30 expressive years for hula dance troupe
Given enough artistry and marketing flair, a professional dance company can survive for perhaps 30 years. But when a troupe that is fueled by talent, goodwill and community spirit rather than money endures and prospers for three decades, you suspect there’s a bit of magic involved.
In his own way, Patrick Makuakane, 54, is a genuine sorcerer; 30 years ago, he founded Na Lei Hulu I Ka Wekiu (translation, “the manyfeathered wreaths at the summit, held in high esteem”) as an outgrowth of a school in which he taught the elements of indigenous Hawaiian movement.
Who knew then that Makuakane would expect to attract capacity audiences for his 30th anniversary retrospective this weekend and next? Yet the Hawaiian native talks as if he’s just getting started. “I am feeling stronger than ever,” he says. “The company is in really good shape. They are at the point where they can run
the rehearsals themselves. I trust them.”
The current iteration of Na Lei Hulu numbers 40 dancers. But for this retrospective, Makuakane has also recruited five Hawaiian guests, including his Honolulu teacher, Robert Cazimero, whose reputation in the islands is strong. The five musicians, all performing on a variety of percussion instruments, have also been imported.
During these past three decades, public consciousness of hula has evolved. No longer considered a mere diversion practiced in Waikiki shopping malls, hula is now accepted as a key, vital element in traditional Hawaiian culture.
“I return to the islands eight or 10 times a year to dance and to study,” Makuakane says. “It’s never-ending. Hula is a deep well, and I feel that I have just skimmed the surface. People are now much more informed and savvy about the culture and discovering things in it. When I was growing up, we had not moved beyond the exotic stage. Now I share and I teach.”
You can expect to see some traditional hula at the upcoming shows. Makuakane has prepared a tribute to the island of Kauai and an interfaith tribute to Krishna.
Personal dedication
But the anniversary show will also include several examples of hula
mua, a huge audience draw. “It is unique to our company,” says Makuakane, who translates it as “bringing something forward from the past.” He starts with traditional movement, then sets it to non-Hawaiian songs, accompanied by “pop, electronics, alternative, opera, anything I find inspiring and beautiful.”
Purists may decry the absence of traditional instruments, yet audiences cheer these hybrids. The most requested encore, Makuakane says, is a dance set to Roberta Flack’s “First Time Ever I Saw Your Face,” and it will be on this month’s program.
Beyond the choreography, what is so heartening about Na Lei Hulu is the personal dedication of the performers. They have been rehearsing without pay every Sunday since February, and the experience has shaped their social lives.
Jason Laskey’s story is typical. He moved here from Honolulu 16 years ago. At a friend’s suggestion, he auditioned for the company, was accepted and has never left. Now 38, and a senior investment strategist by profession, Laskey does not think he has sacrificed a thing. “It never feels like I’m giving up my time,” he says. “I’m always getting more out of it.”
The socializing aspect of Na Lei Hulu cannot be underestimated. At the rehearsals, Laskey met his future wife, Lola; now they both attend Sunday rehearsals with members of their growing family in tow.
As for Makuakane, he has been approached about a Broadway project, which he is considering. Fortunately, one can perform hula at an advanced age. “We have a longer shelf life than ballet or modern dancers,” he says. “We’re not jumping around or spinning or twisting our bodies. We’re athletic, but much gentler on our joints.”
Makuakane has a ready answer for almost everything. But there’s a pause when asked what makes a great hula dancer. “Vulnerability,” he says after pondering for a moment. “Hula dances tell stories, but the hands and the arms do not tell the whole story. The technique is easy. It’s the poetry of the body and the expressive depth of the performer that count most.”