spinofflive
Watercolour painting of a mountain range silhouette at sunset. The sky features a gradient of orange, pink, and purple. Dark streetlights and billboard frames line the foreground along a road, adding an urban touch to the natural scene.
Illustration: Bob Kerr

SocietyFebruary 15, 2025

The Spinoff Essay: Sunset Limited

Watercolour painting of a mountain range silhouette at sunset. The sky features a gradient of orange, pink, and purple. Dark streetlights and billboard frames line the foreground along a road, adding an urban touch to the natural scene.
Illustration: Bob Kerr

A journey along the border, with words and illustrations by Bob Kerr.

The Spinoff Essay showcases the best essayists in Aotearoa, on topics big and small. Made possible by the generous support of our members.

The Sunset Limited leaves Union Station New Orleans on time at nine in the morning. We make our way through shunting yards full of freight wagons, past parking lots and warehouses catching the early morning sun. Slowly the train rises above the factories and the freeway off-ramps, gaining height to cross the Mississippi River on the Huey P Long Bridge. Huey Long, the populist governor of Louisiana, was a man in a hurry: “I’m for the poor man – all poor men, black and white, they all gotta have a chance. They gotta have a home, a job, and a decent education for their children.” Long was assassinated in the Louisiana State House in 1935, the year the bridge was completed. 

Watercolour illustration of a bridge arching over a wide river with a boat passing underneath. The foreground features small houses and trees, and the background shows a cloudy sky. The words "The Huey P Long Bridge" are handwritten at the top.
Illustration: Bob Kerr

There is a gentle descent back to swamp level on the west side of the river. We are travelling one year before the US presidential election. Biden time. We will spend two nights on the train and cross five states: Louisiana, Texas, New Mexico, Arizona and California. Louisiana is green. Green trees shade the down-at-heel wooden houses and trailer parks that back onto the track. There are green rice fields. The train crosses lakes and bayous lined with green moss-covered oaks and cypress trees. 

A sketch of two grey industrial buildings with metal roofs, labeled "Machine Shop," lined with garage doors. A tree with leafy branches is in the foreground. The scene is shaded and has a sign that reads "New Iberia".
Illustration: Bob Kerr

I’ve brought along my sketch book. The second floor observation car with its big windows provides a splendid place to record the journey. I like drawing on trains. The movement often adds unintended improvements to the drawing and you have to be slap-dash and draw fast because there is a constant stream of new landscapes moving past: a machine shop in the sugarcane fields outside New Iberia; an empty parking lot in Beaumont.

Sketch of a quiet street scene with utility poles, street lamps, and a few buildings. A bench sits to the left amid sparse trees. The road curves, leading to a distant horizon under a cloudy sky. The word "Beaumont" is written at the bottom.
Illustration: Bob Kerr

In the next seat sits Ben. He is travelling with his son and wife to a conference on domestic violence in Los Angeles.

“I’m Menominee,” says Ben, “our people are from Wisconsin.”

“How do you say hello in Menominee?” I ask.

Ben writes in the back page of the sketch book, pōsō. “That’s hello and also see you later.”

During the night the train crosses much of Texas. In the early morning I pull back the curtain and watch the sun rise. The green of Louisiana has been replaced by the browns and golds of the desert. In a startling moment the land falls away as the train crosses the Pecos River viaduct.

“This is José, your dining car attendant,” says the intercom. “Passengers in car number two should come to the dining car for breakfast.” That’s us. We make our way through to the dining car where José sits us with Ted and Larisa from Washington, Ted is a lawyer. As a young man he worked for Eisenhower. Larissa is grey haired and elegant and getting a little forgetful, “But it’s hard for her to get lost on a train,” says Ted. “Train travel means we can still holiday together.”

Ted shows us a photograph of his granddaughter. She is carrying a mean-looking military rifle, dressed in full army kit ringing a polished brass bell. 

“You ring that bell when you graduate from the Westpoint Military Academy,” says Ted. He is enormously proud of his granddaughter.

“I’m a Republican,” says Ted, “and I think that Donald Trump is the most despicable person on Earth.”

The train is now following the border with Mexico. The border across which Trump had insisted, “They are bringing drugs. They are bringing crime. They are rapists. We need to build a wall.” His solution is that he will build that wall. “Nobody builds walls better than me, believe me and I’ll build them very inexpensively. I will build a great, great wall on our southern border, and I’ll make Mexico pay for that wall. Mark my words.”

At lunch there is a fresh rose in a vase in the middle of the table. José seats us with Rubén. Rubén works for Facebook in San Antonio. He is an ethics adviser. He is taking the train to a conference on ethics in San Francisco. He is concerned about the increasing attacks on undocumented immigrants.

“My mum arrived here in the 1960s without documents,” he says. “It’s madness, undocumented workers contribute $97bn in federal, state and local taxes.” He has all the figures in his head. “Their removal would wreck local economies. It will push nearly 10 million US citizens into economic hardship.”

José brings lunch to our table. A grilled cheese sandwich for me, the savoury chilli for Hazel and crisp chicken Caesar salad for Rubén. 

“Who is going to pick this lettuce when all the undocumented farm workers have been rounded up?” asks Rubén. “Unemployment is only around 4%.”

The afternoon and the Chihuahuan Desert slide by, becoming tangled with images of the wild west that arrived on the TV in our living room via reruns of Bonanza and The High Chaparral and the country and western songs played on late night request sessions. In the late afternoon we come into El Paso. I know about El Paso. Marty Robbins sang about it in a chirpy little ditty celebrating American gun violence.

Out in the west Texas town of El Paso
I fell in love with a Mexican girl
Nighttime would find me in Rosa’s cantina
Music would play and Felina would whirl

But Felina makes the mistake of talking to a handsome young stranger and it doesn’t end well.

My challenge was answered in less than a heartbeat
The handsome young stranger lay dead on the floor

The rail tracks are now feet away from the border. Through the fence you can see the Rio Grande. It is not very grand. You could wade across and only get your ankles wet.

Watercolour painting of a skyline featuring silhouetted lamp posts and billboards against a sunset in Deming, New Mexico. Distant purple mountains contrast with a colorful sky of pink, orange, and yellow hues.
Illustration: Bob Kerr

The train lives up to its name with a spectacular sunset as we pass through Deming. We arrive at Union Station in Los Angeles at 5.30 in the morning. On the platform I see Ben.

“Pōsō,” I say.

“See you later,” he replies.

Denny’s restaurant is just opening, we are the first customers for breakfast. Out in the carpark the homeless are stirring. A homeless man shambles into the restaurant and comes up to our table and asks for money. The waitress asks him to leave. He ignores her. A security guard arrives. She takes her taser out of its holster and points it at the homeless man. He knows just how far to push; he heads back out to the parking lot. The waitress brings our coffee, pancakes with maple syrup and eggs on toast. 

“Sorry about that,” she says.

‘Media is under threat. Help save The Spinoff with an ongoing commitment to support our work.’
Duncan Greive
— Founder
Selina Alesana Alefosio by Geoffery Matautia for Pacific Profiles
Selina Alesana Alefosio by Geoffery Matautia for Pacific Profiles

SocietyFebruary 15, 2025

Pacific profiles: Meet Selina Alesana Alefosio, who teaches Pacific dance at Aotearoa’s most prestigious drama school

Selina Alesana Alefosio by Geoffery Matautia for Pacific Profiles
Selina Alesana Alefosio by Geoffery Matautia for Pacific Profiles

The Pacific profiles series shines a light on Pacific people in Aotearoa doing interesting and important work in their communities, as nominated by members of the public. Today, Selina Alesana Alefosio.

All photos by Geoffery Matautia.

On a bright Sunday morning from her grandparent’s home in Pito-one, I spoke with the incredible Selina Alesana Alefosio about Pōneke’s Tokelauan community, being a performing artist, wearing many hats, and teaching at Aotearoa’s most prestigious drama school, Te Kura Toi Whakaari O Aotearoa. 

Tell us about yourself and your kāiga (family).

Mālo ni! Ko Selina he tamaiti e a Sefilina ma Fiava’ai Isara Alesana. Ko na matua o Sefilina ko Isitolo ma Vitolia Koloi. O Mātua o Fiava’ai o Reverend Āretaseta Alesana Isara ma Tūmanu Alesana. On my mum’s side, we are from Tokelau/Uvea, she also has links to Portugal. Our father, he passed in 2001, is Samoan from the villages of Falefā, Faleasiu, Vaie’e, Salani, and Ulutogi’a Aleipata. I was born and bred in the Hutt Valley, and the eldest of six children. I’m now married to Sale Alefosio and we have two kids. Our daughter lives with autism, and our boy lives with ADHD. This is our grandparents’ house in Richmond, Pito-one, better known as ‘Petone.’ 

I’m curious about the Tokelauan community here in Pōneke. Could you tell me more?

Wellington has the highest population of Tokelauans in the world. Porirua has the most, then the Hutt Valley. Most of us who come from the Hutt predominantly come from the Nukunonu atoll and are Catholic. Catholicism is really prevalent out here, not just the religious aspect but the cultural aspect, too. Our language – gagana Tokelau – and hiva (dance) has mainly been through church. It’s a very strong Tokelau community out here.

We hear a lot about the endangerment of Pacific languages and culture, especially for islands like Tokelau. It’s great to hear there’s a strong, thriving diaspora down here.  

Absolutely. Growing up our grandfather was a very staunch Tokelau/Uvea man, not just in religion but in the gagana Tokelau. I didn’t realise he spoke English until I was in intermediate. They never spoke it to us, so we were fluent from birth. Before we had the community halls, we had a lot of community events out in our grandparents’ garage. That helped my siblings and I to learn about serving, always looking after people, and what it means to be a good host. The language and culture were constantly around us.

When I read up about you I thought it was impossible to capture all that you do under one label because you wear so many different hats. Could you expand on your various roles and responsibilities? 

Where to start. For me, performing arts is the biggest thing in my life. That comes not just from my studies, but since I was a baby. I learnt Tokelau hiva through our grandparents and our kāiga. Our father was a musician and a singer, so music was constantly in our lives. It’d be him on Saturday morning cooking breakfast pancakes with the Samoan songs blasting. In Church there was singing, so performing’s been instilled in me since I was a child. I suppose all those things – reunions, events, performing in front of your family in church – have helped me get to where I am today.

You’re busy!

I think with the different hats, it’s about wherever I see the need, and wherever I see I can help. But I’ve learnt the hard way that you can’t say yes to everything because you can’t do everything. And it took me a long time to learn that. I used to say yes to everything and be there to help everyone, but I had to learn that in order to fill other people’s cups, my cup has to be filled.

True. But it’s easier said than done…

It’s so hard! My grandparents did everything for their community and their family.

I used to think “Who am I? I’m a product of their love and their service, who am I to say no to other people?” Our grandparents are the pinnacle of everything that we grew up learning. I get really emotional talking about them.

And now you’re teaching?

Yes, now that I’m teaching my children help to inform my practice. I have to think; how do I transfer all that amazing and beautiful knowledge that our tupuna and kāiga have given us onto the next generations who aren’t necessarily fluent in the languages? 

How did the role at Toi Whakaari come about?

Like a lot of artists, I had to do the 9-5 and my arts practice was always on the side. I was at the Ministry of Social Development for 16 years. For a long time, I was weighing up the option of being an artist fulltime or not. Having a family comes with responsibilities, but after 16 years of putting it to the side, and with the blessing of my husband, I finished up my role.

I went straight into contract work and I’m now doing work with Toi Whakaari drama school teaching fundamentals in Pacific dance for year 1 drama students.

That’s interesting. I never knew they ran courses like that. 

It’s so beautiful! Term one is the fundamentals of dance. Those who are non-Pacific have never heard of Tokelau, ever! But they learn to sing and dance and in term two they create a production using myth, legend and stories for children’s theatre.

‘Become a member and help us keep local, independent journalism thriving.’
Alice Neville
— Deputy editor

How have the students responded?

They’ve been amazing. They’re really grateful to learn something new and something different. I work with the beautiful Emele Ugavale, and she is teaching them the importance of learning lots of different things and adding it to their basket of knowledge to tap into when they need it. 

That’s great to hear that the drama curriculum is now teaching from these different cultural lenses. 

It’s impressive to see, in my lifetime, how Indigenous knowledge and culture is valued and can add to a Western model. A lot of people going through the school are non-Pacific, but their response has been amazing. They’re so focused and have this hunger to learn. When I reflect, I think about how I’m creating relationships with people who are the finest up-and-coming artists in Aotearoa. I feel so blessed to have that opportunity.

You and your husband, Sale, co-founded an arts entity the Kupega Affect in 2021. What’s the story behind that?

The Kupega Affect is a Samoan/Tokelau/Uvea arts entity. A lot of the work we first started was around dance. The name pays homage to our tupuna and translates in gagana Tokelau to “fishing net”. My grandmother was a master weaver and our granddad was a rope maker who really grasped onto knowledge. Everything connects. My brother is also a weaver and rope maker and he’s helped us to realise our vision with our costumes. Although he uses traditional methodologies he’s helped us find contemporary ways of using them.

This year we had our Tokelau cultural festival with everyone from around Aotearoa. That was a real highlight as I got to help our children, college and adult groups with the hiva. I see my role as being the bridge from our elders to our young people. I want to make sure the knowledge is shared in a way that they can understand.

You mentioned when you introduced yourself that your children live with autism and ADHD. How does disability advocacy intersect with your arts practice?

Our girl was formally diagnosed with autism at five. We always knew she was different. From a young age, she was very creative and into music. She learnt how to play instruments herself. We were like, “wow!” For us, it was about seeing what she needed. In the education system, we had to fight for what she needed and it made us realise that we have to create what we don’t see. Now she’s 21 and creates music and she and our son are in all our projects. We have so many amazing talented artists here living with different abilities. I hope that people open their minds and hearts to what they have, because there’s so much talent in their craft. People have to realise what they bring and make sure that they’re seen!

This is Public Interest Journalism funded by NZ On Air.