GriotsWell World Story World · Oceania

Māori — Whakapapa

Māori — the Indigenous Polynesian people of Aotearoa (New Zealand), organized in iwi (tribes) and hapū (sub-tribes), descendants of the Polynesian voyagers who arrived by waka (canoe).

Its shape: Web / Network, a World Story Plot Architecture

The world as they see it The figures Their stories The movements An example Work in this Story World

The World As They See It

Cosmological Structure. A cosmos understood as a vast genealogical web — whakapapa — in which all things, from the primal void to the gods to the natural world to human beings, are connected through descent and relationship. Everything has whakapapa; everything is related. The cosmos unfolds from Te Kore (the void, the potential), through Te Pō (the long night, the darkness), to Te Ao Mārama (the world of light), through the separation of the primal parents Ranginui (Sky Father) and Papatūānuku (Earth Mother) by their children. The whole of existence is a web of genealogical relationship.
Creation. In the beginning was Te Kore (the void/potential), then Te Pō (the long night). Ranginui (the Sky Father) and Papatūānuku (the Earth Mother) lay locked in a tight embrace, their many children crushed in the darkness between them. The children debated; Tāne Mahuta (god of the forests) finally forced them apart, pushing the Sky up and the Earth down, letting in Te Ao Mārama, the world of light. From this separation, and the acts of the divine children (Tāne, Tangaroa, Tūmatauenga, Tāwhirimātea, Rongo, Haumia), the world and its life came to be — all connected by whakapapa.
Time. Genealogical and relational — time is understood through whakapapa, the succession of generations connecting the present to the ancestors and the origins. There is also the sense of walking backward into the future (facing the known past, the ancestors before us, while the unseen future comes behind). The web of relationship extends through time as through the cosmos.
The Sacred. Whakapapa itself — the genealogical web connecting all things, the fundamental sacred structure of reality. Mana (spiritual authority, power, prestige — derived from and flowing through whakapapa and right action). Tapu (the sacred, the restricted) and noa (the ordinary, the free). The primal parents and the divine children. The ancestors (tūpuna). The land (whenua) and the relationship to it. Mauri (the life-force in all things).
Death / Afterlife. The dead join the ancestors (tūpuna) and are honored, especially in the tangihanga (the funeral rites on the marae). The spirit journeys to the ancestral homeland (Hawaiki) via Te Rerenga Wairua (the leaping place of spirits). The dead remain part of the whakapapa web, connected to the living; death is a passage within the genealogical web, not a severance. The ancestors are present and honored, woven into the ongoing web of relationship.

The Figures

Supreme Being / Creator
Māori tradition does not center a single creator-god (though later tradition speaks of Io, a supreme being); the cosmos unfolds through Te Kore, Te Pō, the primal parents, and the divine children.
Major Figures
  • Ranginui (Rangi) — the Sky Father, and Papatūānuku (Papa) — the Earth Mother, the primal parents whose separation lets in the light.
  • Tāne Mahuta — god of the forests and birds, who separated his parents and created the first woman; a central divine figure.
  • Tangaroa (god of the sea), Tūmatauenga (god of war and humankind), Tāwhirimātea (god of winds and storms, who alone opposed the separation), Rongo (cultivated foods), Haumia (wild foods) — the divine children.
  • Māui — the great culture-hero and trickster, who fished up the North Island, snared the sun, and sought immortality for humankind.
Trickster / Culture Figure
Māui — the incomparable Polynesian trickster-hero, demigod of cleverness and daring, who fished up land, slowed the sun, brought fire, and died attempting to win immortality for humanity. His deeds shape the world.
Ancestor Figures
The tūpuna — the ancestors, central to Māori identity, connected through whakapapa. The primal parents and divine children as the origin of the web. The great ancestral navigators of the waka. The named ancestors of each iwi and hapū, recited in whakapapa.

Sacred Elements

Sacred Objects. The whakapapa itself (the recited genealogy). Taonga (treasures — including greenstone/pounamu, cloaks, and carvings) that carry mana and connect generations. The waka (canoe). The carved meeting house (wharenui), which embodies an ancestor. The mauri (life-force) and objects that hold it.
Sacred Places. The marae (the communal meeting ground and its buildings, the center of Māori community life). The whenua (the land, to which Māori are connected by whakapapa — Papatūānuku is the Earth Mother). Maunga (mountains), awa (rivers), and other features connected to iwi identity. Hawaiki (the ancestral homeland). Te Rerenga Wairua (the spirits' leaping place).
Sacred Practices. The recitation of whakapapa. Whaikōrero (formal oratory) and the pōwhiri (welcome ceremony) on the marae. Karakia (incantation/prayer). Waiata (song). The tangihanga (funeral rites). The maintenance of mana, tapu, and the relationships of the web. The honoring of ancestors and the connection to the land.
Sacred Prohibitions. Tapu (the sacred/restricted) must be respected and not violated; breaches of tapu have serious consequences and require restoration to noa. Mana must be maintained and not diminished through wrong action; the mana of persons, groups, and places is to be respected. The whakapapa and the relationships of the web must be honored. The proper protocols (tikanga) of the marae and of relationship must be observed.

The Narrative Tradition

How Stories Are Told. Through pūrākau (traditional narratives), whakapapa (genealogical recitation), whaikōrero (oratory), waiata (song), and karakia (incantation). The narratives are deeply genealogical and relational — a story situates its subject within the whakapapa web, connecting it to ancestors, gods, land, and the origins. To tell a story is often to trace its whakapapa, its web of connection. The great narratives (the separation of the primal parents, the deeds of Māui, the ancestral voyages) establish and extend the web of relationship.
Who Tells Them. The kaumātua (elders), tohunga (experts/priests), and skilled orators who carry the whakapapa, the pūrākau, and the traditions; the community on the marae; the experts in whaikōrero and karakia.
When They Are Told. On the marae in whaikōrero and pōwhiri, at the tangihanga and other gatherings, in the teaching of whakapapa across generations, and in the ongoing life of iwi and hapū. Whakapapa is recited in formal contexts of identity and connection.
The Purpose of Story. To establish, maintain, and extend the web of relationship — whakapapa — connecting all things: the person to their ancestors and iwi, the people to the gods and the land, the present to the origins. Story weaves the web of connection and situates all within it. Its deepest work is the affirmation and strengthening of relationship and mana through the web of whakapapa — locating each thing in its connections, honoring the ancestors, and binding the living, the dead, the gods, and the land into one related whole.
Signature Story Types. The cosmogonic narrative (Te Kore to Te Ao Mārama, the separation of the primal parents), the deeds of Māui and the culture-heroes, the whakapapa recitations, the ancestral voyaging narratives, and the pūrākau of iwi and hapū.

Their Stories

  • The Separation of Ranginui and PapatūānukuMāori cosmogonic tradition — the parting of the Sky Father and Earth Mother by their children, letting in the world of light
  • The Deeds of MāuiMāori (and wider Polynesian) tradition — Māui fishing up the land, snaring the sun, bringing fire, and seeking immortality
  • Whakapapa — the Genealogical WebMāori tradition — the recitation of whakapapa connecting all things from the origins to the present

The Shape This Story World Shares

Why Web Architecture. The Māori worldview is fundamentally a web of relationship — whakapapa, the genealogical connection binding all things, from the primal void through the gods to the natural world and human beings. Nothing stands alone; everything has whakapapa, everything is related. Story moves not toward the defeat of an enemy but through the weaving and tracing of the web: situating its subject within the genealogical connections, extending the web from the origins to the present, strengthening the relationships and the mana that flow through them. A story in this architecture unfolds the web — from the potential of the void, through the establishing of connection and the separation that makes relationship possible, through the extending of the web by the culture-heroes, to the location of the present within the whole related web, and the mana that flows through it. The web is traced, woven, and honored.
Structural Logic. The unfolding, tracing, and strengthening of a web of genealogical relationship. The movement is not conflict-to-resolution but the weaving of connection — from the origins (the void, the potential), through the establishing of the web (the separation that makes relationship and light possible), through its extension (the deeds that shape the world and connect it), to the location of the subject within the whole web and the mana that flows through the connections.
Structural Movement. Te Kore (the void, the potential — the origin of the web) → Te Pō (the long night — the web latent in darkness) → the Separation (Rangi and Papa parted — relationship and light made possible, the web able to unfold) → the Web of Connection (whakapapa established — all things related, the connections traced) → the Deeds of Māui (the web extended — the culture-hero's deeds shaping and connecting the world) → Whenua (the land and belonging — the subject located within the web, connected to ancestors and land) → Mana (the authority and life flowing through the web — the strengthened connections, the mana of the whole).

The Movements

  1. Te Kore — The Void / The PotentialIn the beginning is Te Kore — the void, the nothingness that is also pure potential, the origin from which all whakapapa unfolds. Before form, before light, before the separation, there is the potential of Te Kore, holding within it everything that will come to be related. This is the origin of the web: not empty but pregnant with all the connections that will unfold.
  2. Te Pō — The Long Night / The Web LatentFrom Te Kore comes Te Pō — the long night, the vast darkness, through which the potential moves toward form. In Te Pō the web is latent: the primal parents Ranginui and Papatūānuku lie locked together, their children crushed in the darkness between them, the connections present but not yet unfolded into light. This is the web in its latent, dark phase — relationship existing but not yet able to unfold, waiting in the long night.
  3. The Separation — Rangi and Papa Parted / The Web Made PossibleTāne Mahuta forces the primal parents apart — pushing Ranginui the Sky up and Papatūānuku the Earth down — and Te Ao Mārama, the world of light, comes in. The separation is the pivotal act: it makes relationship possible by creating distinction, space, and light. Only by separating the too-close parents can the web of distinct, related things unfold. The separation is grievous (Rangi and Papa still mourn each other in rain and mist) but necessary.
  4. Whakapapa — The Web of Connection EstablishedWith the light, the web of connection — whakapapa — is established and traced: all things related through descent, the divine children shaping their domains (Tāne the forests, Tangaroa the sea, and the rest), the genealogical web extending through all of existence. Everything now has whakapapa, everything is connected. This step is the establishing of the web proper: the tracing of the connections that relate all things.
  5. The Deeds of Māui — The Web ExtendedThe culture-hero Māui extends the web through his deeds — fishing up the land (the North Island, Te Ika-a-Māui, 'the fish of Māui'), snaring and slowing the sun to lengthen the day, bringing fire to humankind. Māui's deeds shape and extend the world, adding to the web of connection, binding humanity more fully into the related whole. This step is the extension of the web through action: the culture-hero's deeds that shape the world and weave new connections into it.
  6. Whenua — The Land and Belonging / Located in the WebWhenua — the land, and belonging to it — locates the subject within the web. In Māori tradition, whenua means both 'land' and 'placenta,' and Māori are connected to the land by whakapapa (Papatūānuku is the Earth Mother); to belong is to be located within the web through connection to ancestors, iwi, and the land — one's maunga (mountain), awa (river), waka (canoe of arrival). This step locates the story's subject within the whole web.
  7. Mana — The Authority and Life Flowing Through the WebMana — spiritual authority, power, prestige, life-force — flows through the web, strengthened by the connections and by right action. Mana derives from whakapapa (from the ancestors and the origins) and from mana-enhancing deeds and relationships; it flows through the web and is maintained and strengthened by honoring the connections. This step is the culmination: the mana that flows through the whole web of relationship, the web fully traced and honored, alive with mana.

An example: The Allotment

Community drama, Hackney, London, one year. One idea, worked through nine Story Worlds; this is its plot in Māori — Whakapapa. The idea is the writer’s; the Story World gives it its shape. It is a plot, the blueprint this Story World returns, not a finished story.

The cast

  • Elm Lane Allotments: 40 plots on railway land since 1947. Owned by the council; a developer (Brightwater Homes) offers £6.2m and a "community garden" on the roof of the new block.
  • Joyce Akinola, 72, plot 12 for 31 years, society secretary. Femi Akinola, her grandson, 17. Declan Murray, 45, chair, wants to sell (his plot is the worst; his business is failing). Hana Kowalczyk, 38, new plot-holder, beekeeper. Mr Okonkwo, 80, plot 1, grows for the food bank. Ruth Levy, council officer, sympathetic but bound by budget. Sam Holt, Brightwater's community liaison.
  • The vote: members must vote at the AGM in October; the council will follow the society's recommendation.
Read the whole blueprint

MĀORI — WHAKAPAPA (WEB) BLUEPRINT

Built with the Māori — Whakapapa Story Structure · GriotsWell Story Worlds

Architecture: Web · Tradition: Māori — the whakapapa tradition of Aotearoa


TE KORE — THE VOID / THE POTENTIAL

The origin of the web: Before the allotment there was the bombsite: in 1946, three streets of Hackney flattened, rubble on railway land, and families with nothing — but every one of them a potential gardener, every one of them a future line of plot-holders.

The web in potential: The rubble held everything the site would become: forty plots, seventy-five years of families, the society, the feud, the food bank.

TE PŌ — THE LONG NIGHT / THE WEB LATENT

The web latent: For a year the families lived in temporary huts beside the rubble, packed together, sharing everything, every relationship possible and nothing yet distinct.

The constraint before unfolding: The relationships waited for the land to be cleared and divided before they could become a web of neighbours.

THE SEPARATION — RANGI AND PAPA PARTED / THE WEB MADE POSSIBLE

The separation: In 1947 the railway leased the land to the families; they cleared it by hand and divided it into forty plots with string and stakes. The division let the light in: forty distinct households, each with its own ground, each related to every other by path, fence and water trough.

Grievous yet necessary: The division had its sorrow: the old crowded closeness of the huts was gone, and some families never forgave the plots they were given.

WHAKAPAPA — THE WEB OF CONNECTION ESTABLISHED

The web of connection: Every plot has a lineage: plot 12 from the Okafors to the Akinolas; plot 7 from Frank Murray to his son Declan; plot 1 held by Mr Okonkwo since 1971; plots passed to children, swapped between neighbours, lost to the waiting list and won back. Every plot-holder is related to the site's history through whose plot they inherited and whom they learned from.

The web traced and honored: Joyce, the secretary, keeps the minute book that traces the whole web — who held which plot when, who taught whom, who owes whom.

THE DEEDS OF MĀUI — THE WEB EXTENDED

The web extended: Deeds that extended the web: Mr Okonkwo starting the food-bank plot in 1990; Joyce saving the site from the council in 2003; Hana the beekeeper's hives, which pollinate every plot; and, in this year, Femi Akinola's archive of interviews with every plot-holder.

How the deeds strengthen the web: Each deed binds more of the neighbourhood in — the food bank's clients, the school that visits the hives, the families who buy surplus at the gate.

WHENUA — THE LAND AND BELONGING / LOCATED IN THE WEB

Located in the web: When Brightwater Homes offers to buy the site, the society's answer comes from its whakapapa: the plot-holders are not tenants but descendants of the families who made the land, and each person's place is located by the web.

Identity through the web: Declan Murray, who wanted to sell, finds his own place in the web when Mr Okonkwo reminds him that his father laid the site's water pipes in 1962 — he belongs here too.

MANA — THE AUTHORITY AND LIFE FLOWING THROUGH THE WEB

The mana of the web: The society's authority flows from its lineage: at the AGM, Joyce reads from the minute book the names of every plot-holder since 1947, and the council officer, Ruth Levy, records that the society's recommendation carries the weight of seventy-five years. The sale is rejected; a lease is signed.

The living web: The story ends on the web alive: Femi's name written in the minute book as the new secretary, under his grandmother's, under the founders'.


*Built on the web architecture of Māori whakapapa — with respect for a living, resurgent culture. Specific whakapapa, tapu, and protocols belong to iwi and hapū; seek Māori-authored sources and living Māori voices.* *GriotsWell · Story Worlds · Web Architecture*

The same idea in the other Story Worlds

Persian & Arabic — Thousand and One Nights · Mbuti & Baka — The Forest Song · Lakota, Cheyenne, Crow, Blackfeet & Cree — Sacred Hoop · Zulu & Xhosa — Izibongo · Icelandic — Norse Saga · Slavic Peoples — The Turning Year · Tamil — Sangam Akam / Puram · Zulu, Xhosa & Shona — Ubuntu Story Circle

Work in this Story World

Working your own story through these movements opens with Academy membership.

Join the Academy →