Before the widespread introduction of European textiles, tapa, which is crafted from the soft inner bark of trees (bast), was produced and used throughout the Pacific for both everyday and ceremonial purposes.
In Sāmoa, tapa is known as siapo. The most commonly used plant for making siapo is the u‘a, or paper mulberry tree (Broussonetia papyrifera), which produces a naturally white fibre. The trees were traditionally cultivated near houses and harvested once they reached about 3–3.5 metres in height. A lengthwise incision was made in the bark, which was then peeled from the trunk; the bast was separated from the outer layer. Strips of bast were soaked in water and scraped with shells to remove impurities. After cleaning, the bast was beaten on a wooden anvil (tutua) using a hardwood beater, often made from toa (Casuarina equisetifolia). Makers (women traditionally) used progressively finer beaters (first grooved, then smooth) as the fibre thinned, until the sheet reached an even thickness and the desired width. The sheets were then smoothed to remove folds and wrinkles, and any holes were patched with a glue traditionally made from arrowroot. Larger and ticker sheets were created by pasting together multiple beaten strips using the same adhesive.
The decoration on this siapo was applied using a relief-pattern carved board, called an ‘upeti in Sāmoan, as suggested by the striations visible on the reverse of the cloth. The cloth was pressed and rubbed against this carved board to print motifs, which the maker could then highlight with overpainting in darker pigments. The black colour comes from the soot of burnt candlenuts (Aleurites moluccana), whereas the reddish-brown pigment is derived from the bark of the ‘o‘a tree (Bischofia javanica).
The refinement of this piece suggests that it may have been used as a lavalava, a garment wrapped around the waist like a long skirt, worn by both men and women of high social rank.
The abrupt end of the decoration indicates that the cloth may be incomplete. In some islands, ceremonial tapa was cut after ceremonies so that each participant could receive a section. European collectors expanded on this practice by systematically cutting tapa cloths into smaller pieces, regarding them as repetitive surfaces that did not need to remain intact. However, one of the purposes of many tapa traditions is the striking visual impact created by their size and by the repetition — yet subtle variation — of their motifs. (Héloise Dazard 2025).
; Provenance:
Unfortunately, nothing was recorded about the individual from whom this tapa was acquired. Archival material only notes: “bought from an unknown person 1886.” (Héloise Dazard 2025).
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