Maori Designs

The rich cultural tradition of the Maori people indigenous to New Zealand includes a lively artistic style that is represented in this collection's 100 drawings. Ranging from faces, masks, figures, and animals to abstract patterns and borders, these expertly drawn designs bring the beauty of Maori artwork to boundless new projects and applications. The accompanying CD-ROM allows crafters, hobbyists, and artists to have complete control and access to the original designs. Suitable for everything from ceramics and fabrics to painting and printing, the inspiration and artistic guidance provided by the designs unlocks a new world of artistic possibilities for any level of crafter.

This oversize volume presents 72 full color photographs of contemporary Maori facial tattoos, documenting the resurgence of the traditional moko.

"This book explores the tattoo in the context of resistance and marginality, and draws attention to the important relationship between the visual and the narrative components of tattoo culture. Tattoos are examined in relation to Holocaust victims, slaves

In Aboriginal and Māori literature, the circle and the spiral are the symbolic metaphors for a never-ending journey of discovery and rediscovery. The journey itself, with its indigenous perspectives and sense of orientation, is the most significant act of cultural recuperation. The present study outlines the fields of indigenous writing in Australia and New Zealand in the crucial period between the mid-1980s and the early 1990s - particularly eventful years in which postcolonial theory attempted to 'centre the margins' and indigenous writers were keen to escape the particular centering offered in search of other positions more in tune with their creative sensibilities. Indigenous writing relinquished its narrative preference for social realism in favour of traversing old territory in new spiritual ways; roots converted into routes. Standard postcolonial readings of indigenous texts often overwrite the 'difference' they seek to locate because critical orthodoxy predetermines what 'difference' can be. Critical evaluations still tend to eclipse the ontological grounds of Aboriginal and Māori traditions and specific ways of moving through and behaving in cultural landscapes and social contexts. Hence the corrective applied in Circles and Spirals - to look for locally and culturally specific tracks and traces that lead in other directions than those catalogued by postcolonial convention. This agenda is pursued by means of searching enquiries into the historical, anthropological, political and cultural determinants of the present state of Aboriginal and Māori writing (principally fiction). Independent yet interrelated exemplary analyses of works by Keri Hulme and Patricia Grace and Mudrooroo and Sam Watson (Australia) provided the 'thick description' that illuminates the author's central theses, with comparative side-glances at Witi Ihimaera, Heretaunga Pat Baker and Alan Duff (New Zealand) and Archie Weller and Sally Morgan (Australia).

The proceedings or notices of the member institutes of the society form part of the section "Proceedings" in each volume; lists of members are included in v. 1-41, 43-60, 64-

Includes proceedings of member institutes of the Society and of the Society's Science Congress.

"Maori folk art is a distinctive, widespread tradition in painting and carving that first appeared in meeting houses throughout eastern tribal areas of the North Island just over a hundred years ago. It has obvious sources in both European and Classic Maori art traditions and is a clearly identifiable and vital communicative art, complex in its iconography and significance to its creators."--From preface.

Includes proceedings of member institutes of the Society and of the Society's Science Congress through v. 84, 1956/57.

Cultural sensibilities about tattooing are discussed within historical context and in relation to broader trends in body modification, such as cosmetic surgery, dieting, and piercing.

Alphabetically arranged entries discuss forms of body modification or adornment found throughout history and around the world, including background information and the theoretical, social, ethical, and legal issues surrounding each practice.

The essays in this 1983 volume present an innovative and unified approach to the archaeological analysis and interpretation of art and design.

For early Maori, art was inseparable from daily life, whether it was the pattern on a sculpted spade handle or the magnificently carved prow of a war canoe. Julie Paama-Pengelly traces the evolution of art and design in historic Maori culture and brings that art to life, focusing on four major disciplines: * Weaving and fibre arts: includes tukutuku, kitemaking, basketry, netting and clothing * Painting and pigmentation: includes rock drawing and painting wooden objects * Sculpture and carving: includes stone, bone, wood carving and patterning * Architecture and structural arts: includes villages, storage and meeting houses, burial structures and bone containers. Chapters review the various art forms within each discipline and identify the source elements. Illustrated tables outline development periods, design conventions, and common figurative elements and motifs that distinguish Maori art and design. This book will be of great interest to readers who are new to the subject as well as to students and experts.