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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."
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.
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