Five hula genres can be placed across a spectrum with "the most ancient" on the left and "the most modern" on the right side. From the color of their attire to the type of adornment worn, each piece of an auana costume symbolizes a piece of the mele auana, such as the color of a significant place or flower. This, in combination with a general usurpation of Hawaiian social, political, and linguistic autonomy resulted in a mass decline of the Hawaiian language, to the near brink of extinction. 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. The dog's-tooth anklets sometimes worn by male dancers could also be considered instruments, as they underlined the sounds of stamping feet.

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Many hula kahiko are characterized by traditional costuming, by an austere look, and a reverence for their spiritual root. org; also: Hong, Cesily, " The Power of the Hula: A Performance Text for Appropriating Identity Among First Hawaiian Youth" (2013).More importantly, the same strophic text format is applied in both genres, constructed with two or four lines of text, with each of them commonly set to a uniform number of beats. kawele: Comparing with the kepakepa, syllables are sustained a bit longer in kawele, but yet to be easily identified in pitches. Ritual and prayer surrounded all aspects of hula training and practice, even as late as the early 20th century. Often there is a hierarchy in hula schools - starting with the kumu (teacher), alaka'i (leader), kōkua (helpers), and then the 'ōlapa (dancers) or haumana (students).

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Kepakepa, kāwele, olioli, ho'āeae, ho'ouēuē, and 'aiha'a are examples of styles differentiated by vocal technique. 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.It is accompanied by song and Western-influenced musical instruments such as the guitar, the ʻukulele, and the double bass. While the whole Hawaiian repertoire can be mainly categorised into two sides, hua kahiko and hula 'auana, the sound accompaniments have been regarded as one of the symbolic signs to distinguish them. The most important thing for performer to master is decide which style the poetic text can be perfectly fitted into and figure out the way that can flawlessly combine both the text and the oli style according to the given context, such time limits and the particular situation where the oli is delivered. There has been a renewed interest in hula, both traditional and modern, since the 1970s and the Hawaiian Renaissance.

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Visitors report seeing dancers swathed in many yards of tapa, enough to increase their circumference substantially. Kumu hula Frank Kawaikapuokalani Hewett performs during a ceremony transferring control over the island of Kahoʻolawe from the U.Practitioners merged Hawaiian poetry, chanted vocal performance, dance movements and costumes to create the new form, the hula kuʻi (kuʻi means "to combine old and new"). During that time the influx of Western culture created significant changes in the formal Hawaiian arts, including hula.

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There are other related dances ( tamure, hura, 'aparima, 'ote'a, haka, kapa haka, poi, Fa'ataupati, Tau'olunga, and Lakalaka) that come from other Polynesian islands such as Tahiti, The Cook Islands, Samoa, Tonga and New Zealand; however, the hula is unique to the Hawaiian Islands. The hula kahiko is always performed with bare feet, but the hula ʻauana can be performed with bare feet or shoes.

American Protestant missionaries, who arrived in 1820, often denounced the hula as a heathen dance holding vestiges of paganism.