Overview
The tuiga is a Samoan ceremonial headdress. Wearing the tuiga is a privilege only extended to members of certain families with rank and status; the wearer or their family must carry the chiefly title with which the tuiga is associated. In the 19th century, tuiga were reserved solely for ali’i (chiefs) and their taupou (chiefs’ daughters) or manaia (chiefs’ sons). It was worn by ali’i in war and for ceremonial processions during ta’alolo (food offerings). It was also worn by high ranking figures in celebratory dances and for important occasions that were marked with ‘ava ceremonies.
The older style of tuiga was a composite headdress made up of five parts including the pou (siapo foundation), the lave (triple staff or upright framework), the pale fuiono (nautilus shell forehead band), the ‘ie ‘ula (a bundle of red feathers), and lauulu (tufts of human hair). However in the 21st century the most common type of tuiga are single-piece hat-like structures that can be fitted onto the head.
Historical significance
Functioning primarily as a symbol of chiefly rank, the tuiga was not only a ceremonial headdress, it was a royal adornment. As such, it brought together the most prized materials and resources in Samoan culture. The pale fuiono (forehead band) for instance, uses the septa pieces of at least 10-15 nautilus shells. Nautilus shell is so rare in Samoa they often had to be imported from Tonga. Only high ranking chiefs could engage in trade of this kind, as it required a certain degree of wealth and status. This applied even more so to the red feathers of the ‘ie ula used in tuiga. Red feathers were akin to gold in most Polynesian cultures; a commercial interisland trade between Tonga, Fiji, and Samoa was built on them. Their extremely high value meant that they could only be bought and used by chiefs. In addition to these prized resources, the use of human hair, although common enough to procure, was a material that was imbued with mana because of its link to the most sacrosanct or tapu part of the body; the head. The dyeing or bleaching of hair tufts also required considerable time and labour. The assemblage of all these valuable materials which were alike to ‘crown jewels’ in Samoa prior to European contact, designated the tuiga as a measina (treasure) of the highest order.
Contemporary use and significance
After European contact and the introduction of new materials into Samoa, the production of tuiga changed drastically, as did their function. Mirrors, fulumoa (chicken feathers), and beads, all of which were more readily available, became an appropriate replacement for nautilus, mother of pearl shell, and rare sega (parrot) feathers. Instead of producing composite headdresses that required assembling and disassembly every time they were worn, Samoans began to make tuiga as single-piece structures. Furthermore with the establishment of a central government in Samoa during the colonial period of the late 19th and early 20th centuries, and the diminishing influence of indigenous political chiefly systems, the tuiga lost key aspects of its ritual importance. This cultural shift over the last century has seen the repositioning of the headdress as more of a female and dance-oriented adornment as opposed to a symbol of chiefly rank. While still used today in a myriad of ceremonial proceedings, the tuiga’s use is no longer restricted to the Samoan elite. This change has allowed for greater artistic licence in the making of contemporary tuiga, which use a range of modern materials including plastic beads, shaped mirrors, multi-coloured feathers, synthetic hair, and in some cases, plaited coconut fibre. Despite these changes, the tuiga remains a nationally-recognized and culturally significant adornment form which functions today as an enduring symbol of cultural identity and fa’asamoa or ‘the Samoan way.’