A label of an idea
Tuesday, 5 August 2008
We all came to Pago Pago to learn, to contribute and to be inspired. We watched, listened and made new friends. But for most of us, it wasn’t enough to leave with just memories.
In the days just before we left, I’d snatch a few moments to check out the fales (traditional houses) in the Samoan festival village at Utulei Beach to see what I could buy. I wanted special things my family and friends could touch and keep and even understand - if I could get them to. The fales were where participating countries showcased their art and craft traditions and did trade.
In the first week, a cruise ship had stopped by and many special crafts and fine collectibles were sold. I was disappointed to say the least. But those selling were chuffed at the early sales of their shell money, carvings, paintings, exquisite adornments and bark cloth.
Even then, I felt protective. Necessity compels the artist to make a living, just like all of us. But I felt that the festival was a gathering where artists could sell as well as explain the significance and value of their works. And I was concerned that some of this would be lost on visitors disembarking for only a few hours off a ship.
In week two, I met two young Americans of Samoan descent who got me thinking about it all over again. Mcann Utu & Stephen Petaia recently set themselves up in Texas as dealers of fine art from the South Pacific. Their aim – to take the best of Oceania to the United States. Not surprisingly, the festival had left an impression on them, and gave them a renewed sense of pride. This was the first time both had been exposed to rich cultural traditions of the Pacific beyond Samoa. And, they would do whatever it took to evangelise about the finest the region has to offer.
When I asked them what they would do to ensure the integrity of what they took and sold overseas remained intact, Mcann made a convincing argument. He said his elders would make sure the family name would not be compromised by his dealings. That is, if he messed around with Pacific cultures, they would “come down hard” as he put it.
Elsewhere at the festival, experts were not leaving anything to chance and goodwill. The protection of artists, traditional practitioners and the cultures they draw from was the focus of an intense three day symposium. Cheap imported copies of art and craft, the misappropriation of knowledge and the rights of artists were robustly discussed. Chair of New Zealand’s Maori Arts Board Dr Ngahuia Te Awe Kotoku and Australian intellectual property expert Terri Janke spoke about their people’s experience with labels of authenticity for Maori and indigenous Australian art. Australia had to abandon its effort after a few years while New Zealand has been more successful with certification of higher end art.
The head of Fiji’s Art’s Council, Letila Mitchell acknowledges it won’t be easy for countries in the region to try and come up with labels and certificates of authenticity, especially with the size, remoteness and regional diversity of the Pacific. So she says the focus in Fiji for now will be to educate the discerning visitor seeking authentic representations of Pacific art.
I saw something of this type of approach in American Samoa just before I left. I was desperately looking for things to take back home and came across a seed ula (Samoan garland). There were two labels on it. One said something like, “It is against federal law to remove, before sale, the label stating the object’s origins”. The other label read, “Made in the Philippines”.
It was simple. And it worked.
Wonder if the folk at the symposium came across the same labels. It would have made for an interesting Exhibit A.
Malelega , August 8th 2008
Hi Clemens,
I think we’re going through ‘festival syndrome’ withdrawals here in Tutuila. The last two weeks went by to quickly and four years is a long time for the Pacific to get together again. But hope before then all our arts and crafts have a label that recognizes the local artists and country of origin.