Brief History of Hula & Training Protocols
Some believe hula began with Laka. Others believe it began Hi’iaka, Hōpoe and Pele. The mo’olelo (story) began in Puna. Pele saw Hōpoe and Ha’ena dancing by the sea of Nanahuki. Pele then asked her sisters if they would dance for her. All sisters declined, saying they didn’t know how. All, but Hi’iakaikapoliopele. She finished making lei with flowers she had been gathering and then put them on her sisters. After dancing one verse, Pele was pleased, but asked if Hi’iaka had more. Hi’iaka immediately went into another verse with more vigor and mana than before. This was the very first hula to ever be danced, Ke Ha’a Lā Puna.
Pre-1778, hula was used to document and express stories, please the gods, prepare for war & tell the history of kānaka (native people of Hawai’i). There are many types of hula (besides the variations of hula ‘auana and hula kahiko): hula mele inoa, hula mele ma’i, hula mele kanikau, hula mele kaua or ha’a koa and more. Some of the hula implements that are used: ipu heke, ipu heke ‘ole, kā’eke’eke, kāla’au, ‘ili’ili, pahu hula, papa hehi, pū’ili, pūniu, ‘ulī’ulī. It was from the ranks of male hula experts that nā koa warriors were selected. These chosen were trained in the martial art of Lua. Because one of the purposes of hula was to prepare for war, only the most skilled and strongest dancers were accepted into hālau Lua. Only a select few were allowed to honor the deities in the temples. These hula kapu were never seen by outsiders. Chanting and dancing was not always a public event. Not just anyone could dance hula. It's important to note that hula is not just “in the blood”, if you are Hawaiian. Hula always requires hard work. Some people had positions within the community. There were Ali’i, maka’āinana, mahi’ai, lawai’a, kahuna lā’au lapa’au, kālai wa’a, ‘ōlapa. There are different levels of dancers: onlooker, semi-committed student, haumāna, kāpehe, alaka’i, ‘ōlapa, ho’opa’a, Kumu hula (which takes years of consistent, authentic training) and kahuna Kumu hula (which takes a lifetime). Before the Hawaiian language was written down, texts were learned through hours of memorization and oral recitation. Hula takes pride, humility, dedication, respect and excellence to turn a student into a dancer.
For hula kahiko, a teacher’s and a student’s duty is to get the dances correct down to the last detail, such as the exact angle of a hand and the exact height of a gesture. A mistake in teaching or performing kahiko is an insult to the ancestors. To get a dance right, demonstrates the proper, highest respect. The messages, powers and energies must be understood and used appropriately, otherwise a history is mistold and a lesson goes unlearned. A person cannot simply decide to choreograph a hula kahiko on their own. They must undergo decades upon decades of rigorous training and must receive permission from an authenticated Kumu hula who approves. To ignore the ancient energies, symbols and cautions can lead only to an incomplete and superficial hula education. Hula kahiko is not for the faint of heart or non-committed. Mumbling, slurring or half-hearted chanting is considered an insult. In ancient times, a performance of a high chief’s genealogy had to be perfect down to the last syllable and gesture, or the dancer and chanter faced death for making a mistake.
It’s important to note that without the proper foundation, hula training will not be strong. With a tree, there are the roots, trunk, branches, leaves and petals. The same goes with training. The trunk is a Kumu Hula. The roots are the many Kumu Hula who had taught that Kumu Hula who represents the trunk. The branches are the most dedicated students who have studied for many years under that Kumu Hula. The leaves are the semi-committed students, or the students who have other extracurricular activities or other things in life that take precedence over hula at times. The petals are those students who are just interested in hula. No one can just call themselves a Kumu Hula without the proper training and an ‘ūniki, or authentic graduation ceremony. Regarding foundation, it is also applied to hula posture. The back should mimic the letter “T”. Shoulders should go straight across and back should be straight with the chest forward. One of the most important aspects of good hula dancing is correct posture. “Pali i ke kua, mahina ke alo.” Back as straight as a cliff, face as radiant as the moon. In earlier times, hand movements would be exercised for hours at a time. Hand movements are the most attractive part of hula choreography and the most obvious. The thumb should be dropped. Set lips and frozen in place smiles are no more appreciated than a plastic lei. It’s important that the expression changes and follows the words of the story being told.
Pre-1778, hula was used to document and express stories, please the gods, prepare for war & tell the history of kānaka (native people of Hawai’i). There are many types of hula (besides the variations of hula ‘auana and hula kahiko): hula mele inoa, hula mele ma’i, hula mele kanikau, hula mele kaua or ha’a koa and more. Some of the hula implements that are used: ipu heke, ipu heke ‘ole, kā’eke’eke, kāla’au, ‘ili’ili, pahu hula, papa hehi, pū’ili, pūniu, ‘ulī’ulī. It was from the ranks of male hula experts that nā koa warriors were selected. These chosen were trained in the martial art of Lua. Because one of the purposes of hula was to prepare for war, only the most skilled and strongest dancers were accepted into hālau Lua. Only a select few were allowed to honor the deities in the temples. These hula kapu were never seen by outsiders. Chanting and dancing was not always a public event. Not just anyone could dance hula. It's important to note that hula is not just “in the blood”, if you are Hawaiian. Hula always requires hard work. Some people had positions within the community. There were Ali’i, maka’āinana, mahi’ai, lawai’a, kahuna lā’au lapa’au, kālai wa’a, ‘ōlapa. There are different levels of dancers: onlooker, semi-committed student, haumāna, kāpehe, alaka’i, ‘ōlapa, ho’opa’a, Kumu hula (which takes years of consistent, authentic training) and kahuna Kumu hula (which takes a lifetime). Before the Hawaiian language was written down, texts were learned through hours of memorization and oral recitation. Hula takes pride, humility, dedication, respect and excellence to turn a student into a dancer.
- January 1778, Captain James Cook and his men were the first haole to observe the hula. The crew was not interested in seeing men dance. They only wanted entertainment by women and at night. It was because of these first haole (foreign) observers that our men began to feel an aversion toward their once proud and fierce hula.
- In 1819, after Kamehameha I had died, Kamehameha II abolished the kapu system, which invalidated the temples, the gods and sacred hula.
- In 1820, the missionaries arrived in Hawai’i.
- In 1830, Queen Ka’ahumanu banned public performances, being heavily influenced by the missionaries. Hula was still defiantly and thankfully practiced in secret.
- In 1840, Hawaiian common law was changed to English common law. Tons of properties and parcels of land were taken by foreigners. Hawaiians could no longer look to the land for their food, clothing, shelter, medicines and hula implements they used.
- From 1820-1874, trading and whaling ships arrived. They brought foreign diseases such as measles, yellow fever, smallpox, malaria, bubonic plague, cholera and leprosy which destroyed the native population. Hawaiians had no natural immunity to any of it, so they continued to perish. The major effect of these diseases on hula was the deaths of so many great Kumu hula and their best students. Countless long oral histories and dances carefully passed down over countless generations simply disappeared.
- In 1870, the restrictions were lessened.
- In 1883, King Kalākaua’s love for hula revived it.
- From 1893-1900, contemporary hula was tolerated but only as entertainment for the upper classes. Speaking, teaching and learning Hawaiian language was banned in public schools. Soon Hawai’i ceased to be an independent kingdom and carnivals across the US seized the idea of “savage women” performing indecent dances on stage. Hula was degraded to sideshows and were profitable but native Hawaiians were never featured.
- In the 1920’s with Hawai’i’s tourism booming, the more haole hula, foreign hula, hula ‘Auana was introduced. ‘Auana means to wander because it strays from tradition. Hollywood filmmakers believed they “discovered” Hawai’i and used hula in their films for their own selfish purposes. Hula was presented in goofy numbers on Broadway by non-Hawaiians. In Hawai’i, the English publications continued to describe hula as “disgusting” and called for its eradication. Hula’s ancient roots in religion were considered shameless lies. Audiences in the US loved the cheapened, inauthentic version of hula. Again, performers were exclusively white actresses with no training in Hawaiian dance.
- By the 1950s, men had almost disappeared from the hula scene. Once at the forefront as warriors, boys and young men now shunned hula.
- In 1963, the creation of the Polynesian Cultural Center on the island of O’ahu saw the important addition of men as hula dancers and as performers from nations in other parts of the pacific.
- In 1964, George Na’ope began the Merrie Monarch Festival.
- In some areas of the world now, hula is in danger of being assimilated with other dance styles. Nānā i ke Kumu. Pay attention to the source.
For hula kahiko, a teacher’s and a student’s duty is to get the dances correct down to the last detail, such as the exact angle of a hand and the exact height of a gesture. A mistake in teaching or performing kahiko is an insult to the ancestors. To get a dance right, demonstrates the proper, highest respect. The messages, powers and energies must be understood and used appropriately, otherwise a history is mistold and a lesson goes unlearned. A person cannot simply decide to choreograph a hula kahiko on their own. They must undergo decades upon decades of rigorous training and must receive permission from an authenticated Kumu hula who approves. To ignore the ancient energies, symbols and cautions can lead only to an incomplete and superficial hula education. Hula kahiko is not for the faint of heart or non-committed. Mumbling, slurring or half-hearted chanting is considered an insult. In ancient times, a performance of a high chief’s genealogy had to be perfect down to the last syllable and gesture, or the dancer and chanter faced death for making a mistake.
It’s important to note that without the proper foundation, hula training will not be strong. With a tree, there are the roots, trunk, branches, leaves and petals. The same goes with training. The trunk is a Kumu Hula. The roots are the many Kumu Hula who had taught that Kumu Hula who represents the trunk. The branches are the most dedicated students who have studied for many years under that Kumu Hula. The leaves are the semi-committed students, or the students who have other extracurricular activities or other things in life that take precedence over hula at times. The petals are those students who are just interested in hula. No one can just call themselves a Kumu Hula without the proper training and an ‘ūniki, or authentic graduation ceremony. Regarding foundation, it is also applied to hula posture. The back should mimic the letter “T”. Shoulders should go straight across and back should be straight with the chest forward. One of the most important aspects of good hula dancing is correct posture. “Pali i ke kua, mahina ke alo.” Back as straight as a cliff, face as radiant as the moon. In earlier times, hand movements would be exercised for hours at a time. Hand movements are the most attractive part of hula choreography and the most obvious. The thumb should be dropped. Set lips and frozen in place smiles are no more appreciated than a plastic lei. It’s important that the expression changes and follows the words of the story being told.