Instructions
on Making and Playing
Some of the instruments covered in this book are so simple to create that short notes have been included in the earlier chapters. For the more complicated instruments detailed notes are provided here. There is a separate section on making instruments with bamboo, as this has proved a practical substitute for use in beginners’ groups.
Instruments covered in this section are wooden kōauau, bone kōauau, pōrutu, nguru, pūtōrino, pūkāea, pūtātara, porotiti and pūrerehua.
Playing MĀori Flutes
Here are some tips on learning to play cross-blown Māori flutes.
1. Keep the finger holes covered as it is easier to begin with.
2. Set your lips and tongue for the lowest whistle you can make.
3. With the instrument at an angle to the lips and partially sealed against the outer side of the lips, move the kōauau into that jet of air.
There are two variables to master: the angle of the kōauau to the lips and how far towards the centre of the lips to hold it. So, with the kōauau toward the outer side of the lips and at quite an angle to the lips, slowly swivel it towards the centre while blowing. If this does not work bring it forward a little towards the centre of the lips and try again until the sound arrives, remembering step 2. (Basically you seal two- thirds of the mouthpiece against your lips and find the right angle to blow at. This is a bit to one side, just off straight ahead.) Soon you will be able to go straight to this position and excitingly you will find this new skill works on many things, like bottles or even some sea shells.
4. When you have mastered the basic sound, practise varying the pitch by making slight movements of your tongue and lips. This will create the flowing sound of these taonga, remembering that traditional music moves in microtones.
These steps give the basic techniques, but there are many aspects of refinement and other blowing techniques that take years to understand and master. Sometimes the player follows the melody or hints at it and at other times adds ornamentation. Breath vibrato and vocalisation while playing, together with fingering techniques and tonguing, will add more dimensions to the sounds made. Lessons are needed to advance to this level, along with careful listening to recordings. The DVD that accompanies Te Hekenga ā Rangi shows many of the instruments being played and it is a recommended resource for any student.
5. Use the same technique for the female voice of a pūtōrino.
6. The male voice of the pūtōrino and also the call of the pūkāea is created by blowing as for a trumpet with the centre hole open. Keep your lips together with the tip of the tongue just showing between them. As you begin to blow withdraw the tongue quickly, creating a spurt of air that will start the lips vibrating to create the sound. Partly covering the centre hole will vary the pitch of the crying note.
Hirini Melbourne playing a pōrutu made from the wing bone of a tóroa or albatross. These flutes are like a long kōauau with the finger holes near the lower end.
This kōauau is made from mataí and shows the slightly countersunk finger holes or wenewene, and the inwardly bevelled angle of the mouth.
Making A Wooden KŌauau
These notes are a starting guide only as each instrument will take on individual characteristics. The kōauau we have measured in museum collections vary in length from 116 mm to 287 mm; the bores at the mouth vary from 14 mm to 20 mm, and have 1–4 mm tapers. Finger holes vary in number from none to five and are 2–4.5 mm in diameter (usually 2.5–3 mm).
1. Cut a 130 mm length of 50 x 50 mm tawaī (beech) or cut this from a large round section of tawaī dowelling, and drill a 13–15 mm hole through from one end to the other. We suggest beech only because it is the most commonly available suitable wood; however we have successfully used many others – mataī and kauri are favourites. The hard maire and pūriri give a loud ringing song, while the soft mountain neinei has a beautifully mellow, private song. Tutu and poroporo have soft pith that is easily removed to give a naturally tapered and good-sounding kōauau or the longer pórutu.
2. Ream the bore to enlarge the blowing end, creating a 2 mm taper toward the other end. A reamer to go in an electric drill can be made from a length of dowel or metal rod with a slit cut in one end. A strip of 60 grit sandpaper slotted through this and then rolled on the shaft gives a good cut and finer sandpaper will smooth it.
3. Shape the blank with tools or on a coarse grade rotary sanding disc, creating a bevel angled inward on the ends, as in the photo.
4. Drill 2.5 mm holes at about 25 mm, 50 mm and 90 mm, from the large end and countersink these slightly so that they are easier to locate with the fingers.
If carving, do this now (see following notes) or, using 120 grit sandpaper, smooth the kóauau by sanding along the grain of the wood. Repeat with 240, then 400–600 grit paper to remove scratches. Next, rub with linseed oil inside and out and allow it to dry. Finally, burnish by rubbing with a hard stick or a stone.
These three kōauau are made from different materials, and show different ways of carving the end faces. On the left is a moa bone carved by Ranginui Keefe; in the centre one of rātā; and on the right an example made from the very hard maire.
An inexpensive reamer can be made from a length of metal rod with a lengthways slot to hold the end of the sandpaper.
Individualising Your Instrument
If you experiment beyond the measurements suggested above, you can create an instrument with a sound that suits a personal song or a required tone effect. Remember, this is a tradition in which each taonga is an individual with its own voice.
One recorded method of making a truly individualised instrument is to hold it as shown in the photograph (right) and mark the finger holes at the knuckle creases of your index finger. Leave a thumb width above the top finger hole. This method does not, however, suit some hand shapes and is not recommended for bone instruments, which do not have a tapered bore.
Making A Bone KŌauau
Because traditionally used bones are seldom available nowadays we often have to substitute other bone materials. Fortunately, sheep or goat leg bone gives a good replication of albatross wing bone; farmed emu or ostrich is just like moa; and lower leg bone from both the front and hind legs of deer is suitable to replicate human bone. I recently played both a very old human bone kōauau collected by Captain Cook and a contemporary one carved from emu bone and the sound was virtually identical.
Preparation
The shank bone is the one that has the required length and straightness. Here is one of several ways to prepare it.
1. Cut off the knuckles with a saw where the bone flares out, then boil the shank for 15–20 minutes to loosen the marrow and meat which can then be stripped off easily. (For small numbers this first boiling can be missed and the bone cleaned off manually or with a water blaster.)
2. Next, boil again for 10 minutes with a half-cup of liquid detergent to remove the oil in the bone. Then leave the bone in the sun to evaporate the water and oil. (If it was boiled first to remove the meat it will need a second boiling in detergent before drying.)
3. Any residual patches of oil can be removed by soaking overnight in white spirits (sold now as Fuelite), then evaporating the oil on a sunny windowsill or by the heat of a light bulb suspended about 100 mm above the bone.
There are several other methods that work well so seek advice if this seems too laborious.
Finishing
1. Cut the end off a bone where it flares out. It becomes thinner here and has honeycomb growth inside which must either be cut past or cleared out. Then cut it to the length required. Generally this is between 100 mm and 120 mm for a sheep bone, and up to 180 mm or more with larger bones.
2. With a strip of 120 grit sandpaper pulled under the thumb of the other hand, round the ends of the kōauau to create a sharp but even edge on the inside.
3. Smooth off the bumps with the same sandpaper and method. Then, with 240 grit sandpaper, rub along the length of the bone to smooth it. A final rubbing with 400–600 grit, then burnishing it with another bone or rubbing with Brasso will make the instrument look really good. If you have a rotary polishing buff, Vonex or a similar polishing compound will give a great sheen to the bone.
4. Blow from the wider end, which usually has a peak to it. This blank produces your flute’s lowest note and the pitch of the flute can be raised by shortening it.
5. Once you can confidently make your sounds, mark the finger holes. On a bone of around 120 mm the centre hole goes about the middle. The top hole is about 20 mm above this, and the lower one 25 mm below it. (Shorter bones may require only two holes.) The general pattern is that the distances between the finger holes get progessively longer from the first hole right through to the end. With the imperfections of a bone bore, the first hole must be closer to the centre than that of a wooden kōauau.
6. Drill holes with a 2 mm drill, then countersink slightly. (A suspension hole 5–10 mm from the bottom hole will not affect the sound, and will enable the kōauau to be worn.)
Kōauau from deer, emu and ostrich bones are usually made between 130 mm and 200 mm in length. On these longer ones the top and bottom finger holes can be moved correspondingly further from the centre one. Longer bones that will over- blow to a second pitch can also be used for pōrutu. (See instructions below.)
Bone is a great carving medium and carving a story on it will turn your instrument into a true taonga.
The finger holes on Te hā o Horohoro, an ostrich bone kōauau, depict Māui Mua, Māui Roto and Māui Taha. This is one of the namings traditionally given to the finger holes. Another naming describes their function: te mea whakangāwari, the softener; te mea whakakaha, the strengthener; and te mea whakatika, the corrector.
For the ostrich leg bone pōrutu in this illustration I added the carved figure of a personified Raukatauri on the end with her mouth open to sing through. This created back pressure which noticeably improved the dynamics of the instrument.
PŌrutu
I suggest you start by making an instrument about 250 mm long with a 15 mm bore drilled through it. This will create an instrument just like a longer kōauau with a different finger hole arrangement but similar acoustics. The spacing of the finger holes follows the general pattern of a kōauau with the distance between the holes increasing as you move down the instrument. For a 250 mm pōrutu drill the holes at 40 mm, 75 mm and 100 mm from the bottom end. Although all the old pōrutu I have seen have been simple, fairly plain tubes, a thicker, carved instrument will play just the same. Instruments observed and recorded have varied from about 250 mm up to 635 mm long, with bores from about 13 mm to 22 mm.
The long leg bones of ostrich and emu can also be made into pōrutu.
To create a long bore for these two pōrutu I made grooves in the two pieces with a router then glued them together.
Nguru
1. Cut a 100 mm length of 50 mm x 50 mm tawaī (beech) or other hardwood, Oamaru stone, Hinuera stone or soapstone.
2. Drill a 14–15 mm hole to a depth of 80 mm and smooth the bore with the reamer described in making a wooden kōauau.
3. Cut to shape as shown in the diagram then shape and smooth. The angle of taper at the mouth of nguru is noticeably flatter than for kóauau and pútórino and it is usually a defined surface rather than a rounded taper.
4. Drill 3 mm holes at about 22 mm and 45 mm from the mouth end and countersink these slightly.
5. Mark the bore depth on the side as an angle guide and drill a 4.5 mm hole from the upturn on the end to meet the bore.
6. Drill a 2.5 mm hole from the bottom end to meet the 4.5 mm hole as in the diagram, and countersink it slightly.
7. Sand, carve, oil and burnish as appropriate.
There are many variations in traditional nguru that have been measured, but we have found the smaller ones to be more suitable for playing with the nose. Usual materials are stone, whale ivory, the stem of a hue (gourd) and wood. If you are using wood, the very hard timbers like maire, púriri or resinous heart mataī are the best. Wooden items tend to go quiet after they have been played for a while because condensation accumulates in the bore. A small poi muka or dressed flax tassel that fits into the bore of one old nguru suggests that it is a remedy for this. In his book, He Nguru, He Kōauau, 22 Mark Dashper gives details of making nguru and kōauau from clay. These instruments produce a clear ringing tone and I still have one given to me by Mark at our first hui at Te Araroa in 1985.
Nguru vary in length from 72 mm to 160 mm. Bores range from 15 mm to 20 mm. Most have a slight taper, from 2 mm to 3 mm; a few taper the opposite way, becoming larger inside. There are between two and four finger holes on the main body. Sometimes the end hole enters straight into the bore but this creates a large variation in the pitch between the two end finger holes as opposed to the even pitch variations achieved with the model shown in the diagram.
Cross-section of a typical nguru
PŪtŌrino
The pūtōrino we have measured vary in length from 227 mm to 655 mm, with an average between 400 mm and 500 mm. The centre hole or māngai is most often at the mid-point and though usually oval (from 12 mm x 13 mm to 13 mm x 41 mm) it can be shaped to suit the carving and even have multiple piercings. This suggests that the opening is closed by cupping the hand over it rather than closing it with a finger. Occasionally a 5–6 mm hole is put directly beneath the māngai. The oval waha or mouth opening varies from 15 mm x 16 mm to 20 mm x 25 mm. The bore becomes more oval as it goes down, getting flatter by up to 5 mm but wider by as much as 13 mm. Most examples have a small outward bevel around the waha. Girth measurements at the centre vary from almost round (in double pūtōrino) to slightly oval (32 mm x 28 mm) or more oval (40 mm x 28 mm) and up to 70 mm x 30 mm. The end hole is usually only 2–3 mm, though for a Whanganui style instrument it may be a larger end hole which becomes the kókiri, or trumpeting male voice mouthpiece.
It is to be hoped that someone will get the resources to view the interior shaping details of museum held examples which for now are mostly secret. As a general observation, the bore narrows vertically while it widens horizontally before opening to the sounding chamber which begins a little before the central māngai. In one of the few examples of an instrument that was in two halves and so could be observed properly, the bore in the top half tapered to nothing before the māngai. This would squeeze the sound down to the lower section then let it spiral up as it caverned out to the māngai. Initial experiments produce an exciting range of voices for this method (see illustration).
There does not appear to be any regularity with bindings, which vary from two to ten, with some almost covering the length either side of the māngai. Tests in practice show bindings improve the sound when the chamber walls are kept thin.
Making A Basic Small PŪtŌrino
1. If splitting is not practicable and it is easier to get 50 mm x 25 mm timber, cut a 300 mm length of 50 mm x 25 mm mataí.
2. Mark the outline of the shape of a casemoth cocoon, keeping the waha or mouthpiece end about 30 mm wide, widening to 40 mm at the centre, then tapering to about 10 mm or 15 mm at the end. Shape the blank to this, then split it into two 40 mm x 12 mm pieces on a band saw. (Some carvers reverse the next processes. After the splitting stage they shape and carve the outside before creating the inner shapes as they have a better idea of wall thickness.)
3. Run a line about 4 mm in from the edge around both inner shells.
4. Draw a line across at 30 mm from the small, bottom end to mark the end of the sounding chamber.
5. Shape the insides of the two halves, taking special care to leave a smooth surface especially in the initial bore area where the sound is created. Scraping with a large washer, then burnishing by rubbing with a stone or even a teaspoon gives a good finish. If you are uneasy about the wall thickness a set of callipers can be easily adapted by adding inward pointing extensions, and you can write the thickness on the outside or on a paper template, as a guide for later shaping.
6. Apply a thin layer of epoxy glue, or other waterproof wood glue, to both halves, then seat together exactly so the saw marks fit back in place. Clamp the still solid small end and join, using very little pressure. (Thick rubber bands or spring clamps on the edges will usually suffice as clamp pressure in the centre will distort the thin walls.)
7. When set (it is best given 24 hours), tidy the exterior, taking care to get a smooth mouthpiece which tapers in to the bore. The reamer used to taper the bore of the kóauau is handy for smoothing the inside of the mouthpiece and removing surplus dry glue. Then shape, and smooth the outside to suit.
8. Drill two 9 mm holes side by side 150 mm from the waha, then join these to form the mángai, or central mouth. Curve the inner surface up towards the opening. A Dremmel cutter (the most widely used pendant drill in New Zealand) makes a neat job of this.
9. Drill a 3 mm hole from the small end into the sounding chamber. If this does not give an acceptable pitch difference when covered by the finger, enlarge the hole to suit.
10. You may drill a 5 mm hole directly below the mángai as was done to a few old examples of pūtōrino.
11. Sand smooth, or carve, then oil with linseed or Danish oil inside and out and leave to dry. (I tape over the openings and pour in oil to thoroughly season the interior.) Two dressings, a day apart, are normally sufficient.
Next day or when dry, burnish for a finishing sheen. Depending on usage, occasional re-oiling will enhance the performance of the instrument.
12. Bindings at each end of the pūtōrino and either side of the māngai can improve the sound. They are best inset to keep them in position. Fine cane has a similar tightening property to aka keikei, which is the best of the traditional bindings. Modern cords, such as fishing lines, especially ones with resilience, make an efficient substitute.
When binding start at the wider end. Thin the first 10 mm of the vine or cane where it will be under the binding, wind it all the way on tightly, pushing it close together as you go. Cut the spare off leaving about 200 mm to work with. About three or four turns from the end, hold the binding in place and loosen the last loops so that you can thread the end back under them. Then retighten those last loops one at a time and pull the binding tight before cutting it where it emerges. When doing the end bindings insert something in the hole to extend the instrument while loosening and retightening the cane.
If binding with cord, after the first five windings lay a loop of monofilament or strong linen thread to go under the binding. Use this loop to draw the spare end of the completed binding back under itself and trim where it emerges for a tidy finish.
Mángai of the centre hole of an old pútórino with eight piercings.
Making a Long PŪtŌrino with a Baffle
1. Shape and split as before, or use two pieces of 50 mm x 25 mm wood to give more depth for carving later. Shape the two pieces to match.
2. On the top section draw a line across 15 mm back from the centre māngai where the bore will be tapered to end (see photo).
3. Mark points 15 mm either side of the centre on this line, then points at 10 mm either side of the centre at the waha. Draw lines between these for the initial bore guides. Shape the sounding chamber as before following the curve of the instrument to about 40 mm from the end.
4. Begin carving out the sounding chamber on the other side of the line, rising sharply up to where the māngai will be opened.
5. Mark the bottom half to match the top, but carve out the bore groove evenly through to the sounding chamber.
6. Continue as for the smaller model.
Beside this hollowed out pútórino blank is a washer which I use as a scraper, and a modified pair of callipers to check the wall thickness as a guide for carving the outside later.
PŪkĀea
Pūkāea are made in two pieces then sealed and bound. Some old examples have a wrapping of material under the binding.
I have spoken to several makers who, in the tradition of individuality of the taonga, have successfully tried gradually widening bores, bores with a long straight section or with uneven gradations designed to add a waver to the voice.
Generally the preferred construction for an instrument with a controllable voice seems to be a gradually widening bore for about three-quarters of the length which then flares outwards. An old pūkāea in the Cambridge Museum, which is about 1800 mm long, is so narrow that it bows slightly when picked up. After many years of storage and silence it still has a clear, controlled range of voices.
The carved obstructions that intrude into the bore are usually near the whara, the large end, but one carver I spoke to prefers to include these further up the throat.
These photos show details of pūkāea carved by John Collins.
Making a PŪtĀtara
1. Using a diamond cutter or a tungsten carbide coping saw blade, cut the end off the shell to where you have an opening of about 10 mm. Check by blowing that there are no obstructions further down the spiral.
2. Smooth and tidy the shell opening and clear any blockage as tidily as possible with a diamond tool or a screwdriver. (Normally it will trumpet at this stage.)
3. Select a section of branch 100–150 mm long, or a piece of 50 mm x 50 mm mataī, tawaī or other hardwood.
4. Hollow the end of the mouthpiece to a depth of about 40–50 mm until you get a loose fit on the shell. The best way I have seen to line up the shell opening to the mouthpiece, is to tape over the end of the shell, smear some builder’s fill into the hole, then push them together. Just before it sets hard remove the shell and it will leave an impression to guide your drilling.
5. Drill a hole of about 10 mm from this impression toward the centre front of the mouthpiece and another from the front to meet in the middle. I have tried several successful variations in the bore: a cupped mouthpiece like a brass instrument with 6 mm outlet, a 13 mm straight bore and a tapered bore from about 15 mm down to meet the large shell at 12 mm. Some with the wider bore can be blown like a kóauau so by creating a well-fitted impression and getting a good seal you can find the required sound with a few test blows before you fix the parts together.
6. When you are happy with the mouthpiece do the final shaping and carving. Then smear the sides of shell and mouthpiece with glue and push together into the first impression. (Knead-it, a mouldable putty, is great for getting an even fit from mouthpiece to shell ready for binding. It is also easier to get and to use than the kauri gum seen on old instuments.)
As aka keikei tightens on drying it is a good choice for binding. However joining shell and wood with píngao (the ancient peace offering between the children of Tangaroa and Tāne) is also a good and appropriate choice. This can be secured by smearing with flax gum mixed with the red earth pigment, kōkōwai, which sets quite hard.
The smaller native shells are not always available and the larger triton shells are now scarce since they are listed as an endangered species. Other similar shells can be substituted and the photograph shows how a short-stemmed shell can be made to work by inserting the wooden mouthpiece into the shell.
This well-worn pūtātara from the Cambridge University Museum was collected by Captain Cook’s expedition to New Zealand.
Other shells can be substituted, and this photograph shows how a short-stemmed shell can be made to work by inserting a wooden mouthpiece into the shell.
Porotiti
Porotiti can be made in a variety of shapes and sizes and from a variety of materials; even a strip of thick cardboard works well.
1. Measure the centre from either end and the sides then drill small holes 3 mm either side of the centre point on the long axis. With uneven shapes the point of balance becomes the centre point.
2. A pliable cord is essential; thick cotton is enough for a card instrument. If you are having trouble and the discs seem reasonably balanced, the thickness of the cord could be the problem, so try a thinner one. Another common problem is caused by drilling the centre holes too far apart.
Cords of different lengths give different spin intervals. Start off with a cord about 1400 mm long as this can be doubled and the porotiti can also become a pendant. Drilling or cutting holes in the porotiti gives a new and louder sound. Making the edges on each side different will produce slightly different sounds on both rotations, as in the pounamu porotiti in the illustration, which has sharp and flat sides.
Porotiti are interesting instruments to make, as a variety of materials and shapes can be used to create slightly different sounds, especially when the porotiti is blown while spinning.
PŪrerehua
Crossways balance is important for pūrerehua though they can be less symmetrical lengthwise. They will start singing more easily if one side is flat or concave and the other side convex, but some surviving examples are of even thickness.
Length can vary to match the sound required. I have seen pūrerehua from 100 mm to over 400 mm long. A pair in a photograph in Hamilton’s Māori Art are said to be 600–900 mm long. 23 The cords on these larger ones are attached to a long stick handle.
The wooden examples seen in museum collections usually have a long diamond shape. This gives a slower rotation and a less urgent sound, with a more erratic, moth-like flight pattern.
Remember that these are potentially dangerous missiles and must be on a strong cord, well tied and checked often. The pliability of the cord and the knot used can affect their playing so I do a double loop through the hole and tie with a bowline knot. I also add a toggle to the other end for both looks and safety.
To launch a pūrerehua, hold it by the edges between thumb and fingers with the cord stretched to the right hand above the head. As it is moved forward flick the thumb and fingers to start it spinning while applying power to the cord.
Na te Hukapō shows the beauty of pounamu as light penetrates its tapering edges. This special piece was created by Huata Homes and blessed under the shadow of Aoraki/Mt Cook.
Making Instruments From Bamboo
Bamboo closely replicates the tutu and poroporo branches referred to in the traditions, but as it does not have their possible toxic properties it is an easily available and practical alternative. It is used for so many traditional flutes and other instruments in Polynesian cultures that in Hawaii it is esteemed as the ‘singing tree’. Different sized sections can be quickly made into introductory versions of all of the types of flutes and also porotiti, southern pákuru and rória. The flexible tip can be used to make pākuru and kū.
Making a Bamboo Kōauau
1. Select dead bamboo and cut into lengths of about 150 mm between the nodes. Bore diameters between 12 mm and 20 mm are recommended to begin with.
2. Cut strips of 120 grit sandpaper approximately 20 mm x 200 mm and round the ends. Select the larger end as the blowing end and be careful to get a sharp inside edge without curving into the straight cut.
We recommend learning the blowing technique at this stage as it is easier to do this without the finger holes.
3. Drill 2.5 mm holes at about 40 mm, 75 mm and 100 mm from the bottom end. (A 3 mm drill can be used for larger bores.) Countersink these to make them easier to locate with the fingers while playing.
4. Cleaning the bore of its papery lining with a round file will improve the instrument’s sound and sanding the outside makes it look and feel better. A hole near the bottom end and on the other side to the finger holes will not affect the sound and will give a place to tie on a cord if you wish to wear it.
Making a Bamboo Pōrutu
With sections about 250 mm or longer, using the same hole measurements as for the kóauau above, you will create a pórutu. This instrument has the exciting ability to be played in two octaves with slight alterations in the blowing technique. The length may need some fine tuning as the ratio of bore and length is critical to the ease of sounding the two ranges.
Making a Bamboo Karanga Weka and Karanga Manu
Karanga weka and karanga manu can be made with the nodal section off cuts created when making the kōauau.
These can be used to craft double ended instruments as devised by Ranginui Keefe. A hole bored on an angle into the longer end makes that end into a karanga weka and the other end can be a karanga manu. Then trim to a length to create the required pitch and sand the ends round.
Making a Bamboo Pūtōrino
For a secondary school teachers’ course Haumanu member Robin Slow devised a quick way to make a basic pūtōrino using a double section length of bamboo of about 20–25 mm diameter. Sometimes a single, very long section will suffice and this is even simpler to construct.
1. Cut just past the first node for a mouthpiece, then sand it smooth and rounded.
2. Drill two holes side by side just past the next node to make the centre mouth or māngai.
3. By using a long drill smaller than the bore to penetrate that next node, you will create back pressure similar to that of a carved instrument. If a Dremmel type drill is available it can be used through the māngai to cut and open that centre node.
4. Drill a 3–4 mm hole through the end node to complete construction.
5. Sand, carve, or decorate with a story, and oil to finish your instrument.
This collection of bamboo Taonga Pūoro includes; a kū, a pākuru, a pūtōrino, a pōrutu, a kōauau, a nguru, a karanga weka-karanga manu and a rōria.
A Song to Start the New Day
Ka oho ake au
Te korihi a te manu
Roto i te haeata
Timatatanga o te rā
Tiaho mārama e
Ki runga te whenua
Te pūāwaitanga
O nga hanganga katoa.
Ka hangaia ano rā
He taonga kōrero
Hei hōnore
I ngā tūpuna e.
I awake
to the dawn chorus
at the start of a new day.
The sun beams down
bringing to life
the flowering of creation.
I create anew
A singing treasure
to honour the ancestors.