Nét vẽ của Phan Ngọc Khuê trong triển lãm “Những miền quê yêu dấu” khắc họa sâu sắc vẻ đẹp đa dạng của các dân tộc Việt Nam, mang đến bức tranh sinh động về đời sống và văn hoá vùng miền. 🌾🎨
#NghệThuật #VănHóaViệt #EthnicGroups #Vietnam #PhanNgocKhue #CulturalDiversity #VietnameseArt #Heritage #MienQueYeuDau
Ringatu hui, Wainui, Whakatane, New Year, 1963/4
Two men standing and two seated outside a doorway of what appears to be a wharenui. A Ringatu banner with symbols of crescent moon, cross and the letters WI covers the window frame.
#Ringatuhui #Wainui #Whakatane #NewYear #Ringatu #Māori #NewZealands #moe_tahurangi #Matapihi #Kōtuia #Ethnicgroups #Religiousgroups #Communitycenters #Banners #Symbols #Doors&doorways #Benches #resin-coatedpaper #silver #photographicgelatin #selenium #gelatinsilverprints #worksofart #Contemporary #Whakatāne #undefined
Chính phủ vừa ban hành Nghị định 255/2025/NĐ-CP quy định tiêu chí, quy trình xác định các dân tộc còn gặp nhiều khó khăn, có khó khăn đặc thù giai đoạn 2026-2030. Nghị định có hiệu lực từ 15/11/2025, nhằm hỗ trợ phát triển cho các cộng đồng dân tộc thiểu số. #DânTộc #ChínhSách #EthnicGroups #Policy #VietnamNews #TinTứcViệtNam
Tìm hiểu về 54 dân tộc và 16 tôn giáo Việt Nam thông qua trải nghiệm công nghệ số tại khu trưng bày của Bộ Dân tộc và Tôn giáo! Ứng dụng tương tác giúp người dân dễ dàng tiếp cận thông tin.
#dantoc #tongiao #congnghe #vietnam #ethnicgroups #religions #technology
Ruatoki, 1963
Large group of men, most of them Maori, sitting on a riverbank beneath a tree. Several of them are smoking cigarettes. Several bundles of eels are hanging from branches of the tree.
#Ruatoki #Maori #moe_tahurangi #Kōtuia #Ethnicgroups #Cigarettes #Smoking #Treelimbs #Māori #photographicgelatin #photographicpaper #silver #gelatinsilverprints #worksofart #Contemporary #Fishing #NorthIsland #undefined
Turangawaewae marae, Ngaruawahia, 1964
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#Turangawaewae #Ngaruawahia,1964 #Maori #Ngaruawahia #moe_tahurangi #Matapihi #Kōtuia #Dance #Woodcarvings #Priests #Communitycenters #Ethnicgroups #photographicgelatin #photographicpaper #silver #gelatinsilverprints #worksofart #Contemporary #Māori #Ngāruawāhia
Waiwhetu marae, Lower Hutt
This essay originally appeared in New Zealand Art at Te Papa (Te Papa Press, 2018). In Waiwhetu marae, Lower Hutt, Ans Westra records the rituals that were part of the opening of the whare whakairo, or carved meeting house, Arohanui ki te Tāngata. But, unlike the woman with the camera in the front row, who is a participant as well as a photographer, Westra is an outsider, an observer. Answering a question about how Māori viewed her activities in the 1960s, Westra said, ‘The Maori would often say they couldn’t visualise that any of their people would work in this kind of isolation because I had to very much stay on the outside and be uninvolved to get my pictures. They said, “We couldn’t visualise a Maori girl doing this because it is too lonely”.’1
The terms of documentary photography were established in the early part of the twentieth century. The photographer was, as Westra suggests, a discreet witness of humanity, the truth of his or her visual record guaranteed by distance and objectivity. Yet the presence of the camera, a stand-in for Westra’s activity, and the way in which the two women (one on the left, the other in the second row) return the camera’s gaze, breaks the illusion that is an integral part of documentary photography — that the protagonists are not aware of being photographed and are therefore not changed by the act. Waiwhetu marae, Lower Hutt is so rich because it suggests the various dynamics and interactions that attend any documentary image but which are often left out of the frame.
Westra arrived in New Zealand from the Netherlands in 1957 and quickly became interested in documenting Māori people and culture. As she says, Māori culture ‘seemed to be the most interesting thing here [in New Zealand], and also there was this strong feeling that things were going to change, that here was something historical that needed recording’.2 In part this explains the power of Westra’s photographs, in which the old and new worlds make contact. Customary Māori social practices survive, even as they are transplanted to new environments.
Damian Skinner
1 Ans Westra, quoted in Damian Skinner, ‘The eye of an outsider: A conversation with Ans Westra’, Art New Zealand, no. 100, Summer 2001, p. 100.
2 Ibid., p. 99.
#Waiwhetu #LowerHutt #NewZealandArt #TePapa #LowerHutt #AnsWestra #Arohanuiki #Tāngata #Westra #Māori #Maori #lonely” #NewZealand #Netherlands #DamianSkinner #1AnsWestra #DamianSkinner #AnsWestra’ #first #third #second #moe_tahurangi #Matapihi #Kōtuia #Women #Agedpersons #Ethnicgroups #Cameras #Woodcarvings #photographicgelatin #photographicpaper #silver #gelatinsilverprints #worksofart #Contemporary #Rites&ceremonies
Wairoa, 1964
Street scene outside the Wairoa tavern. Four young Maori men are standing outside the tavern, leaning against the wall. Two young Maori women walk past them down the street, carrying their handbags and a shopping bag.
#Wairoa #Maori #moe_tahurangi #Matapihi #Kōtuia #Sidewalks #Ethnicgroups #Women #Taverns(Inns) #Handbags #Walking #Wairoa(NewZealand) #Māori #photographicgelatin #photographicpaper #silver #gelatinsilverprints #worksofart #Contemporary
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