In a powerful display of art and identity, New Zealand's national museum has become the unlikely stage for a vibrant cultural revolution. The once underground world of vogue ballroom, led by Māori and Pasifika queer communities, is now commanding mainstream attention, moving from intimate lounges to the hallowed halls of Te Papa Tongarewa in Wellington.
From Harlem to Aotearoa: A Culture Finds New Roots
The scene is electric. Inside a large gallery at Te Papa Tongarewa, a crowd of over 600 people erupts in cheers as performers take to the stage. Dressed in spectacular, stylised costumes and moving in impossibly high heels, they twist their bodies into geometric forms and dramatic poses. This is the vogue ball, a performance art form created by Black and Latinx queer communities in 1960s Harlem, which has found a profound and distinct new expression in Aotearoa.
"There is something really visceral about seeing black, brown, queer, indigenous bodies so authentically and unapologetically be themselves," says Cypris Afakasi, also known as Fatheir Fang of the Auckland-based Kiki House of Coven-Aucoin. The culture operates through 'houses' – collectives that act as chosen families, headed by mother or father figures, who compete together in events known as balls.
Political Resistance and Cultural Celebration
While the New Zealand scene, which began over a decade ago in Auckland, draws from its New York origins, it has developed a unique Māori and Pasifika character. This is evident in its music, styling, and cultural references. Crucially, it also retains its foundational spirit of resistance. "Every day for us is a survival … ballroom is an outlet for resistance," explains Karamera, a Māori artist and house mother of Wellington's Kiki House of Marama.
This political edge was starkly displayed at a ball in late 2024 at the Dowse Art Museum. A performer from the House of Marama, Kiwi, ripped up a depiction of the government's controversial treaty principles bill, mirroring a viral parliamentary protest. For Karamera, this was a powerful act of dismantling systems not built for their community.
The growth has been rapid. Karamera launched Wellington's first house in 2023 after being inspired by a ball in 2020. From performing in living rooms for handfuls of people, their house now has 16 members. The pinnacle of this ascent was the staging of Wellington's largest ever ball at Te Papa in October, a landmark moment for visibility.
Institutional Allyship and Mainstream Acceptance
The move into national institutions marks a significant shift. Rachel Fox, Te Papa's public programming manager, notes that ballroom culture has become far more visible in New Zealand over the past five years, partly due to such platforms. "By being part of what ballroom looks like, through collaborations like this, Te Papa is actively creating a more inclusive and affirming cultural landscape," she stated.
Karamera praised the museum's approach, saying, "They were such an example of allyship – I encourage other institutions to follow their example and allow the girls to feel like the celebrities they are." This institutional support has helped propel the subculture into the public eye, introducing audiences to its rich vernacular like "realness" and "throwing shade".
Ultimately, beyond the glamour and competition, the ballroom scene provides a vital sanctuary. It is a space where marginalised people find community, celebrate their identities, and leave feeling more excited about life. As Karamera puts it for newcomers, "get ready to be wowed by queer excellence." The message from the stage is clear and confident: all eyes are welcome, and a spectacular show is guaranteed.
