Distribution and abundance of planktonic mollusks along a longitudinal gradient in the Southeastern Pacific off Chile

The objectives of this research were to estimate the abundance of the main groups of planktonic mollusks (meroplanktonic larvae, holoplanktonic gastropods and cephalopod paralarvae), and relate these groups to the physical-chemical water properties along a longitudinal gradient between Caldera, on the coast of mainland Chile, and the Easter Island ecoregion (Rapa Nui Island and Salas y Gómez Island), in the Southeast Pacific Ocean. Plankton samples were collected over the course of the CIMAR 21-Islas Cruise, from October to November 2015, at 33 oceanographic stations via vertical hauls of a WP2 net (180-µm mesh size) from a maximum depth of 300 m to the sea surface. Mollusks were sorted, counted and initially assigned to Class rank, later being identified to lower taxonomic ranks. Planktonic mollusks were obtained at all stations, and were composed of 92.7% of Gastropoda and 7.3% of Bivalvia. The total abundance of mollusks varied between 55 and 4,922 individuals 100 m-3.Euthecosomate gastropods exhibited the highest occurrence within the oceanic area. Meanwhile, no paralarvae were captured. Differences in the composition of planktonic mollusks between the continental and oceanic zones were evident. Bivalve larvae increased their abundance in warmer, salty and vertically mixed waters. These results are the first record of meroplanktonic mollusks in waters near the Chilean oceanic islands, and suggest that planktonic mollusks display spatial variation at the scale of the South Pacific Basin, which could be related to the hydrographic conditions and the water column structure.

W poszukiwaniu przeszłości: Trudne dzieje Wyspy Wielkanocnej (Rapa Nui) w dwóch współczesnych filmach dokumentalnych

Artykuł przedstawia i analizuje dwa współczesne filmy dokumentalne dotyczące Wyspy Wielkanocnej (Rapa Nui): Buscando a Isla de Pascua, la película perdida [Poszukując zaginionego filmu Isla de Pascua] (2014) oraz Te Kuhane o te Tupuna / El Espíritu de los ancestros [Duch przodków] (2015). Pierwszy film opowiada historię odnalezienia i restauracji innego filmu dokumentalnego – z lat 60. – i przywrócenia go wyspiarskiej społeczności, jest to więc film o kompozycji szkatułkowej. Drugi dokument opowiada o podróży do Europy z zamiarem (fikcyjnym) odzyskania rapanujskiego posągu moai, będącego eksponatem w Muzeum Brytyjskim. Możemy go zatem nazwać filmem drogi. Oba dokumenty poruszają tematykę historyczną. społeczną i kulturalną, nie stroniąc od trudnych motywów z przeszłości i teraźniejszości Rapa Nui.

LA SITUACIÓN DE LOS DERECHOS HUMANOS DEL PUEBLO RAPA NUI: EL DERECHO DE LIBRE DETERMINACIÓN Y LOS DERECHOS TERRITORIALES

Una de las más graves vulneraciones a los derechos de los Rapa Nui, que se mantiene hasta la fecha, es la usurpación de su territorio, mediante la inscripción de la totalidad de la Isla de Pascua a nombre del Estado de Chile (1933), época en que los Rapa Nui eran considerados apátridas y carecían de todo derecho civil y político. Dicha inscripción se realizó en el Conservador de Bienes Raíces de Valparaíso, ciudad continental ubicada a más de 4.000 kilómetros de la isla, excluyendo cualquier posibilidad de oposición, utilizándose como argumento que la tierra carecería de dueño. A partir de la “Ley Pascua”, se reconocen derechos de ciudadanía y otros beneficios a los Rapa Nui, lo que se refuerza con legislaciones posteriores como la “Ley Indígena” (Ley 19.253 DO 05.10.93), a principios de la década del 90 que otorga especiales derechos a los Rapa Nui y la ratificación del Convenio 169 de la OIT sobre Pueblos Indígenas y Tribales en Países Independientes. En la práctica, dicha legislación no se ha traducido en la devolución de la tierra y respeto a derechos territoriales y de libre determinación de los Rapa Nui. La situación de los derechos humanos del Pueblo Rapa Nui y de sus demandas, con especial mención a los derechos territoriales y de libre determinación, es de suma importancia, bien como, la demanda de participación política efectiva y control sobre sus instituciones políticas por la vía del establecimiento de un “estatuto especial”, de una modalidad de control migratorio y una especial referencia a los esfuerzos por lograr el cumplimiento del derecho a la consulta previa a los pueblos indígenas; los antecedentes con respecto a su demanda colectiva por recuperar su territorio ancestral, por el respeto a su derecho a la autodeterminación de acuerdo al derecho Internacional y por el pleno reconocimiento del Acuerdo de Voluntades de 1888. La situación de los derechos de los pueblos indígenas en Chile en general se destaca por la falta de reconocimiento Constitucional, la inexistencia de un mecanismo oficial para la consulta previa en caso de medidas susceptibles de afectarles directamente o asegurar su participación política y la carencia de medidas claras para la implementación del Convenio 169 de la OIT vigente en Chile desde septiembre de 2009. Hasta la fecha no existe este reconocimiento constitucional, que surgirá con la reforma constitucional, a la que asistimos actualmente.

Settlement of Rapa Nui May Have Been Doomed by a Dearth of Dust

Rapa Nui and Hawai‘i offer a tale of two island settlements: Hawai‘i was close enough to Asia for continental dust to help replenish soil nutrients depleted by agriculture. Rapa Nui wasn’t.

Tensions and Possibilities. The Interplay of 'Traditional' Cultural Elements and the Creation of 'Contemporary' Rapa Nui, Māori and Samoan Diasporic Theatre

<p>This thesis focuses on notions of ‘traditional’ and ‘contemporary’ theatre in two Pacific Island contexts, Aotearoa and Rapa Nui. It explores how notions of ‘tradition’ are imagined, recreated, and performed through the ‘contemporary’ creative arts, with a particular focus on theatre. It offers insight about culturally-situated understandings of ‘tradition’, and seeks to acknowledge diverse meanings and perceptions of theatre that exist across diverse Pacific Island cultures, languages, and epistemologies. Ideas about what constitutes ‘tradition’ have been significantly impacted by colonial histories, and that these culturally and historically situated ideas have wide-ranging implications for creative possibilities in the ‘contemporary’ performing arts. ‘Traditional’ performances are often seen as acceptable and relevant to Indigenous communities in Aotearoa and Rapa Nui, contributing to processes of cultural reclaiming and revitalisation. Although cultural continuity is a significant theme in Indigenous theatre in Aotearoa and Rapa Nui, the different emphasis placed upon notions of ‘tradition’ across these comparative contexts has led to very different artistic possibilities being available. In Rapa Nui there is a general reluctance in the performing arts to deviate from ‘tradition’ or to declare work as ‘contemporary.’ The reproduction of ‘traditional’ styles and stories is one response to ongoing colonialism in Rapa Nui, and to the ever present demands of the tourist industry. Māori and Samoan theatre practitioners in Aotearoa have developed theatre forms and processes that are based in cultural values and epistemologies while also being integrated with European theatre techniques, creating innovative approaches to ‘contemporary’ themes and understandings. These developments in the creative arts are supported by the availability of a wide range of theatre education opportunities. Culturally reflective and situated approaches to theatre education have enabled Indigenous theatre practitioners in Aotearoa to use theatre as a forum to express ideas and issues to the community weaving in a variety of different cultural influences, and techniques. This thesis utilised a case-study methodology and open-ended interviews, framed under the research methodology of talanoa, to interact with Māori, Samoan diasporic and Rapanui theatre practitioners, in order to explore their perceptions towards ‘traditional’ and ‘contemporary’ practices. This research focuses on the positives of cultural dialogue, and it emerges from a desire to support intercultural theatre practices in Aotearoa and Rapa Nui.</p>

Tensions and Possibilities. The Interplay of 'Traditional' Cultural Elements and the Creation of 'Contemporary' Rapa Nui, Māori and Samoan Diasporic Theatre

<p>This thesis focuses on notions of ‘traditional’ and ‘contemporary’ theatre in two Pacific Island contexts, Aotearoa and Rapa Nui. It explores how notions of ‘tradition’ are imagined, recreated, and performed through the ‘contemporary’ creative arts, with a particular focus on theatre. It offers insight about culturally-situated understandings of ‘tradition’, and seeks to acknowledge diverse meanings and perceptions of theatre that exist across diverse Pacific Island cultures, languages, and epistemologies. Ideas about what constitutes ‘tradition’ have been significantly impacted by colonial histories, and that these culturally and historically situated ideas have wide-ranging implications for creative possibilities in the ‘contemporary’ performing arts. ‘Traditional’ performances are often seen as acceptable and relevant to Indigenous communities in Aotearoa and Rapa Nui, contributing to processes of cultural reclaiming and revitalisation. Although cultural continuity is a significant theme in Indigenous theatre in Aotearoa and Rapa Nui, the different emphasis placed upon notions of ‘tradition’ across these comparative contexts has led to very different artistic possibilities being available. In Rapa Nui there is a general reluctance in the performing arts to deviate from ‘tradition’ or to declare work as ‘contemporary.’ The reproduction of ‘traditional’ styles and stories is one response to ongoing colonialism in Rapa Nui, and to the ever present demands of the tourist industry. Māori and Samoan theatre practitioners in Aotearoa have developed theatre forms and processes that are based in cultural values and epistemologies while also being integrated with European theatre techniques, creating innovative approaches to ‘contemporary’ themes and understandings. These developments in the creative arts are supported by the availability of a wide range of theatre education opportunities. Culturally reflective and situated approaches to theatre education have enabled Indigenous theatre practitioners in Aotearoa to use theatre as a forum to express ideas and issues to the community weaving in a variety of different cultural influences, and techniques. This thesis utilised a case-study methodology and open-ended interviews, framed under the research methodology of talanoa, to interact with Māori, Samoan diasporic and Rapanui theatre practitioners, in order to explore their perceptions towards ‘traditional’ and ‘contemporary’ practices. This research focuses on the positives of cultural dialogue, and it emerges from a desire to support intercultural theatre practices in Aotearoa and Rapa Nui.</p>

Hakarongo Mai! Rapanui Women and Decolonisation for Development

<p>On the Pacific island of Rapa Nui, there are growing calls from the indigenous population for political and cultural decolonisation. This research explores and documents how some women in Rapa Nui are engaging in these struggles. It investigates their aspirations for decolonisation and the strategies they are employing to have their voices heard. It also identifies and describes some of the challenges these women have faced as well as the successes they have had in the context of these struggles to date. Sharing the stories of women who are active participants in these efforts, this research seeks to provide space for their perspectives and their experiences, acknowledging the presence and significance of women within decolonisation efforts on Rapa Nui.</p>

Hakarongo Mai! Rapanui Women and Decolonisation for Development

<p>On the Pacific island of Rapa Nui, there are growing calls from the indigenous population for political and cultural decolonisation. This research explores and documents how some women in Rapa Nui are engaging in these struggles. It investigates their aspirations for decolonisation and the strategies they are employing to have their voices heard. It also identifies and describes some of the challenges these women have faced as well as the successes they have had in the context of these struggles to date. Sharing the stories of women who are active participants in these efforts, this research seeks to provide space for their perspectives and their experiences, acknowledging the presence and significance of women within decolonisation efforts on Rapa Nui.</p>