Paper short abstract:

This paper will present how the uses and the significations of Maori traditional actions songs known as “haka” can be different in various contemporary contexts in New Zealand such as cultural competitions, schools and universities; and overseas in Europe or in United States when theses dances are appropriated by other people, carried in other hands, for other purposes.

Paper long abstract:

This paper aims at understanding how the forms, the practices and the meanings of the set of ritual dances known as "haka" and their scenic form, "kapa haka", can differ according to the social context in which they take place. In fact, haka today has world visibility, being relayed by powerful vehicles such as sport, diplomacy and advertising. It is used as a symbol, or even as an icon of Maori culture: but like every icon, its carries its own myths, anachronisms and misunderstandings, especially when it is taken overseas.

In New Zealand, these traditional Maori dances -and like Maori culture as a whole- underwent major developments during the twentieth century, developing in three different contexts: they became central to national performing arts competitions, along the way being "rationalized" and "normalized" to be evaluated on the same basis, yet many tribal traditions entered in conflict. Kapa haka has also been "nationalized" by entering in the general New Zealand educational system: today it is taught early to young pupils, without differentiating between Maori, Pakeha, or other ethnic groups. It is also integrated in high schools, because each institution has its own haka and often performs for public occasions. Finally, it also entered universities and is today part of the academic teachings offered by Maori and Pacific studies programmes. I will try to see if the uses and significations of these dances differ across these three different contexts.