Katelyn Jones Dance History 460 Research Paper A Look into Traditional Hawaiian Culture through the Hula

and Punia Knee Drum In years past the Hawaiian culture created a unique particular dance called the Hula. While remnants of this dance are still continued in the culture today, what is performed today has indefinitely been altered from the traditional Hawaiian Hula. The original Hula shows important insight into why Hawaiians dance and why it is so important to the culture. Something interesting about Hawaiian dances is that the majority of them tell stories and often they are about important historical events that are vital to the culture of today. In addition to the traditional dancing that was a part of the hula there were also two types of handmade drums called pahu drums that were used. The pahu drums, one used for religious ceremonies and one used for celebration, give important insight into the Hawaiian history and the influence that dance brought to the culture. In traditional times the hula was an elevated and dignified performance which required skill and knowledge in the highest degrees for presentation of the most important occasions (Kaeppler Pahu and Punia 3). So this means that those who danced the hula were very talented as well as in a higher class standing in order to have the privilege to perform at important occasions. It main seem that the main focus of the hula is the dancing but one should also put into account the poetry that accompanies as well as the steady beat of the drums. Only with all of the pieces put together does the hula exist.

In the book Hula Pahu Hawaiian Drum Dances Vol. 1: Sacred Movements there is a story about a women named Eleanor Leilehua Hiram who studied the hula since she was born. The history, understanding and performing of the hula was her life. Eleanor was one of the last people to go through the sacred hula rituals as a child. The story goes that when Eleanor was born in Oahu she was taken by a pahu drum player named Keakaokala Kanahele and there she would grow up. Eleanor grew up learning the way of the hula and that was it. She did not have the opportunity to have many friends or even play like normal children. Keakas ambition was to keep the tradition of the hula alive. And in order to do so Eleanor had to learn and know all there was to know about the ancient traditional hula. Even as a baby Eleanor was sung, mele oli and mele hula, the traditional songs that accompanied the hula dance instead of nursery rhymes. The story continues with many strange rituals that Eleanor would have to observe almost daily up until the point that she performs everything that she has grown up studying and earns her graduation certificate to perform the hula and even to perform the chants that go along with the hula (34-38). There are many other stories similar to this one. This just goes to show how important this dance and ritual was to the Hawaiian culture. Although these rituals are not observed today the sacredness of the hula and what it stands for is still remembered each time the hula is performed. The original pahu drum was only used in ceremonies in the temples. This was because it was taller than the punia therefore allowing for the drummer to stand behind the drum instead of needing get up and down from a kneeling position in such a holy place (Kaeppler Pahu and Punia 5). An interesting fact pertaining to some of the first know pahu drums are that each one has its own name. Because it is such an important piece of history to this culture the people felt

like they should be acknowledged for such prestige by having a name. The names typically chosen for the drums were of Gods and Goddesses. The people that were privileged enough to own one of these special named pahu drums had to be of especially high rank and power in the Hawaiian society. And even though different people owned them they were so special to the culture that they were kept in an enclosed vault built solely for the purpose of holding the sacred pahu drums. These drums were just made out of coconut tree trunk and mammal but to this society that wood held powers and a sacred aura at all times. During the process of making one of these drums the whole community would be present and chants would be sung the whole time (Kaeppler Pahu and Punia 6). These sacred rituals are what embedded the powers into the plain ordinary coconut tree trunk and made them so special to the society. One of the many chants that they would have repeated is as follows:
I ka pahu kani a Lono O Lonoikamakahiki Hooheihei kani moana Kani Hawea pahu alii The sound of Lonos drum Of Lonoikamakaihiki The sound (of the beating) over the ocean Sound Hawea, the royal drum
-Kaeppler Pahu and Punia p.6

In this verse it talks of Lono who is one of their Gods. The people are hoping that through chanting this during the making of one of their precious drums it will have a strong, loud beat just like the Hawea, the royal drum. The extent of how important these drums were to this culture is difficult to explain just because of how powerful they felt about them. Even though these feelings are now as strong in todays times, the pahu it still used occasional though not in the same traditional fashion as the originals. The second type of drums which was used for celebrations and song and dance was called the punia. This drum was smaller than the previous one discussed so it could either be

tied between the legs so the drummer could move around or the person drumming would have to kneel or sit while playing it. It was made by sanding and hollowing out a coconut shell then attaching a thick fish skin, most often shark skin, over a hole that had been cut in the top to form the head. This drum could either be played by one or both hands hitting the drum head, or by using a mallet for striking. This drum was made secondary to the pahu drum so all of the special sacred significance that applies to the pahu also applies to the punia. Originally this second style of drum was made because many pitches of sound could be created from different shaped coconuts (Kaeppler Pahu and Punia 10). During a celebration ceremony many of these drums would be used together to create a more full sound and have variety in the music choices. In the book, Hula Pahu Hawaiian Drum Dances Vol. II: Sounds of Power, it describes one of the typical dances that would be performed using the punia drums. The dance is called Houra-Houra and is mostly done by men. The dance does not require much use of the legs or feet but mostly of the upper body and arms. The movement is very graceful and fluid but also has a strong quality throughout it. There are typically three men in a group with maybe three or four groups performing the dance and then the women from the community crowd all around them to watch. If the dancing is pleasing to the women then they will throw the dancers pieces of their clothing (47-48). Unlike the performances that use the pahu drum, this dance does not have much significance other than that of the joy of dancing and showing off to the opposite sex. Although this particular dance performance is not done to vocal chants there are many that have chants that accompany the drumming. The norm for an occasion such as this would be that the band and vocalists would begin the chants then once the audience catches on to

the song that is being sung then they are allowed to join in (Kaeppler Sounds of Power, 49). The purpose of these dances and songs are just to celebrate and have fun as a community. Although both of these drums are different from each other they each play a very important role in the culture of the Hawaiian society. Both, the pahu and punia drums, have their special purposes. Without either one of these drums much of what makes up Hawaiian culture would be missing. Through these drums and by understanding the background and significance of their origins one can realize how crucial sacred rituals and ceremonies as well as fun celebrations are to the people. So much can be learned about this people and what is truly important to them.

Works Cited David, Choo. Art of the Hula. Menlo Park: Sunset Publishing Corporation, 2001. Web. Emerson, Nathaniel Bright. Unwritten Literature of Hawaii The Sacred Songs of the Hula. 2007. Web. Kaeppler, Adrienne. Hula Pahu Hawaiian Drum Dances Vol. I Haa and Hula Pahu: Sacred Movements. Honolulu: Bishop Museum Press, 1993. Print. Kaeppler, Adrienne. Hula Pahu Hawaiian Drum Dances Vol. II The Pahu: Sounds of Power. Honolulu: Bishop Museum Press, 1993. Print. Kaeppler, Adrienne. Pahu and Punia: And Exhibition of Hawaiian Drums. Honolulu: Bernice Pauahi Bishop of Museum, 1980. Print. Thrum, Thomas G. Hawaiian Folk Tales A Collection of Native Legends. 2006. Web.