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Generally, "all mele may be performed as oli (chant without dance), but only certain types such as name chants, sex chants, love chants, and chants dedicated to the [ 'aumakua] gods of hula (ritual dance), may be performed as hula (chant with dance).

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The other the two hula types, hula ku'i and hula 'ōlapa are a challenge to editors in terms of textualizing and representing them within a critical edition. kawele: Comparing with the kepakepa, syllables are sustained a bit longer in kawele, but yet to be easily identified in pitches. According to one Hawaiian legend, Laka, goddess of the hula, gave birth to the dance on the island of Molokaʻi, at a sacred place in Kaʻana.Students often stand outside the entrance and chant repeatedly until the kumu decides to grant them permission to enter, and uses a different chant in response. Kī were sacred to the goddess of the forest and the hula dance Laka, and as such, only kahuna and aliʻi were allowed to wear kī leaf leis ( lei lāʻī) during religious rituals. Queen Ka’ahumanu, the favorite wife of Kamehameha I and an acting Regent during the reign of Kamehameha II and Kamehameha III became a practicing Christian, and banned the hula and accompanying mele from all public venues. Olioli is a style many would liken to song, as it is melodic in nature and includes sustained pitches, [6] often with 'i'i, or vibrato of the voice that holds vowel tones at the ends of lines.

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The Hawaiian performing arts had a resurgence during the reign of King David Kalākaua (1874–1891), who encouraged the traditional arts. Among the genres of hula, the corresponding melodic structure and the strophic musical structure make modern hula ku'i and hula 'ōlapa distinguishable from the others.The ʻŌlelo Noʻeau (Hawaiian saying or proverb), " 'O 'oe ka luaʻahi o kāu mele," translates loosely as "You bear both the good and the bad consequences of the poetry you compose" [5] The idea behind this saying originates from the ancient Hawaiian belief that language possessed mana, or "power derived from a spiritual source" [5] particularly when delivered through oli (chant).

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It is accompanied by song and Western-influenced musical instruments such as the guitar, the ʻukulele, and the double bass. During performance, it is a usual practice that the songs are separated into stanzas which are repeated by a brief rhythmic interlude. A law passed in Hawai'i in 1896 (shortly after American overthrow of the Hawaiian Kingdom) banned the use of 'Ōlelo Hawai'i in schools. As a sign of lavish display, the pāʻū might be much longer than the usual length of tapa, or barkcloth, which was just long enough to go around the waist.Thanks to well-preserved documentation, guidelines for performers to bring the poetic text back on stage remain clear in manuscript sources. Oli was an integral component of ancient Hawaiian society, and arose in nearly every social, political and economic aspect of life. Five hula genres can be placed across a spectrum with "the most ancient" on the left and "the most modern" on the right side. Dancers might also wear decorations such as necklaces, bracelets, and anklets, as well as many lei (in the form of headpieces (lei poʻo), necklaces, bracelets, and anklets (kupeʻe)), and other accessories.

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kepakepa: A conversational patter that is expected to be performed swiftly, where the syllables are usually too short to allow pitches to be identified.The combination of general style (with or without dance) and the context of the performance determines what vocal style a chant will use. Leilani Holmes, Ancestry of Experience: A Journey into Hawaiian Ways of Knowing (Honolulu: University of Hawai'i Press, 2012), 6. Missionaries and the Decline of Hula Archived April 18, 2016, at the Wayback Machine, HawaiiHistory.