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"Let the rollercoaster take its course"
Jo Randerson
Jo Randerson
Maori Theatre created in 1970's is a different kettle of fish to today's Maori Theatre. Today's Maori Theatre deserves its own label and to not be thrown into the same category. Does it even need the word Maori in front of it? We are Maori who create theatre.
The target audience is different, the writer's focus is different. It is no longer made for the immediate community. In the 70's, theatre wasn't made with a view to go abroad or to encourage an overseas market. I believe it does need a new focus and new name to take away the responsibility of the writer to be "a voice for all Maori". That might free them up to go crazy and be a real ‘wanker' and not hide away from it.
The truly great artists are the ones who speak so personally that it relates to all our inner beings and our innate curiosity of humanity. I am a strong believer that the more intimately you write, the more globally it speaks. We do want to hear what they think of the world! Artists are observers who provide social commentary and debate.
I have a really good idea where Maori Theatre is at - it's with the writers! Without them no one can do anything! Yes we need to up-skill directors, producers etc. There's always a lack of facilitators but in the end we need stories. I notice too, that since the passing of the great grumpy uncle Wi Kuki and dear Rona Bailey Taki Rua doesn't have the prodding and poking of the wise sages - people who have seen shit happen.
Our writers - and I include myself in this - have become too complacent. What play has Hone Kouka been told to write by his mother? We need those people to prompt us. Just like Aunty Keri, Tungia and Pusi Urale - they were scary but for a good reason - they wanted us to be great.
I believe, we as writers have become complacent because we're not getting funding. Instead of writing it at every blinking free moment we get. If you are hungry for it you will write whenever, wherever and put it on wherever whenever.
I believe we are complacent because we have this thing called Maori Theatre which means that if I write a two hander I'll get a trip overseas to an indig theatre gig. Maori Theatre - yes I am on a rave and have been since the Maori Theatre hui in 06 - is a genre born out of necessity and fashion.
Back then Maori theatre was written to talk to the Maori people about Maori issues. It was about writing for the community to show them what was happening in their world. It wasn't about trying to assuage the non-Maori public's view of Maori or entice them over to our side of the political debate - Maori Theatre was about learning another form of storytelling to remind people of the fights and struggles and passions that Maori have. It's a longer form of a haka - Api Taylor is one of these writers, Rori Hapipi too.
If you ask Maori writers today who they write for they'll probably say- Oh, I write for myself really... One reason might be because they haven't really thought about it to give a decent answer. Another is probably because they haven't thought about anyone else since they got their funding! Now if you ask the actors, directors, producers and dramaturgs who they all work for they'll tell you they work to honour the story. So if they're all working for the story and the writer's working for themselves then they're just having a big W@#K!
When did our Maori writers stop seeing the world around them and all the fuel for their literary fires? As Maori, we are not allowed to have the luxury of playing with themes over and over again like the absurdists or existentialists. We're allowed three shots max at a particular theme but every time we have to be bigger and better! Because the people we represent are so immediately in front of us. We are not allowed to fail.
In truth, the Maori Theatre I've seen lately is more an academic exercise in avoiding the point than being confrontational and provocative.
Maori Theatre is in trouble of remaining a marketing tool to encourage overseas interest and categorise it for publicity reasons. It's also a way for writers who aren't so clued up on tikanga or reo Maori to stop beating themselves up over not knowing. It's an instant "in" or safe haven for Maori who write plays - this does not guarantee Maori Theatre.
It feels like a new story needs to be told now. ‘The old story' feels a little bit preachy and full of Maoritanga, traditional Maori concepts, that, for me, as a contemporary Maori person don't affect me hugely. I find a lot of contemporary Maori people I've spoken to query it along the lines of - ‘If I don't connect with that play does that mean that I don't feel as Maori because that's what Maori theatre is supposed to be?'
Tikanga doesn't have to be in your face. It's in you in the way that you've been bought up, it doesn't have to be a particular element, it can just be by the way we do things. I think I make Maori theatre just because I'm Maori, whether it's in Maori or has Maori content. I think because I am Maori, by the way I behave, my tikanga will influence the project.
I think Albert Belz is a great example. His work still has elements of contemporary concepts and traditional Maori concepts, but not too much where it's a feeling like the older works. I think he's making steps towards something else that personally I would like to see as far as Maori theatre is concerned, which is why I enjoy working with Albert. I think Whero's New Net is a step towards where Maori theatre could be going as far as mixing that stuff up.
When you hear the words Maori theatre you automatically think right, there's going to be an issue, some Maori people are going to be angry about something. There's a set of rules, so you make your decision on going to see the play based on that.
In terms of SmackBang Productions and new Maori playwriting I ask my friends who I know who are writing who are Maori to try and get something to me so that I can help because I would like to see that happen more often. We're finding it hard to find writers at the moment. A lot of people don't have anything new, but now that they know about it they think cool - there's an avenue for me.
I'm pretty positive and excited about the direction that we're moving in, especially doing Whero's New Net at the moment. I feel like we're in a kind of fulcrum of what was and what's meant to be at this point, and I'm excited about that. Because what was before was wonderful, and now we've come to this point and the tension of what is about to happen, is really exciting.