Returning to the river
Why Hollie Smith has translated her biggest hit into te reo Māori
It started in the studio as a good, oldfashioned album idea, but Waiata/ Anthems proved more than that. After the commercial success of the 2019 album, which saw the likes of Six60, Stan Walker and Tiki Taane translate and perform their hits in te reo, comes a new set of musicians re-imagining their work – and this time, it’s on screen in TVNZ’s Waiata/Anthems.
Over seven short documentaries, Bic Runga, Annie Crummer, Che Fu, Drax Project, Logan Bell (from Katchafire), Melodownz, Hollie Smith and Don McGlashan translate and record their songs in te reo Ma¯ ori, celebrating the language through music.
Each episode follows the artist’s process and discoveries, and culminates in a performance of the reimagined song.
‘‘These are stories of empowerment, in accessing te reo Ma¯ ori through waiata, not just for the artists but for their audiences too,’’ says series producer and musician Hinewehi Mohi.
‘‘The fact that these talented musicians were prepared to embrace the challenge to do this, makes a statement about our nation’s growing confidence and pride in our unique cultural identity, that we can all share and celebrate.’’
Here are some of their personal stories.
Hollie Smith Bathe In The River/Korukutia
The original version of Bathe In The River was a crazy experience.
Don [McGlashan] called me and asked me to sing on this song that was going to be part of a film score [No.2]. It wasn’t a big thing, it would just be in the movie somewhere. I walked into the studio, met Don, sung it a few times and then left. Little did we know what it would go on to become. (I might have done a couple more takes, had I known!)
It was a bitter-sweet situation for me back then as I was just in the process of creating my debut release and I felt that it took over it all. But over time, well years, I realised how important this song was to so many people. It was played at births, deaths, weddings and these special life events, and it has developed into a beautiful story for me, and I’m so glad it’s become so special for so many.
Recording it again in te reo Ma¯ ori was a special process that gave me and Don another chance to express the depth of the song and its meaning. We had many discussions between us and Tweedie Waititi, the translator, about the metaphorical aspects and how best to translate those elements instead of just a basic transliteration.
It was a deep dive into a song that already resonates deeply, and I believe te reo Ma¯ ori has not only created another layer of depth, but it is also another step in the long overdue process to normalise Ma¯ ori language and culture into everyday mainstream life in Aotearoa, New Zealand.
Katchafire’s Logan Bell 100/Kotahi Rau
I want to represent my culture... I want to represent Ma¯ ori to the best of my ability. I’ll admit, I definitely did feel the burden to do this properly and to get the sentiment right. The first emotion that came up for me was fear. It’s not like I’ve grown up with te reo, so I felt a big responsibility to do it justice.
I am a proud Ma¯ ori man and I care deeply about the first language of this nation. My tamariki are learning Ma¯ ori, but I have never had the opportunity to go there myself. There is a lot of tapu about this for many of us. A lot of the Ma¯ ori language has been lost in my family.
My mum’s generation were pretty much forced to stop using the language, and culturally they were assimilated. It’s quite sad to me that when she was young she stopped speaking it because society didn’t want it, and you weren’t allowed it in schools. So it’s always been a yearning of mine to have that in my life and to make sure my kids understand tikanga Ma¯ ori and te ao Ma¯ ori.
The song I’ve chosen to translate, 100, was inspired by a conversation with my mum. She was asking me if things were all good on the road and I just said ‘‘mum, you keep it locked at home, and I’ll keep it tight on the road’’. It’s a tribute to our wa¯ hine – those who keep the wha¯ nau and the home front locked down, allowing us to do what we do; a thankless job that needs more praise and celebration.
Melodownz Fine/Pai
Growing up I always felt disconnected from a true understanding of my cultural heritage. It was always like ‘‘where do I start?’’ My mother’s Samoan, and my grandfather is English, and it was more like a Samoan-English-Kiwi upbringing.
I always knew I was Ma¯ ori but had no real way of communicating or connecting with that side. It’s almost like my soul’s been waiting this whole lifetime to find out where I belong. Waiata has given me this beautiful opportunity to visit
Nga¯ puhi (Northland) to connect with my whakapapa, learn about my heritage and culture while translating my song Fine into te reo Ma¯ ori.
It’s an opportunity I just couldn’t turn down. For me, it was about the journey to discovering and unlocking my identity. I wanted to learn more about my tu¯ puna, my grandfather, my family, my history – everything that can help me learn more about myself. It was very spiritual.
I feel like I’ve opened a door and just put my foot in it, but now it’s time to fully emerge into my culture. After this whole experience, now I can hold the Polynesian, Pasifika, Ma¯ ori, indigenous and European all inside as one whole. When I use those words I’m a poho kereru¯
– I hold my chest up, and I’m proud to be who I am. Before I was like ‘‘where do I start… where am I from?’’ but now I realise: I’ve always been from here – it’s inside me.
Drax Project’s Shaan Singh Take My Breath Away/Tukituki Te Manawa
The last project we did with Waiata [the song Woke Up Late] was just so much fun and so rewarding, that when the opportunity came along to do it all over again we knew we couldn’t turn it down.
Translating Take My Breath Away to te reo changed the meaning of various lyrics slightly – and it’s a beautiful thing. Most notably the lyric in the song which is originally ‘‘All I need is somebody to take my breath away’’, now probably translates more closely to ‘‘All I need is somebody that gives me the feels’’ or ‘‘makes my heart skip a beat’’... something like that. I’ve always loved the song, but now it just feels that extra bit special.
The colloquialised Take My Breath Away is great, and I love that English language metaphor. But in Ma¯ ori it just feels warm.
‘‘Hoi ano¯ me tangata e pa¯ tuki
ai te manawa’’. Ooooh.
‘‘It was a deep dive into a song that already resonates deeply, and I believe te reo Ma¯ori has not only created another layer of depth, but it is also another step in the long overdue process to normalise Ma¯ori language and culture into everyday mainstream life.’’ Hollie Smith, right
Gorgeous. Now that gives me the feels.
Learning te reo is a project I want to keep working on. I love languages in general and have always loved learning phrases. At some point I would like to do one of those full immersion courses to really dive into it.But for now, I know that we are all very grateful to be part of whatever small impact we may have on the normalization of a beautiful language that’s so dear to our nation.
Annie Crummer Ocean Moon/Hina Ki Tai
The song I chose, Ocean Moon/Hina ki Tai is very dear to my heart, as is the kaupapa of this project which was to sing your own song in te reo Ma¯ ori. I kept that kaupapa close to me throughout this journey – I couldn’t let the iwi down, so I really leaned in during this process to make sure I got it right!
And of course I couldn’t let my Cook Island people down either – we’ve kept the Cook Island verse that was part of the song originally and that is awesome because I feel like I’m honouring my people as well.
When I’m learning something, my dyslexia takes over to process the information that I’m being fed. So I say nothing and just listen. Frankly, it’s my ears that pay my bills and nourish my soul. I have to pay attention so that I can keep up with everybody else!
We all think everyone thinks the same way as us, but you only know what you know! Basically, I have a different process from most people. I accept that things might take me a little bit longer to figure out – I will get there, but it just has to be filtered through my own unique system.
When I’m performing a song, it’s important for me to tell the story by conveying the feeling through my voice. I welcome the hypnotic state that guides me to vocally and tonally emit the emotion of which I desire for the audience in the hope they will receive and really feel the essence of the waiata.