Hula

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This article is about the Hawaiian dance. For other uses, please see hula (disambiguation).

Image:Hula Kahiko Hawaii Volcanoes National Park 01.jpg Image:US Navy hula 031112-N-3228G-001.jpg Hula (IPA: Template:IPA) is a dance form accompanied by chant or song. It was developed in the Hawaiian Islands by the Polynesians who originally settled there. The chant or song is called a mele. The hula dramatizes or comments on the mele.

There are two styles of hula. Old-style hula, as performed before Western encounters with Hawaiʻi, is called kahiko. It is accompanied by chant and traditional instruments. Hula as it evolved under Western influence, in the 19th and 20th centuries, is called ʻauana. It is accompanied by song and Western musical instruments such as the guitar, the ukulele, and the double bass.

There are other dances that come from other Polynesian islands such as Tahiti, Samoa, Tonga and Aotearoa (New Zealand); however, the hula is unique to the Hawaiian Islands.

Contents 1 Hula kahiko 1.1 Chants 1.2 Instruments 1.3 Costumes 1.4 Performances 1.5 Training 1.6 Hula experts 2 Hula ʻauana 2.1 Songs 2.2 Instruments 2.3 Costumes 2.4 Performances 2.5 Training 3 History of hula 3.1 Legendary origins 3.2 Before European contact 3.3 Explorers and traders in the 18th century 3.4 During the 19th century 3.5 20th century hula 3.6 Contemporary hula 4 Contemporary hula festivals 5 Films 6 External links

Hula kahiko

Image:Hula Kahiko Hawaii Volcanoes National Park 02.jpg Hula kahiko encompassed an enormous variety of styles and moods, from the solemn and sacred to the frivolous. Many hula were created to praise the chiefs and performed in their honor, or for their entertainment.

Serious hula was considered a religious performance. As was true of ceremonies at the heiau, the platform temple, even a minor error was considered to invalidate the performance. It might even be a presage of bad luck or have dire consequences. Dancers who were learning to do such hulas necessarily made many mistakes. Hence they were ritually secluded and put under the protection of the goddess Laka during the learning period. Ceremonies marked the successful learning of the hula and the emergence from seclusion.

Hula kahiko is performed today by dancing to the historical chants. Hula kahiko is characterized by traditional costuming, by an austere look, and by a belief that the meaning of the words is to be taken seriously.

Chants

Hawaiian history was oral history. It was codified in genealogies and chants, which were memorized strictly as passed down. In the absence of a written language, this was the only available method of ensuring accuracy. Chants told the stories of creation, mythology, royalty, and other significant events and people.

Instruments

• Ipu -- single gourd drum
• Ipu heke -- double gourd drum
• Pahu -- sharkskin covered drum; considered sacred
• Puniu -- small knee drum made of a coconut shell with fish skin (kala) cover
• Template:OkinaIliTemplate:Okinaili -- water-worn lava stone used as castanets
• Template:OkinaUliTemplate:Okinauli -- feathered gourd rattles
• PuTemplate:Okinaili -- split bamboo sticks
• KalaTemplate:Okinaau -- rhythm sticks

The dog's-tooth anklets sometimes worn by male dancers could also be considered instruments, as they underlined the sounds of stamping feet.

Costumes

Female dancers wore the everyday pa'u, or wrapped skirt, which left the breasts bare. As a sign of lavish display, the pa'u might be much longer than the usual length of kapa, or barkcloth, which was just long enough to go around the waist. Visitors report seeing dancers swathed in many yards of tapa, enough to increase their circumference substantially. Dancers might also wear decorations such as necklaces, bracelets, and anklets, as well as many leis (in the form of headpieces, necklaces, bracelets, and anklets).

Male dancers wore the everyday malo, or loincloth. Again, they might wear bulky malos made of many yards of tapa. They also wore necklaces, bracelets, anklets, and leis.

The materials for the leis worn in performance were gathered in the forest, after prayers to Laka and the forest gods had been chanted.

The leis and tapa worn for sacred hulas were considered imbued with the sacredness of the dance, and were not to be worn after the performance. Leis were typically left on the small altar to Laka found in every halau, as offerings.

Performances

Hulas performed for spontaneous daily amusement or family feasts were attended with no particular ceremony. However, hulas performed as entertainment for chiefs were anxious affairs. High chiefs typically travelled from one place to another within their domains. Each locality had to house, feed, and amuse the chief and his or her entourage. Hula performances were a form of fealty, and often of flattery to the chief. There were hulas celebrating his lineage, his name, and even his genitals (hula ma'i). Sacred hulas, celebrating famous myths, were also danced. All these performances must be completed without error (which would be both unlucky and disrespectful).

Visiting chiefs from other domains would also be honored with hula performances. This courtesy was often extended to important Western visitors. They left many written records of 18th and 19th century hula performances.

Training

Hula is taught in schools called halau. The teacher of hula is the kumu hula, where kumu means source of knowledge.

Hula experts

• [[George NaTemplate:Okinaope]]
• Tiare Noelani Chang Halau Na Mamo O Ka'ala
• [[Kealii Reichel|KealiTemplate:Okinai Reichel]]

Hula ʻauana

Image:Luau-hula-SL.jpg Modern hula arose from adaptation of traditional hula ideas (dance and mele) to Western influences. The primary influences were Christian morality and melodic harmony. Hula ʻauana still tells or comments on a story, but the stories may include events since the 1800s. The costumes of the women dancers are less revealing and the music is heavily Western-influenced.

Songs

The mele of hula ʻauana are generally sung as if they were popular music. A lead voice sings in a major scale, with occasional harmony parts.

The subject of the songs is as broad as the range of human experience. People write mele hula ʻauana to comment on significant people, places or events or simply to express an emotion or idea. The hula then interprets the mele.

Instruments

The musicians performing hula auana will typically use portable acoustic stringed instruments.

• Template:OkinaUkulele -- four-, six- or eight-stringed, used to maintain the rhythm if there are no other instruments
• Guitar -- used as part of the rhythm section, or as a lead instrument
• Steel guitar -- accents the vocalist
• Bass -- maintains the rhythm

Occasional hula ʻauana call for the dancers to use implements, in which case they will use the same instruments as for hula kahiko.

Costumes

Image:Kealii Reichel Hula Halau 2005 01.jpg

Costumes play a role in illustrating the hula instructor's interpretation of the mele. While there is some freedom of choice, most halaus follow the accepted costuming traditions. Women generally wear skirts or dresses of some sort. Men may wear long or short pants, skirts, or a malo (a cloth wrapped under and around the crotch). For slow, graceful dances, the dancers will wear formal clothing such as a muumuu for women and a sash for men. A fast, lively, "rascal" song will be performed by dancers in more revealing or festive attire.

Performances

Training

History of hula

Legendary origins

There are various legends surrounding the origins of hula.

According to one Hawaiian legend Laka, goddess of the hula, gave birth to the dance on the island of Molokai, at a sacred place in Kaʻana. After Laka died, her remains were hidden beneath the hill Puʻu Nana.

Another story tells of Hiʻiaka, who danced to appease her fiery sister, the volcano goddess Pele. This story locates the source of the hula on Kauaʻi, in the north shore valley of Hāʻena.

Before European contact

Explorers and traders in the 18th century

During the 19th century

American Protestant missionaries, who arrived in 1820, denounced the hula as a heathen dance. The newly Christianized ali`i (royalty and nobility) were urged to ban the hula -- which they did. However, many of them continued to privately patronize the hula.

The Hawaiian performing arts had a resurgence during the reign of King David Kalakaua (1874-1891), who encouraged the traditional arts. Hula practitioners merged Hawaiian poetry, chanted vocal performance, dance movements and costumes to create the new form, the hula kuʻi (kuʻi means "to combine old and new"). The pahu appears not to have been used in hula kuʻi, evidently because its sacredness was respected by practitioners; the ipu gourd (Lagenaria sicenaria) was the indigenous instrument most closely associated with hula kuʻi.

Ritual and prayer surrounded all aspects of hula training and practice, even as late as the early twentieth century. Teachers and students were dedicated to the goddess of the hula, Laka.

20th century hula

Image:Movie lilo and stitch hula.jpg Hula changed drastically in the early twentieth century as it was featured in tourist spectacles, such as the Kodak hula show, and in Hollywood films. However, a more traditional hula was maintained in small circles by older practitioners. There has been a renewed interest in hula, both traditional and modern, since the 1970s and the Hawaiian Renaissance.

Contemporary hula

Contemporary hula festivals

• Ka Hula Piko, held every May on Molokai.
• Merrie Monarch Festival is a week-long cultural festival and hula competition in Hilo on the Big Island of Hawaii.

Films

• Kumu Hula: Keepers of a Culture (1989). Directed by Robert Mugge.

External links

• Hawaiian Music and Hula Archives
• European Hula Festivalde:Hula (Tanz)

ja:フラ fi:Hula