1. The Evolution of Hula
Sarah Horn
University of Hawaii at Manoa

2. The History
Originally known as Ha’a
Originated from Hawai’i before the 19th
century
Originally performed for Pele the
volcano goddess
Kept by the goddess Laka
Anything having to do with the Hawaiian
culture, including hula, was banned by the
U.S. government and the Christian
missionaries in 1820- Hula was seen as
‘immoral’
King Kalakaua assembled a ‘glee club’
for hula known as the Hui Lei Mamo

3. The History Cont’d.
Hula schools were created in 1891
Hula groups went on tour, gaining popularity across the world
While on tour the females struggled to “assert their own autonomy
over their bodies”
Dime museums were created and reached their height of
popularity in 1880-1890
Under the banning of all things involving the Hawaiian culture,
hula was performed in secret

4. The Dance Itself
Tells a story and portrays fluid nature movements
Divided into two groups:
• Hula Kahiko:
Ancient hula that “involves vigorous hand movements performed to the
chants, or mele, of a singer playing a gourd drum”
• Hula Auana:
Modern hula that was created in the nineteenth and twentieth centuries once
Hawai’i was influenced by the Western cultures that is “set to contemporary
music or accompanied by a ukelele, is more gentle and flowing”

5. Costumes and Music
Costumes:
• Women wear mu’umu’u, which are long floral dresses
• Women also wear tops with skirts (lau’ti) made out of
leaves
• Leis are worn made out of flowers or leaves
• Men wear pants paired with floral shirts or loincloths
decorated with leaves and ferns
• Costumes are now more fitted and tailored to the
performer and the colors are more vibrant
Music:
• Ukulele and guitar are the main instruments used
• Music originally was live but now, mostly for shows
and competitions, is pre-recorded and played on a
disk which is projected through speakers

6. Hula Now
Hula has become a huge part of the tourist
industry
The ‘hula-girl’ has become the symbol for hula and
the Hawaiian culture
Other countries have started teaching hula and
have their students come to Hawai’i to learn hula
from actual Hawaiian people

7. References
Desmond, J. Invoking 'the native'. The Drama Review, 41. Retrieved June 11, 2014, from
http://web.a.ebscohost.com.eres.library.manoa.hawaii.edu/ehost/pdfviewer/pdfviewer? sid=0c5d071e-57eb-
4db5-89f5-6acce67d6019%40sessionmgr4003&vid=23&hid=4112
Elder, E. Polynesian dance. Dance Spirit, 13. Retrieved June 11, 2014, from http://
web.b.ebscohost.com.eres.library.manoa.hawaii.edu/ehost/detail?sid=6de51fbf-88fb-4f91- bafb-
53513e3ca199%40sessionmgr112&vid=4&hid=113&bdata=
JnNpdGU9ZWhvc3QtbGl2ZQ%3d%3d#db=aph&AN=37031832
Imada, A. Transnational hula as colonial culture. The Journal of Pacific History,, 46, 149-176. Retrieved June 11,
2014, from http://web.a.ebscohost.com.eres.library.manoa.hawaii.edu/ehost/pdfviewer/pdfviewer?sid=0c5d071e-
57eb-4db5-89f5-6acce67d6019%40sessionmgr4003&vid=6&hid=4112
Horn, Theresa. Personal interview.
Hula dancing history (n.d.). In Hula Dance Headquarters. Retrieved June 11, 2014, from http://
www.huladancehq.com/hula-dancing-history.html
Washy, J. (Producer). (2014). Hula halau o kamuela auana 2014 [Online video]. Youtube. Retrieved June 11, 2014,
from https://www.youtube.com/watch?v=rYgTkIB_FUo