"The Spirit of Hula: Photos and Stories from Around the World" (Bess Press, $29.95 hardbound) profiles 65 halau in a kind of family picture album. Berinobis profiled 25 groups from Hawai'i; the rest came from elsewhere around the globe. (In the interest of full disclosure, I am a member of a halau that is mentioned in the book, Na Ho'aloha o ka Roselani No'eau.)

"I wanted something to show the aloha in a halau," she said. "I have always felt that through the aloha spirit, the world will find peace, because of our unconditional love we have in the Islands.

"These are people who have had to move from the Islands, people who for one reason or another can't live here," Berinobis added. "For them to be able to have the gift of hula shared, to me is very special. That's how we perpetuate the culture."

Shari Berinobis

"Usually, books are made up of two things: concept and content," he said. "It was a great concept, but the content wasn't quite there."

Time was spent converting Berinobis' halau stories to a coffee-table book format and in securing presentable photos: Halau families have scattered snaps, the author said, but something publishable is hard to come by.

In addition to the photos, the two pages devoted to each halau are divided into text sections. There are brief descriptions of the kumu hula (or, if the teacher preferred, the less formal title of "ke po'o"), ku'auhau (the lineage, or mentors, of the group), na lala (the membership), akeakamai (the guiding wisdoms and beliefs), mana'o pulama (cherished memories) and ho'oko 'ana (achievements).

In addition, Berinobis included additional reflections by kumu hula — George Ainsley Kananiokeakua Holokai, Frank Kawaikapuokalani Hewett and Blossom Keli'i'aukai Joshua Kunewa — and a leimaker from Aoyama, Japan, Hide Kalani-moku.

The halau themselves run the gamut, from the mainstays of large hula competitions to small, little-known schools and performing groups. Beyond these shores, the halau hail from Paris, San Diego and many cities and towns in between.

Bess loved that assortment.

"We wanted something different than just Hawaiian halau," he said. "We wanted the universal aspect."

The book is being made available for discount purchase by halau so that they can turn around and resell them as a fund-raiser, Bess said.

And he's also hopeful that the appearance of "The Story of Hula" will bring more halau forward, so that work can begin on a second volume (inquiries can be sent to Berinobis at hulala143@aol.com).

Some of those featured in Volume 1 turned out Sunday for the book's launch party at Bishop Museum. There to congratulate the author also were those demonstrating their loyalty to Berinobis' own family.

Her father, the late Chick Boyd, directed the entertainment at Don the Beachcomber's in Waikiki. Designer Mamo Howell, paying tribute to her past as a dancer in Boyd's show, attended; alumni Melveen Leed and Marlene Sai were among the entertainers. His former colleague, 93-year-old musical great Martin Denny, also turned out.

Some were long gone, but etched in memory. Hula master Iolani Luahine once danced at the club, too, and Berinobis, who later studied under others in a halau setting, recalled those informal lessons.

"She would sit me in the back of the room. I felt like a punished child," she said with a laugh. "She said, 'Hula is all about graceful hula hands,' so she would make me rotate my hands, in and out, in and out."

Berinobis danced a hula for her guests, to demonstrate that she hadn't forgotten that particular drill. The journey of writing this book, she said, has enriched her appreciation of hula even more.

Some kumu have been reticent about having their work chronicled in print, she said, but others have expressed an interest in the ongoing project.

"I hope they realized I did this with love in my heart, and with total respect," she said.