LUAU
A luau (in Hawaiian, lū‘au) is a Hawaiian feast. It may feature food, such as poi, kalua pig, poke, lomi salmon, opihi, haupia, and beer; and entertainment, such as Hawaiian music and hula. Among people from Hawaii, the concepts of "luau" and "party" are often blended, resulting in graduation luaus, wedding luaus, and birthday luaus.
According to Pukui & Elbert (1986:214), the name "luau" goes back "at least to 1856, when so used by the Pacific Commercial Advertiser." Earlier, such a feast was called a pā‘ina or 'aha‘aina. The newer name comes from that of a food always served at a luau: young taro tops baked with coconut milk and chicken or octopus.
Luau-themed or Hawaiian-themed parties can be differentiated from authentic luaus by a lack of traditional food and techniques as described above. These parties range dramatically in their range of dedication to Hawaiian traditions. For example, some extravagant affairs go so far as to ship food from the islands, while others settle for artificial leis, maitais, and a poolside atmosphere. None of these are considered Luaus by purists.
Primarily in the Hawaiian islands, there are numerous commercial luau productions, which generally consist of dinner and Hawaiian or Polynesian dancing. Some of these productions are held at hotels, usually outdoors (weather permitting), and some are held at private locations without any connection to a specific hotel. These luaus are geared for tourists and have a variety of souvenirs, crafts, and photos for purchase.
REEFS
An artificial reef is a human-made underwater structure, typically built for the purpose of promoting marine life in areas of generally featureless bottom. Artificial reefs may also serve to improve hydrodynamics for surfing or to control beach erosion.
Artificial reefs can be built in a number of different methods. Many reefs are built by deploying existing materials in order to create a reef. This can be done by sinking oil rigs (through the Rigs-to-Reefs program), scuttling ships, or by deploying rubble or construction debris. Other artificial reefs are purpose built (e.g. the reef balls) from PVC and/or concrete. Historic or modern shipwrecks become unintended artificial reefs when preserved on the sea floor. Regardless of construction method, artificial reefs are generally designed to provide hard surfaces to which algae and invertebrates such as barnacles, corals, and oysters attach; the accumulation of attached marine life in turn provides intricate structure and food for assemblages of fish.
Creating an artificial reef by sinking the Carthaginian will have very little, if any, negative impact on the surrounding ocean environment. Atlantis Adventures has retained BEI Environmental Services of Honolulu to oversee this project and is taking every safety precaution to ensure that the marine life will not be harmed.
The sunken vessel will be secured on a sandy bottom away from more prominent reef colonies. This will begin the natural process of creating an artificial reef that will be very beneficial to the marine life environment, highlighted by the following:
• Increasing the biomass of marine life in the area.
• Providing a future source of marine life to help relieve the pressure off natural reefs from overuse by divers.
• Providing the juvenile species of fish a place to grow. • Becoming a replenishment area for fish to congregate.
• Creating a solid substrate for coral to take hold and grow.
• Developing a new dive attraction for scuba divers and submarine tours.
• Creating an educational opportunity for schools, such as Maui Community
• College’s marine option program, to study the biomass increase.
A detailed Environmental Impact Statement (EIS) regarding the artificial reef was prepared and distributed to approximately 30 federal, state, and county agencies and community-based organizations. Based on this report, theHawaii State Department of Land and Natural Resources gave its approval. A copy of the EIS is available upon request.
Once the Lahaina Restoration Foundation decided to dispose of the Carthaginian, the nonprofit organization contacted Atlantis Adventures to see if there was interest in acquiring the vessel for use as an artificial reef.
The 97-foot, steel-hulled vessel has no historical value of any significance. Originally, it was a freight carrier in Germany before being converted in 1973 into a replica of a whaling supply vessel for display in Lahaina Harbor.
A cost estimate and feasibility study done on behalf of the Lahaina Restoration Foundation concluded it would not be cost effective to restore the vessel. In addition, the study noted there was a strong possibility the vessel would not survive being towed from Lahaina to Honolulu for restoration.
It will be approximately a half-mile offshore of the Lahaina coastline between Puamana Park and Launiapoko Park at a depth of 95 feet.
Atlantis’s reasons for creating an artificial reef are basically threefold:
It will enhance the development of fish and coral in the area. Artificial reefs have a proven track record of increasing the biomass of marine life in any given area. In 1989, Atlantis successfully launched its first artificial reef project off Waikiki; an area that was once a sparsely populated undersea habitat today thrives with an abundance of marine life due to the artificial reef.
Establishing an artificial reef – and a new place for marine life to flourish – will provide divers with alternative sites to popular dive locations. This will help relieve man’s impact on the natural reefs in the surrounding area.
While Atlantis’s business is to provide an undersea experience found nowhere else in Hawaii, we strongly support the conservation message we impart to our visitors: To respect and protect our environment. The artificial reef off Lahaina will fundamentally improve marine life in the area. By protecting and promoting the development of coral reefs, we are improving the quality of our natural resources.
The vessel will be anchored in 95 feet of water, which makes it a standard dive for most scuba operations. Scuba divers are advised to follow the safety precautions they would typically observe with any dive. Free divers should also watch for rigging wires being put in place to secure the masts.
There will be no impact on swimmers or surfers. The vessel will be located far enough from shore to not affect the surf break on large swell days.
The environmental damage caused to West Maui’s marine life – from construction runoff to snorkeling – has been an ongoing concern to the community. By using the vessel to create an artificial reef, Atlantis is developing a “new” undersea habitat that will produce an increase in fish, coral and other marine life. In effect, this proactive measure by Atlantis is improving marine conservation for the area. Over time, the vessel will slowly deteriorate and evolve into a natural reef setting as the coral grows and sustains itself.
Like all other forms of marine life, sharks are part of the ocean environment and their attraction to reefs and other locations is driven by availability of food sources. It’s difficult to speculate how many sharks – if any – and what types will be drawn to the artificial reef. Atlantis created an artificial reef off Waikiki that is now the habitat for a wide variety of indigenous marine life. A few reef sharks are often seen – namely white tip and sandbar sharks – which are considered non-aggressive species. They are sometimes visible during the day and can usually be seen sleeping under the reef.
The Submarine Tour takes place in the Atlantis 48-passenger submarine and has been featured on National Geographic specials. Each guest will receive an Atlantis Souvenir Dive Log.
Climb aboard one of our Atlantis 48-passenger submarines. Being in a submarine and descending to 100 feet underwater is an adventure in itself. You will also get to see real marine life up close. The Atlantis Waikiki dive site is home to many Hawaiian fishes, coral, and turtles. Known for its quality and safety, Atlantis is an eye-opening experience that takes you beyond the classroom as you learn about coral, reef life and submersibles while visiting our sunken shipwrecks, airplane and other artificial reefs. Atlantis has a spacious air-conditioned interior, large view ports and comfortable seating. If you haven't been to the bottom of the ocean before, this tour is a "must do!"
HULA
Hula (pronounced /ˈhuːlə/) is a dance form accompanied by chant or song. It was developed in the Hawaiian Islands by the Polynesians who originally settled there. The chant or song is called a mele. The hula dramatizes or comments on the mele.
There are many styles of hula. They are commonly divided into two broad categories: Ancient hula, as performed before Western encounters with Hawaiʻi, is called kahiko. It is accompanied by chant and traditional instruments. Hula as it evolved under Western influence, in the 19th and 20th centuries, is called ʻauana. It is accompanied by song and Western-influenced musical instruments such as the guitar, the ʻukulele, and the double bass.
Terminology for two main additional categories is beginning to enter the hula lexicon: "Monarchy" includes many hula which were composed and choreographed during the 19th century. During that time the influx of Western culture created significant changes in the formal Hawaiian arts, including hula. "Ai Kahiko", meaning "in the ancient style" are those hula written in the 20th and 21st centuries that follow the stylistic protocols of the ancient hula kahiko.
Hula is taught in schools called hālau. The teacher of hula is the kumu hula, where kumu means source of knowledge. Hula dancing is a complex art form, and there are many hand motions used to signify aspects of nature, such as the basic Hula and Coconut Tree motions, or the basic leg steps, such as the Kaholo, Ka'o, and Ami.
There are other related dances (tamure, hura, aparima, otea, haka, poi, Fa'ataupati, Tau'olunga, and Lakalaka) that come from other Polynesian islands such as Tahiti, The Cook Islands, Samoa, Tonga and Aotearoa (New Zealand); however, the hula is unique to the Hawaiian Islands.
Hula Kahiko
Hula kahiko performance at the pa hula in Hawaii Volcanoes National ParkHula kahiko, often defined as those hula composed prior to 1893 which do not include modern instrumentation (such as guitar, `ukulele, etc.), encompassed an enormous variety of styles and moods, from the solemn and sacred to the frivolous. Many hula were created to praise the chiefs and performed in their honor, or for their entertainment. Types of hula kahiko include ʻālaʻapapa, haʻa, ʻolapa, and many others.
Some hula was considered a religious performance. As was true of ceremonies at the heiau, the platform temple, even a minor error was considered to invalidate the performance. It might even be a presage of bad luck or have dire consequences. Dancers who were learning to do such hula necessarily made many mistakes. Hence they were ritually secluded and put under the protection of the goddess Laka during the learning period. Ceremonies marked the successful learning of the hula and the emergence from seclusion.
Hula kahiko is performed today by dancing to the historical chants. Many hula kahiko are characterized by traditional costuming, by an austere look, and a reverence for their spiritual roots.
ChantsHawaiian history was oral history. It was codified in genealogies and chants, which were memorized strictly as passed down. In the absence of a written language, this was the only available method of ensuring accuracy. Chants told the stories of creation, mythology, royalty, and other significant events and people.
Instruments and implements
Hula dance researcher Joann Kealiinohomoku with hula implements Puʻili and ʻuliʻuliIpu—single gourd drum
Ipu heke—double gourd drum
Pahu—sharkskin covered drum; considered sacred
Pūniu—small knee drum made of a coconut shell with fish skin (kala) cover
ʻIliʻili—water-worn lava stone used as castanets
ʻUlīʻulī—feathered gourd rattles
Pūʻili—split bamboo sticks
Kālaʻau—rhythm sticks
The dog's-tooth anklets sometimes worn by male dancers could also be considered instruments, as they underlined the sounds of stamping feet.
CostumesTraditional female dancers wore the everyday pāʻū, or wrapped skirt, but were topless. Today this form of dress has been altered. As a sign of lavish display, the pāʻū might be much longer than the usual length of tapa, or barkcloth, which was just long enough to go around the waist. Visitors report seeing dancers swathed in many yards of tapa, enough to increase their circumference substantially. Dancers might also wear decorations such as necklaces, bracelets, and anklets, as well as many lei (in the form of headpieces, necklaces, bracelets, and anklets).
Traditional male dancers wore the everyday malo, or loincloth. Again, they might wear bulky malo made of many yards of tapa. They also wore necklaces, bracelets, anklets, and lei.
The materials for the lei worn in performance were gathered in the forest, after prayers to Laka and the forest gods had been chanted.
The lei and tapa worn for sacred hula were considered imbued with the sacredness of the dance, and were not to be worn after the performance. Lei were typically left on the small altar to Laka found in every hālau, as offerings.
PerformancesHula performed for spontaneous daily amusement or family feasts were attended with no particular ceremony. However, hula performed as entertainment for chiefs were anxious affairs. High chiefs typically traveled from one place to another within their domains. Each locality had to house, feed, and amuse the chief and his or her entourage. Hula performances were a form of fealty, and often of flattery to the chief. There were hula celebrating his lineage, his name, and even his genitals (hula maʻi). Sacred hula, celebrating Hawaiian gods, were also danced. All these performances must be completed without error (which would be both unlucky and disrespectful).
Visiting chiefs from other domains would also be honored with hula performances. This courtesy was often extended to important Western visitors. They left many written records of 18th and 19th century hula performances.
Hula ʻauana
Dancer (Hula ʻauana), Merrie Monarch FestivalModern hula arose from adaptation of traditional hula ideas (dance and mele) to Western influences. The primary influences were Christian morality and melodic harmony. Hula ʻauana still tells or comments on a story, but the stories may include events since the 1800s. The costumes of the women dancers are less revealing and the music is heavily Western-influenced.
SongsThe mele of hula ʻauana are generally sung as if they were popular music. A lead voice sings in a major scale, with occasional harmony parts.
The subject of the songs is as broad as the range of human experience. People write mele hula ʻauana to comment on significant people, places or events or simply to express an emotion or idea.
Costumes play a role in illustrating the hula instructor's interpretation of the mele. While there is some freedom of choice, most hālau follow the accepted costuming traditions. Women generally wear skirts or dresses of some sort. Men may wear long or short pants, skirts, or a malo (a cloth wrapped under and around the crotch). For slow, graceful dances, the dancers will wear formal clothing such as a muʻumuʻu for women and a sash for men. A fast, lively, "rascal" song will be performed by dancers in more revealing or festive attire. The hula kahiko is always performed with bare feet, but the hula ʻauana can be performed with bare feet or shoes.
Hula is performed at luau (Hawaiian parties) and celebrations. Hula lessons are common for girls from ages 6–12 and, just like another kind of dance they have recitals and perform at luau.
There are various legends surrounding the origins of hula. According to one Hawaiian legend Laka, goddess of the hula, gave birth to the dance on the island of Molokaʻi, at a sacred place in Kaʻana. After Laka died, her remains were hidden beneath the hill Puʻu Nana.
Another story tells of Hiʻiaka, who danced to appease her fiery sister, the volcano goddess Pele. This story locates the source of the hula on Hawaiʻi, in the Puna district at the Hāʻena shoreline. The ancient hula Ke Haʻa Ala Puna describes this event.
Another story is when Pele, the goddess of fire was trying to find a home for herself running away from her sister Namakaokaha'i (the goddess of the oceans) when she finally found an island where she couldn't be touched by the waves. There at chain of craters on the island of Hawai'i she danced the first dance of hula signifying that she finally won.
One story is that Pele asked Laka to amuse her because Pele was bored. So right away Laka got up and began to move gracefully, acting out silently events they both knew. Pele enjoyed this and was fascinated thus Hula was born.
During the 19th century Dancer with pūʻili (Hula ʻauana), Merrie Monarch FestivalAmerican Protestant missionaries, who arrived in 1820, denounced the hula as a heathen dance. The newly Christianized aliʻi (royalty and nobility) were urged to ban the hula—which they did. However, many of them continued to privately patronize the hula.
The Hawaiian performing arts had a resurgence during the reign of King David Kalākaua (1874–1891), who encouraged the traditional arts. With the Princess Ruth Keelikolani who devoted herself to the old ways, as the patron of the ancients chants (mele, hula), she stressed the importance to revive the diminishing culture of their ancestors with in the damaging influence of foreigners, and modernism that was forever changing Hawaii.
Practitioners merged Hawaiian poetry, chanted vocal performance, dance movements and costumes to create the new form, the hula kuʻi (kuʻi means "to combine old and new"). The pahu appears not to have been used in hula kuʻi, evidently because its sacredness was respected by practitioners; the ipu gourd (Lagenaria sicenaria) was the indigenous instrument most closely associated with hula kuʻi.
Ritual and prayer surrounded all aspects of hula training and practice, even as late as the early 20th century. Teachers and students were dedicated to the goddess of the hula, Laka.
"Honolulu Entertainers" sideshow at a circus in Salt Lake City, 1920Hula changed drastically in the early 20th century as it was featured in tourist spectacles, such as the Kodak Hula Show, and in Hollywood films. However, a more traditional hula was maintained in small circles by older practitioners. There has been a renewed interest in hula, both traditional and modern, since the 1970s and the Hawaiian Renaissance.
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