Mele

Definition and stakes

Portrait of Nathaniel Bright Emerson Nathaniel Bright Emerson,  Unwritten Literature of Hawaii…

“ If the action of the play runs strong and stirs the emotions, each hoopa’a lifts his ipu wildly, fiercely smites it, then drops it on the padded rest in such manner as to bring out its deep mysterious tone.
At a signal from the kumu, who sits with the hoopa’a, the poo-pua’a, leader of the olapa, calls the mele (kahea i ka mele) —that is, he begins its recitation—in a tone differing but little from that of ordinary conversation, a sing-song recitation, a vocalization less stilted and less punctilious than that usually employed in the utterance of the oli or mele.
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Source: Gutenberg

Portrait of Nathaniel Bright Emerson Nathaniel Bright Emerson,  Unwritten Literature of Hawaii…

“ 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.
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Source: Gutenberg

Portrait of Nathaniel Bright Emerson Nathaniel Bright Emerson,  Unwritten Literature of Hawaii…

“ 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. ”
Source: Gutenberg

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