Walking Between Worlds with Te Ao o Hinepehinga
- adriana
- Aug 6
- 6 min read
Updated: Aug 6
In this exclusive interview with Miami Living Magazine, New Zealand-born actress Te Ao o Hinepehinga opens up about her journey from Aotearoa’s Te Tairāwhiti region to the global spotlight. A lifelong advocate for indigenous rights, fluent in Māori and French, and raised in a politically active family, Te brings depth and intention to every role she inhabits. Now, as she stars alongside Jason Momoa in the highly anticipated Apple TV+ series Chief of War, she merges her love of performance with her cultural roots in a story that redefines historical storytelling from an indigenous perspective. We’re thrilled to sit down with Te as she brings the role of Kupuohi to life in one of the most anticipated series of the year.
Miami Living (ML): Te, before we dive into your incredible journey, we’d love to start with something light: you trained as a dancer, speak multiple languages, and have lived across three countries – what’s something totally unexpected or delightfully quirky about you that fans might be surprised to learn?
Te: Something light, you say… Well, I love to cook! I wanted to be a chef for the longest time. I used to experiment a lot in the kitchen, learning how to play with flavours from cooking shows like Masterchef and Hell's Kitchen. It’s turned into a kind of comfort. Whenever I’m feeling overwhelmed, I’ll bake something delicious and end up feeding whoever is around me. It got me in a bit of trouble on set, because our men wear malo in Chief of War, they had to stay in top shape, and apparently, bringing baked goods to set was not making things easy for them. Sorry boys…
ML: You were raised in the Te Tairāwhiti region of Aotearoa in New Zealand, surrounded by culture, politics, and a strong sense of community. Did your upbringing – growing up in a big family of 7 siblings, speaking Māori, and being raised by a politically active grandfather – plant early seeds of activism and storytelling?
Te: I jokingly call myself the white sheep of the family (I’m the pale one in a family of brown) because I chose to be an actress instead of following in the footsteps of my papa, like he hoped. I was the firstborn of my family’s next generation, and it was expected that I would continue the work they do in the community. I still enjoy working in that space, but it was the stories my papa would tell me on our travels — adventures of Te o Tane and Kahungunu — that were my favourite moments growing up. I’d sit with him at the Marae and listen to the stories of our people and imagine myself in the world they created. At the time, it was a fun childish game, but I didn’t expect it to turn into this. Even my papa wasn’t entirely sold on the idea of my pursuing acting, but I think he’d be happy to know I found a way to do both. Chief of War and Head High showed me how I could do both.
ML: Chief of War brings an indigenous lens to an epic moment in Hawaiian history. What did it mean to you, personally and culturally, to step into the role of Kupuohi alongside Jason Momoa?
Te: It was terrifying. I didn’t believe myself worthy of telling this story, but I wanted to support my Hawaiian cousins in their pursuit to indigenize TV on a global stage. I would have been a coffee runner, whatever they needed from me, to make this all happen. I never thought they’d give me something like this. It’s an honour I will forever be grateful for and will continue to work to be worthy of.
ML: Kupuohi is a woman living in a time of upheaval and transformation. How did you prepare emotionally to embody her strength, her fear, and her love?
Te: As part of the production, we were each given a language coach to work with to make sure our ‘olele was as good as it could be. Kalei Kawa’a was mine, and she is my main inspiration for Kupuohi. We spent hours every day leading up to the production and during filming working on the language, and in doing so, her persona. Everything from the way she stood, to her presence in the silence. Kalei helped me to define what it was to be a Hawaiian woman at the time, understanding the social dynamics of the period and the ways that women moulded history and the men she cared for along the way. It was important to us that she embodied the essence of being a Polynesian woman and preserved the authenticity of the indigenous experience. People keep saying she's this badass, but in truth, I think she is exactly who our women are, regardless of where they come from. They're unyielding, brave, and loving. They're warriors and the givers of life. I hope every woman who sees her finds a little of themselves in her story. I hope they feel seen.
ML: The series was filmed in Hawaii and tells a powerful story of resistance and unity. Were there any moments on set that felt especially sacred, surreal, or emotionally resonant for you as an indigenous woman?
Te: There was a moment when we relocated to Hawai’i Island (Big Island) to film a battle that took place during a volcanic eruption. The evening we landed to film, Mauna Loa erupted for the first time in 75 years. It was as if Pele herself had awoken to say, “This is my story and I am here”. It was a reminder that our tipuna and atua were watching and guiding the journey of this production, and that brought me great comfort because I knew they would keep us accurate to the mission of this production.
ML: Before acting, you danced professionally and even performed as a showgirl in Australia! Do any of those stage experiences still inform the way you move through your roles today?
Te: Dancing gave me a lot of confidence. Despite my love of storytelling, I prefer to stay in the background and avoid the spotlight – not exactly the kind of energy you need for this line of work. Dancing helped me figure out how to step out of my comfort zone and embrace the attention. It’s a bit hard to hide when you're dressed in a bedazzled bikini with a massive feather headdress. Dancing was an unexpected detour, but I learnt a lot about myself during that time. I realized hiding in the back was stopping me from fully experiencing what the arts industry had to offer, and I’m grateful for every moment I had dancing in Australia. It’s a highlight of my life.
ML: As a founding member of ICAN (International Culture Art Network), you’re helping artists prepare for real-world opportunities. What’s one piece of advice you give young indigenous performers that you wish someone had told you early on?
Te: I was fortunate to have had many great mentors early on, which allowed me to learn the hard stuff quickly. One story I always share is about my first day at Music Theatre school. Our acting teacher, Stephanie McKellar-Smith, sat us all down at the very beginning and told us the hard truth, and it goes something like this: “Of the 24 of you here, maybe three of you will make it. Only one of you will likely turn it into a lifelong career. And it will take you 7 years to find that out because being an actor is 5% talent and hard work and 95% being at the right place, at the right time”. It was the best thing anyone could have said to me, because I had a realistic understanding of what I was walking into. I knew then and there that I was trying to pull off something impossible, and I wanted to try anyway. Young people are resilient and fearless; honesty is the best thing you can give them. Because if they know what they’re walking into, they won’t be scared, they’ll be ready.
ML: When you're not filming, you’re into everything from yoga and gardening to reading and weightlifting. What’s your perfect “reset” day look like — and what’s on your nightstand right now?
Te: My reset is a day curled up on the couch with a good book, a pepperoni pizza, and a hot bath to soak in at the end of the day. I’m a homebody, I like the quiet of home and the comfort of a good book — something to dive into and escape the world. My nightstand is an absolute mess; it's always covered in piles of jewelry and random bits I find in my pockets before bed. But it always has my salt lamp, Kindle, Kindle holder, and remote, so I can lie in bed and read without breaking my blanket burrito. My brother got me the holder as a birthday present, and it’s the best gift ever! I miss it every time I’m away at work.
