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Pacific 105: Indigenous Knowledge and Tatau Aiolupotea Mirofora Mata’Afa-Komiti 1 Aukuso 2018 Lecture Objective

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Pacific 105: Indigenous Knowledge and Tatau Aiolupotea Mirofora Mata’Afa-Komiti 1 Aukuso 2018 Lecture Objective PACIFIC 105: INDIGENOUS KNOWLEDGE AND TATAU AIOLUPOTEA MIROFORA MATA’AFA-KOMITI 1 AUKUSO 2018 LECTURE OBJECTIVE Understand how Samoan indigenous knowledge is embodied in tatau Understand the role of the tufuga Understand the key concepts: Malu, Pe’a, Tufuga TATAU . The term tatau appears in the Samoan, Tahitian, and Tongan languages. Transliterated, it forms the English word tattoo. The word tatau in Samoan refers generally to the marking of the skin and specifically to designs or the tattooed lines and motifs that appear on the body. HISTORY OF THE TATAU . 'Tattoo the men and not . Taema and Tilafaiga the women' . 'tattoo the women and not the men' SONG https://www.youtube.com/watch?v=ml4aDhsvD64 EARLIEST DESCRIPTIONS . Jacob Roggeveen, a Dutch seafarer who in “The Indians of this first island are like the 1721-22 voyaged across the Pacific from Paaschlanders in sturdiness and robustness of body, also in painting themselves, but not so Cape Horn to New Ireland. much and abundantly, as their colouring commences from the thighs downward to the legs. Furthermore we did not see anything as covering for their nakedness, except a girdle round the waist to which a lot of long broad . On 13 June 1722 his three ships sighted leaves or rushes, or of another plant, was fastened. the easternmost islands of Samoa. THE PE’A . Samoan men receive a heavy tatau from the waist down to the knee which is known as pe'a. It is made up of fine parallel line- work, areas of shade and a wide range of motifs and geometric patterns. The word pe'a refers both to the tatau and to the fruit- eating bat known as the flying fox. Untitled young men with the tatau are called soga'imiti and as such they responsible for serving and performing duties for the matai THE MALU . Women's tatau appears on the legs, starting at the knee and finishing at the top of the thigh. Sometimes the lower abdomen and right hand are also tattooed.5 . Called malu, women's tatau is less elaborate than the pe'a and its structure is less well defined. The malu perhaps takes its name from the malu motif itsel£ usually placed behind the knee, and one of the key motifs not seen on men. The term in Samoan refers to "protection" or "to protect" or "shelter" SIGNIFICANCE OF TATAU IN SAMOAN CULTURE . The patterns signal the bearer's status as clothed for life: "Clothed not to cover your nakedness but to show you are ready for life, for adult hood and service to your community, that you have triumphed over physical pain and are now ready to face the demands of life, and ultimately to master the most demanding of activities/language/oratory" (Wendt, "Tatauing" 16). The pain of tatau not only helps cre ate the subject, it also readies the subject for the intricate demands of speaking (oratory in Samoan, for instance, includes a formal or respect language that has as many as five registers, some reserved for specific persons of higher status). Tattooing is part of a process that is more than individual. Having a tattoo, Wendt declares, is a "way of life" . The Samoan tatau represents the traditional Samoan rite of passage from youth to adulthood and in pre-Christian times, was a most significant landmark in the development of a Samoan male. To be without a tatau was equivalent to social ostracism . It is a mark of service. Somebody that has served, or is ready to serve the elders, the community. How is Samoan Knowledge embedded in the tatau? ROLE OF THE TUFUGA TA-TATAU . The tatau artist is known as the tufuga ta-tatau . Tufuga – master crastmen of houses, va’a, weapons of war . In the 19th century and into the early 20th century, artists who specialised in tatau belonged to a special guild which had two family branches, Su'a and Tulou'ena . Tufuga tatatau have been much sought after. In the 1700s, certain classes of Tongan nobles travelled to Samoa specifically to be tattooed TUFUGA TATATAU: SU'A SULU'APE PAULO I . Tufuga tatatau Su'a Sulu'ape Paulo II was one of three brothers from a long-established line of tufuga that can be traced back to the beginnings of tatau in Samoa, . He was born in Lefaga and his tattooing skills were taught to him by his father, Sulu'ape Paulo L . He played a crucial role in keeping the art alive in Samoa and New Zealand and has passed the skills and knowledge on to his own son, TUFUGA TA-TATAU: TULOUENA PENI FAAMAUSILI . Faamausili Numia, under whom he served his apprenticeship. SAVAI’I . The youngest of ten children, TOOLS . The tool kit of the tufuga tatatau is made up of several small hand-held tools and a selection of accessories. They are finely crafted for precision. The form and function of these tools have changed little over time, but conservation and hygiene concerns have led to changes in the materials from which they are made. The basic tool kit comprises a set of au (tattoo combs), sausau (a short wooden· rod or.mallet), a mortar and pestle, and a palette for mixing the pigment. The 'au are made of three components: a small bone comb (or chisel), a shell plate and a wooden handle to which they are attached . The comb, which perforates the skin and delivers the pigment, is made from small sections of boar's tusk. These sections have a row of very fine sharp teeth cut into them . The 'au come in different widths, each designed to render· a different quality of line. Some are used for filling in large dark areas hile others are used to make very fine lines and dots . When not in use, the 'au are stored in a tube-like container called a. tunuma. The sausau is used to strike the 'au so that pigment is deposited from the bonetoothed comb into the skin. The pigment used to be made from the soot of the candlenut. Nowadays commercial inks are used and, not so long ago, a mixture of kerosene, soot and water was employed https://www.youtube.com/watch?v=7o5SNzHqiWY PROCESS . An early and detailed account comes from the missionary J.B. Stair, who lived in Samoa from 1838 to 1845. He stated that all males from the age of 12 upwards were tattooed and specifically describes the tattooing of a young chief. According to the custom, sons of the tulafale (orators) of the district were expected to receive their tatau at the same time as the young chief. They were expected to share in his sufferings. There was usually great interest in the occasion and a large shed was usually erected in the malae (village open space) where the tattooing would be performed. The young chief's family and people from all over the district would come to observe the proceeding and help to support the young men . Time taken: anything from four to six weeks depending on the tufuga FAIVA O TAPUAIGA -Faiva o tapuaiga - the moral support of close relatives, well-wishers, and members of the tattooing team. The atmosphere of the operation more resembles that of a carnival than that of a house of pain. Chants While these things are going on, the well-wishers (au Malo le toso (Well done the pulling) tapua’i) find it convenient at regular intervals to express their sentiments of support for all those involved in the Malo le taoto (Well done the lying down) tatau operation. They would chant: Malo le tapua’i (Well done the good wishes) Malo le silasila (Well done the looking) The first refers to the assistants for pulling the skin tight, the second to the person undergoing the tatau, and the third Malo le solo (Well done the wiping) to the well-wishers Malo le onosa’i (Well done the patience). The first are words of encouragement to the tufuga, the second to the assistants, the third to the person being tattooed. Other sets of expressions are: . MOTIFS . The origins of Samoan tatatau motifs can be traced back to around 1500 BC, to the early ancestors of the Polynesian people. At this time the peoples of the Pacific were making the distinctive decorated pottery that archaeologists call Lapita ware . The · designs and motifs found on this ancient pottery relate directly to those present in tattoo and barkcloth decoration . In general the motifs and designs of the pe'a refer to the recipient's family history, accomplishments and responsibilities. The undetlying structure of the pe'a varies little from artist to artist, but in terms of the finer motifs and design details, each tufuga tatatau interprets and composes the imagery differently. THE PE’A . The pe'a is applied starting from the back at waist level and working down to the knees. va'a - this black strip representing a canoe stretches across the back, with the ulutao (spearhead) on each end extending around and toward the front. The recipient of the pe'a is considered the va'a of his immediate family. The va'a is the family and the ulutao are there to protect them. He who receives the pe'a is the representative of his family and village and must not bring shame upon them. ulutao - the spearhead that guards the va'a and the recipient's family. pula laiti - also known as the tama'i pe'a (flying fox) which is known for caring for her young under her wings. In this sense the pula laiti refers to the immediate family surrounded by the three main parts to every village - the matai (chiefs), the tama'ita'i (women) and the aumaga (young men).
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