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Waiata Singalong To Launch At Blues Vs Waratahs Super Rugby Pacific Match

Waiata Singalong To Launch At Blues Vs Waratahs Super Rugby Pacific Match

Scoop25-05-2025

Press Release – Waiata Singalong
Waiata Singalong aims to share the joy of waiata, encouraging all New Zealanders to take part so they can feel more confident and connected to their culture, fostering a profound sense of unity and belonging.
On Saturday, 31st May 2025, Eden Park will come alive with the first-ever Waiata Singalong, a series of activations and live events designed to bring people together through the power of waiata. The first Waiata Singalong in the series, will take place just before the Blues vs Waratahs Super Rugby Pacific match kick-off. Blues fans and whānau will have the unique opportunity to come together in song, following the lyrics of the classic waiata 'Tūtira Mai Ngā Iwi' and Six60's 'Pepeha' displayed on the big screen.
Project founder, Dame Hinewehi Mohi DNZM says, 'We are thrilled to host the inaugural Waiata Singalong event ahead of this match and witness this kaupapa come to life. Waiata Singalong offers an incredible opportunity for all New Zealanders to learn and sing waiata, celebrating our cultural pride and nationhood.'
'Waiata is a wonderful way to unite people, whether it's for a celebration or a commemoration. We've designed these events to be inclusive and made as simple as possible for people to participate. You don't have to know any waiata to be able to take part. And it doesn't matter if you have never sung waiata before. All you need to do is come to the event and join in the experience,' says Dame Hinewehi Mohi.
Following the successful call for New Zealanders to participate in the Stand as a Nation HAKA event, to reclaim the GUINNESS WORLD RECORD for the largest haka in 2024, Dame Hinewehi realised these iconic events have the power to unite people in ways that other events cannot.
'Seeing New Zealanders from all walks of life, performing Ka Mate in unity was incredible. It made me realise how much New Zealanders want to connect with each other and how much pride we hold as a nation. I want to ensure that we continue to celebrate our cultural heritage and unite in doing so,' say Dame Hinewehi.
Waiata are more than just Māori songs, they are a powerful medium for expressing emotions, preserving history, connecting people, and learning more about the language and culture of Aotearoa. Passed down through generations most New Zealanders are familiar with some well-known waiata but have lost the practice in their everyday lives.
Waiata Singalong aims to share the joy of waiata, encouraging all New Zealanders to take part so they can feel more confident and connected to their culture, fostering a profound sense of unity and belonging.
'This initiative not only enriches our cultural knowledge and understanding of te reo Māori, but also strengthens our community bonds through the shared joy of singing together,' says Dame Hinewehi Mohi.
Fully supporting the first Waiata Singalong, a selection of Blues players, as well as Ngāti Whātua Ōrākei will join veteran broadcaster Stacey Morrison on the field just before kick-off to lead the Waiata Singalong.
'As a team that represents all people across Tāmaki Makaurau and Te Tai Tokerau, we're proud to support this kaupapa,' Blues forward Angus Ta'avao said.
'Waiata is a powerful way to bring people together, and we're stoked to support our fans and whānau in sharing this moment as a show of unity on and off the field.'
The first in a series of events and activations, Waiata Singalong provides comprehensive support and guidance with links to valuable waiata resources and easy steps so that everyone can establish their own waiata practices, all while learning te reo Māori.
How to get involved
The first Waiata Singalong event will take place on the 31st May 2025 at Eden Park ahead of the Blues vs Waratahs Super Rugby Pacific match.
By purchasing a ticket to attend the match you will be able to take part in the Waiata Singalong. Tickets for the match are available (insert link)
To access the lyrics and music ahead of time, visit https://www.youtube.com/watch?v=CZfISqdykrE – 'Tūtira Mai Ngā Iwi' by Wī Te Tau Huata & https://www.youtube.com/watch?v=y_CJFEKNvX8 'Pepeha' by Six60.
About Waiata Singalong
Waiata Singalong is a suite of activations and live events, aiming to connect people through waiata, bringing meaning to their cultural context and a channel through which we can further learn te reo Māori.
Waiata Singalong provides links to valuable waiata resources and easy steps to learn waiata gaining confidence and a repertoire for inclusion at gatherings, functions and events.

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'It tested us' – the Tipenes on pain, joy and a new series
'It tested us' – the Tipenes on pain, joy and a new series

1News

time41 minutes ago

  • 1News

'It tested us' – the Tipenes on pain, joy and a new series

Francis and Kaiora Tipene on harsh times, the cure for anger, the joy of tamariki, Paris, Tonga and their new series of The Casketeers which premieres Wednesday. The Tipenes were in Paris, just the two of them, on a romantic trip with no work, no camera crew, not one of their seven children present. But by day three, Francis Tipene wanted to leave. 'It had been a 36-hour flight to get there,' says his wife, Kaiora. 'We hadn't even been there two nights and he started to pine for our daughter. He said, 'let's go back to our kids'. And so after a couple more days, they did. Francis agrees it was a long way to go, just to turn around. But after seven sons (he has one from a previous relationship, six with Kaiora), 'I finally got the daughter and man, that changed me.' Now almost two, Ngawaiata has just started Kōhanga reo. 'She was counting at 11 months,' says Francis. 'Tahi, rua... And English too. All these things just make all my problems go away.' ADVERTISEMENT Ah yep, problems. Since before Ngawaiata was born, the Tipenes have been dealing with big, dreadful, public problems. First stop is Tonga in the new series launching Wednesday, June 11. (Source: TVNZ) To recap: Last month their long-term employee at Tipene Funerals, Fiona Bakulich, was sent to prison for interfering with human remains and obtaining money by deception. The victims, all grieving families, were subjected to experiences ranging from the distressing (lifting the lid of a loved one's coffin to discover the metal lining they'd paid for was absent), to the financially gutting (Bakulich took a total of more than $16,000 from families, charging them for various bogus fees and fines as well as products, such as the metal liners, they didn't receive.) Fiona Bakulich, a former employee of Tipene Funerals (Source: 1News) The revelations of the trial were heavy, the coverage thorough and not always accurate (there were no bodies placed in rubbish bags). 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'When she arrived things had broken out and we knew what was going on,' says Francis. 'She was the light for us and she still is to this day.' ADVERTISEMENT The Casketeers: Life and Death Around the Globe, premieres 7.30pm, Wednesday, June 11, TVNZ 1 and TVNZ+.

Runway Show PAPA Returns To Spotlight Weaving & Encourage Preservation
Runway Show PAPA Returns To Spotlight Weaving & Encourage Preservation

NZ Herald

time8 hours ago

  • NZ Herald

Runway Show PAPA Returns To Spotlight Weaving & Encourage Preservation

PAPA, a runway display of woven wearable arts, is returning for its sophomore showing in Tāmaki Makaurau Auckland. Co-curator and weaver Beronia Scott tells Madeleine Crutchley about the kaupapa, her learnings through raranga and PAPA's purpose of preservation. Intricate and innovative clothing woven from harakeke, tivaevae and fast fashion waste will take to the runway today in Tāmaki Makaurau Auckland, as PAPA returns to Kāhui St David's community space. The showcase, a one-day celebration, will feature woven garments by Māori and tauiwi practitioners modelled alongside live performances, DJ sets and servings of kai. Co-curator and artist Beronia Scott (Ngāti Whātua Ōrākei) explains the show aims to platform the craft, encourage whānau to spotlight their mahi toi and educate audiences unfamiliar with raranga (weaving). The title of the event takes its name from the Earth Mother (Papatūānuku), and draws attention to the connection between weaving and te taiao (the natural world). 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If people want to put in a korowai, that can take up to two years to make.' The show will also involve Te Whānau Toi Tupu, a collective of weavers, fundraising for a cultural exchange trip to Thailand. Beronia is among the practitioners making the trip. 'They have set us up to go to a whole lot of other weaving places – galleries, temples – so we're actually going to weave with one of the aunties over there.' Within similar spaces, Beronia has witnessed a shared appreciation for what she calls 'the zone' – where weaving becomes a nourishing and meditative activity. She says these exchanges are also an opportunity for building community and knowledge sharing. In future, she hopes the group will make it to Tahiti too. 'I love to share what I know. I don't own any of my knowledge. I was given that and it's my chance now to give it out, to share it.' For Beronia, PAPA amplifies this treasured knowledge and its origins. 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Our reviews from week one of the Kia Mau festival
Our reviews from week one of the Kia Mau festival

The Spinoff

time9 hours ago

  • The Spinoff

Our reviews from week one of the Kia Mau festival

From musical tales of communal island life to class consciousness in a Crown Lynn workroom, these are the shows we enjoyed at the Kia Mau festival this week. Waenga The strength of Waenga is that its story of police brutality ('humility? futility?'), mana motuhake and self-discovery is one shared by rangathi across the motu. Leads Hariata and Tamati Moriarty (children of highly regarded actor Jim Moriarty and playwright Helen Pearse Otene) wrote this play after working extensively with high schoolers, asking them 'what do your ancestors want from you? What stops you from reaching your potential?' – and what they discovered is stories of young Māori continually facing systemic violence and racism and, despite it all, still having an unwavering desire to live wholeheartedly in their Māoritanga. The result is a just-under-an-hour long show with so much bite it leaves you breathless, coupled with enough comedic relief to soften the pain, and remind you that as Māori, we're pretty damn funny in the face of oppression. Connie (Hariata) finds herself in a police station after an alleged bust-up with the coppers, and doesn't trust her 'kūpapa' defence lawyer Grayson (Tamati) to see her side of the story. But as the two spend more time together, they realise their experiences might not be so far apart, whether you're trying to change a racist system from the inside or outside. /Lyric Waiwiri-Smith He Ingoa Nau mai te pō, te ao, te awatea. Awatea mai te pū, te more, te weu, te aka, te ingoa taketake. Maiangi te tapu, te wehi, te kuru pounamu: he aha tēnei mea te ingoa? Otirā, me pēhea tātou e whakamana i ngā ingoa o a tātou anō. 'What's in a name? That which we call a rose/ By any other name would smell as sweet' – the iconic line from Shakespeare's Romeo and Juliet is flipped on its head. Where Juliet talks about the insignificance of a name – a thing is still a thing regardless of what we call it – He Ingoa emphasises the mana within a name. From the depths of te kore, a name blossoms and is brought into te whei ao, into te ao mārama. A name is given, a name is chosen, and a name is reclaimed. He Ingoa itself is a reclamation. Not only of our own names, but of our stories and our whakapapa. The cast packed a powerful performance and were incredibly well controlled with the intensity in every song, delivering full force right through to the climax at the end. The band and crew's work exceptionally embellished and elevated the show. He Ingoa certainly has carved its name into the stage. /Taipari Taua Ka Mua Ka Muri, Atamira Dance Company A fusion of lighting, sound, stage, choreography, six magnificent dance artists and spoken word. Ka Mua Ka Muri explores whakapapa through a mix of poetic visual and sound constructions and an undulating tone. The show opened with comedy and moved from there to anguish, poignancy, timidity, ferocity, hopes and reflections.I found the design of the show magnificent: all of the elements worked seamlessly together. The high production values made sure this gentle exploration of what it is to be Māori – to exist within the maunga of whakapapa – had impact. The spoken word elements wove throughout the show, like vignettes of internal thought, sometimes quite childlike which spoke to the sense of the eternal spiral of time. At times I wanted the voices to be amplified: The Opera House is a big space and the rest of the production had a sense of scale and awe so at times the lack of microphones for the dance artists was noticeable. The text was also very literal and I wondered if it could be pared back, simply to let the rich imagery of the choreography, sound, projection, stage and lighting do most of the work. The moments of song were magical. Many images will linger in my mind: an arrangement of dancers into various maunga, kupu sliding over them in ascent; bodies running to try and break an invisible barrier and being pinged back; the drift and sway of the veil. The two halves of the show (the first choreographed by Bianca Hyslop; the second by Eddie Elliott) referenced each other so there was a continuous motif of comedy (among other threads) – a self-awareness that worked. / Claire Mabey A Master of None: Brown Fala Lila Crichton's interpretation of the classic myth of Sina and the eel is dark and violent, with the eel – a king in disguise who is desperate to woo Sina despite her objections – sweeping her under waves of despair. It's a well-known Samoan tale, used to explain the existence of the coconut tree (in the original, Sina cuts off the eel's head, plants it and from it grows the palm) but in Crichton's world, it's a warning for the ways in which we undermine the autonomy of our sisters. The myth is the heart of this play, but so is fala, the Samoan art of weaving, and music, the universal language. The vocal abilities of the ensemble cast are breathtaking, whether they're singing traditional song, jazz or rhythm and blues, while Sina and the eel, both living in shame, disappear themselves under woven mats as they grapple with their relationship. By the play's end, Sina and her whānau are able to hold court with the eel, serving him kava as a clip plays in the background, acknowledging the almost nine in 10 Samoan women who will experience physical or emotional violence by a family member. Walking out to a standing ovation at the end, Crichton's only request for the crowd for us to 'just talk to each other'. /LWS WINHANGANHA, Jazz Money + National Film and Sound Archive of Australia I make no secret among my peers of my adoration for poet Jazz Money. WINHANGANHA is Money's film that brings together archival footage, an original score and her phenomenal poetry as an act of remembering ancestors, whānau and the history of First Nations and Torres Strait peoples. It took us on a journey across multiple chapters segmented by Money's poetry and I could feel the energy in the theatre as we all responded physically and emotionally to the film. After the film there was a question and answer session with Money, which was perfect. Hearing from her about her own film and its creation was inspiring and gave me much to think about. I will carry WINHANGANHAwith me for a long time to come. / Melissa Oliver The Handlers There are so many dynamics to enjoy in The Handlers, a slice of life look into a Crown Lynn workroom of the 70s, where Māori women shape mug handles and try to make sure the production line never halts, lest they feel the Pākehā wrath of their boss, Mr John. Tongan worker Salote isn't actually Māori, of course, but it's easier just going along with whatever John thinks, and she's already found a home in her colleagues: aunty Whero, Kiri and Hine. Sister duo Kiri and Hine can't stand being on the same production line, while making Crown Lynn crockery has been Whero's entire life for the past 20 years. There's a reason why all the characters are to keep their connections secret – Salote's issues with Immigration are causing her strife at home, while a tragedy in the family sees Kiri, Hine and Whero struggle with how much to divulge, and whether it's mahi or whānau that should come first in a post-colonial New Zealand. The Handlers is a beautiful piece of theatre, made strong by its ensemble cast and faithfulness to the New Zealand of the time – half of it desperately trying to assimilate into Pākehā culture, and the other half, trying desperately to hold onto indigenous mana. But it's not all serious and sad – The Handlers is funny! It's refreshing! It's hopeful! And at the end of it all, on opening night in Circa theatre, the show received a hearty standing ovation. /LWS

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