Hard to believe, but it’s true. The second day (Oct. 12) of “My Hawaiian Souvenirs” — Robert Cazimero’s sentimental journey of mentoring and molding his fabled hula halau for 50 years — was even better than the first installment the night before.
The continuation, again at the Leeward Community College Theatre, was jammed with folks – many returnees who saw the original segment.
My theory? The conclusion had a few stronger structural elements, notably the assembly of Na Pualei O Likolehua dancers, in reality the kinda-sister halau of Na Kamalei O Lililehua, whose seemingly impromptu appearance tapped new depths of historical exploration.
This precise moment brought tears to my eyes, packed with unexpected heart- and soul-tugging. Overall, this was powerful and prolific story-sharing.
In retrospect, there were 10 take-aways:
1 – Cazimero, hereafter called RUC for Robert Uluwehi Cazimero, called for the lighting of the house, after which about 14 wahine from the late Leinaala Heine Kalama’s Na Pualei O Likolehua halau left their seats to take the stage. Then RUC started singing “Pua Hone,” and his Na Kamalei gents – known for vocalizing as well as hula-ing – chimed in, shaping Dennis Kamakane’s composition (meaning “Honey Flower,” and written for his girlfriend) with profound relevance. ‘Ala had been Robert and Roland Cazimero’s regular hula soloist, and this was her signature number, bar none.
2 – Roland’s popular creation with Kelii Taua, “Ho‘onani la Hokule‘a,” provided ocean commotion in voice and dance; this has always been one of Na Kamalei’s frequent numbers, and here it’s a gentle tribute to Boze.
3—Kanoe Kaumeheiwa Miller, the woman dancer who once was officially part of the brotherhood of Na Kamalei, appeared in a couple of hula numbers. Not only was she allied with RUC as a dear colleague, she was widely known as the principal hula dancer at the fabled beachfront Halekulani Hotel shows. As a sistah, she did a sexy and scintillating hula in a glittering turquoise cellophane skirt and undoubtedly was a stupendous surprise and a belated acknowledgement of her link with Na Kamalei.
4—An unexpected “roll call” of sorts, midway through the show, had all halau members come to the mike, and give their names and year they became a member of Na Kamalei. Even a few makule dancers were able to keep up with the youthful gents from recent years. But clearly, the bond and dedication to RUC’s leadership were imminent. The “thens” and the “nows,” side by side, provided a unique picture of the halau’s history.
5—Bob’s Boys, the house band introduced in Part 1, returned for another serenade with the kumu and his dancer. Sorry, don’t know the last names of Richard and Keola, and Kaipo Hale, RUC’s best friend, comprised the Boys. And forget the vintage, they’ll always be Boys.
6—A segment themed “And then I wrote,” found RUC to sharing a few of his compositions that succeeded in demonstrating an earnest reflection of his life, like “House on the Corner” and “Home Pumehana.” House and home, indeed, reflected the spirit of connection and comfort.
7— Remembering and respecting folks who’ve passed on provided moments of solitude. Like the earlier mention of ‘Ala and “Pua Hone,” there were other salutes to Gramps, a beloved soul from the past, via the reprise of “Hawaiian Souvenirs;” Wayne Chang, RUC’s fellow Kamehameha Schools influence and collaborator; and Maiki Aiu Lake, the legendary kumu hula who took Cazimero under her wings and nurtured his skills leading up to his ‘uniki (graduation); the memorable “Pua Lililehua” (composed by Kahauanu Lake and Mary Kawena Pukui for Maiki) was the proper selection to honor her.
8—The Merrie Monarch Festival in Hilo, plus Na Kamalei’s win this year, have been a stressful highlight of RUC’s 50th anniversary as a kumu. The relaunch of kahiko selections like “Uwa e Ka Leo o Kohemalamalama,” “Kohe Malamalama” and “Ho‘i: Nu‘umealani,” exemplified the sweat and invention to get every note and every move right that helped them win the accolades this year. Preparation was the magic word.
9—Kumu watching among the field of Hawaiiana fans was relatively easy here. For several seasons now, Vicky Holt Takamine, kumu of Pua Ali‘I ‘Ilima, is always in the audience; she now is executive director of the PA‘I Foundation, endorsing and supporting RUC’s efforts as a fellow student of kumu Maiki. Like RUC, Takamine is an advocate of the preservation of Hawaiian Culture and Native Hawaiian traditions; her support, plus kokua from other kumu peers, demonstrate strength in collaboration and mutual respect.
10—RUC’s rigorous production skills define the precision of a stunning concert. And watching the performers on stage, and spectators in the theater, you feel sense of brotherhood and loyalty emerging. Aloha is the spirit, as folks arrived at the theater on Hawaiian time, just as the lights are turned off and the show begins. And intermission was the time for hugs, hoomalimali time and what-you-doing now queries, warm and joyful responses to singers and dancers. Hula, under RCU’s watch, has taken on a new flavor, like a class reunion, where meet-and-greet sessions are plentiful. Like a school reunion, the attendees get all dolled up in finery, often with Hawaiian motifs, and give and wear lei. Gentle kisses reflect the friendship and the connectivity; this is not just a holo holo outing, it’s a destination to embrace cultural roots and share your involvement with fellow Hawaiiana fans. Further, it’s an op to get a selfie with the kumu…till the next such gathering to break bread…
And that’s Show Biz…
