ʻOro

Over the centuries the continual movement and developments of the original society groups brought about local differences and adaptations of the cult within the Polynesian Triangle.

A possible explanation for this is that the ariki, the hereditary chiefs and members of the highest noble ranks on Raiatea, could trace their lineage directly to Taʻaroa.

A further development of this cult was the veneration of ʻOro, the son of Taʻaroa and Hina tu a uta, to whom the marae Taputapuatea in the Opoa valley on Raiatea is dedicated.

Large islands, such as New Zealand and Hawaii, remained unaffected by the cult and its developments and Taʻaroa retains his original function there as god of the sea.

On the neighboring island of Tahiti the veneration of ʻOro grew in importance during the late proto-historical or early historical period and can be seen as a clear step from Polytheism to Monotheism.

This development was substantially driven by the influential secret society of Arioi, who were of great religious and political importance.

Every morning ʻOro would descend to earth to meet Vairaumati and then leave again in the evening to return to Pahia.

ʻOro's brothers ʻOro-tetefa and Uru-tetefa, transformed themselves into a bunch of red feathers and a pregnant sow as wedding gifts.

On Tahiti the god ʻOro was presented in an effigy wrapped in coconut fibers with a mace-shaped wooden "soul" in the middle.

A sacred god figure wrapping for the war god ʻOro, made of woven dried coconut fibre ( sennit ), which would have protected a Polynesian god effigy ( toʻo ), made of wood. The mana of the god was symbolised by feathers, usually red in colour, which were attached to the surface of the woven covering. Figure held at the Metropolitan Museum of Art in New York .