"We are a changing, emerging state that no longer seeks inspiration from the present flag. It is part of our history and the role that it has played can be respected. We are moving from a predominantly bicultural society to one that now involves an important component of Pacific island people and also immigrants from Asia.
We must now seek inspiration, visual excitement and stimulus to creativity and excellence from many directions and develop a flag that can be a source of pride to New Zealanders as we continue to impact strongly on the wider world in the many areas of commerce, sport, films, literature, tourism and creative thinking in which we have to strive to excel."
(Ian Prior, 27 February 2004)
Fig.1 New Zealand National flag and state ensign;
Fig.2 Michael Smythe, 'Koru (after Gordon Walters)';
Fig.3 Cameron Sanders;
Fig.4 'Tino Rangatiratanga';
Fig.5 Kyle Lockwood.
"In the Philippines, the term 'indigenous peoples' is legally defined by Republic Act No. 8371, otherwise known as the Indigenous Peoples Rights Act of 1997. IPRA defined 'indigenous peoples' (IPs) or 'indigenous cultural communities' (ICCs) as:
A group of people or homogenous societies identified by self-ascription and ascription by others, who have continuously lived as organized community on communally bounded and defined territory, and who have, under claims of ownership since time immemorial, occupied, possessed and utilized such territories, sharing common bonds of language, customs, traditions and other distinctive cultural traits, or who have, through resistance to political, social and cultural inroads of colonization, nonindigenous regions and cultures, became historically differentiated from the majority of Filipinos. ICCs/IPs shall likewise include peoples who are regarded as indigenous on account of their descent from the populations which inhabited the country at the time of conquest or colonization, or at the time of inroads of non-indigenous religions and cultures, or the establishment if present state boundaries, who retain some or all of their own social, economic, cultural and political institutions, but who may have been displaced from their traditional domains or who may have resettled outside their ancestral domains (IPRA, Section 3h)."
(Nestor T. Castro)
"This documentary explicitly reveals under cover work of missionary agencies and individuals in the destruction of an ethnic group, the Akha people of South East Asia. It is a picture of evil cloaked in righteousness. Evangelical missionaries come with the Good News of the Gospel, and aid for the poverty stricken mountain people. The reality is division, destruction of family core groups, human rights violations, displacement, forced relocation, theft of land, cultural genocide, racism and power of a majority people group over the indigenous group.
[Tomáš] Ryška does an excellent job presenting the contrast of hypocrisy and wealth of the missionary, aid, food and clothing, the underworld of child trafficking versus the appearance of cleanliness and holiness, worship done the 'right' way, versus the 'pagan way.' He contrasts land theft, greed for the rich mountain resources, good business versus God's service. He uncovers the fear of eternal punishment versus the joys of heaven, fear of death threats for those who dare expose evil that dwells in the fundamentalist Christian missionary centres, corruption versus holiness, forced relocation, illness, depression, malaria, and prison camps in the lowlands for the unfortunate mountain people. It is colonization all over again."
(Akha Heritage Foundation)
"Around 1500 BC a culture known as Lapita (ancestors of the Polynesians, including Māori) appeared in the Bismarck Archipelago in Near Oceania. Recent DNA analysis suggests that they originally came from Island South-East Asia, and that there was some interbreeding with people already living in the Bismarcks. Archaeological sites in the Moluccas in Indonesia are the closest forerunners to Lapita sites.
The pottery of the Lapita people was similar in form to that of their forebears, but their decorative style was an innovation that emerged in the Bismarcks. The design included stylised faces, which were most elaborate during the early years of the migration and clearly carried cultural significance. This unique style was one of several traits referred to as the 'Lapita cultural complex'."
(Te Ara Encyclopedia of New Zealand)
"How many of the paintings displayed at the Vietnamese National Museum of Fine Arts in Hanoi are originals and how many are copies?
That question has been a topic of hot discussion in Vietnam for quite some time.
It is well known among Vietnamese artists that the museum has been hanging works of art that are in fact copies of very famous Vietnamese paintings as some of the originals were either sold or lost.
The leading art historian and Vietnamese painting expert, Nora Taylor, from the School of the Art Institute of Chicago, believes that about half of the paintings displayed at the museum are in fact copies.
According to Nguyen Do Bao, the former chairman of the Hanoi Fine Arts Association, the practice began with the best of intentions.
'The practice started during the war (between North and South Vietnam) in the 1960s. Copies were displayed at the museum while the originals were taken away to avoid being damaged during bombing raids,' he explained.
At the time it seemed a great idea, but the problem was that nobody seemed to be in control.
Not all of the original paintings were returned to the museum after the war."
(Ha Mi, 21 May 2009, BBC Vietnamese Service)
[Several museums say they have the original of Playing the O An Quan]