Maori had no written language, but the symbolic meanings embodied in carving, knots and weaving were widely understood.

Early settlers were dependent on Maori for many things and had to learn to speak the language if they wished to trade with them.

As more settlers arrived, the need for written communication in Maori grew. Missionaries first attempted to write down the Maori language in 1814. Professor Samuel Lee of Cambridge Univerity worked with the chief Hongi Hika and his junior relative Waikato to systematize the written language in 1820.

Up to the 1870s, and in some areas for several decades after that, it was not unusual for government officials, missionaries and other prominent Pakeha (European New Zealanders) to speak Maori. Growing up with Maori youngsters, their children were among the most fluent European speakers and writers of Maori. Particularly in rural areas, interaction between Maori and Pakeha was constant.

Most Pakeha (white New Zealanders) did not understand that the Maori language was an essential expression and envelope of Maori culture, important for Maori in maintaining their pride and identify as people. Speaking Maori was now officially discouraged, and many Maori themselves questioned its relevance in a Pakeha-dominated world where the most important goal seemed to be to get ahead as an individual.

The Maori language was forbidden in schools, either formally or informally, to ensure that Maori youngsters blend in with the wider community. Some older Maori still recall being punished for speaking their language. By the 1920s only a few private schools still taught Maori grammar. Many Maori parents encouraged their children to learn English and even to turn away from other aspects of Maori custom. Increasing numbers of Maori people learned English because they needed it in the workplace or on the sports field. ´Koreo Pakeha´ (Speak English) was seen as essential for Maori people.

Despite the prominence of speaking English, the Maori language survived. Until the Second World War most Maori spoke te reo as their first language.

The English language in New Zealand was also changing and borrowing words from Maori or Polynesian languages, such as taboo (tapu), kit (kete) and Kiwi (a New Zealander).

Maori was made an official language of New Zealand under the Maori language Act 1987 to secure the survival of the Maori language.

Objects and persons could also possess mana, psychic power. Furthermore, an object or resource could be made tapu and therefore off-limits. The punishment for violating a tapu restriction was automatic, usually coming as sickness or death. The Maori had a temple of supernatural beings (atua). The supreme god was known as Io. The two primeval parents, Papa and Rangi, had eight divine offsprings: 

- Haumia, the god of uncultivated food 

- Rongo, the god of peace and agriculture

- Ruaumoko, the god of earthquakes

- Tawhirimatea, the god of weather

- Tane, the father of humans and god of forests

- Tangaroa, the god of the sea

- Tu-matauenga, the war god

- Whiro, the god of darkness and evil

There were also exclusive tribal gods, mainly associated with war. In addition, there were various family gods and familiar spirits.

In waiata-a-ringa (action songs), the lyrics are supported by symbolic hand movements. The perfomers flutter their hands quickly, a movement called wiri, which can symbolize shimmering waters, heat waves or even a breeze moving the leaves of a tree. Waiata-a-ringa are usually accompanied by a guitar and can be slow, fast, serious or fun and flirtatious, depending on the context.

Poi is a form of dance in which each performer skillfully twirls one or more poi (ball on a chord) in perfect unison with the others. Sudden direction changes are achieved by striking the ball on a hand or other part of the body, and the noise creates a percussive rhythm. Poi dancers are usually women and a skilled perfomance will strongly convey a sense of grace, beauty and charm.

The haka is a ceremonial Maori war dance or challange. Haka are usually performed in a group and represent a tribe´s pride, strength and unity.

Actions include the stomping of the foot, the protrustion of the toungue and rhythmic body slapping to accompany a loud chant.

Pukana (facial expressions) are an important facet of Kapa haka. A pukana helps to emphasise a point in a song or haka and demonstrate the performer´s ferocity or passion.

For women, pukana involves opening their eyes wide and jutting out their chin. For men, it means widening their eyes and streching out their tongue or baring their teeth.

The Polynesians who came to New Zealand brought their fishing practices with them, adapting them to new raw materials and different fish species. Along with their tools and weapons of war, their fishing technology dominates the archaeological record displayed in museums throughout New Zealand.

Maori had a huge range of fishing technology and used tactics that modern recreational fishermen use.

There were few marine species they could not catch.

Sharks and dolphins were harpooned, small fish such as tuna, barracouta, kingfish and kahawai were taken on lures, and other fish were taken on hooks and in nets and traps.

One key characteristic of Maori fishing gear and most aspects of their material culture is the effort that went into not only making a functional fishhook, but also into decorating it with symbolic shapes and markings. Its a true blend of function with belief.