The Māori Composer Behind Project Hail Mary’s 110-Year-Old Song

For many of us in Los Angeles, the cinematic experience is more than just a night out at the Dolby Theatre or a trip to the IMAX screens at TCL Chinese Theatre. it is an immersion into global storytelling. When the 2026 blockbuster Project Hail Mary hit screens, audiences were treated to a sonic landscape crafted by Daniel Pemberton that blended cutting-edge sampling—including the recording of a “leaky, squeaky tap”—with profound choral elements. Yet, for those paying close attention to the emotional climax of the film, the most striking moment isn’t a synthesizer or a pop hit by Harry Styles or The Beatles. Instead, it is the haunting resonance of “Pō Atarau,” a 110-year-old Māori waiata that has traveled from the shores of Aotearoa to the heart of Hollywood’s production machine.

The Erasure and Rediscovery of Erima Maewa Kaihau

The inclusion of “Pō Atarau” in a high-profile sci-fi epic brings a critical conversation to the forefront: the intersection of artistic attribution and cultural legacy. The song, a te reo Māori anthem, was penned in the mid-1910s by composer Erima Maewa Kaihau (Ngāpuhi, Ngāti Te Ata). Kaihau was a trailblazer who, by 1918, became one of the first Māori composers to commercially publish her own music. Her work often explored themes of farewells, memory, and the loneliness of sad lovers, reflecting a period when Māori and Pākehā New Zealanders were navigating the complexities of living as neighbors.

The musical architecture of “Pō Atarau” is a fascinating study in adaptation. Kaihau took the tune of “Swiss Cradle Song,” a 1913 piano piece by Australian composer Clement Scott, and infused it with original te reo Māori lyrics and a vocal melody. This transformation turned the piece into a wartime anthem used to bid farewell to soldiers in the First World War. Over the decades, the song evolved, eventually becoming known globally in English as “Now is the Hour” starting around 1935. Although, as the song gained international fame, Kaihau’s own name became “detached” from the work. As noted by academic Austin Haynes, she lay forgotten for a long time, denied the attribution and payment that should have accompanied such a global success.

From Wellington Archives to the Silver Screen

The journey of “Pō Atarau” into the 2026 film was not an accident of chance but a result of preserved cultural history. The song’s path to Hollywood was paved by recordings made in the late 1950s and early 1960s by Keith and Nancy Southern for Viking Seven Seas in Wellington. The owner of Viking, Murdoch Riley, had a groundbreaking interest in recording Māori, Tahitian, Samoan, and Fijian music—a catalogue that Jan Hellriegel of Songbroker describes as invaluable. These recordings ensured that the authentic voice of the waiata survived to be rediscovered by modern filmmakers.

In Project Hail Mary, the song serves as a poignant counterpoint to the film’s wide science fiction scope. While Daniel Pemberton utilized a variety of unconventional sounds—from “body percussion” involving sixteen people clapping and stamping to the use of the ondes martenot and glass harmonica—the inclusion of a choir of women’s voices singing “Pō atarau / E moea iho nei” provides the emotional anchor for the film’s climax. It is a reminder that even in a story about intergalactic friendship, the most powerful connections are often rooted in ancestral human expression and the preservation of indigenous art.

Navigating Cultural Intellectual Property in Los Angeles

The story of Erima Maewa Kaihau is a cautionary tale for the creative industries centered here in Los Angeles. When global productions incorporate traditional or indigenous music, the line between “inspiration” and “appropriation” often depends on the rigor of the attribution process. For local creators and studios, ensuring that the original composers—especially those from marginalized or indigenous backgrounds—are recognized and compensated is not just a legal necessity but an ethical imperative. This trend toward “cultural recovery” in cinema highlights a growing demand for transparency in how music is sourced and credited in entertainment contracts.

Given my background in analyzing the socio-economic impacts of global media on local communities, as Hollywood continues to integrate diverse global sounds, the need for specialized expertise in cultural intellectual property will only grow. If you are a creator, producer, or estate manager in Los Angeles dealing with the complexities of heritage music and attribution, you need a specific set of local professionals to ensure legacy is protected.

Essential Local Experts for Cultural Legacy

When seeking to protect or recover the rights to historical and cultural works, residents and professionals in the LA area should look for these three specific archetypes of service providers:

Intellectual Property Attorneys Specializing in Musicology

Look for practitioners who do not just handle copyright filings, but who have a proven track record of working with musicologists to trace “detached” credits. The ideal expert should have experience navigating international treaties and the specific laws governing traditional cultural expressions.

Cultural Heritage Consultants

These professionals act as the bridge between production houses and indigenous communities. Seek consultants who have established relationships with global archives and a deep understanding of the ethical frameworks required for using sacred or traditional songs in commercial media.

Estate Archivists and Rights Managers

For families seeking to reclaim the legacy of a forgotten ancestor, an archivist specializing in the entertainment industry is vital. Look for those with experience in “orphan works” and the ability to conduct deep-dive research into early 20th-century music publishing records.

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