Hālau Handbook 201200601 Full

Revised 2012 June 01
~~~~~~~~ Hālau Nā Pua ʻO Uluhaimālama ~~~~~~~~
So You Want to Study Hula?

There are many ways to go about studying the hula. Not all of them are equally regarded as
respectable. What follows are various factors for prospective students to consider.
1. Hula is a way of life to which many students and teachers dedicate their lives
In Hawaiian culture, the hula is more than just dancing. The movements and gestures performed
by dancers are just the surface. Underneath this surface is a cultural system that celebrates
creation and procreation, a pantheon of gods and their descendants on earth, mythological and
legendary exploits, historical events and places, ancestral beings and cherished relations, and
natural manifestations of life forces that nurture and sustain Hawaiian people. Sacredness
permeates much hula, and much of the work associated with creating, teaching, and performing
hula.
Not all students aspire to deep levels of knowledge and understanding. Likewise, not all teachers
who offer lessons have achieved insight into the spiritual depths of hula. Prospective students
who wish to undertake study of the hula should understand that hula is held by many to be a
serious endeavor, and that respect for Hawaiian cultural lifeways is appropriate, and will be
appreciated.
2. Prospective students should consider what level of commitment they wish to make
The prospective hula student is faced with an array of choices. Classes are available for students
who want a casual, relaxed experience that requires no commitment to perform. These classes
are typically offered through community recreation centers. Students who aspire to performing
on stage should seek out teachers experienced in presenting classes and soloists in public
performances; these may range from amateur community exhibitions to professional
entertainment venues. Those with a desire to probe more deeply into cultural knowledge must
enter the world of hula schools, known as halau.
3. Hālau hula function as a family
Becoming a haumana (student) in a halau usually requires a serious commitment. This is

because halau run on cooperation. Haumana depend on each other to ensure success in all
endeavors. Haumana consider each other as "hula sisters" and "hula brothers." Haumana learn
quickly that those who do not pull their own weight are not to be entrusted with responsibility.
4. Not all knowledge is contained in only one school
This is a famous proverb. It is also a fundamental truth. Different schools of hula stem from
different lineages of teachers and teachings, and teachers bring their own individual creativity to
their teaching and to their original choreography. This is why there are so many divergent styles
of hula. And the beauty of it is that there is no one way to be right; rather, there are many ways to
be right. Unfortunately, it also means that there are many ways to be wrong, too.
ʻAʻohe Pau ka ʻIke i ka Hālau Hoʻokahi

All Knowledge Is Not Taught In A Single School
- One can learn from many different sources -
So You Want to Study Hula?
5. Not all teachers of hula have achieved comparable mastery of hula
Hula teachers in the present are referred to using the title "kumu hula". This wasn't always the
case, however. In .the old days, a kumu hula was an individual who had undergone extensive
training that culminated in an ʻūniki graduation ceremony. Nowadays, anyone who teaches
classes may call himself or herself a kumu hula. And anyone who directs a halau tends to be
automatically called a kumu hula, regardless of whether or not the teacher considers himself or
herself to be a kumu hula.
6. A kumu hula is a foundation for hula
The term "kumu" means "source" or "foundation". Thus, a kumu hula is, by definition, a source
or foundation for hula. This is why the title was closely guarded in the old days, and reserved for
those who had mastered an understanding of how hula needed to be carefully maintained,
presented, and passed on from one generation to the next.
Delving deep into hula is a humbling experience. The more knowledge and experience one
acquires, the more one comes to realize how much there is to know, and how little of that one can
ever learn. Deep study instills humility (haʻahaʻa). The most respected kumu hula are also the
most humble. They are the ones, too, who respect their peers, and they teach their students to
respect the efforts of other kumu hula, other halau, and other haumana.
7. Deep knowledge is reserved for those who have earned it
Teachers cherish what they have learned from their teachers. They hold their knowledge close,
because it is special. It is shared when students are ready and receptive. This is why an ʻūniki
ceremony is an ultimate achievement. The student has earned the teacher's trust. The teacher
trusts that the student will care for what has been taught. The teacher trusts that the student can
discern what is appropriate and what is inappropriate. The teacher trusts that the student
understands why things are done they way they are. The teacher knows that his or her teacher's
teachings will continue. So the teacher sends the student off on their own. They are free to create.
What they must never do is disrespect the teaching, or betray the teacher's trust.
8. E nānā ka maka; e hoʻolohe ka pepeiao; e paʻa ka waha; e hana ka lima
Watch; listen; keep the mouth closed and the hands busy. One learns by listening and observing.
Ask questions only after you've tried to figure out something yourself.
9. Hula is to be enjoyed
There is deep satisfaction to be derived from bringing joy to oneself or someone else through
hula. May your journey to hula be a fulfilling one.

REGISTRATION FEE, ONGOING INSTRUCTION:

FOR NEW & RETURNING STUDENTS……………………………………..…$25.00
(Including students who have been inactive for more than one month and current Lanakila Residents)
HULA PAYMENTS, ONGOING INSTRUCTION :

SINGLE PLAN/per month:
One (1) Person (or student) ……………………………………………….………… $10.00
Current Lanakila Community Member or Resident………………………………………………………………………….. FREE
***************************************************************************************************************
All hula fees should be paid by the first week of each month.
Please make checks payable to:
Hālau Nā Pua ʻO Uluhaimālama
All payments should be put in an envelope with the student’s name

written on it.
CLASS SCHEDULE:
Boys and Girls ● Ages 5 to 12 ● Saturdays 10 am - 12 noon
Young Men & Women ● Ages 13 and up ● Thursdays 6:30 pm - 8:30 pm
Ladies & Gentlemen ● Ages 45 and up ● Wednesdays 7:00 - 9:00 pm

CLASS SCHEDULES
Pōʻakahi, 6:30 - 8:30pm PAPA KANI KAPILA
Jam Session with Hālau ʻOhana. Open to all who love music and
open to learn. Bring own instruments (uke, guitar, bass, piano)
Pōʻalua, All Day NO HULA CLASSES (Boy Scout Meeting)
Pōʻakolu, 6:30 - 9:00pm PAPA PUA KENIKENI

Beginner - Intermediate Instruction for Gracious Ladies in Hula
ʻAuana, and some Kahiko
Pōʻaha, 6:30 – 8:30pm PAPA PUA KALAUNU

Intermediate-Advanced Instruction in Hula Kahiko & Hula ʻAuana
Pōʻalima, 7:00-8:00pm KMC (Kilauea Military Camp in Volcano) Hula Show

Selected “Show Dancers” perform @ Crater Rim Cafe
Pōʻaono, 10:00-12noon PAPA PUA LIKO LEHUA

Beginner to Advanced Keiki Hula Instruction in Hula Kahiko &
Hula ʻAuana
Group Ages:
Papa Pua Kenikeni: ? and up
Papa Pua Kalaunu: 13 & up
Papa Pua Liko Lehua: up to 12 y/o

RULES AND REGULATIONS
This hālau is a school dedicated to mālama and hoʻonaʻauao students with

Hawaiian language and history through chant and dance. When a student
becomes an ʻolapa, he or she learns not to pantomime but to translate the dance
through hand motions and feet movements shared with us through generations of
hula greats. While learning the hula you will learn to appreciate and use
Hawaiian traditions and Hawaiian values including lokahi, wiwo and haʻahaʻa.
Through this we become a hālau ʻohana and part of the preservation of the
Hawaiian Culture.
HULA PĀʻŪ must be worn during all practices
ALL STUDENTS ARE REQUIRED TO LOOK WELL GROOMED

- Hair neatly combed & tied in a ponytail or bun.
(up & away from face)
- Wear t-shirt or tank top with shorts or sweat pants.
(no jeans)
- Excessive jewelry will not be allowed.
(hālau is not responsible for any lost items)
- Personal hygiene is very important.
- Water bottles are encouraged.
- Bring a towel to practice
ARRIVE FOR CLASS 15 MINUTES BEFORE CLASS BEGINS

- Have your implements with you.
- Silence all cell phones.
- Run through hula motions while you are waiting.
- Bring the Hālau Handbook along with your Hula Binder; keep the Binder
neat and organized.

RULES AND REGULATIONS
NO ONE MAY ENTER THE HĀLAU WHILE CLASS IS IN SESSION

- You are to wait outside quietly.
- I will invite you in when we are ready.
- Family and friends are to remain outside until class is finished.
UPON ENTRANCE INTO THE HĀLAU

- Footwear to be placed neatly against the wall to avoid blocking the
pathway.
- A Mele Kahea is required. We will respond with a Mele Komo.
- No gum chewing allowed.
RESPECT IS OF THE UTMOST IMPORTANCE

- No talking is allowed unless you are asked a question.
- Treat others the way you expect to be treated.
- Stay focused… no playing around!
KEEP THE HĀLAU CLEAN AT ALL TIMES

- Close windows when class is done.
- Sweep floors before leaving
- Empty Trash Can.
- Return Benches & Tables to their proper storage area
PLEASE HAVE THE COURTESY TO CALL AND INFORM ME IF YOU WILL

NOT BE IN CLASS.
The hālau is a place of learning not only the hula, but the Hawaiian culture, the
Hawaiian language, discipline and - of course - ALOHA for one another. Follow
through on what you learn here and it will take you far in life.

HĀLAU BIOGRAPHY
Uluhaimālama means to be enlightened or to offer inspiration; one literal translation is: “As the
plants grow up out of the dark earth, so shall light come into the nation.” It is the name of Queen
Liliʻuokalani's secret flower garden in Pauoa, on the island of Oʻahu. In this garden were grown
the flowers which were brought to the Queen daily throughout her imprisonment in one corner of
ʻIolani Palace after our Monarchy was overthrown in 1893. While the flowers brought cheer to
her rooms, the newspapers in which they were wrapped brought her the latest available news
about her land and its people - information which those who imprisoned her had forbidden her to
receive from any conventional source.
Hālau Nā Pua ʻO Uluhaimālama was named in honor of the Queen's garden by my Kumu, Rae
K. Fonseca of Hālau Hula ‘O Kahikilaulani, and established in September, 1996. Through the
Queen Liliʻuokalani Children’s Center (QLCC) and the help of Kumu Rae we provided a FREE
hula program for 30 children at the Lanakila Housing Complex here in Hilo. Our main goal was
to perpetuate our Queen’s legacy through our Hawaiian Culture and the Arts of the Hula.
Nearly one full year into this program, we opened the doors of the hālau to the general public as
well. Eventually, we branched out to establish regular classes in Waimea, and then in Kailua
(Kona). Once a month, we would combine all three hālau for a mass rehearsal. Once a year,
everyone looked forward for an annual camp out at QLCC-Kona Papawai beach, near the old
airport. At this huakahi, the students and their parents learned to oli; to make hau skirts; to make
different kinds of lei; and to weave lauhala.
In the year 2000, we closed our doors temporarily in order to concentrate on completing our own
hula studies with Kumu Rae. Most of our ‘olapa followed us to Hālau Hula ‘O Kahikilaulani
and became involved in this experience of learning, and of learning to teach.
In January 2003, Hālau Nā Pua ʻO Uluhaimālama was reopened to the people of Hilo with nearly
one hundred students ranging from ages 3 years to very senior kupuna. Since then, we have been
honored to be invited to participate in a wide variety of cultural celebrations including the annual
Lei Day at the Palace, Kamehameha Day statue lei draping and Lei Haliʻa Aloha no
Liliʻuokalani here in Hilo; the Moku O Keawe International Hula Competition in Kailua
(Kona); and the Merrie Monarch Festival, renowned and broadcast worldwide. We also
entertain on a regular basis - some three Friday evenings out of four throughout the year - at
Kīlauea Military Camp in the active volcano's caldera.
To date, we have entered four respected formal hula competitions: the Aunty ʻIolani Luahine
Scholarship Competition in Kailua (Kona); the Queen Liliʻuokalani Keiki Hula Competition
in Honolulu; Hula O Nā Keiki in Kaʻanapali, Maui; and the Moku O Keawe International
Hula Competition in Kailua (Kona). Our participation in these competitions is governed by my
philosophy that each offers my ‘olapa the opportunity to perpetuate our Hawaiian Culture in the
Hula - a chance to share what we have learned together through research of a particular period in

HĀLAU BIOGRAPHY
history, of a person, or an event and creating motions to tell that story - and that coming in first
isn't everything. To me, "winning" is simply being on stage to show the final outcome.
On March 24, 2007, in the presence and with the blessing of Uncle George Naʻope, Kumu Hula
Rae K. Fonseca and Hālau Hula O Kahikilaulani honored me and five other graduates at our
ʻuniki graduation ceremony. Each of us is now formally recognized as Kumu Hula, having
received both a Kumu Hula Nā Kumu Palapala certificate and a kīhei paʻa of white kapa to
symbolize the purity of our achievements.
Accomplishments & Awards
Accomplishments:
Hawaiian Festival in Hawaiʻi, Yurihama, Tottori, Japan, July 2005
Hālau Nā Pua ʻO Uluhaimālama was selected to represent Hawaiʻi at an
Hawaiian Festival in Yurihama, sister city of Hilo. We held workshops in Hula,
Lei Making, and Ukulele.
Merrie Monarch Hula Festival, Hilo, Hawaiʻi, April 2011

Hālau Na Pua ʻO Uluhaimālama made itʻs debut in Hiloʻs own prestigious
hula competition. Our mele in both hula kahiko and hula ʻauana honored
Queen Liliʻuokalani.
Awards:
ʻOlelo Award, Aunty ʻIolani Luahine Hula Competition, November 2003
Aloha Award, Aunty ʻIolani Luahine Hula Competition, November 2003
Miss Nā Kamalei ʻO Kona: Alyxandra “Alika” Hopkins,
Aunty ʻIolani Luahine Hula Competition, November 2003
1st Place Hula Palua, ʻOpio Division: Bianca Soriano & Kawika Huston,
Hula O Nā Keiki, November 2005
Kawenaʻula Scholarship Award: Jaiden Butler,
32nd Annual Queen Liliʻuokalani Keiki Hula Festival, July 2007
Kawenaʻula Scholarship Award: Kelly Soares,
33rd Annual Queen Liliʻuokalani Keiki Hula Festival, July 2008
Kawenaʻula Scholarship Award: Marissa Hayashi,
34th Annual Queen Liliʻuokalani Keiki Hula Festival, July 2009
3rd Place Hula Palua, ʻOpio Division: Kylie Ann Andaya & Dason Fujimoto,
2nd Place Hula Palua, ʻOpio Division: Kianalei Kataoka & Dason Fujimoto,

ORGANIZATION AND SUPPORT OF THE HĀLAU
The organization of a hula company was largely democratic. The kumu---in modern sense, the
teacher---was the leader and conductor responsible for training and discipline of the company.
He was the business manager of the enterprise; the priest, kahuna in the religious exercise, one
who interpreted the will of the heaven, especially of the gods, whose favor determined success.
He might be called to his position by the choice of the company, appointed by the command of
the ali’i who promoted the enterprise, or self elected in case the enterprise was his own. He has
under him a kokua kumu, a deputy, who took charge during his absence.
The poʻopuaʻa was an officer chosen by the pupils to be their special agent and mouthpiece.
He/she saw to the execution of the kumu’s judgments and commands, collected the fines, and
exacted penalties imposed by the kumu. It fell to him/her to convey to the altar the presents of
garlands, awa, and the like that were contributed to the halau.
The paepae, also chosen by the pupils subject to confirmation by the kumu, acted as assistance to
the po’opua’a. During the construction of the kuahu, the po’opua’a stood to the right, the paepae
at his/her left. They were in general sense guardians of the kuahu.
The ho’oulu was the guard stationed at the door. He/she sprinkled with sea-water mixed with
tumeric everyone who entered the halau. He/she acted as sergeant-at-arms to keep order and
remove anyone who made a disturbance. It was his duty each day to place a fresh bowl of awa
on the altar of the goddess (hanai kuahu), literally to feed the altar.
In addition to these officials, a hula company naturally required the services of a miscellaneous
retinue of stewards, cooks, fisherman, hewers of wood, and drawers of water.
LEVELS OF THE HULA according to the Lanakilakeikiali’i Hula Legacy
Step One: Haumana: one learns to become a student.
Step Two: Olapa: one learns to be a dancer.
At this point, officers such as poʻopuaʻa, paepae, and line leaders are selected.
They are also known as alakaʻi hula.
Step Three: Hoʻopaʻa: one learns to be a chanter.
Step Four: Kōkua Kumu: one is designated by the Kumu as a special assistant.
Step Five: Kumu Hula: one has become a master; a source of knowledge.
When determined by the Kumu to be ready to perpetuate tradition and teach

knowledge received in the hālau, one undergoes ʻuniki (graduation) and receives
the honored title kumu (master/source).

HAWAIIAN VALUES
1) ALOHA means LOVE

A - Akahai: kindness, to be expressed with wisdom
L - Lokahi: unity, to be expressed with harmony
O - ʻOluʻolu: agreeable, to be expressed with pleasantness
H - Haʻahaʻa: humility, to be expresses with modesty
A - Ahonui: patience, to be expressed with perseverance
2) HAʻA HAʻA means HUMILITY
3) LOKOMAIKAʻI means GENEROSITY
4) HOʻOKIPA means HOSPITALITY
5) HAIPULE means SPIRITUALITY
6) WIWO means OBEDIENCE
7) LAULIMA means COOPERATIVENESS
8) MAʻEMAʻE means CLEANINESS
9) ‘OLUʻOLU means PLEASANTLESS
10) PAʻAHANA means INDUSTRIOUS
11) HOʻOMANAWANUI means PATIENCE
12) HOʻOKŪKŪ means COMPETITIVENESS
13) LEʻALEʻA means PLAYFULNESS
14) HOʻOHIKI means KEEPING PROMISES
15) HUIKALA means FORGIVENESS
16) NAʻAUAO means EDUCATE
17) KŪHAʻO means SELF-RELIANCE
18) KELA means EXCELLENCE
19) KOA means COURAGE
20) KŌKUA means HELPFULNESS
21) LŌKAHI means UNITY
22) HANOHANO means PRIDE
23) ALAKAʻI means LEADERSHIP
24) KUI KA NUʻU means ACHIEVEMENT
25) KŪPONO means HONESTY

HULA TERMINOLOGY
HULA A specific style of telling a story with words and movements;

To dance; One who dances Hula
~~~~~~~~~
In the days of our kūpuna, the hula was a religious service in which
motion, voice and instrumental sound were combined as a form of
dramatic art. In ancient times (“kahiko”), Hawaiians did not indulge in
hula for personal amusement. The art and practice of Hula was an
accomplishment requiring special education and training in dance, song
and musicianship because of its religious subject matter and importance as
a tool for teaching history.
KUMU One who instructs others in proper performance of Hula
HOʻOPAʻA One who drums and chants to accompany dance in performance of Hula
OLAPA One who dances to accompany chants in performance of Hula
HĀLAU A large building or “long house” used for learning, practicing and
performing Hula; building and sheltering canoes; or any other purpose for
which a large number of people may gather under one roof
OLI Type of chant not intended to accompany dance
~~~~~~~~~
Oli are recited in stylized and prolonged phrases, with relatively few,
carefully-timed breaths, often with a trill (“iʻi”) at the end of each phrase
MELE Type of chant intended to accompany dance; To sing
~~~~~~~~~
In modern times (“ʻauana”), the word “mele” may refer to any type of
poetry or melodious song, whether intended to accompany dance or not
PA The sound, beat or rhythm, as of a dance; To sound; To strike, or cause to
make a sound, as one would strike a drum; To thump a gourd (“ipu”)
down onto a pad (“pale”), with one quick slap of the fingers as the gourd
is raised, as a means of keeping time; The signal to begin dancing
KUKU Specific rhythmic marker in which the hoʻopaÿa thumps the ipu onto the
pale three times in successions and marks the fourth beat by raising the
ipu to slap with the fingers
KAHELA Rhythmic marker in which the hoÿopaÿa thumps the ipu once on the pale
and raises it to mark second and third beats with two quick slaps of the
fingers
HOʻOMAKAUKAU To make ready; Spoken instruction to get into position to dance
HOʻOMAKA To begin; The beginning

BASIC HULA STEPS
KAHOLO Basic, standard “vamp” hula step—more common in Hula ÿAuana (modern-
style) than in Hula Kahiko (ancient-style)—consisting of four counts:
1) One foot is extended to the side
2) The other foot is brought alongside the first
3) First foot is extended again in the same direction
4) Other foot is once again brought alongside
5) Entire process is then repeated in reverse, eventually returning dancer
to original position
HELA With weight shifted to one hip, dancer lowers the waist by bending the knee
on that side of the body while extending the opposite foot out and to the side
at a 45-degree angle—then withdraws the extended foot and repeats entire
process to the other side
UWEHE 1) One foot is lifted with dancer’s weight shifted to the opposite hip as
the foot is lowered
2) Both knees are bent forward as dancer lowers the waist while
quietly raising the heels
3) Knees are spread quickly to the sides and back together
4) Entire process is repeated beginning with opposite foot
LELE UWEHE Combination of all three basic steps listed above:
1) One foot is extended to the side
2) Dancer shifts weight onto the foot just moved and bends that knee
3) Other foot is extended out and to the front at a 45-degree angle
4) Dancer returns extended foot to original position
KAHOLO 1) One foot is lifted and extended to the side
UWEHE 2) Dancer’s weight is shifted and opposite foot is brought into position
alongside
KALÄKAUA Dancer steps out with one foot while, at the same time, turning in the opposite
(KAWELU) direction; taps heel of the extended foot once (“kaÿi”) while keeping the toes
stationary; steps forward and back two or more times; and repeats entire
process in opposite direction
AE KAWELU Dancer steps out with one foot while continuing to face forward; taps heel of
the extended foot once while keeping the toes stationary; steps forward and
back two or more times; and repeats entire process in opposite direction

BASIC HULA STEPS
AMI Hip revolutions

AMI AKAU Hip revolutions to the right
AMI HEMA Hip revolutions to the left
AMI KŪKŪ Ami in either direction, with smaller, faster hip revolutions in groups of three:
two slower ami are followed by three fast revolutions on a 1, 2, 1-2-3 count
ONIU The “figure 8” hula step, in which hips sway in arcs from side to side while
weight is shifted from foot to the other while feet remain in place
ONIU KŪKŪ The “figure 8” hula step, in which hips sway in arcs from side to side while
weight is shifted from foot to the other while feet remain in place, with
smaller, faster hip revolutions in groups of three: two slower oniu are
followed by three fast cycles on a 1, 2, 1-2-3 count
O Dancer thrusts one hip quickly forward and out at a 45-degree angle and turns
in the opposite direction, pivoting on the first foot
KUʻI Any interpretive hula since the days of Kaläkaua in which old and new steps
are joined together
KUʻI An ancient fast dance with stoping, heel twisting, thigh slapping and dipping
MOLOKAʻI of the knees; originated on the island of Molokaÿi, this move is intended to
evoke images of such pursuits as the dragging of fishing nets
KUʻI I LOKO Dancer steps out with one foot while continuing to face forward; taps heel of
the extended foot once while keeping the toes stationary; steps forward and
back two or more times; STOMPS; and repeats process in opposite direction
KALĀKAUA Dancer steps out with one foot while, at the same time, turning in the opposite
KUʻI direction; taps heel of the extended foot once while keeping the toes
stationary; steps forward and back two or more times; STOMPS; and repeats
entire process in opposite direction
KIʻI PA (E OLA) Generally concluding move of a hula ÿaÿalapapa (dance accompanied by
chant with rhythm kept by striking ipu):
1) With knees bent and weight on left side, dancer extends right foot to
the side
2) Dancer extends right foot forward
3) Right foot returns to starting position
KALA WAENA Modern step combining old and new to signify changing times.
1) Dancer steps forward with right kaÿi, then left kaÿi
2) Dancer takes four steps back, to starting position
3) While performing movements 1 & 2, dancer extends both hands,
first to right and then to left, at a 45-degree angle while rotating
palms in and up
AI HAʻA To stand or dance with bent knees; signifies humility


HĀLAU CREED
ʻO ka hula nō ka ʻuhane ma loko o nā kānaka

A pākahi a pau ke kumu a me ka ʻolapa
He pono ka piko o ka hula

ʻO ia hoʻi kahi waenakonu o ke kaulike
ʻO ia ke ola a me ka mana mai loko mai
ʻO ka hula nō ka leo a ka naʻau

ʻO ia hoʻi ka haʻaheo o ka poʻe Hawaiʻi
The hula is the purity of spirit

Within each individual, kumu and dancer
The hula must always have its piko, the center of balance
It is the living energy and beckoning force
The hula is the language of the heart

Therefore, the heartbeat of the Hawaiian people.

MELE KAHEA
Kūnihi ka mauna i ka laʻi ē

(A)ʻo Waiʻaleʻale lā i Wailua
Huki aʻela i ka lani ka papa ʻauwai o Kawaikini
ʻĀlai ʻia aʻela e nounou
Nalo kaipuhaʻa ka laulā ma uka o Kāpaʻa ē
Mai paʻa i ka leo
(A)he ʻole kaha mai ʻē
CALL FOR PERMISSION TO ENTER
The mountain stands steep in the calm

Mount Waiʻaleʻale seen from Wailua
The ditch-spanning plank is yanked up to the heavens
to the top of Waikini
View obstructed by Nounou hill
Kaipuhaʻa,
the wide expanse of land uphill from Kapaʻa
disappears
Don’t hold back your voice;
There is no call to enter.

KA PULE A KA HAKU
E kō mākou Makua i loko o ka lani

E hōʻano ʻia kou inoa
E hiki mai kou aupuni
(E) mālama ʻia kou makemake ma ka honua nei
E like me ia i mālama ʻia ma ka lani la
E haʻawi mai iā mākou i keia lā
i ʻai mākou no nēia lā
E kala mai hoʻi iā mākou i kā mākou lawehala ʻana
Me mākou e kala nei i ka poʻe i lawehala i kā mākou
Mai hoʻokuʻu ʻoe iā mākou i ka hoʻowalewale ʻia mai
E hoʻopakele nō naʻe iā mākou i ka ʻino
No ka mea, nou ke aupuni
A me ka mana
A me ka hoʻonani ʻia a mau loa aku.
ʻĀmene.
THE LORD’S PRAYER
Our Father, Who art in Heaven

Hallowed be Thy Name
Thy Kingdom come
Thy Will be done
On Earth as it is in Heaven
Give us this day our daily bread
And forgive us our trespasses
As we forgive those who trespass against us
Lead us not into temptation but deliver us from evil
For Thine is the Kingdom,and the Power
And the Glory forever.
Amen.

HOʻONANI I KA MAKUA MAU
Hoʻonani i ka Makua mau

Ke Keiki me ka Uhane nō
Ke Akua mau hoʻomaikaʻi pū
Ko kēia ao, ko kēlā ao.
ʻĀmene.
THE DOXOLOGY
Praise God from Whom all blessings flow

Praise Him all creatures here below
Praise Him above, ye Heavenly Host
Praise Father, Son and Holy Ghost.
Amen.

NĀ ʻAUMAKUA
Nā ʻaumakua mai ka lā hiki a ka lā kau,

Mai ka hoʻokuʻi a ka halawai!
Nā ʻaumakua iā ka hina kua, iā ka hina alo,
Iā kaʻa akau i ka lani.
O kīhā i ka lani,
Owē i ka lani,
Nūnulu i ka lani,
Kaholo i ka lani!
Eia ka pulapula a ʻoukou, ʻo (*see below).
E malama oukou iā mākou (#1 & 2) / iaʻu (#3).
E ulu i ka lani,
E ulu i ka honua,
E ulu i ka pae ʻāina o Hawaiʻi.
E ho mai ka ʻike.
E ho mai ka ikaika.
E ho mai ke akamai.
E ho mai ka maopopo pono.
E ho mai ka ʻike pāpalua.
E ho mai ka mana, e.
*This prayer is said three (3) times:
1st time: “Hālau Nā Pua ʻO Uluhaimālama”

2nd time: “ka ʻohana”
3rd time: “(your name)”

CALL TO THE ANCESTRAL DEITIES
Ye ancestral deities from the rising to the setting of the sun,

From the zenith to the horizon.
Ye gods who stand at our right hand!
Ye ancestral deities who stand at our back and at our front!
A breathing in the heavens,
An utterance in the heavens,
A clear, ringing voice in the heavens,
A voice reverberating in the heavens!
Here I am your child, (*see below).
Safeguard all of us.
May the heavens expand,
May the earth continue to grow,
May Hawaiʻi continue to grow!
Grant me wisdom.
Grant me strength.
Grant me knowledge.
Grant me righteous thoughts.
Grant me the deeper meaning.
Grant me the power.
*This prayer is said three (3) times:
1st time: “Hālau Nā Pua ʻO Uluhaimālama”

2nd time: “ka ʻohana”
3rd time: “(your name)”

KA MŌʻĪ WAHINE O HAWAIʻI
He kukui ka ʻolelo a ke akua

He mālamalama ia no kou aupuni,
e ka lani
Ko kukui a i ke awakea
Nā kukui o Iwikauikaua
Nānā hoʻi ka moʻopuna ʻo Liliʻuokalani i ke kapo
Ka mō’ī wahine o ko Hawaiʻi paeʻāina
Eō Hālau Nā Pua ʻO Uluhaimālama
HAWAIʻI’S QUEEN
God’s word is a kukui

A light for your government, on heavenly one
Your light burning at noonday
The light for Iwikauikaua
Ancestor of Liliʻuokalani
the sacred one
The Queen of the Hawaiian Islands
We are Hālau Nā Pua ʻO Uluhaimālama

OLI ULUHAIMĀLAMA
Aloha kuʻu ʻāina

ʻO Hilo nani ē
Kaulana ʻoe
Me ka maile
Me ke Kilihune ʻua
ʻO Hilo nani ē
Kuʻu ʻāina hanau ē
Haʻaheo wale ʻoe
Uluhaimālama e ʻiē ʻiē ʻiē
ULUHAIMĀLAMA NAME CHANT
My love for my land

Beautiful Hilo
You are famous
For the maile
And for the Kilihune rain
O beautiful Hilo
This is the land of my birth
So proud
Of Uluhaimālama…




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Revised 2012 June 01

~~~~~~~~ Hālau Nā Pua ʻO Uluhaimālama ~~~~~~~~

So You Want to Study Hula?

3. Hālau hula function as a family

Becoming a haumana (student) in a halau usually requires a serious commitment. This is

4. Not all knowledge is contained in only one school

ʻAʻohe Pau ka ʻIke i ka Hālau Hoʻokahi

6. A kumu hula is a foundation for hula

7. Deep knowledge is reserved for those who have earned it

8. E nānā ka maka; e hoʻolohe ka pepeiao; e paʻa ka waha; e hana ka lima

ʻAʻohe Pau ka ʻIke i ka Hālau Hoʻokahi

REGISTRATION FEE, ONGOING INSTRUCTION:

HULA PAYMENTS, ONGOING INSTRUCTION :

All payments should be put in an envelope with the student’s name

ʻAʻohe Pau ka ʻIke i ka Hālau Hoʻokahi

Pōʻalua, All Day NO HULA CLASSES (Boy Scout Meeting)

Pōʻakolu, 6:30 - 9:00pm PAPA PUA KENIKENI

Pōʻaha, 6:30 – 8:30pm PAPA PUA KALAUNU

Pōʻalima, 7:00-8:00pm KMC (Kilauea Military Camp in Volcano) Hula Show

Pōʻaono, 10:00-12noon PAPA PUA LIKO LEHUA

ʻAʻohe Pau ka ʻIke i ka Hālau Hoʻokahi

RULES AND REGULATIONS

This hālau is a school dedicated to mālama and hoʻonaʻauao students with

HULA PĀʻŪ must be worn during all practices

ALL STUDENTS ARE REQUIRED TO LOOK WELL GROOMED

ARRIVE FOR CLASS 15 MINUTES BEFORE CLASS BEGINS

ʻAʻohe Pau ka ʻIke i ka Hālau Hoʻokahi

RULES AND REGULATIONS

NO ONE MAY ENTER THE HĀLAU WHILE CLASS IS IN SESSION

UPON ENTRANCE INTO THE HĀLAU

RESPECT IS OF THE UTMOST IMPORTANCE

KEEP THE HĀLAU CLEAN AT ALL TIMES

PLEASE HAVE THE COURTESY TO CALL AND INFORM ME IF YOU WILL

ʻAʻohe Pau ka ʻIke i ka Hālau Hoʻokahi

ʻAʻohe Pau ka ʻIke i ka Hālau Hoʻokahi

Accomplishments & Awards

Merrie Monarch Hula Festival, Hilo, Hawaiʻi, April 2011

ʻAʻohe Pau ka ʻIke i ka Hālau Hoʻokahi

ORGANIZATION AND SUPPORT OF THE HĀLAU

LEVELS OF THE HULA according to the Lanakilakeikiali’i Hula Legacy

Step One: Haumana: one learns to become a student.

Step Two: Olapa: one learns to be a dancer.

Step Three: Hoʻopaʻa: one learns to be a chanter.

When determined by the Kumu to be ready to perpetuate tradition and teach

ʻAʻohe Pau ka ʻIke i ka Hālau Hoʻokahi

1) ALOHA means LOVE

ʻAʻohe Pau ka ʻIke i ka Hālau Hoʻokahi

HULA A specific style of telling a story with words and movements;

ʻAʻohe Pau ka ʻIke i ka Hālau Hoʻokahi

BASIC HULA STEPS

ʻAʻohe Pau ka ʻIke i ka Hālau Hoʻokahi

BASIC HULA STEPS

AMI Hip revolutions

ʻAʻohe Pau ka ʻIke i ka Hālau Hoʻokahi

ʻAʻohe Pau ka ʻIke i ka Hālau Hoʻokahi

ʻO ka hula nō ka ʻuhane ma loko o nā kānaka

He pono ka piko o ka hula

ʻO ka hula nō ka leo a ka naʻau

The hula is the purity of spirit

The hula is the language of the heart

ʻAʻohe Pau ka ʻIke i ka Hālau Hoʻokahi

Kūnihi ka mauna i ka laʻi ē

CALL FOR PERMISSION TO ENTER

The mountain stands steep in the calm

Hālau Nā Pua ʻO Uluhaimālama