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

Revision as of 09:26, 4 September 2007

Rangi and Papa held each other in a tight embrace

In Māori mythology, the primal couple Rangi and Papa (or Ranginui and Papatuanuku) appear in a creation myth explaining the origin of the world.^&

Union and separation

Rangi and Papa are the primordial parents, the sky father and the earth mother, who lie locked together in a tight embrace. They have many children^&, all of which are male, who are forced to live in the cramped darkness between them.^& These children grow and discuss amongst themselves what it would be like to live in the light. Tūmatauenga, the fiercest of the children, proposes that the best solution to their predicament is to kill their parents (Grey 1956:2).

But his brother Tāne (or Tāne-mahuta) disagrees, suggesting that it is better to push them apart, to let Rangi be as a stranger to them in the sky above, while Papa will remain below to nurture them. The others put their plans into action: Rongo, the god of cultivated food tries to push his parents apart, then Tangaroa the god of the sea and his sibling Haumia-tiketike, the god of wild food, join him. In spite of their joint efforts, Rangi and Papa remain close together in their loving embrace. After many attempts, Tāne, god of forests and birds, forces his parents apart. Instead of standing upright and pushing with his hands as his brothers have done, he lies on his back and pushes with his strong legs. Stretching every sinew, Tāne pushes and pushes until with cries of grief and surprise, Ranginui and Papatuanuku are prised apart (Grey 1956:2-3, Biggs 1966:448).^&

A silly person at kinross how i no!! they are in my s&e class and was flriting with me & ashlee.

War in heaven and earth

Tāne adorned Rangi with stars

And so the children of Rangi and Papa see light and have space to move for the first time. While the other children have agreed to the separation, Tāwhirimātea, the god of storms and winds is angered that the parents have been torn apart. He cannot not bear to hear the cries of his parents, nor see the tears of the Rangi as they are parted, so he promises his siblings that from henceforth, they will have to deal with his anger. He flies off to join Rangi, and there carefully fosters his own many offspring, who include the winds, one of whom is sent to each quarter of the compass. To fight his brothers, Tāwhirimātea gathers an army of his children, winds and clouds of different kinds including fierce squalls, whirlwinds, gloomy thick clouds, fiery clouds, hurricane clouds and thunderstorm clouds, and rain, mists and fog. As these winds show their might the dust flies, and the great forest trees of Tane are smashed under the attack and fall to the ground, food for decay and for insects(Grey 1956:3-6, Tregear 1891:54, Biggs 1966:448-449).

Then Tāwhirimātea attacks the oceans, and huge waves rise, whirlpools form, and Tangaroa, the god of the sea, flees in panic. Punga, a son of Tangaroa, has two children, Ikatere, father of fish and Tu-te-wehiwehi (or Tu-te-wanawana), the ancestor of reptiles. Terrified by Tawhirimatea’s onslaught, the fish seek shelter in the sea, and the reptiles in the forests. Ever since, Tangaroa has been angry with Tāne for giving refuge to his runaway children. So it is that Tāne supplies the descendants of Tūmatauenga with canoes, fishhooks, and nets to catch the descendants of Tangaroa. Tangaroa retaliates by swamping canoes and sweeping away houses, land and trees that are washed out to sea in floods (Grey 1971:5-6).

Tāwhirimātea next attacks his brothers Rongo and Haumia-tiketike, the gods of cultivated and uncultivated foods. Rongo and Haumia are in great fear of Tāwhirimātea , but as he attacks them, Papa determines to keep these for her other children, and hides them so well that Tāwhirimātea cannot find them. So Tāwhirimātea turns on his brother Tūmatauenga. He uses all his strength, but Tū stands fast, and Tāwhiri cannot prevail against him. Tū (or humankind) stands fast, and at last the anger of the gods subsided and peace prevailed. Tū thought about the actions of Tāne in separating their parents, and made snares to catch the birds, the children of Tāne, who could no longer fly free. He then makes nets from forest plants and casts them in the sea, so that the children of Tangaroa soon lie in heaps on the shore. He made hoes to dig the ground, capturing his brothers Rongo and Haumia-tiketike where they have hidden from Tāwhirimātea in the bosom of the earth mother, and recognising them by their long hair which remains above the surface of the earth, he drags them forth and heaps them into baskets to be eaten. So Tū-the-man eats all of his brothers to repay them for their cowardice; the only brother that Tū does not subdue is Tāwhirimātea, whose storms and hurricanes attack humankind to this day (Grey 1971:7-10, Biggs 1966:449).

Yearning

Tāne searched for heavenly bodies as lights so that his father would be appropriately dressed. He obtained the stars and threw them up, along with the moon and the sun. At last Rangi looked handsome (Orbell 1998:145). Rangi and Papa continue to grieve for each other to this day. Ranginui's tears fall towards Papatuanuku to show how much he loves her. Sometimes Papatuanuku heaves and strains and almost breaks herself apart to reach her beloved partner again but it is to no avail. When mist rises from the forests, these are Papatuanuku's sighs as the warmth of her body yearns for Ranginui and continues to nurture mankind (Grey 1956:11).

Names and epithets

Rangi:

Rangi (Sky)
Raki (Sky) in the South Island
Ranginui (Great Sky)
Rangi-pōtiki (Rangi the lastborn): possibly another name of Rangi, or a closely allied deity

Papa:

Papa (Earth)
Papatuanuku (Earth spread out)

External links

Notes

↑ This article is based largely on the writings of a Te Arawa chief, Wiremu Maihi Te Rangikāheke, who is the author of much of the material in George Grey’s Nga Mahi a nga Tupuna (Grey 1971), originally published in 1854 and later translated into English as Polynesian Mythology (Grey 1956). It should be understood that the version presented here represents just one Māori creation myth among many variants
↑ The specific number of children varies in different versions but numbers of 70 or more are commonly mentioned. Whether such a high number actually occurs in one early text is another matter for investigation.
↑ Their children include, depending on the version: Tāne, Tangaroa, Tāwhirimātea, Rongo or (Rongo-mā-tāne), Haumia-tiketike, Tūmatauenga and Rehua. The youngest is Ruaumoko, who has never been born and remains inside his mother's womb. His movements cause earthquakes.
↑ Traditions of the Taranaki region, however, assign this separating role to Tangaroa, god of the sea (Smith 1993:1-2).

References

B.G. Biggs, 'Maori Myths and Traditions' in A.H. McLintock (editor), Encyclopaedia of New Zealand, 3 Volumes. (Government Printer: Wellington), 1966, II:447-454.
G. Grey, Nga Mahi a Nga Tupuna, fourth edition. First published 1854. (Reed: Wellington), 1971.
G. Grey, Polynesian Mythology, Illustrated edition, reprinted 1976. (Whitcombe and Tombs: Christchurch), 1956.
M. Orbell, The Concise Encyclopedia of Māori Myth and Legend (Canterbury University Press: Christchurch), 1998.
A. Smith, Songs and Stories of Taranaki from the Writings of Te Kahui Kararehe (MacMillan Brown Centre for Pacific Studies: Christchurch), 1993.
E.R. Tregear, Maori-Polynesian Comparative Dictionary (Lyon and Blair: Lambton Quay), 1891.

de:Rangi und Papa ru:Сотворение мира в мифологии Маори sv:Rangi

[1] This article is based largely on the writings of a Te Arawa chief, Wiremu Maihi Te Rangikāheke, who is the author of much of the material in George Grey’s Nga Mahi a nga Tupuna (Grey 1971), originally published in 1854 and later translated into English as Polynesian Mythology (Grey 1956). It should be understood that the version presented here represents just one Māori creation myth among many variants

[2] The specific number of children varies in different versions but numbers of 70 or more are commonly mentioned. Whether such a high number actually occurs in one early text is another matter for investigation.

[3] Their children include, depending on the version: Tāne, Tangaroa, Tāwhirimātea, Rongo or (Rongo-mā-tāne), Haumia-tiketike, Tūmatauenga and Rehua. The youngest is Ruaumoko, who has never been born and remains inside his mother's womb. His movements cause earthquakes.

[4] Traditions of the Taranaki region, however, assign this separating role to Tangaroa, god of the sea (Smith 1993:1-2).

&

&

&

&

@@ Line 1: / Line 1: @@
-[[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 juggling [[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 is commonly said to have originally been practiced by the [[Māori]] people of [[New Zealand]], however modern poi is more of a combination of spinning arts from around the world.  (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).
+[[Image:WahineTane.jpg|right|260px|Rangi and Papa held each other in a tight embrace]]In [[Māori mythology]], the primal couple '''Rangi and Papa''' (or Ranginui and Papatuanuku) appear in a [[creation myth]] explaining the origin of the world.<ref>This article is based largely on the writings of a Te Arawa chief, Wiremu Maihi Te Rangikāheke, who is the author of much  of the material in George Grey’s ''Nga Mahi a nga Tupuna'' (Grey 1971), originally published in 1854 and later translated into English as ''Polynesian Mythology'' (Grey 1956). It should be understood that the version presented here represents just one Māori creation myth among many variants</ref>
-== Modern poi ==
+==Union and separation==
-[[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.
+Rangi and Papa are the primordial parents, the [[Sky Father|sky father]] and the [[Earth Mother|earth mother]], who lie locked together in a tight embrace. They have many children<ref>The specific number of children varies in different versions but numbers of 70 or more are commonly mentioned. Whether such a high number actually occurs in one early text is another matter for investigation.</ref>, all of which are male, who are forced to live in the cramped darkness between them.<ref>Their children include, depending on the version:  Tāne, Tangaroa, Tāwhirimātea, Rongo or (Rongo-mā-tāne), Haumia-tiketike, Tūmatauenga and [[Rehua]]. The youngest is [[Ruaumoko]], who has never been born and remains inside his mother's womb.  His movements cause earthquakes.</ref> These children grow and discuss amongst themselves what it would be like to live in the light. [[Tūmatauenga]], the fiercest of the children, proposes that the best solution to their predicament is to kill their parents (Grey 1956:2).
-=== Practice poi ===
+But his brother [[Tāne]] (or Tāne-mahuta) disagrees, suggesting that it is better to push them apart, to let Rangi be as a stranger to them in the sky above,  while Papa will remain below to nurture them. The others put their plans into action: [[Rongo]], the god of cultivated food tries to push his parents apart, then [[Tangaroa]] the god of the sea and his sibling [[Haumia-tiketike]], the god of wild food, join him. In spite of their joint efforts, Rangi and Papa remain close together in their loving embrace.  After many attempts, Tāne, god of forests and birds, forces his parents apart. Instead of standing upright and pushing with his hands as his brothers have done, he lies on his back and pushes with his strong legs.  Stretching every sinew, Tāne pushes and pushes until with cries of grief and surprise, Ranginui and Papatuanuku are prised apart  (Grey 1956:2-3, Biggs 1966:448).<ref>Traditions of the Taranaki region, however, assign this separating role to Tangaroa, god of the sea (Smith 1993:1-2).</ref>
-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.
-=== Performance poi ===
-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.
-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.
+A silly person at kinross how i no!!
+they are in my s&e class and was flriting with me & ashlee.
-=== Glow poi ===
+==War in heaven and earth==
-[[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.
+[[Image:Pleiades large.jpg|thumb|left|240px|Tāne adorned Rangi with stars]]And so the children of Rangi and Papa see light and have space to move for the first time. While the other children have agreed to the separation,  [[Tāwhirimātea]], the god of storms and winds is angered that the parents have been torn apart. He cannot not bear to hear the cries of his parents, nor see the tears of the Rangi as they are parted, so he promises his siblings that from henceforth, they will have to deal with his anger.  He flies off to join Rangi, and there carefully fosters his own many offspring, who include the winds, one of whom is sent to each quarter of the compass. To fight his brothers, Tāwhirimātea gathers an army of his children, winds and clouds of different kinds including fierce squalls, whirlwinds, gloomy thick clouds, fiery clouds, hurricane clouds and thunderstorm clouds, and rain, mists and fog. As these winds show their might the dust flies, and the great forest trees of Tane are smashed under the attack and fall to the ground, food for decay and for insects(Grey 1956:3-6, Tregear 1891:54, Biggs 1966:448-449).
+Then Tāwhirimātea attacks the oceans, and huge waves rise, whirlpools form, and Tangaroa, the god of the sea, flees in panic. Punga, a son of Tangaroa, has two children, Ikatere, father of fish and Tu-te-wehiwehi (or Tu-te-wanawana), the ancestor of reptiles. Terrified by Tawhirimatea’s onslaught, the fish seek shelter in the sea, and the reptiles in the forests. Ever since, Tangaroa has been angry with Tāne for giving refuge to his runaway children. So it is that Tāne supplies the descendants of Tūmatauenga with canoes, fishhooks, and nets to catch the descendants of Tangaroa. Tangaroa retaliates by swamping canoes and sweeping away houses, land and trees that are washed out to sea in floods (Grey 1971:5-6).
-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.
+Tāwhirimātea next attacks his brothers Rongo and Haumia-tiketike, the gods of cultivated and uncultivated foods. Rongo and Haumia are in great fear of Tāwhirimātea , but as he attacks them, Papa determines to keep these for her other children, and hides them so well that Tāwhirimātea cannot find them. So Tāwhirimātea turns on his brother Tūmatauenga. He uses all his strength, but Tū stands fast, and Tāwhiri cannot prevail against him. Tū (or humankind) stands fast, and at last the anger of the gods subsided and peace prevailed. Tū thought about the actions of Tāne in separating their parents, and made snares to catch the birds, the children of Tāne, who could no longer fly free. He then makes nets from forest plants and casts them in the sea, so that the children of Tangaroa soon lie in heaps on the shore. He made hoes to dig the ground, capturing his brothers Rongo and Haumia-tiketike where they have hidden from Tāwhirimātea in the bosom of the earth mother, and recognising them by their long hair which remains above the surface of the earth, he drags them forth and heaps them into baskets to be eaten. So Tū-the-man eats all of his brothers to repay them for their cowardice; the only brother that Tū does not subdue is Tāwhirimātea, whose storms and hurricanes attack humankind to this day (Grey 1971:7-10, Biggs 1966:449).
-=== Fire poi ===
+==Yearning==
-[[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]] blend 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.
+Tāne searched for heavenly bodies as lights so that his father would be appropriately dressed. He obtained the stars and threw them up, along with the moon and the sun. At last Rangi looked handsome (Orbell 1998:145). Rangi and Papa continue to grieve for each other to this day. Ranginui's tears fall towards Papatuanuku to show how much he loves her. Sometimes Papatuanuku heaves and strains and almost breaks herself apart to reach her beloved partner again but it is to no avail. When mist rises from the forests, these are Papatuanuku's sighs as the warmth of her body yearns for Ranginui and continues to nurture mankind (Grey 1956:11).
-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.
+==Names and epithets==
+Rangi:
+*Rangi (Sky)
+*Raki (Sky) in the [[South Island]]
+*Ranginui (Great Sky)
+*Rangi-pōtiki (Rangi the lastborn): possibly another name of Rangi, or a closely allied deity
-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 blend 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.
+Papa:
+*Papa (Earth)
+*Papatuanuku (Earth spread out)
-A variation called ''fire snakes'' (sometimes referred to as ''Fire Ropes'') consists of a length of kevlar blend 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.
+==See also==
+*[[Atea]], husband of Papa (primordial parents) in [[Tuamotu]]an, [[Rarotonga]]n and [[Marquesas]] genealogies
-== Poi tricks ==
+*[[Wākea]], husband of Papa, from [[Hawaii]]
-{{main|Poi tricks}}
+*[[Vatea]], husband of Papa, father of gods and men in [[Mangaia]], [[Cook Islands]]
-Poi has become known among a few communities. As with many subculture sports and pastimes, poi spinners often spend hours mastering their tricks.
+*[[Ki (goddess)]] and [[Anu]], [[Sumerian]] deities similar to Rangi and Papa
-Some popular poi tricks include: reels, weaves, fountains, crossovers and windmills.
-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.
-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.
-=== Weaves ===
-[[Image:poibuzzsaw.jpg|thumb|280px|Performing the buzzsaw with 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, 7-beat and other weaves are also possible.
-=== Butterflies ===
-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 poi (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.
-=== Wraps ===
-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.
-=== Flowers ===
-Flowers are a 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.
-=== Further tricks ===
-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.
-== Poi construction ==
-[[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).
-Kevlar blend 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.
-== Some related performance arts ==
-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''.
-; 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 [[Bōjutsu|bōjutsu]].
-; 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''.
-; 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.
-; 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.
-; 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. See also: [[Freestyle nunchaku]]
-; 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.
-== Safety ==
-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.
-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.
-== See also ==
-*[[Poi tricks]]
-*[[Fire dancing]]
-*[[Juggling]]
-*[[Circus skills]]
-*[[Glowsticking]]
-*[[Diabolo]]
+==External links==
+*[http://www.sacred-texts.com/pac/grey/index.htm Grey's ''Polynesian Mythology'', first edition (1854).]
+* [http://contentdm.lib.byu.edu/PacificStudies/image/5921161932003_571202.pdf Samuel K. Parker, ''Dialectics of Power in the Maori Creation Myth'' in Pacific Studies, Vol 10 n°3, july 1987]
+* [http://www.ethnomath.org/resources/tikao1939.pdf Tikao, T. T. (1939). Tikao talks: ''Traditions and tales told by Teone Taare Tikao to Herries Beattie'' (pp. 23-50). Wellington, New Zealand: A.H. and A.W. Reed.]
+* [http://www.nzetc.org/tm/scholarly/tei-TreMaor.html E.R. Tregear, ''Maori-Polynesian Comparative Dictionary'' (Lyon and Blair: Lambton Quay), 1891.]
 ==Notes==
 <references/>
 ==References==
-*Finnigan, Dave (1992). ''The Zen of Juggling.'' Human Kinetics Europe Ltd.  ISBN-10: 0961552158 & ISBN-13: 978-0961552152
+*B.G. Biggs, 'Maori Myths and Traditions' in A.H. McLintock (editor), ''Encyclopaedia of New Zealand'', 3 Volumes. (Government Printer: Wellington), 1966, II:447-454.
+*G. Grey, ''Nga Mahi a Nga Tupuna'', fourth edition. First published 1854. (Reed: Wellington), 1971.
+*G. Grey, ''Polynesian Mythology'', Illustrated edition, reprinted 1976. (Whitcombe and Tombs: Christchurch), 1956.
+*M. Orbell, ''The Concise Encyclopedia of  Māori Myth and Legend'' (Canterbury University Press: Christchurch), 1998.
+*A. Smith,  ''Songs and Stories of Taranaki from the Writings of Te Kahui Kararehe'' (MacMillan Brown Centre for Pacific Studies: Christchurch), 1993.
+*E.R. Tregear, ''Maori-Polynesian Comparative Dictionary'' (Lyon and Blair: Lambton Quay), 1891.
-== External links ==
+[[Category:Māori mythology]]
-*[http://www.youtube.com/watch?v=Do0GAXs12CY]Non traditional poi performance
+[[Category:Creation stories]]
-*[http://www.maori.org.nz/waiata/?d=page&pid=sp103&parent=86/ Maori.org.nz] Traditional Māori poi performance
+[[Category:Earth goddesses]]
-*[http://www.homeofpoi.com/ Home of Poi] One of the largest and most influential poi communities in the world.
+[[Category:Sky and weather gods]]
-*[http://www.spherculism.net/ Spherculism]~ Advancing the moving arts
+[[Category:Legendary progenitors]]
-*[http://artofpoi.tribe.net/ Tribe.net's Art of Poi] Forum, photo gallery, and event calendar.
-*[http://www.fire-dancing.com/fire-poi.php Fire Poi] World-wide fire poi trainers & performers.
-*[http://www.playpoi.com/ PlayPoi] Poi website featuring videos and photos, both artistic and instructional
-*[http://www.domorepoi.com/ Do More Poi] Poi Lessons, Forums, Funkiness.
-*[http://www.poipoi.info/tuition/ Poi Poi Tuition Resource] Downloadable Poi lessons, and an active poi community
-*[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.
-[[Category:Poi spinning]]
-[[Category:Fire arts]]
-[[Category:Circus skills]]
-[[Category:New Zealand culture]]
-[[Category:Māori]]
-[[Category:Dance props]]
-[[Category:Twirling]]
-[[bg:Пой]]
+[[de:Rangi und Papa]]
-[[cs:Poi]]
+[[ru:Сотворение мира в мифологии Маори]]
-[[da:Poi]]
+[[sv:Rangi]]
-[[de:Poi]]
-[[fr:Poi]]
-[[he:פוי]]
-[[nl:Poi (jongleren)]]
-[[ja:ポイ (ジャグリング)]]
-[[nn:Poi]]
-[[pl:Poi]]
-[[ru:Пои]]
-[[sk:Poi (žonglovanie)]]
-[[sv:Poi]]