Incorporating cultural elements and viewpoints into ways of teaching curriculum is not new, as there is a long history of applying Greek and Roman traditions to teaching and learning; including in English, Science, Technology and the Arts (examples include relating forms of energy to Greek gods and goddesses and identification of the origins of many familiar English words in classical tradition). What is different here is the acknowledgement and use of Māori knowledge and a Māori cultural framework as integral components of teaching and learning that can be used as ways to approach the curriculum. 

 

The Māori story of creation provides a reference point of origin for Māori and hence, kaupapa Māori. In general terms, the events leading up to, and following, the separation of Ranginui (sky) from Papatūānuku (earth) by their children, give rise to a host of divine events and actions that establish precedents and origins for all things in the world as Māori know it. Māori traditions tell of up to seventy atua responsible for all manner of being, event, circumstance, emotion and action.  Te Rangihīroa’s (Sir Peter Buck) The Coming of The Māori, A.W.Reed’s Treasury of Māori Folklore and Ranginui Walker’s Ka Whawhai Tonu Mātou give comprehensive accounts of the Māori creation story.  

 

 

A Creation Narrative 

The Context 

Each civilization or country has it’s own story of their creation, the beginning of their world; a story that has been passed down through the generations and then placed into the context of the world in which we live now. This is also the case with Aotearoa. Māori claim to have originated from beyond the realms of darkness. Other cultures also claim that their creation stories originate from some time before. Although sometimes one’s creation story maybe overtaken by another the common theme of some special, divine origin always stands out. Even amongst Māori there are variations of the creation story. Despite these variations, there is one commonality, all stem from a widely acknowledged and accepted origin, a Hawaiki, a homeland. This story is therefore a brief narrative of what has been heard, read and spoken about over the years in terms of the creation tradition and stories of the Māori, and indeed of what these stories offer to Māori and the way they live in Aotearoa. 

 

 

The Void 

The world of the Māori has its origins in The Void, that is, The Nothingness. Some considered thought needs to be given to the notion that we originate from something which is nothing and also the notion that that void has a number of attributes, such as: The Void that cannot be seen; The Void that cannot be accessed; and The Void that cannot be attained. There are other attributes as well. 

And, should one ask the question, “How does something originate from nothing with its attendant nothings?”  

 

It is important to remember that a number of cultures maintain that their origins are from a void, a nothingness that in itself is not fully understood by the people to whom it relates, or others. It just is. The relevance of our creation stories are made clearer if we keep in mind that they are essentially a reflection of our lives as people, as whānau. The Void could be seen as that notion of the nothingness before conception, or the lack of understanding before clarity. 

 

The Darkness 

From The Void came The Darkness and its various characteristics, which are widely spoken about in the Māori world; deep, intense, great, long, are some of these. So that we are not confused, The Darkness is quite different from The Void.  

 

The Darkness actually has things happening within it, unlike The Void. To again use the comparison with conception, one can better see the similarity of thought in that this reflects the growth and movement of an embryo in the womb; in terms of ignorance, The Darkness is a time when thoughts are being formed or developed. 

 

The Light 

Māori say, ‘And so then there was light and understanding.’ There is probably no clearer statement than this to explain this part of the creation story; coming out of the darkness, out of ignorance, into light and understanding. One can appreciate the analogy to birth, of someone born into the world of light, or moving from not knowing to understanding.  Thus, we come to the world in which resides the family of divine ancestors who Māori acknowledge as our founding gods. This is the place where Ranginui and Papatūānuku live. It is here in particular where we see the reflection of ourselves, as whānau Māori, in the creation story.   

 

Different iwi have different stories about this particular family. Some maintain that they had 70 children or more, some say they had eight. There are also versions which promote two families of Ranginui and Papatūānuku. It is important to acknowledge these variations. What is recorded here is the essence of all these creation stories. 

 

The Family of Ranginui and Papatūānuku 

Ranginui and Papatūānuku lived in close embrace. Their children were born and lived cramped between them. This is the most common reference to these divine ancestors. They are essentially parents who have children and live together in a confined space. Each of the children, known from and for their exploits, is described later on in terms of their influence on the way Māori live. The children of Ranginui and Papatūānuku grew. They became adults within the confines of their environment. A time came when they began to complain to each other and grew restless about their situation. And so their discussions led to debate. They began to explore how they could get out of their predicament, how they might see the world beyond the confines of their parents’ embrace. 

 

Their particular situation is a reflection of what happens in our own whānau. Children are born and grow up. There comes a time when they wish to explore beyond the bounds of the home, to pursue their own interests, dreams and desires outside the confinement of their immediate family. This is essentially the way young adults are, no matter where they are from or who they are. So eventually one said, ‘Let’s kill them.’ This was not agreed to by the others. Another said, ‘Leave them be.’ This would simply maintain the status quo. But then one said, ‘Let us separate them.’ This was the option that was considered viable. Tāwhirimatea did not agree, and Rongomātāne and Haumietiketike did not add anything more to the discussion. Consequently, it was really left up to Tāne, Tangaroa and Tūmatauenga to work it out. 

 

This is a characteristic in that, if we are raised with our siblings, we at some stage in our lives engage in debate, we support each other, we are at times angry with each other, we love each other and do what any family of siblings might do. The result of which is that at some stage someone might leave the home to pursue their own pathway. 

 

So a decision was made. They began exploring ways to separate their parents, although when they tried, it did not succeed at first. Then Tāne tried. He lay on his back with his legs facing upwards. In this way he was able to push Rangi upwards, and as a result separate his parents, whereby they cried out for each other. When the parents were eventually separated, there was pandemonium with tears, sorrow, fear, anger and cursing all around. Tāwhirimatea followed Ranginui while his siblings stayed with Papatūānuku. The parents grieved for each other. In response to this, Tāne turned his mother downwards so that she would not see Ranginui and be constantly crying. He then clothed her in the forests; while he also clothed Ranginui with the sweat from his brow by casing this into the firmament to become the stars that bedeck the sky above. This act of course, is something which happens in our homes. Children leave ‘the nest’ or parents separate, and a consequence can be an outpouring of emotion that manifests in a number of ways. This is in essence what our creation story is about, and it is reflected in our lives. 

 

Tāwhirimatea brooded over the decision his siblings had made, and in doing so prepared to confront them. This resulted in him sending his children to wage battle with his brothers. They (the brothers) suffered from the inclement elements of wind, storm and rain. Fear took hold and the children of Rongomātāne and Haumietiketike took refuge with Papatūānuku. The children of Tāne were bent and broken by the howling tempest. The seas were whipped up and the children of Tangaroa in their angst, separated; some staying with their father and others going to land, the home of their uncle Tāne. These children did not return to Tangaroa, therefore, Tangaroa and Tāne became embroiled in an ongoing custody battle; both suffering at the hands of the other, which continues to this day.  Tūmatauenga was the only brother who stood up to, and challenged Tāwhirimatea. Because of this, he punished his brothers for their capitulation and this is the second battle that occur amongst the children of Ranginui and Papatūānuku. Tūmatauenga battle means that he maintains control over his siblings through both action and incantation. 

 

 

 

The creation story then is essentially a guide to how we live, or why and how we should behave in particular situations. We all have characteristics of our divine ancestors within us, and we display these in our thinking, attitudes, behaviour and responses to any given situation. The creation story sets precedents for how we engage; how we comfort ourselves and conduct relationships with others. It is both the inspiration for, and reflection of, our lives. What follows are some of the attributes of the children of Ranginui and Papatūānuku, guiding principles for us as people. 

 

Atua Description 

 

Tāne is most widely known divine ancestor. More commonly known as the god of the forests, he is the personification of all forms of tree and birdlife. Tāne is accorded more attention than any other atua as a result of being the dominant ‘feature’ of the environment in which Māori have lived. He is renowned as the separator of Ranginui and Papatūānuku, the initiator of humankind and the seeker of knowledge. Tāne is known by several names, which represent various attributes; like Tāne-the-knowledgeable, Tāne-the-giver-of-life, Tāne-lord-of-the forests, Tāne-the-great-one-of-Rangi.  

 

What does Tāne have to offer humankind? 

Reason – Reason and a clear head are attributes we inherit from Tāne which help us settle whānau debates, ideally through the seeking of resolution by consensus. Perseverance – ‘Stickability’ in order to maintain a focus and accomplish difficult tasks. 

 

Excellence – The seeking of excellence as Tāne did when obtaining knowledge for humankind from the uppermost of the heavens. 

 

Tangaroa has domain over the seas, lakes and all waterways, and all creatures within them. Tangaroa, in the form of water, wages a continuous battle against the descendants of Tāne, and vice-versa. With his descendants, Ruatepupuke and Hineteiwaiwa, he is also responsible for providing the visual art forms of whakairo (carving) and tukutuku (lattice work) and the associated bodies of knowledge. 

 

What are the attributes of Tangaroa for humankind? 

A quick mind and clarity of thought – The descendants of Tangaroa are the family of Rua, the Recess of thought, clarity, energy and other similar characteristics. Quick wittedness, a searching mind and clear direction are attributes of Tangaroa. 

 

Haumietiketike is the god of wild foods such as the fern-root. The reason for this is that Haumietiketike took shelter with his mother Papatūānuku when she and Ranginui were separated. He burrowed underground to escape the wrath of his brother Tāwhirimatea, god of the winds, and hence his relationship with uncultivated foods. He reflects peaceful and passive attributes. 

 

What then does Haumietiketike provide for the world? 

Humility – Haumietiketike says very little but rather contemplates and considers at length what can be done and how to achieve it. Humility and respect for the environment are characteristic of his behaviour. 

 

Diversity – Haumietiketike chooses to stay close to Papatūānuku, as an expression 

of loyalty as much as support for the environment from whence he came. 

 

Rongomātāne is commonly referred to as the god of peace - more correctly, the god of peaceful pursuits, and in particular the cultivation of food, especially the kūmara. He also stayed close to his mother at the time his brothers were debating the fate of their parents. 

 

And so what guidelines does Rongomātāne lay down for us? 

Peace – Rongo is the personification of peace and making peace. When Māori were not engaged in war, they were engaged in peaceful pursuits - food cultivation being a major peacetime occupation. The ancestors maintained that the courtyard of Tūmatauenga was for vigorous debate, while more peaceful discussions took place inside the meeting house, the domain of Rongo. 

 

Conservation – Caring and nurturing of the environment are synonymous with Rongomātāne, ‘sustainable resource management’ being his catch phrase. 

 

Tāwhirimatea was the only one of the children of Ranginui and Papat

ūā

nuku who did not agree with them being separated. Consequently, he joined his father above and forever directs the inclement elements of weather to inflict harm upon his brothers below.  No one ever knew when it was going to happen, or how, which constitutes huge advantage. It remains the same today. His actions however, caused the brothers themselves to respond in particular ways, either defiant or cautious, and this in turn is reflected in the characteristics they bring to their activities and environments.  

 

What does this then mean for us? 

 

Diversity – In taking sides with his father and being different, Tāwhirimatea displays particularly diverse characteristics. The confidence to pursue a different agenda and the perseverance in maintaining a specific viewpoint are promoted here. 

 

Fairness – Maintaining a balanced viewpoint and ensuring that we understand the maxim, ‘Each action has a consequence’ are important factors in considering the contribution of Tāwhirimatea to our make-up. 

 

Rūaumoko was the youngest of the children of Ranginui and Papatūānuku and was still within his mother when she was separated from his father. Because he ‘missed out on the action’ so to speak, he grumbles every now and then to remind his brothers of his displeasure. He is personified in all geological and geothermal activity, for example, earthquakes. He is also the source of the art of moko. 

 

What characteristics does Rūaumoko offer us? 

Loyalty – Rūaumoko clings to his mother no matter what. In doing so he provides timely reminders of the need to have consideration for her and her environments. 

 

 

Tūmatauenga is literally the angry face of mankind. He suggested that rather than separate his parents, he should kill them. When Tāwhirimatea struck out at his brothers they all fell before him except Tūmatauenga, who defied him and challenged his brothers to make a stand. Because his brothers did not make a stand, Tūmatauenga asserted control over them and continues today by maintaining control through the activities of humankind over the environment.   

 

What then does Tūmatauenga advocate for Māori? 

Maturity/Perseverance – Maturity in the sense that if one starts something then one should complete it. 

 

Justice – The ability to deal with and solve problems when they arise. 

 

Whiro is considered by Māori to be the tuakana (the eldest) of the children of Ranginui and Papatūānuku. Some say that he became jealous, fuelled by the exploits and achievements of his younger siblings. 

 

What does Whiro offer? 

Innovation – Although considered to be evil he also has positive attributes in terms of innovative thought and creativity. 

 

Rua The Rua family of atua descends from Tangaroa. They are considered to be the source of innovative thought and intelligence – hence the names Rua-te-pupuke (Recess of knowledge), and others such as Rua-te wänanga (Recess of wisdom), Rua-te-mahara (Recess of thought) and Rua-te-hotahota (Recess of enterprise). 

 

Māui is a descendant of the gods and is likened to Loki, the mischief-making god of Norse mythology. Māui is considered to be a deceiver, the cheeky personality, the one who gives anything a go and is the hero in Polynesian stories. The Māui stories describe his character, behaviour and deeds in his quest to change the world in which he lived, to challenge authority in order to get his own way, to push the boundaries of innovation, and to set precedents for his descendants to follow. One could argue that he pioneered and practiced genetic engineering in effecting change in human, animal and plant forms in some of his exploits and the deeds he performed. 

 

Tāwhaki is also a descendant of the gods and is renowned throughout Polynesia as a hero of superhuman qualities. His quest to avenge the death of his grandfather highlights the noble qualities of endeavour, persistence and innovation. 

 

Te Rā is the sun, one of a number of heavenly bodies, including stars and the moon that came into existence from the sweat of Tāne during the separation of Ranginui and Papatūānuku. Te Rā, also known as Tamanuiterā, is the source of heat and warmth and the caregiver of Māui. 

 

Te Marama, the moon, emerged during the separation of Ranginui and Papatūānuku. Te Marama controls the tides, hence the name Te Marama Whakamautai (the moon who holds the water). Te Marama also determines the make up of the Māori calendar (Maramataka) with its seasonal activities and events that take place during the Māori year. 

 

Hineraukatauri, a daughter of Tāne, is the goddess of flute music. She is personified in the native species of case moth which is responsible for the sounds produced by instruments like the pūtōrino (flute). She is also synonymous with ngā mahi a rēhia – the arts of amusement and pleasure, of which flute-playing is one. 

 

Hineraumati, literally meaning ‘summer maiden’, and Te Rā (the sun) had Tānerore. The origin of dance and the performing arts is attributed to these two atua in the phrases – te haka a Tānerore, te haka a Hineraumati. These refer to the quivering air rising above hot surfaces on summer days and are displayed particularly in the ‘wiri’ or the quivering of the hands in Māori performance. 

 

 

In conclusion… 

 

Although not definitive this brief narrative will give you an insight into the creation of the world according to Māori thought, according to Māori tikanga. It provides you with a key to understanding a particular way of thinking, a particular way of behaving and a particular way of relating which we hope will be valuable in helping you create culturally exciting and enriching learning environments for you and your students. 

 

Note: For more detailed narrative and explanation of the Creation Tradition and associated stories ask your librarian to source the range of publications on this topic. 

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