Poi refers to both a style of performance art and the equipment used for engaging in poi performance. As a performance art, poi involves swinging tethered weights through a variety of rhythmical and geometric patterns. Poi artists may also sing or dance while swinging their poi. Poi can be made from various materials with different handles, weights, and effects (such as fire).
Poi originated with the Māori people of New Zealand, where it is still practiced today. Poi has also gained a following in many other countries. The expansion of poi culture has led to a significant evolution of the styles practiced, the tools used, and the definition of the word "poi."
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In the Māori language, poi can mean the physical objects used by the dancers, the choreography itself, or the accompanying music.[1] In Maori culture, poi performance is usually practiced by women, but some legends indicate that it was first used by men to develop wrist flexibility for the use of hand weapons such as the club-like patu, mere, and kotiate,[2] but recent academic study has found no evidence to confirm this story.[3]
Māori poi come in two forms: short, with strings equal to the length of the fingertips to the wrist; and long, with strings equal to the distance from fingertips to shoulder.[4][5] A performance includes storytelling and singing in conjunction with choreographed poi routines and is often presented alongside other disciplines, such as waiata a ringa, haka and titi torea (included in kapa haka performances). Poi feature in the 1980s hit song "Poi E".[6]
Originally, poi were most commonly made from harakeke (Phormium tenax) and raupō (Typha orientalis). Makers stripped and scraped flax to provide the muka (inner flax fibre), which was twisted into two strands to make the taura (cord) as well as the aho (ties). A large knot was tied at one end of the cord, around which the core was formed from the pithy middle of the raupō stem. Dampened strips of raupō stems were then wrapped around the ball and tied off around the cord, forming the covering . The other end of the cord was often decorated with a mukamuka, a tassel made from muka formed around a smaller knot. Occasionally, smaller tassels called poi piu were affixed to the base of the poi ball.[7] Construction and design varied widely depending on regional, tribal, and personal preferences.
Another variety of poi is poi tāniko. In this construction, the outer shell was made of finely woven muka using a pattern based on a fishing net;[8] these poi sometimes included strands that were dyed yellow to form a diamond pattern known as Te Karu ō te Atua (the Eye of God).
In the late 19th Century and the first half of the 20th Century, a cottage industry developed from the manufacture of raupō poi for sale to tourists, especially in the Rotorua area. Tourist-friendly variations included miniature poi that could be worn in buttonholes and as earrings.
Traditional raupō poi are less likely to be used by modern poi artists since traditional materials wear quickly with frequent use. Also, flax and raupō are becoming increasingly difficult to find as the wetlands where they are naturally found have been drained or made into conservation reserves (although traditional harvesting is, generally, allowed by law).
Today, most performance poi are made from durable and readily available modern materials. Cores are often made of foam or crumpled paper, while skins consist of plastic or loomed fabrics, such as tulle. Tassels are usually made of wool.
Modern poi coexists with traditional Maori poi and enjoys a broader, worldwide audience.
Traditional Maori poi is generally performed in group choreography at cultural events, with vocal and musical accompaniment. By contrast, modern poi is generally performed by individuals, without singing and with less structured choreography. The tools and styles used are more varied. Many people first encounter poi in the form of fire spinning, but fire spinning is just one form of this highly varied art.
Modern poi borrows significantly from other physical arts, including various schools of dance and many object manipulation arts. Poi is practiced around the world and can often be seen at large festivals like Burning Man, European Juggling Convention, and the Fire Dance Expo held annually during the US National Dance Week in San Francisco.
Unlike many physical arts, learning poi does not usually involve formal education. Most spinners learn from each other or teach themselves using DVDs or online resources. A strong sense of community and self-teaching are key elements of modern poi.
The Internet has directly fueled the popularity of modern poi by helping people around the world discover poi and learn from one another.
Beginners learn using a simple pair of practice poi, which are typically constructed from soft materials such as rolled up socks or stockings that are filled with soft household objects such as bean bags, juggling balls, balloons filled with legumes, or small toys. Simple poi can also be constructed from tennis balls and lengths of rope weighted by rolled up bike tubes.
More advanced practice poi models may include swivels (for orbital-type tricks) and weighted handles (for tosses).
Performers often use poi with bright, contrasting colors to enhance aesthetics and emphasize patterns. Some performance poi also incorporate tails or streamers for visual effect.
Poi can be performed in the dark to dramatic effect when spinners use poi containing a light source, such as UV-sensitive materials, LED lights, or chemical glow sticks. Glowstringing, or using glowsticks swung from shoelaces, is popular at festivals and raves.
Meteors were cross-adapted from poi and from a Chinese martial arts weapon called the meteor hammer. The meteor is often constructed similar to poi, or can actually be made using poi. The meteor, however, also incorporates an additional short chain, rope, or bar in the center. This format means that most poi skills will translate to meteor, plus some staff, rope dart and chain whip skills as well.
Fire poi use wicks for the weighted ends (often made using kevlar). The wicks are soaked in fuel, set on fire, and then spun for dramatic effect.
The first known fire poi shows were part of private men's rituals in Hawaii. The first public appearance of these rituals started around 1959 and became a tourist attraction by the early 1960s.
Typically, poi spinners start out learning simple moves and then gradually add moves of increasing complexity. A major part of learning poi is learning to transition smoothly between different moves or classes of moves. Many spinners find it helpful to practice spinning their poi to music in order to maintain a smooth cadence or rhythm.
There are several basic classes of tricks. The two poi are usually spun in parallel planes, and can be spun in the same direction (weaves) or opposite directions (butterflies). Moves such as stalls and wraps can change the direction of one or both poi in order to move between these two classes.
Weaves are a class of trick centered on the "basic weave." Considered by many poi swingers to be one of the staple moves, the basic two-beat weave is often one of the first tricks learned. The basic weave is called "two-beat" because each poi spins two times in a cycle: once on each side of the body. Reverse weaves, behind-the-back weaves, 1½-beat, 3-beat, 4-beat, 5-beat and other weave variations are also possible.
The butterfly is a simple trick in which the hands are held close together in front of the spinner and the poi spin in opposite directions flat to the spinner, so that the poi cross at the top and bottom of their circles. This move can be done behind the head, behind the back and extended to any number of additional moves; there are as many variations on the butterfly possible as there are for the weave, including polyrhythms and hybrids. Some skilled performers can use four poi (two in each hand) to execute a double butterfly, a move that can also be executed with meteor. A few practitioners use six poi balls so that a third, one-footed butterfly can be performed with the other foot. However, the majority of poi performers consider such a trick to have no real use, as there's no way for the performer to execute the move as part of a dance without breaking the fluidity of movement.
A wrap is a move in which one or both poi are wrapped around something, usually a part of the body, to change the path or direction of the poi's spin. There are different types of wraps. Recoil wraps first wrap around the target and then bounce off so that the poi ends up spinning in the opposite direction to which it started. Thru-wraps, meanwhile, wrap around a moving body part so that the poi's direction stays the same but the path it is traveling along changes. Typical targets for a wrap are the arms and legs, but any body part is suitable. One of the more dangerous places to perform a wrap is around the neck. Double-neck thru-wraps are perhaps the most dangerous move that can be done with fire poi due to the risk of the poi tangling.
Flowers, or compound circles, are a visually impressive set of moves in which the poi spinner fully extends their arms and moves them in circles around the body while spinning the poi. When done in proper rhythm, doing so gives rise to a series of loops around a large circle, which resemble the petals of a flower. Flowers can be done in-spin, in which the poi spin in the same direction as the arms, and anti-spin, in which the poi spin in the opposite direction of the arms. Additional movement factors, such as same-time, split-time, opposite direction, and same direction in two directions of the arms and poi, make for 64 possible different combinations.
Isolations refer to a class of moves in which the poi handle is also spun in a circle. "Perfect" isolation occurs when the poi handle and the poi are moving in the same circle, and can usually create distinctive synchronized moves (e.g. cranks). Hyperloops are where the poi ropes becomes entangled (twisted up) and then untangled, keeping the ends spinning the entire time. Advanced spinners are also able to spin behind the back and under the leg.
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