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Moving Islands: Contemporary Performance and the Global Pacific
Diana Looser
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Moving Islands reveals the international and intercultural connections within contemporary performance from Oceania, focusing on theater, performance art, art installations, dance, film, and activist performance in sites throughout Oceania and in Australia, Asia, North America, and Europe. Diana Looser's study moves beyond a predictable country-specific or island-specific focus to encompass an entire region defined by diversity and global exchange, showing how performance operates to frame social, artistic, and political relationships across widely dispersed locations. The study also demonstrates how Oceanian performance contributes to international debates about diaspora, indigeneity, urbanization, and environmental sustainability. The author considers the region's unique cultural and geographic dynamics as she brings forth the paradigm of transpasifika to suggest a way of understanding these intercultural exchanges and connections, with the aim to "rework the cartographic and disciplinary priorities of transpacific studies to privilege the activities of Islander peoples."
Figure 7. After surviving a tropical tempest and the doldrums, the voyagers are delighted to catch a first glimpse of their destination, in Te Feti’a ’Avei’a (2014), performed by O Tahiti E and directed by Marguerite Lai. Marae ’Ārahurahu, Tahiti. Photograph by, and courtesy of, Hélène Barnaud.
Figure 13. Surrounded by sea where there once was land, Pacific Islanders consider their future options after a devastating storm flood. From the Oceania Centre’s Moana: The Rising of the Sea (European tour, 2015), created by Vilsoni Hereniko, Edvard Hviding, Peter Rockford Espiritu, Igelese Ete, and Allan Alo. Photograph by, and courtesy of, Edvard Hviding.
Figure 18. Leah Shelton and Efeso (Fez) Fa’anana in Teuila Postcards by Polytoxic at the Cremorne Theatre, QPAC, Brisbane, 2009. Photograph by Cloé Veryard, courtesy of the photographer and Polytoxic.
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.
Figure 27. Les Champignons de Paris uses the device of fluorescent paint to indicate the elusive yet inescapable effects of radioactive contamination. Play written by Emilie Génaédig and presented by La Compagnie du Caméléon, directed by François Bourcier. Le Petit Théâtre, La Maison de la Culture | Te Fare Tauhiti Nui, Pape’ete, Tahiti, 2017. Photograph by, and courtesy of, Stéphane Sayeb and Victoire Brotherson, Tahiti Zoom.
Figure 28. Wearing radiation suits, actors in Les Champignons de Paris (Guillaume Gay, Tuarii Tracqui, and Tepa Teuru) watch archival footage of former French president Jacques Chirac announcing the end of nuclear testing in French Polynesia in 1996. Play written by Emilie Génaédig and presented by La Compagnie du Caméléon, directed by François Bourcier. Le Petit Théâtre, La Maison de la Culture | Te Fare Tauhiti Nui, Pape’ete, Tahiti, 2016. Photograph by, and courtesy of, Emilie Génaédig.
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