Waiata Magazine Issue 4

issue 4 February 2013

YEARS OF Waiata Maori Music Awards

2008-2012 www.waiatamaoriawards.co.nz

www.waiatamaorIawards.co.nz

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Rarangi Upoko Contents Issue 4, February 2013

Editor: Tama Huata tama.kahurangi@xtra.co.nz Editorial: Lawrence Gullery Tania McCauley Api Te Rangi Narelle Huata George Tearoha Kahi Hinerangi Vaimoso Design: Lawrence Gullery Photography: Paul Taylor Glenn Taylor Lawrence Gullery Printing: Format Print Publisher: Waiata Maori Music Awards Trust, 706 Albert St, Hastings, Hawke’s Bay, New Zealand.

PO Box 1368, Hastings, New Zealand.

Circulation: Waiata is published biannually, 5000 copies printed each edition. Available direct by subscription and free through selected sites.

For more information email Lawrence Gullery on: lgullery@ihug.co.nz All contents and design remain property of the Waiata Maori Music Awards Trust.

All rights reserved.

Online version: http://issuu.com/ waiatamagazine Facebook: @ Waiata Maori Music Awards Official website: www.waiatamaoriawards. co.nz

3 Nga Mihi

Features

4 Tatou Tatou E

14-19

Milestone

20-21

Kahurangi

The year ahead by executive director, Tama Huata.

Q&A with Huia Hamon on the latest KOG project.

5 Our icons

Keeper of Traditions, Mita Mohi, and producer Billy Karaitiana.

6 Te Awanui Reeder

The singer writing songs with soul.

8 Don McGlashan Taking notes from a master songwriter.

10 Jess Harlen

From singing on the street to performing in theatres.

12 Te Ahorangi Winitana

Television’s Puukana presenters aims for music career.

13 Music video stars

Turning songs into award winning music videos.

22

Te Koanga Fashion Show

24

Miss Aotearoa

Maori music and Maori fashion come together.

Director Angela Cudd writes on the 2012 pageant and Te Koanga Fashion Show.

Singer Anna Coddington was a guest performer at the 2012 National Waiata Maori Music Awards.

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A review of the first five years of the Waiata Maori Music Awards, 2008-2012.

New Zealand’s Kahurangi Maori Dance Theatre celebrates its 30th birthday in 2013.

28 Toni Huata

Track by track review on the Hopukia album.

30 Majic Paora 32 Fresh talent

Obstacles defeated on way to debut album.

Q&A with Wellington’s Tunes of I.

33 Sunshine reggae

Award No.1 arrives for Tomorrow People.

34 New horizons

George Tearoha Kahi writes about the future work of the Matariki Festival Trust.

Nga Mihi

Tama Huata Kahurangi (left) and Rim D Paul.

MAGIC YEAR for Maori music PLANS TO CREATE THE FIRST WAIATA MAORI MUSIC HALL OF FAME IN HAWKE’S BAY AND THE 30TH BIRTHDAY OF KAHURANGI MAORI DANCE THEATRE ARE JUST A FEW OF THE MILESTONES PROMISING TO MAKE 2013 A BUSY YEAr.

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his year promises to be a memorable period for Maori music. We passed a major milestone in the life of the National Waiata Maori Music Awards when we celebrated our fifth birthday in 2012 and a record of the first five years is a feature in this, the fourth issue of Waiata magazine.

So now it is a good time to reflect one how far we have come and where we want to go in the future.

We started the awards in 2008 to develop, encourage and honour the achievements of outstanding traditional and contemporary musical compositions and performances annually. Our mandate is to produce and maintain a music competition which is open to all Maori music industry professionals.

The awards will continue to be held in Hawke’s Bay, despite significant pressure to move the event to bigger centres such as Wellington, Auckland and Rotorua. Keeping the awards at the Hawke’s Bay Opera House in Hastings offers a point of difference we want to build on in the next five years. With that in mind, this year I will be looking at floating the idea of firmly establishing Hawke’s Bay as the home of Maori music in New Zealand.

This could open up other opportunities including the possibility of New Zealand’s first Maori Music Industry Hall of Fame, recognising all of the iconic and historical artists we continue to honour each year at the awards. We are hoping to receive feedback from as many people, artists, music industry providers and leaders as possible on the

‘This year also marks the 30th birthday of Kahurangi Maori Dance Theatre’ merits of a Hall of Fame.

This year also marks the 30th anniversary of Kahurangi Maori Dance Theatre, which has been at the forefront of Maori performing arts internationally.There are a number of events planned later this year to mark its three decades of operation from the Takitimu Performing Arts School in Hastings.

This year we will also be looking to build on the success of the inaugural Waiata Workshop and Talent Quest competition which was held in the Maniapoto district in 2012.

We formed a partnership with Maniapoto FM, Te Kuiti and together held auditions for potential singing stars to enter the competition. The selected finalists were mentored by Sid Diamond, Adam Whauwhau and Taisha Tari through a series of waiata workshops.

learn

The whole event culminated in a showcase concert where the overall winner was Simone Holland, who won a place as a guest performer at last year’s Waiata Maori Music Awards.The success of the initiative has led to other iwi radio stations looking to pick up the format this year.

Well-known performer Rim D Paul, whose career spans more than 50 years in the show business industry, has embarked on a special project. He is reforming the iconic Te Roopu Waiata Maori o Aotearoa (Aotearoa National Maori Choir) a group he led in the early 1990s, but has been in recession for a decade.The choir will perform at Womad in New Plymouth in March, 2013.

Toi Maori Aotearoa is acting as administrator of the choir and the hope is it will lead to a sustainable plan for the long-term viability of the group. Rim, who was the recipient of a Waiata Music Industry Award (2008) is also recording his first album in te reo Maori which is expected to be released in April, 2013.The album will be produced by last year’s Waiata Music Industry Award recipient Billy Karaitiana.

Rim hopes the album will stand as a legacy marking his extensive career and provide inspiration for rangatahi looking to start a career in the music industry.

Tama Huata, executive director Waiata Maori Music Awards

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Q&A

Huia Hamon

Māori Music Awards

AWARD ENTRIES CLOSE JULY 30 2013 OPEN SECTION: Best Māori Traditional Album (Te Reo Māori) Best Māori Urban RAP/Hip Hop/ RnB Album Best Māori Urban Roots Album Best Māori Pop Album Best Māori Male or Female Solo Artist Best Māori Song Best Māori Songwriter Radio Airplay Record of the Year by a Māori Artist in Te Reo Māori Radio Airplay Record of the Year by a Māori Artist

Download entry forms from the website below or call + 64 6 873 0041 for more information. www.waiatamaoriawards. co.nz

The success of Tatou Tatou E volumes 1 and 2 has prompted producers KOG Studios to record a third volume, which is due for release in early 2013. Volumes 1 and 2 won titles at the National Waiata Maori Music Awards in 2011 and 2012. Singer and songwriter Huia Hamon is the force behind the te reo Maori album projects at KOG in Auckland and she talks about its success and the efforts being put into volume 3.

TATOU TATOU E labour of aroha What does it mean for the roopu which worked on the Tatou Tatou E volumes to win the Best Maori Urban/hip hop/RnB album two years in a row?

It means so much to us as we all work really, really hard to create this album and we were, once again, with some amazing talent in the category at the awards and didn’t expect to win (again). We always hoped but had not expected like the year before! I was a bit more organised in 2012 with an actual thanks list!

What do you hope to use these awards for, how can the awards further your mahi?

I think these awards further reinforce the fact that we as a collective and Kog Studio, are continuing to produce top music in both content and production levels for New Zealand iwi radio, mainstream radio and the world music market.

How do you share the awards among your group, are you taking turns or are the taonga put in one place everyone can enjoy?

We just have the tohu here at Kog Studio for everyone to enjoy when they come to the studio.

How are the plans for the third album progressing?

So we are in production for the third album and have just locked in the last on the waiata for mixing now. We are bringing in an international beat producer Kevin Mark Trail, our London town cousin, to add his flavour to the music and as this album is self-funded, we

are able to have more flexibility.

Is the kaupapa of the third album going to be different from the first two?

Our waiata are always about aroha, sustainability, kaupapa people can relate to, it includes our world around us and the importance of being good to one another. We also bring in new artists within each album project to offer the opportunity to record and release and some artists from V1 and V2 have a lot going on and are unable to make it to the studio for sessions. It’s an organic process.

Who’s involved in the third album?

We have some new kaiwaiata on this one: Ariana Tikao, Kiri Eriwata and Sheree Waitoa (wahine ma) and Djeison Suskov (Cool Rainbows). Poutama Paki, Mana Epiha and myself from V1 and V2 have also written waiata for V3 and worked with these artists to make sure the music flows easily. Jerome Cashell Mako will add his contemporary taonga puoro vibe, Kevin Mark Trail (UK) as music producer and also returning is Dmon (Nesian Mystik) with his beat making skills.

How are you funding this project?

We set up a Pledge Me Campaign for this album and we reached our goal, raising putea to pay the artists and beat-makers. We at Kog Studio have contributed all our studio time, artwork creation, vocal producing time and just needed putea to produce the physical CDs. The aim of the campaign was to raise enough to make sure we could pay everyone for their important mahi.

Sheree Waitoa, Ariana Tikao and Kiri Eriwata are among the new kaiwaiata featuring in the third volume of Tatou Tatou E, which is due for release in early 2013.

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_ Tohu - Kaitiaki Tikanga PUoru

Keeper of Traditions Award

AWARD WILL inspire many HUNDREDS HAVE BENEFITTED FROM THE WORK OF A MAN WHO HAS BEEN AT THE FOREFRONT OF MAURAKAU FOR NEARLY FOUR DECADES.

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former sports star who dedicated his life to teaching maurakau hopes his work will stand as inspiration for others to do “more than they thought they could do”.

Mita Hikairoa Mohi lives in Rotorua and his tribal affiliations are with Ngai Te Rangi, Ngati Ranginui, Ngati Parekawa and Ngati Rangiwewehi.

His iwi are Tuwharetoa and Te Arawa.

He played rugby league for the New Zealand Kiwis in 1972, was a runner up in the Aotearoa Maori Tennis Championship and also had a stint as a professional wrestler.

It is his efforts off-field, in particular his commitment to the resurgence of the martial art maurakau, which was recognised when he appeared at the 2012 National Waiata Maori Music Awards in Hawke’s Bay last September.

Mr Mohi was the recipient of the Keeper of Traditions Award, in the Nominated Awards section.

He has travelled the breadth of the country with his whanau running Mokoia Taiaha Wananga on marae, in school halls, paddocks, backyards and virtually anywhere people want to learn about the traditional martial art.

The wananga have been in place for 35 years and participants are now returning with their mokopuna. Mr Mohi also developed a maurakau programme that has been running in prisons for 20 years.

“I’m not sure how I will personally use this award in the future because it is such a testament to my past,” Mr Mohi says.

The accolade acknowledges the people who have allowed him and his whanau to be a part of their lives.

“Its future lies in the hands of those who have experienced our journey and the choices they make as a consequence. I never dreamed there would be an award at the end of it all and I feel very humble. If others are inspired then the award means that much more again because people will be doing more than they

Mita Mohi and the partner of his eldest mokopuna Hohua, Phillipa Moore, with the Keeper of Traditions Award.

thought they could do.”

Mr Mohi and his whanau were excited to be able to attend the awards at the Hawke’s Bay Opera House in Hastings.

“It was an amazing night.There is so much talent among our people and when we stand as Maori the experience is that much richer.

“This sort of night heartens me, the strength of our kupu and the messages they carry will reach many through music.”

It was a proud moment to be honoured next to other leaders in the music/performing arts industry.

“It was also a sad moment. My wife is as much a part of this award as I am and I miss her every single day. She would’ve been very proud of what we achieved together.”

Mr Mohi began his working life as

a train driver and then moved to working with Maori Affairs. He worked as a lecturer at Waiariki Polytech and eventually retired during his tenure as the Director of MH Wananga Trust. He has served on various Marae Committee, Land Trusts, School Trust Boards, NZ Parole Board and an advisory role in WINZ and kaumatua.

The Nominated Awards recognise those who have made a significant contribution to the industry.

The three other categories included the Iconic Maori Music Composers Award – Historical, which this year is awarded to the late Te Aritaua Pitama. Producer and musician Billy Karaitiana received the Maori Music Industry Award.The Lifetime Contribution to Maori Music Award was presented to the families of Dr Richard Nunns and the late Dr Hirini Melbourne, who are joint recipients.

Maori Music Celebrity Breakfast Filthy McNasty was the hard hitting name of the band Maori musician Billy Karaitiana (pictured right) found success with in Britain during the 1970s. But when the band signed a multi-million dollar deal to make two records in the US, American producers frowned at the controversial name and forced it to change to ‘‘Night’’. ‘‘Filthy McNasty wasn’t really the type of thing they were looking for and for example, our band T-shirt was a picture of a Scotsman doing a brown eye.

So we had to change the name,’’ Karaitiana said.

Under the name Night, the band went on to produce two albums.Two songs from the first went to the Billboard Top 20 in the US, including Hot Summer Night at No 18 and If You Remember Me at No 17. ‘‘I believe that may have been the first time a Kiwi band had such success in the US.’’ Karaitiana shared memories of the time at the 2012 Waiata Maori Music celebrity breakfast in www.waiatamaoriawards.co.nz

Hastings on September where he was the guest speaker. He was also the recipient Maori Music Industry Award, recognising a career which spans six decades.

Karaitiana grew up in Christchurch and now lives in Northland.The well-known bass player and music producer began playing in bands such as Max Merrit and The Meteors, and Ray Columbus and the Invaders during the 1960s and his musical career led to work in Australia, Asia, the US and in England, where he was based for nearly a decade. ‘‘A highlight of my life was meeting Paul McCartney in England. I got rung up to do a session at Abbey Road, Studio 2, the Beatles’ studio. Paul had bought the rights to a show for his niece and he wanted to do all of the music for it.

So I spent two days in the studio which was just exciting and something I will always remember.’’

Karaitiana had further success when he came back to New Zealand in the early 1980s, producing albums for Herbs.The first, Long Ago,

went gold and the second, Sensitive To A Smile, went platinum. He often opens up his production studio for young musicians to record their work ‘‘free of charge for a day’’. ‘‘My advice for musicians, well just go for it because I love music.

Listening is a great factor and it’s important for young musicians to listen to what other people say, whether they like it or not. People used to say to me, how do you get that sound? Bass playing comes from the soul and the heart, it doesn’t come from the amplifier.’’

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Te Awanui Reeder and David Atai.

W riting songs with soul the lead singer of one of new zealand’s most popular hip-hop bands, Te Awanui Reeder, is starting to see the fruits of a promising solo career. by lawrence gullery.

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he hard work put into writing and composing music that “will stand the test of time” is proving to be the winning formula for Te Awanui Reeder’s rising solo career.

The former Nesian Mystik lead singer won three titles at the 2012 National Waiata Maori Music Awards including Best Maori Male Solo Artist, Best Song by a Maori Artist (If Things Were Different) and Best Maori Songwriter.

He was a finalist for the New Zealand On Air Best Music Video by a Maori Artist Award, a new category introduced in 2012.

Reeder was also a guest performer at the awards on September 14 and a day earlier had been in Auckland to receive the 2012 APRA Maioha Award for the song Matahiapo, also written by

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David Atai and Scotty Morrison.

“Coming away with three awards was one of the proudest moments of my life, especially after having received the APRA Maioha award the day before.”

He was happy he could share the success at the awards with his “musical wing-man” David Atai (also a former Nesian Mystik) and with Maisey Rika who collaborated on the song, If Things Were Different.

“I honestly didn’t expect to win anything so every award I received was a surprise to me.

“As a non fluent speaker, I felt very honoured to be considered for the Waiata Maori Music Awards and being at the awards ceremony made me feel very proud to be a Maori musician.”

Waiata asked Reeder if there was one particular award out of the three which was a bit more special than the others.

“The award that meant the most to me was the Best Maori Songwriter award because I work hard at composing and writing good music that will stand the test of time.”

The award was presented to him by one of New Zealand’s best well-known songwriters, Don McGlashan, at the awards ceremony.

So what makes a good song?

“It’s got to have structure, it has to have a good hook, the verses need to be emotive and real. It also needs to have a wicked break down, an epic bridge that sums up the whole song.”

Reeder is of Ngati Raukawa, Ngai Te Rangi, Nga

Kaiwaiata

Te Awanui Reeder

‘At the end of the day in order for a song to resonate with someone, it has to have a real soul’ Potiki and Ngati Whakaue descent and over the past couple of years has focused on writing and recording bi-lingual music.

“If you look at all the top 40 songs, they have a similar structure in the way they are written so it’s not about trying to reinvent the wheel.

“But to make the song look exciting I’ve been able to use te reo Maori where appropriate, using my stories growing up as a Maori and it seems to fit.

“At the end of the day in order for a song to resonate with someone, it has to have a real soul.”

Being a finalist in four award categories and winning three of those titles at the Waiata Maori Music Awards will “add to my story”.

“It gives me and bilingual music a great deal of legitimacy on a mainstream level and it tells me that people are listening to my music. In terms of my solo career, it’s an awesome base to have moving forward and it’s a moment that I will cherish for the rest of my life.”

Reeder has enjoyed success in Hawaii and throughout other countries around the Pacific rim including Japan and Australia.

But many of those areas do not have organisations such as Te Mangai Paho (TMP) and New Zealand On Air to provide assistance to artists to “pursue their creative dreams”.

“We forget that overseas like in Hawaii, they do not have this, even though their language is in more danger of being lost than Maori.

“So I feel very fortunate to have been successful in receiving grants from both of this organisations.

It’s nice to have funding to pay engineers, session musicians and myself to do what we love, and at our normal rates instead of doing it for aroha all the time, because aroha doesn’t pay the bills.”

Reeder says however it is important to make it easier for artists to apply for funding.

“The TMP process was exhaustive, even TMP will admit that. I understand there needs to be transparency and accountability, however, not all artists are familiar with business plans and accounting.

“It highlights a need for mentoring, having existing templates and providing our artists with basic business skills.”

He believes artists should be able to use grants to purchase gear, within reason, to allow their www.waiatamaoriawards.co.nz

work to become reality.

“Give our artists the net, not the fish. That way they can continue to make great music regardless if they receive funding or not in the future.”

He’s also grateful for funding which has been made available for artists to make music videos, and for New Zealand On Air funding the new Best Music Video category at the awards for the first time in 2012.

The video for his song, Papatuanuku, was a finalist, although the inaugural award title was won by singer Ria Hall and producer Jessica Sanderson for their work on the music video for Best of Me. Reeder was proud to be among the finalists for his song Papatuanuku, made by director Luke Sharpe.

“I wanted to look at how we as humans treat papatuanuku (mother earth) and our role, and my role, in that problem.

“When I explored it I saw how useless we are and I had to admit to papatuanuku, I am really sorry that I have played a part in this mess, and that I can’t stop it but I can limit the effect I have on you.”

Reeder worked with Che Fu who features in the song along with Tiki Taane. Director Sharpe had worked with Reeder on previous videos for Nesian Mystic.

“We were very fortunate that one of his friends works for a heli-filming company which was working during Cyclone Katrina in the US. We were able to use some of that footage for the video.”

Reeder says the transition from hip-hop r’n’b band to a solo career has been seamless, in terms of writing songs.

“But in terms of touring, it’s very different. It gets very serious as a solo artist because a lot of the time you are travelling by yourself.

“In a group you have other people to back you up on vocals when things go wrong but when it’s just me singing, it’s a different story. But luckily David Atai, also from the Nesians, is still doing a lot of work with me and I’m grateful for that.”

Reeder plans for 2013 “to be a big year”.

“I plan to release my album, build on success I’ve had in Hawaii and perform as much as I can. I’m working hard on creating a great live show.”

RIGHT: Te Awanui Reeder performing with David Atai (right) and Dee Letoa (left) at the 2012 National Waiata Maori Music Awards.

BELOW: Former Nesian Mystik performers, Te Awanui Reeder and David Atai, on the red carpet with the fans outside the Hawke’s Bay Opera House in Hastings, prior to the start of the 2012 Waiata Maori Music Awards.

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Kaituhituhi Waiata Don McGlashan

new zealand’s isolation from the rest of the world provides the ideal conditions to grow talented songwriters who make music as “part of their calling”, says one of the country’s most well-known writers oF popular music, don mcglashan.

Lyrical leader

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ongs can be small, everyday things which we are constantly surrounded by. And if they work, songs can carry a lot of weight in the world.

That’s why it’s important to encourage New Zealand songwriters, Don McGlashan says, whether they are working in English or Maori.

“There’s only a small number of people in the world who talk like we do, who grew up in these islands and who can capture this time and place and help us know who we are.

“And of that group, there’s an even smaller number of writers working in te reo. They’re perhaps the most important to support and celebrate because the work they’re doing has the deepest roots into the soil of this country, and also because song has a big role to play in the revitalisation of the language.”

McGlashan is among New Zealand’s wellknown songwriters and musicians. He has been a member of such bands as The Plague, From Scratch, The Whizz Kids, Blam Blam Blam, The Front Lawn, The Mutton Birds and from 2009,

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The Bellbirds.

He has also embarked on a solo career and his first album, entitled Warm Hand, was released in 2006 and his second, the Marvellous Year album was released through Arch Hill Records in 2009.

He was welcomed as one of the leaders in the New Zealand music industry when he appeared at the 2012 National Waiata Maori Music Awards in Hawke’s Bay last September.

It was McGlashan’s first time at the annual event and it was fitting he was there to announce the winner of the Best Maori Songwriter Award. The title went to Te Awanui Reeder, who has also launched a successful solo career.

“I didn’t know what to expect,” McGlashan says about attending the awards.

“I really enjoyed the variety, passion and professionalism of the show.”

“Stand-out’s for me were Tiki Taane’s masterful one-man looping display at the end, Justin Haiu’s beautiful solo dance, the irreverent full-on physical blast of J Geeks and Hirini Melbourne’s tribute sung by Anna Coddington, Ria Hall and Majic Paora.”

The show had a great range, profound sometimes, but also happy to relax and not take itself too seriously, he says.

“The occasional stop-starts for the TV coverage spoilt the flow a bit, but the two hosts Brent and Lanita from Maori Television did a good job keeping things going.”

McGlashan believes there are several qualities songwriters must have and the first is the ability to “love songs” and to be observant.

“Keep a journal. Notice things about the world and about yourself and write them down. Eventually the pile of impressions you’ve gathered will combine with your love of songs, and you’ll write some!”

So what comes first, the lyrics or the melody when writing a song?

“I believe most songwriters get the song pretty much finished with nonsense words before they add the lyrics.

“I’m arse-about-face in that regard. I fill pages with random notes about what the song might be about and then once I’m satisfied that I have something to build on, the music and lyrics come more or less together.”

TOP LEFT: Don McGlashan presents the award for the Best Maori Songwriter to Te Awanui Reeder. TOP RIGHT: Interviews on the red carpet at the 2012 Waiata Maori Music Awards, with Tiki Taane and Tama Waipara. BOTTOM: Performances by Majic Paora (left) and J Geeks impressed McGlashan.

‘We’re a multicultural country with a bi-lingual heart’ New Zealand’s history, bi-culturalism and thirst to trace our roots back to the Pacific or to Europe help form the ideas for many songs by Kiwi songwriters.

It’s the point of difference which sets Kiwi and Maori artists apart from others although McGlashan believes people can get tied up in knots trying to stand out from the crowd.

“A lot of Pakeha like myself trace our roots back to countries with strong song-writing traditions such as England, Scotland, Ireland.

“Plus New Zealand is a long way away from anywhere and people here tend to write

www.waiatamaoriawards.co.nz

songs because it’s our calling, rather than in the hope that we’ll get rich and famous.”

He believes song writing of every place evolves uniquely over time because individual writers influence each other.

And New Zealand songs wouldn’t be the way they are now if Dave Dobbyn, Neil Finn, Chris Knox and many others hadn’t been born here.

“I don’t know if Maori culture has had a big influence on non-Maori speaking New Zealand songwriters up till now but I feel this could change in the future.

“Both my kids went to a bilingual primary school and are a lot more comfortable with tikanga Maori than I was at their age.”

McGlashan believed all song-writers in New Zealand - even those who don’t have any te reo - are still unconsciously effected by everything about the country. “… Including Maori ways of thinking about the land; ancestors; home. If you grow up here, that stuff is inside you. We’re a multicultural country with a bi-cultural heart, and that’s one of our greatest strengths. As far as point of difference goes, I think you can tie yourself in knots

striving to stand out from the crowd. Better to write as well as you can, in the hope that the songs you write will last a long time. Let others decide how unique you are.”

Following the Maori Music Awards, McGlashan performed with Anna Coddington (2011 Best Maori Female Solo Artist) and Julia Deans performed at the Christchurch Arts Festival.

“That’s a fun show. It’s a mix of our own songs, and other people’s songs that are special to us in different ways. Anna and Julia are wonderful musicians, and we all get to back each other, playing lots of different instruments.”

A week-long writers residency to the Antartic followed late last year in preparation for the work ahead in 2013.

“I’m also working on songs for my next solo album, and should have that ready to record in about April.”

Would McGlashan like to perform some of his new work at this year’s awards if asked?

“Yes, I’d be honoured to play at the Waiata Maori Music Awards.”

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Kaiwaiata Jess Harlen

Heavy beats and

FAT GROOVES

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Performing at major venues can propel your career but busking on the neighbourhood street corner is the best way to connect with the fans, says jess harlen. by lawrence gullery.

on’t let the accent fool you when you speak to singer Jess Harlen. The US-based artist went to school in Australia but was born in Palmerston North and her iwi affiliations are on the East Coast with Ngati Porou and in Northland with Nga Puhi.

With those kind of connections and having spent time living and working in three different countries, she understands why people are a little confused where she stops singing and begins speaking.

“In Australia I’m told that my accent is a little bit Kiwi. In America they don’t know what it is and here I just sound straight-up Aussie. It’s ok when I’m singing but when I’ve finished and start speaking, I often have people stearing at me wondering what I am saying.”

The 28 year old has been touring the world over the past five years as a member of Blue King Brown, supporting others like Macy Gray, Ziggy Marley and sharing festival bills with Jay-Z and Stevie Wonder.

She has also supported artists such as Nesian Mystik, Hollie Smith, Che Fu, and other high profile New Zealand acts in Australia.

Harlen returned to New Zealand in September last year as a guest performer at the 2012 National Waiata Maori Music Awards in Hawke’s Bay. More importantly, she was a finalist in the three categories at the awards, including Best Maori Urban Album, Best Maori Pop Album and Best Female Maori Solo Artist.

“I didn’t have any expectations of the awards, I was just so excited to be involved and to be able to come over from the US for it, what an awesome opportunity.

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“The thing I loved the most about it was meeting everyone, a lot of like-minded people. It was also inspiring to see our iwi working hard in the industry, representing our soul in music and taking their voices to the next level.”

There were a number of artists she met at the awards who made a big impression on the singer.

“Anna Coddington was such a lovely person to meet and she conveys that honesty in her music.

“Majic Paora has got a giant voice and she’s only a lil’ pup. Maisey Rika was also awesome to meet, a very humble person with amazing talent.

“And Tiki Tane, what a powerhouse of confidence, style and skill. Young Sid had a massive worldly voice too, cut through a massive beat, not many rappers do that. I also loved the vibe of 1814, aw man I loved it all!”

Harlen performed two songs during the Waiata Maori Music Awards two-day event.

“I performed Take Me Where at the Te Koanga Fashion Show, which is from my first album Neon Heartache. I thought I should crack open an uplifting track and keep everyone in a good mood and high spirits, and I know that I can nail that song acoustic when I’m nervous. “ On the awards ceremony evening she performed Nobody’s Fault from her sophomore album Park Yard Slang, released in 2012.

“It has a big fat groove and a fun chorus so I thought people would enjoy it and jam along in their seats.

“There was a technical issue with my amp so my guitar didn’t come on until half way through the song but I think they still got the gist of it, everyone gave a big cheer when my guitar came on so that made me feel better.”

Harlen has a busy schedule planned for 2013 which includes touring and recording a new album.

“I am currently applying for funding so I can come home (New Zealand) and record a new album with a producer like Tiki Taane.

“I want to take a new turn in my music and while I like to keep things fresh and moving I have a craving to get back to my roots.”

She booked a tour in Australia in January and then hopes to come home to New Zealand and play shows with “my amazing bass player” Camilla Charlesworth.

“She is insane and amazing to play with. She

can lay down a serious groove and she has awesome stage presence. I like to keep it fun and feeling good on stage, and bounce those vibes back to the crowd.”

Harlen says her plan is to record a new album in New Zealand and raise enough money to tour with her band around Aotearoa.

“I want to set up and play some big parties too, not just venues. People get hoha with venues because they can’t bring their kids, so we might have to take some boxes of beer and a PA to a couple of paddocks. Did somebody say hangi?”

Harlen left Australia a few years ago after following a friend who was awarded a scholarship in Boston.

“I wanted to get out of Australia so I just packed up and decided to make a break for it and make the most of the opportunity.

“There are a lot of amazing musicians over there, a lot of opportunities to network with people. They are really surprised by the genre of music “I play because it’s a really specific New Zealand sound, with that guitar strumming, with subtle hip-hop beats.

“In production I like to use a lot of really heavy beats, lots of groove. There’s no one over there playing that style so they like it a lot.”

Harlen regularly moves between the US, Australia and New Zealand which can be exhaustive physically as well as on the budget.

“People think I have a lot of money to be able to do that but I don’t. I just work my butt off to get it done.

“If I’m low on money, I busk. And it’s the best way to meet new people and make new fans.

It’s also very humbling, to go from playing on massive stages with big crowds, to a corner on the street and everyone just passing you by.

“It keeps my head screwed on and makes me appreciate every little thing that happens, and every dollar. After I busk, you won’t catch me wasting my money.” n Jess Harlen released her latest single Weaving in November and it can be viewed on YouTube and available through iTunes. Jess produced and directed the video which was filmed in New York on “a shoestring budget” and features a Brooklyn-based Krump dancer.

OPPOSITE PAGE AND ABOVE: Jess Harlen, finalist and guest performer at the 2012 National Waiata Maori Music Awards.

www.waiatamaoriawards.co.nz

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Kaiwaiata

Te Ahorangi Winitana

DEFINING my passion

‘I didn’t think I would end up in the whole TV buzz. My thing has always been music’

a young maori woman with a promising television career also has her sights set on starring in the music industry. lawrence gullery speaks to Te Ahorangi Winitana.

T

elevision show Puukana aims to train young Maori, giving them a chance to present and produce programmes, and it’s an opportunity Te Ahorangi Winitana grabbed almost two years ago.

“I started presenting at Puukana in May 2011. I went in not knowing much about the television industry but they took me in and believed I could do it. That meant a lot to me.

“There’s a lot to like about Puukana. Travelling, working with youth, meeting new people, making people laugh and smile.

“It’s an awesome mahi. But something I place above it all is the people that I work with. My brother works there and my cousins so it’s sort of like I never left home. Whaanau wairua as in Puukana, that’s something anybody will feel walking through the doors.”

Winitana is of Tuwharetoa, Tuhoe, Te Aupouri and Ngati Awa descent. She loves the opportunities Puukana offers but music and her work as a singer and songwriter is likely to take a lead in 2013.

“Truthfully speaking, I didn’t think I would end up in the whole TV buzz. My thing has always been music. And now that I’ve had a taste of

Te Ahorangi Winitana & Sid Diamond at the 2012 National Waiata Maori Music Awards.

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what music has to offer in terms of a career, I’m starving for more. Music defines passion and love for me.”

The next 12 months will include work on making an album, and then recording radio tracks and looking for more opportunities to perform live.

She finished making a te reo Maori album in 2012 which was funded by Te Mangai Paho and it was to be released at the end of last year.

“At the moment I’m currently working on English songs, therefore it’s the mainstream area I want to get in to. Hard work, but it’s worth the chase.”

Winitana was among the guest performers at the 2012 National Waiata Maori Music Awards, held at the Hawke’s Bay Opera House in Hastings in September. It was her first time at the event and she performed her song Pounamu, in collaboration with former Waiata Maori Music Awards winner and well-known rapper Sid Diamond (formerly Young Sid).

Winitana says Diamond was a “talented and respected” artist and she was “grateful that I got the chance to work with him”.

Pounamu is a song about the individuality and uniqueness everyone is entitled to express via creativity and its video was filmed entirely on location in Turangi, where Winitana grew up.

It was a great reward when the video was named a finalist in the Best Music Video Award category, sponsored by New Zealand On Air, a new title at the 2012 Waiata Maori Music Awards.

Winitana was “overwhelmingly happy” to see the video considered alongside the other finalists which included Te Awanui Reeder, Tiki Taane, Pieter T and the eventual winner, Ria Hall. “It was a proud moment for me … but the biggest buzz is knowing people are

watching and enjoying it. Pounamu was shot back home so I was real happy that everyone got to see a little slice of my heaven.”

The song was written by Winitana, Diamond and Josh Fountain and it was also among the finalists for the APRA Maioha Award 2012, which recognizes excellence and celebrates te reo Maori in contemporary music.

The other finalists included I Am Child written and performed by Ria Hall and the eventual winner, Matahiapo written by Te Awanui Reeder, David Atai and Scotty Morrison.

Winitana was also at the Waiata Maori Music Awards to record footage for Puukana, as well as preparing for her live performance in front on 900 people with Diamond.

“It was a choice opportunity. I got to meet and greet with a lot of people. The event itself I didn’t really get to enjoy because I was also working for Puukana, and then besides that I still had to practice my performance.

“But parts of the night where I could observe and chill I enjoyed it. Real kick back, choice people, awesome kai and bad after party.”

Meeting artists such as Maisey Rika, Ria Hall, Tipene Harmer and Tiki Taane at the awards was a chance to learn from others working in the industry. She particular enjoyed the acoustic/dub set Taane performed to close the awards.

“Honestly after watching the entire performances, it made me realise two big things.

“Always put having fun and enjoyment first.

Before I stood I was really nervous, and I was thinking about areas in the song I had trouble with.

“It actually sort of felt like I was constantly cycling in a negative buzz towards performing. I forgot about the biggest part of it all, having fun.”

Puoro Ataata Music Videos

THE ART OF making videos New Zealand on air’s new award for music videos is rewarding maori performers, directors and producers using the medium to promote their work. among them is wellington’s Jessica sanderson.

T

he unique visual history of Maori is proving to be the winning ingredient artists and directors are featuring in music videos, which are becoming key online marketing tools.

Wellington director Jessica Sanderson says it’s all about the message the artist is trying to move across to the audience.

“Regardless of language, there are unique opportunities in songs to portray something different and authentic. Maori artists do have a unique visual history they can choose to draw from. I’d enjoy seeing Maori songwriters teaming up with Maori visual artists for their videos, that would produce some amazing videos.”

Sanderson’s comments are justified when you considered her work on a music video for Ria Hall’s song, Best of Me. The project won the inaugural New Zealand On Air Best Music Video by a Maori Artist title at the 2012 National Waiata Maori Music Awards in Hawke’s Bay. Sanderson wasn’t at the awards but was happy to hear news of the video’s success.

“I felt very proud when Ria sent a text with the news and pleased the video was bringing attention to her as an artist. This is my first award for my music video work and it always feels nice to be acknowledged.”

The Best Of Me video draws upon the song’s bi-lingual value and Maori culture.

‘the director needs to love the music they are working on’ “I started by talking to Ria about her song and why she wrote it. A mutual friend of ours, Teina Moetara, helped her with the reo Maori lyrics in her EP and he had also taught me about the way we can use our mythology to support new performance pieces.”

Four characters were developed based on concepts in Maori mythology.

“One example would be the first character to appear in the video; we called her Mahuika. All Ria’s movement, styling and persona were then motivated by our understanding of her as a character and story.

It helps a lot on set, if you get stuck or if things aren’t

working, you can always go back to that as a guide.”

Sanderson is keen to explain what goes into making a good music video.

“Directors needs to love the music they’re working with and care about the artist and their message. I think they need to collaborate; listen to what the artist is trying to say with their music and help support that with a visual treatment. I like watching videos with a story, Ria’s video didn’t have an overt story, but there were several underlying it.”

Sanderson is of Pakeha and Maori decent. Her tribal affiliations are with Te Atiawa, Ngati Kahungunu me Te Ati-Haunui-a-Paparangi.

She trained at Massey University and Toi Whakaari: New Zealand Drama School and achieved a Bachelor of Performance Design (2009).

She completed an internship with artist and filmmaker Luis Gispert in New York in 2009 and over the past four years has been involved in a host of video and theatre projects.

Sanderson agrees making a music video can be expensive but New Zealand On Air’s funding for musicians had opened up more opportunities. It included the MakingTracks scheme which provided funding towards single recording and a music video for an unfinished track, or music video funding only for finished tracks.

Best of Me had approved funding under this scheme in 2011.

“A lot of music videos are still produced with a volunteer crew, because gear can be very expensive.

“Our budgets don’t compare to artists overseas, and yet they’re expected to earn a living in the same industry. But simple concepts can go along way.”

Sanderson had completed another music video for Kora at the end of 2012, for the band’s song, Drop Dead Killer.

“Again the concept came from conversations with the band and coming up with a story that fit their song and intention for their new album. I had the opportunity to work with an amazing crew on set and in post-production with the special effects and grading.”

And there’s more exciting projects on the horizon for 2013.

“I’m still working for Blacksand at TVNZ producing promos and I’m developing my own scripts for short films. I’m also working on a documentary based in Wellington.”

Best Of Me, Ria Hall.

Is Our Love Worth Fighting For, Tiki Taane.

Pounamu, Te Ahorangi Winitana.

Papatuanuku, Te Awanui Reeder.

RIGHT: Finalists for the Best Music Video by a Maori Artist at the 2012 National Waiata Maori Music Awards.

My Baby, Pieter T.

www.waiatamaoriawards.co.nz

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YEARS OF Waiata Maori Music Awards New Zealand’s premier event recognising singers, songwriters and entertainers working in the Maori music industry reaches its fifth birthday. Waiata magazine looks back at the list of award winners and performers who have made it a success.

THE LAUNCH EVENT May, 2007

TUHEITIA OPENS AWARDS November 12, 2008

Sir Howard Morrison was among four well-known entertainers who were honoured at a special gala event marking the launch of the inaugural National Waiata Maori Music Awards in 2007.

The launch was held in Palmerston North and was used to honour Sir Horward, composer Tommy Taurima and entertainers Missy and Tui Teka. Kapahaka legends Ngapo and Pimia Wehi were also at the launch and recognised for their work in traditional Maori performing arts. They head their family business, Pounamu, in Auckland, specialists in Maori cultural performances and tours.

The event was also used to launch the award categories and call for artists and composers to submit their work to be considered as the first recipients, to be announced at the first awards ceremony in 2008. The Minister of Maori Affairs at the time of the launch was Labour’s Parekura Horomia, who attended the event: “I am pleased to see the establishment of an annual awards programme that will specifically recognise and celebrate Tommy Taurima the contribution that Maori music composition makes to Maori and to New Zealand,” he said. The executive director of the awards, Tama Huata, said the launch was a culmination of months of hard work.

“It was a tremendous evening of celebration of our musical icons and it was great to see them up on stage performing again. An award just for Maori has never been done before.

Seeing everyone come together to remember and honour our musical icons is something I will always remember,” he said.

The Maori King Tuheitia Paki was the guest of honour helping to open the inaugural National Waiata Maori Music Awards at the Hawke’s Bay Opera House in Hastings.

A performance from Taikura kapa haka group, featuring Ngati Kahungunu kaumatua who have followed and contributed to the success of Maori music, opened the awards ceremony.

The inaugural co-hosts for the first awards ceremony were Hawke’s Bay’s William Winitana and Megan Chong, who presented the list of finalists and announced the winners.

In the open award section, singer and songwriter Carol Storey won the award for Best Maori Traditional Album for her work on Mokomoko while Ruia Aperahama claimed Best Maori Pop Artist and Best Maori Songwriter Award.

A finalist for Best Maori Male Artist, Aperahama was nudged out by performer Tiki Taane for his

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Kingi Tuhetia Paki arrives at the Hawke’s Bay Opera House for the inaugural awards ceremony.

album, Past, Present, Future. Young Sid was an emerging hip hop artist from South Auckland in 2008 and at the awards he managed to edge ahead of Aperahama, Taane and reggae band House of Shem to win his first title in the music industry, Best Maori Urban Artist.Young Sid was also among the guest performers at the 2008 awards ceremony.

Another first time award winner, but no stranger

T Erena Tomoana, performing at the 2009 Waiata Maori Music Awards.

E Pari Ra

he Ngati Kahungunu and Hawke’s Bay composer of Pokarekare Ana, one of New Zealand’s most recognised Maori songs, was honoured in a spectacular tribute performance at the 2009 National Waiata Maori Music Awards. Waipatu composer Paraire Tomoana and his war-time piece E Pari Ra, was transformed into a full-scale choral performance by 40 kuia and kaumatua.

Among the voices, was his great grand-daughter, Erena Tomoana, who lives in Hastings. Growing up in such a tight-knit musical family, Erena is no stranger to singing. There was always a piano or guitar around, she said. ``If ever there were birthdays or any sort of gettogether at grandfather’s place in Waipatu, singing

Tino Korero Cover Story

Sir Howard Morrison, right, at the awards launch event, Palmerston North, 2007.

Missy Teka, recognised for her work in the music industry, at awards launch in 2007.

Rim D Paul, was the recipient of a Music Industry Award in 2008.

Kapahaka legends Ngapo and Pimia Wehi, at the awards launch in 2007.

to the New Zealand entertainment industry, was Taisha Tari who took home two awards including Best Maori Song (Karanga) and Best Maori Female Artist.

In the nominated award section, long-time performer Rim D Paul accepted a Music Industry Award recognising his work as an entertainer over nearly six decades, with Maori showbands and a popular solo career.

Singer Moana Maniapoto also accepted a Music Industry Award, rewarding her work as a leader at the forefront of Maori music, constantly pushing the boundaries to create her own blend of traditional and contemporary Maori music without compromising either.

The esteemed Keeper of Traditions Award was presented to Ngati Kahungunu professor, Dr

Award presenters William Winitana and Megan Chong, at the 2008 awards.

Piri Scia Scia, from Porangahau. Scia Scia was born and raised in Porangahau, studied at Otago University and composed works for Maori clubs from 1960 to 1974.

He successfully auditioned for the NZ Maori Theatre Trust Company and toured Russia and Europe in 1970.

The important Iconic Maori Composers Award belonged to the late Princess Te Puea Herangi.

A running slideshow spoke of her achievements as the granddaughter of the second Maori King, Tawhiao. Her leadership throughout the Kingitanga movement, her determination to rebuild the mana and economic strength of the Waikato people earned widespread respect.

Lifetime Contribution to Music Award went to Tangiwai and George Ria.

Young Sid, won his first music title at the 2009 Waiata Maori Music Awards, where he was also a guest performer.

tribute honours composer was probably the next most important thing after talking and saying `hello’.”

She credits her great-grandfather for the legacy. ``His love of music and his passion for music has progressed to my generation really strongly and I think all of us feel really lucky that we were so exposed to it and raised in such a musically rich family.’’ Erena sang as a teenager in kapa haka groups and the school choir, was a member of the New Zealand Secondary Schools Choir and recently sang her own composition at the 2008 Takitimu Festival.

Despite the experience, she was excited and nervous about the scale of the 2009 Waiata Maori Music Awards event, held at the Hawke’s

www.waiatamaoriawards.co.nz

Bay Opera House in Hastings. ``The performers that are there, it is awesome that they are able to be recognised and celebrated,’’ she said.

A pioneer of modern Maori music composition, Paraire Tomoana attended Te Aute College alongside Sir Apirana Ngata and excelled in sport. During World War I, he helped raise money for the Maori Soldiers’ Fund by organising a song and dance group (Te Poi o Heretaunga) and composed songs in the modern action song style.

He had an extensive knowledge of Maori history and was a well-known figure in the region. ``He didn’t go to war but he was so

political and involved with wanting to make sure the Maori battalion soldiers and their wives and their families were looked after,’’ Erena said.

E Pari Ra became a famous tangi song for soldiers lost in battle and the official slow march of the Royal New Zealand Navy, and has since been recorded by the likes of Dame Kiri Te Kanawa and Hayley Westenra.

E Pari Ra was performed as a theatre piece opening the 2009 Waiata Maori Music Awards.

Erena was joined by Taikura, a group of performers dedicated to preserving the history and knowledge of Maori performance.

This story appeared in Hawke’s Bay Today,

by Hinerangi Vaimoso.

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YEARS OF Waiata Maori Music Awards 2009-2010 RIGHT: Taisha Tari was named the Waiata Maori Music Awards Ambassador in 2010 and four-time award winner (2010) Maisey Rika.

LEFT: Whirimako Black performing at the 2009 awards.

BELOW LEFT: Tapakanga, performing at the 2009 awards.

BELOW: Auckland Polynesian vocal quartet Jamoa Jam performs with Kahurangi Maori Dance Theatre at the 2009 awards.

NESIANS' FOUR AWARDS NOVEMBER 15, 2009 Hip-hop and R’n’B band Nesian Mystik was the big star and multiple award winner at the second annual National Waiata Maori Music Awards, at the Hawke’s Bay Opera House in Hastings.

The band was awarded Best Maori Pop Album, Best Maori Urban, Rap, Hip-Hop/ RnB Album, Best Maori Song (Nesian 101) and Best Maori Songwriter in the open award section.

Television presenter Te Hamua Nikora joined William Winitana and Megan Chong to host the awards, presenting the titles at the Hawke’s Bay Opera House in Hastings.

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Labelled an emerging artist at the time, Maisey Rika won the Best Female Solo Artist Award while Leon Wharekura won the Best Maori Male Solo Artist and Best Maori Pop Album (It’s a Love Thing).

Ruia Aperahama, an award winner in 2008, returned in 2009 when he won the Radio Record Airplay Of The Year By A Maori Artist In Te Reo Maori title for his work on Rere Reta Rere Reta.

Tiki Taane also backed up from his 2008 award to win the Radio Record Airplay Of The Year by A Maori Artist for his song, Always On My Mind.

In the nominated section, Patea Maori Club, also a guest performer in 2009, won the Music Industry Award (Traditional) and South Pacific reggae pioneers Herbs was named the winner of the Music Industry

Award (Contemporary).

Morvin Simon was the recipient of the Lifetime Contribution to Maori Music Award while the late Kohine Te Whakarua Ponika was the recipient of the Keeper of Traditions Award. The late Sir Apirana Ngata was the recipient of the Iconic Maori Music Composer’s Award (Historical). Ngati Kahungunu composer, the late Paraire Tomoana and his war-time piece, E Pari Ra, was transformed into a full-scale choral performance by 40 kuia and kaumatua, which was a feature at the awards.

Taisha Tari, another 2008 award winner, returned to sing with the Ladykillers as guest performers along with Smashproof, Whirimako Black, Herbs, Maisey Rika, Box Juice, Jamoa Jam, kapa haka group Te Rerenga Kotuku (Wairoa) and Te Ara Toi.

Tino Korero Cover Story

Guest performers, 2010, SHowband Aotearoa

Guest performer, 2010, Lisa Tomlins

Awards host, Te Hamua Nikora

www.waiatamaoriawards.co.nz

Guest performer, 2010, Justin Haiu.

Singer Mark Williams was a guest performer in 2010.

Singer Susan Rose, Wairoa, was a finalist and guest performer in 2010.

MAISEY'S TIME TO SHINE SEPTEMBER 10, 2010

Album. In the nominated section, Maori Volcanics co-founder Nuki Waaka was the recipient of a Maori Music Industry Award, recognising his efforts as a leader of the showband era. Waaka also the guest speaker at the Waiata Maori Music Celebrity Breakfast, held as part of the awards, where he presented on his experiences turning the showband into an well-known international act.

Songstress Maisey Rika, Whakatane, was the star of open section when she won four of the eight open section titles on offer at the National Waiata Maori Music Awards.

She was announced the winner of Best Maori Female Solo Artist, an award she took home from the 2009 awards. In 2010 she added the Best Maori Pop Album, for her work on Tohu; Best Maori Song, for her waiata, Nia, and Best Maori Songwriter.

There were 10 finalists and Rika was among the eight winners announced at the awards.

It included the late Kohine Ponika for Best Maori Traditional Album;Young Sid for Best Maori Urban Rap HipHop RnB Album and Best Maori Male Solo Artist.

Australian Idol (2009) winner Stan Walker won Radio Airplay Record Of The Year by a Maori Artist.

Northland reggae band 1814 won Radio Airplay Record of The Year by a Maori Artist in Te Reo Maori.

Whanau and representatives accepted the awards on behalf of Stan Walker, 1814 and Young Sid as they were unable to attend the event.

Whanau of the late Kohine Ponika accepted the Best Maori Traditional

Tepene and Hine Mamaku, Te Teko, Bay of Plenty, were the recipients of the Keeper of Traditions Award for their work over six decades in tutoring kapa haka groups from the 1950s through to the 1970s.

The late Tuini Ngawai, Tokomaru Bay, was the recipient of the Iconic Maori Music Composers Award (Historical).

From 1931, she wrote more than 200 songs which are still remembered today for their spiritual inspiration.

She formed a group Te Hokowhitu a tu which worked with Maori MP Sir Apirana Ngata to find recruits for the 28th Maori Battalion.

Tom and Vicky Ward, Wellington were the recipients of the Lifetime Contribution to Maori Music Award.

They are among Aotearoa’s most accomplished leaders of Maori performing arts, Vicky in the poi and Tom in haka, particularly Ngati Porou haka. They have been involved in kapa haka for more than 53 years.

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YEARS OF Waiata Maori Music Awards 2011-2012

Frankie Stevens.

Christine Te Ariki, Betty-Anne and Ryan Monga.

Te whanau o Henare Waitoa.

RIGHT: Huia Hamon.

ANNA & MINA, JOINT WINNERS SEPTEMBER 8, 2011 Well-known performer Tiki Taane was a winner at the 2008 and 2009 awards and returned in 2011 to add three more titles to his career portfolio. He was named Best Maori Songwriter, Best Male Solo Artist and won the Best Maori Song (Starship Lullaby) in the open section of the awards. Ninakaye Taane accepted the award on behalf of her brother Tiki. He was also finalist in a fourth award, Best Maori Urban Rap/Hip Hop/RnB Album, but that title went to Tatou Tatou E Vol.2.

Singers Anna Coddington and Mina Ripia walked away joint winners for the Best Maori Female Solo Artist Award, the first time in the event’s history that judges were unable to separate two artists to produce a clear winner.

In the new reggae category, House of Shem won the award for the Best Maori Urban Roots Album (Island Vibration), ahead of finalists NRH

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Rising, Katchafire and Juice Box. Tyna Keelan, Darren Mathiassen and Christopher Yeabsley who together form The Nok, were awarded Best Maori Pop Album.

The Best Maori Traditional Album in Te Reo was awarded to Henare Waitoa (composer) and Kahu Waitoa (artist) for the album Nga Waiata o Henare Waitoa.

Two winners from 2010 repeated their success being named on the awards list for this year.

It included Northland reggae band 1814 again won the Radio Airplay Record of the Year by a Maori Artist in Te Reo Maori award, sponsored

by Te Whakaruruhau o nga Reo Irirangi o Aotearoa. Stan Walker, also for the second consecutive year, was the recipient of the Radio Airplay Record of the Year Award by a Maori Artist sponsored by NZ on Air. In the nominated section, the late Sir Kingi Ihaka was the recipient of the Iconic Maori Composers Award while entertainers Frankie Stevens and Ardijah were the recipients

Anna Coddington.

Miss Aotearoa Angela Cudd and Puti Mackey.

of Maori Music Industry Awards for their contribution over many decades. Kapa haka and waiata expert Tihi Puanaki was the recipient of the Keeper of Traditions Award recognising her efforts over many years teaching Maori culture in music. The co-founder of the Maori Volcanics, Mahora Peters, was the recipient of the Lifetime Contribution to Maori Music Award, recognising her work as a singer and performer for more than 50 years. Miss Aotearoa Angela Cudd helped present the awards on stage.

Tino Korero Cover Story

SINGER, SONGWRITER SEPTEMBER 14, 2012

Mabel Wharekura Burt (Aunt Mabel).

Simone Holland.

Tiki Taane.

Kirsten Te Rito.

1814.

Co-hosts Brent Mio and Lanita Ririnui-Ryan.

Tomorrow People.

Artists of He Rangi Paihuarere.

www.waiatamaoriawards.co.nz

Former Nesian Mystik lead singer and songwriter Te Awanui Reeder proved the worth of his new solo career when he won three titles at the 2012 National Waiata Maori Music Awards.

Reeder collected the Best Maori Male Solo Artist, Best Song By A Maori Artist (If Things Were Different) and Best Maori Songwriter awards in the open section. Reeder added the three titles to four others he won at the 2008 awards with Nesian Mystik.

Wellington-based singer Kirsten Te Rito was the winner of the Best Female Solo Artist Award which was reward for work on her first te reo Maori album, Te Rito.

One of two new categories in 2012 was Best Video Of The Year by a Maori Artist, won

by Ria Hall (artist) and Jessica Sanderson (producer) for their work on the video for the song, Best Of Me. The other new category was Emerging Artist and there were two awards, the first went to urban reggae band Tunes of I and the second to solo artist Simone Holland, who both performed at the awards ceremony.

Pop singer Seth Haapu won the Best Maori Pop Artist Award recognising the work on his self-titled debut album.

Huia Hamon returned to accept the Best Maori Urban Artists Award on behalf of artists involved in making Tatou Tatou E Vol.2 album. Tomorrow People attended the awards ceremony and were the winners of the Best Roots, Reggae Album for their work on One. Six60 was named the winner of the Radio Airplay Record of the Year by a Maori Artist,.

In the nominated section, taiaha expert Mita Mohi was the recipient of the Keeper of Traditions Award recognising his many years of work teaching the traditional martial art, a discipline featured in performing arts.

The late Dr Hirini Melbourne was the joint recipient of the Lifetime Contribution to Maori Music Award, honouring his work in traditional Maori music instruments, song writing and compositions. The title was shared with Dr Richard Nunns. The two worked together for many years and Dr Nunns heads the group Nga Tae, which combines traditional Maori instruments with modern electronica.

Wiremu (Billy) Karaitiana has a career which spans six decades as a performer and producer and he was the recipient of a Maori Music Industry Award. He was also the guest speaker of the Waiata Maori Music Awards Celebrity Breakfast.

Ngai Tahu kapa haka and waiata expert the late Te Aritaua Pitama was the recipient of the Iconic Maori Music Composers Award (Historical) recognising his work as a teacher, broadcaster and concert party producer.

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FEATURE Kahurangi Maori Dance Theatre Kahurangi performing the opening number of the 2012 National Waiata Maori Music Awards, at the Hawke’s Bay Opera House in Hastings.

Kahurangi Maori Dance Theatre celebrates its 30th birthday in 2013. One of the company’s long-time performers, narelle huata, writes about her experiences with the group over the years.

STARS OF MAORI performing arts

I

started performing Kahurangi in 1989 when the group was preparing for the 1990 Waitangi Celebrations, in Waitangi and I remember really wanting to be on stage. I was only 13 at the time when we were in rehearsals and remember having to really push myself hard to get on stage, even if I was only in the second row.

That didn’t bother me, I was just really excited to perform. Our training was hard. I was treated the same as anyone else, in fact, probably pushed harder. I trained alongside the old ones or the OGs they call themselves now.The motto was “go hard or go home”. So I went hard.

It was such a scary but exciting feeling all at once.

We were on straight after Upper Hutt Posse, they were a huge NZ rap group back at that time. So by the time we came on stage, they were pumping.

We had to go hard cause we couldn’t go home.

The show was great. It was called Tou Rangatira, commemorating the Treaty of Waitangi.

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rehearsals for performances and overseeing the quality of the rehearsals. I am responsible for putting performances together, wardrobe management, making sure the performers have the correct uniform for on and off stage and looking clean and sharp at all times whilst on the job. I have to make sure we get to the gig on time, do the best performance ever, and once the gig is done, leaving in a timely fashion.

It also entails making sure our performers are meeting the needs of the entertainment industry and getting the right tools for the trade. We have to keep ahead of the game. My dad always tells us, we must know how to count. So for me it’s about, have we got the right amount of performers?

How many shows do they need to do? How long? When, where, for who, what’s the purpose of the performance? One motto we have in training is: “Amateurs practise till they get it right.

Professionals practice till they can’t get it wrong, what is your choice?” So we push our performers to be professionals.

I personally started my touring not long after I

had finished my schooling at the age of 17 turning 18. I toured North America for two years. It really did set me up for my life-long vocation in this industry. North America, Canada and the US are favourite places to tour for me. Although these days Kahurangi only travels there for three-to-four months. Other places I have travelled to with the company include Australia, Singapore, Malaysia, India and back to North America about four times.

I enjoyed all the countries for different reasons such as cultural exchange, creating life long friends, sight seeing, shopping and of course the different stages and audiences we perform to and share our culture with.The company has travelled extensively all over the world, to Europe, Hong Kong, China, Japan and the other countries I listed above.

International audiences do not know what to expect.They perceive us to be like the All Blacks so they just want to see the haka. Or, before the movie Whale Rider came out, they perceived us to be like what they saw on the movie Once Were Warriors.

So when we perform, they really are overwhelmed and taken back in a good way. Our performances are a mix of traditional and contemporary Maori dance with a fusion of Polynesia. It really depicts our whakapapa and our ancestry through the Polynesian Islands to Aotearoa.

I have performed to small audiences of maybe three to four people and in these cases we have a philosophy that even if there is only one person in the audience we give them the best show as if there were 1000 people.

The largest group I have performed to was in Baltimore, US, in 1995.There were over 30,000 people in the audience and eight of us on a huge stage and the audience loved us.

When we perform to First Nations schools or people, they are very reserved. So it’s hard to tell whether they enjoyed our performances until afterwards when you talk with them one on one.

They are quiet, spiritual people and they really connect with our people on a spiritual level.

African-American audiences are totally the opposite. We performed in schools through New York City, the Bronx, Harlem, Queens and the kids were just in fits of laughter, praise, dancing with their hearts, it was amazing. They were one of the best audiences we performed to.

There are many questions people ask us while we are on tour. Some people think we still live in grass huts, especially children from North America.They ask: “Where is NZ? Is it in Australia? Is it at the bottom of the US? Is it a tribe in the States?”

We really had to educate children and some adults as to where exactly NZ is in the world.

People want to know what clothes we wear as they thought we walked around in our Maori costumes all the time.

They want to know what are our costumes made of, what do they mean, what do our songs and dances mean? On one occasion we were asked by one of the children in the audience what language we were speaking. When we replied English the children just didn’t believe because of our accents.

KEY PEOPLE & SUPPORTERS Kahurangi was formed by Tama Huata at the Takitimu Performing Arts School in Hastings, Hawke’s Bay, in 1983.

Aorangi Tuki and Heke Huata were among the team which formed Kahurangi.

Agnes Rangirangi has been with Kahurangi for more than 20 years and is the vocals technician for company.

Jarrod Huirama started in 1988/89 and is the sound engineer for Kahurangi. He also teaches guitar and music.

Christine Teariki and Ross Himona are others who have been involved over the years.

Te Rangi Huata works with Ngati Kahungunu Iwi but for many years worked with Kahurangi as road tour manager and events manager and still helps with lighting.

Bess Pruitt & Associates is the Kahurangi agent in the Bronx, New York City since 1990.

Ata Papa, arts administrator works with Bess Pruitt in the Bronx.

Aroha Crowchild from Red Thunder, Sarcess Reserve Calgary hosted the very first Kahurangi group in Canada back in 1985 and continues to host the group and supports Kahurangi.

Debbie Aaron and her family from 6 Nations Reserve, Ontario hosts Kahurangi on 6 Nations.

Cleo Parker Robinson has her own Black African-American dance company in the US and continues to support Kahurangi. www.waiatamaoriawards.co.nz

Performers from the original Kahurangi, at the Takitimu Festival in Hastings, 2011.

LEFT: Kahurangi, Cleo Parker Robinson Dance and Red Thunder perform the closing number at the 2011 Takitimu Festival in Hastings. RIGHT: Kahurangi performs during the festival.

But we explained we speak Maori and English and how NZ was colonised. So, we do give them a history lesson. In India, the children asked us, what is our government? What is our currency? Are we a democratic or republic nation? Our performers have to be walking encyclopedias so it isn’t just about doing kapa haka for 60 minutes. Our Kahurangi performers go over and beyond.

Many of our performers have travelled extensively throughout the world.They would have never been able to get to these countries on their own.

Everything is paid for by the company and then our performers are given a performance per diem so it really is a great opportunity for our people.

There is also a chance for them to network with other business in the arts industry, art administration and teaching experiences on a global scale to people all ages. The experiences we gain through Kahurangi are endless and really hard to account for everything a Kahurangi performer goes through.

Some performers have gone into teaching careers in the arts, lecturers at university, arts administration, business management, established their own groups, hospitality industry, furthered their career with other dance groups. Some have retired to have families and now we are seeing the next generation of Kahurangi members coming through.

Others have gone into totally different fields but what Kahurangi does is it opens up doors for our people to have the confidence to do whatever they choose to do in life. If it’s not there, we are shown how to create those opportunities for ourselves and that’s what our people do.

Kahurangi has many loyal supporters throughout the world and some will travel two days just to see the group perform and to re-connect.

Aorangi Tuki helped start Kahurangi with my father

Tama Huata. Aorangi is a great supporter and has returned in the past two years to help teach.

My mum,Tangi, has supported Kahurangi every way since its inception and continues to support the company. Simon Leeming is the NZ Consulate, Boston is a more recent but loyal supporter and advisor for Kahurangi in North America.

Whanau who continue to support us include Hitia o Te Ra Tahitian Group, and Santa Ana California which hosts Kahurangi in Los Angeles.

There are also whanau in San Diego and Florida, and many others who have hosted Kahurangi around the world.There is on going support from the Huata whanau,Tomoana whanau, Mihiroa Whanau and Ellison whanau.

Kahurangi has achieved a lot in its 30 years.

Anything out there in terms of Maori performing arts, we can say that Kahurangi paved the way for others to follow. We were literally the first of everything for what we do.The first Maori dance company.The first to offer a Certificate, Diploma and Bachelor degree in Maori Performing Arts.

While there are other groups, what makes us different is that we are the only one which is full time and Maori performing arts is our core field.

Kahurangi has been busy this year recording and producing a new album. It is a compilation of waiata which are the old fused with the new.

Looking towards the next 30 years one thing we want to make sure of is that we continue to create the opportunities for our people.

I am excited to see what else my father has lined up. Just as you think he’s done his dash. Bang!

Another idea pops up. So, whatever will happen it will be cutting edge and exciting. We have the next generation pumping through, just waiting for a turn and they are futuristic and IT savvy. So the legacy of Kahurangi will continue to live on.

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l a b i TIr nspiration , designs, urban wear harakeke -inspired from warrior silks & Cotton to miss spring collections, printed a . it all combined for performers e liv and aotearoa with maori music. fashion xing mi ening ev unique

F

ashion designers from Auckland, Wellington and Hawke’s Bay combined to showcase a stunning the Te collection of garments at stings in Ha in w Sho n hio Fas Koanga September, 2012. new spring Te Koanga represents the It was s. ing inn beg season and new w was held sho ion fash the e tim d the thir iata Maori Music as par t of the National Wa Opera House.

Bay e’s wk Ha the at Awards bined to com rs me Designers and perfor mix Maori to s aim ich wh w sho a provide . ion fash music with Maori 2 show included The designers at the 201 o, who has hia Taw na Sho Auckland’s

weaving techniques trained in traditional Maori and mediums and methods. Theses styles r inspired fashion rrio wa were reflected in the or flax as its base, collection, using harakeke . nga she showed at Te Koa label at the show Another Auckland-based includes directors ich wh nt Inte was Dmonic e Wooldridge, Kris xin Samara Wooldridge, Ma . lker Wa Leitch and Joe The label showed garments which they featured at New Zealand Fashion Week 2012, which were wearable pieces with an avant-garde style. The collection featured lots of printed silks and

LEFT: A harakeke piece by Shona Tawhiao; ABOVE: A collection by Jeanine Clarkin and RIGHT: Tropical style by Stichbury.

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Hanga FROM LEFT: Garments by Deb Bell, Aroha & Friends, Shona Tawhiao and Stichbury.

leather. cottons, denim, wool and d a collection of Jeanine Clarkin showcase the show, bringing funky urban street wear at to a new ign des g Maori art and clothin the theatre and in d me lco we is She generation. d’s leading alan Ze w dance arena as one of Ne several d ate cur has and ers costume design exhibitions of textile art. a Kuru has showed a Hawke’s Bay designer Len her passion in the Style Pasifika in the past and g, to arts and ntin pai ylic arts ranged from acr clothes and apparel. crafts and now designing h a collection of wit She opened the show . nts me gar r stunning summe Bay, embraced e’s wk Deb Bell, also from Ha wed an eclectic sho and me the the Te Koanga

on spring and summer collection, focusing more ic dresses, under with lighter pieces, romant dresses and wraps. al for Wellington’s It was tropical versus trib d the two elements Louise Stichbury, who use for the show. ge ran l to create an origina as a fusion of ion lect col the ed She describ teamed with ces indigenously inspired influen nts. me gar ty floa vibrant, feminine, and med Aroha for ana Te Orihau and Rakai Karaiti which tion tina des ail ret r & Friends, a Napie print and studio operates a freelance design t prin fted cra ly department producing fine ori Ma ly ear by ced uen infl is work. Their work es ous g-h meetin folk art and native painted lection presented to col ir the in d we sho ich wh

Fashion

Fashion Apparel the show. EIT Hawke’s Bay showed their also ts den Certificate Year 2 stu cial feature of the work at Te Koanga. A spe on of the six Miss lusi 2012 show was the inc ts who worked tan tes con t ean Aotearoa pag Wellington event w. as guest models at the sho plied eight sup ry Ave elle ant organiser Ch capital to work the in models from her agency were prepared s del mo er oth ile at the show, wh who had , Au Te

by Hawke’s Bay’s Heather Onyx Hair The ws. sho us vio modelled at pre s for the del mo Design team prepared the show. like to be part of n Designers who would n Show, please hio Fas a ang Ko the 2013 Te a.co.nz for more xtr email: ellison.kahurangi@ information.

FROM LEFT: Garments by Jeanine Clarkin, Dmonic, EIT’s Natasha Roberts and Lena Kuru.

www.waiatamaoriawards.co.nz

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one of the biggest challenges for the week-long miss aotearoa pageant 2012, was preparing to be part of the programme for the te koanga fashion show and the national waiata maori music awards.

Pageant director angela cudd writes about the experiences shared between the six contestants.

THE MAKING OF model Maori women

F

or many of the girls, Te Koanga Fashion Show was the highlight of their week-long journey for the title of Miss Aotearoa 2012.

Two out of six of the contestants had catwalk experience prior to Te Koanga however the rest were first-timers.

The week leading up to Te Koanga, the girls were trained in pageant and fashion modelling, practicing first under my supervision and then by themselves in the halls of the Miss Aotearoa whare.

On the night of Te Koanga, September 13, 2012, I could feel their nerves and excitement as we prepared for the show at the Hawke’s Bay Opera House in Hastings.

For some of them the reality of being a model was different from the ideal. For example, having no control over hair and make-up was a challenge for some though, after a little bit of a chat, it became a non-issue. I think the biggest Pg 24

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misconception about modelling is the erroneous thought that it’s about the person looking absolutely stunning and loving everything that they wear, when in actual fact the clothing and designer are always the foremost important aspect of a fashion show.

In saying this, from a director’s perspective the girls represented 170 Below Events, the organisation supporting the event and the Miss Aotearoa pageant professionally. They were stand-outs for me, their confidence and poise shined through in their walks.

The Waiata Maori Music Awards was a once in a lifetime experience for these girls. Not only were they given the opportunity to walk the awards across the stage (not once but several times) to help present the music awards, but they were also given a coveted backstage pass.

The Green Room in particular was a highlight.

Rigged with a projector screen so that we could see everything occurring on-stage and decked

out with food and drink to put any glitzy affair to shame the girls were already on cloud nine.

So you can imagine it was hard for them not to be star-struck by the musical elite that at various time throughout the night found the Green Room from Tiki Taane to Young Sid, JGeeks, Ria Hall to Te Awanui Reeder and even a visit from Hollywood heavyweight Cliff Curtis.

At the end of the night, the surplus of adrenalin had the girls scheming ways to get to the afterparty, but we forced them home much to their dismay.

Needless to say there wasn’t much sleep in the Miss Aotearoa whare that evening. In fact, we had to push the next day’s rehearsal back an hour to compensate for the over-excitement.

At the end of it all as we sat around the lounge, clinging to consciousness and reflecting on the experience, the overwhelming consensus was of appreciation for a bona fide “money can’t buy” experience. Even I, who had been involved in

miss aotearoa 2012 Pageant

LEFT: Contestants from the 2012 Miss Aotearoa pageant held in Hawke's Bay from September 8-15, Marlena Martin, Amelia Marflitt, Breone Lay, Sarah Brodick, Esther Jordan-Muriwai and Hinemoana Huata-Cracknell. The contestants modelled at the Te Koanga Fashion Show and presented awards at the National Waiata Maori Music Awards as part of the pageant programme.

FAR LEFT: Miss Aotearoa pageant director Angela Cudd, helping to present awards at the National Waiata Maori Music Awards 2012.

2011 also, had to pinch myself because it’d gone from bigger to better. Te Koanga and the Waiata Maori Music Awards 2013 here we come!

The point of Miss Aotearoa is not only to find an ambassador but to up-skill the contestants who stand-up to take part. During the week (September 8-15, 2012), the girls were taught deportment, catwalk, public speaking, interview techniques and more.

Learning in theory however is only a small part of the journey. The other and perhaps more important part is experience.

Being a part of Te Koanga and the awards gave the girls a chance to practice what they had been taught throughout the week. Someone once said to me that learning through practice is the key.

I think this particularly applies to Maori. In my experience, theoretical institutions don’t typically work for Maori. It was also a good judging tool for our head judge, Helen Cudd, who was present for the entirety of these events.

She got to see first-hand how the girls handles themselves when things didn’t go exactly as they liked or when an unexpected challenge arose or when they were meeting the public or when they were tired and hungry.

The schedules of both events are similar to what they would typically have for Miss South Pacific.

T

he notoriety of the 2012 designers was more impressive then years prior.

Shona Tawhio and DMonic Intent were the two biggest names to grace the catwalk at Te Koanga 2012.

You have only to Google them to understand that they are big in the New Zealand fashion scene.

Shona, without competition, is the foremost modern harakeke designer in the country. It would be interesting to see the traditional work of a kuia on the catwalk to contrast Shona’s more modern twists such as incorporating www.waiatamaoriawards.co.nz

fabrics into her designs. Combining the two, modernisation and bare basic roots, would be a strong statement not only in terms of fashion but also culture.

Louise Stichbury of Stichbury Designer Clothing, Wellington, while not as well-known as the preceding designers, was my favourite. Her line was certainly the most comprehensive, with leggins, bikini, dresses and hoodies. I have had the pleasure of modelling for Louise for many years. My work for her was my first professional job for a designer.

Personally and professionally she’s always easy, fun and focused to work with. Finally, the EIT students were spectacularly diverse as usual. I love that it’s not a cohesive line, as you would expect with a single designer. It’s diverse and unexpected and therefore interesting.

Each designer’s set had a garment that stood out to me. We were spoiled for choice in terms of the designs we were presented with as no two designers were similar.

Louise Stichbury’s line was hard to ignore. The vibrant colours and versatile pieces had a strong impact on the runway.

I had a soft spot for the paua design I was lucky enough to open her show in. She incorporated feathers into the detailing, which always hits the spot for me as it reminds me so much of our connection to the natural world and sheer mesh, which was on trend that season.

I felt she incorporated modern in vogue trends with traditional cultural detailing and it worked. Shona Tawhiao’s line was

powerful on the catwalk.

I’ve been following Shona for a few years now and she continues to move from strength to strength. Her designs have been worn by celebrities, showcased internationally and received national design awards.

Shona also contributed the traditional costume our reigning Miss Aotearoa, Marlena Martin, wore for Miss South Pacific 2012. Other pieces that were mentioned specifically by the contestants were: The Stichbury, multicoloured bikinilegging combinations worn by Hinemoana Huata-Cracknell and Breone Lay, the Jeanine Clarkin hooded, blanket dress worn by Hinemoana Huata-Cracknell and the EIT students outfits, while not worn by the contestants, were admired. n Continues next page.

LEFT: Miss Aotearoa 2012 contestant Amelia Marflitt modeling a garment by Wellington designer Louise Stichbury at the Te Koanga Fashion Show, at the Hawke's Bay Opera House in Hastings, September 13, 2012.

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Miss Aotearoa contestants delivered their first public speeches at the Havelock North Community Centre important to New Zealand? Here are some extract comments from the speeches. Photos of contestants

Breone Lay Miss Gemco Construction Ltd We are lucky to have kohanga to learn correct tikanga and protocol in our young. We are now being seen as trail blazers in language revitalization, which is being discussed by other indigenous cultures so they can revitalize their languages. Maori culture is now a part of every day New Zealand lifestyle. Waiata, haka, marae, the list goes on. It is an integral part of our national identity. People come to New Zealand to take in our scenery and experience our cultural ways.

Hinemoana Huata-Cracknell Miss Rongomaiwahine The importance of Maori culture is endless.

Maori are the tangatawhenua, the people of the land, without us there would be no culture.

I have been going over the many reasons why Maori culture is so important to New Zealand and one of the main reasons is for it to be available our future generations. What’s important for people today is to respect and embrace our culture, protecting it for future generations, just as our ancestors did for us.

Marlena Martin Miss Rotorua Maori culture to me is language, protocol, tikanga and heritage of New Zealand, everything from the reo, the way we tell stories in kapa haka, waiata, the way we express ourselves, our kai and how we come together to give thanks. Strip Maori culture and there would be no marae, no haka, no moko, no kawa, no tangatawhenua. Maori culture is like a pounamu, a taonga which makes our country unique and beautiful.

DESIGNERS CONNECT with Maori culture

T

n From previous page. he potential of Te Koanga is limitless.

Of course growth to the level of Style Pacifica and Miromoda is rarely overnight but, as I’ve said before, Te Koanga is advantaged by its connection to the Waiata Maori Music Awards.

The adjustments that were made to Te Koanga in 2012 are an illustration of using this connection as an advantage.

Performers were both

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incorporated in the show and in the audience, including JGeeks. My last two years being involved is proof of this. The key is progress. In the two years I’ve been involved, I’ve seen small windows of progress: The designers are becoming more notable.

One designer I’d love to see as part of Te Koanga is Kiri Nathan. Kiri (www. facebook.com/KiriNathanFashion), much like Shona Tawhio, is perhaps one of New Zealand’s foremost Maori designers. Her designs are soft, feminine and the epitome of high fashion with a NZ roots twist. Kiri Nathan is special to the Miss Aotearoa whanau as one

of her key pieces was worn by Miss Aotearoa 2009, Pare Randall, at Miss South Pacific 2009. Pare was crowned 2nd Runner-up wearing it.

There’s been continued discussion about whether to continue holding Miss Aotearoa in Hawke’s Bay. Regardless of whether it moves to a bigger city or remains in a smaller town, I would like to continue working with the award’s executive director Tama Huata and his team.

If that means bringing the girls to Hawke’s Bay specifically for the awards and Te Koanga, I would work hard to

miss aotearoa 2012 Pageant

entre on September 10, based on the question: Is Maori culture contestants from the 2012 Te Koanga Fashion Show.

Sarah Brodrick Miss South Auckland Our culture preserves and protects our treasures, our tikanga, our customs and taonga. It is whakapapa which shapes our values and complex theology as Maori. It is our history which has contributed to lore, to set in place the integrity of kawa and tikanga. It means interests in tangatawhenua and natural resource management is greater than ever, we have strong framework where iwi and local government must work together in partnership to honour the principles of the Treaty of Waitangi

Amelia Marflitt Miss Lantern Light Limited Is Maori culture important to New Zealand? To me, yes. It is our national image. It makes us different and unique from the rest of the world.

Sadly not everyone agrees, there are people that don’t understand but that is why we ladies are here, to be ambassadors that Aotearoa needs, role models for the future, setting an example and showing good qualities that will pass on to future generations.

Esther Jordan-Muriwai Miss Mokopuna Early Child Hood Centre I believe Maori culture in an integral part of New Zealand society because it reminds us of our history and what makes New Zealand unique.

If the poutokomanawa is a symbol of the heart of a marae, Maori culture is the heart of New Zealand history forming a partnership between Maori and the Crown.

RIGHT: Miss Aotearoa 2012 contestants Marlena Martin and Amelia Marflitt, helping to present awards at the Waiata Maori Music Awards ceremony, to singer Ria Hall.

BELOW: Miss Aotearoa contestant Breone Lay, holds the award presented to reggae band 1814.

FAR LEFT: Miss Aotearoa pageant director Angela Cudd modelling a paua-styled garment by designer Louise Stichbury at the Te Koanga Fashion Show.

facilitate this. For me, making sure Miss Aotearoa stays connected with this kaupapa is bigger than “an experience”.

It’s about keeping our girls, and their whanau who come to tautoko, connected to the varied facets of our culture. Maori culture has over the years grown and moulded to include modern conventions. In this way, events like the awards and Te Koanga are a modern addition to Te Ao Maori. Our staying involved serves two purposes: It ensures the longevity of our culture by widening it’s reach and keeps our cultural representative, Miss Aotearoa, in touch with our ever-changing culture. www.waiatamaoriawards.co.nz

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Toni Huata performing with Paddy Free at the 11th Pacific Arts Festival, Solomon Islands, June 2012.

Dub, dance and an exploration of music styles has paid off for wellington singer toni huata whose fourth album, hopukia, has opened up new opportunities. by lawrence gullery.

A

n international tour beckons for singer Toni Huata marking her “musical makeover” and the success of her fourth album Hopukia which is her first to rank in the Official New Zealand Music Chart.

The Wellington-based performer plans to take Hopukia to audiences in the Pacific, Australia and then Europe, the UK and Asia in 2013.

The album featured among the Top 20 New Zealand Albums since its release in July 2012 and is likely to continue to perform well in 2013 as Huata takes the collection of 10 bi-lingual songs overseas.

Its first outing was during Maori language week in July 2012, then at the Pacific Festival of the Arts in the Solomon Island in September and a countrywide New Zealand tour in October.

“People have given positive feedback to the album and our show,” Huata said.

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“I heard the Solomon islanders chanting when we were there and thought, that sounds like a haka, hey that’s our haka (from Hopukia Te Tao) so we have made a positive impact with this music.”

She describes work on Hopukia as a “musical makeover” because it is her first in the dub and electronica genre, working with New Zealand artists Paddy Free and Gareth Farr.

“I have always loved dub, dance and electronica and have had elements of this in my previous albums.

“For Hopukia I guess it was more of an exploration of styles, talent and culture in collaborating with two wonderful people, Paddy Free and Gareth Farr.

“With Paddy as the producer, his style is strong in these two forms hence came the musical makeover title I think but really this is honouring what I wish to explore at this point in time and the compositions on this album. There are other

styles in there too.

Free and Farr are also known for their work with Dr Richard Nunns and the group Nga Tae, which fuses traditional Maori music instruments with electronica.

Huata said there was “lots of laughter” working with the pair and other musicians who contributed to the recording sessions but there was also “respect in listening to one another for direction”.

“Gareth is fun and what amazes me is his ability to compose knowing my voice plus capturing the core intent of my emotions in these waiata.

“We did this of the first time in the aerialtheatrical show Maui – One Man Against the Gods, then my third album Whiti for the song Taku Tamaiti e and now in Hopukia for Matariki, A Muri Ra and the title song Hopukia Te Tao.” Huata wrote the lyrics while Farr composed the vocal score and music.

Kaiwaiata Toni Huata

‘The stage is the place I love ... and I am very thankful I am doing something I love’ “Gareth is a true composer and the only person I have worked with in this year.

“Paddy was a dream to work with. Relaxed and so accommodating by bringing his studio equipment from Piha to our home studio in Otari.

“Often just a couple of takes and for some songs the first take are the ones you hear on the album. Paddy is also the first producer that has continued to perform with me since.”

Kaupapa Maori definitely gives music an edge over the rest but what else is needed to make a good song?

“A lot of my mentors would say a good melody, others would say good lyrics, good kaupapa, knowing your audience.

“For the experiences I’ve had, all the above have happened with a variety of songs.

“I think kaupapa Maori music is so vast and every artist interprets this differently.

“There has been great success in extending kaupapa Maori music to wider audiences and at the end of the day if people are touched or love what you share, that is the important thing.”

Huata attended the Australasian World Music Expo in Melbourne in November where she also performed at a show called Flavours of Aotearoa.

It was also a chance to promote Hopukia and network with other signers, producers

ALBUM REVIEW: Hopukia, Toni Huata Singer-songwriter Toni Huata has outdone herself with her fourth album Hopukia, which she released in July 2012. With her other albums they all had that “Toni Huata” flavour per se, which was recognisable even before you heard her sing. But this album is her first in the dub and electronic genre, and her first bilingual collection of songs which is refreshing.

She collaborated with top New Zealand musicians Paddy Free and Gareth Farr, therefore this album has significantly reenergised her career. So much so the ten track album debuted at number seven in the official New Zealand album charts in the last week of July.

Her first track Aio which is all in Maori was definitely a great choice as an introduction www.waiatamaoriawards.co.nz

and managers to create opportunities for the international tour.

“There is a big difference meeting face to face compared to over the internet but it is important to have a good site set up where people can see and hear your work.

“Therefore www.tonihuata.com will be where I refer a lot of these people to.”

At the time of this interview, Huata and Paddy Free were working on a single for Maori radio and plans to work on another album project this year.

“I have a few ideas for albums and one would be to explore these styles further and another would be to do something vocal acoustic.”

Huata likes working in the studio because it is a place where “you can create” but performing to a live audience is what she likes best of all. “…the stage is the place I love. It brings me joy just to do this and I feel very lucky and thankful to be doing something I love.”

Although Huata is based in Wellington, she grew up in Hastings, Hawke’s Bay and her iwi connections are with Ngati Kahungunu and Rongowhakaata.

She also is of Lebanese, German, Scandinavian and Irish decent.

She graduated form the Whitireia Polytechnic, Porirua, studying music and then refined skills as a performer at Jim Moriarty’s Te Rakau Hua o Te Wao Tapu touring theatre company.

She has performed in various theatrical productions for New Zealand theatres before embarking on a solo music career which has opened up opportunities to perform in London jazz clubs and European arts festivals.

But Huata says it is the New Zealand summer music festival season she enjoys the most.

“I love all the warm places like Hawaii, Cook Islands, Samoa, Solomons, Philippines, Australia.

“Our experiences in the UK and Europe have been generally to indoor venues but this is great too and I look forward to returning there again.” to the album, which gave you an insight into what to expect throughout the album. The vocals were beautiful, and I really enjoyed the composition of both the music and the lyrics.

The flow of the album is a mixture of slow and fast, but it still sticks to the electronic dub genre. Her ninth track is a song that debuted on her ‘Te Maori E’ album. It celebrates her family dialect and cultural heritage of Maori, Lebanese, Irish and German. This version of the song has a much more softer approach which I enjoyed better than the original! I think this is a great album for all Kiwis’, it is distinct in nature and Toni Huata and her team should be proud of mixing it up to suit a wider and younger range of audience.

8/10, by Apikara Te Rangi More reviews, pgs 26-27.

TRACK BY TRACK Toni Huata explains what’s special about each of the tracks on her new album, Hopukia.

Track 1, AIO: Gives me energy when I’m driving and I always remember our Maui whanau performing this to 3000 people in The Cloud during the Rugby World Cup in 2011.

Track 2, Breathe: Reminds me of youth, collaboration and the sunshine in the Solomon Islands.

Track 3, Dream Everlasting: Calms me down but still provides momentum and reminds me visually of all the dreams I had that I write about in this song.

Track 4, Arise: This really boils the blood and ihi. My kids go hard singing with this waiata in the car.

Track 5, A Muri Ra: This calms me down from Arise and is more delicate and reflective. I think about my tamariki and descendants with their experiences yet to come.

Track 6, Hopukia te tao: Reminds me of my whanau and affirms capturing the opportunities in life. It’s a great one if I’m ever in doubt. I love the tribal style with this waiata which made me so proud seeing 40-plus dancers perform this during World of Wearable Arts in Wellington in 2012. This waiata is one that I perform solo and open our bigger music shows with. It makes an impact.

Track 7, Home: Just love this one. Really simple two chord song. Reminds me of my family and a jim-jak sing-a-long. It also reminds me of the wonderful collaborations and in the music video with Pacific Underground, Koile, NZ Artists delegation at the 11th Pacific Arts Festival, happy times.

Track 8, Time: I wrote this for my tane Adrian and invokes a lot of aroha for me.

Track 9, Toku Reo – Remix: I love this remix from Paddy Free. The after midnight in the chill-out lounge version he calls it. Again this version relaxes me and affirms a more relaxed attitude towards te reo Maori and my voice.

Track 10, Matariki: Creates a very still space, where the mind and spirit can wonder, very etherial. I loved what the dancers did with this at our launch.

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Reviews Nga Arotakenga Lights of the Pacific: The Very Best of Herbs This greatest hits collection from one of Aotearoa’s best original bands hits the spot.

An updated version of “Listen”, their first best of released in 2001, opens with the traditional Karanga Ra before launching into Long Ago, one of their most recognisable songs.

The digitally re-mastered tracks have been thoughtfully rearranged, with a couple of new and welcome additions, such as Hollie Smith’s version of Sensitive to a Smile, Dragons & Demons and Azania (Soon Come).

Their strong anti-nuclear stance shines through once again on the well-known tracks French Letter, No Nukes and Nuclear Waste, plus there’s the great collaborations they made with other musicians, Slice of Heaven with Dave Dobbyn, See What Love Can Do with Annie Crummer, and Parihaka with Tim Finn.

Nice too, that it wraps up with another traditional song, E Papa.

Listening to this you can see why it is that so many of their songs have stood the test of time.

7/10, TM

Songs from the Inside This is a fitting tribute to those Arohata and Rimutaka inmates turned music students who worked with Anika Moa, Warren Maxwell, Ruia Aperahama and Waiata Maori Music multiaward winner Maisey Rika in the Maori TV series of the same name.

The music that came out of it – most of it on this album written by the students – is outstanding. Part of that is knowing there’s real meaning behind these lyrics. Even if you didn’t follow the series, you don’t have to listen too carefully to the words to figure that out. Beautiful harmonies abound on these often guitar laden tracks, there’s a bit of reggae, and hip hop. They’re all good but for me the outstanding ones were Mo’s powerful Stuck In The Rain and Reflections, Tama’s upbeat Just Like You and Life Is What You Make It, Nelly’s cheerful Waddup with That and Nicole’s sweet but sad Cries Of An Unhappy Child.

They all deserve a chance to make more music and I hope they get that chance. As a bonus there’s also a DVD of footage featuring a little over half the songs which were recorded for this album.

8/10, TM

Te Rito, Kirsten Te Rito Te Rito is a funky Maori language album which has a contemporary R&B feel to it. Coproducer, co-composer and album artist Kirsten Te Rito released the album in July 2012, her first in te reo, and it proved popular with the judges when she was named Female Maori Solo Artist for 2012 at the Waiata Maori Music Awards.

The album has pushed her to new limits by combining te reo Maori and the artistry of singing and songwriting.

Her vocals throughout are captivating, the composition of the songs is well done and there is great keyboard work by her husband James Illingworth. The album starts upbeat, infused with hip hop, like her song Oranga. It’s a song which could perform well in mainstream, although it has proved popular on iwi radio. It was in the Te Reo Maori Top 20 for more than 13 weeks. By the sixth track Te Rito, the tempo of the album slows and slightly changes genres. The quality of the reo Maori is amazing and I’m sure those who love to listen to Maori language albums will enjoy the range of sounds from this album.

7/10, ATR

DEBUT ALBUM with positive waves a long-awaited ep represents more than a year of hard work by singer majic paora who will use the new work to launch her debut album in 2013. By Lawrence Gullery.

T

hey say all things you wish for come in good time. And that’s definitely the case for young Kaipara singer Majic Paora who released her longawaited EP at the end of 2012 and is now looking to launch her debut album in 2013.

Pop, R’n’B, hip-hop, reggae are all in the 16-year-old singer’s repertoire and she was in the home of reggae, Jamaica, last year to record tracks for the EP.

Seth Haapu.

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It was an experience of a lifetime to record at Bob Marley’s Tuff Gong Studios in Kingston, with her father and manager, Ropata, and musician brother, Robbie, 17. But it was one which almost turned to disaster when the whanau returned to Aotearoa. ‘‘We were there last summer to record the album but the thing was when we got home, our laptop computer got stolen while I was doing a photo shoot.

‘‘We had to get back-up recording material from Jamaica and redo a few things.”

The songs were recovered and Paora had planned to release a few tracks from the EP at the 2012 National Waiata Maori Music Awards in Hawke’s Bay in September.

But a legal glitch prevented the singer from being able to perform the new work at the awards.

Light Years, Kora Four years is a long time between albums but for fans of Kora this will have been well worth the wait. If they can keep up with the band’s selfdescribed “alien funk” theme, that is. The mashed up rock, dub, reggae, soul, r’n’b, funk, electronica and sometimes slightly hip-hop sound that defines Kora is still there but this time round the “alien funk” infuses every single track. The Kora brothers and Dan McGruer favoured synthesisers over guitars this time, and apparently put up pictures of planets and galaxies on the walls of McGruer’s recording studio. From the sound of it, those visual aids definitely worked. From the blitzing Little Star, rocking out Love in the Shadows and Take You Down to the highly imaginative Bring the Sun, this is the sort of album that begs to be played at maximum volume. Not that it’s all teeth rattling bass and sometimes slightly unnerving electronic sounds however. Story Ain’t Over is truly a song with heart, and Galaxy Express is more sweet than in your face. An acquired taste but one that’s sure to grow on you with each listen.

7/10, TM

“Timing was everything. There have been so many hick-ups and as they say everything happens for a reason. It wasn’t through lack of trying though. So we have had to be quite patient, as have some of our supporters.”

Paora has since been playing a few tracks from the EP, including HomeTown, Rainfall and Rebel, at her live shows and so far the response has been positive.

The full album is expected to have seven tracks when it’s released in 2013. It’s sound will be the result of working with well-known bands such as House of Shem, which Paora says she has “real synergy” with.

“All of the bands we have worked with, their kaupapa and what they sing about is close to ours.”

Paora is from Takaparawhau, Tamaki Makaurau, (Te Taou te Iwi and Waitemata te Moana) and to Te Kao (Te Aupouri te Iwi and Parengarenga te moana).

Reviews by Tania McCauley and Apikara Te Rangi.

To request an album review, email: waiatamaori_media@vodafone.co.nz

Whitiora, Maisey Rika

He Rangi Paihuarere, Tribute to the late Dr Hirini Melbourne

Maisey Rika’s third studio album Whitiora is a Te reo album, where she worked with a wide range of Maori songwriters to collaborate and create some wonderful original pieces. The talented singer-songwriter from Whakatane has progressed beautifully in this album with some amazing guitar work by Joel Haines. A range of these songs have featured in the Te Reo Maori top 20 charts since its release. Tangaroa Whakamautai takes you on a journey into the ocean and Maori legend. An absolutely beautiful song. Haumanu features Tama Waipara and it is a great duet. Whitiora which features Majic Paora, Ngatapa Black, Sid Diamond and Ruia Aperahama adds to the dimension of this album. The flow of the album is great because there are songs that are slow and serenading, and then they’re upbeat and funky. Other tracks include Ruaimoko a haunting reference to the Christchurch earthquake, mixed with a string quartet. This is definitely an album for te reo Maori speakers, and I’m sure it will please all Maisey Rika fans.

8/10, ATR

It has been awesome listening to interpretations of the songs on He Rangi Paihuarere. Some of today’s up and coming and established musicians including Tama Waipara, Maisey Rika, Ria Hall, Anna Coddington, Te Awanui Reeder (Nesian Mystik), Majic Paora and Teremoana Rapley are a part of this album, with each artist giving their own twist to some of Hirini Melbourne’s songs.

The album was overseen

by Melbourne’s niece, Peata Melbourne, which was three years in the making. It combines traditional and contemporary instruments, therefore each artist’s interpretation is different. The first song, Hinepukohurangi, by Rika, has a contemporary feel which features traditional taonga puoro sounds. I wasn’t a fan of Teremoana Rapley’s version of Purerehua which has a techno sound but when you get to the next track you are once again wowed with the beautiful vocals of Ria Hall in a version of Tihore mai te rangi. This is definitely an album you want to add to your collection.

9/10, ATR

“Ngunguru to the east and Hokianga to the west coast, and Kaipara at the Heart of it all!”

Her debut album promises to “make some real waves, positive ones” and collaborations with other artists working in the same genre “are on the cards for sure”.

“I have to acknowledge Huta Thomas and all of the whanau of The Paepae Sound System, Ara and Tim from Reggae By Nature (Exodus) for being the main reason for us being able to perform live and tour our songs.”

Although Paora couldn’t perform the tracks from her EP at the Waiata Maori Music Awards, she was among the guest performers at the awards ceremony held at the Hawke’s Bay Opera House in Hastings, on September 14.

Paora, along with performers Anna Coddington and Ria Hall performed a tribute to songwriter and composer, the late Hirini Melbourne.

The trio was among a group of

artists who recorded songs for He Rangi Paihuarere, an album which reworked Dr Melbourne’s Maori language masterpieces. The project was released in mid-2012.

“Attending and performing at the awards with Anna and Ria was the highlight of our year. It was an honour to be chosen firstly to sing for Hirini and his whaanau (at the awards) and secondly, so much respect for Anna and Ria, they along with Maisey Rika and Tama Waipara, Che Fu, Dave Grace and House of Shem continue to play an integral part in my life and music.

“They are awesome role models and mentors. The backing band and Black Media did an outstanding job at the awards.”

Paora also wanted to acknowledge the team at the National Waiata Maori Music Awards for the “hospitality that has been heaped upon us”. “This event is a one of a kind in terms of the manaakitanga, tikanga, and spirit with which it is facilitated.”

www.waiatamaoriawards.co.nz

ChameLeon, Leon Wharekura The rich, soulful sound of Leon Wharekura’s smooth voice is showcased to perfection on every track on his second album.

His experience as a singer and entertainer dating back to the 80s, under the guidance of legends such as Billy T James and Dalvanius Prime shows in these eight songs, five of which he wrote himself, and two either with or by a relative. It’s a mix of pop, r n’ b, funk and reggae, covering universal themes such as love, identity, celebration, hope and a little bit of caution. Songs such as the love-infused You’re The Reason, the uplifting I’ll Stand, reggae laced Waikato E and Taku Moemoea with its great beat easily deserve some radio play. His ode to his mum, which finishes the album, is both sweet and sad. And it was a great idea to do a Pacific version of Unchained Melody, with Annie Crummer singing in Cook Island Maori and Leon in te reo, with ukulele player Jarome Pare providing the background vibe, proving why this song is a classic no matter what language it is sung in.

7.5/10, TM

Relax, 1814 This long awaited second album of originals from the Northland band is worth the wait for those who liked their first, Jah Rydem, and their next recording, covers of their favourite songs.

The cruisy opening track, Relax, definitely sets the scene for the other, mostly laid back nine songs.

The feel good vibe continues with the little rockier Sunshine and its great harmonies, funky Daydream, and the upbeat Next Generation.

Throw in an ode to the genre, Reggae Music, and the slower paced Unite, with its not so subtle messages about working together “... one people, one nation, one iwi unite, stand up for their rights...”, and there’s no doubt that 1814 are making the kind of music they both want to and love to.

It would have been nice this time though to hear 1814 push the boat out a little further from the traditional sound of reggae, otherwise taken in one hit it all blends together a little much. Nice stuff, but not memorable.

6/10, TM

‘Timing was everything.

There have been so many hickups’

Majic Paora

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Tunes Of I, at the 2012 Waiata Maori Musuc Awards.

PLAYING TUNES OF unique reggae style Tunes of I is a five-piece reggae, dub, soul band from Wellington which formed in 2011 and won the inaugural Emerging Artist title at the National Waiata Maori Music Awards in 2012. bass player and backing vocalist Makura Tomoana speaks about the band’s progress.

What did the band enjoy about performing at the Waiata Maori Music Awards?

We thoroughly enjoyed ourselves at the awards. It was quite unexpected and a mean buzz to play in front of such big names,1814, Tiki Taane, Tomorrow People etc, but was a huge boost to our confidence as we were continually congratulated on our performance.

What do you hope to use your award for, in terms of furthering the band’s progress?

Promotion is the number one thing on our minds in terms of use of the award. It’s always good to drop the fact that we won an award at such a prestigious event to potential clients. It definitely solidified our legitimacy, in our minds at least, of our music.

Did you learn anything about the music industry from talking or watching the other artists at the awards?

We got good advice from many of the other bands and artists on how to approach the music industry, from a performance and business point of view. The bottom line to success, like all things, is perseverance dedication and hard work, which is luckily something that we are all committed to.

Are there any plans for an album in the near future?

Yes, there most definitely is. We are currently Pg 32

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‘The bottom line to success is perserverance, dedication and hard work’ looking into options for writing/recording a new EP we also have new material which is ready to be recorded.

Tunes of I recorded a four track EP with Warren Maxwell (Fat Freddy’s Drop, Trinity Roots, Little Bushman), what was it like working with Maxwell?

Recording with Warren was a great experience for us in terms recording, song writing and inspiration. Overall, we had an awesome time.

How much does Maori culture influence your work or song writing?

Half of the band being of Maori descent most definitely influences the bands sound but in more

of a subtle way. One of our unrecorded songs is titled Aotearoa and is basically all about Maori heritage/history and is going to feature many aspects of traditional Maori music.

There are a lot of roots reggae bands in NZ at the moment, what do you think sets your band apart from the others?

We have a large range of styles that influence us ranging from dub, funk, rock, soul, kazz with a strong foundation in reggae. Collectively, all of these genres combined create our unique sound.

What has the band planned for 2013?

Our plans for 2013 are to build a good foundation and loyal following in Aotearoa, so as to build momentum and hit a national summer tour. Also we are looking to record and release a new EP. Tunes of I, with their Emerging Artist Award.

Fresh Talent Pümanawa Höu

FROM THE STUDIO to the stage AWARD-WINNING BAND TOMORROW PEOPLE PLAN TO OFFER ITS personal FLAVOUR OF SUNSHINE REGGAE TO TOWNS AND CITIES ACROSS AOTEAROA IN 2013. by lawrence gullery.

A

Wellington-based reggae band, which started life as a studio project, is now having a meteoric rise to fame through its live performances and chart-topping debut album.

The seven piece band takes its name from the Ziggy Marley song, Tomorrow People, inspiring audiences with its unique brand of “sunshine reggae”, explains Tana Tupai (lead keys) and Avina Kelekolio (percussion/ ukulele).

“We were throwing around different names for the band but that’s the one that stuck with us and we thought it represented us well,” Kelekolio says.

“Sunshine Reggae is exactly that, reggae music that you would listen to while relaxing in the sun. Despite where you live, or how your day is going, it’s that music that takes you to another place.”

The band’s decision to move from the studio to a live performance unit came after it successfully released work on YouTube where its sound quickly became popular with online viewers.

“It was really rough demo quality made in our bedrooms but we started getting requests to play shows. At that stage, we didn’t have a full band so we set out to put one together,” Tupai says.

The band has supported big-name groups such as Katchafire, Three Houses Down, House of Shem, 1814 and reggae ambassadors Third World since heading into live performances a couple of years ago.

And the release of the band’s debut album, One, certainly lifted the profile of Tomorrow People in 2012.

The album remained among the top 20 NZ Albums in the Official New Zealand Music Chart for more than 25 weeks.

There are a number of popular reggae bands featuring Maori musicians operating in Aotearoa and internationally, creating an incredibly competitive genre and market to perform in.

But Tupai believes there are some key features which set Tomorrow People apart from the rest.

“I think that our style of reggae is a bit different to other bands. We focus more on a mid-tempo beat with a bit of ragga-toasting on the side.

“People have warmed to the sound and the music has spread organically.

We were very fortunate that our originals were well supported by people.

“Reggae music in general is laid back and easy going. I believe it appeals to Maori as the music has a voice and certain topics that Maori can relate to.”

The debut album, One, was awarded further accolades when it was named the winner of the Best Maori Roots-Reggae album at the 2012 National Waiata Maori Music Awards, held in Hawke’s Bay in September.

“The award signifies a major milestone in our careers because we have been recognised by the industry and the Maori people,” Kelekolio says.

“It definitely adds an extra sparkle to our music portfolio.”

He says it was “an amazing feeling” to win the award.

“When we first wrote the album, we never thought that it would get to a stage where we could actually win such a prestigious award. It definitely made all the long hours and sleepless nights well worth it.”

Tupai and Kelekolio say the band enjoyed attending the awards and being

www.waiatamaoriawards.co.nz

Tomorrow People.

part of the atmosphere alongside other “awesome musicians”.

“The night was run very well overall and the talent was amazing. It was actually really funny watching some of the replays made for TV,” Kelekolio says.

Everyone in the band has a say when it comes to writing songs.

Some band members have strengths in specific areas such as composition, production, arranging and writing for example.

“So we try and utilise the strengths of those people. One of the guys is the overall producer so he is responsible for bringing all the ideas together to make it work,” Tupai says. Tomorrow People plan a busy time for 2013 with gigs being lined up in New Zealand cities and towns, particularly new places the band can take its music.

“It’s been a great journey getting to places that we normally wouldn’t visit and the people have always been welcoming,” Tupai says.

“We also get offers online to got to someone’s house for a feed or BBQ. Lol. We are also focusing on breaking into the Australia and Pacific markets so there will be a lot of travelling next year.

And yes, we would love to have a jam at the Waiata Maori Music Awards in the future!”

‘People have warmed to the sound and the music has spread organically’

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Kupu Whakamutunga Last Word

NEW HORIZON for Maori artists the matariki festival trust board is looking to expand its work in promoting te reo maori music, making sure maori artists are able to TAKE their work to the market. George Tearoha kahi, above, holds the music portfolio for the trust and explains what’s ahead in 2013.

I

can’t help think that to forge a new horizon one needs to start with a clean sheet of paper. The Matariki Festival Trust Board, based in Auckland, has taken to this notion with both hands and since our inception 2010 we have been shaping how we do that among all the other organisations and agencies so we are not duplicating others and settling back into the “old school” label.

We have to be innovative, prepared to trial fresh ideas and reflect the Iwi voice of Tamaki Makaurau so Manawhenua can tell of the impact of the Matariki cosmology that has been absorbed in their footprint.

To date we do know it takes time to shape these strands into a vibrant expression of Maori artwork and we knowingly have to apply key principles so that change can occur.

That includes being committed to the kaupapa of Matariki, take the integrity line to ensure that we always want to do the best for Maori artwork and finally enable this rohe to have a voice. Not a difficult task we say but one where we have to maintain as we celebrate Maori New Year annually, moving closer to those aspirations.

On the music front I hold the music portfolio for the trust. Since our inception we have released two CDs from secondary school students through the Matariki Song Writing Competition and our strategic partner Play It Strange. In 2013 we will launch a third release alongside a

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Former Waiata Maori Music awards winners Kirsten Te Rito (left), Toni Huata (right and below, Mina Ripia from Wai 100%.

proposed compilation of a Te Reo CD with five composers contributing their compositions. This niche is a response to supporting emerging and existing artists throughout Tamaki Makaurau and those areas where talent is becoming abundant.

This year enables the trust to expand its activity on a number of fronts which all connect back into our core purpose, to service our artists.

The creative industry has key pillars that exist however for indigenous development and indigenous artwork the variable can be very different.

Just recently the trust attended AWME (Australasian World Music Expo) in Melbourne, November 15-18, 2012 represented by myself and our chairperson Hinurewa Te Hau. We found the experience rewarding to see and hear Aboriginal language compositions. One could sense their connection to mother earth and all that she represents on a number of ambient levels. One workshop I found interesting was the iPod / iTunes technology session which was of immense value to where some edgy technology is headed. One needs to consider what Australia broadcasting has to fend off as technology eats into their economy. Not really an anarchy revolution but Facebook, Twitter, Spotify have had impact as to who makes sales and what the fan can manoeuvre with and for their favourite artists.

Preparing for the Matariki Season 2013 is very much on the front foot heading into the New Year. We are finalising our programme for 2013 and part of 2014 but as much as “people are people and artists are artists” the minuscule gap for an expression of interest does its business to be on the programme. Just to follow up on the digital influence that we heard at AWME,

we are moving quickly down that pathway so if we are slightly behind, 2013 rectifies that situation.

The question people outside of our crew are saying is they are unable to see our point of difference.

A more pertinent question that is far more about us is; we stand for indigenaity and getting that valued commodity of Te Reo recordings to the marketplace and a portal that increases sales.

Personally festivals and expos have a value for artists and without being pedantic they are all collectively important for procurement of one’s expression. The Maori music showcase at AWME was an important platform to create more interest and herald our flavours. The showcase indicated the key stakeholders such as Tihi, Sound Aotearoa, Puatatangi, Toi Maori, Matariki Trust and Waiata Maori Music Awards which are all dedicated towards increasing the indigenous music industry. The artists that gave an insight to our compositions and talent such as Ngahiwi Apanui, Wai 100%, Kristen Te Rito, Toni Huata and Iwi made inroads for the Maori music industry during AWME and deserve a bouquet.

Our new horizon has strategic influences from those of the past and present because their strong belief in Matariki and Te Reo compositions has been inspirational to grow the kaupapa further into the world wide domain. If the question is why? Then my answer is why not?

Friday, September 13, 2013

Hawke’S bay Opera HOuSe, HaStingS

7pm

alSO: te kOanga maOri muSic FaSHiOn SHOw September 12, 2013 7pm cOntact:

administrator ph: 06 873 0041 email: awards.wma@xtra.co.nz

www.waiatamaoriawards.co.nz www.waiatamaoriawards.co.nz

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2012 Winners

NATIONAL WAIATA MĀORI MUSIC AWARDS Best Mäori Traditional Album (Te Reo Maori) Award, Tohu - Köpae Möteatea Hira Winner: He Rangi Paihuarere Best Mäori Pop Artist or Artists Award Tohu - Kaipüoru Mäori Autaia Winner: Seth Haapu Best Mäori Urban Artist or Artists Award Tohu - Kaipüoru Mäori -noho-taone Autaia Winner: Tatou Tatou E Vol.2 Best Mäori Male Solo Artist Award Tohu - Manu Tïoriori Täne Autaia Winner: Te Awanui Reeder

Best Video of the Year by a Maori Artist Tohu - Ataata Maori Hira o te Tau Winner: Producer - Jessica Sanderson Keeper of Traditions Award Tohu - Kaitiaki Tikanga Püoru Recipient: Mita Mohi Lifetime Contribution to Mäori Music Award Tohu - Mauriora o te Ao Püoru Mäori Recipient: Dr Hirini Melbourne

Best Song by a Mäori Artist Award Tohu - Waiata Mäori Hira Winner: Te Awanui Reeder

Lifetime Contribution to Mäori Music Award Tohu - Mauriora o Te Ao Püoru Mäori Recipient: Dr Richard Nunns

Best Mäori Songwriter Award Tohu - Kaitito Waiata-Mäori Autaia Winner: Te Awanui Reeder

Music Industry Award Tohu - Ahumahi Püoru Recipient: Wiremu (Billy) Karaitiana

Radio Airplay Record of the Year by a Mäori Artist in Te Reo Mäori Award Tohu - Köpae-Irirangi Kaipüoru Reo Mäori o te Tau. Winner: 1814

| RAUMATI/SUMMER 2013

Best Video of the Year by a Mäori Artist Tohu - Ataata Maori Hira o te Tau Winner: Best of Me - Ria Hall

Best Mäori Female Solo Artist Award Tohu - Manu Tïoriori Wahine Autaia Winner: Kirsten Te Rito

Best Roots, Reggae Album Tohu - Kopaeroa Autaia Roots, Reggae Winner: Tomorrow People

Pg 36

Radio Airplay Record of the Year by a Mäori Artist Tohu - Köpae-Irirangi Kaipüoru Mäori o te Tau Winner: Six60

Iconic Mäori Music Composers Award Historical Tohu - Te Puna o te Kïo Nehe Recipient: Te Aritaua Pitama Emerging Artist Tohu - Kaipuoro Hou Winners: Tunes of I & Simone Holland