This special issue features work by Native and nonnative Pacific scholars that seeks to triangulate the arenas of “native studies,”“Pacific studies,” and “cultural studies.” 1 We will return to what we mean by triangulation shortly. These invited works were presented at a two-day symposium,“Native Pacific Cultural Studies on the Edge,” held on 11–12 February 2000 at the University of California at Santa Cruz. The event was sponsored by the university’s Center for Cultural Studies with funding support from a University of California Pacific Rim Research Grant. As joint organizers and conveners of the symposium, we each presented papers as well. One final participant, Donna Matahaere of Otago University, Dunedin, New Zealand, unfortunately could not attend. In addition to the papers presented here, the symposium included critical respondents a nd ro undtab le pa rt icipan ts: C hristoph er C onne ry, April Henderson, A dria Lyn Imada, Glen Masato Mimura, Michael Perez, Joakim Peter, John Chock Rosa, and Dana Takagi (see a line-up of the program in the appendix). The event also featured an art installation by Angelina Naidu and Teresia Teaiwa—“Postcards from the Edge”—and an exhibit by Jewel Castro,“Daughters of Salamasina.” The symposium sought to explore notions of Pacific indigeneity as they circulate through geographical, cultural, political, and historical flows of people (s), things, knowledge, power—between islands and continents. We asked participants to discuss alternative grounds on which to stake native Pacific cultural studies for the twenty-first century. Our guiding question was What happens when the grounds of indigeneity (of Pacific Islanderness) get too fixed or move too far? What we wanted to feature most of all was what we wish to call native productions of indigeneity. We wanted to feature the edges of what is normally taken to be traditional native ter-