Culture moves?: The Festival of Pacific Arts and Dance Remix in Oceania

Teaiwa, Katerina

doi:10.15663/dra.v2i1.27

Cited by 9 publications

(5 citation statements)

References 10 publications

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“…An individual is thus ‘in’ the community, as the community is ‘in’ them” (Va‘ai, 2014, 105). Social life itself, then, can be understood as “rhythmic entanglement” (Fa‘avae, 2021), where the “constant movement and exchange of bodies, knowledge and materials” connects worlds (Teaiwa, 2014, 107).…”

Section: The Moving (And Knowing) Bodymentioning

confidence: 99%

“…Writing about Black transatlantic dance, Yvonne Daniel (2005, 265) shows how “embodied knowledge about divinities, history, botany, among other domains, are accumulated and constantly consulted” through dance performances. Similarly, Katerina Teaiwa (2014, 13) argues that dance in Oceania is an “archive” for cultural knowledge, which represents an “active, agentive and creative process where people can weave together old, new and emerging ideas and materials.” Here, the women who showed up at Zumba, with the exception of non‐Samoans like myself, had already accumulated these kinds of knowledge.…”

Section: Movement: Dancing Togethermentioning

confidence: 99%

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Moving materialities: Oceanic epistemologies and embodied knowledge production in Pentecostal women's health mentorship in Samoa

Hardin

2023

American Anthropologist

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This article employs Oceanic epistemological theories to explore the body as a site of knowledge production among Samoan Pentecostal women as they dance in a church‐sponsored Zumba session, tracking foods, words, and feelings: I call these moving materialities. In their work together, these women contextualized health, sickness, and weight as generated from the circulation of these kinds of moving materialities. Their work theorizing health through material change is quite different from those imagined and circulated in the literatures on diabetes and obesity. The article orients critical studies of health toward an interrogation of the dynamic qualities of materiality, including both the moving body and materials that move between or within bodies. By expanding what might be considered material and movement in the context of health, this article offers an alternative to theories of metabolism that have come to dominate how we understand the body in terms energy expenditure. Ultimately, this approach calls for anthropologists to consider the circumstances in which theory is understood to be “culturally specific” or “generalizable.”

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Section: The Moving (And Knowing) Bodymentioning

confidence: 99%

Section: Movement: Dancing Togethermentioning

confidence: 99%

Moving materialities: Oceanic epistemologies and embodied knowledge production in Pentecostal women's health mentorship in Samoa

Hardin

2023

American Anthropologist

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“…Scanning across Oceania, several Pacific Island dance scholars researching in areas such as Hawai'i, Fiji, Marquesas, Banaba, Tonga and Guam/Guåhan confirm that dance continues to be an important vehicle for Indigenous knowledge strengthening and advancing, and for (re) establishing important cultural transmission (Alexeyeff, 2009;Cruz Banks, 2013;Flores, 1999;Freeman Moulin, 1994;Hereniko, 2006;Kaeppler, 2004;Teaiwa 2008Teaiwa , 2014. In sum, the pan-Pacific dance energy elucidates a "critical postcolonial dance recovery" (Cruz Banks, 2009, p. 356) or, in other words, the recuperation and advancement of dance knowledge that was historically interrupted due to colonial predicaments.…”

Section: The Rise Of Mäori Contemporary Dancementioning

confidence: 99%

Haka on the Horizon: Māori contemporary dance and whare tapere

Banks¹

2017

MAI Journal

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The founding of the esteemed Atamira Dance Company (ADC) in 2000 signified a new wave of Mäori dance, integrating cultural strengthening with innovation. For instance, the distinguished and founding members of the ADC, Louise Potiki Bryant and Jack Gray, seized the opportunity to collaborate with the inspirational scholar Te Ahukaramü Charles Royal. This paper provides a glimpse into their combined efforts towards developing the breadth and depth of haka through their contribution to the whare tapere recovery. Principles and qualities of human-land synergy and the water deity Hineruhi informed the research; the cultural work reveals the experimental horizons of what Royal (2012) calls expressions of "new indigeneity". The invigoration of haka within the whare tapere tradition has stimulated creative direction for Mäori contemporary dance. Unique works by Potiki Bryant and Gray illuminate momentums of Mäori contemporary dance in Aotearoa New Zealand.

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“…The gabulay dancer, the Yolngu jester, samples different moves, experiences, and desires of everyday life and puts them together in a hilarious choreography that eliminates the boundary between ‘ritual … and contemporary. … or popular dance’ (Teaiwa :3) and collapses any separation between the past and present, the new and the old, Yolngu and balanda ( cf . Deger :357–8).…”

Section: Hip‐hop and Burlesque Dancingmentioning

confidence: 99%

A Space and Time for a Generation to React: The Gattjirrk Cultural Festival in Milingimbi

Tamisari

2016

Oceania

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This article deals with the annually held Gattjirrk Cultural Festival organised in Milingimbi, a Yolngu\ud community in Northeast Arnhem Land, and has the objective of analysing its socio-cultural and political\ud meaning. Although this event is considered an amusement (wakal), it nevertheless constitutes an arena\ud to negotiate postcolonial realities in which Yolngu people are forced to live. Focusing on the organisers’\ud overall frame of ‘sharing culture’ and youths’ interpretations of hip-hop dances as ‘performative\ud tactics’, I suggest that the Milingimbi Festival creates a space in which generational perspectives within\ud the community as well as the tension between Yolngu people and the non-indigenous (balanda) world\ud may be displayed and mediated. While the Festival has been mainly conceived as a space for encountering\ud and ‘sharing culture’ with other groups and people both within the community and with the\ud balanda world, it is also seized as an opportunity by young people to generate new ways to engage with\ud and challenge others. By weaving together elements of Yolngu heritage and pop culture, I argue that fun\ud or burlesque dances (wakal bunngul) are ‘tactics of cultural remix’ that through laughter and irony\ud demand a witnessing: a mutual recognition, engagement, and responsibility to participate and to\ud respond. It is thus in their own ways that these performances produce new connections and relationships\ud bringing together old and young, Yolngu and balanda in an effective although fleeting encounter

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Culture moves?: The Festival of Pacific Arts and Dance Remix in Oceania

Cited by 9 publications

References 10 publications

Moving materialities: Oceanic epistemologies and embodied knowledge production in Pentecostal women's health mentorship in Samoa

Moving materialities: Oceanic epistemologies and embodied knowledge production in Pentecostal women's health mentorship in Samoa

Haka on the Horizon: Māori contemporary dance and whare tapere

A Space and Time for a Generation to React: The Gattjirrk Cultural Festival in Milingimbi

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