1 40 11 https://nakumuhula.org/archive/files/original/36c53f0050d38505d8392730eeb70fa6.jpg d015fa2e6ac7862756b6175d0b7cd2b7 https://nakumuhula.org/archive/files/original/5eaab8dcacfe83be8c24ee6f82067cbc.jpg 9110d77cc6ad92bcb6954ee9e98c60ed https://nakumuhula.org/archive/files/original/632764f17770c8357eec52bc0e3171aa.jpg 04b0f46937e3e2bd978bf8f8166b075e https://nakumuhula.org/archive/files/original/77a1dc2c9bb5cfc4f4420997986d9ad0.pdf a2567eecf8b27cd29fd4de87b68c74f3 https://nakumuhula.org/archive/files/original/f989f11cff54a535de98b989734e3467.pdf 5a299ae474e8602de73315a95922ee96 https://nakumuhula.org/archive/files/original/e87a96c3e4cf58f38cca86233e3554a8.pdf 58594df618f8f7a0ad6c893e2b48410d https://nakumuhula.org/archive/files/original/79c987a0cb06817183bea956b9f1e7df.pdf 8e233dce7a6eee1ec80cf0313dd4b669 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>Pōhaku Nishimitsu</strong> Subject The topic of the resource Nā Kumu Hula Pohaku Nishimitsu - Nānā I Nā Loea Hula Volume 2 Page 90 Description An account of the resource Pōhaku Nishimitsu is a Hawaiian Studies resource teacher for the Department of Education and a lecturer for the Kaua‘i Community College. He also conducts teacher workshops in Hawaiian culture for the University of Hawaiʻi School of Continuing Education on Kaua‘i. I have been teaching hula since 1979. The name of my halau is Kani Ka Palm o LohiʻPau which is a traditional name that comes from Kauai and is part of the Pele-Hi'iaka cycle. It was given to me by my kumu ‘olelo Hawaii and kumu mo‘olelo Rubellite Kawena Kinney Johnson, a Kauai native. When I think of traditional hula, I look for a mele that has a real connection to nā kupuna kahiko. Hence it has a solid foundation; it has a concrete link with the past. Traditions are like an unbroken piece of thread. It connects every era and that thread is going to continue stringing us into the next century. It will be linked back to us and back to our kupuna who came before us. Tradition has a grounding, a basis in the past, and is carried on for the future generations. I was a sophomore in high school on the Island of Kaua‘i when I started hula with Aunty Ku‘ulei Pūnua. She was teaching in Kapa‘a and Llhu‘e. She had trained under old time kumu hula Kent Ghirard and lolani Luahine. These two kumu hula were really diverse; one being modern and one immersed in the old. But both were very strict and rigid in terms of discipline and protocol. This was passed on in their teachings. I learned a number of traditional hula from Aunty Ku'ulei so I had a good foundation to grow from. I left her because I finished high school and my schooling took me to O‘ahu. I continued with my hula training and learning more about Hawaiian culture and arts. I majored in Hawaiian Studies at the University of Hawaiʻi at Manoa with a strong emphasis on ‘ōlelo Hawaii. While on O‘ahu I started hula with Nathan Napoka and Aunty Hoakalei Kamau‘u when they were teaching in Nuʻuanu. It was special to listen to Aunty Hoakalei and the way she chanted. Her vast knowledge sparked an interest in my wanting to continue my hula education. I stayed with her for at least a year and a half. Uncle Henry Moʻike-haokahiki Pa was kumu hula for the King Kamehameha Civic Club and I started taking hula from Uncle Henry. I thought that his wealth of mana‘o and style was really neat because he was one of the oldest kumu hula still teaching. It was fabulous being able to learn things from someone who had been doing it all his life. After Uncle Henry I moved to Darrell Lupenui and Waimāpuna. It was very different because I was usually in a combined men and women class and now I was in a group made lip of all men. They were robust and able to do totally different styles of hula from what I was doing before. Darrell was founded in traditional mana‘o and styling but he was also very innovative and he tried to meld the two to make a pleasing kind of picture so that the kupuna would not find his hula offensive. After a year Darrell, Thaddius Wilson, and O'Brian Eselu found it necessary to go their separate ways. A bunch of us went with O'Brian and Thaddius and formed Na Wai ʻEhā O Puna in the summer of 1978. I stayed with them for three years. I have a great deal of respect for Uncle Henry Pa and Aunty Edith Kanaka‘ole because they taught with great aloha and humility and they conveyed what they believed through what they did. Their actions proved they were living what they talked about. Also both of them were fluent Hawaiian speakers so they knew of the nuances and things hidden away to those not maʻa i ka ‘ōlelo makuahine (not familiar with the mother tongue). They were gifted. Through them I learned that the ‘ōlelo is of vital importance to hula. Without proper ‘ōlelo, how can you have proper hula? “Pono nō e a‘o mai i ka ‘ōlelo Hawaiʻi; ‘oi‘a ka mea nui. A e a‘o mai i ka hula o kou ‘aina ponoʻī.” Language is the key that opens doors. These passages shed light on things of the past; some of which are no more. We may never know everything but that’s the beauty of the hula and the mele—its subtlety. Now more so than ever I am very happy to be able to watch other people do their hula and enjoy what they are trying to do and share because of this resurgence i ka ‘olelo Hawaiʻi. 90 Pohaku Nishimitsu Darrell Lupenui Henry Pa Hoakalei Kamau‘u Ku‘ulei Pūnua Nathan Napoka https://nakumuhula.org/archive/files/original/4551e9395fb6627e854c37eaeeaa2e19.jpg 1d255e458f9bc43ad8b914c8937a382b https://nakumuhula.org/archive/files/original/22dff36db282cfc401c911f43b697669.jpg c7bd0fe5f8795653e8b6a25076b09e72 https://nakumuhula.org/archive/files/original/79687c72f65c53a6b941d904f7a9faa6.jpg f0b32289ecaf65824a2eca42a8d72f48 https://nakumuhula.org/archive/files/original/108165c29453227a18ee155de92dd166.pdf 11469468064ec0d4f81b5e4d0f206ec1 https://nakumuhula.org/archive/files/original/bb42c568a99bf5a71d7bf6abc4a4f1ff.pdf 7863e256672d3f6f5c286e2c141fac35 https://nakumuhula.org/archive/files/original/5bac7f12766aabbf10329c611f3b54a4.pdf f3fe909192f6de4f6edfc75290c3b988 https://nakumuhula.org/archive/files/original/f360e833bd5ea04a31f7ad18de5d1a87.pdf 663b658f0b5d611ed8aac97087eac080 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>Peter William Kauaimaka Lonoae‘a</strong> Subject The topic of the resource Nā Kumu Hula Peter William Kauaimaka Lonoae‘a - Nānā I Nā Loea Hula Volume 2 Page 68 Description An account of the resource At the age of twenty-one, Peter Lonoae‘a started teaching hula through workshops sponsored by the State Foundation on Culture and the Arts, he is presently a teacher at the James Campbell High School in ‘Ewa Beach. My first formal hula lessons were taken from Aunty Sally Wood Naluaʻi when I was attending college in 1969. She was teaching at the Polynesian Cultural Center. Keith Awai, Cy Bridges, Sunday Mariteragi and her sister Ellen Gay, and I were part of her select group that branched out from the night show. Other students came and went but the five of us were the steadies. Unfortunately after I graduated I left to teach school on Lānai. I didn’t know Aunty Sally would begin a training for an ‘ūniki. As fate would have it, that was her last ‘ūniki. I missed out. Aunty Sally’s style of dancing is a really straight back and dancing tall style which I try to teach my girls. We do bend but it’s not real low, not in the ‘auana anyway. When she taught us “Kaulīlua,” she said that it was Pua Ha‘aheo’s step for this particular move. She taught us specific motions for the girls and specific motions for the boys for “Kaulīlua.” She went into the kaona behind the words. It was interesting to learn things like that especially since I was still young. She had different drum beats but she used one specific style and that’s the one that l use. My knowledge broadened while attending the Church College of Hawaiʻi and when I participated in the State Foundation on Culture and the Arts program with Aunty Hoakalei Kamau‘u. I danced with her and her son Wailana. I taught at the workshop because they didn’t have too many male teachers at that time. Through these workshops l met other instructors like Aunty Eleanor Hiram Hoke, Uncle Henry Pa, and Lokalia Montgomery who I considered very interesting. It was a learning experience for me. I was a traveling resource teacher for the Department of Education. In 1976 I taught hula kahiko for Aunty Elaine Ka‘ōpūiki on Lānai. After one year on Lānai l taught music and performing arts to preschoolers up to the seventh graders on Moloka‘i for four years. From Moloka‘i I went to Hana where I taught the intermediate and high school students for six years. In 1987 I returned to O‘ahu and have been teaching at James Campbell High School ever since. My dancing style is a combination of Aunty Sally and John Kaʻimikaua. We wanted to perform Molokaʻi numbers at the Merrie Monarch Festival which were unique to Molokaʻi so we asked John Kaʻimikaua for chants. He introduced basic steps and I have incorporated some of his basic styles with the style that I already had. So it’s a mixture now. The students who are in my class either come from a hālau or have no hula knowledge at all. They just come to my class thinking it’s an easy class. A lot of my former students asked me to start a class for them but I always told them that my classes were their jumping off point. I still tell them that after you see what I have to offer and you want more, then seek out other teachers. I have never thought of opening a hālau because I did not ‘ūniki. I don’t feel proper. I do have hō'ike for my students. The requirements are almost the same. You have to create a chant, create motions, teach other students, and everything else except you will not ‘ūniki. There are so many young kumu hula that I don’t even know their names. The only time I see them is at competitions. Although they have Hawaiian roots, not all of them are Hawaiian even the ones I consider real good. Some of them don’t even have an ounce of Hawaiian blood in them but they’re so into the culture that they I have adopted it and it has become a part of them. 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For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource <strong>Nathan Napoka</strong> Subject The topic of the resource Nā Kumu Hula Nathan Napoka - Nānā I Nā Loea Hula Volume 2 Page 87 Description An account of the resource Nathan Napoka, currently employed by the State of Hawaii Department of Land and Natural Resources, has been teaching since 1975. Hula has been in my family for generations. My great-great-grandmother was Ke'ele-hiwa Napoka, a famous court dancer from Maui who went to Kā'u to perform. Manuel Silva, a relative of my grandmother, learned from Ke‘elehiwa Napoka. My grandmother’s sister Elizabeth Kalehuawehe Chun Ling studied with Kumanaiwa who was a famous hula master on Maui. It is said that my family from that side of Maui performed what was called the Haleakalā dances which were done for Pele because she lived in Haleakalā up until very recent times. Everyone thinks of the Pele dances as coming from the big Island but there is a long tradition of Pele dances on Maui where she was still erupting in the 1700s. These dances were being performed until the 1900s. I did not formally study hula until I returned to Hawaiʻi from college in 1972. At that time I was enrolled at the East-West Center as the Hawaiian Renaissance was just starting. Aunty Edith McKinzie was a student with me at the University of Hawaiʻi and she told me about the State Foundation on Culture and the Arts’ hula classes. Aunty Hoakalei Kamau‘u was the director of the program and Aunty Edith was teaching the beginning men’s class. After one semester with Aunty Edith, I moved into Aunty Hoakalei’s classes and I’ve been with her ever since. I studied with Aunty Hoakalei with the understanding that she was going to prepare me to become a teacher. I was soon teaching all the beginning men’s classes for Aunty Hoakalei. I learned to be a ho‘opa‘a by chanting while sitting in the back of the advanced class. Aunty was in the front showing us how to dance and I followed. We also had a special class for the teachers to learn to oli. I was coaxed into teaching. I was interested but I was afraid to teach. Through Aunty Hoakalei I learned that there is a whole way that you learn to become a teacher just like you learn to become a dancer or a chanter. For that reason I was very fortunate that she was (here to help me make a smooth transition from being a student to eventually running the class. She would come in and critique my teaching front the back and guide me through my classes. When she knew that I wasnʻt doing so well or when I was down emotionally, she’d come in and move me through the class. I had her guidance and her very strong presence to support me. That really gave me the confidence to teach: otherwise I would have never taught. I later travelled throughout the state with Aunty ʻIolani Luahine and Aunty Hoakalei for about three and a half years with the Artist in the Schools program. I was very fortunate to have spent time with Aunty ‘Io. Aunty Hoakalei said only two men have ever danced professionally with Aunty ʻIo. I was one of the two. The other was Joseph Kahaulelio. There was a part of our program where I danced alone so that Aunty ʻIo could change clothes and then there was a part where Aunty ʻIo and I danced together. Although Aunty ʻIo wasn’t actually teaching me, we were doing the same motions because it was all coming from the same source. Aunty ʻIo was Aunty Hoakalei’s teacher. Aunty Hoakalei doesn’t ʻūniki. Aunty Hoakalei didn’t ‘ūniki from Aunty ʻIo. ‘Ūniki is something for those people who are deep into the Hawaiian gods. In order to go through a formal graduation ceremony, you have to keep the gods in an altar. In order to keep the gods in an altar, you have to, what the Hawaiians say, “feed the gods" and that meant that you have to be a non-Christian. You cannot feed the Hawaiian gods today and forget about them tomorrow. If you dedicate your life to those gods, yon have to keep them for your whole life and not only when you want to dance hula. If you don’t keep them, they turn on you. Spiritually, they devour you. ‘Ūniki today is different than ‘ūniki yesterday. For people who are in traditional hula, a traditional ‘ūniki is nearly impossible because of the kapu system that existed when ‘ūniki was originally practiced. Today it has taken on a different meaning. Rather than the really strict traditional ceremony, it means a recital or a kind of graduation from one level to another. Like all healthy cultures, our culture is evolving. My reason for dancing has always been to perpetuate these dances and to keep the culture alive. I’ve been very fortunate that my job has kept me financially secure so that I have never had to use my hula to make money. My hula has been something very special. It’s my identity; it’s my culture; it’s my expression. Once in a while my work and hula have crossed paths. One such instance led me to Pat Bacon. Aunty Pat and I worked on indexing mele at the Bishop Museum for two years. During that time I was fortunate to learn more about ancient mele as well as my own hula background since Aunty Pat learned from Keahi Luahine, Aunty Hoakalei’s kupuna who was Aunty ‘Io’s hānai mother and teacher. Aunty Pat has generously given her time and brownies toward my development. I think the hula has changed but I don’t think change is necessarily bad. The only thing that I see that’s bad is if we confuse our traditional hula with modern hula and if we don’t keep the classical hula and the contemporary hula separate. We have to safeguard what is traditional. To me hula kahiko is the classics; the motions and the voice that have been passed on from one generation to another, through one human being touching another human being. If you ask most kumu hula today what they have in their repertoire that’s traditional, most of them don’t have much. They find the words in the archives and they make up the motions and the tune. Although it’s not bad, everyone should have some exposure to where they have come from as a people; where we have come as Hawaiians over all these millenniums of time. Nānā I Nā Loea Hula 87 Edith McKinzie Hoakalei Kamau‘u https://nakumuhula.org/archive/files/original/4829814030f7ef610c224cf01025fad8.jpg 1b7f3c24082c6977e9b53f27da774490 https://nakumuhula.org/archive/files/original/6706c9fba0266231406dfadee1e78bca.pdf 9d7be929ee89fd12a23f786e5d7bb65b https://nakumuhula.org/archive/files/original/879d59a5e4fd5c36dddaebbfa6341089.pdf 1752283f2d3a62057628ae11c0a6a4c4 https://nakumuhula.org/archive/files/original/030288e33f835b72057a86e44afc5c75.pdf 52c8a1b009c6451b26cc4d034711904c https://nakumuhula.org/archive/files/original/14875c88ec2c85262aa64e050d691bb3.pdf 7ff88ce6861f82f33cd8f481b434ebfc 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>Marilyn Leimomi Ho</strong> Description An account of the resource Marilyn Leimomi Ho Marilyn Leimomi Ho resides in Kuliouou, Oʻahu and currently works for the United States Air Force. She is married to Harry A. Ho, Jr. and teaches in conjunction with her hula sister Jan Yoneda. One thing which Aunty Edith Kanaka‘ole said which has stayed with me is that we are all individuals and when we chant “Kawika” we all sound different even though there is a standard chant style to “Kawika”. And that is all right. I began my training in hula at the age of seven with Aunty Alice Namakelua through the Department of Parks and Recreation program. Classes were held at the Royal School, and Aunty Alice provided me with my basic foundation in the hula. In her method of teaching, students did not use paper and pencil to make notes but only followed Aunty Alice’s verbal instructions and committed movements to memory. At age thirteen 1 moved to Guam where I studied the hula under Mrs. Lillian Aquai. Her training primarily included modern hulas and the use of hula implements. Mrs. Aquai’s hula movements were a little different from those of Aunty Alice’s but her students also were asked to learn totally from memory. After my training with Mrs. Aquai I went on to Edith McKinzie who I still continue to study under and who I suppose is my greatest inspiration. I consider her not only my teacher but a friend. I was trained in both modern and traditional hula along with other Polynesian dances. Aunty Edie had me as a teenager so she would get up and physically show us steps and motions, and she would provide us with written instructions on movement and expression. After graduating from Mrs. McKinzie at eighteen, my family returned to Honolulu. Shortly thereafter I joined the Hālau Hula O Mā‘iki where I studied under Mā‘iki Aiu Lake for the next four years. With Aunty Mā‘iki, she wasn’t satisfied that you just learned the dance; you had to know the meaning of the dance and that meant hours of research. Aunty Mā‘iki could talk to people on their own levels and therefore they conveyed the feeling she wanted when they danced. She gave you a special feeling for every subject you danced. My last two formal teachers were Hoakalei Kamauu and Pele Pūku‘i Suganuma. Hoakalei was teaching through the Model Cities Program and after I gained the consent of Aunty Mā‘iki, I began to train under her. Hoakalei taught me new hula movements, chant styles, meanings of chants, and the use of the pahu and the ipu. She used the old style of training which asked the student to watch, listen, then imitate repeatedly until the dance was executed correctly. Hoakalei was the first kumu to start performing the deep kahiko chants and that’s why I credit her with the great revival of hula kahiko. With the consent of Aunty Hoakalei I began to train under Pele Pūku‘i Suganuma and she became like a mother to me. Aunty Pele was always strict with those that she cared for. I was always in the habit of putting my hands behind my back but in the Hawaiian culture that means that you are ho‘okano, so I was always getting punished because I didn’t know any better. She couldn’t understand why a lot of people asked questions that she thought were so obvious. She tooks things for granted because she was brought up in a Hawaiian atmosphere. She was a woman of her own and very selective of who she opened up to. I began to teach in the early Seventies as an apprentice teacher under Aunty Hoakalei. I worked through the Model Cities Program and the State Foundation on Culture and the Arts. I went on to work with my hula sister Jan Kahoku Yoneda in teaching students of Moanalua High School and we eventually formed a hālau which was named Pohai Na Pūa O Laka, by Edith Kanakaʻole. It’s hard to get the elders of the Hawaiian community to share their knowledge because some students use the knowledge out of context. The dance has become a very modernistic expression and its appeal is to a young modern audience. Most students still exhibit a great deal of respect for the hula and to their kumu but with the influx of all the different races into Hawai‘i, the kahiko is not purely Hawaiian anymore. I see teachers like Frank Hewett and Bobby Cazimero having the most impact on young people and that will fashion the kahiko of tomorrow. Alice Nāmakelua Edith McKenzie Hoakalei Kamau‘u Lillian Aquai Ma‘iki Aiu Lake Pele Pūku‘i Suganuma https://nakumuhula.org/archive/files/original/56eeb317eeccc8a13983fd5c5f13aa4e.jpg dc2fb6470c0a36a31d416d065232a170 https://nakumuhula.org/archive/files/original/927412359207697e1a692431d62fce2e.jpg cd998cc21a8317739140b924861c985d https://nakumuhula.org/archive/files/original/78fe93ea5844fa30dcd7885f9322330a.jpg 05db4ad991adfe38c075914bdd1513a1 https://nakumuhula.org/archive/files/original/824ff4567e363579e0ff744f199b1f9a.pdf 56527d224c5b2a046836d0c959459b7e https://nakumuhula.org/archive/files/original/e25cd678ac81294eec1dc50a2f0ad19f.pdf aa3eacf9e1d7fd4b319dc864d43c88f1 https://nakumuhula.org/archive/files/original/52781def588649c1c803351634eb8aaa.pdf bae4c55ccb4deaaed4a4597552c7ce3b https://nakumuhula.org/archive/files/original/882403c3dfb41e0c62d6835a734269d4.pdf 9975221fadb5b8078467570896c64917 https://nakumuhula.org/archive/files/original/ad43144f434daeb3486ae929e6155537.pdf b239f51972b4406f6a4e71b06953977c https://nakumuhula.org/archive/files/original/da3479e1cac7076ff74152ae54200f9b.pdf 4125bc0423c5b1c83a6a3ff9a797ba27 https://nakumuhula.org/archive/files/original/1660231a885ce5d86fdca0fa2a1955f9.pdf 0f00c5930ed30343fa654c82d5fcd020 https://nakumuhula.org/archive/files/original/23e0926297fb983368a76a53bb215029.pdf ceda3bdb119b883e8b1678ebd5c04f15 https://nakumuhula.org/archive/files/original/02fe2c49917545989ab479935dff9a63.pdf b6880c0ecfeeab1645be92ffe0b3bf22 https://nakumuhula.org/archive/files/original/6d18c0551f38c965ed9a2fd1be09c5a9.pdf 210e6476eeabc17af328a5d3d1ef3f6e https://nakumuhula.org/archive/files/original/2b271001bada2a16a5b470e44948d76f.pdf 673a14612c9c53ac71058a8ad1544100 https://nakumuhula.org/archive/files/original/5579fa0fb0151f605f8cb8f91dd6f870.pdf 4ad1ae3f035f048f631dc1f496f9dad0 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>Mae Kamāmalu Klein</strong> Subject The topic of the resource Nā Kumu Hula Mae Kamāmalu Klein - Nānā I Nā Loea Hula Volume 2 Page 60 Description An account of the resource Kamāmalu Klein began teaching in 1984 in her home in Kāne‘ohe. In 1992 the name of her hālau, Kūkalehuaikaʻohu, came to her in a dream. I look at hula in a very traditional way, embracing our Hawaiian culture and my heritage. I believe that the kumu hula of today need to express their creativity in a modern setting. I also believe that they need to remember and respect the past even though they may lack the understanding of Hawaiian thought patterns, because without tradition there is no strong foundation. When a kumu begins to alter the mele or hula movements, the kumu begins to lose what was once part of a tradition. I began hula with Mā‘iki Aiu Lake at age twenty-five when I was in search of a hula school for my three daughters so that they could learn not only the dance but also a part of their Hawaiian culture. This was the beginning of my love affair with hula and an association with Mā‘iki which lasted twenty-three years. To belong to this hālau, there was a required discipline. Mā‘iki had a method of teaching her ‘auana classes called “Descriptive or Interpretive hula” that had to do with all of these senses: everything you see, feel, taste, touch, and smell. She knew how to bring hula to life. I left my teacher in 1970 for a rest but on the urging of a friend found myself with Hoakalei Kamau‘u’s hālau. This would be of short term for Hoakalei told me two years later that I had to return to assist my teacher with the graduate ‘Ōlapa/Ho‘opa‘a of 1972. In the Sixties no one questioned the kumu hula; you just obeyed and did as you were told. I returned to Mā‘iki in 1973 and remained with my kumu until her passing in 1984. I was told by Mā‘iki to be a sponge and to absorb all that she had to share which included among other things, respect for my elders, attitude, programming, costuming, and the weaving of leis. I became her first kokua kumu in 1973 after receiving my status as kumu. During this interim I learned the three rituals for hula ‘ūniki: the Hu‘elepo, the Midnight, and the ‘Ailolo Ceremonies. I have performed these rituals for my students respectively as they graduated from 1985 through 1994. I teach hula in my home in Kāne‘ohe, the site chosen by my kumu hula. My mission in hula has been accomplished and I have fulfilled the promise made to Mā‘iki a few days before her passing, that I would open my school and pass on her tradition. I believe that the hula kahiko is the only way to reflect on our kupuna and that the “hula renaissance” we are still experiencing is a rediscovery of those deep roots. Without traditional ways we have no foundation for the hula kahiko, therefore a kumu must work hard at preserving what was handed down from one generation to another. This is the legacy that I leave: Kū Kalehuaika‘ohu Kū, Kū Uluwehikalikolehuaikauanoe Kū, Kū Ka No‘eau Kū, Kū Kamaluolehua Kū, Kū Kamamolikolehua Kū Kū Kalehuakiekieikaʻiu Kū, Kū Kalehua‘apapaneoka‘au Kū, Kū Kealaolehua Kū, Kū 60 Mae Kamamalu Klein Hoakalei Kamau‘u Ma‘iki Aiu Lake https://nakumuhula.org/archive/files/original/28b018dad89704a6c46e61069fe1538e.jpg f5891071e5f9634b8d6f2bcf24901459 https://nakumuhula.org/archive/files/original/3c4fe62735c094c75ab594372c38afe5.pdf 0cd7ea2a7f4ddea626d75ba1f88340c6 https://nakumuhula.org/archive/files/original/8aea46cd54b7fb6c68a3ca0ff979c3a7.pdf 0217c9775ebb3145d97c37c101ab97b5 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>Lovey Leina‘ala Yau Choy Apana</strong> Description An account of the resource Lovey Leina‘āla Yau Choy Apana “Aunty Lovey” Apana began to teach on O‘ahu in 1963 and in 1970 opened her studio on Kaua‘i. As I reflect upon my growing- up years I was always involved in school programs that involved Hawaiiana whether it was the May Day program or commemorative honors for King Kamehameha. While still young I worked within the tourist industry and I traveled throughout the world. I entertained on the side but I still felt something missing in my life. There was an incomplete ingredient to “level” the bread of life and happiness. Thus I went to my tūtū lady for advice and discussed my future with her and she encouraged me to teach hula. She said I possessed the gift of laughter and patience and that I should continually teach children. She also said the hula was an integral part of our family many years back and that I had the responsibility to study hard and to try my best to perpetuate the art. I am very grateful to my late tūtū Caroline Apao and my mother Christine Apana who still inspire me today as I dance or teach the hula. I also look to other teachers who were and are part of my life in the Twentieth Century such as Tūtū Roberts, Aunty Kuchie Kuhns, Aunty Sally Wood Nalua‘i, and Aunty Hoakalei Kamau‘u among others. All of these people served as my resources in my Hawaiian studies. There have been tremendous changes in the hula but I cannot downgrade or resist these changes because the Hawai‘i of the past is not the Hawai‘i of today. We have no choice but to grow and adapt to this modern world. What makes me uneasy is that many people today seem to see the production of the dance and not the intrinsic value of the art and the traditions. If someone wants to create in the traditional hula they must use a composition written today in the traditional style and choreograph that. Today young people are going deep into certain facets of the culture and they wish to recreate and relive the ancestral ways of their forefathers. They must have the proper training and preparation or they will be lost because they are modern people trying to go back into an ancient world. Hoakalei Kamau‘u Kuchie Kuhns Sally Wood Nalua‘i Tūtū Roberts https://nakumuhula.org/archive/files/original/95b4d47558668d267621edcb65d2f678.jpg 31796608ea8039e92c7373456bad68f3 https://nakumuhula.org/archive/files/original/0fecc1c41ab1dcfcd7155416e6afd252.jpg bdd290c83e50403879b0a2648fcccd78 https://nakumuhula.org/archive/files/original/8ed475ce2e20a8e19424050f41e17f8a.pdf afaa40bc0909db076fc9cd6b783c52ca https://nakumuhula.org/archive/files/original/42342a65ec86fb04471a5fd0f13c6d10.pdf 1901c212fa467a42d8a858ac51973376 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>Jan Kahōkū Yoneda</strong> Description An account of the resource Jan Kahoku Yoneda In 1975 Jan Yoneda, a Hawaiian resource teacher for the DOE Central O'ahu District, along with her hula sister Marilyn Leimomi Ho co-founded their hālau Pōhai Nā Pua O Laka. My first kumu hula was Mrs. Anna Like who was like “family” to me. We lived in Kalihi at the time and her daughter Edna had a small group of performing dancers. The hula I learned back then was primarily ‘auwana, and most of what I learned was performed in hula shows and family parties. Anna taught me from age three to about age twelve but as a teenager I lost interest in hula. I went on to college but it wasn’t until I turned twenty-one that I renewed my interest in the hula. I signed up for hula lessons with Mrs. Danie Hanohano who was teaching at a satellite session for Aunty Hoakalei Kamauʻu in Pearl City. I was with Danie for about six months and it was from this session that I got my first introduction to the foundations of hula kahiko. I was referred to Aunty Hoakalei by Mrs. Hanohano and I began to study and learn various hula styles and mele under her direction. She shared with me her knowledge of the chants, the hula movements, and most importantly the discipline that was required in hula. She was forever challenging me to be better than I thought I could ever be. I continued under Aunty Hoakalei for six years until she decided that I should become a kumu hula for the State Foundation on Culture and the Arts. I never wanted to be a kumu. All I wanted to do was dance. I enjoy dancing and learning about the chants. The body motions and mental requirements of hula excite me and that was enough for me at the time. So I talked with Aunty Hoakalei and told her of my reluctance to become a kumu hula, and she looked at me and said it’s not my decision to make and we left it at that. I believe that there are forces in my life influencing me to go in a certain direction or take a certain path. In 1975 Aunty Hoakalei was in charge of the State Foundation’s hula conferences and she decided that I would be a kumu for the conference at Leeward Community College. She had assembled all the hula teachers, and at that particular conference there were Henry Pa, and George Holokai, real hula masters; and there I was among all these “greats” with no teaching background. Her first words to the audience were, ‘Kumu hula, Jan Yoneda.’ She had more confidence in me than I had in myself but when I heard those words I knew a new path had opened up for me. After the conference she gave me a certificate that acknowledged I was a kumu hula and with her permission I began to teach the students of Radford and Moanalua High School. It was at this point that I began to work closely with Mrs. Marilyn Leimomi Ho who was an assistant to Aunty Hoakalei, and I credit Leimomi with teaching me the human side of the hula. She taught me the courtesies and the protocol within the hula, and she not only preached them but she modeled them for me in her life. It was from all this sharing that we formed our hālau Pōhai Nā Pua O Laka and began to teach together. I don’t have a style that is unique to Jan Yoneda because my dancing is pretty much what has been taught to me. I make a very strong and conscientious effort to duplicate what has been handed down to me. However, I do take unchoreographed chants and address simple, stylistic movements to the words based on my past training. Through Leimomi I’ve met Aunty Edith McKinzie and she’s shown me that to be a kumu, your education in the hula cannot be sporadic or final. You have to work constantly to improve yourself and expand your knowledge. You have to be totally submerged in hula because when you take the title of kumu you must take all of it’s responsibilities as well. To me the history and legends of our heritage live on in the hula. People, places, events are all perpetuated in the mele and the key to it all is the language. If our haumāna can internalize what we teach them so that it becomes a part of their lives today then that’s all that matters to me. By developing a healthy respect for our heritage, the haumāna develops a higher degree of self- respect as well. The applause of an audience is wonderful to the haumāna and the kumu hula but at some point both must remember why they are dancing. 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For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource <strong>Hōkūlani Holt-Padilla</strong> Subject The topic of the resource Nā Kumu Hula Hōkūlani Holt-Padilla - Nānā I Nā Loea Hula Volume 2 Page 41 Description An account of the resource Hōkūlani Holt-Padilla started her hālau in 1976 and has been teaching hula for over twenty-five years. She is also the coordinator of Nā Pua No‘eau-Maui. There are several reasons why I chose the name Pā‘ū O Hi'iaka for my hālau. One is for my mother’s family who have always been ocean people. The Pā‘ū O Hi'iaka is a beach plant and it is also a native Hawaiian plant. The story about how this plant got its name comes from the Pele and Hi'iaka myth. It tells of Pele going down to the beach with her baby sister Hi‘iaka-i-ka-poli-o-Pele in the early morning. She leaves her sister by the beach and goes into the water to surf. As the sun gets warmer she thinks about her sister and returns to where Hi'iaka lay. She found that a small beach plant had grown to cover the baby to protect it from the sun. So Pele gave that small beach plant the name Pā‘ū O Hi'iaka which means, “the skirt of Hi'iaka. In Pele and Hi'iaka stories the pā‘ū is magical and it can defeat enemies; it was her protection as she traveled through the islands. For all these reasons we thought it was a good symbol to have for our hālau. Hula has always been a part of my life. My first teacher was my tūtū who was Ida Pakulani Long. I was also taught by my aunty Kāhili Cummings and of course my mother Leiana Woodside. Learning from my tūtū and aunty meant being very disciplined: there was no fooling around. You had to watch, listen, and follow. There wasn’t a whole lot of in-depth explanation of what you were doing. You were expected to know it. She explained some things but not like what I do for my students today. Her style was half way between the strong bombastic Hawai'i styling and the more flowing style of O‘ahu. We were encouraged to dance low in the style that is now called ‘aiha‘a. We were also encouraged to move our bodies fluently. Because I lived for a time with my tūtū and my aunty, they would teach me when they were in the mood. My aunty also had a group of dancers composed of my cousins and the people who lived in the neighborhood; we would meet twice-a-week. By the time I was in the ninth grade, I was considered her alaka‘i. She would work out her choreography with me and when the other dancers came, I would be the alaka'i for the class. My interest and my love for kahiko grew because of Aunty Hoakalei Kamau'u. When I was nineteen, the State Foundation on Culture and the Arts began a program in which they were encouraging the development of kumu hula. That’s when I began learning with Hoakalei. She started with about thirty students. She used to teach in different areas like Waimanalo, Kalihi, and Kane‘ohe. As students started to drop out and the size of each class dwindled, Aunty Hoakalei brought us all together in one place up in Nu'uanu. For the first three years we did nothing but kahiko; it was like a regular hālau. We would do a little bit of chanting but learn primarily hula. Aunty Hoakalei taught without any paper or tape recorder. We had to pay attention, listen, and follow. When we got the choreography down, she would pass out papers and we would sit "Learning from my tūtū and aunty meant being very disciplined; there was no fooling around. You had to watch, listen, and follow and do the ho‘opa‘a part and learn the accompanying myth. While I was still studying with her, she came to me and said it was time for me to have my own class. We arranged for the first class to be in Kaimukī. She would come for the first couple of weeks and observe me. She’d give me feedback and she would leave me alone for a few weeks. A few weeks or a month later she would check on me again. The classes were usually held in school cafeterias and they were open to the general public. Observing what other people call ʻūniki, I would say I did not ʻūniki. After returning to Maui I talked to my mother when I was ready to begin my hālau. She told me that it was not necessary for me to do that kind of ‘ūniki because hula was in our family. It wasn’t necessary for me to go through a formal ceremony. She said it was enough that I go ahead and teach because my tutu would have wanted that for me. My tutu had already passed away by the time I started my halau. Although my tūtū never mentioned it, I do recall at family parties I would see' her sometimes eating particular parts of the pig when she thought that no one was watching. She must have gone through a formal 'ūniki herself. I am a third generation kumu hula. Perhaps there are even more generations than that but I’m not sure. My mother comes from a family of fifteen and I have over forty first cousins. All of my cousins learned how to dance but I am the only one right now who is a kumu hula. Becoming a teacher was a conscious decision. First of all I wanted to be a good dancer. Then as I started learning from Hoakalei to develop into a teacher, I found that sharing knowledge with people was something that I liked to do. I always wanted to share my love for the hula with others and to have others love and enjoy the hula as much as I do. Hoakalei taught me how to teach but my mother taught me how to be a kumu hula. She taught me the little things on the quality of movements, the dress, the philosophical behavior of kumu hula, and their relationship to their students. She taught me how7 to take responsibility for the needs of my students. I have my family style of hula: lots of hip and upper body movement in expression. Our tempo is upbeat but not too fast. I try to pass on the dances as they were taught to me by my various teachers but I also feel that what makes a kumu hula grow and flourish is that they have this creativity within them as well. Hula kahiko uses chants rather than singing and is accompanied by traditional percussion instruments rather than contemporary instruments. It is more earthy; its expressions come from the movements of nature. The purity of the movement is what is important; it is a pure movement that has come through the generations. Hoakalei Kamau‘u Ida Pakulani Long Kāhili Cummings Leiana Woodside https://nakumuhula.org/archive/files/original/b75e54d508e1a2a38c3ef6082bb783d3.jpg ee091acbe0247336450a624709ca82d1 https://nakumuhula.org/archive/files/original/08816163bd703d64d3ab4fe255a79269.jpg 627dcc026208fb9691ce7782e200ba81 https://nakumuhula.org/archive/files/original/0f4d31278a12ac6e0cb28bf4c639f605.jpg 3e0594ed4fcbff05e29016335494ab8e https://nakumuhula.org/archive/files/original/d155012c273ecf8825f08ad88ae311c6.pdf a8c7698fb3bf85133cc29c8e0cfb9ae1 https://nakumuhula.org/archive/files/original/b6a3dca79f6dbe02d33228aeaeafbcda.pdf a6e904c2b6c3996aad31877b81e0f8ff https://nakumuhula.org/archive/files/original/b0432acb9c42e62e10d03120cbf7176e.pdf 28a10c1946e32cb06b061bc9614b6f3d https://nakumuhula.org/archive/files/original/e4d9ce9609c19d809ef103eb3a3592e2.pdf c7c89aaf4c4e61cee513a7fdba47eebb 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>Cy M. Bridges</strong> Subject The topic of the resource Nā Kumu Hula Cy M. Bridges - Nānā I Nā Loea Hula Volume 2 Page 23 Description An account of the resource Cy M. Bridges, the great grandson of Kuluwaimaka who was a court chanter during the reign of Kamehameha II to Kalākaua, is a Bishop of the Hauʻula IV Ward of the Church of Jesus Christ of Latter-Day Saints and has been employed at the Polynesian Cultural Center in Lāʻie for many years. Hula is a bit different today. We’ve all seen movies of hula dancers of the past. All you have to do is pop in a video and you can readily see how much it has changed. Mele hula and mele oli were once the textbooks of Hawaiʻi. The History and words that were carefully woven into the chants were very important. Today the words at times become secondary while the motions take on the primary role. Crowds go wild when they see certain movements. They may not know what the words are saying but the moves are so electrifying especially in the kahiko that the audience get carried away. There are some things that I have enjoyed watching and yet would not dare incorporate into my own teaching. Our hālau hula began with four kumu hula: myself, Bill Kauaiwiulaokalani Wallace, Enoka Kaina, and Keitli Kalanikau Awai. William Cravens, who at the time was the President of the Polynesian Cultural Center, called Bill and me in and asked us, “Why don’t we have a hālau?” We told him it would be taxing and would take so much time and effort to have fund-raisers. Cravens said, “Don’t worry about any of that. We'll sponsor it and fund whatever you need.” We felt we would give it a try and that’s how we got started. Enoka suggested the name Hui Hoʻoulu Aloha for our hālau. We thought the name was nice, appropriate, and had a good meaning. I think the most important thing is love, not only for each other but for the culture and for what we do. After a while everyone moved on. I dropped off for a season but I came back to keep the hālau going. Aside from everything else I was involved with, my family had to also share time with the hālau. It was a big part of their life. Ever since l was quite young, I was fascinated not so much with the dance but more so with the chanting and how the voice was used as well as the haunting sounds of the ipu and palm. I wanted to learn how they did that. The very first training I got was really from my mom and grandmother. Now this was interesting because they were not chanters or hula people at all however they would tell me how it should or shouldn’t sound based on what they had observed through family members growing up. And as for myself, I would listen and mimic recordings of chanters that I heard especially our tūtū. My formal hula training began when I was in high school with Aunty Sally Wood (Naluai) at the Polynesian Cultural Center in Lāʻie. I consider her my hula mother because she was my first formal teacher and I was with her for a number of years and graduated under her tutelage. Aunty graduated me fourteen years after l first started dancing with her. She called me early one morning. She was crying on the phone and told me she was sorry. I didn’t quite know what she was talking about. She said to me, “I see a lot of kumu hula who are teaching and entering competitions. I thought of my own students who I’ve trained and they didn’t ʻūniki. I want you to graduate.” So our group got together and seriously started training once again. Her nieces Sunday and Ellen Gay were the first to graduate. Keith and I followed soon after. While still with Aunty Sally I also began training with Aunty Hoakalei Kamau‘u. it first started when Aunty Hoakalei came down to Church College of Hawaii to help us with a Hawaiian Club assembly. Afterwards Aunty needed male teachers to help her with performances and hula workshops. In 1976 a performing group went to the South Pacific Festival of Arts in Rotorua, New Zealand and Aunty Hoakalei was our coordinator. It was a small group and I was very fortunate to be a part of it. During the time we were with Aunty Hoakalei. I also learned from other hula masters through our involvement with the workshops, hōʻike, and the Arts Festivals, etc. We were able to learn the stylings of Aunty Edith Kanaka‘ole and her daughters Pua and Nalani who were also in the New Zealand group. I was fascinated when Aunty Edith would explain about the different winds and rains or other elements and how they were associated with the various chants we learned. I also had the opportunity to learn from Aunty Pat Nāmaka Bacon most of which were in conjunction with other festivals. I still call on her today when I need help. Like many others, she is a special person and a great inspiration to me. Aunty Sally is a graduate of Lokalia Montgomery and I had the opportunity of also learning from Aunty Lokalia. I first met her when we did a performance for the crowning of the Lei Day Queen at Kapi'olani Park Bandstand. About a month later she invited me to come and learn from her. What was even more special was the fact that one of Aunty Lokalia’s teachers was my tūtūman while he was at Mossman’s Lalani Hawaiian Village in Waikīkī. I did not train intensively in chanting with Aunty Sally. Basically I was given the words, she would chant it for me, and I would follow her until I got the gist of it. But as I went to other teachers, I found that Aunty Pele and Lokalia would incorporate techniques that were slightly different. I gathered a little bit from all of my teachers. Noelani Kamekona took me to Kaʻupena Wong. At that time he had just finished working with another student and was not able to dedicate the same time and effort with me however he gave me some chants and shared some techniques and said I could call on him at any time. That in itself was a great boost for me. My style is a combination of all of my kumu. It is so very important to me what my mom, grandmother, Aunty Sally, Aunty Hoakalei, Aunty Pat, and others think about what I do and how I do it. I only wish I can bring honor to them and what they’ve shared with me. I hope I never disappoint them. The interesting thing with our hālau is that our haumāna are from Oʻahu, the Cook Islands, New Zealand, Fiji, Rotuma, Honolulu, Kauaʻi, Big Island, Japan, and Spain. They’re from all over the world and they come to learn and love the hula. One of the greatest joys I get is seeing someone who has never danced, be able to do it well. They can understand, appreciate, and love Hawaii, its people, and its culture through its unique music and dance. Oh the pain! Aahhh I guess it’s worth it! Nānā I Nā Loea Hula 23 Edith Kanaka‘ole Hoakalei Kamau‘u Kaʻupena Wong Nalani Kanaka‘ole Pat Nāmaka Bacon Pua Kanaka‘ole Sally Wood Nalua‘i https://nakumuhula.org/archive/files/original/d7017db569011120476d16b119ddf3a6.jpg 88977b1fdd41ce3768cdddf3b5389868 https://nakumuhula.org/archive/files/original/063228a6354e6d485827ebf50934d139.pdf d4ad0ac7a10ea2a4fe3ff00e167c5190 https://nakumuhula.org/archive/files/original/72c3342b694082c491671bd0a6c8769b.pdf 48a76ba7cc50ccd86c72c0f4fa2b4cf1 https://nakumuhula.org/archive/files/original/17e96f967be0bbdecc00c11ffe87312d.pdf c3ee0d7fec4afa51e4c07c9115dd525b https://nakumuhula.org/archive/files/original/c7c6080dafba0e5ef261e9b3c511ac95.pdf 0577b83af676f742b1a3f92f051ab045 https://nakumuhula.org/archive/files/original/334e36f16ba097f96620bbe51964aa5f.jpg 2ef3b086237df2bf5c2285db1c6ae636 https://nakumuhula.org/archive/files/original/02bd88e7adeab22a24acf194ee32f243.jpg fd2760a6501477f00e8fe2c864a34174 https://nakumuhula.org/archive/files/original/5f9e676bc869b643b6172e43ffb4ba59.pdf b498290aa69b20c6855d6cb0c875b209 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>Cecilia Kawaiokawa‘awa‘a Akim</strong> Subject The topic of the resource Nā Kumu Hula Cecilia Kawaiokawa‘awa‘a Akim - Nānā I Nā Loea Hula Volume 2 Page 10 Description An account of the resource Cecilia Kawaiokawa‘awa‘a Akim Cecilia Akim has taught the hula for over twenty-five years and is presently teaching at the Nuʻuanu Day Care Center with her kumu hula, Hoakalei Kamauʻu. How do you teach somebody who does not know the language? I’ve seen a lot of misinterpretations of dances. They don't understand the beauty of what the chant is talking about. Our old chants are in Hawaiian and today s students need to understand the Hawaiian language to know what they’re dancing about especially because the motions are very simple. “Kawika” is a beautiful chant because the vocabulary is there, the poetry is there, the history is there. The romanticism, an important part of our cultural heritage, is there. It’s all there. As a dancer you’re painting a picture. You put into motion our oral history. My mom took me to learn hula from Aunty ʻIolani Luahine when I was three or four-years-old. I stayed with her for about six years until she retired from teaching and moved back to Kona. The girls she taught were eight to twenty years older than me. She had me dance with all of them. We performed all over Waikiki and different places. I learned both kahiko and ‘auana from Aunty ‘Io. She taught us dances like “Little Brown Gal” so we could learn basic hula motions and how to be a little more graceful. We learned our kāhea and mele while learning the dance. It was very repetitious. We would go over it again and again. When Aunty ‘Io retired, I went to Aunty Pele Pukui. I think because I was so young, Aunty Pele gave me private classes. Her fundamental steps were the same as Aunty ʻIo’s. Aunty Pele reviewed the dances that I had learned with Aunty ‘Io so that she knew which ones I had learned. With her I learned more numbers, many with implements, and she worked on my chanting for the hula noho. After about a year and a half she suggested that I go to another teacher. So at fourteen I went to George Nā‘ope and stayed with him for over seven years until he moved back to Hilo. That was the first time that I was actually in a class with other dancers who were the same age as me. Uncle George had a studio a few blocks from my home in Kalihi. So why stay home and help my mother clean house when I could go down to the hula studio and help Uncle George? I literally hung out at the studio and danced with all of his classes. After Uncle George moved to Hilo, I couldn’t find any other teacher. So I freelanced on my own doing the shows at the International Market Place with Uncle Johnny Watkins, Aunty Lydia Wong, and Aunty Louise Freeman. After I graduated from high school, I went to the University of Hawai‘i and I dropped out of hula completely. When Aunty Hoakalei started classes for the State Foundation on Culture and the Arts, I went back to hula. The purpose of the classes was to train dancers to be teachers and that’s what I’ve done. Being with Aunty Hoakalei is a continuation of Aunty ‘Io. Her style of teaching is the same. I am very comfortable with Aunty Hoakalei. She’s a different person from Aunty ‘Io but she’s just as beautiful. When she did “Aia Lā ‘O Pele,” it was like going back to the days of my youth with Aunty 'Io. I’ve remained with Aunty Hoakalei since 1969 and I’m still learning with her. “As a dancer you’re painting a picture. You put into motion our oral history.” 10 Cecilia Kawaiokawa awaa Akim George Nā‘ope Hoakalei Kamau‘u ʻIolani Luahine John Pi‘ilani Watkins Louise Freeman Lydia Wong Pele Pukui https://nakumuhula.org/archive/files/original/84d7981c70695668273332c2ec9426c1.jpg 56ffe9777349c8c5f777f4d80e26981b https://nakumuhula.org/archive/files/original/416346dfbd4b6b4f5c77be4e64c1f610.pdf 4f05a03351f005279b7bde30102077f7 https://nakumuhula.org/archive/files/original/a2daea5231cd5e395449575f2f38db15.pdf 49c46b96c08a2b6b04e5c262a724f054 https://nakumuhula.org/archive/files/original/9c5c8e062623f783377035f220c507bf.pdf 63380a2536920a2201f00b1e644abf07 https://nakumuhula.org/archive/files/original/93843fe1d676e43e022ef6f041268224.pdf 900080cc5ebc9b3e02e556cfa9bd8fbd 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>Cecelia Kuamo‘o Ka‘ai</strong> Description An account of the resource Cecelia Kuamo‘o Ka‘ai Born and raised on the Big Island of Hawaiʻi until the age of eighteen, “Cissy” Ka‘ai has taught the hula on Kaua‘i for the past thirteen years. I was interested in the hula when I was a little girl growing up in Opihikao on the Big Island. There would be family parties every Saturday afternoon in church halls, pavilions, and any other area where tents could be erected. We children would help serve the food and afterwards everyone would call for entertainment. I didn’t know anything about the hula but my friend and I would make up motions to the songs the musicians played. I came from a large family which spoke fluent Hawaiian and although my aunty Rose Kuamoʻo was a well-known hula instructor, I did not have the benefit of training under her since she lived in Hilo. When I turned twelve, however, she asked my father if she could give me lessons. He agreed and a bargain was struck between them. He would supply her with the ti leaves she needed to entertain and she would give my sister and I hula lessons. Every Saturday my father would drive us to Hilo in his car for our three-hour lesson with Aunty Rose where we would be trained in both ‘auwana and kahiko. During high school in Hilo I studied informally with George Nā‘ope and Martha Kaʻiawe and upon graduation I moved to 0‘ahu to attend Church College in Lā‘ie. I took a few lessons with Pi‘ilani Watkins in Kapahulu when I first arrived but before long I was more interested in Polynesian dances other than hula. While attending Church College I met my future husband Nelson Ka‘ai whom I married after graduation. We lived in Kaneohe until shortly after our daughter was born and then we moved to Kauaʻi. On Kaua‘i we became active with the Kaumualiʻi Civic Club and eventually they asked me to dance at club functions. Prior to that time my husband did not approve of me dancing in public but he encouraged me to dance and my interest in hula was renewed. I met Uncle Joe Kahaulilio who had also moved from Honolulu to Kaua‘i and at this time he was already a popular kumu hula. Unlike some teachers who did not seem to care whether the hula was learned correctly, Uncle Joe would tell you the meaning of the song, why you were dancing it, why you were doing each motion, and he would watch everything you did to be sure it was proper. I studied under Uncle Joe until he moved to California and I consider him the greatest influence in my career. I began to teach under Hoakalei Kamauʻu and the State Foundation on Culture and the Arts in the 1970s. She trained us and then sent us out into the different districts of Kauaʻi to teach. I wanted people to see the way Hawaiians told their stories, and that it was all in the hula. Subject The topic of the resource Nā Kumu Hula Cecelia Kuamo‘o Ka‘ai - Nānā I Nā Loea Hula Volume 2 Page 10 George Nā‘ope Hoakalei Kamau‘u Joe Kahaulilio Martha Kaʻiawe Pi‘ilani Watkins Rose Kuamoʻo