In terms of gender, race, and geography, the Honolulu Biennial achieved a level of diversity that is rare among international art events, which are disproportionately white, western, and male. Among the 47 artists and collectives featured around Honolulu, almost half were women, a majority were of indigenous descent, and they came from everywhere from Japan to Mexico to Bougainville. Putting together this biennial made Tonga think more critically about the methods and traditions she was trained in as a curator. Her work is based on biluma form of weaving practiced by women in Papua New Guinea and traditionally used to create bags.
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