Rapa Nui Journal: Journal of the Foundation Volume 13 Article 3 Issue 3 September

1999 The Loss of Sacredness in Woodcarving Paula Rossetti Arredondo

Follow this and additional works at: https://kahualike.manoa.hawaii.edu/rnj Part of the History of the Pacific slI ands Commons, and the Pacific slI ands Languages and Societies Commons

Recommended Citation Rossetti Arredondo, Paula (1999) "The Loss of Sacredness in Woodcarving," Rapa Nui Journal: Journal of the Easter Island Foundation: Vol. 13 : Iss. 3 , Article 3. Available at: https://kahualike.manoa.hawaii.edu/rnj/vol13/iss3/3

This Research Paper is brought to you for free and open access by the University of Hawai`i Press at Kahualike. It has been accepted for inclusion in Rapa Nui Journal: Journal of the Easter Island Foundation by an authorized editor of Kahualike. For more information, please contact [email protected]. Rossetti Arredondo: The Loss of Sacredness in Woodcarving

The Loss of Sacredness in Woodcarving

Paula Rossetti Arredondo, Rapa Nui

With the arrival of the first westerners to Easter Island, an order that had been maintained for centuries faltered. The ex­ interesting situation arose: the inhabitants, accustomed to the ponential growth of the population, in addition to the increas­ barter system, wanted to acquire trade items because they were ing demand for food, provoked a profound deterioration of the attractive, not because of actual need. It was a trade guided by environment. It is estimated that the total population of the is­ avarice and not by necessity. That is to say, it was a type of land could have easily reached 15,000 at its peak. Under such barter that was outside the parameters of regular interchange conditions, the control of productive lands led to ever­ that was known and carried out in the daily life of the island. increasing tensions. The intertribal wars dramatically charac­ Perhaps their new situation had disconcerted terized this period: "The crisis was so profound them to such an extent that, with the goal of ac­ that the entire power structure, the social and quiring such diverse objects as hats, cloth, metals political order, its ideological justification, as and knives from the Europeans, they began to well as the economic system that supported it trade even ancestral wooden carved figures. and the rituals that expressed it, changed radi­ The acquisition of a European object ap­ cally" (Ramirez 1988:74). peared to have been more important than the Survival of the society required that there value of the item traded. To obtain a European be adaptations in all aspects ofthe system. Eco­ object bestowed a new status, not only for its nomically, the system of redistribution of food novelty, but also because with it, a person dem­ was abandoned in favor of a system based on onstrated a special ability, that of having reciprocity and exchange: bartering emerged. achieved an exchange. In this way, one became Along with this, there was an adjustment in the imbued with a special power. social structure, with warriors or rna/atoa rising Forster,. who came to Rapa Nui with the to power. Meanwhile, the cult of the ancestors Cook expedition in 1774, wrote: "The desire to and the power of the priests associated with possess a certain piece of cloth led them to sell ceremonies surrounding the ahu were replaced various items with which they would not have by the birdman cult, shifting the political­ parted under different circumstances, among religious center to the ceremonial village of which, hats, necklaces, earrings, and small 'Orongo. wooden human figures" (Forster, in Puelma This situation can help us understand the 1978:28). behavior of the islanders at the time the Euro­ Metraux explains this situation: "Like many peans arrived. They were accustomed to the other sacred objects in Polynesia, wood statues bartering system, shaped by the scarcity of did not participate actively in ritual life unless products, and practically disconnected from a the gods or the spirits were establishing their religion that incorporated in its rites diverse residence. They lost their sacredness later, at the carvings in wood. conclusion of the ceremonies, or when certain Along with this, it is important to consider circumstances deprived them of their mystic the influence that the was aura" (Metraux 1950:99). This might not have wielding by the 19th century through its mis­ been the case on Easter Island, for many of the sionaries who, by imparting their faith, worked figures carved in wood, such as the kavakava to erase all vestiges of a religion they consid­ figures, remained carefully wrapped in tapa cloth ered pagan. In this way, the forsaking ofobjects and were taken out only for a festivity or relig­ that were once sacred could have been encour­ ious ceremony (Figure I). Figure I. A stand­ aged. There exists a reference to that effect, a It is possible that the explanation given by ing male figure, letter written by the Gaspar Metraux is correct, but it is also important to be Tangata (by Rapanui Zuhmbohm, on 4 October 1868, in which he aware that when the first Europeans arrived artist Bene Aukara Tuki) tells ofan interesting situation: (Roggeveen in 1722 and Cook in 1774), the is­ resembles similar figures ...Torometi, Kutano, does not leave any­ landers were going through hard times, called by collected in early times thing to be desired; he is for order, works and many a period of "decline". Englert (1948: 128) by visitors to the island, plants, no longer disturbs anyone, and has not places the beginning of this period at the latter and now to be seen in even beaten his wife since he has been a Chris­ tian. She is very happy. However, a few days part of the 17 th century, with a series of internal museums in London, St ago, our Mangarevan, the police chief, runs struggles, seemingly motivated by intertribal ri­ Petersburg, and Edin­ into Kutano who has some symbols of pagan- valries. It is certain that by AD 1680, the cultural burgh. ism. He reprimands him for this, saying that he

Rapa Nui Journal 79 Vol. 13 (3) September 1999 Published by Kahualike, 1999 1 - Rapa Nui Journal: Journal of the Easter Island Foundation, Vol. 13 [1999], Iss. 3, Art. 3

doubted his Christian sentiments. "Here," says To­ tured and taken to work as slaves on the Peruvian coast. Among rometi taking off his feathers, "I just put them on one them were the Ariki Henua (king of the land), his son, and the last time, only to amuse myself a little, and then to majority ofthe maori, or wise men, experts in the different arts give them to you. Take them and do with them as you and occupations, men knowledgeable about traditions and relig­ please." The Mangarevan takes the feathers and says: ious rites. At the request ofthe government ofFrance and Great "I am not yet convinced of Kutano's sincerity." "Why not? What more do you want?" "You still have your Britain, the Peruvian government repatriated the hundred who 'ua' (authority stick). As long as you keep it, I remain had survived, of whom only fifteen managed to return alive to doubtful of your feelings." Kutano goes into his the island. The rest died in transit stricken with smallpox, which house, and comes right back out with the stick in his they brought with them to the island leading to an epidemic of hand, and gives it to the Mangarevan saying: "Don't fatal consequences. The estimated population at that time of think that this is difficult for me, for my pagan beliefs four thousand decreased to only Ill, as was noted in 1877 by are completely destroyed." "Now I am happy with A. Pinart, a passenger on the French ship, Seignelay (Klein Kutano," says the police chief, taking it along. A few 1988:243). days later, seeing that Torometi no longer speaks of Faced with this disastrous situation, it is difficult to think the objects once so dear to him, he sends them back to Torometi with the message that he can keep them at of transmitting traditions. The art of carving wood, a weII­ his house, and if some ship should come, to sell them known art among maori, or experts, was lost along with them. if he can (Zuhmbohm in Coli, 1973 :215) (Figure 2). Some of the designs and techniques remained in the collective memory; that is how the inhabitants of Rapa Nui tried to repro­ This commercialization of carv­ duce carvings from the past. ings corresponded to the last period of Presently it is common to fmd that one ofthe main sources stylistic evolution of sculpture in wood of inspiration for many of the wood carvers are the illustrated and "... is marked by the influence of publications on Rapa Nui art, usually compilations of photos of the western world," (Klein 1988:243). ancient pieces obtained by the first sailors, and now belonging With the arrival of the first Euro­ to important private collections or principal museums of the peans, the islanders realized that they world (Figure 3). could profit from trading their carvings. An interesting situation oc­ Thus began a massive production of curred in 1955-56 with the arri­ wooden figures. Because ofthis and the val of the Norwegian archeologi­ pursuit of merely commercial incen­ cal expedition led by Thor Hey­ tives, the new pieces never attained the erdahl and accompanied by a quality of the ancient ones. This situa­ group of experts. Part of Heyer­ tion was intensified by the "poor taste dahl's work consisted of explor­ of the visitors", as Metraux (Metraux ing caves, considered sacred 1971:80) pointed out, assigning respon­ among the Rapanui, searching for sibility for what happened to this art evidence that might corroborate form to the first sailors. They were not his theory that the culture of interested in how beautiful the piece Easter Island and especially the was, but rather in how humorous, "... plastic arts were decisively influ­ which provokes the islanders, who are enced by the ancient South aware of it, to seek to make the figures American civilizations, particu­ extremely ridiculous, caricaturizing larly those of Tiawanaku, Moche them and exaggerating their propor­ and Chimu. Thus, Heyerdahl tions" (ibid.). came upon numerous carvings, What is certain is that the carv­ some of which, according to ings postdating the arrival of the first hearsay, were carved at the time westerners are much rougher, with of the expedition and placed in many of the traditional designs much the caves or offered for sale di­ simplified or simply lost. This situation rectly to the expedition members. reached its peak following the disas­ These types of figures con- trous incursions of the Peruvian slave traders (1862). It was during this time Figure 3. Maai Vi'e, by Bene Aukara Tuki. The earliest that nearly one thousand men were cap- example of this type of female figure was collected by Italian navigators and is now in the Congrezione dei SS Cuori in Rome. The pose of the figure was intended to display an elongated Figure 2. An example of a Va or ceremonial club; these clitoris, so desirable on some of the islands of Polynesia. were considered as a Rapanui warrior's staff of honor. Captain However, Ramon Campbell thought it was a birthing scene Cook brought one back; it now is in England's Exeter Museum. (Seaver Kurze 1997). This piece is carved by Bene Aukara Tuki.

Rapa Nui Journal 80 Vol. 13 (3) September 1999 https://kahualike.manoa.hawaii.edu/rnj/vol13/iss3/3 2 Rossetti Arredondo: The Loss of Sacredness in Woodcarving

sisted of imitations of conventional designs, with some details of public lectures by distinguished researchers on Easter Island changed, as well as completely new models. These falsifications archaeology, history, ecology and preservation, as well as work­ do not lack value, for they reveal an innate ability to adapt to shops on Rapanui art. Robert Hemrn and Marcelo Mendez given circumstances without losing sight of the traditional carv­ showed an excellent documentary, an aerial survey of Easter ing techniques. Island, with some stunning footage. Otto Klein describes the difference between the ancient Twenty Rapanui islanders and their unique skills were the and the modern carvings very well: "An essential difference main attraction. They were flown in for the occasion, together between the ideo-plastic manifestations of the past and those of with a huge lump of volcanic rock from the island. The Rapanui recent times: while the former were generated on a religious included four stone carvers and sixteen members of the Riu basis, the latter resulted from individual efforts of some profi­ Hoko Rapa Nui dance troupe. The four carvers, well-known cient sculptors who took advantage of a unique opportu­ artisans of the island, Pedro Pakarati Araki, Pablo Hereveri nity" (Klein 1988:246). Teao, Benedicto Tuki Pate and Esteban Pakarati, spent twelve Without a doubt, woodcarving was affected by contact days transforming the rock into a 1999 moai. The stone was not with the west. The loss of sacredness could well have occurred the traditional volcanic tuff from Rano Raraku, but a lump of before the arrival of the first ; however, the strong the more malleable red scoria from Maunga Orito, a type of influence of the Catholic Church is clear. It became the nexus, stone originally used primarily for pukao. It was collected from or the intermediary between humans and the higher forces. This Maunga Orito, a quarry south of Puna Pau. The carvers, en­ is how many carvings became detached from their original closed in a Plexiglas 'cage' to protect the audience from flying meaning, from their symbolism; desecrated and out of context, rock fragments, daily until the moai was lying, ready and wait­ they survived in form only. However, with time they acquired a ing. The Riu Hoko made regular appearances during the carv­ new meaning and, finally, even new designs emerged. ing and performed Polynesian dances in front of the cage. When not performing, they managed workshops about Easter REFERENCES Island music, dance, and traditional body painting. After the Coli, A. 1973. Documentos de los archivos generales de los SSCC en Roma. Recopilados por el R.P. Americo Coli, "Lile de Paques et statue had been erected and the finishing touches added, the la Congregation des Sacn~s Coeurs". Documentation Ms. carvers added two eyes made ofcoral. 272.788-95 (972)-5, Roma. Englert, S. 1948. Tierra de Hotu Matua. Historia, Etnologia y Lengua A MEMORABLE NIGHT de la Isla de Pascua. Imprenta y Editorial San Francisco, . My wife and I paid several visits to the slowly evolving Klein, O. 1988. lconografla de la Isla de Pascua, Ed. Universidad moai during the third week of May (always thankful of the mu­ Tecnica Federico Santa Maria, Valparaiso. seum's pay-what-you-like policy). On Friday the 14th we had Kurze, Joan Seaver. 1997. Ingrained Images. Wood Carvings from the pleasure of watching the transformation of the moai from a Easter Island. Easter Island Foundation. stony enigma to an alert guardian and watchman: with much Metraux, A. 1950. La Isla de Pascua, Fondo de Cultura Econ6mica, Mexico. Pomp and Circumstance, the eyes were placed in their sockets Metraux, A. 1978. Ethnology ofEaster Island, Bernice P. Bishop Mu­ in a (possible) reconstruction ofhistory. seum, Honolulu. The evening started at the Linder Theater with a lecture, Puelma, M. 1978. Isla de Pascua en /774. Los Viajes de James Cook. "Archaeology and Ecology of Easter Island" by distinguished Ed. El Observador, Quillota. archaeologist Sergio Rapu, discoverer ofthe one authentic moai Ramirez, J. M. 1988. Cu/tura Rapa Nui, Serie Patrimonio Cultural eye in existence, and former governor of the island. Rapu made Chileno. Colecci6n Cu/turas Aborigenes. Departamento de Ex­ the discovery during an excavation at Ahu Nau Nau, the 'main' tensi6n del Ministerio de Educaci6n, Chile. ahu at 'Anakena Beach. About fifteen fragments of coral found Seaver, J. 1993. Rapa Nui crafts: wooden sculpture past and present. In S.R. Fischer (ed.), Easter Island Studies. Contributions to the beneath the ahu were eventually pieced together for the famous History of Rapa Nui, in Memory of , Oxbow 'eye', an eye socket-shaped piece of carved coral representing Books, Oxford. the almond-shaped visible part of an eye (with a red stone for a pupil) and fitting into a moai eye socket. The eye is now one of Moai ~i9htin9s the main attractions of the Padre Sebastian Englert Archaeo­ logical Museum on the island where Rapu was director from The Eyes of the Moai 1969 to 1990. Though other coral fragments have been found or A Perfect Night Out in Manhattan on the island, none have been pieced together as another eye. Peter Gravild Korning, Denmark Rapu made an excellent speech about the cultural and natural history of Rapa Nui from the first settlements until after the ar­ SINCE LAST MAY, NEW YORK CITY counts yet another rival ofEuropeans in the 18th century. celebrity among its citizens: a new-born moai with sparkling After Rapu's lecture the audience was guided to the Kauf­ new eyes. It greets visitors to the American Museum ofNatural mann Theater where the Riu Hoko Rapa Nui performed a suc­ History from its place in the basement just to the left of the en­ cession of absolutely stunning dances and chants to the music trance. It is tangible proof of the success of the "Legacies of a of the ma? 'aporo, the fatete and the toere. Performing with People, Masters of Stone" project that took place May 3-16 at their usual confidence and an energy level worthy of an Iggy various locations at the museum. The project included a number Pop concert, the dancers took the New York audience by storm,

Rapa Nui Journal 81 Vol. 13 (3) September 1999 Published by Kahualike, 1999 3

------I