One of my wishes was fulfilled on
Friday night when we attended one of the Heiva shows in Papeete. This
Polynesian tradition was revived 130 years ago after being banned by
King Pomare V under the influence of Christian missionaries in the
19th century.
According to the Tahiti Tourisme
brochure, the word Heiva ( hei meaning to assemble and va community
places) refers to activities, distractions, pastimes, sports and
festivals. Music, dances, songs and games integrated under this
notion held a very special place in Polynesian communities. While
being distractions, songs and dances were also essential components
in religious and political ceremonies of ancient times. Dance was one
of the most sophisticated and ritualized arts practiced in groups or
individually. Songs kept pace with daily life and accompanied
everyday chores as well as religious ceremonies. The festivities were
commonly held to mark the changing of seasons or periods such as the
fruit harvests.
The annual Heiva competition in Papeete
takes place in July and professional groups throughout the Polynesian
islands practice for many months on their own turf to win a place
amongst the finalists in the capital. There are prizes for the best
costumes, dance, singing and music.
On Friday night, there were hundreds of
people outside on the boardwalk but the temporarily constructed open
air stadium looked half empty when we took our seats. We were
surprised when the crowds started arriving after the show had begun.
Some people did not appear until the last act!
There were two dance acts separated by
three singing presentations. The first song group did not have good
microphone coverage and appeared discordant – very unusual as
almost every Polynesian seems to sing in perfect harmony whenever we
have heard them in the past. There was a formulaic presentation of a
capella singing by a mixed choir sitting in a U-shape facing the
audience followed by two people singing in turns accompanied by
ukelele and guitar. The two singers seemed to be mocking each other
with amusing expressive gestures. Apparently the lyrics tell the
story of daily life, capture tales of heroism or signify important
places. We found the choral chants very repetitive.
The dance groups were a cast of
hundreds. Gorgeous costumes made of natural fibres, leaves and
flowers covered all the naughty bits on the svelte bodies. The older
and larger ladies wore more conservative dresses but were just as
energetic in their hip gyrations. The dances were accompanied by an
orchestra of about 20 musicians and the sound of drums dominated the
stadium. The drummers' hands were a blur as they beat their complex
rhythms in a dizzying frenzy. The dancers were graceful and sensual
in their perfectly choreographed movements of hips, hands and feet.
There is no doubt in my mind why the missionaries thought they were
erotic.
There were themes to the dances. The
first was about the birth and growth of a chief's son under his
father's watchful eye. They used a real almost newborn baby for the
birth scene. The principal male dancer had incredible strength. You
could see his muscles rippling as he thrust his hips and opened and
closed his legs in scissors-like fashion. It's hard to describe in
words and probably harder to imitate.
All I can say is “Bollywood take
note!”
The pictures below are from the Museum of Tahiti and her Islands - we were not allowed to take pictures at the Heiva performance.
Modern Heiva costume |
Male dancing |
Wonderful head dresses are common in many Heiva costumes |
What a feeling this 1960's picture conveys! |
Coconut fiber and cowrie shell skirt detail |
Costume and poster from past Heiva |