As in other Polynesian islands, Rapa Nui tattooing had a fundamentally spiritual connotation. (Rapa Nui, Easter Island.) In some cases the tattoos were considered a receptor for divine strength or mana. They were manifestations of the Rapa Nui culture. Priests, warriors and chiefs had more tattoos than the rest of the population, as a symbol of their hierarchy. Both men and women were tattooed to represent their social class. [2] [3]
The tattooing process was performed with bone needles and combs called uhi or iuhi made out of bird or fish bones. [3] [4] The ink was made out of natural products, primarily from the burning of Ti leaves (Cordyline terminalis) and sugar cane. [5] [3] The other end has two grooves so that a rod can be attached to the end, which probably helps the artist maneuver the needles during the tattoo process. [3] Tattoos are applied with the needle combs and a wooden mallet called miro pua ‘uhi. [6]
The tattoos were named based on its location on the body:
Tattoos, as well as other forms of art in Rapa Nui, blends anthropomorphic and zoomorphic imagery. [3] The most common symbols represented were of the Make-Make god, Moais, Komari (the symbol of female fertility), the manutara, and other forms of birds, fish, turtles or figures from the Rongo Rongo tablets. [5]
Certain designs were more common than others. Women and men very often had heavy lines on their faces, which, crossing the forehead, extended from one ear to the other. [3] These lines were curved and combined with a series of large dots (humu or puraki, “to enclose”) that marked the forehead and temples. They are also seen on existing barkcloth figures, but in smaller detail. [3] Parallel lines across the forehead and the fringe of dots were the first motifs tattooed on the face. This pattern was the most general, and it was commonly recorded by early voyagers. [3] One of the last women to receive these tattoos was Ana Eva Hei, who was queen consort of Atamu Tekena. [7] Her tattoos were described by Alfred Métraux, Julien Viaud and Walter Knoche. [8] [9]
There are several other tattoo patterns and figures: one woman had an ‘ao, which is a ceremonial paddle, tattooed on her back. [3] Fischer also mentions an old woman with a paddle on her back, but calls it a rapa, which is a dance paddle that was tattooed when she lost her virginity. For her, the paddle reminded her of her first lover. [6] A German marine who visited the island told of “birds and strange beasts” tattoos. [6] Most men and women were covered from head to toe with different patterns and images. [6]
The tattoos also varied by rank and status. Priests usually had more tattoos to distinguish themselves from the rest, while men and women had tattoos that distinguished their class identity from others. [4]
Nowadays, young people are bringing back Rapa Nui tattoos as an important part of their culture and local artists base their creations on traditional motifs.[ citation needed ]
Spiritually, tattoos were important because they were considered a gateway to divine strength. Other images included those that represented gods and other spiritual messages. [4]
Sebastian Englert refers to the tattooing, also called Tatú or Tá kona, as a form of natural expression among the islanders, commonly seeing both adults and children with these paintings. [10] "Ta," means to write or engrave and "kona," means place. The whole word means something like "the place to engrave". [11]
Easter Island is an island and special territory of Chile in the southeastern Pacific Ocean, at the southeasternmost point of the Polynesian Triangle in Oceania. The island is renowned for its nearly 1,000 extant monumental statues, called moai, which were created by the early Rapa Nui people. In 1995, UNESCO named Easter Island a World Heritage Site, with much of the island protected within Rapa Nui National Park.
Rongorongo is a system of glyphs discovered in the 19th century on Easter Island that has the appearance of writing or proto-writing. Numerous attempts at decipherment have been made, but none have been successful. Although some calendrical and what might prove to be genealogical information has been identified, none of the glyphs can actually be read. If rongorongo does prove to be writing and to be an independent invention, it would be one of very few inventions of writing in human history.
The Rapa Nui are the indigenous Polynesian peoples of Easter Island. The easternmost Polynesian culture, the descendants of the original people of Easter Island make up about 60% of the current Easter Island population and have a significant portion of their population residing in mainland Chile. They speak both the traditional Rapa Nui language and the primary language of Chile, Spanish. At the 2017 census there were 7,750 island inhabitants—almost all living in the village of Hanga Roa on the sheltered west coast.
Rano Raraku is a volcanic crater formed of consolidated volcanic ash, or tuff, and located on the lower slopes of Terevaka in the Rapa Nui National Park on Easter Island in Chile. It was a quarry for about 500 years until the early eighteenth century, and supplied the stone from which about 95% of the island's known monolithic sculptures (moai) were carved. Rano Raraku is a visual record of moai design vocabulary and technological innovation, where 887 moai remain. Rano Raraku is in the World Heritage Site of Rapa Nui National Park and gives its name to one of the seven sections of the park.
Katherine Maria Routledge was an English archaeologist and anthropologist who, in 1914, initiated and carried out much of the first true survey of Easter Island.
The Tangata manu was the winner of a traditional ritual competition on Rapa Nui to collect the first sooty tern egg of the season from the nearby islet of Motu Nui, swim back to Rapa Nui, and climb the sea cliffs of Rano Kau to the clifftop village of Orongo.
Makemake in the Rapa Nui mythology of Easter Island is the creator of humanity, the god of fertility and the chief god of the "Tangata manu" or bird-man sect. He appeared to be the local form, or name, of the old Polynesian god Tane. He had no wife.
Easter Island was traditionally ruled by a monarchy, with a king as its leader.
Rapa Nui mythology, also known as Pascuense mythology or Easter Island mythology, refers to the native myths, legends, and beliefs of the Rapa Nui people of Easter Island in the south eastern Pacific Ocean.
Ahu Tongariki is the largest ahu on Easter Island. Its moais were toppled during the island's civil wars, and in the twentieth century the ahu was swept inland by a tsunami. It has since been restored and has fifteen moai, including one that weighs eighty-six tonnes, the heaviest ever erected on the island. Ahu Tongariki is one kilometer from Rano Raraku and Poike in the Hotu-iti area of Rapa Nui National Park. All the moai here face sunset during the winter solstice.
Geologically one of the youngest inhabited territories on Earth, Easter Island, located in the mid-Pacific Ocean, was, for most of its history, one of the most isolated. Its inhabitants, the Rapa Nui, have endured famines, epidemics of disease, civil war, environmental collapse, slave raids, various colonial contacts, and have seen their population crash on more than one occasion. The ensuing cultural legacy has brought the island notoriety out of proportion to the number of its inhabitants.
The Rapa Nui calendar was the indigenous lunisolar calendar of Easter Island. It is now obsolete.
Hotu-iti is an area of southeastern Easter Island that takes its name from a local clan. Located in Rapa Nui National Park, the area includes Rano Raraku crater, the Ahu Tongariki site, and a small bay. In the 15th and 16th centuries, the Hotu-iti clan was one of two polities on Easter Island.
Siméon or Timeone Riro ʻa Kāinga Rokoroko He Tau was the last ‘ariki (king) of Rapa Nui from 1892 until his death. He ruled the island during a brief period of indigenous autonomy between Chile's initial annexation in 1888 and the country's reassertion of colonial authority in 1896. Riro died unexpectedly during a diplomatic trip to Chile to discuss the island's sovereignty with colonial authorities, leading to suspicions that he had been poisoned.
Juan Tepano Rano ʻa Veri ʻAmo was a Rapa Nui leader of Easter Island. He served as an informant for Euro-American scholars on the culture and history of the island.
Moisés Jacob Tu‘u Hereveri was elected ‘ariki (king) of Rapa Nui from 1901 until 1902. He was the last Rapa Nui to claim the traditional kingship in the early 20th-century. However, he is not remembered as the last king instead his predecessor Riro Kāinga is generally regarded as the last king, although neither held much power. Variation of his family name included Hereveri, Here Veri, Veri-Veri, Beri-Beri, Tueri-Beri, Tueriveri, or Tueriveri.
Enrique Ika a Tuʻu Hati was elected ‘ariki (king) of Rapa Nui in 1900 and led a failed rebellion. He was one of the last Rapa Nui to claim the traditional kingship in the early 20th-century. However, he is not remembered as the last king; instead his predecessor Riro Kāinga is generally regarded as the last king, although neither held much power.
The Raŋitoki fragment is a possible rongorongo text, though its authenticity has been called into question.
Ana Eva Hei, also Uka ʻa Hei ʻa ʻArero, or Reina Eva, was the consort of the penultimate ruler of Rapa Nui, Atamu Tekena. She was one of the last surviving Rapa Nui people to have been tattooed using traditional practices.
Victoria Veriamo a Huki a Parapara, also known as Viriamo was one of the last surviving indigenous women of Easter Island to have been tattooed using traditional practices, along with Ana Eva Hei. She was a cultural informant who shared her knowledge of indigenous Rapa Nui culture with European visitors, as well as with her son Juan Tepano, who in turn also functioned as a cultural informant.