Oceania

FOREWORD

The Royal Academy of Arts was founded four months after Captain

of New Zealand to the UK, and his predecessor, H.E. Sir Lockwood

James Cook left Plymouth in August 1768 on the first of his

Smith, have provided great support throughout. We are indebted to

three Pacific voyages, his mission to record the transit of Venus.

the members of the Honorary Committee whose advice and guidance

Connections between Cook and the Academy, however, go beyond

throughout have been of immense help. Numerous institutions

a shared 250th anniversary. William Hodges ra was the official

have lent significant objects: we would particularly like to thank

artist on Cook’s second voyage (1772–75), John Webber ra on the

the Museum der Kulturen Basel; the Museum of Archaeology and

third (1776–80). Sir Joshua Reynolds pra and William Parry ra both

Anthropology, Cambridge; the British Museum, London; the musée

painted Omai of Ra‘iātea, the second Pacific Islander to visit Europe,

du quai Branly – Jacques Chirac, Paris; and the Nationaal Museum

when he stayed in England in 1774–76.

van Wereldculturen, specifically the Tropenmuseum, Amsterdam; and

Despite these links, this exhibition deliberately avoids showing

Museum Volkenkunde, Leiden. We would also like to acknowledge

Oceania through European eyes. The thousands of islands scattered

the support of the Museum of New Zealand Te Papa Tongarewa;

across the immensity of the Pacific were traversed and settled many

Auckland Art Gallery Toi o Tāmaki; and the Auckland War Memorial

centuries before the coming of Europeans, creating the rich and

Museum Tāmaki Paenga Hira. It is particularly pleasing to thank those

varied culture that still permeates a region that encompasses more

contemporary artists who have agreed to participate: Mark Adams,

than a third of the world’s surface. ‘Oceania’ explores the art and

Taloi Havini and Stuart Miller, Kathy Jetñil-Kijiner, Yuki Kihara, the

culture of this vast area by examining works ranging from the historic

Mata Aho Collective, Fiona Pardington, Michael Parekowhai, John

to the contemporary – the first exhibition of its kind in London.

Pule and Lisa Reihana. Their work speaks of the contemporary

Curated by Professor Nicholas Thomas (University of Cambridge)

experience in Oceania, addressing the challenges of identity and

and Dr Peter Brunt (Victoria University of Wellington), with Dr Adrian

environmental threat but also the great natural beauty and cultural

Locke, supported by Rebecca Bray, the exhibition draws on the rich

promise of this extraordinary region. We pay tribute to the pioneering

ethnographic collections of museums in Europe and New Zealand,

Māori art historian Jonathan Mane-Wheoki (1943–2014) and Dr

and is centred on three main themes: Voyaging, Place-making

Christine Kron (1962–2017), director of the Museum Fünf Kontinente,

and Encounter.

Munich, who died during the making of the exhibition.

Finally, we owe immense thanks to our exhibition partners:

Five years in the making, ‘Oceania’ has been a true partnership between the Royal Academy and the musée du quai Branly –

New Zealand, Kingdom of Tonga, Papua New Guinea, Creative New

Jacques Chirac in Paris, and this first collaboration has been a source

Zealand and The Ruddock Foundation for the Arts. Without their

of great satisfaction. Both institutions are deeply concerned with the

support this exhibition could not have been realised and for that we

promotion of dialogue among people and cultures, and the ambitious

are extremely grateful.

mission of ‘Oceania’ and the numerous items on display made it the perfect opportunity for the two museums to get closer.

The significant logistical challenges of transporting these fragile works and installing them have been expertly overseen by Flora

Christopher Le Brun pra

Fricker and Belén Lasheras Díaz in London, and by the team from

President, Royal Academy of Arts

musée du quai Branly – Jacques Chirac in Paris.

Many individuals and institutional lenders have helped to make the exhibition a reality. H.E. Sir Jerry Mateparae, High Commissioner

Stéphane Martin President, musée du quai Branly – Jacques Chirac

12

FOREWORD

The Royal Academy of Arts was founded four months after Captain

of New Zealand to the UK, and his predecessor, H.E. Sir Lockwood

James Cook left Plymouth in August 1768 on the first of his

Smith, have provided great support throughout. We are indebted to

three Pacific voyages, his mission to record the transit of Venus.

the members of the Honorary Committee whose advice and guidance

Connections between Cook and the Academy, however, go beyond

throughout have been of immense help. Numerous institutions

a shared 250th anniversary. William Hodges ra was the official

have lent significant objects: we would particularly like to thank

artist on Cook’s second voyage (1772–75), John Webber ra on the

the Museum der Kulturen Basel; the Museum of Archaeology and

third (1776–80). Sir Joshua Reynolds pra and William Parry ra both

Anthropology, Cambridge; the British Museum, London; the musée

painted Omai of Ra‘iātea, the second Pacific Islander to visit Europe,

du quai Branly – Jacques Chirac, Paris; and the Nationaal Museum

when he stayed in England in 1774–76.

van Wereldculturen, specifically the Tropenmuseum, Amsterdam; and

Despite these links, this exhibition deliberately avoids showing

Museum Volkenkunde, Leiden. We would also like to acknowledge

Oceania through European eyes. The thousands of islands scattered

the support of the Museum of New Zealand Te Papa Tongarewa;

across the immensity of the Pacific were traversed and settled many

Auckland Art Gallery Toi o Tāmaki; and the Auckland War Memorial

centuries before the coming of Europeans, creating the rich and

Museum Tāmaki Paenga Hira. It is particularly pleasing to thank those

varied culture that still permeates a region that encompasses more

contemporary artists who have agreed to participate: Mark Adams,

than a third of the world’s surface. ‘Oceania’ explores the art and

Taloi Havini and Stuart Miller, Kathy Jetñil-Kijiner, Yuki Kihara, the

culture of this vast area by examining works ranging from the historic

Mata Aho Collective, Fiona Pardington, Michael Parekowhai, John

to the contemporary – the first exhibition of its kind in London.

Pule and Lisa Reihana. Their work speaks of the contemporary

Curated by Professor Nicholas Thomas (University of Cambridge)

experience in Oceania, addressing the challenges of identity and

and Dr Peter Brunt (Victoria University of Wellington), with Dr Adrian

environmental threat but also the great natural beauty and cultural

Locke, supported by Rebecca Bray, the exhibition draws on the rich

promise of this extraordinary region. We pay tribute to the pioneering

ethnographic collections of museums in Europe and New Zealand,

Māori art historian Jonathan Mane-Wheoki (1943–2014) and Dr

and is centred on three main themes: Voyaging, Place-making

Christine Kron (1962–2017), director of the Museum Fünf Kontinente,

and Encounter.

Munich, who died during the making of the exhibition.

Finally, we owe immense thanks to our exhibition partners:

Five years in the making, ‘Oceania’ has been a true partnership between the Royal Academy and the musée du quai Branly –

New Zealand, Kingdom of Tonga, Papua New Guinea, Creative New

Jacques Chirac in Paris, and this first collaboration has been a source

Zealand and The Ruddock Foundation for the Arts. Without their

of great satisfaction. Both institutions are deeply concerned with the

support this exhibition could not have been realised and for that we

promotion of dialogue among people and cultures, and the ambitious

are extremely grateful.

mission of ‘Oceania’ and the numerous items on display made it the perfect opportunity for the two museums to get closer.

The significant logistical challenges of transporting these fragile works and installing them have been expertly overseen by Flora

Christopher Le Brun pra

Fricker and Belén Lasheras Díaz in London, and by the team from

President, Royal Academy of Arts

musée du quai Branly – Jacques Chirac in Paris.

Many individuals and institutional lenders have helped to make the exhibition a reality. H.E. Sir Jerry Mateparae, High Commissioner

Stéphane Martin President, musée du quai Branly – Jacques Chirac

12

PARTNERS’ STATEMENTS The diverse peoples of the Pacific are resilient

This exhibition shows the way in which a three-

Papua New Guinea is the most culturally diverse

and creative. But we are now facing challenges

thousand-year-old dynasty can rise up to challenge

country in the world, with over 1,000 tribes and more

unprecedented in the thousands of years since settling

the unsustainable status quo, crafting global

than 850 languages. As you view the works in this

this vast ocean. 'Oceania' will showcase history from

leadership in sustainable and resilient development

exhibition, bear in mind that explorers were only able

the Pacific and focus international attention on this

for the third millennium and beyond.

to first access the vast interior of Papua New Guinea

unique part of the world.

Themes of the exhibition include journeying,

The art shown in ‘Oceania’ depicts the

as recently as the 1930s. The country is rich in its

immovable faith of the people of Tonga that God

cultural heritage; its artworks are designed to mark

place-making and encounters. These themes are

created them as a nation of fearless navigators

status and beauty, to depict long-gone ancestors or

not confined to history but are directly relevant to

to guard the treasures of the oceans.

to ward off evil spirits.

contemporary challenges such as climate change,

The Kingdom of Tonga is proud to sponsor this

'Oceania' provides an insight into the rich tapestry

regional security and sustainable development.

exhibition, which is a testimony to our commitment

of artworks that are, due to Papua New Guinea’s

A deeper international understanding of the Pacific

to spreading knowledge of our cultural heritage

diversity, different from region to region and from tribe

– of its history and its future – is vital to these

through art. We believe that the sustainable future

to tribe. 'Oceania' presents a unique opportunity to

challenges being met.

we are designing now will allow us all to flourish.

enjoy the huge variety of traditional artworks within

New Zealand – as a country that is part of

Papua New Guinea and to experience its differences

the Pacific region – is pleased to support the Royal

Emeline Tuita, Founder HMKT6GSI

and similarities with other Pacific countries, and we

Academy’s ‘Oceania’ exhibition. Alongside this

Uili Lousi Studio

hope that you will learn something new and come to

exhibition, we will share stories from the Pacific,

The Kingdom of Tonga

appreciate these artworks from other cultures.

showcase Pacific cultures and emphasise our common threads of history and society.

Her Excellency Ms Winnie A Kiap High Commissioner for Papua New Guinea

Rt Hon Winston Peters New Zealand Minister of Foreign Affairs

15

PARTNERS’ STATEMENTS The diverse peoples of the Pacific are resilient

This exhibition shows the way in which a three-

Papua New Guinea is the most culturally diverse

and creative. But we are now facing challenges

thousand-year-old dynasty can rise up to challenge

country in the world, with over 1,000 tribes and more

unprecedented in the thousands of years since settling

the unsustainable status quo, crafting global

than 850 languages. As you view the works in this

this vast ocean. 'Oceania' will showcase history from

leadership in sustainable and resilient development

exhibition, bear in mind that explorers were only able

the Pacific and focus international attention on this

for the third millennium and beyond.

to first access the vast interior of Papua New Guinea

unique part of the world.

Themes of the exhibition include journeying,

The art shown in ‘Oceania’ depicts the

as recently as the 1930s. The country is rich in its

immovable faith of the people of Tonga that God

cultural heritage; its artworks are designed to mark

place-making and encounters. These themes are

created them as a nation of fearless navigators

status and beauty, to depict long-gone ancestors or

not confined to history but are directly relevant to

to guard the treasures of the oceans.

to ward off evil spirits.

contemporary challenges such as climate change,

The Kingdom of Tonga is proud to sponsor this

'Oceania' provides an insight into the rich tapestry

regional security and sustainable development.

exhibition, which is a testimony to our commitment

of artworks that are, due to Papua New Guinea’s

A deeper international understanding of the Pacific

to spreading knowledge of our cultural heritage

diversity, different from region to region and from tribe

– of its history and its future – is vital to these

through art. We believe that the sustainable future

to tribe. 'Oceania' presents a unique opportunity to

challenges being met.

we are designing now will allow us all to flourish.

enjoy the huge variety of traditional artworks within

New Zealand – as a country that is part of

Papua New Guinea and to experience its differences

the Pacific region – is pleased to support the Royal

Emeline Tuita, Founder HMKT6GSI

and similarities with other Pacific countries, and we

Academy’s ‘Oceania’ exhibition. Alongside this

Uili Lousi Studio

hope that you will learn something new and come to

exhibition, we will share stories from the Pacific,

The Kingdom of Tonga

appreciate these artworks from other cultures.

showcase Pacific cultures and emphasise our common threads of history and society.

Her Excellency Ms Winnie A Kiap High Commissioner for Papua New Guinea

Rt Hon Winston Peters New Zealand Minister of Foreign Affairs

15

ACKNOWLEDGEMENTS

Honorary Committee

The Royal Academy of Arts and the curators of ‘Oceania’ would like to thank the following individuals for their invaluable assistance during

Maile Andrade, Hawai’i

the making of this exhibition and its catalogue:

Arapata Hakiwai, New Zealand Noelle M. K. Y. Kahanu, Hawai’i

Julie Adams, Wiebke Ahrndt, Michaela Appel, David Ashman,

Emmanuel Kasarhérou, New Caledonia

Andrew Baker, Chris Ballard, Victoria Barlow, Samantha Beath,

Sean Mallon, New Zealand

Lissant Bolton, Naomi Boult, Ron Brownson, Leonie Brunt, Puawai

Jonathan Mane-Wheoki, New Zealand †

Cairns, Vincent Campredon, Catherine Cardiff, Lucie Carreau, Alastair

Michael Mel, Papua New Guinea

Carruthers, Inés de Castro, Jude Chambers, Ali Clark, Chanel Clarke,

Ralph Regenvanu, Vanuatu

Eleanor Congreve, Lynda Corey Claassen, Amy Cosgrove, Elizabeth

Faustina Rehuher-Marugg, Palau

Cotton, Inge Damm, Charlotte Davy, Rhana Devenport, Tony Eccles,

Megan Tamati-Quennell, New Zealand

Rick Ellis, Robert Eruera, Gaëlle Etesse, Hartwig Fischer, William Frame, David Gaimster, Jenny Gibbs, Peter Gordon, John Gow, Dick Grant, Lyonel Grant, Camilla Hampshire, Rachel Hand, Gil Hanly, Jenny Harper, Samantha Harris, Anita Herle, Steven Hooper, Matthew Hooton, Candice Hopkins, Samantha Jenkins, Esther Jessop, Elikya Kandot, Roly Keating, Jeanette Kokott, Tāmati Kruger, Luamanuvao Winnie Laban, Yves Le Fur, Robert Leonard, Henrietta Lidchi, Erna Lilje, Oliver Lueb, Jill Maggs, Anne-Mette Marchen Andersen, Geraint Martin, Judith Mayhew Jonas, Marion Melk-Koch, Ulrich Menter, Wayne Modest, Sadat Muaiava, Garry Nicholas, Julia Nicholson, Maia Nuku, Keone Nunes, Barbara O’Connor, Louise Parnell, Philippe Peltier, James Pinker, Haami Piripi, Barbara Plankensteiner, Rosalind Plimmer, Carla Purdue, Rolly Read, Gordon Rintoul, Katie Robson, Hanahiva Rose, Florence Roth, Paul Ruddock, Anne Salmond, Lynn Scarff, Anna Schmid, Klaus Schneider, Stijn Schoonderwoerd, James Schuster, Ana Sciascia, Claire Sedgwick, Mark Simmons, Chantelle Smith, Nanette Snoep, Matthew Spriggs, Kathleen Soriano, Masahiro Sugano, Christian Sune Pedersen, Gordon Sze, Tessa Te Mata, Tamahou Temara, Hilke Thode-Arora, Floortje Timmerman, Anthony Turua, Laura Van Broekhoven, Wonu Veys, Beatrice Voirol, Stephen Wainwright, Stephanie Walda-Mandel, Michael Walling, Esme Ward, Ben Wate, Uta Werlich, Ute Werner, Martin Wikaira, Rane Willerslev, Matariki Williams, and Anida Yoeu Ali

16

ACKNOWLEDGEMENTS

Honorary Committee

The Royal Academy of Arts and the curators of ‘Oceania’ would like to thank the following individuals for their invaluable assistance during

Maile Andrade, Hawai’i

the making of this exhibition and its catalogue:

Arapata Hakiwai, New Zealand Noelle M. K. Y. Kahanu, Hawai’i

Julie Adams, Wiebke Ahrndt, Michaela Appel, David Ashman,

Emmanuel Kasarhérou, New Caledonia

Andrew Baker, Chris Ballard, Victoria Barlow, Samantha Beath,

Sean Mallon, New Zealand

Lissant Bolton, Naomi Boult, Ron Brownson, Leonie Brunt, Puawai

Jonathan Mane-Wheoki, New Zealand †

Cairns, Vincent Campredon, Catherine Cardiff, Lucie Carreau, Alastair

Michael Mel, Papua New Guinea

Carruthers, Inés de Castro, Jude Chambers, Ali Clark, Chanel Clarke,

Ralph Regenvanu, Vanuatu

Eleanor Congreve, Lynda Corey Claassen, Amy Cosgrove, Elizabeth

Faustina Rehuher-Marugg, Palau

Cotton, Inge Damm, Charlotte Davy, Rhana Devenport, Tony Eccles,

Megan Tamati-Quennell, New Zealand

Rick Ellis, Robert Eruera, Gaëlle Etesse, Hartwig Fischer, William Frame, David Gaimster, Jenny Gibbs, Peter Gordon, John Gow, Dick Grant, Lyonel Grant, Camilla Hampshire, Rachel Hand, Gil Hanly, Jenny Harper, Samantha Harris, Anita Herle, Steven Hooper, Matthew Hooton, Candice Hopkins, Samantha Jenkins, Esther Jessop, Elikya Kandot, Roly Keating, Jeanette Kokott, Tāmati Kruger, Luamanuvao Winnie Laban, Yves Le Fur, Robert Leonard, Henrietta Lidchi, Erna Lilje, Oliver Lueb, Jill Maggs, Anne-Mette Marchen Andersen, Geraint Martin, Judith Mayhew Jonas, Marion Melk-Koch, Ulrich Menter, Wayne Modest, Sadat Muaiava, Garry Nicholas, Julia Nicholson, Maia Nuku, Keone Nunes, Barbara O’Connor, Louise Parnell, Philippe Peltier, James Pinker, Haami Piripi, Barbara Plankensteiner, Rosalind Plimmer, Carla Purdue, Rolly Read, Gordon Rintoul, Katie Robson, Hanahiva Rose, Florence Roth, Paul Ruddock, Anne Salmond, Lynn Scarff, Anna Schmid, Klaus Schneider, Stijn Schoonderwoerd, James Schuster, Ana Sciascia, Claire Sedgwick, Mark Simmons, Chantelle Smith, Nanette Snoep, Matthew Spriggs, Kathleen Soriano, Masahiro Sugano, Christian Sune Pedersen, Gordon Sze, Tessa Te Mata, Tamahou Temara, Hilke Thode-Arora, Floortje Timmerman, Anthony Turua, Laura Van Broekhoven, Wonu Veys, Beatrice Voirol, Stephen Wainwright, Stephanie Walda-Mandel, Michael Walling, Esme Ward, Ben Wate, Uta Werlich, Ute Werner, Martin Wikaira, Rane Willerslev, Matariki Williams, and Anida Yoeu Ali

16

H AWA I‘I

ME X IC O

H O N O L UL U KON A C O A S T K E A L A K E K UA B AY NORTH PACIFIC

M A RI A N A ISL A NDS

M

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TASMAN SEA CAPE T E R AW HI T I

W E L L ING T ON

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2,000

3,000

4,000

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1,000

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H AWA I‘I

ME X IC O

H O N O L UL U KON A C O A S T K E A L A K E K UA B AY NORTH PACIFIC

M A RI A N A ISL A NDS

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GUA M

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M A RSH A LL ISL A NDS

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PA PUA NE W GUINE A S A IB A I N A G IR

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T R OB RI A ND I S L A ND S

UK I G UA DA L C A N A L

TORRE S S T R A I T ISL A NDS L O UI S I A DE A R C HIP E L A G O

I

S A N TA C RU Z (RE E F I S L A ND S)

ME R

T U VA LU

M A K IR A (S A N C R I S T OB A L )

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TASMAN SEA CAPE T E R AW HI T I

W E L L ING T ON

TA S M A NI A

S O U T H I S L A ND DU S K Y S O UND

kilometres

1,000

2,000

3,000

4,000

5,000

0 miles

1,000

2,000

3,000

OCEANIA REDUX

The nature of these encounters was, of course, fraught

peter brunt and nicholas thomas

‘Redux: brought back, revived’ Oxford English Dictionary

These globalising voyages brought the concept of ‘Oceania’

and volatile, and ran the gamut of scenarios: from native

into existence by virtue of the panoptic and synchronic views

refusals to engage, to extraordinary rituals of welcome and

they made possible of the region as a whole. Pacific peoples were

gifting, to eruptions of violence and killing. Some forty-five

thrust into the present of the late eighteenth century. They were

Islanders died at the hands of Cook’s men in the course of his

described and illustrated together between the covers of voyage

three voyages and many more died from introduced diseases.

publications. Their arts and material culture were collected

More than a dozen of his crewmen died. And Cook himself was

and grouped as artefacts ‘from Oceania’. Pacific Islanders were

killed at Kealakekua Bay in Hawai‘i in 17792 – deaths that make

represented in theatrical spectacles and pictorial fantasies such

us consider the significance of those encounters from many,

as the pantomime Omai, A Voyage Round the World, performed

often incommensurable, points of view. But setting those black

at Covent Garden in 1785 (which included as its finale a costume

holes of human death aside, the scale and ambition of Cook’s

parade of the Pacific peoples encountered during Cook’s voyages,

voyages indeed brought about an unprecedented rupture in the

unified in a theatrical phantasmagoria of Pax Britannica) and the

geographical and temporal consciousness of the world. They

1804–05 wallpaper designed by Jean-Gabriel Charvet for Joseph

were quickly followed by additional British and French, as well as

Dufour et Cie entitled Les Sauvages de la Mer Pacifique (The

Spanish, Dutch, Russian and American, voyages. Together these

Savages of the Pacific Ocean) (fig. 2).

extended the territorial reach of the Western world so much that ‘Have we forgotten so much that we will not easily find our way back to the ocean?’1 Epeli Hau‘ofa

by the early nineteenth century much of Oceania (and eventually

explorer Jules Sébastien César Dumont d’Urville mapped

all of it) had become irreversibly entangled in commercial,

‘Oceania’ as such for the first time and divided it into regional

religious, political and social relations with the peoples and

sub-groupings that d’Urville named ‘Melanesia’, ‘Polynesia’ and

civilisations of the modern West, ‘breaking the silence of the seas

‘Micronesia’. In his voyages D’Urville repeated and extended

3

once and for all’.

hen Captain James Cook encountered Oceanic

W

thousands, of years. (How long exactly was an enigma at the

peoples in the course of his three voyages to the

time.) Previous encounters with Pacific Islanders had been

Pacific between 1768 and 1780, he was astonished by

few and fleeting, and were considered incidental to the main

their diversity and the extent of their dispersal across the Pacific

objectives of Western explorers, who sought continental

Ocean – more than one third of the earth’s surface. And he was

landmasses like their own. In fact, ironically, it was only after

even more astonished by their evident links and commonalities

Cook finally abandoned his quest for the ‘Great Southern

– similar languages, ceremonial spaces, maritime technologies,

Continent’ in the course of his second voyage that the full

religious practices and trading networks – for they pointed to

panoply of Oceanic peoples came into view. For during that

a history of voyaging and discovery, of human expansion and

expedition, having already met Tahitians, Māori and Aboriginal

settlement, as epic and ambitious as his own. The important

Australians on his first voyage, Cook added the discovery of South

difference, of course, is that Cook ‘discovered’ territories that had

Island Māori as well as encounters with peoples in the Tongan

already been discovered, layered with histories and traditions of

archipelago, Rapa Nui (Easter Island), the Marquesas, Fiji, Niue,

human habitation for many generations.

the Cook Islands, New Caledonia and Vanuatu (fig. 1). On his third

Here was an Oceanic ‘civilisation’, we might say, that

the geographical scope and scientific ambition of his English

voyage he met Tasmanian Aborigines, revisited communities in

had existed in parallel with, but been virtually unknown to, the

the Cook Islands, Tahiti, Tonga and New Zealand, and was the

civilisations of the continental world for hundreds, perhaps

first European to encounter Hawaiians in 1778.

Fig. 1 William Hodges ra, The Landing at Tanna, one of the New Hebrides, c. 1775–76.

Oil on panel, 24.1 × 45.7 cm.

National Maritime Museum, Greenwich, London; Acc. no. BHC1905

20

In the early nineteenth century, the voyages of the French

21

OCEANIA REDUX

The nature of these encounters was, of course, fraught

peter brunt and nicholas thomas

‘Redux: brought back, revived’ Oxford English Dictionary

These globalising voyages brought the concept of ‘Oceania’

and volatile, and ran the gamut of scenarios: from native

into existence by virtue of the panoptic and synchronic views

refusals to engage, to extraordinary rituals of welcome and

they made possible of the region as a whole. Pacific peoples were

gifting, to eruptions of violence and killing. Some forty-five

thrust into the present of the late eighteenth century. They were

Islanders died at the hands of Cook’s men in the course of his

described and illustrated together between the covers of voyage

three voyages and many more died from introduced diseases.

publications. Their arts and material culture were collected

More than a dozen of his crewmen died. And Cook himself was

and grouped as artefacts ‘from Oceania’. Pacific Islanders were

killed at Kealakekua Bay in Hawai‘i in 17792 – deaths that make

represented in theatrical spectacles and pictorial fantasies such

us consider the significance of those encounters from many,

as the pantomime Omai, A Voyage Round the World, performed

often incommensurable, points of view. But setting those black

at Covent Garden in 1785 (which included as its finale a costume

holes of human death aside, the scale and ambition of Cook’s

parade of the Pacific peoples encountered during Cook’s voyages,

voyages indeed brought about an unprecedented rupture in the

unified in a theatrical phantasmagoria of Pax Britannica) and the

geographical and temporal consciousness of the world. They

1804–05 wallpaper designed by Jean-Gabriel Charvet for Joseph

were quickly followed by additional British and French, as well as

Dufour et Cie entitled Les Sauvages de la Mer Pacifique (The

Spanish, Dutch, Russian and American, voyages. Together these

Savages of the Pacific Ocean) (fig. 2).

extended the territorial reach of the Western world so much that ‘Have we forgotten so much that we will not easily find our way back to the ocean?’1 Epeli Hau‘ofa

by the early nineteenth century much of Oceania (and eventually

explorer Jules Sébastien César Dumont d’Urville mapped

all of it) had become irreversibly entangled in commercial,

‘Oceania’ as such for the first time and divided it into regional

religious, political and social relations with the peoples and

sub-groupings that d’Urville named ‘Melanesia’, ‘Polynesia’ and

civilisations of the modern West, ‘breaking the silence of the seas

‘Micronesia’. In his voyages D’Urville repeated and extended

3

once and for all’.

hen Captain James Cook encountered Oceanic

W

thousands, of years. (How long exactly was an enigma at the

peoples in the course of his three voyages to the

time.) Previous encounters with Pacific Islanders had been

Pacific between 1768 and 1780, he was astonished by

few and fleeting, and were considered incidental to the main

their diversity and the extent of their dispersal across the Pacific

objectives of Western explorers, who sought continental

Ocean – more than one third of the earth’s surface. And he was

landmasses like their own. In fact, ironically, it was only after

even more astonished by their evident links and commonalities

Cook finally abandoned his quest for the ‘Great Southern

– similar languages, ceremonial spaces, maritime technologies,

Continent’ in the course of his second voyage that the full

religious practices and trading networks – for they pointed to

panoply of Oceanic peoples came into view. For during that

a history of voyaging and discovery, of human expansion and

expedition, having already met Tahitians, Māori and Aboriginal

settlement, as epic and ambitious as his own. The important

Australians on his first voyage, Cook added the discovery of South

difference, of course, is that Cook ‘discovered’ territories that had

Island Māori as well as encounters with peoples in the Tongan

already been discovered, layered with histories and traditions of

archipelago, Rapa Nui (Easter Island), the Marquesas, Fiji, Niue,

human habitation for many generations.

the Cook Islands, New Caledonia and Vanuatu (fig. 1). On his third

Here was an Oceanic ‘civilisation’, we might say, that

the geographical scope and scientific ambition of his English

voyage he met Tasmanian Aborigines, revisited communities in

had existed in parallel with, but been virtually unknown to, the

the Cook Islands, Tahiti, Tonga and New Zealand, and was the

civilisations of the continental world for hundreds, perhaps

first European to encounter Hawaiians in 1778.

Fig. 1 William Hodges ra, The Landing at Tanna, one of the New Hebrides, c. 1775–76.

Oil on panel, 24.1 × 45.7 cm.

National Maritime Museum, Greenwich, London; Acc. no. BHC1905

20

In the early nineteenth century, the voyages of the French

21

OCEANIA REDUX

The nature of these encounters was, of course, fraught

peter brunt and nicholas thomas

‘Redux: brought back, revived’ Oxford English Dictionary

These globalising voyages brought the concept of ‘Oceania’

and volatile, and ran the gamut of scenarios: from native

into existence by virtue of the panoptic and synchronic views

refusals to engage, to extraordinary rituals of welcome and

they made possible of the region as a whole. Pacific peoples were

gifting, to eruptions of violence and killing. Some forty-five

thrust into the present of the late eighteenth century. They were

Islanders died at the hands of Cook’s men in the course of his

described and illustrated together between the covers of voyage

three voyages and many more died from introduced diseases.

publications. Their arts and material culture were collected

More than a dozen of his crewmen died. And Cook himself was

and grouped as artefacts ‘from Oceania’. Pacific Islanders were

killed at Kealakekua Bay in Hawai‘i in 17792 – deaths that make

represented in theatrical spectacles and pictorial fantasies such

us consider the significance of those encounters from many,

as the pantomime Omai, A Voyage Round the World, performed

often incommensurable, points of view. But setting those black

at Covent Garden in 1785 (which included as its finale a costume

holes of human death aside, the scale and ambition of Cook’s

parade of the Pacific peoples encountered during Cook’s voyages,

voyages indeed brought about an unprecedented rupture in the

unified in a theatrical phantasmagoria of Pax Britannica) and the

geographical and temporal consciousness of the world. They

1804–05 wallpaper designed by Jean-Gabriel Charvet for Joseph

were quickly followed by additional British and French, as well as

Dufour et Cie entitled Les Sauvages de la Mer Pacifique (The

Spanish, Dutch, Russian and American, voyages. Together these

Savages of the Pacific Ocean) (fig. 2).

extended the territorial reach of the Western world so much that ‘Have we forgotten so much that we will not easily find our way back to the ocean?’1 Epeli Hau‘ofa

by the early nineteenth century much of Oceania (and eventually

explorer Jules Sébastien César Dumont d’Urville mapped

all of it) had become irreversibly entangled in commercial,

‘Oceania’ as such for the first time and divided it into regional

religious, political and social relations with the peoples and

sub-groupings that d’Urville named ‘Melanesia’, ‘Polynesia’ and

civilisations of the modern West, ‘breaking the silence of the seas

‘Micronesia’. In his voyages D’Urville repeated and extended

3

once and for all’.

hen Captain James Cook encountered Oceanic

W

thousands, of years. (How long exactly was an enigma at the

peoples in the course of his three voyages to the

time.) Previous encounters with Pacific Islanders had been

Pacific between 1768 and 1780, he was astonished by

few and fleeting, and were considered incidental to the main

their diversity and the extent of their dispersal across the Pacific

objectives of Western explorers, who sought continental

Ocean – more than one third of the earth’s surface. And he was

landmasses like their own. In fact, ironically, it was only after

even more astonished by their evident links and commonalities

Cook finally abandoned his quest for the ‘Great Southern

– similar languages, ceremonial spaces, maritime technologies,

Continent’ in the course of his second voyage that the full

religious practices and trading networks – for they pointed to

panoply of Oceanic peoples came into view. For during that

a history of voyaging and discovery, of human expansion and

expedition, having already met Tahitians, Māori and Aboriginal

settlement, as epic and ambitious as his own. The important

Australians on his first voyage, Cook added the discovery of South

difference, of course, is that Cook ‘discovered’ territories that had

Island Māori as well as encounters with peoples in the Tongan

already been discovered, layered with histories and traditions of

archipelago, Rapa Nui (Easter Island), the Marquesas, Fiji, Niue,

human habitation for many generations.

the Cook Islands, New Caledonia and Vanuatu (fig. 1). On his third

Here was an Oceanic ‘civilisation’, we might say, that

the geographical scope and scientific ambition of his English

voyage he met Tasmanian Aborigines, revisited communities in

had existed in parallel with, but been virtually unknown to, the

the Cook Islands, Tahiti, Tonga and New Zealand, and was the

civilisations of the continental world for hundreds, perhaps

first European to encounter Hawaiians in 1778.

Fig. 1 William Hodges ra, The Landing at Tanna, one of the New Hebrides, c. 1775–76.

Oil on panel, 24.1 × 45.7 cm.

National Maritime Museum, Greenwich, London; Acc. no. BHC1905

20

In the early nineteenth century, the voyages of the French

21

cross Oceania, ancestors were and still are sources of

A

154

power, identity, entitlement to land and many other

Fiona Pardington (b. 1961)

accomplishments and the stories of their families’ movements

2010

aspects of social standing and personality. Diverse art

forms commemorated and celebrated ancestors, their particular

,

and alliances. Those who had founded particular communities,

New Zealand, of Māori (Kai Tahu, Kati Waewae and Ngāti Kahungunu), Scottish (Clan Cameron of Erracht), MacDonald and O’Niell descent Cats 154–158: archival photographic inkjet print on Hahnemühle paper, 146 × 110 cm

and more recent progenitors, were embodied in art forms such as figure sculptures within ceremonial houses: they were present in the architecture and the habitat occupied by people on a daily basis.

The major rituals that followed death incorporated commemoration. Those rituals also, however, gave memory a

With thanks Musée de l’Homme

place in time. Mourning was intended to come to an end, and at

(Muséum National d’Histoire Naturelle), Paris

this point the dead were despatched to the afterworld. Their

Courtesy the artist and Starkwhite, New Zealand

lingering presence was undesirable and might be dangerous.

Forms such as malangan were created for ceremonies that took place, in many cases, years after death. They brought closure and enabled communities to continue with day-to-day life.

If memory had been vital to the constitution of Oceanic societies for centuries and millennia, it became still more significant as cross-cultural encounters became prominent within Islanders’ lives, and particularly once communities suffered the disruption of colonisation and modernity. With acute depopulation across many islands and archipelagos, and the loss of people through abduction for forced labour, generations were lost. Twentieth-century migration entailed inherent dislocation, from cultural milieux as well as from place. Sea-level rise among other aspects of environmental change now threatens Island homes. Commemoration, loss and the struggle to retrieve place, identity and history have become central themes for the artists of the new Oceania.

262

263

cross Oceania, ancestors were and still are sources of

A

154

power, identity, entitlement to land and many other

Fiona Pardington (b. 1961)

accomplishments and the stories of their families’ movements

2010

aspects of social standing and personality. Diverse art

forms commemorated and celebrated ancestors, their particular

,

and alliances. Those who had founded particular communities,

New Zealand, of Māori (Kai Tahu, Kati Waewae and Ngāti Kahungunu), Scottish (Clan Cameron of Erracht), MacDonald and O’Niell descent Cats 154–158: archival photographic inkjet print on Hahnemühle paper, 146 × 110 cm

and more recent progenitors, were embodied in art forms such as figure sculptures within ceremonial houses: they were present in the architecture and the habitat occupied by people on a daily basis.

The major rituals that followed death incorporated commemoration. Those rituals also, however, gave memory a

With thanks Musée de l’Homme

place in time. Mourning was intended to come to an end, and at

(Muséum National d’Histoire Naturelle), Paris

this point the dead were despatched to the afterworld. Their

Courtesy the artist and Starkwhite, New Zealand

lingering presence was undesirable and might be dangerous.

Forms such as malangan were created for ceremonies that took place, in many cases, years after death. They brought closure and enabled communities to continue with day-to-day life.

If memory had been vital to the constitution of Oceanic societies for centuries and millennia, it became still more significant as cross-cultural encounters became prominent within Islanders’ lives, and particularly once communities suffered the disruption of colonisation and modernity. With acute depopulation across many islands and archipelagos, and the loss of people through abduction for forced labour, generations were lost. Twentieth-century migration entailed inherent dislocation, from cultural milieux as well as from place. Sea-level rise among other aspects of environmental change now threatens Island homes. Commemoration, loss and the struggle to retrieve place, identity and history have become central themes for the artists of the new Oceania.

262

263

155

156

157

158

Fiona Pardington

Fiona Pardington

Fiona Pardington

Fiona Pardington

Ma Tekao (painted), Gambier , 2010

(painted), Samoa, 2010

, 2010 , 2010

With thanks Musée de l’Homme (Muséum National d’Histoire Naturelle), Paris

With thanks Musée de l’Homme (Muséum National d’Histoire Naturelle), Paris

264

With thanks Musée de l’Homme (Muséum National d’Histoire Naturelle), Paris

With thanks Musée de l’Homme (Muséum National d’Histoire Naturelle), Paris

265

155

156

157

158

Fiona Pardington

Fiona Pardington

Fiona Pardington

Fiona Pardington

Ma Tekao (painted), Gambier , 2010

(painted), Samoa, 2010

, 2010 , 2010

With thanks Musée de l’Homme (Muséum National d’Histoire Naturelle), Paris

With thanks Musée de l’Homme (Muséum National d’Histoire Naturelle), Paris

264

With thanks Musée de l’Homme (Muséum National d’Histoire Naturelle), Paris

With thanks Musée de l’Homme (Muséum National d’Histoire Naturelle), Paris

265

159 Mayalibit Bay altar group, early twentieth century Mayalibit Bay, Waigeo Island, West Papua Nationaal Museum van Wereldculturen, Netherlands

top row

bottom row

Mon, spirit figure of the oldest son of the head of the altar group Wood, cloth, height 55 cm

Korwar, spirit figure of a wife of the oldest son of the head of the altar group Wood, cloth, height 40 cm

TM-573-39

TM-573-41

Mon, spirit figure of the head of the altar group Wood, cloth, height 71 cm

Korwar, spirit figure of a second wife of the oldest son of the head of the altar group Wood, cloth, height 43 cm

TM-573-36

TM-573-40

Mon, spirit figure of the second son of the head of the altar group Wood, cloth, height 64 cm TM-573-42

Korwar, spirit figure of an adopted son of the head of the altar group Wood, cloth, skull, height 43 cm TM-573-43

middle row

Korwar, spirit figure of the wife of the head of the altar group Wood, cloth, height 35 cm

Korwar, spirit figure of a wife of the second son of the head of the altar group Wood, cloth, height 20 cm

TM-573-37

TM-573-45

Korwar, spirit figure of a second wife of the head of the altar group Wood, cloth, height 37 cm

Korwar, spirit figure of the second wife of the second son of the head of the altar group Wood, cloth, height 23 cm

TM-573-38

TM-573-44

160 overleaf Fish malangan, early twentieth century New Ireland, Papua New Guinea Wood, paint, fibre, shell, 98 × 261 × 56 cm Staatliche Kunstsammlungen Dresden, Museum für Völkerkunde Dresden, 32953

266

267

159 Mayalibit Bay altar group, early twentieth century Mayalibit Bay, Waigeo Island, West Papua Nationaal Museum van Wereldculturen, Netherlands

top row

bottom row

Mon, spirit figure of the oldest son of the head of the altar group Wood, cloth, height 55 cm

Korwar, spirit figure of a wife of the oldest son of the head of the altar group Wood, cloth, height 40 cm

TM-573-39

TM-573-41

Mon, spirit figure of the head of the altar group Wood, cloth, height 71 cm

Korwar, spirit figure of a second wife of the oldest son of the head of the altar group Wood, cloth, height 43 cm

TM-573-36

TM-573-40

Mon, spirit figure of the second son of the head of the altar group Wood, cloth, height 64 cm TM-573-42

Korwar, spirit figure of an adopted son of the head of the altar group Wood, cloth, skull, height 43 cm TM-573-43

middle row

Korwar, spirit figure of the wife of the head of the altar group Wood, cloth, height 35 cm

Korwar, spirit figure of a wife of the second son of the head of the altar group Wood, cloth, height 20 cm

TM-573-37

TM-573-45

Korwar, spirit figure of a second wife of the head of the altar group Wood, cloth, height 37 cm

Korwar, spirit figure of the second wife of the second son of the head of the altar group Wood, cloth, height 23 cm

TM-573-38

TM-573-44

160 overleaf Fish malangan, early twentieth century New Ireland, Papua New Guinea Wood, paint, fibre, shell, 98 × 261 × 56 cm Staatliche Kunstsammlungen Dresden, Museum für Völkerkunde Dresden, 32953

266

267

268

269

268

269