Kaha Tattoo: The Maori-Connection in Europe

By Travelin’ Mick

Traditional Maori Moko

Ta moko are the spectacular tattoos of the Maori people of New Zealand (Aotearoa). Only a few outsiders are given the privelege to delve into the history and deep symbolism of this ancent artform. German tattoo artist Volle, of Kaha Tattoo, is one of the chosen few.

Aotearoa

If everything would have taken its course normally, Volle would be working in your everyday tattoo shop, one of thousands, maybe doing ordinary flash design, nothing outstanding. But he found a passion early on in his life, a passion that made him now one of the Ta Moko artists outside New Zealand. His love of carving and the art of the Pacific led the forty-year-old on a life-changing journey that hasn’t ended until now, and shall never do so, if it is up to him.

In his private studio not too far from Stuttgart, in the south of Germany, Volle doesn’t simply tattoo, he applies ta moko, the meaningful markings of the Maori, the native people of Aotearoa, a land they themselves call “The Land of the Long White Cloud.” To call ta moko a tattoo is seen, at the very least, ignorant, if not insulting, by them, because the symbols—exclusively adopted from nature—have a much deeper significance to the bearer than mere decoration.  Because of the sensitive relationship of Maori and Pakeha (as non-Maori are called), they normally do not appreciate it, when descendants of the former colonial powers apply traditional markings, particularly if that happens without knowledge of the strict rules of ta moko.

Over two centuries, English (and later New Zealand), rulers have suppressed this ancient art and almost succeeded in its total extinction. Only in a few scattered families and the most remote areas, some knowledge has been preserved from the 19th Century, which could recently be revived over the past twenty-five years. Volle, through the power of his curiosity, an honest interest and a bit of luck a deep insight into the Maori tradition, now has the privilege to pass the ta moko on in Europe.

“Even as a child, those stories of sailors and pirates have fascinated me,” says Volle. “My first record was Herman Melvilleۥs Moby Dick, with the tattooed whale hunter Queequeg. For me, he was the real hero of the story. Or Mutiny on the Bounty, where sailors got tattooed in Tahiti with bone tools, and never wanted to go home again. Somehow, tattoos always represented strength, beauty and joy of living, for me!

“After a bad experience, during some early visits, I decided to become a tattooist, but one that actually listens to the customers and tries to accommodate their wishes. A local artist helped me along and, with lots of work and discipline, I finally managed to own my own business.

Volle with Petelo Sulu'ape

“I was fascinated by those deeply carved tattoo scars on the Maori faces in old postcards and paintings by Goldie and Lindauer; those smoothly flowing designs, perfectly matching the muscles of the human face and body. The curiosity and respect for those ancient cultural rituals with essential meaning to the Maori put me on a trip to New Zealand, to find some first-hand information. Because of my interest in woodcarving, I met with two amazing artists, Lou Kereama and Pita Rua, who taught me that the carving patterns were actually only remotely related to the moko designs. Through coincidence, I then met Arahi Colin Taylor, in Whangarei, one of the oldest practising ta moko artists, who had just retired, for health reasons. When I saw him in the street, I knew this guy is for real, with his rough and deeply inscribed face. Only hours later he had tattooed my first moko on my calf and taught me my first lesson in respect, honesty and the true meaning of ta moko. My deepest gratefulness and respect go out to him for teaching me a completely new outlook on life.

“From early on, I sensed the deep meaning of individual patterns and the special claim of the Maori to certain symbols and segments. So much is included in this artform and there are infinite ways of combining patterns to a meaningful moko design. It is more than a tattoo, itۥs a language, a script, where every detail counts and carries significance. The whole moko tells a story about heritage, family, character and the future of the bearer, which can be read by others. All lines and segments are individually adapted to the bearer and his or her family, status and clan membership. Of course, like everywhere, there are trends and more fashionable designs as well as artists, who are not that serious about the traditions.

“Nature is God and God is nature. All life comes from it, all essential needs of the Maori are covered by it, including everything needed for tattooing: Bone, wood, pigment, needle blades and even the moko patterns stem from nature. Ta moko was for people of a certain position within the community; men and women with special assignments and jobs—chiefs, warriors, speakers, shamans, medicine men and women and ta moko artists, of course. Nowadays, mankind is of mixed blood, in New Zealand, too, of course. Whites that have Maori blood, Maori that have foreign blood. Since I was taken into a tribe and demonstrated the respect for ta moko, it was never a problem for me to study and finally practice the traditions. Arahi, my master, gained official access to this ancient art for me, and through respect, diligence and endurance, I earned acceptance by the Maori. Since my wife was adopted by Arahi, our family is now part Maori, and I have been traveling to Aotearoa for over a decade, and am still trying hard to learn more. To use the right kind of knowledge and to act with a pure conscience earned me the right to practice ta moko.

“Despite the destruction by the colonial rulers, there has always been ta moko, and, hopefully, it will always be there. Some old masters and pioneers have to preserve the knowledge and then pass it on. During the past years, many Maori artists have found their way back into their own traditions. Through this rebrith of true moko, this new generation of Maori now has the opportunity to execute this ritual and to bear their very special symbols on their skin again proudly. But in order to secure this future, much needs to be learned, collected and brought together still. Once, this artform was almost extinct, but this must never happen again.”