Scoring - What to watch

Performance
. Emphasis on originality and authenticity
. Performers should show stamina, vitality and stage presence
. Transitions between different motions should be precise & smooth
. Costumes should be attractive and possess the authentic spirit
. Entrances and exits should be creative and vibrant
. Peformers should exude and express an understanding and love for their dancing

Men - Tane
. Back should be straight
. Motions should be masculine
. Show mastery of leg and feet movements and motions
. Should not be looking down at their feet

Women - Vahine
. Shoulders should remain steady during Ote'a and 'Ori Tahiti performances
. Performers should be able to perform a variety of hip movements
. Feet should be close together during Ote'a performances
. Movements during aparima and Ahuroa should generally be graceful and feminine

Musicians and Drummers
. Pronunciation of Tahitian words should be clear and accurate
. Music should coordinate with choreography of performances
. The drumming should include a variety of beats, when appropriate
. Costumes should be attractive and possess the authentic spirit
. Musical instruments should be traditional

COSTUMES of Tahiti

The most elaborate costumes are made of vegetable fibers selected for their gloss. Tapa is used for belts, head dresses and bodices, as well as shells of all kinds, mother-of-pearl, seeds, etc. The vegetable dyes used for costumes are extracted from hibiscus flowers and from Re'a (Tahitian ginger); feathers are also used.

The aura which is so special to Tahiti is partly based on the wealth of beauty, dance and music which still constitutes a very lively aspect of everyday life.

Traditional 'Ote'a costume reserved for the rapid Toere drum dances, are often made from shells, mother of pearl and Mo're grass skirts

Folkloric Aparima costumes (for Tahtian slow hulas) made from locally designed cotton fabrics accompanied by flower Hei or Auti leaves.

Purotu or missionary dresses are used for the Tahitian Hulas or Aparima dances.

SCORING CRITERIA

Solo Divisions
Maximum score - 100

Group Divisions
Maximum score - 1000

Winners will be the top three with the highest scores in their category and/or division. The overall trophy and prize will be given to the Hura Tau (Professional Division) group who scores the highest overall. Scores of the winning Ori Tahiti soloists will be added to the overall scores of those groups participating in the Aparima and/or "Ote'a for the overall trophy and cash awards, but only if they place first, second or third in their division.

The following information is intended to clarify and give some examples as to the criteria that judges will use in evaluating the performances. Judging will be based on the following:

Entrance and Exit
Judges will look for how the performance projects to the audience a feeling of energy, dynamic appeal and a level of showmanship. Both entrance and exit will be looked upon with same criteria. For groups, judges also are considering the technical ability of the dance group to perform as a unified ensemble.

Execution and Precision
Judges will look for performers overall presentation and how the performer(s) work with the stage space and audience. Performers techniques, dance transitions, entrances and exits will be scored based on the judges observations.

Technical
Judges will look for accuracy in dance movements and traditional Tahitian dance steps in relation to the dance theme. Judges will look for knowledge in basic Tahitian dance steps.

Costumes
Judges will look at the quality of the costumes and their appropriateness and integration with the presentation. Natural materials such as feathers, shells, fresh flowers, ferns and other greens are favored. Costumes should be sewn, if possible. No artificial flowers. Group leaders must state if their costumes are traditional or contemporary. Overall impression is given appropriate weight in final score.

Music/Drumming
Judges will listen for the quality of the music and the appropriate drum beats for each dance as well as its integration with the dance choreography. Proper pronunciation of the Tahitian language will also be considered. This criteria is not factored into soloist scores.

Choreography
Judges are directed to put an emphasis on the choreography of the presentation. Choreography refers to the dance composition, organization and arrangement of traditional Tahitian dance movements. Appropriate translation and interpretation of Tahitian songs should be reflected in the choreography. Judges will also look for creativity, style and form and whether or not the dancers were engaged and their attention held by the audience.

Expressions and Overall Presentation
Judges will note dancers' enthusiasm, energy and/or appropriate axpressions relating to the dance. The aesthetic and artistic appeal of the entire dance performance will also be factored into the score.

SONGS & DANCES

Dances and Songs of Tahiti

'Ote'a
The most spectacular of all Polynesian dances, performed by a group of male dancers ('Ote'a Tane) or a group of female dancers ('Ote'a Vahine), or sometimes male and female dancers ('Ote'a Amui). It is inspired by old legends; the themes consist of a certain number of variations, the length of each one being determined by the beats of the To'ere. Sometimes the theme of the 'ote'a is a contemporary one (celebration of a wedding, welcome of an important visitor, marking of an important event, etc.). The 'Ote'a are usually performed in traditional costumes (A'ahu Mo're).

For the male dancers

• The basic step is the pa'oti.
• Knees open and close as scissors. Knees are slightly bent.
• Feet stay flat on ground with heels slightly raised. Feet must not been spread - apart.
• The torso must remain straight (vertical).
• Two styles of the pa'oti include Pa'oti to'ere (fast movement) and pa'oti pahu - (slow ovement, with heels flat.
• The "tu'e" (kick forward accompanied with move of fists)
• The "horo" (running move) which can be use for the entrance and for the changes of the dancers places.
• The "otaha", combination of poses and skipping used especially to forward.

For the female dancers

• Keep the knees slightly bent.
• Keep the bust and shoulders motionless.
• Keep your arms out stretched at shoulder level with only a slight bend to avoid a rigid look and present a more feminine appearance. Avoid dropping the elbows.
• Feet are to be flat on the ground. Heels joined and the toes slightly separated to form a "V" shape.

Aparima
definition: 'apa (kiss) rima (hands), the kiss of hands.
The Aparima tells a story set to music and mimed by gracious gestures of the hands. The Aparima is a group dance inspired by scenes of the daily life; a boy meeting a girl, a vahine combing her hair, paddlers in an outrigger canoe, description of a beautiful site, etc.

Hivinau
The Hivinau is danced divertimento which ends most of the celebrations; it is lead by a dancer famous for his impromptus talents. TheTahitian word comes from the English language " heave now ", used by the sailors when they put themselves in a circle on the bridge of their boat to make their plans.

Pa'o'a
This dance is generally inspired by scenes of fishing or hunting; it is performed by a limited number of dancers.

Pata'uta'u
It is rythmed by the palms of the hands beating the ground and performed by a male and a female dancer. It has a wild and erotic flavor.

'Ori Tahiti
The 'Ori Tahiti, better known as the Tamure.

Ute
The Ute are impromptu familiar and satirical songs and are among the most popular Tahitian songs. An improvisor (Taata Pehepehe or Faateni) is accompanied by a small number of other singers.

Himene Tarava
These are choirs performed by an important number of singers (50 to 150) divided into 3 groups, each one being directed by a soloist.