HUMANS OF THE ISLANDS | NATANO KENI
NATANO KENI
PLAYWRIGHT & PERFORMER
SAMOAN
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Samoan Playwright Natano Keni has come out with a brand new theatre show named O le Pepelo, le Gaoi, ma le Pala'ai.
Using both English and Gagana Sāmoa, O le Pepelo, le Gaoi, ma le Pala’ai | The Liar, the Thief, and the Coward is a modern tale of a man who’s out of step with the times and whose time is running out. Who then will survive?
The playwright tells us more about his story here
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Tell us more about yourself. Cultural heritage? Where did you grow up?
I am Samoan, born in Aotearoa, New Zealand, I grew up in Timberlea, Upper Hutt.
What was your journey like into the arts? Did you always want to be an actor/writer?
I didn’t really know what I was going to do when I left high school, sports was also something else that was on the radar, specifically rugby league I could have gone into. Like many Samoan children who get their first taste of performance through White Sunday performances, performing was very much a part of my upbringing. When I was in Fourth Form (Year 14), I was given The Crucible by Kerryn Palmer who was my Drama teacher in College and I remember thinking how cool it was. But there was no “aha” moment, it was more how things panned out and how one thing can lead to another. So I decided to go into the arts on a whim, a friend of mine told me to go to Wellington Performing Arts School on Vivian Street, but because I applied late I ended up in the musical theatre course which wasn’t really my thing and then one of the tutors there told me to audition for Toi Whakaari: New Zealand Drama School. I auditioned got in, left in my first year, and then returned in 2004 that was when I was ready and my eyes really opened to the craft of acting, that was the beginning but even then upon graduating nothing was definite for me.
Some island parents don’t appreciate their kids going into the arts. Did you get any
push back on following your dreams?
No, maybe I was one of the lucky ones, despite the fact that both my parents worked very hard when we were growing up. My mum only retired last year at 78, now she doesn’t know what to do with herself. They have always supported me in whatever it was I wanted to do or go into. I think it’s more like whatever you choose, enjoy it and work hard.
How did O Le Pepelo, Le Gaoi, ma Le Pala’ai come about? What was the process
like creating this play?
It’s an accumulation of questions and things that I’m interested in, things that inspire me: the Fa’asamoa culture, politics, family ties, and the different challenges our people face. As well as this what was happening with the transition of Samoan government at the time. I wanted to create a grand Samoan story that showcases the beautiful oratory of our language putting Samoan characters front and centre, characters you don’t usually see on stage or in movies. I wanted Pasifika actors to shine in roles that let them really dig deep into these kinds of characters. With Sarita, my partner, we started dreaming up our Samoan epic. We thought about the stye and vibe, starting with a character who just wouldn’t let go of power. We looked at how families work in our culture, with titles and the journey to the top.
I saw there will be a lot of Gagana Samoa in the play - was it important for you to
include a lot of your language in this play?
Absolutely, I think in Samoan, so that’s what I hear, the nuance, depth, the humour and the richness of the language. I had an uncle who always said his words were poor in English, meaning he didn’t have the words to describe what he wanted to say, and this was what I wanted to do, to celebrate the beauty of the language, to connect it with our people.
What is it like as a Samoan man in the arts industry?
I think that really depends on time and within what role. I think as actor, we can be limited in what we get to play, as a writer the world is as big as you want it to be, but the opportunities as they are for many artists are far and few in between, it’s a risky game but the world is changing.
What is one thing you hope your audience takes from this play?
Can it be two things? Connection and Questions.
What advice would you give to other young, Samoan, aspiring playwrights?
Work towards your joy, cos it’s something that you can keep coming back to, KEEP finding the things that you’re curious about, there is no one way or style that you have to stick to just as you have many facets of yourself. Let your imagination run wild there are no rules or boxes, let the characters do the walking and the talking.
Who and and what inspire you?
My aiga.