Remote Polynesian Troupe Shares Rites : Dance: Performers from isolated islands make U.S. debut today. Audiences will watch warrior movements and sample an intoxicating, ritualistic root.

Imagine lush, green islands surrounded by coral reefs, aquamarine lagoons and coconut tree-lined beaches being home to people so isolated that their nearest neighbor, American Samoa, lies 300 miles east.

Each week, only one airline arrives from the outside world (Fiji) and telephones are only available for two-hour periods, twice a day. Local newspapers don’t exist and only three hotels are in business.

Isolation has allowed much of the beauty and grace of Wallis and Futuna islands to remain out in the middle of Polynesia for decades.

A French Overseas Territory since 1961, three islands make up the three kingdoms ruled by three tribal chiefs who speak different languages--Wallisian/East Uvean, East Futunan and French. Separated by 150 miles, Wallis and Futuna are geographically Polynesian, but culturally and linguistically related to Samoa and Tonga. The island of Alofi is uninhabited.

During World War II, 30,000 Americans were stationed on Wallis, then known as Uvea. With no written language in their culture, the islanders regard storytelling and oratory as important parts of life and when tales are set to music and accompanied by dance, they play a significant role in social, political and religious interaction.

Some 28 singers and dancers from Wallis and Futuna make their U.S. debut today at the free opening festival ceremonies at Angel’s Gate.

As they would in previous festivals, whether a celebration of South Pacific arts or a village celebration, the group will greet their hosts with a to’o kava, a religious ritual in which gifts are traditionally offered first to the gods, then respectfully to their hosts, then to other L.A. Festival performers.

Later in the day, the troupe will share its culture in a kava ceremony that is traditionally a part of all gatherings and ceremonies of importance in Polynesia. Kava is a root which, when prepared and drunk, has a mildly intoxicating effect. The origins of this ceremony come either from Samoa or Tonga, symbolizing a link to their ancestral past. Audiences will be invited to sample the kava, thus becoming a part of the performance.

Songs composed for the festival will accompany the preparation of the drink. The laulausiva is a song of greeting to the audience from the performers as well as those left behind in Wallis and Futuna. The lyrics express their joy of participating in the festival and acknowledging the audience and its importance to the festival.

Throughout the week, performances will focus on warrior and action dances, which are performed only by the men. Wearing skirts, shoulder coverings and headbands of red and white pandanus fiber, they are accompanied by drums as they hold paddles and clubs to embody strength and energy. The kailao originated in the village of Vailala on the island of Wallis and was executed before going into combat as a kind of pep talk before battle. The tu’upaki focuses on the warrior’s club and the eke demonstrates various movements and postures seen in warfare.

But the women also dance. In the soamako , their bodies, heads and eyes move with grace to a softer, lilting drum beat. Men and women dance together in the sasa, which mimics combat, fishing, canoeing, gardening and household chores.