Christian missionaries introduced fabric quilt-making to the Cook Islands more than one hundred years ago. Within a short time, Cook Island women turned the tivaevae (needlework, specifically the making of patchwork quilts by hand) into an art form that has become an integral part of local life and culture. In this lavishly illustrated book, Island women talk about their tivaevae--how they are sewn, the ideas that go into each design, and the future of tivaevae.

4e de couv.: The small, scattered islands of the Cook group - the only islands in the Pacific to bear the name of the famous eighteenth century navigator - occupy a central position in both Pacific geography and Polynesian art. Unfortunately, little of the material culture which Captain Cook might have seen in these islands survives today. Yet those artects which are preserved in museums clearly indicate the exisstence prior to European contact of a rich artistic tradition and a remarkable level of crafsmanship in a variety of materials: stone, shell, ivory, wood, leaf and feathers. The peak of Cook Islands art is woodcarving, characterised by a sophisticated repertoire of sculptural forms, elaborate carved and painted decoration and superb finish. The author describes the range and diversity of Cook Islands art, including both ceremonial and functional objects. The materials employed, the processes of manufacture and the function of the objects within the context of traditional island society are outlined. Today Cook Islands life is changing rapidly, but the skills of the past are still alive, needing only a little encouragement to flourish as before.

Quilts generically known as tivaevae have been produced by women in the Cook Islands, the Hawaiian Islands, the Society Islands and elsewhere in Eastern Polynesia since the late 19th century, where they were a substitute for bark-cloth but also used in ways deeply invested in the new context of Christian domesticity. In the Cook Islands, quilts are stitched to be given away at funerals, at weddings and other events marking stages of loss and severance in the life of a person. Although often kept for years in trunks far away from the homeland as a result of the migrant diaspora, the quilt and its threads connect those who have been parted. Written from both an anthropological and an artistic perspective, this book examines the visual and cultural characteristics that have made the Polynesian quilt one of the most stunning and captivating art-forms to emerge from the Pacific. It also offers a glimpse into the role played by fabric in the history of contact with Europeans - although both traditions shared a common preoccupation with clothing, their understanding could not have been more different. Illustrated in colour throughout, with many specially commissioned photographs, the book will provide not only a unique insight into a culturally rich tradition but a visual feast to inspire both the quilt enthusiast and those interested in the broader field of fabric and textile design

Cook Islanders, Cook Islands residents, artists, choreographers, performers and scholars write about the vibrancy of local dance, drumming, fashion, painting, quilting, carving, weaving, tapa making, theatre, and other creative endeavours. The book’s 21 chapters provide compelling evidence of Cook Islands visual and performance art as essentially collaborative endeavours, often inspired by the vision of ta‘unga or experts, but elaborated through the collective improvisation of artists or performers who at the same time observe a highly complex, delicate and critical sense for ensemble. Significantly, improvisation and innovation may come from any member of the group ensuring that Cook Islands art retains a strong ‘grass-roots’ enthusiasm, while undergoing constant reinvention and renewal.

4e de couv.: Therese Mangos and John Utanga trace the history and practice of tattooing (tātatau) in the Cook Islands through the ancient oral traditions of its people, reports of often repressive early Western visitors and rich archival material. More than a survey of times gone by, Patterns of the Past also looks at the renaissance of this art form through the eyes of some its most important contemporary tātatau artists. Supplemented with over 250 contemporary and historical images of traditional Cook Islands design and heritage art, this is a vivid, beautiful and important work. It provides the first comprehensive examination of Cook Islands tattoo and celebrates how tātatau is impacting on a generation searching for symbols of its own identity.

4e de couv.: Considered one of the most significant and comprehensive assemblages of Polynesian works, the Blackburn Collection of Polynesian Art contains objects from nearly every area of Polynesia from Hawaii to Rapa Nui (Easter Island) to Aotearoa (New Zealand), and the many islands in between. The traditional forms are both ceremonial and functional from delicate ivory ornaments and finely textured barkcloth to formidable weaponry and imposing sculpture in coral, wood, and stone. Adrienne L. Kaeppler sets the Blackburn Collection of Polynesian Art the larger context of Polynesian cultural and artistic traditions in her illustrated introduction and suite of essays featuring significant objects from the collection. Selected paintings, drawings, engravings, photographs, documents, and medals related to Polynesia provide additional cultural and historical context. Following the essay is a fully illustrated catalog of the collection organized by island area. In Polynesia, the visual arts and associated objects serve as physical representations of the underlying aesthetic, social, and religious aspects of island cultures. In some cases, the eloquent objects here may be all that remain of once-vibrant traditions.

"In this beautiful book, Cook Island women talk about their tivaevae - how tivaevae are sewn, the ideas that go into each design, and the tivavae's future ..."--Back cover.

Collective Creativity offers an analysis of the explosion of artistic creativity currently taking place on the South Pacific island of Rarotonga. By exploring the construction of this art-world through the ways in which creativity and innovation are linked to social structures and social networks, this book investigates the social aspects of making fine art in order to present a ’collective’ theory of creativity. With a close examination of tourism, galleries and, of course, the artists themselves, Katherine Giuffre presents a detailed picture of a complex and multi-faceted community through the words of the art-world participants themselves. Theoretically sophisticated, yet grounded with rich empirical data, this book will appeal not only to anthropologists with an interest in the South Pacific, but also to scholars concerned with questions of ethnicity, creativity, globalization and network analysis.