Documentaries – Asia Pacific Report

‘Threat to democracy’ – Indonesian filmmaker slams military crackdown on Papua documentary

Pacific Media Watch — Tue, 26 May 2026 10:31:13 +0000

By Johnny Blades, RNZ Pacific senior journalist

An Indonesian filmmaker says the crackdown by authorities on his West Papua documentary in some parts of the country is a threat to democracy.

The Pesta Babi (Pig Feast) documentary looks at the social and environmental impacts of land seizures for big agri-business ventures in Papua — and the Indonesian military’s role in it.

Since March, the film has had screenings in New Zealand and Australia, and is now showing in Indonesia, where it has sparked public interest — not just through its treatment of the subject, but because authorities are trying to ban it.

‘Public order’
The film’s director, Dandhy Laksono, said that Pesta Babi was showing at about 1700 cinemas around Indonesia.

“We have recorded more than 30 incidents of the state apparatus stopping the screening — mostly by military, and then they are also using the civil servants — in the name of public order,” he explained.

Laksono said there had been no public disorder from the film in parts where it had shown.

“It’s ridiculous, and thanks to the audience they defend the film quite hard, and they defend their rights to to watch and to absorb the information, about what actually happened in West Papua.

“I think compared to the subset of the public screening, the intervention or the intimidation is nothing in terms of numbers, but in terms of substance of democracy, that’s a real threat.”

A screengrab from the documentary Pesta Babi showing clashes between the Indonesian security forces and indigenous West Papuans. Image: Pesta Babi screenshot/RNZ Pacific

Interests disrupted
Laksono’s previous documentary film, The End Game, about efforts to undermine anti-corruption activities in Indonesia, also faced shutdowns, but only a handful. Pesta Babi has touched even more of a nerve.

“Because this film also talked directly about the military interest in West Papua, as well as the multinational corporation investment, so yeah, we assume that many interests is disrupted by this film.

The director said the reception of many Indonesians showed the film had also opened eyes.

“The most common thing is they [the audience] realise that the social media algorithm is never friendly for the Papuans, for the West Papuan issue, so they never have a chance to get the real situation in West Papua.

“And even the mainstream media, Jakarta-based mainstream media, has never enough cover for West Papua, and of course, the international journalists cannot access the West Papua, so basically many people are blind from the current situation in West Papua.”

Relatable across republic
The film has resonated with Indonesian audiences, Laksono added, because what was happening in West Papua was relatable across the republic.

“They comment about the proximity with their own problem in their own land, because the military now have more control under [Indonesian President] Prabowo’s administration and also the agrarian conflict with the land grabbing and environmental destruction for the investment.

“So basically what happens in West Papua now is basically a common phenomenon in other places in Indonesia, but of course in West Papua we have more in terms of scale and in terms of level of the damage — but the essence is same, so they feel the proximity.”

Laksono said the government had tended to use nationalism as a way to mischaracterise coverage of genuine West Papuan stories as a threat to the unitary Indonesian republic.

But he said more people were now seeing through this kind of propaganda and the bid to hide the human rights, environmental and social issues in Papua.

This article is republished under a community partnership agreement with RNZ.

‘The world should see this’, say Papua deforestation doco filmmakers

APR editor — Thu, 12 Mar 2026 11:01:42 +0000

By Johnny Blades, RNZ Pacific journalist

For a country with a record of large deforestation projects, Indonesia’s current activities in the far southeastern corner of the republic, South Papua province, surpass all.

With 2.5 million hectares of land being cleared for sugarcane and rice production for food and biofuel projects, alongside large oil palm concessions, Indonesia’s government has created a hugely consequential project right on Papua New Guinea and Australia’s doorsteps.

It is transforming the shape of an otherwise forest and swamp-dominated region, as well as the environment, culture and health of local Papuan communities.

New film on West Papua highlights ‘ecocide’. Video: RNZ

“The world should notice this. It’s not the Amazon, it’s just in our front door, in the Pacific here,” said Dandhy Dwi Laksono, director of Pesta Babi (Pig Feast): Colonialism in our Time, a new documentary film about the impacts of the deforestation in South Papua, the agri-business schemes behind it and the role Indonesia’s military plays in it all.

Laksono has been in New Zealand this week promoting the film with its producer, West Papuan journalist Victor Mambor, who said few people in other parts of the world know about what’s going on there.

“Maybe they only know [of] the conflict, military conflict, armed conflict in West Papua. But they never know the conflict like that,” he said.

The film sheds new light on the response by local Papuans in the wider Merauke region and its remote bush communities to an agri-business master plan attempted by several Indonesian presidents now.

Papua has some of the world’s largest remaining tracts of native rainforest — and clearing this large region of forest and swamp systems is likely to add to carbon emissions, pollution haze and biodiversity loss. Image: Mighty Earth/RNZ Pacific

Prabowo accelerated project
The current president, Prabowo Subianto, has accelerated the project and committed military support for it, saying the military is needed to secure the agri-business projects in Papua because of their scale and importance to Indonesia’s national food and energy security.

However, Mambor said the presence of Indonesian troops in Papua had long been problematic for Papuans, and was growing.

“This is the problem in West Papua. There will be more troops, and then of course because of more troops there will be more conflict. More troops, more conflict, more problem.”

Given the ongoing armed conflict between West Papuan independence fighters and Indonesia’s military in other parts of Papua region (known internationally as West Papua), this film offers a useful insight into a struggle that is less known, but no less concerning.

According to the NGO Mighty Earth, estimates of the CO2 emissions from so much land clearance range from 315 million tonnes of CO2 equivalent (Indonesia’s first state-owned inspection, testing, certification, and consultancy company) to more than double that, according to a report by the Indonesian independent research institute.

This article is republished under a community partnership agreement with RNZ.

Pesta Babi – ‘Pig Feast’ . . . a vivid new film exposing Papua’s political ecology

Pacific Media Watch — Sat, 28 Feb 2026 20:28:09 +0000

REVIEW: Jubi Media

Yasinta Moiwend was startled when, on a quiet morning, a massive ship docked at her village pier in West Papua.

The vessel carried hundreds of excavators and was escorted by military forces. It was the first convoy of 2000 heavy machines to arrive in Papua under a National Strategic Project for food production, palm-based biodiesel, and sugarcane bioethanol.

Yasinta, a Marind Anim woman in Merauke, never realised that her village had been chosen as the ground zero for what would become the largest forest conversion project in modern history — turning 2.5 million ha of tropical forest into industrial plantations under the guise of “food security” and the “energy transition”.

Vincen Kwipalo, from the Yei community, was also shocked when his clan’s land was suddenly marked with a sign reading: “Property of the Indonesian Army.”

Only later did he learn that the land had been seized for the construction of a military battalion headquarters, at the very moment when sugarcane, a plantation company, was also encroaching on his ancestral forest.

Threatened by the same project, Franky Woro and the Awyu community in Boven Digoel erected giant crosses and indigenous ritual markers on their land. Known as the Red Cross Movement, this form of resistance has spread among Indigenous groups across South Papua.

More than 1800 red crosses have been planted to confront corporations and the military—both physically and spiritually. Though a Christian symbol is central to the movement, local Church prelates condemned it as not part of the church.

The Pesta Babi trailer. Video: Jubi Media at Café Pacific

Pesta Babi (“Pig Feast”) combines detailed field recordings with in-depth research to examine the power structures behind the operation.

It exposes how government and corporate entities — collaborating with military and religious groups — advance international and national goals of “food security” and “energy transition” at the expense of Indigenous communities and landscapes.

The documentary illustrates the networks of Indonesian elites, oligarchs, and multinational corporations that benefit from the project, providing a vivid depiction of the political ecology of Indonesian governance in Papua.

Pig Feast serves as a record of colonialism that remains intact today.

This film is co-produced by Jubi, Ekspedisi Indonesia Baru, Greenpeace, Yayasan Pusaka, and Watchdoc Documentary. It is being screened as part of a weekend of West Papua Solidarity Forum events organised by West Papua Action Tāmaki Makaurau.

Pesta Babi (“Pig Feast”) — Colonialism In Our Time, directed by Cypri Dale and Dandhy Laksono and produced by Jubi Media and collaborators. Investigative documentary (90min).
Book tickets for the “Sinéma Merdeka: Stories from West Papua” event here

“Pesta Babi” (The Pig Party) . . . the West Papuan documentary film being world premiered in New Zealand next month. Image: Jubi Media

Israeli soldiers killed civilians, aid seekers in Gaza free-for-all ‘at wish of army officers’

APR editor — Wed, 12 Nov 2025 05:03:44 +0000

Middle East Monitor

Israeli soldiers have revealed that Palestinian civilians were killed inside Gaza in a free-for-all at the wish of army officers amid a collapse of legal and military norms during Tel Aviv’s two-year brutal war on the besieged enclave, reports Anadolu Ajensi.

“If you want to shoot without restraint, you can,” Daniel, the commander of an Israeli tank unit, said in a documentary, Breaking Ranks: Inside Israel’s War, set to be aired in the UK on ITV on Monday.

The Israeli army has killed more than 69,000 Palestinians, mostly women and children, and wounded over 170,000 in Gaza and left the enclave uninhabitable since October 2023.

Israeli soldiers, some of whom spoke on condition of anonymity, said Palestinian civilians were used as human shields during the conflict, The Guardian reported.

Captain Yotam Vilk, an armored corps officer, said soldiers did not apply the long-standing army standard of firing only when a target had the “means, intent and ability” to cause harm.

“There’s no such thing as ‘means, intent and ability’ in Gaza,” he said. “It’s just suspicion – someone walking where it’s not allowed.”

Another soldier, identified only as Eli, said: “Life and death isn’t determined by procedures or opening fire regulations. It’s the conscience of the commander on the ground that decides.”

‘Hanging laundry’
Eli recounted an officer ordering a tank to demolish a building where a man was just “hanging laundry,” resulting in multiple deaths and injuries.

The documentary also presents detailed accounts of Israeli soldiers opening fire unprovoked on civilians running toward food handouts at militarized aid distribution points operated by the US- and Israeli-backed Gaza Humanitarian Foundation (GHF).

Film maker talks about Israeli ‘shoot to kill’ policies in Gaza Video: LBC

A contractor identified only as Sam, who worked at GHF sites, said he saw Israeli soldiers shooting two unarmed men running to get aid.

“You could just see two soldiers run after them,” he recalled. “They drop onto their knees and they just take two shots, and you could just see . . . two heads snap backwards and just drop.”

Sam also described a tank destroying “a normal car . . . just four normal people sat inside it.”

According to UN figures, at least 944 Palestinian civilians have been killed by Israeli fire near such aid points.

Extremist rhetoric
The film also highlights the spread of extremist rhetoric inside Israel, including statements from rabbis and politicians depicting all Palestinians as legitimate targets after the October 7 events.

“You hear that all the time, so you start to believe it,” Daniel said.

Rabbi Avraham Zarbiv, who served more than 500 days in Gaza, defended large-scale home demolitions by the Israeli army in Gaza.

“Everything there is one big terrorist infrastructure . . . We changed the conduct of an entire army.”

In September, a UN commission concluded that Israel had committed genocide in Gaza, where a ceasefire came into force on October 10 after two years of Israeli bombardment.

Since the ceasefire, Israeli attacks have killed at least 242 Palestinians and injured 622. One Israeli soldier has been killed.

“I feel like they’ve destroyed all my pride in being an Israeli — in being an IDF (army) officer,” Daniel says in the programme. “All that’s left is shame.”

Wenda accuses Indonesian troops of bombarding village in Star mountains

APR editor — Wed, 15 Oct 2025 21:44:23 +0000

Asia Pacific Report

Indonesian military forces have again bombed Kiwirok, the site of a massacre in 2021 that killed more than 300 West Papuan civilians, amid worsening violence, alleges a Papuan advocacy group.

“While President Prabowo talks about promoting peace in the Middle East, his military is trying to wipe out West Papua,” said United Liberation Movement of West Papua (ULMWP) leader Benny Wenda.

“Evidence gathered by villagers in the Star Mountains shows the Indonesian military using Brazilian fighter jets to target houses, gardens, and cemeteries.”

He said in a statement the village had been destroyed and more civilians had become displaced in their own land, adding to more than 100,000 internal refugees.

The ULMWP website showed images from the attack.

Wenda said the bombing showed again “how the whole world is complicit in the genocide of my people”.

In 2021, Indonesia had used bombs and drones made in Serbia, China and France to kill civilians as revealed in the 2023 documentary Hostage Land: Why Papuan Guerrilla Fighters Keep Taking Hostages.

“Now, it is Brazilian jets that children in Kiwirok see before their homes are destroyed,” Wenda said.

West Papua was being facing several “colonial tactics to crush our spirit and destroy our resistance”.

“What is happening in Kiwirok is happening in different ways across West Papua,” Wenda said. He cited:

Riots and demos happening in Jayapura after a peaceful demonstration calling for the release Papuan political prisoners was violently crushed;
Indonesia occupying churches in Intan Jaya in violation of international law as they deployed soldiers for a new military base;
Indonesian military killing civilian Sadrak Yahome after anti-racism protests in Yalimo, which happenedfollowing Indonesian settlers racially abusing a Papuan student;
Militarisation happening across the Highlands, with more than 50 villages having being occupied by the TNI [Indonesian military] since August;
West Papuans being called “monkeys” by Indonesian settlers in Timika; and
A 52-year-old man being killed by police during a protest against the transfer of political prisoners in Manokwari.

The documentary Hostage Land. Video: Paradise Broadcasting

“It isn’t a coincidence that this escalation is happening while Indonesia is increasing environmental destruction in West Papua, trying to steal our resources and rip apart our forest for profit and food security,” Wenda said.

“In Raja Ampat, Merauke, Intan Jaya, and Kiwirok, new plantations and mines are killing our people and land.”

Wenda appealed to Pacific leaders to stand for West Papua as “the rest of the world stands for Palestine”.

“The Melanesian Spearhead Group (MSG) and Pacific Islands Forum (PIF) must respond to this escalation — Indonesia is spilling Pacific and Melanesian blood in West Papua.

“They must not bow to Indonesian chequebook diplomacy.”

Gaza – an open question for NZ’s foreign minister Winston Peters

Pacific Media Watch — Tue, 22 Jul 2025 23:48:33 +0000

OPEN QUESTION: By Bryan Bruce

Dear Rt Hon Winston Peters,

There was a time when New Zealanders stood up for what was morally right. There are memorials around our country for those who died fighting fascism, we wrote parts of the UN Charter of Human Rights, we took an anti-nuclear stance in 1984, and three years prior to that, many of us stood against apartheid in South Africa by boycotting South African products and actively protesting against the 1981 Springbok Rugby Tour.

To call out the Israeli government for genocide and ethnic cleansing in Gaza is not to be antisemitic. Nor is it to be pro- Hamas. It is to simply to be pro-human.

While acknowledging the peace and humanitarian initiatives on the Foreign Affairs website, I note there is no calling out of the genocide and ethnic cleansing that cannot be denied is happening in Gaza.

The Israeli government is systematically demolishing whole towns and cities — including churches, mosques, even removing trees and vegetation — to deprive the Palestinian people the opportunity to return to their homeland; and there have been constant blocks to humanitarian aid as part of a policy forced starvation.

There is no doubt crimes against international law have been committed, which is why the International Criminal Court (ICC) in The Hague has issued warrants for the arrest of Israeli Prime Minister Benjamin Netanyahu and Yoav Gallant, his former defence minister, for alleged crimes against humanity.

So, my question to you is: why are you not pictured standing in this photograph (below) alongside the representatives from 33 nations at the July 16 2025 Gaza emergency conference in Bogotá?

The nations that took part in the Gaza emergency summit in were:

Norway, Portugal, Slovenia, Spain, Turkey, Colombia, South Africa, Bolivia, Cuba, Honduras, Malaysia, Namibia, Algeria, Bangladesh, Botswana, Brazil, Chile, China, Djibouti, Indonesia, Iraq, Ireland, Lebanon, Libya, Mexico, Nicaragua, Oman, Pakistan, Palestine, Qatar, Saint Vincent and the Grenadines, Uruguay and Venezuela.

Representatives from 33 nations at the July 16 2025 Gaza emergency conference in Bogotá. Image: bryanbruce.substack.com

Is your policy simply to fall in behind the USA denying there is genocide and ethnic cleansing happening in Gaza?

If not, are you prepared to endorse the six coordinated diplomatic, legal and economic measures already signed up to by 12 of the participating countries in the Bogetà summit, to restrain Israel’s assault on the Occupied Palestinian Territories and defend international law at large?

Remaining countries, which could still include New Zealand, have a deadline of September 20, to coincide with the 80th UN General Assembly, for additional states to join them.

The 6 agreed measures are:
Prevent the provision or transfer of arms, munitions, military fuel, related military equipment, and dual-use items to Israel.

Prevent the transit, docking, and servicing of vessels at any port
in all cases where there is a clear risk of the vessel being used to carry arms, munitions, military fuel, related military equipment, and dual-use items to Israel

Prevent the carriage of arms, munitions, military fuel, related military equipment, and dual-use items to Israel on vessels bearing our flag . . . and ensure full accountability, including de-flagging, for non-compliance with this prohibition.

Commence an urgent review of all public contracts, to prevent public institutions and funds from supporting Israel’s illegal occupation of the Palestinian Territory and entrenching its unlawful presence.

Comply with obligations to ensure accountability for the most serious crimes under international law, through robust, impartial and independent investigations and prosecutions at national or international levels, to ensure justice for all victims and the prevention of future crimes.

Support universal jurisdiction mandates, as and where applicable in national legal frameworks and judiciaries, to ensure justice for victims of international crimes committed in the Occupied Palestinian Territory.

In addition, are you prepared to specifically support the enforcement of the International Criminal Court arrest warrants issued last year for Israeli Prime Minister Benjamin Netanyahu and Yoav Gallant, his former defence minister, for alleged crimes against humanity and war crimes in Gaza including murder and forced starvation, in a war that has left more than 211,000 Palestinians, including many children, dead, maimed, or missing since October 2023, according to the Gaza Health Ministry? (That’s a figure that is approximately the entire population of Hamiton and Rotorua).

What then is the NZ government’s policy? Are we going to support International Law and call out the Israeli government’s acts of genocide in Gaza, or not?

Yours sincerely,

Bryan Bruce
Investigative documentary maker, journalist and podcaster.
Auckland.

Bryan Bruce is a New Zealand investigative journalist and documentary maker. Republished from Bruce’s substack page.

The West v China: Fight for the Pacific – Episode 1: The Battlefield

APR editor — Wed, 21 May 2025 10:46:16 +0000

Al Jazeera

How global power struggles are impacting in local communities, culture and sovereignty in Kanaky, New Caledonia, the Solomon Islands and Samoa.

In episode one, The Battlefield, broadcast today, tensions between the United States and China over the Pacific escalate, affecting the lives of Pacific Islanders.

Key figures like former Malaita Premier Daniel Suidani and tour guide Maria Loweyo reveal how global power struggles impact on local communities, culture and sovereignty in the Solomon Islands and Samoa.

WATCH: The first episode of this new series

The episode intertwines these personal stories with the broader geopolitical dynamics, setting the stage for a deeper exploration of the Pacific’s role in global diplomacy.

Fight for the Pacific, a four-part series by Tuki Laumea and Cleo Fraser, showcases the Pacific’s critical transformation into a battleground of global power.

This series captures the high-stakes rivalry between the US and China as they vie for dominance in a region pivotal to global stability.

The series frames the Pacific not just as a battleground for superpowers but also as a region with its own unique challenges and aspirations.

Republished from Al Jazeera.

The Kiwi heart surgeon, his wife and the film maker in Palestine

Pacific Media Watch — Fri, 09 May 2025 06:09:47 +0000

RNZ Nine To Noon

Auckland film maker Paula Whetu Jones has spent nearly two decades working pro bono on a feature film about the Auckland cardiac surgeon Dr Alan Kerr, which is finally now in cinemas.

She is best known for co-writing and directing Whina, the feature film about Dame Whina Cooper.

She filmed Dr Kerr and his wife Hazel in 2007, when he led a Kiwi team to Gaza and the West Bank to operate on children with heart disease.

What started as a two-week visit became a 20 year commitment, involving 40 medical missions to Gaza and the West Bank and hundreds of operations.

Paula Whetu Jones self-funded six trips to document the work and the result is the feature film The Doctor’s Wife, now being screened free in communities around the country.

20 years of inspirational work in Palestine

Pacific Media Watch reports that Paula Whetu Jones writes on her film’s website:

I met Alan and Hazel Kerr in 2006 and became inspired by their selflessness and dedication. I wanted to learn more about them and shine a light on their achievements.

I’ve been trying to highlight social issues through documentary film making for 25 years. I have always struggled to obtain funding and this project was no different. We provided most of the funding but it wouldn’t have been possible to complete it without the generosity of a small number of donors.

Others gave of their time and expertise.

Film maker Paula Whetu Jones . . . “Our documentary shows the humanity of everyday Palestinians, pre-2022, as told through the eyes of a retired NZ heart surgeon, his wife and two committed female film makers.” Image: NZ On Film

Our initial intention was to follow Dr Alan Kerr in his work in the West Bank and Gaza but we also developed a very special relationship with Hazel.

While Dr Alan was operating, Hazel took herself all over the West Bank and Gaza, volunteering to help in refugee camps, schools and community centres. We tagged along and realised that Dr Alan and his work was the heart of the film but Hazel was the soul. Hence, the title became The Doctor’s Wife.

I was due to return to Palestine in 2010 when on the eve of my departure I was struck down by a rare auto immune condition which left me paralysed. It wasn’t until 2012 that I was able to return to Palestine.

Wheelchair made things hard
However, being in a wheelchair made everything near on impossible, not to mention my mental state which was not conducive to being creative. In 2013, tragedy struck again when my 22-year-old son died, and I shut down for a year.

Again, the project seemed so far away, destined for the shelf. Which is where it sat for the next few years while I tried to figure out how to live in a wheelchair and support myself and my daughter.

The project was re-energised when I made two arts documentaries in Palestine, making sure we filmed Alan while we were there and connecting with a NZ trauma nurse who was also filming.

By 2022, we knew we needed to complete the doco. We started sorting through many years of footage in different formats, getting the interviews transcribed and edited. The last big push was in 2023. We raised funds and got a few people to help with the logistics.

I spent six months with three editors and then we used the rough cut to do one last fundraiser that helped us over the line, finally finishing it in March of 2025.

Our documentary shows the humanity of everyday Palestinians, pre-2022, as told through the eyes of a retired NZ heart surgeon, his wife and two committed female film makers who were told in 2006 that no one cares about old people, sick Palestinian children or Palestine.

They were wrong. We cared and maybe you do, too.

What is happening in 2025 means it’s even more important now for people to see the ordinary people of Palestine

Dr Alan Kerr and his wife, Hazel are now 90 and 85 years old respectively. They are the most wonderfully humble humans. Their work over 20 years is nothing short of inspiring.

This article is republished under a community partnership agreement with RNZ.

The last voyage of the Rainbow Warrior – Rongelap podcast series

Pacific Media Watch — Tue, 12 Nov 2024 11:30:07 +0000

ABC Radio Australia and RNZ

You probably know about the last moments of the Greenpeace flagship Rainbow Warrior in 1985.

But what do you know about the environmental campaign ship’s last voyage before it was bombed by French secret agents in New Zealand on 10 July 1985?

Where had it come from, why was it there and what was it doing?

LISTEN: The podcast series at RNZ

Find out in The Last Voyage of the Rainbow Warrior, a six part podcast series produced by an ABC Radio Australia and RNZ partnership.

The series was written and hosted by James Nokise of the ABC with writers and producers Justin Gregory (RNZ) and Sophie Townsend.

The series was assisted by Pacific journalist David Robie, author of Eyes of Fire: The Last Voyage of the Rainbow Warrior; and editor Giff Johnson, Eve Burns and Hilary Hosia of the Marshall Islands Journal; along with many Marshall Islanders who spoke to the podcast crew or helped with this project.

Eyes of Fire: The Last Voyage of the Rainbow Warrior (Little Island Press, 2015)

This article is republished under a community partnership agreement with RNZ.

A montage of West Papuan everyday life from hip-hop to protest songs

Pacific Media Watch — Wed, 17 Apr 2024 11:32:34 +0000

I came to this evening of short films not sure what to expect.

I have a history with West Papua (here referring to the Indonesian part of the island of New Guinea, which comprises five provinces, one named “West Papua”) from my days fronting the legendary West Papuan band Black Brothers in the early 1990s.

During that time, I was exposed to stories of struggle and pride in the identity of the people of West Papua. From their declaration of self-determination and self-government and the raising of the Morning Star flag on 1 December 1961, to the so-called “Act of Free Choice” referendum in 1969 which saw the fledgling Melanesian state become part of the larger Indonesian state, to the next 40 years of struggle.

However, apart from the occasional ABC or SBS news story and the 1963 ethnographic film Dead Birds, I hadn’t seen much footage on West Papua until now.

The West Papua Mini Film Festival is a touring festival of short films organised by the West Papuan community and their allies and supporters in Australia to raise awareness of the situation in West Papua.

The four films I saw, at the first screening in Sydney, were:

My Name is Pengungsi (Refugee)
Pepera 1969, A Democratic Integration?
Papuan Hip-Hop: When the Microphone Talks
Black Pearl and General of the Field

The first two films were quite harrowing portrayals of internal displacement and coercion in West Papua. My Name is Pengungsi (Refugee) follows the lives and families of two children, both named “refugee”, born and currently being raised in parts of West Papua distant from their families’ places of origin.

Their displacement is clearly correlated with the increased presence of extractive corporate interests backed in and supported by a military presence.

In both children’s cases this has been enabled by the gradual breaking up of the region of West Papua into first two, and now five, separate provinces.

A scene from My Name is Pengungsi (Refugee)

My Name is Pengungsi (Refugee). Video trailer: Jubi TV

The second film, Pepera 1969, A Democratic Integration, deals with the history of oppression and coercion under Indonesian rule and the absurdity of the rubber-stamping process undertaken by Indonesia (the Act of Free Choice, the Indonesian acronym for which is Pepera) which enabled it to annex West Papua under the impotent gaze of the United Nations and the complicit support of countries including the US and Australia.

The film documents the process leading into decolonisation and West Papua’s short-lived period of self-rule.

The second two films were insightful celebrations of Papuan identity in the arts, through hip-hop artists like Ukam Maran and the earlier musical group Mambesak, and in sport, with the incredible story of the Persipura football club of Jayapura.

The latter’s achievements as a football team and subsequent discrimination and suppression in the racially charged Indonesian football league provide an allegory of West Papuan identity.

In both cases, the strength and resilience of West Papuan identity, and West Papuans’ pride in their ancient ties to land and culture, are palpable.

A scene from Papua Hip-Hop: When the microphone talks.

What I liked about the four films was that they presented a montage of West Papua from rural to urban, from the everyday life of internally displaced people to the exciting work of hip-hop artists with their songs of protest; from the big picture and history of West Papua to the smaller microcosm of the Persipura football team and supporters.

All in all, I was surprised how much I came out of the festival better informed about a place, its history and current developments. And this despite having the privilege of knowing more about West Papua than many Australians.

For those who don’t know much about West Papua and would like to know more, attending the West Papua Mini Film Festival is a must. It is on at various locations around Australia until 21 April 2024, with details here.

And to end on a happy note, my evening of film appreciation included meeting one of the festival’s organisers, Victor Mambor. Victor is the nephew of the late Steve Mambor, drummer for the Black Brothers!

West Papua Mini Film Festival 2024, 9-21 April 2024, Wollongong, Sydney, Canberra, Adelaide, Brisbane, Lismore, Hobart, Melbourne, and Darwin.
The films are also available to view with English and Indonesian subtitles on the Jubi TV Youtube channel.

‘Alopi Latukefu is the director of the Edmund Rice Centre. He previously worked for the Australian Department of Foreign Affairs and Trade. This review was first published on ANU Development Policy Centre’s DevPolicyBlog and is republished here under Creative Commons.

Climate crisis: The Fiji villages in paradise being swallowed by the sea

Pacific Media Watch — Sun, 09 Apr 2023 00:26:36 +0000

Video report by Craig Reucassel

With tourism back and booming, Fiji is again a number one destination for travellers seeking an island paradise experience.

And while water lapping on the shoreline might make for an Instagram-worthy picture, for the people of Fiji, it presents a threat to their way of life.

This week on ABC’s Foreign Correspondent, special guest reporter Craig Reucassel travels across the islands of Fiji to see how the nation is combating climate change.

WATCH MORE: Other ABC Foreign Correspondent reports

With his trademark style, Craig goes off the tourist track and shows what living with climate change actually means for those who don’t have the luxury of arguing about it.

Fiji: The Last Resort Video: ABC Foreign Correspondent

More than 800 villages are now on a government climate risk list — some communities have already been moved to higher ground but others are resisting.

And many are asking: who caused the problem and who should pay to fix it?

Special guest reporter Craig Reucassel files this video report for ABC Foreign Correspondent.

RNZ documentary Boiling Point – spotlight on final day of an infamous protest

Pacific Media Watch — Wed, 01 Mar 2023 22:48:11 +0000

RNZ News

It has been a year since the violent end of the illegal occupation at Parliament in Aotearoa New Zealand. If you thought you had seen it all at the time, you should think again.

Boiling Point, a new documentary from RNZ, includes previously unseen footage of clashes at Parliament on 2 March 2022, when police broke up an illegal occupation of the area.

It is the first feature broadcast to provide a straightforward account of the final day of one of Aotearoa’s most infamous protests.

READ MORE: Other NZ Parliament protest reports

The documentary, produced and presented by RNZ Morning Report host Corin Dann, was released today.

Previously unseen footage gives fresh insight into the rage that overtook some people. And eyewitness accounts take us back to the chaos, confusion and shock of it all.

This article is republished under a community partnership agreement with RNZ.

Watch the trailer below and see the full documentary at rnz.co.nz/boilingpoint

The Boiling Point trailer. Video: RNZ

Lice Movono: Hopes for the return of press freedom in Fiji

Pacific Media Watch — Fri, 10 Feb 2023 09:35:23 +0000

ABC Pacific

Veteran Fijian journalist Netani Rika and his wife were resting in their living room when suddenly a Molotov cocktail went crashing through their living room window.

It was one of the many acts of violence and intimidation he endured after the 2006 military coup.

For the past decade Fiji’s media have operated under tight restrictions and scrutiny, with strict rules governing how stories can be reported.

Now journalists are hoping for changes to Fiji’s controversial Media Act, or its complete removal, to protect the freedom of the press.

Credits:
Lice Movono, Reporter
Hugo Hodge, Producer

Featuring:
Netani Rika, former editor-in-chief of The Fiji Times and manager of Fiji Television News
Sean Dorney, former ABC Pacific correspondent
Professor David Robie, former director of the AUT Pacific Media Centre
Samantha Magick, editor of Islands Business International

Professor David Robie . . . Fiji’s Media Law for the past decade “punitive and draconian”. Image: ABC Pacific screenshot APR

Islands Business editor Samantha Magick . . . hopes a return to media freedom “will mean more people will stay in the profession”. Image: ABC Pacific screenshot APR

Papuan journalist award-winner Victor Mambor targeted for his reports

David Robie — Sat, 04 Feb 2023 12:44:00 +0000

By David Robie

When Papuan journalist Victor Mambor visited New Zealand almost nine years ago, he impressed student journalists from the Pacific Media Centre and community activists with his refreshing candour and courage.

As the founder of the Jubi news media group, he remained defiant that he would tell the truth no matter what the risk while facing an oppressive and vindictive regime.

“Journalists need to break down the wall and learn freely about our struggle,” he said in a message to New Zealand media via an interview with Pacific Media Watch.

READ MORE: The Victor Mambor reports at Asia Pacific Report

Now the 49-year-old journalist and editor finds that the risks are growing exponentially as his media network has expanded — with an English language website and Jubi TV becoming add-ons — and the exposure of his networks have also widened.

He writes for the Jakarta Post, Benar News and contributes to international news services. Two years ago he was also co-producer of an award-winning Al Jazeera 101 East documentary about the plunder of West Papuan forests for oil palm plantations.

But last week the timing was impeccable over his latest award, the Oktonianus Pogau Prize for courageous journalism. It came just eight days after a bomb blast had happened in the street outside his Jayapura home.

The blast has been described as a “terror” attack as a warning over his journalism.

Police investigating
Police are investigating but nothing of substance has been reported so far.

Less than two years ago, on 21 May 2021, another (of many) attempts were made to intimidate Mambor — a glass window in his Isuzu car was smashed and the backdoor and lefthand door spray-painted while the vehicle was parked outside his house in Jayapura.

No prosecution, or even an arrest of a suspect.

Police conducting a crime scene investigation in Bak Air Complex, Angkasapura Village, Jayapura City, after the bomb blast on 23 January 2023. Image: Jubi/Dok

“This act of terror and intimidation is clearly a form of violence against journalists and threatens press freedom in Papua and more broadly in Indonesia,” said Lucky Ireeuw, chair of the Jayapura chapter of the Alliance of Independent Journalists (AJI) at the time.

Tabloid Jubi coverage of the Oktovianus Pogau award to Victor Mambor. Image: Jubi screenshot APR

“It is strongly suspected that the terrorism suffered by Victor is related to reporting by Tabloid Jubi which a certain party dislikes,” he added without being more specific.

Mambor was actually born at Muara Enim, Sumatra in 1974, the son of Rachmawati Saibuna and John Simon Mambor, a poet from Rasiey, Wondama Bay. His father was also a leader of the Papua Presidium Council and he died as a political prisoner in Jakarta in 2003 at the age of 55.

Presidium chair at the time was chief Theys Eluay, who was murdered by Indonesian soldiers in the following year at Sentani, Papua. Eluay was a colleague of John Mambor.
Victor Mambor often quotes his father, saying: “Be proud of yourselves as Papuans who have never begged in their rich land.”

Pantau citation
The Pantau Foundation began awarding the Pogau prize for courage in journalism in 2017 to honour the bravery of the founder of news media Suara Papua, Oktovianus Pogau.

A Papuan journalist and activist born in Sugapa on 5 August 1992, Pogau died at the age of 23 in Jayapura. The award is given annually to commemorate his bravery.

Pogau reported on violence against hundreds of indigenous Papuans during the Third Papuan Congress in Jayapura in 2011. At the time, three Papuans were killed and five jailed on treason charges — but no Indonesian official was questioned or punished.

A scene from the Al Jazeera investigative documentary Selling Out West Papua in June 2020. Image: Screenshot APR

Frustrated by the fact that hardly any Indonesian news media were reporting these human rights violations, Pogau launched Suara Papua in 2011.

Speaking for the Pantau Foundation, human rights advocate Andreas Harsono delivered this citation in part:

“Victor Mambor’s decision to return to his father’s homeland and defend the rights of indigenous Papuans through journalism — as well as being steadfast in the face of intimidation after intimidation — made the jury agree that he was a courageous journalist.

“Victor Mambor’s name was recently mentioned in the media after a bomb was detonated outside his house on January 23 in Jayapura. Mambor suspected the terror was related to Jubi’s coverage of the murder and mutilation of four indigenous Papuans from Nduga in Timika in October 2022, when four soldiers were charged with “premeditated murder” . . .

“Victor Mambor grew up in Muara Enim until he graduated from SMAN 1. In 1992, he moved to Bandung, where he later worked as a journalist for Pikiran Rakyat daily. In Bandung, he was mentored by Suyatna Anirun, an actor and director from the Bandung Study Theatre Club.

“In 2004, after his father died, young Victor Mambor decided to work as a journalist in Jayapura. He was appointed editor of Jubi, later general manager, expanding into television and using drones.

“On his blog, Victor Mambor posts important texts he created or translated between 2005 and 2017, including the abduction of Papuan children to Java and his criticism [about] Jakarta journalists’ perspectives, which often only talk about Indonesian nationalism and not giving much space for Papuan perspectives.

“In May 2015, Victor Mambor interviewed President Joko Widodo in Merauke about restrictions on foreign journalists entering Papua since 1967. Jokowi replied that all foreign journalists were free to enter Papua without restrictions.

“Ironically, to this day President Jokowi’s statement has not come true. Foreign journalists are still restricted from entering Papua.

“In 2019, together with several journalists in Pacific Island countries, he founded the Melanesian Media Freedom Forum (MMFF).

“Mambor has also increased coverage of the Pacific region through Jubi, a natural thing for Papuan media, as well as working with media outlets such as Radio New Zealand, Solomon Star, Vanuatu Daily Post, Melanesia News, Fiji Times, Islands Business, Cook Islands News, Post-Courier, and Marshall Islands Journal.

“Victor Mambor was one of three co-producers of an investigative video entitled Selling Out West Papua broadcast by Al Jazeera in June 2020. He collaborated with Mongabay, the Gecko Project and the Korea Centre for Investigative Journalism.

“This was about how a South Korean company, Korindo, seized land and destroyed Papua’s forests. The documentary makers received the Wincott Award for video journalism.

“On May 21, 2021, Mambor was intimidated. His car glass was broken, and the door was spray-painted, while parked at night in front of his house in Jayapura. The police have yet to find the perpetrators of this vandalism.

“In September 2021, António Guterres, Secretary-General of the United Nations, issued an annual report on international cooperation in the field of human rights. Guterres named Victor Mambor as one of five human rights defenders who frequently experienced intimidation, harassment and threats in covering issues in Papua and West Papua provinces.

“Yayasan Pantau calls on the Indonesian police, especially in Papua, to keep Victor Mambor safe, and to find the people who damaged his car and placed a bomb in front of his house.”

Victor Mambor speaking in an “unfree media” documentary on the Jubi website. Image: Screenshot APR

‘This is for you’ – 24 Pasifika New Year’s honours recipients in NZ

APR editor — Fri, 30 Dec 2022 21:39:10 +0000

By Lydia Lewis, RNZ Pacific journalist, and Jan Kohout, RNZ journalist

Twenty four Pacific peoples have been recognised in the 2023 New Year’s honours.

A former Premier of Niue, Young Vivian, leads the list of distinguished Pacific peoples in the list.

Vivian has been made an officer of the New Zealand Order of Merit for his services to Niue.

READ MORE: The full NZ New Year honours list

Fiji-born Dr Api Talemaitoga, a familiar face to Pacific communities during the height of covid-19 in Aotearoa, has been acknowledged for his decades of service in the medical sector.

The first Pacific priest ordained in Rome in 1990, Father Paulo Filoialii of Samoa, has been recognised for services to the Pacific community.

Also on the honours list is Lisa Taouma, the producer and director of Coconet TV, the largest pool of Pacific content on screen in New Zealand.

And the lead singer of the popular band Ardijah, Betty-Anne Monga, has been recognised for services to music.

‘Better things will come’: Niue’s Young Vivian
Young Vivian started his career as a teacher in New Zealand.

He went to a British school based on an English system. He failed English and was told to leave because enrolments were backed up.

Betty-Anne Monga . . . lead singer of the popular band Ardijah. Image: Dan Cook/RNZ Pacific

He said he “begged the education officer” to stay so he was sent to Northland College and was “very happy” there.

Community members say he has been instrumental in fostering a love for Vagahau Niue, or Niue language, as a respected elder.

Speaking to RNZ Pacific reporter Lydia Lewis in 2022, at the launch of the Niue language app in Auckland, Vivian said:

“A language is a key to your culture and your tradition. It gives you that spiritual strength of who you are and you are able to face the world,” he said.

“That’s very, very important to a small nation like Niue who has a population of only 2500 people, but here in Australia and New Zealand it’s 80,000.”

Former Niue premier Young Vivian says he is “proud” of the next generation of Vagahau Niue speakers at the Niue language app launch. Image: Lydia Lewis/RNZ Pacific

When he went home to Niue, he was “dissatisfied”.

“I want to be fully independent, but I could see signs that people were not acceptable to that so I gave up, only then we can be real Niueans,” Vivian said.

His message to Pacific leaders is to believe in themselves.

“They must depend on themselves and God, they have everything in their homes, they need guts, stickability and determination, small as they are, they can stand up to it.”

He encourages the next generation to go back to basics.

“You have to depend on literally what you’ve got,” he said.

Dr Api Talemaitoga . . . “I have this knowledge about health and I find it a real pleasure to do it.” Image: Greg Bowker Visuals/RNZ Pacific

‘Profound privilege’: Dr Api
Dr Api Talemaitoga has been acknowledged for his decades-long work in the medical sector.

“I see it as a profound privilege, I have this knowledge about health and I find it a real pleasure to do it.”

More than three decades in the job after graduating in 1986, he has a deep sense of pride for the next generation.

“I was really fortunate to be given the opportunity to give the graduation address at the University of Otago for medical students,” he said.

“To see the highest number of Pasifika medical students walk across the stage was really emotional.

“I can happily retire now that I see this new generation of young people, enthusiastic, bright, diverse and they are the ones that will carry on the load in the future.”

Dr Talemaitoga always has a smile on his face and an infectious laugh, he is incredibly hard to get hold of because he is always helping his patients.

A young Dr Api sitting on the arm of sofa to the left of his paternal grandmother Timaleti Tausere in Suva. His parents, Wapole and Makelesi Talematoga, are on the left, his sister Laitipa Navara is sitting on his Dad’s lap and his brother Josateki Talemaitoga is in the middle next to his mum. At the back is his Dad’s youngest brother Kaminieli and sitting on the ground at the front is cousin Timaleti. Image: Dr Api Talemaitoga/RNZ Pacific

When asked how he keeps his charisma day in day out, he said:

“I am not superhuman, some days are just dreadful and you come home feeling really disillusioned and what’s the point of all of this when you see three or four people in a row heading for dialysis,” he said.

“Then you have days where you make a difference to one person out of the 25 or 30 you see that day.

“They feel really encouraged that you’ve been able for the first time to explain their condition to them … you can’t put it in words, it’s such an amazing feeling.”

Father Paulo Sagato Filoialii and Pope John Paul II. Image: Father Paulo Sagato Filoialii/RNZ Pacific

‘This is for you, not me’: Father Paulo
The first Pacific Priest ordained in Rome in 1990 – Father Paulo Sagato Filoialii is dedicating his medal to the community he has served for decades, that has in turn backed him.

“I want to offer this medal for the Pacific Island people, this is for you, not for me. This medal I will receive is for all of you and I thank you all for your prayers, for your love and your support, God bless you all,” he said.

Father Paulo has contributed his time to the Catholic community in Christchurch and Ashburton.

Upon Father Filoialii being ordained, the Samoan Mass was performed for the first time in the Vatican, resulting in Pope John Paul II decreeing that the Samoan Mass can now be performed anywhere in the world.

‘Proud’: The Coconet TV’s Lisa Taouma
Pioneering Pasifika producer and director Lisa Taouma paved the way for Pacific peoples in media.

She created the ground-breaking site The Coconet TV which is the largest pool of Pacific content on screen in Aotearoa.

On top of that she made the Polyfest series, the long-standing Pacific youth series Fresh, five award-winning documentaries, the feature film Teine Sa and two short films.

Taouma believes you are only as good as the people you bring through.

“I’m proud of having brought Pacific stories to the fore around the world, I am proud of having brought Pacific people with me into that space, that is what I am most proud of,” She said.

Taouma said it was awesome that more indigenous people were being recognised globally.

While she is humbled to receive the honour, she admits not accepting it crossed her mind.

“I felt quite conflicted at the start, you know there are problems with the idea of empire and how Pacific people have been treated under the history of the British Empire,” she said.

“At the same time, it is really important to stand in this space as a Pacific woman and to have more Pacific people recognised by the Crown if you like.

“This is a system that is hopefully more reflective of Aotearoa and where we stand now.”

‘I never looked back’: Sully Paea
Niuean youth-worker Sully Paea has dedicated his life to working with youth, founding the East Tamaki Youth and Resource Centre between the late 1970s and 1986.

Paea said he was lost. He battled alcoholism and pushed through a diagnosis of depression. He had a violent criminal career until he met his wife which changed him completely.

He has dedicated his life to working with youth, founding the East Tamaki Youth and Resource Centre between the late 1970s and 1986.

After 40 years serving the community, he has never looked back

Tafilau Nina Kirifi-Alai . . . “Seeing Pasifika communities graduating from university has been rewarding.” Image: Tafilau Nina Kirifi-Alai/RNZ Pacific

‘We’re getting there as people’: Tafilau Nina Kirifi-Alai
Tafilau Nina Kirifi-Alai has been honoured for her great services to Pacific Development.

Kirifi-Alai has been the Pacific manager of Otago University for more than 20 years.

She has assisted scholarships of Pacific students and has led developments for the University of Otago to support Pacific tertiary institutions in the region.

“Seeing Pasifika communities graduating from university has been rewarding,” she said.

“To see all those colours in the garments and all those families and all that, was like oh yeah we are getting there, we’re getting there as a people. This is why we left our homes to seek greater opportunities, education wise and work wise, and I actually believe that education is the key.”

‘Knowing your culture, knowing your roots’: Rosanna Raymond
Activism is what paved the road for multidisciplinary artist and curator Rosanna Raymond.

Her work has taken her to China, Australia and Britain, where she has built an awareness of Pacific art and fashion.

She draws on her strong cultural bond to artefacts that were taken from their original land and are now displayed in museums throughout the world.

She made a huge written contribution by co-publishing Pasifika Styles: Artists inside the Museum in 2008 and was Honorary Research Associate at the Department of Anthropology and Institute of Archaeology at University College, London.

She said moving forward whilst staying true to several of her roots was what led her to where she was today.

The full list of Pasifika in the New Year’s Honours list are:

To be Companions of the New Zealand Order of Merit:
The honourable Mititaiagimene Young Vivian, former Premier of Niue – For services to Niue.

To be Officers of the New Zealand Order of Merit:
Nathan Edward Fa’avae – For services to adventure racing, outdoor education and the Pacific community

David Rodney Fane – For services to the performing arts

Dr Apisalome Sikaidoka Talemaitoga – For services to health and the Pacific community

Lisa-Jane Taouma – For services to Pacific arts and the screen industry

To be Members of the New Zealand Order of Merit:
Father Paulo Sagato Filoialii – For services to the Pacific community

Sefita ‘Alofi Hao’uli – For services to Tongan and Pacific communities

Lakiloko Tepae Keakea – For services to Tuvaluan art

Marilyn Rhonda Kohlhase – For services to Pacific arts and education

Felorini Ruta McKenzie – For services to Pacific education

Betty-Anne Maryrose Monga – For services to music

Sullivan Luao Paea – For services to youth

Rosanna Marie Raymond – For services to Pacific art

The Queen’s Service Medal:
Kinaua Bauriri Ewels – For services to the Kiribati community

Galumalemana Fetaiaimauso Marion Galumalemana – For services to the Pacific community

Hana Melania Halalele – For services to Pacific health

Teurukura Tia Kekena – For services to the Cook Islands and Pacific communities

Nanai Pati Muaau – For services to Pacific health

Lomia Kaipati Semaia Naniseni – For services to the Tokelau community

Ma’a Brian Sagala – For services to Pacific communities

Mamaitaloa Sagapolutele – For services to education and the Pacific community

Honorary:
Tofilau Nina Kirifi-Alai – For services to education and the Pacific community

Tuifa’asisina Kasileta Maria Lafaele – For services to Pacific health

Nemai Divuluki Vucago – For services to Fijian and Pacific communities

This article is republished under a community partnership agreement with RNZ.

Why a royal princess from the Pacific is living in Arkansas

Pacific Media Watch — Wed, 28 Dec 2022 22:45:14 +0000

Pacific Media Watch

The US tested 67 nuclear weapons on the Marshall Islands, tricking the people who lived on Bikini Atoll to leave their homeland “for the good of all mankind.”

But the Bikini Islanders didn’t know the US would contaminate their island and make it uninhabitable.

Now nearly 70 years later, many Marshall Islanders have moved to Springdale, Arkansas, nearly 600 miles (965 km) from the nearest ocean.

But as many Marshall Islanders build new lives there, they know Arkansas is not their permanent home, and their nuclear legacy is something both Americans and the next generation of Marshall Islanders need to remember.

The US forced the 167 islanders living on Bikini Atoll to leave in 1946 to enable American testing of nuclear weapons.

Over the next decade, the US tested 67 nuclear devices — 23 of them on Bikini.

Tabish Talib traveled to the Ozarks to learn how the Marshall Islanders are staying connected to their roots so far from their home.

“I feel like a nomad,” says a sixth generation representative of the Bikini Islanders in Arkansas, Sosylina Jibas-Maddison. “And it’s heartbreaking knowing there that we don’t have a home to go to.”

This is known to Marshall islanders as Bikini Day on July 5, the day that is also marked for the inaugural design of the swimsuit named by its French designer after the nuclear “bombshell”.

AJ+ Reports: Why a royal princess from the Pacific is in Arkansas (13m30s)

The AJ+ Reports documentary on the Marshall Islands in the US.

David Robie: Pacific lessons in climate crisis journalism and combating disinformation

Pacific Media Watch — Thu, 20 Oct 2022 09:01:21 +0000

Mediasia Iafor

New Zealand journalist and academic David Robie has covered the Asia-Pacific region for international media for more than four decades.

An advocate for media freedom in the Pacific region, he is the author of several books on South Pacific media and politics, including an account of the French bombing of the Greenpeace flagship Rainbow Warrior in Auckland Harbour in 1985 — which took place while he was on the last voyage.

In 1994 he founded the journal Pacific Journalism Review examining media issues and communication in the South Pacific, Asia-Pacific, Australia and New Zealand.

The Mediasia “conversation” on Asia-Pacific issues in Kyoto, Japan. Image: Iafor screenshot APR

He was also convenor of the Pacific Media Watch media freedom collective, which collaborates with Reporters Without Borders in Paris, France.

Until he retired at Auckland University of Technology in 2020 as that university’s first professor in journalism and founder of the Pacific Media Centre, Dr Robie organised many student projects in the South Pacific such as the Bearing Witness climate action programme.

He currently edits Asia Pacific Report and is one of the founders of the new Aotearoa New Zealand-based NGO Asia Pacific Media Network.

In this interview conducted by Mediasia organising committee member Dr Nasya Bahfen of La Trobe University for this week’s 13th International Asian Conference on Media, Communication and Film that ended today in Kyoto, Japan, Professor Robie discusses a surge of disinformation and the challenges it posed for journalists in the region as they covered the covid-19 pandemic alongside a parallel “infodemic” of fake news and hoaxes.

He also explores the global climate emergency and the disproportionate impact it is having on the Asia-Pacific.

Paying a tribute to the dedication and courage of Pacific journalists, he says with a chuckle: “All Pacific journalists are climate journalists — they live with it every day.”

David Robie’s Eyes Of Fire microsite (with Little Island Press)

Challenges facing the Asia-Pacific media . . . La Trobe University’s Dr Nasya Bahfen and Asia Pacific Report’s Dr David Robie in conversation. Image: Iafor screenshot APR

A NZ media conundrum over how to cover the ‘dangerous’ conspiracists

Pacific Media Watch — Sun, 21 Aug 2022 07:56:32 +0000

By Hayden Donnell, RNZ Mediawatch producer

A documentary from Stuff Circuit this week delved into Aotearoa New Zealand’s growing extreme far-right and anti-vax movement.

Why did the makers of Fire and Fury decide to platform a group of conspiracy-minded idealogues, and what did it get right that others got wrong?

In February, Newsroom’s Melanie Reid travelled to what was then called “freedom village” to interview some of the people behind the occupation taking place on Parliament grounds, Voices for Freedom leaders Alia Bland, Claire Deeks, and Libby Jonson.

While other reporters had cast the group as prolific purveyors of anti-vax misinformation, she introduced the trio with a much less divisive descriptor.

“You guys started it yeah? The three of you?” Reid asked. “Three mums.”

“Three mums,” they agreed in unison.

The video feature was part of a wave of press that Voices For Freedom and its allies attracted in recent months.

Altruistic posture
Nurses For Freedom, a group founded by Voices For Freedom local coordinator Deborah Cunliffe, featured recently on Three’s The Project.

“Healthcare clearly matters to New Zealand. Our nurses want to help,” she said.

Cunliffe’s altruistic posture in the interview jarred a little with calls in the Nurses For Freedom Telegram group for Nuremberg 2.0 to be carried out on public figures who backed vaccination and covid-19 health measures.

At the end of that interview, presenter and former Black Cap Mark Richardson pointed out that the healthcare workers in question could get their jobs back with one simple step.

“Get the jab and go back,” he said. “I don’t care what your rationale is.

“Your country needs you. It’s like me fielding under the helmet. I didn’t want to do it but I did it for the good of the country.”

Other coverage was more sympathetic to the anti-vax cause.

Fire and Fury – the documentary. Video: Stuff Circuit

An uncritical eye
A story by Evan Harding in Stuff’s Southland Times cast an uncritical eye over Nurses For Freedom’s claim to represent 700 nurses just waiting to return to work.

But according to figures from the Ministry of Health, only about 500 nurses have been suspended for failing to meet covid-19 vaccine requirements.

Stuff’s article has since been removed, replaced by a message saying it failed to meet the company’s editorial standards, and another article by Harding on vaccinations has received the same treatment.

Stuff wasn’t the only news organisation to pull a story after giving an uncritical platform to an anti-vaxxer.

Last month, The New Zealand Herald carried an article by the Northern Advocate about Brad Flutey, who was protesting against the closure of the Marsden Point refinery.

The story didn’t mention that Flutey is an anti-vaxxer who called for the Parliament protesters to shift their focus to Marsden Point as a way of retaining momentum after their occupation was broken up, nor that he had repeatedly called to overthrow the government, and had faced charges for refusing to comply with covid restrictions and wear a mask while shopping.

After receiving criticism, The Herald took the article down and later replaced it with a rewritten version headlined “Marsden Point Oil Refinery protest passes 100-day milestone in Northland – take two”.

The Platform platforming
While some organisations seem to have elevated these figures either by accident, or in contravention of their own editorial standards, broadcaster Sean Plunket’s platform The Platform has platformed a succession of anti-vaxxers and extremists on purpose.

This week, presenter Michael Laws talked to Counterspin Media host Kelvyn Alp, who once told Act leader David Seymour he was lucky protesters at the Parliament occupation hadn’t strung him up from the nearest lamppost.

An extrajudicial execution would seem like the most extreme possible form of deplatforming, but an association with intolerance does not appear to be a deal-breaker for The Platform, which has the tagline “Open. Tolerant. Free”.

The station had also aired long interviews with leaders of groups like Voices For Freedom and NZ Doctors Speak Out With Science in recent months, some of them not exactly neutral.

The Platform host Rodney Hide put his cards on the table before an interview with Alia Bland, revealing himself to be a member of her group:

“I am a very very very proud member of Voices For Freedom. This is my disclosure. I’m not having someone along that I’m neutral about. I am a fan of Voices For Freedom.”

After his interview with the well-known Facebook anti-vaxxer Chantelle Baker, Plunket was so moved that he even offered her a show.

“Do you want a weekly show on The Platform?” he asked. “I would be happy to have you on board on the strength of the open conversation we’ve had today.”

Personal platform clipped
But today The Herald reported Baker’s personal platform had been somewhat clipped, with her own Facebook page newly deactivated. Though the report said she was operating another page, just not under her own name.

The reason Plunket was making that offer, and interviewing Baker in the first place, was because she had just been featured in a documentary which painted her and other leading anti-vax figures in a less than flattering light.

Fire and Fury by Stuff Circuit came out last Sunday, and features clips taken from conspiracy and anti-vax groups on platforms like Telegram, which show the violent elements of the movement.

“You gotta love that sound of execution. It’s gonna happen,” one clip begins.

“The media in this country need burning. They really seriously need burning,” another voice continues.

The doco also showed a darker side to Voices For Freedom.

Far from just being — in the words of that Newsroom video — the project of “three mums”, Fire and Fury portrays a group which puts up an approachable, folksy front to draw people into a more radical, potentially violent agenda.

Paula Penfold in Fire and Fury … “The (conspiracists) have had their say. They have so many hundreds, thousands of hours of material on the internet already, and also the guidelines we were reading said it was dangerous to give them a platform that’s equal to the hate they’re already disseminating.” Image: Stuff

‘Fascistic’ ideas lurking
In an interview with host Paula Penfold, The Disinformation Project director Kate Hannah points out potential fascistic ideas lurking beneath some of the group’s messages on vaccines and health.

“The role of women and wellness in fascist and proto-fascist movements has always been really significant. Even in Italy and Germany in the 1920s, a lot of proto-fascist ideas came from or were augmented by ideas around health, well-being, rejection of modern medicine, because obviously if you are an uber-race, you don’t need modern medicine,” she said.

“All of the different groups that we see in New Zealand at the moment have features of fascistic ideas around power and control.”

The documentary also homes in on chat transcripts from former National Front leader Kyle Chapman identifying the “dark-haired” lady from Voices For Freedom as a potential political leader.

Penfold told Mediawatch the Stuff Circuit team decided to do the documentary after watching the Wellington protests and seeing talk on associated social media channels about making the country “ungovernable”.

They wrestled with how to to shine a light on what goes on in the shadier corners of the internet without giving further oxygen to dangerous figures.

“There were many many, many editorial conversations about how we should do that,” she said.

Guided by researchers
Those conversations were guided by groups who had studied the New Zealand far right.

They helped convince the team not to interview some of the people at the centre of their documentary, including Kelvyn Alp, former AUT law lecturer and conspiracist Amy Benjamin, and fellow conspiracy theorist Damien De Ment.

Penfold also cited a 2017 report called The Oxygen of Amplification by US-based independent nonprofit organisation Data & Society.

“We drew most of our guidelines from that on what we should and shouldn’t do,” she told Mediawatch.

That approach was criticised by some journalists, including Plunket, but Penfold said it was necessary.

“They’ve had their say. They have so many hundreds, thousands of hours of material on the internet already, and also the guidelines we were reading said it was dangerous to give them a platform that’s equal to the hate they’re already disseminating. And so this is not your ordinary right of reply situation. In a way it’s like we were giving our audience the right of reply to what’s already been said.”

Different approach
Stuff Circuit took a different approach in an earlier documentary on the conspiracy theorist Billy Te Kahika, where Penfold sat down with him for a long-form interview.

Penfold said the team was also careful then not to platform “dangerous” content.

“We didn’t let him platform any of his conspiracy theory views. That was an important distinction. We were challenging him on things he had said and things he had done and misrepresented in his career,” she said.

“In this instance we just didn’t want to give them an opportunity to revoice the conspiracies they already had voiced. Sitting them down and giving them that right of reply risked re-platforming their dangerous speech and we just didn’t want to do that.”

The question of whether to cover the extreme right, and how to do it, has been a vexed one in the media as conspiracy movements have grown noisier and more influential.

In a recent column for The Herald, Matthew Hooton warned of a “monstrosity” emerging on the right, and concluded with this conundrum for the media:

“Is it best to ignore these extremist movements for fear of giving them a platform? Or is it more important than ever to bring to public attention the true nature of their agenda?” he wrote.

Pacific Journalism Review paper
Disinformation researcher Byron C Clark has looked at that issue in a paper on the media’s coverage of the Parliament occupation for the Pacific Journalism Review.

#PacificJournalismReview #FRONTLINE3: The #NZ #media and the occupation of #Parliament by @byroncclark #altright #antivaxxers #citizensarrest #conspiracytheorists, #Counterspin #disinformation #harassment #mediacoverage #Parliament #qanoncult #Violence https://t.co/vW3VauXZgn pic.twitter.com/mVy6sBjBCR

— David Robie (@DavidRobie) August 21, 2022

Clark said Fire and Fury succeeded where some other attempts to cover the anti-vax extreme right had fallen down.

Though some far-right figures were hoping the publicity they received from the documentary would help grow their movement’s numbers, the documentary’s framing and editorial decision-making should make that unlikely, he said.

“They’re hoping they can use this to bring more people into the fold with their beliefs, but I think that’s going to be difficult to do because it’s put some of the more violent aspects of their beliefs out there and that’s probably for a lot of people going to be the first thing they know about something like Counterspin — that they’re calling for the violent overthrow of the government.”

Clark said the documentary’s approach could help dissuade some vulnerable people from joining conspiracy movements by inoculating them against some of the more pervasive forms of false information being peddled.

He backed Stuff Circuit’s decision not to interview the conspiracist figures they were covering.

“I think rather than giving them more oxygen by covering them in news articles or a documentary like this, it’s providing some of that balance that’s lacking in their own channels.

“It’s really more restoring balance to some of these ideas rather than giving these ideas oxygen.”

This article is republished under a community partnership agreement with RNZ.

Paul Wolffram: Resisting sorcery violence in PNG from the ‘grasruts’

APR editor — Tue, 16 Aug 2022 12:05:54 +0000

COMMENTARY: By Paul Wolffram

It was at the end of a long day of walking back and forth over the dusty roads of Goroka town in the Highlands of Papua New Guinea that I first met Evelyn.

I’d spent the morning interviewing three inmates in the regional penitentiary, Bihute Prison, about their participation in the murder of three people who they believed had killed a relative.

That afternoon I interviewed a policeman and a government official about the increasing impact of sanguma — sorcery violence — on the people of the region.

Everyone I talked with agreed that sanguma was a serious issue. I ended each interview by asking the men, what can be done to quell the violence and halt the spread of this growing problem.

Not one of them was able to provide an answer. “The problem was simply too big” and “there are no resources to help”, they said. As I climbed into the back of a rust-filled Econovan, the wife of one of the officials who had lingered in the background during the last interview, rushed to hand me a piece of paper.

She handed over the torn note, saying: “You must find her.”

The note contained the hastily written name “Evelyn Kunda” and a phone number. By the time I climbed out of the Econovan, back in the centre of Goroka, I’d made contact and walked directly to the Catholic mission.

There I found Evelyn Kunda. She looked like many other women in Goroka, dressed in a Meri blouse –- a Mother Hubbard style dress. Her hair was deep back and densely curled.

Warmth and intelligence
She looked to be in her early 50s but life in the Highlands towns and villages can make it hard to tell. What struck me the most about her appearance was the warmth of her smile and the intelligence in her eyes.

I didn’t know why the official’s wife had to told me to find her, I struggled to find a place to start. I told Evelyn, that I was researching sanguma in the Highlands, and asked what she might know.

WILDFIRE from Paul Wolffram on Vimeo.

Kunda explained that she, along with other volunteers of the Catholic Church, worked to hide, rehabilitate, and eventually — where possible — relocate the survivors of sorcery accusation-related violence (SARV).

As trucks expelled oily exhaust fumes, pushing dust down the road behind us, she described how difficult and dangerous the work had become for her and other volunteers in Goroka.

“In one instance we were looking after a woman whose husband had beaten her. He wanted to kill her. I took her to my house. Then her husband wanted to kill us as well,” Kunda said.

For a time, the Catholic church provided Kunda with a house in their compound but that soon became problematic, and the women were asked to leave. Now Kunda runs an unofficial safe house hidden among the shanties on the outskirts of the town.

‘They’re traumatised’
Kunda does her best to provide for them, but she explains: “They often can’t talk with us, they find it very difficult to talk about what has happened, they’re traumatised”.

She provides them with a place to sleep, food from her tiny garden, and whatever she can afford from the markets and trade stores.

At the end of our interview, I posed the same question to Evelyn Kunda that I’d asked the officials earlier that day.

“What can we do to stop sorcery violence?” Kunda’s response was immediate and practical, “We do all we can with whatever we have. Solutions can’t be found by sitting on our hands.”

Her work is proof that she’s a woman of action.

The following year, in 2019, I visited Evelyn Kunda’s safe house. A small two-room dirt floored hut that she’d built with offcuts of timber, bush materials, and sheets of old corrugated iron.

At the time she had two women living with her. One had escaped a violent partner and the other had been beaten as an accused witch. Kunda is desperate for support.

On the streets of Goroka town 2019 … hard hit as covid-19 swept through communities in Papua New Guinea the following year. Image: Ⓒ Paul Wolffram

Working on a film
We began working together on a film, with the aim of showing the extent of the impact of sanguma in the Highlands. I also wanted to show the world the incredible work Kunda is doing to resist the violence, rescue survivors, and educate others against gender and sorcery-based violence.

I was to return to Goroka in 2020 to complete the filming and to bring Evelyn Kunda back to New Zealand to work with us on the post-production but, like so many other plans, co covid-19 interrupted them.

The last two years have been more difficult than usual in the dusty frontier towns in the Highlands. As covid-19 swept through communities in Papua New Guinea and the morgue at Goroka hospital filled to overflowing, the amount of sorcery accusation-related violence rose too.

Local researcher Fiona Hukula said that there was a lack of clear communication about covid-19 available in PNG and significant amounts of disinformation. The National newspaper reported about a 45-year old woman and her daughter who were accused of sorcery and tortured by their relatives after her husband died of covid-19 in April last year.

Emma Dawson, Caritas Australia’s Pacific manager, described increasing domestic violence reports and sorcery accusation-related violence in July last year.

The violence occurs when a community blames a death or illness on sorcery. They identify a local man or woman as a witch and torture and kill them in shocking scenes of mob violence.

Earlier in 2021 a young boy died suddenly in the Highlands province of Hela. Within a few days a woman’s body was left by the side of the road. She’d been lynched and killed by her own community.

No cultural background
Ruth Kissam who works for a local NGO, the Tribal Foundation, told the ABC that violence like this didn’t have a cultural background, even in areas where belief in sorcery was traditional.

“Sorcery accusation-related violence picked up about 10 to 15 years ago. Culturally, there is a deep belief in sorcery in many parts of PNG but it was never violent.” Kissam said that this was a law-and-order problem.

Back in Goroka there were other instances where people were known to have died from covid-19 but the community and family refused to accept the diagnosis and in one case a woman was burnt with hot irons and thrown from a bridge. She survived, but her daughter and other family members were also targeted.

For Evelyn Kunda at the grasruts, running a safe house in a community where her presence and work are not always supported by landowners, life has become even more tenuous. Over the last two years I’ve maintained constant contact with her. At one time she had eight adults and children living in her tiny house.

Last week, Kunda was accosted by a group of women who beat her because of the work she does with the community’s most vulnerable.

Evelyn Kunda has no government support; she is not linked with any national or international NGO or aid organisation. She volunteers for this work out of compassion. Despite these difficulties, she is making a real difference to the lives of the women, men and children she houses and supports.

How long she will be able to continue this work is unknown.

Dr Paul Wolffram is a film maker and associate professor in the Film Programme at Te Herenga Waka. He has been working with communities in Papua New Guinea for more than 20 years.

More information about Evelyn Kunda’s safe house: www.sangumafilm.com
PledgeMe Link to support Evelyn Kunda’s safe house: www.pledgeme.co.nz/projects/7287-fundraising-for-evelyn-s-safehouse

Tagata Pasifika Special: Celebrating 50 years of the Polynesian Panthers

Pacific Media Watch — Sat, 19 Jun 2021 05:02:55 +0000

Tagata Pasifika

They were the face of a generation growing up in a new land. They were the Polynesian Panthers, young activists fighting against social and racial injustice in Aotearoa New Zealand.

Fifty years on, they’re back to share their struggles and triumphs as we look back on their legacy.

From 1971-1974, the Polynesian Panthers continued to fight for civil, social and legal rights. From their headquarters in Ponsonby, they implemented initiatives to improve the quality of life for Pacific communities.

The Panthers were also crucial in the fight against the government-sanctioned Dawn Raids where, in the early hours, police would force their way into homes demanding proof of residency, or stop people in the street to ask for permits or passports.

These immigration tactics were mostly targeted at Pacific people.

While Tagata Pasifika honours the activism and sacrifice of the Panthers, it also remembers the lasting impact of the Dawn Raids.

The Panthers have spent the better part of the year working together with the Ministry of Pacific Peoples to obtain an apology from the government.

This week, Prime Minister Jacinda Ardern announced she will make a formal government apology for the 1970s Dawn Raids next week on June 26 at a commemoration event in the Auckland Town Hall.

Republished with permission.

Watch the full PPP 50th Anniversary Special presented by Tagata Pasifika’s John Pulu.

Actress Rose Byrne to play Jacinda Ardern in mosque attacks film

Pacific Media Watch — Thu, 10 Jun 2021 20:04:50 +0000

RNZ News

Australian actress Rose Byrne is set to play NZ Prime Minister Jacinda Ardern in a film about the week following the 15 March 2019 Christchurch mosque attacks, according to US media reports.

New Zealand screenwriter and producer Andrew Niccol will write and direct the project, They Are Us, which focuses on the week following the 2019 attacks, the Hollywood media outlet Deadline reports.

Glen Basner’s FilmNation Entertainment is shopping the project to international buyers at the upcoming Cannes Virtual Market, according to the report.

READ MORE: The mosque massacres

“They Are Us is not so much about the attack but the response to the attack … how an unprecedented act of hate was overcome by an outpouring of love and support,” Niccol told The Hollywood Reporter.

Prime Minister Jacinda Ardern … “how an unprecedented act of hate was overcome by an outpouring of love and support.” Image: Samuel Rillstone/RNZ/File

The title is drawn from Ardern’s words on the day of the attacks, describing those directly affected by the shootings.

The film is reportedly being produced by Ayman Jamal, Stewart Till, Niccol and Philippa Campbell, with production to take place in New Zealand.

The Hollywood Reporter said the script was developed in consultation with several members of the mosques affected by the tragedy.

This article is republished under a community partnership agreement with RNZ.

Loimata, The Sweetest Tears carries off grand prize at 2021 FIFO

APR editor — Mon, 15 Feb 2021 08:56:41 +0000

Director Anna Marbrook honours the last voyage of the great waka maker, sailor and mentor Ema Siope, whose journeys between Aotearoa and Sāmoa are in search of healing. Trailer: NZIFF

Asia Pacific Report newsdesk

The documentary Loimata, The Sweetest Tears has won the Grand Prix du Jury at Tahiti’s FIFO (Festival International du Film Documentaire Océanien).

Produced and written by senior lecturer in communication studies Jim Marbrook at Auckland University of Technology and his sister Anna Marbrook (who directed the film), it debuted at Whānau Mārama: New Zealand International Film Festival 2020, where it received outstanding reviews and box office sell-outs.

The documentary also made the stuff.co.nz top 10 films of 2020 list. AUT students formed part of the crew for some of the Auckland portions of the shoot.

READ MORE: Other APR reports on Loimata

At the prizegiving ceremony, jury member Julia Overton, a leading figure in Australian film and television, described Loimata as “a film that was really well directed . . . on an
important subject: childhood trauma”.

She added: “Our congratulations to the whole team who presented this family’s story with so much compassion.”

Jury member Doc Edge director Alex Lee said: “The film’s narrative is superbly told, giving us a personal connection with the subject, Ema. We are taken into her world where she confronts issues of culture, family, the tradition of wayfaring, sexual abuse, identity, life and death.

“While her mortality is urgent and pressing, the film enables us to pause and reflect as Ema navigates these issue. This is an excellent example of skilled filmmaking and a feature-length theatrical Pasifika documentary which the world needs to view, indicative of the treasure trove of content of our region rarely seen and funded internationally.”

Healing pathway
Director/producer Anna Marbrook said: “We are so thrilled and honoured to be among such an amazing selection of films in competition. This award is a tribute to the protagonist of the film Lilo Ema Siope and her dedication in forging a healing pathway for her extraordinary family – a pathway deeply rooted in her culture, history and philosophy.

“Tahiti is hugely significant in voyaging kaupapa so to win an award there dignifies both our film and Ema’s legacy as a voyaging captain and waka builder.”

Producer Jim Marbrook said: “This is another vital stepping stone that helps us take our film out into the world and also deeper into the Pacific region. We set out to make a documentary that was both cinematic and intimate and the reactions to the screenings and this prize have vindicated our creative choices.

“It was a complex movie to produce because the material was so sensitive.”

Loimata had its television debut on Waitangi Day on Māori Television and is available to watch on their on demand website for the next two months.

Loimata, The Sweetest Tears takes the viewer on an emotional healing journey with extraordinary ocean-going waka captain, Lilo Ema Siope.

The film is an intimate exploration of a family shattered by shame working courageously to liberate themselves from the shackles of the past. A journey of courage, tears, laughter and above all, unconditional love.

FIFO is the Festival International du Film documentaire Océanien at Te Fare Tauhiti Nui i-Maison de la Culture de Tahiti. Sponsored by France Television

Ema Siope … the film is “an intimate exploration of a family … working courageously to liberate themselves from the shackles of the past.” – Image: Loimata, The Sweetest Tears

Robert Fisk’s message: Journalists should challenge the narratives of power

Pacific Media Watch — Mon, 02 Nov 2020 19:06:01 +0000

A clip from This Is Not A Movie, a 2020 documentary by about Robert Fisk. Video: Doc Edge Festival

Veteran journalist Robert Fisk, who for decades covered events in the Middle East and elsewhere as a foreign correspondent for the British newspaper The Independent, has died after suffering a suspected stroke at his Dublin home.

Fisk became unwell on Friday and was admitted to St Vincent’s Hospital where he died a short time later, reports Al Jazeera English.

Almost six months ago, RNZ Saturday Morning’s Kim Hill did the following interview with Fisk. The Pacific Media Centre republishes this article here as a tribute to the celebrated journalist.

Celebrated veteran war correspondent Robert Fisk believed that journalists aren’t automatons keeping neutral battle scores between oppressed and oppressors and are duty-bound to ensure history isn’t written by politicians.

Fisk, who had spent the past 40 years living in war zones covering conflicts in the Middle East, the Balkans and Ireland, died last Friday. He was 74.

He argued that journalists and editors cower from reporting honestly because of corporate and political influence.

LISTEN TO RNZ SATURDAY MORNING: The full Robert Fisk interview – Duration 48m25s

He told Kim Hill in an interview in May that the notion unbiased reporting must not take a moral position was a nonsense and that journalists should, at the very least, challenge narratives of power, which were usually distortions of truth.

The high-profile career of the Englishman who took Irish nationality was the focus of This Is Not A Movie, a documentary by Canadian director Yung Chang about the journalist screened in New Zealand’s 2020 Doc Edge Festival.

Fisk broke several big stories in his time, even landing an interview with Osama bin Laden, notorious Saudi founder of the pan-Islamic terror group al-Qaeda.

A story that didn’t make it on to the front page of The Times – his former employer – was one exposing US responsibility for shooting down a Iranian passenger aircraft in 1988, at the tail end of the Iraq-Iran war.

Robert Fisk … exclusive interview with Osama Bin Laden. Image: RNZ

Verified story spiked
The story, which Fisk verified using local air traffic control sources, was spiked and instead the paper published claims by the US navy that the pilot had tried to carry out a suicide mission on a US warship in the Gulf. His story was eventually published by Ireland’s Sunday Tribune, with Fisk resigning and moving to rival newspaper The Independent.

“I thought, that’s the time I go. If I’m going to risk my life for a newspaper but my editor will not risk his reputation with his owner over a story of mine then it’s time I left,” he said.

Fisk said The Times editor toed owner Rupert Murdoch’s political line, telling him his story was rubbish. An official inquiry by US authorities subsequently backed the content of Fisk’s story.

“It’s a sort of self-censorship… the problem is once you have a ruthless owner and you know your livelihood is in the pocket of that man – and if you’re not fortunate enough to have the reputation that can possibly get you another job – there is a tendency to start not wanting to rock the boat… so it’s in the journalists’ blood, as it is the editors’, not to do something that will cause a ‘crisis’.”

He said this power dynamic affected the way reporters framed stories and reflected the type of politically-contrived language used too. Not least in the Middle East, and especially when dealing with Israel’s occupation of Palestine.

“That’s why, for example, journalists refer to the Israeli wall separating the West Bank as a ‘security fence’, because they don’t want to offend the Israelis and Israel’s supporters by calling it a wall, even though it is higher and longer than the Berlin Wall.

“That’s why we call it a ‘Jewish settlement’ in the West Bank, when it’s a Jewish colony… which has a kind of soft impression of settlements in the Wild West perhaps, of course, you think of the Native Americans attacking them.

Distorting the Palestinian struggle
“And also you have this thing where you must never talk about a war between Israel and the Palestinians, it’s always a dispute… it’s more of course, it’s one group of people stealing other people’s land. By de-semiticising this conflict, because we are frightened of what editors or owners will say… we effectively say ‘there must be something wrong when the Palestinians throw stones, they must be generically a violent people’. So, in a sense, we contribute towards warfare, by self-censorship.”

He rejected the concept of giving a false “balance” to stories – that, in some fashion, balance was the ultimate measure of reporting. It was not enough that a journalist merely kept an accurate score of events in a conflict situation, without taking into account history or power differentials.

The argument that a slave owner’s views on the slave trade must be used to strike balance in a story for it to be fair and accurate, he argued, was morally absurd. So too with a Nazi’s views in a story dealing with the extermination of Jews.

Fisk cites a contemporary example – the Sabra and Shatila massacre in 1982. Scores of Palestinians and Lebanese Shiites were killed by a militia linked to a right-wing Lebanese party, allies of Israel.

The names of at least 1390 were identified, with some death-toll estimates nearly tripling that number. Fisk was on the scene in Lebanon.

Robert Fisk on ’50/50 journalism’. Video: Pacific Media Centre

“I did not spend my time giving equal time to the killers,” he said. “I talked to the relatives of the dead and tried to find out the identities of the dead… My feeling is, you must be neutral and unbiased, but unbiased on the side of those who suffer.

“The idea that we are some kind of robotic creature that reports wars as if it’s a football match, where you give equal time to each side, is a bloody tragedy. It is not a football match.”

Landed in hot water
Fisk’s manner of reporting landed him in hot water at times. In Belfast, he was accused of giving succour to the IRA because he exposed British security force brutality during the Anglo-Irish conflict, which ended in the 1990s.

More recently, he was attacked for undermining those attempting to overthrow Syria’s President Bashar al-Assad, after a story questioned proof Assad’s forces had carried out a deadly chemical attack in April 2018.

The documentary This Is Not A Movie highlights a story Fisk wrote that found no trace of a chemical attack in Douma that had supposedly killed dozens of civilians, a story widely disseminated by western media.

He travelled to the Syrian town and talked exhaustively with local people to find proof of the attack, even inspecting underground tunnels of interest, again finding nothing to back the veracity of the claims.

Fisk talked to a doctor, who said respiratory distress by civilians had been caused by a dust storm created by nearby joint Syrian and Russian bombings.

“The final report of Organisation for the Prevention of Chemical Weapons did in fact censor out some of the evidence by its own scientists so that it would say that it’s an open-and-shut case that Assad did use gas. In fact, its own staff could not finally prove gas was used,” he said.

This didn’t stop verbal attacks suggesting he’d done Assad a favour. Fisk brushed this off as merely something to be expected if a journalist was doing their job properly.

“If we don’t do that we’re handing over the writing of history to political parties,” he said.

‘Do our best to get at the truth’
“We simply have to bash on and do our best to get at the truth, even though in Douma I couldn’t establish what it was, at least we raise the doubt.”

Getting to grips with history was essential if serious reporters wanted to do their jobs properly, illuminating meaning behind what would otherwise seem random or vindictive acts of violence, Fisk said.

“I do very much think you cannot report a war or go to a war without at least a very good history book in your back pocket… without knowing what lies underneath the embers you don’t know why the fire is burning.”

An understanding of World War I and the 1919 Treaty of Versailles, which ended the war between Germany and allied forces, could account of much of the antecedents of conflict in the Middle East, he said. The treaty, in part, amounted to a carve-up of imperial rights to occupy nations and created divisive, artificial lines of territory across the region.

“I think there’s an automatic connection between the collapse of industrial civilisation and WWI and then a peace treaty that was effectively going to collapse the ruins of the Ottaman Empire in 1919 and from that came all these borders… particularly the borders of Iraq and Lebanon and Syria and Turkey and all my working life in the Middle East and indeed also in Yugoslavia and Belfast I’ve watched over the past 50 years all the people within those borders burn.

“I said to my friend in Beruit yesterday I think the reason we’re not finding evidence of covid-19 among the Middle Eastern people is that, for them, it was covid 1919 – Versailles was their infection and that continues now to spread its disease across the Middle East, of injustice, lack of independence and lack of freedom.”

Good journalism was needed as much now as at any time in history. He said the hope that the world was getting better with the defeat of Fascism and the establishment of post-war institutions like the United Nations and human rights organisations had proven false. The historical causes of conflict hadn’t be resolved.

Living with tragedy every day
“When you go into the alleyways of the world, the Palestinian camps in Beirut for example, and you actually talk to the people there you realise that they are living in squalor and dirt because Arthur Balfour, the British foreign secretary, signed the Balfour Agreement in 1917, and because the victorious allies, principally the French and the British divided up the Middle East. Britain would have Palestine and France would get Syria and Lebanon in the aftermath of that war and for those people, waking up in their hovels everyday, Balfour signed the declaration last night.

“For them Versailles happened yesterday and history in their experience is something that they are living tragically with every day.

“Whereas we people can luxuriate in a post-war world with values of civilisation, or we think we do, and technology to look after us.”

Journalism should question our cozy, false impression of ourselves as enlightened and civilised Westerners, who conveniently see others embroiled in conflict as lacking these values. He also pointed out a Western hypocrisy of rightly attacking anyone who denied the German holocaust against the Jewish people, yet those in the West allowed Turkey to deny its own Armenian holocaust in 1915, when 1.5 million Christians were killed.

Our complicity in imperialist wars and attitudes should be challenged by reporting facts within an authentic historical context, shorn of political spin.

“One of the things I think journalists have to do, as well as recognise the goodness of ordinary people, is to try and find out why ordinary people do wicked things,” Fisk said.

“We all sort of participate in it in the sense that we wring our hands with anguish when a hospital is destroyed in northern Syria but when a hospital is destroyed in Mosul by an American aircraft we do not wring our hands.

Pandemic pushes Yemen from sight
“We wait to see if the Americans will give us an explanation and then we hope that their claim that they didn’t hit the hospital is true. Same applies to wedding parties and medical centres in Afghanistan and so on.

“When you consider that half a million Iraqis might have died as a result of the Anglo-American illegal invasion of Iraq in 2003, when people used to say to me, ‘why don’t you want Tony Blair and George Bush put on trial’, I would always say ‘because they are not going to be put on trial’ there’s no point in wasting your energies’. Now I’m not so sure that would be my reply.”

With the current pandemic the focus of the world’s attention, the situation in places like Yemen had fallen from sight. But, he said, the intractable problems of the region were continuing without any respite.

“One of the great tragedies of the coronavirus pandemic is that the whole Middle East tragedy, of injustice, dispossession and blood, has basically faded away from all of us who are concentrating on our own families, our own countries, and we’ve largely forgotten that long after Covid-19 is in the history books, the same terrible history will continue in these regions.”

This article is republished by the Pacific Media Centre under a partnership agreement with RNZ.

In search of our Hawaiki origins – behind the myths and storytelling

Sri Krishnamurthi — Tue, 06 Oct 2020 18:33:09 +0000

REVIEW: By Sri Krishnamurthi of Pacific Media Watch

When I first learned about the mythical place called Hawaiki. I understood it to be Cape Reinga at the tip of Aotearoa New Zealand’s North Island, where the two oceans meet – the Blue Pacific and the Tasman Sea.

As Māori told me, it was the place where their tupuna (ancestors) departed.

In this three-part series Origins (TVNZ), Scotty Morrison, a Te Reo expert and host of Te Karare, goes in search of his Hawaiki and much more beyond. It is a journey through the origins of time in search of where Māori came from.

READ MORE: The three episodes of Origins

It’s the universal question – who are we and how did we get here? Morrison travels “across the world and through time” to discover just that.

“When our ancestors were believed to be the last people on earth to inhabit these shores, I want to know who they were these people and how they got here,” he says.

He asks the question: “Were they great sailors or starving refugees?”

He goes back to his marae where the carvings depict his tupuna, including Tamate Kapua, captain of the first waka to bring his ancestors to these shores. However, the tales of legends is not enough to convince of roots.

Waka and names
The Ngati Whakaue man describes Hawaiki as the “Homeland” which is how the eldest of his three children is named.

As he explains, every iwi arrived on a different waka and his was no different, arriving as the Ngati Whakaue did on the waka of captain Tamate Kapua

After the tribulations, they finally arrived at Maketu where the Te Arawa iwi takes it name, settling in the Bay of Plenty. They believe the waka set of from a real place which he wants to visit.

In the first episode, he takes viewers of the documentary to the sacred archaeological site at Wairau Bar, or Te Pokohiwi, where some of the first people to arrive in Aotearoa, are buried.

“There is a whole lot of Hawaikis” says Sir Toby Curtis of Te Arawa. “The last Hawaiki is in the Pacific. The other Hawaikis are named in India and Africa before they moved to the Pacific.

“Wherever they stayed, that place was called Hawaiki.

“So, there are many places that are Hawaiki, but the Hawaikii we talk about is here is the Pacific,” the Te Arawa kaumatua says.

Keeps pointing to Rangitea
“The Hawaiki we talk about keeps on pointing back to Rangitea [in “French” Polynesia], and it is important because we want to know where we came from,” says Toby.

That is the quest that Morrison undertakes tracing the journey of the first people to arrive in New Zealand and also the history of the first people to walk the Earth which features him travelling from Polynesia to Asia to Africa.

As Morrison says, the story “starts here with us and the Māori story, but it turns into a story around human existence basically, and where we all seem to have originated from.”

The series was inspired by Meg Douglas of Scottie Productions who has worked on the project for nearly a decade and was motivated by the tales that her father narrated to her about his own epic journey to uncover and write about the origins of his own iwi.

And so, in 2018 Scottie Productions teamed up with Greenstone TV and TVNZ came on board to support the project.

Production started in early 2019. It was a massive task, with research being undertaken through immeasurable hours of sifting through papers, historical books, and talking to people all over New Zealand and the world.

The project began shooting in July 2019 and finished in January 2020 just before the covid-19 pandemic hit the world.

First tupuna to arrive
For Morrison, the next part of his journey was from the Wairau Bar, Te Pokohiwi, where some of the first tupuna to arrive are buried. After learning the secrets of history that the Bar had to offer him to give him a grounding it was time to move on.

Next, he goes to Tahiti, Eastern Polynesia where finds connections through language as he discovers that he can converse in te reo with a man speaking Tahitian Ma’ohi at the museum and similarities in language can only be described as remarkable.

The indigenous language is no longer commonplace but Ma’ohi is starting to enjoy a revival, as Morrison discovers.

He feels a connection to Tahiti even though the journey to Aotearoa is a 4000km and dangerous voyage.

As Jack Thatcher, a master builder from Aotearoa who prepares to sail his waka from Tahiti to New Zealand tells him: “Hawaiki is an ideal, it’s one of those places, it’s one of those places from whence we came and where we settled we had a Hawaiki back to Rarotonga, Tahitinui, Rangitea, so I think Hawaiki might just be moana,”

After travelling to Meheti’a, or Maketu, where voyagers made their final preparation, he then travels to Rangitea (or Rai’atea) to Taputapuatea, a Unesco World Heritage site on Rai’atea, which is said to be the launch place of Tamatekapua’s waka, Morrison’s Te Arawa ancestor.

“I feel as though I’m about to walk to into my tribe’s sacred places,” he says discovering that the Tainui, Te Arawa and Tokomaru waka left Rai’atea for Aotearoa.

Felt in the DNA
“This is a good point to start because when you come here we feel it in your DNA and genealogy as Maori and I think if you take the time to come here you’ll feel it to.”

The calm serenity on the beach where he sits on Rai’atea reveals that to be his personal Hawaiki.

Morrison learns how early Pākehā researchers got the origins of Māori so wrong. He is surprised to find that several traditional folktales in Samoa are replicated in Māori culture and he makes a shock personal discovery at an ancient Vanuatu urupa (burial place).

Much of Pakeha research is debunked by historian Dr Rawiri Taonui who says: “You really need to go in with your eyes and heart wide open because there is a lot of stuff in these books that are exciting and interesting but not true.”

Then in later episodes he explores links with Western Polynesia and goes to Western Samoa, Vanuatu and Taiwan, where Morrison says there are some linguistic similarities with te reo in an usurping discovery which tells the tale of his ancestors voyagers.

It surprises him that Māori may have travelled from Western Polynesia too and the discovery of Lapita pottery in Samoa then takes him to Vanuatu where it came from.

He is welcomed by a challenge by young warriors like a wero but it is the Lapita pots that gives a clue to the colonisation of Vanuatu where he similarities in the words found in common word.

Pots similar to Taiwan
But the Lapita pots are that similar to those found in Taiwan and in 2003 a major burial site or urupa (burial ground) was discovered.

In the final episode Morrison travels to Taiwan and Ethiopia to explore the place that is said to be the origin of us all, and he visits the Cook Islands – the stepping off point for waka heading to Aotearoa hundreds of years ago.

He travels to Eastern Taiwan which hasn’t been inhabited by the Han Chinese and ancient rituals still hold true.

Once again he finds similarities in the language when he ask an indigenous sailor to recite numbers to 10. And he travels inland to find a structure not to dissimilar to the Wharenui back home.

“It is extraordinary how similar this whare is to the whare back home,” Morrison says in astonishment.

However, his last stop 8000 km away in Addis Abba, Ethiopia, said to be “cradle of humanity” and one which Sir Toby Curtis spoke as a knowing elder of Te Arawa.

He discovers the bones of “Lucy” a 3.2 million-year-old woman whose relics can be found at the National Museum of Ethiopia.

Left in ‘search for food’
As it explained to him by the curator of the mueum, human beings left in “search of food”.

In Ethiopia, he visits the Omo Valley where the cradle of humanity is said to be and where the oldest, completely formed human skeleton was found.

The question of where we come from is “always going to be something that’s debated,” says Morrison, and there are many varying beliefs about how we came to be here.

While visiting with a traditional tribal group in the Omo River Valley, Morrison met a chief who took umbrage at the most popular theory of human evolution.

“I said through an interpreter, ‘Do you believe in the theory that eventually monkeys stood up and walked out of the bush and that was the evolution of human beings?’

“And the chief who I was talking to said to the interpreter, ‘Tell him if he says that to me again I’m going to take his head off’,” laughs Morrison

From visiting the Hamar people in Omo River Valley he then returns fron the 5000-year-old journey to the Cook Islands and to familiar surroundings to where three waka sailed – Te Arawa, Tainui and Takitimu.

The afterbirth is buried
As a master builder and carver from Rarotonga Mike Tavaoni says: Avaiki (Hawaiki) is where you are born, where afterbirth is buried. It is simply where you originated,” that is what it means to the Cook Island Māori.

“Ultimately (the journey) has strengthened my commitment to my own Maori culture and I finish in the firm belief that I visited my Hawaikii in Ra’aitea,” says Morrison.

The documentary is a mammoth feat of research and travel and does much to tell where Māori originated from.

Origins: In search of the mythical Hawaiki and beyond (TVNZ), a three-part documentary series.
Director: Dan Salmon
Camera-man: Jack Bryant
TVNZ On Demand

Loimata – The Sweetest Tears is a spectacularly exquisite documentary

Pacific Media Watch — Mon, 27 Jul 2020 04:00:29 +0000

Pacific Media Watch

Host Zoe Larsen Cumming had much to discuss on a new documentary, the exquisitely made Loimata – The Sweetest Tears, which was launched last Saturday to a full house at the ASB Waterfront Theatre as part of the international Whanau Marama film festival.

She asked Pacific Media Watch contributing editor Sri Krishnamurthi what made the documentary so special on today’s Pacific Media Centre – Southern Cross segment of Radio 95bFM’s The Wire.

The documentary is about a female master waka builder, navigator and sailor Lilo Ema Siope who was born in Taihape and spent her troubled growing-up years in South Auckland.

LISTEN: Southern Cross on the Pacific Media Centre’s Soundcloud

Abused she was, but she found her true calling on and in the waka.

It remains important to tell these stories of our Kiwi-born Pacific families who find a way to connect with their cultures and to bring richness in diversity to the New Zealand way of life.

What makes this documentary special are the bonds that develop between the Palagi film-making family of Anna and Jim Marbrook, a Pacific media Centre associate, and the Siope aiga who took the Marbrooks into their heart.

Also discussed on the radio programme was climate change and the dangers of relying on sustainable ecotourism, and the dramatic rise in covid-19 cases in Papua New Guinea where cases have jumped by a record 23 to 62.

Loimata – The Sweetest Tears will also play as part of the Whanau Marama hybrid online festival, from August 2-8.

Pacific Media Centre · PMC Southern Cross – Loimata and the revival of the craft of waka building

Loimata – a poignant family-to-family story of the revival of waka voyaging

Sri Krishnamurthi — Wed, 22 Jul 2020 01:22:08 +0000

An interview with filmmaker Anna Marbrook on the making of Loimata. Video: Tagata Pasifika/Sunpix

DOCUMENTARY: By Sri Krishnamurthi, who talks to Jim Marbrook about the making of Loimata – The Sweetest Tears.

Loimata isn’t just a true story of one of the Pacific’s great waka builders and sailors that has been captured in a stirring and visually gripping and poignant documentary.

It is also about the friendship between the aiga (family) of Ema Siope, a Samoan-born Kiwi and master waka builder and the palagi (pākehā) Marbrook family that they took into their hearts and made a magical documentary – that is relevant in this 21st century New Zealand.

Anna Marbrook, who has directed more than 150 episodes of Shortland Street and made documentaries focused on Pacific themes such Te Mana o te Moana – The Pacific Voyagers, and reality series Waka Warriors brings to life the tale of waka builder and captain Lilo Ema Siope who died in 2018 from cancer.

It is brave realistic tale of tragedy and redemption and the return of the Siope family to Samoa and what it meant to Ema captured with gentleness, tears and laughter by Siope’s friend Anna Marbrook.

Lilo Ema Siope … captured with gentleness, tears and laughter by her friend filmmaker Anna Marbrook. Image: Loimata

The documentary also caught the full attention of Jim Marbrook, a senior film lecturer at Auckland University of Technology (AUT) and himself a documentary maker including feature-length documentaries on speed chess maestros (2003 award-winner Dark Horse), psychiatric hospitals (Mental Notes) and environmental issues in New Caledonia (Cap Bocage).

“It was an idea of me talking about the idea making a family project, a family making a film about a family,” says Jim Marbrook about the documentary and the two families that become intertwined like the strands of a seafarer’s rope.

There is little doubt that the ties that bind Pacific families is very difficult to break into, particularly for outsiders and that this palagi Marbrook family managed to do just that was what makes this documentary that little bit extra magical because they give you the rare insight into the Siope family.

The ties binding two families
“So Anna and I have both known the Siope family for years, I have known the family for six years and Anna has known the family for the same number of years,” explains Jim, who is also a research associate and advisory board member of AUT’s Pacific Media Centre.

Family support for Lilo Ema Siope during the making of Loimata. Image: Loimata

“We both knew them from different contacts; Anna knew Ema and I knew Fetaui and his son Joshua, and he is currently a master’s student at AUT, so we both knew the family pretty well,” Jim says of the ties that bind the two families.

“So we both knew the family were pretty special so it was obvious to me that this was a very interesting family.

“But I hadn’t met Ema until Anna introduced me, so Anna and Ema decided to start doing the movie and Ema asked me to come on board.

Filmmaker Anna Marbrook … “So we both knew the family were pretty special so it was obvious to me that this was a very interesting family.” Image: Loimata

“I’ve done a lot of work before on mental health and mental health films and about communities who were suffering trauma.

“I was a bit hesitant about diving into such a deep and personal story; the moment I met Ema and she asked me on board …I thought she was a pretty interesting woman,” he says wistfully.

But what is it that made it so personal for him?

Jim Marbrook on board Haunui waka with Hoturoa Barclay Kerr … “all of my work has been about people who are proactive and seeking change.” Image: Loimata

Films that offer solutions
“I’m a really big believer in doing films that offer solutions,” he says.

“Personally, all of my work has been about people who are proactive and seeking change.

“I guess my personal ethos as a documentary maker is, can I make a film that encourages change, can I present the public that helps them understand difficult situations and provides them not only the portrait of a really interesting person but a way out of that situation,” he says.

“When I heard Ema’s story I realised that here was a person who had used identification with waka culture, with tradition and navigation to change her world view, to get out of a situation where she did live some very difficult times in her youth and those times involved abuse,” he says thoughtfully.

“So, the moment I met Ema and the moment I understood what the story was about I realised, ‘hey this is a film that has the potential to encourage people to grow and change’.”
But the puzzling thing, I suppose, was how the aiga came to accept the Marbrooks as part of the larger family.

“I think both Anna and I have worked in all sorts of multicultural communities, so firstly I think we’ve developed a way of working alongside people. I think the very idea of working alongside each other was important.” he says.

“And I think if we hadn’t known the family for so long that work would have been impossible.

‘They kind of came to us’
“The fact is we didn’t come in and pitch the film to them. They kind of came to us and Ema came to Anna and then Ema came to me. That makes a huge difference in terms of the way you’re planning a project that becomes a partnership,” he says with a finality on the subject.

And how was Ema Siope as a person?

Here was a six-foot person, twice as strong as a man and an Amazon.

She was gender fluid and she was someone who knew what she wanted, and people followed her like the captain she was.

He recalls the time when he with camera in hand tried to keep up with her in Samoa.

“When we went to Samoa she was in a quite a bit of pain but there she was, picking up a machete in one hand and hibiscus flower in the other, chopping her way through the undergrowth and that was classic Ema.”

The Ngahiraka Mai Tawhiti waka. Image: Loimata

It is the redemptive tale of the waka builder and skipper Ema Siope’s final years, the stunning Loimata – The Sweetest Tears is a chronicle of journeys – journeys of migration, spirituality, voyaging, healing and coming home.

Confronting intergenerational trauma
Confronting intergenerational trauma head on, the Siope family returns to their homeland of Sāmoa.

For Ema’s father, this is his first time back to his birthplace since leaving in 1959. The result is a poignant yet tender story of a family’s unconditional love for each other, and a commitment to becoming whole again.

Ema was born and raised in South Auckland as a child of Samoan migrants. She captained both the Haunui Waka Hourua and Aotearoa One, both of which belong to the great waka master Hoturoa Barclay-Kerr.

Ema’s key role in the revival of voyaging saw her become an important mentor for future generations of voyagers

Jim Marbrook has only one wish – that everyone of Samoan heritage and the whole of New Zealand turns out to watch it.

Loimata – The Sweetest Tears is having its world premiere in cinema in the Whanau Marama/New Zealand International Film Festival at ASB Waterfront Theatre in Auckland, on Saturday, July 25, at 7.00pm. It will then screen in select cinemas and venues across the country. It has already sold out for its first screenings in Auckland and Wellington. It will also play as part of the hybrid online festival, from August 2-8.

Anna Marbrook and cinematographer Jess Charlton … a chronicle of journeys – journeys of migration, spirituality, voyaging, healing and coming home. Image: Loimata

A Thousand Cuts wins best global feature at NZ’s Doc Edge festival

Pacific Media Watch — Mon, 22 Jun 2020 11:44:16 +0000

By Rappler

A Thousand Cuts, Ramona Diaz’s documentary on democracy and press freedom in the Philippines, has won the top prize at the 2020 Doc Edge Festival in New Zealand.

The winning films and filmmakers are listed on the festival’s website, with A Thousand Cuts named best international feature.

Other international award-winners include Far From Home by Felicia Taylor as best international short, and Paris Stalingrad directors Hind Meddeb and Thim Nacacche as best international directors.

Doc Edge 2020 winners.

Doc Edge, is a documentary festival that is currently being held online due to the coronavirus pandemic.

Because Doc Edge is an Oscar-qualifying festival, winners of the top prizes, including A Thousand Cuts, qualify for consideration for the 93rd Academy Awards.

A Thousand Cuts follows Rappler chief executive and executive editor Maria Ressa and the news organisations’ reporters as they navigate the struggles of a free press in President Rodrigo Duterte’s government.

The film streamed for free in the Philippines on June 12, and was available for 24 hours. It also opened the Doc Edge festival and will be screened again on July 4.

Rappler has faced many legal battles since 2016, including a cyber libel case over an article published even before the cybercrime law took effect.

Ressa and former Rappler researcher Rey Santos were convicted of cyber libel on June 15.

Frontline snaps up Ramona Diaz’s powerful doco A Thousand Cuts

Pacific Media Watch — Fri, 12 Jun 2020 10:35:12 +0000

Award-winning Filipino-American filmmaker Ramona Diaz takes viewers to the Philippines where the free press has been under siege since President Rodrigo #Duterte took office three years ago. Video: BA News

Pacific Media Watch

PBS investigative documentary series Frontline has acquired A Thousand Cuts, the powerful documentary of award-winning Filipino-American director Ramona Diaz about a “lawless regime and press freedom”, reports Rappler.

It was screened as the opening night film in New Zealand’s DocEdge virtual documentary film festival tonight and also streamed free in the Philippines tonight as a prelude to the cybercrime libel trial verdict on Monday in the case against Rappler chief executive and co-founder Maria Ressa.

Today is Independence Day in the Philippines and the documentary is being shown via the Frontline YouTube channel for only 24 hours.

Diaz’s Sundance film festival 2020 entry, which tackles democracy and press freedom in the Philippines under President Rodrigo Duterte, is being planned for a theatrical release in the United States in August and a television broadcast in November 2020.

A Thousand Cuts follows the reporters of Rappler and Maria Ressa as they discuss and experience the struggles of a free press under Duterte and key government officials since 2016 up to the 2019 elections.

Rappler has faced many legal battles since 2016, which includes the cyber libel case over a Rappler article published even before the cyber libel law took effect.

Ressa and former Rappler researcher Rey Santos are charged in the case. Ressa, a mainstream investigative journalist with CNN and other news services before co-founding the digital news website currently faces eight charges due to her hard-hitting journalism.

Tomorrow, June 13, Ressa, Diaz, and Frontline executive producer Raney Aronson-Rath will be live at 8 pm, Philippine time, for a discussion on “Truth, Power, and the Importance of Press Freedom.”

The stream is being hosted for free on Zoom and Facebook, and is presented by Frontline in cooperation with the International Center for Journalists.

A Thousand Cuts in New Zealand’s DocEdge festival

Rappler’s chief executive and editor Maria Ressa (centre) with some of her editorial team at the Sundance film festival premiere in January as seen in Auckland tonight. Image: PMC

Film director Ramona Diaz at the Sundance film festival in January seen virtually in Auckland tonight. Image: PMC

Film director Ramona Diaz talks about the documentary A Thousand Cuts on President Rodrigo and press freedom in the Philippines. Image: PMC

A Maria Ressa and A Thousand Cuts film poster.

West Papua author warns conflict is ‘re-igniting’ with new weapons, youth

Sri Krishnamurthi — Tue, 19 May 2020 09:11:07 +0000

By Sri Krishnamurthi, contributing editor of Pacific Media Watch

Australian war correspondent and investigative journalist John Martinkus warns the West Papuan conflict is “reigniting” and “that’s happening now with new weapons and 20-year-olds”.

Speaking to a group via Zoom – including Pacific Media Watch – last night at the launch of his new book The Road: Uprising in West Papua, he believes the intransigence, atrocities and militarism of the Indonesian authorities has forced this response.

The book tells how a 4300 km Trans-Papua Highway is carving a slice through the jungles and mountains of West Papua to bring “development” and military outposts to remote parts of the vast territory.

“I would love to go back,” said Martinkus in the “conversation” with Mark Davis – himself a renowned SBS television journalist – organised to mark the launch.

Davis has visited West Papua several times – sometimes in secret such as when he filmed the award-winning 2000 documentary Blood on the Cross, and also openly, as with West Papua’s New Dawn in 2014.

Davis has also known Martinkus for more than two decades before The Road author went off to cover the US-led coalition war in Afghanistan.

“The highlands – what the Indonesians have done is pushed this development into areas they’ve never gone,” said

‘Serious attacks’
“Then in the late 1970s and 80s these guys have been subject to pretty serious attacks,” he said.

“What we’ve seen in the last two years is these people are fleeing to Papua New Guinea to get away from the fighting.”

The Nduga and the Dani tribespeople had for centuries in the highlands used to fight each other, but now they had a different enemy to combat.

SBS reporter Mark Davis … travelled to West Papua under cover and openly for in-depth television reports. Image: Sri Krishnamurthi/PMW

The highway heads up from the coast and punches through the highlands where the minerals are – copper and gold – which is what the Indonesians are after, regardless of the destruction.

“This is the largest equatorial crisis in the world,” said Martinkus.

“You can’t walk into there, its really, really hard, and they [Melanesians] don’t like their land being stolen.

“I’ve noticed that the conflict will reignite and that is happening now with new weapons and 20-year-olds.”

Invasion failed, diplomacy won
The conflict began in 1961-2 when Indonesian paratroopers invaded the Papuan region while the Dutch colonial authorities were preparing the Melanesians for independence.

The invasion was a failure but Indonesia subsequently won the diplomatic struggle and critics say Jakarta manipulated the United Nations into allowing it to annex West Papua through a sham “Act of Free Choice” in 1969.

West Papuans are campaigning for United Nations support for a new referendum on independence.

Martinkus spoke about 1 December 2018 when a bunch of roadside Indonesian workers were filming the West Papuans raising the banned Morning Star independence flag and were shot. The Indonesians sent in paratroopers and helicopters with phosphorus bombs in retaliation.

But this does not deter Martinkus.

As he says: “I would be quite open to going there because I think it is really important. It was an issue that I felt was unsettled, it is unfinished business.”

Inside Indonesia’s Secret War for West Papua – Foreign Correspondent

Pacific Media Watch — Wed, 13 May 2020 10:00:52 +0000

The 30-minute Foreign Correspondent report by ABC.

By ABC News Indepth

Just north of Australia a secret war is being fought. West Papuan independence fighters and Indonesian security forces are involved in a protracted and bloody battle over the issue of Papuan independence.

The conflict escalated after young West Papuan fighters killed Indonesian road workers building a highway into Papua’s central highlands.

The Indonesia government hit back hard, deploying hundreds of police and military who attacked the region in an effort to root out the rebels.

Last year mass protests broke out, with civil resistance leaders from in and outside West Papua calling for freedom from Indonesia.

With foreign media largely shut out, the story of this unfolding humanitarian disaster remains untold. Hundreds have died and local officials estimate that over 40,000 people have been displaced.

There are allegations of torture and human rights abuses.

ABC Foreign Correspondent has been able to report from inside the conflict zone, gaining access to exclusive pictures of the recent unrest and speaking to eyewitnesses of the violence.

“I have to yell out to the world…because if I don’t, we’re going to be weaker and the indigenous people will be wiped out.” says one West Papuan highlander who is looking after children orphaned in the recent fighting.

“We will not retreat. We will not run. We will fight until recognition dawns,” says a member of West Papua’s young guerrilla force whose ranks include teenagers orphaned in the ongoing conflict.

“Dialogue is needed but dialogue which is constructive”, says Indonesia’s former Security Minister.

Sally Sara, with Victor Mambor, reports on a war with no end in sight.

Moore’s environmental documentary storm – the truth behind the claims

APR editor — Thu, 07 May 2020 06:17:16 +0000

ANALYSIS: By Ian Lowe of Griffith University

Documentary maker Michael Moore’s latest offering, Planet of the Humans, rightly argues that infinite growth on a finite planet is “suicide”. But the film’s bogus claims threaten to overshadow that message.

Planet of the Humans is directed and narrated by longtime Moore collaborator Jeff Gibbs. It makes particularly contentious claims about solar, wind and biomass (organic material which can be burnt for energy). Some claims are valid. Some are out of date, and some are just wrong.

The film triggered a storm after its free release on YouTube late last month. At the time of writing, it had been watched 6.5 million times.

Climate sceptics here and abroad reacted with glee. Environmentalists say the film has caused untold damage when climate action has never been more urgent.

For 50 years, I have studied and written about energy supply and use, and its environmental consequences. So let’s take a look at how Planet of the Humans is flawed, and where it gets things right.

Where the film goes wrong
Critics have compiled a long list of questionable claims made in the film. I will examine three relating to renewable energy.

1. Solar panels take more energy to produce than they generate
It’s true that some energy is required to build solar panels. The same can be said of coal-fired power stations, oil refineries and gas pipelines.

But the claim that solar panels produce less energy than they generate in their lifetime has long been disproved. It would not be true even if, as the film says, solar panels converted just 8 percent of the energy they receive into electricity.

But that 8 percent figure is at least 20 years old. The solar panels now installed on more than two million Australian roofs typically operate at at 15-20 percent efficiency.

2. Renewables cannot replace fossil fuels
The film claims green energy is not replacing fossil fuels, and that coal plants cannot be replaced by renewables.

To disprove this claim we need look no further than Australia, where wind turbines and solar panels have significantly reduced our dependence on coal.

In South Australia, for example, the expansion of solar and wind has led to the closure of all coal-fired power stations.

The state now gets most of its power from solar and wind, exporting its surplus to Victoria when its old coal-fired power stations prove unreliable on hot summer days.

What’s more, a report released this week by the Australian Energy Market Operator (AEMO) said with the right regulations, renewables could at times supply 75 percent of electricity in the national electricity market by 2025.

3. Solar and wind need fossil fuel back-up
Some renewables systems use gas turbines to fill the gap when the wind isn’t blowing and the sun isn’t shining. However renewable energy storage is a cleaner option and is fast becoming cheaper and more widely used.

AEMO forecasts battery storage installations will rise from a low base today to reach 5.6 gigawatts by 2036–37. The costs of storage are also projected to fall faster than previously expected.

South Australia’s famous grid-scale Tesla battery is being expanded. And the New South Wales government’s pumped hydro plan shows how by 2040, the state could get 89 percent of its power from solar and wind, backed by pumped hydro storage.

In Australia on Easter Saturday this year, renewables supplied 50 percent of the national electricity market, which serves the vast majority of the population.

Countries such as New Zealand and Iceland essentially get all their power from renewables, backed up by storage (predominantly hydro).

And putting aside the federal government’s problematic Snowy 2.0 project, Australia could get all its energy from renewables with small-scale storage.

South Australia’s huge battery storage project is being expanded. Image: Hornsdale Power Reserve

What does the film get right?
Planet of the Humans makes several entirely valid points. Here are a few:

1. We need to deal with population growth
The film observes that population growth is the elephant in the room when it comes to climate change. It says politicians are reluctant to talk about limits to population growth “because that would be bad for business”.

As one observer in the film says, the people in charge are not nervous enough. I agree.

An increasing population means increasing demand for energy and other resources, accelerating climate change.

2. Biomass energy does more harm than good
While the film unfairly criticises the environmental benefits of solar energy, it is true that some so-called clean technologies are not green at all.

As the film asserts, destroying forests for biomass energy does more harm than good – due to loss of habitat, damage to water systems, and the time taken for some forests to recover from the removal of wood.

Most advocates of cleaner energy systems recognise the limitations of biomass as an energy source.

A still from the film, showing a biomass plant. Image: Planet of the Humans

3. Infinite growth on a finite planet is suicide
The film calculates the sum total of human demands on natural systems as about 1000 times what it was 200 years ago. It says there are 10 times as many people now, each using 100 times the resources, on average.

Experts have repeatedly warned that human demand for resources is damaging the natural systems that all life depends on.

For large parts of the world, the consequences could be catastrophic.

Get the message
Several other aspects of the film have been savaged by critics – not least its claims about emissions produced by electric cars, which had previously been debunked.

Personal attacks on two prominent US clean energy advocates, Bill McKibben and Al Gore, also detract from the film’s impact.

It is clear renewable energy has an important role to play in reducing greenhouse gas emissions and slowing climate change. But it will not solve the fundamental problem: that humans must live within Earth’s natural limits.

Those cheering the film’s criticism of renewables would do well to consider its overriding message.

Dr Ian Lowe is emeritus professor in the School of Science at Griffith University. This article is republished from The Conversation under a Creative Commons licence. Read the original article.

Iran’s great global adventurers – around the lost world in 10 years

David Robie — Sun, 20 Oct 2019 00:24:10 +0000

David Robie, concluding his three-part series about Iran, profiles an extraordinary pair of Tehran brothers who have been pioneering global research adventurers.

They have been dubbed the “Persian Indiana Joneses”. Their adventures are fabled and hair-raising, as shown by a Jivaro shrunken human head and relics from curious rituals on display from almost 70 years ago.

But the Omidvar brothers from Iran were no gung-ho adventurers, merely gate-crashing hidden tribal and indigenous communities around the world. They were also no elitists.

They were courageous research adventurers and their motto was “all different – all relative”.

A 2015 Iranian Press TV channel documentary about the Omidvar brothers.

Today their exploits and treasured artefacts are kept alive in the fascinating Omidvar Brothers Museum, housed in a restored coach gatehouse near the Green Palace in the Pahlavi era Sa’ad Abad forest complex in North Tehran.

I encountered younger brother Issa Omidvar, now 88, at an amusing public talk he gave at the museum last month, and I took the opportunity to interview him. His elder brother, Abdullah, 90, lives with his wife in Chile where they started a business.

Their adventures and survival were of special interest to me, as in 1972-74 I had spent a year travelling across Africa in two stages from Cape Town to Algiers, driving across the Sahara Desert in the process – chicken feed compared with the brother’s two global odysseys totalling a decade, 1954-1964.

The Pacific Media Centre’s Del Abcede and director Professor David Robie with Issa Omidvar (centre) in Tehran last month. Image: Zahra Ebrahimzadeh/PMC

Travelling east from Tehran via the country’s second city of Mashhad, the brothers first passed through Afghanistan, then Pakistan, India, south-east Asia and Australia, where they lived with Aboriginals. Eventually they crossed the Pacific to Rapanui and headed north through Alaska and Canada into the Arctic.

After a huge sweep through North and South America, they rounded off their first seven-year journey in Antarctica.

Following a short break back home in Iran, the brothers set off again on a second exploration trip in a Citroën 2CV across Africa, including the Congo and the pygmy country of the Ituri jungle. They filmed their exploits along the way.

One of the Omidvar motorbikes and the Citroen 2CV used in the brothers’ expeditions. Image: David Robie/PMC

As Guardian travel writer Kevin Rushby wrote in 2013, “they created a visual record that is now a milestone in film history, a documentary record of a vanished world: peoples, cultures and even entire countries that no longer exist.”

According to Issa at his public Tehran talk, “We had the opportunity of visiting, and holding talks with most presidents, prime ministers, kings and cultural personalities of the world.”

The Omidvar brothers’ book cover.

However, many of the communities that they described in their remarkable book, Omidvar Brothers: In Search of the World’s Most Primitive Tribes, and showed in their various documentaries, no longer live as they once did, untouched in remote locations.

The Omidvar mission – they started off on their motor bikes in 1954 with the equivalent of merely $90 each in their pockets – was about scientific research and documentary making.

In the book preface Nikfarjam, then international affairs director of Aryan International Tourism Magazine, wrote that the Omidvar brothers were “the greatest explorers, adventurers and seekers of knowledge in 10 years of scientific expedition … searching [for] the most primitive tribal people in unknown lands of our planet earth who had never had contact with the outsider before …

“The live stories … will take the reader … to the most severe climatic and various geographical conditions living with unknown savage tribes.

“In fact, [this] scientific research has been so adventurous and exciting that hardly anyone can believe all are true and serious.”

But true they are.

A sandstorm on the way to Mecca. Image: Omidvar Brothers Museum/PMC

Issa Omidvar addressing an audience and journalists about his exploits at the Tehran museum last month. Image: David Robie/PMC

The Iranian Organisation of Cultural Patrimony added in their foreword: “The fruits of their exploration are … great photographic and documentary films, hunting equipment and household utensils from diverse primitive tribes.

“With such a treasure, unique of its kind, the Omidvar Brothers Museum illustrates the wealth, complexity and diversity of human culture … and of human organisation that succumbed, victims of the world’s explosive development.”

Kiwi Matariki makes a comment on the brothers’ message board at the Tehran museum. Image: David Robie/PMC

Browsing through the illustrated book in Farsi (an English-language edition also exists), I came across these sample passages:

Kabul
“The first capital we visited was Kabul, a city with few main streets. There were few vehicles, which was a blessing, but there were lots of bicycles on the streets. Even prominent and well-known people used bicycles … One day we were surprised to see the chancellor of Kabul University riding an old bicycle.”

Jalalabad
“We passed through Jalalabad towards the border of Pakistan. To our delight we discovered a wedding party with riflemen and prepared to photograph … Unknown to us … was that this tribe didn’t like to have photos taken, especially of their ceremonies. When they saw us their cheerful shouts immediately changed to a cry of death and they began hurling hundreds of rocks at us.”

Sri Lanka (then Ceylon)
“It is said that Adam and Eve were expelled from Heaven and began their earthly life in Ceylon. We boarded the ship called Safinet al Arab … She was 43 years old and in considerable disrepair with a capacity of 1100 people, mostly pilgrims for Mecca … on the third day one of the Muslim passengers died, creating chaos. The authorities had no choice but to bury the body at sea. From that moment we feared that a similar fate might befall us.”

Hyderabad
“The Kite War is as significant for the people of Hyderabad in India as horse racing is for the British, bullfighting for the Spanish and football for the Brazilians … Common people and nobles alike participate in the kite competitions, betting enormous amounts of money.”

Lucknow
“When we arrived it was a national holiday – the Colour Festival … We were settled at the university dormitory and sleeping when at dawn we awoke with a loud noise. The students pounded on the door and looked as if they had escaped from Hell. Each with a bucketful of water colours and after rubbing some colour on our forehead, they threw each other in a colourful pond.”

Himalayas
“In order the climb the Himalayas, we had to pass through dangerous, swampy forests to reach the slopes pf the mountains. We had not seen such a dreadful forest … Such a threat becomes a hundredfold at night. The roars of wild animals, especially tigers, made us shake with fear … We touched our legs and found a small creature, a leech. We turned on our flashlight and saw a great number of leeches sucking our blood.”

Amazon
“We were nearing the horrifying tribe of Jivaro [in the headwaters of the Marañon River]. We reached a settlement of huts made of wild sugarcane leaves and bamboo around a clearing. All the men and women with painted bodies were standing by their huts waiting for us. Although they had seen other white people, it was interesting for them to see us – maybe at that moment they were measuring our heads to be shrunken!”

A Jivaro shrunken head on display in the Omidvar Brothers Museum. Image: David Robie/PMC

In my interview with Issa Omidvar, he stressed the critical importance of the value of international travel as a contribution to “global understanding and peace”.

Dr David Robie travelled independently and with no political “minders”.

David Robie talks to Issa Omidvar about the brothers’ research travel philosophy. Video: Del Abcede/Café Pacific

A map of the Omidvar exploration journeys. Image: Omidvar Brothers book

PMC projects creative ‘grab bag’ unveiled at midwinter showcase

Michael Andrew — Mon, 29 Jul 2019 07:22:17 +0000

By Michael Andrew

A creative “grab bag” of projects has been unveiled by the Pacific Media Centre in a showcase of collaboration across academic and communication communities.

Held at Auckland University of Technology on Friday and hosted by PMC advisory board chair Associate Professor Camille Nakhid, the PMC “Midwinter Showcase” celebrated the launch of a double edition of Pacific Journalism Review, the 2018 Bearing Witness documentary Banabans of Rabi, the Pacific Media Watch Project – The Genesis video and the new PMC Online website.

Doctoral candidate and journalist Atakohu Middleton opened the night with a karakia before pro-vice chancellor and faculty dean Professor Guy Littlefair officially launched PJR – which focuses heavily on the New Zealand mosque massacre and media dilemmas of democracy – with a powerful and poignant speech.

Pacific Media Centre director Professor Dr David Robie … an occasion to celebrate a range of projects coming to fruition in one moment. Image: Michael Andrew/PMC

Describing universities as the “critic and conscience of society”, Professor Littlefair lauded the value of the new PJR research in light of the media response to the March 15 atrocity.

He said how the privileged Pākehā narrative of New Zealand history made the violence of the attack all the more affronting for a media community consisting of mostly young, white journalists.

“This double issue of PJR that I have the privilege to launch tonight picks up on the narrative at precisely this point,” he said.

“’Dilemmas for journalists and democracy [PJR title]’ – these five words encapsulate for me the critic and conscience role of universities.

“This journal provides once again a magnificent example of the best, most relevant, most meaningful research that I as a dean could hope to see come from this wonderful faculty of ours.

“David and the team, I could not be more proud.”

The trailer for Banabans of Rabi.

Banabans of Rabi
Banabans of Rabi was then screened after an introduction by AUT screen production senior lecturer Jim Marbrook.

Marbrook, who helped produce the film, described it as a successful product of collaboration between journalism and screen production students.

He explained that film creators Blessen Tom and Hele Ikimotu had to overcome particular challenges to get to the remote Fijian island of Rabi and make the documentary.

“The philosophy of the Bearing Witness project is to go to areas that are under reported, that are quite difficult to get to; with that comes risks and complications.

“It’s kind of a pressure cooker situation to drop two students into.

“There is not a lot of power on the island, it’s isolated. Complicating that is the mix of languages; Fijian, Gilbertese and Banaban as well.

Blessen Tom then described filming on Rabi where scarcity of electricity meant that he had to be very selective with his choice of shots to conserve battery power.

Sri Krishnamuthi and Blessen Tom’s documentary about Pacific Media Watch.

PMW Project – The Genesis
Postgraduate communications student and former NZ Press Association journalist Sri Krishnamurthi introduced the Pacific Media Watch Project – The Genesis documentary which pays homage to the origins of the PMW media freedom project.

Through making the film with Blessen Tom, Krishnamurthi described learning about the project, from its creation in response to the wrongful arrest of three Tongans in the famous “contempt of Parliament” case in 1996, to its two decades since as a “watchdog of Pacific journalism.”

He stressed the value of the project and its role in the development of student journalists.

“The beauty of it is the use of student contributing editors – all of them will echo my sentiments; that this little gem which is invaluable as a guardian of Pacific journalism must be kept going for years to come.”

PMC Online
Finally, Tony Murrow of Little Island Press unveiled the new mobile friendly and robust PMC Online website, the product of almost two years of his team’s work in collaboration with the PMC.

He said the bold and colourful design reflected the vibrancy and diversity of the Pacific Media Centre.

The website is due to go live on www.pmc.aut.ac.nz in the coming days.

Pacific Media Centre director Professor David Robie acknowledged all those who had contributed and collaborated on the assortment of projects – including Pacific Journalism Review co-editors and collaborators Khairiah Rahman, Dr Philip Cass, Del Abcede, Nicole Gooch and Professor Wendy Bacon, whom he described as one of the best investigative journalists in Australia.

Professor Guy Littlefair with Pacific Journalism Review team members designer Del Abcede (from left), founding editor Professor David Robie, associate editor Dr Philip Cass, assistant editor Khairiah Rahman and Associate Professor Camille Nakhid, an editorial board member and chair of the PMC Advisory Board. Image: Michael Andrew/PMC

RSF demands Australian police drop charges against French TV crew

Pacific Media Watch — Mon, 22 Jul 2019 21:14:40 +0000

Pacific Media Watch Newsdesk

Reporters Without Borders (RSF) has called on the Australian authorities to drop all charges against four French TV journalists who – in what RSF called an “unacceptable attack on investigative journalism” – were arrested yesterday while filming environmentalists protesting at a coal terminal near the Great Barrier Reef in northeastern Australia.

The four journalists, who work for the French public TV channel France 2, were held for seven hours after being arrested about 7am while filming two women protesters who had chained themselves to the rail line leading to the Abbot Point deep-water coal port in north Queensland.

The journalists – reporter Hugo Clément, producer Guillaume Durand and cameramen Clément Brelet and Victor Peressentchensky – some of whom were handcuffed at the time of their arrest, were charged with “trespassing” on the rail line although, unlike the protesters themselves, they were not on the line.

“The France 2 journalists were doing their job in a completely legal manner in a public space, so their arrest on this spurious charge was the kind of arbitrary procedure more typical of an authoritarian regime,” said Daniel Bastard, head of RSF’s Asia-Pacific desk.

“We call on the Queensland authorities to immediately drop these absurd charges against the four journalists. Recent repeated press freedom violations in Australia raise questions about respect for the rule of law.

“If nothing changes, Australia has every chance of falling several places in RSF’s next Press Freedom Index.”

Reporting ban
The France 2 journalists were released on bail at around 2pm pending a hearing scheduled for September 3.

The release order specifies that they are banned from being within 100m of any property owned by the Adani Group, the Indian transnational that owns the rail line and coal terminal, and within 20 km of the Adani Group’s Carmichael coal mine, 500km south of Abbot Point.

“The link between our arrest and this ban is the Adani Group, which runs the mine,” Clément told RSF.

“The police went straight for us this morning. They clearly didn’t want us filming the protest. And now we are banned from covering this story, which says a lot about the influence that big private-sector corporations wield.”

Adani launched the Carmichael mine in 2014 with the support of the federal and Queensland governments with the aim of turning it into the world’s biggest coal mine.

It would take a heavy environmental toll because it includes the construction of a channel leading to Abbot Point that would destroy part of the Great Barrier Reef.

The French crew was covering the story for “Sur le Front”, a France 2 series on environmental issues.

Major violations
Press freedom in Australian has been badly undermined in recent years by the concentration of private media ownership in ever fewer hands, impacting pluralism.

It was dealt two major blows last month in the form of federal police raids on the home of a political journalist in Canberra and on the Australian Broadcasting Corporation’s headquarters in Sydney, in unrelated cases.

And it was reported earlier this month that the federal police had demanded that the Australian airline Qantas surrender its records of an ABC journalist’s travel arrangements as part of its investigation into a leak.

Australia is ranked 21st out of 180 countries in RSF’s 2019 World Press Freedom Index, two places lower than in 2018.

An earlier protest at Abbot Point, Queensland, on May 1 to draw attention to the threat that the Adani Group’s coal mining project poses to the Great Barrier Reef. Image: Peter Parks/AFP/RSF

How soldier guitars, culture and faith paved way for Bougainville’s peace

David Robie — Tue, 23 Apr 2019 08:33:59 +0000

The trailer for Will Watson’s documentary on Bougainville peacemaking, Soldiers Without Guns.

FILM REVIEW: By David Robie

While a gripping film about the apocalyptic Bougainville war, or more accurately the peace that ended the decade-long conflict, opened in cinemas across New Zealand last week, an island roadshow has been taking place back in the Pacific.

Initiated by the United Nations, the roadshow – featuring Bougainville President Father John Momis, many of his cabinet members and UN Resident Coordinator Gianluca Rampolla – is designed to help prepare the Bougainvillean voters to decide on their future.

This future is due to be put to the test in a referendum on October 17 in the crucial political outcome of an extraordinary peace process that began in chilly mid-winter talks at Burnham Military Camp near Christchurch in July 1997.

The vote is already four months delayed, partly due to spoiling tactics of Peter O’Neill’s Papua New Guinean government which would avoid the vote if it could.

The Bougainville referendum roadshow … speaking to the women. Image: Bougainville News

In any case, the vote is not binding and the O’Neill government may not even honour it, even if there is an overwhelming vote for independence in the island with a population of 250,000.

The choice is simple: Voters will be asked to choose between greater autonomy and full independence. The vote is expected to favour independence.

Also at stake is the future of the Panguna – once the mainstay of Papua New Guinea’s economy and now abandoned because of the environmental devastation caused by the huge Australian-owned copper mine – and the right of a people to choose their own destiny free from rapacious foreign extraction industries.

After almost 10 years of civil war when an estimated 10,000 to 20,000 people lost their lives through the actual fighting between the Bougainville Revolutionary Army (BRA) and other armed groups and the Papua New Guinean military, and through deaths from lack of medical treatment and starvation as a result of a military blockade around the island state, a breakthrough was achieved in New Zealand.

Training a child to play shoot … a scene from both Hakas And Guitars and Soldiers Without Guns. Image: Freeze frame from Hakas And Guns trailer

Exhausted by the deadlock, the deprivations of the war and 14 failed attempts at negotiating a peace, talks in the bitter cold at Burnham sparked off the long journey for a lasting peace. As former North Solomons provincial government official and a peace process officer Robert Tapi recalls:

The silent majority of Bougainvilleans were tired of war and longed to return to normal village life. Women’s groups, church groups and chiefs increased the pressure on both the BRA and the PNG-backed Bougainville Transitional Government to negotiate for peace.

On all sides, the likely cost of victory was proving too high. The moderate revolutionary leaders realised that even if they did “win”, they “would inherit a hopelessly divided society”.

The first meeting resulted in the Burnham Declaration of July 18, 1997, which urged the leaders to call a ceasefire and for the establishment of an international peacekeeping force with the withdrawal of the PNG Defence Force.

Following the Burnham Truce and the endorsement of a Truce Monitoring Group (TMG) in Cairns in November 1997, a further Burnham meeting in January 1998 produced the Lincoln Agreement and paved the way for the Ceasefire Agreement in Arawa on April 30, 1998.

The success of the breakthrough in Burnham and the following meetings was thanks to the inclusion of women’s groups, churches and local chiefs as well as the political opponents, meeting on neutral territory and with New Zealand not intervening in the talks. Also helpful was then Foreign Minister Don McKinnon’s friendly and chatty style with the delegates, which boosted Bougainvillean morale.

“Land is our heartbeat” … women played a key role in the Bougainville peace – and the documentary. Image: Freeze frame from Soldiers Without Guns

Filmmaker Will Watson stepped up to tell the extraordinary New Zealand peacekeeping story initially through an award-winning 2018 documentary for Māori Television, Hakas And Guitars, following up with this year’s feature film Soldiers Without Guns.

He had been monitoring the war and aftermath while a journalism student and began to put together a project team in 2005. Ironically, due to funding and other obstacles, it took him 13 years to complete the feature film – longer than the actual war.

A couple of years later, in 2007, he had a film crew on the ground in Bougainville to carry out interviews and gain invaluable footage. His documentary is an inspiring and fitting tribute to the innovative “guitars, waiata and wahine” approach of the NZ-led peacekeeping force.

Soldiers Without Guns poster at the Civic premiere in Auckland earlier this month. Image: David Robie

By concentrating on a strategy of winning the hearts and minds through hundreds of kilometres of foot slogging treks to villages and communicating directly and honestly with ordinary people, the soldiers gained the trust of Bougainvilleans from all sides.

It was a courageous and insightful decision by the first mission commander, Brigadier Roger Mortlock, now retired, to go to Bougainville without weapons and guarantee the peace. He had experienced a UN peacekeeping failure in Angola and was determined this mission would succeed.

Bougainville … a long history of struggle against the Australian-owned Panguna mine and for independence. Image: Freeze frame from Soldiers Without Guns

Another key factor in the success was Major Fiona Cassidy, an Army public relations manager at the time, and her ability to communicate in a meaningful way with the Bougainvillean women in what is a matriarchal society.

In a recent RNZ Pacific interview, she admitted finding the challenge a bit “scary”:

“When you looked at the country brief, you knew that you were not going into a benign environment. It actually was hostile. So it was a little bit scary thinking, ‘Okay, we’re going to a country which has been at war for so long, it still isn’t stable, and we’re going in unarmed.'”

During the start of the Bougainville war, I was head of the journalism programme at the University of Papua New Guinea and reported the first year of the conflict in a cover story for Pacific Islands Monthly. As part of this, I revealed how a New Zealand environmental consultancy unwittingly became a catalyst for fuelling the conflict.

I wrote in my 2014 book Don’t Spoil My Beautiful Face: Media, Mayhem and Human Rights in the Pacific:

Apart from convoys with soldiers riding shotgun and yellow ochre Bougainville Copper Limited trucks packed with security forces sporting M16s, you would hardly guess that a guerrilla war was in progress near the Bougainville provincial capital of Arawa. But once you reached the sandbagged machinegun nest in Birempa village at the foot of the rugged mountain jungles of the Crown Prince Range, the tension started to rise.

Scanning the dense vegetation for a sign of the militants of the Bougainville Republican Army (BRA)—known as Rambos in the first year of the decade-long civil war – the Papua New Guinea Defence Force soldier manning the machinegun didn’t notice the irony of the T-shirt he was wearing.

“Mine Of Tears” … a t-shirt popular early in the Bougainville war. Image: David Robie

Scrawled across his chest were the words MINE OF TEARS, a word play on the title of Richard West’s 1972 book River of Tears: The rise of Rio Tinto-Zinc Mining Corporation. The book was an expose of the mining operations by BCL’s parent company CRA Limited of Australia—a subsidiary of Britain’s Conzinc-Riotinto—and it had already become the “Bible” of the many of the militants.

At the time I was reporting on the fledgling war for a cover story featured by Pacific Islands Monthly in its November 1989 edition entitled MINE OF TEARS: BOUGAINVILLE ONE YEAR LATER. No other journalists were on the ground at the time, and the only other people staying at the small hotel in the port town of Kieta were soldiers, some cradling guns on their knees when having dinner. The atmosphere was surreal and ghostly in those early days.

The problems of Bougainville cannot be divorced from the rest of the country, or even from the rest of the Pacific. At stake are the crucial issues of a conflict between Western concepts of land ownership and indigenous land values, the equity between the national government, provincial administration and the traditional landowners, and a choice between genuine sovereignty over resource development projects or dependence on foreign control.

For those of us who have had some involvement in the Bougainville war bearing witness, Will Watson and his crew deserve huge praise for bringing this story to the big screen, and honouring New Zealand’s contribution to peace – Australia couldn’t have done it – and providing hope for Bougainville’s future.

With luck, the island will become independent and bring some meaning to all that terrible loss of life and deprivation.

Soldiers Without Guns, documentary, 92min. Director Will Watson. Narrated by Lucy Lawless.

Professor David Robie is director of the Pacific Media Centre. This review is republished from Pacific Journalism Review with permission.

New book boosts diversity, cultural consciousness in NZ film making

APR editor — Tue, 09 Apr 2019 12:03:39 +0000

By Nicola Igusa

For any film maker, their aim is to create engaging work that connects with its audience. For film makers in New Zealand of migrant background, getting screen time can be difficult.

New Zealand On Air and the New Zealand Film Commission has done great work to increase the Māori and Pasifika voices heard and seen on our screens.

Pioneering research by Associate Professor Dr Arezou Zalipour, presented in her book Migrant and Diasporic Film and Filmmaking in New Zealand, asks whether film makers from migrant backgrounds have enough support and how New Zealand screens could reflect better contemporary New Zealand.

Dr Zalipour, from Auckland University of Technology’s School of Communication Studies, says she admires what has been achieved for Māori and Pasifika film making and hopes the same can be achieved for a range of diverse New Zealand voices.

Increasingly there is an awareness that representation matters – and for young New Zealanders, seeing the faces they see around them reflected on screen builds a sense of national connectedness.

“Film and television play an important role in nation building – in helping create a sense of what it is to be a New Zealander,” says Dr Zalipour. “Stories from diverse points of view not only entertain us, they help us understand the world around us, building social and cultural consciousness and sense of belonging.

‘Conscious effort’
“While I found much evidence that we can be cautiously optimistic about the space being carved out for migrant film making in New Zealand, we still need to dedicate conscious effort to supporting, encouraging and mentoring film makers of all backgrounds.

“I’m hopeful that our film and television industry will reflect real diversity of our society in future years.”

Dr Zalipour stresses that the question is how we can ensure people of all backgrounds have an opportunity to tell their story, and together build our cultural consciousness and sense of belonging.

“Ultimately, I want to inspire the next generation of New Zealand film makers, regardless of their background, to discover and add more dimensions, stories, images and imaginaries to New Zealand screens and I hope my research can play some small role in the future of New Zealand filmmaking.”

Migrant and Diasporic Film and Filmmaking in New Zealand will be used as a text in media, communication, film and television studies at AUT and other New Zealand universities, and in tertiary institutions around the world offering New Zealand Studies.

Nicola Igusa is a communications writer at Auckland University of Technology.

The wanted man, the CIA, the Russians and a Tongan king’s jumbo dream

Kaniva News — Thu, 28 Mar 2019 20:50:33 +0000

Julian Pettifer introduces his 1979 BBC series Diamonds in the Sky. Video: Julian Pettifer

ANALYSIS: By Dr Philip Cass

There was an American entrepreneur who claimed he was being pursued by the CIA and an Australian bookmaker whose racing career could best be described as colourful.

There were Libyans with money to spare and political ambitions in the Pacific and Russians after oil and a fishing port in Tonga.

The Australian and New Zealand governments were concerned. The US embassy in Fiji appears to have been slightly frantic.

It was 1977 and as a major diplomatic crisis brewed in Nuku’alofa, in the midst of it all was King Taufa’ahau Tupou IV, who was convinced that the way to prosperity for the kingdom was to build an airport that could handle 747 jumbo jets.

The king believed his dreams would be financed by the Bank of the South Pacific, a financial institution whose existence he had allowed and placed in the hands of John Meier.

The late King Tupou IV of Tonga (left) and fraudster John Meier … colourful dreams. Image: Kaniva News

Meier, an American financial adventurer, once claimed he had once seen the body of his former boss, reclusive billionaire Howard Hughes, in a deep freeze in Florida.

According to a US diplomatic cable released by Wikileaks, other ambitious projects being floated included establishing a Tongan flag airline, establishing aircraft and boat construction industries, funding a pharmaceutical distribution centre and building an industrial park.

Diamonds in the Sky
Speaking to BBC reporter Julian Pettifer for the 1979 television series Diamonds in the Sky, the king said he planned to build a 3657.6 metre long runway that would turn Tonga into “an anchored aircraft carrier in mid-Pacific.”

At the time of the interview Fuaʻamotu International Airport, which started life as an American bomber base during the Second World War, could only take twin engine BAC1-11s (then operated by Air Pacific) and Boeing 737s.

He wanted to upgrade it to be able to take 747 jumbo jets which then stopped at Nadi in Fiji on their way to New Zealand and Australia. He believed that if the runway was available then the bigger airlines would want to use it.

He told Pettifer a dozen airlines had told him that they wanted to put Tonga on their flight schedules.

Pettifer was sceptical, noting the enormous cost of building and maintaining such a facility and remarking that “unfortunately, His Majesty may be unaware that in a world where there are not too many kings remaining, there may be a tendency among commoners to tell royalty what they imagine royalty want to hear.”

Regardless, the king saw a future in which Tonga was the base for an electronics industry, with parts being flown in and assembled by cheap labour. Looking at neighbouring Fiji, he also saw it as a boost for tourism in the kingdom.

All of this would, he believed, be funded by the BSP. Perhaps unknown to the king, Meier was wanted on charges of swindling his employer out of tens of millions of dollars and had fled to Canada before arriving on Tonga.

US government radar
Meier had persuaded the king to establish the Bank of the South Pacific, whose operations would be essentially controlled by Meier rather than the king or the Tongan government. Alongside Meier was a group of people with no apparent banking experience, but all of whom were on the US government’s radar.

Bridging the gap between the Americans and the king was Tonga’s honorary consul general in Sydney and Melbourne, Australian bookie and racehorse trainer Bill Waterhouse. Waterhouse would gain as much notoriety as wins on the track during his career.

Meier’s presence in the kingdom seriously alarmed Washington, Wellington and Canberra, which kept a close eye on proceedings. On September 16, 1977, the US Embassy in Suva sent a cable US diplomatic cable outlining its concerns.

It described the BSP as a merchant bank, but quite how it would work remained the subject of “considerable puzzlement”.

“Main office will apparently remain Vancouver, with Nuku’alofa branch handling offshore activities free of taxes according to charter approved by Privy Council,” the cable said.

The funding for the bank would come from Canadian, Japanese and Arab sources. The bank would be permitted to receive a cut of a head tax on passengers arriving in Tonga and would be involved in buying new aircraft.

The US report said the king had his heart set on an airport extension and had dismissed what it called “the fishy odour” surrounding the operation. It described King Tupou as “bright and determined,” although it said he was often “heedless of practical considerations”.

No truth to rumour
It said he had “smilingly” told the Commander-in-Chief of the US Navy’s Pacific Headquarters in Hawai’i that there was no truth to a rumour that the Soviet Union had approached him about building the airport, claiming the money would come from Canada.

The diplomatic cable warned that if the BSP collapsed the king could well turn to the Russians to improve the airport in return for fishing bases in Tonga. In 1976, Soviet oil companies had expressed interest in prospecting in Tonga and there were negotiations between Tonga and the Soviet Union about a loan to develop Tonga’s airport and make it 11,000 feet long, more than the required length for a fully laden 747.

In March 1978, King Tupou IV visited Libya to talk with President Muammar Gaddafi about a loan for the airport project.

Meier later claimed that in 1978 he had been offered financial assistance with the runway project by a Soviet Embassy official in Wellington. He also claimed that on the flight back to Nuku’alofa he had been warned by an American naval officer that Washington would block the runway project.

What also exercised Washington was that the king had given Meier a diplomatic passport, making him immune to extradition or arrest. Meier was wanted not just for allegedly defrauding the Hughes Corporation, but also for his alleged role in a murder.

Meier would always maintain his innocence and would claim that he had long been targeted by the US government for his role in the Watergate scandal that brought down President Nixon.

Meier travelled extensively trying to sell bonds in the BSP, but as any substantial investment failed to materialise, there was intense pressure to find a way to have him arrested and brought back to the US.

Difficult to judge
How much of this was due to a desire by US authorities to bring Meier to justice and how much was an attempt to make sure the Russians and Libyans did not gain a foothold in the South Pacific is difficult to judge 40 years after the events.

Unfortunately, much of what has been written about John Meier since then often reads more like a conspiracy theory than sound analysis.

In July 1978 Meier was arrested in Sydney on an extradition warrant from the United States alleging fraud and tax evasion. Using his diplomatic passport, which had been endorsed by the Australian High Commission in Suva, Meier walked free, but the US, Australia and New Zealand were anxious to bring the matter to a head

Later that month the Australian High Commissioner in Suva and senior US diplomatic staff flew to Nuku’alofa to meet with King Tupou IV.

Before the meeting, the Tongan Supreme Court had ruled that the charter ordinance on which the BSP was based had been issued extra-constitutionally and would have to be resubmitted to Parliament in statutory bill form.

According to a US diplomatic report on the meeting between the Western diplomats and the king released by Wikileaks, the US Embassy in Wellington reported that the charter of the Bank of the South Pacific would not now be submitted to Parliament for confirmation.

The diplomatic cable said Meier’s associated with Tonga would be ended and he would have to deal with criminal charges as a private citizen. Police were ordered to confiscate his diplomatic passport if he returned to Tonga.

‘Not disturbed’
“The king indicated that he was not disturbed by the actions of the government of Australia or the US government,” the cable said.

The report continued: “The king’s face-saving comment at the end of the audience was that the Tongan government had used Meier as far as it could and that at least he had interested ‘others’ who were now willing to take up the airport project.

“The ‘others’ are apparently Japanese or Arab commercial interests, both of which the king has mentioned recently. We remain sceptics about the possibility of anyone picking up the project at this stage.”

Back in Australia, Meier sent his family to Canada and then – according to one highly colourful account – used a fake New Zealand passport supplied by the Cuban embassy to flee Australia. He reached Canada later that year, but was arrested and extradited to the United States where he was tried and convicted the following year of obstruction of justice.

He later claimed that while in jail the CIA tried to force him to sign a confession that he had deposited large sums of money from Libyan ruler Muammar Gaddafi into King Tupou’s bank account.

Soon after his release from prison he was indicted for murder, but after a tortuous legal process the case collapsed and he was freed after agreeing to a lesser charge, but did not serve any jail time.

Timelines:

Born in 1933, John Meier is believed to be still alive.

King Tupou IV died in September 2006.

Libyan dictator Muammar Gaddafi was overthrown and murdered during a coup on October 20, 2011.

The Russians never did explore for oil or establish a fishing port in Tonga.

The Soviet Union disintegrated in 1991.

Today, the United States, Australia and New Zealand worry about Chinese expansion in the Pacific instead.

Fuaʻamotu airport’s main tarmac runway is now 2681 metres long, just enough for a 747. However, no jumbo jet has ever landed or taken off there because the runway is not strong enough to support its weight.

Dr Philip Cass is a media academic, associate editor of Pacific Journalism Review and editorial adviser to Kaniva Tonga. This article was first published by Kaniva Tonga which has a content sharing arrangement with the Pacific Media Centre.

References:

Hard-hitting documentary explores Tongan ‘deportee dumping’ lives

Pacific Media Watch — Mon, 18 Feb 2019 22:21:20 +0000

In Gangsters in Paradise – Deportees of Tonga, Vice embeds with four Tongan nationals who have been sent back to where they were born after serving prison time in New Zealand and the United States. Video: Vice Zealandia

By Philip Cass

“It’s like crabs being stuck in a bucket scratching each other to get out.”

“It’s like rubbish dumping.”

Those are two views about the crisis facing Tonga as countries like the United States, Australia and New Zealand deport criminals to the kingdom.

The first comes from a deportee who talks about how it feels being sent back to struggle for a living in a country with which he and other former prisoners are often barely familiar.

The other is from Tonga’s former Commissioner of Prisons, who wants Western countries to take more responsibility for the people they deport and stop treating Tonga – along with Samoa and Fiji – as dumping grounds for people they regard as “rubbish”.

They are, he reminds us, human beings.

The two views come from a hard-hitting documentary, Gangsters in Paradise – The Deportees of Tonga. A regular contributor to Kaniva Tonga news, photographer Todd Henry, acted as associate producer for the Vice Zealandia documentary.

Talia’uli Prescott … permanently banned from NZ – “I loved being a bad guy, but now I want to be a good guy,” Image: Vice/Kaniva News

Statistics show that the United States deported 700 criminals to Tonga between 1992 and January 2016, an average of 29 criminals a year. However, police figures show that up to 40 percent of the criminals deported to Tonga have come from New Zealand.

Most of the deportees are men between 25-35 years and have usually done time for assault, robbery, burglary, theft and drug offences.

20 years absences
Most have lived outside Tonga for 20 years.

Last year former Deputy Prime Minister Siaosi Sovaleni said about 400 Tongans had been deported from the US, Australia and New Zealand since 2012.

More than half had partners or children living overseas.

Gangsters in Paradise is not comfortable viewing. It begins with an interview with a deportee who admits to having been jailed when he was barely out of childhood for shooting another boy four times in the stomach.

Violence played a big part in his upbringing, as it did in the lives of other deportees. For others, migration and re-migration provided a disturbed and unstable childhood.

Talia’uli Prescott talks about joining the King Cobras in New Zealand. They were aiga he tells the camera, explaining that it is a Samoan word for family.

“When you don’t have a family, they give you one,” he explains.

Permanently banned
He is permanently banned from New Zealand.

“That’s the only world I know,” he says.

“It’s very sad.”

By good fortune he has a job at Queen Salote wharf and says that he doesn’t want his legacy to be as somebody who was deported to Tonga.

“I loved being a bad guy, but now I want to be a good guy,” he says.

Other deportees have had a harder time fitting in.

As American deportee Sione Ngaue says: “We’re judged before they even get to know us. We have a red ‘X’ against us.”

Family land
Some deportees, like Ngaue, have staked a claim to family land. He works 6 hectares after a dispute with his uncles.

While some of the interviewees regard their time in prison as a chance to rethink their lives and gain a different perspective, others have brought nothing but trouble to Tonga.

Tonga is in the midst of a methamphetamine crisis and some deportees have gone back into the drugs trade.

One scene in the film shows a dealer preparing methamphetamine for sale, boasting that he can make TP$5000 (NZ$3200) from his Sunday night trading.

And sympathetic as he might be to their plight, Prisons Commissioner Sione Falemanu says deportees have brought more crime to the kingdom and sparked a wave of robberies.

With the Tongan diaspora spread between Sydney and Salt Lake City, this issue is clearly not going to go away. After a public screening of the documentary in Auckland last week, members of the audience who spoke during a talanoa, were sympathetic, but others warned that the deporting countries would also have to take note of what was happening.

“In all honesty, this is an ongoing issue, and believe it or not, it won’t be resolved in the near future. We’re going to have a lot of deportees. And to be honest, we need to start removing the [negative] perception around deportees,” one audience member said.

However, another warned: “If New Zealand does not actually pay attention to what we are seeing, it’s going to backfire on New Zealand. We’re already seeing it.”

Dr Philip Cass is an editorial adviser for Kaniva Tonga. This article is republished with permission.

Tongan deportees on the struggle to reinvent in a place both home and not – by James Borrowdale
Gangsters in Paradise – The Deportees of Tonga

Banabans climate change student documentary chosen for third festival

Pacific Media Watch — Mon, 18 Feb 2019 19:01:55 +0000

The 2018 Bearing Witness Project short documentary – Banabans of Rabi.

Pacific Media Watch Newsdesk

Banabans of Rabi – A Story of Survival, a short documentary by Blessen Tom and Hele Ikimotu of Auckland University of Technology’s Pacific Media Centre, has been selected for the Māoriland Film Festival 2019 next month.

The film will be screened as part as part of Ngā Pūtake Shorts.

This is the third official international film festival selection for Banabans of Rabi. The short documentary travelled to Salt Lake city, Utah, earlier this month and was screened at the Pasifika Film Festival.

The film had its Pacific premiere at the 2018 Nuku’alofa International Film Festival last year.

The film was produced out of the three-year-old Bearing Witness climate change project, a collaboration between PMC and its documentary partner Te Ara Motuhenga at Auckland University of Technology and the Pacific Centre for Environment-Sustainable Development (PaCE-SD) and Regional Journalism Programme at the University of South Pacific.

Māoriland Film Festival is Aotearoa’s largest indigenous film festival and is in its sixth year. The festival brings more than 138 films and 62 events from 94 indigenous nations to Aotearoa.

“Indigenous stories help us make sense of our world, of our connections and our shared humanity. Our sixth festival includes stories from the polar regions, from the deserts, from the mountains of Iran and Nepal, and from nations who dwell upon and beside the planet’s vast oceans including the Pacific,” says festival director Libby Hakaraia.

The 2019 MFF features a strong lineup of films from Te Moananui a Kiwa (the Pacific), including the southern hemisphere premiere of Vai.

Vai is a portmanteau feature film directed by eight female Pacific Island filmmakers and filmed in seven Pacific countries: Fiji, Tonga, Solomon Islands, Kuki Aīrani (Cook Islands), Samoa, Niue and Aotearoa (New Zealand).

The festival will also bring seven Pacific features and 41 short films from Aotearoa, Hawai’i, Papua New Guinea, Rapanui, Guam, Haida Gwaii, Vanuatu and more. Also, indigenous films from the United States, Canada, Northern Europe and Iran will also be screened at this five day film festival at Otaki.

The Māoriland Film Festival is at Ōtaki on March 20-24.

West Papua film exposes plight of ‘ignored’ local journalists

Pacific Media Watch — Wed, 13 Feb 2019 19:43:44 +0000

By RNZ Pacific

A short documentary which highlights the risks of being a journalist in Indonesian-ruled Papua region (West Papua) has won an international film award.

Aprila, directed by Rohan Radheya, took out the best short film award at the 16th Pacific FIFO Documentary Film Festival in French Polynesia.

The Dutch journalist and film-maker’s documentary tells the story of a young local journalist who stopped doing her job after receiving death threats.

READ MORE: FIFO 2019 – the winners

According to FIFO’s website, audience members in Tahiti expressed interest in the insight the film offered into a region and freedom struggle largely unknown to the world.

Radheya said while international attention on Papua often focused on restrictions that Jakarta placed on access for foreign journalists, the plight of local journalists was ignored.

“What we endure as foreign journalists is nothing compared to what local indigenous journalists in Papua are facing,” he said.

Papuan journalist turned novelist Aprila Waya, the main character in the documentary, said on Facebook: “This is a new thing for me where the process of making this film (more than three years) has taken more energy than writing a novel.

“Anyway, this is not my victory – it’s the victory of all the Papua people.”

This article is republished under the Pacific Media Centre’s content partnership with Radio New Zealand.

#journalismisnotacrime

More West Papua stories

Pacific voices tell stories of climate change reality in new documentary

Pacific Media Watch — Mon, 10 Dec 2018 21:23:54 +0000

A new documentary Subject to Change, a collection of interviews and personal stories from across the Pacific, explores the impact of climate change. Video: MFAT

Pacific Media Watch Newsdesk

Two young women students are the driving force who created a new documentary titled Subject to Change which highlights the climate change challenges faced by Pacific people in the region.

Among the most vulnerable to climate change impacts, Pacific voices are at the heart of the film which has been premiered at the UN Climate Change Conference (COP24) in Katowice, Poland, at the Pacific and Koronivia Pavilion.

Producer Amiria Ranfurly, who is of Niuean-New Zealand descent, and Polish director Wiktoria Ojrzyńska, are students of Massey University of New Zealand.

The young women chose to showcase climate change in their work because of the impact in the region.

“We wanted to explore the impacts that climate change is having on our world, and Subject to Change is a documentary film that presents a collection of interviews and personal stories from across the Pacific,” says Ranfurly.

“With passion and determination, we have created a film that shares insight to New Zealand’s response to the global objectives set by the Paris Agreement, alongside intimate stories from the frontline in a truthful and evocative way.”

Documentary producer Amiria Ranfurly (left) and director Wiktoria Ojrzyńska … “intimate frontline climate stories”. Image: COP24 Pacific

Director Ojrzyńska says: “Directing Subject to Change was an amazing storytelling experience, during which I worked with many inspirational people and gained experience across different aspects of filmmaking.”

Collaboration project
Subject to Change is a collaboration between Massey University and NZ’s Ministry of Foreign Affairs and Trade (MFAT).

Present to launch the film at the premiere was the Ambassador and Climate Change Special Adviser of the Government of New Zealand, with special guest speaker Inia Seruiratu, COP23 High Level Climate Champion of Global Climate Action, and Minister for Defence and National Security of Fiji who introduced the Director and the Producer of the film.

“Climate change remains the single greatest threat to the livelihoods, security and wellbeing of the peoples of the Pacific,” said Ambassador Stephanie Lee. “Our Prime Minister, Jacinda Ardern, has described the climate change challenge as the Nuclear-Free Movement of our generation.”

“We have heard about the IPCC 1.5 degrees report and we already knew that it really underlines this challenge as an urgent one. The documentary you are about to see embodies that sense of challenge, but it also embodies a sense of hope,” said Ambassador Lee.

The documentary featured and drew strongly on the perspective of the Fijian people, particularly of those of the small island of Batiki with a population of around 300 people that was hit hardest by Cyclone Winston in February, 2017.

Inia Seruiratu thanked the NZ government and Massey University for supporting the documentary, as well as New Zealand’s support and partnership on the Pacific and Koronivia Pavilion where the premiere was being held.

Speaking about his experience as a Pacific islander, Seruiratu thanked the producer, director and the team behind the documentary for producing a powerful medium with which the voices of the vulnerable could be heard.

“People need to see and experience visually the realities others such as those in the Pacific are facing in order to better understand. And this is why this documentary is so important and serves as a great tool,” said Seruiratu.

Telling the real stories behind ‘plastic’ Pacific islanders and stereotypes

Leilani Sitagata — Mon, 19 Nov 2018 06:45:17 +0000

A look at the lives of Pacific Islanders who choose to ignore or struggle to embrace their heritage. Video: Plastic Polynesia trailer

By Leilani Sitagata

Two final-year communication studies students at Auckland University of Technology decided for their end-of-year project to film a mini documentary about what it means to be a “plastic” islander.

The television majors Elijah Fa’afiu and Jamey Bailey brought it all to life to create Plastic Polynesia.

The nickname “plastic” refers to a person who is out of touch with their culture and perhaps cannot understand or speak their language.

The film looks at the lives of Pacific Islanders who choose to ignore or struggle to embrace their heritage and follows a student learning Samoan for the first time.

Fa’afiu says he was passionate to pursue this concept because he can relate to being “plastic”.

AUT filmmakers Jamey Bailey (producer) and Elijah Fa’afiu (director). Image: Leilani Sitagata/PMC

Plastic identity
“I identify with the term ‘plastic’ and it turns out that I’m not the only one who does,” he says.

“I wanted to explain this word and how it differentiates Pacific Islanders from each other.”

He says that over the years he has not been in touch with his Samoan and Māori heritage, and this is the case for a lot of Kiwis.

‘Disconnected from roots’
“I feel I’ve been disconnected from my roots, that wasn’t intentional – it was just how things ended up.”

Alongside Fa’afiu was producer Bailey, who was in a similar boat to him when it comes to being connected to his culture.

“I label myself as ‘plastic’ because it’s an easy scapegoat.

“I don’t speak the language, I don’t do church, I don’t do all the things I’m supposed to do.”

He says that this film was an opportunity to challenge and explore what exactly “we are meant to do”.

Part of the documentary follows university student Rashad Stanley as he undertakes the journey to learning the Samoan language.

Not knowing
This was important to Fa’afiu as he says he can relate to the experience of not knowing such a big part of his culture.

“Being born in New Zealand, my parents did take me to church and speak Samoan to me, but I never really absorbed the language.”

Plastic Polynesia also touches on the idea of how Pacific Islanders are stereotyped.

Bailey says he strongly believes this generation is the one that’s working hard to break the misconceptions surrounding all types of people.

“Growing up, the common stereotypes are that we’re only at school for the sports and music, and mainstream media has been a big part of the way Pacific Islanders are perceived.

“With Plastic Polynesia, we’re trying to break those stereotypes and show that there are Polynesians out there who are different.”

The film also includes an interview with Hibiscus and Ruthless’ Nafanuatele Lafitaga Mafaufau Peter as well as many students.

Bailey says the message is key and he hopes the audience will catch on to the importance behind the story they share.

“In terms of face value, a lot of people just see brown skin and we want to tell that stories don’t get heard.

“Our goal by the end of this is to bring awareness that we can’t keep grouping people, we’re all individual.”

Leilani Sitagata is a reporter on the Pacific Media Centre’s Pacific Media Watch freedom project.

Plastic Polynesia will be screened during the AUT Shorts film festival being held at The Vic in Devonport on November 22

Paga Hill iconic human rights film banned from PNG festival

APR editor — Sat, 13 Oct 2018 01:52:37 +0000

A Frontline Insight item about Joe Moses and the Paga Hill struggle for justice in Papua New Guinea. Video: Reuters Foundation

Pacific Media Watch Newsdesk

An internationally acclaimed investigative documentary about Paga Hill community’s fight for justice from the illegal eviction and demolition of their homes in Papua New Guinea’s capital of Port Moresby has been banned from screening today at the PNG Human Rights Festival.

“The ban highlights the lingering limits on free speech in our country and the continued attempts to censor our story of resistance against gross human rights violations,” claimed Paga Hill community leader and lawyer Joe Moses, the main character in The Opposition film who had to seek exile in the United Kingdom after fighting for his community’s rights.

“This censorship comes as a deep disappointment for my community who have suffered greatly over the past six years.”

The PNG Human Rights Film Festival. Image: Programme screenshot

The Opposition tells the David-and-Goliath battles of a community evicted, displaced, abandoned – their homes completely demolished at the hands of two Australian-run companies, Curtain Brothers and Paga Hill Development Company, and the PNG state.

What was once home to 3000 people of up to four generations, Paga Hill is now part of the Asia-Pacific Economic Co-operation (APEC) summit “AELM Precinct” which will take place this November.

Moses said: “We appreciate the PNG Human Rights Film Festival for choosing to screen The Opposition film at their Madang and Port Moresby screenings.

“It is shameful that our government continues to limit free speech and put such pressure on our country’s only annual arts and human rights event. How does this make us look to the world leaders who will be coming here for the APEC meeting in November?”

‘Speak up today’
Under the theme “Tokautnau long senisim tumora” (Speak up today to change tomorrow), the mission of the PNG Human Rights Film Festival includes: “We are all born free and equal in dignity and rights”.

The international and local human rights films screened “promote increased respect, protection and fulfillment of human rights in Papua New Guinea”.

Paga Hill youth leader Allan Mogerema, who also features in the film said: “The right to freedom of speech and freedom of press is provided for under Section 46 of the PNG Constitution. By banning our story, the PNG government is in breach of our Constitution and our rights as Papua New Guinean citizens.”

The Opposition trailer.

As a human rights defender, Mogerema has been invited to the 2018 Annual Human Rights and People’s Diplomacy Training Programme for Human Rights Defenders from the Asia-Pacific Region and Indigenous Australia organised by the Diplomacy Training Programme (DTP) and the Judicial System Monitoring Programme (JSMP) to share his story of the illegal land grab, eviction and demolition of his community.

“The film has already been screened in settlements across PNG and at the Human Rights Film Festival’s Madang screenings. No matter how hard they try to censor us, our story continues to live, and our fight for justice continues to thrive,” added Mogerema.

“No matter how long it takes, our community will get justice.”

Dame Carol Kidu is also featured in The Opposition.

Initially an advocate for the Paga Hill community, Dame Carol turned her back on them by setting up a consultancy to be hired by the Paga Hill Development Corporation, on a contract of $178,000 for three months’ work.

In 2017, she launched a legal action in the Supreme Court of NSW to censor the film.

In June that year, the court ruled against Dame Carol’s application.

#Justice4Paga

Paga Hill homes being destroyed in May 2012. Image: Frontline Insight screenshot

Pacific storytelling with a focus on the ignored and ‘untold’ issues

Pacific Media Watch — Wed, 03 Oct 2018 05:09:45 +0000

A video made by an AUT screen production graduate, Sasya Wreksono, marking the 10th anniversary of the Pacific Media Centre. Video: PMC

PROFILE: By Craig Major of AUT News

Based at Auckland University of Technology, the Pacific Media Centre is a small team dedicated to telling stories from across the Pacific that you won’t read anywhere else.

Established in 2007 by Professor David Robie in AUT’s School of Communication Studies, the centre focuses on postgraduate research projects and publications that impact on indigenous communities across the Pacific.

“We’re a small team, but the scope of what we cover is phenomenal,” Dr Robie explains. “As researchers and reporters, we look at the repercussions that big issues like climate change, human rights violations and press freedom have on these small communities in the Asia-Pacific region.”

The team are active publishers, managing several platforms including the Pacific Media Watch and Asia Pacific Report news websites, the half-yearly academic research journal Pacific Journalism Review and its companion Pacific Journalism Monographs, the blog Niusblog and Toktok, a quarterly newsletter.

The centre has also secured a media partnership with Radio New Zealand – the first content-sharing arrangement between a New Zealand university and a news organisation – and hosts the weekly Southern Cross radio programme on 95bFM.

Some of the Pacific Media Centre team: Sri Krishnamurthi (from left), Blessen Tom, Leilani Sitagata, Associate Professor Camille Nakhid, Professor David Robie and Del Abcede. Image: Craig Major/AUT

Dr Robie, along with Advisory Board chair Associate Professor Camille Nakhid, sees the centre as having a strong advocacy role across the Pacific and further afield.

“I think it is a real strength of the PMC that the team can find issues in the Pacific that just aren’t covered in the mainstream New Zealand media, then explore them and report on them with authority and conviction,” Dr Robie says.

Beyond a travel brochure
“The team is skilled in identifying issues that are beyond the scope of what the public sees in a travel brochure.”

Dr Nakhid echoes this sentiment. “New Zealand’s media can be very insular when reporting on what is happening in the Pacific – even though there is so much happening right outside our doorstep.”

Internally the team takes a cross-discipline approach, working closely with students and staff in the School of Communication Studies (particularly Te Ara Motuhenga, the documentary collective) and the School of Social Sciences.

The centre also has international partnerships, such as with the Paris-based Reporters Without Borders, and maintains close ties to Pacific communities based in New Zealand – and are sure to collaborate with community groups for events and seminars.

“Pacific Media Centre organised a seminar about the refugee situation in Myanmar recently,” recalls publications designer Del Abcede. “Through talking to the Burmese citizens that we had invited, we discovered a range of issues that only came to light in the mainstream after the Myanmar election.”

PMC reporting staff – mostly postgraduate students – are encouraged to uncover and explore the issues that interest them.

“Working with the PMC has been very illuminating,” says Sri Krishnamurthi, a postgraduate student who has covered Fiji-based news for PMC, and has interviewed two of the three party heads hoping to win Fiji’s general election next month.

“I have a background in communications and journalism, but doing this kind of reporting has been a real eye-opener,” says Krishnamurthi, a Fiji-born journalist who worked with the NZ Press Association for 17 years.

Film festival screening
And just this week two students from the centre, Hele Ikimotu and Blessen Tom, have had their Bearing Witness climate change documentary, Banabans of Rabi, accepted for screening at the 2018 Nuku’alofa Film Festival.

The trailer of Banabans of Rabi, a short documentary on climate change accepted by the 2018 Nuku’alofa Film Festival. Video: BOR

The freedom to pursue stories in the region is an opportunity for Dr Robie and the team.

“Students that work with us learn so much – and there really is no underestimation of their abilities,” Dr Robie said.

“Not only that, it promotes media and journalism as a viable career path for Pacific students, and leads to opportunities for international journalism projects.”

Rainbow Warrior returns to NZ for ‘oil free’ future and activist doco

APR editor — Tue, 11 Sep 2018 03:31:47 +0000

Greenpeace New Zealand executive director Russel Norman and the Rainbow Warrior skipper toss a wreath in memory of Fernando Pereira into the sea at the spot where the original bombed RW was scuttled in 1986 to create a living reef. Video: David Robie/Cafe Pacific

Pacific Media Centre Newsdesk

Greenpeace’s flagship Rainbow Warrior 3 was welcomed in Matauri Bay at the start of a month-long tour of New Zealand yesterday to celebrate a victory in the fight against fossil fuels and to launch filming on a documentary drawing on the links between the nuclear-free and climate change struggles.

The tour began following the laying of a wreath at sea to honour the memory of Dutch photographer Fernando Pereira who was killed by French secret service saboteurs who bombed the original Rainbow Warrior in Auckland on 10 July 1985.

Greenpeace New Zealand executive director Russel Norman gave an emotive speech about Pereira’s legacy being the ultimate success of the antinuclear struggle with the end of French nuclear testing in the Pacific in 1996 and the ongoing climate change campaign.

Rainbow Warrior crew, Greenpeace stalwarts and local hapu members were treated to seafood kai at Matauri marae.

The Nuclear Dissent interactive documentary.

Also launched yesterday was a new interactive documentary, Nuclear Dissent, a cautionary tale about haunting nuclear destruction, told through the lens of some of the world’s bravest activists and experts – the successful leaders of disarmament efforts from French Polynesia and New Zealand to Canada, the United States, and Greenpeace, who influenced outcomes and fought for change.

In five short video chapters available on desktop, mobile and webVR, the true story of the battle to end French nuclear weapons testing between 1966 and 1996 is told through dynamic 360º panoramas on land, afloat in the fallout zone, amid riots, and underwater, Greenpeace says in a statement.

The story is capped off with a raw assessment of where the world is today – the greatest global nuclear threats, risks and effects unpacked.

Extreme health and environmental damage to French Polynesia was caused by test nuclear explosions in the South Pacific, spreading cancerous plutonium across continents and into the food chain.

Activist persistence
Due to the persistence of activists braving the fallout zone and widespread protests and a growing nuclear free movement, the French government eventually shut down its testing programme.

More than a decade later, those affected have yet to receive justice for the intergenerational trauma inflicted on their land, their health and their resources by the French government, the Greenpeace statement said.

With historical accounts from protesters Anna Horne and Greenpeace’s David McTaggart who sailed into the test zone, expert opinions from nuclear policy analyst and Harvard professor Matthew Bunn, Dr Ira Hefland and climatologist Alan Robcock, viewers are guided through an eye-opening journey.

Alongside each chapter’s video content, 360 x-ray environments and journals filled with evidence and artifacts bring otherwise invisible details and deadly damages to light.

An interactive fallout map enabled with address entry visualises what the scope of destruction, death and injury would look like in any city, from a selection of current nuclear weapons that exist in the arsenals of the world’s most dangerous superpowers.

‘Making oil history’
Anna Horne joined Rainbow Warrior 3 yesterday as the ship prepared to sail from Matauri Bay to Auckland where Greenpeace will launch its “Making Oil History” tour of New Zealand”.

Earlier, the Rainbow Warrior had been joined by David Robie, author of Eyes of Fire about the Rongelap voyage and the bombing of the original Rainbow Warrior, and currently director of the Pacific Media Centre.

In 2015, Professor Robie and a group of student journalists combined with Little Island Press and Greenpeace to create a microsite dedicated to Rainbow Warrior and environmental activist stories and videos, Eyes of Fire: 30 Years On, as a public good resource.

Both Horne and Dr Robie are among at least 10 activists, writers and changemakers being interviewed for the new Greenpeace documentary being directed by journalist Phil Vine.

The wreath laying ceremony in memory of Fernando Pereira on board the Rainbow Warrior yesterday. Image: David Robie/PMC

Police claim raid on Papuan students to block ‘Bloody Biak’ film screening

APR editor — Mon, 09 Jul 2018 21:28:25 +0000

By Pebriansyah Ariefana in Surabaya

Indonesian police have revealed that police and military officers raided a Papuan student dormitory in the East Java provincial capital of Surabaya in Indonesia at the weekend because the students were allegedly planning to screen the documentary film Bloody Biak (Biak Berdarah).

Tambaksari Sectoral Police Chief Police Commander Prayitno claimed that security personnel went to the Papuan student dormitory in order to prevent an incident such as one that occurred in Malang earlier in the week from happening in Surabaya.

“[According] to information we received, they announced on social media that they would show the film Bloody Biak. So we went to the dormitory to anticipate this,” he said.

However, the planned screening of the film Bloody Biak on Friday was cancelled, and replaced by a screening of World Football Cup matches.

“If the discussion had still gone ahead. Apparently the film Bloody Biak [was to be screened] which tells the story of the massacre of Papuan people. I don’t know if this was true or not”, he said.

A joint operation by hundreds of TNI (Indonesian military), police and Public Order Agency officers (Satpol PP) raided the Papuan student dormitory located on Jl. Kalasan No. 10 Surabaya on Friday.

The dormitory is home to hundreds of students and Papuan alumni from various tertiary education institutions in Surabaya.

Security personnel sealed off the Papuan student dormitory because of suspicions that there would be “hidden activities”.

Inside the dormitory, they were to hold a discussion and wanted to screen the film Bloody Biak that evening.

Background
On July 6, 1998, scores of people in Biak Island’s main town were wounded, arrested or killed while staging a peaceful demonstration calling for independence from Indonesia.

Earlier last week on July 1, police violently closed down a discussion by West Papuan students at Brawijaya University in the East Java city of Malang marking the 47th anniversary of the proclamation of independence in 1971 by the Free West Papua Movement.

Police claimed that they closed own the discussion following complaints from local people.

Translated from the Suara.com story by James Balowski for the Indoleft News Service. The original title of the article was “Film Biak Berdarah, Alasan Polisi Kepung Asrama Papua di Surabaya”.

Tide of Change – documentary by USP students explores climate action

Wansolwara — Mon, 26 Mar 2018 06:07:51 +0000

The Tide of Change climate adaptation documentary by university of the South Pacific student journalists. Video: Wansolwara

Pacific Media Watch Newsdesk

The people of Natawaru Settlement in Fiji have seen their humble livelihoods grow more precarious as the effects of climate change take their toll.

From rising seas, depleted fish stocks and rising temperatures, the community is faced with a struggle for survival.

However, the people, who live near Fiji’s second city Lautoka on Viti Levu island, have declared themselves a “violence free community”.

Tide of Change is a short documentary film by student journalists at the University of the South Pacific: Koroi Tadulala, Aachal Chand, Mitieli Baleiwai, Venina Rakautoga and Kaelyn Dakuibure

Producer: Dr Olivier Jutel

More Fiji stories

PMC projects lure doco makers, politics writer and Fiji journalist

Pacific Media Watch — Thu, 15 Mar 2018 07:51:21 +0000

Pacific Media Watch Newsdesk

Pacific Media Centre project students and interns announced for the year this week include two budding documentary makers and a seasoned journalist from Fiji with more than two decades of experience.

Jean Bell has been appointed the Pacific Media Watch contributing editor for 2018 and posted her first story this week about concerns over food safety and a politically “contained” debate seven years after the Fukushima Daiichi nuclear power plant disaster in Japan in March 2011.

She is a current student at Auckland University of Technology, studying towards a Postgraduate Diploma in Communication Studies, majoring in journalism.

Bell also graduated from the University of Auckland in 2016 with a Bachelor of Arts double major in politics and international relations.

In 2017, Bell worked as a legal secretary in a commercial law firm and spent her free time working on freelance journalism projects and writing news for Auckland radio station 95bFM.

She will also be hosting the Pacific Media Centre’s weekly radio programme Southern Cross.

Bell admits she is no expert in Pacific journalism or politics, “but that’s one reason why I wanted to apply.

“I see this as a chance to learn more and widen my skill base while also bringing the valuable skills I already have to help drive this project.”

Highly experienced
Sri Krishnamurthi brings more than 20 years of experience as the PMC’s 2018 NZ Institute for Pacific Research journalist.

Sri Krishnamurthy (left) at the University of Auckland’s Pacific Fale with NZIPR manager Dr Gerard Cotterell. Image: David Robie/PMC

Originally from Fiji, Krishnamurthi has always had a strong connection with – and a deep interest in – what is happening in the Pacific region.

He is currently a part-time student in the Postgraduate Diploma in Communications (Digital Media) course at AUT. He also has an MBA (Massey University).

Krishnamurthi worked for many years as a journalist with the now-defunct New Zealand Press Association newsagency and has held a variety of senior communications posts, including Northland Inc., an iwi (Ngatiwai) organisation, the Ministry of Pacific Island Affairs and as a minister’s press secretary.

“The media landscape has changed with the advent of the digital age, but the fundamentals of working as a journalist, a public relations practitioner, or in communications, require the same inherent skills they always have – albeit with some enhancements,” he says.

The two students going to Fiji this semester on the Bearing Witness climate change project are Hele Ikimotu and Blessen Tom, both on the Postgraduate Diploma in Communication Studies degree and keen to develop their screen production and writing skills.

Hele Ikimotu … passionate about Pacific stories. Image: PMC

‘Pacific passion’
Of Niuean and Banaban descent, Hele Ikimotu completed his Bachelor of Communication Studies degree majoring in journalism last year and worked as an intern on the NZ Institute for Pacific Research project.

Ikimotu is currently employed by the Office of Pacific Advancement at AUT, working for the the Oceanian Leadership Network, a new initiative at the university.

“I have a passion for Pacific stories, issues and people,” he says. “ I believe there needs to be more coverage on the Pacific community and positive representation of Pacific people.”

Blessen Tom … directed short films. Image: PMC

Blessen Tom, originally from India, completed his Bachelor and Masters in Literature and is now pursuing his studies in digital media.

He is passionate about visual storytelling and documentaries.

Tom directed two short films and a drama, and is currently working on a mini documentary series for YouTube.

Pacific Media Centre director Professor David Robie described the project-winners as a “talented team” and looked forward to working with them this year.

He also praised project partners the Pacific Centre for the Environment and Sustainable Development (PaCE-SD), University of the South Pacific Journalism Programme, NZ Institute for Pacific Research (NZIPR), AUT’s Te Ara Motuhenga and Evening Report.

The PMC recently engaged Dr Sylvia C. Frain, a Micronesian, Northern Marianas and peace studies specialist as a postdoctoral research fellow.

More about PMC projects

The Opposition: Paga Hill’s villagers fight for justice in PNG

Pacific Media Watch — Sat, 10 Feb 2018 02:19:12 +0000

Pacific Media Watch Newsdesk

In Papua New Guinea, community leader Joe Moses struggles to save the 3000 inhabitants of Port Moresby’s Paga Hill settlement before they are forcibly evicted from their homes in this documentary screened on Al Jazeera’s Witness programme.

Despite betrayals, police brutality and risks to his own life, Moses battles through the courts for three years, fighting the company which wants to develop the area into a luxury resort and cultural centre.

WATCH ON YOUTUBE: Al Jazeera’s Witness screening of the Paga Hill documentary

As the struggle unfolds, Moses recruits a coalition of allies, including politician Dame Carol Kidu, investigator Dr Kristian Lasslett and a motivated team of pro-bono lawyers to help him save his community.

“Some stories pick you. On my second day in Papua New Guinea, I found myself in the middle of a human rights abuse – standing between police holding machetes and machine guns, and the Paga Hill community, who were watching their homes being destroyed and fearing for their lives. The community were peaceful, but refused to be defeated,” recalls filmmaker Hollie Fifer.

“When I found out that a property developer was after the Paga Hill land in order to build a five-star hotel, marina wharf, and national cultural centre, I knew I had an obligation to capture the community’s resistance.

“The irony of violently evicting a Papua New Guinean community to replace their homes with a national cultural centre was startling.

“The fallacy of ‘development’ was clear. Over the last four years, I have been constantly watching the story of Paga Hill unfold and trying to capture it as it does.”

The Opposition, the documentary by Hollie Fifer, which itself has been the target of censorship bids and a legal wrangle, can be viewed via Al Jazeera’s Witness programme page on YouTube.
The trailer
The ‘battle of Paga Hill’ – controversial PNG doco finally on NZ screens

Foreign journalists ban over ferry disaster blamed on climate doco

Pacific Media Watch — Sat, 10 Feb 2018 00:44:57 +0000

What if your country was swallowed by the sea? Kiribati (pop. 100,000) is one of the first countries that must confront the main existential dilemma of our time – imminent annihilation from sea-level rise. This documentary, Anote’s Ark, has been blamed by Kiribati immigration officials for their block on foreign journalists.

Pacific Media Watch Newsdesk

A controversial climate change documentary showing at the Sundance Film Festival has been blamed for the Kiribati government blocking journalists from entering the country to report on the fatal sinking of a passenger ferry.

The MV Butiraoi broke in half and sank three weeks ago, with more than 90 people missing and presumed dead.

Newshub Pacific affairs correspondent Michael Morrah said his passport was confiscated when he and other Newshub staff landed in the country on Monday.

LISTEN: NZ TV crew banned from reporting Kiribati ferry disaster – RNZ

They were told they were no longer to report on the sinking, because their reporting could impact on the country’s own investigation into the tragedy.

Australian Broadcasting Corporation journalists were also reportedly barred from travelling to Kiribati to report on the disaster.

According to Morrah, “the government’s recent hostility towards international press coverage appears to be rooted in the screening of a documentary at the Sundance Film Festival, Anote’s Ark.

“The country’s previous President, Anote Tong, was the subject of the film, which focused on climate change in Kiribati.

“In the doco, he spoke about why he had purchased land in Fiji and the serious and imminent threat of rising seas to the future of his people.

“But his views don’t gel with the current President Taneti Mamau. In November Mamau said the idea of Kiribati sinking and becoming a deserted nation was ‘misleading and pessimistic’.”