NZ Scholarship Te Ao Haka flashcards
NZ Scholarship Te Ao Haka · Build recall with a focused review session.
32 cards. Read the term and the definition here. The deck at the top of this page is optional.
- Haka taparahi
- A haka performed without weapons, characterised by stamping feet and strong body percussion. Its force comes from the collective movement and voice rather than from weapon handling.
- Haka peruperu
- A haka performed with weapons, involving leaping and vigorous movement. The weapon handling is part of the performance and is judged alongside voice and stance.
- Kaitātaki
- The leader or leaders within a performing group who call the opening, set the tempo, and direct transitions. The rest of the rōpū answers the call.
- Waiata-ā-ringa
- An action song in which gestures and movement illustrate the words. Gestures are conventional rather than improvised, so accuracy of action is part of performance quality.
- Waiata tautoko
- A song sung to support or endorse the speech that has just been given. It follows whaikōrero on the marae and reinforces the speaker's message.
- Pukana
- A facial expression in performance involving widened eyes, used to intensify a moment. It is one element of te reo o te kanohi and is judged as part of the performance.
- Whakaaraara
- A call or alert, traditionally delivered at dawn or to open an occasion. It signals the start and can carry a warning or a summons.
- Take in composition
- The reason or occasion for which a piece was composed. Identifying the take is a precondition for interpreting tone, because the same words can serve different purposes.
- Whakapapa
- A genealogical framework linking people to ancestors, land, and the natural world. It records relationships and the obligations that follow from them, not merely a list of names.
- Kōrero tuku iho
- Knowledge passed down through generations. The term covers pūrākau, whakataukī, pepeha, and waiata that carry history and are attributed to specific sources.
- Pūrākau
- A traditional narrative or story that carries history, values, or explanation. Versions differ between iwi, so attribution to the source is part of correct analysis.
- Pepeha
- A statement of identity and belonging that names maunga, awa, moana, marae, waka, iwi, hapū, and tūpuna. Accuracy of the names matters because the pepeha asserts relationships.
- Whakataukī
- A proverb carrying a principle or value. Interpretation requires identifying the literal image, the underlying principle, and the situation in which it would be cited.
- Whakatauākī
- A saying attributed to a named person, unlike a whakataukī whose origin is general. The attribution is part of the saying's authority and should be retained when citing it.
- Migration traditions
- Narratives of voyaging and settlement that establish claims to land and place. They serve a different function from creation traditions and should not be merged with them.
- Variation between iwi
- Different iwi and hapū hold different versions of the same narrative. Variation is not automatically error, and the correct response is to attribute the version cited.
- Kupu whakarite
- A simile or metaphor in which a person or thing is compared to an image, often using 'me te' or 'kei te'. The analysis identifies the shared quality between the two.
- Te kīwaha
- A colloquial idiom or expression used in everyday speech. It conveys tone and familiarity, and its meaning usually cannot be derived word by word.
- Tāruarua
- Deliberate repetition of a word or line. In composition it builds intensity and emphasis, so it is a structural choice rather than accidental padding.
- Tohutō
- The macron marking a long vowel. Length changes meaning, as in kākā (parrot) and kaka (stem), so a misplaced macron is a genuine error.
- Ng and wh digraphs
- Each pair of letters represents a single phoneme in te reo Māori. Correct treatment of both in performance is part of diction quality and clarity.
- Particle 'ka'
- A tense marker for sequential or narrative action. It moves a narrative forward and is common in pūrākau and in haka that recount events in order.
- Particle 'kua'
- A tense marker indicating completed action. Choosing it rather than 'ka' signals that the action is finished and its result is now in effect.
- Inclusive and exclusive pronouns
- Tāua and tātou include the listener; māua and mātou exclude the listener. The choice asserts a particular relationship between speaker and audience.
- Passive endings
- Endings such as -tia, -hia, -ngia, -a, and -ria shift emphasis from the actor to the action. A composer may use them to foreground the deed rather than the doer.
- Tikanga
- Customary rules and practices derived from precedent rather than fixed statute. Because it varies between marae and iwi, an answer should state whose tikanga it describes.
- Tapu and noa
- Tapu is a state of restriction or sacredness; noa is the ordinary state. A specific act returns something from tapu to noa, and naming that act shows understanding.
- Manaakitanga
- The obligation of care and hospitality toward others. It is a responsibility rather than an optional courtesy, and it can be used to evaluate whether an action upholds a relationship.
- Kaitiakitanga
- Guardianship of people, land, water, and knowledge. It carries duties to protect and transmit, and it is frequently invoked in debates about ownership of mātauranga Māori.
- Karanga
- The first call of the pōwhiri, usually given by a woman, which opens the encounter between hosts and visitors. It begins the sequence that continues with whaikōrero.
- Koha
- A gift offered during a pōwhiri, often following the speeches. It acknowledges the relationship and is not a payment for hospitality.
- Hongi and harirū
- Greetings that conclude the formal part of a pōwhiri. The hongi presses noses, while the harirū is a handshake, and both mark the transition to the hākari.