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Mele Kanikau Libraries and Learning Services University of Auckland Research Repository, ResearchSpace Copyright Statement The digital copy of this thesis is protected by the Copyright Act 1994 (New Zealand). This thesis may be consulted by you, provided you comply with the provisions of the Act and the following conditions of use: • Any use you make of these documents or images must be for research or private study purposes only, and you may not make them available to any other person. • Authors control the copyright of their thesis. You will recognize the author's right to be identified as the author of this thesis, and due acknowledgement will be made to the author where appropriate. • You will obtain the author's permission before publishing any material from their thesis. General copyright and disclaimer In addition to the above conditions, authors give their consent for the digital copy of their work to be used subject to the conditions specified on the Library Thesis Consent Form and Deposit Licence. “I am the play” The Drama of Authenticity in John Kneubuhl’s Mele Kanikau Michelle Johansson 2017 A thesis submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy in English – Creative Practice 1 This thesis is dedicated to my parents – ‘Ilaisaane Eniketi Matalave Dickin & Desmond Norman Dickin 2 ACKNOWLEDGMENTS Like the saying “it takes a village to raise a child”, this thesis has been raised by many hands. To all of the wonderful scholars, poets, performers, playwrights, friends, family and friends-who-are-family who have made this work possible – thank you. Very special thanks and acknowledgement to the following: To the Polynesian theatre-makers upon whose shoulders I, and this thesis, stand. To my supervisors - Associate Professor Murray Edmond for his wisdom, expertise, guidance and generosity of creative spirit. And to Dr Selina Tusitala Marsh for her support throughout this thesis and her ongoing and relentless advocacy for Pasifika peoples and literature in Aotearoa. To ‘Ilaisaane Matalave Dickin, who always believes I can be better than I am; To ‘Iunisi Bayley – constant friend and budding Pasifka scholar –whose doctoral thesis I look forward to reading (challenge extended!). To Jeff and Desmond Junior, who supported me endlessly, fed me and each other, and kept the home fires burning throughout the madness. Also to ‘Iunisi, Lokani, Lokani Junior and Viola Johansson; and to Uluilakepa Leha. To the Black Friars Family – who have shared this journey in Polynesian Theatre since the beginning. Especially to Lauie Tofa, Billy Revell, Misipele Tofilau, Siosaia Folau, Ashleigh Niuia, Simulata Pope, Fa’ananafu Tofilau and Viola Johansson, who time and 3 time again have my back. Once and Always - Thank you. Thank you. A million times, thank you. To the cast, creatives and crew of Mele Kanikau, 2013; To Victoria Nalani Kneubuhl, Jackie Pualani Johnson, John Enright, Otto Heim and Bob Evans; To Kumu Blaine Kamalani Kia and Kumu Aruna Po Ching; To Kelly Malone; To Geraldine Peters; To Joanna Forsberg; To David O’Donnell; To Peter O’Connor; To fellow PhD-ers Dr Robert Sullivan, Robin Peters and James Wenley; To Natalie Faitala, Whetuu Nathan and Reverend Emily Worman. To Grant Thompson for generously allowing me the time and space to make the final amendments. To the team at Teach First NZ: Ako Mātātupu, especially Jono and Lynne, for being there at the very end. To the University of Auckland Doctoral Scholarship fund, the New Zealand Federation of Graduate Women, the Tuakana Conference Fund and the University of Auckland Māori and Pasifika Leadership fund for finanical support. To all of my friends and family who have, throughout this journey, supported me, sustained me, laughed and cried with me - Mahalo a nui loa. Malo ‘aupito. Thank you. 4 It is not sentiment alone that leads many romanticists to think of the Pacific in theatrical images; the Polynesian setting is actually dramatic, the psychological implications of its poly-racial society make for rich speculation…the peoples of the Pacific find their most spontaneous expression in music, the dance, and in poetic utterances – all components of the drama… We want to have a far greater representation from the various race-groups that make up island societies and we hope for the day when they can appear in plays created solely for them and by them… We have the rich heritage of many cultures, the fullest appreciation of myth, legend and history, and a fresh new field of artistic and social material which has not been standardized and crippled by precedent. We can have a truly fine theatre. We will. John Kneubuhl 5 ABSTRACT This research engages with the work of afakasi American-American Samoan playwright John Kneubuhl. As a polycultural, pan-Pacific dramatist, Kneubuhl’s work explores post-colonial discourses, power structures and social and cultural hierarchies. An afakasi playwright also concerned with authenticity, Kneubuhl wrote from both inside and outside these contesting dialectics of power and his unique dramatic voice fuses the best of Modernist Western drama with the ancient Samoan performance tradition of Fale Aitu. By navigating the complicated spaces between his worlds, however uneasily, Kneubuhl advocated for theatre that spoke to and for Polynesian people. Through the production of Mele Kanikau: A Pageant, and a Tongan based methodology of kie1 weaving, this thesis engages with and explores Kneubuhl’s work as an agent of change. In his published trilogy of plays, Kneubuhl presents cultures in crisis, at risk of not only the on-going and enormous impact of colonization, but new dangers in the forms of global commodification, the burgeoning demands of tourism, and the more critical, and much more subtle threat from within – Polynesian people themselves. This thesis and my production also engage with the occasion and impulse for the composition of Mele Kanikau. By exploring the dramatic manifestation of Kneubuhl’s afakasi heritage in Mele Kanikau and the play’s existential concerns with personal and cultural loss this research problematizes the drama of authenticity played out in the play. 1 “fine mat” – (Tongan: Tu’inukuafe, 1992, p.174). 6 CONTENTS Abstract ............................................................................................................................. 6 Contents ............................................................................................................................ 7 Introduction – Problematizing playwright, play and players .......................... 10 John Kneubuhl and his work ..........................................................................................12 The Problem of Discourse ............................................................................................... 17 Mele Kanikau: A Pageant and my production ............................................................. 26 Michelle Johansson and the problem of active creativity ............................................. 30 Methodology: practice, research, and analysis in structuring the thesis ...................... 32 Stand by for beginners ................................................................................................... 35 Chapter One – Weaving the kie: Review of Literary and Theatrical Sources and of Methodology………………………………………………………………………….. 37 Gathering the strands ……………………………………………………………………………………… 44 Preparing the kie ............................................................................................................ 45 Wearing the kie: Performing the faiva .......................................................................... 46 Gifting the kie ................................................................................................................. 48 Literature Review: Selecting the strands ....................................................................... 48 Pacific Influences: Fale Aitu .......................................................................................... 49 World Theatre: Yale, Brecht & Pirandello ……………………………………………………………52 Theatre-making in Oceania ……………………………………………………………………………… 57 Aotearoa-based Pasifika Theatre ………………………………………………………………………..60 Chapter Two – “The World’s Greatest Swiss/Welsh/Samoan playwright”: Citizen of Polynesia ...................................................................................................... 65 “Polynesians of mixed blood and second thoughts” ...................................................... 71 Hawai‘i and Yale............................................................................................................. 72 Fale Aitu and Mele Kanikau .......................................................................................... 80 Exoticized and Commodified: Mele Kanikau as social criticism .................................. 90 Kneubuhl the Existentialist ........................................................................................... 92 But what of the missing years? ...................................................................................... 99 Pacific Parallels: The New Zealand-Hawai‘i connection ............................................. 106 7 Chapter Three – Building “houses of words”: the Mele Kanikau production story ................................................................................................................................ 113 The Theatre, the vā and the kie ...................................................................................
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