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Wiri Haka Movements

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Wiri Haka Movements

Read the kōrero, then answer the questions. Haka are diverse and have specific contexts; movements and interpretations can vary between iwi, hapū, and the haka itself. Learn from knowledgeable people and follow the guidance of the people whose haka you are learning.

Kōrero: He aha te wiri?

In some haka, wiri describes a trembling or quivering movement, often visible in the hands. Its appearance and meaning depend on the particular haka and the people who carry it. It may contribute to the energy and expression of a performance, alongside posture, voice, facial expression, timing, and movement by the whole group. Wiri is not simply a decorative hand action that can be detached from its context. When learning a haka, ask who it belongs to, what the words and actions mean, and who can teach it appropriately. Follow that guidance rather than assuming that one description fits every haka. In practice, performers may work on control, timing, focus, and coordination, while keeping the purpose and tikanga of the haka in view. Useful kupu: wiri — tremble, quiver; ringa — hand or arm; ā-rōpū — as a group; whakaute — respect; tikanga — customary values and practices.

Wāhanga A — Pānui me te mārama

Use evidence from the kōrero. For question 2, select every answer that is supported.

1.In the kōrero, what does wiri describe?

A trembling or quivering movement
A particular foot-stamping pattern used in every haka
A song performed without movement
A costume worn by performers

2.Which statements are supported by the kōrero? Select all that apply.

Wiri may be visible in the hands.
Every haka uses exactly the same wiri.
The meaning of wiri depends on the particular haka and its people.
Wiri should be considered alongside the performance as a whole.
Wiri is only a decorative action with no context.

3.True or false: The kōrero says one description of wiri fits every haka. Explain your choice in one sentence.

4.Match each kupu to its meaning.

wiri
manawataki
ringa
whakaute

hand or arm
tremble or quiver
respect
rhythm or beat

Wāhanga B — Whakamahia ngā kupu

Apply the ideas from the kōrero to thoughtful learning and performance.

5.Complete the sentence with the best kupu from the passage: “Me mahi te rōpū kia ōrite te .” (The group should work so the rhythm is together.)

6.A class is invited to learn a haka from its knowledgeable community members. Name two respectful questions learners could ask before practising, based on the kōrero.

7.The kōrero names four things performers may work on in practice. Write any three, then explain how one could help a group perform together.

8.Why would it be inaccurate to describe wiri as only a decorative hand action? Give two ideas from the kōrero.

9.Translate this sentence into English: “Me whai i ngā tohutohu a te hunga e whakaako ana.”

10.Write a short response explaining how you would practise wiri with care and respect. Include one practical focus and one way to honour the haka’s context. You may write in English, te reo Māori, or both.