KONAE ARONUI

"I desperately want to get to my weaving but I feel like there's no time!"

Is not being able to find time to weave getting you down?

Break the weaving drought with these 7 top tips:

#1  Make a Date with Your Weaving

There are only 24 hours in a day. No more. No less. Scheduling time can make it possible to find more time to weave. Try to be realistic. 
Decide on a day or night that you will make your 'date with weaving' time. Treat it like a date - make sure the kids are taken care of, make a special space in your home for that weaving time, get yourself and everything ready. Turn up for your date. No rain checks or brush-offs.

#2  Start with a small project

Being over-ambitious can sometimes be counter-productive but if you start with something small, that can be achieved in a short space of time, it can swing you into action knowing that you can get your weaving project done.

#3  Try not attempting too many tasks at once - like gathering,...

Matariki is a time when the crisp, cool of early nights draws you inside to hunker down and turn inwards. It's the perfect time to start planting the seeds of your weaving dreams and make plans to bring those dreams to reality.

If you've been thinking about weaving kākahu, especially something like a korowai, then winter in the southern hemisphere is the time to begin honing your skills for the mammoth task that weaving a korowai is. (If you're in the northern hemisphere from June-August then you'll be thinking about harvesting for raranga).

Taaniko is the best thing to learn and practise first because it's one of those great indoor activities to do when you want to snuggle up on the sofa, keep warm and shut out the rest of the world. 

Once you've honed your taaniko skills through the winter months you'll be able to move on to hieke by the spring and by the time summer comes, you'll be finishing that hieke...

Of all the lessons we teach in Raranga, possibly THE most important one is Kono.  This simple four-cornered basket really is the humble beginning of many a great weaver.

So why are kono so important to learn to weave? 

Here are three of the best reasons you should learn to weave kono:

#1  You will learn to find your ara (weaving pathway) and keep it

#2  You will learn to make corners easier on a smaller item (such as a kono) first rather than a bigger item such as a kete

#3  You will be able to practise, practise, practise until you acquire the Raranga technique because you will be able to make many more kono one after the other and in doing so you will get more effective practise.

It could be argued (and you may be thinking this yourself) that you could learn those same things by weaving a kete. However, we'd like you to consider this:

Learning to weave a kono first, before you dive headlong into weaving kete, is a really great...

  Made for tv.

Let's be honest: it can be a scary thing selling your artwork. Even the most experienced artist can have a mini-panic attack at the thought of selling their work. I know many a seasoned artist who after years of selling their creations still have self-doubts when it comes to putting their work up for sale.

In another life, for almost a decade, I ran our family gallery at Waiwhetu and I owned Koha Gift stores in Queensgate Hutt City and North City Shopping Malls, Porirua. I have sold many an artwork on behalf of my whānau and other artists. So, while I'm not an artist, I know the signs of artist's fear and the thoughts that go through the mind of an artist when thinking about selling their work:

1. My work isn't good enough to sell
2. I'm too shy to sell my work
3. I don't know how to price my work

Just the thought of selling their artwork makes most artists terrified. Like a possum in headlights they become suddenly paralysed - unable to decide on a price, unable to...

Pictured: A mokopuna of Rangi and Erenora, Sophie Ani Owen, and her partner Dan Boyce in front of Te Kāwau Maro at the exhibition LEGACY: The Art of Rangi Hetet and Erenora Puketapu-Hetet, Dowse Art Museum 26 June - 30 October 2016.

A year ago we were celebrating the exhibition of our parents work. This September we are celebrating the launch of our NEW Website here at hetetschoolofmaoriart.com and we thought it apt to remember where this website and our online school began . . .

On a plinth, at the entrance to the six-gallery exhibition, a simple mussel shell and a mallet are displayed. Just beyond, a photograph of my mother Erenora and my father Rangi smiling on their 45th Wedding Anniversary welcomes visitors. The simplicity of that first exhibit belies the breadth of what is on show within: highlights from a creative partnership that spanned more than forty years.

As co-curator of the exhibition, my first job was to convince my father that an exhibition of his carving...

A short but precious film from Te Ara Encyclopaedia of New Zealand

Featuring Rangimarie Hetet and grand daughter Kahu Te Kanawa weaving alongside and her daughter Diggeress Te Kanawa speaking. Erenora Puketapu-Hetet and daughter Kataraina appear briefly at the end. 

Quite often the term "korowai" is used to speak of "cloaks" The term for "cloaks" is "nga kākahu". A "korowai" is a type of cloak. A "korowai" is adorned with hukahuka (tassles) and sometimes feathers - but ALWAYS - the main adornment is hukahuka. This is a korowai.

 A Korowai I wove in 2015 for the Ako Aotearoa Awards

The Real thing vs Imitation 'korowai'

I know that I've been privileged to grow up in a family where access to the real thing has been literally everyday. I'm sorry that all whānau Māori have not had the same access to this part of our cultural heritage, knowledge and skills. It's one of the unfortunate consequences of colonisation: it became much easier to acquire machine produced fabric than to laboriously weave by hand traditional garments such as korowai. Very quickly (within just a few generations) the tradition of korowai and other kãkahu weaving, as a commonly practised skill, died out.

A Korowai is handwoven using the whatu...

This is a question that most artists, artisans and craftspeople struggle with.

Our family has grappled with this question for decades and come up with an approach that seems to work.

As a former owner of several gift shops and a gallery for more than a decade, I have my own inside know-how about pricing that I'd like to share.

But before I get to that, let me ask you: how do you price your artwork? your carving, weaving, painting, tā moko, jewellery or whatever it is you are making?

Is it an ad hoc affair:

A cousin wants a patu to give to his son turning 21. You pluck a figure out of thin air - one that's less than you'd really like but one that you think your cousin can afford (and won't criticise you for). You end up just covering your costs.

A friend admires a kete you've finished and asks "how much?" You give it to her.
Someone tells you that you'd sell heaps of your stuff at the market so you book a stall, get up with the birds, set up, sit down, wait . . . maybe...

This is a question we get asked at least once a week here at the Hetet School of Māori Art.

"My (loved one) is (graduating, getting married, retiring, etc) next month. I'd like to give them a korowai. How much please?"

Before I answer that question - write down what your guesstimate is.
You can compare your guess with my answer at the end.

Let's use the simple formula: Basic Price = Cost of Materials + Cost of Time

Cost of materials

None. Pretty much.

A truckload (literally) of flax leaves and a few bird feathers plus some dye.
Natural dyes are free. The cost of power for preparing them is nominal.
Chemical ones will cost around $100.

Cost of Time

Here's where most of the real cost sits.

Step 1: To gather and strip enough flax for one medium sized korowai requires four flax-gathering trips -  5 hours

Step 2: Prepare Muka for weaving including:

Prepare flax for extraction of muka
Extract muka
Ply fibres
Wash
Patu
Komuri.
Prep feathers
A total of 250...