I am starting this new blog for my World Music class at UF, in which we are to do free listening of different cultural music to help expand our personal soundscapes. I decided to start with something that is both going to be possibly related to the specific topic I have chosen to explore further within this course and something that holds particular interest to me currently, given that I currently live on O'ahu; hula.
Title: Kawaili'ula
Performers: Kuma Hula
Culture or Origin: Traditional Hula style from Hawai'i, though traditional hula is influenced by many Polynesian cultures that settled on Hawai'i.
Orchestration: Singing, Pahu drums, and kilu/puniu
Many interesting things are happening in this selection. First is the Pahu drums, which dictate the dance and rhythm to the rest of the performers, typically performed by the "master" leading the hula. Then you have the kilu, which is made out of a half coconut and covered with animal skin—usually that of the kala fish, that typically accompanies the Pahu drums. We also see movement, that is directly tied to the "lyrics" of the hula, that matches (symbolically) the descriptive text. Much meaning is attached to correct performance of both movement and tonal pitches used by the singers/chanters. Through proper performance, a semi state of transcendence takes place that helps to connect the performer with the past, the main topic of most hula. An oral history tradition of both the performance and that state of their ancestors is usually present in hula. Without at least a little bit of background knowledge through either explanation or research, this selection would be very strange and foreign. Thus the study of ethnomusicology is essential to any "outsider" learning how to conceptualize this music/dance. Through study, pedagogy is developed to enhance the learning for those that wish it, and the local population is typically very amiable to this. They view it as a sign of respect for their culture. There is a large military population on Hawai'i, and through this learning bridges are formed that help connect peoples together, through both ideals of contextualism and universalism. To help maintain a healthy degree of mutual cooperation and understanding, this is very necessary so that both sides came come together, instead of remain apart. I know that I personally have a much greater appreciation, understanding, and connection to hula after having been introduced to the basics both through explanation and simple practice during luaus (a party/feast, with entertainment).
Think you for posting this video. Though I have seen hula dancers before, I didn’t realize the connection between the movements and the lyrics. While watching, and knowing there was this connection, I could start to hear where the words and movements coincide.
ReplyDeleteIt was also interesting to learn that the musicians view outsiders learning their music as a sign of respect for their culture. I find this surprising since the hula dancing and music is intended to connect the performer with the past. Why would a culture be accepting of an outsider attempting to connect with a past that isn’t a part of their shared experience? I wonder if this is the case in other parts of the world with other musical traditions. How many are open to outsiders learning and how many aren’t? Why?