Prince
Tui Teka sung this for his mum when he was in Australia.
There are now about 140,000 Maori living overseas
D G A A7
Oh Mum I love you,
D D7
Yes I do
G A A7
Please wait for me mum
D
I'll be home very soon
D7
I never knew
just how much you mean to me
G(or E?) E7
till now you're so many
A A7
miles away across the sea
G A
Only God knows
D
where or when
we'll meet again
D7
to hold you in my arms
G
once more,
G7
to hear your voice
D G D7
and to see your smi.....ile
G A7
God please do keep
D
my mum...
Thanks to Hinemoana for the words and guitar chords.
"
More than 60,000 NZ-born Maori now live in
Australia."
In
2001 there were an estimated 62 thousand New Zealand-born
Maori living in Australia, and another 41 thousand in
Australia with at least one New Zealand-born Maori parent.
Elsewhere in the world, there were about another 18
thousand New Zealand-born Maori living overseas, (England
8000, Canada 1000, the USA 1000), and 12 thousand with at
least one New Zealand-born Maori parent.
So in 2001 the total number of NZ-born Maori living
overseas was about 80 thousand, and there were another 53
thousand overseas-born Maori with at least one New
Zealand-born Maori parent.
Therefore the total number with NZ Maori ancestory living
overseas was about 133 thousand.
And of the 550,000 Maori living in New Zealand in 2001,
about 5,000 had been born overseas.
A Statistics New Zealand report says:
"Like
New Zealanders generally, the Maori population is mobile.
The highest number of Maori movers are those aged in their
20s.
"
There are now about 4000 Australian-born Maori
children in New Zealand."
The
1996 NZ Census recorded 9,600 Maori who had returned to
New Zealand from overseas within the last five years. Most
of these were aged under 40, and two-thirds had been
living in Australia."
"Nearly
2,000 of those Maori enumerated in the 1996 Census who
had been overseas in 1991 were children, and over 3,500
were in the 25-34 age group. This suggests that most
were returning for family or economic reasons."
2007 TKI
Report
The
TKI study "Maori in Australia" said Australia has a Maori
population estimated to be about 120,000. Maori believed
they were pushed out of New Zealand by prejudice and bad
experiences arising from social dysfunction, while they are
pulled to Australia by whanau already living there, better
weather and higher wages.
High-profile
occupations for Maori include entertainment, shearing,
mining, construction and security.
Queensland
(31,000), New South Wales (30,000) and Western Australia
(32,500) attracted most Maori.
Teka
was from Ruatahuna in the Ureweras, and had a musical
childhood. His mother played mouth organ and clarinet, and
his father was a saxophonist with a bush band. After
learning guitar and saxophone at woolshed dances with
teenage bands, Teka moved to Sydney and began a six-year
stand with the Maori Volcanics showband on the Japan and
Pacific circuit. The 'Prince' title was adopted when Teka
joined the Maori Troubadours: "In those days Elvis was
the king of rock'n'roll so we thought up New Zealand's
prince of entertainment."
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."
By 1981 he had returned to Tokomaru Bay "I began to feel
homesick" and became a household name during the next
year with E Ipo,
and two albums with Teka originals including Real Love
and Oh Mum. He appeared in films, including Came
A Hot Friday, and Savage Islands in which he
featured as a cannibal chief.
My
thanks to Gordon Spittle for allowing the use of this
material from his book Counting
the Beat