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Dwayne Johnson can finally rejoice. At the premiere of Disney’s live-action “Moana,” the star said that, growing up, he didn’t see himself represented in the media. “‘Indiana Jones’ inspired me. When I was 8 years old
watching Harrison Ford, I was like, ‘I want to be that guy,’ but that guy didn’t look like me.” And so, as the film hits screens this weekend, Asian American and Native Hawaiian/Pacific Islander audiences, Johnson, and the film’s cast and creatives are finally finding much to celebrate.
It’s been a decade since the story about wayfarer Moana first sailed into theaters. The 2016 animation featured cultural touchstones nodding to Polynesian culture and folklore, and those moments resonated with audiences. The live-action feature brings it all to life. Aspects such as traditional Māori tribal tattoos, known as Tā moko, the rich expression of history through dance, and generations of Polynesian traditions are the beating heart of Thomas Kail’s adaptation. That left the film’s cast and creatives feeling a sense of pride at seeing their culture represented on screen.
To ensure that the representation was done with respect and authenticity, countless artisans, consultants, experts, advisors, and department heads worked closely with the Cultural Trust. Among those experts were Dr. Grant Muāgututiʻa (Lead Consultant, Cultural Trust), Tiana Nonosina Liufau (Choreographer, Associate Producer, Cultural Trust) and Opetaia Foaʻi (Songwriter).
Drawing from her cultural background, Liufau aimed to create movement that felt unique and authentic. She worked with dancers from across the Pacific Islands, embedding traditional moves from the Samoan and Tongan regions, such as the Ori Tahiti (a Tahitian dance), the Siva Samoa (the traditional dance of Samoa), and much more to represent the early foundations of Polynesian dance. “It wasn’t that we were looking for one specialized island form,” she says. It was about incorporating song and dance from all the islands and fusing those movements effortlessly into the musical numbers.
Another important element for her was crafting choreography so that the dancers’ faces could be seen. “There are so many Polynesian dancers throughout the world. I wanted to make sure that our community and people saw themselves on the screen.”
Lead consultant Muāgututiʻa, who spearheaded the team, wanted to ensure the tradition of respect within the culture was accurately reflected. The village sequences were discussed in detail. How people spoke and interacted — especially within the council of the chiefs — mattered. Moana’s mannerisms were also important to get right. Muāgututiʻa says, “With Moana, it was about how she walks in, addresses her father, how she serves her elders; we wanted to make sure we got it right so when people watch the film, they can say, ‘Yes, that’s exactly how we would do it,’ and that it would resonate with them.”
Grant also found the moments when the cast spoke Samoan important to cultural representation. “That was very meaningful for me to make sure that they got the pronunciation spot-on. The words were simple yet meaningful in the siva tau (a traditional Samoan war dance or challenge). That scene, and when they were on top of the mountain citing lyrics that and then that, that on the mountain top, when they were citing lyrics that Opetaia wrote, they’re saying it in the right way, and all of that coming together was, was pretty special.”
Foaʻi is no stranger to the world of “Moana,” having written music for “Moana,” “Moana 2” and now the live-action Moana. Songwriter Lin-Manuel Miranda calls the Tokelauan-Tuvaluan composer, musician, and singer the “secret sauce” to the authenticity of the film’s music.
Aside from translating and re-orchestrating Miranda’s original song, “Along the Way” in Tokelauan, he explains, the film’s first song needed to have a punch, so he wrote “Tulou Tagaloa.” “I knew it had to be in Samoan to punch it home. That’s my work. My work is trying to respect the history of our ancestors and match the songs to those times as a respect for them.”
And while critics of the film debate the live-action coming too soon, the cast of the film feel otherwise, and that this has been a longtime coming for Polynesian representation.
Like the film’s heroine, who ventures beyond her island to forge her own path, Owen, who worked as a member of the Maori Theater Company and starred in the Kevin Costner-produced film “Rapa Nui,” finally saw herself and her people in “Moana.” She points out, “Every single person on that screen is of Polynesian descent.”
Among the people Owen credits are Kail and Johnson. She says, “We all know that this legacy would not exist without a megastar. Dwayne is so passionate about his Samoan heritage and has taken this on board to open that big door for all of us to come through. I acknowledge Dwayne and, of course, our star, Catherine. We all rode on her wings.”
Frankie Adams, who plays Sina, also saw herself and her culture through the film. The Pacific Islander dance moves made her emotional. Adams says, “My mom was a big part of the cultural groups growing up. My sisters and I did Samoan dances throughout our childhood, so that was quite nostalgic for me to revisit that.”
Tui reprises his role as Moana’s headstrong father, Chief Tui. He admits he was nervous about translating the film to live-action. “We had so much riding on our shoulders,” he says. But once he saw the island, the casting, and heard the music, he felt an immense sense of pride. “We gave it a crack, and that our fight, our families, and the shoulders of ancestors that we’ve stood on are proud of that.” He adds, “I feel like I’m with some really good storytellers and powerful women and men, and we all come together to tell our stories.”
Grant reflects on the premiere, which kicked off with a troupe of Polynesian dancers onstage at the Hollywood Bowl. He says, “I think that’s just so powerful and something that I didn’t have growing up, and so I hope that our young Pacific Islanders and Polynesian kids will feel that walking away from the film, inspired, empowered, and open to embracing their language and their culture and their music and just who they are.”
