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Arts of the Pacific Islands (Art History)

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Mar 15th, 2018
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  1. Introduction
  2. This article treats the arts of the Pacific Islands, often referred to in literature as Oceanic art. In geographical terms the Pacific Islands/Oceania specifically refers to the island groups lying within the Pacific Ocean basin. Pawley 2005 (cited under Early Oceania: The First Colonizers) surveys the earliest settlers, non-Austronesian ancestors of the Papuan language groups, who arrived in New Guinea and settled the landmass of New Guinea and several adjacent archipelagoes up to 40,000 years ago. The Lapita culture, a precursor of Austronesian settlers, was a prehistoric Pacific Ocean people from c. 1600 BCE to c. 500 BCE, described in Kirch 1997 (cited under Early Oceania: The First Colonizers). Mobile, resourceful, and capable, the Austronesian peoples, masters of the art of long-distance voyaging, arrived in waves of migration over the past three millennia, The high-quality production Vaka Moana (see Howe 2007 [cited under Early Oceania: The First Colonizers]) is an excellent online resource on the settlement of Austronesian people within the Pacific Ocean basin and coastal fringes of New Guinea, adapting their language, culture, and lifestyle to its diverse environments. Since Magellan sailed into what he named the Mar pacifico in 1520, the European naming of the Pacific region exemplifies how geographical and art historical terminology and lines of demarcation have shifted over two centuries. Charles de Brosses coined the names Polynésie and Australasie in his compendium of the South Seas (Brosses 1756 [cited under the Pacific Region/Oceania]), followed by Jules Dumont d’Urville, who devised the name Austronesia and developed the idea of the regions of Polynesia, Melanesia, and Micronesia (Dumont d’Urville 1832 [cited under the Pacific Region/Oceania]). From approximately the 1940s to the 1990s, when the term Oceanic art predominated, d’Urville’s schema was adapted to describe the culture and style regions determined as Polynesia, Melanesia, and Micronesia. Polynesia was mapped as a triangle traced over the Pacific Ocean from Hawaii to Easter Island (Rapanui) to New Zealand (Aotearoa), encompassing Tonga, Samoa, Niue, the Cook Islands, Wallis and Futuna, Tokelau and Tuvalu, the Marquesas, the Society Islands, the Austral Islands, and New Zealand (Aotearoa). Melanesia extended from the great island of New Guinea and its outlying archipelagoes to the Solomon Islands and Vanuatu to New Caledonia and the Torres Strait Islands. Fiji is considered to be partly Polynesian and partly Melanesian. In the North Pacific, Micronesia includes Guam, Yap, Chuuk, Pohnpei and Kosrae, the Mariana and Caroline Islands, Kiribati, Palau, the Marshall Islands, and Nauru. Numerous outliers traverse the designated zones, such as the Polynesian outliers of Rennell, Bellona, and the Santa Cruz group, which lie in the waters of the Solomon Islands. Bühler, et al. 1962 (cited under General Overviews of Oceanic Art, 1940s to 1990s) includes Australia’s Aboriginal people in its overview of Oceanic art, but Aboriginal Australians and their distinctive cultures are not included in this article. In the era of Western imperialism during the 19th century, the world was divided into culture areas based on race; the indigenous peoples of Africa, Oceania, and the Americas, who were non-Islamic, non-Buddhist, non-Hindu, and non-Christian, were lumped together as “primitive” native races. It was not until after World War II that Oceanic art emerged as a subject within Western art history; however, the aesthetic criteria and artistic categories encapsulating it were invested in the Euro-American cultural realm and Oceanic art was dominated by Western art history’s discourses, taxonomies, connoisseurship, collections, and literature. Although some indigenous Pacific writers can be cited, including Mary Kawena Pukui, David Malo, and Te Rangi Hiroa, the early literature on Pacific art was based on the observations and opinions of Europeans and on provenanced pieces acquired on voyages of exploration and scientific expeditions or collected by ethnographers, missionaries and traders, which came to represent the canon of Oceanic art within Western collections of it. Following the demise of the colonial era, the philosophers of the new Pacific, such as Epeli Hau’ofa and Hirini (Sidney) Moko Mead, asserted their independence and identity, informed by indigenous knowledge systems. In contemporary use, “Oceania” and “Oceanic art” are still current terms, but when used by Pacific authors, as in Hau’ofa 2008 (cited under the Pacific Region/Oceania), they have shifted to emphasize the identity and interconnectedness of Pacific peoples. As Pacific Islanders seek self-descriptive terms, the Polynesian word for “ocean” (Moana), as in Moana arts, and “Pasifika,” for people of Pacific heritage, are popular but have yet to enter common use in literature. Today Moana–Oceania encompasses a great diversity of indigenous people, including diasporic and settler populations with disparate cultures and sets of resources. A great diversity of physical environments exists within the vastness of this “continent of islands” as well as in the cultural, social, economic, and political circumstances of the people who now inhabit it. Throughout the region, people have different vantage points—indigenous and nonindigenous, past and present—from which they observe, discuss, and value art and participate in the cultural life of their communities. Interconnecting these realms is what Nicholas Thomas describes as “entangled histories,” a continuous network of encounters and exchanges, influencing both Western and indigenous art and thought. In the 21st century, art historians are particularly aware that the practice of art history is polycentric; it is released from the constraints of its Eurocentric ancestry and includes the ideologies, authorship, and values of Pacific peoples. This article reflects the shift beyond sets of artworks and their historical condition to new avenues of research, driven by indigenous agency and collaborative enterprise, which straddle time periods and delimit categories of artworks. Due to the diversity of Pacific cultures and forms of expression, it has become impossible to contain all the arts of the Pacific Islands within the overview format. The Pacific region includes twenty-four nations and territories and more than 2,000 distinctive cultural groups. Although the Western geographical framework of the region that describes three ethnic-cultural zones—Polynesia, Melanesia, and Micronesia—still predominates, the debate within the region about such imposed criteria is active and recognition is widespread of the need to reposition attitudes, concepts, and discussions about Pasifika artists and their art. The growing body of literature by Moana authors on all aspects of artistic expression, including titles cited throughout this article, is timely and deserving of greater dissemination.
  3.  
  4. General Overviews of Oceanic Art, 1940s to 1990s
  5. Oceanic art did not have an established place as a distinctive category in the literature on world art history until after World War II. Instead, it shared the rubric of Primitive Art along with the native arts of Africa and the Americas, a vast spectrum of artistic activity that was absent from fine arts museums. Previous recognition of the aesthetic value of the arts of Africa, Oceania, and the Americas, such as by Cubist painters or surrealists (see Bounoure 1992), were connected to the art group’s own preoccupations and interests (see Modernist European Artists Interpretations of the Pacific). The publications listed in this section cover the period from the first post–World War II survey in 1946 in the United States through the establishment of Oceanic art in art museums, as a field of research in art history and as prestigious objects in the art market. The Arts of the South Seas exhibition at the Museum of Modern Art in New York displayed magnificent examples of art from the Pacific Islands, locales that had become familiar to Americans in the war years; Linton and Wingert 1946, an edited catalogue, is said to be the first to provide a representative picture of the diverse art styles of Oceania. In 1954, Nelson A. Rockefeller established the Museum of Primitive Art in New York to display the artistic excellence of the arts of Africa, Oceania, and the Americas and their historical significance (Newton 1978). As the term Primitive Art was gradually expunged in art historical and museological use, the term Oceanic art became favored for the arts of the Pacific region. The move toward recognition of the artistic products of Oceanic peoples as “art” in metropolitan cultural institutions was led by influential anthropologists and based on their long periods of fieldwork as well as on extensive knowledge of museum collections, exemplified in Gathercole, et al. 1979. A significant contribution, Leenhardt 1950 views art as a social phenomenon, which, along with language, myths, and customs, has shaped Oceanic societies. Jean Guiart was a student of Leenhardt who became an internationally recognized specialist in the arts and religions of Oceania, especially Melanesia; a major work is Guiart 1963. The aim to establish the prestige of Oceanic art as “art” worthy of the highest level of Western scholarship and connoisseurship was furthered by Carl A. Schmitz (Schmitz 1971). Oceanic art featured in ethnographic museums, although some influential voices advocated for “art from remote places” to be admitted into the Louvre, including the author of Fénéon 1920. The international tribal art market still places high value on exceptional pieces with a proven provenance, which serve the interests of serious art collectors, exemplified in Meyer 1995. The volumes in this section now serve as a benchmark; reading them in conjunction with surveys written after 2000 reveals the considerable attitudinal shift that has taken place toward the arts of the Pacific in recent years.
  6.  
  7. Bounoure, Vincent. Vision d’Océanie. Paris: Éditions Dapper, 1992.
  8.  
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  10.  
  11. Exhibition catalogue (French edition) illustrating 175 pieces of Oceanic art from the collection of the Dapper Foundation. The text by Vincent Bounoure provides an interesting perspective on the appreciation of the arts called “primitive,” or “first” arts from a critic and theorist actively engaged with the surrealist movement.
  12.  
  13. Find this resource:
  14.  
  15. Bühler, Alfred, Terrence Barrow, and C. P. Mountford. Oceania and Australia: The Art of the South Seas. London: Thames and Hudson, 1962.
  16.  
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  18.  
  19. While appreciating the aesthetics of form and quality of selected types of Oceanic art, the authors express the view that objects made and used within traditional societies were of the most value.
  20.  
  21. Find this resource:
  22.  
  23. Fénéon, Félix. “Enquête sur les arts de lointains: Seront-ils admis au Louvre?” Le Bulletin de la vie artistique (1920).
  24.  
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  26.  
  27. The influential art critic Félix Fénéon published the opinions of the “twenty ethnographers or explorers, artists or aestheticians, collectors or dealers” in his 1920 survey, demonstrating that it would be difficult to introduce these objects to museums, despite the excitement that art from Africa, Oceania, and the Americas had generated in avant-garde circles. Translated as: “Will the arts from remote places be admitted into the Louvre?”
  28.  
  29. Find this resource:
  30.  
  31. Gathercole, Peter, Adrienne Kaeppler, and Douglas Newton. The Art of the Pacific Islands. Washington, DC: National Gallery of Art, 1979.
  32.  
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  34.  
  35. A vast spectrum covering four hundred objects borrowed from more than eighty museums and private collections, with interpretive essays on the designated culture zones of Polynesia, Melanesia, and Micronesia, which surveys objects from the time of first contact with European collectors that began to stimulate changes.
  36.  
  37. Find this resource:
  38.  
  39. Guiart, Jean. The Arts of the South Pacific. New York: Golden Press, 1963.
  40.  
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  42.  
  43. Abundantly illustrated with masterpieces of Oceanic art, the noted French anthropologist Guiart gives consideration to the cultures that produced the artworks. In his extensive fieldwork and career at the Musée de l’Homme, Guiart widened perspectives on how Oceanic art should be discussed and presented.
  44.  
  45. Find this resource:
  46.  
  47. Leenhardt, Maurice. Arts of the Oceanic Peoples. London: Thames and Hudson, 1950.
  48.  
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  50.  
  51. French pastor and ethnographer Maurice Leenhardt was a pioneer in participant observation among the Kanak people of New Caledonia from 1902 to 1927. On his return to Paris he founded the Musée de l’Homme and taught ethnography and Oceanic languages. A representative survey concentrating on Melanesia and Polynesia. English translation by Michael Heron of Arts de l’Océanie (Paris: Éditions du Chène, 1947).
  52.  
  53. Find this resource:
  54.  
  55. Linton, Ralph, and Paul S. Wingert. Arts of the South Seas. New York: Museum of Modern Art, 1946.
  56.  
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  58.  
  59. The first post–World War II survey bringing the arts of the islands made familiar to Americans in the war years, including the Solomon Islands, New Guinea, Truk, the Gilbert and Caroline Islands, and the Marianas.
  60.  
  61. Find this resource:
  62.  
  63. Meyer, Anthony J. P. Oceanic Art=Ozeanische Kunst=Art océanien. Cologne, Germany: Konemann, 1995.
  64.  
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  66.  
  67. The author is an art dealer in Paris specializing in Oceanic art; a prestigious volume with magnificent photography, produced for connoisseurs. English, French, and German text with photographs.
  68.  
  69. Find this resource:
  70.  
  71. Newton, Douglas. Masterpieces of Primitive Art. New York: Alfred A. Knopf, 1978.
  72.  
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  74.  
  75. Introduction by Nelson A. Rockefeller. Rockefeller’s perspective on his vision to establish a Museum of Primitive Art, acknowledging the arts of Africa, Oceania, and the Americas as objects of artistic excellence, illustrated from his own collection.
  76.  
  77. Find this resource:
  78.  
  79. Schmitz, Carl August. Oceanic Art: Myth, Man, and Image in the South Seas. New York: Abrams, 1971.
  80.  
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  82.  
  83. Following many years of fieldwork in Melanesia, Schmitz became the director of the Museum für Völkerkunde in Basel, Switzerland. He proposed a systematic method of analyzing ethnographic data into culture, history, art, and religious art. This comprehensive book marks the culmination of his work. This massive volume, structured around the main culture areas he perceived as New Guinea, Melanesia, Polynesia, and Micronesia provides a comprehensive survey documenting the arts of Oceania.
  84.  
  85. Find this resource:
  86.  
  87. Recent Overviews of Oceanic Art/Arts of the Pacific, 1990s to Present
  88. This section features publications that demonstrate the perceptible shift in art history’s lines of demarcation, as research constantly broadens its scope and the conventions of typology and gender are unbound from their stereotypes. Volumes on Schmitz 1971 cited under General Overviews of Oceanic Art, 1940s to 1990s concentrate on sculptural objects made by men, with the aesthetics of form being of paramount interest; significant art forms made by women, which are highly valued within Pacific societies, are disregarded. In more recent literature and exhibitions, a notable, ongoing trend has been to delimit the Eurocentric categories, stereotypes, and gender bias constructed around the arts of Pacific peoples and discover them through the perspectives of Pacific artists and writers. An example from the 1980s, which represents a significant step, is Feldman and Rubenstein 1986, a survey of Micronesian art forms in which fiber arts is treated as art instead of included within a lesser category such as craft or women’s utilitarian objects. A magisterial volume by three of the leading scholars in Pacific art, Kaeppler, et al. 1997 demonstrates that art objects are more than aesthetic forms with excellence in design and craftsmanship; they are also expressions of hierarchy, status, authority, and prestige that circulate within systems of gifting and exchange among related groups. Hooper 2006, a study of Polynesian high-status objects, reveals that artworks may also embody ancestors, deities, and symbolic references to religious beliefs. From the 1990s, the Western convention of separating visual and performance arts became increasingly challenged. An illuminating work, Kaeppler 2008 discusses how visual arts are integrated with musical composition, song, performance, oratory, and poetry. Bolton, et al. 2014 reviews the impact of indigenous agency in museums and exhibitions and how this is rapidly deconstructing Western conventions and increasing indigenous agency in the areas of display and authorship. Brunt and Thomas 2012 is an exemplary collaboration with Pacific art historians and curators that diverts scholarship on Oceanic art from metropolitan museum collections to the dynamic creative processes within the Pacific region and the interplay of intercultural exchanges. The latest anthology from the Pacific Arts Association, Allen and Waite 2014, acknowledges the range and scope of the repositioning of Pacific arts that is currently in process, whether in museum studies or in fieldwork, customary, or innovative art forms. This section should be read in conjunction with the sections Arts of Pacific Societies by Region or Country and Pacific Art Forms, as it is increasingly problematic to encompass within the format of an overview the great diversity of the arts of Pacific Islands peoples, both of the past and of the present.
  89.  
  90. Allen, Anne E., and Deborah Waite, eds. Repositioning Pacific Arts: Artists, Objects, Histories. Canon Pyon, UK: Sean Kingston, 2014.
  91.  
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  93.  
  94. The contributors investigate both customary and modern Pacific art from across the region that reveals tensions between tradition and innovation and the inspiration this provides for contemporary artistic practice.
  95.  
  96. Find this resource:
  97.  
  98. Bolton, Lissant, Nicholas Thomas, Elizabeth Bonshek, Ben Burt, and Julie Adams, eds. Melanesia: Art and Encounter. London: British Museum, 2014.
  99.  
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  101.  
  102. Following the British Museum’s five-year Melanesia Project (2005–2010), this is a companion volume to one of the rich historical collections of Melanesian art and explores the relationships, past and present, between the museum and cultural producers in Melanesia.
  103.  
  104. Find this resource:
  105.  
  106. Brunt, Peter, and Nicholas Thomas, eds. Art in Oceania: A New History. London: Thames and Hudson, 2012.
  107.  
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  109.  
  110. A radical change in Oceanic art history, reorienting the study and appreciation of art to the creative centers of the Pacific and delimiting the boundaries of the arts of the Pacific.
  111.  
  112. Find this resource:
  113.  
  114. Feldman, Jerome, and Donald Rubenstein. The Art of Micronesia. Honolulu: University of Hawai‘i Art Gallery, 1986.
  115.  
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  117.  
  118. Published to coincide with “The Art of Micronesia” exhibition at the University of Hawai‘i, the authors venture beyond form and function to explore art, including fiber arts, as symbols of identity, power, and wealth.
  119.  
  120. Find this resource:
  121.  
  122. Hooper, Steven. Pacific Encounters: Art & Divinity in Polynesia, 1760–1860. Wellington, New Zealand: Te Papa, 2006.
  123.  
  124. Save Citation »Export Citation »E-mail Citation »
  125.  
  126. Working with an assembly of 270 fine pieces collected by European voyagers and missionaries, the author explores how such objects represent encounters between Europeans and Polynesians, including their different religious beliefs and cultural values.
  127.  
  128. Find this resource:
  129.  
  130. Kaeppler, Adrienne. The Pacific Arts of Polynesia and Micronesia. Oxford: Oxford History of Art, 2008.
  131.  
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  133.  
  134. Always taking a groundbreaking approach, Kaeppler adopts an inclusive view of what constitutes the arts of Pacific islanders, from canoes to personal adornment, fashion, performance, and oral arts.
  135.  
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  137.  
  138. Kaeppler, Adrienne, Christian Kaufmann, and Douglas Newton. Oceanic Art. New York: Abrams, 1997.
  139.  
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  141.  
  142. Following a lapse of interest in Oceanic art the Western art world, this benchmark publication, with its broadened research and theoretical approaches; includes magnificent photography and a detailed catalogue. Each section on Polynesia, Micronesia, and Melanesia is written by highly respected scholars. English translation of L’art océanien (Paris: Citadelles & Mazenod, 1993).
  143.  
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  145.  
  146. Panoho, Rangihiroa. Maori Art: History, Architecture, Landscape and Theory. Auckland, New Zealand: David Bateman, 2015.
  147.  
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  149.  
  150. Moving away from traditional surveys, Panoho structures discussion on Māori art in current art historical approaches and from a Māori perspective. Excellently illustrated with more than three hundred images, some specially commissioned, ranging from taonga (works of art), marae (carved meeting houses and grounds), and other focal points of Māori communities.
  151.  
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  153.  
  154. Reference Works
  155. The arts of the Pacific Islands are not yet well served by reference works, for example there is no equivalent to the Oxford Companion to Aboriginal Art and Culture, substantial historiographies, or dictionaries of artists. While world encyclopedias include brief sections on Pacific or Oceanic arts and cultures, Gleizal 1986 and Lal and Fortune 2000 are encyclopedias that are most pertinent to the cultures of the Pacific Islands. Apart from entries in encyclopedias, references to the Micronesian island groups are scant, with Levesque 1992 providing source documents that may be valuable to researchers. The ever-expanding availability of online resources increases the range of reference tools easily accessible to scholars, students, and general readers, and they are under constant review. The selection of online references demonstrates the scope: the Metropolitan Museum of Art’s Heilbrunn Timeline of Art History Oceanic/Pacific Art provides a section on Oceanic/Pacific art with timelines and seventeen thematic essays ranging over time, place, and specific art forms. Whitcombe’s compilation of resource material Art of Pacific Cultures is useful for education, and Zeroland Oceanic Arts and Cultures provides wide-ranging coverage that tracks contemporary art and artists in New Zealand. The intensive Easter Island Sculpture Project developed in van Tilburg 1982 documents the continuous development of field research projects in Rapa Nui (Easter Island), including archaeology, anthropology, education, preservation, and restoration.
  156.  
  157. Gleizal, Christian. Encyclopédie de la Polynésie. 9 vols. Papeete, Tahiti: Les Éditions de l’Alizé, 1986.
  158.  
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  160.  
  161. A grand undertaking covering a multitude of topics, including people, arts, and cultures of Polynesian island societies; embraces local knowledge as well as historical sources.
  162.  
  163. Find this resource:
  164.  
  165. Heilbrunn Timeline of Art History Oceanic/Pacific Art. Metropolitan Museum of Art.
  166.  
  167. Save Citation »Export Citation »E-mail Citation »
  168.  
  169. The timeline contains eighteen thematic essays on a diversity of Pacific cultures and their art.
  170.  
  171. Find this resource:
  172.  
  173. Kaeppler, Adrienne. Pacific Arts of Polynesia and Micronesia. Oxford History of Art. Oxford: Oxford University Press, 2008.
  174.  
  175. Save Citation »Export Citation »E-mail Citation »
  176.  
  177. This addition to Kaeppler’s authoritative and detailed works on Polynesian and Micronesian artworks expands to cover the continuities between traditional and contemporary practices and compares motifs and styles across different media.
  178.  
  179. Find this resource:
  180.  
  181. Lal, Brij V., and Kate Fortune, eds. The Pacific Islands: An Encyclopedia. Honolulu: University of Hawai‘i Press, 2000.
  182.  
  183. Save Citation »Export Citation »E-mail Citation »
  184.  
  185. Comprehensive information on all aspects of Pacific societies, organized according to broad subject areas, including arts and cultures, and reflecting recent developments.
  186.  
  187. Find this resource:
  188.  
  189. Levesque, Rodrigue. History of Micronesia: A Collection of Source Documents. 2 vols. Gatineau, Quebec: Levesque, 1992.
  190.  
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  192.  
  193. Vol. 1, European Discovery, 1521–1560; Vol. 2, Prelude to Conquest, 1561–1595. There is scant literature on the art of Micronesian people, albeit it is the longest colonized region of the Pacific. This compilation of source documents, maps, illustrations, and rare documents will assist scholarship.
  194.  
  195. Find this resource:
  196.  
  197. Mané Wheoki, Jonathan. “Art’s Histories in Aotearoa New Zealand.” Journal of Art Historiography 4 (June 2011): 1–12.
  198.  
  199. Save Citation »Export Citation »E-mail Citation »
  200.  
  201. A critical rewriting of the art history of New Zealand by one of New Zealand’s leading art scholars, transcending disciplinary boundaries imposed by the anglophone expression “art history” to expand its full range of inquiry into Māori art.
  202.  
  203. Find this resource:
  204.  
  205. Newton, Douglas. “Oceanic Art and Architecture.” In Encyclopaedia Brittanica online.
  206.  
  207. Save Citation »Export Citation »E-mail Citation »
  208.  
  209. A general coverage of the visual arts and architecture of Oceania, including commentary on general characteristics, aesthetics, art and society, and media such as sculpture, pottery, rock art, basketry, masks, and painting. In this now dated survey, Newton includes Australia as well as the culture regions of Melanesia, Polynesia, and Micronesia.
  210.  
  211. Find this resource:
  212.  
  213. van Tilburg, Jo Anne, dir. Easter Island Statue Project. Santa Monica, CA: Easter Island Statue Project, 1982.
  214.  
  215. Save Citation »Export Citation »E-mail Citation »
  216.  
  217. Multifaceted research and fieldwork project covering, inter alia, the interactive cultural roles of art, history, and ecology in Rapa Nui (Easter Island) society. Excellent resource as an investigative case study of an island society from ancient times to the present.
  218.  
  219. Find this resource:
  220.  
  221. Whitcombe, L. C. E. “Art of Pacific Cultures.” In Art History Resources.
  222.  
  223. Save Citation »Export Citation »E-mail Citation »
  224.  
  225. A useful compilation for art education.
  226.  
  227. Find this resource:
  228.  
  229. Zeroland Oceanic Arts and Cultures.
  230.  
  231. Save Citation »Export Citation »E-mail Citation »
  232.  
  233. A New Zealand–based portal dedicated to artists, art events, blogs, commentary, and academic websites.
  234.  
  235. Find this resource:
  236.  
  237. Textbooks
  238. The works cited here are suggested for secondary and tertiary education; informative, readable texts that scope the arts of Pacific Islands and their social contexts and introduce thematic approaches and illustrations that enhance the texts. Finney 1994 introduces the early settlement of Oceania from the perspective of an active participant in the techniques of early navigation. The survey of Pacific navigation and settlement in Howe is linked to the extensive Vaka Moana (Howe 2007) interactive exhibition website, which provide a comprehensive resource on environment, culture, and history of Oceania from ancient times to the present, including the importance of art in Pacific societies. D’Alleva 2010 is a useful concise overview of Oceanic art for art and art history students written with a contemporary perspective. Thomas 1995 introduces students to themes pursued by the author, an eminent scholar, and his collaborators’ extensive sequence of publications, including the most recent comprehensive survey of the arts of the Pacific, Brunt and Thomas 2012 (cited under Recent Overviews of Oceanic Art/Arts of the Pacific, 1990s to Present). Kjellgren 2014 provides a valuable tool for learning to appreciate Pacific artworks, not just in museum displays, but also their context in Pacific societies that is useful for students from other cultural backgrounds. Newell 2011 takes the reader on a tour through a virtual museum, examining a fascinating and diverse range of objects. Based on field experiences, Cochrane 2013 is an interactive e-book on Papua New Guinea that brings performances to the classroom and articulates the interconnections among village, urban, and global sites for art production. Stevenson 2008 gives a lively account of Pasifika artists in New Zealand, with an understanding of the issues and inspirations of artists at the heart of this contemporary art movement. Students with a specific research interest in particular Pacific societies or specific art forms will benefit from further readings listed in the sections Arts Of Pacific Societies By Region Or Country and Pacific Art Forms.
  239.  
  240. Art History Teaching Resources. Art of the South Pacific: Polynesia.
  241.  
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  243.  
  244. This site contains lesson plans, slide shows with maps, images of works of art discussed, background readings, and hyperlinks to museum websites and exhibitions.
  245.  
  246. Find this resource:
  247.  
  248. Cochrane, Susan. Living Art in Papua New Guinea. Melbourne, Australia: Contemporary Arts Media/Artfilms, 2013.
  249.  
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  251.  
  252. A two DVD set, online streaming version available for classroom/library use. The interactive elements provide a rich visual experience of Papua New Guinea art in its own settings and contexts. “Kastom and Contemporary Culture” and “Village, Urban, Global” are the interlinking themes throughout.
  253.  
  254. Find this resource:
  255.  
  256. D’Alleva, Anne. Arts of the Pacific Islands. New Haven, CT: Yale University Press, 2010.
  257.  
  258. Save Citation »Export Citation »E-mail Citation »
  259.  
  260. An inclusive and comprehensive survey of Pacific forms of art expanding into paintings, textiles, jewelry, and performance and introducing tensions between tradition and modernity within complex Pacific societies.
  261.  
  262. Find this resource:
  263.  
  264. Finney, Ben. “The Other One-Third of the Globe.” Journal of World History 5.2 (Fall 1994): 273–297.
  265.  
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  267.  
  268. A useful educational resource by cultural anthropologist, historian, and expert on Polynesian navigation, Ben Finney provides a well-researched introductory text describing the Pacific, its colonization, and the mapping of its boundaries.
  269.  
  270. Find this resource:
  271.  
  272. Howe, Kerry Ross, ed. Vaka Moana: Voyages of the Ancestors; The Discovery and Settlement of the Pacific. Honolulu: University of Hawai‘i Press, 2007.
  273.  
  274. Save Citation »Export Citation »E-mail Citation »
  275.  
  276. The book of the exhibition is complemented by the Vaka Moana website, which is an excellent interactive educational resource. Available online.
  277.  
  278. Find this resource:
  279.  
  280. Kjellgren, Eric. How to Read Oceanic Art. New Haven, CT: Yale University Press, 2014.
  281.  
  282. Save Citation »Export Citation »E-mail Citation »
  283.  
  284. Using select pieces from the collection of the Metropolitan Museum of Art, Kjellgren assists Western viewers and students to appreciate and understand genres of Oceanic art.
  285.  
  286. Find this resource:
  287.  
  288. Newell, Jennifer. Pacific Art in Detail. Cambridge, MA: Harvard University Press, 2011.
  289.  
  290. Save Citation »Export Citation »E-mail Citation »
  291.  
  292. Differently presented as a guided walk through an exhibition of the diversity of Pacific art drawn from the British Museum’s collection. A fresh thematic account of the wealth of art in all its forms.
  293.  
  294. Find this resource:
  295.  
  296. Stevenson, Karen. The Frangipani Is Dead: Contemporary Pacific Art in New Zealand, 1985–2000. Auckland, New Zealand: Hula, 2008.
  297.  
  298. Save Citation »Export Citation »E-mail Citation »
  299.  
  300. Concentrating on the heart of the strongly emerging contemporary Pacific art movement in New Zealand, Stevenson investigates the critical issues and inspirations of Pasifika artists within the wider New Zealand art scene. Well illustrated with works by leading artists.
  301.  
  302. Find this resource:
  303.  
  304. Thomas, Nicholas. Oceanic Art. London: Thames and Hudson, 1995.
  305.  
  306. Save Citation »Export Citation »E-mail Citation »
  307.  
  308. Thomas is one of the most influential scholars presently reshaping the study of Pacific art to include indigenous agency and “entangled objects.” This edition is valuable as a textbook because of its wide coverage and its introduction of new avenues of inquiry.
  309.  
  310. Find this resource:
  311.  
  312. Anthologies
  313. The selection of anthologies in this section serves to introduce the range of topics related to Pacific arts and cultures in volumes of peer-reviewed essays. Many other anthologies and collections of essays are listed throughout the sections to which their content is pertinent. Anthologies that embrace wider philosophical debate and historical background, such as Borofsky 2000, are essential for establishing the Pacific presence within the orbit of global concerns and current theories. Volumes that are intended to probe a particular topic from different perspectives to expand the boundaries of research are exemplified by Jolly, et al. 2009, which employs the concept of “encounter” rather than “first contact” in treating European exploration, colonization, and settlement from the 16th century to the 20th century, leading to mutual influence and ultimately mutual transformation. Thomas and Losche 1999 challenges dated assumptions and presents Pacific art and artists as engaged in a constantly changing, interactive art environment. The leading international forum for scholars, museum professionals, and artists is the Pacific Arts Association. Since 1974, at four-year intervals following each of its international symposia, a peer-reviewed volume of essays is published in an anthology, each volume reflecting advanced research in a diversity of topics concerned with art production and practice across the Pacific from a variety of perspectives, Recent Pacific perspectives on cultural heritage are investigated by contributors to Hviding and White 2015.
  314.  
  315. Allen, Anne E., and Deborah Waite. Repositioning Pacific Arts: Artists, Objects, Histories. Canon Pyon, UK: Sean Kingston, 2014.
  316.  
  317. Save Citation »Export Citation »E-mail Citation »
  318.  
  319. Essays from the proceedings of the Seventh International Symposium of the Pacific Arts Association, Christchurch, New Zealand, 2003.
  320.  
  321. Find this resource:
  322.  
  323. Borofsky, Robert, ed. Remembrance of Pacific Past: An Invitation to Remake History. Honolulu: University of Hawai‘i Press, 2000.
  324.  
  325. Save Citation »Export Citation »E-mail Citation »
  326.  
  327. While not specifically dedicated to Pacific art and art history, this volume is significant because of the authors’ exploration of new and different narratives. It includes exemplary essays by influential scholars, including James Clifford, Gred Denning, Epeli Hau’ofa, Marshall Sahlins, and Albert Wendt.
  328.  
  329. Find this resource:
  330.  
  331. Hanson, Allan, and Louise Hanson, eds. Arts and Identity in Oceania. Honolulu: University of Hawai‘i Press, 1990.
  332.  
  333. Save Citation »Export Citation »E-mail Citation »
  334.  
  335. This volume contains nineteen essays focusing on issues of cultural identity and heritage from the Third International Symposium of the Pacific Arts Association held in New York in 1984.
  336.  
  337. Find this resource:
  338.  
  339. Hviding, Edvard, and Geoffrey White, eds. Pacific Alternatives: Cultural Politics in Contemporary Oceania. Canon Pyon, UK: Sean Kingston, 2015.
  340.  
  341. Save Citation »Export Citation »E-mail Citation »
  342.  
  343. A multidisciplinary group, including a number of Pacific islanders, the authors present contemporary connections between expanding perceptions of cultural heritage in a range of Pacific locations, with a major focus on the islands of Melanesia and on Palau, Pohnpei, Rotuma, and Australia.
  344.  
  345. Find this resource:
  346.  
  347. Jolly, Margaret, Serge Tcherkézoff, and Darrell Tryon, eds. Oceanic Encounters: Exchange, Desire, Violence. Canberra: Australian National University Press, 2009.
  348.  
  349. Save Citation »Export Citation »E-mail Citation »
  350.  
  351. A compelling collaboration between Australian and French scholars probing the nature of exchanges and encounters; includes an excellent bibliography.
  352.  
  353. Find this resource:
  354.  
  355. Mead, Sidney (Hirini) Moko, ed. Exploring the Visual Art of Oceania. Honolulu: University of Hawai‘i Press, 1979.
  356.  
  357. Save Citation »Export Citation »E-mail Citation »
  358.  
  359. This volume contains the proceedings of the First International Symposium on the Arts of Oceania held in Hamilton, Ontario, in 1974.
  360.  
  361. Find this resource:
  362.  
  363. Pacific Arts. 1974–2014.
  364.  
  365. Save Citation »Export Citation »E-mail Citation »
  366.  
  367. The Pacific Arts Association (PAA) was founded in 1974. It is the leading international organization devoted to the study of all the arts of Oceania, connecting individuals and institutions around the world who are involved with the creation, study, and exhibition of Pacific art. The peer-reviewed Pacific Arts volumes feature current research and reviews.
  368.  
  369. Find this resource:
  370.  
  371. Stevenson, Karen, and Virginia-Lee Webb, eds. Re-presenting Pacific Art. Adelaide, Australia: Crawford House, 2007.
  372.  
  373. Save Citation »Export Citation »E-mail Citation »
  374.  
  375. Essays from the Pacific Arts Association Sixth International Symposium in 2001.
  376.  
  377. Find this resource:
  378.  
  379. Thomas, Nicholas, and Diane Losche, eds. Double Vision: Art Histories and Colonial Histories in the Pacific. Cambridge, UK: Cambridge University Press, 1999.
  380.  
  381. Save Citation »Export Citation »E-mail Citation »
  382.  
  383. Heirs to Bernard Smith’s classic volume, European Vision and the South Sea 1768–1850 (Smith 1985 cited under Early Encounters) offer outstanding contributions, combining visual and textual inquiry into art and history in the Pacific.
  384.  
  385. Find this resource:
  386.  
  387. Bibliographies
  388. The arts of the Pacific Islands are under-represented in published bibliographies and historiographies, although arts are mentioned in more general Pacific bibliographies (see Fullagar 2013). Researchers in particular topics are advised to refer to the bibliographies in publications of their area of interest. Hanson and Hanson 1984 and Pacific Islands in Grove Art Online, which scopes publications to the early 1990s, are somewhat dated. Recent comprehensive bibliographies with entries of interest to art and art history have been compiled for Tonga and the New Zealand Māori. Hays 2003, an online resource, provides a comprehensive guide to ethnographic sources on New Guinea, both West Papua in Indonesia and Papua New Guinea, but despite the hundreds of distinctive cultures in New Guinea, as yet no bibliography is available specifically on arts and cultures. For those with a particular interest in early voyages and encounters, the National Library of Australia’s South Seas: Voyaging and Cross-Cultural Encounters in the Pacific 1760–1800, is an illuminating resource. Searches for publications, articles, and videos on art and artists in the contemporary Pacific are well served by the Queensland Art Gallery and Gallery of Modern Art’s Asia Pacific Triennial of Contemporary Art (APT) Exhibition Archive compilation of twenty-years of materials related to its landmark event, the Asia Pacific Triennial.
  389.  
  390. Beran, Harry. Bibliography of Oceanic Art by Types of Objects. Edgecliff, Australia: Oceanic Arts Society.
  391.  
  392. Save Citation »Export Citation »E-mail Citation »
  393.  
  394. Created to assist research by Oceanic Arts Society members, the bibliography includes mainly books and exhibition catalogues focusing on particular categories of objects.
  395.  
  396. Find this resource:
  397.  
  398. Daly, Martin. Tonga: A New Bibliography. Honolulu: University of Hawai‘i Press, 2004.
  399.  
  400. Save Citation »Export Citation »E-mail Citation »
  401.  
  402. This comprehensive bibliography is updated and expanded from the original 1999 edition to include the most significant and accessible publications in English, covering many aspects of the Kingdom of Tonga’s history, culture, arts, politics, environment, and economy.
  403.  
  404. Find this resource:
  405.  
  406. Fullagar, Kate. “The Pacific.” In Oxford Bibliographies in Atlantic History. New York: Oxford University Press, 2013.
  407.  
  408. Save Citation »Export Citation »E-mail Citation »
  409.  
  410. Essentially a Pacific history bibliography, it includes useful annotations and entries concerning Pacific art.
  411.  
  412. Find this resource:
  413.  
  414. Hanson, Louise, and F. Allan Hanson. The Art of Oceania: A Bibliography. Boston: Hall, 1984.
  415.  
  416. Save Citation »Export Citation »E-mail Citation »
  417.  
  418. A useful research tool including books, articles, exhibitions, and sales catalogues to the mid-1980s.
  419.  
  420. Find this resource:
  421.  
  422. Hays, Terence. New Guinea Bibliography: Indonesian Papua and Papua New Guinea. Providence: Rhode Island College, 2003.
  423.  
  424. Save Citation »Export Citation »E-mail Citation »
  425.  
  426. The bibliography documents ethnographic research across New Guinea in English, French, German, and Dutch.
  427.  
  428. Find this resource:
  429.  
  430. National Library of New Zealand Te Puna Maturanga Aotearoa. Māori Bibliography. Wellington: National Library of New Zealand Te Puna Maturanga Aotearoa.
  431.  
  432. Save Citation »Export Citation »E-mail Citation »
  433.  
  434. Contains many original sources on Māori arts and culture.
  435.  
  436. Find this resource:
  437.  
  438. Pacific Islands in Grove Art Online. New York: Oxford University Press, 2007–2014.
  439.  
  440. Save Citation »Export Citation »E-mail Citation »
  441.  
  442. Compiled in eight sections, most structured around the culture areas of Polynesia, Melanesia, and Micronesia, it is particularly useful for art forms. The publications listed give good coverage to the early 1990s.
  443.  
  444. Find this resource:
  445.  
  446. Queensland Art Gallery and Gallery of Modern Art Research Library. Asia Pacific Triennial of Contemporary Art (APT) Exhibition Archive. Brisbane, Australia: Queensland Art Gallery and Gallery of Modern Art Research Library.
  447.  
  448. Save Citation »Export Citation »E-mail Citation »
  449.  
  450. Documentation of the Asia Pacific Triennial of Contemporary Art (APT) 1993–. Pacific art and artists have featured in each iteration. Includes catalogues, educational resources, conference papers, images, and videos/DVDs of artist talks and performances.
  451.  
  452. Find this resource:
  453.  
  454. South Seas: Voyaging and Cross-Cultural Encounters in the Pacific 1760–1800. Canberra: National Library of Australia.
  455.  
  456. Save Citation »Export Citation »E-mail Citation »
  457.  
  458. A comprehensive, meticulously research, and well-designed multimedia guide with Cook’s and Bank’s journals, maps, images, and texts from the National Library of Australia’s wealth of resources.
  459.  
  460. Find this resource:
  461.  
  462. Journals
  463. The arts of the Pacific Islands do not have a history of dedicated journals as they were of marginal interest to Western art history and academia, Research interests in Pacific peoples and their cultures were previously considered to be within the realm of anthropology and collections to be within the domain of museums of natural science or ethnography. A useful index to assist searches is the Hawaii Pacific Journal Index, which contains complete listings on periodicals published in Hawaii and the wider Pacific. Important journals of cultural and social anthropology, such as Oceania, can be usefully gleaned for articles related to the arts of particular cultures and their social context. Cross-disciplinary journals are also a useful resource. Although they concentrate on social sciences rather than humanities, many topics are of common interest. The Journal of the Polynesian Society has the greatest longevity, being published continuously in New Zealand since 1892. The early issues are a rich repository of indigenous texts and traditions contributed by Pacific peoples, as well as by missionaries and others, often published in local languages with English translations that makes it a valuable archive. The Contemporary Pacific is highly regarded as a key regional journal with wide coverage of topics, including scholarly peer-reviewed articles on art and culture, with special issues of interest. The Journal of the Oceanists Society, a largely European-based society now hosted by the Musée du Quai Branly, is a vehicle for both the humanities and the social sciences for researchers with a regional interest in Oceania both within and outside Europe. Established in 1993, ArtAsiaPacific magazine is the leading English-language periodical covering contemporary art and culture from Asia, the Pacific, and the Middle East. The annual almanac in Art Asia Pacific features special sections such as “Five Plus One,” which spotlights five outstanding artists from the previous year and one promising artist for the next year, and “Reflections,” a set of essays written by prominent curators and cultural figures. The journal Mwà Véé, published by the Tjibaou Cultural Centre/Agence de developpement de la Culture Kanak in New Caledonia, while primarily concerned with issues of Kanak society and culture, also included material on the arts of other Pacific societies, reflecting the nature of the Tjibaou Cultural Centre’s contemporary Pacific arts collections and programs. Based in Auckland, New Zealand, the Tautai Contemporary Pacific Artists’ Trust is an organization that supports the growing number of Pacific artists working across a range of art forms. The Tautai Newsletter publishes information on professional development, exhibition projects, workshops, and social activities in support of Pacific arts and artists. Pacific Arts, the journal of the Pacific Arts Association, is the only refereed journal dedicated to the arts of the Pacific Islands, past and present; it complements the anthologies published after each international symposium.
  464.  
  465. ArtAsiaPacific. 1993–.
  466.  
  467. Save Citation »Export Citation »E-mail Citation »
  468.  
  469. Leading periodical on contemporary art including the Pacific. Since 2005 it includes an annual almanac surveying the past year. The website offers up-to-the minute news reports and extracts from current and past issues of the magazine as well as supplementary and exclusive multimedia content.
  470.  
  471. Find this resource:
  472.  
  473. The Contemporary Pacific. 1989–.
  474.  
  475. Save Citation »Export Citation »E-mail Citation »
  476.  
  477. Journal published by the Center for Pacific Islands Studies, University of Hawaii, provides comprehensive coverage of contemporary developments in the entire Pacific Islands region, including Melanesia, Micronesia, and Polynesia. Refereed articles examine social, economic, political, ecological, and cultural topics, along with political reviews, book and media reviews, resource reviews, and a dialogue section. Each issue highlights the work of a Pacific Islander artist.
  478.  
  479. Find this resource:
  480.  
  481. Hawaii Pacific Journal Index.
  482.  
  483. Save Citation »Export Citation »E-mail Citation »
  484.  
  485. This comprehensive database provides links to journals no longer published as well as access to old issues of current journals. Journals and magazines indexed in the Hawaii Pacific Journal Index are sorted by collection (Hawaiian or Pacific), and title.
  486.  
  487. Find this resource:
  488.  
  489. Journal of the Oceanists Society. 1945–.
  490.  
  491. Save Citation »Export Citation »E-mail Citation »
  492.  
  493. An interdisciplinary journal primarily publishing scientific articles about Oceania but also literature and the arts, with articles on the past and present of Pacific societies. It is now based at the Musée Quai Branly in Paris.
  494.  
  495. Find this resource:
  496.  
  497. Journal of the Polynesian Society. 1892–.
  498.  
  499. Save Citation »Export Citation »E-mail Citation »
  500.  
  501. Quarterly journal founded by the Polynesian Society at the University of Auckland. Due to its longevity it is a rich repository covering past and present New Zealand Māori and other Pacific Island peoples and cultures, including indigenous texts.
  502.  
  503. Find this resource:
  504.  
  505. Mwà Véé. 1993–2015.
  506.  
  507. Save Citation »Export Citation »E-mail Citation »
  508.  
  509. Review of Kanak cultural expression, including articles on contemporary visual, and performing arts. French-language journal of the Tjibaou Cultural Centre, New Caledonia.
  510.  
  511. Find this resource:
  512.  
  513. Oceania. 1930–.
  514.  
  515. Save Citation »Export Citation »E-mail Citation »
  516.  
  517. Oceania is a triannual peer-reviewed academic journal that was established at the University of Sydney in 1930. It covers social and cultural anthropology of the peoples of Oceania, including Australia, Melanesia, Polynesia, Micronesia, and Southeast Asia. The journal from the University of Sydney publishes research papers as well as review articles, correspondence, and shorter comments. Online and in print.
  518.  
  519. Find this resource:
  520.  
  521. Pacific Arts. New Series. 2006–.
  522.  
  523. Save Citation »Export Citation »E-mail Citation »
  524.  
  525. Peer-reviewed journal of the Pacific Arts Association. Pacific Arts New Series is the journal of the Pacific Arts Association. It is issued twice annually in a new series begun in 2006. The antecedent, now available on JSTOR, was Pacific Arts (Nos. 1–2 [January 1990]–No. 25 [December 2002]).
  526.  
  527. Find this resource:
  528.  
  529. Tautai Newsletter: Guiding Pacific Arts. 2003–.
  530.  
  531. Save Citation »Export Citation »E-mail Citation »
  532.  
  533. Quarterly newsletter of New Zealand’s Tautai Contemporary Pacific Arts Trust, a valuable source on profiles, exhibitions, and arts news of Pasifika artists.
  534.  
  535. Find this resource:
  536.  
  537. Geographic and Cultural Constructs of the Pacific/Oceania
  538. The Pacific Region/Oceania
  539. No clear-cut, undisputed definition can be given of the “Pacific region” or “Oceania.” The naming and description of the region by a succession of European explorers and geographers is fascinating history in itself. Tcherkézoff 2008 provides insights into the European naming of the region of Oceania (Vasco Núñez de Balboa, Mar del sur [the South Sea] in 1513; Ferdinand de Magellan, Mar pacifico [Pacific Ocean] in 1520; Charles de Brosses, the regions Magellanie [Magellania], Australasie [Australasia], and Polynésie [Polynesia] in 1756. Following his navigation of the Pacific, the French navigator Jules Dumont d’Urville named Austronesia as well as assigning geographic- and race-based designations of island groups in Polynesia, Melanesia, and Micronesia that are still extant, although his inclusion of Malaysia and insular Southeast Asia in the Pacific region is generally not accepted today (Dumont d’Urville 1832). The racial and geographic bias evident in the names and descriptions of d’Urville’s period is reconstructed and analyzed in Douglas 2011. Jolly 2007 considers how the Pacific has been imagined, contrasting European cartography with indigenous Pacific genealogies of places and peoples. The new vision of a unified Oceania expressed by the Tongan philosopher Epeli Hau’ofa (Hau’ofa 1993, Hau’ofa 2008) has made a profound impression on Pacific art and thought and continues to strengthen pathways toward the interconnectedness of Pacific peoples and places. In the 1990s, a new geopolitical region, known as the Asia-Pacific region, emerged as a redefinition, to a significant degree, of the political, economic, and cultural links within the region. Since 1993 the Queensland Art Gallery and Gallery of Modern Art’s Asia Pacific Triennial of Contemporary Art has galvanized dialogue, explored tensions, and contested ground while exploring the great diversity of artistic expression across the Asia-Pacific region (see Asia Pacific Triennial of Contemporary Art (APT) Exhibition Archive [cited under Bibliographies]). Since 2006, Taiwan’s Aboriginal peoples have been reestablishing Austronesian links through the Kaohsiung Museum of Fine Arts’s Contemporary Austronesian Art Project’s collaborations with Pacific partners in exhibitions, publications, residencies, and symposia (Kaohsiung Museum of Fine Arts 2006, Kaohsiung Museum of Fine Arts 2010).
  540.  
  541. Brosses, Charles de. Histoire des navigations aux terres australes contenant ce que l’on sçait des mœurs & des productions des contrées découvertes jusqu’à ce jour; & où il est traité de l’utilité d’y faire de plus amples découvertes, & des moyens d’y former un établissement. 2 vols. Paris: Durand, 1756.
  542.  
  543. Save Citation »Export Citation »E-mail Citation »
  544.  
  545. The first compendium of all known voyages to the South Seas; Brosses issued a call for voyages to chart the unknown ocean and lands and coined the words Polynésie and Australasie. His work proved extremely useful to Bougainville and Cook; later English explorers drew on his work, from the plagiarized English version Terra Australia Incognita published in Edinburgh by John Callender in 1768.
  546.  
  547. Find this resource:
  548.  
  549. Douglas, Bronwen. “Geography, Raciology and the Naming of Oceania.” Globe 69 (2011): 1–28.
  550.  
  551. Save Citation »Export Citation »E-mail Citation »
  552.  
  553. Encapsulates the origins of racial divisions and ideas of race from the early 19th century.
  554.  
  555. Find this resource:
  556.  
  557. Dumont d’Urville, Jules. “Sur les îles du Grand Océan.” Bulletin de la Société de Géographie 17.105 (1832): 1–21.
  558.  
  559. Save Citation »Export Citation »E-mail Citation »
  560.  
  561. Written by the French explorer and cartographer whose circumnavigation on the Astrolabe (1826–1828) contributed to scientific and strategic knowledge of the Pacific, including his naming of the geographic and cultural regions Austronesia, Polynesia, Micronesia, and Melanesia.
  562.  
  563. Find this resource:
  564.  
  565. Hau’ofa, Epeli. “Our Sea of Islands.” In A New Oceania: Rediscovering Our Sea of Islands. Edited by Wric Waddell, Vijay Naidu, and Epeli Hau’ofa, 2–16. Suva, Fiji: School of Social and Economic Development, University of the South Pacific, 1993.
  566.  
  567. Save Citation »Export Citation »E-mail Citation »
  568.  
  569. Hau’ofa’s seminal essay that gave birth to a new era of conceptualizing the realm of Oceania from a Pacific perspective. Also available in The Contemporary Pacific 6.1 (Spring 1994): 147–161.
  570.  
  571. Find this resource:
  572.  
  573. Hau’ofa, Epeli. We Are the Ocean: Selected Works. Honolulu: University of Hawai‘i Press, 2008.
  574.  
  575. Save Citation »Export Citation »E-mail Citation »
  576.  
  577. Hau’ofa’s seminal essays, written while he was director of the Centre for Oceanic Arts and Cultures at the University of the South Pacific, Fiji, are regarded as the catalyst of a new vision of Oceania and Oceanic peoples. In Fullagar 2013 (cited under Bibliographies), the author distinguishes a Pacific history “before Hau’ofa,” constructed around Eurocentric precepts, and an indigenized Pacific history “after Hau’ofa.”
  578.  
  579. Find this resource:
  580.  
  581. Jolly, Margaret. “Imagining Oceania: Indigenous and Foreign Representations of a Sea of Islands.” Contemporary Pacific 19.2 (2007): 508–545.
  582.  
  583. DOI: 10.1353/cp.2007.0054Save Citation »Export Citation »E-mail Citation »
  584.  
  585. A summary account of the relationship of the indigenous and the foreign in how the “Pacific” and the “Pacific Rim” have been and are imagined.
  586.  
  587. Find this resource:
  588.  
  589. Kaohsiung Museum of Fine Arts. Across Oceans and Time: Art in the Contemporary Pacific (超越時光・跨越大洋: 南島當代藝術). Kaohsiung, Taiwan: Kaohsiung Museum of Fine Arts, 2006.
  590.  
  591. Save Citation »Export Citation »E-mail Citation »
  592.  
  593. Exhibition catalogue featuring Aboriginal Taiwanese and Pasifika artists with scholarly essays imagining a contemporary Austronesia. Parallel text in English, French and Chinese.
  594.  
  595. Find this resource:
  596.  
  597. Kaohsiung Museum of Fine Arts. The Long Journey: Voyage to the Ancestral Realm (南島當代藝術：蒲伏靈境─山海子民的追尋之路). Kaohsiung, Taiwan: Kaohsiung Museum of Fine Arts, 2010.
  598.  
  599. Save Citation »Export Citation »E-mail Citation »
  600.  
  601. Another major step to reuniting Aboriginal Taiwanese and Pasifika artists and cultural institution in KMFA’s structures and long-term initiative, The Contemporary Austronesian Art Project. Parallel text English, French and Chinese.
  602.  
  603. Find this resource:
  604.  
  605. Tcherkézoff, Serge. Polynésie/Mélanésie: L’invention française des “races” et des régions de l’Océanie, XVIe–XXe siècles. Papeete, Tahiti: Au Vent des Îles, 2008.
  606.  
  607. Save Citation »Export Citation »E-mail Citation »
  608.  
  609. English summary of this significant work, which includes exceptional examples of cartography, is available online. Tcherkézoff meticulously references the original works of the Spanish, French, and English geographers and navigators involved in the naming of the Pacific region/Oceania.
  610.  
  611. Find this resource:
  612.  
  613. Early Oceania: The First Colonizers
  614. One limitation of the European first contact starting point of the Oceanic Art construct is its time depth, which, apart from Spanish voyages in the 1500s, dates from the 18th-century voyages of French and English navigators, who recorded their encounters and exchanges with Oceanians. Within its Eurocentric tradition, art history traditionally does not intrude into the related fields of archaeology, ethno-history, genetics, and linguistics. The new art history of Oceania shares an interdisciplinary interest as scholars investigate the period of prehistory with the methodologies of their fields of research, providing evidence of the diasporas of Austronesian peoples and the populating of Oceania, addressed in Vaka Moana (Howe 2007). Collaborations with indigenous communities and the active participation and contributions of Oceanic authors and cultural authorities make an essential contribution to broadening the knowledge base and enhancing appreciation of the arts of Pacific cultures. A work in two volumes, Gille and Toullelan 1999a and Gille and Toullelan 1999b reveals that constant migration is a constant feature of the history of Pacific peoples over several millennia. Papuan peoples settled the landmass of New Guinea and several adjacent archipelagoes up to 40,000 years ago. The interdisciplinary collection of essays in Pawley 2005 seeks solutions to explain the diversity that is characteristic of Papuan language groups. Bellwood 1978 is a seminal work on the settlement of the Pacific. Over three millennia, Austronesians progressively moved through island Melanesia, occupying offshore islands and coastal areas and compelling earlier inhabitants to move inland. Their technology included sailing vessels, pottery, and the making of shell valuables. Kirch 1997 supports the view that the crucial event in the prehistory of the Pacific was the movement of Austronesian speakers out of Southeast Asia into the islands of Melanesia and thence into the remoter parts of the Pacific. Chiu and Sand 2007 and Sand and Bedford 2010 identify Lapita as one of the early Austronesian cultures.
  615.  
  616. Bellwood, Peter. Man’s Conquest of the Pacific: The Prehistory of Southeast Asia and Oceania. Auckland, New Zealand: Collins, 1978.
  617.  
  618. Save Citation »Export Citation »E-mail Citation »
  619.  
  620. Leading archaeologist’s readable account clarifies the spread of Austronesian peoples across the Pacific and the development and diversification of their cultures.
  621.  
  622. Find this resource:
  623.  
  624. Chiu, Scarlett, and Christophe Sand, eds. From Southeast Asia to the Pacific: Archaeological Perspectives on the Austronesian Expansion and the Lapita Cultural Complex (東南亞到太平洋: 從考古學證據看南島語族擴散與LAPITA文化之間的關係). Taipei: Center for Archaeological Studies, Research Center for Humanities and Social Sciences, Academia Sinica, 2007.
  625.  
  626. Save Citation »Export Citation »E-mail Citation »
  627.  
  628. An international group of scholars collaborate across disciplines to locate physical evidence of Lapita peoples and restructure a profile of their society.
  629.  
  630. Find this resource:
  631.  
  632. Gille, Bernard, and Pierre-Yves Toullelan. De la conquête à l’exode. Vol. 1. Papeete, Tahiti: Au Vent des Îles, 1999a.
  633.  
  634. Save Citation »Export Citation »E-mail Citation »
  635.  
  636. Volume 1 follows Austronesian pathways from the conquest of uninhabited islands to the post–World War II era.
  637.  
  638. Find this resource:
  639.  
  640. Gille, Bernard, and Pierre-Yves Toullelan. De la conquête à l’exode. Vol. 2. Papeete, Tahiti: Au Vent des Îles, 1999b.
  641.  
  642. Save Citation »Export Citation »E-mail Citation »
  643.  
  644. Volume 2 continues with the massive migrations in the contemporary Pacific, especially in Polynesia and Micronesia.
  645.  
  646. Find this resource:
  647.  
  648. Howe, Kerry Ross, ed. Vaka Moana: Voyages of the Ancestors; The Discovery and Settlement of the Pacific. Honolulu: University of Hawai‘i Press, 2007.
  649.  
  650. Save Citation »Export Citation »E-mail Citation »
  651.  
  652. A volume released in tandem with the major touring exhibition initiated by the Auckland Museum, New Zealand.
  653.  
  654. Find this resource:
  655.  
  656. Kirch, Patrick V. The Lapita Peoples: Ancestors of the Oceanic World. Cambridge, MA: Blackwell, 1997.
  657.  
  658. Save Citation »Export Citation »E-mail Citation »
  659.  
  660. A study of the achievements of the ancient Lapita people.
  661.  
  662. Find this resource:
  663.  
  664. Kirch, Patrick V. “When Did the Polynesians Settle Hawai‘i? A Review of 150 Years of Scholarly Inquiry and a Tentative Answer.” Hawaiian Archaeology 12 (2011): 3–26.
  665.  
  666. Save Citation »Export Citation »E-mail Citation »
  667.  
  668. Kirch has an extensive research background in ethnoarchaeology and settlement archaeology; this essay surveys interdisciplinary research, seeking to define the origins of the Hawaiian people.
  669.  
  670. Find this resource:
  671.  
  672. Pawley, Andrew, ed. Papuan Pasts: Cultural, Linguistic and Biological Histories of Papuan-Speaking Peoples. Canberra: Research School of Pacific and Asian Studies, Australian National University, 2005.
  673.  
  674. Save Citation »Export Citation »E-mail Citation »
  675.  
  676. The settlement of parts of Melanesia by Papuan-speaking peoples dates back more than 40,000 years. This volume’s principal aim is to correct the imbalance that has existed for most of the 20th century in favoring research on Austronesian languages and the Lapita archaeological culture at the expense of the Papuan-speaking peoples of the Pacific.
  677.  
  678. Find this resource:
  679.  
  680. Sand, Christoph, and Stuart Bedford, eds. Lapita: Ancêtres océaniens. Paris: Musée du Quai Branly, 2010.
  681.  
  682. Save Citation »Export Citation »E-mail Citation »
  683.  
  684. Exhibition catalogue with scholarly essays investigates recent findings at some of the most significant Lapita sites in Vanuatu, New Caledonia, and elsewhere; illustrated with superb examples of incised Lapita pottery. The complex Lapita culture is identified at numerous sites by highly decorated pottery and has drawn the interest of researchers of different disciplines and nationalities.
  685.  
  686. Find this resource:
  687.  
  688. Te Rangi Hiroa (Buck, Peter, Sir). Vikings of the Sunrise. New York: Stokes, 1938.
  689.  
  690. Save Citation »Export Citation »E-mail Citation »
  691.  
  692. Scientist, anthropologist, and director of the Bernice P. Bishop Museum in Hawaii and prolific author on Polynesian subjects, Te Rangi Hiroa considered his Māori heritage to be of central importance to his Polynesian research. In this 1938 work, he hypothesizes the settlement of Oceania initially from Southeast Asia to Polynesia via Micronesia. Te Rangi Hiroa is also spelled te Rangihiroa.
  693.  
  694. Find this resource:
  695.  
  696. Recent Pacific Philosophies of Art
  697. Te Moana Nui o Kiva (Kiva’s great ocean) is the Cook Islands and New Zealand Māori name for the Pacific Ocean; the shorter form “Moana” (Ocean), is now popular among islanders, but not yet widely used in literature. Across the Pacific region Pasifika has become a common umbrella term that refers to all Oceanic peoples from Melanesia, Micronesia, and Polynesia, as well as diasporic populations in New Zealand, Australia, and elsewhere. It arises from the New Zealand Māori expression tangata pasifika (Pacific people). Early Pacific authors David Malo (Malo 1994 [cited under Early Ethnographic Accounts]) and Te Rangi Hiroa (Te Rangi Hīroa 1949) contributed greatly to the understanding of their native cultures, as did the prolific Hawaiian writer and performer Mary Kawena Pukui (see Pukui, et al. 1972 [cited under Hawaii]). Despite the contributions of post-colonial theorists to the deconstruction of tropes such as “primitive art” from the 1980s, dissatisfaction with the hegemony of Western discourses in social sciences and cultural theories stimulated new approaches led by indigenous voices to describe and express the identity, heritage, art, and aesthetics of Pacific peoples. Māori art historian Jonathan Mané-Wheoki recounts that in New Zealand, for nearly two centuries, art was considered an exclusively European domain. As elsewhere in the Pacific, islanders practiced “the arts of their forefathers” in “native cultures” that were, with few exceptions, excluded from Western concepts of art and its institutions (Mané-Wheoki 2011). The notable Papua New Guinean philosopher Bernard Narokobi aimed to involve all Melanesians in the conscious shaping of their own identity, culture, and nationhood (Narokobi 1990). The writings of the Kanak independence leader Jean-Marie Tjibaou were fundamental to developing the contemporary cultural identity of the Melanesian people of New Caledonia in the 1980s. Hau’ofa 1993 and Hau’ofa 2008 (cited under the Pacific Region/Oceania) articulated the self-image of Pacific islanders as belonging to an interconnected “Ocean of Islands,” envisioning a sense of the region based on islanders’ perceptions and realities. Hau’ofa’s philosophy for Oceania and Oceanian people is now widely recognized as a turning point. Kate Fullagar devises her references “before Hau’ofa” and “after Hau’ofa” based on Hau’ofa’s work (see Fullagar 2013 [cited under Bibliographies]). Many of today’s leading Pacific intellectuals are also creative people of international standing; Māhina 2010, Refiti 2009, and Jahnke 1996 provide insights into Tongan, Samoan, and Maori epistemologies. Tongan philosopher ’Ōkusitino Māhina has been formulating a new theory of Tā and Vā, Tongan expressions for “time” and “space,” and valorizing Pacific names like Moana in place of externally imposed names of Oceania or the Pacific. Samoan architect Albert Refiti’s essay is a reflection on Samoan indigenous knowledge. Māori artist Robert Jahnke’s work as a sculptor and teacher is typically based on political, social, and cultural issues that face Maori people. Guidelines for researchers working in indigenous contexts are provided in Smith 1999. Since the 1980s, exhibitions with indigenous curatorship/collaborations have provided as many influential turning points as published texts. In 1984, the landmark exhibition organised by Sidney Moko Mead, Te Māori (Mead 1984, cited under New Zealand Māori) marked a critical turning point of Māori renaissance. Recent collaborations between metropolitan museums and Pacific artists, such as Pasifika Styles at the Cambridge Museum of Archaeology and Anthropology, are recounted by one of the leading art activists in this area in Raymond and Salmond 2008. Leading Papua New Guinean academic and performance artist Michael Mel emphasizes concepts of indigenous knowledge and traditional ownership of artworks in the language of the Western art world and museum practices Mel 2009).
  698.  
  699. Jahnke, Robert. “Voices beyond the Pae.” He Pukenga Korero Koanga 2.1 (Spring 1996): 12–19.
  700.  
  701. Save Citation »Export Citation »E-mail Citation »
  702.  
  703. Like other indigenous people in the Pacific, the Māori continue to straddle two worlds. Jahnke explores the tensions between Māori custom and the wider cultural discourse of New Zealand and the global art worlds.
  704.  
  705. Find this resource:
  706.  
  707. Māhina, ‘Ōkustino. “Tā, Vā, and Moana: Temporality, Spatiality and Indigeneity.” Pacific Studies 33.2–3 (2010): 168–202.
  708.  
  709. Save Citation »Export Citation »E-mail Citation »
  710.  
  711. Since 2002, Māhina has been developing theories based on indigenous knowledge, philosophies of Tā, Vā (Tongan for “time” and “space”) and Moana (“ocean”), countering Eurocentric viewpoints.
  712.  
  713. Find this resource:
  714.  
  715. Mané-Wheoki, Jonathan. “Art’s Histories in Aotearoa New Zealand.” Journal of Art Historiography 4 (June 2011).
  716.  
  717. Save Citation »Export Citation »E-mail Citation »
  718.  
  719. Influential art historian’s overview of the different streams of art in New Zealand and poses challenges of compiling a full historiography of New Zealand art.
  720.  
  721. Find this resource:
  722.  
  723. Mel, Michael. “Shoosh! Na Kang Temani te tokor il. Nunga koom talg na ta (Shoosh! I am chanting a tale. Give me your ears).” London: Performance at Hailans to Ailans exhibition, Rebecca Hossack Gallery, 24 September 2009.
  724.  
  725. Save Citation »Export Citation »E-mail Citation »
  726.  
  727. Academic and writer specializing on indigeneity in education, Mel is also a world-class performance artist whose pieces critique museum practices and cultural stereotyping.
  728.  
  729. Find this resource:
  730.  
  731. Narokobi, Bernard. “Transformations in Art and Society.” In Luk Luk Gen! (Look Again!): Contemporary Art from Papua New Guinea. Edited by Cochrane Simons and Hugh Stevenson, 17–22. Townsville, Australia: Perc Tucker Regional Galley, 1990.
  732.  
  733. Save Citation »Export Citation »E-mail Citation »
  734.  
  735. A short but pungent essay by a Papua New Guinean philosopher.
  736.  
  737. Find this resource:
  738.  
  739. Raymond, Rosanna, and A. Salmond. Pasifika Styles: Artists inside the Museum. Cambridge, UK: University of Cambridge Museum of Archaeology and Anthropology, 2008.
  740.  
  741. Save Citation »Export Citation »E-mail Citation »
  742.  
  743. One of the founders of Pacific Sisters with their flagrant body art/costume/performances, Raymond led the remarkable collaboration, Pasifika Styles, between Pasifika artists and the Cambridge Museum of Archaeology and Anthropology in 2006, now a legendary event of contemporary artists’ intervention in historic museum spaces.
  744.  
  745. Find this resource:
  746.  
  747. Refiti, Lialiifano Albert. “Between Monsters and Gods.” In Su’esu’e manogi = In Search of Fragrance: Tui Atua Tupua Tamases Ta’isi and the Samoan Indigenous Reference. Edited by Tamasa’ilau Suaalii-Sauni, 30–41. Apia: Centre for Samoan Studies, University of Samoa, 2009.
  748.  
  749. Save Citation »Export Citation »E-mail Citation »
  750.  
  751. A thoughtful response to the Samoan philosopher Tui Atua’s unfolding of Samoan thought in contemporary philosophy, important to understanding Samoan beliefs that are also expressed in art.
  752.  
  753. Find this resource:
  754.  
  755. Smith, Linda Tuhiwai. Decolonizing Methodologies: Research and Indigenous Peoples. London: Zed Books, 1999.
  756.  
  757. Save Citation »Export Citation »E-mail Citation »
  758.  
  759. A practical and valuable book for researchers from all backgrounds working in indigenous contexts.
  760.  
  761. Find this resource:
  762.  
  763. Te Rangi Hīroa (Sir Peter Buck). The Coming of the Māori. Wellington, New Zealand: Māori Purposes Fund Board, 1949.
  764.  
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  766.  
  767. Hīroa’s Māori heritage provided a unique perspective among anthropologists of his era and is reflected in his extensive writings on Māori and many other Polynesian societies, including Samoan Material Culture, An Introduction to Polynesian Anthropology, Ethnology of Manihiki and Rakahanga, Material Culture of Kapingamarangi, Anthropology and Religion, Mangaian Society, and Ethnology of Tongareva. See Bishop Museum Publications for other titles.
  768.  
  769. Find this resource:
  770.  
  771. Tjibaou, Jean-Marie. La présence Kanak. Compiled by Alban Bensa and Eric Wittersheim. Paris: Odile Jacob, 1996.
  772.  
  773. Save Citation »Export Citation »E-mail Citation »
  774.  
  775. A posthumous compilation of texts by Tjibaou assembled in five parts, corresponding to the different stages of his struggle for the recognition of Kanak cultural identity and his call for Kanak people to realize the value of their own culture despite a legacy of foreign-imposed values and institutions.
  776.  
  777. Find this resource:
  778.  
  779. European Encounters and Interpretations
  780. Early Encounters
  781. Western interpretations of Oceanic cultures began with the first encounters between European navigators and islanders; since then reality and fantasy have been rarely separated in popular depictions. The cartography, description, and naming of the Pacific region and its island realms are excellently covered in Tcherkézoff 2008 (cited under the Pacific Region/Oceania). Bernard Smith’s 1960 seminal work was a catalyst for new theoretical approaches to the impact of encounters in the Pacific on European art and thought in the 18th century that embraced both scholarly thoroughness and critical penetration (Smith 1985). Intensive reexamining of the journals of Captain James Cook’s three voyages, along with the observations of the artists and scientists who accompanied him, is undertaken in Joppien and Smith 1985–1988. Publications on early encounters are complimented by the National Library of Australia’s online resource South Seas: Voyaging and Cross-Cultural Encounters in the Pacific 1760–1800 (cited under Bibliographies). Adrienne Kaeppler has made an outstanding contribution to knowledge about Pacific artworks collected at the time of contact, especially her intensive examination of the objects collected on Cook’s voyages in Kaeppler 1978. Little and Ruthenberg 2006 provides a critical examination of some five hundred first contact objects collected by the German artists Johan Reinhold Forster and Georg Forster, who accompanied Captain Cook on his second voyage to the Pacific. Accounts of the illustrious French navigators such as Bougainville, Freycinet, and d’Urville, are broadly treated in Dunmore 1997, while Salmond 2010 more closely analyzes the observations of French navigators that stimulated neoclassicism and other newly emerging trends in the European imagination. Investigating primary sources anew, Lansdown 2006 expands on the impact of Pacific peoples and their environments in European art and thought, while Bell 1980 concentrates insightfully on the depiction of the New Zealand Māori people and culture by European artists. Dunmore, Salmond, Lansdown, and Bell analyze the dominant conceptual frameworks of the time as well as the current stylistic forms and techniques within the European artistic milieu. Thomas 1997 continues to examine how new discoveries of the distant and exotic Pacific influenced changes in perceptions, attitudes, and techniques or representation.
  782.  
  783. Bell, Leonard. The Māori in European Art: A Survey of the Representation of the Māori by European Artists from the Time of Captain Cook to the Present Day. Wellington, New Zealand: Reed, 1980.
  784.  
  785. Save Citation »Export Citation »E-mail Citation »
  786.  
  787. A highly regarded scholar and critic of New Zealand and Māori art, Bell discusses the representation of the Māori by Pakeha (non-Māori) with sensitivity and an avoidance of formulaic approaches.
  788.  
  789. Find this resource:
  790.  
  791. Dunmore, John. Visions and Realities: France in the Pacific, 1695–1995. Waikanae, New Zealand: Heritage, 1997.
  792.  
  793. Save Citation »Export Citation »E-mail Citation »
  794.  
  795. A broad account of French explorations, images, and imaginings of the Pacific.
  796.  
  797. Find this resource:
  798.  
  799. Joppien, Rüdiger, and Bernard Smith. The Art of Captain Cook’s Voyages. 3 vols. New Haven, CT: Yale University Press, 1985–1988.
  800.  
  801. Save Citation »Export Citation »E-mail Citation »
  802.  
  803. Magnificently presented and meticulously researched, these volumes are a fascinating record of the images and observations in the spirit of Captain Cook.
  804.  
  805. Find this resource:
  806.  
  807. Kaeppler, Adrienne. ‘Artificial Curiosities’: An Exposition of Native Manufactures Collected on the Three Voyages of Captain James Cook, R.N. Honolulu: Bishop Museum, 1978.
  808.  
  809. Save Citation »Export Citation »E-mail Citation »
  810.  
  811. Now a classic work of meticulous research on the artifacts collected on the voyages of Captain Cook.
  812.  
  813. Find this resource:
  814.  
  815. Lansdown, Richard, ed. Strangers in the South Seas: The Idea of the Pacific in Western Thought. Honolulu: University of Hawai‘i Press, 2006.
  816.  
  817. Save Citation »Export Citation »E-mail Citation »
  818.  
  819. Drawing on a wealth of primary texts and illustrations, the contributors in this recent anthology demonstrate how the Pacific has been a region that has proved to be influential in European art and thought.
  820.  
  821. Find this resource:
  822.  
  823. Little, Stephen, and Peter Ruthenberg. Life in the Pacific of the 1700s: The Cook/Forster Collection of the Georg August University of Göttingen. 3 vols. Honolulu: Honolulu Academy of Arts, 2006.
  824.  
  825. Save Citation »Export Citation »E-mail Citation »
  826.  
  827. From the collection of one of the oldest ethnographic museums, an exceptional catalogue of more than five hundred first contact objects collected by Captain James Cook, Johan Reinhold Forster, and Georg Forster on Cook’s second voyage to the Pacific.
  828.  
  829. Find this resource:
  830.  
  831. Salmond, Anne. Two Worlds: First Meetings between Maori and Europeans, 1642–1772. Honolulu: University of Hawai‘i Press, 1991.
  832.  
  833. Save Citation »Export Citation »E-mail Citation »
  834.  
  835. An intensive investigation of early exchanges between Māori and Europeans.
  836.  
  837. Find this resource:
  838.  
  839. Salmond, Anne. Aphrodite’s Island: The European Discovery of Tahiti. Berkeley: University of California Press, 2010.
  840.  
  841. Save Citation »Export Citation »E-mail Citation »
  842.  
  843. Drawing on multiple sources, including Tahitian oral history as well as European observations, images, and objects collected at the time, Salmond reveals Tahitian perceptions of the visitors as well as European fascination of the islands of mythic status.
  844.  
  845. Find this resource:
  846.  
  847. Smith, Bernard. European Vision and the South Sea 1768–1850: A Study in the History of Art and Ideas. Oxford: Clarendon, 1985.
  848.  
  849. Save Citation »Export Citation »E-mail Citation »
  850.  
  851. Smith launched new lines of inquiry into the nature of encounters between Europeans and Pacific Islanders and the pictorial representation of islanders by European artists on early voyages. Reprinted from 1960 edition.
  852.  
  853. Find this resource:
  854.  
  855. Thomas, Nicholas. In Oceania: Visions, Artifacts, Histories. Durham, NC: Duke University Press, 1997.
  856.  
  857. Save Citation »Export Citation »E-mail Citation »
  858.  
  859. In this collection of essays, the exemplary Pacific scholar Nicholas Thomas investigates a wide range of texts, visual, images and objects to demonstrate the positive interactions between indigenous cultures and European influences.
  860.  
  861. Find this resource:
  862.  
  863. Curiosities and Marvels of the South Seas
  864. In Clifford 1988 influential text, The Predicament of Culture, he presents a diagram of the “art-culture system” in which objects can move from one category to another, for example an “ethnographic object” can be reviewed, recontextualized, and accepted as an “art object.” The history of Pacific art objects circulating in the Western world has been constantly reimagined and reclassified. In her latest valuable contribution to the history and context of collections of first contact objects, Kaeppler 2011 treats the artifacts from Cook’s voyages that had been displayed for three decades at the Holophusicon, also known as the Leverian Museum, until the collection was dispersed in 1806. Benedict 1994 recounts how, as the colonial empires expanded, world fairs and colonial expositions displayed “marvels of the South Seas,” where “natives,” or “savages,” were exhibited alongside spectacular artifacts to contrast the progress of Euro-American civilization with the presumed lack of development of colonized peoples. Greenhalgh 1988 contrasts the phenomenon of world expositions as a form of national expression in Britain, France, and the United States. Redressing stereotypical visions, including European fantasies and misrepresentations of the Pacific, is undertaken by the many contributors to Wilson and Dirlik 1995, who document indigenous cultures that claim and reimagine Asia/Pacific as a space for their own cultural production.
  865.  
  866. Benedict, B. “Rituals of Representation: Ethnic Stereotypes and Colonised Peoples at World’s Fairs.” In Fair Representations: World’s Fairs and the Modern World. Edited by Robert Rydell and Nancy Gwinn, 76–88. Amsterdam: VU University Press, 1994.
  867.  
  868. Save Citation »Export Citation »E-mail Citation »
  869.  
  870. The author notes how world fairs epitomized the fashion for colonial collecting and display for the enjoyment and amazement of visitors.
  871.  
  872. Find this resource:
  873.  
  874. Clifford, James. The Predicament of Culture. Cambridge, MA: Harvard University Press, 1988.
  875.  
  876. Save Citation »Export Citation »E-mail Citation »
  877.  
  878. Critical examination of the contested and changing attitudes of the West and its relationships with “the other.”
  879.  
  880. Find this resource:
  881.  
  882. Greenhalgh, Paul. Ephemeral Vistas: The Expositions Universelles, Great Exhibitions and World Fairs, 1851–1939. Manchester, UK: Manchester University Press, 1988.
  883.  
  884. Save Citation »Export Citation »E-mail Citation »
  885.  
  886. An investigation of the unselfconscious imperial cultural phenomenon of world fairs and colonial expositions and how they expressed different national agendas in Britain, France, and the United States.
  887.  
  888. Find this resource:
  889.  
  890. Kaeppler, Adrienne. Holophusicon: The Leverian Museum; An Eighteenth-Century English Institution of Science, Curiosity, and Art. Altenstadt, Germany: ZKF, 2011.
  891.  
  892. Save Citation »Export Citation »E-mail Citation »
  893.  
  894. Another magisterial volume by Kaeppler, whose expertise in the interpretation and presentation of cultural material collected on Cook’s voyages is exceptional. In this volume, she considers the Leverian Museum, perhaps the most important museum in Europe in the late 18th century.
  895.  
  896. Find this resource:
  897.  
  898. Wilson, Rob, and Arif Dirlik, eds. Asia/Pacific as Space of Cultural Production. Durham, NC: Duke University Press, 1995.
  899.  
  900. Save Citation »Export Citation »E-mail Citation »
  901.  
  902. Recalibrates sustained Eurocentric fantasies and stereotypes of the Asia-Pacific region and documents the roles of indigenous peoples in redefining and imagining their own place and forms of cultural production.
  903.  
  904. Find this resource:
  905.  
  906. Early Ethnographic Accounts
  907. This entries in this section constitute early works of ethnography, defined as the systematic study of people and culture. The work produced from ethnographic research aims at cultural interpretation. As the science and practice of ethnography developed, with its construct of certain non-Western races as primitive, it underpinned the structure of colonialism; this form of ethnography is now discredited. Some early ethnographers found themselves in unique situations in which they were engaged in participant observation, developing relationships and observing and reporting the lifestyles and customs of the people they lived among for extended periods. Although many Pacific islanders were intellectual and erudite, very few communicated by writing in English or other European languages. One exception is the high-ranking Hawaiian, David Malo, born in 1795, who became a leading court historian and oral genealogist in the Kingdom of Hawaii (Malo 1994, originally published in 1898). As the new science of ethnography emerged, the races of humankind emerged as a scientific preoccupation along with the rise of ethnographic museums; developing typologies of objects of material culture became a preoccupation of museum ethnologists and connoisseurs, exemplified by Edge-Parkington 1969 (originally published in 1890–1898). Alfred Cort Haddon is recognized as one of the founders of British anthropology, whose fieldwork and teaching had considerable impact. He widened the methodology by adapting many of the techniques, such as classification systems from biology, to describe the “decorative arts” (Haddon 1884). Scientific expeditions, which included ethnographers, are exemplified by the Cambridge Expedition to the Torres Strait Islands in 1898, again led by Haddon. The results were later published in five volumes (Haddon 1935). As well as their now classic texts, original drawings, and photography, early ethnologists made representative and valuable collections. The German ethnographer Richard Parkinson, a member of a family engaged in trade and plantations, settled in the Gazelle Peninsula, New Britain, in 1879, and he wrote a seminal work of early ethnography (Parkinson 1907). Russian-born Nicholas Miklouho-Maclay became a prominent figure of 19th-century Australian ethnography (Miklouho-Maclay 2007). The villagers came to trust Miklouho-Maclay and allowed him to participate in their ceremonies. Bronislaw Malinowsky, a Polish citizen, was considered by Australian authorities to be an “enemy alien” at the outbreak of World War I, but he was permitted to live in the Trobriand Islands, where he completed several foundational works of ethnography, including a study of the Kula Ring (Malinowski 1978).
  908.  
  909. Edge-Parkington, James. An Ethnographic Album of the Weapons, Tools, Ornaments, Articles of Dress of the Natives of the Pacific Islands, Drawn and Described from Examples in Public and Private Collections in England. 3 vols. London: Holland Press, 1969.
  910.  
  911. Save Citation »Export Citation »E-mail Citation »
  912.  
  913. Originally published in 1890–1898. Copiously illustrated with line drawings, the albums are evidence of the consummate interest of and preoccupation with Pacific art objects in British museum collections.
  914.  
  915. Find this resource:
  916.  
  917. Haddon, Alfred C. The Decorative Arts of British New Guinea: A Study in Papuan Ethnography. Dublin, Ireland: Academy House University Press, 1884.
  918.  
  919. Save Citation »Export Citation »E-mail Citation »
  920.  
  921. An album of designs copied from carved panels on canoes, houses, and ornaments, which served to expound his theory of the evolution of art. Drawn from Haddon’s firsthand observations of the range and characteristic style of artifacts from the Massim area (coast and island groups of southeastern Papua), mainly drawings and descriptions of objects but also comments on trade exchanges connecting the islands.
  922.  
  923. Find this resource:
  924.  
  925. Haddon, Alfred C. Reports of the Cambridge Anthropological Expedition to Torres Straits. Vol. 5. Cambridge, UK: Cambridge University Press, 1935.
  926.  
  927. Save Citation »Export Citation »E-mail Citation »
  928.  
  929. Reports of the Cambridge Anthropological Expedition to Torres Straits published in six volumes from 1901 to 1935. Volume 5 is of most interest to art and culture. Haddon used every method of recording, including early film work, to compile the expedition’s remarkable record of Torres Strait Islanders. Haddon recounted that the recent loss due to disease of many Torres Strait elders, and the disinterest of the white population in their welfare and customs, made it imperative to record as much as possible of every aspect of the Torres Strait people, customs, beliefs, languages, and natural environment.
  930.  
  931. Find this resource:
  932.  
  933. Malinowski, Bronislaw. Argonauts of the Western Pacific: An Account of Native Enterprise and Adventure in the Archipelagoes of Melanesian New Guinea. London: Routledge, 1978.
  934.  
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  936.  
  937. A classic of anthropology concerning the Kula, a complex system of exchange of prestigious valuables in the Massim (southeastern Papua). Originally published in 1922.
  938.  
  939. Find this resource:
  940.  
  941. Malo, David. Hawaiian Antiquities (Mo’olelo Hawaii). Honolulu: Bishop Museum, 1994
  942.  
  943. Save Citation »Export Citation »E-mail Citation »
  944.  
  945. First published in 1903. Reprint of 1951 second edition. Malo was himself part of the traditional Hawaiian kapu system and his writings embody a worldview steeped in Hawaiian tradition. He was educated by missionaries and wrote poetry and works on Hawaiian religion and culture in English and Hawaiian.
  946.  
  947. Find this resource:
  948.  
  949. Miklouho-Maclay, Nicholai Nicholaievich. The New Guinea Diaries, 1871–1883. Translated by B. Wongar. Carnegie, Australia: Dingo, 2007.
  950.  
  951. Save Citation »Export Citation »E-mail Citation »
  952.  
  953. Reputedly the first scientist to settle among and study people who had never seen a white man, Miklouho-Maclay was a humanist scholar who refuted scientific racism. Between 1871 and 1883 he lived among villagers of Astrolabe Bay on the Rai coast of New Guinea, observing, recording, and drawing daily life, special events, and ceremonies.
  954.  
  955. Find this resource:
  956.  
  957. Parkinson, Richard. Dreissig Jahre in der Südsee. Stuttgart: Verlag von Strecker & Schroder, 1907.
  958.  
  959. Save Citation »Export Citation »E-mail Citation »
  960.  
  961. A substantial account, of the cultural framework of communities in the Bismarck Archipelago and Solomon Islands, describing various language groups and their customs as well as sets of artifacts collected for museums in Europe and Australia. English translation by John Dennison, Thirty Years in the South Seas (London: C. Hurst, 1999).
  962.  
  963. Find this resource:
  964.  
  965. Speiser, Felix. Two Years with the Natives in the Western Pacific. Charleston, SC: Nabu, 2010.
  966.  
  967. Save Citation »Export Citation »E-mail Citation »
  968.  
  969. In 1910–1912, Speiser made an important collection of Vanuatu cultural material, accompanied by photographs and drawings, for the Museum der Kulturen in Basel, Switzerland. First published in German in 1913.
  970.  
  971. Find this resource:
  972.  
  973. Primitive Art
  974. In the period approximately 1900–1970, Western scholars, museum professionals, and collectors developed a concept of the indigenous art of the Americas, Africa, and Oceania as “primitive art.” Bernard Smith commented on the pervasive influence of Christian missionaries, who “did much to spread the belief that the native peoples of the Pacific in their natural state were depraved and ignoble (Smith 1985 cited under Early Encounters, p. 32).” In scientific terms, the concept of primitive people emerged from the evolutionary framework of social Darwinism in the late 19th century. In the Western division of the world into racially based culture areas, the indigenous peoples of Africa, Oceania, and the Americas who were non-Islamic, non-Buddhist, non-Hindu, and non-Christian were lumped together as primitive native races, lower on the Darwinian evolutionary scale than Asiatics and Europeans. The concept of primitive art served as a basis for the classification and definition of objects from African, Oceanic, and Native American societies in Western culture until as late as the 1970s. Primitive art was the only substantial and consistent model within which the artistic products of tribal cultures were systematically collected, described, evaluated, and intellectualized to serve the interests of Western culture. The category excluded the art of African, Oceanic, and Native American peoples from art museums and relegated their creative productions to the domain of ethnographic museums. Assumptions within the paradigm of primitive art included that of Western cultural superiority, the unchanging nature of tradition (the ethnographic present), the anonymity of the tribal artist and a gender bias toward objects made by men. Boas 1955 is an exceptional early text on indigenous art forms, which challenges racist and geographic assumptions that denigrated the accomplishments of so-called primitive people and their cultures. Lewis 1961 definition of primitive art for students and scholars of art history and anthropology reflected the pervasive view of indigenous creative expression at the time. An anthology, Fraser 1966 was praised for drawing together source material to aid the teaching of anthropology, but it is now recognized that the author’s affirmation that “Primitive art may be defined as the high art of low cultures” (Fraser 1966, p. 5) is flawed. In the decade between Richard Anderson’s first and revised editions (Anderson 1979), the author changed his perception of primitive societies to describe them less pejoratively as “small-scale societies.” Price demonstrates how the artistic philosophy of Western intellectuals and cultural institutions, seen in retrospect as an ethnocentric value judgment, was overturned and is now totally rejected.
  975.  
  976. Anderson, Richard. Art in Primitive Societies. Englewood Cliffs, NJ: Prentice Hall, 1979.
  977.  
  978. Save Citation »Export Citation »E-mail Citation »
  979.  
  980. A widely used text for courses in anthropology and art history, Anderson’s study examines art in its cultural context. The second edition, Art in Small-Scale Societies (Englewood Cliffs, NJ: Prentice Hall, 1989) discards the term “primitive societies” in favor of the less pejorative “small-scale” in reference to hunter-gatherers and horticultural and pastoral peoples.
  981.  
  982. Find this resource:
  983.  
  984. Boas, Franz. Primitive Art. Reprint. New York: Dover, 1955.
  985.  
  986. Save Citation »Export Citation »E-mail Citation »
  987.  
  988. Originally published in 1927. This seminal text by one of the founders of anthropology was influential in its approach to understanding different cultures. Boas’s students continued to shape anthropological studies.
  989.  
  990. Find this resource:
  991.  
  992. Fraser, Douglas. The Many Faces of Primitive Art: A Critical Anthology. Englewood Cliffs, NJ: Prentice Hall, 1966.
  993.  
  994. Save Citation »Export Citation »E-mail Citation »
  995.  
  996. This anthology was widely used as a textbook that dealt descriptively with the so-called primitive areas of the world.
  997.  
  998. Find this resource:
  999.  
  1000. Lewis, Phillip. “A Definition of Primitive Art.” Fieldiana Anthropology 36.10 (October 1961).
  1001.  
  1002. Save Citation »Export Citation »E-mail Citation »
  1003.  
  1004. Lewis was primitive art curator of the Chicago Natural History Museum in the 1960s; he published this definition as a response to popular and academic interest in clarifying the term.
  1005.  
  1006. Find this resource:
  1007.  
  1008. Price, Sally. Primitive Art in Civilized Places. 2d ed. Chicago: University of Chicago Press, 2001.
  1009.  
  1010. Save Citation »Export Citation »E-mail Citation »
  1011.  
  1012. Price explores the Western construct of “primitive art,” exposing ignorance and a cultural arrogance implicit in approaches by Westerners to non-Western art.
  1013.  
  1014. Find this resource:
  1015.  
  1016. Modernist European Artists Interpretations of the Pacific
  1017. Apart from Paul Gauguin, who spent years in Tahiti and the Marquesas Islands (Gauguin 1926), only Henri Matisse among the French modernists voyaged to Tahiti. The exuberant works of his late years, vibrant paper cut-outs, were created in the 1940s when he was quite infirm but recalled memories of his voyage to Tahiti years earlier, as investigated in Cumming 2014. Lloyd 1991 argues that primitivism and modernity were the primary influences shaping the art of the German expressionists. But in an era when Germany’s colonial expansion offered possibilities to those with an adventurous spirit, only Emil Nolde joined a scientific expedition to German territories sponsored by the Colonial Office in 1913–1914, and Max Pechstein travelled to Micronesia.
  1018.  
  1019. Cumming, Laura. “Henri Matisse: The Cut-Outs Review: The Lesson of a Life-Time’.” The Guardian, 20 April 2014.
  1020.  
  1021. Save Citation »Export Citation »E-mail Citation »
  1022.  
  1023. The article reviews a comprehensive exhibition “Art and Design: Henri Matisse” at the Tate Modern in London, which features a comprehensive selection of cut-outs inspired by Matisse’s Pacific sojourn.
  1024.  
  1025. Find this resource:
  1026.  
  1027. Gauguin, Paul. Noa Noa, voyage de Tahiti. Munich: Piper, 1926.
  1028.  
  1029. Save Citation »Export Citation »E-mail Citation »
  1030.  
  1031. Includes folio with plates. The edition published by Chronicle Books in 2005 is the only English translation to contain all the illustrations and texts of the Tahiti diary.
  1032.  
  1033. Find this resource:
  1034.  
  1035. Guillaume, Paul. Première exposition d’art nègre et art océanien. Paris: Galerie Devambez, 1919.
  1036.  
  1037. Save Citation »Export Citation »E-mail Citation »
  1038.  
  1039. Exhibition catalogue (French language) with an essay by Guillaume Apollinaire, who was influential in giving recognition to the aesthetic and religious realms within African and Oceanic art.
  1040.  
  1041. Find this resource:
  1042.  
  1043. Lloyd, Jill. German Expressionism: Primitivism and Modernity. New Haven, CT: Yale University Press, 1991.
  1044.  
  1045. Save Citation »Export Citation »E-mail Citation »
  1046.  
  1047. Lloyd argues that primitivism and modernity were the two poles of the German expressionist movement, which flourished just prior to World War I. Artists were seeking for a less-constrained ideology and behavior, close to nature and spiritually authentic.
  1048.  
  1049. Find this resource:
  1050.  
  1051. Torgovnick, Marianna. Gone Primitive: Savage Intellects, Modern Lives. Chicago: University of Chicago Press, 1991.
  1052.  
  1053. Save Citation »Export Citation »E-mail Citation »
  1054.  
  1055. A provocative exploration of the obsessions, fears, and longings that have underpinned Western views of the primitive.
  1056.  
  1057. Find this resource:
  1058.  
  1059. Tythacott, Louise. Surrealism and the Exotic. London: Routledge, 2003.
  1060.  
  1061. Save Citation »Export Citation »E-mail Citation »
  1062.  
  1063. Influenced by Andre Breton, some surrealists were avid collectors: was it based on a real love of the art of “primitive” people or on an intense desire for the exotic? The famous idiosyncratic map developed by a collective of surrealists imagined the most important art centers of the world, including Easter Island and New Britain in Papua New Guinea.
  1064.  
  1065. Find this resource:
  1066.  
  1067. Tourist Art
  1068. New Western markets for indigenous arts expanded rapidly after World War II when affordable travel and a growth in holiday destinations for the middle class increased the demand for tourist art. Graburn 1976 argues that objects made by indigenous producers in developing countries, often called “tourist art,” may be viewed by connoisseurs as unimportant, but that the modification of art forms for external markets did not always result in derivative objects and cultural loss. Above all, social and economic reasons can be cited why artworks and artifacts became commodified and entered external markets. This fact is argued in case studies that treat the commodification of artifacts in the Pacific in Appadurai 1986. Graburn 1982 develops the author’s argument that, as European interests in certain types of objects skewed supply to meet demand, indigenous makers responded to market forces by developing special categories of replicas and souvenirs catering to the tourist industry. Desmond 1999 questions the poetics and politics of representing cultural performances for the education and entertainment of others and whether doing so degrades the significance of the performance. Trask 1993 examines the negative effects caused by the pressure of corporations to conform to their tourist markets and audiences on the preservation and empowerment of native Hawaiian culture. Webb 1994 considers whether the Polynesian Cultural Centre is a living museum, a tourist theme park, or a complex that displays the cultural tenets of the Mormon religion. Phillips and Steiner 1999 contains comparative studies on the history, character, and impact of tourist art in the transnational flows of people, goods, and images.
  1069.  
  1070. Appadurai, Arjun, ed. The Social Life of Things: Commodities in Cultural Perspective. New York: Cambridge University Press, 1986.
  1071.  
  1072. Save Citation »Export Citation »E-mail Citation »
  1073.  
  1074. This influential volume contains essays bridging the disciplines of social history, cultural anthropology, and economics that aid in improving understanding of the cultural basis of economic life.
  1075.  
  1076. Find this resource:
  1077.  
  1078. Desmond, Jane. Staging Tourism: Bodies on Display from Waikiki World to Sea World. Chicago: University of Chicago Press, 1999.
  1079.  
  1080. Save Citation »Export Citation »E-mail Citation »
  1081.  
  1082. Includes a close reading of bodies on display in Hawaiian tourism and performance.
  1083.  
  1084. Find this resource:
  1085.  
  1086. Graburn, Nelson, ed. Ethnic and Tourist Arts: Cultural Expressions from the Fourth World. Berkeley: University of California Press, 1976.
  1087.  
  1088. Save Citation »Export Citation »E-mail Citation »
  1089.  
  1090. This important volume posed the question of whether new types of indigenous art made for sale were invariably degenerate or inferior and introduced the need to redefine indigenous art.
  1091.  
  1092. Find this resource:
  1093.  
  1094. Graburn, Nelson, ed. “Ethnic Art: Works in Progress?.” Cultural Survival Quarterly 6.4 (Winter 1982).
  1095.  
  1096. Save Citation »Export Citation »E-mail Citation »
  1097.  
  1098. Examines the production of replicas and commercialization of objects and the social and economic consequences of this.
  1099.  
  1100. Find this resource:
  1101.  
  1102. Phillips, Ruth, and Christopher Steiner, eds. Unpacking Culture: Art and Commodity in Colonial and Postcolonial Worlds. Berkeley: University of California Press, 1999.
  1103.  
  1104. Save Citation »Export Citation »E-mail Citation »
  1105.  
  1106. The anthology brings together substantial case studies on the global phenomenon of tourist art, including art from the Pacific.
  1107.  
  1108. Find this resource:
  1109.  
  1110. Trask, Haunani-Kay. Lovely Hula Hands: Corporate Tourism and the Prostitution of Hawaiian Culture.” In From a Native Daughter: Colonialism and Sovereignty in Hawaii. Rev. ed. By Haunani-Kay Trask, 179–197. Honolulu: University of Hawai‘i Press, 1993.
  1111.  
  1112. Save Citation »Export Citation »E-mail Citation »
  1113.  
  1114. Volume written by a native Hawaiian interested in preserving Hawaiian traditions and local knowledge from devalued touristic forms.
  1115.  
  1116. Find this resource:
  1117.  
  1118. Webb, T. D. “Highly Structured Tourist Art: Form and Meaning of the Polynesian Cultural Center.” Contemporary Pacific 6.1 (1994): 59–86.
  1119.  
  1120. Save Citation »Export Citation »E-mail Citation »
  1121.  
  1122. This analysis of the Polynesian Cultural Centre, a popular and profitable tourist theme park, delves into the influence on its direction, aesthetics, and content by its owners, the Mormon Church.
  1123.  
  1124. Find this resource:
  1125.  
  1126. Anthropology, Art, and Aesthetics
  1127. Anthropological perspectives on art and aesthetics are important to the history and theory of the arts in the Pacific region. The conservative, scientific approach of ethnography failed to appreciate aesthetic value; objects were considered to be functional material culture. Gerbrands 1968, a work on Asmat art, marked a turning point, rejecting the anonymity of tribal artists and timeless repetition in the work of the Asmat, which was entrenched in the paradigm of primitive art. Gerbrands recognized eight Asmat men as outstanding sculptors, each with an individual style within the Asmat forms of creative expression. Layton 1991 addresses the issue of what constitutes art and aesthetics in the diversity of art forms created in several non-Western societies, relating the creation of various art forms to ceremonies, spiritual beliefs, and power relations within particular societies. Gell 1998 advances the anthropological theory of art by recognizing the intentional agency of the artist in the creative act, criticizing the view of art as passive objects. Campbell 2002 is an excellent concentrated study on the art of Kula canoes, in particular the role of specialists of the Vakuta style of carved and painted canoe prows imbued with beauty, knowledge, and magic created to lure Kula partners. The anthologies listed in this section draw attention to what art can contribute to understanding the society that produces it. A case-study anthology, Forge 1973, despite its title, constitutes a landmark in the movement by which art and aesthetics have become important concepts in anthropology and intercultural exchange, with developing interest in exploring and discussing aesthetic criteria and artistic categories. The selection of essays by anthropologists with established reputations for their contribution to art and aesthetics in Coote and Shelton 1992 is particularly useful for its focus on Oceanic art in society. The compilation of Morphy and Perkins 2006 provides an overview of the essential theories and approaches, based on fieldwork, that emerged in the latter part of the 20th century. The anthology of Pinney and Thomas 2001 furthers Gell’s perspectives, questioning the limits of aesthetic interpretation, extending investigations into the realms of postcolonial art production with some case studies in Oceania. Bowden 1983 (cited under Ceremony and Ritual Arts) provides a detailed account of Kwoma male rituals, with a focus on the iconography and symbolism of yena sculptures that are made and displayed in secret by initiated men. Linden Museum 2009 (cited under Micronesia) reflects, in marking the one hundredth anniversary of the South Seas Expedition by the Hamburg Museum in 1909–1910, the growing awareness of the wealth of cultural achievements of the past and the adoption of a more active stance to preserve at least the knowledge of their cultural heritage by Micronesian islanders today.
  1128.  
  1129. Campbell, Shirley. The Art of Kula. Oxford: Berg, 2002.
  1130.  
  1131. Save Citation »Export Citation »E-mail Citation »
  1132.  
  1133. Since the work of Bronislaw Malinowski (see Malinowski 1978 [cited under Early Ethnographic Accounts]) the Kula in the Milne Bay area of southeastern Papua has been one of the most studied exchange systems in anthropological literature. Vakuta is one of the communities that participate in the Kula ceremonial exchange with richly decorated canoes. Campbell reveals the power, beauty, and magic embedded in this rich and complex form of art.
  1134.  
  1135. Find this resource:
  1136.  
  1137. Coote, Jeremy, and Anthony Shelton. Anthropology, Art, and Aesthetics. Oxford: Clarendon, 1992.
  1138.  
  1139. Save Citation »Export Citation »E-mail Citation »
  1140.  
  1141. Contributors to this anthology review the history of anthropological interpretation of art with Firth, Bowden, Küchler and Gell being of particular interest for Oceanic societies.
  1142.  
  1143. Find this resource:
  1144.  
  1145. Ellis, Ngarino. A Whakapapa of Tradition: One Hundred Years of Ngāti Porou Carving, 1830–1930. Auckland, New Zealand: Auckland University Press, 2016.
  1146.  
  1147. Save Citation »Export Citation »E-mail Citation »
  1148.  
  1149. Ellis examines the evolution in Māori carving from 1860 to 1930, focusing on the Iwirakau school of carving—the ancestor Iwirakau is credited with reinvigorating carving on the East Coast. The six major carvers of his school went on to create more than thirty important meeting houses and other structures of Ngāti Porou carving. The author also extends Māori art history, exploring what makes a tradition in Māori art, how traditions begin, and, conversely, how and why they cease.
  1150.  
  1151. Find this resource:
  1152.  
  1153. Forge, Anthony. Primitive Art and Society. Wenner-Gren Foundation for Anthropological Research. London: Oxford University Press, 1973.
  1154.  
  1155. Save Citation »Export Citation »E-mail Citation »
  1156.  
  1157. Forge was a pioneer in the anthropology of art, his own findings on the aesthetic wealth of Sepik art is based on his fieldwork in the Sepik region of New Guinea in the 1960s.
  1158.  
  1159. Find this resource:
  1160.  
  1161. Gell, Alfred. Art and Agency: An Anthropological Theory. Oxford: Clarendon, 1998.
  1162.  
  1163. Save Citation »Export Citation »E-mail Citation »
  1164.  
  1165. Gell investigates diverse artistic traditions to illuminate how art objects may be active and serve as intentional vehicles, dismissing well-used concepts of definitions of aesthetics.
  1166.  
  1167. Find this resource:
  1168.  
  1169. Gerbrands, Adrian. The Study of Art in Anthropology. The Hague: Mouton, 1968.
  1170.  
  1171. Save Citation »Export Citation »E-mail Citation »
  1172.  
  1173. Gerbrands developed his theory working among the Asmat woodcarvers in West Papua in the 1960s.
  1174.  
  1175. Find this resource:
  1176.  
  1177. Layton, Robert. The Anthropology of Art. Cambridge, UK: Cambridge University Press, 1991.
  1178.  
  1179. Save Citation »Export Citation »E-mail Citation »
  1180.  
  1181. Understanding art from non-Western societies requires an understanding of the cultural contexts in which the forms of art are created. Layton provides a rich introduction. Originally published in 1981.
  1182.  
  1183. Find this resource:
  1184.  
  1185. Morphy, Howard, and Morgan Perkins, eds. The Anthropology of Art: A Reader. Malden, MA: Blackwell, 2006.
  1186.  
  1187. Save Citation »Export Citation »E-mail Citation »
  1188.  
  1189. A useful survey for students of the history of anthropology of art and its contemporary relevance.
  1190.  
  1191. Find this resource:
  1192.  
  1193. Pinney, Christopher, and Nicholas Thomas, eds. Beyond Aesthetics: Art and the Technologies of Enchantment. Oxford: Berg, 2001.
  1194.  
  1195. Save Citation »Export Citation »E-mail Citation »
  1196.  
  1197. The authors move into a new era of contemporary art making, including digital media and the web, using a case-study approach.
  1198.  
  1199. Find this resource:
  1200.  
  1201. Gender and Sexuality
  1202. Since the 1970s feminist art historians have exposed the gender bias in Western art history—the almost total exclusion of female artists, the types of artworks they produced, and the cultural roles of women. In the Pacific region gender bias is evident in the concentration on objects made by men in Western collections and in publications on art and the neglect of fine objects made by women; the significant bias toward objects made by men is revealed in the works listed in the section General Overviews of Oceanic Art, 1940s to 1990s. The significant body of evidence documented by women anthropologists has discerned paradigms that reveal how Western minds create and legitimate an authoritative set of beliefs about their own, and other, cultures. Undoubtedly, women have been marginalized in studies on Oceanic societies and cultures, and this oversight is being redressed feminist anthropologists. A groundbreaking study, Weiner 1976 demonstrates the significant role of women in the creation and circulation of aesthetic wealth and the centrality of their “soft wealth” in Trobriand Islands exchange systems. Mackenzie 1991 concentrates on the bilum (net bags) woven by women in Papua New Guinea, which had been presumed to be not worthy of consideration, and shows that certain bilum may be of high symbolic value as important ritual objects and treasured personal items. Jolly 1994 and Bolton 2003 are studies of gender relations in the kastom communities of South Pentecost and Ambae in Vanuatu, considering the impact of colonialism and Christianity on gender relations and the resilience of indigenous relationships in art production. Weiner 1992, an exemplary work on inalienable possessions, reveals the central importance of brother-sister relationships in Polynesian hierarchical societies and how treasured objects such as fine mats and exquisite tapa, which are the creative products of high-ranking women, are essential expressions of status and relationships. Sexuality is a significant issue in gender studies; Eisenman 1997 examines Gauguin’s relationships with Polynesian women and various interpretations of them. The male gaze on Pacific women’s bodies is held up to scrutiny in Grimshaw and Morton 1995 with respect to Māori women. O’Brien 2006 provides a wide-ranging analysis focusing on how European male sexual fantasies shaped—and limited—ideas of Polynesian women. The existence of different patterns of sexuality and gender, and how they are expressed in art and performance, needs to be considered without reliance on Western theories of feminist, queer, and gender studies. Pacific artists and scholars themselves are producing a more complex insider understanding of cross-gender and queer relations. Allen 2010 explores the volatile and provocative expression of sexuality, gender, and identity in performance art. Schmidt 2001 treats the prevalent role of fa’afafine (the third sex) in Samoa and other Polynesian societies. Teaiwa 2011 explores the reappropriation and critique of the male gaze, the exotic, and the primitive in the work of fa’afafine artist Shigeyuki Kihara.
  1203.  
  1204. Allen, Anne E., ed. Pacific Arts 10.2 (2010).
  1205.  
  1206. Save Citation »Export Citation »E-mail Citation »
  1207.  
  1208. Feature articles in this issue include: Jacqueline C. Rault, “More Than Simply Traditional: The Pacific Sisters”; “Specifically Being Herself: Language and Identity in the Art of Rosanna Raymond” on poetry and art by Rosanna Raymond with an introduction by Karen Stevenson; Erika Wolf, “Shigeyuki Kihara’s Fa’a fafine; In a Manner of Woman; The Photographic Theater of Cross-Cultural Encounter,” which focuses on Rosanna Raymond and the Pacific Sisters breaking out of stereotypes, reinventing myths and traditions, and Shigeyuki Kihara’s gender blending critique of imperial exotic primitivism.
  1209.  
  1210. Find this resource:
  1211.  
  1212. Bolton, Lissant. Unfolding the Moon. Honolulu: University of Hawai‘i Press, 2003.
  1213.  
  1214. Save Citation »Export Citation »E-mail Citation »
  1215.  
  1216. Until the 1990s, women’s kastom—indigenous knowledge and practice—was given far less recognition than that of men. Bolton’s study of women’s production and use of plaited pandanus textiles on Ambae shows shifts from imposed missionary and colonial ideas, the diffusion of feminist discourses on women’s rights, and how they enmesh with specific, kinship-based constructions of gender to create contemporary views on ni-Vanuatu culture with respect to the position of women.
  1217.  
  1218. Find this resource:
  1219.  
  1220. Eisenman, Stephen. Gauguin’s Skirt. London: Thanes and Hudson, 1997.
  1221.  
  1222. Save Citation »Export Citation »E-mail Citation »
  1223.  
  1224. An intriguing probe into the colonial, sexist, and racist readings of Gauguin’s paintings and for indications of the artist’s attitudes toward, and relationships with, Polynesian women.
  1225.  
  1226. Find this resource:
  1227.  
  1228. Grimshaw, Patricia, and Helen Morton. “Paradoxes of the Colonial Male Gaze: European Men and Māori Women.” In Work in Flux. Edited by Emma Greenwood, Klaus Neumann, and Andrew Sartori, 144–158. Parkville, Australia: Melbourne University, 1995.
  1229.  
  1230. Save Citation »Export Citation »E-mail Citation »
  1231.  
  1232. In the area of European’s ideas and imagination, this work deconstructs images of Māori women.
  1233.  
  1234. Find this resource:
  1235.  
  1236. Jolly, Margaret. Women of the Place, Kastom, Colonialism and Gender in Vanuatu. Philadelphia: Harwood Academic, 1994.
  1237.  
  1238. Save Citation »Export Citation »E-mail Citation »
  1239.  
  1240. Jolly critiques established assumptions and widens the scope of gender studies in the Pacific.
  1241.  
  1242. Find this resource:
  1243.  
  1244. Mackenzie, Maureen. Androgynous Objects: String Bags and Gender in Central New Guinea. Chur, Switzerland, Philadelphia: Harwood Academic Publisher, 1991.
  1245.  
  1246. Save Citation »Export Citation »E-mail Citation »
  1247.  
  1248. The commonplace looped string bag is much more than a utility item; different types of bags signify locality and group identity, they may be aesthetic objects in performance and ritual objects.
  1249.  
  1250. Find this resource:
  1251.  
  1252. O’Brien, Patty. The Pacific Muse: Exotic Femininity and the Colonial Pacific. Seattle: University of Washington Press, 2006.
  1253.  
  1254. Save Citation »Export Citation »E-mail Citation »
  1255.  
  1256. O’Brien examines well-known and lesser-known texts to reveal gender, sexuality, race, and femininity.
  1257.  
  1258. Find this resource:
  1259.  
  1260. Schmidt, Johanna. “Redefining Fa’afafine: Western Discourses and the Construction of Transgenderism in Samoa.” Intersections: Gender, History and Culture in the Asian Context 6 (August 2001).
  1261.  
  1262. Save Citation »Export Citation »E-mail Citation »
  1263.  
  1264. Critiques the Mead legacy and illustrates Samoan transgenderism with discussion of documentary film and television programs.
  1265.  
  1266. Find this resource:
  1267.  
  1268. Teaiwa, Katerina M. “An Interview with Interdisciplinary Artist Shigeyuki Kihara.” Intersections: Gender and Sexuality in Asia and the Pacific 27 (November 2011).
  1269.  
  1270. Save Citation »Export Citation »E-mail Citation »
  1271.  
  1272. An interview with artist Shigeyuki Kihara, whose work examines gender, history and representation in contemporary Pacific societies.
  1273.  
  1274. Find this resource:
  1275.  
  1276. Weiner, Annette. Women of Value, Men of Reknown: New Perspectives in Trobriand Exchange. Austin: University of Texas Press, 1976.
  1277.  
  1278. Save Citation »Export Citation »E-mail Citation »
  1279.  
  1280. Outstanding contribution to gender studies in anthropology and art, overturning assumptions about the value of women’s creative work and their role in the production and distribution of “soft wealth” and how this relates to social hierarchy and cohesion.
  1281.  
  1282. Find this resource:
  1283.  
  1284. Weiner, Annette. Inalienable Possessions: The Paradox of Keeping while Giving. Berkeley: University of California Press, 1992.
  1285.  
  1286. DOI: 10.1525/california/9780520076037.001.0001Save Citation »Export Citation »E-mail Citation »
  1287.  
  1288. Inalienable possessions, whether material objects or intangible cultural heritage, affirm social identity and rank. Inalienable possessions refers to women’s role in the production and reciprocal circulation of treasured items and the keeping of memories.
  1289.  
  1290. Find this resource:
  1291.  
  1292. The Emergence of Contemporary Art Movements in the Pacific
  1293. Multiple contemporary realities exit simultaneously in the diversity of Oceanic cultures; the repertoires of Pacific artists include inherited ancestral forms, innovative forms, and new media and methods of production. The diversity of art produced is indicative of the responses of artists to the different audiences for their art. Western interest in Pacific forms of art, and the values attached to them in Western culture, often differ from the ways art objects and practices are valued by the makers and their communities. Innovative art forms, often blending Western elements and the artist’s indigenous cultural heritage have rapidly evolved in Pacific societies since the emergence of contemporary art movements in the 1970s. Beier 1974 recounts stories of several pioneering artists in Papua New Guinea, while the contributors to Ihimaera 1996 are among the outspoken leaders of the emerging Māori art movement as well as being outstanding artists themselves. Artists’ indigenous backgrounds or ancestry, their social milieu and their relationships with the local and global art worlds are inextricably part of the history of such moments and help explain their development. Vilisoni Tausie (now known as Vilisoni Hereniko) wrote the first book on new roles for Pacific artists and their art (Tausie 1981). Contemporary art movements in the Pacific region emerged in conjunction with the period of decolonization, radical decades that commenced in the mid-1960s, as Beier 2005 describes for Papua New Guinea. Cochrane 2001 investigates this transformative period when artists and writers took on new roles, contributed forceful ideas and images to the public imagination, and won recognition as visionaries of their times. Because of the ethnic diversity of the Pacific region, as well as the differing environments and social circumstances of Pasifika peoples, their contemporary forms of creative expression encompass an enormous range of styles and traditions, exemplified by Mallon and Pereira 1997 and Mallon and Pereira 2002. Until the 1990s, Pacific art was largely peripheral to Western lifestyles and mainstream culture. Outside of their communities, artists struggled for recognition by international audiences; the reception of contemporary Papua New Guinea artists in Germany is recounted in Raabe 1995. The work of Pacific artists was rarely published or displayed in metropolitan museums, a fact investigated in Rosi 2006 (cited under Pacific Art in the Global Art World), which argues that “gatekeepers” devised intellectual and institutional blocks effectively preventing indigenous artists from gaining access to the institutions of Western art. But as Western art audiences increasingly came to recognize the compelling scope and originality of indigenous peoples, they are also becoming more aware of the circumstances of its makers and the integrity of their forms of expression.
  1294.  
  1295. Beier, Georgina. Modern Images from Niugini. Milton, Australia: Jacaranda, 1974.
  1296.  
  1297. Save Citation »Export Citation »E-mail Citation »
  1298.  
  1299. As a mentor and trainer of several of the first contemporary artists in Papua New Guinea in the 1970s, G. Beier documents the background and artistic development of Akis, Kauage, and others.
  1300.  
  1301. Find this resource:
  1302.  
  1303. Beier, Ulli. Decolonising the Mind: The Impact of the University on Culture and Identity in Papua New Guinea, 1971–74. Canberra, Australia: Pandanus, 2005.
  1304.  
  1305. Save Citation »Export Citation »E-mail Citation »
  1306.  
  1307. Working at the newly established University of Papua New Guinea, Ulli Beier was influential in encouraging and promoting Papua New Guinean writers and artists in the immediate postcolonial era.
  1308.  
  1309. Find this resource:
  1310.  
  1311. Cochrane, Susan. Bérétara: Contemporary Pacific Art. Rushcutter’s Bay, Australia: Halstead, 2001.
  1312.  
  1313. Save Citation »Export Citation »E-mail Citation »
  1314.  
  1315. Using the outstanding collection of contemporary Pacific art acquired by the Tjibaou Cultural Centre of New Caledonia, Cochrane in this lucid text explores the vibrant repertoire of contemporary Pacific artists, who are not limited by Western influences or their tribal background.
  1316.  
  1317. Find this resource:
  1318.  
  1319. Ihimaera, Witi, ed. Mataora: The Living Face: Contemporary Māori Art. Auckland, New Zealand: David Bateman, 1996.
  1320.  
  1321. Save Citation »Export Citation »E-mail Citation »
  1322.  
  1323. The first publication on contemporary Māori art, with contributions from writers and artists. Mataora is an artistic, cultural, and political statement about Māori art and experience.
  1324.  
  1325. Find this resource:
  1326.  
  1327. Mallon, Sean, and Pandora Fulimalo Pereira, eds. Speaking in Colour: Conversations with Artists of Pacific Island Heritage. Wellington, New Zealand: Te Papa, 1997.
  1328.  
  1329. Save Citation »Export Citation »E-mail Citation »
  1330.  
  1331. The compelling conversations giving insights into artist’s persona and artistic expression make this book essential reading on the emergence of Pasifika art and identity.
  1332.  
  1333. Find this resource:
  1334.  
  1335. Mallon, Sean, and Pandora Fulimalo Pereira, eds. Pacific Art Niu Sila: The Pacific Dimension of Contemporary New Zealand Arts. Wellington, New Zealand: Te Papa, 2002.
  1336.  
  1337. Save Citation »Export Citation »E-mail Citation »
  1338.  
  1339. Reviews the enrichment of New Zealand’s complex art world by Pasifika artists since the 1950s, including the art forms of tīvaevae, tatau, tapa, weaving, film and photography, jewelry, music, and dance.
  1340.  
  1341. Find this resource:
  1342.  
  1343. Raabe, Eva. “Modernism or Folk Art? The Reception of Pacific Art in Europe.” ArtAsiaPacific 2.4 (1995): 96–103.
  1344.  
  1345. Save Citation »Export Citation »E-mail Citation »
  1346.  
  1347. Questions why German audiences consider contemporary paintings by leading Papua New Guinea artists to be ethnographic or folk art and not fine art.
  1348.  
  1349. Find this resource:
  1350.  
  1351. Tausie, Vilisoni. Art in the New Pacific. Suva, Fiji: Institute of Pacific Studies, 1981.
  1352.  
  1353. Save Citation »Export Citation »E-mail Citation »
  1354.  
  1355. The first book on contemporary art of the Pacific by a Pacific author.
  1356.  
  1357. Find this resource:
  1358.  
  1359. Turner, Caroline, ed. Tradition and Change: Contemporary Art of Asia and the Pacific. St. Lucia, Australia: University of Queensland Press, 1993.
  1360.  
  1361. Save Citation »Export Citation »E-mail Citation »
  1362.  
  1363. A perceptive focus on the modern art of the Asian and Pacific region, it presents a series of essays examining the many influences and varied forms of art that have emerged in the region, including Papua New Guinea (by Bernard Narokobi) and New Zealand (by Michael Dunn).
  1364.  
  1365. Find this resource:
  1366.  
  1367. Pacific Art in the Global Art World
  1368. Smith 2011 emphasises that art historians, curators, and critics increasingly acknowledge that the arts and cultures of all peoples of the world are constituent parts of the human story, a worldwide cultural history rich in diversity and interconnections in which multiple contemporary realities exist simultaneously. Contemporary art in the Pacific is not about Western postmodern movements and trends, although some Pacific artists may engage with these. Within the context of the globalized art world, contemporary Pacific art constitutes a continuing part of the encounters and exchanges between cultures, introducing new roles for artists and different discourses into the ever-expanding experience of art, as Mason 2008 discusses in relation to Māori art. Contributors to Stevenson 2011 confront a variety of issues associated with the production, marketing, and acceptance of indigenous arts in a global art world from different perspectives, whether as artists, academics, museum curators, or gallery owners. Chiu 2004 comments on the scant attention given to Pacific art in high-profile focus exhibitions and biennales in the United States, Europe, and Asia. Rosi 2006 levels criticism at Western “gatekeepers,” whether institutional policies or curatorial attitudes, that effectively block Pacific artists from becoming known to wider audiences. Undeniably, some individual Pasifika artists are high achievers in the United States, Europe, and Asia, featuring in biennales. However, at present the hubs for contemporary Pacific, or Moana, art are in New Zealand, Hawaii, New Caledonia, and in Brisbane, Australia. In New Caledonia the Biennale d’art contemporain de Nouméa has had four iterations, the largest and last of these Bienniales coincided with the 8th Festival of Pacific Arts in 2000. The Asia Pacific Triennial of Contemporary Art is a “flagship international art event,” that has engaged in artistic dialogue with the Pacific region since its inception in 1993 (see Asia Pacific Triennial of Contemporary Art (APT) Exhibition Archive [cited under Bibliographies]). The presentation of art in this landmark project over two decades has contributed to the attitudinal change in the acceptance of indigenous art forms from the Pacific within the spectrum of world art (Queensland Art Gallery and Gallery of Modern Art). A significant move to delimit the boundaries of Oceanic art and include their Austronesian cousins from Taiwan was initiated by the Kaohsiung Museum of Fine Arts in 2006 (see Kaohsiung Museum of Fine Arts 2006 and Kaohsiung Museum of Fine Arts 2010 [cited under the Pacific Region/Oceania]). These major international art events demonstrate commonalities and divergences in the contemporary experiences and expressions of indigenous artists.
  1369.  
  1370. Agence de Developpement de la Culture Kanak. Biennale d’art contemporain de Nouméa. Nouméa, New Caledonia: Agence de Developpement de la Culture Kanak/Tjibaou Cultural Centre, 2000.
  1371.  
  1372. Save Citation »Export Citation »E-mail Citation »
  1373.  
  1374. A substantial bilingual (French/English) catalogue with scholarly essays on different aspects of the event and biographies of the participating artists.
  1375.  
  1376. Find this resource:
  1377.  
  1378. Chiu, Melissa. “Paradise Now? Contemporary Art from the Pacific.” In Paradise Now? Contemporary Art from the Pacific. Auckland, New Zealand: David Bateman, 2004.
  1379.  
  1380. Save Citation »Export Citation »E-mail Citation »
  1381.  
  1382. Making a rare appearance in New York the exhibition and catalogue essay challenge the clichés and stereotypes of the postcard Pacific with works by innovative contemporary artists.
  1383.  
  1384. Find this resource:
  1385.  
  1386. Hill, Greg A., Candice Hopkins, and Christine Lalonde. Sakahàn: International Indigenous Art. Ottawa, ON: National Gallery of Canada, 2013.
  1387.  
  1388. Save Citation »Export Citation »E-mail Citation »
  1389.  
  1390. Six New Zealand artists represent the Pacific, including Shigeyuki Kihara with her work “Fa’afafine: In the Manner of a Woman” on loan from New York’s Metropolitan Museum of Art, where Kihara was the first New Zealand artist to have a solo exhibition in 2008.
  1391.  
  1392. Find this resource:
  1393.  
  1394. Mason, Ngahiraka, ed. Turuki Turuki! Paneke Paneke!: When Maori Art Became Contemporary. Auckland, New Zealand: Auckland Art Gallery Toi o Tamaki, 2008.
  1395.  
  1396. Save Citation »Export Citation »E-mail Citation »
  1397.  
  1398. The exhibition and book are a tribute to five artists who are among the founders of contemporary visual Māori art, who first exhibited in 1958.
  1399.  
  1400. Find this resource:
  1401.  
  1402. Queensland Art Gallery and Gallery of Modern Art. The 20-Year Archive online.
  1403.  
  1404. Save Citation »Export Citation »E-mail Citation »
  1405.  
  1406. The 20-Year Archive gathers together material from across the two-decade history of the contemporary art series Asia Pacific Triennial of Contemporary Art (APT). QAGOMA TV features artist interviews, talks, and performances drawn from the archive of the Australian Centre of Asia Pacific Art, which has been a significant outcome of the APT.
  1407.  
  1408. Find this resource:
  1409.  
  1410. Rosi, Pamela S. The disputed value of contemporary Papua New Guinea artists and their work. In Exploring World Art. Edited by Eric Venbrux, and Robert Welsch, 121–147. Long Grove, IL: Waveland, 2006.
  1411.  
  1412. Save Citation »Export Citation »E-mail Citation »
  1413.  
  1414. Writing from the perspective of her fieldwork with contemporary artists in Papua New Guinea, and subsequent attempts to exhibit the art in public and private galleries in the USA, Rosi finds the art rejected as ‘not authentic’ by those she calls the ‘gatekeepers’ in the Western art system.
  1415.  
  1416. Find this resource:
  1417.  
  1418. Smith, Terry. Contemporary Art: World Currents. London: Laurence King, 2011.
  1419.  
  1420. Save Citation »Export Citation »E-mail Citation »
  1421.  
  1422. Smith argues that contemporary Pacific art arises from its own traditions; it is a dynamic phenomenon that is responsive to local and global interactions.
  1423.  
  1424. Find this resource:
  1425.  
  1426. Stevenson, Karen, ed. Pacific Island Artists: Navigating the Global Art World. Oakland, CA: Masalai, 2011.
  1427.  
  1428. Save Citation »Export Citation »E-mail Citation »
  1429.  
  1430. From various vantage points (Australia, Papua, Papua New Guinea, the Solomon Islands, Vanuatu, Fiji, Rotuma, Samoa, Tonga, New Zealand, Guam, Hawaii, and the Northwest Coast of Canada), contributors examine the creation of contemporary Pacific arts and their marketing and promotion. They confront issues acssociated with acceptance of the arts in the global art world.
  1431.  
  1432. Find this resource:
  1433.  
  1434. Turner, Caroline. Tradition and Change. St. Lucia, Australia: University of Queensland Press, 1993.
  1435.  
  1436. Save Citation »Export Citation »E-mail Citation »
  1437.  
  1438. Published on the occasion of the first Asia-Pacific Triennial, organized by the Queensland Art Gallery to inaugurate a series of contemporary art exhibitions, forums, and exchanges. Each successive iteration has its own substantial catalogue published by the Queensland Art Gallery and Gallery of Modern Art in Brisbane.
  1439.  
  1440. Find this resource:
  1441.  
  1442. Arts of Pacific Societies by Region or Country
  1443. Expanding on the sections and Recent Overviews Of Oceanic Art/Arts Of The Pacific, 1990s To Present, this section presents the art and artists of particular countries or regions. Each indigenous artistic system operates within its own contemporary framework, very much part of its place and time. For example, throughout Melanesia many distinctive art forms express characteristic local cultures in communities linked by language, kinship, and environment. In urban zones throughout the Pacific, creative works of artists often reflect contested loyalties to tradition and modernity. The “Pacific Art” cover-all approach effectively disguises the cultural diversity of each Pacific country, as well as the regions within the larger nations or island groups, such as French Polynesia. Papua New Guinea alone has twenty-two provinces and more than seven hundred distinctive language/culture groups. Mané-Wheoki 2011 (cited under Recent Pacific Philosophies of Art, pp. 1–12) states: “[T]here can be no coherent, integrated history of art in New Zealand that does not encompass the timeframe of cultural production of New Zealand’s indigenous Māori, or that of the Pacific nations for which the country is a regional hub, or the burgeoning cultural diversity of an emerging Asia-Pacific nation.” Within this limited space, only Māori art is accentuated for New Zealand, a country with multiple streams of art deserving of its own comprehensive bibliography. Due to the constraints of space, selections in this section are limited, indicating once again the need for expanded bibliographies on all the arts of the Pacific.
  1444.  
  1445. Cook Islands
  1446. Te Rangi Hīroa 1927 and Giuffre 2009 focus on artists in the Cook Islands from very different time frames.
  1447.  
  1448. Giuffre, Katherine. Collective Creativity: Art and Society in the South Pacific. Farnham, UK: Ashgate, 2009.
  1449.  
  1450. Save Citation »Export Citation »E-mail Citation »
  1451.  
  1452. A study of artists in contemporary Rarotongan society. Giuffre notes that local events and tourist markets motivate art production and may cause tensions.
  1453.  
  1454. Find this resource:
  1455.  
  1456. Te Rangi Hīroa (Sir Peter Buck). The Material Culture of the Cook Islands. New Plymouth, New Zealand: Avery, 1927.
  1457.  
  1458. Save Citation »Export Citation »E-mail Citation »
  1459.  
  1460. A classic ethnographic study, written from a Polynesian perspective.
  1461.  
  1462. Find this resource:
  1463.  
  1464. Easter Island
  1465. Kjellgren 2001 covers the artists of Easter Island.
  1466.  
  1467. Kjellgren, Eric. Splendid Isolation: Art of Easter Island. New York: Metropolitan Museum of Art, 2001.
  1468.  
  1469. Save Citation »Export Citation »E-mail Citation »
  1470.  
  1471. A full survey of the arts of Rapanui (Easter Island), unravelling the past of the monumental moai statues and rock art and small sculptures, including ephemeral works. Includes contributions from JoAnne van Tilburg and Adrienne Kaeppler.
  1472.  
  1473. Find this resource:
  1474.  
  1475. Fiji
  1476. Ewins 2014, Clunie 1986, and Higgins 2008 are sources for Fiji art.
  1477.  
  1478. Clunie, Fergus. Yalo i Viti = Shades of Viti: A Fiji Museum Catalogue. Suva: Fiji Museum, 1986.
  1479.  
  1480. Save Citation »Export Citation »E-mail Citation »
  1481.  
  1482. A valuable reference book contributing to the understanding of Fijian cultures through the material culture collections of the Fiji Museum, written when Clunie was the director of the museum.
  1483.  
  1484. Find this resource:
  1485.  
  1486. Ewins, Rod. Traditional Fijian Artefacts: Illustrated with Objects from Public and Private Collections in Tasmania. Nubeena, Australia: Just Pacific, 2014.
  1487.  
  1488. Save Citation »Export Citation »E-mail Citation »
  1489.  
  1490. Well-illustrated volume with meticulous documentations of excellent but little known collections of historical social importance by a Fiji specialist.
  1491.  
  1492. Find this resource:
  1493.  
  1494. Higgins, Katherine. Red Wave. Suva, Fiji: Institute of Pacific Studies, 2008.
  1495.  
  1496. Save Citation »Export Citation »E-mail Citation »
  1497.  
  1498. The Red Wave Collective of artists, musicians, and performers was galvanized into action by the coups d’état in Fiji and inspired by Epeli Hau’ ofa, the founder of the Centre for Oceanic Arts and Cultures at the University of the South Pacific, Fiji. Presenting the work of thirteen artists and reflecting on the role of art in contemporary society.
  1499.  
  1500. Find this resource:
  1501.  
  1502. Hawaii
  1503. Information about Hawaiian artists can be found in Arbeit 2011; Cazimero, et al. 2001; Kamehiro 2009; and Pukui, et al. 1972.
  1504.  
  1505. Arbeit, Wendy. Links to the Past: The Work of Early Hawaiian Artisans. Honolulu: University of Hawai‘i Press, 2011.
  1506.  
  1507. Save Citation »Export Citation »E-mail Citation »
  1508.  
  1509. Arbeit assembles more than one thousand Hawaiian artifacts of the 18th and 19th centuries from collections worldwide.
  1510.  
  1511. Find this resource:
  1512.  
  1513. Cazimero, Momi, David J. de la Torre, and Manulani Aluli Meyer. Na Maka Hou: New Visions; Contemporary Native Hawaiian Art. Honolulu: Honolulu Academy of Arts, 2001.
  1514.  
  1515. Save Citation »Export Citation »E-mail Citation »
  1516.  
  1517. Profiles contemporary native Hawaiian art, representing a broad cross section of the most active artists in the islands.
  1518.  
  1519. Find this resource:
  1520.  
  1521. Kamehiro, Stacy L. The Arts of Kingship: Hawaiian Art and National Culture of the Kalakaua Era. Honolulu: University of Hawai‘i Press, 2009.
  1522.  
  1523. Save Citation »Export Citation »E-mail Citation »
  1524.  
  1525. Hawaiian public art and architecture projects commissioned during the reign of David Kalakaua, King of Hawaii from 1874 to 1891.
  1526.  
  1527. Find this resource:
  1528.  
  1529. Pukui, Mary Kawena, E. W. Haertig, and Catherine A. Lee. Nānā i ke Kumu, Look to the Source. 2 vols. Honolulu: Hui Hanai, 1972.
  1530.  
  1531. Save Citation »Export Citation »E-mail Citation »
  1532.  
  1533. The two-volume set is an invaluable resource on Hawaiian customs and traditions. Pukui was also co-author of the definitive Hawaiian dictionary and recorded Hawaiian legends, poetry, and oral history. She was a chanter and hula expert and also wrote lyrics and music to more than 150 Hawaiian songs.
  1534.  
  1535. Find this resource:
  1536.  
  1537. Micronesia
  1538. Koch 1986, Wavell 2010, and Linden Museum 2009 cover artists in Micronesia.
  1539.  
  1540. Koch, Gerd. The Material Culture of Kiribati. Suva, Fiji: Institute of Pacific Studies of the University of the South Pacific, 1986.
  1541.  
  1542. Save Citation »Export Citation »E-mail Citation »
  1543.  
  1544. One of the few works on the Micronesian community of Kiribati.
  1545.  
  1546. Find this resource:
  1547.  
  1548. Linden Museum. Südsee-Oasen: Leben und Überleben im Westpazifik. Stuttgart: Linden Museum, 2009.
  1549.  
  1550. Save Citation »Export Citation »E-mail Citation »
  1551.  
  1552. A volume commemorating the centennial anniversary of the Hamburg Museum’s South Seas Expedition in 1909–1910, to promote awareness of the wealth of Micronesia’s cultures.
  1553.  
  1554. Find this resource:
  1555.  
  1556. Wavell, Barbara. Arts and Crafts of Micronesia: Trading with Tradition. Honolulu: Bess, 2010.
  1557.  
  1558. Save Citation »Export Citation »E-mail Citation »
  1559.  
  1560. Surveys the evolution of sculpture, painted panels and contemporary graphics, weavings and adornments.
  1561.  
  1562. Find this resource:
  1563.  
  1564. New Caledonia
  1565. The cultural and artistic heritage of the indigenous Kanak people of New Caledonia is discussed in Kasarherou and Boulay 2013, well worth comparing to the perspective of Sarasin 1917.
  1566.  
  1567. Kasarherou, Emmanuel, and Roger Boulay. Kanak: L’art est une parole. Paris: Musée du Quai Branly, 2013.
  1568.  
  1569. Save Citation »Export Citation »E-mail Citation »
  1570.  
  1571. Kanak knowledge reunited with France’s and New Caledonia’s rich collections. An encyclopedic catalogue, with an inventory of objects in European collections, extensive documentation, and interpretation. The word “parole” extends art to include act, oratory, and embodiment.
  1572.  
  1573. Find this resource:
  1574.  
  1575. Sarasin, Fritz. Neu-Caledonien und die Loyalty-Inseln: Reise-Erinnerungen eines Naturforschers. Basel, Switzerland: Georg, 1917.
  1576.  
  1577. Save Citation »Export Citation »E-mail Citation »
  1578.  
  1579. Swiss naturalist and ethnographer’s account of his expeditions to New Caledonia, best known for his photography of “native types” as scientific specimens. Translated as “New Caledonia and the Loyalty Islands: Souvenirs of the voyages of an ethnographer.”
  1580.  
  1581. Find this resource:
  1582.  
  1583. New Zealand Māori
  1584. New Zealand Māori artists are discussed in Evans and Ngarim 2005, Hamilton 2013, King 2008, Mead 1984, Skinner 2008, and Veys 2010.
  1585.  
  1586. Evans, Miriama, and Ranui Ngarim. The Art of Māori Weaving: The Eternal Thread. Wellington, New Zealand: Huia, 2005.
  1587.  
  1588. Save Citation »Export Citation »E-mail Citation »
  1589.  
  1590. Featuring some of New Zealand’s foremost Māori expert weavers, The Art of Māori Weaving celebrates innovation and development of weaving and plaiting as art forms in modern times while acknowledging the technology developed by weavers through the past centuries.
  1591.  
  1592. Find this resource:
  1593.  
  1594. Hamilton, Augustus. The Art Workmanship of the Māori Race in New Zealand: A Series of Illustrations from Specially Taken Photographs, with Descriptive Notes and Essays on the Canoes, Habitations, Weapons, Ornaments, and Dress of the Māoris. Charleston, SC: Nabu, 2013.
  1595.  
  1596. Save Citation »Export Citation »E-mail Citation »
  1597.  
  1598. Originally published in 1896. Ethnographer and director of the Dominion Museum, Hamilton fostered close relationships with Māori leaders to augment the national collection.
  1599.  
  1600. Find this resource:
  1601.  
  1602. King, Michael. Moko: Maori Tatooing in the 20th Century. Auckland, New Zealand: David Bateman, 2008.
  1603.  
  1604. Save Citation »Export Citation »E-mail Citation »
  1605.  
  1606. Originally published in 1972. One of New Zealand’s iconic books on the ancient art of moko, it was a milestone in New Zealand publishing at a time when Māori subject matter was not thought to be of interest to the New Zealand public. Photographs by Marti Friedlander.
  1607.  
  1608. Find this resource:
  1609.  
  1610. Mead, Hirini (Sidney) Moko. Te Māori: Māori Art from New Zealand Collections. New York: Abrams, 1984.
  1611.  
  1612. Save Citation »Export Citation »E-mail Citation »
  1613.  
  1614. Excellent presentation of the groundbreaking exhibition that established an international presence for Māori art.
  1615.  
  1616. Find this resource:
  1617.  
  1618. Skinner, Damian. The Carver and the Artist: Māori Art in the Twentieth Century. Auckland, New Zealand: Auckland University Press, 2008.
  1619.  
  1620. Save Citation »Export Citation »E-mail Citation »
  1621.  
  1622. Beginning in the 1970s, several Māori artists have bben key figures in the Māori renaissance and have established the strong presence of modern Māori art in New Zealand.
  1623.  
  1624. Find this resource:
  1625.  
  1626. Veys, Fanny Wonu. Mana Māori: The Power of New Zealand’s First Inhabitants. Leiden, The Netherlands: Leiden University Press, 2010.
  1627.  
  1628. Save Citation »Export Citation »E-mail Citation »
  1629.  
  1630. Interesting for its coverage of the encounter between Māori people and Dutch explorer Abel Tasman, the repercussions of the Treaty of Waitangi (1840) and the role of taonga (cultural treasures) that embody the ancestral identity of a Māori kin group with their lands and resources.
  1631.  
  1632. Find this resource:
  1633.  
  1634. Papua New Guinea
  1635. For information on artists of Papua New Guinea, see Cochrane Simons and Stevenson 1990; Craig 2010; Dark 1974; Eastburn 2006; Gunn and Peltier 2006; Küchler 2002; Peltier, et al. 2015; Welsch, et al. 2006; and Wilson 2014.
  1636.  
  1637. Cochrane Simons, Susan, and Hugh Stevenson, eds. Luk Luk Gen! (Look Again!) Contemporary Art in Papua New Guinea. Townsville, Australia: Perc Tucker Regional Gallery, 1990.
  1638.  
  1639. Save Citation »Export Citation »E-mail Citation »
  1640.  
  1641. The first international touring exhibition documenting the emergence of the contemporary art movement in Papua New Guinea.
  1642.  
  1643. Find this resource:
  1644.  
  1645. Craig, Barry, ed. Living Spirits with Fixed Abodes: The Masterpieces Exhibition of the Papua New Guinea National Museum and Art Gallery. Honolulu: University of Hawai‘i Press, 2010.
  1646.  
  1647. Save Citation »Export Citation »E-mail Citation »
  1648.  
  1649. The Masterpieces Exhibition at the Papua New Guinea National Museum is intended to showcase some of the finest examples of the traditional cultural heritage of the country.
  1650.  
  1651. Find this resource:
  1652.  
  1653. Dark, Philip. Kilenge Life and Art: A Look at a New Guinea People. London: Academy Editions, 1974.
  1654.  
  1655. Save Citation »Export Citation »E-mail Citation »
  1656.  
  1657. Dark delimits the domain of art in Kilenge culture, investigating how baskets, houses, tattoos, ornaments, canoes, and other objects and practices express Kilenge knowledge and experience of their world.
  1658.  
  1659. Find this resource:
  1660.  
  1661. Eastburn, Melanie. Papua New Guinea Prints. Canberra: National Gallery of Australia, 2006.
  1662.  
  1663. Save Citation »Export Citation »E-mail Citation »
  1664.  
  1665. Among Papua New Guinea’s pioneering contemporary artists from the late 1960s to the 1980s were exceptional printmakers; this volume showcases a representative selection in the collection of the National Gallery of Australia.
  1666.  
  1667. Find this resource:
  1668.  
  1669. Gunn, Michael, and Philippe Peltier. New Ireland: Art of the South Pacific. Paris: Musée du Quai Branly, 2006.
  1670.  
  1671. Save Citation »Export Citation »E-mail Citation »
  1672.  
  1673. This exhibition catalogue presents a panorama of artistic expressions specific to New Ireland, a large island northeast of Papua New Guinea that is home to several of the most sophisticated sculptural traditions in the Pacific region, including malanggan.
  1674.  
  1675. Find this resource:
  1676.  
  1677. Küchler, Susanne. Malanggan: Art, Memory and Sacrifice. Oxford: Berg, 2002.
  1678.  
  1679. Save Citation »Export Citation »E-mail Citation »
  1680.  
  1681. The intrigue of malanggan art has fascinated Western artists, collectors, and curators for some two hundred years. Küchler provides a history of collections and considers the role these complex sets of works of art play in sacrifice, ritual, and exchange.
  1682.  
  1683. Find this resource:
  1684.  
  1685. Peltier, Philippe, Markus Schindlbeck, and Christian Kaufmann. Sepik: Arts de Papouasie-Nouvelle-Guinée. Paris: Skira, 2015.
  1686.  
  1687. Save Citation »Export Citation »E-mail Citation »
  1688.  
  1689. Catalogue (French language) of the exhibition at the Musée du Quai Branly in 2015, it is a discovery of the significance of figures representing foundation ancestors in different Sepik communities with comprehensive essays by the joint curators, each of whom has extensive field experience among Sepik peoples.
  1690.  
  1691. Find this resource:
  1692.  
  1693. Welsch, Robert L., Virginia-Lee Webb, and Sebastian Haraha. Coaxing the Spirits to Dance: Art and Society in the Papuan Gulf of New Guinea. Hanover, NH: Hood Museum of Art, Dartmouth College, 2006.
  1694.  
  1695. Save Citation »Export Citation »E-mail Citation »
  1696.  
  1697. Haraha is a museum professional from the Gulf region; he and the other essayists familiar with the cultural milieu explore relationships between art and social life in the Gulf of Papua region of Papua New Guinea.
  1698.  
  1699. Find this resource:
  1700.  
  1701. Wilson, Natalie, ed. Plumes and Pearlshells: Art of the New Guinea Highlands. Sydney: Art Gallery of New South Wales, 2014.
  1702.  
  1703. Save Citation »Export Citation »E-mail Citation »
  1704.  
  1705. The New Guinea Highlands are renowned for their spectacular ceremonies, incorporating elaborate body art and towering headdresses. One of the finest collections of Highlands ephemeral dance apparel and ornaments was collected by Stanley Gordon Moriarty between 1961 and 1972. The first exhibition of Highlands art for several decades, in collaboration with Papua New Guinea source communities and experts.
  1706.  
  1707. Find this resource:
  1708.  
  1709. Samoa
  1710. Mallon 2002 covers Pacific artists of Samoa.
  1711.  
  1712. Mallon, Sean. Samoan Art & Artists: O Measina a Sāmoa. Honolulu: University of Hawai‘i Press, 2002.
  1713.  
  1714. Save Citation »Export Citation »E-mail Citation »
  1715.  
  1716. This volume spans aspects of Samoan creativity from Lapita sites to urbanized Samoan Pasifika artists, including visual and performing arts.
  1717.  
  1718. Find this resource:
  1719.  
  1720. Solomon Islands
  1721. For information on artists in the Solomon Islands, see Conru and Waite 2008 and Howarth and Waite 2011.
  1722.  
  1723. Conru, Kevin, and Deborah Waite. Solomon Islands Art: The Conru Collection. Milan: 5Continents, 2008.
  1724.  
  1725. Save Citation »Export Citation »E-mail Citation »
  1726.  
  1727. A substantial private collection, representative of distinctive types of Solomon Islands works of art from the 18th to the early 20th centuries.
  1728.  
  1729. Find this resource:
  1730.  
  1731. Howarth, Crispin, and Deborah Waite. Varilaku: Pacific Arts from the Solomon Islands. Canberra: National Gallery of Australia, 2011.
  1732.  
  1733. Save Citation »Export Citation »E-mail Citation »
  1734.  
  1735. Varilaku brings together the finest traditional Solomon Islands arts from Australian collections, many never previously exhibited.
  1736.  
  1737. Find this resource:
  1738.  
  1739. Tahiti, Marquesas
  1740. Barrow 1979, Nena and Selva 2005, Oliver 1974, and Steinen 2016 present works on artists of Tahiti and the Marquesas.
  1741.  
  1742. Barrow, Terrence. The Art of Tahiti and the Neighbouring Society, Austral and Cook Islands. London: Thames and Hudson, 1979.
  1743.  
  1744. Save Citation »Export Citation »E-mail Citation »
  1745.  
  1746. Visually well presented but dated concept of island cultures of southeastern Polynesia before the traditional culture was “destroyed by time and vandalism.”
  1747.  
  1748. Find this resource:
  1749.  
  1750. Nena, Tauhiti, and Chantal Selva. L’art en mouvement: Émergence d’un art contemporain à Tahiti. Papeete, Tahiti: Éditions Le Motu, 2005.
  1751.  
  1752. Save Citation »Export Citation »E-mail Citation »
  1753.  
  1754. Serious artists in the tourist paradise of Tahiti are creating their own pathways, some in dialogue with the ancestors, others linking into global networks, confronting social and cultural tensions.
  1755.  
  1756. Find this resource:
  1757.  
  1758. Oliver, Douglas. Ancient Tahitian Society. 3 vols. Canberra: Australian National University Press, 1974.
  1759.  
  1760. Save Citation »Export Citation »E-mail Citation »
  1761.  
  1762. Volume 1, Ethnography, is a definitive account of traditional Tahitian society, with the context of encounters between Tahitians and Europeans.
  1763.  
  1764. Find this resource:
  1765.  
  1766. Steinen, Karl von den. Les Marquisiens et leur art. 3 vols. Papeete, Tahiti: Au Vent des Îles, 2016.
  1767.  
  1768. Save Citation »Export Citation »E-mail Citation »
  1769.  
  1770. Originally published in German in 1925 as Die Marquesaner und ihre Kunst: Studien über die Entwicklung primitiver Südseeornamentik nach eigenem Reiseergebnissen und dem Material der Museen (Berlin: Dietrich Reimer). This detailed study of Marquesan culture was undertaken by Steinen, a German doctor who was commissioned by the Museum of Berlin. The 2016 French language edition keeps the 3 volume set: Volume 1 has a focus on tattoos; Volume 2 deals with material culture items, especially tiki; and Volume 3 reassesses the iconography evoked in the preceding volumes.
  1771.  
  1772. Find this resource:
  1773.  
  1774. Tonga
  1775. St. Cartmail 1997 covers the art of Tonga.
  1776.  
  1777. St. Cartmail, Keith. The Art of Tonga. Honolulu: University of Hawai‘i Press, 1997.
  1778.  
  1779. Save Citation »Export Citation »E-mail Citation »
  1780.  
  1781. A lavishly illustrated book presenting important examples of Tongan art and their cultural significance throughout its history.
  1782.  
  1783. Find this resource:
  1784.  
  1785. Torres Strait Islands
  1786. Mosby and Robinson 1998 and Queensland Art Gallery and Gallery of Modern Art 2011 are key sources for art of the Torres Strait islands.
  1787.  
  1788. Mosby, Tom, and Brian Robinson, eds. Ilan Pasin: This Is Our Way, Torres Strait Art. Cairns, Australia: Cairns Regional Gallery, 1998.
  1789.  
  1790. Save Citation »Export Citation »E-mail Citation »
  1791.  
  1792. First major exhibition of the art of Torres Strait islanders, commemorating the centenary of the Haddon (Cambridge) Expedition to the Torres Strait and celebrating vibrant contemporary art.
  1793.  
  1794. Find this resource:
  1795.  
  1796. Queensland Art Gallery and Gallery of Modern Art. The Torres Strait Islands: A Celebration. Brisbane, Australia: Queensland Art Gallery and Gallery of Modern Art, 2011.
  1797.  
  1798. Save Citation »Export Citation »E-mail Citation »
  1799.  
  1800. This publication draws on the rich works of art, objects, photographs, and documentary material of the Torres Strait islanders held in the collections of three Queensland state institutions—the gallery, museum, and library—as well as highlighting the dance and performance traditions of the people of the Torres Strait. See online.
  1801.  
  1802. Find this resource:
  1803.  
  1804. Vanuatu
  1805. Bonnemaison, et al. 1996 and Speiser 1996 cover the arts of Vanuatu.
  1806.  
  1807. Bonnemaison, Joël, Kirk Huffman, Christian Kaufmann, and Darrell Tryon. Arts of Vanuatu. Honolulu: University of Hawai‘i Press, 1996.
  1808.  
  1809. Save Citation »Export Citation »E-mail Citation »
  1810.  
  1811. An important contribution to the study of the rich and powerful arts of Vanuatu; a well-illustrated volume.
  1812.  
  1813. Find this resource:
  1814.  
  1815. Speiser, Felix. Ethnology of Vanuatu: An Early Twentieth Century Study. Honolulu: University of Hawai‘i Press, 1996.
  1816.  
  1817. Save Citation »Export Citation »E-mail Citation »
  1818.  
  1819. Originally published in German in 1923, this work records much of Vanuatu’s early material culture, including culturally and historically significant photographs and drawings by Speiser.
  1820.  
  1821. Find this resource:
  1822.  
  1823. West Papua
  1824. Gerbrands 1967, Lee-Webb 2011, and Smidt 1993 are key works on the art of West Papua.
  1825.  
  1826. Gerbrands, Adrian. Wow Ipits: Eight Asmat Woodcarvers. The Hague: Mouton, 1967.
  1827.  
  1828. Save Citation »Export Citation »E-mail Citation »
  1829.  
  1830. Giving insights into the personalities and individual styles of Asmat carvers, Gerbrands breaks away from the stereotype of the anonymity of tribal artists.
  1831.  
  1832. Find this resource:
  1833.  
  1834. Lee-Webb, Virginia, ed. Ancestors of the Lake: Art of Lake Sentani and Humboldt Bay, New Guinea. New Haven, CT: Yale University Press, 2011.
  1835.  
  1836. Save Citation »Export Citation »E-mail Citation »
  1837.  
  1838. The contributors have particular knowledge of this region’s distinctive forms of art. One essay covers the influence of Lake Sentani figures on surrealist artists.
  1839.  
  1840. Find this resource:
  1841.  
  1842. Smidt, Dirk, ed. Asmat Art: Woodcarvings of Southwest New Guinea. New York: George Braziller, 1993.
  1843.  
  1844. Save Citation »Export Citation »E-mail Citation »
  1845.  
  1846. Contributors investigate the range of intricate Asmat carvings and their connection to the Asmat preoccupation with ancestors and the spirit world.
  1847.  
  1848. Find this resource:
  1849.  
  1850. Pacific Art Forms
  1851. It is observable that, from 1900, several significant shifts have affected how certain classes of objects from Oceanic societies have been valued and circulate within the Western art market and cultural institutions as “art.” Emerging from the constraints of Western categories (curiosities, primitive art, ethnographic object, tourist art, handicraft) are a wealth of taonga (treasures of New Zealand Māori), significant works of art imbued with an intangible cultural heritage as well as aesthetic form and embellishment. Now achieving international recognition as being intrinsic to the realm of Pacific creative expression are superb canoes (see Canoes and Canoe Art), distinctive architectural styles (see Architectural Arts), a panoply of weaving and fiber arts (see Tivaevae and Textile Arts and Weaving), and tattoos and self-adornment objects (see Tattooing and Adornment: Body Art and Jewelry). Many types of customary Pacific art escape the Eurocentric singular object framework, as each piece is intrinsic to a creative complex within its particular social milieu, where it may be interconnected with cosmology, religion and ritual, genealogy, hierarchy, age-grade rank, prestige, exchange, reciprocity, and inalienable possession. Ceremony (see Ceremony and Ritual Arts), not the art market, is a prime motivation for generating and displaying new suites of interrelated objects, such as sets of Sepik masks or great lengths of Tongan ngatu (decorated barkcloth) (see Tapa), along with appropriate performances, compositions, oratory, and feasting. Pacific artists are also adept and highly inventive with time-based and digital media, including conceptual and environmental installation, light, and projection (see entries in Pacific Art in the Global Art World). The selections in this section cover characteristic forms of art that are widely practiced and current. While there are several pan-Pacific forms of art such as sculpture (see Sculpture and Carving), tattooing, and tapa (decorated bark cloth), every society has its own distinctive version; the following list of references only hints at the great diversity of forms of art across the Pacific.
  1852.  
  1853. Adornment: Body Art and Jewelry
  1854. Sources on Pacific body art and jewelry include Edmundson and Boylan 1999, Heermann and Menter 1990, Kirk 1981, Neich and Pereira 2004, and Strathern and Strathern 1971.
  1855.  
  1856. Edmundson, Anna, and Chris Boylan. Adorned: Traditional Jewellery and Body Decoration from Australia and the Pacific. Sydney: Macleay Museum, University of Sydney, 1999.
  1857.  
  1858. Save Citation »Export Citation »E-mail Citation »
  1859.  
  1860. Based on the rare collections of the Macleay Museum, University of Sydney, the catalogue includes many items that were collected in the 1870s and 1880s.
  1861.  
  1862. Find this resource:
  1863.  
  1864. Heermann, Ingrid, and Ulrich Menter. Schmuck der Südsee: Ornament und Symbol. Munich: Prestel-Verlag, 1990.
  1865.  
  1866. Save Citation »Export Citation »E-mail Citation »
  1867.  
  1868. An excellent collection of jewelry and personal ornamentation of Pacific peoples, prestigious pieces with symbolic meanings.
  1869.  
  1870. Find this resource:
  1871.  
  1872. Kirk, Malcolm. Man as Art: New Guinea Body Decoration. London: Thames and Hudson, 1981.
  1873.  
  1874. Save Citation »Export Citation »E-mail Citation »
  1875.  
  1876. Now a classic, Kirk’s pictorial essay documents the extraordinary diversity of self-adornment—body art, wigs, feather headdresses—practiced by various Papua New Guinea tribes, which were observed over a period of thirteen years from 1967.
  1877.  
  1878. Find this resource:
  1879.  
  1880. Neich, Roger, and Fuli Pereira. Pacific Jewellery and Adornment. Auckland, New Zealand: David Bateman, 2004.
  1881.  
  1882. Save Citation »Export Citation »E-mail Citation »
  1883.  
  1884. This magnificent book showcases more than 250 of the finest examples of traditional jewelry from the Pacific. Myriad designs and materials, including jade, whale teeth and bone, shark teeth, tapa, shells, and plant fibers, are woven together in a skillful combination of color and craftsmanship.
  1885.  
  1886. Find this resource:
  1887.  
  1888. Strathern, Andrew, and Marilyn Strathern. Self-Decoration in Mt. Hagen. London: Duckworth, 1971.
  1889.  
  1890. Save Citation »Export Citation »E-mail Citation »
  1891.  
  1892. Well-illustrated and documented study by cultural anthropologists of the complex forms of self-adornment and the social act of painting and decorating the body.
  1893.  
  1894. Find this resource:
  1895.  
  1896. Architectural Arts
  1897. Key texts addressing Pacific architectural arts include Brown 2009, Fox 1993, and Māhina 2002.
  1898.  
  1899. Brown, Dierdre. Māori Architecture: From Fale to Wharenui and Beyond. Auckland, New Zealand: Raupo, 2009.
  1900.  
  1901. Save Citation »Export Citation »E-mail Citation »
  1902.  
  1903. Architectural historian Brown reviews the genesis of Māori architecture from early Polynesian settlement to contemporary style.
  1904.  
  1905. Find this resource:
  1906.  
  1907. Fox, James, ed. Inside Austronesian Houses: Perspectives on Domestic Designs for Living. Canberra: Australian National University Press, 1993.
  1908.  
  1909. Save Citation »Export Citation »E-mail Citation »
  1910.  
  1911. The essays examine the spatial organization of a variety of Austronesian houses and relate the domestic design of these houses to the social and ritual practices of the specific groups who reside within them.
  1912.  
  1913. Find this resource:
  1914.  
  1915. Māhina, ’Okusitino. “Tufunga Lalava: The Tongan Art of Lineal and Spatial Intersection.” In Filipe Tohi, Genealogy of Lines. Edited by Simon Rees, 5–9. New Plymouth, New Zealand: Govett-Brewster Art Gallery, 2002.
  1916.  
  1917. Save Citation »Export Citation »E-mail Citation »
  1918.  
  1919. Sopolemalama Filipe Tohi is described as “Tongan art’s foremost ambassador.” In his essay Māhina expounds the Tā, Vā (Time space) theory illustrated by Tohi’s combination of “Faiva” performance art with “Tufunga,”the material act creating patterns of lashing, the complex intersections of nature, mind, and society.
  1920.  
  1921. Find this resource:
  1922.  
  1923. Canoes and Canoe Art
  1924. Haddon and Hornell 1936 and Pacific Voyagers are sources on Pacific canoe art.
  1925.  
  1926. Haddon, Alfred Cort, and J. Hornell. Canoes of Oceania. Honolulu: Bishop Museum, 1936.
  1927.  
  1928. Save Citation »Export Citation »E-mail Citation »
  1929.  
  1930. The original survey of canoes of Polynesia, Melanesia, and Micronesia, superbly illustrated.
  1931.  
  1932. Find this resource:
  1933.  
  1934. Pacific Voyagers. Auckland, New Zealand: Pacific Voyagers.
  1935.  
  1936. Save Citation »Export Citation »E-mail Citation »
  1937.  
  1938. Pacific Voyagers, in cooperation with Okeanos—Foundation for the Sea—is working on solutions for modern vaka (oceangoing canoes) being built to restore local identity and the integrity of inter-island voyaging.
  1939.  
  1940. Find this resource:
  1941.  
  1942. Ceremony and Ritual Arts
  1943. Important sources on Pacific ceremony and ritual arts include Bowden 1983, Crawford 1981, Brown 2005, Gunn 2014, and Malnic and Kasaipwalova 1998.
  1944.  
  1945. Bowden, Ross. Yena: Art and Ceremony in a Sepik Society. Oxford: Pitt Rivers Museum, 1983.
  1946.  
  1947. Save Citation »Export Citation »E-mail Citation »
  1948.  
  1949. From an anthropology of art perspective, Bowden investigates the inter-animation between figurative objects and ceremonies of the Kwoma people.
  1950.  
  1951. Find this resource:
  1952.  
  1953. Brown, Dierdre. Māori Arts of the Gods. Auckland, New Zealand: Reed, 2005.
  1954.  
  1955. Save Citation »Export Citation »E-mail Citation »
  1956.  
  1957. Each chapter features a Māori god, their legends and powerful attributes, and how their presence is embodied in sculpted figures and other works of art.
  1958.  
  1959. Find this resource:
  1960.  
  1961. Crawford, Anthony. Aida: Life and Ceremony of the Gogodala. Bathurst, Australia: Robert Brown and Associates, 1981.
  1962.  
  1963. Save Citation »Export Citation »E-mail Citation »
  1964.  
  1965. Crawford worked as an anthropologist with the Gogodala people (Western Province, Papua New Guinea) at the time of their remarkable cultural revival in the 1970s.
  1966.  
  1967. Find this resource:
  1968.  
  1969. Gunn, Michael. Atua: Sacred Gods from Polynesia. Canberra: National Gallery of Australia, 2014.
  1970.  
  1971. Save Citation »Export Citation »E-mail Citation »
  1972.  
  1973. Gunn treats the concept of gods—atua—the figurative objects that throughout Polynesia symbolized them and their spiritual power.
  1974.  
  1975. Find this resource:
  1976.  
  1977. Malnic, Jutta, and John Kasaipwalova. Kula: Myth and Magic in the Trobriand Islands. Wahroonga, Australia: Cowrie, 1998.
  1978.  
  1979. Save Citation »Export Citation »E-mail Citation »
  1980.  
  1981. This eloquent explanation of the intricacies of the Kula is the result of a long-term collaboration between John Kasaipwalova, radical Papua New Guinea writer and chief of the Kwenama Clan on Kiriwina Island, and photographer Jutta Malnic.
  1982.  
  1983. Find this resource:
  1984.  
  1985. Cloaks and Featherwork
  1986. Holt 1985; Tamarapa 2011; and Caldeira, et al. 2015 are key sources on Pacific cloaks and featherwork.
  1987.  
  1988. Caldeira, Leah, Christine Hellmich, Adrienne L. Kaeppler, Betty Lou Kam, and Roger G. Rose, eds. Royal Hawaiian Featherwork: Nā Hulu Aliʻi. Honolulu: University of Hawai‘i Press, 2015.
  1989.  
  1990. Save Citation »Export Citation »E-mail Citation »
  1991.  
  1992. Exhibition catalogue, lavishly illustrated, featuring rare examples of the finest hawaiian featherwork, as well as related paintings, works on paper, and historical photographs from the 18th and 19th centuries. Many of the feather objects, and other works are from the royal Hawaiian collections in the Bernice Pauahi Bishop Museum in Honolulu.
  1993.  
  1994. Find this resource:
  1995.  
  1996. Holt, John Dominis. Art of Featherwork in Old Hawaii. Honolulu: Topgallant, 1985.
  1997.  
  1998. Save Citation »Export Citation »E-mail Citation »
  1999.  
  2000. Sumptuous feather cloaks, feathered gods, and other items of kingly regalia are among the most treasured objects of Hawaii, exquisite in materials, textures, and workmanship. More than their beauty as objects are the legends, genealogies, chants, and stories that animate them.
  2001.  
  2002. Find this resource:
  2003.  
  2004. Tamarapa, Awhina, ed. Whatu Kākahu/Māori Cloaks. Wellington, New Zealand: Te Papa, 2011.
  2005.  
  2006. Save Citation »Export Citation »E-mail Citation »
  2007.  
  2008. A selection of forty precious cloaks in the collections of Te Papa Tongarewa-Museum of New Zealand, which bestow mana to both wearer and the weaver. The contributors include expert weavers’ insights into the art and traditions of weaving.
  2009.  
  2010. Find this resource:
  2011.  
  2012. Masks
  2013. Sources on Pacific masks include Denner 2013, Errington 1974, and Kasarherou 1993.
  2014.  
  2015. Denner, Antje. The Anir Islands: Spirits, Masks and Performances in Southern New Ireland. Basel, Switzerland: Barbier-Mueller Museum, 2013.
  2016.  
  2017. Save Citation »Export Citation »E-mail Citation »
  2018.  
  2019. While the intricate masks and rituals of the malangan in northern New Ireland have attracted interest and attention since the 19th century, the religious beliefs, forms of art, and ritual practices of the people of the southern Anir islands have received little attention. This book brings insights into the interconnections between Anir culture and ritual.
  2020.  
  2021. Find this resource:
  2022.  
  2023. Errington, Frederick Karl. Karavar: Masks and Power in a Melanesian Ritual. Ithaca, NY: Cornell University Press, 1974.
  2024.  
  2025. Save Citation »Export Citation »E-mail Citation »
  2026.  
  2027. Examines how the dukduk and tubuan rituals, which are aimed at maintaining social order, require spectacular sets of masks for each grade. Karavar is one of the Duke of York Islands, which lie east of New Britain.
  2028.  
  2029. Find this resource:
  2030.  
  2031. Kasarherou, Emmanuel. Le masque Kanak. Marseille, France: Éditions Parenthèses, 1993.
  2032.  
  2033. Save Citation »Export Citation »E-mail Citation »
  2034.  
  2035. Ambivalent objects, Kanak masks are at once magnificent sculptures animated on ceremonial occasions.
  2036.  
  2037. Find this resource:
  2038.  
  2039. Painting
  2040. Mason 2014, Bowden 2006, and Neich 1993 are key sources on Pacific painting.
  2041.  
  2042. Bowden, Ross. Creative Spirits: Bark Painting in the Washkuk Hills of North New Guinea. Melbourne: Oceanic Art, 2006.
  2043.  
  2044. Save Citation »Export Citation »E-mail Citation »
  2045.  
  2046. Bowden conducted extensive fieldwork in Kwoma villages, each of which has a men’s house with intricate painted panels fixed to the underside of the roof representing the cosmos and totemic divisions of the clans. The diversity of Kwoma pantings is richly illustrated in this book.
  2047.  
  2048. Find this resource:
  2049.  
  2050. Mason, Ngahiraka, ed. Five Māori Painters. Auckland, New Zealand: Auckland Art Gallery Toi O Tamaki, 2014.
  2051.  
  2052. Save Citation »Export Citation »E-mail Citation »
  2053.  
  2054. Exhibition catalogue explores the work of Robyn Kahukiwa, Emily Karaka, Kura te Waru Rewiri, Saffronn Te Ratana, and Star Gossage, highlighting the deep connections between Māori painting traditions and contemporary art practice. See online.
  2055.  
  2056. Find this resource:
  2057.  
  2058. Neich, Roger. Painted Histories: Early Māori Figurative Painting. Auckland, New Zealand: Auckland University Press, 1993.
  2059.  
  2060. Save Citation »Export Citation »E-mail Citation »
  2061.  
  2062. Neich undertook extensive research into an unorthodox branch of Māori painting in meeting houses that was suppressed by the 1920s; the book also provides a general account of painting in Māori culture.
  2063.  
  2064. Find this resource:
  2065.  
  2066. Pottery
  2067. May and Tuckson 1982 is a key work on Pacific pottery.
  2068.  
  2069. May, Patricia, and Margaret Tuckson. Traditional Pottery of Papua New Guinea. Sydney: Bay Books, 1982.
  2070.  
  2071. Save Citation »Export Citation »E-mail Citation »
  2072.  
  2073. Based on ten years of fieldwork, this book is the most comprehensive and authoritative survey ever produced of the diverse styles of traditional pottery in Papua New Guinea.
  2074.  
  2075. Find this resource:
  2076.  
  2077. Sculpture and Carving
  2078. More information on Pacific sculpture and carving can be found in Beran and Craig 2005, Beran 1996, Brown 2003, Boulay 1993, Cox and Davenport 1988, Mead 2015, Zanette and Lancrenon 2011, Mu-Liepmann and Milledrouges 2008, and Neich 2001.
  2079.  
  2080. Beran, Harry. Mutuaga, a Nineteenth-Century New Guinea Master Carver. Wollongong, Australia: University of Wollongong Press, 1996.
  2081.  
  2082. Save Citation »Export Citation »E-mail Citation »
  2083.  
  2084. The identity and individual style of superior artists went unnoticed in Western literature on Oceanic art. Beran’s research in establishing the reputation of Mutuaga led from visiting villages of Suau to locating his pieces in many museum collections.
  2085.  
  2086. Find this resource:
  2087.  
  2088. Beran, Harry, and Barry Craig, eds. Shields of Melanesia. Honolulu: University of Hawai‘i Press, 2005.
  2089.  
  2090. Save Citation »Export Citation »E-mail Citation »
  2091.  
  2092. The volume features more than one hundred types of spectacular war shields, often featuring low-relief carved and/or painted designs, from all areas of Melanesia, richly illustrated and documented.
  2093.  
  2094. Find this resource:
  2095.  
  2096. Boulay, Roger. Le bambou Grave Kanak. Marseille, France: Éditions Parenthèses, 1993.
  2097.  
  2098. Save Citation »Export Citation »E-mail Citation »
  2099.  
  2100. Engraved bamboo is a unique Kanak art form featuring figurative drawings engraved on portable lengths of bamboo, which served as messages representing scenes of war, village life, feasts, and encounters with Europeans.
  2101.  
  2102. Find this resource:
  2103.  
  2104. Brown, Deidre. Tai Tokerau Whakairo Rakau: Northland Māori Woodcarving. Auckland, New Zealand: Reed, 2003.
  2105.  
  2106. Save Citation »Export Citation »E-mail Citation »
  2107.  
  2108. Brown examines the characteristics of the Northlands regional style and the history and techniques of carving and profiles carvers from this region.
  2109.  
  2110. Find this resource:
  2111.  
  2112. Cox, J. Halley, and William H. Davenport, eds. Hawaiian Sculpture. Honolulu: University of Hawai‘i Press, 1988.
  2113.  
  2114. Save Citation »Export Citation »E-mail Citation »
  2115.  
  2116. A comprehensive study of Hawaiian sculptural traditions.
  2117.  
  2118. Find this resource:
  2119.  
  2120. Mead, Hirini (Sidney) Moko. Te Toi Whakairo: The Art of Māori Carving. Auckland, New Zealand: Reed, 2015.
  2121.  
  2122. Save Citation »Export Citation »E-mail Citation »
  2123.  
  2124. A prominent Māori leader, anthropologist, author, and teacher, Mead established Māori studies and wrote extensively on Māori culture. This is one of his influential texts.
  2125.  
  2126. Find this resource:
  2127.  
  2128. Mu-Liepmann, Véronique, and Lucie Milledrouges. Sculpture: Arts et artisanats de Polynésie française; Des oeuvres anciennes aux créations contemporaines. Papeete, Tahiti: Au Vent des Îles, 2008.
  2129.  
  2130. Save Citation »Export Citation »E-mail Citation »
  2131.  
  2132. This well illustrated volume provides an overview of Polynesian sculpture from the first objects collected by European navigators to the present day.
  2133.  
  2134. Find this resource:
  2135.  
  2136. Neich, Roger. Carved Histories: Rotorua Ngāti Tarawhai Woodcarving. Auckland, New Zealand: Auckland University Press, 2001.
  2137.  
  2138. Save Citation »Export Citation »E-mail Citation »
  2139.  
  2140. Ngāti Tarawhai is a distinctive school of exemplary carvers, who have maintained their distinctive style from pre-European times. Neich explores their realm and the relationship between Māori sculpture and its patrons.
  2141.  
  2142. Find this resource:
  2143.  
  2144. Zanette, Didier, and Éric Lancrenon. Tridacna gigas; Objets de prestige en Mélanésie de la période Lapita aux chasseurs de têtes, et jusqu’à nos jours. Papeete, Tahiti: Au Vent des Îles, 2011.
  2145.  
  2146. Save Citation »Export Citation »E-mail Citation »
  2147.  
  2148. Giant clamshells provide an exceptional material for long-lasting carved and decorated objects. Prized by powerful men in some Melanesian societies, they accumulate personal histories and prestige as they are passed down through the generations.
  2149.  
  2150. Find this resource:
  2151.  
  2152. Tapa
  2153. Works on Pacific tapa include Allen 2007; Brigham 1911; Kooijman 1972; Mesenhöller and Lueb 2013; Neich and Pendergrast 1997; Spicer and Me 2004; Page, et al. 2009; and Pule and Thomas 2005.
  2154.  
  2155. Allen, Anne E. Guernsey. “The Tie That Binds: ‘Siapo,’ Western Cloth, and Samoan Social Space.” Pacific Arts n.s. 3.5 (2007): 94–103.
  2156.  
  2157. Save Citation »Export Citation »E-mail Citation »
  2158.  
  2159. Available online by subscription. Insightful essay into the pragmatic innovations of Samoan women transferring the social significance of beaten and decorated bark-cloth to Western cloth.
  2160.  
  2161. Find this resource:
  2162.  
  2163. Brigham, William T. Ka Hana Kapa: The Making of Bark-Cloth on Hawaii. Vol. 3. Honolulu: Bishop Museum, 1911.
  2164.  
  2165. Save Citation »Export Citation »E-mail Citation »
  2166.  
  2167. Early recognition of the beauty and signifiante of kapa (tapa), especially on the Hawaiian Islands, by the director of the Bernice Pauahi Bishop Museum.
  2168.  
  2169. Find this resource:
  2170.  
  2171. Kooijman, Simon. Tapa in Polynesia. Honolulu: Bishop Museum, 1972.
  2172.  
  2173. Save Citation »Export Citation »E-mail Citation »
  2174.  
  2175. A valuable reference work on tapa designs and techniques with examples from museum collections around the world.
  2176.  
  2177. Find this resource:
  2178.  
  2179. Mesenhöller, Peter, and Oliver Lueb. Made in Oceania: Tapa; Kunst und Lebenswelten = Tapa; Art and Social Landscapes. Ethnologica 29. Cologne: Rautensctrauch-Joest-Museum, 2013.
  2180.  
  2181. Save Citation »Export Citation »E-mail Citation »
  2182.  
  2183. Exhibition catalogue exploring the social relationships pertinent to the making and wearing of tapa in various Pacific societies. Parallel texts in German and English.
  2184.  
  2185. Find this resource:
  2186.  
  2187. Neich, Roger, and Mick Pendergrast. Pacific Tapa. Auckland, New Zealand: David Bateman, 1997.
  2188.  
  2189. Save Citation »Export Citation »E-mail Citation »
  2190.  
  2191. Auckland Museum’s collection of bark cloth from around the Pacific is one of the most extensive in the world; an authoritative and well [illustrated volume.
  2192.  
  2193. Find this resource:
  2194.  
  2195. Page, Maud, Sean Mallon, and Imelda Miller. Paperskin: Barkcloth across the Pacific. Brisbane, Australia: Queensland Art Gallery and Gallery of Modern Art, 2009.
  2196.  
  2197. Save Citation »Export Citation »E-mail Citation »
  2198.  
  2199. From a remarkable exhibition, this is a well-researched resource. Paperskin stems from a collaboration between Australian and New Zealand institutions and local informants to present exceptional examples of tapa from many island cultures. Available online.
  2200.  
  2201. Find this resource:
  2202.  
  2203. Pule, John, and Nicholas Thomas. Hiapo: Past and Present in Niuean Barkcloth. Dunedin, New Zealand: University of Otago Press, 2005.
  2204.  
  2205. Save Citation »Export Citation »E-mail Citation »
  2206.  
  2207. Niuean hiapo made occasional appearances in surveys of Pacific tapa until this collaboration between Niuean artist John Pule’s and Nicholas Thomas’s voyage of discovery of the history, making and uses of hiapo as well as their personal experiences and connections with it.
  2208.  
  2209. Find this resource:
  2210.  
  2211. Spicer, Catherine, and Rondo B. B. Me. Fiji Masi: An Ancient Art in the New Millennium. Suva, Fiji: Catherine Spicer and Rondo B B Me, 2004.
  2212.  
  2213. Save Citation »Export Citation »E-mail Citation »
  2214.  
  2215. A Fijian production on all varieties of masi (Fijian barkcloth), a high status cultural product for Fijian social and ceremonial events.
  2216.  
  2217. Find this resource:
  2218.  
  2219. Tivaevae and Textile Arts
  2220. Colchester 2003; Küchler and Eimke 2009; Küchler, et al. 2005; and Mcdougall and Were 2011 offer additional information on Pacific tivaevae and textile arts.
  2221.  
  2222. Colchester, Chloë, ed. Clothing the Pacific. Oxford: Berg, 2003.
  2223.  
  2224. Save Citation »Export Citation »E-mail Citation »
  2225.  
  2226. Colonialism brought European clothing to the Pacific, but the islanders proved inventive in adapting, changing, and rejecting various items of textiles and clothing for their own purposes and perceptions.
  2227.  
  2228. Find this resource:
  2229.  
  2230. Küchler, Susanne, and Andrea Eimke. Tivaivai: The Social Fabric of the Cook Islands. London: British Museum, 2009.
  2231.  
  2232. Save Citation »Export Citation »E-mail Citation »
  2233.  
  2234. The textile arts of patchwork and appliqué were introduced to Polynesia by missionary women and settlers. In the Cook Islands quilts evolved into the local form of art of tivaevae, which are essential gifts cementing social relationships.
  2235.  
  2236. Find this resource:
  2237.  
  2238. Küchler, Susanne, Glenn Jowitt, and Graeme Were. Pacific Pattern. London: Thames and Hudson, 2005.
  2239.  
  2240. Save Citation »Export Citation »E-mail Citation »
  2241.  
  2242. An attractive and inclusive coverage of all creative fiber arts in textiles and tapa, from natural plant materials to plastics.
  2243.  
  2244. Find this resource:
  2245.  
  2246. Mcdougall, Ruth, and Graeme Were. Threads: Contemporary Textiles and the Social Fabric. Brisbane, Australia: Queensland Art Gallery and Gallery of Modern Art, 2011.
  2247.  
  2248. Save Citation »Export Citation »E-mail Citation »
  2249.  
  2250. The catalogue focuses on the rich and diverse nature of contemporary textile practice across the Asia Pacific region, and includes images and texts on baskets from Vanuatu, Ӧmie barkcloth, Niuean weaving, tivaevae, tifaifai, and bilums from Papua New Guinea.
  2251.  
  2252. Find this resource:
  2253.  
  2254. Tattooing
  2255. Sources on Pacific tattooing include Allen 2005, Callaghan 2008, Gell 1993, Marquardt 1996, and Tatau: Pe‘a.
  2256.  
  2257. Allen, Tricia. Tattoo Traditions of Hawai’i. Honolulu: Mutual Publishing, 2005.
  2258.  
  2259. Save Citation »Export Citation »E-mail Citation »
  2260.  
  2261. Allen describes the evolution of Hawaiian tattooing as an art and science tracing it from its early roots in ancient Polynesia.
  2262.  
  2263. Find this resource:
  2264.  
  2265. Callaghan, Samantha. A Bibliography of Online Resources for the “Moko; or Maori Tattooing” Project. Wellington: New Zealand Electronic Text Centre, 2008.
  2266.  
  2267. Save Citation »Export Citation »E-mail Citation »
  2268.  
  2269. This project digitized Horatio Gordon Robey’s Moko; or Maori Tattooing, and highlighted the issues surrounding the digitization of Mātauranga Māori and the online representation of ancestral remains in a number of texts that provide contexts for the practice of Ta Moko and the problem of mokamokai.
  2270.  
  2271. Find this resource:
  2272.  
  2273. Gell, Alfred. Wrapping in Images: Tattooing in Polynesia. Oxford: Clarendon, 1993.
  2274.  
  2275. Save Citation »Export Citation »E-mail Citation »
  2276.  
  2277. Gell delves into one of the most intriguing Pacific forms of art, particularly in Polynesian traditions. He theorizes a “basic schema for tattooing,” not only its iconography, but also as a metaphor for social systems and hierarchies.
  2278.  
  2279. Find this resource:
  2280.  
  2281. Marquardt, Carl. The Tattooing of Both Sexes in Samoa. Papakura, New Zealand: Southern Reprints, 1996. Translated by Sybil Ferner.
  2282.  
  2283. Save Citation »Export Citation »E-mail Citation »
  2284.  
  2285. This volume is of historical interest; Marquandt viewed tattooing in Samoa primarily as a decorative art, although he admitted it carried some social significance. Translated from the German text Die Tätowierung beider Geschlechter in Samoa (Berlin: Dietrich Reimer, 1899).
  2286.  
  2287. Find this resource:
  2288.  
  2289. Tatau: Pe‘a; Photographs by Mark Adams and Measina Samoa, with Video Stories of the Malu by Lisa Taouma. Wellington, New Zealand: Adam Art Gallery, Victoria University of Wellington, 2003.
  2290.  
  2291. Save Citation »Export Citation »E-mail Citation »
  2292.  
  2293. Mark Adams’s photographs are the result of a long association with the tufuga tatatau (tattoo artists) of the aiga Sa Su’a (tattoo family), and in particular tattoo master Sulu’ape Paulo II. Tauoma’s film explores the mythological origin of tatau.
  2294.  
  2295. Find this resource:
  2296.  
  2297. Weaving
  2298. Cauchois 2013; Evans and Ngarimu 2005; Cole and Kulatea 1996; and Kaeppler, et al. 1999 are sources on Pacific weaving.
  2299.  
  2300. Cauchois, Hinanui. Tressage: Objets, matières et gestes d’hier et d’aujourd’hui. Papeete, Tahiti: Au Vent des Îles, 2013.
  2301.  
  2302. Save Citation »Export Citation »E-mail Citation »
  2303.  
  2304. Weaving is still embedded in the social and cultural life of Polynesians. This book presents ancient and contemporary weaving in all its forms from the archipelagoes of French Polynesia.
  2305.  
  2306. Find this resource:
  2307.  
  2308. Cole, Shari, and Vitolia Kulatea. Cultural Crafts of Niue: Pandanus Weaving. Suva, Fiji: Institute of Pacific Studies, 1996.
  2309.  
  2310. Save Citation »Export Citation »E-mail Citation »
  2311.  
  2312. The loss of culture and traditional skills in island societies due to modern consumer culture is countered by the vitality of skilled elders. A bilingual publication with photos and diagrams to assist in continuing and promoting Niuean practices of weaving.
  2313.  
  2314. Find this resource:
  2315.  
  2316. Evans, Miriama, and Ranui Ngarimu. The Eternal Thread: The Art of Māori Weaving. Wellington, New Zealand: Huia, 2005.
  2317.  
  2318. Save Citation »Export Citation »E-mail Citation »
  2319.  
  2320. Initiated by Te Roopu Raranga Whatu o Aotearoa, the National Māori Weavers’ Collective in recognition of the artistry of contemporary weavers who still embrace the concepts and values of traditional Māori weaving; illustrated with superb photography of individual works of art.
  2321.  
  2322. Find this resource:
  2323.  
  2324. Kaeppler, Adrienne, Penelope Schofield, and Phylis Herda. Special Issue: Kie Hingoa, ‘Named Mats,’ ‘Ie Tōga ‘Fine Mats’ and Other Treasured Textiles of Samoa and Tonga. Journal of the Polynesian Society 108.2 (June 1999).
  2325.  
  2326. Save Citation »Export Citation »E-mail Citation »
  2327.  
  2328. Three authoritative essays on the exquisitely woven fine mats of Samoa and Tonga, the most highly valued prestigious and symbolic objects in Tongan and Samoan cultures.
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