heathen practice."
The tattooing artist (ta'unga ta tatau) was a professional who had learned the art from established experts. He was well fed during the period of work and given a feast and presents of food and other goods when the operation was concluded. The relatives of the person tattooed helped to provide the food and presents. More care was devoted to the tattooing of chiefs, because of their better social and economic rating. In Aitutaki, when I asked if anyone was too poor to be tattooed (70, p. 363), I was told that "There was no man who did not have relatives."
The motifs and patterns in tattooing are held by the natives to have derived from wood carving (pana). However, it is probable that some of the art motifs were worked out in freehand on bark cloth. It seems natural that art motifs should have been worked out on inanimate material such as wood and cloth before they were accepted as pleasing and transferred to sensitive flesh. There seems little doubt that some of the more elaborate Marquesan tattooing designs were worked out originally on wooden bowls and that the Maori double spiral and scroll were done on wooden figures before they were accepted as suitable for tattooing designs. In the Cook Islands, the full tattooing was not recorded by the early missionaries and others who had the opportunity of seeing it. At this late day we can only record the few motifs that survived on individuals or in the memory of the old people who saw them. There is no information as regards the tattooing details in Atiu, Mauke, and Mitiaro; but a few motifs from Aitutaki, Mangaia, and Rarotonga are herein recorded.
Gudgeon (36, p. 217) recorded four motifs in 1905. He stated that each canoe that came from the earlier home of Havaiki was carved on the bow with a distinctive pattern which was adopted by those who came in the canoe as a tattooing motif to distinguish them from other tribes. He states that the continuous chevron motif (fig. 70, a) was introduced by Te Muna-korero and tarmed pa-maunga in memory of a mountain range in the homeland of Havaiki. The pandanus flower motif (fig. 70, f), he attributed to Kaki, who came through the Vaimotu passage in the Katopa-'enua canoe and landed at Taravao. The komua motif (fig. 70, g) is attributed to Irakau who entered by the Taketake passage on the Ui-tariao canoe. The paeko motif (fig. 70, h) was assigned to Te 'Erui-o-te-rangi and the punarua motif to Ruatapu. Five other motifs were later recorded by me (66, p. 98) from information obtained from an Aitutaki chief named Kake Maunga. The nine motifs which were recorded together later (70, pp. 364-367), are here shown in figure 70.page 130
Gudgeon does not give the parts of the body upon which the motifs were tattooed. Kake Maunga told me that a tattooed man with the manuta'i motif on the back and the papavaro motif in front, would display his tattooing at public gatherings as he turned his body to an accompanying chant:
Ie, 'uria, 'uria! Oh, turn, turn! 'Uria te manuta'i ki ta'itikura, Turn the manuta'i to one side, 'Uria te papavaro ki ta'itikura. Turn the papavaro to the other side.
Figure 70.—Tattoo motifs from Aitutaki (a-e, recorded by Te Rangi Hiroa; f-i, recorded by Gudgeon). a, papavaro: continuous chevrons on abdomen and front of thighs, sometimes back. b, parepare: on shoulder, chest, and wrist, c, ruru: on wrists and forearms, d, manuta'i: vertical lines running down spine and oblique pairs running upward to mid-axillary line. e, tatatao: face pattern consisting of three series of three curved lines; first series above each eyebrow resembling Maori tiwhana motif, second series from either side of nose around corner of mouth resembling Maori kawe motif, and third series on chin. f, puapua-inano (male pandanus flower), g, komua. h, paeko. i, punarua.
I obtained a number of tattooing motifs in New Zealand from a Mangaian named Taniera Tangitoru. These, recorded in 1911 (67, pp. 95, 97), are shown in figure 71, a-m. Two others (fig. 71, n, o) were later obtained in Mangaia.
The four Mangaians who came to the Internation