Hula

"The following account is taken from the Polynesian Researches of the Rev. William Ellis, the well-known English missionary, who visited [Hawai'i] in the years 1822 and 1823, and whose recorded observations have been of the highest value in preserving a knowledge of the institutions of ancient Hawaii:

In the afternoon, a party of strolling musicians and dancers arrived at Kairua. About four o'clock they came, followed by crowds of people, and arranged themselves on a fine sandy beach in front of one of the governor's houses, where they exhibited a native dance, called hura araapapa.

'The five musicians first seated themselves in a line on the ground, and spread a piece of folded cloth on the sand before them. Their instrument was a large calabash, or rather two, one of an oval shape about three feet high, the other perfectly round, very neatly fastened to it, having also an aperture about three inches in diameter at the top. Each musician held his instrument before him with both hands, and produced his music by striking it on the ground, where he had laid a piece of cloth, and beating it with his fingers, or the palms of his hands. As soon as they began to sound their calabashes, the dancer, a young man about middle stature, advanced through the opening crowd. His jet-black hair hung in loose and flowing ringlets on his naked shoulders; his necklace was made of a vast number of strings of nicely braided human hair, tied together behind, while a paraoa (an ornament made of a whale's tooth) hung pendant from it on his breast; his wrists were ornamented with bracelets formed of polished tusks of the hog, and his ankles with loose buskins, thickly set with dog's teeth, the rattle of which, during the dance, kept time with the music of the calabash drum. A beautiful yellow tapa was tastefully fastened about his loins, reaching to his knees. He began his dance in front of the musicians, and moved forward and backwards, across the area, occasionally chanting the achievements of former kings of Hawaii. The governor sat at the end of the ring, opposite to the musicians, and appeared gratified with the performance, which continued until the evening.' (Vol. IV, 100-101, London, Fisher, Son & Jackson, 1831.)" -- Emerson, "Unwritten Literature of Hawai'i: The Sacred Songs of the Hula," 71, 72.

This Saturday, the halau (school) that I attend will be having a large performance in Redondo Beach. We are dancing with 5 other halau; this is one of the first shows of its kind as hula schools typically stay in competition with one another. The great thing is that our long-standing Kumu Hula -- Aunty Mohala -- was the teacher for each of the kumu hula from the other halau. During this time, she will also be formally passing the reigns to Kumu Hula Mahiehie, whom I have had the privilege of dancing under for the last six months.

The say that I am very excited about this event would be a gross understatement. As the days grow closer to Saturday, I find myself thinking about it more and more. E Ho'omau Hula!!! Imua!