SONGS OF MAORI HEROES

Te Ao Hou, 1973, Page 61

SONGS OF MAORI HEROES Ma-wai-hakona Maori Association Kiwi SLC-78 12in 33⅓LP Stereo/Mono ‘Songs of Maori Heroes’ is undoubtedly one of the most important recordings of Maori music to be issued for some years and represents a major contribution in its field. To begin with, it is the first record by one of the major Maori cultural groups in the country. Whilst many lesser groups have rushed to enshrine mediocrity on record. Ma-wai-hakona has waited for almost ten years before being recorded. The material for the disc was recorded in an empty school hall. A friend (and member of Ma-wai) on hearing the record said to me that it had ‘not got the warm Ma-wai sound’. This is fair comment and most people who have heard the group in the flesh will agree that it is a very restrained performance. The haka taparahi in particular are subdued. In this respect the record has all the hallmarks of a studio presentation, in which Maoris always seem to be inhibited, but for all this the sound itself is live and vibrant and the words and music have beautiful clarity and precision. The words in particular come through strongly and clearly and there is none of the drone which an experienced listener to Maori groups can often detect and which betokens people in a group who are not fully articulating the words. The second noteworthy point about the record is that it introduces to a wider public a number of works by several talented composers of Maori music who deserve (as composers) much wider recognition and who will now undoubtedly gain that recognition as a result. The cover notes make the point that ‘… almost all of the items performed by the Association, apart from traditional haka, are original compositions by members…’ Ten of the items are composed by one who is modestly referred to on the cover simply as ‘Te Oka’. He is of course the present Secretary of Maori Affairs and president of Ma-wai-hakona. Jock McEwen. Jock's contributions in the field of Maori language are well known to many but I think some people will be surprised at the variety and versatility of his ability in the field of musical composition as revealed by the record. Jock McEwen's works on this record are characterised by strong and graceful imagery and a deft and economic use of language. Another feature of his work is the skilful blending within a single song of traditional waiata style and catchy modern idiom. Several of the tunes are based on Island songs. The infusion of a Pacific Polynesian influence into Maori music is most welcome. Many of the items pay tribute to legendary Maori heroes (hence the name of the record). Thus Maui, Hinauri, Tinirau and other heroes and their exploits are commemorated. This gives the items a universality which is not found in a number of recently recorded Maori compositions which are tied to specifically tribal traditions or to single, and often quickly forgotten, events. This should help to guarantee the longevity of much of ‘Te Oka's’ work and enhance its general acceptability in the years to come. The second principal composer featured is another Ma-wai stalwart, Hera Horvath (Dovey Katene) a much loved presence in Wellington Maori circles. Dovey's work has a light and pleasant touch and her canoe poi ‘Hoea Ra’ is one of the best poi tunes in the Maori repertoire. The third point of note with this record is that it is possible for Maori and non-Maori alike to really savour the items, because included with it is a booklet giving the words and translations of the items. Thus it will be possible for other groups to learn these excellent compositions, hopefully to use them also (but see below) and for students and other interested persons to read the Maori and compare it with the excellent English translations and to understand the imagery and allusions which are explained

in footnotes. This is a most worthwhile accompaniment to the record, and Kiwi and Ma-wai are to be congratulated on including such a bonus. Almost all the items are musical or waiata style; however, each side of the disc concludes with a traditional haka. On the first is the Haka of Tohu which many will know as ‘Mangumangu Taipo’. The end of Side Two is notable because it features ‘The Haka of Te Rauparaha’, well known for its final ‘Ka Mate, Ka Mate’ portion. This is possibly the first recorded performance of what is a major taparahi of considerable traditional importance. Interested readers will find the generally accepted account of the origin of this haka at page 262 of John Grace's ‘Tuwharetoa’, although the words performed by Ma-wai are different in places. The cover design is undistinguished but the notes (by Te Oka) are excellent. One complaint I have however is the fact that all the original items are labelled ‘Copyright: Ma-wai-hakona.’ My first reaction was that this denotes that the items are exclusive Ma-wai property and not to be performed by other groups or, if performed, a royalty must be paid. Such a move would be unprecedented amongst Maori groups and would certainly have tarnished Ma-wai in the minds of many. The free circulation, use and even adaptation of the works of others has always been a feature of most Maori music and composition. However, Jock McEwen has since assured me that the copyright reservation is really to ensure that in the event of commercialisation* (That this copyright was truly ‘in the event of commercialisation’ has been shown by the recent release of an adaptation of Aunty Dovey's Hoea Ra as We're the Maoris by Rolf Harris. Note too that the copyright is held in the club's name, not that of the individual composers’.—Ed.) of any of the items, Ma-wai will be given due recognition and if necessary monetary return. This is as may be but I personally feel that the reservation strikes the only discordant note in an otherwise first class record.