Samoa Two

Samoa Art and Social Organization Video 4

Family Compound

  • Each Samoan extended family owns land within the village.

  • Footpaths provide access to public and private areas, reinforcing borders between 'aiga (extended family lands).

  • Structures are organized hierarchically with a front-to-back orientation:

    • Front: More prestigious structures (e.g., guest fale, falesamoa).

    • Back: Less prestigious structures (e.g., falekuka, outbuildings).

  • Guests are welcomed to the front of the property, with more prominent buildings closest to pathways or public areas.

Village Malai

  • The Malae is a key public area for ritual exchanges and community gatherings.

  • High-status guest fale typically face the Malae, serving as the village's social and political nucleus.

  • Access and behavior control in the Malae reinforces its importance; specific actions are expected, especially during formal gatherings.

  • The ideal arrangement is circular with the Malae at the center, surrounded by where guest structures are located.

Importance of Edges

  • Social status is reflected in the village layout and within the family compounds.

  • Organization in Guest Fale: Interior spaces reflect ceremonies and social interactions.

  • Boundaries are acknowledged:

    • Shoes are removed when entering a fale.

    • Bow slightly and say "tolou" when passing between individuals.

  • Ornamentation enhances the edges of structures:

    • Flower gardens and decorations mark the boundary between inside and outside, emphasizing social prestige and identity.

Samoa Art and Social Organization - Video 5 Notes

Topics Covered

  • Chiefly Fono

  • Kava Ceremony

  • Significance of Gifts

Formats of Samoan Ceremonial Events

  1. Fono - A formal gathering.

  2. Malaga - Indicates a ceremonial visit or journey, resulting in a ritual meeting between groups.

Fono Structure

  • Location: Guest fale is the ideal indoor location for fono.

  • Architecture: Visually accessible design fosters transparency; all proceedings are open to view.

  • Seating Plan:

    • Seating arrangements reflect rank and status in a circular format.

    • Chiefs are seated according to rank facing each other, with a central open space.

    • High-rank leaders (ali'i) placed at the center.

    • Tulafale (orators) may sit at the front.

    • Lesser Lali'i and other rank holders seated accordingly.

    • Seating arrangements can express political statements, such as high chiefs lowering their perceived status.

Kava Ceremony

  • Purpose: Establishes or reinforces social ties; follows a structured seating arrangement akin to the fono.

  • Preparation: Conducted by the Taupou (ceremonial maiden) or Manaia (titled son) associated with an ali'i.

  • Process: Kava made from pepper plant roots, distributed in a ceremonial fashion following rank order.

  • Significance: Ties individuals together ceremonially, nullifying existing gaps in social relationships.

Role of Gifts

  • Gift-giving Context: Used to acknowledge or establish relationships; integral to rituals including fa'alavelave which signifies social ceremonies.

  • Types of Prestations:

    • Familial: Life-cycle events like funerals, title installations.

    • Village: Community projects or significant gatherings.

  • Presentation: Gifts displayed and proclaimed publicly, crossing spaces to link givers and receivers.

  • Social Roles: Reinforces and modifies social relationships; the nature of gifts varies by recipient rank and occasion significance, mirroring economic and social elements in Samoan culture.

  • Current Practice: Commonly distributed items include food, Hawaiian print cloth, and fine mats ('ie tonga).

Samoa Art and Social Organization - Artifacts and Cultural Practices Video 6

'Ie Toga

  • Definition: Finely woven mats made by women from pandanus plants, commonly referred to as fine mats.

  • Features: Traditionally loose fringe and a strip of red feathers (dyed chicken feathers today).

  • Importance: Among the most important items in Samoan culture (fa'asamoa).

  • Quality Assessment: Assessed by the weave's quality, softness, and shine.

  • Time to Craft: Superior items may take months to years to create; some strips narrow as 1/8 inch.

  • Functional Use: Not used for sitting; collected to give away as significant gifts.

  • Historical Significance: Some mats had names and genealogies; an example includes the mat presented to the Tongan Queen at Princess Salamasina's funeral.

Siapo (Bark Cloth)

  • Definition: Bark cloth made from the inner bark of the paper mulberry tree.

  • Historical Use: Traditionally prestigious, linked to various ceremonies, and used in dowries.

  • Production Process: Bark is scraped, pounded, layered, and dyed.

  • Design Techniques:

    • Immersion in dye or mud.

    • Freehand painting.

    • Smoking (traditionally for Manaia or Taupou).

    • Relief designs using a rubbing board (upeti) carved with designs.

  • Cultural Reflection: Symbolizes social ties and community engagement.

Transition of Material Culture

  • Decline of Traditional Textiles: From the 1970s onward, production of siapo declined, replaced by commercial cloth.

  • Factors for Change: Introduction of European textiles, the shift in cultural practices under missionary influence, and commercial textile availability.

  • Modern Ceremonial Contexts:

    • Gift-giving ceremonies (Sua) now often include commercial cloth instead of siapo.

    • Cloth from government purchases and tourist sales reflects contemporary status.

  • Changed Practices: Modern funerals and significant life events continue to utilize textiles, but often with commercial rather than traditional origins.

Social Connections through Textiles

  • Gift Exchange: Movement of cloth signifies social linking; represents existing and new social bonds.

  • Funeral Practices: Modern wrapping of deceased in fancy textiles instead of siapo; significant gestures connecting the living and the deceased.

  • Example: Attendees at funerals may present cloth to signify respect and acknowledge relationships, as seen during the funeral of Princess Salamasina.

Samoa Art and Social Organization - Dance Forms Video 7

Taualuga and Talolo

  • Overview: The dance forms Taualuga and Talolo reflect and reinforce social connections in Samoan culture, especially during significant events.

  • Moyle's Insight: Dance reveals the structures of Samoan social life and the patterns of behavior.

  • Shore's Observation: The dance floor acts as a microcosm of the village arena, emphasizing community formation.

Talolo Dance

  • Definition: A formal group presentation of food to a ranking chief, incorporating dance as an essential component.

  • Context: Typically occurs during the arrival of significant visiting parties (Malaga), symbolizing kinship with the host family/village.

  • Ceremony Setting: Takes place on the Malae in front of the guest fale where honored guests sit.

  • Leading Figures: Often led by the ranking high chief, Taupou (ceremonial maiden), and her attendants, dressed in full ritual attire including fine mats and Tuiga (headdress).

  • Tuiga: Traditionally represents high rank and aggression; adorned with feathers and other materials.

  • Performance Action: Includes turning and throwing of bush knives or clubs by the Taupou, symbolizing provocation during wartime.

  • Cultural Dynamics: The Talolo fosters social links; the approach of villagers during the dance symbolizes the merging of groups from opposite ends of the Malae.

Taualuga Dance

  • Definition: The term Taualuga translates to raising up a club or victory, indicating its competitive nature.

  • Performance Context: Usually concludes longer performances or significant social events (like weddings).

  • Dancer's Role: Traditionally performed by the son/daughter of a chief; today may include brides or important guests.

  • Dress and Presentation: Dancers adorn themselves with scented coconut oil and festive regalia, symbolizing prestige and status.

  • Audience Interaction: Money is placed on the floor to acknowledge the dancer's skill; while the Taualuga centers on grace, the surrounding tulafale engage in comical, audacious actions to show respect.

Cultural Reflection

  • Social Relationships: Connections are evident in gift-giving, communal dining, and dance performances.

  • Fluidity of Relationships: Social interactions and bonds are malleable, evolving through action, food sharing, and rituals.

  • Built Environment: The layout of guest fale and the village Malae illustrate the social organization, serving as venues for celebrating and forming new bonds.