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Noenoelani Zuttermeister is a professor at University of Hawai’i who is a part of a family that has been dancing for four generations had said (1991) “The average tourist doesn't come to Hawai’i to see traditional hula. They come to see the fire knife dancer, to hear `The {Hawaiian} Wedding Song' sung, to see the Tahitian dancers.  Another man named Mrs. Lewis had said tourists want to go where the alcohol such as mai tai’s get served (LoLordo, 1991).

Caption: As you read before this is Diamond Head the crater in Waikiki, this is the home where tourists see the dance pay perceive as Hula when it is not.  This is where these men said the following things.

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This then led to Hawai'i being seen as paradise which is home to Hawaiians who have the “aloha spirit”, meaning they are friendly, warm inside, and generous (Desmond, 1997, 87).  This was not always good because then the women Hula dancers were seen as just the same as a prostitute, one who uses their body and sexual skills get the attention of men and women who visit.  (Desmond, 1997, 88).  The little brown girl then began to be the poster child on the Hawai'i Visitors Bureau.  Soon she started to be on different Polynesia revues and different ads, all of this portrayal of a fake Hula dancer just so that Hawai'i can have a magical setting.  Images of a women were seen with dark brow skin, soft dark eyes, smiles that tease you, and hips that were supple which was created through the eyes of tourists as being seen as an attraction that is sexual of the women in Hawai'i (Kamahele, 1992, 42).
Caption: This is a crater called Diamond Head which is in Waikiki, it is a very symbolic crater and site in Hawaii. This is where the tourists of Hawaii typically sty and is also the home of the aloha spirit.

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I decided to pick Hula dancing as my subculture because I am from Hawaii and for four years in High School I danced under the teaching of Kumu Michael Casupang for Pūpūkahi I Ke Alo O Nā Pua.  This has been a big part of my life, I did not just learn how to dance, I made friendships and bonds that I will keep for the rest of my life.  I also learned several important life lessons along the way.  This is a good topic for me because I have been a dancer, but I also get to discover different Kumu teachings and lessons.
Caption: This a picture of the Hula 4 level group that I was a part of my last year in High School.

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Hula is a dance, but it is also a way for a women such as Kumu Kalahikiola to use her wisdom, knowledge, and her love for Hula to see what her grandmother was trying to teach her as a little girl raised on Maui.  She knows from her grandmother that Hula is more than a dance people learn and do, it deals with a persons ways of living (King, 2011).  The art and dance of Hula is so powerful that in the mid eighteenth century it was banned because of it being to sexual desire it had on people who watched it, but the effect on King David Kalakaua was so strong and meaningful that it was ordered to be danced again in public (LoLordo, 1991).  Today, Hula is still performed at theatres, on the grounds of Waikiki, at schools, and even for Halaus.

Caption: This is a picture taken by a photographer for Mid-Pacific art events, it was taken with a Nikon D810. This is a picture of members of other students in my High School Halau called Pupukahi I Ke Alo O Na Pua at our May concert.

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The outfits for Kāhiko Hula consists of the women wearing Pa’u tops and men wearing malos.  To help tell different stories during the Kāhiko dance, the dancers outfits are typically made from natural materials such as ti leaves and the women wear accessories such as fresh leis.   Other accessories consists of Kukuʻi  nuts or dogs teeth called Kūpeʻe, they were worn as necklaces, bracelets, or anklets (Pollenz, 1950, 226).  The type of instruments consist of ipu (gourd that is bottle-shaped) and Pahu drums (drum that is covered with sharkskin)  (Lolordo, 1991).
Caption: This is a picture of my Hula sister wearing a Haku lei made from natural flowers and leaves. The second is of a Plumeria Lei.  These are visuals of what some accessories may look like.

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At first Hula was a dance that was performed for the King and common people by trained dancers (Desmond, 1997, 104).  In the classical and ancient form of the Hula dance, it is similar to the NOH dance which is a popular dance which is performed throughout the Islands in the South Sea (Beckwith, 1916, 409).  Hula involves several series of dances that have the dramatic affect which is danced with the assistance of a song or even instruments that produced a rhythmic beat which mimics the rhythms of nature.

Caption: This picture is of Manoa Falls a waterfall on the Island of Oahu, it shows just one rhythm of nature that a dancers motions can follow the flow of a waterfall.

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F.1: Hula
F. 2: Stereotypical Hula
F. 3: The Bigger Issue
F. 4: The Little Brown Girl
F. 5: Home of The Hula
F. 6: Tourists and Hula
F. 7: Auana Dance
F. 8: Kāhiko Dance
F. 9: Kāhiko Dance Material
F. 10: Interview
F. 11: Personal Thoughts
F. 12: Real Hula

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The “Fake Hula” has also been known in areas of Waikiki, this is due to the fact that Hula has been danced for tourists. These Hula dancers try to perform traditions dances by incorporating aspects to make it seem like the real deal such as chanting and using instruments to create the rhythmic sound, they simple do not have the experience one gets from being a part of a Halau.  The one thing that the Waikiki tourists will not get to see is the spirit and soul of the ancient dance like they would see while watching a Halau (Lolordo, 1991).
Caption: This is taken at sunset in the popular tourist area called Waikiki.  The ocean can be made in to a motion of a wave moving in the dance.

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In the nineteenth century, Hula went from being known as a sacred dance to “A Little Brown Gal”.  This saying also came along with knowing the background of this girl which is a place on the island of Oahu called Diamond head, she would typically be standing underneath the coconut tree.  This brown girl came with her clothing and instrument with her which includes her ‘Ukulele (a Hawaiian guitar) coconut bra top, and a grass skirt (Kamahele, 1992, 42).  This however, turned into a problem of stereotyping which was that now all Hawaiian women looked like the fake image of a Hula dancer
Caption: This is a photo to help show what a coconut may look like so that the reader is able to visualize a girl standing underneath the tree holding her Ukulele wearing her coconut bra and grass skirt.

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The first one is called ''Auana, this is the modern dance that gets performed in a style that is Westernized, it was created during the ruling of David Kalakaua which was from 1874-1891.  This is when a dance is accompanied by different melodies which was produced by instruments such as a guitar, 'ukulele, and piano.  Women wear tops, dresses, or skirts that are made with tapa which is cloth, they are typically stamped to create different designs.  The accessories that go along with the dancers outfits sometimes consists of real flowers used for hair accessories and leis, but most times the flowers used are fake.  The movements are typically more graceful and languid and your hands move more to exemplify different movements that relate to the words of a song.
Caption: This is a selfie of my Hula sisters and I in our costumes for our Auana dance. The costume consists of fabric instead of natural material.

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When it comes to the movement of Kāhiko dancing, it is more vigorous and robust, movements are sharp, a dancers hands and arms are typically held on the side of their hips strong and tightly (Stillman, 1996). Caption: This is a picture of my Hula sisters and I wearing our costumes for a Kahiko dance.   On our heads is a Lei Po'o which is made from Ti Leaves.

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Being known as the “little brown gal” is not the only stereotypical part of a Hula dancer, it is also known as a plastic ornament that goes on a car dashboard which tends to bobble side to side (Greene, 2013).
Caption: This is a picture of a dashboard to help show that this is what the Hula girl ornament would be on top of and what the driver will see.

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In a recent interview about the movements of Hula, Kumu Lanakila from Mid Pacific Institute had stated that he takes his classes on outer island trips so that they can see the different views their songs talk about.  With knowing what the view looks like, he said that when you dance and make a movement you have to imagine you are reliving seeing that view so you can visualize the proper setting for the song (Lanakila, 2017).  A dancer may make the motion of your hand going to your nose to show you smelling a flower, so what needs to happen is you need to actually use your senses and smell it.  He then ended by saying nature comes with positive and negative signs, when I took my students to Kalalau Valley it was raining, but once my students started chanting the sun came out.
Caption: This is a picture taken on the Island of Maui of Hanalei lookout.  My Kumu had told his students to keep this view in mind for whenever they made the movements for Hanalei.