1. ORIGINS

My research will be on the whakapapa of Kapa Haka to Haka theatre in New Zealand. If we were to date back the first Kapa Haka performances we have to acknowledge its origins which date back thousands of years back to Māori heritage to their gods. Maori traditions are based on the gods and whakapapa which filter through their story telling. First of all the purpose of this is to maintain cultural identity which links to the importance of knowing where you are from. Additionally, meaning where your ancestors lived, knowing your river, lake, mountain, canoe, ancestral house, and lastly whakapapa. The gods of performing arts are Hineruhi she is a “deity found at dawn, and her dance is said to be the sparkle of light that is reflected in the morning dew” (Rawinia Higgins, 2014). Tanerore the god of light is known to be the heat waves flickering on a hot summer’s day this is recognized as the wiri, “Te haka a Tanerore” the dance of Tanerore (Rawinia Higgins, 2014). Raukatamea (or Hineraukatamea) is the god known for entertainment, and Raukatauri (or Hineraukatauri) is the god of music. Hineraukatauri is personified as the case moth, on which the pūtōrino flute is modelled. Hineraukatauri also is the god of taonga puoro which is Maori traditional flute like instruments made out of greenstone, wood, sea shells, clay and stone. These gods are the foundations of what Māori performing arts are today.

Items were not commonly performed in massive collections they were rather performed individually. Such as, Haka, waiata tangi, patere, oriori, karakia, pao, ngeri, and the list go on. All these items had specific roles in storytelling which the songs and chants they sung were very real and truthful. Here are some summaries of some few items that embody the performing arts. There is haka which can be performed with weaponry or hand actions which is called a Haka Taparahi. Known as a war dance to intimidate or ambush the enemy. This item remains in the dwell of Tumatauenga(god of war). Waiata tangi is translated ‘a song of sorrow’ which is usually sang on or for mourning occasions such as funerals, memorials, and missing someone you love. Oriori which is a lullaby sung to babies mainly hold messages to encourage the baby to grow up healthy and strong. Patere is a fast beat monotone rhythmic item which discusses events relating to betrayal, war, whakapapa and land. Ngeri are known for short freestyle chants that can be for thanking the chefs for the food or honouring someone.  Pao is a form of freestyle like a form of rap. Post colonisation the introduction of Waiata-a-ringa was formed. The waiata-a-ringa is usually accompanied by a guitar and sung in notes, they can pretty much sing about anything which combines all the previous items. Poi was traditionally used for males to strengthen their wrist for weaponry but also post colonisation it became a female item which they use to show their beauty and femininity.  All of these items are performed in the whare tapere which is the house of entertainment (Mitira, 1972). Other than the meeting house the whare tapere is the main source of storytelling through song, haka, games, and oratory (Colman, 2013).  Which brings us to this day and age; Kapa haka started as tourism type of show which involved 7 items which only 2 hold ancient history which are the moteatea and haka. The other 5 are the waiata tira, whakaeke, waiata a ringa, poi, and whakawatea which are more modern.  First competition recorded was in 1934 on Waitangi Day (Smith, 2014) and then first National competition was in 1972 in Gisbourne which was called the Polynesian Festival. Furthermore, this would be the rise of Kapa Haka.