Bark Cloth

Barkcloth or bark cloth is a versatile material that was once common in Asia, Africa, Indonesia, and the Pacific. Barkcloth comes primarily from trees of the Moraceae family, including Broussonetia papyrifera, Artocarpus altilis, and Ficus. It is made by beating sodden strips of the fibrous inner bark of these trees into sheets, which are then finished into a variety of items. Many texts that mention "paper" clothing are actually referring to barkcloth.

Presently, barkcloth is a soft, thick, slightly textured fabric, so named because it has a rough surface like that of tree bark. This barkcloth is usually made of densely woven cotton fibers. Historically, the fabric has been used in home furnishings, such as curtains, drapery, upholstery, and slipcovers. It is often associated with 1940s-through-1960s home fashions, particularly in tropical, abstract, "atomic" and "boomerang" prints, the last two themes being expressed by images of atoms with neutrons whirling, and by the boomerang shape which was very popular in mid-century cocktail tables and fabrics. Waverly, a famed design house for textiles and wall coverings between 1923 and 2007, called their version of this fabric rhino cloth, possibly for the rough, nubbly surface. American barkcloth shot through with gold Lurex threads was called Las Vegas cloth, and contained as much as 65% rayon as well, making it a softer, more flowing fabric than the stiffer all-cotton rhino cloth or standard barkcloth.

Cloth Painting

The fetaʻaki is almost always painted. It then becomes ngatu, the Tongan word for the final product. The painting is done over the whole length, but only the central 2.5 meter in the width direction. On both sides there is an unpainted border of about 20 cm wide, which is called the tapa (in Tonga). In order to paint it, the sheets are first put over a huge wooden drum covered with stencils or kupesi (Upeti in Samoa). These stencils are made from coconut front midribs (or any other sticks of a few millimeter thick). These stencils are made in the pattern which will be used. There are a handful of standard kupesi designs, like the 'Pine road' (the road from the palace to the royal cemetery), or the 'Shield of Tonga', or the 'Lion' (the king), or the 'Dove' (the king as ruler), and more abstract figures like the 'Manulua' (2 birds).


The tapa sheet is put over the drum and the women now rub with force a dabber with some brown paint (made from the koka tree (Bischofia javanica)) over the sheet. This work is called tataʻi. Where they rub over a rib of the kupesi more paint will stick to that position while very little will stick elsewhere. In this way the basic pattern is put on the sheet. Once a part is done, they lift up the sheet and proceed to the next strip and so forth. Only when the whole sheet has been preprocessed, then it will be spread out on the ground and with a brush (made from Pandanus seeds) the women will accentuate the faintly visible marks with some more generous paint, this time made from the tongo, the mangrove (Rhizophora mangle). Both koka and tongo paint are always brown, but the latter is much darker. Black is not used in Tonga, although it is characteristic for Fiji.
It is customary that during the paint process lines are drawn on the ngatu along the width every 45 cm or more. The kupesi too are made to the size that they will fit in the divisions thus made. Such a division is known as langanga and they are numbered (on the blank tapa) from one to as many as needed for the whole length. When a smaller piece of ngatu is needed, the sheet is cut along a langanga division. A 4 to 6 langanga piece is called folaʻosi. An 8 piece is fātuua, while a 10 langanga piece of ngatu is known as toka hongofulu. Less common are the double fātuua, named fātufā or double of that again, the fātuvalu.