Hawai'i State Art Museum
HAWAI‘I STATE ART MUSEUM CURATORIAL STATEMENT 1 In this essay, we use the term Kānaka Aia nō ka pono—o ka ho‘ohuli i ka lima i lalo, ‘a‘ole o ka to refer to Native Hawaiians. In specific instances, we also use Native Hawaiian(s). ho‘ohuli i luna When we do, it is because the individual, group, journal, exhibition, or event we are We three—artists, curators, educators, Kānaka1—are bound to one referencing used or uses this term. another within a specific historical and material network of relations.2 2 Mahalo e Māhealani Dudoit (1954- Held together by affective connections that persist across generations, 2002) for tracing this network to some of its early nodes—artists, organizers, and we are also linked to islands, oceans, continents, and communities in educators shaped by and responsive to a swirling scene of perpetually shifting centers and margins. Within this both “Western tradition” and “Hawaiian energetic expanse, our overlapping and diverging identities make evident tradition.” For further discussion see D. Māhealani Dudoit, “Carving a Native the situatedness of marked and unmarked existence in Hawai‘i where we Hawaiian Aesthetic,” in ‘ōiwi: a native are privileged to be able to live, work, make, and care. hawaiian journal, (Honolulu: Kuleana ‘Ōiwi Press, 1998), 20-26. If we are “self-identified,” we are also defined by the communities around us, those we belong to by choice and those that claim us, koho ‘ia—choice no choice. These communities too are shaped by their surroundings and especially the energy that flows throughout. Again, at this intersection of forces we three, in the spirit of friendship, obligation, and gratitude, accepted an invitation to engage collaboratively with a public art collection at a state museum.
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