richter research paper

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Maori Music: The Shaping of Oral Traditions
Obelisk on One Tree Hill
Katherine Sebastian
Richter Scholarship
CONTENTS
I. InitialInterest

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II. My Goalsand Objectives
III. Maori History and Culture
IV. Maori “Renaissance”
V. The Four Worlds of Maori Music
VI. Influences on Maori Music Styles
VII. Normalizationof Maori Culture
VIII. Reflection on Trip
IX. Acknowledgements
X. Works Cited
**Note: This paper is designed to be interactive. Click on the hyperlinks to see
videos I took in New Zealand and other YouTube videos I found to be relevant.
Here is a link to photos from my trip!
I. INITIAL INTEREST
A Kiwi at Heart

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New Zealand had a pull on my heart from the moment I left. Four years before I was born, my
family was relocated to Auckland, New Zealand for my father’s career. My family was immersed
in the culture, from playing cricket and eating bickies to learning the haka and the national
anthem in te reo Maori. Unfortunately, I only spent five months in this beautiful country as I
was born at the end of my father’s time at that office. Learning I was a New Zealand citizen had
a profound effect on my identity and self-perception. For 19 years I dreamed of going back to
my homeland, seeing what I was innately a member of, and finding a part of myself that I felt
was elsewhere.
The winter after my first sophomore semester, my brother granted this wish and we took a two
week sibling trip to New Zealand! It was a vacation I will never forget. I met family friends, saw
our old house, experienced both islands in a whirlwind tour, and was welcomed with open
arms. I was hooked and I promised myself I’d make it back. I finally found the part of myself
that was left in New Zealand and decided not to abandon it for too long.
That trip was also the beginning of my deep interest in the Maori culture. We went to a marae,
a communal Maori village, learned about their culture and rituals, learned some te reo Maori
words, and ate a hangi feast with everyone. I learned that it is a very spiritual, emotional and
passionate culture. It is deeply grounded in the land and their appreciation for the country far
surpasses even my own. The sincere and purposeful traditions intrigued me.
Music: The Soundtrackof Our Lives
Though I am a Business Major, I have always been strongly passionate about music. The way it
can move people, tell timeless stories and bring complete strangers together is truly special.
Music is unique for each person, yet a common thread between cultures, no matter how
different they may seem. The Maori have strong oral traditions and music is a huge part of their
everyday lives. As a music minor and lifelong music student, I studied American and European
composers, but learning about a non-Western culture intrigued me. If there is anything I would
want to spend every day doing, it would completely immersing in music and thus, my interest in
Maori music as a research topic emerged.
Biculturalism of New Zealand

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The United States can be seen as a “melting pot” or a “salad”, but New Zealand is closer to
being truly bicultural based on how people identify themselves and exercise their cultural
practices. New Zealand is frequently referred to as Aotearoa, the Maori name for the country.
This shows how both Western and Maori cultures influence the country and its people. Maori
and English are the national languages, putting the Maori culture on the same level as the
European-based culture. Most cities and streets have Maori names, i.e. Whangarei, Rotorua,
and Taupo in the North Island and Lake Tekapo, Wanaka, and Te Anau in the South Island. It is a
unique situation since the original people, the Maori, are still a prevalent and distinct group
within the nation instead of dissolving into the Western influences. This has not always been
the case as I will discuss in the section Basic Overview of Maori History. Today, about 15% of
New Zealanders identify with the Maori ethnicity, 74% identify with some European ethnicity,
and others identify as Asian, other Pacific peoples, Middle Eastern, African, and Latin America
(2013 Census). Though the proportion makes New Zealand look very Eurocentric, those who
identify as Maori manage to maintain their cultural identity amidst a multicultural environment.
This brings up the question of how they manage this. Are Maori influenced by the other
cultures and vice versa?
II. MYGOALS AND OBJECTIVES
The Purpose of My Research
When deciding what to center my research around, Professor Steward and I sorted my favorite
topics into “buckets” and found ways to piece them together to form a thesis I would enjoy
working on. Those three ended up being the Maori culture, music, and marketing. Though I and
many professors thought my topic was unique, I would be egotistical and naïve to think I was
the only one researching influences on Maori music. Their culture is one of the most studied,
especially by Western scholars. Therefore, I recognize that this is not new information, but
instead I see it as a chance to immerse myself in the culture, bring the knowledge back to my
peers, and study a music different from that with which I am familiar. I am interested to see
how identity and history shape art and to what extent Maori musicians maintain their ethnic
identity.
Questions I Posed

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Based on the three “buckets” I wanted to focus on, I came up with questions to focus my
research and give my three weeks direction and purpose.
 What are the different types of Maori music?
o Definition of Maori music
o Transition from traditional to contemporary songs
 Who and what are the biggest influences on the evolution of Maori music?
o Non-Maori and Maori cultures and musicians, historical events, pop culture, etc.
 What is the scope of their audience?
o Local, national, international
III. BASIC OVERVIEW OF MAORI HISTORY
Maori Come to New Zealand
“We came from Hawaiki-the-Great
From Haiwaiki-the-Long, from Hawaiki-the-Distant.”
- Maori Legend
New Zealand is thought to be one of the last places in the world to be settled. Through carbon
dating of wood and animal bones, scientists conclude that the first people arrived from eastern
Polynesia by canoe between 1250 and 1300 AD. However, based on tribal genealogies, or
whakapapa, the first canoes came to the country between 1325 and 1400 AD. Kupe is said to
be the first explorer to arrive and Toi, an ancestor, lived in the North Island even before him.
Though there is slight discrepancy, both methods suggest that they were permanently settled
by 1300 (Irwin and Warlrond).
English Explorers
Without interaction with other civilizations, these Polynesian people had no reason to identify
or differentiate themselves as a collective group. It wasn’t until the European Abel Tasman
came over in 1642, followed by James Cook in 1769, that the term “Maori” came to refer to
them as a unified people. “Maori” means “ordinary or usual people” and that is how they saw
themselves compared to the newcomers in their country. They eventually called these people
Pakeha, or non-Maori (Phillips). The differentiation between the two would later have a
profound effect on how people identified themselves in a bicultural society.
The Treaty of Waitangi

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On February 6, 1840, the Treaty of Waitangi was signed in the Bay of Islands, making New
Zealand a European colony. In attendance were 500 Maori chiefs and representatives of Queen
Victoria, notably Lieutenant Governor WilliamHobson. The main problem of this treaty,
however, was that there were two versions; one was in English and one was in te reo Maori,
each with slightly different meanings. In Maori, Queen Victoria had governance over land and
Maori chiefs were guaranteed chieftainship over their lands and had the right to deal with
English over the purchase of land. In English, however, Queen Victoria had sovereignty over the
land, it secured Maori possession over their lands, and it made the Crown the exclusive entity
when purchasing Maori land. Both versions gave Maori the Queen’s protection and the same
rights as British citizens. These discrepancies created tension between the two groups. It was
heightened when the British did not protect the Maori as promised, they demanded more land
and Maori leaders were stripped of their political power in the colonial Parliament (Orange).
The Treaty also had societal and cultural effects on Maori. In the early years of colonization,
New Zealand’s governor, George Grey, “was the architect of the government’s racial
amalgamation policy” (Calman). This systemwas strengthened by the Education Ordinance in
1847 and the Native Schools Act in 1858. It was based on the belief that British culture was
superior, so the government funded schools where Maori learned reading and writing in
English. Teaching in te reo Maori was quickly phased out and children were actually punished
for speaking anything other than English, even with their families! (Calman). I met a woman
whose father was one of fifteen children and was the only one who learned te reo later in life.
This even affected how he identified as a person. Since he was encouraged to assimilate, he
saw himself as a Kiwi first and a Maori second. Generations differed in this sentiment as we will
see in the Maori “Renaissance” section.
Effects of the Treaty (Then and Now)
In 1858, as a response to this tension, the Tainui chief Te Wherowhero became the first Maori
King as part of the Kingitanga, or King Movement. The goal was to unite the Maori since they
were originally only aligned based on separate iwi, or tribes. Over the next 20 years, battles
broke out among the two groups as the Maori fought for what they thought the Treaty should
have given them. “Between 1882 and 1924 four groups of Maori travelled to England to
petition the British monarch and government to ask for treaty rights to be observed” (Orange).
These pleas were ignored and it wasn’t until the early 20th century that the government began
to reconsider Maori rights and respect their interpretation of the Treaty.
In 1932, the treaty was brought back into the public spotlight when Governor General Lord
Bledisloe gifted to the nation the house and surrounding land in Waitangi where the treaty was
signed 92 years prior. Though this was a good gesture, hard feelings didn’t dissipate and even
today the effects of the treaty are still felt. There are some iwi, such as Ngapuhi in the North
Island that have not been compensated for the land and money lost to the Crown. Because of

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situations like these, some Maori find it hard to move past the difficulties with the treaty since
it has not be completely dealt with. This history of the nation is important to understand as it
influences and shapes the songs and expressions of Maori from every generation.
IV. Maori“Renaissance”
Reconnecting with Maori Heritage
Until the late 20th century, it still was not “cool” to be Maori because there was a lot of racial
tension and Maori were seen as inferior. One Maori lady I talked to said that if you were a
Maori and did well then you were seen as a Kiwi; if you were a Maori and
ended up in poverty or in jail then you were Maori. Another Maori I
talked to said that it was better to be considered a “brown Pakeha” than
a Maori. It had become so bad that the language was in danger of being
lost. The older generations had assimilated to the Western culture and
primarily spoke English. It wasn’t until 1987 that te reo Maori was made
an official language of New Zealand (“Maori becomes…”). In the last 30
or so years of the 20th century, however, Maori increased their level of
education, there was more public recognition of the problems with the
Treaty of Waitangi, and there were more societal opportunities for
Maori. These factors acted as catalysts for the revival of the Maori
culture. Collectively, multiracial people started to acknowledge their
Maori heritage, when before they may have chosen to ignore it (Taunui).
A Maori professor I met said that he can’t detach himself from his
ancestors in the Napuhi iwi and that the different aspects that make
up his identity don’t need to clash; his identity is colored by all of
them! It shows how far Maori have come since the beginning of this
Renaissance.
Music as a Tool
The goal of the revitalization was to empower the youth and to make the Maori culture a part
of future generations’ identity. Music is a great medium to pass along stories and customs since
it is a passion point among people and because it can be used in everyday life. Additionally,
music was already a huge part of Maori culture, so it made sense to use it as a vehicle for the
renaissance. Today there is even governmental support of Maori music, notably Te Mangai
Paho which funds Maori radio stations and Maori TV.
Maori Radio
Chartin the NZ Herald,May 2015

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I was fortunate enough to visit one of
the program directors at Radio Waatea
while I was in Auckland. It is located in
the Nga Whare Waatea Marae in
Mangare about 30 minutes from where
I was living. Radio Waatea started in the
late 90’s and is one of 21 Maori stations
run by the various iwi. Like other Maori
radio stations, it is a bilingual non-profit
funded by Te Mangai Paho. In order to
be eligible for funding, 30% of their
content must be in te reo Maori, either during the talk show portions or in the music they play.
The program director categorizes it as an “urban Maori station” as it is broadcast to Auckland
and the surrounding area. Targeting this audience makes sense because many Maori leave their
homes and go into the city to find jobs but want to remain connected to their Maori roots and
ancestral iwi. The program director narrowed down this target segment to Maori ages 35 and
up since it is more talk-based and they do not play “top 40” hits. She also talked about the
revitalization of Maori culture and how these stations were started in order to promote the
language.
Another station is Mai FM with the “hottest hip hop and R&B”. It was started by the iwi Ngati
Whatua and Mai Media in an effort to help the revitalization in the urban areas. Unlike Radio
Waatea, however, it does play the “top 40” songs as well as songs by Maori artists who sing in
English, therefore it is able to reach a larger audience. Mai FM is a big part of the normalization
of Maori culture and language and will be discussed further in the Normalization of Maori
Culture section.
V. The Four Worlds of Maori Music
Charles Royal’s Characterization of Maori Music
I had the pleasure of meeting a Maori professor who taught at the Auckland University of
Technology. He wrote his Masters and PhD theses on Maori music, focusing on the impact of
colonization on kapa haka and on the potential of Maori music in promoting te reo Maori. He
defined “Maori music” as that which spoke to his wairua, or spirit, and that which felt innately
Maori. For his theses, he said that he “didn’t want to define what Maori music was” but instead
he wanted to see how music in general could be used to promote te reo. Though this is how he
chose to study music, he also told me about Charles Royal’s “four worlds”. Charles Royal is an

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awarded Maori musician, researcher and professor with his PhD in Philosophy (Cirriculum
Vitae). There are many interpretations of the definition of Maori music and since there is no
“right” answer, I chose the one that would help me best organize my work. The four worlds are
the lens through which I chose to categorize the artists I studied. It helped me to better identify
who the artists’ target audiences are and the purpose behind their music. In the order of largest
audience to most narrow:
World 1: Maori musicians writing pop music
World 2: Promotion of te reo Maori
World 3: Performance of kopapa
World 4: Traditional songs and chants
(“Te Ahukaramu Charles Royal”)
Note: Many of these artists can fall into more than world, but to simplify things, I only talk
about one world per artist.
World 1: Maori Musicians Writing Pop Music
 Audience = national/international, Maori and non-Maori ; mainly English, some bilingual
songs
This group has the largest audience since their music can appeal to national and international
Maori and non-Maori. The artists sing in English and have relatable themes, such as love and
heartbreak. Audiences do not have to know much about Maori heritage and history to be able
to connect with and enjoy these artists’ songs. Some of the most popular artists I studied are
Dame Kiri Te Kanawa (opera), Tama Waipara (alternative, soul), and Stan Walker (pop, R&B).
They are proud to be Maori and have side projects that promote their culture, but their
audiences include a significant amount of non-Maori.
Dame Kiri Te Kanawa: She is one of the most internationally celebrated sopranos in opera. She
studied at the London Opera Study Centre and had her “big break” when she performed at
Covent Garden in London. Though she became famous performing non-Maori classical music
and resides in London, she still remembers her origins and frequently performs in New Zealand.
Additionally, she released a CD of traditional Maori songs, “Waiata”, in 2013. “Her fame mostly
came from performing music that is not New Zealand made, but she also gained international
exposure for traditional and contemporary Maori songs through recordings such as ‘Pokarekare
ana’” (Kiri Te Kanawa). Even with the existence of this CD, her positioning as an artist fits more
in this first world because she gained her fame by association with Western music and is seen
as a European opera diva.

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Tama Waipara: He is an Auckland native who started as a jazz clarinet player. He was accepted
to the Manhattan School of Music Master Program but had a traumatic head injury and wasn’t
able to play the clarinet because it caused terrible migraines. Instead, he turned to singing and
formed The Occasions. Their first album was Triumph of Time (2004) and Gareth Shute wrote in
Ex Pat Files that “his first album… expanded on the idea of taking archaic or under-utilized ideas
to create a new work that would be timeless. The words of Swinburne and Shakespeare were
put alongside ideas from Waipara’s own Maori heritage.” On his Facebook page, he says that
his influences include Talking Heads, Beatles, Nina Simone, Donny Hathaway and Hirini
Melbourne (a Maori musician I will talk more about in Influences on Maori Music Styles).
Stan Walker: I see Stan as the epitome of this world. He became famous after winning
Australian Idol in 2009 singing popular songs like Prince’s “Purple Rain”. His career now is
powered by R&B and pop songs that attract varied and international fans. He cites Beyoncé as
one of his major influences and
opened for her when she
toured New Zealand. I actually
saw Stan perform while I was in
Auckland, but at the time I had
no idea who he was! I was at a
benefit concert for the
Raukatauri Music Therapy
Center and one of the
performers, Troy Kingi, brought
up his friend “John” to the
stage to sing “Lest We Forget”. It
wasn’t until I met his friend a
week later and he told me about Stan that I finally made the connection between this pop star
and the “John” I saw at the benefit concert. This, as well as other instances, showed me how
tight the Maori community is in New Zealand.
World 2: Promotion of te reo Maori
 Audience = Mainly national, Maori and non-Maori ; Bilingual, English and te reo songs
Artists who promote the language usually have bilingual songs. This allows for non-Maori to
connect with the pieces while also being exposed to the Maori language. They sing about their
Troy Kingi(left) and Stan Walker (right) at benefitconcert

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Maori ancestry as well as more broad topics that are prevalent in World 1. Artists I consider to
be part of this world include Maisey Rika (soul, folk) and Hinewehi Mohi.
Maisey Rika: She is a young singer making a huge name for herself in New Zealand. Her music is
a mix of folk, acoustic and soul and she sings in English and te reo. Her influences listed on her
Facebook page include Stevie Wonder, Tracey Chapman, Cat Stevens, Celine Dion, Jewel, LeAnn
Rimes, and James Taylor. She has an album called “E Hine” which is a collection of traditional
Maori songs which is why I group her in this world. This album won “Best Maori Language
Album” at the New Zealand Music Awards. It shows the effort she puts into promoting te reo
and culture in general (Maisey Rika).
Hinewehi Mohi: Like Dame Kiri Te Kanawa, Hinewehi is classically trained, however, she uses
her career more as a means to promote her Maori heritage. “Having embraced her culture,
Hinewehi set off on a quest to highlight the importance of keeping the spirit of Maori alive,
whilst bringing this distinctive culture to the attention of not only New Zealanders, but also the
world” (“Profile…”) Her first album, Oceania, was the first album completely sung in te reo to
be sold internationally. Another instance of her dedication to her heritage occurred in 1999.
Before the All Black ruby team played a match in England, Hinewehi sang New Zealand’s
national anthem completely in te reo. This performance showed Maori and non-Maori how
unique and important the country’s biculturalism is, so it is now sung in both languages
(“Profile…”). She is well known and loved in the Maori community and the support they show
her is incredible. I was talking to another well-known Maori soprano and she happened to
mention a benefit concert that was to take place in Auckland later that week. I am so grateful
she told me about it because it was an event I will never forget. Hinewehi has a daughter with
cerebral palsy and in an effort to support children with various disabilities, she opened the
Raukatauri Music Therapy Centre. The proceeds from this concert went directly to the Centre
and the show was broadcast on Maori TV. The amount of support and community I saw was
inspiring. Everyone was connected in some degree, whether they were actually whānau, family,
or acquaintances through someone else. I was expecting to sit by myself and observe, but I was
welcomed by this wonderful woman who immediately sat next to me and proceeded to
introduce me to everyone she knew as her new “American friend”. It was truly special to see
such established and up-and-coming Maori stars performing in an intimate setting to help one
of their own.
World 3: Performance of Kopapa
 Audience = National, largely Maori and some non-Maori; Te reo, bilingual songs

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Kopapa is politically charged music that has to do with social and racial issues Maori
experienced throughout their history. They serve to remind people and bring attention to
Maori suffering, past and present. They became especially popular with the start of the Maori
revitalization in the ‘80’s. “The music encompasses the songs of political struggle penned
bilingually…” (the worlds of maori music). The musician who comes to mind immediately is
Moana Maniapoto (soul, reggae). Aotearoa (reggae) is another incredibly influential band.
Moana Maniapoto: Moana had a truly amazing and long-lived career. Moana & The
Moahunters started in 1990 and later became Moana and the Tribe in 2002. Their music was a
mix of traditional Maori sounds and chants with contemporary reggae and soul influences.
There were also elements of jazz in the instrumentation. As her website profile says, “Long
acknowledged for having consistently pushed the boundaries of Maori music in both her
recordings and live performances, singer/songwriter Moana Maniapoto is a self-confessed
political junkie whose lyrics are rooted in the NZ landscape, culture and experience.” Another
quote from her website says “Moana & The Tribe sing about land and people. They speak of a
connection to Papatuanuku (Mother Earth), of justice, the renaissance of the Maori language
and traditions and touch on a variety of political and social issues that are universal.” One of
her most popular songs, “Treaty”, is explicitly about the Treaty of Waitangi and the pain it
caused Maori.
“Won’t go away, Treaty won’t go away”
“Subjected to apartheid segregated, separated, destroyed from within
Deprived of heritage in the system
Swearing allegiance to the Queen of mother England” (“Moana Maniapoto Lyrics..”)
“Moana is a… Life Time Recipient of the Toi Tho Maori Made Mark (denoting authenticity and
quality) and received the 2005 Te Tohu Mai Hou a Te Waka Toi Award… in recognition of
‘outstanding leadership and contribution to the development of new directions in Maori art’”
(“Moana Maniapoto – Profile”).
Aotearoa: The epitome of a kopapa band, Aotearoa was started by university students known
for protesting. The members who made up the band frequently changed as various musicians
came in and out. Moana was even a member at one point! Even though it was a very dynamic
group, overall it was heavily influenced by reggae with slow and rhythmic pieces in te reo
Maori. Their main mission was to embrace their culture and reach the Maori youth and
encourage them to be proud as well. One of their big hits was “Maranga Ake Ai” which talks
about their pride in their Maori identity and is sung i

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n English and te Reo. It was shocking for New Zealand because it is very blunt about oppression
and the “white way”.
“All my life I get taught ‘bout the right of the great white way, I said how much longer
before we get up and say white people maranga ake ai” (“Maranga Ake Ai”).
World 4: Traditional Songs and Chants
 Audience = National/International, Maori; te reo Maori
This world is the very crux and heart of Maori music today. All Maori musicians are influenced
by the fundamentals of their culture, so understanding this world means examining the
fundamentals of Maori music.
It is an extensive world in itself, but we will go over the essential characteristics to understand
it. Each iwi have their own waiata, or songs, that tell their stories. Though specific songs may
vary iwi to iwi, there are many common themes including stories of the ancestral land, the
history of the people, places, events and wars. The feelings often depicted are “sorrow, anger,
lament, loneliness and desire, and of joy, peace and love” (Flintoff). The main focus of these
songs is on the words; the tunes and melodies support the message and are more a vehicle to
get the words across.
“… the words and the voice are paramount. Words are not merely abstract
representations of life – they are the voices, the reo of life itself come alive in
composition and performance. The human voice is an avenue for ancestors and for gods
to express themselves in the world. Ultimately, the composer becomes one with the
spirits, ancestors and gods of the world. The composer is the voice, the reo” (Te
Ahukaramu Charles Royal).
The traditional songs and chants are also characterized by the taonga puoro used. These are
the traditional instruments and are greatly important. They are personified so each individual
instrument is given a name and no two are made exactly the same. Each type of instrument has
its own functionality. For example, the kōauau, or flute, is used in childbirth and healing to call
spirits to help with the process. Unfortunately, because of the colonization of New Zealand,
Maori rituals in which they were used were stopped and the knowledge of how to play taonga
puoro was nearly lost. Recognizing the danger of losing this aspect of the Maori culture, people
worked to revive the knowledge of taonga puoro. The leaders of this were Hirini Melbourne,
Maori composer and linguist, Richard Nunns, Pakeha teacher and musician, and Brian Flintoff,
an instrument maker. (Flintoff). They did amazing work in reviving the long-lost techniques and

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knowledge. They are the reason we have any reliable information about the traditional Maori
instruments.
Contemporary artists who fall into this world include Toni Huata and kapa haka groups. The
most important distinction is their use of taonga puoro and renditions of the traditional songs
and chants.
Toni Huata: I recognize that not all of her music is strictly
“traditional”, but her traditional chant pieces are widely known so
she is a part of this world. I was fortunate enough to see Toni
perform at the Raukatauri Music Therapy Centre benefit concert.
She had one of the most interesting performances of the night
because of her incorporation of the Maori paddle, shaking her
hands to represent the moving of air and water, her bedazzled poi,
her husband’s playing of the shell and other taonga puoro. It was a
more modern interpretation than the cultural demonstrations I
saw at the Auckland Museum and at a marae in Rotorua. Toni
incorporated some electronic sounds, the guitar, and as well as
a drum in her songs.
Kapa haka: These performing groups were around before the colonization of New Zealand, but
are now popular entertaining groups who represent Maori internationally. Today, Maori kids
start performing at a young age and participate in groups at school. I will go more in depth in
their significance in the Normalization of Maori Culture. Like Toni Huata, today they adapt the
traditional songs to make them more modern and accessible for audiences. “Kapa haka is
performed by cultural groups on marae, at schools, and during special events and festivals”
(“Kapa Haka…”). Groups begin with an entry song, go into a traditional chant, the women
perform with poi, the men do the haka, everyone is part of the waiata-ā-ringa or action song,
and then they end with an exit piece.
Poi is a dance usually performed by women where they swing a ball on the end of a string as
they percussively slap it against their arms. Since there is no traditional Maori drum, poi creates
the rhythm that drives the song. I had a chance to try it out in a cultural demonstration in Te
Puia in Rotorua. There is no doubt that those who can do this dance have trained for a while; I
could barely keep the ball swinging even though I was only holding one!
The haka is one of the most iconic Maori dances to Maori and non-Maori alike. It is a dance
with loud chanting, stomps, and body slaps. It was performed for many occasions, including as
Toni Huata,benefitconcert

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an intimidating war dance, a dance to welcome guests, and a celebration of the opening of a
new meeting house. Sometimes the dancers incorporate traditional weapons such as the spear
and club. The emotion and intensity also reach into the facial expressions as performers widen
their eyes, bare their teeth and stick out their tongues. “The whole body should speak” (Smith).
It never fails to give me chills whenever I see a recording or live performance. The haka is also a
significant part of the Normalization of Maori Culture.
Waiata-ā-ringa or action songs were created in the mid 1900’s as part of the revitalization of
the Maori culture as Maori poetry was put to popular European tunes. They are usually
performed by the entire group and cover many different themes and feelings. Since its
introduction to Maori music, the guitar accompanies action songs. As Toni was doing in her
action song performance, dancers shake their hands, adding movement and imagery to the
stories the songs tell.
VI. Influences on MaoriMusic Styles
As I started to create and shape my research goals, I hypothesized that all cultures find
similarities through music as a means to express their stories and traditions. Additionally,
human civilizations do not evolve in isolation; this holds true for Maori as they came in contact
with Western cultures. There are many instances of influence on Maori music, so I will only go
into the ones that had the most significant impacts.
Christian Missionaries
As discussed in the Basic Overview of Maori History section, the British influenced many aspects
of Maori culture including their religious and spiritual views. Most of the Maori traditions,
including chants and songs, were strongly discourage and instead replaced with Christian
hymns. These western songs had harmonies and worked on an 8-note octave as opposed to the
microtones that Maori use in their music. A microtone is an interval that is smaller than a
semitone, such as a quarter tone (microtone). We do not have these intervals in our scales, and
hearing them can be very unsettling to an unexposed ear. This fact was especially important
when kapa haka groups created action songs. They were set to European tunes so that they
would be pleasing to a wider international audience. The audience would be more receptive to
the diatonic scales while still being exposed to te reo and the stories the action songs tell
(Smith).
Introduction of the Guitar

16 | P a g e
Arguably the most important influence on Maori music was the introduction of the guitar. It is
so widely used in their songs now that I was surprised when a kapa haka performer told me the
guitar was only incorporated in the mid-20th century. Having the guitar as a part of Maori songs
makes them more tuneful, expands the rhythmic possibilities and plays to the tastes of the
younger generations of Maori and non-Maori. This period in the mid-20th century was the
beginning of the cultural revitalization, so it makes sense that artists did what they could to
reach as many people as possible, make Maori “cool” again, and encourage young Maori to
take pride in their culture.
Show bands
Show bands gained enormous popularity in the ‘50’s and ‘60’s as a means to popularize the
action songs and cover Western songs with a Maori twist. They were heavily influenced by
American and British rock and roll and often had elements of comedy in them. One of the most
well-known and loved show bands was the Howard Morrison Quartet. Howard Morrison was a
Maori-Pakeha born in Rotorua. He performed with various cultural groups and bands until he
formed the Quartet in 1956. They were most well-known for their comedic flare and frequent
use of parodies. For example, in 1960 they wrote “My Old Man’s an All Black” based on a hit
called “My Old Man’s A Dustman.” It “used humor to make a point about the All Black’s
decision to tour apartheid South Africa without Maori players” (“Howard Morrison”). They
went without Maori players because of the strict segregationist policies enforced by South
African Officials, a decision which caused a huge uproar in the country, making the song their
best-selling single.
Later in his career, Morrison focused on young
Maori. “He visited many schools in an attempt
to improve pupil’s self-esteemand to
encourage participation in higher levels of
learning” (“Howard Morrison”). His position as
a popular musician allowed him to gain rapport
with the younger generations and encourage
them to higher aspirations. Influencing young
Maori people was an overarching goal for most
show bands at the time. Mural of Quartet at BlackNote Bar in Auckland

17 | P a g e
Hip-Hop, Reggae and Jazz
One of the most interesting things I learned
during my time in New Zealand was how
much African-American and Jamaican
cultures influenced Maori music. It makes
perfect sense, however. These people have
histories of oppression just as Maori do.
They all overcome hardships and
discrimination based on their race and
heritage. Additionally, they tend to look
towards music to express their angst, anger,
fear, pride, and hope.
African-American artists shape much of contemporary Maori music today, notably the
Supremes, Stevie Wonder, and Ray Charles. This mostly affects the first world of Maori music,
Maori musicians performing pop songs. One important genre, jazz, offers different rhythmic
patterns that provide variety for Maori artists. Tama Waipara, mentioned in the first world of
Maori music, was originally a jazz student and later incorporated that into much of his work,
especially in his early career.
The other highly significant genre is hip-hop. The cultural revitalization also coincided with the
urbanization of many Maori, especially in younger generations. This style of music modernized
the Maori struggle and it became the new medium to communicate their frustration with a
wider audience. “Those in New Zealand used hip hop, an imported form, to present their
unique voices, stories and ways of being to the world” (Henderson). An important band to note
is Upper House Posse lead by Dean Hapeta. It was actually formed as a reggae group, but they
incorporated rap and released the first New Zealand rap recording, “E Tu” in 1988 (“Dean
Hapeta Te Kupu”). Their Facebook profile notes that their music is “unmistakably indigenous
and politically charged.”
I saw the importance of the hip hop culture and community first hand when I was in Auckland. I
met this wonderful older Maori lady through a family friend who works at the University of
Auckland Business School. She invited me to come out to her radio show for an interview! I
spent a morning with her, hearing the other parts of her talk show, and meeting almost
everyone in the building because every person seemed to know her. She happened to
introduce me to a guy a few years older than me who was a hip hop dancer. He travels all over
the world with his dance crew and has performed in high-profile venues. He mentioned that he
Howard Morrison Performing ArtsCenterin Rotorua

18 | P a g e
also helps run a program to teach young kids and teenagers who to dance. I realized that it was
more than just a dance class, though. It was a safe place for these kids to be creative, build a
supportive community, focus on something productive, and stay out of trouble. It was more of
a mentoring program than anything, but they came together over dance and their love of hip
hop.
Reggae has an enormous influence on the evolution of Maori music. Maori gravitate towards
this music because the rhythms and meter of it are similar to those of traditional Maori songs,
especially those with rhythmic poi. In the late ‘70’s it became known as the “brown” music in
New Zealand. Maori musicians took the rhythms and feel from Jamaican artists, but then made
the songs uniquely New Zealand with their own words and messages, talking about life in the
South Pacific (Bourke). A prominent band in this genre is Herbs which was formed in the ‘70’s
and had a prolific and dynamic career for 30 years. The various members had different ethnic
backgrounds (Samoan, Tongan, Cook Islander, Maori, etc.), which colored the sound of the
group over its lifetime. They wrote many politically charged songs covering a wide variety of
topics including the “Crown’s treatment of Maori land rights protestors and so-called Pacific
Island overstayers, organized religion, French nuclear testing and Japanese drift-net fishing in
the Pacific, even South Africa’s apartheid system…” (Moffett).
VII. Normalization of MaoriCulture
The movement to revitalize Maori culture aims to empower feelings of pride and confidence in
those of Maori heritage, but today the focus is shifting towards making it more “mainstream”,
normalized and widely accepted. This is not to say that it’s trying to diminish the culture’s
importance or uniqueness at all, but instead get non-Maori to stop thinking of it as something
foreign and set apart from the New Zealand heritage and identity. Since music is a common
thread between cultures and is used as a vehicle of expression, it works promote the Maori
culture and draw in wider audiences. For example, the artists who promote te reo are a part of
the goal of normalization. Having te reo songs widely broadcast will adjust people’s ears to its
sound and rhythm. That is why more bands sing bilingual songs now as opposed to before the
Maori Renaissance. Music is also a way to spread ideas, thus lessening the amount of
misunderstandings that might happen cross-culturally. Increasing the amount of cultural
understanding decreases discrimination and racial tension.

19 | P a g e
Radio Plays
Important players in this move towards normalization are radio stations. They reach national
audiences, but in order to be effective they must play local Maori artists. Mai FM plays them,
but only if they sing in English which defeats the purpose of playing a Maori artist. The stations
only play Kiwi music (Maori and non-Maori) to fill quotas set by the New Zealand organizations
who fund them. It is slowing changing so that if the music is catchy and people want to hear it,
they will play it regardless of the origin. The majority of songs are still by overseas artists,
however, since they need to stay profitable and play what the majority wants to hear.
Kapa Haka
As mentioned in the section on the Four Worlds of Maori Music, kapa haka is gaining national
and international popularity. This is important to note since the songs and dances they perform
are much more traditional than the popular Maori songs one might hear on the radio. The
groups who travel internationally to perform truly are liaisons for the culture and make it
accessible for non-Maori, a definite step in the right direction for this movement towards
normalization.
There is a competition between kapa haka groups every two years called the Matariki and it is a
very big deal. It has evolved from groups wearing traditional garb to groups elaborating on the
clothes and giving them modern twist and flare. It is broadcast as well as posted online for
people to view afterwards. The winners get to represent New Zealand overseas when
organizations want cultural performances. I talked with a woman who competes in kapa haka
groups and had the chance to travel to many countries including China, Italy, America, Australia
and Thailand. She admits that it is sometimes criticized by people because the groups accept
money to do culturally significant performances, making kapa haka too commercial. Some
groups are even territorial about having kapa haka groups from other iwi perform in their
areas. Either way, it gains attention for Maori songs and dances on both a national and global
scale.
Popularization of the Haka
When talking to people in the States about my research on Maori music, almost everyone
brought up their knowledge of the haka from seeing it performed by New Zealand All Blacks
rugby team before every match. The first haka they performed, Ka Mate, was composed in
1820 by Chieftain Te Rauparaha after a narrow escape from a rival iwi. The New Zealand Native
team performed it during their tour in 1988-1989, though it was a laughable dance in the early

20 | P a g e
years when they were still learning and refining it. It wasn’t until 1986 that Buck Shelford and
Hika Reid ensured “that it was performed with a precision and intensity that had on occasion
been lacking in earlier years” (“The Haka”). It became so iconic that young rugby players even
learned it in case they ever made the team. I remember my brothers and dad chanted the
beginning of it whenever they talked about the All Blacks. In 2005, haka composer Derek
Lardelli composed a haka specifically about the All Blacks called Kapa O Pango, which roughly
translates to “team in black”. This is the haka they perform in the hyperlink above.
The haka has become a dance symbolizing unity and power, both for a multicultural country
and for the multiethnic rugby team. They embrace the traditions of the country’s native people
and rally behind it and appreciate the cultural significance it holds. Having a nationally
recognized and loved team performing a Maori haka is extremely significant in the efforts to
promote the culture and tie it to New Zealand’s identity.
Overall Exposure
Even though there are gains in normalizing Maori music and getting it the attention it deserves,
the artists only have a small share of the market in New Zealand, and an even smaller sliver on
the global level. There are not enough organized efforts working together to make this happen.
Radio stations are not willing to sacrifice ratings and take away air time from top hits; traveling
kapa haka groups are a great start, but they aren’t necessarily a part of everyday life for
listeners; the haka is only one part of the music culture that has reached international
audiences. Ngahiwi Apanui, band member of Aotearoa, expressed his frustration in an
interview with Trevor Reekie saying, “From my perspective everything is in place for Maori
music to be recorded, promoted, played, sold and celebrated. However, Maori music is a very
small part of the very small NZ music industry and market. There is a small group of people
working together for the benefit of all and no common strategy/vision to guide those people.
There is a lack of skilled managers and few opportunities to facilitate the discussion and
furthering of musical ideas” (Reekie).
VIII. Reflection on Trip
Personal Growth
I love traveling and I am much more independent than I was in high school, but this trip pushed
me out of my comfort zone. Never before had I traveled more than a car ride or a flight by
myself, yet for this trip I was traveling to another country to live for three weeks without

21 | P a g e
knowing anyone beforehand! I was nervous to say the least. As the plan was descending into
Auckland, I remember wondering what I had gotten myself into. The only things I knew about
the woman picking me up from the airport were that she was a friend of my parents and that
her boys were my brothers’ ages. Then I thought to the next three weeks of self-structured
research and wondered if I had bitten off more than I could chew. I learned on that very first
day that I needed to take one step at a time, swallow my fears and doubts, and remind myself
of my purpose: to learn, discover, and grow.
Three weeks might seem like a significant amount of time, but in a beautiful country with tons
of friendly people to meet, music to listen to, museums to visit, and reading to do, it flew by in
a way I did not expect. To deal with the quick passing of each day, I really had to structure my
time. During the first week, I only went to the library to research, downtown to meet people
my parents’ friend introduced me to, performances, and home for dinner with the couple I
lived with. Then I reminded myself that this was supposed to be a holistically enriching
experience and that I should go out and explore Auckland, the surrounding area, and the
culture! Eventually, I got much better at balancing research, meeting people in the city, going to
shows, spending time at home, and exploring Auckland. I also found myself becoming more
comfortable doing things and going places by myself. It gave me ample time to reflect on my
work and on my own personal growth so far. Doing things by myself gave me more confidence
in my own abilities and made me care less about what others thought of me. For examples, I
went to dinner alone in Auckland one night, and at first I felt like everyone was watching and
judging me. But then I realized no one else cared about my solidarity as much as I did. Instead, I
enjoyed a meal with myself and a great book. I became surer in my own skin.
Musical Growth
Music has always been a huge part of my life from watching and participating in performances
to discovering and talking about artists. This trip emphasized how important music is to others
as well. It is a universal means of expression and a way for people to expose themselves and
become vulnerable in front of their audiences. Music is a canvas for discussions about loss,
love, pain, faith, family, hardships, and almost anything else. The beautiful thing about it is that
different cultures and people listen to different types of music, but their foundation is
collectively based in communicating ideas and feelings.
Meeting individuals all the way across the world who are equally as impassioned by music
added another layer to my sense of belonging in the world. Having something in common with
people binds you to them and forms a bond that grounds you and your purpose. I was able to
create relationships with people I just met simply because we share a passion and give

22 | P a g e
importance to melodies and harmonies, phrases and messages. It was beautiful to see the
power of art bring people together who may otherwise may have never met.
Cultural Identity
After learning the history of the Maori and the fluctuations in the
level of the cultural pride, I began to ask myself, how do I identify?
What part of my identity comes to mind first? It is a difficult
question to answer because I see so many different aspects that
come together to make the whole me. I am a Kiwi, an American, of
Filipino and Irish descent, and from New Jersey. When I check the
boxes for “race” on any form, I generally say “two or more races”
because I cannot choose nor pick one as more important in my
makeup. I agree with the sentiment one professor explained to me
– our “identity” is colored by all aspects of our background
including ethnicity, nationality, experiences, residency, etc. It is
important to embrace what makes you “you” and stay true to it,
even in times when “you” might not be “in” or “desirable”. Entire
groups of people had to suppress their identities due to
intolerance of others, so it’s important to embrace your
right to your identity and make it a part of everyday
life!
Cultural Awareness
I grew up in a moderately diverse town outside of Philadelphia and I have traveled to some
European countries, but I can by no means say I had a broad and worldly viewpoint. Immersing
myself into a non-Western culture took me out of the world I was used to and dropped me into
one with different beliefs, values, language, ideals and ambitions. It truly broadened my
understanding of the world and the people in it especially since I do not have much personal
experience with oppression and racism.
Though I was eager to learn more about the Maori culture, I realized that people are frequently
studying them, and I didn’t want to be another obnoxious and inconsiderate tourist. Having the
mindset of “learning” instead of “studying” allowed me to be more authentic when I talked to
people and it created a mutual level of respect in these new relationships. Being able to see
Maori performances and meet Maori musicians helped me gain even more of a genuine
understanding of their culture and begin to comprehend the struggle they went through and
Wearing a pin gifted to me by the
American Women’sClub of Auckland

23 | P a g e
how it impacts their lives today. It certainly gave me an appreciation for my own personal
upbringing while lending me another perspective from which to understand and learn about
others.
IX. Acknowledgements
Even months after my trip, I reflect on how fortunate I am to have been given this opportunity
and to have people so wholeheartedly support and believe in me. From Wake Forest, I thank
Professor Michelle Steward who helped me breathe life into my vision. She made a highly
ambitious, almost fanciful dream, become tangible and she encouraged me every step of the
way. I am thankful to have such an intelligent, motivated and compassionate person in my
corner at the Business School. I would also like to thank Professors Teresa Radomski, Brian
Gorelick and Elizabeth Clendinning from the Music Department. They helped me in my initial
steps leading up to my proposal submission and showed continual interest and excitement in
my research. Of course this could not have been accomplished without the Paul K. Richter and
Evalyn E. Cook Richter Memorial Funds and the Wake Forest Richter Scholars Program. Those
on the committee saw potential in my ideas and authenticity in my drive to pursue them.
Working with Dr. Holdridge and Tammy Burke before my departure made me as prepared as I
ever could have been and gave me the encouragement and structure I needed.
There were many people I met during my trip to Auckland whom I would like to thank as well.
Judy and Marty Keys for taking me in and giving me a home away from home. Jilnaught and
Julie Wong for welcoming me with open arms and introducing me to several key musicians.
Deborah and Rob Cunningham for standing in as my American family overseas. Kura Ratapu,
Valance Smith, Chellie Spiller, Kiri Dell, Ngatapa Black, Mere Boynton, Ngaire Te Hira, Lorraine
and AJ Stevens, Richard Nunns, and Jana Nee: these wonderful Kiwis went out of their way to
help an American student they had never met before and went above and beyond anything I
could have hoped for. They made me feel comfortable and welcome and for that alone I am
thankful. They pointed me in the right direction of literature and resources to guide my
research. It would have been a completely different trip if I had not had the pleasure of meeting
these individuals.
Finally, I would like to thank my parents for enthusiasm, support, and faith in me. They helped
me connect with their Kiwi friends, got me more than ready for my weeks abroad, and were
there when I needed to hear some familiar voices (or emails). They are there for me in
everything I do and this was no exception.

24 | P a g e
X. Works Cited
Anderson, Harold Atwood, Jr., and Jonathan Dueck, Ph.D. A Confluence of Streams: Music and
Identity in Aotearoa/New Zealand. Diss. U of Maryland, College Park, 2008. N.p.: n.p.,
n.d. Print.
Bourke, Chris. “Popular music – Maori and Pacific music, 1980s and 1990s”. Te Ara – The
Encyclopedia of New Zealand, 3 Mar. 2015. Web. 14 Oct. 2015.
Calman, Ross. “Maori education – matauranga – Education in traditional Maori society”. Te Ara
– The Encyclopedia of New Zealand, 16 Sept. 2015. Web. 1 Oct. 2015.
"Curriculum Vitae." Te Ahukaramū Charles Royal. N.p., n.d. Web. 07 Oct. 2015.
"Dean Hapeta Te Kupu." NZ Poets Online. BMP9, n.d. Web. 14 Oct. 2015.
De Sully, Sol. "Profile." Moana. Moana Maniapoto, n.d. Web. 7 Oct. 2015.
Flintoff, Brian. “Maori musical instruments – taonga puoro – Maori musical concepts”. Te Ara –
The Encyclopedia of New Zealand, 23 Oct. 2014. Web 12 Oct. 2015.
"The Haka." All Blacks. N.p., n.d. Web. 15 Oct. 2015.
Henderson, April K. “Hip hop – Origins and arrival”. Te Ara – The Encyclopedia of New Zealand,
22 Oct. 2014. Web 14 Oct. 2015.
"Howard Morrison." Howard Morrison. History Group of the New Zealand Ministry for Culture
and Heritage, n.d. Web. 13 Oct. 2015.
Iwrin, Geoff, and Carol Warlrond. “When was New Zealand first settled? – Genealogical dating”.
Te Ara – The Encyclopedia of New Zealand, 22 Sept. 2012. Web. 30 Sept. 2015.
"Kapa Haka - Maori Performance." 100% Pure New Zealand. N.p., n.d. Web. 12 Oct. 2015.
"Kiri Te Kanawa."New Zealand History.HistoryGroupof the New ZealandMinistryforCulture and
Heritage0,9 May 2014. Web.08 Oct. 2015.
Maisey Rika, N.p., n.d., Web. 7 Oct. 2015.

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"Maori Becomes Official Language." New Zealand History. History Group of the New Zealand
Ministry for Culture and Heritage, n.d. Web. 5 Oct. 2015.
"Maranga Ake Ai by Aotearoa." SonicHits. Last.fm, n.d. Web. 11 Oct. 2015.
"microtones." Collins English Dictionary - Complete & Unabridged 10th Edition. HarperCollins
Publishers. 13 Oct. 2015.
"Moana Maniapoto Lyrics - Treaty." Moana NZ. N.p., n.d. Web. 11 Oct. 2015.
"Moana Maniapoto - Profile." Moana NZ. N.p., n.d. Web. 11 Oct. 2015.
Moffatt, Glenn. "Herbs History." Herbs. N.p., n.d. Web. 14 Oct. 2015.
Orange, Claudia. “Treaty of Waitangi – Creating the Treaty of Waitangi”. Te Ara – The
Encyclopedia of New Zealand, 13 Jul. 2012. Web. 30 Sept. 2015.
Phillips, Jock. “The New Zealanders – Maori New Zealanders”. Te Ara – The Encyclopedia of
New Zealand, 13 Jul. 2012. Web. 28 Sept. 2015.
"Profile: Hinewehi Mohi – Maori Musician." 100% Pure New Zealand. New Zealand Media, n.d.
Web. 11 Oct. 2015.
Reekie, Trevor. "Moments Like These: Ngahiwi Apanui." NZ Musician. N.p., n.d. Web. 14 Oct.
2015.
Shute,Gareth."Ex Pat Files:TamaWaipara." NZMusician.N.p.,Feb.-Mar.2007. Web.07 Oct. 2015.
Smith, Valance. “Kapa haka – Maori performing arts – What is kapa haka?” Te Ara – The
Encyclopedia of New Zealand, 25 Feb. 2015. Web 12 Oct. 2015.
Taonui, Rawiri. “Nga tuakiri hou – new Maori identities – Early Maori identities”. Te Ara – The
Encyclopedia of New Zealand, 18 Sept. 2013. Web. 1 Oct. 2015.
Te Ahukaramu Charles Royal. “Maori composers – nga kaitito waiata – Traditions of
composing”. Te Ara – The Encyclopedia of New Zealand, 22 Dec. 2014. Web. 12 Oct.
2015.

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Te Ahukaramu Charles Royal. "Teaching." Charles Royal. N.p., n.d. Web. 15 Oct. 2015.
"2013 Census – Major Ethnic Groups in New Zealand." 2013 Census – Major Ethnic Groups in
New Zealand. Statistics New Zealand, 2013. Web. 28 Sept. 2015.

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