learn, a wish to be one of the group, before one can find the courage to stand up and flounder through the first action song. But what a feeling of satisfaction when one can at last go through it without a mistake. One can then say, I have learned this and acquired it, and made it a part of me, so that it is mine for good, and nothing can take it from me except a loss of memory. Whenever that happens that person has helped to recapture and preserve, for himself and for others, some of the elements of Maori culture which a prevailing European way of life threatens to push into our historical background. For what has been learned once can be remembered again and passed on to others. About a Ngatiponeke hall has a name in Wellington for its well-conducted dances. month ago, I arrived a little early at the hall on practice night, and as I walked up the short concrete path beside the small patch of carefully tended grass and garden (I have never seen a city hall with a more pleasing entrance) I could hear the sound of a guitar and voices singing. That's funny, I thought, there must be something on, or else they are making an unusually early start. I opened the door and steeped into the scrupulosuly clean and comfortable hall, its walls hung with photos of the club taken at various stages in its career. Hoki Hoki Tonu Mai, sang about twenty children on the stage, all staring at a blackboard where Billy Rourangi, one of the coaches, was tapping out the beat as he pointed to each word. I sat down beside several adults who were watching the children. We should have started this years ago, one of them said, turning to me, this is the time to get them and teach them, while they are keen to learn and too young to feel self-conscious. As they launched into Manu Rere, there was no doubt about their enjoyment and enthusiasm. This children's club was Mr Katene's idea and it has been formed in the hope that when they grow older their interest will carry them into the senior group where they will be able to take their places easily and naturally because of their early training. Some of them have parents who are ex-members of the Club, and in the senior group itself there are one or two who are taking over where their parents left off. So now it can be said that Ngatiponeke Club, with Mr M. Jones as its present chairman, has passed into its second generation, and the work will continue, and the tradition be carried on. But it would be a mistake to say that the club's activities are always intent on recapturing the past. Situated as it is in the capital city, one of the country's most important ports, it is not surprising that the club has developed into a well-known Maori concert party that can be relied on to give a good performance at very short notice. Time and time again the club is asked to welcome prominent overseas visitors with a powhiri according to Maori custom. This year they have entertained tourists at the National Park Chateau, passengers aboard the liner Orion, officers and men of the Australian aircraft carrier H.M.A.S. Sydney, and have given a concert in Ngatiponeke hall to welcome the new American ambassador, Mr Hendrickson, and his staff. Every year they supply half the concert given by the Tin Hat Club in Wellington some time during Anzac weekend. Many of the returned servicemen of World War II remember seeing the club in action during the war years, when they gave concert after concert (in one year they gave 257 performances, a staggering record) welcoming and farewelling troops and helping to swell the patriotic funds. During this period they made several recordings which included action songs written and composed by Mr Kingi Tahiwi, and this year they have made a tape recording which will be used in Mr Ulric Williams' Session, “Song and Story of the Maori.” Besides these larger engagements the club very rarely turns down requests to help out at concerts given to raise money for charitable purposes or to assist a project such as a free kindergarten service in an outlying suburb. And, of course, the Club always gives its time and talent voluntarily. To most people then, especially Europeans, the club is know soley as a ‘concert party, and I think many have the mistaken idea that all the training and practising is a preparation for concerts only. In actual fact the greatest stimuli to work and the most important events for the members themselves, are the competitions usually held at big huis. I joined the club at a time when they were preparing for a competition, and I was rather taken back to find them doing at least six hours practice a week, something they would not think necessary for an ordinary concert. Having to appear before a highly critical Maori audience and Maori judges, puts them on their mettle and brings out the best they are capable of. This doesn't apply to Ngatiponeke (Continued on Page 59)