2009 field survey report - ichcap · pacific community(spc), world intellectual property...

2009 Field Survey Report

Intangible Cultural Heritage Safeguarding Efforts

In Fiji

Intangible Cultural Heritage Centrefor Asia and the Pacific

In collaboration with Institute of Fijian Language and Culture

Preface | 1

Preface

This has been a very meaningful year for us. The Establishment of the

International Information and Networking Centre for Intangible Cultural

Heritage in the Asia-Pacific Region (category 2) in Korea was approved by the

UNESCO General Conference at its 35th session followed by an agreement

concluded between the Government of the Republic of Korea and UNESCO signed

in November.

As a designing step for the future activities of this centre, ICHCAP initiated the

2009 Field Survey of the Intangible Cultural Heritage Safeguarding Efforts in the

Asia-Pacific Region.

This year, ICHCAP worked in collaboration with institutions in the six countries

of Cambodia, Fiji, Mongolia, Thailand, Uzbekistan, and Vietnam to carry out the

field surveys. The purpose of the field survey was to obtain a grasp on the current

situation of ICH safeguarding, along with specific details on each country’s efforts

in inventory making and relevant policies, laws, organisations, etc. The centre

will continue this project for the next several years to cover all of the countries

within the Asia-Pacific region.

As the centre will serve Asia-Pacific Member States as an information and

networking centre for the safeguarding of ICH, the report will be a resource that

will help determine particular needs and provide direction for new cooperative

projects for the safeguarding of intangible cultural heritage. It will also be used as

a resource for states within the region to strengthen the understanding of the

intangible cultural heritage of the other countries in the region.

Lastly, I would like to express my sincere gratitude to the institutions and

researchers who actively cooperated with ICHCAP on the field survey project.

Seong-Yong Park

Executive Director

Intangible Cultural Heritage Centre for Asia and the Pacific

Contents

Intangible Cultural Heritage Safeguarding Efforts in Fiji

| Preface 001

| Introduction 005

| Field Survey Report

I. Safeguarding System & Policy 008

II. Intangible Cultural Heritage Inventory 015

III. Relevant Organisations 024

IV. Meetings on Intangible Cultural Heritage 034

V. Living Human Treasures System (LHTS) 038

VI. Pending issues & Urgent needs on safeguarding of ICH 039

VII. Reference Materials 042

| List of researchers 043

Annex 1 | Workshop Report

Revitalization of Bure Building Skills in the District of Nasinu in Ovalau 047

Revival of Traditional Skills & Handicraft Development 058

Kuta Weaving Skills Workshop 070

Salt Making and Craft Workshop 086

Annex 2 | Regional Framework for the Protection of Traditional Knowledge

and Expressions of Culture

Background on the Regional Framework 099

Model Law for the protection of TKEC 101

Explanatory Memorandum for the Model Law 123

Notes on Clauses 126

Introduction | 5

Introduction

Asia and the Pacific region is a rich area with various intangible cultural heritage. Intangible cultural heritage has been handed down from generation to generation and has contributed to the development of cultural diversity and the creativity of humanity. Intangible cultural heritage for social development is well recognized as it represents the evolvement of historical traditions and the cultural identity of a society embodied in creative expression. Over time, the form and substance has become vulnerable to deterioration. In particular, rapid social change and globalization have made this situation even more pressing. Fortunately, there has more recently been an increase in global awareness in relation to the value of intangible cultural heritage and its safeguarding. In this regard, ICHCAP has created a survey study plan to collect all the necessary information related to current safeguarding systems for intangible cultural heritage in the region. ICHCAP has been preparing this survey project since 2008, and 2009 is the first year for the project implementation. ICHCAP has collected related data from reports, workshop books, meeting resolutions, and internet databases, etc. While the information is valuable, in many cases, the data is not accurate, nor up to date. This is the reason why ICHCAP prepared a new survey to accumulate more current relevant data. The field survey was carried out with respected researchers in each country. For this project, ICHCAP developed a questionnaire to guide the research teams conducting the field surveys in each country. The questionnaire encompassed topics of safeguarding systems & policy; intangible cultural heritage inventory; information regarding relevant conferences, symposiums and workshops; national and local pending issues and urgent needs within the field of intangible cultural heritage safeguarding. Lastly, the information and data will be open for the public benefit and ICHCAP will share necessary data with other Members States to support implementation of the most effective and appropriate practices for the safeguarding of intangible cultural heritage. We expect the project will assist in strengthening regional capacity and solidarity as well as international cooperation for the safeguarding of ICH in the region.

Field Survey Report

8 | Intangible Cultural Heritage Safeguarding Efforts in Fiji

I. Safeguarding System & Policy

Despite absence of laws that specifically looks at safeguarding of ICH, there

are various mechanisms that we can say tries to address ICH related

concerns. The Government has just recently ratified the Convention on the

Protection of Intangible Cultural Heritage. This is a milestone achievement in

the cultural sector and it also gives stakeholders much needed guidance and

legislative authority to proceed with programme earmarked towards

protection of Intangible Cultural Heritage.

In addition a national legislation is currently being developed that will

ensure protection of Intangible Cultural Heritage. Called the ‘Model Law on

Traditional Knowledge & Expression of Culture,’ the government, is

spearheading development of this legislation with support from the World

Intellectual Property and regional bodies such as South Pacific Forum

Secretariat and the Secretariat of Pacific Community. The Institute of Fijian

Language & Culture is currently the Secretariat to the development of the

Model Law. A Working Group that is inclusive of officers from the Attorney

Generals office, Fijian Affairs Board, Department of Culture & Heritage and

Institute of iTaukei Language and Culture has been established with specific

Terms of Reference to see that legislation is developed and finalized.

An expert with previous experience in Intellectual Property laws needs to be

engaged on a fulltime basis. This is because issues involved in this law is not

straightforward as this is a very heavily debated area at the international

community on how to synchronize patent, copyright, appellate of origin and

trade secrets issues. Policies have to be designed very smartly to overcome

all arguments about separating them, at the same time the ministry should

not be too naïve to come up with a simple legislation that at the end of the

day does not secure the rights and compensate indigenous rights owners

from the commercial usages of their knowledge in any form or manner. A

simple draft will be easy to do but will at the end not serve any purpose at all.

This law will need to be tied in with an amended Patent, Trade Marks,

Safeguarding System & Policy | 9

Copyrights, Trade Secrets, Appellate of Origins and new ones on Plant

varieties and Utility Models. We should be able to defend the law from any

international scrutiny and criticism.

1. National Law/Act

A. Definition of intangible cultural heritage

According to the (2003 Convention for the Safeguarding of the Intangible

Cultural Heritage), the intangible cultural heritage (ICH) – or living heritage

is the mainspring of humanity's cultural diversity and its maintenance a

guarantee for continuing creativity. It is defined as follows:

‘Intangible Cultural Heritage’ means the practices, representations,

expressions, knowledge, skills – as well as the instruments, objects,

artifacts and cultural spaces associated therewith – that

communities, groups and, in some cases, individuals recognize as

part of their cultural heritage. This intangible cultural heritage,

transmitted from generation to generation, is constantly recreated

by communities and groups in response to their environment, their

interaction with nature and their history, and provides them with a

sense of identity and continuity, thus promoting respect for cultural

diversity and human creativity. For the purposes of this Convention,

consideration will be given solely to such intangible cultural

heritage as is compatible with existing international human rights

instruments, as well as with the requirements of mutual respect

among communities, groups and individuals, and of sustainable

development.

The ‘intangible cultural heritage’, as defined above, is manifested inter alia in

the following domains:

(a) Oral traditions and expressions, including language as a vehicle of

theintangible cultural heritage;

(b) Performing arts;

(c) Social practices, rituals and festive events;

(d) Knowledge and practices concerning nature and the universe;

(e) Traditional craftsmanship.

Fiji ratified this Convention in 2008.


At the moment Fiji does not have any legislation that specifically deals with

Intangible Cultural Heritage. The focus is primarily on tangible cultural

heritage. However, existing legislations namely the Fiji Museum Act.,

Copyright Act. Trade Marks and Patent Act loosely to a certain degree gave

legislative authority to protection of Intangible Cultural Heirtage.

Whilst we do not have a current permanent legislation on ICH, the Ministry

of Indigenous Affairs is currently working towards the provision of a draft

legislation that promotes the protection of indigenous knowledge systems

and their expressions, basically it revolves around the issue of Intangible

Cultural Heritage. Whilst the former does not specifically use the term

‘intangible cultural heritage’, the UNESCO five pillars or elements that

composites the ICH subject is envisaged in the definition of the term

‘traditional or indigenous knowledge’ and ‘expressions of Culture’ embodied

in the draft legislation. The legislation tries to break down the two terms

into various fields and subject areas which all in all can be collated as a

subset of one of the five pillars or elements of ICH. Fiji’s definition of the

intangible heritage is all encompassing.

B. Title of the law

Model law on Traditional Knowledge & Expression of Culture.

As highlighted above, Fiji is in the process of an enactment of a piece of law

that will deal with intangible cultural heritage. At present we have the Fijian

Affairs Act 1978 which provides for the administration of affairs for the

indigenous Fijian, including the Great Council of Chiefs. Then there is the

Native Land Act 1940 which provides for the regulation of native land using

customary law and establishes the Native Land Commission with the

mandate to deal with land related disputes whilst the Native Land Trust Act,

1940 deals with the control and administration of native land whereas the

Native Land Trust Board Act provides for traditional institution to be set up

to ensure that native land and the right of indigenous people associated with

these lands are properly addressed. All these legislation though deal with

Native Land.

In the past little has been done to better protect and promote the rights of

Pacific Islanders as exclusive owners of their traditional knowledge and

expressions of culture, and to recognize their value, and reward or

compensate accordingly for their use and exploitation for commercial


purposes. However this was finally realized when the Secretariat of the

Pacific Community(SPC), World Intellectual Property Organization(WIPO),

United Nations Educational Scientific and Cultural Organization(UNESCO),

and the Forum Secretariat jointly commissioned a consultancy to formulate

a legal framework for the protection of traditional knowledge and

expressions of culture. The Model Law for the Protection of Traditional

Knowledge and Expressions of Culture was devised as a result. (Asia/Pacific

Pacific Cultural Centre for UNESCO : 2002)

In 2003, with the adoption of the Model Law on Traditional Knowledge and

Expressions of Culture, the cabinet approved that options and mechanisms

be developed to ensure that the legislation is properly implemented. The

legislation arose out of the concern that indigenous knowledge which has

been in existence for thousands of years remains unprotected by legal

measures and is the subject of unrestricted exploitation and

commercialization without due respect and acknowledgement of the vanua

and local communities. It is important to note that at this stage of

formalization, Fiji had less familiarity with the ‘2003 Convention for the

Safeguarding of the Intangible Cultural Heritage’ and its requirements,

particularly Article 12 which stipulates that ‘.....state parties shall draw up, in

a manner geared to its own situation, one or more inventories of (ICH)

present in its territory. (Qereqeretabua, Misiwaini: 2008, ‘Cultural Mapping :

An Approach to Safeguard Indigenous Fijians Intangible Cultural Heritage’).

Regardless, Fiji's proposed legislation on indigenous knowledge and

expressions of culture serves a dual function - it seeks to protect indigenous

knowledge from misappropriation and non-customary use, such as

commercialization. The second role targets the safeguarding of indigenous

Fijian intangible cultural heritage for continuity. This is an opportunity

whereby indigenous intangible heritage will be covered under a legislative

framework - an aspect of cultural heritage that has been neglected for quite

some time in Fiji's national policy and legislative planning. Currently, the

Ministry of Fijian Affairs through its Internal Working Group has almost

completed the drafting of this legislation before submission to the legal

drafter for final touch-ups to the bill. This will then be presented to local

provinces and districts for their scrutiny before a final presentation is made

to Cabinet.


C. Section/Division in charge

With the legislation still being drafted, the Ministry of Indigenous Affairs

(Institute of Fijian Language and Culture) acts as the secretariat to a working

committee on the legislation, and includes working members from the

Department of Culture & Heritage, the Attorney General’s Office and the

Fijian Affairs Board.

At the same time it is opportune to know that with the signing of the

convention by Fiji, the Department of Culture & Heritage is tasked with

drawing up of a legislation that specifically looks at ICH and as part of its

contributions to mandatory tasks stipulated in the convention clauses.

D. Year of establishment

The draft legislation has yet to reach its BILL status and later passing by the

Head of State on behalf of Parliament. We have prepared an Action Plan that

should see completion of work towards development of the said legislation.

The institute recently received confirmation from Trade Com(Brussels)

about funding for the legal expert to be involved in the drafting of the said

law. With assistance of the Forum Secretariat, we have managed to secure an

expert on Intellectual Property and Traditional Knowledge whose contract

has been currently negotiated for this important role. In addition the World

Intellectual Property Organization(WIPO) is working closely with Fiji

government by provision of funding and technical expertise that should see

completion of the said bill. They will facilitate provincial consultation and

two National Workshops to seek comments contributions from important

individual and institutional stakeholders.

In other word, the Ministry of Indigenous Affairs and the department of

Culture and Heritage of Fiji has actively developed practical and policy

measures to preserve and safeguard Fiji’s cultural heritage, with the aim to

strengthen the conservation, preservation, promotion and protection of all

forms of cultural and natural heritage. These include intangible and tangible,

movable and immovable heritage and cultural industries.


E. Amendments

The working Group that is currently working on the drafting are being

tasked to insert amendments where appropriate so that it is acceptable to

the public in general. To date the legislation on intangible cultural heritage is

still being discussed and an ongoing process to be made into law.

F. Particular article related to ICH

National level agency/organization dedicated to preservation and

promotion of traditional/folk performing arts http://www.accu.or.jp/ich/policies/C_FIJ.html

COUNTRY REPORT : FIJI Cultural Mapping - An Approach to Safeguarding

Indigenous Fijians Intangible Cultural Heritage

(by Misiwaini Qereqeretabua)

http://www.accu.or.jp/ich/en/.../country_report.../country_report_fiji.pdf

G. Responsible organization/department

The Ministry of Indigenous Affairs

H. Contact details

Name : Setoki Qalubau

Title : Secretary to Working Group

Phone : 679 – 310 0909

E-mail : [email protected]

Fax : 679 – 330 8761

I. Information source

Name : Seruwaia Nayacalevu

Title : Legal Officer – Drafting - Solicitor General’s Office

Phone : 679 – 330 9866

E-mail : [email protected]


2. Cultural Policy

A. Title

Initial work for the above policy started way back in 1997, but continuation

has been stalled and is currently being continued by the Department of

Culture and Heritage of the Ministry of Education. This is to be in line with

recent ratification on the United Nations Convention on Safeguarding of

Intangible Cultural Heritage.

B. Purpose

This will consolidate work towards research or usage of the indigenous

culture. Policy will also provide framework for related legislations in this

important area.

Appropriate Capacity – it requires those that not only have the technical

expertise but the experience in the field whether it be cultural heritage in

general or ICH specifically to boost the system;

Proper Project Planning – learn from existing projects on the provision of

appropriate tools and mechanisms to implement;

Legislative measure – always appropriate to have legal binding instrument;

Policy measures – to cover those areas not specifically mentioned by the

legislation, the policy intends to specify the systems, processes and means of

implementation;

Enforcement and monitoring mechanism – a major challenge to the

inauguration of any safeguarding policy or system is the setting up of an

appropriate enforcement or monitoring institution. This may include a body

such as an ‘authority’, ‘a commission’, ‘a board’ & s.

Intangible Cultural Heritage Inventory | 15

II. Intangible Cultural Heritage Inventory

1. National inventory

The country does not have an inventory just as yet. However work is

currently underway to establish and maintain a database that will count as

the inventory for the iTaukei cultural heritage. The exercise is also the first

for the documentation of indigenous intangible cultural heritage as this has

been verbally passed down from generation to generation. Commonly

known as the Cultural Mapping Program, it involved visitation of cultural

research officers to individual villages and indigenous settlements to record,

and document indigenous aspect of intangible cultural heritage.

Development of Model Law on Traditional Knowledge & Expression of

Culture

Completion of Cultural Mapping in all provinces across Fiji

Dialects Mapping in all provinces across Fiji

Setting up of Database – Traditional Knowledge & Expression of Culture

Database(TKEC)

Establishment of Cultural Authority

A. Inventory information

1) Title(s)

Traditional Knowledge & Expression of Culture Database (TKEC)

2) Number of inventories

Conducted on a provincial level down to district, village, clan, and

individual families. At the moment, the institute has recently completed

Cultural Mapping in four provinces and is bound to complete the fifth


province by the end of 2009. There are fourteen provinces in Fiji, which

means that nine provinces will be mapped in the coming years.

3) Number of designated items

There are clearly broad items that our researchers look for in the

Cultural Mapping exercise. Different areas have different ICH, that is

documented and richness and diversity differs with the environment

being an influencing factor as well.

4) Frequency of designation

Depends on information retrieved from custodians.

5) Date of most recent update

An ongoing daily process as data analysis and storage commenced after

cultural mapping has been completed in two provinces. Data collection

and processing run in parallel and there are designated roles for those

who are part of the program to ensure that research, data analysis and

storage is continued. Provinces completed include Namosi, Serua, Rewa,

Tailevu and the Province of Lomaiviti is bound to be completed by the

end of 2009.

6) Establishment of an expert advisory panel

As part of future plans, a Cultural Authority which will be empowered

by the draft legislation being developed will act as the ruling authority

on cultural matters. At the moment, advisory panel of work being

carried is centered on various governmental agencies and regional and

international organizations. This include the Ministry of Indigenous

Affairs, Ministry of Education, Fijian Affairs Board, Fijian Trust Fund, the

Attorney General’s Office, South Pacific Forum Secretariat, Secretary of

Pacific Community and the World Intellectual Property Organization.

7) Responsible governmental organization

Department : Institute of Indigenous Language & Culture.

Person in charge : Setoki Qalubau

Contact information : (679) 310 0909

Job description : Administration Officer


8) Designated heritage

Categories

Designated items includes;

- Genealogical/kinship information

- Totems, Rank, (whether you are chief, spokesman) etc, Clans, Tribes

as well as extended families

- Heritage sites. specific to a clan( mataqali) tribe (yavusa), village or

province.

- Emigration information from such places to another e.g. Tanganyika,

Africa to Fiji as well as within Fiji and so on.

- Traditional forms of award for bravery during war (some are being

given land or artifacts as awards)

- Traditional ceremonies, rituals and practices (isevusevu in a way of

presenting yaqona (grog) to the vanua as a whole, presentation of

(tabua) whales tooth ) and so on

- Traditional beliefs/religious systems (these are forms of worshiping

in the olden days before Christianity)

- Dialects of various places in the 14 Provinces of Fiji (we do have 300

or more dialects in Fiji today)

- Names of places, persons and sites having cultural meaning attached

or significance.

- Traditional medicines

- Traditional healing practices (in forms of massaging, some are

passed down from generation to generation)

- Traditional fishing methods

- Traditional agriculture farming and its various methods (we do have

different months for farming starting from January to December))

- Traditional art, crafts and designs (we do have people who do have

these traditional skills of weaving, carving which now attracts

tourist to Fiji)

- Traditional food preparation method culinary practices

- Traditional midwifery.

- Traditional rites of passage,-life cycle focused & circumcision etc

- Traditional games

- Tales & legends

- Traditional hairdressing

- Traditional costumes

- Navigational skills


Criteria

The program at this stage is documenting all it can, being the first in

documentation for the indigenous Fijians. Classifications that now see

analysis of data through transcription of audio recordings, editing of

digital and video footages, sets the base for our inventory.

Designated heritage items

The underlying objective of the inventory is to collect all aspects of ICH

that still exist in local indigenous communities. This is simply because,

like in most other cultures, most elements of ICH in Fiji were

unrecorded and their existence and survival till now rested pivotally on

their continual usage through oral transmission. However, upon

collection and prior input of edited data into a database the following is

considered:

-identify the uniqueness of one of the above expressions of culture to

a specific cultural locality. Cultural data collected should be distinct

within the locality where information is collected. It should not be

appropriated nor duplicated from another clan, tribe, district or

province. It should be unique and specific to that area.

-degree of disappearance danger.

-establish that the heritage is associated with a particular community

and is communally owned and not individually owned.

-should be authentic.

-should be appropriate to the village that which information is

collected.

The factor outlined is targeted at those who may have unique skills

which is not communally obligated/owned/belong to the village that

which he/she is currently residing. The relationship of these human

treasurers to these local communities may have been created, for

instance, through marriages. Their knowledge/skills if it has roots

elsewhere will still belong to its roots.

Non-secret/sacred information. However, this option may vary from

one village to the next, since most custodians when properly informed,

will provide secret/sensitive data cautiously to the researcher. But in

cases when there is no outright consent from the informant, then,

researchers have to respect the consent and continue with different

questions.


This is all accounted for in different section of the database which

differentiate different items that are classified to provincial, district,

clan or individual basis. At the moment information can only be

accessed by custodians given the sensitivity surrounding information

stored.

Vakaraitaka mai na

tukutuku o digitaka

Dusia na “Ulutaga

Vakadikevi”

Laurai kece mai na

veiulutaga me

vakacurumi na

kena itukutuku

This screen print of the TKEC system is one of the initial pages one can

go into to choose and access information stored in the database. Though

wording is in the indigenous Fijian language, important areas covered

are being translated in 2.1. Software is in the indigenous Fijian language

and it only receives commands in vernacular.

Heritage associated items

Craftsmanship : skills, tools, methods, workshop, etc.

This area is undergoing revival as traditional craftsmanship is becoming

popular due to commercial returns for carvers. The growing tourist

industry is indirectly contributing to revival of this art. Carving skills for

men and traditional weaving and tapa mapping is undergoing a lot

changes and revival due to increase activities. However, traditional


tools are slowly being replaced especially in the carving of traditional

‘tanoa’ (kava mixing bowl) and other artifacts.

Performing arts : costumes, instruments, stage, occasion etc.

This important area is also undergoing significant changes, in regards to

contemporary costumes and ideas being included. However, most

people in rural areas maintain traditional performances and costumes

that identify them differently. However, changing time have contributed

to changes and incorporation of modern styles and costumes. In urban

areas and for those who are closer to urban centers, changes are

imminent and consolidation of modern styles and costumes is

recognizable.

Traditional instruments are also being used in areas traditional

ceremonies and all this is captured during the cultural mapping exercise.

In other ceremonies organizers try to showcase original traditional

ways by way of costumes and performances.

Event : occasion, venue, participants, costumes, dance, rituals, etc.

Festivals and traditional occasions is ongoing in any traditional

settlement. It is also a forum in which traditional art, performances are

showcased. In events such as weddings, birthdays, or fundraising, there

is always much anticipation for traditional performances.

The government is now embarking on a program that will see revival

festivals to be organized on a provincial basis. This was piloted in one of

Fiji’s province called Bua and festival has been ongoing for the last three

years. The festival will see competition in traditional performance, use

of traditional equipment, costumes, oratory contest in the Bua dialect by

school children, yam farming competition and many others.

Refer to report for the 2009 Bua Show.

Information regarding holders/bearers

This is captured in data stored in the data base. Names of those

captured during the cultural mapping are the surviving member of a

clan or family who have taken on the responsibility from their

forefathers who have passed on. This is bound to change, when a

custodian decides to move to another area as the ICH stays with the

community. During the Cultural Mapping proper, a consent form is


signed which as an MOU between custodians and the Government. The

head of the clan (Liuliu ni Yavusa) signed on behalf of the community.

It is important to note that most ICH are owned by the community with

specific individuals who are considered masters for specific functions.

Their role is to oversee that different individuals play their role

effectively to ensure that collective art or performance done in the right

manner. In addition different family members know specific role’s that

they have to play and this is common knowledge and is practiced

continuously through generations. None of this have ever been

documented, but when the need arises, everyone in an indigenous

community know the specific role that they have to play, being it a

dance performance, traditional ceremony, building of new Fijian Bure

(thatched house), the construction of an outrigger canoe, or masi

making. Most of these activities can involve the whole community.

Provisional designated items

√ Heritage that has not been inscribed on an inventory, yet it is

recognised as heritage for its historical and artistic value among communities.

Local government : name, domain, general information, characteristics,

location, etc.

Municipal councils are mainly based in urban centers and little effort is

made on preservation and protection of ICH. Unlike Local Governments

in some countries like Japan, who takes leading role in cultural activities,

local government in Fiji are ‘developmental oriented’ which determines

nature of activities and outputs in each municipal councils.

9) Reference materials, Explanation note, photos, etc

Photos and video shootings collected during the Cultural Mapping

exercise is currently protected under a Memorandum of Understanding

between the Ministry and Custodians. This means that at the moment,

all information including photos and video footages is inaccessible

unless consent is given by information owners. After completion of all

Provinces, and legislation currently developed, options of access by

outsiders will be explored and appropriate arrangements made to

accommodate need.


2. Non-governmental inventory

A. Inventory information

1) Title(s)

Oral History Collection collected, range from Music, to sounds of

traditional musical instruments, chants, stories (myths and legends),

family histories

2) Number of inventories

1, One

3) Number of designated items

approx. 500 plus tapes of oral history recorded

4) Frequency of designation

about twice a quarter, depends on the Archaeology trips/expeditions

planned.

5) Date of most recent update

September 2008

6) Establishment of experts advisory panel

Experts – our Archaeology Dept HOD/Collections Dept HOD/Director –

Fiji Museum

7) Responsible governmental organisation

(national/local governmental)

Director : Ms. Sagale Buadromo

Phone : (679) 3315944 or (679) 3315043

Address : Fiji Museum, PO Box 2023, Govt. Bldgs, SUVA


8) Designated heritage

Categories : Several categories;

World War II collated from 1996-2003 recordings from veteran, (on

video tapes/on reel)

- a few linked to WWII weapons collected from Sol Is Campaign

WWII (video tapes)

- re: remembering WWII time (on tape - cassettes)

Archaeology – relating to classificatory stories (migration of tribes)

from most of the 14 provinces of Fiji.

Indo-Fijian oral history (remembering Girmit of their elders/parents

etc)

Sol Islanders (remembering Blackbird period/ of their elders/parents

etc)

Vanuatu (remembering Blackbird period/ of their elders/parents etc)

PNG (remembering Blackbird period/of their elders/parents etc)

European descendants oral history of colonial past, growing up in Fiji

Some relating to objects in our collections (noseflutes / Lali etc)

Music (belongs to Chris Saumaiwai – safekeeping with museum)

Chants and mekes


III. Relevant Organisations

1. Governmental organisations

A. Indigenous Affairs Institute of Indigenous Language & Culture

1) Field of concentration

Protect & promote the iTaukei language and cultural heritage through research documentation, awareness, publication, and development of policies and legislation.

2) Advisory body

Fijian Affairs Board, Fijian Trust Fund

3) Person in charge

Misiwaini Qereqeretabua, Director – Institute of Indigenous Culture

and Language

4) Location

Great Council of Chiefs Complex (North Wing), Queen Elizabeth Drive,

Nasese, Suva, Fiji.

5) Contact information

Phone : 679 – 310 0909

Fax : 679 – 330 8761

Email : [email protected]

Relevant Organisations | 25

6) Project details

Documentation, Identification and protection of ICH

Cultural Mapping Program, Development of Model Law on Traditional

Knowledge & Expression of Culture.

B. Ministry of Education Department of Culture & Heritage


Preservation of Culture & Heritage for current and future generations :

implemented through the devising of relevant policies and legislative

frameworks;

Implementation of Cultural Enhancement Programmes through

organization of festivals, disbursement of cultural grants,

strengthening of the culture sector and infrastructure development,

making a culturally inclusive curricula for our schools, human

resource development in the field of culture (provision of

scholarships and lobbying relevant institutions), and general

awareness.

2) Person In-charge

Peni Cavuilagi – Director Department of Culture & Heritage

3) Contact details

Location : 41 Loftus Street, Suva

Phone : 679 – 331 6955/ 679 – 331 6956

Email : [email protected]

4) Project Details : Identification, revitalization and protection of ICH


2. Non-governmental organizations

A. Fiji Arts Council


The Fiji Arts Council is a non-government organization that has worked

closely with the cultural stakeholders over the years. The Council has

played a significant role in the development and preservation of the

various forms of art in Fiji. Importantly identifying and nurturing local

artists ensuring the preservation of our cultural heritage.

The Fiji Arts Council has been working to ensure that the art sector is

working to bring to the market more products that are of high quality,

world-class standard and to also ensure that the production of these

products is consistent. It is important for visitors to Fiji to see authentic,

locally made Fijian products. Therefore, there needs to be a process of

ensuring that more handmade, locally produced art and craft are

available at hotel shops and boutiques. In addition tour operators need

to include locally owned art centres as part of their tours so more

visitors get the opportunity to see and buy locally made cultural

products.

In addition the Fiji Arts Council is working to try and bring this process

to life by supporting and promoting local Fijian visual, heritage and

performance artists. Part of the Arts Council mandate is the creation of

‘Professional pathways’ or ‘Cara Maka’ to help the careers of local artists.

This career support assists Fijian artists with the development of their

artistic skills from a local level through to an international level. The

Arts Council guides artists from local markets and competitions, to

national and regional ones, through to international markets, festivals

and competitions. This enables the artist to develop creatively in

addition to becoming aware of new designs and new market options.

This support of local artists producing local, authentic art promotes the

diversity of Fijian culture from a local level all the way through to an

international, global level thus connecting, and showcasing, the local

Fijian diversity with the larger, cultural diversity of the

world(http://fijidailypost.com/feature.php?date=20090926&index=89

5).


2) Department

Governed as a non-governmental centre by the Department of Culture

& Heritage.

3) Contact details

Loc ation : Waimanu Road, Suva

Phone : (679) 331 3754

4) Person-in-charge

Letila Mitchel – Director


3. Intangible cultural heritage preservation associations

A. Rako

1) Information on the organization

Reviving material culture which have been lost over the years while

nurturing and developing artistic excellence are two important aims of

the Rotuman and Polynesian art space called Rako.

Located at the Fiji Centre of Arts along

Waimanu Road, Rako started as an initiative by

Fiji Arts Council director Letila Mitchell and

LäjeRotuma Initiative (LRI) founder Monifa Fiu

to research and revive many art forms that

Rotuma had but not been practiced for years.

LRI is a community-based environmental

education and awareness development

program in Rotuma and the art space provided

the creative freedom for the organization to

explore new ways of working in the

community through arts.

According to Mitchell, LRI gives Rako the needed cultural grounding and

support to ensure cultural arts are rooted deeply in Rotuma heritage.

“I became quite aware from my work with Fiji Arts Council since the

Pacific Arts Festival in Palau in 2006 about the lack of representation of

Rotuma and Fiji based Polynesian artists in the arts sector in Fiji.’”

Mitchell said.

“So I felt with my experience and my networks, I needed to find a way to

provide a platform for these communities, particularly the Rotuman

community to become involved.

I spoke about it with some of the representatives form the Rotuma

Council a few years ago and the idea further progressed when one of my

mentors Reverend Emotama Pene and Vilsoni Hereniko encouraged me

to take it on.”


She was approached by a few members of the BSQ Krumping squad, a

few Cook Island artists and other young Rotuman artists for support

and when the Fiji Centre for the Arts was developed in December 2008,

they paid for the art space for emerging and senior artists.

Mitchell said the space is not an exclusive space to only Rotumans and

Polynesians but its main focus was on the revival of Rotuman art forms

that have not been practised over the years.

“Monifa Fiu and I are part of a smaller collective called MamaHanua,

which means Mothers of the Land,” Mitchell said.

”We worked together a lot last year for about six months and were

really excited about the collaboration. We realised from this work

together how important it would be for both Rako and LRI to come

together to support each other. The aim of the space is to bring our

artists and community together in a space that is conducive to learning,

to teaching and to creating. Rako and LRI both benefit because at the

end of the day our goal is the preservation of our traditional knowledge

and the revival of ancient environmental, conservation and artistic

practice which in the Pacific is all connected.”

Mitchell said Rako means school or a place of learning in Rotuman and

with 30 current artists within the collective, the space is an interactive

portal where many artists learn new disciplines. She said through story

telling and mentoring from the elders, many art forms are slowly being

revitalized.

“Some of our dancers are now painting and some of our visual artists

have begun to try dancing. Every week, a new skill is learnt like last

week, our boys began to learn fire dancing,” Mitchell said.

“We have started to research old practices that don't exist any more

such as the solo female dances, the tapa cloth and tattoos that Rotuma

has lost. It is a space where we bring our elders together with our young

artists to pass on stories and teachings which is something that would

have happened naturally if we were all on the island living in our

traditional homes, but being in the city, the reality is that these story

telling circles now very rarely exist.”


Some of the programs at the art space include a Dance for Fitness class

every Tuesday, Kids Krumping class on Thursday, Kids Pacific dance

class on Saturdays and arts mentoring sessions on Friday afternoons.

Mitchell said work has already begun with LRI where two artists in

Rotuma are undergoing training. Alfred Ralifo, one of the founding core

group members of LRI said they needed an office space and Rako

offered to share their studio space as co-tenants.

“A lot of the members of Rako are Rotumans who like to learn more

about their culture and heritage,” Ralifo said.

“LRI also use art as one of its tools during its outreach program. We can

also tap into the talents of Rotuman artists who are members of Rako.

Through its activities on the island, LRI is able to identify young and

talented artists and through its link with Rako and the Fiji Arts Council,

we hope to be able to connect these budding artists to further develop

their skills through organized workshops and other programs. LRI is a

close associate and friend of the Fiji Arts Council. Having an office space

for LRI is a milestone. It has shown how LRI has developed and evolved

from humble beginnings since 2002 to where it is today.”

Ralifo said the office space would assist LRI with its daily affairs. Rako's

first exhibition is on May 14 but other artists have also been invited to

participate in an exhibition to celebrate Rotuma Day called Otomis

Rogrogo - Our Stories.

Mitchell said they are also anticipating an art exchange program with

Tahitian artists and musicians in July where Rotumans have had a

historical connection in the past.

“The talents are exceptional, diverse and very special but we seriously

lack the support and awareness of how important it is to nurture these

talents,” Mitchell said.

“The creative sector is the fastest growing industry in the world and

with so much unemployment, crime and violence amongst our youth

throughout the Pacific, it is essential to start to look at the creative

sector to provide new types of employment and careers. While the

talent is there, I just hope for the community to begin to provide more

support and encouragement. Many of our artists have come to Rako

with low self esteem and have little value for their work and often this


has come from the lack of encouragement or in many cases told for

much of their lives that they are a waste of time. This is heart breaking

because in ancient times in our traditional communities artists were

valued for their contributions to community and this has been lost. We

hope this would be a stepping stone for Polynesian artists. It has at least

been for the current members and we hope it will be for others who

join.”

The art space is open to everyone and includes workshops and dance

classes. Mitchell said keeping a positive environment was an important

aspect of Rako. The launch of the art space was held at the Fiji Centre

for the Arts two weeks ago and was blessed by Reverend Raki Tigarea

of Churchward Chapel(Source: Geraldine Panapasa, Fiji Times Online –

3rd May 2009 or http://www.rotuma.net/os/artists/rako.htm)

2) Location : Fijia Arts Council office

B. Pacific Arts Alliance

1) Vision

To empower and give voice to Pacific artists through collaboration and

with a focus on the freedom of creative expression.

2) Mission

We are motivated by a mutual commitment to the Pacific, our land, our culture and our people. We will build an alliance of Pacific arts leaders that provides a strong support system, in which they will thrive as individuals, be spiritually and financial fulfilled, and therefore collectively be empowered and motivated to build secure and sustainable pathways for our people through the arts.

3) Background

The concept of the Pacific Arts Alliance (PaCaa) was formed in 2005 by the founding Chair Letila Mitchell and Anton Carter. In 2006 this concept became a reality with the establishment of a core group of founding members - Daniel Waswas, Ben Fong and Craig Marlow. With a strong hold of key members many who were principals of their own companies, key people in their organizations or who worked independently as professional artists, the Pacific Arts Alliance was born.


By providing this support network to Pacific artists and producers, we envisaged that the partnerships formed would enhance and develop ways of combining the limited resources dedicated to the arts in the region. Today this vision has become a reality as the core group of the PaCaa continues to grow and more Pacific artists and producers join because they find inspiration, and motivation through informal discussions, exchange of visions, passions and ideas. There is a strong realization and recognition that we all work for a common purpose, which is to strengthen and empower Pacific people through their arts and culture. From this recognition new projects are being born and existing ones strengthened. There is also a underlying common desire for more collaboration regionally and internationally between Pacific artists and other arts professionals. However there was no organization that had the mandate to provide these links. There was also the realization that there was no centralised point for information and sharing of knowledge and opportunities.

4) Aim

The aim of the organisation is to become a co-operative and support network of Pacific arts practitioners. The PaCaa focuses on being a vehicle to provide information and creating networks, and through this network provide better access to opportunities. This will help to stimulate cross-cultural arts activity throughout the Pacific, and to connect and enhance the visibility of Pacific artists worldwide. The PaCaa also aims then to provide an avenue for arts managers to access information and stimulate activity throughout the region, simply by being knowledgeable about each other's projects. The PaCaa also provides an avenue to re connect with Pacific artists based internationally and to utilize each other's skills, knowledge and resource base to develop as artists and as professionals. The PaCaa also aims provides a place where those with little knowledge or little access to the Pacific arts sector can gain knowledge about who we are, what we do and where they can find Pacific arts (http://www.pacificartsalliance.com/faqs/about-the-pacific-arts-alliance).

C. Oceania Centre for Arts & Culture

The Oceania Centre for Arts & Culture was established in 1997 as a special project of the University Council. Concern with cultural conservation and development underlies the Council’s decision for the creation of a Pacific arts and culture programme at the Laucala Campus.


The initial set up was established with a director, a programme assistant and a cleaner. Since that beginning twelve years ago, the OCAC has developed into a leading creative center in the region, with a growing international reputation. All activities of the OCAC are carried out in an environment that reflects some important principles of Oceanic social and spatial organization. Such a space is essential for cultural conservation and distinctively Pacific creativity that things are done in an environment that is culturally familiar to those involved. This explains the differences that anyone can see between the spatial layout and organisation of the OCAC and the rest of the Laucala campus. The Oceania Centre for Arts and Culture has emerged as the leading contemporary Oceanic art institution in the Pacific Islands region, and a recognised model for the development of art centres in the Pacific and beyond. It has been the focus of research by international postgraduate students and a book on the OCAC visual arts and artists—Red Wave, by American Katherine Higgins—was published in 2008. The Centre has contributed significantly to the enhancement of the USP profile at home and abroad. During most of its early years, when its distinctive brands of creativity were developed, OCAC operated as a stand-alone unit of the USP. Its incorporation into the Faculty of Islands and Oceans in 2006 almost destroyed it, for instance by allowing the reduction of its 2008 operational funding by more than ninety per cent. To maintain its unique creative spirit and productivity the OCAC has to resume its stand-alone existence. Having developed its distinctive creative productivity at the USP main campus in Suva, the OCAC can now start planning for the expansion of its activities into the region through the establishment of creative art centres based in the USP regional campuses. Late in 2008, the Pacific Studies programme (PS), was relocated to the Oceania Centre. The PS programme has to be restructured to harmonize with OCAC and to enable the enlarged entity to contribute further to the enhancement of USP, by directing its combined teaching, research and creative programmes toward establishing itself as the leading world centre for Pacific cultural studies and original cultural creativity (http://www.usp.ac.fj/index.php?id=8708).


IV. Meetings on Intangible Cultural heritage

1. South Pacific Arts Festival The Festival of Pacific Arts, or Pacific Arts Festival, is a traveling festival hosted every four years by a different country in. It was conceived by the Secretariat of the Pacific Community (former ‘South Pacific Commission’) as a means to stem erosion of traditional cultural practices by sharing and exchanging culture at each festival. The major theme of the festival is traditional song and dance. The 2008 Festival of Pacific Arts was hosted by American Samoa from 20 July to 2 August 2008; it was the 10th Festival of Pacific Arts. The Pacific Cultural Council (former ‘Pacific Arts Council’ or ‘Council of Pacific Arts,’ originally ‘South Pacific Arts Festival Council’) selects the host country and recognizes that each participating country desires the opportunity to showcase its unique indigenous culture by hosting the festival. Host selection is based on principles of equity and preference is given to countries which have not yet hosted. The festival host country pays participants' costs of local travel, accommodation, meals, and other forms of hospitality. Entry to all artistic events is free to the public thereby maximizing cultural outreach and inclusion. By its vastness, the Pacific Ocean inhibits social and cultural interchange between the inhabitants of its mostly island countries. The festival, not a competition but a cultural exchange, reunites people and reinforces regional identity and mutual appreciation of Pacific-wide culture. Participating countries select artist-delegates to represent the nation at this crossroads of cultures, considered a great honor. About 2,000 artists attended the 2008 Festival of Pacific Arts from these participating countries: American Samoa, Australia, Cook Islands, Easter Island, Federated States of Micronesia, Fiji, French Polynesia, Guam, Hawaii, Kiribati, Marshall Islands, Nauru, New Caledonia, New Zealand, Niue, Norfolk Island, Northern Mariana Islands, Palau, Papua New Guinea, Pitcairn Islands, Sāmoa, Solomon Islands, Tokelau, Tonga, Tuvalu, Vanuatu, and Wallis and Futuna. Taiwan was allowed to send a delegation of 80 performers and artists, most of whom were Taiwanese aborigines, to the Festival of Pacific Arts for the first time in 2008. Taiwan had previously applied to attend the Townsville, Australia, festival but was denied.

Meetings on Intangible Cultural Heritage | 35

Iteration Year Dates Location Theme

1st 1972 6 May-20 May Suva, Fiji Preserving culture

2nd 1976 6 March-13 March Potorua,

New Zealand

Sharing culture

3rd 1980 30 June-12 July Port Moresby,

New Guinea

Pacific awareness

4th 1985 29 June-15 July Tahiti, French

Polynesia

My Pacific

5th 1988 14 August-24 August Townsvile,

Australia

Cultural

interchange

6th 1992 16 October-

27 October

Rarotoga,

Cook Island

Seafaring heritage

7th 1996 8 September-

23 September

Apia, Samoa Unveiling treasures

8th 2000 23 October-

3 November Noumea,

New Caledonia

Words of past,

present, future

9th 2004 22 July-31 July Koror, Palau Nurture,

Regenerate,

Celebrate

10th 2008 20 July-2 August Pagopago,

American Samoa

Threading the

Oceania ʻUla’

11th 2012 TBA Honiara,

Solomon Islands

TBA

12th 2016 TBA Tumon, Guam TBA


2. Melanesian Arts & Cultural Festival

The idea of promoting the Melanesian Arts & Cultural Festival was first

mooted at the 14th March 1988 Port Villa Melanesian Spearhead Group (MSG)

Summit. This was further explored at the July 1995 MSG in Vanuatu where

members agreed to a 10 – point resolution for the protection and

development of the indigenous Melanesian Cultures, and the decision to

actually hold the 1st festival was agreed at the Savusavu MSG Summit in May

1997. The 5 countries in the MSG are Papua New Guinea, Vanuatu, Solomon

Islands, Fiji and New Caledonia.

The opening statement of the 1998 ‘Agreed Principles of Cooperation’ of the

Villa Declaration reads:

‘The Government of the Independent States of Papua New Guinea; Solomons

and Vanuatu, having come together as the Melanesian Spearhead Group, do

hereby agree to commit themselves to the principles of, respect for, and

promotion of Melanesian cultures, traditions and values as well as those of

other indigenous communities in the three countires.’

Resolutions of the July 1995 MSG states:

a) that Melanesia constitutes a Culture area

b) that Melanesia Cultures are under threat from cultural influences from

outside of the area

c) that unlike other parts of the World, a very large part of traditional

Melanesian Cultures are very much intact

d) that there is a need to preserve, protect and promote the traditional

cultures of the Melanesia

e) that there is a need to develop and protect the contemporary cultures

of Melanesia

f) that is there is great need for Melanesian countries to look for each

other for support and assurances to maintain and promote their

traditional Arts and Cultures

g) that while the meeting supports the South Pacific Arts Festival, it

considers the break of four years between festivals too long. The

committee recognizes that between South pacific Festival of Arts there

is great loss of momentum in cultural activities

h) that Melanesia is one of the most culturally diverse areas of the world,

this diversity cuts across nations, provinces and even smaller

communities and that this Cultural diversity must be promoted,

maintained and developed

Meetings on Intangible Cultural Heritage | 37

i) that a Melanesian Arts/Cultural Festival cannot exist on its own but

must be supported by activities such as:

Cultural exchange within the MSG region

Exchange of cultural information within the region

Exchange of cultural personnel within the region

The conducting of joint cultural workshops and seminars in the

region

Recommendations of the July 1995 MSG

Further to the resolutions above the meeting recommended that:

a Melanesian Arts/Cultural committee be immediately established to

be responsible for instituting of the first Melanesian Arts/Cultural

Festival with members from member countries of the MSG

the festival to be known as the Melanesian Arts and Cultural Festival;

that the Melanesian Arts/Cultural Festival be held periodically

preferably every 4 years but two years before and two years after the

South pacific Arts Festival so that it does not coincide;

that the matter of funding the festival be decided by MSG;

Fiji considered one of the leading Melanesian countries in the region

was requested by the MSG Organizing Committee in 2002 to consider

hosting the 3rd Melanesian Arts & Cultural Festival in 2006.

38 | Intangible Cultural Heritage Safeguarding Efforts in the Asia-Pacific

V. Living Human Treasures System (LHTS)

Fiji had piloted the LHT system in 2005 with funding from the Korean

Government through the UNESCO Funds-in-Trust. It was a milestone project

for Fiji and the Pacific being the first of its kind to be undertaken. Whilst we

have piloted this system in the past years, we are still waiting for its

formalization by government through a report that is to be submitted by the

Fiji Arts Council which was the coordinating body for the implementation of

the system. Therefore it is a Yes and a No for Fiji:

Yes - the system had been piloted but has yet to be formalized and inserted

as part of government’s formal project. Also if we are to focus on the

transmission of knowledge from knowledgeable individuals to those within

their community or any other, the Department of Culture & Heritage, Fiji

Arts Council, Institute of Indigenous Language & Culture and the Fiji

Museum through their documentation process, revitalization of skills

workshop and cultural enhancement programs have been engaging local

practitioners and knowledgeable elders, art and crafts people to facilitate

the community workshops. But the only issue is that there is no

formalization or a programme developed specifically for awarding of

incentives and related initiatives for these resources people, i.e. no LHT

system as yet.

No - because there is no full government programme in place as yet to have

it become recognized as an ‘LHT System’ proper.

Pending issues & Urgent needs on safeguarding of ICH | 39

VI. Pending issues & Urgent needs

on safeguarding of ICH

Q1. Is any of the intangible cultural heritage in your country in danger of

disappearance or transformation? (Please include name of the heritage,

location, problems encountered, etc.)

From data collected through our cultural mapping program, there has been a

wide concern on little importance placed on intangible cultural heritage in

Fiji. The younger generations are embracing modernity and westernization

to a stage where their own culture and tradition is deemed to be of little

importance. Changing times have seem transformation of indigenous ICH

such as dances and many have lost authenticity in regards to costumes and

related customary practices or protocols that is no longer practiced fully.

Q2. What are the reasons the heritage is in danger and what type of

safeguarding measures have been taken? Please be specific.

Policy of past governments has been developmental oriented which puts so

much pressure on ICH. It resulted in little or no effort been made towards

protection and revitalization of ICH. Some development projects were

bulldozed through without much consideration on cultural and social

impacts of those living off the land. Many ICH in Fiji is directly related to the

environment that a certain group decided to settle in, which in many ways

determines cultural practices and traditional economic activity. A good

example is loss of Kuta weaving tradition in the Macuata province. Kuta

which grows well in certain swamps in parts of Macuata, is source of

livelihood, which is used in traditional bartering system with those in the

other provinces. This was affected after swamps were developed leased for

rice ad cash crop farming. This affected supply of Kuta resulting in near loss

of this unique ICH, before the revitalization program that includes return of

swamp land to traditional owners.


In addition the education system also does not put much emphasis on

protection and revitalization of ICH and at time it is seen as a barrier to

academic excellence. This is evident in how the indigenous Fijian language

was an optional subject in the educational curriculum with many parents

opting for their children not to take the Fijian language schools. Moreover

lack of political will, does not help as those who want to pursue further

studies in this area have limited career paths to follow.

The indigenous Fijian Language has been under immense pressure with the

notion that it is best students master the English language in order for them

to excel in their academic studies. In addition colonial authority endorsed

the Baun dialect (used widely in eastern Fiji) as the official language for

indigenous population.

Q3. What are the pending issues for safeguarding ICH in your country that

you have found through interviews and the field survey?

In most cases those who have the knowhow have died without transmitting

knowledge to someone else within the clan or community. In addition local

ICH has ever documented or is there an inventory on ICH.

At this time and age, safeguarding requires funds which the country lacks.

For Fiji the reactivation of the Living Human Treasures program would be an

added boost as funding for the program has been put on hold. The institute

would be happy to continue the programme provided funding is available

for a desk officer to specifically run the program as part of the institute

annual business plan.

Q4. What kind of problems and difficulties were encountered during the

safeguarding projects?

Diversity

Resource persons

Funding

Transportation as at times remote areas has to be travelled.

Pending issues & Urgent needs on safeguarding of ICH | 41

Q5. What future plans are there for the safeguarding of ICH (programme

information)?

As highlighted earlier this has been put on hold at the moment.

Q6. What type of contribution and cooperation from international society is

needed for the safeguarding of ICH in your country?

Training and technical/financial assistance

Q7. What role do you expect ICHCAP to play in the safeguarding of intangible

cultural heritage in the region in terms of programmes, projects, etc.?

Provision of financial and technical assistance and if possible provide hands

on training for officers who are actually involved with work. Reactivate the

Living Human Treasures program for Fiji by providing funding and if

possible for function to now sit with the Institute of Indigenous Language &

Culture of the Ministry of Indigenous Affairs.

Q8. Please include any requests and/or suggestions you have on this matter.

Reactivate the LHT programme by provision of funding for identification

and revitalization of endangered ICH.

Initiate exchange programs where cultural experts from across the region

exchange ideas and make collaborative effort in safeguarding ICH.

Provide technical and financial assistance for those countries that are

showing commitment towards safeguarding of ICH in their respective

countries.

Fiji’s Cultural Mapping program is in urgent need of funds for upgrading

of our Traditional Knowledge & Expression of Culture Database. In addition,

researchers in our Cultural Mapping program operate on limited budgetary

allocation from government, and are in need two four wheel drive vehicles.

At the moment they rely on government vehicles and at times utilize public

transportation when government vehicles are not available. Different

terrains and areas travelled calls for four wheel vehicles for safety and

convenience.


VII. Reference Materials

Tuvuki, Niqa. 2009. Macuata Kuta Weaving Skills Revival Workshop

04-08 May 2009.

Department of Culture and Heritage of the Ministry of Education,

Government of Fiji.

National level agency/organization dedicated to preservation and

promotion of traditional/folk performing arts :

http://www.accu.or.jp/ich/policies/C_FIJ.html

COUNTRY REPORT: FIJI Cultural Mapping - An Approach to Safeguarding

Indigenous Fijians Intangible Cultural Heritage;

(By Misiwaini Qereqeretabua)

http://www.accu.or.jp/ich/en/.../country report.../country_report_fiji.pdf

Geraldine Panapasa, Fiji Times Online – 3rd May 2009

http://www.rotuma.net/os/artists/rako.htm

List of researchers| 43

List of researchers

NAME

AFFILIATION

CONTRIBUTION

TO THE SURVEY

FIELD OF

RESEARCH

Mr. Setoki

Qalubau

Administration

Officer –

Institute of

Fijian Language

& Culture

Head / Field research team Intangible Cultural

Heritage

Mr. Ilaitia

Senikuraciri

Field Researcher

– Institute of

Fijian Language

& Culture

Field research/ data

collection, video shooting.

Intangible Cultural

Heritage

Ms. Lanieta

Degei

Project Officer –

Institute of

Fijian Language

& Culture

Field Research/ data

collection, transcription and

consolidation.

Intangible Cultural

Heritage

Ms. Kelera

Adikakua

Project Officer –

Institute of

Fijian Language

& Culture

Video Shooting and Editing

and consolidation of report

especially in the critical

technical areas.

Intangible Cultural

Heritage

Siteri Rakai Editor –

Institute of

Fijian Language

& Culture

Data collection, editing and

consolidation of report.

Intangible Cultural

Heritage

Annex 1 | Workshop Report Revitalization of Bure Building Skills

Revival of Traditional Skills & Handicraft Development

Kuta Weaving Skills Workshop

Salt Making and Craft Workshop

Revitalization of Bure Building Skills in the District of Nasinu in Ovalau | 47

REVIVALIZATION OF BURE BUILDING SKILLS In the district of Nanisu in Ovalau

1 to 5 December 2008

1. Background of the Project Area

The project was a collaborative effort between two government department; Institute of Fijian Language and Culture, Department of Culture and Heritage and the Fiji Arts Council.

It was primarily aimed at revitalizing and safeguarding a strand of Intangible Cultural Heritage. In the course of Cultural Mapping by research officers of the Institute of Fijian Language and Culture (IFLC) of the Ministry of Indigenous Affairs (MIA), concern was raised by villagers on likelihood of an ICH in the village being forgotten and later being lost. Proposal was submitted to the Department of Culture and Heritage (C&H) of the Ministry of Education to facilitate costing and assist in the planning for a program that will revive this dying ICH.

2. Intoroduction of Target ICH

The main focus of the project was the revival of an art in traditional Fijian house construction. Commonly known as a ‘Fijian Bure,’ the house is unique in layout and comes in different shapes and sizes. In traditional Fijian villages, a ‘Bure’ signifies status and importance. From the foundation to the roof, each part of the ‘Bure’ is expertly constructed to be in line with specific purposes it has been constructed for. There are three main types of Bure that is common in Fiji. The first are houses with straight sides and rounded ends, and an arched roof throughout. These are Tongan type houses and are only found in the Lau Group of eastern Fiji. The second are the oblong houses without a centre pole. These are found throughout the rest of Fiji. They come in two different forms, namely:


a) Houses with a main post in the middle of each of the short ends. These houses usually have king-posts supporting the ridgepole and the ends of the roof are in line with the ends, i.e., they form gable ends.

b) Houses with no main posts. In these houses all the wall posts are the same height and the ridge-pole is usually supported by king-posts. The short ends of the roof slope inwards, forming a four sided hip roof.

The third type are the centre poled houses of western Viti Levu. These houses are rectangular in form and have a single main post in the centre of the floor to support the ridge-pole and the apex of the roof. They can either square with ashort ridgepole, or oblong with a long ridge pole. The house constructed in Nasinu Ovalau is second type described commonly known as the Doka Leka (Short Pole).

3. Objective of the project

The objectives are the; Revitalization of ICH that is related to Fijian Bure construction for Tikina

Nasinu in Ovalau. Safeguarding of ICH that is related to Fijian Bure construction for Tikina

Nasinu in Ovalau. Transmission of ICH that is related to Fijian Bure construction for Tikina

Nasinu in Ovalau.

4. Methods of Implementation

Need for revitalization of said ICH was identified during Cultural Mapping conducted by the researchers of the Institute of Fijian language and Culture. Likewise resource person to facilitate transmission of ICH was also identified in the mapping exercise. The project supports DCH work towards finalization of nomination document for Levuka (Ovalau) to be listed in UNESCO’s World Heritage Listing. After consultation with stakeholders and resource person, materials needed for the constructed was prepared and brought to construction one prior to commencement of workshop. Cost of transportation of building materials and laborers was borne by the DCH. Participants were selected from within the Tikina of Nasinu and were taken through a step by step demonstration of how a Fijian Bure was constructed. The workshop took eight days and 20 participants were young males whose age arranges from 17 to 25. Resource person was remunerated at $50.00 a day and there are plans to recognize his work by nominating him to be a Living Human Treasure. At the end of the workshop each participant were awarded a certificate in recognition for their participation in the program.


Parts of the Fijian Bure Constructed in Levuka Yavu- (Foundation)This is a mound of earth that is raised to be higher than the normal ground level that is constructed specifically with soil and stone barriers for bure construction. Duru- (Post) This specially chosen local timber that is to be part of the main supporting structure for the bure.

Duru kautabu

Kautabu (Upper Plate) This is the two main structures that run along the length of the house and it joins the two main posts to make up the two main walls of the building


Coka- (Cross beams)

The piece of timber that joins the two upper plate and at the same time complete the

four corner structure of the bure.

coka Boutoka- (Pillars) The piece of timber that determines the height of the roof. It sits on the icoka and is main supporting structure of the roof.

boutoka

Isa- (rafter) Supporting structure that will hold the roof and upon which baji will be placed.

Isa (rafter)


Baji- Smaller piece placed over the rafters to assist easier thatching of the roof structure.

baji

Ileqe- The main supporting structure for the rafter and Baji. Their function is to strengthen the sides and ends of the roof frame before tying on the thatch.

ileqe

Doka- (Main ridge pole) Main supporting structure for the topmost part of the roof. Here all the baji and rafter end. Na kau vakababa toka mai cake. Na kau qo era lai cegu kece vua na baji kei na isa ni loma ni vale.

doka


Latu- Smaller post in between the main ones. This is to support side thatching for the wall.

latu

Qasiqasinikalavo- (Upper ridgepole) The pole lies parallel to the ridgepole to allow the butui (top thatch) to be well covered and to have the desired shape. The misimisi is then well plaited and weaved to give its overall shape.

Qasiqasinikalavo (Upper Ridgepole)

Butui- The topmost part of the roof structure. This part determines shape of roof and is carefully crafted to the leading carpenters (mataisau) design. Vavuni varasa. - Stalks of reeds (gasau) that are tied together to thicken the topmost part of roof thatching. Wa kalou- A type of strong vine that rows out in the wild especially in dry places. It usually used in the exterior of a bure as it is able to sustain or withstand pressures to changing weather patterns and adverse climatic conditions. Ulaula- Reeds (gasau) that are plaited together to make up the wall structure.


Vavau- (Baton/Purline) Is chosen from local trees such as makita, dogo, and ivi. This is to allow ample spacing with rafter’s and Baji.

vavau

Loru- Balabala Ferntree that is attached to the ends of the upper ridgepoledau is sometimes called the house of rats.

loru

ivua- Supporting structure for the idoka (main ridgepole). ivua


Doka ivacola vavau isa

ivua

ileqe

Boutoka


doka bati

isa


The Bure that was constructed in Nasinu Ovalau.


5. Outcome of the project

Traditional knowledge that is related to Bure construction in the Tikina (District) of Nasinu in Ovalau was revitalized, safeguarded and transmitted to the younger generation in the district.

6. Conclusion

The project was successful as the objectives were achieved after threatened ICH was revitalized safeguarded and transmitted. This was evident in interest shown by participants and anticipation by members of the village to see the complete structure of the Fijian Bure in their village again. Feedback from participants was encouraging as they vowed to keep the tradition alive through construction of more bure’s in respective villages in the Tikina. There have been calls from other villages for similar projects to be carried out on the revitalization of their ICH. Another project has been planned for another Tikina in Ovalau that will involve carving and craft skills of women in the district. In the discussion that followed tourism project has been envisioned as the revitalized ICH can be expanded to be an income generating scheme. It is recommended that more funding be made available for similar projects that will ensure revitalization of traditional knowledge (ICH) in the rural areas of Fiji.


REVIVAL OF TRADITIONAL SKILLS

& HANDICRAFT DEVELOPMENT

Venue : Vuma and Vagadaci, Tikina Levuka, Ovalau

Date : 8 to 19 September 2008

1. Introduction

The Department of Culture and Heritage (DCH) with the assistance of the Fiji Arts Council conducted a two weeks workshop in traditional skills and knowledge for the Tikina of Levuka from the 8th to the 19th September 2008. The Workshops were conducted to raise their awareness and appreciation of these skills that are peculiar to the Tikina of Levuka.

Four of the five categories targeted the revival of traditional skills for women in voivoi skirt weaving and basket weaving and men’s skills in carving war clubs and traditional fencing. The handicraft development focused on developing the women’s skills in jewelry-making, using local resources.

The Workshops are the result of concerns raised in meetings with the representatives of the Levuka Tikina in Vuma Village on 14th August, 2008. The main concern raised was some cultural practices of the Tikina are on the verge of being lost because they are no longer practiced. The danger was that the people of the Tikina of Levuka could lose their cultural identity.

The Workshop addressed the revival of traditional skills and encouraged the people of the Tikina of Levuka to go back to their own skills and resources that are available locally. In return, the Workshops aimed at empowering local communities to remind themselves of their traditions and create opportunities to generate additional income.

The Workshops are also part of the ongoing work of the Department of Culture and Heritage towards listing Levuka as a World Heritage site.

Revival of Traditional Skills & Handicraft Development | 59

2. Objectives

The intention of the Workshops was to revive, develop and illustrate the relevance of traditional skills as a means for the people of the Tikina Levuka to retain their identity. In addition, the Workshops are a means of empowering local communities to remind themselves of their traditions and create opportunity to generate additional income.

An objective of the Fiji Arts Council under the Department of Culture and Heritage is to encourage the development of intellectual capacity of grassroots in acquiring both traditional and contemporary art and craft skills. This is indeed an opportunity to promote creativity and create socio-cultural and economic openings for them

The specific objectives of the Workshops are to:

re-establish handicraft and cultural skills significant to the people in the Tikina of Levuka;

demonstrate the history and cultural significance of the handicraft products and both their historical and modern day use;

build the link between the custodians and the younger generation to encourage the transmission of these traditional knowledge which are in danger of disappearing;

preservation of their particular family roles and responsibilities, its continual usage and observance (culture and traditions);

determine a profitable pricing structure (A request to the Community Based Tourism to assist in this program); and

Learn to appreciate and utilize their natural resources as means of great potentials and profitable talent, considering the fact that the raw materials are in great abundance.

Identify sustainable harvesting methods to ensure the ongoing availability of raw materials.

3. Workshop

A. Traditional Skills - Basket Weaving with Coconut Leaves

The Tikina of Levuka were renowned in the past as makers of handicrafts of different kinds using coconut leaves and these were exchanged during traditional ceremonies with mats produced by women from the surrounding islands of Lomaiviti. These were customary practices in the past and are no longer practiced nowadays, as majority of the women within the Tikina have lost the art and skills of making these unique handicrafts.

The basket-weaving Workshop involved women to bring


their own green coconut leaves and weave baskets peculiar to Levuka; these are baskets known as the ketekete and the voco used for carrying and carting food.

B. Traditional Skills - Skirt Weaving & Club Carving

The villages of Vagadaci and Vuma are the traditional warriors (Bati Balavu/ Bati Leka) of the Turaga na Tui Levuka and it is vital for the men of the two villages to realize the significance of their traditional roles as warriors. During the funeral ceremony of the Late Tui Levuka, the men from the two villages came face to face with the reality of proving their roles as warriors. The pandanus skirts were replaced with plastic ones and likewise for the war clubs which were not crafted into their unique shapes and design. This caused a sense of realization that the costumes also played an important role in differentiating them from everyone present at the funeral and therefore the need for this revival workshop.

For the skirt-weaving, pandanus leaves were used and the skill of weaving was taught. At the end of the Workshop, the women of Vuma and Vagadaci were able to weave complete voivoi skirt. Fresh coconut milk was also used by the weavers to soften the pandanus leaves, having the very last touches as traditionally done before completing a woven skirt.

For the carving of war clubs, the men brought native vau and vesi wood. They were taught the carving skills by one other own men folk. Various types of clubs were carved and at the end of the Workshop the twenty – five (25) men were able to displayed an array of 34 (thirty – four) different types of clubs, each having its own unique and purpose. The clubs were varnished to protect the wood.

C. Picket Fencing and Stone Sea Wall

The handicraft skill revival/ development workshop was incorporated with the fencing of the Late Tui Levuka’s Tomb, whereby villages have agreed to provide labour as their contribution to the project. The site is currently the Burial Grounds (Sautabu) of the Late Tui Levuka, Ratu Kolinio Rokotuinaceva and the area is cared


for by the local community who regard the shoreline and surrounding area as a whole, making up the cultural landscape.

The construction of the Sea Wall and Fencing was the result of the excellent craftsmanship and dedication of the men of Vuma in only two weeks of hard work. The project was like learning and awakening experience for the men of Vuma which will be mentioned over and over again all through their lives.

The thoughts will remain in their lives, which they will be proud of signifying their local history and focusing solely on the abundance of information reflecting the physical, biological and cultural significance with a diversity of flora and fauna including species typical of both inland and coastal environments

The local resident had clearly identified the Cultural and Natural significance of the site and is an outstanding natural area which is important part of their natural heritage with a combination of both cultural and scenic values. The site will also be a major Tourism attraction as time comes, since the Tomb lies on one of their Historical grounds in the village of Vuma.

D. Skills Development - Jewelry Making

The women were taught, using local materials such as seashells, local seeds, pandanus, vau strips, coconut sinnet in addition to earring accessories

bought from the shops. The 65 women were able to learn the skills for making jewelry such as earrings, necklaces, chokers and broaches. In addition to jewelry, the women were taught how to make wall-hangings and other decorative pieces

to beautify their homes. These skills were taught so that the women could be skilled in jewelry-making and other handicrafts that could generate income for them and ultimately lift or improve their own living standards and homes


4. Personnel

A. Participants

The participants at the Workshop were from the ten (10) villages of the Tikina of Levuka. Also attending the Workshop were the people for the settlements in Baba. There were five (5) participants from each village of Levuka-vakaviti, Vuma, Waitovu, Vagadaci, Toki, Vatukalo, Nauouo, Arovudi, Taviya and Rukuruku. The Baba settlements include Wailailai. The participants from Rukuruku, Taviya and Arovudi were billeted in Vagadaci during the one week and the other nearby villages traveled daily to the workshop venue.

Sixty (66) women participants attended jewelry-making, skirt-weaving and basket-weaving Workshops while twenty (24) men attended the club-carving and the fencing Workshops.

B. Resource Persons

Five resource people shared their extensive knowledge in the different genres of art and craft that they specialize in.

C. Varanisese Vauoro: (Jewellery Maker)

One of the driving forces behind recent developments in the crafts scene in Fiji, Varanisese specializes in coilage work incorporating natural fibers and sea shells in most of her art work. Gaining prominence as a contemporary craftswoman from the mid 1990s, she has been involved and participated in past craft fairs and exhibitions held around the country, organized by the Fiji Arts Council. Apart from participating in these annual events, she has been an asset in developing Jewellery making skills in handicraft workshops jointly organized by the Fiji Arts Council and the Community Based Tourism from the Ministry of Tourism. The two recent craft development workshop held in the beginning of this year, were from Molituva in Kuku, Tailevu and in Nakavu Village, Namosi.

Sharing her extensive knowledge of the unique art has been a great opportunity for the participants to learn the various stages of Jewellery making and the utilization of materials often regarded as ‘waste’ by many (voivoi waste, vau strips, local seeds, old beads, local sea shells). The need to learn these contemporary skills was proposed and endorsed in the Levuka Tikina Meeting which was held early this year in the village of Vuma on August 14th, 2008.

Even though the Tikina of Levuka has now the necessary knowledge and skills in coconut leaves handicraft making, the Jewellery making skills


taught will enhance the participants expertise further and teach new and creative designs which will enrich their society in a number of practical ways, strictly cultural ones, and commercial reasons that should most certainly be encouraged.

D. Luisa Naigasau and Seini Uarua (Coconut Leaves Handicraft Skills)

The two women are both from the village of Rukuruku in Ovalau and had their first experience in teaching the skills of basket weaving apart from their leisure times back home. They had learnt the skills from their mother and grand mothers in their young age and have continued to practice that skill to date. Basket weaving has been also been a source of income to both of them for they also sometimes sell to tourists and take orders from local customersand have both been proven best basket weavers in the Tikina of Levuka. Seini and Luisa had mentioned during their personal interviews, that this workshop had identified the importance of reviving the dying skill of coconut leaves weaving and the risk of its disappearance. The outstanding original value of

such skills will reaffirm the cultural identity of the people in the Tikina of Levuka of which they were renowned of in the past.

Both women were also confident that the weaving skills will continue as the large portions of participants were from the younger women who will be able to pass on the knowledge to future generation.

They also mentioned that learning the skills was a bit difficult for some participants because the one week training was not enough. More patterns were required to be taught, but this was not possible for them to share the knowledge because of time constraints.

E. Paula Ravutia (Club Carving)

Likewise for Paula Ravutia from the village of Vatukalo, was also his first experience in such workshop and has been satisfied to teach the skills to the men of the two villages (Vagadaci and Vuma) particularly to the younger generation as they are traditionally called the Batileka and Batibalavu to the Turaga Bale Na Tui Levuka Paula had mentioned that he was fortunate to acquire the skills from his late father which he believe that this is an obligation for him to practice and share the skills and knowledge to the men of the two villages, as his mother is a member of the Warrior Clan from the village of Vuma. He still recalls that he had once proved


himself in a woodcarving competition held during his school days which he won and has never regretted to have that talent which has contributed a lot to his skills and knowledge. Paula had also mentioned that he has benefited from the sales of his handicraft and has been able to support his family through woodcarving.

F. Ivamere Sokiveta (Voivoi Skirts Weaving)

Ivamere Sokiveta has practiced the weaving skills since her young age before she got married in the village of Vuma. The husband comes from the Batibalavu Clan and she also mentioned that she has also been blessed to have the knowledge and skills of weaving which has contributed a lot to her serving her traditional family roles in the vanua. The women of Vuma and Vagadaci were able to learn the skills in only a day, and have confirmed that acquiring the skills was substantial for them because they are borne into a very particular family roles and

responsibilities as warriors of the Turaga na Tui Levuka and is vital for them to realize the significance of their traditional rols as warriors.

G. The Institute of Fijian Language Team:

We had also engaged two project officers and photographers from the Institute of Fijian Language upon the request of the Department of Culture and Heritage for the collating, documenting of information and recording and video shooting on the one week’s workshop. This was also a follow up in the identification and documentation of indigenous knowledge and associated expressions collated by the Cultural Mapping Team in the various districts of Levuka. The two officers had conducted interviews whereby some of the participants shared their experiences in the aspects of their traditional skills learnt, especially on coconut leaves weaving and club carvings.

5. Logistics

A. Official Opening

Although there were two venues for the workshop, men, women and youths congregated in Vagadaci village on Monday morning, 8th September to witness the official opening by the Tui Vagadaci, Ratu Isoa Saqacala.

In his official address to the participants who were mainly youths, he encouraged and stressed the importance of fostering and preserving their cultures and traditions. Knowledge gained in the workshop would be a great


opportunity for the participants to experience something unique, beautiful, rare and authentic or of great significance that would provide a strong appeal for tourists in the near future.The participants were also told that they are fortunate for the financial assistance provided for by the Department of Culture and Heritage which will enable them to come together as a Tikina and share the traditional knowledge and skills that is almost in the verge of extinction such as the coconut leaves weaving and the carving of war clubs, the skills that they should be practicing all through their lives.

6. Venue

The Workshops for the women were held at Vagadaci village while the men’s Workshops were held at Vuma village. The two hosting villages were responsible for catering and accommodating their own participants in the duration of the workshop

7. Official closing

A proposal was put forward by the Department to the vanua that we defer the closing to a later date so that it coincides with the completion of the Sea Wall construction and Fencing of the Late Tui Levuka’s Burial Site.

The initial request by the ten (10) Malo Ni Tikina of Levuka that the Director Culture and Heritage to officiate the closing since the Tui Vagadaci had participated in the opening on their behalf.

This was not possible due to the last minute cancellation of Air Fiji flights to Levuka which had dissuaded the preliminary plans of the participants for further discussions regarding the Vuma Community Hall to be developed as their Cultural Center or mini museum.

The participation of the Provincial Administrator Lomaiviti, Ratu Eliki Tikoimainadraubuta was then requested by the Director Culture and Heritage to preside over the closing, was another opportunity for the villagers to meet and discuss with him other relative issues, as this was also his first official engagement in activities as such. The official closing and awarding of certificates was held in Vuma Village Hall on Wednesday 24th September, 2008 witnessed by more than the one hundred participants, including members of the Levuka Town Council, Levuka Heritage Committee members and other invited government officers serving in Levuka.

He was contented with the magnitude of work undertaken to organize such workshop, the level of participation and interest shown for the development and revival of handicraft skills in both coconut leaves weaving, club carvings and


Jewellery making, which will definitely contribute to the creation of village or self projects as income generating initiatives.

The Chief Guest had also commended the work done by the men of Vuma for the construction and fencing for the restoration of the Burial Grounds (Sautabu) of the Late Tui Levuka, Ratu Kolinio Rokotuinaceva which had clearly identified the

Cultural and Natural significance of the site as an outstanding natural area which is an important part of their natural heritage with a combination of both cultural and scenic values.

He also encouraged the participants to learn to appreciate and utilize their natural resources as means of great potentials and lucrative talent, considering the fact that raw materials are in great abundance.

The highlights of his closing address were that, the support of his Ministry for the further development of the Community Hall in Vuma was in the pipeline and this was received well by the participants. He was then invited by the vanua to officially open the new constructed Sautabu after a traditional presentation by the Vanua of Vuma.

The enormous work and the financial assistance of the Department of Culture and Heritage for the worthy cause were highly commended by the Chief Guest.

8. Budget

The Department of Culture and Heritage was able to allocate $14,692.00 towards the Revival/Development of Handicraft Skills for the one week workshop and $5,520.00 from the Levuka World Heritage Listing Funds, to cover expenses for the Sea Wall Construction and Fencing of the Late Tui Levuka’s Burial Site in the village of Vuma. All expenses details are highlighted in the Financial Statement attached to this report.


9. Hightlights

A major highlight of the Women’s workshop was a visit by the Manager of Flex Fiji, the retailer for Digicel. Mr Stephen Bleen visited the women and was greatly interested in their handcrafts. He purchased some handicrafts and this greatly encouraged the women to see that there is a market for their works. Mr Breen discussed the possibility of assisting further the women by supporting the sale of their works in Suva and also the possibility of sending two (2) women to Australia for the Fiji Day Celebrations to showcase the handicrafts of Levuka. This was met with welcome applause form the women. The Department of Culture and Heritage will follow up on the offer by Mr Bleen.

Another highlight mentioned during the Awarding of the Certificates function was the offer raised by Patterson Brothers Shipping, on the provisions of bringing tourists every two weeks to visit the Community Hall in Vuma and upon arrival village women from the Tikina Levuka will exhibit and sell local handicrafts to the tourists.

As mentioned by the Provincial Administrator in his official address during the closing, his ministry has also endorsed financial assistance towards the upgrading of the Vuma Community Hall, this was also acknowledged by the villages .

10. Outcomes

Participants

At the end of the Workshop, the participants were expected to deepen their cultural knowledge as well as being for educational transmission and reference for their future generation. They were also expected to revive their traditional coconut handicraft skills from two surviving custodians and realize benefits in terms of tourism, employment, learning new skills and trade.

In addition, the participants were to prepare themselves and get involved in tourism interpretations whilst Levuka becomes a World Heritage Site in the near future and also improve the authenticity and quality of handicraft products in villages. At the end of the Workshop, the participants were expected to learn new skills to identify and harvest raw materials for the handicrafts and learn the importance of team building and communication.

Department of Culture and Heritage

The awareness raising campaign is an initiative undertaken by the Department of Culture & Heritage for the preparation of the nomination of Levuka to the World Heritage Listing in the year 2010. It is an ongoing attempt to fulfill the objective of re- confirming to all the villages on Ovalau their roles towards the respect for their value systems, traditions, customs and beliefs and raising awareness on the importance of preserving, reviving their traditional skills in both tangible and intangible heritage and developing their cultural and natural resources for the creation of employment and income generation to the community.


The major challenge now for the Department is to work effectively with all stakeholders in the Government Ministries and Non-Governmental Organizations for their stronger commitment and leadership to enforce effective regulations to protect the communities Cultural Heritage from development threats and to understand the needs and importance of cultural heritage conservation for tourism whilst at the same time upholding its significances and values.

11. Evaluation

The analysis of the project results indicates that there are vast opportunities available in promoting the crafts sector as a way to improve their living standards and have additional source of income

12. Recommendation

It was obvious that by conducting such community workshop in Levuka as a pilot project that the Departments Culture’s role in the Cultural authenticity component is an important issue to be seriously considered. It is suggested that similar workshops to be conducted in the other three Tikinas in Ovalau since their request have been submitted to SPO Levuka.

Working intimately with the Ministry of Tourism in the Cultural Heritage Tourism segment is vital, as this will also build up to strengthening the commitment and leadership of other Government Ministries to enforce effective regulations to protect cultural heritage from development threats. Improving the links with the Tourism Sector will positively contribute to the profitability of craft production.

This also applies to other non- government organizations and stakeholders are requested to come on board, those that are actively associated and play a key role to assist the communities in the development of sustainable tourism that will strengthen the bonds between their rich heritage and its aspiration for the future.

Ongoing awareness for the public at large to have innovative understanding the values of historic sites, participating in public art and craft programs such as mini cultural festivals, and special cultural events such as Back to Levuka Programs, are essential ingredients of a successful agenda of cultural heritage tourism

A follow up to be made with the Regional Development Office on the funding mentioned by the Provincial Administrator for the upgrading of Vuma Hall, Patterson Brothers on their offer for tourists visit to Vuma Village and also with Digicel Company regarding the assisting the women further by supporting the sale of their works in Suva and also the possibility in Australia.


13. Conclusion

The workshop was very successful, and we as organizes had confirmed that we had achieved the best since the project also promoted solidarity, and pride amongst the participants. The older men and women participants spoke of their enjoyment in seeing the youth engage in the revival of their traditional weaving skills and club carving, which definitely be transferred to the next generation. The participants had shown a wide range of knowledge and clarified their own creative ideas, especially in Jewellery making. Teamwork among the different participants and the workshop trainers, contributed to an atmosphere of solidarity and the recognition of highly technical nature of craft- making gave them a renewed sense of pride in their work. The skills and knowledge acquired from the workshop, the participants as artisans not simply conserve cultural heritage but also enrich and adapt this heritage for the contemporary needs of societies they belong to. Through this project, new ideas were disseminated and financial resources and assistance from other organizations were identified, providing and encouraging other financial contributions showing their interest in the projects. It is therefore evident that the project will generate employment opportunities and also provide new income that will enhance economic performance and lift their standard of living. In addition, the project will also have a great impact on youth retention of slowing the urban drift, as job will be readily available to them in the villages. The concept of combining interaction of the various communities working towards a common goal is a great indication of promising ecotourism venture in the whole Tikina of Levuka. And considering on what the Tikina of Levuka has on the ground now, promoting of their local cultures and customs, through tourism can be a tool to prolong and sustain their identity. This is also a first step towards becoming an active participant in the preservation process, by teaching their children the unique and irreplaceable value of their heritage which will help future generations learn how important it is to care for their heritage. To conclude, I would personally acknowledge the assistance and contribution of all the Departmental Staff / Volunteers, the Fiji Arts Council and the Institute of Fijian Language in making this workshop a great success.


KUTA WEAVING SKILLS WORKSHOP Tikina Macuata | Seaqaqa | Dreketi | Sasa

4 to 8 May 2009

1. Introduction

The Cultural Enhancement Program of the Department of Culture and Heritage aims at promoting cultural industries at the grassroots level through Festivals, Exhibitions, Promotions and Workshops. Although the concept has been in existence, the challenge vests with the implementations as the indigenous people vary in their cultural heritage. Thus an approach taken in the beginning of this year, was to pilot the program with the Province of Macuata. The focus on Macuata originated out of the Tui Macuata’s being a representative of the Vanua and Chiefs of Fiji in the recent Festival of Pacific Arts held in American Samoa in 2008. Having witnessed the level of presentations of skills and talents from the Fiji delegation, the Turaga Tui Macuata was inspired to encourage the people of Macuata towards the promotion of cultural practices, revival of lost skills and knowledge and encourage local festivals as a means of promoting cultural practices and also offer opportunities for the people of Macuata showcase their skills and talents which could in turn be a source of income right at the household level.

1) 2009 Proposals for Macuata Province As being the Senior Cultural Development Officer, I was assigned the important task of creating a collaboration of all stakeholders and soliciting views from those concerned within the Province of Macuata in mid February, 2009 before any implementation activity was pursued. Briefings were held with the Roko Tui Macuata and the Women’s Interest Officers under the Ministry of Women, Northern, to provide an overview of the program, consider and confirm a calendar of events for 2009 and enhance collaboration through mobilization of resources. My visit to the Northern Division was so timely that the first round District Meetings within the Province of Macuata was scheduled the following week. I was privileged to be part of the Government Delegation attending the 12 District Meetings from 26/2- 14/3/09, promulgating the objectives of the program and soliciting the support of the villages.

Kuta Weaving Skills Workshop | 71

2) Highlights from the Awareness Campaign The following issues were gathered from the awareness in the eight (8) out of the twelve (12) district meetings attended: The hive of tourism activities currently being undertaken along the northern coastline of Macuata proved an opportune platform for setting up cultural enterprises; The need to develop local heritage

sites for Eco- Tourism purposes; The need for handicraft, such as

jewelry making, screen printing and performing art development in already established tourism outlets (Druarua Island and Udu Point);

The need to organize community based workshop on Kuta weaving for younger women in the four districts of Macuata, Seaqaqa, Dreketi and Sasa;

The need for a revival of woodcarving and traditional costumes (pandanus skirts) skills workshop in the District of Namuka;

Identifying traditional practices of certain provinces that are slowly dying out or not practiced anymore.

2. Objectives

The intention of the workshop was to develop and illustrate the relevance of traditional skills as a means for the people of the four districts (Macuata, Seaqaqa, Dreketi and Sasa) to retain their identity. In addition, the workshop is a means of empowering women and youths to remind themselves of their traditions and create opportunities to generate additional income. The three main objective of the workshop are highlighted as follows aiming at: Traditional Skills and Resources within the community

- To identify traditional skills that belongs to each indigenous community; - To identify resource persons who are

owners of traditional skills within the community;

- To identify and develop natural resources within those communities to be used to create and produce authentic handicrafts.

Skills Impartation - To impart to other members of the

community who have the knowledge of their own traditional skills;

- To develop other skills that are not traditional to that community;


- To enable incoming- generation at the village level and upgrade their standard of living;

- Maintaining traditional skills of weaving for future generation; - To strengthen cultural sustainability within their communities. Market - To identify and develop markets for the products produced by these communities.

3. Workshop Kuta Mat Weaving Skills Workshop With the success of the District Council Meetings attended, the first workshop was held at Seaqaqa from 4th - 8th May to involve young women from the 39 villages within the Districts of Macuata, Seaqaqa, Dreketi and Sasa. The need for the one week workshop was the request of the Turaga Tui Macuata, as Kuta mats is traditionally renowned as being one of the traditional craft of his province. The raw materials are a surplus in the four districts, yet the skill to utilize these is minimal. It has been a practice that only older women are engaged in kuta weaving and it has come a time that the traditional skills is passed on to the younger women at village level. It is a fact that the elderly in rural villages’, men and women are currently the main guardians of traditional cultures and skills in the different provinces in Fiji. Losing these skills, would mean a big loss for future generation who are at present still ignorant to the value of preserving their traditional heritage.

During the District of Macuata Meeting, the Traditional Head of the Province of Macuata reiterated his call for the promotion of cultural heritage at the provincial level and that the grassroots to be reinvigorated in developing and enhancing their traditional skills. As also highlighted in his official address, ‘Fijian indigenous society is very communal, with great importance attached to the church, the vanua, and the village family unit. At present, there is a real need to preserve our customs and traditions for our future generations which will be lost if we are not vigilant enough for its preservation, for it is each and everyone’s responsibility that it remains intact at all times’


4. Logistics

1) Pre-preparation of the Workshop Prior to the planning process of the workshop a structure was implemented to specify roles and responsibilities of the organizing team that involved both the Department of Culture and the Macuata Provincial Office personnel. The major roles of the Macuata Team headed by the Roko responsible were, involving the participation of young women representing the 39 villages, indicating specific activities & tasks, providing logistical support to the DCH Team and consulting with other government and relevant stakeholders to enable us achieve the best for the preparation of the one week workshop, all logistics were put in place before the workshop commenced. Assistant Roko Peni Rakanace and the Youth Worker Macuata had liaised with the district representatives and village headmen of the 39 villages to identify two participants from each village, arrange for their transports, identify five master-weavers trainers, preparation of venue and accommodation centre and caterers. Each participant was required to prepare for their own beddings and raw materials for weaving as part of their contribution towards their training. Not all villages were represented as most young women were engaged in the yearly Provincial Methodist Conference held at the same week. The 55 participants all converged at the Seaqaqa Secondary College on Monday morning the 4th of May where they were also billeted for the week. Having Seaqaqa College as venue was appropriate and centralized due to the physical locations of participating villages within the four districts. Participants were provided with transport from their various villages to the venue as this was one of the major problems faced during the workshop as most represented villages are not accessible by normal bus routes, therefore using mini carriers was the only option for their transportation. Members of the Assembly of God Church community living close by the school compound were requested to cater for the week.

2) Official Opening The Roko Tui Macuata, Mr. Sitiveni Lalibuli who had just resumed office upon transfer from the Bua Provincial Office, was invited to officiate the opening of the workshop who had reminded the participants the importance of learning their renowned traditional skills and if neglected, it will surely be lost. Participants were reminded that indigenous people belong to a vanua, yavusa and mataqali and have shared aspects of lives in its cultures and traditions. Elders are renown in their different cultural knowledge and skills in the different provinces in Fiji. It is their roles that these skills are made known and shared to their younger generations for


their betterment in the future. ‘Knowing and practicing kuta weaving skills will enable you as participants open doors to money-making development from your homes which will surely assist you great deal in your every day living’

The Ministry of Women, Women Interest Officers were also present in the opening, who later shared with the participants the needs of having closer collaborations in their future programs that will focus on their upcoming visionary plans for local handicraft marketing. Participants were also highlighted on their Northern Craft Fair Program which is scheduled for 11th – 12th June, 2009, encouraging them to participate in the two days event.

After the Official Opening, one of the Resource ladies, Lusiana Turagasau from the village of Korovuli had demonstrated the basic stages of kuta harvesting, ways and means for longer and better preservation to maintain the golden color and texture of the raw material. The traditional and natural processes of preserving the harvested kuta is very important so the availability of raw material will always be in abundance when required by the weavers all throughout the year because harvesting months are only from March- June every year.

3) Daily Programs The first day program opened with a registration program and each participant was issued with their ID Cards .Before the commencement of the fist day’s session, participants were divided into five groups led by each trainer, ensuring that each group consisted of both younger and older participants enabling them to share their knowledge and skills during the programs. Each day begun at 8.30am with morning devotion likewise at 5.00pm, closing the days program. The session on skills impartation was conducted during the day with the first session in the morning, the second session after morning


tea and final session after lunch.

Lectures were also incorporated into the workshop program for traditional roles and obligations of the community. The older women were requested to advice and teach younger members of their traditional knowledge and history. From the Department’s perspective these lectures are to give younger members of the community better view of where their history and to let them appreciate their inheritance and their heritage. The lectures raises the awareness on the importance of preserving, reviving the traditions and culture in both tangible and intangible heritage.

4) Official Closing The participation of the Manager Northern Development Program (NDP), Mr. Waisele Tuidama was a great opportunity for the participants and other stakeholders present during the official closing, as he had discussed and highlighted the various issues consisting financial assistance offered in their programs, particularly micro- entrepreneurs in enhancing their livelihoods. The National Centre for Small and Micro Enterprises Development (NCSMED) is the implementing agency for the NDP program operating in Labasa. The Chief Guest in his official address highlighted the importance of transferring the traditional skills of weaving Kuta to the younger generation because both Macuata and Bua are renown of the traditional mat and its part of their heritage. He further stressed that, ‘Handicraft products made from kuta such as mats, wedding costumes, table mats and other craft accessories is highly marketable in Tonga, United States of America and other Pacific Islands. I am urging you today, to make use of these market opportunities. With the knowledge and skills acquired from this project, will be able to foster the development of your productive capacities to generate income and increase trade in creative products and services.’


After the awarding the workshop participating certificates, participants were offered forms to request for potential entrepreneurship assistance through the Northern development Program. The two representatives from FRIEND and FTIB were also given time slots to highlight the potential market assistances from their organizations. The presence of both offices in Labasa will assist them further to alleviate their market access problems as confirmed by both reps.

5. Personnel

1) Resource Women The resource women as trainers were renown of their skills in their own districts and have also showcased their products and participated in the 2006 Melanesian Festival, Wasawasa Festivals 2008 and various Craft Fairs organized by the Fiji Arts Council around the country.. They were Lusiana Turagasau (65yrs) and Ditui Raqere (58yrs.) from Korovuli, Sereima Divavan i(63yrs) and Melaia Sewasewa (62yrs.) from Navakasobu villages.


The youngest of the five trainers, Leba Tudravu who is 28 years old, from the village of Naravuka had been highly recommended by the Fiji Arts Council in her participation in the Wasawasa Festival held last year. Her participation in this workshop had encouraged the younger women to acquire the skills. The five women were also given time to share their experiences in their affections in knowing the art which has

contributed a great deal financially in their family lives. As lamented by Leba, ‘Kuta mats is the traditional mat where I come from (she hails from Bua), my practicing the art represents a very valuable form of my cultural expression, a wealth of self confidence which has contributed to my everyday living. Learning the weaving from my maternal grandmother in the age of sixteen (16) has taken me to a standard that I will never regret and I will always thank God for the knowledge He has blessed me with. I have participated in National events to represent Macuata, and have won awards which I had never thought to receive.’

She also highlighted that she has been selected to represent Fiji in the Commonwealth Natural Fiber Skills Workshop in Bangalore, India from 21st – 24th June, 2009, which will be another milestone in her life if attended.

2) Participants The target groups were younger women and youths- 56 participants consisting of one male represented the 39 villages in the four districts of Macuata, Seaqaqa, Sasa and Dreketi. It was an opportunity to work together and know each other well to share their experiences in the one week. It was expected that the 39 villages consisting the four districts would attend but unfortunately, most women were involved in their Annual Methodist Meeting which was concurrently held with the workshop.

Mr. Mataiasi Qaroro from the village of Niurua as the only male participant had demonstrated his stupendous skills which had amazed everyone in the workshop. He acquired the skills of weaving from his maternal grandmother who hailed from the village of Navakasobu where Mataiasi was brought up in his young days, and continued to embrace it. He reminisced the magnificent times when he accompanied his grandmother in harvesting the raw material from the kuta ponds in Navakasobu and later showing him the various stages and methods of its preservation.

‘My acquiring the unique skills from her was like a lifetime fortune which I had continued to embrace since then which has enriched and adapted my knowledge to weave contemporary pieces such as wedding costumes for both


the bride and bridegroom pieces, apart from the normal kuta mats.’ I have been married for some years and have assisted my wife in her role as a housewife, contributing in family and vanua functions.’

Mataiasi had showcased some of his unique pieces, ranging from davodavo to vakabati even astounding the trainers of the designs used were not known to them.

‘One of my main reasons to attend this one week training is to know the round shaped mat and also try and encourage the younger women that the more they practice the art, the better they will achieve which will provide greater opportunities for income generation in your households ‘

6. Budget

The Department of Culture and Heritage was able to allocate $7,000.00 to cover all expenses required to organize the one week workshop. All expenses details are highlighted in the Financial Statement attached to this report.

7. Hightlights from the workshop

The workshop was able to train young indigenous women of the 39 villages and had contributed to their empowerment to focus on small and medium enterprises to improve the livelihoods by developing economic activities to generate income

Participants were offered forms to request for potential entrepreneurship assistance through the Northern development Program


To enable the organizers to identify the outstanding participants who had demonstrated their best in learning the weaving skills with an intention to develop and promote them further through other cultural entrepreneurial activities collaborated through the Fiji Arts Council

Potential market assistance from FTIB and FRIENDS. The presence of both offices in Labasa will alleviate their problem

The participants were invited to participate in other integrated government programs such as the Northern Craft Fair scheduled for 11th – 12th June organized by the Ministry of Women and the Pacific Youth Festival to be hosted by Fiji from 13th – 18th July in Suva. The younger women who had participated are live members of the Macuata Youth Group and multi skilled in other cultural activities which are trying to showcase as a Macuata Contingent for the upcoming Pacific Youth Festival


8. Other meetings attended

Presentations and consultations were also held soon after the week of the workshop as invitation were received by the Department to present at the Cakaudrove, Bua Macuata Youth Rally on 12th May, in the Macuata Provincial Council Meeting on 13th-14th May and traveling to Druadrua Island with the Manager Community Based Tourism on 14th- 15th May for consultation as a follow up request in the recent Tikina Namuka meeting.

1) Presentation at the Cakaudrove, Bua Macuata Youth Rallyon12th May at Qomate

Building

Listeners in the meeting were office bearers and reps of the Association from various villages within the three Provinces under the leadership of Assistant Roko Peni Rakanace in the Macuata Provincial Office. The main agenda of the meeting was the preparation of youths from the three provinces to showcase their talents in meke, handicraft skills and other cultural activities in the upcoming Youth Festival hosted by Fiji in July, 2009. In particular for Macuata was a partnership drive with the Provincial Office Macuata towards the result for the Turaga na Tui Macuata’s request during the last Pacific Festival of Arts in American Samoa, which was later endorsed by the Minister for Education Culture & Arts to develop and protect Macuata’s culture and heritage as part of the Government’s ‘Look North Policy’. The manager Foundation Rural and Integrated Enterprise N Development (FRIEND) was also invited to do a presentation during the meeting. FRIEND is a registered non- government organization administering community programs for unemployed and rural women. The Organization works with the various community around Fiji to create income generation programs, and to help empower individuals and communities both socially and economically. Their major concerns are Food Security, Environment Conservation and Health.

2) Presentation at the Macuata Provincial Meeting 13th -14th May at Kytria Hall

The three main issues highlighted during the presentation that required the endorsement of the Provincial Council were :

The establishment of the Provincial Heritage Committee The request for establishment for a Provincial Center for Culture and Arts to

provide a space for showcasing of cultural traditions, craft demonstrations and an outlet for cultural resources for the entire province of Macuata

The request to preserve potential Heritage sites for development and attractions. Resource Owners are to be aware of such heritage sites when allowing such pieces of land to be leased

The establishment for a Provincial Heritage Committee was unanimously agreed and endorsed by the Council. The following were elected to be members of the Committee,


RatuTevita Roqica as Chairman who is also a member of the Provincial Council,Turaga na Tui Mali, Turaga Tui Sawana, Mata ni Tikina of Udu, Namuka and Dreketi. It was also highlighted in the Provincial Council meeting that discussions and consultations are continuing for the need to allow a space for a Cultural Centre within the existing Provincial Building Complex. There is an existing building already in the complex to begin with, but constructing a Fijian Bure would be very important to showcase the cultural skills of indigenous men, women and youths of the entire Province of Macuata.

3) Consultation Meeting with the Vanua in Druadrua Island

A discussion was held in the village of Druadrua with the village elders who had raised the following requests: The urgent need to have proper training in customer services and tour guiding to

ensure that visitors are given the real Fijian experience while in their Island. This can also be considered as an opportunity for exchange amongst the locals and the visitor.

The use of their natural resources around them is in great abundance, yet the skills to utilize these are very minimal or have been lost. There is urgent need to revive their traditional skills and knowledge such as wood carving and traditional costumes for the tourism markets which have been established through the Blue Lagoon Cruises. This ensures handicrafts authenticity which can be value added to benefit both the locals and their customers.

It was highlighted in the meeting that such training to involve members of the community in the entire district of Namuka, consisting (11) eleven villages. This is cost effective to government which is also a training policy of the Department of Culture.

The need to improve on infrastructural standards and their village facilities such as rest- rooms, footpaths, etc.

The need to build a Fijian Bure for traditional Fijian activities that will be a very significant tourism icon for Druadrua Island.

The need to upgrade and improve their Fijian dances and using their traditional costumes such as pandanus skirts is a must to use rather then sulu- vakatoga.

The villages had also highlighted long standing land issues for Tourism Development that needed urgent attention.

With the integrated approach done by the Department of Culture and the Community Based Tourism on this visit, is a way forward for the villages to ensure the communities gain the necessary skills and knowledge to successfully create and operate legal and profitable business entities within their communities. It must be noted that this community based tourism effort in Druadrua Island has the support of the private sector in terms of tourism market supply (i.e Blue Lagoon Cruises). Further more, the training mentioned are vital to such projects to enable them to be equipped with tools, knowledge and abilities necessary to sustain the creation and operation of successful tourism. Villages have agreed that the workshop be held in July.


9. Recommendations

Working closely with relevant Ministries and Non- Government Organizations, such

as Community Based Tourism, Ministry of Women, Commissioner Northern, Ministry of Youth, Macuata Provincial Office and Northern Development Program are very important to strengthen their commitment and leadership to enforce effective regulations to protect and support cultural heritage and tourism development.

Continuous consultations and coordination with the various Ministries for the establishment for a Macuata Provincial Centre for Culture and Arts Building. The need to build a Fijian Bure for traditional and other multifunctional activities that will be a very significant Fijian Traditional icon for Macuata.

Working in collaboration with the newly established Provincial Heritage Committee is very important to enable them to work effectively with other stakeholders in the Northern Division for their commitment and taking a leading role for any cultural heritage activities earmarked for Macuata

Working with the Ministry of Women in Labasa through the Macuata Provincial Office for the scheduled Northern Craft Fair and with the Ministry of Youth for the request of Macuata Youths participation in the Pacific Youth Festival, hosted by Fiji in July ,2009

Endorsing requests from other districts(Namuka and Udu Districts) for similar craft revival/ development based on the needs identified by the communities themselves, before bringing the entire Province to participate in the proposed Adi Babasiga Festival in October, 2009

It is recommended that members of the communities who had participated in craft development workshops to undergo business training to prepare them to start and operate their own businesses. These trainings are part of the Northern Development Program (NDP) which is free of charge. This will also be an opportunity for the participants to maintain the standards, quality, and value added for their products.

The Fiji Arts Council to ensure that names of participants who had acquired and demonstrated their best in learning and identified during such workshops are incorporated in their already established craft database with an intention to develop and promote them further through other cultural entrepreneurial activities collaborated through the Fiji Arts Council

Strengthen relationship and network with the identified potential markets such as FTIB and FRIENDS in Labasa for the benefit of local craft producers in ways of maintaining the authenticity, quality, quantity and consistency of their products supplies once markets are established.

10. Conclusions

The one week workshop has been a very successful one and had witnessed the commitment of each participant in trying to learn the skills of weaving, especially the younger women who demonstrated their own creativities in addition to Kuta mats weaving utilizing off-cuts of the materials. It has been revealed that the workshop was a way forward for the participants to encourage them to utilize their natural resources to support them in the development


of micro and small enterprises to raise their standards of living, particularly in making use of the readily available markets identified during the workshop. Working as a team with the Macuata Provincial Officers had created an atmosphere of commonality among the participants and the team spirit illustrated was commendable, surely that had contributed a great deal in achieving the goals of the training. The contribution and assistance of each and everyone in the Ministry and the Department is highly acknowledged.


SALT MAKING AND CRAFT WORKSHOP Tikina Malomalo, Nadroga

1. Introduction

It is vital to consider all our heritage values when making decisions that will affect the future of a place, both natural and cultural issues that relates to the conservation of cultural values that may affect the selection of appropriate conservation processes, actions and strategies for the place’s natural values. The conservation and preservation of indigenous heritage places are places that a group of people believe they should protect for the benefit of its future generation to better understand the nature of their physical world and how they might live within its means. The Tikina Malomalo in Nadroga, were renowned for salt making production, a skill which is now dying. Salt was used as a traditional format for exchange, as practiced by their forefathers in the past and has now ceased to be utilized and replaced by modern commodities such as kerosene. Other craft skills learned in the one week’s workshop included jewellery making out of local shells and materials, screen printing and flower arrangements. The knowledge gained from the workshop will be an opportunity to link into other income generating activities in tourism developments especially around the Coral Coast such as Natadola Beach.

Salt Making and Craft Workshop | 87

2. Aims and Objectives

Taking into consideration their need to learn the processes of new crafts skills along with their knowledge, and creativity, the Fiji Arts Council under the auspices of the Department of Culture & Heritage identified the importance of reviving the dying art of salt making and the risk of its disappearance. The outstanding root value of salt making will reaffirm the cultural identity of the peoples and communities concerned. The 45 participants, a large proportion of which were made up of youths from the eight villages in the Tikina Malomalo benefited greatly from the workshop, thus, justifying the followings: Providing participants with a sense of

belonging to a place which connects and help them to define their distinctive identity as custodians and caretakers of a unique art.

Enable the younger generation to learn their traditional art that was unique to their forefathers, so not to let their tradition and skills fade away with the inclusion of modern commodities.

In learning the art of salt making, the

people of Malomalo will continue to foster and preserve their traditional knowledge and skills that will contribute to the creation of village or self projects as an income generating initiative.

To maintain the pride of salt making

amongst members of the Tikina Malomalo. Learn to appreciate and utilize their natural

resources as means of great potentials and lucrative talent, considering the fact that the raw materials are in great abundance.

Learn subsidiary skills that would

supplement existing traditional practices, however, on the verge of disappearance, in terms of economic survival, in the long haul. For instance, screen printing, jewellery making, and flower arrangement.

Enhance the transmission of traditional knowledge to the younger generation.


3. Official Opening

The Roko Tui Nadroga/Navosa, Mr Lote Naikasewa, was invited by representatives of Malomalo Tikina to officiate the opening of the one week workshop which begun on 24th January 2005. In his official address, to the participants, who were mainly youths, he encouraged and stressed the importance of fostering and preserving their cultures and traditions. Knowledge gained in the workshop would be a chance for the participants to experience something unique, beautiful, rare, and authentic or of great cultural significance that would provide a strong appeal for tourists in the near future. He also encouraged youths to be aware of the fact that life in the rural villages is beyond compare and communal existence in the villages is to be appreciated and viewed that the rural community setup are the basis of conservation and existence of our Fijian tradition and culture.

4. Participants

The involvement of 32 youths out of the total 45 participants who represented the eight villages encompassing the Tikina Malomalo (ie: villages of Naidiri,Malomalo, Nalele, Navisabasaba, Vusama, Batiri, Sanasana and Togovula) identified the interest that existed in the aforementioned age group within the community. They were divided into three main groups; group members represented the various villages that were tasked to learn the skill and later pass on to non-attendees within their own villages.


DISTRIBUTION OF PARTICIPANTS IN THE VARIOUS SKILLS

SKILLS

VILLAGE OF SANASANA

NAVISA- BASABA

BATIRI NALELE NAIDIRI MALO MALO

TOGOBULA

VUSAMA NAEVUEVU

SCREEN PRINTING

7 3 3 5 3 6 1 4

JEWELLERY MAKING

1 2 1 2 2 2 1 1 1

FLOWER ARRANGE- MENT

7 3 3 5 3 6 1 4

SALT MAKING

8 5 4 7 5 8 2 5 1

Each village was represented in the four main level of art genre that was taught. These include screen printing, local shell jewelry and flower arrangements. The art of salt making was considered of high importance; hence, participants were required to watch the demonstrations presented by the two ladies who were the only surviving members of the clan renowned for the practice of the latter many years ago.


5. Resource Persons

Five resource people shared their extensive knowledge in the different genres of art and craft that they specialize in:

Seniloli Tora: (Shell Jewelry Making) - one of the

driving forces behind recent developments in the crafts scene in Fiji, Seniloli specializes in coilage work incorporating natural fibers and shell in most of her art works. Gaining prominence as a contemporary craftswoman in the 1970’s, she represented Fiji at several overseas art events. In the past, her works have won awards in most art and craft exhibitions organized by the Fiji Arts Council. She also runs her own jewelry shop at the Suva Flea Market.

Samuela Cabe: (Screen Printing on Fabric) -

specializes in screen printing and hand painting on different fabrics. He portrays his unique styles in joyful and colorful form so that his work is often distinguished as an extension of his own creativity. From his home based environment, Samu has developed his own screen printing business which has appealed to most local and overseas fabric buyers. He won the 2003 Contemporary Crafts Person of the Year Award and exhibits regularly through out Suva, Lautoka, Nadi and also has a small outlet in the Garden City in Raiwai, Suva.

Samu was part of the Fiji Delegation to the 9th Pacific Festival of Arts held in Palau in 2004.

Adriu Naivalu: (Flower Arrangement) – has participated in many flower

shows conducted in the City and has been in the business for sometimes where he has proven his ability and creativity of this art in many public functions such as marriages, birthday parties or exhibitions he is invited to do the decors. This had also been an eye opener for the participants that flower arrangements are practiced by both women and men as a form of income generating in the business market.

Milinia Naisamu and Sereima Ronikai

(Salt Making)-

The participants were fortunate to learn the skills from the only two surviving members of the clan, both 80 and 72 years old respectively and have practiced the art in their young days.


Sharing their skills and knowledge, transmitted by their parents, to the youths of the Tikina, was a great desire for them to achieve before they die. Sereima reminisced her young days whilst sharing her knowledge with the youths. It was like a wake up call for the youths of Malomalo, but a mission to be accomplished by the two sisters, just as Sereima lamented:

‘ It is a wish that I had to

accomplish before God calls me….. The original village of Naidiri was here before we actually moved to this new sight. I was only 25years old then, the last time I practiced the art of salt making with my late mother…… Salt was a local product used as a form of gift exchange during ceremonial occasions with other Vanuas such as marriages with people from inland areas.’

6. Materials used

Screen printing – fabric (new or used plain fabric), paint, screen (x-ray film, screen printing board. Participants were taught how to create and shape their own boards, prior to cutting the screens and painting resulting in the final product. Jewellery making – sea shells, bark of vau tree, sinnet, pandanus leaves, local seeds, coconut shells. Flower Arrangements – oasis, flowers, stem of banana trees, bamboo stems, molded soil. Salt making – raw materials and resources is unique only to the salt making site in Tikina Malomalo.


7. Official closing

The Assistant Minister for Culture & Heritage, Hon. Nanise Nagusuca presided over the closing ceremony for the workshop on Friday 28th January, 2005. It was the Minister’s first official engagement with the Fiji Arts Council, and was quite at awe with the magnitude of work undertaken to organize such workshop, the level of participation and interest shown and most importantly the preservation and revival of a very important intangible cultural heritage of the Tikina Malomalo, i.e. salt making. The workshop was blessed with the presence of the Roko Tui Nadroga/ Navosa, the Film and TV Unit of the Ministry of Information whose presence at the workshop was beneficial as they were able to create video footages of the site where raw materials for salt making is extracted, and the processes with which that is utilized to create the end product – masima (salt).


8. Budget

The Department of Culture & Heritage was able to allocate $ 6, 000.00 from the Cultural Grants to cater for all expenses incurred for the one week workshop. All expenses details are highlighted in the Financial (Statement attached to this report).

9. Recommendation

The workshop was fruitful as the following constructive comments and suggestions were made by participants, observers, and the Department of Culture & Heritage: Involvement of the Department of Mineral Resources to make a mineral impact

analysis /study of the salt site so that new products of the current end products is created enhancing other sectors of our economy. For instance, the possibility of creating manure from salt. Also the Fiji Meat Board can be involved since salt can be used to preserve cow skin for the creation of Fiji leather, a renowned raw material for most fiber products.

Enhancing and developing the present site and status of salt making so that it can be used as form of attracting tourists in the area.

Recommendation to Fiji’s Heritage Subcommittee to study the salt-raw material site so that it can be properly preserved and safeguarded for future generations.

A follow-up study by the Fiji Arts Council to evaluate the progress of its initial objective prior to its visit and or facilitation of the workshop at the Tikina Malomalo.

The Fiji Arts Council through the Department of Culture & Heritage can work closely with the Eco-Tourism unit of the Ministry of Tourism to develop strategies that could enhance and utilize the skills that participants have gained at the workshop in a constructive manner such as the setting up of micro-tourism enterprises (the village of Malomalo has some initiatives of such nature in place, however, there needs support from government and non-government stakeholders e.g. Village hall which is currently under construction).


List of Participants Malomalo Village

o Sanaila Navuasai o Solomoni Nahula o Lorima Naisilo o Milinia Tuitavuki o Asena Vulimakosoi o Weku Ratumainaceva o Lavenia Volotui o Nanise Meli

Naidiri Village

o Miriama Bakewa o Vani Talei o Meli Bete o Ana Tuvounikaya o Losalini Navuga

Navisabasaba Village

o Kelera Kunauwa o Anare Rakuro o Salote Vasutoga o Mere Narabe o Mereisi Bainivalu

Nalele Village

o Anare Galuvakadua o Iliesa Ratuva o Tevita Vueti o Tevita Huna o Emosi Navonowale o Silina Tolua o Miliakere Adisusu


Batiri Village

o Maikeli Sova o Semi Tuidraki o Elenoa Nakita o Mereani Namoumou.

Vusama Village

o Saini Naivalulevu o Naina Loqavono o Taraivini Nakure o Livia Raitala o Joeli Kunaleca

Sanasana Village

o Reavi Nahemira o Serupepeli Moceituba o Esava Tubu o Vika Ciri o Reijieli Senivesi o Laniana Tubailagi o Vaseva Doro o Adi Vasiti Ranadi

Togobula Village

o Apisaki Kasatoka o Sailosi Naewe

Naevuevu Village

o Ema Locoloco

Publisher

Intangible Cultural Heritage Centre for Asia and the Pacific (ICHCAP)

Director of the Publication

Seong-Yong Park

Editor-in-chief

Weonmo Park

Editorial Staff

Boyoung Cha

Design and Layout

Young-gle Kim

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© 2009. Intangible Cultural Heritage Centre for Asia and the Pacific

This publication is copyright. No part may be reproduced by any process with out written permission.

The contents herewith are entirely the product of the researchers and do not represent the views of ICHCAP.

2009 field survey report - ichcap · pacific community(spc), world intellectual property...

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