NCEA Level 2 Te Ao Haka cheat sheet

Te Ao Haka is the NCEA subject name for the study of haka as a performing art; its four achievement standards cover performance, composition/devising, and analysis of context and style.

Core mātāpono (principles) framing the subject include whakapapa (lineage and connection), mana (prestige and integrity), wairua (spiritual dimension), and kaitiakitanga (guardianship of knowledge).

Haka is a whānau of performing arts, not a single genre: it includes haka taparahi (performed without weapons), peruperu (jumping haka with weapons), wero, pōwhiri elements, and haka wahine styles.

Waiata, haka, poi, whakawātea, and mōteatea are related disciplines; Te Ao Haka assessments require distinguishing haka from waiata-ā-ringa and mōteatea by function, movement, and vocal style.

Performance contexts include pōwhiri (formal welcome), tangihanga, hui, kapa haka competitions such as Te Matatini, and community or school events; each context sets different tikanga expectations.

Te Matatini is the national kapa haka festival, held biennially; regional qualifying competitions (e.g., Te Tai Tokerau, Mātaatua, Te Arawa) feed into it.

Tikanga on stage includes respecting the kaupapa of the item, appropriate dress, correct pronunciation, and acknowledgement of the source of any borrowed material.

Analysis answers should link observable performance features (tūkē, pukana, wiri, takahi, reo) to intended meaning and to the composer's or iwi's context, rather than describing features in isolation.

Structure of a haka item commonly includes whakamutunga or whakapuaki (opening), kōrero or kupu (verses), and a rangi or tune line; tempo (rangi) shifts mark changes in intensity.

Reo features to identify in haka texts include whakataukī (proverbs), kupu whakarite (metaphor), tūāuriuri (repetition), and hokinga kōrero (references to ancestors or events).

Composition requires original kupu attributed to the composer; borrowing pepeha, waiata tawhito, or another iwi's haka requires permission and acknowledgement.

Movement vocabulary includes wiri (quivering hands), pukana (widened eyes), tūkē (facial contortion), takahi (foot stamp), and ringa (hand actions); each is chosen to support the kaupapa of the text.

Vocal technique covers kaha (projection), āhua o te reo (tone and colour), and the ability to sustain a rangi while maintaining takahi and movement together.

Group performance criteria typically assess whakaeke (entry), kōwhiringa o te reo (clarity and correctness of Māori pronunciation), tū (posture), and whakakapi (exit).

Devising an item requires a clear kaupapa (theme or purpose) stated in the composer's intention, supported by kupu, rangi, and movement choices that reinforce that kaupapa.

Assessment evidence for performance standards usually requires a recorded performance plus a written or oral explanation of the creative decisions and their cultural grounding.

Analysis of a haka should identify the iwi or rohe of origin, the composer, the occasion of composition, and the historical events referenced in the kupu.

Whakapapa links in a haka can be traced through tūpuna named in the text, maunga, awa, moana, and marae references; these situate the item geographically and genealogically.

Known haka studied at Level 2 include Ka Mate (associated with Ngāti Toa and Te Rauparaha), and iwi-specific haka such as Tōia mai or Ko Te Aroha; accuracy about attribution matters more than volume.

Cultural responsibility includes not performing restricted material without mandate, not altering kupu without permission, and crediting composers and kaitiaki of the knowledge.

Comparison tasks require pointing to specific differences (tempo, movement, kupu, occasion) and explaining why those differences exist, not merely listing them.

Mātauranga Māori framing means interpreting haka within te ao Māori concepts such as mana, tapu, noa, and whanaungatanga, rather than only Western performance analysis.

Evaluation of a performance uses agreed criteria (e.g., ihi, wehi, wana, kōwhiringa o te reo) and evidence from the performance itself to justify each judgement.

Referencing conventions for haka sources include naming the composer, iwi, and where the version was learned, since oral transmission means versions differ between rohe.

Kawa refers to the protocols of a particular marae or iwi; tikanga is the wider system of correct practice. A haka appropriate on one marae may not be appropriate on another.

Pōwhiri sequence commonly includes wero, karanga, whaikōrero, waiata tautoko, hongi or harirū, and hākari; haka may appear as whakaeke or as tautoko within this sequence.

Tangihanga contexts use haka and waiata to mourn and to support the whānau pani; tone and item choice differ from competitive performance.

Competition kapa haka programmes typically include whakaeke, mōteatea, waiata-ā-ringa, poi, haka, and whakawātea, with judging criteria for each discipline.

Level 2 assessment evidence usually combines a portfolio (research notes, composition drafts, reflections) with a live or recorded performance and a spoken or written evaluation.

Reflection should identify specific decisions (why this kupu, why this rangi change) and evaluate their effectiveness against the stated kaupapa, using evidence from rehearsal or performance.

Safety and wellbeing considerations include vocal warm-ups, correct takahi technique to avoid injury, and hydration during long rehearsals.

Plagiarism rules apply to kupu and to choreography: any borrowed movement sequence or text must be acknowledged and, where required, permission sought from its kaitiaki.