EdProfSt100 Hpai konga Assessment 2 Lana Thain 1228584

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Part 1: Mori theme: Ng whakairo o te whare whakairo
Te toi whakairo is a highly tapu and ritualistic Mori art form with processes around
each aspect of carving (Leden, n.d.). Beginning with the felling of the tree, an offering of the
first wood chip of the selected tree must be made to appease the god of the forest, Tane
(Post office savings bank, 1981). Some rituals are still practiced today and can be seen in Te
Puia, Rotorua, at the National Carving School in the New Zealand Mori Arts and Crafts
Institute. James Rickard, a Tohunga Whakairo or Master Carver, guides the students through
traditional practices to preserve the tapu of the carving (Te Puia, n.d.).
The elements within the carvings are not just stylistic, there is a purpose or origin for
each part. The head is considered most tapu part of the body therefore it has been enlarged
in comparison with the proportions of the rest of the body (Reed, 1969). The recognisable
element of the spiral appears frequently in figurative carvings to represent tattoos and
areas of the body where there is movement, such as the shoulders and other joints. Reed
(1969) offers that the origins of the spiral were modelled on what they saw in nature, such
as the spiralled frond of the fern.
The whare whakairo is known by various names such as whare nui and whare tipuna,
the first referring to the building that is predominantly wood carving. Higgins and Moorfield
(2004) state that the building is a representation of a significant ancestor that the marae is
named after, seen through each architectural element correlating with a body part. The
panels or poupou on the interior of the whare whakairo contain representations of other
important ancestors, their figures identifiable through objects or design features. Due to the
Mori language not having a written form until the 19th century, the purpose of the carvings
were to be a visual aid in preserving their predominantly oral history and pay respect to
ancestors (Te Puia, n.d.). The presence of the iwi or whanau in the meeting area ties the
present with the past; the ancestors witness everything that happens within the walls and
are acknowledged through this (Barrow, 1969).
The tikanga surrounding the art form and the whare whakairo must be known and
understood by the students before taking them outside of the classroom. This helps them
understand what they observe in the marae and enables them to be respectful and act
appropriately.

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Reference List:
Barrow, T. (1964). The decorative arts of the New Zealand Maori. Wellington, New Zealand:
A. H. & A.W. Reed
Higgins, R. & Moorfield, J. C. (2004). Ng tikanga o te marae Marae practices. In T.M.
Ka'ai, J. C. Moorfield, Reilly, M. P. J. & Mosley, S (Eds.), Ki te whaiao: An introduction
to Mori culture and society (pp. 73-84). Auckland, New Zealand: Pearson Education.
Leden, M. (n.d.). Introduction to aspects of maori life today picture set. Auckland, New
Zealand: M. Leydon Publications.
Post office savings bank. (1981). Mori architecture [poster]. Great Britain: Post office
savings bank.
Reed, A. W. (1969). Maori carving. Wellington, New Zealand: A. H. & A.W. Reed
Te Puia. (n.d.). National wood carving school: te wnanga whakairo rkau. Retrieved from
http://www.tepuia.com/new-zealand/Wood-carving-school/

Part 2:
(2a.) Resources and References:

1. Duncan, T (c2001). My Mori numbers [poster]. Auckland, New Zealand: Reed Publishing.
2. Krero Mori. (n.d.). Marae visit. Retrieved from
http://www.korero.maori.nz/forlearners/protocols/marae.html
3. Leden, M. (n.d.). Introduction to aspects of maori life today picture set. Auckland, New
Zealand: M. Leydon Publications.
4. Martin, B. (2005). Wood carving. School Journal, Part 2(number 1), pp. 28-32.
5. Paea, P. (c1985). Maori art and craft posters: whakairo rkau poster. Auckland, New
Zealand: Cabbage Tree Publications.
6. Pohatu, W. (c2007). The marae nau mai haere mai ki te marae: welcome to our marae,
welcome to our culture poster. Auckland, New Zealand: Reed Publishing.
7. Post office savings bank. (1981). Mori architecture [poster]. Great Britain: Post office
savings bank.
8. Tangaere, M. (2003). Patterns in Wood. School Article, Part 1(number 3), pp. 10-15.
9. Thain, L. (2015). Mori numbers 1-99 [flip book]. Original resource.
10. Te Puia. (n.d.). National wood carving school: te wnanga whakairo rkau. Retrieved
from http://www.tepuia.com/new-zealand/Wood-carving-school/

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(2b). Two abstracts
1. Tangaere, M. (2003). Patterns in Wood. School Article, Part 1(number 3), pp. 10-15.

The article Patterns in the Wood (Tangaere, 2003) is mostly pictorial and identifies elements
within Mori wood carvings. These elements include te niho taniwha (teeth of the taniwha),
te pkura (footprints of a pkeko) and te unaunahi (scales of a fish). Being able to recognise
elements within the carving creates a higher understanding of the piece; the viewer is able
to begin to decipher the meanings within the carvings. For students from a different cultural
upbringing, this makes the traditional Mori art form more relatable to them. This resource
introduces wood carving as more than a simple art form; each element of the piece has
been carefully designed and has a meaning, rather than simply an aesthetic value.
An ideal situation to utilise this resource would be when first introducing to the students the
idea of a trip to the Mori wood carving school in Rotorua or the Auckland Museum to see
the wood carvings of the whare whakairo. An activity could be made around identifying the
elements from the article, using a camera to document what they know and other elements
they would like to find out more about.

1. Duncan, T (c2001). My Mori numbers [poster]. Auckland, New Zealand: Reed

Publishing.
This poster contains illustrations of Mori numbers one to ten (Duncan, c2001). As well
as the illustrations and the numeral, above each image is a phrase to support the learner to
add context around how to use the Mori number word in a sentence. Instead of simply
having an illustration of one kiwi alongside the Mori word and the numeral, the poster has
the phrase, Kotahi te kiwi. For three, the phrase, E toru ng ngata is above the illustration.
The use of the phrases indicates it could be used to extend upon simply knowing the
numbers, therefore it could be useful for a higher ability or possibly higher age group. This
resource is ideal to be used alongside the Mori Language Intention of asking and answering
the phrase, E hia ng poupou.
To extend on this resource I have created an original resource with the same format
as this poster, but using objects that relate to my Mori theme or wood carving in the
marae. These objects include poupou, pua and ptau. I have made this adaption as it helps
to familiarise the students with words associated with the Mori theme.

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PART 3:
Sequential Planning Map preparation for the Integrated Mori Lesson Plan.

Cross Curriculum link:

Cross Curriculum link:
Social Studies
Technology

Sub Topic:
Sub Topic:
Meanings of ng whakairo
Self-portrait wood carving.

Mori Language Intention: Mori Language Intention:

We are learning to ask and We are learning to ask and
answer: E hia ng answer: Kei hea ng
whakairo? E rua tekau pkanohi? Kei runga I te
ma iwa ng whakairo. mngai ng pkanohi.

Main topic
Ng whakairo
rkau o te whare
whakairo.

Cross Curriculum link:

Cross Curriculum link: Science
Mathematics
Sub Topic:
Appropriate wood for
Sub Topic: carving.
Number
Mori Language Intention:
Mori Language Intention: We are learning to ask and
We are learning to ask and answer: He aha tnei?
answer: Tokohia ng He rkau kauri tnei.
tipuna? Tokowh ng
tipuna.

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Part 3: (B.) Integrated Reo Mori Lesson Plan

This lesson plan has been prepared for Year 6 students

Main Topic: Cross Curriculum Link:

Ng whakairo rkau o te whare whakairo Social Studies
Sub Topic : WALT: Mori Language Intention:
Meanings of ng whakairo Ask and answer E hia ng whakairo? E rua
tekau m iwa ng whakairo.
Curriculum Components
Reo Mori Curriculum 1.7 use and respond to simple classroom language (including
achievement asking for the word to express in te reo Mori ).
objective
Language mode/skills Korero Speaking:
Krero/Speaking, and By the end of level 1, students can:
Whakarongo/Listening imitate the pronunciation, intonation, stress, and
skills from Reo Mori rhythm of Mori words, phrases, and sentences;
Curriculum respond appropriately to simple, familiar instructions
and simple questions;
ask simple questions;
initiate spoken encounters in te reo Mori, using simple
greetings, questions, and statements.
Whakarongo Listening:
By the end of level 1, students can:
identify the sounds of letters of the Mori
alphabet (arap), letter combinations, intonation, and stress
patterns;
recognise and understand simple, familiar spoken words,
phrases, and sentences.
Sentence structure (List actual sentence in Mori and in English)
In Mori In English
E hia ng whakairo? How many carvings are there?
E rua tekau m iwa ng whakairo. There are twenty nine carvings.
E hia ng pou? How many poles are there?
Kotahi te pou. There is one pole.
E hia ng matimati? How many fingers are there?
Tekau ng matimati There are ten fingers.

Tokohia ng tipuna? How many ancestors are there?

Tokowh ng tipuna. There are four ancestors.
Tokohia ng kaiako? How many teacher are there?
Kotahi te kaiako. There is one teacher.
Tokohia ng tangata? How many people are there?
Tokorua tekau m waru ng tangata. There are twenty eight people

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He aha tnei? What is this?
He maihi tnei. This is the bargeboard.
Vocabulary (List actual vocabulary in Mori and in English)
In Mori In English
Te pou Support pole/post
Ng pkonohi Eyes
Ng whakairo Carvings
Ng whakairo rkau Wood carvings
Te piupiu Flax skirt (used in modern times in kapa haka performances)
Te makaurangi Spiral
Ng poi Light balls on strings twirled during performances
Ng rkau Weapons
Ng pua Shells used for eyes in carvings.
Te whare whakairo (te Building on the marae, predominantly carvings. Also known
whare nui/whare tipuna) as meeting or ancestral house.
Te marae Complex of buildings central to Mori culture.
Kotahi rau One hundred, 100
Tohunga Whakairo Master carver
Mori tikanga Mori custom
Ng tipuna Ancestors
Runga On top of
Raro Underneath
Waenganui In between
Korero Speaking
Whakarongo Listening
Waiata Song
Karakia Prayer
Tamariki Children
Tangata People
Ng maihi Bargeboard arms of the ancestor
Te koruru Carved face of an ancestor on the gable of the building
Ng raparapa Ends of the raparapa outstretched fingers of the ancestor
Te thuhu Ridgepole spine or backbone of the ancestor
Te pou tuarongo Back wall post
Ng heke Rafters ribs of the ancestor
Te pou th Front post
Te pou tokomanawa Centre post
Ng matiati Fingers
Te ngeru Cat
Ng enei Strawberries
Te kaiako Teacher
Te ptau Perforated spiral carving
Te tekoteko Carved figure on the gable of the building
Te mahau The porch

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Socio-cultural/Tikanga
Tane god of the forest. Must be appeased through burning the offering of the first
wood chip of the selected tree.
Ruatepupuke, the grandson of the sea god Tangaroa discovered wood carving. Ruas
son Manuruhi was turned into a tekoteko by Tangaroa for not making an offering of
the first fish to his great grandfather. To get his son back, Rua lit the whare on fire and
saved his son and some of the poupou from te mahau.
Tikanga around carving in the past, only male carvers, now there are female carvers,
dont blow on the carving to remove wood chips, wood cannot be used to fuel cooking
fires because sacred objects and food cannot be combined.
Head is considered tapu therefore it appears larger and more detailed than the rest of
the body.

Reference List:
The Encyclopedia of New Zealand. (2010). Whakairo Mori carving. Retrieved from
http://www.teara.govt.nz/en/whakairo-maori-carving/page-1

Mori Language Intention (WALT)

List 3 Success Criteria ( sentences with a verb)
Mori Language We are learning to use the Mori numbers that we know in a
Success Criteria 1: phrase to count objects. Ask and answer E hia ng kanohi?, E
rua tekau ma iwa ng kanohi.
Mori Language We are learning to use a different phrase when counting people.
Success Criteria 2: Ask and answer. Tokohia ng tipuna? Tokowh ng tipuna.
Mori Language We are learning to name parts of the whare whakairo in Mori
Success Criteria 3: and English. Ask and answer He aha tnei? He poupou tnei.

Resources (Either original or borrowed APA referencing)

Auckland Museum. (n.d.). He taonga Mori Mori court [class trip]. Auckland, New
Zealand.

Maori Dictionary: http://www.maoridictionary.co.nz/

Te Puia. (n.d.). New Zealand Mori Arts and Crafts Institute [class trip]. Rotorua, New
Zealand.

Te Puia [tepuiaNZMACI]. (2001, January 11). The New Zealand Mori arts and crafts
institute Te Puia [video file]. Retrieved from
https://www.youtube.com/watch?v=qRVlhpTx_80

Thain, L. (2015). E hia ng___? [interactive poster]. Original resource

Thain, L. (2015). Show what you know: Mori numbers [worksheet]. Original resource.

Thain, L. (2015). Tokohia ng or E hia ng [phrasing card]. Original resource.

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Teaching: Pre-Communicative Session (45 minutes)
Identifying what the children already know about the Mori language intention/prior
knowledge

Mori Language Success I am showing that I can count in Mori.

Criteria 1: I am making links between a body and te whare whakairo and
ng whakairo.
NUMBER:
1. Prior knowledge check Show what you know: Mori numbers [worksheet].
Each child completes activity individually.
Instructions: write what you know/remember, even if it is just parts of the answer.
2. Mark worksheets as a group.
Instructions: Trade worksheets with a peer, mark their work in a different colour.
Teacher notes: Go through each answer verbally (one ten and seven), write correct
answer on the board for markers to copy.
Ask markers to volunteer some answers/who got the highest score?
3. Group work - 2 groups: students decide for themselves which group they should
be in according to their ability.
Group 1: Higher ability (larger group)
Each student has a turn writing a number between 100 and 999 in Mori.
Numbers are generated by a student rolling a 9 sided dice three times.
Record answers on the board. Other students support the student writing on the
board without providing answer.
Group 2: Less knowledgeable (smaller group)
Teacher works with the individuals alongside Mori numbers 1-99 [flip book], showing
how double digit numbers are generated in Mori.
4. Counting phrases E hia ng ___? [interactive poster].
Full class activity. Students recite Mori numbers 1-10 as pieces are put onto the
poster.
Point to first image. State in Mori what the object being counted in the picture is,
students decipher what it is from the image. Repeat through Mori numbers 1-10.
Using phrases written on the poster and the pictures, teacher poses question and
students read answer. Teacher notes: emphasis on different structures e.g. kotahi te
pou, e ru ng pkonohi, tekau ng pua.
5. Class discussion
Something the students found interesting about Mori numbers?
What other languages use the same format?
Where to next? Answer: using Mori phrases and numbers to count people

NG WHAKAIRO:
1. Class discussion
Who has been to a marae before/the museum to see the Mori buildings?
What do you remember about the main building?
Teacher notes: steer towards what they already/noticed about the carvings interior
and exterior.

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2. Brainstorm on the whiteboard
What the students think the carvings are from memory.
Teacher notes: Material? What can you see? Figurative correlations in the carvings?
Point to ponder: If you couldnt write about your life how would you show future
generations what was meaningful to you?
3. Class analysis The Marae [poster] (Pohatu, 2007).
Teacher notes: emphasise the head at the gable, exterior and interior panels of
carving. Conceal the names/descriptions on the left of the poster.
4. Group activity split class into groups of 10-12
Instructions: using your bodies, construct a building similar to the one at the
marae/museum and the poster.
Photograph the responses from each group.
5. Powerpoint presentation based on material from Introduction to aspects of
maori life today picture set (Leden, n.d.)
Tohunga Whakairo tikanga/training around being a master carver
Te Whare Whakairo/Whare Nui correlations to a significant ancestor
6. Class discussion
Homework activity: Fold an A4 piece of paper in half lengthways (long thin piece of
paper)
Create an image of yourself to show future generations who you are. Hand drawn or
computer generated.
Where to next? Answer: naming the parts of the building that they found in their
drama activity.
Teaching: Communicative Session (45 minutes)
Teaching the children the Mori language intention
Mori Language Success I am learning how to use Mori numbers in phrases to count
Criteria 2: objects.
I am learning the Mori names for parts of te whare whakairo
and what they represent on the body.
I am learning about the tikanga and also the importance of ng
whakairo to the Mori culture.
NUMBER:
1. Revisit learning Class game: Mori number: 1-99 [flip book]
All students start standing with their book and a pencil.
Teacher uses flip book to generate numbers in Mori.
Students write down their answer in numerals.
Mark after each student has recorded their answer, students sit down if they have an
incorrect answer. Last student standing is the winner.
2. Counting phrases E hia ng ___? [interactive poster].
Full class activity.
Use the pictures that do not have any words, teacher poses the question, students
respond.
Explain there is a different phrase to use when counting people.
3. Counting people phrase Tokohia ng or E hia ng [phrasing card].
Full class activity.

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Flip first part up or down where appropriate. Shows similarities between counting
objects and people.
Teacher notes: start with words that they know e.g. whakairo (object) and tamariki
(people).
4. Class trip to the Auckland Museum, He taonga Mori Mori court exhibition:
As part of the final presentation, each student must count how many eyes they find in
the exhibition, write it on a piece of paper in Mori and give it to the teacher.
Students get into group of 4, this is their buddy groups and presentation groups.
Choose 4 objects/people from the exhibit to present using Mori phrase and
numbers.
Students can use Mori Dictionary website to translate their selected objects and
record their findings in Mori.
Check words with the teacher.
Presentation students present their findings using correct question and answers e.g.
E hia ng koruru? E rua ng koruru. Or Tokohia ng tamariki? Tokowh ng
tamariki.
5. Class discussion
Where to next? Answer: Introduce presentation topic for statistics. Students can think
about whether they want to be in this group.

NG WHAKAIRO:
1. Homework activity
In groups of 6 or more, students present their self-portrait.
Instruction: describe what is in it and elaborate on why you think this is important in
portraying yourself.
Peers provide feedback on what they like about it and whether they think it filled the
brief.
2. Revisit The Marae [poster] (Pohatu, 2007).
Full class activity
Look at the poster and the parts
Using printed photo of the whare whakairo that the constructed with their bodies,
match labels in Mori and the corresponding body part (in English) of the ancestor.
3. Phrases
Teacher points to an identified panel/poupou on labelled photograph, He aha tnei?
students respond He poupou tnei.
Students break into pairs
Repeat exercise of labelling a smaller copy of the photograph
Repeat exercise between them using question and answers.
4. PowerPoint presentation: based on material from Mori architecture [poster].
(Post office savings bank, 1981) and Maori art and craft posters: Whakairo rkau
poster. (Paea, 1985).
Tikanga offering to Tane when felling selected tree
How they fell the tree/split the trunk fire/adzes
Progression of an object to a stylised version that is carved into the wood.
5. Read School Journal - Patterns in Wood (Tangaere, 2003)
Full class activity

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Discuss the similarities between the visual aspects of carving and what they represent.
Get students to draw their interpretations on the board of the ideas in the article.
2. Class trip to the NZ Mori Arts and Crafts Institute Rotorua, New Zealand
Introduction to the school use the video from
https://www.youtube.com/watch?v=8ee9uRyPjW0
As part of the final presentation, students must select a piece of carving as a group to
research further.
In small groups of pairs complete worksheet selection process of being accepted
into the school, the training process of becoming a carver.
Ask student carvers/tour guide questions for information to go towards their
presentations.
3. Class discussion
Highlight of the trip?
Something new that you learnt about ng whakairo or Tohuna Whakairo?
Where to next? Answer: introduce presentation topic around a piece of wood carving.
If students are not in the math presentation, they must do te whakairo presentation.
Teaching: Post Communicative Activity (45 minutes)
Identifying what knowledge the children have gained about the Mori language intention
Mori Language Success As a group, I am presenting a slideshow on information on my
Criteria 3: topic that I collected during class time and on trips, using
Mori numbers and phrases.
Statistics presentation:
Brief: Collect data on the question E hia ng pkonohi?
Every student will count how many eyes they find in the carvings during the museum
trip. Each student will write their findings in Mori and give it to the teacher to be
given to the presenting group.
The group will use the data and analyse the findings using a graph. The presentation
must include the mean, mode, range and the median; the results must be in Mori.
At the end of the presentation, the students will individually ask each other in Mori
E hia ng pkonohi? and they will respond with the answer they believe to be true
e.g. E wh tekau ma tahi ng pkonohi.
Presentation must be in the format of a PowerPoint.
Send PowerPoint to the teacher before presenting to the class.

Te whakairo presentations:
Brief: To analyse one piece of carving as a group.
Whilst in Te Puia the students select and photograph a carving piece to look into as a
group
At the beginning, ask the question Tokohia ng tipuna? and answer appropriately
e.g.Kotahi te tipuna.
Must state using the Mori terminology where in te whare whakairo this piece would
be appropriate.
Consider the following: Whos work is it? Modern interpretation or original? What
symbols can be seen in the carving? Who this is the carving of? Brief history of that
tipuna.

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