Contemporary Popular Waiata Provide a Place of Belonging

CONTEMPORARY POPULAR WAIATA PROVIDE A PLACE OF BELONGING

Maree Sheehan*

Abstract

This paper considers the use of contemporary popular waiata in promulgating a Mäori worldview by expressing cultural identity and belonging. Waiata are a traditional medium, a practice through which Mäori knowledge, histories, culture and language continue to be passed down from one generation to another (Ka‘ai-Mahuta, 2010; McLean, 1996; Orbell, 1991; Smith, 2003). Similarities can be observed between traditional and contemporary waiata, in that messages are delivered through musical, melodic, rhythmic and harmonic motifs that are distinctively Mäori. These musical and lyrical elements are expressed aurally and act as conveyors of cultural identity and a Mäori worldview; that is, people feel a sense of connection, belonging and commonality when they either listen to or perform contemporary waiata. This paper looks specifically at “Tahi (Dance Mix)” (1993), a contemporary waiata performed by Moana and the Moahunters and composed by Moana Maniapoto, Hareruia Aperahama and Angus McNaughton.

Keywords

Mäori music, waiata, “Tahi”, Moana Maniapoto, cultural identity

* Ngäti Maniapoto-Waikato, Ngäti Tüwharetoa. Lecturer, Te Ara Poutama, Faculty of Mäori and Indigenous Studies, Auckland University of Technology, Auckland, New Zealand. Email:[email protected] DOI: 10.20507/MAIJournal.2017.6.2.13 Contemporary popular waiata provide a place of belonging 209

Introduction to express sense of identity and belonging for Mäori. This reaffirms contemporary popular Contemporary popular waiata offer a powerful waiata as powerful cultural expressions that expression of Mäori identity and belonging. can unite people. Contemporary waiata carry forward elements Mäori cultural identity has been tradition- of traditional waiata on both the marae and ally linked to the connection to whenua, links to the kapa haka stage through musical, melodic, whakapapa through common tüpuna, and the rhythmic and harmonic motifs that are dis- connection to iwi, hapü and whänau (O’Regan, tinctively Mäori. These elements, along with 2000). It is formulated within a complex set the use of te reo Mäori and other cultural ref- of interwoven cultural concepts, tikanga and erences, produce material representations of understandings. For Mäori, whenua is more Mäori cultural identity and the expression of than the physical manifestation of land; it relates a Mäori worldview. Listening to and perform- directly to the concept of whakapapa as a sym- ing contemporary waiata emphasises Mäori bol of Mäori identity (O’Regan 2000; Pere, identity and encourages a sense of connection, 1982). For Pihama (2001), whakapapa is a spir- belonging and commonality. This paper specifi- itual connection that brings together all aspects cally looks at the “Dance Mix” version of the of te ao Mäori. According to O’Regan (2000), contemporary popular waiata “Tahi”, which whänau, hapü and iwi are bound by the com- appeared on Moana and the Moahunters’ 1993 mon thread of whakapapa. It is important to album of the same name, as an example of how recognise that the term “Mäori” often obscures lyrical content, language, musical elements distinguishing characteristics of each iwi and and performance of a popular contemporary the way in which we are individually and col- waiata can express cultural identity and Mäori lectively members of our tribes (Webber, 2008). knowledge. As a result, the association between tüpuna This paper has been developed within and the land is central to an understanding of a performance studies framework that inte- tribal identity (p. 13). The waiata “Tahi” was grates theory and practice, and is informed by conceptualised around the great migrational Kaupapa Mäori theory. Moreover, as a Mäori journey of our tüpuna and acknowledges the composer and singer of popular waiata, I am resilience, fortitude and unity they displayed. primarily concerned with exploring how the The song asks us to embody these qualities words, sounds and gestures of popular musical of our tüpuna in the here and now, linking us performance produce social meanings that are back to our whakapapa. Mäori language is a significant for the way we understand culture fundamental factor in providing a pathway to and identity. Performance studies, insofar as it the histories, values and beliefs of Mäori people draws from ethnography and, in this case, eth- (Eketone, Gibbs & Walker, 2006). For Mäori, nomusicology, allows for a more fluid analytical the Mäori language is the traditional form of approach than those disciplines alone permit. expression. Furthermore, it is a vessel for the Through my analysis of the successful waiata transmission of knowledge such as tribal his- “Tahi”, I illustrate how a Mäori worldview and tories, politics, environmental knowledge and Mäori cultural identity can be seen, and heard, whakapapa. The positioning of te reo Mäori as and how the musical composition and perfor- a central thread in the waiata “Tahi” recognises mance of the song is a representation of cultural the relationship between language and culture. identity and Mäori knowledge, which emanate No matter where they come from, people from the combination of writing and perform- have always sung, chanted, danced, stomped, ing our cultural stories in our language and jumped and rhythmically moved together to cre- utilising contemporary musical components ate unity and unleash individual and collective

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energy. Whether it is in celebration, grief, as a performing arts practice acts as a vehicle remembrance, healing or preparation for war, for Mäori to engage in their language, culture these cultural activities and rituals bind a com- and traditional practices, thereby retaining munity together in a purposeful, active manner and reclaiming Mäori knowledge and cultural (Keiha & Pio, 2015; Spiller & Wolfgramm, understandings (Whitinui, 2008). 2015). A Mäori worldview is “comprised of a In performance, both in traditional and in complex of spiritually endowed life-energies” contemporary formations, waiata embody ihi, (Spiller & Stockdale, 2013, p. 150) and, as a wehi and wana. In Valance Smith’s terms, ihi significant Mäori practice, waiata are defined can be understood as intrinsic power; it is awe- by the constant interplay of these life ener- inspiring (personal communication, January 25, gies, the elements of breath, energy, intention 2016). He adds that wehi is the reaction of awe and spirituality expressed by people through and respect from the recipient to the physical melody, harmony and rhythm. Within the manifestation of ihi, and wana is the synergy understandings of listening to and perform- of aura and passion that occurs during the per- ing of contemporary popular waiata, there is formance, encompassing both performers and a place of growth and discovery that looks audience. These are the overarching principles at honouring and nourishing ourselves while of haka and waiata. creating spaces for others through “holding Contemporary popular waiata from the relationships as sacred responsibilities” (Salter, 1980s to the present continue to express Mäori 2011, p. 154), whereby people can feel a sense knowledge and culture through lyrical and of connection, belonging and commonality. musical elements. The 1980s was an era of “Waiata” is the generic term used for the significant Mäori language revitalisation efforts medium in which Mäori narrative is transmitted and saw the development of Mäori language by way of chant or melody in the various forms immersion education (Winitana, 2011). It was of waiata tangi, waiata aroha, waiata-ä-ringa, also a time when many Mäori were protest- waiata poi, möteatea, pao, oriori, karanga, ing for land rights and against social, political karakia and tauparapara, pätere and kaioraora and economic struggles, and this was being (McLean & Orbell, 1979). There has been a expressed through contemporary waiata writ- substantial amount of research undertaken ten by Mäori composers such as Joe Williams on traditional Mäori waiata (Ka‘ai-Oldman, from the band Aotearoa, Ngatai Huata from 2003; Käretu, 1993; McLean, 1996; Orbell, Black Katz, and the late Hirini Melbourne, 1991; Smith, 2003); however, there is com- whose 1976 waiata “Nga Iwi E” became a paratively limited research on contemporary well-known protest anthem. Other contribut- popular Mäori waiata, although there are vari- ing factors that led to increased exposure of ous studies of what contemporary waiata Mäori contemporary kaupapa-driven waiata in more incorporate, such as the use of te reo Mäori and public forums was the allocation of funding distinctive melodic, harmonic and rhythmical by the New Zealand government to promote arrangements with kaupapa-driven thematic diverse local television, radio and music. Two lyrics (Aperahama, 2006; Hauiti, 2010; Ka‘ai- state-owned enterprises emerged as a result of Mahuta, Ka‘ai & Moorfield, 2013; Papesch, this investment: Television New Zealand in 2013; Smith, 2011). This includes the sig- 1980 and Radio New Zealand in 1995. In 1990 nificant and substantial contribution of kapa the autonomous Crown entity New Zealand haka in the 20th and 21st centuries (Ka‘ai- on Air began funding Mäori radio and by1993 Mahuta, Ka‘ai & Moorfield, 2013; Käretu, they were funding 22 tribal Mäori radio sta- 1993; Papesch, 2013; Smith, 2011). Kapa haka tions. The further development of Mäori radio is a responsive expression of Mäori identity and from 1995 onwards is primarily linked to Te

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Mängai Päho, another autonomous Crown hop, funk, reggae and house were vehicles for entity (Matamua, 2006). These broadcasting kaupapa-driven waiata and waiata that incor- developments meant that waiata Mäori, both porated te reo Mäori in ways that would appeal traditional and contemporary, had a vehicle to to mainstream radio and youth audiences. More be disseminated to wider audiences (Sheehan, recently, there has also been a growth in the 2016). number of Mäori reggae bands and dub artists, Ngoingoi Pëwhairangi (Ngäti Porou) and such as 1814, Katchafire, Dallas Tamaira (the Dalvanius Prime (Tainui, Ngäpuhi, Ngäti front man of Fat Freddy’s Drop), NRG Rising, Ruanui, Tüwharetoa, Ngä Rauru, Pakakohi, House of Shem, Sons of Zion, Trinity Roots, Ngäi Tahu) exemplify the ability of Mäori and Kora. However, although some of these composers and producers to write contem- Mäori composers are heard on New Zealand porary popular waiata in te reo Mäori and mainstream radio, there is still a significant utilise Western music genres to appeal to a lack of contemporary Mäori waiata in te reo mainstream audience. Pëwhairangi’s contribu- Mäori being played. Fortunately, the growth tion to, and expression of, Mäori knowledge of iwi Mäori radio, whose earliest beginnings and culture significantly impacted the ways she date back to the 1920s, provides a platform composed waiata in te reo Mäori. In her words, that supports and prioritises waiata in te reo she wanted “to give people something to sing Mäori (Sheehan, 2014). The establishment of about” (as cited in Ka‘ai, 2008, p. 82). This Mäori Television in 2004 also contributed to was most famously illustrated in Pëwhairangi a more visible recognition of Mäori artists and and Prime’s (1984) hugely popular and iconic waiata Mäori. waiata “Poi E”, one of New Zealand’s most Moana Maniapoto (Ngäti Tüwharetoa, successful and galvanising Mäori pop songs. It Tühourangi, Ngäti Pikiao) has been regarded was number one for four weeks in 1984 and as one of the most significant voices in the spent a total of 22 weeks on the New Zealand Aotearoa music scene since her first release in music charts (“Poi E”, 2016). 1982 (Bourke, 2016). She is mana wahine, a Some contemporary waiata composed political activist who continues to write and between 1980 and 2000—such as Black Katz’s produce contemporary Mäori music that legiti- “Devolution #1” composed by Ngatai Huata mises and brings Mäori language and culture (1983) and the first New Zealand reggae bilin- into the mainstream. In 2016, Maniapoto’s gual waiata “Marangä Ake Ai” composed by Joe significant contribution to music and the impact Williams (1985) of the band Aotearoa with its on New Zealand’s culture was recognised by lyrics advocating “freedom from oppression”— the Australasian Performing Right Association are recognised as songs of protest (Hauiti, 2010). when she was inducted into the New Zealand One of the most well-known protest songs in the Music Hall of Fame. Her success has inspired 1980s was Melbourne’s “Ngä Iwi E”, composed other artists, and has contributed significantly to promote Mäori rights and highlight the racial to the empowerment and strengthening of te discrimination and injustices perpetrated by the reo Mäori and mätauranga Mäori. According New Zealand government. to Royal (1998), “mätauranga Mäori is cre- In the 1990s, Mäori composers like the mem- ated by Mäori humans according to a set of bers of Upper Hutt Posse, Moana Maniapoto, key ideas and by the employment of certain Hinewehi Mohi, Ruia Aperahama and Emma methodologies to explain the Mäori experience Paki were writing contemporary pop or hip hop of the world” (p. 1). The remainder of this waiata in te reo Mäori or both English and te paper explores how Maniapoto contributes reo as a way of expressing and reclaiming their to mätauranga Mäori and expresses Mäori language and culture. Popular genres such as hip cultural identity through her waiata “Tahi”.

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In 1993, Moana and the Moahunters the chorus or hook expresses the essence, the released their debut album Tahi. This album emotion and the meaning of the song. The cho- expresses mätauranga Mäori by interweav- rus is often repeated between verses in popular ing sonic and linguistic components through a contemporary songs because this is where the contemporary urban musical form. The waiata main concept and notion of the song can be “Tahi” was co-written by Maniapoto, Hareruia understood, remembered and repeated (Blume, Aperahama (Ngäti Pikiahu, Ngäti Waewae, 2003; Braheny, 2006). In this regard, the main Ngäti Tutemohuta, Ngäti Turangitukua, Ngäti theme expressed in “Tahi” is the unity and Tüwharetoa, Ngäti Kuri, Te Aupöuri) and Angus solidarity of our tüpuna and the recalling of McNaughton (Ngäti Päkehä). Aperahama is a Mäori ancestral practices utilised in the great prolific composer in both te reo Mäori and migration voyages. It connects the present to English. The recipient of two prestigious Tui the past and links to whakapapa. This theme is awards from the New Zealand Music Awards, repeated throughout the waiata in the chorus, he gained international recognition with his hit and examining its lyrics and musical construc- song “What’s the Time Mr Wolf?”, which was tion provides a pathway to understand how a top-five gold-selling record in New Zealand the chorus promulgates a Mäori worldview by and was featured in the acclaimed film Once expressing cultural identity and belonging. The Were Warriors (Scholes, Brown & Tamahori, lyrics of “Tahi (Dance Mix)” can be viewed 1994). Since 2001, Aperahama has released on Maniapoto’s website (“Tahi”, n.d.). An four albums, all of which have been finalists in interpretation of the lyrics’ meaning in English the New Zealand Music Awards. McNaughton has been provided by Hëmi Kelly (personal is a music producer, engineer and lecturer. With communication, February 20, 2017). over 30 years’ experience in the music industry, According to Ryan (1995, p. 95), “kia” used he co-wrote the music and produced “Tahi” as a particle indicates a purpose, wish, or effect. with Moana and the Moahunters. In the chorus “kia” is linked with the word “kotahi” as the composers encourage listen- ers to “come together as one”. In the second “Tahi” line, the word “auë” is used to express sadness and to draw attention to the loss of unity felt The waiata “Tahi” recalls the unity of Mäori by Mäori today. With the call to unity comes tüpuna as they travelled on waka from Hawaiki a mourning for its loss. The te reo words in to Aotearoa, and the hope that, one day, Mäori effect say, “Come together, come together, will reclaim the sense of belonging together that come together as our ancestors did. Look at has been lost through colonisation (Maniapoto, what we’ve lost. Let’s make it happen again personal communication, March 20, 2017). for ourselves.” Exhilaration. Grief. Desire for The achievement of this migrational journey restoration. testifies to the resilience, fortitude and unity At the beginning of “Tahi”, Aperahama of our tüpuna and is expressed in the lyrics canvasses various linguistic motifs in the tau- of “Tahi”. The song asks us to embody these parapara, recalling Mäori ancestral practices qualities of our tüpuna in the here and now. of navigation, journeying on oceans, search- The story of this journey that Moana and the ing out new lands. McLean (1996, p. 39) Moahunters sing of is expressed in ways that describes tauparapara as a type of karakia go beyond the words; however, the lyrics and with verbal rhythms that are close to those their sentiments are a powerful expression of speech. Often an incantation is used to of cultural identity and belonging. While the begin a speech whereby tangata whenua are verses concentrate on the detail of the story, able to identify visiting groups, as each tribe

MAI JOURNAL VOLUME 6, ISSUE 2, 2017 Contemporary popular waiata provide a place of belonging 213 has tauparapara peculiar to them. The mes- through the work of Hirini Melbourne and his sage of solidarity and how this was practised colleagues Richard Nunns and Brian Flintoff. in the spiritual, emotional and physical courage Traditional Mäori instruments and Mäori per- needed to embark on these great migrations is forming arts provide rhythmic motifs in “Tahi”, relayed in the use of tauparapara. In invoking and haka samples can be heard in the recording older musical forms in a contemporary popular in which men stomp their feet in unison match- waiata, the song establishes genealogical links ing the 4/4 time signature of the waiata. There to the past and to our tüpuna. In other words, are also the male guttural sounds of “hi” and it performs whakapapa. “ha” that recall the monosyllabic nuances of Musically, “Tahi” utilises Western harmon- traditional haka and further bring Mäori art ics. It employs a cyclic structure of minor chords practices into a contemporary musical setting. of D minor, A minor, G minor, returning to A The rhythmic texture that underpins “Tahi” minor. These chords convey a sense of sadness acts as a sensory connection to a feeling of unity. and are often utilised to portray such emotion The sounds of wooden tapping in the introduc- in musical compositions (Bakker & Martin, tion are similar to that of tumutumu, which are 2014). Western music typically uses major played to set the rhythm for chanting (Flintoff, chords to portray positive emotions and minor 2004). Unique Mäori rhythms can be heard chords to portray negative ones such as sadness as groups of poi are slapped into the hands in (Bakker & Martin, 2014). The use of Western unison throughout the waita. harmonics in this waiata implies a commonality Alongside these rhythmic instruments is the in the human experience of sadness and grief pürerehua or rangorango referred to in other that, while directed to Mäori people, can be parts of the world as the “bullroarer” (Nunns, felt by anyone who listens. It is an invitation to 2014). It produces a sound of swirling wind, people who are not Mäori to empathise. a hovering sound like the sound of the moth, Although the harmonic arrangements and from which it takes its name. The kaitiaki of instruments are imported from Western musical the pürerehua is Tawhirimatea. Traditionally styles, many of the instruments in “Tahi” are Mäori used pürerehua for a variety of differ- taonga puoro. Each instrument has a spiritual ent purposes such as accompanying karakia to sonic element representing the wind, sea, air or summon rain, or at tangi. This instrument has breath—all natural elements that would have the ability to stir the soul and evoke emotion been present on the great voyages (Nunns, through the whirling, haunting sounds it pro- 2014). The taonga puoro used in this waiata duces. The incorporation of these traditional signify the sound of the ocean, the tempo of Mäori instruments in “Tahi” provide sonic the waka, the stars, the wind, the sails and the motifs that act as a direct conduit of the lyrics. movement of the water. The incorporation of According to Nunns (2014), “taonga puoro tauparapara by Aperahama at the beginning of sounds were at times a channel to spiritual “Tahi” infuses karakia into this waiata, bring- messages” (p. 56). By utilising taonga puoro ing traditional musical genres and practices into sounds, Maniapoto was able to connect her a contemporary format. contemporary musical style to traditional Mäori The rhythmical composition and production performing practices, which come from a place of “Tahi” was carefully crafted by Maniapoto of whakapapa, and communicate the depth of and McNaughton to simultaneously incorpo- emotion that the sounds of these instruments rate rhythmic patterns of haka with sounds can and have evoked. of taonga puoro (Maniapoto, personal communication, March 20, 2017). Taonga puoro were being revived in the late 1980s primarily

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Conclusion unity between people and a place of belonging. “Wairua” utilises current musical trends The waiata “Tahi” is an expression of Mäori and provides a platform to hear our language identity and promulgates a Mäori worldview. being sung, to hear our stories being told, and Maniapoto has created a waiata that expresses to feel a place of belonging where we can cel- Mäori cultural stories that we can relate to and ebrate being Mäori. Over 30 years ago “Poi E” identify with because it connects us to our histo- infused disco rhythms and video game sounds, ries, to our language and to our cultural identity. while “Tahi” utilised house beats and piano “Tahi” expresses the connection to our tüpuna riffs. The combination of contemporary popu- and to whakapapa, which survive in our people lar styles with the expression of Mäori identity today. Like other contemporary Mäori waiata, and knowledge through lyrics in te reo Mäori “Tahi” provides a dynamic commentary on the or in both te reo and English, and through sociocultural and political environment of its melodic and harmonic motifs and innovative time. It pulls people together into a collective rhythmical patterns, contributes to creating experience of communitas: a heightened feeling an original contemporary musical Mäori voice of communality (Turner, 1969), of belonging whereby we hear, see and sense the connection that is felt through the waiata’s aural, sonic and to our whakapapa. linguistic performativity. The recollection of the The composers and performers of contem- migrational voyages of our tüpuna carries with porary Mäori waiata are inviting us to not only it memories of unity and resilience, of being a hear their voices and stories, but to imagine how people together in solidarity. The spiritual, emo- we are represented, lifted in songs that show tional and physical connection to wairua and who we are, connecting the past and the present mauri can be felt and heard through listening to in our own language and creating harmonies the lyrical story in te reo Mäori and bilingually; (or discord) that are meaningful to Mäori and hearing the distinctive Mäori nuances of melody our communities. We are moved together by and harmony expressed through singing and the music and move forward with a common chanting. Additionally, rhythmical haka pat- kaupapa. This exploration of contemporary terns recorded are infused into “Tahi” that can popular waiata and their composers reaffirms permeate our wairua, giving us a sense of want- that waiata are powerful cultural expressions ing to dance and stomp along, to connect. The that express cultural knowledge passed down utilisation of taonga puoro in “Tahi” provides in our language with lyrics that speak of our a sonic cultural representation that connects whakapapa and connect us to our whenua. us spiritually through the sound of breath, the This is a distinctively Mäori way of expressing ebb and flow of rangi that can evoke emotional our cultural identity and providing a place of responses and impressions of distinctively New belonging and connection. Zealand natural sounds. Over two decades on from the release of “Tahi”, contemporary popular waiata continue Acknowledgements to express Mäori cultural identity and mätau- ranga Mäori. Currently the group Maimoa are Ngä mihi nui rawa ki a koe, i whakapoipoi ake experiencing success in the New Zealand music i ahau. I would like to thank my paper supervi- charts with their waiata “Wairua” sung in te sor, Associate Professor Sharon Mazer. I also reo Mäori (Wihongi et al., 2017). Like “Tahi”, wish to thank Professor Pare Keiha and Te Ara “Wairua” speaks of spirit, of freedom, of being Poutama, Faculty of Mäori and Indigenous connected with each other and with the world. Studies, Auckland University of Technology. In that sense, this waiata provides a place of Ngä mihi nui ki a Moana Maniapoto.

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Glossary mätauranga Mäori knowledge; the body Mäori of knowledge originating Aotearoa Mäori name for New from Mäori ancestors, Zealand; lit., “land of the including the Mäori world long white cloud” view and perspectives, atua gods Mäori creativity and haka posture dance performance cultural practices hapü subtribe mauri life principle, vital essence, Hawaiki ancestral Polynesian special nature, a material homeland symbol of a life principle, ihi essential force, power, source of emotions psychic force as opposed to möteatea lament, traditional chant, spiritual power sung poetry; a general iwi tribe term for songs sung in kaioraora song of derision, cursing traditional mode song, venting haka; abusive oriori lullaby or belittling song of hatred pao ditties kaitiaki guardian pätere chants kapa haka concert party, Mäori cultural poi a light ball on a string group, Mäori performing of varying length, group which is swung or karakia incantation, ritual chant, twirled rhythmically to chant, intoned prayer sung accompaniment; karanga formal ceremonial call of traditionally made of raupö welcome to visitors onto a leaves marae pürerehua bullroarer; a traditional kaupapa topic, policy, matter for Mäori musical instrument discussion, plan, scheme, made of wood, stone or proposal, agenda, subject, bone attached to a long programme, theme string Kaupapa Mäori Mäori ideology, a rangi melody, tune philosophical doctrine, rangorango another word for pürerehua incorporating the raupö bulrush, Typha orientalis; a knowledge, skills, attitudes tall, summer-green swamp and values of Mäori society plant kia particle indicating purpose, tahi one, single wish or effect tangata whenua people of the land kotahi one, single, used when tangi sound, intonation, mourning, counting things or people grief, sorrow, weeping, mana prestige, authority, control, lament, salute, wave power, influence, status, taonga puoro traditional Mäori instruments spiritual power, charisma; tauparapara spells, charms, incantations a supernatural force in a Tawhirimatea god of the winds person, place or object te ao Mäori the Mäori world marae meeting place te reo Mäori the Mäori language

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