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(De)Constructing Tongan Creativity: a Talanoa About Walking in Two Worlds

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(De)Constructing Tongan Creativity: a Talanoa About Walking in Two Worlds (De)constructing Tongan Creativity: a Talanoa about Walking in Two Worlds A thesis submitted to Auckland University of Technology in fulfilment of the requirements for the degree of Doctor of Philosophy By Janet Fatafehi Lupe ‘O Talau Tupou School of Communication Studies Auckland University of Technology, 2018 Abstract The growing number of Tongan creators searching for a place of belonging and acceptance between the two worlds Tonga and Aotearoa New Zealand has contributed to cultural spaces shifting in terms of identity negotiation, effects on expressions of traditional and contemporary and Tongan values in creative work and confusion around the notion of ‘creativity’. This study deconstructs the concept of creativity, in the walk between two worlds. Being a creative in New Zealand equals being innovative, invoking “the shock of the new” (O’Connor, 2010, p. 15). However, being creative in Tonga equals honouring tradition in one’s work, the ideals of “interdependence, collectivity, cooperation and authoritarianism” (Weiner, 2000, p. 18). In this study the method of gathering data was carried out by conducting in-depth talanoa (cross- cultural process of storytelling derived from Pacific islands traditions) with Tongan artists and spokespersons investigating their lived experiences and cultural identity. To further enhance each voice and richness of the talanoa, thematic analysis assisted in n elucidating meaningful insights. From the intercultural communication literature, key cultural values of each ‘world’ can be identified. The key values of western societies are often said to relate to individual rights and freedoms; justice in terms of equity and equal access; intellectual property, promotion of competition and consumerism; and, scientific-rational thinking (Kornelly, 2008). Tongan values, according to Taufe'ulungaki (2011), consist of ‘ofa (love) and its subgroups mafana, which drives ‘ofa to action; malie, its transforming quality; faka'apa'apa (respect), feveitokai'aki (reciprocity), lototo (humility), mamahi'i me'a (commitment), faitotonu (integrity) and feongoongoi (transparency and accountability). My findings revealed three main areas: Attitudes toward creativity, The role of culture: sharing the creative burden, and Creative and cultural identity development that impacted the walk of two worlds for my participants. Differences exist in the cultural values of Tongan artists, particularly in the Tongan artists’ attitudes toward their creative works, and their overall understanding of what ‘creativity is’. This is depending upon whether their knowledge of anga fakatonga (Tonga way, customs) which in turn, led to an analysis of New Zealand culture’s effects on Tongan artists who live in New Zealand. The differences in the way Tongan artists view creativity within the Tongan and New Zealand cultural contexts therefore determines what a creative person is, and how they balance their fatongia (duties), obligations while upholding their creative work. Conflict exists across and between the walk in both worlds, as bi-cultural New Zealand Tongan creators grapple with whether a compromise can be made in terms of being contemporary and also respectful towards tradition. Therefore, this research reveals that the walk in two worlds that Tongan artists conduct requires more understanding behind what ‘creativity’ means and how it can be valued in the past, present and future to ‘move forward into the past’. By focusing on the 21st century alone to investigate the effects of traditional and contemporary expressions of Tongan culture in the creative work of Tongan artists, further talanoa will enable us to ‘walk backward into the future’. ii Table of Contents Acknowledgements Chapter One - Kamata ‘oe Talanoa: Opening the Research 1 1.1 Research Purpose 4 1.2 Two Worlds, Two Walks 4 1.3 Contextualising the Research in History and Geography: A Snapshot of Tonga 8 1.4 Organisation of the Thesis 15 Chapter Two- Cultural Constructions of Creativity 16 2.1 What is Creativity? 16 2.2 Valuing Creativity 24 2.3 The Creative Person 26 2.4 Cultural Adaptions and Creativity 28 2.5 Pasifika Art and the West 31 Chapter Three- Weaving the Cultural and Creative Mats of Tonga 34 3.1 Seeing Tongan Creativity 34 3.2 Searching for Tongan Creativity 43 Chapter Four – Tufunga Fekumi (Research Design) and Tūkufua Ki He Fekumi 48 (Theoretical Framework) 4.1 Methodology 48 4.2 From Pasifika Research Concerns to Metaphors of Doing 53 4.3 Arriving at Talanoa 56 4.4 Data Analysis 61 4.5 Working with the Talanoa 63 Chapter Five - Individual Talanoa (Talanoa Fakatuitui) 65 5.1 Sina’s Talanoa 65 5.2 Sitiveni’s Talanoa 72 5.3 Sela’s Talanoa 78 5.4 Neti’s Talanoa 86 iii 5.5 Lisiate’s Talanoa 90 Chapter Six - Ngaahi Tu’unga Lea ‘Oe Talanoa: Themes from the Talanoa 90 6.1 Theme 1: ‘E kei Tonga pe ‘a Tonga ‘ia (Tonga will always be Tonga) 92 6.2 Theme 2: Walking in Two Worlds 106 Chapter Seven - Discussion 113 7.1 Key finding 1: Attitudes to Creativity 114 7.2 Role of Culture: Sharing the Creative ‘Burden’ 115 7.3 Creative and Cultural Identity Development 119 7.4 Conclusions 124 7.5 Contribution to Knowledge 125 7.6 Implications for Future Research 127 7.7 Recommendations 128 7.8 The Last Word 128 References 129 Glossary 152 Appendices List of Figures Figure 1: Archipelago of Tonga 13 List of Tables Table 1: Breakdown of Themes from Talanoa Coding Groups: 'Loto', 'Tu'a' and 91 'Mafana' iv ATTESTATION OF AUTHORSHIP I hereby declare that this submission is my own work and that, to the best of my knowledge and belief, it contains no material previously published or written by another person (except where explicitly defined in the acknowledgements), nor material which to a substantial extent has been submitted for the award of any other degree or diploma of a university or other institution of higher learning. Signed: ___________________________________ Janet Fatafehi Lupe ‘o Talau Tupou 2018 v Fakamālō (Acknowledgements) “Trust in the Lord with all your heart, and lean not on your own understandings.” Proverbs: 3:15 Looking back as I move forward, I am amazed at how much time and energy has gone into this document. First and foremost, I thank God for filling my cup of patience, strength, will power and encouragement throughout this time. There have been countless times when I wanted to give up, quit, delete every word typed but You have remained my calm in the storm - and I am eternally grateful. I would like to acknowledge the advice and guidance of my primary supervisor Dr. Frances Nelson, thank you for being such a positive influence for me in all areas – you helped me to trust myself in pursuing my studies to this date, and I am so grateful. I appreciate your time, energy, and investment in me, including your careful and multiple readings of my manuscript and continued mentorship. You always enlighten me through your wide knowledge and deep intuitions about where I should go and what is necessary to get there. My second supervisor, Dr. Angelique Nairn, thank you for all the hope you have put on me before I thought I could do any research at all. You have always encouraged me to think intensively, even when I was contemplating other avenues. Your precision in thinking has left a good impression for me to follow. Thank you for helping me pull through, in many waysn than one. You and Frances are both colleagues that I now, call my kāinga. Dr. Jaqueline Harrison, thank you for your support and assistance throughout this thesis. You have seen the best and worst of me during my academic pursuit as much as Frances and Angelique have. Thank you for being a strong source of support, always. To my parents, Siosiua Pilikimi and Tihina Seli Katokakala, I relied on you both during this time to complete my uncompleteness – I love you both so much! This thesis, is dedicated to you both, after God. I cannot begin to repay you for your love, but I will surely try! I love you both so much and always will. I am also fortunate to have siblings who I can argue, cry, and laugh with: Steven, Christopher, Gina – a special thank you for your love, support and keeping me well-balanced throughout this time. Thank you to Gina especially, for dealing with me and your support during the late nights and days that never ended. All your constant words of encouragement have always kept me smiling. I love each of you so much. To my nieces and nephews that have always kept me young at heart, my wish is that one day we can all write one of documents! And why not? I’ll be here cheering you on throughout all your ventures. vi To all my first and second cousins, my church youth group – thank you for all your prayers and ongoing support and for accommodating my research and study. I can not pay you back for all the love and encouragement so from me to you, thank you. I wish to also express my deepest gratitude to those who have facilitated my educational journey through the doctoral program: Jessie Hsu, thank you for always being a positive source of encouragement and going above and beyond for me in many ways; Dr. Alice Trugunna, I am grateful to you for comments on my manuscript, and attention given to other academic woes throughout the final leg of the race! Thank you so much. To my friends that never got the best of me: Sara, Ishita, thank you for your patience and unconditional friendship. To my extended family, associates, colleagues: you know who you are and from me to you: ‘ofa lahi ‘atu. Finally, to the wonderful people who participated in this study, I would like to express my sincere appreciation for all your time and efforts.
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