Image shows the cover of TCP 29-1. Although it looks akin to a painting, it is a multimedia piece that shows a European sailor laying on grass, flanked by four other sailors, receiving a tattoo from two Pacific Islanders
Image shows the cover of TCP 29-2. It is an oil painting in dark blue tones of the heads and faces of two Maori men with somewhat exaggerated features. One of the men is visibly blind in one eye

Spring 29(1)


Walls of Empowerment: Reading Public Murals in a Kanaka Maoli Context, A Mārata Ketekiri Tamaira

Traveling Houses: Performing Diasporic Relationships in Europe, A-Chr (Tina), Engels-Schwarzpaul

Cedaw Smokescreens: Gender Politics in Contemporary Tonga, Helen Lee

Political Reviews

Micronesia in Review: Issues and Events, 1 July 2015 to 30 June 2016, Michael Lujan Bevacqua, Landisang L Kotaro, Monica C LaBriola, Clement Yow Mulalap

Polynesia in Review: Issues and Events, 1 July 2015 to 30 June 2016, Peter Clegg, Lorenz Gonschor, Margaret Mutu, Christina Newport, Steven Ratuva, Forrest Wade Young

Book and Media Reviews

Kuleana and Commitment: Working Toward a Collaborative Hawaiian Archaeology, by Kathleen L Kawelu, Reviewed by Jan Becket

Guam Museum/Guam and Chamorro Education Facility, Reviewed by Jesi Lujan Bennett

Ever the Land: A People, A Place, Their Building [documentary], Reviewed by David Lipset

Hope at Sea: Possible Ecologies in Oceanic Literature, by Teresa Shewry, Reviewed by Paul Lyons

From King Cane to the Last Sugar Mill: Agricultural Technology and the Making of Hawai‘i’s Premier Crop, by C Allan Jones and Robert V Osgood, Reviewed by A Kaipo T Matsumoto

Southern Cook Islands Customary Law, History and Society: Akapapaʻanga, Kōrero Tupuna, e te Ākonoʻanga Ture ʻEnua o te Pā ʻEnua Tonga o te Kūki ʻAirani, by Ron Crocombe and Ross Holmes, Reviewed by Alexander Mawyer

Greed and Grievance: Ex-Militants’ Perspectives on the Conflict in Solomon Islands 1998–2003, by Matthew G Allen, Reviewed by Gordon Leua Nanau

Unearthing the Polynesian Past: Explorations and Adventures of an Island Archaeologist, by Patrick Vinton Kirch, Reviewed by Matthew Prebble

He Nae Ākea: Bound Together [exhibition], Reviewed by Shelby Pykare

Talanoa: Building a Pasifika Research Culture, edited by Peggy Fairbairn-Dunlop and Eve Coxon, Reviewed by Nāsili Vaka‘uta

Aloha America:Hula Circuits through the U.S. Empire, by Adria L Imada, Reviewed by Kēhaulani Vaughn

The Making of Asmat Art: Indigenous Art in a World Perspective, by Nick Stanley, Reviewed by Maggie Wander

Featured Artist: Lisa Reihana

This is a photographic image by TCP 29-1 featured artist Lisa Reihana. It depicts Mehuika, the Maori goddess of fire, as an older woman, sitting on a chair, dressed in a black shirt with a skirt-like item that also appears to be lava
Mahuika (2001), by Lisa Reihana

Through a pioneering practice combining photography, video, and installation, Lisa Reihana has achieved what most artists only ever dream about: she makes a full-time living from her art. Of Māori Ngāpuhi, Ngāti Tū, and Ngāti Hine descent, she has had her work exhibited in museums, art galleries, and art festivals around the world, including the Auckland Art Gallery, Brooklyn Museum, University of Cambridge Museum of Archaeology and Anthropology, Asia Pacific Triennial of Contemporary Art in Queensland, October Gallery in London, Jean-Marie Tjibaou Cultural Center in New Caledonia, and Te Papa Tongarewa in Wellington.

Fall 29(2)


Climate Change and the Imagining of Migration: Emerging Discourses on Kiribati’s Land Purchase in Fiji, Elfriede Hermann and Wolfgang Kempf

Charting Pacific (Studies) Waters: Evidence of Teaching and Learning, Teresia K Teaiwa


Losing Oceania to the Pacific and the World, David Hanlon

Political Reviews

The Region in Review: International Issues and Events, 2016, Nic Maclellan

Melanesia in Review: Issues and Events, 2016, Alumita Durutalo, Budi Hernawan, Gordon Leua Nanau, Howard van Trease

Book and Media Reviews

Articulating Rapa Nui: Polynesian Cultural Politics in a Latin American Nation-State, by Riet Delsing, Reviewed by Forrest Wade Young

Staking Claim: Settler Colonialism and Racialization in Hawai‘i, by Judy Rohrer, Reviewed by Hiʻilei Julia Hobart

Domination and Resistance: The United States and the Marshall Islands during the Cold War, by Martha Smith-Norris, Reviewed by Holly M Barker

Maisa: The Chamoru Girl Who Saves Guåhan [feature film], Reviewed by Kenneth Gofigan Kuper

Finding Meaning: Kaona and Contemporary Hawaiian Literature, by Brandy Nālani McDougall, Reviewed by ʻUmi Perkins

Facing the Spears of Change: The Life and Legacy of John Papa ‘Ī‘ī, by Marie Alohalani Brown, Reviewed by Ronald Williams Jr

Auē Rona, by Reihana Robinson; Between the Kindling and the Blaze: Reflections on the Concept of Mana, by Ben Brown; Entangled Islands, by Serie Barford; and Night Swimming, by Kiri Piahana-Wong, Reviewed by Leora Kava

Kanu Kaho‘olawe: Replanting, Rebirth [exhibition], Reviewed by Natalie Bruecher

The Price of Peace [documentary film], Reviewed by Raukura Roa

Featured Artist: Selwyn Muru

This is an image from TCP 29-2 featured artist Selwyn Muru. It is an oil painting, in dark and light blue tones, of two 19th century Maori men, done in a somewhat exaggerated or surrealist style. A faint dove hovers above the men's heads
Te Whiti Tohu (1975-1977), by Selwyn Muru

Selwyn Muru (Ngāti Kuri, Te Aupouri), one of New Zealand’s most senior Māori artists, is a tribal repository of knowledge, painter, sculptor, playwright, musician, pioneer broadcaster, fisherman, educator, and former orator for New Zealand’s governor-general, Sir Anand Satyanand. Some of his work, including paintings from his 1970s Parihaka series (featured in this issue), is rooted in specific Māori tribal knowledge and the enduring legacy of colonialism and loss of land in New Zealand. Other works have protested international issues such as nuclear testing in the Pacific or the apartheid regime in South Africa. Also prominent among his legacy are more humorous works, such as his seven-meter-high Waharoa (Gateway), embellished with carved animals, musical instruments, and poetry for Auckland’s Aotea Square and the quirky carved palisade that surrounded his home in Freeman’s Bay. For Muru, “Māori art has always been contemporary”—it circulates ideas and remains forever relevant through the ways we think and interact with it.