This paper addresses the consequences of a local sorcery accusation that came to the attention of Vanuatu state police, courts and media. The paper discusses what happens to sorcery practices when these become absorbed into a modern, bureaucratic context. The argument revolves around the national imaginary formed by state power and the mass media in people's contemporary lives. In formulating new forms of opposition to sorcery, they also create a new imaginary space of national belonging.

No abstract

No abstract

In Vanuatu, the police force has in recent years been strengthened by foreign government aid. AusAid and NZAid are heavily involved inside the police force, seeking to create 'good governance' and to shape Vanuatu's national developments. However, these measures also coincide with some other unexpected developments. Recent cases of violence, and especially of sorcery, have led the police to intervene in a quest for moral order. Police are becoming part of the articulation of new occult understandings of wealth and power. These developments are traced back partly to the history of colonial governance and the idea of righteous violence, but also to current restructurings of the Vanuatu state and growing Christian conceptions of Vanuatu as a holy nation.

This article considers the social circumstances of making a marriage diagram, on the island of Ambrym in Vanuatu. It offers a reconsideration of the rather famous case of the 'six-section marriage system' as demonstrated by Cambridge anthropologist Bernard Deacon. It relates this idea of a system to the indigenous practice of making figurative drawings in the sand. The argument is that the marriage diagram drawn for Bernard Deacon was merely an instance of Vanuatu people's institutionalized capability of totalizing social flows and making them into aesthetic shapes.