Taonga Puoro

Rehu are long flutes with a closed top and a transverse blowing hole, but with finger holes like the pōrutu. It’s name is an old one and suggests it was a prized embellisher of song. Rehu are similar to Pōrutu.

Pūrerehua or turorohu create eerie sounds as they spin on the ends of their cords. Stories are told of them calling rain, summoning tears and even enticing food from hiding places.

Te kū is a single stringed bow and is tapped with a rod while using the mouth cupped over the string to modify the resonance of sound- similar to the rōria.

This instrument is similar to the Jew’s harp. It has a slender tongue of bone or wood and is plucked to create sound through vibration. The mouth is used to manipulate the sound and produce various resonances.

Kōhatu (stones) are from the family of Papatüänuku. When tapped or rubbed together they resonate the movements of the earth mother. Kōhatu are the rhythm keepers.

The pūkāea was a wooden trumpet, up to 2.5 metres long. It was made by splitting a length of mataī, hollowing out each half, then binding them together, often with the aerial roots of the kiekie vine. The narrow end had a carved wooden mouthpiece and the other was flared out.

Pūtangitangi is often a term used to describe the harmonica or mouth organ. However, it’s name originally relates to the small seashells used to create a harmonious note.

These are large hue with the seeds removed. The neck is cut off and the sound comes from blowing over the top to create a vibrant bass sound.

This is a whistling gourd. They are swung on a cord (similar to the playing of the purerehua) and create a gentle, soft whistling sound.

This is a hue with its neck removed and is played with the nostrils to create a magical, enchanting sound.

Pūmotomoto are long flutes with a notched open top which becomes the blown edge and a single finger hole near the end. The pūmotomoto was traditionally played over the fontanelle of an infant to implant songs and information of the child’s iwi directly into his/her conscious.

Pōrutu are essentially long kōauau with usually three (but up to six) holes of the same relative spacing as kōauau but located near the bottom end.

Pākuru are long resonant rods held between the teeth and rhythmically tapped as they are sung over.

Porotiti are small discs with a looped cord, which are spun and create special rhythms as they wind and unwind.

To create a signalling trumpet called a pūtātara or pūmoana, the narrow end of a conch shell was cut off and a wooden mouthpiece added.

The sound is made placing the finger over the hole at the tapered end then blowing into the mouthpiece and at the same time quickly releasing the finger.

Karanga manu or kōauau pūtangitangi are calling flutes. They were tiny flutes used to lure birds by mimicking their own calls

Nguru (which are unique to New Zealand) are short semi-enclosed flutes with an upturned end, made from stone, wood or a whale tooth.

Kōauau are the most common type of Māori flute, and traditionally were made from various woods, kelp, albatross wing bones, human bones and probably moa bones.

The pūtōrino is a flute unique to New Zealand. It is torpedo-shaped (tapering at each end), like the cocoon of the case moth into which Raukatauri changed herself.