Compiled by Allan Alo and Suli Waqa
“We are the voice of our Ancestors”
‘TA‘AROA’ Pacific Ballet of
Creation
TA‘AROA – Pacific Ballet of Creation This publication was produced in conjunction with the production TA‘AROA – Pacific Ballet of Creation performed at the Suva Civic Auditorium during the week of the Francophone, Thursday 14, Friday 15 & Saturday 16 April 2011. ISBN 978-982-01-0879-1 ©2011 Oceania Centre for Arts, Culture and Pacific Studies, University of the South Pacific Compiled by: Allan Alo and Suli Waqa Edited by: Derek Cleland, Allan Alo and Suli Waqa Design and Layout: Marie Koya Published by: Oceania Centre for Arts, Culture and Pacific Studies, University of the South Pacific Oceania Centre for Arts Culture and Pacific Studies University of the South Pacific Suva Fiji Islands Printed at Max Marketing Except for the purposes of fair dealing, research or to make reasonable educational use of the included educational toolkit, no part of this publication may be reproduced, stored in a retrieval system, transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher.
Contents 4 5 7 8 9 11 12 13 16 19 24
Acknowledgements Message from the French Ambassador Foreword Polynesian Mythologies Mäòhi (Tahitian) Creation Mythology The Coming of the Mäòhi People to Viti (Fiji) Samoan Creation Mythology Māori Creation Mythology TA‘AROA: A Synthesis of Art, Culture and Education Rethinking Arts Education in Oceania Reflections on the Oceania Dance Theatre and the Work of Allan Alo
The Production 26 Production Overview 30 Researching the Concept 31 Production Director / Producer’s Notes 33 Lead Choreographer’s Note 34 Musical Director’s Note 35 The Script 51 Condensed Tool Kit for Teachers and Students
Behind the Scenes 53
78 79
Creative Team, Logistics Team, Production Cast Dance In Motion Newsounds Oceania Studios Davui String Ensemble Pasifika Voices Creative Team Dancers Logistics Team Pasifika Voices Samoan Students Davui String Ensemble The Making of TA‘AROA – Pacific Ballet of Creation 2011 Costume Design Newspaper Clippings
83
Sponsors and Supporters
56 58 59 60 62 65 71 73 74 75 76
Acknowledgments We would like to acknowledge Mr Rodger Lesgards (French Poet) for his original concept of having a staged show of dance, music and theatre about ancient Polynesian mythologies. This production would not have been possible without the support of the University of the South Pacific for the Arts and their ongoing commitment to the Oceania Centre for Arts, Culture and Pacific Studies. The financial support of the French Embassy over the years has enabled many established, aspiring and upcoming artists to develop, design, choreograph and stage their dreams, this production is no exception. A special mention for Monsieur Denis Decraene, Cultural Counselor of the French Embassy in Suva, for his commitment to this production. Thank you to all our other partners and sponsors: New Zealand High Commission, TOTAL, Alliance Francaise, Fiji Water, Art and Soul & Guava. We thank Mr. Peter Lund (Trade Commissioner for the New Zealand High Commission) for his support. The cast and crew wishes to thank Janey King Lilo of Guava, for feeding us during production week. To Professor Vilsoni Hereniko, Director of the Oceania Centre for Arts, Culture and Pacific Studies for his leadership, constructive comments and encouragement during the development process. Calvin Rore for his genius. Ann Tarte for all her behind the scenes hard work that is often overlooked but certainly highly valued and appreciated. Gratitude must be extended to the different communities who have contributed tremendously by sharing their traditional knowledge, stories and lives through their beautiful songs and dances. Thank you to the Tahiti, Samoa and Māori communities in Suva. Finally, the talents and determination of the cast and crew has made working on this production an enjoyable and rewarding experience. Many thanks to the parents and supporters of the cast and crew for their patience and support in the making of ‘TA’AROA - Pacific Ballet of Creation’. With heartfelt thanks and appreciation, Allan Alo Artistic Director and Producer April 2011
Message
C’est avec enthousiasme et intérêt que l’Ambassade de France à Suva et la Délégation de l’Alliance française ont décidé d’apporter leur appui à la réalisation de « Ta’aora. Pacific Ballet of Creation », pour deux raisons principales. La première, c’est une manière singulière de célébrer la fête de la francophonie « dédiée à la jeunesse de tous les pays et de tous les continents », selon le mot d’Abdou Diouf, président de l’OIF (1), et d’appuyer une initiative d’un auteur français attaché aux Îles Fidji, M. Rodger Lesgards. La deuxième est, en cette année 2011, déclarée année de l’Outre-mer par M. Nicolas Sarkozy, Président de la République Française, d’associer Tahiti et les Fidji, avec un héritage culturel commun. En utilisant des textes de la cosmogonie tahitienne, ainsi que ceux de la région, M. Allan Alo, chorégraphe de l’Oceania Center for Arts, Culture and Pacific Studies de l’Université du Pacifique Sud, manifeste un talent unique et une créativité dont l’esthétique est reconnue aux Fidji et bien au-delà. La thématique de ce ballet repose sur trois mythologies polynésiennes, dont la richesse poétique et spirituelle sont partie structurantes de l’identité des sociétés des îles du Pacifique Sud, et facteur d’intégration. « Ta’aora. Pacific Ballet of Creation » est un spectacle réellement proactif, qui participe sans nul doute à la promotion culturelle du Pacifique Sud, mais qui rapproche également les collectivités territoriales françaises du Pacifique, la France métropolitaine et les Îles Fidji, par un savoir faire mis en commun au service du beau, du vrai et de la modernité. (1) L’Organisation Internationale de la Francophonie (OIF), née le 20 mars 1970, date du traité de Niamey initié par Léopold Sédar Senghor, Habib Bourguiba, Hamani Diori et le prince Norodom Sihanouk, est fondée sur le partage de la langue française et des valeurs universelles. Elle compte aujourd’hui 75 Etats et gouvernements et prône la diversité culturelle.
M. Gilles MONTAGNIER Ambassadeur de France à Fidji
Message
It is with enthusiasm and interest that the Embassy of France in Suva decided to support the creation of « Ta’aora. Pacific Ballet of Creation », for two main reasons : First, it is a single way of celebrating the festival of the French Speaking World « dedicated to the youth of all countries and of all continents », according to the word of Abdou Diouf president of the “International French Speaking World Organization” (1), and to stress the initiative of a French author based in Fiji, M. Rodger Lesgards. Second, His Excellency Mr Nicolas Sarkozy, President of the French Republic had declared the year 2011 as the year of overseas, so the idea is to join Tahiti and Fiji, with a common cultural heritage. In using Tahitian cosmogony texts and some of the choreographer of the Oceania Center of Arts, Culture and Pacific Studies of the University of the South Pacific Mr Alan Allo, reveals a unique talent and a creativity in which attraction is way beyond recognized in Fiji. The theme of this ballet lies on three Polynesian mythologies, which is the poetic and spiritual wealth, that are structuring parts of the identity of the societies in the South Pacific and the integration factor. « Ta’aora. Pacific Ballet of Creation » is a real proactive show, that no doubt takes part in the cultural promotion of the South Pacific, but also brings closer the French territorial communities of the Pacific, France and Fiji, in the know how being put in common in the service of beauty, of truth and modernity. (1) “International French Speaking World Organization” created on 20th March 1970, date of the Niamey Treaty initiated by Léopold Sédar Senghor, Habib Bourguiba, Hamani Diori and prince Norodom Sihanouk, based on the sharing of the French language and of the universal values. It includes today 75 states and governments and it strongly recommends the cultural diversity. M. Gilles MONTAGNIER Ambassador of France to Fidji
Foreword
In every community are people who make things happen – they are called catalysts. Somehow their light is brighter than those of others, and others are drawn toward their light. And together, they illuminate the dark areas around them until everyone, or at least those within their orbit, is illuminated as well. There is only a handful of Pacific Islanders in the area of creative arts who have this gift of light. Albert Wendt, the Samoan poet and novelist now retired in Auckland, is one. The late Epeli Hau`ofa, comic satirist and founder of the Oceania Centre for Arts and Culture at USP, was another. And then there’s Allan Alo, choreographer and artistic director of the Oceania Dance Theatre at USP. TA‘AROA - Pacific Ballet of Creation became reality because of Allan Alo’s charisma, talents, energy, and drive. In collaboration with the French poet Rodger Lesgards and other kindred spirits, TA‘AROA came into visibility, much like the way a carver carves wood and brings into visibility a universe that already exists in the wood. This idea that the role of the artist is to bring into visibility a world that already exists is best expressed in a novel called Potiki by the Māori writer Patricia Grace. This seems to be what has happened with this production. The ideas, the images, the storyline, the characters already exist in the mythologies of Tahiti, Aotearoa, and Samoa. What Allan and his co-creators have done is bring into visibility, albeit in a heightened dramatic fashion, the worldviews of three of Polynesia’s civilizations. This is a huge challenge to take on, and one that is not for wimps. To enjoy TA‘AROA, arrive without preconceived ideas about what you will see. Be open to new sounds, new movements, new images, and new choreographies. Be open to experiencing Polynesia, this multi-faced construction, interpreted anew for a 21st century audience. We are no longer in the world of our ancestors so do not come expecting authenticity, whatever you think that might be. What you can expect is cultural autonomy, as conceived and perceived by a confident group of contemporary artists nurtured at the Oceania Centre where creativity is synonymous with artistic freedom and risk-taking. TA‘AROA is Allan’s swan song before he leaves the Oceania Centre to return to Samoa, the womb of Polynesia, where he will give back to his parents and his compatriots, where he will recharge his batteries, so to speak. We wish him well as he leaves us after 13 years of dedicated and selfless service, recognized in April 2011 when USP awarded him the Vice Chancellor’s Inaugural Creative Arts Prize worth $5,000.00. Finally, I want to express my heartfelt gratitude to everyone and all organizations that came forward to support this ambitious production. The creative arts in Fiji cannot thrive without your generous support. I hope that when you see TA‘AROA on stage, you’ll feel proud to be associated with the Oceania Centre for Arts, Culture, and Pacific Studies at the University of the South Pacific. Vilsoni Hereniko Director, OCACPS
Polynesian Mythologies
Tahiti Samoa Maori
Tahiti
Mäòhi (Tahitian)
Creation Mythology
The creation of the world and the creation of the gods in the Mäòhi society is known in multiple versions, with the creation performed by various deities, such as, Ta‘aroa, Tane, Atea and so forth. The details vary between each of the five archipelagoes of the Mäòhi Islands (French Polynesia). These five archipelagos are the Society Islands, the Tuamotu Archipelago, the Austral Islands, the Marquisas Archipelago (Enana/Enata) and the Mangareva Archipelago (Maareva). The creation story even varies between different island groups within the archipelagos. The main distinctive perspective of the creation story is the very beginning itself, where two possibilities are observed. The first possibility is that creation started with only a creator, in a vast expanse of nothingness, who then created from nothing. The second possibility is that the deity started the creation from already existing material such as rock, sand, soil and the sea. It is important to know that the creation myth that we are about to recount is selected from the Society Islands. Also, note that it is the God Ta‘aroa who performs this act of creation and that it is important to acknowledge that the creation of the gods in the Society Islands does not include the god Tane, God of the Tenth Heaven and God of Fertility, or the god Tu, God of the Great Foundation and Stability of the World. These two gods, along with Ta‘aroa, are considered as fanau po (not created, or “as begotten from the night”). Finally, the following story does not narrate the entire myth. It covers only the chaotic period, the establishment of the foundation of the earth, and then the creation of the gods. This decision was made to fit into the story of the creation myth as performed by the University of the South Pacific.
Marc Teihotua Pohue Thaitian Cultural Adviser
Creation of the World At the dawn of the world, there was Ta‘aroa Ta‘aroa was unique and was his own father and mother Ta‘aroa gave birth to himself and grew up by himself Ta‘aroa was the God of Order and the God of Light He was Great Ta‘aroa of clear sky Great Ta‘aroa of unique foundation Great Ta‘aroa of unlimited glory Ta‘aroa dwelt in his shell Rumia Rumia was shaped like an egg Rumia was floating in the haze There was no land, nor sky, nor moon, nor human beings, nor animals. Ta‘aroa was dwelling in his shell Rumia for ages. At last Ta‘aroa flipped his shell Then made an opening as small as ants Ta‘aroa went out of his shell and stood upon it He called out, who is above, who is underneath Who is far away, who is nearby But only the echoes of his voice came back Ta‘aroa understood that he was alone Everything out of the shell was in total darkness and disorder. Ta‘aroa tried to swim far above He also swam far beneath Then he came back to his shell exhausted He was confined and dwelt in a complete darkness Ta‘aroa generated a new shell Later he stood on his ancient shell Rumia He took his new shell and made it as the great foundation It was the foundation of the earth, which is the rock, the soil and the sands He also took his ancient shell to become the dome of the sky
Creation of the Gods After the creation had been achieved He created other gods by the power of his words: The first god was Tu-nui-àè-i-te-atua, Great Stability Above the Gods; Then come Oro, God of Air and Earth and God of War; Tu-feufeu-mai-te-raì, is Oro’s wife who prevents the sky from unwinding; Atea, Godess of the Great Expanse of the Heavens, from the east to the west; Tumu nui and Paparaharaha, Great Foundations of the Earth or of the Land; Raa, God of Power and Glory and the God of Destruction Through the Wind Rapatià; Tefatu, Lord of Multitude of Armies; Fatutiri, the Lord of Thunder; Oropaa, Great God of the Breaking Waves and Agitating Ocean of the Whole Oceans of the World; Rua-hatu-tini-rau, Great God of the Ocean, with the body of a human being and the tail of a marlin; Tinorua, God of the Ocean, with the body of a human being and the tail of a marlin; Tipa, God of Healing and God of Healers; Rua-i-faatoà, God of Force; Maûû, loud roaring sound and Guardian of the Passages to the Ancestral World; Vahine-mau-nià, woman who stands up and supports the things on the earth so that they dont vacillate; Vahine-reureu-âmoà, woman who sews the fern âmoà to make skirts; Vahine-mau-i-te-paèè-fenua, woman who guards the border which protects the lands at the edge of the ocean so that they will not be invaded by the sea; Ura-èta-èta, The Commanding Feathers, strict and feared Goddess of Music, Dance, Entertainment and Enchantment.
In conclusion, this legend has been constructed from written documents in “Ancient Tahiti” by Teuira Henry, in “Polynesian Religion” by Craighill E. S. Handy, in “Ancient Tahitian Society” by Oliver L. Douglas, and in “The Tahitian Account of Creation by Mare.” (Journal of the Polynesian Society 47) by Emory P Kenneth. It has also been constructed from geographic analyses, from a historical perspective and from a large part of the knowledge of oral tradition that is deeply rooted in the Mäòhi culture and which still circulates in the Mäòhi society today. The story that the University of the South Pacific enacts is one of the very mysterious beliefs of the Pacific, which are still alive in the hearts of the people even in this post-modern and Christian era. Deep inside the being of the Pacific people we are shaped in the ways of the gods Ta‘aroa, Tane, Tu, Atea and so forth and the fruit of their works has resulted in an interconnected worldview. The material component and the spiritual world are intertwined in order to reshape continuously our lives. Therefore, as Mäòhi and as people of the moana nui a hiva (Mäòhi name for the Pacific Ocean), our presence in this world is only noticed when we stand and speak from our own language, culture and belief. If we do not speak up, who then will do it? Manava e Iaoarana.
The Coming of the Mäòhi People to Viti (Fiji) On the Track of our Ancestors.
Maire Piha’atae Thaitian Cultural Adviser Background The coming of the Mäòhi people to Viti first began with the London Missionary Society (LMS) who sent three teachers to Lakeba in the Lau Group, to spread the Good News of the Love of God to the world. They were Taharaa (Vaiarii Nui/Papeari), Hatai and Faaruea (Eimeio Nui/Moorea). They landed on Lakeba shores on the 9th July 1830 and settled down to start their missionary work in Narocake village. Due to traditional customs and language barriers they were assisted by a devoted Fijian teacher, Takai, and the chief, Malani, the Tui Nayau of Lakeba. In 1832, due to an incident which affected their work, they left Lakeba and moved to Oneata, Takai’s place, where they committed themselves to God’s mission until the ends of their lives. All three died and were buried in Oneata - Hatai and Faaruea in 1846 and Taharaa in 1848. During their time they erected the first church building in Viti, they also dug a well they named ‘Siloam’, which is still running today. The Gap and the 1970s From that time on there are no records regarding the movement of the Mäòhi people in Viti, up until the 1970s. At this time the Pacific Theological College (PTC) was established as the first Ecumenical and Theological training centre in Moana Nui a Hiva (the Pacific Ocean). Our church sent two students from Tahiti to the launching of the College. The 1980s until the Present From the 1980s, more Mäòhi students were sent to PTC for Bachelor of Divinity, Masters of Theology and PhD degrees. In 2009, our church sent a pastor’s family to work in the Pacific Conference Of Churches (PCC), based in Suva, for Good Governance and Leadership and Climate Change. Also during this time, the
Seventh Day Adventists in Mäòhi Nui sent their students for Theological and Technical training in Fulton (Korovou) and our local government also sent some students for short and long term training at the University of the South Pacific and at SPC. More recently, since the 1990s, some Mäòhi people arrived to run their businesses here in Viti, such as road development, fisheries, and a material and clothes factory in Lautoka. Some of these people have had families here in Viti. Acknowledgements There might be some other records that we do not know about on the coming of the Mäòhi people to Viti. Knowing that our Ancestors were very great sailors, travelling from island to island in Moana Nui a Hiva, there might be some ancient links that were already established between our Mäòhi people and the Viti people. What is certain is that if we, the Mäòhi people, are here in Viti today, it is not by chance but rather is an on-going process of walking in the tracks of our Ancestors, that bore fruits with their hard labor. We would like, on behalf of our Mäòhi people living here in Viti and back home, to acknowledge the hospitality and the love that the Vanua and the people of Viti have shown and offered to our Ancestors in the Lau Group and to us nowadays and hope that this will continue as God’s will to all his people (Psalm 24,1: “The world and all that is in it belong to the Lord; the earth and all who live on it are his.”) Our acknowledgement and word of thanks also go to the TA‘AROA – Pacific Ballet Of Creation team manager in inviting us to share our knowledge and contribute through our traditional songs (Ruau and Tarava) and dance (Aparima) in setting up this production and for valuing our Mäòhi and other Pacific communities’ cultures
Samoa
living in Viti.
Samoan Creation
Mauruuru e Ia ora na i te aroha o te Tumu Nui.
Mythology
Desmond U. Amosa Samoan Cultural Advisor
Tagaloa: The God of Ancient Samoa
and above all, they respect those in authority. It is a trademark that keeps stability in the country, in both the past and the present.
Tagaloa the anthropomorphic god living in the nine heavens was worshipped by the Samoans before the arrival of Christianity. Mythology and cosmology suggest that Tagaloa is the human god of the Polynesian people - if one is to believe in the essence of mythology, language and culture. Man and woman within the Tagaloa mythology originate from the union between lagi (heaven) and papa (rock), creating a special bonding of divinity between man and the sun, the moon, the stars, the sea and the land.
The Tagaloa regime is soundly documented in Samoan mythology, including its demise. Nevertheless, the rituals and the culture of contemporary Samoa are reminiscent of Tagaloa’s story - the story of the human god of ancient Samoans.
Ancient Samoans believed Tagaloa gave the Samoans life, culture, food, power and the art of craftsmanship. As Tui Atua sums it up, “For Polynesian peoples, Tagaloa is more than a tradition: Tagaloa is mythology, history, culture and heritage. In contemporary Samoa, Samoan culture, its lands and chiefly titles are ultimately founded on mythology – a mythology which links back to Tagaloa”. To Samoan culture, or the fa’asamoa, the living evidence of Tagaloa’s mythology is dynamic, but critical for understanding the Samoans fa’asinomaga (designation), identity and their Polynesian genealogy. So to adopt Hofstede’s cultural values framework to illustrate these cultural values, it is evident that the Samoans believe in collectivism, masculinity, femininity and respect of authority. Love, respect, benevolence and hospitality are amongst the many dimensions of collectivism that feature prominently in modern Samoa. If one is to believe it, the Samoan vocabulary is not short of terms that embrace these terminologies. The Samoans also believe in competitiveness but are humbled at the same time, irrespective of the outcome. They are firmed in peace and harmony
Traditional Samoan Manaia photo: courtesy of the National Samoan Museum
Traditional Samoan Taupou photo: courtesy of the National Samoan Museum
Mythology
Simon Bennet Maori Cultural Advisor l
Maori
Māori Creation
Maori
According to Māori creation mythology Ranginui and Papatuanuku (commonly referred to as Rangi and Papa) are the primordial parents. In the beginning of the creation story the sky father (Rangi) and the earth mother (Papa) lie closely together tightly embracing one another very much in love.
Rangi and Papa had many male children, seventy in total. These children became the Māori Gods and they were forced to live in cramped darkness between Rangi and Papa. As they grew, the children became frustrated and longed to experience space and see the light. They began to discuss amongst themselves what it would be like to live in the light. Tūmatauenga (translated: Tu of the angry face), the God of War and the fiercest of Rangi and Papa’s children, proposed that the best solution would be to kill their parents. However Tumatauenga’s brother Tāne-mahuta (Tāne), the God of Forests and Birds, argued strongly against this idea, suggesting to his brother that it would be better to push them apart, leaving their father Rangi to become stranger to them in the sky above and allowing their mother Papa to remain below them to continue to nurture them. Rangi and Papa before their separation (Photo Source: Wikimedia Commons)
The other brothers attempted to put their plans into action - Rongo, the God of Cultivated Food, tried to push his parents apart, then Tangaroa, the God of the Sea, and his sibling Haumiatiketike, the God of Wild Food, joined him. In spite of their joint efforts Rangi and Papa were inseparable, remaining close together in their loving embrace.
After many unsuccessful attempts Tāne finally forces his parents apart. Instead of standing upright and pushing with his hands as his brothers had done, he lies on his back and pushes with his strong legs. Tāne pushes and pushes until, with cries of grief and surprise, Ranginui and Papatuanuku were pried apart. And so it was that the children of Rangi and Papa were allowed to see the light and have the experience of space in which to move for the first time. Within Māori mythology, the rumblings of the earth manifested through volcanoes and earthquakes are considered the efforts of Papa to return to the embrace of Rangi. While the rain represents the tears of Ranginui as he longs for Papa. Whilst all the other children of Rangi and Papa had agreed to the separation, Tāwhirimātea, the God of Storms and Winds, loved his father dearly and was severely angered that his parents had been separated in this way. He could not bear to hear the cries of his parents, or to see the tears of Rangi as they were parted. He promised his siblings that from henceforth they would have to deal with his anger and he then flew into the sky to join Rangi and foster his own offspring, who include the four winds, sent to each quarter of the compass. To unleash his fury upon his brothers, Tāwhirimātea gathered an army of his children winds and clouds of different kinds. The turbulent winds and storms on earth are therefore caused by Tāwhirimātea, in revenge for his brothers’ acts.
Tane Mahuta, a Kauri tree in the Waipoua Forest in Northland, New Zealand, has a girth of 14m, is 51m tall and 1200 years old (Photo Source: Wikimedia Commons)
Culture& Education
Art
Art Culture TA‘AROA: A Synthesis of Art, Culture and Education Konai Helu Thaman
Professor Chair in Pacific Education and Culture University of the South Pacific
Introduction
Fakatulou ki he ha’a punake ‘oku nau ‘eva ‘ihe tumutumu ‘o e ngaahi fa’u ‘oku ‘amanaki ke tau maataa he faiva ko e TA‘AROA - Pacific Ballet of Creation. I recognize and acknowledge the creative artists who are responsible for the stories, imaginings, enactments and sharing (of their talents) in this first Pacific Ballet of Creation – TA‘AROA. I am happy and humbled to be asked to contribute a short piece to commemorate the occasion. In TA‘AROA the artists concerned tell and interpret stories and we, the audience, become part of their stories through our participation and appreciation in various ways, and for many of us, we will let their stories become intertwined with ours. Storytelling is what propels most artists to produce and create. It predates both art and education as we know them today. Whether it is painting, music, sculpture, writing or dance, we tell and interpret stories. Even in our sleep and silences, we fashion or wait to hear a story. Our ancestors told many stories some of which we have forgotten; others we remember and/or reinterpret. Passed on by word of mouth, their stories, often sung and performed, were always passionate because they were about relationships - between them and nature, and among themselves. Today we often refer to their stories as myths and legends which we try to interpret and reinterpret in order to discover their relevance for and meanings in our (modern) lives. By doing this we acknowledge that they continue to be part of us and live in us.
last night i slept curled in a conch shell crushed by the weight of the land -----this morning i caught a glimpse of maui fishing for lovers’ dreams drowned in miracle music (Last Night, from Thaman KH (1999) Songs of Love, MANA Publications, Suva).
e & Education Art and Education
As an educator and a creative artist I am particularly happy to be invited to share again in this use of the arts to entertain and educate our people through the efforts of staff, supporters and students of the Oceania Centre for Arts, Culture and Pacific Studies (OCACPS). This is particularly so because many of us know that our (Oceanic) arts and cultures have been, and continue to be marginalised because they are often seen as “barriers” to the agenda of our formal education and modern development agenda. We also know that the underlying philosophies of our formal education are often based on assumptions of secularism, universalism, objectivity, equality, criticism, and passionlessness – assumptions that are different from those of our Pacific cultures’ of spirituality, specific contexts, subjectivity, sharing, restraint, relationships and of course passion. Over the years as I struggle to make meaning of what I do as an educator, I am reminded that there is more to educational achievement than academic success and the compliance with a measure of success that is often defined by the attainment of wealth and status by promotion to professional and senior management positions within corporate and public bureaucracies. TA‘AROA is timely, coming as it does at a time when higher education for most people in Oceania continues to focus on the learning of those subjects that are seen to contribute to this type of wealth generation, creation and consumption.
a weekend in auckland is good for discovering again old meeting places in the park hoping they have stories to tell about the adventures of a once youthful time
As many artists in our region know, the story of Oceanic cultures and their arts is a story of struggle and one that has continued to go unheard, not for a lack of telling, but a lack of listeners. As an undergraduate at Auckland university, for example, successful learning from those of us from the ‘islands’ meant hanging our cultural and artistic stories on the branches of magnolia trees at Albert Park and forgetting who we really were, for awhile. The only art I learnt at university was the art of forgetting.
and there hovering high above is the tower clock now dwarfed by the reality of its own time its striking shadow a reminder that the heart’s best defence at this time is forgetting (Weekend In Auckland, from Thaman KH (1999) Songs of Love, MANA Publications, Suva )
down under the magnolia trees the bench which took the weight of our first kiss is still there the fountain continues to beat like an artificial heart and the flowers continue to die with each passing day
As modern citizens of a globalised Oceania, we need to listen more to one another’s stories, including those of our ancestors, because of the relevance of those stories to living dignified and sustainable lives. In TA‘AROA, we witness a special synthesis of ancient and modern art; of Oceanic and European art and through such a synthesis, we are reminded of who we are and who we can be. This synthesis of music, chants and dance of traditional and contemporary Gregorian and ballet forms, together with characterisation from Polynesian mythology gives TA‘AROA its authoritative power as an instrument of entertainment, education and emancipation. I hope that TA‘AROA will also serve as an instrument of decolonisation, even if its creators do not see it as such. This is because I believe that the colonial attitude has done a lot to undermine our confidence in our ability to do our own thing, to write our own stories without looking over our shoulders to see what our critics are doing and/or saying. I am delighted that the artists who have collaborated to execute TA‘AROA will again show us that such a venture is not only crucial to our struggle to decolonise our minds and our arts, but that it is a worthwhile venture in itself.
A Tribute to OCACPS and Alan Alo
As Allan Alo prepares to officially depart from the University of the South Pacific, I would like to pay tribute to him personally, for his contribution to art development in our region, and to OCACPS in particular. His work over the years while at the University of the South Pacific (USP), together with the arrival of Professor Vilsoni Hereniko to lead OCACPS, have largely contributed to my developing a more optimistic view about the future of OCACPS in particular and of the place of Pacific arts and culture in education at USP in general. The founders of OCAC, especially Professor Epeli Hau’ofa, had wanted a centre that would represent the cultural and artistic diversity of Oceania and not just another university arts school. Some of us wondered whether it was possible to believe in aesthetic values that were different from that in which most of us who received our higher education in the West had been conditioned to believe. However, as I write this, I am happy to say that most of us who belong to the USP family are proud of OCACPS and what it has done for USP and for Pacific peoples generally. OCACPS has and will continue to be a centre-piece for arts, culture and Pacific Studies in our region and we are greatly indebted to people like the late Professor Epeli Hau’ofa, Allan Alo and others, who have painted, sung, written, sculptured and danced their ways in and through OCACPS, and in so doing help create the artistic landscapes of the future.
yesterday i watched your hands weave a dream across my memory bringing order and texture to that pile of voivoi still there filling the fale that once was home today i watch you move across the page across the stage releasing energy arranging tapestries symphonies of touch and colour each day we come together to weave feelings experiences images to sing the songs of our mothers and grandmothers long continuous lines connecting east and west north and south and re-create the world (Woven Worlds, from Thaman KH (1999) Songs of Love, MANA Publications, Suva)
Tu’a ‘ofa atu
Education inOceania
Arts
dancing feathers and dreams of green frigate birds
Rethinking Arts Education in Oceania Cresantia Frances Koya
Lecturer in Education University of the South Pacific
Reclaiming Art Spaces
This paper presents an argument for the reclaiming of Art Spaces within formal School Curricula and non-formal education, on the basis of cultural expression as a valid and “… distinct way of knowing” (Sahasrabudhe 2005, 53) critical to the development of critical and creative thinking in the 21st Century. In the context of Arts Education in Oceania, Linda Tuhiawai-Smith’s seminal work provides some fundamental reasons for re-thinking. In her attempt to decolonize research, she advocates an Indigenist approach that resonates with the Art Education debate. These include the need for ‘indigenizing’, ‘reclaiming’, ‘remembering’ and ‘story-telling’ (Tuhiwai-Smith, 1999).
Arts in Education (AiE)
In the pre-independence School Curricula, Art Education emphasized western art forms and in Fiji for example, the emphasis was on realistic painting, papier-mâché, macramé and the like, under the general category of arts and crafts. Post-independence saw some changes in Arts Education with the inclusion of pottery, weaving and print making using tapa cloth designs and techniques on paper. In many instances however, art and crafts were seen as ‘soft’ subjects allocated for students as a break from ‘real’ learning. In the best case scenario, students were often taught a variety of art forms offered on the basis of availability of teaching staff with an interest in the arts, and more significantly, school resources. The alternative was a bleak reality where art and craft classes were (and still are in many instances) absorbed by perceived more relevant examinable subjects usually determined by students’ progress in other academic subjects.
Internationally, the role of the Arts has gained recognition in terms of its contribution to holistic development, student self-esteem and spill-over positive approaches and outcomes in other subject areas. In the region, this realization has been slow and painful, with the Arts sometimes being boxed into the Technical and Vocational (TVET) stream with an emphasis on non-academic students. Non-academic students are those perceived as non-performers in mainstream subject areas such as Math, English, Social Sciences and Science subjects. Students who are seen as academically weak are more likely to be encouraged to take up TVET (including Arts) as an alternative post-School livelihood option. That having been said, the last decade has seen a renewed interest in revisiting conversations about the value of Arts in Education (AiE). This is reflected in the Culture and Education Strategy, 2010 which highlights the need for a strong systematic approach to capacity building in culture and the arts in order to strengthen and further grow the creative and cultural industries within the wider cultural economy framework. The Culture and Education Strategy endorsed by Forum Education Ministers in Papua New Guinea 2010 highlights regional awareness of the critical role that culture and the arts play in development. The longest standing AiE Curriculum in the islands is in Papua New Guinea, first included in the school curriculum almost four decades ago. The situation in the rest of the region however, is quite different with few island nations making the move towards AiE post-1990.
In the 1990s, a Curriculum Development initiative in Solomon Islands saw a Creative Arts Curriculum designed for Forms 1 to 5. In this package, the artists-in-schools approach engaged traditional masters in the teaching of cultural expressions through the arts. Ten years later, in the early 2000’s Samoa began a similar move in the development of an AiE curriculum package for Creative Art Studies at primary level and at secondary school in the following genres: music, performing arts and visual arts. Around the same time, the Cook Islands Curriculum Framework (2002) presented the Arts as an opportunity for deeper and more meaningful learning. The new focus included dance, drama, music, media (film and video), literature, visual arts, cultural oratory and crafts (p18). Similarly in Fiji, the Fiji Education Sector Programme (FESP) 2003 – 2009 resulted in the Fiji Curriculum Framework (2007). This framework also emphasizes the role of the arts highlighting the benefits of learning experiences in music, visual arts, and the performing arts (dance and theatre). A complete review of the Art Education Syllabus for Classes 1 to 6 took place in 2010. The Department of National Heritage, Culture and the Arts is currently working closely with experienced Art practitioners and curriculum developers from the region, in collaboration with the Curriculum Development Unit, in an attempt to Mainstream Education for Sustainable Development through the Expressive Arts with an emphasis on Culture and the Arts in Fiji.
Valuing AiE in Oceania
Arguably one of the current leading experts in AiE in the islands, Teweiariki Teaero, posits: Art is one of the defining characteristics of any culture or society, reflecting the mother culture and local environment. It is physically and ideologically shaped by these two factors. It follows that an ideal art criticism approach should also be firmly grounded in both the culture and local environment. The contents of any art curriculum ought, therefore, to include important aspects of society’s art and material culture (1999, p8).
In the islands, where art is valued for the most part on the basis of its cultural worth and functionality, there is a real need for advocacy and awareness about the benefits that AiE presents
to formal and non-formal education and to social development and cohesion. Community awareness about the potential contribution of the arts to economic development through stimulation of the creative and cultural industries, as well as for human and social growth, is essential. Dinham (2011, p19) presents ten reasons to value and prioritize AiE. These are adapted from the Australian context to suit island realities and needs. 1. Authentic arts programs are linked to a wide range of diverse skills useful for survival in the 21st century; 2. Students are introduced to alternative and new ways of thinking, seeing and experiencing; 3. Critical Functional Skills: Learning to ‘act creatively’, think flexibly and solve problems; 4. Mutual benefits of an authentic art program is intrinsic, and instrumental, personal and social; 5. Promotes cultural and cross cultural understanding, values connection and empathy for others; 6. Provides learning opportunities for self-expression and self-validation; 7. Engages students in ethical, aesthetic and communicative judgment; 8. Research indicates that students who engage in the arts out-perform other students linking the arts to positive learning in particular in mathematics and readings; 9. Benefits for disadvantaged and minority/ marginalized students; and, 10. Positive effects on student’s sustained interest in learning and schooling. Equally crucial to the support for, and success of, AiE, is the ability of Curriculum designers to develop a meaningful package that is strongly grounded in Culture. Engelhardt (2005) in linking the arts and culture argues that “the AiE approach also enables local cultural values and identity to have a central role in education”. He also calls for the artistsin-schools approach
to share their skills in traditional music, dance and crafts), and incorporate their artistic skills and knowledge into lessons… [to] provide an opportunity for students to learn about the various art forms that their own culture produces and compare them with those produced elsewhere, and, in the process, learn about cultural values (p2).
What could authentic AiE for Oceania look like? A suggested Toolkit for Art Educators
Further to this, Sheldon Shaeffer, Director UNESCO Bangkok writes in the foreword for Educating for Creativity: Bringing the Arts and Culture into Asian Education:
2. Constructivism which is the idea that prior knowledge of both students and teachers must form the basis on which to build new knowledge and skills.
The arts have the potential to play a distinct and unique role in bringing the ideals of quality education into practice. As a creative medium, the arts stimulate cognitive development, encourage innovative thinking and creativity, engender understanding of the importance of cultural diversity and reinforce behavior patterns underlying social tolerance (UNESCO 2005 pviii).
What is particularly critical to AiE initiatives is the purposeful collaboration between Curriculum experts, Art practitioners and cultural producers in the local community. This cannot be overemphasized as it would be very easy to defer to western frameworks of AiE which an external advisor or consultant in the Arts or in Curriculum often brings to the table. What is apparent is the need to recognize and value the contribution of indigenous art forms and the encouragement of contemporary expressions of these. Teasdale and Teasdale (1992) for example, argue that “the arts in traditional Pacific societies are not compartmentalized, nor are they practiced in isolation from everyday life. Indeed, they are part of the very fabric of people’s existence, expressing values and beliefs, and ensuring the stability of social relationships” (p5). What is evident is the need to contextualize AiE to ensure authentic learning experiences in the Arts. Also in support of this, Teaero (1999) calls for a re-examination of art curricula in Oceania through (1) a more appropriate and holistic art education programme; (2) a more culturally relevant and more humanistic curriculum, that (3) enables students to appreciate, enjoy and react appropriately to visual stimuli and artwork (p10).
1. Curriculum must be firmly grounded in the foundations of education; philosophy, psychology and sociology; bringing AiE into context of the islands.
3. Culture Gap an idea presented by Angela Little (1995) who argues that the difference in expectations of the home culture and the school often leads to difficulties in learning and schooling. AiE must consider the lived experience and heritage art forms existent in diverse cultural contexts. 4. Multiple Intelligence theory was first developed by Howard Gardiner in the 1980s and is seen as critical to curriculum work. MI presents that each individual has very different skills and abilities that the school experience should develop in a holistic approach to learning. A holistic AiE package must consider these eight intelligence areas: Linguistic intelligence (word-smart); Logical-Mathematical intelligence (number/reasoning-smart); Spatial intelligence (picture smart); Bodily-Kinesthetic intelligence (body-smart); Musical intelligence (music-smart); Interpersonal intelligence (people-smart); Intrapersonal intelligence (self-smart); Naturalistic intelligence (nature-smart). 5. AiE must be grounded in the 3 Rs of Education; relevance, readiness, resources; and, must include an additional component of sustainability. 6. The 3-Hs of Education are prioritized as curriculum guides and indicators; teaching for the Head, the Heart and the Hand. This brings the AiE experience through knowledge (cognitive learning through content); to values, beliefs and attitudes (understanding, expression etc) and finally to skills-for-life, livelihoods and life-long learning (through learning to do and hands on learning experiences and outcomes);
7. The content and teaching style (pedagogy) must look at indigenous knowledge and its contribution to positive and meaningful learning experiences as a core part of AiE in the region and link to issues such as intellectual property, copyright, cultural mapping, Oceanic languages as endangered languages, Pacific history and the cultural and creative industries.
Critical Mass – an endnote
Critical mass is vital to realizing this dream where both Heritage arts, and Contemporary art forms as derivatives and extensions of these cultural expressions, are valued as valid forms of cultural and creative endeavors. The future is clear. “Until the arts are given priority, educational and employment opportunities in these areas will remain unexploited and art will continue to meet academia in only colorful hallways stopping short at the classroom door (Koya 2008, p20). In terms of systematic support systems and networks for the development of formal and non-formal education, it is envisaged that “with political will and foresight, funding, marketing, networking, and regional cooperation, perhaps this vision of hope for the arts and the essence of the Pacific’s cultures, will become a major part of sustainable development initiatives for the region in the future (Vaka’uta 2010, p170). In the final analysis, it is worth revisiting the man who is seen as the founding father of Contemporary Oceanic Art in the region, who spoke at the Red Wave Exhibition Opening held at the James Harvey Gallery in Sydney 2000. We are not interested in imitating (western art) and asking our artists to perform dances for tourists. It is time to create things for ourselves, create and establish standards of excellence which match those of our ancestors (Cited in UNESCO 2003, p17). dancers themselves but also people and communities with whom they work” (Alo 2010, p116).
Empowerment through Art Development Case Study: TA‘AROA Pacific Ballet of Creation TA‘AROA the production provides a clear example of possibilities through the Arts. As a creative work, it draws from both introduced and indigenous art forms, linking story-telling through ballet and drawing on the strong history of oral tradition and storytelling in the islands. Building on an original concept by French poet and Fiji Resident, Rodger Lesgards, Allan Alo creatively threads Polynesian mythologies of creation from Tahiti, Samoa and Aotearoa (NZ) in a stage production that draws on the musical talents of Calvin Rore (Solomon Islands), and local dance choreographer Katalina Fotofili (Fiji). The stage production makes a significant contribution to AiE in the region in that it The stage production makes a significant contribution to AiE in the region in that it • Is an example of cultural and crosscultural collaboration; • Creates an awareness of the potential of Contemporary Art; and, • Demonstrates the fluid fusion of western art forms with traditional dance movements and song. The production, and its complementary publication, also makes a critical contribution to the documentation of art initiatives in the islands. As an outcome of Alo’s work with the Oceania Dance Theatre it highlights the role of AiE in non-formal education and builds on his personal philosophy that “…enabling the development of artistic identity and techniques are as ways of empowering not only young
References Alo, A (2010). Performance and Recreation: A re-enactment of Cultural History and Memory through the Performing Arts, In Nabobo, U; Koya, C.F and Teaero, T (Eds). Education for Sustainable Development: Continuity and Survival, Vol. 1, University of the South Pacific, Suva Fiji PP 116 - 121 Dinham, J (2011). Delivering Authentic Arts Education, Cenage Learning Australia Pty Ltd, Melbourne, Australia. Engelhardt, R (2005). The Role of the Arts in Improving the Quality of Education, In Educating for Creativity: Bringing the Arts and Culture into Asian Education, UNESCO Bangkok PP1-3. Sahasrabudhe, P (2005). Design for Learning through the Arts: Mainstreaming Art Education in the School Curriculum, In Educating for Creativity: Bringing the Arts and Culture into Asian Education, UNESCO Bangkok PP 47-54. Koya, C. F (2008). Marking Time in Pacific Schools, In VASU Pacific Women of Power, Koya, C. F and L. Tora (Eds). University of the South Pacific, Suva Fiji PP17 – 20. Little, A (1995). Multigrade teaching: A review of research and practice, serial No. 12. Overseas Development Administration, London. Retrieved on March 25 from http://multigrade. ioe.ac.uk/fulltext/fulltextLittlereview.pdf O’Farrell, L (2011). Update on The Seoul Agenda: Goals for the development of arts education: 44 Implementation of the “Seoul Agenda: Goals for the Development of Arts Education”, outcome document of the Second World Conference on Arts Education, Summary Report of Larry O’Farrell, Professor and holder of the UNESCO Chair in Arts and Learning Faculty of Education, Queen’s University electronic communication, February 26, 2011. Schaeffer, S. and Engelhardt, R (2006). Improving the Quality of Education: The Role of Arts Education, Retrieved on March 25, 2011 from http://portal.unesco.org/culture/ Smith, F (2009). Why Arts Education is Critical, In Edutopia, Retrieved on March 25 by 2011 http://www.edutopia.org/ arts-music-curriculum-child-development Smith, M (2008). Howard Gardiner, Multiple Intelligences and Education, retrieved on March 25, 2011 from http://www. infed.org/thinkers/gardner.htm Smith, L. T (1999): Decolonizing Methodologies: Research and Indigenous Peoples, Zed Books Ltd, London and New York. Teaero, T (1999). Art Criticism for Schools in Oceania, Pacific Curriculum Network vol.8, no.2, 1999 pp7 – 11. Teaero, T (2002). The Role of Indigenous Art, Culture and Knowledge in the Art Education Curricula at the Primary School level, paper presented at the UNESCO Regional Conference on Arts Education, Nadi Fiji 25 – 29 November 2002. Teasdale, R.G. & Teasdale, J. (eds) (1992a) Voices in a seashell: Education, Culture and identity. Suva: UNESCO and Institute of Pacific Studies.
UNESCO (2005). Educating for Creativity: Bringing the Arts and Culture into Asian Education, Report of the Asian Regional Symposium on Arts Education, Measuring the Impact of Arts in Education, Hong Kong SAR, China 9 – 11 January 2004. UNESCO Bangkok. Vaka’uta, L.E (2010). Pacific Thought as Sustainable Capital: Exploring economic viability through the use of traditional and contemporary visual arts, In Education for Sustainable Development Vol. 1. Continuity and Survival in the Pacific. Eds. Nabobo, U; Koya, C.F; Teaero, T. School of Education, Fiji: USP and the Asia-Pacific Centre for UNESCO. PP 162 – 170. UNESCO (2003). Arts Education in the Pacific Region: Heritage and Creativity: For Education in the Arts and Creativity in Primary and Secondary Schools, Document based on the conclusions of the Regional Conference on Arts Education, Nadi Fiji 25 – 29 November 2002. UNESCO Paris, France.
Reflections
Reflections on the Oceania Dance Theatre and the work of Allan Alo Dr. Katerina Mar tina Teaiwa
Pacific Studies Convener Australian National University In 2005 I ran a conference called Culture Moves with colleagues April Henderson and Sean Mallon in Wellington, New Zealand. Our featured keynote speaker was the late Professor Epeli Hau’ofa who brought the Oceania Dance Theatre (ODT) with him to demonstrate their exciting developments in contemporary Pacific dance. ODT director Allan Alo shared his experiences as the founding choreographer at the Centre under Epeli’s nurture, and the ODT wowed the crowds with their blend of panPacific movement. The ODT strives to produce something that transcends national boundaries while acknowledging specific choreographic cultures. In accordance with Epeli’s vision their goal has always been to create something “of Oceania”.
I performed in Canberra and The Boiling Ocean II in Honolulu. In the early 2000s, we struggled to attract versatile dancers due to a lack of formal training. Today, however, young people with great potential are trained by Allan and his dancers at the Centre, and the programme has become highly disciplined.
When the Oceania Centre dance programme began in 1998 it relied on the abilities of existing performers in Suva, many of whom like myself had danced in the tourism industry and had some background in ballet and modern dance. My sisters and I were the products of the old St. Luke’s ballet school at Suva Point and we owed
Contemporary Pacific dance as practised at the Oceania Centre and increasingly across the islands and diaspora, involves an expansion of the vocabulary of the body, building on a Pacific choreographic base with dance elements from across the region woven in. The dancers leap, roll across the floor and pirouette, yet their movements retain a Pacific flavour. The ODT also embraces movement that would have been viewed as taboo for women, and allows male dancers to celebrate their feminine side. Their style similarly attempts to transcend panethnic boundaries, working across the regions of Melanesia, Micronesia and Polynesia. It is a choreographically inclusive approach that also seeks to revitalize undervalued traditions, while remaining experimental.
our training to many dedicated expatriate women like my mother, Joan Teaiwa. I eventually became a founding member of the ODT and in addition to performing around Fiji, collaborated with Allan on two productions: The Boiling Ocean
Allan has developed an intercultural dance language and is always working between cultures and genders, professionally and personally. Allan can seamlessly weave modern dance
with hip-hop, Samoan dance with Tahitian tamure, classical music with Hawaiian hula. He has worked collaboratively with countless visual, musical and choreographic artists including the wonderful team of artists at the Centre. The University of the South Pacific services 12 island countries and students of extremely diverse backgrounds have come through the Oceania Centre. When possible Allan has also helped facilitate visiting choreographers from New Caledonia, Hawai‘i and elsewhere to offer workshops and add to his dancers’ skill base. It has been a great joy for me to have known and followed Allan Alo’s career for thirteen years. Today we are the dearest of friends. Allan is probably now the most prolific Pacific choreographer in the independent Pacific Islands. He built up the ODT with young talented Pacific Islanders, training them in his own contemporary dance methods and they have now become mentors to others. He has many productions under his belt which have drawn the attention of a large number of institutional and international supporters and his dance troupe has performed all over the world from South Africa to China. In addition to their international and regional activities the ODT also works closely with teenagers in schools and vocational institutions building a passion for dance in Pacific youth. As an artist Allan has been able to strategically manage both the business and creative sides of his work with resounding success. Several other dance companies have grown out of the Oceania Dance Theatre, including the exciting company Vou directed by Sachiko Miller, and are now working on their own versions of contemporary dance. The ODT’s productions continue to express indigenous values concerning the past, place, human relations and the environment, while commenting on rising social challenges and concerns such as domestic violence, the spread of HIV, and the growing loss of cultural identity. Their latest production and Allan’s final work as ODT director, TA‘AROA - Pacific Ballet of Creation, which seeks to include ballet technique, is their most exciting challenge yet.
Culture Moves through body, mind, radio, video, stereo So between our islands, we dance! (Culture Moves: dance in Oceania from hiva to hip hop, Wellington 2005)
Production Overview TA窶連ROA - Pacific Ballet Of Creation
Concept
To interpret three Pacific creation mythologies as a major Pacific theatrical dance production using contemporary dance, music and singing and to establish the genre of Pacific Ballet for the first time. Background In 2010, Mr Rodger odger Lesgards, a French poet, first collaborated with Mr Allan Alo and the Oceania Dance Theatre during a francophone evening performance that was hosted at the Oceania Centre space. The success of this performance started the conversation between Rodger Lesgards and Allan Alo to collaborate on a much larger scale production in the future. In early 2011, Rodger Lesgards approached Allan Alo with an original text he had researched in France. The text contained cosmogony accounts of three Polynesian societies namely Tahiti, Samoa and Maori (Aotearoa). Allan Alo saw the challenges and the benefits this presented and was determined to adapt the texts and translate them into a piece of theatre. Performance – An Overview: The production TA‘AROA – Pacific Ballet of Creation offers a special opportunity for USP’s Oceania Dance Theatre (ODT) Dancers, working with other artists, to showcase their years of professional experience to Fiji, the Pacific and the World. It is expected that by showcasing the talents of the USP Oceania Centre artists, in collaboration with other like minded individuals, we will reinforce the reputation of the Oceania Centre as a Centre of Artistic Excellence with the intention of attracting many other international artists and facilitating artistic events of the highest calibre to be presented to Fiji and the Pacific in the years to come. As many people will recall from the recent ODT productions, (regional, international and local), lasting impressions of the groups’ reputation are created by the professionalism and execution of its dynamic performances. TA‘AROA – Pacific Ballet of Creation, in particular, is very important as it sets the scene in Pacific Ballet for the first time. TA‘AROA – Pacific Ballet of Creation calls for a thematic and theatrical approach with a more
‘fantastical’ (mythical/ethereal) application. This two pronged approach gives the production overall cohesion while subjecting its organisation to the rigours of theatre. Thematic approach The theme for TA‘AROA – Pacific Ballet of Creation is “old”, “traditional” with a blend of “contemporary” Polynesia (Tahiti, Samoa, Maori) and it has a sense of pomp, ritual and formality. The choral music, chants and dances follow both traditional and contemporary Gregorian and ballet forms, while the key characters are from Polynesian mythology (Pilimo’o, Ta‘aroa, Tagaloa, Rangi & Papa). The themes of the production will feature in four acts: ACT 1: Ta‘aroa the Unique – Tahiti ACT 2: The Creation of Other Gods - Tahiti ACT 3: Tagaloa and the Chaos - Samoa ACT 4: Children of Sky and Earth – Māori / Aotearoa (NZ) Theatrical approach The discipline of formal theatre is applied to the whole production. An outstanding feature of mythologies (such as the Greek Mythologies) is that they take a theatrical approach to proceedings. Therefore, to maximise the theatrical impact, every minute of the production is scripted and choreographed and the transitions between sections are seamless. This approach also requires the following: • a detailed script to guide the production from start to finish; • a musical score (similar to a movie score) from start to finish; • complete choreography of not only the dances, but also of all the transitions between sections and the movements of all those dancing, singing and speaking; • lighting design and script; • a set designed for components of the production; • costumes, sound and props designed according to plans; • positions and responsibilities for all team members are clearly articulated, including that of an overall director, plus support personnel such as stage managers, sound engineers, lighting crew and a production manager. In following this two-pronged approach, the production TA‘AROA – Pacific Ballet of Creation
delivers a well-coordinated, thematic performance of spectacle that is of an international-standard and befitting of the magnificent professional dancers and collaborating artists that it showcases. The Creative Team (Rodger Lesgards, Allan Alo, Calvin Rore and Tara Mar), that have driven the development of the scripts, have considerable experience in their respective fields and areas of expertise. They have also assembled a team of professional production and technical staff to deliver the best outcomes possible in what was a relatively short preparation time before the curtains for the show opened and the Oceania Dance Theatre, in collaboration with others, once again was under the spotlight. To ensure that the cultural integrity of the stories and the performance are maintained, the Creative Team engaged members of the three relevant cultural communities in all aspects of the production.
Synopsis TA‘AROA – Pacific Ballet of Creation In Four Acts Based on Three Polynesian Mythologies (Tahitian, Samoan and Māori) Rodger Lesgards in collaboration with Allan Alo Summary • Overture • First Scene - Ta‘aroa the Unique (Tahiti) • Second Scene - The Creation of Other Gods (Tahiti) • Third Scene - Tagaloa and the Chaos (Samoa) • Fourth Scene - Children of Heaven and Earth (Māori) • Epilogue
Characters • Overture: choir
• Scene 1: Pilimo’o (the lizard), Ta‘aroa, choir, dancers, • Scene 2: Pilimo’o, Ta‘aroa, choir, dancers, Gods and Goddesses • Scene 3: Pilimo’o, Tagaloa, choir, dancers, Gods and Goddesses • Scene 4: Pilimo’o, Tangaroa, choir, dancers, Rangi and Papa, Six children • Epilogue: choir, dancers
universe was organized. Tagaloa was satisfied and he started to dance.
ACT 1: Ta‘aroa the Unique - Tahiti Ta‘aroa is the ancestor of all Gods and created everything beginning with himself. He was living in an infinite shell. One day he broke it to make the foundation of the world - rocks and sand. A gigantic octopus maintained a link with the sky. Ta‘aroa then decided to create other Gods.
After they consulted with each other, five of their children decided to separate them, to leave the sky (Rangi) very far above them and to keep the earth (Papa) as their nursing mother. The sixth child refused, he became the Father of Winds and Storms. Each of the five made big efforts to separate their two parents but only the last one, Father of the Forests succeeded.
ACT 2: The Creation of Other Gods - Tahiti Ta‘aroa started to create a multitude of Gods calling them from obscurity. The sea became rough. To each God and Goddesses he gave a role in the world. So began the Creation.
Upon separation of Sky (Rangi) and Earth (Papa), multitudes of children sprang out from their bosom.
Each of these Gods had a name related to their role: ‘The One Who Governs All Kinds of Sickness’; ‘The Lord of Thunder, Carrier of Phosphor’; ‘The God of the Marshes, Ferocity of Haunted Waters’; ‘The Goddess Who Guards the Borders and Protects the Land at the Edge of the Ocean’; etc. The last Goddess created was ‘The Goddess of Music, Dance, Entertainment and Enlightenment’. Entering on the stage she organizes, with all the other Gods, a great ballet of deities in an atmosphere of feast and joyful confusion. ACT 3: Tagaloa and the Chaos - Samoa Things began to exist in a primitive state. Nothing was organized in this space. The God Tagaloa was the only intelligence. When he saw this chaotic space, he decided to shape it. First he caused to spring up a solid rock that immediately broke to make earth, sea and fresh water. Then he created nine heavens and dwelt in the ninth one, above all the others. He created Day and Night which gave birth to two children: Manu’a and Samoa. A lot of other islands emerged. So the
ACT 4: Children of Sky and Earth – Māori / Aotearoa (NZ) All human beings come from two common ancestors: Rangi and Papa. They had six children and their two bodies were not yet separated.
The Father of Winds and Storms became furious. He destroyed the forests and lashed the ocean from where waves, high like cliffs, rose up. All the people tried to escape, some of them through the sea, they became fish, others through the earth, they became reptiles. A lot of dry lands disappeared, so appeared the Pacific Ocean. A beautiful light developed on the Earth and human beings multiplied from generation to generation. So it still continues today. End of Synopsis
Rodger Lesgards Script Writer
Researching the Concept All human societies have created myths, beliefs and legends with the aim of trying to understand the mystery of the world, the meaning of life and in order to reassure themselves of what will occur after death. In these mythologies, cosmogonies hold an important place. They are attempts to explain the origins of the universe, earth and human beings. Their realm is that of gods, demi-gods, spirits and legendary heroes who preceded and accompanied the birth of the first human beings. The Polynesian islands have their own cosmogonies, particularly rich in poetry, beauty, meaning and symbols. Unfortunately, since the conquest of their territories and spirits by the colonisers, this ancient and profound part of their cultural heritage has been occulted. It is a serious offence to one of the most nourishing sources of the long and slow construction of their identity. The aim of the present “opera-ballet-theatre” is to reinstate in our collective memories this hidden part. Human voices, music and dance are intermingled therein. They are precisely the three “instruments” by which the Polynesian ancestors expressed their own culture. When I imagined the concept and wrote the original text, that Allan Alo has remarkably adapted and enriched, I faithfully respected the stories of the religions and legends of Tahiti, Samoa and Aotearoa as they were transmitted by the ancient priests and storytellers. They were marvellous poets and today they are sorely missing in a materialistic globalization where a poetic vision of the world is needed.
Allan Alo
Director/Producer
Production Director / Producer’s Notes - Allan Alo Making Leaps – from Traditional to Contemporary to Ballet!
(Choreographers, Dancers, Musicians, Artists, Actors, Sculptors & Creative Forces) …there is no such thing as talent without conviction, determination, hard work and extra effort. We all have creativity. The key to expressing it is to define what it is that you want to pursue and make a commitment to it. Then you’ll find the tools you need …
The Creative Process
As a creator of theatrical productions, my mind wanders through a pool of Pacific concepts, motifs and belief systems, particularly Samoan as I am of Samoan origin, until I sense an attraction or affinity that manifests within my consciousness as an idea, a concept. It forms in my mind. Then I begin a process of translating the concept into visual symbols of lines, colors, shapes etc. This happens in a totality of blurriness first and my mind zooms in on an isolated event, image or sound – the thing that appeals to me the strongest. That is my starting point of excitement. Once this is shaped and molded over time, the image, sound or feel appears clearer and the excitement begins the creative process of visualization that will start to create an entire world of imagination. Many times a dance production is a response to something that I wonder about in the world around me. Changing my focus allows the images to form into choreographic phrases without my mind obstructing the process. The ending result often surprises me.
Navigating the Consciousness
Whilst working on ‘TA’AROA - Pacific Ballet of Creation’ I had the impression from the consciousness that I was touching, that many traditions need to be brought back and included in art creations today. It is a point to acknowledge Mr. Rodger Lesgards, my dear friend for his vision and for reminding us all this reality when he approached me with his concept to collaborate. The ritual portrayal of Polynesian ancestors through Tahitian, Samoan and Maori art needs to be continued to preserve our awareness of
our interconnectedness with the ancestors and our responsibility to Creation as participants in Creation. Like most Pacific Islanders, the Polynesians believed that by creating rituals and keeping the traditions, the people affirmed their sense of belonging to and participating in all of Creation. Humankind needs to reconnect with the forces of the heavens and of the earth and of the ancestors to restore the balance of life. When we deny our ability to respond to a keeping of the order, then our part of creating reality is weakened and reality itself is weakened.
The Dance - Oceania Dance Theatre (ODT)
The Oceania Dance Theatre (ODT) is a non formal teaching and performance theatre group of contemporary oceanic dance styles that draws inspiration from traditional cultural motifs and customs. It provides dancers with access to training in traditional and contemporary dance styles and is a forum for the expression of Pacific Island cultures through dance and drama. ODT extends itself out into the local, regional and international communities and has been taking dance, music and theatre to the people of Fiji and beyond for more than ten years. The most significant development I have noticed over the years is the fact that each individual of ODT has flourished, making leaps into promising Pacific choreographers and dance practitioners. Katalina Fotofili is the lead choreographer of this production and along with myself and Ceyen, a ballet teacher from International school Suva, who generously gave her time and expertise to assist with technique and later choreography of one of the dance segments, has shared the major tasks of choreography and most other responsibilities in the production. The older and established dancers and core members of the ODT such as Tulevu Tora, Pelu Fatiaki, Sinu Naulumatua, Ateca Ravuvu, Nisimere Bola, Jesoni Naga, Etuweni Tagivakatini and Glen Lord, have all contributed to lessen the load demanded of creating such a production in such a short span of time. The challenge has been in the all time genre of ‘ballet’, an exciting new challenge for us all. Despite the obstacles we have persevered, after all, how do we develop and be given space for growth if we aren’t taking risks and navigating challenges.
The Music – The New Sounds Studio
Many Pacific oral traditions place significant emphasis on music, as they transcend and affirm people’s places, origins, identity and sense of belonging. Calvin Rore has single handedly created most of the Oceania Dance Theatre’s musical accompaniments over the years. The expression of his talents as a professional has never ceased to amaze and wow audiences who rock up after every production requesting for CDs of the music. I have often wondered and marveled at his genius in creating music from scratch. Calvin’s skills coupled with the talents of other collaborators, such as Tara Mar (Davui String Ensemble), Marc Pohue, Maire Piha’atae, Francois Piha’atae & Tupaia Henri (Tahiti), Simon Bennett (Maori), Pasifika, Voices Ensemble, Mr. Damiano Logaivau (Fiji) & Mr. Igelese Ete (Samoa) have produced the richest of sounds as the collaborators create a platform from which to make leaps, even into the very tones of the originally created musical scores. …you’ll have the patience to work through all the mistakes – the challenges, the things that don’t look and feel good, and you’ll keep persevering until it happens the way you want it, or in a way even more wonderful than you had first imagined… making leaps again and again and again!
Katalina Fotofili
Lead Choreographer
Lead Choreographers note As leading choreographer for this production, I still feel overwhelmed and blessed to be given this opportunity by Allan Alo. The process was difficult in terms of the genre , Ballet. I had materials that gave me inspiration to begin dance phrases, for example, videos of Merce Cunningham and Polina Seminova. This production has challenged me physically and mentally. Ballet is a difficult genre as we do not have the proper training and discipline here in the Pacific. Its demanding to our bodies but it is rewarding to create a piece of the genre ballet and to watch the dancers perform with grace and poise that shows that we as Pacific Islanders will never back down from a challenge and this production is a great challenge and experience for everyone including myself. I take my hat off to the core dancers of the Oceania Dance Theatre and the new dancers that joined us before the production for their cooperation and hard work towards learning my choreography. As a dancer and a choreographer, these words always makes me think of what I do and trying to perfect myself in everything. One of these would be, we do not practice to perfect but to “perfect practice”. It’s not always easy but we must always do our best and give it everything we have. «...it isn’t so much the result that makes me proud of an athlete, or a performance; it’s the effort.» (Dan Jensen 8x world record holder in speed skating)
Calvin Rore
Music Director Oceania Centre for Arts, Culture and Pacific Studies University of the South Pacific
Musical Director’s Notes Creativity is born of inspiration, it is essential that one is inspired in order to create! Personally, it has been a very challenging process composing for this production as I have had to incorporate two totally different styles of music - ballet and pacific. The starting point has been to draw inspiration from the different creation stories involved and try to make sense out of them. To get an understanding of the real meanings of the stories, and speak with people who know these stories and their importance, rather than jumping straight in and putting sounds to what I think the story is talking about. Once I’m sure of the real meanings, I bring in sounds that I feel represent these meanings and then bring in the ballet parts and see how the ballet music can compliment what I’ve already established. The score is made up of pacific instruments (such as lali, conch shell, and nose flute), these are then combined with string instruments (cello and violin), as well as electronic pad sounds and sound effects (both electronic and atmospheric). Scoring for the strings was the most fun! All the string parts were scored electronically using sampled string sounds, that way I would know what the finished piece would sound like, even before real players came in for the production. Once the musicians came in, it was just a matter of tidying up the score with Mr Damiano Logaivau, and with Tara Mar and Megumi Kadoshima of the Davui String Ensemble. By working with the lead choreographers of the production, Allan Alo and Katalina Fotofili, I am also able to draw inspiration from their dance movements and their interpretations of the script. This fresh inspiration feeds back into revisions of the score, and then as the different parts of the production start to fit together, some parts of the score are taken out as other parts are added, all for the betterment of the production. There is a constant process of adjustment in developing the final score. Imagine trying to put music to a language you don’t speak nor understand, while still maintaining the flow of words so that they sound musically appealing and still make sense to people who speak the language. Then imagine it for three languages that you don’t understand! Now create scores and lyrics which represent the three different, yet related, cultures and their traditions which are in the production, but don’t misrepresent them. These are some of the additional challenges that I have faced leading up to this production, but if this production touches you, then I guess that it proves that music soars above all barriers. Music unites people whether or not one understands the language it is in or not. Truly, music is the Universal language!
The Script
TOOL KIT FOR ‘TA’AROA’ Pacific Ballet of Creation
(In Four Acts) Based on 3 Polynesian Mythologies (Tahitian, Samoan and Maori) Concept by Rodger Lesgards Adapted and Directed by Allan Alo (Music by Calvin Rore, String Ensemble by Tara Mar, Choreography by Katalina Fotofili & Allan Alo, Danced by The Oceania Dance Theatre, Choir Ensemble by Pasifika Voices)
Summary:
• Overture • ACT 1– Ta’aroa the Unique (Tahiti) • ACT 2 - The Creation of Other Gods (Tahiti) • ACT 3 – Tagaloa and the Chaos (Samoa) • ACT 4 - Children of Heaven and Earth (Maori) • Epilogue
Characters:
• Overture: choir • ACT 1: Pilimo’o (the lizard), choir, dancers, Ta’aroa (Tahiti) • ACT 2: Pilimo’s, Ta’aroa, choir, dancers, Gods and Goddesses (Tahiti) • ACT 3: Pilimo’s , Tagaloa, choir, dancers, Gods and Goddesses (Samoa) • ACT 4: Pilimo’s, Tangaroa, choir, dancers, Rangi and Papa, Six children (Maori) • Epilogue: choir, dancers
Setting:
• Overture: Orchestra and Choir stage (Stage 3 ) • ACT 1: Space mostly dark and mystique/ obscure with smoke floating on floor (Stage 1) • ACT 2: Stone Wall - Textured backdrop with black mist painting (stage 1) • ACT 3: Nine Heavens (stage 2 & 1) – Multileveled stage • ACT 4: Earth and sky / environment (stage 2 & 1) – Painted backdrop of moon, ocean view from mountain forest • Epilogue: Orchestra and Choir stage (stage 3) • Special setup pole for Lizard to climb up and down. Down stage right.
References:
1. Myths Tahiti – Teuira Henry 2. The Journal of Polynesian Society 3. Sacred texts Pacific stories collected by Sir George Grey – later Governor in chief of NZ
Overture:
(The stage is in complete darkness, empty and obscure. Swirling wind sound and mud forming is heard from a distance. Lights slowly fade in on orchestra pit. Pahu sounds add as choir sing acapella in solemn Gregorian style) Choir: We are the voice of our Ancestors Ta’aroa, Tagaloa, Tangaroa We are here to tell What was heard from their sacred tongues (Tahitian translation) I reo matou no te mau tupuna Ta’aroa, Tagaloa, Tangaroa Teie mai nei matou no te faaite (Samoan translation) O matou nei o leo o matou tua’a Ta’aroa, Tagaloa, Tangaroa Matou te ta’u atu le tala anamua (Maori translation) Ki a matou te reo o matou tipuna Ta’aroa, Tagaloa, Tangaroa Matou e tu atu nei ki korero ta ratou kupu tapu They spoke in beautiful and Poetic words Tahitian, Samoan, Maori Like every storyteller, Musician and Dancer hear these voices and follow The poets and priests Who told us how the world was made These are the stories of our people Our Cultures Our Mana Our heritage Our Pasifika Lest! We! Forget! (Lights fadeout to pitch black)
ACT 1: Ta’aroa the Unique - Tahiti (Stage is obscure and still. Darkness begins to wash with shades of amber lights as sound effects begin. Pilimo’o the narrator enters in a stylized lizard crawl as sounds of solemn winds hover setting the ambience. Pilimo’o climbs up pole down stage right while making lizard click sounds with his mouth, stops top of pole then recites slowly) Pilimo’o: (Click sounds) Ta’aroa the unique is the ancestor of all Gods (Click sounds) He exits from immemorial time (Click sounds) H e created everything and first himself (Click sounds) He was his own father and mother (Click sounds) I am Pilimo’o, lizard, guardian of heaven and earth (clicks again then scans the space slowly) (Pahu drums start beating with flute and conch shell as Choir begin to sing Ru’au – slow Tahitian chant of creation) (The shell Rumia appears centre stage as light slowly fade in on it as music continues. Ambience sounds accents into an orchestra of winds, flutes, conch and lali as choir chant) Choir: (Gregorian style) Ta’aroa was living in a shell named Rumia His vertebral spine were the mountains His central post was the new shell His ribs were the supporting beams Around there were no human beings, No animals, no birds, no dogs, no sky, no earth, no ocean. There was only space, no sound, and obscurity everywhere.
(The shell Rumia reveal Ta’aroa in a fetus position. Ambience sound stil linger in the background as Ta’aroa steps out of the shell with arms outstretched as a glow of light is casted around him. His silhouetted figure beams brighter as he comes to life. He begins to move around then performs a Solo Dance. Ta’aroa then recites) Ta’aroa: (Tahitian) O vai tei nia’ na e above? (Tahitian) O vai to raro na e underneath? (Tahitian) O vai tei tai na e front? (Tahitian)O vai tei uta na e
(echoes*)Who is (echoes) Who is (echoes) Who is in (echoes) Who is
behind? (*Note: The Sea causes the echo sounds) (Ta’aroa circles stage. Sounds of lizard clicks as Pilimo’o begins to recite narrative) Pilimo’o: (Click sounds) The only answer came from the echo of his voice. So he understood that he was alone. (Ta’aroa goes back into his shell. Ambience sounds begin again. Pilimo’o continues…) (Click sounds) Then he entered into a new shell. But after a while he also broke her (Click sounds) Came out and stood on his ancient shell Rumia Ta’aroa used the new shell to become the great foundation of the world Rock and sand (Click sounds) (Dancers now all around shell as music begins. Dancers unveil one by one the shell shape of dancer’s bodies that cover the main shell of Ta’aroa. Dancers begin the Fetus Dance- GENESIS. Dancers freeze as Ta’aroa re-enters from shell arms outstretched
holding a staff of creation and joins the dance. Dance ends and all freeze as chant begins. Stage lights dim on main stage as lights fade in on choir and orchestra stage. ) Choir: (Tarava - Tahitian up beat chant about Genealogy) Te Papara’a Tupuna Genealogy I hi’o na to’u mata My eyes have watched you, ‘Ia ‘oe ‘e te mau tupuna e You, the generation of ancestors To ‘oe reo Your language Ta ‘oe mau peu Your customs To ‘oe here e Your love I te a’a tumu e From ancestral roots ‘O te hiro’a ma’ohi e Of the Ma’ohi culture ‘O te hiro’a ma’ohi Of the Ma’ohi culture of which Ta ,oe I mau na e You have been the holder. ‘O te hiro’a ma’ohi I will keep on watching you Ta oe (i) mau na e Grabbing everything you’ll teach E hi’o a vau ia o Me E mau a vau e To guide me through this world, I ta ‘oe ha’api’ira’a This frightening world, ‘Ei arata’I ia’u e To spread again and again I roto I teie nei ao Your glory Teie ao hepohepo e Throughout time No te fa’aiho e Throughout time Fa’aiho ‘u’ana e For the future generations I to ‘oe parau e Throughout time E ‘a tau noa tu e For the future generations. E ‘a tau noa tu No te ui I muri nei ra e E ‘a tau noa tu No te ui (i) muri nei e. (Tahitian chant from Fa’a’ai’a – taught by Mark Teihotua Pohue & Maire Pihaatae for the Ballet of Creation, 2011) (Lights fade to black on main, orchestra & choir stage)
QUESTIONS: ACT 1 A. Understanding the Action: 1. Good exposition in a play must, in an artistic and interesting way, provide the audience with necessary information about the characters, background, and events. It must establish a tone of the play (i.e. put the audience in the right mood), suggest the central situation, and create suspense. 2. Are the theatrical devices used (musical, themes, stage set) effective in communicating the central idea in Act 1? 3. What is the difference between the speeches of Ta’aroa and Pilimo’o? 4. What is the climax of this act? 5. Discuss the theatrical effectiveness of the use of darkness throughout this act? B. Understanding the characters: 1. What are examples can you find that will explain the nature of the night spirits? 2. Who is Pilimo’o and what is the significance of his role in the production? 3. According to Pilimo’o ‘the only answer came from the echo of his voice’ when Ta’aroa asked ‘who is above’ etc. What do you think caused this echo? Why? C. Understanding the Approach: 1. In using dance and chant, what do you think the Director was trying to achieve? 2. What do you think the symbolic use of the shell ‘Rumia’ means? 3. What approach do you think the dance choreographer uses when the dance is called the ‘Fetus Dance’? Expressionism? Impressionism? Realism? Explain. 4. In Tahiti a ‘Ru’au’ is an ancient form of slow chant. Why do you think the Ru’au is used in this part? D. Comparisons: 1. Compare Ta’aroa with a figure you know of in your own culture. State the significance of his role and give examples. 2. Compare Pilimo’o with a figure in a play or book that you have studied at school. Explain why his role is important. E. Critical Evaluation: 1. What is your own view of the portrayal of Ta’aroa in the story? 2. How do you compare this ancient view of Ta’aroa as the God of Creation with your current beliefs and religion today?
ACT 2: The creation of other Gods - Tahiti (Lights fade in to Pilimo’o on the pole upside down making lizard sounds. Swirling sounds of the wind echo reemphasizing the obscure setting and atmosphere. Click lizard sounds are heard ) Pilimo’o: (Click sounds) Ta’aroa the unique who gave birth to himself was satisfied with the first part of his job He started to call a multitude of Gods and Goddesses from obscurity. (Click sounds) First appeared the one who will be his great craftsman. Tunui A’e I T Atua - to help him in his task. His name means, great stability of the Gods. (Click sounds)
Oro, God of air and earth, chief of the war, killer of men Tu-Feufeu-Mai I Te Rai, standing to prevent the sky from unwinding As Oro’s wife you will appease a part of his destructive violence. (Instrumental is sustained as Oro and Tu Feufeu Mai I Te Rai are dancing a Dance of Duet in the waves of ocean) Verse 2: And in this swelling sea, night after night, from a dense and mysterious obscurity Ta’aroa made a surge (Ta’aroa paces the stage and acts out calling forth the Gods as the dancers rise from the ground ) Hoa Tapu – my sworn friend Ho’ata – Meamea, the red buffoon Tipa, the healer of sickness Te Fatu Tiri –lord of thunder, carrier of phosphor Papa Ra’i – God of harvests Tumu Homo Rire – source of changing leaves
(Tunui A’e T Atua first appeared centre stage as light fade lightning-like in on him, thunder sounds echo through. Dancers one by one grow from the ground as Ta’aroa’s pre recorded voice calls upon the Gods to rise - Dance of Creation begins with rumbling sounds of the waves, fire, wind and earth – all the elements of nature, movements in costumes symbolizing and enacting their manner and divine function. Pahu and flutes are accompanied with Gregorian style chanting. 8 Carved statues of Gods are placed all around the stage. Lights fade in on choir and orchestra. Ocean of waves made by 3 long blue materials begin to ripple then gradually waves grow) Choir: Verse 1:
Rua I Fa’a To’a – source of courage, God of Force (Ta’aroa stretches his arms with his staff) Mau’u – The roaring loud thunder Ito - the vigilant who watches over the earth during the moonless periods Haeno Vaiurua – the ferocity of haunted waters, God of the marshes, who lives in the muddy depths and violently emerges during the very dark nights Tama Teina – God of surgery who heals all fractured skulls and bones Vave’a – The overhanging wave who conducts the other waves to break on rocks and reefs
The tide low and the night mounted from the ocean
Ra’a Mau Riri – holiness against anger who dwells in a halo around the sun during the day and around the moon at night
Ta’aroa with a strong and grave voice resounding in the bottomless depth,
All those Gods could practice magic and witchcraft and become very powerful.
The sea became rough,
Successively called Gods and assigned a role to each one. The creation of the world had started.
(Ta’aroa acts out calling the Goddesses as the choir chant the description. Instrumental is sustained as Gods are dancing a Dance of Gods in the waves of ocean)
Verse 3: The sea became rough,
(Tahitian Aparima from Fa’a’ai’a – taught by Mark Teihotua Pohue & Maire Pihaatae for the Ballet of Creation, April 2011)
The tide low and the night mounted from the ocean Ta’aroa with a strong and grave voice resounding in the bottomless depth, Successively called Gods and assigned a role to each one. The creation of the world had started. Then during the night of abundance Ta’aroa called the Goddesses. Vahine Mau Ni’a – woman who stands up and supports the things on earth so that they don’t vacillate Vahine Reureu Amo’a – woman who sews the fern Amo’a to make skirts (note: special fern) (Beats of lali accentuate louder as Tahitian Goddess who appears centre stage and starts to dance a solo tamure.) Vahine Mau I Te Paee Fenua – woman who guards the boarder which protects the land at the edge of the ocean so that they will not be invaded by the sea Ura Taetae – Ura Eta Eta, the commanding feathers, Goddess of music, dance, entertainment and enchantment. (note: Ura Eta Eta is a strict and feared Goddess) All those Goddesses could practice magic and witchcraft and become very powerful. Choir: Aparima dance by all the Gods and Goddesses Te Tai The Sea Te Vai, te miti, te tai, Water, sea water, sea Te moana uriuri dark ocean ‘Ua toro mai to ‘oe rima From dawn I te hitira’a o te mahana you’ve stretched your arms No te horomiri so as to fondle I te hone tahatai the sandy shores. Te vai, te miti, te tai Water, sea water, sea Te moana uripa’o e dark ocean Ua ta’u ho’I to ‘oe tino Every night I te mau po ri’I ato’a I ni’a your body comes to strike I te tua o te one tahatai the sandy shores Te vai, te miti, te tai, Water, sea water, sea Te moana nui e great ocean Morohi ‘ore to ‘oe I’oa From the dawn of time Mai te tau ‘e te tau your fame has never weakened I te ha’uti na ‘oe thanks to the perpetual movement (‘E) te miti tahatai of the sea on the sandy shores Te vai, te miti, te tai, te moana. Water, sea water, sea
(Ote’a – Tahitian Male and female dance. Percussion and strings music highlights the beginning of the Dance of Divinities and chaos initiated by tamure dancer among all the Gods and Goddesses. Music and dance ends and lights fade to black. )
QUESTIONS: ACT 2 A. Understanding the Action: 1. Is the use of the stone wall backdrop effective as a theatrical device to communicate the central idea of this particular Act? 2. What does the statement ‘Ta’aroa call a multitude of Gods and Goddesses’ mean? Explain the events that follow this statement. 3. What is the significance of the ocean in Pacific Cultures? Discuss. 4. What is the climax of this act? 5. What does the ‘Aparima’ dance mean? B. Understanding the characters: 1. Identify a God and state his role and significance in this Act? 2. Who is Ura taetae? 3. State and give examples of how the mythological figures in this production are portrayed. C. Understanding the Approach: 1. In Tahiti a ‘Tarava’ is an ancient form of chant? Is the use of ‘Tarava’ in this act effective? Explain why you agree or disagree. 2. What style do you think the dance choreographer is using in the ‘Dance of Divinities’ Discuss the importance of the particular style of dance in relation to the production. D. Comparisons: 1. Compare Ura Taetae with a figure you know of in your own culture. State the significance of her role and give examples. 2. Compare the importance of Gods and Goddesses in this mythology with your own cultural background. E. Critical Evaluation: 1. In your opinion, how was the world created? 2. How do you compare this creation story with your own current knowledge and beliefs? How do you validate a claim like this?
ACT 3: Tagaloa and the Chaos - Samoan Mythology (Fala (mat) beats are heard from a distance. Lights fade in down stage left revealing Pilimo’o. Dancers in deformed positions move around stage enacting Dance of Chaos as Pilimo’o continues narrative) Pilimo’o: (Click sounds) Now let us listen to the Samoan ancestors. It is said that at the beginning of the world, there was the chaos. (Click sounds) Things started to exist but they were at their earliest state. Nothing was organized in the space. (Click sounds) The God Tagaloa dwelt in the expanse. He was the sole intelligence. (Click sounds) When he saw this chaotic world he decided to shape it. First he had to encompass all the things. (Dance of Chaos ends as dancers exit. Pilimo’o starts to move from down stage right to up stage asTagaloa appears through smoke infused up stage just as the rock backdrop ascend and lights slowly fade in upstage to reveal the 9 heavens platform where Tagaloa stands. Samoan fala – mat beats continue as Prerecorded songs / chants of Samoan mythology begin . Tagaloa enacts the narration.) (Click sounds) By the exercise of Tagaloa’s will he caused to spring up, out of the chaos, a solid rock. Tagaloa was facing the west; he struck the rock with his right hand. The rock was split and the earth was brought forth.
(Click sounds) Then the sea was brought forth then Tagaloa turned to the right side and the fresh water sprang up. Then he spoke again to the rock and the sky was produced. (On each side of the 9th heaven where Tagaloa stands are the 8th and the 7th heaven Ilu and Mamao are revealed as lights fade in on them) Then came Ilu who was the length/immensity, Mamao who was the breadth /space and their son Niuao who was the height of every space/clouds. The wedded pair Ilu and Mamao brought forth two other children. (Successively from the 7th heaven, the lights reveal the 2nd and 3rd heaven where Po and Ao stood) Po and Ao, which means night and day. And those two by their united forces created the ‘ eye of the sky’ the Sun. This space was called the first heavens. (Click sounds) IIlu and Mamao brought forth Le LAGI that was the second heavens. Ilu and Mamao peopled it. Le LAGI went forth and came the third, the fourth, the fifth, the sixth, the seventh, and the eight heaven. They were all peopled by Ilu and Mamao . The last one was the ninth heavens. It was propped up by LE LAGI. (Click sounds) Tagaloa the creator dwelt in the ninth heavens, above all the others. Then he told his messenger to go down to the first heavens and ask night and day if they have other children. There remain two children. Manu’a and Samoa. (Click sounds) When Tagaloa saw them he immediately created with them a council ‘Malae a toto’a – the council ground of tranquility’ this council made a lot of decrees to organize the world. (Pre recorded music continues as Dancers in traditional Samoan attire enter from all sides as they
form into a Sasa Dance . The sasa dance ends as they form into an Ava Ceremony format. Prerecorded music ends as Ava ceremony is organized in a stylized dance as dancers sit in a circle format as the ceremony is enacted) (Pilimo’o continues narrative as the introduction of live Samoan music begins) Then Tagaloa gave his parting command It is good! (echoes) Always show respect to Manua. If anyone do not, he will be taken by calamity. But let each one do what he wants with his own lands. So the world was organized. Samoa, Manu’a and other islands rose up. Watching them from his ninth heavens Tagaloa was satisfied and he started to dance. (Choir sings the Traditional Samoan song of Ava as dancers rise to dance Ma’ulu’ulu dance. Dance ends and fades to black)
QUESTIONS: ACT 3 A. Understanding the Action: 1. Is the raising of the stone wall backdrop revealing the nine heavens effective as a theatrical device? What do you think the Director is trying to achieve? 2. When something is chaotic it is out of order. Explain the events that follow this statement. How was order established in the Samoan mythology? 3. Discuss what is meant by the statement, ‘Always show respect to Manu’a’? 4. What is the climax of this act? 5. Explain the significance of the ‘Sasa dance’ and discuss how it is structured. B. Understanding the characters: 1. Who is Ilu and state his role and significance in this Act? 2. Who are Po and Ao and together they created what? 3. Why does Pilimo’o move around in this particular Act? C. Understanding the Approach: 1. Samoa Siva is the art of traditionally choreographed movements accompanied by lyrical songs? Why do you think Samoan Siva is significant? Explain. 2. What style do you think the dance choreographer is using in the ‘Samoan Ava dance’? Discuss. D. Comparisons: 1. Compare the way Ava is prepared and presented in Samoa to that in Fiji. What are their similarities and differences? 2. Compare the portrayal of Tagaloa in this Act and the portrayal of Ta’aroa in the previous two acts. Are their images similar or different? Why? E. Critical Evaluation: 1. In your opinion, given Polynesian cultures are fairly similar, why do you think their dance structures, languages and ways customs distinctive from each other? 2. How do you compare this creation story with your own current knowledge and beliefs?
ACT 4: Children of Heaven and Earth Maori
(Flute and eerie sounds begin as lights fade in on Pilimo’o on pole downstage right. Click sounds are heard) Pilimo’o: (Click sounds) And now let us listen to Maori’s ancestors. (Click sounds) They will tell us the origin of human beings. (Click sounds) All human beings have one pair of primitive ancestors … (Eerie music begins - Maori chants of Powhiri. Powhiri (traditional Maori welcome onto marae) procession begins slowly from up stage to center stage. Powhiri procession consists of Rangi and Papa and their 6 children.) Rangi and Papa First they got six children at that time. Rangi and Papa had not yet been sundered apart. There was only darkness in the space. (Click sounds) Now the children determined what they should do with their parents Rangi and Papa What should be better to slay them or to rend them apart Al l the others except one willingly consented (Click sounds) (Eerie music continues and develops into an orchestrated piece with strings added dancers one by one enact in Dance of 6 Children’s Conversation – Dance of Contemplation, sequentially the conversation between the six children of Rangi and Papa)
1. Tane Mahuta: I am Tane Mahuta – the father of forests and all things which inhabit them or that are constructed from trees and i tell you ‘ it is better to rend them apart, to let the heaven stand far above us and the earth lie under our feet, let the sky become a stranger for us, but the earth remain close to us as our nursing mother’ 2. It is better to rend them apart, to let the heaven stand far above us and the earth lie under our feet. Let the sky become a stranger for us, but the earth remain close to us as our nursing mother 3. Tawhiri ma Tea:I am Tawhiri ma Tea - , the father of winds and storms and i tell you that we have to kill them because if you just separate them, my kingdom of winds and storms which is linked to both, which is just in their common body, will be overthrown 4. Then the five who consented spoke one after another to confirm their position. And one after another they tried to separate heaven and earth. Each one struggled and struggled with arms and hands. 5. Rongo Ma Tane: I am Rongo Ma Tane – the God and father of the cultivated food for men and strongly affirms that we have to separate them so that human beings may live and increase (He struggled without success) 6. Tangaroa: I am Tangaroa – the God and father of fish and reptiles and i strongly affirm that we have to rend apart our two parents (He struggled without success) 7. Haumia Tiki Tiki: I am Haumia Tiki Tiki, the God and father of the food for man which springs without cultivation and i want to separate them (He struggled without success) 8. Tumatauega: I am Tumatauega the God and father of fierce human beings and i will rend them apart (He struggled without success) 9. Tane Mahuta: I am Tane Mahuta: the God
and father of forests and all things which are made from trees. I spoke before and now i want to separate Rangi and Papa. 10. Like the others he started with his arms and legs. He could not succeed. He decided to rest for a while. And after that, his head firmly planted on his mother earth, he rose up his feet against his father the sky. He strained his back and limbed with mighty efforts...so he succeeded! Rangi and Papa are rent apart...heaven and earth are separated (repeat) 11. Rangi and PAPA: Why did you separate us? Why? It’s exactly as if you killed us...why? Please ... why? (Tapa and fine mats theatrically symbolizing Rangi and Papa are separated and 2 dancers on each end wave them in an up/down slow motion) (Winds and thunder resound louder, smoke spill covering all around stage as Rangi and Papa wail into a duet about Lament. As Lament is sung the Dance of Fertility is performed together with the waving tapa and fine mat) Rangi and Papa Lament : (this part is to be worked into a song) Lament (written by Allan Alo) for Ballet of Creation (Rangi and Papa’s scene when they were separated by Tane Mahuta – God of the forests) Aue Aue Aue Aue Our bond, our bond of love Now broken Set apart in time and space Your face describes the desires Of our children The silence of our separation Breaks the tale of future generations You lay stretched bare Your eyes cry fire Of sadness and despair Your tears stain my heart Of sorrow and despair
(Choir makes their way onto main stage and enters under waving tapa and fine mat acting in fierce resistance against wind and thunder sounds. The loud sounds build to the beginning of the haka as Pilimo’o ends his monologue.) Rangi: In you I see strength Our mana, this great love That is the earth Vast and full of life Papa: In you I see strength Our mana, this great love That is the sky Powerful and full of life Aue Aue Aue Aue Our bond, our bond of love Now broken Set apart in time and space Choir: Tika Tonu Haka.(all are on stage at this pointchoir and dancers to perform the Haka) (Choir and dancers perform the haka – Tika Tonu Haka. Tika Tonu is about the challenges of the transition into adulthood in the creation story whereby the sons of Rangi and Papa are attempting to make a transition of sorts by separating their parents.)
TIKA TONU
INTRODUCTION *Taringa whakarongo! Listen with your ears *Kia rite! Kia rite! Kia mau! Hī! Get Ready! Get Ready! Take your stance! Hi! *Kia whakawhenua au i ahau! Let me become one with the land! Hī aue, hī! (ALL) (Pukana!!!) Nga uri O Rangi e matika nei! Offspring of Rangi let us stand up. Hi Au! Au! Aue Ha! Hi! Nga uri o Papa e matika nei! Offspring of Papa let us stand up. Hi Au! Au! Aue Ha! Hi! *I āhahā! Ka tū te ihiihi Our dominance Ka tū te wanawana Our supremacy will triumph Ki runga ki te rangi e tū iho nei, tū And be placed on high iho nei, hī! *Torona titaha! Hands out on an angle Titaha! On an angle
*Tika tonu!
TIKA TONU What is right is always right!
U - e! *Tika tonu! U... e! Tika tonu atu ki a koe, e tama Hiki nei koe aku whakaaro, pakia!
In - deed! What is right is always right! Indeed! Be true to yourself, my son! My concerns have been raised about you, so pay attention!
He hiki aha to hiki?
What is this problem you are carrying?
He hiki ara to hiki?
How long have you been carrying it for?
I a ha hā! E tama, te uaua ana E tama, te mārō
So, although it may be difficult for you and, although it seems to be unyielding
Roa ina hoki ra
no matter how long you reflect on it
Te tohe o te uaua na
the answer to the problem
E tāu nei.
is here inside you.
Āna! Ksss Āna! Kssss Āna! Kssss Aue...(repeat from top 2nd section) Hī!
Indeed! Indeed! Indeed! Yes, indeed! * Leader only
(Taught by Mr. Simon Bennett)
(Choir members and dancers freeze after Haka. Lights dim on main stage as it fades in on Pilimo’o on the pole once again) Pilimo’o: (Click sounds) The fights between the brothers continued After this aggression, death obtained power over mankind (Click sounds) A large portion of the earth was submerged So appeared the Pacific Ocean But it was from that time that a clear light increased upon the earth And all the beings multiplied on the earth And this spread continued to generations and generation And still goes on in this day (Click sounds) These are the stories of our people Our Cultures Our Mana Our Heritage Our Oceania (Click sounds) Lest! We! Forget! (Pilimo’o scans slowly the audience then freezes. Lights slowly dim to complete darkness.) Epilogue: (Music introduces the upbeat epilogue as Dancers and choir start to dance in celebration as Pilimo’o joins in and the rest of all the Gods and Goddesses) Choir: We are the voice of our Ancestors Ta’aroa, Tagaloa, Tangaroa We are here to tell What was heard from their sacred tongues (Tahitian translation) I reo matou no te mau tupuna Ta’aroa, Tagaloa, Tangaroa Teie mai nei matou no te faaite (Samoan translation) O matou nei o leo o matou tua’a
Ta’aroa, Tagaloa, Tangaroa Matou te ta’u atu le tala anamua (Maori translation) Ki a matou te reo o matou tipuna Ta’aroa, Tagaloa, Tangaroa Matou e tu atu nei ki korero ta ratou kupu tapu They spoke in beautiful and Poetic words Tahitian, Samoan, Maori Like every storyteller, Musician and Dancer hear these voices and follow The poets and priests Who told us how the world was made These are the stories of our people Our Cultures Our Mana Our heritage Our Pasifika Lest! We! Forget! (Lights fade to darkness as music lingers infinitely) END
QUESTIONS: ACT 4 A. Understanding the Action: 1. The theatrical device used in the beginning of this Act is the use of eerie music soundscape? What do you think the Director is trying to achieve? 2. Why is a ‘Powhiri’ style entrance used in the beginning? 3. Discuss the significance of chants in Maori societies? 4. What is the conflict in this Act? Explain if any the resolution. 5. Explain the significance of the ‘Haka dance’ in the context of this production. Discuss who performs the ‘Kapa Haka’ in Maori culture and for whom is it performed for? B. Understanding the characters: 1. Who are Rangi and Papa and what caused them to lament? 2. Who is the fierce God? What was his reason for not agreeing with the others to spare their parents? 3. Who is Tane Mahuta? What did he do to separate their parents and spare them from being killed? C. Understanding the Approach: 1. Are there any realistic elements in the portrayal of the characters? 2. Explain how the Director treats love and conflicts in this Act. 3. How does the Director employ a) comic reversals, b) paradoxes, c) exaggerations, d) comic contrasts in order to develop introduce his characters? D. Comparisons: 1. What does this Act have in common with the other previous Acts? What are their differences? E. Critical Evaluation: 1. Comment on this statement by critical theorist Paulo Freire ‘The future is not tucked away in some corner; the future is in the here and now? Comment on this statement in relation to the production as a whole. 2. Do you categorize this production as a satire, comedy, tragedy, or philosophy? State why you chose your position and give examples to support your argument.
Tool Kit
Condensed Tool Kit for Teachers and Students. Allan Alo Director / Producer TA‘AROA – Pacific Ballet of Creation
This production and accompanying educational material have been developed as an educational tool that can be used to continue the development of creative storytelling activities at varying levels, in both primary and secondary schools. They can also be used as an aid in training workshops for youth groups and community development activities. This will inevitably help students understand the importance of team building, research and awareness of Pacific uniqueness and build an understanding of how to apply their developed skills and knowledge to contemporary issues affecting their lives. The approach advocated is founded on principles of the Va (Samoan for sacred spaces), that builds relationships based upon trust and respect, which are at the core of all Pacific communities. Suggested activities It is suggested that an integrated approach, incorporating the use of dance, music, poetry and painting be taken to develop original storylines. This approach could be applied across a variety of cultures. In TA‘AROA – Pacific Ballet of Creation, Polynesian creation stories are used, however, this approach can be emulated and act as a template to inspire the development of other Pacific creation stories.
The possibilities are only limited by your imagination. As always, the key to using any activity is to know what your goals are and to understand how this activity will tie to where you want to go and what you want to accomplish. Our goals in putting together this interactive tool for developing Pacific creation stories includes: • • • •
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This condensed toolkit provides tips that address ways by which creation stories may be developed by teachers, students and youth based groups. Its purpose is not to burden learners with excess information but rather to engage them in interactive learning. Essentially, the aim is to provoke critical thinking and creative responses whilst valuing the underpinning principles of various Pacific customs and cultures. The intended learning outcome of this approach is to ensure that knowledge and skills are practically applied and creativity is enhanced.
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To honor the creative process of each person wishing to create a story; To help people capture their ideas and images through writing a story; To stimulate storylines; To develop a story with a solid structure, filled with clear and ample details of characters, of time, of place, and/or an event or events; To increase thought and intellectual dialogue by discussing or pondering the process that you are taken through to come forth with a story; To create a story project that can be done individually or in groups; To discover the elements required in making a solid story; To assist you in understanding your learning style by giving each participant options to choose at each stage and step of the journey; To invite you to share your finished product with others; To appreciate the nature of Pacific creation stories and to apply the principles of each stage and step to your own life; To increase knowledge of Pacific peoples and their journeys as they apply to stories, folktales, fairytales, myths, and movies.
Learners and Creators must be thinking of the following elements when creating stories: A) Understanding the Action • Good exposition in a play must, in an artistic and interesting way, provide the audience with necessary information about the characters, background, and events. It must establish
the tone of the play (i.e. put the audience in the right mood), suggest the central situation of the plot and create suspense. • Theatrical devices used (musical, themes, stage set) must effectively communicate the central idea of each part of the play. • Dialogue opens windows into revealing the nature of the various characters of the play. • The climax must be clearly shown. B) Understanding the Characters • Show examples and actions of characters that reveal their nature and hidden agendas. • Distinguish each character by creating dialogue and action that are interesting and contrasting. C) Understanding the Approach • Use dance, music, poetry, painting and traditional forms of chants to move the plot along. • Use symbols and show what they mean and how they contribute to the whole essence of the play. • Show varying approaches such as Expressionism, Impressionism, Realism, etc to create interesting and contrasting aesthetics to the play. D) Critical Reflection • Suggest points in the play for self-reflection on socio, political, religious and cultural themes. Questions are posted throughout each Act of the script for further reflection. These suggested activities are merely to start the ball rolling and get people thinking. The potential to develop meaningful learning experiences around this production are limitless and it is envisioned that these activities will be useful in engaging critical thinking, as each individual claims and traverses their own pathways of creativity.
Creative Team Logistics Teams Production Cast
CREATIVE TEAM
LOGISTICS TEAM
Concept/Original Text Rodger Lesgards
Stage Construction and Design Peni Saimoni Fong Ledua Peni, Pita Waqanui Jeke Lagi Montfort Boys Town
Director / Producer / Script Adaptation Allan Alo Musical Director and Composer Calvin Rore Lead Choreographer Katalina Fotofili Choreographers Allan Alo Glen Lord Nisimere Bola Salote Sinukula Naulumatua Ateca Ravuvu Ceyen (Hyekyung No) Choir Conductor(s) Damiano Logaivau Tupaia Henri Marc Teihotua Pohue String Quartet Led by Tara Mar Davui String Ensemble Cultural Adviser(s) Tahiti – Marc Teihotua Pohue, Maire & Francoise Piha’atae, Tupaia Henri Samoa – Desmond Amosa Maori – Simon Bennett Costume Design and Craft Allan Alo Darmen’s Fashion
Stage Manager Jesoni Naga Book Publication Suli Waqa (Coordinator) Marie Koya (Graphics Designer) Allan Alo (Editor) Derek Cleland (Editor) Administration / Publicity / Advertising Ann Tarte Jesoni Naga Foto Ledua, Mary Rauto (Fiji Times) Ratulevu Tora Lights and Sound System Jerry Vatuwaqa (Sound Engineer) Joe Heritage (Light Engineer) Jope Vakaloloma (Music Playback) Lightsounds Photography Marie Koya Suli Waqa Allan Alo Shiri Ram Ann Tarte Poster and Ticket Design Shiri Ram – Art and Soul Catering Janey King Lilo – Guava Video Crew Ministry of Information, Fiji
PRODUCTION CAST Characters
Names
Pilimo’o (lizard)
Sadrisan
Ta‘aroa, Tagaloa, Tangaroa
Glen Lord
Oro Chung
Warren
Tu Feufeu Mai i te Rai
Katalina Fotofili
Gods and Goddesses
Tulevu Tora, Pelu Fatiaki, Etuweni Tagivakatini, Nisimere Bola, Sinukula Naulumatua, Ateca Ravuvu, Pritina Vithal, Litia Rogo, Ashmita Kant, Kelera Levaci, Mackenzie Leanne Davis, Joelle Duxbury, Ruby Wilson, Miki Wali, Kevin Louey, Liku Gucake, Lavenia Lewetuitovo.
Velaidan
Dancers 1. Ballet / Contemporary Dance: Oceania Dance Theatre 2. Tahitian Dance : Roatina Piha’atae, Nisimere Bola, Katalina Fotofili 3. Samoa Dance: USP - Samoan Students Association 2011 4. Maori Haka: Simon Bennett, Samoan Boys, Pasifika Voices Choir Pasifika Voices Ensemble String Quartet Davui String Ensemble Drums Ledua Peni (Newsounds Oceania) USP Samoan Students Association 2011 Other Music Acknowledgements • Traditional Ruau Chant – Sung during the EPM Jubilee in 1997, wording by the Mäòhi community in PTC, 2011 • Te Papara’a Tupuna / Genealogy – Fa’a’aia • Tika Tonu Haka – Simon Bennett • Samoan Teachers Cultural Group • Samoa e la’u alagaupu – Rearranged and Produced by Mr. Igelese Ete Translations Tahitian Translations: Maire Piha’atae & Marc Teihotua Pohue Samoan Translations: Allan Alo Maori Translations: Simon Bennett
Dance In Motion
Allan Alo
Artistic Director / Choreographer Oceania Dance Theatre Following Adrienne Kaeppler’s title ‘Poetry in Motion’, an anthropologist who has given much attention to the general studies of dance and has made significant contributions to the field. I thought to emphasise the need for dance education in the Pacific. Prior to doing this, I would like to take a brief look at the University of the South Pacific’s (USP) – Oceania Centre for Arts, Culture and Pacific Studies’ (OCACPS), Oceania Dance Theatre’s (ODT) works from 2010, as a way to set the foundation for this claim. The ODT group consists of eight core dancers, most of who hail from various parts of the Fiji islands. From two founding members, the group has grown to more than twenty and has trained many hundreds of dancers over the past 13 years. The ODT throughout 2010, travelled locally, regionally and internationally using Dance, Music, Poetry and the Arts to deliver meaningful messages. In May, the Oceania Dance Theatre and Newsounds Oceania performed a unique Pacific Dance and Music repertoire that reflected the vibrant and moving beauty of the Pacific region’s cultures, whilst representing the University of the South Pacific at the World Trade Expo – Shanghai China, 2010. The Oceania team’s mission was to promote Pacific arts to the world and to further negotiate future artistic opportunities at the Expo. In June, the dance theatre toured Tahiti on a cultural exchange project entitled ‘TAHITI / USP-OCACPS Collaboration, 07–20 June 2010’ to further implement the USP’s OCACPS regional outreach and collaboration program. The project’s main aim was to bolster the development and preservation
of dance and music in cultures now undergoing rapid change, where Western pressures such as globalization and new technology are causing a rapid decline in the local original music and dance scenes. From late July to early August, the OCACPS took to Tonga for the ‘Oceania Arts Project - Tonga 2010’ as part of USP’s contribution to the Kava Kuo Heka and the Heilala Festival. The project was a great success as hundreds of school students and local artists participated in Art, Dance and Music workshops. The project staged its performance component, a dance, music and drama called ‘Silence & HIV – A Love for Life” and through this were able to engage large numbers of people to reflect on sex education, cultural notions of silence and how these hinder the spread of HIV related messages. Our experiences over this time have shown us the need to have greater support for dance education in the Pacific. The strong responses of workshop participants and performance audiences to the messages embedded in our dance reaffirms the need for dance education as a tool for moving and breaking barriers between people and between cultures. Through dance we bridge the gaps of understanding that create conflict in our society. Because dance is a very interactive forum between participants, audience and dancers, that occurs in a safe place, people are able to drop their guard, stretch their boundaries, break barriers, put aside agendas, and enjoy the aesthetics and beauty that dance provides while at the same time engaging in serious dialogue and arriving at new understandings. Through educating youth in dance knowledge and skills, particularly the ability to create new expressions of dance instead of just dancing conventional set forms from traditional and Western dance methods, we enable people to express freely their emotions, dreams and aspirations, their concerns about the world they live in and through this expression, in collaboration with other people in an interactive and safe environment they are able to negotiate practical solutions without resorting to conflict, hence fostering understanding, appreciation and harmony in our society. The late Professor Epeli Hau’ofa’s words ‘sail the unknown with trust’ remind me that our journeys, though diverse, each carry a purpose. Our purpose is to continue to advocate for the inclusion in modern education of what our ancestors have always used, to pass down information and maintain our identity, whilst dancing our way into a new and creative understanding of who we are and what we could offer others in this fast changing world.
Newsounds Oceania Studios
The Newsounds Oceania Studios is based at the music department of the Oceania Centre for Arts, Culture & Pacific Studies. The studio exists as an open space to cultivate and nurture the creativity of serious, original, contemporary music which is deeply rooted in the cultures and traditions of the Pacific. The studio is a space of experimentation on the different sounds and instruments that exist in the region in the hope of the development of new ideas and new forms of instruments and sounds. Since its inception in late 2001, Newsounds Oceania Studios has produced creative works from across the Pacific Region and beyond in recording and producing music for various CD compilations, music and dance productions and festivals. It has provided opportunities for some musicians to be able to record and produce their creative works which would never have been possible in commercial studios. The studio has also been involved in collaborative works in different genres of art with musicians, dancers and artist from the region and beyond. The Newsounds Oceania Studios continue to strive for excellence in the projects which it is involved in and continues to encourage the creation of serious contemporary Pacific music.
Davui String Ensemble
The Davui String Ensemble is one of Fiji’s only music groups featuring violin, viola and violincello. They are a group of ten international musicians who play a wide range of repertoire from Western classical music to Pacific, Indian, Chinese, Latin American, Irish and Popular music. The group originally started at USP (University of the South Pacific) in 2005 under Samoan conductor Mr. Ueta Solomona. Having started in the Dept. of Music, it has now evolved into a group composed of several international students. The Davui Ensemble performs at numerous public events, private functions, and charity fundraisers in Suva and holds four concerts annually at the Fiji Arts Playhouse.
Pasifika Voices The Pasifika Voices through its member composition and music is a testament to the benefits of intercultural interaction and the generation of shared cultural expressions through mutual respect and dialogue. Through its choir, the Pasifika Voices creates an environment which encourages individuals and social groups to create, produce, disseminate, distribute and to be proud of their own cultural expression. The Pasifika Voices also wishes to have access to diverse cultural expressions from within their territory as well as from other countries of the world. By strengthening their bilateral, regional and international cooperation the Pasifika Voices aims to promote the diversity of cultural expression, encourage the enhancement of information sharing and cultural understanding and foster the diversity of cultural expressions. The Pasifika Voices enjoys the regional richness of Pacific culture and as such hopes to foster an informative relationship with young people and the world, by providing an entity for youth expression and regional cooperation. Therefore, the Pasifika Voices is a testament to UNESCO’s commitment towards enhancing cultural diversity and falls in line with the University of the South Pacific’s Policy on Arts and Culture vision that states “creativity is important in all fields of human endeavor and that Pacific island peoples should value and have opportunities to participate in creative, artistic and cultural activities, and to celebrate and learn about one another’s artistic and cultural heritages”
Additionally, the Pasifika Voices is home to a vibrant and culturally diverse community of people representative of the twelve USP member countries namely the Cook Islands, Fiji, Kiribati, Marshall Islands, Nauru, Niue, Samoa, Solomon Islands, Tokelau, Tonga, Tuvalu and Vanuatu. For that reason, the Pasifika Voices is well placed to promote ambassadorship in an intercultural exchange of song, music and dance. The Pasifika Voices started out as a fledgling group in 2006 born out of the epic production “Malaga – The Journey�. A production written and composed by Igelese Ete which took the audience on an epic journey of song and dance portraying the journeys of our forefathers over the Pacific ocean. Since its inception in 2007, the choir has embarked on a remarkable journey of self realization and ongoing development. The Pasifika Voices aims to promote teamwork and unity in diversity by learning and respecting the many cultures, forging lasting friendships across cultures as well as empowering each member positively so they may in turn inspire their own individual communities. Through the years the choir has had alumni that have contributed immensely to their communities during their tenure with the choir or after having left. Most notable are Merewalesi Nailatikau (Miss South Pacific 2009-2010), Engara Gosselin (Miss Cook Islands and 1st runner up Miss South Pacific Pageant 2009-2010) and Filomena Tuivanualevu (Miss Hisbiscus 2008). Furthermore the choir also aims to develop and further the creative & performing artistic skills of the singers which has empowered members to join music competitions in Fiji and most significant is their involvement in the Vodafone MIC competition which the likes of Ilisavani Cava, Sofaia Sereicocoko, Elena Baravilala, Eroni Dina, Jolame Delana, Benitera Koroijiuta, Simi Kavika, Penietter Seru whom competed and were members of the choir.
Creative Team Concept / Original Text
Roger Lesgards
Roger Lesgards is a French citizen residing in Paris and Suva. For more than 30 years he has regularly visited Fiji, particularly the region of BUA (Vanualevu), where his wife is from. He has published in France several essays and books of poetry, (The last one is titled ‘My Fiji – Noqu Viti’). These last year’s he studied specially the mythologies of Polynesia. Before he retired, his professional activities were shared between: Sciences (President of the city of Science in Paris), Technics (General Secretary of the French National Space Centre), Philosophy (President of the International College of Philosophy), and Culture and Education (President of the French league for Education)
Director/ Producer /Script Adaptation
Allan Ailani Alo Va’ai
Calvin Rore
Allan has a Bachelor of Arts in Literature and Expressive Arts and a Postgraduate Diploma in Dramatic Literature from the University of the South Pacific, (USP). Allan is a Choreographer/ Artistic Director and Dance coordinator for the Oceania Center for Arts, Culture and Pacific Studies at the University of the South Pacific. Allan Alo was born and raised in Samoa but spent most of his young years in New Zealand. Allan has directed and choreographed numerous original Pacific Productions that took him to the western continents such as China, South Africa, Singapore, Japan and to the eastern continents to places such as Cuba, South America, central Americas, Hawaii, New Zealand, Australia and around the Pacific region. Allan continues his work using the Performing Arts to inspire and empower young people to remember and embrace their rich Pacific
Musical Director and Composer Calvin Rore works as the Music Coordinator at the Oceania Centre for Arts, Culture & Pacific Studies (OCAC-PS) department at the University of the South Pacific. He has composed, recorded and produced various serious contemporary Pacific Music at OCAC-PS as well as collaborated with musicians from the region and beyond. He has also worked as composer and recording engineer for a range of theatre productions in Fiji. He has also composed and recorded music for documentary films and TV/Radio commercials locally and abroad and has participated in various Music and Arts festivals. He has also composed and recorded music for various dance companies. Calvin is married to Alice Aluta and have a 5 year old daughter, Tumuteku Rore.
Lead Choreographer
Katalina Fotofili
Katalina Fotofili has been with the Oceania dance Theatre for 10 years ever since she enrolled into the University of the South Pacific as a Science student. Allan Alo, director of the Oceania Dance Theatre, has been an inspiration and a mentor to Katalina and she wishes to also inspire young artists out there the same way. Katalina has travelled and toured with the ODT representing the Pacific to the World. In 2007, she presented her first debut dance production “Koe Halanga mo’ui” which was a dance production about the struggles and strengths of women dedicated to her grandmother, Tupou Vaimoa and her mother, Ofa Fotofili for their wisdom and courage in life. Katalina, at the moment in collaboration with the CDU and the department of Culture and Heritage of the Ministry of education is in the process in implementing a dance program into the Primary Level Education to go into trial this year. Katalina’s passion has taken her to many great experiences and she says “commitment, patience, loyalty and dedication are the only true meaning of passion”. She teaches dance from kindergarten to year 8 at the Pacific Harbour Multi Cultural School every Fridays. Katalina is a very dedicated person and she has the ability to bring out the best in everyone.
Cultural Adviser (Maori)
Simon Bennett
Simon Bennett is a Clinical Psychologist and a Psychology Lecturer in USP’s School of Social Sciences. Whilst a novice to the performing arts, Simon has had intermittent involvement with Kapa Haka throughout his life and is excited to be involved in ‘Ta’aroa’ as it is a unique opportunity to share an aspect of Māori culture with a broader Pacific audience. Simon is from Wellington, New Zealand and has been living in Fiji with his family for the past 2-years. He is of Māori descent with tribal connections to the Rotorua region (Te Arawa) on his father’s side and Northland (Ngapuhi) and the West Coast of the South Island (Kai Tahu) on his mother’s side. His wife Emma is Samoan- Māori and they have four children, Elena (8), Grace (6), Piata (2) and Christian (10 months).
Cultural Adviser (Tahiti)
Marc Teihotua
Marc Teihotua POHUE is from the Island of Tahiti. Issued from Tahiti, Moorea, Huahine, Tahaa, Raiatean, Porapora, Paùmotu and Rarotongan descent. Also issued from the Manuùra tribe, the Marama, the vehiatua, the teihotu and âti-rupe. My mountain is Mahutaa, my river is Vaiàtu, my passage is Teavaraurii, and my ancient marae is Narii. Grew up in the district of Paèa in the Island of Tahiti. Studied theology in the theological school of Hermon in Tahiti, in the Pacific Theological College in Suva–Fiji, then at the University of Auckland in New Zealand. Now, a PHD student at the Pacific Theological College. Also, An ordained minister of the Etaretia Porotetani Maòhi (Maòhi Protestant Church). Engaged into ministry for twenty-three years, in Parishes, environmental and cultural association. Is a composer of traditional songs, choreographer and musician.
Conductor
Damiano Tusavuruarua Logaivau
Damiano Tusavuruarua Logaivau is a Musician and Composer. Most of his work is community based and his service collaborating with world renowned composer and conductor Igelese Ete and other very specially gifted artist like Calvin Rore, Alan Alo, Frances Koya Vakauta and Larry Thomas who has traveled taking Fiji and the Pacific to the world. Much of his work is collaborating for the purpose of nurturing and empowering others to realize their full potential, sharing skills, with open arms embracing different cultures and their way of living at the same time upholding human dignity as supreme. For this production he is blessed to be collaborating with Alan Alo and Calvin Rore of the University of the South Pacific sharing a common belief that arts poetry and music is powerful tool for empowering our community regardless of the challenges in our lives.
String Ensemble
Tara Mar
Tara Mar has played with the Davui Ensemble since its inception in 2005 at USP. She has played in orchestras in Montreal (Canada) and Amsterdam (The Netherlands) and has been involved in music and dance collaborations in Montreal, Cambodia and Fiji. In her time in Fiji, she has played cello in various Oceania productions such as Nafanua (2005), Malaga (2006), Oceania’s AIDS Awareness tour in Samoa (2006), while regularly performing with the Davui Ensemble. She has embraced the opportunity of collaborating with Pacific artists, blending the sounds of western classical instruments with the multicultural music of the Pacific. Malo
Ballet Adviser
Ceyen Hyekyung No
First of all, I am very honored and proud to be part of Allan Alo’s ‘Ta’aroa’ production team. Even though I was late to join the ‘Ta’aroa production team I am privileged to be part of this team and it is a Life time experience. For those that I can not mention individually that has made this production successful and working with you all was indeed a privilege. From the Dance crew, Music composer, Story, Costume designer, make up and back drop make it all look professional and interesting for this production. I give applauds to everyone that has contributed to the successful of this production and have showed me a powerful Ballet Dance move with a mixer of contemporary of Pacific dance with the inclusion of professional music. The inclusion of Tahitians, Maori and Samoans culture with the dance move has taught me with their culture and I believe that this production would easily give the message to its spectators. Some Ballet action or dance word is very difficult but with the ‘Ta’aroa’ Production ballet dance move signifies the real piece of different culture in the Pacific. Thank you once again to Alan Alo, Director and Producer for ‘Ta’aroa’ Production for giving me the opportunity to be part of this production. Ceyen Hyekyung No (International School ballet teacher)
Dancers Tulevu Tora
Tulevu Tora
Ballet dance is something I have never dance before so when told that I am going to dance this genre, I was quite skeptical, scared and confused for a number of reasons. I don’t have a ballet dancer’s built, I am not flexible enough to do all the ballet moves, let alone executing them properly, I am not as light as a ballet dancer should be, I lack the stamina, endurance, technique and execution for this discipline. I took it as a challenge and I know it was going to be hectic, demanding; require a lot of concentration, energy, physical and mental alertness and the body to be in top form. This genre, even though a foreign discipline has taught me lot in terms of listening to my body, awareness (in terms of the different forms and techniques of ballet), my physical limitation and to be open minded about different dance genre. In my opinion, ballet is all about tranquility, serenity, mystical, surreal, fantasy although it may come with different underlying emotions and feelings. So I guess it is befitting that we are using this genre to tell a story, a myth, a legend, about the creation of a pacific archipelago-Polynesia. Ballet, with its ethereal forms will show and enhance the mythical and fantasy of the creation of Polynesia and help brings out the element of “the other” realm effectively.
Sopapelu Fatiaki
Sopapelu Fatiaki
This production has been very challenging and motivating. Ballet is always a source of inspiration to me as a contemporary dancer and I feel that this production has made me pushed my limits to the point of exploring this particular genre with determination and perseverance. I am greatly honored to be part of this first ever Pacific ballet production and to be part of this very passionate group of beautiful creative artists.
Ateca Ravuvu
I am glad to be a part of this first ever Pacific ballet production mainly because it is my mentor and great friend’s last work with us, his students of Oceania. I would just like to say thank you to “Mama” for the years we have worked together and for creating a part for Sinu and I in this last fine piece of artistry. Merci beaucoup mon ami.
Ateca Ravuvu
Sinukula Naulumatua
Sinukula Naulumatua
Even though this production is very exciting, I am equally saddened because this is Allan’s last production here at the ODT. Allan Alo and the late Pro. Epeli Hau’ofa fuelled all their unique genius into getting the centre to where it is today and what it means to Fiji and ultimately the people of Oceania. This is also the most difficult production compared to all other productions I was affiliated with. This lack of involvement is because I am expecting my first child (due anytime soon). Being part of only one of the dance segments (The Dance of Fertility with my other colleague who is also expecting), has allowed me the opportunity to help the other dancers stretch and fine tune with their postures during the preparation period for the production. I can’t wait for the opening night. Let’s just hope I don’t go into labor on stage.
Nisimere Bola
Nisi mere Bola
When Alo Alan first told us that the next production was going to be Ballet, I thought to myself “what!”… “Ballet!”…OMG Ballet, and then the thought “wow” this is going to be different and interesting….so why not!! Being part of this production is, well for me at first it was tough and challenging but exciting at the same time, and also because it would be the first time for me to do BALLET. Learning the ballet techniques has helped me improve a lot in many ways such as my projection of dance moves. Ballet requires a lot of commitment and concentration. It has been a wonderful experience working with the cast and crew of the Ta’aroa: Pacific Ballet Production and I would like to thank Alan Alo, Director and Producer, and also my teacher, mentor, mother (mama); for all that he has taught me from the past years till today.
Glenville Lord
Glenville Lord
I never thought a day would come where I had to learn Ballet motives and techniques, for I was never interested in that dance genre. When I received news that we were staging a ballet production, I freaked out. “Ballet, Oh Hell No!!! I can’t do that, I am a contemporary dancer. Later I also found out that I was playing a major role in the production (Ta’aroa), which made the learning process more nerve wrecking. Practice was always about attitude, extension, being strong in your posture yet elegant as you glide across the stage, and making every movement seem effortless. But the funny thing was after two weeks of intensive rehearsal, I started to enjoy the challenges that the genre of ballet presented. And after reading the story, I got more excited about the production. I found the storyline very interesting because it presented me with fresh knowledge of the history of Polynesia. I am very thankful to be part of this marvelous opportunity to present the legend of Polynesia to the Pacific with the cast and crew of “Ta’aroaBallet of Creation”
Etueni Tagivakatini
Etueni Tagivakatini
Gearing up for the production has been weeks of torture in disguise in the sense that I thought “ballet” was easy and all you have to do is look elegant and pretty but all that changed in the first weeks of rehearsal when we were introduced to the different types of techniques that form the genre ballet. It has also broadened my knowledge and at the same time brought me out of my comfort zone and it is a pending experience that I cannot wait to live through. For me personally, this production brings excitement, adventure a whole new experience and also deep sadness for it brings with it the word goodbye for it is going to be the last
Sadrishan Velaidan (Sady)
Sadrishan Velaidan (Sady)
Sady has a Bachelor of Arts degree in Theatre Arts and Expressive arts from the University of the South Pacific (USP), where he is currently pursuing his Postgraduate Diploma in Literature. Sady also holds a Master Diploma in Visual Communication and a Certificate in Motion Picture Photography from the Asian Academy of Film and Television, NOIDA, India. He has been part of numerous theatre productions and has also been affiliated with the Oceania Centre in productions like Tagimoucea, Tinaqu, and Silence and HIV: A Love for Life. Sady actively engages in writing poetry and has performed at numerous poetry slams organized by the School of Language, Arts and Media, USP. “I am really ecstatic about Ta’a’roa: Pacific Ballet of Creation because I have always had a passion for fantasy, and now I have been bestowed with the crucial role of narrator in a production that is both mystical and instructional; this production teaches us the importance of our roots, our culture, our entire being. “
Joelle Duxbury
Joelle, 13, has had a passion for dance since a very early age. Though she has danced in many productions at Yat Sen Primary School, her first appearance on public stage was during Sinu Naulumatua’s dance theatre work, Tinaqu, in 2009 at the age of 11. She was part of the Indonesian Extravaganza Night in 2010 and featured in Fiji Fashion Week as a model for Na Tatoka and as part of the VOU dance group.
Joelle Duxbury
Ruby Wilson
Ruby Wilson
Mackenzie Liane Davis
I am so happy and proud to be part of Allan Alo’s ‘Ta’aroa’ production, ever since I saw their performance while in secondary school I told myself that I must join the dance while at USP. Now balancing studies and practicing for the production I would tell anyone that it is worth all the time and physical effort to be part of this great team whether painting, engineering music and steel, playing musical instruments, dancing, singing or acting. Being in the environment at Oceania centre with artists whom I have made friends with and have come to respect and appreciate the talent and effort of each individual have made me learn to push myself to be a better indivual because in dancing one learns control and discipline, be graceful and yet strong in movements. My motto would be to enjoy and participate in especially in social activities so that you do not regret of never enjoying life. Commitment and endurance goes along way with a positive attitude.
Mackenzie Liane Davis I am 22 years old and from Vancouver, Canada. I am a new dancer with the Oceania center and I feel really honored to be able to be a part of this production. I use to take dance back in Canada and took ballet at one point. It has been a long time since I’ve danced and I feel very lucky to have the chance to start it up again. It has been a challenge but all the dancers here have been so welcoming and are always willing to help me out. Doing ballet has been very difficult because it’s all about keeping your posture and being precise with your movements. I am really happy to be learning so much from such experienced dancers. They have all helped me out so much along the way. Being a part of this production hasn’t only been about the dancing, it has taught me a lot about some of the different cultures throughout the Pacific. We have been working with Tahitians, Maori, and Samoans and have been learning some of their dances. This has made me really interested in learning more about the different islands, cultures and myths throughout the Pacific.
Pritina Jacinta Vithal.
Pritina Jacinta Vitha
It is an honor for me to be part of this production as it will be the final production directed by the creative director for the Oceania Center, Allan Alo. This production is unique in that it narrates a story about the creation of Polynesian gods and goddesses in traditional pacific dance styles integrated with Ballet techniques. Dancing is extremely challenging for me as I have not been trained in professional dance; my strong skill (that is, acting) will not be utilized in this production. Nevertheless, I love challenges (even though I will have to learn Ballet in 7 weeks!!) and being a dancer in this production will complete the final aspect of performance art which I have overlooked in the past simply because I am terrified to dance professionally (and soberly) in front of an audience! Learning the art of professional dance in this short period of time has pushed me to try my best in concentrating on the moves and the counts in the choreography and it has helped me to let go of my inhibitions and to be confident, no matter how much more time I crave for!
Warren David Chung
Warren David Chung
I’m 29 years old. Born and raised in Suva. I play a Tahitian God Oro, the God of War aka Killer of Man. This is my first time being involved with something like this. I was approached by Allen Alo to join this production, and thought to myself why not, it’s a change from the daily grind (I’ll give it a shot). Not surprisingly I was like a fish out of water. This is a completely new experience for me of which I’m all for. Every day is a challenge, I’m pretty nervous about the whole thing but at the same time excited and looking forward it. Hopefully this production will inspire the public and more people like me will join productions like this.
Miki Wali
The aura of tales, myths & legends of Pasifika Ancestors for Polynesia is being told through ART!! This production is very surreal with Ballet being this powerful weapon in every move for and as a Dancer. And with this being the first Pacific Ballet ever in the Region means so much. Practice to practice, and perfecting what can and needs to be perfected, allows this full fusion of empowerment and transporting ones heart to the verge of the unknown of knowing & understanding Pasifika roots. Different dance vigor highlights so many roles. I personally feel that this production has allowed and empowered me a lot with new techniques fused. I bid Good Luck to all whom is part of this Production!!
Miki Wali
Ashmita Kant
Ashmita Kant
I first came across the Oceania Dance Group during my school’s USP Open Day and their distinct moves amazed me. All the core dancers and Allan Alo had been as welcoming and encouraging as a family, especially when I had never attempted ballet or contemporary dance before. The first few weeks were extremely challenging but then the constant guidance from the core dancers and our choreographers, Katalina and Allan, is helping me to slowly overcome them. Apart from dancing, I have learnt a lot more, like the importance of discipline in dance, art of expression and mostly the beautiful essence of our Pacific culture, which they promote so whole heartedly. Experiencing this dance form is liberating and I’ve learnt and grown more each day I’m with them, together with befriending the old and new dancers. I feel blessed, proud and honored to be part of the Oceania Dance Centre and hope to continue being worthy of them.
Kevin Joachim Louey
Kevin Joachim Louey
I joined the Oceania Dance Crew to understand other cultures, and learn their traditional dances, also to socialize with one another, despite the language, which can be a barrier. Foremost, this production reminds us of our cultural identity, which has come to my attention that our young generation of today’s pacific society have lost touch with their culture due the influence of modernization and westernization. Hence, it is our decision whether we want to preserve our culture or let it die out because if we do not stand for anything, we will fall for nothing.
Litia. V. Rogo
Litia. V. Rogo
I consider it a blessing to be a part of this production and it has been a great learning opportunity for me. I’ve learnt things and done moves that I never thought possible. That’s the beauty of being a part of the Oceania theatre; they make the impossible feel possible. To watch the core dancers leaves you in awe of their talent, grace and strength which is exactly how I felt when I first saw them perform. I can only hope to be half as good. Every day is challenging, the choreography is on an entirely different level than what I’m accustomed to, practice would not be complete if I did not hurt in some part of my body by the end of it and yet I love going through it day after day. When you’re doing something that makes you happy, something you really love, you seldom notice the pain, the fatigue and the blisters. Some of the important lessons I will take with me when all this is done are commitment, endurance, obedience, self discipline all of which I’ve learnt from observing the members of the Oceania theatre; most importantly is that we need never be complacent. I’ve seen how they continue to perfect moves that at a glance you think are already perfect, there’s always something that can be improved, a jump that can be made higher, postures that can be made straighter, turns that could be made smoother , the list is endless and at the end of the day your left with world class dancers.
Logistics Teams
Ben Fong
Suli Waqa
Stage Construction and Design Five time winner of the Fiji National Sculpture award, two highly commended awards for contemporary sculpture and winner of the Professor Rhee award, Ben Fong is no stranger to the artistic world in Fiji. Of Fijian/Chinese descent, he hails from Vanuabalavu in the Lau groups of islands in Fiji. He attended primary school in Lami and secondary school at Marist Brothers High School. Ben is a self taught welder, with training experience from the National Training and Productivity centre and the college of engineering, science and technology of the Fiji National University. Ben’s artworks are recognized as public collections in the Palau National Museum, the National Museum of American Samoa and in the Museum of Modern Art in Santo Domingo. Ben has designed and created the set for all of the Oceania Dance Theatre’s productions since it started. He also designed and created the set for the Domo Ni Karmen production in July 2009.
Book Publication Coordinator “Whakarongo ake ana ki te tangi a te manu...tui, tui, tuitui”. Listen to the cry of the bird...weave it, weave it, weave it together. “Least We Forget!” echoes sentiments of preservation, appreciation and celebration of our pacific culture, our mana and our fenua. Weaving together a cast of dynamic vocals, dancers and contributors, “Ta’aroa” has reminded us all of our ever evolving pacific way of life. It brings us to the forefront of the origins of our being, which over the years, has been re-interpreted, misinterpreted and often misunderstood. We hope that whist we collective keep our Pacific voices alive, that our children’s children will remember and continue the journey of our ancestors. “tui, tui, tutui”. These are the voices of our People. Suli Waqa
Editor
Derek is a Suva-based spoken word artist/performance poet and the Literary Arts and Film Assistant at the Oceania Centre for Arts, Culture and Pacific Studies. He is inspired by the three ‘ins’ - inequality, inconstancy and indubitability. He believes in the power of the Arts, particularly the spoken word, to transcend and transform people and societies.
Derek Cleland
Stage Manager
Jesoni Naga
Ni Sa Bula Vinaka! “The Future Belongs to those who believe in the Beauty of their Dreams” – Eleanor Roosevelt A Dream, A vision- foundations of success for human development and society’s prosperity. Jesoni Naga (Jaz) hails from the beautiful Island South of Fiji’s mainland, Kadavu and as a youngster; he always had a passion for music and dance. “Whenever there was an opportunity at family gatherings, my mother or other members of my ‘mata vuvale’ would ask me to get changed in preparation for a performance when they felt there was a lull at a certain point of the gathering. I would improvise with a hair brush as a microphone and proudly sing ‘One Moment in Time’ by Whitney Houston and I vividly recall the joy and happiness created from this impromptu show on my family’s faces”. Being heavily involved with the performing arts at the Oceania Centre and Fiji was something that never occurred to me at a young age, primarily because I was unaware of the human and infrastructural resources that were available. It was through the mass media that I discovered Allan Alo and the Oceania Dance Theatre so when I came into USP in 2003, I was very excited to audition as a new intake and now, eight years later, I am grateful to the late Prof. Epeli Hau’ofa for his vision that was brought to life catering to young aspiring artists who were given the freedom to create freely without prejudice of gender, race, religion, ethnicity and sexual orientation. “TA’AROA” – The Pacific Ballet of Creation is an inspiring relationship between Pacific stories and a foreign dance genre that is very different but equally as important as our traditional dance forms.
Backdrop Artist
Ledua Peni Tuicake
Ledua Peni Tuicake is a Senior Visual Artist with the Oceania Centre and studied at the Fiji School of Arts in Raiwai. Born in the village of Vatoa in Lau, Peni is married with one child. He completed his primary education in the village and continued his secondary and tertiary education in Suva. Peni has won numerous Awards in the field of arts. In 2004, he was the winner of the Public choice Award and Highly Commended Indigenous Award. In 2005, he won the poster competition for the Music Festival, and a recipient of the National Fine Art Award in 2006, 2007 and 2009. Peni has exhibited in New Zealand, Australia, London, New Caledonia and locally. “I enjoy art because it allows me to express my feelings and ideas through the creativity”.
Pasifika Voices
Fumaru Fatiaki
Joan Mcgoon
Lasarusa Komaivunivesi
Jasmine Duxbury
Soqo Karawa
Vula Galisaya
George Nacewa
Mereseini Bulai
Jean Pievre Lihoreau
Seanna Talei
Ratu Eroni Dina
Matelita Lusiana Bale
Benitera Koroijiuta
Alisi Dimaicakau
William Simpson
Epeli Tuibeqa
Benjamin Patel
Taione Taucilagi
Joseph Gibson
Ravu Nayacalevu
Samoan Students
Sefomilo Pa’u
Benaiah Malatai
Vaiaso Vaiaso
Tony Alatimu
Joseph Muliploa
Ah Kau Palale
John Paul Leauanae
Alesana Malo
Ian Seiuli
Thomas Solomona
Siapu Fareti
Josie Chang Ting
Melanie Mulitalo
Feagaimaleata Tafuna’i
Afulilo Tuitama
Rowena Tuutuu
Davui String Ensemble
Megumi Kadoshima (violinist)
Hanna Ostby (violinist)
Tara Mar (cellist)
Daniel Asyraf (violinist)
The making of Ta‘aroa Pacific Ballet of Creation 2011
The making of Ta‘aroa Pacific Ballet of Creation 2011
Pacific ballet Mary Rauto Saturday, April 02, 2011 physically, mentally. WHILE it is unique and different from other genres like our own meke, siva, hula and tamure, Pacific Islanders have what it takes to do ballet. University of the South Pacific Dance Department choreographer/artistic director Allan Alo said incorporating ballet technique, structures and discipline and expressing it through a Pacific body was challenging and an exciting prospect and experience because lifestyles were different hence understanding brought to the table was unique and different. He said the only exception between ballet and other genres were the discipline, language, cultures and the commitment «but they are all unique and beautiful in their own modes of expression.” «We have dancers of different races and backgrounds here at the Oceania Dance Theatre and that’s what makes our dance exciting, elating and unique,» he said.
«I have been challenged no doubt, physically, mentally and psychologically , but what are the challenges for?» he said. «I believe any challenge, whether small or big, is essentially there to help us grow and develop. «We’ll probably see the end result of these preparations and you can be the judge for yourself. «I think what’s important at the end of these activities is that it challenges us to develop while remaining true to our Pacific identities, beliefs and values while experimenting with that from outside.»
«Yes, the commitment, the burning passion to learn and the excitement in expressing something different is there. «They have had past teachers of dance from all backgrounds such as ballet, hip hop, contemporary and jazz, etc ù and each of these teachers have left with a part of the Pacific with them. «This expression is an extension of the dance theatre now here in Fiji, in the Pacific. «No matter what background, ethnic or religion or social we come from, we have the freedom here in the Pacific to try out new and different things and the sky is the limit.» Mr Alo said dancers taking part in Ta’aroa, a Pacific Ballet of Creation at the Civic Centre in Suva from April 14 to 16, were challenged
Ashmita Kant rehearses during a ballet training at the USP’s Oceania Dance Threatre yesterday. Picture: JONACANI LALAKOBAU
Dance troupe prepares Mary Rauto Wednesday, April 06, 2011
They will also assemble a team of professional production and technical staff to deliver the best outcomes possible in the relatively short time left before the curtains for the show are drawn open and Oceania Dance Theatre in collaboration with others is once again put under the spotlight.
Ateca and Sinu dance of fertility
Nisimere Bola at rehearsals in Suva yesterday. Picture: IVAMERE RASABASABA
THE theme for the Ta’aroa - Pacific Ballet of Creation is old, traditional and with a blend of contemporary Polynesia including Tahiti, Samoa, Maori and it has a sense of pomp, ritual and formality. University of the South Pacific Dance Department choreograph/artistic director Allan Alo said the choral music, chants and dances followed both traditional and contemporary Gregorian and ballet forms, while the key characters are from Polynesian mythology (Pilimo’o, Ta’aroa, Tagaloa, Rangi and Papa). The first local ballet production, say following this two-pronged approach, the production Ta’aroa - Pacific Ballet of Creation would deliver a well-coordinated, thematic performance of spectacle that will be of an international-standard and befitting of the magnificent professional dancers and collaborating artists that it wishes to showcase. The creative team including Roger Lesgards, Allan Alo, Calvin Rore and Tara Mar have driven the development of the proposed scripts have considerable experience in their respective fields and areas of expertise.
Friday, April 08, 2011 Pregnant Oceania dancers, Ateca Ravuvu and Salote Sinukula Naulumatua practise theri ballet moves
When the babies come out, they will be dancing like their nana (mothers),” pregnant dancers Ateca Ravuvu and Salote Sinukula Naulumatua said as they did their ballet moves. They hope to join the cast of Ta’aroa Pacific Ballet of Creations in Four Acts to be held on April 14-16. Ateca and Sinukula have been dancing for the University of the South Pacific Oceania Dance Theatre for the past nine years under the leadership of Samoan choreographer Allan Alo. This time, they are pregnant. They have featured in many productions and had their faces and framed figures splashed on posters of productions when they were the leading dancers in productions such as “Tatau - The art of traditional tattooing” in 2004 - it highlighted the quest of a young effeminate man who sought to reconcile many differences in his life-long relationship with
society, enduring a traditional Samoan tattoo ordeal, Va “The broken Sinnet” in 2004 this production explored three prominent social issues; teenage pregnancies, child abuse and stigmatisation of children as a result of parental separation and divorce, “Tina, and Tinaqu” in 2009 - A production about Pacific voices of women against violence. The ladies have quite a portfolio when it comes to contemporary Pacific dancing.
Acts is based on Polynesian mythology of Tahiti, Samoa and Aotearoa. Concept and original text is by Rodger Lesgards, a French poet, music by Calvin Roe, featuring Pacifika Voices and Davui String Ensemble. The dance of fertility will come in the fourth act of the production, and is inspired by a Polynesian myth about how humans came into being.
This time they display their bumps in tightfitting dance attire, they’re taking it slow in a Audience should expect to see the two ladies fertility dance, making the production the first in flowing black dresses, dancing to a Pacific rhythm sending out a message of feminine to feature pregnant mothers. beauty with a fantastical theme in Pacific “We’re excited about the show and we’re not ballet styles. putting too much pressure on ourselves, the moves are quite flexible,” Ateca said of their Audience should expect to be amazed watching pregnant women in dance in a demanding dance schedule. production, something thought to be never “This production is going to be so real have done before, at least not in Suva. considering that we’re pregnant, which is “Audience should prepare to be shocked what our roles in the production demands.” when the real thing hits them. Dancing has proved to be a great exercise routine for pregnant ladies and the two find it “They should be prepared to wait for five minutes while we’re taken out to give birth,” joyful keeping fit through dancing. Sinukula said. They’re however keeping their fingers crossed they do not give birth before the “For the first time, people are going to see two women in this critical stage dancing, and production. it is going to be interesting,” Ateca said. Giving birth during the performance is considered true art by 31-year-old Sinukula All the more reason people should buy a who will be nine months on the week of the ticket to the show. production. Asked whether she has doubts about performing in her condition, her reply was: “not really, if I give birth on stage, that is even better, at least the audience will be paying money for the real action but at the same time, I’m hoping it doesn’t happen”. “I’m proud to be pregnant and dancing to a fertility dance. “I think the production came at the right time, since we’re in this condition. The two have been preparing three weeks straight perfecting their Pacific ballet moves. “Ta’aroa’ Pacific Ballet of Creation in Four
Doing it the ‘Pacific way’ Mary Rauto Monday, March 28, 2011
lecturers and Fijian dancers, who make up most of the Oceania Dance Theatre, singers (Pacifica Voices - Malaga singers) and musicians from other parts of the world.
Passion for mythology Mary Rauto Thursday, April 07, 2011
Joelle Duxbury during rehearsal in Suva
HAVE you watched a live ballet performance? Would you like to see one? April 14 to 16 is your chance to watch Ta’aroa, a Pacifc Ballet of Creation at the Suva Civic Centre. The performance is a collaboration between French poet Rodger Lesgards and Oceania Dance Theatre’s Allan Alo.
Litia Rogo practises ballet at the USP Oceania Centre in Suva. Picture: IVAMERE RASABASABA
The cast of 80 is made up of singers, dancers, actors and musicians.
ONE of Rodger Lesgards’ interests lay in mythology so he studied it.
“Yes, the audience will see dancers on their toes, off their toes and in the air ù but Pacific way with no shoes,” Mr Alo said.
Last year, the French poet worked with University of the South Pacific Dance Department choreographer/artistic director Allan Alo during Franchophone Week.
“The Oceania Dance Theatre has had numerous collaborations with past teachers we’ve worked with. “We incorporate our identities and the ways our Pacific bodies move and tell stories of our people through this newly-created genre ù Pacific Ballet. “I wanted to create a ballet that shows the way, we as Pacific people react to pressure from outside, showing that no matter what pressure we face, we adapt, emulate and move forward. “Today I want to show a Pacific way of ballet that accompanies a choir but most importantly highlighting the stories of our people and their identities - their journeys and ancestral linkages. “Here the mythologies of Polynesia will invoke a sense of beginning, relatedness and continuity for us Pacific islanders to traverse further.” He said some of the collaborators are Tahitian priests from the Pacific Theological College in Suva, Samoan students at the USP, Maori
A song and dance was produced from one of his poems, hence, his involvement with the USP Oceania Centre for Arts and Culture department began. It was early this year that Mr Lesgards approached Mr Alo with a script he had written while in France. The script will be transformed in a week’s time when choir and dancers take the stage to perform Fiji’s first ballet - Ta’aroa Pacific Ballet of Creation He said he wanted the people of the Pacific to understand what rich cultures they had. “I wrote the text when I was in France. I studied different types of mythology in the world from Greek to Celtic.” Mr Lesgards said art and culture were always two of his passions
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“These are the stories of our people, Our Cultures, Our Mana, Our Heritage, Our Pasifika.....Least! We! Forget!�