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The sunlight reflected from her cinnamon-colored skin, a
Gauguin painting come to life. In the bow of the canoe she sat motionless,
almost serene, staring at the island we were approaching. She was dressed in
colorful Tahitian cotton, flowers artistically woven into a halo crowning her
long black hair.
The girl respectfully navigated the canoe through the coral
beds, moving us toward a white sandy beach. We could see people on the
shore, several families apparently, also wearing traditional colors and flowers
in their hair. Children started running toward us, but Grandma intercepted them.
Then a melodious chant reached us across the water, a sound as old as the world.
The song was repeated several times, while bodies swayed with the rhythm and
flowers were scattered onto the water. It sounded like: Ua koakoa ma’ua, ua ite tatou I te
ihepe. The
girl translated, "We are pleased; we saw the ship. (Click image to enlarge)
"It’s a welcome to you," she continued. Standing in the bow
spreading both arms to the island and the welcoming party, she answered the
invitation with a chant of her own. The formalities over, we waded ashore and
received a flowery reception, with kisses and smiles all around, as if a
long-lost family member had returned home.
The tiny island was Motu Moea, an islet off Moorea in French
Polynesia. Our 155-foot Christensen motor yacht, Silver Lining, was
anchored in Moorea’s Opunohu Bay on the spot where The Bounty was filmed.
From our anchorage we had a magnificent view of the mountains encircling the
bay. Palm trees lining the beaches provided shade for the few Polynesian-style
dwellings. Around our boat, tropical fish as colorful as the coral reef they
inhabited could be seen through crystal-clear emerald water at least 30 feet
deep. Silver Lining (top), dropped her hook in
Opunohu Bay (Bottom). A favorite of Captain Cook, the sheltered bay is one of two
on Moorea’s north coast with secure yacht anchorages. Bottom photograph by Neil Rabinowitz. (Click images to enlarge)
On the beach, two men started playing guitar and ukulele, while
under the palm trees a table was set. Next to it stood a cornucopia of
sun-ripened tropical fruits and strings of fresh, colorful fish. And next to the
rum cocktail-filled coconuts topped with hibiscus flowers, I was pleased to spot
a cold beer.
We were soon introduced to Jean-Pierre Aubourg and Maire Maiau,
who seemed to own the island. As we would find out later, they deserve our
respect and support for almost single-handedly creating a natural park on the
land and in the lagoons surrounding their property, Maiau Beach Garden, keeping
non-native products at bay and preserving the species and coral reefs with great
care and effort.
But now a delicate scent reached our hungry group. A bit
farther inland, closer to the one and only charming Polynesian building on the
island, smoke was spiraling upward from a hole in the ground covered by banana
leaves and sacks, the traditional Polynesian earth oven in which a pig was
roasted, together with chicken and delicious sweet potatoes. We were invited to
this tamaara’a and would experience the traditional hospitality and savor
the umara fafa, fe’i and taro. One can only wonder why, with the
French influence here, this exquisite cuisine was never honored with some
Michelin stars. The barbecued fish was a delicacy and soon consumed. Two young
men with traditional tattoos all over their bodies approached the water, sang a
short prayer to ask permission from the gods to take some fish, and soon their
catch filled our plates. We finished our feast with sweet banana poe served hot
and smothered in coconut milk and sugar.
Top: Dancers
perform on Silver Lining’s aft deck. (Click images to
enlarge)
We enjoyed more music and conversation with these people living
so close to nature, respecting and maintaining old traditions, and yet so well
educated and conscious of the necessity to protect our environment and conserve
the reefs.
Back on board after a much-needed siesta, we heard the birds
stop singing as day gave way to another starry night. Fishing boats in the bay
lit gas lamps to attract their prey. In the dark distance a torch became
visible, reflecting a fiery glare in the water, then another and another....Now drums could be heard and the mysterious sound of a conch
shell howling across the water like some scary sea creature. Sound and light
moved closer, and six canoes appeared from the dark, drums pulsing, voices
chanting and grass skirt- and coconut bra-clad girls dancing seductively,
moving according to century-old patterns: a ghostly fleet from the days of
Captain Cook.
Two motus
(Tahitian for islet) lie within Moorea’s fringing reef on her northwest corner.
Maire and Jean-Pierre’s Motu Moea is the smaller, more eastern of the two.
Guests from Silver
Lining visited it by canoe from Opunohu
Bay. (Click image to enlarge)
They accepted our invitation to come aboard where our chef, JJ
Coaton,
in conspiracy with Maire, had prepared another marvelous buffet.
Then
we were presented with a show worthy of a world tour.
Torches glowed in the semidarkness on our aft deck, while
women, young and mature, and tattooed men built like Adonises (according to my
wife, Phyllis) swirled to choreography written by the gods themselves. Every
delicate movement was explained to us, but this display had little to do with
tourism. Men and women performed as much for each other as for the visitors from
afar. They absorbed us in their hypnotic dances, tirelessly moving faster and
faster. (Click image to enlarge)
It was long past
midnight when the dancing stopped and their voices came together in an emotional
song that we were told was a prayer. It echoed across the water like a call to
the gods of their forefathers. To us, dreamers and adventure seekers, it was a
rare gift from an unspoiled culture living true to its rich history.
To arrange for a special excursion or private guide, contact Maire and Jean-Pierre at Maiau Beach Garden at 689 707858 or
info@maiaubeachcom. For more information about Moorea, visit
www.gomoorea.com.
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