Is the work of contemporary Maori and Pacific artists founded in tradition?

Assignment Requirements

 

Purpose – to research and examine works of selected contemporary arts practitioners in a Pacific context. Required to write a 1500 word, illustrated comparative essay. Needs to apply critical thinking to an investigation of art, culture and society in New Zealand and/or the Pacific region. Research includes a traditional taonga and customary practice. Term 1 provides a firm basis for the investigation of a contemporary artist and their work. (Mine was Michel Tuffery – taonga was tatau). Essay question: Is the work of contemporary Maori and Pacific art founded in tradition? Discuss with reference to specific works by an artist. Examine the artists materials, methods and themes. What cultural and social issues are being explored by the artists? Discuss the similarities and differences between customary and contemporary art practice. Essay is to presented as an illustrated essay. Support ideas with relevant quotes by the artists and brief excerpts from critical commentaries. Quotes do not count as part of word count. Essay needs to be supported by images of the selected artworks/taonga; images of earlier linked works where relevant.
Page setup: A4 paper
Type: one side of paper only
Times new roman font
font size 12
Lines are 1.5 spacing.
Margins should be set up 2.5cm top and bottom, 2.5cm right margin and 4cm left margin. Essay should have simple page title that includes: Assignment 2: Comparative essay
Pacific Studies AA1002
Bachelor of Applied Arts

Tutor: Faith McManus
Due: 18 June

Questions and answers I asked Michel Tuffery:
Kaelani,

Not sure if as part of your reading for this essay you have covered Sean Mallon and Fulimaro Pereira book ‘Speaking in Colour’ Te Papa Press? Also suggest you research Paulo Suluape. In 1994 through Tu Fa’atasi the pacific component of the NZ International Arts Festival, I developed this as I was selected as the official festival artist yet there was no program so I brought in 3 other pacific creatives to build the program, as part of that I brought Paulo to Wellington from Samoa and had him tatau in the Wellington City Council hall.

That’s it from me.
Michel

Is the work of Maori and Pacific artists founded in tradition?
It must of been a contemporary idea for ritualistic purposes at that time or identification or as a recording device.

What cultural and social issues are being explored by artists?
Everyone has there own exploration and conceptual ideas sourced from there own DNA or by responding to their environment, gender etc.

What are the differences and similarities between customary and contemporary
art practice?
(this is my interpretation) There is a dis-connection between traditional application and contemporary as there is a code where if, modern machines are used this code is not audible, so the machine is used more for it’s convenience now, it does have it’s place in contemporary practice, the exploration still remains for a contemporary approach.

What are the relevant tools materials used and how does this combine with any
formal qualities to create meaning?
Refer answer above

What are the differences and similarities between artworks, the context in
which they were created and the notions of traditional and contemporary?
The applications are the same, depending on the tufuga or the artist who is applying it and what there interpretation is as there are so many different approaches.

Contemporary art movement: who started the Pacific movement?
That’s been going on forever, since first contact, when europeans decided to use there methods of cataloguing and collecting, there is no new pacific art movement, the pacific have been doing it instinctively forever.

Why is the culture important to the artist?
Culture’s just another device that creates tradition.

Do the artists identify themselves as a Polynesian artist?
I can’t speak for all the artists, I only acknowledge the recognition and devices that have been left behind e.g. Objects, tatouage, history etc..

Do the artists think they have been labeled a certain kind of artist and do
they like being labelled a certain type of artist?
That’s long been a western concept of categorizing so it’s a easier device for the western world to understand, remembering that pacific history is an oral practice and quite layered.

Who judged what type of art it is? The viewer or the artist?
My interpretation of this question is really down to the artist who puts it out there because art is only a device to start conversations and depending in what context the artists audience is trying to put there message across in the public domain, there lies the responsibility for the public to make up their own mind.

Does it hinder an artists work if they have are a ‘labelled artist’
It doesn’t matter whether you are labelled an artist or not, it’s about the devices you use to tell your story, that could be film, painting, music, tatau etc.

Are there any spiritual dimensions?
Doing the whole art thing, is a privilege, but from my experience working with Paulo Suluape and other tufuga’s they do have a strong spiritual application to their practice.

What is traditional tatau art?
Refer to the answer to your first question.

Are there any tatau-based art projects?
Universally conventions are happening all around the world.

What are the main influencing factors and arts on recent Polynesian art?
Polynesian art has added huge influential nuances to the contemporary nz art unfortunately at times the country does not realise the value of what the pi community contributes to nz society and as an example you have successful events like Pasifika in Akld that has grown to be a huge cultural event and secured Akld as being the Polynesian capital yet they are funded on a shoe string budget as numerous other off shoots in the regions host Polynesian festivals or other significant and live cultural events.

Is there training in the art of tatau? If yes, who trains? In New Zealand? Link to ancestors?
There is training but there again it depends on the applicant and whether he or she will be accepted, it’s a life’s work so once you commit that’s it, you’re committed to that lifestyle.

 

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