Uchiyama - The Haumāna hula handbook for the students of Hawaiian dance

I OFFER HEARTFELT thanks to my hula teachers: Maile Baker, who first set my feet on the path of learning hula; Miki Aiu, who lovingly introduced me to the methodology of studying the dance; Hooulu Cambra who, while patiently reinforcing Auntie Mikis teaching, taught me how to chant and drum; and Joseph Kamohai Kahulelio for his generous heart. I thank and honor my dear friend and hula brother Walter Kaleialoha Laymance who introduced me to the experience of picking fresh maile high in the uplands of Mokulia. Walter, I loved and admired your Hawaiian soul and I will always remember you. I offer deep appreciation to my Kahu Edward Kealanahele, for his spiritual guidance. I gratefully recognize the contributions of the State Council on Hawaiian Heritage which in the 1970s offered the opportunity for myself and others to take workshops with master teachers such as Pele Suganuma, Hoakalei Kamauu, and Edith Kealanahele. I was fortunate to also have the opportunity to partake in additional hula and chant workshops with Kumu George Naope that were sponsored by my kumu Uncle Joe. To these and the many renowned kumu who have generously shared their ike (knowledge) through workshops and special events over the years, mahalo nui!

In addition, I wish to acknowledge the generosity, integrity, and foresight of the founders of Kaaha Hula O Hlauaola World Hula Conferences, n kumu Pualani Kanakaole Kanahele, Hklani Holt and Leinaala Kalama-Heine. They, along with Kumu Kehaulani Kekua, have provided a unique means for hula practitioners to gather and deepen their understanding of hula through this quadrennial event. I recognize with gratitude the amazing insight on Pelehnuamea which has been shared with the community by members of the Edith Kanakaole Foundation. I am inspired by their wisdom and generosity in conveying the universality of this powerful narrative.

My understanding of hula is largely dependent on lelo Hawaii, the Hawaiian language. Deepest appreciation to my kumu lelo Hawaii: Kalena Silva, Sarah Nakoa, Pua Anthony, and Larry Kauanoe Kimura. And thanks also to Puakea Nogelmeier for being willing to soothe my translation anxieties, always with extreme kindness and patience. I acknowledge the contributions of my esteemed instructors of dance ethnology and ethnomusicology at the University of Hawaii, especially Judy Van Zile, Ricardo Trumillios and Barbara Smith.

The San Francisco Bay Area is the point of convergence of a wonderful community of culture bearers, and my experience has been defined by exposure to their good endeavors. I humbly acknowledge the work of n kumu hula (hula teachers) Patrick Makuakne and his Hlau N Lei Hulu I Ka Wkiu, Mark Kealii Hoomalu and his Academy of Hawaiian Arts, as well as the Ehulani Lum, her daughter Deanie Villiados, and their Kumu Hula Association of Northern California, which continues to foster a dynamic environment for the perpetuation of Hawaiian performing arts in the San Francisco Bay Area. Similarly, I honor World Arts West, the producers of the renowned San Francisco Ethnic Dance Festival for their work in championing an environment in which cultures gather to celebrate their own unique heritages while honoring those of others.

Love always to my hula brother Kumu Kawika Keikialii Alfiche for his support over many years and the deep integrity and artistry expressed in his Hlau o Keikialii. Our kaiaulu (community) is further blessed by the efforts of Hk Hanohano Award-winner Patrick Landeza for his Berkeley Hawaiian Music Festival, and of Saichi Kawahara and his organization, Kapalakiko I Ke Aloha. Their tireless efforts enhance the appreciation for and raise the standard of Hawaiian music in the Bay Area.

Mahalo to Pam Mei Kawehiokekuahiwi Graybeal, Elaine Malino Mo, Maria Kalaulehua Recht, Amy Ilikea Wehiwa Santana, Mariko Soto, and Ken Iolaka Swan, for their generous contributions to the various iterations of this manuscript over the years. Deep appreciation to renowned artist Linda Rowell Stevens who graciously granted me permission to use her beautiful artwork to illustrate this book. To Doug Reil, Hisae Matsuda, and all of the staff of North Atlantic Books, mahalo for the faith and support you have afforded me during the process of re-visioning and recreating this book. Mahalo to Selina Iolani Lewis for connecting us together.