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A "" FactsheetThe Divine Organization Of A Professional Hula Troupe The performers in the hula were divided into two classes, the olapa--agile ones--and the ho'o-paa--steadfast ones. The role of olapa, as was fitting, was assigned to the young men and young women who could best illustrate in their persons the grace and beauty of the human form. It was theirs, sometimes while singing, to move and pose and gesture in the dance; sometimes also to punctuate their song and action with the lighter instruments of music. The role of ho'o-paa, on the other hand, was given to men and women of greater experience and of more maturity. They handled the heavier instruments and played their parts mostly while sitting or kneeling, marking the time with their instrumentation. They also lent their voices to swell the chorus or utter the refrain of certain songs, sometimes taking the lead in the song or bearing its whole burden, while the light-footed olapa gave themselves entirely to the dance. The part of the ho'o-paa was indeed the heavier, the more exacting duty. Such was the personnel of a hula troupe when first gathered by the hula-master for training and drill in the halau, now become a school for the hula. Among the pupils the kumu was sure to find some old hands at the business, whose presence, like that of veterans in a squad of recruits, was a leaven to inspire the whole company with due respect for the spirit and traditions of the historic institution and to breed in the members the patience necessary to bring them to the highest proficiency. The instruction of the kumu, as we are informed, took a wide range. It dealt in elaborate detail on such matters as accent, inflection, and all that concerns utterance and vocalization. It naturally paid great attention to gesture and pose, attitude and bodily action. That it included comment on the meaning that lay back of the words may be gravely doubted. The average hula dancer of modern times shows great ignorance of the mele he recites, and this is true even of the kumu-hula. His work too often is largely perfunctory, a matter of sound and form, without appeal to the intellect. It would not be legitimate, however, to conclude from this that ignorance of the meaning was the rule in old times; those were the days when the nation's traditional songs, myths, and lore formed the equipment of every alert and receptive mind, chief or commoner. There was no printed page to while away the hours of idleness. The library was stored in one's memory. The language of the mele, which now has become antiquated, then was familiar speech. For a kumu-hula to have given instruction in the meaning of a song would have been a superfluity. The organization of a hula company was largely democratic. The kumu--in modern sense, the teacher--was the leader and conductor, responsible for the training and discipline of the company. He was the business manager of the enterprise; the priest, kahuna, the leader in the religious exercises, the one who interpreted the will of heaven, especially of the gods whose favor determined success. He might be called to his position by the choice of the company, appointed by the command of the alii who promoted the enterprise, or self-elected in case the enterprise was his own. He had under him a kokua kumu, a deputy, who took charge during his absence. The po'o-puaa was an officer chosen by the pupils to be their special agent and mouthpiece. He saw to the execution of the kumu's judgments and commands, collected the fines, and exacted the penalties imposed by the kumu. It fell to him to convey to the altar the presents of garlands, awa, and the like that were contributed to the halau. The paepae, also chosen by the pupils, subject to confirmation by the kumu, acted as an assistant of the po'o-puaa. During the construction of the kuahu the po'o-puaa stood to the right, the paepae at his left. They were in a general sense guardians of the kuahu. The ho'o-ulu was the guard stationed at the door. He sprinkled with sea-water mixed with turmeric everyone who entered the halau. He also acted as sergeant-at-arms to keep order and remove anyone who made a disturbance. It was his duty each day to place a fresh bowl of awa on the altar of the goddess (hanai kuahu), literally to feed the altar. In addition to these officials, a hula company naturally required the services of a miscellaneous retinue of stewards, cooks, fishermen, hewers of wood, and drawers of water. ~.~ Teresa Thomas Bohannon |
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