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Pahu. The term "pahu" is a general word for drum in Hawaiian culture however, there are a variety of them. To fully understand the "pahu" as it pertains to dance, it's important to consider the following explanation. Since the mid-1800s, the term "hula" has been widely used to encompass all aspects of Hawaiian dance. Historically, however ...
The uniqueness of Kiribati when compared with other forms of Pacific Island dance is its emphasis on the outstretched arms of the dancer and the sudden birdlike movement of the head. The Frigate bird (Fregata minor) on the Kiribati flag refers to this bird-like style of Kiribati dancing. Most dances are in the standing or sitting position with ...
The pahu guides the dancers, dictating the pace of the dance with the rhythm of the drum. Dancers place the drum on the ground or strap it to their thigh and play it during the hula. Another drum used is the small, light-weight knee drum called a kilu, also known as a pūniu, which is
Women of Kiribati performing traditional dance at Bonriki International Airport. Dance in Kiribati includes various styles unique to the island nation. The uniqueness of Kiribati dance when compared with other forms of Pacific Islands dance is its emphasis on the outstretched arms of the dancer and the sudden birdlike movement of the head.
Hula (/ ˈ h uː l ə /) is a Hawaiian dance form expressing chant (oli) [1] or song . It was developed in the Hawaiian Islands by the Native Hawaiians who settled there. The hula dramatizes or portrays the words of the oli or mele in a visual dance form. There are many sub-styles of hula, with the two main categories being Hula ʻAuana and ...
Margaret Ma’iki Souza Aiu started to learn the hula dance between the ages of 14 and 15. [6] Though her great aunt Helen was her original mentor in hula, Ma’iki would later go on to professionally study under Lōkālia Montgomery and officially graduate as an ʻōlapa (dancer) in 1964 at the age of 18. [5]
Its interpretive dance is known for its grace and romantic feel. Dances are accompanied by percussion instruments and traditional chanting. The traditional instruments include the pahu hula, kilu or puniu, ipu, hano or ʻphe hano ihu, ka, pu, oeoe, pahupahu kaʻekeʻeke, hokio, and wi.
These are perhaps the most intricate of the games: Kilu is a pāʻani of courting that relies on hula, mele, and is specific for aliʻi, which also suggests a need for establishing genealogy. ʻUme is a pāʻani similar to Kilu. It is for the commoners and was called ʻume because the participants would be drawn to each other.