incentive of these acts was to develop and elevate the human experience “through ethical behaviour and creative enterprise”.[7] This is represented in the myth of Mataora, as the story emphasises the importance of the underworld's Gods and spirits (atua) to modern Māori culture.[8] Tā Moko The tā moko (or ‘kauae’ for women) is a sacred facial tattoo still frequently practiced in Māori society. Its name is derived from the mythological figure ‘Atua Rūaumoko’ – the unborn child of Ranginui and Papatūānuku of Rarohenga. The origin of the art is recorded in several variations. However, its conception is most commonly regarded as derivative of the Mataora myth. In this famous legend, the wisdom and knowledge of the permanent tattoo (tā moko) was gifted to humankind by the celestial Rangatira, Uetonga. It is explained that up until that point, Māori civilisation had only practiced the application of temporary tattoo. This was known as ‘hopara makaurangi’, and was achieved with soot, blue clay or red ochre. Uetonga would explain to Mataora the “worthlessness” of his temporary tattoo by wiping his hand across it and embarrassing Mataora by declaring it had no “mana” – meaning no honour, prestige, or authority. Mataora would then beg for the permanent tattoo, so he could bring such insight to the human world. Uetonga agreed and taught Mataora the underworld's design of the nostrils (pōngiangia), the line tattooing of the eyebrows (tīwhana), the designs encompassing the mouth (pīhere), and the upper part of the nose (ngu). In result, when Mataora returned from the underworld he would incite the national spread of the practice across the North and South Islands. Weaving, ornamental patterns, and finger-twining Like the ‘tā moko’, the art of weaving was another artistic gift received from Rarohenga. This gift came in the form of a cloak called ‘Te Rangi-Hau-Papa’. Its original creator was Hine-rau-wharangi (the daughter of Hine-nui-te-po and Tāne), who would provide the pattern to Niwareka, who would then create it for humanity. The cloak itself was developed primarily as a replacement and “consummation of Mataora’s acceptance of tattoo from the underworld” to substitute the now obsolete artform of the painted ‘tā moko’ in the human world. Ornamental patterns and finger-twinning were also acquired from Mataora's time in Rarohenga, and would too circulate heavily into Māori culture, art, and design. Tribal woodcarving Although the narrative of ‘Ruatepupuke’ is the most commonly accepted origin story of tribal