Hula () is a dance form accompanied by chant (oli) or song (mele). It was developed in the Hawaiian Islands by the Polynesians who originally settled there. The hula dramatizes or portrays the words of the oli or mele in a visual dance form.

There are many sub-styles of hula, with the main two categories being Hula 'Auana and Hula Kahiko. Ancient hula, as performed before Western encounters with Hawaii, is called ''kahiko''. It is accompanied by chant and traditional instruments. Hula as it evolved under Western influence, in the 19th and 20th centuries, is called ''auana''. It is accompanied by song and Western-influenced musical instruments such as the guitar, the ukulele, and the double bass.

Terminology for two main additional categories is beginning to enter the hula lexicon: "Monarchy" includes many hula which were composed and choreographed during the 19th century. During that time the influx of Western culture created significant changes in the formal Hawaiian arts, including hula. "Ai Kahiko", meaning "in the ancient style" are those hula written in the 20th and 21st centuries that follow the stylistic protocols of the ancient hula kahiko.

There are also two main positions of a hula dance - either sitting (noho dance) or standing (luna dance). Some dances utilize both forms.

Hula is taught in schools or groups called ''hālau''. The teacher of hula is the ''kumu hula'', where ''kumu'' means source of knowledge, or literally just teacher. Often you will find that there is a hierarchy in hula schools - starting with the kumu (teacher), alaka'i (leader), kokua (helpers), and then the 'olapa (dancers) or haumana (students). This is not for every hālau, but it does occur often. Most, if not all, hula halau(s) have a permission chant in order to enter wherever they may practice. They will collectively chant their entrance chant, then wait for the kumu to respond with the entrance chant, once he or she is finished, the students may enter. One well known and often used entrance or permission chant is Kunihi Ka Mauna/Tunihi Ta Mauna.

Hula dancing is a complex art form, and there are many hand motions used to represent the words in a song or chant. For example, hand movements can signify words or aspects of nature, such as the basic Coconut Tree motions, or a wave in the ocean. Some basic steps are the Kaholo, Ka'o, Hela, 'Uwehe, and Ami.

There are other related dances (tamure, hura, 'aparima, 'ote'a, haka, kapa haka, poi, Fa'ataupati, Tau'olunga, and Lakalaka) that come from other Polynesian islands such as Tahiti, The Cook Islands, Samoa, Tonga and Aotearoa (New Zealand); however, the hula is unique to the Hawaiian Islands.

Hula Kahiko

Hula kahiko, often defined as those hula composed prior to 1893 which do not include modern instrumentation (such as guitar, `ukulele, etc.), encompasses an enormous variety of styles and moods, from the solemn and sacred to the frivolous. Many hula were created to praise the chiefs and performed in their honor, or for their entertainment. Types of hula kahiko include ālaapapa, haa, olapa, and many others.

Many hula dances are considered to be a religious performance, as they are dedicated to or honoring a Hawaiian goddess or god. As was true of ceremonies at the heiau, the platform temple, even a minor error was considered to invalidate the performance. It might even be a presage of bad luck or have dire consequences. Dancers who were learning to do such hula necessarily made many mistakes. Hence they were ritually secluded and put under the protection of the goddess Laka during the learning period. Ceremonies marked the successful learning of the hula and the emergence from seclusion.

Hula kahiko is performed today by dancing to the historical chants. Many hula kahiko are characterized by traditional costuming, by an austere look, and a reverence for their spiritual roots.

Chants

Hawaiian history was oral history. It was codified in genealogies and chants, which were memorized and passed down. In the absence of a written language, this was the only available method of ensuring accuracy. Chants told the stories of creation, mythology, royalty, and other significant events and people.

Instruments and implements

Ipu—single gourd drum

Ipu heke—double gourd drum

Pahu—sharkskin covered drum; considered sacred

Pūniu—small knee drum made of a coconut shell with fish skin (kala) cover

Iliili—water-worn lava stone used as castanets Ulīulī—feathered gourd rattles Pūili—split bamboo sticks Kālaau—rhythm sticks

The dog's-tooth anklets sometimes worn by male dancers could also be considered instruments, as they underlined the sounds of stamping feet.

Costumes

Traditional female dancers wore the everyday ''pāū'', or wrapped skirt, but were topless. Today this form of dress has been altered. As a sign of lavish display, the pāū might be much longer than the usual length of tapa, or barkcloth, which was just long enough to go around the waist. Visitors report seeing dancers swathed in many yards of tapa, enough to increase their circumference substantially. Dancers might also wear decorations such as necklaces, bracelets, and anklets, as well as many lei (in the form of headpieces (leipo'o), necklaces, bracelets, and anklets (kupe'e)).

Traditional male dancers wore the everyday malo, or loincloth. Again, they might wear bulky malo made of many yards of tapa. They also wore necklaces, bracelets, anklets, and lei.

The materials for the lei worn in performance were gathered in the forest, after prayers to Laka and the forest gods had been chanted.

The lei and tapa worn for sacred hula were considered imbued with the sacredness of the dance, and were not to be worn after the performance. Lei were typically left on the small altar to Laka found in every hālau, as offerings.

Performances

Hula performed for spontaneous daily amusement or family feasts were attended with no particular ceremony. However, hula performed as entertainment for chiefs were anxious affairs. High chiefs typically traveled from one place to another within their domains. Each locality had to house, feed, and amuse the chief and his or her entourage. Hula performances were a form of fealty, and often of flattery to the chief. During the performances the males would start off and the females would come later to close the show off. There were hula celebrating his lineage, his name, and even his genitals (hula mai). Sacred hula, celebrating Hawaiian gods, were also danced. All these performances must be completed without error (which would be both unlucky and disrespectful).

Visiting chiefs from other domains would also be honored with hula performances. This courtesy was often extended to important Western visitors.

Hula auana

Modern hula arose from adaptation of traditional hula ideas (dance and mele) to Western influences. The primary influences were Christian morality and melodic harmony. Hula auana still tells or comments on a story, but the stories may include events since the 1800s. The costumes of the women dancers are less revealing and the music is heavily Western-influenced.

Songs

The mele of hula auana are generally sung as if they were popular music. A lead voice sings in a major scale, with occasional harmony parts.

The subject of the songs is as broad as the range of human experience. People write mele hula auana to comment on significant people, places or events or simply to express an emotion or idea.

Instruments

The musicians performing hula auana will typically use portable acoustic stringed instruments.

Ukulele—four-, six- or eight-stringed, used to maintain the rhythm if there are no other instruments

Guitar—used as part of the rhythm section, or as a lead instrument

Steel guitar—accents the vocalist

Bass—maintains the rhythm

Occasional hula auana call for the dancers to use implements, in which case they will use the same instruments as for hula kahiko. You will often see a hula 'auana with the dancers using Ulīulī (feathered gourd rattle).

Costumes

Costumes play a role in illustrating the hula instructor's interpretation of the mele. While there is some freedom of choice, most hālau follow the accepted costuming traditions. Women generally wear skirts or dresses of some sort. Men may wear long or short pants, skirts, or a malo (a cloth wrapped under and around the crotch). For slow, graceful dances, the dancers will wear formal clothing such as a muumuu for women and a sash for men. A fast, lively, "rascal" song will be performed by dancers in more revealing or festive attire. The hula kahiko is always performed with bare feet, but the hula auana can be performed with bare feet or shoes.

History of hula

Legendary origins

There are various legends surrounding the origins of hula.

According to one Hawaiian legend, ''Laka'', goddess of the hula, gave birth to the dance on the island of Molokai, at a sacred place in Kaana. After Laka died, her remains were hidden beneath the hill ''Puu Nana''.

Another story tells of ''Hiiaka'', who danced to appease her fiery sister, the volcano goddess Pele. This story locates the source of the hula on Hawaii, in the Puna district at the Hāena shoreline. The ancient hula ''Ke Haa Ala Puna'' describes this event.

Another story is when Pele, the goddess of fire was trying to find a home for herself running away from her sister Namakaokaha'i (the goddess of the oceans) when she finally found an island where she couldn't be touched by the waves. There at chain of craters on the island of Hawai'i she danced the first dance of hula signifying that she finally won.

One story is that Pele asked Laka to amuse her because Pele was bored. So right away Laka got up and began to move gracefully, acting out silently events they both knew. Pele enjoyed this and was fascinated thus Hula was born.

During the 19th century

American Protestant missionaries, who arrived in 1820, denounced the hula as a heathen dance. The newly Christianized alii (royalty and nobility) were urged to ban the hula—which they did. However, many of them continued to privately patronize the hula. By the 1850s, public hula was regulated by a system of licensing.

The Hawaiian performing arts had a resurgence during the reign of King David Kalākaua (1874–1891), who encouraged the traditional arts. With the Princess Keelikolani who devoted herself to the old ways, as the patron of the ancients chants (mele, hula), she stressed the importance to revive the diminishing culture of their ancestors within the damaging influence of foreigners and modernism that was forever changing Hawaii.

Practitioners merged Hawaiian poetry, chanted vocal performance, dance movements and costumes to create the new form, the ''hula kui'' (kui means "to combine old and new"). The ''pahu'' appears not to have been used in hula kui, evidently because its sacredness was respected by practitioners; the ''ipu'' gourd (Lagenaria sicenaria) was the indigenous instrument most closely associated with hula kui.

Ritual and prayer surrounded all aspects of hula training and practice, even as late as the early 20th century. Teachers and students were dedicated to the goddess of the hula, Laka.

20th century hula

Hula changed drastically in the early 20th century as it was featured in tourist spectacles, such as the Kodak Hula Show, and in Hollywood films. However, a more traditional hula was maintained in small circles by older practitioners. There has been a renewed interest in hula, both traditional and modern, since the 1970s and the Hawaiian Renaissance.

Contemporary hula festivals

Moku O Keawe International Festival is a 4-day celebration of hula and the arts of hula held annually in November at Waikoloa Beach Resort, Island of Hawaii. The Festival includes authentic workshops taught by noted kumu, with focus on hula and Hawaiian musical instruments.

''Ka Hula Piko'', held every May on Molokai. Merrie Monarch Festival is a week-long cultural festival and hula competition in Hilo on the Big Island of Hawaii. Where the noted Miss Aloha Hula competition occurs. ''Hula Workshop, Hoike and Hawaiian Festival'', held every July in Vancouver, WA.

''E Hula Mau'', held every Labor Day Weekend (September) in Long Beach, CA.

World Invitational Hula Festival, a 3 day art and culture contest held every November on Oahu, Hawaii in the Waikiki Shell.

"Share da Aloha", held in February at Saddleback Church in Lake Forest, CA. http://www.ohanapraise.com/

The Iā 'Oe E Ka Lā Hula Competition and Festival is held annually at the Alameda County Fairgrounds in Pleasanton, California. Friday thru Sunday, traditionally the first weekend in November. http://www.kumuhulaassociation.com

The May Day Festival is held annually at the Alameda County Fairgrounds in Pleasanton, California. Traditionally the second Saturday in May, as of 2006 held both Saturday and Sunday remaining the second weekend in May. http://www.kumuhulaassociation.com

"Tahiti Fete" held during the summer in July, San Jose, CA http://www.tahitifete.com/

Films

''Kumu Hula: Keepers of a Culture'' (1999) Directed by Robert Mugge.

''Holo Mai Pele - Hālau ō Kekuhi '' (2000) Directed by Catherine Tatge

''Lilo & Stitch'' (2002) By Walt Disney Pictures.

''American Aloha : Hula Beyond Hawaii '' (2003) By Lisette Marie Flannery & Evann Siebens

''Hula Girls'' (2006)

Books

Nathaniel Emerson, 'The Myth of Pele and Hi'iaka'. This book includes the original Hawaiian of the Pele and Hi'iaka myth and as such provides an invaluable resource for language students and others.

Nathaniel Emerson, 'The Unwritten Literature of Hawaii'. Many of the original Hawaiian hula chants, together with Mr. Emerson's descriptions of how they were danced in the nineteenth century.

Amy Stillman, "Hula `Ala`apapa". An analysis of the `Ala`apapa style of sacred hula.

Ishmael W. Stagner: ''Kumu hula : roots and branches''. Honolulu : Island Heritage Pub., 2011. ISBN 9781597006217

References

http://www.huladancehq.com/

External links

Everything Related To Hula Dancing, Hula History & Hula Theory

Hawaiian Music and Hula Archives

Hula Preservation Society

European Hula Festival

Ka`ahele Hawai`i

"Where Tradition Holds Sway" Article about "Ka Hula Piko" on Molokai, by Jill Engledow. ''Maui No Ka 'Oi Magazine'' Vol. 11 No.2 (March 2007).

Category:Hawaiian music Category:Dance in the United States Category:Dances of Polynesia Category:Tiki culture Category:Hawaiian words and phrases

af:Hula ar:هولا de:Hula (Tanz) es:Hula eo:Hula danco fa:هولا (رقص) fr:Hula fa:هولا_(رقص) ko:훌라 id:Hula ms:Hula-hula nl:Hula ja:フラ pl:Hula pt:Hula ru:Хула (танец) simple:Hula fi:Hula tr:Hula dansı

Coordinates	35°10′″N33°22′″N
Name	Stella Mwangi
Background	solo_singer
Birth name	Stella Nyambura Mwangi
Birth date	September 01, 1986
Origin	Nairobi, Kenya
Genre	Pop, Soul, Rap
Occupation	Singer, Songwriter, Rapper
Website	http://stellamwangi.com/
Past members	}}

Stella Nyambura Mwangi (also known for stage name STL) (born 1 September 1986 in Nairobi) is a Norwegian-Kenyan singer, songwriter and rapper. Mwangi writes a lot of her music about the situation in her home country Kenya, also about discrimination both Stella and her family had to go through after moving to Norway in 1991. Her work has been used in films such as ''American Pie Presents: The Naked Mile'' and ''Save the Last Dance 2'', and also in TV-series such as ''CSI: NY'' and ''Scrubs''. She has won several awards including; the Kisima Awards, Clops Awards and Jeermaan Awards, she is one of the most popular singers in Norway after winning the Melodi Grand Prix 2011. She started to practice playing music when she was just eight years old. She is not just a singer, but she also plays the piano. She is married to Mads Rieverfield.

Mwangi has had hits in Kenya, Senegal, and Gambia.

Eurovision Song Contest 2011

In 2011, Mwangi participated in the Norwegian national selection ''Melodi Grand Prix 2011'' to represent Norway in the Eurovision Song Contest 2011, which was held in Düsseldorf, Germany. On 12 February 2011, Mwangi emerged as the winner.

On May 10, she represented Norway at the Eurovision Song Contest with the song "Haba Haba" in May. but failed to qualify for the Eurovision final, although being one of the big favorites of the contest.

Stella first topped the official singles chart in Norway in week 6, 2011 with her winning song "Haba Haba".

Discography

Albums

{|class="wikitable plainrowheaders" style="text-align:center;" border="1" |- ! scope="col" rowspan="2"| Album Title ! scope="col" rowspan="2"| Album details ! scope="col" colspan="1"| Chart positions |- ! scope="col" style="width:3em;font-size:85%;"|NOR |- ! scope="row" | ''Living for Music'' |

Released: 20 October 2008

Label: MTG Productions

Formats: Digital download

| — |- ! scope="row" | ''Kinanda'' |

Released: 10 June 2011

Label: EMI Norway

Formats: Digital download

| 15 |}

Singles

{|class="wikitable plainrowheaders" style="text-align:center;" border="1" ! scope="col" rowspan="2"| Year ! scope="col" rowspan="2" style="width:13em;"| Single ! scope="col" colspan="1"| Chart positions ! scope="col" rowspan="2"| Album |- ! scope="col" style="width:3em;font-size:85%;"| NOR |- |2007 ! scope="row"| "Take It Back" | — |rowspan="1"| ''Living for Music'' |- |2010 ! scope="row"| "Smile" | — |align="center" rowspan="5"| ''Kinanda'' |- |rowspan="3"|2011 ! scope="row"| "Haba Haba" | 1 |- ! scope="row"| "Lookie Lookie" | — |- ! scope="row"| "Take My Time" | — |}

References

External links

Official website

Stella Mwangi aka STL on African Women's Week 2010

Category:1986 births Category:Living people Category:Eurovision Song Contest entrants of 2011 Category:Kenyan singers Category:Melodi Grand Prix contestants Category:Norwegian Eurovision Song Contest entrants Category:Norwegian female singers Category:Norwegian people of Kenyan descent Category:Norwegian rappers Category:Norwegian singers Category:Norwegian songwriters

da:Stella Mwangi de:Stella Mwangi es:Stella Mwangi fr:Stella Mwangi gl:Stella Mwangi id:Stella Mwangi it:Stella Mwangi hu:Stella Mwangi mt:Stella Mwangi nl:Stella Mwangi ja:ステラ・ムワンギ no:Stella Mwangi nn:Stella Mwangi pl:Stella Mwangi ro:Stella Mwangi ru:Мванги, Стелла sr:Стела Мванги sv:Stella Mwangi tr:Stella Mwangi uk:Стела Мвангі