Shannon Te Ao, With the sun aglow, I have my pensive moods, 2017
Originally commissioned for our 2017 edition, Shannon Te Ao’s With the sun aglow, I have my pensive moods, counterposes a dance scene of intense intimacy and colour, with a sequence filmed in black and white of barren open landscapes, to offer a poetic meditation on love, loss and grief.
The title of the work quotes from a tribal lament composed by Te Rohu (daughter of Tūwharetoa chief, Mananui Te Heu Heu), after contracting leprosy from a potential suitor and a fatal landslide which destroyed her village killing her father along with over fifty others.
In one screen, we witness two women embracing; a slow, close-held dance, takes place within a small clearing surrounded by the dense foliage of hemp (a crop newly introduced to New Zealand, and grown for its healing properties). Danced to Dinah Washington’s This Bitter Earth, Te Ao references a scene from Charles Burnett’s 1978 film, The Killer of Sheep, where Stan, a slaughterhouse worker, has a rare moment of intimacy with his wife.
A second sequence, filmed entirely in black and white, tracks along a barren stretch of highway, commonly known as the ‘Desert Road’, through volcanic landcapes now used as a training ground for the New Zealand defence force, to arrive in farmlands which encircle the urupa (familial burial grounds) of Te Ao’s family.
Like landscape itself, With the sun aglow, I have my pensive moods, springs from complex and multi-layered roots. Viewed now, in the immediate present experience of Corona, Te Ao’s slow crescendo, counterbalancing physical intimacy with environmental alienation, acquires a renewed sense of urgency.
“The lyrics in With the sun aglow, I have my pensive moods reference old narratives of Ngāti Tūwharetoa, an Iwi (tribal group) of the central North Island of Aotearoa. All of the imagery within the lyrics and the film trace real events; simultaneously environmental, communal, political and personal in scale. Within this realm sickness is lived in our body but also tethered to our colonial marginalisation. A reminder of our mortality and resilience. Afflictions are still cast upon us. This has become a permanent register within the conflated experience of our lives, like grief for a lost loved one which never completely dissipates.
Māori acknowledge that we exist upon a continuum; fluid, retrospective, genealogical, environmental and spiritual all at once. More and more, a need for this type of understanding is easily visible. With the sun aglow, I have my pensive moods, is not devoid of all hope. There is a kind of pragmatic suggestion, steered through a lament. Pause – remember who and where you are and the reality that the scope of our lives extends beyond the immediately visible.” Shannon Te Ao
Commissioned by Edinburgh Art Festival and Te Tuhi, Aotearoa New Zealand. With additional support from British Council Scotland, Creative New Zealand, and Massey University, Wellington.
This re-presentation is made possible thanks to the support of the Scottish Government’s Festivals Expo Fund and EventScotland, part of VisitScotland’s Events Directorate.
Full selection of artist responses is available here: www.edinburghartfestival.com/whats-on.
Shannon Te Ao (b. 1978) lives and works in Wellington, Aotearoa New Zealand. Te Ao studied at Elam School of Fine Arts, University of Auckland and College of Creative Arts, Massey University, Wellington. He was the winner of New Zealand’s Walter Prize (2016). Recent solo presentations include Ka mua, ka muri, Oakville Galleries, Toronto (2020); Art Basel, Hong Kong (2019); Tenei Ao Kawa Nei, Christchurch Art Gallery (2017); Untitled (malady), Robert Heald Gallery, Wellington (2016); From the one I call my own: Susan Te Kahurangi King and Shannon Te Ao, City Gallery Wellington (2015); Unstuck in Time, Te Tuhi Centre for the Arts, Auckland (2015); and the 19th Biennale of Sydney: You Imagine What You Desire (2014). Recent group exhibitions include O le ūa na fua mai Manuʻa, UNSW Galleries, Sydney; Trigger Point, Palitz Gallery, Syracuse University, New York (2016); Imaginary Date Line, ifa, Berlin (2016).