“ Aloha & Si'oto'ofa Maui-Tava-He-Ako:
(Malo fau 'ae tau mo hono fuesia 'ae ngaahi fatongia mo ha'amoa 'ae ngaahi ngafa mei Vaihiloa moe fonua tupu'a 'oe kau Maui).
Your tavaist realist analysis of the Disney trailer for Moana problematically featuring Maui as a Moana / Oceanic (and Tongan) hero is equally, originally groundbreaking as a powerful form of art and literary criticism in general, with a specific bearing on both the material art of film-making (tufunga hele'uhila) and performance art of film-acting (faiva hele'uhila).
Your excellent use of the ancient Tongan concept and practice heliaki as an artistic and literary device for the mediation of intersecting or connecting and separating human meanings in Tongan formal language through sustained symmetry (tatau) and harmony (potupotutatau) to produce beauty (malie / faka'ofo'ofa) is spot on.
The use of helikai is most evident in the performance art of poetry (faiva ta'anga / faiva maau), material and performance arts of oratory (tufunga lea moe faiva lea) and performance art of mythology (faiva talatupu'a).
In Tongan formal language, as in poetry, oratory and mythology, human meanings are metaphorically wrapped up in symbols, functioning merely as "pointers" to actual things in reality, as in nature. mind and society. In short, heliaki involves "symbolically saying" one thing but "really meaning" another, as in the many in-depth and excitingly revealing examples you analysed with brilliance in the text.
'Ofa ke kei fakaivia koe 'ehe laumalie fakaMaui he ngaahi fekumi 'oku faimateaki mo faimatekina he mala'e 'oe 'aati moe ako, 'o fakafenapasi 'ae talatukungutu moe talatukutohi koe to'ongapo mei ono'aho (kuohili / kuongamu'a) ma'a onopo (lotolotonga / kuongaloto moe kaha'u / kuongamui) 'aia 'e hoko koe koloa moe tukutukulaumea ma'ae holoito'utangata he vaa'ikuonga he ta moe va.
'Ofa atu fau moe manatu ma'u,
Hufanga ”