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Traditional Polynesian music is largely an inseparable part of a broader performance art form, incorporating dance and recital of oral traditions; most literature considers Polynesian music and dance together. [2] Polynesian music expanded with colonial European contact and incorporated instruments and styles introduced through a process of ...
One unique quality of Polynesian music (it has become almost a cliché) is the use of the sustained 6th chord in vocal music, though typically the 6th chord is not used in religious music. Traditional songs and hymns are referred to as imene metua (lit. hymn of the parent/ancestor). Traditional dance is the most prominent art form of the Cook ...
One unique quality of Polynesian music is the use of the sustained 6th chord in vocal music, though typically the 6th chord is not used in religious music. Traditional instruments include a conch-shell called the pu and a nose flute called the vivo, as well as numerous kinds of drums made from hollowed-out tree trunks and dog or shark skin.
In Trum’s Hawaiian Folk Tales A Collection of Native Legends, page 187 he tells of a drum called the "pahu ka`eke" in the story of Ai Kanaka. Below is what is widely believed today among hula practitioners. The pahu is a traditional musical instrument found in Polynesia: Hawaii, Tahiti, Cook Islands, Samoa, and Tokelau. Carved from a single ...
The fakaseasea is a tradition dance song of Tuvalu. Dancing songs are the most common type of the traditional Tuvaluan songs, ... Western Polynesia, Ethnomusicology ...
Tahitian drumming and dance have become symbols of Polynesian heiva to the western world. Heiva is the Tahitian term for entertainment. Heiva is the Tahitian term for entertainment. This authentic performance symbolizes the past and present state of social hierarchies within the community and the island.
'ote'a group dance. The ʻōteʻa (usually written as otea) is a traditional dance from Tahiti characterized by a rapid hip-shaking motion to percussion accompaniment. The dancers, standing in several rows, may be further choreographed to execute different figures (including tamau, varu, otamu, ami, and fa'arapu [1]) while maintaining the hip-shaking.
The Samoan dance focuses on the individual dancers who have space in which to perform the steps and arm, hand and body movements of the Samoan siva dance tradition. [7] In 1960-1961 Gerd Koch, an anthropologist, made recordings of traditional songs on the atolls of Niutao, Nanumaga and Nukufetau.