Ne-.png

ĀteaSeptember 12, 2022

Sharing the power of haka-theatre with a new generation of teens

Ne-.png

Kura Te Ua is leading a new movement in Māori performing arts through her high school-based haka-theatre program  Auataia. The veteran haka performer, dancer and arts innovator talks to Te Kuru o te Marama Dewes about creating spaces for rangatahi Māori to excel.

Performing arts is an essential vehicle for Māori culture, embodying tribal narratives, intergenerational knowledge and identity. The physical expression of kapa haka is cultural, as opposed to performative, with rich genealogy that stretches back through Te Moana Nui a Kiwa.

The evolution of kapa haka over time has been acknowledged this year with the 50th anniversary of Te Matatini, which pushes Māori performing arts forward, keeping it relevant and enabling growth through competition.

Māori performing arts are in good health and more popular than ever, while the last two decades have seen the growing influence of haka within theatre, a natural transition being driven by leaders with a background in kapa haka.  

One of those leaders is Kura Te Ua, from Te Rarawa, Te Aupōuri, Te Aitanga a Māhaki, Te Whakatōhea and Tūhoe, who is pushing the boundaries of Māori performing arts in the theatre space with a genre she refers to as haka-theatre.

Kura Te Ua is pushing the boundaries of Māori performing arts. (Photo: Supplied)

Te Ua grew up immersed in kapa haka and was, “that 3 year-old child making a piupiu out of newspaper, dreaming and singing songs, creating poi out of socks… right from a young age I always knew I loved Māori performing arts.”

With 20 years under her tīpare as a performer with kapa haka groups Te Manu Huia and Te Waka Huia, Kura Te Ua is a seasoned practitioner and has learnt from the best.

“Koro Ngapo Wehi, my mentor of all leaders in my life, he spoke about ihi as being expressed through pūkana and wiri and that when you express ihi, the audience feel wehi. He says when the audience sits on the edge of their seats, when they break a sweat or get goose bumps, they feel your ihi which transmits into wehi.  Between us we create an orb called wana. You can feel it. It’s energy and vibration,” says Te Ua.

She attributes kapa haka as the training ground for her work in theatre.

“Each item requires a different aspect of creative expression and you learn how to express that appropriately. That comes with having an understanding of te reo Māori. I wasn’t fluent but kapa haka has enabled me to be connected to my ao Māori,” she ways.

After training and performing in dance with Māori and non-Māori companies, she felt that there wasn’t a place that reflected who she was and what she wanted – Te Reo me ōna tikanga.

“I don’t do well with boxes”

Hawaiki Tū was born from that desire to create a platform for kaihaka, “To be able to practise tikanga Māori in our whare, to be able to tell our stories in a way that is truthful to us,” says Te Ua.

The haka-dance theatre has gone from strength to strength since its inception over 10 years ago and has twice ventured to the Pacific Arts Festival.  One aspect that drives her passion is having the creative freedom that theatre allows.

‘If you value The Spinoff and the perspectives we share, support our work by donating today.’
Anna Rawhiti-Connell
— Senior writer

“In haka there seems to be square boxes and Hawaiki Tū was created because I don’t do well with boxes. I think they’re good parameters but I like to see what is outside of that box,” says Te Ua.

After a break due to the pandemic, the Hawaiki Tū academy has now been reignited. That’s where Te Ua trains people through her knowledge and experience and brings performers into the company.

Haka and mau rākau have combined with ballet to inform Kura Te Ua’s understanding of movement. (Photo: supplied)

“In that whare, if you have a very strong desire, it doesn’t matter if you’re not the best at haka, yes that helps… but I would rather take somebody who knows who they are, where they are and understands the journey of Māori performing arts, over someone who is a trained dancer. I would rather have someone who is moldable,” says Te Ua.

Although not classically trained, Te Ua has a background in ballet which she acknowledges as having influenced her style along with haka and mau rākau.

She recently toured America as a dancer with the renowned Black Grace dance theatre company under founder and director Neil Ieremia who has sustained his program for nearly 30 years. The relationship came about when Te Ua approached Ieremia to check out Hawaiki Tū. “Hawaiki Tū reminded him of why Black Grace started in 2004. Here are these passionate Māori, tikanga underpinning everything, the stories were just oozing through. I think he was blown away and hopeful for the future of dance in Aotearoa,” says Te Ua.

Te Ua with members of one of New Zealand’s leading contemporary dance companies, Black Grace. (Photo: supplied)

Black Grace is currently touring their show in Aotearoa, while Hawaiki Tū prepares for their own performances of Taurite in December. Te Ua is determined to continue to build Hawaiki Tū as the vehicle that can show rangatahi Māori what haka-theatre is and the opportunities that are out there. Another way she is doing that is through a new secondary school haka-theatre production called Auataia.

Parents, aunties and uncles watching kids transform

While working as Kaiarataki Māori at Auckland Live over the last two years, Te Ua launched her long-held dream for youth event Autaia, which aims to enable rangatahi Māori to express themselves through haka theatre.  

Three schools took up the challenge in 2021, with Te Kura Kaupapa Māori o Hoani Waititi, Te Kura Kaupapa Māori o Te Kōtuku and Ngā Puna o Waiorea each creating their own thirty-minute haka-theatre productions.

Teaching haka-theatre to rangatahi Māori, Autaia has been a life-long dream of Te Ua’s. (Photo: supplied)

Experts in Māori theatre, from movement and dance to sound and lighting, supported the schools over six weeks to prepare their performances which were held at Kiri Te Kanawa Theatre at the Aotea Centre in Tāmaki Makaurau, the largest theatre of its kind in Aotearoa.

“It was so special to see a theatre full of Māori, parents and aunties and uncles, watching these kids transform. When I started with these kids, some of them, their heads were down… and I saw myself in them. Together with this mentor group we helped them stand up [and present] their performances with light and sound,” says Te Ua.

This year there are eight schools on board for Autaia. Five out of the eight are piloting the Te Ao Haka NCEA program, where students can gain credits for Māori performing arts, recognising the cultural transformation and learning that take place.

With a team of twenty experts this year, including directors and lighting and sound specialists, Te Ua says the productions are helping to bridge departments within schools to work together and enable the curriculum to recognise the value for students. “We’ve created an education resource where they can get credits in Te Ao Haka, Te Reo Māori and dance and theatre. It’s all good to create a show but if it [isn’t recognised as learning]  it’s going to be hard, so that’s a really cool thing,” says Te Ua.

Twenty-eight schools have been invited to watch dress-rehearsal performances, which Te Ua says is about rangatahi being able to see themselves reflected in theatre.

Te Ua aims to share Autaia regionally and then nationally for the benefit of all schools.


Follow our te ao Māori podcast Nē? on Apple Podcasts, Spotify or your favourite podcast provider. 

Keep going!
(Image: Getty/Tina Tiller/Xoë Hall)
(Image: Getty/Tina Tiller/Xoë Hall)

ĀteaSeptember 12, 2022

The pou tokomanawa in the whare: Bringing te reo to life in the places we live

(Image: Getty/Tina Tiller/Xoë Hall)
(Image: Getty/Tina Tiller/Xoë Hall)

Reclaiming te reo Māori is always hard, but the hardest work – and the most important – takes place within the home, writes Te Kuru Dewes.

This story was first published on October 28, 2021 and is republished to mark the start of Te Wiki o te Reo Māori 2022.

Te reo Māori is everywhere. While that riles up certain types who haunt comments sections and talkback radio, watching Jordyn Rapana reaction posts always gives me a laugh and welcome respite. Scrolling down a bit, I might find a helpful video by Hemi Kelly to help me touch up on my grammar. Thursday nights are often spent on the couch playing Kaupapa by Kura Rēhia with my mates. Te reo pumps out of my car radio as I drive up SH35, listening to ‘Rehurehu’ by Muroki, one the new songs from Waiata Anthems. Turning the dial to Radio Ngāti Porou, I hear the latest bilingual East Coast anthem ’35’ by Ka Hao, a group of rangatahi reo Māori lead by award winning artist Rob Ruha. Basically, I can choose to live in a world where it’s the people who reject te reo Māori who are the minority.

But there’s no doubt te reo is trending. It’s more visible now than ever, as it should be. However, for an endangered language to survive it has to be spoken inside the home. As my koro would say, “Ko te reo te pou tokomanawa o te Māoritanga”. Our reo is the foundation of our culture. And for it to survive, it needs to be the pou tokomanawa in our whare: carved with intention, unmoving, unfaltering.

Those rare instances of our reo on mainstream platforms are just ripples along the surface of a much deeper language regeneration movement that has been slowly gaining momentum for decades. It’s cool. It makes me feel at home on my whenua. Exposure helps to normalise the use of te reo in public domains, but it can’t substitute for learning the language, and the values and cultural awareness that go with it. First and foremost, te reo needs to sit comfortably in the hearts, minds and mouths of Māori.


Follow Nē? on Apple Podcasts, Spotify or your favourite podcast provider. 


Linguists around the world say for an endangered language to be defined as secure and alive within a particular family, it must be spoken across three generations. Recent research projection models predict te reo is on a path towards extinction at current learning rates. It sounds gloomy but there are pockets of success. Iwi-run whānau language revitalisation programmes are starting to bear fruit. The Ngāi Tahu programme, Kotahi Mano Kaika, has engaged over 1,500 whānau, surpassing its goal of getting one thousand Ngāi Tahu families speaking te reo in the home by 2025.

Then there is the powerhouse behind the reo revitalisation movement. We now have two generations of kōhanga reo, kura kaupapa Māori and other Māori education programme graduates. They’re raising native-language speaking babies, creating Māori language content, and facilitating immersive Māori language workshops around the country. These are the super-saiyan Māori, the Swiss Army knife-type multi-talented Māori. These are the direct products of a dedicated minority who set out to redesign Māori education through a number of hard-fought political campaigns from the 1970s through to today. And listening to today’s empowered rangatahi, it’s easy to think the language might be secure. But the truth is, te reo speakers are the minority within a minority.

For Māori learning our native tongue as a second language, it’s never as straightforward as signing up to a class, then attending and progressing through the levels of proficiency. It should be that simple, but it’s not. These days, classes are over-subscribed, often with well-meaning non-Māori seeking to further their cultural understanding. Some of our people are taking a whole year off work, putting careers on hold to enrol in immersion language education. Throw in inequities of access to health and wealth, and getting out the door to acquire the tools to bring the reo home can seem impossible.

Then there’s navigating the complexity of whakamā: the shame of feeling inadequate. This is compounded by learning in classes with non-Māori who are more fluent or more confident in speaking. These are valid experiences, and not restricted to second-language learners alone. Our whakapapa tells us that kupu should roll off our tongue, without a stutter, without that critical internal-voice that pulls us up when we say something incorrectly, without having to stop and think what the right expression is for that exact moment, without the panic and pressure of that moment forcing us to resort to English. However, unravelling our arero from its colonial confines takes more than just getting our tongues around the vowel sounds – it’s about processing and accepting the loss of our reo rangatira.

The language links stretching back through time, across the largest ocean in the world, were systematically severed by the Crown. We know how they did it. They banned te reo, separated our people from their land and whenua which hold our mātauranga, our history and our reo. We know how we got here, and we’ve made huge gains in clawing back what was lost. We’ll continue those battles, but now it’s time to really hone in on what’s going to make our reo thrive over the next 250 years.

The first step is to make a decision. That decision needs to be one from a place of defiance, a fierce commitment to regenerating the language and an unshakable belief in the value of it within society. Once we identify and become familiar with that source of power that lies within our whakapapa, we can learn how to tap into it. Part of overcoming the fear and insecurity of speaking te reo is about sharing kōrero with others who are on the same journey. A burden shared is a burden halved and a lighter load to bear. It is the struggle which unites us. And part of sharing in this struggle is learning kanohi ki te kanohi.

The resources for learning te reo are out there, and they’re great, but at the end of the day, they can’t replace real-time communication. Whakawhiti kōrero is more than just the words – it’s body language, those subtle non-verbal cues which are often tribally-unique mannerisms. It’s the silence between words. It’s the language of the eyebrows. It’s the “Ka pai, boy” from Tā Pou Temara after you drop a new whakataukī in your whaikōrero. It’s the buzz of participating in haka pōwhiri with hundreds of others from your iwi. It’s feeling the hairs on the back of your neck when you experience the spiritual force of karanga. It’s mimicking the way the old people spoke with their unique dialect. It’s all of those references that are expressed in our unique culture of oral literature that make it rich and bring it to life.

At a time when we’re easily overwhelmed and distracted by over-stimulating content and tech, we can forget to make time for verbal te reo Māori interactions. Despite what’s happening in the world and in Aotearoa, we must keep striving to engage with our reo in a physical setting as much as possible, with safe social-distancing measures.

Te reo exists today because our ancestors, elders and parents fought for it. Learning is one way we can practise our gratitude, and keep it alive by passing it on. We must weave te reo back into the fabric of our homes, letting it spill out of the mouths of our babies when they’re singing along to Te Nūtube, Pipi Mā and Moana, resonating from the bathroom with shower-singing confidence. Revitalising te reo can only be achieved through the collective.

For those just starting out, or thinking about embarking on that journey, know you’re not alone. Your efforts will not only change your life, but the lives of everyone you interact with. Be that person your friends are comfortable practising new kupu or sayings with. Be that person in your whakapapa who revitalises te reo for your mokopuna. Be that person in your whānau who carves the pou tokomanawa so it remains unwavering. Be that person who enables others to carve their own. Be that person who holds te reo Māori in your home.


Follow Nē? on Apple Podcasts, Spotify or your favourite podcast provider.