Photograph from Further Arts

Ambae volcano

Vanuatu is an island nation, made up of an archipelago of 83 islands and a population of 280,000 people. The Ambae residents number around 10,000. The recent activity of the Manaro volcano has produced thick ash and gas over the island, destroying crops and contaminating water supplies.

The situation in Ambae has been deteriorating in recent weeks, with little media coverage to highlight the urgency that the local population face.

Photograph from Further Arts - Ambae
Photograph from Further Arts – Ambae

TransArts Alliance partners Further Arts are making efforts on the ground with support from Sandy Sur from Leweton Cultural Experience, also a connection through Intercreate and SCANZ.

TAA advisor Kate Genevieve chroma.space wrote a detailed article in the Independent about the crisis in Ambae titled The human dimension of evacuation. This is a very informative essay, highlighting the efforts that small organisations like Further Arts are making to help people on the ground.

Sadly yesterday it was confirmed that the relocation of the people of Ambae will start on the 1st June. Now it is known that the people will be evacuated from their homes permanently to the nearby islands of Maewo, Santo and Malekuta.

The Vanuatu Council of Ministers has asked Further Arts to help the islanders record their stories as they make this move. This is a huge invitation to continue the work that the NGO has been doing around deep listening and communication since the Volcano evacuations last September.

Please consider making a pledge of support.

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Photo by Richard Hocking

Untaming the Urban 2018

TransArts Alliance is really excited to announce that we will be collaborating with Untaming the Urban to support the 2018 symposium at The Fenner School of Environment & Society at the Australian National University.

Since the first symposium in 2016, a number of projects have emerged and are continuing to take root and grow. This symposium is all about building on this work and connecting on the themes of urban sustainability and cross species habitation. Here is some of the synopsis:

The urban built environment has largely been considered and constructed as a human habitat although we share these spaces with many other species. Urban Growth is placing pressure on natural and modified habitats changing the way we cohabit with other species in cities, towns and suburbs. Retention, modification and recreation of habitats requires new perspectives about how we share these spaces with more-than-human others. Our collective wellbeing is at stake, both for allowing urban life to thrive and human wellbeing gained from the relationship with our domestic and wild biota.

Tracey will be looking after the cross-media for the event and curating the art exhibition. Up to the event we plan to share some of the research and activities leading up to the symposium.

More details coming soon.

Shell Fish – Shell Money

This project explores the currency and interrelationship of women’s work in a Vanuatu community: shellfish, food, story, and music. The project is set up to benefit the community in ways that are practical (working practices and healthy expanded networks), creative (documentation and media tools for expression) and financial.

Specifically, the Traditions Foundation , has given a grant towards connecting a Native American tribe – the Tulip community in the North West Pacific area of the USA – for a project to support traditional shellfish practices in the South Pacific. The goal is to work with an indigenous community interested in engaging in participatory research to document traditional knowledge and practices around shellfish populations and harvesting to foster community connections to shellfish resources and to integrate more strongly traditional and modern sciences in management planning.

Tom worked with Delly Roy Nalo and Gina Kaitiplei to make this project happen with communities in northern Vanuatu on the island of Gaua.

IMG_4432
Delly rinsing out the old “factory” – the rock where people four-five generations ago were grinding shells to make shell money. (Gina Kaitiplei)

The video we produced is available to view here: Shellfish Project Video Documentary

If you like to read about how it all unfolded … and also see another video unpacking some of the ideas in the documentary, please read on.

Planning

  • Delly prepared to perform ceremonies with traditional knowledge custodians which would then allow her to make arrangements with the custodians for them to share that knowledge with her and Tulalip.
  • Chief Johnsta explained that Gaua has three “tribal area councils”: Lokon (or Lakon) in the West, Tavaliu in the South, and Go in the East.
IMG_4420
Delly and Chief Johnsta. (Gina Kaitiplei)

West Gaua – Lakon/Lokon (and South Gaua – Tavaliu)

  • We got in the boat and landed at Dolap. It was late in the day and so we had a kava ceremony with the community before retiring for the night. The next day, we held a series of ceremonies and community engagement sessions with the community of Dolap. Chief Johnsta and Delly lead the initial ceremony and the engagement process.
  • We explained that our intention was to create a film to share with the Tulalip community – and that there may be some other activities that ensued but we could not be certain about it. People in Dolap were very responsive to the idea of the project and there was lively discussion amongst several of the women about shellfish, shell money and water music.
  • We decided to create a space outside of the formal meeting house (usually dominated by formal ceremonies and usually mediated by men) where the women could talk to some of these issues in a “testimonial” style. Five women sat on a mat in front of a mango tree, while the rest of the women sat behind them on the roots of the tree. The five women each spoke – mainly about water music. We encouraged the women to speak in their vernacular Lakon language, as we believe that it is critical that these customary practices are expressed in the language of the place. This does create some challenges for us in terms of translation and subtitling.
  • In the afternoon, Chief Johnsta, conducted a workshop with the community. We found a suitable site (there was some strong wind that made it difficult to get really good audio) next to some bamboo. Chief Johnsta gave a fascinating account of the context and history of the production of shell money. He presented 12 different types of shells – some of them with live molluscs inside them still. He named them all in Lakon language, identified distinguishing features, described various collection techniques, and cooking methods. Then he demonstrated the various uses of the shells.
IMG_4399
Chief Johnsta in the foreground with his shells laid out in front of him. (Gina Kaitiplei)
  • Shells are used as knives for cutting, knives for tearing, grating/scraping food and kava, bowls, and as a file (like sand paper). He also demonstrated the process of making shell money. Some of the community members were keen to try for themselves – and we all realised how difficult it is. It takes quite some skill to do it, and it takes a lot of time. Chief Johnsta explained that it was family groups who worked together as a team to produce shell money. A fascinating and lively discussion ensued about various aspects of the workshop. Some people were very keen to revive the practice and Delly and Chief Johnsta were able to commit to supporting people to attend a Provincial heritage festival in 2018 to showcase their work with reviving the production of shell money.
  • Later, Aunty Ebwu (Chief Johnsta’s sister) lead us down to the beach and showed us where one of the family groups used to sit together to make the shell money. Several large rocks at the shore were deeply grooved with generations of productive work. These grooves were often full of ash and dust from the volcano and some of them had plants growing in them. Community members cleaned them out and the grooves became beautiful patterns in the stones.
  • Aunty Ebwu and other women demonstrated their shellfish collection techniques down on the rocks.
  • In the afternoon, we got in the boat and returned to Namasari in North Gaua, and said farewell to Chief Johnsta, before traveling by road down to the village of Nowo on East Gaua. Again it was late in the day by the time we arrived and we shared kava and quiet ritual with the community.

East Gaua – Go

  • The next day, Sep 30, Chief Polwyn lead us on a performative historical tour of the area. He walked around pointing out significant sites, sharing stories, and creating a rich contextual grounding for the work. We sat on the shore and looked across at the two islands in the distance Merig and Merelava. Chief Polwyn talked about the migration of people between these three islands and how the patterns of mobility intersected with the use of shell money as a currency – especially how highly the people of Merelava valued shell money – much higher than other places did. We connected this idea with the English language concept of “arbitrage”. We reflected on how important the idea of “value” is for people in the islands and it is the performance and expression of identity that is valued most highly. We discussed the many layers of customary reality: land-place, food-livelihood, wisdom-dance/music, language-arts, kinship-mobility. We also talked about how the practice of producing shell money is still active in the Solomon Islands. Chief Polwyn talked about Delly’s family connections to a community in the Solomon Islands where they are still producing shell money. Chief Polwyn also instructed Delly to continue her research and provided some names of women who he believes may still be making shell money today. Strangely enough, they are actually based in Santo.
  • Later that day a formal welcome ceremony took place and we shared stories about shellfish over a feast.
  • The next day, Delly lead the team up to the caldera of the volcano on Mt Garet, the freshwater lake in the caldera, and to Siri Waterfall. People demonstrated their skills hunting for freshwater prawns with bows and arrows. In the evening, a farewell ceremony was held. After many speeches and some shells of kava, Chief Polwyn presented Tom with a string of shell money. Tom accepted the string of shell money, and acknowledged the obligations that are embodied in the string. A road has been opened and there is an obligation to respond to the ceremony with a reciprocal ceremony: Tom will need to make sure there is a gift/exchange of commensurate value coming back to the Nowo community. Tom explained to Delly that he felt that he was accepting the strong of shell money on behalf of the Tulalip community and that the shell money (and associated obligations) should be delivered to the Tulalip community along with the video.
  • The next day, the team said goodbye to Nowo and to Gaua, and flew back to Santo.

Santo

  • Delly and Gina continued their research. The went to Palekula, Shark Bay, and some other places to try and find the women that Polwyn had mentioned. Eventually, the found one of them in Shark Bay and they interviewed her. But she also suggested finding another woman … and it turns out this woman actually lives in the same neighbourhood as Delly, in Chapuis area of Santo. So after this journey all over northern Vanuatu, it turns out the person to talk to is actually living right next door to you! Unfortunately, we have not been able to find this woman. And now we have run out of time and money. Other projects have arisen and especially the work with the people from Ambae who were evacuated from their island because of the volcanic activity.

Port Vila

  • Delly and Gina did some post-production work on the film and interviewed Tom.
  • Gina completed the post production. Tom and Delly drafted the report and uploaded the videos.

Future Steps – ideas for ongoing collaborations between Gaua and Tulalip

  • We will deliver the final product – it will be mixed media: some video, some audio, some photos, some words, and some shell money.
  • Delly needs support to encourage the revival of the production of shell money. This could take the form of:
    • Assistance to transport people from Gaua to arts and heritage festivals and events in Vanuatu to showcase their work.
    • Facilitating some shell money production workshops with some Solomon Islander people – bringing Solomon Islanders (who have kinship ties) to Gaua to do some skills training with Gaua people.
    • Tulalip community responds to the gift of shell money.

The other video that we made – which has me, Tom, explaining some of the processes and findings in more detail, can be viewed here:

Supplementary video

SCANZ CBR 2017, Photo by Martin Drury

SCANZ CBR 2017

This is a very tardy post about an event that the TransArts Alliance led in organising in July 2017.

Through our partnership with Intercreate and University of Canberra’s Institute of Applied Ecology and the Inspire Centre, we created a 2.5 day workshop in Canberra to focus on the theme of Ocean*Energy From the Mountains to the Sea.

About
The overarching theme of Ocean*Energy would seem to be a strange fit for the inland city of Canberra. But if you look at the geological history of the city, it occupies what was once an inland sea which opens up a conversation about deep time and change over time. Close to Canberra is also the source of the Murray and Murrumbidgee Rivers, which have provided hydro-electricity to the region through the Snowy River Hydro-Electric Scheme.

The theme was deliberately open and provides for a diversity of readings on what ‘ocean’ and ‘energy’ can be. It can be a literal reading of energy in terms of electricity, renewables and solar or be defined as the effort, passion and focus of community to make positive environmental changes. It also allows for discrete discussions on place about islands, oceans, mountains and rivers. This forum provided the opportunity to look at areas like the Murray and Murrumbidgee Rivers and connect with existing research and knowledge about Country that could be contributed by participants.

Ngunawal Elder Wally Bell did a wonderful Welcome to Country as well as a healing ceremony at the opening and as part of the Water Blessing held at Lake Ginninderra with Loving Waters. Despite the cold, it was a beautiful ceremony followed by a group dinner.

Participants included: Dian Booth, Sandy Sur, Jacintha Bezgovsek, Desna Whaanga-Schollum, Josiah Jordan, Stephen Barrass, Julie Armstrong, Shelley Darling, Lee Joachim, Tommy Dick, Martin Drury, Siwan Lovett, Damian Wrigley, Kate Genevieve, Leah Barclay, Ian Clothier and Tracey Benson.

Noten Aelan Arts Festivol

Following on from the Call (Sep15) I participated in the Noten Aelan Arts Festivol (Northern Islands Arts Festival) which was a part of the provincial celebrations in the north of Vanuatu. The ceremonies had begun several months earlier, and in fact were all leveraging work over the last decade by Delly Roy Nalo of TEKS and Further Arts. It is not possible to convey the richness and beauty of the experience of witnessing and participating in the rituals and ceremonies: in either words or pictures. This was a celebration of the sacred fullness of life through an intricate layering of embodied and relational art of the highest quality. The public presentation of the performative aspects of the ceremonies took place in the centre of Luganville town, while other less public activities continued within communities and between families for several days before and afterwards. Technical issues are frustrating attempts to upload more diverse (and better quality) images. Meanwhile, the Manaro volcano on Ambae erupts 42 miles to the east. A state of emergency is declared. I gather my things and my thoughts and prepare to head north to Gaua. Words by Thomas Dick. Photos by Maya Haviland.

Chief Stanislas (in the singlet) leading the Port Orly welcome ceremony with bamboo flutes

 

Rarely seen ritual from Big Nambas in Unmet, Malekula, with breathtaking colouring and body paint.

 

Warriors from Vao showcasing their shields

 

Sea snake dance from the Banks Islands

 

Master composer, Chief Warren, and ranked woman, Sina, leading the Maewo ritual

Crawick Multiverse connecting land, sea and sky through story

Event 15 September 2017 – linking Scotland with Vanuatu, Australia, Norway and the USA

Telling stories to see the beauty.

An Invitation

Ideogram - Call

Alluvial Amniotic Ambrosia

The most sacred waters are hidden

In the deepest of caves.

Deep deep deep within you.

wyrd

The secret sacred waters.

Source of all life.

Hidden quietly within life itself.

 

Sandy Sur photo

This water within also needs our love;

Needs our blessing.

 

 

sand-fruitbats-redrawn

Our body.

Our blood.

Our own salty goodness.

Our self.

 

belongil creek print

When we love our Self.

We bless the most sacred of waters.

 

And meet with the oceans of love

Trust

Bless your own waters.

Drink from your cup.

Then, let it flow out

To fill the lakes and rivers

 

Trust.

Pattern Recognition

This month we are very happy to share a great project which was part of Intercreate’s Media Art Projects. Pattern Recognition is a collaborative project which explores cultural exchange and the juxtaposition of technology and traditional materials.

Two of the most important themes in contemporary electronic arts practice are those of network communication and of engagement across cultural borders. Pattern Recognition is the result of a collaboration between Aroha Timoti-Coxon a weaver based in Hokitika and Vicki Smith an artist based in Harihari.

Pattern Recognition by Vicki Smith and Aroha Timoti integrated traditional tukutuku with QR coding
Pattern Recognition by Vicki Smith and Aroha Timoti integrated traditional tukutuku with QR coding

Together they constructed a work of contemporary culture, a QR code created through the woven art of tukutuku. While QR codes which can trigger the opening of web pages and web-based media may seem distant from traditional Maori weaving, the two have interconnections.

Both are forms of storytelling that are encoded in a formal visual language of positive and negative. The ‘binary code’ of weaving and the information held by a QR image are similar to the codified stories told through the patterns of tukutuku. In terms of digital heritage, it is acknowledged that an important historical step in the development of intelligent machines (which later became computers), was the Jacquard weaving loom.

The process of creating tukutuku can also be described as a conversation between two weavers, who pass the ara (thread) to one another from different sides of the panel. This is mirrored in the collaboration of Smith and Timoti-Coxon, and also in the connection of the QR code to the internet.

The site of the work in the Westland library highlights the link the library has to the World Wide Web as the biggest repository of ‘woven information’ [Tukutuku-Ao-Whanui]. Creating a working QR code at a scale of one metre high using tukutuku method, required experimentation as the demands for QR codes are precise.

Pattern Recognition by Vicki Smith and Aroha Timoti-Coxon
Pattern Recognition by Vicki Smith and Aroha Timoti-Coxon

For more information go to the project page on the Intercreate website.