Sina and her Tuna ( Sina ma lana Tuna ) is a story of a love affair between the beautiful Samoan maiden Sina and Tuna. Tuna is actually Sinas pet eel and as Sina cares for him, he falls in love with Sina. This frightens Sina and she runs away to find shelter in a distant village. The village chiefs come to Sinas aid and Tuna is killed. It turns out that Tuna is actually a Fijian Prince who is under a spell and is unable to regain his human form. Before he dies, Tuna asks Sina to bury his head near her house. A few months later, a very special tree grows from where the head was buried. The tree is a coconut tree, one of the most important trees found in the islands of the Pacific, for its life giving fruits, leaves and fronds from which homes are thatched and other important traditional building materials and utensils are made.

Sina and her Tuna ( Sina ma lana Tuna ) is a story of a love affair between the beautiful Samoan maiden Sina and Tuna. Tuna is actually Sina s pet eel and as Sina cares for him, he falls in love with Sina. This frightens Sina and she runs away to find shelter in a distant village. The village chiefs come to Sina s aid and Tuna is killed. It turns out that Tuna is actually a Fijian Prince who is under a spell and is unable to regain his human form. Before he dies, Tuna asks Sina to bury his head near her house. A few months later, a very special tree grows from where the head was buried. The tree is a coconut tree, one of the most important trees found in the islands of the Pacific, for its life giving fruits, leaves and fronds from which homes are thatched and other important traditional building materials and utensils are made."

A Companion to Contemporary Art in a Global Framework explores the ways specialists and institutions in the fine arts, curation, cultural studies, and art history have attempted to situate art in a more global framework since the 1980s. Offering analyses of the successes and setbacks of these efforts to globalize the art world, this innovative volume presents a new and exciting way of considering art in its global contexts. Essays by an international panel of leading scholars and practicing artists assert that what we talk about as ‘art’ is essentially a Western concept, thus any attempts at understanding art in a global framework require a revising of established conceptual definitions. Organized into three sections, this work first reviews the history and theory of the visual arts since 1980 and introduces readers to the emerging area of scholarship that seeks to place contemporary art in a global framework. The second section traces the progression of recent developments in the art world, focusing on the historical and cultural contexts surrounding efforts to globalize the art world and the visual arts in particular global and transnational frameworks. The final section addresses a wide range of key themes in contemporary art, such as the fundamental institutions and ontologies of art practice, and the interactions among art, politics, and the public sphere. A Companion to Contemporary Art in a Global Framework is essential reading for undergraduate and graduate students, scholars, researchers, and general readers interested in exploring global art beyond the traditional Euro-American context.

This book offers a contextual understanding of the contemporary Pacific art movement in New Zealand. As well as examining key individual artists, the book also addresses issues that underlie this movement and the inspirations for creating this art.

Sina and her Tuna ( Sina ma lana Tuna ) is a story of a love affair between the beautiful Samoan maiden Sina and Tuna. Tuna is actually Sinas pet eel and as Sina cares for him, he falls in love with Sina. This frightens Sina and she runs away to find shelter in a distant village. The village chiefs come to Sinas aid and Tuna is killed. It turns out that Tuna is actually a Fijian Prince who is under a spell and is unable to regain his human form. Before he dies, Tuna asks Sina to bury his head near her house. A few months later, a very special tree grows from where the head was buried. The tree is a coconut tree, one of the most important trees found in the islands of the Pacific, for its life giving fruits, leaves and fronds from which homes are thatched and other important traditional building materials and utensils are made.

In Vulnerability and Resilience, vulnerability is not the final word. Rather, resilience provides the cutting edge and living breath in the stories of subjects who are vulnerable. And they have many stories: stories of being trapped in bodies, teachings, and/or situations that make them (and others like them) vulnerable to discrimination, hatred, and rejection; stories of being trapped because of their bodies, theologies, and/or cultures; and stories of being trapped for no-good reason. For subjects who are vulnerable, life is like a maze of traps, and stories of resilience keep them going. The contributors to Vulnerability and Resilience refuse to be trapped. At the intersection of body and liberation theologies, they tell their stories in the hope that they will expose cultures that make individuals and communities vulnerable, and that those stories will encourage vulnerable subjects to be resilient and bring change to theological institutions that conserve vulnerability. Because of the location of the contributors—the Americas, Africa, Asia, Europe, Caribbean, and Oceania—this book is a testimony that vulnerability is present all over the world, and that resilience is a liberating alternative.