Introduction
The Pekapeka pendant, a distinctive artifact within New Zealand Maori culture, is frequently recognized by its stylized form suggestive of a bat or its explicit association with these unique native mammals. As a taonga, or treasured possession, understanding the historical context and traditional interpretations of the Pekapeka pendant is crucial for appreciating its cultural significance. This post aims to delve into the oldest and most reliable meanings and symbolism attributed to the Pekapeka pendant by examining books published before 1950. By analyzing these sources, this investigation seeks to provide a comprehensive account of the pendant's cultural role as understood by early researchers and potentially reflecting traditional Maori perspectives documented during that period. The methodology employed involves a targeted search within a collection of pre-1950 publications, focusing on terms related to Maori mythology, art, and specifically the Pekapeka or bat pendant. The subsequent analysis of the identified texts will aim to synthesize the information, identify recurring themes, and establish a historical basis for the pendant's enduring symbolism.
The Bat (Pekapeka) in Early Maori Culture and Mythology
The bat, known as Pekapeka in the Maori language, holds a unique position in the natural history of New Zealand as the country's only native land mammal. This singular status likely contributed to its cultural significance within Maori traditions. Early Maori interactions with the Pekapeka, as documented in historical texts, reveal a multifaceted relationship that extended beyond mere observation.
Early Maori interactions with the Pekapeka included practical uses. Edward Shortland's seminal work, "Maori religion and mythology," published in 1882, lists "the food of Pekapeka" as part of the Maori diet. This suggests a practical interaction with bats as a food source in the mid-19th century, indicating a tangible connection that might have intertwined with any symbolic interpretations the creature held.
Beyond the practical, Maori folklore also associated the Pekapeka with more complex and sometimes ominous symbolism. According to traditional narratives, the bat was linked to the mythical hokioi, a nocturnal bird that was believed to be a harbinger of death and disaster. This association, while not directly about the pendant, introduces a layer of potential negative or cautionary meaning connected to the bat as a creature of the night, a time often associated with the supernatural and the unknown.
Conversely, the Pekapeka was also viewed as an ancient creature, holding a specific connection to Hine-nui-te-pō, the revered goddess of the night and the underworld in Maori mythology. This association places the bat within the realm of the spiritual, linking it to the cycle of life and death, and possibly to the spirits of ancestors.
In some tribal traditions, as reflected in modern accounts drawing from oral history, the bat even represented knowledge within the context of moko, the sacred art of Maori tattooing. This positive symbolism, where the bat embodies wisdom and insight, potentially stems from its remarkable ability to navigate darkness using echolocation, a skill that could be metaphorically linked to perception beyond the obvious. Furthermore, the pekapeka is described as a powerful symbol of duality and indivisibility, often depicted with its wings forming outward-facing manaia, representing equity and balance. The proverb "He hōkioi rere pō, he pekapeka rere ahiahi" (the hōkioi flies at night, the bat flies at twilight) further illustrates the bat's association with the transitional period between day and night, urging haste upon travelers and subtly reinforcing its connection to the realm of the unseen.
Thus, the early cultural understanding of the Pekapeka appears rich and varied, encompassing practical uses, potentially negative omens, positive attributes like knowledge, and significant symbolic connections to the spiritual world and the concept of balance. The emerging link between the Pekapeka and the Manaia motif is also a crucial element in deciphering the symbolism of the pendant.
Earliest Accounts of the Hei Pekapeka
The earliest detailed accounts of the Pekapeka pendant within anthropological literature from the pre-1950 period shed light on its form, prevalence, and initial interpretations by researchers.
An article titled "Evolution in Maori Art.-II. Pendants." by H. D. Skinner, published in 1916 in the Journal of the Royal Anthropological Institute of Great Britain and Ireland, provides a significant early analysis. Skinner explicitly identifies and discusses the "Peka-Peka" pendant, noting its presence in numerous collections. However, he also points out the limited information gathered directly from Maori individuals regarding its specific meaning at that time. This suggests that early European understanding was largely based on observation and comparison with other known Maori art motifs.
Skinner records a notable piece of information attributed to the late Augustus Hamilton, a prominent figure in early Maori ethnography. Hamilton reportedly stated that the two outward-facing figures commonly depicted on the Peka-Peka pendant were referred to as the pigeons of Kupe. Kupe holds a paramount position in Maori oral tradition as the legendary explorer who discovered New Zealand. Attributing the figures to Kupe's pigeons could imply a symbolic connection to guidance, voyaging, and perhaps even the discovery of new lands, as birds often played significant roles in navigation and were sometimes associated with ancestral figures. However, Skinner himself notes that the authority for Hamilton's statement remains unknown, necessitating a degree of caution in accepting this interpretation as definitively traditional.
Further in his analysis, Skinner observes a striking similarity between the figures on the Peka-Peka pendant and the Manaia motif, a prominent and recurring figure in Maori carving often associated with spiritual guardianship. He suggests that the Manaia and these figures likely share a common origin with bird-like representations found in the Melanesian region, indicating potential broader Pacific influences on the evolution of this design.
This connection to the Manaia is further supported by Horatio Gordon Robley's "Pounamu: Notes on New Zealand Greenstone," published in 1915. Robley describes the "pekapeka" as the most important type of ear ornament, noting its resemblance to a bat. Crucially, he states that the ornament conventionally represents two Manaia figures, often depicted as bird-headed snakes, placed back to back. This description aligns with Skinner's observation of two outward-facing figures and firmly establishes the close relationship between the Pekapeka form and the Manaia motif in early ethnographic understanding. Te Ara, the Encyclopedia of New Zealand, also supports this dual interpretation, suggesting the pekapeka necklace could represent either the native bat or two intertwined bird forms.
The material used in crafting the pendant also appears to have influenced its design. Skinner notes that while greenstone examples exhibited little variation, bone, being a more easily worked material, allowed for greater diversity in the Peka-Peka's form. This suggests a potential interplay between artistic expression, material constraints, and the evolution of the pendant's visual characteristics across different iwi and regions. The widespread presence of the pekapeka throughout New Zealand was also noted by Skinner, indicating its general significance across various Maori communities.
Symbolism and Meaning Attributed to the Pekapeka Pendant
While pre-1950 sources provide detailed descriptions of the Pekapeka pendant's form and its connection to bats and the Manaia motif, explicit statements directly from Maori sources within the provided snippets regarding its specific symbolism are limited. H. D. Skinner's 1916 article acknowledges the lack of comprehensive information collected from Maori individuals on this aspect. Therefore, understanding the pendant's meaning during this period requires careful inference based on the known symbolism of its constituent elements: the bat and the Manaia.
Given the association with the Manaia, a figure widely understood as a spiritual guardian, it is highly probable that the Pekapeka pendant also embodied concepts of spiritual protection and warding off evil. The Manaia is often depicted with a bird-like head, human body, and sometimes a fish tail, representing a balance between the sky, earth, and sea. This cosmological balance might have been a symbolic aspect inherited by the Pekapeka pendant through its Manaia representation. The bat itself, as a creature that navigates the night and perceives the unseen through echolocation, could have contributed to the pendant's symbolism, suggesting a connection to the spiritual realm, intuition, and perhaps even the ability to overcome darkness or adversity. The interpretation of the pendant as representing two Manaia figures back-to-back, as noted by Robley , might further emphasize this protective aspect, creating a powerful dual guardian.
The potential link to Kupe's pigeons, as mentioned by Hamilton, introduces another possible layer of meaning related to ancestral guidance, exploration, and connection to a significant figure from Maori history. While the reliability of this specific association is uncertain based on the provided snippets, it hints at the possibility of the pendant holding narratives or symbolic weight tied to specific legends or ancestral figures.
Modern interpretations, while requiring cautious application to the pre-1950 context, often reinforce these themes. For instance, contemporary sources describe the Pekapeka as a guardian with sight of the unseen, possessing spiritual protective qualities, and as a symbol of status, cultural identity, strength, courage, and determination. These later understandings likely have roots in older traditions and further support the inference that the Pekapeka pendant held significant symbolic value related to protection, spirituality, and potentially social standing.
The Relationship Between the Pekapeka and the Manaia
The pre-1950 sources strongly and consistently establish a close relationship between the Pekapeka pendant and the Manaia motif. H. D. Skinner's analysis in 1916 explicitly states the visual identity between the figures on the pendant and Manaia figures found in Maori carving. This observation suggests that the Pekapeka was not merely bat-shaped but rather a specific artistic rendering incorporating the established iconography of the Manaia. Robley's 1915 account goes further, defining the pekapeka as a conventional representation of two Manaia figures placed back-to-back. This interpretation indicates that the pendant's very form was understood as a dual manifestation of the Manaia, emphasizing its spiritual power. The modern academic resource Pūtahi Manawa also supports this by describing the pekapeka's wings as forming outward-facing manaia, symbolizing equity and balance.
The Manaia itself, even as understood in these early sources (and elaborated upon by modern interpretations), carries significant symbolism. The consistent depiction of a bird-like head suggests a connection to the avian world, which in Maori culture often signifies messengers between the earthly and spiritual realms. The traditional form of the Manaia with a bird's head, human body, and fish tail is interpreted as representing a balance between the sky, earth, and sea, indicating a cosmological significance.
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