ua, who affected a sentimental leaning to the notions
of his mother's race, took possession of this famous "curio"
and it disappeared from public view.

[Page 132]

XIX.--THE HULA MAU-KANI

The hula _niau-kani_ was one of the classic dances of the
halau, and took its name from the musical instrument that was
its accompaniment. This was a simple, almost extemporaneous,
contrivance, constructed, like the Jew's-harp, on the
principle of a reed instrument. It was made of two parts, a
broad piece of bamboo with a longitudinal slit at one end and
a thin narrow piece of the same material, the reed, which was
held firmly against the fenestra on the concave side of part
number one. The convexity of the instrument was pressed
against the lips and the sound was produced by projecting
the breath through the slit in a speaking or singing tone in
such a way as to cause vibrations in the reed. The manner of
constructing and operating this reed instrument is suggestive
of the jew's-harp. It is asserted by those who should know
that the niau-kani was an instrument of purely Hawaiian
invention.

The performer did not depend simply upon the musical tone,
but rather upon the modification it produced in the
utterances that were strained through it. It would certainly
require a quick ear, much practice, and a thorough
acquaintance with the peculiarities of Hawaiian mele to
enable one to distinguish the words of a song after being
transformed by passage through the niau-kani.

As late as about thirty or forty years ago the niau-kani was
often seen in the hands of the native Hawaiian youth, who
used it as a means of romantic conversations and flirtation.
Since the coming in of the Portuguese and their importation
of the _uku-lele_, the _taro-patch-fiddle_, and other cheap
stringed instruments, the niau-kani has left the field to
them and disappeared.

The author's informant saw the niau-kani dance performed some
years ago at Moana-lua, near Honolulu, and again on the
island of Kauai. The dance in each case was the same. The