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Diana Looser REMAKING PACIFIC PASTS: A COMPARATIVE STUDY OF CONTEMPORARY HISTORIOGRAPHIC THEATRE FROM OCEANIA A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Diana Mary Florence Looser May 2009 © 2009 Diana Mary Florence Looser REMAKING PACIFIC PASTS: A COMPARATIVE STUDY OF CONTEMPORARY HISTORIOGRAPHIC THEATRE FROM OCEANIA Diana Mary Florence Looser, Ph.D. Cornell University 2009 This dissertation explores selected plays from Hawai‘i, Aotearoa New Zealand, and Fiji that critically engage aspects of colonial and postcolonial Pacific histories. This historiographic drama, produced primarily by indigenous and diasporic playwrights, forms part of a broader theatrical genre that has flourished throughout Oceania since the late 1960s and is coeval with a phase of significant social change in the region, with the decolonization and independence of many Pacific Island nations, as well as changing responses to globalization, and increased migratory and diasporic movements within and beyond the area. Drawing upon discussions in theatre and performance studies, historiography, Pacific studies, and postcolonial studies, I examine contemporary historiographic theatre in Oceania as a varied syncretic form that draws from and negotiates between Western and Oceanic frameworks, foregrounding heterogeneity and debate. I read this body of work as a consciously critical genre that contributes to the project of “decentering” the practice of history in Oceania (Hanlon) by interrogating and revising repressive or marginalizing models of historical understanding developed through colonialism or exclusionary indigenous nationalisms, and by providing outlets for the expression of counter-discursive Pacific histories. In so doing, these plays function as tools to help define the present Oceania, facilitating processes of creative nation- building and the construction of modern regional imaginaries. The chapters are structured around certain moments in the Pacific’s colonial and postcolonial history that have affected and helped to shape the region more broadly, without being the story of one particular nation. Chapter Two examines early cross-cultural encounters between European voyagers and Pacific peoples, focusing on contemporary plays from Hawai‘i and New Zealand that revisit the voyages and concomitant legacies of the British explorer, Captain James Cook. Chapter Three explores the impact of colonial conflict through M!ori plays about the New Zealand Wars of the mid-nineteenth century. Chapter Four moves away from the indigene/white settler relationship to investigate theatrical responses to recent and ongoing conflicts in a multicultural, post-independence Pacific context in which repressive social structures are occasioned by a dominant indigenous nationalism, treating plays that engage the event and aftermath of the 1987 Fiji Coup. BIOGRAPHICAL SKETCH Diana Looser is from Aotearoa New Zealand, and graduated from Canterbury and Lincoln Universities before moving to the United States for her graduate studies in Theatre. iii ACKNOWLEDGMENTS Ehara taku toa i te toa takitahi, engari he toa takimano. In preparing this dissertation I have benefited from the advice and support of many people and organizations. My sincere thanks to Amy Villarejo, Elizabeth DeLoughrey, and Sara Warner, my advisors at Cornell; and to Robert Sullivan, John Psathas, Dennis Carroll, Victoria N!lani Kneubuhl, Apirana Taylor, Witi Ihimaera, Vilsoni Hereniko, Sudesh Mishra, Larry Thomas, and Brian Potiki, who were generous in discussing their creative work with me. My Pacific research was funded by grants from Cornell University’s Mario Einaudi Center for International Studies, the Society for the Humanities, and the Departments of American Studies and Theatre, Film & Dance; as well as an American Society for Theatre Research Dissertation Research Fellowship, with supplementary funds from Cornell Libraries and Fine Books & Collections Magazine. I am grateful to the Lincoln Hall administrators for on-campus accommodation at the University of Hawai‘i during several visits to Honolulu, and to Herb Kawainui Kane, and Iwa Tolleston and Kapua van Dorpe (Aloha Kayak Co.), for helping organize the visit to Kealakekua Bay. Thanks to Karen Peacock, curator of the Pacific Collection at the Hamilton Library, University of Hawai‘i at M!noa; and to the Staff at the Bishop Museum, Honolulu; the Mission Houses Museum Library, Honolulu; the Kona Historical Society; the University of the South Pacific Library; the Macmillan Brown Centre for Pacific Studies, University of Canterbury; the Alexander Turnbull Library, Wellington; Archives New Zealand, Wellington; Auckland City Libraries Special Collections; Kumu Kahua Theatre Archives, Honolulu; Taki Rua Theatre, Wellington; and Playmarket. Thank you to Judy Berryman of the Orpheus Choir of Wellington for the valuable supplementary performance materials used in my iv second chapter, and to musicologist Chris Gendall for his advice about oratorios. My research has also been aided by Ian Gaskell (University of the South Pacific), David O’Donnell (Victoria University of Wellington), Satendra Nandan (University of Fiji), Sharon Mazer (University of Canterbury), Nick Higginbotham (University of Newcastle, Australia), Nicholas Thieberger (Project Manager, Pacific and Regional Archive for Digital Sources in Endangered Cultures, University of Melbourne, Australia), Don Fredericksen (Cornell), and Haiping Yan (Cornell). Many thanks to the members of my Society for the Humanities Interdisciplinary Dissertation Writing Group at Cornell for their detailed and helpful feedback on my work-in-progress. Ng! mihi nui ki a Angie Stretch, Darryn Hohepa, and Dion Punga at Te P"tahi-a-Toi School of M!ori Studies at Massey University, for guiding my study of Te Reo M!ori. Much love and thanks to Auntie Mahinekura Reinfelds and the Taranaki wh!nau for access to Parihaka and for the many discussions that enriched my work, and a big thanks to Mum for her company and historical expertise during my site-specific research in Aotearoa New Zealand. Finally, deepest appreciation to my husband, Andrei, without whose love, steadfast support, and sensible advice this project would not have been possible. v TABLE OF CONTENTS Biographical Sketch .................................................................................................. iii Acknowledgements................................................................................................... iv Chapter One: Introduction.......................................................................................... 1 Introduction.......................................................................................................... 1 Situating Oceania ................................................................................................. 2 The Drama and Theatre of Oceania ...................................................................... 8 Remaking Pacific Pasts: Historiographic Theatre ................................................19 Engaging History in Hawai‘i, Aotearoa, and Fiji .................................................31 Navigating Pathways: Methods and Approaches .................................................34 Dissertation Structure and Chapter Outlines ........................................................38 Chapter Two: Remembering Captain Cook: Restaging Early Cross-Cultural Encounters in Hawai‘i and Aotearoa New Zealand....................................................44 Introduction.........................................................................................................44 Beach Crossings: Cook’s Pacific Voyages...........................................................46 Scenarios of Discovery: Theatrical Representations of Cross-Cultural Encounters in Cook’s Voyages ..............................................................................................50 Dennis Carroll and Tammy Haili‘!pua Baker – Way of a God (1998)..................60 Robert Sullivan and John Psathas – Orpheus in Rarohenga (2002)......................77 Conclusion ..........................................................................................................99 Chapter Three: Me Titiro Whakamuri, Kia Haere Whakamua: M"ori Theatrical Interpretations of the New Zealand Wars as “Tino Rangatiratanga in Action” .........101 Introduction.......................................................................................................101 The New Zealand Wars and the Treaty of Waitangi...........................................104 Protest and Performance: M"ori Theatre and Tino Rangatiratanga.....................108 Theatres of War: Representing the New Zealand Wars on the Stage..................117 Harry Dansey – Te Raukura (1972) ...................................................................120 Apirana Taylor – Wh!ea Kairau: Mother Hundred Eater (1995).......................141 Witi Ihimaera – Woman Far Walking (2000).....................................................157 Conclusion ........................................................................................................179 Chapter Four: Killing the Monster: Revisioning the 1987 Coup on the Fiji Stage. ..181 Introduction.......................................................................................................181 The 1987 Fiji Coup ...........................................................................................184
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