A very, very old one pound note

In 1886 the Māori King Tāhwiao established a bank, Te Peeke o Aotearoa. It was set up to provide banking and monetary services to Māori and was also an expression of Māori autonomy. 

Te Peeke o Aotearoa produced banknotes, and the few that survive are among the rarest notes in Aotearoa.

The note bears the words E whaimana ana tenei moni ki nga tangata katoa “this money is valid for all people”.

Te Peeke o Aotearoa was one of a number of private issuers of currency.  Stores also issued tokens like this copper one penny token circa 1880.  Commissioned by Lipman Levy, of Lambton Quay, Wellington, importers and manufacturers of boots and shoes.  Fashion has always been a money making business.  Literally.

In 1930 the first Reserve Bank of New Zealand was set up with the sole authority to issue New Zealand’s currency.  The first official banknote was created in 1934 and signed by the first Governor of the Reserve Bank, Leslie Lefeaux. Thomas De La Rue and Company Limited, London printed the banknotes.

These first banknotes included pictures of a kiwi, the arms of New Zealand and a sketch of Rahotu (Mitre Peak).  The Māori carvings are based on the wharenui of Hinemihi te Ao Tawhito, which was located at the Māori village Te Wairoa, and was buried when Mt Tarawera erupted in 1886.  Most prominent is a portrait of King Tāwhiao.

Although Tāwhiao’s Te Peeke o Aotearoa bank notes were not deemed as official by the New Zealand Government, it was his image they used on the first reserve bank note.  The image is copied from an 1882 oil painting by Gottfried Lindauer.  

They used his portrait to acknowledge he had created his own notes, isn’t that ironic.  I believe they also used it to usurp his bank notes and gain credibility with Māori.  Not that Māori were earning a lot of money back then, or given the mana or authority they deserved. However, it is recognition that Māori were, and still are, the indigenous people of Aotearoa.   And Tāwhiao was a King.  While the pakeha King George’s head was relegated to coins and postage stamps.

And so for the first trade, I have accepted a framed one pound note, from Bruce Mahalski and the Museum of Natural Mystery.   It’s not in mint condition but the history of trade and monetary exchange is relevant to the kaupapa of this blanket.  To the next owner of the one pound note, Bruce has also offered free entry to the Museum of Natural Mystery for life! What a deal.

Although I stated I wanted to do a kanohi to kanohi exchange, Bruce is highly motivated to create as little carbon emissions as possible.  So to respect his wishes the trade will happen via people already travelling between Wellington and Dunedin, or maybe by good old fashioned post.  Without either of us creating any extra emissions of greenhouse gases.

Thank Bruce for kicking off this journey.  Now let’s see what I can get for a very, very old one pound note.

One genuine grey pure virgin wool “Dream Blanket” from Aotearoa, produced by Mosgiel Woollens Ltd, Dunedin. Produced in the same style as New Zealand army blankets during the second world war. 

I have re-designed it to be worn as an apron style wrap or a cape. 

It has the original red blanket stitched border, a hand stitched orange border on the opposite side, red stripe, plaited red and black wool ties for styling options and a customised native sista label.

I will trade for any item worth more than the blanket, which I’ve valued at $500. I haven’t added the cost of blood, sweat and tears or historical trauma. I will keep up-trading the items received, until I acquire land in England. A patch big enough for a flag pole to fly the tino rangatiratanga flag should do it. 

This adventure is an extension of my arts practice, and is a counter narrative to the colonial practice of trading goods for Māori land. Objects such as blankets, beads and muskets were popular, as shown in these illustrations by artist and curator Bruce Mahalski, owner of the Dunedin Museum of Natural Mystery https://www.royaldunedinmuseum.com/

If I get a number of offers from keen trading buddies, I will choose which item to trade for. Open to feedback from anyone following. Don’t be a dick though with stupid comments. I will travel to do the trade and meet you in person – be prepared to meet me! I’m open to any taonga, artwork or object. 

For example a boat. Imagine getting a boat! I think we’d have to party on the boat before we did the next trade. 

But back to the story. 

Every trade will be photographed and listed, along with the date and patron, on this page to share the journey and whakapapa of the blanket.

I’m hoping it’s all over in one year, my amazing, weird and interesting journey for 2024.

United We Stand (2005)

Suzanne and Rameka Tamaki

Photographer: Greg Semu

mother and son wearing blankets

Ko ia kāhore nei i rapu, tē kitea

Those who do not seek, will not find

Image  —  Posted: January 1, 2024 in activation, art
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Suzanne Tamaki

Wellington, AOTEAROA

 

Suzanne Tamaki is a Wellington based artist predominately working as a fibre artist creating body adornment, costumes and jewellery.  Her work is inspired by legends and mythical creatures in the Pacific, traditional costuming throughout the world, as well as indigenous issues in Aotearoa/ New Zealand. Tamaki uses provocative fashion photography to agitate discussions about colonisation and its effect on Maori culture.  Tamaki was one of the founding members of the Pacific Sisters fashion collective in the mid 90’s participating in various multimedia fashion shows including the 12th Sydney Biennale and the South Pacific Festival of the Arts in Samoa, Palau and Pagopago. Her work is exhibited and collected extensively throughout New Zealand and the Pacific.

 

native sista logo

suzanne.tamaki@gmail.com

Suzanne 2013

Quote  —  Posted: September 4, 2012 in Uncategorized