Koloa: Women, Art, and Technology by Para Site

////////////////////////// //////////////////////// ////////////////////////// //////////////////////// /////////////// /////////// KOLOA: WOMEN, ART, /////////////// /////////////// AND TECHNOLOGY ///////////////////////////////////// /////////////// //////////////// //////////////////////// /////////////////////////// //////////////////////// ///////////////////////////

KOLOA：女性、

藝術與科技

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>>>>>>>>>>>>>>>>>> >>>>>>>>>>>>>>>>> >>>>>>>>>>>>>>>> >>>>>>>>>>>>>>>>> >>>>>>>>>>>>>>>> >>>>>>>>>>>>>>>>>>> >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

============================== ============================== KOLOA: FAFINE, ================ ‘AATI, MO E TEKINOLOSIA ================ ================ ================ ============ ================ ============ ==================================================== ====================================================

7 Dec 2019 – 23 Feb 2020

<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< <<<<<<<<<<<<<<<<<<< <<<<<<<<<<<<<<<<< <<<<<<<<<<<<<<<< <<<<<<<<<<<<<<<<< <<<<<<<<<<<<<<<< <<<<<<<<<<<<<<<<<<< <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<

\\\\\\\\\\\\\\\\ \\\\\\\\\\\\\\\\\\\\ \\\\\\\ \\\\\\\\\\\\\\\ \\\\\\\\ \\\\\\\\\\\\\\\\ \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ \\\\\\\\\\ \\\\\\\\\\\\\\\\\ \\\\\\\\\\\\\\\\\\\\\\ \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ \\\\\\\\\\\\\\\\\\\\\\ \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\

KOLOA: WOMEN, ART, AND TECHNOLOGY KOLOA：女性、藝術與科技 KOLOA: FAFINE, ‘AATI, MO E TEKINOLOSIA

Installation view, Koloa: Women, Art, and Textiles, Langafonua Centre, Nuku’alofa, Tonga, Aug 2019. Courtesy of Para Site, Hong Kong. 「 Koloa：女性、藝術與編織」展覽圖片，2019年 8月湯加

努庫阿洛法 Langafonua中心。

由香港 Para Site藝術空間提供。

Fokotu’u faka’ali’ali, Koloa: Fafine, ‘Aati, pea mo e ngaahi Lalanga, Senitā Langafonua, Nuku’alofa, Tonga, ‘akosi 2019. Angalelei ‘a e Para Site, Hong Kong.

KOLOA: WOMEN, ART, AND TECHNOLOGY KOLOA：女性、藝術與科技 KOLOA: FAFINE, ‘AATI, MO E TEKINOLOSIA

CONTENT 目錄

KANOTOHI

––––––––––––––––––––––––––––––––––––––––––––––––––––––––– KOLOA: WOMEN, ART, AND TECHNOLOGY.......................4 Cosmin Costinaş and Vivian Ziherl KOLOA：女性、藝術與科技 ....................................18 康喆明、Vivian Ziherl KOLOA: FAFINE, ‘AATI, MO E TEKINOLOSIA.................26 Cosmin Costinaş mo e Vivian Ziherl ––––––––––––––––––––––––––––––––––––––––––––––––––––––––– KUPESI: A CREATIVE TRADITION OF TONGA..................92 Tunakaimanu Fielakepa, the Dowager Lady Fielakepa 古佩西：湯加的創意傳統 ....................................106

Tunakaimanu Fielakepa太夫人

KUPESI: KO E FAKATUPU TUKUFAKAHOLO ‘A TONGA...........114 Tunakaimanu Fielakepa, ko e ‘Eiki Uitou Lady Fielakepa ––––––––––––––––––––––––––––––––––––––––––––––––––––––––– BIOGRAPHIES...........................................158 傳記...................................................161

PIOKALAFI.............................................163

---00-----00-----000000------00-----------000000---------000--------00----00----00------00----00---------00------00------00-00-------00--000----00--------00---00--------00--------00----00---00------00000------00--------00---00--------00--------00---00-----00-----000-00-----00--------00---00--------00--------00---00-----00-----00---00----00--------00---00--------00--------00---000000000-----00----00----00------00----00---------00------00----00-----00-----00-----00-----000000------000000000----000000------00-----00---

Para Site is proud to present the exhibition Koloa: Women, Art, and Technology, an unprecedented international presentation based on the life-long research of Tunakaimanu Fielakepa, the Dowager Lady Fielakepa, the Kingdom of Tonga’s foremost knowledge-holder of ‘koloa’ or customary women’s arts in Tonga. The exhibition in Hong Kong marks the second presentation of the exhibition, which was launched in August this year as a partnership between Para Site and the Langafonua ‘a Fafine Tonga, a historic centre for women’s customary arts, established by Queen Sālote Tupou III in 1953 in Nuku’alofa. The Dowager Lady Fielakepa has often been consulted and has written for major international research and museum projects, this will be the first exhibition that presents her exceptional work and perspective to both Tongan and international audiences under her acknowledged authorship. The exhibition thus features a rich array of Tongan art practices, focused upon the main categories constituting koloa: ngatu or bark cloth making and fine weaving such as ta’ovala garments and ceremonial mats, as well as kafa or woven rope. The presentation includes prized, heirloom pieces as well as newly produced examples specially commissioned for the exhibition. These new pieces ensure a full exploration of design motifs and techniques of Tongan artistic practices, at the same time as they support the Dowager Lady Fielakepa’s vision to stimulate and support village-based women’s groups who gather and maintain the skills, stories, songs, and knowledge that make up koloa. For its international presentation at Para Site in Hong Kong, the exhibition expands its scope with a parallel, curated presentation of three women artists, Tanya Edwards, Nikau Hindin, and Vaimaila Urale, that further reflects upon the sophisticated status of aesthetic lineages in the Pacific as inseparable manifestations of art and technology.

KOLOA: WOMEN, ART, AND TECHNOLOGY Cosmin Costinaş and Vivian Ziherl

The artistic practices of koloa are enmeshed within extensive pathways of knowledge, technology, aesthetics, as well as social and ecological lineages. Their production indexes a political geography of eco-social relations through both the materiality and the motifs of particular pieces. Through a ceremonially orchestrated system of exchange, the arts of koloa have been a

crucial component in politically, socially, and culturally binding an extensive maritime geography of the some 170 islands of Tonga. Exchange also extends to neighbouring nations such as Fiji and Samoa, and beyond, maintaining close historical ties in trading and familial relations despite the enforced partitions of the colonial era and the enclosed and bordered formation of the modern nation-state. The exhibition thus presents examples of textile arts from the Pacific region, highlighting the specialisation of techniques and styles, as well as various efforts of revitalising lost or dwindling practices, such as the machi, finely woven banana fibre cloth from Fais Island in Yap state of the Federated States of Micronesia. The heterogeneity of this presentation matches the koloa treasure troves of many Tongan women, who would have amassed, through exchange and gifting, pieces from further afield beyond Tonga, alongside their own ngatu and fine weaving. As part of the exhibition’s broader affirmation of the need for establishing a horizontal platform for reading contemporary artistic practices of various lineages, this accompanying presentation includes examples of bark cloth and textiles from greater Asia and Africa—associating pieces based on their shared influences but also on their similar visual qualities, social function, and historical narratives, in a manner emphatically closer to contemporary art curating principles than traditional ethnographic selections. The exhibition thus includes mbuti bark-cloth from the Democratic Republic of Congo as well as textiles with the highly encoded Adinkra print motifs from the Ashanti Kingdom of present-day Ghana. Organising this exhibition within a contemporary art institutional framework affirms a commitment to expanding what is acknowledged as contemporary artistic practices. It responds to this political agenda to decolonise our taxonomies and perspectives and to move beyond the category of art as defined by the colonial legacy, by including artists working with and from within multiple aesthetic and cosmological perspectives and meanings, manifesting the multiplicities that construct our kaleidoscopic global reality. This includes as a matter of urgency practices that have been systematically

excluded from the realm of art and designated by a colonial ethnographic gaze as craft, folklore, or at best, ‘traditional’ art, even if these practices often perform analogous cultural and social functions in their communities as art does in the system of global society. The presentation and reception of such work in the changing and critical field of contemporary art recognises the same evolving nature of these practices, as well as their potential for a critical reflection of their contexts, as opposed to the static and obedient character assigned to them by the Westerncentric perspective. While the inaugural exhibition at Langafonua in Nuku’alofa focused upon a social activation of koloa as a vivid aesthetics and technics, the inclusion in the Hong Kong iteration of the three contemporary artists from the Pacific broadens and deepens this conversation. With reference to distinct knowledge repertoires and practice archives such as Sāmoan tatau (body-marking), Māori ocean and celestial navigation charts, and the incorporation of modern technology into existing infrastructures such as ngatu, each of these artists pries open the powerful relation of art and technology with a grounding in women’s knowledge and practice. Koloa: Women’s Wealth Koloa is a term denoting value, and should be understood in this context in relation to the wealth, social standing, and self-empowerment of the women who create these art objects. The artistic languages of koloa are extraordinary both for their stunning visual richness and for their significance as contemporary art practice. As such, they are works of highly sophisticated artistic, ecological, navigational, and socio-political complexity, with ongoing and vivid significance.

Ngatu is the final phase of an elaborate production process that commences with cultivation of the paper mulberry tree (broussonetia payrifera), and the pounding of its bark into thin felted strips of fine white cloth or feta’aki. At a koka’anga (a word that indicates both a technology and action, the practice of joining as well

Dowager Lady Fielakepa in an essay for a publication under the auspices of UNESCO, Traditional Knowledge and Wisdom: Themes from the Pacific Islands, reproduced in this volume.

as the table upon which the work is undertaken), a gathering of women assembles numerous feta’aki strips together with a glue of vegetable starch. Depending upon the occasion and purpose of the ngatu, the final piece may be as long as a Pangaikafa Lautefuhi, or 100 lengths and approximately 40 metres long. The bark cloth is then painted with geometric motifs that are embossed from kupesi, or stencil designs, that often encode graphic abstractions of locational, animal, plant, and sociopolitical references. The pigments are also created from local botanical sources such as koka (red cedar) and tongo ta’ane (black mangrove), and tuitui (candlenut). Fine weaving is also highly structured in its significations according to the plant fibre, style, and ceremonial role of the item. Meticulously soaked and prepared leaves of the kie (pandanus palm) often form the basis of fine weaving, while local hibiscus and other flax-like plants such as fau create a regional codex of weaving styles. The particularly fine style of the kie ta’ovala can carry an exceptional social value and, in conjunction with ceremonial events, may be accorded a title and personification. In the curatorship of the Dowager Lady Fielakepa, the exhibition presents an extensive array of both ngatu and fine weaving that spans traditional and contemporary styles, common and rare examples, and historic as well as newly commissioned pieces. Today aged 83, the Dowager Lady Fielakepa has witnessed the transformation of Tongan society through modernisation. The Dowager Lady Fielakepa’s perspective spans the Pacific theatre of World War II and the geopolitical transformation of the region, while being a pioneer teacher and holding many prominent positions in the country. She first learned the technical and symbolic arts of koloa through time spent with her grandmother and exposure to elderly ladies who were royal palace attendants. Of these women the late ‘Olivia Kaho Mafile’o of Kolomotu’a gradually imparted to her the hidden story behind ten of the eleven traditional kupesi of Tonga, which encrypt markings such as the feet of the tuli, a Sāmoan and Tongan native shore bird, the lashing of traditional bamboo fencing, and the flayed flesh of a tuna fish. This index of kupesi motifs was collated by the

The exhibition presents 24 woven mats and ta’ovala. Styles of weaving are explored in their connection to particular plant fibres and the particular island contexts that they arise from, as well as their role in different ceremonial occasions. An extensive range of ta’ovala include rare styles of fau and fanakio plant fibres, as well as exceptionally valued and fine kie examples, including heirloom pieces produced in the late 1800s and worn for nationally significant events such as royal weddings. One of these, the ta’ovala kie Maeakafa, was gifted to the Fielakepa family upon their investiture with noble title and land by Queen Sālote Tupou III. On the other side of the spectrum is a ta’ovala faka’ahu, or smoked ta’ovala. The piece is produced in kie weave, aged and slightly damaged before it is smoked in order to be worn to a funeral where the bereaved family are dressed in heavy, ‘poor’, and damaged garments to symbolise the grief and prostration of their mourning. Also during times of mourning, the bereaved may shave or cut their hair. The exhibition includes a number of kafa, or belt-ties for ta’ovala that are woven not of the usual sennit coconut fibre, but of hair gathered during mourning. Examples of kafa woven of hair from the Dowager Lady Fielakepa, from her late daughter, and from her late mother are all included within the exhibition. In this way, the presentation demonstrates the ongoing richness of fine weaving as a flourishing aesthetic lineage in Tonga.

A selection of historical kupesi (design stencils) dating back to the 1930s is presented, demonstrating the longevity of certain classical motifs and designs that encode village and regional references. They are often held in the ownership of a village-based women’s group, and are based upon paongo (pandanus) leaves, with raised designs of tu’aniu (mangrove stem) or kaka (fibrous strands from a young coconut leaf) and stitched with threads of flax-like plants such as fau or pulu. More recent kupesi indicate ceremonial function such as linking the current

Nikau Hindin has been invested in reviving the entire technological process behind Māori aute (bark-cloth) practices. Closely related to Tongan ngatu, Māori aute ceased to be practised in the nineteenth century. Hindin produces her own aute, which she inscribes with a fine system of striated markings that encode celestial charts of ocean navigation. In this work a meticulous practice of recovering an artistic practice is combined with experiences of ocean travel utilising celestial navigation on a double-hulled waka haurua vessel. The name aute refers to a canoe plant brought to Aotearoa by ancestress Whakaotirangi and then pounded into cloth to make adornments, kites (manu aute) and clothing (maro). It is believed that the practice subsided in midnineteenth century due to inhospitable growing conditions for aute, though some aute plants remain scattered around Aotearoa’s North Island.

HRH Princess Sālote Mafile‘o Pilolevu Tuita to the far-lying island of Niuafo’ou through the eggs of the megapode bird that are incubated in volcanic soil. Many of these kupesi are featured within the nine fullsize ngatu pieces that are both borrowed and newly commissioned. A highlight among these is an exceptional ngatu uli, or black ngatu, which is extraordinary both in its 30-metre length and in its depiction not of patterned motifs but of an extended black monochrome. The piece is a re-creation of a ngatu from the royal collection of current HRH Princess Sālote Mafile‘o Pilolevu Tuita that was exhibited in Nuku’alofa. In its powerful and physical presence, the piece challenges Euro-centric narratives of abstraction and invites a greater imagination of global aesthetic dialogues. The complex modernity of koloa and in particular of ngatu is also richly apparent within two ngatu that include motifs of the 1940s—one of a water tank and one of spitfire planes. Both of these indicate the embedding of infrastructures of modernisation within and through existing social and aesthetic platforms such as that of koloa. The modern plumbing associated with the water tank and the spitfire plane commemorated a World War II fleet of three planes, purchased in 1941 by the beloved monarch Queen Sālote Tupou III. Reigning from 1918 to 1965, and a poet and song-writer as well as a political leader, Queen Sālote Topou III oversaw the enshrinement of Tongan protocol and practice within the country’s modernisation schemes, for example establishing the ta’ovala as the mandated attire for institutional wear such as in schools and state bureaucratic service.

For the exhibition, Hindin has prepared a new series of works titled Kōkōrangi ki Kōkōwai: From Celestial Bodies to the Earth, that represent a culmination of unique research on Māori aute over the past six years, learning from museum visits, close reading of existing texts, and working with a number of experts. Hindin has studied under the guidance of native Hawaiian kapa (bark cloth) makers and master knowledge holders from Aotearoa: Dante Bonica, Verna Takashima, Maile Andrade, Wesley Sen, and Kaliko Spencer. In addition, these works draw upon the parallel revival of celestial navigation and Māori astrology. Hindin has spent time studying the stars; sailing on the double-hulled voyaging canoe Hōkūle’a from Tamaki Makaurau to Golden Bay, from the North to South Islands of Aotearoa in 2014. She has also recently returned from her first deep-sea voyage between Norfolk Island and Aotearoa on Haunui waka.

Women, Art, and Technology All the three artists included in the presentation at Para Site speak to experiences and heritage transregionally, including connections of family, residence, and travel across Aotearoa (New Zealand), Hawai’i, Sāmoa, and Tonga, and share a commitment to developing contemporary art through the strength of indigenous genealogy and revitalisation. 10

A significant element of the new series is a deeper consideration of time—both manifest in the time spent by the artist in researching declinations of stars, maramataka (Māori Lunar Calendar), and rising times of different constellations, as well as in celestial motion as a temporal device and planetary chronological schema. Specifically, sheets of aute are inscribed as

colonialism and the gradual distancing of native peoples from their lands, practices and the knowledge systems tied into the environment. The reclamation of these cultural traditions is a way of reconnecting with the indigenous understanding that “everything is alive and we are all relatives”.’

a two dimensional star compass, divided into 32 whare whetu or star houses, and marked by the intervals at which each star rises and sets in a specific house. Red lines divide each star house, while other vertical lines in black indicate star paths. For example, in each star map, Whakaahu Rangi and Whakaahu Kerekere, the twin stars (Gemini) rise in house Ngoi and chase each other across the sky, whereas Mintaka rises due east from house Whitinga and has three triangles because Mintaka is a cluster of three stars in Orion’s Belt.

Vaimaila Urale deploys a similar investment in the revival and transposition of cultural heritage with two existing works, Mea Ila Ila II and Aniva II. Both of these works draw upon a unique graphic vocabulary developed by Urale, in which she combines the markings used frequently within tatau and siapo (Sāmoan bark cloth, closely related to Tongan Ngatu, as well as with Māori aute and Hawaiian kapa), together with the ASCII (American Standard Code of Information Interchange) computer script. The mark forms are abstractions that cite particular environmentally and socially inscribed entities. For example, the fa’avae tuli symbol is derived from the sand footprint of the tuli bird. In tatau, the marking is achieved by two incisions of a wedgeform implement, while in Urale’s transposition the bird footprint becomes represented by the greater-than and less-than characters (< >) of a computer keyboard. Similarly, the tusi lili’i symbols are lines on a coconut leaf rendered in tatau with single diagonal strokes, and which Urale reinscribes by the backslash and forward slash keyboard characters (/ \).

For this series, Hindin has also introduced a new temporal element by which the star compasses also record the time that stars rise relative to the season. Once again, an analytics of time is fundamental to the graphic aesthetics of the works. Beating the aute, making kōkōwai (red ochre pigment), and observing the stars are all processes that take time but ensure that the resulting works have a direct contextual and geographical relationship to the community and audience that will view it. For example, Hindin lives and works on the East Coast of the Aotearoa North Island, and emphasises a relational framework by which this ocean-facing aspect is the horizon inscribed within the star compasses of the series. Hindin’s approach to mark-making is drawn from the knowledge and obligation framework of te ao Māori or the Māori world. With no remaining pieces of aute available to reference, a significant aspect of her work is one that directly confronts tradition with innovation, considering what marks might reflect Māori systems of knowledge. As Hindin emphasises, there is no word for ‘art’ in her language per se, arguing that art was and is woven into the fabric of Māori society. Here, the practical and the beautiful coexist and from this anchoring premise Hindin uses her pieces as a tool for knowledge retention and cultural revival. Of this new series Hindin writes: ‘Our ancestral knowledge is based on keen observation of the moon, stars, tides, plants and the general moods of our environment. Synonymous with the arrival of Captain Cook was the introduction of the Gregorian calendar, new technologies, disease, a culture of

The works thereby open a field of tension between modern standardisation, the enlightenment ideals of a universal humanism, and the locationally and ecologically invested language and knowledge repertories of Indigenous Sāmoan aesthetics. Developed from telegraph code in the 1960s, ASCII sought a standardisation of the English alphabet for the purpose of a nascent global digital communications regime. The particular fact of the script as no less a product of the American Standards Association has exceptional significance in Sāmoa, which has been partitioned when the eastward islands were annexed in 1899 by the United States of America, under whose authority they remain as the American Samoa. The significance of this colonial demarcation to a reckoning

between the island of Savai’i where she was born and Aotearoa where she has lived since her early childhood. The work traces their typography through a mix of sand and the playful shine of biodegradable glitter. Urale sees these as materials to play with, from the beach life of her family in Savai’i to the city life of her current home in Wellington. The designs themselves convey patterns that Urale associates with the daily patterns of motherhood – meals, play, sleep, and the tension between a communal and city-based structure of life. Urale writes: ‘Raising daughters to be comfortable with the Sāmoan language, values, family, relationships, takes work. Nurturing an environment conducive to a worldview that is my version of being Sāmoan is a daily challenge. I feed them words to counter certain Western ideals around concepts of individuality, ownership, superheroes, gender roles, commercialism, and the need to have things.’

with planetary and ecologically sensitive inscription of being and place is stressed all the more by the fact that American Sāmoa is separated from the Independent State of Sāmoa by the International Date Line that transects the Pacific Ocean, arbitrarily splitting time dominions as indexed to the imperial referent of Greenwich and the British Empire. The ASCII script thereby anticipates in the glyphs of language a global regime orchestrated by satellite and inheriting the profound and debilitating abstraction of the Euro-American colonial era and its rule at vast distance and scale. To this, Urale brings the intricate and yet singularly embodied and communally invested markmaking of tatau and the design of siapo. The markings of tatau are highly graphically abstract, and yet create a writing of the significant life events and social standing of the bearer of the markings. Perceived as an outward manifestation of the embodied potential, or mana, of a particular wearer – tatau sutures individuals into a cosmology of society and environmental surrounding through complex genealogical systems. However, through colonial and ethnographic frameworks these rich aesthetics have historically been evacuated of their techno-social and innovative function, to rather be relegated as relics of tradition. While tatau practices remain strong in Sāmoa, Tonga outlawed the practice as early as 1839 for its incompatibility with Christian beliefs about the body. Conversely, siapo in Sāmoa has lost many of the lineages and social functions that remain in Tonga. In emphatically and paradoxically combining Sāmoan mark-making aesthetics with ASCII script, Urale insists upon the relation of art and technology while distressing the colonial regimes that would seek to render Indigenous knowledge subject to the withering category of the primitive. The work Mea Ila Ila II reflects in particular upon the significance of motherhood and female filiation, commencing in the first instance with Urale’s own experience as an artist mother of two young daughters. Translating to ‘the shiny things’, Mea Ila Ila II is an extension of daily processes of cultural resurgence for Urale as she lives

Whereas Mea Ila Ila II is installed largely onto the ground, Aniva II is produced also by sand, but this time affixed to cardboard segments that are tiled together to create extensive wall compositions that extend to the scale of a mural and that call also to the style of the fresco or architectural mosaic. Here, the spatial dimension of the work and its transposition of a visual language that correlates to the body is highly significant. Sets of glyphs that might encircle an arm or extend the length of a leg are set into the architectural dimensions of the gallery space. The work in particular pursues Urale’s interest in the notion of a collective body, or a communal space grounded in Sāmoan time-space principles.

The most immediate, figurative work within the segment is Tanya Edwards’s cameo portrait of Queen Sālote Tupou III, in print onto paper. Within the exhibition, the piece recalls the numerous royal portraits that adorn the Langafonua centre. In the portrait, Queen Sālote is depicted in the full vestments of European royalty such as a Robe Royale and brooch of a royal family order. This is combined with a traditional Tongan hairpiece, with fine and tall feathers. The original photograph is from Queen Sālote’s only visit to Europe for the coronation of Queen Elizabeth II in 1953. Shortly after the coronation, Queen

Sālote hosted the British monarch in Tonga, during a royal tour. Numerous photographs from this visit capture both Queens walking upon outstretched ngatu, a kind of red carpet that is considered to absorb and become imbued by the mana or embodied spirit of the royals who walked upon it. Like Hindin and Urale, Edwards is invested in an art of cultural and sovereign revival. Although raised and trained as an artist in Aotearoa, and with both Tongan and Māori heritage, Edwards relocated to Tonga in order to gain closer proximity to aesthetic lineages and artistic practices of the Pacific and ngatu in particular. Edwards’s work moves between both European styles of printmaking and practices of bark cloth stencilling. The motifs that Edwards uses also often combine both Tongan and Māori citations. Within the exhibition the portrait of Queen Sālote is shown adjacent to examples of ngatu that feature motifs of the modernisation of her reign, such as the water tank and the spitfire plane. As well as a monarch, Queen Sālote was a master poet in the Helaiki style, in which her songs, lullabies, laments and dances sought both to elevate and to educate in Tongan history, culture, and tradition. An example of this is given in the lamentation composed by Sālote for the passing of ‘Ulukālala Ha‘amea. Within the poem the notion of an ‘edge’ references Ha’amea as the last of the great and ancient Tu’i Tonga royal line, and thereby a meeting at the interface of vast and ancestral tradition and contemporary predicaments: Ha‘amea ē teu lea (Alas, Ha‘amea, I will speak) Ke ma‘u ha ‘ilo ‘a e solá (That the stranger may take heed) Mo e to‘utupu ‘o e kuongá (And Tonga’s young perceive) He‘eta fetaulaki he tapá (How at the edge we meet)

/\\ /\\ /\\\\ /\\ /\\ /\\ /\\ /\\ /\\ /\\ /\\ /\ /\ /\\ /\\ /\\ /\\ /\\ /\\ /\\ /\\ /\\ /\\ /\\ /\\ /\\\\

。該前所未有的 Para Site 榮幸呈獻巡迴展覽「 Koloa：女性、藝術與科技」國際展覽將體現湯加王國女性紡織藝術「 koloa」知識領域帶頭人 Tunakaimanu Fielakepa太夫人的終身研究成果。是次展覽與薩洛特 · 圖普三世女王 1953年於湯加首都創立的 Langafonua ‘a Fafine Tonga中心（湯加婦女紡織藝術

/\\ /\\\\ /\ /\\ /\\ /\\ /\ \\ /\\ /\\ /\\ /\ /\\ /\\ /\\ /\\ /\\ /\\ /\\ /\\ /\\ /\\\\\\ /\\ /\\ /\\ /\\ /\\ /\\ /\\\\\\\\ /\\\\ /\\ /\\

歷史中心）攜手舉辦，香港巡展為該展覽於今年八月於湯加開幕後第二度展示。雖然 Fielakepa太夫人頻繁擔任大型國際研究機構和博物館的顧問並為其

撰文，這將是她首次面向湯加和國際觀眾展示她的傑作和視角。該展覽將呈現，ta’ovala服裝和豐富的湯加紡織工藝，並重點介紹 ngatu（樹皮布藝製作）

儀式性編席在內的精細編織工藝，以及 kafa繩索編織工藝。展覽不僅包括珍貴的

KOLOA：女性、藝術與科技

傳家寶紡織品，也包括受展覽委託製作的新樣品。這些新老式樣為我們全面呈現

了湯加紡織工藝的設計圖案和技術，同時幫助 Fielakepa太夫人實現了其願景，

康喆明、Vivian Ziherl

即激發和支持村莊婦女團體；她們相聚一堂，將有關 koloa的工藝，故事，歌曲和知識傳承下來。於展覽的香港展期內，Para Site加入了三位女性當代藝術家

的作品 —— Tanya Edwards，Nikau Hindin，和 Vaimaila Urale，為求彰顯太平洋地區美學當中藝術與科技水乳交融的關係。

Koloa紡織藝術從知識和科技領域廣泛汲取靈感，且深深扎根於社會和生態

美學中。這些作品通過具體紡織品的材料和圖案，指明了生態社會等級關係的

一種政治地理學。通過一套精心編排且充滿儀式性的交流體系，koloa紡織藝術

成為分布在廣袤海域的湯加內外 170多個島嶼之間的政治和社會紐帶，影響波及

斐濟和薩摩亞等鄰國。這些島國超越了殖民時期強加的阻隔和現代民族國家的國界劃分，維繫著古老的貿易往來和親緣。因此，展覽將介紹來自大洋洲地區的紡織藝術樣品，突出其工藝和風格的專業化，以及諸多失傳工藝的再現，如

密克羅尼西亞的蕉樹皮紡織工藝。是次展覽中展品風格迥異，正如許多湯加女性的家中一樣，積累了眾多從湯加及以外地區或交換，或獲贈所得的繁多紡織

工藝品。為了肯定紡織藝術為一種生動鮮明且意義深遠的當代藝術實踐，展覽還將包括來自亞洲，拉丁美洲和非洲的樹皮布藝和精細編織工藝。策展人根據

視覺特徵、社會角色及歷史故事挑選展品，過程比起傳統種族研究，更試圖接近

當代藝術策展實踐。展品包括來自剛果民主共和國的樹皮布藝，以及來自阿散蒂王國（今加納）的高度符號化的 Adinkra印刷圖案。

是次展覽將地方藝術置於當代藝術框架下，旨在擴闊現今大家對於當代藝術之

定義及理解，亦作為對審美去殖民化號召之響應。透過展示擁有多樣審美觀及世界觀之藝術家，是次展覽亦嘗試展示現實中令人眼花繚亂之文化多樣性。如 koloa

之地方藝術時常於殖民角度被視為「手工藝」、「民間傳說」或最多「傳統藝術」，

即便地方技藝於當地其實充當與「藝術」等同之角色。於上述角度出發，地方藝術不但非西方認為一般百年不變，並且可以不斷進化以反映其所處之社會環境。展覽的首度呈獻聚焦在 koloa的社會活力上，將其視為湯加蓬勃發展的土著

編織禮品的鮮明美學和工藝典範。在香港，我們將薩摩亞紋身及毛利海洋和天體導航圖等複雜而細緻的圖案編排，以及在現有基礎設施（如紡織品的社會和經濟

生活）中納入現代技術的需要，透過每位藝術家扎根於婦女知識的實踐，撬開連通藝術和工藝的大門。

Koloa：婦女的財富

ta’ovala。它用粗糙的 paongo（露兜樹）編織而成，在燻製前讓它老化並略微

湯加地區的手工編織和樹皮布藝的創造性實踐統稱為 koloa。要理解這個承載著

，悼念者還有剃鬚削髮的習俗。我們還將展示一些 kafa（為 ta’ovala做的皮帶）

磨損，以適用於葬禮的場合；喪者家屬也會身著沈重破舊的衣服以示哀悼和悲慟；它們不是由普通的 sennit椰子纖維織成的，而是由哀悼期間收集的落髮編成的。

價值的術語，我們必須瞭解創造這些藝術作品的女性，她們的財富，社會地位和自強不息的精神。Koloa藝術語言的非凡之處體現在其驚人的視覺豐富性及其

在展覽中能找到由 Fielakepa太夫人，她已故的女兒，以及她已故的母親編織

作為當代藝術實踐的重要意義上。因此，它們是融生態，航海，高度藝術性和複雜

的落髮 kafa。通過這種方式，展覽表現了精細編織作為蓬勃發展的太平洋原住

創作方式：ngatu（樹皮布藝）和精細編織工藝，後者包括儀式性編蓆和 ta’ovala

一篇關於 ta’ovala的文章也將包括在其中。

社會政治性為一體的藝術成果，其意義鮮明深遠。具體而言，koloa有兩種不同的

民族湯加的一種主權美學，具有不斷豐富自我的特徵。Fielakepa太夫人新寫的

正裝。Ta’ovala服飾的穿戴方法是將其裹在腰間並用 k a f a 或編織繩固定。

，證明了某些展出的還有一系列可追溯到 1930年代的古老 kupesi（設計模版）

Ngatu是一套複雜的製作流程的最後階段，需先種植構樹，然後將其樹皮搗成。在塗抹加工的 koka’anga階段，一群婦女伏案用植物細白布條（ feta’aki）澱粉做成的膠水將許多 feta’aki布條粘連在一起。根據 ngatu的使用場合和目的，成品可能有一匹 Pangaikafa Lautefuhi（ 100個長度單位，或大約 40米）那麼長。然後，她們把 kupesi（模板設計）的浮雕幾何圖案複印在這塊

代表村莊和地域特性的經典圖案和設計的悠久歷史。這些模板通常為一個村莊

婦女團體所擁有，並以 paongo（露兜樹）葉子為基底，使用 tu’aniu（海茄苳）或

kaka（椰子嫩葉纖維束）的浮雕設計，並用 fau或 pulu等亞麻狀植物絲線縫製。

近期的 kupesi反映了儀式性的用途，例如透過在火山土中孵化的塚雉卵，將

當今皇家公主 Sālote Mafile‘o Pilolevu Tuita與遙遠的 Niuafo’ou島相

連。這些 kupesi中許多樣式都能在展出的九件全尺寸 ngatu作品中找到，它們有

樹皮布上，這些圖案通常抽象地表現了當地動植物和社會政治現象。塗料則

取材於當地的植物如 koka ( 紅柏 ) ，tongo ta’ane ( 海茄苳 ) , 還有 tuitui

的是租借來的，有的是新委託創作的。值得重視的是一幅特別的 Ngatu uli（黑

結構化。精心浸泡和準備的 kie（露兜樹棕櫚）葉子通常為精細編織做好了

ngatu）編織品，它長達 30米，所繪非主題圖案，而是單一的黑色。該作品是對當今皇家公主的皇家收藏中一件 ngatu（曾在努庫阿洛法展出）進行的一次再創作。

符號。Kie ta’ovala極為精美的風格足以承載非凡的社會價值，並通過與儀式

全球美學對話的想象。

( 石栗 )。根據植物纖維，樣式和儀式性場合，精細編織工藝的重要意義也已高度

鋪墊，而本地的芙蓉和其它亞麻狀植物（如 fau）則創造了編制樣式的地域性

它強有力的視覺衝擊挑戰了以歐洲為中心的抽象敘事，擴展了人們對

性活動的結合或體現出一種頭銜和擬人化特徵。在 Fielakepa太夫人的帶領下，

展覽將向公眾展示大量 ngatu和精細編織作品，古今各異，雅俗共賞，新舊交疊。

Koloa，尤其是 ngatu的複雜現代性在兩件 ngatu作品中被明顯反映出來；它們重新創造了 1940年代的主題：水箱和噴火戰鬥機。兩者都體現了根植於 koloa等

現年 83歲的 Fielakepa太夫人見證了湯加社會從農村部落經歷現代化改造

現有社會和美學基礎設施的現代化基礎設施。與水箱有關的現代水管提供了一種

成為當地首位小學女校長。她後來擔任諸多要職，包括湯加全國工藝協會主席

由三架飛機組成的機隊，它由受眾人愛戴的薩洛特 · 圖普三世女王於 1941年

的過程。她目睹了二戰太平洋戰場，親歷了湯加的地緣政治轉型，並在 1965年

公眾健康措施，限制了當時水傳播疾病的蔓延；而噴火戰鬥機則紀念了二戰時

。Fielakepa太（ 2009–2012年）和全國婦女理事會技術顧問（ 1996–2013年）

購置。薩洛特 · 圖普三世女王從 1918年至 1965年期間在位，她不僅是一位政治

夫人在陪伴祖母時接觸到了一些曾任皇室侍應的年長女士，開始學習充滿象徵

領袖，也是一位詩人和作詞者。她依從國家的現代化方案，規定了湯加禮儀和

女士逐漸向 Fielakepa太夫人傳授湯加十一種傳統 kupesi圖案背後鮮為

體現了藝術家堅決對技術，藝術，創新，經濟和原住民文化進行融會貫通，為展覽

意味的 koloa工藝。其中，來自 Kolomotu’a的已故 ‘Olivia Kaho Mafile’o

實踐，例如將 ta’ovala確立為學校和國家機關等部門的法定服裝。這些作品

人知的故事，這些神秘的標記包括圖里鳥的腳，傳統竹籬綁紮，還有金槍魚肉

提供了一條整體線索，擴展了當代藝術實踐的可能性。這種融合回應了當下的

片。Fielakepa太夫人在聯合國科教文組織的贊助下撰寫了一篇文章《傳統知識

反殖民政治議程，超越了由殖民遺產定義的藝術範疇，對藝術進行重新分類和

和智慧：來自太平洋島嶼的主題》（轉載於此），在其中整理出了有關 kupesi圖案

反思，包容了在多元美學以及宇宙學視角和意義範圍內創作的藝術家。

的一套索引。

婦女，藝術和技術

在 Fielakepa太夫人的監督下，我們將展出二十四個編織墊和 ta’ovala，

在香港 Para Site舉辦的國際展覽將擴大該展覽的作品範圍，重點介紹三位

通過它們與特定植物纖維和原生海島環境之間的聯繫，以及它們在不同儀式性

場合中的作用來考察它們的編織樣式。Ta’ovala式樣豐富，包括稀有的 fau和

fanakio植物纖維風格，還有十分珍貴精巧的 kie樣品。其中還有 19世紀末編織的曾用於皇室婚禮等國事的傳家寶作品。其中，ta’ovala kie maeakafa是已故薩洛特 · 圖普三世女王在一次貴族頭銜和領地授予儀式中贈予 Fielakepa 家族的。與這件作品形成反差的是一件 ta’ovala faka’ahu，又稱煙燻

女性藝術家，進一步探討融合藝術和技術為一體的精美的大洋洲紡織品及其

美學內涵。這三位藝術家是 Tanya Edwards, Nikau Hindin和 Vaimaila Urale，她們都將分享自己的跨地域經驗和文化傳承，包括她們在新西蘭 ,

夏威夷 , 薩摩亞和湯加之間旅行時與家庭，住所和旅行發生的聯繫。她們因此進入了一些特別的知識領域和實踐範疇，例如 Sāmoan tatau（紋身）或毛利

他們對月亮，星星，潮汐，植物的敏銳觀察和對周遭環境的朦朧感知上。與庫克船

占星術和航海。她們三人都努力想要實現一種復興使命，即通過原住民族譜，義務

長一起到來的是陽曆，新技術，疾病，殖民文化，以及原住民與他們賴以休養

和文化共榮的力量來發展當代藝術。

生息的土地，習俗和知識體系的逐漸疏遠。對這些文化傳統的重新開墾詮釋了

例如，Nikau Hindin用一套精美的代表航海天體圖的條紋記號系統，革新了

「天地萬物有靈，人間族群皆親」這種原始認知。

毛利人的 aute（樹皮布）樣式。她在創作中一絲不苟地繼承紡織品工藝，並將

植物進行專門研究的成果。她參觀了博物館，仔細閱讀了現有文獻，並向諸多專家

Vaimaila Urale通過兩件現成作品《 Mea Ila Ila II》和《 Aniva II》對文化遺產的復興和替代做出了類似的努力。這兩件作品都使用了 Urale開發的一套獨特的視覺詞彙。她將在 Sāmoan tatau（紋身）和 siapo（樹皮布）中普遍使用的記號與 ASCII（美國信息交換標準代碼）的計算機腳本相結合。這種抽象的圖形引用了特定的環境和社會實體。例如，fa’avae tuli符號的靈感來源於圖里鳥（一種薩摩亞本地的海鳥）留在沙灘上的足跡。在 tatau紋身中，圖案由一個楔形工具的兩個切口刻成，而在 Urale的替代嘗試中，鳥的足跡由計算機鍵盤的 < > 符號表示。同樣的，tusi lili’i符號是以 tatau紋法用單斜線在椰子葉上繪制的線條，被 Urale用鍵盤上的 / \ 表示。

學問大師們：Dante Bonica, Verna Takashima, Maile Andrade,

這些作品因此在現代標準化，啓蒙理想中的普世人文主義，以及本土薩摩亞美學

這種實踐與坐在雙殼遠航獨木舟中利用天體導航圖遠航的經歷相結合。與湯加的

koloa不同，Hindin實踐的這種毛利樹皮布藝一個多世紀前就已經失傳了。

它的名稱 aute指的是由女祖先 Whakaotirangi帶到新西蘭的一種獨木舟植物，。據傳，這種它被搗成布料，做成裝飾品，風箏（ manu aute）和衣服（ maro）

工藝的衰退是因為 aute植物在新家園水土不服，雖然仍有一些 aute植物分散在

新西蘭北島周圍。

Hindin為本次展覽準備了一系列新作品，展示了她在過去六年來對毛利 aute

們請教。Hindin曾求學於夏威夷本土 kapa（樹皮布）製作者和來自新西蘭的

Wesley Sen 和 Kaliko Spencer。此外，這些作品還借鑒了天體導航和毛利占星術的共同復興。Hindin還花費大量時間研究恆星。2014年，她乘坐雙殼遠航獨木舟 Hōkūle’a從奧克蘭駛到金灣，再從新西蘭北島駛到南島。最近，她剛

的地域生態語言和知識儲備之間拉開了一個張口。ASCII由 1960年代的電報

代碼發展而來，嘗試通過一種標準化的英文字母來創造一種全球數字通信體系。該計算機腳本作為美國國家標準協會的產物這一特定事實給薩摩亞帶來了不可磨滅的影響。自 1899年三方會議以來，東薩摩亞被美利堅合眾國吞併，薩摩亞

結束駕駛遠航獨木舟往返於諾福島和新西蘭的首次深海航行。

國土就此分裂。由於美屬薩摩亞與獨立的西薩摩亞被穿過太平洋表面的國際日期變更線分隔，根據格林威治和大英帝國的指示隨意分割時區，該殖民劃分對於

該新系列的一個重要元素是對時間的更為深入的思索，這體現在藝術家花時間

，不同星座的上升時間，以及作為研究恆星赤緯，maramataka（毛利人陰曆）

原住民借助意向表達個人存在於天地萬物間的本性來說顯得愈發刺眼。

時間裝置和行星發展模式的天體運動。具體而言，aute布片被繪製成星際羅盤，

，並以每顆星從升起到降落在一座特定的星屋中分為 32座 whare whetu（星屋）

因此，ASCII腳本在語言的圖像字符中預示了一種由衛星精心策劃的全球政體，

的間隔為標記。紅線將每座星屋分隔開，其它黑色竪線則標明了恆星的路徑。

繼承了歐洲在殖民時期通過其無所不及的權力觸角傳播的令人衰竭的深刻

互相追逐，而參宿三從 Whitinga星屋的東邊準時升起；由於參宿三是獵戶三星

獨一無二，由集體參與製作。Tatau的視覺符號高度抽象，卻為紋身人標記重要

例如，在 Nanamua和 Nanahope中，雙星（雙子座）從 Ngoi星屋中升起，在天空

抽象性。為此，Urale為我們帶來 tatau和 siapo圖案設計，它們錯綜複雜，

人生事件及其社會地位創造了一種書寫語言。Tatau被視為紋身人潛能（或神力）

之一，因而呈三角形。

的外在體現，通過複雜的族譜體系將個人縫入社會宇宙學和生態環境中。然而，

在這個系列中，Hindin還引入了一種新的時間元素，星際羅盤通過它還記錄了

在殖民和人種學的框架中，這些美學財富的技術，社會和創新功能歷來被忽視，

淪為一種傳統遺物。紋身傳統得以於薩摩亞保存下來的同時，湯加卻早於 1839年

星星在不同季節升起的時間。需要注意的是，時間分析對這些作品的圖像美學

至關重要。搗爛 aute，製作 kokowai（紅赭石）以及觀察星空都需要大量的時間，

禁止紋身，因為其與基督教有關身體的教義背道而馳。相反，早於薩摩亞失傳的

但這能確保作品能夠觸動社群和觀眾，與之產生一種直接的環境和地理關係。

樹皮編織卻於湯加得以維持。通過自相矛盾地將薩摩亞的符號美學與 ASCII

例如，Hindin 在新西蘭北島東海岸生活和工作，她強調一種關係框架，其中臨海

腳本深入結合，Urale堅持呈現藝術與技術的聯繫，同時揭發殖民者如何有意

Hindin的記號標注方法來自於毛利人世界中的知識和義務框架。由於沒有 aute殘片可做參考，她作品的一個重要性在於用創新直擊傳統，思索什麼樣的記號可以反映毛利人的知識體系。Hindin強調，在她的母語中本來就沒有「藝術」這個字眼；她贊成同胞 Rosanna Raymond的觀點，堅持藝術已經織入了毛利人的社會圖景，實用性與美感並存。在此基礎上，Hindin用她的作品來「我們祖先的知識建立在保存知識，復興文化。Hindin這樣書面介紹這個新系列：

《 Mea Ila Ila II》這件作品主要反映母性和女性關係的重要性，它開門見山

的層面即是在該系列的星際羅盤中浮現的地平線。

將原住民知識貶低至原始範疇。

地展現了 Urale作為藝術家和兩個年幼女兒母親的親身經歷。Urale在出生地《 Mea Ila Ila II》（「閃亮的東西」） Savai’i島和從小居住的新西蘭兩地生活，是她推動文化復興的日常努力的一種延伸，通過混合沙和可生物降解亮片的

俏皮光澤來追溯這兩個地方的地貌。不論是同家人在 Savai’i島的海灘度日，

還是在惠靈頓自己的家中過城市生活，Urale都視這些材料為玩物。這些設計

本身傳達了 Urale對日常母性模式的聯想：用餐，玩耍，睡覺，以及群居生活和「撫養能夠熟悉薩摩亞語言，價值觀和人情城市生活的緊張關係。Urale寫道：關係的女兒需要付出很多努力。創造有益環境來培養我心目中的薩摩亞人是

每日的難題。我教會她們一些詞語去抵制某些西方觀念如個人主義，所有權，超級英雄，性別角色，商業主義和佔有心理。」

《 Aniva II》同樣用沙子製作，但《 Mea Ila Ila II》裝置大部分貼近地面，

這一次沙子被粘在硬紙板上。這些紙板平鋪開來，創造出綿延的牆壁形狀，接近

一面壁畫的規模，風格則類似濕壁畫或馬賽克建築。在這裡，作品的空間尺寸及

其身體視覺語言的替代至關重要。一組組圖像字符或環繞一隻手，或延長一隻腳，都被嵌入畫廊空間的建築尺寸中。該作品特別體現了 Urale對公共身體或根植於薩摩亞時空原則（如 tāvā）的公共空間概念的興趣。

這一部分展覽最直接，最具象的作品是 Tanya Edwards製作的薩洛特 · 圖普

三世女王浮雕肖像的紙上印刷作品，它令人回想起掛在湯加婦女紡織藝術歷史中心的許多皇家肖像。湯加婦女紡織藝術歷史中心是這件作品的孵化地，也是

Fielakepa太夫人致力於研究和振興 koloa的場所。在這幅肖像畫中，薩洛特女王身披歐洲皇室成員的全套服裝，例如一件皇室長袍和一枚皇家冊封勳章

胸針。她的皇服還搭配著一個帶有細軟高挺的傳統湯加羽毛髮飾。原始照片是薩洛特女王 1953年前往歐洲參加伊麗莎白二世女王加冕儀式時拍的，那是她唯一一次訪問歐洲。加冕禮後不久，薩洛特女王在湯加接待了正在進行皇家

國事訪問的英國女王。關於這次訪問的無數照片都捕捉到了兩位女王走在鋪展的 ngatu紅毯上，據說這種地毯能汲取行走其上的女王的神力。

和 Hindin和 Urale一樣，Edwards致力於文化和主權的復興。雖然他在新西蘭

成長並接受藝術訓練，且擁有湯加人和毛利人的雙重血統，Edwards搬到了

湯加，以便近距離接觸莫阿納的藝術實踐，尤其是 ngatu工藝。Edwards在歐洲

風格的版畫製作和樹皮布藝的模版製作之間切換，採用的主題常常結合湯加人和毛利人的引語。展覽中與薩洛特女王肖像相鄰的是表現她統治期間進行現代化

改造的 ngatu圖案，如水箱和噴火飛機。薩洛特女王還是一位精通 Helaiki風格

的大師級詩人，其歌曲，童謠，哀歌和舞蹈都旨在激勵人們去理解湯加的歷史，文化和傳統。舉一例，薩洛特女王為 ‘Ulukālala Ha‘amea的逝世作了一首

哀歌。在這首詩中，「邊緣」的概念暗示了 Ha‘amea作為偉大而古老的 Tu’i湯加

王室血統的最後一位成員，在古老的宗族傳統與當代困境的交匯處與我們相遇：啊，Ha‘amea，我要說

這位陌生人也許會留意

湯加的年輕人也許能感知我們如何在邊緣相遇

><< ><< ><<<< ><< ><< ><< ><< ><< ><< ><< ><< >< >< ><< ><< ><< ><< ><< ><< ><< ><< ><< ><< ><< ><< ><<<<

><< ><<<< >< ><< ><< ><< >< << ><< ><< ><< >< ><< ><< ><< ><< ><< ><< ><< ><< ><< ><<<<<< ><< ><< ><< ><< ><< ><< ><<<<<<<< ><<<< ><< ><<

KOLOA: FAFINE, ‘AATI, MO E TEKINOLOSIA Cosmin Costinaş mo e Vivian Ziherl

‘Oku laukau’aki ‘e he Para Site ke ne fakaha mai ‘a e faka’ali’ali Koloa: Fafine, ‘Aati, mo e Tekinolosia, ‘a ia ko e faka’ali’ali fakatu’apule’anga matu’aki makehe makatu’unga ‘i he fekumi kuo laui ta’u ‘i he mo’ui ‘a Tunakaimanu Fielakepa, ko e Uitou ‘Eiki Lady Fielakepa, ‘a ia ko e tokotaha tu’ukimu’a ‘i he pukepuke ‘o e ‘ilo ki he koloa ‘i he Pule’anga Tonga pe ko e ngaahi ‘Aati angamaheni ‘a e kakai fefine ‘i Tonga. Ko e faka’ali’ali ‘i Hong Kong ‘oku ne faka’ilonga’i ‘a fakaha hono ua ‘o e faka’ali’ali ne kamata’i ‘i ‘Aokosi ‘o e ta’u ni, ‘aia koe fengaue’aki fakataha ‘i he Para Site pea mo e Langafonua ‘a Fafine Tonga, ko e senita fakahisitolia ki he ngaahi ‘aati angamaheni ‘a e kakai fefine, ‘aia na’e fokotu’u ‘e ‘ene ‘Afio Kuini Salote Tupou III ‘i he 1953, ‘i Nuku’alofa. Ko e Uitou ‘Eiki ko Lady Fielakepa ‘oku fa’a faka’eke’eke ma’u pe, pea kuo hiki ki he ngaahi fakatotolo fakatu’apule’anga pau mo e ngaahi poloseki ki he misiume, ko e fuofua faka’ali’ali eni ‘oku ne fakaha ai ‘ene ngaue ma’ongo’onga, pea mo anga ‘ene vakai ki he fakatou’osi ‘a e Tonga pea pehe foki ki he kakai ‘i he ngaahi fonua muli ‘i he malumalu ‘o ‘ene ‘ilo fa’utohi. Ko e faka’ali’ali koeni ‘oku fakaha mai ai ‘a e mahu lahi ‘a e ngaahi ‘aati faka-Tonga ‘oku kei fakahoko, ‘o fakataumu’a pe ki he fa’ahinga ‘oku felave’i mo e koloa: ngatu pe koe ngaohi vala mei he ngatu pea mo e lalanga mata iiki mo lelei ‘o hange ko e ta’ovala pea mo e ngaahi fala katoanga pea pehe foki ki he kafa. Ko e fakaha ‘o e ngaue ni na’e kau ai ngaahi koloa tukufakaholo fuoloa kuo fakamahu’inga pea mo e ngaahi koloa na’e toki ngaohi fo’ou ko e fakatata ‘aia ne fakatefito pe fakaha ‘i he faka’ali’ali. Ko e ngaahi kongokonga fo’ou koeni ‘oku ne fakapapau’i mai ‘a kanokato hono ‘ilo ‘a e ngaahi peteni kehekehe mo e ngaahi founga kehekehe ‘o e ngaahi ‘aati ‘oku kei fakahoko ‘i Tonga, ‘i he taimi tatau ‘oku nau poupou ki he visone ‘a e Uitou ‘Eiki ke faka’ai’ai pea mo poupou’i ‘a e ngaahi kulupu ‘a fafine ‘oku ‘i he ngaahi kolo ‘aia ‘oku nau fakataha ‘o pukepuke ‘a e ngaahi ‘ilo, ngaahi talanoa, ngaahi hiva, pea mo e ‘ilo ‘oku kau ki he koloa. ‘I hono fakaha ‘a e ngaue ni, fakatu’apule’anga ‘i Hong Kong na’e fakalahi ‘e he faka’ali’ali ‘e ne fakangatangata ‘i he ngaue palaleli fakataha mo e tokoni ‘a e fakaha ngaue ‘a e kau fefine ‘e toko tolu ko e kau ‘Aati, Tanya Edwards, Nikau Hindin, and Vaimaila Urale ‘aia ne hokohoko atu hono fakae’a

fakaha ngaue ni ‘oku kau ai ‘a e fakatata ‘o e kili’i ‘akau ‘oku ngaohi’aki e kofu, ko e lalanga mei ‘Esia lahi, Latina ‘Amelika, pea mo ‘Afilika, ‘iai mo e ngaahi konga kehekehe ‘e ni’ihi ‘o makatu’unga ‘i hono ‘aonga na’a nau fevahevahe’aki, ka ‘i he ‘enau tolonga ‘i he vakai kiai, ngaue fakasosiale, pea mo honau tala fakahisitolia ‘i he founga ‘oku fakamamafa’i mai ai ‘a e vaofi ‘a e mo’oni ‘o e ngaahi ‘aati kimui ni mo hono ngaahi mo’oni, ‘i he ngaahi ‘aati kuo fili fakamatakali. Ko e faka’ali’ali na’e kau mai kiai ‘a vala kili’i ‘akau mei he Lepapulika ‘o Kongikooti pea mo e ngaahi lalanga na’e vali ‘aki ‘a e Adinkra paaki mo e ngaahi peteni mei he Pule’anga Ashanti ‘aia ko e ‘aho ni ko Ghana.

mai ‘a e tu’unga matu’aki poto ange ‘o e ngaahi ha’a faka’ofo’ofa ‘i he Pasifiki ‘o hange ko e ‘ikai ke lava ke fakafaikehekehe’i ‘a e ha mai ‘a e ‘aati mo e tekinolosia. Ko e ngaahi fatongia faka’aati hono ngaue’aki ‘o e koloa ‘oku lalanga ia ‘i he ngaahi hala lahi ‘o e ‘ilo, tekinolosia, faka’apa’apa’i ‘o e koloa pea pehe foki ki he ngaahi hala fakasosiale mo e ngaahi me’a mo’ui. Ko ‘enau fakatupu ‘oku ne fakahohoko mai ai ‘a e siokalafi fakapolitikale ‘o felave’i faka’ekonomika mo e fakasosiale fakafou fakatou’osi ‘i he ngaahi me’a ‘oku fo’u ‘aki pea mo e peteni ‘oku ‘ai ki ha ngaahi koloa. Fakafou ‘i he ngaahi founga katoanga kuo fokotu’u ki he fakafetongi, ko e ngaahi ‘aati ‘o e koloa ‘Oku hoko ma’u pe ia ko e konga mahu’inga ‘i he politikale, sosiale, pea mo e anga fakafonua ‘aia ‘oku ne ha’i fakataha ‘a e tu’unga fakakongatahi fakasiokalafi ‘o e ngaahi motu ‘e 170 ‘o Tonga. Ko e ngaahi fakafetong ne a’u ki he ngaahi fonua kaunga’api hange ko Fiji pea mo Ha’amoa ‘o fai atu ki he ngaahi motu kehe, ‘o kei pukepuke pe ‘a e ha’i fakahisitolia vaofi ‘i he fefatakau’aki pea mo e va feohi fakafamili neongo ‘a e ngaahi taimi mo e kuonga fakamavahevahe ‘i he ngaahi kolonia pea mo e ngaahi fakangatangata ‘o e ngaahi fonua mai ki mui ni mo hono ngaahi vahenga fonua. Ko e faka’ali’ali leva ‘oku ne fakahaa’i mai ‘a e ngaahi fakatata ‘o e ngaahi ‘aati lalanga mei he vahenga ‘o e Pasifiki, ‘oku ne fakamamafa’i mai ‘a e makehe mo e ngaahi founga pe ko e sitaila pea mo e ngaahi feinga kehekehe ke to e fakaivia ‘a e ngaahi ngaue kuo mole pe he hono founga ngaohi ‘o hange ko e machi, ko hono lalanga momoiiki ‘o e la’i siaine mei he motu ko Fais ‘i Yap ‘i he Ngaahi Siteiti ‘o Maikolonisia. Ko e fakaha ‘o e ngaue ni ‘oku ‘i he natula ‘o e ngaahi matakali kehekehe ‘aia ‘oku hoa eni mo e koloa kuo tanaki ‘e he kau fefine Tonga tokolahi, a’ia kuo nau tatanaki mai ‘i he fakafetongi koloa pea mo e ngaahi me’a’ofa kiate kinautolu, ngaahi kongokonga ‘e ni’ihi mei he ngaahi feitu’u mama’o atu mei Tonga, ‘o tu’u tafa’aki pe ‘i he’enau ngatu pea mo e lalanga. Ko e konga ‘e taha ‘o e faka’ali’ali ‘i he’enau fakalahi hono fakapapau’i ‘a e fiema’u ke fokotu’u ‘a e peletifoomu fakaholisonitolo ki hono lau pe ‘ilo koia ‘a e ngaahi ‘aati ‘oku fakahoko ‘e he ngaahi ha’a kehekehe, ko e kau mai eni ko e ‘a e

‘I hono fokotu’utu’u ‘o e faka’ali’ali koeni ‘i loto ‘i he ngaue ‘o e ‘aati kimui ni ‘oku ne fakamahino mai ai ‘a e tukupa ke to e fakalahi ‘a ia kuo ‘osi faka’ilonga’i ko e ngaahi ‘aati ‘o e lolotonga ni. ‘Oku tali eni ki he ‘asenita fakapolitikale ke mavahe mei he’etau kehekehe pea mo ‘etau vakai pea tau nga’unu ‘o mavahe atu mei he tu’unga ‘o e ‘aati ‘i hono fakahinohino mai ‘e he ngaahi talatukufakaholo kuo tuku’au mai, ‘o kau ai ‘a kau ‘aati ‘oku ngaue mo ia pea mei loto mei he ngaahi ‘ilo kehekehe ki he mahu’inga’ia ‘o e ngaahi me’a lelei mo e ngaahi vakai mo e ‘uhinga felave’i mo e ‘ata ‘aia ‘oku ne fakae’a mai ‘a e liuliungalahi ‘o hono fokotu’u ‘a e ho’ata mai ‘a e mo’oni ho tau mamani. ‘Oku kau heni ‘i he tu’unga ‘o e ngaue fakavavevave ‘aia na’e fokotu’utu’u maau hono fakamavahe’i mei he ‘atakai ‘o e ‘aati pea fakaha ‘i he ngaahi ‘ulungaanga fakakoloniale ‘o fakamama’u ko e faiva, talatupu’a, pe ko e lelei taha ‘oku fai pehe ko e ‘aati tukufakaholo ko e ngaahi ‘ulungaanga ‘oku lava ke fakahoa pea mo e ngaahi katoanga fakasosiale ‘oku fakahoko ‘i honau ngaahi komiuniti ‘o hange koia ‘oku fakahoko ‘e ‘aati ‘i he sosaieti fakamamani lahi. Ko hono fakahaa’i pea mo hono tali ‘o ha ngaue pehe ‘i he ‘atakai feliuliuaki mo pelepelengesi ‘o e ‘aati lolotonga ‘oku fakahaa’i ai ‘a e natula liliu mamalie ‘o e ngaahi fakahoko ngaue koeni, ‘o tatau ai pe mo ‘enau malava ke e’a mai ‘a e pelepelengesi ‘o e fakae’a mai ‘a e ngaahi tu’unga ‘aia ‘oku fehangahangai ki he tu’unga tu’upau mo e ‘ulungaanga talangofua, kuo vahe’i kiate kinautolu ‘e he vakai fakauesite.

lahi fakataha ‘aki ‘a e kulu ko e sitaasi vesitapolo. ‘Oku makatu’unga mei he katoanga pea mo e taumu’a ‘o e ngatu ko e faka’osinga koia ‘o e ngatu ‘e lava pe ke a’u ki he loloa koe Pangaikafa Lautefuhi, pe ko e 100 loloa ‘aia ko e fakafuofua ki he mita ‘e 40 loloa. Ko e tupenu kofu pe ngatu ‘oku vali ‘aki ‘a e ngaahi peteni siometuliki ‘aia ‘oku faka’ilonga’i mei he kupesi, pe ko e ta kohi ‘oku ne fakae’ee’a ‘a e faka’ilonga ‘o ha ngaahi feitu’u, monumanu, ‘akau pe ko e ngaahi faka’ilonga fakasosiale pe politikale. Ko e efufefu fakalanu ‘o e vali ‘oku ngaohi mei he ‘akau fakafonua pe ‘o hange ko e koka(sita kulokula) pea mo e tongo ta’ane, pea mo e tuitui. Ko e lalanga foki ‘oku ‘i he tu’unga ma’olunga ‘i hono mahu’inga ‘o fakatatau ki he ‘akau ‘oku ngaohi mei ai, founga lalanga, pea katoanga ‘oku fakataumu’a kiai. ‘Oku fakavai ‘i he founga makehe pea mo hono teuteu’i ‘o e lau’i paongo ‘aia ‘oku ne ‘omai ai ‘a e makatu’unga ‘o e lalanga, lolotonga ia ko e ngaahi ‘akau kehekehe ‘o hange ko e fau ‘oku ne fakatupu ‘e fakahinga lalanga ko e fakafofonga ha feitu’u pe vahenga fonua. Ko e makehe koia ‘a mata’i lalanga ‘o e kie ta’ovala ‘oku malava kene ma’u ‘a e mahu’inga lahi fakasosiale pea felave’i foki ki he ngaahi katoanga, ‘o malava pe ke ‘oange ki ha tu’unga pe faka’ilonga’i ha tokotaha. ‘I he ngaahi koloa koia ‘o e ‘Eiki Uitou Lady Fielakepa, ko e faka’ali’ali na’a ne fakaha mai ai ‘a e ngaahi kalasi kehekehe ‘i he ngatu pea pehe foki ki he lalanga ‘aia ne ha mai ai ‘a e fakatou’osi ‘a e ngaahi kalasi kehekehe ‘i he tukufakaholo pea mo e ngaahi sitaila lolotonga, ngaahi fakatata anga maheni mo hahamolofia pea mo fakahisitolia pea pehe foki ki he naahi konga fo’ou na’e toki vahe’i.

Lolotonga ko e fakaava koia ‘o e faka’ali’ali ‘i Langafonua ‘i Nuku’alofa na’e fakataumu’a pe ki he kamata’i ‘o e tu’unga fakasosiale ‘o e koloa ko e fakaha mahino ‘o e ngaahi me’a mahu’inga mo e ngaahi founga pe tekiniki. Ko e fakakau ko e ‘i Hong Kong ‘i he me’a tatau ‘a kau ‘Aati ‘e toko tolu ‘o e lolotonga mei he Pasifiki ‘oku ne to e fakalahi pea ne to e fakaloloto ‘a e fepotalanoa’aki. ‘I he fakatatau ki he ngaahi fakamatala ki he ngaahi ‘ilo makehe ki he ngaahi faiva pea mo e ngaahi me’a ‘oku tauhi mai ‘o hange ko e tatau fakaHa’amoa (faka’ilonga he sino), ko e ngaahi saati mo e ‘ilo fakafefolau’aki felave’i mo e ngaahi fetu’u ‘a e kau Mauli ‘i honau tahi, pea mo hono tanaki mai ‘o e ngaahi tekinolosia ‘o e kuonga ni ki he’etau ngaahi fa’unga ‘o hange ko e ngatu, katoa ‘a e kau ‘aati koeni ‘oku nau feinga ke fakaava ‘a va malohi taha ‘o e ‘aati mo e tekinolosia mo e fakatu’u ma’u ‘i he ‘ilo mo e fakahoko ‘o e ngaue. Koloa: Koloa ‘a Fafine Koloa ko e konga lea ‘oku fakahaa’i mai ‘a e mahu’inga, pea ‘oku totonu ke mahino ‘i he tu’unga koeni ‘o fakafelave’i ki he kolo’ia, tu’unga fakasosiale, pea mo e fakaivia fakafo’ituitui ‘o e kakai fefine ‘aia ‘oku nau ngaohi ‘a ngaahi ‘aati koeni. Ko e ngaahi lea faka’aati ‘o e koloa ‘oku matu’aki makehe ‘o fakatou’osi ‘i he’ene ha mai ‘oku naunau’ia pea ‘i he’ene mahu’inga ko e ‘aati lolotonga. ‘I he’ene pehe ko e ngaahi ngaue ‘oku ma’olunga pea matu’aki poto’i foki, felave’i lelei mo e ngaahi me’a mo’ui, fefolau’aki tahi, ngaahi tu’unga kehekehe fakapolitikale pea hokohoko ‘a e ha mahino mai hono mahu’inga. Ko e ngatu ko e mata faka’osi ia ‘o ngaue fakataha ‘i he founga ngaue ‘oku kamata mei hono tokanga’i ‘o e ‘akau pepa pea ko e hiapo (broussonetia payrifera), pea mo hono haha ‘o hono kakano ki he ngaahi leia manifi ‘o hange ko e tupenu hinehina pe ko e feta’aki. ‘I he koka’anga ( ko e fo’i lea ‘oku ne fakafofonga’i fakatou’osi ‘a e tekinolosia pea mo e ngaue, ko hono fakahokohoko pea pehe ki he tepile ‘oku fakahoko ai e ngaue), ko e fakataha ‘anga ‘a e kakai fefine kenau hokohoko ‘a e ngaahi feta’aki

‘I he ‘aho ni ‘oku ta’u 83 ‘a e ‘Eiki Uitou Lady Fielakepa ka kuo ne fakamo’oni ‘a e liliu ‘a e sosaieti Tonga fakafou ‘i he me’a ‘o e ‘aho ni. Ko e vakai ‘a e ‘Eiki Uitou Lady Fielakepa ‘oku kapui mai mei he Tau Lahi ‘a e Mamani hono II pea mo e liliu fakapolitikale fakasiokalafi lolotonga ia ‘oku hoko koe faiako takimu’a pea ne to e pukepuke foki ‘a e ngaahi tu’unga lahi ‘i he fonua. Na’a ne fuofua ako ‘a tekinikale moe faka’ilonga ‘o e ‘aati ‘o e koloa ‘i he taimi na’a ne feohi ai mo ‘ene kui fefine pea na’e ‘ilo’i foki ia ki he kau fefine matu’otu’a na’a nau tauhi ki he palasi. ‘I he ngaahi fefine koeni ko e taha

Fielakepa, pea mo hono ‘ofefine kuo mama’o atu pea mo ‘ene fa’e kuo mama’o atu na’e kau katoa ‘i he faka’ali’ali. ‘I he founga ko’eni, ko e ngaahi ngaue na’e fakaha ‘oku ne talamai ‘a e hokohoko atu ‘a mohu ‘a e ngaahi lalanga ‘o hange ha hala ngaue tupulekina ma’ongo’onga ‘i Tonga.

ko ‘Oliva Kaho Mafile’o ‘o Kolomotu’a‘aia na’a ne mamalie pe hono paasi kiate ia ‘a e ngaahi talanoa fufu ka ko e puipuitu’a ‘e hongofulu ‘o e ngaahi kupesi ‘e tahataha tukufakaholo ‘o Tonga, ‘aia ‘oku ne faka’ilonga’i ‘a e ngaahi faka’ilonga ‘o hange ko e va’e ‘o e tuli, ko e manupuna fakafonua ‘a Ha’amoa ‘i he matatahi, ko lalava tukufakaholo ‘o e ‘a kofe, pea mo hono to’o kakano ‘o e ika koe tuna. Ko e ngaahi fakahohoko koeni ‘o e kalasi kehekehe ‘o e kupesi na’e fakataha’i ‘e he ‘Eiki Uitou Lady Fielakepa ‘i he ‘esei ke paaki ‘i he malulmalu ‘o e tokoni ‘a e UNESCO, Ko e ‘ilo Tukufakaholo pea mo e Poto: Ngaahi Kaveinga mei he ‘Otumotu Pasifiki, to e fakatupu ‘i he voliume ko’eni. Na’e fakaha ‘i he faka’ali’ali ‘a fala lalanga ‘e uofuluma fa pea mo e ta’ovala. ‘Oku ‘ilo ‘a e ngaahi kalasi kehekehe ‘o e mata’i lalanga ‘o fakafelave’i ki he kalasi lou’akau pea pehe foki ki he tu’unga ‘o e motu koia na’e tupu mei ai pea pehe foki ki hono ngaahi fatongia ‘i he ngaahi katoanga kehekehe. ‘Iai mo e ngaahi kalasi kehekehe ‘o e ta’ovala ‘o kau ai ‘a e kalasi hahamolofia ‘o e fau pea mo e fanakio lou’akau pea pehe foki ki he ngaahi kie matu’aki mahu’inga mo makehe foki na’e faka’ali’ali, kau ai ‘a e ngaahi konga tuku’au mai he konga ki mui ‘o e 1800s pea na’e tui foki ia ‘i he ngaahi ouau mahu’inga ‘o hange ko e ta’ane. Taha ‘o e ngaahi me’a ni ko e ta’ovala kie maeakafa, na’e me’a’ofa’aki ki he famili Fielakepa ‘i he taimi na’e hilifaki ai kiate kinautolu ‘a e hingoa nopele pea mo e kelekele ‘e Kuini Salote Tupou III. ‘I he tafa’aki ‘e taha ‘o e ngaahi me’a ni ko e ta’ovala faka’ahu. Ko e ta’ovala koeni ‘oku ngaohi ia ‘i hono lalanga ‘o e paongo ta’e ha’alo, ‘aia kuo motu’a pea ki’i maumau ki mu’a pea toki faka’ahu koe’uhi ke tui ki he putu, lolotonga ia ko e famili tonu ‘o e putu ‘oku nau tui ‘ekinautolu ‘a e ta’ovala lalahi, ‘masiva’, pea mahaehae ke faka’ilonga’i ‘enau fakamamahi pea mo e tu’unga ‘o ‘enau mamahi. Pea pehe foki lolotonga ‘a e taimi ‘o e mamahi, ko e famili tonu ‘oku nau fa’a kosi pe tele honau ‘ulu. Ko e faka’ali’ali na’e kau ai foki mo e ngaahi kafa, pe ko e leta ha’i ki he ta’ovala ‘aia ‘oku lalanga ia ‘o ‘ikai hange ko e fa’a fi ‘o e pulu niu, ka ko e lou’ulu ‘oku tanaki ‘i he taimi mamahi. Na’e ‘iai pe mo e fakatata ‘o e kafa na’e fi mei he lou ‘ulu mei he ‘Eiki Uitou Lady

Na’e fili ‘a e ngaahi kupesi fakahisitolia fakafuofua hono taimi ki mui ki he 1930s ‘oku fakahaa’i foki, ‘oku fakamahino mai heni ‘a mo’ui loloa ‘a e ngaahi peteni pe kalasi ‘oku ne faka’ilonga ‘a e kolo pe ko ha vahenga. ‘Oku fa’a pukepuke ‘a mafai pule ki he kulupu ‘a fafefine fakakolo, pea ‘oku makatu’unga ‘i he lou paongo pea mo e ngaahi kalasi kehekehe ‘o e tu’aniu pe kaka mei he fu’u niu kei mui hono lau) pea tuitui ‘aki ‘a e filo ‘aki ‘a e ‘akau hange ko fau pe ko e pulu. To e lahi ange mo e ngaahi kupesi ki mui ni ‘oku ne faka’ilonga’i ‘a e ngaahi katoanga fatongia ‘o hange ko hono fehokotaki ‘o e Pilinisesi Salote Mafile’o Pilolevu Tuita he motu mama’o taha ko Niuafo’ou fakafou he ngaahi fua ‘o e manupuna ko e mekapouti ‘ai ia ‘oku fakafofoa ‘i he kelekele mo’unga afi. Ko e lahi taha ‘o e ngaahi kupesi ‘oku faka’ali’ali ‘i he ngaahi me’i ngatu ‘e hiva ‘aia na’e ‘omai pea vahe’i fo’ou. Ko e makehe ‘i he ngaahi kupesi ko’eni ko e ngatu ‘uli, ‘aia ‘oku mahulu hake ‘i hono fakatou’osi ‘i he loloa ko e mita ‘e 30 pea ki he’ene fakaha mai ‘o ‘ikai ko e ngaahi peteni ka koe fakalahi ‘o e vali ‘uli’uli taha pe. Ko e konga ko’eni ko e to e fa’u ‘o e ngatu mei he ngaahi tanaki makehe ‘a HRH Pilinisesi Salote Mafile’o Pilolevu Tuita ‘aia na’e faka’ali’ali ‘i Nuku’alofa. ‘I hono malohi pea mo ‘ene kau mai, ko e konga ko’eni ‘oku ne pole’i ai ‘a e ngaahi talanoa fakaangaanga pe ‘o nofoma’u pe ‘i ‘Iulope pea fakaafe’i leva ‘a fakakaukau ‘o e talanoa fakamamani lahi fekau’aki mo e ngaahi ngaue faka’ofo’ofa mo mahu’inga.

Ko e makehe’anga ‘o e koloa ‘i he ‘aho ni kau tautefito ki he ngatu ‘oku mohu mahino ‘i he ngatu ‘e ua ‘oku kau ai ‘a e peteni ‘o e ta’u 1940s – taha ko e tangike vai pea ko e taha ngaahi vakapuna afi. Fakatou’osi ‘oku ne faka’ilonga’i ‘a hono fakakau ‘o e ngaahi langa ‘o e fakalaka ‘i loto pea mo e ngaahi fakasosiale ‘oku lolotonga mo e ngaahi tu’unga faka’ofo’ofa ‘o hange ko e koloa. Ko e ngaue koia ki he palama felave’i mo e tangike vai pea mo e vakapuna

‘o e fakatotolo makehe ki he Maori aute ‘i ta’u ‘e ono kuo hili, ako mei he ngaahi ‘a’ahi ki he ngaahi misiume, lau mo’oni ‘a e ngaahi tohi ‘oku ma’u, pea mo e ngaue mo e ni’ihi ‘o e kau mataotao. Ko Hindin kuo ne ako ‘i he malumalu ‘o e tataki ‘o e ‘akau fakafonua ‘a Hawaii ko e kapa, kau ngaohi mo e kinautolu ‘oku nau pukepuke ‘a e ngaahi ‘ilo lahi mei Aotearoa: Dante Bonica, Verna Takashima, Maile Andrade, Wesley Sen, and Kaliko Spencer. Tanaki atu ki heni, ko e ngaahi ngaue koeni na’e to’o ia mei he fakaakeake palaleli ‘o e folau fakatatau ki he ngaahi langi pea mo e fekumi ki he ngaahi langi ‘a e kau Maori. Kuo tuku taimi foki ‘a Hindin ke ne ako fekau’aki mo e ngaahi fetu’u; folau ‘i he vaka popao konga ua folau ko Hokule’a mei Tamaki Makarau ki he Golden Bay, pea mei he Tokelau ki he Tonga ‘i he ngaahi motu ‘o Aotearoa ‘i he 2014. Kuo ne toki foki mai mei he’ene fuofua folau vaka ki he ngaahi tahi loloto mei he mo Motu Norfolk pea mo Aotearoa ‘i he Haunui waka.

afi ‘oku ne fakamanatua ‘o Tau Lahi ‘a Mamani II laulapuna ‘e tolu, fakatau ‘i he 1941 ‘e he Kuini ‘ofeina ko Kuini Salote Tupou III. Pule mei he 1918 ki he 1965, pea ko e fa’u ta’anga pea toe fo’u hiva pea pehe foki ko e taki fakapolitikale, ko Kuini Salote Tupou III na’a ne lave’i hono tukuloto’i ‘o e ngaahi founga faka-Tonga pea mo hono fai koia ‘i loto ‘i he fonua ‘a e ngaahi fa’ufa’u kimui ni ‘o fakatata ko hono fokotu’u koia ‘o e ta’ovala ko e teunga tu’uma’u ia ki he ngaahi fakataha’anga hange ko e ‘apiako pea mo e ngaahi fakataha’anga fakapule’anga. Fafine, ‘Aati mo e Tekinolosia Ko e kau ‘Aati ‘e toko tolu na’a kau ‘i he faka’ali’ali ‘i Para Site na’a nau talanoa ki he ngaahi a’usia pea mo e tukufakaholo fakavahenga, kau ai ‘a e ngaahi felave’i ‘o e famili, nofo ‘api pea mo e fefolau’aki ‘i Aotearoa(Nu’usila), Hawai’i, Ha’amoa pea mo Tonga, pea mo e vahevahe ‘a e tukupa ke langa hake ‘a e ‘aati ‘o e ‘aho ni ‘o fakafou ‘i he malohi ‘o e hohoko tu’ufonua pea mo e fakaivia fo’ou. Nikau Hindin kuo ne ngaue ki hono fakaakeake ‘o e tekinolosia fakalukufua ‘o e ngaue ‘oku fakahoko ‘i he Maori aute. ‘Aia ‘oku felave’i vaofi eni mo ngatu fakaTonga, ko e Maori aute ne ‘ikai ke toe hokohoko hono fakahoko ‘eni ‘i he senituli tahahiva. Ko Hindin ‘oku ne ngaohi pe ia ‘ene aute, ‘aia ‘oku ne tohi ‘aki ‘a ngaahi faka’ilonga iiki ‘oku ne fakahaa’i mai ‘a e ngaahi saati ‘o e langi ‘i he waka konga ua. Ko e hingoa aute ‘oku ‘uhinga ia ki he ‘akau popao na’e ‘omi ki Aoteroa ‘e he kui fefine ko Whakaotirangi pea tuki ia ki he vala ke ngaohi ‘aki ‘a e me’a teuteu, ngaahi lofa (manu aute) pea mo e vala foki(maro). ‘Oku tui foki ko e ngaahi ngaue ko’eni ne mole atu ia ‘i he vaeua’anga ‘o e senituli tahahiva koe’uhi ko e ‘ikai ke tupu lelei ‘a e tukunga na’e ‘iai ‘a e aute, neongo ‘oku kei mafola pe ‘a e ngaahi ‘akau aute ‘i Motu Noate ‘o Aotearoa.

Ko e ‘elemeniti mahu’inga ‘o e ngaahi hohoko fo’ou ko e loloto ange tokanga ki he taimi ‘oku fakahaa’i mai mo e taimi ‘oku tuku ‘e he tokotaha ‘Aati ‘i he’ene fekumi ki he ngaahi fetu’u, maramataka (Maori Lunar Calendar), pea mo e tupulekina ‘o e taimi ‘o e kehekehe ‘o e ngaahi pupunga fetu’u, ‘o hange pe koia ‘i he ngaue ‘a e ngaahi fetu’u ko e me’angaue fakataimi mo e fakahohoko ‘o e ngaahi palanite mo e tu’unga. Tautefito ki he ngaahi lau’i aute ‘oku fokotu’u ko e kapasa fakakonga ua fetu’u ‘aia ‘oku vahevahe ia ki he fale ‘e 32 pe ko e falefetu’u, pea ko e ngaahi lahi laine vetikolo ‘oku ‘uli’uli ko e faka’ilonga ia ‘o e halanga ‘o e fetu’u. ‘O fakatata ‘i he mape fetu’u kotoape, Whakaahu Rangi and Whakaahu Kerekere, ko e ongo fetu’u mahanga (Gemini) ‘oku ‘alu hake ‘i he fale ‘o Ngoi pea na fetuli’aki ‘i he langi, ‘aia ko Mintaka ‘i he’ene ‘alu hake koe’uhi ko e hahake mei he fale Whitinga pea ‘oku ‘iai hono tapatolu ko hono ‘uhinga ko Mintaka ko e ngaahi pupunga fetu’u ‘e tolu ‘i loto he leta ‘o ‘Olioni.

Ki he faka’ali’ali, na’e teuteu ai ‘e Hindin ‘a e ngaahi kalasi kehekehe fo’ou ‘o e ngaahi ngaue na’ e fakahingoa ko e Kokorangi ki Kokowai: Mei he Ngaahi Sino Fakalangi ki Mamani, ‘oku hanga heni ‘o fakaha mai ‘a e tumu’aki

Ko e ngaahi hokohoko ko’eni, na’e fakafe’iloaki mai ai ‘e Hindin ‘a e ‘elemeniti fo’ou fakataimi ‘aia ‘oku hanga ai ‘e he ngaahi kapasa fetu’u ‘o hiki ‘a e taimi ‘oku ‘alu hake ai ‘a e ngaahi fetu’u felave’i mo e fa’ahi ta’u koia.

mu’a ‘aia “ ko e me’a kotoa pe ‘oku mo’ui pea ‘oku tau fekau’aki kotoape”.’

‘Ikai ke ngata ai ko hono ‘analaiso koia ‘o e taimi ‘oku mahu’inga ki he kalafi faka’ofo’ofa ‘o e ngaahi ngaue. Ko hono ta koia ‘o e aute, ngaohi koia ‘o e kokowai ( me’a fakalanu kulokula), pea mo hono siofi ‘o e ngaahi fetu’u ko e ngaahi founga ‘oku to’o taimi ka ‘oku fakapapau’i ko e ola ‘o e ngaahi ngaue ‘oku ‘iai ‘ene fehokotakinga fakava felave’i mo e puipuitu’a pea pehe foki ki he tu’unga fakasiokalafi ki he komiuniti pea mo e kakai tenau mamata’i. Ko hono fakatata, ko Hindin ‘oku nofo mo ngaue ‘i he ngaahi matatahi faka-Hahake ‘o Aotearoa, Motu Tokelau, pea ne fakamamafa’i ‘a e founga ngaue fakava ‘aia ko e natula ‘o e hanga ki he ‘oseni ko e tafa’aki langi ia ‘oku faka’ilonga’i ‘i he ngaahi kapasa fetu’u ‘i he ngaahi hokohoko. Ko e fakaofiofi koia ‘a Hindin ki he faka’ilonga maaka ‘oku to’o ia mei he ‘ilo pea mo e founga fatongia ‘o e te ao Maori pe ko e mamani ‘o e Maori. ‘I he ‘ikai koia ke toe, toe ha konga ‘o e aute ke faka’ilonga’i, ko e konga mahu’inga ‘i he’ene ngaue ‘aia ko e taha koia ‘oku hanga ‘o fakafehangahangai hangatonu ‘a e tukufakaholo pea mo e fakakaukau fo’ou, tokanga’i ko e ha ‘a ngaahi faka’ilonga kene fakahaa’i atu ‘a e sisitemi ‘o e ‘ilo faka-Maori. ‘O hange koia kuo fakamamafa’i ‘e Hindin, ‘oku ‘ikai ke ‘iai ha fo’i lea ia ki he ‘ ‘aati’ ‘i he’ene lea fakamatakali, fakakikihi ko e ‘aati na’e pea kuo lalanga ki he ngaahi lalanga ki he ngaahi kofu ‘o e sosaieti ‘o e kau Maori. ‘Oku ‘i heni ko e ngaahi ngaue pea mo e faka’ofo’ofa ‘oku na fakatou’osi hā pea mei he taulanga tefito ‘oku ngaue’aki ‘e Hindin ‘ene ngaahi konga ko e me’angaue ki hono pukepuke ‘o e ‘ilo pea mo e fakaakeake fakatukufakaholo. Ko e ngaahi hokohoko fo’ou koeni ‘oku hiki ‘e Hindin: ‘ Ko e ‘ilo ‘etau ngaahi fanga kui ‘oku makatu’unga ‘i sio hoholi mo’oni ki he mahina, ngaahi fetu’u, ngaahi tahi, ngaahi ‘akau pea ongo fakalukufua ‘o ‘etau ‘atakai. Ki he taimi tatau mo e ‘a’ahi mai ‘a Kapiteni Kuki ko e fakafe’iloaki mai ia ‘o e tohi mahina Kelekolieni, ngaahi tekinolosia fo’ou, mahaki, mo e ‘ulungaanga ‘o e kolonia pea mo e tupulekina ‘o e mama’o ‘a e kakai ‘o e fonua mei ho nau ngaahi kelekele, ngaahi ngaue mo e ‘ilo fakasisitemi ‘oku ha’i ki he ‘atakai. Ko hono to e ui fakafoki mai koia ‘a e ngaahi tukufakaholo koeni, ko e hala ia ki he toe fehokotaki mo e mahino ‘o e kakai kuonga

Ko Vaimaila Urale na’a ne fakahoko ‘a e feinga tatau ‘i he fakaakeake pea mo hono toe fokotu’u ‘a e sivilaise tukufakaholo mei he ngaue kuo ‘osi ‘iai ‘e ua, Mea Ila Ila II mo e Aniva II. Fakatou’osi ‘o e ongo ngaue na’ana to’o mei he lea makehe fakakalafi na’e fo’u ‘e Urale, ‘aia na’a ne fakataha’i ‘a e ngaahi faka’ilonga ‘aia ‘oku toutou ngaue’aki ‘i he tatau pea mo e siapo ( ko e ‘akau vala ‘a Ha’amoa ‘aia ‘oku vaofi ‘aupito mo e ngatu faka-Tonga, pea pehe foki ki he aute Maori mo e kapa Hawaii), fakataha mo e ASCII ( American Standard Code of Information Interchange) tohi fakakomipiuta. Ko e ngaahi faka’ilonga ‘oku fo’u ‘oku ne ‘omai pe fakakaukau ko e fakafelave’i ki he ‘atakai mo e sosiale ‘oku hiki kiai ‘a e ngaahi me’a. Ko e fakatata, ko e faka’ilonga fa’avae tuli na’e ‘omi ia faka’ilonga va’e ‘i he ‘one’one ‘a e manupuna ko e tuli. ‘I he tatau, ko e faka’ilonga ‘oku fakahoko ia ‘i he ta ‘a e va’akau ‘e ua, lolotonga ‘i he fokotu’u ‘a Urale ko e faka’ilonga va’e ‘o e manupuna kuo fakafofonga’i ‘e he faka’ilonga lahi ange pea mo e si’i ange (< >) ‘o e kipooti komipiuta. ‘I he sipinga tatau ko e faka’ilonga tusi lili’i ko e ngaahi laine ‘i he lau’i niu ‘oku ‘ai ‘i he tatau ‘aki ‘a laine taiakonale ‘e taha, ‘aia na’e to e fakahoko ‘e Urale ‘i he falala ki mui pea mo mu’a ‘i he faka’ilonga ‘i he kipooti (/ \).

Ko e ngaahi ngaue koeni ‘oku fakaava ‘a e ‘atakai ‘o e fefusiaki ‘i he tu’unga hono feinga ke fakafo’ou ki he kimui, ko e ngaahi fakakaukau fakamaama ‘o e fakakaukau fakatangata faka’univeesi, pea pehe ki he feitu’u mo e ngaahi me’a mo’ui mo hono ngaahi lea mo e ‘ilo kuo paasi mai ‘e he kakai Ha’amoa ‘i he’enau koloa faka’ofo’ofa. Na’e fakalakalaka mei he talafi kouti ‘i he 1960s,na’e fekumi ‘a e ASCII ke fakatu’uma’u ‘a e ‘alafapeti fakapalangi ki he taumu’a ‘o e malava ki ha fetu’utaki fakamamani fakatisital. Ko e mo’oni’i me’a ‘o e tohi ‘oku ‘ikai ke toe si’i hifo ‘i he polotaki ‘a Kautaha Makatu’unga ‘Amelika ‘aia na’e ‘iai ‘enau mahu’inga lahi ‘i Ha’amoa, kuo ‘osi fokotu’u ma’u ‘i he taimi na’e fakakau mai ai ‘a e ngaahi fonua mei hahake ‘i he 1899 ‘e he ngaahi fakataha Siteiti ‘o ‘Amelika, ‘aia ko e

fakatukufakaholo koe’uhi ko e ngaahi me’a fakakuongamu’a ‘oku ‘osi atu.

mafai ‘oku nau kei malumalu ai ko e Ha’amoa ‘Amelika. Ko e mahu’inga koia ‘o e tu’unga fakakolonia koeni, ki he fakafuofua mo e palanite mo e ngaahi ongo ki he me’amo’ui mo e feitu’u ‘oku fakamamafa ‘o to e lahi ange ‘i he mo’oni ko e mavahe ‘a Ha’amoa ‘Amelika mei he Siteiti Tau’ataina ‘o Ha’amoa ‘e he Date Line Fakavaha’apule’anga ‘aia ‘oku vahevahe ‘a e ‘Oseni Pasifiki, ‘aia ko e ngaahi fakakaukau ‘oku ne vahe’i ‘a e ngaahi pule ‘oku fakahokohoko faka’emipaea ki Greenwich pea mo e ‘Emipaea Pilitania. Ko e tohinima ko e ‘a e ASCII ‘oku ne ‘amanaki ‘i he ngaahi lea fakamamani lahi ki hono pule’i ‘o fakalele ‘e ha satelaite pea kene ma’u ‘a e loloto ‘o e fakakaukau ‘o e ngaahi taimi ‘o e ‘Iulo-’Amelika pea mo ‘ene pule ‘i he fua mo e loloa lahi. Ki heni, ne ‘omi ‘e Urale ‘a e fihi ka koe sino pe taha pea fakafehokotaki ki he ngaahi faka’ilonga ‘o e tatau pea mo e tisaiini ‘o e siapo. Ko e ngaahi faka’ilonga ‘o e tatau ‘oku fu’u ma’olunga ko e ngaahi fakakaukau ka ‘oku ne fakatupu ‘a e tohi ‘o e ngaahi me’a mahu’inga ‘oku hoko ‘i he mo’ui pea mo e tu’unga fakasosiale ‘oku tokotaha ‘oku ne ma’u ‘a e ngaahi faka’ilonga koeni. ‘Oku ‘ilo’i ko e fakae’a ki tu’a ‘a e me’a mahu’inga ‘oku fakasino ‘i loto pe ko e mana, ‘o ha tokotaha makehe ‘oku ne tui – tatau ‘oku ha’i ‘a e mo’ui fakafo’ituitui ki he ‘univeesi ‘o e sosaieti pea mo e ‘atakai ‘oku ne takatakai’i ‘i he fa’unga’o e ngaahi ha’a lahi. Ka neongo ‘a e ngaahi kolonia mo e founga ngaue fakamatakali ko e ngaahi koloa lahi mo mahu’inga kuo fakahisitolia hono fakamavahe’i kinautolu mei honau ngaahi fatongia fakasosiale, tekinolosia mo faka’ilo’ilo foki, ki he tuku pe ‘o hoko ko e fakamanatu tukufakaholo pe. Neongo ko e tatau ‘o kei fakahoko malohi pe ‘i Ha’amoa, na’ e tapu’i fakalao ia ‘i Tonga ‘i he kamata’anga ‘o e 1839 koe’uhi ko ‘ene ‘ikai ke fenapasi mo e tui fakakalisitiane fekau’aki mo e sino. ‘I he taimi tatau ko Ha’amoa kuo mole lahi ‘a e ngaahi hako pea fatongia fakasosiale ‘o e siapo ‘a ia ‘oku kei nofo ma’u ‘i Tonga. ‘I he fakamamafa pea to e fehangahangai ko hono fakataha’i koia ‘a e faka’ilonga ‘o e me’a faka’ofo’ofa ‘a Ha’amoa pea mo e tohinima ‘a e ASCII, ‘oku tokanga mai ‘a Urale ‘i he va ‘o e ‘aati mo e tekinolosia lolotonga ia ‘oku fakamamahi ‘a e ngaahi pule fakakolonia ‘aia ‘oku kumi ke tuku ‘a e ‘ilo

Ko e ngaue Mea Ila Ila II ‘oku ne fakae’a atu ‘o fakatefito ‘i he mahu’inga ‘o e tu’unga fakafa’ē pea ngaue fakafefine, ‘aia na’e kamata ‘i he a’usia mo’oni ‘a Urale ko e tokotaha ’Aati pea ko e fa’ē ki he ‘ofefine kei iiki ‘e ua. Ko e fakatonulea ko e “ko e ngaahi me’a ngingila’ , Mea Ila Ila II ko e hoko atu ‘o e ngaahi ngaue faka’aho ‘o e to e fakaake mai ‘o e ngaahi tukufakaholo kia Urale ‘i he’en nofo ‘i he vaha’a ‘o e motu ko Savai’i ‘aia na’e fanau’i ai ia pea mo Aotearoa ‘aia na’e nofo ai talu mei he’ene kei si’i. Ko e ngaue ‘oku ha’u ai ‘a e mata’i tohi fou ‘i he feohi fakataha ‘a e ‘one’one pea mo e ngingila va’inga ‘oku fetapatapaki ka ‘e ‘osi vave. Ko e sio ‘a Urale ko e ngaahi me’a eni kene va’inga ‘aki mei mo’ui ‘i he matatahi ‘a hono famili ‘i Savai’i ki he mo’ui he kolo ‘a hono ‘api ‘i taimi ni ‘i Uelingatoni. Ko e ngaahi tisaiini ‘iate kinautolu ‘oku fakaha mai ‘a e naahi peteni ‘aia ‘oku maheni mo Urale, ko e ngaahi peteni faka’aho ‘o e tu’unga fakafa’ē – me’atokoni, va’inga, mohe pea mo e fefusiaki ‘i he fakakolo pea mo e ngaahi fokotu’utu’u ‘o e mo’ui fakakolo lahi. Tohi ‘a Urale: ‘O hake ‘a hono ngaahi ‘ofefine ke nau feangai pea mo e lea faka-Ha’amoa, ngaahi me’a mahu’iga, famili, ngaahi va ‘oku pau ke fai e ngaue. Ko ‘ete ngaohi ha ‘atakai tokoni ki he sio fakamamani ko ‘eku konga ia ko e Ha’amoa ko e pole faka’aho. ‘Oku ou fafanga ‘akinautolu ‘aki ‘a e ngaahi lea ke ne fakafetongi ‘a e ngaahi fakakaukau faka-Uesite ‘i he tu’unga ‘o e fakafo’ituitui, ma’u ha me’a, tokotaha lahi, fatongia fakatatau ki hoto tangata, fakakomesiale pea mo e fiema’u ke ‘iai ha ngaahi me’a.

Ka ko e Mea Ila Ila II ‘oku fakama’u ia ‘o lahilahi ki he kelekele, ka ko e Aniva II ‘oku ngaohi ia mei he ‘one’one, ka koe taimi ni ‘oku fakama’u ki he ngaahi kongokonga puha pepa ‘aia ‘oku taila fakataha ke fakatupu ‘a holisi ‘oku fehokotaki ‘o fakalahi ki he lahi ‘o ha holisi pea ‘oku ui foki ki he sitaila tatau moia ‘oku ta ki he ngaahi holisi pea ko e ‘akiteki moseiki. Ko eni ko e mavahevahe koia ‘a e fua ‘o e ngaue pea mo e fokotu’utu’u ‘o e lea ha mai ‘aia ‘oku felave’i ki he sino ‘oku matu’aki mahu’inga ‘aupito. Ko e ngaahi seti ‘o e tā ‘aia ‘oku ne mei takai’i

‘ulungaanga ‘o ‘ene pule ki mui ni mai, ‘o hange koia ko e tangike vai mo e fakapuna afi. Pea pehe foki ki he pule faka-tu’i, ko Kuini Salote na’e ‘eiki ‘i he fa’u ta’anga ‘i he Helaiki sitaila, ‘aia ko’ene ngaahi hiva, ‘ūpe, hiva mamahi pea ngaahi tau’olunga ‘aia fakatou’osi ko e taumu’a ke hakeaki’i pea mo hono ako’i ‘i he hisitolia ‘o e kakai Tonga, ‘ulungaanga fakafonua mo e tukufakaholo. Ko e fakatata ‘o ‘eni ‘oku ‘omai ‘i he hiva mamahi ‘a Salote ‘i he pekia ‘a ‘Ulukalala Ha’ame’a. ‘I he maau ko e faka’ilonga ‘o e ngata’anga kia Ha’amea ko e fakamuimui taha ‘o e taha ‘o e kau to’a ‘eikki ‘i he ha’a Tu’i Tonga, pea mei ai ‘oku ‘iai ‘a e fakafetaulaki ‘o e ngaahi ukufakaholo ‘o e fangakui pea mo e ngaahi faingata’a’ia ‘o e kuonga ni:

‘a e nima pe ko e loloa ‘o e va’e ‘oku seti ia ki he fua faka’atiteki ‘o e ‘ata’atā ‘o e feitu’u. Ko e ngaue ‘iate ia ‘oku ne faka’ai’ai ‘a e tokanga ‘a Urale ‘i he fo’i fakakaukau ‘o ha sino fakatahataha, pe ko ha ki’i feitu’u ‘ata ‘oku fokotu’u ma’u ‘i he taimi faka-ha’amoa mo ‘enau ngaahi tu’utu’uni. Ko e ngaue fakavavevae ‘i loto ‘i he ngaue fakatata ‘o e konga ko ‘eni ko e ta ‘o Tanya Edwards pea mo e Kuini Salote Tupou III, ‘aia ‘oku paaki ki he pepa. ‘I he lotolotonga ‘o e faka’ali’ali , ko e ngaahi konga ‘oku ne ‘omi ‘a lahi ‘o e ngaahi tā faka’Eiki ‘oku ne hanga ‘o ‘omai’a e faka’ofo’ofa ‘o e senita Langafonu. ‘I he la’i ta, ko Kuin Salote ‘oku fokotu’u ia ke ne fakae’a mai ‘a e ngaahi ngaue kotoa ‘a ‘Iulope mo hono faka’ei’eiki ‘o hange ko e Ko Kofu faka’eiki’eiki pea mo e pine teuteu ‘o e tu’unga fakafamili. ‘Oku fakataha’i eni mo tukufakahoko faka-Tonga ‘aia ko e ‘o e lou’ulu mo e fulufulu’i moa loloa. Ko e la’i ta totonu ‘oku mei he ‘a’ahi tu’o taha pe ‘a Kuini Salote ki ‘Iulope ki he hilifaki kalauni ‘o Kuini ‘Elisapesi II ‘i he 1953. Hili pe ‘a hilifaki kalauni ne talitali fiefia leva ‘e Kuini Salote ‘a e tu’i Pilitania ‘i Tonga, lolotonga ia ‘a e ngaahi ‘a’ahi faka’eiki. Ne lahi ‘aupito ‘a e ngaahi tā ne ma’u mei he ‘a’ahi fakatou’osi e ongo Kuini ‘oku na ha’ele ‘i he ngatu kuo fofola, ko e fa’ahinga ‘o e kapeti kulokula ‘aia ‘oku ne mimisi pea to e fakamanava ‘e he mana pe ko e laumalie kuo ha sino mai ‘o e kau ‘eiki kuo lue ai. Hange ko Hindin mo Urale, ko Edwards ‘oku ne tokoni ‘i he ‘aati angafakafonua pea mo hono fakaakeake mo’oni. Neongo na’e ‘ohake pea ako’i ia ko e tokotaha ‘aati ‘i Aotearoa, pea fakatou’osi ko e tofi’a Tonga mo e Maori, na’e to hiki foki ‘a Edwards ki Tonga koe’uhi kene to e tanaki ofi ki he ngaahi ha’a ‘o e ngaahi koloa makehe pea mo e ngaahi founga ‘aati ‘o e Pasifiki ka e fakatefito ki he ngatu. Ko e ngaue ‘a Edwards ‘oku nga’unu ‘i he vaha’a ‘o sitaila faka-’Iulope ‘i hono paaki pe a mo e ngaue koia ki he ta ‘o e ngatu. Ko e ngaahi motifa ‘oku ngaue’aki ‘e Edwards ‘oku ngaue’aki fakatou’osi hono fakataha’i ‘a e ngaahi lea Tonga mo e Maori foki. ‘I he faka’ali’ali, ko e la’i ta koia ‘o Kuini Salote ‘oku fakaha felave’i mo e ‘ulungaanga ‘o e ngatu ‘aia ‘oku ne fokotu’u pea fakaha mai ‘a

Ha’amea ē teu lea Ke ma’u ha ‘ilo ‘a e sola Mo e to’utupu ‘o e kuonga He’eta fetaulaki he tapa

< Installation view of Koloa: Women, Art, and Technology, Para Site, Hong Kong, 2019. Photo by Kitmin Lee 「 Koloa：女性、藝術與科技」展覽圖

片，香港 Para Site藝術空間，2019

。攝影：Kitmin Lee。

Fokotu’u faka’ali’ali Koloa: Fafine, ‘aati, mo e Tekinolosia, Para Site, Hong Kong, 2019. Faitaa’i ‘e Kitmin Lee. ––––––––––––––––––––––––––– Photo credit for all: Photo: Kitmin Lee 攝影：Kitmin Lee Faitaa’i ‘e Kitmin Lee

Ngatu Tāhina, Hangatonu 2016, Lapaha Village Feta’aki (mulberry bark), commercial inks, tongo (black mangrove bark pigment), koka (brown plant pigment) Received into the collection of the Dowager Lady Fielakepa as a 50 langanga (launima), and then cut for the purpose of further occasions such as a funeral where a 10 langanga size is most appropriate. The piece features many classic kupesi motifs such as the tokelau feletoa, ve’etuli, and the fo’i hea. 2016年，拉帕哈村 Feta’aki ( 桑樹皮 ) , 商用墨

2016, Kolo ko Lapaha

水，tongo ( 紅樹皮的黑色素 ) , koka (棕色植物色素)

Feta’aki, vaitohi fakatau, tongo, koka

Fielakepa太夫人的這件收藏品最

初為 50 langanga長度（ launima）

，後來被剪裁用於其它場合，例如葬

禮（以 10 langanga長度最為適宜）

。作品印有許多經典 kupesi圖案如

tokelau feletoa, ve’etuli和 fo’i hea.

Na’e ma’u mai ki he tānaki ‘a e ‘Eiki Uitou Lady Fielakepa ‘aia ko e langanga ‘e 50 (launima), pea toki tu’utu’u leva koe’uhi ko ha ngaahi fatongia ‘o hange putu ‘a ia koe langanga pe ‘e 10 ‘oku fa’a ngaue’aki ki ai. Ko e ngatu ko’eni ‘oku ne ‘omai ‘a e ngaahi mata’i kupesi kimu’a ‘o hange ko e tokelau feletoa, ve’etuli pea mo e fo’i hea.

Ngatu ‘uli 2019, Haveluloto Village, Women’s Group Mate’aki

2019, Kolo ko Havelu, ( Kulupu Kakai Fefine Mate’aki)

Feta’aki (mulberry bark), tuitui (black candlenut pigment), ‘umea (red clay pigment)

Feta’aki, tuitui, ‘umea.

Produced especially for the first edition of Koloa: Women, Art, and Textiles as presented in Nuku’alofa with the Langafonua ‘a Fafine Tonga. The black paint was produced in the traditional manner, a laborious task of burning candlenuts and gathering the ash.

Na’e ngaohi eni ‘o fakataumu’a ki he ‘uluaki konga koia ‘o e Koloa: Fafine, ‘Aati mo e Ngaahi Lalanga ‘aia na’ e fakaha ‘i Nuku’alofa ‘i he Langafonua ‘a Fafine Tonga. Ko e vali lanu ‘uli’uli na’e ngaohi ia ‘i he founga tukufakaholo.

2019年，Haveluloto村，婦女團體 Mate’aki Feta’aki ( 桑樹皮 ) , tuitui ( 石栗黑色素 ) , ‘umea（紅黏土色素）這件作品為「 Koloa：女性、藝術與編

織」首展特別製作。該首展由湯加婦女紡織藝術歷史中心 Langafonua

‘a Fafine Tonga在努庫阿洛法市聯合舉辦。黑色塗料由傳統工藝（焚

燒石栗並收集灰燼）精心加工而成。

Ngatu ‘uli, Launima 2019, Women’s Group Kautaha Halaleva

2019, (Kulupu ‘a Fafine, Kautaha Halaleva) Feta’aki, tuitui, ‘umea.

Feta’aki (mulberry bark), tuitui (black candlenut pigment), ‘umea (red clay pigment) This piece is a re-creation of a truly exceptional ngatu ‘uli, or black ngatu from the personal collection of the Princess Royal, HRH Princess Sālote Mafile’o Pilolevu Tuita. At 32 metres, the piece is in fact half the length of the original which is a full lautefuhi, or 100 langanga ngatu. The black ngatu has particular significance at the time of funeral ceremonies, as well as other significant occasions.

Ko e konga ko’eni ko hono to e ngaohi ‘o e ngatu ‘uli matu’aki makehe, pe ko e ngatu ‘uli mei he tanaki fakafo’ituitui ‘a Pilinisesi Sālote Mafile’o Pilolevu Tuita. ‘I he mita ‘e 32 ko e ngatu ‘oku ‘i he vaeua ‘o e loloa totonu ‘a ia ko e lautefuhi kakato, pe ko e ngatu langanga ‘e 100. Ko e ngatu ‘uli ‘oku ‘iai hono mahu’inga makehe ‘i he taimi ‘oku fai ai ha putu pea pehe ki he ngaahi katoanga makehe pe.

2019年，婦女團體：Kautaha Halaleva Feta’aki ( 桑樹皮 ) , tuitui ( 石栗黑色素 ) , ‘umea（紅黏土色素）簡介：該作品是對當今皇家公主

Sālote Mafile‘o Pilolevu Tuita個人收藏中一件無與倫比的 ngatu ‘uli（黑 ngatu）進行的一次再創作。它長達 3 2米，是原作總長（一整個 lautefuhi，或 100 langanga 長度）的一半。這匹黑 ngatu在葬禮和其它重要場合中尤為重要。

Ngatu Tāhina, Hangatonu 2019, Feta’aki by Women’s Group Kautaha Painitu’ua, Painting by Matei & Mona Ta’ufo’ou Feta’aki (mulberry bark), commercial inks, tongo (black mangrove bark pigment), ‘umea (red clay pigment) This piece re-creates the 1940s movement in ngatu production that included the image of the watertank, a modernising infrastructure that significantly decreased the incidence of water-borne diseases. The water-tank thereby became a popular kupesi. In this piece, contemporary artists have re-imagined the style in a distinctive visual language.

2019, Feta’aki mei he Kulupu ‘a Fafine Kautaha Painitu’uua, Tohi ‘e Matei & Mona Ta’ufo’ou Feta’aki, vaitohi fakatau, tongo, ‘umea Ko e konga ko’eni ko hono to e ngaohi ‘o e ngaohi ‘o e ngatu ‘i he 1940 tupu ‘aia na’ e kau ai ‘a e ‘imisi ‘o e tangike vai, ko e ngaue fakaonopooni ‘aia na’a ne fakasi’isi’i ai ‘a e mafola ‘a e ngaahi mahaki totolo he vai. Ko ia ai na’e hoko ‘a e tangike vai ko e kupesi ‘iloa. ‘I he konga ko’eni na’e to e hanga ai ‘e he kau ‘aati ‘o to e fakakaukau’i ‘a e sitaila ‘o faka’ilong ‘i he lea ‘o e sio.

2019年，桑樹皮由婦女團體 Kautaha Painitu’ua製作，圖案由 Matei 和 Mona Ta’ufo’ou 繪製 Feta’aki ( 桑樹皮 ) , 商用墨

水，tongo ( 紅樹皮的黑色素 ) ,

‘umea（紅黏土色素）

這件作品重現了 ngatu在 1940年代

的創作主題，包括水箱的圖像。當時

湯加引進水箱這一現代化基礎設施，大大遏制了肺結核等水傳播疾病，水

箱標誌因此成為一種流行的 kupesi 圖案。如今，當代藝術家重新構思，賦予了這件作品一種獨特視覺語言。

Ngatu Tāhina 1950s Feta’aki (mulberry bark), koka (brown plant pigment), ‘umea (red clay pigment)

1950年代 Feta’aki ( 桑樹皮 ) , koka（棕色植物色素）, ‘umea（紅黏土色素）這件有歷史價值的 ngatu最初是一

個 launima 或 50 langanga長

度 ngatu的一部分，上有噴火戰機 Originally part of a launima, or 50 langanga kupesi圖案，紀念了薩洛特 · 圖普三世女王及湯加人民於二戰時期為 ngatu, this historic piece 英國籌款購買噴火戰機的事蹟。作 is notable in featuring 品中的戰機是捐予英國三架戰機的 the Spitfire kupesi, 首架，動用了一萬五千鎊籌款總額 commemorating the war 中的五千鎊，於 1941年四月捐出。 effort of Queen Sālote 三架戰機中的兩架參與了戰鬥。作 Tupou III and the Tongan people who raised money for 品中的其他 kupesi展現了皇太子的 sisi maili（花帶）和 heleta the British to buy Spitfire airplanes during the ‘e tolu徽章，後者的三把劍代表了湯加三個王朝（ Tu’i Tonga, World War II. The aircraft 、Tu’i Ha’atakalaua及 Tu’i depicted is the first of three Spitfires donated to Kanokupolu）的統一。 the British war effort. A total of £15,000 was raised 1950 tupu in Tonga for this purpose; Feta’aki, koka, ‘umea the aircraft depicted on the tapa was the result Ko e konga ‘o e launima pe of the first payment of ko e ngatu langanga ‘e 50, £5,000 in April 1941. Two ko e konga fakahisitolia of the Spitfires saw service koeni ‘oku ‘ilonga ‘i in battle. Other notable he’ene ‘omai ‘a e kupesi kupesi within the piece koia koe vakapuna - ko hono include the sisi maili fakamanatu ‘o e ngaue ki (floral girdle) of the crown he tau ‘aia na’e fakahoko prince, and the heleta ‘e ‘e Kuini Salote Tupou III tolu crest of three swords pea mo e kakai Tonga ‘aia representing the unity of na’a nau tanaki ai ‘a e the three historical royal pa’anga ki Pilitania ke dynasties of Tonga, Tu’i fakatau mai ‘a e vakapuna Tonga, Tu’i Ha’atakalaua, kisuafi lolotonga ‘a e Tau and Tu’i Kanokupolu. Lahi ‘a Mamani hono Ua. Ko e vakapuna ‘oku fakahaa’i mai ‘a e ‘uluaki vakapuna ‘e 3 na’e foaki ki he kau tau Pilitania. ‘Aia ko e

fakakatoa ko e pauni ‘e 15000 na’e tanaki ‘i Tonga ki he taumu’a ko’eni; ko e vakapuna koia ‘oku fakaha mai ‘i he tapa ko e ola ia ‘o e ‘uluaki totongi ‘o e pauni ‘e 5000 ‘i ‘Epeleli 1941. Ko e vaka ‘e ua na’e ngaue’aki ‘i he tau. Ko e ngaahi kupesi kehe na’e ha ‘i he konga na’e kau ai ‘a e sisi maili ‘o e pilinisi kalauni, pea mo e heleta ‘e tolu ‘aia ‘oku ne fakafofonga’i mai ‘a taha ‘a e ‘uluaki ha’a tu’i ‘e tolu fakahisitolia ‘o Tonga, Tu’i Tonga, Tu’i Ha’atakalaua, mo e Tu’i Kanokupolu. 52

< + > Installation view of Koloa: Women, Art, and Technology, Para Site, Hong Kong, 2019. Photo by Kitmin Lee 「 Koloa：女性、藝術與科技」展覽圖

片，香港 Para Site藝術空間，2019

。攝影：Kitmin Lee。

Ta’ovala Fau Taufohu’i 1980s Fau (white hibiscus) ‘Ivoni Tohi Commissioned by the Dowager Lady Fielakepa on the occasion of her daughter’s twenty-first birthday. 1980年代 Fau（白芙蓉） ‘Ivoni Tohi 受 Tunakaimanu Fielakepa太夫

人委託為其女兒二十一歲生日製作。

1980 tupu Fau ‘Ivoni Tohi Fokotu’u ‘e he ‘Eiki Uitou Lady Fielakepa ‘i he katoanga ‘o e ta’u uataha ‘a hono ‘ofefine.

Ta’ovala Fala Vala (Tangata) Early 1900s Tutu’ila (pandanus) Creator unknown Family heirloom, formerly belonging to the late Hon. Fielakepa (Longolongo’atumai). This piece is produced with a particular type of palm leaf reserved for nobility or royalty. 1900年代初期 Tutu’ila ( 露兜樹 )

製作者未知

傳家寶，曾屬於尊貴的已故 Fielakepa勳爵

。該作品（ Longolongo’atumai）

用貴族或皇室專用的特殊棕櫚葉製成。

Kamata ‘o e 1900 Tutu’ila Tokotaha na’a ne ngaohi ‘ikai ‘ilo kiai Ko e tukufakaholo fakafamili, na’e ma’u ‘e he Hon. Fielakepa kuo pekia (Longolongo’atumai). Ko e konga ko’eni ‘oku ngaohi ia ‘aki ‘a e lou’akau ‘oku tuku makehe pe ia ki he kau nopele pe ha’a tu’i.

Ta’ovala Fala Vala (Fefine) 1980s Tofua tonga (pandanus) Fakasisi Pele, originally of Ha’apai, migrated to Haveluloto Received by the Dowager Lady Fielakepa as a gift together with a piece of land from the late Hon. Fielakepa (Longolongo’atumai). 1980 年代 Tofua tonga ( 露兜樹 ) Fakasisi Pele（來自哈派群島，後移居 Haveluloto） Fielakepa太夫人在尊貴的已故 Fielakepa勳爵（ Longolongo’atumai）贈予她一塊土地時獲得的附贈。

1980 tupu Tofua tonga Fakasisi Pele, mei Ha’apai, hiki mai ‘o nofo Haveluloto Na’e tali ‘e he ‘Eiki Uitou Lady Fielakepa ko e me’a’ofa fakataha mo e konga kelekele mei he Hon. Fielakepa (Longolong’atumai) kuo pekia.

Ta’ovala To’onga Pikipiki 2000s Kie tonga (pandanus) ‘Ana Latū of Sopu, Kolomotu’a Commissioned by the Dowager Lady Fielakepa towards the occasion of her granddaughters’ weddings, yet to take place. A special feature of this ta’ovala is that it contains five separate weaving and plant fibre styles combined as one. 2000年代 Kie tonga ( 露兜樹 ) ‘Ana Latū, 科洛莫圖亞索普區受 Fielakepa太夫人委託為其孫女們準備的未來婚禮禮物。這件

ta’ovala服裝的特別之處在於它結

合了五種獨立編織和植物纖維樣式為一。

2000 tupu Kie tonga ‘Ana Latū ‘o Sopu, Kolomotu’a Na’e fokotu’u pea faka’atā ‘e he ‘Eiki Uitou Lady Fielakepa ‘i he mali ‘a hono mokopuna ‘oku te’eki ai ke fakahoko. Ko e konga makehe ‘o e ta’ovala ‘oku ne ma’u ‘a e kalasi mata’i lalanga kehekehe ‘e nima mo e lou’akau ‘o fakataha’i pe ke taha.

Ta’ovala Takapau Kie Fungani Fau 1980s Kie Tonga (pandanus), fau (white hibiscus) Creator unknown, presumably from ‘Eua Purchased by the Dowager Lady Fielakepa for her eldest son who became Baron Fielakepa, for when he was Governor of Ha’apai. A special feature of this ta’ovala is that it can be worn on either side. 1980年代湯加 kie ( 露兜樹 ) , fau ( 白芙蓉 ) 未知 , 可能來自 ‘Eua 由 Fielakepa太夫人為時任哈派群

島行政長官的長子 Fielakepa男爵

購買。這件 ta’ovala的特別之處在於它可以正反兩穿。

1980 tupu Kie tonga, fau Tokotaha na’a ne ngaohi ‘ikai ‘ilo’i ia, mahalo nai mei ‘Eua Na’e fakatau ‘e he ‘Eiki Uitou Lady Fielakepa ki he ‘ene foha lahi ‘aia na’ e hoko ko e Paloni Fielakepa ‘i he lolotonga koia ‘ene Kovana ‘o Ha’apai. Ko e konga makehe ‘o e ta’ovala ‘oku malava pe ke tui fakatou’osi e ongo tafa’aki. 64

Ta’ovala Faka’ahu Woven early 1900s, smoked 2015 Fihu (pandanus) Creator unknown A funeral ta’ovala, created by smoking a fihu mat. This piece is suitable for one who is high in rank, and not related to the deceased. 1900年代早期編織，2015年熏製 Fihu ( 露兜樹 ) 製作者未知

Ta’ovala的一種喪服樣式，通過熏烤一個 fihu墊子製成，適合社會地位

高且與死者無親屬關係的來賓穿戴。

Lalanga konga kimu’a 1900, toki faka’ahu 2015 Fihu Tokotaha na’a ne ngaohi ‘ikai ‘ilo’i Ko e ta’ovala putu, ko hono ngaohi ‘oku faka’ahu pe ‘a e fala fihu. Ko e ta’ovala ko’eni ‘oku taau pe ia mo ha toko taha ma’olunga pea ‘oku ‘ikai ke famili mo e tokotaha pekia.

Ta’ovala Pulu 1967 Pulu (coconut husk) ‘Ana Palā Giften to the Hon. Fielakepa (Longologo’atumai) and the Dowager Lady Fielakepa for the birth of their first child, the late Princess Kaimana Tu’ipelehake (married into the royal family in 1998). 1967年 Pulu（椰子殼） ‘Ana Palā 獲贈於尊貴的 Fielakepa勳爵（ Longolongo’atumai）和 Fielakepa太夫人的第一個孩子

誕生之時。他們的長女即是已故的

Kaimana Tu’ipelehake公主殿下。（ 1998年嫁入皇室） 1967 Pulu ‘Ana Palā Na’e me’a’ofa ‘aki kia Hon. Fielakepa (Longolongo’atumai) pea mo e ‘Eiki Uitou Lady Fielakepa ‘i he fuofua fanau’i ‘ena fuofua tama, Pilinisesi Kaimana Tu’ipelehake kuo pekia (mali ki he famili ‘o e Tu’i ‘i he 1998).

Ta’ovala Kie, Maeakafa mid-1800s Sāmoan Kie (pandanus) Creator unknown Received by the Aleamotu’a/ Fielakepa family in the late 1800s from the late Queen Sālote Tupou III. Worn and used for family and nationally significant occasions, for example the investiture to the noble title of ‘Fielakepa’ and royal weddings. The late Princess Kaimana Tu’ipelehake is the only known female to have worn the piece. As a highly elevated ta’ovala, it is invested with a title Maeakafa (the name of the illegitimate son of Prince Uelingatoni Ngu, crown prince at the time), by which it attains the level of ceremonial personhood. The dark embroidery that embellishes its lower edge was introduced by the Dowager Lady Fielakepa in 1998, and is created from a thread of her three daughters’ hair. The red kula feathers are extremely rare and traditionally obtained in Tonga through trade with neighbouring islands. This piece is an invaluable heirloom of exceptional ceremonial significance.

1800年代中期薩摩亞 Kie ( 露兜樹 )

製作者未知

這件禮服由已故薩洛特·圖普三世女王贈與 Aleamotu’a/Fielakepa 家族，曾用於家庭和全國性重大

場合，例如「 Fielakepa」貴族頭

銜授予儀式和皇室婚禮。已故的

Kaimana Tu’ipelehake公主殿下是我們所知的唯一穿戴過這件

ta’ovala的女性。這件極其尊貴的 ta’ovala被賜予了「 Maeakafa」的頭銜（「 Maeakafa」是當時皇儲 Uelingatoni Ngu太子殿下的私生子之名），使這套禮服近通人

性。Fielakepa太夫人於 1998年在

禮服下擺加上了深色刺繡（用她三個女兒的頭髮做成）。紅色的 kula羽毛

十分罕見，傳統的獲得渠道是湯加與鄰近島嶼的貿易往來。該傳家寶具有至高無上的儀式性價值。

Konga loto 1800 Kie Ha’amoa Tokotaha na’a ne ngaohi ‘ikai ‘ilo’i ia Ma’u ‘e he famili Aleamotu’a/Fielakepa meia Kuini Salote Tupou III kuo unga fonua. Na’e tui pea ngaue’aki ki he katonga fakafamili mo e fakafonua foki, ‘o hange ko hono fakanofo koia ‘o e hingoa nopele ‘o ‘Fielakepa’ pea mo e ngaahi ta’ane. Ko Pilinisesi Kaimana Tu’ipelehake kuo pekia ko e fefine pe ia ‘e taha kuo ‘iloa na’a ne tui ‘a e ta’ovala. Koe’uhi ko e

ta’ovala ma’olunga, kuo fakanofo’aki ‘a e hingoa Maeakafa( ko e hingoa ‘o e foha ‘eve’eva ‘o Pilinisi Uelingatoni Ngu, pilinisi kalauni ‘o e taimi koia.), ‘aia kuo ne hiki hake ki he tu’unga ‘o kataoanga ‘o ha tokotaha. Ko e tuitui ‘uli’uli ‘oku ne ‘omai ‘a e faka’ofo’ofa makehe ‘i he ngata’anga ki lalo na’e fakafe’iloaki mai ia ‘e he ‘Eiki Uitou Lady Fielakepa ‘i he 1998, pea na’e ngaohi mei he fī ‘o e lou’ulu ‘a hono ‘ofefine ‘e tolu. Ko e fulufulu’i moa kulokula leva ‘oku fu’u matu’aki hahamolofia. Pea na’e ma’u

eni ‘i Tonga fakafou ‘i he fefakatau’aki mo e ngaahi fonua kaunga’api. Ko e ta’ovala ko’eni ko e tukufakaholo fakafamili ‘oku matu’aki mahu’inga ‘i he ngaahi katoanga.

Ta’ovala Tu’oua Tonga Teuteu Fulufulu’i Kākā (decorated with parrot feathers) 2014 Kie tonga (pandanus) Fakasisi Pele, originally of Ha’apai, migrated to Haveluloto Commissioned by the Dowager Lady Fielakepa for her grandchildren for their weddings. This ta’ovala made its debut at the engagement of her grandson, Mr. Lopeti Aleamotu’a, to the Honourable Halaevalu Moheofo Tuita.

Ta’ovala Tu’oua Tonga Teuteu Fulufulu’i Kākā 2014 Kie tonga Fakasisi Pele, mei Ha’apai, hiki mai ‘o nofo Haveluloto Fokotu’u pea faka’ata ‘e he ‘Eiki Uitou Lady Fielakepa ki he’ene fakamokopuna ‘i he taimi tenau mali ai. Ko e ta’ovala ko’eni na’e toki ‘uluaki ha ‘i he fakama’u ‘a ‘ene mokopuna tangata, Mr. Lopeti Aleamotu’a, ki he ‘Eiki Halaevalu Moheofo Tuita.

Ta’ovala Tu’oua Tonga Teuteu Fulufulu’i Kākā (飾有鸚鵡羽毛)

2014年 Kie tonga ( 露兜樹 ) Fakasisi Pele（來自哈派群島，後移居 Haveluloto）受 Fielakepa太夫人委託為其孫輩準備的結婚禮物。這件 ta’ovala在

她孫子 Lopeti Aleamotu’a與尊貴

的 Halaevalu Moheofo Tuita訂婚時首次亮相。

Kafa Lou’ulu 1990s Hair (three sisters of the Dowager Lady Fielakepa), beads Created by the Dowager Lady Fielakepa, for Children’s Day Sunday 1990年代

頭髮（來自 Fielakepa太夫人的三位

姊妹），穿珠

由 Fielakepa太夫人於兒童節星期

日製作

1990 tupu Lou’ulu (kau fafine ‘e toko tolu ‘o e ‘Eiki Uitou Lady Fielakepa), petepete Na’e fa’u ‘e he ‘Eiki Uitou Lady Fielakepa ki he ‘aho Sapate ‘o e fanau Photo: Tanya Edwards 攝影：Tanya Edwards Faitaa’i ‘e Tanya Edwards

Kafa Lou’ulu 1981 Hair (three sisters of Dowager Lady Fielakepa), beads, cowrie shell Created by Dowager Lady Fielakepa, on the 21st birthday of her eldest daughter 1981年

頭髮（來自 Fielakepa太夫人的三位

姊妹），穿珠，貝殼

由 Fielakepa太夫人於其長女 21歲

生日時製作

1981 Lou’ulu (kau fafine ‘e toko tolu ‘o e ‘Eiki Uitou Lady Fielakepa), petepete, nge‘esi fingota Na’e fa’u ‘e he ‘Eiki Uitou Lady Fielakepa ‘i he katoanga ‘o e ta’u uataha ‘a hono ‘ofefine

Kafa Lou’ulu 1990s Hair (elderly lady), beads Created by the Dowager Lady Fielakepa 1990年代

頭髮（來自一位年長女士），穿珠由 Fielakepa太夫人製作

1990 tupu Lou’ulu (fefine motu’a), petepete Na’e fa’u ‘e he ‘Eiki Uitou Lady Fielakepa Photo: Tanya Edwards 攝影：Tanya Edwards Faitaa’i ‘e Tanya Edwards

Kafa Pulu 2015 Pulu (coconut fibre) Creator unknown 2015年

椰子纖維

製作者未知

2015 Pulu Tokotaha na’a ne ngaohi ‘ikai ‘ilo kiai Photo: Tanya Edwards 攝影：Tanya Edwards Faitaa’i ‘e Tanya Edwards

< Installation view of Koloa: Women, Art, and Technology, Para Site, Hong Kong, 2019. Photo by Kitmin Lee 「 Koloa：女性、藝術與科技」展覽圖

片，香港 Para Site藝術空間，2019

。攝影：Kitmin Lee。

Kupesi Fetu’u ‘Esiafi 2019 Tu’a niu (mid-rib of the coconut frond), pulu (coconut husk fibres), lou’akau (dried pandanus leaves), kaka (protective fibres around coconut fronds), and cotton thread. Kolomotu’a village The kupesi displays the passing of Halley’s Comet in the 1910. Commissioned as a reproduction of traditional styles for the purpose of Koloa: Women, Art, and Technology. 2019年 Tu’a niu ( 椰子葉的中肋 ) , pulu (椰子殼纖維 ), lou’akau (風乾的露兜樹葉 ), kaka (椰子葉四周的保護纖維 ), 棉線 Kolomotu’a 村

he sitaila tukufakaholo ‘o fakataumu’a ki he Koloa: Fafine, ‘Aati mo e Tekinolosia.

該 kupesi展示的是 1910年代哈雷彗星來訪地球的場面。作品受「 Koloa：女性、藝術與科技」展覽委託，特意仿古製作。

2019 Tu’aniu, pulu, lou’akau, kaka mo e filo Kolo ko Kolomotu’a Ko e kupesi ‘oku ne fakahaa’i mai ‘a e pekia ‘a Halley’s Comet ‘i he 1910. Na’e to e fakaha ko e ko hono toe ngaohi ‘i 82

Kupesi Vakapuna 2019 Tu’a niu (mid-rib of the coconut frond), pulu (coconut husk fibres), lou’akau (dried pandanus leaves), kaka (protective fibres around coconut fronds), and cotton thread. Kolomotu’a village The kupesi commemorates the war effort of Queen Sālote Tupou III and the Tongan people who raised money for the British to buy Spitfire airplanes during the Second World War. The aircraft depicted is the first of 3 Spitfires donated to the British war effort. A total of 15,000 pounds was raised in Tonga for this purpose; the aircraft depicted on the tapa was the result of the first payment of 5,000 pounds in April 1941. Two of the spitfires saw service in battle. Commissioned as a reproduction of traditional styles for the purpose of Koloa: Women, Art, and Technology. 2019年 Tu’a niu ( 椰子葉的中肋 ) , pulu ( 椰子殼纖維 ) , lou’akau ( 風乾的露兜樹葉 ) , kaka ( 椰子葉四周的保護纖維), 棉線

Kolomotu’a 村這件 kupesi旨在紀念薩洛特 · 圖普

三世女王及湯加人民於二戰時期為英

國籌款購買噴火戰機的事蹟。作品中

的戰機是捐予英國三架戰機的首架，

動用了一萬五千鎊籌款總額中的五千鎊，於 1941年四月捐出。三架戰機中

的兩架參與了戰鬥。作品受「 Koloa：

女性、藝術與科技」展覽委託，特意仿古製作。

2019 Tu’a niu, pulu, lou’akau, kaka mo e filo Kolo ko Kolomotu’a Ko e kupesi - ko e fakamanatu ‘o e ngaue ki he tau ‘a Kuini Salote Tupou III pea mo e kakai Tonga ‘aia na’a nau tanaki ai ‘a e pa’anga ki he kau Pilitania ke fakatau ‘aki ‘a e vakapuna kisuafi lolotonga ‘a e Tau Lahi ‘a Mamani hono Ua. Ko e vakapuna ‘oku fakaha mai ko e ‘uluaki Kisuafi ‘e 3 na’e foaki ki he tau. Na’e fakakatoa ko e pauni ‘e 15000 na’e tanaki ‘i Tonga ki he taumu’a koeni; ko e vakapuna ‘oku ha ‘i he tapa ko e ola ia ‘o e ‘uluaki totongi ‘o e pauni ‘e 5000 ‘i ‘Epeleli 1941. Ko e vakapuna ‘e ua na’e kau he tau. Na’e fokotu’u pea fakaha ko hono to e ngaohi ‘o e sitaila tukufakaholo ki taumu’a ‘o e Koloa: Fafine, ‘Aati mo e Tekinolosia

Kupesi Tokelau Feletoa moe Ve’etuli 1950s Tu’a niu (mid-rib of the coconut frond), pulu (coconut husk fibres), lou’akau (dried pandanus leaves), kaka (protective fibres around coconut fronds), and cotton thread Kolofo’ou village The motif represents the foot-print of the tuli bird, as well as the pattern made by a filleted tuna fish. 1950年代 Tu’a niu ( 椰子葉的中肋 ) , pulu ( 椰子殼纖維 ) , lou’akau ( 風乾的露兜樹葉 ) , kaka ( 椰子葉四周的保護纖維), 棉線

Kolofo’ou 村

圖案表現了 Sāmoan 圖里鳥的足

跡，以及由一條切片金槍魚製成的

feletoa紋樣。

1950 tupu Tu’a niu, pulu, lou’akau, kaka mo e filo Kolo ko Kolofo’ou Ko e mata’i kupesi ‘oku ne fakafofonga mai ‘a e faka’ilonga va’e koia ‘o e manupuna ko e tuli, pea pehe foki ki he peteni koia ‘o e taimi ‘oku to’o kakano ai ‘a e ika ko e tuna.

Kupesi Hala Paini 2019 Tu’a niu (mid-rib of the coconut frond), pulu (coconut husk fibres), lou’akau (dried pandanus leaves), kaka (protective fibres around coconut fronds), and cotton thread. Kolomotu’a village The kupesi displays the short road that connects the Royal Palace in Nuku’alofa and the Mala‘ekula (red square), the royal burial grounds. Hala Tu‘i or Kings Road, the official name of this road, is the last one every Tongan King will travel during their reign, toward their resting place in Mala’ekula. The road is also known as the Hala Paini or Pine Road because of the Norfolk pines, a royal tree in Tonga, introduced however by English missionary Shirley Baker, founder of the Free Church of Tonga and prime minister of the Kingdom during the reign of George Tupou I. The pines were planted along this road, but have since all disappeared due to the deep roots reaching the underground seawater. Commissioned as a reproduction of traditional styles for the purpose

of Koloa: Women, Art, and Technology. 2019年 Tu’a niu ( 椰子葉的中肋 ) , pulu ( 椰子殼纖維 ) , lou’akau ( 風乾的露兜樹葉 ) , kaka ( 椰子葉四周的保護纖維), 棉線

Kolomotu’a 村該 kupesi顯示了努庫阿洛法連接宮殿與紅色廣場（ Mala‘ekula）的道

路，該廣場為皇陵。這條名為「 Hala

（皇者之路）的道路是每一位 Tu‘i 」

湯加君主的最後一程，通往其葬身之地。此路亦因為道路兩旁的異葉南洋（松樹之針被稱為「 Hala Paini 」

路）。此樹是湯加象徵皇室的樹，但其

實是由英國 Shirley Baker牧師帶來湯加。Baker亦為湯加自由教會的

創辦人及佐治圖普一世在位期間的首相。該道路上的的異葉南洋針因為紮根太深觸及地底的海水，已經不復存在。作品受「 Koloa：女性、藝術與科技」展覽委託，特意仿古製作。

2019 Tu’a niu, pulu, lou’akau, kaka mo e filo Kolo ko Kolomotu’a Ko e kupesi ‘oku ne fakahaa’i ‘a e hala nounou ‘oku ne fakafetaulaki ‘a e Palasi Fakatu’i ‘i Nuku’alofa pea mo Mala’ekula, ko e mala’e fakatu’i. Hala Tu’i ko e hingoa totonu ia ‘o e hala, ko e hala fakamuimui taha ia ‘e ha’ele ai ha tu’i lolotonga ‘enau pule, ko e ha’ele ki honau feitu’u

malōlō’anga ‘i Mala’ekula. Ko e hala ‘oku to e ‘iloa pe ko e hala Paini koe’uhi ko e paini Norfolk, ko e ‘akau fakatu’i ‘i Tonga, na’e fakafe’iloaki ‘e he fakamisinale palangi ko Shirley Baker, ko e tokotaha ia na’a ne fokotu’u ‘a e ‘a Siasi Tau’ataina ‘o Tonga pea to e palemia ‘o e Pule’anga lolotonga ‘a e pule ‘a Siaosi Tupou I. Ko e paini na’e to ‘i he ve’e hala koeni, ka kuo puli kotoa koe’uhi ko e a’u ‘a honau aka loloto ki he tahi vai ‘i lolofonua. Na’e fokotu’u

pea fakaha ko hono to e ngaohi ‘i he sitaila tukufakaholo ki he taumu’a ‘o e Koloa: Fafine, ‘Aati mo e Tekinolosia.

Kupesi Fata Tu’i Tonga 1950s Tu’a niu (mid-rib of the coconut frond), pulu (coconut husk fibres), lou’akau (dried pandanus leaves), kaka (protective fibres around coconut fronds), and cotton thread Kolofo’ou village Motifs representing the lashings within the roof of the home of ancient dynasty Tu’i Tonga. 1950年代 Tu’a niu ( 椰子葉的中肋 ) , pulu ( 椰子殼纖維 ) , lou’akau ( 風乾的露兜樹葉 ) , kaka ( 椰子葉四周的保護纖維), 棉線

Kolofo’ou 村

圖案代表了古代國王 Tu’i Tonga故

居屋頂上的綁紮。

1950 tupu Tu’a niu , pulu, lou’akau, kaka, mo e filo tupenu Kolo ko Kolofo’ou Ko e mata’i kupesi ‘oku ne fakafofonga’i ‘a e ngaahi lalava koia ‘i he ‘ato ‘o e ‘api ‘o e ngaahi ha’a Tu’i Tonga.

00 00 /00 00 /00 00 /0000 /00/00 /00//00 /00 //00 // //

00 00 /00 /00 /00 /00 /00 /00 /00 /00 /00 /00 //0000000 ///////

0000000 /00////00 /00 /00 /0000000 /00//// /00 /00 //

00000000 /00///// /00 /0000000 /00//// /00 /00000000 ////////

0000000 /00/////00 /00 // //0000000 ///////00 /00 /00 //0000000 ///////

00 /00 /00 /00 /00 /00 /00 //

While the artistic heritage of the Pacific is no doubt rich and representative of its cultures, it is more than merely something to be gazed upon and admired. Rather, Pacific art is both functional and symbolic of deeper meanings. Items as commonplace as bows and arrows, masks, and meeting halls are tangible expressions of the spirit of a culture.The themes in the final section seek to represent this spirit. In examining the Tongan kupesi traditions, for example, we see how the symbolism contained within the art, beyond its outer function, is reflective of the indirect nature of Tongan culture and somewhat akin to the practice of using heliaki in speaking. Likewise, in learning the complex process of building Palauan bai meeting houses, we can see that the structures stand not only as important functional spaces but also as carriers of cultural motifs and legends passed down over time.

KUPESI: A CREATIVE TRADITION OF TONGA1 Tunakaimanu Fielakepa, the Dowager Lady Fielakepa

All these themes attest to the art and technology of the Pacific societies as not only reflecting aesthetics but also serving a function. Traditional technological know-how allows the Pacific islanders to use available resources to their best advantage. Architectural designs, motifs, lashings, knots, stone walls, and pavement ensure that structures withstand the test of time while also carrying vital symbolic knowledge.

I will string you pua garlands To drown your homesick fears And help you feel The pulsating chord The rhythm of our inheritance — Konai Helu Thaman2

––––––––––––––––––––––––––––––––––––––––––––––––––––––––– 1.The images in this article were provided by the author and printed here based on consultations with the country coordinator. 2. Konai Helu Thaman, “Part III,” in Langakali, Suva, Fiji: MANA Publications, 1981.

INTRODUCTION: THE TRANSMISSION OF CULTURAL KNOWLEDGE

Siokapesi Tauali‘i of Kolomotu‘a was my friend, neighbor and mentor. She taught me about the many aspects of ngatu production as well. Siokapesi‘s daughter, Aola Tuituiohu, and granddaughter, Tonga-Ha‘apai Fielea, both of Kolomotu‘a, inherited Siokapesi’s knowledge.

Tongan children learn their culture through observing, listening, and doing. It was the obligation of the parents, the family, the extended family, and the community at large to ensure that every child had the opportunity to experience the culture. In the first half of the twentieth century,Tongans enjoyed a close-knit society bound by extended families in which everybody knew each other’s business. In this intimate society, I learned the art of ngatu production. Ngatu is the Tongan name for tapa, or bark cloth. Ngatu is the end product of tapa production, so it is only called “ngatu” when the whole process is completed. Tongans regard ngatu as “ours” because it remains an integral part of our cultural heritage. While bark cloth production is known in Africa, South America, Malaysia, Indonesia, Melanesia, and Polynesia, today there are three notable centers for its production in remote Oceania: Tonga (ngatu), Samoa (siapo), and Fiji (masi). These three neighboring island nations maintain close historical ties in trading and blood relations while their strong cultural heritages give them their unique identities.

The kupesi is the stencil for printing designs onto the ngatu.The Tongan ngatu is the traditionally manufactured material onto which the kupesi designs are transferred. Instead of cutting the designs on plastic, the designs are embossed onto a double layer of paongo (pandanus) and kaka (the fibrous integument at the top of a coconut palm) with coconut coir (sennit rope made of coconut fiber) as sewing string.The kupesi is plastered onto the papa koka’anga (bench table for ngatu production). The kupesi is a part of the tangible cultural heritage of Tonga, but it is the thought and the idea behind the kupesi that give life to the creative designs it reproduces.This is what makes it meaningful and interesting. The Kupesi (Stencil)

The paper mulberry (Broussonetia papyri era) produces the best quality of ngatu.There were two notable women who were very knowledgeable of Tongan culture, and both learned their skills from elderly ladies who were royal palace attendants. As young women they had learned much from their grandmothers about the rich cultural environment that surrounded them. The first woman, the late ‘Olivia Kaho Mafile‘o of Kolomotu‘a, could recite any aspect of the Tongan culture, especially concerning the women’s koloa (crafts). Over the years she imparted to me the hidden story behind ten out of the eleven traditional kupesi of Tonga described in this paper. The second woman, the late Tupou Kaho Fanua, who became a researcher and recorder for the Tonga Traditions Committee, confirmed ‘Olivia’s information with little variation. Today ‘Olivia’s daughter (also Tupou’s niece), ‘Amilali Mafile‘o Latu of Halaleva, who inherited that knowledge, is a researcher for the Tonga Traditions Committee.

There are three methods of making Tongan kupesi, all of which feature geometrical figures with abstract designs within. — Kupesi Tongo. Designs are woven from strips of tongo

(mangrove stems) using a string either of fau or pulu (coir), e.g., the motifs named Ve‘etuli and Tatau Tuisipa. — Kupesi Tui. Designs are made from coconut leaf midribs (tu‘aniu) on a background of paongo (pandanus) lined with kaka (fibrous integument that wraps around a young coconut leaf), e.g., the motifs named Tokelau Feletoa and Kalou. — Kupesi Fokotu‘u (setup). Designs are set up a day before the production of a ngatu. Using the stalk of the coconut leaf, these designs are easier to set up than Kupesi Tongo or Kupesi Tui. However, the Kupesi Fokotu‘u is not permanent. Examples are the motifs named Amoamo Kofe and Potuuamanuka.

rude and coarse to speak directly. Likewise, with the design and creation of the kupesi, its meaning was heliaki. The background of the kupesi urges its beholder to wonder what it means, why it was made, and for whom it was made. Tonga’s ancestors placed much wisdom into the creation of their designs.

In the past, traditional knowledge holders were reluctant to share their knowledge. Today, it is important that the origins of the traditional kupesi of Tonga are recorded so that they may be better understood and appreciated. Over the years the Tongan people learned to manufacture feta‘aki (unprinted white tapa).The white feta‘aki was used at times of births, at puberty, and for medicinal dressings. They soon also discovered that dyes could be obtained from the bark, fruit, and leaves of trees as well as from the rich red clay (umea) that is found in Tonga. They developed the art of producing black soot from burning the candlenut kernels as dyes for the black tapa.

KOKA‘ANGA Koka‘anga is the process of joining the feta‘aki (white tapa cloth) and applying the kupesi (stencil). ‘Uheina Tonga Tu‘itavake of Kolofo‘ou advised that the selection of the kupesi for a koka‘anga was very important.4 When ‘Uheina asked me, “Why are you doing a koka‘anga?” I replied that it was because the following year, there would be a royal celebration for the Queen’s sixtieth birthday; requiring traditional presentations, and I wanted to prepare the koloa (crafts) well in advance.

The beauty of the ngatu gave the women an incentive to design the kupesi stencils to decorate the material. The men had developed their own arts such as lalava (sennit lashings) of the rafters of the King’s house, canoe building, and weapon and tool carving. Bamboo fences rich in designs were built around the dwellings of the king or chiefs. The men tattooed their bodies while the women made sweet- scented oil to cover their skin, making it smooth and beautiful when they danced to the songs composed by the men. Decorated ngatu were presented for traditional obligations and used as clothing and blankets or for household requirements.

‘Uheina told me that the koka‘anga for a royal celebration must befit the receiver. She advised that, as there was no Ve‘etuli Kupesi5 available, we should make a Pangaikafa Lautefuhi (100 length) and decorate it with a matahihifi (a design containing slanted lines as in a grid) and large Fo‘i Hea (a design consisting of one black circle. In creating ngatu, various units of measure are used and are significant ceremonially, for certain lengths are appropriate only for royal or chiefly recipients. For example, a langanga is eighteen inches by eighteen feet. For smaller ngatu, a langanga could be fourteen inches by fourteen feet. Therefore, each piece of ngatu is designed beforehand knowing which recipient it is intended for.

The ladies of the court had the time to observe the beauty of their land, both the natural world and the artifacts surrounding them. They designed the kupesi, and female attendants were selected to make the stencils from the raw materials of their environment. Furthermore,Tongans admire the art of speaking and composing songs and poems. The use of indirect heliaki3 discourse in language is an art, for it is regarded as

––––––––––––––––––––––––––––––––––––––––––––––––––––––––– 3. For a discussion of the practice of heliaki, see “Heliaki: The Symbolic Depiction of Life and Living in Tonga,” in this volume.

––––––––––––––––––––––––––––––––––––––––––––––––––––––––– 4. ’Uheina Tonga Tu’itavake, personal communication with author, 1986. 5.Ve’etuli is a design based on the footprints that golden plovers make on the beach. It is an example of kupesi designs that are inspired from the natural world.

Tonga still has active artists who have mastered the making, repair, and duplication of kupesi along with the other aspects of ngatu production. Masters of the art who have passed away in recent times included the late Nauna Ma‘umalanga Fisi‘ihoi of Tatakamotonga, her mother, the late Kalolaine Ma‘umalanga, and her younger sister, ‘Atilila Ma‘umalangaVuna of Haveluloto.

“fo‘i hea” is a fruit from Holonga, Vava‘u. Knowledge holder: ‘Uheina Tu‘itavake. Tatautuisipa (Kupesi Tongo) This kupesi originates from Tongatapu. “Tatau” means “partition” or “curtain.” It is made from the stem of the mangrove, which is split into fine strips. It is then woven with finely plaited fau into string, and then the string lashes the strips of the tongo, also creating a pattern. The strips are lashed diagonally, thus the name sipa. It is an imitation of the partition pattern. Knowledge holder:‘Olivia Kaho Mafile‘o, Kolomotu‘a.

TRADITIONAL KUPESI OF TONGA Kupesi, like many objects in Tonga, include a number of ranked and titled pieces. Ve‘etuli (Kupesi Tongo) The highest ranked kupesi originates from Tongatapu. The motif of this kupesi represents the concentrated imprint of the feet of the Tuli bird, confirming its ceaseless activity on sandy beaches. It is an uncommon migrant shore bird, its color all pale. Always in action, it does not waste time. This kupesi is ranked highly because, like thebird, it is rare. Knowledge owner:‘Olivia Kaho Mafile‘o of Kolomotu‘a. Pangaikafa (‘ila ‘aki ha Matahihifi moe Fo‘i Hea folahi) The second-highest ranked kupesi originates from Tongatapu. The pattern is kafa (sennit) that is wound around the papa koka‘anga (table). It should be lightly rubbed with the dye so that the stripes stand out.The decoration of the Pangaikafa is the kupesi matahihifi (the slanted triangular shape) alternating with fo‘i hea (the dark circles representing a kind of local fruit and chiefly lineages).Thus, decorations are placed according to the men planting yams.The fo‘i hea completes the decoration.The “Pangai” in the name “Pangaikafa” is the King’s green, where he traditionally sits and meets his people. Likewise, the “hea” in the name

Amoamokofe (Kupesi Fokotu‘u) This kupesi originating from Tongatapu is set up on the papa koka‘anga (table) the day before the koka’anga.The patterns are set up with the midrib of the green coconut frond (palalafa) and can be seen on the bamboo fences surrounding the home of the king or chief. Knowledge holder: Siokapesi Tauali‘i, Kolomotu‘a. Tokelau Feletoa (Kupesi Tui) This is a kupesi from ‘Ulukalala’s village of Feletoa at Vava‘u. The Tokelau Feletoa is said to be the flesh of the tuna fish when cut across the middle part.The pattern of the flesh is reflected. Knowledge holder: ‘Olivia Kaho Mafile‘o, Kolomotu‘a.

Kalou (Kupesi Tui) The Kalou is said to be the inside of the mapa fruit. The mapa plant is one of the known kakala, a collection of fragrant flowers that are woven together as a garland to mark a special occasion or for giving a gift to a special person. Mapa grows well at the villages of Pelehake and ‘Alaki, thus the name Vaomapa. The word “Kalou” is not a Tongan word, but a Fijian word meaning “God.” There

is a tale of one of the Tu‘ipelehake’s sons who was exiled to Fiji. The kupesi must have been created so that he would not be forgotten. His descendants are in Nadroga, Fiji. Knowledge holder: ‘Olivia Kaho Mafile‘o, Kolomotu‘a.

Aotapu (Kupesi Tui) Originating from Tongatapu, the Aotapu is the sacred turban of the King decorated with the Langakali flower. It is a sweet-scented flower used for sisi (girdle) and kahoa (lei), and it also gives Tongan oil a sweet aroma. It is a royal flower, second only to the Heilala. Knowledge holder: ‘Olivia Kaho Mafile‘o, Kolomotu‘a.

Potuuamanuka (Kupesi Fokotu‘u) This is a black tapa kupesi originating from Tongatapu. This kupesi is set up on the table for ngatu production the day before the koka‘anga.The meaning of this kupesi is still being researched. Knowledge holder (setup): Siokapesi Tauali‘i, Kolomotu‘a.

Fata ‘o Tu‘i Tonga (Kupesi Tui) Originating from Tongatapu, the Fata ‘o Tu‘i Tonga is a very old kupesi. It originated from the Tufunga Lalava, the chiefly title bearer who practiced the art of lalava (ornamental lashing used for houses), used on the rafters of the Tu‘i Tonga’s house.This kupesi has changed over the years.The original was only the design in the first square, but today it is comprised of four symbols. Knowledge holder: ‘Olivia Kaho Mafile‘o, Kolomotu‘a.

Longolongo (Kupesi Tui) This originates from Tongatapu and is named after longolongo, an ornamental tree fern grown in Tonga to decorate homes. Every part of the longolongo is uniquely arranged: the young leaf, how it unfurls through different stages, the trunk, and patterns formed from where the leaves were attached. Even the fruit and how it is attached to the parent plant is included.This shows the wonder of creation. Knowledge holder: ‘Olivia Kaho Mafile‘o, Kolomotu‘a.

KUPESI DECORATIONS Matahihifi The matahihifi is often used to decorate a ngatu, e.g., Pangaikafa, as it is bare except for the beauty of the lalava on the papa koka‘anga (tapa production table) if the dye has been applied lightly.

Manulua (Kupesi Tui) This is an iconic Polynesian motif originating from Tongatapu.There are many interpretations of the Manulua, some saying it represents night and day. However, the name means two birds back to back. This pattern is a mathematical figure that appeared in ancient architecture.There has been some discussion on the origins of this kupesi for copyright reasons, but to me this ancient traditional motif is one of the things that the women of Tonga should share in this small world of ours. Knowledge holder: ‘Olivia Kaho Mafile‘o, Kolomotu‘a.

Fo‘i Hea Fo‘i hea (fruit of the hea tree) is applied on the Pangaikafa, or, alternatively, with the matahihifi, to represent how the men plant the yams.The Hea tree grows well in Holonga,Vava’u. Fo‘i Hea Fuoiiki ‘e tolu These three small hea fruits arranged in a triangle demonstrate how men plant their yams. 100

101

RITUALS INVOLVED IN NGATU PRODUCTION

COMMEMORATIVE DESIGNS

In every stage of ngatu production there are rituals and techniques. Some have been forgotten while others are lightly adhered to. Personally, I quietly adhere to them, for I have in the past experienced ill luck. It was during the process to obtain black soot from the candlenut kernel, a process we had to do twice to have enough black soot for a koka‘anga. The first time, I asked an elderly woman to do it. She kept the rituals right down to the small minute taboo. The second time, I thought another woman and I would perform it. We began the rituals, but halfway through, the heat in the little hut where the candlenut kernels had been burnt became unbearable, so I suggested that we move outside of the hut and that when the need arose for more candlenut kernels to be burnt someone could go in and do it. I broke the taboo, and the result was disastrous: although we obtained black soot, when we applied it, the soot did not produce the desired beautiful shining black color.

Early kupesi presented abstract images, but in the early twentieth century symbolic kupesi were created to commemorate important events such as the centennial of the arrival of Christianity in Tonga. There is a kupesi that represents the planting of Norfolk pine trees lining Tu‘i Road from the palace to the royal tombs, and others commemorate the World War II effort of her late Majesty Queen Salote Tupou III when her people raised and donated funds to Great Britain to purchase warplanes. An airplane kupesi was made and printed on ngatu after the war. Today some people produce tapa without kupesi, painting the whole ngatu brown and hand copying the kupesi motifs onto the ngatu. Because no new kupesi are being created, there is a danger that the old kupesi, if their use is not revived, will disappear and soon be forgotten.

CONCLUSION Ngatu-making is a traditional manufacturing form that goes back before written history and is probably the oldest manufacturing industry in Tonga. Ngatu-making is an economic achievement in manufacturing sustainability— a traditional industry that has been led by women for centuries. Tongan ngatu is highly valued in Tongan culture and is recognized as a symbol of the importance of women.

CHANGES IN NGATU PRODUCTION From the second half of the twentieth century to date,Tonga has seen dramatic changes in the different aspects of the production of ngatu.The hiapo (paper mulberry) is planted commercially.The raw materials are now readily available in the local market. Ngatu is also produced commercially. A lau nima (fifty length) tapa is sold for $1,500 up to $2,000. Ngatu layers used to include two layers of feta‘aki (unprinted white tapa), but today women have improvised with a facing or lining cloth for the under-layer of the feta‘aki. Many linings are poor substitutes for the traditional feta‘aki. Dyes are now imported from overseas, and the natural glue is now replaced by the use of flour mixed with cold water, which, unfortunately, encourages mites and insects to bore holes in the ngatu.

Langafonua ‘a Fafine Tonga (The National Women’s Council) has been active in training women in ngatu production and some in the skills of “ngatu craft” catering to tourists. There is a need to continue with this training, not only for the sustainability and continuity of the production of ngatu in all its traditional aspects but because it is vital to many families whose livelihoods depend on the sale of ngatu.

102

103

REFERENCES Fonua, Mary Lyn. “IWD Inspiring Change—In Tonga We Still Have a Long Way to Go.” Matangi Tonga Online. http:// matangitonga.to/2014/03/09/iwd-inspiring-change-tongawe-still-have-longway-go. Accessed October 2, 2014. Kaeppler, Adrienne L. “Heliaki, Metaphor, and Allusion: The Art and Aesthetics of Koe ‘Otua mo Tonga ko Hoku Tofi‘a.” In Tonga and the Tongans Heritage and Identity, edited by Elizabeth Wood-Ellem, 65-74. Alphington,Victoria:Tonga Research Association, 2007. Ko e kava mo e ngaahi koloa faka—Tonga. Nuku‘alofa: Free Wesleyan Church of Tonga, 2007. Posesi Fanua, Tupou. Tapa Cloth in Tonga. Nuku‘alofa: Secondary Teacher Education Program, 1986. Thaman, Konai Helu. “Part III.” In Langakali. Suva, Fiji: MANA Publications, 1981.

––––––––––––––––––––––––––––––––––––––––––––––––––––––––– First published in Traditional Knowledge and Wisdom, Themes from the Pacific Islands, International Information and Networking Centre for Intangible Cultural Heritage in the Asia-Pacific Region under the auspices of UNESCO, 2014.

104

_// _// _// _// _// _// _/ _/ _// _// _// _// _// _//

_// _// _// _// _// _// _// _// _// _// _// _// _/////

_/////// _// _// _// _// _/////// _// _// _//

_//////// _// _// _////// _// _// _////////

_// // _// _// _// _// _// _// _// _// //

藝術與科技

_// _// _// _// _// _// _//

太平洋的藝術遺產無疑是豐富及代表其文化的，但它們並非只為觀賞而存在。太平洋藝術帶有功能性，亦同時象徵更深層的意義。平常的物件，如弓和箭、面具、以及會堂，都是文化精神的實質體現。本章的主題旨在呈現此精神。

例如，在探討湯加的古佩西（ Kupesi）傳統，我們可見他們的藝術除了外在的功能性，其內在的象徵性如何反映湯加文化的間接性，例如是湯加語中常見

（一種類近比喻的修辭法）。同樣地，透過理解帛琉會堂（Pa l a u a n 的「 Heliaki」

b a i）的複雜的建築過程，我們可以明白這些結構不只是重要的功能空間，亦將

古佩西：湯加的創意傳統 1

文化母題及傳說傳承下去。所有這些主題都見證著太平洋藝術如何在美觀之上

Tunakaimanu Fielakepa太夫人

還帶有功能性。傳統的科技知識讓太平洋島民可以善用手上的資源。建築的

設計、母題、綁紮、繩結、石牆、和行人道都確保了這些構築物不但可以經得起時間的考驗，亦承載著象徵性的知識。

湯加兒童通過觀察、聆聽和實踐去學習湯加文化，而確保每個兒童有機會去

體驗這個文化，是父母、家庭、親戚、及社區的責任。二十世紀早期，湯加人活於

由親戚組成的親密的社會，每人都知道每人的事。在如此親密的社會，我學會了如何製作樹皮布，而在湯加語中，這種樹皮布被稱為 Ngatu。Ngatu是整個製布

過程的成果，所以只有整個過程完結後，它才會被稱為 Ngatu。湯加人將 N gatu 視為是「我們的」，因為它是他們文化中不可或缺的。雖然樹皮布於非洲、南美、馬來西亞、印尼、美拉尼西亞、及波利尼西亞亦有生產，現時大洋洲範圍內有

、薩摩亞（ Siapo）、三個主要的樹皮布生產中心：湯加（當地稱樹皮布為 Ngatu）

。這三個相鄰的島國在交易及血緣上有著深厚的歷史關係，同時斐濟（ Masi）它們各自的文化遺產亦塑造了各自獨特的身分。

構樹（ Broussonetia papyri era）能造出最高質素的 Ngatu。有兩位

重要的女士，她們深諳湯加文化，從曾為皇宮侍女的婆婆身上習得她們的

技巧。她們年輕時從她們的祖母吸收身邊豐厚的文化。第一名女士名為 Olivia

Kaho Mafile‘o of Kolomotu‘a，她對湯加文化十分熟悉，尤其是女性的地氈

。多年來，她告訴我本文描述的 11幅傳統古佩西中 10幅背後隱藏的（ Koloa）

故事。而第二位女士為已故的 Tupou Kaho Fanua，曾為湯加傳統委員會的研究員和記錄員，而根據她的驗證，‘Olivia所描述的資料為正確無誤。時至今日， ‘Olivia的女兒（亦是 Tupou的侄女）‘Amilali Mafile‘o

Latu of Halaleva，不但繼承了她的知識，亦是湯加傳統委會的研究員。 Siokapesi Tauali‘i of Kolomotu‘a是我的朋友、鄰居、和導師。她教了我製作 Ngatu技巧的不同方面。Siokapesi的女兒 Aola Tuituiohu，及孫女 Tonga-Ha‘apai Fielea也繼承了她的知識。

我為你編織黃花的花環以解你思鄉的愁緒讓你感覺

律動的和弦傳承的節奏

— Konai Helu Thaman2

107

––––––––––––––––––––––––––––––––––––––––––––––––––––––––– 1. 本文內的圖像由作者提供，並跟據該國協調者的建議印刷於此。 2. 詩集《Langakali》第三部分，Konai Helu Thaman著，蘇瓦，斐濟：MANA Publications，1981年。

古佩西是印製樹皮布的設計模版，而在湯加，傳統地生產的 Ngatu樹皮布便用來

此外，湯加人欣賞作曲和詩中的語言藝術。Heliaki3，一種間接的說話方式，

移印上古佩西上的設計。這個模版並非在塑膠上刻成，而是用 paongo（露兜樹）

被視為是語言的藝術，因為湯加人認為直接的說法是無禮和粗魯的。同樣地，

和 kaka（椰子樹頂的纖維珠被）造成雙層結構，再用椰子纖維織成的繩子縫製

古佩西的設計和創作也可算是 Heliaki—古佩西的背景促使觀者思考它的

而成。古佩西被粘貼在名為 papa koka’anga的大型製布木桌上。

意思、它製作的原因、和它為誰而造。湯加的先祖在創作他們的設計時留下了不少智慧。

古佩西雖是湯加的物質文化遺產，但是其背後的思想和意念才是為設計帶來生命的元素。這才是它有意義和有趣的原因。

KOKA‘ANGA

製造古佩西有三個方法，它們都以抽象設計在內的幾何圖形為特色。

Koka‘anga是將白樹皮布（ feta‘aki ）連起後再印上古佩西的的方法。 ‘Uheina Tonga Tu‘itavake of Kolofo‘ou曾指出為 Koka‘anga所選的「你為什麼要造一張 koka‘anga？」我回答，古佩西是十分重要的 4。她曾問我：

— Tongo古佩西：用黃槿或椰子纖維製成的繩子在片狀的紅樹樹幹（ tongo）上

。的工藝品（ koloa）

古佩西（模版）

因為來年將會慶祝皇后的十六歲生日，需要傳統的慶典，所以我想事先準備所需

編織而成。母題名為 Ve‘etuli 和 Tatau Tuisipa。

— Tui古佩西：利用椰子樹葉主葉脈（ tu‘aniu）在露兜樹（ paongo ）的背景上

‘Uheina告訴我，皇室慶典用的 koka‘anga必須要與收禮人相稱。她建議，

應當是沒有 Ve‘etuli 古佩西 5，我們應該造一張 Pangaikafa Lautefuhi

造出設計，再以嫩椰子葉邊緣的纖維珠被作為襯托。母題名為 Tokelau

Feletoa和 Kalou。

（ 100個長度單位），並以一個 matahihifi（以斜線組成的設計）和大的 Fo‘i

— Fokotu‘u（準備）古佩西：設計於製作 Ngatu前一天準備。這方法使用椰子

Hea（以一個圓形組成的設計）裝飾。在製作 Ngatu 中會用上

樹葉的莖，所以比前兩種方法容易，但製作出來的古佩西並不是永久的。母題

不同的長度單位，因為某些長度只能用於皇室或重要人物。例如，一張

名為 Amoamo Kofe 和 Potuuamanuka。

Langanga 是 18吋闊 18呎長。而需要較小的 Ngatu時，一張 Langanga可以

是 14吋闊 14呎長。所以，每一張古佩西都是事先已知接收者的身分的前提下而設計的。

以往，傳統知識的擁有者抗拒分享他們的知識。但現時，將傳統湯加古佩西的的起源記錄下來顯得更為重要，令其他人亦可以理解和欣賞這傳統藝術。

湯加現時仍有精通古佩西製作、維修、複製及製作 Ngatu的其他方面的

活躍藝術家。近期過身的大師包括 Nauna Ma‘umalanga Fisi‘ihoi

隨年月過去，湯加人發現了製作純素色的樹皮布的方法，他們稱這種布為

。這種布用於嬰兒出生、青春期、和醫療用的敷料。他們其後亦發現「 feta‘aki」

of Tatakamotonga、她的母親 Kalolaine Ma‘umalanga、及她的妹妹 ‘Atilila Ma‘umalanga Vuna of Haveluloto。

了染料不單可以從樹皮、果實和樹葉中抽取，亦可以從湯加常見的紅泥（ Umea）中抽取。他們亦發明以燒石栗而成的灰作為黑色樹皮布的染料。

湯加的傳統古佩西

Ngatu的美給予女性動力去設計古佩西模版以作裝飾。而男性則發展出他們的

如許多在湯加的物件，古佩西包括了不同階級和主題的設計。

、製作獨木舟、武器和工具。充滿設計的竹欄藝術，如皇宫橫樑上的綑繩（ Lalava）

圍著皇上和酋長的住所。男性以紋身裝飾自己的身體，而女性以氣味香甜的精油

Ve‘etuli（ Tongo古佩西）

Ngatu是傳統必需的，多用於衣服、毯子、或用於家居用途。

足印，顯現出它在在沙灘上不停的活動。它是一種罕見的候鳥，

這是最高級的古佩西，來自湯加塔布島。母題代表金斑鴴密集的

塗在自己的皮膚上，令皮膚柔軟和美麗，然後在男性創作的歌曲下起舞。裝飾了的

毛色較淺，常在活動，不浪費時間。這種古佩西高級的原因，是它與

女官細心觀察她們土地上自然和建築的美，然後設計古佩西。被選中的女侍者

金斑鴴一樣，十分罕見。

再以利用環境中原材料將其製成模版。

––––––––––––––––––––––––––––––––––––––––––––––––––––––––– 3. 關於 Heliaki的討論，請閱本册內的「 Heliaki：生命與湯加生活的象徵性

描述」。

知識擁有者： ‘Olivia Kaho Mafile‘o of Kolomotu‘a

108

109

––––––––––––––––––––––––––––––––––––––––––––––––––––––––– 4. ’Uheina Tonga Tu’itavake，與作者的個人溝通，1986。 5. Ve’etuli是基於金斑鴴在沙灘上的足印的設計。它是古佩西受自然啟發的例子。

Pangaikafa （ ‘ila ‘aki ha Matahihifi moe Fo‘i Hea folahi）

Potuuamanuka（ Fokotu‘u古佩西）

這是來自湯加塔布島的黑色古佩西。此古佩西在 koka‘anga

前一天在桌上準備製成 ngatu，它的意思有待研究。

次最高級的古佩西亦是來自湯加塔布島。圖式以椰子纖維繩

，再以（ kafa ）包圍著大形製布桌（ papa koka‘anga）

知識擁有者（準備）： Siokapesi Tauali‘i, Kolomotu‘a

染料輕輕摩擦，令條紋突出。Pangaikafa 以 matahihifi

（斜線組成的三角形）配以 fo‘i hea（多個代表某種當地

水果和首長族裔的深色圓形）作為裝飾。所以，裝飾跟據人們

Longolongo（ Tui古佩西）

中的「 Pangai」意指皇帝接見子民的皇座，而 fo‘i hea中的

種植的裝飾性樹蕨。設計中每一個部分都是精心鋪設：慢慢展開的

知識擁有者： ‘Uheina Tu‘itavake

樹上的方式也包括在內。這古佩西展示了造物的奇妙。

種植山藥的模樣去放置。 Fo‘i hea令裝飾整。Pangaikafa

來自湯加塔布島，命名來源為 longolongo，一種在湯加家居

「 hea」是一種來自瓦瓦烏群島的果實。

嫩葉、樹幹、樹葉依附在樹上的圖案、甚至是果實與它連接至知識擁有者：‘Olivia Kaho Mafile‘o, Kolomotu‘a

Tatautuisipa（ Tongo古佩西）

此古佩西來自湯加塔布島。名字中的「 Tatau」的意思是「間隔」

Manulua（ Tui古佩西）

繩子，再將繩子和 tongo綑在一起，造出圖案。名字中「 sipa」

紛紜，有人認為它代表了日和夜，而它的名字意思是兩隻背對背

這是來自波利尼西亞的標誌性母題。Manulua的象徵意義眾說

或「窗簾」。製作方法是：將紅樹樹幹分成幼條，加上黃槿織成

指對角的綑綁方式，模仿了間隔的模樣。

的雀鳥。這個圖案是一個常在古老建築中見到的數學圖形。為了

知識擁有者： ‘Olivia Kaho Mafile‘o, Kolomotu‘a

版權問題，曾有關於此古佩西的來源的討論，但對我來説，這古老的母題是湯加的女性應該在我們這個細小的世界中分享的。

Amoamokofe（ Fokotu‘u古佩西）此古佩西來自湯加塔布島，在進行 koka’anga前一天在大型製布桌（ papa koka‘anga）上準備。圖案利用椰子樹

知識擁有者：‘Olivia Kaho Mafile‘o, Kolomotu‘a

Aotapu（ Tui古佩西）來自湯加塔布島的 Aotapu是皇帝的頭巾，以 Langakali花，裝飾。此花以香氣著名，常用於腰帶（ sisi）和花環（ kahoa ）亦給予湯加油甜美的香氣。它是僅次於 Heilala的皇室花卉。知識擁有者：‘Olivia Kaho Mafile‘o, Kolomotu‘a

窄葉的中脈造出。常用於皇帝和首長居所的竹欄。

知識擁有者： Siokapesi Tauali‘i, Kolomotu‘a

Tokelau Feletoa（ Tui古佩西）此古佩西來自 ‘Ulukalala在瓦瓦烏群島菲利圖瓦區中 ‘Ulukalala所居住的村落。Tokelau Feletoa據說是

Fata ‘o Tu‘i Tonga（ Tui古佩西）

吞拿魚中部的肉，而肉的紋理反映在設計之上。

此古佩西來自湯加塔布島，是很古老的古佩西。它源自於一個專職 lalava 藝術的首長職位，名叫 Tufunga Lalava，

知識擁有者： ‘Olivia Kaho Mafile‘o, Kolomotu‘a

而 lalava 藝術就是用於 Tu‘i Tonga 居所的橫樑上的裝飾性

Kalou（ Tui古佩西） Kalou是瑪珀樹果實的內部。瑪珀樹是香花（ kakala）其中之一，kakala常用於製作特殊場合的花環或贈予特殊人士。Kalou生長於 Pelehake和 ‘Alaki的村落，所以有「 Kalou」此字並非湯加語，而是斐濟語，「 Vaomapa」的名稱。意思為「上主」。有故事講述 Tu‘ipelehake（湯加語中的

綑紮。此古佩西的設計隨年月改變：起初只是在第一個正方形內的設計，而現時它已包含四個符號。

知識擁有者：‘Olivia Kaho Mafile‘o, Kolomotu‘a

首席大臣）的一位兒子被流放至斐濟，而在那裡的人為他製作了古佩西，以讓人民不會忘記他。他的後人現活於斐濟內的那德羅加。

知識擁有者： ‘Olivia Kaho Mafile‘o, Kolomotu‘a

110

111

古佩西裝飾

古佩西的元素上去。因為現時不會再創造新的古佩西，而古老製作古佩西的方法不被使用，這門手藝會逐漸被人遺忘，繼而消失。

Matahihifi Matahihifi常用於裝飾 Ngatu，例如是 Pangaikafa，因為它的純樸，當只加上輕薄的染料，可突顯 lalava在大型工作桌（ papa koka‘anga ）的美。

結語

Ngatu製作是傳統的生產方式，可追溯至文字歷史之前，可能是湯加最古老的生產工業。Ngatu製作在於生產持續性上是經濟性的成就：多個世紀都是由女性主導的傳統工業。湯加 Ngatu在湯加文化中備受重視，被視為是女性地位的象徵。國家女性協會（ Langafonua ‘a Fafine Tonga）多年來致力訓練。這些訓練是必需的，不單是為了女性製作 Ngatu及向遊客推廣「 Ngatu工藝」完整保留傳統 ngatu生產的持續性及延續性，亦養活了許多靠售賣 ngatu

Fo‘i Hea Fo‘i hea（希雅樹的果實）塗抹在 Pangaikafa之上，或配合 matahihifi去代表男性種植山藥的情境。希雅樹生長於瓦瓦烏

群島的可隆加村。

糊口的家庭。

Fo‘i Hea Fuoiiki ‘e tolu

三個希雅樹的果實形成一個三角形，以描繪男性種植山藥的情境。

––––––––––––––––––––––––––––––––––––––––––––––––––––––––– 參考

Ngatu 製作中的儀式

Fonua, Mary Lyn. “IWD Inspiring Change—In Tonga We Still Have a Long Way to Go.” Matangi Tonga Online. http://matangitonga.to/2014/03/09/iwd-inspiring-changetonga-we-still-have-longway-go. 於 2014年 10月 2日造訪。

Ngatu製作的每一階段都有儀式及技術。有些已被遺忘，其餘只會粗略地

跟隨。個人來説，我默默地跟隨它們，因為我以往曾有不幸運的經歷：那時在製作燒石栗而成的黑灰，而為了 koka‘anga，我們必須要進行這個步驟

兩次，才有足夠的黑灰。第一次時我請了一位年長女士去做，她跟隨儀式所有的規則，鉅細無遺。第二次時，我以為我和另一位女士會進行儀式。儀式開始，

Kaeppler, Adrienne L. “Heliaki, Metaphor, and Allusion: The Art and Aesthetics of Koe ‘Otua mo Tonga ko Hoku Tofi‘a.” In Tonga and the Tongans Heritage and Identity, Elizabeth Wood-Ellem 編 , 65–74.

到了一半時，小屋內燒石栗的熱力太高了，所以我提議我們走出小屋，當需要

添加石栗時再內進。如此我犯了禁忌，而結果慘不忍睹：我們雖然得到了黑灰，但當我們將其塗抹上去後，卻產生不了如預期美麗的亮黑。

Ngatu製作的轉變

Alphington, Victoria: Tonga Research Association, 2007. Ko e kava mo e ngaahi koloa faka—Tonga. Nuku‘alofa: Free Wesleyan Church of Tonga, 2007.

由二十世紀下葉至今，Ngatu的製作經歷大量的轉變。構樹以商業形式

種植。原材料可以在本地市場輕易購買到。長 50的樹皮布（ lau nima）可以 $1500至 2000售出。Ngatu 傳統由二層純素色樹皮布組成，但現時多以

Posesi Fanua, Tupou. Tapa Cloth in Tonga. Nuku‘alofa: Secondary Teacher Education Program, 1986.

表布或裏布代替底層的樹皮布，質素卻比不起傳統的樹皮布。染料則由外地入口，而自然的膠由麵粉加冷水取代，但這種混合物會吸引蟎和昆蟲侵蝕，令 Ngatu千瘡百孔。

Thaman, Konai Helu. “Part III.” In Langakali. Suva, Fiji: MANA Publications, 1981.

紀念性設計早期的古佩西呈現抽象的圖像，但二十世紀早期，富象徵性的古佩西被創造

出來，用來紀念重要的事件，如基督教在湯加的一百週年。其中一幅古佩西代表了由皇宮至皇墓的道路旁種植南洋杉，亦有紀念二戰時皇后 Salote

Tupou三世捐款至英國購買戰機。戰後，人們製作了飛機古佩西。今天有人

生產樹皮布而不印上古佩西，取而代之將整張 Ngatu塗成棕色，再人手複製

–––––––––––––––––––––––––––––––––––––––––––––––––––––––––

112

113

收錄於《傳統知識與智慧：太平洋群島母題》內，亞太區非物質文化遺產國際

信息及網絡中心出版，由聯合國教科文組織贊助，2014。

>=> >=> >=> >=> >=> >=> >>=>> >=> >=> >=> >=> >=> >=>

>=> >=> >=> >=> >=> >=> >=> >=> >=> >=> >=> >=> >====>

>======> >=> >=> >=> >=> >======> >=> >=> >=>

>=======> >=> >=> >=====> >=> >=> >=======>

>=>>=> >=> >=> >=> >=> >=> >=> >=> >=>>=>

>=> >=> >=> >=> >=> >=> >=>

Lolotonga ko e ngaahi hohoko ‘o e ‘aati ‘i he Pasifiki ‘oku ‘ikai veiveiua mohu pea ne fakafofonga mai hono ngaahi ‘ulungaanga, ‘oku mahulu hake ‘i he me’a pe ke fakamama’u kiai pe faka’ofo’ofa’ia ai. Ka ko e ‘aai ‘o e Pasifiki ‘oku fakatou’osi fatongia pea faka’ilonga foki ‘o e ngaahi ‘uhinga loloto. Ko e ngaahi ‘aitemi ‘oku maheni hange ko e kaufana mo e ngaahi ngahau, ngaahi puloa, pea mo e ngaahi feitu’u fakataha’anga ko e fakaha mo’oni ‘o e laumalie ‘o e ‘ulungaanga pe sivilaise. Ko e ngaahi kaveinga ‘i he ngaahi konga faka’osi ‘oku kumi kene fakafofonga’i ‘a e laumalie koeni. ‘I hono sivisivi’i ‘a e tukufakaholo ‘o e kupesi faka-Tonga, ‘o hange ko e fakatata ko’eni, ‘oku tau sio ki he anga ‘o e me’a ‘oku fakafofonga’i ‘e he ‘aati, ‘o mahulu atu ‘i hono fatongia ki tu’a, ‘oku ne fakaho’ata mai ‘a e natula ta’e hangatonu ‘a e sivilaise faka-Tonga pea ‘oku kainga ki hono fakahoko ‘o ngaue’aki ‘a e heliaki ‘i he lea. ‘O hange pe eni ‘i hono ako koia ‘a e foung makehe hono langa koia ‘o e Palauan bai fale fakataha’anga, ‘oku malava ketau sio ‘oku ‘ikai ke ngata pe ‘i he mahu’inga ‘o e ngaahi fokotu’u koeni ‘oku mahu’inga ko e ngaahi feitu’u fakataha’anga ka koe to e hapa’i’anga foki ‘o e ngaahi sivilaise pea mo hono paasi hifo ‘i he ngaahi taimi.

KUPESI: KO E FAKATUPU TUKUFAKAHOLO ‘A TONGA1 Tunakaimanu Fielakepa, ko e ‘Eiki Uitou Ta’ahine Fielakepa

Ko e katoa ‘o e ngaahi kaveinga ‘oku fakamo’oni ki he ‘aati pea mo e tekinolosia ‘o e ngaahi sosaieti ‘o e Pasifiki ‘o ‘ika ngata pe hono fakaho’ata mai ‘ a e ngaahi makehe ka ke tauhi foki ki hono fatongia. Ko e ngaahi ‘ilo tukufakaholo ‘a e founga ‘oku ne faka’ata ‘a e ngaahi motu ‘o e Pasifiki ke ngaue’aki ‘a e ngaahi naunau ‘oku ma’u ki he lelei taha kiate kinautolu. Ko e ngaahi tisaiini fakatufunga, ngaahi peteni, ko e ngaahi ta, ngaahi no’o, ngaahi ‘ā maka, pea mo e hala si’i ‘oku ne fakapapau’i ko e ngaahi fa’unga ‘oku ne lava ‘o matu’uaki ‘a e tesi ‘o e taimi lolotonga koia ‘oku ne ma’u ‘a e ‘ilo faka’ilo.

Te u tui atu ha’o ngaahi kahoa pua Ke melemo ai ho ngaahi ilifia mo e ta’elata Pea tokoni atu keke ongo’i ‘A e manavanava ‘a e afo Ko e hokohoko ‘a hota tofi’a — Konai Helu Thaman2

115

–––––––––––––––––––––––––––––––––––––––––––––––––––––––––– 1. Ko e ngaahi fakatata ‘i he tohi koeni ne mei he tokotaha fa’utohi pea mo paaki ‘i he makatu’unga ‘o e ng‘omi aahi faka’eke’eke pea mo e tokotaha tokoni ‘a e fonua. 2. Konau Helu Thaman, “Part III”, ‘i Laangakal, Suva, Fiji: Mama Publications, 1981.

TALATEU: KO E TUKU’AU MAI ‘O E ‘ILO ‘ULUNGAANGA FAKAFONUA

‘i he tohi ni. Ko e fefine leva hono hoko kuo mama’o atu ko Tupou Kaho Fonua, ‘a ia na’e hoko ko e fakatotolo pea tokotaha leekooti ki he Komiti Tukuafakahoko ‘a Tonga, ‘oku nau fakamo’oni ki he ngaahi ‘ilo koeni neongo ‘a e ki’i feto’oaki si’isi’i.

Ko e fanau Tonga ‘oku nau ako ‘enau tukufakaholo mei he tauhi pe vakai, fanongo, pea mo hono fai. Ko e fatongia eni ‘o e matu’a, ko e famili, mo e ngaahi famili mama’o atu, pea pehe foki ki he kolo fakalukufua koe’uhi ke fakapapau’i ko e ki’i tamasi’i kotoape ‘oku ne ma’u ‘a e faingamalie ke a’usia ‘a e ‘ulungaanga fakafonua. ‘I he konga ‘uluaki ‘o e senituli uanoa, ko e kau Tonga na’a nau nofo ‘i he sosaieti ‘oku lalanga fakataha ‘aia ‘oku ha’i ‘aki ‘a famili mama’o ‘aia na’e ‘ilo’i ‘e he tokotaha kotoape ‘a e pisinisi ‘a e tokotaha kotoape. ‘I he sosaieti vaofi ko’eni, na’a ku ‘ako ai ‘a ‘aati hono ngaohi koia ‘o e ngatu. Ngatu ko e hingoa faka-Tonga ‘ia ki he tapa, pea ko e ‘akau vala. Ko e Ngatu ko e faka’osinga ‘ia hono ngaahi koia ‘o e tapa ‘aia ‘oku toki ui ai ko e “ngatu” ‘i he taimi ‘oku kakato ai ‘a e ngaue. Ko e kau Tonga ‘oku nau lave ki he ngatu ko e me’a ‘akinautolu koe’uhi ‘oku kei tu’u pe ia koe konga mahu’inga ‘o ‘etau ‘ulungaanga tukufakaholo. Neongo ‘oku ‘iloa ‘a e ‘aku vala hono ngaohi ‘i ‘Afilika, ‘Amelika Tonga, Malesia, Indonesia, Melanisia, pea mo e Polinisia, ko e ‘aho ni ‘oku ‘iai ‘a e senita ‘e tolu ‘oku ‘iloa koe’uhi ko’enau ngaohi ‘i he ‘Osenia: Tonga (ngatu), Ha’amoa(siapo), pea mo e Fisi (masi). Ko e ngaahi motu kaunga’api ‘e tolu ko’eni ‘oku nau kei pukepuke ‘a e ha’i fakahisitolia ‘i he fefakatau’aki pea mo e famili ‘i he toto lolotonga ia ko’ena ‘ulungaanga fakafonua malohi ‘oku Ne ‘oange ai honau tu’unga ko hai kinautolu. Ko e pepa mulberry ‘oku fakatupu ‘a e ngatu lelei taha. Na’e ‘iai e ongo fafine makehe ‘e ua ‘aia ‘oku na ma’u ‘ilo lahi ki he ‘ulungaanga fakafonua faka-Tonga, pea na’a na fakatou’osi ako ‘ena ‘ilo mei he’ena ongo kui loua fekau’aki pea mo e mohu koia ‘o e ‘ulungaanga fakafonua mo hono ‘atakai ‘aia ‘oku ne ‘atakai’i kinautolu. Ko ‘uluaki fefine, kuo mama’o atu ko ‘Olivia Kaho Mafile’o ‘o Kolomotu’a, tene malava ‘o fakamatala ma’u loto ha tafa’aki pe ‘o e ngaahi tukufakaholo fakafonua faka-Tonga, tautautefito ki he koloa ‘a fafine. ‘I he ngaahi ta’u lahi kuo ne paasi mai kiate au ‘a e talanoa fufu ‘i he puipuitu’a ‘o e kupesi ‘e hongofulu mei he tahataha ko e kupesi ‘o Tonga ‘oku fakamatatala’i

Ko e ‘aho ni ko e ‘ofefine ‘o ‘Olivia (ko e niece ‘o Tupou), ‘Amilali Mafile’o Latu ‘o Halaleva, ‘oku ne hoko atu hono ma’u ‘a e ‘ilo, ko e tokotaha fekumi ki he Komiti Tukufakaholo ‘a Tonga. Siokapesi Tauali’i ‘o Kolomotu’a ko hoku kaume’a, kaunga’api pea toe fale’i. Na’a ne ako’i au ki he ngaahi tafa’aki kotoa ‘o hono ngaohi ‘o e ngatu foki. Ko e ‘ofefine ‘o Siokapesi, Aola Tuituiohu, pea mo e mokopuna fefine, Tonga-Ha’apai Fielea, fakatou’osi ‘o Kolomotu’a na’a na’a ma’u ‘a ‘ilo koia ‘a Siokapesi. Ko e kupesi ko e peteni kuo ta ke paaki ‘a e ngaahi tisaini ki he ngatu. Ko e ngatu Tonga koe naunau fakatukufakaholo ‘aia ko e tisaiini kupesi ‘oku hiki. ‘Aia ‘oku ‘ikai ke tutu’u ‘a e tisaini ki he pelesitiki, ka ko e tisaini ‘oku fokotu’u ki he leia ‘e ua ‘o e paongo pea mo e kaka pea mo e kavele’i pulu ko e filo tuitui. Ko e kupesi ‘oku fakama’u ia ki he papa koka’anga. Ko e kupesi ko e konga ia ‘oku ‘ulungaanga fakafonua tukufakaholo mo’oni ‘a Tonga, ka ko e fakakaukau mo e mo’oni ‘i mui he kupesi ‘oku ne ‘omai ‘a e mo’ui ki he fakatupu ‘o e tisaini ‘oku ne ‘omai. Ko eni ‘a e ‘uhinga ‘oku ne ngaohi ai ke ‘iai hono ‘uhinga pea toe fakatupu fakakaukau. The Kupesi ‘Oku ‘iai ‘a e founga ‘e tolu ‘oku ngaohi ‘aki ‘a e kupesi Tonga, katoa kotoa ‘oku ne ‘omai ‘a e ngaahi fika fakasiometuliki pea pehe ki he tisaini fakakaukau ‘i loto. — Kupesi Tongo. Ko e kupesi ‘oku lalanga ia mei he konga

116

117

‘o e tongo ngaue’aki ‘a e filo mei he fau pe ko e pulu e.g Ve’etuli mo e Tatau Tuisipa — Kupesi Tui. Ko e kupesi ‘oku ngaohi mei he tu’a niu ‘aofi ‘aki e paongo pea laine ‘aki e kaka, e.g Tokelau Feletoa mo e Kalou

— Kupesi Fokotu’u. Ko e kupesi ‘oku fokotu’u ‘i he

mamani fakaenatula mo e ngaahi koloa ‘oku ne ‘atakai ‘akinautolu. ‘Oku nau ngaohi ‘a e kupesi, pea kau fefine ngaue na’e fili kenau ngaohi ‘a e kupesi mei he ngaahi naunau hangatonu ‘o e ‘atakai.

‘aho ‘e taha kimu’a pea toki ngaohi ‘o e ngatu. ‘Oku ngaue’aki ‘a e kau ‘o e lau’i niu, ko e ngaahi tisaini ko’eni ‘oku faingofua ke fokotu’u ‘i he Kupesi Tongo pe Kupesi Tui. Ko e Kupesi Fokotu’u ‘oku ‘ikai tolonga pe tu’uma’u. Fakatata ko Amoamo Kofe pea mo Potuuamanuka.

‘Ikai ke ngata ai, ko e kau Tonga na’a nau manako ki he ‘aati ‘o e lea mo e fa’u ngaahi hiva mo e ngaahi maau. Ko e ngaue’aki koia ‘o e heliaki3 ‘i he lea ko e ‘aati, he’oku lau ia ko e angakovi ke lea hangatonu. Tatau pe ia mo hono fo’u pea mo hono ngaohi ‘o e kupesi, ko hono ‘uhinga na’e heliaki. Ko e puipuitu’a ‘o e kupesi ‘oku ne faka’ai’ai ‘a e tokotaha vakai kene fifili pe ko e ha hono ‘uhinga, ko e ha na’e ngaohi ai, ko hai na’e ngaohi kiai. Ko e fangakui ‘a Tonga na’a nau tuku ‘a e poto lahi ki hono fo’u koia ‘o e ngaahi tisaini.

‘I he kuohili, ko kinautolu na’a nau pukepuke ‘a e ‘ilo tukufakaholo na’e ‘ikai kenau fie vahevahe fefe ‘enau ‘ilo. ‘I he ‘aho ni, ‘oku fu’u mahu’inga ke lekooti ‘a e kamata’anga ‘o e ngaahi kupesi tukufakaholo ‘o Tonga koe’uhi ke lava ke mahino’i lelei mo fakamalo’ia. ‘I he hili e ngaahi ta’u ne ako leva ‘a e kakai Tonga ki hono ngaohi ‘o e feta’aki. Ko e feta’aki hinehina na’e ngaue’aki ia ‘i he taimi ‘o e ngaahi fa’ele, ‘i he hoko ‘o matu’otu’a, pea mo e ngaahi ngaue fakafaito’o. Na’a to e ‘ilo foki ko e fakalanu ‘oku lava ke ma’u mei he sino, fua mo e ngaahi lau ‘o e ‘akau pea pehe foki ki he ‘umea ‘aia ‘oku ma’u ‘i Tonga. Na’a nau fakatupulekina leva ‘a e ‘ilo ki hono ngaohi ‘o e vali ‘uli mei hono tutu ‘o e konga loto ‘o e fo’i tuitui pea hoko leva ia ko e vali ki he ngatu ‘uli.

KOKA ‘ANGA Koka ‘anga ko e founga ia hono fakataha’i ‘o e feta’aki pea mo hono ta koia ‘o e kupesi. ‘Uheina Tonga Tu’itavake ‘o Kolofo’ou na’a ne pehe ko hono fili koia ha kupesi ki he koka’anga na’e fu’u matu’aki mahu’inga ‘aupito4. Ko e taimi na’e fehu’i mai ai ‘a ‘Uheina kiate au, “Ko e ha hono ‘uhinga ‘oku ke fai ai ha koka’anga?” Na’a ku tali ‘o pehe koe’uhi ko e ta’u ka hoko, ‘e ‘iai ‘a e katoanga faka’eiki ‘i hono katoanga’i ‘o ta’u onongofulu ‘o e Kuini ko hono ‘aho ‘alo’i, ‘aia ‘e fiema’u ‘a e ngaahi fakahaha koloa tukufakaholo, pea kuou fiema’u ke teuteu ‘a e koloa ke to kimu’a pe.

Ko e faka’ofo’ofa ‘o e ngatu ‘oku ne ‘oange ki he kakai fefine ‘a e faka’ai’ai ke nau ta ‘a e kupesi ke teuteu’i ‘aki ngatu. Ko e kakai tangata kuo na ako kinautolu ‘enau ‘aati ‘o hange ko e lalava ‘o e kahoki ‘o e fale ‘o e Tu’i, langa ‘o e popao, mo e me’a tau mo e me’a ngaue ki he tutu’u pe ta tongitongi. Ko e ngaahi ‘a kofe na’e lahi hono ngaahi sipinga kehekehe ‘aia na’a fa’a langa takatakai he nofo’anga ‘o tu’i pe ko e kau taki. Ko e kau tangata na’a nau tā tatau honau sino, lolotonga ia ‘oku ngaohi ‘e he kau fefine ‘a lolo namu kakala ke mili ‘aki honau kili, ‘o hoko ai honau kili ‘o hamolemole mo faka’ofo’ofa ‘i he taimi ‘oku nau tau’olunga ai ki he ngaahi hiva na’e fo’u ‘e he kau tangata. Ko e ngaahi ngatu kuo teu kuo fakaha ki he ngaahi fatongia tukufakaholo pea ngaue’aki ko e vala pea mo e kafu pe ki he ngaahi fiema’u fakafamili. Ko e kau fefine ‘o loto’a ‘oku tuku honau taimi kenau vakai ki he faka’ofo’ofa honau fonua, fakatou’osi ‘a e

Na’e tala mai ‘e ‘Uheina ko e koka’anga ki he katoanga faka’eiki ‘oku totonu ke taau mo e tokotaha ‘oku ne ma’u ‘a e koloa. Na’a ne fale’i ‘oku ‘ikai ke ‘iai ha kupesi

118

119

––––––––––––––––––––––––––––––––––––––––––––––––––––––––– 3. Ki hono talanoa’i ‘a hono ngaue’aki ‘o e heliaki, vakai ki he “Heliaki: The Symbolic Depiction of Life and Living in Tonga,” ‘i he voliume ko’eni. 4. ‘Uheina Tonga Tu’itavake, ko e fetu’utaki hangatonu mo e tokotaha fa’utohi, 1986.

Ve’etuli5 ‘oku kei toe, koia ai ‘oku totonu ketau ngaohi ha Pangaikafa Lautefuhi pea teuteu’i ‘aki ‘a e matahihifi mo e Fo’i Hea lalahi ( ko e kupesi koeni ‘oku kau kiai ‘a e fo’i siakale ‘uli’uli ‘e taha). ‘I hono ngaohi koia ‘o ngatu ‘oku ‘iai ‘a e ngaahi ‘iuniti keheheke ‘oku ngaue’aki, pea ‘oku mahu’inga pe ‘o fakatatau ki he katoanga, he ko e ngaahi loloa makehe ‘oku fe’unga pe ia mo e ‘eiki pe fakatu’i. Ko e fakatata, ko e langanga ko e ‘inisi ‘e tahavalu ki he fute ‘e tahavalu. Ki he ngatu iiki hifo, ko e langanga ‘oku malava pe ke ‘inisi ‘e tahafa ki he fute ‘e tahafa. Ko ia ai ko e konga ngatu kotoape ‘oku fokotu’u ia kimu’a ‘i he ‘ilo ko hai ‘oku ‘ave kiai pe fakataumu’a kiai.

ngaungaue ma’u pe ‘oku ‘ikai ke fakamoleki ha taimi. ‘Oku kalasi ma’olunga ‘a e kupesi koeni ko hono ‘uhinga, hange pe ko e manupuna, ‘oku hahamolofia. Tokotaha ha’ana ‘ilo: ‘Olivia Kaho Mafile’o ‘o Kolomotu’a. Pangaikafa (‘ila ‘aki ha Matahihifi mo e Fo’i Hea folahi) Ko e kupesi fika ua ‘i he mahu’inga taha pea ko e tupu mei Tongatapu. Ko peteni ko e kafa ‘aia ‘oku takai takai ‘i he papa koka’nga. Pea ‘oku olo mamalie leva ‘aki ‘a e fakalanu koe’uhi ‘asi lelei ‘a e ngaahi fo’i laine. Ko e teuteu’i koia ‘o e Pangaikafa ko e kupesi matahihifi fakataha mo e fo’i hea. Ko ia ai ko e teuteu ‘oku fokotu’u ‘o fakatatau ki he kau tangata ‘oku nau fakaheka ‘ufi. Ko e fo’i hea leva ‘oku ne fakakakato ‘a e teuteu. Ko e “Pangai” ‘i he hingoa “Pangaikafa” ko e feitu’u ia ‘oku ‘afio ai ‘a e Tu’i pea toki fakafetaulaki ki hono kakai. ‘O hange ko ia koe “hea” ‘i he hingoa “fo’i hea” ko e fua’i ‘akau mei Holonga, Vava’u. Tokotaha ‘oku ne pukepuke ‘a e ‘ilo: ‘Uheina Tu’itavake.

‘Oku kei ‘iai pe ‘a e ‘aati ‘oku nau kei ‘aati pe ‘i Tonga, ‘aia kuo nau lava’i ‘a hono ngaohi, fakafo’ou pea mo hono ‘ai ‘o ha tatau ‘o e kupesi fakataha mo e ngaahi me’a kehe hono ngaohi ‘o e ngatu. Ko kinautolu kuo nau poto’i he ‘aati ‘aia kuo nau pekia kimui ni mai ‘oku kau ai ‘a Nauna Ma’ulanga Fisi’ihoi ‘o Tatakamotonga, ko ‘ene fa’e, Kalolaine Ma’umalanga. Pea ki hono tokoua si’isi’i, ‘Atilila Ma’umalnga Vuna ‘o Haveluloto.

KO E NGAAHI KUPESI TUKUFAKAHOLO ‘A TONGA Tatautuisipa (Kupesi Tongo) Ko e kupesi koeni na’e tupu mei Tongatapu. “Tatau” ko hono ‘uhinga ko e “vahe’i pe puipui.” ‘Oku ngaohi mei he sino ‘o e tongo, ‘aia ‘oku fahifahi ki he aveave loloa. Pea ‘oku toki lalanga fakataha ‘aki ‘a e fau ki he filo, pea toki nono’o leva ki he aveave ‘o e tongo, pea ‘oku ne fo’u foki mo e peteni. Ko e ngaahi aveave ‘oku nono’o fakataiakonale, ‘aia ‘oku ha’u mei ai ‘a e hingoa sipa. ‘Aia koe tatau ‘o e peteni vahe’i. Ko e ‘ilo: ‘Olivia Kaho Mafile’o, Kolomotu’a.

Ko e kupesi ‘o hange ko e ngaahi me’a lahi kehe ‘i Tonga, kau ai ‘a e tu’ungakehekehe pea kau ai mo e ngaahi konga ma’olunga mo makehe. Ve’etuli (Kupesi Tongo) Ko e kupesi tu’unga ma’olunga taha pe eni pea na’e tupu mei Tongatapu. Ko e fa’unga ‘o e kupesi koeni ‘oku ne fakahaa’i ‘a e fakamama’u ‘a e paaki ‘o e va’e ‘o manupuna ko e Tuli, ‘oku ne fakapapu’i ‘ene ngaue ta’etuku ‘i he matatahi ‘one’one. Ko e manupuna tuku’au mai pea ko hono lanu ‘oku tea vaivai. ‘Oku ––––––––––––––––––––––––––––––––––––––––––––––––––––––––– 5. Ko e Ve’etuli ko e kupesi ‘oku makatu’unga ‘i he faka’ilonga va’e ‘oku ‘ai ‘e he manupuna ‘i he matatahi. Ko e fakatata ‘o e kupesi na’e tupu mei natula.

120

121

Amoamokofe (Kupesi Fokotu’u) Ko e kupesi ko’eni na’e tupu ia mei Tongatapu pea ‘oku fokotu’u ia ‘i he papa koka’anga ‘i he ‘aho kimu’a pea fai ai ‘a e koka’anga. Ko e peteni ‘oku fokotu’u’aki ‘ia ‘a e palalafa

pea ‘oku lava ke ‘asi foki eni ‘i he ‘a kofe ‘aia ‘oku ne takatakai’i ‘a e ‘api ‘o e tu’i pe ko e ‘eiki. Ko e ‘ilo: Siokapesi Tauali’i, Kolomotu’a.

Longolongo (Kupesi Tui) Na’e tupu eni mei Tongatapu pea ‘oku fakahingoa ki he longolongo, ko e ‘akau tukufakaholo ko e taha ‘o e hulufe ‘oku to ‘i Tonga ke teuteu ‘aki ‘a e ‘u ‘api. Ko e konga kotoape ‘o longolongo ‘oku maau: ko e lau kei mui, ‘a e founga ‘ene mafola hake ‘i he ngaahi tu’unga kehekehe, ko hono sino, pea mo e peteni ‘o e feitu’u na’e pipiki ai ‘a e lau. Pea mo e fua pea mo e founga ‘ene pipiki ki he fu’u ‘akau ‘oku kau moia. ‘Oku fakaha foki heni ‘a e fakaofo ‘o e fakatupu. Ko e ‘ilo: ‘Olivia Kaho Mafile’o, Kolomotu’a.

Tokelau Feletoa (Kupesi Tui) Ko e kupesi eni mei he kolo ‘o ‘Ulukalala mei Feletoa, Vava’u. Ko e Tokelau Feletoa ‘oku pehe ko e kakano ia ‘o e ika ko e tuna ‘i hono tu’usi ‘i he konga ‘i loto. Ko e peteni ‘o e kakano ‘oku ha mai. Ko e ‘ilo: ‘Olivia Kaho Mafile’o, Kolomotu’a. Kalou (Kupesi Tui) Ko e Kalou ‘oku pehe konga eni ‘i loto ‘o e fua ‘o e mapa. Ko e ‘akau ko e mapa ko e taha ia ‘o e kakala ‘iloa, ‘aia koe tatanaki ‘o e ngaahi matala’i ‘akau namu lelei ‘aia ‘oku lalanga fakataha ‘o hange ha sisi ke faka’ilonga’i ha katoanga pe ko e foaki ko e me’a’ofa ki ha tokotaha. Ko e Mapa ‘oku tupu mo’ui lelei ‘i he kolo ko Pelehake mo ‘Alaki, ‘aia ‘oku ha’u mei ai ‘a e lea Vaomapa. Ko e fo’i lea “Kalou” ‘oku ‘ikai ko ha fo’i lea faka-Tonga, ka ko e fo’i lea faka-Fisi ko hono ‘uhinga ko e “‘Otua.” Ko ia ai, ko e talanoa fananga ‘o e taha ‘o e ngaahi foha ‘o e Tu’ipelehake ‘aia na’e fakamavahe’i ki Fisi, ‘aia ‘oku pehe na’e ngaohi ai ‘a e kupesi koe’uhi ke ‘oua na’a ngalo ia. Ko hono hako ‘oku nau ‘i Nadroga, Fisi. Ko e ‘ilo: ‘Olivia Kaho Mafile’o, Kolomotu’a.

Manulua (Kupesi Tui) Ko e peteni manakoa eni ‘i he Polinisia ko e tupu mei Tongatapu. ‘Oku lahi ‘a e ngaahi faka’uhinga ‘o e Manulua, ‘iai fa’ahinga ‘e ni’ihi ‘oku nau pehe ‘oku ne fakafofonga ‘a e po’uli mo e ‘aho. Ka koe ‘uhinga ‘o e hingoa ko e ongo manupuna ‘e ua ‘oku na fesitu’a’aki. Ko e peteni koeni ko e fakatata fakafika ‘oku ‘asi ‘i he ngaahi langa fakakuonga mu’a. ‘Oku ‘osi ‘iai ‘a e talatalanoa ki he tupu’anga ‘o e kupesi koeni koe’uhi ko e ‘uhinga fakangofua, ka kiate au ko e kupesi tukufakaholo ko e taha ‘o e ngaahi me’a na’e tonu ke vahevahe ‘e he fafine Tonga ‘i he ki’i mamani si’isi’i ‘o kitautolu. Ko e ‘ilo: ‘Olivia Kaho Mafile’o, Kolomotu’a. Aotapu (Kupesi Tui) Tupu eni mei Tongatapu, ko e Aotapu ko e teuteu tapu ki he ‘ulu ‘o e Tu’i ‘aia ‘oku teuteu’i’aki ‘a e matala’i Langakali.. Ko e matala’i akau eni ‘oku namu lelei ‘aupito ngaue’aki ki he sisi mo e kahoa, pea ‘oku ne toe ‘aonga foki ki he lolo Tonga ke namu leleli, ko e matala ko’eni ‘oku faka’ei’eiki, ko e fika ua eni ki he heilala. Ko e ‘ilo: ‘Olivia Kaho Mafile’o, Kolomotu’a.

Potuuamanuka (Kupesi Fokotu’u) Ko e kupesi tapa ‘uli’uli eni tupu mei Tongatapu. Ko e kupesi koeni ‘oku fokotu’u ‘i he tepile ‘i he ‘aho kimu’a pea toki fai ‘a e koka’anga. Ko e ‘uhinga ‘o e kupesi koeni ‘oku kei fai ‘a e fekumi kiai. Ko e ‘ilo (fokotu’u): Siokapesi Tauali’i, Kolomotu’a.

122

123

ngaahi me’a, ka kiate au, na’a ku pikitai fakalongolongo pe kiai, koe’uhi na’a ku a’usia ‘i he kuohili ‘a e me’a ‘oku ‘ikai ke sai. Na’e hoko eni lolotonga ‘a e feinga ke ma’u ‘a e efu’i ‘ahu ‘uli mei kakano ‘o e tuitui, ‘aia ko e ngaue na’e pau kemau fai tu’o ua koe’uhi ke ma’u ‘a e efu’i ‘uli fe’unga ki he koka’anga. Ko e ‘uluaki taimi na’a ku kole ki he fefine touleleka ke fakahoko ‘eni. Na’a ne tauhi ma’u ki he ngaahi tu’utu’uni kotoape ‘o a’u ki he fanga ki’i taputapui kotoape. Ko e taimi leva hono hoko, na’a ku fakakaukau keu fakahoko ‘e au mo e fefine ‘e tokotaha. Na’e kamata hono fakahoko ‘a e ngaahi ouau, ‘i he’ene a’u ki he vaeua, ko e vela koia ‘i he ki’i fale na’e fai hono tutu ‘o e tuitui na’e fu’u lahi ‘aupito ‘ikai lava kema kei nofo ‘i loto, na’a ne fale’i leva kena hū ki tu’a mei he fale pea ko e taimi ‘oku toe fiema’u ai ha tuitui pea ‘e lava ke hu ha taha ‘o fai ia. Na’a ku maumau’i ‘a e tapu, pea ko e ola leva na’e fu’u kovi ‘aupito : neongo na’e ma’u ‘a e efu’i ‘uli, ka ko e taimi na’e vali ai, na’e ‘ikai ke ne ‘omai ‘a e ola ngingila koia ‘o e faka’ofo’ofa ‘a e lanu ‘uli’uli.

Fata ‘o Tu’i Tonga ( Kupesi Tui) Na’e tupu mei Tongatapu, ko e Fata ‘o Tu’i Tonga ko e taha ia he kupesi motu’a. Na’e tupu ia mei he Tufunga Lalava, ‘aia ko e Hou’eiki na’e fakanofo kiai na’a ne ngaue’aki ‘a e Lalava ke teuteu’i ‘aki pe ko hono ha’i ‘o e ngaahi fale, to e ngaue’aki pe ko e kahoki ki he fale ‘o e Tu’i Tonga. Ko e kupesi ko’eni oku lahi ‘ene liliu he ngaahi ta’u mai ko’eni. Ko e kupesi totonu pe ‘eni ‘a e fo’i ‘uluaki tapafa, ka ko e ‘aho ni ku o ‘au ia ‘o fakatata ‘e fa. Ko e ‘ilo: ‘Olivia Kaho Mafile’o, Kolomotu’a.

NGAAHI TEUTEU ‘O E KUPESI Matahihifi Ko e Matahihifi ‘oku fa’a ngaue’aki ki he teuteu ‘o e ngatu, fakatātā: Pangaikafa, ‘oku tekefua tukukehe ‘a e faka’ofo’ofa ia ‘o e Lalava ‘i he papa koka’anga kapau na’e vali fakama’ama’a pe ‘a e tongo. Fo’i Hea Fo’i Hea ko e fua ia ‘o e ‘akau ko e ‘oku ‘ai ia ‘i he Pangaikafa pe ko e mo e Matafahi ke tala ‘a e anga hono he kakai tangata ‘a e ‘ufi. ‘Oku tupu ‘aupito ‘a e Hea ‘i Holonga, Vava’u.

KO E NGAAHI LILIU ‘I HONO NGAOHI ‘O E NGATU Mei he vaeunga’anga ‘o senituli uanoa ki he ‘aho ni, kuo mamata ‘a Tonga ki he ngaahi liliu fakafokifā ‘i he tapa kotoa pe ‘i hono ngaohi ‘o e ngatu. Ko e hiapo kuo to fakakomesiale. Ko e ngaahi kongokonga kehekehe kuo ‘osi ngaohi ia ‘o fakatau atu ‘i he maketi fakakolo. Kuo ngaohi fakakomesiale foki mo e ngatu. Ko e lau nima tapa kuo fakatauki he mahu’inga ko e $1,500 ki he $2,000. Ko e leia ‘o e ngatu na’e fa’a kau ai ‘a e hoa feta’aki ‘e ua, ka ko e ‘aho ni ko e kau fefine kuo nau fakafetongi ‘aki ‘a e mata pe ko e laine vala ki he feta’aki ki lalo. Lahi ‘a e ngaahi pepa tupeni ‘e ni’ihi ‘oku ‘ikai sai ‘i hono fakafetongi ki he feta’aki tukufakaholo. Ko e vali lanu he taimi ni kuo hū mai mei muli, pea ko e kulū fakaenatula kuo fakafetongi ‘aki ‘a e ngaue’aki ‘a hono fefiohi ‘o e mahoa’a mo e vai momoko, ‘aia ‘oku ne faka’ai’ai ‘a e ‘inisekite mo e maite kenau kai ‘o avaava ‘a e ngatu.

Hea, ‘aia fetongi to ‘e lelei

Fo’i Hea Fuoiiki ‘e tolu Ko e fo’i hea fuoiiki ‘e tolu ko’eni ‘e fokotu’u tapatolu ia ‘o fakahaa’i ‘a e anga e to ‘ufi ‘a e kakai tangata.

NGAAHI OUAU ‘OKU KAU AI ‘A E NGATU ‘I he ngaahi tu’unga kotoape ‘o e ngatu ‘oku ‘iai ‘a e ngaahi ouau mo e founga. ‘Iai ngaahi me’a ia fa’a ngalo lolotonga ia ‘oku kei ‘iai pe ‘a e ni’ihi ‘oku nau to’o ma’ama’a pe ‘a e

124

125

‘a e fiema’u ke hokohoko atu ‘a e ako ko’eni, ‘ikai ke ngata pe ki he fakatolonga pea mo hono hokohoko atu hono ngaohi ‘o e ngatu ‘i hono ngaahi tu’unga tukufakaholo kotoape ka koe’uhi ‘oku mahu’inga foki ki he ngaahi famili tokolahi ‘aia ko’enau ma’u’anga mo’ui ‘oku ma’u ‘i hono fakatau ‘o e ngatu.

NGAAHI FAKA’ILONGA FAKAMANATU Ko e kupesi kimu’a na’a nau fakaha pe ‘a e ngaahi ‘imisi fakakaukau, ka ‘i he kamata’anga ‘o e sentuli uanoa na’e ngaohi leva ‘a e ngaahi kupesi ‘oku ‘iai hono ‘uhinga ke fakamanatu ‘a e ngaahi katoanga mahu’inga hange ko e ta’u teau ‘o e hake mai ‘a e lotu Fakakalisitiane ki Tonga. ‘Oku ‘iai foki mo e kupesi ‘oku ne fakafofonga ‘a e tō ‘o e paini Norfolk ‘o nau laine ‘i he Hala Tu’i mei he palasi ki he mala’e faka-Tu’i, pea ko e ni’ihi ‘oku ne fakamanatu ‘a e Tau Lahi ‘a Mamani II ‘aia ko e ngaue ‘a e la’ā kuo unga fonua Kuini Salote Tupou III ‘i he taimi na’e tanaki pea tokoni ai ‘a hono kakai ‘a e pa’anga ki Pilitania Lahi ke fakatau’aki ‘a e ngaahi vakapuna tau. ‘Oku ‘iai ‘a e kupesi vakapuna na’ e ngaohi pea paaki ki he ngatu hili ‘a e tau.

––––––––––––––––––––––––––––––––––––––––––––––––––––––––– NGAAHI TOHI FAKAMO’ONI Fonua, Mary Lyn. “IWD Inspiring Change—In Tonga We Still Have a Long Way to Go.” Matangi TongaOnline.http:// matangitonga.to/2014/03/09/iwd-inspiring-change-tongawestill-have-longway-go. Accessed October 2, 2014. Kaeppler, Adrienne L. “Heliaki, Metaphor, and Allusion: The Art and Aesthetics of Koe ‘Otua mo Tonga ko Hoku Tofi‘a.” In Tonga and the Tongans Heritage and Identity, edited by Elizabeth Wood-Ellem, 65-74. Alphington, Victoria: Tonga Research Association, 2007.

‘I he ‘aho ni ‘oku ‘iai ‘a e kakai ‘e ni’ihi ‘oku nau ngaohi ‘a e ngatu pea ‘ikai ke ‘iai ha kupesi, pea vali katoa ‘a e ngatu ‘o lanu melomelo pea toki tohi nima pe ‘a e mata’i kupesi ki he ngatu. Koe’uhi ‘oku ‘ikai ke to e ‘iai ha kupesi fo’ou kuo to e ngaohi, ‘oku ‘iai ‘a e fa’ingata’a ko e kupesi motu’a, kapau ko hono ngaue’aki ‘oku ‘ikai ke to e fakaake, ‘e mole pea vave ni hono ngalo.

Ko e kava mo e ngaahi koloa faka—Tonga. Nuku‘alofa: Free Wesleyan Church of Tonga, 2007. Posesi Fanua, Tupou. Tapa Cloth in Tonga. Nuku‘alofa: Secondary Teacher Education Program, 1986.

FAKAMA’OPO’OPO Thaman, Konai Helu. “Part III.” In Langakali. Suva, Fiji: MANA Publications, 1981.

Ko hono ngaohi ‘o e ngatu ko e founga tukufakaholo ‘oku lava ke fakafoki ki he taimi kimu’a pea toki hiki ‘a e hisitolia pea ‘oku pehe ko e motu’a taha ia ‘i he founga ngaue ‘i Tonga. Ko e ngaohi koia ‘o e ngatu ko e malava faka’ekonomika ‘i hono fo’u koia ‘a e fakatolonga ‘o e ngaue tukufakaholo ‘aia ‘oku taki ‘e he kakai fefine ‘i he ngaahi senituli lahi. Ko e ngatu faka-Tonga ‘oku matu’aki mahu’inga lahi ‘i he angafakafonua ‘a Tonga pea ‘oku faka’ilonga’i ia ko e mahu’inga ‘o e kakai fefine. Langafonua ‘a Fafine Tonga ‘oku nau taki mu’a ‘i hono ako’i ‘a e kakai fefine ‘i hono ngaohi ‘o e ngatu pea ni’ihi leva ‘i he ngaahi ‘ilo pe founga ‘o e “fakatupu ‘o e ngatu” fakataumu’a ki he kau folau ‘eve’eva. ‘Oku ‘iai

126

127

––––––––––––––––––––––––––––––––––––––––––––––––––––––––– Na’e ‘uluaki pulusi ‘i he ‘Ilo mo e Poto Tukufakahoko, Ngaahi Kaveinga mei he ‘Otumotu Pasifiki, Senita Fakatu’apule’anga ki he tanaki ‘ilo mo e Netiueka ki he Malu’i ‘o e Ngaahi Tukufakaholo ‘i he Vaheinga ‘Esia Pasifiki ‘i he malumalu ‘a e tataki ‘a e UNESCO, 2014.

< Installation view of Koloa: Women, Art, and Technology, Para Site, Hong Kong, 2019. Photo by Kitmin Lee 「 Koloa：女性、藝術與科技」展覽圖

片，香港 Para Site藝術空間，2019

。攝影：Kitmin Lee。

Masi 1980s Bark cloth, natural dyes Fijian masi bark-cloth piece, from the Cakaudrove province of Fiji’s main northern island Vanua Levu. The regional style is marked by the pronounced contrast of dense white and black areas, with pieces being endowed by a strong sense of sacred and ceremonial significance. Masi from the region tend to be shrouded in a high degree of secrecy and are rarely to be obtainable outside of their local context. 1980 年代

樹皮布、天然染料斐濟「 masi」樹皮布，來自北島

Cakaudrove省。該地區的風格以黑

hono pu’aki koia ‘o fehangahangai ‘o e matolu ‘o e hinehina mo e ‘elia ‘uli’uli, mo e kongokonga ‘o fakakoloa’i ‘aki ‘a e ongo ‘o e tapu mo e katoanga mahu’inga. Ko e masi mei he vahe fonua ‘oku pehe ‘oku kapui ‘i he tu’unga matu’aki fakapulipuli mo’oni pea ‘oku ‘ikai lava ke ma’u ‘i tu’a ‘i he’enau tukunga fakakolo.

白相間著稱，成品神聖且有儀式性。

該地區的「 masi」布藝神秘且外界不易獲得。

1980 tupu Kili’i ‘akau tupenu, vali fakaenatula Ko e masi Fisi konga hono kili, mei he vaheinga Cakaudrove ‘o Fisi ‘aia ko e fonua lahi ia ‘o Fisi ‘i he tafa’aki fakatokelau ko Vanua Levu. Ko e sitaila fakavahenga ‘oku faka’ilonga’i ‘i

130

131

Siapo 1950s approx Bark cloth, natural dyes Siapo from Futuna which has close cultural ties with Sāmoa, reflected in this piece, alongside influences from Niuean hiapo, visible in the area at the edge of the siapo. 1950年代

樹皮布、天然染料來自富圖納群島的「 siapo」樹皮布，

該地與薩摩亞有密切文化聯繫。邊緣

裝飾的靈感來自紐埃（新西蘭屬地）。

1950 tupu fakafuofuoa Kili’i ‘akau tupenu, vali fakaenatula Siapo mei Futuna ‘aia ‘oku ‘iai ‘enau tukunga fakafonua vaofi mo Ha’amoa, ‘aia ‘oku fakahaa’i mai ‘i he konga ko’eni, pea ‘iai foki mo e uesia mei he hiapo Niue, ‘aia ‘oku ha mahino mai ‘i he ngata’anga ‘o e ‘elia ‘o e siapo.

132

133

Apron 2019 Woven elm bark threads, with cotton applique and embroidery A customary apron produced by master weaver Yukiko Kaizawa from Nibutani, Hokkaido. The piece is an example of the continuation of Ainu elm bark cloth threading and weaving technology. Ainu are the indigenous people of Hokkaido Island who have been systematically colonised by the state of Japan from the 19th century to the point of the near extinguishment of their culture and separate identity. The cotton applique and the complex chain embroidery were overlaid by Mrs. Kaizawa’s daughter in Ainu patterns with complex signification. 圍裙

2019

紡織榆樹皮纖維、棉質繡花一條由北海道二風谷紡織大師貝澤雪

‘Epani 2019 Ko e lalanga ‘o e filo kili’i ‘akau ko e elm mo e teuteu kotoni mo e tuitui fakasanisani Ko e ‘epani maheni ‘oku ngaohi ‘e he tokotaha poto’i lalanga Yukiko Kaszawa mei Nibutani, Hokaido. Ko e konga ko’eni ko e fakatātā ‘o e hokohoko atu ‘a e Ainu hono tuitui ‘o e kili’i ‘akau elm mo e tekinolosia ‘o e lalanga. Ko e kau Ainu ko e kakai tu’u fonua ia ‘o e motu ko Hokaido ‘aia na’e kolonia fakakongokonga ‘e siteiti ‘o Siapani mei he senituli 19 ‘o a’u ki he tu’unga ‘o e meimei mole ‘enau ‘ulungaanga fakafonua pea mo ‘enau tu’unga ko hai kinautolu. Ko e teuteu kotoni pea mo e tuitui makehe fakasanisani seini na’e toki ‘ohifo ‘i ‘olunga ‘e he ‘ofefine ‘o Mrs. Kaizawa ‘i he peteni ‘Ainu mo e ngaahi mahu’inga kehekehe pe.

子製作的傳統圍裙。該展品是愛奴人樹皮布藝的重現，施以紡織技巧，並

運用了榆樹皮。愛奴人是日本北海道

的原住民，於 19世紀起被日本殖民以

致愛奴文化及身分殆盡。圍裙上的繡花由貝澤女士的女兒製作，為傳統愛奴圖案，意味深長。

134

135

Machi 1990s Hand loomed banana and hibiscus fibre, natural dyes

1990 tupu Lalanga nima ‘o e kalava’i siaine mo e kaute, vali fakaenatula

Produced during the first generation of cultural revitalisation of the outstanding machi tradition, in the 1990s, the piece is a rare example of loom-based weaving in the Pacific, from Fais Island in Yap, the Federated States of Micronesia. The patterns are achieved through supplementary weft technique with hibiscus fibre. It is the most prestigious type of Machi with eleven tiers of pattern, and may be used on funerary occasions. Loom weaving historically was only practiced in a few locations in Micronesia and Fais Island is the only place upon which it persists at present.

Na’e ngaohi lolotonga ‘a e ‘uluaki to’utangata ‘a hono fakaakeake ‘o e ‘uluangaanga fakafonua ‘o e tukufakaholo ‘o e machi ‘i he 1990, ko e konga ko e fakatātā hahamolofia ‘o e lalanga nima ‘i he Pasifiki, mei he motu ko Fais ‘i Yap, ko e siteiti ‘o Maikolonisia. Ko e ngaahi peteni’ oku ma’u ia mei he founga ko hono fakalahi ‘i lalanga fakamaokupu ‘o e kalava kaute. Ko e fa’ahinga Machi eni ‘oku ‘iai hono ngeia ‘aia ko e peteni ‘e tahataha pea ‘oku fa’a ngaue’aki ‘i he ngaahi putu. Ko e lalanga fakamisini fakahisitolia na’e ngaue’aki pe ‘i he feitu’u ‘e ni’ihi ‘i Maikolonisia pea mo motu ko Fais pea ko e feitu’u pe ia ‘oku kei tuiaki ‘o a’u mai ki he ‘aho ni.

1990年代

手織芭蕉樹及木槿屬植物纖維、天然染料

來自密克羅尼西亞 Fais島的機織布

藝，於 1990年代第一次文化革新浪潮

時製作。花紋為木槿屬植物纖維以緯線紡造。此等「 Machi」地位崇高，有

十一層花紋之多，適用於喪葬。在密

克羅尼西亞的歷史裡，只有幾個地方

運用機織技術，而 Fais島更是現今僅存的一處。

136

137

Siapo 1895-1900 Bark cloth, natural dyes

1895年至 1900年間

樹皮、天然染料

此薩摩亞樹皮布成為「 siapo ，手繪製成，與「 siapo This Sāmoan siapo is a mamanu」」不同，後者通過於布的反面摩 siapo mamanu, or freehand elei 擦製成。該作品於當地稱為「 Malae」 painted as opposed to 的社區公共空間展出多年，此等公共 the siapo elei, which 空間時常為社區的聚集地，因此愈顯 is made through the 該作品的重要性。樹皮布上的圖案隱 embossing method with 含特定的訊息：「放眼遠方，放眼世界」 an upeti (Sāmoan word ，有「接受改變」或「超越自身視野」 cognate of Tongan kupesi) 之意。 on the reverse side. The significance of this piece is strengthened by the fact 1895 ki he 1990 that it was on display for Kili’i ‘akau tupenu, vali many years in the community fakaenatula gathering house. This kind of meeting house is called Ko e siapo Ha’amoa koeni a Malae in Samoa and it ko e siapo mamanu, pe ko e plays host to important hono vali ‘aki e nima ko large community gatherings. e fakafepaki ki he siapo The siapo created to be elei, ‘aia ‘oku ngaohi displayed there carries a fakafou ‘i he founga particular message which mili pea mo e upeti (lea can be read by way of fakaha’amoa ‘oku tatau ‘oku the painted symbols on tatau mo e kupesi Tonga) it. These are not just ‘i he tu’unga fakafoki. decorative borders without Ko e mahu’inga ‘o e konga meaning. The message was: ko’eni ‘oku fakamalohi’i ‘Look outward, towards the ‘i he mo’oni na’e rest of the world.’ In a faka’ali’ali ia ‘i fale way it meant: ‘Embrace fakakolo. Ko e fa’ahinga change’, or ’Look beyond fale fakataha’anga ko’eni our own horizon’. na’e ui ia ko e Malae ‘i Ha’amoa; pea ‘oku ne fakahoko ma’u pe hono talitali ‘a e ngaahi fakataha fakakolo lalahi. Ko e siapo na’e ngaohi ke fakahaa’i pea ‘ave ‘a fekau matu’aki lau ‘i he founga ‘o e vali ‘o e

ngaahi faka’ilkonga ‘i ai. ‘Oku ‘ikai koe ngaahi teuteu pe ‘i he ngata’agna ta’e ‘iai hano mahu’inga. Ko e fekau ko e “Sio atu kitu’a,ki tu’a ki he toenga ‘o e Mamani. ‘I he founga ‘e taha ‘oku ‘uhinga “Tali ‘a e Liliu”, pe ‘Sio atu ke fakalaka ‘i hono ngaahi holosonitale.

138

139

Siapo ca. 1938 Bark cloth and natural dyes

wrote the book Siapo: Bark Cloth of Samoa in 1984. 約 1938年

樹皮布、天然染料

Produced by Sāmoan artist 由薩摩亞藝術家 Mary Pritchard Mary Pritchard, this 製作，趨於傳統風格同時於新藝術 piece strongly favours 運動中汲取靈感，緊接當年的潮 traditional motifs along 流。Mary Pritchard（ 1905with an influence of Art Nouveau, not uncommon in 1992）生於美屬薩摩亞 Tutuila並於該地生活。她於 1920年代創立了一 the siapos made in those 間樹皮布出口公司，輾轉薩摩亞與美 decades. Mary Pritchard 屬薩摩亞，從少數依然從事樹皮布的 (1905-1992) was born and 家庭進貨並出口至夏威夷，從而維繫 lived in Tutuila, American 樹皮布的工藝。1929年，Pritchard Samoa, and started a siapo 加入了其丈夫的村落的一個婦女團 export business in the 體。這些婦女經常一起製作樹皮布， 1920s, travelling back and 而 Pritchard於她的朋友們的指導 forth between Sāmoa and 下，更加成為該項技藝的領頭人，並 American Samoa, buying siapo from the few families 將畢生心血奉獻於樹皮布藝的教育與傳承，包括她的兩代女性後人。除教 in Savai’i and Tutuila 學外，Pritchard於 1984年著有專著 that still produced it and 。《 Siapo：薩摩亞樹皮布》 shipping them to Hawai’i, keeping the production of siapo alive. In 1929, 1938 Pritchard joined a women’s Vala kili’i ‘akau mo e vali group in the village of fakaenatula Leone (where her husband grew up) that regularly met Na’e ngaohi ‘e tokotaha and created siapo together. ‘aati Ha’amoa ko e Mary Through their friendship Pritchard, ko e konga and guidance, Pritchard ko’eni ‘oku ne fakamamafa’i learned how to make siapo, mai ‘a e mata tukufakaholo eventually becoming one of fakataha mo e uesia ‘o its most recognized artists e ‘Aati Nouveau, ‘aia and dedicating her life to ‘oku ‘ikai ke mahina ‘i teaching and passing on he ngaahi siapo ‘i he knowledge of the art of ngaahi ta’u atu kimu’a. siapo to others, including Ko e Mary Pritchard the next two generations of (1905-1992) na’e fanau’i women in her family. Along pea nofo ‘i Tutuila, ‘i with teaching, Pritchard Ha’amoa ‘Amelika pea ne

140

141

kamata’i ‘a hono hu atu ki tu’apule’anga ‘a e pisinisi siapo ‘i he 1920 tupu, ‘o fefolau’aki ai pe ‘i Ha’amoa mo Ha’amoa ‘Amelika, na’a ne fakatau ‘a e siapo mei he ki’i famili si’i ‘i Savai’i pea mo Tutuila ‘aia ‘oku nau kei ngaohi pea fakafolau ki Hawai’i, ‘o kei hokohoko ai hono fakamo’ui ai ‘o e ngaohi ‘o e siapo. ‘I he 1929 na’e kau ai ‘a Pritchard ki he kulupu ‘a e kakai fefine ‘i he kolo ko Leone (‘aia ne tupu hake ai hono hoa) na’a nau

toutou fakataha ‘o ngaohi ‘a e siapo pea hoko ai ko e tokotaha ‘aati ‘iloa taha pea ne tukupa ‘ene mo’ui ki hono ako’i pea mo hono paasi atu ‘o e ‘ilo ‘o e ‘aati ‘o e siapo ki he kakai kehe, ‘o kau ai ‘a e to’utangata hono ua hoko ‘o e kakai fefine ‘i hono famili. Kau fakataha ai mo e ako, ne fa’u ai ‘e Pritchard ‘a e tohi ko e “Siapo: Ko e Tupenu ‘o Ha’amoa” ‘i he 1984.

Adinkra Cloth 1960s Print onto trade cotton with embroidery Adinkra are symbols that represent concepts or aphorisms, used alongside fabrics in pottery and architecture decoration among others, in the Ashanti Kingdom in present day Ghana. Adinkra fabrics are often made by woodcut sign writing as well as screen-printing. There are many different Adinkra symbols, having both a decorative function and also representing objects that encapsulate evocative messages that convey traditional wisdom, aspects of life or the environment, each having a distinct meanings, often linked with a specific proverb. 「 Adinkra」布

1960年代

棉面印刷、「 kente」風格刺繡

「 Adinkra」為一種符號系統，可以

指代概念或代表格言，常用於布藝、

陶藝及建築物之上用以裝飾，源自阿散蒂王國，今迦納。該類布匹通常以

木刻版或絲網印刷製成，每個符號除裝飾外亦代表各種物件，傳遞有關人生或自然環境的傳統智慧，亦時常與

Tupenu Adinkra 1960 tupu Tā ki he kotoni fakatau fakataha mo e tuitui fakasanisani Ko e Adinkra ko e ngaahi faka’ilonga ‘oku ne fakafofona ‘a e ngaahi fakakaukau pe lea nounou ka e ‘uhinga lahi, na’e ngaue’aki fakataha mo e tupenu ‘i he teuteu ipu ‘umea mo e ngaahi langa kehekehe ‘i he ngaahi me’a kehe, ‘i he Pule’anga Ashanti ‘aia ‘i he ‘aho ni ko Ghana. Ko e tupenu Adinkra ‘oku fa’a ngaohi ‘i he tohi faka’ilonga ‘o e tutu’u ‘akau pea pehe foki ki he ta sikulini. ‘Oku lahi ‘a e ngaahi faka’ilonga kehekehe ‘o e Adrinka, ‘aia ‘oku ne fakatou’osi ma’u pe fatongia teteu pea mo e ngaahi ‘opuseki ‘oku ne fakafofonga ‘aia ‘oku ne fa’oaki ‘a e ngaahi fekau fakalanga kene ‘omai ‘a e poto fakatukufakaholo, tafa’aki ‘i he mo’ui pe ko e ‘atakai, fakatou’osi ‘oku ‘iai pe hona ‘uhinga kehekehe, ‘o taimi ‘e ni’ihi fakafelave’i mo ha palōvepi.

某格言警句有所聯繫。

142

143

< Installation view of Koloa: Women, Art, and Technology, Para Site, Hong Kong, 2019. Photo by Kitmin Lee 「 Koloa：女性、藝術與科技」展覽圖

片，香港 Para Site藝術空間，2019

。攝影：Kitmin Lee。

Fokotu’u faka’ali’ali Koloa: Fafine, ‘aati, mo e Tekinolosia, Para Site, Hong Kong, 2019. Faitaa’i ‘e Kitmin Lee.

Queen Sālote, Tanya Edwards, 2018, digital print. Courtesy of the artist. 《Queen Sālote》，Tanya Edwards，2018年，數碼沖印。由藝

術家提供。

Kuini Salote, Tanya Edwards, Paaki Tisitolo 2018. Angalelei ‘o e tokotaha ‘aati.

146

147

Te Tīpare o Hineraumati, The Crown of the Summer Goddess. (Summer Solstice, 22.12.2019), left; Te Tīpare o Hinetakurua, The Crown of the Winter Goddess. (Winter Solstice, 21.06.2020), right; from the series Kōkōrangi ki Kōkōwai: From Celestial Bodies to the Earth, Nikau Hindin, 2019, kōkōwai (red ochre), ngārahu (soot pigment) on aute (paper mulberry). Courtesy of the artist. 《 Te Tīpare o Hineraumati，夏

，女神的冠冕（夏至，22.12.2019）》

Sirius

Fomalhaut

Takurua

Otamarākau

天狼星（大犬座 α）

Arcturus

Regulus

Hokule’a

T ekakau

大角星（牧夫座 α）

）》，右；來自《 Kōkōrangi ki

Kōkōwai: 從天體到地球》系列，Nikau Hindin，2019，紅赭、炭

煙、構樹皮。由藝術家提供。

Te Tipare o Hineraumati, Ko e Kalauni ‘o e ‘Otua Fefine ‘o e Fa’ahita’u Mafana.(‘Aho loloa taha 22.12.2019), to’ohema; Te Tipare o Hinetakurua, Ko e Kalauni ‘o e ‘Otua Fefine ‘o e Fa’ahita’u Mafana. (‘Aho nounou taha, 21.06.2020), to’omata’u; mei he hohoko Kōkōrangi ki Kōkōwai: Mei He Ngaahi Sino Fakalangi ki he Mamani, Nikau Hindin, 2019, kōkōwai (efuefu kulokula), ngārahu (efufefu ‘uli’uli) on aute (pepa ngatu). Angalelei ‘o e toko taha ‘Aati.

軒轅十四（獅子座 α）

Vega

Pleiades

Uhānui

團，金牛座）

織女星（天琴座 α）

昴宿星團（七姊妹星

Matariki Rigel

參宿七（獵戶座 β）

Puanga

Shaula

尾宿八（天蠍座 λ）

Hekenukumai Procyon

南河三（小犬座 α）

左；《 Te Tīpare o Hinetakurua， Puangahori 冬女神的冠冕（冬至，21.06.2020

北落師門（南魚座 α）

Castor

北河二（雙子座 α）

Whakaahu Kangi

Betelgeuse

參宿四（獵戶座 α）

Pūtara

Mintaka (Orion‘s Belt)

Altair

Tautoru

牛郎星（天鷹座 α）

參宿三（獵戶座 δ）

Poutūterangi Aldebaran

畢宿五（金牛座 α）

Taumatakūkū Antares

心宿二（天蠍座 α）

Rehua Spica

角宿一（室女座 α）

Mariao Pollux

北河三（雙子座 β）

Whakaahu Kerekere

148

149

Taparau II, from the series Kōkōrangi ki Kōkōwai: From Celestial Bodies to the Earth, Nikau Hindin, 2019, kōkōwai (red ochre), ngārahu (soot pigment) on aute (paper mulberry). Courtesy of the artist. 《 Taparau II》，來自《 Kōkōrangi

ki Kōkōwai: 從天體到地球》系

列，Nikau Hindin，2019，紅赭、炭煙、構樹皮。由藝術家提供。

Taparau II, mei he hokohoko Kokorangi ki Kokowai: Mei he ngaahi Sino fakalangi ki Mamani, Nikau Hindin, 2019, kokowai, ngarahu ‘I he aute. Angalelei ‘o e tokotaha ‘aati.

150

151

Te Uranga (The rising and setting of the sun due East and due West. Autumnal Equinox. 20.03.2020), from the series Kōkōrangi ki Kōkōwai: From Celestial Bodies to the Earth, Nikau Hindin, 2019, kōkōwai (red ochre), ngārahu (soot pigment) on aute (paper mulberry). Courtesy of the artist. 《 Te Uranga（旭日東昇，夕陽

，來西下，秋分，20.03.2020）》

自《 Kōkōrangi ki Kōkōwai: 從天體到地球》系列，Nikau

Hindin，2019，紅赭、炭煙、構樹皮。

由藝術家提供。

Te Uranga (Ko e hopo mo e to hifo ‘a e la’ā ki Hahake pea Mo Hihifo. ‘Otominolo Ikiuno 20.03.2020), mei he hokohoko Kokorangi ki Kokowai: Mei he Ngaahi Sino Fakalangi ki Mamani, Nikau Hindin, 2019, kokowai, ngarahu, on aute. Angalelei ‘A e tokotaha ‘aati.

152

153

Aniva II, Vaimaila Urale, 2019, black card and sand. Installation view of Koloa: Women, Art, and Technology, Para Site, Hong Kong, 2019. Photo by Kitmin Lee 《 Aniva II》，Vaimaila

Urale，2019，黑色卡紙、沙。

「 Koloa：女性、藝術與科技」展覽圖

片，香港 Para Site藝術空間，2019

。攝影：Kitmin Lee。

Aniva II, Vaimaila Urale, 2018, ‘One’one. Fokotu’u faka’ali’ali Koloa: Fafine, ‘aati, mo e Tekinolosia, Para Site, Hong Kong, 2019. Faitaa’i ‘e Kitmin Lee.

154

155

Mea Ila Ila II, Vaimaila Urale, 2019, sand. Installation view of Koloa: Women, Art, and Technology, Para Site, Hong Kong, 2019. Photo by Kitmin Lee. 《 Mea Ila Ila II》，Vaimaila

「 Koloa：女性、 Urale，2019，沙。

藝術與科技」展覽圖片，香港 Para

Site藝術空間，2019。攝影：Kitmin Lee。 Mea Ila Ila II, Vaimaila Urale, 2018, ‘One’one. Fokotu’u faka’ali’ali Koloa: Fafine, ‘aati, mo e Tekinolosia, Para Site, Hong Kong, 2019. Faitaa’i ‘e Kitmin Lee.

156

157

reflecting both the fine art of maori weaving of her maternal lineage and the Tongan tapa textiles of her paternal side. She has exhibited work in New Zealand, Australia and around the Pacific and has works on permanent display at the National Gallery of Victoria in Melbourne, Australia. Tanya has been living in Nuku’alofa, Tonga, for the past 21 years and founded Me’a’ofa Gallery in 2018, the only art gallery currently operating in the Kingdom, which seeks to promote contemporary Tongan art. The gallery works on a volunteer basis and all proceeds of sales go directly to the artist. Since the opening of the gallery space, she has been appointed by Her Majesty Queen Nanasipau’u Tuku’aho as consultant for the arts on the national planning committee for Tonga’s pavilion at Expo 2020 Dubai. As part of her passion to support the arts, Tanya has this year hosted the Pacific Arts Conference in Tonga which combined two exhibitions, dance workshops and a film festival and plans to continue further symposiums as annual events.

BIOGRAPHIES Tunakaimanu Fielakepa, the Dowager Lady Fielakepa Tunakaimanu Fielakepa, the Dowager Lady Fielakepa is the Kingdom of Tonga’s foremost knowledge-holder of koloa. Today aged 83, the Dowager Lady Fielakepa has witnessed the transformation of Tongan society from its village basis and through modernisation into a part of the kaleidoscopic worlds of contemporary globality. In 1947 she was among the first ‘pioneer’ students of secondary education in Tonga, and in 1954 she was among the first nineteen students within Tonga selected and sent to receive a tertiary education in Auckland as part of a national programme of modernization. As a leader and expert in women’s textile arts, the Dowager Lady Fielakepa has held many prominent positions, including as Chairperson of Village Committees 1963 – 2010, Chairperson of the National Council of Women 1998 – 2004, President of the Pan-Pacific South East Asia Women’s Association (Tonga) 2008 – 2010, President of Tonga National Handicraft Association 2009 – 2012 and Technical Advisor to the National Council of Women 1996 – 2013. Her work continues as a Cultural Expert with the National Council of Women and with the Langafonua ‘a Fafine Tonga. As the foremost expert on Tongan women’s textile, or koloa, the Dowager Lady Fielakepa is called upon extensively by major global institutions across the world. For example, organisations such as Museums Australia and the Te Papa Museum of New Zealand, have invited the Dowager Lady Fielakepa to advise upon their collections and research. She has enjoyed a long-term dialogue with Adrienne Kaeppler of the Smithsonian Institute as well as numerous scholars throughout the world. Her research was featured within the 2014 UNESCO anthology Traditional Knowledge and Wisdom: Themes from the Pacific Islands, as well as the renowned publication on the topic TAPA: From Tree Bark to Cloth: An Ancient Art of Oceania, from Southeast Asia to Eastern Polynesia. Tanya Edwards Tanya Edwards is a Tonga based artist of Maori (Tainui) and Tongan descent. Primarily a print-maker, Tanya’s work is often an exploration of her bi-cultural heritage

158

159

Nikau Hindin Nikau Hindin (Te Rarawa, Ngāpuhi) is a contemporary artist and with a revivalist agenda to reawaken Māori aute. She completed her conjoint BA in Māori studies and Media studies and Honours in Fine Arts at the University of Auckland. In 2013, she did an exchange at the University of Hawai’i (UH) where she first learned about Māori aute. In 2014 she was crew on Hōkūle’a from Auckland to Golden Bay. She is the recipient of the Māori Battalion VC scholarship and the Sir Hugh Kawharu award which enabled her access to study the Auckland War Memorial Museum collection. She returned to the UH, on a Graduate Assistant Scholarship, where she learned from Master knowledge holders. In October 2018, she completed a deep sea voyage from Norfolk Island to Tamaki Makaurau. Nikau completed her Masters of Creative Practice at Toihoukura Art School. This year Nikau showed at the Auckland Art Fair, Te Uru Contemporary Gallery, Millers O’Brien Gallery. She is currently in three shows around Aotearoa New Zealand: Native Voices at Tairawhiti Museum, Te Rangi Haupapa: A Woven History at Tauranga Art Gallery and Tākiri: An Unfurling at the New Zealand Maritime Museum.

傳記

Vaimaila Urale Vaimaila Urale (b. Fagamalo, Sāmoa 1972 lives and works in Auckland, Aotearoa New Zealand) has developed a distinct art making process that draws on traditional Sāmoan elements expressed through digital media and contemporary social art practices. Referencing early computer image making known as ASCII, Urale explores digital mark making utilising universal computer keyboard characters / \ backslash and forward slash, as well as mathematical symbols < > less-than and greater-than. Using this process, she has designed tattoos, screen prints, ceramics as well as large-scale public murals. Urale graduated with a Bachelor of Visual Arts from Auckland University of Technology (AUT) 2010 and received the Head of School Visual Arts award. Her art practice has a strong focus on collaboration and audience engagement. She is known for her work as part of the art collective D.A.N.C.E art club and her involvement with Whau arts festival in Auckland. Her work has been exhibited nationally at Dowse Art Museum and Māngere Arts Centre – Ngā Tohu o Uenuku, as well as internationally at SOMArts, San Francisco, Para Site, Hong Kong, Fei Contemporary Art Center, China and Blak Dot Gallery, Australia.

Tunakaimanu Fielakepa太夫人 Tunakaimanu Fielakepa太夫人是湯加王國「 koloa」工藝的領軍人物。現時 83歲，太夫人見證了湯加由村落社會轉變為現代全球化社會的一部分。 1947年，她是湯加最早接受中學教育的「先鋒」學生之一，並於 1954年獲選與另外十八名學生被送往奧克蘭接受高等教育。身為女性編織藝術的

；先鋒與專家，太夫人曾擔任多個重要職位，包括村落委員會主席（ 1963–2010）

；泛太平洋東南亞女性協會（湯加）全國女性政務會主席（ 1998–2004）

；湯加全國手工藝協會主席（ 2009–2012）；以及全國女性主席（ 2008–2010）

。她現任全國女性政務會及湯加 Langafonua 政務會技術顧問（ 1996–2013） ‘a Fafine中心文化專家，並時常獲邀到世界各地文化機構擔任顧問，包括澳洲博物館及畫廊協會，以及新西蘭 Te Papa博物館等等。太夫人亦與史密森尼學會的 Adrienne Kaeppler及世界各地其他學者有持續的交流。她的研究成果曾收錄於 2014年聯合國教科文組織出版的《傳統知識與智慧：太平洋群島各主題》，以及《TAPA：從樹皮到布藝，從東南亞到東波利尼西亞的大洋洲古老藝術》。

Tanya Edwards Tanya Edwards是一名藝術家，擁有毛利及湯加血統，現於湯加生活。她的作品以版畫為主，風格融合其母親一方的毛利傳統編織，以及其父親一方

的湯加樹皮工藝。她的作品曾於新西蘭、澳洲及其他太平洋地區展出，並收藏於墨爾本維多利亞國立美術館內。Tanya於過去 21年都在湯加努庫阿洛法

「 Me’a’ofa Gallery」，旨在發揚生活並於 2018年創辦了全國唯一的畫廊，當代湯加藝術。美術館以志願者形式運作，盈利均歸藝術家所有。美術館開張

後，Tanya被 Nanasipau’u Tuku’aho女王任命為 2020年杜拜世博會湯加

展館的藝術顧問。延續其支持藝術的熱誠，Tanya今年曾於湯加舉辦「太平洋藝術研討會」，結合展覽、舞蹈工作坊以及電影節。她計劃於未來舉辦更多座談會及年度活動。

Nikau Hindin Nikau Hindin (Te Rarawa, Ngāpuhi) 是一名當代藝術家，其藝術實踐。她於奧克蘭大學獲得毛利文化及媒體旨在重啓毛利樹皮編織工藝「 aute」研究本科雙學位，以及藝術榮譽學位。2013年，她於夏威夷大學一次交換項目中。2014年，她曾於奧克蘭至金灣的獨木舟航行中擔任船員。首次接觸「 aute」她曾獲頒「 Māori Battalion VC」獎學金以及 Hugh Kawharu爵士奬，使其有機會於奧克蘭戰爭紀念博物館進行研究。及後，她獲研究生助理獎學金回到

夏威夷大學跟大師學藝。她曾於 Toihoukura藝術學院獲得創意實踐碩士學位。

2018年 10月，她於諾福島及 Tamaki Makaurau之間完成了一次深海航行。今年，她的作品曾於奧克蘭藝術節、Te Uru當代畫廊、Millers O’Brien 畫廊展出。現時，她的作品於新西蘭三場展覽中展出：「原住民的聲音」，

160

161

「 Te Rangi Haupapa：編織的歷史，Tauranga畫廊； Tairawhiti博物館；，新西蘭海事博物館。以及「 Tākiri：漸露」

Vaimaila Urale Vaimaila Urale（ 1972年生於薩摩亞 Fagamalo，現於奧克蘭生活並

PIOKALAFI

工作）發展出了一種結合薩摩亞傳統文化及數碼媒體的獨特社會藝術實踐。

Tunakaimanu Fielakepa, ko e ‘Eiki Uitou Lady Fielakepa Tunakaimanu Fielakepa, ko e ‘Eiki Uitou Lady Fielakepa ko e takimu’a ‘i he Pule’anga Tonga ‘i he pukepuke ‘o e ‘ilo ‘o e koloa. ‘I he ‘aho ni ta’u 83, ko e ‘Eiki Uitou Lady Fielakepa kuo ne fakamo’oni ki he liliu ‘o e sosaieti Tonga mei he makatu’unga fakakolo and pea pehe ki he kuonga mu’a ki he konga ‘o e feliuliuaki fakamamani ‘o e ngaahi me’a ‘o e ‘aho ni. ‘I he 1947 na’a ne hoko ai ko e taha ‘o e kau ‘uluaki paionia fanau ako ‘o e ako kolisi ‘i Tonga. Pea ‘i he 1954 na’a ne kau foki ‘i he fanauako ‘e toko taha hiva ‘i Tonga na’ e fili pea ‘ave ke nau ma’u ‘a e ako ma’olunga hake ‘i ‘Aokalani ‘aia ko e konga ‘o e polokalama fakafonua ‘o e fakaonopooni. Koe’uhi ko e taki pea mo e mataotao ‘i he lalanga ‘aati ‘a e kakai fefine, ko e ‘Eiki Uitou Lady Fielakepa kuo ne ma’u ‘a e ‘a e ngaahi tu’unga mahu’inga, kau ai ‘a e ‘Eikisea ‘i he Komiti ‘o e ngaahi Kolo mei he 19632010, Sea he Kosilio ‘a e Komiti fakafonua ‘a e kakai fefine 1998-2004, Palesteni ‘o e Pan Pasifiki South East Asia Women’s Association (Tonga) 2008-20110, Palesiteni ‘o e Kautaha ‘o e Kosilio Fakafonua ‘o e Kakai Fefine pea mo e Langafonua ‘a Fafine Tonga. ‘A ia koe takimu’a ‘i he mataotao ‘i he Lalanga ‘a e kau Fafine Tonga pe ko e koloa, ko e ‘Eiki Uitou Lady Fielakepa ‘oku ui ia mei he ngaahi tapa kehekehe ‘e he ngaahi kautaha ‘i mamani. Fakatata ko e kautaha hange ko e Ngaahi Misiume ‘i ‘Aositelelia pea mo e Te Papa Museum ‘o Nu’usila, kuo nau fakaafe’i ‘a e ‘Eiki Uitou Lady Fielakepa ke fale’i ‘i he’enau ngaahi tatanaki mo ‘enau ngaahi fekumi. ‘Oku ne manako foki ‘i he fevahevahe’aki taimi loloa mo Adriene Kaepler of the Smithsonian Institute pea pehe ki he ngaahi sikola kehekehe ‘i mamani. Ko ‘ene ngaahi fekumi na’e fakahaha i he 2014 UNESCO. Ngaahi ‘Ilo mo e Poto Tukufakaholo; Ngaahi Kaveinga mei he ‘Otu motu Pasifika, pea pehe foki ki he ngaahi paaki ‘iloa ‘i he kaveing ‘o e TAPA: Mei he Sino ‘Akau ki he vala: Ko e ‘aati motu’a ‘o e ‘Osenia, pea mei ‘Esia Tonga Hahahke ki e Hahake Polinisia.

以早期美國訊息交換標準代碼的符號為基礎，Urale利用斜槓、大於號、小於號等設計出文身、絲網印刷、陶瓷及大型壁畫等。Urale 2010年於

奧克蘭科技大學獲得視覺藝術本科學位及視覺藝術系「 Head of School」獎項。她的藝術實踐時常著重合作及觀眾互動。她是藝術組織「 D.A.N.C.E

藝術俱樂部」的成員，並曾參與奧克蘭「 Whau」藝術節。她的作品曾於 Dowse

藝術博物館、Māngere藝術中心、三藩市 SOMArts、香港 Para Site藝術空間、

上海非藝術中心，以及澳洲 Blak Dot畫廊展出。

162

163

Tanya Edwards Ko Tanya Edwards ko e tokotaha ‘aati ‘oku nofo ‘i Tonga ka ‘oku fakatou’osi Maori pea mo e Tonga hono hako. Ko e tokotaha paaki, ko e ngaue ‘a Tanya ‘oku meimei ko e fekumi pe ke ‘ilo ki he’ene ha’a fakatou’osi ‘aia ‘oku ne fakahaa’i mai ‘a e ‘aati momoiiki ‘o e lalanga faka-Maori ‘a hono ha’a tafa’aki fakafa’e pea ki he lalanga tapa faka-Tonga ‘i hono tafa’aki fakatamai. Kuo ne faka’ali’ali ‘a e ngaue ‘i Nu’usila. ‘Aositelelia pea pehe foki ki he Pasifiki pea kuo ne ngaue tu’u ma’u ‘i he Fale’aati Fakafonua ‘o Vikatolia ‘i Melipoane, ‘Aositelelia. Na’e nofo pe ‘a Tanya ‘i Nuku’alofa, Tonga, ‘i he ta’u ‘e 21 kuohili pea ne fokotu’u ‘a e Me’a’ofa Gallery ‘i he 2018, ko e fale ‘aati pe ia ‘e taha ‘oku lolotonga lele ‘i he Pule’anga, ‘a ia ‘oku kumi ke faka’ai’ai ‘a e ‘aati faka-Tonga ‘o e ‘aho ni. Ko e fale ‘aati ‘oku ngaue ia ‘i he tu’unga ‘o e kau ngaue ‘ofa pea ko e ngaahi fakatau kotoa pe ‘oku ‘alu hangtonu pe ki he tokotaha ‘aati. Talu mei hono fakaava ‘o e fale ‘aati kuo fakanofo ia ‘e he Ta’ahine Kuini Nanasipau’u Tuku’aho ko e tokotaha ma’u fakamatala ki he ngaahi ‘aati ‘i he komiti palani fakafonua ki he Expo 2020 ‘i Dubai ki he pavilioni ‘a Tonga. Koe’uni ko e taha ‘o ‘ene ngaahi tokanga ke poupou ki he ‘aati, ‘i he ta’u ni ne fakalele ai ‘e Tanya ‘a e Konifelenisi ‘Aati ‘o e Pasifiki ‘i Tonga ‘aia na’e fakataha’i ai ‘a e faka’ali’ali ‘e ua, ako makehe ki he tau’olunga pea mo e katoanga ki he filimi mo e ngaahi palani ke hokohoko atu ‘a e konifelenisi pehe ni fakata’u. Nikau Hindin Ko Nikau Hindin (Te Rarawa, Ngapuhi) ko e tokotaha ‘aati fakaonopooni pea mo e asenita ke fakaakeake ‘a e Maori aute. Na’a ne fakakakato ‘ene mata’itohi BA ‘i he ako Maori pea mo e ako ki he Mitia pea mo e Honours ‘i he ‘Aati Momoiiki ‘i he ‘Univesiti ‘o ‘Aokalani. ‘I he 2013, na’a ne fakahoko ‘a e fakafetongi ‘i he ‘Univesiti ‘o Hawai’i (UH) ‘aia na’a ne fuofua ako ai fekau’aki mo e Maori aute. ‘I he 2014 na’a ne kau he kau folau ‘i he Hokule’a mei ‘Aokalani ki he Golden Bay. Ko ia na’a ne ma’u ‘a e sikolasipi Maori Battalion VC pea mo e pale ‘a Sir Hugh Kawharu ‘aia na’e malava ai ‘ene hu ki he ako ‘a e ngaahi tanaki Misiume Fakamanatu ki he Tau

‘a ‘Aokalani. Na’a ne foki ki he UH, ‘i he sikolasipi tokoni, ‘aia na’a ne ako ai mei he kau taki ‘oku nau puke ‘a e ngaahi ‘ilo. ‘I he ‘Okatopa 2018, na’a ne fakakakato ‘a e folau tahi loloto mei Norfolk Island ki Tamaki Makaurau. Ne fakakakato ‘e Nikau ‘ene Masters ‘i he Fakatupu Fakahoko ‘i he ‘Apiako ‘Aati Toihoukura. ‘I he ta’u ni na’e faka’ali’ali ‘a Nikau ‘i he Fea ‘Aati ‘a ‘Aokalani, Te Uru Contermporary Gallery, Millers O’Brien Gallery. ‘Oku ne lolotonga ‘i he faka’ali’ali ‘e tolu ‘i Aotearoa Nu’usila: Native Voices at Tairawhiti Museum, Te Rangi Haupapa: a Woven History at Tauranga Art Gallery and Takiri: An Unfurling at the New Zealand Maritime Museum. Vaimaila Urale Vaimaila Urale (fanau’i. Fagamalo, Ha’amoa 1972 nofo mo ngaue ‘i ‘Aokalani, Aotearoa New Zealand) kuo fakatupu ‘a founga ‘aati makehe ‘aia ‘oku to’o mei he tukufakaholo Ha’amoa, ngaahi ‘elemeniti ‘oku fakaha mai fakafou ‘i he mitia tisitolo pea mo e ‘aati fakasosiale ‘o e ‘aho ni. ‘O kau ai ‘a e ngaahi ‘imisi komipiuta ‘oku fakaha mai ai ko e ASCII, na’e fekumi ‘a Urale ki he tisitolo faka’ilonga ‘aia ‘oku ne fakakau ‘a e komipiuta faka’univeesi kipooti mo hono ngaahi faka’ilonga / \ ko e kohi fakafoki mo e kimu’a pea pehe foki ki he faka’ilonga fakafika ko e < > si’i hifo mo e lahi hake. Ko hono ngaue’aki ‘o e founga ni kuo ne tisaini ai ‘a e tatatau, paaki sikulini, makafakamanatu pea pehe ki he ngaahi fakatata lalahi ki he kakai. Ko Urale na’e ‘osi mai mo e BA ‘i he ‘Aati Mamata mi he ‘Univesiti’o ‘Aokalani mo e Tekinolosia (AUT) 2010 pea ne ma’u ‘a e Taki ‘i he Ako ‘a e pale ki he ‘Aati Mamata. Ko ‘ene founga ngaue faka’aati ‘oku ‘iai ‘a e tokanga ‘i he ngaue fakataha pea mo e kau mai ‘a e kakai. ‘Oku ne ‘iloa foki koe’uhi ko’ene kau ‘i he ‘aati tatanaki D.A.N.C.E ‘aia ko e ‘aati kalapu pea mo’ene kau mo e Whau ‘aati katoanga ‘i ‘Aokalani. Ko ‘ene ngaue kuo faka’ali’ali fakafonua ‘i he Dowse Art Museum pea mo Mangere Arts Centre – Nga Tohu o Uenuku, pea pehe foki ki tu’apule’anga ‘i SOMArts, San Francisco, Para Site, Hong Kong, Fei Contemporary Art Center, China and Blak Dot Gallery, Australia. 164

165

Para Site is Hong Kong’s leading contemporary art centre and one of the oldest and most active independent art institutions in Asia. It produces exhibitions, publications, discursive, and educational projects aimed at forging a critical understanding of local and international phenomena in art and society. Para Site藝術空間為香港首屈一指的當代藝術中心，亦是亞洲歷史最悠久、最活躍的獨立藝術機構之一。成立宗旨在透過展覽、出版刊物及教育項目等活動，促進在地與國際間

的對話，希冀打造一個對當代藝術、社會現象提出批判性論述及理解的平台。

Ko e Para Site ko e ‘aati senita takimu’a ‘o e ‘aho ni ‘o Hong Kong pea ko e taha ‘o e fale ‘aati motu’a taha pea mo longo mo’ui pea fakalele pe ‘iate kinautolu ‘i ‘Esia. ‘Oku ne fakahoko ‘a e ngaahi faka’ali’ali, paaki e ngaahi tohi, talanoa’i ‘a e ngaahi kaveinga, pea mo e ngaahi poloseki ako ‘oku fakataumu’a ki hono fakamamafa ‘a e matu’aki mahino’i ‘o e fakafonua mo e fakatu’apule’anga ‘o e tu’unga ‘o e ‘aati mo e sosaieti. Tunakaimanu Fielakepa, the Dowager Lady Fielakepa Photo by Kathrin Simon Tunakaimanu Fielakepa太夫人攝影：Kathrin Simon Tunakaimanu Fielakepa, ko e ‘Eiki Uitou Lady Fielakepa, Faitaa’i ‘e Kathrin Simon

166

Para Site Art Space is financially supported by the Art Development Matching Grants Scheme of the Hong Kong Special Administrative Region Para Site藝術空間獲香港特別行政區政府

「藝術發展配對資助計劃」的資助

Ko e feitu’u fai’anga ‘aati ‘a e Para Site ‘oku tokoni’i fakapa’anga ‘e he Ngaahi Tokoni ki Fakalakalakai Fakahoa ‘o e ‘Aati Polokalama ‘o e Kautaha Fakavahe Makehe ‘a Hong Kong. –––––––––––––––––––––––––––––––– The content of these activities do not reflect the views of the Government of the Hong Kong Special Administrative Region 活動內容並不反映香港特別行政區政府的意見

Ko e ngaahi me’a kotope ‘oku fakahoko ko’eni ‘oku ‘ikai kene hanga ‘o e fakaho’ata mai ‘a e vakai ‘o e Pule’anga Fakavahe Makehe ‘o Hong Kong.

Exhibition Coordination 展覽協調 Fanny Chan 陳趣源 Fokotu’utu’u e Faka’ali’ali: Fanny Chan

Koloa: Women, Art, and Technology was launched as a collaboration with the Langafonua ’a Fafine women’s art center, Nuku’alofa, August 16 2019.

Exhibition Design 展覽空間設計 Wkshps Tisaini ‘o e Faka’ali’ali Wkshps

「 Koloa：女性、藝術與科技」與努庫

阿洛法 Langafonua ’a Fafine女性藝術中心於 2019年 8月 16日正式

Graphic Design 平面設計 Wkshps Tisaini ‘o e fakatata Wkhps

聯合展開。

Koloa: Fafine, ‘Aati mo e Tekinolosia na’e kamata’i ‘i he ngaue fakataha mo e Langafonua ‘a Fafine ko e senita ‘aati ‘a e kakai fefine, Nuku’alofa, ‘Aokosi 16,2019.

Co-curated by: Cosmin Costinaş & Vivian Ziherl 康喆明、Vivian Ziherl合作策劃 Tokoni ki hono tauhi mo tanaki ‘e: Cosmin Costinas & Vivian Ziherl

––––––––––––––––––––––––––– With additional works by: Tanya Edwards, Nikau Hindin and Vaimaila Urale 由 Tanya Edwards、Nikau Hindin 及 Vaimaila Urale提供額外作品 Mo e ngaahi ngaue tanaki mai ‘e: Tanya Edwards, Nikau Hindin and Vaimaila Urale

Para Site and the curators would like to extend our profound gratitude to the artists, lenders, collaborators, and individuals who provided crucial support and research to the project:

169

All members of the Langafonua ’a Fafine organization, and women’s groups involved in devel oping new works for the project. Alecs Aleamotuá, Nukumovaha’i Aleamotuá, Tanya Edwards, Ruha Fifita, Inti Guerrero, Jason Strickland / Tanoa Dateline Hotel, Ruth McDougal, and Benjamin Work.

Para Site藝術空間及展覽策展人

謹此向本展覽所有參展藝術家、借展人及機構、貢獻者以及重要支持者致以最深謝意：

Langafonua ’a Fafine 中心所

有成員、編織物出借人，以及所有參

與製作展品的女性團體，以及 Alecs Aleamotuá、Nukumovaha’i Aleamotuá、Tanya Edwards、 Ruha Fifita、Inti Guerrero、 Jason Strickland / Tanoa Dateline Hotel、Ruth McDougal及 Benjamin Work。

Ko e Para Site mo kinautolu ‘Oku tanaki mo tauhi ‘a e ngaahi ‘aati ‘oku nau faka’amu ke fakaa’u atu ‘enau matu’aki fakamalo lahi ki he kau ‘aati, kau tokoni, naahi ngaue fakataha pea mo kinautolu fakafo’ituitui na’a nau ‘omai ‘a e tokoni mahu’inga pea mo e ngaahi fekumi ki he poloseki: Ko e memipa kotoa ‘o e Kautaha Langafonua ‘a Fafine pea mo e kulupu ‘a e kakai fefine ‘aia na’a nau kau ki he langa ‘a e ngaahi ngaue fo’ou ki he poloseki. Alecs Alemotu’a, Nukumovaha’i Aleamotu’a, Tanya Edwards, Ruha Fifita, Inti Guerrero, Jason Strickland / Tanoa Dateline Hotel, Ruth McDougal, and Benjamin Work.

Koloa: Women, Art, and Technology 「 Koloa：女性、藝術與科技」 Koloa: Fafine, ‘Aati mo e Tekinolosia Curated by: Tunakaimanu Fielakepa, the Dowager Lady Fielakepa Tunakaimanu Fielakepa太夫人策劃 Na’e Tauhi mo Tanaki ‘e: Tunakaimanu Fielakepa. Ko e ‘Eiki Uitou Lady Fielakepa Co-curated by: Cosmin Costinaş & Vivian Ziherl 康喆明、Vivian Ziherl合作策劃 Tokoni ki hono tauhi mo tanaki ‘e: Cosmin Costinas & Vivian Ziherl With additional works by: Tanya Edwards, Nikau Hindin and Vaimaila Urale 由 Tanya Edwards、Nikau Hindin 及 Vaimaila Urale提供額外作品 Mo e ngaahi ngaue tanaki mai ‘e: Tanya Edwards, Nikau Hindin and Vaimaila Urale

Exhibition Coordination 展覽協調 Fanny Chan 陳趣源 Fokotu’utu’u e Faka’ali’ali: Fanny Chan Exhibition Design 展覽空間設計 Wkshps Tisaini ‘o e Faka’ali’ali Wkshps Graphic Design 平面設計 Wkshps Tisaini ‘o e fakatata Wkhps

TEAM 團隊 TIMI NGAUE ––––––––––––––––––––– Cosmin Costinaş 康喆明 Executive Director/ Curator 執行總監 /策展人 Talēkita Pule/Pule Fakakatoa

Joyce Mak 麥加縈 Project Manager/ Assistant Curator 項目經理 /助理策展人 Pule ki he Poloseki Tokoni Pule ki he tokanga’i ‘o e ‘aati

Claire Shea 謝清 Deputy Director 副總監 Tokoni Talēkita

Chloe Wong 黃寶儀 Development Manager 發展經理 Pule ki he ngaahi Fakalakalaka

Qu Chang 瞿暢 Curator 策展人 Pule ki he Tokanga’i ‘o e ‘aati Anqi Li 李安琪

Curator of Education and Public Programmes 教育與公共項目策展人

Pule ki he Tafa’aki Ako mo e Ngaahi Polokalama ki he Kakai Fanny Chan 陳趣源 Project Manager/ Assistant Curator 項目經理 /助理策展人 Pule ki he Poloseki/ Tokoni Pule ki he tokanag’i ‘o e ‘aati Celia Ho 何思穎 Project Manager/ Assistant Curator 項目經理 /助理策展人 Pule ki he Poloseki/ Tokoni Pule ki he tokanga’i ‘o e ‘aati 171

Jason Chen 陳子岳

Communications Manager 傳訊經理 Pule ki he Fetu’utaki

Jenny Tam 譚蔚廷 Gallery Manager 畫廊經理 Pule ‘o e Fale ‘Aati Kristen Lai 黎瑩瑩 Gallery Coordinator 畫廊助理 Tokoni ki he Fale ‘Aati

BOARD 理事會 POATE ––––––––––––––––––––– Alan Lau Ka Ming

GLOBAL COUNCIL 環球協會 KOSILIO FAKAMAMANI LAHI ––––––––––––––––––––– Shane Akeroyd Jehan Chu & Nydia Zhang Inna & Tucker Highfield Vanessa Ying Xu Virginia Yee

劉家明

Chair 主席 Sea Jehan Pei Chung Chu 朱沛宗

Co-Vice Chair 副主席 Tokoni Sea Mimi Chun Mei-Lor 秦美娜

Co-Vice Chair 副主席 Tokoni Sea

FOUNDING FRIENDS 始創好友 NGAAHI KAUME’A NA’A NAU FOKOTU’U ––––––––––––––––––––– Mimi Brown and Alp Ercil Burger Collection, Hong Kong Stephen Cheng CMBB Cultural Organization Patricia Crockett David Zwirner Gallery A. Gaw Mimi and Chris Gradel IEs Collection Alan Lau Wendy Lee James Lie Edouard and Lorraine Malingue Stefan Rihs Nick and Melanie Simunovic SUNPRIDE FOUNDATION Honus Tandijono

Bonnie Chan Woo Tak Chi 胡陳德姿 Treasurer 會計 Tauhi Pa’anga Sara Wong Chi Hang 黃志恒

Secretary 書記 Sekelitali Nick Adamus Shane Akeroyd Kurt Chan Yuk Keung 陳育強

Alan Y Lo 羅揚傑 Mina Park

172

FRIENDS 好友 NGAAHI KAUME’A ––––––––––––––––––––– Nick and Cordula Adamus-Voegtle Christine and James Boyle Rachel Catanach and David Boyce Lawrence Chu Jane DeBevoise William Lim, CL3 Dr. Ingrid Lok Elaine W. Ng and Fabio Rossi Kiri Sinclair Andres Vejarano & Kee Foong Bonnie & Darrin Woo Yan Du

COMMUNICATIONS PARTNER 傳訊夥伴 NGAAHI PAATINA FETU’UTAKI –––––––––––––––––––––

G/F & 22/F Wing Wah Industrial Building 677 King’s Road Quarry Bay Hong Kong 香港鰂魚涌英皇道 677號

榮華工業大廈地舖及 22樓