This year I am undertaking postgraduate research at ARA in Ōtautahi. My subject is the ‘Tikanga of songwriting with Mātauranga Māori’. I am in my final two months of research.
Below is the first draft of the creative work for the research. I am about to embark on the second draft. However, I wanted to share this because I like its simplicity; the next draft will be more complex and dig deeper into the pain of colonization as I experience it. It may also include the sounds of some of the other beautiful Taonga Pūoro that Brian Flintoff has created for my research.
In this draft there are only three instruments – voice, kōauau and tumutumu kōhatu. The purpose of using the kōauau is to limit the voice to an interval of about a fourth. This allows for the exploration of microtones.
The title is simply ‘Rain’.
First draft of creative work exploring the decolonization of my creative practice. Post Grad research at ARA, Ōtautahi, Aotearoa.
I am a professional classical singer with strong crossover ability. I have been in the music business since my graduation from University in 1994.
In addition to singing, I have been trained to a high level in classical guitar and brass. My guitar playing enables me to self accompany; I perform professionally as a self-accompanied singer. My brass playing facilitates my playing of Taonga Puoro (traditional Māori instruments).
I have begun to focus on my YouTube channel now that my studio is full. I have called this channel 'The Complete Singer' because I am not only a singer, but also a teacher and singer-songwriter; I write songs professionally as well as for relaxation.
I believe that old fashioned singing techniques, developed over hundreds of years in Italy, should form the foundation of good singing. I practice exercises daily from books written by Garcia, Marchesi and Melba. In addition to these exercises, I add modern singing exercises. Therefore, this forms the basis of my teaching.
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Deborah Wai Kapohe 