INIA TE WIATA

Te Ao Hou, July 1958, Page 10

INIA TE WIATA by ZISKA SCHWIMMER London Express News Photograph The triumphant tour of Inia Te Wiata through New Zealand is in its last stages. The Maori people, proud of their new world celebrity, flocked to his concerts and although the arias in the first half of his programme were strange to many, all could appreciate his superb versions of the West Indian songs, the Negro spirituals, many short popular numbers—and of course the Maori items performed at each of his concerts. There was little in Inia Te Wiata's early background to lead him to world fame or the life of a professional artist. His father, Watene Te Wiata, died early, after which Inia was brought up by Pairoroku and Rakete Rikihana in Otaki. He went to live in the Waikato. Here he became interested in Maori carving and was employed at Ngaruawahia for three years on the carving of Turongo, the house of the Maori King, which was opened in 1936. Afterwards, he worked at the Horotiu Freezing Works, near Hamilton. During all these years, although his musical talents remained undeveloped, singing was an important part of his life. He first performed on the stage at the age of seven. ‘This first concert’ says Te Wiata, ‘still stands out as one of the great days in my life’. The concert took place at the Old Otaki Lyric Theatre, which was situated about a hundred yards from the Telegraph Hotel, in the direction of the town. His music teacher, Miss Edith Miller taught

him at the Otaki State School and it was from her that he received his first music lessons. He remembers that the song he sang was “Margie” and that when the audience acclaimed him he was very mystified and did not know what to do next. His teacher told him to return to the stage and take a how, but he was still not sure about what was expected of him, so he sang “Margie” again. Again the clapping came and with a quick look at the pianist he started up and again sang “Margie”. It was here that he began to understand the meaning of being an artist and he began to enjoy it immensely. He had to be carried off the stage before he was tempted to again sing “Margie”. At the age of 13 ½ his voice broke and almost overnight he became a bass-baritone. When this happened he joined his cousins quartette which included Wi Nicholls, Henry Tahiwi, and Dan Rikihana. All these people were adults except the young Te Wiata. Another person who took an interest in him during those early years was the late Mrs Newton Taylor (Mihi), a member of the Rikihana family. She trained Te Wiata and his cousin to sing duets together; insisting on a high standard of performance despite the protests of the lads who were more interested in being boys not singers. Inia remembers Mrs Taylor with gratitude and affection for this early training she instilled in him at this time. He has discovered that it is this extra effort and concentration which she tried to teach them which is the making of a great artist. There is no halfway for the professional. These duets which included La Paloma were sung at Concerts and smoke concerts and other social occasions and he often sang on his own throughout his teen years. While he was at Ngaruawahia, he continued public singing. He was a very active member of the Waiata Maori Choir. This Choir, which was organised by the Superintendent of the Methodist Maori Mission, Rev. J. J. Seamer, toured all over New Zealand and also visited Australia and Great Britain. At this time Inia Te Wiata was busy on the carving of the King's house so he could not leave the country. While the choir had a successful 14 months tour of Britain, he stayed in Ngaruawahia. From time to time he sang for the radio station 1ZB, specializing in Maori songs with his own guitar accompaniments. Later on he met Mr Grant of Hamilton who had had close contact with the famous contralto Clara Butt. In Inia he saw the makings of a great artist and hoped that his experience in management would help the young singer on his way to success. They arranged concerts in different parts of the country and eventually caught the interest of the Mayor of Hamilton, Mr H. D. Caro. Through this contact a group of well-known people became interested in furthering Inia's studies. Among these was Dame H. Ida Ross, Sir Joseph Hannan, Stewart Garland and the conductor Anderson Tyrer. A professional opinion of Inia's voice was acquired from the famous Australian singer Peter Dawson. This was very favourable and Anderson Tyrer was put in charge of the arrangements for study overseas. A fund was raised to which both Maori and European friends subscribed. Through the late Mr Peter Fraser, and the Hon H. G. R. Mason, a Government grant was added to this. Enough was collected to send him to England for the three years which were necessary for success as a singer.