Pasifika Made 2025 | Brisbane Festival & Brisbane City Council

Image supplied by BrisFest

Magandjin/Meeanjin turned on the Spring sunshine for the ONE day only Pasifika Made event. The iconic Brisbane Powerhouse which nestles serenely beside Maiwar (Brisbane River) on Yuggera and Turrbal Country was the ideal location to pay tribute to artists and communities from across the colourful Pacific diaspora. 

For a mere five hours, the Powerhouse was transformed into an arts and cultural village where dance performances, contemporary arts, hands-on workshops, demonstrations, music performances and a marketplace were the focus of this free event. 

Food trucks offering a variety of dishes and refreshing beverages ensured that the throng of visitors stayed hydrated and satiated on this sunny day. 

Five indoor/outdoor stages set up across the welcoming spaces of the Powerhouse offered a variety of free entertainment – contemporary music, hands-on creative workshops, cultural dances, an art exhibition – some of which happened simultaneously resulting in a jam-packed afternoon of non-stop cultural diversions. To make the most of the afternoon, this attendee managed to visit four out of the five.

The Island Stage, set up outdoors was by far my favourite because of my love for all things dance related. This welcoming space, popular with attendees, was decked out with chairs and tables, comfy floor coverings, wide umbrellas and even reclining lounge chairs. 

First up, the traditional and stirring ‘Welcome to Country’ ceremony performed by a father and teenage son duo (an apt choice in recognition of Father’s Day) from the Nunukul Yuggera Aboriginal Dance Company. ‘Dad’ delivered an informative brief introduction about the history behind the ‘Welcome to Country’ ceremony including the mention of the various First Nations languages and tribes from Yuggera and Turrbal Country. ‘Son’ impressed the crowd with his accomplished skills in playing the didgeridoo while ‘Dad’ accompanied him, singing in language. Native leaves were burnt in accordance with the protocol of a traditional smoking ceremony to spiritually cleanse and protect this space.    

Next up were the Kingaroy Solomon Dancers/Pan pipers. Ten musicians accompanied eight dancers, an all male ensemble, as they entertained the crowd with their dancing and singing (in ‘Pijin’). Swaying from side-to-side, almost trancelike in its repetitive movements, the dancers were accompanied by a lively group of Pan pipers. Traditional costumes consisted of hemp-like fringed ‘skirts’ offset by intricate beadwork that adorned their bare torsos and heads. The pan pipes were brightly coloured in blue, green and yellow, the colours of the Solomon Islands flag.

The Solomon Islands dancing group was closely followed by the Logohu Bird of Paradise dance group (PNG). A group of teenagers filed onto the stage dressed in grass skirts, feather head adornments and traditional body tattoos. A rich blend of acapella accompanied the dancers as they twirled in semi-circles accompanied by pre-recorded music. But the show stopper was the child trio at the front of the stage who captured the audience with their dexterity and cuteness in expertly executing the dance moves of their older counterparts on the stage.   

The resounding applause confirmed how much the audience enjoyed these cultural dance performances. 

With so much more to discover, I ventured to the Forecourt + Roundabout Lane where there were several market stalls selling wares from across the Pacific diaspora. Intricately woven strings of beads, traditional hand woven string bags (bilum), colourful sarongs, stunning earring designs, traditional baby sling carriers and more vied for attention by this group of gifted craftmakers. My credit card nearly burnt a hole in my wallet as it constantly tried unsuccessfully to alert me to its presence in the presence of such delightful wares!  

The Pleasure Dome, a contemporary wooden structure erected on the nearby lawn area, beckoned. So off I went, pleased for the diversion to NOT max out my credit card at the market area. In this naturally lit space, there were a variety of workshops to tap into one’s creative flow - stringbags, beads, baskets using betelnut palm leaf or natural fibre - were taught by elders from the Pacific diaspora. Storytelling surrounding the intricate markings of traditional tattoos and their meaning plus a demonstration on how to carve a sail canoe welcomed participants within this lovely, well ventilated space. Traditional dance and drumming workshops were also held over two sessions each.

On my way out, a stroll by the Main Stage/Turbine Platform revealed the lively sounds of DJ Neesha Alexander whose sets were to be interspersed with an eclectic array of musicians to showcase contemporary music from the Pacific diaspora and First Nations. According to the program, the stellar line-up slated to perform throughout the latter part of the evening – Eve Nikolao (Samoa), Fred Leone (First Nations), PANIA (NZ) and Kaiit (PNG).

Kudos to the Cultural Producer, Queenie Pelesa in successfully organising an event of such broad appeal and cultural grandeur. This family friendly event was exceptionally well attended. The larger than usual multicultural crowd who, judging from their loud applause and eager participation, indulged themselves unapologetically in the free music, dance and hands-on creative experiences. 

To end, Pasifika Made had such a wealth of immersive cultural activities, performances and music to offer that an event of this calibre and creative appeal should have been given more showtime. One day was certainly not enough to indulge my senses and appease my creative appetite in what turned out to be a dynamic and authentic cultural event set in what I consider to be THE most perfect surroundings, the Brisbane Powerhouse.

Pasifika Made was held at the Brisbane Powerhouse as part of the 2025 Brisbane Festival Program on 7 September 2025.