Coming to the Hawaii Theatre stage direct from San Francisco, kumu hula Patrick Makuakane and halau Na Lei Hulu i ka Wekiu are bringing to Hawaii a new iteration of the troupe’s groundbreaking production, “The Natives Are Restless.”

This epic story in dance concert, variously described as “dynamic,” “bombastic,” “controversial” and an “epic production,” has been created by a kumu hula with deep roots in the islands.

The production never fails to raise eyebrows, questions and opinions. Makuakane says, in a casual tone, “You know, Hawaii is an occupied state. There never was a real treaty of annexation.” Then he quietly waits for the concept to sink in.

The statement causes discomfort for those who believe Hawaii’s provenance is settled. That’s just what Makuakane wants.

“I really do want to change perspectives and encourage passionate dialogue,” he says. “Controversial critique is fine with me.”

When the curtain goes up on “The Natives Are Restless,” audience members will see giant photo murals projected as a backdrop, and dancers presenting modern, progressive approaches to an ancient form. Dancers will be dressed in contemporary costumes by Hawaii designers, including Wahine Toa, made with nontraditional fabrics.

“It is a promise: This will not look like any hula show you have seen before,” Makuakane says.

He also promises that his show is far more structured and refined than previous productions. After his first presentation, in 1998, he has continued to grow the theme and expand the concepts.

“Listen and look for undertones of Broadway’s ‘Hamilton,’” he said, pausing again. “What? Yes. Rap hula dedicated to Kamehameha III.”

The show features 15 new choreographed pieces and live music provided by Hawaii’s award-winning duo Kupaoa. The style is called hula mua, but fans of the halau are more likely to call it a “blow your mind” concert. Of the more than 300 dancers who study with Makuakane, he will bring 36 performers.

Makuakane’s own tangled hula history actually began when, as a local fifth-grader, he didn’t like the hula he was dancing in the Kamehameha Schools Exploration program. (He wasn’t all that interested in the soccer team, either.) As a freshman in high school, however, he discovered kumu hula John Keola Lake and says, “in two weeks I fell in love with hula and hula music and found my passion.”

Next came 10 years of study with kumu Robert Cazimero. His first Merrie Monarch competition with Cazimero’s halau was in 1977. “Even now I consider Robert my kumu,” Makuakane says.

He went on to study with hula master Mae Kamamalu Klein, and graduated as a kumu hula, a hula master and teacher, connecting Makuakane to hula lineage stretching back generations. His list of awards reads for pages, but his conversation is focused on the intent of presenting history as he understands it.

Makuakane said that 20 years ago, when he first created the concept for this show, the world was different; there was far less interest in Hawaiian history. Now audiences welcome the opportunity to be educated and informed.

The halau will also appear at this weekend’s Hawai‘i Book & Music Festival. There is a book to highlight: San Francisco journalist Constance Hale’s beautiful and in-depth story of Makuakane and Na Lei Hulu i ka Wekiu, “The Natives Are Restless: A San Francisco Dance Master Takes Hula Into the 21st Century.”

Hale describes Makuakane’s story of hula returning as a dance force in contemporary art after “benign neglect” left it to languish, or be considered a “tourist cliche.” It is an in-depth description of the innovative kumu hula, discussing his philosophy and his understanding of hula traditions. This weekend the book will be available at the Book & Music Festival and at Na Mea Native Books at Ward Warehouse.

Makuakane says he takes a progressive approach to history, believing the future can be affected by activism in the present. He describes his first show as a “visceral, shoot-from-the-hip” production. Since then he has studied, composed, written and designed, and refined the story to create more impact.

The story that Makuakane wants the audience to hear and take away is that history has to be looked at carefully, understanding that what we “know” might not be the real truth. His hula tells a story of history and people, growth and survival that can touch the hearts of any audience.