In and Out of Hula Dancing - Coursework Example

Hula Dancing Table of Contents Introduction 2 Hula Dancing: The Fitness Tool 3 In and Out of Hula Dancing 4 Hula Dancing: The Origin 5 Costume 6 Festivals Celebrating Hula 7 Movements in Hula and Comparison with a Classical Dance Form 7 Conclusion 8 Bibliography 11 Introduction Hula dancing is a very popular form of dance especially in terms of folk dance. This dance form is accompanied with a chant or a song and was practiced in and around the island of Hawaii. The dance form was basically developed by the Polynesians who were the original inhabitants of the island. The song that is accompanied with the dance is traditionally known as ‘mele’. The hula dance form is actually action or dramatization on ‘mele’. Any research concerned with this traditional exotic dance will essentially focus on certain issues that are perennial or eternal to this dance form. The research deals with the change in kind of tradition or heritage that accompanies hula or its form or course of presentation in the countries where missionaries and Mormon belief faded slowly. It also delves deep if hula dancing is associated in the present context only with any form of exercise or if the traditional element is still existent in the art form. The name ‘Hula Dance’ is associated with girls wearing short grass skirt, moonlit night and coconut trees on a shore where the roaring waves strike the shore and dance to the beats of this mighty dance. But far beyond that hula dancing, its concept and its traditional outlook, is analogous to what Cohen said about dancing: “History shows the dancer his heritage, his place in a line of distinguished, artistic ancestors. It is a legacy to instill a sense of pride -and responsibility” (Cohen, 1974). Hula Dancing: The Fitness Tool The contention put forwarded by Cohen describes the sense which captures the true essence of the art form. In recent times outlook about hula dancing have changed a lot. Every year thousands of tourists are visiting Hawaii get the privilege to watch “real Hawaiian hula dancing” through a packaged tour with a Luau setting or in their respective hotels where they are given a glimpse of the gigantic heritage. The introduction to hula dancing is made common now – a -days through numerous competitions taking place worldwide, precisely in Hawaii. Yet, hula is viewed to be beneficial and the dance form is marked for its exercise benefits. The question that rises in one’s mind is if hula dancing is only an exotic form of dance which will be used to allure the tourists. To understand any form of folk tradition or art, it becomes necessary to delve deep into the heritage and the traditional way of living. Hula dancing cannot be merely categorized into a form of folk dance that is tantalized with certain movements especially the hip movements even though they are the most popular. The movements that has perpetually served to entertain millions across the globe and has become the archetype of exotic and exuberance, actually conveys a complete different connotation. The movements that are used in hula dancing are not only carried out just for the sake of it. Those movements bear meanings that need to be thoroughly contemplated. The movement of this traditional dance form are actually casted out to make an artistry that inspires passion and encourage a traditional way of living. In order to understand hula and the layers of interpretation beneath, one needs to refer seriously to the contentions of Mary Kawena Pukui, who selflessly dedicated many of her valuable years to transform the rich traditional dance form to its popular form. She views hula dancing as “a general name for many types of Hawaiian folk dances” (Pukui, 1942/1980).  Puki’s description about hula is entirely laconic. It comprises, at one plane, everything possible about the dance. It encapsulates the uniqueness of Hawaiian hula dancing. Puki also contends a serious thought which views the homogenizing influence of hula. Competition has brought only a range which is quite limited if compared to the vast hula repertoire conveyed to the public attention over a period of past thirty-five years. Hula dancing encapsulates myriad styles and types of movement, each one being different form the other (Rowe, 2008). In and Out of Hula Dancing A wide difference in the style, setting, costume and movement is found in the hula dancing between the dancing styles prevalent in Pacific Island and that of the traditional hula dance. With the passage of time, the art form underwent many transitions and attained its present state. There are different styles of hula dancing but amidst these numerous form, the dance style can be classified under two broad heads namely, ‘Kahiko’ and ‘Auana’. Kahiko is the ancient form of dance in pure hula tradition. This form bears the virgin form of traditional legacy as it is the form that was practiced before Western encounters with Hawaii. Kahiko form of hula dancing is accompanied by traditional musical instruments and chants. The evolution of Hula dancing in the 19th and 20th century took place under the influence of the western civilizations and their dance forms. This pattern of hula dancing is call known as ‘Auana’. In this form of hula dancing, chant gets replaced by song and in the place of traditional instruments; the dance gets accompanied with the guitar, the ukulele and the double bass. Hula Dancing: The Origin There are many schools of thoughts pertaining to the origin of the hula dance and the hula tradition. Hawaiian legend says that hula is the child of a Hawaiian goddess called ‘Laka’, who gave birth to the dance form in a sacred island called Molokai at Kabana. Another myth associated with the origin of hula is the story that links the patron of the dance form to a tale of two sisters. Laka danced for the appeasement of her fiery sister and the volcano God Pele. The location of this legend hints at the origination of hula dancing in the Puna district of Hawaii at the Haena shoreline. This event is described in the ancient hula form of ‘Ke Haa Ala Puna’. Goddesses Pele’s first dance in victory while running away from her sister is also marked as the origination of hula dancing also regarded as the first dance of the goddesses on the island of Hawaii because of victory. Another legend says that Pele asked her sister Laka to amuse her. Laka instantly stood up to end the boredom of Pele into some graceful movements which was soon after came to be known as hula dance. Costume Traditionally, the female dancers performing hula wear ‘pau’ which is also popularly known as wrapper skirt. Initially, these skirts were worn topless but in present time these concept has been completely altered. For a lavish appeal, ‘pau’ might get longer than ‘tapa’ or popularly known as backcloth. This cloth is quite long enough to go around the waist. Dancers, for decorations, might wear various kinds of ornaments such as necklaces, bracelets and as well as ‘lei’ or the traditional jewelers. Men performers of hula dance wear the traditionally outfit or ‘malo’. Malo is popularly known as loin cloth too and they might wear bulky ‘malo’ which is made of many yards of ‘tapa’. The men also wear lei and other jewelry such as necklace, bracelet and anklet made of dog tooth which is used as an instrument of rhythm while tampering their feet. Costumes play a very vital role in hula dance. The scope for dress in hula dance has become quite liberal. Most of the ‘halau’ dance form is graced by traditional costumes, yet some modern touches are found to be incorporated in the dance form during the recent times. Women in modern style of hula dancing wear a particular sort of dress or put skirts. Men put long or short pants. Also, they might wear skirts or malos. For the graceful dance style which is quite slow in nature, the hula costume may vary from formal wearing such as mu’umu’u by women, where as men may put sash in this cases. For a lively performance or a performance with “rascal song”, the hula dancer might put the more raveling or lively and colorful attire. The kahiko form of hula dance is always performed with a bare feet but the auana form of dancing style can be performed in both ways, with and without shoes. Festivals Celebrating Hula The popularity of the hula has resulted in evolution of many festivals that celebrate hula dancing. The schools where hula dancing is taught are called Halau .The teachers or the instructors of hula dancing are known as ‘kumu hula’. Amidst many popular festivals of hula, three festivals are note worthy and they are celebrated every year. Moku O Keawe International Festival which is celebrated for four continuous days is the prime among the hula celebrations and festivals. Ka Hula Piko is another noteworthy festival that celebrates hula dancing every year in the month of May. Another notable festival is Merrie Monarch Festival which is celebrated in Hilo on the big island of Hawaii. This is a week - long festival dedicated completely to hula dancing. Movements in Hula and Comparison with a Classical Dance Form Hula, unlike many other traditional form of art, celebrates spirituality and life but often is misrepresented as the sole exotic form of dance. Another classical dance is also misrepresented in this regard. The ancient form of ‘Cabaret’ which is traditionally known as ‘Egyptian Belly Dance’ is also often misrepresented as a medium to allure its spectator. This dance form is significantly different from hula dancing and is evident in all the aspects starting form costume, movement, purpose and setting. Yet, the dance form is quite misrepresented in a similar fashion as hula is done. Any dance form evolves from its social structure and Hula dancing too has lots of connection with the society from which it has evolved. Hula is celebrated to please their goddess and appease the volcano which has quite often disturbed the life at Hawaii Island. Hula is also seen as a dance dedicated to God for the ancient time’s mistake. The punishment of seclusion was primary in this regard. Conclusion A thorough research of Hula dance would always point out that hula dancing is not a mere form of exercise or fitness form. A lot of tradition, heritage and social connotations are hidden beneath the form of dance that tells the saga of rich heritage and tradition. The chanting in hula allows and provides a space for releasing a certain emotional exuberance and forms a serious means to mend the spiritual crisis. Gerald rightly observed, “She will take off this garment to reveal stylish silk dress, gold bangles on each wrist, high- heeled shoes, and a shawl tied around her hips” (Jonas, 1992.). These phrases from the book not only provides a better understanding of the dance form but also help to wipe away the dark clouds of misrepresentation eclipsing the rich heritage. People like Lynn K. Matsuda, an optometrist who showed the courage to transcend hula dance far from the realm of coconut bars and short skirts made of grass are people who live for a cause. To many people hula dancing is not a mere instrument of entertainment. Rather, far beyond that, hula dancing is a vision, a mission and the only icon of a forgotten laconic world that is often misrepresented as a place of leisure. References Cohen, S. J. (1974). Dance as a Theatre Art: Source Readings in Dance History from 1581 to the Present. New York: Dodd, Mead and Company. Jonas, G. (1992). Social Dance: The Pleasure, Power, and Art of Movement. New York, New York, USA: Harry N. Abrams. Pukui, M. K. (1942/1980). The Hula, Hawaii’s Own Dance. Honolulu: Department of Anthropology and Bishop Museum Press. Rowe, S. M. (2008). We Dance for Knowledge. Dance Research Journal. Retrieved Online on April 20, 2010 from http://muse.jhu.edu/journals/dance_research_journal/v040/40.1.rowe.html#f1 Bibliography Bergeson, L. (2006). MOVIN’ AND SHAKIN’. Retrieved from Academic Search Complete database. Stillman, A. (1996). Hawaiian hula competitions. Journal of American Folklore. Retrieved from Academic Search Complete database Read More