The Music of Pilioha in Kapiolani Park

Alan Budd with Pilioha in Kapiolani Park

Pilioha started in the early ‘90’s as a duo, first cousins Glenn Mayeda Jr. (bass) and Gary “Kalehua” Krug Jr. (rhythm guitar) always longed for the right person to blend not only with their music but also with their warm personalities. What they eventually found in 2001, was a young and talented lead guitarist, Kamuela Kimokeo, who not only gelled with them musically, but fit in as if he were a younger brother.

The name Pilioha literally means “a family relationship.” It is not only a fitting description of the trio, but a reminder to them of how important their relationship is with one another, as well as with their families.

Dancing Hula on Moana Terrace with Maunalua

Hula dancing is the essence and spirit of Hawaii. Initially it was treated as a sacred ritual, but it slowly it has became a form of social entertainment. The dance is not without meaning. In fact, the heart of hula dancing is poetic text, which is referred to as Mele. All movements are interpreted and performed on the basis of the text. In hula dancing, hand and arm gestures are combined with rhythmic twisting and swirling. Each movement has a particular meaning and this coupled with the expressive hand gestures have even greater significance. While dancing, the movements that the dancers make may represent any facet of nature or life. Plants, trees, war, wind fire and water. All the elements are adequately represented and the viewer has no doubt in his mind as to the meanings are with each movement. This is because hula dancing by its movements embodies the essence of thing it represents. The dancers incorporate to exactitude the elements of life and nature and the chanting aids in narrating the story.

Initially in hula dancing, the emphasis was on the words only, but as many people do not understand tho early chants, this form of dancing has become more expressive and understandable. Interestingly enough, there are many types of hula dancing and these are performed at different times and in different ways. Hula hue was a kind of endurance dance used at the end of a program while hula hapa haole was a westernized version with English words. Hula hula pertained to a type of dancing where there were many people involved. Some sang and some played the drum.

Hula o Kalâkaua was dancing reserved for the King’s coronation. Hula kuhi Lima was a sitting hula where the dancer swayed the body in keeping with the music and made eloquent hand gestures. The modern day hula auana is very informal and there is no ceremony involved. It is danced to the accompaniment of instrument like the guitars and is very popular on the islands of Hawaii.

Whatever be the form of hula dancing, the essence and spirit of the dance is always felt. It has a strange impact on the viewers and often makes one want to join in. Hula dancing in spite of metamorphosis is here to stay. Its magnetic charm touches all who see. The origins of hula are open to interpretation. Some believe it came from the ancient civilization of Mu, some claim it was indigenous, while others say that it had its roots in Tahiti . Whatever be its origin or its roots, there is no doubt that the Hula is the link which binds the dancers with the universe and symbolizes their unity with all creation.

An Evening on Moana Terrace with Maunalua

Maunalua is Bobby Moderow, Jr., who was schooled by the legendary Raymond Kane, playing rhythm and slack key guitar, as well as providing vocals; Kahi Kaonohi, a journeyman musician with many local groups and Halau before settling in with Maunalua, playing bass guitar and singing; and Bruce Spencer, whose strong foundation in local music harmonies rounds out the group with his six-string ukulele and vocals

Ho’okena in Kapiolani Park

Maunalua

The fans of the popular group Maunalua who have been waiting for a follow up to their hugely successful debut album, will find that their patience has been well rewarded with the release of KULEANA. Following the success of MAUNALUA, which won the Best Hawaiian Album at the 2001 Na Hoku Hanohano awards for the trio and their producer, Dave Tucciarone, was a daunting challenge, but KULEANA meets that challenge well, and firmly establishes the group at the leading edge of contemporary Hawaiian music. Maunalua has been playing together for over eight years at venues that range from backyard luaus to neighbor island events, to concerts in Japan, Tahiti, Las Vegas and beyond. They have honed their musical skills men and earned a strong and loyal following. The release of KULEANA on a new record label in partnership with their former label, Koa Records, furthers their efforts to uphold and preserve the Hawaiian music culture.

The very name KULEANA, speaks to their sense of responsibility for preserving the traditional music of the islands, while giving it a fresh contemporary style. KULEANA evokes memories of old Hawaii through traditional favorites such as Nani Kauai, Aloha Ka Manini, Kealohalani and Sanoe, and a beautiful rendition of E Liliu E will delight slack key fans. The groups own writing talents are well represented with Pa Konane, a song that will make listeners hope for even more original music in their next outing.

Maunalua is Bobby Moderow, Jr., who was schooled by the legendary Raymond Kane, playing rhythm and slack key guitar, as well as providing vocals; Kahi Kaonohi, a journeyman musician with many local groups and Halau before settling in with Maunalua, playing bass guitar and singing; and Bruce Spencer, whose strong foundation in local music harmonies rounds out the group with his six-string ukulele and vocals.

Listening to Ho’okena

Mike Kaawa

Mike Kaawa is Hawaii’s finest 12-string guitar player and one of the best known and highly regarded musicians in Hawaii. Mike Kaawa describes his music as “Hawaiian with an attitude”. Mike Kaawa’s music journey began at the early age of 10 when he and fellow baseball buddies, Greg Sardinha and BenVegas formed their very first band. The group performed steadily at their Palolo baseball team’s parties and events. The band lasted until Sardinha and Vegas decided they wanted to play rock ‘n roll music. Mike Kaawa being true to his Hawaiian roots, said farewell, and was replaced by then young Mackie Freary. Since then, Mike Kaawa’s career has spanned nearly 4 decades participating in several prominent groups on the islands.

Mike Kaawa is an illuminating performer who has brightened some of Hawaii’s most popular stages and has captivated audiences with his enchanting stage presence and vocal abilities. With strong instrumentation and distinct vocal expression straight from his heart, Mike Kaawa has created his own unique sound only few musicians have achieved.

Sweet Sounds of Pilioha

Pilioha is a Hawaiian music trio from the island of O’ahu. Originally Pilioha started in the early ‘90’s as a duo, first cousins Glenn Mayeda Jr. (bass) and Gary “Kalehua” Krug Jr. (rhythm guitar) always longed for the right person to blend not only with their music but also with their warm personalities. What they eventually found in 2001, was a young and talented lead guitarist, Kamuela Kimokeo, who not only gelled with them musically, but fit in as if he were a younger brother. The name Pilioha literally means “a family relationship.” It is not only a fitting description of the trio, but a reminder to them of how important their relationship is with one another, as well as with their families. This understanding and support of one another, their families, and friends is reflected in the balance and harmony of their music. Glenn is a certified D.O.E teacher, Kalehua is a University specialist, and Kamuela is on the verge of completing his teaching degree. This in turn binds the group together due to their common interests in teaching, Hawaiian culture and music and has led to successes such as a first place finish in Ka Himeni Ana 2006. To describe a genre of Hawaiian music that Pilioha perpetuates would be hard to do, due to the wide range of their repertoire. Each of these gentlemen possesses lead vocal qualities, both in Hawaiian falsetto and in regular voices. Instrumentally, all are versatile. Some have labeled their music to be much like the music of the Hui Ohana, one of Hawaii’s all time favorite groups. It is no surprise, as Ledward Kaapana, the guitar virtuoso of the Hui Ohana, has helped each member. Other mentors have included the Makaha Sons, Jerry Santos, Kelly Boy Delima, Mark Yim and other notables throughout Hawaii’s music community. This mentoring has helped the trio to be self-sufficient, starting up their own independent recording label and production company.

Dancing Hula in Kapiolani Park

Hula was developed in the Hawaiian Islands by their original Polynesian settlers. Although many ethnic groups have come to Hawaii since the first European contact in 1778, the hula has remained largely uninfluenced by other ethnic dance traditions.

The word hula means movements and gestures. Hula involves mele and is performed with mele. Mele is poetry; cultural interpretations ranging from mele pule and mele inoa (sacred prayers, name chants) to mele ho’oipipo and mele ‘aina (love songs and songs praising the land). The type of mele classifies the hula dances. Hand and arm gestures interpret the words, but hula gestures do not tell the story. The gestures interprets the main message of the mele.

Chant accompanied dances may be performed sitting or standing. In standing dances, performers are divided into ‘olapa; the dancing, and the ho’opa’a; chanting the text and providing the accompanying percussion instrument. Close correspondence exists between foot movements and ipu (gourd) and pahu (drum) patterns. Ancient hula was interpreted in the words, the chant, without which there would be no dance. Gourds, drums, split bamboo sticks, and other instruments supported the dance. Hula could not be performed without chanting. The chants themselves were complex, poetic and rich with multilevels of meaning.

Ritual and prayer surrounded all aspects of hula training and practice. Teachers and students were dedicated to Laka. Although Laka was acknowledged as the goddess of hula, there are abundant legends of the fiery goddess Pele, who searched for a home throughout the Hawaiian islands and settled on the Big Island of Hawai’i. Many sacred songs and chants recount the saga of Pele, her love for the chanter Lohi’au, and her sister Hi’iaka’s journey to bring Lohi’au from his home on Kaua’i to Pele.

Arriving to the Islands in 1820, American Protestant missionaries introduced Christianity and western values. Along with the support of Christianized Hawaiian royalty, the missionaries denounced and banned the hula as heathen and declared it illegal. Hula practitioners declined but the hula survived, zealously guarded and cherished by Hawaiians in locations less influenced by the missionaries.

The reign of King David Kalakaua (1874-1891) was a transitional phase for Hawaiian performing arts. Hula practitioners merged Hawaiian elements of poetry, chanted vocal performance, dance movements, and costumes to create a new form, the hula ku’i, a combination of new and old hula. King Kalakaua did more than revive the ancient dance. During his reign the hula again became a tradition. Western forms of rhythm and melody were incorporated with the traditional hula forms. The ukulele, borrowed from Portuguese immigrants, was introduced, along with the steel guitar. The ipu, a hollowed gourd, was the instrument most associated with hula ku’i.

A revival of ethnic pride has heightened interest in hula kahiko performing arts since the early 1970s. Chant- accompanied hula has been revived, and new dances are choreographed in the older style. Contemporary practitioners divide hula into hula kahiko (ancient hula), comprising of older chant-accompanied dances, and hula ‘auana (modern hula), newer song-accompanied dances.

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