Difference between revisions of "AY Honors/Tapa Cloth/Answer Key"

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[[Image:tapa lau 86.jpg|right|thumb|Tapa from the Lau Island Group of Fiji]]
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'''Tapa cloth''' (or simply ''tapa'') is a bark cloth made in the islands of the [[Pacific Ocean]], primarily in [[Tonga]] and [[Samoa]], but as far afield as [[Java (island)|Java]], [[New Zealand]], [[Papua New Guinea]] and [[Hawaii]]. In [[French Polynesia]] it has nearly disappeared, except for some villages in the [[Marquesas]].
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<!-- 1. What are the main uses of tapa cloth? -->
 +
Tapa cloth (or simply tapa) is a bark cloth made in the islands of the Pacific Ocean, primarily in Tonga, Samoa and Fiji, but as far afield as Niue, Cook Islands, Futuna, Solomon Islands, Java, New Zealand, Vanuatu, Papua New Guinea (particularly in Oro Province around Tufi) and Hawaiʻi (where it is called kapa). In French Polynesia it has nearly disappeared, except for some villages in the Marquesas.
  
−
==General==
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<!--T:3-->
 +
In former times the cloth was primarily used for clothing, but now cotton and other textiles have replaced it. The major problem with tapa clothing is that the tissue is just like paper: it loses strength when wet and falls apart. In spite of this, it was better than grass-skirts, which usually are either heavier and harder or easily blown apart.
  
−
The cloth is known by a number of local names, eg, tapa cloth, although the term tapa is international and understood throughout the islands that use the cloth. The word '''tapa''' is from [[Tahiti]], where [[Captain Cook]] was the first European to pick it up and to introduce it to rest of the world. In Tonga, tapa is known as '''ngatu''', and here it is of great social importance to the islanders, often being given as gifts. In Samoa, the same cloth is called '''siapo'''. In Hawai{{okina}}i, it is known as '''[[kapa]]'''. In [[Rotuma]] it is called '''‘uha''' and in [[Fiji]] it is called '''masi'''.
+
<!--T:4-->
 +
Nowadays tapa is still often worn on formal occasions such as weddings. Another use is as blanket at night. It is also highly prized for its decorative value and is often used as a decorative wall hanging. In Tonga a family is considered poor, no matter how much money they have, if they do not have any tapa in stock at home ready to give as a gift at weddings, funerals and so forth. A tapa given as a gift by a chief or even the royal family is considered highly valuable.
  
−
All these different words give some clue to the origin. ''Masi'' could mean the (bark of the) Dye-fig ''([[Ficus tinctoria]])'', endemic to Oceania, and probably the one originally used to make tapa. Somewhere in history, during the voyages of migration the ''hiapo'' or ''siapo'' was introduced from Southeast [[Asia]], the [[Paper mulberry]] tree (''[[Broussonetia papyrifera]]''). The bark of this tree is much better to use, and put the use of the Dye-fig into oblivion. Only its name remained in Fiji. ''Tapa'' finally, has the meaning of border or strip. It seems likely that before the glueing process became common to make large sheets (see below) only narrow strips were produced.
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<!-- 2. Know three different ways that tapa cloth is made in the Pacific Islands. -->
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This 5 part series of short videos covers Tapa across the Pacific and shows everything from how mulberry trees are propagated and planted, through the preparation and dyeing of the tapa.  
  
−
Tapa can be painted. The patterns of Tongan, Samoan, and Fijian tapa usually form a grid of squares, each of which contains geometrical patterns with repeated motifs such as fish and plants, for example four stylised leaves forming a diagonal cross. Traditional dyes are usually black and rust-brown, although other colours are also known.
+
<!--T:19-->
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[[https://www.youtube.com/watch?v=T7Cap1ypBMg Part 1]]
 +
[[https://www.youtube.com/watch?v=3rDLNEDrpWw Part 2]]
 +
[[https://www.youtube.com/watch?v=o1wFRzp05qk Part 3]]
 +
[[https://www.youtube.com/watch?v=LMK9dOqKcbE Part 4]]
 +
[[https://www.youtube.com/watch?v=_BTNIWdBRw8 Part 5]]
  
−
In former times the cloth was primarily used for clothing, but now cotton and other textiles have replaced it. The major problem with tapa clothing is that the tissue is just like paper: it looses all its strength when wet and falls apart. Still it was better than grass-skirts, which usually are either heavier and harder or easily blown apart, but on the low coral [[atolls]] where the mulberry does not grow, people had no choice.
+
<!--T:20-->
 +
Also this lady shows Hawaiian kapa making, and reviews the tools she uses for teaching the art. [[https://www.youtube.com/watch?v=d2Q5SxxhVno Hawaii video]]
  
−
Nowadays tapa is still often worn on formal occasions such as weddings. Another use is as blanket at night. It is also highly prized for its decorative value and is often found used to hang on the walls as a decoration. In Tonga a family is considered poor, no matter how much money they have, if they do not have any tapa in stock at home to donate at life crises like marriages, funerals and so forth. If the tapa was ever donated to them by a chief or even the royal family, the more valuable it is.
+
<!--T:21-->
 +
The basic process of making the cloth from mulberry bark is the same, but there is considerable variation in how:
  
−
[[Image:Hiapostrip.jpg|left|thumb|Stripping the bark from the trees in [[Nomuka]]]]
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<!--T:22-->
 +
*The cloth is glued together into bigger pieces - with tapioca root or other ways
 +
*The patterns beaten into (or not) the cloth
 +
*The dyes used
  
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==Fabrication==
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<!-- 3. Know the trees used for making tapa cloth in your area. -->
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Originally, tapa cloth was most likely made from the bark of the Dye-fig (''Ficus tinctoria''), endemic to Oceania. Sometime in history during the voyages of migration, the paper mulberry tree (''Broussonetia papyrifera'') was introduced from Southeast Asia. The bark of the paper mulberry is much better suited to making tapa cloth, and so severely curtailed the use of the Dye-fig.
 +
 
 +
<!--T:24-->
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Many other trees provide the tools and dyes to make the tapa cloth. They vary by island, but traditionally include:
 +
 
 +
<!--T:25-->
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*Ironwood for the mallet used to beat the cloth.
 +
*Coconut fiber used under the logs as shock absorbers
 +
*Coconut fiber used to make patterns for transfer to cloth
 +
*various hardwood to make the anvil
 +
*Tree bark used to make the dye
 +
 
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<!--T:26-->
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See the videos for specifics
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As Tonga is the country where tapa is still a part of daily life, the following description is given for that country. Although on other islands the overall process is about the same, there still might be several smaller or larger differences.
 
As Tonga is the country where tapa is still a part of daily life, the following description is given for that country. Although on other islands the overall process is about the same, there still might be several smaller or larger differences.
  
−
In [[Tonga]] ''hiapo'' is the name given to the paper-mulberry tree. People have bunches of them growing in a corner of their plantations. They are cut and brought home where the first task is to strip the bark from the trees. The strips are about hand wide and person long. The wood so left over is named ''mokofute''. The bark consists of 2 layers. In the next step the outer bark is to be scraped or split off from the inner bark. This work is called ''ha{{okina}}alo''. The outerbark is discarded, the innerbark, named ''tutu'' or ''loututu'', is left over. It is first dried in the sun before being soaked.
+
<!--T:7-->
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In Tonga ''hiapo'' is the name given to the paper-mulberry tree. People have bunches of them growing in a corner of their plantations. They are cut and brought home where the first task is to strip the bark from the trees. The strips are about hand wide and person long. The wood so left over is named ''mokofute''. The bark consists of 2 layers. In the next step the outer bark is to be scraped or split off from the inner bark. This work is called ''ha'alo''. The outerbark is discarded, the innerbark, named ''tutu'' or ''loututu'', is left over. It is first dried in the sun before being soaked.
  
−
[[Image:Tutuoli.jpg|right|thumb|A merry break from beating the tapa in [[Nukuʻalofa|Nuku{{okina}}alofa]]]]
+
<!--T:8-->
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After this, the bark is beaten on a wooden ''tutua'' anvil using wooden mallets called ''ike''. In the beating the bark is made thinner and spread out to a width of about 25 cm. This phase of the work is called ''tutu'' (or ''tutua''). The mallets are flat on one side and have coarse and fine grooves on the other sides. First the coarse sides are used, and towards the end of the work the flat side (''tā-tu{{okina}}a''). The continuous "thonk" beats of the tapa mallet is still a normal sound in the Tongan villages. If several women work together they can make a concert out of it. In that case there might be one who ''tukipotu'', beats the end of the ''tutua'' to set the rhythm.
+
After this, the bark is beaten on a wooden ''tutua'' anvil using wooden mallets called ''ike''. In the beating the bark is made thinner and spread out to a width of about 25 cm. This phase of the work is called ''tutu'' (or ''tutua''). The mallets are flat on one side and have coarse and fine grooves on the other sides. First the coarse sides are used, and towards the end of the work the flat side (''tā-tuʻa''). The continuous "thonk" beats of the tapa mallet is still a normal sound in the Tongan villages. If several women work together they can make a concert out of it. In that case there might be one who ''tukipotu'', beats the end of the ''tutua'' to set the rhythm.
  
−
When the strips are thin enough, several strips are taken together and beaten together into a large sheet. Some starch from the ''[[Sweet potato|kumala]]'', or ''[[tapioca|manioke]]'' may be rubbed on places which are unwilling to stick. This part of the work is called ''{{okina}}opo{{okina}}opo'', the glue is called ''tou'' and the resulting sheet of tapa is called ''feta{{okina}}aki''. It then consists of two layers of strips in perpendicular direction, the upper one called ''lau{{okina}}olunga'' and the lower one ''laulalo''. A knife or sharp shell named ''mutu'' is used to trim the edges, and the pieces fallen off in this process are called ''papanaki''. When the white feta{{okina}}aki is smoked brown, it is called ''sala''.
+
<!--T:9-->
 +
When the strips are thin enough, several strips are taken together and beaten together into a large sheet. Some starch from the ''kumala'', or ''manioke'' may be rubbed on places which are unwilling to stick. This part of the work is called ''ʻopoʻopo'', the glue is called ''tou'' and the resulting sheet of tapa is called ''fetaʻaki''. It then consists of two layers of strips in perpendicular direction, the upper one called ''lauʻolunga'' and the lower one ''laulalo''. A knife or sharp shell named ''mutu'' is used to trim the edges, and the pieces fallen off in this process are called ''papanaki''. When the white fetaʻaki is smoked brown, it is called ''sala''.
  
−
Often the women of a whole village work together on a huge sheet of tapa. A donation to the church or their chief at an important occasion. Such sheets are about 3 meters wide and 15, or 30, or sometimes even 60 meters long. The 15 meter pieces are called ''launima'' (meaning: five-sheet, because the sheet is 5 squares), and the 30 meter pieces are called ''lautefuhi''.  
+
<!--T:10-->
 +
Often the women of a whole village work together on a huge sheet of tapa. A donation to the church or their chief at an important occasion. Such sheets are about 3 meters wide and 15, or 30, or sometimes even 60 meters long. The 15 meter pieces are called ''launima'' (meaning: five-sheet, because the sheet is 5 squares), and the 30 meter pieces are called ''lautefuhi''.
  
−
[[Image:Taparub.jpg|left|thumb|Ready to rub the koka onto the feta{{okina}}aki in [['Eua|{{okina}}Eua]]]]
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==Painting==
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<!--T:12-->
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The ''feta{{okina}}aki'' is almost always painted. It then becomes ''ngatu'', the Tongan word for the final product. The painting is done over the whole length, but only the central 2.5 meter in the width direction. On both sides there is an unpainted border of about 20 cm wide, which is called the ''tapa'' (in Tonga). In order to paint it, the sheets are first put over a huge wooden drum covered with stencils or ''kupesi''. These stencils are made from coconut front midribs (or any other sticks of a few millimeter thick). These stencils are made in the pattern which will be used. There are a handful of standard ''kupesi'' designs, like the 'Pine road' (the road from the palace to the royal cemetery), or the 'Shield of Tonga', or the 'Lion' (the king), or the 'Dove' (the king as ruler), and more abstract figures like the 'Manulua' (2 birds).
+
The ''fetaʻaki'' is almost always painted. It then becomes ''ngatu'', the Tongan word for the final product. The painting is done over the whole length, but only the central 2.5 meter in the width direction. On both sides there is an unpainted border of about 20 cm wide, which is called the ''tapa'' (in Tonga). In order to paint it, the sheets are first put over a huge wooden drum covered with stencils or ''kupesi''. These stencils are made from coconut front midribs (or any other sticks of a few millimeter thick). These stencils are made in the pattern which will be used. There are a handful of standard ''kupesi'' designs, like the 'Pine road' (the road from the palace to the royal cemetery), or the 'Shield of Tonga', or the 'Lion' (the king), or the 'Dove' (the king as ruler), and more abstract figures like the 'Manulua' (2 birds).
  
−
[[Image:paint ngatu.jpg|right|thumb|A Tongan woman accentuating the ''kupesi'' design]]
+
<!--T:13-->
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The tapa sheet is put over the drum and the women now rub with force a dabber with some brown paint (made from the ''koka'' tree ''([[Bischofia javanica]]))'' over the sheet. This work is called ''tata{{okina}}i''. Where they rub over a rib of the ''kupesi'' more paint will stick to that position while very little will stick elsewhere. In this way the basic pattern is put on the sheet. Once a part is done, they lift up the sheet and proceed to the next strip and so forth. Only when the whole sheet has been preprocessed, then it will be spread out on the ground and with a brush (made from ''[[Pandanus]]'' seeds) the women will accentuate the faintly visible marks with some more generous paint, this time made from the ''tongo'', the mangrove ''([[Rhizophora mangle]])''. Both ''koka'' and ''tongo'' paint are always brown, but the latter is much darker. Black is not used in Tonga, although it is characteristic for Fiji.
+
The tapa sheet is put over the drum and the women now rub with force a dabber with some brown paint (made from the ''koka'' tree ''(Bischofia javanica))'' over the sheet. This work is called ''tataʻi''. Where they rub over a rib of the ''kupesi'' more paint will stick to that position while very little will stick elsewhere. In this way the basic pattern is put on the sheet. Once a part is done, they lift up the sheet and proceed to the next strip and so forth. Only when the whole sheet has been preprocessed, then it will be spread out on the ground and with a brush (made from ''Pandanus'' seeds) the women will accentuate the faintly visible marks with some more generous paint, this time made from the ''tongo'', the mangrove ''(Rhizophora mangle)''. Both ''koka'' and ''tongo'' paint are always brown, but the latter is much darker. Black is not used in Tonga, although it is characteristic for Fiji.
  
−
It is customary that during the paint process lines are drawn on the ''ngatu'' along the width every 45 cm or more. The ''kupesi'' too are made to the size that they will fit in the divisions thusly made. Such a division is known as ''langanga'' and they are numbered (on the blank ''tapa'') from one to as many as needed for the whole length. When a smaller piece of ngatu is needed, the sheet is cut along a ''langanga'' division. A 4 to 6 ''langanga'' piece is called ''fola{{okina}}osi''. An 8 piece is ''fātuua'', while a 10 ''langanga'' piece of ''ngatu'' is known as ''toka hongofulu''. Less common are the double ''fātuua'', named ''fātufā'' or double of that again, the ''fātuvalu''.
+
<!--T:14-->
 +
It is customary that during the paint process lines are drawn on the ''ngatu'' along the width every 45 cm or more. The ''kupesi'' too are made to the size that they will fit in the divisions thusly made. Such a division is known as ''langanga'' and they are numbered (on the blank ''tapa'') from one to as many as needed for the whole length. When a smaller piece of ngatu is needed, the sheet is cut along a ''langanga'' division. A 4 to 6 ''langanga'' piece is called ''folaʻosi''. An 8 piece is ''fātuua'', while a 10 ''langanga'' piece of ''ngatu'' is known as ''toka hongofulu''. Less common are the double ''fātuua'', named ''fātufā'' or double of that again, the ''fātuvalu''.
  
 +
<!--T:15-->
 
These are the traditional ''ngatu'', as evidenced by the extensive vocabulary used (still many more terms exist). Nowadays for the tourist trade other sizes and designs can be made as well done.
 
These are the traditional ''ngatu'', as evidenced by the extensive vocabulary used (still many more terms exist). Nowadays for the tourist trade other sizes and designs can be made as well done.
  
−
==References==
+
<!--T:39-->
−
* Arkinstall, Patricia Lorraine, “A study of bark cloth from Hawaii, Samoa, Tonga and Fiji, An exploration of the regional development of distinctive styles of bark cloth and its relationship to other cultural factors”, Ithaca, N.Y., 1966.
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* Brigham, William Tufts, “Ka hana kapa, making of bark-cloth in Hawaii”, Honolulu, Bishop Museum Press, 1911.
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*{{okina}}I.F. Helu; Critical essays: Cultural perspectives from the Southseas; 1999
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{{CloseReq}} <!-- 4 -->
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* Kaeppler, Adrienne Lois, “The fabrics of Hawaii (bark cloth)”, Leigh-on-Sea, F. Lewis, 1975.
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==External links==
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</noinclude>
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*[http://www.tapa.co.nz/ Tapa in the Pacific Islands]
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<!-- 5. Make a collection of a number of different types of tapa cloth designs and outline the purpose for which they were used. -->
−
*[http://www.minpac.govt.nz/resources/tools/tapa/tonga.php New Zealand Ministry of Pacific island Affairs - Tapa in Tonga]
 
−
*[http://www.rbgkew.org.uk/collections/ecbot/BarkCloth.htm Kew Gardens bark cloth webpage]
 
−
*[http://www.marlamallett.com/tapa.htm Tapa cloth]
 
−
*[http://www.michie.net/pnginfo/oro/orotapa.html Samples of Tapa from Oro Province - Papua New Guinea]
 
−
*[http://www.abc.net.au/arts/artok/craft/s193440.htm Fijian masi-making]
 
  
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[[Category:Nonwoven fabrics]]
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<!--T:17-->
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[[Category:Polynesian clothing]]
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This is part of the "do" section of the honor. Enjoy collecting the cloth samples. You might try craft or traditional markets, or if you live outside the an area where tapa cloth is made, look on the internet.
−
[[Category:Polynesian culture]]
 
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[[Category:Tongan culture]]
 
  
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[[fr:Tapa]]
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[[to:Ngatu]]
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==References== <!--T:18-->
 +
# {{deadlink|link=[http://www.ebay.com/gds/polynesian-tapa-barkcloth-the-cloth-of-island-kings/10000000001650920/g.html Guide to Tapa Cloth]}}
 +
# The definitive [http://amzn.to/14eP2Yk book on Tapa cloth]
 +
# {{deadlink|link=[http://www.magsq.com.au/_dbase_upl/Education%20sheets.pdf PDF with info and discussion questions]}}
 +
# A clear video of the [http://www.youtube.com/watch?v=zdHOf1Q6GEE tapa process]
 +
# [http://www.youtube.com/watch?v=7umj7aRBY9s Tapa making on Pitcairn Island]
 +
<noinclude></translate></noinclude>
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[[Category:Adventist Youth Honors Answer Book|{{SUBPAGENAME}}]]
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{{CloseHonorPage}}

Latest revision as of 20:23, 2 December 2021

Other languages:
English • ‎español
Tapa Cloth

Skill Level

1

Year

Unknown

Version

26.12.2024

Approval authority

General Conference

Tapa Cloths AY Honor.png
Tapa Cloth
Household Arts
Skill Level
123
Approval authority
General Conference
Year of Introduction
Unknown
See also
Homemaking Master Award


1

What are the main uses of tapa cloth?


Tapa cloth (or simply tapa) is a bark cloth made in the islands of the Pacific Ocean, primarily in Tonga, Samoa and Fiji, but as far afield as Niue, Cook Islands, Futuna, Solomon Islands, Java, New Zealand, Vanuatu, Papua New Guinea (particularly in Oro Province around Tufi) and Hawaiʻi (where it is called kapa). In French Polynesia it has nearly disappeared, except for some villages in the Marquesas.

In former times the cloth was primarily used for clothing, but now cotton and other textiles have replaced it. The major problem with tapa clothing is that the tissue is just like paper: it loses strength when wet and falls apart. In spite of this, it was better than grass-skirts, which usually are either heavier and harder or easily blown apart.

Nowadays tapa is still often worn on formal occasions such as weddings. Another use is as blanket at night. It is also highly prized for its decorative value and is often used as a decorative wall hanging. In Tonga a family is considered poor, no matter how much money they have, if they do not have any tapa in stock at home ready to give as a gift at weddings, funerals and so forth. A tapa given as a gift by a chief or even the royal family is considered highly valuable.


2

Know three different ways that tapa cloth is made in the Pacific Islands.


This 5 part series of short videos covers Tapa across the Pacific and shows everything from how mulberry trees are propagated and planted, through the preparation and dyeing of the tapa.

[Part 1] [Part 2] [Part 3] [Part 4] [Part 5]

Also this lady shows Hawaiian kapa making, and reviews the tools she uses for teaching the art. [Hawaii video]

The basic process of making the cloth from mulberry bark is the same, but there is considerable variation in how:

  • The cloth is glued together into bigger pieces - with tapioca root or other ways
  • The patterns beaten into (or not) the cloth
  • The dyes used


3

Know the trees used for making tapa cloth in your area.


Originally, tapa cloth was most likely made from the bark of the Dye-fig (Ficus tinctoria), endemic to Oceania. Sometime in history during the voyages of migration, the paper mulberry tree (Broussonetia papyrifera) was introduced from Southeast Asia. The bark of the paper mulberry is much better suited to making tapa cloth, and so severely curtailed the use of the Dye-fig.

Many other trees provide the tools and dyes to make the tapa cloth. They vary by island, but traditionally include:

  • Ironwood for the mallet used to beat the cloth.
  • Coconut fiber used under the logs as shock absorbers
  • Coconut fiber used to make patterns for transfer to cloth
  • various hardwood to make the anvil
  • Tree bark used to make the dye

See the videos for specifics


4

Explain the following:



4a

Explain the steps in making tapa cloth and then demonstrate your knowledge by making a 1/2 meter square tapa cloth.


As Tonga is the country where tapa is still a part of daily life, the following description is given for that country. Although on other islands the overall process is about the same, there still might be several smaller or larger differences.

In Tonga hiapo is the name given to the paper-mulberry tree. People have bunches of them growing in a corner of their plantations. They are cut and brought home where the first task is to strip the bark from the trees. The strips are about hand wide and person long. The wood so left over is named mokofute. The bark consists of 2 layers. In the next step the outer bark is to be scraped or split off from the inner bark. This work is called ha'alo. The outerbark is discarded, the innerbark, named tutu or loututu, is left over. It is first dried in the sun before being soaked.

After this, the bark is beaten on a wooden tutua anvil using wooden mallets called ike. In the beating the bark is made thinner and spread out to a width of about 25 cm. This phase of the work is called tutu (or tutua). The mallets are flat on one side and have coarse and fine grooves on the other sides. First the coarse sides are used, and towards the end of the work the flat side (tā-tuʻa). The continuous "thonk" beats of the tapa mallet is still a normal sound in the Tongan villages. If several women work together they can make a concert out of it. In that case there might be one who tukipotu, beats the end of the tutua to set the rhythm.

When the strips are thin enough, several strips are taken together and beaten together into a large sheet. Some starch from the kumala, or manioke may be rubbed on places which are unwilling to stick. This part of the work is called ʻopoʻopo, the glue is called tou and the resulting sheet of tapa is called fetaʻaki. It then consists of two layers of strips in perpendicular direction, the upper one called lauʻolunga and the lower one laulalo. A knife or sharp shell named mutu is used to trim the edges, and the pieces fallen off in this process are called papanaki. When the white fetaʻaki is smoked brown, it is called sala.

Often the women of a whole village work together on a huge sheet of tapa. A donation to the church or their chief at an important occasion. Such sheets are about 3 meters wide and 15, or 30, or sometimes even 60 meters long. The 15 meter pieces are called launima (meaning: five-sheet, because the sheet is 5 squares), and the 30 meter pieces are called lautefuhi.


4b

Explain the process of dying tapa cloth using natural dyes and decorate your tapa cloth.


The fetaʻaki is almost always painted. It then becomes ngatu, the Tongan word for the final product. The painting is done over the whole length, but only the central 2.5 meter in the width direction. On both sides there is an unpainted border of about 20 cm wide, which is called the tapa (in Tonga). In order to paint it, the sheets are first put over a huge wooden drum covered with stencils or kupesi. These stencils are made from coconut front midribs (or any other sticks of a few millimeter thick). These stencils are made in the pattern which will be used. There are a handful of standard kupesi designs, like the 'Pine road' (the road from the palace to the royal cemetery), or the 'Shield of Tonga', or the 'Lion' (the king), or the 'Dove' (the king as ruler), and more abstract figures like the 'Manulua' (2 birds).

The tapa sheet is put over the drum and the women now rub with force a dabber with some brown paint (made from the koka tree (Bischofia javanica)) over the sheet. This work is called tataʻi. Where they rub over a rib of the kupesi more paint will stick to that position while very little will stick elsewhere. In this way the basic pattern is put on the sheet. Once a part is done, they lift up the sheet and proceed to the next strip and so forth. Only when the whole sheet has been preprocessed, then it will be spread out on the ground and with a brush (made from Pandanus seeds) the women will accentuate the faintly visible marks with some more generous paint, this time made from the tongo, the mangrove (Rhizophora mangle). Both koka and tongo paint are always brown, but the latter is much darker. Black is not used in Tonga, although it is characteristic for Fiji.

It is customary that during the paint process lines are drawn on the ngatu along the width every 45 cm or more. The kupesi too are made to the size that they will fit in the divisions thusly made. Such a division is known as langanga and they are numbered (on the blank tapa) from one to as many as needed for the whole length. When a smaller piece of ngatu is needed, the sheet is cut along a langanga division. A 4 to 6 langanga piece is called folaʻosi. An 8 piece is fātuua, while a 10 langanga piece of ngatu is known as toka hongofulu. Less common are the double fātuua, named fātufā or double of that again, the fātuvalu.

These are the traditional ngatu, as evidenced by the extensive vocabulary used (still many more terms exist). Nowadays for the tourist trade other sizes and designs can be made as well done.



5

Make a collection of a number of different types of tapa cloth designs and outline the purpose for which they were used.


This is part of the "do" section of the honor. Enjoy collecting the cloth samples. You might try craft or traditional markets, or if you live outside the an area where tapa cloth is made, look on the internet.



References

  2. The definitive book on Tapa cloth
  4. A clear video of the tapa process
  5. Tapa making on Pitcairn Island
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