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The Maori Canoe

[argument and introduction]

page 226

Contents

Paddles and their use. Materials used. Steering paddles. Steering. Fuglemen and songs. Painted paddles. Carved paddles. Modes of paddling. Women as paddlers. Certain canoes beached stern foremost. Bailers and bailing. Sails and sailing. Materials and form. Process of manufacture. Manipulation of sails. Modes of sailing. The lateen sail, or ra kaupaparu. The upright sail, or ra kautu. Maori canoe-sail in British Museum. Speed of canoes. Rates of sailing and paddling. Poling or punting. Anchors and their uses. Materials and forms of anchors. Method of raising. Sea-anchors. Anchors named.

Although sails were employed by the Maori seafarer, yet paddling was the most common mode of propelling a canoe, while poling or punting was resorted to in ascending swift streams, and often in shoal water. The common term for a paddle is hoe, a far-spread name for that implement in Polynesia. Thus hoe denotes a paddle in the dialects of Tahiti, Hawaii, Marquesas, Mangareva, &c. At Samoa it becomes foe; at Tonga, fohe; at Rarotonga, oe. Another name for a paddle is hirau. The longer steering-paddles are called hoe whakatere, hoe whakahaere, and urungi. Williams gives "Hoe piripiri, additional steer-oar." In the Waikato district paddles with a curious curve in the handle were employed. The ordinary straight-handled kind is known as the takaki style. "Waikato hoe nukenuke" ("crooked-paddle Waikato," or "Waikato of the crooked paddles") is an old saying. (See fig. 110, p. 228.)

Tuta Nihoniho states that the hoewai was a broad-bladed paddle made strong in order that it might be used as both paddle and weapon.

Polack has left us the following notes: "The paddles for pro-pelling a canoe are principally shaped from the kahikatoa, and when dry are extremely light, and fitted to bear a heavy strain of water. They are made extremely neat: the centre of the blade is the broadest part, tapering to a point. (See fig. 111, p. 228.) A carved paddle is rarely seen and is used by its owners as a truncheon to be displayed on gala days, when the chiefs stand up in the canoe, shouting and waving to the rowers to incite them to exertion, or as the solos which are responded to by a chorus and the exact keeping of page 227time effected by beating the paddle in the water, which propels the canoe with great velocity. Paddles are generally four or five feet long, and those made use of for steering are six feet, and form the only rudder that the peculiar shape of a canoe can admit of as serviceable.

"The kahikatoa, of which paddles are almost invariably made, possesses an elasticity that enables the light thin paddle, whose blade at the edges is scarcely the sixth of an inch thick, to resist the powerful waves."

The kahikatoa, or manuka (Leptospermum scoparium), is a close-grained hardwood, strong and tough, though not durable when exposed to the weather. It is much used in the manufacture of imple-ments. The steering-paddles of large canoes exceeded 6 ft. in length.

The following notes were contributed by Tuta Nihoniho:—

On the east coast paddles were made of several woods—matai, manuka, maire, heart of pukatea, and sometimes of tawa. A piece of suitable matai made a much-favoured paddle that was both light and strong. Occasionally the blades of paddles were adorned with painted patterns, but never carved, save in the case of certain ones not used in paddling, but only as a sort of ceremonial staff or baton.

The long steering-paddles are often described as hoe whakahaere (controlling-paddles). The kai-whakatere, or steersman, sits in a small seat at the base of the taurapa, or stern-piece of the canoe. When a canoe is being paddled one steersman is sufficient, but in the old days of sailing it sometimes needed two and even three steer-oars in a big canoe. When necessary a steersman would call upon another, or two others, to assist him. These two would be stationed on the first thwart, just ahead of the stern-seat, one at either side of the canoe, or one at the bow and one at the stern. Paddlers sat on the thwarts of big canoes, but in small ones squatted or knelt upon the flooring thereof, on which some fern would be placed.

When heavy waves are encountered by a canoe the vessel must not be so steered as to face them directly, at right angles, or she will dive headlong into the wave and be swamped; hence the bow is in such cases kept a little off, with the result that the canoe rides over the wave. But great care must be exercised in this operation, for if her head is brought round too far (ka rara) she broaches to, and disaster follows. At such times the steersman has to be extremely attentive and quick in order to enable the canoe to karo nga pu tai, as a native puts it—to ward off or avoid the seas—all of which is done by means of a dexterous turn of the paddle. Should an adept at the bow note that the bow is swerving off in a dangerous manner, page 228 Fig. 110 Carved ceremonial Paddle to Left: on Right a Waikato Form with Sinuate Handle. H. Hamilton, photo Fig. 111 Six Paddles of Common Form. H. Hamilton, photo he at once plunges his paddle deep down and uses it as a steering-paddle to swing the canoe back on to its course. To do this he holds the paddle obliquely, which causes the bow to swerve round. The steersman at the stern does the same, but on the other side of the canoe. With one steersman at the stern and one at the bow a big canoe was managed in a remarkable manner.

In a canoe provided with a sail it was used whenever possible, but when on a lengthy voyage in which it was impossible to make page 229 Fig. 112 A Steering-oar and a Paddle of the Waikato Form. Fig. 113 A Peculiar Form of Paddle occasionally seen. land at night, and sail could not be used, then paddling continued uninterrupted day and night, the men relieving each other. Women sometimes took part in canoe-paddling, especially in the smaller craft, such as river-canoes; in fact, they often managed the latter alone.

The kai-hautu, or fugleman, the chanter of the time-giving song, was a functionary pertaining to large and important canoes only. In some cases there were two such chanters, and these canoe-songs page 230served to inspirit the paddlers and urge them to strenuous exertion. They were not chanted constantly, but at intervals; the men could not continuously keep up the extra exertion inspired by them.

The word waihoe is a general term to express methods of paddling. The ranga method is a quick stroke, and the kukume a slow one, while the tia is an alternate light and strong stroke. The first and last of these were employed in canoe-races.

When overtaken by a storm at sea a canoe was sometimes made to ride it out. In order to do so the anchor was lowered at the bow for some distance, and the rope made fast, and this had the effect of steadying the canoe and keeping her bow on to the seas. Meanwhile the crew stationed themselves near the stern, so as to counter-act the effect of the weight of the anchor and keep the bow of the vessel well up. Without the steadying sea-anchor the craft might be swung round and capsized.

In some cases a working-paddle was adorned with a carved design at the end of the handle. The hoe whakaara is said to have been a long paddle used at the bow, and it was so manipulated as to have the effect of keeping the bow of the canoe up, but it is not clear as to how this was effected.

A long steering-paddle in the Dominion Museum (Turnbull Collection) is Seen infig. 114. It is 12 ft. long, and 7 in. wide across the broadest part of the blade. The end of the handle is round for some distance, then becomes oval in cross-section, and then gradually widens, flattens, and decreases in thickness from 1½ in. to less than ¾ in. at the wide part of the blade. Apparently there has been a carved design on the end of the handle, which has been broken off. There are two figures carved in high relief lower down the handle, the upper one of which is double—two grotesque, semi-human forms placed feet to feet; the lower one is a single figure of similar design and 7 in. in length; the upper one is 8½ in. long. There is a clear space of 20 in. between the two figures, while the distance from the lower figure to the blade-point is 6 ft. 7 in. Both of the carved figures show the orthodox three fingers of Maori carving.

There are two fine steering-paddles in the Auckland Museum, one of which appears to be about 12 ft. long, and the other some-what shorter.

In the Dominion Museum we have a small steering-paddle such as was used in the smaller canoes. It is 6 ft. 7 in. long and 4¾ in. across the widest part of the blade, being narrower than many ordinary paddles. The carved design on the end of the handle is described as a pokinikini.

page 231

Fig. 114 Four Steer-oars and One Paddle. The longest of these is the Turnbull specimen; the one on the right is from Mangaia. (See p. 232.) H. Hamilton, photo

Fig. 115 Front and Side View of Common Form of Paddle. H. Hamilton, photo

Steering-oars are straight, but properly-formed ordinary paddles show the blade set at a slight angle to the handle. This peculiarity is noticed in the side views given of paddles. When in use the rounded side (taha koropuku) of the paddle, which is the inner side of the angle, is forward, and the flat side is forced backward against the water. Maori paddlers can keep marvellously correct time in paddling. The kneeling position seems to have been the most common in page 232paddling. Steer-oars could not be placed directly over the stern of a canoe, but were thrust over the side near the stern. Hiro, a Tahitian, informs me that his folk often confined the steer-oar in a form of grummet, and used it on the leeward side of the vessel. (See figs. 114 and 115A, pp. 231, 233.)

In some districts paddles were occasionally ornamented with painted designs, though these were ceremonial objects. (See fig. 116, p. 234.)

Of paddles seen at Poverty Bay, Parkinson says, "Their paddles were curiously stained with a red colour, disposed into various strange figures, and the whole together was no contemptible workmanship." There is a painted paddle in the Grey Collection at Auckland.

Angas speaks of another method of adorning paddles, as seen by him at Taupo: "In the canoes I have also observed several of the paddles elaborately ornamented with arabesque designs in black and white, produced by charring the wood. Te Heuheu's son has been ornamenting some for me in a similar manner."

An ornate form of paddle used in a ceremonial manner as a baton was embellished by finely carved designs. A number of these exist in collections; they were not used for paddling purposes.

Polack furnishes the following: "The paddles are generally constructed of the kahikatoa tree; they are very light in weight, and neatly made. The blade is broad about the centre, ending in a sharp point. Some stain their paddles with red earth, but few are carved, except at the hilt. A carved paddle is made use of as a spear or truncheon on gala days, but is not adapted for the water. These paddles are generally four or five feet long, but those made use of for steering are some inches longer, and help to propel the canoes with speed."

Polack was right: paddles with carved blades and hand-grip were used only as ceremonial objects, as a baton, and carried by a man during tribal functions, &c, as when addressing a meeting. (See fig. 117, p. 235.)

Bidwill speaks of trying to purchase a paddle that was most beautifully carved all over the blade, but, on account of the implement being tapu, or highly prized on some account, he was unable to obtain it. This was in the Bay of Plenty district.

Crozet writes that "The savages make use of paddles instead of oars; these paddles are of most perfect cut, and so shaped as to add by the elasticity of the blade to the force of the stroke. In certain points these paddles might serve as models to the boatmen of our page 233 Fig. 115aPaddles and Steering-oars, in Auckland Museum. ports. The paddles of the chiefs, who ordinarily command the canoes, are nicely carved on the back."

When a person of standing wished to borrow a paddle it was customary to hand over or send him one adorned with carving; to send him a plain one would be looked upon as a slight. But little carving, however, could be done on a working-paddle, as the blade and hand-grip must be left plain.

In his work on the Caroline Islands Mr. F. W. Christian speaks of the ornamented dance-paddles of those isles, and gives an illustration showing two from Metalanim, the blades of which have geometric designs, diamond and triangle, carved on them.

Parkinson depicts a curious-looking implement, probably intended for a hoeroa, which he describes as "an instrument made of the bone of some large animal, probably a grampus, which is used sometimes as a paddle, and at others as a weapon, and is about five feet long." The hoeroa is a weapon made of whale's bone, and, being flat, might at a pinch be used as a paddle.

page 234

Fig. 116 Four Paddles adorned with Decorative Designs in Paint, in Robley Collection, England. (See pp. 232.)

"At the Rangi-tikei, Mr. Scott showed me a cedar paddle that had been washed up on the beach. It was about five feet long, and probably had made a long voyage from some of the South Sea islands. Cedar is not found in New Zealand, and the shape of the paddle is quite different from the Maori fashion." Thus writes Mr. J. C. Crawford in his Recollections of Travel, &c., and he saw this paddle in 1862.

"The Maoris were busy making paddles. They work very neatly, with an adze made in their own fashion, a handle formed with a page 235 Fig. 117 Paddle blade adorned with Carved Designs, in Liverpool Museum. From the Edge-Partington Series Fig. 118 Paddle of Peculiar Form, in the Dominion Museum. Sketch by Miss E. Richardson knee at an acute angle, and with a flat iron adze-blade tied on." So again writes J. C. Crawford, the scene being Taumaru-nui. The flat iron adze-blade would probably be a plane cutter, or one made from a piece of flat iron, not a European adze-head.

Nicholas, an early writer, speaks as follows of the regular, rhythmical mode of paddling employed by the Maori: "The New Zealanders have a custom, while paddling their canoes, to cheer and animate each other to exertion at stated intervals, by shouting out simultaneously certain words, and they regulate the movement of page 236their paddles with regard to the depth of water in which they are to put them, and the rate the canoe is to proceed at, whether fast or slow, by each of these words. All this is done with such methodical exactness, and such wonderful unison of the paddles, that it would be supposed there was but one soul to give impulse to the whole of them."

Of a canoe-race witnessed by him in 1814 the Rev. Mr. Marsden wrote: "One man in each canoe gave the signal for every stroke, Fig. 119 Old Paddle found in Moneys Cave; now in Christchurch Museum. Fig. 120 Details of Carving on Paddle-handles. H. Hamilton, photo page 237 which changed every few seconds. Sometimes the strokes were long and slow, at others short and quick. This change of stroke was for the purpose of lessening fatigue."

"To tuki was to give time to rowers in a canoe. To tuki a war-canoe required tact and skill. The chiefs prided themselves upon the proper performance of this function. Passing to and fro upon the narrow thwarts between the rows of rowers [read "paddlers"], itself an acrobatic feat, the kai-tuki gave the time, and inspired the crew by words, exclamations, short speeches, snatches of song, all delivered to time, with gesture, attitude, and motions of his weapon, also in time. In very large canoes there were sometimes two kai-tuki, the senior of whom promenaded the after part of the vessel, while the other occupied the fore part."—(From J. A. Wilson's Ancient Maori Life and History)

Hochstetter remarks that the kai-tuki, "by singing and various gesticulations, incites the crew to ply their paddles, and denotes, by the rhythm of the song he chooses, the greater or less rapidity of stroke desired. Such a song is called tuki-waka. In large war-canoes, manned sometimes by sixty or seventy men, there are generally two kai-tuki acting as leaders, one placed near the bow and the other the stern. In addition to their voices, they have in the hand some native weapon which they brandish in time. They either sing by turns, one responding to the other; or they sing together, extemporizing at the same time various jokes and witticisms, by introducing into the traditional songs new verses having reference to the momentary situation. It is remarkable to see how the pullers are in this manner guided in keeping time. With as regular strokes as if managed by one hand, the paddles are moving on both sides, and with the same regularity the bodies of all the pullers are moving now forward, now backward; and as the time increases in velocity these motions also become faster and more energetic, until at last, with an almost convulsive tossing forward and backward of the head and the whole upper part of the body, their hair streaming in the air, the whole crew in wild chorus is repeating the last syllables or words of each verse chanted by the leaders. The sight of such a war-canoe manned and decked with festal drapery, while, propelled by the simultaneous strokes of sixty or more paddles, it darts along almost with the velocity of a steamboat, produces an imposing but almost an uncomfortably savage impression. It has the appearance of one body with a hundred arms and as many feet, every part of which is alive and in motion, like a gigantic centipede upon the water."

page 238

Colenso gives us a short account of a canoe voyage down the east coast in 1838: "One morning we left Tokomaru pa in a big canoe well manned; but the sea rose high before we had gained the southern headland of the bay, and for some time it was doubtful whether we should be able to round it, or ever land again, for we were in great danger. Apart from our perilous situation, it was truly a magnificient sight to see those big ocean billows breaking on the rocks around, and our little bark threading her winding way in the hollows between them. The chiefs, seeing the danger, held a short consultation, whether to go on, or to attempt to return to Tokomaru; I believe they would have returned, but they feared to Fig. 121 A Fine Paddle fashioned from Whale's Bone' and Three Views of Carved Extremity of Handle of same. In Kronfeldt Collection, Auckland. W. R. Reynolds, photo attempt turning the canoe in the great swell we were in, lest it should be upset. I was never more impressed at the admirable skill at navigation possessed by the Maori. How readily the paddlers obeyed every command given by the skilled steersman, and how regularly and ably they wrought! The chiefs, too, and the kai-tuki, retained their standing positions in the canoe, and never flinched. On rounding the headland we landed in a delightful little cove, called Te Mawhai … and there launched a still bigger canoe, which was hauled up high and dry, and protected under a long covered shed. page 239We started afresh for Uawa. On arriving at the bar at the mouth of the river most of our crew jumped overboard, and, holding on, took us over the bar in safety."

W. R. Wade, a sojourner in New Zealand in the "thirties," writes: "There is a great difference in the canoes of different tribes. The simplest form of a canoe is a solid tree, hollowed out into the required form, chiefly with adzes. This is called a waka tiwai… A single war-canoe will sometimes carry from eighty to one hundred men… In canoeing with natives … I have often found an advantage in getting a sharp, lively fellow to tuki. His extemporaneous song will consist of such matters as arise from the circumstances or feelings of the moment: grumblings for want of food, complaints of small payment, remarks on the Europeans in the boat, rejoicing that soon there will be plenty to eat, with occasional phrases and short sentences addressed to the rowers, bidding them to be strong, to let the oars dip deep, to pull altogether, &c. But whatever be the burden of the song it admirably answers the purpose of keeping them in time and tune, and of speeding the canoe on its way."

The following is from Mr. R. H. Matthews's account of a fishing expedition: "Off we started to the refrain of 'Huka ka huka' This is a light and rather quick stroke of the paddle, intended more to churn the water into foam rather than to gain speed… Then followed a most exciting race for the fishing-ground and the first fish. All through the fleet [of fifty canoes] the natives were shouting 'Hoea!' 'Tiaia!' 'Toia!' 'Pehia!' 'Ana kumea!' Roughly translated, these words are 'Pull!' 'Stick it in!' 'Drag it along!' 'Press it down!' 'Haul it along!' The last two mark deep, strong strokes of the paddles. The word ana is intended to make the stroke more strenuous; thus, at the words 'Ana toia!' 'Ana kumea' &c, every ounce must be put into the stroke. It was a brilliant moonlight night, and the whole fleet could be plainly seen paddling furiously for the channel. The shouting, yelling, and cheering, together with the noises that only the old-time Maoris could make, were indescribable."

A specimen of the old paddling-songs is given here as a sample of such productions: it was contributed by Tuta Nihoniho, of the Ngati-Porou Tribe, of the east coast:—

A Paddling Song

Fugleman:

He tia, he tia; he ranga, he ranga
Whakarere iho ana te kakau o te hoe koa.

Chorus by paddlers:

Ko manini tua, ko manini aro
Tangi te kura, i tangi wiwini
Tangi te kura, i tangi wawana.

page 240 F. Tera te haeata takiri mai ana i runga o Mata-te-ra. C.

Ana whaiuru, whaiuru; ana whaiato, whaiato
Arara tini, arara tini, ara ri … i!

F. E hara tena ko tena. C.

E hara tena ko te wai o te korio
Ko te wai o te korio
Hai koti, hai koti, hai koti i … i!

F. Ka rere e … e! Ka rere e … e! C.

Te rere i te waka e kutangitangi, e kutangitangi
E kura tiwaka taua, e kura tiwaka taua
E kura wawawa wai!
E kura wawawa wai … i!

(Here paddles held just out of water.)

F. Toro patu tute tata.

(Here paddles brought inboard and held vertically, handles downward, in the hold.)

C. Takararau! Takararau! Takararau!

(Here every paddle is tapped three times on the canoe, once at each repetition of the word takararau.)

This performance with the paddles occurred, not at sea, but just as the canoe was approaching the beach, and immediately prior to the turning of the vessel so as to come to land stern first. After the paddles are drawn in the craft still swings forward on her way.

In the case of a fleet of canoes returning from a war expedition, when the paddling stopped with the takararau cry, the fuglemen of every vessel would give the starting-cry for the following ngeri or song:—

F. Kati, e te iwi. C.

E ko te wai o te hoe ka tarehua
E tata te kaikapea atu te roa o te whenua
E tata te kaikapea atu te roa o te moana
A ka tutuki te ihu o o waka
O waka paea noatia
Ka purua te waha o te tangata whakatinatina ki te riri … i … i
A pae ana i te aroaro, ka whiwhi hoki ana.

During the wild rendering of this song, decapitated heads of slain enemies (if any on hand) would be held up and brandished before the gaze of the folk on shore. Then the canoes were turned prow outwards and swung into the beach.

In all these songs, the wording thereof, as also vowel-sounds and punctuation, have to give way to the singular laws governing page 241rhythm, in order to render the delivery euphonious to the Maori ear. Words are altered, vowel quantities lengthened, and other liberties taken with the vernacular in Maori song, in order to cause the delivery to be grateful to the native. If written as sung the type of song known as ngeri would be quite unrecognizable by us. For instance, the words "paea noatia ka" in the above are rendered as "pae ano a tiaka."

Where … i occurs in the above at a line-ending it denotes that strong strokes have been given; then the paddles are held above water for a space as the powerful impetus causes the canoe to swing forward. on her way. The tia and ranga methods of paddling, mentioned in the first line of the above, are explained elsewhere.

Canoe Time Song, used when two Kai-tuki chanted the Time Song

First Fugleman:

Tena, pehia
Tena, kumea
Tena, tuku kau
Tena, tukua
Tena, tukua mai
Tena, whatiia
Tena, akina
Tena, aue toia
Tena, aua na
Tena, tena mai
Tena, tukua mai
Tena, akina
Tena, toia
Tena, toia mai
Tena, whatiia
Tena, takiritia
Tena, kokiritia
Tena, kumea
Tena, taimaha
Tena, koia hoki
Tena, ko te rite
Tena, o te toko
Tena, toia
Tena, hikitia
Tena, kei raro
Tena, tango mai
Tena, kumea
Tena, unuhia

Second Fugleman:

Nekehia
Pono tereki
Tereki
Hurihuri
Pono tereki
Tereki
Tereki
Tereki
Nekehia
He mango tereki
Nekehia
He rite
He rite
He rite tereki
Tereki
Tereki
Tereki
Kia mau
Kia mau
Kumea
Kia mau
Hikitia
Koia hoki
Ko te rite
Kia mau
Ko te rite
Ko te rite
Kia mau.

page 242

In Out in the Open Mr. Potts discourses as follows concerning a canoe trip: "All being ready, the bare-headed paddlers squatting paddle in hand, the steersmen wearing strange head-dresses made of stained algae, that look not unlike black curly wigs, set off by the insertion of a few feathers of the huia, the canoe slips out to the middle of the river with an easy gliding motion. Each plunge of the paddles is directed by the kai-hautu [kai-tuki], who shakes his paddle, or quivers his fingers, in exact time with the chant with which he encourages the rowers. Time is kept with most wonderful precision; the thirty paddles in the canoe dash aside the water at the same instant. The stroke most frequently used is one strong plunge of the paddle, which is succeeded by a mere dip, which lasts while the way is on the canoe given by the preceding strong stroke; in fact, it corresponds with the feathering of an oarsman. .. The paddlers increase the force of the plunging paddles. Both canoes dash onward in a terrific spurt; one feels the long craft bounding and quivering beneath the vigorous stroke. .. We rush through the water as though borne onwards by a wild crew of demons .. the crew ease their paddling to a short quick stroke called tupari."

Shortland wrote as follows on Maori boat-songs and paddling: "Very much of the same order of composition as the toto waka are the boat-songs, called toitoi waka or tuki waka. In the long war-canoes two singers, called kai-tuki, stand on stages placed on a level with the gunwale of the canoe, one near the bow and the other near the stern. In addition to their voices, they have in the hand some native weapon, which they brandish in time, just as the leader of an orchestra brandishes the bow of his violin. Sometimes they sing alternate verses responding to each other, sometimes both together. By this means the time is remarkably well preserved. I have seen fifty or sixty paddles plunge into the water so exactly at the same instant that the eye could mark no difference between them. The singer frequently introduces into these chants extemporary jokes, or other matter suitable to the occasion, to cause merriment and enliven and encourage the crew." In this description we note a somewhat different mode of procedure on the part of the kai-tuki. In this case they do not move to and fro.

In Sir Joseph Bank's journal we find the following remarks: "I have seen fifteen paddles of a side in one of their canoes move with immensely quick strokes, and at the same time as much justness as if the rowers were animated by one soul; not the fraction of a second could be observed between the dipping and raising any two of them, the canoe all the while moving with incredible swiftness… So much strength, firmness, and agility did they show in their motions, and page 243at the same time such excellent time did they keep, that I have often heard above a hundred paddles struck against the sides of their boats, as directed by their singing, without a mistake being ever made." Again, he says: "In managing these canoes—at least, in paddling them—they are very expert. In one I counted sixteen paddles on a side, and never did men, I believe, keep better time with their strokes, driving on the boat with immense velocity. Their paddles are often ornamented with carving; the blade is of an oval shape, pointed towards the bottom, broadest in the middle, and again sloping towards the handle, which is about four feet long, the whole being generally about six feet in length, more or less."

Lieutenant Meade wrote: "They have a clever way of warding off with their broad paddles the little waves when just about to break over the gunwale of the canoe."

In the smaller canoes, or when a canoe had but one line or bank of paddlers, a paddler would occasionally shift his paddle to the other side of the vessel, so as to relieve the strain on his muscles. Mr. White writes: "While men are on a voyage from one village to another, if one of the party, in changing the paddle from side to side, accidentally lets the outer end of it come into the canoe, it is an omen of an abundance of food to be given to them on their arriving at their destination."

When during a journey by canoe the weather was calm, and the crew became weary of paddling, they would sometimes repeat the following charm in order to cause a wind to spring up, that they might utilize the sail of the vessel:—

Ko, ko, ko, hau nui, hau roa
Hau pukerikeri titi parerarera
Kokoia te tupe i raro nei
Homai he hau.