How to Write Kapa Haka Songs

Yes you can write a kapa haka song. No you should not parachute into someone else s culture and wing it. Kapa haka is living cultural practice. It carries whakapapa, history, language, protocol, and the voices of people. If you want to write kapa haka in a way that actually helps your crew and does not make your aunty cringe at the pōhiri, this guide tells you exactly what to do, how to say it with guts, and how to keep your dignity while being outrageous on stage.

This is for high school kapa haka leaders, indie Māori artists, Pākehā allies who are genuinely trying to help, and anyone who wants the skills to write waiata that stand up in performance. We will cover tikanga and consultation, te reo basics, lyric craft, melody and rhythm tips, choreography integration, rehearsal drills, recording and publishing basics, and real life examples you can steal ethically and adapt with permission from your kaumātua.

What is kapa haka and why writing for it matters

Kapa haka is performance art rooted in Māori culture. The phrase kapa haka literally means group performance. It brings together waiata which means song, haka which are ritual posture dances that can be challenge or celebration, poi which are small balls swung on cords by performers often wāhine which means women, and mōteatea which are traditional laments or chant forms. Kapa haka is not just entertainment. It is whakapapa. It is identity. When you write for kapa haka you are working inside a living language and set of customs. That gives your work depth and obligation.

Write with intention and respect. That starts with listening to kaumātua which means elders, talking with kaumātua, and inviting local iwi which means tribes to be part of the process. You will be rewarded with authenticity and creative latitude that stage notes cannot buy.

Basic tikanga you must follow before you write anything

This is not a lecture. It is practical life saving information for your reputation and for human decency. If you skip this part your song might be catchy but it will be cultural theft and people will call you out. Also you will be sad at how quickly your local community disowns a project that seems disrespectful.

Talk to kaumātua and your local iwi

Before you put a word on paper consult with kaumātua and local iwi. Explain your kaupapa which means purpose. Ask about place names, pēpeha which are identity statements, sacred stories that should not be used in performance, and whether there are words or names that require karakia which means prayer or permission. This step can take a long time. Build it into your timeline.

Understand kawa and tikanga

Kawa means protocol and tikanga means custom. Both can be specific to marae which means meeting places. One marae might allow waiata about local taniwha which means guardian beings and another might not. Roles on stage may be gendered in some contexts and flexible in others. Learn the kawa before you decide who will lead the chant. Ask how the group wants to show the content. Permission opens doors. Assumption closes them.

Language accuracy is mandatory

Te reo Māori is not a seasoning you sprinkle on an English chorus to seem edgy. If you include te reo, use native speakers, kaumatua, kaiako which means teachers, or qualified translators to check every word. Macrons matter. Macrons change meaning. For example the word mata can mean face while mātā can mean sharp object in some contexts. If you write a line that accidentally insults ancestors you will not be the first person in history to wish for a time machine.

Useful terms explained in plain language

• Waiata means song. It includes lyric, melody, and the way words are phrased in te reo Māori.
• Haka is a ceremonial dance often used to challenge, to celebrate, or to assert identity. Haka have very specific words and actions and many are sacred.
• Poi are small balls on cords used in a dance that emphasises rhythm and grace. Poi songs are written to match the poi pattern.
• Mōteatea are traditional chants and laments. They are often preserved in iwi memory and should not be rewritten without consultation.
• Taonga pūoro means traditional Māori instruments. Examples include kōauau which means flute and pūtōrino which is a type of flute trumpet. Use with knowledge and permission.
• Whakapapa means genealogy and origin. It frames relationships to people, places and events and is commonly referenced in waiata.
• Pēpeha are brief statements that place a person within landscape and community. They are often part of introductions and can be woven into songs with permission.

Choosing a theme and a purpose

Kapa haka songs are stronger when they carry a clear kaupapa. The kaupapa could be celebrating ancestry, telling a local story, teaching children, encouraging a team before a match, or mourning and remembering. Pick one clear kaupapa and write around it like a laser. If you try to be everything to everyone your listeners will be bored and your elders will be mildly annoyed.

Example themes with real life scenarios

• A kura kapa haka is preparing for a regional competition like Te Matatini. The theme is tribal pride and identity. The song points to local places, ancestors, and a call to show mana which means prestige. The writers consult kaumātua and include a pepeha at the top of the waiata.
• An indie Māori artist wants to bring poi into a pop song. They collaborate with a local kapa haka group and pay for rehearsals. The pop verses are in English but the chorus is a simple waiata ā-ringa phrase in te reo that the kapa haka group sings live. The work is a partnership with clear credit and revenue share.
• A community group wants a new haka to welcome guests at a sports club. They meet with kaumātua who guide acceptable language and actions. The group writes short, punchy lines and practices the posture and foot stamping with kaiako who teach proper technique.

Structure and song types in kapa haka

There are common building blocks you can use. Each has its own rules and energy.

Waiata ā ringa which means action song

Waiata ā ringa uses hand actions to illustrate words and is often playful and visual. Lyrics are rhythmic and repetitive. The melody is usually simple so the group can sing together while doing synchronized moves. These are great for engaging audiences and teaching the story through movement.

Haka

Haka vary widely. Some are kihikihi which means competitive and full of aggression. Others are celebratory. Haka language is short, powerful, and direct. Choreography focuses on posture, facial expression, and stomping. If you are writing a haka do this only under guidance from people who know the haka you are inspired by.

Poi songs

Poi songs match the poi rhythm. The words often include short phrases timed to the poi swings. Melodies are loop based and the group splits into lead singers and poi performers. Timing is everything. If your words do not align with the poi pattern the visual will look like a very public misunderstanding.

Mōteatea and waiata tuku iho which means songs handed down

These are precious. If you want to write in that register you must have permission and a teacher. Mōteatea often use older language, different melodic rules, and a cadence that is more chant than modern melody.

Lyric craft for kapa haka songs

Writing lyrics for kapa haka is similar to songwriting in general but with extra constraints and deeper opportunities. Your job is to be specific, sonic, and respectful. Here are patterns that work.

Start with a pūrākau which means story or myth

Choose a short story. It can be a memory, a place memory, or an ancestor s action. Keep the arc tight. Ask these questions. Who is speaking? Who is being addressed? Why now? What is the call to action at the end? The last question matters because kapa haka often ends with a challenge, a blessing, or a claim to identity.

Use repetition as a memory tool

Repetition is how kapa haka songs lodge in the body. Repeat a short line as a ring phrase at the start and end of stanzas. That repeated line can be the pepeha or a short kaupapa phrase like Kei runga noa atu which means forever above or Kia kaha which means stay strong. Keep it short and singable.

Concrete images over abstraction

Show a person planting a tī kōuka which means cabbage tree. Show a waka on the horizon. Describe the ridge that turns red at sunset. Concrete images make the words easy to mime and easy to act. If your verse says we felt proud instead show the marae flags lifting their colours at dawn.

Language mix strategies

If your group is bilingual, decide how you will balance te reo and English. Often the chorus will be in te reo and the verses in English or vice versa. Another option is call and response where the leader sings a line in te reo and the chorus answers in English translation or paraphrase. Whatever you choose, be consistent and check every te reo line for accuracy.

Example lyric patterns

Ring phrase chorus example in English and placeholder te reo

Chorus

We stand where our tūpuna stood

Kia tū, kia tū, kia tū kia kaha

We raise our name like a flame

Kia tū, kia tū, kia tū kia kaha

Note the chorus repeats kia tū which means stand. Replace or verify every te reo phrase with a fluent speaker.

Melody and phrasing

Kapa haka melodies often live between chant and song. They favor short motifs that can be repeated and layered. Think call and response. The leader takes a phrase and the group answers with a repeated motif. That pattern keeps energy high and helps transition to choreography.

Phrasing rules

• Short phrases work. Aim for lines of two to seven syllables that match stomps, claps, or poi swings.
• Keep range comfortable for group singing. Avoid very high notes that only one lead can hit. You want fullness, not a single crystal soprano unless you have trained singers.
• Use melodic loops. A small motif repeated with different words creates catchiness.

Practice by singing the phrase on vowels first. That helps you find the natural rhythm before you write words. Then slot words into the rhythm. If the words fight the melody rewrite until they lie naturally in the mouth.

Rhythm, percussion, and taonga pūoro

Rhythm is the heartbeat of kapa haka. It drives movement and gives the song its aggression or sweetness. You can use taonga pūoro which means traditional instruments to add texture. Always check with kaitiaki which means guardians about the use of particular instruments and their contexts.

Typical rhythmic elements

• Stomps and body percussion. Stamping on the floor creates a visceral pulse that the whole audience feels.
• Clapping as unison. Claps are crisp and can punctuate phrases. They also help counting while learning.
• Percussion instruments such as nguru which means nose flute or kōauau can add melodic flourishes.
• Pate which are wooden beaters can provide sharp percussive accents.

Write your vocal lines to lock with at least one percussive element. If the chorus has a four beat stomp pattern your words should not try to be on a completely different subdivision. Alignment equals impact.

Choreography and stagecraft integration

Words and actions are siblings. A line about a river looks cheap if the choreography is unrelated. Work with your kaihaka which means performers and your choreographer early. Decide which words will have actions associated with them. Map those actions onto counts so rehearsals are efficient.

Call and response staging

Call and response creates drama. Place the leader slightly forward during the call. The chorus answers. Make sure the leader s lines are projected and clear. If the leader s words are inaudible the response will sound like an accident rather than a conversation with the ancestors.

Transitions

Design short instrumental or percussive transitions between waiata and haka. These are not filler. They reset breath, change energy, and give costume pieces a moment to speak. A one measure beat pattern with a taonga pūoro motif can carry the group from quiet waiata into a full haka.

Rehearsal drills that actually work

Time is always short. Use drills that lock lyrics, movement, and timing together. Below are drills with real world tweaks.

Phrase lock drill

Take one line that contains the ring phrase. Repeat it eight times with exact choreography. No talking. Only the line. Fix breathing and foot timing. Stop when every member can do the line with the action on the same count.

Call and response echo

Leader sings a short call. Chorus echoes the last word only. Build complexity by expanding from one word to a phrase. This trains attention and timing and keeps the crowd energy tight.

Poi timing drill

Poi performers count the swings aloud while singing the short hook. Practice without vocal first then add the phrase. The trick is to make the phrase feel as natural as the poi swing. If the poi timing pulls the phrase off the beat adjust words not the poi pattern unless you are inventing a new poi style with permission.

Recording rehearsal takes

Record every critical run. Listen back with the group. Mark places where words are swallowed or actions are late. Use the record as truth not as attack. The fastest improvements come from recorded reality checks.

Recording and producing kapa haka material

Recording kapa haka is different from recording a studio pop song. You have a group, movement, and traditional elements. Microphone placement and decisions about cuts matter.

Live recording tips

• Use multiple ambient mics to capture group power and one close mic for the leader. Blend during mixing to keep presence and body.
• Record a dry vocal pass and a live performance pass. The dry pass helps you fix lyrical clarity in post while the live pass captures stage energy.
• Label every take with the date, run number, and which movements were in that take. This saves you when the producer asks which version had the better poi section.

Do not edit out karakia or other protocol elements without permission. Some elements are performed for spiritual reasons and cannot be commodified without consent.

Publishing, credits, and cultural intellectual property

If your kapa haka song will be recorded, streamed, or sold you must sort rights early. Who wrote the words? Who composed the melody? Who owns the recording? If the song uses iwi specific material or ancestral references agree in writing about credit, revenue split, and permissions. This is good manners and basic business sense.

Real world example

A kapa haka group wrote a new waiata with lyrics by two students, music by the kapa haka tutor, and a motif based on a child s tune. They registered the writers with their local music rights organisation and agreed to share all income with the school and the group. The tutor also obtained explicit permission from kaumātua to use a traditional waiata phrase. Everyone signed a simple agreement so there were no awkward arguments when a TV program wanted to use a clip.

Common mistakes and how to fix them

• Trying to be clever with te reo. Fix by using short, proven phrases and checking with fluent speakers.
• Writing melodies that only one person can sing. Fix by transposing to fit the group s comfortable range and creating unison parts.
• Forgetting to credit kaumātua and teachers. Fix by listing contributors on any release and by getting formal permission for significant cultural content.
• Ignoring stage logistics. Fix by testing props and actions early. You do not want a poi string to break mid haka and have five performers improvising in silence.
• Using sacred material casually. Fix by asking and being ready to change your idea if the material is tapu which means sacred.

Real life songwriting workflow you can steal

1. Start with the kaupapa. Write one sentence that states the purpose. For example: celebrate the tūpuna who landed the waka at our beach.
2. Interview kaumātua about names, places, and phrases. Record the conversation and take notes about pronunciation and protocol.
3. Create a short pepeha or hook line using those names. Keep it two to six words and repeatable.
4. Build a call and response frame. Leader calls with a pepeha line. Chorus answers with the hook phrase.
5. Slot choreography ideas into the chorus. Make a one measure stomp, one measure clap pattern, and one gesture that points to the land.
6. Write verses that include concrete place imagery. Keep lines short so actions match the words.
7. Practice the phrase on vowels to lock the melody. Then add words and practice with actions until the line and movement are one unit.
8. Bring it to kaumātua for final check. Adjust wording or protocol as requested.
9. Record rehearsal runs and agree on publishing and credit terms if you plan to release the song.

Example templates you can adapt with permission

Template for a short waiata ā ringa chorus. Translate and check te reo with a fluent speaker.

Leader: Ko wai rā te ingoa?

Chorus: Ko [place name] ō mātou tūpuna

Ring phrase: Kia ora, kia ora, kia ora rā

Template for a poi hook where the words match poi swings. Each dot represents a swing count.

Hook: Kua pō mai . . . kua pō mai . . . kia haere mai

Practice the line on a steady four swing loop and adjust syllables to match the motion.

How to blend modern music with kapa haka correctly

Fusion can be brilliant when done well and exploitative when done badly. If you bring electronic beats into a waiata ask permission and credit. Keep the heart of the kapa haka arrangement intact and use modern elements to support not replace the voice. Put the kapa haka group in the driver s seat for decisions about arrangement, especially for anything that changes tempo or vocal delivery.

Practical checklist before first public performance

• Have kaumātua sign off on lyrics and protocol.
• Confirm roles and stage layout with performers so nobody runs into another performer at the third chorus.
• Practice the song at full volume with costumes because movement effort changes breath and sound.
• Check microphones and any recorded music. Know the plan if a track fails mid set.
• Agree on who will speak after performance if a karanga or mihi is required.

Resources and people to follow

Find local kapa haka kaiako which means teachers and kaumātua. Look for language classes at your local marae. Listen to Te Matatini performances to study form and timing. Follow practitioners and writers who are active in kapa haka spaces and read commentary about cultural practice. Build relationships before you need them. People like genuine curiosity and persistence. They dislike lazy tokenism.

Action plan you can use today

1. Write one sentence that states your kaupapa. Keep it short and specific.
2. Book 30 minutes with a kaumātua or a kaiako and ask three questions about protocol for your kaupapa.
3. Make a two measure stomp and clap pattern. Sing your ring phrase on vowels until it locks with the rhythm.
4. Write one verse with concrete images and one chorus with a repeated ring phrase. Keep all te reo provisional until checked by a fluent speaker.
5. Record a rehearsal run. Share it with your kaumātua and ask what to change. Accept the feedback and change it.