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Tourism, and Art in the Pacific : the Case of the Leweton Cultural Group and "Water Music"

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Tourism, and Art in the Pacific : the Case of the Leweton Cultural Group and Please do not remove this page Reconciling (kastom), tourism, and art in the Pacific : the case of the Leweton Cultural Group and "water music" Dick, Thomas Joseph https://researchportal.scu.edu.au/discovery/delivery/61SCU_INST:ResearchRepository/1267076230002368?l#1367448890002368 Dick, T. J. (2017). Reconciling (kastom), tourism, and art in the Pacific: the case of the Leweton Cultural Group and “water music” [Southern Cross University]. https://researchportal.scu.edu.au/discovery/fulldisplay/alma991012821275302368/61SCU_INST:Research Repository Southern Cross University Research Portal: https://researchportal.scu.edu.au/discovery/search?vid=61SCU_INST:ResearchRepository [email protected] Open Downloaded On 2021/10/01 08:24:00 +1000 Please do not remove this page Reconciling kastom, tourism, and art in the Pacific The case of the Leweton Cultural Group and “water music” Thomas Joseph Dick Bachelor of Business (Organisational Communication) School of Arts and Social Science Southern Cross University Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy 30 January, 2017 I certify that the work presented in this thesis is, to the best of my knowledge and belief, original, except as acknowledged in the text, and that the material has not been submitted, either in whole or in part, for a degree at this or any other university. I acknowledge that I have read and understood the University's rules, requirements, procedures and policy relating to my higher degree research award and to my thesis. I certify that I have complied with the rules, requirements, procedures and policy of the University (as they may be from time to time). Signed …………………………………………. Date ……………………. ii Abstract Embodying dual legacies (ancestral and colonial), communities throughout the Pacific Islands are configuring and re-configuring themselves, their cultures and, consequently, the world around them in ways that are both continuing and new. Contemporary Vanuatu is an intercultural space contextualised by extremely high levels of linguistic and cultural diversity. This research project examines the ways in which a diasporic community is navigating an intercultural space by mobilizing itself and its cultural assets in a variety of rapidly evolving formats that span a range of industries, sectors and cultural transition areas. I present data and analysis regarding the sub-national Melanesian diaspora in the north of Vanuatu – the Mwerlap-speaking community. The Mwerlap- speakers originate from the islands of Merelava and Gaua. I examine and analyse the agency of the community and the colonial and post-colonial shifts in migration patterns that have led to the formation of the Leweton “village” – a settlement/community in a peri-urban area outside of Luganville, on Espiritu Santo, an island in the north of Vanuatu in SANMA Province. This interdisciplinary case study project draws on long-term, multi-sited, coactivity and co-performance via participant engagement with artists and producers from Vanuatu. I have published three peer reviewed journal articles, a range of material co-authored with community members and produced a documentary film (Vanuatu Women’s Water Music). Weaving together these elements and creative outputs, this thesis adds to the knowledge and understanding of the significance of subnational diasporas by exploring the role they can play as incubators of cultural export products, particularly in the music and tourism industries, by using the case of the ni- Vanuatu performers of women’s “water music”. Drawing together ideas from anthropology, linguistics, architecture, and cultural studies, this study provides rich insights into the perspectives of an indigenous community actively promoting itself as both a heritage tourism destination and a performing arts troupe. Recognizing the intentional and the arbitrary joining and un-joining, assembling and reassembling, creating and recreating, the articulating and re-articulating, of human and non-human actors is what imbues this methodology/approach with its efficacy. iv Acknowledgements I had the great privilege to live in Vanuatu for almost a decade between the years of 2000 and 2009. For the last three years of my time there, I was based principally in Luganville, the second largest town in Vanuatu. While I relocated to Australia in 2009, I have maintained regular contact with friends and family in Vanuatu. I wish to acknowledge the entire Leweton community for the support of this research, and especially the performers: Anthony Roy, Avon Tolili, Cecelia Lolonun, Charlie Ron, Claudia Frezer, David Ron, Denila Rose Frazer, Daina Ron, Edith Cecilia, Evelyn Vanva, Freddy Weler, Gavin Ron, Gwedulyn Vanva, Hamilton Vanva, Hilda Wavales, James Ovlav Dick, Jessy Roy, Ken Vanva, Keven Ron, Leah Wari, Lydian Ron, Marie Namak, Martin Frazer, Morris Clement, Natalie Tingris, Noel Vanva, Rose Tahi, Sandrine Sur, Selena Teresa, Tangop, Sese Wavales, Shania Siri, Tania Rosal, Tasha Rueben, Thomas Vanva, Vicky Lerry, Warren Salathiel, and Winnie Womal. Brata Sandy Sur, Tawi Delly Roy, and Bibian Maseng David Nalo have been profoundly generous with their time and their insight and friendship. Special thanks to my friends Hilda Rosal Wavales, Cecelia Lolonun, and Mama Celia Edith for their professionalism and generosity. The project (including the production of the DVD) has received funding from a variety of sources: Southern Cross University and my scholarship through the Collaborative Research Network, the Wantok Musik Foundation, the European Union through the Further Arts “Voices for Change” Project, Further Arts core funding, Ethos Global Foundation, and Canal Studio. I also wish to acknowledge the support of Mama Caroline Nalo for hosting me in her house, sharing insights and providing translations in to and out of Bislama. I am grateful to my supervisors Pr. Philip Hayward, Pr. Kerry Brown and lately Dr. Grayson Cooke, as well as Drs. Monika Stern, Miranda Forsyth and James Leach for valuable feedback on versions of the articles published. I am grateful to Alexandre François for advice on translations from the Mwerlap language and for the use of his maps, and to the editors and reviewers of the journals whose comments have assisted the writing of papers. All the Further Arts staff and board members have contributed to this thesis in ways that are impossible to specify, but I give special thanks to Sarah Doyle and Luke Johnston. The Wantok Musik Foundation has also played a big part in this journey and I am grateful to David, Amy, and the “confluence of interests” on the board there and to Tim Cole for his sensitivity to the haptics and acoustics of the water music. My friends and family in The Planet Spins have been along for the journey and I am especially grateful to Daniel Schultz for his work supporting the distribution of the film and to Tim Schultz for everything, including the design work on the e-book. And thanks also to Marcel Meltherorong, Soraya Hosni, Tio Massing, and Ben Foley, who played important parts in the development of the sand drawing motif and the production of the films. More recently new friends (of Leweton and myself) have emerged including Leah Barclay, Kate Genevieve, Toby Gifford, and Tracey Benson. To Ben Farr-Wharton and Kristina Kelman, finally our little cohort is on the other side: thanks to you both for dragging me over the line. I always believed more in you both, more than I did in myself, and I am humbled by the reciprocated reflection of that belief, humbled by all that we have done for each other. Kristina, you more than anyone else have shared this journey with me, and your love and support for me has been there every day, on so many levels: without you there is no way that I could be at this point. I treasure your patience, your indulgence, and your love of me. All my family have supported me through this extremely challenging process. Special appreciation to: my sisters, Kelly, for helping to locate the story of the water music, and Louisa, for her editorial assistance; my hop-wise brother for brews; and both Mum and Dad for emotional and financial support. In acknowledging all of these contributions, I am reminded of the dynamic and anachronistic nature of gratitude. In Somerset Maugham’s 1907 play vi Lady Frederick, the title character herself describes gratitude as “thanks for past favours and a lively sense of benefits to come.” I have no doubt that I will continue to draw on my “lively sense of benefits to come” from all those named here. I dedicate this thesis to the memory of those ancestors of this research assemblage who passed away during the process: my grandfather Thomas Dick Snr, Aunty Elsie, Grandma Norma Stack, “Chief” Martin Frazer, Chief Judah, and Uncle Major Lester Roy. And to the almost-lives: the imperceptible beating of hearts, the small flickering lights on screens blinking a morbid message in morse code. This project has been granted ethics Approval Number ECN-12-321 from the Southern Cross University Human Research Ethics Committee. All persons whose image appears in the photos have granted permission for their likeness to be used in this research and in future publications. All holders of copyright of the Figures have granted permission for the Figures to be used in this research and in future publications. ix Table of contents Abstract ........................................................................................................................................ ii Acknowledgements ................................................................................................................................
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