Victoria Sunday Napuananionapalionako‘olau Kekuaokalani Mariteragi
Title
Victoria Sunday Napuananionapalionako‘olau Kekuaokalani Mariteragi
Subject
Nā Kumu Hula Victoria Sunday Napuananionapalionako‘olau Kekuaokalani Mariteragi - Nānā I Nā Loea Hula Volume 2 Page 76
Description
Sunday Mariteragi, a physical education instructor at Kahuku High School, teaches hula on the grounds of the Polynesian Cultural Center.
I took hula from Aunty Sally Wood Naluai when I was five- years-old. The only time I stopped was when she went to the mainland. Aunty taught in Kane‘ohe but I also remember traveling with her to places like Kalihi, Waimanalo, and the North Shore. I was fourteen- years-old when she went to teach the college kids at the Polynesian Cultural Center. She would use me as her alaka‘i and sometimes she actually left me to teach her classes in Kāne‘ohe.
Before any kind of refinement in hula, Aunty’s first and foremost concern was timing. The fundamental steps were next and then the graceful refinement of the hands. Movement came with kahiko; you had to bend. But your body still had to flow and your arms always had to be projected so everybody could see your motions. Those were her thoughts. She was never one for dancing too close to herself. It was always an open style.
It was in 1980 that my sister Ellen Gay and I had our ‘ūniki. The ceremony was held at Aunty Sally’s home in Kahaluʻu and we had to explain the different traditional chants like “Kawika,” ‘“'AuʻaʻIa,” “Ku‘i Moloka‘i,” “Ua Nani ‘O Nuʻuanu.” We had to explain and dance all of them. We had to describe the many uses of the ti leaf and make our own haku for the drum and for the ipu. And then we had to do many hula ‘auana and we had to explain each song and describe the different narratives of each song. This was in front of family and close friends.
I started teaching hula in Kāne‘ohe as early as 1970. I had finished college and I was living at my family’s home in Kāne‘ohe. I taught physical education at Kailua Intermediate School and included hula in the curriculum. I also held hula classes after school.
Traditionally, ancient dances were not done too fast. Now the dances are so fast. Sometimes you don’t have enough time to see motions. You’ll see movement maybe but not specific things where you can pick up a communicated idea. But I don’t think anything is wrong with that.
Hula kahiko started as a ceremonial dance recalling genealogy and histories of the past. Kahiko can also be mele that are done with accompaniment such as an ipu or drum. It can also be a newly created chant of the present.
Hula played a major part in giving me confidence. I love to dance. I feel it’s my one talent that I’m most comfortable in doing. I can appreciate all styles of hula. What lʻve learned from Aunty Sally: the consistent training, the patience, and the tolerance, has helped me as an educator. I thank my aunty for her patience and tolerance with me and for being my source of encouragement.
76 Victoria Sunday Napuananionapalionako'olau Kekuaokalani Mariteragi
I took hula from Aunty Sally Wood Naluai when I was five- years-old. The only time I stopped was when she went to the mainland. Aunty taught in Kane‘ohe but I also remember traveling with her to places like Kalihi, Waimanalo, and the North Shore. I was fourteen- years-old when she went to teach the college kids at the Polynesian Cultural Center. She would use me as her alaka‘i and sometimes she actually left me to teach her classes in Kāne‘ohe.
Before any kind of refinement in hula, Aunty’s first and foremost concern was timing. The fundamental steps were next and then the graceful refinement of the hands. Movement came with kahiko; you had to bend. But your body still had to flow and your arms always had to be projected so everybody could see your motions. Those were her thoughts. She was never one for dancing too close to herself. It was always an open style.
It was in 1980 that my sister Ellen Gay and I had our ‘ūniki. The ceremony was held at Aunty Sally’s home in Kahaluʻu and we had to explain the different traditional chants like “Kawika,” ‘“'AuʻaʻIa,” “Ku‘i Moloka‘i,” “Ua Nani ‘O Nuʻuanu.” We had to explain and dance all of them. We had to describe the many uses of the ti leaf and make our own haku for the drum and for the ipu. And then we had to do many hula ‘auana and we had to explain each song and describe the different narratives of each song. This was in front of family and close friends.
I started teaching hula in Kāne‘ohe as early as 1970. I had finished college and I was living at my family’s home in Kāne‘ohe. I taught physical education at Kailua Intermediate School and included hula in the curriculum. I also held hula classes after school.
Traditionally, ancient dances were not done too fast. Now the dances are so fast. Sometimes you don’t have enough time to see motions. You’ll see movement maybe but not specific things where you can pick up a communicated idea. But I don’t think anything is wrong with that.
Hula kahiko started as a ceremonial dance recalling genealogy and histories of the past. Kahiko can also be mele that are done with accompaniment such as an ipu or drum. It can also be a newly created chant of the present.
Hula played a major part in giving me confidence. I love to dance. I feel it’s my one talent that I’m most comfortable in doing. I can appreciate all styles of hula. What lʻve learned from Aunty Sally: the consistent training, the patience, and the tolerance, has helped me as an educator. I thank my aunty for her patience and tolerance with me and for being my source of encouragement.
76 Victoria Sunday Napuananionapalionako'olau Kekuaokalani Mariteragi
Citation
“Victoria Sunday Napuananionapalionako‘olau Kekuaokalani Mariteragi,” Nā Kumu Hula Archive, accessed February 23, 2025, https://nakumuhula.org/archive/items/show/136.