The Polynesian narrative or Polynesian mythology encompasses the oral traditions of the people of Polynesia, a grouping of Central and South Pacific Ocean island archipelagos in the Polynesian Triangle together with the scattered cultures known as the Polynesian outliers. Polynesians speak languages that descend from a language reconstructed as Proto-Polynesian that was probably spoken in the Tonga - Samoa area around 1000 BC.
Prior to the 15th century AD, Polynesian peoples fanned out to the east, to the Cook Islands, and from there to other groups such as Tahiti and the Marquesas. Their descendants later discovered the islands from Tahiti to Rapa Nui, and later Hawai‘i and New Zealand. Latest research puts the settlement of New Zealand at about 1300 AD. The various Polynesian languages are all part of the Austronesian language family. Many are close enough in terms of vocabulary and grammar to permit communication between some other language speakers. There are also substantial cultural similarities between the various groups, especially in terms of social organisation, childrearing, as well as horticulture, building and textile technologies; their mythologies in particular demonstrate local reworkings of commonly shared tales.
In some island groups, help is of great importance as the god of the sea and of fishing. There is often a story of the marriage between Sky and Earth; the New Zealand version, Rangi and Papa, is a union that gives birth to the world and all things in it. There are stories of islands pulled up from the bottom of the sea by a magic fishhook, or thrown down from heaven. There are stories of voyages, migrations, seductions and battles, as one might expect. Stories about a trickster, Māui, are widely known, as are those about a beautiful goddess/ancestress Hina or Sina.
In addition to these shared themes in the oral tradition, each island group has its own stories of demi-gods and culture heroes, shading gradually into the firmer outlines of remembered history. Often such stories were linked to various geographic or ecological features, which may be described as the petrified remains of the supernatural beings.
The various Polynesian cultures each have distinct but related oral traditions, that is, legends or myths traditionally considered to recount the history of ancient times (the time of "pō") and the adventures of gods (“atua”) and deified ancestors. The accounts are characterised by extensive use of allegory, metaphor, parable, hyperbole, and personification. Orality has an essential flexibility that writing does not allow. In an oral tradition, there is no fixed version of a given tale. The story may change within certain limits according to the setting, and the needs of the narrator and the audience. Contrary to the Western concept of history, where the knowledge of the past serves to bring a better understanding of the present, the purpose of oral literature is rather to justify and legitimatise the present situation.
An example is provided by genealogies, which exist in multiple and often contradictory versions. The purpose of genealogies in oral societies generally is not to provide a 'true' account, but rather to emphasise the seniority of the ruling chiefly line, and hence its political legitimacy and right to exploit resources of land and the like. If another line should rise to ascendency, it was necessary to bestow upon the new line the most prestigious genealogy, even if this meant borrowing a few ancestors from the preceding dynasty. Each island, each tribe or each clan will have their own version or interpretation of a given narrative cycle.
This process is disrupted when writing becomes the primary means to record and remember the traditions. When missionaries, officials, anthropologists or ethnologists collected and published these accounts, they inevitably changed their nature. By fixing forever on paper what had previously been subject to almost infinite variation, they fixed as the authoritative version an account told by one narrator at a given moment. In New Zealand, the writings of one chief, Wiremu Te Rangikāheke, formed the basis of much of Governor George Grey's Polynesian Mythology, a book which to this day provides the de facto official versions of many of the best-known Māori legends.
Some Polynesians seem to have been aware of the danger and the potential of this new means of expression. As of the mid-19th century, a number of them wrote down their genealogy, the history and the origin of their tribe. These writings, known under the name of "pukapuka whakapapa" (genealogy books, Māori) or in tropical Polynesia as "puta tumu" (origin stories) or "puta tūpuna” (ancestral stories) were jealously guarded by the heads of households. Many disappeared or were destroyed. In the 1890s, Makea Takau, a Rarotongan chief, ordered his tribe to burn all their family books, save his own. As a result, Makea Takau's version became the official history of the chiefly line, removing the possibility of dissent. At his request, extracts were published in the Journal of the Polynesian Society.
Hina-Oio is a goddess of the sea animals in the mythology of Easter Island. She was married to Atua-Metua and represented the mother of all animals of the sea.Hina is a divine figure common throughout the Polynesian narrative, with prominent variants also found in Māori mythology, Samoan mythology, and Hawaiian religion. The creation chant of the Rapa Nui people of Easter Island references Hina-Oio twice in the following passage:
This passage was sung from memory by an old man named Ure-vai-ko to William Thomson, an American on an 1886 Smithsonian expedition to Easter Island. The chant was written in Rongorongo on tablets, which Ure-vai-ko refused to read for religious reasons. However, under the influence of alcohol, he agreed to recite the stories and chants on the tablets from photographs of them which had been made by Thomson's expedition.Io Matua Kore
Io Matua Kore is often understood as the supreme being in Polynesian narrative of the Māori people of New Zealand.List of figures in the Hawaiian religion
Hawaiian narrative or mythology, tells stories of nature and life. It is considered a variant of a more general Polynesian narrative, developing its own unique character for several centuries before about 1800. It is associated with the Hawaiian religion. The religion was officially suppressed in the 19th century, but kept alive by some practitioners to the modern day.Mangarevan narrative
Mangarevan narrative (or Mangarevan mythology) comprises the legends, historical tales, and sayings of the ancient Mangarevan people. It is considered a variant of a more general Polynesian narrative, developing its own unique character for several centuries before the 1830s. The religion was officially suppressed in the 19th century, and ultimately abandoned by the natives in favor of Roman Catholicism. The Mangarevan term for god was Etua.Polynesian Dog
The Polynesian Dog (Canis lupus familiaris formerly Canis pacificus) refers to a few extinct varieties of domesticated pariah dogs from the islands of Polynesia. These dogs were used for both companionship and food and were introduced, alongside poultry and pigs, to various islands. They became extinct as a result of the crossbreeding that occurred after other breeds of dogs were introduced. Modern studies done on the DNA of the Polynesian dogs indicate that they descended from the domesticated dogs of Southeast Asia and may have shared a remote ancestor with the dingo.Pulotu
Pulotu is the Resting place of those passed on in the Polynesian narrative of Tonga and Samoa, the world of darkness "lalo fonua" (as opposed to the human world of light).Tongan narrative
Tongan narrative (or Tongan mythology) is a variant of a more general Polynesian narrative in Tonga.
List of resources about traditional arts and culture of Oceania