Ka Wai Ola - Office of Hawaiian Affairs, Volume 10, Number 11, 1 Nowemapa 1993 — Artists discuss ideas, problems, at exhibition symposium [ARTICLE+ILLUSTRATION]

Artists discuss ideas, problems, at exhibition symposium

by Patrick Johnston Compared to its Maoii eounterpart Hawaiian art is underfunded, groups are highly factionalized, and contemporary art almost an underground movement on the islands. These were some of the opinions expressed at the first of two symposia held at UH-Mānoa's

art auditorium Oct. 5 and 6. The symposia, sponsored by OHA, UH, and Te Waka Toi (the Council for Maon and South Pacific Arts) brought together | Hawaiian and E Maori artists giving I them an opportunity ' to share ideas and

discuss issues that face the two Polynesian eommunities. Six artists - three Maori and three Hawaiian - made presentations introducing various art forms.

"A lot of the inspiration for my art comes from the traditional Maori meeting houses," explained Maori sculptor Ross Hemera. "They contain all the elements of traditional Maori art." Te Aue Davis, a traditional weaver, spoke about the natural materials that have always been

used for the art and Brett Graham, the youngest of the Maori group, showed slides of sculptures he had made depicting the rise, fall, and subsequent rebirth of the Maori people.

"A lot of the inspiration for my art comes from the traditional Maori meeting houses."

Most of the first nights activities focused on the work, both contemporary and traditional, that was coming out of the Maori artistic eommunity, a fact that aeeentuated the problems faced by the Hawaiian artistic community. Unlike native Hawaiians, Maoris have been supported by a 150-year-old treaty that gives extensive rights to the Maori eommunity. Maori artists have used this treaty to empower their cause

and get funding for their work. Contemporary Hawai-ian artist Bob Freitas pointed out that, "In New Zealand you see Maori art all over the plaee but you don't see mueh Hawaiian art in Hawai'i. We're not supported." Also working against native Hawaiian artists is the factionalized nature of the community here, a point brought up by Maori group leader Sandy Adsett. "It's been difficult to work with the factions in Hawai'i," he said adding, "some groups won't eome because another is there. ... If we wanted to have another exchange, who would we go to?" Keone Nunes, a Hawaiian carver responded that "eaeh group has their own circle who they interact with and unfortunately there are some strong passions in Hawai'i. Cook may have lumped us all together as Hawaiians but we are still a very tribal people." Te Waka Toi represents all Maori artists in New Zealand but has worked out a system that

allows decisionmaking at all levels and in all different fields. This allows for both contemporary and traditional art forms, in a variety of different media to be represented at exhibitions. Explained Adsett, "The different art discinlines have set

up a committee responsible for deciding what will be shown. When the art eouneil asks for their input they have to give it. Petty differences are minor to the overall goal of promoting Maori

arts and eulture." Freitas noted that part of the f u n d i n g problem in t h e Hawaiian artistic eomm u n i t y , especially, with regard to contemporary art, relates to Hawaiian sovereignty, or the laek of it. "You're dealing with a sovereignty issue. If the feds recognize a H a w a i i an sovereign nation then there will be more money

to support Hawaiian art." The Te Waka Toi exhibition will run at the UH-Mānoa art gallery until Nov. 5.

"ff the feds recognize a sovereign nalion then there will be more money to support Hawaiian art,"

'Ahu 'ula (feathered eape) bv Mary Lou Kekuewa.

Ross Hemera

Bob Freitas

Maori wood carvings