The Maoris
It is evident that the native people of New Zealand known as the Maoris used different sacrificial methods. These methods came from their Polynesian ancestry originating from South East Asia. The exact date of the Polynesians arrival in New Zealand is unknown although it is believed that the Polynesian culture expanded approximately thirty five hundred years ago. The assumption is that they arrived in New Zealand in the year 1350. It is also apparent that the Maori, which translates as “the original/local people,” were a highly evolved people because of the various natural resources that had been discovered by the Maori people. Of all the sacrificial practices in the Maori, the process of tattooing the face is the most sacred and important initiation rite that individualizes a Maoris identity. Though tattooing is common, the Maoris idea of tattooing in old times did not require a needle or any of the sterilized equipment used today. This long, severe and painful ritual started out by graving deep cuts into the skin. Next, a chisel was dipped into a sooty type pigment such as burnt Kauri gum or burnt vegetable caterpillars, and then tapped into the skin. Karaka was then placed over the swollen tattoo cuts to reduce the pain and catalyze the healing process. Another Maori technique used to lessen the intensity of the process was to play flute music and chant poems to divert an individuals mind. Depending on whether a Maori was heading to war soon after the tattoo would determine what kind of flute to be used and its intensity level. A commonly used flute is the Koauau, and this flute has a haunting sound and would be used before war. There are a variety of poems and songs played during the tattoo process. Some examples are E te Hokowhitu-a-Tu, and E Pari Ra. These two songs are typical songs of the more modern tribes. E te Hokowhitu-a-Tu is sung for the purpose of inspiring a Maori to be brave during tattooing. It necessitates the idea of having positive and heavenly thoughts while undergoing pain and unpleasant feelings. Next, it comforts the Maori worrier by ensuring him that he is not alone and that the whole tribe is with him on his spiritual journey. E Pari Ra is for the worriers that will immediately go the war after their initiation. It is usually sung by the wife and it depicts her longing for her husband to return home and stay true. Lastly, the wife concludes the song by telling her husband that everyone in the village will be weeping and hurt if he does not return home. It is known that the Maori only tattoo the faces of men because of the warrior representation of the tattoo, and only men were warriors. Once a Maori proves he can sustain the pain of a facial tattoo, he is then seen as a member of high ranking and a high social status. This process that commences at puberty is seen as one that marks the rites of passage and important events in an individual’s life. It was considered unheard of to participate in sexual activity or eat solid foods while the tattoo was in the healing process because of the additional pain as well as disrespect to the elders. Each part of the face represents a different aspect in the initiation process. The upper forehead signifies an individual’s rank, while the left and right areas above the eyes relate their position, and just below the eye, their genealogy. The far left and right areas leading to the ear indicate their marriage and the region between the nose and lips are their own particular signature. Lastly, the left and right areas directly under the chin symbolize their power and standing, under the ear characterizes their profession, and the left and right areas leading onto the neck is their position at birth. It was also known that when the Europeans required a signature from a Maori male, he would draw the part of the face that represented his signature. This practice of using your signature from your facial tattoo was known as Moko and originated when the Maoris encountered the Europeans. The next step in the initiation process comes when the individual dies. Once they have passed away or have been killed, their head is removed and preserved. These heads would stay with the family and be an honored possession. These tattoos were sacred enough to the Maoris so much to the point of execution if violated, as well as to suffer the wrath of the gods. These days, the tattoos are still sacred but not to the point of execution. The initiation process of the tattoo also plays a role in the death ceremony. The ceremony starts out with the body, also known as the tupapaku, being held at a marae which is the traditional meeting place of the Maori people. A significant belief and principle of the Maori people is that the body should never be kept alone after it is buried, and for this reason, the tattoo keeps the male warrior company. The sprits are with the tattoo therefore not abandoning an individual at death. Before the body is buried, it is addressed in symbolic language. The night before it is buried, songs and chants are sung for the dead and signifying their status as displayed on their tattoo. These songs tell some of the spirits to leave the body and enter a tree while at the same time telling the other spirits to never leave the deceased. In present day Maori tribes, many of these traditions are not practiced anymore with the previous intensity. Outside influences have prevented many of the Maori traditions to be preserved. Tattooing is still done for identity purposes and for the spiritual initiation, but it is done in a somewhat different way. The pain threshold of an individual was tested by pure chiseling into the face, therefore giving a highly recognizable amount of respect to a particular male warrior from his fellow tribesman. Although it is still painful with a needle and ink, it is only a fraction of the pain endured from the early days of the Maori. Also, not all males continue the tradition of facial tattoos these days because of the European and western influence of moral and ethical issues of the tattoos. Thus, though fewer in numbers, the Maoris can still be seen in New Zealand and Europe. Works Cited Rosenfeld, Jean. The Island Broke in Two Halves: Maori of New Zealand.Pittsburgh: Pennsylvania State University Press, 1999. Salmond, Anne. Between Worlds: Early Exchanges Between Maori and Europeans. Honolulu:University of Hawaii Press, 1998.
