Asia Pacific Report

A new documentary film on the devastating “ecocide” happening in West Papua will be screened as a world premiere at a weekend solidarity forum in Auckland Tāmaki Makaurau this weekend.

The 90min feature film, Pesta Babi (“Pig Feast”) — Colonialism In Our Time, produced by award-winning Papuan journalist Victor Mambor and directed by Dandhy Dwi Laksono, tells a story about the impact of the Indonesian government and military on the lives of thousands of Papuans trying to protect their rainforests from destruction.

It also relates the plight of thousands of internal refugees in the Melanesian region.

The peaceful resistance of local communities is revealed in the documentary as they face up to 54,000 Indonesian troops and large corporate entities make big profits at the expense of an ancient culture.

Dorthea Wabiser of the environmental and human rights group Pusaka, will speak on the deforestation and displacement of communities in the south-eastern district of Merauke  where Indonesia is destroying 2.5 million ha of rainforest for palm oil, sugar cane, biodiesel, rice and other crops.

Military force is deployed to silence any dissent from communities.

Pesta Babi (Pig Feast).                              Trailer: Jubi Media

Solidarity group hosts
The solidarity group West Papua Action Aotearoa with West Papua Action Tāmaki are hosting the two-day public forum on March 7 and 8 with the speakers from West Papua including environmental champions and filmmakers who operate in militarised zones at considerable risk to their personal safety.

Also, a media talanoa featuring Jubi Media founder Victor Mambor and others will be hosted by the Asia Pacific Media Network (APMN) at the Whānau Community Centre and Hub on March 9.

“The forum is an important event with a number of speakers and filmmakers from West Papua telling the hidden stories of the Indonesian occupation of their country,” said organiser Catherine Delahunty.

The climate impact of their destruction was incredibly serious as was the use of the military to enforce an end to traditional life, food sources, and forests, she said in a statement.

“These people are our Pacific neighbours with a devastating story to tell that our government and others across the world have chosen to ignore,” she said.

“They have a right to come here and to be heard despite the media bans in Indonesia and the desire of successive New Zealand governments to ignore structural genocide in our region.

NZ citizen kidnapped
“Only when a NZ citizen was kidnapped by Papuan soldiers did the government show any interest in West Papua, and this quickly faded once he was safely released thanks especially to West Papuan efforts.”

Other speakers at the forum include veteran activist and writer Maire Leadbeater, Green MP Teanau Tuiono, Hawai’an academic Dr Emalani Case, journalist and author Dr David Robie, Dr Arama Rata of Te Kuaka, and PNG academic Dr Nathan Rew.

• Forum Day One (public sessons), Saturday, March 7:  Old Choral Hall, University of Auckland, 7 Symonds St,  9am–4pm.
• World Premiere of “Pesta Babi” (The Pig Feast) documentary with Q&A – The Academy Cinema, Lorne St, CBD (below the Auckland Public Library), March 7, 6-8.30pm.
• Forum Day Two (solidarity development), Sunday, March 8: The Taro Patch, 9 Dunnotar Rd, Papatoetoe.
• Media Talanoa, Monday, March 9: “Kōrero with Victor Mambor: West Papua: Journalism as Resistance” – Whānau Community Centre and Hub, 165 Stoddard Rd, Mt Roskill (Next to Harvey Norman), 6-8pm.
• Further information: Catherine Delahunty, West Papua Action Tāmaki and West Papua Action Aotearoa. Tel: 021 2421967

This article was first published on Café Pacific.

A new documentary film on the devastating “ecocide” happening in West Papua will be screened at a weekend solidarity forum in Auckland Tāmaki Makaurau this weekend.

The 90m feature film, Pesta Babi (“The Pig Feast”) — Colonialism In Our Time, produced by award-winning Papuan journalist Victor Mambor and directed by Dandhy Dwi Laksono, tells a story about the impact of the Indonesian government and military on the lives of thousands of Papuans trying to protect their rainforests from destruction.

It also relates the plight of thousands of internal refugees in the Melanesian region.

The peaceful resistance of local communities is revealed in the documentary as they face up to 54,000 Indonesian troops and large corporate entities make big profits at the expense of an ancient culture.

Dorthea Wabiser of the environmental and human rights group Pusaka, will speak on the deforestation and displacement of communities in the south-eastern district of Merauke  where Indonesia is destroying 2.5 million ha of rainforest for palm oil, sugar cane, biodiesel, rice and other crops.

Military force is deployed to silence any dissent from communities.

Pesta Babi (The Pig Feast).                              Trailer: Jubi Media

Solidarity group hosts
The solidarity group West Papua Action Aotearoa with West Papua Action Tāmaki are hosting the two-day public forum on March 7 and 8 with the speakers from West Papua including environmental champions and filmmakers who operate in militarised zones at considerable risk to their personal safety.

Also, a media talanoa featuring Jubi Media founder Victor Mambor and others will be hosted by the Asia Pacific Media Network (APMN) at the Whānau Community Centre and Hub on March 9.

“The forum is an important event with a number of speakers and filmmakers from West Papua telling the hidden stories of the Indonesian occupation of their country,” said organiser Catherine Delahunty.

The climate impact of their destruction was incredibly serious as was the use of the military to enforce an end to traditional life, food sources, and forests, she said in a statement.

“These people are our Pacific neighbours with a devastating story to tell that our government and others across the world have chosen to ignore,” she said.

“They have a right to come here and to be heard despite the media bans in Indonesia and the desire of successive New Zealand governments to ignore structural genocide in our region.

NZ citizen kidnapped
“Only when a NZ citizen was kidnapped by Papuan soldiers did the government show any interest in West Papua, and this quickly faded once he was safely released thanks especially to West Papuan efforts.”

Other speakers at the forum include veteran activist and writer Maire Leadbeater, Green MP Teanau Tuiono, Hawai’an academic Dr Emalani Case, journalist and author Dr David Robie, Dr Arama Rata of Te Kuaka, and PNG academic Dr Nathan Rew.

• Forum Day One (public sessons), Saturday, March 7:  Old Choral Hall, University of Auckland, 7 Symonds St,  9am–4pm.
• World Premiere of “Pesta Babi” (The Pig Feast) documentary with Q&A – The Academy Cinema, Lorne St, CBD (below the Auckland Public Library), March 7, 6-8.30pm.
• Forum Day Two (solidarity development), Sunday, March 8: The Taro Patch, 9 Dunnotar Rd, Papatoetoe.
• Media Talanoa, Monday, March 9: “Kōrero with Victor Mambor: West Papua: Journalism as Resistance” – Whānau Community Centre and Hub, 165 Stoddard Rd, Mt Roskill (Next to Harvey Norman), 6-8pm.
• Further information: Catherine Delahunty, West Papua Action Tāmaki and West Papua Action Aotearoa. Tel: 021 2421967

Article by AsiaPacificReport.nz

A world premiere of a new documentary revealing the devastation of rainforest in the southeastern part of West Papua is one of two films being screened in Auckland next month.

Billed as “Sinéma Merdeka: Stories from West Papua”, the programme is showing the heart of a hidden Pacific conflict and will be presented live by celebrated Papuan journalist and Jubi News founder Victor Mambor.

The two films are “Pesta Babi — Colonialism in Our Time” and “Sa Punya Nama Pengungsi” (My name is Pengungsi).

“Pesta Babi” (The Pig Party), directed by Cypri Dale and Dandhy Laksono, is being premiered at the Academy Cinema, Auckland CBD, at 6pm on Saturday, March 7.

Filmed under siege and a draconian media ban, the filmmakers offer a rare and
urgent glimpse into indigenous life in Merauke, where Indonesian bulldozers have been systematically destroying their pristine rainforest home.

This film is co-produced by Jubi, Ekspedisi Indonesia Baru, Greenpeace, Yayasan Pusaka, and Watchdoc Documentary.

The second film, “Sa Punya Nama Pengungsi”, directed by Yuliana Lantipo is set against the backdrop of escalating government violence and the displacement of an estimated 100,000 Indigenous Melanesian people from their lands.

“My name is Pengungsi” is centred on the story of two Papuan children born in the midst of the conflict. Both are named “Pengungsi”, which in English means “Refugee”.

Films talanoa
The films will be followed by a Q&A/Talanoa with Mambor and fellow Australian-based West Papuan journalist Ronny Kareni and hosted by Dr David Robie, editor of Asia Pacific Report and deputy director of the Asia Pacific Media Network (APMN).

The twin-film festival is part of a weekend West Papua Solidarity Forum programme at the Auckland University Old Choral Hall, 7 Symonds Street, on Saturday, March 7, and on Sunday, March 8.

There will also be a public media seminar at the Whanau Community Centre and Hub featuring journalist and filmmaker Victor Mambor at 6pm, Monday, March 9, at the Taro Patch, Papatoetoe.

Organisers of the film screenings are West Papua Action Tāmaki Makaurau West Papua is the western half of New Guinea island and has been occupied by Indonesia since 1963. The independent state of Papua New Guinea is the eastern half.

Organisers of the film screenings are West Papua Action Tāmaki Makaurau. The group notes that more than 500,000 civilians have been killed in a slow genocide against the indigenous population, according to human rights agencies.

Basic human rights such as freedom of speech are denied and Papuans live in a constant state of fear and intimidation.

Foreign journalists have generally been barred entrance.

Traditional ways of life are under threat as huge tracts of rainforest are cut down to make
way for Indonesian palm oil and food estates, the world’s largest gold mine and ever-increasing transmigration from Indonesia, making Indigenous Papuans a minority in their own land.

Article by AsiaPacificReport.nz

SAMUEL L. JACKSON: And the Oscar goes to ‘No Other Land’.

AMY GOODMAN: The Palestinian-Israeli film No Other Land won for best documentary. The film follows the struggles of Palestinians in the occupied West Bank community of Masafer Yatta to stay on their land amidst violent attacks by Israeli settlers aimed at expelling them. The film was made by a team of Palestinian-Israeli filmmakers, including the Palestinian journalist Basel Adra, who lives in Masafer Yatta, and the Israeli journalist Yuval Abraham. 

Both filmmakers — Palestinian activist and journalist Basel Adra, who lives in Masafer Yatta, and Israeli journalist Yuval Abraham — spoke at the ceremony. Adra became the first Palestinian filmmaker to win an Oscar.

BASEL ADRA: Thank you to the Academy for the award. It’s such a big honor for the four of us and everybody who supported us for this documentary.

About two months ago, I became a father. And my hope to my daughter, that she will not have to live the same life I am living now, always fearing — always — always fearing settlers’ violence, home demolitions and forceful displacements that my community, Masafer Yatta, is living and facing every day under the Israeli occupation.

‘No Other Land’ reflects the harsh reality that we have been enduring for decades and still resist as we call on the world to take serious actions to stop the injustice and to stop the ethnic cleansing of Palestinian people.

YUVAL ABRAHAM: We made this — we made this film, Palestinians and Israelis, because together our voices are stronger.

We see each other — the atrocious destruction of Gaza and its people, which must end; the Israeli hostages brutally taken in the crime of October 7th, which must be freed.

When I look at Basel, I see my brother. But we are unequal. We live in a regime where I am free under civilian law and Basel is under military laws that destroy his life and he cannot control.

There is a different path: a political solution without ethnic supremacy, with national rights for both of our people. And I have to say, as I am here: The foreign policy in this country is helping to block this path.

And, you know, why? Can’t you see that we are intertwined, that my people can be truly safe if Basel’s people are truly free and safe? There is another way.

It’s not too late for life, for the living. There is no other way. Thank you.

Israeli and Palestinian documentary ‘No Other Land’ wins Oscar. Video: Democracy Now!

Article by AsiaPacificReport.nz

From being the headline to creating them, Moana Maniapoto has walked a rather rocky road of swinging between both sides of the media.

Known for her award-winning current affairs show Te Ao with Moana on Whakaata Māori, and the 1990s cover of Black Pearl, the lawyer-by-trade doesn’t keep her advocacy a secret.

Her first introduction to news was at the tail end of the 1980s when she was relaxed in the guest seat at Aotearoa Radio — Auckland’s first Māori radio station — but her kōrero hit a nerve.

“I said something the host considered radical,” she said.

“He quickly distanced the station from my remarks and that got the phones ringing.”

It became a race for listeners to punch numbers into the telephone, the first person to get through was New Zealand filmmaker, producer and writer Merata Mita, who ripped into the host.

“How dare you talk down to her like that,” Maniapoto recalled. The very next day she answered the call to host that show from then on.

No training, no worries
Aotearoa Radio was her first real job working four hours per day, spinning yarns five days a week — no training, no worries.

“Oh, they tried to get us to speak a bit flasher, but no one could be bothered. It was such a lot of fun, a great bunch of people working there. It was also nerve-wracking interviewing people like Erima Henare (NZ politician Peeni Henare’s father), but the one I still chuckle about the most was Winston Peters.”

She remembers challenging Peters over a comment he made about Māori in the media: “You’re going to have to apologise to your listeners, Moana. I never said that,” Peters pointed out.

They bickered in true journalist versus politician fashion — neither refused to budge, until Maniapoto revealed she had a word-for-word copy of his speech.

All Peters could do was watch Maniapoto attempt to hold in her laughter. A prompt ad break was only appropriate.

But the Winston-win wasn’t enough to stay in the gig.

“After two years, I was over it. It was tiring. Someone rang up live on air and threatened to kill me. It was a good excuse to resign.”

Although it wasn’t the end of the candlewick for Maniapoto, it took 30 years to string up an interview with Peters again.

Short-lived telly stints
In-between times she had short-lived telly stints including a year playing Dr Te Aniwa Ryan on Shortland Street, but it wasn’t for her. The singer-songwriter has also created documentaries with her partner Toby Mills, their daughter Manawanui Maniapoto-Mills a gunning young actress.

Maniapoto has featured on the cover of magazines, one in particular she remembers was Mana magazine in 1993.

“Sally Tagg photographed me in the shallow end of a Parnell Baths pool, wrapped in metres of blue curtain net, trying to act like it was completely normal,” she said.

Just 10 years ago she joined Mana Trust which runs the online Sunday mag E-Tangata, mentored by Gary Wilson (co-founder and co-editor) and print journalist Tapu Misa who taught her how to transfer her voice through computer keys.

“Whakaata Māori approached me in 2019, I was flattered, but music was my life and I felt wholly unequipped for journalism. Then again, I always love a challenge.”

Since jumping on board, Te Ao with Moana has completed six seasons and will “keep calm and carry on” for a seventh season come 17 February, 2025 — her son Kimiora Hikurangi Jackson the producer and “boss”.

It will be the last current affairs show to air on Whakaata Māori before moving the TV channel to web next year.

Advocating social justice
Her road of journalism and music is winding. Her music is the vehicle to advocating social justice which often landed her in the news rather than telling it.

“To me songwriting, documentaries, and current affairs are all about finding ways to convey a story or explore an issue or share insights. I think a strength I have are the relationships I’ve built through music — countless networks both here and overseas. Perfect for when we are wanting to deep dive into issues.”

Her inspiration for music grew from her dad, Nepia Tauri Maniapoto and his brothers. Maniapoto said it was “their thing” to entertain guests from the moment they walked into the dining room at Waitetoko Marae until kai was finished.

“It was Prince Tui Teka and the Platters. Great vocal harmonies. My father always had a uke, gat, and sax in the house,” she said.

Born in Invercargill and raised in Rotorua by her māmā Bernadette and pāpā Nepia, she was surrounded by her five siblings who some had a keen interest in kapa haka, although, the kapa-life was “too tough” for Maniapoto. Instead, nieces Puna Whakaata, Mourei, and Tiaria inheriting the “kapa” gene. Maniapoto said they’re exceptional and highly-competitive performers.

Blending her Ngāti Pikiao, Ngāti Tūwharetoa, and Tūhourangi whakapapa into song was no struggle.

The 1990s was filled with soul, R’n’B, and reggae, she said, singing in te reo was met with indifference if not hostility.

‘Labelled a radical’
“If you mixed in lyrics that were political in nature, you were labelled a ‘radical.’ I wasn’t the only one, but probably the ‘radical’ with the highest profile at the time.”

After her “rare” single Kua Makona in 1987, Moana & the Moahunters formed in the early 1990s, followed by Moana and the Tribe which is still going strong. Her sister Trina has a lovely singing voice and has been in Moana & The Tribe since it was formed, she said.

And just like her sixth television season, Maniapoto has just churned out her sixth album, Ono.

“I’m incredibly proud of it. So grateful to Paddy Free and Scotty Morrison for their skills. Looks pretty too on vinyl and CD, as well as digital. A cool Xmas present. Just saying.”

The microphone doesn’t seem to be losing power anytime soon. All albums adequately named one-to-six in te reo Māori, one can only punt on the next album name.

“It’s kinda weird now morphing back into the interviewee to promote my album release. I’m used to asking all the questions.”

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

Article by AsiaPacificReport.nz

Mariam Shahin has been making films about Gaza for more than 30 years.

She has also made many documentaries and short films for Al Jazeera English since it launched in 2006.

When she moved to Gaza in 2005, she felt a powerful sense of optimism following the Israeli withdrawal.

But by 2009, war had badly damaged its infrastructure, neighbourhoods, businesses and communities — and that optimism had evaporated.

Now, in the wake of the even more destructive war that began on 7 October 2023, Shahin seeks out the people she has met in Gaza over the years.

She reflects on the wasted potential and devastated lives after 16 years of blockade and a year of one of the most destructive wars in Middle East history.

Echoes of a Lost Gaza: 2005-2024.     Video: Al Jazeera

Article by AsiaPacificReport.nz

Asia Pacific Report

A new documentary and human rights report have documented savage attacks in 2021 by Indonesian security forces on a remote West Papuan village close to the Papua New Guinea border as part of an ongoing crackdown against growing calls for independence.

The documentary, Paradise Bombed, and the research report made public yesterday allege that six Papuan villagers were killed in the initial attacks, a further seven were killed later when fleeing to safety, and 284 people were recorded by witnesses to have died from starvation in the months since then.

The researchers also allege that the security forces used bombs and rockets fired by helicopters and drones in the Indonesian attacks.

An estimated 2000 people were forced to flee into the forest and have remained in bush camps ever since, fearful of returning to their homes.

“From 10 October 2021, there have been ongoing attacks on the Ngalum Kupel
community by the Indonesian National Armed Forces,” said the researchers, documentary filmmaker Kristo Langker, and Matthew Jamieson of the PNG Trust.

“The continued aggravated attacks by Indonesian military forces and apparent complicity of Indonesian authorities have profoundly impacted on the community [until] July 2023.

“The Ngalum Kupel people have evidence that the Indonesian National Armed
Forces are targeting the whole of the Ngalum Kupel community with modified Krusik
mortars and Thales FZ 68 rockets.”

Targeted villages
The military aerial attacks were reported to have targeted a series of villages which
are adjacent north and northwest of Kiwirok, the regional and administrative centre.
This includes the Kiwi Mission station.

Four community members of the Nek-speaking Ngalum Kupel ethnic tribe were eyewitnesses to the airborne rocket and bombing attacks on their villages around Kiwirok.

“They described a drone dropping bombs together with four or five helicopters firing rockets at houses, food gardens, pigs and chickens,” the report said.

The witnesses named the dead victims and the displaced survivors.

“The witnesses collected shrapnel and bombs from the initial series of attacks,
bringing this evidence to Tumolbil in PNG,” the report said.

“The shrapnel and bombs collected indicate that Thales FZ 68 rockets and modified Krusik mortars were used as the munitions in the military aerial attacks. The witness accounts detail the Indonesian military forces using a drone/UAV armed with modified Krusik mortars, Thales rocket FZ 68 weapon systems and military attack helicopters against an Indigenous community.”

The report authors concluded that the Indonesia National Armed Forces — which were
understood to be equipped with Airbus Fennec attack helicopters and Thales
rockets systems — were “likely responsible for the helicopter components of the attacks.”

Wenda praises researchers
United Liberation Movement for West Papua (ULMWP) president Benny Wenda has praised the researcher and documentary maker in a statement yesterday:

“These courageous filmmakers, Kristo Langker and friendlyjordies, have shown how bombs made in Serbia, France, and China were used to massacre my people. What happened in Kiwirok is happening across West Papua.

“We are murdered, tortured, and raped, and then our land is stolen for resource extraction and corporate profit when we flee.

“My heart was crying as I watched this documentary, as I was reminded of the Indonesian attack on my village in 1977. My early life was like the Kiwirok children shown in the film: my village was bombed, my family killed and brutalised, and we were forced to live in the bush for five years.

“The difference is that in 1977 no one was there with a camera to interview me — no one knows what happened to my mum, my aunt, my grandfather. But now we have video proof, and no one can deny the evidence of their own eyes.

“Aside from the number of Kiwirok people killed by Indonesian troops — ranging between 21 and 72 — witnesses from the village say that hundreds have died of starvation while living in the bush, where they lack food, water, and adequate medical supplies.

“Villagers attempting to return to Kiwirok have been attacked by Indonesian soldiers – shot at close range, with sniper rifles, and tortured. The names of Kiwirok residents are now added to the 60,000 — 100,000 who have been forcibly displaced by Indonesian militarisation since 2018.

“The international community knows this is a grave humanitarian crisis, and yet still refuses to act. Why?

“I want to alert all our diplomatic groups, the International Parliamentarians for West Papua (IPWP), the International Lawyers for West Papua (ILWP), and all West Papuan solidarity activists around the world. You must ask your governments to address this, to stop selling arms to Indonesia.

“I also want to thank Kristo Langker and friendlyjordies for making this important documentary, and to Matthew Jamieson for producing the report on the attack. You have borne witness to the hidden genocide of my people.

When we are finally independent, your names will be written in our history.”

There has been no immediate response by Indonesian authorities.

Article by AsiaPacificReport.nz

Palestine Solidarity Network Aotearoa (PSNA) congratulates New Zealand film director Jane Campion over her request for her 1989 debut film Sweetie to be withdrawn from apartheid Israel’s Jerusalem Film Festival.

The announcement was made by Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI) late last night.

We are delighted to have an esteemed New Zealand director join at least four other international film directors — from the Basque region in Spain, United Kingdom and the United States — in requesting their films be withdrawn from the festival which is partnered with the Israeli Ministry of Culture.

This is a moment of pride for Aotearoa New Zealand — similar to the pride felt when New Zealand entertainer Lorde cancelled a scheduled concert in Israel in 2018.

At a time when Palestinians are suffering immeasurably under the most fanatical, openly racist Israeli government ever, this solidarity action will be deeply appreciated by Palestinians everywhere.

These film directors are taking action where governments — New Zealand included — have failed morally and politically, again and again and again to hold Israel accountable for its crimes against the Palestinian people.

This is similar to the fight against apartheid in South Africa in the 1970s and 1980s when it was civil society organisations around the world, and in New Zealand, which led the anti-apartheid struggle outside South Africa while Western governments either colluded with the regime or looked the other way.

John Minto is national chair of the Palestine Solidarity Network Aotearoa.

The Sweetie trailer.

Article by AsiaPacificReport.nz

Seven weeks ago the Philippines truth-telling martial law film Katips was basking in the limelight in the country’s national FAMAS academy movie awards, winning best picture and a total of six other awards.

Last week it began a four month “world tour” of 10 countries starting in the Middle East followed by Aotearoa New Zealand today – hosted simultaneously at AUT South campus and in Wellington and Christchurch.

The screening of Vincent Tañada’s harrowing – especially the graphic torture scenes – yet also joyful and poignant musical drama touched a raw nerve among many in the audience who shared tears and their experiences of living in fear, or in hiding, during the hate-filled Marcos dictatorship.

The martial law denunciations, arbitrary arrests, desaparecidos (“disappeared”), brutal tortures and murders by state assassins in the 1970s made the McCarthy era red-baiting witchhunts in the US seem like Sunday School picnics.

Amnesty International says more than 3200 people were killed, 35,000 tortured and 70,000 detained during the martial law period.

Tañada has brushed off claims that the film has a political objective in an attempt to sabotage the leadership of the dictator’s son, Ferdinand Bongbong Marcos Jr, who won the presidency in a landslide victory in the May elections to return the Marcos family to the Malacañang.

He has insisted in many interviews — and he repeated this in a live exchange with the audiences in Auckland, Wellington and Christchurch — that the film is educational and his intention is to counter disinformation and to ensure history is remembered.

Telling youth about atrocities
Tañada, from one of the Philippines’ great political and legal families and grandson of former Senator Lorenzo Tañada, a celebrated human rights lawyer, says he wanted to tell the youth about the atrocities that happened during the imposition of martial law under Marcos.

He wanted to tell history to those who had forgotten and those who aren’t yet aware.

The Katips movie trailer.

“You know, as an artist it is also our objective not just to entertain people but more important than that, we are here to educate,” he says.

“We also want to educate the young people about the atrocities – the reality of martial law.

“History is slowly being forgotten. We have forgotten it during the last elections and I guess we also have the responsibility to educate and let the youth know what happened during those times.”

It is rare that such brutal torture scenes are seen on the big screen, and before the main screening at AUT the organisers — Banyuhay Aotearoa, Migrante Aotearoa and Auckland Philippine Solidarity — showed two shorts made by the University of the Philippines and Santo Tomas University of Manila featuring martial law survivors describing their horrifying treatment  during the Marcos years to contemporary students.

Some of the students broke down in tears while others, surprisingly, remained impassive, sometimes with an air of disbelief.

The film evolved from the 2016 stage musical Katips: Mga Bagong Katipunero – Katips: The New Freedom Fighters, which won Aliw Awards for best musical performance that year.

Freedom fighter love story
In a nutshell, Katips tells the love story of Greg, a medical student and leader of the National Unions of Students in the Philippines (NUSP), who with other freedom fighting protesters stage a demonstration against martial law on a mountainside called Mendiola.

His professor is abducted by the state Metropol police, murdered and his body dumped in a remote location.

The protesters begin a vigil and the police brutally suppress the protest and arrest and kidnap other freedom fighters. They are subjected to atrocious torture and their bodies dumped.

A safehouse branded “Katips House” takes in Lara, a New York actress and the daughter of the murdered professor who is visiting Manila but doesn’t yet know about the fate of her father. Lara and Greg form an unlikely relationship and their lives are thrown into upheaval when the safehouse “mother” Alet is abducted and tortured to death.

Greg and another protester, Ka Panyong, a writer for the underground newspaper Ang Bayan, are forced to flee into the jungle for the safety and become rebels. Both get shot while on the run, but manage to survive.

When Greg returns to Lara at the “Katips House” during the Edsa Revolution in 1986, he finds he has a son.

The film has a stirring end featuring the Bantayog ng mga Bayani, a memorial wall to the fallen heroes struggling against martial law– a fitting antidote to the Marcoses and their crass attempts to rewrite Philippine history.

Ironically, the same month that Katips was released in public cinemas, another film, the self-serving Maid of Malaçanang, was launched in a bid to perpetuate the Marcos myths.

Article by AsiaPacificReport.nz

It was at the end of a long day of walking back and forth over the dusty roads of Goroka town in the Highlands of Papua New Guinea that I first met Evelyn.

I’d spent the morning interviewing three inmates in the regional penitentiary, Bihute Prison, about their participation in the murder of three people who they believed had killed a relative.

That afternoon I interviewed a policeman and a government official about the increasing impact of sanguma — sorcery violence — on the people of the region.

Everyone I talked with agreed that sanguma was a serious issue. I ended each interview by asking the men, what can be done to quell the violence and halt the spread of this growing problem.

Not one of them was able to provide an answer. “The problem was simply too big” and “there are no resources to help”, they said. As I climbed into the back of a rust-filled Econovan, the wife of one of the officials who had lingered in the background during the last interview, rushed to hand me a piece of paper.

She handed over the torn note, saying: “You must find her.”

The note contained the hastily written name “Evelyn Kunda” and a phone number. By the time I climbed out of the Econovan, back in the centre of Goroka, I’d made contact and walked directly to the Catholic mission.

There I found Evelyn Kunda. She looked like many other women in Goroka, dressed in a Meri blouse –- a Mother Hubbard style dress. Her hair was deep back and densely curled.

Warmth and intelligence
She looked to be in her early 50s but life in the Highlands towns and villages can make it hard to tell. What struck me the most about her appearance was the warmth of her smile and the intelligence in her eyes.

I didn’t know why the official’s wife had to told me to find her, I struggled to find a place to start. I told Evelyn, that I was researching sanguma in the Highlands, and asked what she might know.

WILDFIRE from Paul Wolffram on Vimeo.

Kunda explained that she, along with other volunteers of the Catholic Church, worked to hide, rehabilitate, and eventually — where possible — relocate the survivors of sorcery accusation-related violence (SARV).

As trucks expelled oily exhaust fumes, pushing dust down the road behind us, she described how difficult and dangerous the work had become for her and other volunteers in Goroka.

“In one instance we were looking after a woman whose husband had beaten her. He wanted to kill her. I took her to my house. Then her husband wanted to kill us as well,” Kunda said.

For a time, the Catholic church provided Kunda with a house in their compound but that soon became problematic, and the women were asked to leave. Now Kunda runs an unofficial safe house hidden among the shanties on the outskirts of the town.

‘They’re traumatised’
Kunda does her best to provide for them, but she explains: “They often can’t talk with us, they find it very difficult to talk about what has happened, they’re traumatised”.

She provides them with a place to sleep, food from her tiny garden, and whatever she can afford from the markets and trade stores.

At the end of our interview, I posed the same question to Evelyn Kunda that I’d asked the officials earlier that day.

“What can we do to stop sorcery violence?” Kunda’s response was immediate and practical, “We do all we can with whatever we have. Solutions can’t be found by sitting on our hands.”

Her work is proof that she’s a woman of action.

The following year, in 2019, I visited Evelyn Kunda’s safe house. A small two-room dirt floored hut that she’d built with offcuts of timber, bush materials, and sheets of old corrugated iron.

At the time she had two women living with her. One had escaped a violent partner and the other had been beaten as an accused witch. Kunda is desperate for support.

Working on a film
We began working together on a film, with the aim of showing the extent of the impact of sanguma in the Highlands. I also wanted to show the world the incredible work Kunda is doing to resist the violence, rescue survivors, and educate others against gender and sorcery-based violence.

I was to return to Goroka in 2020 to complete the filming and to bring Evelyn Kunda back to New Zealand to work with us on the post-production but, like so many other plans, co covid-19 interrupted them.

The last two years have been more difficult than usual in the dusty frontier towns in the Highlands. As covid-19 swept through communities in Papua New Guinea and the morgue at Goroka hospital filled to overflowing, the amount of sorcery accusation-related violence rose too.

Local researcher Fiona Hukula said that there was a lack of clear communication about covid-19 available in PNG and significant amounts of disinformation. The National newspaper reported about a 45-year old woman and her daughter who were accused of sorcery and tortured by their relatives after her husband died of covid-19 in April last year.

Emma Dawson, Caritas Australia’s Pacific manager, described increasing domestic violence reports and sorcery accusation-related violence in July last year.

The violence occurs when a community blames a death or illness on sorcery. They identify a local man or woman as a witch and torture and kill them in shocking scenes of mob violence.

Earlier in 2021 a young boy died suddenly in the Highlands province of Hela. Within a few days a woman’s body was left by the side of the road. She’d been lynched and killed by her own community.

No cultural background
Ruth Kissam who works for a local NGO, the Tribal Foundation, told the ABC that violence like this didn’t have a cultural background, even in areas where belief in sorcery was traditional.

“Sorcery accusation-related violence picked up about 10 to 15 years ago. Culturally, there is a deep belief in sorcery in many parts of PNG but it was never violent.” Kissam said that this was a law-and-order problem.

Back in Goroka there were other instances where people were known to have died from covid-19 but the community and family refused to accept the diagnosis and in one case a woman was burnt with hot irons and thrown from a bridge. She survived, but her daughter and other family members were also targeted.

For Evelyn Kunda at the grasruts, running a safe house in a community where her presence and work are not always supported by landowners, life has become even more tenuous. Over the last two years I’ve maintained constant contact with her. At one time she had eight adults and children living in her tiny house.

Last week, Kunda was accosted by a group of women who beat her because of the work she does with the community’s most vulnerable.

Evelyn Kunda has no government support; she is not linked with any national or international NGO or aid organisation. She volunteers for this work out of compassion. Despite these difficulties, she is making a real difference to the lives of the women, men and children she houses and supports.

How long she will be able to continue this work is unknown.

Dr Paul Wolffram is a film maker and associate professor in the Film Programme at Te Herenga Waka. He has been working with communities in Papua New Guinea for more than 20 years.

Article by AsiaPacificReport.nz

By Antonio Sampaio in Dili

Filmmaker and journalist Max Stahl, 66, has died after almost 30 years capturing images of the Indonesian massacre at Santa Cruz cemetery in the Timor-Leste capital Dili, which helped accelerate the country’s struggle for independence.

By coincidence, he died on the same day in 1991 as Sebastião Gomes, the young man who was buried in Santa Cruz and whose death led to the protest that ended in the Santa Cruz Massacre.

More than 2000 people went to Santa Cruz to pay tribute to Gomes, who was killed by Indonesian-backed militia in the Motael neighborhood.

The atrocity by the Indonesian military was secretly filmed by Max Stahl and footage smuggled out of the country. International attention on East Timor dramatically changed as a result.

At the graveyard, the Indonesian military opened fire on the crowd, killing 74 people at the scene. Over the next few days, more than 120 young people died in hospital from their wounds or as a result of the crackdown by occupying forces.

Most bodies were never recovered.

Born on 6 December 1954 in the United Kingdom, journalist and documentary maker Christopher Wenner, better known as Max Stahl, began his ties to the country in 1991 when he managed to enter East Timor for the first time.

He became a Timorese citizen in 2019.

Hiding among the graves
On November 12, hiding among the graves of Santa Cruz cemetery, he filmed the massacre — one of many during the Indonesian occupation of the country. Images were circulated  around the world’s media and this changed history.

Decorated with the Order of Timor-Leste, the highest award given to foreign citizens in the country, the Rory Peck Prize for filmmakers, and several other rewards, Max Stahl leaves as a legacy the main archives of images from the last years of the Indonesian occupation of the country.

The Max Stahl Audiovisual Center in Timor-Lete (CAMSTL) contains thousands of hours of video documentary, including extended interviews with key actors in the Timorese struggle for independence.

The archive was adopted by UNESCO for the World Memory Register and has been used for teaching and research on Timor’s history under the framework of cooperation between the University of Coimbra, the National University of East Timor and CAMSTL.

The original 1991 Dili massacre footage by Max Stahl. Video: Journeyman Pictures

Stahl studied literature at the University of Oxford and he was a fluent speaker of several languages, including the two official languages of East Timor — Portuguese and Tetum.

He began his career writing for theatre and children’s television shows. However, he found his calling as a war correspondent when he lived with his family. At the time his father was ambassador to El Salvador where Stahl reported on the civil war between 1979 and 1992.

Stahl covered other conflicts such as those of Georgia, former Yugoslavia and East Timor (from 30 August 1991), where he arrived as a “tourist” at the invitation of resistance groups.

“The king is dead. With great sadness, I write to inform you that Max passed away this morning.”

— Max Stahl’s wife Dr Ingrid Brucens

Historic resistance leaders
Throughout his long ties to East Timor, where he lived until he had to travel recently to Australia for medical treatment, he interviewed historic resistance leaders such as Nino Konis Santa, David Alex and others.

Santa Cruz and the 12 November 1991 massacre made the name Max Stahl known internationally with his images exposing the barbarism of the Indonesian occupation.

In Portugal, the images made a special impact — both through the brutality of the violence portrayed and because the survivors gathered in the small chapel of Santa Cruz, praying in Portuguese while listening to the bullets being fired by the Indonesian military and police.

The 1999 referendum prompted Max Stahl to return to East Timor when he covered the violence before the referendum and after the announcement of independence victory. He also accompanied families on the flight to the mountains.

News of Max Stahl’s death on Wednesday at a Brisbane hospital quickly became the most commented subject on social media in East Timor, prompting condolences from several personalities during the struggle for independence.

In statements to Lusa news agency, former President José Ramos-Horta described Max Stahl’s death as a “great loss” to Timor-Leste and the world. He said it would cause “deep consternation and pain” to the Timorese people.

“Someone like Max, with a big heart, with a great dedication and love for East Timor … [has been] taken to another world,” he told Lusa.

Dr Ingrid Brucens, Max Stahl’s wife, and who was with him and the children in Brisbane, announced his death to friends.

“The king is dead. With great sadness, I write to inform you that Max passed away this morning,” she wrote in messages to friends.

Antonio Sampaio is the Lusa correspondent in Dili.

CAMSTL video tribute
This video below is the  CAMSTL team’s tribute to the memory of Stahl, who had dedicated 30 years of his life to the people of Timor-Leste. CAMSTL colleagues said on their Facebook page:

“The images and testimonies recorded by the journalist in the 1990s alerted the world to the serious human rights violations taking place in Timorese territory.

“From then on, the country’s independence restoration process gained momentum.

“Today, the journalist’s heroic trajectory ends on the earthly plane, but his legacy will continue to live on in the large archive created and directed by him, the Centro Audiovisual Max Stahl Timor-Leste.

“Dear Max. We will always be together with you in preserving the memory of the resistance struggle and the construction of the Timorese nation.

“We would like to thank Max’s friend José Ramos-Horta — Nobel Peace Prize and Former President of the Republic– for participating in this video.”

Article by AsiaPacificReport.nz

It was announced yesterday that Australian actress Rose Byrne will star as New Zealand Prime Minister Jacinda Ardern in an upcoming movie about the response to the Christchurch mosque terror attacks of 15 March 2019, titled They Are Us.

The movie will be directed by New Zealand’s Andrew Niccol. The movie’s focus is apparently going to be on the positive impact of a strong leader in the wake of tragedy.

Let’s take a moment to unpack that oversized baggage of white nonsense.

To be clear, this is the peak Karen of film announcements.

We are barely over two years on from one of the deadliest mass shootings in modern history.

The 51 people who were killed and the 40 who were wounded were specifically targeted for their Muslim faith. Those families are still traumatised and recovering from injuries, mourning and missing their loved ones.

They are still painfully experiencing firsts without their loved ones: first day of school, first grandchild being born, first jobs, university graduations and so much more. Their wounds have barely had time to scab over.

Witnesses fighting for ACC support
Uninjured witnesses to the horrific shootings are still fighting for support from the ACC for their mental injuries.

A survivor of the attacks, whose own father was killed that day, reported as recently as Friday that he encountered racist abuse outside his workplace, with no bystander intervention to help.

The Christchurch mosque attacks destroyed the lives of entire families and confirmed the worst fears of the Muslim community in New Zealand: that we aren’t safe anywhere. Not here. And certainly not if we’re Rohingya, not if we’re Uyghur, not if we’re Palestinian, not if we’re in our places of worship or even just crossing the street.

Somebody explain to 9-year-old Fayez Afzaal how to feel any other way as he recovers in a hospital in Ontario, the sole surviving member of his family after his parents, sister and grandmother were murdered by yet another white supremacist terrorist with Islamophobic views.

This attack in Canada happened just this week. You probably didn’t hear about it. Because white women like Rose Byrne and Jacinda Ardern will dominate the headlines while our communities are suffering.

This movie purports to centre a white woman character and her role in the aftermath of a heinous tragedy instead of focusing on the stories of the victims and survivors. It’s being directed by a white man. Hollywood will make money off this. Rose Byrne will be paid a pretty penny.

Remember that there were people in that mosque who literally put their bodies in the firing line and died to protect others, but apparently it’s the white saviour’s story that’s worth telling instead.

Where is the Muslim community?
Where is the Muslim community that was most impacted in this?

And I am not mollified by some “consultation with several members of the mosque”. I’m not naïve enough to believe the scope or depth of that consultation process would have been anywhere near adequate.

How is it okay for others to profit off our pain? How is it okay for Muslims to be de-centred from a story about their suffering? How can we celebrate this tragedy as something that was ultimately a triumph because someone got a pretty photo of Ardern in a hijab and it inspired some graffiti art and a light show in Dubai?

The banning of assault weapons, while important, did nothing to address the core issues of Islamophobia and racism festering in our societies under a thin façade of tolerance.

Similarly, this movie will achieve nothing for the community that was attacked either. It’s exploitative. It’s in bad taste.

USC Annenberg recently published a study on Muslim representation in popular film. It found that in popular films between 2017 – 2019, 181 of 200 films had no Muslim characters at all. Of the nearly 9000 characters in these films, only 1.6 percent of the speaking roles were Muslims.

Not only are we grossly under-represented, but when we’re represented at all it’s either as the victims or perpetrators of violence. And Muslim women are all but invisible on screen. The incredibly diverse ethnic backgrounds of Muslims are also erased in favour of the stereotypical portrayal of a Muslim as being either Middle Eastern or North African.

The film will focus the week following the 15 March Christchurch mosque attacks with Australian actrss Rose Byrne set to play New Zealand Prime Minister Jacinda Ardern, according to US media. Photo: RNZ / AFP

Can we have any confidence?
Given that, how can we have any confidence of this story being told with any sensitivity, nuance or even truthfulness?

If the Christchurch attacks are the subject of a movie, how can we be certain the violence won’t be glorified? That it won’t give hope to would-be attackers that their hateful actions would bring them the notoriety they seek?

That’s not to say we shouldn’t talk about the attacks, but there are at least 91 people I can think of who I would rather see as the subject of any such movie rather than our Prime Minister. Those 91 people and their families are mostly immigrants and refugees, of all ages, racial backgrounds, genders, working across so many industries. I promise you that any one of their stories would be more interesting, and worthy, of immortalising on film.

But Muslims also don’t want to be depicted only as the victims or aggressors of violence. Believe it or not, most of us can get through our entire lives without having thrown, or being on the receiving end, of a punch. We exist outside this context of tragedy too.

However, no one wants to know us on our terms. “They are us” plays nicely in a soft liberal speech, works well as a caption. What does it mean, in practical terms, if we can’t even be seen as the heroes of our own stories.

Saziah Bashir is a freelance journalist commenting on issues of social justice, race and gender. She completed an LLB, BCom and LLM from the University of Auckland. This article is republished under a community partnership agreement with RNZ.

• Prime Minister Jacinda Ardern’s office clarified that neither she nor the government have any involvement in the film.

Article by AsiaPacificReport.nz

Host Zoe Larsen Cumming had much to discuss on a new documentary, the exquisitely made Loimata – The Sweetest Tears, which was launched last Saturday to a full house at the ASB Waterfront Theatre as part of the international Whanau Marama film festival.

She asked Pacific Media Watch contributing editor Sri Krishnamurthi what made the documentary so special on today’s Pacific Media Centre – Southern Cross segment of Radio 95bFM’s The Wire.

The documentary is about a female master waka builder, navigator and sailor Lilo Ema Siope who was born in Taihape and spent her troubled growing-up years in South Auckland.

LISTEN: Southern Cross on the Pacific Media Centre’s Soundcloud

Abused she was, but she found her true calling on and in the waka.

It remains important to tell these stories of our Kiwi-born Pacific families who find a way to connect with their cultures and to bring richness in diversity to the New Zealand way of life.

What makes this documentary special are the bonds that develop between the Palagi film-making family of Anna and Jim Marbrook, a Pacific media Centre associate, and the Siope aiga who took the Marbrooks into their heart.

Also discussed on the radio programme was climate change and the dangers of relying on sustainable ecotourism,  and the dramatic rise in covid-19 cases in Papua New Guinea where cases have jumped by a record 23 to 62.

Article by AsiaPacificReport.nz

A Thousand Cuts, Ramona Diaz’s documentary on democracy and press freedom in the Philippines, has won the top prize at the 2020 Doc Edge Festival in New Zealand.

The winning films and filmmakers are listed on the festival’s website, with A Thousand Cuts named best international feature.

Other international award-winners include Far From Home by Felicia Taylor as best international short, and Paris Stalingrad directors Hind Meddeb and Thim Nacacche as best international directors.

READ MORE: Asia Pacific Report’s Rappler news file
WATCH: The end of democracy in the Philippines? AJ’s The Stream
READ MORE: Rappler challenges president’s ‘media powers’ in democracy fight back – David Robie

Doc Edge, is a documentary festival that is currently being held online due to the coronavirus pandemic.

Because Doc Edge is an Oscar-qualifying festival, winners of the top prizes, including A Thousand Cuts, qualify for consideration for the 93rd Academy Awards.

A Thousand Cuts follows Rappler chief executive and executive editor Maria Ressa and the news organisations’ reporters as they navigate the struggles of a free press in President Rodrigo Duterte’s government.

The film streamed for free in the Philippines on June 12, and was available for 24 hours. It also opened the Doc Edge festival and will be screened again on July 4.

Rappler has faced many legal battles since 2016, including a cyber libel case over an article published even before the cybercrime law took effect.

Ressa and former Rappler researcher Rey Santos were convicted of cyber libel on June 15.

Article by AsiaPacificReport.nz

ANALYSIS: By Ian Lowe of Griffith University

Documentary maker Michael Moore’s latest offering, Planet of the Humans, rightly argues that infinite growth on a finite planet is “suicide”. But the film’s bogus claims threaten to overshadow that message.

Planet of the Humans is directed and narrated by longtime Moore collaborator Jeff Gibbs. It makes particularly contentious claims about solar, wind and biomass (organic material which can be burnt for energy). Some claims are valid. Some are out of date, and some are just wrong.

The film triggered a storm after its free release on YouTube late last month. At the time of writing, it had been watched 6.5 million times.

READ MORE: Australia could fall apart under climate change. But there’s a way to avoid it

Climate sceptics here and abroad reacted with glee. Environmentalists say the film has caused untold damage when climate action has never been more urgent.

For 50 years, I have studied and written about energy supply and use, and its environmental consequences. So let’s take a look at how Planet of the Humans is flawed, and where it gets things right.

Where the film goes wrong
Critics have compiled a long list of questionable claims made in the film. I will examine three relating to renewable energy.

1. Solar panels take more energy to produce than they generate
It’s true that some energy is required to build solar panels. The same can be said of coal-fired power stations, oil refineries and gas pipelines.

But the claim that solar panels produce less energy than they generate in their lifetime has long been disproved. It would not be true even if, as the film says, solar panels converted just 8 percent of the energy they receive into electricity.

But that 8 percent figure is at least 20 years old. The solar panels now installed on more than two million Australian roofs typically operate at at 15-20 percent efficiency.

2. Renewables cannot replace fossil fuels
The film claims green energy is not replacing fossil fuels, and that coal plants cannot be replaced by renewables.

To disprove this claim we need look no further than Australia, where wind turbines and solar panels have significantly reduced our dependence on coal.

In South Australia, for example, the expansion of solar and wind has led to the closure of all coal-fired power stations.

The state now gets most of its power from solar and wind, exporting its surplus to Victoria when its old coal-fired power stations prove unreliable on hot summer days.

What’s more, a report released this week by the Australian Energy Market Operator (AEMO) said with the right regulations, renewables could at times supply 75 percent of electricity in the national electricity market by 2025.

3. Solar and wind need fossil fuel back-up
Some renewables systems use gas turbines to fill the gap when the wind isn’t blowing and the sun isn’t shining. However renewable energy storage is a cleaner option and is fast becoming cheaper and more widely used.

AEMO forecasts battery storage installations will rise from a low base today to reach 5.6 gigawatts by 2036–37. The costs of storage are also projected to fall faster than previously expected.

South Australia’s famous grid-scale Tesla battery is being expanded. And the New South Wales government’s pumped hydro plan shows how by 2040, the state could get 89 percent of its power from solar and wind, backed by pumped hydro storage.

In Australia on Easter Saturday this year, renewables supplied 50 percent of the national electricity market, which serves the vast majority of the population.

Countries such as New Zealand and Iceland essentially get all their power from renewables, backed up by storage (predominantly hydro).

And putting aside the federal government’s problematic Snowy 2.0 project, Australia could get all its energy from renewables with small-scale storage.

What does the film get right?
Planet of the Humans makes several entirely valid points. Here are a few:

1. We need to deal with population growth
The film observes that population growth is the elephant in the room when it comes to climate change. It says politicians are reluctant to talk about limits to population growth “because that would be bad for business”.

As one observer in the film says, the people in charge are not nervous enough. I agree.

An increasing population means increasing demand for energy and other resources, accelerating climate change.

2. Biomass energy does more harm than good
While the film unfairly criticises the environmental benefits of solar energy, it is true that some so-called clean technologies are not green at all.

As the film asserts, destroying forests for biomass energy does more harm than good – due to loss of habitat, damage to water systems, and the time taken for some forests to recover from the removal of wood.

Most advocates of cleaner energy systems recognise the limitations of biomass as an energy source.

3. Infinite growth on a finite planet is suicide
The film calculates the sum total of human demands on natural systems as about 1000 times what it was 200 years ago. It says there are 10 times as many people now, each using 100 times the resources, on average.

Experts have repeatedly warned that human demand for resources is damaging the natural systems that all life depends on.

For large parts of the world, the consequences could be catastrophic.

Get the message
Several other aspects of the film have been savaged by critics – not least its claims about emissions produced by electric cars, which had previously been debunked.

Personal attacks on two prominent US clean energy advocates, Bill McKibben and Al Gore, also detract from the film’s impact.

It is clear renewable energy has an important role to play in reducing greenhouse gas emissions and slowing climate change. But it will not solve the fundamental problem: that humans must live within Earth’s natural limits.

Those cheering the film’s criticism of renewables would do well to consider its overriding message.

Dr Ian Lowe is emeritus professor in the School of Science at Griffith University. This article is republished from The Conversation under a Creative Commons licence. Read the original article.

Article by AsiaPacificReport.nz