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Rapa Nui Journal: Journal of the Easter Island Foundation Volume 2 Article 1 Issue 2 Rapa Nui Journal Summer 1988 1988 Rapa Nui Journal 2#2 Summer 1988 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 (1988) "Rapa Nui Journal 2#2 Summer 1988," Rapa Nui Journal: Journal of the Easter Island Foundation: Vol. 2 : Iss. 2 , Article 1. Available at: https://kahualike.manoa.hawaii.edu/rnj/vol2/iss2/1 This Commentary or Dialogue 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]. et al.: Rapa Nui Journal 2#2 Summer 1988 • Vol 2, No 2. SUmmer 1988 •• P.O. Box 6774. Los Osos, CA 93412 USA •• U. S. $3.00. On Other Islands... Maria, Madre de The following article inaugurates a new feature for &pg Nui Jel1mlll1-On other Islands. Future issues will bring to our readers special events and projects Rapa Nui Revisited occurring on neighboring islands in the Pacific. Joan Seaver Rock Art in the "Anyway, if my mother has a dark com­ plexion and others see that as ugly, I will see - her as beautiful and it's the same with the Marquesas Islands HolyMother. Ifshedoesn'tlooknice, Iwould love (respect) her more." -Alberto Hotus, Sidsel N. Millerstrom October 15, 1982 (Author's translation) This is a condensed report encompassing Public monuments often evoke strong three field seasons of archaeological research in emotions amongmembersoftheir societies. the Marquesas Islands, French Polynesia, com­ For example, the shape of our most recent mencing in 1985. national monument, the Viet Nam Veterans The Marquesas fieldwork wasconducted Memorial, has elicited both strong praise by the author with the cooperation of the andscathingcriticismfrom theUnitedStates Department of Archaeology in Tahiti, un­ citizenry. HereaninitialanalysisoftheRapa der the supervision of Maeva Navarro, di­ Nui church statue Maria, Madre de Rapa rector. Edmundo Edwards, who heads the Nui,asanobjectofpolysemic significance to project for the Department of Archaeology, theislandersis presented. Asa modemRapa collaborated with me to gather these data. Nui icon, Maria appears to communicate on Our goals are to 1) document all existing many symbolic levels to those artisans who rock art in French Polynesia along with its carved her as well as to those islanders who associated archaeological remains; 2) pre­ venerate her. serve and restore rock art sites whenever In anissue ofRapa NuiNotes(No.4, 1987­ possible; 3) inform thelocal communityand 88) I described the communal carving of to teach them to preserve their cultural Maria, Madre de Rapa Nui, as the islanders' heritage; and 4) share with the inhabitants version oftheChristianVirgin Mary. InMay the research that is being carried out. 1970, clergy from Santiago persuaded the To date, approximately six months have Rapanui to carve their own figure of the been spent working on five of the six pres­ Saint. Deciding to carve Mary in her aspect ently-inhabited islands. Roughly 344 pan­ astheMotherofGod,islandartisansworked els of petroglyphs and pictographs, and 78 six days at the caleta and finished the figure tiki (deified tribal ancestors) have been on the seventh, as contracted with the visit­ documented. IslandsvisitedareNukuHiva, ingclergy. Thuson the Sabbath the statue of Hiva Oa, Ua Huka, Ua Pou, and Tahuata. Maria, Madre de Rapa Nui and her Son was Dueto differentgeologicalconditionsonUa installed ceremonially beside the altar in Pou, the rock formations are most unsuit­ Hanga Roo's Church of the Holy Spirit. able for carving, therefore, relatively little Annually since then the islanders have cele­ rock art hasbeen found-although parts of brated the Virgin's feast day on a Sunday the island still remain to be investigated. following Easter. However, we located and recorded ten Polynesians traditionally considered se­ siteson Ua Pou with the help ofmembers of lected stones and other aesthetic forms "as Motu Haka, a local society concerned with objectified representationsofsocial relation­ cultural tradition. Its members are espe­ ships between gods and men" (Kaeppler Tiki from Oipona, Puamau cially active on Ua Pou. 1979:80>. Special rituals were performed in Valley, Hiva Oa, associated with a An interesting man-made pit was found order to imbue them with a specific super­ ceremonial area. Dimensions: 81 x in1985 byJean-LouisCandelotononeofthe natural presence. Indeed, Van Tilburg 43x34cm. conNnued on page 3.... continued on page 2... Rapa Nui Journal/Page 1 / Summer 1988 Published by Kahualike, 1988 1 Rapa Nui Journal: Journal of the Easter Island Foundation, Vol. 2 [1988], Iss. 2, Art. 1 Maria... Continued from page I... 1933,II; Handy 1929; Lee 1986; Van Tilburg 1986). For ex­ (1986:323) has suggested that such prehistoric ritual oc­ ample, Maria's cape recalls the folded wings on figures of curred for Rapa Nui's ahu moai (giant stone torsos) at the wooden Rapa Nui sea birds collected in the later nineteenth stone ahu (outdoor altars). Today the island's Catholic Mass century (HeyerdahlI975:Pl.132,133). However, the crowns addresses six woodensaints,1 indigenouslycarved andstand­ of the two sacred personages in the Rapa Nui statue are ing inside theisland Church. Of premier importance among neither the dove nor the bullfinch of Christian symbolism. them is the figure of Maria, Madre de Rapa NuL Rather they take the form of a sooty tern (Sterna hirundo) Within the larger context of Christian European colonial­ which was honored in the island's late Birdman ceremonies ismtheVirginMary,LatinAmerica'smostsignificantCatho­ (Lee 1986:275). lic saint, appearsonRapa Nui asMaria, Madre deRapa NuL Through her graphic aspects, Maria, Madre de Rapa Nui Design elements have been carved on this figure that relate refersnotonlytosupernatural themesofbirds,ancestralmoai to the ancient belief system of the islanders. Whether or not pa'apa'aandstonemoai, butbyillustratingthe talentsofRapa the autochthonous designs resulted from a conscious deci­ Nui artisans she represents an important part ofthe island's sion made by the artisans2 is unclear since no plan or blue­ economics. Oneartisan who nowcarves portableversionsof print preceded this collaborative effort. Maria and herSon was convinced that Maria's manufacture Fourteenyearslaterwhenquestioned abouta templatefor not only fulfilled a religious obligation but also supplied an Maria and her Son, the carvers shrugged saying there had excellent showcase for his carving skills to the tourists visit­ been no time to produceanoriginaldesign. Theysimplyhad ing the Hanga Roa church (Benedicto Tuki, personal conver­ opted for familiar models: the moai ringing the island, and sation 1982, 1984). Certain significant events in the island's Catholic holy cardsdistributedby the church. And yetithad prehistory are attributed to females in Rapa Nui oral tradi­ been almost one thousand years since such a significant tions: the dream soul of the kings tattooer, Hau Maka, monumental sculpturehadbeencarvedbya group ofRapa­ credited with the discovery of Rapa Nui is referred to as nui artisans. "she" (Barthel 1978:28£0; a female relative of the "Short Amongtheaboriginal formal elementsonthefigureare the Ears," while living with the "Long Ears" signaled her kin to round inlaid eyesofMariaand herSon. Termed "divine" by start the Poike Ditch civil war (Metraux 1971:69; Englert theSantiago priestduringan island Mass (Seaver 1987-88:7) 1980:89); finally, an angry old woman, deprived of her lob­ they resemble petroglyphs of the island's creator god Ma­ ster meal by the stone masons, toppled the stone ahu moai at kemake (Lee 1986b:I34).Maria'ssexlessbody,herstemvisage the Rano Raraku quarry (Metraux 1971:88; Englert 1980:89). and headtobodyproportionsof the moai tie thisstatue to the Forthepastthreecenturiesislandwomenhaveserved well ancientstone torso~In ~dition,thepositi~ningofher!lands in distracting European male visitors. The concealed thefts recalls the moai pa'a pa'a, the flat, portable wooden carvings of hats from La Perouse's French crew in 1796 (La Perouse of females from ancient times. Finally, Maria's headdress is 1797:91), enticed Beechey's British sailors ashore in 1825 decorated withthirteencowrieshellsorpure (Cypraea caputdra­ (Gough 1973:73); and defused the Chilean militia sent to conis) thatwerebleached toresembletherarerCypraea englerti, repress the1966 revolution (personal conversations with Dr. the pure vahine (literally "women shell") of greater value. Gary Brody, 1983). Otherof Maria's formal aspects relate to such things as the The Catholic Church views the Virgin Mary most consis­ symbolism ofbirds, a feature ofboth Christian doctrine and tently as a mother who intercedes with her Son/God for the the Polynesian belief system (for Polynesia, see Williamson sins ofhumanity(Warner 1967:286). However,herauthority is not innate. Rather it stems from her maternal relationship with her Son. 1n other words, as the successful feminine intercessor between Heaven and Earth, the Virgin depends on the mercy of her Son who, as the patriarchical God, is the source of salvation (ibid: 285 £0. Mary's symbolic power as the primeval mother is particularly apparent in Catholic Mediterranean countries where the sovereign
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