A Samoan Case Study
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Individuality, Collectivity, and Samoan Artistic Responses to Cultural Change
The I and the We: Individuality, Collectivity, and Samoan Artistic Responses to Cultural Change April K Henderson That the Samoan sense of self is relational, based on socio-spatial rela- tionships within larger collectives, is something of a truism—a statement of such obvious apparent truth that it is taken as a given. Tui Atua Tupua Tamasese Taisi Efi, a former prime minister and current head of state of independent Sāmoa as well as an influential intellectual and essayist, has explained this Samoan relational identity: “I am not an individual; I am an integral part of the cosmos. I share divinity with my ancestors, the land, the seas and the skies. I am not an individual, because I share a ‘tofi’ (an inheritance) with my family, my village and my nation. I belong to my family and my family belongs to me. I belong to my village and my village belongs to me. I belong to my nation and my nation belongs to me. This is the essence of my sense of belonging” (Tui Atua 2003, 51). Elaborations of this relational self are consistent across the different political and geographical entities that Samoans currently inhabit. Par- ticipants in an Aotearoa/New Zealand–based project gathering Samoan perspectives on mental health similarly described “the Samoan self . as having meaning only in relationship with other people, not as an individ- ual. This self could not be separated from the ‘va’ or relational space that occurs between an individual and parents, siblings, grandparents, aunts, uncles and other extended family and community members” (Tamasese and others 2005, 303). -
Mavae and Tofiga
Mavae and Tofiga Spatial Exposition of the Samoan Cosmogony and Architecture Albert L. Refiti A thesis submitted to� The Auckland University of Technology �In fulfilment of the requirements for the degree of Doctor of Philosophy School of Art & Design� Faculty of Design & Creative Technologies 2014 Table of Contents Table of Contents ...................................................................................................................... i Attestation of Authorship ...................................................................................................... v Acknowledgements ............................................................................................................... vi Dedication ............................................................................................................................ viii Abstract .................................................................................................................................... ix Preface ....................................................................................................................................... 1 1. Leai ni tusiga ata: There are to be no drawings ............................................................. 1 2. Tautuanaga: Rememberance and service ....................................................................... 4 Introduction .............................................................................................................................. 6 Spacing .................................................................................................................................. -
MC Trey: the 'Feline Force' of Australian Hip Hop Tony Mitchell
ARTIST PROFILE MC Trey: The ‘Feline Force’ of Australian Hip Hop Tony Mitchell A Hip Hop Role Model Fijian-Australian MC Trey, aka Thelma Thomas, is arguably Australia’s leading female MC, who has begun to receive prominent mainstream media coverage for her Pacific Islander style, dynamic live performances, distinctively street-wise and musically diverse recordings, and her hip hop workshops. Described by Andrew Drever in the Sydney Morning Herald as ‘one of Australian hip hop’s true role models,’1 to date she has released two acclaimed mini-albums, the ten-track Daily Affirmations (2000)—described as a ‘landmark for the Australian hip hop scene’ and album of the week in Sydney street mag Revolver2—and the eight-track Tapastry Tunes (2003), described by George Palathingal in the Sydney Morning Herald’s ‘Metro’ as ‘[d]emonstrating potentially the biggest leap forward for Australian hip hop.’3 Trey (initially an anagram for ‘The Rhymin’ Edifying Young’un’) has also contributed tracks to numerous Australian hip hop compilations, most notably the all-woman First Words (2000), released on Sydney-based label Mother Tongues, described by label founder Heidi Pasqual as ‘the first label in the world dedicated to the development of Women in Hip Hop Music.’ On the US release Best of International Hip Hop (Hip-O Universal, 2000) she represents Australia with her ‘melodic, realistic, personal, political, positive’ MC style, alongside a host of non-Anglophone male MCs and crews from Argentina, Algeria, Switzerland, Israel, Romania, Greece, Austria, Greenland, Croatia, France, South Africa and Portugal. Trey’s track on the international hip hop compilation, ‘Feline Forces,’ is about the African- American and Australian women in hip hop who have influenced her, from Roxanne Shante to MC Lyte, Baby Love, MC Que and local graffiti artist and MC Charlene aka Spice, who ‘in ’88 dropped the first Aussie female tune’ (on the Virgin compilation of Australian hip hop 1 Andrew Drever, ‘Trey bien,’ Sydney Morning Herald 27 June 2003: ‘Metro’ 10. -
Still Life Press
Still Life Best Short Film - Montreal World Film Festival 2001 Telleride Film Festival 2001 Sundance Film Festival 2002 PresskitPresskit TEL: 64 4 382 7680 FAX: 64 4 384 9719 PO BOX 11 546 WELLINGTON __________________________________________________________________ LEVEL 2 THE FILM CENTRE 119 JERVOIS QUAY WELLINGTON NEW ZEALAND www.nzfilm.co.nz [email protected] Production Notes Writer: Sima Urale Director: Sima Urlae Producer: Anna Rasmussen Production Company: Niu Movies Ltd Colour 11 minutes 35 mm 1:1:85 Dolby Digital Log Line Director’s True love never dies. Notes “I love seeing elderly people on screen, Synopsis whether its commercials, soaps, or movies. Everything is so youth-orientated today, Still Life explores how love overcomes romantic movies are always about the physical pain. An elderly couple, who young and the beautiful, so I wanted to decide to throw away life to re-unite in make a short film about real and lasting death, fnd that great love defies all. love. In a way, if they had lived to see it, Still Life is about Romeo and Juliet fifty years on”. Still Life Director’s Biography Sima Urale Sima Urale was born in Savaii, Samoa. Sima has been directing commercials in New Her family immigrated to New Zealand Zealand as well as abroad. She is currently in 1974. She is a graduate of the New writing her first feature film. Zealand Drama School (1989). After two years of stage acting in various productions throughout New Zealand, she was accepted into the Victorian College of the Arts Film and Television School, where she studied film-making for three years. -
Cultural Practices & Protocols
Engagement that is meaningful is about respecting Advice may be about: By having a general understanding and knowing how to behave in these cultural practices and protocols. Pacific values common to • Formal ceremonies and knowing who and how to address situations shows Pacific communities respect and is a step in the right Cultural all Pacific Islands should always be considered when observing people and their roles in the appropriate manner direction for building good relationships. Below are a few examples any customs. However, among the different islands there are which demonstrate how practices vary from island to island. This is by • Use of island languages and translation by non-English speakers distinct differences in cultural practices, roles of family no means an exhaustive list but is merely intended to give you a basic Practices members, traditional dress and power structures. • Acknowledging and allowing time for elders to contribute introduction only. If you somehow forget everything you read here, • Taking time to observe protocols which uphold spirituality just remember to act respectfully and that it’s okay to ask if you don’t If you’re asked to attend a Pacific event or ceremony, through prayers. understand. it’s anticipated that you be accompanied and/or advised & Protocols by Pacific peoples who can help guide you. Note - A full list of basic greetings can be found at www.mpp.govt.nz - Tonga, Fiji and Samoa are the only Pacific countries that are commonly known for kava ceremony practices. Pan-Pacific Fiji Niue Cook Islands Role of spirituality in meetings Welcoming ceremony Welcoming ceremony and dance Haircutting ceremony (pakoti rouru) Pacific meetings or events usually begin and close with a prayer, and food is blessed Veiqaravi vakavanua is the traditional way to welcome an honoured guest Takalo was traditionally performed before going to war. -
PROMOTING DIVERSITY of CULTURAL EXPRESSION in ARTS in AUSTRALIA a Case Study Report
PROMOTING DIVERSITY OF CULTURAL EXPRESSION IN ARTS IN AUSTRALIA A case study report Dr Phillip Mar Institute for Culture and Society, Western Sydney University Distinguished Professor Ien Ang Institute for Culture and Society, Institute for Culture Western Sydney University and Society DIVERSITY OF CULTURAL EXPRESSIONS Published under Creative Commons Attribution-Noncommercial-NonDerivative Works 2.5 License Any distribution must include the following attribution: P.Mar & I.Ang (2015) Promoting Diversity of Cultural Expressions in Arts in Australia, Sydney, Australia Council for the Arts. ABOUT THE AUTHORS Dr Phillip Mar Phillip Mar is an anthropologist by training, with research interests in migration, political emotions, contemporary art and cultural policy. Since 2008, Phillip Mar has been a researcher at the Centre for Cultural Research / Institute for Culture and Society, Western Sydney University. Distinguished Professor Ien Ang Ien Ang is a Distinguished Professor of Cultural Studies at the Institute for Culture and Society (ICS) at Western Sydney University. She is one of the leaders in cultural studies worldwide, with interdisciplinary work spanning many areas of the humanities and social sciences, focusing broadly on the processes and impacts of cultural flow and exchange in the globalised world. Her books, including Watching Dallas, Desperately Seeking the Audience and On Not Speaking Chinese, are recognised as classics in the field and her work has been translated into many languages, including Chinese, Japanese, Italian, Turkish, German, Korean and Spanish. Her most recent book, co-edited with E. Lally and K. Anderson, is The Art of Engagement: Culture, Collaboration, Innovation (2011). She is also the co-author (with Y. -
Party Warehouse Karaoke & Jukebox Song List
Party Warehouse Karaoke & Jukebox Song List Please note that this is a sample song list from one Karaoke & Jukebox Machine which may vary from the one you hire You can view a sample song list for digital jukebox (which comes with the karaoke machine) below. Song# ARTIST TRACK NAME 1 10CC IM NOT IN LOVE Karaoke 2 10CC DREADLOCK HOLIDAY Karaoke 3 2 PAC CALIFORNIA LOVE Karaoke 4 4 NON BLONDES WHATS UP Karaoke 5 50 CENT IN DA CLUB Karaoke 6 A HA TAKE ON ME Karaoke 7 A HA THE SUN ALWAYS SHINES ON TV Karaoke 8 A1 CAUGHT IN THE MIDDLE Karaoke 9 AALIYAH I DONT WANNA Karaoke 10 ABBA DANCING QUEEN Karaoke 11 ABBA WATERLOO Karaoke 12 ABBA THANK YOU FOR THE MUSIC Karaoke 13 ABBA SUPER TROUPER Karaoke 14 ABBA SOS Karaoke 15 ABBA ROCK ME Karaoke 16 ABBA MONEY MONEY MONEY Karaoke 17 ABBA MAMMA MIA Karaoke 18 ABBA KNOWING ME KNOWING YOU Karaoke 19 ABBA FERNANDO Karaoke 20 ABBA CHIQUITITA Karaoke 21 ABBA I DO I DO I DO I DO I DO Karaoke 22 ABC POISON ARROW Karaoke 23 ABC THE LOOK OF LOVE Karaoke 24 ACDC STIFF UPPER LIP Karaoke 25 ACE OF BASE ALL THAT SHE WANTS Karaoke 26 ACE OF BASE DONT TURN AROUND Karaoke 27 ACE OF BASE THE SIGN Karaoke 28 ADAM ANT ANT MUSIC Karaoke 29 AEROSMITH CRAZY Karaoke 30 AEROSMITH I DONT WANT TO MISS A THING Karaoke 31 AEROSMITH LOVE IN AN ELEVATOR Karaoke 32 AFROMAN BECAUSE I GOT HIGH Karaoke 33 AIR SUPPLY ALL OUT OF LOVE Karaoke 34 ALANIS MORISSETTE YOU OUGHTA KNOW Karaoke 35 ALANIS MORISSETTE THANK U Karaoke 36 ALANIS MORISSETTE ALL I REALLY WANT Karaoke 37 ALANIS MORISSETTE IRONIC Karaoke 38 ALANNAH MYLES BLACK VELVET Karaoke -
View Sample Pages of Tangata O Le Moana
Edited by Sean Mallon, Kolokesa Māhina-Tuai and Damon Salesa First published in New Zealand in 2012 by Te Papa Press, P O Box 467, Wellington, New Zealand Text © Museum of New Zealand Te Papa Tongarewa and the contributors Images © Museum of New Zealand Te Papa Tongarewa or as credited This book is copyright. Apart from any fair dealing for the purpose of private study, research, criticism, or review, as permitted under the Copyright Act, no part of this book may be reproduced by any process, stored in a retrieval system, or transmitted in any form, without the prior permission of the Museum of New Zealand Te Papa Tongarewa. TE PAPA® is the trademark of the Museum of New Zealand Te Papa Tongarewa Te Papa Press is an imprint of the Museum of New Zealand Te Papa Tongarewa Tangata o le moana : New Zealand and the people of the Pacific / edited by Sean Mallon, Kolokesa Māhina-Tuai and Damon Salesa. Includes bibliographical references and index. ISBN 978-1-877385-72-8 [1. Pacific Islanders—New Zealand. 2. Pacific Islanders—New Zealand—History.] I. Mallon, Sean. II. Māhina-Tuai, Kolokesa Uafā. III. Salesa, Damon Ieremia, 1972- IV. Title. 305.8995093—dc 22 Design by Spencer Levine Digital imaging by Jeremy Glyde Printed by Everbest Printing Co, China Cover: All images are selected from the pages of Tangata o le Moana. Back cover: Tokelauans leaving for New Zealand, 1966. Opposite: Melanesian missionary scholars and cricket players from Norfolk Island with the Bishop of Melanesia, Cecil Wilson, at the home of the Bishop of Christchurch, 1895. -
A Rhythmic Analysis of Rap - What Can We Learn from ‘Flow’?
A Rhythmic Analysis of Rap - What can we learn from ‘flow’? A thesis submitted in partial fulfilment of the requirements for the degree of Masters of Linguistics in the University of Canterbury by Iskandar Rhys Davis March 2017 Contents Chapter I: Introduction ........................................................................................................... 1 1.1 Purpose and goals of investigating rap rhythm ........................................................... 1 1.2 Hip-Hop roots .............................................................................................................. 2 1.2.1 MCs and DJs ........................................................................................................ 2 1.2.2 Where rap began .................................................................................................. 3 1.2.3 Progression of rap content ................................................................................... 4 1.2.4 The use of sampling ............................................................................................. 6 1.3 An introduction to flow ............................................................................................... 7 1.4 Rap arenas and their influence on rap style............................................................... 10 1.4.1 Different rap forms ............................................................................................ 11 1.4.2 The mainstream vs. underground debate .......................................................... -
The Festivalisation of Pacific Cultures in New Zealand: Diasporic Flow and Identity Within ‘A Sea of Islands’
The Festivalisation of Pacific Cultures in New Zealand: Diasporic Flow and Identity within ‘a Sea of Islands’ A thesis submitted for the degree of Doctor of Philosophy The University of Otago Dunedin New Zealand Jared Mackley-Crump 2012 Abstract In the second half of the twentieth century, New Zealand witnessed a period of significant change, a period that resulted in dramatic demographic shifts. As a result of economic diversification, the New Zealand government looked to the Pacific (and to the at the time predominantly rural Māori population) to fill increasing labour shortages. Pacific Peoples began to migrate to New Zealand in large numbers from the mid-1960s and continued to do so until the mid-1970s, by which time changing economic conditions had impacted the country’s migration needs. At around this time, in 1976, the first major moment of the festivalisation of Pacific cultures occured. As the communities continued to grow and become entrenched, more festivals were initiated across the country. By 2010, with Pacific peoples making up approximately 7% of the population, there were twenty-five annual festivals held from the northernmost towns to the bottom of the South Island. By comparing the history of Pacific festivals and peoples in New Zealand, I argue that festivals reflect how Pacific communities have been transformed from small communities of migrants to large communities of largely New Zealand-born Pacific peoples. Uncovering the meanings of festivals and the musical performances presented within festival spaces, I show how notions of place, culture and identity have been changed in the process. Conceiving of the Pacific as a vast interconnected ‘Sea of Islands’ kinship network (Hau’ofa 1994), where people, trade, arts and customs have circulated across millennia, I propose that Pacific festivals represent the most highly visible public manifestations of this network operating within New Zealand, and of New Zealand’s place within it. -
Introduction
[PB 16.1-2 (2015) 5-7] Perfect Beat (print) ISSN 1038-2909 doi:10.1558/prbt.v16i1-2.29133 Perfect Beat (online) ISSN 1836-0343 Shelley Brunt Oli Wilson Introduction Shelley Brunt is a Senior Lecturer in Music and School of Media and Communication Media at RMIT University, Australia. Her research RMIT University interests are in the field of ethnomusicology, with GPO Box 2476 a focus on popular music in Japan, and forthcom- Melbourne, VIC, 3001 ing publications include the co-edited (with Geoff Australia Stahl) Made in Australia and New Zealand: Studies [email protected] in Popular Music (Routledge, 2017). Oli Wilson is a Senior Lecturer in the School of School of Music & Creative Media Music and Creative Media Production at Massey Production University, Wellington. His main area of research is College of Creative Arts music in Oceania, and he specializes in the record- Massey University, Wellington ing industry and popular music cultures in Papua Aotearoa, New Zealand New Guinea. [email protected] This is the second Perfect Beat publication under the new editorial team of exec- utive editor Mark Evans, editor Shelley Brunt, assistant editor Oli Wilson and reviews editor Catherine Strong. We are delighted to present a double issue to our readers for 2015, due to the significant number of quality submissions to the jour- nal. These submissions include articles and interview Riffs which focus on topic areas spanning the Pacific, from Norfolk Island to Guam, as well as the urban cen- tres of Australia, such as Melbourne and Perth. Our double issue begins with Joseph Cummins’s exploration of the complex network of relations between islands and other spaces through his analysis of the twelve-part jazz suite Mutiny Music by Rick Robertson. -
Composing Identities: Charting Negotiations of Collaborative Composition
Composing Identities: Charting Negotiations of Collaborative Composition Andrew Faleatua A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy. Sydney Conservatorium of Music The University of Sydney 2019 0 Statement of Originality I certify that the intellectual content of this thesis is the product of my own work and that all the assistance received in preparing this thesis and sources have been acknowledged. This thesis has not been submitted for any degree or other purpose. Andrew Faleatua 30 June, 2019 i Abstract Polynesian artists who fuse popular music with traditional Polynesian musical elements have been celebrated by a range of scholars for establishing transcultural alliances and expanding the scope of Polynesian cultural expression. Yet a predominant focus in this discourse on the political and social resonance of fixed recordings and public performances has left relatively unexplored negotiations of cultural expectation and musical vision that occur during the formation/design period of these works. In this thesis I undertake a real-time investigation into the collaborative development of three sets of musical works that fuse popular and traditional musical genres in order to reveal the multiple mindsets and philosophical stances Polynesian musicians slip into and out of as a matter of course during the negotiation of transcultural music. I begin by illuminating the range of sonic positions contemporary Polynesian artists have staked out across a large body of recorded material and then document the collaborative development of my own composition portfolio in which I have threaded the melodic and harmonic language of contemporary jazz and pop through a series of traditional Polynesian rhythmic frameworks.