ʻIliʻili Hānau o Kōloa

Ka ʻiliʻili hānau o Kōloa; ka nalu haʻi o Kāwā.
The reproducing pebbles of Kōloa; the breaking surf of Kāwā.

ʻIliʻili hānau o Kōloa (Birth Pebble of Kōloa) is the mother of rocks for Kaʻū district, referring to the porous pebbles found especially at the beach of Kōloa, Kaʻū district, on Hawaiʻi Island.

Such stones were supposed to grow from a tiny pebble to a good-sized rock and to reproduce themselves if watered once a week. Care had to be taken lest they be stepped upon or otherwise treated with disrespect.

Hence they were carefully wrapped in tapa and laid away on a high rafter of the house. At a child's naming day or on other special occasions such as marriages, wars, and fishing expeditions they were taken down and arranged on ti leaves, together with awa root, upon a mat or table and their wisdom and blessing invoked.

Afterwards some member of the family would have a dream favorable or unfavorable to the project in hand and this was regarded as sent from the god.  (Beckwith)

These are beach worn pebbles. The interest attaching to them is derived from the belief still held by many natives with whom Emerson conversed with that they are of different sexes and beget off spring which increase in size and in turn beget others of their kind.

The males are of a smooth surface without noticeable indentations or pits. The females have these little pits in which their young are developed and in due time separate from their mothers to begin independent existence.

The ‘male’ stones are gray, basalt beach-worn pebbles having no pits or cavities. Most are flat and about an inch in size. The ‘female’ stones (a little bigger) are of the same material; however, they have small pits or cavities within which are very tiny basalt pebbles.

The "children" that are not in the "female" cavities and a less than an inch long.  (Bishop Museum)

William Ellis tells the following account from his brief visit there in 1824:

“We had not traveled far (from Hīlea) before we reached Nīnole, a small village on the sea shore, celebrated on account of a short pebbly beach called Koroa (Kōloa)”.

“(T)he stones of which were reported to possess very singular properties, among others, that of propagating their species.”

“The natives told us it was a wahi pana (place famous) for supplying … the stones for making small adzes and hatchets, before they were acquainted with the use of iron”.

“(B)ut particularly for furnishing the stones of which the gods were made, who presided over most of the games of Hawai‘i.

“Some powers of discrimination, they told us, were necessary to discover the stones which would answer to be deified.”

“When selected they were taken to the Heiau, and there several ceremonies were performed over them. Afterwards, when dressed, and taken to the place where the games were practiced, if the parties to whom they belonged were successful, their fame was established”.

“(B)ut if unsuccessful for several times together, they were either broken to pieces, or thrown contemptuously away.“

“When any were removed for the purpose of being transformed into gods, one of each sex was generally selected; these were always wrapped very carefully together in a piece of native cloth.”

“After a certain time, they said a small stone would be found with them, which, when grown to the size of its parents, was taken to the Heiau, or temple, and afterwards made to preside at the games.  We were really surprised at the tenacity with which this last opinion was adhered to”.

“Koroa [Kōloa] was also a place of importance in times of war, as it furnished the best stones for the slingers.”

“The natives told us it was a wahi pana (place famous) for supplying the black and white kōnane stone.”

“We examined some of the stones. The black ones appeared to be pieces of trap, or compact lava. The white ones were branches of white coral common to all the islands of the Pacific.”

“The angles of both were worn away, and a considerable polish given, by the attrition occasioned by the continual rolling of the surf on the beach.” (Ellis)

The ʻiliʻili from Kōloa were considered the best on the island of Hawaiʻi for hula ʻiliʻili.

The image shows ʻIliʻili Hānau O Kōloa.  (Orr)   In addition, I have added other images in a folder of like name in the Photos section on my Facebook and Google+ pages.

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Puna

Prior to Western contact, each of the major islands or independent chiefdoms in the Hawaiian chain comprised a mokupuni (island.) Over the centuries, as the ancient Hawaiian population grew, land use and resource management also evolved.

Each island was divided into several moku or districts, of which there are six in the island of Hawaiʻi, and the same number in Oʻahu. There is a district called Kona on the lee side and one called Koʻolau on the windward side of almost every island.  (Alexander)  Another moku (common on a couple mokupuni) is Puna (“well-spring”) – this summary is about Puna on Hawaiʻi Island.

Puna was once known for its groves of hala and ʻōhiʻa-lehua trees.  Hawaiians observed, “Ka ua moaniani lehua o Puna / The rain that brings the fragrance of the lehua of Puna”.

This ʻōlelo noʻeau refers to the forests of Puna, which attract clouds to drench the district with many rains, refreshing and enriching the Puna water table, and sustaining the life cycle of all living things in Puna.

While the Puna district does not have running streams, it does have many inland and shoreline springs continuously fed by rains borne upon the northeast tradewinds. (McGregor)

In Nā Mele o Hawaiʻi Nei, the reference “Puna paia ʻala i ka paia ʻala i ka hala,” is translated as “Puna of the fragrant bowers, fragrant with the blossoms of the hala” (pandanus.)  (King, 1938)

According to Pukui, in the olden days, people would stick branches of hala into the thatching of their houses to bring some of the fragrance indoors.

“Puna on Hawaiʻi Island was the land first reached by Pāʻao, and here in Puna he built his first heiau for his god Ahaʻula and named it Ahaʻula (Wahaʻula.)  It was a luakini (large heiau where human sacrifice was offered.)  From Puna, Pāʻao went on to land in Kohala, at Puʻuepa. He built a heiau there, called Moʻokini.”  (Kamakau; McGregor)

According to Kamakau, the Island of Hawaiʻi was without a chief when Pāʻao arrived in Hawaiʻi in the eleventh century.  Evidently the chiefs of Hawaiʻi were considered aliʻi makaʻāinana (commoner chiefs) or just commoners, makaʻāinana, during this time.

Pāʻao sent back to Tahiti for a new ruler for Hawaiʻi, thereby ushering in a new era of ruling chiefs and kāhuna for the Hawaiian archipelago. The new ruler was Pili-kaʻaiea, from whom King Kamehameha I eventually descended.  (McGregor)

One story tells that Hāʻena, a small bay near the northern boundary of Puna, is said to be the birthplace of hula.  The goddess Hiʻiaka is said to have been instructed to dance hula on the beach there.  Puna is said to inspire hula because of the natural movements of waves, wind and trees. (Other stories suggest hula was started in other areas of the Islands.)

Early settlement patterns in the Islands put people on the windward sides of the islands, typically along the shoreline.  However, in Puna, much of the district's coastal areas have thin soils and there are no good deep water harbors. The ocean along the Puna coast is often rough and windblown.

As a result, settlement patterns in Puna tend to be dispersed and without major population centers. Villages in Puna tended to be spread out over larger areas and often are inland, and away from the coast, where the soil is better for agriculture.  (Escott)

This was confirmed on William Ellis’ travel around the island in the early 1800s, “Hitherto we had travelled close to the sea-shore, in order to visit the most populous villages in the districts through which we had passed. But here receiving information that we should find more inhabitants a few miles inland, than nearer the sea, we thought it best to direct our course towards the mountains.”  (Ellis, 1826)

Alexander later (1891) noted, “The first settlement met with after leaving Hilo by the sea coast road, is at Keaau, a distant 10 miles where there are less than a dozen inhabitants; the next is at Makuʻu, distant 14 miles where there are a few more, after which there is occasionally a stray hut or two, until Halepuaʻa and Koaʻe are reached, 21 miles from Hilo, at which place there is quite a village”.

“Nearly all the food consumed by the residents of this District is raised in the interior belt to which access is had by the ancient paths or trails leading from the sea coast. The finest sweet potatoes are raised in places that look more like banks of cobble stones or piles of macadam freshly dumped varying from the size of a walnut to those as large as ones fist. In these holes there is not a particle of soil to be seen”.  (Alexander; Rechtman)

Puna was famous as a district for some of its valuable products, including “hogs, gray tapa cloth (‘eleuli), tapas made of mamaki bark, fine mats made of young pandanus blossoms (‘ahuhinalo,) mats made of young pandanus leaves (ʻahuao,) and feathers of the ʻoʻo and mamo birds”.  (Kamakau; McGregor)

An historic trail once ran from the modern day Lili‘uokalani Gardens area to Hāʻena along the Puna coast. The trail is often referred to as the old Puna Trail and/or Puna Road. There is an historic trail/cart road that is also called the Puna Trail (Ala Hele Puna) and/or the Old Government Road.

It likely incorporated segments of the traditional Hawaiian trail system often referred to as the ala loa or ala hele.  The full length of the Puna Trail, or Old Government Road, might have been constructed or improved just before 1840. The alignment was mapped by the Wilkes Expedition of 1804-41.  (Escott)

With Western contact, extensive tracts of Puna’s landscape were transformed, first with sandalwood export began in 1790, reaching its peak between 1810 and 1825.

After Hawai‘i’s first forestry law in 1839 restricted the removal of sandalwood trees, cattle ranching and coffee cultivation became the leading commercial activities. By 1850, agriculture diversified with the cultivation of potatoes, onions, pumpkins, oranges and molasses.

Before 1900, coffee was the chief agricultural crop in the area. Over 6,000-acres of coffee trees were owned by approximately 200-independent coffee planters and 6 incorporated companies.

Soon, sugarcane was in large-scale production. The dominant operation in Puna was the Puna Sugar Company, whose plantation fields extended for ten miles along both sides of Highway 11 between Keaʻau and Mountain View, as well as in the Pāhoa and Kapoho areas.

Initially founded in 1899 as Olaʻa Sugar Company, it was later (1960) renamed Puna Sugar Company. The coffee trees were uprooted to make way for sugarcane. ʻŌhiʻa forests also had to be cleared, field rock piled, land plowed by mules or dug up by hand with a pick. Sugarcane was in large-scale production; the sugar mill operation ran for just over 80 years, until 1984.

Macadamia nuts and papaya were introduced in 1881 and 1919, respectively. Since the closure of the Puna Sugar Company, papaya and macadamia nut production have become the leading crops of Puna.  About 97% of the state’s papaya production occurs in Puna, primarily in the Kapoho area.

Another thing growing in Puna is housing.  Between 1958 and 1973, more than 52,500-individual lots were created.  There are at least over 40-Puna subdivisions.

As a comparison, Oʻahu is about 382,500-acres in size; the district of Puna on the island of Hawaiʻi is about 320,000-acres in size – almost same-same.

According to the 2010 census, Oʻahu has about 955,000-people and Puna has about 45,500.  That means there are less than a half-acre per person on Oʻahu and over 70-acres per person in Puna.

However, in Puna, they plotted out the subdivisions in cookie-cutter residential/agricultural lots across a grid, with very little space for other uses (such as parks, open space, government services, regional roads … the list goes on and on.)

Likewise, most subdivision lots are accessed by private, unpaved roads. The streets generally lack sidewalks and lighting, and do not meet current County standards in terms of pavement width, vertical geometrics, drainage and other design parameters.

There are only two main roads to move the people in the district in and out – one (Route 130 - Keaau-Pahoa Road) goes into Pahoa to Kalapana; the other (Route 11 - Volcano Highway) serves the lots up in the Volcano area.  (Lots of information here from the Puna Community Development Plan.)

I was saddened when the news broadcast the first house lost to the ongoing lava flow – a home of a friend and former student from Parker School.

I have been debating about posting on Puna – but decided that as the lava flows there, we should reflect on its history, but also be sensitive to and respectful of the trauma facing many of the families there – they are going through situations many of us will never have to face.

The image shows the Wilkes 1840-1841 map of Puna.  In addition, I have added others similar images in a folder of like name in the Photos section on my Facebook and Google+ pages.

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Hula Pahu

“For many weeks in succession, the first sound that fell on the ear in the morning was the loud beating of the drum, summoning the dancers to assemble. … Day after day, several hours in the day, the noisy hula - drumming, singing, and dancing in the open air, constituted the great attraction …”  (Hiram Bingham)

The Hawaiian term ‘Pahu’ translates into ’drum’, ‘Niu’ being the Hawaiian word for ‘coconut’.   The traditional pahu hula (hula drum) was carved from coconut stumps and covered with sharkskin (although possibly other types of native wood (koa, breadfruit, etc.) may have been used.)

The pahu is carved out of a single piece of wood; a bowl-like septum separates the sound chamber from the base or carved arches and a sharkskin membrane is lashed with sennit to the base.

The original material used for the Pahu’s waha (head) was either shark or ray skin. Heiau Pahu tended to be originally made with a waha of ray skin, while non-religious Pahu often used sharkskin.  (Kalikiano)

Pahu were made with great care. In pre-European times (pre-1778) each part of the drum's body, especially the sennit, 'aha, used to lash the sharkskin to the base, required special prayers which were chanted during the processes of making the sennit and lashing the skin to the drum.

The power of the prayers became entrapped in the lashing, the wood, the skin and remained with the drum always. The rows of inverted arches carved out of the base, called hoaka, are visually symbolic of outstretched hands supporting joined human figures overhead and are poetically symbolic of the shadows of gods (hoaka means to cast a shadow.)  (Smithsonian)

“Their wooden drum, with one sharkskin head, is beaten by the fingers of the musician, sitting cross-legged beside it as the uncovered end stands on the ground.”  (Hiram Bingham)

Laʻa is generally credited for introducing the drum to Hawaiʻi.  Laʻamaikahiki (Laʻa-from-Kahiki) brought the first sharkskin pahu to Hawaiʻi from Kahiki (Tahiti,) “sounding over the oceans” sometime around AD 1250.

On nearing the land he waked the echoes with the stirring tones of his drum, which so astonished the people that they followed him from point to point along the coast and heaped favors upon him whenever he came ashore.

Laʻa was an enthusiastic patron of the hula and is said to have made a tour of the islands, in which he instructed the natives in new forms of the dance.  (Emerson)

The shorter variety of Pahu (Pahu Hula) was used to beat time in Hula dances and to accompany chanting mele. It was made to be played by a standing person (always a priest, Kahuna, or Chief), whereas the Hula Pahu was made to more suitably accommodate a seated or kneeling individual.

The sounds of the pahu are referred to as leo (voice) and the drum head is referred to as waha (mouth.)  During state rituals in the large open-air heiau, the pahu was a receptacle for a god who spoke through the ‘voice’ of the drum.

There is reason to believe that the original use of the pahu was in connection with the services of the temple, and that its adaptation to the hālau was simply transference from one to another religious use.

Music, particularly drumming, was traditionally important in Hawaiian ritual. A drum would have been played as part of hula - a larger version was used in temples.  The seated musician normally played the pahu with one hand and a smaller drum, sometimes tied to the knee, with the other.  (British Museum)

Hawaiian musical traditions are essentially vocal. Percussive musical instruments are never played alone, but always to accompany chanting and dancing.

The pahu is an instrument of power and sacredness that exemplifies traditions of ritual music and dance that are steeped in time. The drum is both a sound producer and a symbol. Its music represents the fundamental principles of Hawaiian perceptions of time and timing in traditional music.

Pahu were given proper names and passed down from generation to generation as objects of mana (power) and kapu (sacredness) producing sounds that carried the knowledge of generations of aliʻi and kahuna (specialists, including priests.)  (Smithsonian)

Hula is a form of cultural expression of the utmost complexity, reaching back through the centuries to a time in the islands when history was recorded entirely by story and song, and passed along to succeeding generations by skilled individuals.

Since the essence of modern Hawaiian Hula is a medium of expression for communicating thoughts, stories and feelings that are for the most part translated by patterns of bodily motion in which not just the arms and hands, but the entire body, act as story telling devices.  (Kalikiano)

Hula combines dance and chant or song to tell stories, recount past events and provide entertainment for its audience.  With a clear link between dancer’s actions and the chant or song, the dancer uses rhythmic lower body movements, mimetic or depictive hand gestures and facial expression, as part of this performance. (ksbe-edu)

"The hula was a religious service, in which poetry, music, pantomime, and the dance lent themselves, under the forms of dramatic art, to the refreshment of men's minds. Its view of life was idyllic, and it gave itself to the celebration of those mythical times when gods and goddesses moved on the earth as men and women and when men and women were as gods." 

"(W)hen it comes to the hula and the whole train of feelings and sentiments that made their entrances and exits in the hālau (the hall of the hula) one perceives that in this he has found the door to the heart of the people."  (Emerson, son of Missionaries)

In describing a hula danced before Keōpūolani and her daughter Nāhiʻenaʻena, in Lāhainā in 1823, Missionary CS Stewart wrote:  "The motions of the dance were slow and graceful, and, in this instance, free from indelicacy of action; and the song, or rather recitative, accompanied by much gesticulation, was dignified and harmonious in its numbers.”

 
”The theme of the whole, was the character and praises of the queen and princess, who were compared to everything sublime in nature, exalted as gods." (Missionary Stewart)

“This was intended, in part at least, as an honor and gratification to the king, especially at Honolulu, at his expected reception there, on his removal from Kailua.  Apparently, not all hula was viewed as bad or indecent.”

“In the hula, the dancers are often fantastically decorated with figured or colored kapa, green leaves, fresh flowers, braided hair, and sometimes with a gaiter on the ancle, set with hundreds of dog's teeth, so as to be considerably heavy, and to rattle against each other in the motion of the feet.”  (Hiram Bingham)

The image shows a pahu hula (British Museum.)

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Hula – How the Missionaries Felt

"Hula is the language of the heart, and therefore the heartbeat of the Hawaiian people."  (attributed to Kalākaua)

"Their dances ... are prefaced with a slow, solemn song, in which all the party join, moving their legs, and gently striking their breasts, in a manner, and with attitudes, that are perfectly easy and graceful ... ."  (Captain Cook Journal, 1779)

“Hula is not just a dance, but a way of life, an ancient art that tells of Hawaiʻi's rich history and spirituality.” (attributed to many)

As hula is the dance that accompanies Hawaiian mele, the function of hula is therefore an extension of the function of mele in Hawaiian society. While it was the mele that was the essential part of the story, hula served to animate the words, giving physical life to the moʻolelo (stories.)  (Bishop Museum)

Hula combines dance and chant or song to tell stories, recount past events and provide entertainment for its audience.  With a clear link between dancer’s actions and the chant or song, the dancer uses rhythmic lower body movements, mimetic or depictive hand gestures and facial expression, as part of this performance. (ksbe-edu)

So what did the missionaries really think?

As Hiram Bingham once noted, they “were wasting their time in learning, practising, or witnessing the hula, or heathen song and dance.”  (Remember, heathen simply means ‘without religion, as in without God.’)

I think some might be surprised on how some missionaries viewed hula.

"The hula was a religious service, in which poetry, music, pantomime, and the dance lent themselves, under the forms of dramatic art, to the refreshment of men's minds. Its view of life was idyllic, and it gave itself to the celebration of those mythical times when gods and goddesses moved on the earth as men and women and when men and women were as gods."  (Emerson, son of missionaries)

"(W)hen it comes to the hula and the whole train of feelings and sentiments that made their entrances and exits in the halau (the hall of the hula) one perceives that in this he has found the door to the heart of the people."  (Emerson, son of Missionaries)

In describing a hula danced before Keōpūolani and her daughter Nāhiʻenaʻena, in Lāhainā in 1823, Missionary CS Stewart wrote:  "The motions of the dance were slow and graceful, and, in this instance, free from indelicacy of action; and the song, or rather recitative, accompanied by much gesticulation, was dignified and harmonious in its numbers. The theme of the whole, was the character and praises of the queen and princess, who were compared to everything sublime in nature, exalted as gods." (Missionary Stewart)

In describing the challenges between commitment to hula, as well as their studies, Sybil Bingham, wife of Hiram noted, "… most of them (are) indeed in earnest to receive instruction as the conduct of each day testifies.  Three of them are obliged to attend the hula hula every afternoon. At the close of the school this forenoon, and also last Saturday, they proposed going quickly to eat and return immediately that they might not lose the privilege of the bible lesson. … We were gratified after the vigorous effort made for the hula hula to see our scholars both at public worship and sabbath school."  (Sybil Bingham)

And how did Hiram Bingham feel (the one most often accused of a Hula ban?)

“This was intended, in part at least, as an honor and gratification to the king, especially at Honolulu, at his expected reception there, on his removal from Kailua.  Apparently, not all hula was viewed as bad or indecent.”  (Missionary Hiram Bingham)

“In the hula, the dancers are often fantastically decorated with figured or colored kapa, green leaves, fresh flowers, braided hair, and sometimes with a gaiter on the ancle, set with hundreds of dog's teeth, so as to be considerably heavy, and to rattle against each other in the motion of the feet.”  (Hiram Bingham)

“They had been interwoven too with their superstitions, and made subservient to the honor of their gods, and their rulers, either living or departed and deified.” (Hiram Bingham)

The missionaries most often opposed nudity, drinking and ‘wasting’ time.  Even today, laws forbid nudity in public; frown on excessive drinking and, likewise, we tend to encourage people to be productive members of their community (kind of like the concerns expressed by the early missionaries, including Bingham.)

So what happened?  Was hula ever effectively banned?  Did hula stop?

“Missionary influence, while strong, never wiped out the hula as a functional part of the Hawaiian society. Faced with this undeniable fact, the authorities sought to curb performances by regulation.”  (Barrere, Pukui & Kelly)

While not effectively stopping it completely, it does appear the missionaries did play a role on the Sabbath.  "The king Kaumualiʻi appears exceedingly interested in what he now learns from the bible through the interpretation of Honolii. The Capt. of the schooner informed us that last week the king sent out his crier, prohibiting dancing and work in the "Kalo patches" on the Sabbath. Honolii gives us some account of this in his letter to Mr. B.”

“After giving many of the particulars relative to the king's desire to hear the word of the Great Jehovah he says "I, John, told the king 'your people have hula hula on the Sabbath day? The king say, yes' Then I ask him, 'Can you wait hula hula on this day? Your people may hula hula on Monday, this day it is holy. Then king say we may stop hula hula on another Sabbath day.'"  (Sybil Bingham)

In 1830, Kaʻahumanu issued an oral proclamation in which she instructed the people, in part: “The hula is forbidden, the chant (olioli), the song of pleasure (mele), foul speech, and bathing by women in public places.” (Kamakau)  Although it was apparently never formally rescinded, the law was so widely ignored, especially after Kaʻahumanu died in 1832, that it virtually ceased to exist.

Kaʻahumanu was not the only Aliʻi who sought to ban hula: “A hula in the village today at the house formerly occupied by Kaomi. It was commenced at an early hour and continued until noon and was broken up only by the appearance of Kinau to put a stop to it. The notice that a hula was going on reached her and she sent word by Kalaaulana to Kaomi to put a stop to it & shut up the house”.  (Missionary Levi Chamberlain)

There are many references to King Kamehameha III regularly watching the hula.  “The young king (Kamehameha III,) … has been induced, however, to coincide with the other chiefs in all public acts.  His conduct, therefore, as a private person, though far from correct, has had but little influence. But recently, he has asserted more openly his independence; & he has done it by pursuing a course, which he knew was altogether opposed to the wishes of nearly all the high chiefs. He has revived the hula, or native dance”.   (EW Clark)

He was not alone.  “Unquestionably many christian Hawaiians considered hula immoral, and attempted to extirpate it. A series of letters from the Hawaiian journal Nupepa Kukoa in 1864-66 complains about hula schools operating in Maui, Oʻahu and Kauaʻi. These letters are interesting because they show that hula continued to flourish … ‘the “power and influence” of the national dance was never threatened ... hula remained the favorite entertainment of Hawaiians of all classes.’”  (kaimi-org)

In 1836, it was reported the French consul for Manila visited Honolulu, and attended a state banquet hosted by the King. Part of the festivities was a formal hula performance.  In 1850, the Penal Code required a license for “any theater, circus, Hawaiian hula, public show or other exhibition, not of an immoral character” for which admission was charged.

“No license for a Hawaiian hula shall be granted for any other place than Honolulu.”  (The law did not regulate hula in private, so the dance continued to be practiced and enjoyed throughout the islands.)

King David Kalākaua’s 1883 coronation included three days of hula performances and his 1886 jubilee celebrations had performances of ancient and newly created dances.

Hula was never effectively banned; it is a common misconception that one would suggest that the American missionaries banned hula.  They could not have banned hula, they did not have the authority.

The image shows an early drawing of Hula (1816.)  In addition, I have added other related images in a folder of like name in the Photos section on my Facebook and Google+ pages.

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© 2013 Hoʻokuleana LLC

Hula

“Hula is not just a dance, but a way of life, an ancient art that tells of Hawaiʻi's rich history and spirituality.” (this is attributed to many)

Hula combines dance and chant or song to tell stories, recount past events and provide entertainment for its audience.  With a clear link between dancer’s actions and the chant or song, the dancer uses rhythmic lower body movements, mimetic or depictive hand gestures and facial expression, as part of this performance. (ksbe-edu)

As hula is the dance that accompanies Hawaiian mele, the function of hula is therefore an extension of the function of mele in Hawaiian society. While it was the mele that was the essential part of the story, hula served to animate the words, giving physical life to the moʻolelo (stories.)  (Bishop Museum)

Today, we typically divide hula into two different forms, the hula kahiko (ancient dance) and the hula ʻauana, (also spelled ʻauwana - modern dance.)

Although the terms hula kahiko (ancient) and hula ʻauana (modern) are used to divide styles of traditional dance, these terms are a relatively recent classification of a practice with a very long history.  The dance has also undergone evolutions throughout its history, often being influenced by the political leaders and situations of the time.  (Bishop Museum)

“In the hula, the dancers are often fantastically decorated with figured or colored kapa, green leaves, fresh flowers, braided hair, and sometimes with a gaiter on the ancle, set with hundreds of dog's teeth, so as to be considerably heavy, and to rattle against each other in the motion of the feet.”  (Hiram Bingham)

“They had been interwoven too with their superstitions, and made subservient to the honor of their gods, and their rulers, either living or departed and deified.” (Hiram Bingham)

A common misrepresentation of history suggests that the American missionaries banned hula – they could not have, they did not have the authority.

However, it is true that they openly disapproved of hula (as well as other forms of dance and activities) as immoral and idle pastime.

As Bingham notes, they “were wasting their time in learning, practising, or witnessing the hula, or heathen song and dance.”

“Missionary influence, while strong, never wiped out the hula as a functional part of the Hawaiian society. Faced with this undeniable fact, the authorities sought to curb performances by regulation.”  (Barrere, Pukui & Kelly)

Despite efforts to eliminate hula, many of the ancient chants and dances were kept alive within families and passed to descendants.  (Bishop Museum)

In 1830, Kaʻahumanu issued an oral proclamation in which she instructed the people, in part: “The hula is forbidden, the chant (olioli), the song of pleasure (mele), foul speech, and bathing by women in public places.” (Kamakau)

Although it was apparently never formally rescinded, the law was so widely ignored, especially after Kaʻahumanu died in 1832, that it virtually ceased to exist.

In 1836, it is reported the French consul for Manila visited Honolulu, and attended a state banquet hosted by the King. Part of the festivities was a formal hula performance.

In 1850, the Penal Code required a license for "any theater, circus, Hawaiian hula, public show or other exhibition, not of an immoral character” for which admission was charged.

“No license for a Hawaiian hula shall be granted for any other place than Honolulu.”  (The law did not regulate hula in private, so the dance continued to be practiced and enjoyed throughout the islands.)

King David Kalākaua’s 1883 coronation included three days of hula performances and his 1886 jubilee celebrations had performances of ancient and newly created dances.

Reviewing older drawings of hula, it is clear that the attire of the dancers is different than what we generally associate with hula attire today (and throughout the last century.)

Men and women were topless in the original hula attire. Women wore a pāʻū, which is a wrap made of tapa cloth. Men wore malos, or loincloths, and other kapa wraps.

Hula attire was expanded with lei and decorations for dancers' wrists and ankles. Originally, some of these decorations were made of whale bone or dogs' teeth.

So, when and where did the grassy/leafy skirt that we know today come from?

Reportedly, the grass skirt was introduced to Hawaiʻi by immigrants from the Gilbert Islands (small atolls that are today part of the Pacific Island nation of Kiribati) in the 1870s and 1880s.

“Hawaiian hula during and after that period (Kalākaua era) influenced and was influenced by the dance styles of other Islanders, such as the incorporation of Kiribati-style grass skirts.”  (Kealani Cook, PhD dissertation)

By the early 1900s, hula performers in Hawaiʻi and the US continent wore grass skirts. Some hula performers still wear grass skirts today.

Today, grass skirts function as the international symbol for hula dancing.  The grass skirts sway with the dancers as they move their hips, creating a fluid movement.  Dancers also wear a variety of other apparel.

The image shows female hula (with dancers in their traditional pāʻū) as drawn by Choris in 1816.  In addition, I have included some other hula images in a folder of like name in the Photos section on my Facebook and Google+ pages.

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