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My book, Consuming Ocean Island: Stories of People and Phosphate from Banaba , about the impact of British, Australian, and, New Zealand phosphate mining on one of my ancestral homelands, felt like a mission to Mars. Prolonged sitting, writing, reading, rewriting, and editing are static embodied processes unnatural to human design. And while I'm so pleased the book has been taken up in several anthropology, history, Pacific studies, and Indigenous studies classrooms, the chapter I love most is the one that reviewers and editors had almost nothing to say about. Titled "Remix: Our Sea of Phosphate," it consists of textual and visual fragments from books, journal articles, ethnographic film, and archives. Elsewhere, I have written about my interest in Indigenous remix and how apt it is for Banaban lands, choreographies, histories, and displacement. My goal has never been to produce a neat and well-synthesized master narrative of what happened to Banaba, also known as Ocean Island, but to appropriately present our two-and-a-half-square-mile (six-square-kilometer) ancestral island that was broken, crushed, dried, bagged, and hauled off in ships "in pieces." The remixed forms of research and storytelling about Banaba are in line with the multisited, multisensory, empirical, material, social, and political elements marking the interaction and mutual interference between Banaba and twentieth-century British, Australian, and New Zealand colonial, imperial, agricultural, and food security projects.

This article discusses Banaban choreography as an expression of historical and postcolonial identities and, more specifically, relations between Banabans and I-Kiribati in terms of what I understand as the Banaban production of difference through dance. This process is shaped by a strategic approach to representing and reconstructing the past and kinship. I explore some of the tensions around history, kinship, and performance that resulted from the impact of phosphate mining and eventual displacement of Banabans from the Gilbert and Ellice Islands Colony (now Kiribati and Tuvalu) to Rabi in Fiji. I also discuss how this research opens up possibilities for a more corporeal approach to Pacific studies.

The Classroom as a Metaphorical Canoe: Cooperative Learning in Pacific Studies -- For or Before an Asia Pacific Studies Agenda: Specifying Pacific Studies -- Preparation for Deep Learning: A Reflection on "Teaching" Pacific Studies in the Pacific -- Charting Pacific (Studies) Waters: Evidence of Teaching and Learning -- Lo(o)sing the Edge -- AmneSIA -- On Analogies: Rethinking the Pacific in a Global Context -- Microwomen: US Colonialism and Micronesian Women Activists -- bikinis and other s/pacific n/oceans -- Articulated Cultures: Militarism and Masculinities in Fiji during the Mid-1990s -- What Makes Fiji Women Soldiers? Context, Context, Context -- The Articulated Limb: Theorizing Indigenous Pacific Participation in the Military-Industrial Complex -- How Does Change Happen? -- Yaqona/Yagoqu: Roots and Routes of a Displaced Native Scholarship from a Lazy Native -- Te Onauti -- The Ancestors We Get to Choose: White Influences I Won't Deny -- Modern Life, Primitive Thoughts -- Fear of an Estuary.