What is Hula? What is Ori Tahiti? Those were the questions that went through the mind of Marlo when he first stepped on the floor of a ballet studio where Tiare use to teach on the corner of Van Ness and Bush Street in San Francisco. His initial thought about men dancing Hula or Ori Tahiti was out of the norm. Keep in mind now, the year was 1981. At that time, Marlo was involved with martial arts and was already 2 years in training the Shaolin Kenpo system with Great Grandmaster, Ralph Castro. It wasn’t until his sisters invited him to one of their practices (all 3 of his sisters were dancing with Tiare at that time) that his involvement in the Polynesian culture began. He went to that practice with his sisters and the first thing that caught his eye (well, actually, his ears) was the Tahitian drums. He witnessed 15 men drumming and playing in unison making music come out of a piece of wood (toere). A seed was planted within him that this may be something he’d like to do, but he was still apprehensive.

The 1981 San Francisco Tahiti Fete which was held at Fort Mason is where the music and dance of Tahiti came alive for Marlo. There were over 5,000 people in attendance for this 2-day festival. Individual performances and group competition were the highlights of the weekend. One factor that caught his attention was the soloist competition with boys his age. Nobody in particular to watch, but what amazed him was the ovation that these 13-year old boys were getting. By the time the group competition started, there was electricity in the air. You could feel the anticipation of the crowd increase after each group performed. What were they waiting for? Who did they want to see? Talk was abuzz about Tiare ’Ote’a. That’s who they wanted to see. “What is she gonna come up with; what kind of costume will she/they be wearing; what new moves will we see?” Those were the comments that were heard and pretty sure was on the minds of everyone there. When their name was called and they took the stage to perform, their energy exploded into the entire arena. With the kind of formations the men and women lined up in and the music the drummers played, he could understand why Tiare ’Ote’a was the last group to perform. People were standing in the aisles and bleachers clapping, cheering and yelling after the performance. That’s when he knew he wanted to be a part of that world. He wanted to dance, drum and perform.

Mark Keali’i Ho’omalu, Kumu Hula of Academy of Hawaiian Arts, was with Tiare and under her guidance from 1981 to 1982 and was teaching the men hula at that time. Marlo was in fact under the tutelage of Kumu Mark for one year in Hula, although Tiare was the Kumu of the halau. After Kumu Mark joined forces with Na Mele Hula ’Ohaha, Marlo continued with his training in Hula and Ori Tahiti with Tiare.

Tiare honed in on Marlo’s technique in all basics of dancing pertaining to Hula and Ori. Drumming the toere, pahu and fa’atete was Marlo’s first love, but it wasn’t until 1985 when he danced in his first hula competition, “Ka La Hula Ho’okuku” in Las Vegas, Nevada where the respect of the Hula finally set in his heart. He had already competed at various Tahitian dance festivals, both as a soloist and group competition and garnished awards in those respective categories. But this was something totally new to him. He was overwhelmed by the other Na Hula Halau (hula dance troupes) visiting and competing with them on the same dance floor, and he saw the influence of what Tiare had to offer in the hula world to the other Na Kumu Hula (hula teachers) and Hula Halau. Hula was much more refined and precise. The strength of the dance was present in each dancer from each group, but maintaining the gracefulness and masculinity simultaneously would set Tiare ’Ote’a apart from the rest of the other group.

Marlo became the Alaka’i (leader) of Tiare ’Ote’a in 1990. The other Na Alaka’i of Tiare ’Ote’a were Leila Masalaysay, Joanne Hongo and Bernard Borja. After Tiare was diagnosed of having cancer in late 1990, the weight of the halau fell on the shoulders of those four. Tiare was bed-ridden for the next two years. Although she was physically unable to move, her innovativeness of choreographing dances was still sharp. She would have classes for them at Laguna Honda Hospital and she was still her feisty, loving self. An invaluable lesson that was taught to Marlo from Tiare without him even knowing it was the research he would do for her while she was in the hospital. She would ask him to look for certain songs, have them translated and have them back to her within a few days. He would take on those tasks and accomplish the things Tiare wanted just because she was still the Kumu.

Tiare took a turn for the worse in mid-November 1992, and on November 17, 1992, she passed on. At this point and time, Marlo wanted to quit dancing altogether because he wasn’t finished learning and training with Tiare and there was no one else he wanted to dance with. He almost gave up altogether, but he reflected back on the 12-plus years he was with Tiare. She taught him how to drum, how to dance, and surprisingly enough how to research songs and translate them. She introduced him to some of the biggest names in the Hula and Ori Tahiti world. She would refer to Marlo as, “this is my boy.” Tiare ’Ote’a was still active as a Halau under the leadership of the 3 Na Alaka’i and Debbie Garcia. One of Tiare’s last wishes was to compete one last time in the Kaua’i Tahiti Fete, and they fulfilled her wish in July, 1994. That was the last time Tiare ’Ote’a competed as a halau.

Marlo knew that in order to move in an even more positive direction was to break out on his own and form his own halau. While on Kaua’i in 1994, he spoke with Tiare’s sister, Lei, and they talked about the vision he had of starting anew and still hold steadfast to Tiare’s teachings and traditions. Auntie Lei proudly gave her blessing to Marlo, and thus, Te Mau Tamari’i A Tiare / Na Kamali’i A Kiele was born in July, 1994.

BEGINNING

Te Mau Tamari’i A Tiare / Na Kamali’i A Kiele is based in Pleasant Hill, California and it all started in the living room of his mother’s home in San Francisco. With just 8 people under his direction from the inception, to the 100-plus students he has now, he teaches his students dances from the islands of Hawai’i and French Polynesia. His students are taught to perform in the art of dance, music, oli, language and history of the Polynesian people. In doing this, he feels that this will enlighten his haumana so they have a better understanding of the Polynesian dances of Hula and Ori Tahiti. This is the passion he shares with you.

Their reputation as performers under Marlo’s instruction is highly respected in the Bay Area Polynesian Community and abroad. From the beginning, his halau has participated in various festivals to include the Merced Tahiti Fete, San Jose Tahiti Fete, Kaua’i Tahiti Fete, E Hula Mau and the ’Ia ’Oe E Ka La Hula Festival. They’ve also performed in many community events to include PICA’s Aloha Festival, World Ethnic Dance Festival, San Francisco’s Chinese New Year’s Parade representing the Sate of Hawai’i Honolulu Jaycees, Oakland Chinatown Celebration and various community events throughout the Bay Area. One of the many highlights they’ve shared as a halau is their various Ho’ike celebrations. They’ve hosted several of Hawai’i’s top entertainers to include Blaine Kia, O’Brian Eselu and Keali’i Reichel. They also perform for private companies, birthday celebrations, wedding receptions and other special events.

FUTURE

Many changes have taken place with the short history this halau has had. There have been many friends made outside of the halau, and also memories to last a lifetime. An important lesson he learned when he first started teaching – and this did not pertain to dancing, “Remember where you came from and never forget where you’re at now; because where you’re at now is where you came from.”

A protocol that many potential students need to understand is the loyalty and faithfulness that is expected of them once they make a decision to join a traditional halau. The bond that develops between the Kumu and haumana is one of great strength. With this relationship comes many expectations. The students must recognize the hard work that is put in for them, the research of songs, the kaona (hidden meaning) behind it, and the sweat behind closed doors. This will enable them to appreciate the finished product. When he guides his students as his Kumu (former and present) guided us, they wanted the best for us as he wants for his students. The foundations of a halau is grounded with the students that remain loyal and true to their Kumu, regardless of what turmoil may surface within. Problems that may arise will get straightened out within the framework of the halau and this is what makes them overcome all obstacles. Kumu and haumana must work hand-in-hand and develop a deep mutual respect for one another. Students are an extension of their teacher and they are required to adhere to all decisions that are made by the Kumu. The students are encouraged to speak freely to Kumu and make suggestions regarding the halau, but Kumu will make the final decision. The Kumu will always have the halau’s best interest at heart.

Kumu’s vision with his students is complete and crystal clear. He wants nothing but the best for them. The respective dance styles of the ’auana, kahiko, ’ote’a, aparima and ahupurotu, all come natural to him and he has so much to share with his students. It’s not the number of routines he wants them to learn in any given period of time, but having them understand what the song is about, what the songwriter envisioned at that point and time when it was written, and expressing those feelings of that particular song to the audience. It may take a week, a month, or even a year to perfect one song to go with the motions and expressions he wants from his students. It’s hard work but well worth it. That’s what makes him and his halau unique and special from all the others.

There are many positive points to look at down the road for this halau. They have been a part of many different festivals that are held annually and have been successful at each one, regardless if trophies are won or not. People have a tendency to judge a halau by how many first-place awards they have or how many shows they perform per year. Sure, it feels great to win and it’s nice to perform on stage, but the important thing to remember is, it’s not a matter of winning or losing, but it’s the work that is produced by the Kumu and the halau. A competition or performance will always be there and if Kumu decides he wants to participate, you will know because you will see and feel a positive presence of Te Mau Tamari’i A Tiare / Na Kamali’i A Kiele. You will get and see nothing but the best this halau has to offer.

With the 100-plus students this halau has, to the various locations his classes are held, this halau will be a fixture in the Bay Area Polynesian Community for many years to come.

KUMU’S KUMU

January 2000 is when Kumu Marlo’s direction in hula came full circle. He was attending the E Pili Kakou I Ho’okahi Lahui Hula Workshops on Kaua’i when he encountered Sonny Ching. They had met previously in the early 1990’s when Sonny and his halau, Halau Na Mamo O Pu’uanahulu would compete at the ’Ia ’Oe E Ka La Hula Festival. Although he didn’t know Sonny at that time, Marlo knew his Alaka’i, Lopaka DeVera Igarta and they would see each other in passing at various festivals. Marlo already knew of the halau. He knew they had won multiple awards at the different hula festivals in Hawai’i and abroad and, of course, taking first place honors and overall best halau at the prestigious Merrie Monarch Hula Festival just made Sonny’s halau that much more interesting. But it wasn’t until Marlo actually had a conversation with Sonny at E Pili Kakou on Kaua’i when it all came together for him. Marlo originally thought the conversation would last 5 minutes - - it actually turned out to be 4 hours. That’s when he knew he wanted to learn more from Sonny and his halau. The philosophy of Sonny’s halau mirrored what Marlo wanted in his halau. So in March 2000, Marlo was accepted into Sonny’s halau as a student. Sonny has become a fixture in Marlo’s life; not just in Hula, but also as a friend. He now has someone to turn to and also someone he can finally call “Kumu” once again.