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Te Ao Haka Investigation

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Te Ao Haka Investigation

Read the kōrero, then answer the questions using evidence from it and your own reasoning. Te Ao Haka is diverse: practices and meanings can differ between iwi, hapū, communities and performance contexts. Treat the examples here as an introduction, not as rules for every haka.

Kōrero: Reading a performance

Te Ao Haka can be understood as the world or realm of haka. Haka is a broad set of Māori performance practices; it is not one single dance with one fixed meaning. A haka may bring people together, welcome visitors, mark an important occasion, express challenge, remember someone, or communicate a community’s identity and values. Its purpose depends on the people and context. In a performance, the words (reo), voices, rhythm, movement, facial expression and group formation can work together. Breathing and pauses may shape the rhythm and intensity, but they are not simply moments of silence with the same meaning in every haka. Clothing or adornment may also carry meaning when chosen by the people performing. These features should be interpreted in context rather than treated as a universal checklist. Imagine a group preparing a haka for a community gathering. They discuss who the performance represents, why it is being presented, and which words and movements are appropriate. They practise speaking clearly and moving together. One performer says, “Our actions should support the kōrero, not distract from it.” The group also asks knowledgeable people from their community for guidance, because local knowledge and tikanga matter.

Understand the kōrero

Use details from the reading to build your understanding.

1.According to the kōrero, what is the best explanation of Te Ao Haka?
  • One fixed dance performed in exactly the same way everywhere
  • The world or realm of haka and its diverse performance practices
  • A type of traditional clothing
  • A name for the words used in every Māori performance
2.Select the two statements that match the kōrero about the purpose of haka.
  • Every haka has the same purpose
  • A haka’s purpose depends on its people and context
  • Haka can express identity, welcome visitors or mark an occasion
  • Haka is only performed to challenge another group
3.In the reading, what does reo mean?
4.True or false: The reading says that pauses and breathing have one universal meaning in every haka.
TrueFalse
5.Complete the idea from the reading: The group asks knowledgeable people from their community for guidance because local knowledge and matter.

Investigate choices and meaning

Explain your thinking. More than one well-supported response may be possible.

6.The group says, “Our actions should support the kōrero, not distract from it.” Explain what this could mean for the relationship between words and movement in a haka.
7.Give one reason the group discusses who the performance represents and why it is being presented before choosing words and movements.
8.A student says, “All haka are performed for the same reason.” Use one detail from the kōrero to challenge this claim.
9.Choose one feature—reo, rhythm and breathing, movement and expression, group formation, or clothing and adornment. Explain how it might contribute to a performance, and why its meaning should be considered in context.
10.Why might a group seek guidance from knowledgeable people in their community when preparing a haka? Give two reasons.
11.Write a respectful investigation question you could ask about a particular haka before interpreting it. Your question must recognise that context matters.
12.Write a two-sentence reflection: name one idea from the kōrero that changed or extended your understanding of Te Ao Haka, then explain why it matters.

3 printable pages

  • Te Ao Haka Investigation, page 1 of 3: Kōrero: Reading a performance, Understand the kōrero

    Page 1

  • Te Ao Haka Investigation, page 2 of 3: Investigate choices and meaning

    Page 2

  • Te Ao Haka Investigation, page 3 of 3: 8. A student says, “All haka are performed for the same reason.” Use one detail from the…

    Page 3

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