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Max Quanchi

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University of Zagreb

Uppsala University

University of East London

Armando Marques-Guedes

UNL - New University of Lisbon

University of Leicester

Gwen Robbins Schug

University of North Carolina at Greensboro

Gabriel Gutierrez-Alonso

University of Salamanca

Macquarie University

Universidade Federal do Rio Grande do Sul

Swansea University

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Papers by Max Quanchi

“Fijian Islanders preparing for a feast” (1959): The Influence of Photography on Popular Opinions of the Pacific

Pacific arts, Oct 17, 2021

In 1959, a serialised, illustrated encyclopaedia, The Book of Knowledge, published a photograph c... more In 1959, a serialised, illustrated encyclopaedia, The Book of Knowledge, published a photograph captioned "Fijian islanders preparing for a feast," suggesting to readers that butchering a turtle prior to cooking was a common sight in the 1950s and a cultural practice among modern-day Fijians. However, the photograph had been taken around the turn of the century by a British colonial official, Basil Thomson, and published elsewhere by him and others in the intervening fifty years. How much post-World War II illustrative photography of Pacific Islanders in encyclopaedias was misleading in this manner? How much illustrative (particularly photographic) material from an era long past was presented mid-century as being evidence of contemporary life in the Pacific? Or, was preparing a turtle for a feast a long-standing tradition and, therefore, the date of the photograph immaterial? This paper investigates these questions within the context of the creation of The Book of Knowledge and other such compendia, as well as Euro-American stereotypes of Fiji and the Pacific.

Die Indentured labour der Pacific islanders in Queensland [The indentured labour of Pacific Islanders in Queensland]

ABSTRACT A study of the period of indentured Pacific Islander labour in Queensland. The history o... more

Tropicalisation and representation in Oceania: or a path into the deep, dark jungle

Learning-by-looking: for example, at Peoples of all Nations; European education and serial encyclopaedia

Photographically illustrated serial encyclopaedia, a boom publishing phenomenon in the early 1900... more Photographically illustrated serial encyclopaedia, a boom publishing phenomenon in the early 1900s, had a huge impact of readers and viewers understanding of the world. These monthly instalments, later bound into volumes, were prolifically illustrated and the epitome of learning-by-looking, self-education and modernity, and part of an expanding visual archive available to the European public wanting to know about distant lands and peoples, strange customs, travel and new colonies. As serial encyclopaedia and their barrage of photographs have been largely overlooked by scholars, this essay draws attention to the phenomenon for its role in visuality as well as the context of Imperial expansion, entertainment and European fascination with others.

Iconography and identity – the appropriation of crab-claw sails in Oceania

Centre for Social Change Research; QUT Carseldine - Humanities & Human Services, 2000

Art, photography and graphic images of Oceanic sails are scattered across the last four hundred y... more Art, photography and graphic images of Oceanic sails are scattered across the last four hundred years of visual history in Oceania. The crab-claw or inverted triangular shaped sail, initially depicted in ethnographic and technical drawings, historical tableaux, etchings, photographs, postcards and illustrated books and magazines, took on a new meaning in western imaging when stamps, letterheads, logo and advertisements displaced earlier methods of representing Oceania. The soaring sail, often shown detached from the double-hulled canoe or outrigger, lost its association with long-distance voyaging when stylized, graphic art and computer-generated sail images began to play a symbolic role and national entities, movements, organizations and institutions sought to assert Oceanic identities, cultural unity and political relationships. What began as a visual record of maritime achievement became an evolving iconography of appropriation and commodification serving a range of sovereignty, political and regional campaigns.

Researching early photography of the Pacific Islands: An overview

Journal of New Zealand & Pacific studies, Dec 1, 2020

Historical research on the early years of photography in the Pacific Islands has revealed changes... more Historical research on the early years of photography in the Pacific Islands has revealed changes in the practice of photography, the development of Pacific imagery, tropes and stereotypes and changes in the ways images were distributed, archived and used in modern contexts. Research in the field was initially focused on photography’s indexical nature and the role of professional and amateur photographers, travellers, colonial officials and missionaries. The research highlighted here, only in the English language and excluding Aotearoa/New Zealand, reveals how later analyses have begun to grow more theoretical, in keeping with postcolonial approaches to reading cross-cultural representation, and how new directions in research point towards the nature of Indigenous engagement with early photography.

Australia in view : studies in work, culture, and society

Jacaranda Press eBooks, 1989

Exhibitions <i>Voyages: Stories of an Ocean People</i>, a Permanent Exhibition at the Fiji Museum, Thurston Gardens, Suva, Fiji. Open Daily

Journal of Pacific History, Jul 1, 2023

A name that featured once or twice a year: not noticing New Caledonia in mid-20th century Australia

Australian readers in the mid-twentieth century were offered a single-dimensional representation ... more Australian readers in the mid-twentieth century were offered a single-dimensional representation of New Caledonia as a European settler colony, integrated into world trade, modern and prosperous, and with a nearly invisible, presumably compliant indigenous population. The boom in the use of photographs for illustration in magazines, newspapers, serial encyclopaedia, postcards, stereographs, lantern slides, gift albums, exhibitions and museum displays between 1895 and 1930 offered the federated British colonies, recently united as Australia, the chance to acquire a visual familiarity with the neighbouring southwest Pacific. The conceptualisation of a region including the New Hebrides Condominium (Vanuatu), British Solomon Islands Protectorate, Australian Territory of Papua, German, and later the Mandated Territory of New Guinea and the British Crown Colony of Fiji encircled but did not include New Caledonia. 1 Based on illustrated English language books and magazines such as National Geographic, Pix and Walkabout, this paper positions what Australians learnt-by-looking at and looking-past published photographs of New Caledonia in 1930 to 1970. Not acknowledging New Caledonia, or knowing it only through mediated, uncontested visual evidence, is then positioned against a background of broader Australia-New Caledonia histories and relationships. There is an increasing interest in visual histories in the Pacific and a growing body of analysis of the colonial photography found in personal albums and in the loose, often incomplete collections of museums, institutions and repositories as well as in scientific and expedition reports. 2 This research has highlighted nuances in and beyond the frame and put individual images under aesthetic, scientific and philosophical scrutiny and has begun to create greater historical awareness of "globally disseminated and locally appropriated" images and their impact on metropolitan self-identity. 3 However, this research is usually focused on interpreting the evidential aspect of a single image, or images not seen by the general public, or images not seen at all until a hundred years later. The emphasis is often on the photographer in the field or the use made of the image by seminal Euro-American thinkers, professors and authors who gained access to the images. The documentary role of images published in newspapers, magazines, books and encyclopaedia is acknowledged but the next empirical steps of measuring public accessibility and an image's power to shape public opinion have not been taken. Graham Clarke claims "documentary photography has dominated the photographic history of the twentieth century … whether it was in Picture Post, Time Magazine, Life or a newspaper, the photograph as evidence of events was basic to the presentation of the story." If this is a reasonable claim, why have historians been slow to examine the power of images in the social or public arena? Scholars have avoided positioning photography's output in relation to the stereotyping of races, tribes and nations, yet this is what happened in the social arena or public domain, when the general public saw images of Hawaii, Tahiti, New Caledonia, the Arctic or the Philippines in profusely illustrated 1 Dutch West New Guinea was also excluded from magazine and newspaper reportage and rarely covered in popular travelogues. The Torres Strait also was not seen as a separate entity, but part of Queensland, and later the Commonwealth of Australia. 2 For example, more than a 60 papers have been presented at the "images and representation" panels at the biannual Pacific History Association Conferences since 1996. These papers have appeared in special issues of Pacific Studies (1997) and the Journal of Pacific History (forthcoming) and in other publications.

Picturing Imperial Power: Colonial Subjects in Eighteenth-Century British Painting (review)

Journal of World History, 2002

Picturing Imperial Power offers both less and more than its title promisesless, because the bulk ... more Picturing Imperial Power offers both less and more than its title promisesless, because the bulk of the book covers only the last quarter of the eighteenth century; more, because it treats paintings from North America, Calcutta, and the West Indies, by artists from British America, Italy, and India, as well as from Britain itself. Tobin forges an eclectic methodology to cope with such catholic materials. The opening chapter invokes a panoply of theorists to almost comic effect: "Michael Foucault's equation of knowledge with power. .. [t]he Marxist notion of mystiªcation. .. Susan Stewart's and Harriet Guest's discussions of the exotic and Michael Taussig's discussion of mimesis. .. Stuart Hall's and Dick Hebdige's ideas about the semiotics of clothing. .. [and] Judith Butler's discussion of drag, Peggy Phelan's notion of performing identities, and Homi Bhabha's analysis of colonial discourse" all jostle in a single paragraph (15). Tobin describes the result as "cultural studies meets colonial discourse analysis" (13); a more accurate summary might be "the New Imperial History meets the New Art History." The "subjects" of colonial depiction are as diverse in kind as they are in origin, ranging from African servants in England and Mohawk warriors and Highland soldiers in North America to West Indian slaves, Calcutta judges, and even Indian plants. These subjects comprise both colonialists and colonized; they encompass the victims, the victors, and the spoils of empire. A less precise and historical account might have conºated the various genres in which these subjects were depicted into a single "imperial" discourse, uninºected by time or space and representative of the very homogeneity usually attributed to the process of imperialism itself. The interconnectedness of the late eighteenth-century British Empire enables Tobin to draw her various subjects into dialogue, but her exquisite attention to their rooted particularity prevents any facile assimilation. Accordingly, the strongest chapters of the book are those with the strongest sense of place and context, particularly the analysis of Benjamin West's "William Penn's Treaty with the Indians" (1771/72) and the account of the much less well-known West Indian scenes by the Italian painter Agostino Brunias. Less novel, because more derivative of the work of such earlier writers as Honour and Dabydeen, is the chapter on black servants in English domestic portraiture. 1 More challenging, but less conclusive, are the chapters on "Cultural Cross-Dressing in British America" (treating especially the portraits of the Mohawk Joseph Brant and Colonel Guy Johnson, the acting superintendent of Indian

Melanesia

Routledge eBooks, Mar 28, 2019

Suva and the Fate of the Polynesia Company

ANU Press eBooks, Sep 8, 2022

, the missionary Lorimor Fison visited Suva peninsula looking for a site for a church and wrote: ... more , the missionary Lorimor Fison visited Suva peninsula looking for a site for a church and wrote: at present things are in a very unsettled state. The weather has been sadly against the newcomers for it has been raining since they came down, and during the last three weeks have had most dismal weather-not one fine day in 21. Settlers living in tents or in hastily built makeshift huts, men to be pitied but worst hardship falls on women and children. The Alhambra had arrived from Melbourne a month previously, carrying the first shipload of Polynesia Company shareholders keen to begin a new life as planters on the Suva peninsula. Henry Armstrong, from the Upper Murray district in Victoria, had been the first shareholder to arrive, in May 1869, joined by his brother in early 1870. Henry had travelled out to Fiji on the Springbok, the first vessel to sail direct from Melbourne to Fiji with a group of intending settlers, in what was called the 'Fiji Rush'. They were the only shareholders on the peninsula until the arrival of the Alhambra in September 1870. 1 1 This chapter is a compilation of stories about Suva taken from my recent monograph (Max Quanchi, This glorious company (Suva: USP Press, 2020)), my MA thesis on Victoria-Fiji links (Max Quanchi, 'This glorious company: The Polynesia Company in Melbourne and Fiji' (master's thesis, Monash University, 1977)) and several unpublished conference presentations. For further reference details, please see the Source Note at the end of the chapter.

<i>Tikopia Collected: Raymond Firth and the Creation of Solomon Islands Cultural Heritage</i>, Elizabeth Bonshek (2017) <i>Collecting in the South Sea: The Voyage of Bruni d’Entrecasteaux 1791‐1794</i>, Bronwen Douglas, Fanny Wonu Veys and Billie Lythberg (eds) (2018) <i>Resonant Histories: Pacif...

Journal of New Zealand & Pacific studies, Dec 1, 2021

Review of: Tikopia Collected: Raymond Firth and the Creation of Solomon Islands Cultural Heritage... more Review of: Tikopia Collected: Raymond Firth and the Creation of Solomon Islands Cultural Heritage, Elizabeth Bonshek (2017) Canon Pyon: Sean Kingston Publishing, 222 pp., ISBN 978 1 90777 439 3 (hbk), £60 Collecting in the South Sea: The Voyage of Bruni d’Entrecasteaux 1791–1794, Bronwen Douglas, Fanny Wonu Veys and Billie Lythberg (eds) (2018) Leiden: Sidestone Press, 381 pp., ISBN 978 9 08890 574 2 (pbk), €60 Resonant Histories: Pacific Artefacts and the Voyages of HMS Royalist 1890–1893, Alison Clark with Eve Haddow and Christopher Wright (2019) Leiden: Sidestone Press, 272 pp., ISBN 978 9 08890 629 9 (pbk), €55

No. 1 Neighbour; Art in Papua New Guinea 1966–2016

Journal of Pacific History, Oct 2, 2017

Maʻafu, Prince of Tonga, Chief of Fiji: the life and times of Fiji's first Tui Lau

Journal of Pacific History, Jan 2, 2016

Surfing draws wave riders for the natural and pleasurable feeling (which only a surfer knows) of ... more

Kanaka portraits: indentured labour in colonial Australia

Portraits of kanakas, the name given to Pacific islander indentured labouers in Australia in the ... more Portraits of kanakas, the name given to Pacific islander indentured labouers in Australia in the 19th century, were rare. They were taken as a momento of an individual's period on the plantations, or sent home to remind family of their fate.Other were taken for newspapers and for illustrations in political commentary on the "Labour Trade" asnd "White Australa". The small archive provide insight into social conditions, personal lives, and industrial histories that supports the paper trail, but also often challenges the conventional history of the period.

Historical Dictionary of the Discovery and Exploration of the Pacific Islands

Levelling Wind: Remembering Fiji

Journal of Pacific History, Nov 6, 2020

Indo-Fijian diaspora and those already familiar with recent Pacific Island historiography will fi... more

12 Troubled Times: Development and Economic Crisis in Nauru

Lynne Rienner Publishers eBooks, May 1, 2007

APT10; The 10th Asia Pacific Triennial of Contemporary Art

The Journal of Pacific History

“Fijian Islanders preparing for a feast” (1959): The Influence of Photography on Popular Opinions of the Pacific

Pacific arts, Oct 17, 2021

In 1959, a serialised, illustrated encyclopaedia, The Book of Knowledge, published a photograph c... more In 1959, a serialised, illustrated encyclopaedia, The Book of Knowledge, published a photograph captioned "Fijian islanders preparing for a feast," suggesting to readers that butchering a turtle prior to cooking was a common sight in the 1950s and a cultural practice among modern-day Fijians. However, the photograph had been taken around the turn of the century by a British colonial official, Basil Thomson, and published elsewhere by him and others in the intervening fifty years. How much post-World War II illustrative photography of Pacific Islanders in encyclopaedias was misleading in this manner? How much illustrative (particularly photographic) material from an era long past was presented mid-century as being evidence of contemporary life in the Pacific? Or, was preparing a turtle for a feast a long-standing tradition and, therefore, the date of the photograph immaterial? This paper investigates these questions within the context of the creation of The Book of Knowledge and other such compendia, as well as Euro-American stereotypes of Fiji and the Pacific.

Die Indentured labour der Pacific islanders in Queensland [The indentured labour of Pacific Islanders in Queensland]

ABSTRACT A study of the period of indentured Pacific Islander labour in Queensland. The history o... more

Tropicalisation and representation in Oceania: or a path into the deep, dark jungle

Learning-by-looking: for example, at Peoples of all Nations; European education and serial encyclopaedia

Photographically illustrated serial encyclopaedia, a boom publishing phenomenon in the early 1900... more Photographically illustrated serial encyclopaedia, a boom publishing phenomenon in the early 1900s, had a huge impact of readers and viewers understanding of the world. These monthly instalments, later bound into volumes, were prolifically illustrated and the epitome of learning-by-looking, self-education and modernity, and part of an expanding visual archive available to the European public wanting to know about distant lands and peoples, strange customs, travel and new colonies. As serial encyclopaedia and their barrage of photographs have been largely overlooked by scholars, this essay draws attention to the phenomenon for its role in visuality as well as the context of Imperial expansion, entertainment and European fascination with others.

Iconography and identity – the appropriation of crab-claw sails in Oceania

Centre for Social Change Research; QUT Carseldine - Humanities & Human Services, 2000

Art, photography and graphic images of Oceanic sails are scattered across the last four hundred y... more Art, photography and graphic images of Oceanic sails are scattered across the last four hundred years of visual history in Oceania. The crab-claw or inverted triangular shaped sail, initially depicted in ethnographic and technical drawings, historical tableaux, etchings, photographs, postcards and illustrated books and magazines, took on a new meaning in western imaging when stamps, letterheads, logo and advertisements displaced earlier methods of representing Oceania. The soaring sail, often shown detached from the double-hulled canoe or outrigger, lost its association with long-distance voyaging when stylized, graphic art and computer-generated sail images began to play a symbolic role and national entities, movements, organizations and institutions sought to assert Oceanic identities, cultural unity and political relationships. What began as a visual record of maritime achievement became an evolving iconography of appropriation and commodification serving a range of sovereignty, political and regional campaigns.

Researching early photography of the Pacific Islands: An overview

Journal of New Zealand & Pacific studies, Dec 1, 2020

Historical research on the early years of photography in the Pacific Islands has revealed changes... more Historical research on the early years of photography in the Pacific Islands has revealed changes in the practice of photography, the development of Pacific imagery, tropes and stereotypes and changes in the ways images were distributed, archived and used in modern contexts. Research in the field was initially focused on photography’s indexical nature and the role of professional and amateur photographers, travellers, colonial officials and missionaries. The research highlighted here, only in the English language and excluding Aotearoa/New Zealand, reveals how later analyses have begun to grow more theoretical, in keeping with postcolonial approaches to reading cross-cultural representation, and how new directions in research point towards the nature of Indigenous engagement with early photography.

Australia in view : studies in work, culture, and society

Jacaranda Press eBooks, 1989

Exhibitions <i>Voyages: Stories of an Ocean People</i>, a Permanent Exhibition at the Fiji Museum, Thurston Gardens, Suva, Fiji. Open Daily

Journal of Pacific History, Jul 1, 2023

A name that featured once or twice a year: not noticing New Caledonia in mid-20th century Australia

Australian readers in the mid-twentieth century were offered a single-dimensional representation ... more Australian readers in the mid-twentieth century were offered a single-dimensional representation of New Caledonia as a European settler colony, integrated into world trade, modern and prosperous, and with a nearly invisible, presumably compliant indigenous population. The boom in the use of photographs for illustration in magazines, newspapers, serial encyclopaedia, postcards, stereographs, lantern slides, gift albums, exhibitions and museum displays between 1895 and 1930 offered the federated British colonies, recently united as Australia, the chance to acquire a visual familiarity with the neighbouring southwest Pacific. The conceptualisation of a region including the New Hebrides Condominium (Vanuatu), British Solomon Islands Protectorate, Australian Territory of Papua, German, and later the Mandated Territory of New Guinea and the British Crown Colony of Fiji encircled but did not include New Caledonia. 1 Based on illustrated English language books and magazines such as National Geographic, Pix and Walkabout, this paper positions what Australians learnt-by-looking at and looking-past published photographs of New Caledonia in 1930 to 1970. Not acknowledging New Caledonia, or knowing it only through mediated, uncontested visual evidence, is then positioned against a background of broader Australia-New Caledonia histories and relationships. There is an increasing interest in visual histories in the Pacific and a growing body of analysis of the colonial photography found in personal albums and in the loose, often incomplete collections of museums, institutions and repositories as well as in scientific and expedition reports. 2 This research has highlighted nuances in and beyond the frame and put individual images under aesthetic, scientific and philosophical scrutiny and has begun to create greater historical awareness of "globally disseminated and locally appropriated" images and their impact on metropolitan self-identity. 3 However, this research is usually focused on interpreting the evidential aspect of a single image, or images not seen by the general public, or images not seen at all until a hundred years later. The emphasis is often on the photographer in the field or the use made of the image by seminal Euro-American thinkers, professors and authors who gained access to the images. The documentary role of images published in newspapers, magazines, books and encyclopaedia is acknowledged but the next empirical steps of measuring public accessibility and an image's power to shape public opinion have not been taken. Graham Clarke claims "documentary photography has dominated the photographic history of the twentieth century … whether it was in Picture Post, Time Magazine, Life or a newspaper, the photograph as evidence of events was basic to the presentation of the story." If this is a reasonable claim, why have historians been slow to examine the power of images in the social or public arena? Scholars have avoided positioning photography's output in relation to the stereotyping of races, tribes and nations, yet this is what happened in the social arena or public domain, when the general public saw images of Hawaii, Tahiti, New Caledonia, the Arctic or the Philippines in profusely illustrated 1 Dutch West New Guinea was also excluded from magazine and newspaper reportage and rarely covered in popular travelogues. The Torres Strait also was not seen as a separate entity, but part of Queensland, and later the Commonwealth of Australia. 2 For example, more than a 60 papers have been presented at the "images and representation" panels at the biannual Pacific History Association Conferences since 1996. These papers have appeared in special issues of Pacific Studies (1997) and the Journal of Pacific History (forthcoming) and in other publications.

Picturing Imperial Power: Colonial Subjects in Eighteenth-Century British Painting (review)

Journal of World History, 2002

Picturing Imperial Power offers both less and more than its title promisesless, because the bulk ... more Picturing Imperial Power offers both less and more than its title promisesless, because the bulk of the book covers only the last quarter of the eighteenth century; more, because it treats paintings from North America, Calcutta, and the West Indies, by artists from British America, Italy, and India, as well as from Britain itself. Tobin forges an eclectic methodology to cope with such catholic materials. The opening chapter invokes a panoply of theorists to almost comic effect: "Michael Foucault's equation of knowledge with power. .. [t]he Marxist notion of mystiªcation. .. Susan Stewart's and Harriet Guest's discussions of the exotic and Michael Taussig's discussion of mimesis. .. Stuart Hall's and Dick Hebdige's ideas about the semiotics of clothing. .. [and] Judith Butler's discussion of drag, Peggy Phelan's notion of performing identities, and Homi Bhabha's analysis of colonial discourse" all jostle in a single paragraph (15). Tobin describes the result as "cultural studies meets colonial discourse analysis" (13); a more accurate summary might be "the New Imperial History meets the New Art History." The "subjects" of colonial depiction are as diverse in kind as they are in origin, ranging from African servants in England and Mohawk warriors and Highland soldiers in North America to West Indian slaves, Calcutta judges, and even Indian plants. These subjects comprise both colonialists and colonized; they encompass the victims, the victors, and the spoils of empire. A less precise and historical account might have conºated the various genres in which these subjects were depicted into a single "imperial" discourse, uninºected by time or space and representative of the very homogeneity usually attributed to the process of imperialism itself. The interconnectedness of the late eighteenth-century British Empire enables Tobin to draw her various subjects into dialogue, but her exquisite attention to their rooted particularity prevents any facile assimilation. Accordingly, the strongest chapters of the book are those with the strongest sense of place and context, particularly the analysis of Benjamin West's "William Penn's Treaty with the Indians" (1771/72) and the account of the much less well-known West Indian scenes by the Italian painter Agostino Brunias. Less novel, because more derivative of the work of such earlier writers as Honour and Dabydeen, is the chapter on black servants in English domestic portraiture. 1 More challenging, but less conclusive, are the chapters on "Cultural Cross-Dressing in British America" (treating especially the portraits of the Mohawk Joseph Brant and Colonel Guy Johnson, the acting superintendent of Indian

Melanesia

Routledge eBooks, Mar 28, 2019

Suva and the Fate of the Polynesia Company

ANU Press eBooks, Sep 8, 2022

, the missionary Lorimor Fison visited Suva peninsula looking for a site for a church and wrote: ... more , the missionary Lorimor Fison visited Suva peninsula looking for a site for a church and wrote: at present things are in a very unsettled state. The weather has been sadly against the newcomers for it has been raining since they came down, and during the last three weeks have had most dismal weather-not one fine day in 21. Settlers living in tents or in hastily built makeshift huts, men to be pitied but worst hardship falls on women and children. The Alhambra had arrived from Melbourne a month previously, carrying the first shipload of Polynesia Company shareholders keen to begin a new life as planters on the Suva peninsula. Henry Armstrong, from the Upper Murray district in Victoria, had been the first shareholder to arrive, in May 1869, joined by his brother in early 1870. Henry had travelled out to Fiji on the Springbok, the first vessel to sail direct from Melbourne to Fiji with a group of intending settlers, in what was called the 'Fiji Rush'. They were the only shareholders on the peninsula until the arrival of the Alhambra in September 1870. 1 1 This chapter is a compilation of stories about Suva taken from my recent monograph (Max Quanchi, This glorious company (Suva: USP Press, 2020)), my MA thesis on Victoria-Fiji links (Max Quanchi, 'This glorious company: The Polynesia Company in Melbourne and Fiji' (master's thesis, Monash University, 1977)) and several unpublished conference presentations. For further reference details, please see the Source Note at the end of the chapter.

<i>Tikopia Collected: Raymond Firth and the Creation of Solomon Islands Cultural Heritage</i>, Elizabeth Bonshek (2017) <i>Collecting in the South Sea: The Voyage of Bruni d’Entrecasteaux 1791‐1794</i>, Bronwen Douglas, Fanny Wonu Veys and Billie Lythberg (eds) (2018) <i>Resonant Histories: Pacif...

Journal of New Zealand & Pacific studies, Dec 1, 2021

Review of: Tikopia Collected: Raymond Firth and the Creation of Solomon Islands Cultural Heritage... more Review of: Tikopia Collected: Raymond Firth and the Creation of Solomon Islands Cultural Heritage, Elizabeth Bonshek (2017) Canon Pyon: Sean Kingston Publishing, 222 pp., ISBN 978 1 90777 439 3 (hbk), £60 Collecting in the South Sea: The Voyage of Bruni d’Entrecasteaux 1791–1794, Bronwen Douglas, Fanny Wonu Veys and Billie Lythberg (eds) (2018) Leiden: Sidestone Press, 381 pp., ISBN 978 9 08890 574 2 (pbk), €60 Resonant Histories: Pacific Artefacts and the Voyages of HMS Royalist 1890–1893, Alison Clark with Eve Haddow and Christopher Wright (2019) Leiden: Sidestone Press, 272 pp., ISBN 978 9 08890 629 9 (pbk), €55

No. 1 Neighbour; Art in Papua New Guinea 1966–2016

Journal of Pacific History, Oct 2, 2017

Maʻafu, Prince of Tonga, Chief of Fiji: the life and times of Fiji's first Tui Lau

Journal of Pacific History, Jan 2, 2016

Surfing draws wave riders for the natural and pleasurable feeling (which only a surfer knows) of ... more

Kanaka portraits: indentured labour in colonial Australia

Portraits of kanakas, the name given to Pacific islander indentured labouers in Australia in the ... more Portraits of kanakas, the name given to Pacific islander indentured labouers in Australia in the 19th century, were rare. They were taken as a momento of an individual's period on the plantations, or sent home to remind family of their fate.Other were taken for newspapers and for illustrations in political commentary on the "Labour Trade" asnd "White Australa". The small archive provide insight into social conditions, personal lives, and industrial histories that supports the paper trail, but also often challenges the conventional history of the period.

Historical Dictionary of the Discovery and Exploration of the Pacific Islands

Levelling Wind: Remembering Fiji

Journal of Pacific History, Nov 6, 2020

Indo-Fijian diaspora and those already familiar with recent Pacific Island historiography will fi... more

12 Troubled Times: Development and Economic Crisis in Nauru

Lynne Rienner Publishers eBooks, May 1, 2007

APT10; The 10th Asia Pacific Triennial of Contemporary Art

The Journal of Pacific History