1 40 2 https://nakumuhula.org/archive/files/original/f4d84a856402001abeb6d7f34b90f1fa.jpg cbcc99a9610970609b8e4ea5d972c2ab https://nakumuhula.org/archive/files/original/56d1e72bd49f570dc75788b612d1645b.pdf 70b5502013ee6b455c52c0166e6db78d https://nakumuhula.org/archive/files/original/e7ed5172773801480f949a0096e457be.pdf 64f3a1caaf986c95e25c453e20b9f4a0 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>Samuel (Kamuela) Nae‘ole</strong> Description An account of the resource Samuel (Kamuela) Nae‘ole The late Sam Naeʻole taught the hula in Hawaii for twenty-six years. He was affiliated with the Kalihi-Pālama Culture & Arts Society as a kumu hula and is credited with pioneering the hula in the Hawaiian Homestead of Waimanalo, O‘ahu. My mother and aunty were dream translators in the Hawaiian community and I told them I had dreamt I had been taken to a great house. Within the house was an old man who beckoned me to come in. They told me that this was a sign that I was the chosen one to carry on the spirit of the old man’s body. The next day I went to hula class and Lokalia (Montgomery) told me to stay late. She drove me out of Kapahulu and we came to the same house that I had dreamt of the night before. When we entered the home she was greeted by an old man who introduced himself as Joseph ‘Īlālā’ole. He was dying at the time and he had asked Lokalia to bring him a male student to train. My aunty Mary Ho was a kumu hula and my parents were musicians at the old Home in The Garden, but I wasn’t interested in the culture and when 1 graduated from Farrington High School in 1949 I knew nothing about it. I moved to Los Angeles and in 19511 came back home for a vacation. I was asked by other Hawai'i people in Los Angeles to study hula so I could come back and teach. So I went to the phone book and looked for a male teacher and the name I found was Tom Hiona. His studio was located on Maunakea and King Street and he charged twenty-five dollars a lesson. Tom had been trained by Kau‘i Zuttermeister but he was something original and extraordinary. His mind was always filled with ideas that raised the hula to higher ground. As far as I know he was the first person to produce tableaus and pageants that dealt with the culture in a deeper and more profound way. I stayed with Tom until 1952 when he closed his studio, and I went on to Ho‘oulu Davis in Kailua but within a year she left and I was out in the cold again. After Ho‘oulu I informally studied under Kawena Pūku‘i in Kaimukī. My father would take me to work with him at daybreak and I would be dropped off at St. Louis High School. From there I would walk to Mrs. Pūku‘i’s home and for three dollars I would be taught one song. She would ask me to choose four subjects to write about and this was how I was encouraged and trained to write hula songs and traditional chants. I went on to train informally under Kathy Nākaula, Joseph ‘Īlālā’ole, Pua Haʻaheo, and Ka‘o‘o, but my next formal teacher was Lokalia Montgomery. In 1954 Lokalia Montgomery charged a pre-paid tuition of four hundred dollars and I didn’t have the money. So I saved what I could and sold the only possession I had that was worth anything which was my piano. Lokalia lived off Kapahulu Avenue in a big white house and we were trained five days a week from 8:30 in the morning till 2:30 in the afternoon with a thirty- minute lunch. The majority of her students were Japanese from the University who were taking lessons as part of an Asian studies requirement for graduation. We would be trained in her big parlour where we were first taught the different beats on the ipu and then she would give us one chant to learn. We would recite the chant and she would correct us as we went along. In the old days the kumu would transfer their spirit into the body of their students but Lokalia did not believe in this. We were responsible for making our own implements so Lokalia’s husband Timothy taught us how to dye material, paint, and produce traditional Hawaiian crafts. I did not ‘ūniki with any of my teachers because the graduation ceremony with the traditional rituals was not popular back in the Forties and Fifties. If a student graduated traditionally their kumu would have to carry the burden if a haumāna broke a kapu and nobody really wanted any part of that. Today the emphasis seems to be on the ‘ūniki but my advice to the young dancers is go back to the kupuna to get your legitimacy. Degrees count for very little in the hula community. I began to teach in Waimanalo in 1955 with the encouragement of friends. I charged three dollars a month for each student, and I’ve tried to teach by nurturing the positive in my haumāna. I never had an abundance of anything but I’ve never had to endure a difficult, terrible period either. I’ve tried to teach the younger people the true knowledge of the hula and I’ve looked upon that as an opportunity. The hula that is being perpetuated today as the traditional hula of our culture is a figment of someone’s imagination. A great majority of the kumu today are only on the level of students and the result is that the modern audience of today has never seen the traditional hula. Hopefully, people will get tired of all this fluff and make an effort to start finding out what is authentic and what is baloney. Joseph ‘Īlālā‘ole Ka‘o‘o Kathy Nākaula Lōkālia Montgomery Mary Kawena Pūku‘i Pua Ha‘aheo Tom Hiona https://nakumuhula.org/archive/files/original/0ebe1fb87ce35061484a5e5ef4a555c6.jpg 472118c66063df9fe6b2c915c0caf923 https://nakumuhula.org/archive/files/original/5f9be2618d7a5385686d02501e3e68b7.jpg d7b89a51f8f9e39ca67bc89567464539 https://nakumuhula.org/archive/files/original/d467e02674f12ec04095c0c1663ccc99.jpg 41ea6792c035ab6a9f257143d644983b https://nakumuhula.org/archive/files/original/888cb796b45ab21625f2124188f7bcc3.pdf aea5442eec6b4c675cf9116d9932d711 https://nakumuhula.org/archive/files/original/368d29e5e19fe79ce79f4967feae18de.pdf 57c94eddab1de3daba41b36003388ec9 https://nakumuhula.org/archive/files/original/75a0a9b2589cde2bff5f7e04ad74dc19.pdf 4ce58a71cce0e402fad88e4c40c7b87a https://nakumuhula.org/archive/files/original/3fc52cdfba484398bf57c7eeafaa5895.pdf 8578537b4e160252def7e99b1a363b2b https://nakumuhula.org/archive/files/original/7b3a7ecda7fc7f733c2fc56717d3afab.pdf 3c9ba581b38aef478527cdd4329f57df 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>Puluelo Park</strong> Description An account of the resource Puluelo Park Puluelo Park was born in Hoea, Kohala and moved to Watertown, O‘ahu at the age of nine. She established the Puamana Hula Studio in 1952 and currently resides in Kailua, O‘ahu. I remember when I was nine- years-old I went shopping with my mother down on Fort Street. I heard a man’s voice chanting and I followed it to the old Princess Theatre. I sat inside that dark theatre for hours listening to a man who turned out to be Tom Hiona while my mother was going crazy outside looking for me. As a youngster growing up in Kohala I was trained informally by my aunties, but my first formal teacher in the hula was Caroline Tuck of Honolulu. I was trained in hula ‘auwana and I was fascinated by her classes and her teaching techniques. Caroline would have her students flat on their backs with only their arms and hands extended upward, and in this position they would go through the motions of a dance. When I turned eleven I learned kahiko from a teacher that was so strict that I lost all interest in the hula for a period of years. After I married and began my family, I started to realize that the Hawaiian side of my children would be neglected if I didn’t bring our hula culture to them at a very tender age. So at the age of thirty I began to train under Lokalia Montgomery who lived in Kapahulu on Charles Street. I loved Lokalia’s way of teaching because what she taught me was free from the kapus and so there was never any fear of the hula when I studied with her. A usual class with Lokalia would begin with a talk session. She would tell me the story background and meaning of the particular mele we were going to learn that day. There was no sense of rush like today where we want the children to learn as much as possible in a certain amount of time. Not those days. She would chant the first three lines of the mele and I would repeat the lines back to her. After every three lines she would stop and give deeper explanations of each line and we would not go on to a new portion of the mele until I was comfortable with the first. My training with Lokalia was mostly kahiko and she said that her line was from Tūtū Keaka Kanahele and Mary Kawena Pūku‘i. At the same time I was being trained by Lokalia I was also being instructed by Aunty Katie Nākaula. I was trained in the kuahu style of chanting and dancing for a year and a half and I found her to be much different than Lokalia. She had been brought into the hula from childhood and she was always emphasizing the correct placement of the feet and hands. Lokalia was always worried about your posture and how you presented yourself. Aunty Kathy was more interested in how you put your dance across so I learned the motions and gestures of the dances almost immediately in her classes. I went through an ‘ūniki with Aunty Kathy but my mother prevented her from taking me through the rituals. Lokalia had a tremendous influence on me. She made me keep my head up and I danced proudly. She was always so calm and collected and she taught me to respect who I was. It was she who encouraged me to open my hālau. After my training with her a private recital was held at her hālau which was followed with a graduation pa‘ina. After the pa‘ina she told me, ‘My dear, you are to open your halau now, starting in your home.’ I opened Puamana Hula Studio on July 25, 1952 in Pālolo Valley and I began with five students who were mostly family. Because of family obligations I had to close the hālau in 1953 but in 1960 I re-opened the hālau in Hau‘ula and eventually moved it to Kailua. Today’s training emphasizes more physical expression of the ideas in the mele. Some of the hula kahiko today even resembles martial arts. The hula audience of old was made up of people who knew the hula and knew the language so the gestures of the dancers could be more subtle. Today’s kahiko is what the modern audience wants it to be but it’s not necessarily the hula of old. Each kumu in the past had their own style and you didn’t see it mixed with other cultures like it is today. Lokalia taught me that the old way is not the only way and that as a teacher, you must be creative but I feel this creativity has gotten out of hand. The older kumu have to step forward and draw the line of what is traditional. There is so much doubt today because the majority of us aren’t directly linked to the old days. Caroline Tuck Kathy Nākaula Lōkālia Montgomery