Research pertaining to the Pacific Islands & evacuation

http://www.kaldorcentre.unsw.edu.au/offshore-processing

http://refugeeresearchblog.org/

List of papers relevant to this project - //Tracey Benson and Tommy Dick pls populate when you have time

• Jolly, M.,Custom and the Way of the Land: Past and Present in Vanuatu and Fiji.Oceania, 1992.62(4): p. 330-354.
• Butler,Performative Agency.Journal of Cultural Economy 2010.3(2): p. 147-161.
• Teaiwa, K.,Culture Moves? The Festival of Pacific Arts and Dance Remix in Oceania. Dance Research Aotearoa, 2014.2.
• Forsyth, M., Lifting the Lid on "The Community": Who Has the Right to Control Access to Traditional Knowledge and Expressions of Culture? .International Journal of Cultural Property, 2012.19: p. 1-31.
• Forsyth, M.,How can Traditional Knowledge Best be Regulated? Comparing a Proprietary Rights Approach with a Regulatory Toolbox Approach.The Contemporary Pacific, 2013.25(1): p. 1-31.
• Throsby, D.,Development Strategies for Pacific Island Economies: Is There a Role for the Cultural Industries?Asia & The Pacific Policy Studies, 2015.2(2): p. 370-382.
• Teaiwa, K. and E. Huffer,Structuring the Culture Sector in the Pacific Islands, inContemporary Perspectives on Art and International Development, P. Stupples and K. Teaiwa, Editors. 2016, Taylor and Francis. p. 64-80.
• Haviland, M.,Practices of Collaborative Arts across Cultures, inSide by Side? Community Art and the Challenge of Co-Creativity. 2017, Routledge: London.
• UNESCO,Convention for the Safeguarding of the Intangible Cultural Heritage, UNESCO, Editor. 2003: Paris
• Kurin, R.,Safeguarding Intangible Cultural Heritage: Key Factors in Implementing the 2003 Convention.International Journal of Intangible Heritage, 2007.02: p. 10-20.
• Forsyth, M.,Cultural Economics and Intellectual Property: Tensions and Challenges for the Region.Asia & the Pacific Policy Studies, 2015.2(2): p. 356-369.
• Morphy, H.,Open Access Versus the Culture of Protocols, inMuseum as Process: Translating Local and Global Knowledges, R.A. Silverman, Editor. 2015, Routledge: Abingdon and New York. p. 90-104.
• Cullwick, J.,Consultations for law on traditional knowledge and cultural expression, inVanuatu Daily Post. 2016, Daily Post Vanuatu Port Vila.
• Government of Vanuatu,Copyright and Related Rights Act No. 42 of 2000, G.o. Vanuatu, Editor. 2011.
• Tabani, M.,Development, Tourism and Commodification of Cultures in Vanuatu, inTides of Innovation in Oceania, E. Gnecchi-Ruscone and A. Paini, Editors. 2017, ANU Press: Canberra.
• Geismar, H.,Treasured Possessions: Indigenous Interventions into Cultural and Intellectual Property. Objects/Histories, ed. N. Thomas. 2013, Durham: Duke University Press.
• Brown, M.,Heritage Trouble: Recent Work on the Protection of Intangible Cultural Property.International Journal of Cultural Property, 2005.12: p. 40-61.
• Geismar, H.,Reproduction, creativity, restriction: Material culture and copyright in Vanuatu.Journal of Social Archaeology, 2005.5(1): p. 25-51.
• Kirshenblatt-Gimblett, B.,Intangible Heritage as Metacultural Production.Museum International, 2004.Views and Visions of the Intangible(221/222): p. 52-64.
• Mitchell, J.,Kilem Taem (Killing Time) in a Postcolonial Town: Young People and Settlements in Port Vila, Vanuatu., in Globalization and Culture Change in the Pacific Islands, V.S. Lockwood, Editor. 2003, Prentice Hall: Upper Saddle River, N.J. p. 358-376.
• Lindstrom, L.,Urbane Tannese: Local Perspectives on Settlement Life in Port Vila.Journal de la Société des Océanistes,, 2011. 133(2).
• Dick, T.,Vanuatu Water Music and the Mwerlap Diaspora: Music, migration, tradition, and tourism.AlterNative: An International Journal of Indigenous Peoples, 2014.10(4): p. 392-407.
• Forsyth, M.,Intellectual Property Laws in the South Pacific: Freinds or foe? .Journal of South Pacific Law, 2003.7(1).
• McDonald, L.A.,Creating Kastom: Contemporry Art in Port Vila, Vanuatu, inSainsbury Research Unit for Arts of Africa, Oceania and the Americas. 2015, University of East Anglia. p. 305
• Stern, M.,Music in Traditional Exchange in North Vanuatu.Pacific Studies, 2013.36(1/2): p. 59-76.
• Clifford, J.,Varieties of Indigenous Experience: Diasporas, Homelands, Sovereignties, inIndigenous Experience TodayM. de la Cadena and O. Starn, Editors. 2007, Berb: Oxford & New York. p. 197-222.
• Aho, S.,The Colonial Remix: Power and Language in Colonial and Digital Spaces.The Quiet Corner Interdisciplinary Journal, 2016.1(2).
• Christen, K.,Gone Digital: Aboriginal Remix and the Cultural Commons.International Journal of Cultural Property, 2005.12: p. 315-345.
• Cheer, J.M., K.J. Reeves, and J.H. Laing,Tourism and Traditional Culture: Land Diving in Vanuatu.Annals of Tourism Research, 201343: p. 435-455.
• Geismar, H., Indigenous acrylic: art and identity in Vanuatu, inPacific Island artists: navigating the global art world, K. Stevenson, Editor. 2011.
• TEKS Unit , T.E.K.S.,Vanuatu Northern Arts and Music (VNAM) Yumi Singsing Stori Blong Ol Bubu Book One, i in Vanuatu Northern Arts and Music (VNAM)2016, TEKS Unit Further Arts: Port Vila Vanuatu. p. 24.
• Huffman, K.,The Fieldworkers of the Vanuatu Cultural Centre and their Contribution to the Audiovisual Collections, inArts of Vanuatu, J. Bonnemaison, K. Huffman, and D. Tryon, Editors. 1996, University of Hawaii Press: Bathurst & Honolulu. p. 290-293.
• Bolton, L., Describing knowledge and practice in Vanuatu, inMade in Oceania - Social Movements, Cultural Heritae and the State in the Pacific, E. Hviding and K.M. Rio, Editors. 2011, Sean Kingston Publishing: UK.
• Alivizatou, M., Debating heritage authenticity: kastom and development at the Vanuatu Cultural Centre.International Journalof Heritage Studies, 2012.18(2): p. 124-143.

Nauru, Kiribati, Vanuatu

A history of the people of Bikini following nuclear weapons testing in the Marshall Islands: with recollections and views of elders of Bikini Atoll.

https://www.ncbi.nlm.nih.gov/pubmed/9199216