[{"@context":"http:\/\/schema.org\/","@type":"BlogPosting","@id":"https:\/\/wiki.edu.vn\/en\/wiki40\/ta-moko-wikipedia-2\/#BlogPosting","mainEntityOfPage":"https:\/\/wiki.edu.vn\/en\/wiki40\/ta-moko-wikipedia-2\/","headline":"T\u0101 moko – Wikipedia","name":"T\u0101 moko – Wikipedia","description":"Maori facial tattoo T\u0101 moko is the permanent marking or “tattoo” as traditionally practised by M\u0101ori, the indigenous people of","datePublished":"2017-06-02","dateModified":"2017-06-02","author":{"@type":"Person","@id":"https:\/\/wiki.edu.vn\/en\/wiki40\/author\/lordneo\/#Person","name":"lordneo","url":"https:\/\/wiki.edu.vn\/en\/wiki40\/author\/lordneo\/","image":{"@type":"ImageObject","@id":"https:\/\/secure.gravatar.com\/avatar\/c9645c498c9701c88b89b8537773dd7c?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/c9645c498c9701c88b89b8537773dd7c?s=96&d=mm&r=g","height":96,"width":96}},"publisher":{"@type":"Organization","name":"Enzyklop\u00e4die","logo":{"@type":"ImageObject","@id":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","url":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","width":600,"height":60}},"image":{"@type":"ImageObject","@id":"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/d\/d4\/MaoriChief1784.jpg\/260px-MaoriChief1784.jpg","url":"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/d\/d4\/MaoriChief1784.jpg\/260px-MaoriChief1784.jpg","height":"343","width":"260"},"url":"https:\/\/wiki.edu.vn\/en\/wiki40\/ta-moko-wikipedia-2\/","wordCount":8158,"articleBody":"Maori facial tattoo      T\u0101 moko is the permanent marking or “tattoo” as traditionally practised by M\u0101ori, the indigenous people of New Zealand. It is one of the five main Polynesian tattoo styles (the other four are Marquesan, Samoan, Tahitian and Hawaiian).[1]Tohunga-t\u0101-moko (tattooists) were considered tapu, or inviolable and sacred.[2]Table of ContentsHistorical practice (pre-contact)[edit]Instruments used[edit]Changes with European colonisation[edit]Contemporary practice[edit]Use by non-M\u0101ori[edit]Gallery[edit]See also[edit]References[edit]Sources[edit]External links[edit]Historical practice (pre-contact)[edit]Tattoo arts are common in the Eastern Polynesian homeland of the M\u0101ori people, and the traditional implements and methods employed were similar to those used in other parts of Polynesia.[3] In pre-European M\u0101ori culture, many if not most high-ranking persons received moko. Moko were associated with mana and high social status; however, some very high-status individuals were considered too tapu to acquire moko, and it was also not considered suitable for some tohunga to do so.[4] Receiving moko constituted an important milestone between childhood and adulthood, and was accompanied by many rites and rituals. Apart from signalling status and rank, another reason for the practice in traditional times was to make a person more attractive to the opposite sex. Men generally received moko on their faces, buttocks (raperape) and thighs (puhoro). Women usually wore moko on their lips (kauwae) and chins. Other parts of the body known to have moko include women’s foreheads, buttocks, thighs, necks and backs and men’s backs, stomachs, and calves.[5]Instruments used[edit]  Painting by Gottfried Lindauer of t\u0101 moko being carved into a man\u2019s face by a tohunga-t\u0101-moko  A collection of korere (feeding funnels)Historically the skin was carved by uhi[6] (chisels), rather than punctured as in common contemporary tattooing; this left the skin with grooves rather than a smooth surface. Later needle tattooing was used, but, in 2007, it was reported that the uhi currently was being used by some artists.[7]Originally tohunga-t\u0101-moko (moko specialists) used a range of uhi (chisels) made from albatross bone which were hafted onto a handle, and struck with a mallet.[8] The pigments were made from the awheto for the body colour, and ngarehu (burnt timbers) for the blacker face colour. The soot from burnt kauri gum was also mixed with fat to make pigment.[9] The pigment was stored in ornate vessels named oko, which were often buried when not in use. The oko were handed on to successive generations. A k\u014drere (feeding funnel) is believed to have been used to feed men whose mouths had become swollen from receiving t\u0101 moko.[10]Men and women were both t\u0101 moko specialists and would travel to perform their art.[11]Changes with European colonisation[edit]The p\u0101keh\u0101 practice of collecting and trading mokomokai (tattooed heads) changed the dynamic of t\u0101 moko in the early colonial period. King (see below) talks about changes which evolved in the late 19th century when needles came to replace the uhi as the main tools. The needle method was quicker and presented fewer possible health risks, but the texture of the t\u0101 moko became smooth. T\u0101 moko on men stopped around the 1860s in line with changing fashion and acceptance by p\u0101keh\u0101.[citation needed]Women continued receiving moko through the early 20th century,[12] and the historian Michael King in the early 1970s interviewed over 70 elderly women who would have been given the moko before the 1907 Tohunga Suppression Act.[13][14] Women’s tattoos on lips and chin are commonly called p\u016bkauae or moko kauae.[15][16]Contemporary practice[edit]Since 1990 there has been a resurgence in the practice of t\u0101 moko for both men and women, as a sign of cultural identity and a reflection of the general revival of the language and culture. Most t\u0101 moko applied today is done using a tattoo machine, but there has also been a revival of the use of uhi (chisels).[7] Women too have become more involved as practitioners, such as Christine Harvey in Christchurch, Henriata Nicholas in Rotorua and Julie Kipa in Whakatane. It is not the first time the contact with settlers has interfered with the tools of the trade: the earliest moko were engraved with bone and were replaced by metal supplied by the first visitors.[17] The most significant change was the adjustment of the themes and conquests the tattoos represented. T\u0101 moko artist Turumakina Duley, in an interview for Artonview magazine, shares his view on the transformation of the practice: \u201cThe difference in t\u0101 moko today as compared to the nineteenth century is in the change of lifestyle, in the way we live. [\u2026] The tradition of moko was one of initiation, rites of passage \u2013 it started around that age \u2013 but it also benchmarks achievements in your life and gives you a goal to strive towards and achieve in your life.\u201d[18] Duley received moko to celebrate his graduation from a bachelor in M\u0101ori studies.[18]A large proportion of New Zealanders now have tattoos of some sort,[19] and there is “growing acceptance … as a means of cultural and individual expression.”[20]  In 2016 New Zealand politician Nanaia Mahuta received a moko kauae. When she became foreign minister in 2020, a writer said that her facial tattoo was inappropriate for a diplomat. There was much support for Mahuta, who said “there is an emerging awareness about the revitalisation of M\u0101ori culture and that facial moko is a positive aspect of that. We need to move away from moko being linked to gangs, because that is not what moko represent at all.”[21]On 25 December 2021, M\u0101ori journalist Oriini Kaipara, who has a moko kauae, became the first person with traditional facial markings to host a primetime news programme on national television in New Zealand.[22]In 2022, Ariana Tikao published a book called Mokorua: Ng\u0101 k\u014drero m\u014d t\u014dku moko kauae: My story of moko kauae detailing her t\u0101 moko journey; her artist was Christine Harvey.[23][24]Use by non-M\u0101ori[edit]Europeans were aware of t\u0101 moko from the time of the first voyage of James Cook. Moreover, early M\u0101ori visitors to Europe, such as Moehanga in 1805,[25]Hongi Hika in 1820 and Te P\u0113hi Kupe in 1826,[26] all had full-face moko, as did several “P\u0101keh\u0101 M\u0101ori,” such as Barnet Burns. However, until relatively recently the art had little global impact.[citation needed]Wearing of t\u0101 moko by non-M\u0101ori has been called cultural appropriation,[27] and high-profile uses of M\u0101ori designs by Robbie Williams, Ben Harper and a 2007 Jean Paul Gaultier fashion show were controversial.[28][29][30][31]To reconcile the demand for M\u0101ori designs in a culturally sensitive way, the Te Uhi a Mataora group promotes the use of the term kirituhi,[32] which has now gained wide acceptance:[33][34][35][36]…Kirituhi translates literally to mean\u2014”skin writing.” As opposed to moko which requires a process of consents, genealogy and historical information, kirituhi is merely a design with M\u0101ori flavour that can be applied anywhere, for any reason and on anyone…[32]Gallery[edit]See also[edit]References[edit]^ Guide to the main styles – Polynesian Tattoo Symbols^ “The M\u0101ori \u2013 The Tattoo (Ta Moko)”.^ H\u012broa 1951, p.\u00a0296^ Higgins, Rawinia. “4. \u2013 T\u0101 moko \u2013 M\u0101ori tattooing \u2013 Moko and status”. Te Ara: The Encyclopedia of New Zealand. New Zealand Ministry for Culture and Heritage. Retrieved 8 March 2020.^ Pritchard, Stephen (1 December 2000). “Essence, Identity, Signature: Tattoos and Cultural Property”. Social Semiotics. 10 (3): 331\u2013346. doi:10.1080\/10350330050136389. ISSN\u00a01035-0330.^ “Fig. 46.\u2014Uhi, or chisels in the British Museum (actual size). Presented by Sir George Grey, K. C. B., &c”. Retrieved 28 August 2015.^ a b “Revival of Moko”. The New Zealand Herald. 28 December 2007.^ Best, Eldson (1904). “The Uhi-Maori, or Native Tattooing Instruments”. The Journal of the Polynesian Society. 13 (3): 166\u201372.^ “Kauri gum”. Te Ara: The Encyclopedia of New Zealand. Retrieved 28 August 2015.^ “Korere \u2013 Tasman District”. Landcare Research \u2013 Manaaki Whenua. Retrieved 21 March 2014.^ ELLIS, NG\u0100RINO (2014). ““KI T\u014c RINGA KING\u0100 R\u0100KAU \u0100 TE P\u0100KEH\u0100?” DRAWINGS AND SIGNATURES OF “MOKO” BY M\u0100ORI IN THE EARLY 19TH CENTURY”. The Journal of the Polynesian Society. 123 (1): 29\u201366. ISSN\u00a00032-4000.^ “A Relic of Barbarism”. Wanganui Herald. 1904.^ King, Michael (July 1973). “Moko”. Te Ao Hou The M\u0101ori Magazine.^ Smale, Aaron. “Ta Moko”. New Zealand Geographic. Retrieved 4 May 2017.^ “‘It’s Transformative’: M\u0101ori Women Talk About Their Sacred Chin Tattoos”. www.vice.com. Retrieved 2 June 2022.^ “T\u0101moko | M\u0101ori tattoos: history, practice, and meanings”. Museum of New Zealand Te Papa Tongarewa, Wellington, NZ. 28 March 2017. Retrieved 2 June 2022.^ Higgins, Rawina (20 December 2016). “T\u0101 Moko Technology”. Te Ara Encyclopedia of New Zealand. Ministry for Culture and Heritage Te Manatu Taonga. Retrieved 9 January 2021.^ a b Crispin Howarth and Turumakina Duley. Maori Markings: t\u0101 moko. Other. Artonview, no. 98, Winter, 2019.^ Mathewson, Nicole. “Employers more tolerant of hiring inked employees”. Stuff. Retrieved 11 June 2019.^ Lake, Dan (10 June 2019). “Air New Zealand reverses ban on staff having tattoos”. Newshub. Retrieved 11 June 2019.^ Ainge Roy, Eleanor (4 November 2020). “NZ website withdraws author’s works after she criticises M\u0101ori foreign minister”. The Guardian.^ Jeevan Ravindran (30 December 2021). “M\u0101ori journalist becomes first person with facial markings to present primetime news”. CNN.^ Newth, Kim (4 November 2022). “Why Ariana Tikao wants you to know exactly how she got her moko kauae”. Stuff. Retrieved 21 December 2022.^ Tikao, Ariana; Calman, Matt; Calman, Ross (2022). Mokorua\u00a0: ng\u0101 korero m\u014d t\u014dku moko kauae = my story of moko kauae. Auckland, New Zealand: Auckland University Press. ISBN\u00a0978-1-86940-970-8. OCLC\u00a01347428633.^ “…the first Maori who reached England…had a well tattooed face…”^ “Fig. 10.\u2014Tattooing on the face of Te Pehi Kupe, drawn by himself”. Retrieved 28 August 2015.^ “Maori face tattoo: It is OK for a white woman to have one?”. BBC. 23 May 2018. Retrieved 11 June 2019.^ Kassem, Mia (March 2003). “Contemporary Manifestations of the traditional Ta Moko”. NZArtMonthly. Archived from the original on 24 February 2011.^ “Cheeky French steal moko”. Stuff. 13 September 2007. Retrieved 16 November 2011.^ “Sharples: Protected Objects Third Reading Speech”. Scoop. Retrieved 28 August 2015.^ “Why Most People Shouldn’t Get Ta Moko Maori Tattoos”. About.com Style. Retrieved 3 May 2017.^ a b “Ta Moko \u2013 A History On Skin” (Press release). Christchurch Arts Festival 2005. 13 July 2005. Retrieved 3 May 2017 \u2013 via Scoop Independent News.^ “Moko ‘exploitation’ causes concern”. The New Zealand Herald. NZPA. 3 November 2003. Retrieved 16 November 2011.^ Ihaka, James (27 March 2009). “Ta Moko making its mark on Maori”. The New Zealand Herald. Retrieved 16 November 2011.^ “Myth and the moko”. Waikato Times. Archived from the original on 4 March 2016. Retrieved 16 November 2011.^ Cheseman, Janelle (15 March 2014). “The resurrection of t\u0101 moko raises questions for Maori”. Newswire. Archived from the original on 6 May 2019. Retrieved 3 May 2017.Sources[edit]H\u012broa, Te Rangi (1951). The Coming of the Maori. Wellington: Whitcombe & Tombs.Jahnke, R. and H. T., “The politics of M\u0101ori image and design”, Pukenga Korero (Raumati (Summer) 2003), vol. 7, no. 1, pp.\u00a05\u201331.King, M., and Friedlander, M., (1992). Moko:  M\u0101ori Tattooing in the 20th Century. (2nd ed.) Auckland: David Bateman. ISBN\u00a01-86953-088-8Nikora, L. W., Rua, M., and Te Awekotuku, Ng., “Wearing Moko: M\u0101ori Facial Marking in Today’s World”, in Thomas, N., Cole, A., and Douglas, B. (eds.), Tattoo. Bodies, Art and Exchange in the Pacific and the West, London: Reacktion Books, pp.\u00a0191\u2013204.Robley, Maj-Gen H. G., (1896). Moko, or Maori Tattooing. digital edition from New Zealand Electronic Text CentreTe Awekotuku, Ngahuia, “T\u0101 Moko: M\u0101ori Tattoo”, in Goldie, (1997) exhibition catalogue, Auckland: Auckland City Art Gallery and David Bateman, pp.\u00a0108\u2013114.Te Awekotuku, Ngahuia, “More than Skin Deep”, in Barkan, E. and Bush, R. (eds.), Claiming the Stone: Naming the Bones: Cultural Property and the Negotiation of National and Ethnic Identity (2002) Los Angeles: Getty Press, pp.\u00a0243\u2013254.External links[edit]Wikimedia Commons has media related to T\u0101 moko."},{"@context":"http:\/\/schema.org\/","@type":"BreadcrumbList","itemListElement":[{"@type":"ListItem","position":1,"item":{"@id":"https:\/\/wiki.edu.vn\/en\/wiki40\/#breadcrumbitem","name":"Enzyklop\u00e4die"}},{"@type":"ListItem","position":2,"item":{"@id":"https:\/\/wiki.edu.vn\/en\/wiki40\/ta-moko-wikipedia-2\/#breadcrumbitem","name":"T\u0101 moko – Wikipedia"}}]}]