TE AO O HINEPEHINGA — A BOOK OF MAGAZINE

Polynesian actress TE AO O HINEPEHINGA is electric and grounded: equal parts kapa haka cadence and salt-air steadiness, then turns that presence into Kupuohi, the chief’s wife at the heart of Apple TV+’s Chief of War, a sweeping Hawaiʻi-set drama led by Jason Momoa and Luciane Buchanan and steered by a team of filmmakers working closely with cultural advisors. On screen, she moves like someone who remembers ceremony in her bones: a single look, a small gesture, and centuries of history click into place, making the past feel immediate and the stakes heartbreakingly human.

She’ll tell you about Duolingo scoreboards on set, late-night ʻōlelo drills, and a language coach who became “my compass”; she’ll tell you about learning how to stand beside a legend and then turning that momentum into something tangible—community workshops, land restoration, a promise kept. This is an actor who brings ritual to craft and action to conviction—read on for the story behind the performance and the promise that follo

Hi Te Ao O, how are you? Growing up in Turanganui a Kiwa-Gisborne’s Poverty Bay and later in the small East Coast town of Tolaga Bay, you were immersed in te reo Māori and kapa haka from childhood. How did those early traditions become the bedrock of your artistic identity?

I would say it’s a foundation of my personality in general. Growing up in my community, deeply rooted in cultural tradition, I was given a powerful sense of belonging and understanding of my relationship to the world around me. That’s the beauty of Te Āo Māori, the Māori world, it teaches not only how we co-exist with the land but also the history of our people—reminding us of the work and sacrifices that have been made to allow us to have the privileges we have today. That knowledge holds me true to who I am, and I’m grateful for that gift every day.

When you left home at 18 to earn your Bachelor of Arts in Musical Theatre at NASDA in Christchurch, you encountered a very different cultural pace. What challenges did you face adapting to that shift, and how did it inform your sense of self on stage?

Okay, so this might sound silly, but I had a tough time figuring out how to greet people. In Te Ao Māori, the respectful way to greet anyone is with a cheek-to-cheek kiss or a hongi(gentle pressing of noses and foreheads together while exchanging a single breath). So, when I moved to Christchurch, I quickly realised that wasn’t the norm and found myself constantly questioning how to approach someone. Should I shake someone's hand who is my age? Is hugging too intimate? Does the cheek-to-cheek kiss still work? For almost a year, I found myself standing in the back, watching how others around me did it. In school, at the supermarket, and in cafes, it occupied my mind for more than I’m willing to admit. Even now, I still wonder what to do in new situations. I probably come off as such an awkward fish.

Straight out of University, you worked as a Latin dancer and showgirl in Australia and even won Miss Congeniality at an international pageant. How did those performance-and-travel experiences sharpen your resilience and prepare you for life in front of the camera?

It helped me understand how tumultuous the entertainment industry is. As an entertainer, you must seize every opportunity, fight for every position, and become comfortable with being uncomfortable with strangers, financial security, and lifestyle. Things change rapidly with the opportunities that come, or don’t come. It can be hard to stay settled in a constantly changing environment. It’s exciting and fun, and I wouldn’t change a single moment, but it’s also very easy to lose balance with the rest of your life. Honestly, I’m still figuring it out, but we’re working on it. And every day, I get a little closer to the balance I need to keep moving forward in this dream.

Your first on-screen moment came with Aria O’Kane in Head High, followed by a guest shot in Black Hands, and then Waimarama Glover on Shortland Street. How did each of these early roles stretch you creatively and teach you the craft of storytelling on camera?

I learnt a lot from my first few roles on TV. I trained at a theatre school, so I never learned how to work with a camera, and truthfully, I never liked cameras. Something is terrifying about knowing someone can replay my performance over and over again. I feel exposed. So those first roles forced me to confront that. I was fortunate to have incredible actors and crew throughout the entire process. Aotearoa has a powerhouse of talent in our TV and Film industry, and they are very generous in sharing their knowledge, so I was lucky to be guided the whole way along. In saying that, how we work in Aotearoa doesn’t entirely translate to the way things work in the US, so I’m still growing. But I think that’s my favourite part about this industry, there is always an opportunity for learning and growth if you're open to it. And it certainly keeps things interesting.

Landing the series-regular part of Kupuohi opposite Jason Momoa in Chief of War is a giant leap. How did you prepare to step into the world of 18th-century Hawai‘i and embody the strength and nuance of a chief’s wife?

Where to begin… It was a life-changing experience. I spent months during the audition period, scouring the internet for any relevant information I could find. Learning everything I could from the journals of 1800s explorers, early Hawaiian newspapers, and history books online was just the beginning. Once I booked the job, I had to learn ‘Olelo Hawai’i, the Hawaiian language. We had a classroom set up in the production office during the day and spent hours every night working on the language with our coaches. Kalei Kawa’a, my language coach, became instrumental in the creation of Kupuohi. Who better to show me what it was to be a Kanaka woman than this powerhouse wahine who had dedicated her life to preserving the language and teaching it to the next generation? She was my compass during the entire filming process. I couldn’t have done it without her.

The emotional bond between Ka’iana and Kupuohi anchors the entire epic. How did you explore and convey that partnership’s depth, especially within a story of island unification told from an Indigenous perspective?

It was surprisingly easy. Working alongside Jason, I got to see the work that went on behind the cameras and costumes on set. He isn’t just the lead actor on this show; he’s the guy steering the ship of this whole production. He has spent the better part of his career building towards this project and working with him every day. I saw the care and effort he poured into this story. As an upcoming Polynesian storyteller, I couldn’t not be inspired by that. In many ways, we were living the story of unification through coming together to support our Kanaka cousins on this journey, and the rest came naturally with that experience.

Filmed on location in Hawai‘i with cultural advisors on set, the production aimed for authenticity. What moments of collaboration with fellow Polynesian artists or advisors most surprised you, and how did they shape your performance?

Surprised, probably isn’t the right word, but I was excited to see so many Kanaka at the head of the decision-making process. It was how it should be, and that knowledge allowed me to dive completely into this project. I felt comfortable knowing that we were being guided by the people who truly knew this story and its intricacies. A group of people dedicated to honouring the source material and understanding its significance gave me the confidence I needed to commit fully to the journey and the story we were telling.

In bringing a real Hawaiian narrative to life, you must have dug into the history of Hawai‘i’s unification—what discoveries from your research left the biggest impression on you, and how did they influence your portrayal of Kupuohi?

The Kapu system was something I found most fascinating—a system of rules and social structures that governed Hawai’i and its growth. The Kapu system dictated everything from fishing and farming to gender roles. It maintained the social hierarchy of Hawai’i and protected the sacred line of Ali’i, who were direct descendants of the ākua(gods). There was a wife of Kamehameha who was so Kapu that the simple act of seeing her shadow was forbidden and could result in your death.

Chief of War blends Hawaiian language with English—how did you approach any linguistic challenges or opportunities to infuse your character’s voice with authenticity and respect?

Our production had a team of language keepers dedicated to caring for the ‘olelo in our show. We spent hours every day leading up to filming and during, learning and practicing the language. Our whole cast ended up downloading Duolingo to learn ‘olelo in our free time. It became a competition to see who was doing the most lessons, as we could track each other's progress and keep each other accountable. I’m not sure who won, but I think it was between Te Kohe (Namāke) and Siua (Nahi) in the end. Or, though Luciane certainly gave those boys a run for their money.

Beyond acting, you’ve been an indigenous social activist and co-founded ICAN to run free arts workshops in Hawai‘i. What inspired you to launch that initiative, and how do you balance activism with the demands of a high-profile acting career?

ICAN came from a promise I made to someone when I said yes to "Chief of War". Taking on this role wasn't simply a job to me; it was a commitment to uplifting and supporting my Hawaiian cousins across the way. I didn't know what that looked like at the time; if anything, the idea found me. Like the 'akua heard my promise and set me on the path to meeting Angela Laprete, Brian Keaulana, and Robert Suka so we might see that promise become something. ICAN was what came out of that meeting of the minds, a space that would support indigenous artists on the 'aina and provide them with more tools to build on what "Chief of War" has done. I'm proud of the work we've done together, and I look forward to seeing what they do in the future.

You’re also passionate about native land restoration, gardening, and community protest. How do moments spent tending the earth or standing up for indigenous rights inform your sense of purpose both on and off screen?

I'm Māori. It's in my blood to care for the land and our community. It’s the foundation of Māoritanga, and though my interest in acting has taken me all over the world, that sense of duty is not something I could ever leave behind. Every day I spend acting is a reminder of all the hard work and sacrifices that have been made so that I can have this freedom to express and share our Pūrakau. It is for them I continue to find ways to uplift and empower our local indigenous communities and our practices, so that the legacy might continue and we fill the world with more untold stories of the indigenous world. Hawaii and Aotearoa are just the start.

Looking back on your journey from a windswept East Coast town to leading roles on international screens. What core lesson from your upbringing still guides you through the inevitable rejections and triumphs?

It’s hard to pick one, but I think of my ancestors the most often. Our tīpuna. The ones who came before me. It’s easy to fall into the madness of the moment, but what keeps me grounded is the knowledge of what has been sacrificed for the privileges and opportunities I have. It reminds me to be grateful and to enjoy each moment that comes. Not only that, but it motivates me to challenge norms when they don’t serve the greater community. Building opportunities for growth in this world so the next generation can come into this space, stronger and wiser than those who came before.

As you step away from Chief of War and toward whatever comes next, what stories or characters are you most determined to champion on camera or in your community?

I don’t know what’s next for me. I let go of expectations a long time ago and have chosen to charge ahead, giving every opportunity my all and trusting that whatever is right for me will find me if I stay true to the work. But I wouldn’t mind playing on a film set, learning how things work to tell stories on the silver screen. I like trying new things, testing the boundaries of my acting, and seeing what comes of it. Life has provided beautiful challenges for me so far, and I’m excited to see what new challenges await me next.

Lastly, if you were a book, what book would you be and why?

The Alchemist by Paulo Coelho teaches us to follow our dreams, trust in the journey, and embrace all challenges and opportunities that find us. That’s how I want to live my life, heart, mind, and arms open to whatever comes my way.