There is a Māori proverb – Ko taku reo taku ohooho, ko taku reo taku mapihi mauria – that broadly characterizes the Māori language as a lens into the Māori perspective or essence.
Although it is an ancient saying, its significance is growing among a young generation of artists across the globe who are turning away from English songs in favor of their nation's minority language.
One such artist is Marlon Williams, a New Zealand singer-songwriter who is preparing to launch his first album in Māori this April. As indicated by the Māori proverb, this journey has deepened his connection to his roots, even though he initially felt hesitant about creating music in Māori. “Many Māori who didn't grow up speaking it fluently often experience feelings of shame and hesitation when they approach it later in life,” he shares. “This is especially true when trying to produce something original.”
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Similar trends are emerging worldwide. There has been a significant increase in media attention towards Welsh music, with Gwenno, a Mercury-nominated artist, leading a contemporary movement that includes diverse acts like the psychedelic country pop group Melin Melyn and rapper Sage Todz. Additionally, the Catalonia independence referendum in 2022 spurred renewed interest in Catalan music and culture at large. Rosalía has emerged as the most well-known Catalan artist in recent times, with Bad Gyal also gaining considerable acclaim beyond her borders.
However, Williams asserts that these movements are driven by more than just a single artist or political occurrence. It signifies a broader yearning among individuals to reconnect with their ancestry and carve out their own identity in a world that increasingly feels uniform.
“While it’s certainly not the sole reason, it is clear that the world has become more politically charged recently,” he observes. “For better or worse, issues surrounding indigeneity have become focal points. More generally, Māori are striving to use te reo as a means to reconnect with aspects of themselves that they feel disconnected from.”
Joe O’Connell, a music lecturer at Cardiff University, has explored the significance of minority language music. He attributes the revived interest in Welsh language music to several factors: the growth of the Welsh independence movement, the emergence of identity politics, and “this decolonial moment we are currently experiencing.” Collectively, these elements are amplifying the visibility of music from Wales.
While the push for language regeneration is a relatively recent development in New Zealand and Wales, it has a more complicated history in Catalonia. Pol Masdeu Canellas, a lecturer in Catalan studies at the University of Liverpool, notes that the struggle for acceptance of the language began in the 1960s with the La Nova Cançó movement.
“The Catalan language was banned,” he states. “In the 1960s, speaking Catalan in Spain was prohibited, leading to the creation of this movement to elevate the presence of Catalan in public life.”
With the language officially prohibited, music became an essential outlet for Catalan artists to express their identity and preserve the language. Consequently, the language became intrinsically linked to the Catalan independence movement. However, according to Canellas, the context has changed by 2025.
“It initially began as a political choice to sing in Catalan. Currently, while singing in Catalan still carries political connotations, it is not as it once was – because it’s becoming more commonplace to perform in Catalan.”
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Credit: Chloe Newman
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Although politics will inevitably influence an artist's choice to perform in a minority language, it might also pose constraints. Since a minority language is, by its nature, less likely to be embraced by the entire populace, this presents challenges even in more open-minded environments compared to the past. This issue is particularly pronounced in Spain, where the independence referendum illuminated longstanding divisions among regions.
“Regrettably, some in Spain might perceive it as ‘not their’ music because it is sung in Catalan, and that those artists somehow stand against Spain,” Canellas explains. “However, it’s vital to highlight that choosing to sing in Catalan isn’t an opposition to Spain or the Spanish language; it simply reflects one’s own language. It is a normal expression.”
Instead of focusing on political aspects, Canellas believes that the trend of artists incorporating multiple languages into their music genuinely characterizes modern music in Catalonia and similar areas. “They blend these languages because we exist in a bilingual context,” he notes. “We communicate in Catalan and Spanish, and English is also present and will always be.”
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Kneecap is among the most recognized minority language artists globally, frequently alternating between English and Irish Gaelic in their verses. Similarly, Bad Gyal fluidly combines English, Spanish, and Catalan in her reggaeton-infused tracks.
Nonetheless, the limited number of speakers for all these languages will naturally restrict their broader appeal. However, O’Connell believes that the rise of minority language music aligns with a growing acceptance of music in
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There is a saying in Māori - Ko taku reo taku ohooho, ko taku reo taku mapihi mauria - which roughly explains how the Māori language serves as a gateway to the