Kaitiakitanga, Whai Wāhi and Alien Weaponry: indigenous frameworks for understanding language, identity and international success in the case of a Māori metal band

Popular Music ◽  
2021 ◽  
pp. 1-18
Author(s):  
Olivia R. Lucas

Abstract New Zealand Māori metal band Alien Weaponry rose from local act to international prominence over the course of 2016–2018, lauded by critics and fans for their songs involving Māori history and culture, and with lyrics in the indigenous Māori language. This article examines Alien Weaponry's participation in Māori language revitalisation efforts and explores the use of indigenous frameworks for analysing these issues. Māori principles of kaitiakitanga (protection) and whai wāhi (participation) offer an understanding of the band's contributions to both Māori cultural preservation and global metal, and of how these contributions cooperate in the band's success. In addition to unpacking the issues of identity, indigenousness and language revitalisation inherent in understanding Alien Weaponry's output, this article also expands on previous work on nationhood and identity in both global metal music and Māori popular music.

Author(s):  
Keith Howard

K-pop, Korean popular music, is a central component in Korea’s cultural exports. It helps brand Korea, and through sponsorships and tie-ups, generates attention for Korea that goes well beyond the music and media industries. This essay traces the history of Korean popular music, from its emergence in the early decades of the twentieth century, through the influence of America on South Korea’s cultural development and the assimilation of genres such as rap, reggae, punk, and hip hop, to the international success of Psy’s ‘Gangnam Style’ and the idol group BTS. It explores the rise of entertainment companies, how they overcame the digital challenge, and how their use of restrictive contracts created today’s cultural economy. It introduces issues of gender and sexuality, and outlines how music videos and social media have been used to leverage fandom.


2020 ◽  
pp. 204-224
Author(s):  
Sean Bellaviti

Chapter 6 extends the discussion of the previous two chapters by examining the musical choices música típica musicians make to forge an identifiable individual style that is the key to establishing a career, distinguishing the sound of individual conjunto musicians, and achieving a coveted region-based following. This focus on specific musical strategies through which musicians draw creative inspiration—whether from renown música típica performers and/or genres that have achieved broad international success—allows the author to explore música típica’s development as a form of cutting edge popular music that is, at the same time, firmly tethered to sentiments of tradition, regionalism, and populist nationalism. The technical approaches for developing the all-important original sound described by the musicians who are featured in this chapter opens the way for the author to theorize the relationship between style and genre as well as to discuss issues involving the common usages of these terms and concepts in ethnomusicological discourse.


Popular Music ◽  
1994 ◽  
Vol 13 (3) ◽  
pp. 261-278 ◽  
Author(s):  
Roy Shuker ◽  
Michael Pickering

The New Zealand popular music scene has seen a series of high points in recent years. Published in 1989 were John Dix's labour of love, Stranded in Paradise, a comprehensive history of New Zealand rock'n'roll; an influential report by the Trade Development Board, supportive of the local industry; and the proceedings of a well-supported Music New Zealand Convention held in 1987 (Baysting 1989). In the late 1980s, local bands featured strongly on the charts, with Dave Dobbyn (‘Slice of Heaven’, 1986), Tex Pistol (‘The Game of Love’, 1987) and the Holiday Makers (‘Sweet Lovers’, 1988) all having number one singles. Internationally, Shona Laing (‘Glad I'm Not A Kennedy’, 1987) and Crowded House (‘Don't Dream It's Over’, 1986) broke into the American market, while in Australia many New Zealand performers gathered critical accolades and commercial success.


2021 ◽  
Author(s):  
◽  
Katie Freeman-Tayler

<p>he Māori Television Service emerged in 2004 after many years of political agitation by Māori for the New Zealand government to protect and promote Māori language and culture. Given the subsequent broadcaster’s role in promoting te reo me ngā tikanga Māori, this research project seeks to answer the questions: what strategies for language revitalisation are revealed in the Māori Television Service’s governing policy documents produced from 2003-2013, and how are the Māori Television Service’s strategies for language revitalisation informed by the operating environment of the broadcaster? To answer these questions, discourse analysis of the Māori Television Service’s governing policy documents, and those which inform it, is used to reveal the broadcaster’s strategies for language revitalisation. These documents are contextualised in relation to the wider Māori language struggle, the New Zealand broadcast industry, and socio-political, cultural and economic shifts between 2003 and 2013. Such contextualisation demonstrates the purpose of the broadcaster’s strategies for language revitalisation, how and why these strategies have changed and how these shifts reflect the Māori Television Service’s negotiation of different stakeholders.  Research findings suggest that the Māori Television Service has deployed a range of strategies that enable it to meet its legislative obligations as well as respond to community and industry stakeholders. These strategies include building an audience for its language programming content, operating as a financially prudent Māori organisation, and developing programming strategies in light of technological shifts. The thesis argues that these strategies contribute to the naturalisation and normalisation of te reo me ngā tikanga Māori within the national imaginary, and that these reflect key tactics for language revitalisation as set out in the 2003 Māori Language Strategy. The thesis also identifies a shift from the Māori Television Service’s focus on language programming quantity to language programming quality, and a shift to focusing on te reo speakers over a broad viewer base, across the ten year period of the broadcaster’s existence. The thesis aligns these more recent language programming strategies in relation to current changes in language revitalisation activities. In revealing the competing pressures faced by the broadcaster, this thesis highlights the role the Māori Television Service has played in increasing the symbolic value of te reo Māori, as well as how it has contributed to language revitalisation strategies in sectors beyond broadcasting.</p>


2021 ◽  
Author(s):  
◽  
Carina Gallegos

<p>The existence of systems of indigenous knowledge depend greatly on the existence of indigenous languages. Processes of language revitalisation seek to uphold indigenous knowledge by restoring endangered indigenous languages. Historical processes of colonisation and globalisation in Chile and Aotearoa New Zealand have impacted and threatened each country's indigenous language. This dissertation describes language revitalisation processes of te reo Maori in Aotearoa New Zealand and Mapudungun in Chile in order to further understand the implications of language on effectively revitalising indigenous culture and knowledge. The research and analysis presented implements comparative methodology through the use of case studies, direct observations, primary and secondary data sources. In an effort to evaluate and compare outcomes of indigenous language revitalisation schemes of te reo Maori in Aotearoa New Zealand and Mapudungun in Chile, this thesis focuses on case studies in the context of how education programmes in each country approach indigenous language revitalisation.</p>


Author(s):  
Gabby Riches

What does it mean to be an extreme band in northern England? How do female and male metal musicians come to feel part of a scene that is continuously splintering into spatial fragments and social circles? What sorts of sensual and affective intensities emerge during these music making performances and practices? These questions, which remain peripheral within popular music, leisure, and metal music studies, are central to this chapter. Drawing upon the author’s ethnographic research of Leeds’s extreme metal scene, this chapter draws on feminist poststructuralism to examine how the fluctuating socio-spatial landscape of Leeds’ metal scene has impacted the lives of fourteen metal musicians in regards to their interpersonal band relationships, class and gendered identities, affective engagements in the scene, and commitments to their music making practices. A performative, nonrepresentational approach is used to highlight the multiplicity of ways leisure identities and music making practices and performances are experienced, produced, challenged, and emotionally negotiated.


2020 ◽  
Vol 115 ◽  
pp. 401-402
Author(s):  
Roderick Beaton ◽  
John Bennet ◽  
Eleni Kallimopoulou ◽  
Panagiotis Poulos ◽  
Chris Williams

In May 2019 the British School at Athens hosted an international conference on popular music of the Greek world. The conference aimed to explore and evaluate the diversity of Greek music apparent in the rich variety of local traditions and in the richness of urban popular music both established and emerging, and to examine its causes from broader musical, sociological and artistic perspectives. Rather than focus on particular forms, such as traditional folk music, rebetika, or the ‘new wave’ of the 1960s exemplified by the international success of composers such as Hadjidakis and Theodorakis, the conference set out to situate these traditions in a broader Greek context and also an explicitly international one, in this way building upon a growing trend (Bucuvalas 2019; Tragaki 2019).


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