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University of Hawai'i Library 351? UNIVERSITY OF HAWAI'I LIBRARY PUTAlANA: SIGNIFIERS OF THE FEMALE ROLE IN MARQUESAN SOCIETY A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI'I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ART HISTORY MAY 2008 By JacJyn K. Hiura Thesis Committee: Deborah Waite, Chairperson John Szostak Jairoey Hamilton ii 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 Arts in Art History. THESIS COMMITTEE Chairperson iii Table of Contents List of Figures ............................................................................................................... iv Introduction .................................................................................................................... 1 Previous Scholarship ............................................................................................ 1 Understanding the Marquesan Context ................................................................. 2 Chapter I - Construction ofpu taiana ................................................. '" ........................ 8 Linguistic and Semantic Construction ................................................................. 8 Physical Construction ........................................................................................ 11 Chapter 2 - Pu taiana and Body Ado=ent ................................................................. 14 Body Ado=ent in the Marquesas: A Conceptual Framework ........................ 14 Tapu and Body Ornamentation ..................................................................... 16 The Marquesan Female: Relationships with tapu and Body Ornarnentation ............................................. '" ...................... 21 Chapter 3 - Materials and Process ................................................................................. 24 Synergism: The Use of Human Bone, Sperm Whale Tooth, and Boar Tusk .............................................................................................. 24 Processes 0 f Creation: The Concepts of Carving and Piercing .. '" ..................... 30 Chapter 4 - The Narrative Body: Myth as Embedded Narrative ................................... 33 Narrato logy and pu taiana ............ '" ......................................................... '" ...... 33 Akaui's Visit to Ua Pou and Pahua-Titi's Two Daughters ................................. 35 Kae and the Gift ofNatural Childbirth .............................................................. 39 Gender Relations and the Dangerous Female .................................................... .43 Chapter 5 _ Pu taiana as the Marquesan Female .......................................................... .47 Complimentary Duality in hakakai and pu taiana ............................................. .49 Embodiment of the Aggregate Female .............................................................. 51 Conclusion ................................................................................................................... 53 Problems ........................................................................................................... 53 Importance ofpu taiana and the Female Body .................................................. 54 Further Investigation ......................................................................................... 55 Figures ......................................................................................................................... 56 Glossary ....................................................................................................................... 71 Bibliography ................................................................................................................. 74 iv List of Figures Figure Page 1. pu taiana, "Akaui and Pahua-Titi's Two Daughters," Marquesas Islands .................................................................................... 56 2. staff god, Cook Islands ............................................................................. 57 3. taIl drum, Austral Islands .......................................................................... 58 4. pu taiana, "Akaui and Pahua-Titi's Two Daughters," Marquesas Islands .................................................................................... 59 5. lei niho palaoa, Hawaiian Islands ... .......... ... ..... ....... ......... .... .... ... ... .......... 60 6. lei niho palaoa, Hawaiian Islands ............................................................. 6 I 7. ta 'a puaika, Marquesas Islands ................................................................. 62 8. ta 'a puaika, Marquesas Islands ................................................................. 63 9. pu taiana, "Akaui and Pahua-Titi's Two Daughters," Marquesas Islands ...... ............................................ ....... ................ ........... 64 10. pu taiana, "Kae and the Gift ofNatural Childbirth," Marquesas Islands .................................................................................... 65 11. pu taiana with connective glass bead string, Marquesas Islands ...... ............................................ ......... ... .... ........... ....... 66 12. pu taiana with connective glass bead string, Marquesas Islands .................................................................................... 67 13. hakakai, Marquesas Islands ...................................................................... 68 14. hakakai, Marquesas Islands ...................................................................... 69 15. hakakai, Marquesas Islands ...................................................................... 70 I Introduction Previous Scholarship As a subject of study, pu taiana present a formidable topic, largely due to the previous scholarship of Karl von den Steinen. Von den Steinen, who studied the Marquesan material objects in European museums during the late nineteenth century, traveled to the Marquesas Islands in 1897 in order to research for his Die Marquesaner und we KunstI from the early twentieth century.2 His exhaustive work with Marquesan material culture and especially pu (aiana has proved to be an integral source of infurmation to scholars until the present day. But although von den Steinen has attempted to formally critique pu taiana and has explicated the themes that surround them, his work does not aim to evaluate the direct role that they play in the Marquesan social system. Similarly, E.S. CraighiII Handy and Ralph Linton, who voyaged to the Marquesas during the Bayard Dominick Expedition from 1920 to 1921,3 have also provided thorough foundational information fur a study in Marquesan culture. Although their work lacks the specificity of von den Steinen's approach to material culture, their work does offer a more comprehensive approach to Marquesan society and its structures. More recently, Nicholas Thomas and Greg Dening have expounded upon these social structures, further meeting the area of study, just as Eric Kjellgren and Carol Ivory have provided contemporary points of view on the material culture. Combining earlier I "The Marouesans and their Art" 2 Greg Dening. LoI."ds and Beaches: Discourse on a Silent Land. Marquesas 1774-1880. (Melbourne: Melbourne University Press, 1980) 278. 3 Ibid. 2 scholarship with work from contemporary scholars, along with supplementary examples from Eastern Polynesian cultures, this investigation seeks to reevaluate the function ofpu taiana as a tangible visualization ofthe Marquesan female role. Understanding the Marquesan Context The tradition of body adornment in the Marquesas Islands, or Te Henua 'Enana, 4 is centered around a set of aesthetics that serve to not only protect the body, but also to transfurm the wearer. Although this concept is echoed throughout Polynesia, the visual representation rendered through the implementation of Marquesan aesthetics provides a unique and culturally specific mode of social representation. Pu taiana (fig. 1), or female ear ornaments, not only adhere to the Marquesan sense of body representation, but also become active bodies within the structure of Marquesan body representation. This investigation aims to explore the social structures in which pu taiana operate and the cultural dynamics that they implement in order to realize their function as Marquesan social bodies. As further analysis of the physical form of the pu taiana will indicate, these bodies perfurm in a social function that delineates and substantiates Marquesan culture. There is no doubt that the Marquesan culture possesses some of the most visually engaging art objects in Polynesia and is also one of the most recognizable corpuses of 4 'Te Henua 'EDana' means 'the land of the people' in the northern Marquesan dialect. It is also pronounced as 'Te Fenua 'Enata' in the southern dialect. Steven Hooper, Pacific Encounters: Art & Divinity in Polynesia 1760-1860, (London: British Museum Press, 2006) 151. 3 material culture.5 The problem then arises as to the mode within which the Marquesan culture may be approached. It is true that the function of specific objects, such as the Marquesanpu taiana, must be analyzed from an emic point of view. This emic point of view must then obviously stem from the Marquesan culture, but as history indicates this may entail much more than just Marquesan socio-cultural structures. Eastern Polynesia, where the Marquesas
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