The word "pahu" is a general term for a drum in Hawaiian culture. However, there are many different types of drums. To fully understand the "pahu" in relation to dance, it is important to consider the following explanation.

Since the mid-1800s, the term "hula" has been widely used to describe all forms of Hawaiian dance. Historically, ancient Hawaiians used two different terms to describe dance movements. "Hula" specifically referred to formal dances performed by humans in non-sacred contexts. In contrast, "haʻa" was the term used for formal movements performed in sacred or mourning contexts. "Haʻa" was also performed by deities and non-human entities, such as personified natural forces like flowers, birds, trees, winds, or lava, as well as puppets (kiʻi). The confusion between "hula" and "haʻa," especially about the sacred nature of the dance, is mainly because Emerson did not make a difference between the two in early writings.

Examples of the terms "haʻa" and "hula" in texts include:
1. "Ke 'haʻa' la Puna i ka makani la" – Puna is dancing in the breeze.
2. "'Haʻa' ka ulu hala i Keaʻau" – The hala groves of Keaʻau are dancing.
3. "'Haʻa' Haʻena me Hopoe" – Haʻena and Hopoe dance.
4. "ʻAmi i kai o Nanahuki e" – Swaying by the sea of Nanahuki.
5. "'Hula' leʻa wale i kai o Nanahuki e" – Just a delightful dance in the sea of Nanahuki.

Based on these facts, the terms "hula," "pahu," and "pahu hula" seem to be contradictory, and experts in "hula" do not teach this information to their students, but this is not intentional.

According to Kaeppler's research, "haʻa" was reintroduced in the 1930s through songs mentioned by Keakaokala Kanahele and Luika Kaio. However, by this time, it was no longer called "haʻa" but was referred to as "hula pahu."

In Adrienne L. Kaeppler's book Hula Pahu Volume I, pages 15–18, she explains that "pahu" and "kaʻeke" were two different drums, as Emerson also noted. She says these drums can be categorized as follows:
– In sacred contexts during heiau ceremonies, associated with mele pule (sacred songs), the "pahu" made sounds called "hoʻoheihei," and its movement was called "haʻa."
– In contexts of honoring or entertaining, associated with allusive poetry, the "kaʻeke" drum was used with a secondary drum called "pūniu" or "kilu," making sounds called "kaʻekeʻeke," and its movement was called "hula" (structured movements done by humans in non-sacred and joyous contexts).

"Haʻa" was performed as a religious sacrament in movement (or as an expression of grief in laments), while "hula" involved social metaphors in movement.

An excerpt from Emerson’s book The Long Voyages of the Ancient Hawaiians, page 22, says: “One important item Laʻa-mai-kahiki brought with him was his 'kaʻekeʻeke' drum, made from a hollow, carved log covered with shark-skin. Laʻa-mai-kahiki seemed to value his drum, his priests, and his idol, and always kept them with him during his travels.”

In Trum’s Hawaiian Folk Tales, page 187, a drum called the "pahu kaʻeke" is mentioned in the story of Ai Kanaka.

Today, many hula practitioners believe the following:
The "pahu" is a traditional musical instrument found in Polynesia, including Hawaii, Tahiti, the Cook Islands, Samoa, and Tokelau. It is carved from a single log and covered with stretched sharkskin on the playing end. It is considered sacred and was kept in temples (heiau) to accompany sacred songs called "hula pahu/ura paʻu."

The Hawaiian word "pahu" means "drum," and "niu" means "coconut." While there are many percussion instruments in Hawaiian culture, the "pahu" is one of the most important. It belongs to one of four main indigenous musical types: wooden drums, knee drums, calabash drums, and bamboo pipes.

The "pahu" drum exists in two main forms in the Hawaiian Islands:
1. The "Heiau Pahu" (religious drum), also called the "Pahu Puʻule" (prayer drum).
2. The "Hula Pahu" (musical accompaniment drum), sometimes called the "Pahu Mele" (song accompaniment drum).

Both types of drum share a common ancient origin.

The "pahu" drum is a key part of traditional Hawaiian dance, providing rhythmic support. It has a tall, narrow body carved from wood, usually from a coconut tree trunk, and a head made from dried sharkskin. The original material for the "pahu"’s waha (head) was shark or ray skin. Religious "pahu" (Heiau Pahu) were often made with ray skin, while non-religious "pahu" used sharkskin. The "pahu" is played with the hands and fingers.