posted on 2025-10-28, 03:27authored byAlex RoeAlex Roe, Katerina Teaiwa
Looking Slowly, Starting from Place explores Pacific scholar and activist Katerina Teaiwa’s work with archival photographs of Banaba, held within libraries and state institutions in Australia and Aotearoa / New Zealand. These photographs were taken during what would become eight-decades of phosphate mining across the 20th Century, which resulted in approximately 22 million tons of Banaban land being redistributed across Australia and New Zealand in the form of phosphate fertilisers. A joint Australian, New Zealand and British government mining company was responsible for the extensive mining that decimated the island of Banaba and displaced the entire Indigenous population. Through a method of looking slowly and animating the photographs in her mind, Katerina focuses on details and irregularities, filling the archival gaps with her own knowledge and imagination to uncover the story of what happened to Banabans and their home. In this film, she focuses on photographs of women, noticing the way they disappear from the archive earlier than Banaban men. Katerina connects this with oral histories to undercover the way women defended the land and led the Banaban resistance to colonial mining. The film performs its own version of looking slowly through the inclusion of intercut footage of the Pivot fertiliser factory in Geelong, which is one of the sites Banaban rock was turned into fertiliser and then distributed across Victoria.<p></p>
Funding
Creative Australia;Arts Projects for Individuals;Themis ID: 2369204
Faculty of Fine Arts and Music;Research Development Grant;2023 - 00006
This film sits within the fields of contemporary art and anticolonial-feminist visual anthropology. It investigates the research methods used by Pacific scholar and activist Katerina Teaiwa as she studies colonial mining in the Pacific, through study of photographs of Banaba held in Australian and NZ archives. These photographs were taken during the eight decades of phosphate mining that stripped the island and displaced its Indigenous people. The research responds to a gap created by disciplinary framing, which stimies transdisciplinary transmission of methods appropriate to undertaking feminist and anticolonial work with archives. It also responds to a gap in dominant historical narratives by examining how Banaban women’s resistance has been obscured. Through the method of “looking slowly,” Teaiwa animates these colonial images in her mind, drawing on her embodied knowledge & oral histories to tell the story of Banaban women’s resistance to colonialism.
The work generates new knowledge by theorising and demonstrating “looking slowly” as an anticolonial research method—an embodied mode of image-reading that employs Indigenous epistemologies and temporalities. The film itself enacts this methodology through intercut footage of the Pivot fertiliser factory in Geelong where Banaban rock was turned into fertiliser. Demonstrating the method of looking slowly, these shots turn the gaze back onto the colonial power behind the original archival images, and the quiet horror of Banaban remains strewn across Victoria.
This research significance lies in the way its study and articulation of a situated feminist and anti-colonial research method enables that method to become transversal and learned by others with shared purpose. The first exhibition of the work, as part of a dedicated exhibition of the broader project Storytelling Liberation was staged at one of Australia’s leading University museums, La Trobe Art Institute (2025), and is now part of their permanent collection.