Pacific Arts: The Journal of the Pacific Arts Association
Parent: UC Santa Cruz
eScholarship stats: History by Item for April through July, 2024
| Item | Title | Total requests | 2024-07 | 2024-06 | 2024-05 | 2024-04 |
|---|---|---|---|---|---|---|
| 2gd9j917 | The Mataisau Clan of Fiji: Roles and Responsibilities | 212 | 64 | 49 | 48 | 51 |
| 0wz8226k | The ASB Polyfest: The Construction of Transnational Pacific Cultural Spaces in Auckland, Aotearoa New Zealand | 168 | 22 | 10 | 66 | 70 |
| 00w843tk | “Tattoo the Women, but Not the Men”: Female Tattooing in Tonga | 146 | 50 | 34 | 40 | 22 |
| 1fg192dp | Adorning the Ears: On Marquesan Ear Ornamentation | 133 | 46 | 38 | 34 | 15 |
| 3z59s1ft | Between the Betweenness: Restoring the Vā | 120 | 42 | 31 | 30 | 17 |
| 30b918j9 | Studying and Conserving a Barkcloth from the Musée Cantonal d’Archéologie et d’Histoire, Lausanne, Switzerland | 116 | 36 | 29 | 33 | 18 |
| 0q75s3gt | Announcements | 111 | 35 | 28 | 36 | 12 |
| 81b2f26x | ʻĀina in Contemporary Art of Hawaiʻi | 103 | 32 | 30 | 14 | 27 |
| 0516q9rb | Artists Concern: Visualising Environmental Destruction in Papua New Guinea | 101 | 26 | 17 | 26 | 32 |
| 6sn1w9wt | Snail Paradise Trilogy: A Series by Chang En-man | 94 | 33 | 20 | 19 | 22 |
| 1kt7k6t4 | nothing important happened today: An Interview with Vernon Ah Kee | 92 | 27 | 15 | 18 | 32 |
| 8x36j9d3 | Learning to Surf (Seʻe) on a Wave, from Island to Urbanesia | 84 | 30 | 21 | 15 | 18 |
| 6rh9d5bh | Pacific Arts N.S. Vol. 23 No. 2 (2023-24) | 79 | 16 | 14 | 20 | 29 |
| 6172k5f8 | Shell Rings of Power: Gender Relations in Material Culture Production on the Aitape Islands, Papua New Guinea | 77 | 15 | 10 | 21 | 31 |
| 3dj984zp | Project Banaba: A Dialogue on Exhibition Collaboration and Methods | 73 | 24 | 12 | 20 | 17 |
| 8z45x79s | Gestures of Survivance: Angela Tiatia’s Lick and Feminist Environmental Performance Art in Oceania | 72 | 15 | 24 | 22 | 11 |
| 0xz7j5z0 | Mana i te Whenua: Relationships with Place and Sovereignty | 71 | 24 | 9 | 22 | 16 |
| 8xq767c6 | Pacific Arts N.S. Vol. 23 No. 2 (2023-24) | 68 | 21 | 13 | 16 | 18 |
| 8r46j71r | Hawaiian Islands Pidgin Visual and Textual Poetry | 66 | 13 | 13 | 17 | 23 |
| 9gb0w78k | Recollections: Australian Connections, Collaborations, and Collections in the Sepik Region of Papua New Guinea, 1960s–1970s | 63 | 24 | 11 | 15 | 13 |
| 3w73k2mz | Exhibition Review Nā Māla: Layered Landscapes of Kona Coffee Heritage, curated by Mina Elison. Donkey Mill Art Center, Kona, Hawaiʻi, October 24, 2020 – December 12, 2020. | 62 | 24 | 24 | 4 | 10 |
| 44f4d693 | Pacific Arts N.S. Vol. 22 No. 1 (2022) | 58 | 23 | 17 | 7 | 11 |
| 6cm3p20q | Across Country: Waterlines | 57 | 21 | 10 | 17 | 9 |
| 8p41f4f8 | Natalie Robertson: Toxic Waters | 56 | 24 | 21 | 8 | 3 |
| 93z1g5sp | Book Review: Rapa Nui Theatre: Staging Indigenous Identities in Easter Island, by Moira Fortin Cornejo, 2023 | 56 | 14 | 8 | 16 | 18 |
| 5zp727jr | Belatedly and Finally: The Early Time of the Indigenous in the Concurrent Contemporary | 53 | 14 | 14 | 7 | 18 |
| 7nc613kp | Special Section on Pacific Arts Association– Europe’s Annual Meeting: “Gendered Objects in Oceania,” Part 2 | 53 | 14 | 10 | 14 | 15 |
| 4b79w9v6 | Making Room for Earth in Hawaiʻi: Sean Connelly’s A Small Area of Land | 52 | 20 | 14 | 9 | 9 |
| 6p79x488 | Kaili Chun: The Native Artist as Storyteller and Steward of the Land and the Water | 49 | 17 | 9 | 13 | 10 |
| 00c9c33q | About the Art: Carl Franklin Kaʻailāʻau Pao’s Kiʻi Kupuna: ʻO ʻAilāʻau (Ancestral Images: Forest Eater) Series | 46 | 15 | 10 | 6 | 15 |
| 3dq8x0bk | Event Review: E Hō Mai Ka ʻIke: Celebrating the Launch of the Edith Kanakaʻole Quarter, Hilo, Hawaiʻi, May 5–6, 2023 | 46 | 8 | 3 | 11 | 24 |
| 2pj6g8w4 | A Journey of Healing, Discovery, and Transformation: Hohou Te Rongo | 45 | 16 | 6 | 5 | 18 |
| 2x9448bf | “Fijian Islanders preparing for a feast” (1959): The Influence of Photography on Popular Opinions of the Pacific | 45 | 24 | 7 | 5 | 9 |
| 73k4s2c9 | Special Issue "Grounded in Place: Dialogues between First Nations Artists from Australia, Taiwan, and Aotearoa" | 44 | 22 | 5 | 11 | 6 |
| 89s702ss | Canoe Carvings from Western Solomon Islands: The Operative Efficacy of Simultaneous Visual Presences | 43 | 9 | 10 | 7 | 17 |
| 1ws3x76f | An Evolution of Teaching Art in Sāmoa | 42 | 21 | 10 | 7 | 4 |
| 5j21m80v | “I Sengsong San Diego”: The Chamoru Cultural Festival and the Formation of a Chamoru Diasporic Community | 42 | 20 | 9 | 4 | 9 |
| 54p491cm | Seeking Gender Identity in the Contexts of Atayal: An Art Project | 41 | 14 | 9 | 4 | 14 |
| 9mh3k7zk | Exhibition Review: Paradise Camp at the Aotearoa/New Zealand Pavilion of the 59th Venice Biennale | 41 | 15 | 4 | 5 | 17 |
| 9wj8h617 | Erasing the Empire through the Restitution of Military Land: Military Bases and Processes of Re-appropriation in French Polynesia | 40 | 15 | 8 | 9 | 8 |
| 1v173988 | Tātara e maru ana: Renewing Ancestral Connections with the Sacred Rain Cape of Waiapu Kōkā Hūhua | 39 | 19 | 7 | 6 | 7 |
| 9jk6c4vz | From the Edge through the Vā: Introduction to “Pacific Island Worlds: Oceanic Dis/Positions” | 37 | 17 | 7 | 13 | |
| 06c835v1 | The Future of our Roots and the Land: The Re-vival of the Atayal Weaving Material Ramie | 36 | 8 | 11 | 8 | 9 |
| 0nv9g8fj | T-shirts and Turtles: Art and Environmental Activism on Erub, Torres Strait | 36 | 15 | 4 | 8 | 9 |
| 16m186zr | Traditional Amis Architecture and Its Environment in a Contemporary Context | 36 | 16 | 6 | 7 | 7 |
| 9280n3g3 | Complexly Gendered Objects: An Analysis of a Piece of Tevau Collected by Wilhelm Joest on Nendö | 35 | 14 | 11 | 6 | 4 |
| 92c161s7 | Watsonville is in the Heart: Documenting Histories of Transpacific Filipino Migration in the Pajaro Valley | 34 | 19 | 9 | 3 | 3 |
| 7278k5fh | Exhibition Review: Hawaiʻi Triennial 2022: Pacific Century—E Hoʻomau no Moananuiākea | 33 | 16 | 6 | 4 | 7 |
| 05g769gk | Ground into Place | 32 | 17 | 7 | 3 | 5 |
| 9554q8t1 | Special Issue "Pacific Island Worlds: Oceanic Dis/Positions" | 31 | 18 | 11 | 1 | 1 |
Disclaimer: due to the evolving nature of the web traffic we receive and the methods we use to collate it, the data presented here should be considered approximate and subject to revision.