1. The haga rave glyph type does not show a picture of a 'bay', instead it appears to be an illustration of a bent branch.

Sometimes the implication may be not only bent but rather 'broken' as in Pa5-40:

"The Polynesians mingle the time-indications based on the position of the sun with others which are derived from the life of men and nature. We are told that the Hawaiian day was divided into three general parts, 1, breaking the shadows, 2, the plain, full day, 3, the decline of the day... " (Nilsson)

Pa5-40 could be an allusion to daybreak ('breaking the shadows').

A bent branch can symbolize 'change'. The 'curved' was according to the Pythagorean school a 'female' trait:

“Freeman describres the dualistic cosmology of the Pythagorean school (-5th century), embodied in a table of ten pairs of opposites. On one side there was the limited, the odd, the one, the right, the male, the good, motion, light, square and straight. On the other side there was the unlimited, the even, the many, the left, the female, the bad, rest, darkness, oblong and curved.” (Needham 3)

From this it is clear that there is a high probability for 'curved' to also imply 'darkness' in the minds of the Easter Islanders. This is one reason (among others) to interpret 'breaking the shadows' as going from the female night to the male day.

Night is divided in two parts by midnight. Noon has not the same power of division, because it is the same day before and after noon. Day is male, night is female.

The haga rave glyph type maybe should be understood not only as the object 'bent branch' but also - and primarily - as a symbol for the flexible 'female'. The bent branch is soft and pliant, otherwise it could not be bent at all - under stress it would break to pieces.

"In order to traverse these great distances, the Lapita must have been skilled navigators and sailors, just like their descendants, the Polynesians. Navigational techniques still in use in Micronesia may provide insight into the ancient traditions of Lapita and Polynesian seafaring. In traditional navigational schools on Puluwat in the Caroline Islands, students learn how to sail outrigger canoes. As Puluwat sailors conceptualize a voyage between two islands, it is the islands that move rather than the canoe: the starting point recedes as the destination approaches.

Puluwat map the skies by the constellations and the ocean by its distinguishing features; islands, reefs, swells, areas of rough water. Similarly, a Marshall Islands stick chart uses shells to indicate specific islands and patterns of sticks lashed together to illustrate currents and common wave formations in a form that is both supremely functional and aesthetically appealing." (D'Alleva)

Before we condemn the Polynesians for their ignorance when thinking that the canoe is standing still while the island in front is moving towards them, we should consider our own similar behaviour: We say that the sun and the stars move across the sky from east to west, when we instead ought to say that it is the earth which is turning.

Reality is hard to face. Therefore we prefer to say the sky is moving - not we down on earth. If we often used to travel long distances by canoe we would therefore (presumably) say that the water is moving - not we (in the canoe).

At the solstices the powers of light and darkness weigh equal, but there the most important changes occur, slowly at first and then accelerating.

In the Hawaiian language the word moai means 'bending over, arching like a tree', and at some point in life ('zenith') people indeed start to bend over, a process which is difficult to see at the beginning but very clear later in life. Their backs are no longer straight and their heads are leaning forward, starting to hang down like ripe fruits.

The 'fish hook' sign variant of hakaturou in for instance Ha6-6 could indicate this idea: 

Ha6-1	Ha6-2	Ha6-3	Ha6-4	Ha6-5	Ha6-6	Ha6-7	Ha6-8

A moai statue stands high, as if at zenith, helping to keep the sky up ('sky propper'). Combining the two moai concepts could be done by fusing together two glyph types:

One of the Rongorongo tablets and a petroglyph (Barthel 1962) indicate that the group of explorers of the immigrant cycle were known as 'roosters'. The same figurative meaning is found in a fragment of the Metoro chants:

The deeper meaning of this passage can be discovered by comparing it with the 'great old words' (Barthel 1959a:168).

The 'one who beats his wings' refers to the best person, and the 'one who ties up the fruit' refers to the richest. The 'one who scratches diligently' must be a person who is industrious, so that we can interpret the praise of a promising young man." (Barthel 2)

Ten (agahuru, hagauru). P Mq.: onohuú, okohuú, id. Ta.: ahuru. id. Churchill.

The Maori recognized two main divisions of the year: winter or takurua, a name for Sirius which then shone as morning star, and summer, raumati or o-rongo-nui, 'of the great Rongo', god of agriculture. They occasionally recognized spring as the digging season koanga, from ko, the digging stick or spade. The autumn or harvest season was usually spoken of as ngahuru, 'tenth' (month), although it was considered to include also the last two months of the year. Mahuru was the personification of spring. Makemson.

To feed. Poki hâgai, adopted child. Vanaga.

To feed, to nourish, forster-parent (agai); hagai ei u, to suckle. P Pau.: fagai, to feed, to maintain, to support. Mgv.: agai, to nurse, to nurture, to give food to, an adoptive or foster father; akaagai, to feed. Mq.: hakai, to feed. Ta.: faaai, to nourish, a foster-parent. Churchill.

Ancient name of summer (toga-hora, winter summer). Vanaga.

1. In haste (horahorau). 2. Summer, April; hora nui, March; vaha hora, spring. 3. 'Hour', 'watch'. 4. Pau.: hora, salted, briny. Ta.: horahora, bitter. Mq.: hoáhoá, id. 5. Ta.: hora, Tephrosia piscatoria, to poison fish therewith. Ha.: hola, to poison fish. Churchill.

Horahora, to spread, unfold, extend, to heave to; hohora, to come into leaf. P Pau.: hohora, to unfold, to unroll; horahora, to spread out, to unwrap. Mgv.: hohora, to spread out clothes as a carpet; mahora, to stretch out (from the smallest extension to the greatest), Mq.: hohoá, to display, to spread out, to unroll. Ta.: hohora, to open, to display; hora, to extend the hand in giving it. Churchill.

To have many descendants. Vanaga.

In the Hawaiian language the word moai means 'bending over, arching like a tree', and at some point in life ('zenith') people indeed start to bend over, a process which is difficult to see at the beginning but very clear later in life. Their backs are no longer straight and their heads are leaning forward, starting to hang down like ripe fruits. Could, maybe, the 'fishhook' variant of hakaturou in for instance Ha6-6 indicate this idea? Hardly, the 'head' is definitely not starting to hang down:

Ha6-1	Ha6-2	Ha6-3	Ha6-4	Ha6-5	Ha6-6	Ha6-7	Ha6-8

A moai statue stands high, as if at zenith, helping to keep the sky up ('sky propper'). Combining the 'sky propper' with haga rave can, though, be done by fusing together the two glyph types:

=

The 'fishhook' sign probably indicates the 'dry stage', the season when growth has stopped, cfr when Ure Honu hung the 'completely dried out' (pakapaka) head of king Hotu A Matua high under his roof. The distribuition of 'fishhooks' over the week indicates they correspond to the 2nd half, and the same pattern when used for the day will then lead to reading Ha6-6 as 'p.m.':

Sunday		Monday-Wednesday		Thursday-Saturday
Mars and Venus
Mercury and Saturn

In other words, the straight hakaturou glyph type often seems to indicate a season of 'leaf', while the bent variant apparently was used for the opposite season, the season of 'straw':

...  when it was desired to denote the whole year, the combined phrase 'winter and summer' was employed, or else equivalent concrete expressions such as 'in bareness and in leaf', 'in straw and in grass' ...