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

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