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The kailao originated on the island collectivity of Wallis and Futuna, where it is still performed in public ceremonies. In Tonga it is performed at public and private ceremonies. The men, bearing stylized clubs (pate kailao), dance in a fierce manner that emulates fighting, to the accompaniment of a beaten slit drum or tin box which sets the ...
Kailao dance in Mata Utu in 2001. This is the most popular of the implement dances seen in Uvea and Futuna. It's a club dance performed without a song 'to the rhythm of a wooden pate (gong) or an empty kerosene tin.
The Nifo oti, or Samoan fire knife dance, is also a kind of weapon dance. The kailao is a standing male war dance of Tonga. The kailao is performed by men (less commonly women also perform it with the men as a mixed dance), who carry clubs or fighting sticks. The performers dance in a fierce manner to emulate combat, all to the accompaniment of ...
The kailao (paddle-club dance), however, has no song and only includes percussion. [11] Wallis and Futuna dancers perform across the Oceania region at festivals. [12] Uvea Museum Association holds the first 16mm colour film of dance on Wallis in its collections, which was recorded in 1943. [13]
Early visitors, such as Captain Cook and the invaluable William Mariner, note only the singing and drumming during traditional dance performances. Scholars can assume the existence of the lali or slit-gong , and the nose flute , as these survived to later times.
The group of people performing a haka is referred to as a kapa haka (kapa meaning group or team, and also rank or row). [14] The Māori word haka has cognates in other Polynesian languages, for example: Samoan saʻa (), Tokelauan haka, Rarotongan ʻaka, Hawaiian haʻa, Marquesan haka, meaning 'to be short-legged' or 'dance'; all from Proto-Polynesian saka, from Proto-Malayo-Polynesian sakaŋ ...
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Hiva kakala (fragrant songs, meaning love poems) are an important part of the semi-traditional group. Many of the ones still popular nowadays were made by queen Sālote in the 1950s and are the favourite tunes for the tauʻolunga dances. Another important part in this group are the more formal songs, slanted towards odes to the chiefs and the ...