Dancing today

Dancers in Polynesia are motivated in many ways. It ranges from entertainment, sport, the desire to join a group for a community experience,

to a form of quest, a claim to identity.

The fact remains that the way we dance is still, and increasingly so, the result of cultural and spiritual colonisation.

Much has been written and filmed about the dance, the ‘Ori Tahiti. However, the evolution of the way the dance is performed is rarely examined.

 

History

Lucien Kimitete, a man of culture before becoming a politician, had this to say about the depopulation of the Marquesas Islands 

at the end of the 19th century: a Marquesan at the time said ‘we are letting ourselves die because we no longer dance’.

The cultural shock of evangelisation was immense for the Polynesians of the 19th century. Dancing was an integral part of life.

In 1842, the last indigenous code was introduced. It was drafted by the British minister Georges Pritchard.

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The preamble to Act VI of the Indigenous Code of 1842 begins with the words

‘An Act respecting dances and songs which disturb this sojourn and cause evil1 to grow in this land, and all usages likely to produce disturbance.

Evil was therefore associated with the practice of traditional customs that had set the pace of Polynesian life for centuries.

This conception of dance and music was to shape the practice of traditional dance and music for over a century.

In the second half of the 20th century, the evolution of dance was dictated by considerations stemming directly from cultural and spiritual colonisation.

Up until the 1950s, dancing was still frowned upon and considered indecent: girls of ill repute performed in public, or danced in the bars and clubs of the time.

To understand the way we dance the ori Tahiti today, we must never lose sight of the fact that the history of the dance is intimately linked to the history of Polynesia.

1 Evil was therefore associated with the practice of traditional customs that for centuries had given rhythm to Polynesian life.

 

 At the beginning of the 19th century, evangelisation by the missionaries of the London Missionary Society led to the political conversion of King Pomare II. From 1819, the date of the first Pomare Code, until the first ‘Heiva’ in 1881, the practice of dancing in public was repressed. It was ‘the work of the evil one’.

But it was not until the Indigenous Code of 1842 that it was formally prohibited.

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The law stipulated that

‘dancers and those who gathered to watch them dance would be punished by a fine of 50 fathoms of work per individual and 10 fathoms of cloth to be made

for the women, or $4’.

At the time of contact with Westerners, two dance practices coexisted: popular dances, practised by almost the entire population,

more in the form of games, and learned dances, which were performed by the Arioi.

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The Arioi

The Arioi brotherhood of professional artists was dissolved and banned in 1819, under the influence of British missionaries.

The Arioi's activities were closely linked to the cult of the God Oro. Little is known about their dances, except that they were different from the popular dances practised daily by the people. The Arioi* had to undergo very serious training to prepare for their performances.

There were 7 grades in the brotherhood, plus novices.

There is an abundance of literature on the Arioi.

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For more than 60 years, the colonial administration lifted the ban on public dancing from time to time. However, the excesses and disturbances to public order resulting from dance meetings always led to the ban being maintained until 1881.

In 1848 Polynesia, first colonised by the British, became a French protectorate. In 1881, it became a French colony.

The initiative for the first Heiva, the first dance and song competition, came from Governor Bruat. It was to celebrate the bank holidays that he instituted the first Heiva, which was known as ‘Tiurai’ until 1984. Tiurai means ‘July’, as the dance and song groups only got together in July to celebrate 14 July in Papeete.

From the end of the 19th century to the middle of the 50s, the dance survived. It began to attract the first tourists, the famous travellers passing through the islands. It was they who left us images and films of what ori Tahiti was like in the 20th century, before the ‘great turning point’ that we owe to Madeleine Moua.

Madeleine Moua was a primary school teacher. During an illness that she had to treat in France, she went to Brittany.

The discovery of Breton dances and the liveliness of Breton folklore were a revelation for her.

From then on, on her return to Tahiti, Madeleine never stopped trying to give dance back its rightful place.

To this end, she created the first professional dance group, which she named ‘Heiva’. This was in 1956.

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Madeleine Moua

Madeleine Moua introduced the first change in the way the ori Tahiti was danced. This was in the mid-50s.

To improve the image of the dance, she asked young girls from ‘good families’ to take part. To get the parents to let their daughters take part, she changed the way they danced, with their legs apart, which was considered vulgar and deeply seductive at the time. So she had her ‘daughters’ dance with their feet and knees together. Some schools still teach that malleoli and knees should ‘rub’.

This made the link between dance and sexuality much less obvious. This position made it impossible to perform many steps. But the Heiva group quickly became

a huge success, and many others followed suit. Not all the groups, particularly those from the islands and districts, performed with their feet and knees together.

Dancing with feet together is not an ancient practice: it's an aesthetic consideration and a purely Western concept of decency. Until then, as films and images show, women danced with their legs apart, often on tiptoe. This is what we now call ‘Ori Tahito’. Today, this way of dancing is a figure of speech,

or a way of dancing that is used occasionally in certain choreographies.

So the reasons for dancing with feet and knees together have absolutely no connection with the original tradition of Tahitian dance... before the middle of the 20th century.

The second change in the way people danced came in 1971: they danced with their feet flat, keeping their heels glued to the floor.

It was the brainchild of an influential man, Alexandre Moeava Ata*.

Alec Ata was at the beginning of his long administrative and political career.

At the time, he was head of the Tourism Development Office. This body was responsible for organising the Heiva, the ‘Tiurai’ as it was known at the time. At the time, Alec Ata had noticed a total lack of homogeneity in the way the various groups who now took part in the Heiva danced and the way they did things, with each group trying to distinguish itself by introducing this or that ‘novelty’ inspired by elements foreign to purely Polynesian culture.

Most of the dancers were still dancing on tiptoe, or at least with their heels raised.

For Alec ATA, dance, like music, had to follow certain rules in order to preserve ‘tradition’.

 

The dance code - 1971 ( out of date)

So it was on the initiative of the tourist development office that the group leaders were called together to give their opinion on what was to become the dance code. A concept which, although excellent in itself, has been forgotten. Today, very few people remember that there was a dance code, and that a number of elements considered to date back to the dawn of time were introduced, or set in stone, at that time: in 1971, and not before.

As far as dance practice was concerned, it was decided to impose dancing with heels on the ground, for aesthetic and homogenisation reasons,

within a body of rules that didn't exist until then.

The road to hell being paved with the best of intentions, this was to lead to an aberration. Dancing with the weight of the body fixed in the heels leads to serious imbalances, and for most dancers, induces compensation with the back. Many steps are impossible to execute with the heels glued to the floor.

For a time, dance was impoverished in terms of choreographic vocabulary.

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The conservatory

At the end of the 80s, traditional dance was introduced at the Conservatoire. It was at this point that the teachers, Paulina Morgan and Louise Kimitete, began researching movement and dance steps. They based their research on the texts of the navigators at the time of contact with the West, on ancient accounts

and on empirical observation of dancers in movement.

Their work gave rise to the teaching provided by the Conservatoire. Paulina, and then Mamie Louise, began teaching people to dance by pounding the floor

with their heels, because the basis of dance techniques is derived from walking.

Paulina was known for making the girls in her group, Tiare Tahiti, dance with their legs apart. In the 80s, this was still the subject of debate.

Dancing with your legs together means you can't perform a large number of steps.

It is from their work that the variety of steps and dance techniques taught today have emerged: Paulina and Mamie Louise have reappropriated the dance.

They have largely rediscovered the traces of ancient steps that Western notions of decency and aesthetics had erased from the repertoire.

The execution of these steps was still the subject of debate at the beginning of the century, between those who claimed that they were not ‘traditional’ and those who claimed the opposite.

In addition to this research into the old steps, there was also creative research to develop the steps in a more modern direction.

This is not only the work of the Conservatoire, but also of choreographers such as Jean Marie Biret, and presently as Tiare Trompette.

Dance is a living art, so no one can condemn this approach. The fact remains, however, that it has been contested. Although no one knows exactly how people danced in 1769, it is certain that the women of the time, whether Arioi or common women, did not dance with their legs neatly together and their heels glued to the floor.

Many people are aware of all this. But the change to go backwards, so to speak, is not always self-evident. It's sometimes difficult to go back on what you've learned and applied for more than a generation, believing that it's a pure and unadulterated tradition going back to the mists of time.

While it is said that today's novelty is tomorrow's tradition, it is important to know how things were done.

Today, the evolution of dance is accelerating: confrontation with foreign dancers is largely responsible for this ultra-fast evolution.

​

Ori Tahiti abroad

Today, Tahitian dance is spreading throughout the world, almost exponentially. In particular, a fitness version of ‘Ori Tahiti’ is becoming increasingly popular not only in Tahiti, but also in Japan, Mexico, the United States, France and many other countries.

We now dance with sophisticated, demanding dance techniques, most of which are performed by bodies that are not really prepared for them.

Foreign dancers approach the techniques of ‘Ori Tahiti with a body awareness and a conception of movement work that are specific to their culture.

They are not put off by intensive training. The passion they put into their work makes them remarkable dancers.

The 2020s... 2025 So it was on the initiative of the tourist development office that the group leaders were called together to give their opinion on what was to become the dance code. A concept which, although excellent in itself, has been forgotten. Today, very few people remember that there was a dance code,

and that a number of elements considered to date back to the dawn of time were introduced, or set in stone, at that time: in 1971, and not before.

As far as dance practice was concerned, it was decided to impose dancing with heels on the ground, for aesthetic and homogenisation reasons, within a body of rules

that didn't exist previously

The road to hell being paved with the best of intentions, this was to lead to an aberration. Dancing with the weight of the body fixed in the heels

leads to serious imbalances, and for most dancers, induces compensation with the back. Many steps are impossible to execute with the heels glued to the floor.

For a time, dance was impoverished in terms of choreographic vocabulary.

​

The conservatory

At the end of the 80s, traditional dance was introduced at the Conservatoire. It was at this point that the teachers, Paulina Morgan and Louise Kimitete, began researching movement and dance steps. They based their research on the texts of the navigators at the time of contact with the West,

on ancient accounts and on empirical observation of dancers in movement.

Their work gave rise to the teaching provided by the Conservatoire. Paulina, and then Mamie Louise, began teaching people to dance by pounding the floor with their heels,

because the basis of dance techniques is derived from walking.

Paulina was known for making the girls in her group, Tiare Tahiti, dance with their legs apart. In the 80s, this was still the subject of debate.

Dancing with your legs together means you can't perform a large number of steps.

It is from their work that the variety of steps and dance techniques taught today have emerged: Paulina and Mamie Louise have reappropriated the dance.

They have largely rediscovered the traces of ancient steps that Western notions of decency and aesthetics had erased from the repertoire.

The execution of these steps was still the subject of debate at the beginning of the century, between those who claimed that they were not ‘traditional’

and those who claimed the opposite.

In addition to this research into the old steps, there was also creative research to develop the steps in a more modern direction.

This is not only the work of the Conservatoire, but also of choreographers such as Jean Marie Biret.

Dance is a living art, so no one can condemn this approach. The fact remains, however, that it has been contested. Although no one knows exactly how people danced in 1769, it is certain that the women of the time, whether Arioi or common women, did not dance with their legs neatly together and their heels glued to the floor.

Many people are aware of all this. But the change to go backwards, so to speak, is not always self-evident. It's sometimes difficult to go back on what you've learned and applied for more than a generation, believing that it's a pure and unadulterated tradition going back to the mists of time.

While it is said that today's novelty is tomorrow's tradition, it is important to know how things were done.

Today, the evolution of dance is accelerating: confrontation with foreign dancers is largely responsible for this ultra-fast evolution.

​

Ori Tahiti abroad

Today, Tahitian dance is spreading throughout the world, almost exponentially. In particular, a fitness version of ‘Ori Tahiti’ is becoming increasingly popular

not only in Tahiti, but also in Japan, Mexico, the United States, France and many other countries.

We now dance with sophisticated, demanding dance techniques. Most of which are performed by bodies that are not really prepared for them.

Foreign dancers approach the techniques of ‘Ori Tahiti with a body awareness and a conception of movement work that are specific to their culture.

They are not put off by intensive training. The passion they put into their work makes them remarkable dancers.

 

The 2020s... 2025

 

Twice a year for the last sixteen years, the Conservatoire has offered a week-long course reserved for foreign dancers.

The course is accompanied by a certificate of attendance,

which many consider to be a ‘teaching diploma’.

Ori Tahiti schools are springing up all over the world, with a high concentration in Mexico, Japan and now France, where many Polynesians have settled.

The quality of master's training varies. Some are excellent, others surprising. But all are passionate.

At the same time, dance competitions have become legion over the last ten years or so. Particularly solo competitions.

For many of the participants, boys and girls alike, the main motivation is the desire to compete against other dancers, and to find a way to showcase themselves

on the ‘Ori Tahiti’ stage.

These dancers generally have great respect for the tradition of ‘Ori Tahiti. But they come to ‘Ori Tahiti with a vision of dance as it is today.

 practised in their own culture. They have within them the image of movements that they will use to enrich their performances.

These movements come from a multitude of disciplines that are impossible to identify.

Thanks to YouTube and social networks, the originality of the solos posted online by hundreds of people impresses our local dancers.

This has led to the emergence of a number of postures that didn't exist until the beginning of the 21st century.

Our way of dancing has evolved considerably. Ori Tahiti is becoming a syncretism under the astonished eyes of many Polynesians.

Today we find ourselves in a situation comparable to that of 1971, when the dance code was devised.

In the same way that Alec Ata established the dance code, it has undoubtedly become useful - even urgent - to clarify the practice of dance.

The way in which dance evolves is a natural fact, and restricting creativity is never a solution.

One possibility is to introduce categories specifying what is ‘traditional’, what is ‘modern’ and what is a fusion with another discipline.

We also have a responsibility to look at the relationship between intensive dance practice and health.

We now have a great need to know how to analyse what the body does in dance practice. We need to pass on practices that lead to better execution of movement, but above all that do not risk damaging the body as dancers get older. Warming up and stretching are a necessity, but not yet a habit.

All the more so as dance initiation begins at the age of 3, as part of the school curriculum or at a dance school.

Given the increasing complexity of dance techniques, recourse to science is likely to be the next step in the evolution of the way dance is performed. AFCMD,

the functional body analysis of danced movement applied to ‘Ori Tahiti, is a very useful tool in this respect.

In short, time is speeding up: ‘Ori Tahiti in this second quarter of our century is increasingly different from what grandmothers saw in the 20th century.

Many people are flabbergasted and see themselves less and less in it.

And yet dance is a cultural landmark here. More than an art form, a sport or a form of entertainment, it is an instrument of Polynesian identity.

It is therefore vital to reach a consensus on the tradition of ‘Ori Tahiti.

 

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The Arioi

the arioi were a brotherhood of ‘professional’ artists. Their practices were linked to religion, and some arioi were also warriors. Most of their practices remain misunderstood, because although Westerners were generally admitted to their performances, the meaning was never explicitly revealed to them. Some rites were secret and no foreigners were admitted. For more information, read the second part of A. Babadzan's book, " Les dépouilles des dieux. Essai sur la religion tahitienne à l'époque de la découverte."

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Alexandre Moeava Ata 1933 -2019

was born in Papeete and adopted by the Maitere family in Vairao, then by the Tavita family in Rrutu. On returning from his studies in France, Germany and the UK, he served as chargé de mission for Pouvana'a a ‘O'opa, as a member of Francis Sanford's government and then as advisor to Presidents Flosse and Temaru. He was responsible for tourism, the Tiurai celebrations, Protestant education, tourism investment, regional planning, companies in the insitutional Pacific (CPS, Proe, etc.), the programme to set up reserves in the islands, and the development of the island's economy. He initiated the first campaigns to restore archaeological remains in Huahine, Moorea and the Marquesas Islands with Professor Emory and Dr Sinoto. He is the author of numerous texts and has published four books .w

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Extracts from Act VI of the Indigenous Code of 1842

Translation by Ingrid Drollet for Corinne Raybaud's thesis entitled ‘Polynesia from custom to law’.

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Preamble:  A law concerning dances and songs which disturb this sojourn and cause evil to grow in this land,

as well as all customs likely to produce disturbance and disorder’.

Evil was therefore associated with the practice of traditional customs which for centuries had set the pace of Polynesian life

Article 1

Destroying the source from which the causes of disorder grow is an appropriate thing to do. Thus, the custom of placing provisions on large trays while they are being transported to the person for whom they are intended is a good thing ordered by the chiefs or owner, is cancelled. All foodstuffs must be transported simply in baskets. Heavy trays must not be used to support provisions during transport.3 (The bearers of these trays danced when carrying them).

Article 2

- Persons who dance during the transport of small quantities of provisions that the law allows to be carried will be judged and sentenced individually to clear 50 fathoms of road. If it is a woman who dances, she will be judged and sentenced to make 10 fathoms of cloth, of which 5 fathoms for the queen and 5 fathoms for the governor, otherwise to pay $4, of which 2 to the queen and 2 to the governor. That the road tasks be well cleared, not simply cleared.

Article 2 indicates that these goods were traditionally transported accompanied by dances that were considered inappropriate in 1842. These dances enhanced the sacred nature of the offering.

 

Article 3

- That no real dances be danced during the performance of any of the aforementioned tasks: either by dragging felled trees, or by beating bark to make native cloth, or in any other occupation. Encouraged simply by voice is appropriate, but not by dancing. If, on the other hand, a person dances in an improper manner, he or she will be judged and sentenced: the man to 50 fathoms of work, the woman to 10 fathoms of cloth, divided as prescribed in Article 2.

1 Article 1 refers to the transport of foodstuffs (vegetables, fruit, etc.) intended for the great chiefs in the form of an offering but also an obligation to give. These trays were large planks made up of pieces of wood criss-crossed one on top of the other. These trays were carried on the shoulder while dancers placed on top performed various dances and songs. This code was intended to break with ancient pagan and feudal customs.

1 Article 2 indicates that these goods were traditionally transported accompanied by dances that were considered inappropriate in 1842.

These dances enhanced the sacred nature of the offering.