The Auckland War Memorial Museum

The first group of objects I was drawn to was those displayed in the Cook Islands section. This small corner of the museum floor contains two rows of artifacts displayed in glass cabinets, a patchwork quilt, and a collection of jewellery. Initially I was attracted to the brighter colours and more floral style than exhibited in other areas, such as in the Tongan and Samoan sections.

Tivaevai taorei, patchwork quild, designed and made by Mrs. Kaitamaki in 1969, Aitutaki

The Tivaevae taorei (patchwork quilt) by Mrs Kaitamaki combines traditional tapa cloth styles and functions with quilting, which was introduced by the missionaries, a theme I reflected on in relation to Tongan culture in my previous blog. Like the Tongan tapa cloth, the tivaevai are usually made by several women at once, and are handed down from mother to daughter, representing family love and status. Tivaevai are made using patchwork and appliqué techniques. It was embraced enthusiastically by the women of the Cook Islands when the missionaries introduced quilting over a century ago, and has become a major expression of women's art in eastern Polynesia. They are displayed on special occasions such as christenings, weddings and funerals. This piece of brightly coloured art really stood out against the equally beautiful but less colourful tapa cloth and mats displayed in other Pacific Island sections. The cloths are displayed on a wall, which is appropriate given their size, shape and allocated space, but they were above the eyeline and it would provide better viewing if they were placed lower down. These pieces were very dimly lit and I felt this did not allow them to be viewed in their full glory, but this could be for a reason, such as colours fading. Had their been more space, it would be appropriate to place these items within context, by displaying them as they would be at a special occasion. A viewer glancing at this piece whilst walking past may assume it to be a mat, so perhaps displaying a photograph of the tivaevae in use beside the piece would provide instant context. During my research, I also found images of tivaevae hanging on lines at local Cook Islands markets - this would be a more interesting form of display.

Found image - Woman with tivaevae, Rarotonga, Cook Islands

The Cook Islands collection included floral jewellery and grass skirts made from natural resources and vibrant colours. In ancient times, the jewellery and head adornments were symbols of high ranking chiefly status and also referred to religion. They were made from permanent materials such as whale ivory and highly prized feathers. In modern times, these adornments are made from more temporary materials such as flowers and shells. The jewellery has become non demoncratic and non religious, and is worn as decoration for all occasions.

I captured this photo of locals dancing in traditional Cook Island costumes in Rarotonga, 2009. The bright colours reflect the energetic style of dancing, an art which is very important in the Cook Islands.

Rajah is a 13 ton male Indian elephant on display in a section depicting life of children in New Zealand during the early 1900s. Bought by Auckland Zoo in 1930 to give rides to children, it was decided six years later that he was not tame enough, and he was executed by a keeper, stuffed, and displayed in the museum.

This museum piece raises questions of human morality and responsibility. One may find it shocking to hear this great beast was slaughtered for such reason at the very hands of the people who bought him into that situation in the first place. It is, however, one of the few pieces in the museum which provides a true reason of how it came to be there. Perhaps the public would be more shocked if the true stories of many other artefacts were provided. Many pieces would have been stolen from pillaged villages in times of war and massacre, but the only information provided may be 'donated by...'.

I felt Rajah is a good representation of how museums are effectively tombs, removing objects out from the real world, where they have a more soulful value and context, and providing them a second cycle of life where they become merely an object for display, all life and sacredness, coldly removed. I also wondered why he was placed in a section surrounded by lollies and school uniforms, when he would have been better situated alongside other wild animals. This placement, in my opinion, further demeans and disrespects the situation of this piece. It is ironic that in life he refused to provide rides for children at the zoo, but for the next however many years, he would be involuntarily surrounded by the artefacts of children.

I learned nothing scientific from this museum display.

The third area I would like to mention is the area which portrays Maori culture, and a history of the Maori people in New Zealand. This room communicates the traditional Maori culture through various displays. There is a Maori cultural performance of singing, dancing and poi, where the actors wear the traditional attire, which costs $25.00. Other displays include carvings, installations of examples of architecture, musical instruments, wakas and toys.

I was particularly interested in the fishing equipment on display. It is portrayed in a fashion which implies it is respected and interesting. It does not include any information on the background of Maori fishing within New Zealand - Maori fishing rights were removed by settlers during the colonization of New Zealand and they have spent years attempting to receive these right back. Even though the Treaty of Waitangi stated that Maori fishing rights would not be affected by the arrival of Pakeha, laws passed since removed all rights entirely, and it has taken years to restore a type of balance.

The objects selected in this room romanticise the Maori society within New Zealand. Everything is implied to be in the past rather than the present and there is no mention of the wars, suffering or tremendous struggles and poor treatment of the Maori by settlers. This piece of history is omitted from the exhibition, and this may give the tourist the impression of a history peaceful relationship of Maori and Pakeha.



Left to right:

The positive relationship is also conveyed in the paintings of Maori chiefs on the wall by settlers. They are painted in their cultural attire, and their pounamu, moko and traditional clothing is highlighted by the artists, implying that the culture is respected. The frames a look important, They are portrayed to look wise and there is a sense of importance, as only upper class citizens were painted in such a way at that time, although this was probably to send back to England to provide visual information of the natives. It is interesting that in almost none of the paintings does the chief meet the gaze of the viewer. The narrative below informs the viewer that one of them was married to an English woman, and she came to live with him in Parnell. In fact, indigenous people were treated as savages. There were bloody wars. Their laws were abolished, and their land, taken from them. The Maori language was eventually banned. These are some examples of the turbulent relationship between Maori and Pakeha. A tourist viewing his exhibition without much prior knowledge of the history of New Zealand would leave this collection of work being none the wiser of the bitter struggle between cultures. These paintings are also of the Maori people as portrayed by Pakeha, not themselves. They are of chiefs. The settlers promised that the chiefs would be treated upper class gentlemen. This is an idea which may be conveyed to a viewer through these paintings, but in truth, chiefs were abused, arrested, their land pillaged, and their voices ignored by the colonizers. This is particularly interesting, given that the name of the museum is the Auckland War Memorial Museum. Although it is not referencing those particular wars, one would thing that they ought to be remembered as part of recent Maori history.

Another interesting exhibit in this room is the map of New Zealand which uses the Maori place names. When New Zealand was colonized, there was a struggle over land ownership. The British passed a law to the effect that the Maori could keep only the land they lived on and used for farming. This allowed the Crown to claim nearly all the land in New Zealand, as it was mostly uninhabited. It mattered not to the settlers that the Maori people had been there for centuries and that they already had names for the locations throughout the country - this was dismissed entirely, and new maps were created at the whim of the Pakeha. There is no context surrounding this map, other than that it demonstrates the Maori place names as of historical interest. There was a huge struggle as the settlers led the Maori to believe, through the Treaty of Waitangi, that their land rights would not be affected. This map provides some cultural insight which would interest a tourist, but they would again receive a completely romanticised view of New Zealand, and the idea of Maori culture belonging mostly in the past.

This exhibition portrays a Maori culture as modern Pakeha in New Zealand would like the rest of the world to see it - as a peaceful, respected, balance of cultured and a unique and important cultural history. It shunts the culture of the Maori people into the past, as society has been doing for years, and oppresses them. It seems strange to me that the artefacts on display were in fact a reality in this country until very recently in history, yet they are pushed very much into the past, and with no real explanation. Clearly, there are some aspects of Maori culture which are not or practical use since the colonization of New Zealand, but some are used every day. Pounamu is used, for example, for Maori healing. The jewellery designs are still commonplace, but they are made less sacred by displaying them in cold cases on a wall and flogging rip off versions in gift shops. The Maori people are obviously very part of society in New Zealand today, but this history of Maori culture does not acknowledge this.

Response to Tongan Style at Fresh Gallery Otara - Week 6

Tongan Style at Fresh Gallery, Otara, is an exhibition of works by five Auckland based Tongan women who have translated traditional style Tongan art, such as the designs of tapa cloth, into more contemporary mediums of embroidery and crochet. This carries traditional themes utilizing materials which became available when Westerners arrived. They have created an art which incorporates cultural wealth as well as use, such as linen for occasions and clothing. Fresh Gallery is located in an area inhabited largely by the Pacific Island community, and this is evident in the exhibitions they create to attract the local public and, in this case, involve local artists. They are careful to honour and respect the culture (which is not always the case when more westernised societies display indigenous art eg Aboriginal art) in various ways, such as by printing the information in Tongan as well as English. This exhibition opening celebrated and involved the community by comprising of a traditional Tongan kava ceremony lasting well into the night.

My photographs of locals at a Kava ceremony I attended in Vava'u, Tonga

The designs found on the sheets and pillow cases derive from those evident in Tongan tapa cloth, a bark cloth from the mulberry tree, which is painted. Although it was orginially created in several Polynesian countries, Tonga is the only country in the world in which tapa cloth is still widely made. It is valued highly as it is such a lengthy process to make and paint - many people contribute their efforts towards making a piece of tapa cloth at once, and it is usually several metres long. A family in Tonga is considered poor, not according to how much money they have, but by whether they have tapa to give in times such as marriages and funerals. Its main use prior to other textiles becoming widely available was to make clothing. This is not the case now, as it loses strength when wet, although tapa is still worn on formal occasions. It could also be used as as a blanket at night as it has outstanding insulation qualities, although tapa is usually stored away and brought out only for special occasions. When I was in Tonga in 2008 for the Coronation, a long mat of tapa was laid out along the road, which the King's car arrived on, as a red carpet may be in Western societies. As mats are passed down from generation to generation, they aquire higher status over time. A collection of royal mats at the palace form the true crown jewels of Tonga, and these are only displayed on high state occasions, such as the death of a family member or a Coronation. I considered that these mats along the may be from that collection, but in fact they are on the road and the car drives over them, so they are perhaps not the most valuable in the collection! This demonstrates some context of Tongan tapa - it is rich in cultural wealth as well as use.

Tongan Tapa Cloth

Making Tapa
A photo I took of local ladies and children dancing in traditional tapa cloth attire, Ha'apai, Tonga
I took this photograph of King George Tupou V arriving at his Coronation. This is just outside the venue - you can see the tapa cloth has been laid out on the road for his arrival. Nuku'Alofa, Tonga

This knowledge sets the context for the pieces on display in Tongan Style. The visual links between tapa and the pieces on display are evident, for example in the unique patterns. Traditional designs are celebrated using not tapa cloth, but embroidery and crochet. Sheets, pillow cases and clothing have been carefully and beautifully crafted with this medium. The exhibition also includes clothing in the style of 'Tefisi', a unique look originating from a village in the islands of Vava'u, in the north of Tonga, which combines crochet and embroidery with freestyle construction, similar in a way to Western clothing.

Left to right: Tangapilo matala'i'akau (1995) by Lingisiva 'Aloua, Tupenu matala'i'akau (1973/74) by Kolokesa Kulikefu, Tupenu & Tangaipilo matala'i'akau (2002) by Lingisiva 'Aloua

The first piece I will mention is Tupenu matala'i'akau (1996), an embroidered sheet, by Manuesina Tonata (below). The visual similarity is evident between this and the tapa cloth in the patterns, including pekepeka designs, referring to bats or small birds in flight, such as the pacific swallow. This reference to nature and the land is common throughout the exhibition. Many of the pieces incorporate flower designs. The Tongan community is largely sustained from the land and fishing, so the flowers are a bright, decorative homage to this.

Found image of traditional Tongan formal attire

Western style clothing is usually combined with the traditional styles of formal Tongan attire, as pictured. It is common to layer Western style items and combine with traditional Tongan pieces around the waist. The 'Tefisi' clothing has its own spin on this style - it uses crochet and embroidery to create a fashion unique to its place of origin in Vava'u. Teunga lotu (September 2009) by Noma 'Ofa-Ki-Nu'usila Talakia'atu demonstrates this well with the delicately sewn crochet slip and multiple layers. The style is clearly similar to the traditional Tongan attire I have pictured above, but unique in this crochet. The feathers for the waist ornament, or kiekie fulufulu'imanu, are exotic, as they were brought back to New Zealand after Noma visited the United States. This reference to birds ties in with the theme of being close to the land and celebrating this. Here, we have strong Tongan cultural wealth as well as influences from Western society which have become more available in the recent years.

Found image of Tongan ladies' traditional funeral attire as they kneel on tapa cloth to mourn

Next to Teunga lotu, we have Teunga tauanga'a (2000) by the same artist. A mourning outfit for Tongans consists of a funeral waist mat (ta'ovala faka'ahu) worn over black clothing. It is my favourite as the use of crochet is so simple yet elegant but remains firmly in the traditional Tongan formal style. The artist has added her own artistic originality to this outfit - the dress was purchased from the US and the artist added the crochet and beads herself. This special outfit was worn for Noma's church misinale at a time when she was still mourning the death of her biological mother Sela Ha'unga. Comparing it to the found image of ladies mourning, it is evident she has carried the most important features of the outfit through and added her own personal twist.

Teunga tauanga'a, by Noma 'Ofa-ki-nu'usila Talakia'atu

The pieces in this exhibition demonstrate a contemporary approach to traditional Tongan styles in an innovative way with available textiles. In my opinion they are beautiful and original artworks and I love that they are so strongly part of this unique Tongan culture.

Response to The 4th Auckland Triennial - Last Ride in a Hot Air Balloon - Week 5

Last Ride in a Hot Air Balloon is a theme which encompasses risk and adventure through many pathways, such as political, economic and personal interationships. A view from a hot air balloon looks down from above, from a different angle to how we would usually view things - some of the pieces are from a political space where they cannot openly comment and are therefore open to interpretation. The fact that it is the 'last ride' gives a sense of redundancy and a new era.

A piece I particularly enjoyed was Making Useful Things Useless by Robert Hood. The final journey of his Toyota Corolla was the drive from his Christchurch home to Auckland for the Triennial. Hood then removed all the non metal components and shredded his car to create the installation. This echoes the theme of a last adventure and a sense of redundancy and a new era for the recycled car. The artist is highlighting the way we discard and upgrade and imposes the question upon the viewer - what happens to the old when we move on to the new? He is highlighting the leftovers created by our materialistic society and how much space they take up. This adventure of his car echoes environmental risks the viewer may not otherwise consider. I felt it was a strong piece with an important message and fitted well into the theme.

I struggled to find as strong a connection with the theme in work of ex gymnast Alicia Frankovich. She portrays the adventure of the human body, and the risks we put it through in use, through objects which take on aspects of the mechanism of the working body. The central piece portrayed a fountain with a cycle of red liquid being pumped through a Martini bottle. This represents a blood system, the risk we put our body through by drinking, the journey of the cycle, and forms a counterpoint to foutains usually found in public places. Another of her pieces encompassed a ball in a sling, representing a ball & socket joint, body movement and the potential of the body to use as we will. These pieces are clearly relative to the theme but in my opinion seemed a more loose interpretation than others in the exhibition and although related to the themes of risk and adventure, did not reflect these as strongly as other pieces.

Room With A Bird by Bundith Phunsombatlert shows an obvious connection to the theme as it takes the viewer through a physical adventure and plays with our perception of reality. Bird perches hang down to head height from the ceiling of a corridor and force the viewer's path to wind in a certain direction. The sound of birds and movement of the perches triggered by a motion sensor creates an eerie feeling of a phantom presence. A bird seemingly observes viewers passing through, but we are forced to examine the connection between seeing and knowing - the evidence of a bird is there, but we cannot see it. The bird flits between real and imaginary status, evading capture and description. This piece stimulates the viewer physically and psychologically, imposing itself and creating adventure in both senses, and the risk of encountering the unknown.

I would like to mention one more piece which I felt worked well within the theme. Singing Cloud by Shilpa Gupta examines the relationship between terrorist and activist, and risk and survival. Her work was created in the wake of the Mumbai bombings and reflects the risks we take in society every day without necessarily even realising, whilst also considering social fear. A collection of microphones create an threatening, dark, cloud, recording select sounds and playing them back again, as if this cloud were raining sounds. The implication is that big brother is always listening. A board of flights to terroist related hotspots also relays slogans such as "can you be dead and still have a religion?", have a sub religion?", "have a race?" etc. It is based on research of psychology of fear, prejudice and threat. The artist examines the common journeys and risks people take every day, from the recording of our every movement to the impending doom of being in the wrong place or boarding the wrong flight. I liked this piece as it is contemporary and relevant to society and also worked well in the theme.

I felt that all the pieces I viewed fitted the Triennial theme at least in some way, some more strongly than others, although overall there could have been more risk incorporated in the presentation - I did not find any of the pieces shocking, and feel that an art piece in itself would be risky if there were elements of shock and pushing boundaries. I also felt that whilst the pieces portrayed new eras, there were none which I found to be completely innovative in terms of their place in the art world in themselves.

In my opinion, in such an international event of the arts, there should have been at least some Maori representation. The lack of this demonstrates a lack of support for local Maori artists, and would obviously have been an excellent opportunity for up and coming Maori artists to showcase their work to an international audience.

One Maori artist who may have fitted the criteria for the Triennial is Rua Paul. He uses Maori artifacts, taking them overseas and developing them with exotic elements he encounters along the way. He is literally creating art by taking carvings on an adventure and risking transforming traditional Maori artifacts, which depict history and mythology, by combining these with exotic influences and questioning the dividing line between cultures, returning with fresh, new perspectives.