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For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource <strong>Kealoha Kalama</strong> Subject The topic of the resource Nā Kumu Hula Kealoha Kalama - Nānā I Nā Loea Hula Volume 2 Page 47 Description An account of the resource Kealoha Kahuna is a kumu hula, producer, entertainer, musician, and recording artist. In 1971 on the premises of the Bishop Museum, she opened Hālau Hula O Pohai Kealoha which means “hula studio of encircling love.” I was raised in the country growing up with lots of music and hula. It was a good life and I was fortunate to have parents who gave us what they could. I was always involved in music: singing, playing the ukulele, piano, and guitar. My mother Mrs. Virginia Hainan Kalama was, and will always be, the biggest inspiration in my entertainment life. She was the community association president, the Nānākuli Hawaiian Civic Club president, and was very much involved in politics. She was a true Republican who worked hard for her community and she always enjoyed playing music. My big love in those days was the hula. I learned to dance in elementary and intermediate schools from teachers and sometimes from our kupuna. Back in the 1950s hula was a big thing in Hawaiʻi. Miss Puanani Alama was my first hula instructor, and she was such a beautiful hula dancer and a wonderful instructor. We didn’t do many chants because it wasn’t as important as it is today. I also met John Pi'ilani Watkins and was very honored to perform for his group. Brother John was such a great composer, beautiful singer, musician, and fantastic entertainer. He w as my kumu in hula and music. Back then in the late Fifties we put on shows at the military bases, the old Kapahulu Tavern, the Waikīkī Sands Club, and on the neighbor islands. I met Joseph Kamoha‘i Kahaulelio through Brother John. Joseph and Aunty Pauline Kekahuna were looking for hula dancers for their big show in the Princess Ka‘iulani and the Moana Hotels. Before I started taking hula lessons from Joseph Kahaulelio, John Piʻilani Watkins gave me his blessing to learn ʻōlapa. I also danced for Aunty Vicky I‘i, Aunty Genoa Keawe, Uncle Bill Aliʻiloa Lincoln, Louise Kaleiki. Leina‘ala Haile, and Leina‘ala Simerson. I was blessed to have been associated with many of Hawaiʻi’s outstanding kumu hula and entertainers. From 1969 to 1971 I coordinated the Hawaiian revue at the beautiful Ulumau Village in Kāne‘ohe. I also opened a Polynesian revue for the Waikiki Resort Hotel and I produced shows for the Reef Hotel. Hyatt Regency Hotel, Halekūlani Hotel, Bishop Museum, and Hawaiʻi’s Visitors Bureau. I was also the lead dancer for Aunty Bosalie Stevenson whom I travelled with to Kwajalein, Johnson Island, Okinawa, and other countries. For the past few years I’ve been with the Department of Education’s Kupuna Hawaiian Studies Program at the Admiral Nimitz Elementary School. It has really been a challenge to teach military children but I really enjoy helping them learn our culture, sing Hawaiian songs, and especially learn how to pronounce our Hawaiian words. Having been a judge for many hula competitions in Honolulu, Hilo, and on the mainland, I found our culture to be popular all over the world and so many young instructors are coming out from all over the place. I find a change in our beautiful hula and our ‘ōlapa, and I guess it has to be because it’s so competitive. After twenty-five years I still have my hālau Hālau Hula O Pohai Kealoha. My wonderful husband Wilfred T. Cabral has supported me with his love and has always been there to help me. I’ve made sure that I tried my best in whatever I did, and I thank the people who helped me throughout the years. After being in the entertainment field for over thirty-five years, I feel that I’ve paid my dues. Bill AliʻiIoa Lincoln Genoa Keawe John Pi‘ilani Watkins Joseph Kahaulilio Leina‘ala Simerson Leina‘ala Haile Louise Kaleiki Puanani Alama Vickie I‘i Rodrigues https://nakumuhula.org/archive/files/original/8575a674c944b112d23f1b33088d15a1.jpg 6735aec1429274135bdd567ae517bfe9 https://nakumuhula.org/archive/files/original/c3f3bd82ffb16a6be1ace1a722402357.jpg 2c0f1855188d1627c515ccce573eeece https://nakumuhula.org/archive/files/original/54311227642a2c1356760c6a234a1f4f.pdf 8e9742ef966591fcca7cd3022bfa12e3 https://nakumuhula.org/archive/files/original/c515150dde6704f2d367b2e50fabc91f.jpg f7a62214ebaed280105e710b54343edd https://nakumuhula.org/archive/files/original/c850c578b37cd8e9bbeeb823abc56880.jpg 8d5f72584e30d074563cee8e8a6048e2 https://nakumuhula.org/archive/files/original/b45fcc06eedd67bf0475d73fa6e8d484.pdf 0d8a5e96e399584532fd757ed928c514 https://nakumuhula.org/archive/files/original/d3edaacec4ced125c37389b61b69d5d3.pdf d4737d0d4d18d300158a1cc25ad8d1ea https://nakumuhula.org/archive/files/original/24ceb7edfbcb57594d9c6773282c46f7.pdf f2374e759157f72d5428ad074b74ab72 https://nakumuhula.org/archive/files/original/3f1e68d6cdbd5b6e1739b55aee6f6f59.pdf 8ad5284bcbb9d09f8a80b1ef2a52e2d3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource <strong>Karen Kaohulani Aiu Costa</strong> Subject The topic of the resource Nā Kumu Hula Karen Kaohulani Aiu Costa - Nānā I Nā Loea Hula Volume 2 Page 35 Description An account of the resource Karen Costa, daughter of the late renowned kumu hula Māʻiki Aiu Lake, established Nā Wahine No Me Ka Ha‘aha‘a Mai Māʻiki and Nā Kāne O Kaohulani in 1984. Back in the early 1960s training as a dancer was very important and valuable as far as where our beginnings came from and where hula started. Kahiko was not as popular as it is today. Chants such as “‘Au‘a‘la” were very precious to Hawaiians and were taught only to the special students. I became a student of my mother Māʻiki Aiu from the age of six or seven. As I got older I was fortunate to become an extension of my mother in the running of the hālau business as well as learning our culture of the hula. For twenty-two years I was very privileged to hold this position. In 1970 my mother opened up a class for anyone interested in studying to he a kumu hula. It was decided by my mother’s aunty Hoakalei Defries that I attend these classes. All the young people who came to that first kumu hula class were there by choice. For me it was an obligation. It was meant for me to carry on the family tradition into the future. Our class started off with a total of at least seventy-eight students but dwindled down to about fifty-two. The desire to be a kumu and to learn what a kumu’s responsibilities are were not as easy as we thought. The formal training lasted over two years with long hours learning chants of our ancestors, making our own instruments, and training as ‘ōlapa and ho‘opa‘a. Only then were we given the title of kumu hula. This title was bestowed onto us after all of this training in 1972. I accepted the title but I didn’t acknowledge it because of all the duties and responsibilities that such a gift carried. My mother gave us the opportunity to write notes and to ask questions regarding any chant, song or dance that we were learning. She also issued some chants that we never heard of on paper to make it easy for us. Tūtū Kawena Pukui encouraged her to satisfy the need for paper and pencil because when we went home, we would be totally lost if we didn’t have anyone who spoke the language. We would be frustrated and lose interest in learning. It would be more damaging not to have something to fall back on. I have had the opportunity during those twenty-two years with my mother of visiting and learning from many elders. Today many of them are gone like Aunty Alice Nāmakelua, Vicky Iʻi Rodrigues, Uncle Bill AliʻiIoa Lincoln and Tūtū Kawena Pukui. Today I am fortunate to have caring teachers such as Aunty Malia Craver, Kaʻupena Wong, Namaka Bacon and my godmother Kekauʻilani Kalama. As I got older and hopefully wiser, I experienced things and saw the love of people who came to me and believed in me and my teaching. They told me that I really had a lot to share. My interpretation of kumu hula has always been what I saw in my mother. She was so enlightening, full of love, and she had so much to give. I didn’t think I was that kind of a person. But the people looked to me for all of the same things that they saw in my mother. Today I share the knowledge that my mother’s hula masters left with her and she has left with me. Now I leave it with all of you. As a teacher my mother was strict but there was also love and concern. To me she was a master in all that she did. She appealed to the young because she made hula exciting. She wasn’t selfish with her haumāna and she was always forever giving. All of these things made me look up to her. Hopefully all these qualities are what I as a kumu hula can someday leave to my haumāna. In time I visualize hula will come full circle and we will return to that which was the most important. We will go back to the beginnings, to the basics, to our ancestors, and that will be vital to our survival. We do have elders; we do have beginnings; we do have grass roots; and where we all come from and the source of the elders is there. Without the source we don’t have much of a future. “My interpretation of kumu hula has always been what I saw in my mother. She was so enlightening, full oj love, and she had so much to give.” Alice Nāmakelua Bill AliʻiIoa Lincoln Kaʻupena Wong Kekauʻilani Kalama Ma‘iki Aiu Lake Malia Craver Mary Kawena Pūku‘i Vickie I‘i Rodrigues