By Rowena Singh
Nadia Freeman, also known by her artistic moniker ‘Miss Leading’, is a writer, poet, and electronic music producer. Her performance piece ‘The Girmit Project’ is her first creative exploration into the untold histories of the Fijian Indian diaspora, using electronic music.
“My curiosity about my heritage made me start researching Girmit history,” says Freeman who began looking at the history of Fijian Indians in early 2022. The archives she found and the stories she read, led to a deep desire to build more awareness about her ancestors and their legacy. This led to the development of The Girmit Project, a powerful mix of electronic music and poetry that brings to life the often-overlooked history of indentured Indian laborers—known as Girmityas—who were brought to Fiji during the late 19th and early 20th centuries.
After each performance, Freeman found herself meeting more artists exploring Girmit culture and history through multiple mediums. This led to Freeman collaborating with Shivani Karan, Seema Singh and Padma Naidu to curate ‘Hidden Inheritance’, an exhibit that explores the themes of Fijian Indian diaspora
and inter-generational trauma through textiles, paintings, virtual reality, photography and performance art.
The Girmit Project: A storytelling experience
‘The Girmit’ is more than just music; it is an emotional and cultural exploration of the Girmityas’ experiences—marked by deception, hardship, and hope. Freeman uses objects tied to this history, like sugar cane and conch shells, to create live soundscapes that help her audience connect with the story.
These elements are then looped into music built around electronic instruments, such as the ‘Deluge Synthstrom’, a unique kit made in Wellington. Freeman’s approach to music production focuses on making the complex nature of electronic music more accessible. “I wanted to show people how the sounds are built from familiar objects and let them see the process,” she says, ensuring that the music is not just heard but understood.
Balancing creativity and cultural heritage
For this performance piece, Freeman’s creative process has involved balancing her dual cultural identity—Indo-Fijian and Pākehā. Growing up in Wellington’s Lower Hutt in the 80s, she didn’t have many peers who shared her background, leading her to grapple with a sense of belonging. Over time, Freeman has
learned to embrace both sides of her heritage, integrating them into her work. She recalls her teenage years when she and her sister decided to pierce their noses as a visible marker of their Indian heritage, a decision that signaled their desire to connect more authentically with their cultural identity.
In recent years, Freeman has intentionally deepened her connection with the Fijian Indian community in New Zealand, joining Fijian Indian cultural groups and building friendships with artists of shared interests. This has played a key role in the success of her ‘Hidden Inheritance’ exhibition, where she collaborated with other Indo-Fijian creatives like Karan, Singh, and Naidu.
Music as political expression
Freeman’s music, whether under her own name or her ‘Miss Leading’ project, is deeply political, addressing themes like feminism, human rights, inequality, and ethnic minority struggles.
“Basically, whatever I’m angry about,” she says, using her music as an outlet for activism. Her ‘Miss Leading’ work focuses more on electronic dance music, but it is still imbued with social commentary. Freeman describes her work as being both fun and political, often using humor and satire to address issues like financial inequality, human rights, and the role of women in society.
Ensuring cultural authenticity
When asked about cultural authenticity in her music, Freeman notes that her work isn’t necessarily about using traditional instruments or sounds. Instead, it’s about telling the story of the Girmityas with respect. This respect comes from thorough research, community consultation, and constant feedback from those who share her heritage. Freeman acknowledges that the history of indentured labor is still often told through a colonial lens, but she works to counter that by engaging with oral traditions and lived experiences.
Navigating the creative scene
As a creative in New Zealand’s music scene, Freeman has she is optimistic about the future. Through initiatives like the ‘Eastern Sound Collective’, a network she established for musicians of Pan-Asian heritage, Freeman has worked to build a supportive community for artists from diverse backgrounds. She
has also witnessed firsthand how the representation of ethnic minorities in the New Zealand music scene is slowly changing.
“There are more people now who want to strengthen the Fijian Indian community,” she says, reflecting the growing momentum within the diaspora. While Freeman’s work has not been met with overt
discrimination, she acknowledges that challenges are part of the journey. Her decision to tell the story of the Girmityas—despite not speaking the language or having been born in Fiji—was initially daunting, but the community has been incredibly welcoming, offering support and understanding, she says.
Future endeavors and collaborations
Looking ahead, Freeman plans to release a new song every month over the next seven to eight months, exploring the indie electronic dance genre. She is also excited about her collaborations, including one with Fijian Indian folk musician Harsha Prasad, whose addition of tabla and harmonium to Freeman’s recorded music has elevated the project to new heights.
Freeman sees collaboration as an essential part of her future music-making journey. As she continues to refine her skills and expand her musical knowledge, Freeman hopes to work with more artists from diverse backgrounds, particularly as she begins to formalise her understanding of music theory.
Advice for aspiring artists
For those looking to blend their cultural heritage with their passion for electronic music, Freeman offers simple but powerful advice: “Work with the medium that sits most comfortably with you.” Whether it’s electronic music, traditional instruments, or another form of artistic expression, the key is authenticity. “It
doesn’t need to be electronic music specifically,” Freeman adds.
“It’s about telling your story in the way that makes the most sense to you.”
A lifelong journey of discovery
Freeman’s journey as an artist reflects not just a creative evolution, but a personal one, as she navigates her complex cultural identity and aims to uplift others within the Fijian Indian community. She views her artistic practice as a constant process of discovery—a lifelong journey of learning and sharing stories
that have long been hidden from mainstream narratives. Through her work, Freeman is carving out a space where her heritage is not only acknowledged but celebrated, ensuring that the voices
of her ancestors are heard and remembered.
