Category Archives: Uncategorized

27, Diaspora Drama & Artist Talk by Kesa


Diaspora means when you do research, it comes up many times in a search browser. Anyone who isn’t JAMES, of Tangata Te Whenua. How Pacific Islanders present themselves in their homeland. It talks about dissemination, migration disposition, displacement and scattering. When people have moved here, it difined by a protest that happened years ago with the Black Panther movement. They organised a march, it wasn’t so successful. Representation. Reviewer for Harry, played by Oscar. Creative NZ made a promotional postcard in 2001, full body white paint. This is what happens here, we forget where we came from with Installation views.


ARTIST TALK: She talks about what she wears a Evala, since she just went to a Samoan funeral. Which is like a fine art form. She enjoys the whole interactive interaction of each individual. temporal. All artists that present a heritage. To name a few of them; Comtemporary: Stan Lolohea, Genevere, Robin White, Michel Mulipola, Leilani Kake, Tanu Gago and Konai Helu Thaman, also Comics. Traditional: Tau Tattoo, Dusky Maiden Dance, John Pule and Hair-cutting, Nikki Hanson too. They don’t use the traditional in the Pacific world. When Te Papa opened, this word implies that this world is static and not so much as traditional. She went to Uni and didn’t understand of these terminologies. She never uses these words, afterwards her family reads each others stuff. She kept working there and as a Curator. Leaving Te Papa, interested in still work, in Women’s art as art forms and as a fine art form. Performer, is a material art. They make tapa cloths, its part of this process in her work. This is an art form that is quite significant to these art forms she had learned throughout her entire job status. Heritage, it wasn’t used in this terminology. Taking traditional out of Creative NZ, to use this word, Heritage instead of Traditional. Making these people understand the word of Heritage. They were going through the same conversations, trying to talk about through different culture groups, but in a Tongan Perspective. You are responsible for this term of terminology, they use this word Heritage to make others understand the differences between Traditional and Heritage. There a lot more depth in that. Art forms are found as traditional. It’s what they are drawn into and these guys are in and out of the gallery. Why? They wear a living art form. It questions what she has learned and to make everyone understand, what is a contemporary art. The differences between Contemporary, Heritage and Traditional. It makes sense for her now. This is where our source of inspiration comes from, creating works to put them in a gallery. Display them there and get a wonderful response, whether it is positive or negative. It doesn’t matter, it is alright to make mistake. Negative feedback is good, because you can learn from those mistakes you were told about and that these things can be fixed whether you realise it or not. It is like saying, Your work sucks, but it could improve by more and greater and outstanding works that others have never seen before.  When meeting new people, it is good to introduce yourself, they were very impressed on how these works had turned out, such a great turn out too. People hold these collaborations of many examples of this gallery she visited. She was impressed with Robin White’s work. She enjoyed it very much. Two Rooms Gallery was who’s who in mainstream art. It was quite sad for her, because it wouldn’t be a Tongan Creative. But it was amazing and great, it was quite stunning and the pigments they used. Knowledge involved and this master of rituals are included. Robin became a huge part of her experiences and she continues this way of involvement.


18, Curating Pacific Art


Being a Curator means to take care as a manger or a overseer. A Curator sits in between the art and the audience. They listen, stay focused and communicate with others who think about their experience art forms. Jim Vivieaere [1947-2011] had trained as an artist, how an audience experiences a gallery. The audience becomes a performer through their Art. There has to be a reason. What is the theme??? The book??? The organisation??? to treat their work as if you were a midwife looking after its’ baby. As I have said, the Curator is in between the art and the audience. So, of course, they are going to touch each other. Think of it as a Western Musem, telling stories through art. i.e.; Vaka Moana, the Voyages of The Pacific Ancestors. This was a theory of Taiwan. Immigrating its’ culture production that travelled for three years. It gave them big money, arcadaemia. Experts from all over helped publish the book. There are also essays of the Pacific, design a font, to represent South Auckland or the Pacific Migration.

Sculptors couldn’t understand, because it wasn’t irrelevant. They developed a theory or the idea of values in the community. Tanbora, a fijian object, wearing a design that effected our time and values and importance. This knowledge involved hair, only by man. Like tattoos, Tongan ones are similar to Samoan one, Stan Lolohea gave a talk about his work. The laughter, the language and behavior of how they respond to the art??? What is their voice? How is the audience behaving. So what does the Pacific understand about this? Most have grills or golden teeth as a symbol to recognize themselves as a Pacific individual. Leilani Kake son’s hair was demonstrated as an art form. Boys kept their hair neat and couldn’t cut it until a certain age, because it was tradition. A black chair in the front, people come up to cut the hair, there would be a Tapu basket, just to leave it there. It never was moved. In other ways, a tongan girl would do their dance, 22m tapa cloth and people would come up and give her money… then they would get up and dance with her.

Pechakucha Night, [2011] – this would be Pacific Food, Hospitality and a welcome to the community. A protocol, interface to understand the space and neutralise a meeting or Exihbition is a celebration. Opening, [2007] – In a church, we pray [opening & closing] this is how you respond to a celebration. Maka Tu’u Taha, with buckets on water, you sit in circle and the minster says a prayer, after gathering they behave in this space.

Milk World, [2007] Samiu Napa’a is a Tongan artist who made this work in a Milk Factory where he worked, out of two worlds. Pacific comes to NZ, like the Land of Milk & Honey – a reference to the Bible. It smells and you feel it. The Tongan language was stronger than Samoan. As if it was a production line, two things on the side were some weird frames he found in the Organic.

Glenda Vilisoni made Untitled, [2007] – this was found objects from the Organic It was an expressive painting, you could read it and understand it, because it showed visual language. She also did a piece of work on tinfoil that looked like a family tree of some sort. It looked amazing. She did another one with hair cutting, using rat tails she collected from her friends. It was value of what she was trying to do. This happened during the Tropical Cyclone, which is why I understood why she did this. She taped the frame over the hair.

She also did another work on ‘Bloodlines & reConnections’ this was an outdoor kitchen. I had seen one of these before, because my neighbor has them in her frontyard which I didn’t understand at first, until I heard about this in class. I found it quite interesting. Although, my neighbor is Tongan and her kids and I are best friends with – which is good for me.