Alan Armstrong, of Wellington, is joint author (with Reupena Ngata) of ‘Maori Action Songs’. A second book, ‘Maori Games and Hakas’, is to be published shortly. This article is the first of two in which he discusses the teaching and presentation of action songs and hakas. The second article will appear in our next issue.

Technique a Necessity

Technique is important when teaching both haka taparahi and action song. Often they are taught extremely badly if the end result is any criteria. Too often, teaching consists merely of performing the item over and over again with perhaps a few experienced performers carrying the rest. Faults are left to iron themselves out, and of course they never are corrected, and so mistakes are perpetuated into actual concert and even competition performances.

Explaining the Item

It is very important that performers understand the nature and significance of the items which they are to learn. When this is neglected, the result is an unconvincing performance and vague actions because performers do not understand what they are trying to say. Even quite competent users of colloquial Maori cannot translate without help the literary style affected in some taparahi and waiata where archaic words and usage serve to obscure the meaning for present-day speakers of the language. Therefore an item must be introduced before it is taught and at least a general explanation, if not a line by line translation, given to the performers.

The Words

Haka and action song are above all the expression of a message—a message of the soul. It is the words which convey this message. The actions are merely a vehicle for the words—a means of emphasis which express little in themselves. If the words do not reach the audience then, to a Maori, the whole performance is meaningless and sterile. Many of the best teachers begin their teaching session first with practice in vowel sounds. Maori speech today has become so corrupted by the flat, tight-lipped English vowel sounds that some vocal limbering up is very important when there are a high proportion of young people in a group.

The next step is to learn the words thoroughly before the actions are attempted. There is often a great urge to get onto the actions quickly and the result is either mumbled in-

distinct words, because everyone is busy watching the leader and learning the actions, or poor actions, because performers have their eyes glued to a blackboard. Difficult lines must be broken down and the beats and breath pauses explained. How often have you heard a difficult haka such as Ruaumoko where lines such as ‘I patukia ki te tipua ki o Rangitopeka, pakaru te upoko o Rangitopeka’ tail off to a miserable mumble? Leaders must listen carefully and note slurring and faltering which marks uncertainty with words. Unless such faults are corrected early they are difficult to eradicate and can persist for a long while. I attended the initial practices of the group which welcomed the Queen at Waitangi this year. We spent two whole afternoons on words —without learning a single action!

The Actions

Just as it is a good idea to practice sounds, so it is often helpful—particularly when there are a number of inexperienced members in a group—to carry out practice exercises before getting on to the actions of the song or haka. These exercises allow everyone to limber up, gives novices confidence and allows the group leader to move around correcting common faults in posture and execution.

When the time comes to learn the song, etc., actions are too often merely repeated time after time. Initially the song or haka should be broken down line by line or into groups of lines, the actions of each being taken through slowly with the performers following. Difficult actions must be fully demonstrated and performers given a few minutes to practise in their own time, those in difficulty being corrected by the more experienced. Opinions differ as to whether items should be practised in correct tempo from the very beginning. Many teachers favour taking items with difficult words and/or actions through more slowly at first. The disadvantage of this is that it makes the correct speed more difficult to establish later and performers tend to slow down during the course of an item to the original practice tempo even after the correct beat is established and practised.

Correcting Faults

The important thing is that faults are straightened out as the rehearsal progresses. Nevertheless it is best not to correct individuals whilst the rest of the group waits. This will cause novices in particular to lose confidence. Specific faults in individuals are best brought to notice by a general reference to them for the benefit of all. This generalised correction should however be supplemented by experienced performers moving around during the course of the item correcting individual errors and helping those in difficulty.

Novices are usually understandably reluctant to get into the front, and hide away at the back where they can neither see nor be seen, and have their faults corrected. Spread the performers out, and allow plenty of space between rows and individuals. Sprinkle experienced performers amongst the inexperienced.

The Leader

The leader is the conductor of our orchestra, yet often he cannot be seen by the musicians. He should stand on a table or chair. Whether the leader faces or turns away from the group during practice is a matter of controversy. Many performers find it difficult to follow when the leader is facing and making his movements in opposite directions to them. When he turns away of course his actions are partially obscured. If the leader does lead with his back to the group then it will first be necessary for a careful demonstration of actions whilst facing the group. The ideal at rehearsals is to have two leaders—one facing, and the other turned away from the group.

Summary

In summary therefore a suggested sequence of teaching is:

First: Introduce the item. Mention its history if known and give some idea of its meaning and significance.

Second: Do some vocal exercises, then thoroughly practise the words without actions.

Third: Do some practice exercises to limber up.

Fourth: Get some of the experienced performers to do a demonstration of the complete item, words and actions.

Fifth: Practice the actions, slowly at first and line by line.

There is nothing new here. This all adds up to learning gradually but thoroughly and taking nothing for granted. Check faults and never be satisfied with anything less than perfection.