Hainteny is a traditional form of Malagasy oral literature and poetry, involving heavy use of metaphor (kennings). It is associated primarily with the Merina people of Madagascar. In its use of metaphor and allusion it resembles another type of poetry, the Malay pantun, and Fox suggests "it seems likely the Merina brought with them a Malayo-Polynesian poetic tradition" to Madagascar. The Ibonia, an epic poem related for centuries in different versions across Madagascar, reflects the value placed on the linguistic skills celebrated in the hainteny tradition. Collections of hainteny were first gathered in print form on the orders of Queen Ranavalona I in the 19th century. The French writer Jean Paulhan, made an intensive study of the hainteny and published a book of translations in 1913.

Hainteny often incorporates ohabolana (proverbs, sayings) and kabary (rhetoric). Both of these two oral traditions remain integral parts of Malagasy daily life, where they are pronounced at such events as weddings, funerals, births and famadihana and constitute an essential component of hiragasy performances.

A form of traditional Malagasy oratory, kabary is based on the unhurried telling of ancestral proverbs, metaphors, and riddles, frequently in a dialogue using call and response. Originally used in public gatherings and political assemblies of a pre-literate era, the form has since evolved and been popularized, but it has kept its specific rules. Today, despite the rising literacy rate and the familiarity with different manners of speech, kabary is still considered necessary for communication during ritual events, and is also used widely in regular, day-to-day talk.

Only  20 percent of any good oratory should be "to the point." The rest - the very long rest - should be all about word play. One of the main rules of kabary is that the subject or point of the conversation can never be broached directly – and in some instances cannot be stated at all. During a funeral or condolence call, for instance, uttering aloud the name of the deceased is taboo. To express that someone is missed, one might begin with a story about the short grass on the highlands plateau that a great grandfather once trod upon. Then, the speaker might embark on a tale about the pearls of the deep sea and how grass and great grandfather and sea have become torn apart.
"The idea is to roll our thoughts and our ancestors' thoughts all around on our tongues in pleasure but never give voice to the main point," says Tsiky Rakolomavo, a professional mpikabary a person skilled in kabary who is often hired to represent brides or grooms in the lengthy, crucial kabary meetings between families before a wedding ceremony. Such meetings, explains local musician Ndrina, are of major significance. "If one family does not like the word play or the proverbs the other family is using," he says solemnly, "the whole wedding can be called off." "Today we don't need kabary for communication,' says Ranoe, "but it is important for our culture. It is essential for our souls."