
Vanuatu RSE Workers Celebrate First-Ever Bislama Language Week
For the first time, Vanuatu Bislama Language Week is being officially celebrated in New Zealand and for Ni-Vanuatu seasonal workers toiling in the orchards of Pukekohe, they are feeling a sense of pride.
The week marks a historic addition to the Ministry for Pacific Peoples' annual Pacific language calendar, which now includes 12 languages: Rotuman, Samoan, Kiribati, Cook Islands Māori, Tongan, Papua New Guinean, Tuvaluan, Fijian, Niuean, Tokelauan, Solomon Islands Pijin and Bislama.
Bislama is the national language of Vanuatu and a creole language spoken across Vanuatu's 83 islands which is a blend of English, French, and Indigenous words.
Clifford Yahwo has been participating in the seasonal program and this year marks his tenth year, he said he is feeling thankful he gets to witness this historic moment.
Yahwo said it is great to have the opportunity to celebrate Bislama in Aotearoa.
"Vanuatu is a small country in the Pacific, close to Fiji, Solomon (Island), New Caledonia.
"I am so happy, like we are very happy we to celebrate here in New Zealand. We come for work, but its good we have this opportunity to celebrate Bislama language here in New Zealand."
"Also, [in] Vanuatu we have different cultures - each island [has its] own culture, different from different island. Another thing is we are independent people. We had our independence since 1980."
Fellow team leader David Navian, who also manages another group of workers at Punchbowl orchards, echoes the same sentiment, especially because people get to learn about their language.
Laughing from the cold weather and crisp air in Pukekohe, he offered a few of his favourite phrases:
"Hariap yumi go long haos" which means Hurry up, we're going home.
"Karem kwiktaem yumi tekem moa bin" which means Pick quickly, we get more bins.
"Blessem, kol kol tumas!" Bless, it's too cold!
The theme for this year's inaugural Bislama Language Week is 'Tokabaot Klaemet Jenj - hemi ril mo yumi mas lukaotem laef' which translates to 'Talk about climate change, it is real, and we must look after life'.
Ministry for Pacific Peoples chief executive Gerardine Clifford-Lidstone said this is more than a cultural milestone.
"There is deep pride in Bislama. It connects people across islands, generations, and borders," she said.
"We are proud to stand alongside the Vanuatu community as they celebrate Vanuatu Bislama Language Week for the first time in Aotearoa New Zealand.
"This is a powerful moment of recognition, connection, and pride. Bislama carries the stories, humour, and heart of its people - and we are honoured to support its journey here"
Events are being held across the country all week and as the workers like to say: "678 to the world."
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles

RNZ News
8 hours ago
- RNZ News
Around NZ in 90 days: Two adventurers' climate fundraising
Huw Kingston and Laurence Mote are half-way through their 90-day, 4000-kilometre journey from the north to the south of the country, which will also seem them tackle the slopes of 24 ski areas. It's all in aid of raising funds for Save the Children - specifically, a project in Vanuatu to build climate-resilient classrooms. Resilience is something Laurence knows well - in 2013 the former Kiwi representative cyclist was left in a coma after a bee sting and is now legally blind. This Alpine Odyssey is not Huw's first - he did something similar in Australia three years ago - just one of many incredible expeditions he's undertaken. Both of them take a well-deserved break in their journey before they head across Cook Strait to tell Kathryn why they wanted to do this adventure, and the challenges they've struck along the way. More information about how to donate is here. To embed this content on your own webpage, cut and paste the following: See terms of use.


Scoop
2 days ago
- Scoop
Vanuatu RSE Workers Celebrate First-Ever Bislama Language Week
Grace Tinetali-Fiavaai, RNZ Pacific journalist For the first time, Vanuatu Bislama Language Week is being officially celebrated in New Zealand and for Ni-Vanuatu seasonal workers toiling in the orchards of Pukekohe, they are feeling a sense of pride. The week marks a historic addition to the Ministry for Pacific Peoples' annual Pacific language calendar, which now includes 12 languages: Rotuman, Samoan, Kiribati, Cook Islands Māori, Tongan, Papua New Guinean, Tuvaluan, Fijian, Niuean, Tokelauan, Solomon Islands Pijin and Bislama. Bislama is the national language of Vanuatu and a creole language spoken across Vanuatu's 83 islands which is a blend of English, French, and Indigenous words. Clifford Yahwo has been participating in the seasonal program and this year marks his tenth year, he said he is feeling thankful he gets to witness this historic moment. Yahwo said it is great to have the opportunity to celebrate Bislama in Aotearoa. "Vanuatu is a small country in the Pacific, close to Fiji, Solomon (Island), New Caledonia. "I am so happy, like we are very happy we to celebrate here in New Zealand. We come for work, but its good we have this opportunity to celebrate Bislama language here in New Zealand." "Also, [in] Vanuatu we have different cultures - each island [has its] own culture, different from different island. Another thing is we are independent people. We had our independence since 1980." Fellow team leader David Navian, who also manages another group of workers at Punchbowl orchards, echoes the same sentiment, especially because people get to learn about their language. Laughing from the cold weather and crisp air in Pukekohe, he offered a few of his favourite phrases: "Hariap yumi go long haos" which means Hurry up, we're going home. "Karem kwiktaem yumi tekem moa bin" which means Pick quickly, we get more bins. "Blessem, kol kol tumas!" Bless, it's too cold! The theme for this year's inaugural Bislama Language Week is 'Tokabaot Klaemet Jenj - hemi ril mo yumi mas lukaotem laef' which translates to 'Talk about climate change, it is real, and we must look after life'. Ministry for Pacific Peoples chief executive Gerardine Clifford-Lidstone said this is more than a cultural milestone. "There is deep pride in Bislama. It connects people across islands, generations, and borders," she said. "We are proud to stand alongside the Vanuatu community as they celebrate Vanuatu Bislama Language Week for the first time in Aotearoa New Zealand. "This is a powerful moment of recognition, connection, and pride. Bislama carries the stories, humour, and heart of its people - and we are honoured to support its journey here" Events are being held across the country all week and as the workers like to say: "678 to the world."


Scoop
23-07-2025
- Scoop
A New Zealand Photographer's 'Poetic Journey' Into Papua New Guinea's Past
, RNZ Pacific senior journalist Forty-eight years ago, a young New Zealand photographer set off on a brief solo journey into the remote Papua New Guinea Highlands. Victoria Ginn is now in her seventies and has a gallery in the small Taranaki town of Normanby. That trip, almost five decades ago, was the first in a series of exotic trips she undertook and resulted in a remarkable collection of photographs of the indigenous people, which she has called 'A Welcome Adventure'. Victoria Ginn spoke with RNZ Pacific. (This transcript has been edited for brevity and clarity.) Don Wiseman: So when you were 23 years old, and I guess, a fairly inexperienced photographer, you took yourself off on your own into the Papua New Guinea Highlands. Why did you do that? Victoria Ginn: Well, I probably wasn't as inexperienced as you state. I began photography when I was about 14 years old, in the 1960s, after a friend of mine realised I could take good photographs. He gave me his Leica camera, and I self taught. I was interested in human culture and nature right from day dot really. Why I took myself into the Papua New Guinea Highlands at the age of 23, probably a yearning to connect with a deeper part of my own self and also a deeper part of the human culture, than was represented in my own modern culture, in terms of 1970s modern Melbourne, Australia, and that sort of system. I was probably a natural photographer in terms of my yearning to use a camera as a way to connect with people. It is a form of connection, photography, or was. Nowadays it is a form of intrusion and narcissism. But back then it was an art form, and it mesmerised me to know that you could translate a moment in reality into something that was a beautiful essence of somebody through black and white portraiture and a moment in time, where you saw an emotion or an expression or a sense of the self that was portrayed In another person. It was never intrusive photography. When photography became fashionable in the 1970s, art photography became fashionable in the 1970s through the production of a book by Diane Arbus, and everyone had to be a photographer, sort of thing. But photography in a way, became corrupted by wide angle lenses and people not realising the sensitivity of the other, meaning the subject, and a lot of deceitful photography happened that was calling itself art photography at that time. DW: It's still very difficult on a number of levels to access the Papua New Guinea Highlands. But in 1977 and on your own, it would have been very, very difficult. VG: Yes, it was. But I was an adventurer. I enjoyed the attraction of the unknown and the challenge of finding a way into an area of such remoteness in the world, where there was not a pollution of modernity, if you like, upon the peoples that I wanted to meet. So yes, it was difficult. It was basically bussing up the Highlands into the Highlands, and then finding ways to get around. And I did have some fairly hairy encounters, not with the local people, but with imports, imported construction managers and things like people from Australia. Papua New Guinea was only two years into its independence at that time, so there was still a very raw aspect to the confusion between what was meant to be and what was, where you have an important psyche, like the Australian mentality, wanting to civilise and develop a country, and you had the indigenous people who had stayed sane and intact and culturally together and had a very rich, beautiful culture that was kind of timeless. DW: How did you communicate? VG: That is an interesting one, because I discovered the art of non verbal communication, and it sounds stupid or nonsensical, but there is a way. I developed it later, when I was travelling through other remote regions of the South Pacific and Southeast Asia, particularly. There's a way to communicate that does not require speech in terms of your tongue, and it becomes a very basic, essential, means of communication, which involves gesture, but it also involves something that is unspoken, and it is very difficult to describe that, and you connect. It is about someone connecting to you, and you connecting to them on a level that is not cerebral, and it is not through your tongue, so not through speech. I used that method. It grew on me. It developed. I was not there long enough to become adept at that sort of thing, but I got a taste of it, and I learned how you can communicate without language. I have spent time in a lot of different cultures using that means. DW: This happened back in 1977, so 48 years ago. Why has it taken you so long to bring a book out? VG: I have gone backwards, looking at my work, in a way, I'm going backwards. I am in my 70s now, and I mean, I have had other work that propelled me to do other creative essays that I was prompted to do by my own artistry, and that has come to an end. I am no longer a photographer, so I am more a writer now, and I am looking backwards and tidying up my life, you could say. And it is a beautiful little essay. It is a very poetic essay which portrays a form of gentleness, contrary to what is happening in Papua New Guinea today. It is a counterbalance to what is what is occurring in the Highlands today, which is now a lawless place where people have had their essential culture stripped from them by the incursion of missionaries and what have you, and mining companies and so on. It gives voice to a portrait of a people. DW: You've visited a number of places, as you say, remote areas around the Pacific, particularly, where does this adventure into the PNG Highlands in 1977 sit? VG: That is a hard one. I think the last big work I did in the South Pacific and Southeast Asia was called The Spirited Earth, which was subtitled dance, myth and ritual from South Asia to the South Pacific, which was a philosophical look at the religious and spiritual forms of expression through performance art and ritual in those regions. Mostly color photography. Back in 77 you could say this was a stepping stone to my awareness of the depth of understanding of the spiritual aspects of the human psyche within a people that were so called prehistoric and primitive. It's candid work. It is more portraiture, portraiture in terms of face rather than form or body, which my book, The Spirited Earth, looks at the complete picture of face and form and body and environment. This is mainly a portrait, and it's a poetic portrait which involves the poetry of the people, but also the more prosaic sort of day to day, here am I sitting in a marketplace, or here am I pulling my bow and arrow, carrying my grasses from the fields and so on. It is more a documentary portrait than an artistic portrait, but it contains artistry, of course.