Oli

The Role and Style of Oli in Hawaiian Culture

If you have someone special in mind or a prayer request, consider using oli to express your feelings or send your request. In early Hawai‘i, oli, or chanting, was the primary way to present mele—songs or poems. Singing, as we know it today, was not the practice; instead, oli served as the means to convey messages and emotions.

Early Hawaiians, much like us, had the ability to chant. Skilled chanters were described with the following attributes: “The voice is soft like a breeze; the vibrato is strong in the throat; the voice purrs at the base of the ear; the sound gurgles at the base of the uvula; breathing is gentle in the chest, which rises and falls; the breath vibrates to the tip of the tongue; the jaws and mouth are open wide; the blood vessels are not bulging with strain” (Kamakau 1996, 238).

In both ancient and modern times, oli remains central to Hawaiian culture. Mele and oli are crucial in hula and in daily Hawaiian life. They are used to address gods, kūpuna, people, and the ‘āina. Oli is a way to communicate and show aloha to everything around us.

When visiting someone’s home, a mele might be offered as a ho‘okupu, or gift. Oli is also essential for gaining entry into new places or hālau hula. For instance, Hi‘iaka and her entourage would oli their greetings as they traveled by canoe. Thus, mele is a meaningful way to express aloha.

Oli comes in various forms, depending on the type of mele. For mele inoa, one might use styles like oli kepakepa, olioli kāholo, or olioli ‘i‘i. For mele aloha, the oli ho‘āeae style might be used, while mele kanikau might employ the oli ho‘ouēuē style. Here are a few styles of oli:

• Oli Kepakepa: Characterized by a rapid, staccato style.

• Olioli Kāholo: Known for its measured, rhythmic delivery.

• Olioli ‘I‘i: Features a distinct, tremulous quality.

Skilled chanters can also add unique features to their voice, such as the ‘i‘i, a special tremor or shaking of the voice, and the ‘i‘i ho‘ānu‘unu‘u, where the voice shakes rhythmically.

Today, renowned chanters and composers continue to make significant contributions to Hawaiian music. The “song of the year” award at Nā Hōkū Hanohano recognizes exceptional composers, and the King Kamehameha Hula Competition honors the best chanters.

While oli remains a traditional practice, contemporary Hawaiian music sometimes reflects its characteristics. Oli is versatile and can be performed at any time—whether you’re waking up, cruising in your car, bathing, or playing. Whenever you chant, the world will listen.

ʻŌlelo noʻeau related to oli

‘A‘ohe i mane‘o iho ke kumu pepeiao i kāu hīmeni. (‘Ōlelo No‘eau #150)
Even the base of the ear isn’t tickled by your song.
A rude remark to one whose song or story is not appealing.

Hele ‘ē ka pila, hele ‘ē ka leo. (‘Ōlelo No‘eau #735)
The music is in one pitch and the voice in another.
Said of a lack of harmony.

I le‘a ka hula i ka ho‘opa‘a. (‘Ōlelo No‘eau #1225)
The hula is pleasing because of the drummer.
Although the attention is given to the dancer, the drummer and chanter play an important role in the dance.