This article try to explain it´s origins in an ancient culture cradled in Polynesia, showing its transition to today, where the variations and conditions have become part of global electronic culture.

2. Table of Contents
To reader .....……………………………………………………………...1
Maoríes……………………………………………………………………2
Origin and function of Poi …………………………………………….4
Variations of Poi ………………………………………………………...5
Poi and benefits to the human body ………..………………………...7
Some tools and materials to the Fire Poi …………………………….14
Various tricks and techniques ..………………………………………15
Care and precautions …………………………………………………..16
About us?……….................................................16
Glossary………………………………………………………………….18
Reference Bibliography ………………………………………………19
Bibliography…………………………..………………………………..21
Contacts of …………………………………….22

3. Dear reader
What is Poi or FirePoi? It´s a question that many might be, so this article aims to
explain it´s origins in an ancient culture cradled in Polynesia, showing its transition
to today, where the variations and conditions have become part of global electronic
culture.
At the same time serves as an excuse to show how the members of the urban dance
group TRANC3POI made a laborious task to perform and raise awareness of this art
in Cuba where dont exist a legal institution, school or workshop to facilitate learning
their different techniques and it´s dont recognized as a spectacle, though hundreds of
people are always fascinated on the ball of fire moving.
We hope it´s of interest
The authors.

4. I. Maori
New Zealand, one end of the large area of Polynesia, was inhabited before the arrival
of Europeans, Maori people, according to tradition, settled there in successive
migrations started the tenth century and completed in the fourteenth from Eastern
Polynesia (Cook Islands, Society or even Hawaii).
These people had to adapt it´s economy and social organization to new
environmental conditions and isolated from the rest of the world created an original
culture. See Fig.1, 2 & 3
Fig.1 Traditional Waka (canoe) at Waitangi, Bay of Islands, New Zealand.
Photo courtesy of Te PuniKokiri.
Fig.2 Maori Women Fig. 3 Maori Warrior
The word Maori means "person" in the Maori language, and in other Polynesian
languages, Maoli in Hawaiian language means native, indigenous, genuine, real.

5. According to Maori mythology of the Maori ancestors originate from a mythical land
called Hawaiki, which lies to the west, was the place where Polynesians migrated to
the islands. According to their legends, the Maori migrated from Hawaiki to
Aotearoa in seven boats and founded the seven original tribes. It was also said that
the souls of the dead depart from Cape Renga, located at the northwest corner of the
North Island to Hawaiki.
For over 1000 years Maori have lived in the islands of New Zealand maintaining a
close relationship with the land. The culture of tupuna (ancestors) brought with them
to Aotearoa, whose foundations later became the Maori culture, defined the way they
face the challenges of the new land and through their creative energies, methods and
knowledge produced a distinctive art is now known as the Maori Arts (ToiMaori).
Within the traditional arts are Toi Maori as whakairo (carved wood), kowhaiwhai
(designs of beams), raranga (weaving), tukutuku (studs), Tamoko (tattoos), waiata
(songs and chants), haka (dance), poi (dance with balls), taongapuoro (traditional
musical instruments), Karanga (traditional call of welcome), whakakorero (oratory)
and maurakau (the art of weaponry). It also refers to all forms of art that
contemporary Maori artists are exploring such as writing, stage production,
contemporary dance, film, visual arts, ceramics and sculpture. See Fig 4, 5, 6 & 7.
Fig.4 Maori Art

6. Fig.5, 6 & 7 Maori Tattoos
II. Origen y función del Poi
In the Maori language, Poi is the word for ball. The traditional Maori Poi are made
up of natural elements like stones tied to ropes or weighted balls attached to flax,
moss and other natural materials. See fig. 8, 9.10 &11.
Fig. 8 Kiwi Fig.9 & 10 Poi made of natural materials
Fig.11 Maori Women dancing with Poi

7. This art was at first had several roles, is said to have been used in ceremonies among
the upper classes, women with a more artistic end, they used to win his men by
singing (the waiata-a-ringa) sensual rhythms and dance where the drums were
present, men used it as a combat training, gaining skills, strength, agility and
endurance.
Over time some variation called rounders, which missiles were 3, 4 and even 8-ball,
the most common use was to turn the ball over the head and then throw with great
force and precision to decide whether they wanted a hit to neutralize or catch prey.
In the melee that was used as a club to hit usually the opponent's head. See Fig. 12
Fig.12 Boleadora
III. Variations of Poi
Today, Poi has spread to several areas of Asia, Europe, Latin America, Central and
South introduciéndosele specific by region.
For practice and training, using various instruments made by the same practitioner,
under the guidance of coach. See Fig.13

8. Fig.13 TRANC3POI member, practicing
 Light Poi, GlowsPoi, Glowstringing:
This variation is used in low light indoors, using fluorescent lighting instruments
with different variations. It is very popular in the nightclubs. See Fig.14
Fig.14 Drawing instruments that make fluorescent lights (TRANC3POI)

9.  Modern Poi, Electronic Poi or Fire Poi:
Variation is more complex, requires an optimal preparation because it uses the
fire as an attraction. Manipulation of the instruments require great care to avoid
accidents. Is closely related to electronic music, as is often the main inspiration of
the dancer. See Fig.15
Fig.15 TRANC3POI in Action 7 Matraka in Soroa
IV. Poi and benefits to the human body
Movements when making Poi are complex yet fun, but it takes a bit of independence
and agility. Can be used by young and old, beginners and experts.
The feeling when playing Poi is unique and once the technique is mastered, it fits in
any discipline of dance, skating, acrobatics or martial arts, multiplying the visual
effects.
The effect repetitive and circular in practice leads to a kind of meditation in motion
whose effects are beneficial for health, harmony of body and mind:
 Increased self-esteem
 Raise the self-
 Develop muscle tone
 Consolidate cardio-vascular health
 Enhance body awareness
 Increases resistance
 Promotes inner peace
 Develop creativity
 Hone analytical skills
 Promote positive attitude

10.  Cultivate patience and persistence
 Reduce stress
 Improved coordination
 Balance bilateral motor skills
 They help the motor development for children under 6 years of playing with
one hand.
 For ages 6 years and playing with both hands, favor the development of motor
skills and coordination as well as flexibility and muscle tone.
-Enhancing motor skills
The movement of a specific body part such as hands, in a particular direction,
required to operate a variety of muscle groups. Complex movements such as dance
or martial arts, require hundreds of muscles work together and in coordination
simultaneously.
The ability to make us give motor skills, which evolve only with the use and
repetition.
We tend naturally to be easier for certain movements than others, depending on the
activity we do daily. Motor skills can also develop in different degrees. The most
developed are the reflex motor skills like walking, do not even need to think to do it.
Although the development of motor skills is the desired goal of dancers, martial
artists and athletes, such skills can become the biggest obstacles they are difficult to
learn. Our ability to develop motor skills increases our ability to isolate and to
practice specific movements, and to perceive the difference between the movement
we want to do and we are really doing.
This is how the mirrors are a great help to correct our mistakes in a self-taught. The
simplest is a movement quickly our brains can create or develop appropriate motor
skills. So when a trick does not want us to leave we dissect its simplest expression for
better understanding and thus exercised by parties, including each arm separately,
and only then the two together.
The frequency of repetition, concentration and desire are important to learn these
moves.

11. -Balancing the brain
Poi literally amplifies the movements of our body allowing us to observe the
accuracy of the direction, timing, rhythm and strength. Its circular route can be
created by applying a force at some point in the journey (for example when the low
Poi) or by applying a force continues along the entire route of the circle. This means
we can choose to work with some specific vectors or with the full range of vectors of
force in a given plane. Rigging plans and putting them in our hands, we can explore
our ability with all the force vectors through our field of movement (talking about
the entire area around our body).
Help to develop bilateral synchrony as when both hands are in action that sends
signals to the brain affect both areas, left and right alike. Our hand is less adept
learns to move in a fluid.
The practice of synchronized and unsynchronized circles can help us tune our ability
to send the right signals to specific areas of our body.
-Our body in motion
We tend to have more control in certain areas of our field of movement. The area in
front of our bodies is generally the maximum ability, it is the area of our common
stock. In the area behind our heads and bodies are generally less bold, because we
rarely need to handle something behind us. Body movements require skill through
our field of movement and imbalance of skill (well developed in front, but poor back)
can inhibit the perfection of the whole body movement.
While developing skills through our field of movement, exploring the different
planes and circles with Poi, whole body movements become ever more fluid, natural
and accurate, resulting in greater balance and coordination.
To pace with Poi, dance to the music we like, it helps to dissociate the mind of our
movement and flow freely, this allows us to further develop skills and discover new
moves that we did not think to do, thinking does not help much but to follow by our
body.
I joined the repetitive pleasurable, to the colors move and motivate us to find himself
the technique, once perfected generates a state in which they naturally move our
anchorage daily activating positive energy, full of happiness, relaxation, peace
interior, and deepen self-knowledge and our connection with everything.

12. V. Some tools and materials to the Fire Poi
Square chains with kevlar on top.
You can find them with different shapes according to the taste and skill of the
practitioner. See Fig 16, 17.18, 19 & 20
Fig.16 Grip Chains Fig.17 18 Box Kevlar Fig. Grip
Fig.19 Full Chains (used by TRANC3POI)

13. Fig. 20 TRANC3POI in the festival · Rotilla ¨ 2009 ¨
Fans
This instrument requires a lot of movement with the body. It is rarely used by men,
women dominate the more by a sense of visual aesthetics when making a
performance.
There are also many designs of these, and everything is geared to the dancer's
preference. See Fig.21, 22 & 23
Fig.21 Fans
Fig22. Fans mounted with their kevlars

14. Fig. 23 Fire Fans used by TRANC3POI in the Festival de Cine Pobre in Gibara,
2009.
Rope
This instrument involves a complex implementation, it´s a rope on completely in fire.
See Fig 24, 25 & 26
Fig. 24. Ropes
Fig.25. Rope used by TRANC3POI

15. Fig.26 TRANC3POI in Action 7 of Matraka
Staff
Fig.27 Folding Staff
Fire torch Fire Fingers
Fig.28 Torch & Finger lit

16. Devil Clubs
Fig. 29 Devil & Clubs
 Material used for the Fire Poi.
What is Kevlar?
The Kevlar ® or poliparafenilenotereftalamida is a polyamide synthesized. There are
essentially two types of Kevlar: Kevlar 29 and Kevlar 49.
The Kevlar fiber 29 is as a result of his making. It is typically used as reinforcement
strips for their good mechanical properties, or tissues. Among its applications is the
manufacture of cables, resistant clothing (protective) or bulletproof vests.
The Kevlar 49 is used when the fibers will be embedded in a resin to form a
composite material. Kevlar 49 fibers are surface treated to promote union with the
resin. The Kevlar 49 is used as extreme sports equipment for speakers and for the
aviation industry, aircraft and communications satellites and motorcycle helmets.
See Fig.31
Features
 High tensile strength
 Low elongation or structural rigidity
 Low electrical conductivity
 High chemical resistance
 Low thermal shrinkage
 High hardness
 Excellent dimensional stability
 High shear strength

17. Uses
 Kevlar has played a significant role in many critical applications:
 Strings, air bag landing system MarsPathfinder
 Strings of small diameter
 Sewing Thread
 anti shrapnel shielding in jet aircraft engines, to protect passengers in case of
explosion
 running underinflated tires
 Gloves from cuts, scrapes and other injuries
 Kayaks with impact resistance without added weight
 skis, helmets and racquets strong but lightweight
 Bulletproof Vest
 Kensington Notebook Locks
 coating for optical fiber
 Composed of CD / DVD by rotation shear strength
 Exhaust silencers
 Motor Construction
 Helmets Formula 1
 Flammable Extreme Poi, jugglers popular subject
 Sailboats highly competitive race
 High mountain boots
 Acoustic boxes (Bowers & Wilkins)
Fig. 31 Kevlar
VI. Various tricks and techniques
There are several tricks and techniques, the attractiveness of these is the movement of
Poi beautiful drawing figures, where the expression, coordination and liaison with a
trick with the other foster a pleasant spectacle.

18.  They can go from simple to complex, their names vary depending on the
origin of the dancers. Then the names of some operations with their names as
they are known in Cuba:
 The Swirl
 Butterfly
 The propeller
 The salutation of the Sun
 Knight
 Flowers
 Wibble
 The Mexican Wave
VII. Care and precautions
All care taken little, is important to always maintain an optimal precaution to avoid
accidents. Even with certainty when the practitioner insurance dominates their every
move there is no danger either for himself or for viewers.
If possible, always have a portable extinguisher handy, and in the absence of a cloth
or fabric (cotton) large, wet close to the practitioners.
- Make sure to always use the necessary and appropriate clothing (say, type of fabric)
to perform tricks.
- Always make sure before starting any trick that the instruments are in good
condition for use.
- Use only in instruments specified material (Kevlar).
- Be careful when selecting the fuel with which to load the instruments, whether oil
(most appropriate), liquid paraffin (no odor) or kerosene.
- There should never be used Nasta, gasoline or alcohol, which are highly volatile.
VIII. About us
TRANC3POI project born in Havana in September 2006 due to the rise of electronic
music in Cuba in recent years as the realization of international Poi is closely tied to
this genre.

19. This project belongs to the Asociación Hermanos Saiz (AHS), in the Arts event, but is
considered an urban art, as it has a mode within the dance itself, since there is no
institution in our country legally, school workshop where you can learn.
However the three artists in this group have found over time how to insert their
work in other musical styles and artistic creation.
Due to the interesting and seductive nature of this proposal TRANC3POI has been
invited to numerous events and festivals worth mentioning among them the
International Festival of Poor Cinema in Gibara, the Electronic Music Festival
"Rotilla" (participating in almost all editions) in cultural activities of the Embassy of
Spain in Cuba, in the convection of Tourism in the Cayman Rock, activities by the
end of summer organized by the National Laboratory of Electroacoustic Music
(LNME), the Festival Selection (PM Record) in the 6 Festival Urbans Theatre in
Matanzas, and more recently at the Awards Gala Cuerda Viva 2011.
Consists of:
Carlos (El Puro) M. Hernández Rodríguez, Joyce Alvarez Courouneaux y Ernesto
Reyes Estévez. See Pág. 24.
If you have had the concern to improve the way they move and navigate through the
everyday world, or learn a physical skill that you have fun, keep fit, give physical
and physical agility, flexibility, good reflexes, or just want to learn something
different and daring, The Poi is perhaps the tool for you.

20. Glossary
Some Maori words with their translation
Maoríes Words Means
poi Bola
taura Poi de mano
poikokau Poi corto
poiwaeroa Poi largo
poitakarahi Un Poi corto
poitakirua Dos Poi cortos
tanikopoi Poi con tejido exterior
raupopoi Poi hechos de plantas de
Junco
hakapoi Danza con Poi
poiawhiowhio Movimiento circular del Poi
poipiu Poi hechos con cuerdas de
lino
poirakau Batones de madera como Poi
poitetere Poi y tambores
poiwaka Poi y canoa
kapahaka Grupo de Danza

21. REFERENCE BIBLIOGRAPHY
Australian Bureau of Statistics (2004).Australians' Ancestries: 2001. Canberra:
Australian Bureau of Statistics, Catalogue Number 2054.0.
Biggs, Bruce (1994). "Does Maori have a closest relative?" in Sutton (ed.) 1994, pp. 96–
105.
Hiroa, TeRangi (Sir Peter Buck) (1974).The Coming of the
Maori.Segundaedição.Primeiraedição, 1949. Wellington: Whitcombe and Tombs.
Huata, Ngāmoni (2000), Te Rita Papesch, ed., The rhythm and life of poi, Auckland:
HarperCollins, ISBN 1-86950-273-6, pg 12
Irwin, Geoffrey (1992). The Prehistoric Exploration and Colonisation of the
Pacific.Cambridge: Cambridge University Press.
Paringatai, Karyn (2004). Poiamaitaku poi: Unearthing the knowledge of the
past.Masters thesis, University of Otago.
Shennan, Jennifer & McLean, Mervyn (September 1979). Remarks on Youngerman's
"Maori Dancing since the Eighteenth Century". Ethnomusicology 23 (3), pp. 493–499.
Simmons, D.R. (1997). Ta Moko, The Art of Maori Tattoo. Edición revisada; primera
edición, 1986. Auckland: Reed.
Statistics Canada (2003).Ethnic Origin (232), Sex (3) and Single and Multiple
Responses (3) for Population, for Canada, Provinces, Territories, Census
Metropolitan Areas and Census Agglomerations, 2001 Census — 20% Sample
Data.Ottawa: Statistics Canada, Cat. No. 97F0010XCB2001001.
Statistics New Zealand (2005).Estimated resident population of Māori ethnic group,
at 30 June 1991–2005, selected age groups by sex. Wellington: Statistics New Zealand.
Sutton, Douglas G. (Ed.) (1994). The Origins of the First New Zealanders.Auckland:
Auckland University Press.
United States Census Bureau (2003).Census 2000 Foreign-Born Profiles (STP-159):
Country of Birth: New Zealand. Washington, D.C.: U.S. Census Bureau.
Walrond, Carl (2005). Māori overseas, TeAra — the Encyclopedia of New Zealand.
Youngerman, Suzanne (January 1974). Maori Dancing since the Eighteenth
Century.Ethnomusicology 18 (1), pp. 75–100.

22. BIBLIOGRAPHY
Australian Bureau of Statistics (2004).Australians' Ancestries: 2001. Canberra:
Australian Bureau of Statistics, Catalogue Number 2054.0.
Biggs, Bruce (1994). "Does Maori have a closest relative?" in Sutton (ed.) 1994, pp. 96–
105.
Hiroa, TeRangi (Sir Peter Buck) (1974).The Coming of the
Maori.Segundaedição.Primeiraedição, 1949. Wellington: Whitcombe and Tombs.
Huata, Ngāmoni (2000), Te Rita Papesch, ed., The rhythm and life of poi, Auckland:
HarperCollins, ISBN 1-86950-273-6, pg 12
Irwin, Geoffrey (1992). The Prehistoric Exploration and Colonisation of the
Pacific.Cambridge: Cambridge University Press.
Paringatai, Karyn (2004). Poiamaitaku poi: Unearthing the knowledge of the
past.Masters thesis, University of Otago.
Shennan, Jennifer & McLean, Mervyn (September 1979). Remarks on Youngerman's
"Maori Dancing since the Eighteenth Century". Ethnomusicology 23 (3), pp. 493–499.
Simmons, D.R. (1997). Ta Moko, The Art of Maori Tattoo. Edición revisada; primera
edición, 1986. Auckland: Reed.
Statistics Canada (2003).Ethnic Origin (232), Sex (3) and Single and Multiple
Responses (3) for Population, for Canada, Provinces, Territories, Census
Metropolitan Areas and Census Agglomerations, 2001 Census — 20% Sample
Data.Ottawa: Statistics Canada, Cat. No. 97F0010XCB2001001.
Statistics New Zealand (2005).Estimated resident population of Māori ethnic group,
at 30 June 1991–2005, selected age groups by sex. Wellington: Statistics New Zealand.
Sutton, Douglas G. (Ed.) (1994). The Origins of the First New Zealanders.Auckland:
Auckland University Press.
United States Census Bureau (2003).Census 2000 Foreign-Born Profiles (STP-159):
Country of Birth: New Zealand. Washington, D.C.: U.S. Census Bureau.
Walrond, Carl (2005). Māori overseas, TeAra — the Encyclopedia of New Zealand.

23. Youngerman, Suzanne (January 1974). Maori Dancing since the Eighteenth
Century.Ethnomusicology 18 (1), pp. 75–100.
http://enciclopediaespana.com/Poi_%28el_hacer_juegos_malabares%29.html
http://www.thefiregarden.com/notes/The_History_of_Poi
http://www.homeofpoi.com/articles/FireSafety.php
http://www.homeofpoi.com/ubbthreads/linkto/-Cling-Film-Sarin-Wrap-to-all-
you-Yanks-/863270/ Homeofpoi.com discussion on the use of clingfilm to protect
burns
http://www.taringa.net/posts/imagenes/784181/Maor%C3%ADes,-un-pueblo-
guerrero___-%28info,-pics-+-vid%29.html
http://www.taringa.net/posts/arte/4307418/Historia-del-Poi-y-Video-Tutorial-
The-Scales-of-Poi.html

24. Somos:
 Carlos (El Puro) M. Hernández Rodríguez
Correo: purogandalf@gmail.com
Teléf.: 537 8377953
Móvil: 535 2369243
 Joyce Alvarez Courouneaux
Correo: legolasjoy@gmail.com
Telef: 537 8739159
Móvil: 535 3390769
 Ernesto Reyes Estevez
Correo: erepoi@gmail.com
Telef: 537 6485745
Móvil: 535 3235459
You can find us at:
http://www.facebook.com/home.php#!/Tranc3poi
http://twitter.com/Tranc3poi?utm_campaign=newfollow20100823&utm_content=profile&ut
m_medium=email&utm_source=follow
www.pablomilanesrecords.com/tranc3poi
www.festivalpropocisiones.com/tranc3poi
www.rotillafestival.com/es/tranc3poi
www.afrocubanevans.com/elpurodelpoi
Articles of reference of
http://portalescenico.mx/content/matanzas-todo-teatrocuba
http://www.granma.cubaweb.cu/2011/03/21/cultura/artic02.html
http://www.radio26.icrt.cu/index.php/culturales/89-de-matanzas/5017-sexto-
festival-de-teatro-callejero-en-matanzas.html