This page only exists due to enquiries and interest expressed in the origins of ‘The All Blacks Haka’ way back in 1995, in the rugby newsgroup r.s.r.u and via e-mail. 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 excellent book of The Maori Language Commission.
In what follows, you can read about and what it means, as well as the many different. Also, focussing on there are a few paragraphs on its origin, a, and a brief description of. Finally there is a for further reading and links to a couple of related websites. What is Haka? The Maori people have always excelled in the art of haka, which is the generic term for Maori dance.
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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 (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 Slap the hands against the thighs Uma tiraha Puff out the chest Turi whatia Bend the knees Hope whai ake Let the hip follow Waewae takahia kia kino 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 with legs folded underneath at the end. Observers of the All Blacks circa 1980′s through 1990′s will have noted that they often used to perform this same jump, which was a point of irritation amongst haka purists.
However since the new millennium they have sorted this out. In fact the All Black rendition of Ka Mate has inevitably undergone quite a few changes along the way to make it more impressive or appropriate to the game of rugby or those doing it at the time. The Origin of Ka Mate It is said that circa 1820 a chief by the name of 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. It was 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!” 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.
Pukana Game Words
Fleeing for his life he came to Te Wharerangi and asked for his protection. Although reluctant, Te Wharerangi eventually agreed and 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 like this.
The first has it that no Maori 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!
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, and had departed for Taranaki he exclaimed “Ka ora, ka ora! Suite life of zack and cody conga line game. Tenei te tangata puhuruhuru nana nei i tiki mai whakawhiti te ra!” (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 is described as a man with more than his fair share of body-hair, hence the reference. “Upane”, literally means a “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.
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The Words of Ka Mate Ka mate! Tenei te tangata puhuru huru This is the hairy man Nana nei i tiki mai Who fetched the Sun Whakawhiti te ra And caused it to shine again A upa ne! One upward step! Another upward step!
A upane kaupane whiti te ra! An upward step, another. The Sun shines!! Some incidentals A kumara is a sweet potato – very nice with a roast! These were often harvested and stored in a pit to keep them dry.
The ‘wh’ is pronounced as an ‘f’ or ‘ph’. The ‘e’ on the end of a word is sounded as if the word ended in ‘ay’ as in ‘hay’. The ‘au’ is pronounced as the ‘oh’ in ‘oh my goodness’. The ‘u’s are all long like ‘ou’ in ‘you’. The ‘a’s are all sounded long as in ‘ah’ Note: the above pronunciation hints are simply a crude guide, and are not intended to be a definitive lesson in how to speak Maori! The Words of Kapa O Pango Kapa O Pango kia whakawhenua au i ahau!
All Blacks, let me become one with the land Hi aue ii! Ko Aotearoa e ngunguru nei! This is our land that rumbles Au, au, aue ha! It’s my time!
It’s my moment! Ko Kapa O Pango e ngunguru nei! This defines us as the All Blacks Au, au, aue ha! It’s my time! It’s my moment!
Ka tu te ihiihi Our dominance Ka tu te wanawana Our supremacy will triumph Ki runga ki te rangi e tu iho nei, tu iho nei ihi! And will be properly revered, placed on high Ponga ra! Kapa O Pango, aue hi! Kapa O Pango, aue hi!
The Haka, the Silver Fern, and Rugby The first haka in an overseas representative rugby match was performed by the New Zealand Native Team to tour Britain in 1888-89. The drawing shown below originally came from Illustrated London News, and depicts the very first haka performed in Britain by a New Zealand rugby team. It is entitled, rather endearingly, “Their war cry before starting play”. It isn’t clear whether or not it was Ka mate which they performed, but it is probable. At some venues they went to some considerable trouble to impress, bringing out mats and other items onto the field to complement the performance. The team was not entirely composed of Maori, as many assume.
The main organisor and instigator of the tour, Joe Warbrick added four pakeha players to the squad in order to provide a more balanced combination, and in the process renamed the squad from The New Zealand Maori Team to avoid misunderstandings. A fifth pakeha was also added just before they set sail, to don the jersey of Warbrick himself because of injury. No discussion on the haka and New Zealand rugby is complete without mentioning that most powerful of kiwi icons, the Silver Fern. The Native Team was the first to wear a black uniform with the Silver Fern on the left breast. It also included in its ranks one of the founding fathers of rugby in this country, the legendary Tom Ellison whose contribution to the game subsequent to this tour was truly immense.
Ellison invented wing forward (flankers) play, conceived the 2-3-2 scrum, and authored that most famous of all New Zealand rugby books The Art of Rugby Football. His incisive and innovative mind was responsible for giving New Zealand a head start in the playing of the game and his thoughts on how it should be approached provided an impetus which is felt even today. Had he not suffered an untimely death at the age of 36, who knows how much more he would have done toward that end. Equifax hack. In the 1890′s Ellison served as selector and administrator of the Wellington Rugby Union, and during the first annual meeting of the NZRFU, following its formation in 1892, he proposed a motion that the New Zealand representative team adopt the black uniform and silver fern. The rest, as they say, is history.
For further reading on the New Zealand Native Team and in particular this tour, I heartily recommend the excellent book. In 1905 the first ever officially sanctioned overseas tour by a representative New Zealand rugby side took place when “The Originals” visited Britain.
It was on this tour that the name ‘All Blacks’ was coined, and that the first haka was performed by a team bearing that name. The two most distinctive features of the New Zealand team were thus instigated right from the very beginning.
The haka became a permanent fixture for the All Blacks from then on. An interesting little anecdote is told regarding the 1924 New Zealand team which became known as the famous “Invincibles”, due to their winning every match on tour. This team had as their most famous son, a young maori boy called George Nepia. He it was who led the All Black haka, in the first match against Devon on September 13th, 1924. The haka was enthusiastically received by the crowd of 18,000 who were then treated to an 11-0 All Blacks win, however a “prominent university sportsman” who attended was moved to write a letter which appeared in the next day’s paper. In it he asserted: “Cat-calls were quite uncalled-for”, and added: “South Africans do not open their games with Zulu cries!”.
Obviously, this gentleman had never visited either country. A Note to Travellers To all prospective visitors to New Zealand, I would urge you to investigate the Maori culture which is very rich indeed. In particular make sure that you see a ‘genuine’ haka performance. The sheer passion and force of a well executed haka is guaranteed to send shivers down the spine! Bibliography Timoti Karetu, Haka! The Dance of a Noble People, Reed, 1993 ISBN 0-7900-0290-6 Alan Armstrong, Maori Games and Haka, Reed, 1964 Greg Ryan, Forerunners of the All Blacks, Canterbury University Press, 1993, ISBN 0-908812-30-2 Arthur S. Thomson, The Story of New Zealand: past and present, London, J.
Murray, 1859; Christchurch, Capper Press, 1974 Links Tourism New Zealand Website The Haka section has an absolutely wonderful Flash presentation of the Haka. This covers a verbal history of it, as well as a superb rendition and a teaching aid. A must for anyone wanting to learn to perform the haka themselves! Www.history-nz.org The story of Te Rauparaha A fully detailed history of Te Rauparaha, his life, times and additional details on the origins of Ka Mate, “The Haka”. Www.allblacks.com The New Zealand Rugby Union The NZRFU All Blacks Haka web-page.
Www.maori.org.nz A comprehensive resource for all things Maori. Info on customs, Maori art, genealogy, language, stories, directories, links and much more.
Young Maori students will be tested on their knowledge of lyrics to Maori songs in a new game show, ‘Waiata Mai’, premiering on PUKANA (Maori Television on Wednesday April 20 at 6.00 PM). PUKANA is 100 per cent Maori language youth ‘edutainment’ combining entertaining segments and educational elements with popular send-ups, comedic skits, practical information, competitions and giveaways. In the new ‘Waiata Mai’ segment, contestants from Te Kura Kaupapa Maori o Mangere, Hato Petera College and Te Wharekura o Manurewa (Auckland) as well as Te Wharekura o Ngati Rongomai (Rotoiti) will compete to see who will represent their schools in the semi-final heats. The students are Koro Raroa, Aroha Tutakiau-Mika, Awatea Wihongi and Kearsyn Rihari (Te Kura Kaupapa Maori o Mangere); Mary Mareikura, Kaylene Bassett, Eldon Kake and Tanekare Mane (Te Wharekura o Manurewa); Rangiwhatautau Savage, Te Rina Chase, Whakauekaipapa Savage and Takiata Curtis (Te Wharekura o Ngati Rongomai); and Ihaia Nikora, Dylan Bryan, Temuera Bennett and Jesse Cope (Hato Petera College). PUKANA producer Pania Papa says the trick is to correctly recall song lyrics from a variety of genres.
A selection of well known waiata Maori and haka are used as well as some popular chart-hitting songs such as ‘Maumahara Noa’ by Brannigan Kaa, ‘Whakahonohono Mai’ by 1814, ‘Kotahitanga’ by Hinewehi Mohi, ‘Poi E’ by Dalvanius Prime and the Patea Maori Club, ‘E Ipo’ by Prince Tui Teka and Cinco Cine’s flagship hit single ‘Kei a Wai Ra’ by Aaria. “This competition will set the scene for our nationwide search for talented young singers when we hit the road later this year to audition for ‘Uru Whetu’ – the PUKANA pop band,” explains Pania Papa. “A group of talented singers will be brought together to record a popular hit single and film a video clip, following in Aaria’s footsteps.
‘Waiata Mai’ is a great way to uncover some hidden talents and let some young stars shine!” PUKANA screens on Maori Television every Monday, Tuesday and Wednesday at 6.00 PM as well as on Te Reo every weekday at 7.00 PM and TV3 every Sunday at 9.05 AM. A talented teenager from Ngati Porou will make her presenting debut on award-winning youth show PUKANA in April. Te Ataakura Pewhairangi is the newest and youngest member of the PUKANA team.
The 17-year-old hails from the East Coast and was schooled through kura kaupapa and wharekura at Mana Tamariki in Palmerston North. Te Ataakura joins presenters Marama Gardiner, Tiare Tawera and Herea Winitana – all fluent Maori language speakers and talented singers, actors and reporters with a natural rapport with children and young people. PUKANA has been entertaining Kiwi for the past 13 years and now screens on three channels: Maori Television (Monday, Tuesday and Wednesday at 6.00 PM); 100 per cent Maori language channel, Te Reo (weekdays at 7.00 PM); and mainstream broadcaster TV3 (Sunday at 8.45 AM). The pioneering series is 100 per cent Maori language ‘edutainment’ combining entertaining segments with informative, educational elements. PUKANA producer Pania Papa says the show has always been committed to training young Maori to write, present and produce television. The bilingual presenters brainstorm, research and write comedy skits as well as reviewing segments and educational segments for each episode.
In addition, they write and professionally record a new lyrical composition each week, adding to the pool of Maori language songs. “Our team takes te reo Maori to the street, encouraging modern usage of the language in ways that children and youth can relate to. Each week, the presenters aim to inspire, entertain, educate and uplift the spirits of Maori-speaking youngsters throughout Aotearoa.” Te Ataakura Pewhairangi (Ngati Porou) was kaitataki of secondary school kapa haka group, Te Piringa, and is also a previous winner of the national speech competitions, Nga Manu Korero. As a 13-year-old, Te Ataakura became just the second female in the competition’s history to claim a title when she won the Rawhiti Ihaka trophy for best junior Maori speech. Marama Gardiner (Ngaiterangi, Ngati Ranginui) attended kohanga reo and kura kaupapa at Piripono in Otara and is a graduate of Te Wharekura o Hoani Waititi in west Auckland where she was prefect and head girl.
Gardiner won a scholarship to attend South Seas Film and Television School and then worked behind the scenes on a reality television series for Maori Television, Waka Reo. PUKANA is a dream job for Gardiner – she participated in the show while at school and sang on it at the age of 15. Tiare Tawera (Te Whanau-a-Apanui, Ngati Porou, Ngai Tuhoe) was born and bred in Whakatane and was both dux and head boy at Auckland’s Hato Petera College.
As well as his presenting role on PUKANA since 2006, Tiare is known for his Maori language voiceover work which has included cartoon character SpongeBob SquarePants and a penguin called Pablo in The Backyardigans. Tiare is an aspiring actor and is also in training for his first bodybuilding competition.
Herea Winitana (Tuhoe, Ngati Tuwharetoa) grew up in Turangi and was home schooled at Te Kura o Te Ahorangi. The 19-year-old has a black belt in karate and competed at the world championships in 2006 – securing a place in the top eight. In 2010, Herea took top honours at the national secondary school speech competition, Nga Manu Korero, when he won the senior Maori section, Pei Te Hurinui, as well as best male speaker and best prepared. PUKANA screens on Maori Television every Monday, Tuesday and Wednesday at 6.00 PM as well as on Te Reo every weekday at 7.00 PM and TV3 every Sunday at 8.45 AM.
Pioneering Maori language children’s programme PUKANA returns in 2011 with new characters, comedy and competitions – on three channels. PUKANA kicks off its 13th year of production with a new season launch on Maori Television this Monday February 7 at 6.00 PM.
The colourful, hip and funny show goes to air on New Zealand’s national indigenous channel every Monday, Tuesday and Wednesday. The long-running series also screens on the 100 per cent Maori language channel, Te Reo (weekdays at 7.00 PM), and mainstream broadcaster TV3 (every Sunday at 8.45 AM). PUKANA is the work of Auckland-based Cinco Cine Film Productions – an award-winning independent film and television production company with a commitment to engage and train young Maori to write, present and produce television. Originally called TUMEKE, the show won a Qantas Media Award in 2003 and the TV Guide New Zealand Television Award in 1999 for best children’s programme – the first time a show entirely in Maori has taken out the mainstream award. The target audience is Maori speakers aged between eight and 14 years but viewers range from six to 60 and include many Maori language learners, both Maori and non-Maori.
Producer Pania Papa says the innovative series showcases Maori language to children and youth, and has also provided a platform for the development of young talent on both sides of the camera. PUKANA presenters Marama Gardiner, Tiare Tawera, Herea Winitana and Faye Peke are all fluent Maori language speakers and talented singers, actors and reporters with a natural rapport with children. In addition, the bilingual performers brainstorm, research and write comedy skits, songs and educational segments for each episode.
Other former presenters include Quinton Hita, Matai Smith, Pirihira Hollings, Te Hamua Nikora, Reikura Morgan and Tumamao Harawira who have all gone on to forge impressive careers in broadcasting. Te Atirau Paki was a presenter for six years, trained as an associate producer and is now a director of the show. “We are training Maori language speakers as producers and directors and in technical areas like camera and editing so that one day they will produce their own shows,” explains Pania.
“Cinco Cine brings a fresh approach based on its kaupapa of commitment to the Maori language and endeavours to normalise the language through its use in television and film, and the adoption of key phrases into mainstream culture.” PUKANA screens on Maori Television every Monday, Tuesday and Wednesday at 6.00 PM as well as on Te Reo every weekday at 7.00 PM and TV3 every Sunday at 8.45 AM. Fresher, snappier and with more entertainment than ever, PUKANA – the popular children’s show – is back to bust the boredom not once, but three times a week this year on Maori Television.
PUKANA returns to screens for its ninth season on Saturday, February 13 at 4.00 PM and then moves to a new a time – Monday, Tuesday and Wednesday at 6.00 PM – from May 3. The fast-paced series also moves from hour-long to half hour episodes. Producer Pania Papa, from Auckland-based production house Cinco Cine, says the new PUKANA is all about having fun through the Maori language, with a specific focus on children aged 8 to 14. “It’s entertainment and education all wrapped up in one and it’s very cool,” she says. Papa says PUKANA favourites including the cheeky send-ups, music and practical life skills have been refreshed while there are some colourful new additions to the show such as the witty Rastafarian puppet, Raku.
“We’re going for a fresher, snappier pace with more energy,” she says. “The challenge is fitting all the great ideas into the minutes.” PUKANA presenters Tiare Tawera (Ngai Tuhoe, Ngati Porou), Marama Gardiner (Ngai Te Rangi, Ngati Ranginui) and Chey Milne (Ngapuhi, Ngai Tahu) are all fluent Maori language speakers and talented singers, actors and reporters with a natural rapport with children. The presenters brainstorm, research and write comedy skits, songs and educational segments for each episode. This latest season of PUKANA will see them getting out into the community more often in their colourful van named Te Waka o Pukana to film special events such as the National Primary Schools’ Kapa Haka Competition, and the show’s own annual live event, Pukana in the Park. This year’s PUKANA also focuses more on having high-achieving young people on the show as guests and introduces new competitions including one based on the amazing race.
PUKANA is an award-winning series, having won a Qantas Media Award in 2003 and the TV Guide New Zealand Television Award in 1999 for best children’s programme. Sit back and be entertained on PUKANA, screening on Saturday, February 13 at 4.00 PM and Mondays, Tuesdays and Wednesdays at 5.30 PM from May 3 on Maori Television.
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