This analysis shows that these popular songs contributed, and continue to contribute, to the nexus of Māori, war, and music in Pākehā narrations of the nation. This thesis presents a critical cultural analysis of the ethnic, racial, gendered, and national identities represented in Hill’s ‘Māori’ songs, viewed through the lens of his use of these in his score for Rudall Hayward’s film Rewi’s Last Stand (1940). However, Maoriland music can tell us much about New Zealand society if it is recognised as inhabiting an ‘in-between’ place where Pākehā fascination for the racial other was often inseparable from an admiration for Māori promoted by a knowledgeable group of Māori and Pākehā cultural go-betweens. Although early twentieth-century Maoriland has been discussed widely in the arts and literature, scholars have not addressed the music of Maoriland, perhaps because it is heard today as the cultural form that most clearly expresses racialised sentimentality and colonial hegemony. They are tangible evidence of the site of identity formation known as Maoriland within which Pākehā construct imaginings of ‘Māoriness’ to create their own sense of indigeneity and nationhood.

Alfred Hill’s songs based on collected Māori musical materials and narrative themes are artefacts of cultural colonisation that represent individual identities and imagined communities.

The forgotten soundtrack