Te Matatini is a nationwide Māori performing arts festival and competition for kapa haka performers from all of New Zealand and Australia. The name was given by Professor Wharehuia Milroy, a composite of Te Mata meaning "the face" and tini denoting "many" — hence the meaning of Te Matatini is "many faces".[1]
The Te Matatini festival is held every two years in different regions of New Zealand. Authority (mana) is given to different tribes (iwi) to host the festival. For example, in 2017 the mana was given to Te Whanganui-a-Tara on behalf of the Ngāti Kahungunu (Heretaunga) region.
Mead (2003) explains: Mana is undergone by a set of rules before it is given, the people or person in charge has to accept these constraints and strive to rise above them in order to do the job that is set before them.
Te Matatini is seen as playing a very important role within Māoridom in promoting the tikanga of the Māori culture and kapa haka. It provides a valuable experience for the people of New Zealand and others from all around the world, with the festival attracting up to 30,000 participants and spectators. Te Matatini celebrates the Māori culture, its beauty, and its core values. Kapa haka is a form of Māori identity and contributes to New Zealand being unique.
The Te Matatini Society is the driving force behind Te Matatini National Kapa Haka Festival. Initially emerging in the late 1960s, it has evolved into the sponsor of a variety of Māori festivals and Polynesian events. The society in its current form was established in 1972 and has focused on the long term nurturing of Māori performing arts.[2]
The next national kapa haka competition, Te Matatini 2025, will be held in New Plymouth at the Bowl of Brooklands, hosted by Te Kāhui Maunga, the Taranaki/Whanganui regional authority.[3]
Regions
Region (rohe)
Delegate
Committee
Chairperson
Te Tai Tokerau
Thomas Strickland
Waitangi Cultural Society Inc
Ropata Diamond
Tāmaki Makaurau
Annette Wehi
Tāmaki Makaurau Senior Kapa Haka Society Inc
Paora Sharples
Tainui
Paraone Gloyne
Tainui Waka Cultural Trust
N/A
Mataatua
Te Kahautu Maxwell
Mataatua Kapa Haka Inc
Te Kahautu Maxwell
Te Arawa
Dan Vaka
Te Arawa Charitable Trust
N/A
Te Tairāwhiti
Maui Tangohau
Tairāwhiti Cultural Development Trust Inc
N/A
Ngāti Kahungunu
Hira Huata
Ngāti Kahungunu Rūnanga Arts & Culture Board
N/A
Te Kāhui Maunga (formerly Aotea)
Rawiri Tinirau
Te Kāhui Maunga Regional Kapa Haka Committee
N/A
Rangitāne
Chris Whaiapu
Rangitāne Māori Cultural Arts Society Inc
N/A
Te Whanganui ā Tara
Te Teira Davis
Wellington Māori Cultural Society
N/A
Te Tau Ihu
Tom Alesana
Te Tau Ihu o Te Waka a Maui Māori Culture Council
N/A
Waitaha
Junior Tana
Ngā Pākihi Whakatekateka o Waitaha Cultural Council
N/A
Te Whenua Moemoeā (Australia)
Ihaka Cotter
Ngā Kapa Taumata Teitei (Māori Performing Arts Australia) Inc
All kapa haka performers, supporters, dignitaries and visitors are welcomed by the local hosts.
2 - 4
Pool Rounds
5
The Finals (Te Matangirua)
The finalists are judged anew to determine third, second and the new Toa Whakaihuwaka (overall winner of the competition)
Prizes
Prizes are awarded on the final competition day. Across the five days, each team are judged against set criteria, by expert judges, appointed from around New Zealand.
The taonga (trophies) are awarded to the teams with the highest score in the seven compulsory (aggregate) and non-compulsory (non-aggregate) disciplines from the pool rounds.
The toa whakaihuwaka (overall winner) taonga is awarded to the team with the highest scores from the final day (Te Matangirua) and also determines first second and third place.[5]
Disciplines
The performances are made up of different disciplines and each haka group is required to perform six disciplines within their performance piece or bracket - whakaeke (a choreographed entry), mōteatea (traditional chant), poi (light ball swung on the end of a rope), waiata-ā-ringa (action song), haka and whakawātea (exit). They must perfect every discipline in a polished 25-minute performance.
Discipline
Explanation
Waiata tira (optional)
The choral is used to warm up the group or is good to put rangimarie (peace) upon the group to settle nerves. This item is optional and not compulsory.
Whakaeke (entrance song)
This is where groups can make a statement in which who they are, where they come from, what the purpose is. It involves a lot of movement and choreography around the stage and involves much discipline.
Mōteatea
The mōteatea is a traditional chant or dirge, however, there are more contemporary styles being used in the more present times.
Waiata-ā-ringa
The action song is where performers are using hand and body actions, much emphasis is placed on the hands, face, body and eyes to combine actions to words of the song. Ngata & Armstrong (2002) state that, “the action song is not a series of drill movements but a rhythmic expression of moods and emotions” (p. 9).
Poi
The Poi is an item that is done mostly by women, but can be done by men. This item is known for its gracefulness and poise, utilising a poi (round ball) connected to a plaited cord that exhibits beauty and style.
Haka
Tānerore, "the offspring of Te Rā and Hineraumati gave the personification of hot quivering air, who danced in the summer heat, which was known as Te Haka a Tānerore (the haka of Tanerore" (Reed, 2004, p. 399). The Haka is also used to make a statement against political matters, issues in Māori society, and barriers and challenges that Māori face today. It is also known as an expression of New Zealand identity. Karetu (1993) states that "of the Māori dance repertoire it can be said that the haka is the most eagerly anticipated wherever there is a performance" (pg. 80).
Whakawātea
The item is the exit song for the group. This gives the group the opportunity to leave a final statement, and reinforce what they came to do, who they are and thank the tangata whenua ‘home people’ for hosting the event.
Te Reo
Also known as the Māori language, this discipline is the pinnacle of all disciplines.
Manukura Wahine/Manukura Tāne or Kaitataki Wahine/Kaitataki Tāne
Female and male leaders where both show their roles from on and off the stage. These include; karanga (the calling), mihimihi (speeches), how the leaders present themselves within their groups in terms of leadership and how they carry themselves for the group.
Kākahu
This is the dress form, groups are judged on dress style. This item recognises the skills of weavers, moko and tuhi kiri (tattoo) artists, and carvers.
