Tradition Legacy of Tradition
Thesis In 1830, Queen Kaahumanu was convinced by western missionaries to forbid public performances of hula which led to barriers that limited the traditional practice. Although hula significantly declined, King Kalkaua broke cultural barriers by promoting public performances again. As a result of Kalkaua’s promotion of hula, its significance remains deeply embedded within modern Hawaiian society.
Tradition of Hula Hula was integral to Hawaiian culture before the arrival of Westerners because it passed down the genealogies of Hawaiians because they did not originally have a written language. It also told stories of gods, kings, and how the islands were born.
“In pre-Christian days there were three structure movement systems. The first was used in the mourning ceremonies. A second structured movement system, called ha’a was used during sacred ceremonies at outdoor temples. A third structured movement system, called hula, was used in formal and informal entertainment.” Kaeppler, Adrienne L. Dance Chronicle, vol. 27, no. 3, 2004
Smithsonian Institution, 17 Nov. 2019
“Hula is a very expressive form of dance, and every movement has a specific meaning...Chants, or mele, accompany the movements, aiding in illustrating the narrative and telling the story. Traditional dances focused more on these chants than on hand gestures.” “Hula.” New World Encyclopedia
“Originally, the hula was a religious dance performed by trained dancers before the king or ordinary people to promote fecundity, to honor the gods, or to praise the chiefs.” Encyclopædia Britannica, Inc., 16 Jan. 2015,
“Hula was more than a ritual dance. It was the Hawaiians way of keeping a record of history.” “The History of Hula Dancing: From Worship to Tourism.” Hula Dancing History,
“Hulas flourished as a part of a state-sponsored art, for the direction, the performance and the ideals of the dance were dependent upon the chief or king of the district.” Pollenz, Philippa. American Anthropological Association, 17 Nov. 2019
Bishop Museum - Ethnobotany Database
“The Pacific Commercial Advertiser August 18, 1859
“Police Court Decision.” Pacific Commercial Advertiser, 23 Nov. 1872, p. 3
“In 1851, public performance of hula was allowed on a limited basis, and then only in Honolulu and Lahaina. Each performance was licensed for a fee of $10 ($310 in today’s money), a ridiculous steep charge. Failure to obtain a license was punishable by a fine of $500 ($15,507 in the currency of today) or a six-month imprisonment at hard labor” (55). Alexander, Geoff. America Goes Hawaiian: The Influence of Pacific Island Culture on the Mainland., 2019.
“The first case against hula practitioners was prosecuted. Eight men and a woman were convicted in Waimea District. Court of performing hula without a license. They were fined three dollars each, or sentenced to two weeks in jail should they fail to pay the fine.” Silva, and Noenoe K. Hawaiian Historical Society, 1 Jan. 1970
Loss of Tradition By 1851, licenses were required for hula performances and were subject to fines. Although hula was practiced in secret by some, the suppression diminished practitioners.
Matthew, Adam California Historical Society, 28 Mar. 2014
Constant Contact Archive, 17 Nov. 2019
Wheeling Register, December 14, 1884
“Queen Kaahumanu”, Hawaii Magazine, 27 Sept. 2019
“Thus, the Christian missionaries declared the hula pagan, sinful, and a breeding place for lust. In spite of their efforts to destroy hula, it only went underground, and reappeared from time to time to the disgust of the missionaries and their Christianized followers. However, some Hawaiians, who had embraced Christianity, did not feel that hula was antagonistic to the new religious concepts.” Kaeppler, Adrienne L. Yearbook of the International Folk Music Council, vol. 4, 1972
“Some chiefs ignored the hula ban and until 1834 or so Kamehameha III himself openly flouted many of the social constraints laid out by previous chiefs and missionary leaders.” Missionaries and the Decline of Hula - Hawaii History - Hula, 8 Feb. 2019
“Unquestionably many Christian Hawaiians considered hula immoral, and attempted to extirpate it.” "THE HISTORY OF HULA: HOW HULA WAS SAVED." Accessed September 30, 2019.
“But the disease is not confined to Honolulu alone- the leprosy is spreading into remote districts and attacks the previously industrious and moral among the people, inevitably leading to idleness and all its attendant vices. Starting as it may seem, a return to idolatry is only a natural result of the hula.” Pacific Commercial Advertiser May 13, 1858.
Western Influence Establishes Barriers In 1820 Christian missionaries arrived to the Hawaiian islands and sought to suppress hula because they believed it was immoral because it promoted old Hawaiian beliefs. When Queen Kaahumanu converted to Christianity she deemed hula a pagan ritual and banned hula in 1830.
Kalkaua Promotes Hula at His Coronation
David Kalkaua became king in 1874 and at his coronation on February 12, 1883 he invited several hlau (hula schools) to perform. Kalkaua’s endorsement of hula broke the barrier by revitalizing traditional practices.
Portuguese Historical Museum, 10 Apr. 2019
“His Coronation in 1883 and jubilee celebration in 1886 both featured hula performances.” "History of Hula." Ka Imi Na'auao O Hawaii Nei Institute. Accessed September 26, 2019.
“For some months the King, through his agents has been causing a great variety of hulas- greater perhaps than it has ever before been attempted to reproduce- to be rehearsed by different groups of performers, to be used in celebrating the coronation.” The Hawaiian Gazette., February 28, 1883
“The coronation ceremony took place at the newly rebuilt Iolani Palace on February 12, 1883. The festivities then continued for two weeks thereafter, concluding feasts hosted by the king for the people and nightly performances of hula… A program titled Papa Kuhikuhi o Na Hula Poni Moi was printed for the occasion.” Silva, Noenoe K. Aloha Betrayed: Native Hawaiian Resistance to American Colonialism. 2007.
Bishop Museum, 12 Feb. 1883
“Hula is the language of the heart and therefore the heartbeat of the Hawaiian people.” “Hula I Ka L Hawaiian Cultural Foundation.” 19 Nov. 2019
“The King took some steps out of the old-fashioned hula and put them into the modern hula with guitar”(157). IMADA, ADRIA L. The Journal of Pacific History 46, no. 2 (2011)
By utilizing hula kui, Kalkaua’s actions helped to display both traditional and modern dance.
“With Kalakaua begins what might be called a conscious reinvention of tradition for the purpose of cementing Hawaiian national identity and reinforcing indigenous political aspirations which were coming under pressure from the white settlers.” Balme, Christopher B. Paideuma 45 (1999)
“The hula ku’i as a musical and dance style originated in the 1870s and ‘80s as a conscious attempt by Hawaiians to synthesize the musical aspects and dance movements of pre-European Hawaiian mele (chant) and hula (dance), and European song and dance.” Tatar, Elizabeth. Ethnomusicology, vol. 26, no. 2, 1982
“The King took measures to strengthen the viability of his own people and to support their rich heritage. He established the policy of ho oulu i lahui, to make the nation grow, and initiate a revival of hula, the life-blood of his people” Schweitzer, Niklaus R. The Hawaiian Journal of History, 1991
King Kalkaua Fights Stereotypes In order to combat racial stereotypes, King Kalkaua aimed to establish hula in order to place Hawaiians in a positive light. Although discrimination persisted, hula dancers now could directly represent their craft.
Judge Magazine, 6 Jan. 1894 El Paso Herald, Sep. 16, 1916
“Fortunately the hula survived and professional hula groups reappeared in the 1880’s. Kalakaua came to the throne in 1874 and revived the practice of gathering a retinue of court dancers. Kalakaua’s court, however, became the breeding place for change.” Kaeppler, Adrienne L. Yearbook of the International Folk Music Council, vol. 4, 1972
New-York Tribune, April 16, 1899
“Hula on tour continued to assert the glory of chiefs and gods and, by extension, that of the nation, during a fragile period when Hawaii’s sovereignty was being assailed by settlers and the US”(245). IMADA, ADRIA L. The Journal of Pacific History 46, no. 2 (2011)
Hui Lei Mamo Glee Club Perpetuates Hula
King Kalkaua endorsed the formation of the hula troupe Hui Lei Mamo, which travelled and sought to represent Hawaii abroad. At the Chicago World’s Fair in 1892, the club helped to showcase hula for visitors to foster Hawaiian cultural traditions.
Ukulelemag.com, 18 Nov. 2019
Evening Bulletin, March 17, 1904
“Graduates of the hula school, and two men as chanters and musicians were chosen to go to Chicago for the Exposition of 1892. They were the first hula dancers to dance in the mainland of America, or for that matter, anywhere in the Western world.” Kealiinohomoku, Joann Wheeler. Ethnomusicology 8, no. 2 (1964)
“In 1886, the same year of his jubilee, Kalakaua assembled Hui Lei Mamo, a group of eight Hawaiian women and girls under the age of 20...Hui Lei Mamo was a ‘glee club’ it performed acculturated hula performance as well as choral music.” IMADA, ADRIA L. The Journal of Pacific History 46, no. 2 (2011)
Chicagology, 18 Nov. 2019
“The performers who went abroad directly benefited from King David Kalakauas national revival of hula and traditional cultural arts during his reign from 1872 to 1891”(154). IMADA, ADRIA L. The Journal of Pacific History 46, no. 2 (2011)
“Hula has gained worldwide popularity...Japan has about two million professional hula dancers. Others have estimated that Hawaii has around 8,000 to 20,000 hula professional dancers.” Hula, Ae Luv. 'Ae Luv Hula, 16 Sept. 2018
“Hawaiian music can also be found every night in Tokyo, but hula seems to attract women of different ages who like to travel, especially to Hawaii.” Kaeppler, Adrienne L. Yearbook for Traditional Music, vol. 45, 2013
“Tokyo, Japan.” Halau Hula O Kalaulani O Pu'uanahulu - Home, 9 Feb. 2020 Hawaii's Newspaper, 11 July 2005
“Starting in the 1980’s, Japanese dance teachers delved into the older hula traditions, those with drums, and rattles- no guitars or ukuleles... These Japanese dancers-teachers learned from the most “traditional” of the hula teachers in Hawaii.” Kaeppler, Adrienne L. Dance Chronicle, vol. 27, no. 3, 2004
Conclusion Hula was once considered barbaric and immoral, but through the activism by King Kalkaua, this image is changing. Hula practitioners continue to fight stereotypes and promote Hawaiian culture, as hula’s appeal has expanded throughout the world.
This is David The greatest of all flowers
(He is) the lightning in the east That brightens Hawaii
News reached England Also heard by the French queen
Who is this flower of high rank? Kapaakea is his father
Tell the refrain King David, is his name
Eia n Kawika e O ka heke ao n pu
Ka uwila ma ka hikina e Mlamalama Hawaii e
Kui e ka lono Pelekani e A lohe ke kuini o Palani e
Na wai e ka pua i luna e Na Kapaakea he makua e
Haina ia mai ka puana e Kalani Kwika he inoa e
J. Kealoha. “Kawika.” King's Hawaiian Melodies, 1836
“Every year the Merrie Monarch Festival continues what the king started, by hosting a week-long festival of music, crafts, art, demonstrations and a hula competition.” “HISTORY OF THE FESTIVAL.” 19 Nov. 2019
Festival, Merrie Monarch. “14th Annual Merrie Monarch Festival -- 1 Jan. 1977
Hawaii Magazine, 16 Apr. 2017
“Kalakaua brought the hula back to Hawaii and made us realize how important it was for our people. There was nothing here in Hilo, so I decided to honor Kalakaua and have a festival with just hula.” “George Naope.” NEA, 27 June 2014
“The Merrie Monarch Festival in a sense is much like its namesake. The festival itself was created on the brink of our culture’s renaissance. Hula craved for an opportunity to be put up on stages, to be judged by studied practitioners, to give students a reason to work and perfect dances choreographed by their kumu. Traditions were being conceived on that very stage.”
Ai Kamauu, Natalie. “Personal Interview.” 11 Apr. 2020.
“The Merrie Monarch Festival, named after King Kalakaua, has taken place in Hilo, Hawaii, each year since 1963. In 1971 a hula competition was begun with nine women’s groups participating. In 1976 a division for men was added. The competitions are judged by a panel of seven, who are highly regarded members of the hula community.” Kaeppler, Adrienne L. Dance Chronicle, vol. 27, no. 3, 2004
The Honolulu Advertiser: Hawaii's Newspaper. 30 Mar. 2008
Festival, Merrie Monarch 1990.” 1 Jan. 1990
“The Hawaiian Movement began as a battle for land rights but would evolve, by 1980, into a larger struggle for native Hawaiian autonomy. Land claims first appeared, as in Kalama Valley, as community-based assertions for the preservation of agricultural land against resort and subdivision use.”
Trask, Haunani-Kay. Hawaiian Journal of History, vol. 21, 1987, pp. 126–153.University of Hawaii at Manoa Archives and Manuscripts Library, 1971Ed Greevy's Photograph Collection, 1971
1976 Hawai'i to Tahiti and Back, 14 Apr. 2020
“According to crew member Billy Richards, the conflict stemmed from two very different views of the voyage: for the haole crew members, the voyage was a scientific experiment to learn the techniques by which Polynesians had explored and settled the Pacific; for some of the Hawaiians, the voyage was an highly emotional journey of cultural reawakening.”
1976 Hawai'i to Tahiti and Back, 14 Apr. 2020
“Hokulea.” Newspapers.com, 15 Apr. 2020
The objective of the festival now focuses upon celebrating hula and perpetuating Hawaiian arts. This forum showcases the expertise and dedication of today’s hula dancers who strive to fulfill Kalkaua’s vision of restoring native practices.
Ka'iwakloumoku, 18 Nov. 2019
Tourism Thrives on Hula Shows Hula became one of the staples of Hawaiian tourism. In the islands, tourists were drawn to Waikiki for the performances, including the famed Kodak Hula Show in 1937.
National Air and Space Museum, 19 Nov. 2019 Hawaii State Archives Digital Collections, 1937.
“The orientation of the territorial economy was shifting from agribusiness to new crops of tourists...Hawaiian culture- particularly Hawaiian music and hula-became valued commodities… highly politicized, for whoever brokered the presentation of Hawaiian culture would determine the development of tourism in Hawaii.” Imada, Adria. American Quarterly, vol. 56, no. 1, Mar. 2004
“In 1937, Fritz Herman founded the Kodak Hula Show, a performance venue that entertained tourists for 65 years. Herman, a vice-president and manager of Kodak Hawaii, had the idea to promote picture taking by providing a hula show during daylight hours.”
Kodak Hula Show - Hawaii History
Merrie Monarch Festival Established Although the Merrie Monarch Festival was created as a response to a lagging economy on Hawaii island in 1963, the purpose of the festival altered by the early 1970s.
Hawaiian Renaissance In the late 1960s and early 1970s, the revitalization of Hawaiian culture gained momentum. This movement inspired a returning of Hawaiian practices including the Hawaiian language, voyaging, and a renewed interest in hula developed.
Reviving the Hula: Kalkaua Breaks Cultural Barriers
Process Paper Word Count: 451
Process Paper (WC: 451) For many years, I danced ballet and contemporary. I was very passionate about dance because I was able to dance with my step-sisters and we had an opportunity to become closer. When I moved back to Hawaii, I considered dancing hula but thought I was apprehensive about learning a new dance. When looking over potential NHD topics, I was drawn to hula and wanted to know more. I was especially curious about the time period, when hula was banned. This seemed shocking to me because hula has no controversy today and is widely accepted and celebrated. While researching, it was difficult to find any documents about the hula ban within that time period, but I eventually found some newspapers from the 1850’s, from Chronicling America, that explain how the unpermitted practitioners were fined and jailed. My most valuable source was from Adrian Imada “Transnational "Hula" as Colonial Culture” because it had lots of information and quotes that supported my thesis and analysis. During this phase of the competition I emailed Natalie Ai Kamauu, Miss Aloha Hula in 1990, and asked her about the Merrie Monarch. Her perspective showed the significance of hula today and also connected back to Kalakaua.
Exhibits were ideal for the information types I had and it was the most hands on category. I liked the idea of utilizing pictures and supporting evidence because it seemed more creative to me. While making the physical board, I had woven my title board to look like a lauhala mat. I had to make sure that all of my colors had a purpose and were not just there to make it look good, so I used red and yellow because they are the colors of the Hawaiian Monarchy, and the green and brown were used to show conventional hula colors. For the state competition transferring my exhibit into an online version was hard because I never used Google Drawings before, but I think it reflects my original project.
King Kalakaua wanted to bring back the ancient traditions that had been in the islands for ages, but that meant he had to defy Queen Kaahumanu’s law she put in place because she was swayed by the Christian missionaries. His celebrations that involved hula, reintroduced it to the generation that never got to experience it. This shows that the barriers were broken and that Kalakaua’s actions were a success. Due to his work in the revival of hula, George Naope created a week long festival to honor what Kalakaua has done for all of Hawaii with the creation of the Merrie Monarch Festival. I also learned how there are many halau around the world that participate in hula for both pleasure and competition.
Annotated Bibliography
Aguiar, Eloise. “Japan Hooked on Hula and the 'Ukulele: The Honolulu Advertiser: Hawaii's Newspaper.” Japan Hooked on Hula and the 'Ukulele | The Honolulu Advertiser | Hawaii's Newspaper, 11 July 2005, the.honoluluadvertiser.com/article/200
This is a primary source photograph from the Honolulu Advertiser which shows a Japanese halau dancing. This was used to show that hula is spreading and now being appreciated by other cultures.
Ai Kamauu, Natalie. “Personal Interview.” 11 Apr. 2020.
I interviewed Natalie Ai Kamauu because she is a versatile Hawaiian artist. She gained recognition by winning the title “Miss Aloha Hula” in 1990’s Merrie Monarch Festival. In more recent years, she has gained recognition as a female vocalist who combines traditional and modern Hawaiian melodies. Her expertise in both hula and music reflects the legacy of David Kalakaua.
"The Coronation Hulas" The Hawaiian Gazette., February 28, Image 2
This newspaper explains that King Kalakaua was working hard to implement hula into his coronation. It shows that he was bringing back the hula in a memorable way so it can be put into society once again. This also shows how Kalakaua broke barriers.
"Dying Hawaiian Customs" New-York Tribune. (New York [N.Y.]) 1866-1924, April 16, 1899,
Image 38 http://chroniclingamerica.loc.gov/lccn/sn83030214/1
This newspaper image was portraying the modernization of hula with new instruments being used. This shows that hula was adapting to become more relevant in the media.
Festival, Merrie Monarch. “14th Annual Merrie Monarch Festival -- 1977.” 1 Jan. 1977,
hdl.handle.net/10524/33531.
This pamphlet was used to show one of the first Merrie Monarch Festivals. It was good to see the difference in how it was celebrated then versus now.
Festival, Merrie Monarch. “27th Annual Merrie Monarch Festival -- 1990.” 1 Jan. 1990
Gilliam, Bernhard. “Judge Magazine.” Judge Magazine, 6 Jan. 1894.
This political cartoon shows how Hawaiians were negatively represented in the press. This was used to show what was thought of before Kalakaua brought back hula.
“A Glimpse Of The Hula Dance. An Almost Obsolete Custom among The Sandwich Islanders.”
Wheeling Register, vol. 22, no. 145, 1884, p. [5]. Access World News – Historical and Current, Accessed 18 Nov. 2019.
This is a negative outlook in newspapers about hula. This shows how the media thought of this tradition before revitalization.
The High Spirits of Uncle George Naope: The Honolulu Advertiser: Hawaii's Newspaper. 30 Mar. 2008, the.honoluluadvertiser.com/article/2008/Mar/30/il/hawaii803300309.html.
This image shows George Naope, the founder of the Merrie Monarch Festival in 1962. Without him, hula would not have been as celebrated or well known around the world. Naope wanted to celebrate Kalakaua and his contributions to hula.
“Hkle’a.” Kamehameha Schools Archive, 16 Apr. 2020.
This is an image of the Hokulea out at sea. This was important to show the resurgence of traditional voyaging. This connects to Hawaiian Renaissance.
"Honoluluans Protest Against Exposition Hula Hula dance" El Paso Herald. (El Paso, Tex.)
1901-1931, September 16, 1916, HOME EDITION, Magazine and Feature Section, Image 32 http://chroniclingamerica.loc.gov/lccn/sn88084272/
This newspaper image shows how hula was viewed outside of Hawaii. These were some of the stereotypes that had to be fought. These negative ideas created the barriers that needed to be broken.
"Hope for Hawaii at World's Fair" Evening bulletin. (Honolulu [Oahu, Hawaii) 1895-1912, March
17, 1904, 3:30 O'CLOCK EDITION, Image 1 http://chroniclingamerica.loc.gov/lccn/sn82016413/1
This newspaper was used to say that the hula exhibit at the Chicago World Fair was successful. The troupe sent by Kalakaua was helped to spread the modern version of the tradition.
“Ida Naone Doing the Hula, Kodak Hula Show, Waikiki.” Hawaii State Archives Digital
Collections, 1937.
This image is used to portray early Kodak Shows. These shows were created to show tourists what hula is.
“Impact of the Ukulele on Hawaiian and American Culture.” Portuguese Historical Museum, 10
Apr. 2019, portuguesemuseum.org/?page_id=1808&category=1&exhibit=&evnt=68. This is a photograph of King Kalakaua. This was used because he changed how Hawaii
was viewed from other states and countries. It is important to show an image of Kalakaua since he’s the focus of my project.
Kalama Valley Struggle, University of Hawaii at Manoa Archives and Manuscripts Library, 1971, www.nlm.nih.gov/nativevoices/timeline/527.html.
This original brochure shows how difficult it was for those fighting in Kalama Valley. This is important so we could see what happened to those who were evicted. This also connects to the Hawaiian Movement.
“Kalani Ohelo ‘Yankee Go Home’: A Message from a Rural Community Facing Evictions.” Ed Greevy's Photograph Collection, 1971, Ulukau.org, 14 Apr. 2020.
This image depicts someone resisting the evictions during the Hawaiian Renaissance. This is important because it lets people today now how significant this issue was to the Hawaiian people.
“Kodak Hula Show.” National Air and Space Museum, 19 Nov. 2019,
airandspace.si.edu/multimedia-gallery/7073hjpg.
This photograph was taken at the first hula show. This shows how far things like it have come from in 60 years.
Matthew, Adam. “A Hura or Native Dance, Performed in Presence of the Governor Kairua.” California Historical Society, 28 Mar. 2014
This newspaper image depicts how hula was before the missionaries arrived. This is important to have so you can compare how hula was before and after westerners arrived.
“Missionaries to Hawaii and the South Seas.” Constant Contact Archive, 17 Nov. 2019,
archive.constantcontact.com/fs155/1108762609255/archive/1116956293160.htm.
This shows the missionaries trying to change Hawaiian traditions, which led to the barriers. This shows what was before Kalakaua.
National Endowment for the Humanities. “The Pacific Commercial Advertiser. [Volume]
(Honolulu, Hawaiian Islands) 1856-1888, August 18, 1859, Image 4.” News about Chronicling America RSS, H.M. Whitney, chroniclingamerica.loc.gov/lccn/sn82015418/1859-08-18/ed-1/seq- 4/#date1=1851&index=13&rows=20&words=hula&searchType=basic&sequence=0&stat e=Hawaii&date2=1880&proxtext=hula&y=0&x=0&dateFilterType=yearRange&page=1.
This newspaper shows the rules that hula dancers had to follow in order to be legal. If this was not present it would be harder to understand the severity of this issue.
Pacific Commercial Advertiser May 13, 1858
This quote from a newspaper shows what some believed would happen if hula was legal again. This was used to show how locals and the missionaries viewed hula.
“Papa Kuhikuhi o Na Hula Poni Moi.” Bishop Museum, 12 Feb. 1883.
This is the pamphlet of the King’s coronation. This was to show what was on the agenda for the celebration and how he restored hula.
“Police Court Decision.” Pacific Commercial Advertiser, 23 Nov. 1872, p. 3.
This newspaper shows the rules that hula practitioners had to follow in order to not go to jail or be fined. This is a good thing to show how serious compared to other crimes was performing hula during this time period.
Secondary
1976 Hawai'i to Tahiti and Back, 14 Apr. 2020, archive.hokulea.com/holokai/1976/ben_finney.html.
This article was used to find an image and a quote showing the Hokulea and its challenges. This relates to the Hawaiian Renaissance because voyaging was brought back into Hawaiian culture.
“ABOUT KING KALKAUA.” StackPath, 20 Nov. 2019, www.merriemonarch.com/history/.
This website was to find information on the Merrie Monarch Festival and Kalakaua. This was good to have to show why this festival was created and how it changed later.
Balme, Christopher B. "Dressing the Hula. Iconography, Performance and Cultural Identity
Formation in Late Nineteenth Century Hawaii." Paideuma 45 (1999): 233-55. www.jstor.org/stable/40341772.
This journal article was to show that Hawaiians were becoming stronger against what white settlers thought. This shows how Hawaiians fought back against ideas that were not right about them.
“Blue Hawaii.” Encyclopædia Britannica, Encyclopædia Britannica, Inc.,
www.britannica.com/topic/Blue-Hawaii.
This article had information about an Elvis song called Blue Hawaii. This would be used to show how hula found its way into the media and music in areas other than Hawaii.
Burlingame, Burl. “Hooray for Hollywood.” Star Bulletin, 27 Apr. 2001. The photograph portrays how Hollywood saw hula. It was used because it shows how hula was seen in movies and what was thought of to people who had never been to Hawaii.
“Celebrating the Life of the ‘Merrie Monarch’: Ka'iwakloumoku.” Celebrating the Life of the "Merrie Monarch" | Ka'iwakloumoku, 18 Nov. 2019, apps.ksbe.edu/kaiwakiloumoku/kalakaua.
“Charlotte Observer.” Charlotte Observer, 1937, p. 67. Access World News – Historical and
Current, infoweb.newsbank.com/apps/news/document- view?p=WORLDNEWS&docref=image/v2:11260DC9BB798E30@EANX-K12- 15E24F8204ED1101@2428628-15E3EBBC94A99570@66-15E3EBBC94A99570@. Accessed 9 Feb. 2020.
This is an image of one of the first Kodak Shows. These were used to help immerse tourists in the islands and so they learn something about the culture.
Dekneef, Matthew. “How to Watch the 2017 Merrie Monarch Festival Live Stream.” Hawaii Magazine, 16 Apr. 2017.
This image shows what the Merrie Monarch Festival is today. It is important so the evolution of the dance can be seen.
The Editors of Encyclopaedia Britannica. “Hula.” Encyclopædia Britannica, Encyclopædia
Britannica, Inc., 16 Jan. 2015, www.britannica.com/art/hula.
This quote shows the definition of hula. It is important so anyone who does not know what it is can still understand this project.
“George Naope.” NEA, 27 June 2014, www.arts.gov/NEARTS/2007v1-%EF%BF%BC2006-
nea-national-heritage-fellows/george-naope.
This quote says that hula was important so it must be honored. The festival is to show that what Kalakaua did was successful.
“The History of Hula Dancing: From Worship to Tourism.” Hula Dancing History,
www.huladancehq.com/hula-dancing-history.html.
This article was used to get information on Kodak Shows. It had a few details that were good when fact checking other sources.
"THE HISTORY OF HULA: HOW HULA WAS SAVED." Accessed September 30, 2019.
https://www.olaproperties.com/blog/lets-talk-story/ the-history-of-hula-how-hula-was- saved/.
http://www.britannica.com/art/hula
This quote explains that most Christian Missionaries wanted hula to disappear. This source also served as a basic information destination.
"History of Hula." Ka `Imi Na'auao O Hawaii Nei Institute. Accessed September 26, 2019.
http://www.kaimi.org/education/history-of
This source was used as a base to build upon to get more information. It was very helpful to find out the basic information of the topic.
“HISTORY OF THE FESTIVAL.” StackPath, 19 Nov. 2019, www.merriemonarch.com/history-
of-the-festival/.
This was used for information on the Merrie Monarch Festival. It was also used to check information from other sites to make sure they were correct.
Hula, Ae Luv. “Japan Has About Two Million Professional Hula Dancers.” 'Ae Luv Hula, 16
Sept. 2018, www.aeluvhula.com/japan-hula-dancers/.
This was used for the statistics of hula dancers in Japan versus Hawaii. This brought light to the spread of hula.
Hula Dancing." The Hawaiian Islands. Accessed September 26
This source was only used for information, but it was useful for checking if other sources were correct.
“Hula and Tourism.” Hula and Tourism - Hawaii History - Hula, 19 Nov. 2019,
www.hawaiihistory.org/index.cfm?fuseaction=ig.page&PageID=439.
This was used to get information on Kodak Shows. Also, this website had a lot of subsections that were related to the topic of my project.
“Hula.” Hula - New World Encyclopedia, www.newworldencyclopedia.org/entry/Hula.
This source was used to find a definition of hula and what it was used for. This is important to have so you can compare hula now versus before missionary days.
“Hula I Ka L Hawaiian Cultural Foundation.” Hula I Ka La Hawaiia, 19 Nov. 2019,
www.hawaiianfdn.org/.
This quote was used on other sites as well. It is important because it says that hula is essential to have Hawaiian culture.
no. 2 (2011): 149-76. www.jstor.org/stable/413437
This journal article highlights how hula traveled around the world and says how it was modernized. These are important because it shows how it changed due to what Kalakaua did and how hula evolved.
Imada, Adria. “Hawaiians on Tour: Hula Circuits Through the American Empire.” American
Quarterly, vol. 56, no. 1, Mar. 2004, pp. 111–149., doi:10.1353/aq.2004.0009.
This journal was used for a few quotes on the spreading of hula, which is important to know why hula was appealing to other cultures.
Junker, J. W. “‘Hula Medley’- Gabby Pahinui (1947).” Library of Congress, 14 Apr. 2020, www.loc.gov/static/programs/national-recording-preservation- board/documents/HulaMedley.pdf.
This journal was used to show that Gabby Pahinuis music would appeal to those who listened to local music. Also it would be intriguing to those who have never listened to that type of music before.
Kaeppler, Adrienne L. “Acculturation in Hawaiian Dance.” Yearbook of the International Folk
Music Council, vol. 4, 1972, p. 38., doi:10.2307/767671.
This journal was used for quotes on how missionaries banned hula. This source was good because it explained things that would be useful to know and use for quotes.
Kaeppler, Adrienne L. “Recycling Tradition: A Hawaiian Case Study.” Dance Chronicle, vol. 27,
no. 3, 2004, pp. 293–311., doi:10.1081/dnc-200033871.
This journal was used for quotes on how hula had emerged again and changed into what it is today.
Kealiinohomoku, Joann Wheeler. "A Court Dancer Disagrees with Emerson's Classic Book on
the Hula." Ethnomusicology 8, no. 2 (1964): 161-64. doi:10.2307/8498
This quote explains that the group that went to the World's Fair had never performed in front of the Western world. This is important because it shows that Kalakaua took a risk, he did not know how these people would respond to hula.
Kodak Hula Show - Hawaii History - 1937, 15 Feb. 2020, www.hawaiihistory.org/index.cfm?fuseaction=ig.page&PageID=493.
This article gave more information on the origin of Kodak Shows. This was used for checking other sources and what these shows are.
Lewis, George H. “Da Kine Sounds: The Function of Music as Social Protest in the New
Hawaiian Renaissance.” American Music, vol. 2, no. 2, 1984, p. 38., doi:10.2307/3051657.
This journal entry was used for a quote about the Hawaiian Renaissance. It exclaimed the value that music has in protests and social events.
Matthew. “14 Extraordinary Women in Hawaii History Everyone Should Know.” Hawaii
Magazine, 27 Sept. 2019, www.hawaiimagazine.com/content/14-extraordinary-women- hawaii-history-everyone-should-know.
This picture shows what Queen Kaahumanu looked like. This picture is important because she is the one who banned the public performance of hula.
“The Meaning Behind Hula.” Smithsonian.com, Smithsonian Institution, 17 Nov. 2019,
www.smithsonianmag.com/videos/category/history/the-meaning-behind-hula/.
This picture shows that young people were being immersed in the world of hula. Since these people knew hula, they could pass it down to the next generation, which makes it a tradition.
Meier, Gene. “Contents.” Chicagology, 18 Nov. 2019, chicagology.com/columbiaexpo/fair052/.
This picture shows the hula exhibit at the World’s Fair. This shows importance by having its own space for its debut in the Western World.
“Missionaries and the Decline of Hula.” Missionaries and the Decline of Hula - Hawaii History -
Hula, 8 Feb. 2019, www.hawaiihistory.org/index.cfm?fuseaction=ig.page&CategoryID=253.
This source was used for information on when missionaries arrived in Hawaii and how they influenced others with their beliefs. This was useful because this eventually led to hula being banned.
Pollenz, Philippa. “Changes in the Form and Function of Hawaiian Hulas.” Handle Proxy,
American Anthropological Association, 17 Nov. 2019, hdl.handle.net/10524/11950.
Shackleton, Kay. “~Hula~ 1927.” Hula, 1927, 28 Aug. 1927,
silenthollywood.com/hula1927.html.
This photograph shows how hula dancers were seen in movies and in Hollywood. It is important so comparisons could be seen from reality and the assumption.
Silva, Noenoe K. Aloha Betrayed: Native Hawaiian Resistance to American Colonialism. Duke
University Press, 2007.
This shows the efforts made by King Kalakaua that he made to bring back the Hawaiian traditions. It is important because if he did not try to break the law,it is possible that it would not be here today.
Silva, and Noenoe K. “Kanawai E Ho'opau I Na Hula Kuolo Hawai'i: the Political Economy of
Banning the Hula.” Handle Proxy, Honolulu, Hawaiian Historical Society, 1 Jan. 1970, hdl.handle.net/10524/347.
This article was used for the quote about the coronation pamphlet. It was important because it gave the date of the ceremony.
Schweitzer, Niklaus R. “King Kalakaua: An International Perspective.” The Hawaiian Journal of
History, vol. 25, 1991, pp. 103–120.
This journal used to show the actions that Kalakaua took to rewrite the laws written previously. He set in place the ho'oulu i lahui policy to help protect their heritage.
Tatar, Elizabeth. Ethnomusicology, vol. 26, no. 2, 1982, pp. 337–339. JSTOR,
www.jstor.org/stable/851540. Accessed 8 Feb. 2020
This image was used to show what instruments were used in the earlier days of hula. This is good to have so you can compare hula then versus now.
Trask, Haunani-Kay. “Birth of the Modern Hawaiian Movement: Kalama Valley, O'ahu.” Hawaiian Journal of History, vol. 21, 1987, pp. 126–153.
This quote was used to explain the importance of Kalama Valley in the Hawaiian Renaissance. Protests to stand up for the land of local people happened more often during and after these times.
Tsutsumi, Cheryl Chee. “Gabby 'Pops' Pahinui Lives on at Sensational Slack Key Guitar Festival.” Honolulu Star-Bulletin Hawaii News, 1975, archives.starbulletin.com/2002/08/18/travel/tsutsumi.html.
This picture of Gabby Pahinui shows him singing which is what he did to become famous. He was monumental during the Hawaiian Renaissance for creating music that could be sold commercially and appeals to the Hawaiian people.
“Tokyo, Japan.” Halau Hula O Kalaulani O Pu'uanahulu - Home, 9 Feb. 2020,
www.halauhulaokalaulaniopuuanahulu.com/tokyo-japan.html.
This image was used to show that hula spread to Japan. This is important to have because Japan has more hula dancers than Hawaii.
“Ukulele History: 140 Years Ago The Ukulele As We Know It Arrives in Hawaii.”
Ukulelemag.com, 18 Nov. 2019, www.ukulelemag.com/stories/ukulele-history-140- years-ago-the-ukulele-as-we-know-it-arrives-in-hawaii.
This image was used to show that young people were learning the old and new ways of hula. It also shows the newly implemented instruments used in hula.
Valentine, Karen. “Then & Now: 50 Years of Merrie Monarch Festival–Nn I Ke Kumu…Look
to the Source.” Ke Ola, 2013.
This was used for information on the Merrie Monarch. It compared the first festival from 1963 compared to the modern competitions today.