TRANSLATIONS

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3. There could be an orifice (a hole, pu) in the centre of vaha kai. Holes are dark, cold and often filled with water. A hole could be the entrance to the world below.

There are holes around the horizon, through which the winds, the celestial bodies, and ships must find their way. At the horizon in the northeast sun emerges every morning. At the opposite horizon sun leaves in the evening. Morning 'birth' and evening 'death' are then transposed to the year, with sun reappearing around spring equinox and leaving again half a year later.

Sun is reborn through an orifice (a 'birth canal') which seemingly leads him back to our world after having being recycled, 'eaten', by the opening in the west. Down he went into the underworld, through which he must travel during the night to reappear fresh again in the east in the morning.

... 'My child', said Makea now in a tone of deep sorrow, 'there has been a bad omen for us. When I performed the tohi ceremony over you I missed out a part of the prayers. I remebered it too late. I am afraid this means that you are going to die.' 'What's she like, Hine nui te Po?' asked Maui. 'Look over there', said Makea, pointing to the ice-cold mountains beneath the flaming clouds of sunset. 'What you see there is Hine nui, flashing where the sky meets the earth. Her body is like a woman's, but the pupils of her eyes are greenstone and her hair is kelp. Her mouth is that of a barracuda, and in the place where men enter her she has sharp teeth of obsidian and greenstone ... 

This idea may have guided the creator of the G text when he decided to put a vaha kai at the end of the year:

Gb5-6 (360) Gb5-7 Gb5-8 Gb5-9 Gb5-10 Gb5-11 Gb5-12
Gb5-13 Gb5-14 Gb5-15 Gb5-16 Gb5-17 Gb5-18 Gb5-19

The 4 fishes which then will rise evidently are connected with vaha kai because we saw them also in the text on the Paris Snuff Box:

Yc1-103 Yc1-104 Yc1-105 Yc1-106 Yc1-107

 

 

4. That the main variant of vaha kai indeed can be read as a mouth becomes evident when we consider how the sign has been used in the face of this ao ('dance paddle'):

The for us peculiar form of the upper lip can been explained:

"... what appears to be a full-frontal face in Maori art is actually a split representation composed of two profile forms, a feature of Maori tattoo and carving first described by Lévi-Strauss (1963: 256-64) following Boas's analysis of the same phenomenon in North-west Coast American Indian art (Boas 1955: 223ff).

Split representation allows all the essential features of a three-dimensional animal or human to be shown clearly without perspective distortion on a flat or relief surface or on a three-dimensional form different from the natural animal form.

This obviously meets the need of a 'conceptual' art anxious to represent ancestors correctly with all necessary details present. Split representations explains the deep v-shape between the brows of Maori faces, the frequently doubled nose and the convergence of lips at the centre line of the face." (Starzecka)

 

If the V-form represents the center of the upper lip, then the body must be oriented with head towards west respectively - in the reversed variant - to the east:

head in west (death) head in east (birth)
Gb5-10 Yc1-103