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The Orator/O Le Tulafale (review)

The Orator/O Le Tulafale (review) the contemporary pacific · 24:2 (2012) enous writer and director. Space does not allow us further commentary on how these three Pacific Islands feature films might be read productively together, but we hope that others will take up that challenge since each in its moment has expanded our collective Oceanic imaginary. The Orator's unique offering to the two of us as creative practitioners is a renewed sense of dedication to and pride in the craft of creating (in) the contemporary Pacific. emelihter kihleng and teresia k teaiwa being burdened by the knowledge of what had gone before is what set free his genius. But as Micronesian women writers from the un(der)-represented Pacific Islands of Pohnpei, Banaba, and Kiribati, we have never felt that we could afford such ignorance. We understand that to enter into creative cultural production in the Pacific is to become part of a genealogy of thought and imagination, whether you are aware of it or not. Both of us have actively sought out Pacific films, poetry, and music for inspiration, affirmation, and pure necessity (artistic survival!). It has not always been easy searching for ways to identify with work by fellow Pacific Islander artists who http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Contemporary Pacific University of Hawai'I Press

The Orator/O Le Tulafale (review)

The Contemporary Pacific , Volume 24 (2) – Aug 1, 2012

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Publisher
University of Hawai'I Press
Copyright
Copyright © 2008 University of Hawai'i Press.
ISSN
1527-9464
Publisher site
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Abstract

the contemporary pacific · 24:2 (2012) enous writer and director. Space does not allow us further commentary on how these three Pacific Islands feature films might be read productively together, but we hope that others will take up that challenge since each in its moment has expanded our collective Oceanic imaginary. The Orator's unique offering to the two of us as creative practitioners is a renewed sense of dedication to and pride in the craft of creating (in) the contemporary Pacific. emelihter kihleng and teresia k teaiwa being burdened by the knowledge of what had gone before is what set free his genius. But as Micronesian women writers from the un(der)-represented Pacific Islands of Pohnpei, Banaba, and Kiribati, we have never felt that we could afford such ignorance. We understand that to enter into creative cultural production in the Pacific is to become part of a genealogy of thought and imagination, whether you are aware of it or not. Both of us have actively sought out Pacific films, poetry, and music for inspiration, affirmation, and pure necessity (artistic survival!). It has not always been easy searching for ways to identify with work by fellow Pacific Islander artists who

Journal

The Contemporary PacificUniversity of Hawai'I Press

Published: Aug 1, 2012

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