SAN FRANCISCO — Kumu hula Patrick Makuakane has a simple goal as he brings his halau Na Lei Hulu I Ka Wekiu to Honolulu this weekend. "I don't want to embarrass you (hometown) folks. I want to make sure that people understand that we are upholding our traditions and doing them proud.

"We're doing well with hula here in San Francisco."

"Doing well" is the understatement of a humble teacher and artisan who presents hula both as a complex ancient tradition and an exquisite living art form. Audiences at the concerts this weekend at the Hawai'i Theatre will see for themselves that hula is being presented with passion and precision in San Francisco.

In contrast to the controversial "Natives are Restless," presented in March 2000 at the same venue, "Ka Po'e Hula" is a lighthearted program showcasing Na Lei Hulu's favorite pieces from the last 20 years.

Makuakane continues to set his hula to pop and jazz music, placing the depth of hula in today's cultural context for a larger audience. "When I was a dancer for Robert Cazimero in Halau Na Kamalei, we did pieces to modern music, so I didn't invent that wheel," Makuakane notes, laughing.

And so a seductive rendition of the song "Fever" accompanies the story of Pele, Lohi'au and Hi'iaka on a red-soaked stage.

Two Samoan princesses compete for most beautiful dancer in their village while feisty electronica music plays in "The Taupo Princess." Large woven fans match the driving beat as each adorned princess moves to the captivating vocals. "San Francisco does not have the same kind of Samoan community that Hawai'i has, and we are interested to see how people who have perspective on the piece are going to react," Makuakane says.

The roots of the progressive hula may have been planted in Waikiki, but the evolving art has blossomed in San Francisco. Only Na Lei Hulu could create the Krishna Hula — sari-draped dancers performing to "Bow Down Mister" by Boy George's group Jesus Loves You. And only these experienced hula dancers could capture the joy of spiritual Krishna rapture, inspired by a day in Golden Gate Park.

Makuakane draws from the past, too. In 2004 he commuted to O'ahu to study with kumu hula Mae Kamamalu Klein, expand his knowledge of traditional hula, and for 'uniki (graduation exercises) as a kumu hula.

"We are always going to be learning, evolving with more modern music and dance and juxtaposing it with hula and at the same time learning more traditional work, because that inspires me as well," he says.

Roughly every two years Makuakane takes on new students, with overwhelming results. "When I start a new class, with 200 people, it's crazy. Where are all these people coming from?"

In the process of promoting the artistry of Hawaiian culture and dance, Makuakane has built a hula family of more than 250 students. The community brings the spirit of aloha to students, who are homesick locals as well as those who have never been to Hawai'i.

Makuakane explains the name of the halau, Na Lei Hulu I Ka Wekiu, to his students: "I go for the full-on meaning, which is 'the many feathered wreaths at the summit held in high esteem,' because that is how I view my students, very precious. I hold them in high esteem."

With great admiration for his dancers, Makuakane creates productions that flaunt their talents. Working with a devoted team of designers and technical staff, every detail is carefully considered. Even for the program, "we work on simple text that I'm sure nobody is going to read, but we spend weeks to get it right."

And once on stage, Makuakane's wit and smiling face welcome an audience on a journey of hula adventures. "I try to be engaging with the audience to make them a part of the production rather than just watching a show. Come with us."