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The sweet and bitter-sweet narratives of 25 women of Samoan descent (Aualuma in Aotearoa) recently featured in a challenging art exhibition called Dolly Mix (W)rapper. Held at Waikato Museum in Hamilton, the women draw on ancient and modern stories and patterns to discuss their identities as 'artists', Samoans, persons of mixed descent, urban Islanders, women or as fa'afafine (in the manner of a woman) in Aotearoa.
Organised by curator, Leafa Janice Wilson, Dolly Mix (W)rapper or DM(W) aimed to explore issues related to gender and sexuality, fa'a Samoa, western
patriarchal structures and the future.
"Politics of identity have generally taken first priority over women's issues and concerns," said Leafa. "Subsumed by the greater struggle for racial equality or by patriarchal systems of control, the female voice has often been silenced or muted. DM(W) will not and should not convey an entire show of highly decorative artworks duplicating each other nor will we be bare - breasted dusky maidens doing the hula. (well not all of us anyway)."
"The DM(W)
show could be seen more in these terms. That it is an exhibition of
contemporary art made by women who happen to be Samoan or of Samoan
descent. Their statements are individual, yet interconnected, their kaupapa may or may not be grounded in their 'island' identity. Their art statements will blow myths and challenge your perception of Polynesians."
Artists participated in the show included Ema Kesha, Lurlene Christiansen, Lonnie Hutchinson, Niki Hastings McFall, Wilma van Heeswijk, Sister Angela Marie, Uputo Ali'ifa'alogo, Celva Togia, Eimi Tamua, Shigeyuki Kihara, Lorene Taurerewa, Lily Laita, Itania Nikolao, Janet Sia Tristram, Sima Urale, Rosanna Raymond, Lindah Le Pou and Erolia Ifopa.
The title of the show Dolly Mix (W)rapper originated from the many
metaphors that Samoans associate with 'lollies' or sweets.
"The lolly is a ubiquitous symbol for Samoans in Aotearoa," said Leafa. "The ula lole decorate our homes, adorn individuals at special occasions and are referenced in oratory ('avatu se tupe lea e fa'atau ai sau pulu lole'). Samoan tina (mothers) take lollies to church and other community gatherings - to quiet noisy children, or to 'freshen' up. Lollies that are wrapped are especially significant, and are valued for their glossy exteriors."
The women involved in this project are the mix alluded to in it's entitlement Dolly Mix (W)rapper. The word (W)rapper also plays on the contemporary music term 'rapper' - rapping being a component of the show's opening, with Samoan female rap group Sheelaroc and singer Lole Usoali'i.
"Samoan and Polynesian women have, since contact with the west, been
subjected to the voyeuristic white male gaze. Representations of the
minimally clad, available, exotic and erotic Polynesian princess
abound. The 'Samoan Belle' or worse, the sexually charged 'Polly' are
today so pervasive, they have taken on a
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life of their own."
For some artists, their focus was on honouring the roles of women within the Samoan cultural framework. The notion of gender seen as part of a collective was evident in the work of Ema Kesha. 'Communal Whaariki' was designed and constructed by Ema with a group of Pacific women from her hometown of Dunedin. The whaariki embraced the age-old participatory and collaborative practices of weaving.
In 'Urban Navigator' Niki Hastings McFall used reflective road signage, referencing: '…both materials used within the work and to the present navigational situations, both physical and metaphysical which now arise in an urban reality.
Others presented bitter-sweet interpretations using the female body as locus and focus for discussion. One of the primary roles of aiga in Samoan society was the control of a woman's reproductive capacity and sexuality. As Tupuola (2001) argued, it was something that '…was (and still is) highly prized. Unmarried women were responsible for the status of their aiga and village and therefore strictly watched and guarded by male relatives'.
Shigeyuki Kihara's 'See No Evil/Speak No Evil' diptych alludes to this practice in the post-modern world. Re-workings of ethnographic images depict a man peering behind dark glasses at a woman, a taupou (ceremonial virgin) dressed in the ceremonial regalia of old. But wearing bright red lipstick. These works are both deeply ironic and disturbing.
Meanwhile Auckland based Itania Nikolao used layers of commercial and domestic materials to seek emancipation from Western consumerist culture which constantly bombard Samoan women with artificial and predominately European 'unattainable' images of female beauty. In three works costumed on bright blue mannequins, Itania 'seeks flight'.
The works of all artists were honest, but in their search for meaningful dialogue, the women were wary about the response from the Samoan community. Leafa said they hoped they have not offended the community and that work was done with sensitivity.
"Still, many of us as grandmothers and mothers hope to pave the way," said Leafa, "so that when our children go on to make new ula/lei, that its done so in a spirit that is true to themselves, to us, and you. Rapping into the future we hope their voices continue to be heard - loud and proud, and our daughters go on to receive the acclaim and recognition that our sons do too."
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Grantham Street, Hamilton; March 2 - May 5 2002. For more information,
contact Waikato Museum at (07) 836 6606 or check out their website at:
http://www.waikatomuseum.org.nz
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