This Hālau respects (nā mahalo), remembers (nā haliʻa aloha) and recognizes its heritage with pride; it here states its pahu genealogy (kū ʻauhau pahu):
From pre-contact unknown hula pahu masters
To Kumu Hula Kamawaʻe and Kumu Hula Niuʻolaʻa (1800’s)
To Kumu Hula Keaka Kanahele (1881-1940)
To Kumu Hula Lōkālia Montgomery (1903-1978)
To Kumu Hula Maiki Aiu Lake (1925-1984)
To Kumu Hula Mae Kamāmalu Klein
To Kumu Hula Patrick Makuakāne
To Kumu Hula Rick Noʻeau Smith
This Hālau is directed by Kumu Hula Rick Noʻeau Smith.
Hula's ancient roots can be seen in the movements that symbolize nature with all its forms - the gentle swaying of the palms, the rolling seas, the whispering winds, the falling rains, the flow of volcanoes, the flights of birds, the glorious rainbows, the starry skies, and the bright moon.
Hula also tells of the human condition; tales of Gods and Goddesses, Kings and Queens, the exploding dances of war, and love in all its forms.
There are many varieties of hula, but today's hula is usually broken down into two basic styles: Hula Kahiko (ancient of traditional Hula), performed to the chants of a Hoʻopaʻa (chanter) usually playing an ipu heke (gourd drum) or a pahu (skinhead drum); and Hula ʻAuana (which means to wander away from the traditional), set to contemporary music.
At Nā Mamo Noʻeau, we make our own costumes, leis, implements, and other traditional dance items. We also study ʻŌlelo Hawaiʻi (Hawaiian language) and to Oli (chant) in Hawaiian.
We study the variety of levels of kaona (meaning) in each of our mele, oli, dances and songs so they can be expressed properly and with correct feeling.
We also learn to make and use traditional implements, such as the feathered ʻūlī ʻūlī, the ipu and ipu heke, (hand held gourds), the pūʻili (split bamboo sticks), and the ʻiliʻili (hand held small stones.