6 Oceanic Languages
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Cloth Without Weaving: Beaten Barkcloth of the Pacific Islands, November 1, 2000-February 18, 2001
Cloth Without Weaving: Beaten Barkcloth of the Pacific Islands, November 1, 2000-February 18, 2001 Unlike most textiles, which are made of interworked yarns, beaten barkcloth is made of strips of the inner bark of trees such as the paper mulberry, breadfruit, or fig, pounded together into a smooth and supple fabric. It is an ancient craft, practiced in southern China and mainland Southeast Asia over 5,000 years ago. From there, the skill spread to eastern Indonesia and the Pacific Islands. While the technique is also known in South America and Africa, it is most closely associated with the islands of Polynesia. In Polynesia, the making of beaten barkcloth, or tapa, as it is commonly known, is primarily women's work. The technique is essentially the same throughout the Pacific Islands, with many local variations. Bark is stripped from the tree, and the inner bark separated from the outer. The inner bark is then pounded with wooden beaters to spread the fibers into a thin sheet. Large pieces of tapa can be made by overlapping and pounding together several smaller sheets. Women decorate the cloth in many ways, and techniques are often combined. Mallets carved or inlaid with metal or shell designs may impart a subtle texture to the surface. Color may be applied with stamps, stencils, freehand painting, or by rubbing dye into the tapa over a patterned board. Glazes may be brushed onto the finished cloth. Each tapa-producing culture has its own vocabulary of recognized decorative motifs. Many pattern names are drawn from the natural world, and the motifs appear as highly stylized images of local flora and fauna or simple geometric shapes. -
Tourism and Cultural Identity: the Case of the Polynesian Cultural Center
Athens Journal of Tourism - Volume 1, Issue 2 – Pages 101-120 Tourism and Cultural Identity: The Case of the Polynesian Cultural Center By Jeffery M. Caneen Since Boorstein (1964) the relationship between tourism and culture has been discussed primarily in terms of authenticity. This paper reviews the debate and contrasts it with the anthropological focus on cultural invention and identity. A model is presented to illustrate the relationship between the image of authenticity perceived by tourists and the cultural identity felt by indigenous hosts. A case study of the Polynesian Cultural Center in Laie, Hawaii, USA exemplifies the model’s application. This paper concludes that authenticity is too vague and contentious a concept to usefully guide indigenous people, tourism planners and practitioners in their efforts to protect culture while seeking to gain the economic benefits of tourism. It recommends, rather that preservation and enhancement of identity should be their focus. Keywords: culture, authenticity, identity, Pacific, tourism Introduction The aim of this paper is to propose a new conceptual framework for both understanding and managing the impact of tourism on indigenous host culture. In seminal works on tourism and culture the relationship between the two has been discussed primarily in terms of authenticity. But as Prideaux, et. al. have noted: “authenticity is an elusive concept that lacks a set of central identifying criteria, lacks a standard definition, varies in meaning from place to place, and has varying levels of acceptance by groups within society” (2008, p. 6). While debating the metaphysics of authenticity may have merit, it does little to guide indigenous people, tourism planners and practitioners in their efforts to protect culture while seeking to gain the economic benefits of tourism. -
Ethnographic Assessment and Overview National Park of American Samoa
PACIFIC COOPERATIVE STUDIES UNIT UNIVERSITY OF HAWAI`I AT MĀNOA Dr. David C. Duffy, Unit Leader Department of Botany 3190 Maile Way, St. John #408 Honolulu, Hawai’i 96822 Technical Report 152 ETHNOGRAPHIC ASSESSMENT AND OVERVIEW NATIONAL PARK OF AMERICAN SAMOA November 2006 Jocelyn Linnekin1, Terry Hunt, Leslie Lang and Timothy McCormick 1 Email: [email protected]. Department of Anthropology, University of Connecticut Beach Hall Room 445, U-2176 354 Mansfield Road Storrs, Connecticut 06269-2176 Ethnographic Assessment and Overview The National Park of American Samoa Table of Contents List of Tables and Figures iii List of Slides v Preface: Study Issues vi Maps vii Key to Maps x I. The Environmental Context 1 Climate and Vegetation 1 The National Park Environments 4 II. Archaeology and Samoan Prehistory 8 Early Settlement 8 Later Inland Settlement 9 Late Prehistoric Period 9 European Contact and the Historical Period 10 Archaeology in the National Park Units 10 III. Research Methodology 15 Documentary Phase 15 Field Research 15 Limitations of the Research 17 IV. Ethnohistory 22 Myths and Legends Relevant to the Park 22 The European Contact Period 25 Western Ethnohistorical and Ethnographic Reports 31 V. Agriculture and Domestically Useful Plants 46 Tutuila Unit 46 Ta'u Unit 49 Ofu Unit 51 Summary 52 VI. Marine Resources 53 Tutuila Unit 53 Ta'u Unit 57 Ofu Unit 58 Summary 61 i VII. Medicinal Plants 63 Ofu Unit 63 Ta'u Unit 66 Tutuila Unit 66 Summary 67 VIII. Analysis of Freelist Data 75 Crops and Cultivated Plants 76 Medicinal Plants 81 Fish and Marine Species 84 Animals and Birds 86 Summary of the Freelist Results 88 IX. -
Handbook for Teachers of Samoan Students in Western Schools. PUB DATE 1999-03-00 NOTE 81P.; Page Numbers in Table of Contents Are Incorrect
DOCUMENT RESUME ED 431 573 RC 022 011 AUTHOR Vaipae, Sharon Siebert TITLE Handbook for Teachers of Samoan Students in Western Schools. PUB DATE 1999-03-00 NOTE 81p.; Page numbers in table of contents are incorrect. Videotape not available from EDRS. PUB TYPE Guides - Classroom Teacher (052) EDRS PRICE MF01/PC04 Plus Postage. DESCRIPTORS *Classroom Communication; *Cultural Background; *Cultural Differences; Cultural Traits; Elementary Secondary Education; English (Second Language); *Intercultural Communication; *Samoan Americans; Second Language Learning; *Socialization IDENTIFIERS Samoa ABSTRACT This handbook provides classroom teachers with information to assist them in enhancing Samoan students' social adjustment and academic achievement in U.S. schools. The information complements the 25-minute videotape, Samoa, which is designed for student viewing. The handbook provides background information on the Samoan people, their islands, and Samoan schools and discusses reasons given by Samoans for migrating to Hawaii or the mainland. A chapter examines differences in culture between middle-class European Americans and traditional Samoans. Middle-class American family structure typically consists of a nuclear family with two children, while traditional Samoan families consist of an extended family structure with an average of seven children. A chapter on intercultural communication pragmatics describes principles of Samoan communication and provides context markers in Samoan communications such as eye gaze, posture, and gesture. A chapter focusing on linguistic considerations outlines differences encountered when using the Samoan language and lists problem sounds for Samoans in oral English. Contrasts in socialization between the two cultures are discussed. Using the framework suggested by Ogbu and Matute-Bianci, Samoans may be described as displaying primary differences of cultural content as well as secondary differences of cultural style. -
The Changing Face of Ethnomedicine in Hiv a Oa, Marquesas Islands a Thesis Submitted To
UNIVERSITY OF HA"/A/I UBRARY NEW PLANTS, NEW DISEASES, NEW PRACTICES: THE CHANGING FACE OF ETHNOMEDICINE IN HIV A OA, MARQUESAS ISLANDS A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWArI IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN BOTANICAL SCIENCE (BOTANY) DECEMBER 2005 By Liloa Makinney Dunn Thesis Committee: Will McClatchey (Chairperson) David Webb Mark Merlin We certify that we have read this thesis and that, in our opinion, it is satisfactory in scope and quality as a thesis for the degree of Master of Science in Botanical Science (Botany). " 1IIIIIIIIIIIIIIIIIIIIIfIlili I 10 002605464 ~_ UNIVERSITY OF HAWAII '" HAWN THESIS COMMITTEE Q111 .H3 no. 4015 II ACKNOWLEDGMENTS I would first like to acknowledge and dedicate this work to the late mayor of Nuku Hiva, Monsieur Lucien" Taaroa" Kimitete, who was the first to open the door to the Marquesas for me. During my first field trip to the Marquesas, both Debora and Lucien Kimitete took me in and made me feel like this was my home. Both he and I planned on collaborating on a book that would document Marquesan Traditional medicine, but his untimely death put those plans on hold. I plan to continue with this work and his vision and would like to dedicate all my work in the Marquesas to his name. I would like to thank my thesis committee members for their guidance through this project, Dr. David Webb, who single handedly got me into the Botany program and who without I wouldn't have done what I have done today, Dr. -
Theatre, Rugby and Samoan Masculine Identities
1 Victoria University of Wellington School of English, Film, Theatre and Media Studies Blackout: Theatre, Rugby and Samoan Masculine identities Sepelini Mua’au A thesis submitted to the University of Wellington in partial fulfilment of the requirements for the degree of a Masters in Arts (Theatre) 2016 2 Blackout: Theatre, Rugby and Samoan Masculine identities Abstract This thesis examines key ideas concerning masculinity and Samoan identity, focusing on the external and internal pressures placed on Pacific Island athletes in New Zealand and abroad to inform the development of an original script, Blackout. In 2014, as part of an Honours script-writing course, I wrote a first draft for my first full- length play. Inspired by the work of Samoan playwright Oscar Kightley, Blackout is a play that intersects the story of four young Pacific Island boys in their last year of College with the journey of a talented young Pacific Islander in his mid-20s trying to make his way in the Professional Rugby world. This thesis is part of a practice- based research project, comprising a 60% theory-based thesis (25,000 words) and 40% practical component, developing the script through three workshop productions. The two working questions the thesis and production process centre on are, firstly how the experiences of young second generation Samoan males can be explored through a contemporary theatre text, enabling the research to develop the story and characters of the play. The second, how the development of this script can enhance an understanding of what it is to be an emerging playwright, grounding the piece in personal experiences and contributing discoveries for young Pacific Playwrights. -
Colonialism, Maasina Rule, and the Origins of Malaitan Kastom
Colonialism, Maasina Rule, and the Origins of Malaitan Kastom Pacific Islands Monograph Series 26 Colonialism, Maasina Rule, and the Origins of Malaitan Kastom David W. Akin Center for Pacific Islands Studies School of Pacific and Asian Studies University of Hawai‘i, Mānoa University of Hawai‘i Press • Honolulu © 2013 University of Hawai‘i Press All rights reserved Printed in the United States of America 18 17 16 15 14 13 6 5 4 3 2 1 Library of Congress Cataloging-in-Publication Data Akin, David, [date–] author. Colonialism, Maasina rule, and the origins of Malaitan kastom / David Akin. pages cm. — (Pacific islands monograph series ; 26) Includes bibliographical references and index. ISBN 978-0-8248-3814-0 (cloth : alk. paper) 1. Malaita Province (Solomon Islands)—Politics and government. 2. Malaita Province (Solomon Islands)—Social life and customs. 3. Self-determination, National—Solomon Islands. I. Title. II. Series: Pacific islands monograph series ; no. 26. DU850.A684 2013 995.93’7—dc23 2013008708 Maps by Manoa Mapworks, Inc. University of Hawai‘i Press books are printed on acid-free paper and meet the guidelines for permanence and durability of the Council on Library Resources. Design by University of Hawai‘i Press Design & Production Department Printed by Sheridan Books, Inc. To Ma‘aanamae, Sulafanamae, and Saetana ‘Ola moru siria lo‘oo, fu‘u wane. and Kisini CENTER FOR PACIFIC ISLANDS STUDIES, UNIVERSITY OF HAWAI‘I Terence Wesley-Smith, Director PACIFIC ISLANDS MONOGRAPH SERIES Tarcisius Kabutaulaka, General Editor Jan Rensel, Managing Editor EDITORIAL BOARD Hokulani Aikau Alex Golub David Hanlon Robert C Kiste Jane Freeman Moulin Puakea Nogelmeier Lola Quan Bautista Ty Kāwika Tengan The Pacific Islands Monograph Series is a joint effort of the University of Hawai‘i Press and the Center for Pacific Islands Studies, University of Hawai‘i. -
Collecting, Exhibiting and Engaging with East Polynesia at the Museum of New Zealand Te Papa Tongarewa
Tuhinga 24: 105–138 Copyright © Te Papa Museum of New Zealand (2013) Collecting, exhibiting and engaging with East Polynesia at the Museum of New Zealand Te Papa Tongarewa Sean Mallon* and Grace Hutton** * Museum of New Zealand Te Papa Tongarewa, PO Box 467, Wellington, New Zealand ([email protected]) ** Museum of New Zealand Te Papa Tongarewa, PO Box 467, Wellington, New Zealand ([email protected]) ABSTRACT: The Pacific Cultures collection of the Museum of New Zealand Te Papa Tongarewa (Te Papa) holds significant artefacts from the islands of East Polynesia, including the Austral Islands, Society Islands, Marquesas Islands, Tuamotu Archipelago, Pitcairn Island and Rapa Nui (Easter Island). Some artefacts are important because of their historical association with the voyages of eighteenth-century English explorer James Cook. Others are less well documented but of outstanding aesthetic quality and once belonged to the early twentieth-century English collector William Oldman. In this survey article, we describe the holdings of East Polynesian material culture in Te Papa and argue for their relevance in the national museum of New Zealand. We also examine other holdings in Te Papa that have associations with East Polynesia, and outline a short history of outreach and engagement with communities from this region. KEYWORDS: East Polynesia, material culture, Austral Islands, Society Islands, Marquesas Islands, Pitcairn Island, Rapa Nui (Easter Island), Te Papa, Tahiti, James Cook, William Oldman. Introduction Rapa Nui (Easter Island). We do not cover the Tuamotu Archipelago or Mangareva (Gambier) Islands, as there are Given New Zealand’s twentieth-century colonial ties to the no cultural artefacts from these locations at Te Papa. -
Navigating for a Place in the Museum: Stories of Encounter and Engagement Between the Old and the New from the Highlands of Papua New Guinea
Navigating for a Place in the Museum: Stories of Encounter and Engagement between the Old and the New from the Highlands of Papua New Guinea Michael Mel There has long been a need for privileging Indigenous voices and concerns in the context of ethnographic collections and museums, and voices crying out this need have become more audible over the last century (Smith 1999; see also Smith; Kim, this issue). In response, Western collectors and cura- tors and Indigenous artists and community members have participated as partners or collaborators in the collection of materials and the designing of exhibitions (Stanley 2008). However, these approaches, while embrac- ing Indigenous subjects and objects, have often continued to be steeped in Western ideologies regarding ethnographic collections and their dis- play. More recently, collection and exhibition practices in art galleries and museums in and around Australia and the Pacific have begun to move beyond the confines of Western conceptions of museums and art spaces, as well as other particular sociomaterial environments (see Smith, this issue). Notwithstanding such trends, the need to talk about cultural materials from an Indigenous point of view remains. As a member of the Mogei community of the Central Melpa area of the Papua New Guinea (PNG) Highlands (map 1), I ask: What do cultural objects mean when engaged in museum and gallery spaces? How do these objects come to be used? What is the worldview in which they make sense and have purpose and value? And how do they connect the environments and relations of viewers to nature in the museum to the environments from which the objects hail? This article focuses on two performances of encounter and engagement in an art gallery and a museum, respectively: Ples Namel (1996) and Ritu- als of Seduction: Birds of Paradise (2010). -
Samoa: Social and Environmental Change in Oceania Spring 2020
Samoa: Social and Environmental Change in Oceania Spring 2020 TABLE OF CONTENTS COUNTRY OVERVIEW ............................................... 3 GENERAL INFORMATION ..................................... 3 CLIMATE AND GEOGRAPHY ................................ 3 DIET ............................................................................ 4 SAFETY, SECURITY, AND HEALTH .................... 4 HOMESTAYS ............................................................ 5 OTHER ACCOMMODATIONS ............................... 5 TRANSPORTATION ................................................. 5 COMMUNICATION ................................................... 5 PHONES AND E-MAIL ............................................. 6 MAILINGS .................................................................. 6 MONEY ....................................................................... 7 VISITORS AND FREE TIME ................................... 8 PACKING GUIDELINES .............................................. 9 LUGGAGE .................................................................. 9 CLOTHING GUIDELINES ........................................ 9 EQUIPMENT ............................................................ 10 COMPUTERS AND OTHER ELECTRONICS .... 10 GIFTS ........................................................................ 11 WHAT YOU CAN AND CANNOT OBTAIN IN COUNTRY ................................................................ 11 ALUMNI CONTACTS ............................................. 11 PACKING LIST ........................................................... -
Cultural Practices & Protocols
Engagement that is meaningful is about respecting Advice may be about: By having a general understanding and knowing how to behave in these cultural practices and protocols. Pacific values common to • Formal ceremonies and knowing who and how to address situations shows Pacific communities respect and is a step in the right Cultural all Pacific Islands should always be considered when observing people and their roles in the appropriate manner direction for building good relationships. Below are a few examples any customs. However, among the different islands there are which demonstrate how practices vary from island to island. This is by • Use of island languages and translation by non-English speakers distinct differences in cultural practices, roles of family no means an exhaustive list but is merely intended to give you a basic Practices members, traditional dress and power structures. • Acknowledging and allowing time for elders to contribute introduction only. If you somehow forget everything you read here, • Taking time to observe protocols which uphold spirituality just remember to act respectfully and that it’s okay to ask if you don’t If you’re asked to attend a Pacific event or ceremony, through prayers. understand. it’s anticipated that you be accompanied and/or advised & Protocols by Pacific peoples who can help guide you. Note - A full list of basic greetings can be found at www.mpp.govt.nz - Tonga, Fiji and Samoa are the only Pacific countries that are commonly known for kava ceremony practices. Pan-Pacific Fiji Niue Cook Islands Role of spirituality in meetings Welcoming ceremony Welcoming ceremony and dance Haircutting ceremony (pakoti rouru) Pacific meetings or events usually begin and close with a prayer, and food is blessed Veiqaravi vakavanua is the traditional way to welcome an honoured guest Takalo was traditionally performed before going to war. -
Cultural Etiquette in the Pacific Guidelines for Staff Working in Pacific Communities Tropic of Cancer Tropique Du Cancer HAWAII NORTHERN MARIANA ISLANDS
Cultural Etiquette in the Pacific Guidelines for staff working in Pacific communities Tropic of Cancer Tropique du Cancer HAWAII NORTHERN MARIANA ISLANDS GUAM MARSHALL PALAU ISLANDS BELAU Pacic Ocean FEDERATED STATES Océan Pacifique OF MICRONESIA PAPUA NEW GUINEA KIRIBATI NAURU KIRIBATI KIRIBATI TUVALU SOLOMON TOKELAU ISLANDS COOK WALLIS & SAMOA ISLANDS FUTUNA AMERICA SAMOA VANUATU NEW FRENCH CALEDONIA FIJI NIUE POLYNESIA TONGA PITCAIRN ISLANDS AUSTRALIA RAPA NUI/ NORFOLK EASTER ISLAND ISLAND Tasman Sea Mer De Tasman AOTEAROA/ NEW ZEALAND Tropic of Cancer Tropique du Cancer HAWAII NORTHERN MARIANA ISLANDS GUAM MARSHALL PALAU ISLANDS BELAU Pacic Ocean FEDERATED STATES Océan Pacifique OF MICRONESIA PAPUA NEW GUINEA KIRIBATI NAURU KIRIBATI KIRIBATI TUVALU SOLOMON TOKELAU ISLANDS COOK WALLIS & SAMOA ISLANDS FUTUNA AMERICA SAMOA VANUATU NEW FRENCH CALEDONIA FIJI NIUE POLYNESIA TONGA PITCAIRN ISLANDS AUSTRALIA RAPA NUI/ NORFOLK EASTER ISLAND ISLAND Tasman Sea Mer De Tasman AOTEAROA/ NEW ZEALAND Cultural Etiquette in the Pacific Guidelines for staff working in Pacific communities Noumea, New Caledonia, 2020 Look out for these symbols for quick identification of areas of interest. Leadership and Protocol Daily Life Background Religion Protocol Gender Ceremonies Dress Welcoming ceremonies In the home Farewell ceremonies Out and about Kava ceremonies Greetings Other ceremonies Meals © Pacific Community (SPC) 2020 All rights for commercial/for profit reproduction or translation, in any form, reserved. SPC authorises the partial reproduction or translation of this material for scientific, educational or research purposes, provided that SPC and the source document are properly acknowledged. Permission to reproduce the document and/or translate in whole, in any form, whether for commercial/for profit or non-profit purposes, must be requested in writing.