[Originally published in PCC’s UPDATE May 4, 1984 newsletter, story and photos by Mike Foley; reprinted in pcc50.com, January 30, 2013]
The Polynesian Cultural Center’s hula hālau, Hui Hooulu Aloha, under the direction of kumu hula Cy Bridges, [then PCC VP of Product, retumed from the 21st annual Merrie Monarch Festival in Hilo laden with honors.
The women placed fifth in the auana division, and the men took third place in the kahiko division and third place in the overall competition.
These awards, however, do not begin to tell the full story of the hard work pride, beauty, grace, and above all the love and mana surrounding Hawaii’s most prominent hula competition.
Thousands of people from throughout the state sat from four-to-six hours or more on each of the three main nights of the festival in Hilo’s Edith Kanakaole Stadium, thrilled by the beauty of the hula and skills of the dancers.
On Friday night during the kahiko competition, for example, the pahu drums resounded, punctuated by the higher-pitched pūniu, as ancient chants filled the stadium. It seemed with each succeeding hālau the excitement rose, and particularly skillful moves were like electrical charges, setting off spontaneous applause and enthusiastic crowd approval.
Our men, returning from their masterful performance and dripping with sweat from their efforts, kissed each other Hawaiian-style in the dressing room, tears welling up in their eyes because of the pride and mana they instilled in their hula, because they knew they’d done it beautifully. The spirit of brotherhood and unity overflowed.
The next night, during the auana competition, the beauty and grace of the women were astounding: Stylishly coiffed hair topped with flowers of every kind and dresses ranging from traditional hula costumes to elegant gowns. Hours and hours of effort, great expense, and energy came together on the stage for a few minutes of performance — and the truly amazing thing was, everyone there knew and appreciated all of it.
We expected the men to win something, but when
our women took fifth place, the surprise was genuine. Hugging and kissing followed, and we all knew this had been a great night for the dancers, their families, and the Polynesian Cultural Center.
One of the most beautiful aspects of the Merrie Monarch Festival was seeing how all the hālau members came together like family, sharing things, and being united in their actions and thoughts. This was certainly true in the case of Hui Hooulu Aloha.
“Many people helped us in our efforts, and I’m proud to be associated with them,” Bridges said. Among them:
Hui Ho’uulu dancers included: Kela Miler, Tina Pascual, Jo Ann Keliikuli, Michelle Keliikuli, Kuulei Snowden, Anna Kanoa, Irene Pascual, Jackie Manipon, Jan Cartwright, Davelyn Pacheco, Tiare Tupou, Keahi Dela Cerna, Louis Wallace, Lambert Naihe, Kory Jones, Cookie Young, Steven Fonua, Ron Walk, Chad Keliiliki, Kaleo Raquilman, Kim Makekau and Raymond Mokiao Jr.
Kōkua (helpers) included: Pualoke Dela Cerna, Josie Kahiapo, Julian Kaka, Sophia Turaga, Raylene Cartwright, Lynn Cleveland, Kimo Huddy, Emma Makekau and Verna Awa.
PCC musicians: Jay Akoi, Bobby Akoi, Lamar Benavides, Greg Tata and Cy Bridges.
PCC Seamstresses: Elisa Teriipaia, ‘Ofa Talakai, Winona Theresa-Warner, Maile Vimahi, and Mele Taumoepeau.
OTHERS: Iraani Bridges, Haunani Kaanaanā, Sharon Mokiao, Haili and Reiko Pokipala, Mike Foley, René Tetuanui, Wai Elkington, Mae Malllahan, Ken Coffey, Joel Nākila and Donna Brown.
“And I know this list is not complete,” Bridges said, adding that he especially wanted to acknowledge the generosity of Bishop Gordon Nāehu of the Keaukaha Ward (Hilo Stake), for providing the use of the cultural hall and kitchen of his chapel as the hālau headquarters while they were in Hilo.
“Also Ralph Rodgers Jr., who approved of the entire project,” Bridges continued. “Our hālau is very fortunate in having the Polynesian Cultural Center as its sponsor.”
