 HISTORY OF
TATTOOING IN POLYNESIA |
|
REASONS FOR
TATTOOING |
|
THE
TATTOOING OPERATION |
| TATTOOERS |
HISTORY OF
TATTOOING IN POLYNESIA
It is necessary to go right to the dawn of Maohi civilization to trace the beginnings of
tattooing in the Polynesian archipelago. The practice was originally widespread in the Society Islands, where it reached the greatest heights of artistic perfection, and was also
favored by the inhabitants of the Marquesas Islands and the Maoris. Actively discouraged by the religions which arrived from the Western world,
tattooing became so little practiced in Tahiti that the skill was forgotten. For that reason we had to turn to our
neighbors in the Pacific, who had resisted the pressures of history, to relearn the lost art. The renaissance of
tattooing took place in Tahiti, with the help of Samoan practitioners, at the Tiurai celebrations in 1982. It was an important occasion on which Tahitian culture rediscovered its roots and pledged itself to the conservation of Polynesian customs.
The origins of tattooing are unclear, for the origins of the custom go back beyond early Maohi culture to the fabulous age of the Polynesian creation myths. According to a local tradition, the practice of tattooing in Tahiti has a divine source. During the "Po"(the dark age), tattooing was created by the two sons of the god Ta'aroa: Mata Mata Arahu (He who makes marks with charcoal) and Tu Ra'i Po (He who lives in the dark sky). The two gods belonged to the same group of craftsmen as Taere, a highly skilled god, and Hina Ere Ere Manua (Hina of the quick temper), the eldest daughter of the first man, Ti'i, and the first woman, Hina. As she was growing up, Hina Ere Ere Manua became "Pahio", and was kept shut up under the watchful eye of her mother, who wished to preserve her virginity. But the two brothers were determined to seduce her. They invented the new art and tattooed themselves with the design known as "Tao Maro". Mata Mata Arahu and Tu Ra'i Po were thus able to lure Hina Ere Ere Manua away from the place where she was being jealously guarded. She, too, wanted the new decoration so she eluded her mother's supervision and was finally able to get herself tattooed.
That was the supernatural origin of tattooing, first practiced by the sons of the god Ta'aroa, the principal Tahitian divinity. They taught the art to mortals, who found it extremely attractive to be tattooed and used it widely. The two sons of the god Ta'aroa became the patron spirits of the art. These illustrious forerunners were always invoked before a tattooing session began so that the operation would be successful, the scars would heal quickly, and the patterns would be pleasing to the eye. As a reminder of this legend, images of the two gods were conserved in the Marae of the Tahu'a, the skilled practitioners of the art. This particular form of traditional culture has been passed down uncontaminated from one generation to the next on our islands for no outside influence has been able to alter the methods used or the way in which designs are applied to the skin.
REASONS FOR TATOOING
Traditionally, tattooing has always been a privilege of the more eminent social classes. The main purposes of decoration were to enhance sexual attraction, to exalt the life force and to give the wearer a godlike appearance. Social ranking was
signaled by tattoos that corresponded to the wearer's position in the community under the supervision of the Ari'i. When initiates acquired greater prestige, they would get new
tattoos.
Women had fewer tattoos than men, and only their hands, arms, hips, thighs and feet underwent the operation. Designs for women, being purely ornamental, were more elegant and better drawn. Men often had tattoos all over their body, including on their neck and ears. Only the face was left untattooed, with the exception of the occasional warrior or priest who might wear a special emblem on his forehead or lips. Tribal chiefs would have a stunning array of body decoration. For men, tattoos were often a kind of medal, awarded for daring in war or to mark a special event, and were always an affirmation of cultural identity. Tattoos fall into four categories: those belonging to the social class of gods, priests and ari'i, which were hereditary and restricted to their descendants; tattoos of the Hui Ari'i class, Arioi'i, exclusively for chiefs (male and female); tatoos of the Hui To'a, Hui Ra'atira, Ia To'ai class, reserved for leaders of war parties, warriors, dancers, rowers, and so on; and Manahune class tattoos, for individuals with no pedigree or an unremarkable family history.
THE TATOOING OPERATION
Tattooing is painful, but bearably so, and is only rarely carried out at a single sitting. The name "Tatatau" is a term that describes the tattooer's art, and means "making points or marks on the skin". It was practiced on girls between eight and ten and on boys at the age of eleven or twelve, although in the case of males, decorations would continue to be added until they were about thirty. It was felt preferable for young girls to have been
tattooed before their adolescence. The tattooing ceremony was a ritual in its own right, in which music had pride of place with drums, flutes and shell horns.
There were many different tattoos and they were applied to many parts of the body. Each design had its own special name, some of which are still known. For example, the tattoos applied to the back of the body are called Papai Taputua and Urupo'o, those on the ear lobes and buttocks are known as A'ie and tattoos on the face are named A'ie Aro. Some were stylized patterns of stars, circles, diamonds and so on while others reflected the way of life of a community: battles and weapons for the Uru, human sacrifices for the Marae. Finally tattooers also drew inspiration from dogs, other animals and fish. The tattooer priest who carried out this delicate operation was generously rewarded and enjoyed great standing in society.
The tools of the tattooer priest (Tahu'a Tatau), which are still used today, were two comb-like instruments, a punch and a stick. The punch had a wooden handle onto which a bird bone, or shard of mother of pearl, or a tooth from a fish, pig, shark, whale or even a human being had been carefully attached and sharpened. Some combs had as many as 36 such points. To help this first tool to penetrate beneath the skin, the tattooer priest had a second instrument at his disposal. This was a stick that was used as a hammer on the punch.
The extremely black dye used came from the burnt and dried fruit of the "bancoule Tiairi". The resulting powder was mixed with water or monoi. The dye was injected under the skin and took on an absolutely indelible bluish coloration. A strongly scented plant, the Ahi tutu, was used to help the process of scarification.
The tattooer priest had an impressive range of models, and selection of the design, to which great care was devoted, was of crucial importance. Once the decision had been made, the motif was traced onto the wearer's body with a piece of charcoal, the artist often working freehand before using his tools to make the incisions into which the dye was injected. The Tahu'a Tatau, or tattooer priest, was and still is held to the privileged repository of an art that must be passed on uncorrupted to future generations.
TATTOOERS
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Terms and
Conditions of Use of this website and his contents. We are not affiliated
with any of the tattoers listed below. We are not responsible for any tattoers’
actions or inaction and personal injury liability as a result of any tattoos
done by any of the tatooers.
Tahiti:
Akoti Tattoo (Papeete) Tel:(689) 20.28.35
Aroma & Mano Salmon (Papeete) Aroma Tel:(689)70.95.73 / Mano Tel:(689)
27.06.38
Efraima Huuti (Marché de Papeete) Tel:(689) 79.64.71
Eric Tattoo (Papeete)
Tel:(689)
71.86.52
Heimanu Michel Tel:(689) 27.14.38
Mana'o Tattoo Studio (Papeete) Tel: (689) 42.45.00
Scaalp Tattoo (Papeete). Tel: (689)79.79.77
Simeon Huuti (Marché de Papeete). Tel:(689) 83.11.81, / 70.36.34
Taaroa Tattoo (Paea PK 26) Tel:(689) 79.66.65
Tahiti Iti Tattoo (Afaahiti PK 6,5) Tel:(689) 24.81.71
Tapu Bonnet (Faaa PK 3,5 quartier Robson)
Tautu Tattoo (Papeete) Tel: (689) 25.96.62
Teni Tattoo (mairie de Faaa, centre artisanal) Tel:(689) 29.34.05
Terupe (Teahupoo PK 14,2) Tel:(689) 75.92.33
Thierry Pirato Tel:(689) 41.90.84/ 41.00.52 / 79 .79.21
Tiki Tatau -Glenn Taerea-: (Mahina) Tel:(689) 77.19.18
Vetea Tatau: Tel:(689) 24.17.35
Wal’s Tattoo (Centre Tamanu Iti, Punaauia) Tel:(689) 71.14.35/ 24.54.17
Moorea:
Albert Tatou Moorea Pearl Resort. Tel:(689) 56.21.43/28.18.44
Chime Tattoo Pihaena PK 13,3. Tel:(689) 56.24.16
Gilles Lovisa Maharepa. Shop on the beach. Tel:(689) 56.12.90 / 77.58.23
James Samuela Traditionnel. PK32 Haapiti-Varari Tel:(689)76.42.60
/56.25.33
Puaka Tattoo Vatea Maharepa. Tel:(689) 56.53.14
Purotu Tattoo Traditionnel. Maharepa. Tel:(689) 72.28.57
Steve Tel:(689) 21.16.67
Taniera Tattoo PK 27,3 Haapiti Tel: (689) 56 16 98
Tavita Tiki Village, PK 31, Haapiti Tel:(689)56.53.43/ 55.02.50
Tehuitua aka Tommy: Haapiti PK 27,3 Tel:(689) 71.92.50
Text Source: Tahiti Tatoos-Gian Paolo Barbieri- Published by Benedikt Taschen-
(Text written by Raymond Graffe-High Priest of Marae and Tatoo)
Photo courtesy of Tahiti Tourism. Photos are not for commercial use and cannot be reproduced for resale.
