Pacific Power Edu kit.pdf - Casula Powerhouse

Education Kit

Contents 

1 Curatorial statement: Culture currency, back to the mat – Leo Tanoi, Curator 

2 What is exchange? 

6 Back to the Mat 

8 The U-Turn Canoe (Waka) and Restore Respect Canoe Projects 

10 Shigeyuki Kihara 

12 Aaron McTaggart 

14 Greg Semu 

16 Angela Tiatia 

18 Glossary 

Culture currency, 

back to the mat 

Leo Tanoi, Curator 

Pacifica Power 2012 Culture currency, back to the mat is the third annual series of 

exhibitions, public and education programs and events held at Casula Powerhouse 

Arts Centre which celebrate, showcase and explore Pacific cultures. The focus this 

year is on the role of commerce within the various systems of cultural exchange in 

contemporary society, particularly for Pacific communities. 

Many Pacific, Pacific Rim and other Indigenous cultures still trade traditional textiles 

such as I’e Toga, Samoan Woven Mats and Tongan and Fijian Tapa cloths used 

in ceremonies. Over 10,000 I’e Toga are exchanged on any given weekend across 

Australia as part of ceremonies for births, deaths and other important events. The 

traditional economies for Pacific trade of cultural ‘currencies’ are very much alive 

today and have existed for millennia. 

‘Back to the mat’ is a term understood to have been coined in colonial Pacific times 

to describe the Indigenous native going back to their roots. It refers to the rejection 

of colonial dictatorship politically, socially, commercially and physically. In particular 

it refers to the rejection of colonial dress. In the context of this exhibition Pacific 

cultures and cultural ‘currencies’ thrive despite mainstream economies struggling 

with the fall out of the Global Financial Crisis. 

The exhibition tells the stories of how artists and their cultural practices have 

evolved to remain relevant, meaningful and current. Many of the artists’ works have 

traditional characteristics or subjects of the Pacific region while the materials used 

or the means of presenting their work are modern or contemporary. For example, 

Angela Tiatia’s collection of ‘island girls’ sourced from eBay cleverly occupies a 

place within the genre of Modernism as a found object or readymade. The calibre of 

works presented here are a testament to the tenacity and creativity of these Pacific 

artists and their cultures to stay strong by adapting and evolving while retaining 

their ‘pacific power’. 

Cover image: Aaron McTaggart, Breaking Tradition (2011), impasto, texture paste, 

oil on canvas, 100 x 100 x 5cm. Courtesy of the artist. 

Casula Powerhouse Arts Centre Pacifica Power Education Kit 1

What is exchange? 

Exchange is a word that holds a variety of meanings. It basically means a reciprocal 

(give-and-take) transaction and can refer to a swapping of ideas, cultures, money or 

objects. 

Many people would probably relate ‘exchange’ to money, economy and capitalism 

– after all it contains the word ‘change’, relating to loose coin or leftover money, 

and the word ‘exchange’ also makes us think of things like the stock exchange. This 

connection is likely due to the dominance of money in Western capitalist societies. 

Money has allowed for the transaction of goods and services and its symbolic value 

means that these goods and services have become increasingly abstract. These 

days we transact on information such as ‘likes’ on Facebook, not just physical items. 

Consider the idea of ‘exchange’ in the Information Age (the age of the internet, 

telecommunications, and immediate access to information – like through Google). 

The internet has not just allowed for people to share ideas, information and culture. 

It has also allowed for online banking and e-commerce, these platforms mean that 

no physical money needs to be transacted. As a result, money itself has become 

a very abstract concept, which was not always the case. Prior to the Industrial 

Revolution money was very much a material substance, and gifts and exchange 

were also very common – in fact, they often formed the basis of social relations 

and society itself. 

This is still evident in the gift societies of countries such as India (through dowries 

for marriage), the Pacific where gift exchange still plays a large role in the 

community, and remnants in Western society with gift giving on birthdays, weddings 

and housewarmings (to name a few). To use Pacific culture as an example, gifts 

such as food, mats and other cultural items are commonly presented during 

ceremonial occasions such as weddings, the opening of prestigious buildings, and 

even form part of the judicial system with the presentation of gifts to victims or the 

victim’s families serving as atonement for a crime. 

In these examples we can see that the exchange value of the gift given does not 

always equally match its occasion or what is being reciprocally exchanged. What is 

more important than the gift itself is the process of giving/exchanging. As a result, 

the ‘gift exchange’ is a process that strengthens cultural and community ties, and 

interlinks individuals and families through a process of gift receiving, appreciation 

and obligation. 

Money and exchange have become increasingly depersonalised in today’s society 

– we can now transact with people on the other side of the world without ever 

having met them! At this time more than any other, it may be important to consider 

the role of exchange in connecting people and developing intimate or personal 

relationships. In the wake of the disappearance and abstraction of processes of 

exchange, do we need to think of new ways to bind our community together? 

2 Casula Powerhouse Arts Centre 

Pacifica Power Education Kit 3



Back to the Mat 

‘Back to the mat’ is the subtitle of the Pacifica Power exhibition. As a symbol of 

traditional arts practices, it acknowledges the contribution of these practices to 

contemporary ones. The ‘mat’ is also symbolic of the traditional cultural practices 

that keep Pacific communities connected, such as the practice of gift exchange. As 

the Curator Leo Tanoi stated, back to the mat encourages a celebration of ‘a return 

to the roots’. 

One example of an important cultural item is the ‘fine mats’ or ie’toga of Samoa or 

ngatu in Tonga. Ie’toga are a sacred item in Samoa and are exchanged during the 

celebration of births and marriages, ceremonies and other special occasions. They 

are created from the pandanus leaf and its weaving serves as a metaphor for the 

binding and keeping of things together. Its exchange reaffirms family connections 

through its representation of time and lineage. 

Pacific Mats & Cloths 

This table outlines some different types of mats and cloths found in various Pacific 

cultures, and their specific uses. 

TAPA 

IE’TOGA 

LAVA LAVA 

LAP LAP 

TA‘OVALA 

A bark cloth made by Pacific Islands including Samoa, Tonga, 

Fiji, Niue, Vanuatu, New Zealand and Papua New Guinea. Tapa 

is the word accepted by most Pacific nations but is also known 

by many other local versions. Tapa can be painted, rubbed 

with colour, stamped, smoked or dyed. Once formerly used as 

clothing, tapa is now often worn on formal occasions or given 

as gifts. Other uses include a blanket, room dividers or as a 

decorative item hung on walls. 

A very special, almost sacred, mat woven from the pandanus. 

This item is gifted or exchanged on religious and ceremonial 

occasions and often binds families like a social contract. 

An article of daily clothing traditionally worn by cultures of the 

Pacific. It is a rectangular piece of cloth worn as a skirt, and is 

worn by both men and women. Many people of Pacific ethnicity 

wear the lava lava as an expression of cultural identity and for 

comfort within expatriate communities. 

A similar simple kind of clothing to the lava lava is the lap lap 

worn in Papua New Guinea and the South Pacific. The primary 

difference between these items is that the lap lap is completely 

open at both sides. 

A Tongan wearable item taking the form of a mat wrapped 

around the waist. It is worn by men and women at all formal 

occasions. The ta’ovala is also commonly seen among the 

Fijian Lau islands, a region that was once heavily influenced by 

Tongan cultural exchange. 



The U-Turn Canoe (Waka) and 

Restore Respect Canoe Projects 

A ‘waka’ is a sacred Maori canoe which is hand-carved with traditional inscriptions and symbols, 

presenting stories of the social history of those who created it. 

The U-Turn Canoe (Waka) Project is a multicultural canoe built by 23 young people in 2003 at 

SWYPE in Miller as a crime prevention and cultural awareness strategy. These young people spent 

eleven months with master carver Verdun Walker learning the ancient art of wood carving. Many 

of the young people involved were from disadvantaged backgrounds, and learning these unique 

traditional and cultural skills was a way for them to imagine a better future for themselves and 

therefore build a stronger community. 

The U-Turn Waka is eleven metres long and seats 25 people. Based on the traditional Maori canoes 

of New Zealand, the Waka features carved symbols and totems from many different cultures in the 

Miller area, including Arabic, Asian, Pacific Islander and those of the Gandagarra people of South 

Western Sydney. The carvings depict the diverse cultures and experiences of the young people in 

this area. The Canoe is carved with juxtapositions of traditional and youth culture symbols; from 

Indigenous and Pacific markings, to Nike boots and football designs. 

The project was initiated by workers at the Miller Youth Centre who wanted to give these young 

people an opportunity to learn new skills and change their attitudes about themselves. Team leader, 

Charlie Fruean says: 

The Waka Project has been a terrific success. By teaching the kids traditional carving, we’ve helped 

build their awareness, boost their self-esteem and re-connect them with their cultural identity. 

Seeing what these kids have achieved and how the project has transformed them has been amazing. 

It’s helped engage them in their local community and allowed them to break free of the stereotypes 

and create more positive images of young people. These kids have faced huge disadvantages in their 

short lives. We wanted to find a way to show them the great things they are capable of achieving 

when given the opportunity. I think what has been fascinating is watching how the power of ancient 

rituals and traditions has resonated with these young people, and how they have accepted the 

challenge put to them. 1 

Over the seven years of the Waka’s existence, exposure to the elements has meant that the canoe 

needed some attention and repairs. As such, the Restore Respect Canoe Project was initiated, which 

has seen twelve young people and community members work together to restore the canoe and 

learn the art of wood carving. The canoe restoration occurred over a six-month period. Now the 

canoe is ready to embark on a new phase of its life. 

Outcomes 

Five participants found employment and three participants moved onto TAFE for carpentry and 

plumbing. 

Question 

Imagine that you worked on this project. What symbols and totems would you 

carve on the canoe to represent yourself and your heritage? Explain why these 

markings would be significant to you. 

Verdun Walker (U-Turn Canoe Waka Project) and Peter Elers (Restore Respect Project), U-Turn Canoe (Waka) Project (2001-2003), 

wood carved canoe, 11 x 1.5m. Courtesy of the artists and Miller Youth Centre. 

1 

Quoted in ‘Ancient Canoe Floats the Hopes of Troubled Teens’ in UWS Latest News, 28 Nov 2003, 

http://pubapps.uws.edu.au/news/index.php?act=view&story_id=655 



Shigeyuki Kihara 

Shigeyuki Kihara is a Japanese-Samoan inter-disciplinary artist who explores both visual and 

performance arts in her practice. She was born and grew up in Japan, and moved to New Zealand 

when she was 16 years old. Kihara is interested in the intersections between art, performance and 

theatre, and how these forms interact with the public and foster dialogue about the complexities of 

humanity. 

Informing Kihara’s practice are investigations into the indigenous cultures of the Pacific, with specific 

focus on Samoan culture, history and spirituality. A central theme of her artworks is colonialism, 

particularly the experience of 19th century Samoans who were ‘examined’ by Western colonisers 

and portrayed ethnographically. Kihara’s artworks seek to undermine and challenge these 

stereotypes, traces of which remain today. 

For the Pacifica Power exhibition, Kihara presents video documentation of one of her most significant 

projects – Talanoa: Walk the Talk. The ancient Samoan concept of talanoa is a process between 

two parties to find a mutual ground through the exchange of ideas. The Talanoa series are ongoing 

performances which explore how the Samoan principle of talanoa can be applied universally 

to facilitate cross-cultural relationships between different communities. Shigeyuki’s talanoas 

are collaborative and intercultural musical and dance pieces performed between two diverse 

communities. 

Previous collaborations include: Talanoa I between a Scottish highland pipe band and Chinese 

dragon dancers; Talanoa II between Brazilian samba and Cook Island drummers; Talanoa III between 

Hindu singers and Christian singers; Talanoa IV between Aboriginal Australian didgeridoo players 

and Scottish highland drummers; Talanoa V between Chinese dragon dancers and Cook Island 

drummers; Talanoa VI was between Japanese Taiko Drummers and a Maori Kapa Haka cultural 

group; and Talanoa VII between the South Sudanese and the Kiribati communities. 

Artist statement 

There is something in music and dance that cuts through people’s insecurities, prejudice and 

misunderstandings about each other while going deep into the hearts, the minds and the spirit of 

the people. I have been fortunate enough to witness people transform and become enlightened 

though the Talanoa process while finding out more about each other in the process…When you see 

two different cultures with their distinct cultural contexts, beliefs and philosophies coming together, 

it is not only about them, it is also about the audience. I hope they begin to think about how they fit 

into this complex matrix—tradition, cliché, the present and the future informed by their past—how do 

they fit into this wider world. When people walk away from the performance I hope it inspires them 

to talanoa with someone outside their everyday world. I hope that my Talanoa project and method 

can operate as a catalyst for social change. 2 

Question 

Choose two different cultural groups. Research their traditional styles of dance 

and performance. How would you stage a talanoa between these two groups? 

What dance and performance styles would be on display, and what cultural 

exchange do you hope to achieve from the talanoa? 

Shigeyuki Kihara, Talanoa: Walk the Talk V (2010), DVD, duration: 21mins. Courtesy of the artist. 

2 

Shigeyuki Kihara quoted in Katerina M. Teiwa, ’An interview with interdisciplinary artist Shigeyuki Kihara’ in 

Intersections: Gender and Sexuality in Asia and the Pacific, Issue 27, November 2011, 

http://intersections.anu.edu.au/issue27/kihara.htm 



Aaron McTaggart 

Aaron McTaggart was born in Darwin and is of Maori/Pakeha descent. He is a fourth-generation 

artist who was taught to paint by his mother and aunties. As an artist, McTaggart delivers a unique 

perspective and shines a torch on the components of Maori art and Maoritanga that appeal to both 

the ‘old world’ and the ‘new world’; the traditional and the contemporary. 

Whakapapa (genealogical connections) is a key theme in most of McTaggart’s paintings. Maori people 

are spiritually attached to both their ancestral ties and the earth, and this plays an integral role in 

the kaupapa (theme, subject, plan) that defines his body of work. This is the reason kowhaiwhai 

design and the koru feature so prominently in his artwork. These are traditional flowing rafter 

designs that follow a repetitious pattern and are often found in Maori meeting houses. They usually 

tell a story about a particular tribe. McTaggart believes that everything we experience in life is only 

made possible through the pathway laid by our ancestors and our relationships with the earth. Our 

understanding of things, knowledge and abilities gained from those who came before lead us to 

thirst for a greater closeness to where we came from. We strive to move along this pathway, and in 

turn share the taonga (gift) of life with future generations. 


My intentions as an artist are to harmoniously blend traditional Maori design elements and 

components with my own personal interpretations, whilst integrating the elements and technical 

aspects of art from the contemporary realm. I have always loved the beauty, simplicity and strength 

of Maori art and design. The natural bold shapes and impossibly precise linework of Taamoko and 

Whakairo (Tattooing and Carving) have influenced my art immensely. I strive to create an eclectic 

style of contemporary art that infuses timeless styles and injects an enthusiastic, vibrant perspective 

which all people may relate to and appreciate. 

Questions 

Identify the elements within McTaggart’s works which have been translated from 

traditional Maori customs to contemporary art. Consider lines (geometric and 

organic), textures, form, patterns and colour. How has McTaggart blended the ‘old 

world’ with the ‘new world’? What is your response to this amalgamation? 

How does McTaggart’s body of work relate to each of The Frames in Visual Arts? 

Subjective 

Cultural 

Structural 

Postmodern 

Aaron McTaggart, 

Segmented (2010), 

impasto, texture paint, oil 

on canvas, 60 x 91 x 5cm. 

Courtesy of the artist. 



Greg Semu 

Greg Semu is a photographer who was born and raised in New Zealand, but considers Samoa to 

be his ancestral and spiritual home. Semu’s practice explores themes of cultural displacement, 

particularly the colonial impact on indigenous cultures such as those of the Pacific Islands. He often 

looks to Pacific iconography and customs to investigate the differences between traditional and 

contemporary Pacific Island culture, and how these intersect with colonial histories. 

For the Pacifica Power exhibition, Semu’s Aussie Aiga series are 21 photographic portraits 

presenting various members of Samoan communities throughout Western Sydney. The word aiga 

means family, and in these photographs the artist engaged with the community and was welcomed 

into their homes and given the honour of taking their family portraits. These special moments 

captured on film reinforce the universal importance of family photos and the role that photographs 

play in presenting and illuminating human relationships and ancestral links. 

Furthermore, the portraits compliment the strong oral traditions of Samoan culture. Curator, Leo 

Tanoi, says that: 

Every village in Samoa has an ongoing fa’alupega – a recited charter of ceremonial greetings 

that incorporate salutations immemorial and the village hierarchy. The charter acts as an oral 

constitution and registry of the village’s chieftain titles. It serves as a reminder for all families 

within the village of their founding ancestors over the centuries. Photography can complement our 

contemporary oral genealogical claims. Photographic proof of a person’s existence, in the form of a 

family portrait, will help future family members attest and trace their lineage through oral and visual 

evidence. 


‘Aussie aiga’ is a term that encapsulates ideas about inhabiting and belonging: to place, to country, 

to family. We photographed 200 people in the environments that they inhabit both domestically and 

socially. It was an incredibly bonding human experience. I came away from the project feeling I had 

been given an acknowledgement that we are the living descendents of a unique DNA tree dating 

back thousands of years. It was palpable, visible and communicable in all senses. 

Questions 

Analyse the series Aussie aiga in relation to the Conceptual Frame. How do these 

components relate to each other, and how do they intersect or overlap? 

World 

Greg Semu, Sydney members of the extended families of Vaipu’a Tafaoimalo Lalau, Penrith (2008), 

C type handprint off large format, 76 x 100cm. Courtesy of the artist and Lalau Leo Tanoi. 

Artwork 

Audience 

Artist 



Angela Tiatia 

Angela Tiatia is both an artist and a curator – she creates artworks and also organises and designs 

art exhibitions. Her art practice is mainly centred on sculpture, installation and video. 

As an artist Tiatia is interested in exposing the misrepresentations and stereotypes of Pacific peoples 

in contemporary and commercial culture. Her work often highlights colonialist assumptions and 

stereotypes, especially in relation to the passive depiction of women. 

In her work Foreign Objects, Tiatia scoured eBay and other online sites for antiques, memorabilia 

and tourist knickknacks that were sourced with search terms like ‘Pacific’ or ‘Polynesian’. The 

similarity between the items and their content highlights Pacific stereotypes such as the Pacific 

beauty or the male ‘warrior’ depicted with primitive weaponry. Most significantly, the imagery of 

these objects often focuses on the physical form of the Pacific people, idealising curvy women and 

strong muscly men. Women are often depicted semi-nude in hula skirts. As a result, the viewer is 

forced to objectify these ‘bodies’. 

These items are presented like museum artefacts, displayed under glass cabinets. Tiatia has 

consciously created this presentation format to create a serious contemplative environment, 

encouraging the viewer to analyse these objects and their meaning rather than just seeing them as 

fun and frivolous. Consequently the viewer is forced to think about the implications of stereotypes 

that are seemingly harmless. 

Tiatia’s work comments on cultural and commercial processes of exchange. The commercialisation 

of Pacific stereotypes can be seen as a repressive and containing force that prevents an 

understanding of the true complexity and depth of Pacific culture. 


I was very fascinated with the idea of how Pacific cultures are commercialised and captured in 

objects. 

Questions 

Analyse the work Foreign Objects through the Cultural Frame. 

Different objects have different meanings depending on their context. How do you think 

Angela Tiatia has altered the meaning of the objects contained within her work? 

Angela Tiatia, Foreign Objects (2011 – 2012), mixed media, 

dimensions variable. Courtesy of the artist. 

Imagine you were going to create a work that dealt with Pacific culture. Drawing from 

what you have seen in this exhibition, what kinds of themes would you deal with and what 

symbols and images would you use to communicate them? 



Glossary 

Abstract: not able to be touched, seen or felt; thought of apart from concrete realities, specific objects, or 

actual instances. 

Amalgamation: a combination of two or more elements. 

Capitalism: an economic system in which investment in and ownership of the means of production, distribution, 

and exchange of wealth is made and maintained chiefly by private individuals or corporations, especially as 

contrasted to cooperatively or state-owned means of wealth. 

Catalyst: something that causes activity between two or more forces without itself being affected. 

Colonialism: the control or governing influence of a nation over a dependent country, territory or people. 

Contemporary: of the present time. 

Context: the circumstances in which an event occurs, its setting. 

De-personalise: to deprive of personality or individuality 

Eclectic: composed of elements drawn from a variety of sources and styles. 

Encapsulate: to sum up in a short or concise form; condense. 

Ethnography: the branch of anthropology that deals with the scientific description of individual human societies. 

Frivolous: not serious or sensible in content, attitude or behaviour; silly. 

Genealogy: a record or account of the ancestry and descent of a person, family or group. 

Juxtaposition: placing two items or ideas side-by-side in order to compare and contrast. 

Iconography: symbolic representation, especially the conventional meanings attached to images. 

Installation: installation art uses sculptural materials and other media to modify the way we experience a 

particular space. It is used to create an idea or story for the viewer. Installation art is not necessarily confined to 

gallery spaces and can be any material intervention in everyday public or private spaces. 

Inter-disciplinary: a discipline is a field of study, research or practice, for example, visual arts, music and 

performance. Something that is inter-disciplinary involves the use of ideas and methods of many disciplines all 

at once. 

Intersection: a point where two or more ideas meet. 

Lineage: ancestry; from whom you directly came. 

Palpable: easily perceived by the senses or the mind. 

Prejudice: unreasonable feelings, opinions or attitudes, especially of a hostile nature, regarding a racial, 

religious or national group. 

Resonate: to expand, intensify or amplify a sound or feeling. 

Universal: applying to all people, at all times, in all places. 

18 

Casula Powerhouse Arts Centre

Casula Powerhouse Arts Centre 

1 Casula Powerhouse Rd, Casula. 

Contact us: 

02 9824 1121 

reception@casulapowerhouse.com 

For information on excursion packages relating to this exhibition, please contact 

the Education Officer Vi Girgis, girgis@casulapowerhouse.com or 9612 5214 

Written and produced by 

Vi Girgis: Public Programs and Education Officer 

Nisa Mackie: Public Programs and Education Manager 

ARTS CENTRE

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