82 
The N.Z. Journal of Science and Technology. [April 
The pattern showing the ascent of Tawhaki and Karihi to the heavens 
was a large one. When set up out-of-doors it was made about 3 yards 
long, one person at each end making the pattern, and one or two mani¬ 
pulating the central parts, causing them to show different stages of progress, 
one of which was the falling of Karihi from the heavens. 
The following is from manuscript of John White : “ Contests in this 
game [whose name he gives as te whai a Maui ] were frequent in the days 
of yore, when the people of a hamlet assembled in a large house at night. 
In some cases two players would take their cord loops and, standing or 
sitting back to back, make the pattern agreed upon. They would then 
face each other and compare their efforts. Females were often reckoned 
more dexterous than males at the making of these string patterns, some 
of which are most intricate, and proficiency in the formation thereof calls 
for much practice. Some of the figures made in this game are said to have 
represented occurrences in the mythology of the race, such as the making of 
Tiki-alma, the birth of the gods, the descent of Hine-titama (Hine-nui-te-Po) 
to the underworld, Maui procuring-fire, as also other exploits of Maui.” 
This writer gives the two following as songs repeated by a player of 
U ^ l(U ' Takina he puwha ma taua 
Kia ora ai te wetewete i ta taua whai 
Matora, raatora, pioioi 
Matora pioioi. v 
and 
Te karoro i Maunga-nui ra . . . e 
Tikina mai ta taua whai 
Wetewetekia, ka whiwhi 
Ka matora kau nene tapa Kuri. 
The latter was also used as a method of conveying a hint that the singer 
proposed some action, such as a raid, in which he wished his hearers to 
assist him. 
Adults would often be seen teaching young folk the more intricate 
patterns of whai, and children learned the simple patterns from each other. 
Teeth and feet were sometimes employed in the setting-up of a figure. In 
many cases the patterns ran in series, one form being changed into another, 
the change being often effected by means of an assistant player. 
The Rev. W. W. Gill has recorded the game as being known at Mangaia, 
one of the Cook Islands, in pre-European times. It is there known as ai, 
the local dialect having lost the sounds of “ h ” and “ wh.” In the Hawaiian 
Islands the game is termed hee (Maori heke), and we are told that people 
guessed what each figure represented as the performer made it, the one 
who guessed correctly then singing the song appropriate to the figure. 
The names of a good many of the Maori figures have been gathered 
by Mr. Elsdon Best from time to time, and the following lists are supplied 
by him. The same name at times occurs in two or more of the lists, which 
were obtained from different tribes : in these instances the numbers of 
the lists in which the names occur are affixed to the name. 
List 
(Supplied by Tuta Nihoniho, 
Kotore huia. 
Tonga Raurepa (4). 
Te ara tiatia a Pawa. 
Ngutu huia. 
Kawe tupapaku. 
Mouti, or Moti (3, 4). 
Moe haere. 
Te whai papaki tahi a Maui. 
I. 
of the Ngati-Porou Tribe.) 
Te toemi a Rua-mitimiti (4). 
Paekohu (3, 4). 
Kapunga uru tutu. 
Paepae hamuti. 
Te waka a Tama-rereti (3, 4). 
Nga ihiihi o Kopu (2, 5). 
Te puke ki Hikurangi. 
