Hula is one of the most recognized dances in the world, but its roots go far deeper than the image most people picture. It began as a sacred religious practice among the Polynesian people who first settled the Hawaiian Islands. Performed before kings and commoners alike, hula was used to honor the gods, praise chiefs, and promote the health and growth of the community. Every movement carried meaning.
The dance form known as Hula Kahiko is the ancient style. It was performed with chants called oli and mele, which told stories through movement. The dancer’s body acted as a living illustration of the words being sung or spoken. Traditional instruments kept the rhythm — drums made from gourds, bamboo rattles, and stone castanets, among others.
When Western culture reached Hawaii in the 19th century, hula changed. Missionaries viewed the dance as immoral and pushed to suppress it. Despite this pressure, hula survived and eventually adapted. The new style that emerged from this Western influence was called Hula ʻAuana — from the Hawaiian word meaning “to wander” or “drift.” This form incorporated guitars, ukuleles, and double bass alongside sung lyrics rather than pure chant.
The 19th century also produced a category of hula now referred to as “Monarchy” hula — pieces composed and choreographed during that era, often tied to the Hawaiian royal court. King Kalākaua, who reigned from 1874 to 1891, was a major force in reviving hula after decades of suppression. His efforts helped the dance reclaim its place in Hawaiian culture.
By the 20th century, hula had split into these two distinct styles. Hula ʻAuana became the version most widely seen outside Hawaii — fluid, graceful, and often performed in the grass skirts and flower leis that became iconic. Hula Kahiko remained a more disciplined, ceremonial form, kept alive by dedicated practitioners and schools called hālau hula.
A newer term, ʻAi Kahiko, refers to hula written in the 20th or 21st century that strictly follows the stylistic rules of ancient Hula Kahiko. These pieces use traditional instruments and chant forms, even though they are modern compositions. The term helps distinguish authentic recreations from more contemporary interpretations.
The 1940s were a fascinating decade for hula’s public image. Hollywood films and mainland tourism had turned Hawaiian culture into a popular fascination across America. Hula dancers appeared in movies, magazines, and on stage, often dressed in elaborate costumes that blended authentic Hawaiian elements with theatrical flair. The photos from this era capture that unique intersection of tradition and spectacle.
Costumes in the 1940s hula scene varied widely. Traditional ti-leaf skirts appeared alongside more elaborate raffia and fabric versions. Lei — garlands of flowers, shells, or feathers — adorned the head, neck, and wrists. These weren’t just decorative. In authentic hula, each piece of regalia holds a specific cultural meaning tied to the story being told.
Hand and arm movements are central to hula. Each gesture represents something specific — a wave, a flower, a person, a place. The hips move in controlled, rhythmic patterns that reflect the words of the accompanying song or chant. Footwork grounds the dancer and keeps time. Together, these elements create a complete visual language.
Hula can be performed sitting or standing. Seated hula, often called noho hula, emphasizes upper body movement and is used for specific types of chants. Standing hula allows for the full expression of both upper and lower body movement, and it is the form most commonly seen in performance settings.
These photographs from the 1940s offer a rare window into how hula was presented and celebrated during one of the most visually rich decades of the 20th century. The women in these images carried on a tradition that stretched back centuries — dressed for performance, rooted in a culture that used dance not as entertainment alone, but as a living record of history, belief, and identity.
