POI AND PIUPIU

Te Ao Hou, March 1969, Page 60

POI AND PIUPIU Kiwi Mono-Stereo SLC-63 12 in. 33 ⅓ L.P. ‘Poi and Piupiu’ features the Queen Victoria School for Girls Maoritanga Choirwith Hannah Tatana as guest soloist. In recent years there has been something of a surfeit of recordings of groups of Maori female singers, mostly school groups, but this record is indeed a welcome addition which must rank as amongst the best, if not the best, of recordings by all-female groups. Side one consists in the main of poi and action songs. One hesitates to use the word ‘traditional’ to describe such a recent development as the action song but there are some action songs which are rightly regarded as classics because of the fact that they have cut across tribal boundaries and survived and been performed long after the occasion of their composition has passed. ‘Te Ope Tuatahi’, ‘E Pari Ra’ and others of the songs on side one come into this category. In the poi items the sound of the poi comes through beautifully and throughout all the items the singing is controlled yet flowing. One has the feeling that in this choir there are no passengers. I am glad that two chants have been included. Although ‘Takere Poua Ra’ and ‘Taku Patu’ are not samples of the true Maori chant of pre-European times they are reminiscent in form of the ancient style whilst containing sufficient melody to make them acceptable to twentieth century ears. As such they give listeners an easily-digested introduction to the more traditional Maori music. I particularly enjoyed the girls singing the seldom heard Tamati Hamapere composition ‘Karo’. This is one of the songs of Alfred Hill, Karaitiana, Kaihau era which produced many lovely Maori songs which are all too rarely performed nowadays. ‘E Pari Ra’ disappoints a little. It is belted out rather mechanically and with none of the poignant harmonies which can highlight its theme of lamentation and farewell. ‘E Tihei Mauriora’ is described as ‘another song composed at Queen Victoria School’ whereas I would think it more accurate to describe it as ‘another song, the words of which were composed … etc.’ Side two is full of contrast, both with side one and between the various songs featured. The choir's rendition of ‘Waiata Poi’ with Hannah Tatana as soloist must be rated as one of the best on record of this old favourite. This is followed by Miss Tatana and the choir singing ‘Hine Mokemoke’ (The Singing Shell), a song composed by Susi Robinson Collins on an East Coast legend. The melody is restful and the choir sings it as a lullaby in English. Mari Hamilton's ‘Patu Poi’ is heard next. This lilting little song with its tripping rhythm is sung mostly in English with occasional Maori phrases. In complete contrast ‘Patu Poi’ is followed by a grace sung in Maori. This grace was specially written for the school by Phyllis Raudon, a visiting singing teacher of many years' association who is responsible for the original settings and musical arrangements of many of the items heard on the record. ‘Waiata Whaiaipo’ is another little known item which is of interest because of its difference from the usual Maori love song. It is short and very fast and one conjures up visions of the breathless suitor gasping out his feelings in a few seconds snatched alone with his love. There are many tunes called ‘Poi Waka’ but Queen Victoria's version has a rhythm which captures the dip and swing of the paddles better than most. This item is followed by a beautifully sung ‘Titiro Mai Nga Whetu’. In the hands of the choir this song becomes a powerful prayer of exaltation and triumph with occasional shafts of sadness as it expresses the feelings of those who made their landfall after their ‘long and arduous journey’. The finale is provided by a skilful and fresh interpretation of ‘E Rere Ra te Matangi’. The modulation in the second verse adds a further note of sadness to this lovely song of fare-well. The finishing touch to this song would have been provided by a soloist but alas, Miss Tatana is nowhere to be heard! The cover is attractive and the notes and explanations of the items of the high standard one has come to expect from Kiwi. One small carp, however, is that although

the record is called ‘Poi and Piupiu’ and features a number of poi items, nowhere on the cover are these two words explained. A brief reference to the excellent cover photo which shows members of the choir clad in piupiu and twirling their poi would have been sufficient. In presenting records, and indeed Maori culture in general, we often assume a knowledge of (to us) commonplace things which the average tourist and casual buyer of souvenirs does not possess. Verdict: A first rate recording.