This information relates to our marae and has been prepared for your assistance, particularly for first time visitors. We ask that you please take the time to familiarise yourself and your group with this information. Prior to your visit you will need to organise the following:. Please contact our administration office should you have any questions relating to the information supplied.
Please note that it is not our kawa for our Kaikaranga to call to a rangatahi teenager or kotiro girl. This is a good opportunity to collect the koha from those gathered and place in an envelope. While at the Wharemanaaki please organise your group with the wahine women in the front and tane men behind them.
All children should be between the men and women. It is appropriate to have the oldest people in the front of each group. Your Kaikaranga should be at the front of your group — they will lead your group on to our Marae. Once your group is ready your Kaikaranga should lead your group quietly to the second bridge where your group will wait for the maioha the kaikaranga for our marae to give her first call.
Once her call has been completed your Kaikaranga will reply to the call and your group should proceed quietly and slowly towards the Wharetipuna Meeting House. The length of this time of reflection can vary from 30 seconds to several minutes and is usually determined by your Kaikaranga but once observed then your Kaikaranga will begin to proceed again towards the Wharetipuna.
Your Kaikaranga should enter first followed by the other women, the children and then the men. The wahine should move, upon entering the whare, to the seats behind the front row and the Tane should move to the front row of seats.
If there are more men than seating permits in the front row then the women should accommodate accordingly and move back a row. Children may occupy any spare seats or be seated on the floor.
Once at your seats please stay standing until the tangata whenua indicate to you to take your seats. Please note koha is only laid at the conclusion of all speeches.
Either way is appropriate providing the person laying the koha is the last speaker. The Tangata Whenua will pick up and acknowledge your group by accepting your koha. On occasion this acceptance may also be acknowledge by the Kaikaranga giving a call of thanks.In a full performance, which can last up to 40 minutes, each music or dance type may appear more than once.
Music for kapa haka is primarily vocal.
Hei Waiata, Hei Whakakoakoa
These groups comprise individuals linked in some way, be it by extended family group, iwi tribeschool, or some other association. Performers are largely synchronised, but with men sometimes doing some actions while women do others. A few performers have particular roles, such as the kaitataki male and female leadersoften moving among the performers to urge them on.
Composers, arrangers, choreographers and costume designers also play major roles. Below are brief descriptions of the ones that usually appear. From Wikipedia, the free encyclopedia. This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. TNZ Media. Retrieved Culture of indigenous Oceania.
List of resources about traditional arts and culture of Oceania. Languages of Oceania. Cook Islands Niue. Literature of Oceania. Religion in Oceania. Not included: Oceanian: cinemaindigenous currency, dress, folkore, cuisine. Also see Category:Oceanian culture. Indigenous people of New Zealand Aotearoa.Justine Murray - justine.
The national kapahaka festival Te Matatini begins on 23 February.Te Iwi e
Matiu Dickson Photo: Walter Dickson. Matiu Dickson — composed the action song Piki Mai in He wrote it while hosting his students at a marae and their guest speaker was running late.
Within a short time he composed the song and actions. Today Piki Mai is sung with slight variations. Matiu said he wrote it to acknowledge Ngati Awa and their tupuna ancestor Wairaka. I also used the other songs of other groups that I already knew, but I don't know if that is possible now.
Everybody was doing that, using songs that were very popular that came out from Waihirere, the songs that were composed by Hirini Melbourne were good for young people. I just taught myself how to compose. I would normally write the words that I like and I would fit the tune in with the words.
The first thing I look for when judging is the words, and I particularly like words which are simple and straightforward. But I also look at the words for any message it is intended to convey. Then I look at the tune and whether the tune conveys the kaupapa of the words.
Then I look at the strength of the singing as a whole package, knowing full well that when the group is on stage they only get to do it once. Composer who want to embed their songs with eloquent language, I say do it! In his doctoral thesis researchDr Ngata cites the work of the late Dr Hirini Melbourne who mastered the sounds of the environment in his music.
Podcast MP3 Oggcast Vorbis. From Te Ahi Kaapm on 19 February Tags: arts te ao Maori Bay of Plenty performing arts.
Professor Pou Temara on restoring Tikanga after the lockdown. Get the RNZ app for easy access to all your favourite programmes.Aim for no more than 30 minutes for your rehearsal. Just ask the experts at Treasury, who have done exactly that. It's also about living and sharing the cultural values that are special to this land we live in. As well as preparing you for any situation where you might need or want to sing a waiata, the act of singing itself is scientifically proven to be really good for you and your brain.
To start, you just need to be a keen participant. Find a space to rehearse in. At RNZ we are a flying hit squad who turn up to sing in different departments, so those who are glued to their screens either join you, or are treated to an impromptu concert at their desk. Lunch rooms and meeting spaces are also good for rehearsing. Let's sing! It's the first time in years that we've had waiata practice.
Tomorrow we're taking it to the radionewzealand newsroom. Make YouTube your friend. For good or bad, the online video platform is the 21st choir director. Most waiata have versions online - many include written lyrics - so play it through your phone or workstation and sing along with your waiata mates. Although familiarity can help build confidence and ability. It does pay to learn about your rohe area.
A lot waiata are especially written for the flora, fauna and geographic features particular to a region or area. People don't always like to be human Wikipedias. If you do find one - congratulations! You may proceed to Step 3. Here is the radionz Wellington waiata roopu debut on air performance on ninetonoon. Can our Auckland colleagues beat this? Pull your head in and open your waha mouth. Do a vocal warm up. This is actually really helpful in sounding more tuneful.
Plus singing is way less embarrassing than vocal warm-up exercises! Go through waiata lyrics kupu by kupu. Read through the lyrics aloud and together. Get the phrasing and pronunciation right and tino pai - you will be styling. Use some speakers if possible. Film yourselves and put it in the staff newsletter. Podcast MP3 Oggcast Vorbis.It involves an emotional and powerful combination of song, dance and chanting. Kapa haka is performed by cultural groups on marae, at schools, and during special events and festivals.
Many performances include skilled demonstrations of traditional weaponry.
How to get waiata fit! A step-by-step guide to singing at your workplace
The performers flutter their hands quickly, a movement called wiri, which can symbolise shimmering waters, heat waves or even a breeze moving the leaves of a tree. Poi is a form of dance in which each performer skilfully twirls one or more poi ball on a chord in perfect unison with the others.
Sudden direction changes are achieved by striking the ball on a hand or other part of the body, and the noise creates a percussive rhythm. Poi dancers are usually women and a skilled performance will strongly convey a sense of grace, beauty and charm.
Haka are war dances with loud chanting, strong hand movements, foot-stamping and thigh-slapping. Performers may incorporate traditional weapons, such as taiaha spear-like weapons and patu clubs into their haka. The All Blacks rugby team famously performs their haka before every game, and it is likely you will see this very same haka if you attend a cultural performance.
Though these expressions may be intimidating, they are not necessarily a sign of aggression, but may simply show strong and deep-felt emotions. When visitors arrive at the outskirts of Tamaki Maori Village, nobody may enter the tribal grounds until the formal welcome is complete. By Andy Lloyd. Waka performance at Tamaki Village, Rotorua. By Tamaki Maori Village. Close video.
Meeting house, Rotorua. By Te Puia. Poi Poi is a form of dance in which each performer skilfully twirls one or more poi ball on a chord in perfect unison with the others. A poi dance, Taranaki. By James Heremaia. The Maori poi dance features the skilful control of a ball swung on a string.
Haka Haka are war dances with loud chanting, strong hand movements, foot-stamping and thigh-slapping. Wero - the challenge, Rotorua. By Graeme Murray. You may also be interested inAccompanying the waiata is a songbook with lyrics, song sheets, curriculum achievement objectives, and suggestions for activities. The waiata tracks, lyrics and song sheets can be copied for classroom use.
Click the link below to download the songbook. The waiata get progressively more complex as you go through the tracks. If you want to develop your confidence in teaching these waiata and haka, regardless of the age of your students, you should start with the earliest ones. Click the links below to download the tracks, accompanying teaching suggestions and song sheets.
Many of the waiata and haka have actions that can be performed. These actions can vary from iwi to iwi, rohe to rohe, and school to school.
Teachers, students, schools, and the community need to take ownership of the actions they decide to use within their own context. The performances and arrangements in this resource are models of how the melodies and pronunciation sound and are provided as a guide, feel free to create your own arrangements and sing these waiata in a way that suits your students. PDF 18KB. PDF 34KB.
PDF 28KB. PDF 54KB. PDF 19KB. PDF 90KB. PDF 27KB. PDF 64KB. PDF 22KB. PDF 43KB. PDF KB. PDF 32KB. PDF 47KB. PDF 50KB. PDF 33KB. PDF 48KB. PDF 59KB. PDF 20KB. PDF 46KB. PDF 26KB. PDF 55KB. PDF 52KB. PDF 29KB. PDF 40KB. PDF 44KB. PDF 39KB. PDF 21KB. PDF 53KB. PDF 56KB. PDF 62KB.Kapa HakaPowhiri. We value these opportunities that help to strengthen the connections between Te Wehi Haka, Mana whenua and our neighboring Pacific Island Nations.
The poi poi dance was chosen as it is an up-beat, light song. It is fun and cheeky and lifts the mood. To finish off, Tapeta chose the hakaKa Mate, as a way to entice the guests and give them one final show as this haka is very common with the All Blacks. The South Pacific Tourism Exchange SPTE is an special program born out of the the need to offer a one-stop shop for valued international travel partners to meet regional tourism products and suppliers from the islands.
It offers the convenience of meeting all Pacific island destinations and a cost-effective platform for Pacific Island partners to travel from all corners of the Pacific Ocean to Auckland, New Zealand display their exciting products to international buyers from all across the globe. Our kaiwero runs out of the wharenui meeting house holding his taiaha traditional wooden weapon. He is usually the fastest and strongest warrior. He is challenging the manuhiri and trying to intimidate them to see weather they come as friends or foe.
He does this by showing off his weaponry skills- jumping up and down, running and whetero, pukana. It is common for kaiwero to chanelle a spirit animal which is represented in his movements. Using the pointed, sharp part of his taiaha to present war-like moves. Sharp strikes, swinging of the taiaha in the air and stabbing thrusts. There are two outcomes that can occur; 1.
These actions let the kaiwero and tangata whenua people that are from that Marae know the manuhiri do not come with good intentions and are foe.
Composing waiata and understanding mōteatea
This does not usually occur these days. The rangatira picks the taki up and holds it above his head signalling to the kaiwero and tangata whenua that he accepts the challenge and is here as friends with good intentions.
This is the usual outcome these days. And is what occurred in the picture. The kaikaranga female that does the calling welcomes the manuhiri onto the marae by calling out. She is usually the eldest, most knowledgable woman. She also will remember the guests tipuna ancestors and her own tipuna to show respect.
As well as acknowledging the recently passed. The manuhiri will have a kairangara on their side to respond as well.