Haka Ilustracin de una danza guerrera maor (haka) del siglo XIX.

Haka es un trmino que sirve para definir cualquier danza tribal maor, pero se suele referir con este nombre de forma especfica a la danza de guerra tribal maor. No obstante, se suele utilizar como danza de bienvenida y es signo de hospitalidad. Actualmente la Haka se suele ver escenificada antes de cada partido de los All Blacks, el equipo nacional de rugby de Nueva Zelanda y de sus pares de Samoa, Tonga y Fiji; con la intencin de hacer patente el respeto a su historia y cultura y tambin para impactar en la concentracin del equipo rival. Segn la pgina web de la asociacin de rugby neozelandesa (New Zealand Rugby Union) la Haka oficial, es la llamada Ka Mate. A pesar de esto, el 28 de agosto de 2005 en la ciudad neozelandesa de Dunedin, antes de comenzar un partido del Torneo Tres Naciones que los enfrentaba contra Surfrica, los All Blacks estrenaron una nueva versin de la Haka llamada Kapa O Pango, aparentemente mucho ms violenta que la anterior. El partido finaliz con la victoria de los All Blacks (31 - 27). Esta Haka fue escrita por Derek Lardelli del clan maor de los Ngati Porou. Tabla de contenidos [ocultar] 1 HAKA KAPA O PANGO 2 HAKA KA MATE 3 El Haka desafiado por sus rivales 4 Enlaces externos HAKA KAPA O PANGO [editar] Haka realizada en un partido de 2006 de los All Blacks contra la Seleccin de rugby de Francia "Kapa o Pango" Kapa o Pango kia whakawhenua au i ahau! All Blacks, dejame ser uno con la tierra H aue, h! Ko Aotearoa e ngunguru nei! Esta es mi tierra, que vibra

Au, au, aue h! Es mi hora! Mi momento! Ko Kapa o Pango e ngunguru nei! Esto nos define como All Blacks Au, au, aue h! Es mi hora! Mi momento! I hah! Ka t te ihiihi Nuestro dominio, Ka t te wanawana Nuestra supremaca triunfar. Ki runga ki te rangi e t iho nei, t iho nei, h! Y llegar a lo ms alto. Ponga r! Helecho Plateado! Kapa o Pango, aue h! All Blacks! Ponga r! Helecho Plateado! Kapa o Pango, aue h, h! All Blacks! HAKA KA MATE [editar] "Ka mate" Ka mate! Ka mate! Ka ora! Ka ora! Muero! Muero! Vivo! Vivo! Ka mate! Ka mate! Ka ora! Ka ora! Muero! Muero! Vivo! Vivo! Tenei te tangata puhuru huru Este es el hombre valiente Nana nei i tiki mai Que trajo el Sol Whakawhiti te ra Y lo hizo brillar de nuevo A upa....ne! Ka upa...ne! Un paso hacia arriba! Otro paso hacia arriba! A upane kaupane whiti te ra! Un paso hacia arriba, Otro hacia arriba....el Sol brilla! Hi! El Haka desafiado por sus rivales [editar] Algunas veces, el haka es desafiado por los rivales de los All Blacks. En la Copa del Mundo de Rugby 2007, la seleccin francesa, se plant en frente, a solo un metro de distancia de los neocelandeces cuando se disponan a hacer el haka y los miraron cara a cara durante todo el ritual. [1]. Otra recordada oportunidad en que los All Blacks fueron desafiados en el haka fue en 1989, en Lansdowne Road, cuando la Seleccin de Irlanda, fue avanzando a medida que los hombres de negro hacan el haka, hasta literalmente invadir la zona en que ellos estaban desarrollando el baile, y se pusieron frente a ellos [2], como as

tambin en el Mundial del ao 2003 frente al seleccionado de Tonga, en donde stos ultimos desarrollaron una danza de guerra nativa al mismo tiempo frente a los All Blacks [3]. Origin of the Haka According to Maori ethos, Tama-nui-to-ra, the Sun God, had two wives, Hine-raumati, the Summer maid, and Hine takurua, the Winter maid. The child born to him and Hine-raumati was Tane-rore, who is credited with the origin of the dance. Tane-rore is the trembling of the air as seen on the hot days of summer, and represented by the quivering of the hands in the dance. Haka is the generic name for all Maori dance. Today, haka is defined as that part of the Maori dance repertoire where the men are to the fore with the women lending vocal support in the rear. Most haka seen today are haka taparahi, haka without weapons. More than any aspect of Maori culture, this complex dance is an expression of the passion, vigour and identity of the race. Haka is not merely a past time of the Maori but was also a custom of high social importance in the welcoming and entertainment of visitors. Tribal reputation rose and fell on their ability to perform the haka (Hamana Mahuika). Haka reflected the concerns and issues of the time, of defiance and protest, of factual occurrences and events at any given time Haka History The centrality of the haka within All Black rugby tradition is not a recent development. Since the original "All Black" team of "New Zealand Natives" led by Joseph Warbrick the haka has been closely associated with New Zealand rugby. Its mystique has evolved along with the fierce determination, commitment and high level skill which has been the hallmark of New Zealand's National game. The haka adds a unique component, derived from the indigenous Maori of New Zealand, and which aligns with the

wider Polynesian cultures of the Pacific. The All Blacks perform the haka with precision and intensity which underpin the All Black approach. Una cosa es aprender la haka, la antigua danza maor hecha famosa por el equipo de rugby de Nueva Zelanda, los All Blacks, y otra muy distinta bailarla en pblico. Se requiere confianza, pasin y la habilidad de sacar la lengua sin sentirse estpido, desafo al que no todos se pueden enfrentar. La haka se aprende mejor en grupo en alguno de los centros maores de pueblos como Rotorua (en la isla norte de Nueva Zelanda) y Queenstown (en la isla sur). Mientras yaca en su lecho de muerte, un experto en haka resumi sus secretos diciendo: "Kia korero te katoa o te tinana" (" todo el cuerpo debe hablar") Otro ms la llam "mensaje del alma". As que deshazte de tus inhibiciones, dilata tus ojos y retrocede en el tiempo a una poca cuando uno de los bailes ms caractersticos del mundo era mucho ms que un intento para atemorizar al equipo contrincante de rugby. La sensacin se quedar contigo para siempre.

Scope Although the use of a haka by the All Blacks has made one type of haka familiar, it has led to misconceptions. Haka[2] are not exclusively war dances, nor are they only performed by men. Some are performed by women, others by mixed groups, and some simple haka are performed by children. Haka are performed for various reasons: for amusement, as a hearty welcome to distinguished guests, or to acknowledge great achievements or occasions (McLean 1996:46-47). 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. Haka are sometimes popularly thought of solely as war dances, but individual haka have different purposes, not all related to war. War haka, which had their own term, '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. [edit] Haka and gender Many haka are performed exclusively by men which has sometimes led to the misconception that only men may perform haka. However there are a minority of haka which are performed predominantly by women, one of the most well-known women's haka being "Ka Panapana". In many haka though, the female role, if any, is limited to providing support by singing in the background. Women were strongly involved in the traditional origin of haka. According to Mori mythology, the sun god, Tamanui-te-r, had two wives, the Summer maid, Hine-raumati, and the Winter maid, Hine-takurua. The child of Tamanui-te-ra and Hine-raumati, Tne-rore is credited with the origin of the dance. [edit] Types of haka

Another 19th century depiction of a haka 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 Ngti Toa tribe. The Ka Mate haka is classified as a "Haka Taparahi" - a ceremonial haka. The "Ka Mate" haka 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' (Pmare 2006). [edit] See also Haka of the All Blacks Haka in popular culture Kapa haka Kailao Mori music Siva tau Cibi Hula

[edit] Notes 1. ^ The group of people performing a haka is referred to as a kapa haka (kapa meaning row or rank). The Mori word haka has cognates in other Polynesian languages, for example: Tongan haka, 'hand action while singing'; Samoan saa, Tokelau haka, Rarotongan aka, Hawaiian haa, Marquesan haka, all meaning 'dance'; Mangarevan aka, '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 *saka(g). 2. ^ Haka is also the plural form [edit] References McLean, Mervyn, 1996. Maori music. Auckland: Auckland University Press.

Haka of the All Blacks From Wikipedia, the free encyclopedia The All Blacks, the international rugby union team of New Zealand, perform a haka (Mori traditional dance) immediately prior to international matches. The Haka is also performed by some other New Zealand national teams, such as the Kiwis (rugby league) and the Tall Blacks (men's basketball).[1][2] Over the years they have most commonly performed the haka "Ka Mate". In the early decades of international rugby, they sometimes performed other haka,[3] some of which were composed for specific tours. Since 2005 they have occasionally performed a new haka, "Kapa o Pango." Contents [hide] 1 History 2 "Ka Mate" 0 2.1 Overview 1 2.2 Performance 3 "Kapa o Pango" 0 3.1 Overview 1 3.2 Performance 4 Controversies 0 4.1 Use by other teams

5 See also 6 Notes 7 References 8 External links [edit] History The first New Zealand rugby team to tour overseas, playing eight matches in New South Wales, Australia, in 1884, performed "a Maori war cry" or haka before each of its matches. During 1888-89, the New Zealand Native team toured the Home Nations of the United Kingdom, the first team from a colony to do so. It was originally intended that only Mori players would be selected, but four "whites" were finally included. As the "whites" were born in New Zealand, the name "Native" was considered justified. The team performed a haka before the start of their first match on 3 October 1888 against Surrey. They were described as using the words "Ake ake kia kaha" which suggests that the haka was not "Ka Mate". It was intended that before each match they would perform the haka dressed in traditional Mori costume but the costumes were soon discarded. New Zealand played its first full international test match when it played Australia in Sydney in 1903. It has been claimed that the New Zealand team performed a haka which was evidently composed for the occasion, as it addressed the "Wallabies". In 1905 New Zealand made their first tour of Britain. This was the first time the team were referred to as the All Blacks and this particular team also became known as the 'Originals'. It is uncertain whether they performed a haka before every match, but they at least performed "Ka Mate" before their first test, against Scotland, and before the match against Wales. The Welsh crowd, led by the Welsh team, responded by singing the Welsh national anthem. When a New Zealand Army team played Wales in 1916, the words of "Ka Mate" were included in the printed

programme, indicating that the haka was established as an accompaniment to New Zealand rugby teams playing overseas. The 1924-25 New Zealand rugby team which toured the United Kingdom, Ireland, France and Canada and which was nicknamed the Invincibles, performed a haka that was written for them during the voyage to England by two supporters, Judge Frank Acheson of the Native Land Court and Wiremu Rangi of Gisborne[4]. The haka was led by star player George Nepia. It was performed before all but two of the tour matches. Reporters criticized the team for disappointing the crowd on the two occasions it was not performed. A pre-match haka was not always performed on All Blacks tours. The team that toured Britain in 1935-36 did not perform one before matches, although they did some impromptu performances at social functions. In the early decades, haka were only rarely performed at home matches, such as the third test of the 1921 Springboks tour, played in Wellington. [edit] "Ka Mate" The All Blacks perform Ka Mate before a match against France in November 2006. [edit] Overview The "Ka Mate" haka arose as a wily plan to defeat the aims of an enemy. Inspired by this, the All Blacks are believed to have first used the "Ka Mate" or "Te Rauparaha" haka in 1906. The origin of this haka dates to 1810 when chief Te Rauparaha of the Ngti Toa iwi (clan or tribe) was being chased by enemies. In a cunning stratagem, he hid in a food-storage pit under the skirt of a woman. Because this was an unthinkable thing for a chief to do, Te Rauparaha thought he would be safe. He climbed out to find someone standing over him, who, instead of killing Te Rauparaha, turned out to be another chief friendly to Te Rauparaha. In relief Te Rauparaha performed a haka with the words (translated from Mori) It is death, it is death: it is life, it is life; this is the man who enabled me to live as I climb up step by step toward sunlight. These words are still used today. Te Rauparaha's escape from death is commemorated in the haka, which can be

interpreted as 'a celebration of life over death' (Pmare 2006). [edit] Performance The "Ka Mate" haka generally opens with a set of five preparatory instructions shouted by the leader, before the whole team joins in: "Ka Mate" Lea der: 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!

Lea der: Tea m: Lea der:

Ka mate, ka mate

'Tis death, 'tis death (or: I die)

Ka ora

'Tis life, 'tis life (or: I live)

Ka mate, ka mate

'Tis death, 'tis death

Tea m: All:

Ka ora Tnei te tangata phuruhuru Nna nei i tiki mai whakawhiti te r hupane, ka upane hupane, ka upane Whiti te r, h!

'Tis life, 'tis life This hairy man ...who brought the sun and caused it to shine A step upward, another step upward A step upward, another step upward The sun shines!

[edit] "Kapa o Pango" [edit] Overview Before a Tri Nations match against South Africa on August 28, 2005 at Carisbrook in Dunedin, the All Blacks unexpectedly introduced a new haka, "Kapa o Pango". Written by Derek Lardelli of Ngati Porou, it featured an extended and aggressive introduction by team captain Tana Umaga and was highlighted by its more aggressive climax: each player performing a "throat-slitting" action directed at the opposing team. The All Blacks went on to win the match 31 to 27. The new haka is said to have been over a year in the making, and was created in consultation with many experts in Mori culture. It will serve as a complement to "Ka Mate" rather than a replacement, to be used for 'special occasions'. The words to "Kapa o Pango" are more specific to the rugby team than "Ka Mate", referring to the warriors in black and the silver fern[1]

The All Blacks opted not to perform "Kapa o Pango" in their opening test of 2006 against Ireland, as it was requested that they perform the traditional haka, as a 'review' was conducted into "Kapa o Pango". The throatslitting action at the end of "Kapa o Pango" drew many complaints in the lead up to the Irish test, with members of the public complaining about it to the NZRU. The NZRU said that it was not because of public pressure that it was not performed against Ireland.[2] In the run-up to the first All Blacks Test of the 2006 Tri Nations at Jade Stadium in Christchurch against Australia, the NZRU completed their review, and concluded that the "throat-slitting" gesture had a radically different meaning within Mori culture and haka traditions, specifically the drawing of vital energy into the heart and lungs.[3] "Kapa o Pango" was performed, complete with the final gesture, before the Australia test. Despite this, the controversial gesture appears to have been withdrawn in 2007, with a modified action (raking the right arm from the left hip to over the right shoulder) performed in the challenge when "Kapa o Pango" was performed in test matches against France and South Africa. [edit] Performance "Kapa o Pango" Kapa o Pango kia whakawhenua au i ahau! H aue, h! Ko Aotearoa e ngunguru nei! Au, au, aue h! Ko Kapa o Pango e ngunguru nei! Au, au, aue h! All Blacks, let me become one with the land do one This is our land that rumbles Its my time! Its my moment! This defines us as the All Blacks Its my time! Its my moment!

I hah! Ka t te ihiihi Ka t te wanawana Ki runga ki te rangi e t iho nei, t iho nei, h! Ponga r! Kapa o Pango, aue h! Ponga r! Kapa o Pango, aue h, h! [edit] Controversies Haka prior to a game against Portugal in Lyon, France. The haka, whilst normally enjoyed by spectators, has been criticised as an unsporting attempt to intimidate the opposition before the match begins. However, most teams accept that the Haka is a legitimate part of Rugby's Heritage and face up to the All Blacks during its performance, with both teams standing about 10 metres apart. The 2007 Portuguese Rugby team ("Os Lobos", portuguese for "The Wolves") Captain Vasco Uva said of the Haka that "[We] faced it, gave it the respect it deserved and it gave us motivation and we knew if it gave them strength, it was also a point of strength for us." [5] Our dominance Our supremacy will triumph And be placed on high Silver fern! All Blacks! Silver fern! All Blacks!

Ignoring the Haka is a tactic sometimes used by teams, but famously the Australian Rugby Team did a warm up drill well away from the All Blacks during their 1996 Test Match in Wellington, and were beaten by a record score. More recently, the Italian Rugby Team ignored the Haka during a 2007 World Cup Pool Match, and the All Blacks then went on to beat them by a larger than expected score. All Black hooker Keven Mealamu said later that the snub had backfired and provided motivation to his team.[6] In 1997, Richard Cockerill was disciplined for responding to the haka before the start of an England vs All Blacks game. Cockerill went toe-to-toe with his opposite number Norm Hewitt while they performed the Haka. The Referee became so concerned that Hewitt and Cockerill would begin fighting that he pushed Cockerill away from Hewitt. Cockerill went onto say afterwards "I believe that I did the right thing that day," he said. "They were throwing down a challenge and I showed them I was ready to accept it. I'm sure they would rather we did that than walk away."[7] At the 1999 Bledisloe Cup match at Telstra Stadium, Sydney, 107,000 voices sang Waltzing Matilda as a response to the New Zealand haka. The Australian players responded by delivering New Zealand a record 28-7 defeat culminating in the cup being retained by Australia. In 2005, the All Blacks agreed to a request from the Welsh Rugby Union to repeat the sequence of events from the original match a century before in 1905. This involved the All Blacks performing the haka after "God Defend New Zealand" and before "Hen Wlad fy Nhadau". For the November 2006 test, the WRU demanded a repeat of this sequence. The All Blacks refused, and instead chose to perform the haka in their changing room before the match. [8] All Blacks captain Richie McCaw defended the decision by stating that the haka was "integral to New Zealand culture and the All Blacks' heritage" and "if the other team wants to mess around, we'll just do the haka in the shed".[9] The crowd reacted negatively to the lack of the haka and then being shown brief footage of the haka on the screens at the Millennium Stadium.[10] In the 2007 Rugby World Cup quarter-finals, France, after having won the coin toss for the choice of uniforms, famously wore the blue/white/red of the French flag and walked up to within a metre of the Haka performance, forming a line of patriotic opposition to the performance by the All-Blacks, who were wearing a predominantly silver uniform (as opposed to the traditional all black). France went on to defeat the All-Blacks 20-18. [edit] Use by other teams Main article: Haka performed by non-New Zealand sports teams The high-profile of the All Blacks, and their use of the haka has led to other Pacific teams to use similar dances from

their own cultures, such as the Cibi, Kailao, and Siva tau. Other teams from the Pacific and elsewhere however have performed the Ka Mate or Kapa O Pango haka; something generally felt to be inappropriate at best. For instance, the "Kapa O Pango" haka was used by the University of Hawaii Warriors in 2006, before they created their own war dance, the "Haa", in the Hawaiian language with original movements. [edit] See also 3. 2006 Kapa O Pango controversy 4. All Blacks 5. Cibi 6. Haka 7. Haka in popular culture 8. "Ka Mate" 9. Kapa haka 10. Kailao 11. Mori music 12. Siva tau [edit] Notes ^ Woolf, Alexander (2002-08-31). Thunder from Down Under. SportsIllustrated.com. Retrieved on 2007-1222. ^ In their 2006 test match against Wales, the All Blacks opted to perform the Haka Ka Mate within their dressing room prior to the match. This was the result of the Welsh rugby union's decision that the Welsh national anthem, Hen Wlad Fy Nhadau would be played after the Haka, not before as is traditional. ^ The title of this article follows the convention derived from the Mori language of not adding an s to pluralise words. ^ An Encyclopaedia of New Zealand, 1966 ^ "Uva looking ahead already", Planet Rugby, 2007-09-15. Retrieved on 2007-09-23.

^ Long, David. "Haka snub sparks All Black fury", Sunday News, 2007-09-09. Retrieved on 2007-09-23. ^ "England receive 'Haka' warning", BBC News, 1999-10-07. Retrieved on 2007-09-23. ^ "All Blacks perform haka in changing room to protest Welsh Rugby Union", International Herald Tribune, 2006-11-25. Retrieved on 2007-07-11. ^ "McCaw defends private haka choice", BBC Sport, 2006-11-26. Retrieved on 2007-03-18. ^ Godwin, Hugh. "Wales 10 New Zealand 45: All Blacks dance to a different beat", The Independent, 200611-27. Retrieved on 2007-03-18. [edit] References M. Pmare, 'Ngti Toarangatira', Te Ara - the Encyclopedia of New Zealand, updated 9-Jun-2006. URL: www.TeAra.govt.nz 'The Haka - In the Beginning', New Zealand Rugby Museum.

Haka! This piece was written in direct 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 Timti Kretu of the Maori 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 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 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.

The Words of Ka Mate Ka mate! Ka mate! Ka ora! Ka ora! I die! I die! I live! I live! Ka mate! Ka mate! Ka ora! Ka ora! I die! I die! I live! I live! 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! ka upa ... ne! One upward step! Another upward step! A upane kaupane whiti te ra!

An upward step, another.. the Sun shines!! Hi !!!

Listen to Ka Mate in MP3 Format 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 'ou' in 'hour'. The 'u's are all long like 'ou' in 'you'. The 'a's are all sounded long as in 'ah' Note: these pronunciation hints are simply a crude guide, and are not intended to be a definitive guide to Maori pronuciation. 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! I ahaha! 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! Silver fern! Kapa O Pango, aue hi! All Blacks! Ponga ra! Silver fern! Kapa O Pango, aue hi! All Blacks!

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 combi nation, and in the process renamed the sqad 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. 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 Forerunners of the All Blacks, by Greg Ryan. 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. The words of Ka mate, "The Haka" do not of course have direct relevance to rugby, and were composed in particular circumstances as recounted above. Bearing in mind the 100-plus years of tradition, some of it bordering on the legendary, and letting poetic license run wild a 'loose' translation of the haka challenge might well be expressed thus.. "We are the All Blacks, of the New Zealand people." "We stand on this field arrayed for battle." "At our backs we feel the might of tradition wrought by those who have gone before." "Over our hearts we bear the Silver Fern, emblem of mana to die for." "This challenge is now thrown out to you. Take it if you dare for we will not withold ourselves this day and the faint of heart will surely be lost." Whiti te ra! Hi!

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 your 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