It has become a tradition of many of the halau competing in the Mary Monarch Festival to
offer a ho'okupu, or gift, to the goddess Pele.
We caught up with Kumuhula Nina and Hi'ilei Maxwell from Pukalani Hula Hale as they offered
their ho'okupu on the rim of Halema'uma'u crater.
Aloha, you know one of my favorite times of the year comes in the springtime when Hilo
Hawaii comes alive with the Mary Monarch Hula Festival.
It's been called the Super Bowl of Hula.
Sit back and relax as we take you to Edith Kanakaoli Stadium in Hilo Hawaii for the 28th
annual Mary Monarch Hula Festival.
It's been a fun event and once again wonderful to be working with Kimo Kahawano.
Thank you for joining us ladies and gentlemen live from Hilo Hawaii in the Edith Kanakaoli
Stadium, the home of kahiko, ancient dance this evening and it's exciting.
But the first thing I think we ought to do is we ought to thank the many people from
Hilo who each year give us such great hospitality to you who have served us in the restaurants,
to you who have made time for us as we come into your highways and byways and come into
your stores.
Thank you for taking the time to be so nice to us.
Hilo is a wonderful kind of place and we're honored to be here with you.
That's right.
You have made our stay so far wonderful, wonderful.
We want to tell you a little bit about how they're being judged this evening, the halau.
In the competition chant they will be judged on presentation, the k'i, expression, posture,
vision, hand gesture, foot movement and the interpretation.
Now that is the mandatory competition chant.
And for those of you who don't understand what the k'i is, that's the dance of course
that brings them onto the stage before their choice chant and their competition chant.
They'll be doing two chants and then they have what is called a ho'i too that takes
them off.
Now there is also the competition chant.
They're also judged in the costumes for the authenticity as well as the adornments and
the personal appearance, grooming and overall look including the chanter.
For their choice chant they're judged on the presentation, expression, posture, precision,
hand gesture, foot movement, interpretation and the ho'i.
The ho'i which is what we're talking about, that dance that takes them from the stage.
They are judged from the first sound of the ipu or the first movement of the dancer onto
the stage, the first sound of the oli until the last one leaves the stage.
As part of the kahiko competition the halau will be required to perform a mandatory oli
or chant along with their choice number.
Here's some insight into that competition mandatory chant from the man who provided
it.
Each year the Merrie Monarch Festival Committee chooses a language expert to provide the competition
chant.
This year they chose Hawaiian studies professor Kalena Silva.
The main thing I looked for when I selected the chants was the beauty of the use of poetic
language.
The poetic language in the two chants that were selected for the men and women this year
is excellent, superb.
And really the poetry used in the chants shows that the composer knew the Hawaiian language,
Hawaiian culture, poetic devices extremely well.
Excellent use of the language.
This year's chant refers to Mount Ka'ala in central Oahu, the highest point of the
island.
It compares Mount Ka'ala to the sexual prowess of King David La'amea Kalakaua.
Kuluwai Makah was a chanter for Queen Emma in her court and he was also a chanter for
King Kalakaua in his court.
So it's very possible that this chant was composed during Kalakaua's reign, probably
during the 1880s, maybe before.
And again whether it was by Kuluwai Makah we don't know.
But certainly because he was in the court of Kalakaua he was privy to these mele that
were composed in honor of their king.
It was traditional for the alii to have within their courts, chanters and dancers to perform
chants in their honor and to perform at ceremonial functions.
Well this particular kind of chant, both of them, are what we call mele ho'oi po'oi
po.
They're lovemaking chants basically.
They have to do with the physical act of lovemaking.
And I think that the various ways you can look at these kinds of mele, that is this
kind of mele, the mele ho'oi po'oi po, you can look at them as a means of showing respect
and love for the alii and for his ability or her ability to make love and to procreate
because that in turn of course ensures the stability politically and socially of the
Hawaiian people.
This is the fourth place finisher in the Wahine Kahiko Division, Halauhula Olana from Honolulu
Oahu, Na Kumuhula Olana and Howard A'ii.
Kumuhula Olana A'ii has a special appreciation for the competition chant and the areas it
describes.
She grew up near Ka'ala and says of the mountain, You are alive to me, and yes I am moved to
emotion, even love, by your beauty.
Taking third place in the Wahine Kahiko Division, Halauhuna Maulipua from Honolulu Oahu, their
Kumuhula Alicia Smith.
Her choice chant, Kaulana Ke'anu i'u la'a, significant is the draping of the mailele
across one shoulder and attaching one end to the wrist.
This practice should outline the motions executed in the dance.
The second place winners in the Wahine Kahiko Division, Ke'ola Laulani Hala'u Olapa O'olaka
from Kane'ohe Oahu, their Kumuhula Aloha Deliri.
They have chosen to do their choice chant, O Ka'ala Kuahivi Mauna Ke'au first, because
they feel that it is traditional to first honor the deities, then the chiefs and the
land.
The chant celebrates the goddesses Pele and Hi'iaka Ikepoleo Pele.
Ladies and gentlemen, we continue now as we present to you by way of Wai'i Ma'al'o O'ahu
under the direction of Na'a Kumuhula, Paleka Lena Alamatos and Edward Kunevamukh.
Ladies and gentlemen, Hula Hala'u O'Kumu'ula.
The Hala'u has chosen as their choice chant, He Ma'i No'i Ulanee.
It was written for Kamehameha IV, Alexander Liholiho.
It is a traditional Mele Ma'i or procreation chant and was thought to strengthen and help
continue the royal bloodline.
Ladies and gentlemen, Hula Hala'u O'Kumu'ula.
The Hala'u has chosen as their choice chant, He Ma'i No'i Ulanee.
It was written for Kamehameha IV, Alexander Liholiho.
The Hala'u has chosen as their choice chant, He Ma'i No'i Ulanee.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
It was written for Kamehameha IV, Alexander Liholiho.
Besides group performances, the Mary Monarch Festival features individual dancers competing
for the title of Miss Olohuhula.
In this year's competition, sixteen lovely and exquisite young ladies
vied for the title.
In their first round of competition, the hula kahiko, or ancient dance.
Third runner up in the Miss Olohuhula competition from Hui Haulu Aloha, Michelle Kulemamo Mata,
performing Ke Kahawai Lao o Hilo.
This is a melee about Hiiaka's journey through the Hilo area, and about the challenges she
faces.
Third runner up in the Miss Olohuhula competition comes from Kialii Kaakuni Honua Ke Enaaohula,
Rona Elizabeth Kuukamalaniho.
She is the daughter of her kumu hula, Lemomiho.
She performs mokuhula, a melee about the Puna district on the Big Island, where Pele is
seen reclaiming the land which is her domain.
Her rune in gray colors symbolizes the heart of Pele's fires and lava.
It is mandatory for each Miss Olohuhula contestant to orli, or chant on stage.
There's a separate award given for this category.
The winner in the orli division, Hikaki Lenani Wilson from Hula Halau o Kuhiki Laulani.
As she performs kapali ha'i, she will adorn herself as she dances.
Her chosen flower is the pikake.
She moves gracefully like the soft, puffy clouds over Waipio Valley, which her melee
honors.
The women competing in the Miss Olohuhula competition are also required to dance in
the awana, or modern style.
Fourth runner up in the Miss Olohuhula competition, from Hula Halau o Kamuela, Pua Malia Koholokisano.
In the awana division, she dances mi nei.
This melee was written by Charles E. King during the 1940s.
King composed in the royal style, believing that Hawaiian songs should be in the Hawaiian
language, and that the melodic quality should be nahi nahi or sweet.
First runner up in the Miss Olohuhula competition, from Halau Hula O'olana, Darlene U'ilani
Akiona.
In the awana, she performs alohano.
This melee is unique in the use of the telephone as its theme.
Written by Lina Machado, the song relates a lover's phone call and the longing one
feels for someone far away.
We welcome from Kaneohe o'ahu, under the direction of Kumuhula Aloha Dillere.
She will be dancing to Puli'ahu, composed by her cousin Frank Hewitt about the unrequited
love of the snow goddess Puli'ahu.
Kamakani Ku'ili Aloha will also be used because her mother used it 20 years ago for Miss Aloha,
and it speaks of the feelings for someone who has gone away.
And in this way, it refers to Kapua Loki'okalaniakea herself, who's attending school in Oregon.
Ah.
public newlyweds.
E ho'i mai E hu'u mi'ito
E ho'i mai E hu'u mi'ito
E ho'i mai E hu'u mi'ito
Kau mai ka lani a hoa O ka ma'a bu'u ha
Kuala ka mai a hoa O nime a te ha
E le'i ko a ma'a no bu'u hi'i tu
E li'i ko li'i e mo'a te O ka ma'a bu'a ha
E ho'i mai E hu'u mi'ito
E ho'i mai E hu'u mi'ito
E ho'i mai E hu'u mi'ito
E ho'i mai E hu'u mi'ito
Ha'a e o e ka ha'o nani o maunga kea
Ka noho na hikete o ka marini e
O mo'i a hu'u i ka ma'a
O mo'i a hu'u i ka maunga kea
Ka noho na hikete o ka maunga kea
Ka noho na hikete o ka maunga kea
Ka noho na hikete o ka maunga kea
Ka noho na hikete o ka maunga kea
Ka noho na hikete o ka maunga kea
Ka noho na hikete o ka maunga kea
Ka noho na hikete o ka maunga kea
Ka noho na hikete o ka maunga kea
Ka noho na hikete o ka maunga kea
Ka noho na hikete o ka maunga kea
Ka noho na hikete o ka maunga kea
Ka noho na hikete o ka maunga kea
Ka noho na hikete o ka maunga kea
E ku aloha e
Aule aloha e
E ku aloha e
E ku aloha e
E ku aloha e
E ku aloha e
E ku aloha e
E ku aloha e
E ku aloha e
E ku aloha e
E ku aloha e
E ku aloha e
E ku aloha e
E ku aloha e
E ku aloha e
E ku aloha e
E ku aloha e
E ku aloha e
E ku aloha e
E ku aloha e
E ku aloha e
E ku aloha e
E ku aloha e
E ku aloha e
E ku aloha e
E ku aloha e
E ku aloha e
E ku aloha e
E ku aloha e
E ku aloha e
E ku aloha e
E ku aloha e
E ku aloha e
E ku aloha e
E ku aloha e
E ku aloha e
E ku aloha e
E ku aloha e
E ku aloha e
E ku aloha e
E ku aloha e
E ku aloha e
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo
Ah ha ha la li lo