Dusky maiden—noble savage: Pasifika representation in the NCEA drama classroom

Abstract

Introduction As lens through which young people view themselves, the world and their place in the world, drama and drama texts can be powerful means of affirming or undermining positive cultural identity and self-image. Patricia Grace makes the claim that Books are Dangerous (Smith, 1999, p. 35). If books--and in the case of this article, specifically playscripts--are to be accurate representations of people, then there are particular criteria that they should fulfil: If books do not do these things, do not reinforce values, actions, customs, culture and identity, then they are dangerous ... If there are no books that tell us about ourselves but only tell us about others, then they are saying 'you do not exist' and that is dangerous ... However, if there are books that are about you and they are untrue, that is very dangerous ... If there are books about you but they are negative and insensitive so that they are saying 'you are not good', that is dangerous. (Grace, 1997, as cited in Pihama, 1994, p. 239) If people are to forge positive identity for themselves in Zealand then it follows that they must be able to relate in meaningful ways to its canon (Marsh, 2010). Critical researcher Linda Tuhiwai Smith argues that is important as concept because it gives the impression of 'the truth' (Smith, 1999, p. 35). Similarly, Marsh asks: Which books count as worth reading? Worth studying? How might these books tell us about the world, about ourselves, about how they might best be read and taught? (Marsh, 2010, p. 3). In analysing recommended playscripts for study in NCEA, this article considers and the term used in popular culture--stereotypes--and the danger that is inherent in officially and publicly accepting and affirming these in an educational setting. Definitions For the purposes of this dissertation, the definition of Pasifika as promoted by the Ministry of Education in the Education Plan 2009-2012 is used. In these terms: Pasifika is defined as a collective term used to refer to people of Pacific or ancestry who have migrated or been born in Aotearoa Zealand. include recent migrants or first, second and subsequent generations of Zealand born men, women and children of single or mixed heritage (Ministry of Education, 2011, p. 3). The term representation refers to frames of dramatic as opposed to in the form of an elected or appointed representative. However, in the context of this research we might also consider connotations of the word that imply speaking for. This is relevant as these texts have the potential to speak for all people and are representative of these same people in the Aotearoa canon of dramatic literature. The absence of voices in literature studied in schools has been concern of writers, students and scholars for some time. Dr Selina Tusitala Marsh, strong advocate for literature and critical literacy, determines that it is necessary for students to see themselves in the literary mirror of our national literatures. characters, themes and storylines are gradually becoming more visible in the literature of Aotearoa thanks to the work of scholars and writers such as Marsh, who stipulates that New Zealand is home to the largest Polynesian population in the world--Pacific Islanders constitute the fastest growing youth population, more teachers are becoming increasingly aware of the need for its taught literature to reflect this growing and dynamic demographic (Marsh, 2010, p. 3). students can participate in imaginative identification (Locke et al., 2009(2009), p. 24); the more representations there are for students to encounter, to witness, to question, to identify with, the richer their experience. Marsh writes of the aha moments that occur when students are confronted with representations of themselves and the work of the South Auckland Poets' Collective: Many were not able to read stories they could culturally identify with . …