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Kemuel Demoville Full Thesis 3 Oct 2015 Indigenous Ritual Aesthetics on Stage: A Survey of Contemporary Syncretic Theatre of Oceania. By Kemuel DeMoville A thesis submitted to the Victoria University of Wellington in fulfillment of the requirements for the degree of Master of Arts in Theatre Victoria University of Wellington 2015 ii ABSTRACT: The use of indigenous ritual (both formal and informal), ritual performance, and mythology in modern Oceanic theatre speaks directly to cultural practitioners and informed audience/readers. Various contemporary syncretic plays originating from Oceania will be analyzed for their connection to indigenous ritual. These plays include John Broughton’s Te Hokinga Mai (The Return Home), Sudesh Mishra’s Ferringhi, Jo Nacola’s Gurudial and the Land, Briar Grace-Smith’s Ngā Pou Wāhine and When Sun and Moon Collide, Vilsoni Hereniko and Teresia Teaiwa’s Last Virgin in Paradise, Victoria Nalani Kneubuhl’s Ka Wai Ola, Albert Belz’ Te Maunga, and Makerita Urale’s Frangipani Perfume. Understanding the way in which syncretic theatre is created in postcolonial societies within Oceania will help to build a greater understanding of how cultures and communities are restructuring and reclaiming traditional cultural practices within their respective communities. Using various play- specific dramatic and anthropological theories, scripts are analyzed in order to identify the indigenous cultural element present within the respective scripts. iii iv ACKNOWLEDGEMENTS: There are a number of individuals to whom I owe a great deal for their assistance in the completion of this Masters thesis. First and foremost, I owe a huge debt to my wife, Ashley, and my two sons, Tennyson and Barrett. With the amount of help they have given me over the years, I should list the three of them as co-authors to this study. They may not have done any of the writing, but they certainly have given enough love, support, time, and energy to have earned their names on the cover. I would also like to thank my mother, Kathy DeMoville, for all the times she took the boys out to the park or the zoo or the beach so that I could have time to work. My grandfather, Robert Louis DeMoville, also helped immeasurably with his constant support and subsidization of our family’s move across the Pacific Ocean and back again. It is not out of line to say that without him there is no way I would have been able to finish this thesis. Thanks as well to all the aunts, uncles, cousins, grandparents, in-laws, nieces, nephews, and friends who have always supported me throughout this process. Family aside, I would not have been able to complete this work without the support of the academic and general staff at Victoria University of Wellington. It was also a great honor to be the recipient of The VUW Doctoral Scholarship, without which my international study would not have been possible. Furthermore, I will never be able to repay the kindness, the patience, the honest critiquing, the hours of extra work, and the frantic last minute pace of edits that my supervisors provided. David O’Donnell and David Carnegie were immeasurably helpful and supportive. While the assistance of these individuals on the micro level is important, I would also like to look at the support I received on the macro level. v I would be remiss not to acknowledge the work of various theatres around the Pacific. While none of them supported me directly, it is no small leap to say that without their willingness to produce new work in Oceania these plays might never have come to light. These theatres are focused on developing the indigenous or “local” voice and so embrace theatrical syncretism as part of the process toward reclaiming identity. In Aotearoa New Zealand, Taki Rua Theatre’s mission statement includes: “Envisioning and developing new, New Zealand work by encouraging new voices in Māori and English while providing professional development for the next generation of theatre practitioners” (“Four Strands”). This is a theatre that has devoted itself to developing work and new voices within Aotearoa New Zealand.1 In Hawaiʻi, Kumu Kahu Theatre has a mission to promote “local theatre” which, according to founder Dennis Carroll, includes both local and local Hawaiian (124-125). The mission statement of the theatre expressly states that its mission is: “to provide theatrical opportunities for the expression of local community lifestyles, […] to provide training and theatrical experiences for local playwrights, directors, performers and other theatrical artists” (“Mission”). Kumu Kahua seeks to both present plays that explore the Hawaiian experience and provide training so that local theatre practitioners have the opportunity to add their voices to the development of a unique kind of theatre.2 These theatres are just a small representation of the many individuals, performers, and practitioners who are dedicated to shaping and developing theatre in Oceania. While it is unknown what the future of syncretic theatre in Oceania might be, it is clear that there are theatres and artists throughout the 1 For more on Taki Rua see the work of: Hone Kouka, David O’Donnell, Marc Maufort, and Lisa Warrington (amongst others). 2 For more on Kumu Kahu Theatre, see the work of: Dennis Carroll and Josephine Lee (amongst others). vi region dedicated to ensuring the development of future generations of theatre artists in Oceania. vii viii TABLE OF CONTENTS Abstract iii Acknowledgements v Table of Contents ix Introduction Page 1 Chapter One: Formal Ritual Action in Ferringhi, Page 24 Gurudial and the Land, Te Hokinga Mai (The Return Home), and Ngā Pou Wāhine Chapter Two: Ritual Performance in Last Virgin Page 60 in Paradise, Ka Wai Ola, and Frangipani Perfume Chapter Three: Informal Ritual Action and Myth in Page 86 When Sun and Moon Collide, and Te Maunga. Conclusion Page 118 Work Cited Page 123 ix x INTRODUCTION: Building Foundations and Defining Terms The climax of Albert Belz’s play Te Maunga takes place in Aotearoa New Zealand on the peak of Mount Hikurangi on the first day of the new millennium. Two Māori brothers and an English expatriate have climbed the mountain in the hopes of seeing, and being cleansed by, the first rays of sunlight from a new dawn. When the brothers climbed the mountain in their youth, one brother saw the traditional landscape and daily activities of their homeland, the other, looking in the opposite direction, saw the lights of the big city and the bustling activities that accompany metropolitan areas. What the brothers and the English woman see now is a mystery, but on the peak of that mountain they are finally able to resolve the differences that have separated them all the years since their initial ascent. Belz’s play acts as an allegory for the current state of Māori in Aotearoa New Zealand (at least as Belz portrays it): straddling a mountain between two worlds and struggling to find their place in each. The allegorical connections deepen once this stage image is viewed through the lens of syncretic theatre theory. In Māori mythology sunlight is considered to have healing properties, so having the two Māori brothers and the British expatriate gathered together to feel the first light of dawn opens up the themes in the play. The play is no longer just about these two brothers and their divergent world-views finding common ground, it now takes on a deeper significance between both of the Māori brothers along with a British settler. Each character becomes an avatar for the population of Aotearoa New Zealand – they have hiked to the peak of the mountain together, and together they are offered the healing light of the new dawn.1 Having this one connection to Māori mythology affects the play in such a way that it becomes more than just a play about two Māori brothers; !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 1 More on Te Maunga can be found in Chapter 3 of this thesis. ! 1 it becomes an allegory for all peoples in Aotearoa New Zealand, both indigenous and settlers, finding a way to come together in the new millennium. Before some of the connections to indigenous ritual and ritualized performance can be made however, it is important to first establish a working vocabulary and acknowledge the theoretical frameworks upon which this thesis is built. This chapter will begin by discussing syncretic theatre and the theories surrounding it. It is important to examine these ideas as this thesis uses syncretic theatre theory throughout as a basis for play analysis. These opening sections help to explain and survey the theories and terms that will later be employed in this study. Structuring the chapter in this way allows for both clarity and focus when analyzing theories and concepts, as well as allowing for the jargon and the vocabulary specific to the field to be placed upfront. This study uses syncretic theatre theory as a basis to examine a range of Oceanic plays – specifically John Broughton’s Te Hokinga Mai (The Return Home), Sudesh Mishra’s Ferringhi, Jo Nacola’s Gurudial and the Land, Briar Grace-Smith’s Ngā Pou Wāhine and When Sun and Moon Collide, Vilsoni Hereniko and Teresia Teaiwa’s Last Virgin in Paradise, Victoria Nalani Kneubuhl’s Ka Wai Ola, Albert Belz’s Te Maunga, and Makerita Urale’s Frangipani Perfume. The various plays will be analyzed in order to illuminate dramatic texts which, while working within Western dramaturgical structures, employ metaphysical, spiritual, and ritual elements as a means of reclaiming and redefining cultural modes. This chapter, much like Belz’s Te Maunga, is the base of the mountain that must first be climbed if there is any hope to reach the peak and the awaiting daylight.
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