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Tensions and Possibilities the Interplay Of Tensions and Possibilities The Interplay of ‘Traditional’ Cultural Elements and the Creation of ‘Contemporary’ Rapanui, Māori and Samoan diasporic Theatre He Moto, He Koa Te Hakapiri o te Haka Ara e te Api ki te Aŋa o te A‘amu Api ki Rapanui, Māori e ko Sāmoa Tensiones y Posibilidades La Integración de Elementos Culturales ‘Tradicionales’ en la Creación ‘Contemporánea’ de Teatro Rapanui, Māori y diasporico Samoano Moira Sofia Fortin Cornejo A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy Victoria University of Wellington 2016 Abstract This thesis focuses on notions of ‘traditional’ and ‘contemporary’ theatre in two Pacific Island contexts, Aotearoa and Rapa Nui. It explores how notions of ‘tradition’ are imagined, recreated, and performed through the ‘contemporary’ creative arts, with a particular focus on theatre. It offers insight about culturally-situated understandings of ‘tradition’, and seeks to acknowledge diverse meanings and perceptions of theatre that exist across diverse Pacific Island cultures, languages, and epistemologies. Ideas about what constitutes ‘tradition’ have been significantly impacted by colonial histories, and that these culturally and historically situated ideas have wide-ranging implications for creative possibilities in the ‘contemporary’ performing arts. ‘Traditional’ performances are often seen as acceptable and relevant to Indigenous communities in Aotearoa and Rapa Nui, contributing to processes of cultural reclaiming and revitalisation. Although cultural continuity is a significant theme in Indigenous theatre in Aotearoa and Rapa Nui, the different emphasis placed upon notions of ‘tradition’ across these comparative contexts has led to very different artistic possibilities being available. In Rapa Nui there is a general reluctance in the performing arts to deviate from ‘tradition’ or to declare work as ‘contemporary.’ The reproduction of ‘traditional’ styles and stories is one response to ongoing colonialism in Rapa Nui, and to the ever present demands of the tourist industry. Māori and Samoan theatre practitioners in Aotearoa have developed theatre forms and processes that are based in cultural values and epistemologies while also being integrated with European theatre techniques, creating innovative approaches to ‘contemporary’ themes and understandings. These developments in the creative arts are supported by the availability of a wide range of theatre education opportunities. Culturally reflective and situated approaches to theatre education have enabled Indigenous theatre practitioners in Aotearoa to use theatre as a forum to express ideas and issues to the community weaving in a variety of different cultural influences, and techniques. This thesis utilised a case-study methodology and open-ended interviews, framed under the research methodology of talanoa, to interact with Māori, Samoan diasporic and Rapanui theatre practitioners, in order to explore their perceptions towards ‘traditional’ and ‘contemporary’ practices. This research focuses on the positives of cultural dialogue, and it emerges from a desire to support intercultural theatre practices in Aotearoa and Rapa Nui. 2 Acknowledgments To my parents Juan Fortin and Sylvia Cornejo for their support To A. Prof. David O’Donnell and Dr. April Henderson, my supervisors To the Victoria University Research Support Grant Committee To Michele Fontana, Sally Richards, and the fellow PhD candidates from the 310 office To Dr. Tui Nicola Clery for both inspiration and reading the manuscript To all the interviewees: Iaheto Ah Hi, Marlene Alfaro, Magdalena Amenábar, Tiare Iti Araki, Marisol Araki, Ana Maria Arredondo, Barbara Barriga, Sean Coyle, Pablo Fortin, Victoria Fuentealba, Miria George, Hilary Halba, Virginia Haoa, Puaru Hotus, Julio Hotus, Marta Hotus, Karlo Huke, Pamela Huke, Nicola Hyland, Patricia Iturbe, Hone Kouka, Carlos Lillo, Tupe Lualua, Cristian Paoa, Vela Manusaute, Rua McCallum, Vai Tiare Merino, Cristian Moreno, Mishelle Muagututi‘a, Tanya Muagututi‘a, Macarena Oñate, Felipe Pakarati, Miriam Pakarati, Tuvalu Pate, Taofia Peleasa, Anapela Polataivao, Angie Pont, Claudia Quiroga, Vai a Heva Rapu, Lynn Rapu, Katherine Ringeling, Rangimoana Taylor, Kereama Te Ua, Mahani Teave, Barbara Tramon, Gabriel Tramon, Bendicto Tuki, Andrea Ubal, Makerita Urale, Alexei Vergara, Isabel Vilches, Mario Villanueva, Annette Zamora. Mauru‘uru Ki to‘oku matua tane Juan Fortin e to‘oku matua vahine Sylvia Cornejo Kia A. Prof. David O’Donnell e ko Dr. April Henderson to‘oku maori rara Ki te taŋata ta‘ato‘a o te Victoria University Research Support Grant Kia Michele Fontana, Sally Richards e korua ta‘ato‘a ki te piha 310 Kia Dr. Tui Nicola Clery o te vanaŋanaŋa, ki tai‘o te papa‘i rae Kia korua ta‘ato‘a i ha‘u‘u mai i te aŋa papa‘i nuinui nei: Iaheto Ah Hi, Marlene Alfaro, Magdalena Amenábar, Tiare Iti Araki, Marisol Araki, Ana Maria Arredondo, Barbara Barriga, Sean Coyle, Pablo Fortin, Victoria Fuentealba, Miria George, Hilary Halba, Virginia Haoa, Puaru Hotus, Julio Hotus, Marta Hotus, Karlo Huke, Pamela Huke, Nicola Hyland, Patricia Iturbe, Hone Kouka, Carlos Lillo, Tupe Lualua, Cristian Paoa, Vela Manusaute, Rua McCallum, Vai Tiare Merino, Cristian Moreno, Mishelle Muagututi‘a, Tanya Muagututi‘a, Macarena Oñate, Felipe Pakarati, Miriam Pakarati, Tuvalu Pate, Taofia Peleasa, Anapela Polataivao, Angie Pont, Claudia Quiroga, Vai a Heva Rapu, Lynn Rapu, Katherine Ringeling, Rangimoana Taylor, Kereama Te Ua, 3 Mahani Teave, Barbara Tramon, Gabriel Tramon, Bendicto Tuki, Andrea Ubal, Makerita Urale, Alexei Vergara, Isabel Vilches, Mario Villanueva, Annette Zamora. Agradecimientos A mis padres Juan Fortin y Sylvia Cornejo por su constante apoyo A A. prof. David O’Donnell y a Dr. April Henderson mis supervisores Al comite del Victoria University Research Support Grant A Michele Fontana, Sally Richards y a todos los candidatos a Doctor de la oficina 310 A Dr. Tui Nicola Clery por sus comentarios inspiradores y por leer el borrador de esta tesis A todo los que de una u otra forma participaron y colaboraron en esta investigación: Iaheto Ah Hi, Marlene Alfaro, Magdalena Amenábar, Tiare Iti Araki, Marisol Araki, Ana Maria Arredondo, Barbara Barriga, Sean Coyle, Pablo Fortin, Victoria Fuentealba, Miria George, Hilary Halba, Virginia Haoa, Puaru Hotus, Julio Hotus, Marta Hotus, Karlo Huke, Pamela Huke, Nicola Hyland, Patricia Iturbe, Hone Kouka, Carlos Lillo, Tupe Lualua, Cristian Paoa, Vela Manusaute, Rua McCallum, Vai Tiare Merino, Cristian Moreno, Mishelle Muagututi‘a, Tanya Muagututi‘a, Macarena Oñate, Felipe Pakarati, Miriam Pakarati, Tuvalu Pate, Taofia Peleasa, Anapela Polataivao, Angie Pont, Claudia Quiroga, Vai a Heva Rapu, Lynn Rapu, Katherine Ringeling, Rangimoana Taylor, Kereama Te Ua, Mahani Teave, Barbara Tramon, Gabriel Tramon, Bendicto Tuki, Andrea Ubal, Makerita Urale, Alexei Vergara, Isabel Vilches, Mario Villanueva, Annette Zamora. 4 Table of Contents Abstract………………………………………………………………………………..2 Acknowledgments – Mauru‘uru –Agradecimientos……………………………….3 Table of Contents..................................................................................................... 5 List of Illustrations .................................................................................................. 9 Seed – Karu – La Semilla ...................................................................................... 10 Chapter One: Introduction – He Ha‘a Mata – Vamos Viendo Dijo el Ciego………11 1.1 Introduction ..................................................................................................... 11 1.1.1 Exploring the Construction of the ‘Traditional’ and the ‘Contemporary:’ Implications and Consequences for Cultural Creativity ..................................... 18 1.1.2 Research Background ................................................................................... 19 1.1.3 Locating the Researcher: Place, Voice and Positionality ........................... 22 1.2 Methodology ..................................................................................................... 24 1.2.1 Combining Research Methods ..................................................................... 24 1.2.2 Fieldwork ...................................................................................................... 28 1.2.3 Interviews ...................................................................................................... 31 1.2.4 The Use of Three Languages ........................................................................ 32 1.3 Chapter Outline ............................................................................................... 33 Chapter Two: Histories and Relationships – He A‘amu o te Hakapiri – De a dos se Baila el Tango ………………………………………………………………………….36 2.1 Introduction ..................................................................................................... 36 2.2 The Relationship between Rapa Nui and Chile .............................................. 38 2.2.1 The Influence of Oral Narratives on Rapanui Theatre .............................. 39 2.2.2 Rapa Nui, Social Change, and the ongoing impacts of Encounters with European Explores ................................................................................................ 40 2.2.3 Isla de Pascua, a Chilean Colony in the Pacific .......................................... 42 2.2.4 The Modernisation of Rapa Nui and Influences on Rapanui Performing Arts
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