Exploring Cultural Connections: Haka and Georgian Dance Unite

Marika Khabazi, a video journalist of Georgian and Russian descent, has embarked on a unique journey to explore the cultural connections between New Zealand and Georgia through the lens of traditional dance. Her documentary emphasizes the striking similarities between the Māori haka and the traditional Khorumi dance of Georgia, revealing how these performances resonate emotionally across different cultures.

Khabazi, who moved to New Zealand at the age of 16 in 2008, describes her first encounter with the haka as a profound experience. “As an immigrant, I got goosebumps when I saw the haka being performed. It reminded me of my own home,” she said. The haka, a powerful expression of identity for New Zealanders, showcases synchronized movements that convey both strength and vulnerability. Similarly, Khorumi stands as a tribute to Georgian warriors, echoing the emotional intensity found in the haka.

In her quest for understanding, Khabazi returned to Georgia, where she met with Miranda Bagdadishvili, the choreographer of the Georgian National Ensemble “Batumi.” Bagdadishvili explained that Khorumi embodies the historical struggles and victories of Georgia. “Georgia, being a small country, has always had to defend itself from invaders,” she noted. “A lot of our dances carry that history.”

Khabazi also spoke with Matiu Hamuera, a performer involved in Kapa Haka from a young age. Hamuera attributes their passion to the bilingual school system and the influence of their Auntie Riria. When shown videos of Khorumi, Hamuera recognized the similarities: “I can see the warriors in this. The formations we use in Kapa haka mirror those in Khorumi.”

Both Khabazi and Hamuera emphasized the duality of expression within their respective traditions. Hamuera remarked on the ability of both dance forms to explore masculine and feminine identities. “Modern times are recognizing that there is space for those who don’t subscribe to traditional binaries,” they stated.

Another perspective came from Geo Tughushi, a Georgian performing artist living in New Zealand. Tughushi shared how dance served as a refuge during challenging times. “Dancing saved me because I was growing up kind of on the street, and for mental health, it helps you focus,” he explained. This sentiment resonated deeply with Hamuera, who echoed the therapeutic benefits of Kapa haka during difficult periods in life.

Khabazi reflected on her father, Guram Suleimanovich Khabazi, who has been teaching Georgian dance since the early 1970s. He remains active in the Adjara region, where an ensemble named Bermukha features dancers aged up to 95. “It’s like they’re saying, I am 98, but I can still dance; I’m still full of life,” she noted.

Through her journey, Khabazi uncovered how traditional dance fosters community and reinforces a sense of identity. Bagdadishvili articulated this beautifully, stating, “The dances show the weight of hard work, the challenges of war, and the calm that comes with peace. In a way, Georgian dance tells the story of both the people and the country.”

Hamuera added their thoughts on Kapa haka, saying, “For Aotearoa, Kapa haka really grounds us in our sense of identity, not just for Māori, but for all of Aotearoa.” The celebration of cultural dance extends beyond mere performance; it encapsulates the collective struggles, differences, battles, love, and sadness inherent in human experience.

As Khabazi’s exploration continues, it becomes clear that the bonds formed through traditional dance are profound and universal. Both the haka and Khorumi serve as powerful reminders of shared humanity, transcending geographical and cultural divides.