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Te Tangi A Te Tūī Takes Flight On Te Ika-a-māui Tour

Te Tangi A Te Tūī Takes Flight On Te Ika-a-māui Tour

Scoop04-05-2025
This August, the powerful theatrical experience Te Tangi a Te Tūī will soar across Aotearoa for a much-anticipated Te Ika-a-Māui tour. Presented by Te Pou Theatre and The Dust Palace, in association with PANNZ (Performing Arts Network of New Zealand), this groundbreaking work brings together the resonance of te reo Māori storytelling and the visceral beauty of circus.
Following its international premiere in Vancouver and an acclaimed Aotearoa season at Te Pou Theatre during Te Ahurei Toi o Tāmaki, Te Tangi a Te Tūī now travels to five North Island centres, inviting audiences across the motu to experience a work that is visually arresting, emotionally stirring, and deeply rooted in te ao Māori.
Co-written by longtime collaborators Amber Curreen (Ngāpuhi, Te Rarawa, Te Roroa) and Tainui Tukiwaho (Te Arawa, Tūhoe), the work fuses kapa haka, acrobatics, and breathtaking aerial artistry to tell a story of reclamation, remembrance and return.
Tūī soaks up the world around it & responds in song. Though beautiful, his tune now is a faint echo of what it once was when Aotearoa was blanketed in the ngāhere, flutes of patupaiarehe filled the trees & Māori alone walked gently upon their mother.
Drawing together kaupapa Māori storytelling and contemporary cirque, Te Tangi a Te Tūī unfolds as an evocative meditation on identity and resilience, in the face of colonisation. The result is a dazzling synthesis of form and meaning – at once poetic, political, and unforgettable.
Performed entirely in te reo Māori, the production surrounds audiences with the richness of the language and its cultural resonance. Those who are fluent or on their te reo Māori journey will enjoy the full immersion experience. Those with limited knowledge of te reo Māori and wishing to engage more deeply will be provided with a full English-language synopsis and radio play upon booking. This ensures the work remains accessible to all, allowing audiences to connect with the performance at whatever level suits them.
' Te Tangi a Te Tūī is about our collective remembering,' says co-writer and co-director Tainui Tukiwaho. 'It's about reclaiming language, whakapapa and the stories that have been waiting patiently for us to return to them. And we're doing it in a way that celebrates Māori innovation, power and wairua.'
Producer Rachael Dubois (The Dust Palace) echoes this sentiment: 'This work lives at the intersection of everything we love – high-calibre physical performance, kaupapa Māori storytelling, and deep collaboration. It's an incredibly special show, and audiences who see it are going to be moved, challenged, and inspired.'
'A masterclass in kaupapa Māori storytelling and physical theatre… unlike anything else on the Aotearoa stage.'
— Theatreview
'Visually spectacular and emotionally resonant. The standing ovation was immediate and well deserved.' — NZ Herald
'A transformative, deeply moving experience. The power of te reo Māori and circus together is breathtaking.' — Radio New Zealand
This collaboration between Māori-led performing arts company Te Pou Theatre and contemporary circus innovators The Dust Palace, Te Tangi a Te Tūī is supported by PANNZ as part of its mission to bring bold, original Aotearoa stories to communities around the country.
Amber Curreen, co-writer and co-director, is a driving force in Māori theatre and a champion of kaupapa Māori creative leadership. As Pou Whakahaere of Te Pou Theatre, she has led the development of numerous new works and initiatives. Tainui Tukiwaho, also co-writer and co-director, brings over 20 years of stage and screen experience to the project, with a reputation for fearless storytelling and uplifting Māori voices.
With its soaring physicality, poetic power and fierce cultural heart, Te Tangi a Te Tūī is a landmark work of Aotearoa theatre. A celebration of whakapapa, te taiao, and the enduring voice of our tūpuna, this is a story that calls us home.
Tickets go on sale in May. Visit www.tetangi.show for booking details and resources.
pannz.org.nz
Tauranga
Baycourt Community and Arts Centre
Wednesday 6 – Thursday 7 August
www.baycourt.co.nz
Rotorua
Sir Howard Morrison Centre
Sunday 10 – Monday 11 August
sirhowardmorrisoncentre.co.nz
Taranaki
TSB Showplace
Thursday 14 - Friday 15 August
tsb-showplace
Whangārei
Forum North
Tuesday 19 - 20 August
Forum-North
Kerikeri
Turner Centre
Friday 22 - Saturday 23 August
www.turnercentre.co.nz
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Perhaps that's what teachable moments are meant to do. After selling out its screenings at the Auckland leg of the NZ International Film Festival, Toi Tū: Visual Sovereignty has screenings in Wellington (Aug 17, 23), Dunedin (Aug 24) and Christchurch (Aug 17, 21), see for more. Plans are underway for screenings beyond the festival. To request a screening go to Director Chelsea Winstanley: 'I'm not putting words in people's mouths.' Photo / Supplied Things Fall Apart Chelsea Winstanley on filming in a crisis. For film-maker Chelsea Winstanley, Toi Tū: Visual Sovereignty represents her most serious film in years. Her recent producer duties have been on former husband Taika Waititi's Oscar-winning Jojo Rabbit and before that What We Do in the Shadows and giving Disney's animated hits te reo makeovers. But TT:VS is also her debut feature as a director. Her career began with directing Whakangahau, a documentary short about cousins from her Paparoa marae running a tourism venture. It was her 2003 graduating film from the Auckland University of Technology and won a Media Peace Award. Her feature directing debut also focuses on another relation with Ngāti Ranginui iwi roots – Nigel Borell. Toi Tū: Visual Sovereignty started out of conversations she had with Borell in the years running up to the exhibition about what it took to stage an event of its size and ambition. When you spoke at the premiere, you seemed quite nervous about how the film would be received. For a few reasons, I suppose. This is my directorial debut – I've done enough producing in my life – and you're putting your film out into the world, it's all on you this time. But not only that, it's the community that I love the most. You love them so dearly that you just want to do right by them. Was there a distinct point where you knew that the story was going to be different from what you had thought it would be? Obviously, when Nigel had to make that decision, it really did change then. I was going to follow the whole exhibition and the background to it, because I don't think we ever really understand what goes into putting on something like that. I thought it was going to travel overseas, because that's what I was told. I was like, 'Wow, this is going to be amazing, a celebration from beginning to end.' And then when he made that decision, for himself, I had to go, 'Oh, all right, I have to now rethink how it's going to happen.' Other things were happening, too – everyone went through Covid. Even at that point, I was like, 'Oh, my god, is this show even going to come to fruition?' That was actually a moment, too. A small selection of the art shown as part of Toi Tū Toi Ora (clockwise, from left): Lisa Reihana, Ihi, 2020; Israel Tangaroa Birch Ara-i-te-Uru, 2011; Aimee Ratana, Potiki Series, 2005; and Shane Cotton, Te Puawai, 2020. Photos / Supplied What was the response after the screening for Kirsten Lacy and the gallery staff? Was there a response? It's challenging for anybody to have to observe themselves. But remember, when they watched that edit, it's not like it was a big surprise what happened there, the story was already out. It's about how you have to reflect on your position, so that was up to them. And they knew that I had final cut anyway, and I'm not putting words in people's mouths or anything like that. While I watched the film, I did find myself thinking I'd like to go and see the exhibition again, having absorbed all this context. Yeah, of course, and that's the wonderful thing for people who were fortunate enough to see the show. A lot of people said to me afterwards that it brought back so many memories, both people who were working there and those who had gone to the show and wanted to see it again. And I think, for us as a country, we need to have spaces where we can just see that beautiful, contemporary art all the time, not just these once in 20-year timeframes.

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