good morning everyone it's lovely to be amongst you maybe again I don't I don't remember all the faces but I do it's nice to see some familiar faces um I'd like to start of course by acknowledging that we're Gathering here today on the unseated lens of the tourable and yag peoples and pay my respects to their Elders past present and emerging um it really is a bounty to be able to work in this place and to work across uh to the region to the Pacific region with many First Nations artists my work here is as curatorial assistant for Pacific art and um my research has really focused on Micronesia Hawaii Fiji and Tonga over the last few years and the last couple of APS and today I'll be sharing just four projects that um have emerged from that and will be featured in this AP1 with you uh I was here towards the end of Ruth's presentation and I picked up on the question around pronunciation and so perhaps what we'll do is you can make a mark in your if there's particular words but perhaps towards the end we can go back and uh I'll repeat and we can practice saying some of the words together uh maybe especially for the artist names and places uh we can do a bit of that if it's helpful that be we will be uh going through three different languages today so there are some nuances and I will um give some time just to pull out how that plays across so the first project of the four begins in V with alaki and the Lea mahanga women's group we can do that one a few times yeah so you can call her Alo but uh yeah this was actually a project that I've been in conversation with this artist for over 5 years and I was born in B where she's from in the in the village next to hers so I know the the the particular locality quite well there's ano for weaving in her home this is V it's about it's the one of the northern Island groups of the Kingdom of Tonga and the village that ano is from alongside the Lepa mahanga women's group is as you can see it's located uh where the arrows point but next to what's called ano Lake it's the biggest freshwater lake in Tonga and it's a quite distinct ecosystem and being located there in the channel means that historically the people of that Village have had this kind of Jewel uh responsibility where they care for that uh ecosystem but also it's on the highest point you can see in this photo that mountain at the back that's actually right they sit right at the at the kind of threshold of that um mountain in this picture and from that vantage point they were also uh would would kind of oversee people traveling into and out of the harbor and I remember speaking as we were growing up we knew that they there was actually a time where uh they had a rope that they would throw across to the Village across from from to anuku and it was almost like the Customs where when someone was seen to be coming in they'd call out to the villagers on the other side and Pull the Rope really hard so it created a barrier and the person on the canoe or the boat that was entering had to stop and you know be accountable and explain the reason that they were entering and be given permission so they had this responsibility there which was even more Ed by the fact that they were the home of the the late King of the royal family who are known as the ulukalala Dynasty and ruled there from um up until the 1970s uh and still have a direct connection to the current monarchy and Tonga so we see oops so in this Lake a particular read grows and it's actually it's not the dark green that you see it's the light green on the fringes and this freshwater re only grows in a few specific places the region including Fiji Hawaii aloa is a big one too which I've just heard a bit about um and this freshwat read uh is very important to it's a a a source of food but also um helps with water purification and caring for the small creatures that are there and the practice of weaving these Reeds is actually a way that the women of this Village contribute to the health and well-being they harvest at specific times and it's known to really be uh this kind of group Collective harvesting at particular times in the year helps to care for the health of the species and of their ecosystem which is quite special so you can see that the reads themselves are quite Hollow they're picked at a particular time when the water is full and so the reads are full of moisture and harvested in large quantities it's really a family affair so we see if kind of wake up early you're trudging and mud sometimes up to your neck the the mud and the water that's there and cutting uh the reads for Harvest as they dry they dry different colors whether you dry them in the Sun or in the shade um but they're all selected and you find the purely unbroken reads they're all sorted to find those reads that are then um so they dry strong and then they're flattened for weaving Sometimes using just using your feet in that way you'll notice throughout the presentation sometimes the word koutu is used and sometimes the word K and the difference is that uh K is when it's fresh and growing and CA is when it's dried as a weaving material so that's a distinguishing feature so because of the relationship of this people to the royal family they're often asked to make things specifically to fulfill Royal Duty and offerings of gift or for ceremony and in Tonga we have a way of do things very big in a way of honoring our royal family so for AP 11 we have supported the making through the Oceania women's fund of a 15 M long um falaka so fala meaning Matt falaka uh and as you can see there it's uh this women's group Lea mahanga was very much involved with the leadership of Al noo in producing this met uh or from those reads during this time there was actually experienced a drought and um so quite a difficult process to Source um the material usually they're made plain as you saw in the previous photo uh to date because this emphasis on size really has taken over what um the time that was has been given uh previously to pattern work and symbol making and it was one of our no's aspirations to reintroduce the use of symbol and pattern into this work as a way of ensuring that the process was a time for sharing histories with the the makers between um as you would have noticed too the different Generations that all participated they wanted a time that was really a space of learning for the local community uh and so due to the drought they weren't able to Source enough CA to be able to use the ca itself for the black but it uh if they had use used that read uh usually what they do is they then soak it in volcanic mud over the course of at least three days and dry it to to stain it black but for this what you'll see in the one that's coming is that they had to uh resort to more synthetic materials so they've used kind of some variations of ribbon and Mafia for the work and they uh turned out to kind of fully Embrace that and you'll see it's actually quite colorful the match I haven't seen the final product yet because um it was shipped before the photographs were taken but it is in train now so it hopes we hope it'll arrive in a couple of days I've just seen some Snippets but this is some of the sections that um some of the photos we got while it was being made and it will hang in gallery 5 across at quag so it's kind of suspended from um I don't know if you remember that space and it won't be seen as in full this time some parts will be um hidden but it is an acquisition it will become part of our collection so in future I think we'll be able to have more space uh the second artist here William Baku didn't actually start painting until he was 37 years old he grew up in sua uh in Fiji and he moved back to his the village of his um of his parents uh when he was 37 and during the time that's niku Village it's just on the east coast of Fiji uh he was learning a lot about the stories and the legends of that place during the time and in conversation with you know hearing these things for the first time he just it really struck him how rich and how many different Legends and stories were owned by this um one single locality and he felt that you know there were not enough images or illustrations to really keep this at the Forefront of those that came and to um hold on to these stories like the visual language he couldn't find too much visual language that supported the stories and so he uh the first exhibition he did was bringing together local elders and painted murals on many of the homes in the village and some of which still remain as a way of kind of recording the stories that was the first exhibition it was just on the homes of uh of of different inhabitants from there it kind of uh developed in parallel to the Oceania Art Center in at the University of the South Pacific where a very well-known scholar named AEL how OFA uh in 1997 founded this Art Center which was really the root of it was about developing U modes of artistic expression of Contemporary Art that were in formed by conversations with local um people by the local environment and um certain exchanges so they invited William to be a part of that that school that space where really they just painted together shared stories created spaces for Community dialogue and uh allowed the artistic practices to develop in that way the Red Wave Collective emerged which became very well known throughout the region as this kind of contempor painting Collective one of the first to um exhibit as prolific ly as they did uh during that time so that was around 1997 as well and William you know he really refine this as his distinctive technique where he's using oil paints on canvas and painting layers and etching away so a lot of the intricate designs you see are painted and then pulled back through layering as a way of also referencing the weaving and um B cloth art forms that are are most commonly associated with with uh visual language and pattern making uh in Fiji uh they all carry stories so for instance this the tarala refers to a particular dance that can be done to any song so it's this dance where uh that you do uh in groups uh the legend of the ryang Reeves is about a reef that is particularly quiet and they attribute that to the the god um the supreme god D who lived in a cave next to that reef and he couldn't sleep because it was so loud so he asked the reef he told the reef you have to be quieter and to this day it's the quietest reef in Fiji so that's uh just a couple of examples this is William and I've never met William in person he paints out in his home he's quite uh isolated where he is but we've been able to uh also um a lot of the works that you saw previously have come into our care through the gift of a local um collector of his work that used to live in Fiji Bruce Sal and we also commissioned for AP one new work uh which took you know liing with family that live in other villages to go and speak with him he doesn't really have connection to phone or Internet so it's been an interesting Journey but this is him working on the new work and this is an image I received yesterday of um the work just on Facebook Messenger but so that will be shown in also in um the quag building and it's called VI which means want to be or want to be and it refers to a particular proverb which talks about how in the sea things uh that creatures live and are shaped by their ability to survive at different levels of depth and that in that way they're all connected but are very different in the way that they experience the ocean and in a similar way he feels that although he lives in the same Village as uh many others he's he sees how different your life can be even within the same kind of um context so now just moving to Hawaii there's two artists to speak about here um this is the late Bernice aamin who I'll just preface by sharing that um Bernice was someone I met uh a couple of years ago and uh in the course of working for her through this exhibition she was diagnosed with cancer and in June unfortunately lost her struggle to cancer and so in that time time we've moved to work with her whole family um and that's been the process and there was actually a time when Bernice was uh was considered not to include but it was really the wishes of her family and her I think eight members of her family will travel to see this final work that she was able to include in the exhibition but we feel very fortunate that she's um that we still get to represent this work so she uh Bernice was kak which is a word that's used um to describe native Hawaiians of mixed Heritage that makes so born in Hawaii grown up there but not necessarily pure yeah uh pure so that's the term and she lives and works in volcano which is on the larger Island which itself is called Hawaii which is quite confusing so you have Hawaii the main island where Honolulu is is called Oahu and the bigger island which is not the main island is actually called Hawaii Island so I don't know that's and she lives right on the base of a village called Vol volcano that is on the volcano so um yeah I'll just share a little bit about the the research because we actually Bernice is someone we have in our collection you may remember her works from uh the CIS exhibition uh that was there uh she has really looked at the way that Textile Art has been influenced by introduced fabrics and textiles over periods of history and really is about celebrating the way that these kind of uh introduced ideas or forces that have often been seen as oppressive can be um kind of looking at this constructive resilience can be rechanneled into ways of reasserting um Hawaiian sovereignty and the value of indigenous knowledge systems so this work is made completely of copper uh this is not one in AP 11 but it has informed the work that we'll do it's of that earlier research where she uses quilting methods from the B cloth Kaa which is the Hawaiian term we we might know also as taper cloth or the terms um and has um used them to reconstruct um different uh famous quilting this one called HI Hawaii which is the flag of Hawaii um and references historical textiles B is also known as What's called the hum uh kumu so the word kumu in Hawaiian is a very significant word it means teacher and student there's no often uh here we talk about masters of a craft and those that have the most knowledge always see themselves as teachers and you know Artisans and this word kumu really uh it says you have the right to teach because you know so much and that is a responsibility that you also carry um so to us she's known as a a kind of a senior artist but but locally she's known as AK kumu someone who has you know is continuing to learn with such consistency that she can teach it's really that relationship to um the land that uh gives her the right to be called there and to the practice but she is very experimental so uh the kumu is a m she's kind of a teacher with particular focus on dyes and pigments and she's been a lot of time researching in Hawaii they this kind of they have such a rich ecology that you can achieve almost a full spectrum of colors from natural dyes and she's uh was is um credited for un kind of re UHC discovering um many of those colors and pigments during her practice so this is a work that is currently in our collection and it's a series um that was in CIS and here she's kind of done these uh uh almost uh what do you call like um portraits of plants using the diet to dye the fabric on a natural they're not using copper but uh in the work she'll do for AP what she's done is she's created all of the D herself she's grown the copper plant uh these are the ones in her backyard and beaten every single piece and founded also the pigments um used and then also the tools that we see on the left um there's the oala which are the bamboo stamping sticks and really distinguish Hawaiian um B cloth making the be there Hawaiian ones are distinguished as they're called ik sorry there's so many words you don't remember what them but they're um they're what are used to beat the bar of the the copper plant and in Hawaii they have special symbols on them so they act actually Watermark the plants often if you look very closely there's patterns underneath the pattern that's painted and that's created by the ik that's there um yeah and she was among some of the first kind of collectives and networks of women that were really thinking about the way that these cloths can continue to serve kind of local purposes as well as being the first to make for dance costumes again after a long period This is a Capa Moy or a sleeping quilt and um these are layered so often three or four layers and you can kind of see the water marking in the light on this one from the e um that's happened and so for ap11 she br brings together this idea of quilting into a patchwork um design where she'll have the piece is not yet finished her daughter umani is uh completing the work and she took very good notes and instructions for her to complete them which is really special uh but there are this kind of grid of um 16 different uh 16 different squares that reference a particular chart in Hawaii called called the Kumo and I'll just read you a bit of it cuz it's quite significant it's the creation chant and it's the legend of how all beings came to um are interrelated and came to exist in Hawaii but the very special thing about the kumulipo chant is that it's also seen as evidence for the sovereignty of the royal family that was superseded so um it's believed that the people of Hawaii the L are are are siblings of certain PL particularly the Taro and the royal family uh their sovereignty Trails right back down to the origins of creation and that's marked out in some detail and what is the 2,101 line chant so I'll just read a couple so we can get a feel for the translation but this was translated by Queen Lilo Kalani herself while she was in um yeah while she was being held captive in the palace um during their overthrow so we won't understand the words all of them but they are referring to different species or people so man by whyi Man by W laa the he was born and lived in the sea guarded by the wah that grew in the forest a night of Flight by noises through a channel saltwater is life to fish so the gods may enter but not man man by woli Woman by wola The ukai was born and lived in the sea guarded by the old puai that lived in the forest a night of Flight by noises through a channel salt water is life to fish so the gods may enter but not man so in this you can see that the one of the very uh pronounced messages in this chant is that everything uh a a species on land has a direct connection to a particular species in the sea so a particular Coral has its brother on land as a tree and so it talks about how we can care for one plant on Earth and by caring for that we're caring also directly for either a species of coral or particular species of fish because of the way that they're completely interconnected through systems and this was knowledge that is quite exciting for H people but also for us we're uncovering that some of these connections are quite profound and scientifically proven you know that um you know certain corals it's just the health of this uh this particular species means that there's these nutrients in the soil that also does influence directly the health of another and so these are things that uh if you're interested in doing further research is interesting to find and so in the settings you'll see that there's some that reference land animals and some that reference the ocean uh you can see kind of uh almost um these more scientific drawings of species that are there as well as the prince from the oi kapala and um this uh different Earth's um pigments as well and maybe how are we doing for time we good okay um so this is just the last project I'll speak about today and this is by a third generation kumu Hulu so kumu being the teacher Hulu being a feather work and uh feather work in Hawaii is often acknowledged as Royal feather work because Hawaiians believe that the original inhabitants of the land were covered in head to toe and feathers that the gods themselves are covered head to toone feathers and that those that were that were um a descendants of the Gods would um like birds they could kind of travel between Realms and so feather workers Associated as this kind of symbol of strength of um uh Divine connection and wisdom you know the source of knowledge being something that is linked to the Divine so m she is a third generation Kulu and this is a um a special space that was Studio space that um when you go it kind of doubles as a studio SL Museum um knowing that her mother and her grandmother who's known affectionately as Auntie Mary Lou she's a very well known for her contribution to uh Reviving this art form um they work from this space and Ruth actually visited her in 2006 and that's when we started thinking about working with her to an AP so it's taken some time but um you can see that her mom and grandmother are there and this is a close collaborator lean Davidson who who really made significant contribution to her project here um yeah this is you can see she's sitting at the table with her mother and grandmother and in Hawaiian there's a word which is also a really great one to hold on to which is K and it's this sense of responsibility that many uh cultural practitioners hold and it's the sense of that you do something because it's your kulana because it's your responsibility and your honor uh as something that's been passed down from your family and she very much carries out her practice in that Spirit um that happens there so um just a reference I'll share a little bit because she for the first time U Mele usually makes for cultural context the feather workor and they go feather workor is used uh for different body adornments used to Adorn special musical instruments and used for feather standards or things that are associated with the royal family uh they they're kind of held on to with um really for the most dignified Ali or chiefs of the village and the historic um kind of use of them things made from feathers were actually given their own name they had personage almost so they were very um yeah very sacred and in that sense and uh Mel has for the is for the first time creating for a gallery context out of this and so she brings together three different forms of feather work which I'll just go through now into a kind of an installation work um for AP so one of those is the Lei or kind of the feather Garland and this uh now is um kind of worn by many different kind of dignitaries and historically the feathers were soured in they were done in a way not to harm the birds so particular birds like for example one of the ways that they were collected was to go and put sticky step on a branch and wait for a bird to land and get stuck and then they would carefully remove the bird and pluck a couple of Select feathers and then let it go again so it was always they were seen as so holy so you couldn't hurt the bird but you can imagine how long it would take to collect enough feathers for some the things you'll see so just keep that in mind as we go through um and each part of the feather so everything that you see is done by very carefully selecting certain feathers from certain parts of a bird first of all then cutting them in a way so the top of the feather sits differently to the middle sections differently to the base and all of that knowledge is used to create different patterns and Designs um on these item so lay is somewhere where that really is you can kind of see the the great variety that can be achieved achieved through that that kind of knowledge of a particular Arrangement also thinking about how it sits on the body um as you can see now there's many different colors and they kind of practitioners because of a lot of the birds are endangered they choose to ethically Source from other places overseas often but um it's also led to this kind of proliferation of different designs and uses of color which is quite exciting um so the feather lay is the first form the second one that melee references her work is the kahili which is a feather standard and it's used to reference the royal family so this one we can see uh is the procession for the funeral and it's these long things with the feathers around the top that happen and these were really uh known as Chiefs themselves they are cared for when they're not in use sometimes they're dismantled and carefully put away and cleaned but they're given titles they kind of have this very um yeah they're uh they have status in the community as an object so there's a few different types you see here the feather standard that is um held in this way and then a slightly smaller one the kahila which is a handheld one and um you know really just holds that connection a reminder of the connection of that person this event to higher Realms but this kah Lima one that we'll have with us is one that's used for a funeral and they only exist in movement so in the instulation she'll do that one is suspended because it's never kind of um held in that way uh here's at the Bishop Museum in Hawaii we see some ancient some of the most special ones have used feathers that were from Hawaii the yeah uh here just a little reference to this is uh like a permanent install for an Iolani Palace in Hawaii the old residents of the um royal family but those kahili there they're changed every few months uh so there's particular ones that are made and that was Mel's um part of the role of her family is to make and re renew them for certain settings like that but as you can see the spoke work is how they're made now um so all kind of individually arranged and then put on the work this is a third form this is what's called the AA or the Red Cloak and uh it's made at different lengths shoulder length or um full body length and this was worn by high Chiefs as as well as by Warriors and seen as a form of protection for those um that were there kind of an old painting that we can see they would have hung at that time but these took generations to make so theyve used particular Birds the red and um yellow is a is acknowledged as being really because of their Rarity but also the impact of those colors to kind of Dazzle uh were seen as the most valuable um sources there so we have a version that um melee has made uh for this that this is also just arrived 2 days ago so it's very exciting but this has been made from um duck feather it's a shoulder length and we don't have because uh images of all the finished works but this is some of the reference material so what Mele has made is an installation I'll quickly show you this one actually which shows a SE Series in in in this work she's honoring the knowledge around the deity Hina who is the goddess of the moon and through the work she hopes to really acknowledge the role that women have played um in her own family but also like throughout the nation um in as kind of key proponents of this practice which was originally only um made by men so it was men that were only involved as as Kulu but today it's one that women have really taken up as well and references in her work different phases of the moon the knowledge of the phases and how influences daily life is very much a thing that um there's a big movement around that knowledge becoming more and more at the Forefront of um the mind and kind of taught right from primary school up instead of learning the months we also learn the phases of the moon in Hawaii now and a lot of their immersion schools and so she is uh honoring the goddess Hina um and this the word mahina means Moon in in Hawaiian also so this work she has like this cascading of the kahili the feather um standards she has a selection of different lay that off reference and what that's one example of it this one here looks at you know sometimes there's a red moon there's a red band around the Moon that's that they have a special name for that one that's there um so she have four of those and then that feather cloak that will sit in the center there the way uh yeah so those are the four projects I wanted to share but maybe we could do questions and then we can do go back to pronunciation if you would like but there oh yes one at the back didck ah so she uh the birds that were in that studio are ones that she uh have been gifted through her family and just are held they were kind of gifted to her mother or they've collected them over time and they really are just for display they don't sell any of those is that what you mean the ones that were kind of the stuff Birds yeah they're just kind of kept as reference objects but she does sell feathers themselves yeah she's kind of an importer but you think some of this at least yeah was pushing those bir to Extinction uh the record we have is that they weren't because they would never kill the birds in the making they only took feathers or you know they would go where where birds were nesting so the traditional methods wouldn't have uh and there's no record of them I think the more of what's attributed the deforestation that happened you know the loss of their ecosystems has really affected rather than direct killing of the birds and uh hunting that came for other reasons kind of prize hunting or certain things that came as people I think that we had a much more detrimental effect but yes I haven't done too much prying into that area of research I've kind of trusted what they've told me so you might find something different yeah that's it oh yes yeah was growing the tree in her [Music] only oh yes the photo also trees in her back yes is there any reason why is it or hard to that particular Tree in a farm I want to know the reason why the first question okay yep and the other question is technique they make PN and car car with blood and they they make that reminded me of this kind of like same style traditionally and developed in Japan it's called K it's literally translate St D and these two to carry Japanese I these are great questions thank you um so copper makers in Hawaii uh you never learn just to paint you have to learn to grow and to beat and even to make your own tools this is part of the way you engage with the practice so Verna takashima who you uh saw in that earlier photo uh where is it sorry uh this one so Verna is there on the left um up takashima so she uh actually relearned by seeing um a piece that her great-grandmother had made in the Bishop Museum as you may remember from the CIS exhibition and it was her brother that made the tools so she was only allowed to engage in the practice because they figured out through making that they could make their own tools and kind of rekindle this knowledge that was held in their family but had had a bit of a a gap uh so in that sense uh growing often now because of the lack of land people don't often have enough land in their backyards to grow the plant and the plant kind of grows like a it kind of goes under the ground and keeps popping up shoots I don't know what those are called but um you know it will just keep spreading so it's also kind of invasive in that way you grow it and then it could just pop up in your neighbor's garden and you know pop up somewhere it just travels underground and so for that reason too you saw how br's ones were in a separated little drum you have to be very careful about where it's appropriate to grow uh so sometimes there's people that have a lot of land and they grow for many makers and the makers all come and help to harvest and care for the plants um so I don't know if that answers your first question but it is uh there's in some places especially H people don't have land to grow it it's been taken or they're in kind of small condos and apartment building so uh that's why it's quite difficult and it's Bice makes for herself and also others um the question around the printing so this is not a technique that akam like b aam or Vera created it's one that has historically been the printing um has historically been there and is a distinguishing um kind of uh way of of of identifying Hawaiian cup that's there I'm not sure if there's a direct link to the Japanese practices in that sense but um yeah it's not necessarily been made through their family connections it's not been drawn out so it may be much much older as a connection but yeah so we see yeah were there any other questions y [Music] yes yes it was a very elaborate permissions uh the artists had to apply we had to get the different um uh provide you know sellers direct contact from them kind of this provenance of every feather that was in the work and every species had to be accounted for um yeah exactly where it was come and where it was sourced from so for the work and for all of her work um Mele uses just kind of commercial Roots because they have the paperwork to kind of justify where everything's come from so she's been doing it for a long time and uh is able to track that but was very elaborate to the point where I mean there were permissions there up until the day of shipping we were still trying to get signed and kind of a miracle yeah yes so some of those colors I say many of the ones we saw were dyed Goose or duck feathers the the dyed white but um some do have natural like uh you see some of the duct feathers with the natural kind of Sheen the're more Bluey but yeah those ones are just kept natural so there kind of a combo that's there yeah oh yeah one more oh yeah sorry I hope we get a guide another guide walkthrough session now hopefully let's get it on the table were there some specific words we should do pronunciations for do you want to maybe we could just do the artist names as a start off yeah okay so for Al we can say it um just uh her whole name is alaki so it's a phonetic language tongen we can start with the first one shall I say it and we can all say oh yes how do I let's just go sorry so this should have an apostrophe by the a I think it's just dropped off but it's we can do this one so if I say should we do one at a time okay so alaki Y and the vowel sounds are all a a e o o so that's the they will sound exactly as their name so Fu Naki or you kind of split it up it would never be Happ um and then the next word Lea Maha yep so you put in oh sorry and Lia mAh K is easy to anuku Village you want to try that one it's um that one's a good one so it's just down here and just the separation so it's it's like a GL stop to to anuku to anuku to anuku Village that's where it is um so in Fijian um bees have an M sound before them we are very lucky that Williams name ends with an M so it's just kind of there for us but usually uh B and D's have a anyway we won't go beyond but they have different silent sounds so William William is easy but Baku would beak yeah yeah nice I don't know if you want to know also in Fiji in the C uh c letter is is a t so in this artwork which will be one of the ones in the AP1 the legend of Dal it's a t sound um of rakii rakii mm sorry so that one there is n yeah now that one will also be um and this one is sorry it should be via oh yeah via VIA not V that's there that's lucky we went to that one these ones are fonetic as well is that one okay a come in there Y and um so the work is called sorry the work is called kumu itself so reference by the kumulipo but also this idea that the work itself being a teacher the chant being a teacher it's named that word uh this one yeah M Chun yeah nice Chun y and then the different words so um leulu Le means necklace so we could say Le Hulu Le Hulu and this one with the word just means it's longer and the emphasis so kahili yeah kah yeah kahili and a a yeah so AO is Cloak AA is like red you'll see it in other Pacific languages as Kola but in Hawaiian it's Ola I mean because it often had the red as a very distinct um whether as a pattern or I'm sure these ones were quite yeah heavy cuz there there the den that's quite dense though I mean made on string but yeah not sure about that one may that's enough thank you very much [Applause]