Amid the quaint fields and barns of the Antonsen family鈥檚 third generation dairy farm in Aldergrove, sounds of the Hawaiian Islands emerge.
The steady drum of an Ipu Heke flows out of the basement of the farmhouse, followed by a patter of bare feet dancing along.
Seated on the hardwood floor, Carol Antonsen plays the traditional Hawaiian double-gourd instrument while calling out 鈥渇ive, six, seven, eight,鈥� to her young dancing students.
This is the 17th year Antonsen has taught Polynesian dancing from her home studio, H盲lau Hula O Ka Poli Mehana `O Lehua.
Translating to 鈥渢he warmth of the lehua (a Hawaiian flower) of the heart,鈥� her students learn the dancing and culture behind traditional Hawaiian, Tahitian and New Zealand music.
鈥淚t鈥檚 about honouring their cultures,鈥� Antonsen said.
鈥淚f we were to have somebody watch us, we would want them to go 鈥榳ow, they鈥檙e doing an amazing job, they鈥檙e really keeping our culture alive.鈥欌��
With a focus on making things authentic, the students 鈥� who range in age from three to mid-60s 鈥� learn more than dance moves. They are taught the languages, the meanings of the songs, the geography and even local flowers and shells.
Everything from the lyrics sung to the colours of the costumes worn help to tell the stories behind the songs.
鈥淵ou want to connect to your song,鈥� Antonsen explained.
鈥淭here鈥檚 lots of beautiful Hulas that are written, and on the surface they are very poetic and they sound very nice, but actually there鈥檚 a hidden meaning.鈥�
As part of the tradition, Antonsen researches the songs to find their original meanings 鈥� and sometimes 鈥� gets to ask the composers themselves.
鈥淭here was a really pretty song that I really loved and I didn鈥檛 know for a long time that it was actually an engagement present that this guy wrote for his wife,鈥� she recalled.
鈥淪o when I found that out, it meant a lot more to me. I actually met him and his wife and I thought, 鈥榳ow, that was a very beautiful thing,鈥� and I had the honour to dance that song.鈥�
It鈥檚 a culture of respect that Antonsen has been immersed in since she began Hula at the age of eight.
鈥淵ou always respect your elders, and that鈥檚 instilled in all of our dancers 鈥� to always ask for things and always give thanks for things and always ask permission,鈥� she said.
鈥淎 big part of Hula is asking for things.鈥�
This came into play when Antonsen opened her own dance studio. Before teaching any classes, she went back to her own instructor for permission, which is Hawaiian protocol, she said.
Beginning with a small group of students, her studio quickly grew, leading to an invite to compete in Hawaii 鈥� something Antonsen did not feel prepared for.
鈥淲hen you do a competition in Hawaii, it鈥檚 huge,鈥� she said.
鈥淭hey expect so much of you, and you have to have fresh flowers and live music, and we didn鈥檛 have musicians or anything.鈥�
Antonsen turned to an instructor from Hawaii for help. Partnering with the Lauakea Foundation, the group not only got to compete in Hawaii, they also were invited to join the organization.
Antonsen鈥檚 studio is now one of nearly 20 in the organization that are learning authentic, traditional dancing.
鈥淚t鈥檚 a wonderful thing because we have so much amazing support,鈥� she said.
鈥淲e are able to connect with locals. They can take us to the places where these dances come from, and they connect us with musicians and composers so we can understand more about the dances.
鈥淚t鈥檚 really a very unique partnership. It鈥檚 brought our group totally to a new level in what we do.鈥�
Today, Antonsen鈥檚 focus has moved away from competing, and more towards inclusion and self-awareness.
鈥淧eople say, 鈥榳hat is it about Hula that is just so special?鈥� It鈥檚 very healing, it鈥檚 something you do for yourself that makes you feel so good inside.
鈥淎nybody of any size or race can dance. Even if you have a bad leg, there鈥檚 Hulas you can do sitting in a chair. It鈥檚 so inclusive, it鈥檚 meant to be shared and given.鈥�
There鈥檚 also a special connection between 91原创 and Hawaii that dates back nearly 200 years.
Many of the workers at the Hudson鈥檚 Bay Company鈥檚 Fort 91原创 post in the 1800鈥檚 were from Hawaii, and several of these workers are buried in the pioneer cemetery beside St. George鈥檚 Anglican Church.
鈥淚t is pretty unique to have a group that has that kind of connection to the Islands, yet being so far away,鈥� Antonsen said.
鈥淚t鈥檚 really special.鈥�
This Saturday, Nov. 7, the studio is bringing a bit of the Islands back to the Fort with a special recital.
Taking place at the Chief Seapass Theatre at 2 p.m., the students are performing 29 routines to Hawaiian Hula, Tahitian Aparima (the kiss of the hands) and Otea (a drum dance), and New Zealand Poi.
Tickets are available at the door or at .
For more information, visit .
Photos by Miranda Gathercole. From top: Young dancers practice Otea, a Tahitian drum dance; Carol Antonsen plays an Ipu Heke for her students.
