The Hula

The Intricate Story of an Island People

By: Hannah DeVroom and Sala Fitisemanu

The Hula
Men, women, and children can take part in the hula
Hula is collective and performance based
The hula dance was developed as part of the religious traditions of the
pacific islands
It was often seen as too sexual in the 1800s but became more
accepting later throughout society.

Involvement and Movement

Collective Origins:
Ancient Kahiko: Chanting, gourds, sticks, drums, ancient deities,
more direct, quick and stiff movement.
Modern Auana: Lyrical melodies, drums, guitars, ukuleles, bigger
and rounder hip movement; slower and more fluid movement.
Collective Purposes:

Family Gatherings, give thanks to family

Performance Purposes:

Competitions, Luaus, Celebrations

Involvement and Movement Contd.

Kahiko:

Auana:

Dance Space
Space is crucial when performing, many of the dancers enjoy a decent
amount of space to move and be expressive through hip movement
and feet work
The hula is often taught through family and in schools
Many people view hula as a physical expression of our thoughts,
feelings, and experiences
Hula dance is a complex art form, it uses a lot of hand motion to
represent the words in a song or chant.

Oppression of Hawaiians: IMPERIALISM

English Imperialism:
1778: James Cook arrives
1805: Half of Hawaiian
population dies
1820: Christian missionaries
arrive

American Imperialism:
1789: Columbia Reviva
arrives
1893: Liliuokalani
overthrown
1898: Americans claim
Hawaii as United States

Discrimination

Hawaii continues to suffer the effects of (Haole) white colonization,

resulting a loss of culture
In 1830 missionaries arrived in Hawaii banning the hula dance. They
believed that the dance was vulgar and sinful.
The language was banned in 1896 resulting of English to be the
primary language.

Resulting Evolution of Hula

Social Constructs as Redefining
Factors:
Adjusted Attire
Restricted Subjects
New Intents and Purposes
Overall Effect: Contributed to a
significant shift of popularity from
Ancient Kahiko to the more modern
Auana hula forms.

Contribution to American Culture

Tolerance as a means against Segregation:

Immense influx of Japanese and Filipino immigration

Leisure Activity and Diversion:

Expansion of Tourism Industry

New destinations
New consumers and producers led to skyrocketed increase in GDP

Development in Athletic Programs

Polynesian males, (of which Hawaiians are part), are 56 times more likely to
play in the NFL than an American non-Polynesian. -Forbes.

Acculturation
1900s: Shift from Ancient Kahiko
to Auana begins
Contrast in Ancient traditions
and new forms
Adapted more modern/western
ideals
English lyrics set to melodic
songs
More clothing worn
Brighter colors introduced

What has been lost in the Process?

The culture and decline of Hula
Their religion
The language

Dominion and Response

Dominant (Haole) Groups: Largely
responsible for modernized shift to
western ideals.
Response:
Establishment of the
Kamehameha schools, etc.
Hlau Hula created
throughout Hawaii and the
United States
Merrie Monarch festivals

Social and Political structures

The polynesian cultural center is owned by the mormon church and is
being used as money maker from tourist, the hula dance remains
visible but subverted( undermine the power, and authority of an
established system of institution) into a tourist entertainment.
Military bases have control of the island, waters, etc

Final Reflections:
Hula originated as a way to perpetuate myths, legends, and folklore
traditionally taken as truth of origins.
Imperialism from Europe and America was the principal source of
cultural oppression.
As tribute and in remembrance of ancestral heritage and culture,
many schools have returned much significance and attention to the
ancient Kahiko hula form, in addition to the popularly adapted
Auana.

Work Cited
Websites:
www.huna.org
http://www.history.com/news/10-things-you-may-not-know-about-captain-jamescook
http://www.npr.org/sections/codeswitch/2015/04/18/398578801/it-took-two-centuries-but-the-native-haw
aii-ans-has-finally-bounced-back
http://www.summ.org/tj/hi-report/timeline.htm
www.hawaiianhistory.org

Books:
Stillman, Amy K. Dance Research Journal. Dance Research Journal, vol. 13, no. 2, 1981, pp. 4143.
www.jstor.org/stable/1478413.