| Waiora Te Ūkaipō - The Homeland | |
|---|---|
| Written by | Hone Kouka |
| Date premiered | 15 March 1996 |
| Original language | English, with some te reo Māori |
| Subject | urban migration, connection to land and culture, Māori, whakapapa |
Waiora Te Ūkaipō - The Homeland is a 1996 play by New Zealand playwright Hone Kouka. The play describes the social dislocation that happens to Māori who leave their tribal lands. It is the first part of a trilogy with Homefires (1998) and The Prophet (2004), and the teenagers of The Prophet are the children of Waiora's Amiria, Rongo and Boyboy.[1]
History
The play was commissioned by the Wellington International Festival of the Arts. Kouka has described the play as about immigrants, writing "unfortunately the immigrants in the play are Māori, displaced in their own country." The play was published by Huia Publishers in 2007 and then by Playmarket in 2019. Kouka says of the play that it is play is big in scope and 'naturalistic and impressionistic'.[2]
Characters
The Whanau (family)
- John/Hone - the father, late thirties, has always worked outside
- Sue/Wai Te Atatu - the mother, had her children in her teens
- Amiria - 19, eldest daughter, a beauty, thinks of herself as Pākehā
- Rongo - 18, daddy's girl, sings like a tūī, but not since leaving Waiora
- Boyboy - 16, whangai (adopted), sporty, loves the outdoors
The Guests
- Steve Campbell - Hone's boss, Pākehā, late 30s or early 40s.
- Louise Stones - a secondary school teacher, twenties, Pākehā, outspoken, liberal and not a local
- The Tīpuna (ancestors) - a group of four ancestors, whose focus is Rongo. A metaphor for what has been left behind.
- The Stranger: one of the tīpuna
Synopsis
The play is set on a beach, on the east coast of the South Island in late summer, March, in the year 1965. The Waiora of the title is a fictional place on the East Coast of the North Island. Hone has recently moved his family to the South Island for work in a timber mill. The whanau have gathered on the beach to celebrate Rongo's 18th birthday, and have invited Louise, as Wai's friend and Boyboy's teacher, and Steve as guest of honour. The whanau are expecting Steve to promote Hone (who Steve calls John) to foreman at the mill.
The play opens with the tīpuna walking on the beach, singing of their sadness at leaving their original homeland with the waiata "Taukuri e". Now the place is prepared, the whanau arrive to set up for their celebration. Boyboy is proud to be putting down his first hangi, but in his desperation to please Hone, leaves the fire unattended to collect mussels, and the fire gets out of control.
Louise presses Steve to tell Hone about the promotion, but Steve tells her he has a bonus for Hone, not a promotion. Boyboy overhears, and reveals to the whanau that Steve isn't going to promote Hone because he is Māori and it wouldn't be accepted. Amiria admits that she is going to marry her Pākeha boyfriend and move to Auckland. Rongo retreats and withdraws from the conflict and is later found unresponsive in the water. Through karakia and haka she is brought back from the tīpuna.
Productions
| Production | Date | Crew | Cast | Ref |
|---|---|---|---|---|
| Hannah Playhouse, Wellington, part of the NZ International Festival of the Arts[3] | 15–24 March 1996 | Director: Murray Lynch
Musical director: Laughton Pattrick Stage manager: Anthony Hodgkin Producer: Fenn Gordon Lighting design: Ivan Morundi Set design: John Parker Costume design: John Parker Script advisor: Philippa Campbell Haka & Waiata: Hone Hurihanganui Kaumatua: Bob Wiki |
Hone/John: Rawiri Paratene
Wai/Sue: Tina Cook Amiria: Rachel House Rongo: Nancy Brunning Boyboy: Jason Te Kare Steve Campbell: Mick Rose Louise Stones: Nicola Murphy Tīpuna: Antonio Te Maioha, Grace Hoet, Karl Kite Rangi, Toni Huata |
[3] |
| Return season to Downstage Theatre, Wellington and a tour to Whakatāne and Auckland[4] | 21 April 1997 – 30 April 1997 | Helen Pearse-Otene replaced Toni Huata | [4][5] | |
| Brighton Festival, UK[6] | 1997 | [6] | ||
| Hawai'i, four islands, final performance at Kamehameha School on Oahu | 1998 | [7][8] | ||
| Regent on Broadway, Palmerston North | 10 August 1998 – 15 August 1998 | |||
| Court Theatre, Christchurch[3] | 25 August 1998 – 5 September 1998 | Director: Murray Lynch | [3] | |
| Court Theatre, Christchurch | 13 August – 3 September 2016 | Writer, director, Sound director: Hone Kouka
Stage manager: Jo Bunce Lighting design: Giles Tanner Set design: Mark McEntyre Costume design: Mark McEntyre Sound facilitator/operator: Sean Hawkins Properties Coordinator: Christy Lassen |
Hone/John: Taungaroa Emile
Wai/Sue: Kim Garrett Amiria: Maia Diamond Rongo: Te Awhina Kaiwai-Wanikau Boyboy: Tola Newbery Steve Campbell: Phil Grieve Louise Stones: Hannah Spedding Tīpuna: Sheree Waitoa, Wiremu Waretini, Jared Hiakita, Tania Gilchrist |
|
| Center for Performing Arts, Illinois State University[9] | 30 September – 9 October 2016 | Director: Kim Pereira
Cultural coaching: Jack Gray and Dakota Alcantara-Camacho Lighting designer: Ethan Hollinger Sound designer: Aaron Paolucci Scene designer: Bridgid Burge Music director: Kristin Maroni[10] |
Hone/John: Thomas Russell
Wai/Sue: Brandi Jones Amiria: Emilia Dvorak Rongo: Hannah Spohnholtz Boyboy: Alex Levy Steve Campbell: Mac Byrd Louise Stones: Emma Harmon Tīpuna: William Brown, Anastasia Ferguson, Cayla Jones, Chloe Szot The Stranger: Anthony Harden[10] |
[9] |
| Presented by Wahine Works
Hannah Playhouse, Wellington, part of the 2018 Kia Mau Festival[11] |
Friday 1 June to Saturday 9 June 2018 | Director – William Walker
Set Design/Construction – Cedric Ruawhare Sound Operator – Aaliyah Nordstrand Technical Stage Manager – Karina Lighting Technician – Tim Bell Lighting Technician – Aaliyah Nordstrand General Manager – Kathy Watson Front of House Administrator – Ruby Harrison |
Rongo: Phoenix Karaitiana
Hone: Leihana Shelford Wai: Kayah Thompson Amiria: Zahra Cherrington-Irving Boy Boy: Hana Gilbert Steve Campbell: Meg Robinson Louise Stones: Mollie Jacobson Tipuna: Jerome Tamihana Hau-Northcroft as Stranger Tracey Kingi as Nanny Kasey Harder Cortland Pairama Paea Slade Ngarimu Wyatt |
[11] |
Critical reception
Nancy Brunning remembered a variety of responses to the first productions of Waiora:
"The response to the '96 première of Waiora ranged from standing ovations to heated debates. It brought many Māori together and it angered many Pākehā who were turned off by the portrayal of Pākehā/Māori relationships. Some audiences, Pākehā and Māori alike, took offence at a Māori play daring to say Māori were being treated like immigrants in their own country."[12]
Critic Murray Edmond says "Waiora was the play which gave Hone Kouka a significant presence in New Zealand theatre as a Māori playwright."[1] David O'Donnell considers that the success of plays such as Waiora and Briar Grace-Smith's Purapurawhetū "is partly due to their dynamic fusion of traditional Māori performance traditions with the dramatic structures inherited from European playwriting."[13] The productions at the Brighton Festival and the tour in Hawaii were considered "a great success".[6] Kouka said "Its uniqueness became a highlighted point. Previously we had been in the shadows of New Zealand theatre. From a world viewpoint, it's the other way round." At the Whakatāne performance, the audience replied to the haka with their own.[4]
Sonia Yee, the first Chinese woman graduate of Toi Whakaari, credits Waiora as one of the drama pieces which made her want to go to drama school.[13] Rajeev Verma, part of "Those Indian Guys" in Auckland, also considers Waiora as formative: "I saw this story that was truthful, and it was about people that were relevant to this country. And it had a very clear purpose for our New Zealand community."[13]
References
- ^ a b Edmond, Murray (April 2007). "Te Kaainga/Where The Fire Burns - Hone Kouka's Trilogy: Waiora, Homefires and The Prophet". Australasian Drama Studies. 50: 91–110.
- ^ "Pacific Experiences: Native Playwriting - Kaʻiwakīloumoku - Hawaiian Cultural Center". kaiwakiloumoku.ksbe.edu. Archived from the original on 21 January 2021. Retrieved 8 September 2021.
- ^ a b c d Warrington, Lisa. "Theatre Aotearoa database". Theatre Aotearoa database at the University of Otago. Archived from the original on 20 September 2020. Retrieved 18 October 2021.
- ^ a b c Atkinson, Laurie; O'Donnell, David, eds. (2013). Playmarket 40 : 40 years of playwriting in New Zealand. ISBN 978-0-908607-45-7. OCLC 864712401.
- ^ Smythe, John (2004). Downstage upfront : the first 40 years of New Zealand's longest-running professional theatre. Victoria University Press. ISBN 0-86473-489-1. OCLC 60386677.
- ^ a b c "Home Fires rekindled". New Zealand Herald. Archived from the original on 23 July 2021. Retrieved 23 July 2021.
- ^ "Waiora: Te ū kai pō – The Homeland". Christchurch City Libraries. Archived from the original on 8 September 2021. Retrieved 8 September 2021.
- ^ "Ngā Whakaaro Huritāo: Miriama McDowell". Pantograph Punch. Retrieved 8 September 2021.
- ^ a b ANIOLOWSKI, ERIN (29 September 2016). "School of Theatre to present 'Waiora'". University Wire, Carlsbad.
- ^ a b Music, School of (1 October 2016). "Waiora". School of Theatre and Dance Programs. Illinois State University. Archived from the original on 28 September 2020. Retrieved 2 August 2021.
- ^ a b "PRODUCTION INFORMATION: WAIORA: TE Ū KAI Pō – THE HOMELAND". Theatreview. Archived from the original on 2 June 2021. Retrieved 11 July 2021.
- ^ Sears, Rachel. Waiora Education Pack Archived 2 August 2021 at the Wayback Machine, The Court Theatre.
- ^ a b c Marc Maufort; David O'Donnell, eds. (2007). Performing Aotearoa: New Zealand Theatre and Drama in an Age of Transition. Brussels: Peter Lang. ISBN 978-90-5201-359-6. OL 23674269M.
This page was last edited on 10 November 2023, at 09:38