"Drua: The Wave of Fire" (Full Movie) and a Conversation with Kara Miller and Co-Director Vilsoni Hereniko
"Drua: The Wave of Fire" (Full Movie) and a Conversation with Kara Miller and Co-Director Vilsoni Hereniko
Date
2013-07-19
Authors
Miller, Kara
Hereniko, Vilsoni
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Abstract
Kara Miller responds to Vilsoni Hereniko's film DRUA: THE WAVE OF FIRE. Co-Director Vilsoni Hereniko and Kara Miller respond to questions from the audience.
This film celebrates voyaging on double-hulled canoes in the 18th century, their demise upon contact with Europeans, and their revival in recent years.
Discussion by Kara Miller
Description
Keywords
Vilsoni Hereniko,
"Drua: The Wave of Fire",
Kara Miller,
dance, choreography, performance,
embodying the language of dance,
Fiji,
Samoa,
language of dance styles,
language of dance,
the way choreography is phrased,
theatre,
theater,
film and theatre,
film and theater,
filming a live-stage performance,
Fijian culture,
reclaiming of Drua culture,
Peter Rockford Espiritu,
Igelese Ete,
live performance and the privileging of the ephemeral,
video as an object,
visual language,
dance on film,
dance and technology,
sensing one another's presence in dance,
traditional dance,
navigational skills,
traditional song,
pan-Pacific,
how the ocean connects us,
"What was the process of producing DRUA?",
Solomon Islands,
Hōkūle'a,
Hokulea,
developing a Pacific consciousness,
film as a story based on literature,
love story with Fijian canoe,
Ngũgĩ wa Thiong'o,
Ngugi wa Thiong'o,
song in film,
English-language song in Pacific performance,
song in performance,
song in film,
Pacific language revival,
role of the arts in Pacific language revival,
role of subtitles in multilingual film,
the choice to express in English,
traditional and modern dance,
Oceanic dance theater,
Oceanic dance theater,
use of technology and modern dance in Pacific theater,
use of technology and modern dance in Pacific theatre,
technology and oral traditions,
how new technologies can enhance oral traditions,
storytelling and new technologies,
filming a play,
stage play directed for camera,
pan-Pacific musical,
Kiribati,
authenticity,
representation in the Pacific,
new technology and oral traditions,
how new technologies enhance native cultures,
orature in stage place,
orature in film,
how orature informs contemporary storytelling,
storytelling in film,
sexuality,
budget and film,
Fiji,
double-hulled canoe,
double-hulled canoe culture,
canoe culture,
Missionaries and long-distance voyages,
Missionaries and the demise of canoe culture,
Peter Rockford Espiritu,
Igelese Ete
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