Hula

“ Success to the men and women of the hula means not merely applause, in return for the incense of flattery; it means also a shower of substantial favors—food, garments, the smile of royalty, perhaps land—things that make life a festival. If welcome grows cold and it becomes evident that the harvest has been reaped, they move on to fresh woods and pastures new. ”

“ If one comes to the study of the hula and its songs in the spirit of a censorious moralist he will find nothing for him; if as a pure ethnologist, he will take pleasure in pointing out the physical resemblances of the Hawaiian dance to the languorous grace of the Nautch girls, of the geisha, and other oriental dancers. But if he comes as a student and lover of human nature, back of the sensuous posturings, in the emotional language of the songs he will find himself entering the playground of the human race. ”

“ They seize in their right hand the hula gourd, clattering with pebbles inside. They whirl it aloft, they shake, they swing, they strike their palms, they thump the mat; and now with supple joints they twirl their loins, and with heave and twist, and with swing and song, the savage dance goes on.
The Hula Dance.
Kaala stood up with the maiden throng, the tender, guarded gifts of kings. They twined their wreaths, they swayed, and posed their shining arms; and flapping with their hands their leafy skirts, revealed their rounded limbs. ”

“ Again it was a goddess, perhaps of the hula. Or, again, a traveler meets a creature of divine beauty, all smiles and loveliness. The infatuated mortal, smitten with hopeless passion, offers blandishments; he finds himself by the roadside embracing a rock. It was a goddess of the hula.
The gods, great and small, superior and inferior, whom the devotees and practitioners of the hula worshiped and sought to placate were many; but the goddess Laka was the one to whom they offered special prayers and sacrifices and to whom they looked as the patron, the au-makua, 23 of that institution. ”

“ Like most primitive peoples, the Hawaiians danced in order that their gods might smile upon them and bring them luck, or to appease the dreaded Pele and the other gods of evil. The much-talked of hula began in this way as a sacred dance before the altar in a temple inclosure, while the girls, clad in skirts of grass and wreaths of flowers, chanted their songs. ”

“ An institution of divine, that is, religious, origin, the hula in modern times Page 8 has wandered so far and fallen so low that foreign and critical esteem has come to associate it with the riotous and passionate ebullitions of Polynesian kings and the amorous posturing of their voluptuaries. We must make a just distinction, however, between the gestures and bodily contortions presented by the men and women, the actors in the hula, and their uttered words. “The voice is Jacob’s voice, but the hands are the hands of Esau.” In truth, the actors in the hula no longer suit the action to the word. ”

“ One turns from the study of old genealogies, myths, and traditions of the Hawaiians with a hungry despair at finding in them means so small for picturing the people themselves, their human interests and passions; but when it comes to the hula and the whole train of feelings and sentiments that made their entrances and exits in the halau (the hall of the hula) one perceives that in this he has found the door to the heart of the people. ”

“ The hula manó, shark-dance, as its name signifies, was a performance that takes class with the hula kolea, already mentioned, as one of the animal dances. But little can be said about the physical features of this hula as a dance, save that the performers took a sitting position, that the action was without sensationalism, and that there was no instrumental accompaniment. The cantillation of the mele was in the distinct and quiet tone and manner which the Hawaiians termed ko’i-honua. ”

“ It dealt in elaborate detail on such matters as accent, inflection, and all that concerns utterance and vocalization. It naturally paid great attention to gesture and pose, attitude and bodily action. That it included comment on the meaning that lay back of the words may be gravely doubted. The average hula dancer of modern times shows great ignorance of the mele he recites, and this is true even of the kumu-hula. His work too often is largely perfunctory, a matter of sound and form, without appeal to the intellect. ”

“ Such was the personnel of a hula troupe when first gathered by the hula-master for training and drill in the halau, now become a school for the hula. Among the pupils the kumu was sure to find some old hands at the business, whose presence, like that of veterans in a squad of recruits, was a leaven to inspire the whole company with due respect for the spirit and traditions of the historic institution and to breed in the members the patience necessary to bring them to the highest proficiency. ”

“ The passion for the hula was broadspread. If other agencies failed to meet the demand, there was nothing to prevent a company of enthusiasts from joining themselves together in the pleasures and, it might be, the profits of the hula. Their spokesman—designated as the po’o-puaa, from the fact that a pig, or a boar’s head, was required of him as an offering at the kuahu—was authorized to secure the services of some expert to be their kumu. But with the hula all roads lead to the king’s court. ”

“ The fact that the hula kilu was performed by the alii class, who took great pains and by assiduous practice made themselves proficient that they might be ready to exhibit their accomplishment before the public, was a guarantee that this hula, when performed by them, would be of more than usual grace and vivacity. When performed in the halau as a tabu dance, according to some, the olapa alone took part, and the number of dancers, never very large, was at times limited to one performer. Authorities differ as to whether any musical instrument was used as an accompaniment. ”

“ The hula of the old times, in spite of all the efforts to Page 153 maintain it, is becoming more and more difficult of procurement every day. Almost none of the singing that one hears at the so-called hula performances gotten up for the delectation of sightseers is Hawaiian music of the old sort. ”

“ As fire is produced by friction, so it was often by the congress of wits rather than by the flashing of genius that the songs of the hula were evolved.
The composition and criticism of a poetical passage were a matter of high importance, often requiring many suggestions and much consultation. If the poem was to be a mele-inoa, a name-song to eulogize some royal or princely scion, it must contain no word of ill-omen. The fate-compelling power of such a word, once shot from the mouth, was beyond recall. Like the incantation of the sorcerer, the kahuna ánaaná, it meant death to the eulogized one. ”

“ The pahu, if not the most original, was the most important instrument used in connection with the hula. The drum, with its deep and solemn tones, is an instrument of recognized efficiency in its power to stir the heart to more vigorous pulsations, and in all ages it has been relied upon as a means of inspiring emotions of mystery, awe, terror, sublimity, or martial enthusiasm.
Tradition of the most direct sort ascribes the introduction of the pahu to La’a—generally known as La’a-mai-Kahiki (La’a-from-Kahiki) —a prince who flourished about six centuries ago. ”

“ From these the kumu selected those most fitted by beauty and grace of form, as well as quickness of wit and liveliness of imagination, to take part in the hula.
The performers in the hula were divided into two classes, the olapa—agile ones—and the ho’o-paa—steadfast ones. The rôle of olapa, as was fitting, was assigned to the young men and young women who could best illustrate in their persons the grace and beauty of the human form. It was theirs, sometimes while singing, to move and pose and gesture in the dance ”

“ To be true in any measure to the originals these stories of my retelling should have in them the rainbow and the waterfall, the volcano, the forest, the surf as it foams over the reef of coral. In the hula or Hawaiian ballet, and in the poetry that is related to the hula, there is, as Dr. Nathaniel Emerson has observed, always an idyllic feeling. This idyllic feeling pervades Hawaiian romance also. The scene of many of the stories, when not laid in lands that are frankly mythical, is laid in an Hawaiian Arcadia. ”

“ Hand and foot, face and eye, and those convolutions of gray matter which are linked to the organs of speech, all worked in such harmony that, when the man spoke, he spoke not alone with his vocal organs, but all over, from head to foot, every part adding its emphasis to the utterance. Von Moltke could be reticent in six languages; the Hawaiian found it impossible to be reticent in one.
The hands of the hula dancer are ever going out in gesture, her body swaying and pivoting itself in attitudes of expression. Her whole physique is a living and moving picture of feeling, sentiment, and passion. ”

“ The very fact of being compelled to repeat is of itself alone enough to disconcert almost anyone. The men and women who to-day attempt the forlorn task of reproducing for us a hula mele or an oli under what are to them entirely unsympathetic and novel surroundings are, as a rule, past the prime of life, and not unfrequently acknowledge themselves to be failing in memory.
After making all of these allowances we must, it would seem, make still another allowance, which regards the intrinsic nature and purpose of Hawaiian song. ”

“ XXIV—THE HULA PELE
The Hawaiian drama could lay hold of no worthier theme than that offered by the story of Pele. In this epic we find the natural and the supernatural, the everyday events of nature and the sublime phenomena of nature’s wonderland, so interwoven as to make a story rich in strong human and deific coloring. It is true that the genius of the Hawaiian was not equal to the task of assembling the dissevered parts and of combining into artistic unity the materials his own imagination had spun. ”

“ He did not starve in a fool’s paradise, a neglected object of man’s superstitious regard, as in Constantinople; nor did he vie with kings and queens in the length and purity of his pedigree, as in England; but in Hawaii he entered with full heart of sympathy into all of man’s enterprises, and at his death bequeathed his body a sacrifice to men and gods. It was fitting that the Hawaiian poet should celebrate the dog and his altogether virtuous and altruistic services to mankind. The hula ilío may be considered as part of Hawaii’s tribute to man’s most faithful friend, the dog. ”

“ To indicate death, the death of a person, the finger-tips, placed in apposition, are drawn away from each other with a sweeping gesture and at the same time lowered till the palms face the ground. In this case also we find diversity. One old man, well acquainted with hula matters, being asked to signify in pantomimic fashion “the king is sick,” went through the following motions: He first pointed upward, to indicate the heaven-born one, the king ”

“ Indeed, for the most part, the hula is frowned upon by haole residents. And the majority of these were simple rural folk with a terror of wrong-doing. I think the Hawaiians are quick to detect a meretricious gayety or any patronizing, overdone familiarity; and to make them feel one’s genuine interest in their customs is the only means by which to establish a basis of confidence. Left to themselves, they will dance anywhere at any time. Tochigi witnessed his first hula on Toby’s train! ”

“ The hula pa-hua was a dance of the classical times that has long been obsolete. Its last exhibition, so far as ascertained, was in the year 1846, on the island of Oahu. In this performance both the olapa and the hoopaa cantillated the mele, while the latter squatted on the floor. Each one was armed with a sharp stick of wood fashioned like a javelin, or a Hawaiian spade, the o-ó; and with this he made motions, thrusting to right and to left; whether in imitation of the motions of a soldier or of a farmer could not be learned. ”

“ Nuuanu (Nu’u-á-nu) a valley back of Honolulu that leads to the “Pali.”
Ohe (ó-he) —bamboo; a flute; a variety of the hula (pp. 135, 145) .
Ohelo (o-hé-lo) —an edible berry that grows at high altitudes; to reach out; to stretch; a variety of the hula (p. 233) .
Ohia (o-hi’a) —a name in some places applied to the lehua (q. v.) , more generally the name of a fruit tree, the “mountain apple” (Eugenia malaccensis) .
Olapa (o-lá-pa) —those members of a hula company who moved in the dance, as distinguished from the hoopaa, q. v., who sat and cantillated or played on some instrument (p. 28) . ”

“ For an account of the first hula we may look to the story of Pele. On one occasion that goddess begged her sisters to dance and sing before her, but they all excused themselves, saying they did not know the art. At that moment in came little Hiiaka, the youngest and the favorite. Unknown to her sisters, the little maiden had practised the dance under the tuition of her friend, the beautiful but ill-fated Hopoe. When banteringly invited to dance, to the surprise of all, Hiiaka modestly complied. ”

“ If the range of thought is not always deep or high, it is not the fault of her art, but the limitations of her original endowment, limitations of hereditary environment, the universal limitations imposed on the translation from spirit into matter.
The art of gesture was one of the most important branches taught by the kumu. When the hula expert, the olohe, who has entered the halau as a visitor, utters the prayer (p. 47) , “O Laka, give grace to the feet of Pohaku, and to her bracelets and anklets; give comeliness to the figure and skirt of Luukia. To each one give gesture and voice. ”

“ In building a halau, or hall, in which to perform the hula a Hawaiian of the old, old time was making a temple for his god. In later and degenerate ages almost any structure would serve the purpose; it might be a flimsy shed or an extemporaneous lanai such as is used to shelter that al fresco entertainment, the luau. But in the old times of strict tabu and rigorous etiquette, when the chief had but to lift his hand and the entire population of a district ransacked plain, valley, and mountain to collect the poles, beams, thatch, and cordstuff ”