70 representing pacific art Essays from the paa 6th international symposium Kastom is 1 2 Vanuatu. some discussions more For nation-state. post-colonial context in as generally practices, autochthonous indigenous to in used English) (national the in in all citizens of to describe the termused Ni-Vanuatu is Bolton Jolly is

conceptualised

Vanuatu Vanuatu, the which describe pre-colonial

some Bislama

(1992)

broadly

detailed of political

4 (2003).

of

the term kastom

pidgin viewed

the

and and see

of ways Institution notgiven????? Haidy Geismar objects in Vanuatu, toldthrough adescriptive contemporary production andclassificationof andpractices onthe of museumartefacts This essayisanaccountoftheinfluence especially Pentecost, AmbrymandMalakula. of Vanuatu, Port Vila andonotherislands, workingbothinthecapital contemporary artists dealers, andni-Vanuatu weavers, carvers, and people includedexpatriateandindigenous with otherplaces,thepast,andfuture. These national, andgenderidentities,relationships used objectstomakestatementsaboutlocal, investigating howand sellingartefacts, they environments who earnedtheirlivingby making with menandwomeninbothurbanvillage working undertheauspicesof VCC, Iworked market for‘cultural Duringfieldwork, property’. the contextofsteadilygrowing commodity National MuseumandCultural Centre (VCC) in research: astudyofthework Vanuatu ofmy collection wastoformanexplicitpart The makingofthis Anthropology (UCMAA). of CambridgeMuseumArchaeology and a smallcollectionsgrant by theUniversity doctoral research,undertake Iwasawarded In 2000,justbefore leavingfor Vanuatu to Introduction: Collectingduringfieldwork creativity inVanuatu and artefacts Museum Contemporary Traditions and kastomin Vanuatu. indigenous classifications ofcontemporary art of internationalmuseumworkin thecreation of In particular, Iwanttoemphasisetheimportance analysis oftheobjectsIcollected fortheUCMAA. [1 ] Ifocusmydiscussion

on theproduction, collectionandpresentation talents ofthegroup, united inasinglebody. or formofexpression, highlighting thediverse tentacle represents medium adifferent artistic the nationalpidginEnglishof Vanuatu. Each be namedNawitameaningoctopus inBislama, Pita theydecidedthattheorganisation would production. Following a suggestionby Juliette arts’ usingtheirskillsincustomaryartefact had anactive interest increating ‘contemporary wasoffered asacourse,or the briefperiodart technical training collegeinPort Vila during by several ni-Vanuatu 1996, 1997). The meetingwasalso attended Aloi PiliokoandRobert Tatin (see Regenvanu by theworkofNicholaiMichoutouchkine, Vanuatu wascreated by foreigners, exemplified in most visualproduction calledcontemporary art organisation Prior tothis, ofcontemporary artists. Vila todiscusstheestablishmentofaformal French expatriatePatrice Cujo,metinPort Kuautonga, Fidel Yoringmal, JuliettePitaand Emmanuel Watt,In 1987,localartists Sero Nawita –re-presenting kastom Southern Malakula(North-Central Vanuatu). headdresses made inthevillageofLamap, capital of Vanuatu, Port Vila, andtwocustomary associationbasedinthe of theNawitaartists madeby members places: contemporary art of twokindsobject,from twovery different [2] whohadbeenatthe designated askastom are usually restricted and media. The exact reproduction ofartefacts ambiguously, markedby technologicalprocess tradition beingtentatively, andsomewhat the customaryisthusfundamentally material, division here between thecontemporary and being members(Regenvanu 1996:312). The traditional principles”are formallybannedfrom using“traditional mediaand orartisans Artists defined explicitlyagainsttheconceptofkastom. Nawita’s membersemphasises thecontemporary The primarycriteriaofmembershipoutlinedby and internationalforumsforcontemporary arts. inandmeshtogetherlocal,national participate that theassociationanditsmembersare ableto inthesekindsofprojects ensureParticipation mainly geared at youth throughout Vanuatu. and thedevelopment ofworkshopsandprojects international Francophone exhibitioninCanada, Symposium Association,an ofthePacific Arts 8th Festival the6thInternational ofPacific Arts, several projects in the ranging from participation During theyear 2000,Nawitawasinvolved in 1989, whichhasremained thevenue ever since. in thegalleryspaceofFrench Embassyin The firstshowing oftheassociationwasheld that the association must hold a yearly exhibition. and ni-Vanuatu alike,theprimaryconditionbeing affirming afree membership, opento expatriates The constitutionwasinitiallywritteninFrench, Bastien, along-termFrench resident of Vanuatu. L’Atelier Gallery, foundedin1985by Suzanne the associationwasFrancophile, by supported Kuautonga as Vice-President. From theoutset, Emmanuel Watt asPresident andpainterSero was officiallyestablishedin1989withsculptor The NawitaAssociationofContemporary Artists within Vanuatu’s marketwhere limitedart production, leadingtogrowing competition many ni-Vanuatu toearncashfrom customary complicatedby thegrowingfurther desire of rather thanasapractice. This entanglement is claimingkastomasastyle contemporary arts, these concernsby exploitingthemediaof in Vanuatuand images.Artists cannavigate not tolosetouchwithalocalcorpusofobjects but nottootraditional, tobecontemporary but a careful accomplishment:tobeindigenous thusbecomes Pacific, andbeyond. Making art –in contemporaryVanuatu, artists inthe from other identity –onethatsetsthemapart also concernedtomaintainafirmlyindigenous discourse. However, membersofNawitaare replication intheir technologicalpractices and emphasisecreativity overcontemporary artists In rejecting the materialpractices ofkastom, “Before we lived inkastom,now we makeit.” kastom. AsEmmanuel Watt commentedin2000 than reproduce, toimagerather thanobjectify, struggletorepresent, rather asartists art, understanding andcreation ofcontemporary domain ofkastomhave avitalaffectonthe changes andconcernswithinthematerial (see Cochrane 1997). Ittherefore standsthat ofthedefinitioncontemporary art heart imagery andnon-traditional mediaisatthe is permitted. This connectionoftraditional imagery ormotifsusingnon-traditional media ni-Vanuatu thecreative artists useofcustomary place. However, inthecaseofcontemporary customary resources belongingtoanyparticular properly initiated,are entitled toreproduce the or insomeinstances,thosewhohave been in Vanuatu: onlythosewithnatalaffiliations, 71 Geismar Contemporary Traditions 72 representing pacific art Essays from the paa 6th international symposium decided We 3 artist. each with held discussions the of paraphrases largely are descriptions my case, each in and collected, were that pieces eight the of out seven Idiscuss Here, project. the in participate to desires people’s influenced also England in museum aprestigious for was collection the that fact the of value social The artist). to artist from greatly vary (that work their for obtain could artists Nawita that prices current the on than rather UCMAA the by given been had I amount total the on based was money of sum the and successes, professional relative her or his of regardless artist each to price same the pay to as theyare bothdiscursively andmaterially relations between ‘kastom’ and‘contemporary’ factorthatmediatesthe Another important established bothwithinandoutsideof Vanuatu. tradition, innovation andmodernitythatare around therelationship between conceptsof in thiswaymustcontinuallynegotiatevalues interests in‘indigenous’ cultural production and themselves from widereconomicand cultural cannevercontemporary fullydistance artists the Tjibaou Cultural Centre inNewCaledonia, Embassy, inthe Vanuatu Cultural Centre, orin Whether theyexhibitatthegalleryofFrench ofthevalue objects. ofcontemporarypart art of ‘authentic’ hasbecomeavital Pacific artists connected toanacademy, theself-constitution Cambridge, asinothercosmopolitanmuseums in audience forcontemporaryVanuatu. artists In hasprovided averyas theUCMAA particular conferences. The interest ofmuseumssuch museums,festivalsethnographic and and art are the displayandsaleofcontemporary art saturated. Inthis context,themainforumsfor a fewinterested expatriates,isby now virtually The internalmarket,Government, business,and fortourists). be low costandeasilytransportable and materialofpiecesproduced (i.e.theymust decidedly ‘low end’ andoftenrestricts thesize souvenirs. The Vanuatu touristmarketis conventional andtourist traditional artefacts are soldalongsidemorecontemporary arts inPort Vila.contemporary Inboth, art Only twosmallgalleriessellanddisplay premium forobjectsconsidered tobekastom. tourists, dealersandmuseumcollectorspaya Contemporary art in ContemporaryVanuatu art isatpresent an almost allofNawita’s memberscurrently work. within thenationalisedurbanenvironment that tensions between localityandnation-state areconstituted by the contemporary artists, from theisland homeoftheirfamilyinmany draw uponnatal affiliationsandentitlements town andhaslived there alltheirlives, theywill For thisreason, even ifsomeonewasbornin creativity andindigenousidentityin Vanuatu. that are considered tobetheprimary source of oftown, itisthe‘islands’material importance Yetartists. despitetheeconomic,socialand tobuysuppliesandmeetother more art, to selltheirworkandraise thecashtomake needtobeintown urban phenomenon:artists objects thatthey are currently producing. in thediverse formsofthecontemporary art is thisbetterexpressed andembodiedthan engendering internationalinterest. Nowhere the outsideworldinnationalexhibitions and through representing andsellingkastomto national, andinternationalsimultaneously Ni-Vanuatu makethemselves local, artists the casheconomyintotheireveryday lives. with theincreasing incursionsofurbanismand this, theymateriallyuniteideasaboutkastom selling theirwork(seeGeismar2004).Indoing forming artist’s associations,exhibitingand turning totheproduction ofcontemporary art, Moreobservers. andmore ni-Vanuatu are indigenous incontemporary Vanuatu tooutside powerfully representsart ideasaboutbeing the customaryandcommercial, contemporary national andthelocal,urbanrural, of ni-Vanuatu experience.Joiningtogetherthe polarised categoriesofthoughtandspheres are complexhybrids, fusingtogetheroften- In summary, objectsin contemporaryVanuatu art scene. the urbanecontextofPort Vila arts by consolidating connectionstotheislandsin ever-growing dividebetween urbanandrural life In thisway, canbridgethe contemporary art of imagesandidentityforcontemporary artists. andnourishment,thesource places ofnurture aspects oftheireveryday life.Islandsare seenas marker ofcultural identity. Johnhimselfis a breasted andceremonial lifeisafundamental style. Women gobare- wear grass skirts, traditional, reinforced by anaturalistic painting life in Vanuatu astimelessly isportrayed anddancing.Contemporary weaving, carving, in Vanuatu: foodpreparation, kava making, demonstrating various ‘traditional’ activities like aclock,withnumbersreplaced by figures sun, from theBanksIslandsradiates outwards a traditional design,inred tosymbolisethe entitled ‘ Watercolorist, JosephJohnsubmittedawork long nightofkava andtalkon11 July2001. culminatingina I hadwiththeNawitaartists, descriptions are takenfrom themanydiscussions formally presented theirwork. The following a finalcelebratory meetingwhere theartists in of contemporaryVanuatu art today. We had collection, problems, progress, andmeanings the associationtodiscusstheirideasabout months, Imetseveral timeswithmembersof in England.”Over thecourseoffollowing represent your workabroad, toanaudience was “make agoodpiece,oneyou feelwillbest any subjectmatterortheme,myonlyinstruction of anexplicitdialogue.Iwasreluctant toimpose intention tomaketheprocess ofselectionmore despite theagencyoflocalproducers. Itwasmy as formedby thechoiceofbuyer alone, each piece. the collectionandfixed thepricetobepaidfor Sero Kuautonga. We discussedthe purposes of in conjunctionwithNawita’s current president, course ofoneyear. InitiallyIselectedtheartists meetings withtheassociationspread over the Ihadseveral from NawitafortheUCMAA art In commissioningacollectionofcontemporary The NawitaCollectionforthe Cambridge Museum Circle of Life of Circle [3] Usually collectionsare conceived ’ [Figure one]. Inthecentre, part ofabroader presentation of part Vanuatu abroad. ofaCommonwealth bequest, andisthus as part Government of Vanuatu fortheQueenofEngland version ofalarger paintingcommissionedby the their stayin Vanuatu. pieceisa The UCMAA and touriststoprovide authenticsouvenirs of As such,heismuchsoughtafterby expatriates Vanuatu asacontrast to‘modern life’ inEngland. He draws anideal version of‘customary life’ in Hemi difren tumas [Itiscompletelydifferent].” dress-up in Vanuatu, every daylifein Vanuatu: life islikein Vanuatu; kastomlifein Vanuatu, that “Iwanttoshow thepeopleofEnglandwhat most oftheseactivities,Johncommentedtome Despite anurban,Christianlifestylethatexcludes kastom withoutactuallypractising it. very consciousofthefactthathecandepict island.Heis anyparticular ties toparticular about hispersonalpractice orabouthisown version oftraditional lifein Vanuatu isnot alcohol andrarely leaves town. Hisidealised dedicated Christian,hedoesnotdrinkkava or Anthropology and Archaeology of Cambridge the of Courtesy 2002.57 Paper. UCMAA Watercolour on ‘Circle ofLife’. Joseph John Figure 1

Museum 73 Geismar Contemporary Traditions 74 representing pacific art Essays from the paa 6th international symposium Anthropology and Archaeology of Museum Cambridge the of Courtesy 2002.56 UCMAA wood andtextile. through theages]’, les époques[Kava ‘Le Kava atravers Emmanuel Watt, Figure 2

of Vanuatu. Watt’s familyare from Ambaeand mat, arepresentation ofthecustomaryroots base ofthearmiswrapped ared woven Ambae the actofChristianprayer likening theceremonial drinkingofkava to in cuppedhandsafullshellofkava, thepose standingfive feettall,holding to theUCMAA, arm He submittedasculpture ofaforthright tradition inamore urbane,national context. tostyliselocal media ofcontemporary art Emmanuel Watt, woodcarver, alsousesthe land divingceremony (Nangol), entitled‘Land a stylisedsewndepictionofthe Pentecost work intapestry. ShesubmittedtotheUCMAA building aninternationalreputation through her t her livingmainlyby hand-paintingdesigns on several femaleexpatriatemembers). Sheearns member oftheassociation(althoughthere are Juliette Pitaistheonlyfemaleni-Vanuatu both thepassageoftimeaswell aschieflypower. of theoutstretched armfiguratively emphasising a commonthemein Watt’s work,asistheimage explicit syncretism ofkastomandnation-stateis in kastomandChristianitytothepresent day. An development ofthenation-statefrom itsroots of thehistory Vanuatu, encompassingthe resource, thusrunsalongtheentire arm’s length Vanuatu flag. Kava, bothanatural andacultural – ismarkedby anarmbandinthecoloursof temporal representation aswell asavisualone section–eachisa final andshortest of CondominiumGovernment (1906–1980). The British nationssymbolisingthecolonialperiod has incisedonitthedualflagsof French and ceremonial armbands, thenextsectionofarm and familialconnections.Dividedby carved material draws uponhighlylocalisednatal of red mats,hence hischoiceofthisparticular Pentecost; islandsnoted fortheirproduction -shirts tobesoldtourists,atthesametime -shirts [Figure two] . Atthe the contemporary nation-state. The Pentecost islands, suchiconsare now usedtorepresent cultural symbols.Previously specifictoparticular symbolic formofkastomcomprising afewiconic a more inclusive, nationalisticandgenerically Watt and John,highlightsthedevelopment of blue forthesea. This piece,like theworkof colours of Vanuatu –red foritsvolcanoes and an Ambrymslitgongdrumsurrounded by the to theground, watchedby thestaringeyes of Divers’ [Figure three, Figure 3a]. Four menleap reflected intheirpopularityas imagesas well of aninternationalconsumermarket, afact only nationalised,buthave alsobecomepart tourist attraction (seeJolly1994). They are not Dive isprobably Vanuatu’s greatest cultural (see Patterson 1996),andthePentecost Land Vila andare themostpopulartourist commodity decoration infront ofhotelsandoffices Port image-bank: Ambrymslit-gongspredominate as drums are themostpopularimageswithinthis slit-gong land divingandAmbrymvertical Anthropology and Archaeology of Museum Cambridge the of Courtesy 2002.54 UCMAA on hessian. Wool tapestry ‘Land Divers’. Juliette Pita Figure 3and3a

75 Geismar Contemporary Traditions 76 representing pacific art Essays from the paa 6th international symposium life (kava, landdivingetc.).Bulesa’s workshows traditionally equatedwithtraditional cultural lies inthenatural resources of Vanuatu thatare inspiration forcontemporary artists important practice. AsImentionedearlier, themost represent andvariousartists kindsofmuseum nationalised formsofkastomthatcontemporary of thedeeperconnectionsbetween thenewly Vanuatu, Bulesa’s workintroduces ustosome museums givein tocontemporary artists that Aside from the institutional support the fallingwomancoursingdown itsside. of theBanyantree, lianavinesattachedto his death.Bulesa’s ceramic mimicsthetrunk natural worldand by following herplungesto pursuit, neglectstoreinforce thisbondwiththe her ankles.Herhusband,inhisenraged briefly pausedtotieoneofthevinesaround husband Tamalie, jumps,onlyafterhaving she climbsaBanyantree, andfollowed by her husband, aPentecost womanissaved when survival oftradition. Infleeinghercruel event, thepieceisalsoametaphorfor Banyan tree rather thanthecontemporary ceramic. Depicting themythicleapfrom the a depictionofthelanddiving,thistimein Sylvester Bulesa,from Pentecost, alsosubmitted tapestry, anunequivocally modernmaterial. indigenous, reproduces theland dive in itself, isamplifiedhere. Pita,unequivocally the traditional by thevery formoftheobject separated from andmaterially combinedwith in whichthecontemporary isbothdiscursively practice. The materialdistinctionoutlinedabove, ofcontemporary local as theirbeingavitalpart encouraged by theworkof Vanuatu Cultural contemporaryThis connectionisovertly arts. island lifeandtheurbanstandpoint ofthe conduit between nature andculture, between how oral tradition isusedasafundamental Unit directed by JacobKapere, have forged the creation of the NationalFilmandSound with photographers suchasDavidBecker, and and Tilley 2003).Similarly, long-termprojects foreign andindigenousresearchers (seeGeismar the videocamera) aninvaluable toolforboth This project madethetaperecorder (andnow establishment oftheOral Traditions Project. of the VCC, inaugurated inthe1970swith audio andvisualmediainthegrass-roots work Centre (VCC). There isastrong linkbetween black felttipoverlaid withoil pastelandthinly coloured depictionofreef fish,created by using the armsofravenous men.Behindthebrightly and nottoouncommonlytoentice womeninto into thewaitingarmsofravenous fishermen, his homeislandofFutuna, usedtoenticefish The ‘fishattraction’ iscustomaryleaf magic from history from thepastandpresent depicting afusionofnatural iconsandoral submitted apieceentitled‘FishAttraction’, job withtheNationalReserve Bankof Vanuatu, inhisfree timeawayfrom hisfulltime as anartist Continuing thistheme,MichaelBusai,whoworks objects inbringingthepastintopresent. Vanuatu ofmuseum andtheimportance of ideasabouttradition andmodernityin formal mediaintheconstructionandconnection of cases emphasiseoncemore theimportance local practice in thepresent day. Bothofthese in storerooms around theworldtoreinvigorate using archival footageandmuseumobjectskept highly localisedbodiesofkastom,aswell as andpresentvideotape todocument,conserve National FilmandSoundUnitusesfilm in anationalrendering oflocaltradition, the Thus, asPitaexploitscontemporary materials traditional life(see Huffman1996,Sam1996). and thedocumentationpreservation of connections between audio-visualtechnologies (Figure four) . Anthropology and Archaeology of Museum Cambridge the of Courtesy 2002.52 UCMAA paint onpaper. Pen andacrylic ‘Fish Attraction’. Michael Busai. Figure 4

77 Geismar Contemporary Traditions 78 representing pacific art Essays from the paa 6th international symposium Geismar Haidy Photograph: paint collage, 2001 ‘Untitled’. Tapa/ Moses Jobo Figure 5

as ani-Vanuatu by representing artist hisbond the natural world, Busaienforces hislegitimacy traditional lifein theislandsorientedtowards environment of hisearlychildhood.Depicting chooses tofocushisworkuponthevillage interests ineconomicsandanthropology, Busai away from hisworkinPort Vila andhisbroad reef andfishingfrom outrigger canoes.Moving baskets, nets,andposesofpeoplebentatthe the powerful spiritsalongwiththetraditional worked acrylicpaint,we seethewideeyes of This work draws out the importance ofmuseum This workdraws outtheimportance ofmalevolenttraditionally intention. aportent kastom magiconErromango where thelizard is warfare and — agenericsymbolofintertribal a large workdepictingageckofortheUCMAA Drawing onthisrevitalised tradition, Jobocreated recently barkcloth/paintcollages which hetranslates intoacrylicpaintandmore ‘traditional’ designstoforminnovative images, traditional techniques,andcreatively buildson al. et. the inBaselconjunctionwith working asanartist Inspired by thisproject, andafteraperiod production wasreinvigorated onErromango. elder Erromangans, thetechnologyofbarkcloth National Museum),plusconversation with museum collections(mainlyintheAustralian examples ofbarkclothfrom Vanuatu housedin fieldworkers from Erromango. from 1979–89, Jerry Taki andJamesAtuelo, 1984, underthedirection ofKirkHuffman,curator Oral Traditions Project attheCultural Centre in work withbarkclothwasinitiallyinspired by an customary practice inthepresent day. Jobo’s Centre andofmuseum objectsinreinvigorating also embodiestheefficacyof Vanuatu Cultural MosesJobo The workofErromangan artist to localplacesinlieuofthenation-state. Arts of Vanuatu of Arts 1996), Jobonow creates barkclothusing exhibition(seeBonnemaison [4] Using historic (Figure five) . Anthropology and Archaeology of Museum Cambridge the of Courtesy 2002.193 barkcloth. UCMAA Paint andfeatherson Moses Jobo‘Gekko’. Figure 6 in and contemporaryVanuatu art current (materialised)convergence ofkastom work, bothnationalandinternational,toa

(figure six) . 1982 Since 4 1999). Tryon 1999, Bolton (see representatives customary local with collaboration in kastom, traditional of discussion and preservation, documentation, recording, the on is emphasis the Project, Traditions Oral the as 1970s the in Charpentier, Jean-Michel and Tryon Darrell linguists and Huffman, Kirk by implemented then and Crowe, Peter by Started year. previous the over researched have they which theme, a given discuss to Vila in meet archipelago the in island every nearly from Representatives place. in been has fieldworkers VCC for workshop annual an barkcloth The

called 1984 VCC in the at exhibition an by initiated was project 2003). Bolton (see Tarisese Jean by directed currently is and Museum, National Australian the at Collections Pacific of curator then Bolton, Lissant of guidance the under 1993 in initiated was Project Culture Women’s The blong Vanuatu blong 1996a). Huffman (see island the on projects and investigations documentary of aseries initiated and Museum, Australian the at collection Robertson the from borrowed barkcloth Erromangan with Tapa Tapa

79 Geismar Contemporary Traditions 80 representing pacific art Essays from the paa 6th international symposium UCMAA 2002.55 UCMAA oncanvas.Acrylic Sero’s ‘Untitled’. Figure 7 Anthropology and Archaeology of Museum Cambridge the of Courtesy

the nationalflag, andcontinuesonwards intothe figures marches pastabanyantree, alarge cross, a wealth ofminutedetail.Aprocession oftiny on your vantage pointandproclivities, holds A large giantclamshell,orisland,depending national-local in Vanuatu today to thefusionofcontemporary-traditional and canvas iconoclasticallytoys withimagesvital Finally, Sero Kuautonga’s playfulacrylicworkon (Figure seven) . expressed ambivalence atthe disjunction he In oneofseveral conversations, Sero Kuautonga and presentation ofcontemporary arts. also provide aplatformforthecirculation oftheseideas,museums the formalarticulation temporal distinctions.Aswell asassistingin mediators thatcanconsolidatevitalsocialand objectsare national In thiswaycontemporary art church andstatetoo(flags,crosses andsoon). and kava bowl, butincorporates symbolsof symbols from kastomsuchasthenameleleaf the nationstatewhichnotonlyincludesgeneric resources of Vanuatu, andthesymbolicbankof with the VCC), childhoodexperience,thenatural research inconjunction projects undertaken — usingoral history (oftengathered through kastom andrepresents itwithinthiscontext pieces idiosyncratically develops aversion of role. Eachofthese museums playanimportant within whichtheactivitiesof VCC andother contexts ofnationalismandinternationalism a setofvisualimagesisframed by thewider can seethatthedistillationoflocalkastominto we by Nawitaartists, produced forthe UCMAA Through thisdescriptive catalogueofwork styles ofinternationalcontemporary arts. of localscenesusingthetechniquesand themselves asfirmlyindigenous by thedepiction as (inter)nationalandlocal,establishing positionthemselves andtheirartworks artists Here, asforall the Nawitapiecesdescribed, in theeye tothecoldwintersofEngland). float inaseaofbright red (amischievous poke namele leaf(traditional symbolofchieftainship) men’s lives. designs, canoes,andthe Rock art by apandanusmat,fusionofwomen’s and technical development. A sleeping man is covered presence offive channelsin Vanuatu’s future sets andaerialssymbolisingthepossible future. Above themhover aseriesoftelevision are mutuallyconstituteddespite theirrigorous nation and locality, tradition and contemporaneity andhighlightsthewaysinwhich articulated, enablesthesecomplicatedideastobe artists at imagesandobjectsproduced by Nawita connected tolocalpersonsand places.Looking and thegalvanisation ofspecific entitlements about authenticmaterialsandtechnologies through aseriesofjudgements contemporary art relations. Kastom isconstructedinrelation to canhelptoconstitutethese contemporary arts representational linkstotradition. The mediaof lieintheestablishmentof contemporary artists demonstrated collectively thattheir identitiesas together intoacollection,Nawitamembers in Vanuatu today. Indrawing thesepieces different people creating contemporary art and modernitywithintheworkofmany dependency ofideasabouttradition These commentsemphasisethemutual thoughts behindus.”(Port Vila, 11/07/2001). we getfrom allthetraditional objectsand added: “[We dothis] with theideasthat Richard Abong, from Lamap, SouthMalakula, to supersedethesecategoriesforartists: process ofcreating hesuggested, wasaway proceedings). The ideaofcreativity andofthe volume isthepublicationofsomethose we were bothabouttoattendin2000(this Symposium Associationthat ofthePacific Arts traditional intherhetoricof6thInternational perceived between thewords contemporary and our art, we justcreate things. our art, categories ofit.Allus,whoworktodaytomake thatcomeupwiththe spend theirtimestudyingart iscontemporary,art isalive. It’s thepeoplewho Buttraditional not includetraditional artefacts. only,but forsomepeoplethisappliestoart itdoes what doyou mean?Contemporary means‘of today’, from you whiteguys. When you say‘contemporary’, I thinkthatallthistalkof‘contemporary’ comes 81 Geismar Contemporary Traditions 82 representing pacific art Essays from the paa 6th international symposium himself from Lamap, for advice in making a making in advice for Lamap, from himself VCC, the at curator a then Abong, Marcellin approached I recent, nothing but Malakula, from holdings strong has already UCMAA the Because Malakula. southern Lamap, in collected and viewed I headdresses ceremonial the were too so considerations, international and national, local, of hybrid material a be to piece Nawita each found I as However,just histories. and practice local of part inalienable entrenched, an be to considered materials and technologies using made nation, the than rather localities in rooted more be would thought I objects artefacts: traditional contemporary collect to wanted I art, contemporary buying to addition in Vanuatu, in creativity and kastom of understandings to objects museum of importance the unravel to attempt my of part As Cultural revival inLamap, SouthMalakula Collecting Kastom— such asthetraditional andthecontemporary. contexts, andbetween discursive categories between local, nationalandinternational vital bridges(bothconceptualandmaterial) work andmuseumobjectsare shown tobe side’: thatofkastom.Oncemore, museum relationships andseparations from the‘other In thefollowing section Iexaminethese the museumisavitalsocialandformalcontext. Throughout allofthiscomplexmanoeuvring as well asacademicandintellectualnarratives. separation inpublicdiscourseandindigenous, introduced me to his brother Richard Abong. Abong. Richard brother his to me introduced immediately He headdresses. or masks some collecting of possibility the mentioned I UCMAA of holdings existent the to deference In material. contemporary of collection small days of the Anglo-French Condominium (which (which Condominium Anglo-French the of days early the During years. hundred one past the over modernity and custom of concepts juggled Navsak, as indigenously known Malakula, Southern in area Lamap The village. the in space] ground/sacred [dancing their of re-construction the by initiated achievement, status of complex ceremonial male local the Nimangki, of revival the in force driving a been has family Abong The tourists and interested museum spectators, spectators, museum interested and tourists locals, Bishop, the for 1984 in performed were dances Kastom practices. customary their reviving actively consider to began villagers Lamap 1984, in performed dance traditional a see to desire the expressed Bishop Catholic a When revival. its in instigator leading a became later culture, traditional of dismantlement devastating a initiated period missionary early the during which Church, Catholic The governance. Condominium of period the during Malakula of administration French the for eventually and mission, Catholic the for centre regional the became Lamap missions, Presbyterian nearby with rivalry intense Despite convert. to and catechism, the study to school, Catholic the attend to began they such, As leader. customary a without Lamap of people the left 1896 in navy the by assassination His 1987). (Monnier pleasure for flesh human eating for proclivity his to due abhorrent particularly be to reported was area, the in chief kastom strongest the Bangherere, from Namal the character, mythic particularly One area. the in rampant cannibalism savage the of reports by terrified feeling reported settlers and missionaries earliest the of many and foreigners, against and locals between both violence, for reputation a had region the 1980) and 1906 between Hebrides New the as Vanuatu governed [5] [5] has ambivalently ambivalently has nasara nasara [6] recollected by Donassio Donassio by recollected imagery traditional the alongside motifs Christian incorporating ways, imaginative in merchants Asian from bought colours vibrant used years, 80 nearly in time first the for seen masks, These names. same the of dances the of revival the of part as Donassio Veuv Luan and (Nalawan masks two made Andre Olfala mission, Catholic the of years 100 of celebration the for 1987 In again. revived be could artefacts) as well as dances, (songs, practice traditional recollections, assiduous Donassio’s Olfala from primarily Stemming seen. never paraphernalia ritual and man, old an of voice wavering the through only heard memory, songs living in danced not dances recreating was part harder The Lamap. in the of resurrection the of part easier the was resistance economic and social political, of face the in ties social establishing Re- work. hard is kastom that feelings mixed with you tell will people Vanuatu, Throughout practising three now are There man’. ‘big venerated a becoming is and Meleun, of rank high the reached family, has his by backed 33, only at Hernan, Today,brother grades. twin Marcellin’s of taking the for preparation began they and ceremony, circumcision the through put were boys younger The court. tennis a for way make to Commissioner District French the by old their resurrect to decided They them. about stories telling fathers their remembered they but circumcision, of or Nimangki of dances the seen ever had them of None kastom. of ways the boys younger the teach to start to decided Olfala by led men, older several this, After 1987. in Church Catholic the of celebrations centenary the for again and nasara [8] ) from descriptions given by Olfala Olfala by given descriptions from ) nasaras , Pnoab, which had been destroyed destroyed been had which Pnoab, , in the Lamap area. area. Lamap the in [7] (see Figure eight) Figure (see Donassio Tasso Donassio nasaras nasaras . and storybehind thedancebelongingtoaelder ofthedanceNa-Gulong,motif made aspart of thesemaskstotheCambridge museum,one Richard AbongandthePnoab and from oral tradition between objectsrevived from photographs explicit process ofrevival andthedistinction the VCC describestherole ofmuseumsinthis mask madeby Richard currently ondisplayin back toMalakula. The labelfor the Luan Veuv Luan Veuv, from photographs Marcellin sent was abletorecreate twomasks,Gulongand to renewed criteriaofauthenticity. Richard the associateddancesandritualsaccording the masksinLamap, alongsidetherevival of discovery enabledasecondreconstruction of dating backover onehundred years. This There, Sandwich hefound twomasksfrom Port sent toPort Vila forthePacific touroftheshow. collections andviewobjectsthathadnotbeen to Paris where hewasabletoexplore museum Vanuatu of In 1996,Marcellin Abongaccompaniedthe interaction with internationalmuseums. instigatedthrough distinction hasbeenpartly of whichistabutothenon-initiated. This green), andcustomary materials,themaking red, blackandwhite, andtoalesserextent to useonlycustomarycolour(restricted to effort in Lamaptodaythere isaconcerted Following onfrom thisformalgroundbreaking, a mediatorbetween church andvillage. local materialculture inahybridcontext: Lamap, itwasinitiallyusedasawaytorevive ultimate markerofinnovation andnewness.In Vanuatu, store-bought paintisviewed asan in synthesisingthetwo. Ingeneral, throughout out thecustomaryfrom thecontemporary and formal mediaare crucialcriteriainbothmarking Throughout Vanuatu, aswe have already seen, travelling exhibitionfrom Port Vila (Figure eight) nasara . gave two Arts Arts 8 7 has account This 6 name local The 5 Malakula, Southern of society graded asecret Nalawan, for term another is ‘Luan’ word The non-initiated. the to tabu is which production or use their describe not Ido but names, their give I Here, activities. ceremonial male restricted with to connected intricately are here mentioned masks the of All respect. of term a is Man, Old Olfala, Bislama, In (1987, 1991). Monnier from and Abong, Augustino Abong, Richard Batik, Roman mainly villagers, Lamap of narratives the from drawn been alike. missionaries settlers/ and locals both firearms, holding for reputation inhabitant’s the following Carriers, Musket means word the that Lamap in told Iwas linguists. by Sandwich Port called language, area’s the for 83 Geismar Contemporary Traditions 84 representing pacific art Essays from the paa 6th international symposium Anthropology and Archaeology of Museum Cambridge the of Courtesy 2002.93) and Anthropology (UCMAA Cambridge MuseumofArchaeology by Richard Abonggiven tothe (right)Luan Veuv (2000)made Vanuatu Cultural Centre. Tasso, Lamap, now inthe the recollections ofDonassio made by Andre Olfala from (middle) Luan Veuv (1987)mask in the Vanuatu Cultural Centre mask intheMuséedl’homme,now by Richard Abongcopiedfrom a Masks: Luan Veuv (1997)made Figures 8

keen toforge strong tiesbetween Pnoaband of international encounters. Richard Abongis of themaskshasbeenenabled by awide variety coloursandmaterials,theproduction imported made through theuseoflocalrather than collections. Despitethematerial distinctions embody previous encounterswithmuseum literally objects, themasksgiven totheUCMAA totheirdevelopment ofkastom.As support Lamap, filmedtheirceremonies andgiven under theguidanceof VCC, have visited Switzerland, andNew Caledonia,allworking work. Several museumcurators from France, such role ofmuseumdirectors insupporting in ‘reminding’ themofkastomandthe cognisant oftherole ofmuseumcollections The membersofPnoabnasara are highly ideal placestodepositsuchcultural valuables. villagers inLamapare aware thatmuseumsare of Vanuatuworking withtheArts exhibition,many used butpreserved. Duetosuchexperiencesas practice notto be lostagain,madenotonlyto are therefore seenasdemonstrations ofcultural the masksMarcellin foundinParis. These masks forfuturebe conserved generations, justlike be shared with other museums,where theywill tourist economyandalsomeansthattheycan be incorporated aftertheirinitialuseintothe convention woulddemand. This allows themto of destroying themorhiding awayaspast ‘examples’, rather likemuseumpieces,instead the maskshemadeforvarious ceremonies as the formofaresearch project, Richard haskept every stepofNimangkiself-consciouslytakes raise moneyfrom tourists.As the worktorevive andtheninperformancesto are anintrinsicpart, dancing-ground fortheceremony ofwhichthey were usedrepeatedly indances,originallythe as describedabove. Untiltheirdonationthey Luan Veuv maskwhichhadbeenrevived earlier of Pnoab, Olfala Claude;theotheracopyof the point ofview ‘traditional’ intheensuing arts thatImentionedabove,artists togive the I invitedRichard AbongtothemeetingofNawita Vila toParis role. have played animportant interests of, andobjectsin,museumsfrom Port tradition andmodernity, andinthisprocess the temporal andpoliticaldistinctionsbetween technology are usedtocategoriseandcreate mediaand set ofcriteriausedby Nawitaartists: time, suchdefinitionsare marked by thesame Abong andotherLamapvillagers.Atthesame individual creativity isemphasisedby Richard an ethicofcollective reproduction rather than production,the forefront. Intermsofartefact local cultural centres (ormuseums)are oftenat indigenous people’s movements, withinwhich is alsorelated to growth ofinternational model ofdevelopment andcultural production and Tilley 2003:183–184).Atthesametime,this international development models(seeGeismar rather thanadopting potentiallyinappropriate natural resources, intheirown environments, ni-Vanuatu toutilisetheirown customaryand of the VCC —whichspecificallyencourages is explicitlyencouraged by thegrass-roots work in thepast.Itisthisformofdevelopment that relying ontheredevelopment ofcultural roots model ofdevelopment basedincommunity, and internationalagentsasanalternative economic andsocialdevelopment by national be seenintermsoftheinfringementlocal The current revival oflocalkastominLamapmust kastom tobeusedbenefitthecommunity. through sucheconomicinteractions around the entire group. This enabledanyprofit made toolstobeusedby for asetofwood-carving and helpwhenneededinfuture research, and masks.Insteadheaskedforsupport UCMAA to acceptmonetarypaymentforthetwo foreign museumsandforthatreason refused practices). ceremonial of revitalisation the in them assist to record a factual as years recent in text this used have villagers Lamap Some region. the of societies graded other and Nalawan the about information ethnographic some for (1934) Deacon (see pigs tusked of exchange the and practice ceremonial through entitlements and titles achieve men which in rituals, mortuary with associated 85 Geismar Contemporary Traditions 86 representing pacific art Essays from the paa 6th international symposium June 2001. Haidy Geismar, anthropologist Nasara, with of Pnoab Members Figure 9

able toviewsomeeffectsofmuseum practices Iwas In makingacollectionfortheUCMAA Conclusions and collectionofinternationalmuseumwork. by theinterests inpreservation, conservation and perpetuationofcultural practice, aided ofthedevelopmentbut are anintrinsicpart They donotstandaloneasrepresentations, rather thanmerely reflections of, localpractice. in, our activities.”Here, objectsare participants in make them,we needtomakethemparticipate oftheactivitieskastom….Aswe to becomepart are here, we needmento‘go inside’ [themasks], relations, commenting that“Now thatthemasks that cannotbeseparated from socialpractice and performative, andcommunalrole ofartefacts conversation. Heemphasisedtheprocessual, as thecaseofLamap demonstrates, isnot The classificatoryspaceofthe museum, cultural productions andrepresentations. such ascollectingandconservation onlocal presentation of contemporary arts andPnoab presentation of contemporary arts interest inproviding acrucialcontextforthe ofinternationalmuseum The importance as well asthelocalityandnation-state. with bothindigenousandexpatriateagents, constructed —reflects aseriesofencounters ­— andthevery materialfrom whichtheyare As such,theformofobjectsthemselves also impactsuponvillagedancinggrounds. restricted in Vanuatu toexhibitionhalls,but the bankoftradition, rendered in‘modern’ image. Whilst theimagesmaybedrawn from there isagrowing separation of objectfrom produced. Intheworkofcontemporary artists is substance andprocess by whichtheartefact drawing oncomplexvaluations around the traditional rests intheirliteral ‘object’ status, within thecategoriesofcontemporary and A keydivisive factor thatseparates artefacts between kastomanditsrepresentations. role inmaintainingdistinctions an important out ofwhichobjectsare produced alsoplays maintained. Atthesametime,formalmedia which suchidentitiescanbebothexpressed and and collectors.Materialculture isapathby tourists inPort Vila, orforeign museum visitors to theiraudience,whetherthatbeothernasaras, in order topresent ideasabouttheseidentities locality benational,regional, orvillage-oriented, ideas aboutlocaluniqueness,whetherthat object producers in Vanuatu draw uponpowerful and they are applied tomaterialculture. Artists categories of‘traditional’ and‘contemporary’ as have showed someoftheslippagesbetween and indigenousnessinmaterialform.Here, I the disseminationofideasaboutauthenticity museums todayhasbecomeapowerful force in demonstrates that thecollectionofobjectsby in theirrevival ofceremonial materialculture nasara’s interactions withmuseumcollections the particular waysinwhichitismadeare kept the particular be known tomanyasitispubliclyviewed, but Animagemay of production ofritualartefacts. tothetechnologicalprocesses those pertaining and themostrestricted formsofknowledge are object cannotbeseparated from theobjectitself material form.Here, theimage,orstyleof classification of‘traditional’ with regard to givesthe present,riseto whichpartially notion ofcontinuitybetween thepastand identity, grounded inaparadoxically evolving sense oflocalrather thannationalhistoryand only by monetarygain.Itisthisconnectiontoa status thatare afforded by ritualpractice, not cash, andby conceptsofsocialandpolitical value, by recourse topigsaswealth insteadof a conceptualreturn to‘traditional’, systemsof understood andeven implementedlocallyby and politicaldevelopment initiatives can be tourism, generally runsthrough town. Economic Business,asidefrom small-scale of artefacts. rural Vanuatu thatcanaffecttheproduction economic possibilitiesfoundinurbanand us tothecontrasting discursive, social,and be produced in anislandcontextalsoawakens in town, andthat‘traditional’ tendto artefacts liveThe factthatcontemporarymainly artists ofthesecollectives. conceptualised aspart events andofsocialgroups, andassuch,are be viewed asvitalconstituentsofprocesses, and ceremonial contextofvillagenasaras, can By contrast, objects produced inthesocial making ofmyown collectionfortheUCMAA. in thedifferent transactions that emerged inthe copyright claims. This wasmademostexplicit than collective property, negatingcustomary and thusisalienableasindividualrather (exemplified by customarymaterialculture), seen toexplicitlytranscend acollective past objectitselfis materials, thecontemporary art as ‘indigenous’ tomould andcreate new ones. present day Vanuatu withmaterialforms defined with enthusiasmforpasttradition, allinteract in with goodmemories,andyoung menandwomen buyers, priests,conference organisers, oldmen nasara’s masks.Networksofmuseumcurators, context of a spider’s web as thick as that of Pnoab museum objectsin Vanuatu isbestviewed inthe I have shown here thatthelocalproduction of networks ofcross-cultural encounter. systems ofmeaningandvalue, and within arise intheseborder zones between divergent Most especially, categoriessuchasindigenous localities (local,nationalandinternational). can beconstitutedacross awiderange of meanings andvalues formaterialculture of customarypractice, demonstrating that intheremouldingmuseums have participated Instead, myobservations highlightthewaysthat subscribe tothemasstrongly asislandvillagers. that marketbuyers andmuseumprofessionals be seenonlyas‘indigenous’ whenitisapparent Equally,each artefact. suchphenomenacannot that are expressed intherhetoricsurrounding the hybridnature oftheclassificatorydivisions by nomeans immutableandinfactemphasise ni-Vanuatu producers are andartefact artists material distinctionscurrently beingtraced by of traditional iconography demonstrate, the using hisown idiosyncratic interpretations Jobo’s appropriation oftapatechnology painted withstore-bought paints,orMoses However, asthecasesofOlfala Andre’s masks what socialrelations ittherefore contains. in how andwhere itismade,whomby, and more thanwhatisjustseen.Itsmeaningrests secret tothenon-initiated.Animageisthus advice andcriticism. invaluable editorial Virginia Lee Karen Stevenson and to Stephen Neale, to shapemyown; opinions helped Richard Abongwhose Emmanuel to Sero Kuautonga, with myresearch; of andassistance generous support Centre fortheir Vanuatu Cultural London, andthe University College Research Council, Economic andSocial Anita Herle;tothe Anthropology andto of Archaeology and University Museum from theCambridge Collections fund Crowther-Beynon Thanks tothe Acknowledgements Watt, and Webb for 87 Geismar Contemporary Traditions 88 representing pacific art Essays from the paa 6th international symposium Huffman, K.1996a. The ‘Decorated Cloth’ from the Huffman, K,1996.Historyofaudiovisual documents: Geismar. HandC. Tilley, 2003.Negotiating Geismar, H.2004. The Materiality ofContemporary Geismar, H.2003. Vanuatu Stael: Kastom and Cochrane, S.1997(With MichaelMel). Bolton, L.2003. Bolton, L.1999.Introduction: fieldwork,fieldworkers. Bonnemaison, J,Huffman,K,Kaufmann, C.,and References of Vanuatu. of K. Huffman,C.Kaufmann, andD. Tryon (eds). special reference toErromango. InJ.Bonnemaison, ‘Island ofGood Yams’: Barkclothin Vanuatu with Vanuatu. Huffman, C.Kaufmann, andD. Tryon (eds). and recordings of Vanuatu. InJ.Bonnemaison, K. earliest ‘European’ paintings,photographs, films National Museum”. Practices atthe Vanuatu Cultural Centre and Materiality: InternationalandLocal Museum March 2004. in Vanuatu.Art Archaeology andAnthropology. Creativity. University ofCambridge:Museum Guinea. New Papua in Art of HawaiiPress Vanuatu. in kastom women’s 1–9 Developments in Vanuatu research. Crawford House. Tryon D.(eds.).1996. Bathurst:Crawford HousePublishing. Bathurst:Crawford HousePublishing. Unfolding the Moon: Enacting Enacting Moon: the Unfolding Journal of Material Culture. Material of Journal Oceania Arts of Vanuatu. of Arts Craftsmen House. 73:3,March 2003. Honolulu:University Contemporary Contemporary Oceania Bathurst: Arts of of Arts 9(1). (70)1: Arts Arts Jolly, M.1994.Kastom ascommodity:thelanddive as Jolly, M.1992.Customandthewayofland:past Sam, J. [Jacob Kapere]. AudiovisualSam, J.[Jacob documentation Republic of Vanuatu 2000.C Regenvanu, R.1997. Regenvanu, R.1996. Transforming Representations: a Monnier, P. 1991. Monnier, P. 1987. University oftheSouthPacific. Melanesia. in policy cultural developing Kastom-Tradition: In L.Lindstrom andG. White (eds.). indigenous riteandtouristspectaclein Vanuatu. 330–354 and present in Vanuatu andFiji. Bathurst: Crawford HousePublishing. Kaufmann, andD. Tryon (eds). Cultural Centre. InJ.Bonnemaison,K.Huffman,C. of livingcultures asamajortaskforthe Vanuatu Act Rights Multipress. Islands. Solomon the and Vanuatu from art contemporary tude: blong Artis Awe! ADCK. Crawford HousePublishing. and D. Tryon (eds). In J.Bonnemaison,K.Huffman,C.Kaufmann, scenein sketch oftheContemporaryVanuatu. Art Lamap. —Vanuatu. Hebrides New in Church Catholic the 1887–1997; Port Port Vila: ImprimealaMaisonMariste No. 42of2000. Suva: InstituteofPacific Studies, The Port Port Vila: ImprimealaMaisonMariste L’Eglise Catholique au Vanuatu: Vanuatu: au Catholique L’Eglise One hundred years of mission mission of years hundred One Contemporary Art in Vanuatu, In In Vanuatu, in Art Contemporary Arts of Vanuatu. of Arts opyright and Related Related and opyright Arts of Vanuatu. Vanuatu. of Arts Oceania Oceania Culture- Bathurst: 62(4): Nouméa: 89 Geismar Contemporary Traditions