by Mahealani Uchiyama

It was a gathering of Hula practitioners, artisans, and enthusiasts from Hawai'i and all over the world. It was a first of its kind opportunity to participate in and deepen understanding of all aspects of Hawai'i's sacred dance as well as a celebration of the quality of life that the traditions of Hula have brought to us all. Ka 'Aha Hula 'O Halauaola, the World Conference on Hula, took place in the town of Hilo, on the island of Hawai'i from July 29 through August 4, 2001.

The event was sponsored by the Edith Kanaka'ole Foundation and the Lalakea Foundation. The goals of the conference were fivefold: To provide an opportunity for Kumu hula and practitioners to share knowledge and insight about Hawaiian culture through hula, to provide a learning and enrichment platform for hula practitioners and cultural learners from Hawai'i and around the world, to encourage the preservation of the ancient art forms of Hawai'i, to educate practitioners about the need to protect and nurture Hawai'i's fragile environment in order to ensure continual access to the plants and resources that are necessary to maintain the culture, and to demonstrate oral traditions, teachings and ways of transmitting knowledge through the generations.

The week-long conference was attended by over 1,000 Hula practitioners representing 50 halau (Hawaiian dance schools) from all over the world. In addition to Hawai'i, participants came from as far away as France, Germany, New Caledonia, Korea, Japan, Canada, and of course, the continental US Workshops, presentations, seminars and excursions included such diverse topics as "The Politics of Pele Literature", "Hula Philosophy", "Elements of Choreography", "The Voyaging Canoe Makali'i", "Hawaiian Sexuality", "Chanting Styles", and "Hula Pahu - Ritual, Dance and Music". We had Haki Kino (Hula warm- up) every morning and free Hula performances every evening.

There were a number of workshops offered in the days prior to the start of the conference. These workshops (Na Ponohula) gave the participants an opportunity to learn how to make the instruments of the Hula such as the 'uli'uli and ipu heke, and Hula clothing and adornments such as Ni'ihau shell lei and pa'u dyeing. The Na Ponohula participants also learned a mele (chant) relating to their chosen subject, and we were given the opportunity to perform the mele while showcasing our projects during the closing ceremony.

I enrolled in the Kapa class conducted by Auntie Ulunui Garmon. She is a daughter of the late Luka and Edith Kanaka'ole. Accompanied by her daughters Pua'ala, Nalani and Leiola, she welcomed us to her seaside home with a beautiful and haunting mele heahea (a chant of welcome). We were then introduced to the ancient art of making Hawaiian Kapa. Along with the technical aspects of Kapa making, we also learned some of the protocol. For example, while making Kapa and with any creative endeavor, we were encouraged to be respectful and careful of what we say and do, because positive and negative thoughts and expressions can " become a part" of what we create.

No Ka 'Aha Ho'oulu Kuahu
One of the highlights of the Hula Conference was the opening Kuahu Ceremony. This was the very first public presentation of a ceremony of this kind. The purpose of the Kuahu (Hula Altar) Ceremony was to remind Hula practitioners of the insoluble link between the Hula and nature. The conference organizers reminded us that "There are three kuahu hula (hula shrine) that are recognized by the guild of hula practitioners. The greater and primary kuahu is our native forest, the second kuahu is the miniature of this native forest that is assembled in the halau hula, and lastly, the very body of the hula practitioner becomes a kuahu when their limbs, neck and head are bound and knotted with native forest greenery. All present day practitioners of hula continue at least one of the kuahu practices as ordained by our predecessors. The esotericisms associated with the kuahu halau hula are numerous, but all have their genesis in the intrinsic understanding that the forest is key to the spiritual, artistic, and the mundane spheres of hula."

The kuahu is the physical abode of the Hula deity Laka. It consists of a large raised platform on which is placed an uncarved block of wood from the sacred lama tree. The lama (the word means "light") represents Laka and it is cloaked with yellow kapa. There, Laka is surrounded with lei, ferns and fragrant vines sacred to her, including the 'ie'ie vine, 'ohi'a lehua flowers, 'awapuhi, and the laua'e fern.

I attended the conference along with eleven members of the Center for Dance's Intermediate and Advanced Hula classes. We were able to prepare for the opening ceremony by attending several of the Chant Workshops sponsored by the conference organizers here in Northern California. During these workshops we were introduced to the specific Oli (chants) and Hula we would be responsible for presenting, as well as appropriate ceremonial protocol. We were encouraged to dress ourselves humbly, in earth colored tones and without adornments of any kind, as the focus of the ceremony was not on ourselves, but rather on the kuahu. The ceremonial area was kapu (restricted) to those not appropriately attired.

On the day of the Kuahu Ceremony we arrived at the Edith Kanaka'ole Stadium early that day in a state of high anticipation and excitement. After dressing ourselves in our rented van, we gathered at the entrance to the stadium. As we entered we were anointed with salt water, which symbolized physical and spiritual cleansing. My students sat as a group other participating haumana hula, while I took my place with the kumu hula.

At the appointed hour, the haumana hula presented a Mele Komo which is a chant requesting permission to enter. This was answered by the kumu hula, symbolically granting permission to enter the ceremonial area.

The deity was then summoned from the greater kuahu of the forest to reside and dwell in the Kuahu Hula through a special prayer. During this time, the altar attendants uncovered the image of Laka, by removing her garment of yellow kapa. All halau were then allowed to have a representative approach the kuahu with offerings of lei. These were reverently placed on the kuahu with great care. Painfully, we witnessed a number of offerings placed on a table beneath the kuahu, in effect rejected, because the supplicant neglected to restrict the offering to vegetation sacred to the Hula deity.

The kumu and Hula disciples then offered an Oli, which expressed "You are Laka, the greater Kumu Hula, the forest, to whom the formal institution of Hula is dedicated. We unveil you! Stir and Inspire!" We witnessed a beautiful 'awa ceremony, accompanied by chanting and much ritual. 'Awa is a plant native to the Pacific Islands, the root of which is the source of a drink often used in high ceremony. An offering of this drink was first made to the forest, and then to the kumu, served from bamboo containers onto coconut cups. This was my very first taste of 'awa!

We then chanted Pupu Weuweu e Laka e, "Laka is now an altar of greenery", which freed us from the kapu of high ceremony. After this point the dancers presented a number of Hula which honored the Goddess Pele, King David Kalakaua and other contributors to the Hula tradition.

Finally, we were presented with ceremonial food. As we consumed our meal, we were reminded that these foods were not intended to make us full; instead, they were to remind us of who we are and of our responsibilities as Hula practitioners. One of the foods offered was breadfruit. The Hawaiian word for breadfruit is Ulu, which also means, "grow".

The World Conference on Hula stressed that the practice of Kuahu Hula is a reflection of the Hawaiian forest. Just as new growth in the crevices of cooled volcanic lava announces the conception and future birth of a forest, it is hoped that the Kuahu Hula and the Hula Conference announced the rebirth and continuance of Hawai'i's sacred dance.

Pictured above:

Center for International Dance members Patricia Mohala Ramirez and Ku'uleimokihana Letkey relax at Keanuenue Falls.

Participants of the Lapaiki (Pahu construction) workshop present a Hula and Mele with their class projects at the closing ceremony.

Making Kapa by pounding wauke (bark) until the fiber is soft.

The Kuahu Ceremony.

Hawaiian flowers at Kilauea 'Iki.

Kumu Hula Kaipo Frias demonstrates a method of tying the Hula Pa'u on a member of Halau o Kekuhi.

An 'Ohi'a Lehua breaks through the lava at Kilauea 'Iki.

Photo Credits: Dale Hopkins, Stuart Maheari'i Fogg, Rod Thompson, Mahealani Uchiyama. Kuahu Ceremony photograph courtesy of Honolulu Star-Bulletin.