Reconsidering the preceeding glyphs are now necessary, I am convinced the sequence kua moe, reva te ika followed by tama, reva ika is meant to express fishing taboo - fishing begins. Metoro saw this in the glyphs and whether or not he associated with Tagaroa uri is irrelevant - his reading seems to be sound and correct:

 

The creator of the Keiti text must (reasonably) have connected his 6th period with Tagaroa uri.

 

What did he try to express in the preceeding glyphs?

 

If Eb3-17--18 is telling about the end of the fishing taboo, then the preceeding glyphs cannot, I guess, tell about coming events. Either they tell about events current in the 4th month or they tell about what already has passed.

Three events are described in Barthel 2: a) cleaning up the fields, b) fishing taboo is ending, and c) festival of thanksgiving (hakakio) in which fowl are presented.

I imagine hakakio ought to be documented among the glyphs in the 6th period, but cannot see any sign of that, and neither (I guess) could Metoro. But we have to look more closely to be sure.

 

The 'flavour' of kio is something small and fleeing away chirping like a little bird, it must be women and children rather than warriors, the weak rather than the strong. The weak will be defeated and become slaves.

Possibly the thanksgiving is done because the strong light has won against the weak darkness. The war between the two happens twice a year, and in spring light wins. Maybe, Tagaroa uri is the winner. However, north of the equator Tagaroa (Hawaiian Kanaloa) was associated with west and south, we remember:

 

Moving from north to south of the equator Tagaroa could have been renamed Tagaroa uri to show his changed character, now presiding in east and north instead of in west and south. Tagaroa alone in the dark shell is reborn in a mirrored position - as a light warrior, Tagaroa uri, the champion of spring greenery:

 

From this we can look with a new perspective on the 'shell halves' in Eb3-13 and Eb3-15:

 

The back side is tu'a, and kua tua te vaivai presumably means that the weak (half-year) (has) gone away, turned his back towards us (Eb3-13--14). The lonely crying, tuo, of the body, tino, (the sky shell of Tagaroa), is past (Eb3-15--16).

In this interpretation the arms showing thumb at right and elbow at left are not - as I earlier have imagined - arms which are lifting the sky roof up, but rather the weak arms of the defeated (kio). The same type of hand is 'waving goodbye' in Aa1-30, and then sun is gone (Aa1-32--33):

 

Here there is no elbow at left, though, and the elbow in toga (Aa1-33) is at right. Maybe the elbow is a sign of 'broken'. Eb3-14 and Eb3-16 are then, probably, expressing how 'the shadows' are 'broken'. In Aa1-30 it is the sun (at left in the glyph) who is 'broken', in the sequence Eb3-13--16 it is the 'shell of Tagaroa' (left) who is 'broken'.

I think much of the above is correct. But I am not going to change what I wrote more than to insert a 'maybe':

"In the 5th period of the E calendar spring equinox is described. Then, maybe, follows (in period 6) an overview ..."

Instead it feels necessary to document (at its proper place) in pure the main points now having been established as 'true'. It is time to go back to the pages in the glyph dictionary.