Malo Leki! Congratulations on winning the Bruce Mason Playwriting Award. That must feel pretty special – but at the same time, you’ve won a lot of awards in your career! Playmarket Director Murray Lynch said that your writing ‘places the Pasifika experience centre stage.’ Is that something you’ve made a point of, or does it come organically as you write? Or both?

Most of my writing comes from lived experience. I’m aware that when I put Pasifika experiences on stage, it gives external audiences a special window into the lives and perspectives of Pacific People here in Aotearoa, New Zealand. That is why I have to be careful with what I write and I have to ensure that representation is as authentic as possible. Most ideas come organically, and then the editing process is where I’m able to refine and strengthen ideas. When I first began writing I was scared to go against the grain and didn't want to portray Pacific people in a negative light. I have since come to realise that there is power in authentic story-telling and whilst I have a responsibility to ensure we are well represented, I also won't shy away from uncomfortable topics or awkward conversations. This is where theatre becomes a necessary tool to help audiences digest things we can't say in real life.

‘Red, White and Brass’, you’ve said, had the purpose of redemption for your grandfather. Can you expand on that?

My grandfather migrated to NZ from Tonga during the 1970’s when New Zealand was at the height of a racist wave against Pacific Islander migrants. He lived a life where he had to compromise his cultural pride and dilute his identity in order to assimilate into NZ society. For him, this meant not wearing cultural attire in public, not speaking his language out loud and keeping a low profile - the typical 'blend in, don't stand out' mentality. Redemption to me means I get to live the life that he couldn’t. I get to celebrate him, by creating opportunities for our Pacific language and culture to shine on stage and screen.

In November you curated a one-day free Pasifika festival that focuses on the intricacies of Pacific whānau now and their hopes for the future. What are your hopes for the future, and was the festival a fulfilling event to work on?

The festival was a wonderful event for our communities and it highlighted the growth of contemporary Pacific art here in Tamaki Makaurau. I hope that our young people will rise with the power of the arts and culture and that our Pacific arts scene continues to impact society and influence positive change. Our stories are popular on the international stage and we need to value our homegrown talent and the things that we produce here.

What book are you currently reading? A book I’m currently reading is Everything Is Beautiful And Everything Hurts by Josie Shapiro.

Hopefully, the future involves a lot more writing. What ideas are you currently exploring? And what creative endeavours are you hoping to fulfil in 2025?

Currently, I’m working on a few film ideas that have been lingering in the back of my mind. I have a climate change comedy that I’m working on and a few more theatre scripts in the works. Aside from that I am also involved in the 30 year anniversary for New Zealand's leading contemporary dance company, Black Grace.

Leki Jackson-Bourke is a multi-disciplinary, multi-award-winning creative/performing artist of Niuean, Tongan and Samoan descent. A graduate of the former Pacific Institute of Performing Arts Leki has worked freelance in the arts industry for over 10 years and has toured NZ, Australia, USA, Europe and the Pacific through multiple Pacific Theatre productions