XXXIX.— THE HULA KU'I 



The account of the Hawaiian hulas would be incomplete if without 

 mention of the hula ku''i. This was an invention, or introduction, 

 of the last quarter of the nineteenth century. Its formal, pnlilic, ap- 

 pearance dates from the coronation ceremonies of the late King Kala- 

 kaua, 1883, when it filled an important place in the programme. Of 

 the 262 hula performances listed for exhibition, some 30 were of the 

 hula ku'i. This is perhaps the most democratic of the hulas, and 

 from the date of its introduction it sprang at once into public favor. 

 Not many years ago one could witness its extemporaneous perform- 

 ance by nonprofessionals at many an entertainment and festive gath- 

 ering. Even the school-children took it up and might frequently be 

 seen innocently footing its measures on the streets. (PI. xxiv.) 



The steps and motions of the hula ku'i to the eyes of the author 

 resemble those of some Spanish dances. The rhythm is in common, 

 or double, time. One observes the following motions : 



Figure A. — 1. A step obliquely forward with the left foot, arms 

 pointing the same way, body inclining to the right. 2. The ball of 

 the left foot (still advanced) gently pressed on the floor; the heel 

 swings back and forth, describing an arc of some 30 or 40 degrees. 

 3. The left foot is set firmly in the last position, the body inclining 

 to it as the base of support; the right foot is advanced obliquely, 

 and 4, performs the heel-swinging motions above described, arms 

 pointing obliquely to the right. 



Figure B. — Hands pressed to the waist, fingers directed forward, 

 thumbs backward, elbows well away from the body; left foot ad- 

 vanced as in figure A, 1, body inclining to the right. 2. The left foot 

 performs the heel-waving motions, as above. 3. Hands in same po- 

 sition, right foot advanced as previously described. 4. The right 

 foot performs the swinging motions previously described^the body 

 inclined to the left. 



Figure C. — In this figure, while the hands are pressed as before 

 against the waist, with the elbows thrown well away from the body, 

 the performer sways the pelvis and central axis of the trunk in a cir- 

 cular or elliptical orbit, a movement, which, carried to the extreme, 

 is termed ami. 



There are other figure's and modifications, which the ingenuity and 

 fancy of performers have introduced into this dance ; but this account 

 must suffice. 

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