ACTION SONG … There are many hundred action song groups active today. In the last few years, the number of active groups has probably greatly increased as a result of welfare activities, the Maori Women's Welfare League, ana the cultural movement generally. Most of the groups contain members with some thorough training, either through having belonged to older groups, or through having attended one of the Maori colleges. Popular though the action song is, most performers are aware that it is not mere entertainment. It is possible to find self-expression in the action song, and perfection can only be attained to the extent that the body expresses feelings and ideas through the movements. It can only live as long as technique and criticism are provided by experts. For this reason competitions, properly judged, can be very important, as they stimulate interest in quality and enable experts to meet. One problem for action song groups is the obtaining of piupiu. In many places the women make these locally. It is to be hoped that wherever the craft of piupiu-making is forgotten, tutors can be arranged to teach the local welfare league or other interested bodies. Action song is a product of the twentieth century. It grew up through the example and teaching of Sir Apirana Ngata during the Kotahitanga (Young Maori Party) period. The first texts were printed in the 1908 Kotahitanga conference programme. As late as 1915, we understand, the action song did not form part 1. Arohaina mai e te Kingi nui. 2. Manaakitia o tamariki e Horahia mai ra te marie Nui. of the programme of the Rotorua Maori Concert Party, at that time showing only haka, poi, and what used to be known as ‘tableaux’ In 1917, however, Sir Apirana Ngata toured the entire country organizing entertainments to raise money for the Maori Soldiers' Fund. Action songs were a constant feature at these entertainments. After this tour the action song appears to have become thoroughly established. The lightest part of the traditional Maori musical programme, the action song, is deeply impregnated with European influence. The catchy tunes are European, and the very regular formations, even the rhythm and the static drill-like movements. Yet it is, at the same time, very Maori in its light playfulness, the lilting cadences, and finally in the way the feelings are expressed through the body. The