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Yet there is no sense of why this might will find its usefulness limited to the have been so. Textiles like tapa (bark enjoyment of beautiful objects and the cloth) and handwoven mats were sense of place evoked by the words of both socially and ritually important the women. throughout before the anne e guernsey allen arrival of Europeans. In many groups Indiana University (including the Cooks) these older forms have been augmented or *** replaced by western cloth, which is manipulated and used with island Kula: Myth and Magic in the priorities. Are the uses of tivaevae , by Jutta Malnic, today in the Cook Islands postcontact with John Kasaipwalova. Wahroonga, phenomena, or have the quilts become nsw: Cowrie Books, 1998. Distrib- modern substitutes within ancient uted by University of Hawai‘i Press. practices? Quilting techniques similar isbn 0–646–34617–2; 222 pages, to those found in the Cook Islands glossary, map, figures, photographs, also exist in other parts of Polynesia. bibliography, index, appendix. Hawai‘i, the , and us$49.00. come to mind. The existence of quilting in Tahiti is touched on in Kula: Ring of Power. 51 minutes, the artists’ statements, yet it is not ntsc, 2000. Written by Rob Scott acknowledged in the discussion at the Mitchell, Jutta Malnic, and Richard beginning of the book. There is also Dennisen. Directed and edited by no bibliography to help direct the Michael Balson. Produced by National reader who wishes to learn more. Geographic Explorer usa, zdf Ger- Some depth of history or breadth of many, Finnish Broadcasting Corpora- geography, even if limited, would have tion, and Sky Visuals. Distributed by provided a much stronger background University of Hawai‘i Press for Cowrie against which to understand the cre- Books. isbn 0–8248–2313–3. ation of tivaevae in the Cooks. The us$30.00. absence of this context intimates a sense of timelessness, which contra- For almost a century, the Kula dicts the living and evolving tradition exchange system of southeastern about which the artists themselves has been a classic speak. subject of anthropological enquiry. The Art of Tivaevae, in spite of its Most of the literature on this complex flaws, does introduce the expert in and ever-adapting subject has been Pacific studies and those generally written by researchers who have interested in either Polynesia or quilt- worked in the Southern Massim. The ing to this beautiful art form. The island of Kiriwina in the Trobriands, artists’ narratives also contribute to prominent since Malinowski’s Argo- the importance of the book. Although nauts of the Western Pacific (1922), The Art of Tivaevae should be bought is the ethnographic center of both and enjoyed by all who have a love of book and film. the Pacific and its cultures, specialists These two publications can be seen book and media reviews 513 as a postmortem homage to Chief the act of “letting go” of a gift matters Nalubutau, whose knowledge and far more than the actual shell valuable mortuary feast feature in the book, (37): “A Kula experience is like having and whose last Kula competition a new child” (59). The Kula, accord- (uvalaku) forms the plot of the film. ing to Kasaipwalova, is not about the Both book and film are an interesting exchange of valuables but rather an contribution to the vast literature on exercise in, as well as an expression Kiriwina, easy to consume but in some of, fundamental ethics, practices, and parts challenging to understand. A interactions called “monikikini.” This lengthy glossary, an index of names term encompasses five “principles of and places, and an additional bibliog- excellence” (22–29). These are, in raphy (though not referred to in the brief: “precision planning and text) link the book with anthropolo- approach” (22), symbolized by the gists’ works. Both book and film pro- Sea Eagle and the eye; quiet persua- vide the reader with beautiful images sion and emotions, symbolized by the of Milne Bay Islanders, shell valuables, Turtle Dove and the ear; clarity of the and Massim scenery. point one makes, and awareness of When Malinowski, in his work on the power of color, symbolized by the Trobriand Islands, attempted to the Rainbow Lorikeet and the mouth; “grasp the natives’ point of view,” the sensuality, awareness, and perception “natives’” voices were hardly audible through the skin, symbolized by the in anthropological literature. Eighty Grasshopper and the sensation of years later, a Trobriand Islander, John touch; and awareness of beauty, Kasaipwalova, ventures to explain allure, and scent, symbolized by a the underlying symbolism and deeper sweetly perfumed flower and the meaning of Kiriwinan Kula from his nose. The center of the spiral is point of view. He is assisted by the called “gum” (essence), and stands for Swiss-Australian photographer Jutta “spiral thinking,” or the “presence of Malnic and a film team that captures the past,” which is the backbone of Kula moments. In the book, Kasaip- any Kiriwinian magic, as Kasaipwa- walova explains the fundamental lova explains (142–144). These prin- epistemology of a branch of mwasila ciples can also be visualized as a spiral (Kula-magic) formulae to Malnic, who on a tiny mollusc (23). has been visiting the Trobriand Islands To be a Kula master, like Kasaipwa- for twelve years. The resulting text is lova’s maternal uncle, the late Chief both informative and confusing. Nalubutau, involves mastering these First, it bespeaks a New-Age principles as well as practicing the approach to life rather more than unity of the universe by meditating on anything that has been previously one’s intimate connection to the envi- published on the Kula. For example, ronment. Kula masters can employ Kasaipwalova believes that the shell their power over the weather and their valuables that circulate in the Massim, gardening of yams; they cultivate rela- mwali and soulava, are subordinate to tionships with “their personal whale” the general idea of growth and grow- (94); and they have the power to influ- ing; the quality of experience within ence their partners’ minds on faraway 514 the contemporary pacific • fall 2003 islands. Kasaipwalova, and other con- 94). Kasaipwalova also explains the sultants of Malnic, give meticulous “three important symbols” that are details of how such deeds can be often carved onto “yam houses” accomplished; in fact, Malnic herself (159–161) and relate to the execution is coached to experience the oneness of political power, the past/ancestors, of herself with nature: she has to get and—most significantly—to sincere up before sunrise and, seated at an generosity. Poetic metaphors (103– elevated spot with great scenery, men- 106) and a selection of myths from tally link her body parts with moun- the Massim region (162–180) further tains, sea, and trees (54). This yoga- add to the presentation of Kiriwinian like practice, in fact, left a strong worldview. Interesting ethnographic impression on Malnic: “With time, the data are presented in the description sequence of the recital passed to the of the ritual of fishing for Spondylus memory of my hands. I just watched shells (actually the Chama shell, those hands dancing, handing me to according to Leach) that are used to the clouds, the grass, the trees. The make Kula “armshells” (120–127). trees were the best. Under the canopy, Kasaipwalova gives evidence of his trees embrace you, trees are dream- insider’s perspective when talking lovers” (59). about the importance of women in the Second, the idea of monikikini is Kula (and in Trobriand society in gen- linked with other elements of Kiriwin- eral), symbolized by a principle called ian spirituality, especially to the realm “kailagila,” that is, “the Three Stones of magic. The book comments on on which the cooking pot rests” (103). beliefs concerning magical procedures In between these elaborate explana- to influence the weather (146–148), tions of symbolism, “spirality,” and success in Kula (151–152), and phys- spirituality by Kasaipwalova, Malnic ical health (152–154). It gives an gives brief descriptions of the other account of dancing magic that is islands of the Kula ring. She traveled completed by administering shallow to all of them, and both book and film cuts on the skin of a boy (148–151) present stunning visual impressions of to give him “lightness of feet and the her journey. lightness of hands” (150). In the film, While the book focuses on Chief a senior garden magician gives a Nalubutau’s monikikini and its rele- sample of his art (“the real thing,” as vance for a range of affairs, the film Malnic confirms in the book [145]). puts a stronger emphasis on the Kula Kasaipwalova also connects these “ring” and the exchange of valuables. different features of “spiral thinking” In the film, a huge Kula ceremony with symbolism as represented in does not take place the way it was carvings. All of the carvings on a planned—in this regard, it is a good Kula canoe are visual reminders of representation of what the Kula is the formulae and discipline of reciting like. Although Kasaipwalova tries monikikini, with each detail pointing his best, leapfrogging all around the to specific aspects, such as the Eye of “ring” of islands and trying to secure the Sea Eagle, the “personal whale,” as many mwali shells as possible with and the virtue of self-discipline (90– his modern (perhaps the book and media reviews 515 most luxurious Kula ship the “ring” gifts and challenges him with further has seen so far), the final display of gifts while giving an aggressive speech. shells and the end of the competition Since “the spirit of Kula comes out of could not be included in the film. the earth,” yam gardening is another Instead, the film gives some insight focus of the film, complete with mila- into the Kula of Bill Rudd, the sole mala harvest ceremonies, wild sexual white Kula-master and winner of the “Tapioka” dancing, and reference to uvalaku-competition shown in the Malinowski’s report of women raping film. His view of the affair, given as men. One wonders why these stereo- he receives a high-ranking valuable, types had to be included. The beauty and his comments on some of the rit- of the islands and the ocean gives the uals associated with it, clearly reflect film its special flair, but topless girls his western perspective; yet he is a feature more often than in reality and Kula master: “Today, money buys its long shots of sailing canoes suggest way into the Kula.” Fortunately, this that this “traditional” form of travel- message is not entirely correct. Rudd ing is still the norm. The use of diesel- and Kasaipwalova might be faster engine boats is pardoned as an emer- with their privately owned modern gency measure due to Nalubutau’s boats and they are without doubt deteriorating health although—at least attractive to their partners because in the southern Kula regions—they are they can host them more splendidly, a common means of contemporary but in the long run, they cannot keep Kula transport. The frequent voice- up with their rivals who have no over is often patronizing in tone, and money but deeper knowledge, a com- it is a pity that subtitles have been plex network of relationships, and used far too rarely. The music is some- social skills. The mwali “Kabisawali,” times inappropriate, in my opinion, created by Kasaipwalova, for exam- and the fantasy mixture of drums, ple, became a feared object amongst flutes, gongs, and synthesizer, perhaps Kula members, associated with money, intended to give a mystic touch to the envy, and death, and only reluctantly images, should have been replaced by accepted in exchange. Rudd, as I was some of the indigenous sound mater- told during my fieldwork, gave up ial available. Kula and returned to Australia in the Since the “writing culture” debate, mid-1990s. we have come to appreciate local The film is suitable for teaching voices and this book gives ample space purposes, for it gives a good impres- to quotes from Trobriand Islanders. sion of the landscape and some fea- Jocelyn Linnekin has reminded us of tures of Trobriand Islanders’ life. It the contingency of all cultural repre- needs additional information, how- sentations and their in ever, since it lacks any insiders’ com- a particular social and political con- ments on the actual procedures of the text. John Kasaipwalova certainly is Kula. It shows, for example, a trans- not a typical Trobriand Islander in a action that would not be regarded as Malinowskian sense, but a former ideal or typical: a visitor complains to university student, entrepreneur, and his host about the slow return of his playwright who has spent much of his 516 the contemporary pacific • fall 2003 life in Australia and Port Moresby. practices, as well as the basic under- He has been prominent in Kiriwinan standing of monikikini. I wonder if politics since the early 1970s, declar- such knowledge is meant to be pub- ing his vision of communalism and lished, but this critique must be left embedding it in the “Kabisawali” for the members of Kasaipwalova’s movement, which unsuccessfully matrilineage, who may have lost a attempted to combine access to west- valuable secret. ern commodities and amenities with In the book, Malnic asks, Kasaip- local ideals of cooperation. His per- walova explains, and the reader is left spective comes across as a poetic to wonder. After a hundred years of rendering, an attempt to translate missionizing, schooling, and increased his version of Trobriand epistemology contacts with westerners (not to men- into a western format. Yet he claims tion a handful of anthropologists who to have experienced and fully under- have spent extended periods of time stood the monikikini principles of a looking for “inside views”), it is “spiral” worldview: “only after my astonishing to learn about a spiritual complete cut-off from logical linear system of such internal logic and assumptions, thinking and pursuit, I overall relevance to Kiriwina life and have had this break-through. All of death. I have never read of this con- this knowledge that Nalubutau gave ception, neither did anyone tell me me over the forty years has become about anything similar during my fully alive” (161). Nice contrasts intensive fieldwork on . appear in the text when Malnic frames The latter might be due to consider- Kasaipwalova’s explanations with her able cultural differences amongst the own experiences, which so obviously islands that form the so-called Kula entail an outsider’s perspective. She ring, but this fact is nowhere men- did not learn the language (as she had tioned in these publications. Finally, interpreters on hand at all times) and then, we are left wondering: Whose hence could not understand the rheto- Kula? Trobriand Kula? Nalubutau’s rics, the strategies, and the finer points Kula? John Kasaipwalova’s Kula? It of Kula interaction. She herself may is left to the reader to accept this have become part of the machinations version of Kiriwinan Kula, or not. and issues involved in the succession susanne kuehling that are normal when a chief gets University of Heidelberg older. Kasaipwalova presents himself as the heir of Nalubutau’s secret *** knowledge, his magical spells and