‘Upe ‘o Titilupe Fanetupouvava‘u Tuita (Dance Song of Titilupe Fanetupouvava‘u Tuita) ^Featured

Ko e ta‘anga hiva langi tau‘olunga (Dance song)  Fakafatu, fakafa‘u ‘e ‘Ana Malia Kaho, 1978 (Poetry composed by ‘Ana Malia Kaho, 1978)

Fakafo, fakafasi mo fakahaka, fakasino ‘e Tu‘imala Kaho, 1978 (Music and dance composed by Tu‘imala Kaho, 1978)

Kupu, veesi 1

Hopo mai e teine pea tu‘u ‘o va‘inga

Pea teki ‘o vakai pea tuli kaveinga

Kuo longolongoa‘a pea tevolo‘ia

Kuo nunu ‘a Pangai pea siueli‘a

Kupu, veesi 2

Ne ‘alaha fakalata ‘a si‘ono heilala

Mataliki ‘o matala ‘ihe funga‘amaka

Lomekina ‘ete ‘ofa pea tupu ke hoha‘a

Fuifui ne mahiki ‘ihe loto taulanga

Kupu, veesi 3

Fetapaki ‘o malama ‘a hono sisi‘uhila

Kae kakalo hono ‘ea amgi ‘ihe fungasia

Ne ngangatu hono lei fio moe mo‘onia

Tuitu‘u lavalava hono faka‘otusia

Kupu, veesi 4

‘Ise‘isa fakapo! Kuo huni e Lolo

Akesiu e teiko malu ‘o Fangatongo

Fanetupouvava‘u me‘a he kuo oso[1]

Maa‘imoa he peau Fungafalikipako

Tau, kolesi

Ke fanguna ‘ange mu‘a si‘i Fa‘onelua

Pea tui ho papai mapa mata‘i‘ulua

‘O ke kako ‘o takai ‘a si‘o leipua

He teunga si‘a fine fai ‘ene poula

Tu‘uloto hono kie oma mei he Fungafonua

He fungani he maile momo e Fangatapu na

Si‘i tuituivao e Makakoloupua

‘Oku taketi ia ‘ihe Futukovuna

([1]‘Oku liliu ‘ae ‘so’ moe ‘soso’ kihe ‘oso’ moe ‘osooso,’ ‘o ‘uhinga koe maheni ‘oku vetengata‘a, ‘o hange koe, ‘‘oku vetengata‘a hotau so’ moe ‘‘oku soso hotau ‘aho.’ ‘Oku ‘uhinga ‘ae lea koe, ‘soso moe tava’ kihe ‘maheni vetengata‘a’ moe ‘hua faifeluteni,’ ‘o hange koe, ‘‘oka soso pea tava ‘ae katoanga,’ ‘aia ‘oku ‘uhinga, ‘koe maheni moe hua ‘oku vetengta‘a mo faifeluteni he katoanga ‘ene fakalata moe fakalavetala.’ ‘Oku tatau tofu ‘ae liliu ko ‘eni moe liliu ‘ae ‘fakavakavaka’ kihe ‘fakakavakava,’ ‘o hange koe liliu ‘ae ‘hala fakavakavaka’ kihe ‘hala fakakavakava,’ moe liliu ‘ae ‘motu’ kihe ‘mutu,’ ‘potu,’ ‘putu,’ ‘puku,’ ‘popo,’ moe ‘poko.’)

Ko e ki‘i fakamatala moe huluhulu nounou

Na‘e fakafatu, fakafa‘u, ‘ae ta‘anga hiva langi tau‘olunga kupu, veesi, 4, kohi, laini 4, tau, kolesi, kohi, laini 8, malie fau ni ‘ehe punake ‘iloa ko ‘Ana Malia Kaho, pea fakaafo, fakafasi, mo fakahaka, fakasino, malie atu ‘ehe punake ongoongoa ko Tu‘imala Kaho, he 1978 ta‘u koe ‘upe ‘o Titilupe Fanetupouvava‘u Tuita, ‘aia koe ‘ofefine fika ua ‘o Ma‘ulupekotofa Tuita (Nopele Tuita lotolotonga) mo Pilinisesi Salote Mafile‘o Pilolevu Tuku‘aho Tuita. ‘Oku toe lava pe ke taku koe hiva viki (poetry of praise). ‘Oku kau ‘ae he‘a, me‘elaufola, moe ‘upe he ngaahi faiva kuo mole, ‘o liliu ‘ae ‘upe koe faiva hiva fakana‘ana‘a (song of lullaby).

‘Oku fetautaulakitu‘u ‘ae ngaahi tukufakaholo fakafaiva kehekehe ‘ia Malia mo Tu‘imala (pea mo Titilupe) kae tautefito kihe faiva ta‘anga, faiva hiva, faiva haka, faiva toutaivaka, moe faiva faifolau, ‘o hange ko Kahomovailahi, Fe‘iloakitau Kaho, Sioape Alo Kaho, mo Vaisima Hopoate (pea mo Tupou II, Kuini Salote mo Nopele Tuita [Toluafe]). ‘Oku ‘iai ‘ae kupesi fo‘ou koe ‘vaisima’ mei he ‘sima-vai’ (‘cement-tank’) moe ‘falemaka’ mei he ‘fale-maka’ (stone-house) koe ongo hingoa koe Vaisima moe Falemaka ‘i Tatakamotonga mo Lapaha, ‘i Mu‘a, ‘aia ‘oku ngaue‘aki kinaua he nimamea‘a koka‘anga moe nimamea‘a lalanga

‘Oku ngaue‘aki ‘ehe punake ‘ae fa‘ahinga ‘e tolu ‘oe heliaki koe ‘lea kihe me‘a ‘e taha kae ‘uhinga kihe me‘a ‘e taha,’ ‘aia koe heliaki fakafetongiaki, heliaki fakafekauaki, moe heliaki fakafefonuaki. ‘Oku tala, hala, mo vaka mai ‘ene ngaue‘aki lelei ‘oe heliaki he fonu mo mohu faiva moe teunga faiva moe hohoko toputapu mo faka‘ei‘eiki ‘oku felalavai he sino ‘eiki ‘oe ta‘ahine, ‘o hange koe Fa‘onelua moe Futukovuna ‘i Lapaha, ‘i Mu‘a, moe Siakoveiongo moe Fangatapu ‘i Kolofo‘ou, ‘i Nuku‘alofa, Lolo‘ahalaevalu moe Fangatongo ‘i Vava‘ulahi, Fangafalikipako moe Makakoloupua ‘i Ha‘apaiveu, moe Fungafonua ‘i ‘Eua.

'Oku lave ‘ae punake kihe mohu faiva moe hoihoifua ‘ae ta‘ahine he potupotutatau mo malie ‘ene folahaka he kuo vela pea tauelangi (kupu, veesi 1, kohi, laini 1-4). ‘Oku ‘ange‘ange ia he kinokinoifia hono teunga faiva na‘e tolifili mo tuikupesi hono ngaahi tupu‘anga, ‘o kau ai ‘ae heilala tangitangi ‘ene mataliki he funga‘amaka koe vale‘anga ‘oku tatau moe mahiki ‘aha fuifui manuma‘a (manuhina, manutea) he taulanga (kupu, veesi 2, kohi, laini 1-4). ‘Oku toe malama he Siakoveiongo ‘oku hange tofu ha sisi-‘uhila ‘ene fetapaki ‘ae ngangatu ‘alaha hono lei kakala mo‘onia moe tuitu‘u lavalava hono faka‘otusia (kupu, veesi 3, kohi, laini 1-4).

‘Oku ngatu ‘ae Lolo‘ahalaevalu-Fangatongo he Vava‘ulahi koe polepole he funganitu‘utai ‘enau tama kae ‘ange‘ange ia he longokatoanga moe laukau ‘ae Fangafalikipako (-Makakoloupua) he masanisani ‘enau ta‘ahine (kupu, veesi 4, kohi, laini 1-4). ‘Oku toe fakaongo mai mo Tonga ‘eiki, Tongatapu, Tongalahi mo ‘Eua koe teuaki ‘ae katoanga he kuo ‘soso pea tava’[1] ‘ae Siakoveiongo-Fangatapu, Fa‘onelua-Futukovuna moe Fungafonua. ‘Oku ‘osi maau ‘ae toli moe tui kakala ‘ae kau fefine hono teunga faiva koe papaimapa-mata‘i‘ulua, leipua, mailelaumomo, tuituivao, moe kieoma-tu‘uloto (tau, kolesi, kohi, lini 1-8).

In brief English summary

This most beautiful dance song was composed by great poet ‘Ana Matangi and equally put to both music and dance by her daughter, the so-called ‘Nightingale of the Pacific’ and renowned poet Tu‘imala Kaho, both of whom descended from long-standing aristocratic families of fine poets (and navigators), notably, Kahomovailahi, Fe‘iloakitau Kaho, Sioape Alo Kaho, and Vaisima Hopoate. The song was composed for Titilupe Fanetupouvava‘u Tuita, second daughter of Ma‘ulupekotoa Tuita (now Noble Tuita) and Princess Salote Mafile‘o Pilolevu Tuku‘aho Tuita, who are also aristocratic descendants of great poets (and navigators).

This dance song is a revival of the now long extinct dance form ‘upe, now renamed fakana‘ana‘a (lullaby). The poet makes both affective and effective use of the three types of heliaki, defined as ‘symbolically saying one thing but really meaning another,’ namely, qualitative epiphoric heliaki, associative metaphoric heliaki, and constitutive metonymic heliaki. She, in their totality, deploys as heliaki the maiden‘s physical and psychological-emotional beauty, her rich artistic competencies, her most intricate social genealogies, as well as the great artistry behind her refined dance costumes, all of which befit a grand occasion (verses 1-4, lines 1-4, chorus, lines 1-8).