The Sixth Asia Pacific Triennial of Contemporary Art

35 added to a number of customary practices. Taunamu are traditionally used as screens during wedding ceremonies. Although in recent times they have begun to feature family names, the patterns and formation of the masi have remained relatively constant over centuries. Similarly, the ibe vakabati (wool-fringed mat), that features a lotus flower surrounded by the Fijian sandalwood vine, in the past would likely have displayed colourful geometric designs. 3 To these transformed works, Toki, White and Jione have added two fabric mats to be placed on the masi where the couple would stand. These mats, featuring remnants of wedding saris sewn with strips of masi , were inspired by the work of Toki’s Indo–Fijian neighbours. The artists have chosen an installation rich in hope and cultural symbolism and, through their Bahá’Í faith, they call for the peaceful transformation of their society, which is imaged in exquisite detail in this work. Teitei vou (A new garden) is an example of how customary works convey artists’ alternative ideas about their locale, or how they allow them to interact differently with their own rites. The desire to communicate, and ensuing artistic change, facilitates the dialogue between customary-based and contemporary works. Customary-inspired works have been included in past APTs, most notably the ornate clay relief structures of the Indian artist Sonabai in APT3 (1999). The Rajwar community, to which Sonabai belongs, transform their homes with elaborate decorations and painted clay figures for the post-harvest festival of chherta . Sonabai came to international attention when she developed a style inimitable to the women in her village, by creating figures exploring different sculptural possibilities. Her inclusion in APT3 was a strong statement based on the questioning of definitions of contemporary art, revealing the porosity of art historical classifications and binding her practice to those that recognise different art histories. The fifth APT in 2006 featured the Pacific Textiles Project, which demonstrated the use of textiles across the South Pacific as a way of conveying narratives of religion and nationhood; in the past, they were largely devoid of imagery and text. These textiles are still being used in the same life-changing ceremonies as their forebears, but now use alternative materials, such as wool and cotton, to weave new ideas. The embroideries, which include the words ‘happy birthday’, the names of family members or bright depictions of biblical stories, circulate only within their own communities, travelling far only when accompanying members of the diaspora to their other homes. Consequently, they have not often found their way into exhibitions or the art market. This type of work raises a number of issues — the altering of customary practice is sometimes perceived as merely derivative of the original; the authenticity of tradition somehow maintains a cultural purity which is stronger and more valued, particularly by the tribal art market. Similarly, customary work, whether used as a departure point for new work or not, is often not considered to be contemporary art, and is therefore excluded from international platforms. 4 This important and ongoing discussion also concerns contemporary Australian Aboriginal art. Robin White Leba Toki Bale Jione Teitei vou (A new garden) (work in progress) 2009 Taunamu from Teitei vou (A new garden) (detail) 2009 Natural dyes on barkcloth / Purchased 2009. Queensland Art Gallery Foundation Grant / Collection: Queensland Art Gallery