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important than for the Welsh, as it is still actively practised today. Land is  
deeply woven into Māori identity, with the principle belief being that people belong 
to the land, not land to the people. Throughout the Kapa Haka sections, elements 
of this notion are frequently referenced. One example is the Poi, an “action song 
… [which] employs the poi, a small ball on the end of a string. Poi are for the most 
part swung by women and depict the movement of elements” (Royal-Taeao 2020: 
48). This makes the revitalisation of Te Reo Māori essential, as without it, tradition-
al knowledge cannot be fully achieved. Te Matatini creates a space for lived  
experiences, showcasing through performance the importance of Māori culture. 
To conclude, through acting as sites of intangible cultural heritage, both festivals 
have become ecosystems of language revitalisation. Although they have differing 
aims for the revitalisation of their languages, through prioritising normalisation, 
modernisation and relocation, they have acted as vehicles of immersion. Their 
ability to celebrate the past and look into the future is what truly makes these  
festivals programmes of resurgence and promoters of national identity.  

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