Reverse Chameleon in the Kiwi Jungle

Reverse chameleon in the Kiwi jungle: Identity construction of Pasifika theatre makers Thesis submitted in partial fulfilment for the requirements for the Degree Doctor of Philosophy University of Canterbury Kata Fülöp 2012 Word count: 98,765 1 Contents Contents ........................................................................................................................................ 2 1. Chapter 1: Introduction ...................................................................................................... 11 1.1 Thesis structure........................................................................................................... 13 1.2 Methods ...................................................................................................................... 15 1.3 Positioning .................................................................................................................. 15 1.4 Style ............................................................................................................................ 16 2. Chapter 2: Conceptual framework ..................................................................................... 17 2.1 Pacific migration to New Zealand ............................................................................... 17 2.2 Biculturalism and multiculturalism in New Zealand ................................................... 19 2.2.1 Biculturalism ........................................................................................................... 19 2.2.2 Multiculturalism ...................................................................................................... 20 2.2.3 Compatibility and applicability ............................................................................... 21 2.3 Identities ..................................................................................................................... 22 2.3.1 Ethnic and cultural identities .................................................................................. 22 2.3.2 Identities: constructed and performed .................................................................. 23 2.3.3 The quandary of essentialised identities ................................................................ 25 2.4 Pasifika identities ........................................................................................................ 26 2.4.1 Traditional Pacific identities.................................................................................... 26 2.4.2 Post-migration identities ........................................................................................ 26 2.4.3 Pacific diaspora and diasporic identities................................................................. 28 2.5 Representation of Pasifika people and Pan-Pacific ideologies ................................... 28 2.5.1 Diversity and Pan-Pacific models ............................................................................ 29 2.5.2 Self-determination and art ..................................................................................... 30 2.6 ‘All the world is a stage’: performative aspect of identities ....................................... 31 2.7 Post-colonial theatre................................................................................................... 32 2.7.1 Post-colonialism: mimicry, the voice of the subaltern and hybridity ..................... 32 2.7.2 Postcolonial theatre ................................................................................................ 35 2.7.3 Language as resistance in post-colonial theatre ..................................................... 36 2.7.4 ‘Returning to the roots’: essentialising and rewriting histories ............................. 37 2.7.5 Art forms in postcolonial theatre ........................................................................... 38 2.7.6 Female playwrights ................................................................................................. 42 2.8 Pasifika theatre ........................................................................................................... 43 2.8.1 Maori theatre .......................................................................................................... 43 2 2.8.2 Pasifika theatre: a review of literature ................................................................... 44 2.8.3 Pasifika theatre and popular media ........................................................................ 48 2. Chapter 3: Methodology and Methods .............................................................................. 50 2.1 Knowledge systems and epistemologies ................................................................ 51 2.1.1 Qualitative method and grounded theory .............................................................. 51 2.1.2 Pasifika methodologies ........................................................................................... 52 2.2 Naming .................................................................................................................... 56 2.2.1 Pasifika people ........................................................................................................ 56 2.2.2 Generations ............................................................................................................ 59 2.2.3 European, Pakeha, Pālangi, Pālagi, Papālagi ........................................................... 60 2.2.4 Pasifika theatre practitioner ................................................................................... 60 2.3 Data collection ........................................................................................................ 60 2.3.1 Pilot interviews and cultural advisor ...................................................................... 61 2.3.2 General information on the data collection ........................................................... 62 2.3.3 Archival research .................................................................................................... 62 2.3.4 Interviews ............................................................................................................... 63 2.3.5 Plays and scripts ...................................................................................................... 67 2.3.6 Performances and recordings ................................................................................. 67 2.3.7 Field notes observations, events ............................................................................ 67 2.3.8 Journals and reflections .......................................................................................... 68 2.4 Data analysis ........................................................................................................... 68 2.4.1 Process of analysis .................................................................................................. 68 2.4.2 Making sense of data .............................................................................................. 69 2.5 Presenting the research .......................................................................................... 70 2.6 Ethics, confidentiality, anonymity and data handling ............................................ 70 2.6.1 Ethics approval ........................................................................................................ 70 2.6.2 Confidentiality, anonymity and data handling ....................................................... 71 3. Chapter 4: A history of Pasifika theatre .............................................................................. 73 4.1 The rich soil and the seed of Pasifika theatre ............................................................. 73 4.1.1 Pre-colonisation performance forms in the Pacific: oratory and fale’aitu ............. 73 4.1.2 After colonisation ................................................................................................... 75 4.1.3 Pacific art before the 1980s .................................................................................... 75 4.2 Years of sprouting: challenging mono-culturalism and breaking the ice ................... 76 4.2.1 Taotahi ma Uo: Le Matau (1984) ............................................................................ 77 3 4.2.2 Pacific Theatre ........................................................................................................ 77 4.2.3 Statement Theatre .................................................................................................. 78 4.2.4 Whakarite Theatre Company .................................................................................. 79 4.3 Paving the way: a growth spurt of Pasifika theatre .................................................... 80 4.3.1 The Brownies .......................................................................................................... 80 4.3.2 Kneubuhl: Think of a Garden .................................................................................. 81 4.3.3 Pacific Underground ............................................................................................... 81 4.3.4 Naked Samoans ...................................................................................................... 87 4.3.5 Reflections on this phase: Pan-Pasifika ideas and developing two genres ............ 90 4.4 Branching out: taking Pasifika theatre to a wider audience ....................................... 90 4.4.1

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