Makerita Urale (CNZ Pacific Arts Support Manager and solo practitioner)
1) Do you use any cultural protocols in your arts practice? Yes. Kaupapa Pasifika protocols are the same as Māori kaupapa - in Pacific languages and cultural context, with diverse Pasifika island groups. Incorporating tikanga and kaupapa must be seen as an industry tool that creates a respectful cultural context for the arts industry. I have utilised a Māori kaumatua in my work as a Producer which has made a difference in the success of productions. In touring internationally, this is important preparation for the cast and crew especially in international exchanges and engagement with overseas first nations and non-kiwi cultures and audiences. It is important to stress that core Pacific values such as Mana Pasifika aligns with Maori Tikanga and kaupapa. In my work at Creative New Zealand, we support Kaupapa Pasifika and Mana Pasifika as a core Value for CNZ. Organisations such as Tautai and Black Grace utilise this specific Pasifika cultural model as an inherent, necessary part of being a Pacific organisation. 2) What specific protocols do you utilise? (e.g karakia, welcoming powhiri, farewell poroporaki etc) Same as Maori - Pasifika tikanga and kaupapa follow the same structure with Blessings, Welcomes and Farewells. More importantly, in between these key moments of exchanges – the Pasifika kaupapa/tikanga continues throughout the exchanges/relationships as a value construct to guide successful interactions that have deep meaning for Pasifika creatives as well as an inclusive learning environment for non-Pasifika peoples. Talanoa is a significant concept for Pasifika peoples across different island cultures – which creates a safe cultural environment to raise challenges, explore thinking, confront conflict and differences of opinion to come to a group or individual understanding, without the need for solutions. Talanoa allows people to speak their truth without judgment. Talanoa can be very confrontational and uncomfortable for non-Pasifika people but is a fantastic tool to develop honest contributions without judgment. 3) How do these cultural protocols impact the overall development process of the work and final performances being created? The Pasifika values/tikanga are a core and necessary cultural framework for the success of the art-making process. They are embedded from the individuals/leaders of a project and spread to all involved like ripples – from an initial interaction between two people, to development, production and post-production. The Pasifika value framework is critical during public presentation where the space where the work is presented must also incorporate these same values. A simple and useful example, is to be extremely selective at the Front of House, to have people at the ‘front door’ who present these Pasifika Tikanga values to audiences, guests and members of the public. It is a holistic approach and all involved in the project must be inducted and understand the kaupapa from beginning to completion – and these same values are forged between all partners, sponsors, venues involved and interacting with a Pasifika project / people / communities. For much Pasifika ‘art’ – I have defined as Aesthetic + Functional (e.g. a traditional tattoo is both beautiful and also forms a social role as a rite of passage). Therefore, the ‘process’ of art-making is just as important as the end ‘product/object.’ 4) Do these cultural protocols help serve to unify or have a profound impact upon members of the cast and overall production? Absolutely. As a Producer and documentary director for many years in the industry – leading with this Pasifika framework has been critical to the ongoing learning / inducting and improving non-Pasifika people’s understanding of our cultural value system and mana. Pasifika (and Maori) kaupapa processes and framework is a necessary industry tool for the success of Pasifika artists and communities – the cultural protocols inherently instills a need and expectation on Pasifika creatives to aim and work towards artistic excellence, because they are also representing their families, communities and island homelands. It is not just one individual’s success. It is the success of entire people and oneself as part of this close / wider whanau and community. At Creative New Zealand, we have been fortunate to have The Conch develop a Kaupapa Vaka Viti guide (funded by CNZ) which has been critical as a core understanding by how Creative New Zealand interacts and engages with The Conch. The copyright for this belongs to The Conch and Fijian author – and the example of this highlights the significance of having a core set of values / concepts / understandings that has been an extraordinary gift for CNZ staff in working constructively with a respected and innovative Pasifika arts organisation. 5) Is it easy to implement these protocols in the venues that you have used in your career? Not a problem when you are the Producer and the person in charge – when you have the ‘authority’ and belief to design and implement an entire project that incorporates Pasifika integrity. There are no Pasifika owned arts venues in New Zealand – so as a Pacific arts practitioner, you constantly have to negotiate, navigate and sometimes demand what you need. You need thick skin, but more importantly, you need to have confidence and belief that your Pasifika values and kaupapa is how you want to work, without the need for validation from anyone else, because you know this is critical to your integrity as a creative, your reputation, your own personal / professional satisfaction to be true to yourself and your kaupapa. Fortunately for Pasifika, Maori as tangata whenua provide leadership and an existing framework under the Treaty of Waitangi and our legislation, whereby Pasifika people can be guided with our own unique kaupapa processes and shared values with Maori. As Pakeha own and run most arts venues in New Zealand - some Pacific companies have encountered resistance at some major venues, mainly from ignorance, and a lack of understanding. Once venues realise that kaupapa protocols can lead to huge successes in relationships, shared resources, accessing new audiences & networks, and box office sales – things change for the better. I have encountered resistance from ignorant venue contacts in the past in my role as a Producer – which created negativity and frustration for our production team, and affected our work. Once I recognised this was happening for one venue, I literally had to bring our team back to focusing on kaupapa and our work, and find a way to ‘flow like water around a boulder.’ It is important for Pasifika creatives to be realistic and accept that cultural barriers exist everywhere in New Zealand – and don’t give up – and have the courage to take responsibility for knocking down barriers and attitudes they encounter to have access to what they deserve and need. 6) Would you like to implement other protocols that you haven't yet incorporated into your work? I am not a Christian and the incorporation of Christian karakia has been a challenge for me, personally – although I accept and have experienced this as a part of the karakia process. As a non-Christian Pasifika, I have tried to utilise more broader universal concepts for more inclusive approaches to blessings. 7) Would a Cultural Protocols Guide be useful in your future arts practice? Absolutely! Karin Williams (Cook Island Filmmaker and Pacific Representative at the NZ Film Commission) Kia orana Nathan: Thanks for the opportunity to contribute to this new project, which sounds like a valuable resource for arts practitioners. My mind boggles because it's such a huge area - and one that I've been grappling with in my current role at Te Tumu Whakaata Taonga: New Zealand Film Commission, where we've just launched Te Rautaki Māori, a Māori strategy for the agency. It's taken 2-1/2 years to develop this mahi and will no doubt take many more years as we develop guidelines around consent and consultation, tikanga, internal cultural capability, etc. It's proving to be a major cultural shift for NZFC which I believe will fundamentally transform the agency. So I suppose the easiest place to start is with my own practice as an independent filmmaker and theatre producer of Cook Islands (Aitutaki) and pākeha heritage. I lived and worked overseas for many years, so have experienced the cultural protocols of many indigenous cultures, including Native Alaskan, American Indian, Sami, Hawaiian, Samoan and other Pacific communities. So again, the scope starts widening and the entire subject feels massive. I suppose that's because cultural orientation, awareness and protocol influences every aspect of the work. So I'll try to be focused by answering your specific questions. 1) Do you use any cultural protocols in your arts practice? Every indigenous culture I've worked with approaches their gatherings with ceremony - whether hui / fono / talanoa, production, performance or exhibition. Usually this involves an elder or leader speaking, a prayer or blessing, song / waiata / chant, introductions and setting of intentions. I have tried to incorporate some of these elements into my work, whether on a film set or in a theatre space. 2) What specific protocols do you utilise? (e.g karakia, {prayers} welcomes, farewells etc) We tend to follow the lead of the community we're working with. So in Hawai'i the ceremony may begin with 'oli (chant), followed by pulē (prayer) and 'olelo (speech). In Aotearoa it's karakia and mihi. On Māori film sets, there's usually a powhiri or mihi whakatau, and closing karakia. In Pacific communities it's almost always Christian prayer, although some communities do more traditional ceremonies. I've found that a recitation of whakapapa /'akapapa / geneaolgy is common to most indigenous gatherings, and acknowledgement of tangata whenua/tribal homeland. And we always wrap things up with karakia / purē / pule and blessings for the safe travel and return home of the cast and crew. Sometimes there are specific protocols to be followed - such as filming on a marae or dealing with tapu subjects like tangi. And there might be koha requirements - gifts to be exchanged. We always consult with the community we're working with and respectfully request their advice and guidance. One other big feature of Pacific culture is the food! All aspects of Polynesian culture instills this in their tikanga practice with a blessing upon the food. 3) How do these cultural protocols impact the overall development process of the work and final performances being created? I believe it makes a huge difference. Observing ceremony and protocol sets the tone / intention / whakapapa of the project and places it firmly in an indigenous framework. I believe it's incredibly important to differentiate indigenous work from mainstream work. It's not just about content and creatives, but also in the way the work is approached. Indigenous performers and performances are usually sited in relation to their whanau /'anau, community / vaka / village and iwi / tribe, which differentiates them from mainstream productions, which tend to be more about individuals and the company. So indigenous creatives are representatives of their communities and bring certain responsibilities to the work. Anchoring the project in an indigenous framework impacts every aspect of production, including relationships on the stage / set. And there's often a spiritual aspect to the work. As creatives we're invoking wairua and sometimes the stories and songs of our tupuna, so it's important to put the right safeguards and respect around those things. 4) Do you believe these protocols have an overall impact on the cast and production? I believe observance of protocols is important from a "cultural health and safety" perspective. When the cast and crew know that the production is firmly anchored in an indigenous worldview, then they feel safe to express themselves without fear of being misunderstood or having to "brownsplain" their actions and intentions. If ritual and/or tapu are involved, then it's important to protect those doing the work. If there are issues of cultural ownership or kaitiakitanga, then those need to be considered. I've been in a couple of dodgy situations where perhaps we didn't adequately consider the seriousness of what we were portraying or invoking. I've also found that pākeha cast / crew generally appreciate being included and having tikanga explained, since there's often a fear of doing things wrong or not knowing what to say or do if they haven't been involved with indigenous productions before. 5) Is it easy to implement these protocols in the venues that you have used in your career? Not always. Particularly in pākeha / papa'a / palagi spaces, like mainstream theater companies or on film sets, they're generally not used to observing ceremony, prayer and ritual. It often requires stepping out of one's own comfort zone, taking the lead and asking for cutural protocols to be observed. But I've also found that when we've stepped up, consulted with these partners and explained what it's all about, they are usually very willing to work with us to observe these protocols - whether an opening / closing prayer, waiata or some other form of cultural practice. I'm not a confident cultural practitioner myself, and I'm not fluent in my indigenous language, so I'd really rather have someone more expert take on that role. But when no-one else is available, then I'll step up and do the right thing. The times I've failed to do so, I've regretted it. 6) Would you like to implement other protocols that you haven't yet incorporated into your work? I love the Native American talking circles, where an eagle feather or talking stick is passed between speakers as they hold the floor. But sometimes it seems weird or out of context, especially if you haven't got enough time for everyone to speak. Particularly on a film set, where mainstream films tend to be heirarchical and militarised, it's great to allow everyone to talk - from the producer and director to the production assistant. On smaller productions I try to make time for everyone to introduce themselves and say a few words. (This isn't the usual practice of my own Cook Islands culture, where you don't speak without authority, but I've adopted it from some Tlingit practitioners in Alaska!) 7) Would a Cultural Protocols Guide be useful in your future arts practice? It would be huge! The more we can discuss these issues, provide guidelines and educate our own practitioners and those in the mainstream, the better. Here's a potentially useful resource from Nga Aho Whakaari, the Māori Screen Guild: https://ngaahowhakaari.co.nz/brown-book/ Thanks for the opportunity to participate in this korero. It's an exciting initiative and I look forward to seeing the results. Kia manuia Karin Fasitua Amosa - Samoan Actor 1) I do not currently use cultural protocols in my arts practice. Mainly because I was trained in the european (palagi) ways of theatre which is to show up, say hi, start work. Also I have been mainly employed by palagi run theatre company's. IF I was to say work for/with a Pacific group then the only cultural practice would be to start the day with prayer. But as I'm no longer a practicing Christian I don't really observe this 'cultural' practice. To this day I have only ever been part of other peoples cultural protocols eg karakia, mihi whakatau etc. I know of no fa'asamoa equivalent to these practices. 2) n/a 3) I like when a day starts with karakia as I find it always synchronises peoples' minds and hearts and brings them from the world they just came from and into the room and so the day starts unified even if for a brief moment. It creates a sense that we start the day from the same place. I find this not to be the case with a Christian prayer. If I ever find a non Christian Samoan equivalent to a karakia, or a Samoan welcome that's not full on faasamoa, then I would probably start using that in my practice 4) I think cultural protocols have an overall impact on a cast and production. Usually in so far as it brings palagi's into a non palagi space/frame of mind and reconnects the non palagi to their lineage which is empowering. 5) Can't answer this for certain as I've never requested any cultural practice in a venue but again, the only times I have experienced this in venues is through Maori protocol. 6) Yes I would implement other cultural protocols where appropriate. I don't know exactly what that would mean or look like but I am open to it. 7) A cultural protocols guide would be useful mainly to understand what a practice is and why it's happening so if you ever found yourself in that situation you won't be surprised as you'd have some knowledge of what's going on. In terms of implementing a cultural protocol I'd find it useful as a starting point for a conversation with the appropriate person to talk about how to implement that protocol correctly for your use. I'd never use a cultural protocol because I saw it in a book, I'd have to talk to someone about it. Cheers Nathan! Manuia, Fasitua Eteuati Ete Performance Practitioner of the Naked Samoans Hi Nathan. 1) We didn't consciously use any cultural protocols in our Laughing Samoans arts practice. 2) The only time we did engage in cultural practices was when we were invited to community events in which we then had to participate in and observe the protocols. 3) As mentioned in answer 1 we didn't really have any protocols in place for our operation. 4) Not relevant. 5) Again not relevant given there were only two of us and from our 14 years experience as a touring duo almost all of the venues were pretty relaxed about our being there although I think they may have been a bit more on guard if there were more of us. 6) Not really. 7) I don't think a Cultural Protocols Guide would be useful for my future arts practice. But I think a guide would be more useful for the venues so they're aware of the cultural needs of artists. From experience the level of support that we received from the venues varied. On the whole venues throughout New Zealand went out of their way to be helpful and accommodating as long as we made our needs clear prior to our arrival. Te Hau Winitana - (Cook Island Dance and Theatre Practitioner) 1) Yes. I only use Karakia, before performing a show and Karakia to close out a season of a show. Another one is asking for a blessing/ or permission of some sort from our lead drummer if FEMALES want to try drumming. From my knowledge females are not supposed to drum Cook Islands drums. I am unsure if there's protocol around this but we ask just out of respect and courtesy 2) Karakia 3) I guess I use Karakia as a way of protection and the bringing of good will and positive energy to my mahi or whatever I’m teaching. It's also a great way to begin and end a project in a formal yet non-formal way. I have grown up around Karakia so it's like second nature to me. 4) Yes as it is a group effort and is very inclusive of everyone no matter what religious background, ethnicity etc etc…. Its very purpose is to unite people! 5) Very Easy! 6) I'm very open to it, as long as its relevant to what I'm doing at that particular time 7) Yes, I think it would be totally beneficial across the board. I think it would be a good tool to have in general! Leki Jackson-Burke (Niuean Theatre Practitioner) 1) Do you use any cultural protocols in your arts practice? Yes. Always. 2) What specific protocols do you utilise? (e.g karakia, {prayers} welcomes, farew ells etc) Karakia, Song, Thank yous, welcomes, farewells & acknowledgement of space. In my Niuean theatre work last year we began each season with a liogi hafagi (opening prayer) done by a local akoako (minister), a lologo tapu vaha tuai (old Niue hymn - always sung by the cast with assistance from the audience). Then before the actual show began every night we would begin with traditional Niue chants paying homage to the ancestors, fakafeleveiaga (welcome/opening greetings to audience). We closed each season with a prayer and a song also. Backstage was also considered a sacred space and despite it being within the context of theatre, we still implemented cultural practices throughout the process. E.g separated male and female performers backstage so we weren't getting changed in front of each other, as culturally that would be considered inappropriate. Saying "tulou" or "excuse me" when walking past other performers is also deemed respectful especially if blocking out their view. 3) How do these cultural protocols impact the overall development process of the work and final performances being created? Very important with the work that I do because it sets the tone and the kaupapa of the company and the working environment. I always start things culturally and end things culturally to honour and pay homage to the cultural content I use in my work. I feel that by doing this, the result of the work is richer and the process is safer. I feel safe to work as an artist and to draw from my cultural foundation when these protocols are put in place. Offstage, the cast and crew also prayed and sung together before every show and this always grounded us a company before going on stage. 4) Do you believe these protocols have an impact on the cast? Yes, most definitely. It sets the tone for the cast and the work and it brings everyone together and adds a spiritual element to the work. It also acknowledges where everyone is at and unites everyone under one vision. 5) Is it easy to implement these protocols in the venues that you have used in your career? Yes. 6) Would you like to implement other protocols that you haven't yet incorporated into your work? If necessary yes. 7) Would a Cultural Protocols Guide be useful in your future arts practice? Potentially. Salesi Le'ota - Playmarket Hi Nathan, I don’t know if I have much to say but I feel that if we’re working in a predominantly Palangi environment that it’s not always appropriate to ask us to bless the food, or the space, or just bless anything really. We’re not magic Maoris or magic Mauis. Also, I think organisations need to know that not every brown person will or can speak in public on their behalf. Often this depends on whose in the room, for example I wouldn’t speak if there was a higher ranking Tongan in the room or if that wasn’t my specific task as defined by my role. Likewise in a powhiri situation I wouldn’t speak before Nathaniel, Nina or any of that generation of Pasifika practitioners because of their standing in the industry. I’m sure someone has articulated this already in a clearer way. Just something to consider. Salesi x Tanya Muagututi'a - Theatre Practitioner of Pacific Underground Here is my feedback that is specific to how we do things at Pacific Underground. 1) Do you use any cultural protocols in your arts practice? Yes. 2) What specific protocols do you utilise? (e.g karakia, {prayers} welcomes, farew ells etc) For a new project, rehearsal, playreading, meeting, festival, event: 1. Gather everyone into a seating or standing circle. 2. Welcome, thank and acknowledgement to: a) Acknowledgement of Tangata Whenua and the land. b) High ranking invited or non-invited e.g MPs, Ministers, Gov reps c) invited elders or Minister in the Samoan, Pasifika community who are in the room d) Other elders or MInister in the Samoan, Pasifika community who are in the room e) Senior practioners of the artform who are in the room 3. The kaupapa / background of the project 4. The connection to each person in the room 5. Self Introductions of each person in the room 6. Prayer for the journey ahead by host, or pre-determined elder/ minister or senior on behalf of the host. For the start of first public showing, opening show, opening night, or tour or music gig 1. Gather everyone into a standing circle. 2. Acknowledgement to: a) Tangata Whenua and the land b) the elders /seniors who are in the room c) Senior practioners of the artform who are in the room d) the entire team - individually if able 3. Thank yous 4. Prayer for the season ahead. For the start of each show after open 1. Gather everyone into a standing circle. 2. Acknowledgement o: a) Tangata Whenua and the land b) the elders /seniors who are in the room c) Senior practioners of the artform who are in the room d) the entire team - individually if able 3. Thank yous 4. Prayer for the season ahead. 3) How do these cultural protocols impact the overall development process of the work and final performances being created? This helps the whole company focus, give thanks. 4) Do you believe these protocols have an overall impact on the cast and production? Yes, as it reminds everyone of the job ahead, the importance of the company, the sharing of the stories, and the reason. 5) Is it easy to implement these protocols in the venues that you have used in your career? We are always testing this. If there isn't the space for it, or the timing isn't right, we find the space outside, in a car park or a foyer or a stairwell. We believe it is something that grounds us, so we carry on regardless. The question should be, are the venues ready for companies that use these protocols? 6) Would you like to implement other protocols that you haven't yet incorporated into your work? Not that I can think of. 7) Would a Cultural Protocols Guide be useful in your future arts practice? For venues, yes. Fine Lavoni Koloamatangi: Massey University Researcher and Asia New Zealand Foundation Member from Tonga First up, I think it's a great idea to have such a guide. At Massey University we have come up with a short pamphlet with regards how to appropriately engage with Pacifica students, and I think it's so important that others are aware of what's out there and how people engage differently. With regards your querry I thought a generic statement which hopefully incorporates some of your questions might be more beneficial J) - Yes I do use cultural protocols in my everyday life! However, as culture is part and parcel of who I am, it is quite difficult to delineate what might be a cultural protocol and what might not be, if that makes sense? In the sense that my culture is deeply embedded in all that I do and growing up in Aotearoa, there are other influences as well, which added together make for an interesting mix of protocols. A great example of that would be the merging of culture and religion, which is seen in many of our protocols today. Tonga became a Christian country in the 19th century, and our motto “Ko e ‘Otua mo Tonga ko hoku tofi’a” (God and Tonga are my inheritance) shows just how important the Christian faith is for Tongan society. So apart from the church environment, we do pray regularly at home (before a meal, we often gather for family prayers, and pray before someone leaves to travel, or if there’s an important event on, we pray before leaving for that event). Prayers are used in the workplace as well before meetings at times, and during specific Pasifika events, or in the community – it is generally expected that at any Tongan (and largely Pasifika) event where people are gathered for a specific purpose, a prayer would be said to open and close, and maybe even a couple of hymns sung. In essence the use of prayer has become our cultural protocol – I don’t think we have a specific, structured protocol when it comes to welcomes and farewells as the Maori do. At certain events, there are speeches and so forth said, and similar to Maori tradition, speakers often begin by introducing themselves and what village they come from, and recount any specific stories relating to their family. Each village in Tonga has an alias (a nickname of sorts) or metaphor attached to it and once this is mentioned, those in the audience can generally place that speaker geographically. I’m not well versed in this but I always find it so interesting to witness this! I always find it amazing just how rich the average Tongan’s cultural knowledge is, and they might not even realise it! I think cultural protocol ties in quite well with cultural symbols in the Tongan context, and an example of this would be our cultural dress or ta’ovala. A ta’ovala is a mat which is wrapped around the waist and worn in different contexts – at church or for special occasions (birthdays, funerals and so forth). In Tonga, the ta’ovala is also part of the school and work uniform (especially in the civil servant space). Both men and women wear ta’ovala, but women also have an equivalent (lighter option) called a kiekie. The ta’ovala is secured in place with a kafa, or a rope, made out of various materials (even hair!). The tying of the ta’ovala for special occasions is a cultural protocol in itself. For events such as a birthday or wedding, the ta’ovala can be supplied and tied by those who hold a higher status in your family, from your father’s side (in the interim, before a representative from your father’s side arrives, a mat might be supplied and tied by women from your mother’s side.) The ta’ovala tells the story of the Tongan family, and some pieces are passed down from generation to generation. In the wider Tongan context, the ta’ovala also represents the land, so when I ha’i (tie) a ta’ovala around my waist, I feel as if I’m tying Tonga around me too. Apart from the use of prayer and the influence of Christianity at home and in church, Tongan protocols are therefore seen in events. The tying of the ta’ovala in the birthday or wedding is just a small part of that - the ta’ovala is important at a funeral too, and the size and colour of one’s ta’ovala denotes how one is related to the deceased. This is something most Tongans can generally deduce as well – as mentioned before, those on your father’s side (particularly his sister or his father’s sister and her children/grandchildren) hold the highest rank in a Tongan family. If your aunty or grand-aunt on your father’s side was to pass away, you’d wear a big, darker and often tatty mat to the funeral and would be referred to as a liongi. There are other cultural protocols contained in Tongan birthdays, weddings and funerals but rather than mention them all, I thought the ta’ovala example might be the most helpful. I think because these events are so heavily infused with cultural protocols, it seems like a different world altogether, as separate from my professional life. These events really are part of everyday life and when I witness these protocols taking place, it makes me realise just how strong our Tongan culture is. Talking to a lot of Pasifika youth, some feel as if they live in 2 different worlds, both of which have a huge impact on their lives. They might be expected to act a certain, culturally appropriate way in 1 and may act differently in the other. And it’s not as if they are different people in those different worlds, it’s just that they have to project a different part of themselves depending on where they are. The duality might seem a bit tiresome but I’m of the view that if they’ve made it this far, they are successfully navigating and thriving in those worlds, that who they are is valid regardless of where they are. Parts of those worlds may and do overlap (such as holding specific Pasifika events at work and having prayer, food, music etc.) and I think my life is a journey of trying to find that balance and a way of fusing those worlds together somehow. I think this is common for those of us Pasifika who were born and/or raised in Aotearoa (as part of the diaspora, away from our ancestral homelands) and even more so for those who are half-caste. So for question 5, even though I don’t want to leave my culture at the door wherever I go, it can be difficult not only to implement these cultural protocols but to even bring them to the table for discussion, or even raise awareness that they exist. And I think it’s probably the same for other minority cultures as well, because we might not see ourselves in that environment or as being accepted in that environment even though we are living embodiments of our cultures. Masina Taulapapa - Project Officer Leadership Network: Asia New Zealand Foundation and of Samoan Descent Similar to Māoridom there is a strong sense of hierarchy in Samoan culture where set protocols are laid out for whom speaks and acts in specific ceremonies. The Fa'matai system is what underlies these important cultural rules pertaining to people's social rank and role within the village. It's a system that runs under the notion of service - so that the more one does in serving the needs of the community - the higher the Matai rank they will ultimately obtain. Often it is those who humbly go about their business of serving others that obtain these cultural 'promotions' rather than being flashy about what they do in their life's work which sometimes contradicts the way our culture interacts with some of the underlying values of Western culture. Birthright also plays an important role however, and those who are descended from the four ‘kings’, especially Malietoa, are highest ranking. The Matai system outlines who talks and when given that oratory is a vitally important part of Samoan culture, especially the 'way' someone talks - rather than simply the content that is delivered. For example the chiefs in our community have a completely different language to others and communicate in this tongue during important ceremonies or during a fono (meeting). The matai language is allegorical with complex metaphors and references myths and past events. So it is not just a different language, but a theatrical or poetic way of expressing ideas. To understand what is being said, you also need to have an understanding of the historical event or parable that is being referenced. Our kava ceremonies have specific protocols based on the matai system where the high chief's daughters prepare the kava and the sons do the pouring. Like in oratory there is a specific order in which one drinks. The fact that we sit cross legged until the body is physically sore shows off our sense of discipline, and when having to straighten our legs we are always discreet, covering ourselves with a mat. I would never wear shorts. Modest attire is the way I show my respect for the Samoan culture and my elders. I would also always bring or wear my ie lava lava (sarong) to demonstrate that I am ready to do work duties. Although Samoan's learn to lead through service, gift giving, much like the Maori 'koha' system is also a big part of this status acquisition. Whether you are attending a wedding, funeral or simply catching up with friends it is important to bring food or some token gift as a thank you. Ultimately the more generous the 'gift' the better. If one gives 'more' to community than 'receives' it helps build up the perception of personal prestige, and demonstrates that you acknowledge that you're part of the community and not just looking out for yourself. For example when you go to a friend's place you will take food, and a food package will always be given to you when you depart to fulfill this cultural notion of reciprocity. Put in a nutshell - the individual aims to build the strength of the collective and gains social status as such. This can cause problems in the modern day world unfortunately as members of my community will sometimes borrow beyond their financial means to live up to these cultural expectations. As a result it is not shameful to ever ask for help as the community is culturally and psychologically designed to help out its individual members at all times. It's what binds the community together and builds its sense of cultural and communal self worth. Respect for elders is also a key part of our culture. For example when I am back in Samoa I will always do what my Dad asks me to do whether it be to make him a cup of tea or to move out of his seat. This won't happen so much when I am back in New Zealand when Dad asks me the same requests. It's as if those underlying levels of respect get nullified somewhat with exposure to the different cultures I am subjected to here in Aotearoa. It's almost like I am a 'different' person when I go back to the homeland. These hierarchies are therefore 'felt' differently in varied scenarios. For example, I will never sit on an elders seat when over in Samoa and will automatically go to sit at the side or on the floor. Being authentic in both settings can be challenging. In general, I tend to play things more humbly when back at home than when in New Zealand where my professional role at the Asia New Zealand Foundation and university degrees offers me a different sense of status in my day to day life here in Wellington. The hierarchy in Samoan culture is also 'knowledge based' as opposed to just being age-based which in some ways lends itself to being more open to the ways of the modern world . Therefore those 'in the know' will always be respected and followed with regards cultural protocols or simply taking the initiative to lead on a project which I know also occurs in Maori culture. This fact tends to help me out as a professional woman making her way in both worlds, but there are always going to be challenges in my culture where we are inherently trained not to speak out or disagree with authority - or at least circumnavigate potential confrontations. Saving face, like occurs in Asian culture is also hugely important under Samoan tikanga, so our generation tends to obey the orders of our elders in public situations even if it means going round their back later on to achieve what you set out to do anyway. Your working role in society, whether you are a doctor or a cleaner, is not seen as important just as long as you contribute to the betterment of the community and taking care of your family. It is a little bit more complex, as people in a profession such as lawyers and doctors are given respect, and those who go to university and get degrees generate a lot of pride for their families, but people who have manual jobs aren’t looked down on in the same way that they often are in palagi society. I think that this comes to the fact that what you do reflects on your extended family. If you get a degree, your whole family is seen in a positive light, and similarly if you do something wrong, it brings shame on your whole family. Traditionally, if someone does something wrong the wrong extended family must perform an ifoga which is them sitting in-front of the wronged family’s house until they are forgiven. This can take hours or even days. For performers, their performance could reflect well or poorly on their whole family so this perhaps adds to the pressure. Cooking for example is both the realm of the man and woman and no social stigma is associated with any role (so long as you are not being put in prison for any negative actions.) Thus the ones scoring extra points on their Matai status are the ones that are up at 430am preparing the taro, breadfruit, bananas and pig meat for the underground cooking stove (umu). ‘O le la ile pule o le tautua – the pathway to leadership is through service, and like many cultures it's a matter of putting your ego at the door before stepping in to take on the daily tasks. Timing is also important – people talk about “Island Time” but in fact people are often late because family comes first. If the family needs you, that is the top priority, all else is secondary and must be sorted before someone gets to school, attends a show, or whatever. Christian religion is also very important to Samoans. Grace is always said before meals, and evening loto or church happens every night. Perhaps for a theatre production it would be appropriate for prayers to be said to ensure the performance goes well and to thank those involved and God of course. And eating is a whole other minefield with elders and those of higher status (including guests) eating first. Then adults, small children, and then youth. If food was involved this is the order that serving should happen and the young people should serve the elders. One other aspect of our culture which might be important to note when it comes to the theatre industry is the fact that performances, weddings, funerals or church services can go on for a long time so it is common for members of our society to come and go as need be - even in the middle of the ceremony. This would be seen as disrespectful in European circles, especially in most theatre shows as well. Thus a little bit of cultural flexibility goes a long way to weaving these varied life approaches practically into 21st Century New Zealand. For example, just like in Māoridom, my Pacific brothers and sisters will take their kids along to the performances and yell and cheer when the situation requires. It just adds to the sense of occasion. David Mamea: Theatre collaborator — sometime producer, playwright during rehearsals, etc:
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