Prime Minister Fiamē Naomi Mata’afa has advised Samoa’s head of state that it is necessary to dissolve Parliament so the country can move to an election.

This follows the bill for the budget not getting enough support for a first reading on yesterday, and Fiame announcing she would therefore seek an early election.

Tuimaleali’ifano Va’aleto’a Sualauvi II has accepted Fiame’s advice and a formal notice will be duly gazetted to confirm the dissolution of the Legislative Assembly.

Parliament will go into caretaker mode, and the Cabinet will have the general direction and control of the existing government until the first session of the Legislative Assembly following dissolution.

Fiame, who has led a minority government since being ousted from her former FAST party in January, finally conceded defeat on the floor of Parliament yesterday morning after her government’s 2025 Budget was voted down.

MPs from both the opposition Human Rights Protection Party and Fiame’s former FAST party joined forces to defeat the budget with the final vote coming in 34 against, 16 in support and two abstentions.

Defeated motions
Tuesday was the Samoan Parliament’s first sitting since back-to-back no-confidence motions were moved — unsuccessfully — against prime minister Fiame.

In January, Fiame removed her FAST Party chairman La’auli Leuatea Schmidt and several FAST ministers from her Cabinet.

In turn, La’auli ejected her from the FAST Party, leaving her leading a minority government.

Her former party had been pushing for an early election, including via legal action.

The election is set to be held within three months.

This article is republished under a community partnership agreement with RNZ.

Article by AsiaPacificReport.nz

For almost six decades photographer John Miller (Ngāpuhi) has been a protest photographer in Aotearoa New Zealand.

From his first photographs of an anti-Vietnam War protest on Auckland’s Albert Street as a high school student in 1967, to Hīkoi mō te Tiriti last week, Miller has focused much of his work on the faces of dissent.

He spoke of his experiences over the years in an interview broadcast today on RNZ’s Culture 101 programme with presenter Susana Lei’ataua.

Miller joined Hīkoi mō te Tiriti at Waitangi Park in Pōneke Wellington last Tuesday, November 19, ahead of its final walk to Parliament’s grounds.

“It was quite an incredible occasion, so many people,”  74-year-old Miller says.

“Many more than 1975 and 2004. Also social media has a much more influential part to play in these sorts of events these days, and also drone technology . . .

“I had to avoid one on the corner of Manners and Willis Streets flying around us as the Hīkoi was passing by.

“We ended up running up Wakefield Street which is parallel to Courtenay Place to get ahead of the march and we joined the march at the Taranaki Street Manners Street intersection and we managed to get in front of it.”

Comparing Hīkoi mō te Tiriti with his experience of the 1975 Māori Land March led by Dame Whina Cooper, Miller noted there were a lot more people involved.

“During the 1975 Hīkoi the only flag that was in that march was the actual white land march flag — the Pou Whenua — no other flags at all. And there were no placards, no, nothing like that.”

Article by AsiaPacificReport.nz

An exhibition from Tara Arts International has been brought to The University of the South Pacific as part of the Pacific International Media Conference next week.

In the first exhibition of its kind, Connecting Diaspora: Pacific Prana provides an alternative narrative to the dominant story of the Indian diaspora to the Pacific.

The epic altar “Pacific Prana” has been assembled in the gallery of USP’s Oceania Centre for Arts, Culture and Pacific Studies by installation artist Tiffany Singh in collaboration with journalistic film artist Mandrika Rupa and dancer and film artist Mandi Rupa Reid.

A colourful exhibit of Indian classical dance costumes are on display in a deconstructed arrangement, to illustrate the evolution of Bharatanatyam for connecting the diaspora.

Presented as a gift to the global diaspora, this is a collaborative, artistic, immersive, installation experience, of altar, flora, ritual, mineral, scent and sound.

It combines documentary film journalism providing political and social commentary, also expressed through ancient dance mudra performance.

The 120-year history of the people of the diaspora is explored, beginning in India and crossing the waters to the South Pacific by way of Fiji, then on to Aotearoa New Zealand and other islands of the Pacific.

This is also the history of the ancestors of the three artists of Tara International who immigrated from India to the Pacific, and identifies their links to Fiji.

expressed through ancient dance mudra performance.

The 120-year history of the people of the diaspora is explored, beginning in India and crossing the waters to the South Pacific by way of Fiji, then on to Aotearoa New Zealand and other islands of the Pacific.

Support partners are Asia Pacific Media Network and The University of the South Pacific.

A journal article on documentary making in the Indian diaspora by Mandrika Rupa is also being published in the 30th anniversary edition of Pacific Journalism Review to be launched at the Pacific Media Conference dinner on July 4.

Exhibition space for Tara Arts International has been provided at the Oceania Centre for Arts, Culture and Pacific Studies at USP.

The exhibition opening is next Tuesday, and will open to the public the next day and remain open until Wednesday, August 28.

The gallery will be open from 10am to 4pm and is free.

Published in collaboration with the USP Oceania Centre for Arts, Culture and Pacific Studies.

Article by AsiaPacificReport.nz

The remarks come during the closing ceremony of the 13th Festival of Pacific Arts and Culture (FestPAC) happening at the University of Hawai’i at Manoa.

During the ceremony, delegations from 25 nations and thousands of people packed the venue.

A standing ovation and special acknowledgement was made to Kanaky, Vanuatu and West Papua.

FestPAC serves as a platform for Pacific island nations to showcase their rich heritage and artistic talents.

The event roots trace back to the 1970s when Pacific Island nations commenced discussion on the need to preserve and promote their unique cultural identities.

Dr Sala said it was important to maintain the strength of connection going forward once the event ends.

‘Our responsibility’
“It is our responsibilty to not step away from the table,” he said.

“All of the ancestors, you also have a responsibility to make sure that we don’t fall away from the table again.”

‘Like the tifa kundu drum, the harder you hit us, the louder we become’

With its multifaceted roles, the tifa is a cornerstone of the identity and spiritual connection of many Melanesia kin.

Thankyou #MissPacific Moemoana for the shoutout and Aotearoa delegations.#FestPAC2024 pic.twitter.com/tpS5P8n2QI

— Ronny Kareni (@ronnykareni) June 14, 2024

He addressed the crowds and said his hope for this festival was one of legacy and influence and hopes it will inspire generations to combat the pressing issues Pacific populations are facing such as the impacts of climate change.

“Perhaps the most important part of this fesitival is when a 10-year-old born to Palaun parents was able to visit his people and in 20 years is getting a PhD in ocean science because he is concerned about the ocean around Palau.”

“I invite everyone around the world if you are Pasifika, start preparing for FestPac14. Let us all back the next family reunion in 2028 — the biggest and the best,” Kairua said.

This article is republished under a community partnership agreement with RNZ.

Article by AsiaPacificReport.nz

“One body, one people, one ocean, one Pacific” was Samoa’s powerful statement during the parade of nations at the official opening of the 13th Festival of Pacific Arts and Culture (FestPAC).

It was a sentiment echoed loudly and proudly by all other parading nations.

Rapa Nui’s delegation exclaimed, “we are all brothers and sisters, we are a family!”

This strong spirit of unity connected the Pacific delegates who had all travelled across vast oceans to attend the 10-day festival hosted in Honolulu, Hawai’i.

“Ho’oulu Lahui, Regenerating Oceania” is the underlying theme of the event.

Festival director Dr Aaron Sala said the phrase is an ancient Hawai’ian motto from the reigning Monarch of Hawai’i in the 1870s, instructing the community to rekindle their cultural practices and rebuild the nation.

He saw how the theme could be embraced by the entire Pacific region for the festival.

‘Power of that phrase’
“The power of that phrase speaks to every level of who we are.”

He saw the phrase come to life at the official opening ceremony over the weekend.

Almost 30 Pacific Island nations paraded at the Stan Sheriff Center, flags waving high, and hearts full of pride for their indigenous heritage.

Indigenous people of all ages filled the arena with song and dance, previewing what festival goers could expect over the next two weeks.

Dr Sala was impressed by the mix of elders and young ones in the delegations.

“The goal of the festival in its inception was to create connections between elders and youth and to ensure that youth are connected in their culture.

“The festival has affected generations of youth who are now speaking their native languages, who are carving again and weaving again.”

‘It’s so surreal’
Speaking as she watched the opening ceremony, the festival’s operations director Makanani Sala said: “it’s so surreal, looking around you see all these beautiful cultures from around the world, it’s so humbling to have them here and an honor for Hawai’i to be the hosts this year.”

The doors to the festival village at the Hawai’i Convention Centre opened the following day.

Inside, dozens of “fale” allocated to each nation were filled with the traditional arts and crafts of the Pacific.

It is a space for delegates and event attendees to explore and learn about the unique cultural practices preserved by each nation.

The main stage is filled with contemporary and traditional performances, fashion shows, oratory and visual showcases, and much more.

The FestPAC village space invites the community to journey through the entire Pacific, and participate in an exchange of traditional knowledge, thus doing their part in “Ho’oulu Lahui – Regenerating Oceania.”

The Festival of Pacific Arts and Culture runs until June 16.

This article is republished under a community partnership agreement with RNZ.

Article by AsiaPacificReport.nz

By Moale James

“West Papuans are being denied their basic human rights … Human beings have a right to freedom. Freedom to be treated fairly like a human being. Freedom to be respected. To have your own dignity and pride. This is being taken away from West Papuans.”

Richard Mogu is a Papua New Guinean musician and activist currently touring with fellow Papuans and West Papuans in the band, Rize of the Morning Star. For the last decade Rize has been spreading the message: “Sorong Samarai. One people, one soul, one destiny.”

In 2016 the song Sorong Samarai composed by Airileke Ingram featuring the duo Twin Tribe was released. The song itself leaves the listener feeling empowered and inspired to create change as the lyrics sing.

READ MORE: Moale James: Citizen journalism countering ‘deliberate’ media silence on West Papua

“Rise up freedom fighter. Rise up and take your stand again. Bird of paradise never die in vain. Melanesia you, me rise up again. For those who live in darkness, consider the light afar. Dawn of a new day come. With the rise of the morning star … Sorong Samarai. One people. One soul. One destiny.”

The video shows powerful footage of men, women and children proudly raising the Morning Star flag, painting it across their bodies in protest against the Indonesian government. This act is a chargeable offence in West Papua, with people having been persecuted for this simple act of freedom, to be able to fly the Morning Star Flag.

The message of Sorong Samarai itself suggests that from the tip of West Papua, Sorong, to the Eastern point of Papua New Guinea, Samarai, the people of New Guinea are one, with the same destiny, to be free.

This song is a rally cry for all Papua New Guineas to unite and stand together for the freedom of all their people.

‘Echos’ of abuses

There are many who echo stories of these human rights abuses under the hand of the Indonesian government and militia.

“There is a war going on next door. People here [in Australia and Papua New Guinea] they don’t know about it…. My Father went to jail for 10 years for speaking out for West Papuans. He was charged with a death sentence… Activists and independent journalists are being taken [by Indonesian military]. They are killed and then thrown in rivers.”

These are the words of West Papuan refugee and dancer, Sam Roem. At 15 years-old Sam fled the genocide in his hometown of Merauke in Papua in a small dinghy with his older brother and 41 others.

After being lost at sea for a week with only food scraps to eat, their canoe came to rest on the shore of Cape York Australia. At thirty years old, you can now find him performing with Rize of the Morning Star sharing his art as a dancer and his story as a refugee.

“My parents were tortured by Indonesian military. I felt then and still feel now anger and pain. I want to do something in my home. But what can I do? I don’t want to be stupid and get myself killed.”

Nicclaude Domini (stage name, Ukam Maniczy) is twenty-two year old West Papuan musician and rapper. Nicclaude is currently wanted by Indonesian authorities for speaking out against the government’s abuse.

‘Forced to flee’

Despite calling many places in Indonesia home, people like Sam and Nicclaude have been forced to either flee or go into hiding due to the threat of persecution back in their home country. Research shows that today there are more than 11,000 West Papuans living in refugee camps or in exile overseas.

At times, for these men and many others the battle can seem helpless and hopeless as the years continue. Today, in 2019 despite the efforts of many West Papuans, activists, government officials and even the United Nations, the Indonesian government is still in control.

West Papuans are still trying to survive the genocide being committed by the Indonesian Government and associated militia. At this point in time, 528,000 West Papuans have lost their lives and their fight for freedom at the hands of brutal military and government abuse since Indonesian occupation in 1963.

Research has found that many West Papuans have been killed, raped, tortured, imprisoned and have witnessed the burning down of their villages and many other atrocities (Elmsie, 2010).

Journalist and chief editor of West Papua media, Nick Chesterfield has been working with Rize of the Morning Star and other independent journalists for the last thirteen years.

‘Issue of genocide’

“This is an issue of genocide,” he said.

“There are 250 language groups in West Papua alone. It is the most linguistically and culturally diverse place on earth. There is a complete human uniqueness that has been lost in this genocide. The loss of old knowledge and the loss of ancient land custodianship. When the primary human right of self-determination is suppressed that is a tragedy for everyone.”

West Papuans have been protesting more frequently and powerfully than ever before.

Since the anniversary of the 1962 New York Agreement in August there have been a number of rallies and protests by West Papuans. The response from Indonesian militia and the government has been severe.

Many civilians have been arrested, militia have opened fire on demonstrators, and cases of mutilations, killings and sexual assaults have increased. It reached a point where there was a complete internet blackout across West Papua, preventing any international media attention and support.

The fight for freedom and independence for West Papua is not over. It has not been an easy fight and there have been many sacrifices and consequences for those brave enough to protest. Although, there has been so much pain, West Papuans still hope for their freedom. The members of Rize of the Morning Star still have hope as they continue to spread their message.

Sorong Samarai. One people, one soul, one destiny.

• Moale James is a student at the University of Queensland undertaking her Bachelor in Journalism. Moale also proudly identifies as a mixed-race Papua New Guinean-Australian.

Article by AsiaPacificReport.nz

Pacific Media Centre Newsdesk

Young Pasifika performers and artists came together last week for Moana Loloto, a night of indigenous storytelling to explore four pressing issues the Pacific and its people are facing.

Held at the Mangere Arts Centre in South Auckland, young people of Te Moana-nui-ā-Kiwa used dance, art and stories to discuss West Papua, the land occupations at Ihumātao and Mauna Kea and climate change, with a specific focus on Kiribati.

Tagata Pasifka spoke to some of the young “Pacific influencers” who were helping to bring these issues into the spotlight.

READ MORE: UN Security-General tells youth be ‘noisy as possible’ on climate change

Mission 2 Zero’s Emily Muli said that it was a space to nurture stories and told the Pacific way.

“We just wanted to give space to people to talk about that in our ways so that’s through talanoa and creative arts.”

She said there has been a lot more engagement with issues like climate change over the past two years and this could be seen in the number of events that are being held.

Also speaking was Pelenise Alofa of the Kiribati Climate Action Network who told Tagata Pasifika that her work to help build resilience on Kiribati was made harder by a lack of political will in developed countries.

“My government and my people are trying their best, we try to adapt but we need more support from the developed countries to help us.”

• This video was republished through Pacific Media Centre’s partnership with Tagata Pasifika

Article by AsiaPacificReport.nz

Pacific Media Watch Newsdesk

The Cook Islands censor has backtracked on its initial decision to ban Rocketman.

Instead, the Cook Islands Internal Affairs has followed the New Zealand censor’s classification and rated the film R18, reports Cook Islands News.

The censor announced the ban last week, after Samoa banned screenings of the film due to its homosexual content.

However, the announcement was met with public backlash, including a local lawyer threatening legal action if the ban were to go forward.

READ MORE: Israel Folau ‘misuses’ Bible to justify hatred, says Samoan Minister

A Cook Islands News editorial acknowledged Internal Affairs Secretary Anne Herman and Chief Censor Dennis Tangirere’s decision to cancel the ban.

“It’s difficult to do a public about-turn – we all know that. So Herman and Tangirere deserve acknowledgement for their willingness to listen to public opinion and reverse Internal Affairs’ initial position.”

Te Tiare Association secretary and LGBTI spokesperson Valery Wichman welcomed the about-turn from the Secretary of Internal Affairs reports the Cook Islands News.

“We were happy that it was not banned or condemned but rated 18,” she said.

Fundamental human rights
“This means that our fundamental human rights have been upheld. We can now enjoy another expression of art and a good story.” 

However, the owner of the empire cinema Kathleen Napa-Bergin claimed that she was not informed about Internal Affairs decision to cancel the ban.

The cinema has not screened the film since the censor’s request to pull it 10 days ago and as its license run has now ended, it is unlikely that it will be screened again.

Cook Islands News editor Jonathan Milne hopes that this will change.

 Special screening
“I hope Empire Cinema boss Pa Napa can somehow negotiate to bring it back for a special screening – and if he does, I’ll happily pay my 11 bucks to see it,” he wrote.

“Because, by all accounts, this is not a raunchy, sexual film.”

“If anything, it is an inspiring story of a young man’s triumph over the demons of drugs, alcohol and abuse.”

“It offers hope to young adults trying to make sense of who they are in a confusing world.”

Article by AsiaPacificReport.nz

Pacific Media Watch Newsdesk

A prominent Cook Islands lawyer intends to take a court challenge against the censor’s impending ban of the film Rocketman, reports the Cook Islands News.

Lawyer Heinz Matysik announced he would challenge the ban, if it proceeded.

“If the chief censor wants to roll this way, I will bring a full legal challenge and test the boundaries of our Constitution. I am serious,” he said.

READ MORE: Cook Islands to follow Samoa and ban Rocketman

Hundreds of people have already protested online, after Cook Islands News reported that chief censor Dennis Tangirere intended to ban Rocketman.

One LGBTQ community member on the island, Roger Dunfee, is mobilising his friends in California and around the world to overturn the ban.

Te Tiare Association president Regina Potini issued a pointed reminder that the Cook Islands Constitution provides for freedom of speech and expression.

“A prohibition of this film/work of art will impinge on this fundamental right guaranteed under the Cook Islands Constitution.”

Members of Te Tiare Assocation and the LGBTQ community have spoken out to express their concern, but also to show that the sentiments behind the ban are not representative of wider Cook Islands opinion.

Others, though, have taken to social media in grief or anger.

“Today I question my patriotic pride,” wrote Teherenui Koteka.

“The fact I belong to a community who in this day and age so outrightly marginalises the LGBTQ community, a community I am proud to be a part of, further illustrates why our country continuously fails to move forward in the modern day world stage.”

“This honestly makes me sad,” said Ally Donnerly. “If my country can’t accept a movie then how can they accept me?”

And Brenda said, “As a trans woman from Mangaia with a great career in aviation, I find it sad that we are not an evolving nation. More worried about your image in the Pacific than your people.”

The film, a biography of the English pop singer Elton John which depicts intimate gay sex scenes, had been showing at empire cinema for around seven days, but is believed to have been pulled from screening last Friday.

Tangirere spoke to Cook Islands News before the film was pulled, saying he was planning to ban Rocketman because it contained scenes of homosexuality.

The conservative Islamic nation of Egypt had already banned the film, and Samoa followed suit, saying the film did not “go well with the cultural and Christian beliefs of Samoa”.

News of the Cook Islands ban has made overseas headlines, and momentum against the ban is building rapidly.

“This is the wrong message that the Cook Islands wants to be sending the rest of the world” says Roger Dunfee, who postponed a flight to California to mobilise opposition to the ban.

Dunfee, who watched the movie last week, says the ban could have a “detrimental effect” on Cook Islands tourism.

“People are likely to just spend their money travelling somewhere else,” he says.

“There are kids now who see this as a complete disapproval of their lifestyle, of what they want to identify as, of who they really are,” he warns. “I know kids who have committed suicide because of these types of issues.”

Article by AsiaPacificReport.nz

Pacific Media Watch Newsdesk

The movie Rocketman is likely to be banned in the Cook Islands, despite having already been in the cinema for a week, reports the Cook Islands News.

The film, a biography of English pop singer Elton John, was banned in Samoa last week due to its graphic depiction of gay sex.

“We might go the same way,” chief censor Dennie Tangirere told the Cook Island News.

READ MORE: Inside Samoa’s Rocketman ban

The proposal has worried Cook Islands’ LGBTI community, as it did across the Pacific.

Samoa’s principal censor had told local media the film did not “go well with the cultural and christian beliefs of Samoa”.

Tangirere acknowledged that other films had previously been censored in the Cook Islands on“religious grounds”.

“We have banned films here before for containing homosexual content,” he said.

Rocketman is billed as a musical fantasy about Elton John’s breakthrough years. It has received critical acclaim overseas.

It was released at the local empire cinema on June 6 and has screened about seven times since. The movie was not screened on Friday last week, with cinema management citing “technical issues”.

Cook Islands News understands the movie is unlikely to be screened again at the cinema, a family business run by Pa Napa.

When questioned as to why the film was already being screened at the cinema, Tangirere stated that he was usually provided with a list of films cinemas prior to their screening, but this did not happen last week.

So he was oblivious to the fact that Rocketman would be screened here.

“I usually watch the films before they are screened. However, Napa was late with the list last week,” Tangirere said.

The looming ban has drawn criticism from the local LGBTI community, with the secretary of Te Tiare Association Valentino Wichman saying: “Rocketman is just another film which people should have the freedom to watch.

“Banning films based on certain grounds affects people in different ways. Actions like this brings up certain views and emotions which can be damaging.”

“The ban may bring unwanted attention to members of our community and may reignite certain attitudes which are better left somewhere else. The message to the community is that this ban does not mean that we (the LGBTI community) are less normal, or that we should feel angry and sad,” said Wichman.

“We are an integral part of this community and to a large extent are socially accepted members of our society.”

In both Samoa and the Cook Islands, sodomy is an illegal act.

“These archaic laws have never been used, however the fact that they are there and can be used is a worry for our community.”

Wichman promised to follow up with the censor office regarding the ban and encouraged people to still watch the film.

“You can still get a copy from overseas and watch it in your homes.”

Article by AsiaPacificReport.nz

By Harrison Selmen in Suva, Fiji

Vanuatu student journalist Telstar Jimmy launched her first poetry book in Fiji last week and vows bigger plans ahead to to help boost publishing in her country.

Although it took her several years to achieve her passion, Jimmy was proud that everyone around her is enjoying the moment.

“I feel relieved that I was finally able to publish, and overjoyed that I can now be able to share my poems with others – not just in Vanuatu but in the Pacific, because friends from Solomon Islands, Fiji and Nauru have already started buying the book and giving me a lot of positive feedback on it,” she says.

Jimmy’s plan now is to find other poets in Vanuatu and promote their work in anthology collection that can give them recognition.

“I know many have the potential but they lacked the opportunity to shine and share their stories,” she says.

While on the verge of completing her Bachelor degree at the University of the South Pacific majoring in journalism and language and literature at the end of this year, the launch of her book marks a double highlight in her academic journey.

-Partners-

The title of the book is Journey of Truth with four chapters and 76 pages.

Oceanic views
The poems cover global issues, oceanic views of the Pacific, family values and love stories.

She says the title of the book reflects the many stories in the book depicting real life events and journeys of life.

When asked who inspired her develop her poetry and why she decided to write a book, Jimmy answers, “Grace Molisa [an acclaimed ni-Vanuatu politician, poet and campaigner for women’s equality in politics] was my big inspiration … but then she passed away so soon”.

She said one of the main reasons to publish the book is to create a resource for Vanuatu generations with the Oceania and Pacific context.

As a mother of three children and mentor for many young Vanuatu students at Laucala during her three years of study, Telstar Jimmy describes the poems as a voice for all the silenced women – especially in a male-dominated country like Vanuatu.

Many student journalists at USP have posted messages on social media to congratulate the Vanuatu journalist for her poetic talents.

“Writing was fun and easy but publishing was quiet hard,” she says, thanking her family for funding her publication in Fiji.

Never give up
Jimmy’s message to her peers is never give up in life, even if it takes many years to achieve their dream.

“Don’t neglect the potential that you have.”

She thanked her families, especially her parents, siblings, children and husband for their support.

“Not forgetting Tony Alvero and Jerome Robert for the artistic designs, my English teachers at Malapoa and literature lecturers at USP, colleagues and friends and most importantly the almighty God for the wisdom and blessings,” she says.

• Telstar Jimmy featured in a Pacific Media Centre climate change video last year by AUT student journalists Julie Cleaver and Kendall Hutt. Asia Pacific Report has a content sharing arrangement with Vanuatu Daily Post.

Article by AsiaPacificReport.nz

By Joko Santoso in Purbalingga

A short film by a student whose family were victims of the 1965 anti-communist purge in Indonesia has won best fictional film at the 2018 Purbalingga Film Festival.

The film titled Against the Current (Melawan Arus) was directed by Eka Saputri and produced by the Kebumen 1 State Vocational School.

Facilitated by the Ministry of Education and Culture’s (Kemdikbud) Cinematography Development Centre (Pusbangfilm), the film tells the story of a man and wife defending their rights to their land despite being branded “decadents” of the banned Indonesian Communist Party (PKI).

Yono, the husband, has lost his spirit to defend the land which is being disputed with the authorities. He suggests to his wife Siti that they move.

Siti however who is strong in her convictions remains living in the house squatting on the land. The 10-minute film researches a land conflict in Urut Sewu, Kebumen.

According to one member of the fictional film jury, Teguh Trianton, Against the Current succeeds getting views to explore the psychological aspects of the issue.

“The film leaves viewers contemplating deeply and leaves behind questions the answers to which can be found outside of the film,” sauidTrianton.

“We hope that our film can inspire views through the courage of community farmers in Urut Sewu in defending their right to land,” said director Eka Saputri.

Best documentary
The best documentary category was won by Sum by director Firman Fajar Wiguna and produced by the Purbalingga 2 State Vocational School.

The 15-minute film tells the story of a woman named Suminah, a former Indonesian Peasants Union (BTI, affiliated with the PKI) activist.

After being jailed for 13 years, Sum lives in solitude. She continues to wait for things to take a turn for the better.

According to the documentary jury board’s notes, the film Sum was put together through selected esthetic pictures and a sequence of clear informational narratives.

“As an endeavor at visual communication, this film enriches the national historical language through a grass-roots perspective and the victims who were impacted upon by the excesses of political struggles at the national level,” explained one of the jury members, Adrian Jonathan Pasaribu.

The favorite fictional film category was won by the film Banner (Umbul-Umbul) directed by Atik Alvianti and produced by the Purwareja Banjarnegara Group Indonesian Farmers Association (HKTI) 2 Vocational School.

Viewers’ favourite
In the favorite documentary film category meanwhile, viewers sided with Unseen Legacy (Warisan Tak Kasat Mata), directed by Sekar Fazhari from the Bukateja Purbalingga State senior high school.

The Lintang Kemukus award for Banyumas Raya maestro of the arts and culture was awarded to R. Soetedja (1909-1960), a composer from Banyumas, and the Kamuajo Musical Group was awarded the Lintang Kemukus category of contemporary arts and culture.

Purbalingga regent Dyah Hayuning Pratiwi, SE, B. Econ who attended the highpoints of the FFP event, said that the Purbalingga regency government was committed to supporting cinematographic activities and the film festival in Purbalingga.

“Aside from being an arena for friendly gatherings, cinematographic activities are also an arena to improve respective regency’s reputations and prestige,” he said.

Translated by James Balowski for the Indoleft News Service. The original title of the article was Film Tragedi 65 Raih Penghargaan di FFP 2018.

The making of Melawan Arus – dialogue in Bahasa Indonesian.

Article by AsiaPacificReport.nz

Pacific Media Centre Newsdesk

Auckland’s popular Silo Park will come alive to the sounds of the Caribbean next week.

Part of the Summer at Silo Park events, the Aotearoa-New Zealand Steelband Festival on Saturday, February 24, will bring together seven local steelbands and feature two special guest steelbands from Australia.

It is the first event of its kind to be held in New Zealand.

The festival is being organised by the first steelband to be established in New Zealand, the CaribbeaNZ Southern Stars.

Band manager Camille Nakhid says the event has been a longtime coming.

“CaribbeaNZ Southern Stars formed in 2005 and have played at festivals and private events all over New Zealand.

“With a number of other bands established in recent years we felt the time was right to bring us all together and stage the country’s first ever steelband festival.”

With a history stretching back to African drumming practices, the modern steelpan evolved in Trinidad during World War II, when industrious musicians with little resources refashioned disused 55-gallon drums into a range of instruments.

New musical identity
Initially stigmatised as unsophisticated music of poor communities, the image of steelpan music changed after Trinidad gained independence in 1962 and set out to define a new musical identity for itself.

Today, steelbands and Calypso music are globally recognised and synonymous with the Caribbean and the vibrant sights and sounds of carnival season, which has just finished.

“Carnival is the real annual party for Caribbean communities,” said Nakhid.

“Steelbands practise for months to prepare for the Panorama competitions. With our festival, we’re hoping to bring that same atmosphere, the Caribbean love of music and festivity, to downtown Auckland.”

As well as the nine steelbands, the festival will also feature guest performances by other drumming groups, and food – including lip-smacking Caribbean favourites – will be available throughout the day.

At 2.30pm, the bands will dress up in costumes for the festival parade and traditional massed-band finale performance.

‘Feelin’ de riddim’
Any members of the public who are “feelin’ de riddim” will be invited to take part in the parade, dance and join in the carnival atmosphere.

The festival is free to attend and opens at 9.30am.

It is being supported by Silo Park and the Auckland Council Creative Communities scheme.

A carnival night is also being held on the same day at the Fickling Centre, and will feature the CaribbeaNZ Southern Stars performing with exciting newcomers The Panimals (Bream Bay College) and special guest singer Errol Renaud from Sydney’s Caribbean Soul.

Limited tickets will be available on the door, and cost $20.

Contacts: Tish Viljoen 021 025 27616 or Camille Nakhid

• NZ’s first steelband festival to be held at Auckland’s Silo Park

Article by AsiaPacificReport.nz

Comment from Vanuatu Daily Digest

Knee-jerk resentment of someone else’s success, as elsewhere, is sadly a feature of Vanuatu life, so the kind of comment seen below, prompted by the feature film Tanna‘s global success  — and now Oscar nomination, is not unexpected:

Thanks and good tumas blo save’ but my comments is, I think my people have been exploited and although the film is making its name to the top, how are these custom village people, the film actors, the island and the country been compensated for what they have to go through to produce this film including any protocol in this country? Can some one reply to this comments with some evidence?

Exploitation is a serious claim to make, however, so we are taking this opportunity to set the record straight.

Protecting kastom mo kalja is taken very seriously in Vanuatu. The Vanuatu Cultural Centre — as the commentor may already know — has stringent protocols in place to prevent exploitation of communities.

Filmcrews must get prior approval to work in Vanuatu, are carefully monitored while working in the country, and must give a copy of their unedited footage to the Cultural Centre when they leave.

On Tanna, the Tafea Cultural Centre supervises all cultural protocols.

In the film Tanna‘s case, The filmmakers went a step further – they opened a kastom rod (a relationship built on mutual respect and kastom) between themselves, the chiefs and the community. This connection is arguably a major reason why audiences have responded so well to Tanna – the genuine, heartfelt connection between the filmmakers, the cast and the community is apparent.

Vanuatu Daily Digest reached out to the filmmakers for clarification, and Janita Suter, wife of co-director Bentley Dean and location producer for the film had this to say:

“The film was only possible through the auspices of the Vanuatu Culture Centre at a national and local level, who insist and ensure that all people involved in the productions of films in Vanuatu are dealt with fairly and respectfully — including representation and payment during production (both traditional and financial).

“Beyond this The Vanuatu Culture Centre and community of Yakel are in charge of DVD sales for all of Vanuatu, including how the film is distributed and profits. Our aim is that people should continue to benefit from their cultural output.

“We’re regularly in contact with the community, in fact one was recently staying with us! The film continues to give back to the community and the chiefs have been happy with this arrangement right from the beginning. The chiefs maintain there is a strong kastom road between us.

“It is good to clarify this sort of commentary. There were very deliberate safeguards to ensure no ‘exploitation’ occurred and that the correct ‘monetary compensation’ was made for those involved in the film. This was all arranged through the official relevant Vanuatu institutions described above, as is the correct process for filming in Vanuatu, as well as the traditional chiefs of the villages involved.

“If people have queries on this they can speak with the chiefs of Yakel or Jacob Kapere from the Cultural Centre, or the cultural director of Tanna, JJ Nako (if you can find him!).”