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Kēkēmapa 2008 Mid- Month Extra Edition |
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The final morning of the Waikīkī International Hula Conference brought together four hula queens, who reunited with friend and colleague in hula mastery George Nā'ope. Pictured from left are: Bev Noa, Queenie Dowsett (back row) and sisters Leilani and Puanani Alama in the front row. The four diva dancers, all featured soloists in Waikīkī showrooms and noted practitioners of hula tradition, are assured a place in the hula archives, which the Hula Preservation Society is hoping to establish. - Photo: Courtesy of Hula Preservation Society |
Hula fans from around the world
unite at Waikīkī conference
Masters like Uncle George Nā'ope come out in force
By Liza Simon / Ka Wai Ola Loa
Dressed in royal purple pants and an aloha shirt printed with peacock feather designs, master kumu hula George Lanakilakekiahiali'i Nā'ope – despite ailing health – sounded vibrant as ever in addressing a group at the recent International Waikīkī Hula Conference.
The 80-year-old Hawaiian hula legend rallied from months of hospital treatment to make the trip from his home in Hilo to the three-day conference Nov. 13-15 at the Hawai'i Convention Center, and, clearly, he was out to stir things up with his customary kolohe candor: "Hula is history; hula is aloha; hula is language … and hula is fun … hula is the Hawaiian heartbeat and backbone … so do your own thing with hula," he urged a rapt audience, explaining that hula avatars like his mentor – the great 'Iolani Luahine – were deeply expressive in their dance and, therefore, were constantly creating new choreography.
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Resplendent in purple, master kumu hula George Nā'ope held court at the hula conference, sharing personal insights about his lifelong dedication to the art of Hawaiian dance. - Photo: Liza Simon |
"The fluidity of Hawaiian dance comes from truly sharing your mana'o," he declared, adding a rhetorical question: "Since mana'o comes from the heart, how can your hula performance be exactly like mine?"
Up went a hand in the audience – a Japanese national, perhaps confused by Uncle George's hang-loose attitude, asked through a translator, how she can improve her hula: Nā'ope switched his tone from whimsical to wise, replying, "Always, always respect the Hawaiian culture when you dance."
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There were tears of joy and choruses of “hana hou” as four special guest hula divas performed to classic songs by Charles King and other Hawaiians composers. Pictured from left are: Leilani Alama, Puanani Alama, Bev Noa and Queenie Dowsett. "Each of these women has her own style, her own career and her own very special hula legacy carried on today by those whose lives they touched," said Maile Loo-Ching, a founder of the Hula Preservation Society, which sponsored the appearance of the hula celebrities at the conference. - Photo: Courtesy of Hula Preservation Society |
Nā'ope's appearance at the conference was coordinated by the Hula Preservation Society, or HPS. The nonprofit organization – founded in 2000 with prompting from beloved cultural resource, the late Nona Beamer – is digitally documenting the life stories of hula elders and digitally preserving existing hula resources for educational purposes. 'Iwalani Kalima, also a noted kumu and HPS member, announced at the conference that Nā'ope has been instrumental in furthering HPS's goal of building a hula resource center, where the multimedia portraits of hula greats could be stored and shared with the public. Kalima displayed a poster of Nā'ope, which is being sold to raise funds for the proposed hula center.
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The art of hula was on display in many ways at the annual Waikīkī International Hula Conference held at the Hawai'i Convention Center, where vendors sold ipu and other hula implements and crafts. – Photo: Liza Simon |
Kalima said Uncle George plans for the hula center to feature an authentic pā hula, an old-style pōhaku platform stage: "He would like to see every person with love for the hula bring a stone for the foundation and that way the center will have all your mana'o," said Kalima.
Nā'ope is widely known for establishing Hilo's Merrie Monarch festival – the pinnacle of hula competition, which has raised the bar for excellence and authenticity in hula performance. Nā'ope's success in fashioning the Merrie Monarch Festival into an exciting spectacle that has garnered a global following for hula was evident at the conference, which drew 600 aficionados from all over the Islands as well as from Europe, Mexico, Japan and the U.S. continent, who converged in Honolulu – economic downturn notwithstanding – for this singular hula immersion opportunity.
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Karen Aiu, second from right, helps visitors from Japan to take home authentic hula motions. – Photo: Liza Simon |
I MAOPOPO IĀ 'OE MANA'O
WORKSHOPS GALORE Conference attendees were faced with a mind-boggling array of workshops in all phases of hula practice from beginning implement-making to advanced 'auana and kahiko, taught by more than 40 renowned masters. Pua Hoops, a former Hawai'i resident came to the conference from Yuma, Arizona, with two other members of the desert town's Hawaiian cultural club. "If you're a Hawai'i ex-pat, you miss home so bad. But if you connect with hula, then you don't feel so homesick," she said. Many conferees represented various hālau in Japan. They sported their uniform garments – pā'ū skirts and signature T-shirts from their respective hula schools. In between classes, there was plenty of time for networking across language barriers, browsing the hula crafts bazaar and going over and over some of the newly acquired motions from the day's classes. "I just want to keep learning and get better," said Tamami Kagawa, who only ate a few bites from her bento lunch before returning to her feet in the convention center concourse to practice choreography from a morning 'auana workshop with O'ahu kumu Tracie Farias Lopes. "One of the challenges for so many participants at a conference like this is being able to correctly pick up techniques from masters, who are carrying on unique hula legacies," said Michael Pili Pang, kumu of Hālau Hula Ka No'eau. Pang said one of the most remarkable moments for him at the conference was leading a talk story session of veteran dancers from the hālau of the late kumu Maiki Aiu Lake, who imparted her influence on many during the heyday of the 1970s Hawaiian cultural renaissance. Pang said Aunty Maiki's students worked at carrying on their kumu's legacy for decades before attaining an 'ūniki – and stepping into their own mastery. Pang said actual contact with Hawai'i's living treasures of hula is a big boost to hula's perpetuation. "This conference is a very good opportunity for students to be educated by masters in the correct fashion," said Pang. Karen Ka'ohulani Aiu, one of Aunty Maiki's daughters and a kumu of Hālau Hawai'i in Honolulu and Japan, shared words of wisdom to neophytes and veterans alike in a kahiko dance class: "The lele step is just walking. It should feel natural. It is all natural movement in hula. You don't have to force it," she advised. Honolulu kupuna Lehua Kupau, a Hawaiian studies teacher at Maryknoll High School, dropped in to Aiu's class and sat comfortably by as she followed along with the hand motions. "I come back every year to this festival," said Kupau. "Look at how far hula has come. Look at all the expertise under one roof. If you love hula, this will recharge your batteries – guaranteed." |
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