s.

We only work with stone from legitimate sources and artists with respectful intentions. If everyone makes conscious choices to support the sustainability of pounamu in this way then we will all have the opportunity to enjoy pounamu for its beauty and its worth.

Wāhanga Tuaiwa - Chapter Nine:

Mon, 11 Jan 2021 02:51:00 GMT

‘THE GREAT GREENSTONE TRIAL OF 1866’

In the story of Poutini’s Shore, the convergence of gold and greenstone would seem as inevitable as the tide. Wherever there are legends of treasure, human desire will follow and human nature will reveal. In January 1864, Simon the Maori strikes payable gold beneath a pounamu boulder in the Hohonu river, a tributary of the Taramakau that rises in the Hohonu Range above the southern shore of Lake Brunner.
Haimona Tuakau - ‘Simon the Maori’ - Haimona Tuangau, all one and the same man of unique and singular character, his reputation as ‘the hardest working and most useful man in Westland’ was already well established by the advent of the West Coast gold rush brought about in no small part by his own discovery on the Hohonu. According to Mr J C Revell of the Canterbury Provincial Government office in Greymouth, it is also noted that ‘Simon brought over from Christchurch via Harpers Pass to Mawhera on February 11th, 1864, the first two horses to come to that district…’ I can find no other reference to this remarkable moment of pioneering enterprise but I’d bet all the amalgam in my only piece of bling, a pennyweight at least, that they were two pack horses purchased with his find, to help him haul out the real treasure, a great slab of pounamu that once nestled in the Hohonu on a little pile of gold.
Prospectors had been washing colour on the West Coast of South Island, then called West Canterbury, since the late 1850s, but colour in the pan alone does not make a gold rush. Worth anything from £2 to £4 an ounce in the 1860s, payable gold meant the ‘digger’ still came out ahead after the usual expenses had been deducted i.e. food, transport, accomodation and stores, which more often than not would include a healthy supply of grog, deemed an essential tonic of the soul for many a hardy pioneer adventurer to ‘the poor man’s diggings’. And pioneers they were, the diggers who made there way to Hokitika, Charleston, Waimangaroa, The Mokihinui, The Taramakau, The Berlins and Lyell on the Buller, and other momentary places that played out fast or never got going or promised just enough to drive a man drunk and ruin him.
The prospector Albert Hunt is one of the diggers credited with sparking the rush to the coast, apparently with a 20 oz find in the Hohonu, also called the Greenstone river, sometime between April and July 1864, so naming the goldfield there as the Hohonu Greenstone field. It is almost certain that Haimona Tuangau was the man who pointed Hunt in that particular direction. Hunt knew Tuangau from his time spent waylaid and frustrated at Mawhera Pa around May 1864, urgent in his quest to strike it rich and claim the £1000 prize offered by the Canterbury Provincial Council for finding payable gold in West Canterbury. Tuangau lived at Mawhera but also had a whare in the Taramakau, near the Hohonu, where he and his friend Samuel Iwikau te Aika often prospected. It is known that Hunt travelled down to the Hohonu with the two Maori prospectors around this time.
History seems a little uncertain about Albert Hunt, by turns generous or scathing as hero or hoaxer, with William Smart, another prospector who found his way to the Hohonu Greenstone at the same time, accusing Hunt of outright deception in his attempt to claim the Provincial Council prize. But diggers would soon descend on the Hohonu Greenstone field once Hunt and Smart put the word out. By February of 1865 the West Coast rush was on with news in the Christchurch Press that some 2375 ounces of gold had lately been shipped from ‘Okitika’. By the end of 1866 over half a million ounces of gold had been extracted from the alluvial fields of the west, and the town of Hokitika was booming.
Around December 1865 another prospector, James Reynolds, was on the Hohonu river seeking his fortune in both gold and greenstone, which you’d have to say is a sound business model given terrain of such fortunate geology, when he came across a large slab of pounamu in the bush quite near the stream at a place now called Maori Point if you look at a map of the area. The pounamu had clearly been placed there, and appeared to have been worked at over time, though perhaps not recently. Reynolds then regarded the pounamu slab as an abandoned ‘claim’ and staked it out as the Goldfields Act allowed of any abandoned ‘claim’ on a government declared goldfield.
Remembering Haimona Tuangau’s original find of ‘payable gold beneath a pounamu boulder’, we now return for a moment to January 1864 and the circumstances of ’Simon the Maori’s’ discovery. William Martin, a friend of Haimona Tuangau, himself a prospector in the Hohonu in 1863, lately a carpenter and bailiff in Christchurch, gives this account, having offered Tuangau a finders fee of £50 if he could locate any payable gold:
‘January 1864, his mate, Samuel (a Maori) [Iwikau] and himself [Tuakau] went up the Hohuna River, and on its main branch (the Greenstone Creek) they found an embedded boulder of pure greenstone, which, with the aid of levers cut in the bush, they eventually rolled out of it’s deep bed in the stream, and by rolling with the fall of the creek, placed the boulder in the bush out of sight and floods. An hour or two afterwards they went to the spot where the boulder had lain, with the discoloured water away, and on the side and bottom, embedded in the debris, they clearly saw shining in the clear water lumps of gold from one pennyweight to four or five, and, to use Simon’s own words, he said: ‘We take out our sheath knives and we take all we see, and I say to Samuel we want big hammer to break up the greenstone, and I say we no tell we find gold, but we go make a walk to Christchurch. We find Martina, get £50, buy big spawl hammer, bring Martina back with us, when we then tell all the Maoris, and all the Maoris go with us, get plenty of gold, we go to Christchurch and speak to many mans, but no one knows you. We make a walk about all day and see many men making the house, but we no see you working. We get very tired, buy a hammer, and go back to Kaiapoi, then we come home’.
Haimona Tuangau’s interest in gold, it seems to me, was pragmatic. His interest in pounamu came from a different deeper place. William Martin’s account shows us something, it shows us that Tuangau had exercised a claim of ownership over the greenstone boulder, evident by his actions, and therein exists a property right. Importantly, that right is one of custom, of tradition. It is a Maori right and it is permanent. The great greenstone trial of 1866 will decide if the Maori right has any standing in law because the greenstone slab found and claimed by Reynolds was the same pounamu boulder put there by Haimona Tuangau when he found his gold.
Subsequent to staking out the pounamu boulder another Pākeha on the Hohonu, Bill Chappell, informed Reynolds that he had no claim on it, that in fact he (Chappell) was ‘looking after the boulder for the Maoris’. Mr Revell, the Warden at Greymouth would later support this view; ‘The stone you have taken possession of belongs to Simon Tuangau and I think you had better not touch it’. Revell was of the opinion that because Tuangau found the boulder before the Goldfields Act applied in the Hohonu Greenstone field, the issue was one of property, not a mining claim. Reynolds approached Tuangau directly, looking for a deal. Tuangau declined. Reynolds brought explosives to the site and broke up the boulder yielding nearly 1900 pounds of pounamu worth an estimated £2500, roughly equivalent to around 1000 ounces of gold. Tuangau slapped a writ on Reynolds, and police seized the pounamu on the authority of a warrant issued by the resident magistrate at Greymouth. Reynolds brought his own action against Tuangau alleging unlawful detention of the greenstone and commencing criminal proceedings. The case went to the Supreme Court in Hokitika and then in August 1866, after two juries failed to reach agreement, was referred by the presiding Judge on a point of law to the Court of Appeal in Wellington.
In the event, the Court of Appeal ruled in favour of Tuangau, accepting the argument that a traditional property right predated goldfield regulations. Haimona Tuangau was able to show he had asserted that right. Werita Tainui, a Ngāti Waewae Rangatira testified, in Maori, that ‘Simon’ had asked him to break pieces from the stone soon after it was found and that under native law, the stone belonged to Tuangau, even if left unattended for long periods. Revell as well, also gave evidence in support of Tuangau. In October 1866 the Court of Appeal, in a unanimous decision, found that a property right based on custom and tradition lay with Haimona ‘Simon’ Tuangau, a Maori, and awarded him costs.
Epilogue:

Above is a letter written in Māori by Haimona Tuangau in 1866, from ‘Hokitika ki toku hoa aroha, ki a te Kawana’ - from Hokitika, to my dear friend, the Governor, being Governor George Grey. The letter acknowledges the Governor’s kindness in sending him a gift of preserved birds on the steamer but regrets that he cannot show him due consideration because the Pākeha have stolen his horses and he is poor at the moment. He states that goods have been stolen from him four times in four and a half years of living i tenei whenua - in this place. Tuangau then offers a small token of friendship, he pounamu - a piece of greenstone weighing about 44’ (possibly 44 pennyweight or just under 2.5 troy ounces, being standard weight measures for gold). He finishes the letter; ‘My friend, I have not seen a bird for you yet so I can’t come there to see you and Te Rauparaha. I don’t have enough money to pay for me and my wife to come. And so then, from your dear friend, Haimona Tuangau.
Haimona Tuangau was born about 1840 in the Bay of Islands. As a boy he was kidnapped and taken aboard a whaler, a matter which was later said to be ‘settled’ with a keg of tobacco to the aggrieved hapu or tribal grouping. Some years later he jumped ship in Akaroa and was hidden by local Maori for a while, before heading for Te Tai a Poutini - West Coast, then called West Canterbury, with his wife Patahi, a Māori woman from Otakau (Otago). He is very much a transitional character in the narrative of New Zealand, forging his own place in the evolving milieu through intelligence, hard work, strength of character and an instinctive awareness that the world was changing irrevocably. Tuangau lived that change. Through him tradition and custom found acknowledgement in law. He died in 1890. Too young.

References:
Austin, Dougal. Hei Tiki: He Whakamārama Hōu. MA thesis in Māori Studies. Victoria University of Wellington. 2014.
Bradshaw, Julia. A Tiny Treasure. https://www.canterburymuseum.com/discover/blog-posts/a-tinytreasure/
Pickering, Mark. The Colours: The search for payable gold on the West Coast from 1857 to 1864. http://www.bestwalks.kiwi.nz/uploads/4/9/3/3/49336433/the_colours_new_design.pdf
Taylor, W. A. Lore and History of the South Island Maori. Bascands Limted, Christchurch. 1950.
Letter from Haimona Tuakau courtesy of Auckland Libraries Heritage Collections GNZMA 306

Working with Pounamu

Fri, 18 Dec 2020 00:33:00 GMT

When working with Pounamu, there are several considerations to be made..

A stone’s size, shape, colour and density is one thing. But its origin, its connection to land or people and its history is another.

To the trained pounamu-seeking eye, a piece of greenstone looks interesting even before it’s cut. But there’s really no way of knowing what the inside of a stone is going to look like until it’s sliced with the right tools. There are several stories from our wider family and connections of stone-cutting feats that took several days to complete because of the stones’ sizes.

In a practical sense, greenstone is regarded as a difficult stone to effectively polish with its varying degrees of hardness, grain structure and inclusions. Each stone carver (lapidary) develops their own techniques according to the ways in which they carve, and the stones they more frequently work with.

Longtime carvers who have paved the way in this industry have developed preferred techniques. For example, particular equipment and the use of water helps to keep the stone cool (and therefore not be blemished by heat marks) and it keeps the dust at bay, which is often a thick rind on the edges of stones. Particularly soft stones, especially those of the Inanga variety, can burn easily from friction caused by fast-spinning sanding wheels.

Polish is everything with pounamu. The stone can stand heat but it is how this heat is created to obtain the molecular flow over the surface which results in a flawless polish. In other words, this is a specialised art that only trained experts should attempt because it would be such a shame to see stone wasted when worked by the wrong hands!

Beyond practicality there is the question of craftsmanship when it comes to stone carving. There are many examples of excellent carvings in Aotearoa, some of which are time-honoured designs and some of which are more contemporary. Each piece is unique, even if it’s a traditional shape. Read more about pounamu shapes and stone varieties in our other blogs.

Some carvers choose stones for their features and allow the stone’s qualities to dictate the shape, orientation and intricacies of the carving. This is just one way of carving stone, and we think it’s a wonderful way to showcase some of the true beauty and rarity we see in stones from different areas. The reverse is also true: carving a specific, traditional shape from a piece of stone will always unearth unique qualities of a stone whichever way the form is orientated and presented.

That’s one of the most exciting things about working with pounamu - we never know exactly what colour or character we’re going to end up with in a finished product until it’s done. And even then, in different lights and environments pounamu can present in various ways, being true to the beautiful mineral resource that it is, and its connection to the natural world.

To bless or not to bless?

Sun, 29 Nov 2020 21:57:00 GMT

Wāhanga Waru. Chapter Eight

Tue, 17 Nov 2020 20:53:00 GMT

The Blessed Stone A personal observation

On the question of whether or not to bless the greenstone - ka whakatapu te pounamu - you must first ask yourself the bigger question, ‘What do I believe?’ Hold that thought for a while, and let’s consider context. Today in Aotearoa New Zealand I think most of us would agree that pounamu, or greenstone if you like, is, for want of a better term, our national stone. We regard it as taonga, a treasure. We can imagine that it somehow belongs to all of us, is part of us, reflective of our sense of ourselves and of the land from which it emerges. The very human facility of incorporating story into our realm of understanding allows us to enhance this view with certain intangible qualities that add dimension to the idea. We can add spiritual aspects to physical things. We can imply unseen forces to visible phenomena. We can put god into the machine. And, it has to be said, we can take god out again if it suits. With regard to pounamu we can observe these transitions from the physical to the metaphysical and back again. It’s a god stone and a commodity.

Another question seems to arise in realtion to this particular topic of discussion and that is, can I acquire greenstone for myself? Can I buy a piece of pounamu just for me? It’s a widely held ‘belief’ in Aotearoa that you should only acquire greenstone in order to make it a gift. If we covet it for ourselves, bad luck will surely follow. It’s a lovely sentiment with a slightly sinister flip side. Of course, if it were true, it would put the commerce of pounamu in something of an awkward position. And let’s not be shy about it, pounamu has commercial value. It’s a semiprecious stone, it’s nephrite, it’s jade, it’s beautiful, enigmatic, mysterious. In the hands of an Artisan its value multiplies. What are we to make of this apparent conundrum?

I think we can accept that our modern day views, opinions and beliefs regarding pounamu emanates from Te Ao Māori - the Māori World - and the tikanga thereof, which are the practices and traditions that attend the stone itself. We’ve already seen in previous discussions the pre- eminent position of pounamu in Māori life. In Maori material culture, you’d have to say that pounamu was very much the gold standard. It’s important to keep this in mind when we consider that the culture encountered by Captain Cook and to a lesser extent, Abel Tasman, was mercantile, though Tasman didn’t hang around long enough to discover that. But Māori have always liked a good trade, a deal where both sides think they got the better. Trade means transaction and

engagement with others. Trade means communication of ideas and practices. Trade is outward looking. It seeks alliance and arrangement in lieu of conflict. And of course, trade seeks goods. Pounamu as a commodity was not alien to Māori. Pounamu as a source of material wealth was a given. So Pounamu with all its qualities both physical AND spiritual, was immensely valuable. Ngāi Tahu understood this, conquering West Coast hapu to secure the resource and establishing trade routes and workshops to generate and guarantee supply. Te Rauparaha of Ngāti Toa understood this as well when he sought to wrest control of Te Waipounamu South Island from Ngāi Tahu and secure the resource for his own. Such is the mana of the stone that wars are fought for it. When Pākeha took a shine to the stone, another layer of value was added as pounamu went international and the world would come to know greenstone from New Zealand. But economic value is only ever part of the equation, unless you’re a neoliberal. Thankfully I’m not here to argue economic theory. I’m here to discuss the other gods in the room.

As mentioned throughout this series of blogs, pounamu has great mana. Mana emanates from whakapapa. Whakapapa ties us to each other and to all things. Mana resides with tapu. People and things of great mana, great spiritual force, also have about them a tapu, or sacred aspect. Mana and tapu are metaphysical concepts. The metaphysical realm is a familiar place in Te Ao Māori. Mana, Tapu, Noa, Mauri, Wairua, Atua… these are all spiritual concepts that coexist easily within and beside the physical Māori world. Human activities and endeavours come laden with measures of mana, tapu and noa. Tapu is a sacred or holy or sanctified state subject to the direction of certain Atua, which you might call gods; Noa can be seen as the state that exists when tapu is removed. Some things are so charged with tapu, that an individual’s wairua, or spirit, might be effected, to their detriment. Activities such as warfare and tangihanga are among the most tapu. These activities deal with death. Tōhunga are tapu. Tōhunga possess sacred, often esoteric knowledge. They are specialists in their field. Their knowledge and skills carry tapu. Whakairo - the
art of carving - is a Tapu pursuit. The Tōhunga whakairo has the wānanga - the knowledge of appropriate ritual and practice that is the tikanga of carving, so the Tōhunga whakairo is a person of great mana and tapu You can see then that individuals associated with these types of activities will also possess mana and tapu. In a sense it takes great mana to handle great and potent tapu. So certain rituals evolved to secure this relationship of mana, tapu and noa, to ensure proper conduct and a safe pursuit.

A toki pounamu for example, fashioned by a tōhunga whakairo - an expert carver - for use in the construction of a waka taua - a vessel of war - will be a tool of great mana, great tapu. As such, it must be blessed - whakatapu - with ritual karakia and ceremony. Karakia we might think of as a kind of prayer, an incantation invoking the appropriate god or gods to the task at hand. Pounamu, as we have seen in earlier blogs, comes already latent with mana and tapu so it requires extra special treatment. A mere pounamu - a weapon of war will require similar special consideration, special blessing. A heitiki that once was a toki and now is an heirloom requires the the same sense of ritual, if only as a private karakia by the giver, so adding to its mana and becoming more sacred with every generation of existence. Whakatapu. Which brings us once again to the question of whether or not to bless the stone, and the bigger question; ‘What do I believe?’ If I believe that mana, tapu, noa, wairua, atua and all the other spiritual aspects are as real as the stars that are there in the sky in the daytime, then I will bless the stone…

Ben Brown

November 2020

Wāhanga Tuawhitu. Chapter Seven:

Thu, 12 Nov 2020 23:26:00 GMT

He Koha - A Gift

This mere pounamu resides within the guardianship of the Canterbury Museum. It finds itself in good company there with whānau gifted from all parts of the motu. We do not yet know it by name but we can be sure a name exists. This is an intimate weapon. This is warfare up close and personal - kanohi ki te kanohi - face to face in the fight. It is the weapon of a rangatira, of a chief. Great mana attends it. But this weapon came to the attention of its present caretakers long after the battles were over. This particular mere pounamu represents an engagement of a different kind.

According to Wikipedia ‘The Montgomery baronetcy, of Stanhope in the County of Peebles, was created in the Baronetage of the United Kingdom on 16 July 1766 for the Scottish lawyer and politician James Montgomery. The second Baronet represented Peeblesshire in Parliament. The third Baronet represented both Peebles and Selkirk in Parliament.. . . The seventh Baronet was Lord-Lieutenant of Kinross-shire. He assumed the surname Purvis-Russell-Montgomery in 1906.’

The eighth Baronet, Sir Basil, though he bore the full monicker, preferred the more modest ‘Montgomery’. He took up the title in 1947 after the death of his father. He lived at 77 Totara Street, Fendalton, Christchurch, South Island, New Zealand. Julia Bradshaw of the Canterbury Museum informs us that in October 1949 Sir Basil gifted the mere along with a beautiful kahukiwi (Kiwi feather cloak), a pounamu kohei (a long slender pendant of greenstone), a small pounamu heitiki and a sharks tooth. The Baronet’s gifts are inextricably bound to his whakapapa. They tie him to this land, and willingly so in my opinion.

Born 1884 at Hattonburn House, Kinross-shire in Scotland, Sir Basil attended Uppingham School in Leicester and later Trinity Hall, Cambridge University. He was, I would say, of an adventurous disposition, inherited perhaps from his maternal Grandfather, Thomas Purvis-Russell, a man who played no small part in the pioneering enterprise of the young emerging colony of New Zealand. Thomas, known by all it seems as Purvis Russell, at least on these shores, arrived here in 1843 and not long after was running sheep on leased Maori land at Whangaimoana on the Wairarapa coast. His brothers Henry, John and Robert would follow in 1852 and sought out similar opportunity. Farming had served the family well in Scotland.
By 1853 Purvis Russell and his brother Henry were acquiring lands in Central Hawkes Bay, Purvis establishing a run on the Porangahau block near lake Whatuma (Hatuma today), while Henry secured a holding on the neighbouring Waipukurau block, which he called Mt Herbert. Purvis built a homestead at Whatuma, which he named Woburn. In fairly short order he would grow the Woburn estate to over 22,000 acres (about 9000 hectares). Brother Henry was no less industrious, grazing some 25,000 sheep at Mount Herbert by the mid 1870s. Of course, the dominant engagement between Māori and settlers in those years centred on land.

By 1870 the Russell brothers had allied themselves with the Repudiation movement led in the main by Henare Matua, a Ngāti Kahungunu tribal leader. Matua and Repudiation sought redress of Maori land grievances in Hawkes Bay and Wairarapa through legal actions intended to overturn previous land deals. Henry Russell in particular involved himself in the business of the movement financing many of their legal proceedings, funding Te Wananga, the movement’s Māori language newspaper and challenging land deeds in the Supreme court. It has to be said there are questions as to his motivations in this regard as monies advanced for such proceedings most often led to Māori indebtedness, collateralised by the only major asset left within the Kahungunu domain - land not yet sold to Pākeha. Then as now, lawyers did not come cheap and land lay at the heart of the matter. In the event, none of the repudiation movement’s legal challenges were successful. Matua was also a staunch advocate of local runanga administration of Māori land ownership to the extent that by the mid 1870s, local runanga were settling disputes over land, sometimes issuing certificates of title, collecting fees and administering leases. Runanga also tried and punished
offences, and claimed and settled debts, generally ignoring the operations of the Native Land court. Many Māori within runanga ‘jurisdictions’ simply disregarded the Crown institution altogether, an example I would suppose, of a preference for Māori solutions to Māori problems.
By 1882 Thomas Purvis-Russell was back in Kinross-shire, Scotland to give away his only child, Mary Maud, in marriage to Sir Henry J Montgomery (7th Bt.) at Hattonburn, where the future Sir Basil would be born two years thereafter. Grandfather Thomas was then a man of great industry, means and influence. In his later years he would spend less time in New Zealand. There’s many a homesick pioneer settler whatever their station and Thomas Purvis Russell became an absentee owner of Woburn, now named ‘Hatuma Estate’, in favour of northern hemisphere climes. No matter, the great station at Waipukurau, Central Hawkes Bay wouldn’t be his for much longer.

In 1898 the Government of New Zealand seized Hatuma Estate for compulsory purchase under the Land for Settlements Act 1894. It would take nearly three years of legal wrangling to settle on a compensation figure. But in March 1901, the princely sum of £141,661 was paid to the agents of Thomas Purvis-Russell and the matter was done with. The Land for Settlements Act saw vast pioneering sheep stations broken up into smaller blocks where ballots were drawn and hopeful new settlers could boom or go bust while remnant Māori looked on, somewhat bemused.

In 1904 Purvis-Russell’s grandson Basil Montgomery visits New Zealand for the first time, having finished with study at Trinity Hall to embark on a round-the-world tour. He visits Hawkes Bay and it is here, according to a note in the Canterbury Museum archives, that he Is given the mere pounamu by a chief named Te Waitoi. It is not clear from the archives whether the kahukiwi and other artefacts gifted by Sir Basil were given to him at the same time but I would have to say, it’s unlikely. Queen Elizabeth herself would not have received such a trove. It seems to me, given his whakapapa, that young Basil Montgomery must have received the mere as a symbol of the connection between his Grandfather and one or more of the hapu of Central Hawkes Bay, though that is not immediately apparent.
Patrick Parsons of Napier, an expert in Kahungunu whakapapa, the central iwi of the Hawkes Bay/ Wairarapa region, knows of no chief by that name or era nor could he find any record of one, but that of itself is no cause for concern. Every Māori is entitled to consider themselves Rangatira should they wish it. Living up to the idea will always be the issue. In this sense, the gift could well have been at a more personal level, as from a Maori contemporary of Thomas (Purvis) Russell’s. I can easily imagine Basil’s Grandfather telling his adventurous young protege to go and see if old Te Waitoi is stilll alive. . . but that is all purely fanciful speculation on my part. What is clear is that a gift of such mana speaks volumes to the esteem in which the receiver was held by the giver. That is the nature of pounamu.
Thomas Purvis-Russell of Woburn/Hatuma died in April 1906 at Bath in England leaving an estate of £257,677. His grandson Basil Purvis-Russell Montgomery, later Sir Basil Montgomery, 8th Baronet of Stanhope, returns to New Zealand to live in 1907. In September 1915 he married Milly Richards in Timaru. September and Spring is the very month for marrying. He served with the NZEF during the first world war as a private on the western front. His younger brother Henry served as a Captain with the Royal Highlanders (Black Watch) at Salonika. Basil was a farmer at Mt Somers after the war until retiring to Fendalton in Christchurch.
Sir Basil Purvis-Russell Montgomery, 8th Baronet of Stanhope, died 28 January 1964 at Christchurch.

Ben Brown
November 2020

Wāhanga Tuaono - Chapter Six

Mon, 05 Oct 2020 04:06:00 GMT

Looking for Tiki

‘… a piece of green talk [sic] about two & half inches long, and an inch & half broad, flat, and carved into the figure of a most uncooth animal of fancy'.

William Brougham Monkhouse (Munkhouse), ships surgeon on HMB (His Majesty’s Bark) Endeavour (1769-1770), describing a hei tiki worn by a Māori encountered in New Zealand. It was Monkhouse who shot Te Rakau at Turanganui

(Gisborne) where Cook first made landfall in Aotearoa. Monkhouse would never see

England again. He died in Jakarta of dysentery on the journey home.

‘As they have no metal, their adzes and axes are made of a black stone, or of a green talc which is not only hard but tough ... Their axes they value above all that they possess, and never would part with one of them for anything that we could give. I once offered one of the best axes I had in the ship, besides a number

of other things, for one of them, but the owner would not sell it; from which I conclude that good ones are scarce among them.’

Captain James Cook. HMB Endeavour. 1769-70 in New Zealand.

The hei tiki above was given to Captain James Cook by Māori at Queen Charlotte Sound in 1769 during his first voyage to the Pacific and New Zealand. It is now part of the Royal Collection and was probably given by Cook to George III (1738 - 1820) in 1771 upon his return to England. The King had personally sponsored Cook’s expedition. Cook’s journal entry concerning adzes of ‘green talc’ is not out of place in a discussion regarding tiki. It is evident that tiki were often fashioned from old pounamu toki blades, further adding to the mana of a piece that will have spent previous lifetimes in the hands of illustrious ancestors. A blade might be sharpened, shaped and further smoothed often in its working life but there will come a day when a new adze is required. Viewing a toki, one can easily imagine the blank of a hei tiki fitting nicely within its form. The proportions of a tiki quite neatly match the dimensions of the working face of a greenstone adze.

So to the eternal question; what does tiki represent? In the first instance, less an ‘uncooth animal of fancy’ than an artfully worked stylised human figure of indeterminate sex, in my opinion. Let’s be clear, Māori are not shy in defining male and female form. Most tiki display no such obvious distinction. You could argue the stance is that of a warrior during a haka, eyes wide in the pūkana, the tongue protruding in the defiant gesture that is whāterotero. But for me, there is a cheekiness in the figure as well, the exaggerated tilt of the head; part challenge, part curiosity, childlike almost, but more obviously I think, shaped in such a way as to accommodate the narrowing of an adze towards the haft end of the blade. The word ‘Tiki’ or variants of it, appear throughout Polynesia (Ti’i in Tahiti, Ki’i in Hawaii). Generally it references the human figure in a carved and stylised form rendered in wood or stone or occasionally bone. Some tiki are immense and imposing, such as the Mo’ai of Rapanui or Easter Island. others more delicate. All seem to emanate from traditions invoking the first flesh and blood human, Tiki, in most, but not all cases, a man. In Mangaia, the second largest Island in the Cook Island group, Tiki is a woman. Hine te iwaiwa is said to personify the exemplar of motherhood. Tradition hangs a tiki from her neck as a gift from her father Tāne. Hine te iwaiwa also personifies the uha, the female essence. The suggestion that hei tiki represent ideas of fertility in womanhood doubtless stems from these associations but it belies a more universal notion of hei tiki as a talisman of memorial and a symbol of ancestry. The generic form is given particular and personal importance by its relationship to whakapapa. To wear the tiki that was handled by tūpuna is to carry their mana forward. In the shape of a tiki, our ancestors lead us and we are given comfort.

This little hei tiki belongs to a friend of mine. The kōrero that accompanies it is both profound and intriguing. The stone itself is deeply flawed with a scar-like fissure cutting through the face of the piece, suggesting the stone was perhaps an off cut either cheaply or freely acquired by the maker. While the crafting of the tiki is what I would describe as workmanlike, it shows great care in the fact that it is quite a fragile piece and would have broken easily with rough or careless handling. The piece is approximately 60mm high by 30mm wide and quite thin in profile, perhaps 4mm thick tapering to a blunt edge of 1mm. It is doubtful that this piece had a previous life as a functioning toki. It is more likely in fact to have been crafted from an otherwise unwanted piece of pounamu, discarded for the obvious flaw. A souvenir piece then, carved as a gift, or perhaps for sale sometime in the latter part of the nineteenth century. The medal-like suspension seems to be an early twentieth century adaptation. By the coarse nature of its execution, the hole through which the tiki hooks to the bar might have been bored using flint as a bit. So much of this piece speaks of the maker having to utilise whatever came to hand. The piece was made in Otago. The story that attends it is that it may have been crafted by one of the Māori political prisoners held in Dunedin between 1869 and 1882. These were predominantly men from South Taranaki, including some of those known as the Parihaka Ploughmen, followers of Te Whiti and Tohu Kākahi, they who removed the survey pegs and ploughed the land for sowing. As to actual provenance, the story is all we have. We do know that greenstone off cuts and discards were made available to these prisoners. We don’t know much more than that. Except that the stories persist. I think the piece has great character and shows in the maker a good deal of patience and thoughtfulness, whoever he was and whatever his experience. It is a stoic piece of stone. The story is enough to give it mana.

Air New Zealand used to dish these little plastic hei tiki out to international passengers as a kind of ‘Kia ora’. I had a bunch of them when I was a kid courtesy of my father’s trips back to Australia to see his family. Such promotional devices are frowned upon these days, like the little plastic pātaka the bank gave me as a money box to encourage saving, the whole idea fell apart when I tried to get the money out early. Cultural appropriation occupies a delicate space in our landscape. When does tribute and homage become a commercial ripoff? When does an indigenous motif become public property and a milestone in the mainstream culture, a moment of understanding that moves us forward? When does plastic replace pounamu? And, as an afterthought, I wonder if King George III ever wore his tiki.
Ben Brown

Other Blogs

Wāhanga Tuarima - Chapter Five

Fri, 02 Oct 2020 04:01:00 GMT

The Murdering Beach

There was once a papakainga, or village, at Whareakeake, a small bay on the north side of Otago Peninsula 25km north east of Dunedin. If you’re ever down that way just look for Murdering Beach Road and follow it all the way to the sea. Surfers know how to get there. The bay features an excellent right-hand point break, especially when a Northeast swell conspires with a brisk Southerly breeze. Rad barrels Bro! But you can see how a village might have set itself easily in the landscape beside the winding stream, gentle in the lee of bluff and hillside. Archeological evidence strongly suggests that this village specialised in working pounamu.

In December 1817, after prolonged tension and escalating violence between sealers and local Māori, matters came to a head with the arrival in the vicinity of the brig Sophia out of Hobart, Tasmania. Under the command of her master, Mr James Kelly, the Sophia left Tasmania on November 18th, 1817 and arrived back in Hobart 19 weeks later on the 22nd of March 1818 with 3000 seal skins and a tale of grim and bloody misadventure.
Arriving in ‘Port Daniel’ (an early name for Port Otago, here referring to an anchorage in a bay near the substantial Māori settlement of Otakou) on or around the 11th of December 1817, there numbered among the crew a man named W. Tucker, called ‘Wioree’ by the local Māori. Tucker had lived at Whareakeake and had in fact built a house there some years before (around 1810 it is thought). He’d involved himself in the greenstone trade, selling souvenir pieces of New Zealand jade in Sydney. It has also been alleged that it was Tucker who took the tattooed head of a chief from the Riverton area to Sydney in 1810 or 1811, also for sale, thus beginning the business of trade in Mokomokai. Quite the entrepreneur, Mr Tucker, even without the head, though his business activities quite probably cost him his own. Upon arrival at Otakou the welcome is said to have been cordial enough. The following day saw Captain Kelly, Tucker and five other crewmen take the ship’s boat around to Whareakeake, ostensibly to trade for potatoes. Kelly is said to have made ‘…a small present of iron…’ for the chief there. At Whareakeake Kelly and his party were met by a ‘Lascar’, that is, a seaman of Asian descent, who told the men of the Sophia he had been left behind some years before (around 1813) by the brig Matilda out of Sydney bound for Tahiti. We are not given the Lascar’s name but it seems he’d fared well among the Māori of Whareakeake, unlike a gang of sealers who’d come to a sticky ending some years earlier, this news being imparted to Captain Kelly by the Lascar. Nonetheless, it seems that Captain Kelly and his men felt confident enough to seek an exchange with the Whareakeake locals. That would very soon turn out to be a fatal misjudgement.
No sooner had Kelly’s party reached the chief’s house that ‘…in an instant an horrid yell was raised by the natives…’ And the men from the brig Sophia were immediately set upon. Remarkably, Kelly and four other men, including Tucker, made it back to the boat, presumably fighting all the way. The melee continued as the men struggled to gain the boat and put to sea and safety. Kelly and three other men named as Dutton, Wallon and Robinson made it. The unfortunate Tucker did not. He was knocked down in the breakers and was heard to cry ‘Captain Kelly, for God’s sake, don’t leave me.’ before being ‘cut limb from limb and being carried away by the savages.’ Two others of Kelly’s crew, Griffiths and Viole, were also terribly taken down and never seen again. Such are the ways of history.

And yet, as we are told, still there is history to unfold. Kelly and his three remaining crewmen make it back to the Sophia where we are informed that there are ‘about a hundred and fifty natives on board, the decks, rigging, tops, and yards were full of them.’ Back onboard, the mate of the brig, Mr Kirk informs Kelly, ‘They are going to take the vessel from us.’ The following account tells us what happened next. ‘Mr. Kelly immediately called all his men to quarters, and formed a solid square on the quarterdeck under the main boom. Their head chief, whose name was Corockar, called to his men to make the attack and seize us man to man. The natives stood so close around us that they could not make use of the weapons that they had in their hands; neither could we use our firearms, as we stood so close together. There was now only one chance left for us. We were all sealers on a sealing voyage, and each man kept two large sealingknives slung by his side. Seeing that there was no alternative, Mr. Kelly called to his men to draw their knives and cut away, which had the desired effect.’
The desired effect was grim indeed. Sixteen Māori dead on deck. Dozens more wounded before leaping over the side and being swept out to sea on the tide. Perhaps forty or fifty Māori drowned according to the crew’s own reports. Adding insult to injury the Māori chief Korako is locked below decks. And there are two more dead among the men of the brig Sophia. Before this incident is over, still some days away, the chief and a number more Māori would be dead, a fleet of over forty waka would be destroyed and the settlements of Otakou and Whareakeake would be razed. Nations are begun in such a manner.
After the Sophia, Whereakeake looks to have been abandoned as a Māori settlement. A tapu was placed on the site which wasn’t lifted until the 1860s. From the 1840s on, the site was occupied by single Pākehā settler families. By 1900 an estimated 350 hundredweight (around 18 tonne) of pounamu had been found there in its raw, partly worked and finished states, this in a place nearly 200 miles from the nearest natural source of the stone. The finds at Whareakeake included over 20 hei tiki (either 22 or 23) and a good number of other ‘curios’ as well as examples of some of the tools and other stone types used in the working of pounamu. It is also said that a medal traded by Captain Cook for some examples of pounamu was found there. It is clear that this picturesque little bay was once a major centre of industry and commerce in our earliest days of colony and settlement and witness as well to the darker side of history.
Ben Brown. October 2020.
References:
Austin, Dougal Rex. HEI TIKI: HE WHAKAMĀRAMA HŌU; A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements of the degree of Master of Arts in Māori Studies. Victoria University of Wellington 2014.
THE SOPHIA MASSACRE , 1817. NZETC, Victoria University of Wellington.
The Story of Murdering Beach: A PAKEHA-MAORI ENCOUNTER NEAR DUNEDIN IN 1817 by Ronald K McFarlane. NZETC, Victoria University of Wellington

Wāhanga Tuawha: Chapter Four

Fri, 18 Sep 2020 04:47:00 GMT

E hara! He mata toki onewa hapurupuru mārire, kāpātaua he mata toki pounamu, e tū te tātai o te whakairo. A blade of common stone cannot fall gracefully, only a pounamu blade can smooth the carving.

This image is my toki. It represents the blade of an adze. It measures approximately 2.5 cm wide at the sharp end tapering to about 2 cm at the shoulder along a length of 5 cm. Someone dear to me gave it as a Christmas present in 2019. She asked Hohepa Bowen, whom we met in chapter two, to make one especially for me

Hohepa bound it as well. Just as he is in the working of stone, he is very particular about binding. In the old days such methods of binding made for a firm attachment to the kakau toki - the haft of the adze. Strictly speaking, we would call this a hei toki, that is, a toki to be worn around the neck. As a piece of personal ornamentation the hei toki brings with it story, tradition and meaning. It is worn to be shown, not hidden. It is a statement piece. It reveals intention and spirit.

The toki is also a karakia, or incantation, that addresses a tree to be felled during the kawa, when the ceremonial toki poutangata is used to make the first symbolic blows, removing chips of wood from the tree and taking them to some secret place in the forest, there to be buried as an offering of thanks to Tane Mahuta and his mother Papatuānuku. Typically these trees will be used in the
building of wharenui and waka, or the carving of ancestral pou, work of great mana and tapu. How does a simple blade of stone age design become imbued with so much potency and presence?

According to the traditions, Te Awhiorangi - The embrace of the heavens - was the first tool, the first implement of utility, the blade that severed the bonds of darkness and later cleaved the waves allowing passage through the stormy seas from mythical Hawaiki. Stories from across the motu place this mighty toki in the hands of Tane Mahuta at the beginning of days. As with pounamu, stories of Te Awhiorangi abound and there are many traditions laying claim to the guardianship of this most tapu, this most sacred artefact.

The two great competing claims of the Aotea and Takitimu tribal waka are probably the most well known across Te Ao Māori - The Māori World - but Te Awhiorangi has been linked to ancestors and waka throughout these islands, with each competing claim as adamant as the next to record that their own mana is inextricably linked to the magical blade, thereby ensuring a whakapapa of insurmountable greatness.

There is kōrero as well, emanating from old South Taranaki traditions, that mention Ngahue as both custodian and maker of Te Awhiorangi, asserting the toki was made of pounamu, and that it was Ngahue himself who gave it to Tane. You will recall from chapter three that Ngahue has strong
associations with both the discovery and working of pounamu. He is spoken of as a contemporary of Kupe, who is said to have found Aotearoa in the first place. I will say with respect to Kupe that there is another tradition, which tells us the great Polynesian navigator already knew of this land to the south and was following the wake of an earlier adventurer whom popular mythology now recalls as a Demi-god named Maui. But I will have that conversation another time within a more relevant context.

As to Ngahue, I can only speculate that his association with Te Awhiorangi is perhaps bound up with the firmly asserted traditions of the Aotea waka and its people, who settled in Taranaki. Ngahue has strong links with the Taranaki area as well. It seems he called it home, at least while he was here, for it is said he travelled back to Polynesia taking the pounamu with him.
In 1887 a deeply significant event occurred for the people of Aotea waka. An ancient artefact - a toki - was found concealed near a tapu burial cave not far from the small town of Waitotara in South Taranaki. As recorded by Elsdon Best in his book, The Stone Implements of The Māori (1912), the toki is described thus; “…a red-looking axe, the material looking something like china, and speckled like the bird pipiwharauroa. A person can see his face reflected in it. It is 1 ft. 6 in. long and 1 in. thick; the cutting-edge is 2 1/2 in.”
According to the local Ngā Rauru people, this toki was the adze of legend, Te Awhiorangi. Te Rangi Takoru, an authority of the day from Whangaehu, states that the toki was brought to Aotearoa by Turi, the captain of the Aotea. Te Rangi adds detail to the description of Te Awhiorangi. The handle (kakau) he names as Kawe-kai-rangi. The kaupare - a wooden wedge placed under the lashing - and the lashing itself, was named Pare-te-rangi and Whakakapua respectively. A chord connected with the shaft of the handle was call the kaha paepae.

Takitimu waka descendants have a different view of things. Their traditions says that the toki tapu or sacred adze was brought to Aotearoa with them and in fact was used by Tamatea, their famous captain, to cleave a way through a great storm sent to delay or even sink them. Later in Aotearoa the adze was given by Tamatea to the daughter of Turi of the Aotea, Tane-roa when she became wife to Uhenga-ariki, Tamatea’s brother. This, according to Takitimu, is how Te Awhiorangi came to be within the charge of the people of Taranaki.
Of course, pounamu was much favoured as a toki for its hardness and capacity to hold an edge. Greenstone chisels, or whao, must have have been highly prized as well by tohunga whakairo for the same reason, being ideally suited for finer detailed work. But surely the most sacred of toki would have been the toki poutangata, a ceremonial adze possessed only by Ariki or Tōhunga of great mana, such was the tapu of such these particular objects. Why? Because the toki gave a seafaring people the means build the great waka of ancestry and discovery and the great houses that sheltered the people.

The tool itself, such ancient technology, is barely used these days except in the hands of artisans, craftsmen and kaiwhakairo, now happy to wield in metal what once was made of stone, just as the
ancestors took up iron nails and chisels. But the basic design is unchanged in all these thousands of years. Once upon a time, using an adze was part of a job I had maintaining and repairing timber railway bridges. We shaped great logs of iron bark, red gum and jarrah to use as girders, headstocks, piers and transoms to carry the weight of the bridge and the trains that crossed over. Simple tools, pleasing to use and sufficient to the task until concrete and steel replaced the need to wield them.
The toki shows us that through appropriate use and proper conduct we can shape our world, exert authority, yield worth and value. We can sustain ourselves. The toki does what all good tools should do. It amplifies our strength, enhances our skills, increases our capacity to control our environment. Tools give us power over things. Used properly and with due consideration of the consequences, great benefits flow and we are advanced in some way. Tools give us mana. Mastery of the toki by the ancestors allowed them their greatest endeavours. These are the aspects that emanate from the toki motif. When rendered in pounamu, the mana of the toki is manifold and immense. The glory of the stone, the power of the blade, this is what hangs from my neck.

Glossary: Aotea: Ancestral waka. Ariki: Paramount chief. Kaiwhakairo: Carver. Karakia: Prayer, chant, incantation.
Kawa: Ceremonies of importance. Etiquette.
Kōrero: Talk, conversation, story.
Kupe: According to our popular mythology, the discoverer of Aotearoa.
Maui: Mythical figure; a demi God.
Motu: Island, sometimes used as a generic term for ‘this place’. Papatuānuku: The earth, primordial and mythological mother. Pipiwharauroa: Shining cuckoo. Pou: A post. To establish, erect, support. Stalwart.
Takitimu: Ancestral waka.
Tane Mahuta: Deity of humankind, forests, birds and creatures therein.
Tohunga whakairo: Expert carver.
Waka: A canoe. Ocean going craft of ancestry.
Wharenui: Literally ‘great house’. The ancestral house on the marae.

Wāhanga Tuatoru - The History of Pounamu in Te Ao Maori

Tue, 15 Sep 2020 02:55:00 GMT

The story of stone is the story of ages and origins.

From the grain of sand at the

beach that might have been a mountain

once, to the pendant at your neck that was

birthed a hundred million years ago down

deep where the rock is liquid and boiling,

we humans know we are young in the

universe. Our glory is that we know. We

know because as a species we are

predisposed to story. We evolved an

inquisitive capacity that drives us still, to try

and figure out the nature of things.

Stories emerge from this impulse; mythologies and traditions, folklores and philosophies, tall tales and seemingly immutable truth that built our understanding, our cosmologies, made sense of things so that each generation knows a little bit more than the last or at least, would like to think so.

Yet here we sit on Sagan’s small blue dot, this convenient rock hurtling through the universe, with hundreds of thousands of years of accumulated knowledge encoded somewhere within us; in our DNA or our souls depending upon your particular god, and still we are drawn to the mystery and beauty of stone.

Greenstone, nephrite jade, bowenite, serpentine. All of it referenced as Pounamu at one time or another, but no less equally cherished.

I’m given to wonder; is it strange that science, mythology, history and anthropology are somehow able to merge at times in an uncanny coalescence of meaning, or is it merely human? We humans after all, invented meaning. Things can be whatever we want them to be.

It’s one of our beautifully rendered truths that occasionally gets us into trouble because sometimes nature disagrees. Sometimes however, nature concurs, and what is revealed in those magical moments leaves us a little bit better off than we were.

Stone does not lie. Stone is honest as a mountain. Stone is humble and immense.

There are stories from our first days on these islands, when we were no more than tangata and wahine and whānau and small hapu, moving from river mouth to mountain to plains, exploring, discovering, living and dying and building tradition.

The stories tell of Pounamu as a fish who swam here from the ancient land of ancestry, or down from the heavens, or up from deep within the earth that is Papatuānuku, the mother to us all.

We saw mana and wairua and great mauri in this fish that was a stone. We made treasures and tools and implements of death and authority from it, and in so doing the stone taught us the nature of the land from which it came.

Some stories say that Pounamu is a taniwha, a mythical creature of great and magical power, while others say the stone is a woman taken from her lover. She hides now, lost as a captive in the rivers, waiting for him to come to her rescue.

These are origin stories that sought to explain our relationship to the world around us; to the providence of the earth and the rivers and the obligations upon us to sustain, protect and ensure the resource.

"Greenstone Moves in a River Like Fish Swimming Upstream"

In 2015 new geological research into ‘the movement of pounamu’ found that greenstone moves ‘in a river like fish swimming upstream.’

Extended surveys of West Coast rivers, close analysis of geological maps and novel experiments to study the movement of rocks in water flow was carried out by GNS Science in conjunction with South Island owners of pounamu, Te Iwi ō Ngāi Tahu, in an effort to better understand the travelling habits of this enigmatic stone.

Principal geologist Dr Simon Cox said pounamu was unlike any other mineral because it was always on the move.

"There is pounamu in hard rock occurrences, and in small slivers in mountain reefs, but most Pounamu is found in the river bed. Unlike any other mineral resource, it gets moved in floods and buried and exposed, so there’s the old lore that you look for pounamu after a storm.

"Pounamu is harder and more dense than other rocks, and the other rocks break down while the pounamu tries to hang in there and stay in the rivers. It’s a bit more like fish swimming up into the current and trying to stay where they are: they swim upstream moving backwards and forwards," Dr Cox says.

Always did wonder why mum used to tell me pounamu gets homesick!

Poutini is the Taniwha

He is te kaitiaki o te pounamu, the guardian of the greenstone. He protects his rivers with jealousy, trapped by his desires to the task of guarding a love he cannot have.

His mauri, his life essence, is pounamu but this is only part of what binds him to the western shore where the rivers disgorge. There is a woman, her name is Waitaiki and Poutini has taken her for his own, and yet she will not yield. The taniwha cannot bear it. He turns her into pounamu and places her in a deep pool near the headwaters of a river whose mouth he guards relentlessly, despairingly, for ever.

We can regard the stories of Poutini as Aotearoa New Zealand’s first geological survey.

The taniwha of greenstone enters our traditions in various guises: as a fish, as a stone, as a mythical, magical creature, alone or in company. He is even a star according to some ancient lore.

Whether from Hawaiki the ancient homeland or Te Moana Kura, a sacred sea or even the heavens; Poutini’s journey carries wānanga - deep knowledge - of our relationship to the land, sea and rivers and more importantly, to the rocks and stones of utility and beauty and deadly efficiency that helped ngā iwi Māori - the Māori people - establish here beneath the long white cloud. Poutini’s arrival reveals to us the tools of settlement.

Ngāi Tahu tradition holds that Poutini was pursued here to Aotearoa by another taniwha, Waitipū , who is the guardian of Hinehōaka (called Hine-tū-a-hōanga in other traditions); she whose essence is sandstone, blades of which are used to cut, abrade and score the pounamu that is Poutini.

So you see that they are natural enemies, and the science of geology works its way into legend.

Poutini also occupies that space in our cultural memory that is inhabited by deities and humans together.

So we see that when he pauses in his escape from Waitipū at an island called Tūpua, which is known today by another name - Mayor Island in the Bay of Plenty, north off the coast from Tauranga, he is drawn to the beauty of a woman bathing near the island shore.

She is Waitaiki , the wife of a great warrior chief of the island, Tamāhua. Tūpua is what we know as obsidian, the black volcanic glass for which the island, an ancient volcano, is named. The tūpua is highly prized as both a tool and a weapon and there is a plentiful supply on the island.

So another geological reference is framed in Poutini’s story. But for now, Poutini only has eyes for Waitaiki and so he must have her for his own. Seized by his passion he sweeps her away.

In this version of events Poutini now has two problems. The taniwha Waitipū, who serves Hinehōaka of the Sandstone, still seeks him out. And Tamāhua, upon learning of his wife’s disappearance, now vows to find her and punish whoever is responsible. Poutini has no choice but to flee, taking his captive with him.

Some accounts tell us he fled first to the shore of nearest convenience, to Tahanga on the Coromandel Peninsula, where basalt would be quarried for the making of adzes, and then overland to Taupo and a bay in the great lake called Whangamatā, named for the more common kind of obsidian, matā, which is known to be plentiful there. These were the razor sharp disposable blades of the day.

Southward then to Rangitoto (D’Urville Island) just off the north coast of South Island, to Whangamoa, a high hill range to the east of Whakatū (Nelson). Both of these places would prove a rich source of argillite, or pākohe, a strong, hard stone that could hold an edge but could be worked with granite hammer stones and even fire.

Pākohe is particularly associated with the Nelson/Marlborough area but is known to have been traded to all parts of Aotearoa for its general utility. Over the first few hundred years of settlement, pākohe would prove itself the bedrock of foundation.

From the high hills above Nelson, Poutini, with his captive, continued on without delay. Relentless and deadly pursuit harried him, barely a day away. To Onetāhua - Farewell Spit, where stones of useful and convenient variety, shape and size are found washed up there, including argillite and serpentine, having begun a journey countless millennia ago from the mineral belts in the mountains surrounding Golden and Tasman Bays.

From there down the west coast of the South Island, pausing briefly at Pāhua near Punakaiki, until a feeling of dread forced Poutini away.

His dread is not unfounded. Embedded in the limestone at Pāhua is the flint that enabled the people to first bore holes through pounamu.

Tamāhua still follows, determined and implacable, aided by his magic, driven by his love. And somewhere out there Waitipū, the sandstone Taniwha, grimly anticipates the grinding of his enemy. Poutini cannot run forever. All the while Waitaiki laments, grieving for her home and her lover.

But Poutini’s flight is coming to an end. Waitaiki is cold, bereft, tired, withdrawn. In his desperation, the taniwha removes from the sea at the mouth of the Arahura River, heading upstream with his captive to find some secretive place of concealment.

Tamāhua continues south along the coast past the point of the taniwha’s diversion and on until he reaches Takiwai at Piopiotahi, the mouth of Milford Sound, where his magic tells him that Poutini has, for the moment, eluded him.

Tamāhua turns and heads back up the coast, careful now to attend his magic, which eventually reveals the Arahura River as the site of both his desire and his retribution. The matter is coming to a head. Poutini knows this. Waitaiki too, senses an end to her misfortunes. The Taniwha is desperate. Waitaiki stands, now resolute in her defiance. Tamāhua draws ever nearer.

Spite overwhelms Poutini. If he can’t have this beauty from the north, nobody can.

Wielding a magic of his own, he transforms Waitaiki into his own essence - pounamu - and places her in a deep pool near the headwaters of the river.

Using all of his skills of deception then, he quietly slips away downstream hidden in the turbulence and shadows of the river, unseen by Tamāhua who is perhaps distracted by his certainty that Waitaiki is somewhere close at hand.

Soon Poutini is back at sea, where he remains to this day, according to this tradition, giving his name to that part of the western shore that is called Te Tai ā Poutini.

Tamāhua will find his beloved Waitaiki and some say his lament might still be heard in that part of Aotearoa, echoing through the valleys and hills as a tangi to announce his grief.

Waitaiki is remembered as the mother lode of pounamu.

To imagine however that this is the only tradition pertaining to pounamu, regarded as the most valuable material resource in a land where tribal society competes for prominence, space and all other resources, would be to completely misunderstand the place this remarkable stone holds in the heart of the people.

There are more traditions and variations of the story than there are types of pounamu itself

Many more. There are even mythologies that tie the greenstone to the very separation of earth and sky, placing it in the hands of Gods at the beginning of the first lighted day in the guise of the legendary toki, Te Awhiorangi, used by Tāne to slash the vines binding Rangi and Papa together.

The Stories of Ngahue

The stories surrounding Ngāhue for example, called Ngake in some places, reveal to us the complexities involved in unravelling the apparent mystery of pounamu. Poutini is once again present although, his role will vary depending upon whom is telling the story. Some say the taniwha is under Ngāhue’s charge and travels with him as a companion on his way to Aotearoa.

Others insist that Poutini obeys Ngāhue’s outraged wife who sends the taniwha on a mission to destroy her errant husband. Still other traditions place Hine-tū-a-hōanga of the sandstone as a jealous antagonist of Ngāhue, intent on destroying Ngāhue’s taniwha, again with her own beast, being envious of Poutini’s qualities.

Regardless, it is Ngāhue who is widely credited with bringing the stone to the attention of the people. Tied in many traditions to the exploration journey of Kupe and his apparent discovery of these islands at the bottom of the vast Polynesian triangle (although there are other traditions that beg to differ with the popular version of events), Ngāhue is a prototypical figure in the evolution of early Maori cultural advancement, and a name to mark the beginnings of settlement and ongoing occupation.

He is said to have taken the pounamu back to the ancient homeland of Hawaiki (or in some traditions, Rarotonga or Ra’i’atea) where he carved the first greenstone tiki as well as two adzes - toki - named Tutauru and Hauhauterangi that were used to carve the waka, Tainui and Te Arawa. Here then begins the tradition of working pounamu, which in those times was called te ika a Ngāhue - Ngāhue’s fish.

The Ngāhue traditions begin with pursuit, with a chase from the landscape of legend and mythology and ancient whakapapa to a new land of rich and wonderful resources. This seems to me to reflect the vast distances and dangers the people were prepared to endure as they travelled the length of these islands to seek out such items of value and utility and enduring importance to trade, to build with, make war with or simply to admire.

The Island of Tūpua is again prominent in these other versions of the story of stone as tūpua - the obsidian itself - will always be important to the people. But Waitaiki and Tamāhua are absent from these tellings.

Instead it is Ngāhue attempting to hide Poutini from the pursuing Hine-tū-a-hōanga and her retinue, first at Tūpua and then, by differing accounts, at various places down the east coast of North Island such as Waiapu on East Cape, Uawa near Tolaga Bay, Turanga, Waimata, Nukutaurua, In Hawkes Bay near Heretaunga and further south along the coast of Wairarapa, each time being thwarted by the presence in those places and others of sandstone, chert and other progeny of Hine-tū-a-hōanga, the eternal enemy of pounamu.

Or it is Poutini in pursuit of Ngāhue, to the same effect as far as the purpose of these stories of stone are concerned, that is, to mark in the memories of generations these trails and places of value.

That all of these stories, mythologies and traditions, and others not even mentioned here still lead to Arahura by way of obsidian, basalt, argillite, sandstone and flint suggests that Maori tradition had come to some of the same broad conclusions that geological science arrived at many centuries later. The story of stone in Aotearoa is mute if not for pounamu.

Glossary:

Hapu: Tribal grouping of related whānau, sometimes called a sub-tribe. Pregnant.

Mauri: A spiritual essence or life force.

Tangata: Man.

Tangi: Lament. Call.

Taniwha: Mythical creature. Supernatural being. Metaphorical form for greatness or mana in an individual.

Tiki: Stylised human figure, known as hei tiki when worn as a pendant.

Toki: Adze blade or axe.

Wahine: Woman.

Wairua: Spiritual aspect.

Waka: Canoe. Ancestral vessel of voyage and discovery closely tied to whakapapa, or lineage.

Whānau: Extended family grouping. Give birth.

The Spiritual Connection with Pounamu/Greenstone

Wed, 01 Jul 2020 03:47:00 GMT

The Spiritual Connect

The shape, the figure, the twists of greenstone are representative of something special and meaningful. It's much more than just a souvenir!

It's cultural and historical significance is paramount to the Maori community. The New Zealand landscape is precious and sacred! Everything that comes out of its womb is a gift and must be respected as such.

Greenstone/Pounamu is nothing less than a blessing and is believed to bring a myriad of positive effects on the person wearing it.

This directly relates to the types of Pounamu . Each type holds a certain meaning to it and can be used as an extension of an individual.

The 3 most common types of greenstone are

Serpentine
Bowenite
Nephrite Jade

The Nephrite jade is the hardest and most commonly used to make amulets.
These stones are passed down generations and serve as a spiritual investment to retain the positive influence it brought to the family.
As believed, they help create a positive atmosphere with their energy. Thus, bringing a positive effect on the individual.
As a tradition, they're usually bought as a gift or just to give it to someone who doesn't own it. Thus, making it a very valuable and meaningful stone to offer.
It is also believed to have metaphysical and healing properties.
They're believed to help with

Depression
Anxiety
Heart ailments
Ageing

and much more!

Can you buy it for yourself?

It is said that, you don't choose the Pounamu, the Pounamu chooses you! Believed to have spiritual energy and metaphysical properties, it might work against you rather for you! Hence, it's best to gift one but nowadays, people pick a pounamu for themselves too.
We recommend going with what your heart says based on the significance it holds for you .
Greenstone carries positive vibrations, healing properties and at the same time it can absorb negative vibes as well .

Checkout our catalogue here OR Simply give us a call to help you making the decision

The what, why and how of Pounamu Greenstone.

Fri, 19 Jun 2020 03:55:00 GMT

WHAT IS GREENSTONE AND HOW DID IT GET ITS NAME?

‘Pounamu’ is the Maori name for Greenstone. It is the God stone of our Maori people, along with Serpentine and other closely related stones of the Amphibole group of minerals.

It is hugely significant for Maori, for it was often used as a seal for transfers of title, the Greenstone ‘taonga’ or treasure taking the place of a document as proof and sale of land.

When Captain Cook first discovered New Zealand in 1769 he noticed the Maori working a green coloured stone. It’s thought that this is where the name ‘Greenstone’ originated from.

In fact the name ‘Greenstone’ is a slang term. Its correct mineral name is “Nephrite” (pronounced nef ’-rite). It is an extremely tough stone made up of interwoven fibres that will actually bend before breaking. Even then the parts have to be pulled apart.

Nephrite is found in many parts of the world but New Zealand Greenstone is unique because of the vast range of colour variations between the main varieties.

The Creation of New Zealand Greenstone

Greenstone is a metamorphic rock formed through tremendous heat and pressure. It is found throughout Westland’s alluvial glacial moraines. The main historical gathering places are between Greymouth and Hokitika. Just where certain varieties and types of stone originated from, remain a mystery, locked away in a distant past, when all was upthrust and under ice.

Bands of Pounamu formations, which tend to run in a North Easterly direction, consist mainly of Serpentine, Dunite and similar Olivine rock, Serpentine talc formations and actinolite. The addition of other combinations, with a mixture of minerals, accounts for why these formations are often referred to as a mineral belt.

A GUIDE TO GREENSTONE

The nephritic variety of Jade is often called ‘the true Jade’. It must not be confused with jadeite which is a trifle harder, has a higher specific gravity, and is a silicate of alumina and soda. Jadeite is found near the village of Tamaw, five days journey from Mogung in upper Burma, near the Chinese border. It is either a white to green colour or white with green splashes of colour, often rich in magnificent tints.

THE LINK WITH GOLD

“Gold fever” drove men from all over the world to their physical, emotional and spiritual limits. Willing to suffer great hardships for the yellow metal, these men would live on scarce rations. In Westland this would often consist of a weka, or a pigeon and some manuka tea. Those that struck it rich however, may have been hungry at times but they left the land with a smile, happy memories, and the gold.

Greenstone was often cast aside for the golden treasure apparently not wanted, and the land lay forsaken and forlorn for many years. Rusting hulks of iron served as a reminder of the vanished gold. Most prospectors agree that more Greenstone is found where better tha n average gold deposits occur. When we look at different areas, we find that certain places produce very different varieties of stone.

The first record of Greenstone found in New Zealand was in 1864, when two Maori, Simon and Samuel discovered a large Greenstone boulder in the Hohonu River, this whole area was once named Pounamu. These two prospectors can also lay claim to starting off a gold rush to this area, for when they moved the stone and watched as the water cleared, coarse gold appeared.

The areas around Marsden have produced what is generally recognised as the best Greenstone that has been found in New Zealand. It is also a place where rich gold deposits were mined during the mid-1860s.

The stone from this area is more like the Kahurangi variety. The now famous ‘flower jades’ mainly come from this district, usually completely encased in a weathered white or brownish talc-like rind.

A story of Discovery

PAT THOMPSON – POSSIBLY THE FINEST WATER WORN STONE IN THE WORLD

Pat Thompson was another prospector from Kumara who worked on the Kanieri Gold dredge. He arrived outside my factory one day, having worked the night shift, with a stone in the boot of his car. We both went out to look, he raised the boot lid, and as soon as I saw the stone I knew it was something special.

Pat’s find was completely worn smooth, what’s known within the trade as “water washed”. I knew from the time I first saw this stone that it would never be cut like so many of the beautiful water worn stones were in those early years. Stones like this are rare specimens indeed.

Pat then proceeded to tell me how he had found it. He was on the “back shift” as they called it, working all night under lights with screaming noises from steel on steel, such a hell of a din. These dredges could be heard for miles and they never stopped. It was overcast and drizzly, the clouds opening up to reveal the moon occasionally. It was at one of these moments that Pat caught a glimpse of the stone, wet and gleaming green, riding on the top of a bucket full of wash, in the stacker on the way to the tailings dump.

He rushed to shut down the bucket line, threw the switch, raced back to grab the stone and dumped it on the deck. He then hurried back to switch on the stacker again. The whole activity was completed within a minute! This wasn’t the first time Pat had done this. It was a dicey act, for if the bucket line was stopped for long, sediments and gravels could cause the buckets to become almost cemented to the face.

This made it very difficult to restart and was not permitted unless great logs were likely to be caught or jammed. It was, however, an instant decision from a dedicated Greenstone man, thinking only of the stone and of nothing else. That’s how these treasures are retrieved, with luck, desperation and a burning desire to secure a gem.

The dredge was digging at a depth of 18 metres, but it is difficult to know the exact level at which the stone was dislodged. It had moon shaped scales on its surface, a sure sign of a perfect stone. It also had a streak of the Totoweka, (the red colour rarely found in Greenstone). I have shown this stone to the late Dr Rodger Duff, and in his opinion, it was the finest Greenstone he had seen.

The bucket line often got jammed when old logs got caught up in the works. On another night the line became completely jammed with logs and huge boulders. The logs and stones were rolled off onto the deck and left there. The night shift had, had a time of it. Exhausted, they left the debris of logs and stones for the day shift to clear. Normally everything would be cast off over the side into the pond, anything to get the dredge working again.

Next morning, the hoses were played onto the deck as the washing down commenced. The hose was directed to a huge stone and a shout went up that it was a Greenstone. The Manager was informed but by the next day, the stone had disappeared. The word was that it had been sold to Jim Staples, who had friends in the right places.

Jade in Australia - Theo Schoon

Mon, 15 Jun 2020 04:56:00 GMT

Excerpts from Jade Country by Theo Schoon

Before I came to Australia, all the books and literature I had read concerning the worldwide occurrences of nephrite jade had reported that there was none in Australia or that what little there was was cane-grained or lacked translucence and therefore was not suitable as a jewellery stone.

So I was very surprised after lecturing about New Zealand jade to several lapidary clubs in Sydney to be contacted by people from various parts of this continent claiming that they had discovered promising new finds of nephrite and expressing interest in having my opinion about its marketability.

There are only three confirmed locations of nephrite jade, and they are thousands of miles apart. No doubt other fields will be located, for the search is on. Two things make the Australian finds distinctive - they are not in as highly mountainous country as most jade fields overseas, and all the jade is either buried or newly opposed nephrite in various stages of weathering.

I have not yet had the opportunity to visit any of the three areas, but I have seen samples and have corresponded with and spoken to people connected with two of the sites.

These recent discoveries are at Marble Bar in the North West of Western Australia; at Dungowan near Tamworth, New South Wales; and at Cowell, Eyre Peninsula, about three hundred road miles from Adelaide in South Australia.

A Marble Bar the nephrite was apparently found in the old gold mine area by a prospector searching for copper and uranium. It is in a shaft about sixteen feet below the surface. The jade boulders are said to be found in lenses with the better quality jade in a variety of colours deeper down.

The samples I have seen have been either a closely grained jade, dark green and of a surprising translucence, or a blue-grey marbled, semi-translucent jade. Both are good solid jades quite unlike any I have ever seen before. The stone takes a good polish.

Several objects have already been carved from this jade in the northwest: a scorpion with its tail curved up menacingly was a fine piece of workmanship.

In New South Wales, the jade in the Tamworth region is found in association with talc in serpentine belts on high ridges at about three thousand feet.

The surface jade seems to have weathered out of the hillsides, and no boulders of jade have been found in the valleys below. These surface pieces are mostly jagged lumps, fractured and heavily weathered and calcined often right to the core.

Some of it is a deep green, marbled jade with white wavy lines running through it and it is sometimes fractured along these compacted lines. The surface finds are not of commercial value, but as the digging progressed, jade with fewer fractures was revealed to indicate there is better stuff still deeper down.

Some of the jade is a highly translucent, pale, grey-green progressing to an almost clear jade with spots and blotches of a more vivid, bright green within it. If the more deeply buried jade proves to be in solid form, fracture free and of this quality, it will indeed be an important jade discovery.

The third and most extensive deposit of nephrite found so far in Australia is at Cowell in South Australia. It is in the form of nodular masses or fractured lenses of jade in a hillside of serpentine dolomite at an altitude of less than a thousand feet.

Already (early in 1973), about 150 tons had been mined; the largest boulder weighed about six tons. One boulder that weighed three and a half tons was a pale translucent green and was valued at forty thousand dollars. It was offered for sale to the People's Republic of China.

Another boulder of two tons was a deep black jade . Dark green and olive-green colours are also being found. A jade factory has opened in South Australia and is equipped with the largest diamond saw in Australia. This is an indication that a good supply of jade is expected.

With these finds of jade, the stage is set for lapidaries in Australia to accept this stone as a challenge to their creative ability. There is enough diversity in shades of colour to suit any needs or artistic ideas. Australian nephrite will be in demand worldwide, for much of this jade is well up to world standards.

From the book: Jade Country