Traditional Arts in the Pacific and Hawaii: Craftsmanship, Tattooing, and Performance
Traditional Craftsmanship and Native Industries
Traditional arts serve as the definitive foundation for contemporary artistic expression in Hawaii and the Pacific. The exploration of these arts begins with craftsmanship, particularly highlighting the evolution from traditional methods to modern adaptations. A significant resource for this study is the film Legacy of Excellence, which documents cultural pieces that are housed in the Bishop Museum.
The Shift from Native to Foreign Industries
A transformative period occurred when Hawaiians transitioned from native industries to foreign ones. This shift necessitated a reorganization of traditional labor and material usage:
Garment Production: Historically, the creation of garments involved the lengthy process of making kapa from tree bark. The introduction of foreign industries brought bolts of fabric, leading to the use of sewing for garment creation.
Tool Evolution: Traditional practices required the manual creation of tools to produce objects. This was largely replaced by the introduction of metal tools that could be purchased and used immediately.
Musical Instruments: Cultural instruments evolved in construction and form following the introduction of new materials.
The Revival and Preservation of Traditional Knowledge
Many traditional arts that were nearly lost due to the rise of foreign industries have been revived through the efforts of cultural practitioners. These efforts involve reclaiming oral knowledge and plant-based techniques:
'Ie'ie Roots: Practitioners have rediscovered the use of the aerial roots of the 'ie'ie plant. These durable roots are utilized to weave intricate baskets and ceremonial helmets.
Ipu (Gourds): Knowledge regarding the cultivation of gourds has been restored to produce water containers and various hula instruments.
Lauhala Weaving: The weaving of lauhala mats and hats remains a vital, preserved tradition.
Mordants and Dyes: Traditional kapa making involved the use of mordants in the dye process to ensure color longevity and prevent fading. Historically, kapa makers utilized a vast array of natural dyes, resulting in a significantly broader spectrum of colors than is typically seen in the contemporary era.
Kapa: The Art of Pacific Bark Cloth
Kapa is a specialized form of bark cloth produced in Hawaii. Similar traditions exist across the Pacific, such as siapo in Samoa and tapa in Tonga. While these traditions faced a severe decline with the introduction of Western cloth, they are currently seeing a professional and cultural resurgence.
The Production Process and Materials
Professional kapa maker Dalani Tanahi highlights that the revival of this art form often connects to a cultural "DNA" or genetic predisposition within practitioners. The physical process involves several technical steps:
The Bauke Tree: The primary material is the bauke (paper mulberry) tree. It shares structural similarities with bamboo, notably a hollow space in the center.
Cultivation: Historically, families grew bauke trees specifically for production. When kapa making declined, the trees nearly disappeared from the wild.
Scaling: The dimensions of the intended garment, such as a skirt, dictate the number of trees required for harvesting.
Functional Uses: Beyond clothing, kapa was traditionally used for bedding, religious ceremonies, and wrapping the remains of the deceased. It even served as a form of currency for paying taxes.
Tattooing Traditions: Skin Stories
Tattooing in the Pacific is an ancient art form dating back more than years. The practice is fundamental to cultural identity in Samoa, Aotearoa (New Zealand), and Hawaii.
Regional Terminology and History
Samoa: Known as tatau, which is considered the birthplace of the practice.
Aotearoa: Known as moko. The final traditional facial moko was reportedly recorded in the .
Hawaii: Known as kakau. The last traditional practices likely occurred between the late and the .
Samoan Tattooing (Tatau)
Samoan designs are characterized by their extreme intricacy and symmetry.
Pe'a: This is the traditional male tattoo, covering the area from the torso to just above the knees. The term translates to "bat" or "flying fox" because the pattern resembles a bat wrapped around the body. The uppermost portion of the design is shaped like a canoe.
Malu: This is the traditional female tattoo, running from the hip and thigh to the knees. The name signifies "protection," specifically guarding the sacred area of procreation. Traditionally, it is a sacred mark not intended for public display.
Rite of Passage: Tattooing marks the transition from youth to adulthood. The most painful portion, the pico (area around the navel), is always tattooed last.
Maori Tattooing (Moko)
Aotearoa's traditions also emphasize intricate and symmetrical patterns.
Puhoro: This body tattoo covers the waist, hip, and thighs to the knees. A primary feature is the spiral design placed on the buttocks.
Moko (Facial): Facials tattoos are applied to both men and women. Women typically receive moko on the lip and chin, while men may have the entire face covered.
Hawaiian Tattooing (Kakau)
Hawaiian tattooing differs from other Polynesian styles through its unique aesthetics and application:
Visual Characteristics: The designs are larger, bolder, and darker than those found in Samoa or Aotearoa.
Asymmetry: Unlike the symmetrical South Pacific styles, Hawaiian kakau is traditionally asymmetrical. This is evidenced by individuals having a single leg or one side of the chest tattooed.
Warrior Traditions: Some traditions record warriors being tattooed entirely in solid black, including the eyelids, to assist in stealth and combat effectiveness.
Technical Application: Hawaiian tools are mounted on longer implements, meaning they are struck from a further distance compared to the closer "tap tap tap" technique used in Samoa and New Zealand.
New Tribal Tattooing
This is a contemporary movement defined by the blending of traditional and modern designs. It involves the fusion of motifs from various cultures—such as Marquesan, Hawaiian, Tongan, and even non-Pacific designs like Irish patterns—to create unique contemporary art.
Performing Arts and Political Satire
Traditional performing arts in the Pacific often serve as a vehicle for worship and a mechanism for social critique.
Fale Aitu (Samoa)
The term Fale Aitu translates to "House of the Spirits."
Performers: The tradition was led by young, untitled men, typically the younger brothers of chiefs.
The Malanga (Expedition): These performance groups would travel as a malanga (journey) through various villages. They gathered local news and gossip, which they would then integrate into comedic skits.
Political Satire and Critique: Fale Aitu allowed for the critique of power structures. Performers could openly mock chiefs or those in power, such as accusing a chief of favoritism or secret affairs (e.g., "the chief is sleeping with so-and-so… that's why her family has so much bananas"). This encouraged leaders to be more discreet and accountable.
Social Inversion: On the night of a performance, traditional social rules were suspended. High-ranking individuals and commoners could pair up as partners, a practice that was strictly prohibited under normal circumstances.
Conflict with Missionaries: The ritualistic pairing at the end of the night led to the suppression of Fale Aitu by Christian missionaries. Modern versions often struggle with the balance between western scripting and the original "soul" of the spontaneous performance.
Han Mariatsu / Hen Maniac Su (Rotuma)
On the island of Rotuma (near Fiji), there is a unique clowning tradition specifically for weddings.
The Wedding Clown: A housewife is chosen to act as the Han Mariatsu. For the duration of the wedding, she holds absolute power over the proceedings.
Authority over Status: She can command chiefs and district officers to dance or bring her drinks, often using a stick to scare them into compliance.
Subversion of Gender and Race: The role allows women to gain control over men who normally consider themselves more important. The clown may also mock Europeans or visitors to highlight the absurdity of social hierarchies.
Arioi Society (Tahiti)
The Arioi (also referred to as Arioye or Adiwai) was the only professional performing arts group in traditional Polynesia.
Religious Affiliation: They were a secret society that venerated Oro, the god of war, whom they considered their founder.
Style and Influence: Their performances were noted for their seductive nature. This historical style is the direct precursor to the seductive movements found in contemporary Tahitian dance.
Suppression: Due to their ritual behaviors and the god they venerated, the society was completely banned upon the arrival of Christian missionaries.
Contemporary Connections in Hawaii
The essence of traditional Pacific clowning survives in contemporary Hawaiian humor. Comedians such as Frank de Lima continue the tradition of using ethnic humor and making fun of various social groups, mirroring the satirical and critical functions of the Fale Aitu and Han Mariatsu.