ountain trails.

The hula _ala'a-papa_, hula _ipu_, hula _pa-ipu_ (or
_kuolo_), the hula _hoo-nana_, and the hula _ki'i_ were all
performed to the accompaniment of the ipu or calabash, and,
being the only ones that were so accompanied, if the author
is correctly informed, they may be classed together under one
head as the calabash hulas.

[Illustration:
BUREAU OF AMERICAN ETHNOLOGY
BULLETIN 38 PLATE X
PAHU HULA, HULA DRUM]

[Page 103]

XII.--THE HULA PAHU

The hula _pahu_ was so named from the _pahu_,[236] or drum,
that was its chief instrument of musical accompaniment (pl.
x).

[Footnote 236: Full form, _pahu-hula_.]

It is not often that the story of an institution can be so
closely fitted to the landmarks of history as in the case of
this hula; and this comes about through our knowledge of the
history of the pahu itself. Tradition, direct and reliable,
informs us that the credit of introducing the big drum
belongs to La'a. This chief flourished between five and six
centuries ago, and from having spent most of his life in the
lands to the south, which the ancient Hawaiians called
Kahiki, was himself generally styled La'a-mai-Kahiki
(La'a-from-Kahiki). The young man was of a volatile
disposition, given to pleasure, and it is evident that the
big drum he brought with him to Hawaii on one of his voyages
from Kahiki was in his eyes by no means the least important
piece of baggage that freighted his canoes. On nearing the
land he waked the echoes with the stirring tones of his drum,
which so astonished the people that they followed him from
point to point along the coast and heaped favors upon him
whenever he came ashore.

La'a was an enthusiastic patron of the hula and is said to
have made a tour of the islands, in which he instructed the
natives in new forms of this seductive pastime, one of which
was the hula _ka-eke_.

There is reason to believe, it seems, that the original use
of the pahu was in connection with the services of the
temple, and that its adaptation to the halau was simply a