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Since the military takeover in Fiji in December 2006, a number of ironies have emerged on Fiji's political landscape. Elected prime minister and victim of the May 2000 failed coup attempt - Mahendra Chaudhry - joined the government of Commodore Frank Bainimarama, a self-appointed prime minister by virtue of the successful 2006 coup staged by his RFMF soldiers.

After being held captive by civilian George Speight during the May rebellion, Chaudhry was replaced by Laisenia Qarase who won elections in 2001 and 2006 before his SDL party was forced from power in the RFMF takeover.

Since Chaudhry's falling out with the soldier-politicians in 2008, Speight's brother and senior SDL executive Samisoni Tikoinasau has formed a diplomatic front with Chaudhry's Fiji Labour Party. At the Pacific Islands Forum meeting in August in the Cook Islands, both parties acted together towards one goal - ending military rule.

Tikoinasau sought asylum in Australia after being beaten at the military barracks in Suva in February last year. He remains an active SDL campaigner having served in the cabinet of Laisenia Qarase's government until it was deposed.

While in government, he represented a seat on the eastern side of Viti Levu - Tailevu North, a hotbed of militant Fijian nationalism. Last month, he told Telinga Media that after the failed rebellion of 2000 - in which his constituents were prominent - nationalists adopted a new strategy tied to electoral politics and respect for the rule of law.

Having distanced himself from the events of 2000, the politician-in-exile is part of the expatriate movement intent on restoring constitutional government.

But Telinga Media put it to him that victims of his brother's actions in 2000 may be skeptical that his supporters could not be mobilised again - outside the electoral contest - if they felt their interests were threatened.

 

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roteimumu-captionExpatriate Fijians can be found living in most parts of the globe. Their ongoing ties to their homeland are taken-for-granted. But the promised democratic elections in 2014 have given them another reason to track political developments in Suva.

A constitutional commission is working on a new draft constitution which, it is hoped, will be endorsed at free and fair national elections.

One group following these developments is the Australian-based Fiji Democracy and Freedom Movement (FDFM), which held its annual conference in Adelaide last Saturday. Its chiefly guest was the Roko Tui Dreketi, a title given to Ro Teimumu Kepa, the paramount chief of the Burebasaga confederacy, one of three autonomous groupings covering customary lands within the republic.

She told delegates who came from South Australia, Victoria, New South Wales and Canberra that the current military-led government had thus far been successful in undermining the pillars that keep Fijian society together - especially in its rural heartlands.

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An exhibition just ended this week in Cairns gave a glimpse of where North Queensland's indigenous art movement is heading. Pathways3 at the UMI Arts Gallery showcased works from the Cairns region, but also hung the latest consignments from two community art centres - New Mapoon where Aboriginal and Torres Strait islander peoples mix and Yarrabah, an east coast community near Cairns.

Here, Pathways3 curator Teho Ropeyarn takes Telinga Media on a virtual tour of selected works. 

 

freshwater-meeks-captionThe crowds who thronged the shipping terminal at last month's Cairns Indigenous Art Fair (CIAF) were treated to much of what the 15 community art centres across Far North Queensland had to offer.

But the high point of the arts calendar is only three days in the year. Before their exposure in August, artists a long way from Cairns were refining their skills in workshops run by a Cairns-based arts organisation - UMI Arts. Like the ones led by contemporary Aboriginal artist Arone Meeks at the New Mapoon and Yarrabah art centres earlier this year.

His time spent working with artists at new Mapoon at the tip of Cape York helped eight of them from the Northern Peninsula Area (NPA) put on their own exhibition in Cairns. A number of them continued to have their works displayed during the CIAF.

But how did these artists make it from remote art centre to international art fair in the same year?

Arone Meeks spoke to Telinga Media about his visit to New Mapoon and his role as a teacher to the next wave of CIAF exhibiting artists.

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Emerging from Cairns's built-up cultural traffic zone is a new wave of visual artists. Sliding between painting and printmaking, they are part of the reason why North Queensland is evolving its own specialised indigenous art market, with the city at its centre.
 
Telinga Media reports on an exhibition by Cairns-based artists and profiles two up-and-coming artists that contributed to it.
 

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Emerging from Cairns's built-up cultural traffic zone is a new wave of visual artists. Sliding between painting and printmaking, they are part of the reason why North Queensland is evolving its own specialised indigenous art market, with the city as its centre. 

Telinga Media profiles two Cairns-based artists...

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And reports on an exhibition to which they contributed...

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The Torres Strait is renowned for producing master wood carvers who often slide easily into linocut printmaking. But linocutters are not confined to the islands. One Cape York mainlander has developed his own style marked by bold lines, less intricate than the Torres Strait masters who influence him and with whom he shares a heritage.
 
Teho Ropeyarn, who is based in Cairns, has a rich heritage indeed and explains to Telinga Media why this makes him comfortable with being called a cross-over artist.

 

The Torres Strait is renowned for producing master wood carvers who often slide easily into linocut printmaking. But linocutters are not confined to the islands. One Cape York mainlander has developed his own style marked by bold lines, less intricate than the Torres Strait masters who influence him and with whom he shares a heritage.

Teho Ropeyarn, who is based in Cairns, has a rich heritage indeed and explains to Telinga Media why this makes him comfortable with being called a cross-over artist.

 

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segarpassi-fishwithcapBetween 1967 and 1972, a group of untrained artists from the Torres Strait produced a series of watercolours that now sit in the State Library of Queensland and featured recently in the library's exhibition Strait Home. The works were first displayed forty years ago in the publication of island stories Myths and Legends of Torres Strait - compiled by the self-taught chronicler of islander culture Margaret Lawrie.

The Australian Indigenous art scene has been dominated by such luminaries in naive art styles as the late Ian Abdulla from South Australia, Pantjiti Mary McLean of the Ngaatjatjarra people of the Western Desert, and the late Ginger Riley Munduwalawala of the Mara people of the Northern Territory, as well as the late HJ Wedge from New South Wales. Therefore, it is now time for the artists represented in the Margaret Lawrie Works on Paper Collection to be afforded a degree of recognition as meaningful contributors to the historical landscape of Australian art.

In this essay, the curator of Strait Home, Tom Mosby, argues that these 'naive' paintings now deserve due recognition, situated between the traditional sculpture of pre-contact times and new works of trained contemporary artists who are making a name for themselves in galleries around the world.

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