NCEA Level 3 Te Ao Haka key terms

The field of study covering Māori performing arts, including haka, waiata, poi and mōteatea. At Level 3 it focuses on performance skill, composition and critical analysis of context and purpose.

A disciplined Māori performance form involving stylised movement, facial expression, voice and group coordination. It can express welcome, challenge, grief, celebration or protest, and its meaning depends on the text and the occasion.

A Māori song, often sung to support or follow a speech, to mourn, to celebrate or to record history. Waiata carry text that conveys tribal knowledge, emotion and political position.

A traditional chant-style song with a long poetic text, often lamenting loss or recording genealogy and land. It is performed without modern harmony and demands careful delivery of words and rhythm.

A Māori action song in which hand and body movements illustrate the words. It is commonly performed after a speech and often carries messages of welcome, love or social commentary.

A performance art using a ball on a cord, swung in rhythmic patterns, usually by women, often accompanying waiata. It requires coordination, timing and group unity, and can also be performed as a display.

A ritual challenge, traditionally performed by a warrior laying down an object for visitors to pick up, testing their intent. In modern pōwhiri it may be performed before the welcome speech.

The formal Māori welcome ceremony for visitors onto a marae, involving speeches, waiata, hongi and often a haka. It follows a set order of roles and protocols that performers must understand.

The open courtyard and surrounding complex where Māori community gatherings and ceremonies take place. It includes the wharenui, and it is the main setting for pōwhiri and haka performance.

The carved meeting house on a marae, understood as an ancestor's body, with the ridgepole as spine and rafters as ribs. It hosts speeches, sleeping, mourning and performance.

The traditional greeting in which two people press noses and foreheads, symbolising the sharing of breath and life force. It follows speeches and waiata during a pōwhiri.

The protocols and rules of a particular marae or tribal group governing how ceremonies and performances are conducted. Kawa differs between iwi, so performers must learn the expectations of the host group.

Māori customary practice and correct conduct, guiding how people behave and how events are run. It underpins performance decisions such as who may lead, which items are appropriate, and how to show respect.

Genealogy and the layered connections between people, ancestors, land and the natural world. Haka and waiata often carry whakapapa in their texts, and performers should know whose history they are presenting.

Prestige, authority and spiritual power that a person or group holds and that can be enhanced or diminished by actions. Performance can uphold or damage mana, so accuracy and respect matter.

The ethic of hospitality, generosity and care for others, especially visitors. It shapes how a group welcomes and hosts people, including the way a pōwhiri and its performances are organised.

The topic, purpose or underlying theme of a performance or composition. Identifying the kaupapa helps a performer make choices about movement, voice, expression and costume.

Words or lyrics of a haka or waiata. Precise articulation of kupu is essential because the text carries the meaning, and mispronunciation can change or obscure it.

The melody or tune of a waiata, as distinct from its words. Singers must match the rangi, keep pitch and timing with the group, and understand how melody supports the mood of the text.

The spiritual dimension or feeling carried within a performance and its setting. Performers aim to convey wairua through sincerity, focus and connection to the kaupapa, not only through technical correctness.

The widening of the eyes and facial expression used at intense moments in haka, expressing spirit, challenge or emotion. It must be timed with the text and can be performed by women and men.

The protruding tongue gesture used in some haka to convey defiance, strength or challenge. Its use depends on the particular item and the traditions of the group performing it.

A short chant or call used to open a speech or performance and to alert attention. It sets tone and signals the transition into formal speaking or performance.

A haka performed without weapons, relying on body movement, footwork and voice. It is often used for welcome, celebration or competition and requires tight group coordination.

A haka performed with weapons, historically before battle to test readiness and intimidate opponents. It involves leaping and weapon movement, and demands stamina and precision.

A composer of haka, waiata or mōteatea. Kaitito draw on tribal history, language and occasion to create new works, and their intentions shape how a performance should be interpreted.

A performer of haka. The term covers the whole group as well as individuals, and emphasises the discipline, fitness and collective responsibility required in performance.

A group that performs haka, waiata, poi and related items together, often in competition. Success depends on unity, precise formation, vocal blend and understanding of each item's meaning.

The leader of a haka group who directs the performance through calls, stance and cues. The role requires strong voice, confidence and knowledge of the item's structure.

Women, a term used when discussing roles within performance. In many items women lead poi and certain waiata, and their roles vary according to the kawa of the group.

Men, a term used when discussing roles within performance. In many haka men lead the front, but roles differ between iwi and items, so assumptions should be checked against local kawa.

A sheltering formation or grouping in performance, where performers arrange themselves to protect or highlight a section. It can also refer to the protective role of leaders within an item.

The clearing or opening of a performance space, often through movement or chant, before an item begins. It prepares the ground and signals that the group is ready to perform.

The presentation or delivery of a performance to an audience, including choices of staging, timing and expression. Reflection on tukunga helps performers judge whether the kaupapa was communicated.

Love, compassion and deep concern for others, often expressed in waiata and laments. It is a common theme that performers must convey with genuine feeling rather than display alone.

A farewell speech or chant given when people leave or when someone has died. It is a formal genre with its own tone and structure, often performed with waiata.

A greeting or speech of acknowledgement, often opening a formal occasion and referencing people, land and ancestors. Performing a mihi well requires knowledge of the audience and the place.

A formulaic statement of identity naming one's mountain, river, ancestor, tribe and marae. It is used in introductions and grounds a performer in whakapapa and place.