Sidney Saltner – Parallel Session
Monday 25th March: 12.10 – 12.30
Bio:
Sidney Saltner is from the Wulli Wulli people of central Queensland and has over 26 years of performing and teaching experience. Sidney performed nationally and internationally with Bangarra for 15 years, before assuming the position of Bangarra’s Youth Program Director.
Abstract:
Bangarra’s Rekindling program: bringing Indigenous youth and Elders together to celebrate culture and inspire creativity.
Bangarra Dance Theatre’s Rekindling program inspires pride, kinship, positive life choices and a sense of custodianship in young Aboriginal and Torres Strait Islanders through a series of ‘gatherings’ that bring young Indigenous people together with community Elders to inspire pride and a sense of strength.
Isabella Waru – Parallel Session
Monday 25th March: 12.10 – 12.30
Bio:
Isabella Whāwhai Waru is a performer, maker and storyteller of Ngati Tukorehe, Te Atiawa (Aotearoa) and European descent, using their mediums for resistance//resurgence//reclamation//connection//activation//clearing//healing. They work from the body, in moving and sound, as a vessel of inheritance, knowledges, memory and connection, to acknowledge and begin reweaving connections and understandings severed through colonialism.
Abstract:
Where We Stand – Our presence, acknowledgement, movements and voices in the face of colonialism
Isabella Whawhai Waru reflects on the use of their performance ritual, ‘Where We Stand,’ as a medium for resistance, resurgence, reclamation, connection, healing and social change; and how this practice is rooted in the centring of Indigeneity, Indigenous peoples, practices, stories, understandings, knowledges and protocols.
Dr Aoife O’Brien – Parallel Session
Monday 25th March: 12.10 – 12.30
Bio:
Dr Aoife O’Brien was appointed Oceania curator for The National Museums of World Culture, Sweden in October 2017. She previously held post-doctoral positions in Oceanic art and culture at the Metropolitan Museum of Art, New York, and Washington University/Saint Louis Art Museum, St. Louis.
Abstract:
Rediscovering and reactivating the early Pacific collections at the National Museums of World Culture, Sweden
The National Museums of World Culture, Sweden, has notable collections from the Pacific, several with Cook voyage provenance, including the Anders Sparrman (Second voyage) and Alströmer/Banks collection (First, Second, and possibly Third voyage). However, the Pacific collections are largely unknown internationally, having received limited research over the years. Much remains to be done to reveal the history of the collections and the network of connections that existed between Sweden, Swedes and the rest of the world during the late eighteenth and early nineteenth centuries.
Recent research into the Oceania collections at the museum has revealed numerous previously undocumented late eighteenth and early nineteenth century objects, particularly from Polynesia. This includes rare objects from Aotearoa New Zealand, Tonga and the Hawaiian Islands, among others. This paper explores the history of these early collections, how and when they arrived in Sweden, and the exchange of objects within Sweden between people and scientific institutions. The objects in question will be the main focus of the paper, particularly a pair of rare Maori paddles which, typologically and stylistically, suggest similarities with paddles known to have been collected during Cook’s First voyage
Yolande Brown – Parallel Session
Monday 25th March: 14.00 – 14.20
Bio:
Yolande Brown is a descendant of the Bidjara Clan of the Kunja Nation, Central Queensland, with French and Celtic ancestry. Yolande joined Bangarra in 1999 as a dancer, and has also created a number of works for the company’s repertoire. She also delivers the company’s Winhanga-rra Teachers’ Professional learning program, and is the coordinator for Bangarra’s Knowledge Ground digital platform.
Sidney Saltner is from the Wulli Wulli people of central Queensland, and has over 30 years of performing & teaching experience. Sidney joined Bangarra Dance Theatre in 1997 performing nationally and internationally. After 15 years he stepped down from his performing career to assume the position of Bangara’s Youth Program Director.
Abstract:
Knowledge Ground is a new digital platform showcasing 30 years of Bangarra Dance Theatre repertoire.
Knowledge Ground is a new digital platform, developed by Bangarra Dance Theatre. Its purpose is to showcase Bangarra’s 30 years of repertoire and increase access to Aboriginal and Torres Strait Islander arts and culture for all Australians – sharing stories of social inspiration, ecological importance, concepts of creation, and historical perspectives
Lazaros Kastanis – Parallel Session
Monday 25th March: 14.00 – 14.20
Bio:
Bio: Lazaros Kastanis, a founding member of Ortelia Interactive has over 20 years’ experience working in Virtual Reality and interactive 3D applications for the GLAM sector. Having worked with public and private institutions locally and internationally he has a deep understanding of the challenges facing GLAM organisations of all sizes.
Abstract: Women’s Wealth – A Case Study. Promoting Collections and Engaging Audiences
The Women’s Wealth 3D online interactive environment is a unique collaborative project replicating the original APT9 exhibition. This project was inspired by a need to engage the broader source communities with the experience of the exhibition and their culture that would otherwise be inaccessible to them.
Biung Ismahasan – Parallel Session
Monday 25th March: 14.00 – 14.20
Bio:
Biung Ismahasan, a Bunun Nation of Taiwanese Indigenous groups, is a curator-artist and researcher. He has received a MA in Cultural Policy, Relations & Diplomacy at Goldsmiths, University of London in 2014. His research focuses on Taiwanese Indigenous contemporary art, curatorial practice and aesthetics, including the issues of participation, performativity and exhibition design.
Abstract:
Articulating Resilience of the Indigenous Performative Space: an alternative model for Taiwanese Indigenous Curatorial Practice
‘Indigeneity’ is a politically enabling construct in the resistance to ongoing colonialisms and expropriations, and performance and installation art are vital expressions of its emergent, processual and contextual nature. Dispossessions: Performative Encounter(s) of Taiwanese Indigenous Contemporary Art defies expectations of primitivism and primordialism, emphasising instead self-made and re-appropriated identities. Offering an example of Indigenous curation from an Austronesian perspective, Dispossessions responds to the radical flourishing of Indigenous performance and installation art despite – and in response to – social and environmental disruption, instability and change
Erna Lije – Parallel Session
Monday 25th March: 14.30 – 14.50
Bio:
Erna is a curator, researcher, and artist of Papuan and German heritage. She has recently joined the National Museum of World Cultures, Netherlands following a few years at the Museum of Archaeology and Anthropology, University of Cambridge, where she was a research associate on a major project focused on Pacific art in European museums.
Abstract:
Showing New Guinea: developing a curatorial practice in Europe
A number of recent exhibitions have showcased the arts of Oceania in Europe. The author will reflect on her own curatorial practice within this context. Taking two exhibitions, with which she has been involved, as case studies, she will discuss the critical and ethical approach that she is developing in relation to exhibiting New Guinea in Europe.
Christian Coiffer – Parallel Session
Monday 25th March: 14.30 – 14.50
Bio:
Christian Coiffier was trained as an architect and a doctorate in social anthropology. He was appointed Associate Professor at The Muséum National d’Histoire Naturelle in Paris in 1996, and managed the Department of Oceania at the Musée de l’Homme before becoming Senior Manager at the Musée du quai Branly, where he ended his carcer.
Abstract:
Bats and Flying Foxes in Papua New Guinea arts
In New Guinea, flying foxes and bats have long held a very special status. In the Sepik region these animals have a close relation with food, as well with human sexuality and procreation. These peculiarities can explain the frequency of representations of these animals in the material culture of New-Guinean and Melanesians peoples.
Fiona Vuibeqa – Parallel Session
Monday 25th March: 14.50 – 15.10
Bio:
Artist Fiona Vuibeqa is an advocate of collaborative practice and the sharing of skills/knowledge. In 2017 she curated Fiji Greenhouse featuring artists based in the Mackay Region, fusing traditional Fijian craft materials with contemporary artmaking techniques. Fiona has worked as the Arts Development Officer for Mackay Regional Council since 2007.
Abstract:
Fiji Greenhouse Exhibition & Residency Project: An intercultural conversation using collaboration to engage and create
Fiji Greenhouse Exhibition & Residency Project (2017) facilitated the sharing of stories and skills between two coastal communities in Mackay & Fiji. Fiona Vuibeqa, Curator of Fiji Greenhouse, will discuss cross-cultural dialogues and how to provide avenues for meaningful engagement, collaboration and exchange that support artistic discourse in regional communities
Marine Vallee – Parallel Session
Monday 25th March: 15.10 – 15.30
Bio:
Marine Vallée’s is completing her PhD in Art History at Auckland University, pursuing interests developed during her MA, and Art History and Museology studies at the Ecole du Louvre, majoring in Oceanic arts. Her focus lies in museums, exhibitions and other cultural events related to or occurring in French Polynesia.
Abstract:
Translocated art – from islands to walls
This paper examines different expressions of art translocation within French Polynesia. From a set of islands to another, specific objects are differently contextualised and several cultural sensitivities cohabitate, while curatorial practices themselves have been translocated from exhibition space to public spaces, reflecting living and complex cultural contexts within the contemporary French Polynesia.
Kiri Chan – Parallel Session
Monday 25th March: 15.10pm – 15.30pm
Bio: Kiri has worked extensively with the Pacific collections of the QLD Museum and the UQ Anthropology museum over the last decuade. Kiri’s principal area of interest is in PNG museum collections and how it ties in with ideas of nation and cultural identity, especially with Papua New Guineans who have migrated overseas.
Abstract: Kambek: making historical collections relevant.
“Kambek: reconnecting collections” is a recent publication that reimagines a colonial museum collection. This paper reflects on the roles that museum publications can play in reconnecting people with historical objects and reconceptualising their role in the present.
Identity