This is part 4 of a 5 part series delving into the origins of the modern version of Tahitian dance.
By Eric Ka’ahele Morales
The ‘Ahuroa
In constructing the ‘ahuroa, Roiti and Tavana worked together to create a more formal looking dance that, as Roiti states, was simply “another excellent number for the show.” Using the ‘aparima himene as a guide, they decided on a number of specifications that their version of the dance would follow. First off, only female dancers would participate, and these dancers were then each given a long, elegant dress that was form fitted, with sleeves, and ruffles.
In terms of music, it differed in a few distinct aspects. First and foremost, the dance was performed with a slower tempo. By reducing the tempo of the music, the ‘ahuroa looked similar to the hula ‘auana (modern hula). Aware of this correlation, they decided that the Tahitian song used be done to a waltz time as an added means of differentiating the two styles. Otherwise, the manner of gesturing, the type of the lyrics of the song, and the content that usually appeared in an ‘aparima hīmene were the same. According to Roiti, because of this, the learning of the actual dance was relatively simple: “By the time we started the show, we just learned the number.”
The original innovations introduced to the ‘aparima hīmene to make it the ‘ahuroa were then: the exclusion of men, costuming, a slower tempo, and a waltz.
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Showing posts with label eric ka'ahele morales. Show all posts
Showing posts with label eric ka'ahele morales. Show all posts
Monday, March 18, 2013
Saturday, December 29, 2012
‘Ahuroa: Dancing a Legacy - The ‘Aparima
This is part 3 of a 5 part series delving into the origins of the modern version of Tahitian dance.
By Eric Ka’ahele Morales
The ‘Aparima
As stated earlier, the dance Tavana and Roiti created, the ‘ahuroa, was rooted within the dance form, the ‘aparima. Translated, ‘aparima means “movement of the hand,” with apa meaning “movement” and rima meaning “hand or arm.” Whereas in other Tahitian dance forms the hands are more ornamental, in the ‘aparima, the hands serve as a means of conveying a narrative and is the only one that is always meant to pantomime an actual story.
The two categories of ‘aparima are the ‘aparima vāvā and the ‘aparima hīmene. Male and females may dance both types of the ‘aparima. The costuming is flexible and can vary from a pāreu tied around the waist with a coconut bra or a separate cloth covering the chest of female dancers. Male dancers can leave their chest bare or adorn it with leis. More skirts and headdresses can be used by either sex. Gestures used in the dance are either descriptive, symbolic, or ornamental. An example of a descriptive gesture would be if the song were to reference sleep, the dancer may place both their open palms together on one side of their tilted head to mime the act of sleeping. A common symbolic gesture is putting one’s closed fists on the hips to mark the beginning or the end of the ‘aparima.
The Tahitian word, vāvā, means mute, thus the ‘aparima vāvā is largely a pantomime, as neither the dancers nor the musicians provide any lyrical accompaniment. For the most part, it is performed in a kneeling position, with dancers acting out stories, mainly being pulled from the daily life of the islands and lasting under a minute. The music is secondary to the dance, used to accentuate and coordinate the gestures of the dancers, and the instruments used are primarily the pahu (base drum) and the tō’ere (slit-log drum), with the vivo (Tahitian nose flute) occasionally making an appearance.
Hīmene, by contrast, is derived from the English word, hymn. The ‘aparima hīmene is thus reliant on a sung narrative to tell a story and is considerably longer in length than the ‘aparima vāvā. In it, dancers pair mainly symbolic movements to correspond with the lyrics. The songs used can come from the existing Tahitian folk song repertoire or be the original creation of the group director. In some cases, the group director may take an existing folk song and restructure the music or lyrics to fit their artistic desires. Folk songs that have already been affected by popular music genres or that have been fused with Western musical influences are also still viable options for the ‘aparima hīmene. These outside influences are especially significant in the instrumental accompaniment, which usually includes stringed instruments, such as the guitar or the ukulele, along with the use of drums or the vivo. Content wise, the song chosen for the ‘aparima hīmene is characterized by its focus on describing the abstract, such as emotions and thoughts towards other people, places, or objects. ‘Aparima hīmene can be based on a story that reflects childhood memories with a loved member of the community or they can be about the simple joys of one’s homeland.
Inherent in both types of the ‘aparima is flexibility, in costuming, music, and even choreography. In fact, many of the gestures are not fixed, and numerous interpretations of songs can be used that incorporate a wide range of gestures. Also, the choreography of dances can easily be adjusted; for instance, performances where the dances are standing can easily be altered to take place in a sitting position.
By Eric Ka’ahele Morales
The ‘Aparima
As stated earlier, the dance Tavana and Roiti created, the ‘ahuroa, was rooted within the dance form, the ‘aparima. Translated, ‘aparima means “movement of the hand,” with apa meaning “movement” and rima meaning “hand or arm.” Whereas in other Tahitian dance forms the hands are more ornamental, in the ‘aparima, the hands serve as a means of conveying a narrative and is the only one that is always meant to pantomime an actual story.
The two categories of ‘aparima are the ‘aparima vāvā and the ‘aparima hīmene. Male and females may dance both types of the ‘aparima. The costuming is flexible and can vary from a pāreu tied around the waist with a coconut bra or a separate cloth covering the chest of female dancers. Male dancers can leave their chest bare or adorn it with leis. More skirts and headdresses can be used by either sex. Gestures used in the dance are either descriptive, symbolic, or ornamental. An example of a descriptive gesture would be if the song were to reference sleep, the dancer may place both their open palms together on one side of their tilted head to mime the act of sleeping. A common symbolic gesture is putting one’s closed fists on the hips to mark the beginning or the end of the ‘aparima.
The Tahitian word, vāvā, means mute, thus the ‘aparima vāvā is largely a pantomime, as neither the dancers nor the musicians provide any lyrical accompaniment. For the most part, it is performed in a kneeling position, with dancers acting out stories, mainly being pulled from the daily life of the islands and lasting under a minute. The music is secondary to the dance, used to accentuate and coordinate the gestures of the dancers, and the instruments used are primarily the pahu (base drum) and the tō’ere (slit-log drum), with the vivo (Tahitian nose flute) occasionally making an appearance.
Hīmene, by contrast, is derived from the English word, hymn. The ‘aparima hīmene is thus reliant on a sung narrative to tell a story and is considerably longer in length than the ‘aparima vāvā. In it, dancers pair mainly symbolic movements to correspond with the lyrics. The songs used can come from the existing Tahitian folk song repertoire or be the original creation of the group director. In some cases, the group director may take an existing folk song and restructure the music or lyrics to fit their artistic desires. Folk songs that have already been affected by popular music genres or that have been fused with Western musical influences are also still viable options for the ‘aparima hīmene. These outside influences are especially significant in the instrumental accompaniment, which usually includes stringed instruments, such as the guitar or the ukulele, along with the use of drums or the vivo. Content wise, the song chosen for the ‘aparima hīmene is characterized by its focus on describing the abstract, such as emotions and thoughts towards other people, places, or objects. ‘Aparima hīmene can be based on a story that reflects childhood memories with a loved member of the community or they can be about the simple joys of one’s homeland.
Inherent in both types of the ‘aparima is flexibility, in costuming, music, and even choreography. In fact, many of the gestures are not fixed, and numerous interpretations of songs can be used that incorporate a wide range of gestures. Also, the choreography of dances can easily be adjusted; for instance, performances where the dances are standing can easily be altered to take place in a sitting position.
Tuesday, September 04, 2012
‘Ahuroa: Dancing a Legacy - Tahiti to Hawaii
This is part 2 of a 5 part series delving into the origins of the modern version of Tahitian dance.
By Eric Ka’ahele Morales
Tahiti to Hawaii
The creation of the ‘ahuroa occurred shortly after the revival of Tahitian dance, which had been largely suppressed by the work of European missionaries. It was in 1956 that Madeleine Mou’a’s dance group, Heiva, gained recognition for being the first professional troupe to take Tahitian dance out of the place of shame imposed upon it by the church, restoring a sense of pride in the native dance form. Mou’a was a school principal and actively recruited students to join her group. Soon, a slew of performers were taking up the dance. Many of these people began leaving Tahiti to perform in other venues. Roiti Tahauri Sylva, one of Mou’a’s students, was among these performers, heading off to Hawaii in 1959.
The 1950s and 1960s brought about overwhelming change to the cultural landscape of Hawaii. In 1959, Hawaii became the 50th state in the United States of America, leading to an increase in the urban development of the islands, specifically in Waikiki, Oahu, which quickly became a center of tourism. At the core of the growing tourism market, in the heart of Waikiki existed Queen’s Surf Restaurant and Nightclub featuring Tavana’s Polynesia, which was a nightly show consisting of dances from Tahiti, Hawaii, Samoa, New Zealand, and Tonga.
Tavana Hare Salmon, a native Tahitian who grew up in Hawaii, was the show coordinator. He and his family scouted the islands for performers who had talent suitable for the productions, always attempting to engineer the next big show. Each night, ten to twelve dance numbers were used to provide an hour of entertainment for the spectators. Believing that the current show repertoire consisted of too many fast and up-tempo beats, Tavana decided to incorporate a slower, more formal number. Working in conjunction with Roiti Tahauri Sylva, they both helped to create the first ‘ahuroa performance. He provided ideas, a stage for artistic freedom, an audience, and additional performers; she provided her talent and skill, choreographing the first actual dance. In this venue, the two were able to present their traditions to a new audience any way they pleased.
By Eric Ka’ahele Morales
Tahiti to Hawaii
The creation of the ‘ahuroa occurred shortly after the revival of Tahitian dance, which had been largely suppressed by the work of European missionaries. It was in 1956 that Madeleine Mou’a’s dance group, Heiva, gained recognition for being the first professional troupe to take Tahitian dance out of the place of shame imposed upon it by the church, restoring a sense of pride in the native dance form. Mou’a was a school principal and actively recruited students to join her group. Soon, a slew of performers were taking up the dance. Many of these people began leaving Tahiti to perform in other venues. Roiti Tahauri Sylva, one of Mou’a’s students, was among these performers, heading off to Hawaii in 1959.
The 1950s and 1960s brought about overwhelming change to the cultural landscape of Hawaii. In 1959, Hawaii became the 50th state in the United States of America, leading to an increase in the urban development of the islands, specifically in Waikiki, Oahu, which quickly became a center of tourism. At the core of the growing tourism market, in the heart of Waikiki existed Queen’s Surf Restaurant and Nightclub featuring Tavana’s Polynesia, which was a nightly show consisting of dances from Tahiti, Hawaii, Samoa, New Zealand, and Tonga.Tavana Hare Salmon, a native Tahitian who grew up in Hawaii, was the show coordinator. He and his family scouted the islands for performers who had talent suitable for the productions, always attempting to engineer the next big show. Each night, ten to twelve dance numbers were used to provide an hour of entertainment for the spectators. Believing that the current show repertoire consisted of too many fast and up-tempo beats, Tavana decided to incorporate a slower, more formal number. Working in conjunction with Roiti Tahauri Sylva, they both helped to create the first ‘ahuroa performance. He provided ideas, a stage for artistic freedom, an audience, and additional performers; she provided her talent and skill, choreographing the first actual dance. In this venue, the two were able to present their traditions to a new audience any way they pleased.
Wednesday, August 29, 2012
‘Ahuroa: Dancing a Legacy - The Show
Have you ever wondered where and how we have the modern version of Tahitian dance? How about where the names came from, the rules, the styles, and/or even how it made its way outside of Tahiti? This original five part series dives into these questions and more. Below is part 1 of 5 by guest author Eric Ka'ahele Morales, one of the organizers of the Kiki Raina Tahiti Fete, the longest running Tahitian Heiva outside of Tahiti. He, along with executive producer Rebecca Manandic and others make the Merced, California event a premier Tahitian dance annual event each March.
By Eric Ka’ahele Morales
The Show
It was an idea for a new take on an old dance, traditional, innovational, show stopping. The year was 1967, and Roiti Tahauri Sylva, a Tahitian immigrant to Hawaii, was on stage at the Queen’s Surf in Honolulu. She had a group of performers with her, all of them wearing long, elegant dresses with fitted sleeves and ruffles, tropical flowers adorning the fabric. They were to dance in front of a large audience: tourists, locals, complete with journalists. The dance was to consist of a slow ‘aparima, done in waltz time, to the song, Tau Tamaiti Here. But before they could go on stage, Roiti was asked a simple question by the master of ceremony and co-creator of the dance, Tavana Hare Salmon: “What is the name of this dance?” After a seconds pause, she answered, “‘Ahuroa.”
On the second show that night, Roiti reconsidered her choice in the name and called it an ‘ahu’purotu. Both names have since gained a certain resonance. The word, ahu, refers to any cloth or garment, and roa has numerous definitions, but in this context, it pertains to one complete piece of an object, long in length. The word, purotu, translates into beautiful. Each name then references the dress the dancers wear: ‘ahuroa is a single piece, long dress; ‘ahu’purotu is a beautiful dress. Both names continue to be used today, usually interchangeably.
Meant to be performed for only that weekend, the ‘ahuroa took on a life of its own. The dance was such a success that dancers in the group as well as dancers in the audience started copying the specifics of this new style and performing them in other nearby venues, sometimes calling it an ‘ahuroa, other times an ‘ahu’purotu, or simply referring to it as a slow or formal ‘aparima, which is considered one of the four recorded surviving forms of Tahitian dance: the others being the ‘ōte‘a, hivinau, and pā‘ō‘ā.
By Eric Ka’ahele Morales
“It’s a legacy. Something we are leaving behind … I didn’t realize it would be very popular” – Roiti Tahauri Sylva.
The Show
It was an idea for a new take on an old dance, traditional, innovational, show stopping. The year was 1967, and Roiti Tahauri Sylva, a Tahitian immigrant to Hawaii, was on stage at the Queen’s Surf in Honolulu. She had a group of performers with her, all of them wearing long, elegant dresses with fitted sleeves and ruffles, tropical flowers adorning the fabric. They were to dance in front of a large audience: tourists, locals, complete with journalists. The dance was to consist of a slow ‘aparima, done in waltz time, to the song, Tau Tamaiti Here. But before they could go on stage, Roiti was asked a simple question by the master of ceremony and co-creator of the dance, Tavana Hare Salmon: “What is the name of this dance?” After a seconds pause, she answered, “‘Ahuroa.”
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| Roiti Sylva performing the 'Ahuroa at the Queen's Surf |
Meant to be performed for only that weekend, the ‘ahuroa took on a life of its own. The dance was such a success that dancers in the group as well as dancers in the audience started copying the specifics of this new style and performing them in other nearby venues, sometimes calling it an ‘ahuroa, other times an ‘ahu’purotu, or simply referring to it as a slow or formal ‘aparima, which is considered one of the four recorded surviving forms of Tahitian dance: the others being the ‘ōte‘a, hivinau, and pā‘ō‘ā.
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