I85PREP
⌘ K
NZ Scholarship Te Ao Haka study materials
NZ Scholarship Te Ao Haka study resources

NZ Scholarship Te Ao Haka practice questions

One question at a time. Build your NZ Scholarship Te Ao Haka understanding.

First 50 of 200 questions. Each one lists the choices, the correct answer, and an explanation. The checker at the top of this page saves progress in this browser when it is available.

Continue in the practice tool above to load more questions, 50 at a time.

Question 1Te Ao Haka (performance, composition, and analysis of haka)

In Te Ao Haka, which term refers to the vigorous, energetic performance style often associated with haka and the expression of physical power?

  1. Whakangahau
  2. Whakakake
  3. Ngākau
  4. Whakamataku Correct answer.

Explanation

Whakamataku describes a performance mode that projects intensity, intimidation and physical power, and it is closely tied to many haka. Candidates should distinguish this from terms describing emotional warmth or entertainment value, which belong to different performance registers.

Question 2Te Ao Haka (performance, composition, and analysis of haka)

Which element of haka performance involves the deliberate use of facial expression, especially widening of the eyes, to intensify the message?

  1. Wae
  2. Haka
  3. Pukana Correct answer.
  4. Ringa

Explanation

Pukana is the facial expression in which the eyes widen and the face becomes intense, used to heighten the impact of a haka line. It is a distinct expressive device from movement of the hands or feet.

Question 3Te Ao Haka (performance, composition, and analysis of haka)

A performer uses a short, sharp vocal call to signal the start of a haka before the group joins in. Which term best describes this opening call?

  1. Waiata
  2. Pātere
  3. Haka taparahi
  4. Whakatu Correct answer.

Explanation

Whakatu describes the call or lead-in that sets the pitch and energy before the group enters. It is a structural cue rather than a full song form or a style of haka.

Question 4Te Ao Haka (performance, composition, and analysis of haka)

Which of the following best describes the role of the kaitātaki in a haka group?

  1. The person who leads the performance and directs energy Correct answer.
  2. The person who composes the haka text
  3. The person who carves the performance space
  4. The person who records the group's history

Explanation

Kaitātaki is the leader of the performing group, responsible for cueing entries, setting energy and directing the performance. Composition and historical recording are separate roles that may overlap but are not the defining function.

Question 5Te Ao Haka (performance, composition, and analysis of haka)

Which haka style is typically performed by a group without weapons, with strong foot stamping and unified movement?

  1. Haka taparahi Correct answer.
  2. Haka peruperu
  3. Waiata ā-ringa
  4. Poi

Explanation

Haka taparahi is performed without weapons and emphasises unified movement, stamping and vocal power. It is distinguished from weapon-bearing haka and from other performance forms such as waiata ā-ringa and poi.

Question 6Te Ao Haka (performance, composition, and analysis of haka)

In composition, what is a haka's 'take' most closely related to?

  1. The type of facial expression used
  2. The number of performers required
  3. The reason or purpose for which the haka was composed Correct answer.
  4. The tempo of the performance

Explanation

Take refers to the reason, purpose or issue that motivates a composition, and it shapes the tone and content of the haka. Tempo, performer numbers and facial expression are performance choices rather than the underlying purpose.

Question 7Te Ao Haka (performance, composition, and analysis of haka)

Which term describes the rhythmic pattern or beat that underpins a haka performance?

  1. Mana
  2. Wairua
  3. Rangi
  4. Taki Correct answer.

Explanation

Taki refers to the rhythmic pattern or beat that drives a haka and coordinates the group's movement and vocal delivery. The other terms describe pitch, spiritual essence and status rather than rhythm.

Question 8Te Ao Haka (performance, composition, and analysis of haka)

When a haka group performs in unison, which quality is most directly demonstrated?

  1. Whakamā
  2. Whakapapa
  3. Kotahitanga Correct answer.
  4. Rerehua

Explanation

Kotahitanga describes unity and oneness, which is demonstrated when a group performs in unison with shared timing and energy. The other terms describe beauty of movement, shame or embarrassment, and genealogy respectively.

Question 9Te Ao Haka (performance, composition, and analysis of haka)

A composer wants to reference the ancestral mountain of a hapū within a haka text. Which technique best achieves this?

  1. Using a whakataukī that names the mountain Correct answer.
  2. Repeating the final line three times
  3. Changing the tempo midway through
  4. Adding more performers to the group

Explanation

Whakataukī and other poetic devices allow a composer to embed references to landmarks, ancestors and history within the text. Tempo changes, group size and repetition are performance choices that do not by themselves identify a mountain.

Question 10Te Ao Haka (performance, composition, and analysis of haka)

During a performance, a group slows the tempo and softens the volume before a final explosive line. This technique is best described as:

  1. Whakapiki
  2. Whakakake
  3. Whakatau Correct answer.
  4. Whakapōuri

Explanation

Whakatau describes a settling or quietening before a decisive moment, often used to build tension before a strong finish. It is a deliberate dynamic and tempo strategy rather than an expression of pride or sadness.

Question 11Te Ao Haka (performance, composition, and analysis of haka)

A haka text uses the line 'Ka horo te pā, ka horo te pā' repeatedly. What is the most likely rhetorical effect of this repetition?

  1. It signals a change of composer
  2. It marks a shift to a different language
  3. It builds momentum and emphasis Correct answer.
  4. It indicates the performance has ended

Explanation

Repetition in haka is a deliberate rhetorical device that builds momentum, emphasis and audience anticipation. It does not signal a change of composer, an ending, or a language shift.

Question 12Te Ao Haka (performance, composition, and analysis of haka)

Which of the following best explains why haka composers often use kupu whakarite (simile and metaphor)?

  1. To lengthen the performance
  2. To ensure the audience understands every word
  3. To replace the need for rhythm
  4. To create layered meaning and imagery Correct answer.

Explanation

Kupu whakarite create layered imagery that allows a haka to carry multiple meanings and references at once. They are not primarily used to lengthen a performance, replace rhythm, or guarantee literal understanding.

Question 13Te Ao Haka (performance, composition, and analysis of haka)

A group performs a haka with weapons, including leaping movements. Which style are they most likely performing?

  1. Waiata ā-ringa
  2. Haka taparahi
  3. Hīmene
  4. Haka peruperu Correct answer.

Explanation

Haka peruperu is characterised by weapon use and leaping movements, distinguishing it from the weaponless haka taparahi. Waiata ā-ringa and hīmene are different performance forms entirely.

Question 14Te Ao Haka (performance, composition, and analysis of haka)

Why might a composer choose to reference a taniwha in a haka?

  1. To indicate the performance is for children
  2. To invoke ancestral and spiritual guardianship Correct answer.
  3. To reduce the tempo of the performance
  4. To mark the performance as a waiata

Explanation

References to taniwha can invoke ancestral guardianship, spiritual protection and local identity within a haka. Such references are symbolic and do not indicate an audience of children, a change of form, or a tempo instruction.

Question 15Te Ao Haka (performance, composition, and analysis of haka)

Which statement best describes the relationship between haka and whakapapa?

  1. Haka performance removes historical context
  2. Whakapapa applies only to waiata
  3. Haka rarely reference genealogy
  4. Haka can encode genealogical links and ancestral identity Correct answer.

Explanation

Haka frequently encode whakapapa, linking performers and audiences to ancestors, places and historical events. This makes haka a living record rather than a form detached from genealogy or history.

Question 16Te Ao Haka (performance, composition, and analysis of haka)

A kaitātaki notices the group's entries are uneven. Which adjustment most directly addresses this?

  1. Clarifying the taki and cue calls Correct answer.
  2. Removing facial expressions
  3. Changing the haka's take
  4. Increasing the number of verses

Explanation

Uneven entries are usually a timing and cueing issue, so clarifying the taki and cue calls directly improves synchronisation. Adding verses, changing the purpose or removing expression does not address timing.

Question 17Te Ao Haka (performance, composition, and analysis of haka)

Which feature most clearly distinguishes a pātere from a haka taparahi?

  1. Pātere has no rhythm
  2. Pātere is a chant form with a different rhythmic delivery Correct answer.
  3. Pātere requires weapons
  4. Pātere is always performed by one person

Explanation

Pātere is a chant form with its own rhythmic delivery and style, distinct from the vigorous weaponless haka taparahi. It is not defined by weapon use, solo performance or absence of rhythm.

Question 18Te Ao Haka (performance, composition, and analysis of haka)

When analysing a haka performance, which combination best indicates strong kotahitanga?

  1. Frequent changes of tempo
  2. A single loud performer
  3. Unified timing, shared energy and coordinated movement Correct answer.
  4. Varied timing and individual improvisation

Explanation

Kotahitanga is shown through unified timing, shared energy and coordinated movement across the group. Individual improvisation, single-performer dominance and frequent tempo changes work against that unity.

Question 19Te Ao Haka (performance, composition, and analysis of haka)

A composer writes a haka to protest a land grievance. Which term best captures this purpose?

  1. Ringa
  2. Take Correct answer.
  3. Pukana
  4. Taki

Explanation

Take refers to the reason or purpose behind a composition, and a land grievance is a clear example of a take. Taki, pukana and ringa are performance elements rather than the motivating purpose.

Question 20Te Ao Haka (performance, composition, and analysis of haka)

Which of the following is the best example of a structural device used to build a haka to a climax?

  1. Removing all movement
  2. A single quiet line
  3. A gradual increase in tempo and volume Correct answer.
  4. Changing the composer

Explanation

A gradual increase in tempo and volume is a structural device that builds tension and drives a haka toward its climax. A single quiet line, removal of movement and composer changes do not build momentum in the same way.

Question 21Te Ao Haka (performance, composition, and analysis of haka)

A haka uses the phrase 'te awa e rere ana' to represent both a river and the flow of ancestral connection. This is an example of:

  1. A tempo instruction
  2. Literal description only
  3. A cue call
  4. Layered metaphor Correct answer.

Explanation

The phrase works on two levels, describing a river while also symbolising ancestral connection, which is layered metaphor. It is not purely literal, nor is it a tempo instruction or a cue call.

Question 22Te Ao Haka (performance, composition, and analysis of haka)

Two groups perform the same haka text with different tempos and movement emphases. What does this best illustrate?

  1. The text has no fixed meaning
  2. One group must be performing incorrectly
  3. Tempo is irrelevant to haka
  4. Performance choices shape interpretation of a shared text Correct answer.

Explanation

A shared text can be interpreted differently through tempo, dynamics and movement, showing that performance choices shape meaning. This does not mean the text has no meaning, that one group is wrong, or that tempo is irrelevant.

Question 23Te Ao Haka (performance, composition, and analysis of haka)

Which analysis best explains why a composer might place a whakataukī at the opening of a haka?

  1. To signal the end of the performance
  2. To establish authority and context before the main message Correct answer.
  3. To replace the need for a kaitātaki
  4. To shorten the performance

Explanation

Opening with a whakataukī can establish authority, context and ancestral grounding before the main message unfolds. It does not signal an ending, replace leadership, or serve primarily to shorten the performance.

Question 24Te Ao Haka (performance, composition, and analysis of haka)

A group performs a haka with precise unison, strong pukana and a gradual build to a powerful final line. Which analysis is most defensible?

  1. The group performs without a kaitātaki
  2. The group prioritises entertainment over meaning
  3. The group prioritises kotahitanga and whakamataku Correct answer.
  4. The group ignores the take of the haka

Explanation

Precise unison demonstrates kotahitanga, while strong pukana and a powerful build demonstrate whakamataku. Nothing in the description supports claims about entertainment, ignoring the take, or absence of leadership.

Question 25Te Ao Haka (performance, composition, and analysis of haka)

Which statement best evaluates the claim that haka is simply a war dance?

  1. It is accurate because haka always includes weapons
  2. It is inaccurate because haka is only performed by children
  3. It is accurate because haka is only performed before battle
  4. It is inaccurate because haka serves many purposes including welcome, mourning and celebration Correct answer.

Explanation

Haka serves many purposes, including welcome, mourning, celebration and protest, so reducing it to a war dance is inaccurate. The other options misstate haka's purposes or performers.

Question 26Te Ao Haka (performance, composition, and analysis of haka)

In te ao haka, which term refers to the leader who calls and directs a group performance?

  1. Kaitātaki Correct answer.
  2. Kaiwero
  3. Kaitito
  4. Kaihaka

Explanation

The kaitātaki is the leader whose calls, cues and energy guide the group through a performance. This role is distinct from the performers themselves and from the composer of the text.

Question 27Te Ao Haka (performance, composition, and analysis of haka)

Which term describes the forceful facial expression, particularly the widening of the eyes, used to intensify a haka performance?

  1. Pukana Correct answer.
  2. Ringaringa
  3. Whetero
  4. Haka taparahi

Explanation

Pukana is the deliberate widening of the eyes and facial distortion used to project intensity and emotion. It is a recognised performance technique that heightens the impact of the words and movements.

Question 28Te Ao Haka (performance, composition, and analysis of haka)

A haka is performed with the whole group standing and using only body and hand movements, with no weapons. Which style is this most likely to be?

  1. Poi
  2. Haka peruperu
  3. Haka taparahi Correct answer.
  4. Waiata ā-ringa

Explanation

Haka taparahi is performed standing without weapons, relying on body, voice and hand movement. The absence of weapons is the key distinguishing feature here.

Question 29Te Ao Haka (performance, composition, and analysis of haka)

Which term refers to the deep, guttural vocal quality often used to give a haka power?

  1. Whētero
  2. Hīhī Correct answer.
  3. Waiata
  4. Pūkana

Explanation

Hīhī describes the guttural, forceful vocal delivery that adds weight to a haka. It is a vocal technique distinct from facial expressions and from song.

Question 30Te Ao Haka (performance, composition, and analysis of haka)

In a haka, the term 'whakapapa' most directly connects the performance to which element?

  1. The costume worn by the performers
  2. The physical venue where the haka is performed
  3. The genealogical lines and ancestry of the group Correct answer.
  4. The tempo and rhythm of the performance

Explanation

Whakapapa is genealogy, and haka frequently reference ancestral lines to ground the performance in identity and belonging. It is not about tempo, venue or costume.

Question 31Te Ao Haka (performance, composition, and analysis of haka)

Which term describes a proverb or significant saying that a composer may embed within a haka text?

  1. Take
  2. Whakataukī Correct answer.
  3. Kupu whakarite
  4. Waiata

Explanation

A whakataukī is a proverb or significant saying that carries collective wisdom. Composers embed these to anchor a haka in shared knowledge and authority.

Question 32Te Ao Haka (performance, composition, and analysis of haka)

Which term refers to the subject or root cause that a haka composition is built around?

  1. Rangi
  2. Haka
  3. Wānanga
  4. Take Correct answer.

Explanation

The take is the subject or purpose that a composition is built around. It shapes the choice of language, structure and imagery in the haka.

Question 33Te Ao Haka (performance, composition, and analysis of haka)

Which term describes a group of performers standing in formation to perform a haka together?

  1. Kaitito
  2. Take
  3. Kaiwero
  4. Rōpū Correct answer.

Explanation

A rōpū is a group or team, and in performance it refers to the collective of performers. The term emphasises the group as a performing unit.

Question 34Te Ao Haka (performance, composition, and analysis of haka)

A composer wants the haka to open with a line that states the group's connection to a specific river. Which technique most directly achieves this?

  1. Using a pukana during the opening line
  2. Adding more performers to the front row
  3. Naming the river through a whakataukī that ties the group to it Correct answer.
  4. Increasing the tempo of the opening line

Explanation

Naming the river through a whakataukī embeds the connection in language and shared knowledge, which is the composer's tool. Tempo, formation and facial expression affect delivery but do not state the connection.

Question 35Te Ao Haka (performance, composition, and analysis of haka)

A kaitātaki wants the group's final line to land with maximum impact after a quieter build. Which adjustment best achieves this?

  1. Lower the volume further on the final line
  2. Hold a brief pause, then drive the final line with full volume and sharp movement Correct answer.
  3. Reduce the number of performers for the final line
  4. Speed up the entire haka from the start

Explanation

A held pause followed by full volume and sharp movement creates contrast that makes the final line land. The build relies on dynamic contrast, not on uniform speed or reduced numbers.

Question 36Te Ao Haka (performance, composition, and analysis of haka)

A haka repeats the line 'Ka rere te manu, ka rere te manu' at the end of each verse. What is the most likely rhetorical effect?

  1. It changes the subject of the haka with each verse
  2. It signals that the composer has run out of new lines
  3. It reduces the tempo of the performance
  4. It creates a refrain that reinforces the central image and builds momentum Correct answer.

Explanation

Repetition as a refrain reinforces the central image and builds momentum across verses. It is a deliberate structural choice, not a sign of limited material.

Question 37Te Ao Haka (performance, composition, and analysis of haka)

A composer uses the image of a kahikatea standing firm in a flood to describe the group's resilience. Which device is being used?

  1. Whakataukī
  2. Hīhī
  3. Pukana
  4. Kupu whakarite Correct answer.

Explanation

Kupu whakarite covers simile and metaphor, where one thing is described through another. The tree image standing for resilience is a metaphor, so it is kupu whakarite.

Question 38Te Ao Haka (performance, composition, and analysis of haka)

During analysis, a group's performance shows precise unison in movement and voice, matched breathing and a shared focus. Which quality does this most directly demonstrate?

  1. Take
  2. Kotahitanga Correct answer.
  3. Waiata
  4. Whakapapa

Explanation

Kotahitanga is unity, shown when performers move and breathe as one. Precise unison and shared focus are its clearest performance indicators.

Question 39Te Ao Haka (performance, composition, and analysis of haka)

A haka is composed to oppose the loss of ancestral land. Which term best captures this purpose?

  1. Pukana
  2. Kaitito
  3. Rōpū
  4. Take Correct answer.

Explanation

The take is the subject or purpose a composition is built around, and a land grievance is a take. The other terms name people or performance elements rather than purpose.

Question 40Te Ao Haka (performance, composition, and analysis of haka)

Which structural pattern most effectively builds a haka toward a climax?

  1. Keeping the same volume and tempo from start to finish
  2. Stating the strongest line first and then gradually softening throughout
  3. Alternating between two unrelated subjects in every line
  4. Starting quietly, layering repeated lines and increasing intensity toward a final statement Correct answer.

Explanation

A quiet opening, layered repetition and rising intensity create a build that peaks at the final statement. This is a recognised structural device for climax.

Question 41Te Ao Haka (performance, composition, and analysis of haka)

A haka line uses 'te awa e rere ana' to suggest both a flowing river and the continuity of ancestral connection. What is this an example of?

  1. Kupu whakarite carrying a layered meaning Correct answer.
  2. A pukana used to emphasise the line
  3. A change of tempo within the line
  4. A whakataukī quoted from an unrelated source

Explanation

The line works as metaphor, where the river image carries a second meaning about ancestral continuity. Layered meaning through kupu whakarite is the device at work.

Question 42Te Ao Haka (performance, composition, and analysis of haka)

Two groups perform the same haka text with different tempos and movement emphasis. What does this best illustrate?

  1. Tempo is irrelevant to how a haka is received
  2. The text changes meaning because the words differ
  3. The text is fixed, but performance interpretation varies between groups Correct answer.
  4. Only one group can be performing the haka correctly

Explanation

A shared text allows different interpretations through tempo, movement and delivery. Variation in performance does not mean the text has changed.

Question 43Te Ao Haka (performance, composition, and analysis of haka)

Why might a composer place a whakataukī at the opening of a haka?

  1. To signal that the haka has no subject
  2. To replace the need for a kaitātaki
  3. To establish authority and shared knowledge before the group's own message Correct answer.
  4. To make the haka shorter and easier to memorise

Explanation

A whakataukī draws on collective wisdom, so opening with one lends authority and situates the haka within shared knowledge. It frames the message that follows.

Question 44Te Ao Haka (performance, composition, and analysis of haka)

A group performs with precise unison, strong pukana and a gradual build to a powerful final line. Which analysis best captures this performance?

  1. It proves the haka is a war dance
  2. It shows the group has abandoned the composer's take
  3. It demonstrates kotahitanga and deliberate dynamic structure working together Correct answer.
  4. It indicates the group is performing a waiata rather than a haka

Explanation

Unison and pukana show kotahitanga, while the gradual build shows deliberate dynamic structure. The two qualities combine to make the performance effective.

Question 45Te Ao Haka (performance, composition, and analysis of haka)

A composer wants to acknowledge a taniwha associated with a local river. Which approach best integrates this into the haka?

  1. Removing all references to the river to avoid confusion
  2. Increasing the number of verses without changing the imagery
  3. Using the taniwha as a kupu whakarite for the group's enduring strength Correct answer.
  4. Replacing the kaitātaki with a second composer

Explanation

Using the taniwha as a metaphor ties the ancestral figure to the group's own qualities, which integrates it meaningfully. The device connects place, ancestry and message.

Question 46Te Ao Haka (performance, composition, and analysis of haka)

A pātere differs from a haka taparahi mainly because a pātere is characterised by which feature?

  1. Performance only by a single leader
  2. A rapid, sustained chant delivered without the full haka movement set Correct answer.
  3. Use of the poi throughout
  4. Performance with weapons and leaping

Explanation

A pātere is a rapid, sustained chant, often associated with a composer's response, and lacks the full movement set of haka taparahi. The other options describe different forms.

Question 47Te Ao Haka (performance, composition, and analysis of haka)

A kaitātaki hears uneven entries and ragged endings across the group. Which adjustment most directly addresses the problem?

  1. Changing the subject of the haka
  2. Adding more verses to the haka
  3. Establishing clear cues and rehearsing the timing of entries and endings together Correct answer.
  4. Removing the pukana from the performance

Explanation

Uneven entries and endings are a timing and cueing problem, so clear cues and joint rehearsal of those points are the direct remedy. Other changes do not address timing.

Question 48Te Ao Haka (performance, composition, and analysis of haka)

An analyst argues that a haka's power comes equally from its words, its movement and its setting. Which evidence best supports this?

  1. The same text performed with stronger movement and in a significant setting moves the audience more Correct answer.
  2. The text alone always determines the audience's response
  3. Movement and setting are irrelevant to meaning
  4. Only the composer's intent matters, not the performance

Explanation

If the same words gain force through stronger movement and a meaningful setting, then all three elements contribute. This shows performance and context shape meaning alongside the text.

Question 49Te Ao Haka (performance, composition, and analysis of haka)

A composer builds a haka around a kupu whakarite that compares the group to a canoe on a rough sea. Which analysis best explains the choice?

  1. The metaphor hides the haka's subject from the audience
  2. The metaphor removes the need for a kaitātaki
  3. The metaphor proves the haka is a waiata
  4. The metaphor unifies the group's identity, struggle and collective effort in one image Correct answer.

Explanation

A single extended metaphor can carry identity, struggle and collective effort together, giving the haka coherence. The image is chosen to unify meaning, not to obscure it.

Question 50Te Ao Haka (performance, composition, and analysis of haka)

A kapa haka group is learning a newly composed haka. The kaitātaki wants to strengthen the sections where the whole group must breathe and move as one, so that entries and endings land together. Which rehearsal focus best targets this?

  1. Increasing the tempo each run-through so energy rises and any unevenness is disguised
  2. Rehearsing only the kaitātaki's solo calls, since the leader controls when everyone else begins
  3. Working separately in small groups on individual expression, then combining without any timing work
  4. Drilling the timing and shared breath points of the kupu and movements so the whole rōpū enters and stops together Correct answer.

Explanation

Ensemble precision in haka depends on shared timing and coordinated breathing, because the group's entries, pauses and endings are cued collectively rather than by one voice alone. Rehearsing those breath points alongside the words and movements builds the taut unison that distinguishes a disciplined performance. The other approaches either isolate the leader, ignore timing, or mask errors with speed instead of correcting them.