E Ipo" (English: "By Love") is a 1982 song written by Prince Tui Teka and Ngoi Pēwhairangi[1] in tribute to Teka's wife Missy, sung bilingually in Māori and English. The song was a number-one single in New Zealand for two weeks.[2]
The melody was based on the popular Indonesian love song "Mimpi Sedih" by Aloysius Riyanto that Teka had heard from New Zealand soldiers stationed in Singapore[3] while he was performing overseas from 1980-1982.[4][5]
The video for the song was taken from a TV special filmed at the Mandalay nightclub in Newmarket, Auckland. The song later made the Nature's Best 3 compilation, a collection of the top 100 New Zealand songs as voted by members of APRA.[6]
"E Ipo", alongside "Poi E" (1984) by the Pātea Māori Club (also written by Pēwhairangi) were the first widely successful songs sung in Te Reo Māori in mainstream music, and had a great impact on the promotion of Te Reo and Māori culture in New Zealand.[7]
The tune used is borrowed from a love song Mimpi Yang Sedih. Although this was composed in Indonesia, by band-leader A. Riyanto in 1972, the first place it became very popular was Malaysia, when it was sung there by Taiwanese singer Teresa Tang. Rei Isaacs told me that the kapahaka group of the 1RNZIR soldiers based in Singapore quickly added it their repertoire as "The Malaysian Love Song".
Tui Teka visited Singapore during his 1980-82 tour of the Hilton Hotel entertainment circuit, and at an opportune time soldiers from from the kapahaka group and some families went up to mihimihi him. In that process they sang this song to him.
A little while later, when Tui Teka met Ngoi Pewhairangi while courting Misssy, Ngoi wrote Maori lyrics to its tune for him.
Mr Dennis Marsh has kindly given permission for use of MP3 clips from his Out of New Zealand CD.
Dennis is a Country & Western singer, and consequently sings this song in the key of G.
1. Kia koe te tau MP3 140 K.
2. Tena ra e hine MP3 70 K.
3. Oti ra e hine is the same tune as 2
Her primary schooling was at Tokomaru Bay Native school. Her first language was M?ori but she quickly became literate in English. Later, from 1938 to 1941, she attended Hukarere M?ori Girls School in Napier. After leaving school she returned to Tokomaru Bay and worked for her aunt, Tuini Ngawai, in her shearing gang. Also during this time she competed in many hockey/kapa haka tournaments around the North Island.
She was a member of the Te Hokowhitu-a-Tu concert party which her aunt, Tuini Ngawai, founded in 1939 to raise money for the war effort. Ngoi was groomed by Tuini in performance, composition and leadership, and she later tutored and led the group on many occasions. In 1945 she married Ben Pewhairangi, a Tokomaru Bay farm worker.
In the 1970s Ngoi taught M?ori language and culture at Gisborne Girls High School, and later began tutoring for the University of Waikato's certificate in Maori studies. Her skill in motivating people regardless of race, age, gender, or occupation was soon recognised, and by 1977 she was asked to work in the Tu Tangata program, rescuing alienated urban Maori youth.
Ngoi was considered an expert on adjudicating kapa haka competion, she was frequently called upon to judge them. She composed many songs such as Kia Kaha Nga Iwi, Ka Noho Au, and Whakarongo. She was renowned for the spontaneitity of the compositions she wrote for many people, such as Poi E which she wrote for Dalvanius Prime.
When Ngoi died at Tokomaru Bay in 1985, she was revered for her unstinting advancement of the Maori language and culture and for her ideal of a bicultural nation in which Pakeha would help to ensure the survival of the Maori language.
In the 1970s Teka performed solo in Sydney and southeast Asian clubs, his extravagant stage wardrobe including rhinestone jackets and embroidered shirts cut for his one hundred and forty kilogram frame. His cabaret set was enlivened with downhome jokes: Nat King Cole ('I'm his half-brother Charcoal'). His over-sized choreography added to the fun, as Teka found later when he dieted down forty kilograms on medical advice: "I had no stomach to wiggle."
Missy joined the show after their marriage in 1976. Teka would appear on up to ten instruments- "Middle of the road," he said, "a couple reggae numbers, a couple country and western, rock'n'roll impressions and playing different instruments."
The song 'TEKA' by Peso Pluma, featuring DJ Snake, is a vibrant celebration of nightlife and party culture, encapsulated in a catchy, rhythmic beat that is typical of Latin urban music. The lyrics paint a vivid picture of a weekend spree, filled with high-end fashion, substance use, and an unstoppable party vibe. The repeated phrase 'Va a romper la discoteca' which translates to 'It's going to break the disco,' serves as a bold declaration of their intent to dominate and energize the club scene.
The song also delves into the allure of a mysterious woman who captivates the narrator both with her dance moves and her enigmatic presence. Descriptions like 'Cara de modelo, cuerpo de asesina, divina' (Face of a model, body of a killer, divine) highlight her intoxicating appeal, which adds a layer of intrigue and sensuality to the track. This woman, along with the references to various substances, underscores a theme of excess and hedonism that is often celebrated in party anthems.
Culturally, 'TEKA' taps into the global appeal of Latin music, infused with electronic elements by DJ Snake, a French DJ known for his cross-genre collaborations. This blend of sounds and styles not only makes the song accessible to a wider audience but also reflects the modern, hybrid nature of global music culture. The track is a testament to the universal language of music and dance, bringing diverse influences together to create a single, compelling narrative of celebration.
Shirinda (pers. comm., 18 February 2021) presupposes that through the song, Ngobeni was celebrating the achievements of people from the often-undermined villages run by chiefs who were regarded as backwards, unbookish and trapped in laughable traditional practices:
Despite ZZ2 bosses advocating for better farm worker conditions, nature farming, ethical practices and fair labour practices by supporting the local communities by building schools, a clinic and providing housing to its workers, these claims are not necessarily in harmony with the lived experiences of the workers and land rights activists. Mnisi (pers. comm., 15 February 2021) is an officer in charge of the Farm Dweller programme at Nkuzi Development Association, a land reform support organisation in Polokwane, whose objective is to empower the landless and marginalised rural poor to assert their land and tenure rights. She argues that little has changed, especially for women farmworkers and dwellers. In her own words:
Two weeks later, Motsa was called for a disciplinary hearing by the ZZ2 management. According to the documentary, they alleged that he had acted in an insulting behaviour by intimidating the management on the farm. Furthermore, they claimed that he had disrespectfully entered the morning meeting and acted with total disrespect toward the management. He was also charged for allegedly providing false information to fellow employees by telling them the housing at Triangle was not up to standard. Consequently, Motsa was fired. In the documentary, he is shown looking after his chicken and livestock at home, feeling resentful inside.
During the first COVID-19 lockdown in the country, workers at the ZZ2 tomato farm in Mooketsi were restricted to the compounds, and were hardly allowed to go home despite some coming from nearby villages within walking distance. Sadly, from the worker testimonies in the eNCA documentary, it is clear that many farm workers and farm dwellers at ZZ2 tomato farms experience precarious tenure, poor housing and unfair labour conditions.
All respondents gave consent to participate in the study and agreed to have their full and correct names used in the article. No respondent was coerced or materially bribed to take part in the study. Respondents were interviewed between February and April 2021.
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