Difference between revisions of "AY Honors/Māori Lore/Answer Key"

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[[Image:Poi-manutuke.jpg|thumb|280px|Poi dance, by Manutuke School at Hopuhopu, New Zealand, 2003]]'''Poi''' is a form of [[juggling]] 'Impartial Art' <ref>The evocative term 'Impartial Art' cleverly associates juggling arts with [[Martial arts]] and in [[:wikt:poignant|poignant]] point-counterpoint contrasts the inherently non-violent aspect of jugging [[discipline]]s.</ref> (Finnigan, 1992) with balls on ropes, held in the hands and swung in various circular patterns, similar to [[Indian clubs|club-twirling]]. It was originally practiced by the [[Māori]] people of [[New Zealand]] (the word ''poi'' means "ball"  in [[Māori language|Māori]]). Women and men used it to increase flexibility, strength, and coordination. It developed into a traditional performance art practiced mostly by women. This art, in conjunction with others including ''waiata a ringa'', [[haka]] and ''titi torea'', make up the performance of [[kapa haka]] (Māori culture groups).
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[[Image:TaputapuateaMarae02.jpg|thumb|390px|Taputapuātea, an ancient marae at Ra'iātea in the Society Islands, restored in 1994.]]A '''marae''' (in New Zealand [[Māori]], [[Cook Islands Maori]], [[Tahitian]]) '''mala{{okina}}e''' (in [[Tongan]]), '''malae''' (in [[Samoan]] and [[Hawaiian language|Hawaiian]]) is a sacred place which served both religious and social purposes in ancient Polynesian societies. In all these languages, the word also means "cleared, free of weeds, trees, etc." It generally consists of an area of cleared land roughly rectangular (the marae itself), bordered with stones or wooden posts (called ''au'' in Tahitian and Cook Islands Māori) and containing a central stone (ahu, a'u)<ref>In some sources the word "ahu" is used as a synonym for all the stone structure of a marae complex</ref> and sometimes terraces (''paepae'') used in olden times for ceremonial purposes. During the 1994 restoration of Taputapuātea marae at Ra'iātea by archaeologists from the Tahiti Museum, human bones were discovered under some of the structures; apparently, the remains of sacrifices to {{Okina}}Oro.
  
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== Modern poi ==
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In some modern Polynesian societies, notably that of the Māori of New Zealand, the marae is still a vital part of everyday life. However, in tropical Polynesia, most marae were destroyed or abandoned with the arrival of Christianity in the 19th Century and some of them have become an attraction for tourists or archeologists. Nevertheless, the place where the marae were built are still considered as [[tapu]] in most islands and nobody would dare build anything on it. In the Cook Islands, a few marae (Arai-te-tonga, Vaerota, Taputapuātea<ref>Rarotongan tradition holds that Taputapuātea marae at Rarotonga, which archaeologists have dated to the 13th century, was built by Tangi'ia who brought the central stone with him from the ancient marae of the same name at Ra'iātea.Indeed, it seems that it was quite usual in ancient times to take a stone from this marae. ''The son of Tetupaia and Teu had not only the right to a seat in the great Marae of Taputapuatea in Raiatea, but he could take his stone from Taputapuatea and set it up in his own district of Pare Arue (Tahiti), so founding a Marae Taputapuatea of his own to wear the Maro-'ura (red waist girdle of the ariki)in.'' Ta'aroa Marau, "Memoirs of Arii Tamai e marama of Eimo Teriirere of Tooarai Terinui of Tahiti Tauraatua i Amo"
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[[Image:Poi circles.jpg|280px|thumb|Glowstick poi]]Today, poi extends past the original Māori culture. A [[subculture]] has sprung up in a few places, surrounding poi spinning as a hobby, exercise, or performance art. Poi dancers can sometimes be found performing alongside jugglers, staff spinners and other similar performers.
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</ref>) are still maintained, and are quickly tidied up before the investiture of a new ariki.  
  
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=== Practice poi ===
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== Marae in New Zealand ==
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Many people start out using a simple pair of practice poi. These are usually constructed from something soft, in order to lessen the frequency of beginners suffering the inevitable minor bruises. Rolled up [[sock]]s, [[bean bag]]s or small soft toys on strings are often used. Children in schools often make poi using plastic grocery bags and crumpled tissue paper or synthetic stuffing. Generally, poi spinners start out with very simple moves, gradually learning to involve more complexity and (eventually) a full performance routine. Many find it helpful to practice spinning their poi to music, in order to keep a rhythm.
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[[Image:Taupiri.jpg|thumb|right|390px|A marae beneath Taupiri mountain, Waikato district, 19th century]]In Māori society, the marae is a place where the culture can be celebrated, where the Māori language can be spoken, where intertribal obligations can be met, where customs can be explored and debated, where family occasions such as weddings and birthdays can be held, and where important ceremonies, such as extending a formal welcome to visitors (powhiri) or farewelling the dead (tangihanga), can be performed. Like the related institutions of old Polynesia, the marae is a ''wāhi tapu'', a 'sacred place' which carries great cultural meaning.
  
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=== Performance poi ===
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In Māori usage, ''marae'' is technically the enclosed space in front of a ''wharenui'' or meeting house (literally "big house"). However, it is generally used to refer to the whole complex, including the buildings and the open space.<ref>This sense of the word is now common in [[New Zealand English]]. Like most Māori words, it is unchanged in the plural.</ref> An unambiguous term for the area in front of the wharenui is ''marae ātea''.  This area is used for ''pōwhiri'' - welcome ceremonies featuring oratory. Some marae do not allow women to perform oratory there. The meeting house is the locale for important meetings, sleepovers, and craft and other cultural activities. The ''wharekai'' (dining hall) is used primarily for communal meals, but other activities may be carried out there. Many of the words associated with marae in tropical Polynesia are retained in the Māori context. For example, the word ''paepae'' refers to the bench where the speakers sit; this means it retains its sacred and ceremonial associations.
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Dancers and performers use brightly colored poi, either homemade or bought at juggling shops or a number of online stores. [[Fluorescence|Fluorescent]] colored tails and streamers attached to the poi allow a number of beautiful patterns to be created in the air by the performer, and many spinners pride themselves on the patterns they can make, and the accuracy of their spinning. A number of different forms of poi can be bought, from brightly coloured cones to cloth blades that can look like dragonfly wings.
 
  
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A variation on this is 'Flag poi', consisting of large sheets of lightweight fabric which can be spun round in the same way as regular poi. Often made of reflective or [[fluorescence|UV-sensitive]] material, these spin quite slowly and can create the effect that the performer is wrapped in sheets of rippling fabric. The weight and drag created by these flags, however, necessitates the spinner to ensure precision of movement and timing.It is difficult for a beginner to grasp.
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===Legal status===
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A marae is a meeting place registered as a reserve under the Te Ture Whenua Maori Act of 1993 ('The Māori Land Act'). Each marae has a group of trustees who are responsible for the operations of the marae. The act governs the regulation of marae as reservations and sets out the responsibilities of the trustees in relation to the beneficiaries. Generally each marae has a charter which the trustees have negotiated with the beneficiaries of the marae. The charter details matters such as:
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*the name of the marae, and a description of it;
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*a list of the beneficiaries: usually [[iwi]] (tribes), [[hapu|hapū]] (sub-tribes) or [[whānau]] (families); in some cases, in a few cases, the marae is dedicated to the common good of the people of New Zealand.
 +
*the methods used to select trustees;
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*general governing principles of the marae;
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*the ways in which the trustees may be held accountable by the beneficiaries, and methods for conflict resolution;
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*principles governing appointment and recognition of committees to administer the marae;
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*procedures for amending the charter, and for ensuring adherence to its principles.
  
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=== Glow poi ===
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===Tribal, church, and educational uses===
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[[Phosphorescence|Glow in the dark]] poi are available from a number of places, as are glow in the dark gloves, UV-sensitive poi and poi containing [[light-emitting diode|LED lights]] that make them shine. Different types of poi can be used to create different effects, depending on the setting. Poi containing small [[strobe]]s, for instance, can be used to create special effects.
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[[Image:Tanenuiarangi.jpg|390px|right|thumb|Waipapa marae, University of Auckland, New Zealand. The grassed area in front of the meeting house is the ''marae ātea'']]Most tribes and subtribes and even many small settlements have their own marae. An example of such a small settlement with its own marae is at Hongoeka Bay, [[Plimmerton]], the home of renowned writer [[Patricia Grace]]. Since the second half of the 20th century, Māori in urban areas have been establishing intertribal marae such as Maraeroa in eastern [[Porirua]]. For many Māori, the marae is just as important to them as their own homes.
  
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By far the simplest method used is a glow stick. Glow stick poi are popular at [[music festival|festivals]] and [[rave]]s, and some brands of glow stick even come with ribbons in the packets, which many find to be ideal.
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Some New Zealand churches also operate marae of their own, in which all of the functions of a traditional marae are carried out. Churches operating marae include the Anglican, Presbyterian, and Catholic churches. In recent years, it has become common for educational institutions, including primary and secondary schools, technical colleges, and universities, to build marae for the use of the students and for the teaching of Māori culture. These marae may also serve as a venue for the performance of official ceremonies relating to the school. The marae of the University of Auckland, for instance, is used for graduation ceremonies of the Māori Department, as well as welcoming ceremonies for new staff of the University as a whole. Its primary function is to serve as a venue for the teaching of ''whaikōrero'' (oratory), Māori language and culture, and important ceremonies for distinguished guests of the University.
  
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=== Fire poi ===
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==Polynesian Marae picture gallery==
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[[Image:Maitre du feu.jpg|280px|thumb|Fire poi]]Considered by some to be the "ultimate" performance poi, [[fire dancing|fire poi]] are constructed from chain, with [[kevlar]] wicks, sometimes also stuffed on the inside with more absorbing non-melting material such as cotton, that can be soaked in fuel and set on fire; usually [[paraffin]], [[kerosene]], [[naphtha]] (also called "white gas", "camping fuel", or "[[Coleman Company|Coleman]] fuel") or a similar household fuel is used - as gasoline / petrol burns too quickly for either safety or performance longevity and is much more toxic it is generally avoided where other options are available but is still popular in poorer countries. Likewise alcohol and lighter fluid are considered too dangerous and not sufficiently long lasting due to their low flash point and volatility.
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(To complete)
  
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Fire performances can be interesting for both audience and performer, provided the poi spinner is good enough that they can control the fire poi without putting anyone (particularly themselves) at risk.
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===New Zealand===
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<gallery>
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Image:Tanenuiarangi.jpg|"Waipapa marae, University of Auckland, New Zealand. The grassed area in front of the meeting house is the ''marae ātea''"
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Image:Taupiri.jpg|"A marae beneath Taupiri mountain, Waikato district, 19th century"
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</gallery>
  
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Many kinds of fire poi are available, the simplest utilizing two wicks. The fire wicks are generally one of three varieties: a cylindrical wrap, cathedral stack (square) or a [[Monkey's fist|monkey fist knot]] tied with kevlar rope. Some experienced performers like to pick and choose their wicks, according to the performance they intend to give - controlling their burn time and the brightness of the flames. More advanced fire poi can have multiple wicks.
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===Society Islands===
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<gallery>
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Image:TaputapuateaMarae02.jpg|"Taputapuātea, an ancient marae at Ra'iātea (Opoa district)  restored in 1994"
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Image:TaputapuateaMarae01.jpg|"A ti'i on the Taputapuātea marae (Ra'iātea)"
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</gallery>
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===Cook Islands===
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<gallery>
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Image:Taputapuatea.jpg|"View of Taputapuātea marae (Avarua-Rarotonga). The marae itself is located on the first stair of the paepae (platform)"
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Image:Taputapuatea-a'u.jpg|"Te a'u central stone of Taputapuātea marae (Rarotonga). This stone would have been brought by Tangi'ia from [[Raiatea]] in XIIIth century"
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Image:Maungaroa.jpg|Marae called "Maungaroa ki tai i te opuanga o te rā". It was the marae  of the Tinomana Ariki (Puaikura tribe-Rarotonga). It was restored in the seventies after having been destroyed through the zeal of the missionaries.
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Image:Vaerota.jpg|"Vaerota marae(Ngatangiia-Rarotonga). Kainuku Ariki's marae located in the Avana Valley"<ref>The picture is taken from inside the marae which is enclosed with yellow hibiscus trees (au)</ref>
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Image:Araitetonga.jpg|"Arai te Tonga marae(Tupapa Valley-Rarotonga)"<ref>Arai te tonga was actually the name of the koutu ariki (ariki's court). It originally comprised a considerable area of land, within three marae were built whose name were "Pure Ora", "Murivai" and "Marae Koroa" (Stephen Savage). This picture show the only visible marae today and generaly known under the name Arai te Tonga. According to some contradictory traditions the koutu was built by Tangi'ia or Karika. By the way it is located at the ancient border of the Takitumu (Ngati Tangi'ia) and Te au o tonga (Ngati Karika) tribes which is now situated at Matavera" </ref>
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Image:Tangoitetipi.jpg|"Tangi o te Tipi marae (Arorangi -Rarotonga). A well maintained Marae located long te ara metua about Akaoa Tapere"
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Image:Tangoitetipi1.jpg|"Tangi o te Tipi marae (Akaoa Arorangi - Rarotonga). Pera mataiapo tutara's marae"
  
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A variation called ''fire snakes'' (sometimes referred to as ''Fire Ropes'') consists of a length of kevlar rope that can produce a long flame. These can look stunning when used by a skilled performer, resulting in them being surrounded by sheets of flame.
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</gallery>
  
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== Poi tricks ==
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==See also==
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{{main|Poi tricks}}
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*[[List of Marae in the Gisborne Region]]
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Poi has become known among a few teenage communities. As with many subculture sports and pastimes, poi spinners often spend hours mastering their tricks.
 
  
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Some popular poi tricks include: reels, weaves, fountains, crossovers and windmills.
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==External links==
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*[http://history-nz.org/maori5.html New Zealand in History: the marae - meeting place]
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Split time and split direction moves are possible, and some of the more difficult moves require a considerable amount of manual dexterity, coordination and forearm strength to accomplish.
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*[http://www.bondy.ird.fr/pleins_textes/pleins_textes_4/sci_hum/04184.pdf Gérard, Bertrand, ''Le marae : description morphologique'' in Cahiers des Sciences Humaines, 1978, Vol. 15, No 4, p. 407-448. Architecture and morphology of Society Islands Marae]
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*[http://www.nzetc.org/tm/scholarly/tei-HutColl-t1-g1-t2-body-d1.html John Joseph Knight Hutchin, ''E Tuatua no te apai atinga ki mua i te marae, i te tuatau etene anga'' ("Tale of the offerings at the marae in heathen time") in "Collected songs and legends from the southern Cook Islands (c. 1883-1912)", notebook 2]
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There are several basic classes of trick. The two poi are usually spun in parallel planes, and can be spun in the same direction (weaves) or opposite directions (butterflies). Moves such as stalls and wraps can change direction of one (or both poi) to change between these two classes.
 
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=== Weaves ===
 
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[[Image:poibuzzsaw.jpg|thumb|280px|Fire poi, Rachel Robinson]]Weaves are a class of trick based around the "basic weave". Considered by many poi swingers to be one of the staple moves, the basic (three-beat) weave is often one of the first tricks learned. The basic weave is called "three-beat" because each poi spins three times in a cycle: once on the same side of the body (e.g. left-hand poi on left side) and twice on the opposite side. Backwards weaves, behind the back weaves, and 2-beat, 4-beat, 5-beat, and other weaves are also possible.
 
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=== Butterflies ===
 
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The butterfly is a simple trick in which the hands are held close together in front of the spinner and the poi spin in opposite directions flat to the spinner, so that the poi cross at the top and bottom of their circles. This move can be done behind the head, behind the back and extended to any number of moves; there are as many variations on the butterfly possible as there are for the weave. Highly skilled performers perform this with 4 pois (two in each hand) to execute a double butterfly. In each hand, one is held out of each end of a fist. The most expert practitioners do this with 6 poi balls so that a third one-footed butterfly can be performed with the other foot. However, impressive though this last one certainly is, the majority of poi performers consider such things to have no real use, as there´s no real way for the performer to use such a thing as part of a dance whilst keeping the fluidity of movement intact.
 
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=== Wraps ===
 
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A wrap is a move where one or both poi are wrapped around something, most typically part of the body, to change the path or direction of spin. There are two types of wrap: basic or recoil wraps wrap around the target and then bounce off, so that the poi ends up spinning in the opposite direction to which it started from; and thru-wraps which wrap around a moving body part, so that the direction stays the same but the poi changes the path it is travelling along. Typical targets for a wrap are the arms and legs, although any body part is suitable - one of the more dangerous places to perform wraps is around the neck. Double-neck thru-wraps are perhaps the most dangerous move that can be done with fire poi, due to the risk of the poi tangling.
 
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=== Flowers ===
 
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Flowers are a simple but potentially visually impressive set of moves in which the poi spinner fully extends their arms and moves them in circles around the body while spinning the poi. When done in time this gives rise to a series of loops around a large circle, which look like the petals of a flower when viewed from the side.
 
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=== Further tricks ===
 
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Isolations refer to a class of moves where the poi handle is also spun in a circle. "Perfect" isolation occurs when the poi handle and poi are moving in the same circle, and can usually create distinctive synchronised moves (e.g. cranks). Hyperloops are where the poi ropes becomes entangled (twisted up) and then untangled, keeping the ends spinning the entire time. Advanced spinners are also able to spin their moves in places such as behind the back and between the legs.
 
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== Poi construction ==
 
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[[Image:Feuerpois02.JPG|thumb|280px|Fire poi in action (long exposure)]]Many poi spinners, amateur and professional alike, prefer to create their own poi. A simple pair of practice poi require little more than a pair of socks and a couple of tennis balls. More impressive poi can be made from a multitude of different materials. Kite cords are lightweight and readily available. Chain is a more durable alternative to regular cord. Ball chains can rotate freely so as to prevent tangling, and metal cables can make for extremely fast poi. Long socks can also be used with a weight in one end and a knot in the other. More advanced spinners may add a weight to the handle, in order to improve their ability to perform advanced techniques (such as throws and contact poi).
 
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Kevlar wicks and a variety of poi heads can be bought either from juggling shops or online, and a number of different kinds of hand grip are available too. This way a performer can customise their poi to suit their own personal preference.
 
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== Some related performance arts ==
 
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Following are a number of arts from different cultures that bear similarities to poi. Altogether these disciplines (along with more familiar circus skills such as juggling, diablo and devil sticks) are often referred to as ''Object Manipulation''.
 
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; Staff : [[Staff (stick)|Staffers]] are one of the largest factions in the juggling community. In a similar way to poi spinners, staff spinners use one or two staffs to make a variety of patterns. Staffs, being large blunt objects, are known for being slightly more dangerous than poi when beginning, but many find they prefer staff tricks once experienced. One advantage of the staff is that it can be passed from hand to hand or rolled over a part of the body, such as the neck. This is called contact staffing. Many similar techniques can be employed to those found in martial arts like [[bojutsu]].
 
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; Glowstringing : [[Glowstringing]] is a similar art to poi, largely developed and advocated by the rave community, before spreading throughout [[electronic music]] culture. It involves spinning glowsticks to make patterns in the air at raves or in the club scene. While often mistaken for poi, it is in fact a separate discipline, and the two styles have had some influence on each other. Some people would argue that there is no difference at all between the disciplines as they both use the same tricks and equipment to some extent, the only real difference is the ''scene''.
 
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; Club swinging : Using regular [[Juggling Clubs|juggling clubs]], the head of the club can be held in the palm, and the club swung in poi-like patterns. Many poi moves can be attained this way, and as clubs can be stopped at any point of their swing, or swung as slowly as you like, some poi spinners find them useful in learning more difficult poi moves in 'slow motion'. Club swinging is, however, a completely separate discipline with its own techniques and performers.
 
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; Sword spinning : Taking influence from the [[sword]] displays of the [[Shaolin (martial arts)|Shaolin monks]], some performers learn to do tricks with swords. Swords require a lot more suppleness of the wrists, but can be far faster and more dramatic than poi performances. Practicing with [[bokken]] (Japanese wooden practice swords) or simple wooden staves is advisable, but when a performer is skilled enough, fire swords can be bought and constructed.
 
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; Nunchaku : [[Nunchaku]], as popularized in the media by actor [[Bruce Lee]], employ many similar techniques to poi. While originally a weapon, some companies now produce LED-lit nunchaku which can be used to create unique patterns in performances, though nunchaku remains (and is often regulated as) a weapon.
 
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; Meteor : A [[Meteor hammer|meteor]] (known to martial artists as a [[meteor hammer]] or meteor fist) is long rope, weighted on both ends, often with a [[monkey's fist|monkeyfist knot]]. It can be used similarly to poi as well as a staff, by keeping very precise timing so that the two balls exert equal [[centripetal force]] on each other and move in sync. Originally a Chinese weapon, meteor are extremely difficult to control. [[Fire meteor]]s and other variations of this tool also exist.
 
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== Safety ==
 
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Depending on their construction, poi can strike the user (or bystanders) with enough force to cause bruising or minor injury. Fire poi can cause burns because the metal parts become very hot and have a very high [[heat transfer coefficient]]. The actual wick has a lower coefficient and is less likely to cause burns, but it can spray or spread fuel and the performer's clothing can catch fire. Costumes for fire spinning should be made of non-flammable materials, such as [[cotton]] and [[leather]]. Synthetic fibers tend to melt when they burn and can cause very severe burns.
 
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Fire poi require a safety regime to deal with the risks of setting on fire either the user, bystanders, or the surroundings. All fire performances should have a sober, rested, and alert spotter who has access to a [[fire extinguisher]] (for putting out material and fuel fires), a damp towel (for extinguishing burning clothes and for extinguishing fire toys at the end of a performance), and a bucket of water (in case a clothing fire gets out of control). The fuel dump should be a metal container located far from the performance area that can quickly be sealed so as to be airtight. This will provide a means to extinguish a fire in the fuel dump. A paint can is an ideal example.
 
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== See also ==
 
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*[[Poi tricks]]
 
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*[[Fire dancing]]
 
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*[[Juggling]]
 
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*[[Circus skills]]
 
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*[[Glowsticking]]
 
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*[[Diabolo]]
 
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*[[Nicola Smells]]
 
  
 
==Notes==
 
==Notes==
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==References==
 
==References==
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*Finnigan, Dave (1992). ''The Zen of Juggling.'' Human Kinetics Europe Ltd. ISBN-10: 0961552158 & ISBN-13: 978-0961552152
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*Hirini Moko Mead, 2003. ''Tikanga Māori: Living by Māori Values.'' Huia Publishers: Wellington.
  
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== External links ==
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[[Category:Māori words and phrases]]
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*[http://www.youtube.com/watch?v=Do0GAXs12CY]Non traditional poi performance
 
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*[http://www.maori.org.nz/waiata/?d=page&pid=sp103&parent=86/ Maori.org.nz] Traditional Māori poi performance
 
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*[http://www.homeofpoi.com/ Home of Poi] One of the largest and most influential poi communities in the world.
 
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*[http://www.spherculism.net/ Spherculism]~ Advancing the moving arts
 
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*[http://artofpoi.tribe.net/ Tribe.net's Art of Poi] Forum, photo gallery, and event calendar.
 
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*[http://www.fire-dancing.com/fire-poi.php Fire Poi] World-wide fire poi trainers & performers.
 
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*[http://www.playpoi.com/ PlayPoi] Poi website featuring videos and photos, both artistic and instructional
 
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*[http://www.domorepoi.com/ Do More Poi] Poi Lessons, Forums, Funkiness.
 
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*[http://www.poipoi.info/tuition/ Poi Poi Tuition Resource] Downloadable Poi lessons, and an active poi community
 
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*[http://www.drama.org.nz/ejournal.asp?ID=2 Research in New Zealand Performing Arts] - a free online research journal that discusses Maori music and related performing arts.
 
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[[Category:Poi spinning]]
 
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[[Category:Fire arts]]
 
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[[Category:Circus skills]]
 
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[[Category:New Zealand culture]]
 
 
[[Category:Māori]]
 
[[Category:Māori]]
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[[Category:Dance props]]
 
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[[Category:Twirling]]
 
  
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[[de:Marae]]
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[[cs:Poi]]
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[[mi:Marae]]
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[[da:Poi]]
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[[nl:Marae]]
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[[de:Poi]]
 
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[[fr:Poi]]
 
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[[nl:Poi (jongleren)]]
 
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[[ja:ポイ (ジャグリング)]]
 
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[[nn:Poi]]
 
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[[pl:Poi]]
 
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[[ru:Пои]]
 
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Revision as of 09:13, 14 June 2007

File:TaputapuateaMarae02.jpg
Taputapuātea, an ancient marae at Ra'iātea in the Society Islands, restored in 1994.

A marae (in New Zealand Māori, Cook Islands Maori, Tahitian) malaTemplate:Okinae (in Tongan), malae (in Samoan and Hawaiian) is a sacred place which served both religious and social purposes in ancient Polynesian societies. In all these languages, the word also means "cleared, free of weeds, trees, etc." It generally consists of an area of cleared land roughly rectangular (the marae itself), bordered with stones or wooden posts (called au in Tahitian and Cook Islands Māori) and containing a central stone (ahu, a'u)& and sometimes terraces (paepae) used in olden times for ceremonial purposes. During the 1994 restoration of Taputapuātea marae at Ra'iātea by archaeologists from the Tahiti Museum, human bones were discovered under some of the structures; apparently, the remains of sacrifices to Template:OkinaOro.

In some modern Polynesian societies, notably that of the Māori of New Zealand, the marae is still a vital part of everyday life. However, in tropical Polynesia, most marae were destroyed or abandoned with the arrival of Christianity in the 19th Century and some of them have become an attraction for tourists or archeologists. Nevertheless, the place where the marae were built are still considered as tapu in most islands and nobody would dare build anything on it. In the Cook Islands, a few marae (Arai-te-tonga, Vaerota, Taputapuātea&) are still maintained, and are quickly tidied up before the investiture of a new ariki.

Marae in New Zealand

A marae beneath Taupiri mountain, Waikato district, 19th century

In Māori society, the marae is a place where the culture can be celebrated, where the Māori language can be spoken, where intertribal obligations can be met, where customs can be explored and debated, where family occasions such as weddings and birthdays can be held, and where important ceremonies, such as extending a formal welcome to visitors (powhiri) or farewelling the dead (tangihanga), can be performed. Like the related institutions of old Polynesia, the marae is a wāhi tapu, a 'sacred place' which carries great cultural meaning.

In Māori usage, marae is technically the enclosed space in front of a wharenui or meeting house (literally "big house"). However, it is generally used to refer to the whole complex, including the buildings and the open space.& An unambiguous term for the area in front of the wharenui is marae ātea. This area is used for pōwhiri - welcome ceremonies featuring oratory. Some marae do not allow women to perform oratory there. The meeting house is the locale for important meetings, sleepovers, and craft and other cultural activities. The wharekai (dining hall) is used primarily for communal meals, but other activities may be carried out there. Many of the words associated with marae in tropical Polynesia are retained in the Māori context. For example, the word paepae refers to the bench where the speakers sit; this means it retains its sacred and ceremonial associations.

Legal status

A marae is a meeting place registered as a reserve under the Te Ture Whenua Maori Act of 1993 ('The Māori Land Act'). Each marae has a group of trustees who are responsible for the operations of the marae. The act governs the regulation of marae as reservations and sets out the responsibilities of the trustees in relation to the beneficiaries. Generally each marae has a charter which the trustees have negotiated with the beneficiaries of the marae. The charter details matters such as:

  • the name of the marae, and a description of it;
  • a list of the beneficiaries: usually iwi (tribes), hapū (sub-tribes) or whānau (families); in some cases, in a few cases, the marae is dedicated to the common good of the people of New Zealand.
  • the methods used to select trustees;
  • general governing principles of the marae;
  • the ways in which the trustees may be held accountable by the beneficiaries, and methods for conflict resolution;
  • principles governing appointment and recognition of committees to administer the marae;
  • procedures for amending the charter, and for ensuring adherence to its principles.

Tribal, church, and educational uses

Waipapa marae, University of Auckland, New Zealand. The grassed area in front of the meeting house is the marae ātea

Most tribes and subtribes and even many small settlements have their own marae. An example of such a small settlement with its own marae is at Hongoeka Bay, Plimmerton, the home of renowned writer Patricia Grace. Since the second half of the 20th century, Māori in urban areas have been establishing intertribal marae such as Maraeroa in eastern Porirua. For many Māori, the marae is just as important to them as their own homes.

Some New Zealand churches also operate marae of their own, in which all of the functions of a traditional marae are carried out. Churches operating marae include the Anglican, Presbyterian, and Catholic churches. In recent years, it has become common for educational institutions, including primary and secondary schools, technical colleges, and universities, to build marae for the use of the students and for the teaching of Māori culture. These marae may also serve as a venue for the performance of official ceremonies relating to the school. The marae of the University of Auckland, for instance, is used for graduation ceremonies of the Māori Department, as well as welcoming ceremonies for new staff of the University as a whole. Its primary function is to serve as a venue for the teaching of whaikōrero (oratory), Māori language and culture, and important ceremonies for distinguished guests of the University.

Polynesian Marae picture gallery

(To complete)

New Zealand

  • "Waipapa marae, University of Auckland, New Zealand. The grassed area in front of the meeting house is the marae ātea"

  • "A marae beneath Taupiri mountain, Waikato district, 19th century"

Society Islands

  • TaputapuateaMarae02.jpg

    "Taputapuātea, an ancient marae at Ra'iātea (Opoa district) restored in 1994"

  • TaputapuateaMarae01.jpg

    "A ti'i on the Taputapuātea marae (Ra'iātea)"

Cook Islands

  • "View of Taputapuātea marae (Avarua-Rarotonga). The marae itself is located on the first stair of the paepae (platform)"

  • Taputapuatea-a'u.jpg

    "Te a'u central stone of Taputapuātea marae (Rarotonga). This stone would have been brought by Tangi'ia from Raiatea in XIIIth century"

  • Maungaroa.jpg

    Marae called "Maungaroa ki tai i te opuanga o te rā". It was the marae of the Tinomana Ariki (Puaikura tribe-Rarotonga). It was restored in the seventies after having been destroyed through the zeal of the missionaries.

  • Vaerota.jpg

    "Vaerota marae(Ngatangiia-Rarotonga). Kainuku Ariki's marae located in the Avana Valley"&

  • "Arai te Tonga marae(Tupapa Valley-Rarotonga)"&

  • Tangoitetipi.jpg

    "Tangi o te Tipi marae (Arorangi -Rarotonga). A well maintained Marae located long te ara metua about Akaoa Tapere"

  • Tangoitetipi1.jpg

    "Tangi o te Tipi marae (Akaoa Arorangi - Rarotonga). Pera mataiapo tutara's marae"

See also

External links

Notes

  1. ↑ In some sources the word "ahu" is used as a synonym for all the stone structure of a marae complex
  2. ↑ Rarotongan tradition holds that Taputapuātea marae at Rarotonga, which archaeologists have dated to the 13th century, was built by Tangi'ia who brought the central stone with him from the ancient marae of the same name at Ra'iātea.Indeed, it seems that it was quite usual in ancient times to take a stone from this marae. The son of Tetupaia and Teu had not only the right to a seat in the great Marae of Taputapuatea in Raiatea, but he could take his stone from Taputapuatea and set it up in his own district of Pare Arue (Tahiti), so founding a Marae Taputapuatea of his own to wear the Maro-'ura (red waist girdle of the ariki)in. Ta'aroa Marau, "Memoirs of Arii Tamai e marama of Eimo Teriirere of Tooarai Terinui of Tahiti Tauraatua i Amo"
  3. ↑ This sense of the word is now common in New Zealand English. Like most Māori words, it is unchanged in the plural.
  4. ↑ The picture is taken from inside the marae which is enclosed with yellow hibiscus trees (au)
  5. ↑ Arai te tonga was actually the name of the koutu ariki (ariki's court). It originally comprised a considerable area of land, within three marae were built whose name were "Pure Ora", "Murivai" and "Marae Koroa" (Stephen Savage). This picture show the only visible marae today and generaly known under the name Arai te Tonga. According to some contradictory traditions the koutu was built by Tangi'ia or Karika. By the way it is located at the ancient border of the Takitumu (Ngati Tangi'ia) and Te au o tonga (Ngati Karika) tribes which is now situated at Matavera"

References

  • Hirini Moko Mead, 2003. Tikanga Māori: Living by Māori Values. Huia Publishers: Wellington.

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