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DANCE PROTEST

Project Banaba, Katerina Teaiwa

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Inspired by research in the Chau Chak Wing Museum archives and collections, Katerina Teaiwa presents new work exploring Banaban dance as a form of protest.

Overview

Dance Protest, Project Banaba is the latest in an exhibition series by artist Katerina Teaiwa and curator Yuki Kihara, exploring the history of Banaba, an island in the central Pacific. 

In the 20th century, the British Phosphate Commissioners, a partnership between the UK, Australia, and New Zealand, mined 22 million tons of phosphate from the island. In 1945, Banabans endured forced relocation to Rabi Island, Fiji.

Expressing their identity and resistance to this colonial project, Banabans revitalised their song and dance repertoires. In the 1970s, when they sued the British government and company for the decimation of their island, dancers led the protest marches that accompanied the legal proceedings.

American-Australian dancer Beth Dean documented Banaban and other Pacific peoples’ choreography in the lead-up to the 1st South Pacific Festival of Arts, 1972. Some archival documentation and Banaban dance regalia collected by her, held in the Chau Chak Wing Museum collection, form part of the exhibition.

Dance Protest, Project Banaba reframes Banaban dance and cultural authority from a Banaban matriarchal perspective. Taking the dance notation of Te Karanga (spear dance) as inspiration, Katerina Teaiwa has created new artworks in collaboration with her dancer-athlete daughter, Tearia. The exhibition is a dance riposte to Dean and the patriarchal forces that sacrificed ancestral land for short-term economic gain. 

 

Banabans protesting phosphate mining on Banaba (Ocean Island), and seeking political sovereignty and independence from Great Britain and the Colony of the Gilbert Islands, 1979. Photo: courtesy Catherine Alexander.

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More information

Katerina Teaiwa is an artist, award-winning teacher, and Professor of Pacific Studies at the Australian National University. She was born and raised in Fiji. Her father is Banaban and Tabiteuean from Kiribati and her mother is African American from Washington DC. Teaiwa has presented solo exhibitions at the Bishop Museum, Carriageworks, Te Uru Waitakere Contemporary Gallery and MTG Hawke's Bay Tai Ahuriri. Additionally, her work has been presented at Kathmandu Triennale, Para Site, the University of Queensland Art Museum, and La Trobe Art Institute.  

Yuki Kihara is an artist and curator of Japanese and Sāmoan descent working and living in Sāmoa. Kihara represented Aotearoa New Zealand at the 59th Venice Biennale in 2022. Her works are held in the collections of the Museum of Modern Art, Metropolitan Museum of Art, Queensland Art Gallery | Gallery of Modern Art and Te Papa Tongarewa Museum of New Zealand. Kihara has been the curator of Project Banaba since its inception in 2017. 

Tearia Teaiwa Mortimer is an athlete, dancer, and student based in Canberra, and is Katerina Teaiwa’s oldest daughter. 

Conservation: Kerry Head
Curatorial support: Rebecca Conway
Exhibition management: Luke Parker and Mikhaela Rodwell
Graphic design: Catseye Bay
Photography: David James

Details

When

Open seven days a week
Mon - Fri: 10am - 5pm
Sat - Sun: 12 - 4pm

Please note: the Chau Chak Wing Museum is closed on public holidays.

Exhibition closes 25 January 2026

Location

Penelope Gallery, Level 1
Chau Chak Wing Museum

Cost

Free

Te bwimanimaua: the 80th anniversary of a community's forced relocation

December 15th, 2025, marks the 80th Anniversary of Indigenous Banabans who were moved from Banaba (in what is now Kiribati) and horrific World War II camps on Kosrae, Nauru and Tarawa, to Rabi Island (formerly Rabe) in the northern part of Fiji. This is an anniversary that will fill many with reflection, gratitude and ongoing concern, especially in the absence of a representative Rabi Council of Leaders.

Since 1945, the majority of Banabans have survived and thrived on Rabi through many hardships and hopes. A small group returned to Banaba in the late 1970s maintaining a presence on their ancestral lands. Throughout the 1970s, the Banabans regularly protested, eventually suing the British crown and the British Phosphate Commissioners of three mining countries – Australia, New Zealand and the UK.

Reading the judgment for their civil case “Tito vs Waddell” is devastating. Throughout its many pages, Justice Megarry notes the injustice perpetrated against the Banabans, but he essentially throws his hands up in despair and admits that the letter of the law has defeated his efforts to deliver real justice. Justice Megarry also comments on the clear authority and land rights of Banaban women, a stark contrast to Resident Commissioner McClure who dehumanised them as “the feminine influence” and dismissed women as “reactionary”.

There were 1,003 remaining Banabans and Gilbertese who first settled on Rabi, a former colonial copra plantation whose iTaukei population was displaced during a conflict involving Tonga in the mid-1800s. Though worn down from the violence under wartime Japanese military occupation of their home island, with courage and resilience, they laid the foundation for the people’s survival.

My Banaban great grandfather, Tenamo, was part of the group who landed on Rabi in 1945. My grandfather, Teaiwa, Tabiteuean grandmother, Kieuea, and father, Tabakitoa, soon followed. Of ten brothers and sisters, today, only my father, the eldest, a former Chairman of the Rabi Council of Leaders, and my aunty Tengeaitake, the youngest, remain along with over a hundred descendants of Teaiwa and Kieuea.

While the responsible governments of Fiji and Kiribati have provided some support over the years, after 80 years of displacement and 80 years of BPC phosphate mining that destroyed their ancestral landscape, the Banabans are very low on finances and both Banaba and Rabi have no central energy supply. Fresh, safe drinking water is a constant struggle.

The 80th Anniversary not only commemorates creative survival but is a celebration of faith, resilience, hard work, kinship and unity. The Banabans continue to trust in higher powers, village leaders, church leaders, and Elders, and many passionate community advocates, teachers and youth, leading the way for Banaban generations to come.

The challenges were immense. I was told that within the first week of arrival in 1945, many Elders died from exhaustion and the shock of adjusting to a foreign island. Their deaths shook the community, and many feared that this was the end of the Banaban race. Yet, even in despair, the birth of Banaban children - including my sister, the late Roerenise Hiram (née Pilitati), born just four days after arrival - gave our people strength and determination. The children became the hope that carried our Elders forward. I thank God for all the sacrifices and for the generations who have carried the Banaban spirit with dignity and faith.

Photo: Katerina Teaiwa

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Pelenise Alofa
Pacific regional leader on climate action and Bananban community Unaine or Elder

Tengeaitake Teaiwa at Tabona, Tabiang. Photo: Katerina Teaiwa.

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Katerina recently travelled with ANU Law Professor Rebecca Monson to Rabi to visit family and learn more about the important work of civil society on the island. Her photographs recognise the people who work tirelessly on Banaban human rights and the still-challenging citizenship issues

 

Nei Tangiria and Toanuea, from Tabwewa. Photo: Katerina Teaiwa.

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Itinterunga Rae Bainteiti, from Uma. Photo: Katerina Teaiwa.

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Nei Kataba, from Tabwewa. Photo: Katerina Teaiwa.

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Nei Tauraoi, from Uma. Photo Katerina Teaiwa.

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Nei Soro, from Uma. Photo: Katerina Teaiwa.

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Nei Moera, from Buakonikai. Photo: Katerina Teaiwa.

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Nei Meti, from Tabiang. Photo: Katerina Teaiwa.

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Our elders were so mistreated. First … about the wealth of the land. Then during the war they were mistreated. We have to fight for reparations, only then can our ancestors smile.”

Nei Meti

Activist

Photo Gallery

Header image: Katerina Teaiwa, Dance Protest 2025 with Tearia Teaiwa Mortimer. Photo by David James.

 

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Camperdown NSW 2050

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