Polynesian vocal traditions are a vibrant tapestry of harmonies and rhythms. Multiple vocal parts weave together, creating unique textures with parallel thirds, sixths, and unexpected intervals. These polyphonic styles reflect the rich linguistic diversity of Polynesian cultures.

Hula, a cornerstone of Hawaiian culture, blends dance and music to tell stories and honor traditions. From ancient rituals to modern performances, hula has evolved while maintaining its cultural significance. It continues to be a powerful medium for preserving and sharing Polynesian heritage.

Polynesian Vocal Polyphony

Characteristic Features

• Multiple vocal parts singing together in harmony with parallel thirds or sixths being the most common polyphonic texture
• Frequent use of major seconds and perfect fourths, intervals relatively uncommon in Western music, contributing to the distinctive sound
• Syncopation and unexpected accents often featured in rhythmic patterns of the vocal parts
• Cross-rhythms between the different vocal lines are common

Language and Vocal Techniques

• Polynesian languages significantly shape the music with elongated vowels and glottal stops impacting rhythmic delivery
• Lyrics frequently use vocables (ha'ina) and nonsense syllables (he, ho)
• Microtonal variations in pitch and slides between notes are an important expressive device giving the singing a unique character
• Call and response is a common structural element with a leader singing a phrase then repeated by a chorus, sometimes harmonizing the response

Performance Contexts

• Group singing is very common, both in informal social settings (family gatherings) as well as highly structured performances (ceremonies)
• Choral singing frequently accompanies dance, especially in hula
• Informal group singing often features improvisation and spontaneous harmonization
• Structured performances involve extensive rehearsal and choreography to coordinate the vocal parts with dance movements

Cultural Significance of Hula

Origins and Traditional Significance

• Hula is a Polynesian dance form that originated in Hawaii, deeply intertwined with Hawaiian history, culture, and storytelling traditions
• Began as a sacred ritual dance to honor the gods (Laka, Lono) and pay tribute to chiefs
• Essential part of religious ceremonies (makahiki festival) and celebrations (birth of a chief)
• Movements and gestures are highly symbolic, used to convey stories, emotions, and themes of the accompanying chants or songs (mele)

Styles and Evolution

• Two main styles: hula kahiko (ancient style) and hula 'auana (modern style)
  • Hula kahiko performed to chants and percussion with dancers wearing traditional costumes (kapa skirts) and adornments (lei, ankle and wrist rattles)
  • Hula 'auana performed to instrumental music, often featuring harmonies and incorporating Western influences (melodic instruments, songs with verses and choruses)
• Suppressed by Christian missionaries in the 19th century who saw it as a heathen practice
• Revived in late 19th century by King David Kalākaua as a way to preserve Hawaiian culture
• Continues to evolve with contemporary influences (pop music, fusion of styles) while still maintaining traditional roots

Contemporary Practice and Significance

• Hula schools (hālau) led by master teachers (kumu hula) train dancers in the traditions, passing down knowledge
• Performed at social gatherings (luau), ceremonies (weddings), competitions (Merrie Monarch Festival), and as entertainment (live shows, movies)
• Remains a vital part of Hawaiian cultural identity and pride
• Serves to perpetuate Hawaiian language, music, stories, and values
• Has spread beyond Hawaii and is practiced and celebrated by Polynesian diaspora communities worldwide

Instruments and Rhythms in Polynesian Music

Idiophones and Membranophones

• Slit drums or log drums, most widespread Polynesian instrument, made from a hollowed out log with different sizes producing different tones
• Stamping tubes, percussion tubes pounded on the ground, common accompaniment for dance ranging from small to large bamboo sizes
• Idiophones like shakers (ʻulīʻulī), rattles (pūʻili), and scrapers ('ili'ili), often made from natural materials (gourds, shells), provide rhythmic accompaniment
• Shells and wood can also be struck together as clappers (kāla'au)

Aerophones

• Conch shell trumpets (pū) blown to announce ceremonies and convey signals with sound production similar to brass instruments
• Nose flutes (pu'ili), especially in Hawaii and Cook Islands, played with mouth and one nostril producing a soft, airy timbre
• Bamboo trumpets (pu'ohe) and bamboo flutes (pu kani) also used in some traditions
• Gourd whistles ('ohe hano ihu) and reed pipes (nafa) are less common but still present in some cultures

Chordophones and Western Influences

• Less common in pre-contact times but now widespread, especially in Hawaiian music
• 'Ukuleles, adapted from Portuguese instruments brought by immigrants, hugely popular in Hawaiian music with different sizes (soprano, concert, tenor, baritone)
• Slack-key guitar (kī hō'alu), open tunings with bass notes played on the lower strings while the melody is played on the higher strings, iconic Hawaiian sound
• Steel guitar, influenced by Hawaiian slack-key, creates distinctive sliding tones and became popular in country and western music

Rhythms and Percussion Styles

• Rhythmic patterns tend to be repetitive and trance-like to accompany long periods of dance
• Polyrhythms, different rhythmic patterns played simultaneously, are common
• Syncopation, accents on the off-beats, frequently used to create rhythmic interest
• Ipu beats, different rhythmic patterns played on gourds, associated with specific dances (hula 'ōni'ō beat for hula 'auana, pahu beat for hula kahiko)
• Strict tempo not always maintained, rhythms ebb and flow with the energy of the dance and chanters

Music in Polynesian Storytelling

Oral Traditions and Transmission

• Prior to colonization and introduction of writing, Polynesian culture was primarily oral with music essential for passing down history, stories, genealogy, and cultural knowledge
• Chants preserve stories of Polynesian origins (Kumulipo chant), migrations (Hōkūle'a), mythology (Pele), and important historical and legendary figures (Kamehameha I)
• Musical elements like rhythm, chant, and vocables function as mnemonic devices to aid memorization of long texts and genealogies
• Vocal traditions are passed down in families and training schools (hālau) where cultural knowledge is carefully guarded
• Aspiring chanters undergo long apprenticeships to master the tradition, learning from elders (kupuna)

Language and Poetic Devices

• Chants often in an elevated, poetic register of language distinct from common speech
• Metaphor, allusion, and archaic words are common, requiring deep cultural knowledge to fully understand
• Repetition of phrases and parallelism used for emphasis and to aid memory
• Vocables (he, ho, ha'ina) and nonsense syllables fill out rhythmic patterns and signal changes
• Chants follow strict rules of composition (kāhea, pule, ho'ōho) governing use of language, themes, and accompaniment

Themes and Cultural Significance

• Chants cover all aspects of life including laments (kanikau), love songs (mele ho'oipoipo), celebration chants (mele hula), taunts (mele inoa), prayers (oli), and children's songs (mele pule)
• Themes include birth, death, love, war, politics, religion, history, and connection to the land ('āina)
• Music deeply connected to Polynesian conceptions of history and cultural identity, linking present day people to their ancestors and cultural roots
• Place names in chants (wahi pana) immortalize sacred sites and important locations
• Hula chants (mele hula) record stories of gods and heroes that are acted out in dance
• Personal chants (mele inoa) celebrate individuals and their accomplishments, preserving their memory