The following song texts are from traditional songs that were collected 1980-83. Eventually I hope to link them to recordings. The caps at right are the names of different verses in the structure of a Sikaiana song.

Song I: SAU (listen to this song)

MUA I te tulana o toku tanata e ku nonoho ma a nau

AKOAKO He mokoaa nau ku moe lolono ai nei

Te laakau e sina nei

E lavaka ki hakatuu ake IO

TUALUA I te hiahia o toku tanata ku nonoho ma a nau

HAOPUKU I Te hea na lautama mua ku oti i te mamate

TUALUA A te mate laa o tatae mai taku otiana ma te henua

of HAOPUKU

PUKU I Toku moe i he kaakena taku otiana ma te henua

HAOPUKU II Te hea na lautama loto ku oti i te mamate

PUKU II Toku moe i he tuu loto taku otiana ma te henua

HAOPUKU III Te hea na lautama muli ku oti i te mamate

PUKU III Toku moe i he muli vaka taku otiana ma te henua

MUA

AKOAKO

TUALUA

AKOAKO

HAOPUKU I

TUALUA of HAOPUKU

AKOAKO

PUKU I

TUALUA OF HAOPUKU

AKOAKO

HAOPUKU II

TUALUA OF HAOPUKU

AKOAKO

PUKU II

AKOAKO

TUALUA OF HAOPUKU

AKOAKO

HAOPUKU III

TUALUA OF HAOPUKU

AKOAKO

PUKU III

TUALUA OF HAOPUKU

AKOAKO

Explanation. My recording for this song was taken from a group of elder men who were slightly drunk on fermented toddy. The names for each stanza were supplied by a reliable informant. Given the sequencing of the other stanzas, there is probably an “incorrect” singing following puku II; puku II probably should have been followed by the tualua of the haopuku. Also there seems to be some confusion about the ending of the song. Some of the singers were ready to end the song before puku III. The song is a “sau,” composed in the 1930s. An unusually introspective song (for the Sikaiana) about he inevitability death. But I also wonder about this song’s content. It was composed about the time of the arrival of the missionaries and I wonder if the composer was skeptical about Christian teachings about everlasting life.

Recording made in early 1983, Loto, Sikaiana.

I te tulana o toku tanata e ku nonoho ma a nau

at the time of my manhood 0 T/A dwell with p 1ps

When I am a young man

He mokoaa nau ku moe lolono ai nei

any time 1ps T/A sleep soundly p dem

Anytime I sleep soundly (now)

Te laakau e sina nei

the tree T/A fall dem

When the tree falls

E lavaka ki hakatuu ake IO

T/A possible to stand up (thither)

Can it ever be stood up again?

I te hiahia o toku tanata ku nonoho ma a nau

In the happiness of my manhood T/A dwell with p 1ps

The happiness of my manhood is with me

Te hea na lautama mua ku oti i te mamate

The where the(pl) generations before T/A finish by the death

Where are the earlier generations, finished by death

A te mate laa o tatae mai taku otiana ma te henua

the death dem arrive hither my ending with the island

Death arrives, my ending with the (people of the) island

Toku moe i he kaakena taku otiana ma te henua

My sleep in any stretcher my ending with the island

When I lie on a stretcher, my ending with the island

Te hea na lautama loto ku oti i te mamate

where pl generation middle T/A finish by the death

Where are the middle generations, finished by death

Toku moe i he tuu loto taku otiana ma te henua

My sleep in any stand center my ending with the island

When I lie in the center of a house, my ending with an island

Te hea na lautama muli ku oti i te mamate

where pl generation last T/A finish by the death

Where are the latter generations, finished by death

Toku moe i he muli vaka taku otiana ma te henua

my sleep in any back boat my ending with the island

When I lie in the back of the canoe/boat, my ending with the isand

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SONG II: SIVA (play Song2 Siva)

I A te lautama ku naatasi ku sala i a koe e poi tanata

II Te opata io e takoto i aluna oo vae ia takoto he hai taaute

Te opata io te hitiana too tamaahine oo vae io takoto he hai laakei

III Taku sepuana te Luasimata ni hakatataa toku suki mata i vae o te lautama mua te pani seaa tona tohu mai kapi te samono e ma te halele ku hunalua ma te hunatolu toku aupa ki toku manava SUU

Repeat II

IV Taku sepuana mai i Maloika ni hakatataa toku suki mata i vae o te lautama mua te pani seaa tona tohu mai kapi te samono e ma te halele ku hunalua ma te hunatolu toku aupa ki toku manava SUU

Repeat II

V Taku sepuana mai i Teahali ni hakatataa toku suki mata i vae o te lautama mua te pani seaa tona tohu mai kapi te samono e ma te halele ku hunalua ma te hunatolu toku aupa ki toku manava. SUU

Repeat II

VI Taku sepuana mai i Taihale i te aho tapu ni hakatataa toku suki mata i vae o te lautama mua te pani seas tona tohu mai kapi te samono e ma te halele ku hunalua ma te hunatolu toku aupa ki toku manava SUU

Explanation. This recording was made in Loto Village, Sikaiana in the summer of 1981 from a group of male and female elders under direction of Reuben Tenai. Song was rehearsed. The performers had not been drinking. This song was probably originally composed in 1930s or 40s. This song is a siva. The stanza format seems fairly simple. Stanza II is a kind of refrain that is repeated throughout the song. Stanzas III, IV, V, VI are all the same except for changing the place names where the young men are diving. This song is a humorous description of the prohibition of tattooing imposed by the missionaries. The young men went diving and were surprised at the beauty of the thigh tattoos on older women. Song III, which follows, is the woman’s answer (hakapili). I assume, as in the traditional song composition that I witnessed, older men were composed this song as the younger men’s view.

A te lautama ku naatasi ku sala i a koe e poi tanata

the generation T/A always T/A mistake from p you like man

The young men are always mistaken because you look like a man

Te opata io e takoto i aluna oo vae ia takoto he hai taaute

the dawn 0 T/A exists at above your legs p exists neg have decorate

Dawns beauty is above your legs, but there is no decoration

Te opata io te hitiana too tamaahine oo vae io takoto he hai laakei

the dawn o the change your maidenhood your legs 0 exist neg decoration

You are beautiful at reaching maturity, but your thighs are not decorated

Taku sepuana te Luasimata ni hakatataa toku sukimata i

My diving place name T/A look my eyes at

vae o te lautama mua te pani seaa tona tohu mai kapi te

leg of the generation before the colors emph her full hither full the

samono e ma te halele ku hunalua ma te hunatolu toku aupa porpoise and fish sp. T/A double with the triple my surprise

ki toku manava SUU

toward my belly (exclamation of surprise)

When I dive at Lusimata I glanced at the legs of the older women; (I saw) the colors, so full of fish, doubled, even tripled (from tattooing),

I was astonished in my heart. WOW!!

The rest of the stanzas merely repeat the above stanza but substitute different locations, Maloika, Teahali and Taihale, where the young men are diving.

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III: SIVA (Listen to Song 3 Siva)

I Toku lautama ku ohia (k)i te tauna lupo i Tai Hale

II Ki mea muli ka pehea te misoni ku tatae mai te tua ku takoto i te henua ku oti (a) mea katoa i a nau hakaoti

III Ni vevele mai a mataa hale ku aatea ki mea muli ka pehea A ni pulu mai ku heai tona olaola e ki takoto

Repeat II

IV Toku lautama oku laakei ni he oti i oku tinana (x2)

Repeat II

Repeat I

Repeat II

Repeat III

Repeat II

V Toku lautama oku laakei ni he oti i oku tupuna (x2)

Repeat II

Repeat I

Repeat II

Repeat III

Repeat II

VI Toku lautama oku laakei ni he oti i oku taaina (x2)

Repeat II

Explanation: The recording for this song was made by the same people, at about the same time, and under the same circumstances as Song II. This song was composed as a reply to the previous one. The women are answering that the church now forbids tattooing and as a result “they have are completely swept clean in front of their houses” ‑‑their thighs have no tattoos (the missionaries also enforced sweeping and clearing around houses). This song is a siva but has a different stanza structure than the previous song. Stanzas I, II, III, II are repeated in sequence before each of the following IV, V, VI. Stanzas IV, V, and VI are the same except that they mention different relatives who still have tattoos.

Toku lautama ku ohia i te tauna lupo i tai hale

My generation T/A desire from the group trevally at shore

To answer my generation who desires the school of fish at shore (the fish that are tattooed on the thigh).

Ki mea muli ka pehea te misoni ku tatae mai te tua

(idiom) the church T/A arrive hither the law

ku takoto i te henua ku oti (a) mea katoa i a nau

T/A exists in the island T/A finish 0 thing all from p 1ps

hakaoti

completely

What can be done? Christianity has arrived, there is a law (a prohibition on tattooing), all those things are completely prohibited for me.

Ni vevele mai a mataa hale ku aatea ki mea ka pehea

T/A brush hither 0 front house T/A clear what how

A ni pulu mai ku heai tona olaola e ki takoto

T/A broom hither T/A no her life for exist

The front of the house has been brushed and swept clean, what can be done, it is clear. (I don’t have a complete translation for the second line, but pulu mai my in fact be pulumu mai, pulumu derived from English, “broom” (the thighs are swept clean); olaola may be a reduplicated form of ola, “life.”)

Toku lautama oku laakei ni he oti i oku tinana

My generation my decoration T/A neg finish from my mothers

My mothers still have decorations (on their thighs)

Toku lautama oku laakei ni he oti i oku tupuna

grannies

My grannies still have their decorations

Toku lautama oku laakei ni he oti i oku taaina

sister

My sisters still have their decorations

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SONG IV: TANI (listen to this tani)

E ni nae nae ko nau te taaina nei e hahano mai

E ni (hii) moe ko nau te taaina nei e hahano mai

(1a) E (te) taaua vaka e ki mua

(1b) E taaua mahi i o taaua hoe

(1c) ko ki taaua e naatahi

E muli vaka mai i tai hale nei o lualue (alualu)

Repeat 1a

E muli vaka ma te kauvaka nei o lualue

Repeat all of 1 (1a, 1b, 1c)

E muli vaka i na saohana nei o lualue

repeat 1a

E muli vaka i na ohana nei o lualue

repeat all of 1 (1a, 1b, 1c)

E muli vaka i kunaatua nei o lualue

A te taaua henua hea ku lilo

Repeat 1b, 1c

E muli vaka i tahanahana nei o lualue

A te henua hea ku sula

Repeat 1b, 1c

Explanation: This is a tani, composed as a funeral lament. The song was performed early in my stay (December 1980) by a group of people organized by a younger man. The performers included both men and women; they rehearsed the song and were sober. I can’t say for sure that the stanza order presented in this recording is the “proper” one. I have no explanation for the stanza organization that uses 1a, 1b, 1c in earlier stanzas and then 1b, 1c in later stanzas. The song was composed to commemorate the death of a man named Kahana. His brother is remembering their canoe races and Kahana’s enthusiasm in participating. The tani were composed to commemorate important incidents in a person’s life. There was a man in his 70s named Kahana when this song was recorded in 1980. Most likely the songs was composed before his birth, since Sikaiana custom is to name a child after someone who is deceased.

E ni naenae ko nau te taaina nei e hahano mai

T/A tired p 1ps the brother dem T/A wake hither

I am tired, the brother wakes me

E ni moe ko nau te taaina nei e hahano mai

T/A sleep p 1ps the brother dem T/A wake hither

I sleep, the brother wakes me

E taaua vaka e ki mua

our (2pd) outrigger 0 toward front

Our canoe goes to the front

E taaua mahi i o taaua hoe

our strength in our paddles

Our strength in our paddles

ko ki taaua e naatahi

so that we(2pd) T/A same

So that we can catch up

E muli vaka mai i tai hale nei olualue

behind canoe hither in shore here — be quick

Our canoe is behind on the beach– be quick (to catch the others)

E muli vaka ma te kauvaka nei olualue

behind canoe with the fleet of canoes dem‑‑ be quick

We are behind the rest of the canoes‑‑‑ be quick

e muli vaka i na saohana nei o lualue

behind boat at the passages (inside reef) dem ‑‑ be quick

We are behind the boats at the passages (in the reef)‑‑‑ be quick

E muli vaka i na ohana nei o lualue

behind canoes at the passage dem

We are behind the canoes at the passage to the sea‑‑‑ be quick

E muli vaka i kunaatua nei o lualue

behind boats far away dem

A te taaua henua hea ku lilo

the our island where T/A hidden

We are behind the canoes at a place very far away, where is the island, it can no longer be seen

E muli vaka i tahanahana nei

behind boats at far away dem

A te henua hea ku sula

the island where T/A appear

We are behind, the canoes are far away, other islands appear

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V: SAKA (listen to this saka)

I Penapena koia te taaua hina mo taaua ni maliu o taaua manava te tani a koe ma nau nei EA

II (te hina) ko hano ko kite i tona kaaina e noho ai, a nau ka tuu mataa vaka, a nau ka tuu pou, tuu te mate ma te holau EA, Ia ki taaua e he nonoho hakatahi ma te avana, te taaua talatala, taaua kalolo e makaka. A nau e alevaleva i a koe sisili (i) te tauama ma te kau tuu, te kaulolo, te heliana, koai e sausau te laa, a nau e sisili te tia polau mate ala vaka, te tahe ma te uua

III Mate Ea te hina, mate noa ai akoe ma anau nei Ea

Repeat II

Repeat III

IV (te hina) te sikuna e teletele ki takoto ma taaua he lono ki muli he tai ni pakupaku taaua ki olo taaua ki hulo o seesee mo taaua he fenua i lalo, i kupu, ma te anake, ma tokolau,

Repeat III

Repeat IV

Repeat III

V (Te hina) te aho koe ni hitiake ai seu aku noho, seu aku moe, toku kautae ka uliuli loto i toku tani, ma toku aloha he kai a, kai katoa ni kona i toku tani, he kai ni laoi ni kona i toku tani, he kai ni moomona ni kona i toku tani, he kai ni kakala ni kona i toku tani

Repeat III

Repeat V

Repeat III

VI Te hina oo tuputupu oo kalemata ki sui te laa ma te malama ni takoto he lilo he lano i oku kalemata toku mili noa ai, mili noa ai nei EA

Explanation: The recording for this song was made in early 1981 from a group of men who had been drinking fermented toddy. The recording has several outside voices. A drunken man arrived while I was making it and called my name (Bili). Also a woman can be heard calling out the word for adulterous sweetheart, “hina.” She was offended by this word (which was being sung in her hearing by classificatory cross‑sex siblings) and was showing her anger by calling out the same term to the men who were singing in the hope that they would be ashamed. The song also ends abruptly when the singers become confused about the proper verse to sing next. This song was described to me as a saka. (Supposedly saka have the same tune as a tani, but I don’t hear it.) The song was composed probably before the arrival of missionaries in 1929 when illicit adulterous affairs (hina) were common. It recounts a man’s love for his secret sweetheart and his attempt to find some way to run away with her‑‑ but he is afraid they will die if they go on a voyage. Before the arrival of missionaries, marriages were arranged but the Sikaiana people had affairs (hina). These affairs were common but had to be conducted in secret; thus the theme of this song.

Penapena koia te taaua hina mo taaua ni maliu

make emph our sweetheart with our deception

o taaua manava te tani a koe ma nau nei EA

our belly the cry p 2ps with 1ps dem

We make our adulterous affair, we try to meet through deception, we cry from our love, you and me, Oh my sweetheart.

Te hina ko hano ko kite i tona kaaina e noho ai, a nau ka tuu the lover p go p see from her place T/A dwell p, p 1ps T/A stand

mataa

front

vaka, a nau ka tuu pou, tuu te mate ma te holau

boat p 1ps T/A stand favorite stand the death with the journey

EA Ia ki taaua

from us

e he nonoho hakatahi ma te avana, te taaua talatala,

T/A neg dwell together with the marriage, our speech

taaua kalolo

our bow string

e makaka. A nau e alevaleva i a koe sisili (i)

T/A firm p 1ps T/A doubtful from p you unable

te tauama ma

canoe parts

te kau tuu, te kaulolo, te heliana,

canoe parts ……………..

koai e sausau te laa,

who T/A carry the sail

a nau e sisili te tia polau ma te ala vaka,

p 1ps T/A unable the ?? ??? with the path canoe

te tahe ma te uua

the current with the rain

I will go to the neighborhood where she lives, I’ll stand beside the canoe, I’ll stand for my sweetheart, I’ll die. Shall we die on a journey, we do not live together like husband and wife, but our love is strong. I’m doubtful about a journey because you do not know how to work a canoe line (no one could translate tia polau). The currents and the rain.

Mate Ea te hina, mate noa ai akoe ma a nau nei

die the sweetheart die ordinary p 2ps with p 1ps dem

I will die for my love

(te hina) te sikuna e teletele ki takoto ma taaua he lono ki the lover the schooner T/A sails to exist our the news for muli

after

he tai ni pakupaku taaua ki olo taaua ki hulo o seesee

any tide T/A dry we to go we to elope to search

mo taaua

our

he fenua i lalo, i kupu, ma te anake, ma tokolau,

any island at below, at south, with the east, with north

Future generations will know about our love; we will go, we will elope to search for our new country either below, or to the south, or to the east, or to the north.

te hina te aho koe ni hitiake ai seu aku noho, seu aku moe, the day 2ps T/A remember p destroy my dwell, destroy my sleep

toku

kautae ka uliuli loto i toku tani,

intestines T/A black inside from my cry

ma toku aloha he kai aa

with my sorrow any food what

kai katoa ni kona i toku tani, he kai ni laoi

food all T/A bitter from my cry any food T/A good

ni kona i toku

T/A bitter from my

tani, he kai ni moomona ni kona i toku tani,

cry any food T/A savoury T/A bitter from my cry

he kai ni kakala

any food T/A sweet

ni kona i toku tani

T/A bitter from my cry

O my lover, the day you remember, ruins my life, ruins my sleep, my insides turn black with grief and desire. In my sorrow I can’t eat. Everything tastes bitter from my crying, any food that is good turns bitter from my crying, any food that is savory turns bitter from my crying, and food that is sweet turns bitter from my crying.

Te hina oo tuputupu oo kalemata ki sui te laa the sweetheart your image your face to change the sun

ma te malama ni

with the moon T/A

takoto he lilo he lano i oku kalemata

exist neg hide neg lost from my eye

toku mili noa ai, mili

my repeat ordinary p, repeat

noa ai nei EA

ordinary p dem

My lover, your image, your eyes should replace the sun and the moon, to exist in the open, not lost to my view; I keep repeating your name without purpose, I keep thinking of your name.

Song VI: Saka (listen to this song)

I Ka e toku hina ko te valo e ku tani ko te vaka ku sula

noho nau o hakatele ki toku manava

II Koe ka ia (kahe?) ka hano

koe ku se kite mai ki a nau

III ko noho he iloa e a nau ko noho ki lalo ko maasani o saesaele ki aaku hekau te manava ku kaavea i a koe ka hano

IV ko moe ko moe he iloa e a nau ko moe ki lalo ko maasani o saesaele ki aaku hekau te manava ku kaavea i a koe ka hano

V toku hina taaua ku au aso taaua ka tatae ai ki te valana e ni a Kalita

VI E ki hakatele ki a (e) nau laa te tulana toku hina ka uhu ai m(a? o)oku kalemata, (toku hina koe ka hano)

VII E ki hakatele ki a (e) nau laa te tulana toku hina ka uhu ai ma te kelekele o Sikaiana, (toku hina ka hano)

VIII E ki hakatele ki a (e) nau laa te tulana toku hina ka uhu ai ma te laulalo o Sikaiana, (toku hina ka hano)

IX E ki hakatele ki a (e) nau laa te tulana toku hina ka uhu ai moku loimata, (toku hina koe ka hano)

III

VII

III

VIII

III

III (cut short)

III

Explanation: I find this song difficult to put into a stanza form, it is very repetitious with minor changes in words, the phrase koe ka hano (`you will go’) recurs throughout, and quite possibly is a separate refrain. Moreover, II, III, IV always occur together in sequence. This song is a saka, composed for a secret sweetheart who is about to depart on a boat. The above saka was composed by the men, this one was composed by the women. The recording was made on Easter 1982 from a group of women who had been drinking some beer. Presumably composed before the arrival of the mission, but at a time when Sikaiana men were leaving to work for Europeans. The theme of separation is similar to that found in the previous saka. This recording was taken from a group of mature women in Sokolau Village on Sikaiana on Easter 1982. They had drunk a small quantity of beer (sponsored by myself) and had practiced a series of songs the week before this recording.

Ka e toku hina ko te valo e ku tani ko te vaka my sweetheart p. the shout T/A cry p the boat

ku sula

T/A appear

noho nau o hakatele ki toku manava

dwell I conj. think toward my belly

My sweetheart, the screaming and crying, because the boat has appeared, I think in my heart.

Koe ka ia (kahe) ka hano

you T/A T/A go

koe ku se kite mai ki a nau

you T/A neg. see hither to p me

You are about to go, you will not see me.

ko noho he iloa e (a) nau ko noho ki lalo ko maasani o p dwell neg know I p dwell to below p rise

saesaele

to walk

ki aaku hekau te manava ku kaavea i a koe ka hano

to my (pl) work the belly T/A carried from p you T/A go

Living, I don’t know what to do, I sit below, I arise to go to my work, my heart constantly thinks of your departure

ko moe ko moe he iloa e (a) nau ko moe ki lalo ko maasani sleep sleep neg know I p sleep to below p arise

o saesaele ki aaku hekau te manava ku kaavea i a koe conj walk to my work the belly T/A carried from you

ka hano

T/A go

I sleep, I dwell, I don’t know what to do, I sleep below, I arise to walk to my work, my heart constantly thinks of your departure.

toku hina taaua ku au aso taaua ka tatae ai ki

my sweetheart our T/A arrive day our T/A reach p conj

te valana e ni a Kalita

the proverb of Kalita

My sweetheart, we are counting the days until we meet again, as in the proverb of Kalita.

E ki hakatele ki a (e) nau laa te tulana toku hina ka think to p I dem the time my sweetheart T/A

uhu

depart

ai moku kalemata, toku hina koe ka hano

p my eyes my sweetheart you T/A go

I think about the time my sweetheart will depart from my eyes, my sweetheart will go.

Stanzas VII, VIII and IX repeat stanza VI except that laulalo (undergrowth), kelekele (soil), and moku loimata (my tears) are substituted for moku kalemata.

VII: OLIOLI (listen to this song)

I E A A te hiihai pio hakaleelesi o toku lautama ki

ki a nau E A E

II A nau ia e saesaele soko nau i loto ao

A nau e sala kai soko nau i loto ao

A nau e kkoti vao soko nau i loto ao

A nau e uhi mea soko nau i loto ao

A nau e he kite ki a koe

Koe e saesaele noa i te alohi

koe e kokolu tahi ki te kaleve

koe e moemoe noa i loto hale E A E

Ka te heai too aalu mai ki a nau

Too kokolu mai ki a nau

A koe e mataku sala (k)i a nau

Ka te naa io te ato, te ata e

Explanation: This is a olioli. The first stanza is sung and then repeated. Then the second stanza is sung. Then the first is sung but the names of two young men are put in instead of “toku lautama.” The song was composed after the mission’s arrival, probably in the 1930s-40s. The young women are taunting the young men’s lack of advances towards them. (The young men’s answer follows in song VII.) This recording was taken form adult men and women from Loto, Sikaiana in mid 1981 (same group as song II and III. Also the tune seems to me similar to the one in the ttani kkai found on cassette 2 side B.

E A A te hiihai pio hakaleelesi o toku lautama

the love false deceit of my generation

ki a nau E A E

for p me

To the false deceitful love of the young men of my age towards me

A nau ia e saesaele soko nau i loto ao

I p T/A walk alone in interior

A nau e sala kai soko nau i loto ao

I T/A collect food alone in interior

A nau e kkoti vao soko nau i loto ao

I T/A cut leaf alone in interior

A nau e uhi mea soko nau i loto ao

I T/A cover thing (mulch swamp) alone in interior

A nau e he kite ki a koe

I T/A neg. see to p you

Koe e saesaele noa i te alohi

you T/A walk purposeless in the shore (on lagoon side)

koe e kokolu tahi ki te kaleve

you T/A force always to the fermented toddy

koe e moemoe noa i loto hale E A E

you T/A sleep purposeless inside house

Ka te heai too alu mai ki a nau

Conj the no your advances hither to p me

Too kokolu mai ki a nau

your force hither to p me

A koe e mataku sala (k)i a nau

you T/A fear mistaken to/from p me

Ka te naa io te ato, te ata e

dem p the beauty the beauty

I walk alone in the island’s interior, I collect food alone in the interior, I cover things alone in the interior. I don’t see you. You wander around without purpose along the shore, you are always drinking toddy, you sleep without purpose inside your house. You don’t strive for me, your show no interest in me, you are mistakenly afraid of me. The beauty,the beauty.

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VIII: OLIOLI

I E A te talatala ni mahola mai hahine (e) a nau ia kona mei mei atu e EA (x2)

II E laoi te naa te tonuana, nau e saele tasi atu, nau e he meimei atu e EAE

III I a koe ku hahine laoi i too ata ku tele i oku kalemata e EAE

Eatau, te ata e

IV E a toku manava ku tua tasi ki …(name)…ku hiti tona tamaahine EAE (x2)

V A nau ia e seesee atu ai, nau e nekeneke atu, nau e taahao atu ai lo EAE

I a ki taaua ku taulaoi, taa(ua) ku naatasi ko hakaatuatu ki a koe EAE

Mo taaua he kiona lavaki ki taaua pakatea mua hakatasi i he talatala EAE

(Mo taaua he kiona lavaki) ki taaua ki heui i te hiahia ma te hihai nau e poloaki atu te nei te taaua otiana Noho

Explanation: This is an olioli composed sometime around the 1930s or 40s. It is sung in the following order I(x2), II, III, IV(x2) V. Then repeat the entire song. In verse IV the names of two different young women are placed. The song is repeated until all the young girls on Sikaiana have been mentioned. This recording was made in Loto village sometime in the middle of 1981 from the same group as song II, III and VII. An elder woman added an extra embellishment (“a nau e noho atu ai‑‑”I am waiting”). The song is written as a reply Song VII (that accuses the young men of not being assertive enough in making advances to the young women.) This reply asserts that the young men no longer have any place to meet in secret with the young girls.

E A te talatala ni mahola mai hahine (e) a nau ia kona

the speech T/A straight hither female 0 p 1ps p T/A

meimei atu e EA (x2)

hesitate thither 0

To reply to the speech of the women, I was not being hesitant (in making advances)

E laoi te naa te tonuana, nau e saele tasi atu, nau e he good the dem the truth 1ps T/A walk always thither I T/A neg

meimei atu e EAE

hesitate thither

I a koe ku hahine laoi i too ata ku tele i oku kalemata from p you T/A female good from your beauty T/A flow from my eyes

e EAE

Eatau, te ata e

beauty the beauty

It is good, that is the truth, I always go you, I am not hesitant, because you have grown into a beautiful woman

E a toku manava ku tua tasi ki …(name)…ku hiti tona tamaahine my belly T/A love always to T/A reach her womanhood

EAE

My heart loves ……. who has reached her maidenhood.

A nau ia e seesee atu ai, nau e nekeneke atu,

1ps p T/A search thither p, 1ps T/A move thither, 1ps

nau e taahao atu ai lo EAE

1ps T/A play thither p 0

I a ki taaua ku taulaoi, taa(ua) ku naatasi ko hakaatuatu ki

from p we(2incl) T/A good, we T/A together p try to

a koe EAE

p you

Mo taaua he kiona lavaki ki taaua pakatea mua hakatasi neg our place deserted for we come together before together

i he talatala EAE

for any speech

(Mo taaua he kiona) ki taaua ki heui i te hiahia ma te hihai for us to talk in the happiness with the desire

nau e poloaki atu te nei te taaua otiana Noho

1ps T/A goodbye thither dem our (2 incl) finish Wait

I search for her, I always move towards her, I play towards her, because we are good (together), I make advances to you; (but) there is no deserted place for us to meet together so that we can talk; there is no place for us to make courtship plans in (our) happiness and desire; (so) I am saying goodbye, this is the end for us‑‑‑‑Keep Waiting!

IX: SIVA (listen to song)

I Toku lautama ni taka ma nau i te misoni

II Taaua laa ni aa ku sala i a nau, taaua laa ni aa

ku seke i a nau

III Nau e masalo i a nau, taa(ua) helavei i te ala tonu sahe noa, nau (e) ki too lima pulupulu ai (a) ki taaua ma te veisoni, ma te umiumi, pupu te manava, pole toku leo, he lono koe ki he talatala, koe ku saele maanatu nau

IV Taku tuana too vaahale ni kapihi ai ko te laakau isenia nau e too tinana, e hai laa a nau he piki‑‑‑saa piki

V Taku lonoana (e) ki too leo hai nau koe ku noho i te tinana

VI Taku lonoana (e) ki too lep hai nau koe ku noho i toku hale

III

Explanation: A usually reliable informant described this song as a “siva” but with the tune of a “tuki“. Another humorous song that was written after the mission’s arrival to discuss changes brought about by it. The song describes a person overcome by passion as he meets someone in a path. Later (Stanza IV) he is sneaking around outside her house and her mother thinks it’s a pig outside. The mother strikes a stick and shoos the “pig.” I took this recording from same group as songs II, III, VII, VIII in Loto Village, Sikaiana in the middle of 1981.

Toku lautama ni taka ma nau i te misoni

My generation T/A walks with 1ps in the church

My generation has joined the Christian church

Taaua laa ni o [a] ku sala i a nau, taaua laa ni o [a] we(2in) dem T/A what T/A sin from p 1ps, we dem T/A what

ku seke i a nau

T/A fall from p 1ps

What happend to us? We sinned on account of me. What happend to us? We fell (in Christian sense) on account of me.

Nau e masalo i a nau, taa(ua) helavei i te ala tonu 1ps T/A surprise by p 1ps, we(2in) met in the path straight

sahe noa, nau (e) ki too lima pulupulu ai (a)

catch ordinary, 1ps 0 to your hand, hug p

ki taaua ma te veisoni, ma te umiumi, pupu te to us(2in) with the nose kiss, with the lip kiss messy the

manava pole toku leo, he lono koe ki he talatala,

belly shake my voice neg hear you to any speech

koe ku saele maanatu nau

2ps T/A walk remember 1ps

I am surprised at myself, we met in the path, we caught (each other) without purpose, We pulled ourselves together, we kissed noses, we kissed on the lips, I become confused (with passion), my voice shook, you couldn’t hear any talk, you walk, I remember you.

Taku tuana too vaahale ni kapihi ai ko te laakau isenia My standing you house T/A strike p p the stick chase

nau e too tinana, e hai laa a nau he piki‑‑‑saa piki

1ps by your mother, T/A think p 1ps any pig‑‑‑ “shoo pig”

I was standing just outside your house, a stick was struck, I was chased from the house by your mother who thought I was some pig ‑‑ “Shooo pig!”

Taku lonoana ki too leo hai nau koe ku noho i te tinana

My hearing to your voice think 1ps you T/A live at the mother

I am hearing your voice, I think that you live with the mother.

Taku lonoana (e) ki too leo hai nau koe ku noho i

My hearing 0 to your voice think 1ps you T/A dwell at

toku hale

my house

I am hearing your voice, I think that you live in my house.

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Song X: TUKI

I E kakau omoa e kaukau moe e ake tuutuu ake natoo natoo