Thursday, January 10, 2008
This was sent to me...
Was Nukuleka really the cradle of Polynesia?
10 Jan 2008, 11:36
Auckland, New Zealand:
Editor,
The pronouncement by the prominent Pacific archaeologist, Professor David V. Burley, from Simon Fraser University in Canada, together with his archaeological team of researchers, that the small fishing village of Nukuleka on the northern shores of eastern Tongatapu, at the entrance to the Fanga'uta Lagoon, to be the cradle of Polynesia, let alone the whole of Tonga, does certainly raise a few critical questions of some serious historico-cultural significance (Matangi Tonga, 7 January, '08).
Tonga has, of course, largely been argued by Pacific archaeologists to be the origin of Polynesia, followed by the settlement of Samoa, both in western Polynesia, from where the rest of Polynesia were settled, beginning with the Cook, Marquesas and Society Islands in the central Pacific, then succeeded by Hawai'i in the north, Rapanui (Easter Island) in the east and Aotearoa (New Zealand) in the south, in that order.
This chronology-based argument, as far as western Polynesia goes, was later critically revised, leading to its being replaced with a region-based argument, which propagated the view that at least both Tonga and Samoa were settled relatively at the same time loosely regionally rather than strictly chronologically, i.e., as a region rather than a chronology.
If that was the case, how would the regionally-led argument (and not a chronologically-driven one) affect the local settlement scenario in Tonga? Would Fanga'uta, of which Nukuleka was and is still very much a part, physically, historically and culturally, be considered to have been settled as a single lagoonal area more or less at the same time?
Chronologically speaking, why, then, Nukuleka? But, really, why not Lapaha, 'Alakifonua or Folaha? Or, indeed, why not one of the other many adjoining offshore islands? There must be reasons, most, if not all, of which have remained unanswered. To unearth many, if not all, of these questions would undoubtedly give us a fuller picture of the human history.
Would the truth about Nukuleka solely hinge on the archaeological evidence alone? If not, there is a need for us to bring all the evidence to a convergent point, be they archaeological, linguistic or oral historical. How does, for example, oral history play a role in the scheme of things?
We know for sure that the history of Tonga before the emergence of the Tu'i Tonga is overly symbolically and mythologically represented (in correspondence with the so-called archaeologically and linguistically constructed Lapita society, culture and history), which does not mean (and not an excuse at all) that, because it is highly mythical, it is entirely impossible to make sense of both its complexity and historicity.
With the effective use of heliaki, the refined and sophisticated ephiphoric and metaphoric device for the qualitative and associative formal, substantial and functional exchange between ideas, images and objects in mythology and history, we can surely be able to effectively demarcate between the symbolic and the historical in connection with the human conditions. In effect, the same device can be applied to all forms of formal language, as in oratory, proverbs and poetry.
How does Nukuleka, then, relate to the shifting landscape movement of the Tu'i Tonga, which was mostly confined to Fanga'uta and its adjacent areas, which included an inland coastal-inland turn from 'Alakifonua through Pelehake and Toloa and along the fairly lengthy windward stretch in the southern coasts to Heketa in eastern Tongatapu?
How does Nukuleka stand in relation to Heketa and the shoreline mobility of the Tu'i Tonga from there along the northern coastlines through the Niutao Point (which is opposite Nukuleka) to Lapaha in Mu'a? How is Nukuleka implicated historically and culturally in its close physical proximity to Niutao, where the Langi Tamatou stands?
Was Nukuleka an island, later joined to the Niutao Point, hence its literal meaning "Small-island", in the same way that Nuku'alofa (literally meaning "Island-of-generosity") was connected to mainland Tongatapu in subsequent times? Intentionally or accidently, it is interesting to take note that somehow this particular early landscape movement took place in full circle, both beginning and ending in the Nuku'alofa area.
Was Nuku, the island, named after Leka, the prominent navigator of the Tu'i Tonga? Leka was a toutaivaka, navigator, not a toutaiika, fisherman, although both professions, toutaivaka and toutaiika, were under the generic professional class ha'a toutai. In fact, Ula-mo-Leka, the famous poet-navigator, happened to have combined both navigators of Tu'i Tonga and Tu'i Kanokupolu, i.e., Ula, in his person.
Or, was Leka, the navigator, named after Nukuleka, the small neighbouring island, which was opposite the Niutao Point? Or, was Nukuleka (like the island of Mo'unu opposite Lapaha at later times) merely a safe and convenient anchorage for the imperial fleet of the Tu'i Tonga led by his famous navigator, Leka?
In fact, Kula was the toutaiika of the Tu'i Tonga, and he was based in the Popua-Ma'ufanga area, which was and still is part of Fanga'uta. The word kula, red, in addition to 'uli, black, is prominently featured in Pacific arts, where kula is symbolically man-related, as in kula 'i moana, sunburnt in the ocean, and 'uli 'as in ma'uli, birth-delivering, and moa'uli, courting-go-between, as a female symbol.
Of all the related complex and elaborate beautiful kupesi, geometric designs - such as those used in the arts of tufunga tatatau, tatooing, tufunga ngaohi kulo pottery-making and nimamea'a koka'anga, fine art of bark-cloth-making - which Professor Burley mentioned are, in fact, derived from the master material art of tufunga lalava, line-space-intersecting, kafa sennit-lashing, associated with both tufunga fo'uvaka, boat-building, and tufunga langafale, house-building.
Perhaps the bigger, more important, question would be, How does the kupesi as an significant facet fit in here, as far as the multiplicity of opposed and complementary physical, psychological and social tendencies, characterising the totality of the reality of Tongan society, both synchronically and diachronically?
These artforms were the fatongia, prerogatives, of the so-called hereditary ha'a professional classes, such as ha'a tufunga, class of material artists, ha'a faiva, class of performance artists and ha'a fa'a, class of cultivators, amongst many others. There were class sub-divisions, as in faiva toutaivaka, long-distant navigators and faiva toutaiika, deep-sea fishermen, amidst many others.
The practice of ha'a in the Tu'i Tonga rule was radically scrutinised by the powerful Samoan-led, Tu'i Kanokupolu-informed regime, when it was changed from it being fatongia-based, economically-led, e.g., ha'a tufunga, material artists and ha'a tufunga nimatapu, artists-of-the-handling-of-the-dead, to it being ego-centred, politically-driven, e.g., Ha'a Ngata and Ha'a Havea.
In conclusion, I would also like to throw in a point that is both timely and politically necessary for us all locals and foreigners, academics and non-academics alike, to reflect upon. I refer here to the need to "indigenise" both anthropology and archaeology, not to mention the whole of the disciplinary spectrum vis-�-vis Tonga and the Pacific.
By "indigenisation", as in the case of both Tongan archaeology and anthropology, reference is made to seeing things Tongan as they objectively are, as opposed to their subjective imagining in what we would like them to be. In short, we must observe things Tongan on their own terms rather than by imposing upon them qualities extrinsic to Tongan society, culture and history.
For example, our words for Polynesia and Lapita, imposed by foreigners rather than mediated between them and the locals, are Moana and Pulotu. These local terms are deeply embedded and broadly endowed with sophisticated forms of knowledge, developed carefully and systematically over centuries of life-long, experientially-refining, trial-and-error application and experimentation.
In fact, early ethnographers were correct in classifying Polynesia, literally "many-islands", into western and eastern Polynesia, Pulotu and Havaiki, yet subsequent scholars in the field still fail consciously or unconsciously to recognise that, in terms of local knowledge, the physical, psychological and social dynamics at the interface of this western-eastern divide, can be truly and fruitfully critiqued within the locally-made Pulotu-Havaiki distinction.
Pacific archaeologists, like Pacific linguists, have, for example, come up with the dual marine-based, land-based as characteristic productive and reproductive features of the so-called Lapita social organisation, yet they still refuse to take into account the notion of the kaimoana, kaifonua duality in local understanding and praxis � and many more.
'Ofa atu fau,
Dr 'Okusitino MÄhina
Lecturer in Pacific Political Economy & Pacific Arts
Anthropology, University of Auckland, Auckland
New Zealand
and
Director, Vava'u Academy for Critical Inquiry and Applied Research
Tapinga'amaama Campus, Dr 'Okusitino Mahina Education Centre
Tefisi-Nga'akau, Vava'u
Tonga
10 Jan 2008, 11:36
Auckland, New Zealand:
Editor,
The pronouncement by the prominent Pacific archaeologist, Professor David V. Burley, from Simon Fraser University in Canada, together with his archaeological team of researchers, that the small fishing village of Nukuleka on the northern shores of eastern Tongatapu, at the entrance to the Fanga'uta Lagoon, to be the cradle of Polynesia, let alone the whole of Tonga, does certainly raise a few critical questions of some serious historico-cultural significance (Matangi Tonga, 7 January, '08).
Tonga has, of course, largely been argued by Pacific archaeologists to be the origin of Polynesia, followed by the settlement of Samoa, both in western Polynesia, from where the rest of Polynesia were settled, beginning with the Cook, Marquesas and Society Islands in the central Pacific, then succeeded by Hawai'i in the north, Rapanui (Easter Island) in the east and Aotearoa (New Zealand) in the south, in that order.
This chronology-based argument, as far as western Polynesia goes, was later critically revised, leading to its being replaced with a region-based argument, which propagated the view that at least both Tonga and Samoa were settled relatively at the same time loosely regionally rather than strictly chronologically, i.e., as a region rather than a chronology.
If that was the case, how would the regionally-led argument (and not a chronologically-driven one) affect the local settlement scenario in Tonga? Would Fanga'uta, of which Nukuleka was and is still very much a part, physically, historically and culturally, be considered to have been settled as a single lagoonal area more or less at the same time?
Chronologically speaking, why, then, Nukuleka? But, really, why not Lapaha, 'Alakifonua or Folaha? Or, indeed, why not one of the other many adjoining offshore islands? There must be reasons, most, if not all, of which have remained unanswered. To unearth many, if not all, of these questions would undoubtedly give us a fuller picture of the human history.
Would the truth about Nukuleka solely hinge on the archaeological evidence alone? If not, there is a need for us to bring all the evidence to a convergent point, be they archaeological, linguistic or oral historical. How does, for example, oral history play a role in the scheme of things?
We know for sure that the history of Tonga before the emergence of the Tu'i Tonga is overly symbolically and mythologically represented (in correspondence with the so-called archaeologically and linguistically constructed Lapita society, culture and history), which does not mean (and not an excuse at all) that, because it is highly mythical, it is entirely impossible to make sense of both its complexity and historicity.
With the effective use of heliaki, the refined and sophisticated ephiphoric and metaphoric device for the qualitative and associative formal, substantial and functional exchange between ideas, images and objects in mythology and history, we can surely be able to effectively demarcate between the symbolic and the historical in connection with the human conditions. In effect, the same device can be applied to all forms of formal language, as in oratory, proverbs and poetry.
How does Nukuleka, then, relate to the shifting landscape movement of the Tu'i Tonga, which was mostly confined to Fanga'uta and its adjacent areas, which included an inland coastal-inland turn from 'Alakifonua through Pelehake and Toloa and along the fairly lengthy windward stretch in the southern coasts to Heketa in eastern Tongatapu?
How does Nukuleka stand in relation to Heketa and the shoreline mobility of the Tu'i Tonga from there along the northern coastlines through the Niutao Point (which is opposite Nukuleka) to Lapaha in Mu'a? How is Nukuleka implicated historically and culturally in its close physical proximity to Niutao, where the Langi Tamatou stands?
Was Nukuleka an island, later joined to the Niutao Point, hence its literal meaning "Small-island", in the same way that Nuku'alofa (literally meaning "Island-of-generosity") was connected to mainland Tongatapu in subsequent times? Intentionally or accidently, it is interesting to take note that somehow this particular early landscape movement took place in full circle, both beginning and ending in the Nuku'alofa area.
Was Nuku, the island, named after Leka, the prominent navigator of the Tu'i Tonga? Leka was a toutaivaka, navigator, not a toutaiika, fisherman, although both professions, toutaivaka and toutaiika, were under the generic professional class ha'a toutai. In fact, Ula-mo-Leka, the famous poet-navigator, happened to have combined both navigators of Tu'i Tonga and Tu'i Kanokupolu, i.e., Ula, in his person.
Or, was Leka, the navigator, named after Nukuleka, the small neighbouring island, which was opposite the Niutao Point? Or, was Nukuleka (like the island of Mo'unu opposite Lapaha at later times) merely a safe and convenient anchorage for the imperial fleet of the Tu'i Tonga led by his famous navigator, Leka?
In fact, Kula was the toutaiika of the Tu'i Tonga, and he was based in the Popua-Ma'ufanga area, which was and still is part of Fanga'uta. The word kula, red, in addition to 'uli, black, is prominently featured in Pacific arts, where kula is symbolically man-related, as in kula 'i moana, sunburnt in the ocean, and 'uli 'as in ma'uli, birth-delivering, and moa'uli, courting-go-between, as a female symbol.
Of all the related complex and elaborate beautiful kupesi, geometric designs - such as those used in the arts of tufunga tatatau, tatooing, tufunga ngaohi kulo pottery-making and nimamea'a koka'anga, fine art of bark-cloth-making - which Professor Burley mentioned are, in fact, derived from the master material art of tufunga lalava, line-space-intersecting, kafa sennit-lashing, associated with both tufunga fo'uvaka, boat-building, and tufunga langafale, house-building.
Perhaps the bigger, more important, question would be, How does the kupesi as an significant facet fit in here, as far as the multiplicity of opposed and complementary physical, psychological and social tendencies, characterising the totality of the reality of Tongan society, both synchronically and diachronically?
These artforms were the fatongia, prerogatives, of the so-called hereditary ha'a professional classes, such as ha'a tufunga, class of material artists, ha'a faiva, class of performance artists and ha'a fa'a, class of cultivators, amongst many others. There were class sub-divisions, as in faiva toutaivaka, long-distant navigators and faiva toutaiika, deep-sea fishermen, amidst many others.
The practice of ha'a in the Tu'i Tonga rule was radically scrutinised by the powerful Samoan-led, Tu'i Kanokupolu-informed regime, when it was changed from it being fatongia-based, economically-led, e.g., ha'a tufunga, material artists and ha'a tufunga nimatapu, artists-of-the-handling-of-the-dead, to it being ego-centred, politically-driven, e.g., Ha'a Ngata and Ha'a Havea.
In conclusion, I would also like to throw in a point that is both timely and politically necessary for us all locals and foreigners, academics and non-academics alike, to reflect upon. I refer here to the need to "indigenise" both anthropology and archaeology, not to mention the whole of the disciplinary spectrum vis-�-vis Tonga and the Pacific.
By "indigenisation", as in the case of both Tongan archaeology and anthropology, reference is made to seeing things Tongan as they objectively are, as opposed to their subjective imagining in what we would like them to be. In short, we must observe things Tongan on their own terms rather than by imposing upon them qualities extrinsic to Tongan society, culture and history.
For example, our words for Polynesia and Lapita, imposed by foreigners rather than mediated between them and the locals, are Moana and Pulotu. These local terms are deeply embedded and broadly endowed with sophisticated forms of knowledge, developed carefully and systematically over centuries of life-long, experientially-refining, trial-and-error application and experimentation.
In fact, early ethnographers were correct in classifying Polynesia, literally "many-islands", into western and eastern Polynesia, Pulotu and Havaiki, yet subsequent scholars in the field still fail consciously or unconsciously to recognise that, in terms of local knowledge, the physical, psychological and social dynamics at the interface of this western-eastern divide, can be truly and fruitfully critiqued within the locally-made Pulotu-Havaiki distinction.
Pacific archaeologists, like Pacific linguists, have, for example, come up with the dual marine-based, land-based as characteristic productive and reproductive features of the so-called Lapita social organisation, yet they still refuse to take into account the notion of the kaimoana, kaifonua duality in local understanding and praxis � and many more.
'Ofa atu fau,
Dr 'Okusitino MÄhina
Lecturer in Pacific Political Economy & Pacific Arts
Anthropology, University of Auckland, Auckland
New Zealand
and
Director, Vava'u Academy for Critical Inquiry and Applied Research
Tapinga'amaama Campus, Dr 'Okusitino Mahina Education Centre
Tefisi-Nga'akau, Vava'u
Tonga
Wednesday, January 09, 2008
Tonga is the birth place of Polynesia!?!?!?
Tongan site dated oldest in Polynesia
By MICHAEL FIELD - Fairfax Media | Thursday, 10 January 2008
A small fishing village established 2900 years ago in Tonga has been confirmed as the first settlement in Polynesia.
Using pottery shards, archaeologist David Burley says they have confirmed Nukuleka, just east of Tonga's capital, Nuku'alofa, is Polynesia's birthplace.
The confirmation comes as something of a blow for Samoa which has advertised itself for decades as the "cradle of Polynesia".
Fiji's Sigatoka dunes have also made claims to be Polynesia's birthplace but they appear now to be several centuries younger.
Archaeologists have focused on Nukuleka for the past five years following the discovery of rich pickings of Lapita pottery.
A distinctive type of pottery, named for the site in New Caledonia where it was first found, was carried through Melanesia and into the Pacific by a mysterious group of people who eventually became the first Polynesians.
Professor Burley, of Simon Fraser University in Canada, told Matangi Tonga website that a final excavation last year had nailed Nukuleka's position as Polynesia's first. The pottery was 2900 years old.
"Tonga was the first group of islands in Polynesia to be settled by the Lapita people about 3000 years ago, and Nukuleka was their first settlement in Tonga," he said.
The site for the village, at the mouth of the Fanga'uta lagoon, was ideal.
"They came here first about 3000 years ago when the lagoon sea level was higher than today.
"There were no mangroves, so the lagoon shore was a big beach, and the lagoon was full of shellfish, and everything that we have dug up was packed with layers of shellfish."
The area was rich in shells and researchers found that the people were eating lots of turtles and birds, he said.
"What we are trying to prove is that this is the first site in Tonga, and everything that we have found verifies that," he said.
Within a century of establishing Nukuleka the first Polynesians had settled the whole of Tonga. "Then a thousand years later they moved eastwards to eastern Polynesia."
By MICHAEL FIELD - Fairfax Media | Thursday, 10 January 2008
A small fishing village established 2900 years ago in Tonga has been confirmed as the first settlement in Polynesia.
Using pottery shards, archaeologist David Burley says they have confirmed Nukuleka, just east of Tonga's capital, Nuku'alofa, is Polynesia's birthplace.
The confirmation comes as something of a blow for Samoa which has advertised itself for decades as the "cradle of Polynesia".
Fiji's Sigatoka dunes have also made claims to be Polynesia's birthplace but they appear now to be several centuries younger.
Archaeologists have focused on Nukuleka for the past five years following the discovery of rich pickings of Lapita pottery.
A distinctive type of pottery, named for the site in New Caledonia where it was first found, was carried through Melanesia and into the Pacific by a mysterious group of people who eventually became the first Polynesians.
Professor Burley, of Simon Fraser University in Canada, told Matangi Tonga website that a final excavation last year had nailed Nukuleka's position as Polynesia's first. The pottery was 2900 years old.
"Tonga was the first group of islands in Polynesia to be settled by the Lapita people about 3000 years ago, and Nukuleka was their first settlement in Tonga," he said.
The site for the village, at the mouth of the Fanga'uta lagoon, was ideal.
"They came here first about 3000 years ago when the lagoon sea level was higher than today.
"There were no mangroves, so the lagoon shore was a big beach, and the lagoon was full of shellfish, and everything that we have dug up was packed with layers of shellfish."
The area was rich in shells and researchers found that the people were eating lots of turtles and birds, he said.
"What we are trying to prove is that this is the first site in Tonga, and everything that we have found verifies that," he said.
Within a century of establishing Nukuleka the first Polynesians had settled the whole of Tonga. "Then a thousand years later they moved eastwards to eastern Polynesia."
Tuesday, January 01, 2008
Kula park
We decided to go away for New Year's to Sandy Point. New Years eve we went to Kula Eco Park. Other than that we spent most of our time swimming and hanging out, reading, and napping. A perfect way to bring in the New Year!
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| kula eco park |
Tuesday, December 25, 2007
Christmas day
Unwrapping gifts and water fights!!!! The girls decided that they did not want bought gifts from Chris and Josie this year. They wanted to give gifts to Jorji the squatter across the street, gifts to the deaf school, and school supplies to an orphanage. I tried to follow suit and gave some hand made gifts as well.
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| christmas day |
PNG bag
My new acquisition my png billum bag!!!! made with cuscus fur or a possum-like nocturnal marsupials they call a tree kangaroo.
A billum or bilum is a traditional hand-made Papua New Guinea bag. It is usually used for carrying foods, firewood or even babies
Originally billums were made from tree bark string, however today, Papua New Guinea women also make bilums from wool and fishing lines
Natural and artificial pigments are used to add colour and style to billums. Some bilums feature intricate designs, and others are decorated with shells, fur or even feathers
A billum or bilum is a traditional hand-made Papua New Guinea bag. It is usually used for carrying foods, firewood or even babies
Originally billums were made from tree bark string, however today, Papua New Guinea women also make bilums from wool and fishing lines
Natural and artificial pigments are used to add colour and style to billums. Some bilums feature intricate designs, and others are decorated with shells, fur or even feathers
 |
| the png bag |
Chaos!
A hurricane has hit the inside of our home! Now the fun begins, the putting away and organizing. The best part of moving is hanging my pictures!!!
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| new house getting set up |
Moving!!!!
Stan is home from Tonga and is helping with the last few loads. His friend Nemo is supervising him!
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| new house |
Wednesday, December 12, 2007
I am in the Fiji Times!!!
Please ignore the first 8 lines communication break down!!!!
Jens joyous journey with art
EMELINE NAIKALIVOU (Thursday, December 13, 2007)
Jennifer James poses beside one of her paintings
Jennifer James always had a passion for art, particularly painting.
The Canadian simply cannot imagine her life without art as it brings her immense joy.
She recalls her young years when she would draw on anything she got hold of.
Her artistic tendencies are hardly surprising given her families artistic background.
Here family were known for their body sculptures.
So when they learnt she had she had no affinity for the family's past-time passion, they found it odd and were quite taken aback.
And much to their disappointment, Jennifer was so set on becoming an artist.
Common ground was finally reached when parties resolved that she continue her studies in order to secure a better job and only after could she be allowed to become an artist.
Jennifer said she did not have the heart to disappoint her family so she continued and successfully pursued a diploma in physiotherapy.
She now owns a clinic in Canada.
"I had to work in a clinic for six months and then after three months, I opened my very own clinic with the help of my business partner," she proudly relayed.
Today the promising artist from Vancouver is more confident and self-assured.
She is still buzzing from the rush of having 30 of her artwork exhibited at the University of the South Pacific's Oceania Art and Cultural Centre
She was very pleased with the response.
The second-year USPArt student Jennifer says she could not have asked for a better place to master her passion.
"I have come to understand what art is all about," she enthused.
"I was really honoured to have an exhibit in the Oceania Art Centre.
Jennifer says art is not only about putting colours together to make the picture look good.
It is instead a way of expressing feelings, moods and views on a particular subject, she said.
I love to draw something that promotes peace and harmony, she added.
While painting is the ultimate de-stressor for her, nature walks, reading, spending time with friends and baking are also activities she cares to indulge in.
She says young artists should find a good mentor, practice, and above all have fun.
Jennifer laments though that the high cost of painting materials is a restrictive factor to the development of the art.
Resources in this field are very limited, thus very expensive, she said. The tropical weather is also another disadvantage as oil paints take longer to dry in the heat.
The artist says she has unconsciously developed a ritual on how she chooses her paintings.
Whenever she feels the urge to draw she first meditates on the subject.
Normally, the first colour that pops into her head is what she uses to depict her theme.
Each work of art holds special meaning for Jennifer because through each piece, she tries to relay a message. Her work is largely about peace and harmony.
One day she hopes to be able to make a living from her artwork.
My ultimate goal is to open a gallery so that I can support other artists, she said.
Copyright © 2007, Fiji Times Limited. All Rights Reserved.
Sunday, December 09, 2007
Saturday, December 08, 2007
The new flat
I got the KEYS to the new flat!!!! and cleaned it yesterday from top to bottom. In Fiji we get this weird black greasy dust that really settles when a place is left empty. Our feet will show you what I mean, considering the flat was empty for several months it was in ok condition. Some mold growing on some of the walls, very dirty floors and a wasps nest in the bathroom. What we did not get is Mina birds which is great because that is a nightmare!!! During the coup they took residency in Josie's place while they were away. I do have some screens that will need to be replaced since they did try to peck there way into the house. Here are some pictures of our new and very empty flat!!!!! Which will remain bare, we don't want to buy furniture here, I will take some pictures for you one day so you can see why.
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| new flat |
Friday, December 07, 2007
Cyclone
Well the cyclone totally missed Suva!!!! But unfortunately it did hit other smaller islands that make up Fiji. One Island was completely flattened and no word if the 2 villages that inhabited the Island survived, they are in our prayers along with the other areas that were hit.
I have been insanely busy, not only with the art show but with also finding a new place to live. The landlord kicked us out because we refused to clean his driveway and we made a complaint about it because we have all fallen down while trying to negotiate our way down the steep slope. Ana broke her leg when she fell down the slimy driveway!
So I look at this event as a good thing since I am tired of slowly picking my way down the death trap. I looked at several place but ultimately took the empty flat below Josie's. I was a bit hesitant to take it because it is unfurnished but in the end it the was the cleanest and most updated! Pictures to be posted in the next few days. Spent the day cleaning it today, washing all the walls, cupboards, floors, bathrooms.
I have been insanely busy, not only with the art show but with also finding a new place to live. The landlord kicked us out because we refused to clean his driveway and we made a complaint about it because we have all fallen down while trying to negotiate our way down the steep slope. Ana broke her leg when she fell down the slimy driveway!
So I look at this event as a good thing since I am tired of slowly picking my way down the death trap. I looked at several place but ultimately took the empty flat below Josie's. I was a bit hesitant to take it because it is unfurnished but in the end it the was the cleanest and most updated! Pictures to be posted in the next few days. Spent the day cleaning it today, washing all the walls, cupboards, floors, bathrooms.
The big night!!!
Here are the write ups about my art...
Printmaking
Printmaking is a new medium to me as an Artist, and exploring monotypes was a great introduction into this vast arena of printmaking. Monotypes typically only produce two images the original and what is called a ghost print from the ink that is left over on the plate. Most artists will manipulate the ghost image either on the plate itself or after it is printed on paper. I chose the later, and varied the image after it was printed with chalk pastels and sometimes Chinese ink.
I have been a sculpture for 15 years in the medium of clay and have worked with the female form for the majority of that time. It was second nature for me to translate the female form to paper. I wanted to showcase segments of the female body and concentrate on enhancing the backgrounds of the print by using vibrant colours and enhancing the patterns that were created in the print making process.
I created a series of prints that show tattooing on the body, which is my way of bringing to light the rich history of female tattooing here in Fiji. This account of ritual female tattoo was brought to my attention by my “soul sister” Josie and her tireless investigation of the empowering ritual of female tattooing that occurred here in Fiji over 90 years ago. This series is dedicated to her and her journey to showcase the women of Fiji empowered and their sacred role in society, as consecrated beings. Blessed be the Feminine Devine and Josie for her pioneering work.
Portraits
In my series of painted female portraits I am exploring a theme I have been investigating for years, mark making and symbols that are used around the globe. After extensive research it has been revealed to me how similar our symbols are. Sometimes, it is even difficult to discern which area a symbol comes from if shown out of context, thus reinforcing my personal belief that we are all one.
In this group of paintings I am taking the concept that we are all one, one more step. Each woman is of a specific ethnic origin and the symbols that make up her hair are representing a different ethnic group. I want the paintings to reflect the rich tapestry of our cultures that influence us, and how each and every culture can be represented through their symbols. How closely our symbols link us together as one people, rich in different cultural treasures that we can embrace, enjoy and share with each other. In a world that is constantly claiming things, land, resources as mine, not yours, my way, not your way, I want to share the idea of looking at our similarities that bring us together, not our differences that keeps us apart. One nation made up of all cultures cohabitating on one planet; respecting, honouring, and supporting each other and our home called earth.
Bamboo
As a result of being a Canadian and living on the West coast, I have had the honour of being exposed to the traditions of our aboriginal people and one of their art forms, the totem poles. I wanted to bring this tradition from my homeland and represent the totem with a South Pacific flavour. I did this by using the bamboo plant that grows here in Fiji and plays an important role in Fijian culture.
The bamboo installation is my investigation into mark making and what I consider the beginning of art and its evolution to present day symbols. On most of the bamboo totems there are areas that are unpainted where I etched rock art (petroglyphs) from Fiji and the South Pacific. I then took 3 of the bamboo poles to represent the Lapita pottery markings; the next 3 represent tapa symbols from across the South Pacific. Lastly, two of the poles show symbols from around the world and the final pole is my own creation.
While working on this installation I was struck with the idea of having blank pieces of bamboo that you can mark and leave your symbol behind, to become a part of this journey of mark making, of creating the beings of art.
Printmaking
Printmaking is a new medium to me as an Artist, and exploring monotypes was a great introduction into this vast arena of printmaking. Monotypes typically only produce two images the original and what is called a ghost print from the ink that is left over on the plate. Most artists will manipulate the ghost image either on the plate itself or after it is printed on paper. I chose the later, and varied the image after it was printed with chalk pastels and sometimes Chinese ink.
I have been a sculpture for 15 years in the medium of clay and have worked with the female form for the majority of that time. It was second nature for me to translate the female form to paper. I wanted to showcase segments of the female body and concentrate on enhancing the backgrounds of the print by using vibrant colours and enhancing the patterns that were created in the print making process.
I created a series of prints that show tattooing on the body, which is my way of bringing to light the rich history of female tattooing here in Fiji. This account of ritual female tattoo was brought to my attention by my “soul sister” Josie and her tireless investigation of the empowering ritual of female tattooing that occurred here in Fiji over 90 years ago. This series is dedicated to her and her journey to showcase the women of Fiji empowered and their sacred role in society, as consecrated beings. Blessed be the Feminine Devine and Josie for her pioneering work.
Portraits
In my series of painted female portraits I am exploring a theme I have been investigating for years, mark making and symbols that are used around the globe. After extensive research it has been revealed to me how similar our symbols are. Sometimes, it is even difficult to discern which area a symbol comes from if shown out of context, thus reinforcing my personal belief that we are all one.
In this group of paintings I am taking the concept that we are all one, one more step. Each woman is of a specific ethnic origin and the symbols that make up her hair are representing a different ethnic group. I want the paintings to reflect the rich tapestry of our cultures that influence us, and how each and every culture can be represented through their symbols. How closely our symbols link us together as one people, rich in different cultural treasures that we can embrace, enjoy and share with each other. In a world that is constantly claiming things, land, resources as mine, not yours, my way, not your way, I want to share the idea of looking at our similarities that bring us together, not our differences that keeps us apart. One nation made up of all cultures cohabitating on one planet; respecting, honouring, and supporting each other and our home called earth.
Bamboo
As a result of being a Canadian and living on the West coast, I have had the honour of being exposed to the traditions of our aboriginal people and one of their art forms, the totem poles. I wanted to bring this tradition from my homeland and represent the totem with a South Pacific flavour. I did this by using the bamboo plant that grows here in Fiji and plays an important role in Fijian culture.
The bamboo installation is my investigation into mark making and what I consider the beginning of art and its evolution to present day symbols. On most of the bamboo totems there are areas that are unpainted where I etched rock art (petroglyphs) from Fiji and the South Pacific. I then took 3 of the bamboo poles to represent the Lapita pottery markings; the next 3 represent tapa symbols from across the South Pacific. Lastly, two of the poles show symbols from around the world and the final pole is my own creation.
While working on this installation I was struck with the idea of having blank pieces of bamboo that you can mark and leave your symbol behind, to become a part of this journey of mark making, of creating the beings of art.
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| jays art show |
Thursday, December 06, 2007
Cyclone heading towards Suva
http://www.met.gov.fj/aifs_prods/65648.html
The art show went well I will be putting up pictures over the next few days. I am heading out to get some water and money and bread! The storm is suppose to hit this area around 6pm.
The art show went well I will be putting up pictures over the next few days. I am heading out to get some water and money and bread! The storm is suppose to hit this area around 6pm.
Sunday, December 02, 2007
Old timers rugby game the second of the series
This is the second game in a series of Old timers Rugby. I am not sure who makes up the members but some how they all know each other. Alfred and Stan went to USP together in the 90's
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| rugby |
The boys
Here are some more shots of Cathlene and Bowser the neighborhood dogs that love to come up and hang out on my veranda. Stan and I were offered Cathlene when she was a baby and we said no, I wish we had said yes in fact I would have both of these dogs. They are so lovely and gentle, except when bowser is excited and likes to take little nips at you!
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| my dogs |
Flowers of Fiji
I have not put any pictures of the flowers I buy for the house in a long time. So here are some photos of the flowers I have in my house right now, and all of them cost me $10.00 Fijian total! Which is about 6.40 Canadian.
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| flowers of fiji |
Dana Leung Concert
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| concert- Dana Leung |
A concert in Fiji sponsored by the American Embassy. We had a great time and the music was great!
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