Ingredients 2: I finished the adze

This is an update of my Ingredients post which was about putting together the items and the skills necessary to put together a replica of an ancient Chamorro adze. I'm happy to say that I am finished with the first and made another. I am still looking for ways to improve their construction and quality though. These tools are intended as replicas and for display only of course.

It took some time, research and a lot of trial and error but I am happy with the final products shown here in a couple of pictures. I remain amazed at how the ancient people manufactured these implements without the use of the modern tools. Although I used saws, electric grinders and polishers, sand paper, and anything convenient to cut, shape and bind, I believe I shared with them a very deep personal experience in crafting these tools.

This is Higam hima: Hacha (higam: adze, hima: giant clam, and hacha: one). This was my first attempt hence hacha, the ancient Chamorro word for one. In the Ingredients post about the adze, I referred to them as gachai, the name that was in the Chamorro-English Dictionary (Topping, Ogo, & Dungca). I found out later that gachai is from the Spanish word hacha that means adze or ax. So it is kind of funny that hacha means both adze and one! I will use higam hima from now out of respect and acknowledgment of the ancient language.

I kept the handle long for Hacha just to give it a more interesting character. I wound the binding on the handle where it is at most balanced to hold as a tool. Here are some details to the binding of the head of the tool.

Here's a top and bottom views to show the niyok (coconut) sennit binding and the hima blade.

Can you see the fine grain pattern of the niyoron (Cordia subcordata) wood? Niyoron is not a very hard wood but I wanted to use it for this project to bring awareness to its existence and importance as a native tree to the CNMI. Being so Flame Tree-centric, I bet you can ask many locals about niyoron and you would get a puzzled look not lot of information. You can probably blame this mostly on the lost carving traditions of the ancients. We need to be more aware of our native and endemic trees to appreciate them.

I really enjoyed the act of binding with the coconut sennit. The binding is the hardest step in all, and making rope is even harder. No, I didn't make the sennit but I am researching how it is done. I'll post a little later on how to make cords out of natural fibers. Here you will find a nice story put together by the Pacific Arts Magazine on traditional canoe making in the Solomons which has a small description of how coconut sennit is made.

There are many techniques to binding, such as being able to secure and hide the ends of the sennit. I spent a good deal of time looking for information in the absence of actual instructions in binding these tools. All the hard work pays of in the end though!This is Higam hima: Hugua (or two in the ancient Chamorro language). I salvaged the handle from a niyoron tree that was indiscriminately cut down to make room for one of Saipan's many strip malls. Guess what they have there now? You guessed right if you said pawn shop and video poker arcade!

The handle of Hugua is not as straight as Hacha giving it a much different look and balance. Hugua is a reminder to me that we must remain vigilant in preserving the natural environment against careless sprawl. Here are some head shots.

The limb of the wood that I used had a neat knot that I kept for the final product to retain a bit of that interesting character.

Below is another view that shows the fine grain of the wood on Hugua. For both higam I opted to keep them very simple and not adorn them with carvings or inlays to emphasize look of the raw materials. I kept the sanding of the wood a little on the rough side and finished it with tung oil to preserve the original grain quality. I also used a little wood glue just enough so that is retained in case the sennit unravels because of mishandling or dropping. I assume that natural gums or sticky saps were used in the past for this purpose anyway but did not experiment with those at this time.

I really want to put Hacha yan Hugua in the art show at Joeten Motors in September. I hope I have enough time to put together a few other crafts and illustrations to share. I hope you like the two adzes and thank you for allowing me to share with you my creative journey in making them.

Ti napu.

The Beachcomber

Ingredients

Recipe for ancient Chamorro adze replica

Ingredients:
1 Tridacna adze head
1 L-shaped wooden handle
A few yards of Coconut fiber cord

Instructions:
Uh....What instructions? Don't you just put all three together and then "Bam!" you got yourself an adze?

Well, I wish it is that easy. In embarking in this creative journey, I often am reminded that putting together the ingredients or parts that you need for a project is sometimes one of the hard parts. Instructions and guidance is another quite illusive integer in the equation. This post is about a project that is still very much unfinished at this point because it is taking me a while to figure out the recipe. But join me, and we'll "talk stories" about this and about that!

I wanted to make my own replica of the ancient Chamorro adze. Gachai is the Chamorro word for adze according to the Chamorro-English Dictionary (Topping, Ogo, & Dungca) but I am not sure if it means the whole instrument or just the adze head. The gachai was the tool that the ancient people of the Marianas (in fact in Micronesian islands) to cut, chop and carve wood. Although it is easy to imagine it as an axe as I described it, think of it more being shaped like a hoe, with the cutting shaft or adze head almost perpendicular to the wooden handle. There is an abundant amount of Tridacna adze head artifacts left behind giving us a hint of how important this tool was for constructing houses, implements, and canoes. The gachai is composed of an adze head that served as the blade, a wooden handle, and to bind the two, some cordage most commonly made of coconut fiber, or gunot. So it was these three ingredients that I needed, and in the begining it seemed like such an easy undertaking.

The adze head
The ancient Chamorros utilized mainly the shell of mollusks for their adze head. The cutting shaft needed to be able to keep a sharp cutting edge and be hard enough to withstand a lot of hammering pressure. Shells of the spider conch or do’gas (Lambis sp.), large cone shells (Conus sp.) and the giant clam or hima (Tridacna sp.) were used for this purpose. I have seen pictures of haggan (sea turtle) bone used in other locales as well, but the hima was the most utilized in Micronesia.

There are a few species of hima in the waters of the Marianas, but the most abundant is Tridacna maxima (Röding, 1798), the elongate or maximum giant clam. It is not the largest of the giant clam family growing to only about 35 cm. in length. The bivalve shell is heavy, with pronounced radiating ribs that form concentric scales, and the edges are interlocking and scalloped. The shell exterior is off white or cream colored, sometimes tinged with yellow or orange, and the interior is white. The hima is a shallow reef dweller which makes it prone to it being overfished in many areas for food. Luckily for me, fragments of hima washes up readily on Saipan’s beaches, although finding a fragment big and solid enough is a challenge. (Please take note that it is illegal to take any live marine invertebrate on Saipan. Any harvest of hima must be done with a permit from the Division of Fish & Wildlife, Puerto Rico).

Here is a picture of a complete hima shell that I found in Obyan Beach, Saipan. It looks like it had been dead in the water for some time due to the encrustation inside and outside of the clam. It is a small specimen of 13 cm length and probably not thick or solid enough for an adze head.

I consulted The Catalogue of Prehistoric Micronesian Artifacts Housed in Japan (Intoh, May 1998) for some drawing examples of ancient adze heads. They had numerous illustrated examples from Saipan, Tinian and Rota, as well as Palau, Pohnpei, Kosrae, and the Marshall Islands. The illustrations showed me that the hima was cut with a cone shaped end and a flat end that was sharpened in to the cutting edge.

This is the hima fragment that I found at Wing Beach, Saipan and it is a 15 cm long fragment that I decided to use for my gachai. It is not much longer than first clam shown above but this one was more solid at about 1 cm thickness. As you can see, I’ve already cut it to a typical adze shape. It is still unfinished since I have not yet grounded and sharpened the cutting edge and the other end that lies on the handle shaft will need some shaping done to it so that it sits well. I feel that it is a good start though.

The handle
The handle for a gachai needs to be hard and be able to take some pounding. The ancients could have used a number of indigenous hardwoods that could be found in forest and coastlines. I happened upon a niyoron (Cordia subcordata) that was butchered near San Jose Mart and that’s how I got this handle. It’s such a shame that property owners don’t know the value of trees though. Niyoron is not a very dense wood, but I chose to use it for my gachai to teach people of its importance. The Hawaiians esteemed this wood above all especially in the making of wooden bowls or calabashes. They called it kou and venerated it more than the now popular koa (Acacia koa) at one time before it became a rare tree due to an insect infestation from the States that was accidentally introduced to the islands. Check out Jack Ewing’s website on woodturning in Hawaii and their native trees like the kou here (I am a big fan): http://www.hawaiiwoodturning.com/. I wish our own islanders were more educated and appreciative of the native trees here. Check out the new Marianas Pride (MP) magazine's November-December 2007 issue for more information in an article on native trees and their importance.

Here’s a picture of the beautiful orange flowers of the niyoron. Some people believe that orange was a venerated color to the ancient Chamorros because of the Spondylus salape’ beads that they adorned themselves with. I really want to start a petition to change the CNMI’s State Tree and/or State Flower into indigenous/native ones. Why not place the same importance or esteem to the niyoron? We need to start appreciating our local trees more and educate ourselves on their importance.

Here is the beginning of my gachai handle. It will need to be carved to accommodate the hima adze head, get sanded, sealed, and maybe stained. I may also put some Spondylus inlays and carve some ancient Chamorro symbols on the handle as well.

The coconut fiber cord
Now this part of the ingredients is hard to come by on Saipan. I don’t think anyone here makes gunot or coconut fiber cord anymore unless it is a very special occasion (for the construction of a traditional canoe or a canoe house for example). I have seen some for sale during cultural festivals from Yap, but a bundle costs about $80 to $100. Knowing what making this cord entails, I would have paid that much to get some to finish my project plus some others that I have rolling in my mind.

To make cord out of gunot, mature punot or coconut husks are buried under wet sand for several weeks so that the “flesh” rots away from the gunot (I think someone told me once that the rotten flesh of the punot was malodorous but I will have to verify. Can you imagine though?). The flesh is then pounded out to reveal the golden brown fibers that are then dried and made ready to be rolled into cordage. A good friend, Jean Paul C. who has spent many years in Pohnpei has witnessed this traditional work. He said that people sit around “talking stories” and they roll the gunot on their thighs with their palms. Now that’s a lot of work! If you’ve touched coconut fiber, it’s not like cotton at all. It is rough and itchy! But a good tightly rolled and twisted cord is what I need to complete the ingredients for my traditional hima adze replica. Luckily, JP (as we call him) took a trip recently to Chuuk, and was able to find a man who was willing to part with a few yards gratis! The man had it twisted on a small stick and I am so thankful for his generosity. That’s the island way!

So, every time JP leaves Saipan for one of the Micronesian islands, I always ask him to keep an eye out for cordage. Thanks, JP! One day, I will experiment to make my own, or hopefully, I will get invited to a rare cord making session. But please, anyone else knows how to get some, please let me know.

Now, I got the ingredients: 1 Tridacna adze head (needs reshaping and sharpening), 1 wooden handle (needs carving, sanding, sealing, and maybe staining, inlaying and decorating), and a few yards of coconut fiber cord (to bind everything together. I even cut a cone shell adze head for a second one:

I’ll post up a follow up on this a bit later. I am already experimenting with some traditional and ornamental binding techniques. After looking for coconut fiber cordage, I say that this is the hardest part of the recipe because there really are no instructions or someone who can teach me how to do this. But once bound, my ancient Chamorro adze replica will be done! So keep it tuned and we’ll “talk stories” some more.

Thank you for letting me share.
The Beachcomber

UPDATE: Check out the finished adze and another one I made after.

Spondylus bracelets: Palauan money, Cinnamon and the Tiger

I attempted to make some Spondylus bracelets and I’ll showcase what I’ve got so far on this post. I am still in the learning process when it comes to binding the pieces that I cut, and honestly it was a struggle in the beginning trying to figure out what kind of cord, or binding, or knots (everything really about binding a piece) I should use. Luckily, I stumbled upon some instructions here and there on how to do a square knot (flat) and a half knot (spiral), which seem to be sufficient at this time. I know that sooner or later, I will really have to expand my knowledge on cords, binding, and knotting. One day, I will learn how to use more traditional materials like kafu or pahong (Pandanus), niyok (coconut), and even pago (Hibiscus tiliaceus) fibers to bind my pieces. For now, I still have a few braiding cord made out of cotton and some nylon that I purchased in Wal-Mart the last time I was stateside.

I really wanted to keep my pieces closely resembling ancient Chamorro ornaments but my best friend said I should try experimenting with a few “not-so traditional pieces.” There are some people on Saipan that are big into making jewelry out of beads and they turn out real quality work that you can sell at high end stores on the island. But I really wanted an emphasis on a “traditional” flavor. As I see it, anyone can order bulk beading materials and get a book or video that gives you instructions on how to produce really good looking pieces. I am not knocking anyone who does this (in fact it’s a pretty neat hobby) but I think I will stick to utilizing things that I cut myself and not resort to store bought beads, etc.

This is the first bracelet that I attempted with a beautiful orange Spondylus centerpiece. The centerpiece reminds me of some Palauan money beads that are in the same shape and color. I then alternated two uncommon purple colored Spondylus salape’ disc beads, two orange ones, and closed the bracelet off with another purple salape’ bead. This was my first attempt on a bracelet form utilizing a square (flat) braid and a loop & toggle for the closure. I think I will rebind this another day, because the loop & toggle style on this bracelet makes it a little hard to put on by yourself. My best friend (who owns this piece now) struggles a few moments before she can get it on her wrist.

This next bracelet I call Cinnamon. It is made up of two orange Spondylus salape’ beads and the center bead is of an uncommon cinnamon colored Spondylus. This beauty is one of a kind!

My best friend saw some beads from a tiger cowry (Cypraea tigris) that were cut into squares in a gorgeous piece that was put together with some glass and plastic beads. She convinced me to experiment with this very non-traditional shape and I think the piece turned out attractively. I complained the whole time I was cutting it though saying things like, “This is not a traditional shape!” and telling her that the tiger cowry was probably over fished where it came from, and that if I wanted to be a “beader” then I should stop cutting my own pieces, and so on and so forth. So I ended up calling this piece Tigiri, the Chamorro word for tiger (from the Spanish word tigre, of course). Look closely and you’ll see Tigiri’s stripes.
Thank you again for allowing me to share.

The Beachcomber