All songs are traditional Hawai'ian chants

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3 More than 2,100 other Smithsonian Folkways recordings are available for your enjoyment They include seven other Hawaiian albums. There are also recordings of everything from folk and traditional music from allover the world to children's music and animal sounds. Many of them are only available by mail order from the Smithsonian Institution. Send for your free catalogues today by telephoning 202/ , or writing Folkways Records, Office of Folklife Programs, 955 L 'Enfant Plaza suite 2600, V.SA Tell us what kind of music you are interested in, so we can send you the right catalogues. Cover: KeakaokalO Kanahele (left) and Katherine Nakaula accompany dancers perfonning ".ituo 'iaelmmo eltonamoku " at UI. Ma. Village, C. I940. Hawa;'; State Archives. All songs are traditional Hawai'ian chants The Smithsonian acquired Folkways Records in 1987 in order to be sure the historic recordings would continue to be available, and to release more albums of a similar nature. This album is a new release by the Office of Folklife Programs, part of the 1989 Festival of American Folklife, featuring the state of Hawai'i. The Hawai'i program is supported by the State of Hawai'i, the Governor's Office, the Hawai'i State Foundation on Culture and the Arts, the Hawai'i Visitors Bureau, and Hawai'i col'jlorate sponsors. Produced by the Office offolklife Programs, Smithsonian Institution. Richard Kurin, Acting Director Anthony Seeger, Director of Smithsonian Folkways Records Daphne Shuttleworth, Designer Jeff Place, Archivist Cuha Shankar, Media Specialist Hauraiian Drulll Dance Chants Sounds of Power in Time This recording was prepared in conjunction with a publication on traditional Hawaiian drum dances and drumming. Hula Pahu, An Exploration of Movement and Sound of a Hawaiian F'r!rforming Genre, by Adrienne L Kaeppler and Elizabeth Tatar (1989), Special Publication 88, Bishop Museum Press. Further infonnation regarding the drum's history, chants, dances, drumming. and the individuals who perfonned and taught mele hula pahu can be found in th is publication. SF40015 The Pahu: Its History and Significance The pahu, the wooden sharkskin drum of Hawai'i, is an instrument of power and sacredness that exemplifies traditions of ritual music and dance that are steeped in time. The drum is both a sound producer and a symbol. Its music represents the fundamental principles of Hawaiian perceptions oftime and timing in traditional music. Its physical fonn represents the ancient links of presentday Hawaiians to their Polynesian ancestors and to the rich culture created by generations of their descendants in Hawai'i. According to traditional history preserved in the trad itional literature of Hawai'i, the sharkskin drum was brought to Hawai'i from Tahiti sounding over the oceans" by La'amaikahiki sometime around AD The pahu, as it is also known in Tahiti and other parts of central Polynesia, was the instrument of ali'i (chiefs) used in heiau (temple) rituals and in hula kapu (sacred dance). La'amaikahiki is credited for the introduction of both the large temple drum, pahu heiau, and the smaller dance drums, pahu hula. In Hawaiian traditional literature the sounds of the pahu are referred to as leo (voice) and the drum head is referred to as waha (mouth). During state rituals in the large open-air heiau, the pahu was a recepticle for a god who spoke through the "voice" of the drum. Today, the "voices" of pahu heiau are believed still heard on certain nights of the month from the archaeological remains of heiau throughout the islands. The traditional pahu is carved out of a single piece of wood, usually coconut or breadfruit A bowl-like septum separates the sound chamber from the base or carved arches and a sharkskin membrane is lashed with sen nit to the base. Pahu are usually beaten with hands

4 only and are often paired with smaller, higher-pitched coconut drums covered with a flshskin membrane called either puniu or kilu, which are beaten with fiber thongs or small wooden sticks called ka. Pahu were made with great care. In pre-european times (pre-i778) each part of the drum's body, especially the sennit, 'aha, used to lash the sharkskin to the base, required special prayers which were chanted during the processes of making the sennit and lashing the skin to the drum. The power of the prayers became entrapped in the lashing, the wood, the skin and remained with the drum always. The rows of inverted arches carved out of the base, called hoaka, are visually symbolic of outstretched hands supporting joined human figures overhead (see Kaeppler 1980) and are poetically symbolic ofthe shadows of gods (hoaka means to cast a shadow). Pahu were given proper names and passed down from generation to generation as objects of mana (power) and kapu (sacredness) producing sounds that carried the knowledge of generations of ali'i and kahuna (specialists, including priests). Pahu heiau were beaten by kahuna on the heiau to signal the activities of complex ceremonies, signficant events such as the births of chiefs, and to accompany the prayers and movements of kahuna and ali'i. Pahu hula were beaten for and by the ali'i (or their representatives) to accompany the movements of hula kapu, which in pre-european times was probably called ha'a, a more general term for dance-like movements. After the fall of the traditional religion brought on by the abolishment by Hawaiians of the kapu system in 1819 and the adoption of Christianity introduced by New England missionaries in 1820, the role ofthepahu was gradually transferred to accompanying hula 'auana (free dance). Remnants ofthe kapu surrounding the learning of dance continued. The pahu heiau was no longer used (at least openly) after 1820 and by the early twentieth century the musical and dance traditions of the pahu hula had all but disappeared. The Music of the Pahu Hawaiian musical traditions are essentially vocal. Percussive musical instruments are never played alone, but always to accompany chanting and dancing. The mele (chanted poetry) is performed in a variety of named musical styles characterized by named vocal qualities particular to each style, which are chosen by the performer according to their appropriateness to the function of the text (see Tatar 1982). The mele is of primary importance and of these, mele pule (prayer chants) are of primary importance. Mele are addressed to gods and their descendants, ali'i. Mele belong to the individual addressed in the text and are passed on as heirlooms from generation to generation within an extended family. Both the family and their mele are closely associated with a place. Chants addressed to the person of chiefs, particularly high chiefs, that record the genealogy, birth, history, descendants and sacred attributes of the individual, are, like mele pule, sacred and powerful. These chant types are performed in one or both of two general styles, mele oli, texts chanted usually without instrumental accompaniment and dance, and mele hula, texts chanted to the accompaniment of dance and, on occasion, of instruments. Most mele hula pahu (chants accompanied by dance and the wooden sharkskin drum) are formal, sacred and address gods and high chiefs. Mele hula pahu are often introduced with a mele pule accompanied by a processional dance, hula ka'i (perhaps a retention of heiau ritual processions), which are chanted in oli style in which the text does not regularly coincide with the drum beats. The hula proper is chanted in a style that is very similar to oli, though the text does coincide regularly with the drum beats. Some mele hula pahu are overtly sexual and may retain remnants of an ancient practice called in traditional literature kilu and 'ume, sexual games, usually for ali'i, characterized by performances of mele and hula pahu. The drum-beat patterns used by pahu heiau were probably numerous, but only two patterns used for signalling the births of chiefs in heiau have been passed down. These patterns were recorded in 1945 and can be heard on Bishop Museum's record, Na Leo Hawai'i Kahiko, Voices of Old Hawai'i (1981). Several drum-beat patterns used for particular hula pahu have been passed down and can be heard in this recording. It is very likely that these patterns are related to the patterns of the pahu hula used for sacred dance in pre-european times. The naditions of Hula Pahu Presented in this Recording The preservation of the traditions of hula pahu was due to a handful of masters, who in the early twentieth century devoted their energies toward perpetuating the drum dance traditions they inherited. The artistry of these masters-katherine Keakaokala Kanahele, Keahi Luahine and Samuel Pua Ha'aheo-and the individuals they taught, all acknowledged masters on their own, is presented in this recording. The mele hula are arranged chronologically according to a regional tradition identified by the master's name. The first part presents a family of contemporary masters, themselves representing three generations of hula pahu expertise descended from Samuel Pua Ha'aheo. The second part presents historic recordings of hula pahu performed by the earliest generation of masters known to have established the hula pahu traditions perpetuated today. The performances of the first generation, second and, in some cases, third generations of masters are included. 1Wo performances from relatively early contexts of mele hula usually designated hula pahu, but executed as other kinds of hula, are also included. The three hula pahu most frequently performed today can be traced through the traditions presented in this recording: "Kaufilua ike anu Wai'ale'ale;"!4u'a 'ia e kama e kona moku" and "A Ko'Dlau au 'ike i ka ua." The other hula pahu are representative of traditions associated with a particular family and island, and some are no longer performed publicly. The mele in this recording are afforded a great deal of respect by the descendants of the traditions to which the hula belong. We kindly ask the reader and listener to honor this respect

5 Contents I. A Contemporary'fi'adition of Hulapahu Emily Kau'i-<>-Makaweli-<>na-Iani-<>-ka-Mano-<>-kalani-po-Kukahiwa Zuttenneister (b. 1909), her daughter, Noenoelani Zuttenneister Lewis (b. 1945), and her granddaughter, Hau'olionalani Lewis (b. 1966), of Kline'ohe, O'ahu, descendants of the hula pahu tradition of Samuel Pua Ha'aheo ( ). Recorded in Honolulu, March 4,1989, by Cine-pic Hawaii. 1. Mele Pule. (prayer chants) in ali style perfonned by Kau'i Zuttenneister "Aia no ke akua Iii i uka" and "'Ike Iii Kaukini e lawai'a manu" 0:05) 2. Mele Klihea (password to dance area) in oli style perfonned by Hau'oli Lewis "Li'uli'u wale i ka uka i Koholii lele" (0:26) 3. Mele Komo (welcome to dance area) in oli style perfonned by Noenoe Lewis "E hea ike kanaka e komo malako" (0:18) Hula pahu by chanter and drummer, Noenoe Lewis, and dancer and caller, Hau'oli Lewis. Both a pahu and kilu are used. 4. "Kau ka hali'a i ka manawa"(mele ka 'i, prayer chant accompanying processional dance) and" Kaulilua i keanu Wai'ale'ale" (3:10) 5. "Aloha e ke kai 0 Kalalau"0:31) 6. "Hanohano ka uka 0 PihanakalanP' 0 :42) II. The 1raditions ofhuia pahu from the Historical Collections ofbishop Museum A. Introduction to the hula pahu: Mele Pule No Laka (prayer chants to Laka) and Mele Inoa no Pauahi (name chant for Pauahi) performed in oli style. 7 (A.1) "Noho ana ke akua i ka nahelehele" (0:27), pule pale, prayer to Laka, goddess of the hula, for removing all hindrances. Perfonned by Brenda Lehua Hulihe'e (b. 1949), student of John Kaha'i Topolinski. 8 (A.2) "Ke ala ke aloha ma ka hikina" (0:29), mele ka'i and pule ho'onoa. prayer to Laka for freeing the hula of kapu. Perfonned by Anthony La'akapu Lenchanko (b. 1955), student of John Kaha'i Topolinski. 9 (A.3) "Ku'u wahine i ka ua 'Ulalena" (2:30), mele inoa, ~ame chant for Bernice Pauahi Bishop, to whose memory Bishop Museum is dedicated, perfonned by Charles Albert Manu'aikohanaiki'ilili Boyd (b. 1962), student of Robert Uluwehi Cazimero. The perfonners, all prize winners in recent chant competitions, were recorded March 22,1989, in historic Hawaiian Hall of Bishop Museum. The texts and translations of these chants were prepared by Mary Kawena Pukui, Bishop Museum Collections. 7 (A.1) Mele Pule No Laka I. Noho ana ke akua i ka nahelehele 2. I alai 'ia e ke ki'ohu'ohu, e ka ua koko 3. 0 na kino malu i ka lani 4. Malu ehoe 5. E ho'oiilu mai ana 0 Laka i kona kahu a makou 6. 0 makou noa e. 1. The gods dwell in the woodlands 2. Hidden away by the mist in the low-hanging, bloodred rainbow 3.0 beings sheltered by the heavens 4. Clear our path of all hindrance Noenoelani Lewis, Kau 'j Zuttenneisterand Hau 'oli Lewis photographed by George lahara. March after a recordi ng session. 5. Inspire us 0 Laka and dwell on your altar 6. Free us. The next prayer chant to Laka was written by Mary Kawena Pukui in 1973 for John Kaha'i Topolinski on the occasion of his graduation from the Hruau Hula 0 Ma'iki (dance school of Ma'iki). Ma'iki Aiu Lake ) trained and graduated the greatest number of hula masters currently perfonning and teaching traditional hula. Ma'iki was a student of Rosalie Lokalia Montgomery, who was a student of Katherine Keakaokalii Kanahele. 8 (A.2) Mele Pule No Laka 1. E ala ke oloha ma ka hikina 2. Ka pi'ina a ka Iii i Ha 'eha 'e 3. Ha 'eha'e ke aloha ma ka hanohano 4. Aia no ka nani me na akua

6 5. Me Loka i ka wehi 0 ke lruahiwi 6. Va noa ke kapu, ua ho'i alru e. 1. Let love rise in the east 2. Where the sun comes up at Ha'eha'e 3. Love arises in majesty 4. Beauty is with the gods 5. With Laka in the beauty ofthe mountains 6. The kapu is free, it has gone. 9 (A.3) Mele Inoa No Pauahi 1. Ku'u wahine i ka ua 'Vlalena 2. Kihae pua ka makahala 3. Noho anaina 0 ke alanui 4. Kiinaenae pua weuweu i Lonihuli 5. Va huli hewa Iru'u wahine 6. Va moe hewa ike kawelu 7. Va hlihli alru fii aia i Lele-a 'anae 8. 'Oia paha kai luna 0 Waipuhia 9. Puhia a'e fii e ke Ki'owao 10. Molru ka 'a/ihi oho 0 ka 'iihihi II. Waiho i Ka'ana-ka-hinahina 12. Wahine ho'oke wai 0 Kahaulromo 13. Kiikele wai 0 Kahua-i-Ianawai 14. Va anu wale i ka ua maka lau koa 15. Va ko no ke aloha ia'u 16. Ke pe'e nei iloko 0 ke kanaka 17. Va lruene i kona hale 0 ka mana'o 18.1 ko makou hale lehua i Kinimakalehua e 19. Ku'u hoapi/i 0 ka ua Lonip(ilua 20. Mehep(i fii no keaumoeo ke Ko'olau 21. Ku'u hoa 0 ka malu ki malu kulrui 22.1 ka malu kulrui 0 Kaho'iwai e ka waiwai iho fii no ia 0 ke aloha ka'u mea no ia e malama nei ha'ule auane'i paoa ke leu e. 26. He inoa, he inoa no Prwahi ke ali 'i. I. My lady in the 'Ulalena rain 2. That tears the blossom of the makahala 3. The travellers sitting by the trail 4. Chant of the grass blossoms at Lanihuli 5. My lady has turned by mistake 6. To dream, unintentionally of the kawelu grass 7. Beingjerked about at Lele-a-'anae 8. Perhaps she stands on Waipuhia 9. Where the Ki'owao wind blows 10. Tearing off the tips of the 'iihihi leaves 11. And leaving them at Ka'ana-ka-hinahina 12. The lady eschews the water of Kahaukomo 13. And goes to the flowing water of Kahua-i-Iana-wai 14. Made coldis.she by the rain that soaks the koa (tree) leaves 15. Love for you has drawn itself to me 16. And is hiding here within the person 17. Settling itself in its house, the mind 18. In our lehua (tree blossom) laden house at Kinimakalehua. 19. My constant companion in the dark misty rain 20. The rain that makes Ko'olau almost as dark as night 21. My companion in the shade of the ti and ofthe kulrui (tree) 22. The shade of the lrukui grove of Kaho'iwai 23. Your greatst gift to us is your love 24. And that is a gift I now cherish 25. Let it not be disregarded and treated as naught 26. A name chan~ a name chant for Pauahi the chiefess. B. The tradition of the court of King Kalikaua: James Kapihe P'ilea Kuluwaimaka ( ), Ka'u, iawai'i, and Honolulu lo (B.ll"Kaulilua i keanu Wai'ale'ale" (!:16) per 'ormed by Kuluwaimaka in 1933 Kuluwaimaka, a chanter in the court of Kalikaua, performs "Kaulilua" in a voice style he calls, "leo hula," literally "dance voice." Kalikaua inherited" Kaulilua" upon his ascent to the throne in During his reign Kaulilua" was usually performed as a mele oli, chant unaccompanied by instruments. Kuluwaimaka performs the chant in both styles (see Nii Leo Hawai'i Kahilro, Voices of Old Hawai'i, 1981, also for text variant). In this rendition as a mele hula, Kuluwaimaka's style is most similar to a hula po'iumauma, a dance in a kneel i ng position characterized by chest (umauma) slapping (pa'i), usually unaccompanied by an instrument Kuluwaimaka was recorded at Bishop Museum in 1933 by Kenneth P. Emory and Theodore Kelsey onto Dictaphone wax cylinder. The cylinder was rerecorded by Walter L. Welch of Belfer Audio Laboratory, Syracuse University, in The text Kuluwaimaka uses is similar to that presented below in the Kanahele tradition (see E.I), though he performs the first half of the chant only. C. The Tradition of Samuel Pua Ha'aheo ( ) of Kahana, O'ahu 11 (C. I ) "0 'oe 'ia e Wailua'ikr (mele ka',) and "Kaulilua ike anu Wai'ale'ale" (2:40) performed by Ha'aheo in (C.2) "Kau ka hali'a i ka manawa" (mele ka'l) and ":4u'a 'ia e Kama e kona moku" (2:25) performed by Ha'aheo c "Kaulilua" was recorded by Ted Thkase ofsos Studio, Honolulu, September 30, 1940, onto acetate disc (78 rpm). The disc was given to the Daughters of Hawaii, who donated it that same year to Bishop Museum. ":4u'a 'ia"was recorded commercially onto a disc (78 rpm) by Hawaiian 1Tanscripts(HT-I92) c. 1935, probably at Radio KGU, Honolulu, under the direction of Charles E. King. The record label includes the following information, "Mele no Kamapuaa (Song to Kamapuaa), An ancient Hawaiian chant, shark-skin drum and knee drum. Arr. by Charles E. King." The dancer and caller for both hula pahu is Ha'aheo's wife, Ahmoe. Both apahu and kilu are used. The text of "Kaulilua" is similar to Kanahele's version (E. 1 ). Ha'aheo performs a mele ka'i, which is a prayer to Kapo, a goddess of the hula. The text and translation are from the museum collections. 11 (C.I) Mele Ka'ito"Kaulilua" 1. 0 'oe 'ia e Wailua'iki 2. I ka fii uli pali 0 Wai'oli 3. Va hele 'ia e Li'awahine 4. Mai mele ka leo pali [E ka wahine kahea pam 5. Ku'i lei pua 0 Hoakalei---e 6. E lei a- --u 7. E lei ho'i au ina hala i pala i loli i ke kai e 8. KU maka 'ele'ele wale i ke anu 9. la hina 'ia e ke Kina'u 10. Eolia] Mahamolru ma Wai'oli II. Makani lawalawa kli puni 12. Kiihea ka luna 0 Kama'e 13. He malihini ka puka [ko] ka halela 14. E ho'i maio 1. ltis you (whom I seek) 0 Wailua'iki (another name for Kapo) 2. On the dark. sun-touched hill ofwai'oli

7 3. Li'awahine came here 4. Her voice chanting on the pali [The woman calling on the pali (clifo) 5. Stringing the flower wreaths of Hoakalei 6. A wreath for me 7. A wreath of hala (pandanus keys) that has ripened (speckled) by the sea 8. That was darkened (speckled black) by the cold 9. And shaken down by the Kina'u (breeze) 10. Mahamoku (the blustering wind) renews life at Wai'oli 11. The wind that blows in and about the forests 12. When it calls (to you) from the top of Kama'e 13. For visitors have come to the door of our house 14.0 return. ";4u'a 'ia" performed by Ha'aheo is of special interest in that it appears to be a combination, at times simultaneous, of at least two texts. The first was published in 1886 in Na Mele Aimoku, a collection of chants performed during the celebration of the birthday jubilee (1886) of the last kingofhawai'i, David Kalakaua ( ). The second is a text deposited at the museum in 1940 along with the original recording of "Kaulilua" and the commercial recording of ";4u'a 'ia."this text is designated. probably by Ha'aheo. a hula pahu for Kamapua'a. the pigged. It is possible to follow both texts with the chanting. The first text, from Na MeleAimoku (1886:3). contains many references to heiau ritual (see Kaeppler and Tatar 1989) and is a prophecy of foreign domination in Hawai'i. 12 (C.2) Mele Hula 1. E aua ia e Kama. e Kona Moku 2. Kona moku e Kama e aua ia 3. 0 ke Kama. Kama. Kama. i ka huli nuu 4. 0 ke Kama. Kama. Kama. i ka Huliau 5. Hulihia ke au ka Papahonua 0 ka Moku 6. Hulihia Papio e ia ilalo ke alo 7. E Vli---e. Aui---ia. Hulihia i Munaake---le 8. Hulihia i ka Vunukaokoa. a Ku 9. Ka maka 0 Ku. ka Aha 0 Makiilohelohe 10. Ka Aha nana i hiki 0 Hulahula 11. Va kalakala ia Va wekewekea 12. Va hemo'ku la ka piko 0 kaaina 13. Va kala Kaalihi Pahakuku 14. Me ka upena Aku Oihuaniani 15. Me ka Vlu Oini. Olaa. 0 Keawe ka Manu Aiakualaahia 17. Keiki ehu Kama ehu a Kanaloa. The text was translated c by Lili'uokalani ( ). the last queen of Hawai'i, with the following note: "Meles or Ancestral Songs composed by Keaulumoku. a historian and prophet[i716-17b4 (Andrews 1865»), for my grandfather Aikanaka at the time of his birth" (Lili'uokalani Collection. Hawai'i State Archives). 1. Oh Kama. look. and observe thy lands. 2. Oh thy lands oh. Kama oh. retain them 3. Thou child. child. child ofthe highest grade 4. Thou child. child. child of the turning tide. 5. Overthrown are the foundations ofthe land 6. Overthrown. and with its face downward 7. Oh! thou UIi.look, and observe-overthrown is Manuakele 8. Overturned on the coral rocks of Ku 9. For the eyes of Ku, and the cord of Makiilohelohe 10. There the cords that bound Hulahula 11. Are loosened and opened 12. Thus will the centre ofthe land be moved 13. For the stone weights of the Bonito nets 14. And the Bonito net of Ihuaniani 15. With the stick of Uini. and Laa and Keawe 16. And the bird that ate the sacred Bonito 17. The golden haired child of Kama (Maui) from Kanaloa. The second text is titled "Mele no Kamapuaa" and includes an introductory mele ka 1. a prayer to Kamapua'a. The mele ka'i performed by Ha'aheo can also be perceived as a combination of two texts. "Kau ka hali'a i ka manawa: included on Bishop Museum's record. Na Leo Hawai'i Kahiko. Voices of Old Hawai'i (1981) and "Ka hua nroi fij i ka manawa: a prayer to Kamapua'a. The text of" Kau ka hali'a: however. seems to match more closely. (C.2) Mele Ka'i 1. Ka hua nt'oi fij i ka manawa 2. Th'ii moe to uwii a'e 'oe. 3. Th'u hoa holoholo ua. 4. Th'u hoa i ta hale. 5. Tahi hale a'e fij nei. 6.1 te tuahiwi i te tualono. 7. E moe ai tu'u wahi poti'i., 8.A ka 'iileu 9. /luna a'e ho'i au. 10. Ri 'oe a itai, 11. Ta hale lei e noho 'ia i tuahiwi 'oe ho'i ha'ia, 13.0 'oe 'ia e i---. I. (Like) the fruit of the nroi [chili pepper) is his temper, 2. It bums in your sleep till you cry out 3. My companion, who walks in the rain, 4. My companion within the house. 5. The house that is standing here. 6. In the mountain, on the hill top 7. There my little brother sleeps Among the dry leaves. 9. I shall ascend 10. As you go below, 11. To the wreath decked house in the mountain, 12. Lo, there you are You are indeed here. (C.2) Mele Hula 1. ;4u mai 0 Kama i kana moku. 2. /luna ia e, 3. 0 Kama i kona moku. 4. /luna ia Iii, 5. 0 Kama 'ia ua 'ike. 6. /luna Iii 0 Pu'ukaua, 7.Vaheleliiaulip/i 8. A komo i Kamakaua. 9. A hihia i ka uluhe, 10.llihia 'ia ka 'ulu, 11. Ho'Dnu'a ana i ka pali, 12.0 ka pali 'ia i 'lipili, 13. I ka haa mai a ke anu. 14. E huli a'e e. e huli Huli a ia Nu'akea, 16. Hulihia i 'ike lihi. 17. Nahua i kukae 18. Ka manini i holaholo.

8 19.1 ka hana a ka manini 20. :4ldlolo i nahua pu, 21. Vana 'ala'ihi, 22. Kauwewe ka umalei. 23. Va hemo e /a pua'a, 24.1 ka piko 0 ka 'aina, 25. ue e ue, ko ihu i e 'oni e, 26. KO nuku e 'onia 27.0 lani a i ko lae ka ue i ka pali, 29. Wai hula 0 Wa'ahi, 30. Ka lihi i kau ia 31. I'uwao i kona hou, 32. Va hou ia mai, 33. Kona mana ma ka lihi 34.1 ke ala mani'a luna 0 ka hale. 1. Kama stands upon his island. 2. Up he stood, 3. Kama on his island, 4. Up he stood, 5. Kama who saw. 6. Up on Pu'ukaua 7. He fen over, 8. Entered Kamakaua. 9. And was entangled by the uluhe (fern) 10. Vexed by the entanglement, 11. That pressed on his chest 12. The chest that was cramped, 13. By the pressure of the cold, 14. He turned, turned, 15. Thrned to Nu'akea, 16. Thrned to catch a glimpse 17. Of the manini (surgeonfish) that swam, 18. As they bit into his excrement, 19. That was done by the manini, 20. The 'akilolo fish (wrasse) that bil 21. The sharp spined alafhi (squirrelfish) 22. And the coarse umalei (a kind of surgeon fish). 23. The pig had escaped, 24. To the summit of the land. 25. Root, root, let your nose move, 26. Let your snout move. 27. Your forehead has been scraped 28. As you rooted up the cliff, 29. At the tunneled water ofwa'ahi 30. Upon whose edge he stood. 31. He was saved anew, 32. Although he was stabbed at 33. And his hoofs slightly pierced, 34. On the steep ascent 35. Up to his house. D. The Tradition of Keahi Luahine ( ), KOloa, Kaua'j 13 (0.1) '''Eia 0 Kalani Kamanomano" (0:34) per formed by Keahi Luahine in (0.2) "Ke aha i ka uwalo i ka la'i e" (mele ka"l and '''Eia 0 Kalani Kamanomano" (1 : 12) performed by i 1 J Kawena Pukui in 1935 I 15 (0.3) "Keakua i ka uwalo i ka la'ie" (mele ka"l J and "A I1amakuaau 'ike i ka palf'(2:07) performed by Hoakalei Kamau'u in (0.4) "'meipahu i ka moku"(0:34) performed by Waiwaiole Kala in (0.5) "'mei pahu i ka moku" (1:03) performed by Kawena Pukui in 1935 A Kaua'i tradition of hula pahu was taught by Kea hi Luahine to Mary Kawena Pukui ( ) of Ka'u, Hawai'i, and Honolulu and to Patience Namaka Wiggin Bacon (b. 1920) of Honolulu, who demonstrate it in the performances of the two mele, "Eia 0 Kalani Kamanomano and,iulei pahu i ka moku." Both Keahi Luahine and Kawena Pukui taught the tradition to Keahi's grandniece,lolani Luahine ( ), who in tum taught her niece, Hoakalei Kamau'u (b. 1929). The tradition is characterized by a distinctive drumbeat pattern, called by Luahine lilili, that can be heard in the renditions of " 'Eia 0 Kalant' and 'A I1amakua au: and for which the pahu alone is used. "Eia 0 Kalani Kamanomano is a Luahine family chant dedicated to an ancestral turtle god. The performance by Keahi Luahine was recorded in 1933 by Kenneth Emory onto a Dictaphone wax cylinder, and rerecorded by him onto magnetic tape in Mary Kawena Pukui performs "Eia 0 Kalani Kamanomano in a 1935 recording made by Mader on acetate disc (78 rpm). The dancer and caller in this recording is Patience Namaka Wiggin Bacon. The full story of the opening prayer chant and dance chant, and alternate translations can be found in Barrere, Pukui and Kelly (1980:85). 13, 14,15 (0.1, 0.2, 0.3) MeleKa'i KOhea (call): Ke oweowe a'e nei A nakekeke Pahupahul KOhea (call) and Pane (answer): Pahupahu 'owai mawaho? Ke akua uwalo i ka la 'i e. 1. Ke akua uwalo i ka la'i e 2. Hea wale ana i luna 0 Pua'a hulu nui 3. Ke akua pe'e i ka lau ki e 4. 0 I1amakua i kui lei 5. E kui no 'oe 6.A'e lei no makoua. Call: Rustling, rustling It is rattling Thumping. thumping! Call and Answer: Who is thumping. thumping outside? The god that shouts in the calm. 1. The god that shouts in the calm. 2. Calling from above to the great canoe 3. The god that hides amidst the Ii leaves 4. In Hamakua you shall string a wreath 5. You string the wreath 6. A wreath that we too may wear. 13,14(D.l,D.2)MeleHula 1. 'Eia 0 Kalani Kamanomano 2. Kamanomano heke 0 ke kapu 3. Ka honu pe'ekua wakawaka 4. Pipi'i ka unahi ma ke kua 5. Hiolo ka unahi ma ke alo 6. Ma ka maha 'opi 0 Kalani 7. Kalani ka hiapa, kama kapu 8. I1anau mua 0 Hawai'i 9. Ka 7lio nukea ma ka lani 10. 'Eia la ke '0 nei. 1. Here is the heavenly one Kamanomano 2. The highest and strictest of the tabus 3. The thick horny shelled turtle

9 4. With scales up the back 5. And scales that come down the front 6. Along the sides of the heavenly one 7. The first born son, a tabu child 8. First born chief in Hawai'i 9. A snout raised up to the heavens 10. Lo, here he is! In 1980 Hoakalei Kamau'u studied the old (and badly worn) recordings ofkeahi Luahine at the museum to recreate the chant and dance, "A Hlimokua au 'ike i ka pali." The dance was performed at a museum reception April 8, 1980, in celebration of the opening of an exhibition of pahu. The dance is introduced with the same mele ka'iused by Pukui in 1935 for "'Eia 0 Kalani Kamanomano" (see D.2). The caller is Kawaiokawaawaa Akim, a student of Hoakalei Kamau'u. The text and translation are from Keahi Luahine. 15 (D.3) Mele Hula I. A Hlimokua au 'ike i ka pati 2. E kau ana ka wa'a 0 Kamo'okara 3. E pi'i ana ke kai i ke kumu pali 4. E momoku ana ike oho kai hinahina 5. Ho 'omoui ana i luna 0 ka pali 6. Ho 'olele lele kohora 7. ule kaha ike ala 8. Kaha i ka pali 9. HO'omanawale'a ana Ka'ii 10. Pale ka 'ula ho'i Hlimokua. I. At Hamakua I see the cliffs 2. The canoe of Kamo'okala lands 3. The sea rises against the cliffs base 4. Breaking down the leaves of the hinahina (heliotrope) 5. As it breaks against the cliff 6. Leaping, lifting the whale on its crest 7. Leaping sidelong by the way 8. Ending at the cliff 9. Giving blessings to the land Ka'u 10. Warding off evil as it returns to Hamakua. "'Dlei pahu i ka moku" performed by Waiwaiole Kala of Kapa'a, Kaua'i, was recorded by Helen Roberts onto Edison wax cylinder in 1923 and rerecorded by Walter L. Welch of Syracuse University in Waiwaiole Kala, though aware of the use of the chant as a hula pahu and of Keahi Luahine's tradition, performs it without instrumental accompaniment as a hula pua'a (pig dance chant). The text is very similar to that performed by Pukui (see D.4, D.5). "'Uleipahu i ka moku," performed by Pukui and Bacon, was also recorded by Mader in 1935 on acetate disc (78 rpm). The texts and translations of both chants are from Keahi Luahine and Kawena Pukui. The drumbeat pattern is similar to the one used in the Kaua'i version of"kaulilua: included on the museum record, NO UO Hawai'i Kahiko... (l981)and is played on both the pahu and kilu. 16,17 (D.4, D.5) Mele Hula I. 'Ulei pahu i ka moku 2. 'Unu i kele ala 3.A'e pahu i ka moku 4. Ua ho'ohiolo ka 'aha 5. E kii wale no ki'i 6. E kau mai no haifo 7. E mana '0 holo i ka moku 8. 'Dlili a ka haole 9. E kii i ka hoe uti 10. A 'e kohi i ka pale kai II. E p(j'ai i ke ko'a 12. Ahe kii a ko'ai wai 13. Ahe mea ahe mea 'oe 14. Ahe mea ahe mea 'oe. I. Fetch the 'iilei (hard wood) pole 2. Pole out off the mud flats into the deep 3. Put out to the ship 4. Whose sails have been let down 5. Behind stands the images 6. That fill me with terror 7. 1 yearn to flee to the ship 8. The tall masted ship of the haole (white man, foreigner) 9. I stop the boat with the hoe 'uti (steering paddle) 10. And press it against the side ofthe boat 11. I make fast the rope to the coral 12. And circle (wind) my rope round and round 13. Aye, you're someone now (in getting away from the terror he was fleeing) 14. Aye, you're someone now. In an alternate translation, Pukui translates the last two lines as "You are as nothing." Like ";4u'a 'ia: this chant is prophetic of the coming of foreigners to Hawai'i and of their overwhelming influence on the Hawaiian. E. The tradition of Katherine Keakaokala Kanahele ( ), La'ie, O'ahu 18 (E. I ) "Kaulilua i keanu Wai'ale'ale" (2:25) performed by Keaka Kanahele in (E.2) ")\u'a 'iae kamae kona moku" (1 :25) performed by Keaka Kanahele in (E.3) "Kaulilua ike anu Wai'ale'ale" (1 :5 1) performed by Kawena Pukui in (E.4) ")\u'a 'iaekamaekonamoku"(0:36) performed by Kawena Pukui in (E.5) "Kaulilua i keanu Wai'ale'ale" (1:55) performed by Kawena Pukui in (E.6) "A Ko 'olauau 'ike i ka ua" (2:23) performed by Ka'upena Wong in (E.7) "A Ko'olauau 'ike i ka ua"(l:35) performed by Hoakalei Kamau'u in (E.8) "/(ij 'oe i ka'u wahi 'Ohelo"(l:54) performed by Tom Hiona in 1960 "Kaulilua" and ";4u'a 'ia" were performed by Keakaokala Kanahele together with Katherine Nakaula in July 1935 at Andrews Amphitheater, University of Hawaii at Manoa using both the pahu and piiniu (the term used for the smaller coconut knee drum in the Kanahele trddition). Their performance was recorded by Ted Thkase of SOS Studio, Honolulu, onto aluminum discs (78 rpm). Thkase gave the originals to Charles W. Kenn ( ), Director of Hawaiian Activities for the Honolulu Recreation Commission. Kenn subsequently permitted Kenneth P. Emory to make tape copies of the aluminum discs in 1951 for Bishop Museum, while he retained the original discs. A short segment of the hula and scenes from the exhibition of traditional sports staged by Kenn at the same occasion were filmed by Vivienne Huapala Mader ( )and included in Bishop Museum's film, Ka Po'e Hula Hawai'i Kahiko, The Hula People of Old Hawai'i (1984). The texts of the hula pahu performed at this occasion were given to Mader by Kanahele to document her film. 'TWo translations were provided by Pukui, one in 1935 and another in 1952 [in brackets].

10 According to Pukui, the chant was composed by Kaumealani, a chiefess of Kaua'i, in the late eighteenth century to chronicle the love of a chiefly suitor, whose initial difficulties are rewarded by his partner's constancy and a happy home life. The many place names in the chant refer to persons rather than the places themselves. During Kalakaua's era, the chant became Kalakaua's name chant, and he was often addressed as Kaulilua. 10,11,18,20,22 (B.l, C.l, E.l, E.3, E.5) Mele Hula I. Kaufilua i ke anu Wafale'ale 2. 0 ka maka halalo ka lehua makanoe 3. 0 ka Iihilihi kuku /a no :4ipii 4.0 ka hulu a'a 'ia 0 Haua'i1iki 5. A i pehia e ua 'eha ka nahele 6. 0 maui e ka pua 'uwe 'eha ike anu 7. 0 ke kukuna wai lehua a'o Mokihana 8. Va hana 'ia e ka pono a ua pololei 9. Va ha'ina 'ia aku no /a 'oe 10.0 ke ola no 'ia 0 kia'i loko. II. Ki'ei Ka'ula nana i ka makani 12. Ho'olono ka halulu 0 ka Miilua Kele 13. Ki'ei halo Maka'ikfole 14. Kamau ka 'ea i ka NOlauaola 15. He kula lima 'ia no Wiiwaenoho 16. Ma he puko'a hakahaka 10 i Wa'ahila 17. Ka momoku aka unu Vnulau 0 Lehua 18. A lehulehu ke ka pono le'o ka ha'awina 19. Ke ala IKa haunal mai nei 0 ka puka 0 ka hale. I. Doubly cold it is at Wai'ale'ale I Doubly cold is Mount Wai'ale'alel 2. Where the stunted lehua blossoms grow IHer lehua blossoms droop in cold] 3. They are the fringed flowers of:aipli ILeafless bushes surround :Aipli swamp! 4. Like the bright feathers that cover Haua'i1iki {They flock themselves to Haua'iliki! 5. Pelted by the rain, the forest is bruised {Pelted by the rain, the forest is bruised! 6, Crushed are the flowers, they weep with the cold {The blossoms are crushed and they weep in the cold! 7. In the sunshine that shines on the waters of Mokihana {The sun shines through the hazy mist of Mokihana! 8. All things are done and done well {All has been done honestly and right! 9. I have told you before {As it has been told to you! 10. This is the way that the keeper of the pond made his livelihood. {The guardian of the pond depends on it for his livelihood.! II. Best watch within and toward Ka'ula {Ka'ula watches, it looks for the wind! 12. Question each breeze, note each rumor, even the whisper of Miilua Kele (wind name) lit listens to the roar of the Miilua Kele! 13, Search high, search low unobserved {It peers and peeps at Maka'iki'ole! 14, Here is life, it is breath from the body {There it finds that Hiilauaola still lives! 15. A fond caress by a hand most constant {And fondlycarresses wawaenoho] 16. Like fissured groves of coral {Like a fissured clump of coral a~ Wa'ahila! 17, Stand the ragged clumps oflehua {Stands the ragged lehua tree tom by the Unulau of Lehua! 18, Many are the houses, easy the life, you have your share oflove 1When there is prosperity at home, giving is a pleasure! 19, Humanity stands at your door, yes, indeed. {The odors of a home life linger about the door,! 19, 21 (E.2, E,4) Mele Hula 1. :4u'a 'ia e kama e kona moku 2, E kona moku e kama e 'au'a 'ia 3. Ke kama kama kama kama i ka huli nu 4. Ke kama kama kama kama i ka huli au 5, Huli hia piipio a i1alo ike alo 6, Huli hia i ka 'imu 0 ku kamaki'i lohelohe 7, 0 ka hana ana i hiki 'Ohulehule 8. Ka'a 'ia ka 'alihi a'o piihaku 9, Me ka 'upena aku a'o ihu aniani ka unu 0 niu 0 lani 0 la'a keawe 'ai ku 'ai ala'a hia 12. Nana i hala pepe ka honua 0 ka moku ha'ate'ia ike kiu welo ka i ka pu'u 14. Kawelo lohi a'o Kanaloa. A translation of Kanahele's ":4u'a 'ia" was prepared by Pukui for Mader in Kama (the chief) refused to part with his island (Maui) 2. This is the land held back by Kama 3. The son Kama, Kama, Kama, the highest born 4. The son Kama, Kama, Kama, who reigns 5. He turns his foes face down (kills them) 6. He turns them into the imus (earth ovens), then lays them before his idols 7. He rids the land (of his foes) till none exist 8. He rolls them aside as he does stones 9. He draws them in as he does his nets 10. To his temple Niu-olani-o-La'a 11. (Built) by Keawe the most sacred one 12. He who ruled and made the island subject to him 13. His power arose to the summit of the hills 14. This (Kama) is the powerful descendant of Kanaloa. Mary Kawena Pukui and Patience Namaka Bacon learned these hula pahu in the Kanahele tradition from Hattie Macfarland in the 1930s. Pukui, an influential scholar and teacher, faithfully perpetuated the "classical tradition" of Kanahele's hula pahu, the most widely practiced tradition today. "Kaufilua" and ":4u'a 'ia"were recorded in 1935 in Honolulu by Mader on acetate discs (78 rpm). A later rendition of"kaufilua" by Pukui was recorded by George Bacon in Honolulu on June 23, 1952, also on acetate disc (78 rpm). The 1952 rendition is especially interesting because it demonstrates the overriding importance placed on the text at the expense of the drumming. Pukui plays both the pahu and the puniu in these performances. "A Ko'olau au 'ike i ka ua," a hula pahu in the Kanahele tradition, was taught by Keakaokala Kanahele and her granddaughter, Eleanor Hiram ( ), to Tom Hiona, who taught it to Ka'upena Wong (b. 1929). Hoakalei Kamau'u learned the dance in the Kanahele tradition from her aunt, lolani Luahine and Lokalia Montgomery ( ), both of whom learned it from Keakaokala Kanahele and Eleanor Hiram. Both Ka'upena Wong and Hoakalei Kamau'u play only the pahu to accompany the dance chant

11 20. He a'e la, a'e nei, a'e la. 21. Kii 'oe i ka'u wahi "Ohelo nei la 22. Naue e, naue e, naue e 23. Kii 'oe i ka'u wahi "Ohelo Naue e, naue e. naue e, I. Arise, 'Ohelo (a red berry), my very own 2. Move to and fro, to and fro, toward me 3. Arise, 'Ohelo, my very own 4. Move to and fro, to and fro, toward me. 5. I am fearful of your greatness 6. Be kind, gentle, tender, soft, gentle. and kind 7. I am fearful of your greatness 8. Be kind, gentle, tender, soft, gentle and kind The budding shoot, buddings~oot, budding. 13. The expansion of your vines like a green carpet 14_ Here at Kona, there at Kona, in Kona everywhere_ 15. The expansion of your vines like a green carpet 16. Here at Kona, there at Kona, in Kona everywhere. 17. The prick of this red berry 18. Is felt here, there and all about 19. The prick of this red berry, 20. Is felt here, there and all about 21. Arise, 'Ohelo, my only one, 22. Inspire me, inspire me, inspire me. 23. Arise, 'Ohelo, my only one, 24. Inspire me, inspire me, inspire me_ References Cited Andrews, Lorrin 1865 A dictionary of the Hawaiian language. Honolulu: Henry M_ Whitney. Barrere, Dorothy 8., Mary Kawena Pukui, Marion Kelly 1980 Hula, historical perspectives_ Pacific Anthropological Records No_ 30. Department of Anthropology, Bishop M useum_ Honolulu: Bishop Museum Press. Kaeppler, Adrienne L Pahu and pitniu, an exhibition of Hawaiian drums_ Department of Anthropology, Bernice P. Bishop Museum. Honolulu. Ka Po'e Hula Hawai'i Kahiko, The Hula People of Old Hawai'i 1984 Compilation of footage filmed by Vivienne Huapala Mader Directed by E. 'Jatar_ Film (16 mm). Bishop Museum_ Videotape (VHS) in Visual Collections, Bishop Museum and available for purchase_ Lili'uokalani n. d. Ms. Meles or ancestral songs composed by Kekaulumoku for my grandfather Aikanaka at the time of his birth. M1045, No. 1l0. Hawaii State Archives. Mader Collection Hula_ Written materials relating to hula MsBishop Museum Library_ Na Mele Aimoku 1886 Na mele aimoku, na me Ie kupuna, a me na mele ponoi, 0 ka Moi Kalakaua I, a ua pai ia no ka la hanau 0 ka moi, ka kanalima ponoi 0 kona mau makahiki. Honolulu. Pukui, Mary Kawena and Samuel H. Elbert 1986 Hawaiian dictionary, Hawaiian-English, English-Hawaiian. Revised and Enlarged Edition_ Honolulu: The University Press of Hawaii. 'Jatar, Elizabeth 1982 Nineteenth century Hawaiian chant Pacific Anthropological Records No. 33. Department of Anthropology, Bishop Museum_ Honolulu: Bishop Museum Press_ Selected Discography Bishop Museum Audio-Recording Collections ARCS-l 1981 Nli leo Hawai'i kahiko, voices of old Hawai'i. Historical recordings of chants and songs from the Audio-Recording Collections, Department of Anthropology, Bernice Pauahi Bishop Museum. Directed by E. 'Jatar. Ethnic Folkways FE Hawaiian chants, hula and love-dance songs. Recorded in Hawaii by Jacob Feuerring with Tom Hiona. Folkways FW Hawaiian chant, hula and music. Recorded in Hawaii by Jacob Feuerring. with vocals by Kaulaheaonamoku Hiona. Accompanied by native instruments. 49th State B c.1960 Kaulilua (Chant). George Naope. Vocal. Recorded in Hawaii. 49th State B c Au'A Ia (Chants). George Naope. Vocal. Recorded in Hawaii. Hawaiian Transcripts HT-192 c Mele no Kamapuaa (Song to Kamapuaa), an ancient Hawaiian chant, shark-skin drum and knee drum. Arranged by Charles E. King. Recorded in Hawaii. Noelani NRS Mele hula. Volume 11. Rereleased Island Recordings, recorded in Hawaii c Poki Records SP Mele inoa. Kaupena Wong and Pele Pukui. Recorded in Hawaii. Waikiki (TERK 165) c.1960 Kaulilua. Lokalia Montgomery. Chants. Recorded in Hawaii. Waikiki (TERK 166) c A Koolau aul AU'a 'Ia. Lokalia Montgomery. Chants. Recorded in Hawaii.

12 Author's Acknowledgements Walter L. Welch and William D. Storm, Belfer Audio Laboratory and Archives, Syracuse University. George Thhara and Tiki George. Ci ne-pic Hawaii. Honolulu. Ricardo D. Trimillos.-Head. Ethnomusicology Section. Music Department. University of Hawaii at Manoa. National Science Foundation. Chanters and Kumu Hula Patience Namaka Bacon. Charles Manu Boyd. Lehua Hulihe e. Hoakalei Kamau u. Anthony Lenchanko. Hau'oli Lewis. Noenoelani Lewis. John Kaha'i Topolinski. Ka'upena Wong. and Kau'i Zuttermeister. Yosihiko H. Sinoto. Chairman. Anthropology Department, Bishop Museum. Adrienne L. Kaeppler, Curator. National Museum of Natural History. Smithsonian Institution. Lynn J. Martin, Folk Arts Coordinator. Hawai'i State Foundation on Culture and the Arts. Anthony Seeger. Richard Kurin. Office of Folklife Programs. Technical Notes These recordings were originally made between 1923 and many of them on equipment that was primitive by today's standards. Some of these early recordings were made on Edison type wax cylinders, while others were made directly to acetate. Both of these media pre-date tape. The equipment available and the ravages of time have left us master discs and tapes that are marred by clicks. POps. hiss, distortion and other problems of signal loss. In remastering the recordings for the present release. an attempt was made to clean the masters while preserving the original sonic qualities of the historic performances. This was accomplished by transferring the original recordings to Sony 1630 digital format without signal processing. Then the digital tapes were brought to Ocean View Digital. where the material was analyzed on a computer to pinpoint the specific frequency bands in which the most serious problems are located. Only then could precise digital filters be designed, and computers used to eliminate hiss, clicks. and pops as completely as possible without interfering with the original musical signal. The newly-eleaned digital tape was returned to the mastering lab. and processed through a Neve Digital DTC mastering console. equalizing the tape to bring out the musical material to best effect The equalized final tape was produced again on a Sony 1630 for digital transfer to compact disc. LP. and cassette. Mickey Hart 5/17/89 Digitally remastered by Mickey Hart, technical director. and Joe Gastwirt, digital consultant and recording engineer. Manufactured by Nimbus, Inc. Folkways Records are distributed by Rounder Records, One Camp Street, Cambridge, MA and by the Office of Folklife Programs. 955 I'Enfant Plaza Suite Smithsonian Institution, Washington. D.C For catajogues write or telephone: 202/