spinofflive
Manukau Cliffs, Rēkohu. Planting is being undertaken on the cliff tops with a view to restoring native seabird habitat. (Photo: Nick Blazey)
Manukau Cliffs, Rēkohu. Planting is being undertaken on the cliff tops with a view to restoring native seabird habitat. (Photo: Nick Blazey)

BooksMarch 31, 2025

‘Not like the rest of New Zealand’: reviving ta rē Moriori on Rēkohu

Manukau Cliffs, Rēkohu. Planting is being undertaken on the cliff tops with a view to restoring native seabird habitat. (Photo: Nick Blazey)
Manukau Cliffs, Rēkohu. Planting is being undertaken on the cliff tops with a view to restoring native seabird habitat. (Photo: Nick Blazey)

In this edited excerpt from Pātaka Kai: Kai Sovereignty, Māui Solomon (Moriori, Kāi Tahu, Pākehā) – an internationally acclaimed Indigenous rights activist and barrister – and his wife Susan Thorpe (Pākehā) share what they are doing to revive ta rē Moriori on Rēkohu.

Rēkohu and Rangihaute are the Indigenous names for the two largest islands in the Chatham archipelago, which is situated 800km east of Te Waipounamu and Te Ika-a-Māui. It is the homeland of Moriori, a people whose history of inhabitation stretches back some thousand years before the arrival of outsiders in 1791. There have been many misconceptions about Moriori, who have often been described as an extinct and landless culture, but over the past 40 or so years a cultural revival has helped lay those myths to rest. 

In February 2020, after a struggle for truth and justice that began in 1835, Māui Solomon (Moriori, Kāi Tahu, Pākehā) and his people signed a historic Deed of Settlement with the New Zealand Crown. The deed included an official Crown apology for breaches of Te Tiriti o Waitangi, an agreed account of the history of Rēkohu that honours Moriori as the waina pono or the Indigenous peoples of Rēkohu, and $18 million in redress for the Crown’s failure to protect Moriori in the wake of the devastating occupation of Rēkohu by Ngāti Mutunga and Ngāti Tama from 1835 and subsequent confiscation of 98% of their land by the Native Land Court. 

“In terms of our Treaty settlement, we are still thinking that through,” says Solomon. “It was an $18 million financial settlement, which is really just a drop in the bucket. We still have to go on a consultation hui with our people to decide how best to utilise that resource. Prior to that, over the last 20 or 30 years Moriori have, under our own steam, built up an asset base: we’ve built a marae, we’ve bought back land, a tourist lodge, we’ve got into fishing, farming, tourism, cultural experiences and things like conservation.

“So we haven’t simply sat back and waited for the Treaty settlement to happen, and that has been really important.”

The impact of the settlement process has yet to be fully realised, however. Solomon’s aspirations for his people are broad: “What I often say to people is that yes, through the purchase of assets and the settlement we now have the hardware, so to speak, we’ve got the resources and those sorts of things, but the hardware doesn’t work without the software. What’s most important is . . . reviving our ta rē Moriori, our knowledge of our rongo, our songs, our karakii, our prayers, so that our people can understand our pūrākau, our history, and can stand proud around Ka Pou o Rangitokona, the central post in Kōpinga Marae, and recite their hokopapa and sing their stories and be proud of who they are. And do so in their own language.”

Solomon’s wife, Susan Thorpe, reminds us that the distinctive historical and environmental context of Rēkohu needs to be honoured: “We are frequently having to say to New Zealand government departments or funding agents, ‘Please don’t treat us like the rest of New Zealand, it is not going to work.’ Our ecology and our food systems function really differently. Understanding that is the essence of tchiekitanga [kaitiakitanga], tchieki is the tukupa Moriori. Bringing back that kind of knowledge is vital for islanders, as is having this knowledge respected in a way that supports our efforts to look after the ecology of the islands. That is really important.”

Close up photo of Pāua.
Pāua habitat recovering under a rāhui, which provides for cultural harvest only. Photo: Nick Blazey.

A few years ago New Zealand-based scientists visited the islands and were puzzled by the size of plants and fish and the behaviour of birds on Rēkohu. Thorpe remembered that one of the things people kept saying as they walked around the island was, “Oh, that’s odd, why is it doing that?” in response to the freshwater fish to the macro-vertebrates, the plants and everything. The scientists were scratching their heads going, “That shouldn’t be doing that, this is amazing.”

“It’s not just that things are bigger down here,” says Thorpe. “They behave differently as well . . . A lot of our manu don’t bother to fly: there is no point, their kai is all on the ground. They would have done that in New Zealand as well, the parea [wood pigeons] and so on. They look like sheep — funny, feathered sheep.”

The distinctive Rēkohu culture is also captured in the creation story of Moriori, which includes the same primordial parents as those of Māori (Rangi and Pāpātuanuk’) but a different etchu (atua) who separates them. This is Rangitokona, the propper-up of the heavens, who placed 10 pillars, one under the other, to create the space through which light and knowledge could enter.

Thorpe tells the story: “In the Moriori creation story there is no kōrero about Tāne-mahuta. Pāpā and Rangi were separated by Rangitokona, who put pillars against Rangi . . . until he reached Pāpātuanuk’, gently prising them apart. Then Rangitokona brought his wife Te Ao Marama beside him, and as a partnership they created a space for humans. He did that by taking a part of Pāpātuanuk’. He formed the clay from Pāpātuanuk’ not into a person but into a tree. Then took the spirit of the bird and blew it into the tree, reminding us that we are born from the trees and the birds. And that is what I want every child on this island to understand — how junior we are to nature. It is time for us to ask the trees and the birds what they want from us, not what we want from them.” 

Photograph of a tree with engravings on it.
Moriori engraving on the bark of a living kōpi tree, Rotorua, north-east Rēkohu. Photo: Nick Blazey.

Trees are particularly significant to Rēkohu and Rangihaute. Kōpi (karaka) groves feature throughout the archipelago and were brought to the islands in the second Moriori migration wave aboard the waka Rangimata and Rangihoua. It is little wonder that kōpi trees play a significant part in Moriori customs and practices then — as the islands were too cold to grow kūmara, and kōpi provided a valuable source of carbohydrate for the population.

“The kōpi nut was processed, just as the karaka was in New Zealand,” says Thorpe. “It must have been on a massive industrial scale because the kōpi were in their tens of thousands in groves around the islands. What we have now is a sort of denuded island landscape where you’ll find little groves of kōpi trees. Historically it was a densely forested landscape into which Moriori cut clearings and placed their kōpi trees as orchards. They were the agroforesters of this island group — sophisticated orchardists. 

“We’ve got substantial archaeological information to support that. It is no surprise to me that they went on to engrave beautiful portraits all over their trees. Those trees saved their lives for sure. In a climate where you rely on marine protein — seals and kaimoana as well as seaweed and then kai hinu with the birds, particularly the seasonal seabird take — you have to have some carbohydrate to complement that diet.”

Given the practical role kōpi played in providing sustenance and resilience for Moriori, the practice of rākau momori (engravings in living tree bark) provides a window into the spiritual world of Moriori peoples as shaped by the environmental and ecological conditions of this particular archipelago. The engraved trees have the same significance as burial areas, and some feature the spirits of departed ancestors. The act of carving a living tree would infuse the spirit of the departed into the tree, which then continued to grow. 

‘He mea tautoko nā ngā mema atawhai. Supported by our generous members.’
Liam Rātana
— Ātea editor

Rēkohu foodscapes then and now 

When voyagers first explored and settled this area they brought not only the kōpi but also other plants, including the dune plant marautara and arapuhi. The latter was said to have 12 branches and was used as a metaphorical image for the Moriori calendar, which has 12 months and 12 years. The seasons are named according to the branches. Arapuhi is no longer found on the islands, most likely due to the introduction of various animals.

“In the late 1820s sealing gangs arrived on the outer reefs,” explains Thorpe. “They didn’t have much interaction with Moriori but of course, being sealers, they did leave food and animals on some of those reefs in order for subsequent gangs to have a kai. They brought in potatoes, and of course they brought in rats and, later on, pigs. So the island was colonised with pigs and potatoes prior to Māori arrival in 1835. Once you start growing spuds, you start removing some of the native vegetation and so on. Potatoes grow really well here. When Ngāti Tama and Ngāti Mutunga arrived, they cleared more of the forest and grew commercial quantities of potatoes for trade to Australia — about 2,000 tonnes a year left the islands up until 1858. 

“The food systems that we have here on the island now are dramatically different. We have been utterly colonised by freight dependency. Now we have a situation where islanders are importing sacks of potatoes.

“Every year it is our mission to give away as many seed potatoes as possible to try to get our island community back in the practice of growing some of their own kai. A lot of kai that could easily be grown locally, and has been in the past, is imported. Because we have a ship every month or so, and a plane nearly every day, people are now bringing in supermarket orders, and online shopping services are coming to the island.”

In a bid to rid the islands of predators, the Chatham Islands Landscape Trust plans to start predator-free trials: “Our main predators are feral cats, possums and rats,” Thorpe says. ‘There are others, but we don’t have rabbits, we don’t have mustelids, so that is good. On Rangihaute Pitt Island there are no rats or possums, just feral cats. If we got rid of the cats alone, it is estimated we would have five million nesting tītī back here within five years, so that is kai.”

Awakening the knowledge 

Solomon and Thorpe have dedicated much of their time to enhancing biodiversity and awakening traditional practices. One example of these practices is the large gardens they cultivate so that they can share both kai and seeds. Kamokamo grow prolifically on Rēkohu, and sharing this abundance provides opportunities to remind community members of food preservation practices.

The island is also a perfect site for permaculture and regenerative practices: “On the island we’ve got . . . peat-based soil, seaweed off the beach; all sorts of natural resources are available to us. Out in the paddocks we have sheep and cow manure, heaps of green waste and things like that, and it’s right at our back door. So we decided to set up our own little permaculture garden. We have been doing that more or less in a casual, ad hoc fashion . . . and every year, for example, we’ve got about eight or nine different varieties of potatoes growing.” 

Finding a balance between drawing sustenance from the land at the same time as nurturing the henu (whenua) is an important focus: “It is about creating that balance between being able to drive an economic income but doing it in a way that’s ecologically sound: thinking about the needs of Pāpātuanuk’ and the other species that we share this precious henu with, and not just taking for ourselves as humans and giving nothing back,” says Solomon. “That’s kind of the paradigm that Susan and I are most interested in: How can we live sustainably on the henu, and how can we give back to it, to help sustain it for those generations that will follow after us? This includes the replanting of food forests for harvest of fruits and nuts.” 

Kai is the vehicle to get the community inspired about seed-saving for both food and weaving. The kāretu, a fragrant tropical grass, can no longer be found on the two main islands, and moves are afoot to return it to Rēkohu. 

Another project to awaken earlier practices is the development of a propagation calendar, based on the Moriori calendar, to guide seed and fruit collection for propagating native plants. Solomon and Thorpe are involved in tree-planting projects and have already planted 98,000 natives on family land; they plan to plant over 150,000 natives in total on Manukau and allow self-regeneration of another 50 to 100 hectares.

“I’ve just started taking on the lease of our hunau [whānau] land, our family land down here at Manukau, and we are transitioning that into regeneratively farmed land,” Solomon explains. “The results in a short space of time are already quite amazing, which is testament to the self-healing properties of Pāpātuanuk’ if she is given a chance. Regenerative farming focuses on building good soil, plant, animal and community health, so looking at giving more back to the land than taking from it. We’ve fenced off 150 hectares of waterways around the coast and in the back gullies, and we will probably end up fencing off 270 hectares and restoring that, putting the cloak back onto the henu and bringing the manu back into the landscape. 

Manukau literally means place of many birds, but it was cleared for farming over 100 years ago and hardly any trees were left. We’re going to gradually restore the korowai back to the henu, and also the manu.”

A photo of a group of people on a high plain above the sea in gardening year, with spades and tools for planting trees.
Volunteer planters at Manukau Point in October 2022. Māui Solomon is fourth from left and Susan Thorpe is seventh from left. Photo: Nick Blazey.

Māramatanga and manawa reka 

The focus that Solomon and Thorpe bring to bear on the plants, animals and insects that inhabit Rēkohu is dedicated to the kaupapa of sharing, and they and others are learning by doing. Their activities bring them into a state of māramatanga that ensures a closer connection to the environmental, ecological and cultural conditions that surround them.

“Our kaupapa is based on the Moriori concept of sharing . . . ,” says Thorpe. “We found too that by talking to others who are interested, you suddenly become more observant about what is happening. For five years in a row we had a summer drought followed by a rainy summer. People started to notice changes in what seed was coming through on the trees. Then you notice things happening with the manu. 

“Once you start looking at trends in seasonal change, then you start making plans not just for the season ahead but the years ahead, and that is really important. We have to be like the little rats that can see into the future and tell if we are going to have a good winter. Are we going to have enough kai? Have we put enough aside? Or are our birds going to have enough kai?”

Returning to the distinctive features of Moriori language and culture, which are similar yet different to those of te ao Māori, Thorpe notes: “Moriori do not have a word for manaaki, there is no mana aki here. When you think about it, that makes sense. If you know everybody, you don’t have to worry too much about how your mana looks. What you have is your manawa reka, and that is the sweetness and the compassion that you bring, and what better way to show that than through the sharing of kai . . . 

When you are isolated by 800km of southern ocean, it becomes quite literally your way of surviving. The allocation and the apportioning and sharing of kai was done not through any kind of chiefly status, it was done through a much more egalitarian system to make sure everybody had something, and that would be wonderful to go back to.”

Pātaka Kai: Kai Sovereignty by Jessica Hutchings and Jo Smith, with Johnson Witehira and Yvonne Taura ($45, Massey University Press) is available to purchase from Unity Books.

Keep going!
The cover of Central Otago Couture which features a model wearing a couture dress in the Otago high country.
A new book explores the farmer behind the unrivalled collection of 70s and 80s couture in the Māniototo.

BooksMarch 29, 2025

‘Cattleman, Fashion Fancier’: Central Otago Couture, reviewed

The cover of Central Otago Couture which features a model wearing a couture dress in the Otago high country.
A new book explores the farmer behind the unrivalled collection of 70s and 80s couture in the Māniototo.

Jessie Bray Sharpin discovers ‘a shining nugget of a book’ in Central Otago Couture: The Eden Hore Collection by Jane Malthus, Claire Regnault and Derek Henderson.

“In 2013 the Central Otago District Council made a highly unusual purchase for a local government body. They acquired a collection of over 270 high fashion garments and their associated archive.”

My dad’s side of the family are all south and central Otago dwellers, and when I told him about this book he reminded me that my aunt and uncle used to rent Eden Hore’s house at Glenshee. This brought up vague memories of having imagined them living among glass display cases of tasselled and sequinned garments scattered throughout a luxuriously carpeted 70s farmhouse; costumes on display between bedroom wardrobes, next to a hallway cupboard, looming large in the lounge. I realise now this strange daydream came from being told something once about a collection of costumes and a farmer from the Māniatoto. 

This quintessential Kiwi connection feels fitting for a story about a stockman who ended up owning an unrivalled collection of couture. The small-townness of New Zealand; how everyone knows everyone, but also how people can completely surprise you. 

A new book from Te Papa Press by Jane Malthus, Claire Regnault and Derek Henderson, Central Otago Couture: The Eden Hore Collection, tells the story of the Central Otago sheep and cattle farmer, and his collection of over 200 high fashion garments from the 1970s and 1980s, now owned by the Central Otago District Council.  

The text of the book is divided between a biography of Hore and the makeup of the collection itself via chapters on fabrics and designers, the natural materials that inspired Hore with a direct link to his farming background, and the competitive fashion design scene that also influenced Hore’s collecting, like the Gown of the Year competitions. The shared expertise of Malthus and Regnault provides the reader with insights into Hore’s life, the background to his collecting, and crucially contextualises the collection within a snapshot of the Aotearoa fashion and textile industry at the time Hore was acquiring garments. 

The bridge between the text and the physical collection are the photographs by Derek Henderson that make up over half the book: photoshoots that took place between 2019 and 2024 of the garments worn against the backdrop of the striking Central Otago landscape.

Photograph of model Ngahuia Williams in long dress, with central otago background.
Kevin Berkahn evening dress, early 1970s. Nylon net, Lurex and cotton velvet dots, EH17. Photographed at Poolburn Reservoir, 2024. Model: Ngahuia Williams. Image supplied by Te Papa Press/Eden Hore Central Otago. Photograph by Derek Henderson.

Henderson’s photographs elevate the viewer’s experience of the collection entirely, enabling a unique and rare example of a heritage textile collection being worn by live models. To say the collection is brought to life by the photographs is an understatement; the photographs are pieces of art in their own right.

The book describes Eden Hore as a man of contrasts and this theme is mirrored by the images. The startling colours of the garments stand out vividly against the huge expanse of the Māniatoto high country. Models Ngahuia Williams, Hannah Clarke and Alannah Kwant are photographed at places like Poolburn Reservoir, Danseys Pass, Clyde and Lake Dunstan. The garments are a shock to the landscape, and yet somehow they fit so beautifully it’s like seeing an animal in its natural habitat. The models stand Barbarella-like against the otherworldly backdrops of Blue Lake, St Bathans and Bannockburn. 

The photographs shot at Hayes Engineering in Ōturēhua is a nod to another family of inventive characters making their mark on Central Otago lore and community: Ernest Hayes invented farm machinery and his wife Hannah cycled all over the district selling it. Their sons invented too: their house is home to inventions like a very early shower and the first flushing toilet in the Māniatoto. Hayes reminds me of photographs of Hore’s house at Glenshee: an expansive fenced lawn with ornamental fountains sitting strange amid the paddocks and rolling Māniatoto high country.

I think of the pieces being worn in this endless open air in comparison to their time on display in Eden Hore’s converted tractor shed at Glenshee – alongside his collection of Jim Beam decanters and taxidermied animals. These collections were part of Eden Hore’s desire to put Central Otago on the map and draw people to the region. Over the years he hosted garden parties on the lawn at Glenshee where models paraded in the garments; used the airstrip on his farm for fly-in-fly-out visits from the likes of Pat Fairfax of Coronation Street fame; and he collected animals for a petting zoo. Among these were 15 miniature horses which Hore went all the way to South Carolina to buy, creating a successful business and a dynasty of tiny equine sweethearts, one of whom, Pippi, features in the 2024 photoshoot. 

Photograph of model Ngahuia Williams in a blue garment, photographed in Alexandra.
Jo Dunlap Electra, 1976. Polyester jersey, Lurex, silver braid and beads, EH90. Photographed at Little Valley Road, Alexandra, 2024. Model: Ngahuia Williams. Image supplied by Te Papa Press/Eden Hore Central Otago. Photography by Derek Henderson.

Hore really was a man of contrasts. Born in Naseby in 1919, he spent his childhood on his family’s farm, Ida Vale, attending school with his siblings at Kyeburn, and eventually working as a musterer before driving ambulances in the Second World War. Returning to the Māniatoto after the war, he bought Glenshee farm and homestead and married Norma Gaskin in 1947. Glenshee was a sheep farm which Hore added to with beef cattle in the 1970s. He was a successful farmer before he turned to more sartorial entrepreneurial pursuits which led to the establishment of the Eden Hore Collection.

After Eden and Norma’s divorce in the early 1960s, Eden Hore took on a housekeeper and “land girl”, Alma McElwain. McElwain, who had trained as a model in Dunedin’s Joanne School of Charm, played a crucial role in Hore’s story, as many of the garments in his collection were bought for her. Hore also became involved with the Miss New Zealand pageants that were run by Joe Brown, another Māniatoto man. He became the driver for singer John Hore (no relation) who performed at the Miss New Zealand shows throughout the country and was managed by Brown. The pageant scene exposed Hore to more high fashion, encouraging his collecting. In 1975 Hore had a custom showroom made for his collection of “high and exotic fashion” at Glenshee, which became known as the Tractor Shed. Throughout the 1970s he provided a contrasting experience for visitors to Glenshee: high country farm and high fashion. Perhaps the most fitting descriptor is Hore’s own: in 1977 he advertised a show of his collection in Queenstown with the title “Cattleman Extraordinary and Fashion Fancier”.

Photography of model Ngahuia Williams in bright pink garment, standing in Alexandra landscape.
Beverley Horne evening dress, 1972. Handspun and handwoven Corriedale wool, Lurex thread, beads and paillettes, EH3. Photographed at Little Valley Road, Alexandra, 2024. Model: Ngahuia Williams. Image supplied by Te Papa Press/Eden Hore Central Otago. Photograph by Derek Henderson.

For readers who know the Hore collection already, Central Otago Couture provides a deeper understanding of the collection’s place in Eden Hore’s life. For those coming in blind the book is a striking starting point. The book gives us a chance to see the garments themselves through an expert’s eye, with details like Beverley Horne’s 1971 hostess gown being made from wool she dyed gold with onion skins. I loved reading that Jo Dunlap, the designer behind Electra, a peacock blue polyester and silver Lurex jumpsuit and matching cloak, was a sci-fi fan. 

This is a shining nugget of a book: bound in cloth the colour of Otago autumn and its rolling gold-tussocked landscape, the bright blue page-marking ribbon the wide open sky. I thrust it into the hands of friends like treasure; I feel like I’m letting them in on a secret. 

Central Otago Couture: The Eden Hore Collection by Jane Malthus, Claire Regnault and Derek Henderson (photography) ($70, Te Papa Press) is available to purchase from Unity Books