Tonga's Heilala festival a celebration of culture and heritage
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RNZ News
2 days ago
- RNZ News
Documentary 'The Bones of Our Past' tells history of Takahanga Marae near Kaikōura
More than 30 years ago, in 1992, Takahanga Marae and its wharenui Maru Kaitatea was opened, built on the exact site of a much older whare that stood in the hills above what is now Kaikōura township. The stories of the marae - from it's fundraising and construction through to the 2016 Kaikōura earthquake, when the marae fed and housed tourists trapped in the town - are told through a documentary The Bones of Our Past , released last month. Takahanga Pā trustee Jacqui Te Wani was one of the people interviewed for the documentary and said it was an emotional watch, especially seeing archival footage of people who had since passed away. "It also turned this woman into a weeping willow and that was not a pretty sight," she said. "I looked absolutely horrible. "The major part is those who have gone, but it's just hearing their voices." Te Wani was raised at Oaro, south of Kaikōura, by Rangi and Miriama Solomon, among the people of Ngāti Kuri. Takahanga Marae is the subject of a documentary called The Bones of Our Past. Photo: Supplied/Cilla Harnett "It was my dad's idea and his aspiration to build Takahanga Marae for the Kāti Kuri whānau, but not only for them - for those who decided to make Kaikōura their home away from home." Producer Cilla Harnett said the idea for the documentary began in 2022, when Takahanga Marae was due to celebrate the 30th anniversary of its opening, but due to Covid, the celebrations didn't go ahead. "I had a lot of connections to the marae and to the whānau down there, Kāti Kuri," she said. "Because of that, I was really keen to help out with the celebrations any way I could and usually that's helping out in the kitchen. "I just got to thinking a lot about the marae, and the significance of the artworks on the marae and the wharenui, and the story behind it. "From that, I thought maybe my skills would be better used documenting during the celebrations. The celebrations didn't happen and so, from that, the idea really grew to produce the documentary." Producer Cilla Harnett originally intended documenting the Takahanga Marae's 30th anniversary celebrations. Photo: Supplied/Cilla Harnett So far, Harnett has only heard good things about the documentary from the Kaikōura community. "It's really inspiring for a lot of the younger people to get that insight into their parents and their grandparents of what they'd gone through," she said. "A lot of the older people loved it, because of all the archive [footage] we had in there. "The rest of the general community in Kaikōura, I've only heard good things, which is awesome. There's that little element of the racism that exists in the story and, I mean, that is kind of common in a lot of small towns in New Zealand. "There were a few people who commented, saying they didn't realise things were like that back then, so I guess, for some people, it's a little bit of an eye opener - that's awesome as well." Harnett loved researching and sifting through the archival footage, which was a new experience for her. When work started on the documentary, the main focus was on the arts of the whare, which was designed by the late artist Cliff Whiting, she said. "Working through the whole process, it just became so much richer, when we all learned the breadth of the story," she said. "It wasn't just about the arts, it was also about the community and working together to build the culture back up." The interior of the wharenui Maru Kaitatea, designed by the late Cliff Whiting. Photo: Supplied/Old Beach Farm Productions Te Wani said Whiting was the key to bringing the marae together, teaching the whānau how to weave the tukutuku panels and make the carvings for the new whare. "There's nothing and then there was us, I don't know how to emphasise that any more. We were literally a blank canvas and I know Cliff was shocked to hear that this whānau had nothing, but I think he was just as shocked that this whānau wanted to have everything and he was our key." Te Wani said most of the Takahanga whānau were used to working behind the scenes, but the documentary brought them in front of the camera. "To be honest, it was absolutely terrifying. In our world, it's nice to be behind the scenes and not in front of the camera, so you had to get over being so whakamā [ashamed] and being able to have, not just the ability, but the self esteem and the confidence to sit in front of that camera." Takahanga Pā trustee Jacqui Te Wani was one of the people interviewed for the documentary. Photo: Supplied/Cilla Harnett The making of the documentary was hard work, but belonging to Ngāti Kuri made the story unique, she said. "It kind of takes over your life, but if you have the opportunity, do it. It's best for those who were there to have their kōrero heard and documented, than having it second or thirdhand, and even though it is overwhelming. I tell everybody just go for it, because it's our story." Harnett said they wanted to make sure that the finished product stayed in the hands of Ngāi Tahu in terms of copyright and intellectual property. The documentary ends with a photo montage of many of the people of Takahanga who have died over the years. Te Wani said, when that played to the whānau for the first time, there wasn't a dry eye in the house. "We're very proud that we are the people that we are today, so what I was like back in the day - before my Dad passed, which was in October 1977 - to the woman I am now in 2025, we are a testimony to their teaching," she said. Sign up for Ngā Pitopito Kōrero , a daily newsletter curated by our editors and delivered straight to your inbox every weekday.
RNZ News
2 days ago
- RNZ News
How Samoa's Ballroom scene is carving space for Pacific futures
By Dinah Lewis Boucher , ABC Advocates say the goal isn't just about existing — it's about thriving at home. Photo: ABC / Dinah Lewis Boucher On a warm Tuesday night in Fugalei in Apia, Samoa's capital, the air hums with anticipation as a local hall fills with young people. With the Boom Kaisi Ball just days away, Pacific Rainbow+ youth have gathered for a series of workshops designed to build confidence and community in preparation for their ballroom debut. Rooted in queer Black and Latinx resistance, ballroom culture is an underground art form of performance, fashion, and chosen family now finding resonance in Samoa. It's characterised by elaborate balls, where individuals or "houses" compete in performance and dance categories. Still, beyond competition, it serves as a safe space and chosen family structure for queer individuals, fostering a sense of belonging and self-expression. Miss Samoa Fa'afafine, Ella Ganza says it means a lot to be in 'the motherland' championing community. Photo: ABC / Dinah Lewis Boucher "Ballroom is made for the confident girls," Ella Ganza said on the mic as music started to blast and participants eyed the runway, preparing to walk. As the reigning Miss Samoa Fa'afafine and Mother of the House of Alexander, she guides Samoa's youth through the world of ballroom, a deeply personal mission to uplift her community. "To see the youth, my younger sisters and brothers, be authentic, feel safe, and be celebrated in a way that's just completely them…I cried almost every night after the workshop," she told ABC Pacific. The introduction of ballroom to Samoa is a recent development, with events and workshops aimed at empowering and creating safe spaces. Photo: ABC / Dinah Lewis Boucher "It's not just about the performance - it's about nurturing a space where our young ones feel safe, celebrated, and completely themselves. "This is a calling. And it's a calling not just for us, but for those who stand with us, to serve, to protect, and to help our youth feel seen." Watching on in preparation to walk runway. Photo: ABC / Dinah Lewis Boucher For Rosie, a cisgender woman and chosen house mother, being part of this community is about allyship and chosen family. "Definitely 'chosen family' is how I'd describe it, because they chose me to be their mother," she told ABC Pacific. Rosie, wears pink flower in right ear, stands with the children of her house. Photo: ABC / Dinah Lewis Boucher As someone from outside the queer community, she said the role helped her practice inclusivity and mentor the younger generation. "This environment, with all the laughter and bonding, brings out their confidence and helps them be more expressive," she said. "I hope what they take from this journey is that they are loved - and that they are safe." Ballroom culture developed as a safe space and creative outlet for marginalised LGBTQ+ individuals, particularly Black and Latinx individuals, who faced discrimination in mainstream society. Photo: ABC / Dinah Lewis Boucher In Samoa, gender diversity has long existed outside of Western binary norms. Fa'afafine, meaning "in the manner of a woman", has been part of Samoan society for centuries. Recognised across Samoa as a third gender, fa'afafine embody a gender identity that doesn't fit neatly into male or female categories. "It's an umbrella term," Ella said, "whereas in the Western world, we like to put labels on every little thing. Are you trans? Are you gay? Are you non-binary? Are you bi? "Some could be offended by it [the term Fa'afafine], but for those who truly understand its beauty, and its truth, it is sacred. It's something that belonged to us before colonisation." Workshops aim to create a safe, confident space for Fa'afafine, Fa'atama, and the wider community. Photo: ABC / Dinah Lewis Boucher Across the Pacific, the acronym MVPFAFF+ is used to honour the region's unique and diverse gender identities. The term, coined by community activist and worker Phylesha Brown-Acton, stands for Māhū (Tahiti and Hawaii), Vaka sa lewa lewa (Fiji), Palopa (Papua New Guinea), Fa'afafine (Samoa and American Samoa), Akava'ine (Cook Islands), Fakaleiti or Leiti (Tonga), and Fakafifine (Niue), with the "+" signifying other gender identities still evolving within Pacific communities. Before colonisation and Christianity swept through the region, identities such as Fa'afafine were respected and woven into community life. Today, while many MVPFAFF+ individuals continue to hold cultural significance, many face discrimination. Runway, is one of the categories in Ballroom. Photo: ABC / Dinah Lewis Boucher "Cultural norms can shut down their potential, but events like this let them shine, and show what makes them unique," Rosie told ABC Pacific. "I just want them to be able to let loose, enjoy the night, and finally experience this freedom for themselves. "It means a lot to them. And it means a lot to me." Slay on the runway. Photo: ABC / Dinah Lewis Boucher Samoan human rights activist Maluseu Doris Tulifau of Brown Girl Woke is the event's key organiser, but said her role wasn't to take up space, it was to make space. "I just want the space for them," she said. "The third gender has always existed in Samoa - but it was washed away by colonial lies." Doris Tulifau, organiser behind bringing Ballroom to Samoa. Photo: ABC / Dinah Lewis Boucher One of the biggest challenges, she said, was that many MVPFAFF+ individuals still felt they had to leave the country to be free. "A lot of our love, support, and funding is coming from the diaspora - because many who left knew there wasn't a space for them here," she said, but stressed the goal wasn't to simply exist, but to thrive. For Ella, bringing the ball to Samoa was about creating a space where Pasifika youth can be seen, celebrated and safe. Photo: ABC / Dinah Lewis Boucher "We're building spaces that don't just allow LGBTQ+ youth to survive, but to thrive, right here at home. We don't want performative allyship. We want mentorship. We want advocacy. We want them to stay. "If everyone keeps leaving because of shame, silence, and fear - how will anything ever change?" Ballroom culture aims to provide a space where Samoa's youth are not just seen, but celebrated. Photo: ABC / Dinah Lewis Boucher Now, Ella is focused on modelling confidence, care, and the kind of visibility she didn't see growing up. "Being a chosen mother, the mother of my house - this is my own way of leaving a legacy. I may not have children biologically, but this is still my way of creating family," she said. "Confidence is how you walk into a room, but it's also how you uplift others. That's what I want to teach. That's how we progress. "I want to be what I wanted to see growing up. I wish I could've walked into a community like the one I see now." - ABC
RNZ News
2 days ago
- RNZ News
Fat Freddy's drop founder Chris 'Mu' Faiumu dies
A pioneer of the New Zealand music scene has died. Chris Ta'aloga Faiumu, also known as DJ Mu or Fitchie, was a founder of the band Fat Freddy's Drop. RNZ Music Programmer and long time friend Zen Yates-Fill spoke to Charlotte Cook. Tags: To embed this content on your own webpage, cut and paste the following: See terms of use.
