The Evolution of HulaSarah Horn

University of Hawaii at Manoa

The HistoryOriginally known as Ha’a

Originated from Hawai’i before the 19th century

Originally performed for Pele the volcano goddess

Kept by the goddess Laka

Anything having to do with the Hawaiian culture, including hula, was banned by the U.S. government and the Christian missionaries in 1820- Hula was seen as ‘immoral’

King Kalakaua assembled a ‘glee club’ for hula known as the Hui Lei Mamo

The History Cont’d.

Hula schools were created in 1891

Hula groups went on tour, gaining popularity across the world

While on tour the females struggled to “assert their own autonomy over their bodies”

Dime museums were created and reached their height of popularity in 1880-1890

Under the banning of all things involving the Hawaiian culture, hula was performed in secret

The Dance Itself

Tells a story and portrays fluid nature movements

Divided into two groups:

• Hula Kahiko:

Ancient hula that “involves vigorous hand movements performed to the chants, or mele, of a singer playing a gourd drum”

• Hula Auana:

Modern hula that was created in the nineteenth and twentieth centuries once Hawai’i was influenced by the Western cultures that is “set to contemporary music or accompanied by a ukelele, is more gentle and flowing”

Costumes and MusicCostumes:

• Women wear mu’umu’u, which are long floral dresses

• Women also wear tops with skirts (lau’ti) made out of leaves

• Leis are worn made out of flowers or leaves

• Men wear pants paired with floral shirts or loincloths decorated with leaves and ferns

• Costumes are now more fitted and tailored to the performer and the colors are more vibrant

Music:

• Ukulele and guitar are the main instruments used

• Music originally was live but now, mostly for shows and competitions, is pre-recorded and played on a disk which is projected through speakers

Hula Now

Hula has become a huge part of the tourist industry

The ‘hula-girl’ has become the symbol for hula and the Hawaiian culture

Other countries have started teaching hula and have their students come to Hawai’i to learn hula from actual Hawaiian people

References

Desmond, J. Invoking 'the native'. The Drama Review, 41. Retrieved June 11, 2014, from http://web.a.ebscohost.com.eres.library.manoa.hawaii.edu/ehost/pdfviewer/pdfviewer?

sid=0c5d071e-57eb-4db5-89f5-6acce67d6019%40sessionmgr4003&vid=23&hid=4112

Elder, E. Polynesian dance. Dance Spirit, 13. Retrieved June 11, 2014, from http://web.b.ebscohost.com.eres.library.manoa.hawaii.edu/ehost/detail?sid=6de51fbf-88fb-

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Imada, A. Transnational hula as colonial culture. The Journal of Pacific History,, 46, 149-176. Retrieved June 11, 2014, from http://web.a.ebscohost.com.eres.library.manoa.hawaii.edu/ehost/pdfviewer/pdfviewer?sid=0c5d071e-57eb-4db5-89f5-6acce67d6019%40sessionmgr4003&vid=6&hid=4112

Horn, Theresa. Personal interview.

Hula dancing history (n.d.). In Hula Dance Headquarters. Retrieved June 11, 2014, from http://www.huladancehq.com/hula-dancing-history.html

Washy, J. (Producer). (2014). Hula halau o kamuela auana 2014 [Online video]. Youtube. Retrieved June 11, 2014, from https://www.youtube.com/watch?v=rYgTkIB_FUo