1.6: Dances from Polynesia
- Page ID
- 288396
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)Colonial encounters between Europeans and the Polynesian Islanders resulted many times in suppression of indigenous cultural dance forms. The Judeo-Christian perspective during that era was aimed at ‘civilizing’ what they deemed to be the barbaric dance practices of the native populations. However, dancers around the world became preservers of ancient knowledge, they were rebels. From this, there was a wide-spread post-colonial resurgence of cultural dance forms married to cultural identity and pride. Dance was a mechanism toward empowerment and social solidarity throughout the Pacific, including, but not limited to, Hawaii, Tahiti, Samoa, Tonga, and New Zealand (Aotearoa).
- 1.6.1: Hawai’i
- This page discusses Hawai’ian Hula as a vital cultural practice that enhances community health and empowerment through dance and storytelling. It differentiates between Hula Kahiko (ancient) and Hula Auana (modern), highlights historical suppression by missionaries, and notes King Kalākaua's efforts in the late 19th century to revive Hula. The annual Merrie Monarch festival is mentioned as a celebration of both traditional and contemporary Hula forms, reflecting a continuous cultural renaissance.
- 1.6.2: Tahiti
- This page discusses the historical significance of Tahitian dance, rooted over two centuries before Christ, highlighting key movements like the Ote’a and pa’oti. Although British missionaries suppressed these traditions in the late 18th century and bans persisted into the 1820s, the dance forms endured secretly. Christianity later provided some freedoms, facilitating gradual acceptance by French authorities in 1842.
- 1.6.3: Samoa
- This page discusses the Taualuga, a significant traditional dance from Samoa, highlighting its role in social hierarchies and events like weddings. Although often overshadowed by the Siva Afi dance, it features elegant movements and is traditionally performed by the chief's child. While previously reserved for virgins, it now favors unmarried participants to preserve its cultural importance, reflecting the rich heritage and values of Samoan society.
- 1.6.4: New Zealand (Aotearoa)
- This page discusses the Haka, a traditional Māori dance from Aotearoa characterized by energetic movements and chants, originally intended for battle but now a national symbol, often performed by the All Blacks. It also highlights the poi dance, traditionally performed by women and meant to tell stories through choreographed routines with tethered balls, which has evolved to be inclusive and is presented at various cultural events in New Zealand.