1856 - Shortland, Edward. Traditions and Superstitions of the New Zealanders - CHAPTER VIII

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CHAPTER VIII.

LIKE the Spartan, the New Zealand youth were considered more the property of the tribe than of the parent. And as the welfare of the tribe--nay, its very existence as a free body of men--depended on the valour of its members, every other consideration gave place to the necessity of rearing a valorous progeny. Curbing the will of the child by harsh means was thought to tame his spirit, and to check the free development of his natural bravery. The chief aim, therefore, in the education of children being to make them bold, brave, and independent in thought and act, a parent is seldom seen to chastise his child, especially in families of rank. Were he to do so, one of the uncles would probably interfere to protect his nephew, and seek satisfaction for the injury inflicted on the child by seizing some of the pigs or other property of the father.

Notwithstanding such a principle of education,

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the children are not so unruly as might be expected, and when domesticated in European families are remarkably docile and well-behaved. They are, however, troublesomely intrusive and inquisitive. Little ever escapes their notice; so that, on their return home, they are able to give a tolerably correct inventory of the goods and chattels contained in the house of their late master--a knowledge which their relations endeavour to turn to account by using importunity or artifice to obtain what they most covet, either as a present, or on condition of paying for it on some future indefinite occasion.

Young persons have a great variety of games, some of them not unlike those of European children. I may mention one in which a string, tied together at both ends, is passed over the hands and fingers in a way to form a variety of intricate figures, Anglice "cats'-cradles." Poroteteke is the name of a game in which boys are the actors. Several having arranged themselves in a row, suddenly, at a given signal, stand on their heads, and then move their legs about in the air, kicking their heels against the buttock to the time of a song in which all join. It is a sort of war-dance on the head, and has so ludicrous an appearance, that no one who saw it performed could refrain from laughing. Their other favourite pastimes are flying kites, throwing reed spears, running races, walking on stilts, wrestling and mimic contests. In these con-

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tests, however, they never strike a blow with the hand or fist, but leaping at their opponent, kick at him with the sole of the foot. In this mode of assault they are very expert, dealing knock-down blows with the heel about the stomach and chest, which might astonish a member of the prize-ring. Formerly it was customary for the young men of a village to turn out on evenings, and separate themselves into two hostile bodies, to enjoy this boisterous sport. But among those who have embraced Christianity the practice has fallen into disuse.

The game of drafts is universally a favourite one. In this they have extraordinary skill; indeed they rarely meet with their match among foreigners. And what is remarkable, if true, they say they did not learn it from Europeans, but have known it from most ancient times. The board they use is generally of the rudest description--a rough piece of wood, with squares scratched off by the point of a knife or a nail--and, for men, slices of potato, bits of broken china, or pebbles are quite sufficient. Bending over such a chess-board, the two players may be seen intent on the next move; while a crowd of lookers-on surround them, deeply interested in the success of one or other. Their great proficiency in this game is an undeniable proof that the natural ability of the New Zealander is by no means despicable. For my own part, I have formed

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the opinion that it is quite on a par with that of Europeans.

The young and the old have each ways of amusing themselves suitable to their ages. I remember being one day much pleased at seeing some little girls playing at questions and answers. Several little girls were seated in a row on the ground, while another of the party went from one to the other asking a question, to which the first were expected to give each a different answer. The questions and their answers appeared to be quite familiar--the same question, no doubt, calling forth the same answers on every occasion of the game being played. The following answers to the question, "What is your husband," will give an idea of the relative estimation in which the different professions or occupations of man are held in this country:--

(1 )
1st Child. He tane aha tou tane?
2nd Child. He tane ngaki-kumara.
1st Child. Ki tau-whenua rangatira.

(2 )
1st Child. He tane aha tou tane?
3rd Child. He tane hi-ngohi.
1st Child. Ki tau-paki.

(3 )
1st Child. He tane aha tou tane?
4thChild. He tane keri-marohi.
1st Child. Erangi tena. Ko te tutanga, te unuhia.

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TRANSLATION.

(1 )
Question. Pray what is your husband, mam?
Answer. My husband tills the kumara root.
Reply. Go to some strange land where the soil is rich.

(2 )
Question. "What is your husband, mam?
Answer. My husband is a fisherman.
Reply. Go then to some other place, where the sea is calm.

(3 )
Question. And pray what is your husband?
Answer. Mine is a digger of fern-root.
Reply. That'll do better. You have got the packing up in store, and the pulling out again.

Young women are very expert at a game called pohi, in which an ornamented ball fastened to a string three or four feet long is used. The string is held by one hand, while the ball is struck with the other repeatedly in different directions, but always in time with the measure of a song chanted at the same moment. When several seated together on the ground are thus diverting themselves, the graceful attitudes of their bodies present to the eye a group well adapted for the pencil of the artist.

One branch of the education of youth in which they begin to receive instruction at an early age, and in which, on their arriving at manhood, they are adepts, requires to be noticed--this is maminga. The word includes in its meaning all kinds of deceit, from the simple covert joke to the most artful simu-

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lation. So common is the practice of this vice by persons of all ages, that a variety of well-known forms of addressing persons deceitfully are in vogue, which will be sure to impose on strangers who are not up to their ways.

The youth of both sexes are before marriage very profligate, giving themselves up to affaires de coeur. It is among them that the song called haka is so favourite an amusement. When arrived at men and women's estate, however, they generally cease to think of pleasure alone. Then the real business of life commences. To the females belong the more domestic duties--the care of the household, the seeing after a due supply of daily food for the family or for guests, the weaving clothes, and such like occupations; while those duties where strength and activity are required are more peculiarly the province of men.

From this glance at the education and pursuits of the young, we pass on to the consideration of various points illustrative of the general state of civilization of the New Zealanders, and of their social condition, as it was at the period of our early intercourse with them.

Though ignorant of writing before their intercourse with Europeans, to excel in their native language appears to have been one of their chief objects of ambition. As public speakers they are generally remarkably fluent, and display both force

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and elegance of expression. They also possess a certain taste for poetical composition, and have a numerous collection of proverbs handed down from remote periods. We shall attempt to give some account of their songs, poetry, and other kinds of composition, commencing with that which is most rude and simple.

In the first place may be noticed a sort of chant, called Toto-waka. Though devoid of merit as compositions, these chants answer admirably the purpose for which they are intended; namely, to enable a number of persons to exert a simultaneous effort in hauling heavy logs of wood or canoes overland. Any one who has heard the songs of sailors when unloading a ship, or pulling together on a rope, will perfectly understand how they are sung. These songs have a variety of measure, adapted either to pulling heavy, or to pulling light weights. When dragging up hill, the verse is formed of words of long syllables, each of which appears to issue from the mouths of the pullers with the same difficulty and labour as they advance over the ground. But when the impediment is overcome, and their movements become more free and rapid, another measure, composed of a succession of short syllables, is adopted.

The first five lines of the following specimen is a song called Puwha or Hari, intended to be sung by a single voice, to give notice to prepare for pulling.

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Then follows the Toto-waka, the verses of which are repeated alternately--one verse by a single voice, while the pullers take breath, the response by all, who at the same instant pull together.

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A halt, and then a fresh start--

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A halt, and then a fresh start--

The following is the song referred to at page 7 as being composed by the priest Rata, at the launch of the canoe Tainui.

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TRANSLATION.

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Very much of the same order of composition as the last are boat songs, called Toitoi-waka or Tuki-waka. In the long war canoes two singers, called Kaituki, stand on stages placed on a level with the gunwale of the canoe, one near the bow and the other near the stern. In addition to their voices, they have in the hand some native weapon which they brandish in time, just as the leader of an orchestra brandishes the bow of his violin. Sometimes they sing alternate verses responding to each other, sometimes both together. By this means the time is remarkably well preserved. I have seen fifty or sixty paddles plunge into the water so exactly at the same instant that the eye could mark no difference between them. The singer frequently introduces into these chants extemporary jokes, or other matter, suitable to the occasion, to cause merriment, and enliven and encourage the crew.

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The four last lines are another description of song, called a haka, in which all the voices of the pullers join.

After this they may perhaps relax their efforts for a little, some talking and pulling idly, while others eat any food which remains in the canoe; till, being refreshed, the kaituki, or leader, strikes up another similar song, and the paddles are again dipped in the water with the same regular stroke as before.

RURERUE or HAKA are songs for several voices together, expressive generally of some sentiment of love.

On fine evenings, it is the favourite amusement of the young men and girls to assemble for the purpose of joining in this rude sort of concert. They may at these times be seen seated in a row, their hair dressed with feathers, and their faces smeared with red ochre and charcoal. The best voices commence and finish the verse. What may be called the refrain is shouted out by the united voices of the whole choir, who, at the same time, form an accompaniment by slapping one hand on the breast, while the other hand is raised aloft and made to vibrate, so as to produce on the eye an effect analogous to that of the shake in music. This vibrating of the hand is called kakapa.

Each verse of the haka is a separate sentence, complete in itself, terminated by what I have called the refrain, which is a peculiar guttural noise, caused

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by repeated inspirations, succeeded by forcible expirations of the breath. When there are many singers the effect is strange, and not unpleasing; but the performance is frequently accompanied by gestures of the body of an immodest character.

(l )

(2 )

(3 )

(4 )

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(5 )

(6 )

(7)

(8 ) 1

(9 )

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Ngeri are war-songs, or glees, to be used on festive occasions. Some of them are very ancient: and, according to tradition, were familiar to their ancestors before they came to New Zealand. One of the uses to which they are applied, is to preserve time and order in the movements of a large body of men when drawn up on parade for the purpose of dancing the war-dance.

The metre of the following Ngeri is marked to give some idea of the way in which it is sung. As it is one of reputed antiquity, it is worthy of notice that the seal is mentioned as known in the country where it originated:--

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The body of armed men being drawn up in column, four or five abreast, remain for some time in a squatting position, which posture corresponds to the stand-at-ease of our soldiers. Suddenly a signal is given by one of the chiefs, who, standing in front, shouts out a short sentence in a peculiar measured tone. On the instant he arrives at the last word, all start on their legs as one man; and the war-song and dance commence. Every right hand brandishes a weapon, while the left hands, being slapt violently against the naked thighs, in regular time, produce a wild sort of accompaniment to the song. At the words kia rere, the movements of the actors become furious. Leaping in the air and dancing with violent gestures--their features distorted with horrid grins, their tongues thrust out 2 as far as possible, their eyes rolling upwards so as to show the white 3--they resemble what the idea may imagine demons to be, rather than human beings.

Some tribes also shout the ngeri in battle, as they rush to the assault, to encourage each other, and to prevent their comrades from being daunted by the groans of the wounded and dying, while, at the same time, they hope to strike terror into the foe. The following national ngeri of the united tribes Ngati-Raukawa and Ngati-Toa, is said to have been sacred to such occasions:--

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SUPPOSED TO BE ADDRESSED TO THE ENEMY.

The words wiwi and wawa are intended to represent, by their sound, the noise of the flood-tide on the beach. The translation, I am bound to say, does not nearly convey the spirited energy of the original.

This description of song, of which we shall give a few more specimens, is also called hari, puwha, or peruperu. The former is the term familiar to the tribe Nga-Puhi, the latter to Waikato. A distinction, however, between the meaning of the words puwha and ngeri among some tribes is, that in singing the former, the actors stand; while, in singing the latter, they sit.

HE PUWHA.

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NGERI. 4

HE NGERI.

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HE PERUPERU. 5