NEW MANA TRANSFORMATIONS OF A CLASSIC CONCEPT IN PACIFIC LANGUAGES AND CULTURES NEW MANA TRANSFORMATIONS OF A CLASSIC CONCEPT IN PACIFIC LANGUAGES AND CULTURES Edited by Matt Tomlinson and Ty P. Kāwika Tengan MONOGRAPHS IN ANTHROPOLOGY SERIES Published by ANU Press The Australian National University Acton ACT 2601, Australia Email: [email protected] This title is also available online at press.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Title: New mana : transformations of a classic concept in Pacific languages and cultures / editors: Matt Tomlinson, Ty P. Kāwika Tengan. ISBN: 9781760460075 (paperback) 9781760460082 (ebook) Series: Monographs in anthropology series. Subjects: Language and culture--Pacific Area. Languages in contact--Pacific Area. Sociolinguistics--Pacific Area. Other Creators/Contributors: Tomlinson, Matt, 1970- editor. Tengan, Ty P. Kāwika, 1975- editor. Dewey Number: 306.442096 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover design and layout by ANU Press. Cover Art: Ki‘i Kupuna: Maka, by Carl Franklin Ka‘ailā‘au Pao. 2013. Acrylic, graphite, and shellac on canvas, 74 inches x 56 inches. This edition © 2016 ANU Press Contents List of Figures . vii List of Tables . ix Acknowledgements . xi About the Cover Art . xiii A Note on the Typesetting . xv Introduction: Mana Anew . 1 Matt Tomlinson and Ty P. Kāwika Tengan 1 . Mana Hawaiʻi: An Examination of Political Uses of the Word Mana in Hawaiian . 37 Noenoe K . Silva 2 . The Mana of Kū: Indigenous Nationhood, Masculinity and Authority in Hawai‘i . 55 Ty P. Kāwika Tengan 3 . Bodies Permeable and Divine: Tapu, Mana and the Embodiment of Hegemony in Pre‑Christian Tonga . 77 Andy Mills 4 . Niu Mana, Sport, Media and the Australian Diaspora . 107 Katerina Martina Teaiwa 5 . Mana, Power and ‘Pawa’ in the Pacific and Beyond . .. 131 Alan Rumsey 6 . Mana on the Move: Why Empirical Anchorage Trumps Philosophical Drift . .. 155 Thorgeir Kolshus 7 . ‘Press the Button, Mama!’ Mana and Christianity on Makira, Solomon Islands . 183 Aram Oroi 8 . The State of Mana, the Mana of the State . 203 Alexander Mawyer 9 . Theologies of Mana and Sau in Fiji . 237 Matt Tomlinson and Sekove Bigitibau 10 . Claiming Pule, Manifesting Mana: Ordinary Ethics and Pentecostal Self‑making in Samoa . 257 Jessica Hardin 11 . Mana for a New Age . 285 Rachel Morgain 12 . How Mana Left the Pacific and Became a Video Game Mechanic . 309 Alex Golub and Jon Peterson Afterword: Shape‑Shifting Mana: Travels in Space and Time . 349 Niko Besnier and Margaret Jolly Contributors . 369 List of Figures Figure 1. Map of Oceania. .................................2 Figure 2. March of MANA (Movement for Aloha No ka ‘Āina), Honolulu, January 2013. .............................9 Figure 3. MANA: The Hawaiian Magazine, January/February 2013. .............................12 Figure 4. Mana: The Māori Magazine for Everyone, Issue 108, October/November 2012. ............................13 Figure 5. ‘Mana card’ from Becker (1998). ...................16 Figure 6. Label on a container of shredded roast pork, purchased in Honolulu, mid-2000s. ....................16 Figure 7. De-occupy Honolulu, 2012. ......................51 Figure 8. Kūkolu Aka Mahina by Kalamakūloa. ...............62 Figure 9. Ki‘i Kupuna: Maka ..............................66 Figure 10. The high-order subgroups of Austronesian. .........134 Figure 11. Approximate boundaries of the major subgroups of Austronesian. .................................136 Figure 12. The Trans New Guinea Phylum and other language groups in New Guinea and environs. ..........143 Figure 13. Tongo maea. .................................188 Figure 14. Te Mana clothing brand ........................211 Figure 15. ‘Be a Mana-Boy’ ..............................212 Figure 16. Drinking mana ..............................212 Figure 17. Mana-infused communications ..................213 vii NEW MANA Figure 18. Mana shopping ..............................214 Figure 19. Choreographing mana (Mana Ori Tahiti 2015) .......215 Figure 20. A pastor from Glory House preaches at a tent revival in Apia, 2012. .............................262 Figure 21. Morning prayers at a clinic, 2012. ................263 viii List of Tables Table 1. Dependent Tongan constructions of emotion from manava. ....................................81 Table 2. Mana words from southeastern Solomons languages relating to ancestors and inheritance. .................135 Table 3. Blevins’ proposed set of etymologies for *mana(q) words in Malayo-Polynesian languages. .137 Table 4. Blevins’ list of ‘mana lookalikes’ in non-Austronesian languages of the New Guinea area. ...................138 Table 5. Attestations of mana in Mangarevan ................206 Table 6. Use instances of mana in Mangarevan atonga (traditional histories) ..............................207 Table 7. Summary of mana’s ascriptions from Tables 5 and 6 ....208 ix Acknowledgements Many people have participated in, helped with and contributed to this project in diverse ways over the years. Here we would especially like to acknowledge Aunty Agnes Shea, who provided the Welcome to Country at the ‘New Mana’ workshop in Canberra in September 2013, Ping-Ann Addo, Mitiana Arbon, Carolyn Brewer, Karen Brison, James Flexner, Chris Fung, Paul Geraghty, Tēvita O. Ka‘ili, Ana Kitolelei, the Reverend Latu Latai, ‘Okusitino Māhina, Gwendoline Malogne- Fer, Areti Metuamate, Carlos Mondragón, Nick Mortimer, Michelle O’Toole, Andrew Pawley, Malcolm Ross, Albert J. Schütz, Bradd Shore, Ross Smith, Marata Tamaira, Jack Taylor and Geoffrey White. This volume was developed as part of Matt Tomlinson’s Future Fellowship project (#FT110100524) with the Australian Research Council, ‘Divine Power in Indigenous Christianity: Translation, Theology, and Pacific Politics’. Funding for the ‘New Mana’ workshop was provided by three organisations at The Australian National University: the Research School of Asia and the Pacific and the Departments of Anthropology and Pacific Studies, the latter two in the School of Culture, History and Language. Subsidies for the publication of this book were granted by the ANU Publication Subsidy Committee, the ANU Pacific Institute Publications Subsidy, and the Department of Anthropology at the University of Hawai‘i at Mānoa. We are grateful to all of these people and organisations for their generous, collective mana in bringing the book together. Matt Tomlinson and Ty P. Kāwika Tengan November 2015 xi About the Cover Art Located within the collections storage facility of the National Museum of Scotland is a box that contains a relic of Hawaiian antiquity—an akua kā‘ai or ‘god stick’. The object is anthropomorphic in appearance, its facial characteristics comprising a furrowed brow, slanted hollowed- out eyes, and a mouth pulled back in a grimace of truculent defiance. In the ancestral past, this portable wood sculpture functioned as a physical manifestation of divine mana and potency—it was the dwelling place of a god. But an examination of the figure’s lower torso reveals a sight that mars its otherwise commanding presence. The phallus has been crudely cut away and reduced to a mess of chaotic striations. Its mutilation articulates with a broader historical context—which began around the early nineteenth century—wherein male and female genitalia on ki‘i kūpuna (carved images of Hawaiian gods and ancestors) were summarily excised by European missionaries, traders and, in some cases, Hawaiians themselves as Christian values and beliefs gradually seeped into the bedrock of indigenous society. Carl Franklin Ka‘ailā‘au Pao, the artist whose work, Ki‘i Kupuna: Maka, features on the cover of this publication, argues that the emasculation of ki’i kūpuna, like the castrated akua kā‘ai in the National Museum of Scotland, was not merely limited to the physical objects but it also had an adverse effect on the collective mana of the Hawaiian people. In response to what he believes has been a ‘symbolic-spiritual stripping’, Pao actively seeks to restore Hawaiian mana, in part by recuperating the iconography of the ule and kohe—male and female reproductive organs, respectively—through his art. In Ki‘i Kupuna: Maka (2013), Pao invokes male and female streams of procreative power through his abstract profile portrait of an ancestral carved image. The face of the ki‘i is depicted in detail with flared nostrils and, more significantly, a gaping mouth that contains the xiii NEW MANA maka or centre of a flower. This is represented as a solid orange form comprising eight nodes, the largest symbolising the pistil or female sex organ of the plant and the smaller ones constituting the stamen or male sex organ. At the centre of the maka is a single sphere, the embryonic seed of the next generation (or perhaps, as Tengan writes in chapter two, ‘an eye peering out’). The mouth of the ki‘i functions as a sacred, protective space, safeguarding the maka—a metaphor for the Hawaiian people—as it regenerates itself in a perpetual cycle of growth and renewal. In this work, Pao uses a visual language informed by the past and the present to envision and instantiate a new Hawaiian mana. One that is revitalised, re-sexed and restored to pono (balance). A. Marata Tamaira xiv A Note on the Typesetting In preparing this volume, the editors asked contributors to make their