Haka!
This piece was written in direct This marvellous piece is one of the many made by maori artisan Hepi Maxwell. It's included here for its simple beauty, and because it shows off the classical curves and shapes which feature strongly in maori art.response to enquiries and interest expressed via the rugby newsgroup and e-mail, in The Haka, as performed by the All Blacks.
Since there seemed to be a large number of people who wanted to know more, I decided to provide a web-page on the subject based on the most excellent book Haka! The Dance of a Noble People, by Timöti Käretu of the Mäori Language Commission.
The following contains a section explaining what 'haka' actually is and what it means, as well as the many different styles of haka. Focussing on Ka mate, the haka performed by the All Blacks, there are a few paragraphs on its origin, a translation of the words, and a brief description of how it relates to rugby. Finally there is a bibliography for further reading and links to other maori-related websites.
What is Haka?
The Maori people have always excelled in the art of haka, which is the generic term for Maori dance.
Henare Teowai of Ngati Porou, an acknowledged master of the art of haka was asked on his death-bed, "What is the art of performing haka?".
He replied: "Kia korero te katoa o te tinana." (The whole body should speak).
Another definition was provided by Alan Armstrong in his book Maori Games and Haka (Reed, 1964) as follows.
"The haka is a composition played by many instruments. Hands, feet, legs, body, voice, tongue, and eyes all play their part in blending together to convey in their fullness the challenge, welcome, exultation, defiance or contempt of the words."
"It is disciplined, yet emotional. More than any other aspect of Maori culture, this complex dance is an expression of the passion, vigour and identity of the race. It is at it's best, truly, a message of the soul expressed by words and posture.."
One of the initial refrains which the leader of the haka utters just prior to everyone performing the haka itself is shown below. These words simply serve to remind the performers how to comport themselves when they do the haka. They should be shouted out in a ferocious and staccato manner, designed to instil strength and determination into the performers, such that they enact the haka with the power and force required.
Ringa pakia
Uma tiraha
Turi whatia
Hope whai ake
Waewae takahia kia kino
Slap the hands against the thighs
Puff out the chest
Bend the knees
Let the hip follow
Stamp the feet as hard as you can
Also essential to the art of haka are pukana (dilating of the eyes), whetero (protruding of the tongue performed by men only), ngangahu (similar to pukana, performed by both sexes), and potete (the closing of the eyes at different points in the dance, performed by the women only). These expressions are used at various times in the performance to lend meaning and force to the words.
It is important to realise that haka are generally not uniformly enacted, with all participants acting in time. The best haka involve a good deal of spontaneity and creativity as the performers interpret the words and feel the power of the haka take hold of them.
Different Styles of Haka
There are several styles of haka. Ka Mate was originally of the ngeri style, a short free-form haka where the performers interpret as they feel fit. It is also performed without weapons, and is not therefore a war-dance as is commonly supposed. The peruperu is a style of haka for a war-dance.
It involves weapons and is characterised by a high jump War Dance by George French Angas from 'The New Zealanders (1846)'. This is taken from Timoti Karetu's book 'Haka! The Dance of a Noble People'with legs folded underneath at the end. Observers of the All Blacks will note that they often perform this same jump, which is a point of irritation amongst haka purists. In fact the All Black rendition of Ka Mate may have undergone quite a few changes along the way to make it more impressive or appropriate to the game of rugby.
The Origin of Ka Mate
It is said that circa 1820 a chief by the name of Te Rauparaha composed Ka Mate, the most well known of all haka. At that time Te Rauparaha was chief of the Ngati Toarangatira (Ngati-Toa) a branch of the Tainui tribe, and dwelt in Kawhia, north of the Waikato. Dating from a time some years before he was born, the son of chief Werawera, there had been inter-tribal war between the Ngati-Toa and the neighbouring Waikato tribe, a bitter story of constant skirmish, reprisal and territorial dispute. Growing up in this environment, with his father captured, killed and eaten when he was a young boy, Te Rauparaha became one of the most feared and respected warrior chiefs in Maori history. Later on he led his tribe South, and by 1828 was master of the whole coast stretching from Wanganui to Wellington, including Kapiti island, but at the time of composition he was in the thick of the action somewhere in the region of Taupo.
Ka mate! Ka mate!" were the words uttered by Te Rauparaha as he hid himself in a kumara pit from his pursuing enemies, the Ngati Maniapoto and Waikato tribes. Fleeing for his life he came to Te Wharerangi and asked for his protection. Although reluctant, Te Wharerangi eventually agreed and The famous warrior chief of the Ngati Toa, Te Rauparaha, who composed the most well-known of all haka, "Ka mate". This sketch was drawn by E. I. Abbot circa 1845, and is taken from Timoti Karetu's book 'Haka! The Dance of a Noble People'.bid him hide in a kumara pit. His wife, Te Rangikoaea sat over the entrance to it. There are two stories put forward as to why Te Rangikoaea sat over the entrance thus.
The first has it that no male of consequence would ever put himself in a position where he would be beneath the genital organs of a woman. Thus the hiding place would be discounted by the pursuers. Of course Te Rauparaha was naturally willing to forego this custom in order to survive.
The second tells that she sat there in order to have a neutralising effect on the incantations recited by the pursuing Chiefs; the female organs were believed to have a shielding effect. As the pursuers arrived, Te Rauparaha muttered "Ka mate! ka mate!" under his breath (I die! I die!), but when the Rotoaira chief indicated the man they sought had gone to Rangipo he murmured "Ka Ora! ka ora!" (I live! I live!). However when Tauteka doubted the words of Te Wharerangi he gloomily muttered "Ka mate! ka mate!" once again. Then, when his pursuers were eventually convinced he was not in Te Wharerangi's pa, but had made for Taranaki he exclaimed "Ka ora, ka ora! Tenei te tangata puhuruhuru nana nei i tiki mai whakawhiti te ra!" (I live! I live! For this is the hairy man who has fetched the sun and caused it to shine again!).
The "hairy man" in the Haka in fact refers to the chief Te Wharerangi who gave Te Raparaha protection despite his wish not to be involved. Te Wharerangi was a man of very noticeable hairy habit.
"Upane", literally means "terrace", and probably refers to the steps which were cut into the side of the pit for access. Each "upane" in the haka represents the tentative steps Te Raparaha made as he nervously emerged from the pit to see if the coast was clear.
One could imagine his joy at not only eluding certain death by a mere whisker, but also coming out of the dark kumara pit into the light of the day - "Whiti te ra! Hi!"
Going on from the kumara pit to the court yard of Te Wharerangi, before Te Rangikoaea and the assembled people, Te Rauparaha then performed his famous haka, which he had composed whilst in hiding. The variation used by the All Blacks is given below, together with the translation. Note that the words have been split in some cases to indicate the cadence of the syllables as the haka is performed.
, da most funiest thing i rekon in skool games is Kingswood started to perfom a "Haka"., just like Southern Pasific countries. i still cant belive dat relevent authorities let dease young skool boys to to such silly things in public.
