Kapa haka
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Kapa haka is a contemporary performance style of the Māori people of New Zealand. It involves choral singing, dance and movements associated in the hand-to-hand combat practiced by Māori in precolonial times, presented in a synchronisation of action, timing, posture, footwork and sound. The genre evolved out of a combination of European and Māori musical principles.
Performance practice
Kapa haka consists of the performance of a suite of songs and dances spanning several types of Māori music and dance, strung together into a coherent whole. Music and dance types that normally appear are waiata tira (warm-up song), whakaeke (entrace song), waiata-ā-ringa (action song), haka (challenge), mōteatea (old-style singing), poi (co-ordinated swinging of balls attached to ropes), and whakawātea (closing song). They may also include tītī tōrea (manipulation of a thin stick). In a full performance, which can last up to 40 minutes, each music or dance type may appear more than once.
Kapa haka music is primarily vocal. All song types appearing in kapa haka, with the notable exceptions of mōteatea and haka, are structured around European-style harmony, frequently with guitar accompaniment. Spurts of haka-style declamation are woven into the songs, as are dance movements, facial expressions and other bodily and aural signals unique to Māori. Song poetry is completely in Māori and new material is continually being composed.
The sole musical instruments used in kapa haka performances are the guitar, the pūtatara conch shell and body percussion.
Kapa haka is performed by mixed groups of anywhere between several and dozens of people and dressed in neo-traditional Māori dress. These groups are comprised of individuals linked in some way, be it by extended family group, iwi (tribe), school, or some other association. Performers perform mostly in synchrony with one another, but with men sometimes doing certain actions and women doing others. A few performers have particular roles, such as the kaitataki (male and female leaders). Composers, arrangers, choreographers and costume designers also play major roles.
Every two years, kapa haka groups from all parts of New Zealand compete in Te Matatini, New Zealand's national Māori performing arts competition for adult groups. Another important kapa haka competition takes place yearly at the ASB Bank Auckland Secondary Schools Māori and Pacific Islands Cultural Festival, commonly known as Polyfest, where the level of performance is also very high.
Music and dance styles used in kapa haka
Not all Māori performance types are used in kapa haka. Below are brief descriptions of the ones that usually appear. See Māori music for a wider discussion of Māori music.
- Waiata tira are choral pieces used to warm up the vocal chords and introduce the audience to the group. Through a waiata tira the group announces its arrival in a manner that is generally light and positive.
- Whakaeke are also choral pieces. They are frequently used to comment on a social issue of the day or to commemorate an individual or some element of Māoridom. They may also simply be used as the entrance song to announce the group's arrival.
- Haka are best described as challenges. They are used to make a point and to vent anger. They are performed by both men and women, with the focus on the men in the front and support from the women behind. They are vocal performances involving rhythmic declamation in triple metre and aggressive or challenging facial expressions, body movements and demeanor. The men make heavy use of foot stamping, body percussion, and grimace in an attempt to appear as menacing as possible. Haka are often described as traditional war dances but in fact had many other uses as well in precolonial Māori society, and have many non-warring uses today.
- Waiata-ā-ringa (literally "song of hands or arms") are "action songs", which means that they display the typical Polynesian practice of embellishing and reinforcing the song poetry with arm and hand actions. They are performed by men and women with women in the front and men in the back. Some use melodies from common English-language songs with new lyrics re-written in Māori, while others are newly-composed, treating a wide variety of topics. They feature the wiri or trembling of the hands to indicate the interface between the mind and the body.
- Poi is a women's dance involving the swinging of balls, about the size of tennis balls, attached to cords. Poi's origins lie in the precolonial practice of training with poi to improve agility in battle, but today is used to showcase the beauty and gracefulness of the women. Performers swing the balls in synchrony in a variety of figures and rhythms while simultaneously singing a song accompanied by guitar. They demonstrate great dexterity and coordination, particularly with "long poi", with cords up to a metre long, where four poi at once may be manipulated by each performer. Formerly the balls and cord were made of flax but today they tend to be made of plastic rubbish bag material and yarn.
- Mōteatea are unison songs performed in a style reminisicent of precolonial Māori singing. They are an important genre within Māoridom because they tell stories in which historical, genealogical and cultural information is preserved and thus link Māori with their past. Mōteatea come in a variety of forms including laments, lullabies, and songs about revenge, anger, and love.
- Whakawātea are choral pieces used to farewell the audience or make a final point before departing the stage. It may pick up on themes raised in the whakaeke or comment on the event at hand. Performers are often at the side or back of the stage.
- Tītī tōrea are occasionally used in kapa haka. Tītī tōrea consists of the manipulation of a carved thin stick about shoulder width involving dextrous wrist and arm work. Like poi, tītī tōrea figures are performed in synchrony and to music; and, also like poi, arose out of a precolonial warrior training technique.
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