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NCEA L1 Toi Ataata study materials
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NCEA L1 Toi Ataata practice questions

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Question 1Toi Ataata (Māori visual arts) - domain weights not published in source

In Māori visual arts, what does the term kōwhaiwhai most specifically describe?

  1. Flax cloaks worn on the marae
  2. Painted rafter patterns in a wharenui Correct answer.
  3. Woven tukutuku wall panels
  4. Carved ancestor figures on a pou

Explanation

Kōwhaiwhai are the painted patterns, usually red, black and white, applied to the heke (rafters) and other elements inside a wharenui. They are a painting tradition distinct from carving and latticework. Tukutuku is the woven lattice panel that sits between the rafters and is a separate art form.

Question 2Toi Ataata (Māori visual arts) - domain weights not published in source

Tukutuku panels in a wharenui are made by which method?

  1. Lashing horizontal rods with crossed flax stitching Correct answer.
  2. Carving relief into a single timber slab
  3. Binding feathers onto a woven frame
  4. Painting pigment onto dried raupō reed

Explanation

Tukutuku is a latticework technique in which horizontal rods are crossed by vertical stakes and stitched with flax fibre, producing geometric patterns. The panels typically alternate with carvings along the walls of a meeting house. The stitching creates the pattern rather than pigment or carving.

Question 3Toi Ataata (Māori visual arts) - domain weights not published in source

What is the primary material traditionally used for the black pigment in Māori carving and painting?

  1. Crushed kōkōwai clay
  2. Powdered pounamu
  3. Ngaru ash from raupō
  4. Charcoal from burnt timber Correct answer.

Explanation

Black in traditional Māori art is generally obtained from charcoal or soot, often mixed with oil or sap to form a paint. Red comes from kōkōwai (red ochre), and white from clay or crushed material. Pounamu is a stone used for tools and ornaments, not a pigment source.

Question 4Toi Ataata (Māori visual arts) - domain weights not published in source

The spiral motif known as koru represents which idea in Māori visual arts?

  1. A carved gateway marking a pā
  2. An unfolding fern frond and new growth Correct answer.
  3. A woven basket used for food storage
  4. A star used for night navigation

Explanation

The koru is based on the unfolding shoot of the fern and is widely used to signify new life, growth and continuity. It appears in carving, kōwhaiwhai, raranga and contemporary design. Its meaning is tied to the plant form rather than to objects or navigation.

Question 5Toi Ataata (Māori visual arts) - domain weights not published in source

In whakairo, what is a poupou?

  1. A stone adze used for shaping timber
  2. A painted rafter pattern above the porch
  3. A carved figure set into the wall of a wharenui Correct answer.
  4. A woven floor mat of harakeke

Explanation

Poupou are the carved figures, often representing ancestors, that stand against the interior walls of a wharenui. They are a major form of whakairo and support the structure. They are distinct from painted rafters, floor mats and tools.

Question 6Toi Ataata (Māori visual arts) - domain weights not published in source

Which term describes the traditional Māori weaving of flax into baskets and mats?

  1. Whakairo
  2. Tā moko
  3. Haka
  4. Raranga Correct answer.

Explanation

Raranga is the weaving of harakeke (flax) into items such as kete and whāriki. It is one of the central Māori visual arts alongside whakairo and tukutuku. The other options refer to carving, skin marking and performance.

Question 7Toi Ataata (Māori visual arts) - domain weights not published in source

Tā moko differs from a tattoo applied with a modern machine mainly because it is:

  1. Applied only with needles and ink
  2. Stamped with heated metal plates
  3. Painted on and left to fade
  4. Carved into the skin with uhi chisels Correct answer.

Explanation

Tā moko traditionally uses uhi, small chisels, to cut and colour the skin, producing grooved lines rather than the smooth surface of machine tattooing. It carries whakapapa and identity significance. The technique is carving rather than puncturing with a single needle.

Question 8Toi Ataata (Māori visual arts) - domain weights not published in source

What is the function of the tekoteko on a wharenui?

  1. It is the threshold beam at the entrance
  2. It is the carved figure at the very top of the gable Correct answer.
  3. It is the woven panel between rafters
  4. It is the ridge pole running front to back

Explanation

The tekoteko is the carved figure placed at the apex of the gable, often representing an ancestor. It crowns the meeting house and is a prominent whakairo element. The threshold, ridge pole and lattice panels are separate named parts.

Question 9Toi Ataata (Māori visual arts) - domain weights not published in source

A student wants to describe how the pattern on a tukutuku panel is produced. Which explanation is most accurate?

  1. Timber is cut away to leave the pattern in relief
  2. Flax stitching crosses horizontal rods to form geometric motifs Correct answer.
  3. Pigment is brushed onto the rods in repeated spirals
  4. Feathers are glued onto a backing board

Explanation

Tukutuku patterns emerge from the stitching of flax fibre across horizontal rods, creating geometric forms such as purapura whetū. The technique is a form of latticework, not painting or carving. Recognising the method helps distinguish tukutuku from kōwhaiwhai and whakairo.

Question 10Toi Ataata (Māori visual arts) - domain weights not published in source

A carver chooses kauri for a large poupou. Which property most justifies this choice?

  1. Resistance to fire that suits outdoor carving
  2. Long straight grain and durability for large timber Correct answer.
  3. Bright red colour that removes the need for pigment
  4. Natural flexibility suited to fine stitching

Explanation

Kauri was prized for its long, straight grain and durability, making it suitable for substantial carved figures and structures. Its strength and workability supported large-scale whakairo. Colour and stitching properties are not the reasons kauri was selected.

Question 11Toi Ataata (Māori visual arts) - domain weights not published in source

Why do kōwhaiwhai patterns commonly use only a limited palette of red, black and white?

  1. These colours came from readily available ochre, charcoal and clay Correct answer.
  2. Only these pigments could survive on painted timber
  3. The palette marked a carver's rank within a hapū
  4. The colours were required by law for meeting houses

Explanation

Traditional pigments were limited by what could be sourced locally: kōkōwai for red, charcoal or soot for black, and white clay or crushed material for white. The restrained palette is a practical outcome of available materials. It was not a legal requirement or a rank marker.

Question 12Toi Ataata (Māori visual arts) - domain weights not published in source

In a wharenui, the interior is often described as representing the body of an ancestor. Which pairing best matches this idea?

  1. Poupou as eyes and tukutuku as teeth
  2. Paepae as head and tekoteko as feet
  3. Tahuhu as spine and heke as ribs Correct answer.
  4. Kōwhaiwhai as hands and whāriki as hair

Explanation

The meeting house is frequently read as an ancestor's body, with the tahuhu (ridge pole) as the spine and the heke (rafters) as ribs. This metaphor organises the building's parts into a coherent whole. Other pairings misassign body parts to structural elements.

Question 13Toi Ataata (Māori visual arts) - domain weights not published in source

Which statement best explains the relationship between koru, kōwhaiwhai and whakairo?

  1. Kōwhaiwhai is a weaving style that replaces carving
  2. Whakairo is a pigment used to paint koru patterns
  3. Koru is a carving technique used only on poupou
  4. Koru is a motif that can appear across both painting and carving Correct answer.

Explanation

The koru is a motif rather than a single technique, so it can be rendered in kōwhaiwhai painting, whakairo carving and other media. This flexibility is why the same form appears across different art forms. The other options confuse a motif with a technique or a material.

Question 14Toi Ataata (Māori visual arts) - domain weights not published in source

A weaver selects harakeke leaves for a kete. Which practice reflects correct traditional harvesting?

  1. Pull the whole fan including the root
  2. Cut outer mature leaves and leave the central shoot Correct answer.
  3. Cut leaves at midday and store them dry for weeks
  4. Take only the youngest inner leaves

Explanation

Correct harvesting takes the outer mature leaves while leaving the central shoot and root so the plant continues to grow. This reflects the principle of sustainable use of the resource. Removing the whole fan or only the tender inner leaves damages the plant or yields weak fibre.

Question 15Toi Ataata (Māori visual arts) - domain weights not published in source

Which feature most clearly identifies a whakairo carving as depicting a specific ancestor rather than a generic figure?

  1. The overall height of the figure
  2. The presence of any spiral form on the body
  3. Surface patterns and attributes linked to that ancestor's whakapapa Correct answer.
  4. The use of kauri rather than other timbers

Explanation

Specific ancestors are identified through surface patterns, attributes and the whakapapa recorded in the carving, which connect the figure to a known person and lineage. Material, height and the mere presence of spirals are not identifying markers. Carvers encode identity in these details.

Question 16Toi Ataata (Māori visual arts) - domain weights not published in source

What does the term whakapapa contribute to understanding a carved meeting house?

  1. It describes the weaving pattern of tukutuku
  2. It records the genealogical relationships the carvings represent Correct answer.
  3. It sets the protocol for entering the porch
  4. It names the pigments used on the rafters

Explanation

Whakapapa is genealogy, and in a wharenui it links the carved ancestors and the community to specific lines of descent. Understanding whakapapa clarifies why particular figures are placed where they are. It is not a pigment, pattern or entry protocol term.

Question 17Toi Ataata (Māori visual arts) - domain weights not published in source

A contemporary Māori artist incorporates kōwhaiwhai forms into a digital print. Which statement best evaluates this practice?

  1. It is invalid because kōwhaiwhai must remain on timber rafters
  2. It removes all meaning because the medium has changed
  3. It is carving rather than painting and so belongs to whakairo
  4. It extends a living tradition by adapting established motifs to a new medium Correct answer.

Explanation

Māori visual arts are living traditions, and artists regularly adapt established motifs such as kōwhaiwhai to new media including print and digital work. The meaning is carried by the motif and its context, not fixed to one material. Change of medium does not automatically invalidate the work.

Question 18Toi Ataata (Māori visual arts) - domain weights not published in source

Which combination correctly pairs a Māori art term with its English description?

  1. Raranga - carved wall figure
  2. Kōwhaiwhai - woven floor mat
  3. Whakairo - painted rafter pattern
  4. Tukutuku - stitched lattice panel Correct answer.

Explanation

Tukutuku is the stitched lattice panel form found in meeting houses. Whakairo is carving, raranga is weaving, and kōwhaiwhai is painted rafter patterning. Matching terms to their techniques is essential vocabulary for this domain.

Question 19Toi Ataata (Māori visual arts) - domain weights not published in source

A carver is asked to create a piece for a new wharenui and must decide which elements will carry ancestral identity. Which approach is most consistent with whakairo convention?

  1. Use only symmetrical spirals with no distinguishing detail
  2. Incorporate named patterns and attributes tied to the ancestors represented Correct answer.
  3. Choose the cheapest timber to keep costs low
  4. Avoid any reference to whakapapa to keep the design neutral

Explanation

Whakairo convention ties carved figures to named ancestors through specific patterns and attributes, so the carver must incorporate those identifying details. Generic spirals or deliberately neutral designs would not carry the required identity. Material cost is secondary to cultural accuracy.

Question 20Toi Ataata (Māori visual arts) - domain weights not published in source

Which statement best distinguishes kōwhaiwhai from tukutuku within a wharenui?

  1. Kōwhaiwhai is carved into posts while tukutuku is painted on panels
  2. Both are painted, but only kōwhaiwhai uses red ochre
  3. Kōwhaiwhai is painted onto rafters while tukutuku is stitched latticework Correct answer.
  4. Both are woven, but only tukutuku uses flax fibre

Explanation

The two forms sit near each other in the meeting house but use different techniques: kōwhaiwhai is painted, typically on the heke, while tukutuku is stitched latticework. Recognising the medium is the clearest way to tell them apart. The other options misstate the techniques.

Question 21Toi Ataata (Māori visual arts) - domain weights not published in source

A student argues that tā moko is simply a Māori word for tattoo. Which response is most accurate?

  1. It describes temporary paint markings
  2. It is an exact synonym with no cultural distinction
  3. It refers only to tattoos on the face
  4. Tā moko is a distinct practice using uhi and carrying whakapapa meaning Correct answer.

Explanation

Tā moko is a distinct cultural practice that traditionally uses uhi chisels and conveys identity, whakapapa and status. It is not a simple synonym for any tattoo. While facial moko is well known, tā moko also appears on other parts of the body.

Question 22Toi Ataata (Māori visual arts) - domain weights not published in source

Which feature of the koru makes it especially adaptable across different Māori art forms?

  1. It only works when painted in red and black
  2. It requires carving tools to be recognisable
  3. It depends on a specific flax weaving technique
  4. Its simple spiral form can be scaled and rendered in many media Correct answer.

Explanation

The koru's simple spiral structure allows it to be scaled up or down and rendered in carving, painting, weaving and contemporary media. This formal simplicity is why it appears so widely. It is not tied to one tool, palette or weaving method.

Question 23Toi Ataata (Māori visual arts) - domain weights not published in source

A wharenui is described as a 'living ancestor'. Which interpretation best captures this idea in relation to its visual arts?

  1. The building must be rebuilt whenever an ancestor dies
  2. The term refers solely to the physical strength of the timber
  3. Carving, painting and weaving together embody the community's history and relationships Correct answer.
  4. Only the tekoteko carries meaning while the interior is decorative

Explanation

Calling a wharenui a living ancestor means its combined visual arts, including whakairo, kōwhaiwhai and tukutuku, embody the history, relationships and whakapapa of the community. The whole building participates in that meaning rather than one part alone. The phrase is not about structural strength or rebuilding rules.

Question 24Toi Ataata (Māori visual arts) - domain weights not published in source

Which reasoning best explains why early Māori carvers developed surface patterns that follow the grain of the timber?

  1. Patterns following the grain were mandated by tohunga whakairo
  2. Working with the grain suits the tools and strengthens the carved form Correct answer.
  3. The grain dictated which ancestors could be depicted
  4. Grain-following patterns were easier to paint in red ochre

Explanation

Following the grain aligns the carving with the timber's natural structure, which suits the tools available and produces stronger, more stable forms. This is a practical response to the material. It is not a mandated rule, a painting convenience, or a determinant of which ancestors appear.

Question 25Toi Ataata (Māori visual arts) - domain weights not published in source

Two artists produce work using koru forms: one carves a poupou, the other makes a digital animation. Which statement best evaluates the relationship between their works?

  1. Both engage a shared motif, but the medium shapes how meaning is expressed Correct answer.
  2. The animation is authentic only if it copies the carving exactly
  3. Neither work is Māori art because the koru is only decorative
  4. The carver's work is authentic while the animation cannot be Māori art

Explanation

Both works draw on the shared koru motif, but the medium, carving versus digital animation, shapes how the meaning is expressed and received. Authenticity is not determined by medium alone, nor by exact copying. This reflects the living, adaptive nature of Māori visual arts.

Question 26Toi Ataata (Māori visual arts) - domain weights not published in source

In a wharenui, the interior is often described as representing the body of an ancestor. Which pairing best matches this symbolism?

  1. Floor as the face and posts as the fingers
  2. Ridgepole as the spine and rafters as the ribs Correct answer.
  3. Doorway as the heart and windows as the eyes
  4. Gable as the feet and threshold as the head

Explanation

The ridgepole (tāhuhu) is commonly understood as the spine, with rafters (heke) as the ribs of the ancestral body. This framework organises the whole interior as a single ancestral figure.

Question 27Toi Ataata (Māori visual arts) - domain weights not published in source

A carver is asked to create a piece for a new wharenui and must decide which elements will carry ancestral identity. Which choice is most appropriate?

  1. Leave the figure uncarved and let the viewer decide who it represents
  2. Copy the design of a famous carving from a different iwi to save time
  3. Use only generic spirals so that no particular ancestor is implied
  4. Consult with the hapū about which ancestor the figure represents and follow the appropriate tribal style Correct answer.

Explanation

Ancestral identity in whakairo depends on consultation with the community and adherence to the appropriate tribal style and whakapapa. This ensures the figure correctly represents the intended ancestor.

Question 28Toi Ataata (Māori visual arts) - domain weights not published in source

A wharenui is described as a 'living ancestor'. Which interpretation best captures this idea in relation to its visual arrangement?

  1. The building is a museum object that should not be used for gatherings
  2. The phrase refers only to the age of the timber used
  3. The building's structure and carvings together embody the ancestor's body and continue to host community life Correct answer.
  4. The ancestor is represented solely by a photograph inside the house

Explanation

Calling a wharenui a living ancestor links its architecture and carvings to an ancestral body while it remains in active community use. The building is not a static exhibit but a place where the ancestor is hosted and honoured.

Question 29Toi Ataata (Māori visual arts) - domain weights not published in source

Two artists produce work using koru forms: one carves a poupou, the other makes a digital animation. Which statement best compares the two works?

  1. Both engage with a shared Māori visual vocabulary while differing in medium and context Correct answer.
  2. Only the carving can be considered Māori art because it uses traditional tools
  3. Only the animation is contemporary, so the carving has no relevance today
  4. Neither work relates to Māori art because the koru is a universal shape

Explanation

Both works draw on the koru as part of a shared Māori visual vocabulary, but they differ in medium, technique and audience. Recognising this shared vocabulary allows comparison without ranking one medium above another.

Question 30Toi Ataata (Māori visual arts) - domain weights not published in source

A tukutuku panel uses the pattern known as purapura whetū. What does this pattern represent?

  1. A single ancestor's face
  2. Stars scattered across the sky Correct answer.
  3. The roots of the harakeke plant
  4. The waves of the sea

Explanation

Purapura whetū translates as scattered stars, and the pattern uses small cross-stitched motifs to represent stars in the night sky. It is one of several named tukutuku patterns with specific meanings.

Question 31Toi Ataata (Māori visual arts) - domain weights not published in source

A visitor wants to understand why a particular wharenui is named after a specific ancestor. Which source would best explain this?

  1. A general dictionary definition of the ancestor's name
  2. The whakapapa and oral histories held by the hapū associated with the house Correct answer.
  3. A tourist brochure listing nearby attractions
  4. The price paid for the timber used in construction

Explanation

The name of a wharenui is tied to the whakapapa and histories held by the hapū that built and use it. Those oral sources explain the relationship between the ancestor and the community.

Question 32Toi Ataata (Māori visual arts) - domain weights not published in source

A carver is restoring a nineteenth-century poupou that has lost some surface detail. Which approach best reflects appropriate practice?

  1. Sand the whole surface smooth and recarve it in a modern style
  2. Apply a bright modern paint to cover the damaged areas
  3. Leave the poupou untouched and refuse any discussion of restoration
  4. Research the original style and consult the descendant community before deciding how to treat the surface Correct answer.

Explanation

Restoration of ancestral carvings requires research into the original style and consultation with the descendant community, whose authority governs the work. This balances preservation with cultural responsibility.

Question 33Toi Ataata (Māori visual arts) - domain weights not published in source

Which statement best evaluates the claim that kōwhaiwhai patterns are purely decorative?

  1. The claim is strong because the patterns are hidden from view
  2. The claim is weak because patterns carry names, genealogies and meanings that connect to the house's identity Correct answer.
  3. The claim is strong because the patterns repeat without variation
  4. The claim is weak because the patterns are always carved rather than painted

Explanation

Kōwhaiwhai patterns are named and carry associations with ancestors, genealogy and narrative, so they are more than surface ornament. Evaluating them as purely decorative ignores this layer of meaning.

Question 34Toi Ataata (Māori visual arts) - domain weights not published in source

A hapū is planning a new wharenui and debates whether to use machine-cut panels to reduce cost. Which consideration is most significant in evaluating this choice?

  1. Whether machine cutting is faster than hand carving
  2. Whether the panels can be produced in a brighter colour
  3. Whether the process preserves the cultural authority and meaning carried by the carvings Correct answer.
  4. Whether the builders can avoid consulting the hapū

Explanation

The key question is whether a new process still upholds the cultural authority and meaning of the carvings for the hapū. Speed, colour and avoiding consultation are secondary or inappropriate considerations.

Question 35Toi Ataata (Māori visual arts) - domain weights not published in source

Which analysis best explains why the same koru motif can carry different meanings in different contexts?

  1. Meaning is determined entirely by the size of the motif
  2. Meaning depends on the whakapapa, placement and purpose given by the community, not on the shape alone Correct answer.
  3. Meaning depends only on the colour of the pigment used
  4. The shape has one fixed meaning that never changes

Explanation

A motif's meaning is produced through its whakapapa, placement and purpose within a community, so the same shape can carry different associations. The form alone does not fix a single meaning.

Question 36Toi Ataata (Māori visual arts) - domain weights not published in source

In Māori visual arts, what does the term raranga refer to?

  1. The weaving of harakeke and other plant fibres Correct answer.
  2. The painting of kōwhaiwhai patterns
  3. The carving of wood and bone
  4. The application of tā moko

Explanation

Raranga is the Māori art of weaving, most commonly practised with harakeke (New Zealand flax) to make kete, whāriki and tukutuku. The other terms name different disciplines: whakairo is carving, tā moko is skin marking, and kōwhaiwhai is painted rafter pattern work.

Question 37Toi Ataata (Māori visual arts) - domain weights not published in source

A weaver selects harakeke leaves for a kete. Which practice best reflects customary harvesting protocol (tikanga)?

  1. Cutting all leaves from several fans at once for uniformity
  2. Pulling the whole fan from the ground so the fibre is longest
  3. Taking only the outer mature leaves and leaving the rito and muka Correct answer.
  4. Cutting the rito and outer leaves together to save time

Explanation

Customary tikanga protects the growth of the plant: the rito (central shoot) and the young inner leaves are left so the fan continues to grow, and only mature outer blades are taken. Cutting correctly, often with an angled cut, also allows the plant to recover. Taking the whole fan or the rito damages future growth and breaks the protocol.

Question 38Toi Ataata (Māori visual arts) - domain weights not published in source

What is the primary structural material traditionally used for the pou tokomanawa of a wharenui?

  1. Painted plaster
  2. Woven harakeke panels
  3. Fired clay
  4. Carved wood Correct answer.

Explanation

The pou tokomanawa is the central support post of a wharenui, traditionally fashioned from carved wood and understood as linking the ancestor's body to the building. Wood is the structural material of the main carvings, while harakeke appears in tukutuku and plaster and clay are not customary structural media here.

Question 39Toi Ataata (Māori visual arts) - domain weights not published in source

A student examines a carved pare and notes spiral forms. Which term names the spiral motif built around an unfolding shoot?

  1. Niho taniwha
  2. Pākati
  3. Unaunahi
  4. Koru Correct answer.

Explanation

The koru is the spiral motif derived from the unfolding fern shoot and is one of the most widespread forms in Māori art. Unaunahi depicts fish scales, niho taniwha depicts the teeth of the taniwha, and pākati is a notched carving pattern; none of these is the shoot spiral.

Question 40Toi Ataata (Māori visual arts) - domain weights not published in source

A kōwhaiwhai pattern on the heke of a wharenui is being analysed. Which statement best explains how the pattern functions in that position?

  1. It works with the carving and tukutuku to reinforce the identity and stories of the ancestor Correct answer.
  2. It provides a decorative surface with no relationship to the building's narrative
  3. It marks the boundary between tapu and noa areas of the marae
  4. It repeats a design whose meaning is fixed and identical in every wharenui

Explanation

Kōwhaiwhai on the heke (rafters) participates in the wider programme of the wharenui, where carving, tukutuku and painting together express the ancestor's identity and associated narratives. The patterns are not merely ornamental, nor is their meaning fixed regardless of context. The tapu/noa boundary is not what this painted pattern primarily marks.

Question 41Toi Ataata (Māori visual arts) - domain weights not published in source

Which statement correctly describes tukutuku?

  1. It is a painted pattern applied to carved figures
  2. It is a stone tool used for carving wood
  3. It is a form of tattoo applied to the face
  4. It is a lattice-work panel of crossed fibres stitched to form patterns Correct answer.

Explanation

Tukutuku are woven lattice panels made by lashing and stitching fibres across a frame, commonly placed between the carvings of a wharenui. They are distinct from painting, tattooing and carving tools. The technique produces geometric patterns such as purapura whetū.

Question 42Toi Ataata (Māori visual arts) - domain weights not published in source

A carver wants a surface pattern that echoes the scales of a fish. Which motif is most appropriate?

  1. Muka
  2. Kōwhaiwhai
  3. Koru
  4. Unaunahi Correct answer.

Explanation

Unaunahi is the pattern of small curved forms arranged to resemble fish scales, often used on carved surfaces. Koru is the shoot spiral, kōwhaiwhai is painted rafter decoration, and muka is prepared flax fibre rather than a motif.

Question 43Toi Ataata (Māori visual arts) - domain weights not published in source

Which statement best explains the relationship between whakairo and mana in a Māori context?

  1. Carving has mana only when displayed in a museum
  2. Carving transmits and upholds the mana of the ancestor and the community represented Correct answer.
  3. Carving removes mana from the subject because it fixes the ancestor in wood
  4. Carving is valued only for the skill of the carver, independent of the subject

Explanation

Whakairo is understood as a way of honouring and transmitting the mana of ancestors and the communities who commission the work. The carver's skill matters, but the value is not separable from the subject and its relationships. Fixing an ancestor in wood does not diminish mana; it is a means of upholding it.

Question 44Toi Ataata (Māori visual arts) - domain weights not published in source

A student is told that tā moko is permanent and personal. Which feature of tā moko most directly supports the idea that it records identity?

  1. It uses only black pigment
  2. It is designed in relation to whakapapa and status Correct answer.
  3. It can be removed with laser treatment
  4. It is applied with modern tattoo machines

Explanation

Tā moko is designed in relation to a person's whakapapa, status and roles, so the pattern itself records identity. The tool used, the possibility of removal, and the colour of pigment do not by themselves carry that identifying function. This is why the designs are personal rather than interchangeable.

Question 45Toi Ataata (Māori visual arts) - domain weights not published in source

Which statement best describes the role of the tekoteko on a wharenui?

  1. It is the carved figure placed at the apex of the roof Correct answer.
  2. It is the threshold beam at the entrance
  3. It is the central support post inside the house
  4. It is the woven panel between the rafters

Explanation

The tekoteko is the carved figure at the apex of the wharenui roof, often representing an ancestor. The threshold beam is the paepae, the interior central post is the pou tokomanawa, and woven panels between carvings are tukutuku. Each element occupies a distinct position in the building.

Question 46Toi Ataata (Māori visual arts) - domain weights not published in source

A hapū is commissioning a new wharenui and wants the carvings to reflect their own histories rather than those of another iwi. Which consideration is most important?

  1. Choosing patterns solely for their visual appeal to visitors
  2. Ensuring the carver understands the hapū's whakapapa and narratives Correct answer.
  3. Copying a well-known wharenui design so the work is recognisable
  4. Selecting the cheapest available timber to keep within budget

Explanation

Because whakairo carries ancestral identity, the carver must understand the hapū's whakapapa and narratives so the work represents those specific people. Copying another wharenui would misattribute identity, and cost or visitor appeal cannot override that requirement. The relationship between carver and community is central to the commission.

Question 47Toi Ataata (Māori visual arts) - domain weights not published in source

Which statement best evaluates the use of a traditional raranga pattern in a contemporary Māori artwork made of recycled plastic?

  1. The work has no relationship to Māori art because the material is not natural
  2. The work can engage raranga knowledge while changing the material, with meaning depending on the artist's intent and context Correct answer.
  3. The work is automatically traditional because it uses a raranga pattern
  4. The work is invalid because raranga requires harakeke

Explanation

Contemporary Māori artists often carry customary pattern knowledge into new materials, and the meaning of such work depends on the artist's intent, the pattern's source and how it is presented. Material alone does not determine authenticity, and using a pattern does not automatically make a work traditional. Evaluating the work requires attention to both its references and its context.

Question 48Toi Ataata (Māori visual arts) - domain weights not published in source

What does the term muka refer to in Māori weaving?

  1. The dye used to colour fibres
  2. The prepared fibre extracted from harakeke leaves Correct answer.
  3. The wooden frame of a tukutuku
  4. The completed patterned panel

Explanation

Muka is the soft white fibre scraped from harakeke leaves and prepared for weaving and cord-making. It is distinct from the finished panel, the wooden frame, and dyes. Muka is a material rather than a completed object.

Question 49Toi Ataata (Māori visual arts) - domain weights not published in source

A visitor asks why a particular wharenui carries the name of a specific ancestor. Which evidence would best support an answer?

  1. The size of the building compared with nearby wharenui
  2. The number of visitors the wharenui receives each year
  3. The market price of the carvings inside
  4. The hapū's oral narratives and whakapapa relating to that ancestor Correct answer.

Explanation

The name of a wharenui is grounded in the hapū's whakapapa and oral narratives, which explain the ancestor's relationship to the community. Physical size, market value and visitor numbers do not establish ancestral identity. Oral sources held by the hapū are the appropriate evidence.

Question 50Toi Ataata (Māori visual arts) - domain weights not published in source

Which statement best explains why tukutuku patterns such as purapura whetū are meaningful within a wharenui?

  1. They represent natural phenomena and concepts that contribute to the ancestor's identity Correct answer.
  2. They indicate the building's construction date
  3. They fill gaps left by the carvers
  4. They mark which panels were made by children

Explanation

Tukutuku patterns carry meanings drawn from the natural and spiritual world; purapura whetū, for example, refers to the scattering of stars. These meanings contribute to how the wharenui expresses the ancestor's identity. They are not filler, nor do they record dates or the age of makers.