An analysis of Samoan reaction to The Orator (O Le Tulafale)’s Fāgogo defining Samoan identity

The Orator (O Le Tulafale) was promoted as the first Samoan language film shot in Samoa with a Samoan cast and crew. Written and directed by Samoan filmmaker Tusi Tamasese, the film succeeded at several of the movie industry’s prestigious festivals. The Orator (O Le Tulafale) is about an outcast family of a dwarf (Saili), his wife and her teenage daughter. As the main protagonist, Saili battles to overcome his fears to become a chief to save his family and land. The film’s themes are courage, love, honour , as well as hypocrisy, violence, and discrimination. A backlash by Samoans was predicted ; however, the opposite occurred. This raised the following questions: first, what is it about the film causing this reaction? It is a 106 -minute film shot in Samoa about Samoans and the Samoan culture . D espite promotional claims about the film , there have been Samoan -produced films in Samoa . Secondly, to what are Samoans really responding? Is it 1) just to the film because it is about Samoa, or 2) are they responding to themselves , and how they reacted during the act of watching the film? This implies levels of reactions in the act of watching, and examining the dominant level of response is important. To explore this, t he Samoan story telling technique of Fāgogo was used to analyse the film’s narration and narrative techniques. R. Allen’s (1993, 1997) concept of projected illusion was employed to discuss the relationship between Samoans and the film developed during the act of watching. An examination of the term Samoan and a description of the framework of Fa’a Samoa (Samoan culture) were provided. Also included were discussions of memory and its impact on Samoan cultural identity. The analysis indicated that The Orator (O Le Tulafale) acted as a memory prompt through which Samoans recalled memories confirming and defining cultural bonds. These memories constituted the essence of being Samoan. These memories were awakened, and shared as oral histories as fāgogo. The receivers appeared to interpret the shared memories to create their own memories and stories to suit their contexts, according to Facebook postings. An interpretation is that the organic sharing of memories as fā gogo created a global definition of Samoan that Samoans internationally claimed.

Framväxten av sociala rörelsers globala politik

The emergence of social movements’ global politics Globalization not only transforms capital, media and technology, but also creates conditions for global politics, beyond ”international politics”. New transnational public arenas emerge, where a broad range of actors articulate demands and interests. A globalized political infrastructure arise from the combination of the (1) internal transnational mobilization within two opposing global networks: movements’ World Social Forum and political economy elites’ World Economic Forum; and a global connection with (2) regular dramatic street protests during multilateral regime summits; and (3) a permanent and virtual network of information communication technology that enables new forms of action, organization and mobilization. Together these arenas make participatory and global politics possible for social movements. Regime confrontations are formed by the new global media of ICT in a way that transforms the struggle into a political drama, where activists’ diversity of tactics – The Majority Drama, The Carnival, and The David-Goliath Drama – creates both competition and collaboration. These arenas are only emerging and this new form of global political structure creates both possibilities and problems. Still, a unique potential to democratize politics is created.