The Samoan Tuiga endures as a symbol of cultural identity and Fa’a Samoa, says students
The Samoan cultural headdress called the tuiga symbolizes power or “mana,” honor and respect passed down from generation to generation, said Samoan BYU–Hawaii alumni and students, and helps them to better understand their roles in maintaining and sharing the unique Samoan way of life.
The history of tuiga
The Samoan traditional headpiece crown or ceremonial headdress, the tuiga, “represents royalty, highness and respect,” said Julia Sio, a senior majoring in communications from Si’usega and Lepea, Samoa.
“In the 19th century, not everyone had the privilege to wear the tuiga,” she said. In Samoan culture, the tuiga was solely reserved or worn by the chiefs, their daughters or sons, and could be worn at war or for food offerings. The chief’s daughter and son are identified respectively as “taupou” and “manaia.”
However, Lanor Fuatimau, an alumnus of BYUH from Alao, American Samoa, who graduated in 2013 with a bachelor’s of arts degree, said, now “anyone can wear a tuiga. It’s not just the chief’s son or daughter, but extended families and anyone who is worthy to represent our people of Samoa in any Samoan cultural events.”
Ailona Masoe, a BYUH alumna who graduated in December 2022 with a bachelor’s degree in professional studies, said she experienced being a taupou, and it was an honor to wear the tuiga during her last Culture Night in March 2022. “The tuiga, to me, represented victory, responsibilities, and identity as a Samoan woman.”
Masoe recalled the first time she wore a tuiga, and said it wasn’t easy. “It was heavy. There was a lot of work that was put in by those who helped put it on. It took me months though, after wearing it,” she added, “to realize why it took a lot of work.”
Masoe continued, “Though wearing the tuiga for the first time was not an easy task, but it was a great experience that has reminded me of my identity as a strong woman and my role in my family, country, and village.”
Fuatimau explained, “The traditional tuiga [Samoa’s cultural headdress] is made up of five parts, which includes a bark foundation, triple staff or upright framework, a nautilus shell forehead band, a bundle of red feathers and tufts of human hair.”
Based on her knowledge about tuigas that was verbally passed down to her by her grandmother, she added, “The production of the tuiga was changed drastically to chicken feathers, beads, a shaped mirror, multi-colored feathers, and synthetic hair, and the tuiga was made as a single-piece structure after the Europeans introduction of new materials into Samoa.”
Fuatimau shared, with the establishment of a central government in Samoa and the diminishing influence of the indigenous political chiefly system, she continued, the tuiga’s use as a traditional head piece was shifted to a female-oriented featured dancer adornment rather than a symbol of chiefly rank. The tuiga is still used today in ceremonial proceedings, but its use is no longer restricted to the Samoan elite.
Taalei Si’ilata, an author of Te Tapa, from the museum of New Zealand said, “Despite the changes of the creation of tuiga today, the tuiga retains its cultural significance as an adornment which functions today as an enduring symbol of cultural identity and the Samoan way, or the Fa’a Samoa.”
Making the tuiga today
Sio is one of the tuiga creators on campus, and she shared her experience of putting together a tuiga. “When making tuiga, I would always think of an inspiration that could keep me going,” she said. “By doing this, I prepare myself mentally and physically, by making sure my mind is at peace.” Sio added when her mind is at peace, significant ideas flow consistently into her mind while she makes decisions about precisely where certain materials and ornaments for the tuiga should be placed precisely.
Sio emphasized tuiga is made specifically for special ceremonies. “I would make sure the tuiga I’m making aligns with the colors or theme of the special occasion that is made for,” she explained.
One of the tuigas Sio made during 2022 was designed especially to be used during the National Collegiate Athletic Association’s (NCAA) tournament half time shows in the Cannon Activities Center on Nov. 25 and 26. She said she used the main colors of red for feathers, then medium and dark brown hair was woven into the tuiga, and she added white shells. “These colors were selected depending on the color of the fine mat, and siapo [Samoan tapa made from the bark of paper mulberry trees] that was used for the costume of the chief’s daughter or “taupou” who danced the taualuga.
Dancing the taualuga
The tuiga is commonly used when dancing in the traditional Samoan dance called the taualuga. According to Masoe, “A taualuga in the Samoan language means the last top part of a Samoan building” or the roofing of a building. She explained, “This means [the taualuga] is the last part, or final dance, to conclude any occasion such as weddings, league, or any type of celebration.”
This traditional dance includes the chief’’s daughter, or taupou, she added, expressing her responsibilities, rights and identity by dancing gracefully as she represents her culture boldly. With a beautiful smile on her face, the taupou dances to the movements that have been passed down from ancestors, she said, as if she is doing chores.
Masoe explained when she first danced as the taupou at Culture Night last year, “I started with what is called a ‘mo’emo’e.’ This is a movement that is commonly used to make your way into where the performance is done, where you put both hands in a form of fists at the front of your chests and step, step, and tap your foot behind you until you reach the center of the stage.” She added, “Then from there, you bow at either side, depending on where the audience is settled.” Then depending on the music being played, she said she will take the lyrics of the song and what they mean and put them into her motions.
Masoe continued, “I had gracefully bent my knees and told a story through the movements I did using my hands, such as waking up in the morning, mixing the kava, cooking, doing handicrafts, and more.”
She added, “I sometimes do the ‘se’e,’ which is to slide to and fro with both feet, toes to toes, and heels to heels.” Masoe said she felt the love and spirit of her ancestors, or their “mana,” when she wore the tuiga and as she gracefully and proudly danced in the tradition of the fathers.
The chief’s son entitled the “manaia” supports the taupou in her performance of the taualuga. Bitner Lameta, a December 2022 graduate with a bachelor’s of science in information technology, said, “When I was dancing as a manaia in the taualuga last March for the Culture Night, I was proud and confident of who I am representing my ancestors who have passed on.” He continued, “Something special about my performance is the ‘palefuiono’ or headband that I wore. It was passed down by my ancestor’s generation to generation.” This special “palefuiono was made up of tapa [mulberry tree], white shells from the ocean, and triangle-shaped mirrors,” he said.
“When dancing the taualuga and showing support for my taupou, Sister Masoe, I felt the presence and mana of my ancestors surrounding us. This is how I know that we are crowned with victory, responsibilities, and identity.”