The first significant clues to man’s arrival in fiji were discovered at the Sigatoka Sand Dunes National Park in the late 1980’s when a team of archaeologists discovered an ancient burial site.

So far over 50 individual skeletons have be excavated and their arrival in Fiji has been dated to approximately 2600 years ago.

Scatters of pottery shards and other cultural materials found within the dunes have led experts to believe that these early inhabitants are of Lapita origin.

Lapita takes its name from an archaeological site in New Caledonia where similar pottery was first discovered.

The Sand Dunes have produced the largest collection of complete and near complete Lapita pots from the Pacific region.

Today evidence of the past is clearly visible throughout the dunes system as stone tools; human remains and pottery continue to be uncovered by natural processes.

Many unearthed artifacts are on display at the Fiji Museum in Suva.

Lapita is a term applied to an ancient Pacific Ocean archaeological culture which is believed by many archaeologists to be the common ancestor of several cultures in Polynesia, Micronesia, and some coastal areas of Melanesia.

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They believe that this certain valley is a doorway to the underworld and that if a falling star falls into the valley, it is a sign that a villager is about to die.

These stories were garnered from personal interviews by Tessa Miller with villagers especially C. Saimoni, Volivoli Villager.

The villagers of Kulukulu also claim to hear and see spirits of the villagers that were buried alive in the sand dunes.

Legend has it that the Snake God, Degei was angered by the villagers and sent a huge tidal wave that hit the beach and buried the village in sand, killing all its inhabitants.

In Fijian mythology, Degei (pronounced Ndengei), enshrined as a serpent, is the supreme god of Fiji. He is the creator of the (Fijian) world, of fruits, and of men. He judges newly-dead souls after they pass through the doorway to the underworld. A few of these he sends to the Fijian paradise, Burotu. Most others are thrown into a lake, where they will sink to the bottom (Murimuria) to be appropriately rewarded or punished.

Degei is said to have at first moved about freely, but then in the form of a snake to have grown into the earth with his ringed tail. Since then he has become the god of earthquakes, storms, and the seasons. Whenever Ndengei shakes himself fertilising rain will fall, delicious fruits hang on the trees, and the yam fields yield an excellent crop.

But Ndengei is also a god of wrath who declares himself in terrible fashion. He punishes and chastens his people by destroying the crops or by floods; he could indeed easily wipe out mankind from the earth, for since he has lived in the bowels of the earth he has been tormented with so insatiable hunger that he would like to take in and swallow the whole world.^[2]

Degei hatched an egg from which the first humans came to Earth. He is prominent in the kalou-vu, the Fijian pantheon.

The Kulukulu have reverence for the dunes and do not make lots of noise when visiting them, especially at night.

The children of nearby villages love listening to the myths and legends of the Sigatoka Sand Dunes.

It is part of their culture and upbringing.

They do not necessarily have to believe all of them, just the fact that they are passed down from generation to generation is enough to keep the legends alive

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However, the purpose of the loka was not fulfilled and many of the returning souls were lost at sea forever.

The loved ones of those lost souls were distressed by this loss and petitioned the sea deity to find these souls and return them to their homeland.

Failing to do so, the sea deity decided to make up for his shortcomings by forming the legendary Disappearing Isles.

These islets were to be the resting place of the lost Tongan souls and the surrounding reefs are said to be encrusted with jewels such as jade, amethyst, aquamarine and gardens of pearls in the hope of appeasing the Tongans’ grief.

There is much dispute as to the exact location of these bejeweled atolls, particularly within the Lau Group, each island claiming closeness with the legend.

It has been foretold that the Disappearing Isles are only visible to a select few, it is particularily during the loka on the Coral Coast that the islands rise.

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Magimagi is made from coconut husks in black or natural. (The black colour is achieved through soaking in mangrove mud).

The husks are boiled and soaked in water for several days, then pounded and dried in the sun.

The fibres are then spun by rolling on the thigh, and the resulting string is braided.

The art of Lalava was  a result of the lack of building supplies (nails and screws).

Magimagi was used in place of nails and screws  to connect the beams.

Talitali is the weaving done on horizontal beams.

Lalava is weaving that was done on the  vertical beams. Malo/Lairo is the woven design insert.

Lalava is an art form practised only by Kai-Lau- people from Lau islands, the group of Fiji islands closet to Tonga.

The origins of Lalava can be traced back to Tonga.

There are two settlements of Kai-Lau along the Coral Coast.

Jafau, Korolevu and Wesei, a local settlement near Maui Bay

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The legend is that two spirit gods , Tamaku and Vodovata from the island of Kadavu came to Votua, famous for its rich clay soil and peaceful people.

Tamaku bought with him a basket, and upon leaving Votua, filled the basket with clay and quickly took flight ahead of Vodovata.

Vodovata ordered him to bring back the clay he had stolen, Tamaku, fearing the wrath of the more powerful god, dropped his basket into the ocean.

The clay fell into the sea and formed what is now Vatulele island.

Sulking, Tamaku then flew onto land at kulukulu and started thowing sandstone rocks towards Vodovata, which fell all along the coral coast, this very rock is believed to be one of them.

Tamaku threw a gigantic rock, that would have caused grave damage to the coastal lands, and Vodovata, with his mighty powers stopped the rock mid-air, sent it back and crumbled it over Kulukulu coastline forming the Sigatoka Sand Dunes.

Rock carvings by Felipe Rogoruwai can be seen at Outrigger On The Lagoon, and limited editions artwork by Felipe can be purchased from The Art Cart.

Vatulele Island is re-known for its masi making and Tapa Printing

Masi/Tapa used throughout Coral Coast is from Vatulele Island- situated about 25 Km off the Coral Coast.

Rock carving is based on the local legend about the formation of Vatulele Island and the Sigatoka Sand dunes.

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Tavuni Hill Fort is about 4 km west from Sigatoka on the top of a hill on a small peninsula just past Naroro village, whose people are the guardians of this once fortified village.

 

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They are the product of erosion in the coastal hinterland and coastal dune forming processes. The extensive dune system covers an area of 650 hectares and comprises a series of parabolic sand dunes of various ages and activities.

The dunes range from around 20-60m tall. The dunes have been forming over millions of years and archaeological excavations here have uncovered pottery more than 2600 years old, as well as one of the largest burial sites in the Pacific.

Evidence of the past is clearly visible throughout the dune system as pottery scatters, stone tools, human remains and other archaeological relics continue to be uncovered by natural processes. In 1999 it was proposed as a World Heritage Site but has not been accepted so far. UNESCO World Heritage Centre – tentative list.

In a country blessed with an abundance of scenic beauty, the Sigatoka Sand Dunes stand out as one of the more unique wonders of Fiji.

In July 1989, the dunes were designated as Fiji’s first National Park under the management of the National Trust of Fiji.

This distinct feature covers an area of 650 hectares and offers a rich combination of geomorphological, ecological, cultural and aesthetical attributes.

The National Park is of great importance for educational and recreational use and is a milestone in Fiji’s drive for environment conservation.

The dunes contain a diverse mixture of endemic and introduced plant species. The National Park also plays host to 22 species of bird, eight of which are endemic to Fiji, including the Fiji Bush Warbler,Fiji Goshawk, Orange-breasted Mycenaean, Skinks, Lizards, Geckos and Fruit bats find refuge in the park’s diverse habitats.

La pita History

The Sigatoka Sand Dunes are famous for their rich archaeological history. The first significant clues to man’s arrival in fiji were discovered at the Park in the late 1980’s when a team of archaeologists uncovered an ancient burial site. to date over 50 individuals have be excavated and their arrival has been dated to approximately 2600 years ago. Scatters of pottery shards and other cultural materials found within the dunes have led experts to believe that these early inhabitants are of Lapita origin. Lapita takes its name from an archaeological site in New caledonia where similar pottery was first discovered.

The Sand Dunes have produced the largest collection of complete and near complete Lapita pots from the Pacific region. Today evidence of the past is clearly visible throughout the dunes system as stone tools; human remains and pottery continue to be uncovered by natural processes. Many unearthed artifacts are on display at the Fiji Museum in Suva.

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With most of the resorts located directly on the beachfront, including some of the popular international hotel brands, Shangri-La Fijian Resort, Outrigger on the Lagoon, Fiji’s Hideaway Resort and many more.

The Coral Coast in Fiji begins 15kms south of Nadi Town with beautiful scenery of sugarcane fields, pine forests and amazing views of the South pacific Ocean.

The coastline is a combination of bays, beaches, rocky outcrops and mangrove forests – from these, steep hills rise sharply into the nearby mountain ranges.

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One of two Cultural Centres on Viti Levu, it was officially opened in January 2002 by the Minister for Tourism, Culture and Heritage Hon. Konisi Yabaki

The Kalevu Cultural Centre provides a glimpse into the way of life in a traditional Fijian village which has been created to be as authentic as possible.

Each Bure is set up differently so you can learn all about the Fijian History, Culture and Traditions including Pottery and Tapa Cloth demonstrations and a display of the most gruesome weapons that were used by the Fijian Warriors once upon a time.

There are various ways to enjoy what the Kalevu Cultural Centre has on offer:-

Kalevu Cultural Centre Walk in Tour

Visitors are more than welcome to just call in to The Kalevu Cultural Centre and browse through the authentic Village and Bure’’s which are surrounded by lush scenic grounds and water features and enjoy lunch and refreshments at the Gecko’s Resort Restaurant.

Kalevu Cultural Centre One Hour Guided Cultural Tour

You can participate in an hour long guided tour with one of our knowledgeable Local Fijian Guides Lapani or Samu; they will walk you through the authentic Village providing you with all the information on Fijian History, Culture and Traditions and provide the answers to all your questions.

Upon request you can participate in a Kava Ceremony. The tour is both fun and informative and is recommended to all age groups. Booking the tour is advisable and the charge is $20.00 Fijian Dollars per person.

Kalevu Cultural Centre Tour, Lovo Lunch and Polynesian Dance and Fire Show

Large bookings of fifteen people or more are welcome and on arrival would be greeted by Traditional Warriors before participating in the guided tour as above with the addition of the local villagers creating the real village experience including demonstrations on how they make the pottery and Tapa Cloth.

Next a Fijian Lovo Buffet Lunch would then be served (which is a form of Fijian cooking involving a hole in the ground with fire wood, coconut husk as the heat source and rocks as the heat material) accompanied with Fresh Salads and Cool Tropical Fruits for dessert.

The event will then proceed with a spectacular traditional Polynesian Dance and Fire Show presented by the local villagers which includes dances from the Islands of the South Pacific concluding with the spectacular Samoan Fire Dance. These events do need to be arranged in advance and are $129.00 Fijian Dollars per person.

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The Navatu phase refers to post-Lapita occupations in Fiji, dated between 2100-900 years ago (BP), with cultural characteristics thought to have been influenced by contact with Vanuatu and New Caledonia.

This was the first report of prehistoric salt-working in the Pacific, one that used solar evaporation of sea water on large flanged clay dishes. This short-lived industry of the seventh century AD disappeared beneath the dunes, but its documented nineteenth- and twentieth-century successors offer it many useful analogies: the salt, now extracted by boiling brine, was supplied to inland communities upriver, where it functioned as a prime commodity for prestige and trade and an agent of social change.

Archaeological surveys and excavations in the late 1960s, identified significant evidence of salt working, but it wasn’t until the early 21st century that archaeologists  identified a definite salt production site in Nadroga.

Among the archaeological finds was a small village, occupied between 610-675 AD. An expedition in 2000-2002, the village was found to have a range of house foundations and storage pits, artifacts and faunal materials. Nearly 11,000 pottery sherds were recovered at the site, but only three could be associated with salt production: clearly, salt production took place someplace further away from the village.

Salt Processing aorund Sigatoka

In 2006, archaeologists identified and began excavating a salt processing station, situated on a flat part of the beach about one kilometer (1/2 mile) from the village.

Recent studies of salt production in the present day in nearby modern villages gave scholars evidence to work from, to identify salt production techniques. To create salt for trade, modern Fijians excavate a collection pond and collect saltwater from it at low tide. The brine is poured into large flat heavy pans set over an open fire in a wooden structure. The salt is evaporated out of the water after a full day’s boiling, and then packed into a container, where the salt is formed into a block. Finally, the salt blocks are decorated for sale.

Salt production at Sigatoka Sand Dune was identified through the presence of a type of coarse-grained ceramic vessel called a salt tray. Also found at Sigatoka were over 2,000 sherds from globular, well-fired jars with in-turned (everted) rims, often decorated with nail impressions and incised patterns. Tthese were used to transport water or perhaps hold the brine to create cakes of salt.

A small hearth with coral cobbles, volcanic stone and large ceramic sherds was discovered near the ceramic scatter is thought to be an open air kiln which might have been used to fire the trays.

Clay suitable for potting does not occur at Sigatoka Sand Dunes, but it is believed to have been transported to the site from over a kilometer away.

A total of 900 liters of salt could be produced over a three month period, by a single household of salt producers, for trade with non-coastal people.

Archaeology at Sigatoka

Excavations at Sigatoka were completed during field schools between 2000 and 2006 led by David Burney of Simon Fraser University, and with support of the National Trust for Fiji, Fiji Museum, Fiji Ministry of Immigration and Mr Chris Work, Kulukulu village.

Sources

Burley DV, Tache K, Purser M, and Balenaivalu RJ. 2011. An archaeology of salt production in Fiji. Antiquity 85(327):187-200.

Clark G, and Anderson A. 2009. Fieldwork in northern Viti Levu and Mago Island. In: Clark G, and Anderson A, editors. The Early Prehistory of Fiji. Canberra: Australian National University. p 121-152.

Clark G. 2009. Post-Lapita ceramic change in Fiji. In: Clark G, and Anderson A, editors. The Early Prehistory of Fiji. Canberra: Australian National University. p 307-320.

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