Contrary to the Western stereotype of the creative genius, an artist does not travel alone. They bring with them the history of their family and their community, and their individual concerns and obsessions.
For artists from minority communities, questions of heritage and identity often have to be dealt with up
front to enable them to set the terms by which they will be viewed rather than be defined by the preconceptions of others.
Many such artists find that the way to attack such cultural straitjackets is to work in new media, where they can set their own rules.
The Cultural Futures symposium being held this week in Auckland brings together artists from Asian and Pacific countries who use a wide range of traditional and non-traditional media.
Overseas presenters include Delhi's Raqs Media Collective, who were part of India's representation at this year's Venice Biennale; Fatima Lasay from the Philippines, whose projects include making a digital record of 19th-century Spanish colonial saint sculptures; cyberTribe founder Jenny Fraser, from north Queensland; Vancouver-based artist and musician Cheryl L'hirondelle; and Creative Combat Collective, a Sydney-based group of Maori and Aboriginal musicians and new-media artists.
Presenters from New Zealand include architectural designer and theorist Albert Refiti, Chaz Doherty from Te Mana Motuhake o Tuhoe, Charles Koroneho, Rachael Rakena and Lisa Reihana.
Organiser Danny Butt says computer technology raises important questions about the nature of art, the way it is distributed, and the value it can be given.
"For me, computer technology was part of growing up ... so it is natural I keep using it as an artist," Butt says.
Auckland artist Lisa Reihana says she was drawn to animation because of her interest in telling stories. She went on to adopt other techniques from film and video.
"I like working collectively and collaborating with others," Reihana says. "The whole idea of being a painter in a studio on my own was not appealing."
New media is also a way to transgress perceived boundaries. "A lot of my work is about constructing components of a marae," Reihana says. "The idea that women are not allowed to carve - I can get around that electronically."
She is looking forward to being able to discuss issues with fellow artists in a marae setting at Hoani Waititi, rather than the usual academic or gallery setting.
"It is a safer and more personal space to discuss ideas, and we get to hang out with other artists. Seeing people first thing in the morning is a great leveller."
Rachael Rakena, who teaches new media at Massey University's Maori visual arts programme, says she wanted to introduce the joy of motion into her art. New media allows her to combine choreography with visuals. "I want my audience to have an experience ... a good haka or good waiata can transport you."
Rakena is from Ngai Tahu, which made development of the arts a major plank of an identity-setting exercise after its Treaty settlement. "The settlement put Ngai Tahu in a special place, especially regarding the arts," Rakena says.
"It takes work to rebuild an iwi and part of that rebuilding process is identity formaion."
* Cultural Futures is at St Paul St Gallery and Hoani Waititi Marae, Glen Innes, December 1 to 5
Headcase by Lisa Reihana, one of the Kiwi presenters at the Cultural Futures symposium.
Contrary to the Western stereotype of the creative genius, an artist does not travel alone. They bring with them the history of their family and their community, and their individual concerns and obsessions.
For artists from minority communities, questions of heritage and identity often have to be dealt with up
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