Identity SixIDENTITY AND GLOBALISATION

GLOCALFrom local identity to global

significance

Glocal – many

meanings, of course!Glocal Project, Surrey, Canada

From the local to the

global

Singular, multiple,

universal

Vocal/glocal/glowcal

How do I want to use it here?

I want to start with identity and stretch out.

IDENTITY

Locating the Local

Identities are based on a complex of

experience – family, language, ethnicity,

community, gender, sexual orientation, age,

experience

Ema Tavola, Patchwork, 2005-2008

Community

Art reenacts, reinforces aspects

of identity

Art identifies the signifiers of

community – the signs,

symbols, ‘the raiment’ of a

community

Art celebrates the history of a

community – the experience of

a community over time

The Raiment of a Community

The Pacific Tattoo – Alfred Gell, Wrapping in Images: Tattooing in Polynesia (Oxford:1993)

The Kiwi Tatoo – from ta moko to street art from uhi to needles

The Generational Tattoo – changes in status, usage and style over time

The International Generational Tattoo

http://www.youtube.com/watch?v=bF_lxtWqdV0

Community

, People,

Place,

History -Aniwaniwa--te hokinga akena. Local becomes glocal…

'Submersion' is used as a metaphor for cultural loss. Aniwaniwa refers to the narrowest point of the Waikato River by the village of Horahora, where Brett Graham’s father was born and his Grandfather worked at the Horahora power station. In 1947 the town was flooded to create a hydro-electric dam. Many historic sites significant to Graham’s hapu ‘Ngati Koroki’ were lost in the process.

In many of Rachael Rakena’s works Māori identity is explored as being in a state of flux, which like the borders of a river, are constantly being redefined.

http://www.youtube.com/watch?v=xljkl3Q5V3U&feature=related

Aniwaniwa

The Pacific is the Identity: The

Other is the AlterityIdentifying with the Pacific ––

with your non-white heritage –

with the community of your

father or mother, grandfather or

grandmother, with the side of

the self with which, for whatever

reason, you currently identify,

makes the non-Pacific the

Alter/Other.

ReubenPaterson, Karangahake

(2010)

glitter on canvas

stretcher size : 200 x 200 cm

http://www.youtube.com/watch?

v=6hIraUgWPps

Reuben Paterson

http://www.reubenpaterson.com/

http://www.nzherald.co.nz/lifestyle/news/article.cfm?c_id=6&objectid=10120092

http-//www.google.co.nz/#15CDAE

Shigeyuki Kinohara: ‘I want

to provocate people!’

So does Reuben – but

more gently. Maori is his

‘community’ but the world

is his fieldReuben Paterson, The Bed's Spread of Provocation, glitter and acrylic on

canvas, 200 x 200, 2009

http://www.bos17.com.au/biennale/artist/82

http://www.gowlangsfordgallery.co.nz/exhibitions/pastexhibitions/2010/re

ubenpaterson.asp

Art Building Confidence in Identity

Tracey Tawhiao

Tracey Tawhiao is a writer, poet, lawyer. She is also a painter and visual artist.

Tawhiao is Ngai Te Rangi from Matakana Island. When she spent considerable

time on the island she started her newspaper paintings that now cover the walls

of many people's homes.

Her paintings and poetry featured in the book Taiawhio, conversations with

contemporary Maori Artists, published by Te Papa Press.

CommunitiesWorking with local communities [Rakena]

Building interracial communities [Yuki:Mov1-0746]

http://australianetwork.com/pacificpulse/stories/30

64674.htm

Working within artists’ communities [Tracey]

Collaboration/mixed media/low tech culture [Giles]

Support –Tautai [Giles:MVI-0878]

http://www.tautaipacific.com

Building audiences [Yuki:MV1-0746: Rakena:MVI-

0723]

Pacific Philosophies

Giving visual form to Pacific traditions, views of the world, philosophies [Rakena: MVI-0719: Reuben]

Maori aspects of life [Tracey:MVI-0831]

Samoan fa’a Samoa [Yuki:MVI-0763, 0767]

Fa/va/te kori – thresholds [Lonnie:MVI-0790]

Maori/Pacific aesthetic [Lonnie:MVI-0798: Tracey:MVI-0833]

Aesthetics and agency [Rakena: MVI-0724]

Art and Agency

Art and agency [Yuki:MVI-0764: Rakena: MVI-0724: Giles:MVI-0877]

The authority of the voice [Lonnie:MVI-0806]

The need to engage with people/audiences[Rakena:MVI-0719]/through performance [Yuki:MVI-0764]

Performance – new rituals to live by [Giles:MVI-0880/0881]

The need to provoke [Yuki:MVI-0765]

Working with the disaffected young [Tracey:MVI-o829]

Multicultual

Ethnicities

What is an ‘ethnicity’? Based on language, history, place, skin colour, bodily characteristics, ‘race’?

Are all ‘ethnicities’ multicultural to a degree?

Does ‘alterity’ always depend on ethnicity or does ‘class’, social status play a role? Wittgenstein – point of view

Yuki Kinohara talks about ‘interracial identities.’ Yuki:MVI-0758

Multicultural – multiethnic – interracial identities are not only very local – they are also global

Identity: Stretching

Out Interterritorial - from Niu Sila to the homelands and back again and again [Yuki:MVI-0765]

International – from the Pacific to the world and back again and again

Interethnic communities – building bridges [Yuki: MVI-0745]- building conversations [Yuki:MVI-0763]-the artist working at the intersection of cultures [Yuki:MVI-0763]

Working glocally [Yuki:MVI-0763: Giles:MVI-0883/4]

Identity: Glocal

Locally based but not locally confined

[Lonie:MVI-0793: Rakena: MVI-0726]

Art and the world [Rakena: MVI-0725]

Local in content global in reach and

significance

Local in concept but practiced globally

A Pause to Reflect

The strength of acting for and within a community –locally – relevant, engaged, having agency, provoking discussion of real issues

Taking the local to the world – Aniwaniwa – a political issue that is global (the generation of power meaning the dislocation of communities, the destruction of history), but not local – losing strength in gaining audience

The local becomes exotic, the art remains alter, losing traction as garnering respect

Two case histories –Filipe Tohi and Aboriginal art

Filipe Tohi

Tohi (b. 1959) is an

emigrant to New

Zealand, arriving from

Tonga in 1978.

Rangimarie Maori Arts

and Crafts Centre (1985-

1992): staff of Taranaki

Polytechnic (1986-1992).

Now works full time

artist.

Lalava (lashing)

‘I believe lalava

patterns were a

mnemonic device

for representing a

life philosophy.

Lalava patterns

advocated balance

in daily living and

were metaphorical

and physical ties to

cultural knowledge’http://www.lalava.net/nav.html

FRANÇOIS MORELLET

Bringing the Pacific

to the World

Tohi has

established an

international

reputation, bringing

the Pan-Pacific

medium of lalava –

lashing, weaving

tradition with a

Modernist

sensibility to the

world. Fale

Pasifika, University

of Auckland, 2004

(with lalava by Tohi)

Dreamtime Boom Time

Indigenous art industry in Australia

now worth A$400,000,000 a year

Emily Kngwarraye, Big Yam 1996

Synthetic polymer paint on canvas, 4 panels,

each 159.0 x 270.0cm, overall 245.0 x

401.0cm. National Gallery of Victoria

Utopia: The Genius of Emily

Kame Kngwarreye

Shown first in Japan,

at Osaka and Tokyo

early 2008

Then in Australia

Musée de Branly, Paris

ceiling by John Mawurndjul

Gulumbu

Yunupingu

Garak the

Universe.

2007

Bark painting

natural earth

pigments on

stringybark

227.0 (h) x 91.0

(w) cm

Gulumbu Yunupingu

in Paris

Nyakul Dawson at the Quai

Branly Museum in Paris

The Journey of

Australian Aboriginal Art

From being everywhere every

day within the culture

To being nowhere in a

dismembered and dispersed

culture

To being everywhere in the

world’s artworld, part of the

spectacle of our present

CHINESE ART

Traditional Chinese art and aesthetics

‘suggestiveness – images beyond images’

‘the intriguing quality is beyond the painting’

‘vital quality’ (qi)

Balance between opposites – yin and yang

Naturalness and regularity

Spiritual quality of naturalness and freedom from following set rules

May Fourth Period

1917-1923Chinese became familiar with Western ideas, through study abroad and the attempt to modernise the country, including the fields of art and aesthetics

Chinese saw themselves as ‘spiritual’ as opposed to Western ‘materialism’

Fusion of Kant and Chinese aesthetics – ‘The Path of Beauty’ ( a book by Li Zehou)

Synthesis

Communism from late

1940s and Cultural

Revolution 1966-1976Adoption of ‘Socialist Realism’

from Soviet Russia but pervaded

by Chinese aesthetics: then

aesthetics ceased to exist

Post-New-Period (houxin

shiqi)

Art, culture and national identity

Foucault, postmodernism: post-colonial ideas –

Edward Said (‘travelling theories’ – coming from

one culture and being applied in another)

The self-colonisation of Chinese art by Western

ideas and practice

The recovery of a Chinese ‘subjectivity’ or

Chineseness (zhonghuaxing)

GLOBALISATION 1

Western ideas and art practice dominate China

Globalisation means ideas and culture dominated by fast-moving- as a result of intermedial reflectivity – Western thought and practice

But Western thought and practice has local origins – in the Enlightenment, in Modernism and Post-Modernism

Intercultural exchange is a one-way street

Globalisation 2

Art has become an integral part

of the global market place

Double demand – art must keep

up with the trends but have a

‘native touch’ (exoticom)

WEI DONGCulture Culture

2002

Ink and colour on

paper 33 x 66

Hybridity, intercultural

Fusion,

Aspects of Chinese

tradition,

Exoticom??

Details

Renaissance

White skinnedred finger

nails

Semi-undress: male

characteristics – half-bald

head, male left ear and

nose, red band on arm

‘student on duty’, Red

Guard bag, bottle of

Guanyin, Buddhist goddess

of mercy, sealed with

Communist Red Star,

money tucked in bodice –

floating in air, Mao stick,

book on Dürer.

Ranjani Shettar (India), Just a bit

more, Hand-molded beeswax, pigments,

and thread dyed in tea, 2005-2006

H: 365.8W: 1079.5D: 670.6

I’ve read that your work draws from

some beliefs in Indian culture and

traditions. Can you elaborate on that? SHETTAR: I mean that is something others read into

my work.

It’s not essential that I look at it like that because I am

an Indian.

I’m born here, so that’s why my work might be Indian,

but otherwise, I feel that important things are working

with ideas that are more of your self, which have

nothing to do with the region as such.

To me it’s not the culture. It’s the life that keeps my work

going.

It has nothing to do with religion or culture.

‘Here I am dealing with organization,

connections, formal aspects

of space, color, form, line.’

I do something and then,

now it’s up to the viewer

INTERMEDIALITY

Many of the artworks we have discussed in the

course use a variety of media – sometimes in

the same work.

Art discourse is now also globalised and

intermedial – the internet has changed our lives,

we see art in galleries, but also see galleries on

the net, we go to see art anywhere in the world.

It is a new experience of ‘seeing’ and opens up

intercultural experience in a new way. Our

identities are changed in the process.

Glocal-GlobalThe strength of acting for and within a

community – locally – relevant, engaged, having

agency, provoking discussion of real issues

Taking the local to the world – Aniwaniwa – a

political issue that is global (the generation of

power meaning the dislocation of communities,

the destruction of history), but not local – losing

strength in gaining audience

The local becomes exotic, the art remains alter,

losing traction as it garners respect

Glocal and globalisation – its where we’re at,

like it or hide from it!