CONTEMPORARY POPULAR WAIATA PROVIDE A PLACE OF BELONGING Maree Sheehan* Abstract This paper considers the use of contemporary popular waiata in promulgating a Mäori world- view 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 MAI JOURNAL VOLUME 6, ISSUE 2, 2017 210 M. SHEEHAN 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