Hula // is a Polynesian dance form accompanied by chant (oli) or song (mele, which is a cognate of "meke" from the Fijian language). It was developed in the Hawaiian Islands by the Polynesians who originally settled there. The hula dramatizes or portrays the words of the oli or mele in a visual dance form.
In linguistics, cognates are words that have a common etymological origin. Cognates are often inherited from a shared parent language, but they may also involve borrowings from some other language. For example, the English words dish and desk and the German word Tisch ("table") are cognates because they all come from Latin discus, which relates to their flat surfaces. Cognates may have evolved similar, different or even opposite meanings, but in most cases there are some similar sounds or letters in the words, in some cases appearing to be dissimilar. Some words sound similar, but do not come from the same root; these are called false cognates, while some are truly cognate but differ in meaning; these are called false friends.
Meke, in the Fijian language, is all traditional style of dance. It is a cognate of the words "maka" (Rotuman) and "mele" in Hawaiian. It is typically performed during celebrations and festivals. Traditionally the dances that comprise the meke art form are performed by groups of men only or women only, however, foreign influences, such as the male/female Tongan ma'ulu'ulu becoming the Fijian vakamalolo, are evident throughout.
Fijian is an Austronesian language of the Malayo-Polynesian family spoken by some 350,000–450,000 ethnic Fijians as a native language. The 2013 Constitution established Fijian as an official language of Fiji, along with English and Hindi, and there is discussion about establishing it as the "national language". Fijian is a VOS language.
There are many sub-styles of hula, with the main two categories being Hula ʻAuana and Hula Kahiko. Ancient 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 (a word that means "to wander" or "drift"). It is accompanied by song and Western-influenced musical instruments such as the guitar, the ʻukulele, and the double bass.
A musical instrument is an instrument created or adapted to make musical sounds. In principle, any object that produces sound can be considered a musical instrument—it is through purpose that the object becomes a musical instrument. The history of musical instruments dates to the beginnings of human culture. Early musical instruments may have been used for ritual, such as a trumpet to signal success on the hunt, or a drum in a religious ceremony. Cultures eventually developed composition and performance of melodies for entertainment. Musical instruments evolved in step with changing applications.
The guitar is a fretted musical instrument that usually has six strings. It is typically played with both hands by strumming or plucking the strings with either a guitar pick or the finger(s)/fingernails of one hand, while simultaneously fretting with the fingers of the other hand. The sound of the vibrating strings is projected either acoustically, by means of the hollow chamber of the guitar, or through an electrical amplifier and a speaker.
The ukulele or ukelele is a member of the guitar family of instruments. It generally employs four nylon or gut strings or four courses of strings. Some strings may be paired in courses, giving the instrument a total of six or eight strings.
Terminology for two main additional categories is beginning to enter the hula lexicon: "Monarchy" includes any hula which were composed and choreographed during the 19th century. During that time the influx of Western culture created significant changes in the formal Hawaiian arts, including hula. "Ai Kahiko", meaning "in the ancient style" are those hula written in the 20th and 21st centuries that follow the stylistic protocols of the ancient hula kahiko.
Western culture, sometimes equated with Western civilization, Occidental culture, the Western world, Western society, and European civilization, is the heritage of social norms, ethical values, traditional customs, belief systems, political systems, artifacts and technologies that originated in or are associated with Europe. The term also applies beyond Europe to countries and cultures whose histories are strongly connected to Europe by immigration, colonization, or influence. For example, Western culture includes countries in the Americas and Australasia, whose language and demographic ethnicity majorities are of European descent. Western culture has its roots in Greco-Roman culture from classical antiquity.
There are also two main positions of a hula dance: either sitting (noho dance) or standing (luna dance). Some dances utilize both forms.
Hula dancing is a complex art form, and there are many hand motions used to represent the words in a song or chant. For example, hand movements can signify aspects of nature, such as the swaying of a tree in the breeze or a wave in the ocean, or a feeling or emotion, such as fondness or yearning. Foot and hip movements often pull from a basic library of steps including the kaholo, kaʻo, kawelu, hela, ʻuwehe, and ʻami.
There are other related dances (tamure, hura, 'aparima, 'ote'a, haka, kapa haka, poi, Fa'ataupati, Tau'olunga, and Lakalaka) that come from other Polynesian islands such as Tahiti, The Cook Islands, Samoa, Tonga and New Zealand; however, the hula is unique to the Hawaiian Islands.
The tāmūrē, or Tamouré as popularized in many 1960s recordings, is a dance from Tahiti and the Cook Islands and although denied by the local purists, for the rest of the world it is the most popular dance and the mark of Tahiti. Usually danced as a group of boys and girls, all dressed in more.
The ʻōteʻa is a traditional dance from Tahiti characterized by a rapid hip-shaking motion to percussion accompaniment. The dancers, standing in several rows, may be further choreographed to execute different figures while maintaining the hip-shaking. The hip motion itself may in some choreographies be synchronized amongst multiple dancers and may be further coordinated with the accompanying percussion arrangement.
The haka is a ceremonial dance or challenge in Māori culture. It is a posture dance performed by a group, with vigorous movements and stamping of the feet with rhythmically shouted accompaniment. Although commonly associated with the traditional battle preparations of male warriors, haka have long been performed by both men and women, and several varieties of the dance fulfil social functions within Māori culture. Haka are performed to welcome distinguished guests, or to acknowledge great achievements, occasions or funerals.
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 ʻālaʻapapa, haʻa, ʻolapa, 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.
A heiau is a Hawaiian temple. Made in different architectural styles depending upon their purpose and location, they range from simple earth terraces, to elaborately constructed stone platforms. There are heiau to treat the sick, offer first fruits, offer first catch, start rain, stop rain, increase the population, ensure the health of the nation, achieve success in distant voyaging, reach peace, and achieve success in war (luakini).
Luck is the phenomenon that defines the experience of notably positive, negative, or improbable events. The naturalistic interpretation is that positive and negative events happen all the time in human lives, both due to random and non-random natural and artificial processes, and that even improbable events can happen by random chance. In this view, being "lucky" or "unlucky" is simply a descriptive label that points out an event's positivity, negativity, or improbability.
In Hawaiian mythology, Laka is the name of two different popular heroes from Polynesian mythology.. Lengthy legends of their exploits extend throughout the islands, and the kings of Tahiti and Hawaiʻi claimed them as their ancestors.
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.
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 history of Hawaii describes the era of human settlements in the Hawaiian Islands. That history begins sometime between 124 and 1120 AD, when the islands were first settled by Polynesians. Hawaiian civilization was isolated from the rest of the world for at least 500 years.
Oral history is the collection and study of historical information about individuals, families, important events, or everyday life using audiotapes, videotapes, or transcriptions of planned interviews. These interviews are conducted with people who participated in or observed past events and whose memories and perceptions of these are to be preserved as an aural record for future generations. Oral history strives to obtain information from different perspectives and most of these cannot be found in written sources. Oral history also refers to information gathered in this manner and to a written work based on such data, often preserved in archives and large libraries. Knowledge presented by Oral History (OH) is unique in that it shares the tacit perspective, thoughts, opinions and understanding of the interviewee in its primary form.
A written language is the representation of a spoken or gestural language by means of a writing system. Written language is an invention in that it must be taught to children, who will pick up spoken language or sign language by exposure even if they are not formally instructed.
The‘Ōlelo No’eau (Hawaiian saying or proverb), “‘O ‘oe ka lua’ahi 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” particularly when delivered through oli (chant). Therefore, skillful manipulation of language by haku mele (composers) and chanters was of utmost reverence and importance. Oli was an integral component of ancient Hawaiian society, and arose in nearly every social, political and economic aspect of life.
Traditional chant types are extremely varied in context and technical components, and cover a broad range of specific functions. Among them (in vague descending order of sacredness) exist mele pule (prayer), hula kuahu (ritual dance), kū’auhau (cosmogeny), ko’ihonua (genealogy), hānau (birth), inoa (name), ma’i (procreation/genital), kanikau (lamentation), hei (game), ho’oipoipo (love), and kāhea (expression/call out).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).”
'Olelo Hawai'i (Hawaiian language) contains 43 different words to describe voice quality; the technique and particularity of chanting styles is crucial to understanding their function. The combination of general style (with or without dance) and the context of the performance determines what vocal style a chant will use. Kepakepa, kāwele, olioli, ho’āeae, ho’ouēuē, and ‘aiha’a are examples of styles differentiated by vocal technique. Kepakepa sounds like rapid speech and is often spoken in long phrases. Olioli is a style many would liken to song, as it is melodic in nature and includes sustained pitches, often with ‘i’i, or vibrato of the voice thats hold vowel tones at the ends of lines.
A law passed in Hawai’i in 1896 (shortly after American overthrow of the Hawaiian kingdom) banned the use of ‘Ōlelo Hawai’i in schools. This, in combination with a general usurpation of Hawaiian social, political, and linguistic autonomy resulted in a mass decline of the Hawaiian language, to the near brink of extinction. As a result of Americanization, including the spread of Christianity, many traditional chants became viewed as pagan and were ultimately forgotten. But a cultural resurgence beginning in the late 1960s, and carrying through to today has revitalized many Hawaiian practices, including spoken language and chant, and has been furthered by increasing support from various institutions, including Pūnana Leo Hawaiian language immersion schools, funded by the Hawai’i State Department of Education as well as major hula competitions such as the Merrie Monarch Festival, which officially began in 1971.
In hālau hula (hula schools) asking permission to enter the space in order to partake in the knowledge of the kumu (teacher) is a key component to being a student. Many hālau use a variation of “Kūnihi,”an oli kāhea, most typically done in an olioli style. Students often stand outside the entrance and chant repeatedly until the kumu decides to grant them permission to enter, and uses a different chant in response. This is an example of how oli is integrated into modern day cultural practices, within the context of hula training.
The dog's-tooth anklets sometimes worn by male dancers could also be considered instruments, as they underlined the sounds of stamping feet.
Traditional female dancers wore the everyday pāʻū, or wrapped skirt, but were topless. Today this form of dress has been altered. As a sign of lavish display, the pāʻū 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.
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.
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, kaʻi, and end with a closing dance, hoʻi, to state the presence of the hula. There were hula celebrating his lineage, his name, and even his genitals (hula maʻi). 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.
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.
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 musicians performing hula ʻauana will typically use portable acoustic stringed instruments.
Occasional hula ʻauana call for the dancers to use implements, in which case they will use the same instruments as for hula kahiko. Often dancers use the ʻUlīʻulī (feathered gourd rattle).
The traditional Hawaiian hula costume includes kapa cloth skirts and men in just the malo (loincloth) however, during 1880s hula ‘auana was developed from western influences. It is during this period that the grass skirt began to be seen everywhere although, Hula ‘auana costumes are usually more western-looking, with dresses for women and pants for men.
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 muʻumuʻu 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 ʻauana can be performed with bare feet or shoes. In the old times,[ when? ] 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.
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 kumu (teacher), alaka'i (leader), kokua (helpers), and then the 'olapa (dancers) or haumana (students). This is not true for every hālau, but it does occur often. Most, if not all, hula halau(s) 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 Kunihi Ka Mauna/Tunihi Ta Mauna.
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 Molokaʻi, 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 Hawaiʻi, in the Puna district at the Hāʻena shoreline. The ancient hula Ke Haʻa Ala Puna describes this event.
Another story is when 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 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 Waiʻanae, 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."
American Protestant missionaries, who arrived in 1820, often denounced the hula as a heathen dance holding vestiges of paganism. The newly Christianized aliʻi (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 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 20th century. Teachers and students were dedicated to the goddess of the hula, Laka.
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. 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 respective native war chants and dances as pre-game ritual challenges, the University of Hawaii football team started doing a war chant and dance using the native Hawaiian language that was called the ha'a before games in 2007.
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.Although Merrie Monarch was seen as a competition among hula hālaus, it later became known as a tourist event because of the many people it attracted.
In Hawaiian mythology, Hiʻiaka is a daughter of Haumea and Kāne.
The Merrie Monarch Festival is a week-long cultural festival that takes place annually in Hilo, Hawaii during the week after Easter. It honors King David Kalākaua, who was called the "Merrie Monarch" for his patronage of the arts and is credited with restoring many Hawaiian cultural traditions during his reign, including the hula. Many hālau hula (schools), including some from the U.S. mainland and some international performers, attend the festival each year to participate in exhibitions and competitions. The festival has received worldwide attention and is considered the most prestigious of all hula contests.
Carleton Lewis Kealiʻinaniaimokuokalani Reichel popularly known as Kealiʻi Reichel, is a popular and bestselling singer, songwriter, choreographer, dancer, chanter, scholar, teacher, and personality from Hawaiʻi. They have spent their life educating the world about Hawaiian culture through music and dance.
The culture of the Native Hawaiians is about 1,500 years old and has its origins in the Polynesians who voyaged to and settled Hawaii. These voyagers developed Hawaiian cuisine, Hawaiian art, and the Native Hawaiian religion.
Māhū in Kanaka Maoli (Hawaiian) and Maohi (Tahitian) cultures are third gender persons with traditional spiritual and social roles within the culture, similar to Tongan fakaleiti and Samoan fa'afafine, Kāne (men) who have sexual relationships with men are Aikāne.
"Kaulana Nā Pua" is a Hawaiian patriotic song written by Eleanor Kekoaohiwaikalani Wright Prendergast in 1893 for members of the Royal Hawaiian Band who protested the overthrow of Queen Liliʻuokalani and the Hawaiian Kingdom. The song is also known under the title of Mele ʻAi Pōhaku, the Stone-Eating Song, or Mele Aloha ʻĀina, the Patriot's Song. It is still popular in Hawaiʻi today, although it is not clear how many non-Hawaiian speaking listeners are aware of the song's historical significance or the profound antipathy to U.S. annexation in its words. The song could be viewed as an act of subterfuge, since to the non-Hawaiian speaking listeners the lively melody gives no hint of the political intensity of the lyrics.
Mark Kealiʻi Hoʻomalu is a contemporary Hawaiian chanter who was born and raised in ʻAiea, Oʻahu. He is best known for his contributions to the soundtrack of the 2002 Disney animated film, Lilo & Stitch, providing the film's two non-Elvis Presley-related songs.
A hālau hula is a school in which the ancient Hawaiian dance form called hula is taught. The term comes from hālau, a workshed, and hula, the traditional dance of the Hawaiian Islands.
Mary Abigail Kawenaʻulaokalaniahiʻiakaikapoliopelekawahineʻaihonuaināleilehuaapele Wiggin Pukui, known as Kawena, was a Hawaiian scholar, dancer, composer, and educator.
A grass skirt is a costume and garment made with layers of plant fibres such as grasses (Poaceae) and leaves that is fastened at the waistline.
George Lanakilakekiahialiʻi Naʻope, born in Kalihi, Hawaiʻi and raised in Hilo, was a celebrated kumu hula, master Hawaiian chanter, and leading advocate and preservationist of native Hawaiian culture worldwide. He taught hula dancing for over sixty years in Hawaiʻi, Japan, Guam, Australia, Germany, England, North America, and South America.
The Brothers Cazimero was a Hawaiian musical duo made up of Robert Cazimero on bass and Roland Cazimero on twelve string guitar. Robert also played piano as a solo musician. The Cazimeros got their start during the Hawaiian Renaissance with ukulele and slack-key guitarist Peter Moon's band, The Sunday Manoa, on their first recording, Guava Jam. Since that time, The Brothers Cazimero have released at least 36 recordings and three DVDs. For three decades, the group performed at the annual Lei Day Concert. They made their Carnegie Hall debut in 1989.
Margaret Maiki Souza Aiu Lake was a hula dancer, kumu hula, and influential figure in the second Hawaiian Renaissance. She trained with the hula master Lōkālia Montgomery, graduated as an ʻōlapa (dancer) in 1946, and opened her first school, Margaret Aiu's Hula Studio, soon thereafter. She was the first person in the 20th century to be allowed to term her school a hālau, and in 1952 opened Hālau Hula O Maiki. She brought several innovations to her teaching, accepting interested students regardless of background and emphasizing related traditional arts in addition to hula. In 1972, she was the first to publicly advertise a class for kumu hula.
Nā Lei Hulu I Ka Wēkiu is a Hawaiian dance company or hālau hula led by kumu hula Patrick Makuakāne.
Molokai Ka Hula Piko is an annual festival of the hula, held for three days every spring in Kaana, Molokai. Ka Hula Piko in Hawaiian means the "center of the hula dance".
Fabianne Pomaialoha Wong Dalire, known professionally as Aloha Dalire, was an American Hawaiian kumu hula, or master hula teacher. She won the first Miss Aloha Hula as Aloha Wong, in 1971, the same year that the Merrie Monarch Festival was established. The Miss Aloha Hula title is hula's top solo wahine (women's) honor.
"Auntie" Alice Kuʻuleialohapoʻinaʻole Kanakaoluna Nāmakelua (1892-1987) was a Hawaiian composer and performer. Nāmakelua was also a kumu hula dancer and lei-maker. She was an expert performer of the slack-key guitar and a master of the Hawaiian language. Nāmakelua was a mentor of other musicians and wrote around 180 songs of her own. She was inducted into the Hawaiian Music Hall of Fame in 2011.
A Kumu Hula is a master teacher in the art of Hula. They usually run and participate in dance schools called Halau Hula.
ʻUlīʻulī are Hawaiian feathered gourd rattles that are occasionally used as instruments in the traditional Hawaiian dance, hula. This instrument is used in both 'Auana and Kahiko hula dances. They are vibrantly colored feather gourd rattles used in kahiko performances to maintain timing and to enhance other sounds like chanting or the pounding of an ipu.
Jaye Nāpua Greig-Nakasone, known professionally as Nāpua Greig, is a Hawaiian musician, vocalist, songwriter, record producer, kumu hula, and educator from Maui, Hawaii. Known primarily for her contributions as kumu hula of Hālau Nā Lei Kaumaka O Uka, she arranges traditional Hawaiian music as well, performing and recording with instruments such as ukulele, ipu, and other traditional Hawaiian hula implements. She has released four solo albums, each earning a Nā Hōkū Hanohano Award.
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