As visitors ascend the stairs of King Street Station, they are greeted by a stunning installation by Tongan artist Benedicta Kongaika, titled “Tapa” (2020), crafted from traditional mulberry bark.
This monumental artwork serves as a powerful gateway to the “Sina: From Tonga to Seattle” exhibit, immersing attendees in Kongaika’s artistic vision and spotlighting the broader Pacific Islander art movement within the Pacific Northwest.
At the heart of this exhibit is the figure of Sina, prominent in Tongan and Samoan mythology, representing beauty and transformation.
One of the most notable legends describes an elder Fijian king who, captivated by Sina’s allure, transformed into an eel to sustain her with the first coconut, the imagery of his eyes and mouth represented by the coconut’s three holes.
This tale, passed down through generations across Oceania, encapsulates themes of love, death, rebirth, and origin.
Sina’s legacy continues through her daughter of the same name, who established vital familial connections in Tonga that endure across generations.
In honor of her lineage, Kongaika also pays tribute to her grandmother, Sina Ana Alo’itafuna Tupoa Schneider, a community leader born in 1927 on Niuafoʻou, Tonga, who had a profound impact on Seattle’s Pacific Islander community.
The exhibit serves as both a memorial to Kongaika’s grandmother and a platform for contemporary Tongan artists in King County, including noted figures like Toka Valu, Katokakala Lutui, slick ric James, and Jon Thompson.
Jon Thompson’s artworks, largely acrylic on canvas, uniquely blend elements of Pacific Northwest culture, East Asian history, and Polynesian identity.
His piece, “Seattle’s beloved Bruce Lee, The Golden Dragon” (ND), champions self-identity, while another work, “Hibiscus Tribal” (ND), portrays a diasporic narrative.
Slick ric James’s acrylic canvas reflects his hafekasi identity—straddling two cultures—while grappling with personal and ancestral stories impacted by gang life, navigating the associated trauma respectfully.
An intriguing aspect of James’s work is titled “no straddling” (2025), an object d’art made of a mirror, a brass gate, and air-brushed paint, signifying spiritual warfare.
The theme of spirituality subtly permeates the exhibition, as expressed through the bark of the hiapo tree.
Adjacent to Kongaika’s “Tapa”, viewers encounter a raw piece of bark cloth, inviting contemplation of its sacred nature prior to considering its artistic form.
Above this piece hangs “Ahosivi Haufano” (2024) by Lutui, embodying a flower in full bloom, its vibrant natural pigments echoing Tongan cultural traditions and the intricate motifs of ngatu—traditional tapa cloth from the hiapo tree that symbolizes various migratory narratives.
The experience continues with stained glass artwork by Toka Valu, who has left an indelible mark on public art across Seattle, including notable locations such as Ballard and the Chinatown International District.
His diptych “Mala mo Monu” (2025) portrays the complexities of Tongan identity, reflecting on both the blessings and hardships faced by communities striving to retain their cultural heritage.
The exhibit culminates with Kongaika’s striking works, “Wings of Unity” and “Star of Life” (2024), situated beside a digital video showcasing her artistic process.
“Wings of Unity” encapsulates the Manalua motif of two birds in flight, symbolizing unity, harmony, and relational balance, framed by heilala, Tonga’s national flower, which serves as a reminder of spiritual support stemming from love and purpose.
“Star of Life” emphasizes Kongaika’s faith-infused artistry, intertwined with ancestral navigational practices that utilize celestial bodies to traverse oceans—a reflection of God’s guiding light, intimately connected to Tongan traditions.
In Tonga, churches act as vital community hubs where elders and youth collaborate to cultivate cultural expressions, providing spiritual grounding amid globalization’s challenges.
The “Sina” exhibit at King Street Station fosters a rich intergenerational dialogue, weaving ancestral wisdom with contemporary experiences of Tongan artists in the diaspora.
Through this homage to her grandmother, Kongaika highlights the importance of recognizing the groundwork laid by previous generations for the benefit of the future.
The exhibit illustrates how Tongan artists navigate their identities by harmonizing traditional elements with modern techniques to portray the intricate realities of their experiences.
Ultimately, visitors to the “Sina” exhibit are invited to reflect on the enduring strength of culture, community, and spirituality in molding the Tongan experience across borders, reminding all of us to honor our roots while adapting to an increasingly pluralistic world.
image source from：https://iexaminer.org/unfurling-tongan-identity-spirituality-and-migration-in-tongan-art-at-king-street-station/
