This book is the product of an island culture, as am I—a small part
of a larger whole. “Aunties” and “uncles”—the hula dancers and their
‘ohana who animate this study—sustained me with stories and food
from Connecticut to Hawai‘i: the late, beloved Aunty Betty Puanani
Makia; the late Leonard “Sonny” and Janet Kalolo; Leonard “Spike”
and Lynn Makia; Uncle Kulani Purdy of New Jersey and Moloka‘i;
Lloyd and Marilee “Mimi” Gilliom of Maui (‘ohana of the late Tūtū
Jennie Napua Woodd); Aunties Lei Becker Furtado, Manu Kane-
mura, Te Moana Makolo, and Tutasi Wilson of Honolulu; and the
late Raylani Kinney Akau, Rayner Kinney, and Teela Hailele on the
island of Hawai‘i. Many generously lent their personal collections
and photographs. Aunty Carol Mae Kuuleinani Vanderford and the
late and much-missed Uncle Mervyn Thompson on O‘ahu tirelessly
accompanied me on research trips and field outings, saved every
useful story and photo graph, shared their mana‘o, and unexpectedly
made me their hānai. They have been my makana.
In the contemporary hula world, I owe many thanks to kumu
hula Uncle Ed Collier and Hālau o Pua Kukui, especially Sean
Nakayama, Kamele Collier, Kili Valmoja, Kekai Valmoja, Landon
Patoc, Travis Dang, Devynne Sue, Dalton Sue, Ellarene Sue, and fam-
ily, and cousin Ross Yamamoto for welcoming a newcomer to the
hālau during its most intensive and sensitive training before the
Merrie Monarch Festival competition. Uncle Ed willingly shared his
wisdom with me, another youngster ‘ono for knowledge. I also thank
kumu hula Kekaimoku Yoshikawa and Vicky Holt Takamine for
their aloha. My hula sister Gena Dutro and hula brother Blaine Ikaika
Dutro have supported me from my early hemahema steps in hula for
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