Hula

Hula kahiko, often defined as those hula composed prior to 1894 which do not include modern instrumentation (such as guitar, ʻukulele, etc.), encompasses 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. Types of hula kahiko include ālaapapa, haa, ōlapa, and many others. Today hula kahiko is simply stated as "Traditional" Hula. Many hula dances are considered to be a religious performance, as they are dedicated to, or honoring, a Hawaiian goddess or god. 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 hula 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. Many hula kahiko are characterized by traditional costuming, by an austere look, and a reverence for their spiritual root. Chant (Oli) Hawaiian history was oral history. It was codified in genealogies and chants, which were memorized and 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. The ʻŌlelo Noʻeau (Hawaiian saying or proverb), "'''O 'oe ka luaʻahi o kāu mele''," translates loosely as "You bear both the good and the bad consequences of the poetry you compose" The idea behind this saying originates from the ancient Hawaiian belief that language possessed mana, or "power derived from a spiritual source" An important distinction between oli, hula, and mele is as follows: mele can hold many different meanings, and is often translated to mean simply, song. However, in a more broad sense, mele can be taken to mean poetry or linguistic composition. Hula (chant with dance) and oli (chant without dance) are two general styles in which mele can be used/performed. Generally, "all mele may be performed as oli (chant without dance), but only certain types such as name chants, sex chants, love chants, and chants dedicated to the ['aumakua] gods of hula (ritual dance), may be performed as hula (chant with dance)." Today this form of dress has been altered. As a sign of lavish display, the pāū might be much longer than the usual length of tapa, 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 lei (in the form of headpieces (lei poʻo), necklaces, bracelets, and anklets (kupeʻe)), and other accessories. rs at a luau in Lahaina, in traditional kī leaf skirts. in Lihue on Kauai. A skirt of green kī (Cordyline fruticosa) leaves may also be worn over the pāū. They are arranged in a dense layer of around fifty leaves. Kī were sacred to the goddess of the forest and the hula dance Laka, and as such, only kahuna and aliʻi were allowed to wear kī leaf leis (lei lāʻī) during religious rituals. Similar C. fruticosa leaf skirts worn over tupenu are also used in religious dances in Tonga, where it is known as sisi. However, Tongan leaf skirts generally use red and yellow leaves. Traditional male dancers wore the everyday malo, or loincloth. Again, they might wear bulky malo made of many yards of tapa. They also wore necklaces, bracelets, anklets, and lei. The materials for the lei worn in performance were gathered in the forest, after prayers to Laka and the forest gods had been chanted. The lei and tapa worn for sacred hula were considered imbued with the sacredness of the dance, and were not to be worn after the performance. Lei were typically left on the small altar to Laka found in every hālau, as offerings. Performances Hula performed for spontaneous daily amusement or family feasts were attended with no particular ceremony. However, hula performed as entertainment for chiefs were anxious affairs. High chiefs typically traveled 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. During the performances the males would start off and the females would come later to close the show off. Most kahiko performances would begin with an opening dance, kai, and end with a closing dance, hoi, to state the presence of the hula. There were hula celebrating his lineage, his name, and even his genitals (hula mai). Sacred hula, celebrating Hawaiian gods, 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. ==Hula auana==

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 auana 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 auana 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 auana to comment on significant people, places or events or simply to express an emotion or idea. While the whole Hawaiian repertoire can be mainly categorised into two sides, hula kahiko and hula 'auana, the sound accompaniments have been regarded as one of the symbolic signs to distinguish them. In indigenous Hawaiian music, poetic text has always been an essential artistic element. It was documented that early Hawaiian musicians did not really focus on elaborating pure instrumental music but simply used the nose-blown flute that can only produce no more than four notes. However, after the Hawaiian culture met with Western music, some Hawaiian musicians developed several instrument-playing techniques in which the traditional Hawaiian repertoire was embedded. For example, the appearance of a Hawaiian guitar-playing method, named "steel guitar", was attributed to the perfect combination happened when guitarist is muting the strings with a steel bar; another guitar-playing approach, "slack key guitar", requires musician to tune the guitar by slackening the strings and pluck out main melody with the high-pitched strings when the lower-pitched strings are also worked on for the production of constant bass pattern. Regalia plays a role in illustrating the hula instructor's interpretation of the mele. From the color of their attire to the type of adornment worn, each piece of an auana costume symbolizes a piece of the mele auana, such as the color of a significant place or flower. While there is some freedom of choice, most hālau 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 groin). 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. The hula kahiko is always performed with bare feet, but the hula auana can be performed with bare feet or shoes. In the old times, they had their leis and other jewelry but their clothing was much different. Females wore a wrap called a "paʻu" made of tapa cloth and men wore loincloths, which are called "malo." Both sexes are said to have gone without a shirt. Their ankle and wrist bracelets, called "kupeʻe", were made of whalebone and dogteeth as well as other items made from nature. Some of these make music-shells and bones will rattle against each other while the dancers dance. Women perform most Hawaiian hula dances. Female hula dancers usually wear colorful tops and skirts with lei. However, traditionally, men were just as likely to perform the hula. A grass skirt is a skirt that hangs from the waist and covers all or part of the legs. Grass skirts were made of many different natural fibers, such as hibiscus or palm. ==Training==

, Honolulu, 2013 Hula is taught in schools or groups called hālau. The teacher of hula is the kumu hula. Kumu means "source of knowledge", or literally "teacher". Often there is a hierarchy in hula schools - starting with the (teacher), (leader), (helpers), and then the (dancers) or (students). This is not true for every hālau, but it does occur often. Most, if not all, hula hālau have a permission chant in order to enter wherever they may practice. They will collectively chant their entrance chant, then wait for the kumu to respond with the entrance chant, once he or she is finished, the students may enter. One well known and often used entrance or permission chant is Kūnihi Ka Mauna/Tūnihi Ta Mauna. ==History==

Legendary origins , the artist aboard the Russian ship Rurick, which visited Hawai'i in 1816. 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 Kaana. After Laka died, her remains were hidden beneath the hill Puu Nana. Another story tells of Hiiaka, who danced to appease her fiery sister, the volcano goddess Pele. This story locates the source of the hula on Hawaii, in the Puna district at the Hāena shoreline. The ancient hula Ke Haa Ala Puna describes this event. Another story is that Pele, the goddess of fire, was trying to find a home for herself running away from her sister Namakaokahaʻi (the goddess of the oceans) when she finally found an island where she couldn't be touched by the waves. There at a chain of craters on the island of Hawai'i she danced the first dance of hula signifying that she finally won. Kumu Hula (or "hula master") Leato S. Savini of the Hawaiian cultural academy Hālau Nā Mamo O Tulipa, located in Waianae, Japan, and Virginia, believes that hula goes as far back as what the Hawaiians call the Kumulipo, or account of how the world was made first and foremost through the god of life and water, Kane. Kumu Leato is cited as saying, "When Kane and the other gods of our creation, Lono, Kū, and Kanaloa created the earth, the man, and the woman, they recited incantations which we call Oli or Chants and they used their hands and moved their legs when reciting these oli. Therefore this is the origin of hula." 19th century American Protestant missionaries, who arrived in 1820, often denounced the hula as a heathen dance holding vestiges of paganism. The newly Christianized alii (royalty and nobility) were urged to ban the hula. In 1830 Queen Kaʻahumanu forbade public performances. However, many of them continued to privately patronize the hula. By the 1850s, public hula was regulated by a system of licensing. The Hawaiian performing arts had a resurgence during the reign of King David Kalākaua (1874–1891), who encouraged the traditional arts. With the Princess Lili'uokalani who devoted herself to the old ways, as the patron of the ancients chants (mele, hula), she stressed the importance to revive the diminishing culture of their ancestors within the damaging influence of foreigners and modernism that was forever changing Hawaii. Practitioners merged Hawaiian poetry, chanted vocal performance, dance movements and costumes to create the new form, the hula kui (kui means "to combine old and new"). The appears not to have been used in hula kui, evidently because its sacredness was respected by practitioners; the gourd (Lagenaria sicenaria) was the indigenous instrument most closely associated with hula kui. Ritual and prayer surrounded all aspects of hula training and practice, even as late as the early 20th century. Teachers and students were dedicated to the goddess of the hula, Laka. 20th century hula dancing , 1920 Hula changed drastically in the early 20th century as it was featured in tourist spectacles, such as the Kodak Hula Show, and in Hollywood films. Vaudeville star Signe Paterson was instrumental in raising its profile and popularity on the American stage, performing the hula in New York and Boston, teaching society figures the dance, and touring the country with the Royal Hawaiian Orchestra. 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. In response to several Pacific island sports teams using their native war chants and dances as pre-game ritual challenges. in 2007 the University of Hawaiʻi football team started doing a war chant and dance called the ''ha'a'' before games, using the native Hawaiian language. Since 1964, the Merrie Monarch Festival has become an annual one week long hula competition held in the spring that attracts visitors from all over the world. It is to honor King David Kalākaua who was known as the Merrie Monarch as he revived the art of hula. ==Films==

• Kumu Hula: Keepers of a Culture (1989) Directed by Robert Mugge. • Holo Mai Pele - Hālau ō Kekuhi (2000) Directed by Catherine Tatge • American Aloha : Hula Beyond Hawaiʻi (2003) By Lisette Marie Flannery & Evann Siebens • Hula Girls (2006) • The Haumana (2013) • Kumu Hina (2014) ==See also==