The Lion Foundation Season of Where We Once Belonged

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ATC EDUCATION UNIT TEACHERS’ PACK
The LION FOUNDATION Season of
March 8 – 16
Downstage Theatre, Wellington
March 27 – April 19 Concert Chamber, Auckland Town Hall
Cast Goretti Chadwick, Robbie Magasiva, Pua Magasiva, Anapela Polataivao, Joy Vaele
Director Colin McColl and David Fane
Set Design Michel Tuffery
Costume Design Nic Smillie
Sound Design John Gibson
Lighting Design Tony Rabbit
Stage Manager Lauryn Wati
Production Manager Mark Gosling
Operator Robert Hunte
WHERE WE ONCE BELONGED is 90 minutes long with no interval
Teachers’ Pack compiled and edited by Lynne Cardy
Contributing writers; Trevor Sharp and Siliva Gaugatao Team Solutions
Additional writing by Lynne Cardy
Rehearsal photos by Lauryn Wati
Production Photos by Tony Rabbit
www.atc.co.nz/educationunit
Please note WHERE WE ONCE BELONGED contains occasional strong
language and sexual themes and is suitable for students’ year level 11+
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CONTENTS
SYNOPSIS
CAST OF CHARACTERS
SAMOA IN THE 1970s
TRADITIONAL SAMOAN CREATION MYTH
SAMOAN STORY-TELLING
ADAPTATION – THE NOVEL
ADAPTATION – THE PLAY
THE DEVELOPMENT PROCESS
THE CREATIVE PROCESS:
DIRECTION
SET DESIGN
COSTUME DESIGN
SOUND DESIGN
APPENDIX
MEANING OF THE NAMES OF THE CHARACTERS
GLOSSARY
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SINIVA ACTIVITY
CURRICULUM LINKS
REVIEWS, REFERENCES & LINKS
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SYNOPSIS
Set in Samoa in the 1970’s, the story follows thirteen-year-old Alofa Filiga, her best friends Moa
and Lili and the inhabitants of the fictional village of Malaefou. As Alofa wrestles with her own
womanhood and search for identity she also has to face the often brutal consequences of life in
Malaefou and comes to the realisation that she is an individual – an ‘I’ that is no longer part of the
‘we’.
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CAST OF CHARACTERS
Between them, the cast of five actors play a range of characters from mythological gods and the
market stall-holders of Apia, to Alofa’s friends and relatives in the village of Malaefou.
In the early stages of developing his adaptation of the novel, playwright Dave Armstrong had
written many more characters for the actors to play. In the end, to avoid confusion (for actors and
audience) Dave chose to amalgamate some characters.
Joy Vaele (ALOFA) also plays one other character, ALOFA’S mother PISA.
Anapela Polataivao (MOA) also plays:
MRS SAMASONI – an extremely strict schoolteacher
TAUSI – Alofa’s paternal grandmother, Filiga’s mother
SOIA – an old Catholic Woman
Goretti Chadwick (LILI) also plays:
MISS CUNNINGHAM – a young American Peace Corps volunteer
SINIVA – the fool of Malaefou. A blind old woman who was once very beautiful
FALETUA – the Minister’s wife
Robbie Magasiva (FILIGA – Alofa’s father) also plays:
TAGALOA – God of Creation
The MINISTER
SISIFO – a boy in the village.
FAIPULE – Moa’s strict uncle
Pua Magasiva (LEALOFI the pastor’s son) also plays:
TULI son of Tangaroa - God of Creation.
CLERK – a fafafine
ASU – Filiga’s younger brother
ALAISA FIAOLA-CONFUSION - the half-Chinese Kung Fu loving boy
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SAMOA IN THE 1970S
“Where We Once Belonged is set in 1970s Samoa a society on the cusp of change. Immigration to
New Zealand has begun and the introduction of television has flooded Samoan village life with all
the detritus and ephemera of Western culture. So while village elders and church leaders are
demanding adherence to Fa’a Samoa - the girls of Malaefou village dream of becoming Charlie’s
Angels”.
Director - Colin McColl
Samoa was the first Polynesian state to gain independence obtaining it from New Zealand in 1962.
Key events in Samoa in the 1970’s include:
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Pope John Paul VI visit (1970)
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Fiame Mataafa Mulinuu II - Prime Minister for most of the period
between 1962-1970 and 1973-1975
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The first woman speaker of the Fono was Leaupepe Faima'ala.
(1970-73)
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Rising competition and differences in views between MPs in the
1970s led to the establishment of the first political party - the Human Rights Protection
Party (HRPP) in 1979.
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Tupuola Efi became prime minister – the first time a non-Tama-a-Aiga was chosen as
Prime Minister (1976-1982)
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Increase migration to New Zealand and to the USA mainly for the labour force. (In the
1950s Samoans had ‘free’ access to New Zealand)
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Increase in overseas aid from Australia, Japan, European Union and United Nation
agencies as a result of overtures from the former Soviet Union and China.
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Establishment of Samoa's first national park, O Le Pupu Pue National Park (1978).
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In the late 1970s to early 80s, the Samoa economy was in a critical financial state. The
inflation rate was close to 30 percent, interest rates were very high, foreign exchange
reserves were almost depleted and the Government budgets were producing large deficits.
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Western Samoa joined the British Commonwealth in 1970 and the United Nations in 1976
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As New Zealand's economy deteriorated, rising unemployment led to government moves
to ship "overstayers" back to their islands. This resulted in the infamous "dawn raids" of the
1970s when island overstayers were singled out by immigration authorities and islanders
were stopped at random in the streets and asked for their passports. Charges of racism
fortunately brought a halt to the 5am visits and random street checks. However,
immigration authorities pursued their clamp down on overstayers.
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TRADITIONAL SAMOAN CREATION MYTH
In the opening scene of the play Siniva tells Alofa a story inspired by traditional
Samoan creation myths, like the one below recorded by the Rev. Thomas Powell
The son of Tagaloa was Tuli, and he in the shape of a
bird went down from the heavens to the surface of the
ocean, but finding no place to rest he returned and
complained to his father, who thereon threw down a
stone, which became land, or, according to another
account, fished up the stone from the bottom of the sea
with a fish-hook. The son took possession of this his
dwelling-place, but found that it was partly overflowed by
the swell of the ocean, so that he had to move from
place to place to avoid becoming wet. This annoying
him, he returned to the skies and again complained,
when Tagaloa by means of his fish-hook raised the rock
higher: The name of it was Papa-taoto (the Reclining
Rock); it was succeeded by Papa-sosolo (the Spreading
Rock), and Papa-tu (the Upright Rock). The rock was
covered with earth, or mould, which was then
overspread with grass. After this a fue (convolvulus)
grew and overcame the grass. Having obtained his land, Tuli returned to Tagaloa as there was no
man to reside on it. His father said to him, " You have got your land; what grows on it " Tuli
answered, "The fue." His father bade him go and pull it up, which he did; and on its rotting it
produced two grubs, which moved a little as Tuli watched them, when again he returned to the
heavens and told Tagaloa what had taken place. Upon this he was told to return, taking with him
Tagaloa-tosi (or Gai-tosi) and Tagaloa-va'a-va'ai (or Gai-va'a-va'ai), who were set to work on the
two grubs. They shaped them into the forms of men, beginning at the head, and naming each part
as finished. Both were males. One day, while net-fishing, one of them was injured by a small fish
called the Io, which caused his death.
Again Tuli returned to the heavens, and complained that one of his inhabitants was lost to him.
Gai-tosi was told to return to earth and reanimate the dead body, first changing the sex from male
to female. The two beings formed from the grubs then became man and wife, and from them
sprang the human race.
Following the example set by Tuli, the descendants from these two made occasional visits to
Tagaloa, returning to earth with some benefaction. Losi in this way is said to have brought the taro
to man.
Tuli is also known as Kuri, when he is called a daughter of Tagaloa, and as a bird flew down to look
for dry land. She found a spot, visiting it frequently as it extended, and at one time brought down
the earth and the creeping plant to grow in it.
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SAMOAN STORY-TELLING
“At its heart Where We Once Belonged – is about story-telling in its purest form; the girls sitting
around gossiping, old folk telling the young the history of their families and village – and the
mythology of pre-Christian Samoa”. Director - Colin McColl
The art of story-telling (fagogo) including bedtime stories is an old Samoan skill. It was part of oral
literacy and traditional education. This story (myth, legend,) telling served very significant purposes
which include: the handing down of cultural and moral values, the acquisition of cognitive skills of
comprehension, listening and critical thinking,
numeracy skills, concepts of height, depth and
volume, music skills through the chanting of
legends, geography skills like the spatial
distribution of places, flora and fauna.
Every so often, the storyteller would stop to ask
questions to test our understanding and the
listeners were to say aue every now and then
to show they were paying attention. It was
customary after a hard days work for the
children to be lulled to sleep by the chanting of
the legends.
Goretti Chadwick & Joy Vaele
Traditionally, these stories were passed from generation to generation, and survived solely by
memory. In oral tradition, where stories were passed on by being told and re-told again and again,
the material of any given story during this process naturally underwent several changes and
adaptations.
SUIFEIFILOI
Suifeifiloi describes a form of story-telling that resembles a
‘medley’ of ideas or stories. Individual components which at the
beginning might appear ‘disconnected’ are woven together to
form and enrich one main story. Often this art involves the
conveying of events in words, images, and sounds by
improvisation or embellishment.
“Sia Figiel describes the su’ifefiloi form as like a lei made up of different flowers (stories). I’ve taken
that lei and thrown out a couple of flowers, and rearranged the remaining flowers into a straight
line, but hopefully people will still think the flowers look and smell wonderful”.
Playwright - Dave Armstrong
CHILDREN
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ADAPTATION
Taking a novel from page to stage
THE NOVEL
Published by Kaya Press Sia Figiel's debut novel won the prestigious
Commonwealth Prize and was the first time a novel by a Samoan woman
had been published in the United States. Sia Figiel uses the traditional
Samoan storytelling form of su'ifefiloi to comment on Samoan women and
culture. The novel is a coming-of-age story, which combines poetry with
humor and violence.
We interviewed Sia about the novel, the role of women in Samoan society and
about seeing her work transferred to the stage:
How did the idea for the novel come about?
I was living in Berlin at the time. I was actually on a train between Berlin
and Prague. I was thinking I didn’t see myself reflected in the literature of
Samoa at the time. When I say myself, I mean woman. It just didn’t
exist…which is why I felt compelled to write, to tell a female story from a
female perspective.
How was the novel received in Samoa when first published?
A lot of people responded positively about the novel, I think because of
the recognition of themselves in the narrative. That’s not to say there weren’t
Sia Figiel
any negative responses. By negative I mean people who did not want Samoa’s ‘dirty laundry’ to be
aired in public. As far as those people were concerned, these are ‘our’ stories and only ‘we’ have
access to them. I’m sure there are still people who feel that way, but they are outweighed by the
majority of people who see themselves in the narrative and appreciate the book for what it is.
How is it received today in Samoa?
I live in American Samoa. There the book is being taught at the community college and it’s taught
by people who studied it and people who I am friends with. It’s amazing to see students’ responses
to it. There is the recognition aspect of it and seeing themselves in a form that is western - the
novel. They say things like, “That’s just like us!” and it’s comforting to know that I haven’t sung out
of tune that way.
How much has changed in Samoa in the role of women in society and in attitudes to
violence since when the novel is set?
There are so many more billboards against violence to women now. People are so much more
open to discussing sexual violence. There’s an openness there that didn’t exist when I wrote the
book and certainly not while I was growing up.
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Tell us about the first approach to you to adapt the novel for stage. What were your initial
reactions?
Well, I was in Honolulu when I got the note from Dave introducing himself. He had worked with my
former classmate Oscar Kightley and my cousin Dave Fane, so I knew he had some exposure to
PI life. I said yes almost immediately. I was curious to see a palagi man’s interpretation of my work.
Did you have any misgivings about what might happen to your story?
Not really. I believe in artistic expression and I told myself that whatever Dave came up with would
be HIS interpretation of the book. There were no restrictions. I didn’t want to set limitations.
Otherwise it would have been boring.
Have you been involved in any way in the development process? If so, how?
Dave and I met in Otara once. We talked things over. It was fantastic to have someone to talk with
who knew the book from a different perspective. What I really appreciated from Dave is that he
knew the book. He really did do his homework in that sense. That’s what I appreciated about him
the most. His dedication to the book really comes across. I didn’t like the first draft…LOVED the
second draft! And I crossed things out that I thought weren’t funny…and things that I didn’t mean to
be funny but were over-dramatised. I gave him my comments. But what was most exciting is that
the Dialogue is lifted one hundred per cent from the book. There’s very little that Dave added. The
chronology of course was switched around…but the people are talking the way I had written them
so I was very happy about that!
What are your feelings about the prospect of seeing your creations on the stage when it
premiers in Wellington?
Can’t wait! It’s been a long journey…I mean, it’s been two years since I was first approached. And
to see it finally come to life is terribly exciting!
Joy Vaele & Robbie Magasiva in rehearsal (L) and onstage (R)
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THE ADAPTATION
We asked playwright Dave Armstrong why he wanted to adapt
the novel for the stage, the challenges of adapting Sia’s work
and the themes of the play:
How did you come by the idea of adapting Where We Once Belonged to
the stage?
I read the book quite a long time ago and when reading it I thought it would make a great movie.
Then Auckland Theatre Company called for applications for commissions for plays and mentioned
that adapted novels would be accepted as well as original plays. I thought Where We Once
Belonged could make a good play so I applied for a commission and was successful.
What strengths did you see in the novel that would make it successful in the new genre?
Sia’s novel has fabulous dialogue and some wonderful characters, especially the three girls, Alofa,
Moa and Lili. It had some very funny moments that made me laugh out loud – rare in novel from
this part of the world. I knew a lot of the novel would work brilliantly on stage and that New Zealand
theatre audiences are getting more and more interested in Pacific stories. The novel also had a
good plot and some very interesting and strong things to say about a lot of issues. Now that we
have some phenomenally good Pacific actors in New Zealand, I knew that Sia’s wonderful story
could be well told in the dramatic form.
What problems did you foresee if any?
Yes a few problems in turning it into a play. Firstly Sia’s book is over 200 pages long so there
simply wasn’t the time to tell all the stories in the book. I simply focussed on Alofa’s story and told
that. There was a lot of narration by Alofa in the book so rather than cut the narration I made the
Alofa character in the play the narrator also. There are very many characters in the novel, which
can get very confusing in a play, so I cut down the number of characters.
Also, the plot in the book jumps around in time a bit. It starts when Alofa is quite old (about 17)
goes back in time, then jumps forward. I’m a bit more conservative (as is the theatre audience) so I
attempted to make the story more chronological as I thought a play audience might find the original
order of stories a little confusing on stage.
What do you see as the key ideas in the novel?
There are many ideas in the novel which is what makes it so good: the idea that TV and other
Western influences are stuffing up indigenous people; that all cultures should look to their ancient
stories and mythologies for inspiration; that it’s tough growing up in a Samoan village if you’re a
cheeky girl; that a lot more goes on in a Samoan village than meets the eyes of palagi tourists (like
me!); that human beings are wonderful people who struggle against terrible things to come out
better and stronger; and that finding your own identity in a communal or repressive society is
difficult but well worth the effort in the end because, like Alofa, you can become a strong individual.
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The drama medium is very different from that of a novel. How rigorously have you kept to
the themes of the novel?
I think I’ve kept to the same main themes, but sometimes treated them differently. Some of the
themes in the novel are quite hard to put ‘on stage,’ whereas other themes were much easier, so I
may have changed the emphasis slightly. There are some great themes and stories in the novel
that aren’t in the play, which is why I tell everyone who’s enjoyed the play to read the novel.
The mood of the novel is somewhat darker than that of the play. Do you agree?
I sort of agree and disagree. I think some of the darkest parts of the story involve Filiga’s
psychological and physical violence to Alofa. This forms the climax of the play so I feel I haven’t
weakened or sanitised the novel. The reason for not including more dark stuff wasn’t because I
wanted to tone down the novel – it’s just that it didn’t fit the play form as well. That said, Sia’s novel
is wonderfully funny in parts and humour is an incredibly important part of the novel.
The novel is written in the su’ifefiloi form but you have made major changes to the order of
telling that Sia Figiel uses. What sorts of considerations prompted your changes?
A good yet difficult question! Most people who go to plays in this country are palagi and don’t have
a clue about Pacific culture. I’m not justifying that but that’s the way it is. They also often expect a
chronological narrative.
When thinking about the different audiences that would see this play I
felt that the chapter in the middle of the book about the creation of
Samoa was a good place to start – I suppose a sort of ‘introduction’
to it all. Then I thought the stuff about the creation of ‘modern’ Samoa
was a good next step as it presents well one of the themes of the
play – the conflict between Christianity and Western values on one
hand, and traditional Samoan values and mythologies on the other.
The next scene is at the Makeki Fou in Apia. Again, this gives the
audience a ‘taste’ of Samoan life before we move to Malaefou and
start the ‘journey’ of Alofa’s life. The end of the play is almost
identical to the end of the novel.
Joy Vaele & Robbie Magasiva in rehearsal
You are not of Samoan heritage. Has this been an issue in any way in your work? How have
you managed with finer points of language and custom?
I am a palagi New Zealander of English and Scandinavian heritage. I’ve had a lot to do with Pacific
culture and theatre (I wrote Niu Sila with Oscar Kightley, created The Semisis on Skitz and was
script editor on the first series of Bro’town) but I am definitely an ‘outsider’. But I believe this can be
both a good and bad thing. On one hand I don’t have the intimate cultural and linguistic knowledge
that a Samoan writer may have, but on the other I don’t have to answer to relatives or the church
about the strong material! Of course, not being a Samoan speaker, I’m very sensitive to any
mistakes I may have made in translations or cultural stuff so if Samoan actors tell me something
sounds or feels wrong then of course, I change it.
I think the best thing of all about this play is that I think it will persuade people who would never
have considered reading a novel such as Where We Once Belonged to take a look at it.
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THE DEVELOPMENT PROCESS
Auckland Theatre Company originally commissioned Dave Armstrong to adapt Sia Figiel’s novel in
2005. The play has undergone a long development process including a public play reading and
intensive work-shopping as part of Auckland Theatre Company’s ‘The Next Stage’ season.
The play was then jointly commissioned with the New Zealand International Arts Festival to bring it
to the stage in 2008.
We asked Auckland Theatre Company Artistic Director Colin McColl why the
company chose to develop this play:
“Auckland is the largest Polynesian city in the world
and at Auckland Theatre Company we acknowledge
that by including Pacifica work in our programme mix.
To date we have looked at a particular Samoan
experience within New Zealand society in plays like Niu
Sila and The Songmakers Chair.
(L-R) Joy Vaele, Goretti Chadwick & Anapela Polataivao
As a point of difference we have decided it would be interesting to look at Samoan stories based in
Samoa. I admire Dave Armstrong’s work and when he presented the idea of adapting Sia Figiel's
novel I was sold”.
We also talked to Dave Armstrong about the effect the development process
had on his work, and asked him to describe the journey:
Firstly, I read the book quite a few times. Then I picked out which chapters to dramatise. I wrote a
first draft which was way too long for the 90-minute play I was commissioned to write, so I cut a few
scenes at the first workshop we had. Since then I’ve been rewriting and making minor adjustments
to the script all the time.
When we had a second two-week workshop where we brought the character of Siniva into the
story much more and made minor changes to the script – cutting lines, re-ordering scenes and
giving lines to different characters. I found myself cutting up long speeches into shorter pieces for
different actors to say as longer speeches sometimes drag on stage.
The directors, David Fane and Colin McColl, had quite a bit of input, as did the workshop actors.
At the end of the workshop we performed the play as a reading for three performances (simple
lighting, sets and music, and the actors had the scripts in their hand). It went down really well so
Auckland Theatre Company and the New Zealand International Festival decided to programme it.
How much has the process affected your initial idea of the form and content of the play?
It’s definitely had an effect because I’ve found out what’s worked and what hasn’t worked as well. I
think the biggest single things the workshop brought out are a) the beauty of Sia’s poetry and
descriptive prose b) the importance of Siniva in the story. Without the workshops, both these
elements may not be as predominant in the play as they are now.
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THE CREATIVE PROCESS
DIRECTION – Colin McColl
The play is staged in traverse, why?
“We believe this is the way Where We Once Belonged should be staged, in
Fale style where the audience sits around the performance area.
The production is very simply but very effectively staged. No tricks, no
fancy lighting or complicated sound effects to clutter the effect of the honest
story-telling.
Traverse Staging
What have you enjoyed about directing the play?
The play is at one and the same time comic and
tragic. Alofa and her friends Lili and Moa are a quickwitted and spirited unit laughing at everything life
chucks at them but as they reach towards adulthood
they each have to confront their own personal
histories and individualities. And while there’s lots of
good humour about the simplicity and naivety of
village life – there’s also horror at the violence, the
entrenched conservatism, and the reluctance to deal
with change.
Robbie Magasiva & Pua Magasiva
Also it was an opportunity for me to work again with some of the profession’s most generous and
playful actors”.
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SET DESIGN - Michel Tuffery
Leading artist Michel Tuffery has created a contemporary space with
subtle use of Samoan motifs.
A large transparent
Perspex Palm frond
hovers over the
transparent Perspex
stage at once locating
the work in Samoa and providing a curved roof
to the performance space similar to a fale.
“The transparency of the palm and the stage
floor are integral to the work. I wanted to place
Alofa is an environment where nothing she thinks is private; Alofa’s world is totally open to the
scrutiny of her family and other villagers.” (Michel Tuffery)
Although open to interpretation, the palm frond might also represent:
• A whale
• A spine
• A skeleton
• And the reflection of the palm frond onto the stage floor creates
shadows that change and move during the course of the play.
ACTIVITY: What do you think about the palm frond? What else does it represent?
How successfully does it evoke the world of the play?
Michel also wanted to incorporate traditional
Samoan objects made with contemporary materials
that would challenge audience perceptions of
island culture - hence the benches also made from
transparent Perspex.
Originally the design concept had involved an AV
component projected through the Perspex stage
floor, but this concept was abandoned in favour of
a pared back simplified set that would not detract
from the strength of the acting and of the narrative.
“Playing on familiar elements was integral to the overall concept
design, which required being intrinsically Samoan yet relatable
and universal in form between Aotearoa (New Zealand) and
Samoa”. (Michel Tuffery
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COSTUME DESIGN – Nic Smillie
Nic Smillie was inspired by the post Christian Samoan tradition of wearing Sunday
whites.
Nic felt that the white tops and light lavalavas would also create a blank canvas for the actors to
incorporate their many character changes and for lighting effects to play off.
Costume Sketch – Nic Smillie
The print for the lavalavas was also designed by Nic. It reflects 1970’s Samoa with many
contemporary references; planes, coke bottles, tins of corned beef and televisions, interspersed
with images of Jesus and more traditional frangipani flowers and patterns.
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SOUND – John Gibson
There is no pre-recorded music in Where We Once
Belonged, all of the music is performed live by the
cast who create a ‘sound world’ using song, their
voices, their bodies and simple percussion.
Sound Designer John Gibson says the music in the
play is like the thread of the lei – holding the flowers
together – so if you like, in the narrative, the music is
the thread that holds the stories together.
Song is an important part of the sound design; songs sung include traditional Samoan hymns
brought into rehearsal by the cast, as well as the Samoan national anthem, popular songs from the
1970’s (and even the Charlies Angels TV theme tune) and a song written especially for the play
(Siniva’s song) by John.
Four part harmonies abound and songs are layered over each other. In the market scene in the
Makeki Fou in Apia, for example, songs are sung continually underneath the cries of the market
stall holders, building the sound world and creating the atmosphere of the market place.
HOW MUCH SOUND CAN YOU GET OUT OF A
JANDAL?
Because the directors wanted to keep the elements (props, set &
costume) of the play as minimal as possible, when John worked with the
cast to create sound – he focused on one instrument - the iconic jandal.
The cast had to find as many different sounds as possible using jandals
as instruments.
They found seven different sounds, experimenting with different planes
of the jandal (the side, the sole) and different types of jandal. Sounds
created range from the drumming underscoring the Samoan Myth
sequence, to the sounds of trees, water, frogs and even a lizard
snoring.
Pua Magasiva, Anapela Polataivao & John Gibson in rehearsal
ACTIVITY
In groups and using found objects, body and voice create a soundscape to evoke a particular
country or environment.
Listen with your eyes closed (and back turned) as each group performs their soundscape and
guess which country each group is creating.
Explore incorporating your soundscape into a scripted or devised performance.
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MEANING IN THE NAMES OF CHARACTERS
The names of the majority of characters provide an
element of humour to those who have access to the
Samoan language, and significant clues to the roles
and characteristics of these characters.
While the literal translation of the names might give
away some clues to their meaning, there are still a
number of ‘hidden’ inferences that only familiarity with
language can bring about. For instance, FAUAKAFE
a character who appears in the novel, but not in the
play) literally means ‘running saliva’. This might
describe someone who has a problem controlling his
saliva or a person who envies someone else’s property
Anapela Polataivao, Pua Magasiva & Joy Vaele
Some of the names are derived from common phrases that are regularly heard in informal or
casual conversation, for example Soia le guguku sole (see below)
ALOFA means love
ALAISA FIAOLA-CONFUSION (the half-Chinese Kung Fu loving boy from the Market scene)
means Rice Refugee-Confusion
FILIGA: fili - to plait hair or plait leave; filiga - fish plait up in coconut leaves
LOGO: bell, to tell
MA’ALILI (LILI): getting cold
MOAMOALULU (MOA): moa is chicken; lulu is owl
MRS SAMASONI: references to Samson the strong man in the bible
PISA: noise
PUA: frangipani flower
SINIVA: (NINIVA) – feeling dizzy, confused and unable to think clearly
SOIA-LE-GUGUKU-SOLE-FESILI-I-KEI-LUA-FEKOA’I-MA-SE-FAGAKIKILI: (the old Catholic lady)
means Don’t-lie-Fesili-boy-or else-you might get struck down-by-lightning
TAUSI: to look after, title given to talking chief’s wife.
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GLOSSARY
Afa-kasi: halfcaste; a person of mixed origin
Agaga: spirit
Aiga: family
Aua le sooga faia si keige o Alofa: don’t hurt Alofa too much
Aue! : exclamation used at intervals when a bedtime tale is told to let
the storyteller know that the listener is still awake and interested.
Aufaipese: choir
Fa’afafige: males who dress and behave like females.
Faalupega: formal address of a person or village
Faifeau: pastor, church minister.
Faipepea: a person of bad odour
Fale o le faifeau; pastor’s house
Falepapalagi: house built with European design
Faletua: title given to a chief ‘s (alii) or pastor’s wife
Fasi ia malepe!: Beat (her) up until she’s in pieces
Fue: a tool used by talking chiefs as part of their speech
Kalofa ise keine o Ofa: Oh poor Alofa
Koko alaisa: a dish made of rice, cocoa, coconut cream and sugar.
Lavalava: sarong
Le au giusila: those who live in New Zealand
Le kaelea: one who doesn’t wash
Le kamaloa: the man
Malaefou: the new field
Malo: well done
Matai: chief
Pa’umumuku: prostitute
Palagi (plural - papalagi): person with white skin
Pau’elo: person who does not wash
Suipi: playing cards
Supa keli: spaghetti
To’oto’o: walking stick
Ua lava ia: That’s enough
Joy Vaele as Alofa.
18
SINIVA
Siniva’s
character
provides an excellent
opportunity to learn
about a different
culture and the severe
consequences
of
‘individualism’ in a
conservative society
based on traditional
values of conformity
and
compliance.
While tragic in one
hard, the lessons that
can be learned from
her character are
powerful and thought
provoking.
Goretti Chadwick as Siniva
ACTIVITY: the aim of this activity is to use an evidence-based approach to
write a paragraph about a character
Using the following page references (from the novel), complete the grid below to gain a deeper
understanding of Siniva’s character from Alofa’s and the villager’s points of views. Use this
information and evidence to guide your own opinion of Siniva’s character.
Suggested Process:
1. Describe Siniva’s character before she left for New Zealand and when she returned.
2. Predict or give possible events that could have happened in NZ that perhaps contributed to
her ‘new’ image. Support your answers with evidence.
3. Using all information you have gathered, write a paragraph about your own opinion of
Siniva’s character.
References:
•
•
•
Miti (page 185-92)
Before (page 193-197)
I (page 233-234
19
WHERE WE
ONCE
BELONGED
– Sia Figiel
Siniva
(describe her
character before &
after)
Village
(how is she
perceived by the
villagers ) inferences
Your Opinion
(are these
perceptions
justified?)
Samoa
NZ
What could have happened in NZ that perhaps contributed to
her ‘new’ image?
Return
(Samoa)
Personal
Opinion
In view of the information and evidence above, I think
Evidence
(what evidence
have you used to
justify your
position?)
20
Curriculum Links – Achievement Objectives
Where We Once Belonged relates to the drama curriculum and NCEA in two important ways:
• In the Understanding the Arts in Context strand, New Zealand drama is now specifically
mentioned as an area of study at Levels 6, 7 and 8.
• The external achievement standards for NCEA levels 1, 2 and 3 all require a response to
live performance.
Level 6
Level 7
Strands
Understanding the
Arts in Context
Level 8
Investigate the forms
and purposes of
drama in different
historical or
contemporary
contexts, including
New Zealand drama.
Research the
purposes of
production,
performance, and
technologies of
drama in a range of
contexts, including
New Zealand
drama.
Research, analyse,
and critically
evaluate how drama,
including New
Zealand drama,
interprets, records, or
challenges social and
cultural discourse.
Explore how drama
reflects our cultural
diversity.
NCEA Assessment Outcomes
Level One
Level 2
1.6 Describe the
techniques, elements,
conventions and
technologies of
drama in a new
context and reflect on
performance
2.6 Apply knowledge
of and make
judgements about
drama processes and
performance in a new
context.
Level 3
Achievement
Standards
Review and
Evaluation of Drama
Processes and
Performance
3.6 Analyse drama
processes in a new
context and reflect
critically on drama
performance.
21
REVIEWS
“I would compare what Dave Armstrong has done with Sia’s book with what was done for Alan
Duff’s ‘Once Were Warriors’ to put it on screen and Witi Ihimaera’s ‘Whale Rider’ to put it on
screen”. Lynn Freeman National Radio
Press reviews are posted as released on the Auckland Theatre Company website www.atc.co.nz
Please give us your feedback in the Audience Review section.
REFERENCES & SUGGESTED RESOURCES OR LINKS
1. Where We Once Belonged, Sia Figiel, Kaya press
2. Brookfield,S.(2006). Discussion as a way of Teaching. www.stevebrookfield.com
3. Ministry of Education (2004). Effective Literacy Strategies in Years 9 to13, A guide for Teachers
Wellington: Learning Media.
4. The Pacific Islands, an encyclopedia. Edited by Brij V Lal & Kate Fortune. (2000). University of
Hawaii.
5. Ministry of Education (2006) Connections and Conversations - PISCPL resource.
6. http://www.samoalive.com/samoan_dictionary.htm
7. http://en.wikipedia.org/wiki/Politics_of_Samoa
8. www.britannica.com/eb/article-224592/Samoa
9. http://solo.manuatele.net/words.htm dictionary (English-Samoan)
10. Samoan Children and the Educational Potential of the Faasamoa - from Dr Lonise Tanielu’s
presentation to the Pacific Vision International Conference
If you are interested in this play you might also like to look at the Niu Sila teacher’s
pack www.atc.co.nz/educationunit/resources
FURTHER INFORMATION AND SUGGESTIONS
Copies of Sia Figiel’s novel are available at many public libraries or to order from all good
bookshops, like The Women’s Bookshop in Auckland: books@womensbookshop.co.nz
For any further information, feedback or suggestions please contact Lynne Cardy Creative
Development and Education Manager lynne@atc.co.nz