![Thumbnail: [Volume 55, 1924 page 346]](/journals/rsnz/images/rsnz_55/thumbnails/rsnz_55_00_0416_0346_ac_02.gif)
(b.) Belts.
Most of the Maori garments used as jupes or kilts had their own strings for tying round the waist. The waist-mat of the piupiu class, and the smaller aprons, or maro, were fastened on in this manner. Best (3) states that some of the maro were drawn between the legs and fastened behind to a belt. On ordinary occasions old woven cloaks were worn round the waist as a rapaki, or kilt, and such needed a supporting band or belt. A strip of flax, a coxd, or a piece of rope was often all that was necessary.
The kawe, or burden-carrier, was often used by women as a belt. The usual way to carry a kawe, when not in immediate use, was to tie it round the waist. A single plaited band, of the same technique as one of the bands of the kawe, was also used as a belt. (See Plate 35, fig. 1.)
In addition to these, however, special belts were made. All belts come under the generic term tatua. The term tu was also applied to the belts used by warriors in battle. In old incantations referring to the preparations for combat the word tu is applied to the warrior's belt, and also to the special incantation recited when girding it on. Such a one is the following:—
Homai taku tu,
Homai taku maro,
Kia hurua,
Kid rawea,
Kia harapaki maua ko te riri,
Kia, harapaki maua ko te nguha.
He maro riri te maro,
He maro nguha te maro,
He maro kai taua.
Give me my belt.
Give me my maro,
That they may be girded on,
That they may be fastened,
That I may he joined with Wrath,
That I may be united with Fury.
The maro is the maro of battle,
The maro is the maro of fierce anger,
It is the maro that destroys war-parties.
Men's Belts: Tatua whara.
These are plaited into a flat band, with white and dyed wefts of about ⅛ in. in width. They usually have coloured designs worked in them. On the east coast of the North Island they are also called tatua pupara, whilst on the west coast they are called tatua kotara.
The plaiting is commenced in the same manner as the beginning of the best floor-mats of the porera class (4). The white and black wefts are usually in sets of six or more, united by an undivided portion of the butt end of the leaf. The undivided portions help to lock the wefts when the plaiting is commenced. It is usual to have all the black wefts running the one way, and the white the other. The beginning-edge is carried on for a length of from 36 in. to 38 in. In Plate 34, fig. 1, it will be seen that all the sinistral wefts are black and the dextral white. The undivided butt ends show up well, with the black ends forming the upper layer, and the white the lower. In the belt figured the black ends are much longer than the white. The plaiting is carried on in the usual way with a twilled stroke. In the belt in Plate 34, fig. 2, there are, from the bottom or beginning, five horizontal rows of alternate white and black.
![Thumbnail: [Volume 55, 1924 page 347]](/journals/rsnz/images/rsnz_55/thumbnails/rsnz_55_00_0417_0347_ac_02.gif)
The first row is composed of white twilled twos, then follow black twilled threes, white twilled twos, black twilled fours, and again white twilled twos. In the row of black twilled threes, as the name implies, each black weft crosses over three whites, and in the twilled fours each crosses over four. Thus variety is added to the design by making the black bands wider than the white. These horizontal bands are termed pae by the Whanganui people. Further variety is now introduced by “changing the stroke” in each succeeding weft of the same colour. Thus in the succeeding set of black wefts each alternate black crosses one weft whilst the others cross two, and check and twill strokes are combined in the same row to change the pattern. The next set of white wefts continues the alternate twill and check, or two and one, and before the bounding even line of white twilled twos is reached the intervening spaces are filled up with black threes and ones. The result is a regular series of small white figures set in a black background, bounded above and below by white bands. This design is called kowhiti on the east coast of the North Island, and mawhiti in the west. Amongst the Ngati-Porou the term kowhiti is applied to the plait in which check and twill strokes alternate as it does in the kowhiti design above. The technique is carried on to form three double rows of the kowhiti motive, separated by black bands of twilled fours. As a convenient width has now been reached, the upper portion of the plaiting is finished off in horizontal bands of alternate black and white.
The side-edges are formed by turning the wefts back into the body of the plaiting without reversing the surface as in floor-mats. Thus it will be noticed that on the left of Plate 34, fig. 1, after the black sinistral wefts which go to the left have passed the left marginal dextral weft going to the right, the black sinistrals have no further white dextrals to interlace with. But from below up, as each black sinistral comes to the left side-edge of the plaiting, it is turned back at right angles into the body and functions as a dextral weft. Hence both sinistrals and dextrals to the left of the left marginal white weft are black, and the plaiting of the triangular portion bounded by the left border, the upper border, and the left marginal white weft is completely black. For the same reason the triangular portion to the right of the right marginal black weft is completely white. These triangles of one colour can occur only when all the wefts of one colour go in the same direction at the beginning-edge. The width of the completed plaiting is about 6 in., and the result is a strip of floor-matting 38 in. by 6 in.
On the upper border the wefts are left long without fixing or cutting. The upper and lower borders are folded back so as to conceal the ends of the wefts. It is usual to fold down the four corners a little more than the rest of the border. The band is now folded or doubled on itself, and the ends of the wefts kept tucked away out of sight between the two layers. This reduces the width of the belt to about 2½ in. The free edges are drawn together with a strand of prepared flax-fibre. In these days they are usually sewn together with needle and thread.
The cords for tying are generally attached by passing a length of prepared fibre of the requisite thickness through holes piercing both thicknesses of the band at either end. The fibre is drawn through to the middle of its length, the two halves brought together, divided into three equal portions, plaited into a cord with a three-ply plait, and finished off at the end with an overhand knot. In length the cords are 18 in. and upwards.
![Thumbnail: [Volume 55, 1924 page 348]](/journals/rsnz/images/rsnz_55/thumbnails/rsnz_55_00_0418_0348_ac_02.gif)
The belt is worn with the sewn edge uppermost. At times the edges are not sewn together, and the belt is then used as a pocket for containing various articles. Best quotes the tradition of Taukata having brought the kao, or cooked and dried kumara, to New Zealand in such a belt. The Aotea tradition states that Rongorongo, the wife of Turi, brought the seed of the kumara in her belt from Hawaiki. From this historical incident arises the saying applied to the kumara in the Taranaki district, Te tatua o Rongorongo (The belt of Rongorongo). The width of the belt may be more than 2½ in., some saying that it was made much wider so as to protect the abdomen from hostile thrusts on the battlefield. The uncut ends of the wefts tucked between the folds of the belt further thicken it and give additional protection.
Best (3) mentions that similar belts about 4 in, wide were used by women, and that in them the whakakokikoki, or zigzag design, was a favourite one. I have described the kowhiti design above in detail, as it also seems a favourite one in old belts. Various other designs were used. Other variations were secured by using alternate dextrals and sinistrals of one colour. The pingao (Scirpus frondosus) was used in coloured designs because of its yellow colour. Thus the colours used were, as in floor-mats and baskets, white, black, and yellow. In modern times European dyes are freely used.
Women's Belts: Tu.
These consist of several plaited strands, as against the single wide band in the men's belts. The available information was collected by Mr. Elsdon Best (3) from the Tuhoe Tribe. He was fortunately able to get samples made for the Dominion and Auckland Museums, and thus save this class of belt from being irretrievably lost. The strands are plaited after the manner of cords (whiri), and are quite distinct from the plaited bands of the tatua whara class, which is true plaiting, or raranga. The tu are worn by women only. Best distinguishes three varieties, from the material used—viz., karetu (Hierochloe redolens), maurea (Carex lucida and C. comans), and muka or prepared flax-fibre.
(1.) Tu-karetu.—These consists of a number of plaited strands (kawekawe or kawai), which have a tau, or plaited cord of dressed flax-fibre, attached to each end for tying round the waist. The strands are plaited with wefts of the leaves of the karetu, which are from 1½ ft. to 2 ft. in length. The midrib (tuaka) is removed from each leaf, as it becomes very brittle when dried, and thus breaks easily. The wefts are about ⅕ in. in width. The length of the many-stranded part of the belt varies. In those obtained by Mr. Best for the Auckland Museum they are 29 ¼ in., 34 ¼ in., and 49 ½ in. respectively. The number of strands varies, being usually about ten. In the three belts mentionrd they are eleven, ten, and five.
The karetu wefts are plaited into a continuous braid, the length of which depends on the length of the belt and the number of strands required. Thus in the ten-stranded belt above the plaited karetu braid is 28 ft. 9 in. in length. The number of wefts is twelve, and they are usually plaited in the rauru pattern, the technique of which will be described when dealing with ropes and cords. It forms a neat flat braid about ¼ in. wide. Fresh wefts are added during the course of the plaiting. The requisite length having been attained, the cord is looped backwards and forwards so that when the ends of the loops are stretched apart the total length of the braid is divided up into a number of strands of the required length for the belt.
![Thumbnail: [Volume 55, 1924 page 349]](/journals/rsnz/images/rsnz_55/thumbnails/rsnz_55_00_0419_0349_ac_02.gif)
The tau, or flax-fibre cord, is attached in the following manner: The length of flax-fibre sufficient for plaiting the cord is doubled on itself. The loop or bight so formed is passed through one of the loops formed by the doubling-back of the karetu strands, and the two ends of the fibre passed through the bight, as in tying a single lark's-head knot. The bight is drawn tight round the loop of strands, and thus the flax-fibre is fixed, and one end of the belt sharply defined. The two ends of fibre are divided into three equal portions and plaited into a three-ply braid. It is usually about 2 ft. in length. As it thins out towards the end the three-ply braid may be changed into a two-ply twist and finished off with an overhand knot. The same process is repeated at the other end of the belt. When, the belt has an uneven number of strands an end of the continuous karetu cord will be at each end of the belt. They are usually incorporated in one of the divisions of the tau, and plaited in with it for an inch or so to fix them. With an even number of strands both ends of the karetu braid will be at one extremity of the belt. They are then usually knotted together with a reef-knot. The tau are usually of black-dyed fibre. Red-dyed fibre is sometimes used in addition to the black, in which case a length of one colour is looped round all the strands, whilst the other is looped round some of the
Fig. 10.—Tu. Fastening of tau.
strands, and usually crossed over the first loop. The plaiting of the tau is then of the rauru pattern. The black or red-and-black tying-cords lend contrast to the yellowish karetu strands, improving the appearance of the belt. The karetu has a sweet-smelling odour, which recommended it to the women. (See Plate 35, fig. 2.)
(2.) Tu-maurea.—This belt was sought after by women on account of the reddish-yellow colour of the maurea leaves when dry. It is made in exactly the same manner as the tu-karetu. The wefts are much narrower and more brittle. According to Best (3), they were strengthened by the addition of some flax-fibre. The maurea braid is about ⅕ in. in width. The specimen in the Auckland Museum is 34 in. long, with black flaxfibre cords of 20 in. each, and it has eleven strands.
(3.) Tu-muka.—This is made altogether of muku (dressed flax-fibre). The one in the Auckland Museum has twelve strands, an equal number being red, black, and white. The strands are composed of round, thick cords about ¼ in. in diameter, and form a heavier, stronger, and better-looking belt than the previous two. The strands are prepared in a peculiar manner and, though not really coining under the heading of plaiting, Best's (3) description of the technique is included for the sake of completeness. The strands are composed of two cords, each of which has been prepared from
![Thumbnail: [Volume 55, 1924 page 350]](/journals/rsnz/images/rsnz_55/thumbnails/rsnz_55_00_0420_0350_ac_02.gif)
two threads twisted together by the miro process on the bare thigh. These two cords are then twisted together in a similar manner for a short section. “The operator then holds tightly the end of one of these cords and pushes the other back until, instead of enveloping the held cord in a long spiral, it appears to be seized round it at right angles.” The same result would be achieved if one cord were stretched tight and the other twisted round and round it to make a close continuous whipping, but of course the Maori method is much quicker and simpler. The operation is carried on in sections. A section is twisted on the thigh (miro), and then pushed down (koneke or pahuku); the next section is then twisted and pushed down, and so on until the required length is obtained. At the finish the pushed-down cord is knotted round the held cord. Each strand is prepared separately. The length of each strand is about 42 in. At either end of the seized strand there is a continuation of the two constituent cords. All those at one end are united by simply plaiting them on in a square plait to form the tau, or tying-cord. In the belt described the white cords are concealed under the red and black cords so that only the latter two colours show in the tau. Each tau is 26 in. long. As the tau thins out, the square plait is changed into a flat rauru plait, and the last 4 in. is finished off with a two-ply twist ending in an overhand knot. (See Plate 35, fig. 3.)
The many-stranded belt of the tu variety must be an old type, as it is found in Polynesia. The Niuean kafa is a belt composed of many strands of fine braid plaited from human hair. One in my possession contains sixty-nine strands, and is 35 ½ in. long. The hair-braid is continuous, and looped at either end of the belt to take the tying-cords. Percy Smith (5) mentions some as containing over a hundred strands. Similar belts are described from Tahiti.