 |
| Sunny but deceptive |
 |
| Ice sculpture in the streets of Perth |
During my ongoing sojourn in the North, I have been discovering
many little gems dotted around the lovely countryside. Just last week I was in
freezing
Perth,
Scotland
to go through some of their ethnography collections with the curators of the
National Museums Scotland in
Edinburgh.
There is a Pacific Collections Review being conducted in
Scotland (
http://pacificcollectionsreview.wordpress.com/) with headquarters at
National Museums Scotland, and they are looking at collections all over the Scottish
countryside. Eve Haddow is the Pacific Review Curator conducting this research and because of my work with
Maori collections over the years, she invited me to see what new things we
could explore in Perth.
 |
| Maori flute (pu torino), Ramsay piece donated 1842, Whanganui |
 |
| Flute carving detail |
I can’t claim to be such a Maori object expert that when I
see objects I can name their age, origin, and back story, but one day... I do look at Maori objects and see nothing but an amazing story,
ancestral heritage, and interesting exchange/gift/removal history that I want
to delve into.
A lot of the collections amassed in Perth were brought into the museum through
the Perth Literary and Antiquarian Society members. The Society was established
in 1784 and collected more than Scottish antiquities to include natural history
and world ethnography. The most significant early objects were given by David
Ramsay (1794-1860) and there were also later donations of Pacific material from J.H Dixon in 1917, A. Wilson in
1940, and L. Woodward in the 1950s.
 |
Naturalistic Ngati Porou house panel or pou pou
exhibited at Crystal Palace in 1867 |
Some of the Perth objects are described as ‘unfinished’, which is
an issue I find amazingly interesting for Maori objects. If something was
actually unfinished, what does that say about the relationship of the
giver/carver to the person receiving the object?
 |
Whalebone ivory comb or heru, Ramsay piece donated 1842
Described as 'unfinished' |
Obviously many exchanges of goods were to art dealers who
sold Maori objects on to collectors, and several of these exchanges are interesting because of the extent to which objects don't look like typical Maori objects. Sometimes European materials were added to objects by Maori and art dealers alike, but in particular one piece in Perth seemed to be changed to a much further extent than usual. The Ramsay staff or taiaha below has traces of
feathers, hair labelled human hair when usually the white dog hair was included, but there is
also an under layer of red cloth and newspaper(?). Definitely intriguing.
I’d love to know about other examples like this.
 |
| Staff or taiaha, Taranaki region, Ramsay piece donated 1842 |
 |
| Detail of red cloth and possible newspaper? |
 |
| Detail of upper taiaha binding |
There were also many different waka huia or papa hou or
treasure boxes. These containers would hold the most treasured items such as hei tiki greenstone pendants or huia
bird feathers, and would be hung from the rafters of the house to be seen from
below.
 |
| Bay of Plenty region waka huia, also Ramsay donation |
 |
| Lid of Gisborne waka huia, Dixon collection 1917 |
 |
| Bottom of above container |
And then… we saw the ONLY relatively intact cloak with kakapo bird
(parrot) feathers still attached. It was a very exciting few days- a testament to my true nerd factor.
 |
Top side of the feather cloak or kahu kakapo, South Island 18th century
Also Ramsay collection |
.
 |
Underside of kahu kakapo where one can see the
contours in woven panels to fit over the body.Every cloak
was made for a specific person to fit them |
Posts
