Contemporary dancer and choreographer Lyncia Müller talks to Ginger O’Neil about her queerness inspiring her art, and the inspiration and influence of Queen Sālote Tupou III.
Lyncia Müller (Fatai, Lakepa, Nukunuku) is a proud queer Tongan artist whose creative spirit spans dance, theatre, and deep cultural expression. Her recent screen appearances include Inky Pinky Ponky (2023) and her role as Mariyah in the hit series Madam. Müller’s career boasts collaborations with a range of acclaimed creatives and companies such as Lisa Reihana, Auckland Theatre Company, Black Grace, Tupua Tufuga, Fasitua Amosa, and LADI6.
Her latest work, KUINI, is a powerful tribute to Her Majesty Queen Sālote Tupou III of Tonga. Featuring three dancers and three live musicians, the performance intertwines traditional movement forms like the tau‘olunga with contemporary dance, breathing new life into the Queen’s revered poetry and musical legacy.
Reflecting on her inspiration, Müller shares a personal connection to Queen Sālote that began in her childhood: “When I was young, I saw this photo at my Nana’s house of a tall lady. I always wondered who she was. It wasn’t until my teenage years that I realised it was Queen Sālote. Her music is something I grew up hearing at weddings and birthdays, but I didn’t truly understand its depth until I was older.”
Crowned at just 18, Queen Sālote reigned from 1918 until her passing in 1965, leaving an indelible mark on Tonga’s cultural and political fabric. Müller speaks with admiration of the Queen’s role in elevating Tongan women, especially through the tradition of the fahu—where the sister holds a revered position at family gatherings. “What I love about our tradition is how we place our women on a pedestal. That was from her,” says Müller.
KUINI incorporates the Queen’s original poetry and the music composed to accompany it. Müller, trained in both contemporary and Pacific dance at Unitec and PIPA, brings a hybrid creative language to the piece: “Her poetry is layered, and I’m interpreting that complexity through movement. I come from a contemporary background, but my roots are in Pacific movement, so this work really reflects that fusion.”
As an openly queer artist, Müller embraces the authenticity her identity brings to her art, regardless of the subject matter. “It grounds me in who I am. Even when the work isn’t queer-specific, I bring my full self into it.”
Her queerness informs the characters she embodies, like the role of Mariyah—a bold, masculine-presenting sex worker—in Madam: “That kind of role is more accessible to me than a very femme character. It just feels more natural.”
But the journey to living openly hasn’t always been easy. Müller recalls the challenges of hiding her identity in her youth: “I had to pretend I was going to dance rehearsals just to see my girlfriend. I couldn’t fully be myself at home.”
Since coming out, her family’s support has grown stronger—especially her mother’s: “My mum told the family, ‘If you have a problem, come to me.’ That’s when I knew she had my back. Now my girlfriend is part of the family, and I can just be myself.”
KUINI will be performed as part of DOUBLE BILL at Ngā Tohu o Uenuku, Māngere Arts Centre in South Auckland on Tuesday 10 June and Wednesday 11 June at 7pm, as part of the Pacific Dance Festival. Tickets available at eventfinda.co.nz.
