Hawai'ian Music Masters - 2013 series

IRVINEBARCLAYPRESENTS

Hawai’ian Music Masters The Best of the Islands

2013 3 concerts featuring

Keola Beamer Robert Cazimero Roland Cazimero Barry Flanagan Ron Kuala’au Jeff Peterson

IRVINE

BARCLAY

THEATRE www.thebarclay.org

This series is sponsored by

Elizabeth R. Steele Tricia Steele

IRVINEBARCLAYPRESENTS

• 2013 Hawai’ian Music Masters Series • www.thebarclay.org

Hawai’ian Music Masters About the Artists

The Brothers Cazimero...................................................................... 4

February 14, 2013

Kiho’alu: Jeff Peterson & Keola Beamer ......................................... 6

March 9, 2013

HAPA.................................................................................................. 9

April 20, 2013

About Hawaiian Hula and Mele (dance and song) .................................. 12 How to Buy Tickets ......................................................................... 14

This Series features some of the best musicians working in Hawaii today.

These artists bring not only their cultural traditions, but showcase the amazing range and diversity of Hawaiian music currently played in the islands.

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www.facebook.com/TheBrothersCazimero www.myspace.com/thebrotherscazimero1 IRVINEBARCLAYPRESENTS

• 2013 Hawai’ian Music Masters Series • www.thebarclay.org

The Brothers Cazimero are consummate performers who have made their indelible imprint on the face of contemporary Hawaiian music. Their talent, longevity and sales success have placed them in a league of their own, untouched by any other performer in the history of Hawaiian music.

The early 1970s were a remarkable time as the Hawaiian culture and music began an amazing resurgence in Hawai‘i. Leading the way down this amazing new path were The Brothers Cazimero, carrying a torch that sparked a new interest in music performed in the Hawaiian language with a contemporary sound that has never been duplicated.

They are masters of their craft – their musicianship and stylish vocals blend to produce a style that is now part of the fabric of Hawaiian history. Their contribution to Hawaiian music and dance has continued to show outsiders to these islands as well as indigenous people how important these components are to the past, present and future of Hawai‘i. The components of the past play an enormous role in all aspects of The Brothers Cazimero performances. Their presentation of the chants, dances and songs of their ancestors serve to honor those musicians, composers, teachers and elders who paved the way for what they are able to accomplish in Hawaiian music today. As they honor the past, so do they continually look to explore new music and dance forms while remaining true to their heritage.

2004’s Some Call It Aloha…Don’t Tell showcased Robert and Roland’s majestic talents, and earned them a nomination for the first Grammy award category for Best Hawaiian Music Album. The album went on to receive seven Hoku nominations.

The Grammy-nominated duo was inducted into the Hawaiian Music Hall of Fame in 2006, joining the ranks of Hawaiian music legends. In 2007, Robert and Roland were again given Na Hoku Hanohano honors, taking home the award for Christmas Album of the Year for Caz Christmas.

In May 2007, The Brothers Cazimero showcased their 30th Annual Lei Day Concert at the Waikïkï Shell, celebrating 30 years of consistently sold out May Day concerts. The men of Halau Na Kamalei and the ladies of the Royal Dance company have always accompanied Robert and Roland on stage telling intricate stories with the hula. Thirty years of successful concerts—without forgetting other annual Caz events like the Cazimero Christmas Concert—is an indication of their exceptional fan base and wide appeal. The Brothers Cazimero may seem to have transformed May Day into a big event produced on a grand scale, but Robert still calls it the day to “make a lei, wear a lei, give a lei.”

Fast forward to 2008. In March, The Brothers Cazimero were recognized by their peers and received lifetime achievement awards from the Hawai‘i Academy of Recording Arts. They were honored in a luncheon at the Royal Hawaiian Hotel, where they were headliners from 1982 to 1994. Robert and Roland reminisced about their formative years as members of Sunday Manoa in the early 1970s with Peter Moon, and thanked him for helping them “step out of the box.”

Remarkable entertainers on stage, The Brothers Cazimero achieve a full-bodied sound that emanates from two traditional instruments, the acoustic bass and a twelve-string guitar. Their music has been celebrated around the world and has been licensed for use in film, television and commercial projects, and was most recently featured in the hit movie Forgetting Sarah Marshall. Not only do residents of Hawai‘i find that this music has magical qualities, but visitors to these islands will take home multiple copies to use for relaxation as they get back in everyday routines, give to friends and relatives and as living souvenirs of their vacation to this island paradise.

Their musical talent, incredible showmanship and infectious humor have bridged cultural gaps that naturally exist with ethnic music and dance. The aloha spirit that remains an integral part of their entertaining, whether live, on records or TV, is spreading throughout the global village and with it, a better world is possible.

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Slack Key Guitar with

Jeff Peterson IRVINEBARCLAYPRESENTS

Keola Beamer

• 2013 Hawai’ian Music Masters Series • www.thebarclay.org

Born on the Island of Maui, Jeff Peterson grew up on the slopes of Haleakala (volcano) where he was introduced to the rich heritage of Hawaiian music by his father, a paniolo, or Hawaiian cowboy, on the Haleakala Ranch. The music that he heard from his father and other paniolos as well as the slack key on classic recordings by the Gabby Pahinui Band, Leonard Kwan, and Sonny Chillingworth made a deep and lasting impression on him that he continues to draw inspiration from today.

As a performer, Jeff has had the honor to work with a wide range of artists and groups including Eric Clapton, slack key guitarist Ledward Ka‘apana, James Galway, Michael Feinstein, the Honolulu Symphony, Hawaii Opera Theatre, Keali’i Richeil, jazz bassist Rufus Reid, shakuhachi master Riley Lee, soprano Dana Hanchard, and with many other artists in the fields of Hawaiian, classical, and jazz music. He has three recordings on Hula Records International with Riley Lee: “Maui Morning”, “Bamboo Slack Key”, and “Haiku”. He also released four solo guitar recording featuring his slack key artistry, “Kahealani” “Slack Key Jazz”, “The Artistry of Jeff Peterson”, and the new realease “Maui on My Mind”. Wayne Harada from the Honolulu Advertiser reacted to hearing the CDs by writing: “Add the Peterson name to the top 10 list of slack key giants”, “His manner is impeccable, his style exquisite: the CD is perfection...Brilliant... Peterson raises the bar a few notches in both slack key and jazz with this bright and exceptional release.”

He has traveled to Europe, Australia, New Zealand, Japan and across the U.S. performing at a variety of venues from Symphony Space in New York City to the National Folk Festival in Canberra, Australia.

He was featured at the First World Guitar Congress in Maryland where he performed Hawaiian slack key guitar as well as classical music. He has performed for former president Bill Clinton and Secretary of State Hillary Clinton on the island of Kauai on two separate occasions. He performs regularly throughout Hawaii and abroad in both solo and group settings. In addition to performing, he taught the guitar at the University of Hawaii, and for several years ran the guitar program.

Jeff achieved a milestone in Hawaiian music at the 47th Annual Grammy Awards on February 13th, 2005, when a recording on Palm Records featuring Jeff and other island artists, “Slack Key Guitar Volume 2”, won the first ever Grammy Award for best Hawaiian recording.

His CD “Pure Slack Key” has received rave reviews.

John Berger from the Honolulu Star Bulletin wrote: “Slack key is more about instrumental technique than composition, and Peterson uses his pieces to bridge his Hawaiian slack-key roots and his training as a classical acoustic guitarist.”

For more information visit www.jeffpetersonguitar.com

Keola Beamer is one of Hawai’i’s premier singer/ songwriters, arrangers, composers and Master Of The Hawaiian Slack Key Guitar. His well of talent springs from five generations of Hawai’s most illustrious and beloved musical families. The Beamers trace their roots to the 14th century; among their ancestors are Queen Ahiakumai Ki’eki’e and Ho’olulu, a child of the favored wife of Kamehameha I. Born in 1951, Keolamaikalani Breckenridge Beamer was raised in Kamuela, on the Big Island, surrounded by the beautiful open pastures of his Grandfather’s cattle ranch.

Keola established himself early on as the family’s youngest standard-bearer. A child of the rock and roll era, he has always been on the vanguard of the Hawaiian contemporary sound. However, he also helped drive what has come to be known today as the Hawaiian Cultural Renaissance: he has recorded many of the songs written by his ancestors, from the lively Keawaiki to the lullaby Pupu Hinuhinu.

He has recorded and produced more than twenty albums, winning numerous Hoku Awards, Hawai’i’s equivalent of the Grammys. He has even appeared on Sesame Street and on NBC’s “Today Show.” He is a Grammy Nominee and in 2010 received the “Lifetime Achievement” award from the Hawaii Academy of Recording Arts in Honolulu, Hawai’i.

Keola was one of Hawai’i’s first recording artists to integrate Hawaiian chants and instruments, like the tiny gourd whistle and the nose flute, with contemporary forms of music. “A lot of musicians in the past treated the nose flute as a frame,” he says. “They played it at the beginning and the end of a piece. Through experimentation, I managed to integrate it into the piece. It has a gorgeous sound, a gorgeous texture.”

Keola’s legendary great-grandmother, Helen Desha Beamer (1882-1952), was one of Hawai’i’s most prolific and accomplished singer-songwriters, whose compositions came to her in dreams, on boat rides, and during visits with friends. Possessed of a high, clear soprano, her fluency in the Hawaiian language endowed her with lyrics with vivid images. She was also a skilled dancer whose intricate footwork and fluid grace left a lasting imprint on the hula.

Keola’s mother, revered cultural treasure, Winona Kapuailohiamanonokalani Beamer, (Aunty Nona, 1926 - 2008) was also a noted chanter, composer, Kumu Hula (Hula Master) and author, who had spent a lifetime researching and teaching “Hawaiiana,” a term she coined. Indeed, Keola’s career as a musician began in his mother’s Honolulu hula studio, where he played guitar as an accompaniment for the dancers.

“That’s part of being in the Beamer family - your job is as a musician,” he says. Then he adds with a laugh: “And my mom is the only person who ever fired me!”

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In high school and college, Keola studied classical guitar, and later, when he began to teach guitar, he published the first ever, method book for the Hawaiian Slack Key Guitar, using a tablature system for 16th-century lutes as his starting point. At about the same time, in 1972, he recorded his first landmark solo album, “Hawaiian Slack Key Guitar in the Real Old Style,” filled with the nahenahe (soft and sweet) sound of this Hawaiian tradition. This album and method book (now online at kbeamer.com) continues to influence many guitarists.

Keola in combination with the Beamer Ohana (Family) Non Profit Corporation -- The Mohala Hou Foundation -- conducts genuine cultural immersion experiences through their biannual “Aloha Music Camp” held at the Keauhou Beach Resort in Kailua, Kona during the months of February and July. These week long immersions instruct musicians and non musicians in the art of the Hawaiian Slack Key Guitar, Ukulele, Hula, Olelo Hawai’i (Hawaiian Language) and Oli (Chant).

For many people, this is a life-changing experience, as the contextual learning of the immersion experience is presented with the true sincerity and clarity of Aloha. “Our guests are not tourists”’ says Keola. “They are our extended family”. www.kbeamer.com

• 2013 Hawai’ian Music Masters Series • www.thebarclay.org

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Like the islands themselves, HAPA’s music is an amalgam of influences ranging from ancient Polynesian rhythms and genealogical chants to the strummed ballads of Portuguese fisherman and Mexican cowboys, and the inspired melodies and harmonies of the traditional church choirs of the early missionaries.

Add to this a dose of American acoustic folk/rock, and you have what has been described as the “most exciting and beautiful contemporary Hawaiian music the world knows!” (Maui Times) These disparate ingredients, blended together musically in the Pacific, emote the unique flavor of what Hawaii and HAPA music is: “beautiful, fragile, spiritual, powerful...” (L.A. Times) Often encapsulated as the “Sound of Maui,” HAPA’s music evokes a place that many people at different times have referred to as heavenly. The overriding quality of their music is one of beauty and serenity, found in the majestic tones of the oli (chant), mele (song), the elegant movements of the sacred dance, known as hula, and the exhilarating innovative sounds of virtuoso slack key guitar.

“Hawaii’s hottest group!”

--Billboard Magazine

“If Maui were music, --Santa Cruz Sentinel

Olinda Road

HAPA’s benchmark self-entitled first release in 1994 still remains the number one selling recording by a group or duo in the history of recorded Hawaiian music, sweeping all six categories it was nominated for at the 1994 Na Hoku Hanohano Awards, the Hawaiian equivalent of the Grammy’s. “HAPA” was produced, composed, and arranged by Flanagan, with supporting vocal performances by Grammy Award-winning singer Kenny Loggins and guitar performance by Rock And Roll Hall Of Fame inductee Stephen Stills.

Since its debut release, HAPA’s groundbreaking music has established the band internationally as the most recognized name in Hawaiian music, with soldout shows from Tokyo to New York.

HAPA’s music can be heard in the 2011 Adam Sandler Movie “Just Go With It.”

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it would sound like these guys.

• 2013 Hawai’ian Music Masters Series • www.thebarclay.org

Barry Flanagan is an American singer-songwriter and musician and founder of the internationally acclaimed and award winning World Music group HAPA. Flanagan is known for his guitar-playing skills, vocal performances and ocean awareness projects. Born in New York City and raised in Bergen County, New Jersey, Flanagan came to the Hawaiian Islands in 1980 to study and explore the Art of Kiho Alu, or SlackKey Guitar, and Haku Mele, Hawaiian poetic song composing. Flanagan heard the recordings of Ry Cooder and Hawaiian slack key icon Gabby Pahinui while living in Colorado, which inspired Flanagan’s first visit and eventual move to Hawaii. Flanagan immersed himself in Hawaiian culture and art, seeking out native speakers, teachers and composers of Hawaiian poetry along with legendary Hawaiian slack key players, passionately studying all the indigenous art forms with Hawaii as the backdrop. An “eternal wellspring of inspiration for artists and writers from around the globe” is how Flanagan describes Hawaii.

A prolific composer and performer, and one of Hawaii’s most respected and celebrated recording artists and producers, Barry Flanagan has composed some of Hawaii’s popular songs of the last three decades. In 1994, the Hawaii Academy of Recording Arts honored Flanagan, and Hawaiian Language Professor S.H. Kiope Raymond, with the prestigious “Haku Mele” award, an acknowledgement for Excellence in the Art of Song Composition in the Native Hawaiian Language. In 2004, Flanagan co-composed a song with friend Kenny Loggins for his Grammy nominated “More Songs from Pooh Corner” release. The song, entitled “Hana Aluna Lullaby” includes a chorus in the Hawaiian language, making this the first song utilizing Hawaiian lyrics to receive that distinction.

Barry and Ron “hanging out” circa 1980

The evolution of Hapa as one of the most imaginative and diverse Hawaiian groups continues with the addition of their newest member, singersongwriter Ron Kuala’au. Born in Honolulu and raised in Kailua on the windward side of O’ahu, Ron’s earliest memories are of large family gatherings with lots of music and singing. In the early 1980s Ron moved to Maui and began performing professionally, finding audiences who resonated with his soulful vocals and beautifully penned Hawaiian songs. After releasing five full length solo albums, Ron joins Hapa to the delight of founding member and Hapa’s songwriter, Barry Flanagan.

“Ron was one of my first Hawaiian music teachers and one of the main influences on the “Hapa sound” that we found in the 1980’s,” says Barry.

“His harmony and guitar arrangements left an indelible mark on me and that inspiration can certainly be heard on our first self-titled Hapa release.”

Ron agrees, adding that both performers were equally inspired by each other’s music. “Barry and I go way back, we have a 30 year friendship built on our music and our love for expanding traditional and contemporary Hawaiian themes. I think we influenced each other a lot early on in our careers. We stretched our creative boundaries and always experimented with instrumentation and arrangements.

Joining Barry and Hapa feels like a reunion of sorts for Ron. “I’ve enjoyed Hapa’s music all of these years, so it’s really exciting for me to be a part of this legendary group. Hapa has always pushed the boundaries, reaching across world genres in creating their unique and eloquent artistry combining music, chant and dance. My hope is to continue Hapa’s evolution in exploring new ways to express aloha through music.”

Hula & Mele According to legend, the first hula occurred when Pele, the goddess of fire and volcanoes, wanted her sisters to entertain her with song and dance. Only Pele’s youngest sister, Hi‘iaka, would comply. Hi‘iaka performed gracefully and powerfully for Pele to the amazement of all.

Today hula is a beautiful art form and culturally significant practice that embraces and perpetuates Hawaiian history, legend, and culture.

With no written language, the ancient Hawaiians recorded their histories, genealogies, legends, and the phenomena of their gods through the creation and memorization of chants, known as oli, and dances called hula.

Mele is a more general word that refers to any type of song or chant. An oli is a chant that traditionally was not accompanied by dance.

Often long phrases were chanted in a single breath, with each phrase ending with an ‘i‘i (trill).

Hula dancers are trained by a hula master, or kumu hula, in a school called a hālau. The dancers are trained not only in the dance movements but also in the philosophy of the hula. In ancient Hawai‘i, one who trained from childhood in the art of chanting was known as haku mele, a prestigious accomplishment that gave the person a high ranking status in the society.

Considered a narrative movement, hula embraces the meanings of the chants while releasing the grace and spirit of the dancer.

The essence of hula is to go inward, to touch one’s center. Dancers are especially aware of their feet touching the earth, and of the earth itself, which is felt to be the source of the power of the dance.

‘Auana and Kahiko The two main forms of hula are ‘auana (also spelled ‘auwana) and kahiko. ‘Auana is the more modern style of hula, which is characterized by undulating movements and is usually accompanied by a Hawaiian band. Kahiko (which means “ancient”), is the older and more traditional form of hula.

In kahiko, an invocation precedes each dance, and the women often wear kneeIRVINEBARCLAYPRESENTS

text taken from www.hawaiianencyclopedia.com

length skirts made from flat green ti leaves.

They may wear a necklace made from the polished nuts of the kukui tree (Aleurites moluccana, candlenut) or lei ‘ā‘ī (draping vines or flowers).

Bracelets of ferns around their wrists and ankles are known as kūpe‘e. The lei po‘o encircles the dancer’s head, which is traditionally graced with long, dark flowing hair.

Mele Oli and Mele Hula The two general classes of chants, mele oli and mele hula, serve different purposes. Oli is a non-metered chant that is used for specific occasions and when addressing formal subjects, but not for dancing. Mele hula is a more rhythmic chant with a broader tonal range.

Mele oli may use just two or three notes, and the lines usually do not rhyme. Instead, the chants often have what is known as “linked assonance,” in which the end of one line has a sound-alike word or some associated meaning with the beginning of the next line.

fluctuating or trilling sound. Chants rarely use melody, the variations in pitch that are so common in Western style songs.

The inflecting tones and the weaving up and down sounds of microtonal inflection provide much of the artistry of chants. Also integral to chanting is the use of kaona (hidden meanings, concealed references, or double meanings) that may allow the chants to be interpreted several ways.

Chants are typically metaphorical rather than literal. For example, the word lehua may refer to one’s lover, or may refer to the lehua flower blossom, or to Pele’s younger sister, the goddess Hi‘iaka (the lehua was her sacred flower).

In ancient times, the meanings of certain words in chants were known only by the haku mele, and a chant might be telling two

Mele hula is accompanied by hula, and possibly musical instruments as well. Mele oli is never accompanied by dance or music, though may be accompanied by rhythmic instruments such as pā ipu (gourd drums).

In mele oli, the words usually revolve around a principal tone, which is pronounced with more emphasis than other tones of the mele.

The principal tone occurs over and over, and several subordinate tones may also be repeated, though with less emphasis and frequency.

Mele hula is a relatively free melody, with more tones and larger intervals between tones. The range and pitch of mele oli is more restricted, while the melody is more confined and less voiced.

The Artistry of Chants Chants may use an inflecting tone that momentarily varies from the principal or subordinate tone and then immediately returns. Microtonal inflection involves very quick, small alterations of the pitch, each time quickly returning to the main note. This creates a

• 2013 Hawai’ian Music Masters Series • www.thebarclay.org

In memory of our friend Kumu Hula Charles Ka’upu

or more stories at the same time. Deciphering the symbolism of a chant was considered part of the enjoyment, sort of an intellectual game.

The style used for a particular mele depends on the chant’s purpose, which resides in the meaning of its words. Some types of mele include mele ipo (love chant), mele inoa (name chant) and mele kahi (place chant). Hula ‘ili‘ili (pebble hula) is a form in which smooth, water-worn stones are used as clappers (castanets).

Different vocal techniques are required for different styles of mele, such as ‘oli‘oli (joyous), ho‘oipoipo (romantic), ‘ai ha‘a (vigorous), and ho‘aēae, a style of chanting with short phrases and prolonged vowels. The ho‘aēae style is often used in love chants. Different chanting styles require tones that may be tremulous, staccato (rapid fire), or more lyrical.

Hula and Mele— Carrying on the Hawaiian Culture Hula and mele chants are the ancient way that Hawaiians tell their stories, pay reverence to nature, and unite mind, body and spirit with all of creation. Hula and mele are also a celebration of the beauty of the heart of the Hawaiian people, their love and aloha.

Traditionally, hula and mele have helped Hawaiians remember their origins and give thanks for all of the many natural wonders that enrich their world, including the animals, birds, fish, flowers, trees, mountains, streams, ocean, wind, and sky.

Chants are enhanced by hula, and both are integral parts of Hawaiian spirituality. Chants and hula carry on the legends and history of the Hawaiian people and help Hawaiians retain a connection to their ancient past. Hula brings forth the meanings of the chants, similar to how the form of poetry may give life to a poem.

Hawaiian chants and hula recount the origins of the Hawaiian people and the islands on which they live, as well as the origins of the universe. There are tales of migrations, genealogies, myths, customs and traditions.

There are also stories of love, of longing for loved ones, stories of grief over deaths, and heroic explorations.

Hawaiian chants and hula acknowledge the ‘āina (land) and the history of the Hawaiian culture, a culture sustained by an oral tradition captured in the lyrics of the chants. Performed by those trained in the art, hula is

infused with all the power and history of the Hawaiian people.

The Rebirth of Hula— King Kalakaua, the Merrie Monarch Beginning in 1820 when the First Company of American missionaries came to the Hawaiian Islands on the Thaddeus, missionaries exerted a steady influence on the native Hawaiians, discouraging traditional cultural and religious beliefs and practices, including hula.

Hawaiians were eventually required to learn English, forbidden to speak Hawaiian, and made to wear Western-style clothes. Hula stayed alive only in secret, and the knowledge was passed along by those devoted to keeping this integral part of Hawaiian culture alive.

Numerous cases of “public hula” were tried in the courts in the 1860s, but the strict sanctions were eventually eased due to pressure from the Hawaiian community. Licenses were still required, however, and fines continued to be imposed. The law restricting public hula to the Honolulu area was repealed in 1870.

Public displays of hula were further revived during the reign of Hawai‘i’s last king, David La‘amea Kalākaua, which began in 1874.

When King Kalākaua had a coronation ceremony for himself in February of 1883 at the newly built ‘Iolani Palace in Honolulu, Hawaiian men chanted and pounded on pā ipu (gourd drums) and women in traditional dress performed hula.

Formal restrictions on hula began as early as 1830 when Kuhina Nui (Regent) Ka‘ahumanu issued an edict forbidding hula and olioli (chants) as well as mele, which were described as songs for “pleasure.”[i] Ka‘ahumanu was co-ruler of the Hawaiian Kingdom with King Kamehameha II (Kalaninui ‘Iolani Liholiho), and the former queen as the wife of King Kamehameha I. Ka‘ahumanu’s 1830 edict also disallowed women from bathing in public, and banned foul speech.

Hula was practiced openly again after Ka‘ahumanu’s death in 1832, although missionary influences continued to push for hula regulations. In 1851, perhaps partly in response to hula being used to provide entertainment for whalers and other visiting sailors, the Legislature enacted a law requiring “public shows” to be licensed.

The missionaries of the Hawaiian Evangelical Society complained that hula interfered with industrious work (e.g. farming on sugar plantations), and asked the Minister of the Interior, Prince Lot Kamehameha (Lot Kapuāiwa Kamehameha, the future King Kamehameha V) to ban hula as a “public evil.”[ii] The missionaries’ request was likely influenced by the fact that the decimation of the Hawaiian population by foreign diseases had worsened the shortage of plantation laborers in the Hawaiian Islands.

A law passed in 1859 required licensing fees for hula, imposing fines on violators and limiting hula performances to Honolulu only. Violations of the new laws could be punished with up to six months in prison and fines of up to $500.

King Kalākaua

King Kalākaua later came to be known as the Merrie Monarch for his revival of hula and other Hawaiian customs, despite protests of the era’s missionaries and other influential families of the day. King Kalākaua was attacked in the newspapers for allowing “paganism.”

Despite King Kalākaua’s efforts to revive Hawaiian traditions, restrictions on commercial (public) hula remained in place until 1896 when the laws were finally repealed, three years after the overthrow of the Hawaiian monarchy. The government of the newly formed Republic of Hawai‘i desired increased tourism and saw commercial hula as a means toward that end.

Today the premier and largest hula event in the Hawaiian Islands is the annual Merrie Monarch Festival, held every April in Hilo on Hawai‘i Island. The week-long hula competition is named in honor of King Kalākaua, and is a prominent showcase of the living Hawaiian culture of hula and mele.

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February 14, 2013

The Brothers Cazimero

March 9, 2013

Kiho’alu: Jeff Peterson & Keola Beamer

April 20, 2013

HAPA

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• 2013 Hawai’ian Music Masters Series • www.thebarclay.org