PAST PLUS PRESENT EQUALS FUTURE

Tu Tangata, Issue 18, 1 June 1984, Page 26

PAST PLUS PRESENT EQUALS FUTURE

By Althea Campbell

I am sorry to learn that a “conflict” (no doubt blown up out of all proportion by the pakeha press) has arisen over the development of maori pop music. I hope it will be quickly resolved, because at this time when the maori people are trying to bring about radical changes in their situation, they need to be united, especially in the eyes of the world. The fact is that we (all of us) need

both traditional and modern [pop) maori music they are both vital to the development of self-awareness and the self-identity of the modern-day Maori. For my experience has been that the acceptance of the modern can lead to a greater receptivity of the traditional. I lived for many years in pre and post-independent Africa, where, during the colonial/missionary era, things

traditional were frowned on, if not outright suppressed. But in the 19505, as things began to move rapidly towards independence, a new pop culture sprang up in some areas. It was largely based on music which, though forged of elements from many cultures (European, Afro-American, Latin-American, etc.) gave expression to the great talents of African people. It raged through the continent, sweeping everything before it, even achieving a certain recognition in other parts of the world. And for a time it seemed that this style would become the only one.

Came independence and the freedom to seek their true identity, and before too long the young people (with some prodding from their elders, it is true) were turning more and more to the traditional source for inspiration. The result today is three virtually distinct styles: First, the orginal pop mode, which continues to be influenced by trends in other parts of the world, especially western, but which nevertheless has its own African flavour. Second, a style based on true African music, but put into a modern context (modern instruments with the traditional ones), which is currently all the rage in Europe and is, incidentally, in its turn influencing western pop music. And third, indigenous African music and dance (for the two, with drama, traditionally cannot be separated), which is as near to pure tradition as modern-day people can get.

My hope is that Maori people will have the same experience. Pop music in te reo maori a new genre could surely be the greatest stimulus yet to young people to learn that language, because it can bring their own thing and themselves recognition far and wide.