Latest news with #NationalMuseumofEthnology
Scoop
02-08-2025
- Entertainment
- Scoop
Te Ao Māori Steps Onto The World Expo Stage Once Again; Carries The Full Force Of Mana Motuhake O Te Ao Māori
More than 70 Māori delegates from Aotearoa are arriving in Osaka to celebrate Te Aratini: Indigenous Peoples Week at Expo 2025 Osaka, Kansai from 4–10 August 2025. They will be joined by over 170 Indigenous representatives from across the globe. 'This global delegation is a declaration that Indigenous Peoples are not peripheral to global conversations. We are central to its future,' says Ngahiwi Tomoana, Kaihautū for Te Aratini. From Aotearoa, iwi leaders and Māori executives to performing artists and entrepreneurs, this dynamic Māori delegation embodies the diversity, determination and vitality of our living culture. More than $1 million NZD has been collectively invested through self-funded travel, direct contributions, and the gift of our delegates' time, affirming a shared commitment to a kaupapa that stretches across oceans, generations, and worldviews. 'Our people are not waiting to be invited. We are investing in our own future, standing in our own sovereignty, and carrying the weight of our tīpuna with us,' proclaims Tomoana, echoing the sentiments he voiced at Expo 2020 Dubai: 'Māori will be at every World Expo, whether or not Aotearoa has an official presence.' Five years in the making, Te Aratini builds upon its successful launch at World Expo 2020 Dubai. Formidable partners from Japan's Playground of Life: Jellyfish Pavilion, Australia and Canada have generously shared their spaces on the world stage, grounded in an Indigenous ethic of connection and care. This next chapter would not have been possible without the foresight and advocacy of Professor Kenji Yoshida, Senior Cultural Adviser to Expo 2025 Osaka, and Professor Emeritus and former Director-General of the National Museum of Ethnology and Japan's Thematic Project Producer 'Invigorating Lives' Expo 2025 Osaka, Kansai, Sachiko Nakajima. Reflecting on these pivotal relationships, Tomoana shares: 'We travel to Japan as manuhiri and acknowledge the Ainu people as an Indigenous Peoples of Japan, joining in shared spirit and mindful of the deep tikanga and kawa that shape our engagement. Each delegate is an ambassador. Together, we are future-focused, frontier-exploring, and fiercely Indigenous,' explains Tomoana. 'Through the vision of Professor Yoshida and our friends in Japan, doors began to open. Through his advocacy, we established an early connection to Sachiko Nakajima and laid the foundation for Te Aratini: Indigenous Peoples Week . Our relationship is built on shared purpose and the belief that Indigenous voices belong at the heart of the global conversation.' Building on that foundation, Professor Yoshida and Sachiko Nakajima recognised that the week of 4– 10 August, culminating in the United Nations International Day of the World's Indigenous Peoples (9 August), would offer the most powerful and resonant moment to honour and elevate Indigenous Peoples globally through Expo. Te Aratini invites the world into a future where Indigenous values of reciprocity, responsibility, and relationality are remembered and reimagined at scale. Former Minister of Foreign Affairs, Hon. Nanaia Mahuta, also joins the delegation to support this kaupapa. Mahuta was an instrumental partner in the inaugural Te Aratini: Festival of Indigenous & Tribal Ideas at Expo 2020 Dubai, and an advocate for continued engagement between Te Aratini and Japan in the years leading up Expo 2025 Osaka. 'Te Aratini is a unique opportunity to promote Indigenous-to-Indigenous relations and cross-cultural diplomacy. During this time of significant geo-political tension Indigenous Peoples provide a different advantage to promote peace, prosperity and planetary wellbeing. I look forward to promoting the Tauhokohoko a research project, which is designed to inform Indigenous trade policy" said Mahuta. For Tomoana, 'Expo is not the destination, it's the waka. And we are paddling together toward futures forged in tino rangatiratanga, mana motuhake, and whanaungatanga. Tū Māori mai, e te iwi. The world is watching. And we are ready!' Programme Highlights: Across the week, Te Aratini partners will deliver a compelling programme of events that honour Indigenous ingenuity, cultural resurgence, economic aspiration and leadership. Monday 4 August: Te Aratini launches at the Australia Pavilion with keynote speakers including Australia's Ambassador for First Nations People, Justin Mohamed, Hon. Nanaia Mahuta, Canada's High Commissioner to New Zealand, Keith Smith, and Indigenous Partnership Council members of the Indigenous Peoples Economic and Trade Cooperation Arrangement (IPETCA). Performances will feature Kahurangi Māori Dance Theatre, Baka people from Cameroon, First Nations performers from Australia, and Indigenous musicians from Canada. Tuesday 5 August: The day begins with a Water Ceremony led by Elder Gerard Sagassige (Curve Lake First Nation, Canada) and concludes with Confluence, a performance showcase curated by Canada's National Arts Centre at Expo 2025 Osaka's EXPO Hall (Shining Hat), celebrating the diversity and unity of global Indigenous voices. Wednesday 6 August: Focuses on dialogue across Indigenous economies, trade, and intellectual property, and features a cross-cultural collaboration between Indigenous musicians and performers at Life Plaza. Thursday 7 August: Centres on Indigenous knowledges, climate resilience, Indigenous women entrepreneurs, and Indigenous business dialogue and networking events. Friday 8 August: Builds on the themes of Indigenous innovation through fashion, cultural expression, and global connection, including an Indigenous Fashion Show and a Cultural Showcase spotlighting Indigenous voices and performances from across the globe. Saturday 9 August: The UN International Day of the World's Indigenous Peoples will bring the week to a crescendo, culminating in a full day of dialogue, performance, and strategy at the Canadian Pavilion. The programme will include a forward-looking focus on Expo 2030 Riyadh, where Te Aratini will mark a decade of presence at World Expos. Indigenous performers, including the Kahurangi Māori Dance Theatre and Waiata Māori Music Ambassadors, will also take the stage at the Matsuri Arena to open the Inochi Music Festival in a powerful display of visibility and solidarity. The day will conclude with a celebratory evening at the Australian Pavilion, featuring a special menu of canapés created by a leading First Nations guest Chef.
Hans India
22-06-2025
- Entertainment
- Hans India
The enchanting miniatures
Kishangarh miniature painting artist Tilak Gitai (Padma Shri awardee) hails from the second generation of royal court painters patronized by the rulers of Bikaner. One of his Ragamala painting series, done on ivory, is displayed at the Museum D'Ethnographie in Geneva. Other collections are housed at the Victoria and Albert Museum, London, the National Museum of Ethnology, Japan, and the National Crafts Museum, New Delhi. Miniature paintings from Kishangarh are particularly known for their depiction of the 'Nayika'—characterized by lotus-like eyes, a sharp nose, thin sensitive lips, a pointed chin, and eyebrows shaped like a bow. The 'Nayika' has curls of ebony hair, adorned with necklaces of precious stones, pearls, and a gold-embroidered wrap. Tilak Gitai was at the Indian Institute of Technology (IIT) Hyderabad to conduct a Kishangarh miniature art intensive workshop for young participants from educational institutions across India, organized by SPIC MACAY. Can you tell us how your journey started in this art? My father was associated with this art and was commissioned for various artistic works by Maharaja Ganga Singh of Bikaner. I did my schooling in Jaipur and had a flair for drawing. Once, my school teacher doubted whether I had traced my drawing using butter tracing paper. To confirm his suspicion, he handed me a piece of chalk and asked me to replicate the drawing on the blackboard. In 1949, my father established the Rajasthan Kala Mandir in Jaipur and continued promoting the art form. He encouraged me to meet senior artists so I could learn its finer intricacies. I took guidance from Sri Ram Gopal Vijayvargiya and Ved Pal Sharma. Meanwhile, I enrolled in the College of Art, New Delhi, and graduated with a BFA as part of its first batch. What made you create Ragamala paintings in the Kishangarh style? In one sentence, I can say that the iconography of the Kishangarh school of art is melodious. No known Ragamala painting had been created in this school of art, so I took it upon myself to do so. I have also authored a book titled Raga Mala – The Missing Link, which explains the ragas, their structure, timing, associated seasons, and the logic behind the colours and iconography used in each painting. How difficult is this art to practice? Miniature art demands immense concentration and patience. It's a meditative form of art—one must be completely immersed in it. It has never been easy for any serious practitioner. From learning how to make colours from natural materials, to experimenting and developing new techniques, much of it was a closely guarded secret. It took a long time to build confidence and truly understand the craft of color-making and mixing. What steps need to be taken to preserve this art form? We must study the education systems and heritage conservation cultures prevalent in developed countries. By aligning our policies accordingly, we can spark a mindset shift in India. The level of historical conservation and museum development seen abroad must serve as a model. India needs to make heritage education more accessible to the general public. Do youngsters come forward to learn this art? Youngsters do show interest in learning. However, our education system doesn't provide them the opportunity to pursue a profession in this field from a young age. Peer pressure also plays a major role, often pushing students toward becoming doctors or engineers instead.
