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Oceanic Creative Practice: Re-‐Evaluating Indigenous

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Oceanic Creative Practice: Re-‐Evaluating Indigenous OCEANIC CREATIVE PRACTICE: RE-EVALUATING INDIGENOUS SPATIAL STRATEGIES AS RELEVANT TO TWENTY-FIRST CENTURY CREATIVE EXPLORATION AND PRACTICE BY JODI MARIE MEADOWS A thesis submitted to the Victoria University of Wellington in fulfillment of the requirements for the degree of Master of Design Innovation (Culture and Context) Victoria University of Wellington (2015) 1 2 3 Acknowledgements This Masters experience has been the most challenging, emotional, yet best thing I have ever done. To finally have the chance to solely focus on Oceania in my research has been both liberating and satisfying. The effect of this research will remain with me for many years to come. I would like to take this time to thank everyone that have listened, helped and supported me throughout this process. First to my supervisors Nan O’Sullivan and April Henderson, your interest and dedication to this research project has been invaluable. Nan you have been my rock throughout this process, from the many hours spent discussing aspects of this research, to your favourite tool- the red pen, and for keeping me mindful and grounded throughout this entire process I thank- you immensely. April, thank-you for your wisdom and vast knowledge of Pacific literature, without your recommendations and guidance this research would not be what it has become. To my partner Stewart and his family thank-you, your support, interest and willingness to listen has been greatly appreciated. To Liz Richardson and the Te Rōpu Āwhina whānau, your belief in me gave me the confidence to stand up and be proud of my identity. You taught me not to shy away from Oceania in my academic work but to embrace it and let it enhance how I develop throughout this growth process at Victoria University Wellington. To David Hakaraia, you have stood by me and been my mentor throughout both my undergrad and now my Masters. Thank-you for your encouragement and advice, you have been instrumental in keeping me strong and confident throughout my tertiary experience. To Bu and Gandy, through all of the challenges, tribulations and achievements we have faced as a family this year nothing has faltered your constant support for my education, au lomani iko. You have both supported me in any way possible and have always been there no matter what. Thank- you for always supporting me in my chosen endeavors. My amazing editors: Uncle, Alex, Michelle, Mata and Gandy thank-you for volunteering your time to read over my work. Also thank-you to everyone who have spent time (even hours) listening to my rants, I think that we have all discovered that it is indeed possible for me to tie any conversation topic back to my something in my Masters. On the subject of rants, to all of the 2014 Masters kids- we did it! We came, we saw, we critiqued, we stressed and then finally…we conquered! 4 5 Table of Contents Introduction .................................................................................... 8 Chapter outlines: .................................................................................................................... 14 Chapter one (Migration) ................................................................. 19 Ocean Ideology ....................................................................................................................... 23 Polynesia- A visual history ...................................................................................................... 27 Lapita pottery ......................................................................................................................... 28 Lapita Symbolism .................................................................................................................... 33 Cultural Diffusion .................................................................................................................... 34 Indigenous knowledge and epistemology ............................................................................. 39 ‘Inasi ........................................................................................................................................ 42 Discussion: Conclusion ........................................................................................................... 43 Chapter 2: Vā ................................................................................ 46 Vā ............................................................................................................................................ 47 Vā Tapuia ................................................................................................................................ 49 Tā-Vā Theory of Reality .......................................................................................................... 54 Theory of Articulation ............................................................................................................ 60 Chapter three (Creative Constructs): ............................................... 68 Introduction ............................................................................................................................ 68 Western design education: .................................................................................................... 69 Froebel’s Gifts ......................................................................................................................... 70 Bauhaus Masters .................................................................................................................... 75 Johannes Itten ........................................................................................................................ 76 Laszlo Moholy-Nagy ............................................................................................................... 79 Nature Ideology ...................................................................................................................... 83 Case Study: Lily Laita Va i Ta Taeao Lalata E Ma GAgana ...................................................... 85 Discussion: Interstitial Space vs. Vā in Oceanic Creative Practice ......................................... 89 Chapter four: Va-ticulation ............................................................. 92 Vā and aesthetic education .................................................................................................... 93 Tā-vā and articulation in Oceanic creative practice .............................................................. 96 Froebel and the Bauhaus’ tenets and vā ............................................................................... 99 Vā-ticulation ......................................................................................................................... 100 Chapter 5: Creative Oceanic Examples ............................................ 103 Framework: Mat ................................................................................................................... 104 Framework: Heirachy ........................................................................................................... 105 Framework: conclusion ........................................................................................................ 107 Key creative practitioners and their worK ............................................................................ 108 Robin White .......................................................................................................................... 111 Hohepa Thompson ............................................................................................................... 117 David HaKaraia ...................................................................................................................... 120 Discussion: Oceanic creative practitioners .......................................................................... 123 Epilogue ....................................................................................... 129 Oceanic creative practice manifesto ............................................... 142 Bibliography ................................................................................. 147 6 Karakia mo te tango i nga rakau kawakawa Traditional Māori incantation used when picking leaves from the kawakawa tree Mai ea te Tupua Clear the pathway to the godly beings, which is symbolised in the male elements Mai ea te tawhito Clear the pathway to the ancient ones Mai ea te kahui o nga ariki Clear the pathway to the exalted ones Mai ea ta whiwhi atu ki nga Atua O i ka ta kinga te mauri ko te mauri i ahua noa mai Let the sacred rituals of the life force commence, the life force that has come from the spiritual realm Ki runga ki enei taura, ki runga ki enei tauira, Place the life force upon these pupils; place the life force upon these scholars Kia tau te mauri ki runga ki enei tama Let the life force be placed upon the female and the male elements He tukunga no te whaiorooro a tane te waiora The life force that came from the forest of Tane, from the spring of creation Tenei te matatau kia eke whakatu tawera ki te rangi This is the knowledge of the ancestors from the forest that is uplifted Uhi wero tau mai te mauri hau mai e Let it be placed upon, let it be debated, so that through this the life essence may come through strongly Ui e, taiki e. 7 Introduction “Oceania is vast, Oceania is expanding, Oceania is hospitable and generous, Oceania is humanity rising from the depths of brine and regions of fire deeper still, Oceania is us.”1
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