One is a stylised manaia (bird-like spirit form) and the other is a geometric pattern that is both the motif from Covid-19 infographics and a familiar tāniko design. Around the circumference of the basket are two repeated patterns in white on a bright yellow background. A hue (gourd) is suspended over an upturned basket with the fingers of a hand extending upwards. One particular work titled Te Pūmotomoto that literally translates to the fontanelle of a new born baby references the passing on of knowledge but also the fragility of our time. His most recent works have been heavily influenced by his time in the United States as an artist in residence where he began experimenting by combining shapes and techniques shared by indigenous artists he met with Māori tāniko techniques, patterns and materials. Leonard’s practice is largely based on the continuation and innovation of raranga forms such as piupiu (waist-to-knees garment made of flax) and tāniko (finger woven, embroidered). Karl Leonard Te Pūmotomoto 2020, muka, raurēkau, tānekaha.
Weaving tides indigenous org series#
Co-curated with Mark Sykes of Ngāti Rangitihi and Ngāti Porou descent, a kairaranga tāne himself, this exhibition is part of a series of projects that highlight the work of these and other talented Māori male weavers. Hao means ‘to gather within a net’, and in the context of the exhibition is a reference to some of those early Māori raranga practices associated with men, but also explores many other woven forms including kākahu (clothing or cloaks), kete (baskets), whāriki (floor mats) and and tukutuku (latticework). Although Captain James Cook, who ‘discovered’ Aotearoa in 1769, observed predominantly female weavers, it is accepted within Māori communities that men were often a part of weaving traditions.Ī recent exhibition called Hao: Māori Male Weaving held in Whakatane, Aotearoa, brings together a group of kairaranga tāne who represent the breadth of current weaving practice.
Weaving traditions associated with indigenous cultures have over time been altered and changed by the influence of colonial expansion. A growing network of kairaranga tāne (Māori male weavers) has been working within their whānau (families) and communities, continuing a centuries old lineage of men who weave.
However, there has been a shift in Aotearoa New Zealand over recent decades. When we think of weaving or plaiting as an art form, our initial response is to consider it in relation to traditions associated with women. “Tracing Change: A Continuing Lineage of Māori Male Weavers” by Karl Chitham (Ngā Puhi, Te Uriroroi) January 13, 2021