Touring Pacific Cultures

TOURING PACIFIC CULTUReS I searched for beauty in Hollywood, India, Japan but I couldn’t find anything beautiful, I shunned Fiji ... but I found that the beauty was right beneath my nose yet I went searching out of my own island (Aisea Konrote Faustino). Returning to Fiji, Aisea embraced the offerings of his cultural heritage and displayed his first Fijian inspired collection in 2007. With little money for materials and tools, he relied on his mother’s old sewing machineto create theinitial outfits, entering them in a local competition where he took out first prize. Using his prize money he purchased his very first sewing machine from Australia and created more designs, winning more competitions, and purchasing more materials. Now the proud owner of six sewing machines and countless outfits, Aisea feels that he has reclaimed his Fijian heritage, and that attending 2012’s Festival of Pacific Arts sees him come full circle. He perceives the festival as an emotional period of time for him as it represents the culmination of his psychological journey, and an event that secures his position as a Pacific Islander. I was lost between the first and current festival ... a lost identity. I was fortunate to have found my identity again and so fortunate to be selected to come over here. I had to go backwards to go forwards. Fijian fashion has always been a prevalent feature of Fijian livelihoods, with the light and casual clothing designed specifically for the hot, tropical climate. A key traditional item is the sulu, which is considered the trendsetter of Fijian fashion clothing and is worn by both men and women, especially at formal occasions. Only recently, however, has modern Fijian fashion gained respect as a key aspect of Fijian culture. From the late 1990s, interest in contemporary fashion grew until the creation of Fiji’s very own Fashion Week in 2008 to the praise of international designers and event chairman Ian Mclean acknowledging that putting fashion into the cultural spotlight has the ability to ‘take this country forward’. Aisea’s designs can be described as a fusion of western styles and a Pacific/Fijian style, and he seeks to create contemporary designs that still retain a small aspect of tradition. Nature is his key source of inspiration and whilst it is sometimes not evident in his design’s aesthetics, it always plays a large role in the production and thought process of creation as it was this feature of Fiji that drew him back to the islands. Every piece that Aisea creates is a one-of-a-kind as he 278

15 . NeW PACIFIC PORTRAITS never duplicates any of his designs because of a desire for uniqueness. In addition, the importance of family is essential in Aisea’s designs, and his recent collection at Fiji Fashion Week was dedicated to his late mother and named Hefrani after his grand niece. Aisea regards Fiji’s natural beauty as not only his source of inspiration but as his source of materials, and he accordingly employs natural resources into his designs where possible. He believes that in order to truly appreciate the beauty of the natural environment, one must ensure that it is protected and not misused. Through encouraging the use of natural renewable resources in his designs, Asiea both reduces his individual environmental impact and advocates the utilisation of materials that do not pose a threat to the environment. For this reason he relates wholeheartedly to the 2012 Festival of Pacific Arts’ theme ‘Culture in Harmony with Nature’. The sun, the moon, nature inspires me. All my designs depict the environment from the beginning to the end … I savour the moment when nature’s radiance provides inspiration for a new piece … Our natural resources in Fiji are an oyster for fashion design and I intend to use that … My designs are all bold and very provocative … but not too vulgar. I have to respect the culture we are in. I want to learn and absorb as much as I can [at the festival], because I almost lost my identity and I don’t want to go through that again. It is not wrong to be in the western world, but do not forget who you are …With the rapid influence of the western world it is our duty to make the youth of today realise that respect is good for culture. If everyone was like me growing up, then culture would be diminished. For this reason I want to teach the children of the Pacific the value of your religion, your skin colour, your looks. You need to be proud to be a Pacific Islander. Athena Rosabelle Abuan with Stillwest Longden and delegates from the Central Province, Solomon Islands The Central Province is one of the nine provinces of the Solomon Islands that offers unique and diverse art genres, with its own tales of tribes, chiefs, tradition, culture, and its history of headhunting and tribal wars. A significant traditional dance representing victory during the tribal wars is called the siokole. 279

TOURING PACIFIC CULTUReS Figure 90. Central Province dancers gathered for the siokole. Source . Photographed by Athena Abuan, July 2012 . To our group, the dance really highlights the theme of the festival— where land and sea are integrated (Stillwest Longden) The siokole is a traditional dance from Gela in the Central Province— performed in front of a chief to honour him and the tribe after a successful battle against tribal enemies. The siokole follows a very meticulous process and dance movements—the vocal tune has to be regulated in such a way that it is only audible to the Chief, while the body movements also have to correspond with the song rhythm and wording to emphasise harmony. The Central Province is made up of four main tribes: the Gaubata, Kakau, Hogokiki and Hogokama. In the past, these four tribes fought against each other for territories and authority over land and ocean. To complete a chiefly kingdom, victory must be achieved in both land and sea, and that is why the elements of land and sea are incorporated into the dance through mimicking the movements of the sou (heron), which dominates the sea with a distinctive movement to hunt for its prey, and the puko (grasshopper), which represents the land. 280

15 . NeW PACIFIC PORTRAITS The movements show how the warriors battled in different environments and in the case of the sou, it is how they moved accordingly in sea battles, how warriors incorporate wit in sensing and dealing with enemies and prey, whereas in the case of the land battles, the puko represents happiness and celebration as the battle has been conquered. In other words, these movements represent the significant skills and experiences of warriors behind victories. The order of performance starts with the totosi, which gives a picture of the battlefield and how the fights take place. Next are the sou and puko, as discussed above, and lastly, the isubela where the warriors show alertness and caution upon sensing or knowledge that an enemy is close. Figure 91. The totosi—opening sequence of the siokole wherein the Chief and warriors make their entrance while a conch shell is blown to signify the beginning of the dance performed at the Pacific Arts Festival. Source . Photographed by Athena Abuan, July 2012 . 281

TOURING PACIFIC CULTUReS Figure 92. Na NILAU—dog’s teeth as form of traditional money to signify wealth and power. Source . Photographed by Athena Abuan, July 2012 . Figure 93. The staff (totogona) has faces on both sides to symbolise security and constant vigilance. Source . Photographed by Athena Abuan, July 2012 . 282

15 . NeW PACIFIC PORTRAITS The Chief enters with two warriors on either side of him to offer protection. The front-line warriors enter to symbolise that the fight is over; they serve the Chief during peace and wartime. The Chief’s security, chieftaincy and survival depend on their strength, loyalty and skills, as they are bodyguards and act according to his orders, fighters perform leading roles for the siokole. The current Chief, Charles Dauasi, hails from the Boli District of Gela in the Central Province. He is the successor of his deceased uncle, the previous Chief, and he will serve his tribe until the day of his death; upon his death, the Chieftainship will be passed to his successor. The siokole highlights and honours the importance and the role of the Chief to a tribe as warriors perform a victory dance upon winning a battle in land and sea to complete the Chief’s kingdom. The Chief’s clothing and accessories represent his role, power over land and sea, constant vigilance, balance of power, wealth, security, control and status. The costumes—it’s like their [the dancers’] blessing; whenever the dancers wear these costumes they have this kind of feeling that they have the power. After a difficult selection process, the FOPA committee announced the need to omit a group from the province and said that their group was not eligible to perform. The group performed in front of the committee member who was from Gela province who was able to understand the concept within the dance; hence they were able to participate. As explained by Stillwest Longden, one of the organisers and coaches of the group: ‘people from other islands cannot be part of a group without understanding what they do’. He added that tribal intermarriages kept the blood ties intact within the province; hence, those from Gela will feel the meaning of the dance. We cannot live without being connected to other people and others should respect our identity … To represent the Solomon Islands means so much as it is a means to connect to the world—to display their identity, and to showcase to people around the world that the Solomon Islands is made up of a diverse group of communities. Different groups are showcasing their own cultures, but there should be collaboration and integration as a group. The festival allows them to come together as a group of people of diverse cultures but to boost development, unity is required. 283

TOURING PACIFIC CULTUReS Figure 94. Stillwest Longden, delegation coordinator, Central Province. Source . Photograph by Athena Abuan, July 2012 . Stillwest reiterated that the festival allowed local people to interact with each other and other ethnic groups, and it changes the perceptions of local people and outside friends of the Solomon Islands after the ethnic tensions and social unrests tarnished their reputation. Stillwest further argued that what they showcase (i.e. dance) is a cultural product and he hopes that this perception is shared by the 284

15 . NeW PACIFIC PORTRAITS participants—that they are highlighting what they own, and hopes for a way to market these products to the outside world to boost the economy. But it requires initiatives from the grassroots level— for the government and the region to look at arts as a distinctive product. Unity is needed—to be ‘one’ to compete economically globally; being one economically and culturally. To participate in this sort of event, we are telling the world that we are together; that is when we will be able to compete … The festival highlights something; that we are here together as Pacific Islanders, not as a different nation; just as one region. Figure 95. Stillwest Longden and Central Province performers. Source . Photographed by Athena Abuan, July 2012 . Felicia Lim with Taiwan delegates Ku Le Le Damuleng belongs to the Taiwan indigenous Paiwan tribe. This is his first time attending the Pacific Arts Festival and he is excited and very much looking forward to visiting the Solomon Islands, and is particularly keen to know more about the culture, tradition and customs of the Solomon Islanders. He had attended the combined worship service at Maranatha Prayer Hall, where he felt honoured to be representing Taiwan indigenous groups at this regional gathering. 285

TOURING PACIFIC CULTUReS He also added that his family and friends were filled with awe and admiration when they learnt about him attending the festival. In addition, he was present for the official opening ceremony held at the stadium and seeing a large sea of people was an eye-opener for him. Figure 96. Ku Le Le Damuleng. Source . Photographed by Felicia Lim, July 2012 . Ku Le Le Damuleng has been a trained dancer since the age of 16, and while he had spent most of his time in the city, he was invited by his teacher to join a group, Ping Dong Dance Troupe, consisting of approximately 20 dance members. The best known dance group is Naruwan, which comprises the majority of the Paiwan tribe and the remaining are Rukai tribe. A major difference between dance groups lies in their costume designs. Due to the possible complexities of the 14 tribes, it is often difficult for the Taiwanese government to provide funding to each different tribe to participate. Indigenous Taiwan peoples have both contemporary and traditional dances, embracing diversity but they continue with traditional dance to preserve their roots and unique heritage. Ku Le Le felt that when comparing traditional and contemporary dances, traditional dance would be able to invoke imagination, whereas contemporary dance might not be able to deliver meaning as clearly. 286

15 . NeW PACIFIC PORTRAITS Ku Le Le felt that the arts play a significant role in the Pacific Islands where there is so much sharing and understanding of each other’s culture, in order to preserve traditions. His favourite group were the dancers from Tahiti. He hoped that participating countries saw Taiwan as special guests as it is the only country not part of the Pacific Islands. Ku Le Le was also very appreciative of Solomon Islanders’ hospitality and kindness. Figure 97. Amaya Sayfik and an Amis performer at the festival. Source . Photographed by Felicia Lim, July 2012 . Amaya Sayfik comes from the Amis indigenous tribe and runs a product design company. He designs most of the handicrafts, indigenous costumes and accessories. His pepper and salt containers are inspired by a dance where designs are made to resemble ancestral eyes. Similar to the Rukai, Bunun and Paiwan tribes, a snake is displayed at the front of their houses, which is a symbol of prosperity and security. It is thought that when a snake rises, it protects the tribe. He strongly agrees that both arts and cultures are important and he finds the worthiness in them and preserving one’s roots is essential as western influence is becoming rampant. He recommended a mixture of traditional and contemporary 287

TOURING PACIFIC CULTUReS aspects of culture so that they can be better integrated into one’s daily life. He felt that the indigenous Taiwanese culture has evolved to include the element of innovation. He observed their Solomon Islands counterparts as having a strong foundation in their traditional roots. He added that if Solomon Islands takes up modernisation too quickly, then he fears culture would lose its important links. Reflections The late Professor Epeli Hau’ofa, founder of the Oceania Centre for Arts and Culture at the University of the South Pacific, wrote about how what is typically taken for creativity in the Pacific is sometimes viewed as ‘the adoption, and occasionally, refinement, of things generated mainly outside Oceania or the unceasing reproduction of the original creations of our forebears in ages past’.7 However, the creativity to be found in the arts, he argued, actually reflects Pacific principles of reciprocity, cooperation, openness to community, transmission of knowledge and skills through observation, as well as practical experience. If the modern world of art views the field in terms of individualistic expressions of art, the Pacific ‘gives priority to the collective’.8 The reflections from artists here, as told to ANUstudents, demonstrate combinations of both individual and collective concerns and hopes that have been there since Europeans first entered the Pacific, and most certainly since Christianity and colonialism resulted in major structural changes to Pacific societies. Many artists spoke of the importance of the preservation of ‘tradition’, which for many islanders is a combination of both pre- and post-colonial values and practises. Many of the dances, for example, had direct links to ancient social structures and relations. Thatbinaryof tradition andmodernity, as critiqued byvarious scholars in Pacific Studies, anthropology, cultural studies and elsewhere, may not always be useful for thinking about life and art in Oceania today. Past and present surely exist in a fluid continuum inflecting artistic 7 Epeli Hau’ofa, 2008, We are the Ocean: Selected Works, Honolulu: University of Hawai‘i Press, p. 85. 8 Ibid. 288

15 . NeW PACIFIC PORTRAITS choices and presentations. Even so, articulated within a context of creative dialogue, the portraits presented here suggest how dynamic expressions and engagements of and with identity may be effectively and evocatively articulated even while incorporating the much critiqued and apparently reifying languages of ‘tradition’. Indeed, as expressed by these artists and their student biographers, within the context of Pacific arts, diverse traditions may be intimately entwined through understandings of distance and difference as well as identity. As demonstrated across these portraits, the language that artists and delegates use to talk about art forms still reflects epistemological and ontological aspects of Pacific life whereby things are often articulated in terms of perceived differences and perceived anxieties, rather than fluidity. This may demonstrate the actual effectiveness of FOPA over 40 years, to keep strong the initial ideas shaped by the Pacific community, to preserve and safeguard ‘traditional’ and place-based Pacific cultures in the face of overwhelming changes. This theme continued strongly in the 2016 festival held in Guam in the Northern Pacific along with a political statement from Chamorro activists and artists to ‘decolonize Oceania’. References Davidson, J.W. and Deryck Scarr (eds). 1970. Pacific Islands Portraits. Canberra: Australian National University Press. Firth, Stewart (ed.). 2006. Globalisation and Governance in the Pacific Islands: State, Society and Governance in Melanesia. Canberra: ANU E Press. Online: press.anu.edu.au/publications/series/state society-and-governance-melanesia/globalisation-and-governance pacific (accessed 25 February 2016). Fullagar, Kate (ed.). 2012. The Atlantic World in the Antipodes. Newcastle upon Tyne: Cambridge Scholars Press. Hau’ofa, Epeli. 2008. We are the Ocean: Selected Works. Honolulu: University of Hawai‘i Press. Huffer, Elise. 2006. ‘Regionalism and cultural identity: Putting the Pacific back into the Plan.’ In Globalisation and Governance in the Pacific Islands: State, Society and Governance in Melanesia, ed. 289

TOURING PACIFIC CULTUReS Stewart Firth, pp. 43–55. Canberra: ANU E Press. Online: press.anu. edu.au/publications/series/state-society-and-governance-melanesia/ globalisation-and-governance-pacific (accessed 25 February 2016). Laracy, Hugh. 2013. Watriama and Co: Further Pacific Island Portraits. Canberra: ANUPress. Online: press.anu.edu.au?p=260041 (accessed 25 February 2016). Leahy, Joycelin, Joyce Yeap-Holliday and Bill Pennington. 2010. Evaluation of the Festival of Pacific Arts. Suva: Secretariat of the Pacific Community. Regional Cultural Strategy: Investing in Pacific Cultures. 2010–2020. n.d. Online: www.spc.int/hdp/index2.php?option=com_docman &task=doc_view&gid=382&Itemid=4 (accessed 12 July 2014). Scarr, Deryck (ed.). 1979. More Pacific Islands Portraits. Canberra: Australian National University Press. Teaiwa, Katerina Martina. 2007. ‘On sinking, swimming, floating, flying and dancing: The potential for cultural industries in the Pacific Islands.’ Pacific Economic Bulletin 22(2): 140–51. Teaiwa, Katerina M. 2012. Implementing, Monitoring and Evaluating Cultural Politics: A Pacific Toolkit. Suva: Secretariat of the Pacific Community and European Union. Teaiwa Katerina Martina. 2012. ‘Cultural development and cultural observatories in the African, Caribbean and Pacific (ACP) group of states.’ In The Atlantic World in the Antipodes, ed. Kate Fullagar, pp. 256–82. Newcastle upon Tyne: Cambridge Scholars Press. ——. 2014. ‘Culture moves? The Festival of Pacific Arts and Dance Remix in Oceania.’ Dance Research Aotearoa 2: 2–19. Teaiwa, Katerina and Colin Mercer. 2010. Pacific Cultural Mapping, Planning and Policy Toolkit. Noumea: Secretariat of the Pacific Community and European Union. Throsby, David. 1994. ‘The production and consumption of the arts: A view of cultural economics.’ Journal of Economic Literature 32(1) March: 1–29. 290

16 Great Works Courtney Sina Meredith She has a top knot of black curls, a 105 trench in charcoal, a white linen tunic stopped at her knees revealing black tights running into dark boots with gold points on the heel. Her moleskin is chocolate brown, she takes it from her handbag and continues quietly the conversation with the deity Nafanua, a waterfall of indecipherable pleas running down the page. Inside the Tate Modern, she walks softly and quickly in search of the Henri Matisse exhibition—’The Cut-Outs’, a period when Matisse began cutting and carving into colour. ‘Oh there you are … great goddess, I’m here, finally, in front of L’escargot, The Snail. Yes, the shapes and the colours are nice but what the fuck, I don’t see a snail.’ She urges the goddess to help her understand the importance of the collage. From this angle, she shifts her weight to the left hoping for a better view and even slips the handbag over from her right shoulder into her hands, expecting a miracle. ‘Nope,’ she says under her breath, people close by begin to stare. ‘No damn snail anywhere.’ She thinks back to that day in Albert Park with Jan on the lawn, trying to understand criminal law. 291

TOURING PACIFIC CULTUReS ‘All of the material facts you have to pick out, the precedent or whatever, it’s like freaking soup in my head. How am I supposed to remember all of this stuff? Why are the criminals always brown? And I mean, the whole idea of justice is just a bit cracked. You have these rich lawyers right? They need crime to have a job, and like the police right—if there were no criminals they’d be out of work and hungry! Or maybe they’d be policing real things like oil rigs in the sea and predators of endangered birds and acid rain on heritage buildings.’ ‘Stop it, surrender, you’re just out of your depth Ake.’ That was Jan, laughing carelessly, running a hand through her blonde mane. ‘When I read a case at home, it’s with a krispie and a cup of tea. When you read a case at your dad’s firm, it’s with his partners connecting the dots for you.’ Jan had glared back at her but eventually they both laughed and headed for the pub. ‘Nafanua, are you still there? I think of all the times you must have felt unsure but you stayed fierce and you kept fighting.’ By now there was only a rainbow blob and she’d stopping trying to make out any creature, deciding it was a test. ‘There was one paper I took in security studies, for politics, I read about the fear underneath most things that shape very simple things, like the direction I’m writing in (left to right). One tutor made us all wear masks down the main road to see how it felt to be different. It didn’t feel any different to walking down the street with my own face.’ She surveys the white walls slowly, admires a blue form, considers the snow flower, absorbing the strange looking bodies brought to life at the edge of death. Plinth after plinth a new definition of living unfurls. Nafanua is nowhere to be seen. ‘Am I the negress? That idea of exotica, beautiful, two dimensional. This is important, it was important to Matisse. I mean it might be okay to be a monster, an attraction for a while, but the novelty …it wouldn’t take long to wear off, so if I had to be quoted either way, I would have to stay the path of denouncement. They put us up on walls because we are works of art, but it’s the wrong way round Nafanua, they think they’re looking at us.’ 292

16 . GReAT WORKS She writes with a sleek new pen given to her the day after she arrived in this huge, strange city. He was Polish, the banker, he opened an account for her on Edgeware Road. She didn’t feel bad taking it, there were plenty in a glass jar on his desk and she noticed airline tickets. ‘Canary Islands,’ he said proudly in a thick accent, ‘don’t worry you’ll get used to it here, you miss home at first, then slowly London becomes an even better home.’ His teeth were shiny white, like he’d smeared them in vaseline. Everybody said she had to do the Tate, her boss, her publisher and even her Aunty Sia who jammed her into a booth by the airport departure gate, ‘Go to the Tate, especially the show of a master, my mate Emma said it’s amazing, the food and the gift shop are really good too, especially the chips and the carrot cake.’ Akenese had promised she would go. Everybody looked smaller fanned out in a semicircle waving goodbye, she could see the shared features, how they mirrored each other, wide eyed with excitement. It would’ve killed her cousin Lisia to know from a distance she looked like she belonged too. A part of her wanted to run back to her grandpa and plead with him not to die while she went off to ‘find herself’ just like the girls she used to mock at university, especially Jan who had somehow become family. She suddenly wanted to be from that generation before, cheering safely from the sidelines, praying for a future where her daughter or her daughter’s daughter would set out into the world all alone. Her uncles didn’t cry but her mother was there in the centre shimmering, coming to the fore and disappearing all at once. Akenese remembers the great pang in her chest when she finally walked through to customs, unsure of when she would see them all again. An intellectual property lawyer enters the Tate Modern to see Kazimir Malevich’s first retrospective in 30 years. His thin black glasses give an older appearance but under his arm a lustrous snakeskin folder suggests something else. On the way to contemplate Russian landscapes he takes in the Blue Nude (II) observed by a woman 10 metres long, or so she appears in a crisp linen dress not showing her legs, scribbling into a leather journal. He looks at her in profile, considers the difference between women who witness and women who observe, he takes out his phone and taps on the screen. 293

TOURING PACIFIC CULTUReS Akenese can feel his gaze, she continues in her notebook—writing is a lot of watching. Her hands flash across the page, giving truth to the notion she can fit into the scene around her if she just keeps herself busy enough, if she can just capture the moment for Aunty Sia. It will be as the polite Polish banker believed, slowly an even better home. It becomes important to detail the artworks separately for the goddess, she arches her feet inside her boots, takes care to keep them flat, the small hole under the right sole lets in a chill from the marble floors. She ruminates over her mother’s warning, ‘You have to notice the subtle changes when you get out there, or else you’re going to miss it Ake, you’ll go all the way to London for nothing. Just stop and you’ll see things aren’t the same, they’re layered, multi-layered. If you keep looking out you’ll miss the journey of stepping inside and while you might feel the temperature change between rooms, how can you question what happens if it appears nothing has changed?’ She sits down on one of those predictable leather seats in the middle of the grand hall, completely dwarfed with ideas of how the world could be. Several German tourists in anoraks nearby move in closer, wetting their lips, approaching with soft greetings ‘hello’ or ‘danke’ or ‘bitte’ as though people from outside Britain are encouraged to band together in the middle of the room for safety. Yellow-haired children drag their feet, tired from all the motionlessness, she senses their urge to break free as one of them blows her a kiss. ‘Nafanua, that’s another thing. They say children are precious, but the ones here have grown from concrete, out of the shadows, towards a grey sky. I haven’t seen the sun in weeks and I’m already starting to feel like an extraterrestrial. It seems unfair watching them miss out on grass and fresh air and sunlight, I don’t know, maybe they grow up faster here and it makes them superior adults. I might’ve stayed in law school and come out the other end an actual lawyer, if I’d grown up somewhere like this.’ She sees him again moving between columns, takes care to watch him without being noticed, she imagines a world of trading markets or perhaps finance. He might be a partner with his own legal firm, who else would have the power to stroll around the gallery so casually, so late in the morning? She sends a text to Lisia—seeing the Tate in 3D! When she looks up from her phone he catches her off guard, standing 294

16 . GReAT WORKS close by gesturing to her notebook, ‘Are you in the arts?’ This is how you shave a decade off your life, she thinks, or maybe this is how you lose your chances altogether. This must be how easy it is to set out on a new journey that becomes an updated version of the past. Akenese smiles at him, ‘The cut-outs were lovely.’ She walks out of the Tate with Nafanua assuredly in tow. Her dark hair catches in the feeble light. Birds overhead are drawn onto the clear sky by hand. ‘She’s definitely got something, maybe a touch of Arab?’ says the older of the men breaking the silence. ‘She eats jerk chicken, you can tell by her smile.’ Comes the answer. They watch her standing among the flowerbeds, she stares ahead into space. Eating meat pies and drawing on rolled cigarettes, both men slacken their tool belts to relax. Another cold morning of kerbs and pipes, commuters passing in great hordes. Nobody smiling or saying hello, the usual, the inevitable. Moving each leg slowly as though they have just been discovered, they let out tired sighs, shifting about on the park bench. The younger man opens a can of soda, makes an offering to his workmate who shakes his head with a strong frown. Both pretend to check their phones while keeping watch on the woman across the way, writing beside the sculpture. More people filter into the square, half expecting rain, desiring sun. At the centre of the garden, the half-timbered hut buzzes with life. A head of golden curls swoops across the lawn, stops in mid-flight, coughs into a sleeve before taking off in a brilliant rush. ‘She could be Indian you know?’ The younger eager to continue. ‘Nice African hips, mind,’ he keeps on, ‘or she could be some kind of part Chinese, part Japanese, something from that region.’ ‘I think I might’ve seen her around here before,’ says the older one, his fingers caressing paper around tobacco. 295

TOURING PACIFIC CULTUReS A group of slight women in soft greens sit cross-legged by a great London Plane, under the shadows of leaves they lean into each other with little white notepads. Quarrelling couplings hiss profanities, brilliant shapes of youth, throwing their heads back drinking light, oblivious of their wonder. ‘I would introduce her to my mother. I reckon she’d fit right in,’ he says watching the plume of smoke rise from his cigarette. ‘I would happily take her to my mother’s grave.’ ‘You’re sick man.’ ‘Just the truth.’ Akenese eyes the bronze sculpture, thinks of home and revels in the scene. She takes out her notebook and writes … ‘There is a Plane tree, not an Oak or Kauri or a Pohutakawa but a Plane tree. There are two men mending pipes over by the entrance, the younger of the two talks so loud I can’t wait to go home to see if I do look African or like an Indian or even Japanese. You were right Nafanua, there is only me, at the Tate I saw nothing but myself.’ 296

17 Ibu & Tufuga Courtney Sina Meredith i Ibu has made a pork and prawn noodle soup two loaves of white bread one nutty loaf too the dough rose with the afternoon sun. The Tufuga has his sister over from Niu Sila she wants to see Hogwarts and ghosts her mokopuna lives in London. I find a book in the den about thieves Manu is a good girl she makes a platter we eat cheese and crackers and read. ii The Tufuga apologises to his sister over from Niu Sila she won’t stay any longer she misses her mokopuna he has to work he has to pack he is sorry. The local pub is pink with playful bunting you have to excuse yourself for walking in the courtyard everybody smokes. Ibu brings me a cup of chamomile tea she dyed her hair brown she looks different we plan to go to the markets. 297

TOURING PACIFIC CULTUReS iii If a bird flies inside it means someone has died the garden is in heat all the bees buzz Ibu loves to plant new trees. The Tufuga is worried about October he is teaching an Italian history paper The Tufuga does not speak Italian. A new delicatessen has opened on North Parade it sells boutique meats and hand made cheese Ibu goes to London for the day. iv Manu makes a huge jug of Pimms the neighbours come over without their kids we sit outside under the bright blue sky I show Manu my open wound seeping every day seeping love she says my ex was really hot Ibu watches us from the garden table she knows exactly who I might become if only the house could house my spirits. 298

18 Cross-currents: Teana and Moenau, Tahitian Tourists in Seattle Miriam Kahn, Teana Gooding and Moenau Holman Figure 98. Moenau (left) and Teana (right) at the Kerry Park Lookout, Seattle. Source . Photographed by Miriam Kahn, 10 August 2013 . 299

TOURING PACIFIC CULTUReS Introduction Miriam Kahn Moenau Holman and Teana Gooding, from the island of Huahine in French Polynesia, are students at the Université de la Polynésie Française, on the island of Tahiti. Moenau’s area of study is social service administration and Teana’s is economics. I’ve known Teana since she was six years old. Her parents, Hiti and Turia, were our landlords when I began fieldwork on Huahine in 1995. We have continued to enjoy their friendship over the years, visiting with them each time I return to Huahine for my research. In the summers of 2010 and 2012 I took a group of students from the University of Washington to Huahine for a month-long study abroad trip where students had homestays with Tahitian families. Both Moenau’s and Teana’s families graciously hosted some of the students (two students each summer). They became very attached to the American students, who established lasting friendships with their Tahitian hosts. Little did I know that a few months after the students left Huahine in 2012, Moenau and Teana would begin planning a big adventure to come to Seattle to visit everyone! In January 2013, I received the news in an email: Nous souhaitons partir sur Seattle pour une durée detrois semaines cet été. Serai ce possible de séjourner chez vous pendant ce temps? Pour la nourriture et le reste on va se débrouiller. Nous attendons votre réponse. (We wish to travel to Seattle for three weeks this summer. Is it possible to stay with you during that time? We can figure out the details about food and other things. We await your response.) I responded with an enthusiastic Oui! As I later learned, their friends and families on Huahine had been sceptical about their ability to raise the money needed. But they surprised everyone and made a point of being very nonchalant when they told their families that they had purchased their tickets. They arrived in Seattle in July 2013 for their three-week stay. My husband and I, along with several of the University of Washington students who had traveled to Huahine, were overjoyed to welcome them at the airport. 300

18 . CROSS-CURReNTS I learned that they had been planning the trip for a year, earning the money by selling plates of home-cooked chicken and rice with vegetables—800 plates in all—which they sold for 500 CFP each (roughly US$6). Because the university is on the island of Tahiti, they could only make and sell the food when they returned home to Huahine during short breaks from school. Teana and Moenau decided to come to Seattle because they wanted to see new things and have new adventures, and also to see their American friends from the University of Washington. In addition, they wanted to improve their English (what little they knew they had learned from the American students). From the moment they landed in Seattle they insisted that I speak only English with them. While here, they enjoyed everything immensely. We spent much of the time together, sharing stories and laughter, planning future trips, and fantasising about American ventures that they could institute on Huahine. While driving them around I could see their curiosity and enthusiasm about things that are commonplace for most Americans. As they said, ‘Little things make us very happy’. Such things as yellow school buses, police cars and fire engines—all things they knew only from television—caused great excitement. They called the fraternity and sorority houses near the University of Washington campus ‘Harry Potter’ houses. They made fun of Americans’ love of putting peanut butter in everything, but after discovering Cap’n Crunch’s Peanut Butter Crunch they insisted on having it every morning for breakfast (along with blueberry pancakes and other American favourites). Their visit to Seattle’s Theo Chocolate factory inspired them to think about developing a cacao plantation on Huahine, and they googled information about planting cacao as soon as they got home that day. Travelling is important to Teana and Moenau (as well as to many Tahitians). As they told me, they can expand their horizons, learn new things, and make things come to life that they had seen only in movies or on television. They can also make new friends. They wanted to try everything, taste everything, and experience everything. As they kept saying, ‘We want to benefit from our visit’. Towards the end of their visit, as we sat together after dinner telling stories and talking about their experiences, I thought about this publication because I had recently been invited to contribute 301

TOURING PACIFIC CULTUReS an essay. I explained the idea of the volume to Teana and Moenau, indicating that it might be more interesting if the essay came from them as ‘tourists in Seattle’, rather than from me. They were delighted at the prospect of collaborating with me on a story for the publication and to ‘appear in a book’. We immediately began to sketch out ideas. More focused discussions followed over the next few evenings, as they told me about the things that they enjoyed the most while they were ‘tourists in Seattle’. I jotted down their words, translating whenever they switched to French and, eventually (with their approval), I smoothed out the text and provided my own brief commentary (appearing below in italics). Teana and Moenau chose the photos to accompany their stories. Figure 99. Teana and Moenau at the entrance to the University of Washington. Source . Photographed by Miriam Khan . 302

18 . CROSS-CURReNTS The Pike Place Market Figure 100. The Pike Place Market. Source . Photographed by Teana Gooding, 31 July 2013 . ‘It’s very big. There are so many different things at the market. We saw many artists from different countries. We saw people carving in wood and people making jewellery. Here they do a lot of things to attract people to the market. They have people who sing and dance. There are people who toss fish to get your attention. We saw a blind man who played the guitar and a young child who gave him money.’ ‘Here people are very friendly. When you buy something they ask, “How are you today?” Tahitians are welcoming in some ways, but if they are just doing their job, serving you dinner or selling you something in the market, they don’t ask how you are. The vendors in Tahiti just sell you something and tell you the amount you owe them.’ Commentary Seattle’s Pike Place Market, which opened in 1907, is one of the oldest, continuously operated public markets in the United States. It sits on a hill overlooking, and running parallel to, Seattle’s waterfront. When it first 303

TOURING PACIFIC CULTUReS opened it was used only by farmers selling their produce, but has since grown into one of Seattle’s main tourist attractions. Today the market welcomes about 10 million visitors a year. One of the market’s main draws is Pike Place Fish, where an employee stands near the ice-covered fish table and throws large salmon and other fish over the counter to another employee who catches it and prepares it for sale. Although this tradition got started to save employees from having to walk out to the fish table every time someone wanted a fish, it now serves as a major attraction for visitors. In contrast to the Pike Place Market, the Marché de Pape‘ete (Municipal Market), teeming with fresh fish, fruits and vegetables, as well as handicrafts and souvenirs, still serves Pape‘ete’s urban population, people who may not have access to fishing boats or food gardens. Tourists tend to spend their time on the second storey where the crafts and souvenirs can be found. Shopping Figure 101. Teana and Moenau at Costco. Source . Photographed by Miriam Kahn, 30 July 2013 . 304

18 . CROSS-CURReNTS ‘We love to go shopping here! We love the prices. We love the high quality of the clothing. In Tahiti if clothing is cheap it is very poor quality. No regular clothing is produced in Tahiti and everything needs to be imported so it is very, very expensive. Here things are very cheap for us. But then when it comes time to pay they add the tax and it is not as cheap as we had thought. Why don’t they just include the tax with the price of the clothing? We like shopping here—the clothing, the styles, the sizes (in Tahiti it is hard to find our sizes), and the many sales!’ Commentary There are only a few shops that make Tahitian clothing for sale, usually quite expensive. People typically buy imported clothing or have their clothing made by a seamstress (or make it themselves if they know how). Both Teana’s and Moenau’s mothers are seamstresses and have a steady stream of customers. Experience Music Project ‘For us this museum was very interesting. There were lots of things for people to experience and ways they could express themselves. The visitors could try out different instruments. We think that visitors might develop an interest in music. This way there would be fewer problems with drugs later on because they got interested in music.’ Commentary Museums in Tahiti, most of which are fairly basic with objects lined up in glass cases, tend to highlight either Tahiti’s past or westerners whose fame rests on their adventures and exploits in Tahiti. The main museum is the Musée de Tahiti et ses îles (Museum of Tahiti and its islands), which is a Polynesian ethnographic museum. Other smaller museums include Robert Wan’s Black Pearl Museum (attached to a black pearl store), the Paul Gauguin Museum (with relatively poor, small reproductions of some of his paintings), the Seashell Museum (with standard taxonomic exhibits of shells and fish from the lagoon), and the James Norman Hall Home (a replica of the home of the American author of Mutiny on the Bounty that portrays the writer’s life in Tahiti and houses his 3,000-book library). 305

TOURING PACIFIC CULTUReS Figure 102. Teana and Moenua at the Experience Music Project. Source . Photographed by Miriam Kahn, 12 August 2013 . 306

18 . CROSS-CURReNTS The Lighthouse for the Blind, visit with Paula Figure 103. Teana and Paula Hoffman in a conference room at the Lighthouse. Source. Photographed by Miriam Kahn, 5 August 2013 and used with Paula Hoffman’s permission . ‘This was the first time we saw blind people working. They were working at very complicated things, making machines and working with very small objects. In Tahiti blind people don’t work. The government just provides some money for them for their bus and things like that. They have to make do with very little. Blind people live with their families but are not very happy because they have to depend on their families for everything. Here we could see that they are happy because they can be independent. We were also impressed that here buses have machines to take a person in a wheelchair. They just lower the machine and pick up the person in the wheelchair. We saw that sidewalks have ramps for wheelchairs. We don’t have any of that in Tahiti.’ Commentary Paula Hoffman, who had been on the study abroad trip in 2010, works at the Lighthouse for the Blind, Inc. Teana and Moenau, both of whom have relatives who are blind, expressed great interest in visiting Paula’s place of work. 307

TOURING PACIFIC CULTUReS Since 1918 the Lighthouse has provided employment and support for people who are blind, deaf-blind, and blind with other disabilities. The Lighthouse trains people in precision machining, where they produce an assortment of machined parts and plastic injection molding for aerospace manufacturers, as well as office products and hydration equipment for the US Government and the US Military. The Woodland Park Zoo Figure 104. Left to right: Helen Enguerra, Theresa Enguerra, Desiree Bungay, Anaiyah Johnson, Joash Tupufia, Savali Tupufia, Teana and Moenau at the Woodland Park Zoo. Source . Photographed by Miriam Kahn, 7 August 2013 and used with everybody’s permission . ‘We were able to see animals that we had only seen in films and in nature programs on TV. It brought us back to our childhood and how when we were little there were many animals we wanted to see but we couldn’t. We only saw them in the cartoons. When we were in the zoo we could see the real animals. They were the way we had imagined they would be. We were excited most to see the lions, the penguins and the snakes. We don’t have snakes in Tahiti.’ 308

18 . CROSS-CURReNTS Commentary The trip to the zoo included two former University of Washington students (Helen and Desiree), who had gone to Huahine in 2010, as well as Helen’s sister (Theresa) and cousin (Savali), and their children. There are no zoos in French Polynesia. Baseball game—Seattle Mariners vs Milwaukee Brewers Figure 105. Teana and Moenau at the Mariners vs Brewers game at Safeco Field. Source . Photograhed by Miriam Kahn, 11 August 2013 . ‘The baseball game was very amazing! The stadium was very big with lots of people! It was just like we had seen in the movies. But now we saw it in real life. And now we can understand the game and how it is played. The big screen was so big. There’s a cameraman taking pictures of the spectators and then he puts those pictures on the big screen. But he didn’t take pictures of us. When we got out of the train on our way to the baseball game there were so many people all streaming towards the stadium. That was so strange.’ 309

TOURING PACIFIC CULTUReS Commentary In French Polynesia the national sport is va‘a (outrigger canoe racing), for which Tahitian teams consistently break world records. Other sports include rugby, basketball, soccer and surfing. Baseball does not exist. Seattle’s Safeco Field, with a seating capacity of over 54,000, holds (when full) more than 10 times the number of people who live on the island of Huahine. Disco dancing at Tia Lou’s Figure 106. Natalie Hart, Moenau, Ashley Bird, Teana at Tia Lou’s Lounge. Source . Photographed by Miriam Kahn, 15 August 2013 and used with their permission . ‘At the disco we noticed that all the African-American people were dancing in one area with their own DJ, and everyone else was dancing in a different area. That was strange for us. In Tahiti the Tahitians and the French disagree about political things but there is no segregation. The French people act proud because they feel superior that they are “helping” usTahitians but we can be together with them. No problem.’ 310

18 . CROSS-CURReNTS Commentary Natalie Hart, who had stayed with Teana’s family in 2010, and Ashley Bird, who had stayed with them in 2012, were the ‘tour guides’ for the disco evening. In spite of what many people say about the diversity of Seattle, Teana and Moenau noticed that there is still a lot of economic, social and racial segregation. Umoja Festival Figure 107. Teana, Natalie Hart and Moenau at the Umoja Festival. Source . Photographed by Miriam Kahn, 3 August 2013 and used with their permission . ‘We liked the festival where our friend, Natalie, was the queen. We liked that African-American people have a festival just for themselves. It was interesting to learn about Trayvon Martin and how the people brought attention to his case in the festival. We saw that there is still a lot of discrimination here. We could see this in people’s eyes.’ 311

TOURING PACIFIC CULTUReS ‘We liked the parade with all the colourful and sparkly costumes and the dancing. We liked the showy way the people walked and danced. Wewere happy to see Natalie go by in the parade. Natalie later told us that when she heard us call her name as she went by it made her very happy and made her feel important that her two Tahitian friends had come to the festival to see her. One thing was difficult for us—when the African-American people talk it is hard for us to understand their English.’ Commentary The Umoja Festival is part of Seafair, which is Seattle’s annual, month long summer festival then in its 64th year. Seafair includes community events, parades, drill team marches, a torchlight run, a milk carton derby, pirates and clowns, air shows, and hydroplane and other boat races. A highlight of the Seafair festival is the Miss Seafair contest, which over the years has come to celebrate the diversity of the greater Seattle area. The Seafair Scholarship Program for Women, for example, has evolved into one that rewards academic ambition, celebrates diversity, and highlights future leaders. The Miss Seafair contestants represent various neighbourhoods and ethnic communities in Seattle. Natalie Hart, who stayed with Teana’s family in 2010, was the second runner-up for Miss Seafair 2013, as well as the Queen of the UmojaFest (African-American festival). The Umoja (a Swahili word meaning ‘unity’) Festival has been the most unifying celebration in Seattle’s African-American community for decades. The parade is just one of many events over a three-day weekend. Numerous religious, educational and civic associations participate in the parade. 312

19 Carnet de Voyage en Irlande Flora Aurima-Devatine Ireland Homeland Home Land I feel at home In Ireland To Elizabeth My great-grandmother From my hotel room By the window to the land I crossed Your father’s land Your father’s country Your father’s homeland And I felt at home In your father’s homeland In your father’s homeland And I thought a lot I thought strongly I thought deeply I thought carefully 313

TOURING PACIFIC CULTUReS I thought of you I thought landly Homelandly I thought a lot Because I missed you To Julia My great-great-grandmother From my hotel room By the window to the land I caught your force I caught your will I caught and I understood your nature I imagined your smile I imagined your face smiling I imagined your eyes shining, twinkling I caught and I imagined a lot Because I needed you To Francis My great-great-grandfather I saw the descendants of your fellows I searched your ‘dark hair’ I searched your ‘blue eyes’ And I found them in our car driver From Castlewellan to Leitrim From Leitrim to Legannany From Leitrim to Castlewellan From Castlewellan to Newcastle From a top of the road of Leitrim to Castlewellan I saw the point of view to the sea of Newcastle And I thought of you of your dreams Full of travels by boat by sea full of new countries Full of a best future full of us your descendants And I understood you because I felt the same feelings For all my children and for all of my grandchildren 314

19 . CARNeT DeVoYAge eN IRLANDe I tried your Guiness I drunk in memory of you Don’t be cross with me I prefer our Hinano beer! I talked and talked a lot I thought of you And I felt happy Because I admired you I understood the travels I did I understood the countries I crossed I understood the ways I went by The oceans I passed across The people I met It was a never-ending road An uncompleted way To you to me to us It was a boundless, an untiring A long way to your land To my ancestor’s land I felt a lot of the past The travels I had to do The fields I had to cross The oceans, to navigate The roads, to follow The feelings, to experience I understood I believe I understood I think I believe I understood I hope I wish to understand I want to live I would like to be I need it I need so I need so much. 315

TOURING PACIFIC CULTUReS I needed to see and feel The Mountains of Mourne I saw and I felt the land all The land of my ancestors I can’t say it’s enough Just it’s an appreciated part of me I feel nostalgic about this part of me But I’m lucky to have had a touch of it To have had a breeze of it To have had a sweet smell of it I feel happy and a little bit on my hunger To you all My ancestors I couldn’t express my love Because I didn’t feel it I didn’t know you But all my thoughts, my spirit, All my words about you Only express this tender thing, the feeling That I love you all. «- Pourquoi aller voir à quoi ressemble le pays des ancêtres ? - Quitte à voir, à visiter un pays étranger, autant aller voir aussi celui de ses ancêtres !» Traduction (2010–2011) de Jean Anderson Directrice du New Zealand Centre for Literary Translation à l’Université Victoria de Wellington 316

20 A Trip from Port Moresby to Suva Bomai D . Witne Early in the morning my sister, her husband and Gabriel accompanied me to Jackson’s Airport. ‘When are you returning?’ my sister asked. ‘Wednesday, next week,’ I replied. ‘OK, bring me something from Fiji.’ I smiled and told her I would think about it. ‘Do you all have money to pay for your bus home?’ I asked them at the airport. They nodded and I asked each of them to reconfirm. I offered a 10 kina note to my three-year-old nephew and headed for the International Terminal and joined the queue at the check-in counter. When I fronted the counter, a beautiful woman smiled and asked, ‘What’s your name?’ and put her hands out for my tickets. ‘My name is Bomai,’ I responded, handing my ticket and passport to her. ‘Are you from Simbu?’ she asked and I replied, ‘How do you know?’ ‘By looking at your name,’ she responded and showed me where to go. 317

TOURING PACIFIC CULTUReS I compared my experience at Goroka Airport’s Air Niugini check-in with my first impression of the female staff at Jackson’s as I moved on to the money exchange and the immigration counter. Soon I was in the departure lounge among the other passengers. I looked around and saw that there were more passengers of Asian origin then all the other races put together. I did not want to think deeper about this observation and took a book from my bag. As I was reading, the young man I had met in Goroka smiled and walked over to where I was sitting. We shook hands and began a conversation. He spent most of the time on the mobile phone in his hand, so I returned to my book. Air Niugini flight PX084, scheduled to fly first to Henderson’s Airport in Honiara and then on to Nadi Airport in Fiji, was delayed. I was used to delays and flight cancellations on domestic Air Niugini flights. I saw some passengers becoming impatient and starting little complaining conversations. A female staff member of Air Niugini walked over to a woman sitting next to me and said, ‘The plane is ready to go but we are waiting for one of the pilots to arrive’. The woman asked, ‘Why?’ ‘Many Air Niugini pilots walked off the job due to some grievances with management and we are low on pilots’, the staffer explained. What I heard was enough to put my mind at rest and I went back into my conversation with the book. After a while, a young woman dressed in captain’s uniform was escorted by a security officer to the waiting plane. I knew she was the co-captain and got ready for departure. After going through the ticket check, I boarded the plane and sat in seat 19F. After a few minutes, a beautiful woman walked up the aisle and sat next to me. After a moment of silence, she asked, ‘Are you Bomai?’ 318

20 . A TRIP FRoM PoRT MoReSBY To SuVA ‘Yes, I am, and your name, please?’ She gave a full smile and said, ‘I am Lorna, one of the three writers selected to attend the Pacific Writer’s Workshop in Fiji. Nice to meet you.’ ‘Marlene and I were looking out for you in the departure lounge and mistook someone else for you’, Lorna added with a smile. I laughed and asked for Marlene. Lorna pointed to a seat at the front. Soon Lorna and I were into a conversation about writing, family, education and many things. The conversation kept us busy over rivers, jungles, mountains, lagoons and atolls through clear blue skies across the Solomon Sea. I tried listening to Bob Marley and Lucky Dube songs and watching movies on the small screen in front of me but could not find any I liked so decided to listen to songs from Landini Aurelio, who sings and promotes his Garifuna culture. Midway through the journey, a meal of cold potato was served and I requested coffee. After the meal, I looked around the plane and saw many passengers reading the in-flight magazines or had eyes and ears glued to the mini-screen in front of them. I smiled to myself at what I saw and went for more music. I switched from Landini to the selection of best local sounds from PNG, seeing someone who looked like my colleague at the University of Goroka, Richard Mogu, among the people in the cover. I heard a few of his songs among the collection. This gave me a sense of why the University of Goroka was lucky to employ such a talented person to teach music and songs to the students. My mind tried to describe the varying shapes of the clouds. If the plane was crossing over the Arctic I would have seen one or two Inuit at work. Other clouds reminded me of the ancient Borobudur temple in Indonesia, some of pictures of Disneyland, flocks of sheep, terraces, kaukau (sweet potato) and mountains in the highlands of Papua New Guinea. 319

TOURING PACIFIC CULTUReS I turned from imagination to songs again. I listened to songs by Eric Clapton and among them was, ‘Sky is crying, look at tears down the streets’. I thought the clouds were the way for the sky to form tears and that I was travelling above Clapton’s sky. The music went off as one of the cabin crew announced the plane’s preparation for landing at Henderson’s at a quarter past two in the afternoon, Solomon Island’s time. Under the clear, blue Solomon sky, I could see a beautiful white coastline below and the roads connecting it to the hinterland. The moving clouds cast shadows on the treetops. Soon the clouds and forests went out of sight and the plane flew over some human settlements with red soil roads between them, then over several rivers and swamps and then over what appeared to be an extensive oil palm plantation. It sped over atolls and the bigger islands of the Solomons. An island came into view. It reminded me of Dobu Island in Milne Bay. A large red ship was floating in the sea with logs on it, which brought to mind the illegal logging in Solomon Islands and other Melanesian countries. The plane descended rapidly and was soon flying over red roofed buildings and coconut palm–roofed houses. We were soon on the runway, at Henderson International Airport. The passengers for Solomon Islands were asked to disembark while the Nadi-bound passengers were asked to remain in the plane. From where I was sitting, I could see refuelling trucks settling under the wings of the plane. Another aircraft with ‘Virgin Australia’ insignia landed and many people disembarked. Lorna and I walked to Marlene’s seat and I introduced myself to her. We were soon getting on as if we had known each other for a long time. We took some photos in the aisle. We were back on our seats when I noticed a leak in the plane’s wing close to me, which I reported to one of the cabin crew. Soon the captain was on the ground. When he returned to his seat he announced it was condensation due to change of temperature. My mind was at ease and soon the plane was hitting Henderson’s runway. 320

20 . A TRIP FRoM PoRT MoReSBY To SuVA The plane was soon in the air over the township of Honiara and heading southeast on its way to Nadi. The cabin crew distributed two forms, one on ebola virus and the other labelled ‘Fiji arrival card’. The information revealed that Fiji had strong immigration laws. After filling in the forms, I sat back and listened to more PNG and Celine Dion music. The map on the screen in front of me indicated the plane was flying over Vanuatu. The sun began to set, painting the clouds with gold and copper. At some points the sun rays described beautiful rainbow-like lines. After a few minutes, the plane was plunging through murky clouds and I could see the lights on the left wing. The crew reminded us that the plane was preparing for landing. A crew member thoroughly sprayed the interior of the plane from one end to the other for Fiji quarantine. Lorna asked me, ‘Why didn’t the crew do the same on arrival at Henderson’s?’ I said, ‘Maybe the Solomon Island’s government is not serious about quarantine issues’. It was dark outside and the plane flew over settlements with scattered lights. More lights came into view and we landed at Nadi International airport. Lorna, Marlene and I sorted immigration requirements and raced for the domestic terminal to catch the 8 pm flight to Nausori airport in Suva. It was raining in Nadi and the airport staff issued us with umbrellas to walk to the plane and the cabin crew greeted us with ‘Bula’ and gave us a moist towel and water. I reached out for the Fiji Sun and read about Fiji Link’s management decision to share its profits with employees. I tried to recall the last time Air Niugini announced it would share its profit with employees. No wonder their airport staff do not care to stand in the rain and distribute umbrellas to passengers. The flight from Nadi to Nausori was less than 30 minutes and we landed at Nausori around 8.30 pm. The light-skinned young man I’d met in Goroka walked towards his mother who was waiting with a camera. She hugged him. 321

TOURING PACIFIC CULTUReS He introduced me to his mother, who shook hands with me and pointed to a man standing beside us and told us that he was Papua New Guinea’s high commissioner to Fiji. He walked over and shook hands with us. Lorna, Marlene and I could not find our pick-up car and went to the airport police office to enquire. Two police officers greeted us nicely and asked us to come in and call our contact persons in Fiji. One police officer offered to call the police boss to assist us. With their help, we were in touch with our contact person in Fiji and the driver arrived in less than 10 minutes to pick us up. We thanked the police officers and left for the Hotel Peninsula in Suva. The porters at the hotel greeted us with a ‘Bula’ and carried our luggage to our rooms. 322

21 Performing Cannibalism in the South Seas Tracey Banivanua Mar Figure 108. Imitation of roasting humans at Fiji in former times. Source. Forming part of the library’s collection ‘Views and portraits of the Pacific Islands’ by Paula David; call number PXe 708/item 15b; digital order number a698017, with permission State Library of New South Wales, Mitchell Library, PXe 708 . 323

TOURING PACIFIC CULTUReS Climbing the hills out of Sigatoka on Fiji’s main island of Viti Levu, the view is stunning. The Sigatoka River snakes its way from the hills to the coast, carving a spectacular valley and sharply steep hills. I was bumping along in a poorly ventilated, muggy as hell minibus with a small group of tourists when I first saw this river. It had been raining for days before. The Sigatoka River was a seething mass of fast-moving water, and the potholed road beneath our bus was only barely attached to the landscape. My fellow travellers were two teenagers, a couple of grey nomads, a sunburnt resort couple and a lady on safari, who was otherwise nondescript except for her archetypal clothing of white linen and a pith-helmet-esque hat, a vision of empire in the tropics. Just out of Sigatoka we had stopped to pick up two more passengers, Fijians Jone and Semi. For some reason they boarded with an inflated tyre tube. They were mates of Sam, our tour guide. Sam had arrived late on this Sunday morning, with bloodshot eyes and a remnant dusting of blue glitter on his face and neck. The camp flourishes with which he waved goodbye to his ride became muted on the bus as he donned his professional tour guide face and welcomed us to a cannibal adventure of a lifetime. We were going to Fiji’s Naihehe Caves, a spectacular and sacred cave system in the hills where, I had read, the Sawaitabu people took refuge against a raging measles epidemic in the 1870s. The measles had arrived from Sydney at the same time as Fiji became a British Crown Colony. It was contracted by chiefs and their entourage at roving ceremonies held to sign the Deed of Cession, the legal instrument ceding Fijian sovereignty to Britain. Infected chiefs unwittingly carried measles back to their villages, devastating their communities. The disease went on to wipe out nearly half the population of Fiji. The Sawaitabu people, viewing the epidemic as a colonial disease, took refuge in the Naihehe Caves, renouncing empire and Christ. In Fiji by the 1870s and 1880s, such resistance was increasingly coupled with the idea of cannibalism and therefore bound for destruction. Protected by the caves with their secret and narrow entrances the Sawaitabu people held out against colonial intrusions until eventually, exhausted by sustained bloody conflict, they surrendered. Today the caves are marketed to tourists as the Cannibal Caves.1 1 Repeka Nasiko, 2012, ‘The caves of Naihehe’, The Fiji Times, 19 February. 324

21 . PeRFORMING CANNIBALISM IN THe SOUTH SeAS Cannibalism has always been a drawcard for outsiders in the Pacific and for muchof the nineteenth century the Fiji islands were nicknamed the ‘Cannibal Islands’. A concentration of missionary and planter activity had made them the notorious epicentre of Europe’s Pacific craze by mid-century. Travel writers, missionaries, settlers and labour traders published memoirs and travel narratives for ever-attentive audiences. They filled these accounts with titillating tales of cannibal adventures, and illustrated them with pictures of cannibal forks and other paraphernalia.2 Postcards like ‘The Banquet’, and travelling human exhibits like the Fiji Cannibal Exhibition of 1873 took the tourist experience to audiences in Europe and America. So, too, accounts of the Pacific’s cannibalistic Manners and Customs, as they were nearly always titled, ranged in quality from the formulaic to the absurd, but most simply repeated tales of cannibalism as hearsay of a pagan past. Some writers such as the American William Endicott indulged openly in varying degrees of fantasy many years after their travels, while others, missionaries included, wrote more soberly of practices indicative of a savagery whose days were numbered. So invested and entwined with colonial projects were the prolific accounts of cannibalism in the Pacific and elsewhere that William Arens was moved in 1979 to controversially—some would say sacrilegiously—claim that cannibalism was a hoax, a projected fantasy.3 Cannibalism was a meta-myth, he argued, a ritualistic practice specific to colonial encounters. Those whose job it is to document native man-eating practices have been outraged by his suggestion that cannibalism did not and never did exist. But a more subtle point he made endures. Viewing cannibalism says more about the rituals of the viewer than the viewed. The Naihehe Caves still belong to the people of the Navosa Highlands, and after an hour of travelling we stopped near Natawatawa village to present i-sevusevu, a short ceremony to request and receive permission to visit the caves. We were all asked to wear a sulu for the fairly casual ceremony, receiving at the end a bowl of grog—not the good stuff, the peppery waka, but the touristy muddy yaqona that made Safari Lady wince. After this we crossed the seething Sigatoka 2 ‘Cannibals with Cutlery’, 2013, Daily Mail, 9 January. 3 William E. Arens, 1979, The Man-eating Myth: Anthropology and Anthropophagy, NewYork: Oxford University Press. 325

TOURING PACIFIC CULTUReS River with our hearts in our throats, and walked the remaining distance along a well-worn and now muddy and slippery path to the opening of the caves. This is a crevice in the hillside and we crouched and shuffled along a stream and through the puckered entry into the long, narrow rock halls beyond. Inside, under torchlight, Sam ramped up the cannibal jokes and stories. As we moved through the halls and taverns of the caves, Sam picked out sparkling formations of limestone and stalagmites, the ‘cannibal man’ and ‘cannibal woman’. Cameras flashed. As we moved through the caves, Sam continually asked us to imagine a whole village living in these spaces, sequestered in the dark, for months on end. Imagine the hunger. The tour of the cave culminated in a wide and open cavern, the main living space for the village. We were offered more tantalising stories of cannibalism before being shown what had been the kitchen with its natural chimney and oven formation. Here the cannibal stories reached a crescendo. Camera flashes flickered and we were asked to imagine body parts in the oven. Sam acted it out. Safari Lady played along. These cannibals were not evil, she gravely informed us, they just did not know any better. Thank god for the missionaries. Sam pointed at a stalagmite formation with a round flat surface, and suggested maybe it was a cannibal stone, a site of sacrifice, or where bodies were carved and prepared for cooking. He acted it out. He showed us some more chambers, the dining chamber with more references to cannibalism, the sleeping chambers and a secret entrance. The cannibal jokes continued and segued seamlessly into discussion, and more jokes, about lunch. ‘Who’s for lunch?’ Sam said. ‘Naah, I meant who wants lunch?’ he added, assuring us he had never eaten anyone. I took this tour nearly 20 years after Dennis O’Rourke’s Cannibal Tours filmed and framed a group of rich, white travellers ‘touring’ the Sepik River in Papua New Guinea.4 Tales of cannibalism had migrated west across the Pacific over time, coming to rest in the late twentieth century on the island that is now split along the 141st Meridian between West Papua and Papua New Guinea. In O’Rourke’s film, each tourist has their own agenda, and acts according to latent narratives of savagery and primitiveness. Unsettlingly lingering shots make us observe the tourists observing Papuans. In a pair of loud Americans 4 Dennis O’Rourke, 1988, Cannibal Tours, directed and produced by Dennis O’Rourke in association with the Institute of Papua New Guinea Studies. 326

21 . PeRFORMING CANNIBALISM IN THe SOUTH SeAS in search of primitive art, and another safari-suited German obsessed with seeking cannibalism and ticking off a checklist of toured, read, conquered regions of the world, we witness an Arens-like ritual being played out. The tourists see what they came to see whether or not Papuans play their part, and Papuans act out their roles knowingly and begrudgingly. The parallels between cannibal tours up the Sepik River in 1988 and the Cannibal Caves tour 20 years later are all there, even the safari suit. But it was not quite a ritual in which we obediently and religiously replicated a prescribed order. Rather this kind of cultural tourism, which thrives in the Pacific, is more like a performance that has been rehearsed countless times. The script is simple and generic, and is transportable across the islands with empty text-fields that are filled in locally. Cannibalism thrived here among the benighted savages of this place, empire/missionaries arrived in the colonial period, today we are civilised/Christian. Postscript: there may still be some who practice it in the remote hills of the interior. The present mirrors the past in the Pacific and the promise of encountering cannibals, of the past or in the present, remains alluring. Even as Pacific Islanders have developed sophisticated ways of presenting, celebrating and offering culture to curious tourists, and tourists have developed more nuanced interests, the appeal of discovering, encountering and imagining cannibals endures and has adapted. Tour companies in West Papua sell ‘First Contact Tours’ as part of a burgeoning adventure tourism trade. They promise to make contact with stone-age primitives and cannibals who have never seen white people before. The tours sell a fantasy of course. And it is lucrative. Since 2000, numerous books, documentaries and Discovery Channel sagas of white men Going Tribal5 amongst cannibals, set in Papua New Guinea or West Papua have fed the market. The UK-based magazine Zoo Weekly offered a ‘cannibal sex holiday!’ in West Papua as a competition prize in 2004.6 A collection of Fijian cannibal forks sold in the UK for £30,000 in 2013. In the same year international news outlets broadcast under sensational headlines, ‘Tourist feared eaten by cannibals’ that a German tourist had been killed and eaten 5 Going Tribal is a popular documentary series, in which the host visits and emulates imagined ‘tribal’ peoples, that wasproduced in the early 2000sand aired on the BBC and Discovery Channel. 6 Paul Kingsnorth, 2004, ‘Spot the real savages’, New Statesman, 15 March. 327