History of Haka Dance
History of Haka Dance History of Haka Dance

The Haka is a traditional ancestral war cry, dance or challenge from the Maori people of New Zealand.

It is a posture dance performed by a group, with vigorous movements and stamping of the feet with rhythmically shouted accompaniment.

The New Zealand rugby team's practice of performing a haka before their matches has made the dance more widely known around the world.

Although the use of haka by the All Blacks rugby union team and the Kiwis rugby league team has made one type of haka familiar, it has led to misconceptions. Haka are not exclusively war dances but were traditionally performed by men.

In modern times, various haka have been composed to be performed by women and even children. Haka are performed for various reasons: for amusement, as a hearty welcome to distinguished guests, or to acknowledge great achievements, occasions or funerals.

War haka (peruperu) were originally performed by warriors before a battle, proclaiming their strength and prowess in order to intimidate the opposition. Today, haka constitute an integral part of formal or official welcome ceremonies for distinguished visitors or foreign dignitaries, serving to impart a sense of the importance of the occasion.

Various actions are employed in the course of a performance, including facial contortions such as showing the whites of the eyes and the poking out of the tongue, and a wide variety of vigorous body actions such as slapping the hands against the body and stamping of the feet. As well as chanted words, a variety of cries and grunts are used. Haka may be understood as a kind of symphony in which the different parts of the body represent many instruments. The hands, arms, legs, feet, voice, eyes, tongue and the body as a whole combine to express courage, annoyance, joy or other feelings relevant to the purpose of the occasion.

The various types of haka include whakatu waewae, tutu ngarahu and peruperu.

The peruperu is characterised by leaps during which the legs are pressed under the body. In former times, the peruperu was performed before a battle in order to invoke the god of war and to discourage and frighten the enemy. It involved fierce facial expressions and grimaces, poking out of the tongue, eye bulging, grunts and cries, and the waving of weapons. If the haka was not performed in total unison, this was regarded as a bad omen for the battle. Often, warriors went naked into battle, apart from a plaited flax belt around the waist. The aim of the warriors was to kill all the members of the enemy war party, so that no survivors would remain to undertake revenge.

The tutu ngarahu also involves jumping, but from side to side, while in the whakatu waewae no jumping occurs. Another kind of haka performed without weapons is the ngeri, the purpose of which was to motivate the warriors psychologically. The movements are very free, and each performer is expected to be expressive of their feelings. Manawa wera haka were generally associated with funerals or other occasions involving death. Like the ngeri they were performed without weapons, and there was little or no choreographed movement.

The most well-known haka is "Ka Mate", attributed to Te Rauparaha, war leader of the Ngati Toa tribe.

The "Ka Mate" haka is classified as a haka taparahi - a ceremonial haka. "Ka Mate" is about the cunning ruse Te Rauparaha used to outwit his enemies, and may be interpreted as "a celebration of the triumph of life over death" (Pomare 2006).

Gender of Participants
Most haka are performed by men, with the female role, if any, limited to providing support by singing in the background.

According to Maori mythology, the sun god, Tama-nui-te-ra, had two wives, the Summer Maid, Hine-raumati, and the Winter Maid, Hine-takurua. Haka originated in the coming of Hine-raumati, whose presence on still, hot days was revealed in a quivering appearance in the air. This was the haka of Tane-rore, the son of Hine-raumati and Tama-nui-te-ra.

Cultural Impact
In the lead up to the Rugby World Cup in 2011, flashmob hakas became a popular way of expressing support for the All Blacks. Some Maori leaders thought it was "inappropriate" and a "bastardisation" of the traditional war cry, despite its popularity. Sizeable flashmob hakas were performed in Wellington and Auckland, as well as London, which has a large Kiwi expat community.

On August 28, 2012, the New Zealand Herald posted a story of video footage which went viral worldwide of soldiers from the 2nd and 1st Battalion Royal New Zealand Infantry Regiment performing a haka for fallen comrades who were recently killed in action in Afghanistan.
In November 2012, a Maori kapa haka group from Rotorua performed a version of the 'Gangnam Style' dance mixed with a traditional Maori haka in Seoul, celebrating 50 years of diplomatic relations between South Korea and New Zealand.

The group of people performing a haka is referred to as a kapa haka (kapa meaning row or rank). The Maori word haka has cognates in other Polynesian languages, for example: Tongan haka, 'hand action while singing'; Samoan saka, Tokelau haka, Rarotongan ?aka, Hawaiian haka, Marquesan haka, all meaning 'dance'; Mangarevan kaka, 'to dance in traditional fashion; dance accompanied by chant, usually of a warlike nature'. In some languages, the meaning is divergent, for example in Tikopia saka means to 'perform rites in traditional ritual system'. The form reconstructed for Proto-Polynesian is *saka, deriving ultimately from Proto-Oceanic).
All Black's Haka .
Haka is also the plural form in Maori
A. H. McLintock, ed. (1966). "Haka". An Encyclopaedia of New Zealand. Retrieved 2009-04-26.
"Maori leaders at odds over flash mob haka". 3 News NZ. September 20, 2011.
"Wellington haka attracts hundreds". 3 News NZ. September 8, 2011.
"Flash mob haka on Auckland's Queen Street ahead of RWC opener All Blacks vs Tonga". 3 News NZ. September 9, 2011.
"Flashmob haka takes over Trafalgar Square". 3 News NZ. November 19, 2011. Missing or empty |title= (help)
"Maori take on Gangnam Style in Korea". 3 News NZ. November 30, 2012.

I learned that it is the weak who are cruel, and that gentleness is to be expected only from the strong. -Leo Rosten

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