Wananga at Rapaki

Tu Tangata, Issue 20, 1 October 1984, Page 12

Wananga at Rapaki

na Elsie Locke

On June 9 the marae at Rapaki overlooking Lyttelton Harbour was ankle-deep in flax blades, with women sitting among them learning one of our most ancient crafts. This hui runanga was organised by the local branch of the Maori Women’s Welfare League and people came from far afield Dunedin, Cromwell, Ashburton, Leeston, Tuahiwi, Taumutu, Lyttelton and Christchurch.

The previous evening Whetu Tirikatene-Sullivan M.P. opened the wananga with encouraging words especially to the many young people present. She described the rapid development of the creative arts and looked forward to a foundation especially for women in this field.

Rapaki has a tradition of flax work. In the meeting house stood a tall tree branch hung with kete some of them more than a century old. They included one of the soft, fringed kete of whitau (flax fibre) made by Mrs Kitty Couch for Red Cross funds during the first World War, and taniko baskets of modern materials. Also hung on the tree were pois of raupo and corn husks and the plastic ones the children practise with.

Other handcraft treasures on display included a whariki from the North Island woven from kuta, a lakeside reed, very soft to the touch, and several kakahu or cloaks. Very distinctive was the kakahu in diagonal patterns of red and black made by Mrs Malta Pitama for the local league; a white one with taniko border and matching tipare made by Mrs Ngaire Stephenson; and an heirloom belonging to the Briggs family, rich with feathers. There were locally made piupiu, and for a modern touch, a well dressed stocking doll with a true maori face, made by Mrs Alma Patterson, carrying a miniature kete containing a miniature Bible.

Veteran weaver Mrs Fan Gillies explained how the finely woven patterned kete had been made. The flax was cut into narrow strips, boiled, scraped and boiled again, and some of it dyed in the colours required. Before weaving it was softened in water and kept soft in a damp towel. Mrs Gillies went on to say that during her childhood at Rapaki the only bags ever used were kete, and in the evenings the family would sit together and make maybe a dozen “kete mahi”. One of these rough work bags was on the table nearby, holding walnuts. If they were soiled from holding kumara or pipi they were easily washed in fresh water and hung up to dry, and would last a long time. But muttonbirds needed more care. They were packed into kelp bags fitted into flax kete and the whole enclosed in totara bark for complete protection.

At this wananga green flax was be-

ing used gathered in advance by touring Banks Peninsula to select long, flexible blades. Cath Brown was leading tutor; indeed without her expertise and devotion the hui would hardly have been possible. Working in flax is her specialty and she has exhibited flax sculpture. Her quiet, patient style of teaching was shared by the other tutors, Kaa Daniels and Bridget Meads. Most of the learners worked at kete, whariki and rourou; children tried their hand at place mats and fans. Bridget Meads produced two unusual items herself; paraerae or flax sandals, and a cube-shaped rattle with shells inside, which was tried out on a baby and proved a success.

To join the strips of flax at the beginning of a whariki or kete, the ends have to be teased out into a kind of tow. Generally this was done with a blunt knife but the traditional tool, the mussel shell, was also in use. Although this

work was often hard on the hands, the women persevered all day and were justly proud of the results. The hui was intended to end with the Sunday morning church service and lunch but some of the women were still going well into the afternoon.

Then there was the tukutuku panel in the making with the expert May Tauroa inviting anyone to help. The traditional material fine strips of kiekie leaves, was being used for the design. The wharekai at Rapaki has some splendid examples of tukutuku in both traditional and innovative patterns, originally made by the Momo, Manihera and Tau families and given to their marae.

Absolutely unique was the demonstration of working on greenstone by Michael Mason and the display of his finished art work. Michael has inspiration in his bones from the Arahura country where he grew up, and has won acclaim for the greenstone carving set in a totara panel which graces the ferry Arahura. But he doesn't feel the craft is exclusive, for his wife Desley, an Australian, shares in the work as designer, critic and business manager. They hope to get sponsorship to demonstrate on other maraes and pass on their knowledge to others. Michael Mason has turangawaewae at Rapaki and got great satisfaction from the children there who were the keenest watchers and questioners.

Visitors who showed special interest included the Mayoress of Christchurch, Lady Hay, who left with the gift of a small patterned kete containing a greenstone pendant, and a renewed enthusiasm for using our unique crafts in our diplomatic and trade establishments overseas; Brett Riley (chairman) and Steve Thomas from the Southern Regional Arts Council came along, and Chris Broderick of the Christchurch Community Arts Council. These organisations gave financial assistance to the hui, as did the Maori and Pacific Arts Council, the Ngaitahu Trust Board and the Maori Affairs Department. The learners came at very little cost.

Behind a weekend like this are marvels of preparatory work. Many visitors slept on the marae and all were provided with excellent meals. Much of the hard work of cooking, serving and cleaning up was done by young boys and girls of Rapaki.

In pride of place amid the art display was the Tikao-Barrett trophy presented each year for the best branch report at the Southern Regional Conference of the Maori Women’s Welfare League, Judged by the high standard and happiness of this hui, it was well deserved.