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Samoan Material Culture
Tattooing Motifs
Tattooing Motifs
Samoan tattooing is rectilinear. The surface covered is divided into areas with its boundaries and orthodox form of treatment. Each area is done in regular order. A number of thicker lines or bars are spaced over the back and each has its proper name. Between the bars and in other areas various forms of lines and secondary motifs are used which also have their names. The secondary motifs may be introduced into panels set in the wider dark bars or areas. It will help the study to enumerate the various secondary motifs with their names and forms.
Lines. The general name for lines is aso, whether they are used as motifs themselves or to form boundaries. When acting as boundaries of an area they receive a specific name associated with the area or their function. As a motif they are divided as in figure 329.
The term fa'aila is applied to some smaller motifs let into the dark areas formed with the au tapulu instrument in the wide bands on the back or any of the filled in parts of other areas. To define it, a rectangle is usually formed first which is enhanced in various ways and the part outside the rectangle is then filled in solid. A birth mark or a spot on the skin is termed ila. The term fa'aila has come to mean window and it is more in this sense that it is used in tattooing. A rectangle set in a dark band or dark area is compared to a window-like opening set in a dark wall. The use of the term is fairly modern. Therefore, as applied to tattooing it marks the period of greater enhancement and decoration in the craft. Where the older school had plain bands and dark areas, the younger school lightens them up by the introduction of fa'aila. The motif within the fa'aila rectangle may consist of any of the smaller motifs. If a motif is sufficiently large and striking in itself, it may be introduced into a dark area without any surrounding rectangle. The motif page 642will then show up as an untattooed part in the dark area and carry its own name.
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Figure 329.—Men's tattooing motives:
a, Aso—any single line. b, Aso moelua—two parallel lines close together. c, Aso laitiiti—small or thin lines when more than two run close together parallel. The above lines are all simple but there are two that receive modification. d, Aso fa'atala—short parallel oblique lines representing tala (thorns) are added to one side of the line with the narrow au fa'atala instrument which was made for such purposes. e, Aso tongitongi—thicker marks as dots or points make the line an aso tongitongi. Larger triangular points may be added to a line or an edge and divided into two kinds according to size. f, Fa'alaupaongo (made like the leaves of the pandanus) which give a distinct well-marked saw-tooth edge owing to the larger size of the triangles and are thus distinct from the aso tongitongi. g, Fa'asingano (made like the male pandanus flower), the triangles of which have a narrow base and longer sides and are thus likened to the long sharp petals of the flower. h, Fa'amuli'ali'ao (made like the apical whorls of the Trochus niloticus) are the very large triangles characteristic of the back of the thigh. They require space and cannot be used in embellishing smaller areas. Much confusion, however, occurs, and some artists may call small triangles fa'amuli'ali'ao. The proper distinction is that given above. i, Fa'a'upenga (made like a net). The cross-hatching of diagonal lines resembles the meshes of a net and is hence given that name. As a tattooing motive it occurs only on the punialo unit above the pubes. j, Vaetuli or vae'ali. There are short individual chevrons generally arranged as in the figure with their points facing in one way. Vae is leg, and tuli, the knee. Vaetuli is thus the knee of the leg and refers to the bend of the knee. Vae'ali is an alternative name for the same motive and means the legs of a bamboo pillow. k, Aso fa'avaetuli. If two parallel lines have the vaetuli motive placed between them, the lines are called aso fa'avaetuli. If two such sets are placed close together then the word moelua (to sleep in twos) is added to distinguish the pair. Zoomorphs are rare as regards number, but there are three that are much used in tattooing for extra decoration and enhancing spaces or panels. I, and m, Anufe (caterpillar). The caterpillar is merely a zigzag line. If short lengths are used as in l a short stroke is added at either end. Sometimes long lines are formed as in m. The caterpillar motive may be used in wide dark bands by making parallel zigzag lines and then blocking in the field to the outside of them. This forms a light caterpillar motive on a dark ground. The dark band which has its own specific name has the motive name with fa'a preceding it to denote the type of dark band. Thus, if the tafani dark band is internally enhanced with a light anufe, the band is called tafani fa'aanufe. n and o, Atualoa (centipede). The centipede is like the aso fa'atala (d) but with tala lines added to the other side as well. When bilaterally treated it becomes atualoa, the short lines representing the legs of a centipede. A single line may be used as a body (n) or a double line may represent the body (o). In the latter case, a couple of short lines are added to one or both ends to represent the head or head and tail. p, Ngongo (tern). The tern motive is commonly used as an enhancing element in panels and triangles. It is merely an M with the side limbs diverged outwards and the middle point produced. The motive may face in any direction.