From Labasa to the world stage: Fiji’s Anare Somumu ignites a new era for local visual art
Anare Somumu, now 51, has quietly become a trailblazer in Fiji’s art scene, moving from the cane fields of Labasa to the international stage and underscoring the untapped potential of Fijian visual art. His journey began far from galleries or formal training, in the north of Fiji where sugarcane dominates the landscape and art seemed almost unseen.
Somumu’s early life was marked by a strong artistic instinct within a family that included four artists among his siblings. He grew up with limited exposure to art institutions, attending Holy Family Primary and Secondary schools and Labasa College before briefly pursuing science. He initially planned to become a teacher, but soon found his calling elsewhere. He began as a book illustrator and joined the Curriculum Development Unit in 1991, where he stayed for 15 years, teaching himself through trial and error in the absence of formal art schools in Fiji at the time.
A turning point came through a chance connection with the Chinese Cultural Centre in Suva, which helped propel his career onto a larger stage. Through their support, Somumu’s paintings gained international exposure and eventually reached curators at one of the world’s most esteemed platforms, the International Art Biennale. This breakthrough marked a historic milestone: Somumu, alongside a fellow South Pacific artist, became the first from Fiji and the wider South Pacific—including Australia and New Zealand—to exhibit at the Biennale. The achievement shattered ceilings and demonstrated that Fijian artists could compete globally even without extensive institutional support.
Somumu has not rested on his laurels. Since returning home, he has redirected his energy toward mentoring the next generation of artists, while staying grounded in realism about the challenges artists face. He urges younger artists to balance art with a regular income, advising: pursue a real job for financial stability and cultivate art alongside it. He reflects on his own periods of financial instability and creative frustration, understanding that those experiences strengthened him but wishing them for others would be unnecessary hardship.
In recent years, Somumu has become a living bridge between Fijian artistic potential and global recognition, advocating for stronger arts infrastructure in Fiji. His message is clear: more exposure and better support could unlock significant talent across the islands. He has encouraged aspiring artists to remain practical, patient, and persistent, emphasizing that talent alone is not enough without opportunities and backing.
The wider Fiji art community has seen similar stories of resilience and breakthrough. Notably, other artists have benefited from mentorship and networks that SOMUMU helped cultivate. Among those inspired by his work and guidance is Mere Rasue, a 34-year-old artist whose own journey—from Lautoka to the visual arts program at the University of the South Pacific to the local art scene—highlights how mentorship and community connections can accelerate growth. Stories like Rasue’s, and those of other Fiji artists highlighted in recent profiles, underscore a shared path: talent rooted in cultural heritage, nurtured through education and mentorship, and propelled onto regional and global stages by supportive institutions and collaborators.
A hopeful note runs through Somumu’s narrative: talent, when exposed and supported, can redefine a nation’s cultural footprint. His call to action is simple and compelling—invest a portion of funding currently directed to sports into the arts, expand regional facilities, and cultivate local mentorship networks to sustain the growth of Fiji’s visual arts.
What this means for Fiji’s future is clear. With more galleries, residencies, and curatorial opportunities—especially outside Suva—the north and outer islands could become breeding grounds for a new generation of Fijian artists. Strengthening the arts infrastructure and ensuring artists have practical financial paths will empower many more Somumus to reach the world stage.
In a climate where rugby often dominates national attention and resources, Somumu’s story offers a concrete, positive counterpoint: art can be a powerful driver of cultural pride, economic opportunity, and international prestige. His journey is a reminder that Fiji’s creative talent is vast and that with exposure, mentorship, and adequate support, it can flourish on the global stage.
Summary: Anare Somumu’s ascent from Labasa’s cane fields to the International Art Biennale showcases Fiji’s untapped artistic potential and highlights the importance of mentorship and arts infrastructure. By balancing practical income with artistic pursuit and pushing for greater regional support, Somumu’s path points to a brighter, more inclusive future for Fiji’s visual arts. A positive, hopeful spin underpins the narrative: expanding support for the arts could unlock a wave of talent across Fiji, transforming the country’s cultural landscape for generations to come.
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