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Headhunters from the Marquesas - ebook
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Data wydania:
8 maja 2019
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Headhunters from the Marquesas - ebook
Describes the life and practises of the Marquesas headhunters
| Kategoria: | History |
| Język: | Angielski |
| Zabezpieczenie: |
Watermark
|
| ISBN: | 978-90-78900-08-5 |
| Rozmiar pliku: | 8,7 MB |
FRAGMENT KSIĄŻKI
Introduction
The Marquesas are an island group in French Polynesia with the major islands being Nuka Hiva and Hiva Oa. Other islands include Ua Pou, Fatu Hiva and Ua Huka.
Originally a warlike people, the Marquesans sacrificed slaves and captives to their gods and, like other South Pacific islanders, were cannibals and headhunters. Successful warriors were perceived as heroes and were awarded distinctive tattoo badges for their valour, such as the prestigious Mata Komeo (pp. 44-45).
Chiefs and priests bore distinctive marks on the ankles and spirals on the cheeks and hips. After a battle the victor would check the ankles of slain enemies to see is a chief had been killed. The enemy’s head was taken and kept in a basket as a trophy (pp. 30-31).
Local master woodcarvers, the tuhuna, did the tattooing. The motifs were also derived from their woodcarvings and consisted of combinations of geometric shapes, from simple lines, circles, squares, ovals and lozenges to concentric squares and spirals.
The Marquesans excelled in making artefacts in wood and stone lavishly decorated with intricate designs. Their tattoo art tiki was of an equally high standard and is perhaps only matched by that of the Burmese, the Japanese and the Scythians of Siberia. Tattoos were so important in Marquesean society that women would not marry an untattooed man because the decorations represented either wealth or fame or both, hence status.
headhunters from the marquesas
designs from the pacific
Many designs included stylised human figures and animals with chequered patterns on their limbs. The tattoos covered almost every part of the body, including inside the nostrils, the palms of the hands, eyelids, tongue and the crown of the head (p. 65). Only the penis and the soles of the feet were not tattooed. The tattooing of an opou, the eldest son of a wealthy man was surrounded with ceremony and tapu (holy and sacred). A house was even constructed for the occasion with wood stripped from the father’s house. A group of at least 40 young men and women, the ka’ioi, helped build the house, and as a reward, each of them was tattooed at no cost to themselves while the oldest son recovered between sessions.
When the tattoos of an opou were completed, the constructed house was ritually burned. A celebratory feast was held and the whole village turned out to admire the tattooed boy. Originally, it was customary for a human to be sacrificed and eaten at the feast. The only compulsory tattoo on the Marquesas was applied to
the right hand of all girls under the age of twelve. Only then were they allowed to knead the traditional popoi dish or rub oil into the skin of the deceased, sacred tasks on the Marquesas.
Tattooing on the Marquesas changed over time. By the time of their discovery, in the seventeenth century, the designs were limited to realistic depictions of animals. Women, for example, had elegant tattoos of small fish behind the ear. In the eighteenth century, warriors who covered their body completely with geometric lines set the trend. In the nineteenth century, arranging both geometric and naturalistic images along broad horizontal bands became fashionable. By the beginning of the twentieth century, traditional tattoos had all but disappeared, and men would only have their names on their arms. The most important reason for the disappearance was the prohibition of tattooing in 1884 by the French who rigorously enforced the ban and eradicated the custom within a generation.
The Marquesas are an island group in French Polynesia with the major islands being Nuka Hiva and Hiva Oa. Other islands include Ua Pou, Fatu Hiva and Ua Huka.
Originally a warlike people, the Marquesans sacrificed slaves and captives to their gods and, like other South Pacific islanders, were cannibals and headhunters. Successful warriors were perceived as heroes and were awarded distinctive tattoo badges for their valour, such as the prestigious Mata Komeo (pp. 44-45).
Chiefs and priests bore distinctive marks on the ankles and spirals on the cheeks and hips. After a battle the victor would check the ankles of slain enemies to see is a chief had been killed. The enemy’s head was taken and kept in a basket as a trophy (pp. 30-31).
Local master woodcarvers, the tuhuna, did the tattooing. The motifs were also derived from their woodcarvings and consisted of combinations of geometric shapes, from simple lines, circles, squares, ovals and lozenges to concentric squares and spirals.
The Marquesans excelled in making artefacts in wood and stone lavishly decorated with intricate designs. Their tattoo art tiki was of an equally high standard and is perhaps only matched by that of the Burmese, the Japanese and the Scythians of Siberia. Tattoos were so important in Marquesean society that women would not marry an untattooed man because the decorations represented either wealth or fame or both, hence status.
headhunters from the marquesas
designs from the pacific
Many designs included stylised human figures and animals with chequered patterns on their limbs. The tattoos covered almost every part of the body, including inside the nostrils, the palms of the hands, eyelids, tongue and the crown of the head (p. 65). Only the penis and the soles of the feet were not tattooed. The tattooing of an opou, the eldest son of a wealthy man was surrounded with ceremony and tapu (holy and sacred). A house was even constructed for the occasion with wood stripped from the father’s house. A group of at least 40 young men and women, the ka’ioi, helped build the house, and as a reward, each of them was tattooed at no cost to themselves while the oldest son recovered between sessions.
When the tattoos of an opou were completed, the constructed house was ritually burned. A celebratory feast was held and the whole village turned out to admire the tattooed boy. Originally, it was customary for a human to be sacrificed and eaten at the feast. The only compulsory tattoo on the Marquesas was applied to
the right hand of all girls under the age of twelve. Only then were they allowed to knead the traditional popoi dish or rub oil into the skin of the deceased, sacred tasks on the Marquesas.
Tattooing on the Marquesas changed over time. By the time of their discovery, in the seventeenth century, the designs were limited to realistic depictions of animals. Women, for example, had elegant tattoos of small fish behind the ear. In the eighteenth century, warriors who covered their body completely with geometric lines set the trend. In the nineteenth century, arranging both geometric and naturalistic images along broad horizontal bands became fashionable. By the beginning of the twentieth century, traditional tattoos had all but disappeared, and men would only have their names on their arms. The most important reason for the disappearance was the prohibition of tattooing in 1884 by the French who rigorously enforced the ban and eradicated the custom within a generation.
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