Relevant bibliographies by topics / Contemporary indigenous poetry

Academic literature on the topic 'Contemporary indigenous poetry'

Author: Grafiati
Published: 23 September 2022
Last updated: 28 January 2023

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Journal articles on the topic "Contemporary indigenous poetry"

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Bosi, Viviana. "BRAZILIAN CONTEMPORARY POETRY: AN OVERVIEW." Revista Brasileira de Literatura Comparada 22, no. 41 (December 2020): 46–57. http://dx.doi.org/10.1590/2596-304x20202241vb.

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Abstract: Although it may seem an impossible task to offer a panorama of contemporary Brazilian poetry, we will discuss a selection of poets who possibly epitomize the most significant current trends. We start with a brief presentation of four well-regarded authors whose works represent major poetic currents: Augusto de Campos, Francisco Alvim, Armando Freitas Filho and Adélia Prado. We then comment on excerpts from a few important younger poets, whose works embrace several different tones and styles, from indigenous symbolic mythology to crude or ironic testimonials of life in the big city, from melodious lyrical intimacy to a more social perspective. For the second part of this article, we have chosen Paulo Henriques Britto, Josely Vianna Baptista, Ricardo Aleixo, Carlito Azevedo, Eucanaã Ferraz and Ana Martins Marques. We hope this preliminary selection may awaken the interest of future readers to the enormous variety and richness of Brazilian poetry.
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Park, James. "Ethnogenesis or Neo Indigenous Intelligentsia: Contemporary Mapuche-Huilliche Poetry." Latin American Research Review 42, no. 3 (2007): 15–42. http://dx.doi.org/10.1353/lar.2007.0043.

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Sotunsa, Mobolanle Ebunoluwa. "Exploiting Resources of Yorùbá Drum Poetry for Contemporary Global Relevance." Matatu 40, no. 1 (December 1, 2012): 401–10. http://dx.doi.org/10.1163/18757421-040001026.

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Yorùbá drum poetry has to date enjoyed an indigenous monopoly. However, its attributes as a unique cultural asset of Africans need to be further exploited for greater relevance to the sophistication and demands of the contemporary age. This essay contends that the resources of Yorùbá drum poetry are currently grossly under-utilized; it further asserts that for any art to thrive it must remain dynamic. Suggestions are therefore made concerning various current uses to which the valued resources of Yorùbá drum poetry can be put in order to achieve global relevance. Highlighted here are various means by which the mass media, the advertising and music industries, the government, NGOs, and international organizations can benefit from a more aggressive exploitation of the resources of drum poetry.
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Ogundipe, Stephen Toyin. "The Transition from Yorùbá Metaphysics to Islamic Aesthetics in Ọláńrewájú Adépọ̀jù’s Poetry." Yoruba Studies Review 2, no. 2 (December 21, 2021): 1–23. http://dx.doi.org/10.32473/ysr.v2i2.129909.

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This paper explores the poetry of Ọlánrewájú Ade ́ ṕ ọ̀jù, a major contemporary Yorùbá poet, based in Ibadan, southwestern Nigeria. Much of the scholarship on the poet focuses purely on his sociopolitical interest, but the development of his craft has been largely ignored. This paper examines peculiar features of Adépọ̀jù’s poetry based on its fusion of Yorùbá cultural and Islamic religious values with the view to theoretically characterizing his practice. It draws on purposefully selected, recorded audio poetic compositions of Adeṕ ọ̀jù produced between 1974 and 2012 in order to yield a comprehensive view of his poetics. It employs hybridity, an aspect of postcolonial theory advanced by Homi Bhabha, as a theoretical framework to analyze the texts. The essay reveals that Adépọ̀jù’s poetry grows from the simple narration of the Yorùba traditional worldview, identity, and ́ òri ̀ṣa pantheon to become an instrument of radical Islamic ideology. It concludes that the integration of the indigenous and the Islamic cultural values in the work of Adeṕ ọ̀jù results in a unique poetic idiom in Yorùbá poetry.
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Okuyade, Ogaga. "Aesthetic Metamorphosis Oral Rhetoric in the Poetry of Tanure Ojaide." Matatu 40, no. 1 (December 1, 2012): 33–50. http://dx.doi.org/10.1163/18757421-040001003.

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The writer's imaginative craft is usually inspired and shaped by the environment s/he hails from. This in turn gives room for constant communication between the creative mind and the immediate physical social world; the environment becomes a determinant of the writer's experiences. The influence of the Urhobo oral tradition on the poetic corpus of Tanure Ojaide is remarkable. The poet's cultural background occupies a looming space in his choices of generic style. Close examination of Ojaide's poetry reveals the exploration and appropriation of the orature of the Urhobo people, which ranges from myth, folksongs, proverbs, riddles, indigenous rhythms to folktales. Ojaide deploys orature to criticize contemporary ills as well as to locate solutions for Nigeria's socio-economic problems. The aim of this essay is essentially to demonstrate that orality accounts for the distinctiveness of Ojaide's writing. Also interrogate is the mingling of the oral and written in Ojaide's art. This approach will, it is hoped, open up what has been a restricted economy, through the inscribing of orature as a cardinal and integral constituent of the poet's art.
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Estrada, Vivian Jiménez. "Contemporary Expressions of Maya Indigenous Knowledge: Politics and Poetry in Ixim Ulew." Diálogo 19, no. 1 (2016): 89–103. http://dx.doi.org/10.1353/dlg.2016.0035.

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Perez, Craig Santos. "The Chamorro Creation Story, Guam Land Struggles, and Contemporary Poetry." English Language Notes 58, no. 1 (April 1, 2020): 9–20. http://dx.doi.org/10.1215/00138282-8237377.

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Abstract This essay focuses on the creation story of the Indigenous Chamorro people from the western Pacific Island of Guam. The essay presents and analyzes the deeper meaning of the story of Puntan and Fu’una as they birth the island of Guam and the Chamorro people. Moreover, it maps the history of Catholic missionization that displaced and replaced the Chamorro creation story. The essay covers the related issue of how colonization removed Chamorros from their ancestral lands and appropriated these lands for imperial, military, tourism, and urban development. Then it highlights the decades-long struggle of Chamorro activists to reclaim the land. Lastly, it turns to contemporary Chamorro poetry to illustrate how authors have revitalized and retold the story of Puntan and Fu’una to critique and protest the degradation of Chamorro lands and to advocate for the protection and return of the land.
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Dickie, June. "Using Features of Indigenous Poetry and Music in the Oral Performance of Some Praise Psalms in Isizulu." Journal of Translation 13, no. 1 (2017): 1–10. http://dx.doi.org/10.54395/jot-v622c.

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Translation needs to be accessible and acceptable to the receptor community. In the case of the Zulu people, the medium of communication most accessible to the majority is oral performance. Thus biblical text needs to be translated in a way that is prepared for the ear and not the eye. To be acceptable, the translation should sound like “my language,” using indigenous forms and contemporary vocabulary. When translating biblical psalms into isiZulu, they should sound like Zulu songs or poems, with all the richness of performance texture that is part of the long history of Zulu oral art. With this goal in mind, and given the tradition of Zulu praise poetry and the passion Zulu youth today have for poetry, a study was conducted in which young Zulu people, taking cognizance of their Zulu traditions in poetry and music, applied these to the translation and performance of some biblical praise psalms. The results show the value of focusing on orality, indigenous poetics, and performance in communicating effectively the message of some praise psalms.
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Washburn, Kathleen. "New Indians and Indigenous Archives." PMLA/Publications of the Modern Language Association of America 127, no. 2 (March 2012): 380–84. http://dx.doi.org/10.1632/pmla.2012.127.2.380.

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Native americans have long been the missing subjects of american literature, either excised from narratives of nation through colonial erasure or limited to the discourse of the “vanishing Indian.” Such marginalization is no longer the case, or at least not to the same extent, particularly for literary studies of national, transnational, and hemispheric constructions of race and citizenship. As critics from Vine Deloria to Linda Tuhiwai Smith and Craig Womack have demonstrated, a wide range of indigenous practices and forms of knowledge must be reclaimed within academic forms of inquiry, representation, and circulation. One strategy for Native American literary studies has been to expand notions of text to include winter counts, wampum, and other forms of material culture. Even with a narrower definition of text, however, the current archive of American Indian literature encompasses such diverse works as early songs and oratory, nineteenth-century poems in Ojibwe and English by Jane Johnston Schoolcraft, a range of boarding school narratives, contemporary graphic novels, and the amplified (digital) poetry of Brandy Nalani McDougall and Craig Santos Perez.
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Dr. Muhammad Saleem and Dr. Syeda Bano. "دراسة فنيّة لشعر معروف الرّصافي." Al Basirah 10, no. 02 (February 5, 2022): 43–54. http://dx.doi.org/10.52015/albasirah.v10i02.51.

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Ma’rūf bin Abdul al-Ghanī al-Russāfi was a great Arabic poet and writer. As a great advocate of freedom he opposed his contemporary rulers of Irāq. He was known as a poet of freedom. After serving at various indigenous Educational Institutions, he started work as lecture at the Royal College Istanbul as lecturer, after the fall of the Ottoman Empire, he left Istanbul and travelled to Syria as the British authorities in Irāq. He settled in Damascus for one year. He returned to Irāq and started a newspaper: Al-Amal. He joined the committee for translation as its vice chairman. He became an inspector in the directorate of Education. He became a professor at Higher Teachers institution in end of third decade of nineteenth century. Ma'rūf Al-Rassāfī served his country as a social worker. He was acquainted with western literature through translation and his writing career while he was in Istanbul. He wrote poetry in four chapters and this article is about his poetry entitled: An artistic study of the poetry of Maruf Al-Rasafi . His Arabic poetry is full of elements of rhetoric, as he uses similes metaphors, illusions, hints and other rhetorical phenomena. His Arabic poetry is full with new trends especially social and political trends. We tried to elaborate these trends with examples from his poetry. He uses new vocabulary style and terms in his poetry, we have tried our best to present all these elements from his Arabic poetry in this article. We have tried to present its contribution to Arabic poetry in Modern period. We tried to present its status among its contemporary scholars. The article describes a best collection of his rhetorical phenomena in his Arabic poetry. Keywords: Rhetoric, Poetry, Trends, Social Values, Irāq, Maruf Rusāfī.
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Dissertations / Theses on the topic "Contemporary indigenous poetry"

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Fan, Xing. "A crossing of waters : a dialogical study of contemporary indigenous women's poetry : portfolio consisting of creative work and dissertation." Thesis, University of Macau, 2011. http://umaclib3.umac.mo/record=b2456341.

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Cuadrado-Femandez, Antonio. "Making 'Sense' : Reading Textual Space in the Contemporary; Anglophone Poetry of 3 South African, Palestinian and Indigenous Australian Writers." Thesis, University of East Anglia, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.520421.

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Papa, Stephanie. "Les poétiques cinétiques de Sherwin Bitsui, Natalie Diaz, Allison Adelle Hedge Coke et Layli Long Soldier." Thesis, Paris 13, 2021. http://www.theses.fr/2021PA131055.

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Cette thèse présente des lectures approfondies de quatre poètes de nations autochtones d'Amérique du Nord -Sherwin Bitsui, Natalie Diaz, Allison Adelle Hedge Coke et Layli Long Soldier - pour aborder les techniques du mouvement dans la poésie, que j'appelle la poétique cinétique, et qui sont évoquées dans deux voies principales : d'une part à travers les représentations textuelles et d'autre part à travers leur gesticulation au-delà du langage, vers la relation entre les corps humains et les non-humains. Comment ces effets cinétiques - translinguisme, iconicité, linéation, ponctuation, forme, prosopopée - parviennent-ils à des modes alternatifs d'approche et de réception de la poésie aujourd'hui ? Comment la notion du temps de chaque poète contribue-t-elle à ses représentations cinétiques d’un continuum linguistique et somatique ? Comment ces nuances cinétiques nous demandent-elles de reconsidérer notre perception de l'extractivisme colonial et de son inséparabilité face aux bouleversements écologiques, affectant en particulier les communautés autochtones, et les manières dont nous sommes complices ? Les questions linguistiques que ces poètes représentent textuellement sont aussi des questions sur nos corps : nos interactions physiques entre nous et également avec la terre et l’eau. Le langage fournit un « lieu de sortie », vers des réalités somatiques décentrées à la première personne, et en relation avec un polychronographique dans le présent. Cette attention somatique et translinguale marque une sphère distincte dans la poésie contemporaine; la complexité de ces effets est souvent négligée, malgré leurs contributions à la littérature contemporaine
This thesis presents close readings of four poets of indigenous nations in North America—Sherwin Bitsui, Natalie Diaz, Allison Adelle Hedge Coke, and Layli Long Soldier—to address techniques of movement in poetry, which I call kinetic poetics, and which are evoked in two main ways: firstly through textual representations and secondly through their gesticulation beyond language, towards the relationship between human bodies and thenon-humans, waterways in particular. How do these kinetics effects—translingualism, iconicity, sound symbolism, lineation, punctuation, form, prosopopoeia—achieve alternative modes of approaching and receiving poetry today? How does each poet’s notion of time contribute to their kinetic representations of a linguistic and/or somatic continuum? More specifically, how do these kinetic nuances ask us to reconsider our perception of colonialextractivism and its inseparability from ecological disruption, affecting indigenous communities in particular, and the ways in which we are complicit? The linguistic questions these poets textually represent are inevitably questions about our bodies, our physical interactions with one another, and with our lands and waters. Language provides a“place of exiting”, or “a place of moving out” (Bitsui, “The Song Within”), towards somatic realities which are decentered from the self, and in relation to a polychronographic present. This somatic and translingual focus marks a distinct space in contemporary poetry, and the complexity of these effects is often overlooked, despite their contributions to contemporary literature at large
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Books on the topic "Contemporary indigenous poetry"

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(Editor), Carlos Montemayor, Donald Frischmann (Editor), and George O., Jr. Jackson (Photographer), eds. Words of the True Peoples/Palabras de los Seres Verdaderos: Anthology of Contemporary Mexican Indigenous-Language Writers: Volume Two/Tomo Dos: Poetry/Poesía ... Latin American and Latino Art and Culture). University of Texas Press, 2005.

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Montemayor, Carlos, Donald Frischmann, and George O. Jackson. Words of the True Peoples/Palabras de Los Seres Verdaderos : Anthology of Contemporary Mexican Indigenous-Language Writers/Antología de Escritores Actuales en Lenguas Indígenas de México : Volume Two/Tomo Dos: Poetry/Poesía. de Gruyter GmbH, Walter, 2011.

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Hsy, Jonathan. Antiracist Medievalisms. Bloomsbury Publishing Plc, 2021. http://dx.doi.org/10.5040/9781641899611.

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How do marginalized communities across the globe use the medieval past to combat racism, educate the public, and create a just world? Jonathan Hsy advances urgent academic and public conversations about race and appropriations of the medieval past in popular culture and the arts. Examining poetry, fiction, journalism, and performances, Hsy shows how cultural icons such as Frederick Douglass, Wong Chin Foo, Alice Dunbar-Nelson, and Sui Sin Far reinvented medieval traditions to promote social change. Contemporary Asian, Black, Indigenous, Latinx, and multiracial artists embrace diverse pasts to build better futures. “Makes the crucial move of tying medievalism studies readings to social and racial justice work explicitly … innovative and greatly needed in the field.” Seeta Chaganti, author of Strange Footing “A major accomplishment that belongs on the shelves of every person who believes in antiracism.” Geraldine Heng, author of The Invention of Race in the European Middle Ages
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Chao, Sophie, Karin Bolender, and Eben Kirksey, eds. The Promise of Multispecies Justice. Duke University Press, 2022. http://dx.doi.org/10.1215/9781478023524.

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What are the possibilities for multispecies justice? How do social justice struggles intersect with the lives of animals, plants, and other creatures? Leading thinkers in anthropology, geography, philosophy, speculative fiction, poetry, and contemporary art answer these questions from diverse grounded locations. In America, Indigenous peoples and prisoners are decolonizing multispecies relations in unceded territory and carceral landscapes. Small justices are emerging in Tanzanian markets, near banana plantations in the Philippines, and in abandoned buildings of Azerbaijan as people navigate relations with feral dogs, weeds, rats, and pesticides. Conflicts over rights of nature are intensifying in Colombia’s Amazon. Specters of justice are emerging in India, while children in Micronesia memorialize extinct bird species. Engaging with ideas about environmental justice, restorative justice, and other species of justice, The Promise of Multispecies Justice holds open the possibility of flourishing in multispecies worlds, present and to come. Contributors. Karin Bolender, Sophie Chao, M. L. Clark, Radhika Govindrajan, Zsuzsanna Dominika Ihar, Noriko Ishiyama, Eben Kirksey, Elizabeth Lara, Jia Hui Lee, Kristina Lyons, Michael Marder, Alyssa Paredes, Craig Santos Perez, Kim TallBear
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Tierney, Matt. Dismantlings. Cornell University Press, 2019. http://dx.doi.org/10.7591/cornell/9781501746413.001.0001.

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“For the master's tools,” the poet Audre Lorde wrote, “will never dismantle the master's house.” This book is a study of literary, political, and philosophical critiques of the utopian claims about technology in the Long Seventies, the decade and a half before 1980. Following Alice Hilton's 1963 admonition that the coming years would bring humanity to a crossroads, the book explores wide-ranging ideas from science fiction, avant-garde literatures, feminist and anti-racist activism, and indigenous eco-philosophy that may yet challenge machines of war, control, and oppression. It opposes the language of technological idealism with radical thought of the Long Seventies. This counter-lexicon retrieves seven terms for the contemporary critique of technology: Luddism, a verbal and material combat against exploitative machines; communion, a kind of togetherness that stands apart from communication networks; cyberculture, a historical conjunction of automation with racist and militarist machines; distortion, a transformative mode of reading and writing; revolutionary suicide, a willful submission to the risk of political engagement; liberation technology, a synthesis of appropriate technology and liberation theology; and thanatopography, a mapping of planetary technological ethics after Auschwitz and Hiroshima. The book restores revolutionary language of the radical Long Seventies for reuse in the digital present against emergent technologies of exploitation, subjugation, and death.
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Book chapters on the topic "Contemporary indigenous poetry"

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Rader, Dean. "Contemporary Indigenous American Poetry." In The Cambridge History of Native American Literature, 395–412. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781108699419.022.

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Frischmann, Donald. "Spirit-Matter-Word Contemporary Mexican Indigenous Poetry." In Words of the True Peoples/Palabras de los Seres Verdaderos: Anthology of Contemporary Mexican Indigenous-Language Writers/Antología de Escritores Actuales en Lenguas Indígenas de México, 20–30. University of Texas Press, 2005. http://dx.doi.org/10.7560/706767-007.

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Teuton, Sean. "7. Indigenous futurity." In Native American Literature, 101–18. Oxford University Press, 2018. http://dx.doi.org/10.1093/actrade/9780199944521.003.0007.

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‘Indigenous futurity’ considers how indigenous revivals might be viewed as expressions of “futurity,” operating in resistance to those assumptions that consign Native American peoples and lifeways to the past. It discusses a range of Native American poetry and theatre, including the work of Simon Ortiz, Jane Johnston Schoolcraft, John Rollin Ridge, E. Pauline Johnson, Laura Tohe, and Joy Harjo. Whatever the form, contemporary Native poets look to oral literature and its long-held understanding of language as a source of change. Such poetry not only frees Native American voices, but confirms a spiritual awareness of ancestral land and community. Native American writers in all genres express an Indigenous world in all its complexity.
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Montemayor, Carlos. "Poetry in Mexican Indigenous Languages." In Words of the True Peoples/Palabras de los Seres Verdaderos: Anthology of Contemporary Mexican Indigenous-Language Writers/Antología de Escritores Actuales en Lenguas Indígenas de México, 1–10. University of Texas Press, 2005. http://dx.doi.org/10.7560/706767-005.

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Perez, Craig Santos. "“Thank God for the Maladjusted”." In Oceanic Archives, Indigenous Epistemologies, and Transpacific American Studies, 93–107. Hong Kong University Press, 2019. http://dx.doi.org/10.5790/hongkong/9789888455775.003.0005.

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This chapter discusses the colonial history of Guam, its current status as an "unincorporated territory" of the United States, and the ongoing militarization of the island. Perez argues that the decolonization movement on Guam is deeply invested in self-determination and environment justice, and he focuses on how decolonial politics are articulation through an archive and contemporary expression of Chamorro poetry.
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Garcia, Edgar. "Aesthetic Poison." In The Question of the Aesthetic, 159–69. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192844859.003.0008.

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Abstract Chapter 7 considers how the material histories of colonialism and capitalism lurk in the materials of painting—materials which are often both literally and figuratively toxic. Focusing especially on the politics and poetics of gold paint, this chapter distills a colonial history in the practices of contemporary painting in the Americas (especially in relation to Garcia’s own painting and his collaboration with visual artist Eamon Ore-Giron). Still, not satisfied with merely letting gold connote colonial legacies, the chapter then turns to non-European, indigenous American conceptions of gold and goldwork to reframe the material histories of gold paint in the Americas in emancipatory and even therapeutic uses. This indigenous inflection helps to highlight colonial legacies in the Americas, while also looking past such legacies of toxicity, seeing how forms of gold in the Americas turn poison and pollution into painting and poetry.
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DiPietro, Pedro J. "Hallucinating Knowing." In Theories of the Flesh, 220–36. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190062965.003.0014.

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Through ancestral and submerged sensual repertoires, through healing practices, spoken word poetry, and other forms of psychic praxis, Latina and Xicana feminist theorizing resists the westernizing idioms of cognitive impairment. This chapter examines the ways that the coloniality of gender—as an injunction to inhabit heterosexualist, human-centered, notions of sanity—exclude Latina and Xicana experience and knowledge from the realm of cognitive accuracy. It suggests that heterosexualism creates conditions for hallucinations to arise within Latinx communities. Specifically, it explores healing traditions several centuries long as they shape contemporary Latina and Xicana theories and their ties to hallucinating perception. Positing that hallucinating knowing carries the healing properties of spiritual practices among mixed-race indigenous-Latinx peoples, this chapter gathers evidence of gender-nonconforming subjectivities and the more-than-human remedies that they concoct in their negotiation of perceptual repertoires. More-than-human knowing ultimately illustrates the role of perceptual cross-referencing, or transitioning, between tangible and intangible domains.
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Conference papers on the topic "Contemporary indigenous poetry"

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Faumuina, Cecelia. "'Asi - The presence of the unseen." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.110.

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This paper considers an indigenous, methodological framework developed for my doctoral thesis, ‘Asi: The Presence of the Unseen. Defined as ‘Ngatu’ the framework employs the heliaki (metaphor) of women’s collective crafting of indigenous fabric, to structure an artistic research project. Ngatu is cloth made from the bark of the paper mulberry tree. Used for floor mats, bedding, clothing and room dividers it is also often given as a gift at weddings, funerals and formal presentations. Ngatu is considered one of Oceania’s distinctive art forms and processes. Within the study, the position of the researcher is both a creator of artistic work and a reflector on the experience and practices of other collaborators. The Ngatu framework enables a practice-led inquiry that is underpinned by indigenous principles: uouongataha (the pursuit of harmony), mālie/māfana (warmth and beauty) and anga fakatōkilalo (being open to learning). Guided by these values, the methodology employs five distinct phases: TŌ (gestation) TĀ (harvesting knowledge) NGAOHI / TUTU (preparing and expanding ideas) HOKO/KOKA’ANGA (harmonious composition), and FOAKI (presentation). The Ngatu methodology may be seen in the light of a significant discussion in 2019, where a gathering of Oceanic scholars considered a proliferation of Indigenous models of inquiry that had been developed by Pacific researchers outside of conventional Western research paradigms. Although much of the discussion focused on research emanating from Health and the Social Sciences, the use of heliaki to describe methodological approaches to artistic inquiry also has a discernible history in doctoral theses in Aotearoa/New Zealand (Pouwhare, 2020; Toluta’u, 2015; Tupou, 2018; Vea, 2015). The Ngatu methodological framework was applied to the question, “What occurs when young Oceanic people work together artistically in a group, drawing on values from their cultural heritage to create meaningful faiva (artistic performances)?” In posing this question, the thesis sought to understand how, ‘asi (the spirit of the unseen), might operate as an empowering agency for endeavour and belonging. As such, the study proposed that ‘asi which is conventionally identified at the peak of artistic performance, might be also discernible before and after such an event, and resource the energy of artistic practice as a whole. The Ngatu methodology was applied to two bodies of work. The first was a co-created project called Lila. This was developed by a team of secondary school students who produced a contemporary faiva for presentation in 2019. This case study was used in conjunction with interviews from contemporary Oceanic youth leaders, reflecting on the nature and agency of ‘asi, as it appears in their artistic workshops with young people. The second work was a performance called FAIVA | FAI VĀ. This was the researcher’s artistic response to the witnessed nature of ‘asi. The performance integrated spoken word poetry, sound, illustration and video design.
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