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Kainga Tahi Kainga Rua: New Work on Banaba (review)

Kainga Tahi Kainga Rua: New Work on Banaba (review) book and media reviews 429 Blockbuster Video Audience Award Kainga Tahi Kainga Rua: New Work for the Best Feature Film, based on on Banaba, by Brett Graham. Adam votes from members of the Honolulu Art Gallery, Victoria University of audience. The film’s first screening at Wellington, New Zealand, 5 July–15 the Honolulu Academy of Arts on August 2003. 6 November 2002 was preceded by an elaborate protocol that lasted Brett Graham’s installation at the more than thirty minutes, in which Adam Art Gallery was one of the students from the Halau Ku Mana most powerful and affecting artistic welcomed the Mäori actors, producer, statements on the nature of Pacific and director. Flowers, chants, songs, history and identity I have seen. The and speeches were exchanged on work may be cited as an example of both sides, affirming the connections what Andreas Huyssen has recently between the native Hawaiians and the called “memory sculpture”—work Mäori performers and filmmakers. that attempts, in an age of cyber-capi- The audience included Hawaiians, talism and media-induced amnesia, Pacific Islanders, participants in the to evoke more cogent and embodied conference, and members of the gen- reflections on the present and the past eral public. After http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Contemporary Pacific University of Hawai'I Press

Kainga Tahi Kainga Rua: New Work on Banaba (review)

The Contemporary Pacific , Volume 16 (2) – Aug 31, 2004

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Publisher
University of Hawai'I Press
Copyright
Copyright © 2004 University of Hawai'i Press.
ISSN
1527-9464

Abstract

book and media reviews 429 Blockbuster Video Audience Award Kainga Tahi Kainga Rua: New Work for the Best Feature Film, based on on Banaba, by Brett Graham. Adam votes from members of the Honolulu Art Gallery, Victoria University of audience. The film’s first screening at Wellington, New Zealand, 5 July–15 the Honolulu Academy of Arts on August 2003. 6 November 2002 was preceded by an elaborate protocol that lasted Brett Graham’s installation at the more than thirty minutes, in which Adam Art Gallery was one of the students from the Halau Ku Mana most powerful and affecting artistic welcomed the Mäori actors, producer, statements on the nature of Pacific and director. Flowers, chants, songs, history and identity I have seen. The and speeches were exchanged on work may be cited as an example of both sides, affirming the connections what Andreas Huyssen has recently between the native Hawaiians and the called “memory sculpture”—work Mäori performers and filmmakers. that attempts, in an age of cyber-capi- The audience included Hawaiians, talism and media-induced amnesia, Pacific Islanders, participants in the to evoke more cogent and embodied conference, and members of the gen- reflections on the present and the past eral public. After

Journal

The Contemporary PacificUniversity of Hawai'I Press

Published: Aug 31, 2004

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