1 40 19 https://nakumuhula.org/archive/files/original/157992cf6cc14f55ee0ec44cdff5a4d0.jpg a50c27582832964f3aa6fa158061428b https://nakumuhula.org/archive/files/original/dc2021f3e64cde32758e5bdc9a33328a.jpg b2d52378eb9116728828448f04e51141 https://nakumuhula.org/archive/files/original/53a6d4e806f4255963785639ac9ee14a.jpg 50e3cf6c9eb2a51e4e246ac8d5cc6596 https://nakumuhula.org/archive/files/original/d779e2aa5cf877ba24fc2ae26f544790.pdf 16a7df2db5d75b07d5b437c09c4c3a40 https://nakumuhula.org/archive/files/original/71d242c9751a6170a66214c713118f04.pdf 93c802f5372de8c24a32bf332449592a https://nakumuhula.org/archive/files/original/9f5190736f70a398a4cb47e95959a0a8.pdf b4bdb463eeb2cf5c40ee4cd5b8fe8daa https://nakumuhula.org/archive/files/original/ee590589918ec3cd7a5c711d1e767517.pdf 88732b23a3c2f3f0d71b4716925251e6 https://nakumuhula.org/archive/files/original/5d04e74b8544f84531e4b096cd7454fd.pdf e25418556363e7575a6e88b1dadc5481 https://nakumuhula.org/archive/files/original/e2574dda19ebd5753ec51ae876cd118d.pdf 7c01d242a0b262d9a999790a48e4111c Person An individual. 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>Robert Uluwehionapuāikawēkiuokalani Cazimero</strong> Description An account of the resource Robert Uluwehionapuāikawēkiuokalani Cazimero, widely regarded as a major influence in the rebirth of male hula in the 1970s, is kumu hula for Halau Na Kamalei. In terms of the hula I feel I have shaken this state up. I have opened their eyes, I have kicked them in the pants but you know what? I didn’t even know I was doing it. I was from a time in the Sixties where being Hawaiian was not important. It was more important to be American. You were trying to get through school so that you could work in Hawai‘i or maybe go away to school. The idea of hula was foreign. It was an embarrassment to want to do it for all of us. Men’s dancing was a novelty and I think to a point it still is today. Men just didn’t dance. Kaha‘i Topolinski started before me and I remember watching his boys and they were fabulous. Ed Collier was another one who had a male halau years before I even began to train. It took a lot of guts for a guy to get on stage back then. There was an immediate branding of being effeminate and so it was really hard. I’m glad that things have changed a little and I suppose on the surface it looks like it’s changed a lot but it really hasn’t. Nona Beamer was my first kumu and she was my first contact with the hula. I was a sophomore at Kamehameha, guys were just beginning to dance and I was amazed. When Nona was teaching at Kamehameha there was a kapu on dancing. No one was allowed to stand up and dance and Nona changed all that. With Nona we began to stand up and actually dance. In my senior year Nona had us choose a song and interview the author. I had chosen Kui Lee and my dear friend Puna Kalama had chosen “Aloha Kaua‘i,” a song written by Ma‘iki Aiu Lake. Puna got her aunt to come to the class and I think I fell in love with her immediately. She sang for us and I accompanied her on the piano and when she left she told me to come to her if I ever wanted to learn hula. It took me quite awhile to go to her but I started my training in 1968. The class was held one night a week, every Friday and we would go in and stay for several hours. When I think about it now it was like a dream. I was so taken with her that if she told me to jump off a building, willingly, with maile leis on, I would have gone. Classes were formal in the sense that you gave the respect to the teacher and you were there on time. She would start us off with having us sit in a circle and we would talk about what we had learned and what we would be learning. I was with Ma‘iki for seven years with the last five years training as a kumu hula. There are things that I did then that I regret now. If you talk to any of my hula brothers or sisters they’ll tell you that I was a spoiled brat. I was one of the favorites, I knew it, and I played it up. I was real cocky and I suppose I still am. I graduated traditionally in 1972 and selfishly I felt at the time that I was ready to be a kumu hula. But now that I look back I didn’t possess the qualities needed. I taught informally in high school with my mother’s troupe and with the Sunday Manoa but it wasn’t until 1973 that I began to teach seriously. Ma‘iki had graduated me in 1973 as a ho‘opa‘a and ‘olapa, and in 1974 I was graduated as a kumu. There was an opening for a Hawaiian chant and dance instructor at Kamehameha and I applied for it. I taught three classes of girls which my kumu called my internship. Next was Na Kamalei which was formally founded on Kamehameha Day in 1975. My definition of hula kahiko changes every year. Right now hula kahiko is anything that was taught to me before I became a teacher. Now that I am a teacher what I teach is a modern kind of kahiko. I consider myself a contemporary kumu and I like being a teacher of today. To me hula includes the sounds of jackhammers, cranes, buildings going up, traffic. I see hula in all of these things. The kumu of the past were not any different. They loved what they had but what they had is not what we have today. The question to me is not what is kahiko but what is tasteful. Of the twenty chants I learned from Ma‘iki, the boys have only been taught one. I guess I’m selfish. I won’t teach them, it’s too precious. It’s mine yet and when I’m ready to die or give things up then I’ll be ready to share it with them. I think the hardest thing that I had to come to terms with was the gossip and innuendo that was directed at my boys. People mistook my concern and love for my students as something more and I spent a long time trying to please public opinion. When I started in the hula one thing that I had made up my mind to do was prove that men could dance. That you didn’t have to just get up on stage and stomp around with a spear while hitting a paddle against a canoe. There is such a thing as manly grace. But it antagonized people and I became such a threat that everybody thought, well if he thinks he’s going to get away with that he’s crazy. It’s ironic how the young people of today with their own innovations have made my hula legitimate. Today they are doing things I would never have thought of or permitted myself to do. Yet 1 see myself in each of them. Ma‘iki Aiu Lake Nona Beamer https://nakumuhula.org/archive/files/original/97bcfa09c90017d6b136f2b7f0c575f4.jpg eb4120fea043d4c9974fa01aa390a4c3 https://nakumuhula.org/archive/files/original/a783fc349da8106ef485ba91491c7cda.pdf 2b1f13a7e5cabe5c0bc9c300e949b5fb https://nakumuhula.org/archive/files/original/7407dbd051e78cbcf6705ce731505a68.pdf bb315c843db3313cdcf0543b4d5934f1 https://nakumuhula.org/archive/files/original/d96e7096d09cad69d5106c404bd2ab70.pdf b5cae465b8d8ff7c4fff2e11c8f04c42 https://nakumuhula.org/archive/files/original/bfcfbe8af77d027d8357dc5ca2a0b408.pdf 09308cfdedfc325d1f2058988a928a34 https://nakumuhula.org/archive/files/original/8372a7b61ca9deae57d38f2f510eab4d.pdf 3e429a7dd4cbcd802d229fcce53e3e7d 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>Mililani Allen</strong> Description An account of the resource Mililani Allen began her teaching career in 1973 with the founding of Hālau Hula O Mililani in Waianae, 0‘ahu. In the last ten years, the most significant change perpetuated upon the hula has been an increase of respect, scholarship, and interest. People have recognized it as a classical art expression of the Hawaiian culture. However, the style of dancing has changed because the greater emphasis today is on the dance itself rather than the language and poetry. I don’t look upon this as negative. There are so many of us that lack the fluency of the language and the understanding of the poetry. So the emphasis is now on the dance form rather than the verbiage of the mele. It is just another transition that has happened. Exposed to hula at the age of six by my mother, I began my formal training under Aunty Mā‘iki Aiu Lake at the age of eleven. The lessons continued for three years until I entered high school and then they were interrupted by piano lessons then college. It was during my college years that my appreciation for the hula was nurtured and revitalized. Realizing my lack of knowledge in the art form contributed to my learning process and eventually it brought me back into the hālau after graduation from college. I enrolled in Aunty Mā‘iki’s hula kahiko class and she emphasized the mechanics of the hula, the value of research, and written documentation of everything we learned. Her method to convey this knowledge of our culture was as much an oral presentation (“talk story”) as it was classroom-oriented. It was a positive reinforcement method and we were trained with succinctness. Aunty Mā‘iki would first write the chants on a chalkboard and she would chant it for us. We were instructed to repeat the chant then allowed to write it in our notebooks. She was very positive in her approach. This was the most distinctive aspect of her teaching style and she remains a great influence on me today. After my ‘ūniki with Aunty Mā‘iki, I studied with Aunty Edith Kanaka‘ole in workshops and Hawaiiana classes. Her teaching style was similar to Aunty Mā‘iki’s in that there was a tremendous giving atmosphere to Aunty Edith. It made me feel at ease and it allowed me the strength to give everything of myself. A lot of my style of dancing has been directly influenced by Aunty Edith so my hula kahiko is very simple. I’ve tried to keep in mind that the dancer is only the embellishment of the mele. In 1973 I was now a wife and mother and my teaching career as a kumu hula became a reality. Before my sons were born I had been with the Department of Education, and hula teaching became the solution at the time to combine the continuation of my immersion into the Hawaiian culture and the raising of my children. So far the reward and sacrifices have a way of balancing out. The formation of an ‘ohana demands sacrifice but it gives its own rewards. I think the most important service offered by my teaching has been the creation of a place for people, mostly women, to belong to apart from their daily routine and family. However, the privacy of my family is part of the sacrifice of being a kumu hula. The hālau members become part of your family and my time is shared with everyone. While this has been especially tough on my family, it has made my children stronger and better people. The hula kahiko has changed but I think it is best to keep an open mind about these changes. My advice to my students is don’t put down someone because you think you know it all. You have to keep an open mind about people who want to study hula and about other members of other hālau. In the hula there are so many different styles of dancing, so many lines of knowledge, who’s to say what is right or wrong? We don’t know. I don’t think there was ever one right or wrong. In retrospect I don’t think there was ever one style of dancing in the hula. Hopefully, we will continue to develop many more. 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For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource <strong>Kawai Aona-Ueoka</strong> Subject The topic of the resource Nā Kumu Hula Kawai Aona-Ueoka - Nānā I Nā Loea Hula Volume 1 Page 14 Description An account of the resource Kawai Aona has served as kumu hula for the Queen Liliʻuokalani Childrenʻs Center since 1979. I was hānai by my Tūtū Mary C. Pua‘ala Aona from the time I was a baby. I knew basic Hawaiian words and phrases and some hula ‘auwana from my tūtū but to me it was nothing because Tūtū could speak Hawaiian fluently, and I’ve been told that she also taught hula kahiko. When I first went to the University of Hawai‘i, I was this tita from Nanakuli. I was dorming on campus and one day these two Japanese exchange students came up to me and asked, ‘Are you Hawaiian?’ I answered yes proudly and then they asked, ‘Can you do the hula or speak Hawaiian?’ I said no, and they gave me a funny expression and said, ‘You not Hawaiian then.’ I got very angry but I found the strength to control myself and went to my room to think. I came to the conclusion that they were right. I was born with Hawaiian blood and my tūtū had a wealth of knowledge but I never really understood it. The Hawaiian culture I knew was surface. Having the Hawaiian blood and doing things Hawaiian is not enough. You have to understand, and have a respect and feeling for the culture in a deeper sense. The kaona was the essence of all mele because our kupuna were not surface people. After that incident, I made it a point to learn more of the language and more of the hula. I was introduced to Aunty Mā‘iki Aiu Lake by some friends that were taking hula ‘auwana classes from her. It took about a year of taking ‘auwana classes before Aunty invited a few of us to enter her hula kahiko class. I studied with Aunty Mā‘iki for two and a half years and she made Hawaiian history come alive through the mele. Her requirement for research gave me an understanding of the many things my tūtū had said and done but didn’t know how to explain. I began to understand the depth of Hawaiian values and the importance of respecting all that it stood for. I graduated traditionally from Aunty Mā‘iki’s ‘Ilima class in 1975, and I went on to Aunty Edith McKinzie who helped to develop my oli by training me in the different styles and techniques of the oli tradition. I began teaching as kumu kokua with Mililani Allen in 1977, and in all my years of growth I have learned that a kumu hula is not just a title but a great responsibility. You are not only the source of technical knowledge but also a model for the behavior of your haumāna. Hula kahiko, as I know it, is a whole system of values and responsibilities that you have to live and believe in. The process of learning and teaching this tradition is never ending and always growing. I went to the University of Hawai‘i to study fine arts. I was educated in sketching, painting, sculpture, poetry, and photography. They were all art forms from which people could express their feelings. The hula is also an art form from which the kumu hula expresses their manaʻo of our Hawaiian culture but we have to remember that our source is our strength and our essence. We have to hold sacred the teachings of our kumu and the values of our kupuna. A lot of our young Hawaiians are lost today. They don’t have the confidence in themselves and it’s difficult for them to see how they fit in this ever-changing world of Western values. It’s hard to believe in yourself when you don’t even know what you have to be proud of. What are the concepts behind words like aloha, kōkua, laulima, lōkahi, ‘oia‘i‘o, hō‘ihi, ‘ohana, mālama, and ho‘oponopono? I teach hula with emphasis on cultural understanding, respect, and pride for the elements within each mele as well as its kaona. If my haumāna leave me with a respect for their kupuna, each other and themselves then it will be that much easier to apply the Hawaiian concepts and values in this modern world we live in. Na ‘Ōpio O Hawai‘i Nei To dance the hula is to live it To understand the mele is to seek its kaona To express the meaning is to feel it To love the hula is to respect its source Edith McKenzie Ma‘iki Aiu Lake https://nakumuhula.org/archive/files/original/00fd96afe99ebc3b07a9156213c4f3cd.jpg a5993328a1c33a4257e274b79ba58810 https://nakumuhula.org/archive/files/original/ffb5f2d1fc292563c8d1c8bdcf2b2cca.pdf 1175b58cf4d7b7afe5dbc97099b8a28e https://nakumuhula.org/archive/files/original/f316bcf579ab2f9ec0726d97816c73ba.pdf cd03ebf937975f6a1005c9b6d4bd2078 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>Ho'oulu Cambra</strong> Description An account of the resource Ho‘oulu Cambra Ho‘oulu Cambra is a member of the faculty of the University of Hawaii at Mānoa and the Kamehameha Schools. If a person has Hawaiian blood, one might presume this precludes an inherent awareness, an affinity to the culture from within enabling one to catch on to the knowledge of the hula and the chants faster than a non-Hawaiian because this is the history of the race, this is the individual’s past. My life in the hula has really been an outgrowth from my training in music, Hawaiian language, and chant. In 1956 I attended the Eastman School of Music in Rochester, New York. My first love is music and I was taught to teach it in the public schools but I began to realize that it wasn’t something that I wanted to do forever. When I returned from the Mainland in 1958, I taught piano at the Punahou Music School to make ends meet but I became restless so I took up ethnomusicology at the University which is a more scientific approach to the music of the world. My interest at that time was in the Hawaiian language and between 1958 and 1964 I studied under Rob Brown, Edwina Kanoho, Dr. Samuel Elbert, Kalani Meinecke, and Dorothy Kahananui. In 1962 I was introduced to Dorothy Gillett, the daughter of Dorothy Kahananui, and it was Mrs. Gillett who got me excited about traditional Hawaiian chanting. I was an East-West Center grantee studying Polynesian dance and music at the time, and from Mrs. Gillett I was led to Ka‘upena Wong who took me even deeper into the knowledge and traditions of chant. The next logical step from the chant was to be trained in the dance. In 1971 I met Aunty Mā‘iki Aiu Lake and she has been my greatest influence because she taught me the intricacies of teaching the hula. She gave me a methodology and a set of goals to guide myself. I went to Aunty Mā‘iki because I felt I needed an academic, university-style regimen since I was starting my training so late in life. I needed to absorb so much, so I needed a hālau with a strong structure. I had studied at the University under Hoakalei KamauTi in 1965 — 66 but Aunty Ma‘iki was the first regimented academic situation I had in the hula. Ma‘iki’s class was a school in that it had a curriculum and expectations. There were examinations to be passed and assignments to be completed. I graduated as the first kumu hula of Hālau Hula O Māʻiki in August of 1972 in a traditional ‘ūniki. In 1975 I went on to train under Aunty Kau‘i Zuttermeister for six months. There I was taught to chant in the Pua Ha‘aheo style and I found the discipline and regimentation of Aunty Kau‘i’s hālau similar to Aunty Māʻiki’s school. Some of my kumu have had a greater influence on me than others but I am grateful to all of them because they were all there to share with me at a time when I was hungry for their knowledge. I began to give individual instruction in traditional chant for beginners in 1967 at the Music Department of the University with the approval of Dorothy Gillett, Kaʻupena Wong, and Hoakalei Kamauu and that was the start of my teaching career. I regard the hula as an art, specifically a living art that must be worked at and prepared for constantly. This is a very slow, tedious process that requires many procedures because I insist that my students study the history and culture relevant to the particular dance and chant they are learning. It has always amazed me how the composers of these chants were able to combine major ideas and themes into a few, concise, terse lines. You can’t help but respect and admire the Hawaiian culture if you know the language and can read the chants. Hula is a way of life, it is a people’s inspiration. It is the Hawaiian’s connection to the universe around him. That is why books and pencils have very little place in this type of school. The dilemma is of course that without paper and pencil today’s students would have great difficulty retaining what I have to pass down to them. My kumu taught me that contemporary chants and hula written in the kahiko style cannot be considered traditional. It must be handed down from generation to generation in its entirety. Kahiko is a convenient term used more to define what is not modern hula rather than what is traditional hula. I don’t know if students are learning the vast vocabulary of the hula and the chants that are essential to its perpetuation. Our young people are very impatient and very eager for the finished product. Audiences of today seem to goad the dancer into dancing more suggestively. The more exaggerated the dancer’s ‘ami, the more it satisfies the audience. The modern audience is attracted mainly to the graphics of the dance. Their reaction to the hula ma‘i at times is to hoot and yell. These are products of the American culture where talk of sex is suppressed and thus when they see hula ma‘i, it’s their chance to react freely. Kau‘i Zuttermeister Ma‘iki Aiu Lake https://nakumuhula.org/archive/files/original/f3e087eb50c827d7026de23b863d41c7.jpg b7514ca6ad631c4cfe0c2de9f51fe25c https://nakumuhula.org/archive/files/original/01ff4c1e420b11177cbb9780f7f4bec5.pdf 51fa202ef88d5ed1566cf36b1c62fc8b https://nakumuhula.org/archive/files/original/5772bdf75f4222ef78177bdc14e15dd3.pdf c470a52403bc9e5eb9df8e59e63c2f30 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>Wayne Wai Keahi Chang</strong> Description An account of the resource Wayne Wai Keahi Chang In 1975 Wayne Chang and Robert Cazimero co-founded Hālau Nā Kamalei, one of several mens hālau that helped to revolutionize the popular notion of menʻs hula in the community. He is currently Director of Admissions at the Kamehameha Schools. My advice to the young dancers of today is stay with the dance. Don’t look for added rewards. Don’t look beyond the enjoyment of dance. The dance must be treated as art or else it becomes an endless circle of performances. If you are looking to use the hula only as a vehicle for greater reward you are making a mistake. You must be able to dance in a room with no one around and feel the force of hula. You shouldn’t need anybody to watch you. My first kumu was Aunty Nona Beamer who I first met in 1968 as a senior at Kamehameha Schools. From the start what Nona gave me was a joy for performing and dancing. I was raised on the Mainland until I was thirteen so I didn’t have a Hawaiian background to fall back on. I did not know the pronunciation and meanings of Hawaiian words so Nona was the perfect teacher for the level that I was at. I think if my introduction to the hula had been more accelerated I would have been intimidated by the culture. With Nona if you danced in time to the beat and you enjoyed yourself that was enough. It wasn’t important to be perfectly synchronized with the other dancers. If the audience enjoyed the dance and could see you enjoying yourself that’s what really mattered. I studied with Nona for a year and then in 1974 I began my training under Aunty Māʻiki Aiu Lake. The hālau at that time was located on Ke‘eaumoku Street and in Mā’iki’s school the hula was presented as a form of study and discipline which was something I had never encountered before. There was a sense of continuity that permeated Māʻiki’s teaching. She stressed that the traditional chants must be protected and perpetuated. She tempered this by encouraging us to create new mele and new choreography. My ‘ūniki was held in 1976 and it was a solemn exercise. Many things were not explained but left up to the individual student to interpret as it happened. Frankly the need for definitions and boundaries were unnecessary. The event generated precise feelings without the need for definition. In 1979 I was led to Kau‘i Zuttermeister who I am still training under today. Aunty Ma‘iki taught me a reverence for hula and an awareness that there was a reason for every action in the preparation and performance of the dance but Aunty Kau‘i illuminated the boundaries and protocol within the dance and the importance of acting within that framework. I began to teach in 1974 because I wanted to build a “better mousetrap” so to speak. There was a demand for my teaching and I wanted to find out if I could improve upon the teaching styles that were handed down to me. When I was being trained the hula was my first priority. It came before work, family responsibilities, and personal commitments. This carried over to when I became a teacher and I stopped teaching in 1979 because of this attitude. A true kumu is responsible for the actions and behaviour of his haumāna, and after six years I needed to escape the burden of these obligations. I needed to get my world back into a proper perspective. Leaving Nā Kamalei, which I had co-founded in 1975 with Robert Cazimero, had to be the hardest experience in my career. It meant a total re-establishment and re-evaluation of priorities and goals that I had held all my life. Being human I totally enjoyed the pageantry and public response to our work but I began to question the wisdom of using performance as a measure of success and achievement. The hula has become overstated and this has affected the intensity of the interest of the hula community that used to exist between 1975 and 1980. The wild crowds aren’t there anymore so some kumu are choreographing bigger and brasher dances and they are depending on the audience’s reaction for their gratification. Most hālaus have reduced the number of their performances and few of these performances are money-makers. Ironically, the creative freshness and integrity of the hula will be protected and retained because of such economic pressure. Hālaus will survive and dancers will dance in the future for the pleasure and knowledge of hula and not necessarily for public approval or financial gain. Kau‘i Zuttermeister Ma‘iki Aiu Lake Nona Beamer https://nakumuhula.org/archive/files/original/2e262673d9e412fe06186fef5c3f1757.jpg 7995ebae59bcf131349da016a38f0e4f https://nakumuhula.org/archive/files/original/d459d774247f9213f8fa82f95bf6b53d.pdf 12a57d663e18cc7eaf580cd8e558666b https://nakumuhula.org/archive/files/original/c35c87c7cb18c57410921b41a7807c8b.jpg fdfb983e8bdc6f55dc16ae83d42bd1ca https://nakumuhula.org/archive/files/original/0a816006c8f0a84e1921b8388e3e0aa8.pdf 2c56ad974afade8d317f435fbfcb26a0 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>Māpuana deSilva</strong> Description An account of the resource Māpuana deSilva Māpuana deSilva established Hālau Mōhala ‘Ilima in 1976 which is currently situated in Kailua, O‘ahu. I am learning to hold true to the spirit of what my teacher gave me. I think now that this spirit comes in two parts. First, it is my duty to respect and preserve the traditional dances. If I inherit a holokū from my grandmother I don’t chop it into a mini-skirt just because fashions have changed. The same is true for the chants and hula that have been given to me. They are priceless gifts; I shouldn’t be so presumptuous as to fiddle with them just to keep up with what is fashionable. Secondly, it is also my duty to create. I am a keeper of the record of my own time and of my own place. With my husband Kihei, I create mele hula for my family, my dancers and my Kailua home. We have tried to re-create the chant and dance tradition of Kailua which for several generations has largely been hidden in books and Hawaiian language newspapers. Did you know that Kawainui Marsh was once a fishpond and before that a lagoon? Did you know that Hawaiians have lived on its banks for 1500 years and that Kailua was once immeasurably wealthy and an ancient center for the arts? It’s my duty and pleasure to revive the chants which speak of those things, and to create new mele that remind us of what was, describe what is, and ask of what will be. So you see I’m learning that I have two roles. I’ve tried to keep and honor what was passed on to me, and I’ve worked hard to build through creation and recreation, a tradition of my own. It was after I graduated from college and returned to Hawai‘i that I began taking hula in a serious way. I had been taught hula ‘auwana by my mother as I was growing up but in 1972 I was introduced to Aunty Mā‘iki Aiu Lake and I immediately felt that she was the kumu I wanted to learn the hula from in a deeper way. I started my training that January and I found Aunty Mā‘iki to be a wonderful teacher. She loves the hula so much and she conveys this love to her students. Aunty Mā‘iki made us want to feel and understand the dance and not just copy her movements. She explained the words and stories of the mele and she got me excited about dances that I didn’t really care for. Aunty Mā‘iki was very generous with her knowledge but she didn’t restrict us. She gave me my foundation in the hula, a foundation that I keep and respect, but she gave us the freedom to go out and create new chants and dances. My ‘ūniki in 1975 was very special because Aunty made the graduation process so demanding. We were disciplined and tested because she wanted us to have strong values and beliefs in the hula and in our lives. She wanted us to find out for ourselves if we really wanted to accept the responsibility of becoming kumu hula. Through the encouragement of my mother and family, I began to teach in Kailua in 1976. I wanted people to understand our culture in the same way that it was presented to me by Aunty Mā‘iki. Hula is one of the few things that you can study in the Hawaiian culture that teaches you every other aspect of Hawaiian life. There is a spiritual strength in hula that I wanted other people to experience because it can in turn strengthen their own lives. There are certain dances like “Kaulilua”, “A Ko‘olau Au”, and “Au‘aia” that are not for everybody. I hold them back because I think of them as ‘ūniki dances. They are the oldest dances that have been shared with me and they have been passed down from generation to generation. These dances are the foundation of my hālau and my training and I will never change the way I was taught them. To create in hula you have to do your homework and open your heart. I think that there are boundaries to creativity and they are based on common sense. If you’re going to create a traditional hula you shouldn’t wind up with a square dance. You have to know your text, you have to feel the magic of the language and you have to be well-versed in hula’s traditional vocabulary of motions. Only then can you conscientiously experiment and innovate. Only then can you explore the art without violating it. Ma‘iki Aiu Lake https://nakumuhula.org/archive/files/original/573091cc81e2f075d6b43a95c6f3f4e8.jpg b028c9dcd527b4d724e896ab2b45da90 https://nakumuhula.org/archive/files/original/284fc973d644129dda6062e8e0c0e123.jpg 2c5e92bff05fb346d59885836562f0df https://nakumuhula.org/archive/files/original/73decbdf47f09e6381beed46a05922bb.jpg c0b3dac4982115b4660b46160332fb3b https://nakumuhula.org/archive/files/original/b00721b97dcaead2ee63a32ea9becad9.pdf bd461b1e276cb9587c5b6ea584d23be2 https://nakumuhula.org/archive/files/original/96895986462ce984862099b7e06a19d1.pdf 3ea99497389f01f86b8eb20fd0b1ffe2 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>Leina‘ala Kalama Heine</strong> Description An account of the resource Leinaʻala Kalama Heine Leināʻala Kalama Heine, born and raised in Pālama, O‘ahu, opened her hālau Na Pualei O Likolehua in 1975. She is a featured dancer with the musical group The Brothers Cazimero. Whatever happens from now and hereafter will be looked upon as kahiko in the future. There are those that hang on to the past and there are those who only live in the present. In each case there is no movement because the definitions for each side are very narrow. So it’s stagnant right now. The present and the past have to co-exist with one another if the hula is going to move forward. I don’t think a lot of people who knew me before felt I had the ability or the desire to take on the responsibilities that I have now. I do things today that I never would have done ten years ago. The comic dancer was my role. I was never a straight dancer. I fooled around so much that people wondered about my seriousness. But underneath, the straight dancing was my want. I was a line dancer before I became anything but I could not hold still in a line. I’m one who gets bored fast and I like to make things happen. It was a wonderful feeling to have people laugh with me and at me. It made no difference. Just the fact that people wanted to see more of me was enough. After awhile I started to ask myself where am I going to go from here, so I started to do some straight numbers and people would laugh thinking I was trying to be comical. My interest in hula started when I was enrolled by my mother in classes under Ruby Ahakuelo. I was three years old and Ruby would hold class at the YMCA (Young Men’s Christian Association) right on Fort Street. Back in the early Forties, hula did not have the interest level that it has today so there was no separation between ‘auwana and kahiko. Young kids were enrolled at the YMCA or the Department of Parks and Recreation program. I was then taken to my aunt, Rose Maunakea on Kam IV Road and then to the Alama Sisters (Pua and Lei) with whom I stayed with for quite awhile. At this point I met Joseph Kahaulilio who gave me the incentive for wanting to be something in the hula. In the Forties the hula was not the mainstay of being Hawaiian as it is today so it wasn’t that important to dance the hula. The emphasis at that time was on music and ‘auwana and the teachers were not so concerned about the gestures and steps. It was very relaxed, you just came to learn, picked up an implement, and they taught you a hula. A student just existed in the hula because there was not much knowledge available to students from their kumu. Uncle Joe gave me the incentive to make myself more knowledgeable which led me to Aunty Vickie I‘i Rodrigues. Aunty Mā‘iki Aiu Lake, who is the last kumu I studied under, put all of this together and polished away the rough edges. In 1975 Robert Cazimero asked me to train a few girls for a show, so I began a class made up of fourteen Kamehameha School girls and their friends. Aunty Ma‘iki advised Robert that the boys and girls should be separated and this was how Na Pualei O Likolehua was born. Everyday that I go to the halau, I sit down with my ladies and share my past memories and present experiences so that they can have something to draw from when they dance. Then I have them write up a list of their own experiences because you cannot teach students only on the memories of their kumu. I believe that creativity is important in the traditional hula especially if we expect the young people to be attracted to and have a place in the dance. Uncle Joe and Aunty Vickie always told me that repetitious motions become boring and that no two dances or movements should be alike. When you write a new mele you are writing from the viewpoint of your lifetime; when you lived, when you trained, when you taught. Your boundary is your death and that life span will record and preserve and express your existence. That is exactly what our masters and ancestors did before us and hopefully that’s what will happen with the generations after us. The meles that we write today are going to be the kahiko of the following generations but there has to be limits to creativity as well. Our ancestors have set guidelines for the traditional hula but not everyone follows them. So what we have to work towards is a kahiko that is traditional but also accessible to people who are new to it. Joseph Kahaulilio Ma‘iki Aiu Lake Ruby Ahakuelo Vickie I‘i Rodrigues 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/483051ccf4738ea8a4085fc53ebfce96.jpg 56c558d31489c3821a8b8abc44289042 https://nakumuhula.org/archive/files/original/ae0d9465e809d72837aabfa325d570d6.pdf 8336c19b79aef370fb4ee030f4c73784 https://nakumuhula.org/archive/files/original/49cbf8d9557dfcb6d045e489fd5e82d0.pdf ed3b8bbdf4199de422a20012fa4ca824 https://nakumuhula.org/archive/files/original/d43cda81d5b6fcc81ed9c42cda087f8d.pdf 0476082ccdb0f367809b44c217351099 https://nakumuhula.org/archive/files/original/05a4fea44dcc17d98b2e017f170635f4.pdf fff65e57294854711706933f50c76133 https://nakumuhula.org/archive/files/original/2d2533846e77b9b26d67a3a2c8b603cc.pdf 4dac6f44addc51e9e7b7e33cf3ddffb1 https://nakumuhula.org/archive/files/original/8c66da97b45a78e0cc3d87d5b3206068.pdf d6034eec203911fe3e8279b8e8ec99cb 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>John Keolamaka‘ainānakalāhuiokalani Lake</strong> Description An account of the resource John Keolamaka‘ainanakalāhuiokalani Lake Born on Maui, John Lake moved to Oahu in 1954 to attend the University of Hawaiʻi at Mānoa and is currently a member of the faculty of St. Louis High School. There is a tremendous clash today between the old values and modern values of Hawai‘i. With the creativity of the new styles and interpretations, the question today has become what is considered traditional hula? Today you have a lot of creative dances that exist for the sake of rhythm rather than the sake of language. Rhythm gives way to movement, movement gives way to theatrics, and theatrics give way to confusion. My first kumu in the formal training sense was Aunty Mā‘iki Aiu Lake. I had studied informally at the age of six under my great-grandaunt but my real training in the kahiko began under Mā‘iki. She taught me that the beauty of the hula is to come to terms with the essence of one’s self. She said that the Hawaiians call your inner light the manaʻo and it is the real source of your dancing. Your body is simply an expression of your manaʻo. When I joined the hālau in 1964 there were only two other male dancers enrolled in the school. The emphasis and public attention was on ‘auwana but my interest was on the traditional hula and I found Mā‘iki to be both gracious and steeped in knowledge. The central theme of the hālau was humility. Through humility everything is given to you. She defined the hula kahiko as the basic steps and styles passed down through the generations and we were expected to humble our own personalities to the dances. We were taught that hula expressed every sense: sight, hearing, feeling, tasting, and smelling. My affiliation and work with Aunty Edith Kanaka‘ole through many years, brought me to understand the value of Hawaiian traditions, the respect of self and others, and the dignity of our Hawaiian values and heritage. She taught me much in chanting as to the projection of voice, control over the language and breathing, and essentially the necessity of having feeling in your chant in what one has to convey. I began to teach in 1962 at St. Louis High School and in 1965 I was asked by some of my students to teach Hawaiian music. That turned into a Hawaiian glee club and eventually I began to train the students to dance in the hula style that I was taught. The greatest sacrifice I’ve made is family time. A hālau demands a tremendous amount of time. I try to balance this by making my family as much a part of the operation as possible. I give my time because to see a student really grasp the knowledge and tradition I am passing down is something special. It’s alright for the young kumu to take the traditional styles to their full zenith but they can’t forget the basic questions of hula which are: who am I dancing for, and what am I dancing about? The changes that have come about are exciting but are we sacrificing the discipline and definitions of kahiko with these changes? Creative discipline by the kumu of each generation was the keystone to all of the masses of unwritten literature that has been passed down through the chants. There has been creativity in every generation but the original thought and theme of the chant remained the same and this discipline and order that was taken for granted in the past is breaking down today. Edith Kanaka‘ole Ma‘iki Aiu Lake https://nakumuhula.org/archive/files/original/d8dd3322e04fb9fc632e4e4504336e6b.jpg b161bc6c686900d4ffed79e999a728ea https://nakumuhula.org/archive/files/original/b9b3fd52826f3418e1d3d202d2c304a7.pdf 9879c7775e0b36db4d5aa7f2c5e576d3 https://nakumuhula.org/archive/files/original/85bc91dff5440c0b039ff230c215dbe2.pdf 3aeaf0e4aa34e0f3c09d4d869fee7d11 https://nakumuhula.org/archive/files/original/18e7f179fa312bed74c9a9427c7ed820.pdf 5908cd731ba57d6861660fd1061a67e4 https://nakumuhula.org/archive/files/original/efc4d472105171e7b01c17b01082d0f3.pdf c15999eeea32b876f33173aaebd0fdcc https://nakumuhula.org/archive/files/original/06a173f0ba4d06ff2ccf00f88502244a.pdf e1a90ed8e8773cdbd0dfd4cf1dc98d04 https://nakumuhula.org/archive/files/original/55a18dd70df8c8241fb51ad8dfdcba37.pdf 3148e9f6291a77f1fe9ca882b9d6fb2b https://nakumuhula.org/archive/files/original/d9b1063326a746030d11e27d4ba03f17.pdf 38763e22f13da4dd4f50f2df910d6c46 https://nakumuhula.org/archive/files/original/6d335b99dd38c1b0976307b3908b0051.pdf e0848bcd33ed9becd503e4ffb5fdcf2a https://nakumuhula.org/archive/files/original/60444404e05ec0faa9bcff071d1cc25c.pdf 87112f7d20fb50f947ebed39f9fc1ca1 https://nakumuhula.org/archive/files/original/2e026b3f884cbeed724535b4f4801c7d.pdf be1f837b810d730932e967499ce9144a 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>Ma‘iki Aiu Lake and Coline Kaualoku Aiu Ferranti</strong> Description An account of the resource Mā‘iki Aiu Lake Mā’iki Aiu Lake, teacher of the hula for thirty-seven years, is recognized as a mentor for many of Hawaiʻi’s outstanding young kumu hula. As far as my family was concerned the hula was a closed book. I came from a straight- laced, Christian family and most anything Hawaiian was not condoned. But in my family was a grandaunt named Helen Correa and to her the hula was great people accomplishing heroic deeds in everyday life. In the old days pageants were known as tableaus and she would be called upon by churches to organize Hawaiian tableaus because she knew the protocol. My tūtū taught me the mannerisms, the attitude, and the gentleness of the actual dance performance but my first formal teacher was Lokalia Montgomery. As I studied under her I learned that the kahiko could be performed without all the rituals. I didn’t have to be afraid and I didn’t have to compromise my Christian faith. I went to Aunty Lokalia at fifteen and at eighteen I was graduated traditionally as a dancer. In those days nobody carried the title of kumu hula. They were all musicians or composers or performers and when the elders were no longer around some of the teachers would improvise and put their own feelings into the dance. After my ‘ūniki I was trained by Lokalia to be a teacher and by the time I graduated I had started my family. I would dance in between my family life with Pua Almeida, Lena Guerrero, Andy Cummings, and anybody who needed a dancer when they entertained. In 1946 I was asked by my grandaunt to teach the church members at the Blessed Sacrament Church. I was so grateful for the extra money because now I could buy my children the little things besides only saving money for their education. I was still a young teacher feeling my way through classes and I would go home and try to remember the things that I was disappointed with in my education. When I studied with Aunty Lokalia there was no paper or pencil so when I’d come home I’d cry at the table trying to retain all that we had been taught. Then my Tūtū Helen would explain the kaona to me and she would open up a whole new world. The knowledge of the culture became very real and a part of modern everyday living but how many students had a Tūtū Helen waiting at home for them? There would be many questions that would be in my mind and my teachers would tell me they would be answered when the time came. Some things were left sitting in the air and my tūtū told me if it was meant for me it would be explained. It was a totally different way of learning back then because it was a totally different world and I don’t think it would work for the young people of today. Tūtū Kawena P uku‘i told me that we need written instructions these days because we don’t speak the language in our homes. So I had a blackboard put in which upset some of my kumu but I needed to teach vocabulary in order that my young people could understand what was being taught to them. I started putting everything into book form because I wanted them to be able to take notes home and study. I didn’t want them to suffer like I did because if you don’t know how to study, learning becomes only stressful. What I’ve tried to do with my career is standardize the methods of learning the hula and give it structure and credibility. The students must do the paper work or they are expelled, they must pass the monthly tests or they are expelled. I don’t consider myself a master but I’d like to believe the hālau is carrying on something that my elders have left me. Nona Beamer has given a title to the kahiko the young people of today are composing. She calls it contemporary kahiko and I go along with that. Kahiko is a record and reflection of the times it is created in and the kahiko that we look upon as traditional today was contemporary one hundred years ago. I encourage my young people today to compose their kahiko from what they see around them. Today is a part of life and a part of history and in a hundred years it will be considered traditional kahiko. Taken to an extreme there is some kahiko being danced today that is a combination of styles and innovations. We are seeing kahiko today with no history, no tradition, no trace of any original source. It is as if it has arisen from thin air. Sometimes everyone forgets what the hula is all about. But you come back and remember. I’ve forgotten many times what it really means but as you get older you find that it’s real and it’s there. The spirit of the kapuna will always be there. Coline Kaualoku Aiu Ferranti Coline Aiu, the daughter of Mā’iki Aiu Lake, teaches with her mother and resides part of each year in London and Honolulu. I have looked upon my mother’s hālau as a bridge from the modern world to a past world. We have tried to make the hula kahiko accessible to a modern generation. There is a responsibility in passing on the kahiko but the methodology of the study of the hula has to adapt to a new age, a new era, a new generation. My first formal teacher was my mother and the first two things I learned were respect and discipline. Respect for the things that I learned and discipline in myself to make a commitment to learn the hula correctly. You have to be committed to certain goals and not be swayed by popularity and trends. As a child I would help my mother make leis, press costumes and clean the hālau so the hula was something that became second nature to me. I think as you participate you study, so my childhood became an unconscious apprenticeship. I didn’t attend classes regularly until I was in high school and that’s when I began to perform. Other jobs started to come and in order for me to take them I had to attend classes to keep up my knowledge of the songs. In 1974 my mother became ill and I began to teach the teenagers for her because they were wild and energetic. I traditionally graduated as a teacher from my mother in 1972 but I don’t think I realized at that time the difficulty of teaching people. All of these minds are coming to learn from different levels and you have to find a way to communicate the knowledge so that it will be understood by all. Up until the age of fifteen, the students in our hālau must wear a uniform. They have to learn that they are not the teacher, they are coming to the teacher and that there is one mind and one voice to listen to in class. In their first month students are taught basic foot movements, the definitions of a hālau, basic hand motions, basic vocabulary, and on the last week of the month are tested on all of this. If they pass they are introduced to our dance notation system through simple hapa Haole songs and eventually Hawaiian songs. For every song that they learn, a research report must be turned in and the students are tested every month. The first year we translate the songs literally even if it’s in pidgin because pidgin is here to stay. We rotate hapa Haole and Hawaiian songs because too many times people forget the ‘auwana defines the kahiko and vice versa. Throughout all of this the students’ vocabulary is replenished weekly and is relevant to the songs they are learning. A hālau takes a student from ground zero and trains them. The students have to know that they are not just going to a studio but a school that develops the mind, body, and spirit, and that it’s going to take a great amount of patience on their part. All the books, teaching methods, mimeographed information and songs are categorized into four distinct levels of expertise. There is a method that has been developed by Martha Graham on how to study modern dance and that is what my mother and I have tried to do for the hula. Create a modern methodology that is orderly, logical, accessible, and yet loyal to the hula. Helen Correa Lōkālia Montgomery Ma‘iki Aiu Lake Mary Kawena Pūku‘i Nona Beamer https://nakumuhula.org/archive/files/original/c71a74c3c98a02f4a30ca0c71c7345d9.jpg bb655a410951e8caaf676002588b689b https://nakumuhula.org/archive/files/original/a0f268ced1680ccc3faa2ac4f0b1ff5d.pdf c136ca555f2a8d729025e72863cbb055 https://nakumuhula.org/archive/files/original/67f9ed5d8cee2882ea4b66666a4b5957.pdf cb3afd59d713e66ca10de5dcf0175da3 https://nakumuhula.org/archive/files/original/76c163610df61194d6d26c1efadf4630.pdf 3cc0a2006de0dac4b14a341cc60bb85b 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>Keli‘i Tau‘ā</strong> Description An account of the resource Keli‘i Tau‘ā Keli‘i Tau‘ā has taught the hula on O‘ahu for the past five years and currently makes his home in Kihei, Maui. I think the biggest stumbling block for the modern Hawaiian is the definition of who is and who is not Hawaiian. Many people still believe it is strictly a matter of race. Today being Hawaiian has more to do with a sincerity of feeling towards the fate of Hawai‘i than anything else. In 1970 I was teaching Hawaiiana for the Department of Education at Waimanalo Intermediate School. Aunty Nona Beamer was serving as my consultant. I was required to learn hula for teaching purposes and so Aunty Nona invited me to train under her informally. I stayed with her for a year and in 1972 Aunty Mā‘iki Aiu publicly announced that she would be holding classes for hula teachers. The hālau at that time was on Ke‘eaumoku Street and after some practices, I could hardly walk down the stairs of the second- floor studio. The “Hawaiian Renaissance” to coin a phrase of that time, was just starting to turn its wheels. Anything that was Hawaiian was a joy to learn. I think the greatest thing that I came to recognize was that hula was not just motions but Hawaiian life, language, and folklore. That was the greatest joy, being in a place where I was learning not only the dance but something about myself in relationship to the past Hawaiian culture. What was there, and what it could be in the future. More answers came from another kumu named Kau‘i Zuttermeister. I started studying intensively in 1973 with style and a feeling that I still possess today and transfer the stylings of Aunty Kau‘i to others. I started to teach in 1975. Two of my former classmates in Aunty Mā‘iki’s hālau, Robert Cazimero, and John Topolinski were really getting into men’s hula and it was exciting to me. There had been men’s hula when we were learning but there weren’t hālaus as we understand it today. They set the pace and helped to establish respectability for men to dance. My approach was to show that hula was physical and demanding and required dedication and learning. That’s how in 1978 I ended up with a hālau of fifty- five men, half of them college or professional football players. My work has centered on kahiko because ‘auwana, as the word indicates, can be created by anyone, anytime, anywhere. My definition of hula kahiko is that of Edith Kanakaʻole’s. It would have to be movements passed down from generation to generation. In the old days we were taught to wait for the right time but in today’s society the opportunity for knowledge is so great that it behooves each student to search out all opportunities. At the same time, the student has to be committed and dedicated. I’d rather see the student free to go after what they really want than be frustrated waiting. The young kumu are criticized for their commerciality but the older people have to realize that there are exorbitant costs to be met. The expenses of 1983 are not the same as in the Forties and Fifties, and they have to be paid if the hālaus are to survive. It has been said that a culture dies if creativity stops. I am happy to see the young perpetuating the culture and traditions for in them is the future of Hawai‘i nei. Kau‘i Zuttermeister Ma‘iki Aiu Lake Nona Beamer https://nakumuhula.org/archive/files/original/bfe19968953f305c2ef936a886e0d54f.jpg da747974028fd1cd38f023e52d824768 https://nakumuhula.org/archive/files/original/f96f2b923d49f3242e67c3cfa5a7515c.pdf ef2c57fe41d26719eccea63e07e770e4 https://nakumuhula.org/archive/files/original/fb393ff8e2c68b159263ffe9e73b241a.pdf bbc46072bda94511d8f0b25f4958cb5f https://nakumuhula.org/archive/files/original/fe0729d8577470c93657177fff449712.pdf d9f4837d5eff7320e3595ec7432eaca4 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>John R. Kahai Topolinski</strong> Description An account of the resource John R. Kaha‘i Topolinski Kahai Topolinski, kumu hula for Ka Pā Hula Hawaii, has taught traditional hula on O‘ahu for the past ten years. Mrs. (Kawena) Pūku‘i told me that hula is not only for our people. It is for anyone who has the desire. You do not have to be Hawaiian to dance. If you want it to live, you must give it to everybody so that it can create a better understanding about Hawai‘i and the culture. The fact that non-Hawaiians want to learn the dance should be a compliment. When I went away to college on the Mainland, I was asked to dance at a “get together” of Hawai‘i students. And I couldn’t. The remark was of course, I am Hawaiian but can’t even do the national dance. That was the spark that told me to come back home and learn to dance. In 1971 I met Aunty Mā‘iki Aiu Lake and she became my first kumu hula. I studied under Aunty Ma‘iki for two-and- a-half years and she was a very positive influence on my life. She was very strict in her hālau but at the same time very giving. She would explain the dance out thoroughly, clarifying the abstract motions and meanings and giving us the background on the kaona of each mele. I graduated traditionally from Aunty Mā’iki in 1973 and I went on to study informally under Henry Pa, Sally Wood Nālua‘i, and Kawena Pūku‘i. Looking back I feel that all my kumu were equal in their influence on me because they each opened up a facet of the hula that I was unaware of. Mā’iki gave me the confidence that I was kumu hula material and she gave me my foundation in the hula. Uncle Henry showed me how to create variations in the dance by combining foot movements to create a nice, balanced picture. Sally Wood Nālua‘i trained me in the drum techniques of Pua Ha‘aheo, and Kawena Pūku‘i passed on to me an in-depth philosophy of the hula. Her daughters Pat and Pele taught me how to chant and create in the traditional framework using traditional Hawaiian motions as opposed to Western dance motions. Of my kumu I have been with Mrs. Pūku‘i and her family for eight years which has been my longest training relationship, and my most memorable experience. There have been many times when I have been troubled and searching for knowledge and her family has always been there for me. My kumu taught me that in the hula you must treat everything, animate and inanimate, with respect or you will be defiling them. I saw the disloyalty of some haumāna as they abused what had been freely given to them, and I don’t think some of my kumu ever understood these changes of loyalties. It made them apprehensive of opening up and sharing their knowledge. I began to teach in 1973 because I wanted to restore the male image in the hula that had been lacking for so many years. The greatest change in the hula had been the influence of Western ideas and dance movements on the traditional hula. Women were dancing like men and vice versa and that is the change that I strongly opposed. I had been taught that the Hawaiian traditional dance is based on the ethic that the male and female are opposites. They exist to complement each other like the Oriental yin and yang. In 1973 there were too many of these changes that were coming into the hula that were not Hawaiian, and I felt the traditional hula was becoming lost and unrecognizable for the generations to come. Today we’ve reached a plateau in the Hawaiian culture and I forsee our future as being a battle between preserving tradition as opposed to its dilution. How can we keep the creativity of our young, individualistic kumu within the context of the traditional hula? The new kumu of Hawai‘i are no longer masters of their art. They are creating a new traditional hula that appeals to the appetite of the masses. Today the masters of the art of the traditional hula is the public. Henry Pa Ma‘iki Aiu Lake Mary Kawena Pūku‘i Sally Wood Nalua‘i https://nakumuhula.org/archive/files/original/b6a74a12677e4aa1b99b88b09dc77ad3.jpg 28cc04086d7074e4ca7c279565e70e0e https://nakumuhula.org/archive/files/original/c22e584fff9d9d23a05d9d7180963da3.jpg 765e926efcf2d4b2e3b76918f9ff3249 https://nakumuhula.org/archive/files/original/273d70c7e950ccd01ec02dedec4eb77f.jpg a605cc059f633b3ee62c414e8544faee https://nakumuhula.org/archive/files/original/8e7495b6b1d723051277fb7d1d5767a0.jpg bb9cf005417ae11d90bff750c6604660 https://nakumuhula.org/archive/files/original/5427a77cf48d49f42d6293162725954c.pdf d42b0367ccb21bca754a14ba27a822a2 https://nakumuhula.org/archive/files/original/6a9a1d02b2a1ee1fcd852b4fc8501dae.pdf 046d3aba8235ec82455dd3ca0fcaea26 https://nakumuhula.org/archive/files/original/27862bc8ae662f00b544662078576fd4.pdf e2098fde5d9598acfc77c12e944b31a0 https://nakumuhula.org/archive/files/original/a8886655df3b3c6b677896c1543ae509.pdf 068a0fb23541e88aa323ab00f7a2105f https://nakumuhula.org/archive/files/original/160210323a4601d0ece90a0abe0da888.pdf 7bd26f417abc221c61e2cb825d6c1301 https://nakumuhula.org/archive/files/original/d6a3626d9538e587604d8857670ad435.pdf 91ddfad2852ad945c12e2f465321d1de https://nakumuhula.org/archive/files/original/5ac7dfe89087c9eaa1cf63d41ce9de9e.pdf fb749a1c9a41c87c702bd35c5fb40e9d https://nakumuhula.org/archive/files/original/3d66acc15e9704395c989081a61e7806.jpg 98f2c8cb4257dd7ec1cde2150464f486 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>Ulalia Ka‘ai Berman</strong> Subject The topic of the resource Nā Kumu Hula Ulalia Ka‘ai Berman - Nānā I Nā Loea Hula Volume 2 Page 19 Description An account of the resource Ulalia Berman, a resource teacher with Department of Education, Hawaiian Studies-Kupuna Program, is kumu hula of Ulalia Hawaiian School of Dance located in Kailua-Kona. <br /><br />Hula was taught to me at the age of one and a half years by an aunt. Because one of my legs was shorter than the other, hula was an exercise to even out my legs. At three-years-old my brothers and sister took me to Puʻunui Playground where Bose Lane was teaching hula. She taught hapa haole songs, a lot of ʻauana, and no kahiko. Aunti Alice Nāmakelua also taught at this park. I thought she was so strict. Little did I know that she would be a great influence on me and many of the hālau. At the age of seven Daddy wanted me to learn from his cousin Kuulei Stibbard but by this time, I was enrolled at Hula Hālau ʻO Māʻiki and on my way to the life that gave me so much.<br /><br />I was fortunate to have learned how to do the business end of the hālau while in high school. I took care of registration, collecting tuition, checking who had which costumes, and who was ready. I learned from the ground up. When Aunti Māʻiki was called away, I taught for her. And to teach your peers when you are still in high school is not easy. So I learned all these teaching techniques before I became a kumu.<br /><br />The teachings of Aunti Māʻiki enriched us all as she shared the love of her mentors. We were surrounded with people and love for all that life has to offer. I have so many memories of concerts, lūʻau shows, boat arrivals and departures, Aloha Week, and holokū balls. We were one of the first young children to dance in what is known today as the “Gibson Mūʻū.” Everyone called them pajamas. But Aunti Vicky Iʻi gave Aunti Māʻiki that high neck “Mother Hubbard” style and it became an insignia for the hālau. And of course we would perform with hula skirts made with one hundred fifty ti leaves, two pua melia lei and a head lei, or cellophane skirts, or red and white sarongs that people called the “Dorothy Lamour look.”<br /><br />When I moved back to Honolulu from Kona, Aunti Māʻiki bad started a kumu class. The only requirement was the student’s desire to learn. Having a young family at that time, I didn’t know what my goals were. I couldn’t envision where I was going to be years down the road. At times it shocked me that I was studying to become a kumu hula. But on August 27, 1973 I ʻūniki as ʻōlapa with Aunti Māʻiki and the following year I finished as kumu hula along with the Papa Lehua class.<br /><br />While an understudy with Aunti Māʻiki I was sent to teach hula at the Cathedral School. In September of 1973 I had the opportunity to teach for the Kalihi-Pālama Culture &amp; Arts Society in community facilities located in the Kūhiō Park Terrace, Mayor Wrights Housing and Kamehameha Housing. A year and a half of working within the Liliha - Kalihi area provided a great learning experience. With the blessings of Aunti Māʻiki, Ulalia School of Hawaiian Dance opened in 1976 at my home in Nuʻuanu. Thus began the life of a young kumu hula with a young family, grateful for all that was bestowed upon me.<br /><br />Life, fulfillment, enrichment. That’s the meaning of being a kumu hula and my kumu Aunti Māʻiki had all of these. She not only taught us about hula, she taught us about life. She shared the ups and downs because it was part of life. It’s harder to be a kumu hula today because we have to be “on top of everything” w hereas while studying with Aunti Maʻiki, we took one thing at a time; a program for Tripler Army Hospital this w7eek and a program for Aunti Bina Mossman next week.<br /><br />I am honored when people recognize Aunti Māʻiki’s style when my haumāna dance the hula. Though I’m sure I have developed a few of my own motions over the years, I still come from the hālau of Aunti Māʻiki and I continue her style.<br /><br />I give credit to my husband Kona and our children Kaleihoku-o-kona, Analu Kaʻai, Hoʻolaikahiluonalani, and Lononuiakea for their continued support. I’m proud to know that Hoʻolai and Lono carry on our rich legacy of Ilawaiʻi through music, dance, language, and love for cultural awareness. Kona and I pass on our love so they may continue to enrich future generations. E ola mau! <br /><br /><br /><br />"Life, fulfillment, enrichment. That is the meaning of being a kumu hula and my kumu Aunti Māʻiki had all of these. ” Bose Lane Ma‘iki Aiu Lake https://nakumuhula.org/archive/files/original/ae35ef9cbd0bec8b8b2d665f1f88b2fe.jpg 45babd2057153679154287d3fd790234 https://nakumuhula.org/archive/files/original/5ef86340c4a12f73e6df72bdbfeca9a3.jpg 965a75c343be5e4170c966c4d6be9b0b https://nakumuhula.org/archive/files/original/783cc4777656ac5ddf02a9dd67786ddb.jpg 2ebc4d2f1ee34df3913771222c8b9673 https://nakumuhula.org/archive/files/original/c507307f788cc815ccad7177d8d83f1b.jpg b036a8787c454cd2a6ea24d00c960911 https://nakumuhula.org/archive/files/original/e52c7e6d6d1490b9bcf941baab757c92.pdf df3a1dc6de11630b942775299087b021 https://nakumuhula.org/archive/files/original/48c7f0b544c57678c16214368501046c.pdf e9afd202484a11b2a5a4c701f6e2c1a9 https://nakumuhula.org/archive/files/original/9cae967dee2368fc536cbb8fb582ae1b.pdf 73374f7d69415926fbd74fe117545f94 https://nakumuhula.org/archive/files/original/2a9b7bba10ce36057660a3778e8f35c6.pdf 82f045f7e97ea4cbd78f9d4007a8b140 https://nakumuhula.org/archive/files/original/5eac47cf3ccbb3edc6ea956c63f1c2dd.pdf 62720c98709c90b526836b73ddf13e45 https://nakumuhula.org/archive/files/original/bd8e66e3f2a0213c5ecac5345e08ddb7.pdf eb6eedc9914af707ef2ce3ea28f0b127 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>April Pualani Peeples Chock</strong> Subject The topic of the resource April Pualani Peeples Chock - Nānā I Nā Loea Hula Volume 2 Page 31 Description An account of the resource April Chock is currently teaching for the Kaimukī Adult Education Program and the Queen Liliʻuokalani Children’s Center in Honolulu. In 1957 I began taking hula lessons from the late Māʻiki Aiu Lake who had her studio on Ke‘eaumoku Street. Besides the hula, she also taught us other things like how to haku lei and how to wrap a kīkepa in many different ways. We had the best years with Aunty Mā‘iki because she always had time for us. In 1958 I started performing at the Lau Yee Chai Restaurant during the weekends and at the Halekūlani Hotel once a month with Aunty Mā‘iki. I danced at the Queen’s Surf with Terii Rua, at the Hilton Hawaiian Village with Danny Kaleikini and at the Royal Hawaiian Hotel for special events. I worked in Nara, Japan at Dreamland and sang with Ed Kenney in the Tapa Room in Waikīkī. When I wasn’t performing, I was studying with Māʻiki at the studio to puka. But I left when I got married and had children. If you can’t concentrate, you can’t study. I was sad to leave Mā‘iki but she always told us that family conies first. I would go in to help her but not as much as I did before. I was there if she needed me but it wasn't like I was going in every day and opening up the studio. I taught for Mā‘iki in her hālau whenever she traveled to do shows. When I had my second child in 1965, I asked her if I could teach some friends of mine who wanted to learn hula for their wedding. From those four friends my studio grew in number. In 1982 I knew I had to learn more and go deeper into the knowledge so I went to Kamamalu Klein to finish up. On August 18, 1985 I puka with Kamāmalu Klein in Kāne‘ohe. What we receive from our teachers is the kīhei. That is our certificate, not a piece of paper. The ceremony shows what we accomplished throughout the years. We made our own pahu, ipu heke, and ulī ʻulī for these are crafts that teachers should know and be able to explain. It’s a review of all we learned but we keep going to classes because we really don’t stop learning. After I puka, I changed my hula studio name to Hālau ʻo Apelila. In 1992 Kamāmalu gave me another name for my hālau which I use as a signature, “Uluwehikalikolehuaikauanoe.” Her thought was that any student leaving my hālau would flourish and any student in my hālau would have the knowledge of Hawai‘i and would keep it as heritage. Nānā I Na Loea Hula 31 Kamamalu Klein Ma‘iki Aiu Lake https://nakumuhula.org/archive/files/original/8575a674c944b112d23f1b33088d15a1.jpg 6735aec1429274135bdd567ae517bfe9 https://nakumuhula.org/archive/files/original/c3f3bd82ffb16a6be1ace1a722402357.jpg 2c0f1855188d1627c515ccce573eeece https://nakumuhula.org/archive/files/original/54311227642a2c1356760c6a234a1f4f.pdf 8e9742ef966591fcca7cd3022bfa12e3 https://nakumuhula.org/archive/files/original/c515150dde6704f2d367b2e50fabc91f.jpg f7a62214ebaed280105e710b54343edd https://nakumuhula.org/archive/files/original/c850c578b37cd8e9bbeeb823abc56880.jpg 8d5f72584e30d074563cee8e8a6048e2 https://nakumuhula.org/archive/files/original/b45fcc06eedd67bf0475d73fa6e8d484.pdf 0d8a5e96e399584532fd757ed928c514 https://nakumuhula.org/archive/files/original/d3edaacec4ced125c37389b61b69d5d3.pdf d4737d0d4d18d300158a1cc25ad8d1ea https://nakumuhula.org/archive/files/original/24ceb7edfbcb57594d9c6773282c46f7.pdf f2374e759157f72d5428ad074b74ab72 https://nakumuhula.org/archive/files/original/3f1e68d6cdbd5b6e1739b55aee6f6f59.pdf 8ad5284bcbb9d09f8a80b1ef2a52e2d3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource <strong>Karen Kaohulani Aiu Costa</strong> Subject The topic of the resource Nā Kumu Hula Karen Kaohulani Aiu Costa - Nānā I Nā Loea Hula Volume 2 Page 35 Description An account of the resource Karen Costa, daughter of the late renowned kumu hula Māʻiki Aiu Lake, established Nā Wahine No Me Ka Ha‘aha‘a Mai Māʻiki and Nā Kāne O Kaohulani in 1984. Back in the early 1960s training as a dancer was very important and valuable as far as where our beginnings came from and where hula started. Kahiko was not as popular as it is today. Chants such as “‘Au‘a‘la” were very precious to Hawaiians and were taught only to the special students. I became a student of my mother Māʻiki Aiu from the age of six or seven. As I got older I was fortunate to become an extension of my mother in the running of the hālau business as well as learning our culture of the hula. For twenty-two years I was very privileged to hold this position. In 1970 my mother opened up a class for anyone interested in studying to he a kumu hula. It was decided by my mother’s aunty Hoakalei Defries that I attend these classes. All the young people who came to that first kumu hula class were there by choice. For me it was an obligation. It was meant for me to carry on the family tradition into the future. Our class started off with a total of at least seventy-eight students but dwindled down to about fifty-two. The desire to be a kumu and to learn what a kumu’s responsibilities are were not as easy as we thought. The formal training lasted over two years with long hours learning chants of our ancestors, making our own instruments, and training as ‘ōlapa and ho‘opa‘a. Only then were we given the title of kumu hula. This title was bestowed onto us after all of this training in 1972. I accepted the title but I didn’t acknowledge it because of all the duties and responsibilities that such a gift carried. My mother gave us the opportunity to write notes and to ask questions regarding any chant, song or dance that we were learning. She also issued some chants that we never heard of on paper to make it easy for us. Tūtū Kawena Pukui encouraged her to satisfy the need for paper and pencil because when we went home, we would be totally lost if we didn’t have anyone who spoke the language. We would be frustrated and lose interest in learning. It would be more damaging not to have something to fall back on. I have had the opportunity during those twenty-two years with my mother of visiting and learning from many elders. Today many of them are gone like Aunty Alice Nāmakelua, Vicky Iʻi Rodrigues, Uncle Bill AliʻiIoa Lincoln and Tūtū Kawena Pukui. Today I am fortunate to have caring teachers such as Aunty Malia Craver, Kaʻupena Wong, Namaka Bacon and my godmother Kekauʻilani Kalama. As I got older and hopefully wiser, I experienced things and saw the love of people who came to me and believed in me and my teaching. They told me that I really had a lot to share. My interpretation of kumu hula has always been what I saw in my mother. She was so enlightening, full of love, and she had so much to give. I didn’t think I was that kind of a person. But the people looked to me for all of the same things that they saw in my mother. Today I share the knowledge that my mother’s hula masters left with her and she has left with me. Now I leave it with all of you. As a teacher my mother was strict but there was also love and concern. To me she was a master in all that she did. She appealed to the young because she made hula exciting. She wasn’t selfish with her haumāna and she was always forever giving. All of these things made me look up to her. Hopefully all these qualities are what I as a kumu hula can someday leave to my haumāna. In time I visualize hula will come full circle and we will return to that which was the most important. We will go back to the beginnings, to the basics, to our ancestors, and that will be vital to our survival. We do have elders; we do have beginnings; we do have grass roots; and where we all come from and the source of the elders is there. Without the source we don’t have much of a future. “My interpretation of kumu hula has always been what I saw in my mother. She was so enlightening, full oj love, and she had so much to give.” Alice Nāmakelua Bill AliʻiIoa Lincoln Kaʻupena Wong Kekauʻilani Kalama Ma‘iki Aiu Lake Malia Craver Mary Kawena Pūku‘i Vickie I‘i Rodrigues 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/571f0942525526e731f3ae646c4ac3bc.jpg da330ae57f24a11754561f570fe4b55e https://nakumuhula.org/archive/files/original/78bad0bd06dd663fdc050f72bb18b16a.jpg dfb5bc59bbb57e7648c1a96ce24aaae5 https://nakumuhula.org/archive/files/original/b8da50c6f6cd765817e30be86bd35bba.jpg 9d551afa343579c6a9d5f9608dcef9f2 https://nakumuhula.org/archive/files/original/65bf56970eb549e9d9e522b72840acf4.jpg 2088fca9d78f37fcaf0ae65e27075429 https://nakumuhula.org/archive/files/original/13dcf7f9f8807e342f1020c7d6f2f54f.jpg 0464971af3b071b767ab59e587c13d87 https://nakumuhula.org/archive/files/original/edcc1c6af0f9f403c8a28241e8f26c97.pdf 9a6c2d31f58ffae700c980f26077a2c9 https://nakumuhula.org/archive/files/original/e1289956321aa5e175870e572d411e49.pdf 20071ae45549d53678f4ce3b5cb86e1c https://nakumuhula.org/archive/files/original/06e7a3bb276c82677ec73df77bfa8189.pdf 90b2e4bbda4cda6f771ae2e25aa171a8 https://nakumuhula.org/archive/files/original/a19a3d5524a7298b700361a42ef61145.pdf a0214afe44e08975e050572b1e020efa 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>George Pulamahia Maile</strong> Subject The topic of the resource Kumu Hula George Pulamahia Maile - Nānā I Nā Loea Hula Volume 2 Page 75 Description An account of the resource Presently employed by Aloha Airlines, George Pulamahia Maile graduated as kumu hula in the “Papa Lehua ” class from Māʻiki Aiu Lake in 1974. I must have been about seven or eight when I first took hula lessons from Aunty Mary Pukui at her house on Birch Street. There were two cousins and three other members of Aunty’ s family. I took on and off for about a year until Aunty cancelled the lessons when the cousins stopped coming. My next teacher was Momi Auwae-Yaw who I stayed w ith for two years. She studied under Ruby Ahakuelo and she taught us strictly ‘auana. It wasn’t until years later that I started with Aunty Māʻiki Aiu. I was twenty-four when I started with Aunty Māʻiki and I stayed for over twenty years. I came and never left! It was really a chance coincidence that I got into her hālau. We were all at a wedding reception when I was persuaded to go up to dance. I was going to die. It was years since I danced. After I finished, Aunty Māʻiki said, “Where did you learn that? You did my whole routine. You’re coming into the boys’ class next week!” So that’s how it started. I had picked up her whole routine without even realizing it by going into her hālau to wait for my friend and by talking story with Aunty Māʻiki. I guess I was just absorbing all these things. In 1970 the kumu class was opened up to the public. We started with ‘auana and then the kahiko was slowly interjected until we actually studied to become kumu. The name of our class was “Papa Lehua”. I was asked by Aunty Māʻiki to be in this particular class for kumu. I think there were twenty-four in our class and we all became kumu. We trained for four years to become ho‘opa‘a and then we trained to become kumu hula. The first student in “Papa Lehua” to become kumu was Ho‘oulu Cambra. The rest of us puka as ho‘opa‘a that year and we followed as kumu the next year. The first ‘ūniki was at Ulumau Village in Kāne‘ohe. It was an overnight thing. We had our ‘ailolo ceremony the next day but we went through the meditation and the preparation the night before. Many people were there to watch: Ka'upena Wong, Aunty Sally Wood, Aunty Alice Nāmakelua, Aunty Lani Kalama, Aunty Lokalia Montgomery, and Uncle Manuel Silva. Our class performed in mass at the ‘ūniki. As part of the ʻūniki process, we had to compose and then put a mele to it. Some were to be kept private and some were performed. After the ‘ūniki I continued with Aunty Māʻiki. I’ve never had my own hālau. I stayed with Aunty Māʻiki forever and a day. At first I stayed on basically as a performer and a student. Then I started to teach in the hālau. When I teach, I try to be as close as possible to how Aunty Mā‘iki taught it and try to keep her style of dancing. The only time I taught outside of the hālau was with Kealoha Wong and her sister when they were teaching for the May Day program at Maryknoll. I also taught the Aloha Airlines promotion team and I did four Hula Bowls’ half-time shows. Sometimes I wonder where they got the foot movements for the hula kahiko today. I feel a lot of influence came from other Polynesians especially in the male kahiko. I remember watching the gentlemen dance thirty and forty years ago and I see nothing the same today. I think that it was prevalent with the old masters that if they thought that you weren’t ready, they wouldn’t give and you couldn’t ask for it. There was no way that you could say, “I want to learn this, please.' You wailed until it was given to you or until the time was right. And sometimes that’s sad because these masters took half of it with them when they passed on. Nobody got it. 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For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource <strong>Kalena Silva</strong> Subject The topic of the resource Nā Kumu Hula Kalena Silva - Nānā I Nā Loea Hula Volume 2 Page 104 Description An account of the resource Kalena Silva teaches hula and chanting as part of the Hawaiian Studies curriculum at the University of Hawai'i- Hilo Campus. ‘Ano ‘e nō paha ko‘u komo "ana i loko o kēia hana ‘o ka hula. Ua ho‘omaka au ma ka noho ho‘opa‘a ‘ana no kekahi mau haumāna hula a ma hope mai, komo pū akula au ma ia hana ‘o ka hula. I ko‘u manawa e hele ana i ke kula ki‘eki‘e ‘o Kamehameha, ua ‘ōlelo mai ‘o Aunty Winona Beamer e lilo au i ho‘opa‘a no kekahi mau hoa haumāna e ho‘omakaukau ana no ka hōʻike o ka Ho‘okūkū Hīmeni o kēlā makahiki. No ko‘u ho‘omaopopo ‘ana i ko‘u nanea nui palena ‘ole i ka noho ho‘opa‘a ‘ana o Aunty Kau‘i Zuttermeister no kana kaikamahine ‘o Noenoe i hula ma kekahi ‘aha‘aina Hui Kiwila Hawaiʻi i koʻu manawa he ‘elima wale nō makahiki, a no laila, ua noho ho‘opa‘a akula au no kēlā mau haumāna hula. I loko nō na‘e o ko‘u noho ho‘opa‘a ‘ana no lākou, ua ʻike no hoʻi au ‘a‘ole au i ‘ano mākaukau loa. A no laila, ua hele au iā Ho‘oulu Richards ma Kamehameha, a ma laila au i ho‘omaka ai i ke a‘o i ka hula me ke oli. A pau, ua hele pū māua ‘o Ho‘oulu iā Aunty Mā‘iki Aiu Lake ma ka Hālau Hula O Māʻiki. A hala akula kekahi mau makahiki, ‘ūniki au ma kona Hālau i ka MH 1972 ma ke kūlana he ‘ōlapa me ka ho‘opa‘a. Ho‘okahi makahiki ma hope mai, ‘ūniki hou au ma ke kūlana he kumu hula. Pau, hele nō ho‘i au iā Aunty Kau‘i Zuttermeister me kana kaikamahine ‘o Noenoe ma Kāne‘ohe. Pau, hui au me Aunty Lōkālia Montgomery a, aia aku aia mai, ke maika‘i kona ola kino, a‘o mai no ho‘i ‘o ia i ka hula. ‘O Ka‘upena Wong ‘o ia kaʻu kumu oli. Oiai ua aʻo mai ka‘u mau kumu a pau i ke oli i pili i ka hula, na Ka‘upena i hoʻakea a‘e i ko‘u ʻike ma ke a‘o mai i nā ‘ano mele me ke oli ma waho o ka hula. No ka nui palena ‘ole o ka waiwai me ke kū‘i‘o o ke a‘o a ka‘u mau kumu a pau, a no laila, aia iā lākou ko‘u ho‘omaika‘i me ka ho‘ohanohano mau. I ko‘u wāʻi a‘o ai i ka hula me ke oli, ua a‘o au no ke kō wale ‘ana no o ko‘u ‘i‘ini e ‘apo i ia mau mea, ‘a‘ole no ko‘u mana‘o e a‘o aku au i kekahi po‘e. I ia wā nō ho‘i e noho haumāna pū aku ana ma nā kula haole a hiki i ka loa‘a ‘ana mai o ke kēkelē Ph.D. ma Ethnomusicology ma ke Kulanui o Wakinekona. I kēia manawa, ma ko‘u ‘ao‘ao kumu a‘o ma ka Māhele Ha‘awina Hawai‘i o ke Kulanui o Hawai‘i ma Hilo, he a‘o au i ka hula me ke oli ma ka ‘ōlelo Hawai‘i. Mana‘o au ua ho‘omaka ka nui o nā ‘ano hula e kapa ‘ia nei he “hula kahiko” ma kahi o ka hapalua like o ke kenekulia 19, a i ia manawa ua kapa ‘ia ho‘i he “hula ‘ōlapa. ʻO ka hula ‘ōlapa, ‘o ia ka hula he ‘elua laina o ka paukū, a he “haʻina” ko ka paukū hope, e like ho‘i me “Aia Lā ‘O Pele,” “E Ho‘i Ke Aloha I Ni‘ihau,” “Eia No Kawika,” a nui hou aku. Ua ho‘ohui ‘ia ka Hawaiʻi me ka haole a loa‘a maila keia mea he hula ‘ōlapa. Mana‘o no ho‘i au he hana nui ka ho‘opa‘a ʻana a pa‘a maika‘i ka leo oli Hawai‘i maoli i ka mea oli. Ua liiki i ke kumu hula ke ho‘oma‘ama‘a aku i ka haumāna i ke ‘ano o ka ‘uehe, ke kāholo, ka ‘ami, ke kāwelu, a pēlā aku. Eia nō na‘e, i ko‘u mana‘o, ‘a‘ole no i nui loa na kumu i hiki ke ho‘oma‘ama‘a aku i ka haumāna i na ‘ano leo o ke olioli, ka ho‘āeae, ke kepakepa, ke kāwele, a pēla aku. He ‘ike ‘ia ka hula ma ka pā‘ina, ka ho‘ike a me ka ho‘okūkū e ho‘olele ‘ia ma ke kīwī. He kāka‘ikahi wale nō na‘e ka manawa e lohe ‘ia ai ka leo oli Hawaiʻi maoli. ‘O ka mea nō na‘e e lana nei kahi mana‘o, ‘o ia ka ‘ike i ka māhuahua liʻiliʻi a‘e o ka po‘e nāna e ‘imi maoli nei i ia ‘ike ku‘una nani o nā kūpuna. TRANSLATION The way I began to learn the hula is probably somewhat unusual. I began as a ho‘opa‘a for some hula students and only later began to hula myself. When I was a student at Kamehameha, Aunty Winona Beamer asked that I serve as a ho‘opa‘a for some fellow students who were preparing for the hō‘ike portion of the Song Contest that year. Because I remembered my utter and complete fascination with the power and beauty of Aunty Kauʻi Zuttermeister’s chanting and drumming in accompaniment to her daughter Noenoe’s dancing at a Hawaiian Civic Club lū‘au when I was about five-years- old, I agreed to serve as a ho‘opa‘a for those students. Despite my serving as a ho‘opa‘a for them, I still felt that I needed to learn more. And so I began studying the hula and chanting with Hoʻoulu Richards at Kamehameha. Sometime later she and I went to study with Aunty Māʻiki Aiu Lake at the Hālau Hula O Māʻiki. A few years passed and I graduated from her hālau in 1972 as an ‘ōlapa and a ho‘opa‘a. One year later I again graduated from her hālau, but as a kumu hula this time. Later I went to study with Aunty Kau’i Zuttermeister and her daughter Noenoe in Kāne‘ohe. Soon after studying with the Zuttermeisters, I met Aunty Lōkālia Montgomery and occasionally when she w as in good health, she also taught me the hula. Kaʻupena Wong is my teacher of chanting. Although all of my teachers taught chanting that was related to the hula, it was Kaʻupena w ho broadened my knowledge by teaching me various kinds oi chants performed outside of the hula context. Because of the great value and truth in the teachings of my teachers, I shall always be thankful and indebted to them. When I learned the hula and chanting, I did so only to satisfy my own desire to learn about these arts and not because I thought I might eventually teach others. At that time too, I was a student in schools of west cm education until I finally earned the Ph.D. in ethnomusicology at the University of Washington. Today as a teacher of Hawaiian Studies at the University of Hawaiʻi at Hilo, I teach hula and chanting through the medium of Hawaiian as a part of the curriculum there. I believe that much of the kind of hula currently being called “hula kahiko” probably began at around the middle of the 19th century and was then called “hula ‘ōlapa.” Hula ‘ōlapa generally have verses of two lines apiece and a “ha‘ina” in the last verse. Examples of hula ‘ōlapa are “Aia Lā ʻO Pele,” “E Ho‘i Ke Aloha I Ni‘ihau,” “Eia Nō Kāwika” and many others. Hawaiian and haole elements were joined to produce this acculturated type of music and dancing. I also believe that it is difficult for chanters today to learn proper Hawaiian chant vocal production. Hula teachers can train their students in the intricacies of the ‘uehe, the kāholo, the ‘ami, the kāwelu, and so on. However 1 believe that there aren t many teachers wdio are able to train their students in the intricacies of chant styles like the olioli, the hoʻāeae, the kepakepa, the kāwele, and so on. Hula can be seen at parties, concerts, and competitions broadcast on TV. Unfortunately proper Hawaiian chanting is heard only very rarely. Nonetheless I have cause to be hopeful as I see that gradually more and more people are earnestly seeking this priceless traditional knowledge of our ancestors. 104 Kalena Silva Hoʻoulu Richards Kaʻupena Wong Kau‘i Zuttermeister Ma‘iki Aiu Lake https://nakumuhula.org/archive/files/original/1439fb686d771b6709e14e7b9d2f2aea.jpg 19674fb269319e4da69fc3bf6c8c9213 https://nakumuhula.org/archive/files/original/3f86aa6408d538686ad1877ccc96cc54.jpg e910f5b62a6794a667bcf5e9ed57f059 https://nakumuhula.org/archive/files/original/2cb2619efd43c5ba2f8d61ca753258b1.jpg 83ce9c10056a9c51bfedc219a3444a51 https://nakumuhula.org/archive/files/original/f011964c1f31d8c977aa3be54bafd0b6.pdf ad766d403bc666cbf94fbad2210f296f https://nakumuhula.org/archive/files/original/88c6b8aacb40c0611215caa6d761c01c.pdf 7ce2aff8eb89f9ea0232fcef4c36d0ad https://nakumuhula.org/archive/files/original/9573253e61e96a5f9653e2237620b841.pdf e6c0c3d51e1dbbbb6656d24b4ae96767 https://nakumuhula.org/archive/files/original/9d3b01c5427badee483f87be14be72fc.pdf 334b51cd9ad7b3927eb28a7b323bcbbf https://nakumuhula.org/archive/files/original/2e81aa75d8c189dcb1574d1550012276.jpg 7fe9a7b471030b6a573684e4bee0f30a https://nakumuhula.org/archive/files/original/1faf1220e78ed37425ddce37b2c7246b.pdf f83082ceebb83df86220fa2cedcfd900 https://nakumuhula.org/archive/files/original/d75b4e44c7748557daf4cd4724f9b0a0.jpg 134a02e16ab92dc2598cbd5c840efb04 https://nakumuhula.org/archive/files/original/d70d8d134cb532cf94288c099f1c3cfd.pdf 1dc77497685da7663dab876f5a7329b3 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>Victoria Hanaka‘ulani-0- Kamamalu Holt Takamine</strong> Subject The topic of the resource Nā Kumu Hula Victoria Hanaka‘ulani-O-Kamamalu Holt Takamine - Nānā I Nā Loea Hula Volume 2 Page 111 Description An account of the resource Kumu hula of Pua Aliʻi Ilima, Vicky Takamine also teaches Hawaiian chant, dance and culture at the University of Hawaiʻi- Mānoa and the Leeward Community College. When students come To me, the first thing I tell them is that I might not be the right teacher for them. So if they don’t care for the way I’m teaching or they’re not getting anything out of my classes, l don’t feel badly if they want to move on. If they come and they want to adapt to my style then the first thing we do is train in kahiko. I also teach them the text of a song because the important thing about the dance is not just the movements, it’s the text. Just teaching feet and hands have no meaning. It is not Hawaiian. I teach them a song right away to get them moving and to get them involved. I want them to feel that they can accomplish a chant or a song in a short period of time. I want them to feel very confident in their own ability. I started dancing at a very young age by watching television and watching my mother dance. She used to dance with the Alama sisters. I took formal lessons with Aunty Māʻiki Aiu at the age of fifteen when she was located at Ke‘eaumoku Street. I studied with her until I graduated from high school in 1965. For five years I was going to hula off and on. In 1970 Aunty Māʻiki opened her hula classes for kumu hula and a year later I started with her again. The first thing we learned with Aunty Māʻiki was basic hands and feet. She had a special song that she had created just for us, and she taught us the basic hand gestures and foot movements that went with the song. We won Id start learning to speak and understand the language from the first day we walked into class. We always had a test at the end of the month. So if we were in the Friday class, the last Friday of the month was set aside for words and translation for whatever mele or song we had learned that month. You had to keep on your toes because she would pull things out of the hat that we learned several months before. We were expected to learn the words to the songs and the translations. We wrote all of the movements down and kept it in a folder along with the research on all of the songs that we learned and the places that we studied. It was quite intensive. I didn’t know that I was going to be a teacher when I started dancing with Aunty Māʻiki. I just had this love for the hula and the Hawaiian culture. But when I came back to study with her, I knew that’s what I wanted to do. In 1975 I graduated as ‘ōlapa, ho‘opa‘a and kumu hula from Aunty Māʻiki. My hālau started in the backyard of Aunty Verna Wilson. She got a group of students together and I gave my first lesson in her patio in ‘Aiea. The joy I get from teaching hula is being able to share different experiences with my students and to watch them develop as a dancer, develop self-confidence, and develop grace. It’s satisfying to nurture somebody who wall want more of the Hawaiian culture and the language instead of just the movements to the dance. Because Aunty Māʻiki was my only teacher, I don’t think that I could get away from her style of dance. That is always going to be with me. Of course when I left Aunty Māʻiki, I developed my own ways but the basic foundation that she’s laid for me will always be there. Hula kahiko is not the same as it was fifty years ago or even twenty years ago for that matter. We as people have evolved and have changed and therefore our likes and our dislikes have changed. We tend to keep things that we like and set aside things that we don’t like. So if we learn something that we don’t care for, we won’t carry that on to the next generation and those things will be lost. Nānā I Nā Loea Hula 111 Ma‘iki Aiu Lake