Art is heavily dependant on context so in this blog post I will look at the contemporary context of New Zealand in relation to a defining feature, The Treaty of Waitangi.
Pluralism as mentioned in the previous post is defined as “a condition or system in which two or more states, groups, principles, sources of authority, etc., coexist.” (‘Pluralism, 2011) In an art context this refers to “ the nature of art forms and the artist as diverse. The cultural context of art is all encompassing in its respect for the art of the world’s cultures. Pluralism honors differences within and between equitable groups while seeing their commonalities.”(Caldwell, 1999) This concept is a key point to keep in mind throughout this discussion.
New Zealand’s current dominant culture can be described as diverse, a hybrid of European, Maori and Polynesian cultures.
The typically bi-cultural heritage of our country has expanded to include a larger variety of immigrant cultures. Polynesian cultures make up the most significant segment of this inclusion and increased diversity within the cultural make up of New Zealand has led to a greater awareness of and appreciation for our heritage which centers around the concept of colonization and the effects of mass immigration on indigenous cultures. (New Zealand History Online, 2011)
Prior to 1840 the Maori population was dominant as was their culture. According to statistics there were said to be 100,000 Maori and 200 Europeans residing in New Zealand at the time the Treaty of Waitangi was signed. It is evident that the population split has changed vastly when such data is compared to that gathered in recent census. The Treaty of Waitangi and according merging of cultures as well as progress involving the implementation of new technologies, perhaps the most prolific of which was muskets which led to the Musket wars that killed 20,000 Maori, has resulted in a large cultural shift between New Zealand populations in 1840 and the present day. (New Zealand History Online, 2011)
The Treaty of Waitangi forms the basis of New Zealand’s cultural history and hence is a key factor in terms of context for all New Zealand based artists and designers. The cultural dialogue surrounding the treaty is a key part of prominent worldviews in New Zealand and is attached significantly to ideas of what it means to be identified as a ‘Kiwi’. Due to this it is important that as Artists and Designers we are educated and aware of the cultural context we operate in so we are able to fully appreciate and respect the bi-cultural nature of our country’s cultural history.
Globalization is another key aspect of New Zealand’s current cultural context. Globalization can be defined as “the tendency of businesses, technologies, or philosophies to spread throughout the world, or the process of making this happen”(‘Globalization, 2011) Critic of globalization point out the danger it can pose to regional diversity and warn that it can lead to a homogenized global culture dominated by nations with the greatest economic wealth. In terms of New Zealand’s regional diversity the danger we face is that the cultural significance of our nations heritage, most specifically the traditions of Maori culture, will be minimized in the face of collective global ideologies and progress. The fact that we are already a small country in comparison to other nations means that we need to take extra care to ensure that our cultural heritage is maintained and preserved in the face of progress. We should not resist change but make sure we remember our past /heritage as we move forward .As our nations cultural vantage point is what identifies our culture as unique and enables us to value our identity as New Zealanders.
 |
| Welcome 2004 Shane Cotton |
 |
| Forked Tongue 2011 Shane Cotton |
Shane Cotton is a New Zealand artist whose works explore the cultural landscape of our country. His works ‘Welcome’ (2004) and 'Forked Tongue' (2011) provide interesting comment on colonization and the Treaty of Waitangi.
Cotton presents a body of work that investigates the bi-cultural narrative of New Zealand’s cultural history. Maori and Pakeha cultures are considered simultaneously to convey a sense of shared experience in his portrayal of New Zealand’s hybrid cultural dialogue/heritage. (Daly, 2010) Iconography is rife in cottons work and he is well known for his juxtaposition of Maori iconography against European symbols. The painting ‘Welcome’ (2004) includes native New Zealand birds, Jesus Christ and a shrunken Maori head. While ‘Forked Tongue’ (2011) also includes a bird combined with historically charged symbols. The cultural identity of New Zealand and issues regarding its formation are brought into the limelight via Cotton’s use of heavily symbolic cultural imagery. His work has been described as addressing historical contact and transitional cultural episodes in the interaction of Maori and Pakeha cultures (“Flight Paths,”2007) The socio-political dialogue his work entails provides poignant comment on common ideologies surrounding colonization and the Treaty of Waitangi.
 |
| Sorry 2008 Tony Albert |
Tony Albert's installation 'Sorry' (2008) is another work, which reflects the effects of colonization. However, his work relates to the aboriginal people of Australia.
The work commemorates the public apology made to the aboriginal people by the Australian government for the suffering they endured in earlier times. Albert employs a kitsch approach to achieve an almost satirical comment on the formal apology offered by the Australian government. ‘Kitsch’ can be defined as “art, objects, or design considered to be in poor taste because of excessive garishness or sentimentality, but sometimes appreciated in an ironic or knowing way” (‘kitsch’, 2011) Albert’s materials are kitsch as they rather commonplace yet they are significant as they hold personal importance to the artist and his family, an ephemeral history in a sense. Albert appropriates the materials to convey a powerful message about the unity and pride of the indigenous population. In essence by "Recontextualising them (Albert) changed their meaning, gave them voice, bringing them back in a black, empowering way." (Sorenson, 2009) The work is reflective of his personal experience of colonization, which is summised in the following quote: "My work is always about appropriation, that's why it exists," Albert says. "The Sorry work is about my personal collection which, in a way, was always a comfort to me. There were images of Aboriginal people around me and my collecting these objects was my way of marking my respect." (Sorenson, 2009)
Both the artist’s discussed above use the tool of pluralism to comment on the according cultural histories of their homelands and the effects of colonization on indigenous populations. This is achieved through juxtaposition of evocative cultural symbols and applying an almost satirical attitude towards presiding western cultural narratives. I feel both artists eloquently portray the diversity of cultural dialogue that exists in countries that have experienced the process of colonization.
References:
(“Pluralism”, 2011). In Oxford Dictionaries.London:Oxford University Press.
(“Globalization”, 2011). In Oxford Dictionaries.London:Oxford University Press.
(“Kitsch”, 2011). In Oxford Dictionaries.London:Oxford University Press.
Caldwell. (1999) Cultural Context
Flight Paths. (July 14, 2007). The Listener, issue 3505. Retrieved from: http://www.listener.co.nz/culture/art/flight-paths/
Daly, J. (20 July 2010). Shane Cotton paintings examine the cultural landscape.
