kapa kulture

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Archive for the tag “Broussonetia papyrifera”

Bark Cloth on the Island of Uvea is Ngatu

Closely related to Tonga, the term for bark cloth in the island of Uvea is ngatu. Paper mulberry, Broussonetia papyrifera, or 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

Ngatu of Uvea

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

Niuen Hiapo

Tapa from Fiji is called Masi

Fijian Masi
The term for the beaten cloth in Fiji is masi. The method for making masi is basically the same as in Tonga where it is prepared using a process of soaking and beating the inner bast of the paper mulberry (Broussonetia papyrifera) is followed by pasting the pounded sheets together for length and strength.

Fiji Masi

Fiji Masi

In the past, men commonly wore a malo or masi, which is a strip of plain white bark cloth wound around the waist and between the legs, with a train billowing behind. The longer the length of the train, the greater the chiefly status. For women, everyday clothing was a skirt called a liku. Masi is considered nearly obsolete for traditional dress since its replacement by western style clothing and textiles. Traditional dress styles using masi are not worn as everyday wear but they are still used for dances and important ceremonies like the installation of a chief, or special family occasions.

Traditional Wedding Dress

Traditional Wedding Dress

Ceremonial masi on the occasions of funerals, weddings, and chiefly ceremonies is ongoing. The bride and groom will be wrapped in long pieces of masi, in the customary fashion, and similar coverings would be worn when chiefs are installed. There is great honor associated with masi and it is a symbol of wealth. Gifts of masi are given in extravagance for marriages. It is a source of pride for the whole village to produce this exchange of wealth. Masi is very significant at death and is presented as a gift when someone dies. There is spiritual power associated with masi, as it was “recognized as having ability to carry the strength of the gods” (Fulmer, 1998).

Fijian Chiefs Wearing Masi Depicted on  Commemorative Stamps

Fijian Chiefs Wearing Masi Depicted on Commemorative Stamps

Design work of Fijian Masi
There is a variety of techniques used in Fiji to decorate the masi. They range from freehand painting with pandanus brushes as in Samoa, to Fijian rollers and stencils, to the design tablets of Tongan influence. The finished lengths of masi decorated using rubbing tablets with midrib patterns are known as gatu vakatoga, translated as “Tongan cloth made in the Tongan way.” Gatu vakaviti is a combination of the Tongan rubbing method and the Fijian stencil application method. Gatu vakaviti literally means, “Tongan cloth in the style of Fiji” (Neich & Pendergrast, 1997).

Do you want to know more about Fiji? Here are two good articles that explain current events, traditional foundations, and colonial history:

TRADITIONAL CHIEFS REMAIN CORNERSTONE IN CHANGING FIJI

Fiji’s military ruler disbands Great Council of Chiefs

Fiji in Oceania

Fiji in Oceania

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