1 40 5 https://nakumuhula.org/archive/files/original/b0dca249b5deec1f7448fded7295486b.jpg 8a6a9fb88c700b9232406b5f681d2962 https://nakumuhula.org/archive/files/original/3a5c2ef1f1d3cb13e3bedea278b64810.jpg 1296693bbfd770322f56212e300f901b https://nakumuhula.org/archive/files/original/d0519248a5ca8b3a6f845d5487de3d8c.pdf 442a3be6caf0676bf66675f36dc39273 https://nakumuhula.org/archive/files/original/e712052ac421eb6ec398c86451e7c7a7.pdf 60fc46edf3492ccdd92238f3f94907ed https://nakumuhula.org/archive/files/original/d7eda80de66ea48caab5e9ed4c05c2ce.jpg aa6fee6331317f155e0823c835fb470d https://nakumuhula.org/archive/files/original/1c3b38adffde2c079909968ea7661bb3.pdf d86cac99f2f0f8633f8f89c65df1213b https://nakumuhula.org/archive/files/original/481769720062def576df7757b03742df.pdf 2311c97bae998123600af31f90db350d 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>Leimomi Ho</strong> Description An account of the resource Leimomi Ho Leimomi Ho, a regular dancer with the Kodak Hula Show, has taught hula for the past twenty-three years. I have stayed with Aunty Vickie Iʻi Rodrigues till this day and she has been the one that has made me what I am today. She shares so much with me and I’ve grown to love her like a mom. I’ve become her hands and feet. If someone wants to learn a dance from her, she teaches it to me and I take it from there. It is indeed an honor to be one of the many that have been touched by her work and to be able to share a part of her great knowledge. My grandmother and my parents were involved in the hula on Kaua‘i. When I turned three- years-old, I was taken to Helen Waia‘u and remained with her for six years until we moved to Pauoa in Honolulu. Through our neighbor I was led to my second kumu Sam Kamuela Naeʻole. Sam’s studio was on Nu‘uanu Avenue in a building that they’ve torn down by now. He used to yell at us and we would get so scared but he was a good teacher who was always emphasizing fundamentals. Hālaus back then were known as studios and the ‘ūniki was called a recital. It’s only in the last few years that more teachers and students are using these terms. I stayed with Sam for three years and then I met John Pi‘ilani Watkins. I studied under John for five years and for two summers I worked with him at Jones Beach in New York. We had to learn to work with theater people and it was all big production numbers. Because of all his trips to New York, John Watkins was very modernized. During my second summer in New York, I met Joe Kahaulilio who was a partner of Vickie I‘i Rodrigues and I began to train under them when I returned home. I was grateful for what John had given me but Uncle Joe taught me the hula as it should be. I didn’t like doing production numbers like “Bali Hai” and Uncle Joe and Aunty Vickie started training me in ancient hula, soft ‘auwana numbers, and old Hawaiian songs. I began to teach in the 1960s but in a very off-handed manner. It was a case of people coming to me and asking if I could teach them a certain song. What hula takes from your life is time with your family so I’ve always tried to make the hula secondary. Nowadays the hula is so modernized. So many steps have been added to ancient hula that never existed. So what do you call them? My kumu created motions but they were kept within the kahiko style of dancing. I suppose there has to be change but I come from the “old school” and it’s hard for me to adjust to this change. Mahalo to the Good Lord for giving me my mind, my hands and my feet to be able to carry on my Hawaiian culture as I love it. Mahalo Aunty Vickie for the many years you have shared your knowledge with me. Helen Waia‘u Joe Kahaulilio John Pi‘ilani Watkins Sam Kamuela Nae‘ole Vickie I‘i Rodrigues https://nakumuhula.org/archive/files/original/ba64ac59fc9d09c90bd3836d08e61e1a.jpg dbdefa96d1ec62c7d5194887c2d644fc https://nakumuhula.org/archive/files/original/453e45f5d91422c518b20d856f6c100f.jpg 80ad6a838eac359797181b48d784b637 https://nakumuhula.org/archive/files/original/df9ca9783b1bffa9f6c3e0443d6a5023.jpg 557e9ce57a43ff2aaefcb1acdce729df https://nakumuhula.org/archive/files/original/3c6d252a68e343d17b21ef5f57439efa.jpg b6d81ad311bf89abf8b7a27141344954 https://nakumuhula.org/archive/files/original/630b2808303c6996dc1ca3ab222b5a5b.jpg 457eff5ba7a6e5476ff3b4792c2365cb https://nakumuhula.org/archive/files/original/bdc897ec5e4f97857bb10a3e0a8c1654.pdf 5a79352501bd690e9cb0fba3aca9a78f https://nakumuhula.org/archive/files/original/f9ad632e4e7c0cb3db0e6318b87a261f.jpg 716345a4333585a095b22dbe051de8c5 https://nakumuhula.org/archive/files/original/5431b7c0e46a21b9f95ac43898def7fc.pdf 71fa95844723d8dd16b7f1d38680e640 https://nakumuhula.org/archive/files/original/6c8ed4f5f16a226949daaca6af85debb.pdf 19930d9559bc9a1efc15ecac43b65a16 https://nakumuhula.org/archive/files/original/b48ee554e6ec4a2469313fda61b5f9af.pdf 5659332d7da335fb4ef28dd976a2be7d https://nakumuhula.org/archive/files/original/c2965395c01d6c998e69114f86a85428.pdf 26a94afc45410076e548ab2e1b0de6c1 https://nakumuhula.org/archive/files/original/727fead30532bb73bd0dadf1ce7f38ce.pdf 3303d221a8f0e639215e583c8bdb7d0c https://nakumuhula.org/archive/files/original/89e83327b9afc9c628eb9527f0df6ad7.pdf 27c59b0839bdbe725803c2f6820f0381 https://nakumuhula.org/archive/files/original/e5c19d1d62abe887dec35b33ca7881c1.pdf 2741070b7f41a6c84161dcadcbe28e8b https://nakumuhula.org/archive/files/original/8c93b0848773e50fa6da2da321bb6213.pdf 052220f7bf3714f1e00d3226639ecee4 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>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/53239a4375b0664acb70461784465b45.jpg 396da340173acb69adf13868c0efd3ec https://nakumuhula.org/archive/files/original/9bb6fefa6fd398d4961f4158d4b1efbe.jpg d1e0e2ed8c931793c1669ca8440fa296 https://nakumuhula.org/archive/files/original/c90bfa8472b09614b2454e257fd53902.jpg 4a03755f1f51a3090181f2d40f848079 https://nakumuhula.org/archive/files/original/ce6cbe30ab85efd57592cf00621ed69a.pdf be85049f8e5e5a228296d5fe0202d91f https://nakumuhula.org/archive/files/original/9798f3ca094df1893aa888446c5df63a.pdf a36a06e446e9f59ede77b147ca4063f4 https://nakumuhula.org/archive/files/original/5da588608fda53740b1c2e3ce85fd168.pdf 30964522c74be61d4e316f3de0f42724 https://nakumuhula.org/archive/files/original/52da566ee45d9afb62259e820dcac1db.pdf a5b1547a25fdd764ef8f220cf6d9c9a6 https://nakumuhula.org/archive/files/original/033a902910e22522f40c574feee87f0f.pdf c77e729c02752a2e1be45a270d932eaa 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>Kamalei Sataraka</strong> Subject The topic of the resource Nā Kumu Hula Kamalei Sataraka - Nānā I Nā Loea Hula Volume 2 Page 103 Description An account of the resource In 1976 Kamalei Sataraka opened her hālau Hui ‘O Kamalei so she could share her love of hula with the people of Hawaiʻi. Hula teaches you everything about life. It teaches you about nature, respect, and about God. It teaches you how to be humble and disciplined. My mother thought that I was born to hula. She took me to Sally Kamalani when I was two-years-old and even at that young age I remember enjoying hula. A year later we moved into town and I remember going to Emma Bishop who taught on McCully Street. Emma Bishop used to take us to perform at the Kapi'olani Bandstand where we wore paper leis and mu’umu’u. In those days the people threw money when we danced. Everybody used to laugh because I would sit down and collect all the money and take it to my mother. Those were the good old days with Emma Bishop. I stayed with her until I was about six or seven-years-old. I ended up taking hula from John Pi'ilani Watkins. I started when I was nine and I graduated with him twice. His graduations weren’t the traditional graduations. At that time people didn’t put an emphasis on traditional ceremonies like the ‘ailolo ceremony. It was more like a recital. We graduated to another level and he gave awards. To graduate he wanted us to pass a test. He used to give us a written exam and a dance exam. As long as we passed, we could go to the next level. The written exam was about the songs: the background of the songs and how well we knew the words and the translation. That was his criteria for passing. Because I was teaching for him, I was embarrassed if I got a low grade so I tried my best to get As. Whenever he was busy or he couldn’t be there, he asked me to open the hālau and teach for him. That’s where I learned to teach. I taught for him many times and I ran his hālau for him while I was in high school. I attribute most of my hula training to John Pi'ilani Watkins. He was really before his time. What I got from him was basically show business and not much tradition. He took us to New York where we worked under June Taylor, the choreographer for the Jackie Gleason Show and the Dean Martin Show. I really enjoyed dancing with John Pi‘ilani Watkins because I’m pretty much an entertainer myself. When I was eighteen-years- old, I left Johnny Watkins and a couple of us formed our own group. We started traveling all over the world. We went to Japan many times and to Korea. We tried to travel as much as we could while we were young. I started yearning for the traditional part of hula that I did not get from Johnny Watkins. When I came back from traveling, I did research on my own. I taught myself most of it. I took anything that I could learn from anybody and I was very curious and inquisitive. I think that a lot of where I am today can be attributed to my own desire to make myself a better kumu hula. What I wanted to do was to open a hula studio that would teach people the simple fact that hula can open gates for anyone. They can travel around the world and they can do anything they want to do as long as they put their mind to it. Nothing is unattainable. My goal was to take my students around the world as entertainers and part of that goal is fulfilled. The greatest accomplishment for me is entering competitions. When I opened the hālau, I thought competitions were out of my league. But the students asked to enter so we tried. Whether you win or lose, simply participating is an accomplishment in itself. I ‘ūniki my students but not traditionally. They have to go to language classes; they have to be able to make their palm drum and their ipu heke; they have to be able to oli, to dance kahiko and ʻauana, and dance with the implements. The advice I would give the young hula teachers of today is to instill in their haumāna, love and confidence. You have to tell your children to be inquisitive and to do their research if they want to carry on the traditions of hula. I don t consider myself a traditional hula teacher but I do consider myself a good hula teacher. I think hula has gotten more lively and more progressive. There are the purists who want it to stay the same but I really don’t think hula will stay the same. Like everything else Hawaiʻi is progressing; things will keep moving and we do move with the flow. It would be nice if we can keep our traditions the way they were in the past but I really don’t want to go back to the past. Hula is progressing but it will get, to a point where it will come full circle. Like the clothes that we wore in the Forties, they’ll come around again. Lastly I feel all patrons of the hula need to focus on the Man above, the Creator of all who allows us to do what we do. We also teach our haumāna and ‘ohana to understand and respect the gods of yesterday for our ancestors felt that their ancestors were embodied in spirit, in everything they owned. Today we still carry that respect but the majority of us are Christians in various denominations. Therefore we follow the teachings of Jesus Christ. Focus on him, our Lord through Jesus, and he will not give us anything we cannot handle! 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Title A name given to the resource <strong>Denise Ka‘uhionamauna Kia Ramento</strong> Subject The topic of the resource Nā Kumu Hula Denise Ka‘uhionamauna Kia Ramento - Nānā I Nā Loea Hula Volume 2 Page 98 Description An account of the resource Denise Ramento founded Aloha Pumehana O Hawaiʻi Nei in 1972 and is currently teaching hula and Tahitian dance in the Waipahu area. I began to learn hula at the age of seven-years-old. My first teacher was John Piʻilani Watkins who taught at his home in Kaimukī. He was not really into traditional hula. John was very theatrical. He liked using a lot of cellophane. He also taught us Tahitian, Samoan, and Maori dancing. I spent the next nine years with Aunty Luka and Aunty Louise Kaleiki at the ʻIlima Hula Studio. It was through their lessons that I got more involved in the hula. Aunty Luka did most of the teaching. Aunty Louise did the paper work for the business and she was the disciplinarian. I concentrated so much in hula that I never got a chance to go to football games. Aunty Luka and Aunty Louise were very strict; if you missed one performance, you couldn’t dance. I remember a few of us never went to our proms because there was hula. I graduated six years after joining Aunty Luka and Aunty Louise. There were six of us that were up for graduation. All of the dancers who were graduating had to learn a number of their own. Aunty Luka and Aunty Louise chose each song and the girls learned their particular song privately. I learned hula kahiko from Uncle Henry Pa when he came to the hālau to teach Aunty Luka. Before we started the kahiko, he sat and explained about the dance. He met with us for three years and during the last year he taught us hula kahiko for our ʻūniki. All the students from the halau participated in the graduation lū‘au held at Ka Makua Mau Loa Church in Kalihi. The graduating class danced hula kahiko chosen by Uncle Henry Pa and each of I he graduates had to dance her special song. My song was “Kau‘ionalani." Aunty Luka and Aunty Louise asked me to become an alaka‘i but my parents sent me away to Maui to attend Lahainaluna High School. Because I missed my hula, I started at the Royal Lahaina Hotel as a solo dancer under the direction of Robert Kalani. I performed Aunty Luka’s songs and choreography. After living in Maui for a year I returned home and went back to Aunty Luka. But all my hula sisters had left and there was a kind of emptiness so I decided to rest. I was eighteen-years-old when I was asked to teach some teenagers in Waipahu. I began with Tahitian because I was stronger in that area. My twin brother Dennis took care of the drumming and I taught the dancing. I also taught hula but when we were asked to do shows, they usually wanted Tahitian dancing. Aunty Luka and Aunty Louise had the most influence on me. Besides teaching me, they gave me the desire to move on and to learn more. They were the biggest inspiration on my hula career. My advice to the young teachers is to know what you’re doing. Learn the language. Respect the kupuna and our culture. We all have different styles because our kumu hula all learned from different people. Don’t over elaborate the hula. Just take it from the basics and don’t forget the roots. 98 Denise Ka‘uhionamauna Kia Ramento Henry Pa John Pi‘ilani Watkins Louise Kaleiki Luka Kaleikī 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