MAORI102 Short Essay
Maori 102
Short Essay
Haka
From an early age, New Zealanders from all across Aotearoa have grown up accustomed to the traditional genre of Maori dance known as haka (a challenge, song or dance). Exposure to haka is somewhat inevitable given the numerous occasions and reasons haka is performed. Many New Zealanders would associate previous experiences of haka with the likes of the All Blacks, childhood school trips to the marae (communal and sacred place that serves social purpose), high school (Murray,
D. 2000), funerals and notable sporting events, however, these are a mere few of the reasons haka may be performed. Throughout this essay, various aspects of this traditional ancestral dance will be explored such as; the history of haka, the various types of haka and the cultural impacts of haka, with particular regards to the famous
“Ka Mate” haka and to what extent this version has impacted society and popular culture. First of all, it would be advantageous to describe the act of haka itself. Haka is performed in a group of, most commonly, men orchestrated by rigorous and rigid movements in unison. The chanted word that the haka leader delivers leads the groups body movements and could be compared to a conductor leading a symphony, with the various body parts being utilised as instruments. Depending on the type of haka it may include; leaping and tucking the legs under the body, poking out of the tongue, intimidating facial expressions, showing the whites of ones eyes, various cries and grunts, the show of weapons (in a more traditional context) and accompanied by the slapping of legs and chest, among other movements.
Historically, haka was used between tribes for the sake of intimidation and increasing mana (power, authority). The very nature of haka itself was used to challenge the enemy psychologically through intimidation. This was achieved through the aggressiveness of the body movements with particular attention to the slapping of the chest which not only made
Short Essay
Haka
From an early age, New Zealanders from all across Aotearoa have grown up accustomed to the traditional genre of Maori dance known as haka (a challenge, song or dance). Exposure to haka is somewhat inevitable given the numerous occasions and reasons haka is performed. Many New Zealanders would associate previous experiences of haka with the likes of the All Blacks, childhood school trips to the marae (communal and sacred place that serves social purpose), high school (Murray,
D. 2000), funerals and notable sporting events, however, these are a mere few of the reasons haka may be performed. Throughout this essay, various aspects of this traditional ancestral dance will be explored such as; the history of haka, the various types of haka and the cultural impacts of haka, with particular regards to the famous
“Ka Mate” haka and to what extent this version has impacted society and popular culture. First of all, it would be advantageous to describe the act of haka itself. Haka is performed in a group of, most commonly, men orchestrated by rigorous and rigid movements in unison. The chanted word that the haka leader delivers leads the groups body movements and could be compared to a conductor leading a symphony, with the various body parts being utilised as instruments. Depending on the type of haka it may include; leaping and tucking the legs under the body, poking out of the tongue, intimidating facial expressions, showing the whites of ones eyes, various cries and grunts, the show of weapons (in a more traditional context) and accompanied by the slapping of legs and chest, among other movements.
Historically, haka was used between tribes for the sake of intimidation and increasing mana (power, authority). The very nature of haka itself was used to challenge the enemy psychologically through intimidation. This was achieved through the aggressiveness of the body movements with particular attention to the slapping of the chest which not only made
References: Murray, D. (2000). Haka Fracas, The Dialectics of Identity in Discussions of a Contemporary Maori Dance. The Australian journal of anthropology, 11(2), 345-357. A. H. and A. W. Reed, (1980), Te Rauparaha: A New Perspective. By Patricia Burns. With translations by Bill Parker and an appendix by A.A. St. C.M. Murray-Oliver. Wellington, 346pp Scherer, J. & S.J. Jackson (2008), Cultural Studies and the Circuit of Culture: Advertising, Promotional Culture and the New Zealand All Blacks Cultural Studies. 8: 507-526.