Margaret Rose Ngawaka- Iwi (Tribe)-Ngati Porou, Kahungunu, and Rongomaiwahine I live on a 148-acre offshore island on the west side of Great Barrier Island, Hauraki Gulf, New Zealand, where my husband and I have raised our seven children. Living here so remote has the challenge of not being able to attend courses of learning on the mainland (New Zealand). But I continue to strive for knowledge and understanding and seek out whatever opportunities come my way. I learned raranga in 1998, but it has been in my blood since birth. My journey with harakeke is entwined with my whakapapa (family history). When I learned to plait, I found an aunt I have never met who was an expert weaver of her time. When I learned piupiu (traditional Maori kilt), I was given a photo of my great-grandmother wearing her piupiu and learned she was a matriarch weaver of her time. This confirmed also that she was giving me permission to carry on with this treasured skill that she once excelled in. When I learned taniko, it was my mother's sister, Aunt Hiria Okeroa Waaka, who taught me. My aunt Hiria has fond memories as a young girl being chosen to go pick kiekie and harakeke with her grandmother (my great-grandmother). This reminds me of my duty and responsibility to teach raranga and inspire hope for future mokopuna-grandchildren/posterity. There are many women more experienced and skilled than I who could have written this step-by-step book. I feel so blessed to have seen this opportunity and ran with it. I always say, "If it's meant to be-it will be."

"Describes and illustrates the differences, subtle and profound, between the carving styles of the tribes, and examines the work of each tribal group in depth".

This is a beautifully presented book featuring some stunning images and concise accounts of the concepts and values of traditional and contemporary Maori weaving. Featuring some of New Zealand's foremost Maori expert weavers, The Eternal Thread: The Art of Maori Weaving celebrates innovation and development of weaving and plaiting as art forms in modern times while acknowledging the technology developed by weavers through the past centuries.

Anyone can learn to plait a kete whakairo from the long blades of harakeke, commonly known as New Zealand flax. This book Kete Whakairo plaiting flax for beginners gives detailed, step by step instructions and illustrations for plaiting a beginner's version of this type of kete. Margaret Rose Ngawaka first became interested in her native craft of plaiting when a group of tutors were invited to teach women in a small northern community on Great Barrier Island, New Zealand in 1998. Margaret Rose has maintained this traditional art and skill. She continues this folk art of Raranga by teaching others who are interested.

This comprehensive guide examines the personal histories, roles, and personalities that played into the traditional cultural art of carving. It also traces the influence of European patronage and the ensuing tourist trade upon this art form, as many Maori carvers began styling and catering their product to meet their clients’ aesthetic desires. Included is a discussion of the establishment of the government-sponsored Rotorua School of Maori Art in 1928, which appointed as the main tutor Eramiha Kapua, a Ngati Tarawhai carver, thus helping his own traditional tribal art to make the transition into a modern “national” art.

In Aboriginal and Māori literature, the circle and the spiral are the symbolic metaphors for a never-ending journey of discovery and rediscovery. The journey itself, with its indigenous perspectives and sense of orientation, is the most significant act of cultural recuperation. The present study outlines the fields of indigenous writing in Australia and New Zealand in the crucial period between the mid-1980s and the early 1990s – particularly eventful years in which postcolonial theory attempted to ‘centre the margins’ and indigenous writers were keen to escape the particular centering offered in search of other positions more in tune with their creative sensibilities. Indigenous writing relinquished its narrative preference for social realism in favour of traversing old territory in new spiritual ways; roots converted into routes. Standard postcolonial readings of indigenous texts often overwrite the ‘difference’ they seek to locate because critical orthodoxy predetermines what ‘difference’ can be. Critical evaluations still tend to eclipse the ontological grounds of Aboriginal and Māori traditions and specific ways of moving through and behaving in cultural landscapes and social contexts. Hence the corrective applied in Circles and Spirals – to look for locally and culturally specific tracks and traces that lead in other directions than those catalogued by postcolonial convention. This agenda is pursued by means of searching enquiries into the historical, anthropological, political and cultural determinants of the present state of Aboriginal and Māori writing (principally fiction). Independent yet interrelated exemplary analyses of works by Keri Hulme and Patricia Grace and Mudrooroo and Sam Watson (Australia) provided the ‘thick description’ that illuminates the author’s central theses, with comparative side-glances at Witi Ihimaera, Heretaunga Pat Baker and Alan Duff (New Zealand) and Archie Weller and Sally Morgan (Australia).