REFLECTION ON INTERCULTURAL PERFORMING ARTS AOTEAROA / NEW ZEALAND

Photo: Workshop Waiaua Marae, Whakatohea, Opotiki

Intercultural theatre/art can be troublesome; some parties enter in wanting to get something from the other; they are seldom satisfied. Misunderstandings around appropriation and tokenism can lead, in the worst case scenario, to neglect of cultural protocols causing disenchantment. Best intentions under the hammer of opening night can be betrayed and the compromise usually flows one way. The post-colonial paradigm caught by the image of the ballerina in her tutu dancing with toa Māori in his piupiu has been seen in our theatres, but once the experiment is over, each culture retreats to their known form.

Many Māori and Pacifica practitioners have made remarkable careers in dance, film, opera, theatre but they bring their considerable talents to bear on the essentially European form. Occasionally you spot a pakeha in the kapa haka company and there has developed deep respect from all parties for the forms of the other.

There have been genuine successes to embody our unique combination of cultures who share a history and we continue to seek a form that is truly of  Aotearoa/New Zealand; shaped by our different cultures, all present and equal under the lights. 

But I believe there still exists the issue; how to truly exist in equal partnership on stage?

In order for Aotearoa/New Zealand to tell the stories of our nation there must be a commitment to seeking the protocols and equity of the partnership. Our dynamic and dramatic history has been explored in film-Vincent Wards The River Queen- and in opera-Christopher Blakes’ Bitter Calm, are examples. There are a number of instances where well-meaning pakeha individuals/companies have sought partnerships to tell our stories and many are successful, Niki Caro’s film of The Whale Rider, plays by Hone Kouka directed by Murray Lynch, and there are others. The good will is there, but I am also aware of efforts that have foundered causing disenchantment and the sentiment of “well I won’t be going there again.”

I believe that many Pakeha are deeply grateful for the manner in which Māori and Pacific writers have brought their stories to mainstream European mediums, think the novels of Witi Ihimaera, or his play Woman Far Walking, think the recent compilation of films that made up Waru. Take the plays of numerous Maori and Pacifica writers, the choreography of Neil Ieremia and Lemi Ponifasio, all bringing to a mainstream audience the complexity, pain and beauty of those cultures experiences. The sincere efforts of CNZ to fund the emergence of such companies is admirable and audiences have responded in appreciation.

Most of my experiences in this domain of inter-culturalism have been grass roots; workshops with young people, perhaps from a tertiary institution, perhaps from a detention centre or a mental health facility, but my motive has always been the same, to find a way to tell a story, their story, our story. The European paradigm of the solitary artist who emerges new work intact is challenged in the cultures of Oceania. I never enter into these projects without a meaningful partnership firmly in place and I have enjoyed deep and trusting friendships that have grown from these creative times. True inspiring intercultural work must grow from sincere relationships, from a shared desire to see one another, to appreciate, to laugh, to love. Such relationships require patience and belief in a common value and there emerges a sense that the difference is the strength, the other becomes exciting not threatening. This path is challenging but I have encountered huge generosity. A well respected kaumātua who offered me a great deal of support and guidance once told me “I want to tell you these stories, teach about what kaumātua taught me because I know you will take this to your pakeha people and tell them. They might challenge you so please just ring me up and I can say a karakia on the phone!” He took my script to the puna, the spring of water and blessed it. He encouraged me “don’t be afraid of leading people in their search for their stories, just do it from the heart”.

The desire to make connections into communities unfamiliar with opera must happen by mutual desire and creation. When friendships and whanaungatanga are in place, when sincere effort is made to co-exist the rewards for practitioners and audiences alike can be thrilling and meaningful.

Below is C.V of Intercultural Performance/Teaching/Community projects/Tertiary

Hobbs: The Musical. Directed musical based on life of John Hobbs, Wesleyan missionary. I invited members of Pounamu Ventures, a Māori performing arts programme based at Auckland Museum, to play cast members alongside Pākehā musical theatre performers.

Te Roopu o te Pikitanga.  One-year full time study as community based social worker with Maori health providers. Immersive study of protocol, language.    

He Tangata Hou a Pararaki. Colleague and I ran a series of summer workshops at Pararaki Marae Te Whanau Apanui on the east coast. Each workshop a week long marae residency with performance for whanau as conclusion. A five-year project culminating in a tour of marae on the east coast, Bay of Plenty and Auckland Town Hall.

He Kainga mo te Reo. Full time immersive study/learning  Te Reo Māori, based in Rotorua.  Six months.

Kingitanga Day. A significant commitment from Waikato University to create a memorial day of celebration and support for Kingitanga. Presented performances and academic papers.

Te Tupua-The Goblin. Wrote and performed solo play based on historical accounts of European who lived as Maori early 19th century. Performances at festivals/schools/marae

Noho marae. In my capacity as tutor in a tertiary setting I have organised and supervised many noho marae;  being in residence with up to 80 students for 2-3 nights engaging with tangata whenua in a range of educational and cultural activities.

The Blue Shawl. Invited by the people of Tainui Awhiro to contribute to a celebration marking the return of lands confiscated during second world war. Presented intercultural Noh play at Te Ao Marama festival. 

Te Pakkhai, a bi-lingual  performance of Euripides classic tragedy The Bacchae in te reo Maori and English

PIPA and Museum Project. Pacific Island Performing Arts students came to Unitec to finish degree. Over three years I supervised three groups, designing and managing a range of projects including commemoration at Auckland museum of the New Zealand annexation Samoa 1914. 

Brown: It’s Complicated supervised creation of original under graduate play with sell out seasons Basement and Mangere Arts Centre.