The History of the Hawaiian Hula Dance
It is uncertain precisely when hula began. Hula may have even come with the people who first migrated to Hawai'i. Different islands claim its birth, from Moloka'i, to O'ahu to Kaua'i, and it is linked with different gods, goddesses and people in Hawaiian culture. For example, Hopoe, Kapo'ulakina'u, Keaomelemele and the famous navigator Laka have all been attached to hula's origins. To many scientists, anthropologists and Hawaiians, however, the literal beginning of hula is far less important than its significance in native culture and modern times.
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Ancient Hula
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Ancient hula, or hula kahiko, began as a form of worship during religious ceremonies and played an important role in ancient Hawaiian culture. Hula training centers, or halau hulas, were highly respected and even had specific places near temples dedicated to them. These schools took training seriously, instituting elaborate and strictly followed protocols, which set out rules for conduct, grooming, eating, hierarchy and relationships.
Ancient costumes consisted of a lei for the head and shoulders, a pau (skirt), and kupea (anklets) formed from dog teeth or whale bone, which are still worn today in the practice of hula kahiko. Traditionally, the words that accompanied dancers were more important than their hand movements.
Political Upheaveal Changes the Course of Hula
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Certain political and societal changes greatly affected the history of the hula. In 1879, roughly 100 years after James Cook's first visit to Hawaii, Hawaiian chief Kamehameha I died, succeeded by Kamehameha II. Unlike his father, Kamehameha II did not reinstate certain taboos consistently enforced in the culture, however, which lead to unrest and social upheaval. When Protestant missionaries arrived six months later, Hawaiian culture was vulnerable to their influences, which openly disapproved of hula. In 1830, the queen regent Ka'ahumanu, a new Christian convert, banned public performances of the dance. This was the first time in Hawaiian history hula was officially ousted from its place of high religious honor.
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Native Hawaiian Resistance
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Ka'ahumanu's ban may have affected the history of hula, but so did native Hawaiian resistance to the attempted culling of their ancient rituals. The queen regent's ban was largely ignored in certain sectors of the island and when she died in 1832, it was all but forgotten. The French consul to Manila visited Hawaii in 1836 and took part in festivities that included a formal hula presentation. Hula continued to be practiced, particularly in rural areas, despite Christian pressures and adopted new elements, such as new instruments, from the different cultures Hawaiians were exposed to since the arrival of James Cook.
Though Native Hawaiian resistance kept hula alive, King David Kalakaua, known as the Merrie Monarch, is largely credited as bringing the ancient dance back to the forefront of Hawaiian culture. At his 1883 coronation and at his 1886 jubilee celebration, both ancient and emerging forms of hula were performed, and any royal disapproval of the dance was officially lifted. From there on, the hula was performed more often in public.
Outside Influences and the End of Hula in Government Protocol
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Influences on hula outside of native Hawaiian culture became more pronounced in the 1880s. Japanese immigration to Hawaii began, for instance, bringing with it new instruments and styles. As Hawaiians travelled and other cultures visited and immigrated to Hawaii, they also brought contributions to modern hula. One famous example of outside contributions to hula is the use of the ukelele.
In 1891, the Merrie Monarch was succeeded by his sister, Lili'vokalani, who was summarily thrown from power by Hilo businessmen and the United States Minister to Hawaii, according to the website Ka'Imi Na'auao O Hawai'i Net. This ended the dance as part of formal government protocol.
Resurgence of Traditional Hula
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Concerned ancient hula was slowly losing its traditional form forever, Hilo business people worked with cultural experts to create the Merrie Monarch Festival in the 1960s. Named for its famous proponent, the Festival is not only a global hula event today, but it has changed the course of modern hula history by being a catalyst for worldwide resurgence. Encouraging ancient, traditional styles, the Festival attracts dancers from around the world to its competition and is considered highly influential in the practice and teaching of hula in the 20th and 21st centuries. The competition has two major categories: hula kahiko (ancient styles), in which traditional costumery, chants and percussion are used, and hula avana (modern styles), in which modern instruments, costumes and songs are used.
Prevaling Myth
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One prevailing myth surrounding hula is that it was traditionally only danced by men. This is unfounded. In fact, James Cook recorded seeing women dance when he first arrived at Kaua'i in 1778, and the hula is often linked with goddesses who are traditionally assigned roles and jobs associated with Hawaiian women. Many experts believe it would not be consistent with all other Hawaiian legends to assign goddesses to a practice from which women were banned.
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References
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