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Art's Histories in Aotearoa New Zealand Jonathan Mane Wheoki
Art’s Histories in Aotearoa New Zealand Jonathan Mane Wheoki This is the text of an illustrated paper presented at ‘Art History's History in Australia and New Zealand’, a joint symposium organised by the Australian Institute of Art History in the University of Melbourne and the Australian and New Zealand Association of Art Historians (AAANZ), held on 28 – 29 August 2010. Responding to a set of questions framed around the ‘state of art history in New Zealand’, this paper reviews the ‘invention’ of a nationalist art history and argues that there can be no coherent, integrated history of art in New Zealand that does not encompass the timeframe of the cultural production of New Zealand’s indigenous Māori, or that of the Pacific nations for which the country is a regional hub, or the burgeoning cultural diversity of an emerging Asia-Pacific nation. On 10 July 2010 I participated in a panel discussion ‘on the state of New Zealand art history.’ This timely event had been initiated by Tina Barton, director of the Adam Art Gallery in the University of Victoria, Wellington, who chaired the discussion among the twelve invited panellists. The host university’s department of art history and art gallery and the University of Canterbury’s art history programme were represented, as were the Museum of New Zealand Te Papa Tongarewa, the City Gallery, Wellington, the Govett-Brewster Art Gallery, New Plymouth, the Dunedin Public Art Gallery and the University of Auckland’s National Institute of Creative Arts and Industries. The University of Auckland’s department of art history1 and the University of Otago’s art history programme were unrepresented, unfortunately, but it is likely that key scholars had been targeted and were unable to attend. -
Contemporary Ma¯Ori and Pacific Artists Exploring Place
NZPS 5 (2) pp. 131–143 Intellect Limited 2017 Journal of New Zealand & Pacific Studies Volume 5 Number 2 © 2017 Intellect Ltd Article. English language. doi: 10.1386/nzps.5.2.131_1 Caroline Vercoe University of Auckland Contemporary Ma¯ori and Pacific artists exploring place Abstract Keywords This article explores the notion of ‘place’, extending its scope to include the ocean, Ma-ori art history and diaspora, in relation to six contemporary Ma-ori and Pacific artists who Pacific art were involved in the Pacifique(S) Contemporain exhibitions in Normandy, France contemporary art in 2015. Structured into three sections, it addresses the three curatorial thematics Oceanic identity that provided the overarching frame for the exhibitions. ‘The ocean is a place’ focuses diaspora on Angela Tiatia and Rachael Rakena, and acknowledges the importance of Epeli indigenous Hau’ofa’s writing in relation to the ocean and Oceania as a crucial marker of iden- epistemologies tity both within its geographic location and beyond. ‘History is a place’ considers digital art moving image installations by Michel Tuffery and Greg Semu, in particular referenc- contemporary ing how they rework and reimagine colonial and art historical representations and photography conventions. ‘Diaspora is a place’ compares the photographic practices of Ane Tonga and Edith Amituanai, whose work reflects on and captures the dynamics that emerge as Pacific communities draw on and adapt cultural traditions, and negotiate rela- tionships mediated by their migration and diaspora experiences. Unlike the term ‘site’, the notion of ‘place’ is fluid and multi-layered in its reso- nance. It can define something as particular as a specific location, or could be as broad as a vast area in space. -
A Visual Arts and Art History Education Resource for Secondary Teachers, Inspired by Bill Culbert's 2013 Venice Biennale Exhi
ART IN CONTEXT A VISUAL ARTS AND ART HISTORY EDUCATION RESOURCE FOR SECONDARY TEACHERS, INSPIRED BY BILL CULBERT’S 2013 VENICE BIENNALE EXHIBITION, FRONT DOOR OUT BACK Helen Lloyd, Senior Educator Art, Museum of New Zealand Te Papa Tongarewa and Education Programme Manager for Creative New Zealand (2013) © Museum of New Zealand Te Papa Tongarewa and Creative New Zealand, 2013 CONTENTS BaCKGROUND About this resource ............................................................................................. 3 The Venice Biennale ............................................................................................ 4 Venice – the city ................................................................................................... 4 Bill Culbert ............................................................................................................ 5 Front Door Out Back ........................................................................................... 5 Studying art in context ....................................................................................... 6 Curriculum links ................................................................................................... 7 Useful books ........................................................................................................ 7 Useful websites ................................................................................................... 7 RESOURCES Part 1: Front Door Out Back analysis cards Drop ...................................................................................................................... -
Fatu Feu'u School of Fine Arts, University of Auck1;Md Selected Biography Specifically Pacific
Fatu Feu'u School of Fine Arts, University of Auck1;md Selected Biography Specifically Pacific. group exhibition, Massey I-Iomestead 1946 Born POlltllsi Falealili, Western Samoa Pacific Riwal M{/.~h, solo exhibition, Lopdel1 House. 1966 Emigrated to New Zealand Auckland 1983 Mtll1akal/ Series I ,solo exhibition, Massey Homestead SOllgs ofthe Earlh, group exhibition. Hastings Arts 1984 Spill/ling Fromier, solo exhibition, Gallery Pacific, Centre Auckland Coroll/andei Callill/:, group exhibition. OUlreach Mal/aka/{ Series 1/, solo exhibition, MllSsey Gllilery, Auckland Homestead Book cover design. A Simplified Dictionary of Modem SOIl/Olll/, Polynesian Press, Auckland 1986 Lilhograp!ls, solo exhibition, Samoa House, Auckland Assistant painlcr, Auckland University Martie Solo ofe LI/pe. solo exhibition. Muk<l Studio, Auckland 1987 Book cover design, Tala () Ie \llilall: Ihe M)'Ih.~. Legel/ds alld Clls/oms o!Old Samoa. Polynesian Press. Auckland Oil PailllillgslTapa Motif,f. solo exhibition. Samoa House. Auckland SI3cey,G.. 'The Art of Fatu Feu'u'. AI'! Nell' Zealand, no.45. pp 48-51 1988 Artist in Residence. Elam School of Fine Arts. University of Auckland New Oil Paill/il/gs, solo exhibition, TaUlai Gallery, Auckland Lilhograpl1,f, Dowse Art Museum, Lower HUll Director, Talllai Gallery. Auckland Art tlllor, Manakllu Polytechnic Mililllillli, 1990 Woodcllt.~. solo exhibition, Massey Homestead Commission for paintings, Papakura Church New Zealand £.\1'0 '88. Brisbane, Australia FalU Feu'u's images arc derived from the mythologies and Group exhibition, Frans Maserell Centrum, Belgium ancient legends of S;Jllloa and the Pacific. Using traditional Book cover design, Cagna Sall1o(/, A Samoan motifs and forms from the visual resources of Polynesia, the La/lgllt/ge COllrselJook, Polynesian Press, arts ofsiapo painting on wpa cloth, Ill/au (tattooing), carving, Auckland ceremonial mllsk making, and Lapila poHery from early Pacific Masks, Massey Homeste;ld Samoa,Feu'u employs a vocabulary charged wilh symbolic Paciric Masks Workshop. -
Final Project Completion Reports Are Made Available on Our Web Site, and Publicized in Our Newsletter and Other Communications
Organization Legal Name: Conservation International - Pacific Islands Program Project Title: Small Grants Mechanism for Polynesia-Micronesia Date of Report: 24 February 2014 Leilani Duffy Report Author and Contact CI Pacific Islands Information Apia - SAMOA CEPF Region: Polynesia-Micronesia Strategic Direction: 1-2-3 Grant Amount: $824,955 Project Dates: May 1, 2008-May 31, 2013 Implementation Partners for this Project (please explain the level of involvement for each partner): The following partners assisted CI-Pacific Islands in the implementation of the Small Grants Mechanism by participating as the Technical Advisory Committee in reviewing and providing advice on the project proposals received from potential grantees. These committee comprised of members from inter-governmental organizations, international NGOs, academic institutions, regional NGOs and UN Agencies. 1. Mr. Greg Sherley (served as the Chair of the TAG) UNEP Task Force Manager Pacific Region - Samoa 2. Easter Galuvao Biodiversity Advisor Secretariat Pacific Regional Programme, Samoa 3. Jean-Yves Meyer Environment Research Department French Polynesia 4. Mark O’Brien Pacific Birdlife International Fiji 5. Willie Kostka Micronesia Conservation Trust FSM 6. Marika Tuiwawa University South Pacific Fiji 7. Souad Boudjelas Pacific Invasive Initiative, Auckland NZ. Conservation Impacts Please explain/describe how your project has contributed to the implementation of the CEPF ecosystem profile. Please summarize the overall results/impact of your project. The CEPF Small Grants (SG) investment managed by CI-Pacific Islands for terrestrial biodiversity conservation in the Polynesia-Micronesia hotspot had addressed some issues and concern that were not directly covered in the large grants. The SG focused on the three strategic directions (SD) highlighted in the Ecosystem Profile which includes invasive species control, management and eradication; improved management of KBA sites and community awareness and species recovery. -
Index for Volumes 17-18
INDEX, VOLUMES 17-18 Includes four issues per volume. Index compiled by Russell T. Clement and Robert S. Means. AUTHOR INDEX Ahlburg, Dennis A. “Return Migration from the United States to American Samoa: Evidence from the 1980 and 1990 Censuses.” 17 (2): 71-84. Aldrich, Robert. France and the South Pacific since 1940. Reviewed by Paul de Deckker, Colin Newbury, and Michel Panoff. In “Book Review Forum,” 18 (3): 119-133. -------. Response to reviews of France and the South Pacific since 1940. In “Book Review Forum,” 18 (3): 133-142. Ariki, Pa Tuterangi. See Davis Augé, Marc. Review of Inalienable Possessions: The Paradox of Keeping- While-Giving, by Annette B. Weiner. In “Book Review Forum,” 18 (1): 114-118. Ballekom, Manu van, and Ray Harlow. Te Waiatatanga mai o te Atua: South Island Traditions Recorded by Matiaha Tiramorehu. Reviewed by John Charlot. In “Some Recent Publications of Maori Texts,” 18 (2): 139-149. Barker, Judith C. “Home Alone: The Effects of Out-Migration on Niuean Elders’ Living Arrangements and Social Supports.” 17 (3): 41-81. Beaudet, Jean-Michel, and Lionel Weiri, comps., text by Jean-Michel Beau- det and Kaloonbat Tein. Chants Kanaks: Cérémonies et berceuses. Reviewed by Peter Russell Crowe. In “Melanesian Music on Compact Disc: Some Significant Issues,” 18 (3): 147-159. Pacific Studies, Vol. 19, No. 1--March 1996 195 196 Pacific Studies, Vol. 19, No. 1--March 1996 Beechert, Edward D. See Lal, Munro, and Beechert Besnier, Niko. “The Truth and Other Irrelevant Aspects of Nukulaelae Gossip.” 17 (3): 1-39. Black, Peter W. “The Domestication of Catholicism on Tobi.” 17 (1): 1-28. -
REVISED DRAFT Round-Leaved Chaff Flower (Achyranthes Splendens Var
REVISED DRAFT Round-Leaved Chaff Flower (Achyranthes splendens var. rotundata) Habitat Conservation Plan Kenai Industrial Park Project Prepared for: Hawai‘i Department of Land and Natural Resources Applicant: CIRI Land Development Company 2525 C Street, Suite 500 Anchorage, Alaska 99503 Draft prepared by: AMEC Environment & Infrastructure, Inc. 23049 Ualena Street, Suite 1100 Honolulu, Hawai‘i 96819 Revisions and final document produced by: SWCA Environmental Consultants, Honolulu Office Bishop Square: ASB Tower 1001 Bishop Street, Suite 2800 Honolulu, Hawai‘i 96813 June 2013 REVISED DRAFT Round-Leaved Chaff Flower HCP; Kenai Industrial Park This page intentionally left blank 2013 SWCA Environmental Consultants REVISED DRAFT ROUND-LEAVED CHAFF FLOWER (ACHYRANTHES SPLENDENS VAR. ROTUNDATA) HABITAT CONSERVATION PLAN KENAI INDUSTRIAL PARK PROJECT PREPARED FOR: Hawaiʻi Department of Land and Natural Resources APPLICANT: CIRI Land Development Company 2525 C Street, Suite 500 Anchorage, Alaska 99503 DRAFT PREPARED BY: AMEC Environment & Infrastructure, Inc. 3049 Ualena Street, Suite 1100 Honolulu, HI. 96819 REVISIONS AND FINAL DOCUMENT PRODUCED BY: SWCA Environmental Consultants Honolulu Office Bishop Square: ASB Tower 1001 Bishop Street, Suite 2800 Honolulu, HI. 96813 June 2013 REVISED DRAFT Round-Leaved Chaff Flower HCP; Kenai Industrial Park This page intentionally left blank 2013 SWCA Environmental Consultants REVISED DRAFT Round-Leaved Chaff Flower HCP; Kenai Industrial Park TABLE OF CONTENTS 1 INTRODUCTION AND PROJECT OVERVIEW............................................................................ -
Cloud of Kiwi in Cartoons and Graphic Novels, Words in Speech Or Thought Bubbles Hang Above the Character’S Head Like a Cloud
Cloud of Kiwi In cartoons and graphic novels, words in speech or thought bubbles hang above the character’s head like a cloud. This artwork is one great big cloud of thousands of words. The work by artist John Reynolds soil, corner dairy, puku, no-hoper. is called Cloud. It’s made of 7081 They’re all part of the English that individual canvas panels, each of them people in New Zealand speak. John Reynolds is painted with a word or phrase that ‘John Reynolds has always widely considered to be comes from the Oxford Dictionary of worked with language in his art,’ says one of fi nest artists New Zealand English – for example, curator Charlotte Huddleston. ‘He in New Zealand, with work held in all of this tin-arse, tough bickies, waka, pumice likes to play with words and he’s had a country’s major private and public collections. 8 English long fascination with the Dictionary ‘It took a team of five or six of New Zealand English.’ people six days altogether to install Reynolds created the work to Cloud at Te Papa,’ says Charlotte. reflect Aotearoa’s connection to ‘John was here, of course, leading the community of English-speaking the charge. We designed a special nations. At the same time he wanted storage system for it as well, with to highlight what is local and regional twelve canvases in a tray, five trays about the English that people in this in a box and a total of 125 boxes in a country speak. crate. All the parts are numbered and He arranged the words to create catalogued so we know where every the feeling of a billowing, condensing single word or phrase is.’ It’s made of 7081 individual canvas panels, each of them painted with a word or phrase. -
Botanical Inventory of the Proposed Ta'u Unit of the National Park of American Samoa
Cooperative Natiad Park Resou~cesStudies Unit University of Hawaii at Manoa Department of Botany 3 190 Made Way Honolulu, Hawaii 96822 (808) 956-8218 Technical Report 83 BOTANICAL INVENTORY OF THE PROPOSED TA'U UNIT OF THE NATIONAL PARK OF AMERICAN SAMOA Dr. W. Arthur Whistler University of Hawai'i , and National Tropical Botanical Garden Lawai, Kaua'i, Hawai'i NatidPark Swice Honolulu, Hawai'i CA8034-2-1 February 1992 ACKNOWLEDGMENTS The author would like to thank Tim Motley. Clyde Imada, RdyWalker. Wi. Char. Patti Welton and Gail Murakami for their help during the field research catried out in December of 1990 and January of 1991. He would also like to thank Bi Sykes of the D.S.I.R. in Chtistchurch, New Zealand. fur reviewing parts of the manuscript, and Rick Davis and Tala Fautanu fur their help with the logistics during the field work. This research was supported under a coopemtive agreement (CA8034-2-0001) between the University of Hawaii at Man08 and the National Park !&mice . TABLE OF CONTENTS I . INTRODUCTION (1) The Geography ...........................................................................................................1 (2) The Climate .................................................................................................................1 (3) The Geology............................................................................................................... 1 (4) Floristic Studies on Ta'u .............................................................................................2 (5) Vegetation -
Range Extension of Doleschallia Tongana (Nymphalidae) to the Samoan Archipelago, with Notes on Its Life History and Ecology
Journal of the Lepidopterists' Society 54(1), 2000, 33~3,5 RANGE EXTENSION OF DOLESCHALLIA TONGANA (NYMPHALIDAE) TO THE SAMOAN ARCHIPELAGO, WITH NOTES ON ITS LIFE HISTORY AND ECOLOGY ROBERT P. COOK l U.S. National Park Selvice, National Park of American Samoa, Pago Pago, AMERICAN SAMOA 96799 AND DON VARGO American Samoa Community College, Land Grant Program, Pago Pago, AMERICAN SAMOA 96799 ABSTRACT. Adults and larvae of the nymphalid butterfly Doleschallia tongana vomana Fruhst, were recently documented for the first time in the Samoan archipelago, on the island o[Tutuila, American Samoa. Distributed from Melancsia to western Polynesia, this species consists of several sub-species, with D. t. vomana endemic to Fiji. The establishment of this species on Tutuila is likely the result of natural dispersal by adult(s) blown from Fiji, though the success of this colonization was made possible only as the result of human introduction of the host plants Graptophyllum pictum and Pseuderanthemum carruthersii (Acanthaceae). The nymphalid butterfly Doleschallia tongana Hop dorsally and prominent cream colored stripes running kins is distributed through Melanesia eastward to longitudinally, located dorso-Iaterally and ventro-Iater western Polynesia. Formerly considered a subspeCies ally. Each body segment had seven prominent black of D. bisaltide, D. tongana was elevated to full species spines, with numerous smaller secondary spines. The status by Parsons (1999), Based on a review of Do base of each primary spine was pale metallic blue. leschallia specimens, Parsons (1999) determined that From a distance, the most prominent features of the D. bisaltide extended from India eastward to New caterpillar are the black ground color with metallic Guinea, and that further eastward, specimens consid blue spots, and the pair of light parallel stripes running ered to be subspecies of D, bisaltide were in fact, D. -
Pacific News from Manoa
UNIVERSITY OF HAWAl'I LIBRARY Pacific News from Manoa NEWSLETTER Of THE CENTER FOR PACIFIC ISLANDS STUDIES, UNIVERSITY OF HAWAI'I April-June 2005 INSIDE Distinguished Artist for 2004. During his residency in April News in Brief ... ... ... ... ... ... ... ... ... ..... .... .... .... 2 of2004, he showed films of Black Grace performances and CPIS Hosts Extemal Reviewers .................... 2 de-scribed his own evolution as a dancer and the passion and F LAS F ellowsliips A warded .. .. .. .. .. 2 soul that infuses the dancers in his company. 1-J.e also described his work with young people in the Auckland Meller Award S11bmiS$iolls Solicited ........ ..... 2 community. Culture Moves! Dance in Oceania ................. 3 Indigenous Encounters: Grad Papers ltivited .... 3 Black Grace's appearance in Honolulu is coordinated by A Conversation with Filmmaker Sima Urale . .. 3 the Community Services Department of the UHM Outreach HAA to Host Pacific Exhibition .. .. ... ... ... ... 6 College. It is supported in part by the East-West Center Arts Pacific Scholars Attend Caribbean Conference . 7 Program and the State Foundation on Culture and the Arts. Occasional Seminars and Presentations .... ... 7 Tickets may be purchased starting 26 September from any Visitors to tire Center .. ... ... ... .. ... ... ... .... ... ... 8 UH ticket outlet, online at <www.etickethawau.com>, or by Faculty Activities ... ... ... ... ... ... ... ...... ... ... ..... 8 phone at 808-944-2697. Student and Alumni Activities . ... .. .. ... ...... 9 The Contemporary Pacific -
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eTropic: electronic journal of studies in the tropics Repurposing, Recycling, Revisioning: Pacific Arts and the (Post)colonial Jean Anderson https://orcid.org/0000-0002-3280-3225 Te Herenga Waka - Victoria University of Wellington, Aotearoa/New Zealand Abstract Taking a broad approach to the concept of recycling, I refer to a range of works, from sculpture to film, street art and poetry, which depict issues of importance to Indigenous peoples faced with the (after) effects of colonisation. Does the use of repurposed materials and/or the knowledge that these objects are the work of Indigenous creators change the way we respond to these works, and if so, how? Keywords: Pacific artists, food colonisation, reappropriation, speaking back, culture eTropic: electronic journal of studies in the tropics publishes new research from arts, humanities, social sciences and allied fields on the variety and interrelatedness of nature, culture, and society in the tropics. Published by James Cook University, a leading research institution on critical issues facing the worlds’ Tropics. Free open access, Scopus, Google Scholar, DOAJ, Crossref, Ulrich's, SHERPA/RoMEO, Pandora, ISSN 1448-2940. Creative Commons CC BY 4.0. Articles are free to download, save and reproduce. Citation: to cite this article include Author(s), title, eTropic, volume, issue, year, pages and DOI: http://dx.doi.org/10.25120/etropic.19.1.2020.3733 eTropic 19.1 (2020) Special Issue: ‘Environmental Artistic Practices and Indigeneity’ 186 Introduction his study takes a broad view of recycling, looking at examples from a range of forms of artistic expression, to explore ways in which Indigenous artists in the T Pacific make use of repurposed materials to criticise some of the profoundly unsettling – and enduring – effects of colonisation.