Lapita civilization
Lapita culture, common to all the peoples of Oceania, dates back to the beginning of the first millennium BC. According to the few archaeological sites excavated to date in Fiji, stylized pottery is a Lapita heritage. At the Fiji Museum, the gallery devoted to prehistory houses relics that attest to this. In the heart of Suva's Thurston Gardens, the museum traces the history of the islands right up to the present day.
Very early on in Oceania, notions of beauty and the sacred were intertwined. Clubs are one of the most telling examples. Used in ceremonies and dances, these sculptures in wood, stone or bone symbolize authority and prestige. They also provide a link with the gods and ancestors. Repainting a club or mask has the power to encourage dialogue with the beyond. Decorated with natural elements (shells, stones, sharks' teeth), each club is a unique piece. The chromatic palette is initially limited to natural dyes: red, black and ochre. Throughout the Pacific, red was the color of the divine and of power; white represented death. Later, with European contact, blue, green and yellow made their appearance.
Colonization
From the beginning of the 19th century, part of the production met export needs. For the Oceanians, accumulating goods showed the social importance of the individual. For this reason, objects were fashioned for barter with sailors who stopped off on the islands.
In the twentieth century, with the rise of tourism, creation took up the classic codes. Sometimes of questionable quality in the eyes of the natives, these works are welcomed in aboriginal art galleries the world over.
The anthropomorphic sculpture takes up the position of bent knees, symbolizing movement and thus life. As for the painted motifs, the artists have updated geometric abstraction, which appeals for its resolutely modern qualities.
Traditional art
The term "traditional art" covers all forms of production that predate contact with Western cultures. Very early on, women were responsible for the material heritage, particularly pottery, weaving, wood carving and body art. Men took on other tasks, such as canoe-making. In all creative disciplines, practicality and aesthetics go hand in hand.
Masi are decorated mulberry bark fabrics found throughout Polynesia. Strips of water-soaked bark are fused together to create a unique piece, which is then dyed, printed or painted by hand using natural dyes. The technique is handed down from mother to daughter. Masi are used for clothing and home decoration, as well as for family events.
Fijian pottery, introduced by the Lapita, has a distinctive style. The clay is shaped between wooden slabs and fired outdoors. Like masi, ceramics are both utilitarian and artistic, decorated with stylized motifs.
Wood engraving, originally used to embellish practical objects, continues to exist mainly to please visitors. A few pieces, however, are used for ceremonial purposes, such as the carved bowl known as a tanoa.
Cultural mix
Missionaries, the spread of Christianity and British codes, and the introduction of Indian culture all contributed to the diversification of creativity in Fiji.
One event provided a decisive platform on the art scene. The first women-only exhibition in the country's history, Vasu was held at the University of the South Pacific's Oceania Centre for Arts and Culture in Suva in September 2008. The work of 46 artists was presented, with the aim of empowering women in a highly patriarchal culture: dance and music, short films, pottery, sculpture and multimedia. At the heart of this aesthetic variety, pride in one's origins and the need for social cohesion dominated the themes. Among the artists present, Luisa Tora expressed in painting the need to control one's destiny; Margaret S Aull presented acrylics on masi mixing traditional motifs (masks, flowers) and a contemporary message; Ann Tarte painted on canvas women sporting traditional tattoos.
Self-taught painter Marita Brodie likes to vary styles and techniques: oil painting, watercolours, traditional scenes painted on leather. Her roots remain at the heart of her subjects. American-born Maria Rova has lived in Fiji since 1989. The founder of the CreatiVITI art center in Nadi, she paints using ancestral methods and contemporary subjects.
Current creations
The notion of arts and crafts has evolved with society. Woodcarving, dance, weaving and music continue to be part of everyday life in even the most remote villages. Some contemporary production is designed to convey an image of Fijian culture for the tourist trade. While their authenticity is questionable, these productions have the advantage of ensuring the survival of a traditional style and iconography.
Cultural heritage, a reflection of the past and the natural environment, continues to dominate contemporary creation. All disciplines enrich each other, as can be seen at the Fringe Festival held in February or March. Although discreet, the contemporary scene remains steeped in tradition. It is concentrated in Suva, where you'll find the National Gallery of Contemporary Arts - Fiji (Victoria Parade, Suva). An essential stop-off point for discovering living art in the South Pacific. The Fiji Arts Club also hosts annual exhibitions in the capital.
In the absence of major institutions, associations provide an essential platform for artists. The VAVA - Viti Association of Visual Artists - is the islands' leading creative network. When community life makes sense!
