When the Europeans settled in NZ they brought new materials, which the Maori were quick to apply to their own needs such as iron. The iron uhi was able to deliver a much cleaner cut which translated into a much smoother pattern. However, this was not necessarily received well as the distinct grooves that lined the skin was lost.

The pigment itself came from several sources which included:

• The burnt and powdered resin of native trees (Kauri, Kahikatea, and Koromiko)
• Burnt Aweto Hotete also known as the vegetable caterpillar
• Charcoal
• Gun powder

The traditional pigment was thicker than the modern ink used today for tattooing and the best stain was always blue-black.

Whakairo Tangata – Carving the People

To chisel, a design directly into a person’s skin required cutting the skin open and staining the wound. When your skin is cut the body heals itself by scarring. Scarring tends to be an outward raised lump on the skin depending on the severity.

The artist required not only the skill to carve these intricate designs into the skin but a working knowledge of the body to ensure that outward scarring did not interfere with the pattern. Instead, there were deeply carved canals in the skin.

This painful procedure was not able to be undertaken on a single sitting. The skin would bleed profusely once cut and the possibility of infection was ever-present. According to reports the swelling that occurred a few days after the process was the worst stage.

State of Tapu

The word tapu is generally accepted to mean ‘prohibited’ or ‘restricted’ and if broken then something bad would follow. The Maori were deeply spiritual and much of what they did was determined by these beliefs.

A person undergoing Ta Moko was considered to be in a state of tapu. With this came several restrictions on the individual undergoing this painful procedure. An example of the restrictions relating to a person undergoing the process included: