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Notes from the Festival of Pacific Arts La Visualité Digitale Dans La Construction D’Identité Culturelle : Notes Du Festival Des Arts Pacifique

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Notes from the Festival of Pacific Arts La Visualité Digitale Dans La Construction D’Identité Culturelle : Notes Du Festival Des Arts Pacifique Journal de la Société des Océanistes 142-143 | 2016 Du corps à l’image. La réinvention des performances culturelles en Océanie Digital Visuality in Cultural Identity Construction: Notes from the Festival of Pacific Arts La visualité digitale dans la construction d’identité culturelle : Notes du Festival des Arts Pacifique Jari Kupiainen Electronic version URL: http://journals.openedition.org/jso/7605 DOI: 10.4000/jso.7605 ISSN: 1760-7256 Publisher Société des océanistes Printed version Date of publication: 31 December 2016 Number of pages: 131-142 ISSN: 0300-953x Electronic reference Jari Kupiainen, « Digital Visuality in Cultural Identity Construction: Notes from the Festival of Pacific Arts », Journal de la Société des Océanistes [Online], 142-143 | 2016, Online since 31 December 2018, connection on 01 May 2019. URL : http://journals.openedition.org/jso/7605 ; DOI : 10.4000/jso.7605 © Tous droits réservés Digital Visuality in Cultural Identity Construc- tion: Notes from the Festival of Paciic Arts by Jari KUPIAINEN* ABSTRACT RÉSUMÉ In July 2012 in Solomon Islands, 27 diferent Paciic En juillet 2012, aux îles Salomons, 27 nations océa- nations came together for two weeks for the 11th Festival niennes se sont rassemblées durant deux semaines à l’oc- of Paciic Arts to express and articulate their traditions in casion du onzième Festival des Arts du Paciique, pour their present forms for other Paciic Islanders (few non- exprimer et mettre en avant – aux yeux d’autres insulaires Paciic Islanders attended the event). he festival was all du Paciique (peu de non-îliens assistaient à l’événement) – about producing, reproducing and transforming Paciic leurs traditions dans leur forme actuelle. Il s’agissait avant identities, and much of this took an explicitly visual form, tout de (re)produire et transformer les identités du Paci- which the festival context fully supported. Cameras were ique, tout particulièrement à travers des formes visuelles. everywhere and shooting was continuous both in photogra- Les appareils photos étaient omniprésents et la prise phy and video, among the audience, the performers and d’images permanente, par les membres du publique, les the organizers as well. he photos were quickly transfor- performeurs et les organisateurs. Les images étaient rapide- med into YouTube, Facebook and oline video iles, Flickr ment difusées via YouTube, Facebook, des albums photos photo albums and countless other forms and formats shared Flickr ainsi que de très nombreux autres formats, échangés among and between Paciic communities online and oline. à l’intérieur de et entre les diférentes communautés. Cet he paper analyses this visual production in the cultu- article analyse la production visuelle des groupes culturels ral framework of Rennell and Bellona Islanders that the de Rennell et Bellona, avec lesquels l’auteur a travaillé. Les author has been working with. In particular, it highlights questions de la construction des identités culturelles et de issues of cultural identity construction and aspects of cultu- l’agentivité culturelle liée à cette production visuelle seront ral agency related with this visual production in the context particulièrement mises en avant, dans le contexte plus large of the overall modernization of the Solomon Islands society. de la modernisation de la société des îles Salomon. Keywords : Solomon Islands, Festival of Paciic Arts, Mots-clés : îles Salomon, Festival des Arts du Rennell and Bellona, digital visual identity, digital Paciique, Rennell et Bellona, identité visuelle digi- bonding, selie tale, digital bonding, selie he global reachability of digital communication modernization, traditional societies are forced technologies and the ubiquitous presence of into fundamental changes in all domains of related gadgets and applications even in remote social life, not least in terms of cultural identity places is a widely known fact, yet less is known of and its representation. Digitalisation and digital these processes and outcomes in societies where technologies are presently integral elements in any the shift from technological margins into digital modernization processes, which we may describe environments occurs rapidly and coincides with as digital modernity. the overall modernization of local societies. In According to Miller and Horst (2012: 4), * Principal Lecturer, Media Studies, Karelia University of Applied Sciences, Joensuu, Finland, [email protected] Journal de la Société des Océanistes, 142-143, année 2016, pp. 131-142 132 JOURNAL DE LA SOCIÉTÉ DES OCÉANISTES “the digital, as all material culture, is more than a intended meanings or purposes of visuals become substrate; it is becoming a constitutive part of what continuously decoded, reconstructed, commented makes us human.” and challenged in the repeated viewing situations, which are open-ended and cannot be controlled. he statement highlights the importance of Yet, the presence of visuals in the digital the digital in contemporary social life including domain localise the persons in them in actual the construction of cultural identities, but it life worlds that expand beyond the digital. also issues the relevance and urgency for studies Digital bonding inlates and strengthens the of digitality in culture and society; or better, existing social networks persons and groups are studies of digitality in a variety of cultures and involved in, often with economic consequences societies, for it is not to be expected that digital such as in business. he increased reachability of processes would follow the same trajectory or persons and information across distances allows produce identical outcomes in diferent cultures for improved agency of persons and groups to and societies. Rather, in order to establish a promote their goals – and to develop their digital better analytical understanding of digitality in bonds with others. For persons, the visuals tend culture and society in the framework of digital to make this digital bonding more involved modernity, we should be especially focusing on and committing, the way bonding should be case studies among diferent cultural groups between people – “like in real life”, except that to examine this diversity of digital strategies the digital domain is already a part of it. and approaches, and also their impact on the Digital bonding transforms and modiies the construction of contemporary cultural identities. existing cultural and social orders through the Digital elements in people’s identities, or digital introduction of new actors, the moderators with identities, become constructed and established in digital skills and new forms of social agency, in the any and all activities producing (numerical) digital social settings people live in. It is evident that such content. hese result from using computers, challenges to any existing orders originate from mobile phones, Internet and social media younger generations that are increasingly urban, services, digital cameras and other digital gadgets educated and skilled in digital technologies. (e.g. game consoles, gps devices). hey all leave hrough digital practices, these younger ones are electronic traces of use that together construct a contesting existing statuses of rank, seniority and person’s digital identity. Such electronic traces gender, when they create alternative spaces for will contain a wide assortment of diferent data, social and cultural action in the digital domain. ranging from the gadget’s technical usage logs to hey also create contemporary visual identities social media content, and more. for the wider group alongside fresh ways and he inlation of social life in the digital domain techniques of their representation. would indicate that fresh forms of social practice A core element in any identity construction is are emerging there. his article addresses the its visual representation (e.g. Gilroy, 1992; Hall issue of digital sociality through an analysis of & du Gay, 1996; Nakamura, 2008). his article digital cultural identities and digital bonding valorises aspects of digital visuality in terms of in an ethnographic case study. Digital bonding related cultural identity processes, which have led is based on traditional values of intra-group to the development of cultural identities in the solidarity and social engagement as practiced in digital domain, or digital cultural identities. My the electronic domain. In digital bonding, the focus will be on digital visual identity construction visual presentation of self appears central (see in a dialogue with existing “pre-digital” cultural also Nakamura, 2008). values and identity representations. he theme Digital bonding is established in the digital will be approached through an ethnographic case domain through activity in digital communications, study from Oceania, which is a study of Bellona such as telephone and video calls, email and and Rennell Islanders from Solomon Islands. social media postings. Especially in social media, he basic attempt, here, is to better understand visual representations of oneself are needed. how digitality is shaping and articulating cultural hrough visuals, the communication partners identities among this group and what are the are given faces, gendered bodies, social locations roles of visual representations in this process. and ethnocultural contexts through the semiotic he ethnographic context of this analysis is the codes embedded in these images, which pinpoint eleventh Festival of Paciic Arts (fopa 2012), the persons varyingly into diferent
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