Sa Tiko Na Vanua. (The Vanua (Land) is Now Dancing)

A Doxological Approach A Paper presented by Rev. Dr. I. S. Tuwere at the”Talanoa-Oceanic Conference” held at the United Theological College/Charles Sturt University, Sydney Australia, October, 2008.

Abstract This paper seeks to explore the nature and function of the Fijian Meke or dance. It must be noted that this Meke or dance has nothing in common with the dance of the White races. It is a language in itself that speaks about different subjects that are related to the Vanua. There are Meke on war, the woods, storms, calms, rains, heavens, god, devils travels by land or sea, men and women and more. The approach used will be doxological that seeks to describe Fijian Meke as songs of God’s creation, here understood as Vanua. It is an exploratory paper that hopefully will have implications for Christian worship in general. Meke or dance essentially is movement in different ways and rhythm. Through this language of Meke, this paper will move on to explore the idea that God the Creator is ‘Movement’ par excellence.

Introduction

I am deeply grateful and honored to be part of this get together this week. This I believe is not just another occasion, but an event – a special event that takes place at the right time. A time when so many things have happened and are happening in this part of the world. Happenings that touch practically every sphere of our common life together at the political, cultural, socio- economic and religious levels. So may movement of people and change of events. And I feel both privileged, honored and equally humbled to share your company and to hear your thoughts on your chosen areas of concern and interest. I also hope that what I am now going to share with you will make some small contribution to this conference on talanoa.

I pay tribute to the organizers, Dr. Jione Havea and members of the planning team for all the work being done to make this event a reality.

The title of this paper – Sa Meke Tiko Na Vanua (The Vanua (Land) is Now Dancing) needs some explanation. In the early eighties when I was doing some research in on Vanua, I had a long and lively conversation with Livai Vuki, Daunivucu; chief dance-master of Wailevu my home district, on Vanua Levu, Fiji’s second main island. Livai led a group of Wailevu dancers to perform on the island of Taveuni on an important occasion. He was so much engaged and passionate in what he was telling me. In the course of his talanoa, Livai paused, looked at me and said in our Wailevu dialect: “Ba maka ni kai mehe iho i hena o Livai. Ba mehe iho a Vanua.” (It was no long I, Livai who was there dancing. The Vanua was dancing instead).1This

1 See Vanua: Towards a Fijian Theology of Place. Suva: Institute of Pacific Studies, USP, and Auckland: St. Johns Theological College, 2002, p.56. 1 | P a g e SA MEKE TIKO NA VANUA – D r . T u w e r e

statement resonates with what the great Hawaiian dancer Iolani when asked what was her feeling when she was dancing. She replied: “I don’t know, I’m not there”.2 These two accounts indicate two things: first, something happens in the life of the dancer when dancing that can only be described as a transformation. Second all meke or dances, song and chants are integral parts of the Vanua. They are iyau ni Vanua (Property of the land). Through these meke, a Vanua exhibits itself; what it constitutes and what it stands for.

I have discussed the meaning of Vanua both literal and symbolic in some of my writings.3 Vanua literally means “land.” It includes earthly turf, flora and fauna of a given place, rivers and mountains, fishing ground (vanua ni qoliqoli) and more. The term can also be used to refer to one’s country, district or village.

Four ways by which Vanua can be described symbolically. First, as a means of livelihood. It indicates motherhood; origin, source. Like a good mother, always there in good and bad times. The late Ratu Sir Lala Sukuna describes Vanua as “something of divine ordination, something that was created to control him/her through life, something he/she must explicitly serve: but something also that would help him/her in his/her difficulties, care for him/her in his/her troubles and protect him/her in danger.” Secondly, Vanua makes sense of ‘time and event.’ We all know about ‘vanua time.’ Time and therefore history become important because of the place to which it is connected. And an event becomes significant and memorable because of the ‘place’ where this event happens. In much the same way, a place will be long remembered because of the ‘event’ that took place there some years ago. Thirdly, it is the place where Fijian traditions and memories of the ancestors are stored. Memories are important. Loss of memory can be quite damaging. It leads to instability and no sense of direction. In the bible, memory is the mother of hope. And fourthly, Vanua is an important symbol of Fijian identity. Identity is not static but dynamic. It moves and for this reason, it has to be defined and articulated time and again in all new situations. It can only discovered through constant interconnectedness with other people and the world around us. In this paper I am now proposing a fifth meaning and that is the Vanua is a Meke; a dance. The literal and symbolic meanings of Vanua cannot and must not be separated here.

Now, I want to move on and say something about the nature and function of the meke. But before I do so, I want to show you a traditional Fijian Fan Dance – na meke iri called Raude.

The Nature and Function of Fijian Meke

Let me begin by saying that this paper is essentially an exploratory paper. I have never done any solid research in this area before. It will be discovered that I owe a lot to a paper on Fijian Dances and Games written and presented by one Rev. E Rougier4 in 1915 to the Fijian Society.

2 See Futa Helu in Critical Essays: Cultural Perspectives from the South Seas. Canberra: ANU, 1999. p..262 3 See Vanua… p. 33ff. 4 Written in French and translated by Mr. Colman C. Wall, read before the Fijian Society on June 14, 1915. 2 | P a g e SA MEKE TIKO NA VANUA – D r . T u w e r e

I also owe much to Eliki Seru,5 an authority on Fijian tradition and customs. Fijian dance has nothing in common with the dance of the White races. The generic name given to all Fijian dance is meke – na Meke vaka-Viti (Fijian Dance). After spending twenty years residence in Fiji, Rougier made the point that there are no superstitious ideas associated with meke.6 Fijian dances are mainly for amusement and exercise. This falls in line with what Futa Helu says about the function of Tongan dances that is “to consummate a feeling of unrestrained exultation and effulgence”.7

All meke are in different branches, forms and style that is impossible to divide them up in a neat sort of way. Some share a common style. Others are admirable for their imagery and language. A meke can simply be in the form of vucu or chanting. The expression: Era vucu toka na qase (old men are chanting a meke) indicates this. This may be observed when older men may be building a house for someone in the village, or returning from their gardens in the afternoon or in the evening when sharing a tanoa or bowl of yaqona (), while women may be weaving mats. Past events as well as hopes and dreams for the future are kept in these meke and sere or songs.

Meke can generally be divided into three sections. First, those performed by men alone. Second, those performed by women, and thirdly those preformed by both sexes together. All meke are prepared and performed for a purpose. Neither the meke mada or club dance nor indeed any meke is ever performed without some reason. Reasons for which all meke are performed include the following:

 They are made through the order of the chiefs – na meke lavaki (ordered). This happens when there is an impending occasion locally or nationally where a given Vanua has to take part. The chief orders his daunivucu to put together a meke.  For a feast and fair (na meke ni solevu).  For the enthroning or installation of a chief (meke ni veibuli)  For the return of a chief after being away for some time for a vanua engagement. The occasion to celebrate his return is known as vakasenuqanuqa.

At each important event in the life of a Fijian comes the ever recurring meke. No solemn drinking of yaqona could take place without a meke. This is especially true from as early as one can remember up to the early decades of the twentieth century. They performed it at birth, at marriage, during sickness and even at death - “nona meke na mate” (the dance of death). It can be summed up that Fijian meke is celebration of the ‘movement of life’ from beginning to end.

5 A i Tovo Vakavanua vaka-Viti ena kena i Vakamacala Rawarawa. Suva: Tabacakacaka ni Vuli 1973.

6 op. cit. p. 17. 7 op. cit.p. 262. 3 | P a g e SA MEKE TIKO NA VANUA – D r . T u w e r e

Special Meke by Men

Meke Mada – Meke iwau (dance of club). This has been in Fiji for as long as one can remember. It can rightly be described as military exercise par excellence. Chiefs almost always preside over it and all men capable of carrying arms are ordered to take part. All meke including this one are usually performed on the rara or village green. Preparations for the meke often extend over a long period. It is frequently rehearsed for months on the rara. Before sunset one may hear the big which is a drum or trough, hollowed out of a trunk of a tree, calling the dancers. They leave their plantations and prepare themselves and their clubs. The whole village now assemble before dark, the women sitting around watching the performers. The elders and youngsters are seated in a corner of the rara.

Near them walks up and down the daunivucu (dance instructor). Several times he would say giving the order: vakarau…meke… na cava tale dou waraka tiko (get ready…. Go on…. Let us commence, what are you waiting for?) On an occasion such as this, it is good manners to be pressed. After many urging and exhortations, the dancers rise up and get into line.

The measure is beaten by an orchestra of an original kind known as vakatara. They clap and strike the ground with sonorous bamboos which differ in length and size in such a manner that each bamboo gives a different note. In the middle of the orchestra is the vakataulali (drummer) who usually is an experienced drummer. The little lali lets out its loud notes. And it sounds much louder when placed upon a well-oiled naked breast. During these performances they are more or less daubed with black (qumu loaloa). On the day of the solemn performance, it is imperative to be so daubed. It is their disguise and they prefer it this way.

On the actual day of this solemn occasion the orchestra (vakatara) arrives and the first part of the dance begins with the dancers hold in one hand an ornamented bamboo, in the other, a uvi or yam which they place on the ground in passing before the chief who would normally be placed on one side of the orchestra. This part of the meke is called na kena sovasova, that is offerings of coconuts, dalo, yams, money etc. That received and the orchestra being seated they begin the second part called, na i vakaucu, that is, the setting of the scene. The dancers are not in sight yet.

At this stage of the vakaucu there is great anxiety amongst the crowd. They seek to know from whence the dancers are coming because these dancers always seek to produce a theatrical effect by arriving from an unexpected direction. Introduced by the chanting of the vakaucu the dancers arrive in perfect order, at a pace sometimes slow, sometimes fast. Two successive line of verse or couplet of the vakaucu keeps sounding until they arrive at the precise place of the rara where they are going to perform the meke. Then the daunivucu (dance-master) cries – Tu. The orchestra ceases.

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When the master of the meke says Tu (Stand) each warrior remains unmoved, the club on the right shoulder followed by a pause, impressive in its silence, while the crowd waits in feverish expectancy. The dancers throwing around in their minds the movements to be made next.

Then the third part begins which is called na meke dina (the true dance). The dancers move briskly, slowly, lively, up and down to the right to the left, they come, they go as if in a firing line. The scene is perfect and the crowd extremely excited. And they recommence the same couplet and go through the same dance two or three times. The whole scene lasts about twenty minutes, then the dancers retire, giving their garlands to whoever asks for them. They are breathless and glistening with sweat but well pleased with themselves. This then is the meke mada, the noblest of all and the most appreciated. It is quite common in those days to see 600 warriors taking part in this meke.

Meke Wesi (spear dance). This meke is sometimes called na meke ni veli or dance of a kind of fairy said to be found in the mountains of Viti Levu, the main island. It is peculiarly the dance of the mountaineers. And they claim that it is the most primitive dance and the only true Fijian one. Imagine 500 warriors each grasping in his right hand a lance or spear (moto) about 12 feet long which he holds at the height of his shoulder. At each step which he makes by a peculiar jerk, the lance vibrates at both extremities.

The dancers must brandish with one hand this long lance or spear and hold in the other a fan (iri) as a shield, skillfully managing to leap, to strike, to turn around, charge and retreat, cross and re-cross again without ever striking their neighbor. It can be said that it far surpasses in beauty all other mekes. This is the meke that Livai led in Somosomo, Taveuni that I referred to earlier on in this presentation.

Special Meke by Women

Na Sese is commonly known today as Seasea. This begins by the orchestra (vakatara) and dancers all come to the village rara. The orchestra is seated and dancers standing, forming two lines facing each other. The chanting begins and the dancers slowly break in orderly fashion following the words chanted by the orchestra until they come to an order that can be watched by the anxious audience. The dancers are usually dressed up in colorful ways ornamented with a mosaic of local sea-shells or tabua (whalestooth) if the dancer(s) is now dancing for the first time.

Na Vakamalolo derives its name from the island of Malolo on the western side of the Fiji group. This meke can involve women only, or men only or both. It is a sitting dance with nothing in the hands of dancers, just hands, with flowers and different ornaments on their heads and shoulders. The movement is demonstrated time and agin by the tilting and gentle jerking of the head in admirable fashion. The vakamalolo may be a talanoa of war, a meeting of

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ancestors, or even the opening of the Sydney habour bridge8. Livai Vuki showed me the text of a meke produced by the daunivucu (dance master) of Wailevu many years ago. This dance master was blind and unable to read or write but through his meke, he described in full, the opening of the Sydney Habour bridge – date, month and year and other events on that day. The making of a meke especially when this has been ordered by the chief involves some mana or power from gods of the vanua. For meke was a principal medium of communication in old Fiji. For this, the daunivucu was in frequent contact with the world of spirits.

There are other mekes most of which are hardly seen today. These include:

Meke ni Manumanu (dance of living creatures) sometimes takes the form of a human serpent, that rolls and unrolls its coils. Or dance of other birds like the rooster and other local birds. This meke is mainly for amusement and hardly seen today.

Ua Lokaloka (dance of the incoming tidal wave or tsunami) is usually imitated by 600 dancers. You could hear the moan of the sea, and the reefs growling long before the dancers were in view. Each dancer had a great head-dress of white masi or tapa to imitate the foam of sea- water. This also is not practiced today.

Meke ni Yau (dances for goods). These are great dances special for solevu (fair). It involves great influxes of people into a village to exchange goods, mats, pottery, kamunaga (whalesteeth), canoes, pigs and more.

Meke or dance in Fiji as well as in all our islands and communities has been with us all these years. Some have been lost for different reasons or have put on new changes in their varied forms through the course of history. Some have been either discarded or simply ignored because of their association with the spirit world, the world of our ancestors. And some have been simply lost because of neglect, the older generation not passing it on to the younger generation. Or deliberately pushed aside for religious or theological reasons, whatever that may be. Today, they are always performed on occasions such as the opening of a new church building, or any church-related solevu or bazaar. But what these meke are saying and symbolize are not seriously considered as important. But all meke have been going on in our home communities in the islands for ages and this must continue on in future, now that we belong to new social locations and seeking to name and articulate our identities in multi-coloured contexts. They need to be passed on to the younger generation.

Meke is a Language of Praise and Adoration.

How can we make sense of all this today? It should be considered that meke or dance is a language on its own, a talanoa of the vanua and therefore creation. A song of praise and adoration of God the creator. A doxological language if you life. Doxology has to do with

8 See Vanua ..... p.74. 6 | P a g e SA MEKE TIKO NA VANUA – D r . T u w e r e

thanksgiving, praise and adoration of the Lord God. If we cannot explain who this creator-God is in a logical, rational and coherent way as this is done through speech and writing in higher institutions of learning, we can at least worship, praise and adore Him through our meke or dances. In some churches in the islands traditional dance can be seen during special church services; for example, the Roman Catholic Mass. I have been informed that this is happening in the Roman Catholic Church in and perhaps in other places. Liturgical dance should be explored for the renewal of worship life in our churches in future. The word “liturgy” comes from leitougia which in the Greco-Roman world was ‘public work’ each person did to build and repair roads and bridges and other public works for the community and its growth. By calling their worship “liturgy”, the early church pointed to the purpose for Christian worship, a purpose which distinguishes it from all other religions: to build roads and bridges among all peoples for greater growth of community.

The Need for a Review of our understanding of who God is

The proper ground for exploring the doxological or theological significance of meke or dance is the Christian doctrine of creation and new creation. It is on this ground that we have to allow for a review of our understanding of who God is. With this in view, I now advance the notion that meke or dance is in God. God the Creator, the ever-living God is a dancing God. King David was in the same mode. That is why he was known as the dancing King. “David danced before the Lord with all his might, was girded with a linen ephod… and all the house of Israel brought up the ark of the Lord with shouting, and with the sound of the trumpet” (2 Sam. 6: 14 - 15). The meke or dance is in Him – in God.

Through God the Son, creation is affirmed and held together. Says St. Paul in his letter to the Colossians: “He is the image of the invisible God, the first born over all creation. For by him all things (ta panta) were created, things in heaven and on earth, visible and invisible….. all things were created by him and for him. He is before all things, and in him all things hold together” (Col.1: 15).

In silence and stillness, as the world lay worshipping under the hand of God the Creator, “the Spirit of God was moving over the face of the waters” (Genesis 1:2). Movement was there in the beginning when God was engaged in the coming into being of the cosmos, the world. Life was bursting forth everywhere from the first day of creation to the sixth day…. Light from darkness… morning and evening …. Moon and stars… plants and animals of different kinds…. Birds of the air and fish of the sea…. Reptiles and insects of different kinds. But with all this, the dance was incomplete for it required the human soul – the souls of persons moving in relationship to God, to give this dance its deepest purpose, that of praise and thanksgiving. This is the movement of a meke and dance in orderly fashion of the highest order in the story of creation.

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Meke is about People and Community.

“Dance presupposes society” says Futa Helu9 . It is about people – all people that one can see there on the rara or village green, men and women, old and young and children. And because of this, it requires a review of the Christian understanding of man or humanity. And here the physical or the bodily aspect of humanity comes up front. Movement of the body is what one watches in a meke. Dance reveals to us that the physical and spiritual are not two separate domains but two aspects of one and the same reality.10 The body’s own power and strength turns the dance into a sacrament, ‘an outward and visible grace’. There is no Hebrew term for body. They did not regard a person as a sum of parts but as a unitary being; a nephesh. Body is soul in its outwardness and soul is body in its inwardness. Dance in general reveals to us that the physical and spiritual are not two separate domains but two aspects of one and the same reality. 11

The language of meke with its focus on the body and the physical is inviting us to take this side of life seriously. At a time when so much attention is placed on things ‘spiritual’, in some respects at the expense of things material or bodily, this knowledge of meke is critical knowledge – a hermeneutic of suspicion if you like. And it calls for serious hearing today in our churches.

And because meke is talanoa about not only people but also birds, reptiles and animals, rivers and seas, tidal waves and tsunami, this outward and visible dimension of our common life together calls out for serous attention and consideration at this point in time. Our meke epistemology has implications for our care of the environment around us.

Conclusion

The meke or dance and its talanoa must go on, unfinished as it should. Vanua as dance must continue on into the future with new forms and styles to express the ever changing phases of time and change, not merely for the sake of change but for fuller life. Not the denial of life but for affirmation as well as transformation of this one life we humans share with the rest of creation. As we find ourselves at different crossroads of life in the different places we now live in, let us continue to engage ourselves and participate in the meke.

When pressed to sing a song of the Lord in foreign Babylon, the early Israelites with uncertainty and trepidation asked the question: How could we sing the Lord’s song in a strange land? Or how can we dance the meke of the Lord in a strange land? In different ways, this is our common

9 In Critical Essays 10 Davies .... 11 J.G. Davies in Liturgical Dance: An Historical, Theological and Practical Handbook. London: SCM Press 1984, p95. 8 | P a g e SA MEKE TIKO NA VANUA – D r . T u w e r e

question. But let us sing and meke – using the words of the prophet Jeremiah in his response to the Israelites as our lyric:

“Thus says the Lord of hosts, the God of Israel, to all the exiles whom I have sent into exile from Jerusalem to Babylon: build houses and live in them; plant gardens and eat their produce. Take wives and have sons and daughters; take wives for your sons and give your daughters in marriage, that they may bear sons and daughters, multiply there and do not decrease. But seek the welfare of the city where I have sent you into exile, and pray to the Lord on its behalf, for in its welfare you will find your welfare” (29:4-7).

Prayer

Ever living god who is beyond all our naming and all our defining, God from whose being flows creative diversity and who is the source of our unity: WE WORSHIP YOU

God who was born into the depths of our life, Who entered our history in Christ. Enfleshed in the midst of every culture, Incarnate in every struggle for truth WE WORSHIP YOU

Spirit of God who dances free of us all, Calling us past boundaries Of race, gender, culture, system and nation WE WORSHIP YOU We approach you in faith held fast by your love for the whole creation And the whole world

AMEN.

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