Games and pastimes. Music and song. Rehia an archaic term for pleasure. Games and physical exercises. Personified form of pleasure. Introduced games. Draughts. The whare tapere. Military exercises. Maori amazons. Jumping and running. Ti rakau, a curious stick-throwing game. The sling. Tree-climbing. Swimming. Surf-riding. The kokiri. The moari swing. Canoe races. Jackstones. Dart-throwing. Ti ringa and similar games. Cratch-cradle. The haka, or posture dance. The war-dance. Myth of Tanerore. Fuglemen. The game of poi. Mu torere, a form of draughts. Hawaiian draughts. Story-telling. Kite-flying. Stilts. Toboggan. Top-spinning. Hoops. Hide-and-seek. The topa. The jumping-jack. Maori songs and music. Universal use of song. Importance of singing in Maori life. Musical instruments. Flutes. Trumpets. Maori and European music. Nose-flutes. Gourd instrument. Gongs. The pakuru. Primitive stringed instrument.

Games and Pastimes

The expression rehia is the old Maori term denoting pleasure, and all games and pastimes were alluded to as nga mahi a te rehia (the arts of pleasure). Among a people page 128 possessing no form of written language, the arts of story-telling, singing, and dancing are likely to be carefully conserved, and all games and pastimes are treasured by such a folk, inasmuch as they not only serve as pleasing pastimes during long evenings and other periods, but were also the cause of much social enjoyment. At night the folk of a hamlet would assemble in the most commodious house, and there would spend the evening in these light and cheerful pleasures.

Were this chapter designed to contain details of the various games practised by the Maori in former times it would extend to a great length. All we can expect to do in a small work is to give a brief description of the various games and other recreations practised in pre-European times. These may be placed under different headings as follows:—

(1)	Games and exercises viewed as useful elementary training for boys.
(2)	Aquatic games and pastimes.
(3)	Games requiring manual dexterity and agility.
(4)	Games requiring calculation, mental alertness, or memorizing-powers.
(5)	Games and pastimes for children.

These divisions certainly overlap somewhat, but will give the reader some idea of the aspect and purport of the various exercises.

Great stress was laid by the Maori on the desirable effects of physical exercises on boys destined to become fighting-men in the future. Thus lads were encouraged to practise games calling for the exercise of agility and dexterity, and such lads sometimes engaged in a kind of sham fight, armed with light reeds as weapons. Quarrels sprang from such contests at times, and these would sometimes lead to the interference of parents and much wordy clamour and bickering.

According to Maori myth, the arts of pleasure originated with, or are personified in, several beings, whose names are Raukatauri, Raukatamea, Marere-o-tonga, and Takatakaputea. The arts of pleasure were in evidence more particularly when the crops had been lifted and stored, when a harvest feast and period of merry-making ensued. This was the Pleiades festival. Nearly the whole of the old-time games were abandoned soon after the arrival of the early missionaries, and both natives and Europeans have accused the missionaries of repressing harmless recreations among the natives. Brown mentions with evident satisfaction the abandonment of singing and dancing “among the missionary natives.” Wilkes, the American voyager, wrote in page 129 1839: “Social amusements are prohibited by severe penalties, although the people are evidently fond of them”; but this sounds somewhat far-fetched.

Of games introduced by Europeans the Maori acquired readily the mysteries of the draught-board, and some are very good players, but the game is not pursued as it formerly was. Chess he never favoured; cards he still plays to some extent; hop, step, and jump is a favourite; football is played, often in conjunction with Europeans. The concertina and mouth-organ are appreciated, and the jew's-harp is a universal favourite; but higher-class instruments do not seem to appeal so much to the Maori, save in the form of a brass band. Of late years the piano has gained in favour.

Any house used as an assembly-place by the people, and in which young folk indulged in amusements, may be referred to as a whare tapere. No special house was erected to serve as a place of amusement; the ordinary communal dwellinghouses were so utilized. Whare rehia, whare matoro, whare ropa, and whare pakimairo are other names applied to houses so utilized, while whare karioi seems to have been an old Polynesian name for similar places. At night these places were lighted by means of one or more fires made in small pits sunk in the floor. Wood of the maire tree was sought after, as giving a good light with the minimum of smoke. On fine summer evenings the village marae, or plaza, would present a lively scene with many young folks disporting themselves thereon.

All athletic games come under the generic term kaipara, while the expressions para whakawai and whakahoro rakau denote training with military weapons, military exercises. From one point of view all these native recreations might be placed under three headings—exercises, games, pastimes; but no dividing-line can be drawn in a number of cases. For instance, swimming, running, &c., may be practised as mere pastimes, but when the element of contest enters into such activities they become games.

Of the games viewed as desirable and beneficial exercises, the training with military weapons was held to be the most important. The younger lads were armed with light reeds, a thrust or blow from which was harmless. The avoidance of such light missiles by means of agile movements and parrying was a constant form of exercise, and known as para, makamaka rakau, taumahekeheke, and other names. Another favoured exercise was wrestling, known as whatoto, nonoke, and mamau. Occasionally young women joined in this recreation, when two would be pitted against page 130 one male; but my worthy old friend Kurawha, of Maungapohatu, was, in her youth, enough for any man to handle. In later days she shouldered a musket and took part in the Mohaka raid; while she and Whaitiri, another Amazon, were two of the most prominent fighters of Te Kooti's rearguard action in his retreat from Rotorua. Wrestlers would recite a charm prior to engaging in a bout of wrestling; at the same time the reciter would expectorate into his hand, and close the hand—presumably for luck.

Different forms of jumping were indulged in occasionally, but apparently this form of exercise was not much practised. Foot-races over short distances we hear little of, but contests over long distances took place, and these called for endurance. The competitors adopted the bent-knee jog-trot peculiar to bare-footed folk.

A peculiar game, termed ti rakau, poi rakau, and tititouretua, consisted of the players tossing light rods from one to another. The Tuhoe folk sat in a circle while playing, and used a short rod, four of them. These were swung up and down in time to a chanted song, while at certain words of such song they were thrown across or round the circle to be caught by others. The game called for considerable dexterity and quick sight. It was considered a desirable exercise for girls and young women, as well as for males.

There is no reliable evidence to show that the natives of New Zealand ever employed the sling to throw stones in war, and the fashioned sling-stones used in northern isles formerly are not found here. The sling proper may have been used here as a toy, but even that much is doubtful. The whip employed in casting spears represents quite a different principle.

Tree-climbing was, of course, a favourite exercise among the young, and fearless tree-climbers the natives were. In bird snaring and spearing operations they ascended the loftiest trees and went out on the branches to pursue their craft. In climbing the smaller trees a foot-loop (toeke, taparenga, and tamaeke) was sometimes employed.

In water exercises the Maori excelled, like his Polynesian brethren of warmer climes, and this was seen in his powers as a swimmer, his dexterity in surf-riding, and his fearlessness in jumping from a height. This so-called diving was really jumping, as the performer simply jumped off the height and entered the water feet first. The Maori practised the side stroke, and looked with dislike upon the page 131 breast stroke. Swimming races (kau whakataetae) naturally formed a pleasing exercise, and children learned to swim at a very early age. Surf-riding was practised both with and without a board, and also in small canoes, both plank and canoe being known by the same name, kopapa. It is interesting to see natives cross swift and deep rivers by means of treading water. Making for the opposite bank in a slanting, down-stream direction, they practically walk across in an upright position. The breastpole (tuwhana) was also used when a number wished to ford a swift, dangerous stream. Native children were encouraged to be fearless in the water. Where a suitable place for diving was not available, a stout pole or ricker was set up in a slanting position and extending out over the water. Performers ran up this beam from the earth, and jumped from its upper end into the water below. These kokiri were supported on a stout post. The moari or morere, our giant stride, was sometimes erected near deep water, so that when a player swung outward he could release his grasp on the rope and plunge into the water. These exercises had simple songs or short jingles peculiar to them, and which were chanted by the players. A curious incident occurred at Rua-tahuna early in last century in connection with this swinging practice. In a local interclan quarrel several persons had been slain, and their relatives, in order to avenge their deaths, erected two moari at Kiritahi. A song was composed, the effect of which was supposed to be a dispelling of their grief, and this song was sung by those who disported themselves on the swing. Truly, the ways of barbaric man are passing strange.

Canoe races (waka hoehoe and whakatere waka) were recreations that appealed to the Maori. In the excitement of a well-contested canoe race, with paddles as the motive power, the Maori would find one of his keenest pleasures.

Some native games required a considerable amount of dexterity and long practice. Thus in the game of koruru (jackstones, knucklebones) much practice was necessary to enable a player to acquire the necessary quickness and precision to carry out the various movements. This game was a favourite with young folk, who would sometimes challenge the players of another hamlet to play a match. Children's hands were sometimes manipulated so that the stones could be readily caught on the back of the hand. This was effected by means of repeatedly pressing the fingers back. At such games as this and matimati, &c., natives become very quick and alert.

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Dart-throwing was an old form of recreation that appears to have been one of the first to be abandoned after the arrival of Europeans. This was not the form of dart-throwing that might be viewed as a military exercise or training for spear-throwing. The dart (teka or neti) was merely a light reed, and was cast underhand so as to glance off the smooth surface of a small earthern mound. No mark was aimed at, but the longest cast marked the winner. Dart-throwing contests were sometimes quite large meetings, social gatherings of the people. Prior to casting his dart a player would expectorate upon it and page 133 recite over it a charm to cause it to make a good flight. This dart-throwing game was widely practised in Polynesia.

The game known as ti ringa, matimati, and by several other titles, also requires an extreme of dexterity and much practice. Two players place themselves opposite each other and go through a very rapid series of hand-movements. No. 1 makes a certain movement with his hands and utters the cry “Tahi matimati.” The other player must make the same movement so quickly that the two seem to be simultaneous, and also repeats the above cry. No. 1 rapidly makes a second movement to the cry “Rua matimati,” and No. 2 acts as before—and so on until the digits 1 to 9 have been called out, and then the cry with the last movement is “Piro matimati.” In some districts the cry differs, the word “Ti” being used instead of “matimati,” as “Ti tahi,” then “Ti rua,” and so on to “Ti ngahuru” or ten ti. The game called ku seems to be the same thing, but the word ku is used instead of ti. Hikawai is yet another form. The performance is one highly interesting to watch when played by experts.

The world-wide pastime of cat's-cradle, or cratch-cradle, was a pre-European usage here, and a considerable number of designs was formerly known to most of the people. Many of these designs are much more intricate than those known to us, and some require the services of several players ere they can be completed. The Maori used to use his teeth and toes in manipulating some designs. The ordinary name for cat's-cradle is whai, and a number of simple recitatives have been preserved that were repeated page 134 in connection with certain patterns. All designs had names assigned them, and some were said to illustrate certain activities of mythical heroes of yore, such as the ascent of Tawhaki to the heavens. This recreation was much patronized by young folk in former times, and adults also joined in it.

Another string game, termed patokotoko and panokonoko, was a simple one. Each player was provided with a looped string and endeavoured to catch therein the extended forefinger of his opponent.

Of all forms of amusement indulged in by the Maori in former times perhaps none were so much appreciated as the haka, or posture dance. The haka may be described as a series of rhythmical movements of limbs and body accompanied by a song, or at least by a series of short refrains. This recreation was indulged in frequently and by both sexes. Public feeling often found expression in the form of a haka, and they were organized in connection with a multitude of subjects. Where we write to the papers to ventilate or right some wrong or grievance, the Maori composes a haka directed against his detractor or opponent. Where we sedately shake hands with a party of guests on their arrival, the Maori chanted rhythmic refrains to them, accompanied by vigorous and equally rhythmical action: this as a welcome. These effusions were composed in connection with many matters. In some cases the arms alone were brought into play in time to the words; in others the legs and the whole body were violently exercised. The war-dance itself is really a haka performed with arms in hand, and the turanga a tohu is a war-dance (tutu waewae) performed for purposes of divination.

The most striking features of the haka are the distortions of the features and the excellent sense of time displayed by the performers. The manner in which natives can protrude the tongue and turn the eyes in a fierce glare is surprising, and as a contortionist the Maori has few equals. These things were much practised in former times, with the result that rhythmic movements and facial distortion were universal acquirements. The movements of Europeans in such exercises are extremely stiff and awkward in comparison, and one sees this awkwardness in some half-castes. Old women were often very prominent in these performances, and few uglier sights could be imagined than these old hags when leading a haka or wardance. The deep-chested, guttural sounds emitted by men page 135 page 136 in some of these performances, the frenzied appearance and motions of all-but-naked savages—these are features that excite astonishment in strangers to these weird exhibitions. The roaring chorus of some haka, and of the war-dance, may be heard far off.

When about to take part in public performances young folk adorned themselves after the manner Maori, and more especially was this the case when visitors were to be entertained. As to the origin of the haka, we have to delve into the past as it is recorded in Maori folk-lore. Here we find that one Hine-raumati (the Summer Maid), wife of the Sun, had issue one Tane-rore, whose dancing may be seen during the summer months in the quivering appearance of heated air. Hence that phenomenon is known as the haka of Tane-rore. Another version gives Parearohi as the name of the summer dancer.

The peculiar form of haka performed during mourning ceremonial is known as a maimai, and this saltatory exercise is allied to the tangi a Apakura, which is the most ancient of all dirges, for it is the ceaseless moaning of Hine-moa (the Ocean Maid), the ever-restless ocean. In this haka the performers indulged in those swaying motions of arms and body called aroarowhaki. The rapid vibration of the hands is a feature of many haka. In some cases the fugleman called for preliminary action by means of the following long-drawn cry:—

A-a-a-a! He ringa pakia!

Whereupon all performers commence, in perfect time, to clap their hands on their thighs. Again, the cry

A-a-a-a! He waewae takahia!

causes all to commence to stamp their right foot on the ground. The fuglemen then chants on in order to lead up to the first refrain, in which all join in time to the energetic motions of the haka.

The so-called poi (ball) dance is quite an effective exhibition, especially the old method wherein a long-stringed ball was used. The ball was made from a piece of canvaslike fabric stuffed with the soft, light pappus of the bulrush (raupo). These balls were sometimes adorned with long white dog's hair, in which case they were known as poi awe. It is of some interest to note that this ball game is also played by young native women of New Guinea. Many of the modern haka as seen at Rotorua and elsewhere, are pantomimic, page 137 and the movements illustrate the activities of a carpenter, the felling of a tree, rowing, paddling, &c. In no case, however, did the Maori evolve any form of such dancing as practised by us.

A very singular game, known as mu torere, was practised on the East Coast, but, so far as I am aware, was not known in other districts, a curious fact that seems to point to it as a late introduction or evolution. This game resembles draughts, but the board, instead of being divided into a series of squares, has an eight-rayed star marked on it. The central space from which these eight arms radiate is called the putahi, while the arms are termed page 138 kawai. Two persons play as in draughts, each of whom has four stones to serve as perepere, or “men,” and each arranges his men on four of the kawai; the putahi is blank. The moves are much the same as in draughts, the aim being to block one's opponent. I am not convinced that this game obtained in pre-European times, but if based on our draughts, why was not our form of playing-board employed? A game of draughts, called mu and konane, was known at the Hawaiian Isles, and seems to have been practised there when our early Pacific voyagers reached those parts. A great number of “men” were employed in the Hawaiian game, and it was probably introduced by early Spanish voyagers. Draughts is a very ancient game, and seems to have been known in Egypt in remote times. It is just possible that the knowledge of it has been brought from far lands in past times, as doubtless the knowledge of kites and tops was carried, but I have no knowledge as to its having been preserved in other parts of the Pacific area.

A number of pastimes seem to have been included in the term kai, such as riddles, puzzles, and others requiring skill and concentration. Our game of draughts is sometimes styled kai mu.

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As we have seen, story-telling was a much-favoured pastime among our native folk, as it always is among an unlettered people. Children had their own simple stories and fables with which they entertained each other. Youths and young women learned and recited folk-tales, myths, and historical traditions, many of the latter being encrusted with myth. Their elders listened to such recitals and corrected errors or supplied omissions. Entertaining tales came into the category of korero purakau. Some of these widely known stories told of the origin of man and of many natural objects—the popular fireside version of such; the esoteric version was never heard at such gatherings. A number of the tales were instructive, as illustrating the advantages of industry, courage, and other virtues, or the dread effects of transgressing the laws of tapu.

The far-spread pastime of kite-flying was an old institution in Maoridom. Not only was it practised by children, but men also took part in it, and the larger and finer specimens of kites were made and flown by adults. Kites were known by several names, as manu, pakau, and kahu. The superior ones were made by covering a light framework with bark cloth—that is, the manufactured bark of the aute tree. Inferior ones were made from more easily procured materials, as Mariscus ustulatus (a sedge) and raupo (a bulrush). Kites were often made in the form of birds (manu), but other shapes were also used, more especially perhaps by children. Charms were recited in order to cause the kites to rise in a satisfactory manner. The triangular form known as manu taratahi was flown with its narrow end upward. The style termed manu patiki is of an oval or diamond shape. Another form was that of a squat short-armed cross. Feathers were often page 140 page 141 page 142 used to adorn these kites. Some forms resembled those made by natives of the Cook Group. Kite-flying contests were held by our Maori folk in former days, and great interest was taken in such exhibitions.

Another well-known pastime was stilt-walking, the stilts used being as a rule saplings of mako (Aristotelia), a light wood when dry. The foot-rest might be an attached piece or the base of a branch. Stilts were known as pou toti, pou koki, and pou turu. Certain contests were held by youths and young men on these waewae rakau (wooden legs), such as races, the crossing of rivers or ponds, and even a form of wrestling or overthrowing each other.

Yet again we meet with a well-known form of recreation in the reti or horua, a simple form of toboggan much patronized by young native folk in former times. A short piece of hewn plank served as a reti, having two projections to accommodate the feet, which were placed one behind the other. The slide was a steep hillside. Children used very simple substitutes for a board in some cases, one such being the head of a cabbage-tree (Cordyline), and another a fan of flax (Phormium) leaves. Hawaiian children also used the close-set leaf branches of Cordyline as a coasting board.

The tarere, or bush swing, was simply a natural one, being any aka (stem of climbing-plant) that was suitable for the purpose and occupied a desirable swinging-ground, which would mean any place where the performers could swing out over a gully or slope. These aka stems would be cut near the ground and utilized as swing-ropes, their upper parts having a firm grip on the branches far above. The limber branch of a fallen tree sometimes furnished young folk with an excellent substitute for seesaw.

Skipping, termed piu, was practised, though not by single performers. In connection with this and many other games and pastimes certain short songs and jingles were repeated by performers.

The Maori boy possessed both the whip-top and humming-top, the former being the kind in common use; the peg-top was unknown. The generic term for tops is potaka. In top-spinning contests the performers had sometimes to whip their tops over hurdles consisting of small page 143 ridges of earth. Some of the humming-tops were made of small ripe gourds, into which a spindle was inserted. In former times the Maori employed humming-tops in a very singular manner—viz., in mourning for the dead; and ceremonial top-spinning has also been noted in other lands, European and Asiatic.

The children of Maoriland did not trundle hoops as we do by means of a stick, but threw them. They seem to have been smaller than those made by us, and were formed by bending a piece of pliant aka (stem of climbing-plant) and lashing the two ends together.

The game of taupunipuni seems to have been the same as our hide-and-seek, and that known as wi is our “tag,” of which there were two different forms. A childish pastime was that called tatau manawa, which consisted of the repetition of apparently meaningless jingles in one breath; to take a breath during the recitation was to fail. page 144 In another game boys stood on their heads while reciting such effusions.

A child's pastime, known as topa, koke, and niu, consisted of casting a broad leaf across a space, such as from bank to bank of a stream. The leaf was made to balance by inserting a grass culm in the midrib. Even this trivial pastime had its own special charms to cause the leaf to float well forward. Among the Ngati-Porou folk the topa page 145 was employed in divination, for the Maori resorted to curiously puerile acts in his endeavours to peer into the future. The name of niu applied to this pastime is the Polynesian word niu (coconut). The coconut was much used in divinatory acts by the Polynesian. The Maori has preserved the name but has forgotten its origin. The skipping of flat stones along the surface of water—our “ducks and drakes”—and other such pastimes appealed to native children as they do to ours. Toy canoes for racing were made from Phormium leaves. Boys were interested in constructing small models of fortified villages.

Young folk had a peculiar toy of the jumping-jack type, and called a karetao and karari. This was a small carved figure in human form, about 15 in. in height. Its lower end merged into a short shaft that served as a hand-grip. The arms of the figure were loosely attached by means of two cords, and by pulling these with one hand and shaking the figure with the other it was supposed to go through the motions of a haka. This toy was manipulated the while a time-song was sung. Some of these toys were page 146 page 147 very well carved, the designs of face tattooing being well executed.

A number of simple games and pastimes practised by children scarcely call for special remark.

Maori Songs and Music

The Maori had a marked fondness for song, and relied on it to a considerable extent for the purpose of expressing his feelings. Not possessing any form of script in which to conserve knowledge, our Maori included much of his history and myths in his songs, especially in laments for the dead and in songs sung to children. These latter caused children to become acquainted with incidents in tribal history, in connection with which they often sought further information in after-years. The Maori folk composed songs on many different occasions when we would never think of doing so. If a woman was accused of indolence, or some other fault, by her husband, she would in many cases retaliate, or ease her mind, by composing and singing a song pertaining to the subject. In the event of a person being insulted or slighted in any way, he was likely to act in a similar way. Songs were composed for the purpose of greeting visitors, of imparting information, of asking for assistance in war, and many other purposes of an unusual nature from our point of view. Singing entered largely into the social and ceremonial life of the people, and in making a speech the Maori breaks readily into song.

Although our Maori knew naught of rhyme, yet he had the greatest appreciation of rhythm. His singing in most cases is monotonous, and by no means pleasing to European ears, however melodious to his. It has been compared to Arab singing. In some cases, as in war-songs and haka, also the derisive songs termed ngeri, a fierce energy was introduced into the rendering, and it was in such effusions as these that rhythm was most noticeable. In singing a Maori does not, in many cases, trouble to end a line when taking breath. He may take breath in the middle of a line, but he does not commit the error of dropping his voice at such a juncture. Nor does he often take breath—his lung-powers are remarkable; and this was especially noticeable in the priestly experts of former generations, who had to recite long ritual chants without any break in the rendering. This was done by means of relays, as it were. One man would carry on the ritual, or rather intoning, as far as he could, and then stop abruptly, perhaps in the page 148 middle of a word. With great precision and marvellous celerity his companion carried on the chant with no perceptible break or pause. Any pronounced break in the delivery of ritual formulae had a very serious effect on their efficacy, in native belief.

Maori orators, when addressing an assembly of people, often broke into song, in which case those members of his clansman who were acquainted with the song would arise and join in the singing. Many of the native songs are marked by pathos and sadness; others by hatred, contempt, and other emotions; but the humorous song was not a common Maori production. A few short effusions of the umere type betokened joy and satisfaction, though such feelings were not expressed in the words in manner European. Euphony was ever sought by song-makers, and was sometimes acquired by lengthening or shortening words, by long-drawn vowel sounds, and suchlike alterations. Many songs contain so many brief allusions to events in tribal history, to myths, beliefs, superstitions, ritual observances, &c., that in order to understand them one needs to be acquainted with a vast amount of tribal lore. In Maori songs we meet with most interesting concepts and idioms, with quaint mythopoetic ideas, and pathetic farewell directions to the spirits of departed friends.

One of the most peculiar songs ever composed by natives was a lament for a defunct pig that died many years ago in an East Coast hamlet. It was the first pig acquired in those parts, and so was made much of; its death was mourned by a wide circle of friends, and a special dirge was composed in its honour. Another native song on record bewails the loss of an eel-pot; another the grief of a fisherman who had lost his fish-hook; and yet another voices the plaint of a man afflicted by skin-disease. No occurrence was too trivial, apparently, to claim recognition in song. At the present time many of the songs composed, such as laments for the dead, consist largely of extracts from old songs.

Many songs commence with some reference to the heavenly bodies, as in following examples:—

Yonder the Evening Star rises.
Descend, O Sun! Sink into the abyss.

In connection with time-songs, chants calling for united action, such as hauling a canoe, as also songs accompanying certain posture dances, the fugleman was much in evidence.

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It is a peculiar and interesting fact that barbaric man utilizes song much more than does civilized man, and anthropologists tell us that poetry was the natural utterance of any strong emotion among such folk as the Maori, and even others occupying lower stages of culture. We know that in former times the Maori was wont to intone his remarks under circumstances wherein we employ the most matter - of - fact tones. Thus prose and poetry were not divided, as with us; they coalesced, as it were.

The musical instruments possessed by the Maori were but simple types, consisting of two short forms of flute, one of which was used as a nose-flute, and a longer instrument termed a pu torino. Concerning the latter instrument we have but little information, but the short mouth-flute, termed a koauau, is better known. The Maori had not evolved any string instrument, unless the ku was a genuine native instrument. His wind instruments were the ones already mentioned and two rude forms of trumpet. One of these was made by attaching a mouthpiece to a Triton shell, which are occasionally found in the northern part of the North Island. These shell trumpets are known as pu tatara; while the pu kaea is a long wooden trumpet made in two pieces and neatly bound with pliable stems of a climbing-plant. These two forms of trumpet produce a doleful and unmelodious hooting sound; they were used for signalling purposes, as in time of war.

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The Maori has not shown any desire to adopt even the simpler forms of our stringed instruments, and his attention has been principally confined to the jew's-harp, concertina, accordion, and mouth-organ. He can appreciate a brass band, more especially, perhaps, the booming of the drum, and several native bands have been formed. Interest seems, however, to flag, and in a few years a band dwindles away and is no more. Sustained effort in such activities is scarcely a Maori virtue. Earle, an early writer on the Maori, states that natives disliked the sound of the violin, although some natives of Tikopia were much excited by it. Natives seen at Dusky Sound by Cook in 1773 took no notice of the bagpipes and fife, but seemed to take some interest in the drum.

The koauau flute was not infrequently fashioned from the thigh-bone of a tribal enemy, and the owner would derive much satisfaction from playing upon such an instrument. Mr. John White has stated that flutes were occasionally fashioned from the bones of defunct relatives, and that such specimens were used in a very peculiar manner. If a child of the family chanced to be ill, then the instrument was played over it, and this was supposed to have a beneficial effect. A similar act was performed over a woman in cases of difficult parturition—a singular usage that reappears in New Guinea.

A peculiar kind of whistle (whio) made in the form of a tongue is said to have been used in former times, though specimens do not seem to have been preserved. Some of the smaller bone instruments might be described as whistles.

The nguru is a curious form of nose-flute, of which specimens in stone, wood, and ivory (whale's tooth) have been preserved. These are but three or four inches in length, and have one end curved. The curved end is much smaller than the other, and the instrument was hollowed out by means of drilling a hole from either end, a tedious task with the old-time cord drill.

A form of horn or trumpet was made by attaching a mouthpiece to a gourd, the sound produced resembling that of the pu tatara, or shell trumpet, described by Forster as “a hideous bellowing.”

The rude instrument generally termed a “bull-roarer” was used in at least one district in a curious ceremony performed in order to cause rain to fall. The pahu, a form of gong, was in some cases merely a large plank of such resonant wood as matai suspended from two posts, and struck with a wooden mallet. Such rude instruments were often suspended on the elevated platform whereon watchmen page 154 were stationed in native fortified villages. Another form of gong was in the form of a canoe, the opening of which was a narrow slit, inside which was a much wider hollow. This method of hollowing out wooden gongs was a Melanesian peculiarity. The true drum was unknown in New Zealand, though employed in Polynesia. The pakuru, or pakakau, was a very simple instrument, consisting of a piece of wood about 15 in. in length. One end of this was held lightly in the left hand, and the other end placed between the teeth, while with his right hand the operator tapped out an accompaniment to his song. The tapper used was a small wooden one. A rude form of jew's-harp, merely a piece of resonant wood scraped thin, seems to have been used in pre-European times.

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In some lists of names of old-time instruments we find those of ku, to, and torehe. Concerning the two latter names I have gained no information, but the late Canon Stack stated that the ku was a primitive stringed instrument, consisting of a bone-shaped piece of wood and a single string. This string was not “picked,” as in the case of a banjo, but was tapped with a stick. No further information concerning this simple form has been collected. Evidently it was an extremely primitive instrument, and the Maori can scarcely be said to have possessed stringed instruments.