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Whispers and Vanities in Samoan Indigenous Religious Culture

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Let us celebrate this first<br />

The purpose of the t<strong>in</strong>i is to bolster the pr<strong>in</strong>cipals <strong>in</strong> the marriage, namely the bride<br />

<strong>and</strong> groom. It is meant to help them relax, to arouse them <strong>and</strong> set the mood for their<br />

marriage ceremony. The event is meant to be a celebration of the com<strong>in</strong>g together of<br />

two persons <strong>and</strong> two families. It is not meant to be overly formal <strong>and</strong> sombre.<br />

The po<strong>in</strong>t about the biases of Christian Samoa is well noted when exam<strong>in</strong><strong>in</strong>g the<br />

omission of the phrase “mimisā pua’i” (“sacred sperm spew out”) <strong>and</strong> the retention of<br />

“faatu lou i’u” (“get your prick up”, i’u literally mean<strong>in</strong>g an end). The <strong>Samoan</strong> words<br />

<strong>in</strong> the latter are considered less offensive because they are less explicit.<br />

Similarly, two sexually explicit l<strong>in</strong>es of a chant that usually beg<strong>in</strong>s the Salelesi auala<br />

or funeral ritual fall victim to the same dilemma. In this chant if the deceased is male<br />

then the chant is worded:<br />

Talofa i lena ate tele,<br />

o le a pala i le ‘ele’ele<br />

Pity that that great penis,<br />

will now rot <strong>in</strong> the ground. 32<br />

However, if the deceased is female then the chant goes:<br />

Ma’imau lena pali tele,<br />

ua palavale i le ‘ele’ele<br />

That great vag<strong>in</strong>a will be wasted<br />

rott<strong>in</strong>g uselessly <strong>in</strong> the ground. 33<br />

These two l<strong>in</strong>es of chant are the only references to death <strong>in</strong> the vaa funeral ritual.<br />

Instead the vaa ritual gives the sex act pride of place mak<strong>in</strong>g the po<strong>in</strong>t that human life<br />

cont<strong>in</strong>ues despite death. To make this po<strong>in</strong>t the performers move solemnly <strong>in</strong>to a boat<br />

formation, made known by their exaggerated paddl<strong>in</strong>g movements <strong>and</strong> as they move<br />

they chant:<br />

Ina soso atu ia<br />

i lalo o le ‘aute o loo i ai le toea<strong>in</strong>a ma le loomatua<br />

I urge you to approach<br />

Under the hibiscus tree where there is the old man <strong>and</strong> old woman 34<br />

32<br />

The ate is known to literally refer to the liver (see Moyle, 1975: p.232), however <strong>in</strong> common<br />

parlance it also refers to the penis. In terms of the object of this funeral ritual it is more likely that the<br />

po<strong>in</strong>t about the ate is <strong>in</strong> relation to the wasted opportunity to procreate which is better symbolised by<br />

the penis rather than the liver.<br />

33<br />

I share the same <strong>in</strong>terpretation of the term pali as Richard Moyle (1975, p.232).<br />

34<br />

Use of the terms toea<strong>in</strong>a (old man) <strong>and</strong> loomatua (old woman) are deliberate <strong>in</strong> that they<br />

suggest reference to the procreators or parents of, or an older generation to, the performers.<br />

16

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