"For me the pulsating, vibrant elements of marae is held together and dominated by the siting and naming of Whare Tipuna. In all its wholeness, it embodies all that has symbolic and practical meaning to hapu and whanau."
Many tribes, my own in Te Karaka included and that of Whaiora whanau of the Maori Catholic community aired their differences for naming long before the construction of the house. As a place of learning it is also known as Whare Wananga. Such places had one thing in common; Nga Kete o Te Wananga (the three baskets) found in every tribal tradition. Below Nga Kete were two stones representing dual forms in which wisdom is assimilated being knowledge and intuition. The structure of Whare Kura could be of any kind from a cave to a house.
"Then there were two stones taken from the tuahu (shrine), the most tapu of all places. These stones are named Hukatai and Rehutai. Hukatai is white while Rehutai is red. Here the knowledge of the Whare Kura is learned by both intelligence and feeling." (Tuhoe elder 2002)
The sense of personification is strongest inside the meeting house the physical embodiment of the selected ancestor. Naming can be very long, the discourse can become contentious for example when local people are constructing the house they want above all else to depict one of their ancestors with considerable mana.
The Whaiora Marae is a contemporary construction, which embodies all of the attributes of a traditional whare tipuna. The term 'marae' is drawn from 'marae-a-tea and specifically refers to the sacred area at the front of the principle house. The house expresses tribal mana.
The front exterior of the house is Te Ao Marama (world of light) and is generally associated with Tumatauenga (deity of war) or 'face a challenge.' The interior is 'Te Po'(world of darkness) and also the domain of Rongo and Tane with associations to Creation, hence Whakapiripiri which binds together the chips to form a house. The front of the house (mua) and rear (muri) are terms which create a strong sense of duality. 'Mua' has associated meanings with past times or seniority of while the word 'muri' refers to future time and 'senior birth'.
"This is a direct reversal of European usage; the Maori cosmology locates past time to the front, while the future lies behind one. Being unknown the future is behind the person where it cannot be seen. Maori move into the future with their eyes on the past, regulating their behaviour in accord with the models of the past." (Roger Neich 1993:124)
Mediation between the two was through whakapapa (genealogical bloodlines). These unite the two opposing realms by establishing connections between those who are deceased (past) and those living (present). One place where these are carried out is on marae-a-tea.
The head of the ancestor is represented by the koruru or the carved face located at the top of the roof apex. Reaching down at an incline are two fascia boards, maihi which indicate the arms. These terminate at the ends with the hands and fingers (raparapa). Supporting the maihi are exterior amo (bargeboards) being the legs.
The hierarchy of structure is clearly visible. Starting at the top is tahuhu (ridgepole or backbone) which spans the entire length of the house. This is usually supported mid-span by the poutoko-manawa (heart) and two outer supporting posts called pou tuaranggo (rear wall), and pou tahu (front wall. Spanning at an inclined from the poupou, which line the perimeter of the interior walls.
Ancestors are celebrated for their mana and physically hold the 'backbone' above. Legendary depictions of past deeds or heroic events may be represented, thereby providing a visual narrative of tribal history.
Tukutuku patterns are intricately woven into wall panels which represent the cosmology of tribal unity. These patterns speak out about the movement of heavenly bodies, seasons and the abundance of food. This is the source of pride and identity for whanau and hapu.
"... traditionally paints were gathered from natural resources in the form of red ochre, termed 'karamea'. After it was burned and powdered called 'kokowai' or 'horu'. Black paint was provided by soot and oil in combination with the natural white of timber." (Peter Buck 1957)
Kowhaiwhai are the painted scroll ornamentation which is an inherent part of the decoration. The location of kowhaiwhai varies from one house to another. It is found mainly in the interior on various components such as heke, heketipi and kaho paetara and on other surfaces.
"Figurative ... based on using figures as metaphor not literal ... of an artist a style of painting ... creating forms which are recognisably derived sources without being necessarily or clearly representational ...". (New Shorter Oxford Dictionary)
And so the appropriate meaning of kowhaiwhai can be defined as the painted scroll ornamentation which symbolically portrays a person or thing without necessarily being a literal representation.
"For me, the marae and especially the whare tipuna is my university, my place of worship, my music and a celebration of birth, weddings, to honour and sanctify our dead, a haven where I can meet Pakeha as equals. It is as well a place not unlike a courtroom. It is my turangawaewae a place where I can stand and be me". (Haare Williams The Maori Experience of being Maori 1998).
"He kainga tahi ka mate
He kainga rua ka ora
With one home you exist
With two homes you live."
"... when you have two homes, you can never be alone, you have another home here in Whaiora Marae; you belong." (Malcolm Brown kaumatua Whaiora Marae 13 July 2013)