Lepau painted barkcloth, Santa Cruz Islands, Solomon Islands. Kiwa Art collection. 1560 × 330–370 mm. Among the most distinctive barkcloths of the western Pacific are the narrow painted cloths known as lepau, made in the Santa Cruz Islands of the southeastern Solomon Islands. This example was recently acquired by Kiwa Art. Its surface is organised into two long columns of geometric decoration separated by a narrow undecorated strip. Within them are densely worked fields of chevrons, lattice patterns, diamonds and repeated fine strokes. The effect is remarkably graphic. At a distance the cloth reads as a strong architectural arrangement of dark and light. Closer inspection reveals much variation within apparently repetitive patterns. The drawing is controlled but refreshingly irregular. Upper section of the Kiwa lepau, showing the two parallel decorated fields divided by a narrow undecorated strip. Barkcloth in Santa Cruz Lepau belongs to a distinctive Santa Cruz tradition of decorated barkcloth. Bark was beaten into cloth and the surface subsequently marked with geometric designs. The term lepau, or lirpau in Natügu, is one of several local names recorded for this form of cloth. Historic examples survive in a relatively small number of museum collections. Their long, narrow proportions distinguish them from many of the much broader barkcloth traditions elsewhere in Oceania. Lepau were associated particularly with dress and ceremonial presentation. Museum records also identify closely related cloths as men's dance garments. Manufacture Nineteenth- and early twentieth-century accounts record barkcloth as an established part of material culture on Nendö. Bark was taken from several trees, including paper mulberry (Broussonetia papyrifera), breadfruit (Artocarpus altilis) and species of Ficus. The inner bark was separated ,soaked overnight in seawater and beaten into cloth before being dried and painted. Joest’s observations and collections from Nendö in 1897, followed by Graebner’s 1909 study and Speiser’s fieldwork at Graciosa Bay in 1912, provide the closest documentation for the period in which surviving historic lepau were made and used. Woman beating barkcloth near Graciosa Bay, Nendö, Santa Cruz Islands. Gerd Koch, 1967. . Detail of the Kiwa Lepau showing chevrons, crosshatching and densely worked painted bands. Small losses and edge wear remain Early collected examples An important group was collected on Nendö in August and September 1897 by the German ethnographer Wilhelm Joest. Several of these are now in the Rautenstrauch-Joest-Museum in Cologne. The proportions of some are particularly close to the Kiwa example. RJM 3984 measures 1460 × 400 mm, while related Joest examples measure 2050 × 400 mm and 2190 × 520 mm. Their documented collection in 1897 provides an important historical reference for the long, narrow Santa Cruz format. A cloth in the Museum of New Zealand Te Papa Tongarewa, donated by Alexander Turnbull in 1913, provides another early documented comparison. Although broader in format, it shares the use of pale divisions separating densely worked rectangular fields of fine geometric decoration. Painted barkcloth, Santa Cruz Islands. Museum of New Zealand Te Papa Tongarewa, FE000824. Gift of Alexander Turnbull, 1913. The Kiwa Art lepau The Kiwa cloth has considerable age with use visible in its surface. The edges are irregular and there are a number of small losses, but the painted decoration remains unusually complete. It comes from an old Auckland family and is known to have been in the family household by the mid-1920s. The family's Grandfather was an Anglican closely associated with the Melanesian Mission in Auckland, providing a plausible historical route by which the cloth reached New Zealand as the Mission was very active in Santa Cruz. Lower section of the Kiwa lepau, showing the repeated chevron, lattice and crosshatched bands, together with age-related losses. This provenance does not tell us precisely when the cloth was made. It does, however, establish that it was already in New Zealand by the first quarter of the twentieth century. Together with its form, condition and comparison with securely collected nineteenth-century examples, it strongly supports its place within the historic Santa Cruz barkcloth tradition. Chief from Nelua, Nendö, wearing an elaborate abe.Felix Speiser. 1912 Santa Cruz Islands, Solomon Islands Santa Cruz Islander in war dress, after a description furnished by A. Lister-Kaye. From Edge-Partington, 1890.

Mick Pendergrast circa 2000 Few books on Māori material culture have had the quiet, lasting influence of Raranga Whakairo: Māori Plaiting Patterns by Mick Pendergrast. First published in 1984, Raranga Whakairo documented more than 200 traditional Māori plaiting patterns gathered from woven objects throughout Aotearoa New Zealand. For weavers, artists, museums, libraries, collectors and students of Māori fibre arts, it became one of the essential reference works on raranga, kete whakairo and traditional Māori weaving design. After many years out of print, Kiwa Art is proud to have brought this important work back into production, ensuring it remains available to future generations. What is Raranga Whakairo? KETE Karu hāpuku Raranga Whakairo can be translated as decorative or patterned plaiting. In the context of Māori weaving, it refers to the rich visual language of pattern found in kete, whāriki, tauira and other woven forms. These patterns are more than decoration. They represent skill, memory, regional knowledge, inherited practice and design intelligence developed over generations. The forms can be beautifully geometric, yet they are also deeply human - produced through the movement of hands, fibre, concentration and knowledge passed from person to person. Mick Pendergrast’s book records these patterns with clarity and care. Each design is illustrated so that readers can see the structure of the pattern, not only its surface appearance. Where known, the accompanying notes provide information on makers, iwi affiliations, materials, construction methods and regional variations. This makes Raranga Whakairo both a practical weaving reference and an important document of Māori material culture. Why the book mattered in 1984 Kete whakairo Private collection When Raranga Whakairo was first published in 1984, many traditional Māori weaving practices were being actively revived, taught, researched and revalued. Across Aotearoa, weavers, educators, museums and cultural practitioners were working to ensure that knowledge held in taonga, memory and practice was not lost. The book arrived at an important time. Rather than treating woven objects simply as museum pieces, Raranga Whakairo looked closely at the intelligence within them. It recognised that the patterns themselves deserved careful study. The book helped make visible the complexity of Māori plaiting traditions and gave weavers, researchers and students a clear visual reference from which to learn. For many readers, it opened a door. A kete was not only an object. It was a structure, a pattern, a record of technique, a connection to place and people, and a source of continuing inspiration. Mick Pendergrast and the study of Māori fibre arts Kete whakairo ,Private collection Mick Pendergrast is widely respected for his contribution to the study and documentation of Māori weaving and fibre arts. His interest in plaiting began while teaching in communities on the East Coast of New Zealand. That early exposure developed into a lifelong engagement with weaving traditions, fieldwork and museum research. He later worked as a Volunteer Service Abroad teacher in the Solomon Islands and on the remote Polynesian island of Tikopia, experiences that deepened his understanding of Pacific fibre traditions and the relationship between making, culture and daily life. Mick on a return visit to Tikopia 1992 Mick also held positions within several of New Zealand’s leading museums, where he continued to study Māori material culture and fibre arts. His wider publications include Te Mahi Kete: Māori Basketry for Beginners and Feathers and Fibre, the catalogue accompanying the first major exhibition of Māori flax crafts, which he curated. What distinguishes his work is its combination of careful observation, respect for makers, and practical usefulness. Raranga Whakairo was not written as a distant academic exercise. It was made to be used. More than 200 Māori plaiting patterns Kete whakairo Private collection At the heart of Raranga Whakairo are the patterns themselves. The book documents more than 200 traditional Māori plaiting and weaving patterns, many recorded from original woven objects. These include patterns found on kete, floor mats, tauira and other forms of plait work. For a weaver, the value of this is immediately obvious. A pattern can be studied, traced, compared and attempted. For an artist or designer, the book reveals the sophistication of Māori patternmaking and the creative possibilities of repetition, variation and structure. For a museum, library or collector, it provides a way of better understanding the woven taonga in their care. The illustrations are one of the book’s great strengths. They reduce complex woven structures to clear visual information without stripping them of their beauty. This makes the book accessible to beginners while still being valuable to experienced practitioners. Why Raranga Whakairo still matters today More than forty years after its first publication, Raranga Whakairo remains relevant because the knowledge it records is not temporary. Traditional Māori weaving continues to be practised, taught and developed. Contemporary weavers build on inherited knowledge while also responding to new materials, new contexts and new audiences. Artists and designers continue to find inspiration in the balance, rhythm and geometry of Māori plaiting patterns. At the same time, access to reliable reference material remains essential. Many older books on Māori weaving are difficult to find, expensive second-hand, or held mainly in libraries. For students, community groups, artists, museums and independent learners, having a key work available again matters. A book like Raranga Whakairo does not replace direct teaching, whakapapa, wānanga or lived practice. But it does support learning. It provides a visual record, a reference point and a bridge between generations of knowledge. A resource for weavers, artists, museums and collectors One reason Raranga Whakairo has remained so respected is that it serves many different readers. For weavers, it is a practical reference to pattern and structure. For students, it is an introduction to the depth and variety of Māori plaiting traditions. For artists and designers, it is a source of visual inspiration. For museums and collectors, it helps identify and understand woven works with greater care. For libraries and educational institutions, it remains one of the essential books on Māori weaving and fibre arts. The book’s usefulness across these different fields is part of its enduring strength. It is both specialist and accessible - detailed enough to reward serious study, yet clear enough to invite new readers in. Why Kiwa Art brought the book back into print Kiwa Art has long worked with Māori and Pacific art, taonga, books and material culture. Bringing Raranga Whakairo back into print is part of that wider commitment. Important books should not disappear simply because they are difficult to source. When a publication continues to serve weavers, researchers, museums, artists and collectors, keeping it available becomes a form of cultural stewardship. For Kiwa Art, this edition is not simply a product. It is a way of helping ensure that Mick Pendergrast’s work remains accessible and that one of the most important references on Māori plaiting traditions can continue to be used. We are proud to make Raranga Whakairo available again for readers in Aotearoa New Zealand and internationally. The return of a landmark Māori weaving book The renewed availability of Raranga Whakairo is significant because the book continues to do what it has always done: preserve, clarify and share knowledge. It honours the makers whose work carried these patterns. It recognises the importance of Māori fibre arts. It supports those learning and teaching raranga today. And it offers artists, collectors and researchers a clear, beautifully structured guide to one of the great pattern traditions of Aotearoa. For anyone interested in Māori weaving, kete whakairo, flax weaving, Māori design, fibre arts or material culture, Raranga Whakairo remains an essential book. Available from Kiwa Art Raranga Whakairo: Māori Plaiting Patterns by Mick Pendergrast is now available from Kiwa Art. The new edition preserves the original content while presenting the work in an updated format, ensuring this landmark publication remains available for future generations. Shipping is available throughout New Zealand, and worldwide at cost. Wholesale enquiries from bookshops, galleries, museums and educational institutions are welcome. https://www.kiwaart.com/product-page/raranga-whakairo-mick-pendergrast

A Guide to Pacific Bark Cloth, Its History, Cultural Significance and Regional Styles By Kiwa Art – Specialists in Māori and Pacific Art since 1989 Tapa cloth is one of the Pacific's oldest and most extraordinary art forms — created not by weaving, but by transforming the soft inner bark of a tree into cloth through hours of patient beating. Long before European contact, the sound of wooden mallets striking bark echoed through villages from Hawaiʻi to Fiji, marking a craft passed from mother to daughter for generations. Far more than fabric, tapa carried genealogy, status, ceremony and identity — and today these barkcloths remain among Oceania's most treasured artistic traditions. For centuries, tapa was woven into the fabric of daily and ceremonial life — worn as clothing, exchanged at weddings and funerals, presented as chiefly gifts, and used in religious ceremony. Although the word tapa has become internationally recognised, each culture has its own name for this remarkable material. Island Group Traditional Name Tonga Ngatu Samoa Siapo Fiji Masi Niue Hiapo Hawaiʻi Kapa Cook Islands Tapa Tahiti Ahu How is Tapa Cloth Made? Every piece of tapa represents hours—and often days—of skilled manual labour. 1. Harvesting Young shoots of the paper mulberry tree (Broussonetia papyrifera) are harvested while the bark remains soft and flexible. Some island groups also used breadfruit or banyan, although paper mulberry produces the finest cloth. Tapa tree 2. Removing the Bark The outer bark is carefully peeled away, leaving only the soft inner bark, which forms the finished cloth. 3. Soaking The inner bark is soaked in water to soften the fibres before beating. 4. Beating Using carved wooden mallets, the bark is beaten on a hardwood anvil until it expands into a remarkably thin sheet. Different sides of the mallet have different grooves, allowing the fibres to spread evenly without tearing. Ike Tapa beater Niue,Kiwa Art Collection 5. Joining Individual strips are overlapped and beaten together until the fibres naturally interlock, creating much larger sheets. No modern glue is required. 6. Decorating Natural pigments made from earth, soot and plant dyes are used to decorate the finished cloth. Different island groups employ different techniques including: Hand painting Stencilling Rubbing over carved pattern boards Smoking Freehand brushwork Finally, the cloth is dried in the sun. Fijian Women decorating Masi 1960s Regional Styles Across the Pacific Every island developed its own distinctive artistic language. Tonga – Ngatu Tongan ngatu is perhaps the best-known form of tapa. Produced by groups of women working together, some ceremonial ngatu measure over 100 metres in length. Their characteristic appearance comes from repeating geometric panels created by rubbing the cloth over carved wooden pattern boards (kupesi) before adding painted details. Ngatu remains central to weddings, funerals and chiefly ceremonies. Ngatu Tonga Samoa – Siapo Samoan siapo often combines woodblocked rubbed designs with bold freehand painting. Artists commonly drew inspiration from breadfruit leaves, shells, fish, stars and local plant life. Every design carries cultural meaning rather than serving as simple decoration. SIAPO Samoa 1950s Fiji – Masi Fijian masi is recognised for its striking black geometric decoration and extraordinary variety of production techniques. Some pieces are rubbed, others stencilled or hand-painted, while the distinctive masi kuvui achieves its dark colouring through smoking. Masi remains an important ceremonial art in Fiji today. MASI Fiji Niue – Hiapo Many collectors consider nineteenth-century Niuean hiapo to be among the finest bark cloth produced anywhere in Oceania. Unlike the strongly geometric traditions elsewhere, hiapo frequently features detailed botanical studies, birds, fish and human figures executed with remarkable confidence. Authentic nineteenth-century hiapo has become increasingly scarce. Hiapo Niue Hawaiʻi – Kapa Hawaiian kapa reached an extraordinary level of refinement before European contact. The cloth was often exceptionally soft and finely beaten, with richly coloured geometric designs created using carved bamboo stamps and natural dyes. Many examples demonstrate remarkable technical precision. Kapa detail Hawaii Collecting Antique Tapa Tapa has never been simply a textile. Throughout the Pacific it embodies generosity, kinship, prestige and respect — accompanying births, weddings, funerals and chiefly installations, and becoming treasured heirlooms passed from one generation to the next.Interest in antique tapa has grown steadily among collectors and museums. Factors influencing desirability include:Island of origin.Age.Provenance.Rarity.Condition.Quality of decoration.Historical significance.Size.Some of the most sought-after examples include: Early Hawaiian kapa Fine nineteenth-century Niuean hiapo Large ceremonial Tongan ngatu Important Samoan siapo At Kiwa Art we particularly appreciate tapa that demonstrates outstanding craftsmanship together with clear cultural provenance. Browse our current collection of tapa cloth https://www.kiwaart.com/basketry-and-tapa Caring for Tapa Because tapa is made from natural bark fibres, proper care is important. We recommend: Avoid prolonged direct sunlight. Maintain stable humidity. Store rolled whenever practical. Avoid repeated folding. Use conservation-grade framing for important pieces. Seek professional conservation for fragile or historically significant examples. Frequently Asked Questions Is tapa woven? No. Unlike fabric, tapa is made from beaten bark fibres rather than woven threads. Is all tapa antique? No. Many Pacific communities continue to produce tapa today using traditional methods. Can tapa be framed? Yes. Conservation-grade mounting and UV-protective glazing are recommended for valuable examples. Is every design symbolic? Many motifs have cultural significance, although meanings vary between island groups and sometimes between individual communities. Is tapa still important today? Absolutely. Throughout much of Polynesia and Melanesia, tapa remains an important part of ceremonial and cultural life. About Kiwa Art Founded in 1989, Kiwa Art specialises in authentic Māori and Pacific art, with a particular interest in traditional carving, textiles, Oceanic artefacts and cultural heritage. Over more than three decades we have handled and studied hundreds of examples of tapa from across the Pacific allowing us to appreciate the remarkable diversity of this unique art form. We believe every piece deserves to be understood not simply as decoration, but as a work of cultural history and artistic achievement. Do you have a piece of tapa whose origin you'd like identified? We're always pleased to help collectors, families and museums better understand Pacific barkcloth. CONTACT

Kiwa Art, named after te moana nui a Kiwa or the great ocean of the Pacific, stocks traditional Maori and Pacific art and craft including wood carving, pounamu (NZ greenstone), bone carvings, tapa cloth, tribal jewellery and traditional artifacts. Online Art Dealer. Raranga Whakairo Māori Plaiting Patterns A landmark study of traditional Māori plaiting, documenting the extraordinary patterns and techniques of raranga. First published in 1984, Mick Pendergrast's important reference work is now available in a new edition from Kiwa Art Publishing. READ ABOUT THE BOOK BUY THE BOOK - NZ$110 google-site-verification: google474f2d20e50d8958.html New arrivals in our Parnell store. Please visit to view. Nguru Puriri $1,500.00 Price View More The James Hooper Collection BOOK $800.00 Price Taiaha John Collins $3,850.00 Price VIEW ALL ITEMS FOR SALE OUR COLLECTIONS POUNAMU NZ GREENSTONE OCEANIC ART MAORI WOOD CARVING BASKETRY JEWELLERY BOOKS SIGN UP TO GET UPDATES WHEN NEW STOCK ARRIVES. SUBMIT Thanks For Subscribing! ABOUT US KIWA ART, named after te moana nui a Kiwa or the great ocean of the Pacific, stocks traditional Maori & Pacific artefacts & craft including wood carving, pounamu (NZ Greenstone), bone carvings, tapa cloth, and tribal jewellery. Andrew Pendergrast has been trading in the traditional art of Austronesian cultures from New Zealand, the Pacific and Indonesia since 1989 after being inspired by a lengthy trip to Indonesia in 1987. He was mentored by his uncle Mick Pendergrast. author and Maori expert (especially in raranga whakairo), who was assistant curator at Auckland Museum. READ MORE

Within New Zealand we deliver to a physical address with signature required on delivery. If you work away from home it may be best to address to your personal attention at your place of work. The company name must be included for delivery. SHIPPING & RETURNS SHIPPING POLICY Within New Zealand we deliver to a physical address with signature required on delivery. If you work away from home it may be best to address to your personal attention at your place of work. The company name must be included for delivery. International shipping is possible. Please contact us with your address for quoted options. We DO NOT ship to PO Boxes unless at the purchasers request and then at their risk. Terms and Conditions Returns This website is owned and operated by Kiwa Art New Zealand These Terms set forth the terms and conditions under which you may use our website and services as offered by us. This website offers visitors art and craft handmade in NewZeland ,The pacific Islands, Indonesia and beyond. By accessing or using the website of our service, you approve that you have read, understood, and agree to be bound by these Terms. In order to use our website and/or receive our services, you must be at least 18 (eighteen)years of age, or of the legal age of majority in your jurisdiction, and possess the legal authority, right and freedom to enter into these Terms as a binding agreement. You are not allowed to use this website and/or receive services if doing so is prohibited in your country or under any law or regulation applicable to you. When buying an item, you agree that: (i) you are responsible for reading the full item listing before making a commitment to buy it: (ii) you enter into a legally binding contract to purchase an item when you commit to buy an item and you complete the check-out payment process.The prices we charge for our products are listed on the website. We reserve the right to change our prices for products displayed at any time, and to correct pricing errors that may inadvertently occur. RETURNS If in the rare event an item is damaged or you're not happy with the piece let us know at kiwaartparnell@gmail.com and we will arrange a replacement or a refund. A refund will be give when the item is returned within 30 days of receipt at the purchasers expense and less the cost of outward shipping. Damaged goods will be replaced or if we cannot find an appropriate item refunded in full. EMAIL.You agree to receive from time to time promotional messages and materials from us, by mail, email or any other contact form you may provide us with (including your phone number for calls or text messages). If you don't want to receive such promotional materials or notices – please just notify us at any time.

Kiwa Art has supplied dealers, collectors, museums and Institutions worldwide with traditional pieces before opening retail in 2004 and Parnell in 2010. Their extensive client base, excellent knowledge and many suppliers means they now have access to some exceptional pieces. ABOUT US Kiwa Art, named after te moana nui a Kiwa or the great ocean of the Pacific, stocks traditional Maori and Pacific art and craft including wood carving, pounamu (NZ greenstone), bone carvings, tapa cloth, tribal jewellery and traditional artifacts. Owner Andrew Pendergrast has been trading in the traditional art of Austronesian cultures from New Zealand, the Pacific and Indonesia since 1989 after being inspired by a lengthy trip to Indonesia in 1987. He was mentored by his uncle Mick Pendergrast. author and Maori expert (especially in raranga whakairo), who was assistant curator at Auckland Museum. Kiwa Art has supplied dealers, collectors, museums and Institutions worldwide with traditional pieces before opening retail in 2004 and Parnell in 2010. Their extensive client base, excellent knowledge and many suppliers means they now have access to some exceptional pieces. If there is something in particular you are looking for and it is not on display, please ask as there is a large inventory in storage and with many contacts we may well be able to find something to suit. MAKE SURE TO VISIT OUR SHOP AT 285 PARNELL ROAD AUCKLAND WHILE IN NEW ZEALAND CONTACT US SIGN UP TO GET UPDATES WHEN NEW STOCK ARRIVES. SUBMIT Thanks For Subscribing!