BACKGROUND
Rapa Nui (Easter Island), a Chilean territory, is one of the most isolated inhabited places on Earth. Its unique cultural heritage, symbolised by the iconic moai statues, was nearly lost after Chile annexed the island in 1888, suppressing the native language and culture. The last two decades have seen a powerful movement to revive Rapanui traditions. It was in this context of cultural revitalisation that Toki Rapa Nui was founded in 2011 by a group of young Rapanui leaders. The organisation’s ambitious mission is to champion both environmental and cultural sustainability. Its flagship project is the School of Music and Arts, the first formal music school on the island, housed in a remarkable, self-sufficient “Earthship” building constructed from recycled materials—a physical manifestation of Toki’s blend of tradition and modern innovation.
BUSINESS AND ORGANISATIONAL MODEL
The Rapa Nui School of Music and Arts offers free or low-cost tuition in a unique mix of traditional Rapanui and Western classical disciplines, from ancestral song and ukulele to cello and piano. It serves as a vital after-school community hub where children not only take lessons but also socialise and share meals cooked by parent volunteers with produce grown on Toki’s land.
The organisation operates on a diversified funding model, combining grants from Chilean foundations and state-owned enterprises (Fundación Mar Adentro, ENAP), government support for traditional arts, nominal parent fees, and modest earned income from the sale of produce and locally made ukuleles. This model has sustained the school’s initial growth, but its long-term viability depends on demonstrating clear, measurable impact to its funders—a task complicated by its lack of a defined strategy.
STRATEGIC CHALLENGE
Toki Rapa Nui’s core challenge is a profound identity crisis rooted in the undefined concept of “cultural sustainability.” The organisation has a powerful brand and a unique physical asset, but its central “product”—the educational and artistic experience—is strategically ambiguous. This ambiguity manifests in several critical areas:
- Philosophical Divide: The teaching staff lacks a unified vision. Some see the school’s purpose as recreational enrichment, focusing on developing social skills like empathy and cooperation. Others believe the priority should be rigorous artistic training to achieve the highest possible level of musical excellence.
- Curricular Tension: There is no clear strategy for the relationship between the classical and traditional music programs. Should they be separate, parallel tracks? Should they be actively fused to create a new, syncretic Rapanui sound? This question reflects the island’s evolving demographics, with a growing population of continental Chileans.
- Lack of Metrics: Without a clear mission, there are no key performance indicators. Success is measured anecdotally through student enthusiasm and festival performances. This lack of a formal evaluation framework poses a significant long-term risk for fundraising, program development, and strategic planning.
DEFINING THE “LIVING LEGACY”: THREE STRATEGIC PATHS
To move beyond this impasse, Toki’s leadership must guide the organisation’s stakeholders toward a clear and unified identity. Three distinct strategic models present themselves for the future of the school.
- The Preservation Model: This model would define the school’s primary purpose as the preservation, codification, and revival of traditional Rapanui music in its most authentic form. The classical music program would be positioned as a secondary, separate offering to broaden musical horizons. Success would be measured by the number of students mastering traditional repertoires and the revitalisation of the Rapanui language through song. This path prioritises authenticity.
- The Fusion Model: This model would define the school as a laboratory for creating a new, evolving Rapanui cultural expression. It would actively encourage the synthesis of traditional music with classical instruments and contemporary genres, inspired by successful Rapanui artists like Yoyo Tuki. Success would be measured by the creation of original compositions and the school’s ability to represent a modern, globalised Rapanui identity. This path prioritises innovation.
- The Skills-Based Model: This model would define the school’s primary purpose as youth development, using music as a tool to cultivate essential life skills. The goal would be less about artistic output and more about social impact: building discipline, empathy, and collaboration. Both traditional and classical music would serve this larger objective. Success would be measured by social-emotional learning metrics and the long-term life outcomes of its graduates. This path prioritises social impact.
