I stepped off the plane in Auckland, was greeted at the airport by my girl Ema Tavola and promptly told that that night we would be watching a Tongan play called Kingdom of Lote. I was mildly intrigued. Like most Samoans, and having grown up in Hawaii, I can honestly say that I have “lots of Tongan friends” and consider myself quite fluent in the diverse PI world, but a play about Tongans? This was something completely new. I was prepared for the familiar Tongan references: meals featuring some form of domesticated quadruped (usually horse, possibly dog, but not cat), an unnatural obsession with rock wall-ing, infinite kava circles, and more than a few gold teeth. I was not disappointed. Add to that, though, a cast of unforgettable characters, a beautiful score, the most spatially intimate theatrical experience I’ve ever had, and you have Kingdom of Lote – the poignant story of Lote, the head of her small kingdom, which includes her brother Krak and teenage twins, Saia and Sela – a family balancing the demands of Tonga, and Tongan-ness, in current day Aotearoa.
Now, remember, I’m Samoan, so my idea of a great night out has never included taking in a bit of Tongan theater. That said, though, even I could not escape the charm and subtle brilliance that Kingdom of Lote, at its very core, is.
Much of the dialogue is delivered in Tongan, my favorite being the scene where Lote has a conversation with a nosey neighbor—in rapid-fire Tongan and at the top of their lungs. The unapologetic use of the Tongan language, and by extension the inclusion of traditional Tongan songs, works on so many levels: it identifies the primary audience, privileging those lucky enough to understand and speak Tongan. And it places that experience within the context of Pacific life so that someone like me, who may not understand Tongan, can easily identify with it because I’ve had nosey neighbors as well (except mine are mostly Samoan).
Woven amidst the drama of Saia’s burgeoning rugby career, Sela’s unsolicited political pontifications and Krak lamenting on wasted opportunities, is what I thought was the soul of this story: one woman’s drive to keep her family together. Lote represents the Pacific Everywoman, as comfortable in the kitchen as she is on the rugby sideline, as driven as she is humble, as skilled at picking up the pieces as she is at throwing down.
Kingdom of Lote is a testament to the unbreakable spirit of family, shared through the voices, lives and songs of Tongans, but it is also, to its credit, a Pacific tale. For me, Uncle Krak might be Uncle Junior, touchdowns replace tries, and I’ll take turkey tail over horse any day, but when it’s all said and done, these are simply details. The power in this story is that it brings us back to family, whether you call it aiga, famili, or whanau, and that’s something we all identify with.
Dionne Fonoti
May 2011
Dionne Fonoti was they keynote speaker at the Curating Pacific Art Forum, an event in the Pacific Arts Summit delivered in partnership with AUT University on Saturday 21 May. Fonoti is a Samoan academic and film maker based in Apia.
Ema Tavola (Pacific Arts Coordinator, Arts and Culture South, Auckland Council), Donna Tupaea (Co-Curator for Ka Pu Te Ruha, Ka Hao te Rangitahi), Ani O’Neill and Nigel Borell (Kaiwhakahaere – Toi o Manukau / Maori Arts Advisor, Arts and Culture South, Auckland Council and Co-curator for Ka Pu Te Ruha, Ka Hao te Rangitahi)
Ani O’Neill with Jim Vivieaere
Shigeyuki Kihara, Rosanna Raymond and Lisa Reihana
Henry Taripo and Ani O’Neill
Ani O’Neill with guests
Exquisite catering by 
Linda T and Ani O’Neill
Pacific Sisters SOUTHSIDE: EyeKonik crew
South Auckland video installation artist and educator, Leilani Kake discussed the inspiration of Pacific thinkers Merata Mita, ‘Epeli Hau’ofa and Ron Crocombe. Kake is the organiser of the Summit’s film event, 
Mangere-based performance artist + graphic designer, Siliga David Setoga discussed his connections to South Auckland.
Filoi Vaila’au discussed the work of 
Fresh Gallery Otara staffer Nicole Lim discussed the inspirations for her graphic design practice.
Bruce Phillips, Curator at 
Martin Leung-Wai, a recent graduate from Unitec’s Architecture programme discussed “The Taualugā: A Spatial Study”
South Auckland film maker and visual artist, Tanu Gago discussed his three loves: Samoa, Film and South Auckland.
UK-based Rosanna Raymond discussed recent projects with Pacific diaspora communities in England.
Writer, Suli Moa and producer, Stacey Leilua discussed the upcoming production of 
Auckland Council South’s Pacific Arts Coordinator, Ema Tavola, introducing the programme and thanking excellent project partners, 
Leilani Kake, Kolokesa Mahina-Tuai + Molly Pihigia
Pacific Arts Summit team with Councillor Alf Filipaina
Carla van Zon + Naomi Singer (Manager, Mangere Arts Centre – Nga Tohu o Uenuku)
Gareth Farry (British Council) + Vinesh Kumaran
South Auckland’s own Mr Gene Rivers!
Monty Collins, Stacey Leilua + Tavai Faasavalu
Vela Manusaute + Ema Tavola
Suzanne Tamaki + James Pinker
Grace Hakaria and guests
Martin Leung-Wai + Filoi Vaila’au (Pacific Dance New Zealand)
Shigeyuki Kihara + Vela Manusaute
Daren Kamali + Christina Jeffery (Tautai Trust)
Leisa Siteine (Manager, Arts and Culture South, Auckland Council) + Ema Tavola
Rebecca Hobbs, Luisa Tora + Melissa Cole
2011 SOUTH AUCKLAND PACIFIC ARTS SUMMIT 