As developed since the seventeenth century, the concept and experience of nostalgia has been linked to individuals or groups displaced from, and longing for, a distant site they consider to be “home.” Colonial historians have also noted that indigenous peoples, such as Australian Aborigines or the Kanak in New Caledonia, may suffer from “solastalgia,” that is, homesickness while “still at home” because they have been subjects with restricted rights on what was once their own territory. The thoughts and writings of Kanak seminarian and anticolonial activist Jean-Marie Tjibaou are analyzed to demonstrate the ways that Kanak communities have shaped locally rooted identities through traditions of genealogy to assert continuities in their own history. Special focus is given here to Tjibaou's seminary training and his appropriation of Biblical stories and teachings to make points about suffering, charity, nobility, and challenges to authority, both in staged passion plays and in Kanak versions of the Christian Word.
Acting Faith and Nostalgia in New Caledonia
Matt K. Matsuda
Nicholas Thomas, Adrian Locke, Noelle M. K. Y. Kahanu, Simon Jean, and Lagi-Maama
Kanaks”; Noelle M. K. Y. Kahanu's “Evidencing Encounters and (Re)Imagining Relations”; and Michael Mel's “Performance and the Body” present their respective Indigenous lenses and privilege their own knowledges, ideologies, and practices. Within each of
Steven J. Hoffman, Fanny Wonu Veys, Joseph P Feldman, Natasha Barrett, Elsa Lenz Kothe, Antonino Crisà, Sayantan Mukhopadhyay, Masaaki Morishita, and Ewa Klekot
Islands) is the third in a series of exhibitions on Pacific material culture and art. The trilogy started with the well-received New Caledonia show Kanak, l’art est une parole (15 October 2013–26 January 2014) and continued with the travelling New Guinea