Unwritten Literature

I dance hula to preserve the art of telling a story with my whole being. Hula continuously expresses what words can’t. For instance, nature’s beauty, giving thanks, praise and glory to our maker Ke Akua. My movement becomes spiritual, there is mana (power). Although hula can be taught to everybody, it is not meant for everybody! Sometimes as an observer of hula, I must admit certain individuals who don’t have the pilikoko (blood) dance outstandingly!
Hula has two distinct styles: kahiko (old, ancient) and awana (modern), both depicted in Hawaiian culture. In 1997, I entered my very first hula halau school Namakahonua-Kailiwale in Makaaha on Oahu with Kumu Leimomi Nani Cruz Losano. In 2000, the school presented me with a certificate for the hardest working. Then in 2001 we flew to Molokai and participated during Hula Piko early morning ceremonies.
I relate to the real old style because kahiko tells how Kanaka Maoli are peaceable caretakers of the land (makainana), daily human survivors.
When I use musical instruments, I get into an elated “natural high” which enhances the story. Hula is an unwritten literature. I dance proudly; joy is on my face (minoaka) spirit in my countenance (hemolele).
I commend E Hula Nani E, a “leisure hulau” and Halua Hula O Kahili Ona Eka Lau Oho. These kumu keep Hawaiian culture alive now and for generations to come.  The leisure halau’s kumu is Lori Higa and O Kahili Ana Eka Lau Oho Kumu is D.J. Pelekai.

I learned the tongue (olelo) and my listening (ho`olohe) caused me to become disciplined in my fluent movements. As a result of my experiences I now have an achievable goal of perhaps becoming kumu hula and opening a halau…see you at practice.

Aloha Ke Akua, Malama Pono
Char Preza