Essay Preview: Hula
Report this essay
Tamar Cohen
Prof. Sandra Chatterjee
WAC 47
29 May 2007
Like They Do in Honolulu
The experience of the hula movement session as well as hula itself is difficult to write about and analyze at length for a number of reasons. To start, hula is relatively simple, not to learn, but as a social wonder and characteristic of Hawaii. Although the dance possesses religious undertones – the documentary mentioned that sincere hula dancers appeal to the Hawaiian gods to assist them – it certainly isnt driven by an overbearing religious impulse. Furthermore, although hula and its sagas are transmitted from generation to generation as oral traditions (211), the traditions are not sustained out of fear, intimidation, or social status. On the contrary, the video portrayed the Hawaiians as striving to be at one with Earth and Nature, a value that allows for fluidity, optimism and innovation in the dance.
Hula dancers are not any type of group searching for expression; they are islanders who want to celebrate, tell stories, and dance to keep the Hawaiian legacy alive. Thus, the hula is unfilled with politics; it is not a non-Western culture in a battle with the West. In my opinion, with regards to hula, there is little about which to elaborate, compare, argue, or claim other than observing change over time within hula due to both internal “underground” changes and the external impact of tourism.
Nevertheless, my point of view is obviously limited. I know nothing about the hula dance form beyond what I have been exposed to in this class and the few postcards and movies Ive seen featuring “authentic” hula dancers work their magic
The hula was extremely enjoyable to learn from Noelani McIntosh, a sincere yet gracious Kumu. Kaholo, Hela, Kaholo again, and then Kalakaua. As I danced, I felt the currents of tradition emanate from each step. Kaholo, Hela, Kaholo again, and then Kalakaua. As I now reflect on my experience, I realize that the sensation of “tradition”- albeit true to a large extent – was rather superficial from my perspective. In the first place, the steps and the music were in a foreign language, immediately rendering the hula dance in my eyes a traditional, respected, time-honored, and long-established part of Hawaiian culture. Secondly, the rhythm of the chants and the instrumental music to which we danced radiated an ambience of enduring tradition. I am an outsider looking in; if I spoke the Hawaiian language, if I grew up playing the Ukulele and the Ipu, would I still think the hula was a dance of tradition?
In this vein, it is important to delve into what renders a dance “traditional.” In other words, how long does a dance have to exist before it can be called “traditional”? Must it have religious significance? To what extent must it permeate the culture and the various social classes? Interestingly, after experiencing hula, my subjective supposition of its “traditional-ness” – comprised of the abovementioned markings of tradition – was confirmed by the in-class video as well as Amy Kuuleialoha Stillmans “Passed into the Present: Women in Hawaiian Entertainment.”
Hawaiian men and women have been dancing hula for centuries. Accompanying songs and chants have been passed down from generation to generation. The hula has acquired a modern appeal – desirable women and gyrating hips – but has passed the test of time and still possesses its antique quality (209). The video elaborated on the widespread embrace that Hawaii possesses and has historically possessed for hula, portraying male, female, young, old, fat, and thin people all participating in learning and