Long live hula!

With the 19th Century arrival in Hawai'i of Christian missionaries from New England, hula--that living storehouse of language, genealogy, teaching, healing and prophecy--suffered a setback that would last for several decades. The Christians, with the acquiescence of converted ali’i (Hawai’ian chiefs), banned the practice of this complex ritual art and severely weakened its ancient and essential teacher-to-student lineages. Although some teaching and practice continued in secret, hula was not fully restored to the public arena until Hawai’i’s last king, the arts-friendly Kawika Kalakaua, first brought it back for a week-long celebration of his birthday.

Today, hula’s rich traditions are honored and preserved by dedicated schools and ensembles such as San Francisco’s Halau o Keikiali’i. Under the direction of Kumu Kawika Keikiali’ihiwahiwa Alfiche, the company made its New York debut last evening at Symphony Space, presented by World Music Institute, in a program of mele hula (traditional “danced poetry” hula) and hula ‘auana (modern hula performed to Western stringed instruments). The charming, energetic Kawika proved to be a deft kumu (teacher) indeed for all of us New Yorkers, guiding us through the program and putting everything in historical, aesthetic and spiritual context. "Hula," he told us, "is the language of the heart and the heartbeat of the Hawai'ian people."

As a woman of African-Caribbean heritage, mindful of all that was stripped from African captives during slavery's reign of terror, I am moved by Kawika's teachings. Our people were also long denied our heartbeat, the drum. We know the power of this heartbeat and of its surrogates in speech, song, dance and alternative means of percussion. We identify with the determination of the native Hawai'ian people to reclaim the richness of the hula way of life that preceded Western encounter.

The mele hula section opens with a procession to the stage, re-imagined as the sacred forest of hula goddess Laka. Bearing tropical plants symbolizing the goddess's body, celebrants request permission to enter this realm; their voices must convey the depth of their sincerity. Women tie red skirts around their billowing white petticoats; men with long vines and feathery circlets, chant their longing. Dances in this section involve the smooth, seamless coordination of gestures, isolations, directions and levels of the body, unerringly delivered by Kawika's disciplined corps. Dances, accompanied by poetic chants and a calabash drum, recount goddess Pele's journey through Hawai'i's islands in search of the right place to store her fires; goddess Hi'iaka's creation the forest from a bed of lava; sacred ceremonies and prophetic rituals; and celebrations to honor ancestors, chiefs and royalty.

To my surprise, I loved Halau o Keikiali’i's sample of hula 'auana with its modern instrumentation (guitar and ukelele, an import from Portugal) and romantic songs every bit as much as their upholding of ancient tradition. Of course, we're really not talking about the kind of modern hula you might see in an old Hollywood movie. These graceful dances benefit from the Kawika's careful attention to technique and dignity and the company's fluent, legible dancing. Old or new, this proud ensemble does justice to it all.

This program was offered for one night only, but be sure to watch for other opportunities to see Halau o Keikiali’i and click here for more information about this impressive organization.

Learn more about World Music Institute's mission, resources and upcoming programs here.