By Michael Andrew and Sri Krishnamurthi

The true story of one of the Pacific’s great waka builders and sailor has been captured in a stirring and visually gripping documentary.

Loimata: The Sweetest Tears follows the final years of Ema Siope, a Samoan born kiwi who endured a tumultuous past to reconnect with her roots across the Pacific by mastering the seafaring traditions of her ancestors.

Six-feet tall and immensely strong, Siope was one of the few woman in the world who could captain and build an ocean going waka hourua – a traditional twin-hulled sailing canoe in which she completed many ocean voyages.

READ MORE: Indigenous Pacific knowledge to help save the ocean

WATCH: Loimata crowd funding video on Vimeo

Siope passed away in August this year, several years after she was diagnosed with cancer. The film starts at the time of diagnosis, following her to the rural New Zealand town of Taihape, where her parents migrated in the 1960s and then to Samoa to heal old wounds in her family’s past.

Directed by close friend Anna Marbrook, the initially self-funded film has received support from private donors, NZ On Air, and Maori Television.

However, in order to complete and screen the film in the next six months, a crowd funding campaign has been launched to raise the necessary funds.

Marbrook’s brother and co-producer, AUT Screen Production Lecturer Jim Marbrook says the title of the film can be translated as “tears”.

“The title of the film is Loimata: The Sweetest Tears. Because for all of us there’s this idea that there are tears of sadness, sad moments, but also tears of reconnection,” he says.

Reconnection is certainly a crucial theme of the film, which explores the distance and separation from culture so many in the Pacific diaspora experience after migrating to New Zealand.

“You know, you move from Samoa to New Zealand in the early 60s. So you’re living that kind of world, it’s disconnected from your Samoan culture, from where you grew up. And through that disconnection, Emma kind of lost her way a little bit,” Jim Marbrook says.

After living rough on the streets, embroiled in drugs and substance abuse, Siope sought to reconnect with her native culture, eventually leading to her prodigious waka building and ocean voyages back home.

“Loimata also refers to a piece of land, family land,” Jim Marbrook says.

“It’s up in Savai’i, where Ema’s family and her grandmother come from. So it’s a very important part of the film, that return to Loimata.”

Marbrook says it is much a story about Ema’s unique qualities as it is about her personal journey.

“This is a story that has to be told because it’s not only a story of reconnecting. It’s a story of showing leadership qualities and joining this waka culture.”

Eventually becoming a master craftswoman and mentor, Siope was initially schooled by waka-building legend Sir Hector Busby and taught to sail by Haunui captain Hoturoa Barclay-Kerr, both of whom are involved in the Tuia 250 Commemorations.

A characteristically discreet person who preferred the background, Siope approached Anna Marbrook about the story for the film two years ago.

Jim Marbrook says this was Siope’s way of finally announcing, “I’ve got things to say.”

While the film will likely be destined for overseas film festivals, Marbrook sees it opening in New Zealand and showing on the big screen.

Called a proudly Pacific story of transformation and healing, the film uses an array of captivating shots and video techniques to capture verdant vistas of Samoa and the inner world of the New Zealand waka community.

At a time when issues like disconnection, identity and the vital importance of the Pacific are growing in prominence, this film is likely to provide a soothing balance, while honouring the life and times of great woman whose wake will be felt for years to come.

• Details of the crowdfunding campaign can be found at https://www.boosted.org.nz/projects/loimata

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

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!).”

Land of the Morning Star … the 2004 documentary on West Papua made by Mark Worth.

From Pacific Media Watch / Australians for a Free West Papua Darwin

Australian award-winning journalist and film maker Mark Worth died in West Papua on January 15, 2004 – suspiciously just two days after the ABC announced his documentary, Land of the Morning Star, would be screened across Australia.

Many of Mark’s friends and colleagues deemed his sudden death as suspicious and many called on the Australian government for a thorough investigation.

Yet the Australian government predictably left any investigation up to the Indonesian government, which buried his body so quickly that no one was able to properly establish his cause of death, which was officially left as mere pneumonia. His death remains an unresolved issue with many.

Mark Worth’s sudden death shocked Papuans and all involved in Free West Papua campaigns in West Papua, PNG, Australia and the world.

Mark Worth had worked tirelessly exposing the truth about the cruel occupation of West Papua from inside West Papua, which ultimately, many assume was the real cause of his sudden death.

Mark had “worked closely with Papuan rebels for more than 15 years, making documentaries for SBS, ABC and the Nine Network and also producing radio and print stories”.

Questions remain unanswered and many have likened his suspicious death to the 1975 Balibo Five murders in East Timor.

A few days following his death, Pacific Media Watch published this report:

 SUSPICIOUS DEATH OF MARK WORTH, JOURNALIST, FILM MAKER AND CAMPAIGNER FOR JUSTIUCE FOR WEST PAPUA

Saturday, January 17, 2004 – PMW:

SENTANI (RW/Pacific Media Watch): The death of Australian print, radio and film journalist Mark Worth has shocked Papuans and all those involved in the campaign to free West Papua from brutal repression by the Indonesian military.

Mark died from unknown causes in a hotel room in Sentani, West Papua, yesterday, January 15, 2004. Mark is survived by his Papuan wife Helen and baby daughter Insoraki.

Mark was born in PNG and spent most of his life in PNG and West Papua. He spent most of the last 15 years producing radio programs, writing articles and producing documentary films about the West Papuan people and their struggle for self-determination. Mark’s influential documentary films include the “Act of No Choice”.

His death must be treated as suspicious when recent events in West Papua are considered, and because it came just two days after the announcement by ABC television that his latest documentary Land of the Morning Star would premier on Australian television on Monday, 2 February, 2004.

Mark described this film as his “life-time project”, and he spent the best part of the last ten years researching, collecting footage and interviewing Papuans to make what will be a lasting memorial to this committed journalist.

Recent weeks have seen a major escalation in intimidation and provocation by Indonesia. In the last few days five Papuans have been sentenced to between 20 years and life for their alleged involvement in a raid on a military post in Wamena.

By contrast, the nine soldiers also involved received sentences of just 6 to 14 months. Papuans students are also being held in prison in Jakarta after a demonstration and face 20 years in jail, and seven highland leaders are being held in jail in Jayapura.

And this week infamous former police chief of East Timor, Timbul Silaen, who was charged with gross human rights violations during the 1999 East Timor atrocities, took up his post as Papuan police chief.

And on Monday, in an act that shows there is no limit to Indonesia’s provocation, a small island off East Timor was bombed by the Indonesian navy.

Mark was widely believed to have been linked to the recent footage, which featured on SBS Dateline last November, of OPM leaders making appeals to the international community for help to bring about peaceful dialogue to solve the problems West Papua.

Two days after the footage was screened, 10 Papuans, including one of the leaders who featured in the film, were shot as they slept in a raid by 200 Indonesian soldiers. Their bodies were later displayed like hunting trophies.

When Mark Worth’s high profile and reputation as an honest and influential journalist is considered, along with the recent events, is it any wonder that many view his death as suspicious? It is vital that Mark’s death be fully and independently investigated.

When West Papua finally gains independence, Mark’s contribution to that freedom will long be remembered by Papuans.

Please watch the full version of the critically acclaimed documentary Land of the Morning Star below by Mark Worth

Thank you Mark Worth for your amazing accomplishments in support of exposing the truth about the occupation of West Papua.

You will always be remembered and honoured.

We give the greatest respect to Mark Worth’s family and friends.

You will never be forgotten.

Papua merdeka!!

Remembering Mark Worth – Janet Bell interview – 2005

Flashback report by Australians for a Free West Papua Darwin

The Moana trailer … “magical but also our reality.”

By Vaimoana Tapaleao of The New Zealand Herald

You know the film is something special when the opening scene brings a tear to the eye.

It is the call of song from an ancestor: the voice of a woman singing the language of our forefathers. Her chant and her words are the welcoming scene for Disney’s movie of the moment: Moana.

She’s been a long time coming, but Disney’s first Pacific princess has finally arrived.

This one is different, though. There are no ballgowns or diamond tiaras. Her hair is not straight, it’s wavy and the kind our mothers had to try to tame with the Pasifika version of gel: coconut oil.

This princess has a pig for a pet and, my gosh, her legs actually have calves.

Walking into the movie theatre to see this film was a weird experience.

As a Samoan woman, there was a sense of expectation for this film from the day Disney announced it was happening. There was also something close to dread: “Will they get it right?”

Te Vaka drums and vocals
As New Zealand Pacific band Te Vaka opened with a series of harmonies, drums and vocals unique to our part of the world, I began to breathe again.

“Home,” I thought.

A lot of controversy surrounded Moana, even before the girl who would lend her voice to her was cast.

People questioned the right a big-time international franchise had to create it.

When images of Maui, voiced by Dwayne ‘The Rock’ Johnson, were released, people slammed the depiction of the revered demi-god who looked like an obese ogre.

Maui fished up the islands, and then deep-fried them, the memes said.

Disney was accused of cultural appropriation when it released a kids’ costume, a brown jump-suit with tattoos, just before Halloween. Disney answered the only way that would calm the waters, with an apology and removing the costume from shelves.

The thing is, however, this is the first time in Disney history that the people on screen actually look like us.

Mirror image of our backyard
In an earlier review of the film, an overseas-based writer said it was somewhat unrealistic because the scenery appeared magical.

The writer most probably has never stepped foot in the Pacific, because the Polynesia depicted in the film is an animated yet mirror image of our backyard.

The glittering see-through ocean looks like the one the village kids splash in behind my mum’s family fale in Savai’i.

Tamatoa, Sina, Tui, Fiti and hell, even the chicken Hei Hei (Ho!) – are all names that belong to family and church members, or words I grew up hearing.

The siapo (tapa cloth) hanging in the fale are the same as ones at home and the pe’a tattoo worn by Moana’s father, Tui, is the same as one seen on old photos of my great-grandfather.

The way the lava meets the sea, the way the blow holes spit out jets of water near the beach and even the lushness of the plants, frangipani trees and teuila, or red ginger, yeah, it is magical, but it is also our reality.

As a kid, a lot of people would ask about the origins of my name.

“Where is it from?” The answer has always been: Samoa – but it’s also Tongan, Māori, Hawai’ian, Tahitian … actually, it’s from the whole of the Pacific.

In the same way, Moana belongs to us. She is not just another Disney princess. She is a daughter of the South Pacific, and for that, I am proud.

Vaimoana Tapaleao is The New Zealand Herald’s Pacific Affairs and People reporter. An award-winning journalist, she is also a graduate of Auckland University of Technology and won the Pacific Media Centre’s Storyboard Award for diversity reporting in 2007.

The cast of Vanuatu film, Tanna, travelled to Hollywood this month to attend the movies official release in Los Angeles as well as New York City.

EyeWitness news interviewed the cast members when they visited ABC7 broadcasting studio in LA.

Cast member Lingai Kowia told the EyeWitness reporter that he is glad “my world has been shown to you in the film, so you can learn what is good from my world.”

Global success

As the first movie to ever be filmed in Vanuatu, Tanna, has continued to receive global success.

It has been picked by Screen Australia as its official entry for best foreign language film at the 2017 Oscars and was voted best direction and best feature film at the Australian Directors Guild Awards.

In August the film was dubbed a “hit” when it was screened at the Venice Film Festival where it was also voted best film and best cinematographer.

The movie will be released in Canada in October at the Vancouver International Film Festival and Edmonton International Film Festival.

The plot follows a young girl, Wawa, who falls in love with the chief’s grandson but is unknowingly betrothed to another as part of a peace deal between two tribes.

It based on a true story in 1984 that led to custom changes on arranged marriage.