| Mark Kealiʻi Hoʻomalu | |
|---|---|
| Origin | Aiea, Hawaii |
| Genres | Hawaiian |
| Occupations | Hawaiian Chanter |
| Instruments | Ipu |
| Notable instruments | |
| Ipu | |
'Mark Keali`i Ho`omalu' is a contemporary Hawaiian chanter, born and raised in Aiea, Oahu.
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At the age of 15, Ho`omalu started his hula career with John Pi`ilani Watkins doing various luau and Polynesian shows around Oahu.
In 1979 he joined a halau,[1] which became the foundation for Mark's hula education as an `olapa[2] and chanter.
Ho`omalu moved to California in 1979 to teach hula with Tiare Clifford of Tiare Otea in San Francisco. After refining much of his teaching technique under Clifford's direction, he was introduced to Bea and Herb Hew Len. In 1988 they turned over the directorship of their halau, Na Mele Hula `Ohana to Ho`omalu.
Na Mele Hula `Ohana set high standards in hula competitions along the West Coast and in Hawaii. They were invited to the prestigious Merrie Monarch Festival in 1997, where their men placed fourth in the hula kahiko (ancient hula) competition. They returned to the Merrie Monarch each year through 2000. Ho`omalu disbanded the halau in early 2002. He continues to teach seminars throughout country.
In February 2003, he opened a new halau, the Academy of Hawaiian Arts. The halau has participated in many events around California, including the Iā 'Oe E Ka Lā Hula Competition in Pleasanton and San Francisco's Aloha Festival. They most recently danced at the prestigious Merrie Monarch Hula Festival in Hilo, Hawaii this past April.
His style is both innovative and controversial, as purists disapprove of the liberties he takes in creating new arrangements of ancient chants.
In June 2002, Walt Disney Pictures released their animated feature film, Lilo & Stitch, which prominently featured two songs written by Ho`omalu especially for the film, Hawaiian Rollercoaster Ride and He Mele No Lilo. He performs them on the soundtrack album with the help of The Kamehameha Schools Children's Chorus.
This is not the only way to chant, nor the only way I chant. It is an alternative way of chanting/singing that I explore, develop and choose to do. I love to listen to the old chant styles, which are more instinctive and familiar to my ears. Yet, in my attempts to fabricate the same, it takes on a life of its own. The best way I've found to explain the complicacies of my music is to Call It What You Like.[3]
Inventive yet familiar; peculiar yet intriguing; dignified yet unrestrained; bizarre to the senses, yet intense to the soul. Mark Keali`i Ho`omalu...has caught the islands by storm with his bold and unique treatment of Hawaiian literary performance....While the majority of selections feature vocals and ipu accompaniment, some have been enhanced with strings and guitar work. Cultural themes range from the divine splendor of Keaomelemele, goddess of the clouds, to tributes to Hawai`i's seventh sovereign in 'Holo Ana `O Kalakaua' and 'Kalakaua He Inoa.'[3]