Huia birds, male and female. Harris, Esme, fl 1980-1981 : Photographs. Ref: PA11-046-11. Alexander Turnbull Library, Wellington, New Zealand.

Te Karanga a te Huia | The Call of the Huia

By Sarah Johnston (Client Services Co-ordinator, Radio – Ngā Taonga Sound & Vision)

If you have been to see Taika Waititi’s film The Hunt for the Wilderpeople (2016) you will remember the scene in which the two main characters discover the long-believed-extinct huia bird, while they are deep in the bush.

In real life, the last authenticated sighting of a huia is generally believed to have been in 1907 in the Tararua Ranges, north of Wellington. Sound recording technology was in its infancy when the huia died out, so there are no recordings of the actual bird call itself. However, Ngā Taonga Sound & Vision’s sound collection holds several recordings about the huia, including eyewitness descriptions of it – and a re-creation of the bird’s call by a man who remembered them well. You can hear me talking about these recordings with RNZ’s Jesse Mulligan here or listen to the full recordings below.

Huia birds, male and female. Harris, Esme, fl 1980-1981 : Photographs. Ref: PA11-046-11. Alexander Turnbull Library, Wellington, New Zealand.
Huia birds, male and female. Harris, Esme, fl 1980-1981 : Photographs. Ref: PA11-046-11. Alexander Turnbull Library, Wellington, New Zealand.


The sad tale of the huia holds a great deal of fascination for many people – both Māori and Pākehā, as well as people overseas. In my role as Client Services Co-ordinator, I handle requests from people who want to hear sound recordings from Ngā Taonga Sound & Vision’s collection. In the case of the huia, these might be ornithologists, academics interested in aspects of extinction, or artists and musicians inspired by the melancholy idea of being able to hear the call of the bird that has long been silenced.

This usually leads them to one particular recording, which is the re-creation of the huia’s call.


Re-Creation of Huia Calls (Hēnare Hāmana, 2YA, 1949)

Copies of this recording have been circulating widely for many years. Excerpts from it can be heard in several places online and it has been broadcast by RNZ in various programmes over the years. The recording was therefore never “lost” as such, but the story of how it came to be recorded had been forgotten, so when journalist Kate Evans contacted me last month, some research was called for.

Kate was writing an article about the huia recording for New Zealand Geographic magazine’s “Artefacts” column.  She was keen to know more about its origins  – as was I. We don’t hold the original recording in our collection, but rather a taped copy made in the 1960s. On listening to it, you can tell by the sound of surface crackle and hiss that it is a copy of a recording that had been made originally on an acetate disc. This pointed to a recording date probably prior to the mid-1950s, when tape recording technology took over from discs. We didn’t know when or where it was originally recorded, so together through the magic of the internet, the online records of several museums and libraries, phone calls and emails, Kate and I began to unravel the tangled tale of the provenance of the many copies in circulation, until we wound our way back to 1949.

We learned the recording was made by two men from Moawhango, near Taihape. The man who introduces the recording is R.A.L. (Robert) Batley, who was from a local Pākehā family that had been early settlers in the region. He in turn introduces Hēnare Hāmana (Te Aitanga-a-Māhaki, Ngāti Porou) who makes the imitation huia calls. As a young man, Hēnare had been part of an expedition to try and find any remaining huia in the Ruahine Ranges. He and several other men who were good at imitating the bird’s call went along, as the call was one way that huia had traditionally been lured. These expeditions were sadly unsuccessful and by the 1940s the bird was considered extinct.

Robert Batley was a local historian and author, and in 1949 he decided it would be good to record for posterity the closest thing left to the call of the bird. So he organised for himself and Mr Hāmana – who was now in his 60s, to go to Wellington and make this recording in the studios of radio station 2YA – now RNZ National.

What happened after this is unclear – certainly it seems several copies were made. In a letter to The Listener magazine in 1976, Mr Batley explains that one was given to the Wildlife Service (a forerunner of the Department of Conservation) but that many years later, he reacquired this disc from them. He was moved to write the letter after hearing the recording played on the radio, on “Midday Report,” where it was incorrectly attributed to W.J. Phillipps, the author of The Book of the Huia. Mr Batley explained:

“Because of my concern that the call of the huia would be lost forever, I took Hēnare Hāmana to Wellington and we made the recording.” – R.A.L. Batley, letter to the Editor, The Listener, 28 Feb 1976.

By the mid-1950s, tape recording technology was now in use in New Zealand and taped copies of the recording by Mr Batley and Mr Hāmana appear to have been circulated quite widely among bird call enthusiasts. It is a unique recording mimicking an extinct bird and obviously it was of great interest to many academics. Kate even found a copy in a natural history library in the United States, where it has been the inspiration for work by writer and ecologist Dr Julianne Warren. Kate was keen to see if an original disc was still in existence and made contact with the Batley family. She learned the original disc that Robert Batley re-acquired from the Wildlife Service had been deposited, with his papers after his death in 2004, with Whanganui Museum – and they were able to provide a photo of it for her article which you can read here.

For eye witness accounts of some of the last sightings of the huia, I recommend to researchers that they listen to this wonderful radio documentary from the 1960s, also held in our archives, simply called The Huia. 


The Huia, Alwyn Owen and Ian Johnstone, “National Programme,” 28 Mar 1967.


This recording was produced by broadcaster Alwyn Owen, later of Radio New Zealand’s “Spectrum” fame. In it he talks to various people about the last days of the huia and how it came to die out. The programme begins with a haunting poroporoaki, or traditional farewell, by broadcaster Reverend Kingi Ihaka (Te Aupouri).

As a result of Kate’s enquiry and our joint research, we now have a much richer understanding of the origins of this important recording, and we have been able to fully identify Mr Batley and Mr Hāmana. As he himself discovered in 1976, Mr Batley’s name had disappeared altogether from many institutions’ notes about the huia recording, and Mr Hāmana’s name had gone through several spelling variations over the years. It is thanks to the skill and foresight of these two men that we can still hear an echo of this lovely, long-lost bird which continues to inspire people and it is good to be able to correctly attribute the recording to them once again.


Audio from Ngā Taonga Sound & Vision Radio Collection, all rights reserved. To enquire about re-use of these items please contact 

7 thoughts on “Te Karanga a te Huia | The Call of the Huia”

  1. In 1997 I co-curated an exhibition about the huia at The Science Centre & Manawatu Museum (now Te Manawa) in Palmerston North. We featured the song of the huia and researched these recordings of Henare Hamana’s imitation of a huia call. The tape copy we found was dated 1954 so it was very interesting to read this article and discover that the original recording was made in 1949, from which it seems many copies of the tape were made.
    In the exhibition we were fortunate to be able to feature the reconstructed huia call made by British ornithologist and composer David Hindley in 1992. This features on a CD “Lifesong – Amazing Sounds of Threatened Birds” from the British Library National Sound Archive. David Hindley used the recording of Henare Hamana’s huia call and other sources for his huia call reconstruction. It is a haunting, highly evocative sound and for anyone interested in knowing what the song of the huia may have been like it is worth tracking down.

    1. Kia ora Pamela,

      Thank you for your lovely comment. Curating the huia exhibition sounds like a fascinating project. The huia has captured the imagination of many, so I’m sure you came across lots of interesting material!

      For anybody who’s interested, Ngā Taonga Sound & Vision holds a version of the 1992 David Hindley recording also:

      Warm wishes,

      Ellen Pullar (Digital Programme Developer, Ngā Taonga Sound & Vision).

  2. Can you please edit this content as it is incorrect!!

    “A final poetic twist to this tale, was to discover that Hēnare Hāmana, who was also known as Harry Salmon or Henry Hamon, was a tipuna of the late Rei Hamon, an artist whose delicate works depicting Aotearoa’s bush and birds (including the huia) are known worldwide.”

    This is incorrect, Henry ʻSalmonʻ was known as Henare Hamana, not Ngāti Porou or te Aitanga a Mahaki who was called ʻHenare Hamonʻ – my ancestor. This fact was mis-interpreted through a brief conversation on facebook and I was surprised it would be taken as fact… I have already asked to be corrected. Mr Salmons family contacted me after hearing this and very surpried as he had no children.

    So can you please correct the paragraph above? In saying this, Reiʻs grandfather Henare Hamon did indeed track the Huia in the Uruweras in 1903.

    Ngā mihi, Huia Hamon. (Mokopuna of Rei Hamon, manager)

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