Matador Nights / Network Article on Tongan tatatau.

Hereʻs a link to an article I just wrote recently on Tātatau / Tā Vaka for the internet magazine, "Matador Nights"

Thanks for the continued support!

http://matadornetwork.com/nights/tattooing-traditional-tongan-tattoo/

2011 Tool Making Workshop

2011 was a year filled with many new and exciting changes. Aisea was invited to Tonga to present tatatau in the kingdom for the first time in over a 150 years. We also held tool making workshops in Hilo, Hawaiʻi, and crafted some traditional implements for myself and Lopeti.

We started the weekend by getting straight to work. We made 6 sets of tools with needles and fiberglass backing, and 3 sets with turtle shell and boars tusk. After picking up some tools from the local hardware store, we started by crafting the hau. Peti and I slowly cut each hau to size and shaped each notch for piecing together each tool. The tool is made up of 4 basic elements: the handle (Hau tā), the plate (Tuʻa), the teeth (Nifo), and the lashing medium (Kafa).

In the modern set, fiberglass and sautered metal needles are used. This is the chosen method of modern times since it is easily sterilized and maintained. However, in keeping with tradition and the process of learning, a traditional set was also made using

turtle shell and boars tusk. I found these harder to make as the materials were much more delicate, and required more work using natural tools like sea urchin quills.

As the tools were being made, stories were also being shared about tattooing history. Several Micronesian individuals who also came to help shared some stories from their islands. We found many similarities and shared connections

not only through tattooing, but migrational voyages, deities, and cultural practices. We also talked a lot about how the introduction of borders and artificial classifications (i.e., Polynesian, Micronesia, etc.) have prevented islanders from continuing long standing relationship with each other. These classifications as well as territorial affiliations with Western countries have created a disconnect in sea voyaging traditions of the past. Maui, the great demigod of much of Polynesia is also found throughout Micronesia, as well as the use of turmeric and oil for sanctifying and protecting the body.

The close of the first night was around the kava bowl. Vinette made a brew using fau, a native hibiscus, to strain the kava. The similarities with Tongan traditions of mixing kava were welcoming. During a kava circle, Tongans will use strands of the fau to strain the kava and pour it. In Micronesia, the fau is used to strain but to also flavor the kava with itʻs natural liquid and coat it for easier drinking. We can all attest that the grog did make us feel very relaxed after a full day of work!

The second day continued with fine-tuning the boned teeth and preparing the fiberglass plates. Each bone had to be cut to a certain size. The piece of bone was then filed down into a fine plate no thicker than a

credit card. The bone was very delicate and any incongruities or deformities may render the plate unusable. The fiberglass backing was also a challenge as the backing had to also be filed down into a tapered end which would make it easier to attach the bone plate onto a smooth surface. I realized that the art of making tools was just as impressive as the art the tool will eventually deliver. Each tool had to be finely scrutinized by Suʻa Suluʻape ʻAisea so that we could learn what the imperfections were. ʻAiseaʻs attention to detail is unquestionable. The tool has to be able to be used without the artist worrying about things falling apart or coming undone.

Day two continued to be a day of learning for me. We talked a lot about the construction of the traditional Tongan tattoo. Sitting with Lopeti, ʻAisea mapped out the construction of the lomipeau, tanoʻa, kafa and ngafingafi and tuku. We also discussed navigation and how traditional toutai used to navigate the oceans without the aid of GPS. These are all included in the construction of the tattoo. The amonga, a symbol of balance and also a guiding star to Tonga is affixed into the center of the back.

We also discussed the ancient Tongan religion and the designation of Pulotu, Lolofonua, and Langi to the Tongan trinity: Havea Hikuleʻo, Kau Maui, and Kau Tangaloa. Elements comprising these three and their societal roles make up the tulī, maʻala, and ʻilaheva patterns. We all gained a deeper appreciation for the art and traditions through understanding itʻs historical and modern place in Tonga.

Day three was the final day in which we bound all our tools together and prepared them for use. Lopeti and I spend most of the day making our needled teeth. This was much harder than I

thought because of the precision needed to make each needle line up. We began by making our larger teeth set, the Haupulu, down to our smallest set, Haumono. We finished up the night by doing some work/practice time on Francis. His tattoo was partially completed by me earlier this year, and he volunteered to have us practice our new tools on him. Heʻs a true sport!

Suʻa instructed on the depth and strength to applying the tattoo, as well as how to hold the tool properly to ensure repetitive lines. Lopeti and I set up and took turns tattooing. Sherwin also helped stretch as we slowly applied new patterns and touched up on older lines. The night was very productive and educational, and the weekend was was definitely a growing experience!

Another weekend workshop will be planned, but timing is probably the most difficult thing to coordinate. Suʻa has his business and travels, which limits his travel time for teaching. His goal however is to spread the knowledge of traditional tattooing to those willing to learn. Respect for the cultures that carry on these traditions is vital to learning; and understanding the histories which have held island people close to their past is fundamental to beginning the journey.

Toki Tau 'a e Vaka e - Kava Kuo Heka Festival

In 2010, Su'a Sulu'ape Aisea Toetu'u was invited to display and practice tatatau in Tonga for the first time in over 150 years. The Kava Kuo Heka festival on cultural diversity is held every year as a means of informing and keeping Tongan traditions in the forefront of global changes. Aisea was able to tatatau on several individuals and stirred the interest of Tongans. The following is the preface I wrote for Aisea's part of the workshop. Thank you to Katalina Lobendahn for the Tongan translation and to Latai Taumoepeau for the pictures.

Traditional Tongan tattooing practice was once a common part of Tongan culture. Every young male would be tattooed by the time he reached adulthood. Tattooing among Tongan women was just as common and decorative. Tongan tufunga tatatau were widespread throughout the islands of Tongatapu, Eua, Ha’apai, Vava’u and the Niua’s. George Tupou I outlawed traditional tattooing in 1839 in effort to Christianize the country and bring all the islands under one kingdom. Despite being a devout Christian convert, George Tupou I was also tattooed traditionally by a Samoan tufuga.

Abandoned for over 150 years, traditional tatatau is now undergoing a resurgence with help from Samoan master tattooist, Su’a Suluape Petelo. Traditionally, the Su’a family were responsible for tattooing Tongan ‘eiki like the Tu’i Kanokupolu. Since 2003, a handful of Tongan individuals have been traditionally tattooed and are the first to wear a tongan tatatau in over 100 years. In 2007, the title of Su’a Suluape was bestowed on a Tongan, Aisea Toetu’u. Aisea is the first Tongan tufunga tatatau to have completed traditional work on another Tongan and under this honored title.

The Tongan word ‘Vaka’ has become symbolic in representing this revived tradition. It has also been adopted as the name for the traditional tatatau. As the saying goes, “Toki tau ‘a e vaka e”—so too has this vaka arrived on Tongan shores where it can now seek refuge and reawaken our Tongan tradition.

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Mei ono’aho, ne hange ha me’a noa, pe koe me’a anga fa’a fai ‘a e tatatau ‘i Tongani. Pea koe meimei talavou kotoa pe ‘i he kuohili ne tatatau’i kinautolu te’eki ke nau hoko ‘o tangata lahi. Ne kau ai mo hono tatatau’i ‘a e kau finemui moe kau fefine honau sino koe fakateuteu. ‘I he ngaahi taimi koia ne tokolahi ‘a e ha’a Tufunga Tatatau ‘i Tongatapu, ‘Eua, Ha’apai, Vava’u pehe foki ki he ‘otu Niua.

‘I hono feinga’i ke fakatahataha’i ‘a e ‘otu Tonga ke hoko koe pule’anga pe ‘e taha mo hono liliu’i pe fakalotu’i ‘a e kainanga e fonua ke tafoki ki he lotu faka Kalisitiane, ne hanga ‘e he ‘Uluaki Fa ‘o fakatapu’i ‘i he 1839 ‘a e anga fakafonua koeni koe tatatau. Pea neongo hono fakatapu’i ‘e Tupou I ‘a e tatatau ‘i he ‘otu motu Tonga ko ‘ene mateaki’i ‘a e lotu faka Kalisitiane; ka ‘i he ‘ene kei talavou, ne tatatau’i ‘e he Tufunga Tatatau mei Ha’amoa ‘a e La’a koia kuo unga fonua.

Talu e li’ekina ‘a e tatatau mei Tongani ‘i he ta’u eni ‘e teau nimangofulu tupu, kuo ake ‘i onopooni ‘a e tatatau ‘i he kainga Tonga; pea ‘oku fakamalo ki he tokoni moe ngaue ola ‘a e ‘Eiki Tufunga Tatatau mei Ha’amoa ko Su’a Suluap e Petelo hono fakaake ‘a e konga mahu’inga koeni ‘o ‘etau hisitolia. Koe tukufakaholo ‘o e famili Su’a, ko ‘enau ngafa pe fatongia ke tatatau ‘a e Ha’a Tu’i Kanokupolu. ‘I he 2003 ‘i Vaihi (Hawai’i) ne tu’u mai e to’utangata ‘e toko nima ke tatatau’i kinautolu ‘o hange koe anga fai mei ono’aho, pea ko kinautolu eni ‘a e fuofua tangata Tonga kuo ‘aofi honau sino ‘aki ‘a e tatatau Tonga talu eni e ta’u ‘e teau tupu. ‘I he 2007, ne hanga ‘e Su’a Suluape Petelo ‘o fakanofo ‘a e tangata Tonga ko ‘Aisea Toetu’u ki he hingoa Suluape, pea ‘oku ‘iloa e ‘uluaki Tufunga Tatatau Tonga koeni ko Suluape ‘Aisea Toetu’u, pea kuo fakakakato ‘e he tangatani ‘a e fatongia tatatau angamu’a ke tatatau’i ha Tonga ‘aki ‘a e hingoa fakalangilangi koeni.

Koe lea Tonga koee koe “Vaka” ‘oku fakatatau pe fakafofonga’i ke

fakamo’ui ‘a e anga fakafonua koeni koe tatatau. Pea kuo ngaue’aki ‘a ehingoa koeni ki he ngaue mahu’inga fakafonua koeni. Hange koe lea ‘oku pehe, “Toki tau ‘a e vaka e” – pea koeni kuo foki ki ‘api ‘o taulanga e vakani ‘i Tongani ke hufanga pea fakaake ai ‘etau anga Faka‐Tonga koeni.

Tatatau Ma 'ae Kakai Fefine - Women's Tattooing

Women's Tattoo

I've had a number of requests about women's tattooing tradition in Tonga. I've been researching and looking through old books trying to gather as much info on the subject.

So let's start with the basics. Women were tattooed in Tonga before the entire practice of tattooing was outlawed. The extent of tattooing women in Tonga is not known entirely because not much was ever written. But here's what is known:

• Women often received ornamental tattoos around their fingers, hands, and wrists. These were often done for aesthetics and for helping to cure ailments such as types of arthritis and other joint pains.
• Women were also known to receive markings along their shoulder area and across the lower back. These were also decorative and some sketches resembled strands of maile and other kakala fakatonga or Tongan plants that represented the ultimate forms of beauty.
• Anecdotally, my mother told me a story of a woman in Tonga named Mele Tatafu who had an extensive tattoo across her back. As told by my mom, she was hanging laundry with Mele one day when her tupenu slipped revealing a large and intricate tattoo that covered her back and extending further down towards her butt. My mom being young couldn't recall the designs but also sensed that Mele was not wanting to talk about it. From my mom's vague recollection, she said that it was very intricate with many block like prints and makohikohi or scratch like patterns.

I will be writing more on this subject soon as I look through and compile more info. If you have your own stories and want to share, please feel free to share them and I will post it.

Tribes and Tribal Tattoos

The word "Tribal" has been used to describe island tattoos that are now in fashion. When referring to a Tongan or Samoan or most other Pacific Island tattoos, the word "Tribal" is incorrect. Referring to Islanders as living in 'tribes' is a racist notion used to separate people according to how civilized they are.

Tongans never lived in tribes and their tattooing practices weren't practiced within a tribal context, so do not refer to them as "tribal tattoos".

The Tu'i Tonga & Tu'i Kanokupolu

Tonga has undergone several major social changes over the last millennium, which created a complex system of social and family ranking. Prior to the adoption of Western law and government, Tongan society was stratified into 3 classes: Eiki, Tu'a, and Hopoate (High chiefs/Gods, Commoners, and Slaves).

The Tu'i Tonga

The highest ranking and oldest chiefly title in Tonga belongs to the Tu'i Tonga. The Tu'i Tonga line began around 950AD with the last Tu'i Tonga title being bestowed on Laufilitonga in the 1800's. The Tu'i Tonga line was eventually folded in with the current ruling dynasty by Taufa'ahau Tupou I and later consolidated by the late Queen Salote through her marriage to Tungi Mailefihi.

The first Tu'i Tonga was 'Aho'eitu, who was the son of Tangaloa'eitumatupu'a and Va'epopua. He created and instituted this sacred line which eventually led to the creation of two subsequent dynasties--the Tu'i Ha'atakalaua and the Tu'i Kanokupolu. These dynasties would control the direct authority over Tonga, rendering the Tu'i Tonga as toputapu - sacred and deified. This meant that no Tongan was allowed to touch or look upon the Tu'i Tonga unless he/she had divine responsibilities to this chiefly line. This sacred divinity meant that those belonging to the Tu'i Tonga line were tattooed on rare, significant occasions. For the most part, they were never tattooed. Several accounts detail Tu'i Tonga that were tattooed:

• During the 1800s, Tonga was undergoing radical changes, both in power and culture. This was largely due to the growing Kanokupolu dynasty and Christianity. The Tu'i Tonga, Fatafehi Fuanunuiava, vowed to break custom in rebellion against chiefs who were dismantling the Tu'i Tonga's power. In his rebellion, he broke the tapu on his body and got a Malofie. The process was completed in Samoa in two sessions, which gave him the nickname "Fakauakimanuka" commemorating the completion of his tatatau within the two journeys. The first trip was to Manono to begin the process. The second and final journey was to Manu'a where the tattoo was finally completed. On both occasions, the tattooers' bodies were said to have swollen up. Eventually, both died as a result of 'wounding' the Tu'i Tonga's sacred body. Upon completion of the tatatau, two 'ie toga (Samoan fine mats) were given to Fatafehi to commemorate the event and as a gesture of respect to the Tu'i Tonga high sacred rank.

• Fakana'ana'a was the 34th Tu'i Tonga. It is said that he was tattooed on the island of Mo'ungaone in Ha'apai using unconventional tattooing methods of the time.

The Tu'i Ha'atakalaua
For a short period, the Tu'i Ha'atakalaua was created, and the position of Hau - a chief who directed the affairs of governing his people - was created. The Tu'i Tonga title at this point became less involved with the direct affairs of governing, and the 'inasi, or honoring/offerings of first harvest, became a ritual part of honoring the Tu'i Tonga legacy. The Tu'i Ha'atakalaua followed much of the traditions of the Tu'i Tonga and were not tattooed as well.


The Tu'i Kanokupolu
The Tu'i Kanokupolu title became the more dominant and powerful title during the 1500s and eventually overshadowed the direct authority of the Tu'i Ha'atakalaua. The first Tu'i Kanokupolu was Ngata who was born from the ruling Tu'i Ha'atakalaua and Samoan mother named Limapo (known also by her Tongan name, Tohu'ia). In keeping with the Samoan traditions of its maternal heritage, the Tu'i Kanokupolu instituted the malofie as a mark of chiefly status, and perpetuated the traditions of being tattooed only by a Samoan Tufuga. This was also a gesture to connect with his mother's Upolu heritage.

• Mata'eleha'amea was the 4th Tu'i Kanokupolu. It is said that when he received his malofie, his backside was untattooed which earned him the nickname Mata'ele'usitea.

• Taufa'ahau Tupou I went to Samoa and completed a full malofie in one day. He also had the tip of his penis tattooed completely black to show his ability to withstand pain.

• Chief Vaha'i also wore a Malofie that was completed by a Samoan tufuga tatatau.

Throughout this change in power amongst the chiefly families in Tonga, commoners were continuing the tattoo traditions which had been practiced from long before. It was not till traditional tattooing was completely outlawed in 1839 that Tongans finally began abandoning this longstanding practice. Tongans chiefs and commoners who wanted a tattoo would soon have to travel to Samoa to have one completed. Ultimately, Savai'i tattooing families gained much from this new law as many were paid with fine mats, ngatu, and other forms of cultural payment for the tattoo received.

Tufunga Tatatau

In traditional Tongan society, there were professional classes of skilled men and women who held different societal roles. These roles could be hereditary or not. Collectively the were known as Ha'a Tufunga or a class of skilled professionals. Some hereditary roles for men included:

• Tufunga Fou Vaka: Canoe builders for long or short sea voyages

• Tufunga Fono Lei: Makers of whale-tooth body ornaments

• Tufunga Nima Tapu: Overseers of funeral rites ensuring proper burial protocols were followed

• Tufunga Ta Maka: Stone masons or stone vault makers

• Tufunga Sia Kupenga: Net makers for fishing and other sea expeditions

• Tufunga Toutai: Skilled Tongan fishermen who had a vast knowledge of the ocean, tides, sea life, and the sky

• Tufunga Langa Fale: Those who were skilled in constructing large social and spiritual houses

• Tufunga Lalava: Individuals trained in traditional lashing of houses

Other social roles could be hereditary or not:

• Tufunga Tongi Akau: Carvers of traditional war clubs and engraving

• Tufunga Tele Kava: Barbers or shavers who used shell for shaving

• Tufunga Tatatau: Men who performed the art of traditional tattooing

Additionally there were specialized societal roles that governed the physical and metaphysical:

• Kau Faito'o: Male and Female individuals skilled in traditional healing, massage, and curing other body ailments

• Kau Taula: Traditional male or female spiritual priests of the old religion who served as vessels between the seen and unseen world

The list goes on describing various professions that made up the Tongan material/social culture. However, what we will focus on is the Tufunga Tatatau role and it's importance. Unlike Samoa where there were specific families that held divine rites to tatatau, Tonga, on the other hand did not maintain this criteria for tufunga tatatau. A tufunga tatatau was usually a very skilled artist and had learned from another tufunga tatatau - whether blood related or not. Tufunga tatatau were known throughout the various islands that now make up the Kingdom of Tonga: Ha'apai, Vava'u, Eua, Tongatapu, etc.

Despite Tonga and Samoa sharing many similarities, there were distinct differences in tattooing traditions between the two cultures. In Samoa, the Malofie was considered the ultimate mark of social rank and obligation to the family and community. In Tonga, tatatau did not take on such heavy societal obligations. However, Tongan social structure at the time dictated tattooing practices for the different social classes. For example:

• 1) High chiefs of the Tu'i Kanokupolu line were tattooed by a Samoan tufuga due to Tongan customs of tapu and a lineage that stems from Samoa.

• 2) Priests, or Taula, tattooed specific patterns on designated parts of their body as a means for honoring a deity sacred to a village or family. One example were taula's that tattooed Veka or Kalae or Tavake patterns on their throats and hands.

• 3) A tatatau of Samoan origin was considered more esteemed than one completed by a Tongan tufunga. This was largely due to the origins of chiefly lineages in Tonga connecting to Manu'a and Upolu; and because of a divine birthright bestowed on certain Samoan tattoo families like Su'a.

A different way of looking at it would be to classify Tatatau into two realms:

1) 'Eiki: These who were chiefs of divine birth, direct descendants of the Tu'i Tonga line. These individuals were considered so sacred that they were never tattooed because their body was untouchable by anyone (Tapu).

There were also chiefs who fell into this category considered lesser chiefs, but were still of divine descent. These were the Tu'ikanokupolu chiefs who trace their origins from 'Upolu in Samoa. They brought with them and institutionalized the Malofie as a part of Tongan culture and their reign. The only people allowed to tattoo them were member's of the Su'a Suluape family. These chiefs were reserved exclusive rights to these tattoos to set them apart from commoners. At times championed warriors would also be bestowed with a Malofie to distinguish their mana and favor.

2) Tu'a: The rest of Tongan society was made up of commoners who were of no direct chiefly blood lines. They were tattooed by tufunga tatatau who lived in Tonga and abroad. These tattoos were similar to the Malofie but also had common ties to tattooing elsewhere in the Pacific such as Tokelau, Uvea, Rotuma, etc. These tattoos varied in size and structure and were mostly clothed on warriors and those who could afford them. Priests and women also tattooed themselves on various parts of their body for adornment, religious, and medical reasons.

For most Tongan commoners, getting a tatatau had a lot to do with personal choice. Tongan tattooing was practiced more for aesthetics and social acceptance. George Vason, one of the few missionaries to get a tatatau, explained that he was teased by Tongan men and ridiculed for not having one. A man who was not tattooed was considered 'naked' and undesirable by Tongan standards. It was just as much as symbol of masculinity as it was a division between boyhood and manhood. Tattooing was very common throughout the Tongan kingdom. It was not considered a sacred practice reserved only for high ranking chiefs as it was in Samoa.

Traditionally a person desiring a tatatau would discuss with the tufunga designs and meanings that were to be later etched on skin. Ultimately, it was the tufunga, with his knowledge of tatatau, that would decide on the overall placement and look of the tatatau according to standard protocols. The process could take months to complete and compensation came in the form of food and other cultural goods. Tufunga tatatau fashioned their tools according to traditional methods shared by most pacific islanders.

Several combs and tattooing implements were collected by Europeans during their voyages through Tonga. Some have been preserved in museums, but most have disintegrated with time. There were different size and types of combs with various names. Most often the names of each style/type of comb was descriptive of it's function.