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What is it that causes conflicts amongst family members? It seems unusual today describing the importance of the kūmara plant in the dispute between Toroa and Puhi. However, at the time growing, maintaining, accumulating and storing the root crop was perhaps one of the most important assets of a tribe and an indication of its wealth, status and propensity for survival. Being given the responsibility of conducting rituals around the kūmara acknowledged the seniority, power and status Toroa was being afforded by his community over his younger brother Puhi Moana Ariki. There may also have been an element of jealousy with Puhi resenting Toroa being invested with the special privileges connected with karakia for planting. The kūmara therefore sits central in the composition and the reference to 7 or whitu marama 'seven lunar cycles' taken to plant and harvest the crop gave more than enough time for the conflict between the brothers to brew and escalate to such a stage that one member inevitably had to leave his family. Stories involving departures from Hawaiki often involve family, community or intertribal conflicts usually connected with disputes over land, food resources, women and chieftainship or status. Compositionally blue and red make purple, one might say that regardless of the individual status of these tūpuna they are still cut from the same cloth. The wider confederation of Mataatua is still recognised by the descendant iwi Ngai Tūhoi, Ngāti Awa, Whakatohea and Ngā Puhi as a founding waka and therefore as a connecting point. One might say this wānanga definitely has its own mauri.

From Dr Rangihiroa Panoho

  1. Wairaka I, 2026 by Dr  Rangihiroa Panoho, Image 1.

    Wairaka I, 2026

    acrylic inks on prepared paper

    486 x 460 in

  2. BOY, [Ka mauru te ngē. Ka whakarongo ia ki te ngaru tūātea 'when the noise subsides he hears the crashing wave'] 2026 by Dr  Rangihiroa Panoho, Image 1.

    BOY, [Ka mauru te ngē. Ka whakarongo ia ki te ngaru tūātea 'when the noise subsides he hears the crashing wave'] 2026

    Built up painted acrylic and screened water-based inks on heavily prepared board

    980 x 1010 in

  3. V, ‘Flows to the Sea’, 2026, Te Rongo exhibition by Dr  Rangihiroa Panoho, Image 1.

    V, ‘Flows to the Sea’, 2026, Te Rongo exhibition

    frottage: graphite pencil on paper

    645 x 500 in

  4. Maunga by Dr  Rangihiroa Panoho, Image 1.

    Maunga

    acrylic, gold leaf and varnish on prepared and cut out plywood and kauri veneer

  5. Ngākau by Dr  Rangihiroa Panoho, Image 1.

    Ngākau

    Guilded carved, fretworked, plywood and kauri veneer

    450 x 500 x 75 in

  6. Taki Toru by Dr  Rangihiroa Panoho, Image 1.

    Taki Toru

    acrylic paint and ink printed and painted on cotton paper

    1000 x 700 in

  7. Puhi7 by Dr  Rangihiroa Panoho, Image 1.

    Puhi7

    Acrylic print on cotton paper

    700 x 1000 in

  8. Iwi by Dr  Rangihiroa Panoho, Image 1.

    Iwi

    cyanotype and acrylic gold wash highlight

    420 x 535 in