Hinurewa te Hau on Indigenous Arts, Māori Storytelling, and Cultural Collaboration

Could you describe your role in supporting Indigenous Māori arts and culture, and what inspired you to pursue this path?**

I grew up in a Kaupapa Māori environment where storytelling, music, and cultural traditions were integral to daily life. From a young age, my parents instilled in me the importance of preserving our Māori identity, which has guided my career path in business, cultural tourism, public policy, and the creative sector. I have grown up bicultural (walking in two worlds), and although I enjoy the benefits of a Western world, a Te Ao Māori philosophy (being Māori) has shaped my work ethic and sense of place.

As a businesswoman, I have had the privilege of leading initiatives that bridge traditional Māori practices with contemporary expressions, creating platforms where our stories can thrive. I like to cultivate environments that foster creative collaboration and cultural exchange, engaging both Māori and non-Māori communities, as well as Indigenous artists worldwide.

As a co-founder and director of the Matariki Cultural Foundation, I’m guided by the late George Te Aroha Kahi, a stalwart of the Māori music industry, whose passion for Māori and Pacific performing arts took us on a journey to advocate for Indigenous voices on global stages like WOMEX. While George brought the creative vision, I served as the strategist, helping to shape and execute our shared goals. I continue to honour his legacy by ensuring our cultural narratives remain at the forefront, driven by his unwavering love for our people and our taonga tuku iho (treasures passed down).

How has your Māori heritage shaped your professional journey and creative work?

Māori whakapapa (genealogy) and whānau (family) are everything to me. I love being Māori, and I take pride in who I am (Ko au). Being Māori has guided me throughout my professional journey, shaping my leadership, critical thinking and relationships. It informs the ‘how’ when respecting diversity, and bridging that cultural divide we can have in our communities.

I’ve specialised as a cultural economic development practitioner which means putting ‘culture’ at the centre of an organisation's identity and success.
We have a saying in Māori

He aha te mea nui o te ao?
He tangata, he tangata, he tangata

Which means

’What is the most important thing in the world?
It is the people, it is the people, it is the people.

This whakatauki (Māori Proverb) speaks to the importance of human connection and relationships. This is what creates a community and enables people to flourish. It values the human being in all of us and reminds us of what is important - it’s people!

This Te Ao Māori philosophy is empowering - Māori culture gives us the skills to navigate, welcome people into our world and be an active member of a global cultural landscape.

Could you give us an overview of the current Māori music and culture scene? What movements are you most excited about?

Māori music is experiencing a remarkable resurgence, now heard on aeroplanes, in cafés, and gyms, and across social media platforms like Instagram and TikTok. This revival is driven by strategic efforts to promote waiata reo Māori, especially through our Iwi Radio Network, which has garnered widespread support across Aotearoa. Māori music is a powerful platform for storytelling, community-building, and reinforcing cultural identity. Amidst global division and isolation, it fosters unity and a sense of nationhood, showcasing cultural pride and illustrating the significance of waiata Māori in contemporary society.

The growth of Māori music is supported by fluent te reo speakers who nurture new composers through initiatives like Reo Māori song hubs. Influential figures such as Dame Hinewehi Mohi, Professor Timoti Karetu, Ngahiwi Apanui and Moana Maniapoto play a key role in this movement, empowering emerging artists to express their creativity and cultural identity. Māori culture continues to evolve while remaining deeply rooted in tikanga.

Similarly, Pacific music in Aotearoa NZ, which recently celebrated 20 years of supporting Pacific Nation musicians, has a significant role in the wellbeing of Pacific peoples and reflects the cultural diversity of Polynesia. This music enriches the local cultural landscape and connects with wider Pacific communities across Polynesia, Melanesia, and Micronesia. Key figures in this movement include Posenai Mavaega and Peta Si’ulepa, who are board members of the foundation and have had a significant role in enhancing the visibility and appreciation of Pacific music. Their involvement underscores the untapped potential of Pacific music in the World Music context and ensures a promising future for the genre.

How do you view your role as an activist in the preservation and promotion of Māori culture?

I don’t typically see myself as an activist in the traditional sense. Rather, I view my role as a dedicated advocate and champion for Māori culture. My work involves brokering opportunities for Māori artists and finding the pathways for emerging and mid-tier talent to be recognised both nationally and internationally. By fostering regional partnerships and encouraging cultural exchange, through our foundation, we help to amplify Māori voices and ensure that their footprint is represented in diverse contexts. It’s about leading by example, inspiring others to engage with and support Māori culture, and building a future where our cultural contributions are valued and understood.

Are there any new projects or creative directions you’re particularly excited about exploring in your work?

One project I’m particularly excited about is ‘Future Past: The Long Song’, an initiative that launched itself in Aotearoa, NZ in March this year. We had 12 indigenous practitioners from 7 countries join us in a long-term conversation around identity, self-expression and reclaiming their narrative. IT is not a project that is primarily concerned with creating products but rather one that fosters communication, sharing and brokering of information amongst those of us in the “world music” community to make strategic changes in both how the rest of the world and we as a community see our Indigenous arts within a cultural marketplace and as its branch upon the tree of human experience as Danny Kilbride from Trac Wales (Music Traditions Wales) would say. The aim of the Long Song is to continue learning and finding common experiences to build upon the conversations we can have to make new music together.

Can you shed some light on how Indigenous communities or networks from around the world or from various regions work together? Some successful or insightful projects/experiences?

Indigenous communities around the world often collaborate through networks that focus on cultural exchange, shared experiences, and mutual support. One successful example that I have had the privilege to participate in is the International Indigenous Music Summit in Canada, which brings together Indigenous artists and cultural leaders from various regions to discuss common challenges and opportunities. Projects like these facilitate knowledge sharing and foster a sense of global solidarity among Indigenous communities. Another insightful project involves cultural tourism initiatives that promote Indigenous experiences and heritage globally, creating opportunities for cross-cultural interactions and mutual appreciation.

Do you feel that Indigenous artists today are often expected to serve as spokespersons for their cultures?**

Yes, Indigenous artists frequently find themselves in the role of spokespersons for their cultures. While this can be empowering and a platform for raising awareness, it also places a significant responsibility on artists to represent complex and diverse cultural narratives. It’s important for the broader community to recognise such as WOMEX to understand the depth of Indigenous cultures and support artists in ways that acknowledge their creative contributions without placing undue burden on them to speak on behalf of entire communities. Empowering artists involves valuing their work and respecting their role in cultural representation while also supporting diverse voices within the community."