VOU dance group’s modern take on Fijian culture
In the context of cultural expression, dance serves as a powerful tool that connects generations, storytelling and preservation of heritage. But when it comes to contemporary dance which is infused with modernity and age-old customs, it can stir reactions from a just a mere response to the most extreme ones.
That is the case for the much-talked about VOU Fiji dance group’s piece performed to thousands of multi-racial audience and viewers at the opening of the 13th Festival of Pacific Arts and Culture in Hawaii. The criticism stemmed from VOU’s portrayal of Fiji’s welcome dance, a role they were selected for through an audition process focusing on contemporary dance.
When the traditional team was unavailable, VOU Fiji was tasked with performing a snippet of the traditional meke ni yaqona, choreographed by Raijieli Sakulavou of Ravuka Village in Namuka, Macuata. But what keyboard warriors and commentators failed to note was that the group performed their contemporary piece, as they were performing under this genre.
And as such, while the piece did not reflect the indigenous people of Fiji or the past, they received the cheers from the crowd as opposed to jeers and praise on social media.
To understand the context of where VOU was coming from, one must understand their genre of dance. In a nutshell, contemporary dance is a genre of dance performance that developed during the midtwentieth century and has since grown to become one of the dominant genres for formally trained dancers throughout the world, with particularly strong popularity in the U.S and Europe.
The elements of ballet, jazz, and lyrical are inculcated deeming the performance contemporary. In Fiji’s context, ballet and jazz or lyrical dance styles are only emerging and hence, our adoption of the Western world dance together with that of our indigenous dance can be, to an extent, be deemed contemporary.
And despite VOU’s dedication and effort, the performance sparked a backlash online, with many feeling that the essence of Fijian tradition had been compromised.
Ratu Jone Baledrokadroka, chairman of the Taukei Affairs Review, argued that there was a perceived lack of consultation and coordination with key traditional stakeholders.
His suggestion that the Great Council of Chiefs should have been consulted underscores the importance of engaging with cultural custodians when navigating the delicate interplay between tradition and contemporary interpretation.
Meanwhile, the Minister for iTaukei Affairs Ifereimi Vasu acknowledged the dance group for stepping in for the initial group.
It was a case of desperation on the part of the Fijian organisers at the 11th hour.
So, can you really blame VOU for something in which they had no control over?
Where they should be commended, they were bullied.Others who watched the VOU group performance, commended them.
Professor Ricardo Trimillos from the University of Hawaii’s Ethnomusicology Department praised the VOU Dance Group’s performance, describing it as “wonderful.”
He emphasised that festivals should not only celebrate the past but also embrace the present and future.
Laisani Koroi, a Suvavou native living in Hawaii since 1991, expressed her love for the VOU Dance Group’s performance.
She appreciated the blend of traditional and modern elements, highlighting the necessity to adapt to contemporary society.
Ms Koroi said while history remained constant, embracing change was also crucial.
The VOU Fiji dance group’s experience serves as a reminder of the importance of respecting the delicate balance between innovation and heritage.
It is a call to all cultural practitioners and organisers to foster deeper collaboration and understanding, ensuring that contemporary interpretations honour and enrich the traditions they seek to portray and also to keep an open mind to change.