Most people will identify HAKA as a war dance, actually this is an erroneous description, but it??s understandable. One relatively formal definition is that composition played by many instruments. Hands, feet, legs, body, voice, tongue and eyes all play their part in blending together to covey in their fullness the challenge, welcome, exultation, defiance or contempt of the words. (Armstrong A, 1964)
According to Armstrong, he describes two general types of HAKA by whether weapons are carried or not: HAHA taparahi, which is performed without weapons and may express public or private sentiment; and HAKA peruperu, in which the performers carry weapon. (Armstrong, A, 1964)
There are also other methods to distinguish HAKA, which are differed by their function, by their manner of performance, by grouping of performers: ( Mclean, M 1996)
Ngeri??any short informal composition in HAKA form performed with or without dance and could be regarded as a short, sharp, wake-up action
Tuara??a type of ngeri in which words describe sexual connotations and imagery to express derision
Tumoto??another type of ngeri which is a virulent chant to indicate revenge for some injury or defeat in battle
Pirori??a HAKA performed naked which indicate contempt revulsion
Kaioraora??a HAKA composed by women to vent their anger at a an event which has occurred
2£® By manner of performance
HAKA horuhoru??performed in a kneeling position by both sexes
HAKA hoiri??performed with swaying movement
HAKA matohi??performed by men only in which they exaggeratedly expose their posterior
HAKA pikari??in which feet are shuffled
HAKA aroakapa??a haka performed in two ranks.
HAKA maporowha??performed with performers forming a square.
There is a type of HAKA performed by women only, is pukana. Although it is not mentioned within HAKA, accords exactly the definition of HA

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