Tī rākau/tira Stick games

Ākonga:

• create and share tī rākau (stick) movements and sequences
• explore the ways in which tī rākau can be used to develop body and spatial awareness
• respond to their own tī rākau sequences and to those of others
• understand how tī rākau is used in te ao Māori
• perform tī rākau sequences for an audience in time with music 
• create tī rākau sequences using selected choreographic devices
• identify and compare ways of maintaining and enhancing relationships when working in cooperative group activities in te ao kori 
• perform rhythmic movement sequences, in unison, with tī rākau.

Read the whakapapa of the tī rākau, and identify the tikanga associated with its use.

Look at examples of tī rākau in live or videoed kapa haka performances. There are examples of tī rākau performances on the internet; have a look as part of your planning and notice where the videos have come from to ensure that you are showing ākonga authentic and relevant tī rākau performances.

Discuss the purposes of tī rākau in te ao Māori to develop wrist, arm, and shoulder flexibility; as preparation for taiaha (long club) weaponry skills; and for entertainment.

Using rolled and taped newspaper sticks or lengths of doweling, demonstrate to ākonga and/or help them to explore the basic wrist-turning movements, using tī rākau in different directions and at different levels – front, back, to the side, high, and low.

Help ākonga to learn and explore tī rākau movements while:

• in a single position, for example, while standing, sitting, or kneeling
• travelling, for example, walking, step-touch, travelling step-point, lunging
• in time with music.

Ākonga can attempt to copy some of the movements or sequences seen on video.

In groups of two to four, ākonga work cooperatively to teach each other at least two of the tī rākau movements that they have learned or created.

In small groups, ākonga devise a sequence of tī rākau movements, to perform together, to music.

For level 3–4 ākonga, the group sequence can include specified features. For example, ākonga could be asked to show four to six different movement patterns, changes in the direction the body is facing and levels, include some travelling, and incorporate the choreographic devices of canon and augmentation.

Ākonga perform the group movement sequence for the class.

Ākonga in the audience are encouraged to respond by identifying or describing aspects of the sequence and performance that they liked or felt could be improved.

• What movements or designs did you find interesting?
• What advice might you give to the group to make their sequence more interesting?