Embodied fonua : reconstructing a Tongan (customary) tātatau practice in aotearoa : [a thesis submitted to Auckland University of Technology in partial fulfilment of the requirements for the degree of Master of Philosophy (MPhil), 2023] / Terje Koloamatangi; supervisors: Lana Lopesi, Billie Lythberg.
In many ways, my journey with tātatau is a story of rediscovery and becoming, both in my creative and professional identity as an Indigenous artist and tattooist and my personal identity as a Tongan. This exegesis offers an insight into aspects of my arts practice as I navigate the process of recons...
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| Format: | Ethesis |
| Language: | English |
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| Online Access: | Click here to access this resource online |
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| 011 | |a EMBODIEDFONUAEMBODIEDFONUA RECONSTRUCTING A TONGAN (CUSTOMARY) TĀTATAU IN AOTEAOROA Terje Limutu'uhe'au Karlsen Koloamatangi School of Art and Design Auckland University of Technology A thesis submitted to Auckland University of Technology in fulfilment of the requirements for the degree of Master of Philosophy 2022 Embodied Fonua: Reconstructing a Tongan (customary) tātatau practice in Aotearoa The creative work of this research project was included in a group exhibition of Tongan arts titled Inasi First Fruits held at Māngere Arts Centre Ngā Tohu o Uenuku from 4 February - 18 March 2023. My work included two parts. The first a sculpture of the Tongan 'Otua fefine (goddess) Hikule'o, titled Tupu'anga. This sculpture was hand carved from Recycled rimu, and charred black with fire, and presented on a custom made plinth. The second part of my creative work was the exam activation titled Fakakikite Tātatau, an insight into my tātatau practice as it stands today, and a vision towards a potential future of customary Tongan tattooing. rd Fakakikite Tātatau took place on Friday march 3 as follows: 10:30 am - Terje and Kava Reading Group to gather in the main gallery space and set up faikava. The to'ua is likely to be Ata Siulua, and the matāpule is Eric Soakai; 11:00 am - Examination panel arrives; Janine will brief them in a private room provided by Mangere Art Centre; 11:15 am - Matāpule Eric will call in the examination panel to the entry of the main galleries as Saia Tu'itahi plays the fangufangu; the matāpule will indicate where the panel can sit in the Kava Reading Group faikava circle; 11:20 am - Faikava ceremony starts; 11:45 am - Terje will provide some context to Fakakikite Tātatau; Tatau session starts, and examiners can ask questions; 12:00 pm - Examination panel can stay as long as they require; kava drinkers keep drinking, and the Tatau session continues until it is completed; c. 1:00 pm - Session complete. | ||
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| 100 | 1 | |a Koloamatangi, Terje, |e author. | |
| 245 | 1 | 0 | |a Embodied fonua : |b reconstructing a Tongan (customary) tātatau practice in aotearoa : [a thesis submitted to Auckland University of Technology in partial fulfilment of the requirements for the degree of Master of Philosophy (MPhil), 2023] / |c Terje Koloamatangi; supervisors: Lana Lopesi, Billie Lythberg. |
| 300 | |a 1 online resource | ||
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| 502 | |g Thesis |b MPhil |c Auckland University of Technology |d 2023 |o 16427 | ||
| 504 | |a Includes bibliographical references. | ||
| 520 | 3 | |a In many ways, my journey with tātatau is a story of rediscovery and becoming, both in my creative and professional identity as an Indigenous artist and tattooist and my personal identity as a Tongan. This exegesis offers an insight into aspects of my arts practice as I navigate the process of reconstructing a uniquely Tongan tātatau from within the diaspora. The research is guided by one question: How do I rebuild a Tongan (customary) tātatau practice when the specialised knowledge once held by the practitioners of the artform has long been forgotten? To begin to answer the question of how, I survey historical material relating to tātatau within Tongan oral traditions and during the early period of encounter between Europeans and Tongans. I identify the key people and events that have been instrumental in the re-emergence of Tongan tātatau in the modern era, and I go on to discuss why tātatau has become a valuable mechanism for diasporic Tongans to reconnect and reconcile their relationship to their ancestral homelands. Lastly, I focus on my own tātatau practice and the mode of tattooing that has helped shape a uniquely Tongan tātatau from within the diaspora. As an artist, I am driven by a need to create. It is how I make sense of the world within the various contexts of my experience. Within a Tongan context, it is the utility of my art, arrived at through a process of knowledge-seeking and intuitive making, that defines its true value. | |
| 650 | 0 | |a [Subjects]. | |
| 700 | 1 | |a Lopesi, Lana, |e degree supervisor. | |
| 700 | 1 | |a Lythberg, Billie, |e degree supervisor |9 856566 | |
| 710 | 2 | |a Auckland University of Technology. |9 331914 | |
| 710 | 2 | |a Auckland University of Technology, |e degree granting institution |9 331914 | |
| 856 | 4 | 0 | |u http://hdl.handle.net/10292/16427 |z Click here to access this resource online |
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