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George Naope

Legend of Dance

1920s

Why They Matter

Naʻope matters because he connected intimate lineage-based teaching to public cultural infrastructure. His students carried hula and chant across generations, while the Merrie Monarch Festival created a highly visible forum in which hālau could present disciplined work. His legacy is not reducible t

Styles George Naope shaped

Each one links to the style’s own page — its origins, music, tempo and video.

Watch

Kaimana Hila Leahi Medley — George Naʻope Festival

Kapena

Documents a current event bearing Naʻope's name; it is not evidence of his choreography.

Biography

George Lanakilakeikiahialiʻi Naʻope, widely known as Uncle George, was born on February 25, 1928, in Kalihi, Oʻahu, and raised in Hilo. He began learning hula at age three from his great-grandmother, Mary Malia Pukaokalani Naʻope, continuing with other respected teachers. By age twelve he was performing on Hawaiian music recordings, and by his early teens he had begun teaching. His education joined movement, chant, language, history, protocol, and genealogy—understanding hula not as stage entertainment alone but as a complete expression of cultural knowledge and responsibility.

After high school, Naʻope moved to Honolulu and opened the George Naʻope Hula School, eventually teaching across the Hawaiian Islands, Japan, Guam, Australia, Europe, and the Americas. In his teaching, he described hula as an expression of inner feeling grounded in love and respect for culture. He insisted that ancient repertoire carry the histories transmitted through chant, and he distinguished hula kahiko from modern forms, arguing that inherited ancient choreography and chant should not be altered casually.

Naʻope became one of the originators of the Merrie Monarch Festival in Hilo. In 1963, working with County of Hawaiʻi leadership, he helped transform an economic-revival idea into a celebration honoring King David Kalākaua. The hula competition later emerged as the festival's defining center, becoming one of the world's most influential stages for hālau to present disciplined work rooted in lineage and text.

His approach was preservationist without being rigid. Naʻope taught internationally, judged competitions, recorded and sang, and encouraged people to learn culture deeply and share it. His authority came from long apprenticeship and responsibility to lineage, not from the belief that hula existed outside changing communities. Hawaiʻi recognized him as a "Living Golden Treasure," and in 2006 the National Endowment for the Arts awarded him a National Heritage Fellowship for mele oli and hula. He continued teaching and advocating until his death on October 26, 2009, at his home in Hilo.

Career Highlights

1928

Born February 25 in Kalihi, Oʻahu. Hula Preservation Society Hula Preservation Society

1931

Began hula study at about age three with his great-grandmother, Mary Malia Pukaokalani Naʻope. NEA NEA

1940

By age twelve, was performing on recordings of Hawaiian music. NEA NEA

1941

Began teaching hula at approximately age thirteen; the age is documented, while the calendar year is inferred from his birth date. NEA NEA

1940s

Opened the George Naʻope Hula School in Honolulu after high school. NEA NEA

1963

Worked with County of Hawaiʻi leadership to establish the Merrie Monarch Festival; early institutional sources vary between 1962 and 1964, so use the official history's chronology. Merrie Monarch Merrie Monarch

1971

The Merrie Monarch hula competition emerged as the festival's central event under Dorothy Thompson's leadership, building on Naʻope's founding work. Merrie Monarch Merrie Monarch

2006

Received the NEA National Heritage Fellowship for Hawaiian chant and dance. NEA NEA

2009

Died October 26 at his Hilo home at age eighty-one. Dodo Mortuary Dodo Mortuary

Legacy & Impact

Naʻope matters because he connected intimate lineage-based teaching to public cultural infrastructure. His students carried hula and chant across generations, while the Merrie Monarch Festival created a highly visible forum in which hālau could present disciplined work grounded in history and text. His legacy is not reducible to a competition: it is the insistence that movement, chant, language, history, and cultural responsibility belong together, and that dancers embody meaning accountable to inherited vocabulary and protocol.

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