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 ahuroa. Show all posts
Showing posts with label ahuroa. 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.”
 |
| 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.
Saturday, December 19, 2009
New Event - 1st Annual Heiva 'Ai 'Ai
Mark your calendar for the 1st "Heiva 'Ai 'Ai"! Saturday, May 29, 2010. If you are hungering for more knowledge ('Ai 'Ai), then check out this new event that will take place at St Louis High School Gymnasium on Oahu, Hawaii. The event features a solo vahine and tane competition, group ahuroa and ahupurotu competition, ...as well as the 1st Annual Miss Heiva 'Ai 'Ai pageant (ages 18-25).
Interested? Email us or send a message and we'll pass on the application once it is released.
The event is produced by Roiti Sylva and Blanche (Tera'i) Hanohano. Both are well established competition judges and have been an integral part in growing the Tahitian dance community.
This is an all day event filled with music, dance, food, and fun.
Deadline for dancer/group applications is March 5, 2010. Payment is due the following week March 12, 2010. Don't be late as there are no exceptions. Applications for Miss Heiva 'Ai 'Ai are due April 1, 2010. In addition, vendors are invited to showcase your crafts and talents in an audience always interested in Polynesian cultural handicrafts.
More information, guidelines and application coming soon.
Interested? Email us or send a message and we'll pass on the application once it is released.
The event is produced by Roiti Sylva and Blanche (Tera'i) Hanohano. Both are well established competition judges and have been an integral part in growing the Tahitian dance community.
This is an all day event filled with music, dance, food, and fun.
Deadline for dancer/group applications is March 5, 2010. Payment is due the following week March 12, 2010. Don't be late as there are no exceptions. Applications for Miss Heiva 'Ai 'Ai are due April 1, 2010. In addition, vendors are invited to showcase your crafts and talents in an audience always interested in Polynesian cultural handicrafts.
More information, guidelines and application coming soon.
Sunday, January 27, 2008
Merced Kiki Raina Tahiti Fete 2008
There's a big happening on the March 14-16 weekend in Merced, California. Tahitian dance groups throughout the area and beyond will be competing in the longest running Tahitian dance event outside of Tahiti. The Merce Kiki Raina Tahiti Fete is organized by long time cultural supporter Becky Manandic who also runs her Polynesian store - Pacifica, in Merced. In her store you'll be able to peruse through unique Polynesian jewelry, pareos, Hawaiiana and a selection of island crafts and gifts. If you are in the area, feel free to visit and get the inside scoop about the event from her personally.
The competition will begin with a traditional solo competition and followed up in the evening with the Maeva Merced Pageant where tane (men) and vahine (women) compete for the coveted titles of Mr. and Miss Maeva Merced.
On Saturday and Sunday, group competition commences, cultural demonstrations, crafts and island foods, and soloist finals take the stage. Groups will compete in a number of categories including aparima, otea, ahuroa, drumming. Activities on Sunday will conclude with a tamari'i (children) exhibition.
The Merced Kiki Raina Tahiti Fete is located at the Merced County Fairgrounds. Tickets are available at Pacifica or by calling 209-726-1925 from 10am and 6pm PDT. Visit the official website for details.
The competition will begin with a traditional solo competition and followed up in the evening with the Maeva Merced Pageant where tane (men) and vahine (women) compete for the coveted titles of Mr. and Miss Maeva Merced.
On Saturday and Sunday, group competition commences, cultural demonstrations, crafts and island foods, and soloist finals take the stage. Groups will compete in a number of categories including aparima, otea, ahuroa, drumming. Activities on Sunday will conclude with a tamari'i (children) exhibition.
The Merced Kiki Raina Tahiti Fete is located at the Merced County Fairgrounds. Tickets are available at Pacifica or by calling 209-726-1925 from 10am and 6pm PDT. Visit the official website for details.
Wednesday, October 10, 2007
2007 Tahiti Fete of Hilo solo results
Results for the 2007 Tahiti Fete of Hilo solo competition are now available. This marks the seventh year that this event has taken place. 1000 tickets were sold for Saturdays event at the Afook-Chinen Civic Auditorium in Hilo. Approximately 150 solo dancers and several groups from throughout the islands competed. Group competition started on Saturday and concluded on Sunday. When official group results are announced we will post. We want to congratulate all dancers and groups that participated.
Of the group results, we know that Te Hamata of Laie, HI placed 2nd for both Otea and Aparima and 3rd for Ahuroa and Music. Ma'ohi Nui of Honolulu, HI placed 1st for Overall Group and Otea. Mauruuru to Poehere for the onsite info.
Here's also a flickr photo gallery of the 2007 event:
VAHINE 5-8
1. Ku'uleinani de Guzman – Te Ariki Nui of Honolulu, HI
2. Ku'uleihi'ilani Mederios – Te 'E'a o Te Turama of Honolulu, HI
3. Chloe Cezar – Tiare Ura O Tahiti of Hau'ula, HI
TANE 9-12
1. J.D. Melchor – Ma'ohi Nui of Honolulu, HI
2. Ian Almeida – Independent
VAHINE 9-12
1. Chelsey Madrona – Te Vai Ura Nui of Honolulu, HI
2. Maeleen Hopean – Tiare Ura O Tahiti of Hau'ula, HI
3. Mariah Tanaka – Te Ariki Nui of Honolulu, HI
TANE 13-15
1. Mosiah Manuma – Ma'ohi Nui of Honolulu, HI
VAHINE 13-15
1. Chelsea Clement – Te 'E'a o Te Turama of Honolulu, HI
2. Charzelle McAngus – Manutahi Tahiti of Wahiawa, HI
3. Cory-Ann Kahalewai Pedro – Ma'ohi Nui of Honolulu, HI
VAHINE 16-18
1. Dayna Higa – Manutahi Tahiti of Wahiawa, HI
2. Jaime Bush – Ma'ohi Nui of Honolulu, HI
3. Jazmin Segui – Te Ariki Nui of Honolulu, HI
TANE 19-24
1. Brandon Keawe McArthur – Ma'ohi Nui of Honolulu, HI
VAHINE 19-24
1. Agnes Matila – Ma'ohi Nui of Honolulu, HI
2. Meghan Bridges-Steffan – Te Ariki Nui of Honolulu, HI
3. Ashley Holck – Mehetia Productions of Kaneohe, HI
TANE 25-34
1. Mervyn Lilo – Ma'ohi Nui of Honolulu, HI
2. Edward Pula – Ma'ohi Nui of Honolulu, HI
3. Jonathan Ulibas – Ma'ohi Nui of Honolulu, HI
VAHINE 25-34
1. Tiffany DelaCruz – To'a Here
2. Lauli'a Ah Wong – Ma'ohi Nui of Honolulu, HI
3. Keaukaha Carveiro – Polynesian Paradise of Santa Fe Springs, CA
TANE 35-49
1. Guiller Evangelista – Ari'i Hau Moana of Kahului, HI
VAHINE 35-49
1. Maikekula Keawekane – Polynesian Paradise of Santa Fe Springs, CA
2. Arleen Marcelo – Otea Api of Fremont, CA
3. Brenda Malick – Puahi's Polynesian Dancers of Temecula, CA
TANE 50+
1. Keoki Kaikana – Keola Pono No Na Kupuna of Hilo, HI
VAHINE 50+
1. Rita Santana – Manutahi Tahiti of Wahiawa, HI
2. Pi'ilani Rodrigues – Keola Pono No Na Kupuna of Hilo, HI
3. Hilda Rodriguez – Independent
Participating Groups:
Ari'i Hau Moana of Kahului, HI
Keola Pono No Na Kupuna of Hilo, HIManutahi Tahiti of Wahiawa, HI
Ma'ohi Nui of Honolulu, HI
Mehetia Productions of Kaneohe, HI
Otea Api of Fremont, CA
Puahi's Polynesian Dancers of Temecula, CA
Te Ariki Nui of Honolulu, HI
Te 'E'a o Te Turama of Honolulu, HI
Te Hamata of Laie, HI
Te Tiare Patitifa of Wailuku, HI
Te Vai Ura Nui of Honolulu, HI
Tiare Ura O Tahiti of Hau'ula, HI
To'a Here
Of the group results, we know that Te Hamata of Laie, HI placed 2nd for both Otea and Aparima and 3rd for Ahuroa and Music. Ma'ohi Nui of Honolulu, HI placed 1st for Overall Group and Otea. Mauruuru to Poehere for the onsite info.
Here's also a flickr photo gallery of the 2007 event:
VAHINE 5-8
1. Ku'uleinani de Guzman – Te Ariki Nui of Honolulu, HI
2. Ku'uleihi'ilani Mederios – Te 'E'a o Te Turama of Honolulu, HI
3. Chloe Cezar – Tiare Ura O Tahiti of Hau'ula, HI
TANE 9-12
1. J.D. Melchor – Ma'ohi Nui of Honolulu, HI
2. Ian Almeida – Independent
VAHINE 9-12
1. Chelsey Madrona – Te Vai Ura Nui of Honolulu, HI
2. Maeleen Hopean – Tiare Ura O Tahiti of Hau'ula, HI
3. Mariah Tanaka – Te Ariki Nui of Honolulu, HI
TANE 13-15
1. Mosiah Manuma – Ma'ohi Nui of Honolulu, HI
VAHINE 13-15
1. Chelsea Clement – Te 'E'a o Te Turama of Honolulu, HI
2. Charzelle McAngus – Manutahi Tahiti of Wahiawa, HI
3. Cory-Ann Kahalewai Pedro – Ma'ohi Nui of Honolulu, HI
VAHINE 16-18
1. Dayna Higa – Manutahi Tahiti of Wahiawa, HI
2. Jaime Bush – Ma'ohi Nui of Honolulu, HI
3. Jazmin Segui – Te Ariki Nui of Honolulu, HI
TANE 19-24
1. Brandon Keawe McArthur – Ma'ohi Nui of Honolulu, HI
VAHINE 19-24
1. Agnes Matila – Ma'ohi Nui of Honolulu, HI
2. Meghan Bridges-Steffan – Te Ariki Nui of Honolulu, HI
3. Ashley Holck – Mehetia Productions of Kaneohe, HI
TANE 25-34
1. Mervyn Lilo – Ma'ohi Nui of Honolulu, HI
2. Edward Pula – Ma'ohi Nui of Honolulu, HI
3. Jonathan Ulibas – Ma'ohi Nui of Honolulu, HI
VAHINE 25-34
1. Tiffany DelaCruz – To'a Here
2. Lauli'a Ah Wong – Ma'ohi Nui of Honolulu, HI
3. Keaukaha Carveiro – Polynesian Paradise of Santa Fe Springs, CA
TANE 35-49
1. Guiller Evangelista – Ari'i Hau Moana of Kahului, HI
VAHINE 35-49
1. Maikekula Keawekane – Polynesian Paradise of Santa Fe Springs, CA
2. Arleen Marcelo – Otea Api of Fremont, CA
3. Brenda Malick – Puahi's Polynesian Dancers of Temecula, CA
TANE 50+
1. Keoki Kaikana – Keola Pono No Na Kupuna of Hilo, HI
VAHINE 50+
1. Rita Santana – Manutahi Tahiti of Wahiawa, HI
2. Pi'ilani Rodrigues – Keola Pono No Na Kupuna of Hilo, HI
3. Hilda Rodriguez – Independent
Participating Groups:
Ari'i Hau Moana of Kahului, HI
Keola Pono No Na Kupuna of Hilo, HIManutahi Tahiti of Wahiawa, HI
Ma'ohi Nui of Honolulu, HI
Mehetia Productions of Kaneohe, HI
Otea Api of Fremont, CA
Puahi's Polynesian Dancers of Temecula, CA
Te Ariki Nui of Honolulu, HI
Te 'E'a o Te Turama of Honolulu, HI
Te Hamata of Laie, HI
Te Tiare Patitifa of Wailuku, HI
Te Vai Ura Nui of Honolulu, HI
Tiare Ura O Tahiti of Hau'ula, HI
To'a Here
Thursday, August 16, 2007
Heiva I Maui 2007 group results
Honolulu based Tahitian dance group Here Tama Nui led the way at the 10th annual Heiva I Maui. As the best overall group they took first place in several categories including Ahupurotu, Aparima, Otea and Drumming. Here Tama Nui has performed at the Aloha Tower Marketplace in the past. They've entertained thousands of guests arriving by cruise ship and locals stopping in for dining or shopping.The event took place last weekend at the Maui War Memorial Gymnasium. Led by director Lolita Eugenio, the nonprofit event is sponsored by Maui Polynesian Tahiti Fete, County of Maui and the Hawaii Visitors and Conventions Bureau.
Event results are being provided by the event organizers. Group results are below. Solo results are being finalized and certified and will be available shortly.
Gracious Ladies
Ari'i Hau Moana of Kahului, Maui
Sr. Ahupurotu
1. Here Tama Nui of Honolulu, Oahu
2. Ari'i Hau Moana of Kahului, Maui
3. 'Ote'a Kia Mana of Mililani, Oahu
Jr Aparima
1. Here Tama Nui of Honolulu, Oahu
2. 'Ote'a Kia Mana of Mililani, Oahu
Sr. Aparima
2. 'Ote'a Kia Mana of Mililani, Oahu
Sr. Aparima
1. Here Tama Nui of Honolulu, Oahu
2. Te Mau Merahi of Kihei, Maui
2. Te Mau Merahi of Kihei, Maui
Drumming
1. Here Tama Nui of Honolulu, Oahu
2. Te Vai Ura Nui of Honolulu, Oahu
3. 'Ote'a Kia Mana of Mililani, Oahu
2. Te Vai Ura Nui of Honolulu, Oahu
3. 'Ote'a Kia Mana of Mililani, Oahu
Jr. 'Ote'a
1. Here Tama Nui of Honolulu, Oahu
2. Kia Mana of Mililani, Oahu
1. Here Tama Nui of Honolulu, Oahu
2. Kia Mana of Mililani, Oahu
Sr. 'Ote'a
1. Here Tama Nui of Honolulu, Oahu
2. Ari'i Hau Moana of Kahului, Maui
1. Here Tama Nui of Honolulu, Oahu
2. Ari'i Hau Moana of Kahului, Maui
Combined 'Ote'a
1. Here Tama Nui of Honolulu, Oahu
2. Te Mau Merahi of Kihei, Maui
3. Kia Mana of Mililani, Oahu
2. Te Mau Merahi of Kihei, Maui
3. Kia Mana of Mililani, Oahu
Overall Group Winner
Here Tama Nui of Honolulu, Oahu
Here Tama Nui of Honolulu, Oahu
Thursday, August 09, 2007
Heiva I Kauai competition results and 2008 announcement
Competition results for the Heiva I Kauai Ia Orana Tahiti 2007 have been finalized. The event was held this past weekend August 4-5. Crowds and vendors were treated to premier performances by visiting Oahu group Tamarii A Hiva. Solo standouts included Kauluwehiokekai Oliver (left) from Urahutia (Kauai), Kamuela Nobriga-Ferris of Ilima's Hula Studio (Kauai), Jay Spacek of Manutahi (Oahu), Niccolas Kaneakua of Ori Uuria (Kauai), and Sadie Ka’iulani Schilling of Tamatea Nui (Lanai).Several groups from Oahu and the outer islands were not able to attend this year due to sold out flights to Kauai during the event. Event organizers are working with transportation issues with the airlines and the upcoming Hawaii Superferry for next years event.
And speaking of next year, Organizers Sally Jo and Tepairu Manea have announced that next years Heiva I Kauai Ia Orana will take place on ...August 2-3, 2008 at the Kapaa Beach Park. Check their official website for upcoming ticket information.Even with all the other activities going on throughout the island, the event t-shirt sold out. Designed by event organizer Tepairu Manea, the shirt depicts the honu and pays homage to Tahitian and Hawaiian tapa motifs. Vendors at the event were also busy and sales were brisk.
Solo Competition
Vahine Age 4-6
1. Mahealani Farrell of Tamarii A Hiva, Oahu
2. Kiana Asuncion of Halau Hula o Leilani, Kauai
Tane Age 7-9
1. Jay Spacek of Manutahi, Oahu
2. Troy Spacek of Manutahi, Oahu
3. Kainoa Nobriga-Ferris of Ilima’s Hula Studio, Kauai
Vahine Age 7-9
1. Sadie Ka’iulani Schilling of Tamatea Nui, Lanai
2. Catherine Lessary of Tamarii A Hiva, Oahu
3. Sophia Rivera of Ilima’s Hula Studio, Kauai
Tane Age 10-12
1. Kamuela Nobriga-Ferris of Ilima’s Hula Studio, Kauai
Vahine Age 10-12
1. Malia Murphy of Tamarii A Hiva, Oahu
2. (tie) Esther Pasi of Tamarii A Hiva, Oahu
2. (tie) Tahra-Lee Kaui of Halau Hula o Leilani, Kauai
3. Teresa Huff of Halau Hula o Leilani, Kauai
Vahine Age 13-15
1. Chelsea Clement of Te Ea o te Turama, Oahu
2. Raychelle Spacek of Manutahi, Oahu
3. Alyssa Jeffries of Kaliko Boy Entertainment, Kauai
Vahine Age 16-18
1. Lani Figaroa of Ori Uuria, Kauai
2. Kawahinehaaheo Oliver of Urahutia, Kauai
3. Shayna Obrero – Zablan of Tamatea Nui, Lanai
Tane Age 19-25
1. Niccolas Kaneakua of Ori Uuria, Kauai
2. Dan Kala Oshiro of Kaliko Boy Entertainment, Kauai
Vahine Age 19-25
1 Kauluwehiokekeai Oiver of Urahutia, Kauai
Vahine Age 26-39
1 Iris Farrell of Tamarii a Hiva, Oahu
Overall Junior Tane - Jay Spacek of Manutahi, Oahu
Overall Junior Vahine - Malia Murphy of Tamarii A Hiva, Oahu
Overall Senior Tane - Niccolas Kaneakua of Ori Uuria, Kauai
Overall Senior Vahine - Lani Figaroa of Ori Uuria, Kauai
Group Competition
Ahuroa - Tamarii A Hiva
Aparima - Tamarii A Hiva
Otea - Tamarii A Hiva
Drumming - Tamarii A Hiva
Overall - Tamarii A Hiva
Sunday, August 05, 2007
Heiva I Maui 2007 opening this week
The 10th Annual Tahitian Festival Heiva I Maui will be taking place this weekend from Friday August 10th to Sunday August 12, 2007. Director Lolita Eugenio, along with countless volunteers and ohana, has organized the non-profit event each year. This year will feature a tribute to Tavana.Friday's activities begin at 6:00 pm with an opening ceremony, the tribute to Tavana, exhibitions and the Mr. & Ms. Heiva I Maui competition. Saturday the doors open at 10:00 am. Solo competition begins and runs through midday. Group competition will begin after the solo competition concludes. Results of both the solo and group competition will be announced at the end of activities. The group competition will include several styles of Tahitian dance or Ori Tahiti. Otea, aparima, ahupurotu and drumming categories will all be judged by a panel of Tahitian dance veterans.
Doors will also open Sunday at 10:00 am. with group competition continuing througout the day. The awards ceremony on Sunday will conclude the event.
Activities will be taking place at the Maui War Memorial Gymnasium. Doors open at 6:00 pm on Friday and 10:00 am on Saturday & Sunday. General admission is $12 in advance or $15 at the door. Senior and children 6-11 yrs $8 in advance or $10 at the door. Tickets are available at: Das Nutz (Maui Mall), Lahaina Music (West Maui Center), Maui Quilts (Azeka Shopping Center Makai), and Sew Special (Queen Kaahumanu Shopping Center).
The event is sponsored by Maui Polynesian Tahiti Fete, County of Maui and the Hawaii Visitors and Conventions Bureau.
Wednesday, August 01, 2007
Heiva I Kauai Ia Orana Tahiti announcements
Announcing the 6th annual Heiva I Kauai Iaorana Tahiti, August 4-5, 2007 at Kapaa Beach Park, Kapaa, Kauai, Hawaii. This event is a Tahitian dance competition with solo and group performances and traditional and contemporary Tahitian drumming. The event will also feature multi-cultural exhibition dancing, singing and crafts. Vendors will have an array of items from south and western Pacific islands for sale.
On Friday afternoon, August 3rd, solo dance competitors are to register and pick up their competition numbers between 4 and 6 pm.
Saturday morning, a special tribute to David Kaneholani Sr. will be presented by his family. Gates open at 9 am and solo competition begins at 10:30 am. Solo categories are Ote'a vahine and tane, for junior, senior and master (age 40+) divisions. Group categories include ‘Ote'a, Aparima, Ahuroa, and traditional Tahitian drumming. Group dancing will be on Sunday, August 5th. Sunday will end with solo, group and drumming award presentations.
Festival participants can enjoy a weekend of great Tahitian entertainment, browse through an array of Polynesian arts and crafts, observe and participate in creating Polynesian crafts, savor delicious local foods and win super prizes in the ticket raffle!
Admission is $5 a day at the door. Children age 6 and under are free.
To avoid traffic through Kapaa town, attendees are advised to park at the Kapaa Ball Park near the Armory and walk a short way to the Beach Park.
For more information call 808.822.9447.
On Friday afternoon, August 3rd, solo dance competitors are to register and pick up their competition numbers between 4 and 6 pm.
Saturday morning, a special tribute to David Kaneholani Sr. will be presented by his family. Gates open at 9 am and solo competition begins at 10:30 am. Solo categories are Ote'a vahine and tane, for junior, senior and master (age 40+) divisions. Group categories include ‘Ote'a, Aparima, Ahuroa, and traditional Tahitian drumming. Group dancing will be on Sunday, August 5th. Sunday will end with solo, group and drumming award presentations.
Festival participants can enjoy a weekend of great Tahitian entertainment, browse through an array of Polynesian arts and crafts, observe and participate in creating Polynesian crafts, savor delicious local foods and win super prizes in the ticket raffle!
Admission is $5 a day at the door. Children age 6 and under are free.
To avoid traffic through Kapaa town, attendees are advised to park at the Kapaa Ball Park near the Armory and walk a short way to the Beach Park.
For more information call 808.822.9447.
Heiva I Kauai set to feature Hawaii Tahitian groups
Heiva I Kauai will take place this Saturday and Sunday at the Kapa'a Beach Park. Gates to the heiva open at 9 am and competition for the Tahitian dance will start at 10 am on both Saturday and Sunday. Events will be interspersed with performances from guest artists including Teva Nui of Huahine, Poa Here of Hilo, Tamarii A Hiwa of Laie, O‘ahu, and Tamatea Nui of Lanai.
Competition events include solo for Ote‘a vahine and tane for junior, senior and master divisions. Group competition categories include Ote‘a, Aparima, Ahuroa and drumming in both traditional and contemporary styles.
Admission to the heiva is $5 and patrons are able to enjoy the competition, exhibitions as well as shop in the craft area that will feature Kaua‘i crafts and vendors as well as a variety of items from south and western Pacific Islands.
In addition to the dance competition and exhibitions, special workshops on Tahitian drumming and dance will be available from 5 pm to 7 pm on Saturday, and 9 am to 11 am on Sunday.
The Kauai Garden Island News has more information about what makes this year so special. A touching dedication to a man who supported and nurtured the six year old event. Find out who this special person was.
Competition events include solo for Ote‘a vahine and tane for junior, senior and master divisions. Group competition categories include Ote‘a, Aparima, Ahuroa and drumming in both traditional and contemporary styles.
Admission to the heiva is $5 and patrons are able to enjoy the competition, exhibitions as well as shop in the craft area that will feature Kaua‘i crafts and vendors as well as a variety of items from south and western Pacific Islands.
In addition to the dance competition and exhibitions, special workshops on Tahitian drumming and dance will be available from 5 pm to 7 pm on Saturday, and 9 am to 11 am on Sunday.
The Kauai Garden Island News has more information about what makes this year so special. A touching dedication to a man who supported and nurtured the six year old event. Find out who this special person was.
Sunday, July 22, 2007
Te Mahana Hiro'a O Tahiti - Laie, Hawaii Tahitian Dance Competition
Contributed by guest writer Christian Wilson
The 7th Annual "Te Mahana Hiro'a O Tahiti" Tahitian Dance Competition was held at the Polynesian Cultural Center on July 6-7, 2007. Each year a traditional heiva is held in Papeete, Tahiti to celebrate the culture and traditions of dance and drumming. The PCC holds its annual Tahitian cultural celebration in honor of the celebration. The preliminary competition started at 7:30 pm in the Hale Aloha Theater with every single seat taken. If you arrived later, there was standing room only. There were over 175 contestants mostly from the Hawaiian Islands and some from the mainland as well. The quality of dancing, costuming and music seems to improve as each year goes by. Families and friends of the contestants seems to grow in number each year as well. There were several age categories for girls and boys between 2-18 years of age. All of the judges, Moanaura Teheiura, Jeanne Mou’a Larsen, Roiti Tahauri Sylva, and Etua Tahauri, were from Tahiti and have a total of over 100+ years Tahitian dance experience.
The second day of the competition took place in the Pacific Theater inside the Polynesian Cultural Center with over a thousand people in attendance. The event started with the top 5 finalists of each category competing for the top 1st, 2nd and 3rd place trophies. It took a while for all the finalists to be determined. After that, the overall best male and female dancers were selected. This process was extraordinarily long and had many awkward breaks that you would think would have been filled with other presentations. The delays could have been minimized if the musicians had an alternate place to set up their equipment while another group performed.
Saturday's events also included the group ote'a, aparima and ahuroa competitions. The ote'a is the best-known Tahitian style of dance because of the fast, rhythmic movements and swishing skirts. The aparima, literally translated as "kiss of the hands," is a slower dance that uses the hands to tell a story. The ahuroa, or "long dress" is a slower, graceful female dance which is performed with long colorful fitted dresses. Dancers were judged in each category based on their skill, grace and, for the ote'a, speed. "We started the event as a way to help preserve these aspects of Tahitian culture and heritage through the tamari'i, or children," said Raymond Marieteragi, director of cultural presentations for the Tahitian village at the PCC. "This really gives the children's pupu ra'atira ori Tahiti, or Tahitian dance instructors, an opportunity to highlight their young students as they compete and display their skills in the exciting art of 'Ori Tahiti' or Tahitian dance."
The costuming and choreography of all three groups was impressive. My only complaint being the stage set up for the musicians. With such a large stage and multiple areas to set up support and musicians, the "dead" air was very noticeable. Delays in events could be replaced by explanations of how judges determine the best choreography, authenticity of costuming, proper dancing elements, history of Heiva, drumming beats, what to look for in a good dancer. etc
Although there are only about 200 expatriate Tahitians that live in the State of Hawaii, you wouldn't be able to tell that from the overwhelming support that Tahitian dancers receive from fellow Polynesians living in Hawaii. Most Hawaiians treat Tahitians as cousins since their languages, customs and dancing styles are relatively similar and share the same heritage.
Nonosina Hawaii (Laie, HI) used a traditional lauhala leaf helmet in their otea in a very creative way that I had never seen before. It was interesting to see how the leaves flowed during the dancers' vigorous dance movements. The helmet looked similar to an Egyptian headress, but it is was very Tahitian at the same time.
I was very impressed with some of the younger dancers under 9-10 years old that have mastered complex motions that normally only adult professionals acquire only after years of practice. The dance competition gives the youth of the community not only some recognition for their dancing skills, but it also can give an opportunity to prospective employers such as the Polynesian Cultural Center to hire new dancers.
Entertainment companies such as Cirque du Soleil routinely visit PCC's annual Fire Knife Competition to scout for new talented dancers. Some of the dancers they have hired have done very well for themselves. I have known many Tahitian dancers who danced as elementary and high school students who easily passed dancing auditions because of the practice they had in Tahitian or Polynesian dance troupes. Once they passed their auditions, they were able to work as they went to college and their employment helped them pay for most or all of their college education. Their dancing experience can open other doors for opportunities as well. Many talent agencies are interested in Polynesian dancers and having that skill can make a difference.
It is exciting to see the growing interest in Tahitian dance from people from all over the world such as Japan, the mainland, South America and Europe. As interest in Tahitian dance grows, more people will be motivated to visit Tahiti so they can learn more about them.
Competition rating (4 out of 5 stars)
Organization rating (3 out of 5 stars)
Dancer energy rating (5 out of 5 stars)
Community support rating (5 out of 5 stars)
Though organization and management could vastly improve, the dancers themselves, with their enthusiasm and vibrant costuming made the event an enjoyable occasion.
Event Press Release
Event Photo Gallery
Trivia note: Original design of the event website was designed by Black Pearl Designs
The 7th Annual "Te Mahana Hiro'a O Tahiti" Tahitian Dance Competition was held at the Polynesian Cultural Center on July 6-7, 2007. Each year a traditional heiva is held in Papeete, Tahiti to celebrate the culture and traditions of dance and drumming. The PCC holds its annual Tahitian cultural celebration in honor of the celebration. The preliminary competition started at 7:30 pm in the Hale Aloha Theater with every single seat taken. If you arrived later, there was standing room only. There were over 175 contestants mostly from the Hawaiian Islands and some from the mainland as well. The quality of dancing, costuming and music seems to improve as each year goes by. Families and friends of the contestants seems to grow in number each year as well. There were several age categories for girls and boys between 2-18 years of age. All of the judges, Moanaura Teheiura, Jeanne Mou’a Larsen, Roiti Tahauri Sylva, and Etua Tahauri, were from Tahiti and have a total of over 100+ years Tahitian dance experience.The second day of the competition took place in the Pacific Theater inside the Polynesian Cultural Center with over a thousand people in attendance. The event started with the top 5 finalists of each category competing for the top 1st, 2nd and 3rd place trophies. It took a while for all the finalists to be determined. After that, the overall best male and female dancers were selected. This process was extraordinarily long and had many awkward breaks that you would think would have been filled with other presentations. The delays could have been minimized if the musicians had an alternate place to set up their equipment while another group performed.
Saturday's events also included the group ote'a, aparima and ahuroa competitions. The ote'a is the best-known Tahitian style of dance because of the fast, rhythmic movements and swishing skirts. The aparima, literally translated as "kiss of the hands," is a slower dance that uses the hands to tell a story. The ahuroa, or "long dress" is a slower, graceful female dance which is performed with long colorful fitted dresses. Dancers were judged in each category based on their skill, grace and, for the ote'a, speed. "We started the event as a way to help preserve these aspects of Tahitian culture and heritage through the tamari'i, or children," said Raymond Marieteragi, director of cultural presentations for the Tahitian village at the PCC. "This really gives the children's pupu ra'atira ori Tahiti, or Tahitian dance instructors, an opportunity to highlight their young students as they compete and display their skills in the exciting art of 'Ori Tahiti' or Tahitian dance."
The costuming and choreography of all three groups was impressive. My only complaint being the stage set up for the musicians. With such a large stage and multiple areas to set up support and musicians, the "dead" air was very noticeable. Delays in events could be replaced by explanations of how judges determine the best choreography, authenticity of costuming, proper dancing elements, history of Heiva, drumming beats, what to look for in a good dancer. etc
Although there are only about 200 expatriate Tahitians that live in the State of Hawaii, you wouldn't be able to tell that from the overwhelming support that Tahitian dancers receive from fellow Polynesians living in Hawaii. Most Hawaiians treat Tahitians as cousins since their languages, customs and dancing styles are relatively similar and share the same heritage.
Nonosina Hawaii (Laie, HI) used a traditional lauhala leaf helmet in their otea in a very creative way that I had never seen before. It was interesting to see how the leaves flowed during the dancers' vigorous dance movements. The helmet looked similar to an Egyptian headress, but it is was very Tahitian at the same time.
I was very impressed with some of the younger dancers under 9-10 years old that have mastered complex motions that normally only adult professionals acquire only after years of practice. The dance competition gives the youth of the community not only some recognition for their dancing skills, but it also can give an opportunity to prospective employers such as the Polynesian Cultural Center to hire new dancers.
Entertainment companies such as Cirque du Soleil routinely visit PCC's annual Fire Knife Competition to scout for new talented dancers. Some of the dancers they have hired have done very well for themselves. I have known many Tahitian dancers who danced as elementary and high school students who easily passed dancing auditions because of the practice they had in Tahitian or Polynesian dance troupes. Once they passed their auditions, they were able to work as they went to college and their employment helped them pay for most or all of their college education. Their dancing experience can open other doors for opportunities as well. Many talent agencies are interested in Polynesian dancers and having that skill can make a difference.
It is exciting to see the growing interest in Tahitian dance from people from all over the world such as Japan, the mainland, South America and Europe. As interest in Tahitian dance grows, more people will be motivated to visit Tahiti so they can learn more about them.
Competition rating (4 out of 5 stars)
Organization rating (3 out of 5 stars)
Dancer energy rating (5 out of 5 stars)
Community support rating (5 out of 5 stars)
Though organization and management could vastly improve, the dancers themselves, with their enthusiasm and vibrant costuming made the event an enjoyable occasion.
Event Press Release
Event Photo Gallery
Trivia note: Original design of the event website was designed by Black Pearl Designs
Tuesday, May 29, 2007
Kauai & Las Vegas Tahitian Dance Competitions
Ia Orana and the pulsating drums of Tahiti could be heard across the oceans and in the desert. Not one, but two Tahitian dance competitions occurred this past holiday weekend. In Kauai, the 7th Annual Kauai Polynesian Festival took the island by storm. Even the crafters got involved as evident from a news article in the local paper, Kauai - The Garden Island. The event is organized by the Kamanawa Foundation, and is led by Kapu Kinimaka-Alquiza, Kumu hula of Halau Na Hula o Kaohikukapulani. Activities took place on the grounds of the Hilton Kauai Beach Resort.
On the mainland, in Las Vegas, Nevada, a second Tahitian dance competition brought crowd pleasing performances to the Cox Pavilion at the University of Nevada Las Vegas (UNLV). Photos of the solo, aparima, otea and ahuroa competitions can be found here.
On the mainland, in Las Vegas, Nevada, a second Tahitian dance competition brought crowd pleasing performances to the Cox Pavilion at the University of Nevada Las Vegas (UNLV). Photos of the solo, aparima, otea and ahuroa competitions can be found here.
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