373:. The characteristic metal hook of these tools was readily incorporated into the Samoan wooden nifo'oti, which bears the unique hooked element whether carved from wood or forged from steel. One common claim is that the word "nifo'oti" means "tooth of death", but this is not linguistically accurate as Samoan syntax places the modifier after the subject; according to Samoan grammar, the term "nifo'oti" would actually mean "dead tooth", hardly as intimidating as the former translation. One more linguistic issue remains to be worked out in regards to 'oti (with the initial glottal stop) and "oti" (without the glottal stop). When pronounced with the glottal stop, the word 'oti does not mean "death" at all; as a verb, 'oti means "to cut" as in 'otiulu ("hair cut"), or, as a noun, it refers to the domestic goat. Therefore, the most probable derivation of the term "nifo'oti" stems from the resemblance of the weapon's hook to the curved horn ("nifo") of a goat ("'oti"), or from the serrated teeth ("nifo") that formed the weapon's cutting edge ('oti).
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aforementioned
Islands and the Samoa Islands, the fire knife dance has almost become homogenized as part of those Islands' own culture. In the mid 20th century, the ancient traditions were commercialized and westernized. Over time, the performing implement has changed. The wooden handle gradually lengthened and the blade got shorter. Eventually, the exposed portion was part of the handle. Some of the moves performed in shows now are more modern and flashy than traditional battle preparations. As such, they are often performed at accelerated speeds. It is probable that the danger of sharpened blades and the demand for multiple daily shows by top performers has caused the sharpened blade to disappear entirely from commercial performances. Now, when one travels to
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he read this information, in his spare time, he researched anything that he could find about his homeland. This story struck him deeply, because he had never heard of this from his elders. He was determined to incorporate this treasure into his island dance routine. After many cuts, burns, and narrow escapes, he was able to perfect this dance, to the point where he performed it nightly at clubs and shows throughout not only the San
Francisco area but the entire country.
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pointed out the locations of the buried weapons to other Samoan warriors, who were waiting in small paopaos (canoes) offshore. The warriors then stormed the beach, recovered the weapons and set them ablaze as they proceeded to drive the
Tongans in a bloody battle all the way across the island, from east to the westernmost point of Upolu.
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Fire was a part of Tavita's dance as he found it just as it was described in the book from the library. There were no towels used, only palm fronds and dry leaves. The crowd in
America, which came to find out what he had discovered about Samoa, were frightened when they saw him whirling the fire. The
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Siva Afi dance to eventually bring it home to Samoa from Hawai'i. He had won a scholarship from the Church of Jesus Christ of Latter Day Saints. This was while WWII was being fought in part in his beloved South
Pacific. When he was able to come to America, he went to school, worked, and danced. After
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The Samoan warriors arrived to prepare their entertainment for Tu'i Tonga
Talakaifaiki. The Samoans buried weapons (nifo oti) in the sand all around the beach area as they plied the Tongans with "bush gin". Then, they utilized their nifo oti, which have remained the same design for the last millennia
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Polynesian historians and authorities on Samoan cultural history state that the training of Toa warriors in the art of hand to hand combat with the Nifo Oti, the serrated-edged Samoan war club, came into prominence between 900 - 1200 AD. It was the favorite weapon of the Tui Manu'a Empire in the time
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Driven westward from
Aleipata, Upolu (where the Tu'i Tonga's birthday festivities were underway) to the coast of Mulifanua, the Tongan king and his bodyguards were cornered against the sea. There was fierce fighting all the way to the sea, whereon the Tu'i Tonga reached his superior navy vessels and
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Samoan warriors were called upon to dance and entertain the Tu'i Tonga
Talakaifaiki during a birthday celebration for the King of Tonga. The Tongans had ruled parts of Samoa (Upolu and Savai'i) but were not able to conquer the Eastern Samoan Islands, namely Manu'a and Manono, whose warriors famously
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As night set in, the
Festivities and party progressed, more "bush gin" was consumed, and the Samoan warriors "performed" for the king. They had wrapped both ends of their nifo-oti with dry palm sennit, which was then dipped into the fires to create a blaze on one end of the knife. They danced and
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The seeds of rebellion were planted, according to legend, by three brothers—the "sons" of
Atiogie, namely Savea, Tuna, Fata—and a fourth Toa warrior, Ulumasui (who was actually a grandson of Atiogie). The three brothers and their nephew eventually lead a wide-scale campaign of civil disobedience,
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He eventually returned to Samoa to bring back this part of the Samoan Culture that was unheard of until he performed. After that, for years he taught the dance and judged many contests in Samoa and other countries. He was rewarded for the notices and tourists he encouraged to visit his beloved
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The Samoan Siva Afi has become an integral part of any Polynesian Luau or show. Many other Polynesian Islands have implemented the Siva Afi into their own Island shows especially in the Islands of Tahiti, Hawai'i, Cook Islands Fiji and Tonga. Because of the close familial tribal ties with the
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For approximately 200 years, the Tu'i Tonga Talakaifaiki established a long-term residence in ata Safotu, Savai'i, Samoa. The location for the Tu'i Tonga Talakaifaiki's upcoming birthday festivities was a beautiful famous stretch of beach in Aleipata, a region on the Eastern side of Upolu.
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to name the World Fireknife Champion. The competition began in 1992 and is always held during the third week of May. In 2007, the championships were expanded to welcome competitors in a duet category and a women's category. In 2010, the event expanded to four nights including a two-night,
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Although today many commercial performers perform the dance with short staffs or knives without blade, this is not authentic fire knife dance and is unacceptable in Samoan cultural practices except for training purposes. The knives used by performers in
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Upon his departure, the Tongan monarch delivered a short speech that praised the brave fighting qualities of the Samoan warriors and conceded victory to his once-subjects. The Malietoa title is taken from the opening phrase of that speech:
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It was conceived on the Island of Upolu between the years 1200 - 1250 AD, coming into cultural prominence during the reign of King Maui Tagote. Ancient legend speaks of 400 warriors who trained with their Nifo Oti.
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Traditional competitions were hotly contested. Their exhibitionists would almost rather die than seek medical care for injuries incurred while performing. Today, modern competitions are held annually at the
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in remembrance of the three brothers Tuna, Fata, and Savea and their defeat of the Tongan invaders. Before the introduction of metals, the most common clubs that were wielded and displayed in the
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or even "Ailao Afi" as it is called in Samoa) dance while twirling the knife and doing other acrobatic stunts. The towels are set afire during the dances, hence the name.
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and a little girl with lighted batons. The fire eater loaned him some fuel, he wrapped some towels around his knife, and thus the Fire Knife Siva Afi Dance was revived.
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The Siva Afi was originally performed with the Nifo Oti, which was very dangerous. The modern fire knife dance has its roots in the ancient Samoan exhibition called
405:, the information about fire not being a part of the "Fireknife Dance" until 1946 is a mistake. That is added to the knife Tin 1946 by a Samoan knife dancer named
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When European and American whalers and traders began commercial ventures in Samoa, they introduced the natives to the long-handled blubber knife and the hooked
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held off Tongan and Fijian invasions on numerous occasions. The Manu'a warriors were renowned throughout Eastern Polynesia for their strength and ferocity.
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Superintendent of the Mormon school where Tavita was teaching at the time was able to calm the audience and assure them that no harm would come to them.
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were frequently carved with serrated edges and jagged "teeth" which characterized the unique Samoan weapon called the "nifo'oti".
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The Expulsion of The Tu'i Tonga Talakaifaiki (King of Tonga) & The Birth of Malietoa (King of Samoa), The Birth of Siva Afi.
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During night dances, torches were often twirled and swung about by dancers, although a warclub was the usual implement used for
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wrapped in towels on both ends with a portion of the blade exposed in the middle. Tribal performers of fire knife dancing (or
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as those favored when the Samoans were actually head hunters, to behead the victim, while the hook carried the trophy.
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called out to those on the land. The Tongans who were not killed eventually boarded boats and left Samoa for good.
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Mrs. Tavita Vaoifi wrote, after being married to him for 12 years, from 1979 until his death in 1991 from
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These war clubs were often edged with the teeth of sharks, saw fish, swordfish, and other sea creatures.
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585:"'Embodying the warrior': The Aussie teen fighting for women's right to compete in fire-knife dancing"
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could be performed with any warclub, and some colonial accounts confirm that women also performed
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are still made of machetes, although they are often dulled for younger dancers.
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implement that is used in ceremonial dances. It was originally composed of a
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at the head of ceremonial processions, especially daughters of high chiefs.
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which ultimately escalated into the military overthrow of Talakaifaiki.
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Flaming Sword of Samoa: The Story of the Fire Knife Dance
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of King Maui Tagote of the Eastern Samoan Island groups.
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fashion were elaborately carved heirloom clubs called
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609:Freddie Letuli as told to Patricia Letuli (2004).
394:homeland with the High Chief Title, A'e, from the
16:"Siva afi" redirects here. For the wrestler, see
381:The young man Tavita Vaoifi revived the Samoan
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472:2007: Andrew "Umi" Sexton (Orlando, Florida)
469:2008: Viavia Tiumalu, Jr. (Orlando, Florida)
460:2011: Viavia Tiumalu, Jr. (Orlando, Florida)
451:2014: Viavia Tiumalu, Jr. (Orlando, Florida)
59:Learn how and when to remove these messages
361:," meaning "great warriors, well fought."
457:2012: Joseph Cadousteau (Papeete, Tahiti)
454:2013: Joseph Cadousteau (Papeete, Tahiti)
448:2015: Joseph Cadousteau (Papeete, Tahiti)
236:Learn how and when to remove this message
218:Learn how and when to remove this message
116:Learn how and when to remove this message
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79:This article includes a list of general
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636:Polynesian Cultural Center: Kap Samoa
478:2005: Mikaele Oloa (Orlando, Florida)
475:2006: Mikaele Oloa (Orlando, Florida)
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466:2009: Mikaele Oloa (Waialua, Hawaii)
463:2010: Mikaele Oloa (Waialua, Hawaii)
445:2016: Mikaele Oloa (Waialua, Hawaii)
156:adding citations to reliable sources
85:it lacks sufficient corresponding
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583:Stewart, Anthony (May 19, 2019).
496:1999: David Galeai (Cook Islands)
493:2000: David Galeai (Cook Islands)
484:2003: David Galeai (Cook Islands)
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481:2004: Alex Galeai (Laie, Hawaii)
435:three-person final competition.
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442:2017: Falaniko Penesa (Samoa)
511:1994: Ifi Soo (Maui, Hawaii)
508:1995: Ifi Soo (Maui, Hawaii)
505:1996: Ifi Soo (Maui, Hawaii)
252:A Hawaiian fire knife dancer
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661:Traditions involving fire
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499:1998: Pati Levasa (Samoa)
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398:Malietoa Tanumafili II.
438:Champions by year are:
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564:Flaming sword (effect)
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365:Etymology
208:July 2009
106:July 2010
51:talk page
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