The instruments we recognize today as Hawaiian musical instruments include many
types, reflect a variety of local interests, inventive originality, and simplicity.
The quality of tones, from subdued to lively, can conjure imageries of dread, solemnity,
awe, fear, courage, and gaiety. Spectators and dancers of the hula are equally touched
by a primitive instrument's weird hold on the emotions.
Helen Roberts describes nineteen (19) different musical instruments. Ukeke ... string
bow -- the only Hawaiian string instrument Wind instruments include:
`Ohe hano ihu bamboo nose flute
Hokiokio gourd whistle
Pu la`i ti leaf whistle
Pu conch shell
Oeoe bull roarer
Ni au kani jew's harp
Pu`ohe bamboo tubes
The human body is used as a percussion instrument. Other percussion instruments
include:
Pahu
kettle drum
Puniu coconut drum
Ipu gourd or calabash drum
Ili`ili stone castanets
Ka`eke`eke bamboo pipes
Kala`au sticks
Papa hehi footboards
Uli`uli gourd rattles
Ulili gourd rattle on stick
Pu`ili bamboo rattle
Kupe`e anklets
Not all of these instruments, however, were associated with the hula. The most important
instruments in hula were utilized as an accompaniment to the Ho`opa`a (chanter)
and Olapa (dancer).
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The instruments also marked rhythm and timing for the dancer.
Many of these instruments were used for informal dancing, but the spirited pahu,
puniu, and ipu were instruments for formal dance events
and thus given traditional reverence.
With the advent of missionary teachings, the hula became forbidden
and these instruments and their manufacture ceased to be prized and valued. Hula,
however, went underground, was practiced in secret, and shared with only a few.
Modern Hawai`i can thank the efforts of monarchs such as Queen Emma (consort of
Kamehameha IV) and King Kalakaua for returning the prestige and contributions of
hula to 19th century Hawai`i. By the 20th century, individuals such
as Fred Malulani Kahea Beckley gave classes in making ancient styled hula
instruments at his Beretania Street studio in Honolulu in the early 1900s. Johnny
Noble, a popular musician, composer, and arranger of traditional hula
songs always tried to use ancient musical accompaniments, such as the ipu,
the `ili`ili, and the pu`ili, in his song compositions.
In 1878, a Portuguese immigrant, J. A. Gonzales, brought to Hawai`i the braga (braguinha),
a four-string prototype of the `ukulele. Among his fellow passengers
were Augusto Diaz, Jose De Espirito Santo, and Manuel Nunes. These young men were
business partners in the old country, making musical instruments. They not only
manufactured the first `ukulele, but performed for the royal court
using the new instrument. Hawaiians at first were reluctant to familiarize themselves
with this instrument. The strumming, chords, and fingering were new and difficult.
King Kalakaua took a liking to the `ukulele and saw its possibilities.
He commanded that singing and playing clubs be formed on all islands for royal functions.
He insisted that `ukulele playing have a leading role in all such
orchestras. Earnest Ka`ai, the first Hawaiian to master the `ukulele,
printed chords for popular sheet music. The rest is, as they say, history. Today's
hula performances will greet audiences with the melodious sounds of both traditional
musical instruments and a musical ensemble of a piano, `ukulele, guitar,
and steel guitar.
by Janice Kahoku Yoneda
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