Rangatuone (the weaving of gestures) represents an innovative exploration at the intersection of Indigenous musical traditions and contemporary compositional practices. This practice-as- research endeavour and exegesis seeks to hybridise the concept of Conduction, originally pioneered by musician/composer Lawrence D. “Butch” Morris, with the tradition of taonga pūoro (traditional Māori musical instruments) praxis. By observing five distinct conduction performances, this study elucidates the potential of Rangatuone as a tool for collective composition within and beyond the taonga pūoro community. Rangatuone embodies a holistic approach to music-making that honours the interconnectedness of all elements—musical, cultural, and spiritual. Through a series of collaborative wānanga (workshops) and performances, musicians engage in a dynamic process of collective composition, guided by the principles of improvisation and reciprocity. The five performances examined in this study showcase the development of Rangatuone from Morris’s Conduction methodology. From spontaneous to structured compositions, each performance offers a unique glimpse into the unlimited potential of this hybrid practice. Through the manipulation of gesture, sound, and space by myself as the conductor, a diverse array of musicians navigate a vast sonic landscape where traditional Māori instruments influence contemporary Western techniques and technologies. Central to the ethos of Rangatuone is the idea of collective composition—a process in which every participant contributes to the creation of an amalgamated musical arc. By embracing the principles of inclusivity and collaboration, Rangatuone transcends traditional notions of ownership, inviting all voices to be heard and valued. This democratisation of the compositional process has profound implications, fostering a sense of collective agency and empowerment among participants. By embodying the potential of Conduction, it offers a new paradigm for collective, spontaneous composition—one that is rooted in Indigenous worldviews, yet open to the possibilities of collaboration and innovation. As a benefit to the musical communities I have worked alongside, Rangatuone has the potential to inspire and empower practitioners from all backgrounds, welcoming in a new era of creativity and inclusivity in music-making.