Te Rangi Hiroa. — Maori Decorative Art. 453 



3 ft. wide. In ordinary houses the height of the poupou above ground 

 was somewhat under 6 ft. They were, of course, set opposite one another 

 at even distances. The intervals were, as a rule, a little wider than the 

 poupou. The upper ends of the poupou were secured to a batten, kaho 

 paetara, placed behind the powpou and lashed to notches or holes in the 

 corners of each. A skirting-board, papaka, was formed by slabs placed 

 between the poupou. These slabs were rebated from the front at the ends 

 to come flush with the faces of the poupou." 



The panel-space is thus defined by the poupou on either side, by the 

 kaho paetara above, and by the papaka below. This is the nomenclature 

 of the East Coast. The Arawa people of the Hot Lakes district, and the 

 Whanganui on the west, call the upper cross-piece the kaho matapu. The 

 lower skirting-board is called the paekakaho by both tribes, whilst the 

 Arawa gave it an additional name, poitoito. In the best houses both cross- 

 pieces were often carved. In other good houses the upper piece was 

 ornamented by bindings of flax or kiekie, and in more modern times by 

 painting The panel-space was called moana by the Whanganui people. 



The Elements op the Panel. 



The elements from which the decorative panel which fills up the panel- 

 space (moana) is formed consist of three portions — two rigid and one 

 flexible. These, which form the groundwork, may be called, in terms of 

 wickerwork — (a) vertical stakes ; (b) horizontal rods ; (c) a flexible material, 

 which, threaded through the above, forms the patterns and designs of the 

 panel. External to the lattice-work panel is the ordinary thatching of 

 the walls ; and in some of the common type of dwellinghouse even the 

 vertical stakes of reeds may not be used. Hence we are justified in 

 regarding all the elements used in the formation of the panels as not 

 heing essential to the construction of the wall, and thus being primarily 

 decorative in origin. 



(a.) Vertical Stakes. — The vertical elements formed the outer layer of 

 the panel. They are composed of the flower-stalks (kakaho) of the toetoe 

 (Arundo conspicua). A single layer of kakaho was placed close together 

 vertically to fill up the panel-space. Hori Pukehika, of Whanganui, states 

 that the flower-ends and the butts were placed alternately so that an even 

 width might be maintained, and great care was exercised that an even 

 number should fill the panel. In some of the Rotorua work this has not 

 been followed out, and the number of stakes is often odd. Where the 

 cross-rods were narrow each vertical reed formed an element for thread- 

 ing purposes ; but where the former were wider than usual two reeds 

 were included as a single element in threading. In the sleeping-houses 

 (ivharepuni) the vertical lining of kakaho was considered sufficient deco- 

 ration. In later years Maori have in several instances had specially-cut 

 fluted boards made at the sawmills for lining their more modern houses. 

 This represents the kakaho stakes in more durable material. Hence the 

 conservative Maori artistic sense of his old-time decoration is appeased, 

 and at the same time deference is paid to the European desire for 

 durability. Some say that it is a labour-saving device, due to laziness. 



It is in connection with the parallel arrangement of the flower-stalks, 

 as the sole lining of the house-walls or under the roof, that the following 

 proverb is used : He ta kakaho e kitea, he ta ngakau e kore e kitea (A defect 

 in the arrangement of kakaho is seen ; a defect of the heart is not seen). 

 This means that deceitfulness is not apparent on the surface. 



