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FESTIVAL DANCERSHālau O Keikiali‘iDANCE ORIGIN: Hawai’i Halau o Keikiali‘i is a Hawaiian cultural and dance group based in South San Francisco since 1994. With public presentations, classes and workshops, and other cultural events, they perpetuate the rich culture of the Hawaiian people. Their primary focus is on cultural traditions, including hula kahiko (classical dance), hula ‘auana (contemporary dance), oli (chant), mele (traditional songs), himeni (songs), na mea hula (arts, crafts, implements), lole hula (hula attire), ‘olelo (language), and mo‘olelo (stories). Kumu Hula (artistic director and choreographer) Kawika Keikiali`ihiwahiwa Alfiche. 2012 PERFORMANCE
This program commemorates Hawai‘i's last chieftains and queens while celebrating diverse styles of Hawaiian hula kahiko (ancient dance). The dances, in order, honor: King Kamehameha I. The accompanying chant, written at the time of the king's birth, describes signs that foretold his greatness, including Halleys's comet (1758). King Kamehameha unified Hawai‘i, but during his rule western disease and violence decimated the ancient society. King Kamehameha's wife, Queen Ka‘ahumanu (1772-1832), whose views on the position of women began to erode male-dominated tradition. King Kamehameha II (1797-1824), who, along with his wife, died of the measles while touring London. Queen Lili‘uokalani (1838-1917). When her brother, King Kalākau, who brought hula back into the light, died in San Francisco in 1891, she rode a train around the leeward side of O’ahu to reassure her people. The pieces are in aiha‘a (close to the ground) style, a form that honors specific gods, ali‘i or chiefs, and natural places. The steps are flat-footed, to draw energy from the earth, and offer gratitude back to her. In the Hawaiian oral tradition, chant, song, and dance documented history and acted as guides to proper cultural etiquette. Also, in the oral tradition of hula, lineage is crucial: these dances were passed down from Tiare Maka Olanolan Clifford, stemming from Helen Kekua-Waia‘u on Kaua‘i; Harriet Keahilihau-Spaulding, stemming from Mary Ahi‘ena on Hilo; and Rae Kahikilaulani Fonseca, stemming from George Naope on O‘ahu & Hawai‘i islands. The two middle dances are ancient, and the opening and closing pieces are choreographies by Kumu Hula Kawika Keikiali‘ihiwahiwa Alfiche, based on traditions. This piece has not yet been performed in its entirety. Kumu Alfiche presents it today in part to protest the Hawaiian government's recent proposal to sell pristine land held in trust for the Hawaiian people. 2011 PERFORMANCE
Halau o Keikiali`i presents contemporary hula `auana with a favorite Hawaiian theme: Na Pilina Aloha—Relations in Love. The suite includes: Ke Aloha, for a secret love affair, a drumbeat as the lovers’ hearts, with a wahine (women’s) choreography by Kumu Rae Fonseca and kane (men’s) choreography by Kumu Alfiche. Mai mana`o `oe—pay no heed to gossip, all that matters is we are bound. Ho`i Hou Mai, for love that stands the test of time. E nene`e mai, ma ku`u poli mai—come here my love, your head upon my chest, in my arms is where you belong. Hi`ilawe, for jealousy, a kane dance about a romance between an out-of-town woman and a hometown boy. `A`ole no wau e loa`a mai—gossip all you like, I’m like the mist on the mountain, you cannot grab my attention. Maluaki`iwaikealoha, for a true love that ends too soon: in a fit of fiery rage the Volcano Goddess Pele, destroys Hopoe, the first hula teacher and loving companion of the Goddess Hi‘iaka. Maluaki`iwaikealoha—it is you, beloved Maluaki`iwai breeze, causing the lively birds of Panaewa to sip nectar of the lehua buds. In the 1800s, when Mexican Spanish vaqueros and Portuguese immigrants arrived in the islands, Hawaiian musicians adopted the ‘ukulele, guitar, bass, and western melodic structure. Their new music shaped modern hula ‘auana. The form honors classical choreography and poetry and it also includes waltz tempos, hips that roll instead of sway, a high body carriage, melodies from western hymns, and lyrics about modern life. The wahine wear ruffled holomu or mu‘umu‘u, and the kane wear pants, shirts, and vests. The dancers themselves raised some of the flowers blooming in their hair. 2010 PERFORMANCE
2009 PERFORMANCEKing Kamehameha's wife, Queen Ka‘ahumanu (1772-1832), whose views on the
position of women began to erode male-dominated tradition. King Kamehameha II (1797-1824), who, along with his wife, died of the measles while touring London. Queen Lili‘uokalani (1838-1917). When
her brother, King Kalākau, who brought hula back into
the light, died in San Francisco
in 1891, she rode a train around the leeward side of O’ahu to reassure her
people. The pieces are in aiha‘a (close to the ground) style, a form that honors specific gods, ali‘i or chiefs, and natural places. The steps are flat-footed, to draw energy from the earth,
and offer gratitude back to her. In the Hawaiian oral tradition, chant,
song, and dance documented history and acted as guides to proper cultural
etiquette. Also, in the oral tradition
of hula, lineage is crucial: these
dances were passed down from Tiare Maka Olanolan Clifford, stemming from Helen
Kekua-Waia‘u on Kaua‘i; Harriet Keahilihau-Spaulding, stemming from Mary
Ahi‘ena on Hilo; and Rae Kahikilaulani Fonseca, stemming from George Naope on
O‘ahu & Hawai‘i islands. The two middle dances are ancient, and the opening
and closing pieces are choreographies by Kumu Hula Kawika Keikiali‘ihiwahiwa
Alfiche, based on traditions. This piece has not yet
been performed in its entirety. Kumu Alfiche
presents it today in part to protest the Hawaiian government's recent proposal
to sell pristine land held in trust for the Hawaiian people. 2008 PERFORMANCE
O Ka Wai Mukiki honors the goddess Hi‘iaka, the youngest sister of Pele. When Pele created the land, she also ravaged it. (Or as choreographer Kumu Alfiche says, "Pele is a volcanic fire goddess! She ain't going nowhere!") Hi‘iaka heals the islands, and this song describes happy times to come, as Hi‘iaka finds her true love, Lohi‘au. Hula Mano honors the shark god Kamohoali‘i, Pele's oldest brother. It tells of the ancient migration of the Pele family, who arrived in Hawai‘i from the south, kahiki. Ulei Pahu is a prophecy uttered by a kahuna, or high priest, about 400 years ago. It was said that a floating island would arrive in Hawai‘i and change all of life—its politics, religion, and livelihood. This prophecy was made into a dance so that future generations will remember this important history. The costumes are handmade by the huamana (students) in a pre-contact (pre-1780’s) style in the colors of land and sea. The dancers grow the materials themselves, hand-dye and stamp them with natural patterns, and hand-knot hau (a native twine) to create the striking traditional headdresses. 2006 PERFORMANCE
Utilizing rarely seen implements with the ancient dance style kahiko, Halau ‘o Keikiali’i presents a blending of traditional and contemporary songs as testament of hula’s sacred tradition. The first dance, Aia O Kalani i Maleka, uses the uncommon form of footwork known as hula ki’elei, and honors the last Hawaiian king who traveled to America to help preserve the traditions of his kingdom. The second piece, Maluaki’iwaikealoha, pays tribute to the moisture-bearing Hawaiian wind, and is presented as a hula noho or seated dance using the puniu knee and small pahu drums. The newest work is the finale, Mele ‘Ulili, performed with the infrequently used ‘ulili, or triple-gourd rattle. In keeping with custom, most of the implements and costumes are hand-made by the performers using traditional methods. The earthy brown, lime green and sky blue colors represent colors in the natural environment.2005 PERFORMANCE
There are many different styles of Hula dance. The most ancient is the kahiko style and is characterized by being done aiha `a, or close to the ground. The dancers' feet are flat, with knees bent and torsos slightly tilted forward to be more connected to the earth from which they receive life-giving energy. In 2005, Halau `o Keikiali'i offers a suite of dances which honor the chiefs and monarchs of Hawaii. These dances and accompanying chants recall the beginnings of several significant events in Hawaii's history. The first piece was written originally as a prayer for Hawaii's seventh ruler, King Kalakaua, as he set out on his journey to circumvent the globe. He is said to be the first Head of State to succeed, and his last days were in San Francisco when he passed in 1891. The second piece honors the last reigning monarch, Queen Lili'uokalani, sister of King Kalakaua. Performed by a child in the community, it refers to the adoration shared between the children and the Queen. Not often performed publicly, the third piece uses the papa hehi, or treadle board. It signifies proliferation of the royal lineage. Following traditional protocols, the group concludes with a procreation dance honoring the lineage of chiefs. This unusual form of hula, which is rarely performed in public, is known as 'ohelo and is performed seated. The costumes worn during these dances reflect various aspects of different kings and queens who ruled throughout Hawaii's history.2004 PERFORMANCE
The kahiko, or ancient dance, is done in an aiha `a, or, "close to the ground style." The dancers' feet are flat, with knees bent and torsos slightly tilted forward to be more connected to the earth from which they receive life-giving energy. Even the instrument played, a gourd, and the adornment worn, fresh greenery, come from the land. The costume's bold shades of red and black symbolize the powerful rivers of molten lava and ash of Hawaii's famous volcanoes. Through their chants and dances the company pays tribute to the great Hawaiian goddess Pele, known as the goddess of all volcanic activity. Pele is regarded as both destroyer and giver of life; she personifies the cycles of nature from birth to destruction to rebirth. The opening Fire Creation Chant poignantly invokes Pele. The first dance, a ritual dance meaning "rise sun in the east," is performed to a song summoning the awakening of life and bounty of nature. The main dance, Aia la `o Pele, tells stories of Pele's life, her sister and her destructive ways. Kilauea, the name of Pele's home, speaks to her great powers. The final dance is a fertility dance honoring creation and the continuity of life. It refers to the pit, or center of volcanic activity, also a metaphor for the source of our own creation. |
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