There are many stories that describe how the Pahu came to Hawaii, but all have the general concept that it made a voyage from Tahiti to Hawai'i by a traveler named La’amaikahiki sometime between 1200-1300 A.D.  La’amaikahiki had made a voyage to Tahiti and brought two Pahu, named Hawea and ‘Opuku, back to his home in Wailua, Kaua’i.  These Pahu were then brought to the Heiau (temple).

Kumu Hula Mark Keali'i Ho'omalu performs the chant, He Mele No Kauila, with a pahu at the 2006 Merrie Monarch Festival.

Each Pahu Heiau, or temple drum, was dedicated to the god in the lineage of the ali’i (chiefs). The drum was seen as a vehicle for the spirit of the god to enter and speak as the sound of the drum. It was an object that possessed mana and was used only by the ali’i and kahuna (priest). As an object believed to possess mana, the Pahu drum was used to signal the presence of the gods, and the birth and death of ali’i. In addition, it was employed during processions of war and is thought to be used during the huaka’i pō, the night processions of the ali’i ghosts. Each ceremonial event had its distinct rhythmic patterns and way of drumming.

Just as mindful as choice of drumming pattern, so is the selection of materials and construction of the Pahu. The Pahu was made by a kahuna kalai, a carving master who possessed great power and offered prayers for each stage of construction:

• The wood was culled from breadfruits, koa, coconut, or other woods of the land. Coconut in particular was related to Ku, the god of war, rain, fishing, canoes, and some aspects of sorcery and agriculture. The wooden interior of the drum was hollowed out, creating a deep bowl shape. 
• The top of the drum was covered with sharkskin. Sharks represented boldness, bravery, and vigor. This skin was also referred to as the waha (mouth) or leo (voice) of the drum.
• The ‘aha or aka cords, or the sennit lashings that tie the skin to the drum, were braided to show connection to their god. These cords were revered as sacred. Aka cords were also thought to be symbolic, and to even possess telepathic connections between people, thoughts, and objects.
• The moon-scalloped carvings at the base of the drum, or hoaka, cast shadows. These shadows represent the shadows of the gods.
• The mana of the drum was increased by inlaying the wood with human teeth.  The carvings themselves are charged with mana by the kahuna kalai.

AHA dancers performed at the 2006 Merrie Monarch with the pūniu that the dancers each crafted themselves.

The Pahu Hula was also used by the ali’i for Mele Hula Pahu, or chant drum dances. The Pahu Hula was shorter than the Pahu Heiau so it could be struck sitting down, in contrast to standing up with the Pahu Heiau. The Pahu Hula was accompanied by another drum, typically the pūniu. The sounds of the two drums reflect the duality and complements of life: peace and war, sunrise and sunset, birth and death.

As the introduction of missionaries began in the early 1820’s, it was no coincidence that the ritualistic use of the Pahu Heiau was abandoned. The Pahu Hula still remained as a powerful musical instrument in remote places, but also declined by the twentieth century. Among the reasons for its decline were factors such as the trend of discarding primitive ways to adopt more contemporary styles, the loss of knowledge of the Mele Hula Pahu, and the loss of knowledge, time, money and will for proper craftsmanship of the Pahu.

The Pahu that Kumu Mark crafted in the Hana Lima video series, "Ka Pahu: Making a Hawaiian Drum".

The few people who had practiced this knowledge during its disappearance had preserved the Pahu for future generations. By the late twentieth century, the resurgence of the Pahu and Pahu making had become a symbol of the reawakening of Hawaiian culture. Some hālau even required students to make a traditional Pahu for their ‘uniki (graduation) to become a Kumu Hula.

This practice of weaving the “old” within the present times is what keeps history alive and relevant. As life goes on, it is inevitable that new traditions, chants, and dances will be made, keeping the stories of the Pahu alive.