Contemporary Art in Port Vila, Vanuatu Lisa Ann McDonald

305 Pages·2016·11.32 MB·English

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.

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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
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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

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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

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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

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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

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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

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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.

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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
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