"Art and Divinity in Polynesia, 1760 -1860" now at the Quai Branly Museum is the largest exhibition from major European sources to be presented on the theme of Polynesian art. Divine or sacred works are a major theme in the show. The notion of something sacred being set apart as "kapu" or taboo continues to influence Polynesians today. The concept of taboo, was introduced into the English language through Captain Cook's journals, and has slowly taken on a western meaning over the years. First used in early studies of comparative religion, "taboo" was later adopted by Freud and other psychoanalysts, and came to suggest something forbidden. The original Polynesian meaning concerned with protecting others from the strong force or "mana" by setting apart or containing this power, has been lost in translation.
"Epic Tale of Hi'iakaikapoliopele"
Many important 20th century artists such as Picasso and Henry Moore have been inspired by the powerful forms of Polynesian god sculptures. A monumental Hawaiian temple figure of Ku, the god of war, carved in the flamboyant Kona style greets visitors to this astonishing show. Polynesians perceived their gods as capable of bringing both blessings and destruction. Many rituals were about respecting this awesome power. Four major gods were recognized across the region - Kane, Lono, Kanaloa and Ku; gods of the forest, agriculture, the sea and war. Beneath them was a hierarchy of hundreds of different gods and spirits. These gods influenced daily life and could make themselves present in plants, animals, objects or people, such as the high-ranking chiefs descended from them.
In the Hawaiian islands, to create the superb feather capes and feathered god statues, bird-catchers would trek high-up into the mountains to set traps with the sticky sap from Olu or Breadfruit trees. They would camp and wait patiently for their prey to become ensnared in the glue-like substance, then carefully pluck just two feathers before releasing each rare bird. Runners would carry the precious red and yellow feathers back to the village to skilled weavers who would work them into woven'Ie'ie vine netting to form patterns
Feathered capes worn by chiefs, ivory ornaments and fish hooks, wooden weapons encrusted with shark's teeth and decorated tapa cloth are amongst the fascinating 250 objects on view. These intriguing pieces termed "artificial curiosities" during the Victorian period were collected by European explorers, missionaries, whalers and colonists during their first contacts with Polynesians during the 18th and 19th centuries.
The name Polynesia comes from the Greek words polys and nesos which translate as "many islands." Indeed, the famous "Polynesian Triangle" is an expanse of the Pacific Ocean that stretches from the Hawaiian islands at the top of the triangle in opposite directions towards Easter Island and New Zealand. Long before the arrival of European voyagers, Polynesian navigators had already explored this vast ocean and discovered hundreds of islands. They adapted to different environments and created valuable objects with the materials they encountered. The refined beauty of these objects suggest a sophisticated society with master craftsmen working wonders with simple tools made of stone, bone and shell. Although many of these works were shown in the British Museum exhibit entitled "Pacific Encounters" which was also curated by Steven Hooper, the Quai Branly Museum adds another dimension to the exhibition with cultural manifestations intended to bring the diverse cultures of Polynesia to life. Museum director Stephane Martin has described Quai Branly's role as one of mediation between Europeans and the non-Western world; qualifying the museum's ultimate goal as a "dialogue of cultures."
Halau Hula O Manoa
On July 4th resounding taps of the Ipu-heke, a double gourd drum, echoed through the garden complex surrounding the Branly Museum. The chants, hula and myths of Hawai'i as presented by Halau Hula O Manoa and French storyteller Fabienne Thiéry created a link between works in the exhibition and Hawaiian culture as a living tradition passed down through the ages. The ancient dances that Captain Vancouver described as "graceful and elegant" in 1794 when he witnessed a performance in three parts which involved at least six hundred persons, mesmerized a large audience in the middle of Paris.
An excerpt from "Danse Sur le Volcan" brought the saga of Pele and Hi'iaka to life, drawing on material from the recently published "Epic Tale of Hi'iakaikapoliopele"(Awaiaulu Press) in the Hawaiian language with a second volume in English translated by Puakea Nogelmeier. This 500 page signed and numbered edition is one of 3oo hand bound sets to be placed in institutions in the U.S. and abroad. A gift to the museum from the Paris-based France-Hawai'i Association, it is on view in the museum's Jacques Kerchache Reading Room. Beautifully illustrated by the artist Solomon Enos, the book relates the adventures of Hi'iaka, the volcano goddess youngest sister on her journey to bring the handsome prince Lohiau back to Pele on Hawai'I island. Puakea Nogelmeier explained the significance of publishing this book, one of the first major Hawaiian language editions in over a century, saying "This work presents to an international audience the important resources available in the Hawaiian language in regard to history and culture. Hawaiian writings from the 19th and early 20th century, equal to over a million typescript pages, constitute a larger body of writings than was produced by the rest of the Pacific Islands combined, yet 99% have lain untranslated for a century or more. This book, drawn from the archival source of Hawaiian language newspapers, was created as an icon to signify the value and importance of that historical knowledge."
Art And divinity In Polynesia, 1760-1860 is on view at the Quai Branly Museum through September 14, 2008. Open Tues. thru Sun. from 11 a.m. - 7p.m. Open until 9p.m. on weekends. Closed Mondays.
This summer an initiation to Haka workshop will continue through August 23 in the outdoor amphitheatre.Tel. 01 56 61 70 00 for further information. http://www.quaibranly.fr
Danse Sur le Volcan September 30, 2008 at 7:30p.m. at Auditorium St. Germain Paris 75006
"Art and Divinity in Polynesia, 1760 -1860" now at the Quai Branly Museum is the largest exhibition from major European sources to be presented on the theme of Polynesian art. Divine or sacred works are a major theme in the show. The notion of something sacred being set apart as "kapu" or taboo continues to influence Polynesians today. The concept of taboo, was introduced into the English language through Captain Cook's journals, and has slowly taken on a western meaning over the years. First used in early studies of comparative religion, "taboo" was later adopted by Freud and other psychoanalysts, and came to suggest something forbidden. The original Polynesian meaning concerned with protecting others from the strong force or "mana" by setting apart or containing this power, has been lost in translation.
