Rapa Nui Journal 5#3, Autumn 1991
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News and Notes
Rapa Nui Journal: Journal of the Easter Island Foundation Volume 18 Article 24 Issue 1 May 2004 News and Notes 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 (2004) "News and Notes," Rapa Nui Journal: Journal of the Easter Island Foundation: Vol. 18 : Iss. 1 , Article 24. Available at: https://kahualike.manoa.hawaii.edu/rnj/vol18/iss1/24 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.: News and Notes MOAl ~lGtt\"lNGt~ IN OUR VOLUME 17(1) ISSUE of Rapa Nui Journal (May 2003), we noted that tissue cases in the shape of a moai head were on sale from Ebay; one pulls a tissue from its nose. Since then, these 'Tiki Head Tissue Box Covers" have ap peared in catalogs all over the country, advertised as a "delightfully heady presence". We now have received dozens of the e advertisements (please, folks, no more....). MEANWHll..E, RAPANUIPHILE, Bob Chisnell wrote a letter of This "moai sighting" was sent in by Avonne Bradshaw of Phoenix, protest to a magazine that was advertising them: Sirs: I have and rather leaves us speechJe s. In that Light, we ask our readers to supply an appropriate caption. -
Chile and Argentina Easter Island Ext Feb2022 Updatedjun2020
E CHE SEM A N CHEESEMANS’ ECOLOGY SAFARIS E S C 2059 Camden Ave. #419 ’ O San Jose, CA 95124 USA L (800) 527-5330 (408) 741-5330 O G [email protected] Y S cheesemans.com A FA RIS Easter Island Extension Mysterious Moai February 23 to 28, 2022 Moai © Far South Expeditions EXTENSION OVERVIEW Join us on an exciting extension where you’ll stroll amongst the monolithic moai statues of Easter Island, carved from basalt lava by Polynesian settlers centuries ago. Visit abandoned settlements, explore ceremonial centers, and take a boat ride for a different perspective of the island, where you might see petroglyphs painted high on the cliffs above. Come along for an unforgettable journey of exploration into the history of Easter Island (Rapa Nui). HIGHLIGHTS • Learn about Easter Island’s moai statues and the tangata manu competition where rulership of Easter Island was defined through a ritual race for a bird egg. TRIP OPTION: This is a post-trip extension to our Chile and Argentina trip from February 11 to 24, 2022 (http://cheesemans.com/trips/chile-argentina-feb2022). Cheesemans’ Ecology Safaris Page 1 of 6 Updated: June 2020 LEADER: Josefina ‘Josie’ Nahoe Mulloy. DAYS: Adds 3 days to the main trip to total 17 days, including estimated travel time. GROUP SIZE: 8 (minimum of 4 required). COST: $2,230 per person, double occupancy, not including airfare, singles extra. See the Costs section on page 4. Date Description Accommodation Meals Feb 23 Fly from Punta Arenas to Santiago from our Chile Santiago Airport D and Argentina trip. -
Eastern-Island.Pdf
1 http://chileprecolombino.cl/pueblos-originarios/rapa-nui/ambiente-y-localizacion/ RAPA NUI Location and geography Rapa Nui, as Easter Island is known to local inhabitants, is one of the most remote populated places on the planet. Set in the midst of the Pacific Ocean, the island is on the southeastern axis of the great Polynesian archipelago, more than 3500 kilometers west of mainland Chile. Volcanic in origin, it originally had a dozen tree species very similar to those found in Polynesia, and is now populated by migratory birds, marine mammals, fish, insects and small terrestrial snails. Economy In ancient times, the people of Rapa Nui subsisted by growing several varieties of plantain, squash, tubers and sugar cane, and complemented their diet with fishing, hunting and gatheringfood from the sea. They also used the native trees on the island to make textiles and obtain pigments and high quality timber, and they introduced the Polynesian mouse and domestic chickens to the island. Art The Rapa Nui people developed an advanced and sophisticated megalithic art tradition that emerged from their intense devotion to ancestor worship and is unparalleled in Polynesia. Over a period of five hundred years, they erected close to three hundred altars, called ahus, and carved more than six hundred stone moaistatues. These monumental pieces expressed the competition for power among different lineages on the island and a clear desire for ostentation through the construction of ever-larger and more elaborate works. The ahuswere the product of an architectural tradition that emerged gradually, free from external influences. The oldest of these platforms feature large walls composed of enormous blocks of lava fitted together with incredible precision. -
UC Berkeley UC Berkeley Electronic Theses and Dissertations
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Ono Tupuna, the richness of the ancestors. Multiples Landscapes Relationalities in Contemporary Indigenous Rapa Nui Permalink https://escholarship.org/uc/item/4kk483h5 Author Rivas, Antonia Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Ono Tupuna, the richness of the ancestors. Multiples Landscapes Relationalities in Contemporary Indigenous Rapa Nui By Antonia Rivas A dissertation submitted in partial satisfaction of degree requirements for Doctor of Philosophy in Anthropology in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Charles L Briggs, Co-Chair Professor Nancy Scheper-Hughes, Co-Chair Professor Laura Nader Professor Leti P Volpp Summer 2017 Abstract Ono Tupuna, the richness of the ancestors. Multiples Landscapes Relationalities in Contemporary Indigenous Rapa Nu By Antonia Rivas Doctor of Philosophy in Anthropology University of California, Berkeley Professor Charles Briggs, Co-Chair Professor Nancy Scheper-Hughes, Co-Chair Contemporary Rapa Nui is formed by a multiple and complex set of interactions, encounters, and circumstances that comprise the core of their indigenous identity, like many other indigenous people's realities. In this dissertation, I argue that there is not a simple or straightforward way of thinking about indigenous identities without falling into the trap of essentialism and stereotyping. Indigenous people are not what remained of ancestral civilizations, nor are they either invented nor folklorized commodities produced by ―neo-shamanism‖ discourses. Recent theoretical contributions to the understanding of the relationship of native peoples with their territories have been fundamental to rethinking the meanings of indigeneity, but I argue that they continue to essentialize indigenous people relations with their past and the ways in which they are understood in the present. -
Rock Art of the Sacred Precinct at Mata Ngarau, 'Orongo
Rapa Nui Journal: Journal of the Easter Island Foundation Volume 22 Issue 2 October Article 6 2008 ROCK ART OF THE SACRED PRECINCT AT MATA NGARAU, 'ORONGO Paul Horley Yuri Fedkovych Chernivtsi National University Georgia Lee Easter Island Foundation Follow this and additional works at: https://kahualike.manoa.hawaii.edu/rnj Part of the History of the Pacific Islands Commons, and the Pacific Islands Languages and Societies Commons Recommended Citation Horley, Paul and Lee, Georgia (2008) "ROCK ART OF THE SACRED PRECINCT AT MATA NGARAU, 'ORONGO," Rapa Nui Journal: Journal of the Easter Island Foundation: Vol. 22 : Iss. 2 , Article 6. Available at: https://kahualike.manoa.hawaii.edu/rnj/vol22/iss2/6 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]. Horley and Lee: ROCK ART OF THE SACRED PRECINCT AT MATA NGARAU, 'ORONGO ROCK ART OF THE SACRED PRECINCT AT MATA NGARAU, 'ORONGO Paul Horley Yuri Fedkovych Chernivtsi National University Georgia Lee Easter island Foundation INTRODUCTION rock surfaces are covered with numerous petroglyphs, creating the highest concentration ofrock art on Easter Island (Lee he ceremonial village of 'Orongo is one of the most 1992: 137). Due to intensive activity over a significant fascinating and important sites on Easter Island. historical period, the rocks of Mata Ngarau present evidence TLocated at the top ofRano Kau's precipitous cliffs, ofre-use and re-carving, allowing us to trace the evolution of 'Orongo offers awe-inspiring views toward the three off-shore petroglyph motifs from simple, incised fom1s to elaborate, islets of Motu Kao Kao, Motu Iti, and Motu Nui. -
Rapa Nui National Park
WORLD HERITACE LIST Rapa Nui NO 715 Identification Nomination Rapa Nui National Park Location Easter Island Province, Valparaiso Region State Party RepubliC Of Ch ile Date 13 June 1994 Justification by State Party Rapa Nui National Park contains archaeological evidence, consisting mainly of moai <megalithic statues>, ahu <ceremonial structures>, houses and ceremonial villages, petroglyphs, and wall paintings. They constitute an outstanding and unique cultural heritage. category of propertv ln terms of the categories of property set out in Article 1 of the 1972 world Heritage convention, Rapa Nui is a site. Historv and Description History Rapa Nui was settled around AD 300 by Polynesians, probably from the Marquesas, who brought with them a wholly Stone Age society. Ali the cultural elements in Ra pa Nui prior to the arrivai of Europeans indicate th at the re were no other incoming groups; they rule out the many hypotheses that have been advanced regarding settlement from south America, Melanesia, Egypt, or elsewhere. According to island tradition, the colonizing expedition of fifty people in two canees was led by King Hotu Matu'a. Between the 10th and 16th centuries the island community expanded steadily, small settlements being set up along practically the entire coastline. The high cultural level of this society was high, and is best known from its monumental stone figures <moai> and ceremonial shrines <ahu>; it is also noteworthy for a form of pictographie writing (fango rongo>, which is so far undeciphered. However, there was an economie and social crisis in the community in the 16th centurv, attributable perhaps to over-population and environmental deterioration. -
Michel PÉRINET
COLLECTION Michel PÉRINET Paris, 23 juin 2021 COLLECTION Michel PÉRINET COLLECTION Michel PÉRINET VENTE EN ASSOCIATION AVEC BERNARD DULON LANCE ENTWISTLE assisté de Marie Duarte-Gogat [email protected] Expert près la Cour d’Appel de Paris Tel: +44 20 7499 6969 Membre de la CNE [email protected] Tel: + 33 (0)1 43 25 25 00 ALAIN DE MONBRISON FRANÇOIS DE RICQLÈS assisté de Pierre Amrouche Commissaire-Priseur et Emilie Salmon [email protected] Expert honoraire près la Cour Tel: +33 (0)1 73 54 53 53 d’Appel de Paris [email protected] Tel: +33 (0)1 46 34 05 20 COLLECTION MICHEL PÉRINET 7 COLLECTION Michel PÉRINET Mercredi 23 juin 2021 - 16h 9, avenue Matignon 75008 Paris EXPOSITION PUBLIQUE Samedi 19 juin 10h-18h Dimanche 20 juin 14h-18h Lundi 21 juin 10h-18h Mardi 22 juin 10h-18h Mercredi 23 juin 10h-16h COMMISSAIRE-PRISEUR François de Ricqlès CODE ET NUMÉRO DE VENTE Pour tous renseignements ou ordres d’achats, veuillez rappeler la référence 19534 - PÉRINET RETRAIT DES LOTS CONDITIONS DE VENTE Pour tout renseignement, veuillez contacter La vente est soumise aux conditions générales imprimées en fin de catalogue. le département au +33 1 40 76 84 48. Il est vivement conseillé aux acquéreurs potentiels de prendre connaissance des informations importantes, avis et lexique figurant également en fin de catalogue. For any query, please contact the department at +33 1 40 76 84 48. The sale is subject to the Conditions of Sale printed at the end of the catalogue. Prospective buyers are kindly advised to read as well the important information, notices and explanation of cataloguing practice also printed at the end of the catalogue. -
When the Earth Trembled, the Statues Fell Edmundo Edwards
Rapa Nui Journal: Journal of the Easter Island Foundation Volume 10 Article 1 Issue 1 March 1996 1996 When the Earth Trembled, the Statues Fell Edmundo Edwards Raul Marchetti 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 Edwards, Edmundo and Marchetti, Raul (1996) "When the Earth Trembled, the Statues Fell," Rapa Nui Journal: Journal of the Easter Island Foundation: Vol. 10 : Iss. 1 , Article 1. Available at: https://kahualike.manoa.hawaii.edu/rnj/vol10/iss1/1 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]. Edwards and Marchetti: When the Earth Trembled, the Statues Fell When the Earth Trembled, the Statues Fell Edmundo Edwards, Raul Marchetti, Leopoldo Dominichelti and Oscar Gonzales-Ferran On July 8, 1987 at II: 50: 14.9, Easter Island experienced topknot. He thought this event could have occurred "perhaps a major earthquake with a magnitude of Ms=6.3, succeeded by an earthquake" (Forster 1982: 465). Assumptions that by several tremors \ hich measured up to Ms=5.9. The some kind of volcanic catastrophe could ha e been the cause epicenter was located at 26.999 south latitude and 108.285 for the toppling ofthe statues was later adopted by A. -
UCI3450 01.Pdf
Indice Propuesta de trabajo……………………………………………….1 - 7 - Rapa nui desde el diseño - Exhibición y conservación - Museo natural y de interior - Arte y artesanía Primera etapa de proyecto…………………………………………8 - 25 - Empresa del moai (moai camina) - Aparición y erguido del moai - Tamaños y traslado del moai (teorías de traslado). Segunda etapa……………………………………………………..25 - 50 - Turismo y artesanía - Exhibir y proteger de la artesanía - Primeros prototipos - Exhibir, proteger e informar - Seguridad y transporte - Integración grafica y transparencia - Exponer figurativo Ultima etapa………………………………………………………...50 - 60 - Ultimas propuestas - Prototipos finales, del exponer proteger e informar - grafica y planos - costo de producción Otros diseños…………………………………………...................60 - 65 - exponer iluminado (luz de rapa nui) - prototipos lámparas denui Prologo En el privilegio de pertenecer a una tierra nativa llamada rapa nui, y el hecho de obtener las herramientas necesarias por parte del diseño, me lleva a crear un vínculo entre estos dos mundos. El siguiente proyecto esta enfocado en la difusión cultural de rapa nui, como etnia viva perteneciente a la polinesia y a nuestro país. De su legado imponente se toma la iniciativa de intervenir rapa nui desde el diseño, con el propósito de expandir y conservar las raíces culturales. Rapa nui ubicada a 3800 kilómetros del continente, se da a conocer a través de su cultura, la cual se fortalece principalmente con sus grandes estatuas llamadas moai, con su escritura kohou rongo-rongo, sus leyendas y hasta sus mínimos utensilios y objetos. Estos poseen una riqueza ancestral que esta directamente relacionada con la perfección de forma, la cual trasciende durante el tiempo, luego, este trabajo comienza a desarrollarse en este trascender de rapa nui. -
Rapa Nui Journal 2#3 Fall 1988
Rapa Nui Journal: Journal of the Easter Island Foundation Volume 2 Article 1 Issue 3 Rapa Nui Journal, Fall 2988 1988 Rapa Nui Journal 2#3 Fall 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#3 Fall 1988," Rapa Nui Journal: Journal of the Easter Island Foundation: Vol. 2 : Iss. 3 , Article 1. Available at: https://kahualike.manoa.hawaii.edu/rnj/vol2/iss3/1 This Research Report 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#3 Fall 1988 the premier source for current Easter Island events and scientific studies... Special Conservation and Preservation Issue ................................................................................................................................................... .•• ••·••••• g~6ig~~e~;~~~p .•••·.·.: On Other Islands... THE DESTRUCTION .. ··r;iihti~heflC&er.a[FditOr . .•.•• Hxliritiiv~~tlf~k~{· TROUBLE IN PARADISE WROUGHT .... ··············)(EdiiM>·..······ .. PROBLEMS IN POLYNESIAN ROCK ART BY TOURISM ka~·jJJij~J~~;i·~.~·i~~~~~ CONSERVATION ...••••··•••••• •••• A Preliminary Field Report J. Douglas Porteous • tulti~naliie~s1(ift.;.pUbiish~f •four 9mesaYear£6dheJ)eri~ from the 1988 Lana'i Rock Art Project In my bookThe Modernization o/EasterIsland fifoE those interestediliEaster This year's August-September project to rec · Island ari~rolYri~~Ul. ........•............ (porteous 1981), I note that academic interest in ord the rock art of Lana'i, Hawai'i specifically Rapanui has overwhelmingly concentrated upon ti~1~j;JJf6~~~~~7~:~4:n;::· . -
Hakarongo Mai! Rapanui Women and Decolonisation for Development
Hakarongo Mai! Rapanui women and decolonisation for development Karly Gempp Christ 2012 A thesis submitted to Victoria University of Wellington in partial fulfilment of the requirements for the degree of Master in Development Studies School of Geography, Environment and Earth Sciences Victoria University of Wellington Supervisors: Teresia Teaiwa and Warwick Murray This thesis is dedicated to women in the world who struggle against oppression in their lives and work towards a more just and equitable future for their families and their communities And to my mother, Annie Barnes, who is still the strongest woman that I know Acknowledgements My sincere thanks to the women in Makenu for sharing your time, stories and lives with me. The passion, dedication and commitment you have to your families, your community and your island is motivating and inspiring, and I am forever humbled by this experience. To other members of the Rapa Nui community who also participated in this project, helping me to understand and appreciate life on the island and the struggles of the Rapanui people. To Teresia Teaiwa for keeping me sharp, thoughtful and reflective throughout this process, and for the many chats that went beyond this work. To Warwick Murray for providing support throughout my three years of this degree, and always having faith in my ability and my potential to succeed. To John Overton, Warwick Murray and the Marsden project, White Poppy Peace Scholarship, Katherine Stewart Postgraduate Scholarship, DF McKenzie Award, Lady Stout Bursary, and Katherine Pattison Memorial Award, for the financial support that made this project possible. To Riet for so many things, but especially for taking me in, sharing your knowledge, and becoming a special friend. -
Qt7bj1m2m5.Pdf
UC Berkeley Berkeley Undergraduate Journal Title Between "Easter Island" and "Rapa Nui": The Making and Unmaking of an Uncanny Lifeworld Permalink https://escholarship.org/uc/item/7bj1m2m5 Journal Berkeley Undergraduate Journal, 27(2) ISSN 1099-5331 Author Seward, Pablo Howard Publication Date 2014 DOI 10.5070/B3272024077 Supplemental Material https://escholarship.org/uc/item/7bj1m2m5#supplemental Peer reviewed|Undergraduate eScholarship.org Powered by the California Digital Library University of California Between “Easter Island” and “Rapa Nui” 217 BETWEEN “EASTER ISLAND” AND “RAPA NUI” The Making and the Unmaking of an Uncanny Lifeworld By Pablo Seward his thesis is a historically informed ethnography of the Rapanui people of Easter Island. The restoration of this dispossessed and ravaged island by outsiders into what some scholars call “Museum Island” is the historical background on which the thesis is set. I argue that this Tpostcolonial process has produced in the Rapanui an uncanny affect when re-encountering their landscape and the emplaced persons within. I discuss the ontological, historical, and contemporary aspects of the case on the basis of ethnographic data I collected and archival research I conducted in Easter Island in the summer of 2013 and January 2014. In the first part, I use a semiotic approach to analyze how various Rapanui performance genres reveal Easter Island to be a landscape alive with emplaced other-than-human persons. In the second part, I examine the mediatization and politi- cal use of a leprosy epidemic from the 1890s to the 1960s in the island by the Chilean nation-state, focusing on how a new apparatus of power made autonomous citizens of Rapanui dividual persons.