Ka Wai Ola - Office of Hawaiian Affairs, Volume 14, Number 2, 1 Pepeluali 1997 — " The first lady of hula" Leinā'ala Kalama Heine, living the art in 20 years as kumu hula [ARTICLE+ILLUSTRATION]

" The first lady of hula" Leinā'ala Kalama Heine, living the art in 20 years as kumu hula

It was 20 years ago that Leinā'ala Kalama Heine's dream of teaching young people to become future teachers of Hawai'i began. Today, on the slopes of Kapālama, she continues to preserve and perpetuate hula as a living art and dance form. She is one of the most accomplished and respected masters of hula and is the kumu for the award-winning female hālau hula, Nā Pualei O Likolehua. She is known to island audiences as the featured dancer of the premiere musical group of Hawai'i, The Brothers Cazimero. Her unique style and performances of hula 'auwana, is at times kolohe, generally eomie and always enjoyable. However, her work in hula explores a broader spectrum than most people see. Off stage and beyond the reaches of spotlights, her responsibilities escalate. To a group of women that spends a minimum of six hours a week with her, she is a mentor and a teacher who shares a

special love and inspiring gift. Born and raised in Palama, O'ahu, Leinā'ala's training began at age 3 when her mother enrolled her in hula lessons with Ruby Ahakuelo at the YMCA on Fort Street. Her next teacher was another aunty, Rose Maunakea, who later introduced her to entertaining at the non-commis-sioned officers' clubs on militarybases. Rigorous training started with the Alama sisters; first with Leilani in Kaimuki, and then Puanani at the corner of Fort and King streets. Later, other renown teachers such as Joseph Kahauleho, Louise Kaleiki, Vicki I'i Rodrigues and Ma'iki Aiu Lake followed in her maturing years. "It was Unele Joe (Kahaulelio) who changed my philosophy of hula as a living art form. He shared with me the ability to focus myself as a dancer as well as becoming the teacher itself. He was the motivational gravity that encouraged me to gain more knowledge," explained Heine.

She speaks with great compassion of her kumu. "Our teachers and legacies they have built and passed on, have allowed us to maintain hula as a foundation. In order to be a teacher of hula, one must excel in mastering the dance techniques." Heine's hula "genealogy" includes the great hula masters. Though their styles and steps may have differed, they all expressed love for Hawai'i and people through dance. "I am the instrument through whieh the lessons flow," says Heine of her career as a kumu hula. 'The hula sources that have touched my Ufe over the years are many. Those who have eome before me continue to sohdify my foundation in more ways than one." As a kumu hula today, she remains adamant about preserving the movements and concepts of tradihon that are authentic and appropriate to hula. Ironically, it is her creativity that has earned I her a reputation of evolving an I 'auwana style that is recognizi able and unique. To nurture and develop today's hula stur dents to become future teachers I of hula has been one of the I responsibilities of kumu hula I such as Leinā'ala Kalama Heine.

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Heine's Halau, Na Pualei o Likolehua