Creating Kastom: Contemporary Art in Port Vila, Vanuatu Lisa Ann McDonald Doctor of Philosophy University of East Anglia Sainsbury Research Unit for the Arts of Africa, Oceania and the Americas September 2015 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. ABSTRACT This thesis explores the relationship between contemporary art and kastom in Port Vila, Vanuatu. Since the mid-1980s indigenous paintings, drawings, tapestries and sculptures have become prominent features of the urban visual landscape. By way of ethnological survey, this thesis examines current modes of production, circulation and reception to reveal the changing socio-cultural capital of these objects. Based on two periods of extended fieldwork, this research relies on participant observation, semi-structured interviews, studio and exhibition visits, written surveys and informal discussions for its primary data. Focusing on a core group of practicing artists who primarily belong to either the Nawita Contemporary Arts Association or the Red Wave Vanuatu Contemporary Arts Association, this thesis highlights the influences of island affiliation, kin networks and social relations upon the structure of the local artworld. Within the pluralistic matrix of town, artists adopt kastom as thematic content for their work. Representations of the chiefly body, dance routines, marriage ceremonies and traditional stories highlight the means by which makers creatively assert their cultural identity. Similarly, depictions that incorporate stylised icons and codified motifs convey the knowledge, status and entitlement held by different artists. When presented to local audiences, these visual cues are regarded as prideful celebrations of the unique characteristics of the nation. This thesis concludes that just as kastom is not a static entity, nor is the category of contemporary art. In Port Vila, a space of rapid social change, deeply embedded values and beliefs intertwine with the forces of modernity to redefine notions of indigenous heritage. Within this framework, artists in the capital interrogate the realities of their lived experiences to present images and forms that reflect the ever-evolving circumstances particular to their corpus and careers. 2 TABLE OF CONTENTS Abstract 2 List of Figures 5 List of Tables 8 Preface 9 Acknowledgments 10 Introduction 12 Research Context 14 International Framework 22 Methodology 26 Thesis Outline 31 Chapter 1: Contextualising Contemporary Art 35 Colonial Encounters 35 Independence 42 Kastom 45 National Symbols 50 Contemporary Art 53 Conclusion 62 Chapter 2: The Contemporary Artworld 64 Port Vila 64 Art Associations 67 Art Education 88 Art Distribution 93 Conclusion 96 Chapter 3: Kastom as Subject Matter 98 Chiefs 101 Dance 104 Marriage 110 3 Stories 117 Conclusion 124 Chapter 4: Kastom as Iconography 126 Land Diving 129 Sand Drawing 135 Carvings 139 Turtles and Fish 141 Copyright and Related Rights Act 2000 143 Mount Benlow, Ambrym 148 Conclusion 151 Chapter 5: Aesthetic Experiences 153 National Library and Archives of Vanuatu 154 Inaugural Exhibition 156 Survey Methodology 158 Data Set 162 Questionnaire and Responses 163 Conclusion 183 Conclusion 185 Figures 193 Bibliography 260 Appendix 1 298 Appendix 2 301 4 LIST OF FIGURES Fig. 1 Map of Vanuatu 193 Fig. 2 Flag of Vanuatu 194 Fig. 3 Coat of Arms of Vanuatu 195 Fig. 4 Workshop of Nicolai Michoutouchkine and Aloi Pilioko 196 Fig. 5 Exhibition of the art of Emmanuel Watt, 1978 197 Fig. 6 Exhibition of the art of Emmanuel Watt, 1978 197 Fig. 7 Juliette Pita, Women at the Market, wool tapestry, 1979 198 Fig. 8 Joseph John, Man with Pipe, acrylic on board, 1979 199 Fig. 9 Independence mural, 1979 200 Fig. 10 Independence club, 1979 201 Fig. 11 Independence club (detail), 1979 201 Fig. 12 Logo of the Nawita Contemporary Arts Association 202 Fig. 13 Alvaro Kuautonga, stencil made from x-ray film, 2013 203 Fig. 14 Taitu Kuautonga, kava cups, acrylic on coconut shell, 2013 204 Fig. 15 Andrew Ulus, Turtle, kava on paper, 2011 205 Fig. 16 Logo of the Red Wave Vanuatu Contemporary Arts 206 Association Fig. 17 Andrew Tovovur, mural on utility shed (detail) 207 Fig. 18 Andrew Tovovur, mural in restaurant (detail) 207 Fig. 19 Andrew Tovovur, mural for guesthouse 208 Fig. 20 Francois Yoringmal, Malekula Treasure 1, acrylic on 209 canvas, 2012 Fig. 21 Francois Yoringmal, Untitled, watercolour, 2012 210 Fig. 22 Philimon Natato, Graphic 2, acrylic on canvas, 2012 211 Fig. 23 Vatahe Ian, Mosaic Flowers, tiles on board, 2012 212 Fig. 24 Joseph John, The Village Forum: The Chief and His People, 213 oil on canvas, 1993 Fig. 25 Jobo Lovo, public mural, date unknown 213 Fig. 26 Juliette Pita, Mothers, acrylic on paper, 2012 214 Fig. 27 Juliette Pita, Untitled, acrylic on canvas, 2012 215 5 Fig. 28 Juliette Pita, Kastom Danis blong Erromango, acrylic on 216 canvas, 2013 Fig. 29 Amelia Lovo, Napennapen, acrylic on paper, 2013 217 Fig. 30 Amelia Lovo, Toka, acrylic on paper, 2013 218 Fig. 31 Toka dance, Tanna, 2010 219 Fig. 32 Toka dance, Tanna, 2010 220 Fig. 33 David Ambong, Fest’ Napuan logo, 2007 221 Fig. 34 David Ambong, Fest’ Napuan logo, 2012 222 Fig. 35 David Ambong with Fest’ Napuan stage backdrop, 2013 223 Fig. 36 David Ambong, Nalawan Danis, acrylic on canvas, 2012 224 Fig. 37 Andrew Tovovur, A Traditional Marriage, acrylic on 225 canvas, 2012 Fig. 38 Jean-Claude Touré, A Traditional Ambae Marriage, acrylic 226 on canvas, 2012 Fig. 39 Eric Natuoivi, Rescue Mission, woodblock print, 2010 227 Fig. 40 Eric Natuoivi, Bunga, Sina and their Twin Sons, mixed 228 media, 2012 Fig. 41 Eric Natuoivi, Bunga, Sina and their Twin Sons (side 228 view), mixed media, 2012 Fig. 42 Matthew Abbock, handmade canvas 229 Fig. 43 Matthew Abbock, Stori blong Paama, acrylic on canvas, 230 2013 Fig. 44 Cyrus Nivwo, Pis blong Erromango, acrylic on canvas, 231 2012 Fig. 45 John Simpson, The Spirit of Man, mixed media, 1995 232 Fig. 46 Land diving, Pentecost, 2010 233 Fig. 47 Land diving, Pentecost, 2010 234 Fig. 48 Joseph John, Traditional Knowledge, watercolour, 1999 235 Fig. 49 Edgar Hinge, sand drawing, 2012 236 Fig. 50 Natundong, sand drawing design 237 Fig. 51 Vatangele, sand drawing design 237 Fig. 52 Nevul, sand drawing design 237 Fig. 53 Tony Bruce, natangora nut carving, 2012 238 6 Fig. 54 Tony Bruce, natangora nut carving with Indian ink, 2012 238 Fig. 55 Tony Bruce, Maten (detail), natangora nut, 2013 239 Fig. 56 Tony Bruce, Maten (detail), natangora nut, 2013 239 Fig. 57 Tony Bruce, Vival (detail), natangora nut, 2013 240 Fig. 58 Tony Bruce Vival (detail), natangora nut, 2013 240 Fig. 59 Johanin Bangdor, Vanuatu et le France, wood, 2010 241 Fig. 60 Johanin Bangdor, Vanuatu et le France (detail), wood, 242 2010 Fig. 61 Jobo Lovo, Navu Im Nomu, acrylic on canvas, date 243 unknown Fig. 62 Juliette Pita, Ol Man blong Erromango, acrylic on canvas, 244 2013 Fig. 63 David William, Totel mo Fis, acrylic on canvas, 2013 245 Fig. 64 National Library and Archives of Vanuatu 246 Fig. 65 National Library and Archives of Vanuatu, foyer 246 Fig. 66 Joseph John, Storian, watercolour, 2013 247 Fig. 67 Alvaro Kuautonga, Six Provins blong Vanuatu, acrylic on 248 board, 2008 Fig. 68 Nikiyatu Kuautonga, Majijiki, acrylic on canvas, 2008 249 Fig. 69 Taitu Kuautonga, Danis blong Futuna, acrylic on canvas, 250 2010 Fig. 70 Juliette Pita, Jif blong Erromango, acrylic on canas, 2013 251 Fig. 71 Andrew Tovovur, Untitled, acrylic on canvas, 2012 252 Fig. 72 Matthew Abbock, Bilding Pis tru Kalja, acrylic on canvas, 253 2008 Fig. 73 Matthew Abbock, Kaljoral Heritage blong Lapita, acrylic 254 on canvas, 2010 Fig. 74 Sero Kuautonga, Cycle long Laef, acrylic on canvas, 2010 255 Fig. 75 Sero Kuautonga, Fiuja, acrylic on canvas, 1999 256 Fig. 76 Eric Natuoivi, Namawia Danis, mixed media, 2012 257 Fig. 77 Emmanuel Watt, Mas blong Solwata, wood, 2010 258 Fig. 78 Emmanuel Watt, Duti, wood, 2005 259 7 LIST OF TABLES Table 1 Questionnaire participants by province 163 Table 2 Questionnaire participants by island 163 Table 3 Positive responses to works of art 164 Table 4 Negative responses to works of art 172 8 PREFACE In 2009 I had the great privilege of commencing a year-long volunteer placement with the Vanuatu Cultural Centre (Vanuatu Kaljoral Senta or VKS), under the auspice of the Australian Government’s international aid programme Youth Ambassadors for Development. During my time in Port Vila I was everyday exposed to the distinctly Melanesian customs, practices and values of the local community. My time at the VKS not only introduced me to the rich and diverse material culture of the nation, but also allowed me to bear witness to an extraordinary array of deeply significant indigenous ceremonies and rituals. It was here that I learned about the history, traditions and achievements of the archipelago, the aspirations of its people and the realities of life in one of the world’s least developed countries. Walking down the main street in taon (town) soon after my arrival I was struck by an exhibition of brightly coloured tapestries. Turning to my companion, an expatriate of more than 20 years with profound knowledge of the arts of the region, I enquired about the display. ‘This’ she told me ‘is the work of Juliette Pita. She is Vanuatu’s only female contemporary artist.’ As I marvelled at the intricate needlework before me I heard my companion call my name. Surrounded by inks, brushes and parchments on the floor below, she stood quietly talking with Juliette. Upon making introductions it was thus that I met the first of many local practitioners. This chance encounter, during which Juliette told me not only about her art but also her career and her family, aroused my curiosity. I wondered how many other artists were in Port Vila and how I could see their work. This thesis is the result of that curiosity. Over the years I have been inspired, challenged and humbled by the artists who have so warmly invited me to share in their lives. It is hoped that my interest in, and enthusiasm for, contemporary art from Vanuatu will enliven appreciation in others and that the outputs of these talented and dedicated makers will receive the attention and acclaim they so rightly deserve. 9 ACKNOWLEDGMENTS This thesis would not have been possible without the support of a great many people and organisations. My first and foremost thanks go to the artists in Port Vila who not only shared their work and lives with me, but also their friendship, knowledge and humour. I am deeply humbled by the many inspirational practitioners with whom I have had the great pleasure of working. Thank you to Matthew Abbock, David Ambong, Chief Johanin Bangdor, Tony Bruce, Chief Michael Busai, Joseph John, Alvaro Kuautonga, Taitu Kuatutonga, Hardy Leo, Amelia Lovo, Chief Jobo Lovo, Ben Natum, Cyrus Nivwo, Aloi Pilioko, Juliette Pita, Simeon Simix, Roy Thompson, Jean-Claude Touré, Andrew Tovovur, Andrew Ulus and David William. I would also like to particularly thank Sero Kuautonga, Eric Natuoivi and Emmanuel Watt for their guidance and mentorship without which this research would not be nearly as rich. During the writing of this thesis it was with great sadness that three artists passed away. The deaths of Sylvester Bulesa, Timothy Takifu and Fidel Yoringmal are a profound loss for all who knew these gracious and talented men. Also in Port Vila I extend my sincerest thanks to the many individuals who shared their time and thoughts with me during interviews and meetings. Thank you to Evelyn Bulegi, Georges Cumbo, Kaitip Kami, Chief Jacob Kapare, Goodwin Ligo, Chief Jack Siviu Martau, Chief John Roy, Chief Jerry Taki, Jean Tarisesi, Merilyn Leona Temakon, Chief Ambong Thompson and Chief Isaac Worwor. For their insights and always warm hospitality I thank Jenny Tasale and Ralph, Sethy and Dorothy Regenvanu. To the dedicated staff at the Vanuatu Cultural Centre I express my sincerest appreciation for their ceaseless assistance and unequivocal good will. My time in the field was not always easy and I am particularly indebted to Joyce Kensen, Kris Paraskevas and Ryan Taylor for their friendship. Likewise, I am forever grateful and will always cherish the love and immense support of Jennifer West. In the United Kingdom, I extend my sincerest thanks to my supervisors Professor Steven Hooper and Dr Karen Jacobs for their belief in this project. My time at the Sainsbury Research Unit for the Arts of Africa, Oceania and the Americas was one of great professional and personal development, made possible by their continued support and guidance. I thank Lynne Crossland for her tireless encouragement and other staff of the Unit for their assistance and advice. To Katrina Talei Igglesden, Mal 10