Unearthing Cultural Resonance: Contextualizing and Staging a Significant Moment in Ola N Iwi. Mana, integral to the identity of Polynesian peoples and associated with “chiefs [and always tied to the power of the gods]”, is one of several Hawai’ian cultural concepts that Victoria Nalani Kneubuhl’s Ola N Iwi (The Bones Live) explores, illuminating the depth of island culture. The play introduces the various meanings and manifestations of mana, ranging from subtle hints to characters explaining the concept itself in their own words. This exploration highlights the broadness of mana and its weight in Polynesian communities, paving way for a deeper analysis of cultural implications and portrayals within the narrative. If I were staging Ola N Iwi …show more content…
I aim to create an environment in which I encapsulate both the audience and actors with warmth and acceptance. To begin, mana is a multifaceted concept that truly exemplifies the passion and grit of Polynesian peoples. Though the definition of mana tends to be quite ambiguous, it is generally agreed upon that mana is the spiritual power people possess. That being said, mana is much more fluid than what the surface shows, flowing through several aspects of the lives of islanders. Nonetheless, the term mana encompasses an abundance of meanings and interpretations, granting it a central role within Polynesian culture. Beyond being a god or spiritual power, mana embodies the nature of life itself, being “expressed in everything from …show more content…
In an effort to make a sense of spirituality and respect for Hawai’ian tradition the main focus, several components can be implemented. Having Nanea wear a traditional muumuu (dress) would create a visual representation of the gravity of the scene. Additionally, dimmer lighting can be used to house the spiritual nature of the performance. Along with this, subtle changes in colours could be shown on screen in the background in order to shine light on the fact that Nanea is trying to convey to the audience that she is a spirit. Moreover, nature-like elements like trees, flowers, or grass could be added to symbolize the relationship between Hawai’ian people and the natural world around them. In terms of sound, sound effects such as atmospheric music, blowing of the wind, or traditional Hawai’ian chants could be integrated in order to activate all the senses within the
In the chronological, descriptive ethnography Nest in the Wind, Martha Ward described her experience on the rainy, Micronesian island of Pohnpei using both the concepts of anthropological research and personal, underlying realities of participant observation to convey a genuine depiction of the people of Pohnpei. Ward’s objective in writing Nest in the Wind was to document the concrete, specific events of Pohnpeian everyday life and traditions through decades of change. While informing the reader of the rich beliefs, practices, and legends circulated among the people of Pohnpei, the ethnography also documents the effects of the change itself: the island’s adaptation to the age of globalization and the survival of pre-colonial culture.
The role of a kahuna in the Hawaiian culture takes on the responsibility of keeping a balance between the people and the nation. In doing so, they apply their field of expertise towards assisting the aliʻi and the makaʻāinana. In ancient Hawai’i, there were many different types of kāhuna that had a skill set that contributed or benefited the community. In this paper I will discuss the different ways a kahuna achieves this type of balance within the lāhui. These kuleana include advising the aliʻi to make pono decisions, guiding the makaʻāinana in their daily lives and practices, and taking care of the spiritual side of the Hawaiian culture and traditional practices of the people.
The Hawaiian culture is known throughout the western world for their extravagant luaus, beautiful islands, and a language that comes nowhere near being pronounceable to anyone but a Hawaiian. Whenever someone wants to “get away” their first thought is to sit on the beach in Hawai’i with a Mai tai in their hand and watch the sun go down. Haunani-Kay Trask is a native Hawaiian educated on the mainland because it was believed to provide a better education. She questioned the stories of her heritage she heard as a child when she began learning of her ancestors in books at school. Confused by which story was correct, she returned to Hawai’i and discovered that the books of the mainland schools had been all wrong and her heritage was correctly told through the language and teachings of her own people. With her use of pathos and connotative language, Trask does a fine job of defending her argument that the western world destroyed her vibrant Hawaiian culture.
Mana was spiritual energy infused in most people and things, including words. Chiefs were thought to have more mana than others; while a small group of people called kauw [untouchables] had none. The Kauw, were forced to live apart from everyone else, so their lack of mana wouldn't drain it away from others (Segisys). Instilling of the Kapu, just like the caste system in India, those who were at the bottom of the social ladder were not allowed to have any type of contact with the higher class, and even less with the chief’s. One Kapu law included punishment to those who would cast their shadow on a king/chief and even those who attempt to look at them directly in the eye. Other examples of these regulations included the forbiddance of men and women from eating together or ...
An important theme in Potiki is the enduring idea that creating and sharing stories as a central part of being human is important. It is a significant theme because the novel is heavily imbued with Maori culture, in which the stories and spoken teachings are given prominence, and also because it is a popular belief that people need narratives to give meaning, structure and value to their lives. This theme is displayed resolutely and poignantly in Potiki’s plot, characters, setting and symbolism, as the people of a small rural New Zealand community rediscover themselves through stories spoken and found in Maori carvings. The idea that humans need narratives is the core theme in Potiki, and it is used also to link other themes and aspects of the novel; it is in this way that we know the idea of storytelling is an intrinsic part of the novel’s structure.
A serious rebirth in Polynesian culture and traditions arouse after the voyages by the Hokule'a. In 1975 a replica of a Polynesian voyaging can...
In the 1960s-1970s, the Hawaiian Renaissance and growth of the Hawaiian Sovereignty Movement began. During this time there were small, yet important events that sparked a completely new understanding for the Kanaka Maoli. In the past, being a Hawaiian was not something to be proud of; many did not even have much knowledge of what being a Hawaiian really was. As Hawai‘i became more colonialized and heavily influenced by various cultures, the quality of being a Hawaiian slowly but terrifyingly disintegrated. It seems that right after statehood, there was a sense that a new era would come.
Hawaii is a top vacation destination by many tourists all over the world. When Hawaii comes to mind many people and different cultures imagine sandy beaches, warm, blue waters, lush green backdrops, Hula dancers in grass skirts with flowers in their hair and leis around their necks. These visual representations are iconic symbols of Hawaii and of what many have come to define as Hawaiian. These images and ideas painted by the visitor industry most often take place at the expense of the Hawaiians historic culture. These stereotypes conjured up by the tourist indus...
Hawai'i is a land full of diverse people and ideas, starting from the Polynesians who decided to cross the ocean to settle and form the traditions practiced today by the Hawaiians. Unlike many other states, the beliefs of Hawai'i have managed to stay alive. Its unique culture is what attracts tourists most. Many people see it as a vacation spot, full of fun attractions and say, “When I go to Hawai'i I'm going to get some Hawaiian tattoos, they look so cool!” or “I'm going to buy a hula skirt, they're really pretty!” But all those hula dances and tattoos are not just for show. People do not know that there is more to it than ink or hip swaying; behind every hula skirt and every tattoo there is a story. Hawai’i’s culture consists of the significance of its dances, tattoos, and traditions that give Hawaiians their unique lifestyle.
Hawaiian is unique among the fifty states, especially in regards to its native music form, which is still preformed, and captivates audiences even today. Hawaiian chanting, music, and dance are not only key parts of life on the island, but have also become cultural icons as well as profound symbols of nature and religion in Hawaii. Hawaii has a rich history, beginning with the early settlers from Polynesia who brought their traditions and religions to Hawaii. Over the years, the inhabitants took those traditions and adapted them to their new home, creating the definitive culture that, even with Western influences, still is a captivating force within the society.
The Polynesian peoples have a lifestyle quite different than that of any other culture, as living on an island requires a level of flexible adaptability in order to cope with such a different, sometimes difficult environment. We see the way diverse cultures build their lives around their circumstances and how they respect them in their cultural myths and stories. The Polynesian legends emphasize the physical environment that they live in. They are quite different than any other region in the world, but the beauty and individuality of the Polynesian culture is prominent as seen in their mythology.
...nts of the cultural ritualistic ceremonies that have survived in St. Lucia. Walcott shows how his epic is different from the traditional epic and writes:
Applied Theatre work includes Theatre-in-Education, Community and Team-building, Conflict Resolution, and Political theatre, to name just a few of its uses. However, Christopher Balme states that “Grotowski define acting as a communicative process with spectators and not just as a production problem of the actor” (Balme, 2008: 25). Applied Theatre practices may adopt the following “theatrical transactions that involve participants in different participative relationships” such as Theatre for a community, Theatre with a community and Theatre by a community Prentki & Preston (2009: 10). Whereas, applied theatre one of its most major powers is that it gives voice to the voiceless and it is a theatre for, by, and with the people. However, Applied Theatre practitioners are devising educational and entertaining performances bringing personal stories to life and build
Nevertheless, the question at hand is whether theatre will have a role in the society of the future, where cinema, digital television, and computers will continue to expand and grow. The answer to this question is yes. Heading into the 21st century, theatre will only be a fraction in a solid media industry. However, despite all the excitement technology brings with it, they will never replace theatre because it has something that can not be recreated or offered anywhere else. The cinema and its larger than life world appeals as an affordable alternative. Digital television provides digital interaction between the viewer and the producer. Theatre on the other hand, and its contents may take on a larger dimension, but we receive it directly in flesh and blood – one to one. The magical atmosphere between an actor and spectator who are constantly aware of each other and the theatre’s level of engagement is fundamentally more human and far more intimate.
The Te Tiriti o Waitangi was a contract that Maori people believe to be an acknowledgement of their existence and their prior occupation to the land, give respect to their language, culture and belief and “it established the regime not for uni-culturalism, but for bi-culturalism” (Sorrenson, 2004 p. 162). This essay discusses the historical events, attitudes and beliefs regarding Te reo Maori, its relationship to the Te Tiriti o Waitangi and the significance of bicultural practice in early childhood education.