This book examines the relationships between theatrical representations and socio-political aspects of Rapa Nui culture from pre-colonial times to the present.
This is the first book written about the production of Rapa Nui theatre, which is understood as a unique and culturally distinct performance tradition. Using a multilingual approach, this book journeys through Oceania, reclaiming a sense of connection and reflecting on synergies between performances of Oceanic cultures beyond imagined national boundaries. The author argues for a holistic and inclusive understanding of Rapa Nui theatre as encompassing and being inspired by diverse aspects of Rapa Nui performance cultures, festivals, and art forms.
This book will be of great interest to students and scholars of Indigenous studies, Pacific Island studies, performance, anthropology, theatre education and Rapa Nui community, especially schoolchildren from the island who are learning about their own heritage.
Author(s): Moira S. Fortin Cornejo
Series: Routledge Advances in Theatre & Performance Studies
Publisher: Routledge
Year: 2022
Language: English
Pages: 226
City: London
Cover
Half Title
Series Information
Title Page
Copyright Page
Dedication
Table of Contents
Note on Contributor
Acknowledgements
Figures
Glossary of Cultural Terms
Preface
Prologue
Part Act One Rapa Nui Theatre and the Oceanic Context
Scene I Storytelling and the Transmission of Knowledge Through the Performing Arts
Notes
References
Scene II The Conceptualization of Theatre in the Pacific and Its Impact Envisaging Contemporary Theatre Practices
Community Theatre
Popular Theatre
Touristic Performances
Notes
References
Scene III Exploring the Construction of the ‘Traditional’ and the Contemporary: Implications and Consequences for Cultural ...
Notes
References
Part Act Two Navigating an Ongoing Colonial Relationship Between Rapa Nui and Chile and Its Implications to the Rapa Nui ...
Scene I Rapa Nui, Social Change, and the Ongoing Impacts of Encounters With European Explorers
Note
References
Scene II Isla De Pascua, a Chilean Colony in the Pacific
References
Scene III The Modernisation of Rapa Nui and Influences On Rapa Nui Performing Arts
Notes
References
Part Act Three ‘A’amu Tuai, the Production of Rapa Nui Theatre
Scene I The Significance of Ceremonial Performances in the Emergence of Rapa Nui Theatre
References
Scene II ‘A’amu Tuai – the Indigenous Form of Rapa Nui Theatre
References
Scene III Koro – The Spark Igniting the Production of Rapa Nui Theatre
Different Types of Koro
Figures and Masks Used in Koro
Notes
References
Scene IV Miro O‘one: Performing the Other From an Indigenous Perspective
References
Scene V Tapati Rapa Nui, the Ultimate Venue for the Expression, Performance, and Recreation of Rapa Nui Indigenous Identity
Notes
References
Scene VI Mahana O Te Re’o and Ka Ta.i Te Ako – Celebrating and Revitalising the Rapa Nui Language Through Performance
Ka Ta.i Te Ako
Notes
References
Scene VII The First Theatre Company of Rapa Nui – Mata Tu‘u Hotu Iti
Notes
References
Scene VIII Artistic Expressions Used in the Production of Rapa Nui Theatre
Conceptual Expressions of Rapa Nui Performance Culture: Music and Dance
Physical Expressions of Rapa Nui Performance Culture: Costume, Wooden Carvings, and Performance Space
Symbolic Expressions of Rapa Nui Performance Culture: Takona and Kai-Kai
Literary Expressions of Rapa Nui Performance Culture: Lyrics and Oral Narratives.
Note
References
Scene IX The Formalisation of Rapa Nui Theatre
References
Scene X Theatrical Performances Beyond Tapati Rapa Nui – Theatre in the Community
Nanue Para and ‘A Heru ‘A Patu (1995): Directed By Antonia Zegers
Ka Ori Kavakava. Nuku Te Maŋo: Articulated Sculptures (2001): Created, Written, Composed and Directed By Sofía Abarca
Hetereki ‘A Rau Nui (2008): Directed By Carlos Lillo Haoa and Aldea Educativa Hoŋa'a O Te Mana
Honu Ure Mea Mea (2009): Directed By Ema Pakomio, Petero Huke and Moira Fortin
Por Los Ojos de… (2011): Directed By Annette Rapu Zamora and Moira Fortin
He Tomo O Te Ariki Ko Hotu Matu‘a Ki Haŋa Rau (2021) – Organised By Ma‘u Henua.
Notes
References
Epilogue
References
Bibliography
Index
