the case of 'Hine e Hine' however, it is not so much a case of the classical form being adapted into a Maori dialogue, as the traditional waiata being appropriated to fit into the (increasingly homogenised) classical and world music forms. Designed to appeal to a global market, both 'Hine e Hine' and Maori Songs (the title of the album itself stands as a metaphor for the favouring of song over waiata) do little to subvert cultural imperialism and instead promote an image of New Zealand that is Westernised for global consumption. Kiri te Kanawa - 'Hine e Hine' - Video The video begins with a shot of Rangitoto [20] at dawn. Time lapse photography is used so that the images of waves breaking and people walking along the beach are sped up. As the waiata intro to the song continues, the greys of the early-morning beach give way to time-lapsed shots of clouds rolling over the landscape in a variety of hues. This is the 'land of the long white cloud' (the Pakeha interpretation of Aotearoa) in Technicolor. The landscape images cross-fade to a shot of the intricate, traditional ceiling patterns of the meeting house, and the camera then tilts down the ornately carved centre structure to the carved figure that forms the base, to focus on it and Te Kanawa standing next to it. As the camera rolls around Te Kanawa and the figure for the first verse, the various angles of the meeting house are shown, with