Hollywood Blockbuster Project Hail Mary Revives Legacy of Forgotten Māori Composer

The 110-year-old song 'Pō Atarau' by Māori composer Erima Maewa Kaihau reaches global audiences in the sci-fi film Project Hail Mary, sparking a push for recognition.

By: AXL Media

Published: Apr 13, 2026, 3:46 AM EDT

Source: RNZ Pacific

The Origin and Adaptation of a Global Anthem

Erima Maewa Kaihau, a composer of Ngāpuhi and Ngāti Te Ata descent, is credited with penning the original te reo Māori lyrics and vocal melody for 'Pō Atarau' in the mid-1910s. While she adapted the tune from Clement Scott's 1913 'Swiss Cradle Song', Kaihau transformed the piano piece into a poignant vocal farewell. The song eventually transcended its local roots to become the international hit 'Now is the Hour', famously recorded by legends such as Bing Crosby, Frank Sinatra, and Vera Lynn. Despite this global reach, Kaihau's name was often omitted from the credits, leaving her legacy "detached" from her most famous work.

Artistic Diplomacy and Cultural Synthesis

Scholars highlight that 'Pō Atarau' was composed during a pivotal era when Māori and Pākehā were navigating their coexistence as neighbors. Like other classic waiata such as 'Pōkarekare Ana', the song occupies a unique "in-between" musical space, blending indigenous and European melodic traditions. Research suggests the song may have functioned as a form of "artistic diplomacy," possibly written to farewell British dignitaries or the Duke and Duchess of York during their 1927 visit, showcasing the powerful role of wāhine Māori in international relations.

A History of Financial Disparity and Lost Rights

The financial history of the song reveals the stark inequities faced by Māori artists in the early 20th century. In 1935, the rights to 'Pō Atarau' were reportedly sold to a New Zealand music company for a mere 10 pounds—roughly six years before Kaihau’s death. Following World War II, British singer Gracie Fields popularized an English version, which generated massive global revenue, none of which benefited the original composer or her descendants. This pattern was common for many Māori works of the era, which were often mislabeled as anonymous "folk songs" rather than intellectual property.