We awoke to the merry thunder of rain and more rain. We breakfasted listening to it hammering down onto the roof. Paul did not mind too much, as he is trying to spend time organising his photographs. I didn't really mind because there are plenty of books here, so I am reading some of them. It was good to relax and do nothing, after the frantic way we have been rushing around. But I would like the opportunity to see more of Samoa; I can sit and read in any old place.
By mid-morning, the rain had gone off, and we were able to go out. I wanted to see the Museum of Samoa, so we went there.
It is hard to describe the town of Apia, which is a mixture of smart new buildings, decaying old buildings, expensive houses, and old shacks. Some of what are clearly important government buildings obviously have no money to spend - like the Museum.
It is old and I don't suppose it was originally designed as a museum. There are only four rooms, and not that many exhibits. But great care has been taken in the arrangement of the artefacts, and there was great pride shown in the culture and the history. The rooms were comfortably air-conditioned, and there were some excellent information panels on the walls. We learned a lot on our visit. I had not previously realised that archeology on Samoa has revealed human habitation there from at least 800 BC, and there are cases of stone axes and ancient pottery. First contact with Europeans might not have been until whalers arrived in the 1820s.
We spent some time looking at the room that described Samoan culture. There was a good display on the importance in society of tattooing. I suppose I was already familiar with that idea from reading Arthur Grimble's 'Pattern of Islands', but was intrigued to see the bone combs which he describes being hammered into the skin. That was in the Gilbert and Ellis Islands of course; I can't remember what they are now called - one half is Tuvalu I think. Anyway, the process seems identical, though the tattoos differ in style. I didn't photograph the bone combs, they were in a glass case with lots of reflections. The comb itself was small, only 3 or 4 cm in length, and less than a cm in width, and expertly cut into small sharp pointed teeth. This was fastened at one end to a piece of wood, at right angles to it. It was placed on the skin and then hammered in, and the resulting holes filled with ink made from soot. Combs of various sizes are used to build up the patterns. Arthur Grimble describes the excruciating pain of it, and how he wasn't supposed to moan or cry with the pain, but various young women who were accompanying him had to do the crying and screaming for him. The museum had the words of various songs which the witnesses in Samoa were supposed to sing, presumably also to drown out any moans or cries.
There were some very artistic examples of bark cloth
as well as a variety of woven mats. The making of bark cloth is a long and laborious process, involving much soaking and bashing by the women, and the joining together of smaller pieces. Then it can be printed, which is done using carved wood patterns.
There were various carved cups and bowls, all behind a perspex screen which made photography difficult, but we learned all about the kava ceremony. There were also some excellent examples of weapons
I imagine some of them would do a great deal of harm, when wielded in anger.
An interesting display on fishing revealed this
I know it looks more like an elegant lampshade, but it is, in fact, a fish trap. It is made from string hand-made from twisted fibres. It is hard to imagine the time that would be needed for twisting the fibre to make the string, let alone the artistry and skill required to make the trap out of it.
In the same display was a shark rattle
By contrast, not a lot of skill or artistry was needed in making this. But an unimaginable courage was required to use it. You went out in a canoe, which might well have been smaller than the shark, and used the rattle to attract a one - under water, the rattle can sound like the struggles and twisting of an injured fish. When the shark arrives, you slip a noose over its head so it can't escape, then kill it by bashing it over the head with a club. I know not all sharks are Jaws, but the whole thing sounds incredibly dangerous, with, I would have thought, more opportunities for the fisherman to end up in the water with the angry shark than for the shark to be successfully bashed and killed.
There was an interesting room on art in the South Pacific, with some wonderful carvings. This one from Papua New Guinea particularly caught my eye.
So did this sand picture from New Caledonia
There was a display on the history of Samoa, and we realised how deficient our previous knowledge had been. I even did a course at University on Colonial History, and I know it was a long time ago, but I can't remember anything about the colonial history of the South Pacific. I hadn't realised, for instance, that Samoa was a German colony from 1900 until 1914, when the New Zealanders took it over. I realised my South Pacific knowledge has largely rested on 'Pattern of Islands', 'The Moon and Sixpence' and stories about the life of Gauguin - and the odd travel brochure. And of course I knew the country was very keen on rugby. Well, we are both a bit better informed now, though I think I have a lot more to find out.
We were a bit tired after the museum, so we returned to the hotel where Paul wanted to concentrate on getting his photos organised once and for all. I am hoping that the current dry weather lasts for two more days so we get a chance for some more sightseeing, and some visits to a beach. I'm not hoping for any sun, none is due until Friday and we will be on our way back to the airport by then. The temperature is warm so I am in my summer clothes at last, but I'd just prefer not to get drenched every time I go out.
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