untain range in the homeland of Havaiki. The pandanus flower motif (fig. 70, f), he attributed to Kaki, who came through the Vaimotu passage in the Katopa-'enua canoe and landed at Taravao. The komua motif (fig. 70, g) is attributed to Irakau who entered by the Taketake passage on the Ui-tariao canoe. The paeko motif (fig. 70, h) was assigned to Te 'Erui-o-te-rangi and the punarua motif to Ruatapu. Five other motifs were later recorded by me (66, p. 98) from information obtained from an Aitutaki chief named Kake Maunga. The nine motifs which were recorded together later (70, pp. 364-367), are here shown in figure 70.page 130
Gudgeon does not give the parts of the body upon which the motifs were tattooed. Kake Maunga told me that a tattooed man with the manuta'i motif on the back and the papavaro motif in front, would display his tattooing at public gatherings as he turned his body to an accompanying chant:
Ie, 'uria, 'uria! Oh, turn, turn! 'Uria te manuta'i ki ta'itikura, Turn the manuta'i to one side, 'Uria te papavaro ki ta'itikura. Turn the papavaro to the other side.
Figure 70.—Tattoo motifs from Aitutaki (a-e, recorded by Te Rangi Hiroa; f-i, recorded by Gudgeon). a, papavaro: continuous chevrons on abdomen and front of thighs, sometimes back. b, parepare: on shoulder, chest, and wrist, c, ruru: on wrists and forearms, d, manuta'i: vertical lines running down spine and oblique pairs running upward to mid-axillary line. e, tatatao: face pattern consisting of three series of three curved lines; first series above each eyebrow resembling Maori tiwhana motif, second series from either side of nose around corner of mouth resembling Maori kawe motif, and third series on chin. f, puapua-inano (male pandanus flower), g, komua. h, paeko. i, punarua.
I obtained a number of tattooing motifs in New Zealand from a Mangaian named Taniera Tangitoru. These, recorded in 1911 (67, pp. 95, 97), are shown in figure 71, a-m. Two others (fig. 71, n, o) were later obtained in Mangaia.
The four Mangaians who came to the International Exhibition in Christchurch, New Zealand, in 1906, were tattooed with various combinations of the following motifs: ruru and mokora on arms, pa'oro on legs, puvakevake on shoulders and upper arm, manuta'i on forearm, maurua on abdomen, and a partly finished tuata'iti on the back. The repeated three rays in the puvake-vake motif was said by Tangitoru to represent the three original tribes of Mangaia.
Figure 71.—Tattoo motifs from Mangaia. a, puwakewake: on chest, shoulder and upper arm. b, manuta'i: encircles forearm with lower points toward hand; c, motupoki: curved double line following curve of hand between thumb and forefinger with ends on proximal phalanx of thumb and forefinger; d, e, ruru or kau: around wrist below manuta'i with points toward fingers; f, mokora: crosses on back of hand and fingers; g, pa'oro: on lower leg from knee to ankle; h, vava'anga: just above knee; i, pote'a: on thigh above vava'anga in sets of four to encircle limb; j, tuata'iti: mesial lines along spine and oblique lines extending to mid-axillary line; resembles Aitutaki manuta'i motif (fig. 70, d); k, maurua: named after a star and tattooed on abdomen and other parts; 1, purauti: face motif with curved base toward ear and apex toward nose; m, ngutu (lip): female pattern on upper lip; n, poe rauti: face pattern with point toward ear; o, mokomoko: heel pattern of curved line on either side of tendo Achillis.
The rau teve motif (rau, leaf; teve, species of wild arrowroot) as the name implies is taken from the leaf of the teve. The main part of the motif consists of the leaf stalk with three or four divisions turned toward the ear and the accessory part of a number of spaced figures in hour-glass form but with the page 132sides straight instead of curved. The number of hour-glass figures between the leaf and the middle line of the neck ranges from four to six depending on the size of the motifs and the spacing between them. (See figure 72, a, b, c.)
Figure 72.—Tattooing motifs from Rarotonga. a, rau teve, on Tupai, on left side of n