This article was first published in RNZ.
Located on Scarborough Terrace in Parnell, Auckland, Studio Carolina Izzo is a hub of art preservation, focusing on the conservation of cultural heritage.
Led by head conservator Carolina Izzo, the studio is dedicated to maintaining taonga—cultural treasures.
During Auckland’s Heritage Festival, which ran until 13 October, the studio hosted a discussion with Tongan artist Ebonie Fifita, on the intersections of Pacific art practices and conservation.
Fifita focused on the importance of ngatu, or tapa cloth, a cornerstone of Tongan tradition.
The craft of Ngatu
Fifita explains that creating ngatu involves multiple layers.
Ngatu is made from the inner bark of the mulberry tree (hiapo), which is stripped from the stem and beaten with a mallet to create the fabric.
The beating is what allows the pieces to be spread into thin sheets, known as feta’aki.
Koka’anga is the process by which the pieces are pasted together.
“Each piece works by two rows at a time—langanga—a measuring unit for counting progress,” Fifita explains.
She says that earlier practices used visual symbols for counting, while many techniques today rely on numbers.
Different forms of ngatu are gifted during important life events, including births, birthdays, weddings and funerals, she adds.
The practice is intergenerational and communal.
The craft is a feminine activity, where women come together to soak, beat and flatten the bark of the hiapo.
Fifita explains that the creation of ngatu fulfils familial and communal obligations, serving both everyday needs and ceremonial purposes.
“In past generations, it met every day needs, from clothing to bandages. Today, it is often used for ceremonies and celebrations, but its roots lie in daily practice.
“We make ngatu on sunny days, while weaving continues on rainy days. This rhythm supports our homes, much like doing laundry or dishes.”
Each ngatu is rich in meaning, with patterns reflecting historical and contemporary narratives: “Some of the pieces have seen over one hundred hands contributing to their adornment,” Fifita says.
The role of community
The communal aspect of ngatu preservation is vital, Izzo highlights.
Fifita and her collaborators aim to ensure this practice continues across generations.
Alisi Tatafu, who works alongside Fifita, has brought the practice into schools.
“To make this… it supports women, it helps them to be economically stable and sustainable in Tonga,” Tatafu says.
The significance of ngatu extends beyond fabric; it embodies cultural heritage and family histories.
One piece showcased by Fifita illustrates Ha’amonga ‘a Maui, a stone structure in Tonga, crafted from coral rock transported by canoe.
The accompanying kapesi depicts two birds, symbolising that birds signify land and fish, and that you do not take important journeys alone.
Meaning, culture, and tradition are all interwoven into these beautiful cloths, reflecting a vision of intergenerational longevity.
This article and an accompanying video were first published by RNZ. Click here to read the original story.
