kapa kulture
This blog is dedicated to Hawaiian kapa and matters related to Hawai'i nei…kuku kapa e!
Hawaiian Word of the Day: ʻoluʻolu
ʻoluʻolu: Pleasant, nice, amiable, satisfied, contented, happy, affable, agreeable, congenial, cordial, gracious; please. E ʻoluʻolu ʻoe e hele mai, please come here; lit., be kind to come here. E ʻoluʻolu ʻoe i koʻu manaʻo, please do me a favor. ʻOluʻolu ʻole, unpleasant, impolite, uncomfortable. ʻaʻole o lākou ʻoluʻolu i ʻelua dālā, they are not satisfied with two dollars. Mōʻi ʻoluʻolu, gracious majesty. ʻOluʻolu nō iāia iho, satisfied with himself, complacent. ʻAʻahu ʻoluʻolu, comfortable, casual, informal wear. Ke noi aku nei au i kou ʻoluʻolu, I am asking a favor of you. E ʻoluʻolu i ka mea i loaʻa, be satisfied with what you have got.
hoʻoluʻolu: To satisfy, alleviate, allay, console; to retire to rest, to seek rest; parade rest, at ease (military commands). E hōʻoluʻolu mai i kō ʻoukou mau naʻau, comfort your hearts.
ʻOluʻolu ka pōpoki.
Tapa in Niue
On the island of Niue, hiapo is the term for bark cloth. When Samoan missionaries came to Niue in 1830, it is recorded that they brought hiapo with them, along with the Tahitian tiputa, which is a sort of poncho. It is reasonable to believe that this cultural sharing could be a historical bridge between Samoan and the Society Islands,arising not only from Missionary influence, but also as a result of a long history of inter-island voyaging typical of canoe expeditions in the region.
Although the hiapo is said to have come originally from Samoa, the quality in Niue is different from Samoan siapo. Samples from Niue, are made by felting layers into a single sheet the way it’s done in the Cook Islands. The mystery about hiapo of Niue is that no one knows what it is made for, since the size seems to be small for clothing or blankets. Speculation has it that the very creative designs on Niuen hiapo were made for some sort of commercial purpose. Perhaps the artistry involved points to a creative purpose that served as a pastime activity? Since 1901, no hiapo has been produced in Niue.
The designs on Niuen hiapo are not made with the rubbing method. The Niuens decorated their hiapo with freehand painting that is similar to the Samoan style. Rectangular or circular design compositions with abstract forms and plant forms are drawn with fine black lines, in a grid formation. Occasionally, people, stars, and fish are also drawn into the design. Hiapo beaters found in Niue, called ike, are unique to Niue. The ike are carved with very fine grooves and shaped with a cuff on the handle.
(Neich & Pendergrast, Pacific Tapa, 1997).
Niuen Hiapo
Bark Cloth of the Cook Islands
Cook Islands Tiputa
Tapa is the name used for bark cloth in the Cook Islands. In the northern Cook Islands the paper mulberry did not grow well. But it did grow in the southern Cook Islands and was made into tapa there. As in other Polynesian islands, the breadfruit tree bark and banyan bark were also used to make tapa. In the southern Cooks tapa was felted into a single layer, with no sign of joining.
Decorating the finished tapa was done with freehand painting, immersion in dye baths, or it was cut with designs in a patterned motif. The rubbing method using design tablets was not used in the Cook Islands. Diamond motifs, which were “associated with the sacred world of the gods,” were applied on masks using the freehand painting method. Masks were made and decorated in Mangaia and Rarotonga and they were used in pageants called eva, to remember gods and cultural heroes. These ceremonies also were performed in association with mourning.
Tiputa was worn as clothing in the Cook Islands, in the Tahitian style that is believed to have been the result of the strong missionary influence. The tiputa was fashioned as a long piece of tapa that had a hole cut into the middle to be worn on the body like a poncho. Pants were made too. Articles of clothing were cut at the edges in fringes and cuts were made throughout the article in repetitive patterns, as in Futuna.
In the Cook Islands, as elsewhere in Polynesia, making bark cloth was done by women. However, a special, heavier, white cloth called tikoru was made by men. This was a special ceremonial bark cloth that was used to wrap around god images and was the attire of priests and high chiefs. This use may reflect the connection to spiritual beliefs that the chief and priests are descendant from the gods themselves.
(Neich & Pendergrast, Pacific Tapa, 1997).
What’s Going on with Kīlauea?
What’s going on with Kīlauea, you ask? Kīlauea continues to erupt from 2 locations. Within Hawai‘i Volcanoes National Park, at Halema‘uma‘u, the lava lake is about 150 feet deep within the crater (give or take) and the best viewing of this eruption is from the Jaggar Museum observation deck, open 24 hours a day. Go after dark or before dawn for the best eruption viewing, and the most amazing “glow show” in the park!
Out in Kīlauea’s East Rift Zone, Pu’u ‘Ō’ō continues to erupt, but there are currently no flows entering the ocean or pooling up on the coastal plain. According to the USGS Hawaiian Volcano Observatory, active breakouts in the Kahauale’a 2 area are scattered over a broad area within the state’s Natural Area Reserve, extremely hazardous and closed to the public. In this aerial photo of the Kahauale’a 2 eruption, a breakout near the edge of…
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Bark Cloth of Uvea (Wallis Island) and Futuna Island
Wallis and Futuna
UVEA
In Uvea, the people speak a language closely related to Tonga, the term for bark cloth in the island of Uvea is ngatu. Paper mulberry, hiapo, is cultivated on the east coast where rainfall is heavy. Double layers of ngatu are beaten out and pasted together and are designed using freehand designs or kupesi-imprinted methods. If the kupesi pattern block is used, it is made form the midrib of leaf sewn to wads of leaf as in Tonga, and this is the traditional style for Uvea to make designs on the cloth.
Contemporary kupesi are carved in wood. Freehand painting is also done. The design motifs have changed over time from simple, repetitious patterns to modern designs that show a slice of life such as drinking kava, dancing, climbing trees, and fishing. Uses of ngatu include bed covers and screens, and clothing. There are two types of wrap-around skirts that are distinct in Uvea. One called a lafi that is decorated using the kupesi and then over-painted with black dye. The second is called a tohihina, which is decorated completely with freehand design using a pen in black dye on white ngatu cloth.
Ngatu of Uvea
FUTUNA
As in Samoa, the general term used for tapa in Futuna is siapo. The name for the paper mulberry plant is lafi. Siapo is the term used when large pieces of the cloth are made by groups of women. A salatasi identifies a smaller sheet made by a single individual that is made into a waist wrap to be worn.
The bottom of an old canoe is carved for use as a design tablet, in the style of Tonga. Designs are also applied using bamboo pens or pens made from coconut midrib. The pens are used to draw very intricate patterned designs. Ruled grids are also drawn to create squared-off areas for a variety of patterns within one piece of cloth. As a finishing touch, sometimes the edges of an article are cut into fringes.
Siapo of Futuna Island
Today, costumes for dance consist of a tepi skirt, a lafi sash worn over one shoulder, and a white turban wrap for the head. Borders on tepi skirts are sometimes created by using freehand painting with a brush and fine lines applied with a pen.
“Dancers from Futuna at the 1996 Festival of Pacific Arts, Apia Western Samoa. The dress of these dancers consists entirely of newly made tapa, from the white turban to the lafe bandolier and the tepi skirt (p.64, Pacific Tapa, R. Neich & M. Pendergrast).
Archaeology Meets Modern Art
Beware This Is A Modern Art Meets Archaeology Mash Up Post.
Text reports on presentations at a conference session with interspersed images found on streets of Pilsen & Prague, Czech Republic.
Archaeology met modern art in a conference session ‘Archaeology meets modern art: artists’ approaches to prehistoric data‘ at the recent EAA in Pilsen.
The presentations included Dragos Gheorghiu’s work on Artchaeology. He presented examples of work in Romania which combined artistic modes of practice, reconstruction and experimental archaeology, and creation of digital environments which are blended to generate an augmented reality: ‘immersive transport to the past’. One such example was the reconstruction at Vadastra of a fragment of the workshop of a Roman villa rustica and associated ceramic kiln, glass kiln and iron furnace.
Artist Sebastian Walter explained the approach to the development of the Schoeppingen time-machine for the Schoppingen Art Foundation, Germany. …
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