a simple ensemble of trousers and jersey, similar to that worn by many hard-working middle aged New Zealand women. This is Kiri Te Kanawa, the New Zealander, who, like the CD, appears in neutral wrapping. [28] The clothes and setting however, also serve to form a neutral backdrop for the other Te Kanawa, the one who has earned herself the right to a title [29] . Te Kanawa's simple clothing may associate her with other New Zealand women of her age and class, but neutrality of the outfit accentuates the language of the body over that of the clothing. Frith argues that as important as clothes are in performance, "social signs, that is, are written on the body itself, on its shape, its size, its texture, its curves and bones and flesh and hair". [30] Te Kanawa's body is her instrument and her fixed position in the meeting house, and the way in which the camera moves around her and closes in on her face and neck as she sings the most strenuous parts of the song, show the physicality of her performance. Frith writes that: the use of the body as an instrument involves, in fact, two components. On the one hand, the material we work on determines our movements (when writing, cuddling, driving, sewing) - in musical terms the instrument we play thus determines the instrument our body must be (standing up, sitting down, bowing or blowing, sitting or pulling). On the other hand, our movements are also