wayneharada.com

Billed as the Hawaiian Airlines May Day Concert, last night’s Lei Day extravaganza at Bishop Museum was sort of an after-party for core performers at the recent Merrie Monarch Festival in Hilo.

Indeed, Robert Cazimero and his hui of kane dancers in his Halau Na Kamalei O Lililehua  swept the ‘auana and kahiko categories in the prestigious hula competition last weekend. A few numbers were repackaged for the Lei Day audience to examine and experience HNKOL’s signature choreography.

Clearly, some of the memorable Merrie moments still were swirling in the audience and it was Zachary Lum, Keauhou member, who wisely opined that Lei Day felt more like an “after -party” following Na Kamalei’s victories in Hilo.

For kumu hula Cazimero, this year marks the 50^th anniversary of his leadership in training hula gents, and nostalgia was part of an unstated ingredient of Lei Day. Thus, appreciation and gratitude of his own kumu way back in the day — Maiki Aiu Lake—  still resonated, even if he has potential  to become his generation’s Maiki in theory and in practice.

At 76, Cazimero’s leadership and integrity have shaped his mission in life –  he lives and breathes hula to the max, teaching men to tell stories of life through song and dance—for more than half his life. Na Kamalei always has been a rarity, boasting men who not only dance, but sing mele and chants in Hawaiian.

But a new breeze of teamwork has been evolving in recent years.

Keauhou, the trio comprising brothers Zachary Alaka‘i Lum, his brother Nicholas Keali‘i Lum, and their Kamehameha Schools classmate Jonah Kahanuola Solatorio, have   become Cazimero’s “house band,” providing splendid vocals and instrumentals. In select instances, the Lum bros dance, too – they are Na Kamalei regulars and versatility is in their DNA. Keauhou’s excellence in traditional Hawaiian mele is admirable. And Zach’s leadership and performance traits could make him a kumu over the coming years.

The death of Roland Cazimero, Robert’s inventive brother whose guitar skills and harmonics were key to the duo’s sound, left a void for several years. But for several months now, Kuana Torres Kahele  — himself a prolific trouper, who sings, composes songs, and plays ukulele and guitar, and fashions lei in-between — has enriched  the Caz sound. Kahele, a guest artist,  soared in his segment with Keauhou, rendering  beautiful mele like “Ke Anu O Waimea” and “’Ohu ‘ohu O ‘ahu,” two place songs, plus “E Ku‘u Lei,” with Cazimero joining in to fortify and punctuate the duet format.

Two halau gents had solo dance moments.  Alvin “Gunny” Hanzawa, no longer a regular but still savvy of the skills he learned, flew in from California to participate,  a rare Japanese hula dancer. And veteran Keola “Bully” Makaiau, clad in the silver-grey  hinahina, had a solo moment with power and grace, unlike his often comedic participation in the monthly Full Moon concert gig with his kumu at Chef Chai’s.

Other guest dancers were Kina and Kalani, so there was no shortage of kane hula, and four veteran kumu including Vicky Holt Takamine, showed the audience how the old-timers swished and sashayed with traditional decorum to share their artistry.

On a tune entitled “Ka Lehua I Milia,” Cazimero reached upper-register notes to provide his, and the evening’s, most melodic and trusty tones, belting lyrics while at his grand piano.  It was the peak — the high point — of the evening’s cadence between ‘auana and kahiko gymnastics.

The finale, “Lei Puakenikeni,” tapped everyone in the cast, combining singers and dancers and musicians in uniformed bonding, like threading puakenikeni blossoms to create an immense, fragrant lei.

And that’s Show Biz…