In this section, we will explore talatupu'a (telling of origins) by listening to a telling of the Tongan creation story and discussing its key elements and possible interpretations:
1. Talatupu'a by Tevita Ka'ili
2. The geneaology of the talatupu'a
3. Nature, deities, ancestor, and history
After engaging with the material in this section, you will:
1. Be familiar with the Tongan story of creation and be able to connect it to the phases of historical, social, and ecological development that it encodes.
2. Become familiarized with the relationship between natural forces, gods, and ancestors that the creation story and ancient Tongan religion were built on.

Question 1: What other creation and origin stories are you familiar with from other cultures? What are some of their key elements?
Question 2: What do you already know about the origin of Tonga and the Tongan people?
Listen below to Tevita Ka'ili's recounting of the Tongan creation story (Timestamp 22:35-29:37).
This re-telling is also transcribed below [1].
Like any story maintained through oral tradition, some details may shift with different versions and retellings while other key elements remain more consistent. But even these variances also contain information about the social, rhetorical, and poetic context of these stories as they have been told through history.
"In the beginning, the vast ocean, Vahanoa, and the ancestral land, Pulotu, were all that existed. From the deep sea, two ancient ancestors arose: Limu, the Seaweed, and Kele, the Sea Mud. The forces of waves, currents, and wind united them. They drifted in the ocean for eons until they landed on the island of Pulotu.
On the island of Pulotu, Limu and Kele gave birth to Tou‘ia-‘a-Futuna, a unique metallic and volcanic rock. One day, this volcanic rock began to tremble like earthquakes, rumble like thunder, and eventually cracked open. From its core emerged four pairs of fraternal twins. The first pair was Piki (Sticky) and Kele (Soil). The second pair consisted of ʻAtungaki and Māʻimoaʻalongona. The third pair was Fonuʻuta (Land-Turtle) and Fonutai, (Sea-Turtle). The last pair introduced Hēʻimoana (Sea Snake) and Lupe (Pigeon).
Piki and Kele, the first twins, had a son named Taufulifonua and a daughter named Havealolofonua. The second set of twins, ‘Atungaki and Mā‘imoa‘alongona, had a daughter named Velelahi. The third set of twins, Fonu‘uta and Fonutai had a daughter named Velesi‘i. Velesiʻi is known in Hawaiʻi as Hina and in Sāmoa as Sina. The last set of twins, Hē‘imoana and Lupe had a son named Tokilangafonua and a daughter named Hinatuʻafuʻanga.
Taufulifonua and Havealolofonua, the children of the first set of twins, gave birth to the goddess Havea Hikule‘o. In some versions, Hikuleʻo is portrayed as male, while in other stories, Hikuleʻo is depicted as female. Sikotā, the Kingfisher Bird, is the vaka, vessel/avatar, of Hikuleʻo.
Taufulifonua and Velelahi had a son, Tangaloa ‘Eiki, and Taufulifonua and Velesi‘i/Hina had a son, Maui Motu‘a. Havea Hikuleʻo, Tangaloa ʻEiki, and Maui Motuʻa are three divine ancestors and the principal deities of Tonga.
Hina, Tangaloa, and Maui are common ancestors of Tongans, Hawaiians, and many people of Moana Oceania. In the early days, all ancestors lived in Pulotu. Here in Pulotu, they gathered beneath the famous talking tree, named ʻAkaulea, to drink kava. They mixed their kava with water from Vaiola, the Healing Water of Life. Overseeing the kava-drinking rituals and serving as the master of ceremonies was the talking-tree ʻAkaulea. Pulotu, the ancestral homeland, is the place where kava first appeared. The kahokaho yam and taro (kalo in Hawaiian) also originated from Pulotu.
Tokilangafonua and his sister Hinatu‘aifanga, the children of the last set of twins, had siamese twin daughters named Nāfanua and Topukulu. Tokilangafonua migrated to Sāmoa and had two daughters, Tafakula (Red Horizon) and Hē‘imoana‘uli‘uli (a shark ancestor). Tafakula and Hēʻimoanaʻuliʻuli had a child, Lofia, the deity of the volcano on the island of Tofua in Haʻapai, Tonga.
Taufulifonua and Havealolofonua not only birthed new lands but also instilled a sacred duty of stewardship in their offspring, entrusting them with the guardianship of diverse fonua, ecologies. Havea Hikule‘o was anointed as chiefess and caretaker of both Pulotu—the realm of ancestral and spiritual significance—and the Maama, or Earthworld. Tangaloa ‘Eiki was given stewardship over the celestial Langi, or Skyworld. Maui Motu‘a was designated the caretaker of the Lalofonua, the Underworld. Hēʻimoana (Sea Snake) was chosen to safeguard the ocean's intricate ecosystems, while Lupe (Pigeon) was entrusted with the stewardship of inland forests.
Tangaloa ‘Eiki fathered Tangaloa Tamapo‘ulialamafoa, Tangaloa ‘Atulongolongo, Tangaloa Tufunga, Tangaloa Mana, Tangaloa Langi, and Tangaloa ʻEitumātupuʻa. Similarly, Maui Motu‘a fathered Maui Loa, Maui Puku, and Maui ‘Atalanga. Maui ‘Atalanga and Hina, in turn, gave birth to Maui Kisikisi, also revered as Maui Fusifonua, the deified ancestor responsible for raising lands from the ocean depths. Tongans consider themselves as ascendants of these divine stewards, thereby inheriting a profound responsibility for ecological guardianship.
Tangaloa ʻEiki sent Tangaloa ʻAtulongolongo as a Tuliʻone/Kiu (Pacific Golden Plover) to search for any land in Maama (Earthworld) since all that could be seen from Langi (Skyworld) was the sea. However, the only thing he found was a coral reef. After hearing Tangaloa ‘Atulongolongo’s report, Tangaloa ‘Eiki asked Tangaloa Tufunga (Tangaloa the Architect) to throw down volcanic dust to Maama from his workshop. The volcanic dust combined with the reef and formed the islands of ʻEua and ʻAta, the first two islands in Tonga.
Later on, Tangaloa ‘Atulongolongo dropped a seed on ‘Ata from his beak, which grew into a creeper that covered the island. During his next visit, Tangaloa ‘Atulongolongo pecked a rotten branch of the fue plant, causing a larva to emerge. By pecking the larva, it divided into three parts, which became the first Tongan humans: Kohai, Koau, and Momo.
Maui Motuʻa and his children brought the three humans’ wives from the ancestral homeland of Pulotu. They also sailed to the island of Manuka in Sāmoa and procured an old fish hook from Tonga Fusifonua, Tonga, the-fisher-of-fonua. The Maui clan used the old fishhook to haul up the other Tongan islands, including some of the islands in Fiji, Sāmoa, Tahiti, Hawaiʻi, and Aotearoa. After Maui fished up the island of Tongatapu from the sea, he walked across Tongatapu and transformed the hills into lush and fertile fonua. With each step, grass, flowers, breadfruit trees, and other trees emerged spontaneously. The fonua around his feet swelled into mounds brimming with yams, sweet potatoes, taros, and a variety of other food crops."
What are some possible interpretations of different elements of the Tongan creation story? Pick any specific or general elements that stand out to you.
Spend some time reflecting on and writing your own answer first before checking out the example answer and further ideas below
Compare and contrast the Tongan creation story to one other creation story you are familiar with.
Spend some time reflecting on and writing your own answer first before checking out the example answer and further ideas below

A key element of the talatupu'a is the genealogy (hohoko) that it encodes, which is illustrated by Mahina above [2]. Talatupu'a literally refers to "telling of the ancient/deified spirits of chiefs". Notably, the original ancestors include natural forces (e.g. Limu and Kele) from which the deified ancestors (such as Maui, Tangaloa, and Hikuleo) eventually arise.
One of the key aspects of the Tongan creation story is its genealogical character. This genealogy reveals the structure of the va, and becomes the basis for understanding and justifying later relational hierarchies (such as the first Tu'i Tonga Ahoeitu justifying his rule through his relation to Tangaloa, as explored in Chapter 3.) But the genealogy laid out by the creation story may also encode information about the social changes and phases that the original inhabitants of the Moana underwent as they journeyed and settled across the ocean.
The Cycle of Hierarchy and Egalitarianism
In the beginning, there was Pulotu, the ancestral homeland and place to which chiefly spirits return, and Vahanoa, the vast and empty expanse of open ocean. The founding dichotomy of the Tongan creation story is that of the established, hierarchical ancestral structure on one hand, and on the other hand, the unwritten potential of the open ocean and exodus into it. Pulotu is understood across the Moana to commonly refer to Fiji, the place where the Lapita people (the earliest inhabitants of Tonga) settled before their continuing eastward voyage into Tonga. Mahina describes this duality as representative of a transitional cycle that occurs as people migrate from their ancestral homeland to a new place: the new land appears at first as an opportunity to escape from the old heirarchy, and thus the social structure of the new home is often more egalitarian until a new hierarchy is established over time. He writes: "As far as hierarchy is concerned, the antagonistic transition from the Lapita Culture complex to the Polynesian culture, while undergoing some intermediary egalitarian stages, appears to have been a transformation from one type of hierarchy to another... In the course of experiencing their alien environment first hand, of becoming initially at one with their new surrounding, people tend to experience an initial state of egalitarianism. But while the old order is at risk through action, the actual practice of migration, as migrants become acquainted with their adopted homeland, gradually (re)structures a new order, where the social coordinates of people are antagonized, fixing some and altering others in the process." [2]
Within this transitional cycle, there are distinct phases which are undergone that map onto the metaphorical representations within the genealogy of the Talatupu'a: Mahina identifies these three phases as "naturalistic", (forces such as Limu/seaweed and Kele/soil), "humanistic" (the male and female twin pairs), and "theistic" (the emergence of the Tangaloa, Maui, and Hikuleo gods).
The Naturalistic Phase
The naturalistic phase deals primarily with entities and forces in nature. One might might consider the naturalistic phase to begin with another duality, that given by Limu (seaweed) and Kele (soil). Mahina identifies the naturalistic phase as describing the early phase of the society which is primarily concerned with land and sea-based production of the goods necessary for survival and growth. Outside of the ancestral homeland of Pulotu and within the expanse of Vahanoa float Limu and Kele, representative of the potentiality of the natural forces and resources of the land and sea. Limu and Kele form the volcanic rock Tou'ia-'a-Futuna, whose violent shaking gives birth to four pairs which include various animals such as turtles and pigeons (crucial sources of food), as well as entities whose names describe skilled mastery of the forces of production (such as tokilangafonua, or "stone adze builder of society"). During this period of social formation, the most important forces were natural ones, and similarly important were the skills and abilities to use these natural materials and forces for sustenance and for the building-up of society.
This part of the Tongan creation story also echoes and reinforces the reciprocal relationship between nature and people, as the story positions the male-female pairs of human twins that follow as being directly descended from forces of nature.
The Humanistic Phase
The humanistic phase is expressed through the male-female pairs of human twins that follow next in the sequence. This phase begins more egalitarian in nature, but eventually evolves into a form of society that is more hierarchical (culminating in the theistic phase). Mahina notes, "the term mahanga [sister-brother twin] is idiomatically used in Tonga referring to two people or more equally excelling in physical, mental, and social attributes such as strength or beauty, intelligence and status or power." Mahina also notes that such incest as a practice was not uncommon across the pacific especially for the purposes of preserving royal blood or mana within a family line, and may equally represent a physical reality especially during periods of early human settlement and procreation.
The Theistic Phase
Many of the figures that emerge later in the genealogy, especially the Tangaloa, Maui, and Hikuleo line, are deified ancestral figures wihin the Talatupu'a and represent the (re)establishment of a chiefly heirarchy within the origin story. Many of these deities (and others such as the goddesses Nafanua and Tafakula) are also shared across various Polynesian cultures. The figures of Tangaloa and Maui were likely introduced to Tonga via Samoa from Eastern Polynesia. While the original migrations into Eastern Polynesia began in Pulotu/Fiji and moved eastward through Tonga and Samoa, it was the return migrations from Eastern Polynesia back to Samoa and Tonga that brought a new social structures with many new heirarchical nuances, lineages, and dynasties (discussed in more detail in the next section).
The domain of the Tangaloa line was said to be Langi (or the sky, which also referred metaphorically to Samoa), whereas the domain of Hikule'o was the spirit world Pulotu (which referred metaphorically to Fiji), and Maui's domain was Maama (or Tonga). Within the oral tradition, Hikule'o's brothers bind her with kafa (rope) to Pulotu, which may refer to the diminishing political power of Fiji in the era of Samoan dominance. Tangaloa was considered supreme, which likely represented the rule of the Samoan Tu'i Manua empire until the rise of the first Tu'i Tonga Aho'eitu (which will be explored in detail in the section on Kings and Chiefs).
What is the relationship between genealogy and hierarchy/social order?
Spend some time reflecting on and writing your own answer first before checking out the example answer and further ideas below
Reflect on the relationship between nature, ancestors, and deities, using the Tongan creation story as one possible source of examples within this reflection.
Spend some time reflecting on and writing your own answer first before checking out the example answer and further ideas below
Construct an original story which uses metaphor and imagery to tell about the origins of yourself, your family, or your culture.
Create an audio recording of you telling this story.
Consider sharing this story with a friend or family member, and ask them about their interpretation of the story. Discuss the similarities and differences in your interpretations and intent with them.
[1] Ka'ili, Tevita. (February 13, 2024). Fonua: Intersecting Cosmogony and Ecology, David O. McKay Lecture, BYU Hawaii.
[2] Mahina, O., (1992). The Tongan traditional history Tala-E-Fonua : a vernacular ecology-centred historico-cultural concept. [Doctoral Dissertation, Australian National University]. ANU Open Access Theses.
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