Figure 3. Louis John Steele and Charles F. Goldie, The Arrival of the Maoris in New Zealand (1898). Oil on canvas. Auckland Art Gallery Toi o Tāmaki, gift of the late George and Helen Boyd, 1899.

Figure 4. Greg Semu, “The Arrival Full Cast Hero,” from Raft of the Tagata Pasifika (People of the Pacific), 2016. Rarotonga, Cook Islands. Type C transparency on transparent synthetic polymer resin. Reproduced courtesy of the artist.

Figure 6. Black Grace, Vaka (2012). Artistic direction by Neil Ieremia, photograph by Duncan Cole. Image courtesy of Black Grace.

Figure 10. George Nuku, Bottled Ocean 2116. Installation at Pātaka Art + Museum, Porirua, for the 2016 New Zealand Festival of the Arts. Photograph by, and courtesy of, Mark Tantrum.

Figure 17. The ensemble expresses contempt for New Zealand’s postcolonial apologies in Tusiata Avia’s Wild Dogs under My Skirt, directed by Anapela Polata’ivao and produced by Victor Rodger. Hannah Playhouse, Wellington, for the New Zealand Festival, 2018. The cast featured Nora Aati (Aunty Avai), Petmal Lam (Aunty Fale), Saane Vaipulu (Manila), Stacey Leilua (Tusiata), Katerina Fatupaito (Dusky Maiden), and Anapela Polata’ivao (Teine Sā). Photograph by, and courtesy of, Matt Grace.

Figure 22. Promotional still for the solo stand-up comedy show So So Gangsta (2013) by Samoan/Welsh comic James Nokise. Photograph by, and courtesy of, Matt Grace.

Page 222 →Figure 23. 21st Sentry Cyber Sister (1997). Wearable art piece made up of twenty-seven parts, each created by one of the members of the Pacific Sisters art collective: Rosanna Raymond (Samoa), Ani O’Neill (Cook Islands), and two of the founding members, Suzanne Tamaki (Te Arawa, Ngāi Tūhoe, Ngāti Maniapoto) and Niwhai Tupaea (Ngāti Katoa). Tapa, feathers, bone, harakeke, nylon, shells, seeds, coconut shell, videotape, plastic. A guardian figure who protects the museum’s collections, the 21st Sentry Cyber Sister wards off racism and signifies the contemporary presence of Māori and Pacific cultures and their drive toward self-determination. In the Pacific Cultures Collection of Te Papa Tongarewa | Museum of New Zealand, courtesy of Te Papa and the Pacific Sisters.

Figure 24. From left: Erina Daniels (Mary), Simon Vincent (Peter), Rina Patel (Ila), Semu Filipo (Solomon), and Sam Selliman (Anna) in and what remains by Mīria George, directed by Hone Kouka. Tawata Productions, City Gallery, Wellington, 2005. Photograph by, and courtesy of, Matt Grace.

Figure 25. An installation of urban taros remains after a performance of Cultivate (2015) by John Vea and HEPT Collective at Auckland’s Wynyard Quarter, the site of one of New Zealand’s largest urban regeneration projects. Photograph courtesy of John Vea.

Page 277 →Figure 29. Protect Our Aiga, Samoa (2020), pictorial image from Michel Tuffery’s Handle with Care series, an ongoing project begun in March 2020 in consultation with Pacific Health Plus, Porirua, that responds to the COVID-19 global pandemic. The campaign was designed to convey simple messaging directly to Māori and Pasifika communities, which have been disproportionately impacted by the pandemic. The images, which were displayed as posters in different public spaces, adapt vintage postage stamps from Aotearoa New Zealand and other Pacific Islands. While encouraging community members to “stamp out” coronavirus by staying home, washing hands, and wearing masks, the posters emphasize ties to ancestry and culture as part of a holistic approach to healthcare and urge particular care for elders. This poster is based on a Western Samoan postage stamp, “Samoan Girl and Kava Bowl,” issued in 1935. Courtesy of Michel Tuffery, MNZM, and Jayne Tuffery, with special thanks to Lee Pearce.