Maori Games and Hakas: Instructions, Word and Actions A. H. & A. W. Reed, 22s 6d by Alan Armstrong

Te Ao Hou, November 1964, Page 56

Maori Games and Hakas: Instructions, Word and Actions A. H. & A. W. Reed, 22s 6d by Alan Armstrong reviewed by Kingi Ihaka Alan Armstrong's recently published ‘Maori Games and Hakas’ follows the earlier ‘Maori Action Songs’ written by himself and Reupena Ngata. ‘Maori Games and Hakas’ is a very elaborate book, divided into four parts: after the very useful introduction we have sections on Maori games, on Maori music and musical dances (powhiri, poi and action songs), and on haka taparahi and peruperu. This is an invaluable book which should find its way into all our schools, Maori clubs, and other organizations concerned with foster-

ing Maori culture. There is a tendency these days for New Zealanders intending to travel overseas to rush into a Maori club and learn (or try to learn) one or two items—perhaps an action song or a poi—and they expect to learn such items in a matter of a few days! Armstrong's book is of inestimable help to over-seas travellers in this regard. Illustrations showing hand, feet and body movements in haka, action songs and poi are clearly set out throughout. For a book containing both Maori and English there are very few misprints, and these will not affect the theme or the meaning of the songs, haka, etc. The introduction with its discussion of the Maori language, methods of teaching haka and action songs, taiaha drill and concert entrances, contains important material often by-passed by the aver-age Maori. How often at a so-called Maori concert have we found that there are only one or two Maori items, the rest of the programme being devoted to ‘hybrid’ items—songs sung in Maori to pop tunes, or an imitation of the ‘twist’ with some sort of a Maori flavour. Armstrong has something to say about this too! And on this matter of concerts, Armstrong discusses the controversial issue as to which side of the stage a party should enter—left or right—and gives a version which should, for competition purposes, be accepted by all. But the book is not limited only to hakas, action songs, and pois. There is an excellent section on the old Maori games—games which today are known and played only in a few country districts. Hand games, which add flavour to a concert, have a section in the book, too. Alan Armstrong is to be complimented on his excellent work. He is so far the only person who has given adequate illustrations of the actions of Maori items, and his work will greatly assist those who are learners. The book is to be treated as a guide, in that no one who wishes to know the various facets of the haka, poi and other Maori items can fully appreciate the value of such numbers without associating himself with a group which practises them regularly. One must be practical, and Armstrong has learnt all that he has recorded in his book not merely from reading books, nor from taking notes from various people. He has taken a most active part in Maori cultural activities, both in Malaya as a leader of the very successful Maori Concert Party of the 2nd Battalion of the New Zealand Regiment, and in Wellington, where he is a member of at least two progressive Maori clubs. New Zealand owes Alan Armstrong a debt of gratitude for his painstaking work in recording in book form those things which today are not only part of Maori culture, but also an important facet of New Zealand life. Tena koe Alan!