Tusi Luafutu was born in Samoa in 1951 and moved to Auckland for employment, which she found in the freezing works: many Polynesians worked in the meat industry to support families back in the islands. The factory was eventually shut down and Luafutu moved to Brisbane in 1991.

This fala su'i which was made in Samoa by Luafutu's mother Laupule Poutasi, was given to Luafutu to take to Australia. Luafutu added the red and white band above the main design as well as the hibiscus flowers at the top of the mat. Luafutu suggests that the iconography of the two leaping beasts refers to images of authority, such as the police. The kava bowl, another potent symbol of Polynesian culture, is present alongside nifo (knives) used for a particularly dangerous dance routine in which oiled men swing huge machetes in synchronicity to a drum beat. Poutasi's identification with her culture and nation is also evident in this mat, which prominently features the Samoan flag, and it is reinforced by the text 'God Save Samoa'.

Much of Polynesian culture is expressed orally. When mats such as the Samoan ie toga or the Tongan kie hingoa are presented in ceremonies, it is the speech that accompanies them - with their detailed evocation of complex genealogies - that gives meaning and status to the intricate and time consuming weavings. The introduction of wool into customary weaving practice radically altered the material culture of the islands. The use of natural and synthetic wool has enabled women to create their own narratives through colour, imaging and text, as opposed to relying solely on their oral, male expression.