{"title":"Unsustainable Empire: Alternative Histories of Hawai'i Statehood by Dean Itsuji Saranillio (review)","authors":"Shannon Pōmaika'i Hennessey","doi":"10.1353/cp.2022.0021","DOIUrl":"https://doi.org/10.1353/cp.2022.0021","url":null,"abstract":"","PeriodicalId":51783,"journal":{"name":"Contemporary Pacific","volume":"34 1","pages":"242 - 245"},"PeriodicalIF":0.6,"publicationDate":"2022-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48857756","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Scholars have examined West Papuan efforts to gain merdeka, or freedom, from Indonesia through the lenses of political science, history, legal and human rights studies, and anthropology, which has led to many productive analyses of the independence movement. However, while gesturing to the storied manner in which the movement plays out, driven by narrative and symbol both within and outside of West Papua, these frameworks do not go far enough to unpack the implications of the creative literary expressions that shape the movement and drive support for it beyond Indonesia's borders. Activism constructs and depends on narratives—on stories. In this article, I analyze the poems from a special issue of Hawai'i Review titled Wansolwara: Voices for West Papua alongside two Wansolwara Dance short stories to bring a literary lens to storied expressions of Indigenous solidarity with West Papua. I argue that the Tok Pisin term "wansolwara," or "one salt water," offers new vocabulary for understanding Indigenous networks and relations in Oceania expressed through forms of protest. The poems in the special issue use wansolwara as a framework for imagining a resurgent Indigenous-centered model of activism for and with West Papua that envisions the capacious possibilities of stories in their myriad forms for the critical remapping work required to restore Papua's relationships with Oceania. Consequently, they illuminate how Indigenous decolonial imagining with West Papua dilates decolonial possibilities across the Pacific.
{"title":"One Salt Water: The Storied Work of Trans-Indigenous Decolonial Imagining with West Papua","authors":"Bonnie Etherington","doi":"10.1353/cp.2022.0001","DOIUrl":"https://doi.org/10.1353/cp.2022.0001","url":null,"abstract":"Abstract:Scholars have examined West Papuan efforts to gain merdeka, or freedom, from Indonesia through the lenses of political science, history, legal and human rights studies, and anthropology, which has led to many productive analyses of the independence movement. However, while gesturing to the storied manner in which the movement plays out, driven by narrative and symbol both within and outside of West Papua, these frameworks do not go far enough to unpack the implications of the creative literary expressions that shape the movement and drive support for it beyond Indonesia's borders. Activism constructs and depends on narratives—on stories. In this article, I analyze the poems from a special issue of Hawai'i Review titled Wansolwara: Voices for West Papua alongside two Wansolwara Dance short stories to bring a literary lens to storied expressions of Indigenous solidarity with West Papua. I argue that the Tok Pisin term \"wansolwara,\" or \"one salt water,\" offers new vocabulary for understanding Indigenous networks and relations in Oceania expressed through forms of protest. The poems in the special issue use wansolwara as a framework for imagining a resurgent Indigenous-centered model of activism for and with West Papua that envisions the capacious possibilities of stories in their myriad forms for the critical remapping work required to restore Papua's relationships with Oceania. Consequently, they illuminate how Indigenous decolonial imagining with West Papua dilates decolonial possibilities across the Pacific.","PeriodicalId":51783,"journal":{"name":"Contemporary Pacific","volume":"34 1","pages":"1 - 29"},"PeriodicalIF":0.6,"publicationDate":"2022-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48807588","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:In this article, we examine the work of Equal Playing Field (epf), an organization that introduces ideas of gender equity to students in schools in Port Moresby, Papua New Guinea (PNG). Drawing on interviews with students, teachers, and epf staff and volunteers, we demonstrate that the design and implementation of the epf program is derived from Western liberal ideas of gender difference and the desirability of an educational environment that removes gender discrimination. Without discounting the challenges of upholding these ideas and practices in Port Moresby schools, we argue that they have gained traction among students and teachers and that the potential long-term benefits of this arguably outweigh the risks and challenges entailed. Demonstrating that programs such as those run by epf are no longer instances of external donors imposing foreign agendas for social change on uninformed or unwilling recipients, we place under scrutiny notions that the appeal to human rights is inappropriate, irrelevant, or necessarily alien in the context of urban life in PNG. Instead, we suggest that, as with other programs that promote human rights awareness in PNG, the problem for such educational projects is that they assume support services and practical solutions that simply do not exist.
{"title":"\"We Are So Happy EPF Came\": Transformations of Gender in Port Moresby Schools","authors":"C. Spark, M. Macintyre","doi":"10.1353/cp.2022.0004","DOIUrl":"https://doi.org/10.1353/cp.2022.0004","url":null,"abstract":"Abstract:In this article, we examine the work of Equal Playing Field (epf), an organization that introduces ideas of gender equity to students in schools in Port Moresby, Papua New Guinea (PNG). Drawing on interviews with students, teachers, and epf staff and volunteers, we demonstrate that the design and implementation of the epf program is derived from Western liberal ideas of gender difference and the desirability of an educational environment that removes gender discrimination. Without discounting the challenges of upholding these ideas and practices in Port Moresby schools, we argue that they have gained traction among students and teachers and that the potential long-term benefits of this arguably outweigh the risks and challenges entailed. Demonstrating that programs such as those run by epf are no longer instances of external donors imposing foreign agendas for social change on uninformed or unwilling recipients, we place under scrutiny notions that the appeal to human rights is inappropriate, irrelevant, or necessarily alien in the context of urban life in PNG. Instead, we suggest that, as with other programs that promote human rights awareness in PNG, the problem for such educational projects is that they assume support services and practical solutions that simply do not exist.","PeriodicalId":51783,"journal":{"name":"Contemporary Pacific","volume":"34 1","pages":"117 - 96"},"PeriodicalIF":0.6,"publicationDate":"2022-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49579249","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Molisa. But, as her daughter Viran Molisa Trief insists in her fine foreword, “she was never the only one” (11). Grace encouraged many others to write through literary festivals and local publications. Anna Naupa reflects that “the role of literature—especially in a predominantly illiterate society—is limited” (73). She wonders how many of her contemporaries and younger generations will read this book, as they now prefer using Facebook, the Internet, and popular songs to communicate. She criticizes pervasive narratives of “‘us and them’—traditional versus modern, urban versus rural, blackand-white dichotomies—but this isn’t the reality for many of us who span and cross these divides” (73). She celebrates the writing of Sia Figiel, of Teresia Teaiwa, and of Marcel Melthérorong (Mars Melto), whose novels in French trace his arc of selfdiscovery from Nouméa back home to Vanuatu. “We just need to be creative,” Naupa proclaims, observing how literature “opens us to the nuances of everyday life, shedding light on others’ experiences” (73). This volume is an important step toward this creative opening. It is written for the most part in the colonizer’s language, but here English is appropriated and localized to communicate the diverse experiences of Vanuatu’s women. Poems in Bislama also appear in English translation, but the Bislama versions have a distinctive local resonance. Indeed, Sope prefers her poem “Chusum” in Bislama rather than English: “the meaning is deep down in you” (33). Despite being shunned and satirized by some (56), Bislama is an official language alongside English and French and is the lingua franca for most people in the archipelago. I congratulate all of the authors and especially the editors of this unique, innovative anthology. Despite delays in 2020 caused by the covid-19 pandemic, closed borders, and Super Cyclone Harold, they have, with the support of Creative New Zealand and Victoria University Press, produced a very impressive volume. In addition to the handsome hard copy and e-book, seven of the poets produced recordings of their work for the blog NZ Poetry Shelf. Read, listen, savor.
{"title":"Refocusing Ethnographic Museums through Oceanic Lenses by Philipp Schorch (review)","authors":"K. Cabrera","doi":"10.1353/cp.2022.0017","DOIUrl":"https://doi.org/10.1353/cp.2022.0017","url":null,"abstract":"Molisa. But, as her daughter Viran Molisa Trief insists in her fine foreword, “she was never the only one” (11). Grace encouraged many others to write through literary festivals and local publications. Anna Naupa reflects that “the role of literature—especially in a predominantly illiterate society—is limited” (73). She wonders how many of her contemporaries and younger generations will read this book, as they now prefer using Facebook, the Internet, and popular songs to communicate. She criticizes pervasive narratives of “‘us and them’—traditional versus modern, urban versus rural, blackand-white dichotomies—but this isn’t the reality for many of us who span and cross these divides” (73). She celebrates the writing of Sia Figiel, of Teresia Teaiwa, and of Marcel Melthérorong (Mars Melto), whose novels in French trace his arc of selfdiscovery from Nouméa back home to Vanuatu. “We just need to be creative,” Naupa proclaims, observing how literature “opens us to the nuances of everyday life, shedding light on others’ experiences” (73). This volume is an important step toward this creative opening. It is written for the most part in the colonizer’s language, but here English is appropriated and localized to communicate the diverse experiences of Vanuatu’s women. Poems in Bislama also appear in English translation, but the Bislama versions have a distinctive local resonance. Indeed, Sope prefers her poem “Chusum” in Bislama rather than English: “the meaning is deep down in you” (33). Despite being shunned and satirized by some (56), Bislama is an official language alongside English and French and is the lingua franca for most people in the archipelago. I congratulate all of the authors and especially the editors of this unique, innovative anthology. Despite delays in 2020 caused by the covid-19 pandemic, closed borders, and Super Cyclone Harold, they have, with the support of Creative New Zealand and Victoria University Press, produced a very impressive volume. In addition to the handsome hard copy and e-book, seven of the poets produced recordings of their work for the blog NZ Poetry Shelf. Read, listen, savor.","PeriodicalId":51783,"journal":{"name":"Contemporary Pacific","volume":"34 1","pages":"233 - 236"},"PeriodicalIF":0.6,"publicationDate":"2022-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47856381","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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