Excerpts from   Na Pule Kahiko Ancient Hawaiian Prayers, June Gutmanis, pp 85-91

"...Some say the hula was originally a form of worship performed only by men whose patron was a male god named Laka.  Others say that two gods, one male and one female, both named Laka, came to Hawaii bringing the hula with them.  They say that in time Laka kane left the islands, leave Laka wahine to preside over the hula.

...Still others say that the knowledge of the hula was brought to Hawaii by Hopoe, a friend of Pele's youngest sister Hi'iaka-i-ka-poli-o-Pele.  They do not say where she learned the dance.

...There are even others who say that the hula was brought to Hawaii by Kapo-'ula-kina'u, another sister of Pele.  Traveling with an older brother, Ka-huila-o-ka-lani, and a younger sister,  Kewelani, she arrived at Ni'ihau where the group was hosted by a local chief.  As part of the entertainment, Kewelani danced what was the first hula in Hawaii.

...In any case, all are remembered in prayers associated with the dance.

...The hula may be danced spontaneously as an expression of the feelings of the moment or as a formal performance that requires prayerful preparation.  The first prayers of a formal performance are said before going to gather the 'ie'ie, hala pepe, ti, maile, lehua, palai ferns, and other greens which will be placed on the altar.

...While the workers are in the forest gathering the greens they recite simple prayers.  Some are to the gods of particular plants; some are general prayers...

...When the dancers return with the carefully gathered mountain greenery it is placed around the altar.  While they work, the kumu (teacher or leader) says a prayer.

...After the greens have been placed around the altar, the dancers retire to dress.  As they prepare themselves, the kumu chants a prayer beginning with E ulu, e ulu.  Ulu may mean growth in any form.  In the case of the hula, the growth sought is that of talent and inspiration.

...As the dancers actually dress, special prayers are said.  This is a prayer chanted while putting on the pa'u.  The length of the prayer reflects the time it takes to put on the pa'u.

...After the dancers have put on their pa'u, they then put on their anklets and wristlets.  

...Just before going to the place where the hula will be performed, the dancers put on their leis.  ...a prayer [is] said while tying the leis on.

...In ancient times the spectators could not enter the area where the performance was to take place before the dancers put on their pa'u and anklets.  Once the dancers were dressed, a prayer was said and the audience could enter.  [There were] particular prayer[s]... used only when the performance was outdoors.

...When praying for inspiration in performing the hula, some say it is the god Laka that one should approach first.  Others say it is Kapo'ula-kina-u that should receive the first prayer.  

...Whether Laka or Kapo receives the first prayer for inspiration, the great gods, the 'aumakua, the unihi, and the other hula gods such as Hi'iaka-i-ka-poli-o-Pele and the Maile sisters must not be forgotten.  [There were] prayer[s] calling all the gods, great and small, that might have an interest in the dance.

...When a formal hula performance is begun, it is placed under a tabu that requires certain respectful behavior of both performer and audience.  [There are]..prayer[s] to remove this tabu during an intermission.

...When the hula performance has been completed, it is closed with a prayer.  

...Hula dances and mele are real property.  Etiquette demands that, like personal names, they not be used unless given.  Taking a chant composed for another was called ai hama.

...It might be noted that under some circumstances it was acceptable to rework chants.  A few words might be changed, a section added or omitted.  Many examples of such reworking, ho'oili, survive from the reign of King Kalakaua.  Many chants reworked at that time had belonged to King Lunalilo."