Rapa Nui Journal Volume 30 Issue 2

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https://hdl.handle.net/10524/75817

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    Cover
    (2016-10-01)
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    Ka Oho Mai Ra Koe
    (2016-10-01) Tepano, Tomas
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    Remembering Georgia Lee
    (2016-10-01) Bahn, Paul G.,; Chamberlain,Mike; Horley,Paul; Hyder, William; Liller,William; McCall,Grant; Oliver,Mark; Sanger,Kay Kenady; Kurze,Joan Seaver
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    News
    (2016-10-01) Padgett, Antoinette
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    Correspondence between Thor Heyerdahl and Max Puelma Bunster concerning Rapanui Manuscript E
    (2016-10-01) Solsvik, Reidar
    The paper presents, for the first time, various photographs of Rapanui Manuscript E, discovered in the Archives of the Kon-Tiki Museum in the correspondence between Thor Heyerdahl and Max Puelma Bunster. Despite some of these images being out of focus, they show that the manuscript does not always follow the pagination known from Barthel’s 1978 book “The Eighth Land: The Polynesian Discovery and Settlement of Easter Island.” One of the pages does not appear at all in Barthel’s transcription. Two pages with clearly distinguishable rongorongo signs can be extremely important for the future studies of Rapanui script.
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    Designs carved on the Rapa Nui stone pillows ngarua
    (2016-10-01) Ramírez-Aliaga, José Miguel
    The stone pillows mentioned by the first European visitors to Rapa Nui are known from ethnological and archaeological contexts. Many of these artifacts are embellished with carvings, in particular with designs of komari, a stylized depiction of female genitalia. On several pillow stones, the komari is set in frame of a more complex motif depicting a triangular area covered with parallel hatching. The very same carving appears in a house of ‘Ōrongo and is known from historical documentation to represent an abdominal tattoo. It may be that stone pillows adorned with this type of carving were intended to convey a notion of sleeping on a woman’s lap. Lacking ethnographic explanations, those engravings are both the material expression of a rich symbolic world and the importance of dreams.
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    Ana O Keke and Ana More Mata Puku – The neru caves of Easter Island
    (2016-10-01) Steiner, Hartwig-E
    The ethnology of Easter Island includes a kind of vestal ritual consisting of the “whitening” of selected young people called neru, both female and male. The two places that played a major role in this ritual were collectively called Ana Hue Neru: the cave Ana O Keke for the seclusion of young girls and the cave Ana More Mata Puku for the seclusion of young boys. Both caves are located on a precipice of Poike, at the northeast part of the island. According to oral tradition, the neru were kept in seclusion, in the shadow of a cave, for the time required to reach a fair complexion. The only people allowed to visit them were their fathers who brought them food. The importance of the neru ritual is reflected by numerous petroglyphs decorating these caves. This paper presents the detailed description and photographic record of both neru caves made by the author during a series of visits
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    Terevaka Archaeological Outreach (TAO) 2016 field report: Exploring a new dimension
    (2016-10-01) Shepardson,Britton L.; Atan,Juan Luis; Chiara,Catie; Dillon,Claire; Francis, Chris; Droppelmann, Gonzalo; Paoa,Mariana Homberger; Rojas,ihi‘ua Lagos; Sanchez,Angélica; Hereveri,Lizbeth Soto; Hereveri,Motirohiva Soto; Atan,Haukoa Tuki; Villacres,Nicole; Tuki,Grace Villanueva
    Since 2003, Terevaka Archaeological Outreach (TAO) has provided educational opportunities for local high school students within the Rapa Nui community. The program was created in an effort to restructure the traditional priorities of international scientific expeditions to the island, and since 2003 the three primary goals of TAO have remained the same: (1) To offer experiential learning opportunities specific to cultural and natural resources that surround the local community; (2) To promote awareness and expertise in conservation measures and sustainable development; and (3) To document and study both cultural and natural phenomena of the past and today.
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    The search for Thomson’s “lost platform”, Ahu Rikiriki
    (2016-10-01) Horley, Paul
    The paper presents an analysis of historical records and archival materials about Ahu Rikiriki, first mentioned by Thomson. The ahu was described as located on the southern cliffs of Rano Kau. In the 20th century, the site was searched for without success at the vertical cliffs below the Karikari, in the vicinity of ‘Ōrongo, suggesting that Ahu Rikiriki may have fallen into the sea in the late 19th or early 20th century. Other inaccessible places, such as the cliffs of Pōike were also mentioned as a possible location of Ahu Rikiriki. This study aimed to find the place at the Rano Kau caldera that would produce the best possible match with Thomson’s description of the ahu. The entire southern rim of Rano Kau was studied, both from the cliff top and from the sea. In one particular place, in the area formed by a large landslide, a patch of densely-packed stones was found in the middle of the cliffs, which may possibly represent remains of fill of a destroyed ahu. In the shallow surf under the site, one can see numerous ochre-colored boulders reminiscent of Rano Raraku tuff, standing out on the background of greyish stones that are common to the place. The dimensions of these ochre-colored boulders are within the ranges expected for moai.
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    Rapa Nui rock art in context: Steps toward an understanding of the inscribed landscape inside the caldera of Rano Kau Volcano
    (2016-10-01) McCoy, Patrick C.
    One of the most important and most studied rock art locales on Rapa Nui (Easter Island) is the ceremonial complex of ‘Orongo, the center of a uniquely Rapanui festival of the birdman and adolescent initiation rites, located on the southwest rim of the ~1.6km wide, 200m deep caldera of Rano Kau volcano. Some of the other rock art sites on the rim and in the interior of the caldera have also been studied, but the published data on these sites is limited primarily to drawings of selected motifs. Little or no information is currently available on the geographic and topographic contexts of the motifs, the formal and functional characteristics of the sites themselves, and their place in the cultural landscape. Fifteen rock art sites located in the interior of the caldera are described and analyzed as the first step in working toward an understanding of the making of the inscribed landscape of the caldera and its relationship to ‘Orongo and other places on Rano Kau. The analysis shows that some of the rock art, which includes both petroglyphs and rare pictographs, closely resembles that found at ‘Orongo, hinting at the possibility of a previously unknown ceremonial center similar to ‘Orongo inside the caldera.
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    Title page and table of contents
    (2016-10-01)
    title page and table of contents