Lorenzo Lyons | Images of Old Hawaiʻi

May 31, 2020 by Peter T Young Leave a Comment

Transformation of Waimea, South Kohala, Hawaiʻi

Over the centuries, and even today, Waimea was an attractive draw with ideal climate and soils, and moderate distance from the ocean.

Still holding remnants of a cowboy town, it looked very different in centuries past – with transformation of forest lands, to agricultural fields, to pasture lands.

Now upper pasture land, archaeologists and others suggest the upper slopes of Waimea was a forest made up of ʻōhiʻa, koa, māmane, ʻiliahi (sandalwood) and other trees. Pili grass and shrubs were also found.

Within these forested uplands, you could find a variety of forest birds, ʻiʻiwi, ʻelepaio, ʻapapane and others. Fossil remains of a flightless goose have been found in the region.

This is what the earliest settlers to the region probably saw (however, it is likely the first settlers on the island probably first lived in the valleys on the wetter windward side of the island and others later came to Waimea.)

The forests had general characteristics of an open canopy and the appearance of a wooded parkland, particularly when contrasted with the grassy plains to the west and the dense “impenetrable” rainforest to the east. (McEldowney)

Statements typifying these characteristics, generally made while enroute from the Waimea settlements, through Parker’s ranch house at Mana, and along Mauna Kea’s eastern slope, include: “a scanty forest” (The Polynesian 1840); “those parts of the plain adjoining Hāmākua are better wooded having a parklike appearance” (Sandwich Islands Gazette 1836) …

… “well shaded by clumps of trees” (The Polynesian 1847); and is “thickly wooded with large trees, entirely free from underbrush, and is covered with a greensward, giving it the appearance of a parkland” (The Polynesian 1848.) (McEldowney)

Reverend Lorenzo Lyons (missionary leader of Waimea’s Imiola Church and songwriter who composed “Hawaiʻi Aloha”) frequently described his home as ʻAla ʻŌhiʻa Nei (home of the fragrant ʻōhiʻa lehua.) (Paris)

The population began to increase dramatically around 1100 AD and the west side population doubled every century. (Kirch) The population of the islands reached a peak in about 1650 AD, with a total of several hundred thousand.

Waimea’s initial population (probably first settling in the 1100s – 1200s) likely grew into a fairly large community. Settlement areas expanded into the hillsides and out onto the drier Waimea plains.

As permanent settlements were established and populations grew, to feed the people and increase the amount of arable land, the leeward slopes and valleys were cleared of the native forest and replaced by intensively cultivated field systems. (Watson)

Field walls (kuaiwi) delineated garden plots (Kihāpai) and helped retain the soil. Fields were irrigated using canals (ʻauwai) that tapped the Waimea streams. (Watson)

Once the advantages of living in Waimea were known, the population quickly grew. Terraced agricultural plots expanded and more of the forest was removed.

The upper slopes of Waimea are said to have supported more than 10,000-people prior to contact.

Post-contact brought further changes – two major modern land-use practices transformed the landscape – first, the harvesting of sandalwood, which was shortly-followed by the management of the cattle herds.

Various references establish the importance of sandalwood, the most famous of early historic export commodities, in the Waimea region, while remarks such as, these “woods frequented by sandalwood cutters” suggest exploitable sandalwood was in the region’s māmane/koa forests. (McEldowney)

William Ellis, in 1831 wrote, “Before daylight on the 22d, we were roused by vast multitudes of people passing through the district from Waimea with sandalwood, which had been cut in the adjacent mountains for Karaimoku (Kalanimōku,) by the people of Waimea, and which the people of Kohala, as far as the north point …”

“… had been ordered to bring down to his storehouse on the beach, for the purpose of its being shipped to Oahu. There were between two and three thousand men, carrying each from one to six pieces of sandalwood, according to their size and weight.”

In 1856, while editor of the Sandwich Islands’ Monthly Magazine, Abraham Fornander wrote an article arguing that large cattle herds had altered or ameliorated the climate of Waimea by destroying a “thick wood” that covered “the whole of the plain” as early as 1825 or 1830 (Sandwich Islands’ Monthly Magazine 1856). (McEldowney)

All of this forever changed Waimea. Once the native forests were cleared, the “natural” landscape of Waimea ceased to exist. (Watson)

Early Hawaiians first altered the landscape by clearing the forest and plotting out agricultural fields; later, introduced species took over.

A notable introduced (and invasive) plant to Waimea is fountain grass; it was introduced on the island of Hawaiʻi as an ornamental plant in the 1920s. It spread quickly and today, less than a century later, fountain grass is a dominant species along roadsides and in undeveloped areas on the leeward side of the island. (Watson)

Waimea, we used to call it home – I miss it.

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Waimea-Early_Historic_Vegetation-(McEldowney)-1792-1850

House before KTA commercial area developed

Waimea_Cherry_Blossoms-(clarkhawaii-com)

May 23, 2020 by Peter T Young 1 Comment

Love always for Hawaiʻi

“For more than 100 years, love of the land and its natural beauty has been the poetry Hawaiian composers have used to speak of love. Hawaiian songs also speak to people’s passion for their homeland and their beliefs.” (Hawaiian Music Hall of Fame, 1998)

The Hawaiian Music Hall of Fame further noted, Hawaiʻi Aloha is “widely regarded as Hawaiʻi’s second anthem”. (Hawaiian Music Museum)

“It is performed at important government and social functions to bring people together in unity, and at the closing of Hawaiʻi Legislative sessions. Today, people automatically stand when this song is played extolling the virtues of ‘beloved Hawaiʻi.’”

Hawaiʻi Aloha was written by a Protestant missionary, Lorenzo Lyons. The music is from James McGranahan “I Left It All With Jesus.” (Kam)

Some suggest Lyons wrote the song for Kamehameha IV. However, “Since Kamehameha IV died on November 30, 1863, and the American tune by McGranahan appeared in print in 1879 or 1881, the song could not have been the king’s favorite song.” (Kam)

“In 1998, The Advisory Board honored these traditional songs for their beauty and their messages, which have made them popular, with concert performers and recording artists, as well as the public.”

Hawaiʻi Aloha has three verses, but most typically sing the first verse and repeat portions of the chorus:

E Hawaiʻi e kuʻu one hānau e
Kuʻu home kulaiwi nei
ʻOli nō au i nā pono lani ou
E Hawaiʻi, aloha ē

Hui:
E hauʻoli nā ʻōpio o Hawai`i nei
ʻOli ē! ʻOli ē!
Mai nā aheahe makani e pā mai nei
Mau ke aloha, no Hawaiʻi

Reverend Lorenzo Lyons was fluent in the Hawaiian language and composed many poems and hymns; his best known and beloved work is the hymn “Hawaiʻi Aloha” sung to the tune of “I Left It All With Jesus.”

The most likely date for the composition of the words of “Hawai‘i Aloha,” falls after the publication of Gospel Hymns, No. 4 (Words Only) in 1879, when the music was first available, and before the death of Lyons on October 6, 1886. (Kam)

Here’s the English translation (first verse and chorus):

O Hawaiʻi, o sands of my birth
My native home
I rejoice in the blessings of heaven
O Hawaiʻi, aloha

Chorus:
Happy youth of Hawai`i
Rejoice! Rejoice!
Gentle breezes blow
Love always for Hawaiʻi

Here’s a link to Hawaiʻi Aloha – sung by Ledward Kaʻapana, Dennis Kamakahi & Nathan Aweau – written by a missionary:
http://www.youtube.com/watch?v=eWjpR-J0BSc

Israel Kamakawiwoʻole – Hawai’i Aloha
https://www.youtube.com/watch?v=8Q0_wr2IflQ

Collaboration between native Hawaiians and the American Protestant missionaries resulted in, among other things, the introduction of Christianity, the creation of the Hawaiian written language, widespread literacy, the promulgation of the concept of constitutional government, making Western medicine available and the evolution of a new and distinctive musical tradition.

Oli and mele were already a part of the Hawaiian tradition. “As the Hawaiian songs were unwritten, and adapted to chanting rather than metrical music, a line was measured by the breath; their hopuna, answering to our line, was as many words as could be easily cantilated at one breath.” (Bingham)

Some songs were translations of Western songs into Hawaiian; some were original verse and melody. Hawaiʻi Aloha is an example of the music left as a lasting legacy by the missionaries in the Islands.

Missionaries used songs as a part of the celebration, as well as learning process. “At this period, the same style of sermons, prayers, songs, interrogations, and exhortations, which proves effectual in promoting revivals of religion, conversion, or growth in grace among a plain people in the United States was undoubtedly adapted to be useful at the Sandwich Islands.” (Bingham)

“The king (Kamehameha III) being desirous to use his good voice in singing, we sang together at my house, not war songs, but sacred songs of praise to the God of peace.” (Bingham)

Hawaiʻi Aloha was not the only popular song written by the missionaries.

One of the unique verses (sung to an old melody) was Hoʻonani Hole ‐ Hoʻonani I Ka Makua Mau. Missionary Hiram Bingham wrote/translated it to Hawaiian and people sang it to a melody that dates back to the 1600s – today, it is known as the Hawaiian Doxology. (It is his original lyrics, not a translation of “Praise God from whom all blessings flow …”

“In 1872, (Lyons) published Buke Himeni Hawaiʻi containing over 600 hymns, two thirds his own composition. Some years later he prepared the Sabbath School Hymn and Tune Book Lei Aliʻi.””

“The Hawaiians owe entirely to his exertions their introduction to modern enlivening styles of popular sacred music.” (Hawaiian Gazette, October 19, 1886)

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July 1, 2019 by Peter T Young 2 Comments

New Musical Tradition

“Music serves to enliven many an hour of sadness, or what would be sadness otherwise. It is an expression of the emotions of the heart, a disperser of gloomy clouds.” (Juliette Montague Cooke; Punahou)

Hawaiians devised various methods of recording information for the purpose of passing it on from one generation to the next. The chant (mele or oli) was one such method. Elaborate chants were composed to record important information, e.g. births, deaths, triumphs, losses, good times and bad.

In most ancient cultures, composing of poetry was confined to the privileged classes. What makes Hawai‘i unique is that poetry was composed by people of all walks of life, from the royal court chanters down to the common man.

“As the Hawaiian songs were unwritten, and adapted to chanting rather than metrical music, a line was measured by the breath; their hopuna, answering to our line, was as many words as could be easily cantilated at one breath.” (Bingham)

The Pioneer Company of missionaries (April, 1820) introduced new musical traditions to Hawai‘i – the Western choral tradition, hymns, gospel music, and Western composition traditions. It was one of strophic hymns and psalm tunes from the late-18th century in America.

The strophic form is one where different lyrics are put to the same melody in each verse. Later on, with the arrival of new missionaries, another hymn tradition was introduced was the gospel tune with verse-chorus alternation. (Smola)

The missionaries also introduced new instrumentation with their songs. Humehume (George Prince, son of Kauai’s King Kaumuali‘i) was given a bass viol or ‘Church Bass’ (like a large cello) and a flute that he have learned to play well. He returned to the Islands with the Pioneer Company. Later, church organs, pianos, melodeons, and other instruments were introduced to the Islands.

Bingham and others composed Hawaiian hymns from previous melodies, sometimes borrowing an entire tune, using Protestant hymn styles. In spite of the use of English throughout Hawaii, the Hawaiian language continues to be used in Bible reading and in the singing of hîmeni (hymns) in many Christian churches. Himeni still preserve the beauty of the Hawaiian language. (Smithsonian)

The first hymnal in the Hawaiian language was ‘Nā Hīmeni Hawaii; He Me Ori Ia Iehova, Ka Akua Mau,’ published in 1823. It contained 60 pages and 47 hymns. It was prepared by Rev. Hiram Bingham and Rev. William Ellis, a London Missionary Society missionary who was visiting.

On June 8, 1820, Rev. Hiram Bingham set up the first singing school at Kawaiaha‘o Church. He taught native Hawaiians Western music and hymnody. These ‘singing schools’ emphasized congregational singing with everyone actively participating, not just passively listening to a designated choir.

By 1826, there were 80 singing schools on Hawai‘i Island alone . By the mid-1830s, church choirs began to become part of the regular worship. This choral tradition partially grew out of the hō‘ike, or examination, when the students being examined would sing part of their lessons.

Hawai‘i Aloha

“For more than 100-years, love of the land and its natural beauty has been the poetry Hawaiian composers have used to speak of love. Hawaiian songs also speak to people’s passion for their homeland and their beliefs.” (Hawaiian Music Museum)

Next time you and others automatically stand, hold hands and sing this song together, you can thank an American Protestant missionary, Lorenzo Lyons, for writing Hawai‘i Aloha – and his expression of love for his home.

Na Lani Eha

In 1995, when the Hawaiian Music Hall of Fame selected its first ten treasured composers, musicians and vocalists to be inducted, ‘Na Lani Eha’, (The Royal Four), were honored as the Patrons of Hawaiian music.

‘Na Lani Eha’ comprises four royal siblings who, in their lifetimes, demonstrated extraordinary talent as musicians and composers. They were, of course, our last king, Kalākaua, his sister, Hawai‘i’s last queen, Lili‘uokalani, their brother, the prince, Leleiōhoku, and their sister, the princess, Likelike, mother of princess Ka‘iulani.

In August 2000, ‘Ka Hīmeni Ana’, the RM Towill Corporation’s annual contest at Hawai‘i Theatre for musicians playing acoustic instruments and singing in the Hawaiian language, was dedicated to missionary Juliette Montague Cooke, the Chiefs’ Children’s teacher and mother.

John Montague Derby, Sr., who accepted this honor for the Cooke family, said. “(it is) with gratitude for the multitude of beautiful Hawaiian songs that we enjoy today which were composed by her many students.”

Above text is a summary – Click HERE for more on New Musical Tradition

Planning ahead … the Hawaiian Mission Bicentennial – Reflection and Rejuvenation – 1820 – 2020 – is approaching (it starts in about a year)

If you would like to get on a separate e-mail distribution on Hawaiian Mission Bicentennial activates, please use the following link:

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February 4, 2018 by Peter T Young 2 Comments

He Akua Hemolele – Ke Akua no kakou

“(O)ur mission was providentially favored with a visit from Mr. Ellis, a missionary from (the London Missionary Society), and Messrs. Tyreman and Bennet, who had been sent thither as the deputed agents of the London Missionary Society.”

“Without their contrivance or ours, they, while seeking to convey and accompany teachers from the Society to the Marquesas Islands, found an opportunity to touch at the Sandwich Islands in their course.” (Bingham)

“Four or five hymns having been prepared in Hawaiian by Mr. Ellis, were introduced into public worship with manifest advantage. On the 4th of August, these were read and sung, and I addressed the throne of grace in the language of the country.”

“In my early efforts to do this, it seemed that an invisible power granted the needed assistance. The language was found to be favorable to short petitions, confessions, and ascriptions of praise and adoration.”

“On the next day, while many of our friends, over oceans and continents, were remembering us at the monthly concert, the king and his attendants applied themselves to then new books.”

“A number of natives, already able to teach them, joined with the missionaries as teachers, and we rejoiced to see the king’s thatched habitation, under the guns of the fort at Honolulu, become a primary school for the highest family in the land. Naihe, Kapiolani, Nāmāhāna, and La‘anui, at then own houses in the village, were endeavoring to learn to read and write.” (Bingham)

“The London Missionary Society’s “talents, experience, kindness, and courtesy, rendered the Christian intercourse of these brethren with our missionaries, so isolated and secluded from civilized society, a peculiar privilege, long to be remembered with pleasure. Prejudices had been allayed, and the confidence of the rulers in our cause, increased.”

“Mr. Ellis, being some four years in advance of us, in acquaintance with missionary life, among a people of language and manners so similar to those whom we were laboring to elevate, and being peculiarly felicitous in his manner of communication with all classes …”

“… greatly won our esteem, awakened a desire to retain him as a fellow laborer, and made us grateful for the providence that kindly made the arrangement, for a season, by which the language was sooner acquired, and our main work expedited.” (Bingham)

“On the 4th of February, 1823, the Rev. Mr. Ellis and family from the Society Islands, as had been expected, arrived at Honolulu on board a small vessel, the Active, Richard Charlton master, and were kindly welcomed both by the missionaries and the rulers.”

“They were accompanied by three Tahitian teachers, Kuke, and Taua, having their wives with them, and Taamotu, an unmarried female.”

“Mr. Ellis entered at once into the labors of the mission, and with much satisfaction, we could unitedly say, ‘Let us see the great work done in the shortest possible time.’” (Bingham)

“(The) hymn He Akua Hemolele originated on the arrival of Mr. Ellis in Honolulu harbor. A canoe from the shore brought Mr. Bingham out to the vessel.”

“Mr. Ellis called down to him ‘He Akua Hemolele,’ God is good, or perfect. Mr. Bingham replied, ‘Ke Akua no kakou,’ He is our God.”

“And so in the typical fashion of a Hawaiian ki’ke, this dialog of greeting continued for several phrases which were later worked over into the four short stanzas of the hymn.”

“And a member of the Green and Parker families reminds us that this old hymn was a lullaby often hummed in Hawaiian by the first Mother Rice, in the days before cradles went out of style and mothers still took time to sing their babies to sleep.” (Damon; Ululoa)

“As early as 1823 a small hymn-book of 60 pages (Na Himeni Hawaiʻi; He Me Ori Ia Iehova, Ke Akua Mau) was prepared by the Revs. H. Bingham and W. Ellis.” (Julian)

“It had been my privilege to labour in harmonious cooperation with the able and devoted American missionaries first sent to the Sandwich Islands.”

“Having a knowledge of the language of Tahiti, which varies but slightly from that of Hawaii, I had assisted in forming the Hawaiian alphabet, and fixing the orthography of the native language, as well as in other departments of missionary labour.”

“More than thirty years had passed away since I had left those islands, and it was an unexpected satisfaction to my own mind to find that the Christian sentiments embodied in a simple hymn …”

“… which had been prepared chiefly with a view to implanting seeds of truth in the minds of the young, had afforded consolation and support to the mind of a native of those islands in the lonely solitude of a distant ocean, amidst the perils of shipwreck, and the prospect of death …”

“… and I mention this circumstance for the encouragement of other labourers in the cause of humanity and religion, that they may cast their bread upon the waters and labour on, in the assurance that no sincere effort will be altogether in vain, though its results should never be known. (Ellis) Lorenzo Lyons later penned the hymn He Akua Hemolele.)

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Ellis and Bingham

September 10, 2017 by Peter T Young 1 Comment

Imiola

During the mid-nineteenth century, Imiola Congregational Church at Waimea, Hawaii became the main base for Congregational missionary activities in the Hāmākua and South Kohala Districts of Hawaii. (Imiola means ‘seek salvation.’)

The first Imiola Church was a grass hut built by order of the local chiefs for traveling missionaries. No construction date has been found for the first church, although it had been built and dedicated by King Kamehameha III before 1832.

It contained a rough pulpit and a crude window. Congregations sat on mats on the ground and often were so large that the tiny structure could barely accommodate them.

Reverend Lyons wrote in his journal that at least one hundred little grass schoolhouses were scattered around his church in the immediate Waimea area.

Imiola Church’s membership, combined with that of Reverend Titus Coan’s church in Hilo, accounted for three out of every four church members on all islands in May, 1838. Lyons’ triumph was short-lived, however. Of the nearly 5,000-natives who became members during the peak period of religious revival, only 1,197 were in good standing by 1841.

By February of 1843, the first church had been torn down and was replaced by a stone structure with thatched roof and windows. Hundreds of natives helped in the collection of stones, often carrying them miles to the construction site.

It was “A large stone edifice whose extension of stately walls and two large panel doors and smiling windows, presents an imposing form and whose interior …”

“… with the addition of a boarded floor and well-arranged seats and neat simple pulpit, furnishes new attractions to the native worshipper.” (Lyons, September 15, 1841; Gulick)

Difficult as the raising of the second church was, the structure lasted for only a little over twelve years. At the end of April, 1855, it was determined to be unsafe and was abandoned.

On June 11 of that year, the roof collapsed and was described by Lyons as “a mass of ruins”. On August 29, 1855, the cornerstone of the new church was laid.

“Under the cornerstone (SW corner) was deposited a tin box wrapped in mamaki kapa – Hawaiian Bible, hymn books, newspapers, laws, etc.”

By 1857, the church was completed and dedicated. The ceiling rafters, floor, and exterior clapboard were made of koa, a Hawaiian hardwood.

Lyons’ recollections of the construction of the building list two important figures. Mr. Cairr “was engaged to put up the new building” and Alani was responsible for planing the clapboard siding. The church was constructed by the help of church members who did most of the heavy work.

Imiola Congregational Church is a rectangular wooden gabled structure which makes use of indigenous construction materials. The church measures approximately 40 by 60 feet and is set on stone footings and a dry fieldstone wall.

It is sheathed with bevel siding. Shingles cover the solid NE end and located on the opposite end is a small gabled entrance way with a curved lintel piece. A rectangular tower with crenellations and a cross crown the high-pitched gable.

By 1882, the church required repairs and between the money donated and funds collected at a church fair, Imiola was reshingled, repainted and rematted.

“There were no doors to Imiola church in Laiana’s time, and when I was little the entrance was always open. There was no other church like it, for the benches all had horse hair cushions, covered with brocaded material. We youngsters used to go in and run around and pick out the best cushions and drag them along and change them to our own pew.” (Helen Lindsey Parker; Makua Laina)

Competition with the Catholic Church, the drastic drop in the Hawaiian population, as well as the movement of many natives to coastal urban centers accounted for the dwindling congregation.

Two years before his death, a crowd which included Waimea’s young, old, middle aged, Catholics, Mormons, Protestants, and non-believers all came to one of Lyons’ services to honor him.

As was the practice, the early missionaries learned the Hawaiian language and taught their lessons in Hawaiian, rather than English. In part, the mission did not want to create a separate caste and portion of the community as English-speaking Hawaiians. In later years, the instruction, ultimately, was in English.

Lyons was an avid supporter of the Hawaiian language. He wrote a letter to the editor in The Friend newspaper (September 2, 1878) that, in part noted:

“An interminable language…it is one of the oldest living languages of the earth, as some conjecture, and may well be classed among the best…the thought to displace it, or to doom it to oblivion by substituting the English language, ought not for a moment to be indulged. … Long live the grand old, sonorous, poetical Hawaiian language.”

He was lovingly known to Hawaiians as Ka Makua Laiana, Haku Mele o ka Aina Mauna – Father Lyons, Lyric Poet of the Mountain County.

Lyons was fluent in the Hawaiian language and composed many poems and hymns; his best known and beloved work is the hymn “Hawaiʻi Aloha” sung to the tune of “I Left It All With Jesus” (circa 1852.) The song was inducted into the Hawaiian Music Hall of Fame in 1998.

“Widely regarded as Hawaiʻi’s second anthem, this hymn is sung in both churches and public gatherings. It is performed at important government and social functions to bring people together in unity, and at the closing of Hawaiʻi Legislative sessions.”

“The first appearance of “Hawaiʻi Aloha” in a Protestant hymnal was in 1953, nearly 100 years after it was written. Today, people automatically stand when this song is played extolling the virtues of ‘beloved Hawaiʻi.’” (Hawaiian Music Museum).

In 1886, Lyons died at the age of 79. He was buried some distance from the church on the grounds of his old homestead. With the help of Parker Ranch management, his remains were removed to the grounds of Imiola Church in April, 1939. (Nelia and I were married at Imiola, seventeen years ago, today.)

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