Bloody Woman is bloody good writing. It moves between academic, journalistic and personal essay. I love that Lana moves back and forward across these genres: weaving, weaving – spinning the web, weaving the sparkling threads under our hands, back and forward across a number of spaces, pulling and holding the tensions, holding up the baskets of knowledge. Tusiata Avia This wayfinding set of essays, by acclaimed writer and critic Lana Lopesi, explores the overlap of being a woman and Sāmoan. Writing on ancestral ideas of womanhood appears alongside contemporary reflections on women's experiences and the Pacific. These essays lead into the messy and the sticky, the whispered conversations and the unspoken. As Lopesi writes, 'Bloody Woman has been scary to write... In putting words to my years of thinking, following the blood and revealing the evidence board in my mind, I am breaking a silence to try to understand something. It feels terrifying, but right.' These acts of self-revelation ultimately seek to open up new spaces, to acknowledge the narratives not yet written, and the voices to come.
While we may talk back to the empire, we can’t talk to each other. Te Moana-nui-a-Kiwa is the great ocean continent. While it is common to understand the ocean as something that divides land, for those Indigenous to the Pacific or the Moana, it was traditionally a connector and an ancestor. Imperialism in the Moana, however, created false divides between islands and separated their peoples. In this BWB Text, Lana Lopesi argues that globalising technologies and the adaptability of Moana peoples are now turning the ocean back into the unifying continent that it once was.
While we may talk back to the empire, we can’t talk to each other. Te Moana-nui-a-Kiwa is the great ocean continent. While it is common to understand the ocean as something that divides land, for those Indigenous to the Pacific or the Moana, it was traditionally a connector and an ancestor. Imperialism in the Moana, however, created false divides between islands and separated their peoples. In this BWB Text, Lana Lopesi argues that globalising technologies and the adaptability of Moana peoples are now turning the ocean back into the unifying continent that it once was.
Bloody Woman is bloody good writing. It moves between academic, journalistic and personal essay. I love that Lana moves back and forward across these genres: weaving, weaving – spinning the web, weaving the sparkling threads under our hands, back and forward across a number of spaces, pulling and holding the tensions, holding up the baskets of knowledge. Tusiata Avia This wayfinding set of essays, by acclaimed writer and critic Lana Lopesi, explores the overlap of being a woman and Sāmoan. Writing on ancestral ideas of womanhood appears alongside contemporary reflections on women's experiences and the Pacific. These essays lead into the messy and the sticky, the whispered conversations and the unspoken. As Lopesi writes, 'Bloody Woman has been scary to write... In putting words to my years of thinking, following the blood and revealing the evidence board in my mind, I am breaking a silence to try to understand something. It feels terrifying, but right.' These acts of self-revelation ultimately seek to open up new spaces, to acknowledge the narratives not yet written, and the voices to come.
About walking is a series of performative and participatory walks that travel across Auckland with Te Hau ā Uru - the West Wind. The walks are artworks - guided experiences leading audiences and participants across Auckland - created by twelve artists and one writer: Rodney Bell, Suzanne Cowan, Vanessa Crofskey, Christina Houghton, Melissa Laing, Jeremy Leatinu'u, Lana Lopesi, Andrew McMillan, Richard Orjis, val smith, Pīta Turei, Layne Waerea and Becca Wood. About walking maps cartographies outside the everyday routes of transport. Its walks-as-artworks follow stories, pathways of the imagination and the senses, awa (rivers) and maunga (volcanic hills), uncovering the hidden trajectories of our urban and bush terrain."--Te Uru Waitākere Contemporary Gallery website (accessed 24/02/2021).
In an era when women were often silenced and sidelined, artist Jacqueline Fahey’s voice was distinctive and unapologetic. Speaking up is important, but saying something worthwhile matters too. Arts Foundation Icon Jacqueline Fahey was one of the first New Zealand artists to paint from a feminist perspective. In this book, her psychologically charged domestic paintings of the 1970s, in which she unflinchingly surveyed her own private reality, are revisited by contemporary feminist authors. At once familiar and unsettling, these paintings overflow with love, loss, conflict and quiet despair, and bristle with all the intensity of domestic life."--Publisher description.
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