HAWAIIAN LUA Part II SMASTER Guy E. Larke

HAWAIIAN LUA, PART 2

By Sr. Master Guy Edward Larke

As a youth growing up in Canada in the 70’s, I confess of having a very sheltered and narrow view of martial arts culture. The words kung fu and karate all by themselves held so much mysticism for me. As I grew older, my collection of martial arts books and magazines grew. It was inevitable that my horizons widened along with my knowledge. This inevitably led to my moving to South Korea two decades ago.

Shortly after moving here and writing myself I came in contact with my martial arts brother, Grandmaster Rob Moses. It was upon his insistence that I contact this amazing woman he knew quite well. I happily obliged with my persistent curiosity. That individual turned out to be Michelle Manu.

Michelle Manu is a modern version of Koa Wāhine (woman warrior) foremothers. She is a high-ranking Kumu (Teacher) and Alihikaua (General) of the Lua (Kaihewalu lineage under Solomon Kaihewalu), Kumu Po'okela (Chief Instructor) of Nā Koa (Manu lineage), and a Knight Commander of the Royal Order of Kamehameha I (The First).

After a few short conversations I felt like I was being transformed into another world almost. I have always had tremendous respect for women warriors, having female instructors in both Canada and Korea. That wasn’t it. It was the amazing art that has existed on the Hawaiian Islands that myself and likely the majority of islands were too blinded to notice. Now when I watch really skilled dancers on the islands, I have a whole new respect and fascination for what lies behind the dances us outsiders watch.

This is part two on the art of Lua. This time we will learn about the history of the art.

How far back are the Hawaiian Islands' earliest history?

The Hawaiian Islands were first settled as early as 400 C.E., when migrating Polynesians from the Marquesas Islands, 2000 miles away, traveled to Hawaii's Big Island in canoes. Highly skilled farmers and fishermen, Hawaiians lived in small communities ruled by chieftains who battled one another for territory.

Was it threatened by civil arrest or foreign influences? When?

In 1778, the first European to set foot in Hawaii was British Captain, James Cook, who landed on the island of Kauai. Cook named the islands after the Earl of Sandwich, returned a year later and was killed in a confrontation with Hawaiians at Kealakekua Bay, on Hawaii's Big Island.

Between 1791 and 1810, King Kamehameha I (The First) conquered other rulers and united the entire archipelago into one kingdom.

In 1820, the first Christian missionaries arrived. Shortly afterward, Western traders and whalers came to the islands, bringing diseases that devastated the native Hawaiian population. Hawaiians had numbered about 300,000 when Cook arrived. By 1853, the native population was down to 70,000.

Queen Ka'ahumanu banned the public display of the Lua in 1824ish. It was because of the brutality and how it made the visitors feel uncomfortable.

In 1893, American colonists controlled Hawaii's sugar-based economy, overthrew the kingdom, and established the Republic of Hawaii. With the agreement of the primarily American elite (a.k.a. "Corporate America"), the U.S. annexed Hawaii as a territory in 1898 as the Republic of Hawaii without the Hawaiian people's knowledge. Thus, this is why most Hawaiians maintain that the U.S. is illegally occupying the Hawaiian Islands to this day.

In the 1890s, the last Hawaiian ruler, Queen Lili'uokalani, was deposed, imprisoned in Iolani Palace, and forced to surrender to the U.S.'s overthrow of the Hawaiian Kingdom.

What was the meaning of Lua's first incarnation?

Its original name, Kapu Ku'ialua, is modernly known by some as Lua today. Lua is the only native warrior art of Ka Po'e (The People of Hawai'i). It is a warrior art and cultural practice, not just a martial art. There are a few theories of the origin of Ku'ialua. Historian Adam Keawe Manalo-Camp states that according to Moloka'i Island traditions, the source of Lua lies within the Hula (dance). Kapoulakina'u is credited with teaching Laka the art of Hula. Laka had a twin named 'Ōlohe, who trained Laka under Kapoulakina'u. The first Lua foremother we are aware of is named Kahialaka. Kumu John Ka'imikaua said that 'Ōlohe was the founder of Lua, making Lua and Hula siblings.

'Ōlohe crafted Lua as a way to protect life, or in other words, for self-defense. This is why there was an emphasis on 'breaking bones' as opposed to killing a person. But Lua could also cause a swift death within two strikes if used in war. 'Ōlohe had both men and women students, and it was not unusual for Lua practitioners to train in Hula and vice versa. Many of the Ali'i Wahine (female chiefs) were trained in Lua. Over time, Lua master practitioners became bodyguards to chiefs and kings.

When the Ali'i began to adopt the Calvinist form of Christianity in the 1820s, both Hula and Lua became banned until the time of King Kamehameha V (The Fifth). King Kalākaua tried to revive Lua during his reign, but Lua would again go underground after the overthrow of his sister in 1893 before again being revived in the 1960s.

Were there subsystems? What elements were in common among the subsystems?

profession of warriorism (“Ali’i”), some were recruited (“Koa”), and some were drafted during times of war (“Maka’ainana”). As part of this cultural profession and kuleana (responsibility), warriors studied and were proficient in Hula dance, as well as, studies of war, politics, agriculture, architecture, the metaphysical (ontological philosophy) what we called Pohihihi in Maoli times, lomilomi koa or lualomi (warrior massage), weapons making, chiropractic, medicine, navigating/sailing, and more. The warriors didn't just step out of the hale (house) and practice techniques all day, every day.

As our warrior culture evolved, mea kaua (weapons) were incorporated. Mea kaua were made of lā’au (wood), pohaku (rocks), niho manō (shark teeth), kumu lā’au (jagged tree roots), and iwi – fish (i’a) and human. Then and now, the mea kaua becomes part of the warrior. It is as he or she is not holding anything, but that the mea kaua becomes an extension of his or her body. As our culture further changed when the visitors began arriving, the metaphysical warrior way of life evolved into the goal of maximum battle kills and eventually incorporated mea kaua made of metal.

Warriors held titles and ranks in King Kamehameha’s military, this includes the koa wahine (women warriors). The koa wahine were experts in ambush and served as special forces for King Kamehameha I, as well as fought in battle. Kumu Lucia Tarallo, author of the Daughters of Haumea, the Ancient Women of Hawai’i, says that since the Abrogation of the Kapu in 1819 that the koa wahine was not documented, and if she was as an honorable quick mention, it was

When the Lua was banned, it was purposely concealed within the Hula within town and eyeshot of those policing, waiting for someone to violate the new restriction. So, the warriors practiced in the pitch dark to avoid allegations of breaking the new restriction yet outside of town, Lua was still practiced in secret.

An important distinction I like to make is that the Hula and Lua are the same energy and similar (if not the same) movements. We talk about it this here and there but very few today have the fluency of both Lua and Hula to show this concealment or potential concealment. It is my personal belief that Lua and Hula are the same source of energy. It is merely the intent of the practitioner who determines how this energy is expressed. Hula is non-contact with the intent to tell stories and history, Lualomi is contact with the intent to restore and heal, and Lua is full contact with the intent to disable, dislocate, or kill. This is a beautiful and perfect harmonic example of duality in the ancient Hawaiian culture, like evidenced in the original Hawaiian religion - nature.

How did it evolve?

There are Lua practitioners of different lineages, including family lineages. Lua is different from district to district, family to family, island to island, and school to school. Some are known, some remain unknown. Some have and continue to evolve, and some have not – refusing to alter the originally learned knowledge.

What was its Golden Era?

This question was provoking. I believe there are two Golden Eras. The first Golden Era would be under the reign of The Great, King Kamehameha I (The First). I believe that the second Golden Era is happening right now, in this moment. Since the 1960s, not many women, Māhū (same sex or bi-sexual), Mainland Hawaiians of mixed race, mixed races living in Hawaii, and non-Hawaiians have not been accepted to study when they have expressed interest. Today, some Kumu Lua will consider and welcome all of good and respectful character to study Lua. I am one of these Kumu.

What is your branch’s history? How important is history to Lua or any art?

To me, history is extremely important. I want to know what I am studying, perfecting, teaching, evolving, and sharing with the world – especially with the women – who have had less opportunity to train regularly for over 200 years. But, also, we as Kumu and practitioner are also creating history today. This is equally as important to advance and document these advancements while paying respects to those who came before us and the original knowledge – its origin, all while under watchful scrutiny as to how this advancement occurs.

Are there any accurate movies or books?

My teacher, ‘Ōlohe Solomon (Kolomona) Kaihewalu (1935-2019), was the first practitioner to bring the Lua to the continental United States. At the age of 3, he started his training with his mother, Cecilia Kaleikini Kaeha (Kaihewalu) who was an Ali’i (royal) from the island of Kaua’i. His ranking Kumu, learning directly from him, are mostly made up of battle tested non-Hawaiians and Hawaiians (only three Hawaiian and one is a woman). In my 24 years, ‘Ōlohe did not instruct much on history. He was unapologetic about his focus on maximum effectiveness to take one’s opponent out as quickly as we could. With his relentless “maximum kills” focus and unmatched skill set, I would bet that he would have been the last man standing on the battlefield in ancient times. His legacy of his family’s art and life’s work lives through his firstgeneration disciples – who regularly teach and share his work.

A few good books would be: (1) Ancient Hawaiian Martial Art of Kaihewalu ‘Ohana Lua, by Solomon Kaihewalu; (2) Lua: Art of the Hawaiian Warrior, by Jerry Walker and Richard Paglinawan; and (3) Warrior Arts and Weapons of Ancient Hawaii, by Sid Campbell. The Kaihewalu Lua will be shown in three Indie movies releasing in 2022 and 2023: IN3DRAGON, The Ultimate Throwdown, and The Falcon.

A lot has changed in our world collective, which affects all our respective arts. The Lua is not exempt to these changes. The ban on the public display of Lua, the revival, the re-emerging of warriors who are now able to study Lua, the effectiveness through evolution while using ancient principles of physics, body mechanics, and structure. We are not practicing Lua. We are Lua. We are not the weapon we hold. We are the weapon, period.

How can people learn this amazing art?

There are teachers on every Hawaiian island. I suggest finding these teachers online or asking someone in the Lua community for a contact for which you can inquire about studying. As for the continental U.S., the Kaihewalu lineage can be found in certain states with the most concentration of Kumu where ‘Ōlohe taught his nuclear group in person, which is Southern California. More information on Kaihewalu Kumu: kaihewalulua.com

I teach weekly - virtually and in person- and have an online classroom for self-study. The website for Nā Koa (The Warriors) is nakoawahine.org or nakoakane.org. Both take you to the same landing page. In addition, I regularly teach at the University of California, Los Angeles, and travel to teach at workshops and conventions in the U.S. and Europe. You can also find me on Facebook, Instagram, Master Guy Edward Larke has dedicated his life to the pursuit of martial arts, Asian culture, and hoplology. It led him to Korea in 2000, and he now lives in Bundang with his wife, Gi-Ryung, and son, Alexander. Master Larke holds black belts in several martial arts, including Tae Kwon Do, Hapkido, Taekgyeon, Bon Kuk Kumdo, Karate-do, Teuk Gong Moo Sool, and Wushu. Currently, he teaches several Korean disciplines and Kisa-Do Muye (his art), writes for various magazines, and runs Kisa-Do Muye & Marketing. He can be contacted at kisadomuye@gmail. com. Kom-ap-sum-ni-da! 고맙습니다!

GM Manu's Photo credit: James Trotter