2022
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Spring 34(1) Articles One Salt Water: The Storied Work of Trans-Indigenous Decolonial Imagining with West Papua Making Sartorial Sense of Empire: Contested Meanings of Aloha Shirt Aesthetics The Compensation Page: News Narratives of Public Kinship in Papua New Guinea Print Journalism “We Are So Happy EPF Came”: Transformations of Gender in Port Moresby Schools Dialogue Pacific Island Pride: How We Navigate Australia Pacific People Navigating the Sacred Vā to Frame Relational Care: A Conversation between Friends across Space and Time Political Reviews Micronesia in Review: Issues and Events, 1 July 2020 to 30 June 2021 Polynesia in Review: Issues and Events, 1 July 2020 to 30 June 2021 Book and Media Reviews E Hina e! E Hine e! Mana Waahine Maaori/Maoli of Past, Present and Future [exhibition] Sista, Stanap Strong!: A Vanuatu Women’s Anthology, edited by Mikaela Nyman and Rebecca Tobo Olul-Hossen Refocusing Ethnographic Museums through Oceanic Lenses, by Philipp Schorch, with Noelle M K Y Kahanu, Sean Mallon, Cristián Moreno Pakarati, Mara Mulrooney, Nina Tonga, and Ty P Kāwika Tengan A Whakapapa of Tradition: 100 Years of Ngāti Porou Carving, 1830–1930, by Ngarino Ellis, with new photography by Natalie Robertson Hawaiian Language: Past, Present, Future, by Albert J Schütz Waikiki [feature film] Unsustainable Empire: Alternative Histories of Hawai‘i Statehood, by Dean Itsuji Saranillio Balancing the Tides: Marine Practices in American Sāmoa, by JoAnna Poblete
Featured Artist: Nālani Wilson-Hokowhitu
Nālani Wilson-Hokowhitu (‘o ia/she/her) is a transdisciplinary Kanaka ‘Ōiwi scholar, curator, and artist presently residing in Kirikiriroa, Aotearoa/New Zealand. She is a global citizen with Indigenous, Moana genealogies to Moloka‘i Nui a Hina and Kanaka‘aukai from Kalapana, Hawai‘i. An alumna of the University of Hawai‘i–Mānoa’s Center for Pacific Islands Studies and a senior research fellow at Ngā Wai a Te Tūī, Māori and Indigenous Research Center, she received a Royal Society of New Zealand Te Apārangi Marsden Fast-Start grant (2021–2024) focusing on retracing the story lines of Pacific women voyagers and navigators, with special interest in Hina, Hine, Sina, Sima, and Nim‘anoa.
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Fall 34(2) Editor’s Note: Interdisciplinarity Reimagined Articles Kapaemahu: Toward Story Sovereignty of a Hawaiian Tradition of Healing and Gender Diversity The Kula of the Gospels: Christianity, Magic, and Exchange in the Trobriand Islands Contemporary Moana Mobilities: Settler-Colonial Citizenship, Upward Mobility, and Transnational Pacific Identities Dialogue A Different Kind of Vā: Spiraling through Time and Space Resources Toward an Understanding of Patron-Client Politics and Corruption in Papua New Guinea: A Narrative Review Political Reviews The Region in Review: International Issues and Events, 2021 Melanesia in Review: Issues and Events, 2021 Book and Media Reviews Asia-Pacific Fishing Livelihoods, by Michael Fabinyi and Kate Barclay, by Debra McDougall Kai Piha: Nā Loko I‘a [documentary film] Kalaupapa Place Names: Waikolu to Nihoa, by John R K Clark Voyagers: The Settlement of the Pacific, by Nicholas Thomas Pacific Possessions: The Pursuit of Authenticity in Nineteenth- Century Oceanian Travel Accounts, by Chris J Thomas Reawakened: Traditional Navigators of Te Moana-nui-a-Kiwa, by Jeff Evans Margaret Mead, by Paul Shankman
Featured Artist: Yuki Kihara
Yuki Kihara is a globally accomplished, award-winning interdisciplinary Pacific artist, researcher, and curator. She is of Samoan and Japanese heritage and identifies as Fa‘afafine, a third gender meaning “in the manner of a woman.” Her pathbreaking works exist at the critical intersections of gender, indigeneity, history, diaspora, decolonization, and the environment. Kihara studied fashion design and technology at Wellington Polytechnic (now Massey University) in Aotearoa New Zealand, where she later worked as a costume designer and stylist in fashion magazines, the performing arts, and the film industry before forging a distinct career as a contemporary artist, bringing her industry experience into her art practice.
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