Economy | Page 124 | Images of Old Hawaiʻi

July 22, 2019 by Peter T Young Leave a Comment

Ruggles’ Quilt

“The making of tapa was a time-consuming and labor intensive process. The outer bark was stripped away and the inner bark was soaked in water to make it soft.”

“Artistically carved round wooden mallets were used to pound the strips of the inner bark into meshed fiber to form sheets of various sizes, thicknesses, and textures. Then, the tapa was colored by native dyes and decorated with block prints.”

“New England missionaries arrived in 1820 and taught high-ranking Hawaiian women to make American-style patchwork quilts. On April 3, 1820, seven young New England missionary women held the first ‘Sewing Circle’ aboard the brig Thaddeus.” (Cao and Park)

“The high-ranking Hawaiian women were Kalakua, mother of King Liholiho, her sister Namahana, and two wives of Chief Kalanimoku. The missionary wives were Lucy Thurston, Lucia Holman, Sybil Bingham, Nancy Ruggles, Mercy Whitney, Jerusha Chamberlin, and Elisha Loomis.”

“The missionaries supplied the scissors and furnished the native women with calico patchwork to sew. Sewing calico piecework was new to the ranked Hawaiian women, but the geometric and symmetrical patterns associated with quilting were not.”

“The Hawaiian women were taught both types of quilt making. The pieced variety technique was used to make geometric repeated blocks, and the appliqué style used the ‘snowflakes’ method.” (Cao and Park)

Lucy Thurston, the wife of one of the first missionaries, recorded in her journal (1882): “Monday morning, April 3rd [1820], the first sewing circle was formed that the sun ever looked down upon in his Hawaiian realm.”

“Kalakua, queen-dowager was directress. She requested all the seven white ladies to take seats with them on mats, on the deck of the Thaddeus. Mrs. Holman and Mrs. Ruggles were executive officers to ply the scissors and prepare the work. … The four native women of distinction were furnished with calico patchwork to sew-a new employment to them.” (Thurston)

“For the first few years the missionary wives spent a great deal of time sewing for the upper class Hawaiians.”

“These ladies preferred to spend their time instructing the Hawaiians in spiritual matters and when regular supplies of fabric and patterns arrived from the mainland, the missionary wives began teaching Hawaiians to sew”.

“According to Wild, the missionaries’ instructional program included other domestic arts in addition to sewing lessons, and both sexes were welcomed into the domestic arts classes.”

“Leftover scraps of fabrics from the lessons were used to teach patchwork quilting. As they began learning to quilt, Hawaiian women incorporated traditional and familiar kapa designs into their quilts.”

“As part of the assimilation and acculturation processes, western fabric, fashions and quiltmaking were integrated into Hawaiian material culture. As this happened, the making of kapa began to decline, and by the end of the nineteenth century, kapa production waned.”

“To the Hawaiian seamstresses, it probably seemed illogical to cut new materials into small pieces only to be sewn together to make a patchwork quilt.”

“It was quite natural, therefore, that the Hawaiian women would move toward individual designs as they were accustomed to producing original designs with their own kapa beater and wood-blocks from which they made kapa designs of their own.”

“It is not known exactly when, or even how the appliquéd Hawaiian quilt evolved. What is most striking about the Hawaiian quilt is the appliqué technique in which a large sheet of fabric is folded, cut into a design, then stitched onto a contrasting background, followed by contour quilting around the motif.”

“Both in technique and style, Hawaiian appliqué reminds us of paper snowflakes made by schoolchildren, a contemporary remnant of cut paper work that was popular in the northeastern United States during the early decades of the nineteenth century.” (Arthur)

In addition, 9-year-old Huldah, daughter of missionary Samuel Ruggles made her own patchwork quilt, it is featured in the image. It was recently on display at Hawaiian Mission Houses. It is made from scraps; images of other clothing are also included in the album (from which Huldah Ruggles used scraps to finish her quilt).

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Huldah Ruggles Quilt-HMH

Huldah Ruggles Quilt-HMH and Garment-Huldah Ruggles used scarps of material for quilt

Huldah Ruggles Quilt-HMH

Garment-Huldah Ruggles used scarps of material for quilt

July 20, 2019 by Peter T Young Leave a Comment

Norman Keith Collins

Like other Polynesians, Hawaiians imported their traditional tattoo art, known as kakau, to the islands. It served them not only for ornamentation and distinction, but to guard their health and spiritual well-being.

Images of lizards, which were greatly respected and feared, and of the Hawaiian crescent fan (Peahi niu) for the highest-ranking members of society, dominated Hawaiian kakau.

Intricate patterns, mimicking woven reeds or other natural forms, graced men’s arms, legs, torso and face. Women were generally tattooed on the hand, fingers, wrists and sometimes on their tongue. (PBS)

Queen Kamāmalu had a tattoo applied to her tongue as an expression of her deep grief when her mother-in-law died in the 1820s. Missionary William Ellis watched the procedure, commenting to the queen that she must be undergoing great pain. The queen replied, He eha nui no, he nui roa ra ku‘u aroha. (Great pain indeed, greater is my affection.) (Fullard-Leo)

The designs were applied by specially trained kahuna, experts in one or more critical tasks, who applied pigment to the skin with a needle made from bone, tied to a stick and struck by a mallet.

Traditional designs varied widely, according to available records, but many memorialized fallen chiefs, leaders or family members. The process was guarded with great secrecy and all implements were destroyed after use, according to the dictates of kapu. (PBS)

Fast forward to modern tattooing … some suggest the history of tattooing can be divided into two periods, before Sailor Jerry (BSJ) and after Sailor Jerry (ASJ). That’s how important he was to the development of tattooing. (Levy)

Born on January 14, 1911 in Reno, Nevada, Norman Keith Collins first took the nickname ‘Jerry’ (apparently given to him after his father noticed a similar disposition between the young troublemaker and the family’s cantankerous mule).

He eventually landed in Chicago and two things happened that changed his life. One, he hooked up with local tattoo legend, Gib ‘Tatts’ Thomas, who taught him to use a tattoo machine. (For practice, he paid bums with cheap wine or a few cents to let him tattoo them). Then, at 19, he joined the Navy and he became known as Sailor Jerry.

When Collins mustered out of the Navy, he settled in Honolulu. Within a few years, the Japanese bombed Pearl Harbor and everything changed.

At the height of WWII, over 12 million Americans served in the military and, at any given moment, a large number of them were on shore leave in Honolulu.

The circumstances of war fed a cross-section of American men into environments that usually only existed on the fringes – places like Honolulu’s Hotel Street, a district comprised almost exclusively of bars, brothels and tattoo parlors. This was where Collins, as Sailor Jerry, built his legacy. (Sailor Jerry)

Although Jerry was world famous for his tattooing, he had other interests. The sea was always a part of his life and while holding Captain’s papers in the 1950s; he skippered a tour ship that covered the Pearl Harbor memorial.

His study of electronics led to a first class FCC license, and for several years he hosted a late night talk show on a local radio station. On that show he was known as “Old Ironsides”, another reflection on his interest in the sea. (Tattoo Archive)

He taught himself to be an electrician, which helped him innovate his tattoo machines. He played in a jazz band. He toured around in a canary yellow Thunderbird and he was out on his Harley when he had the heart attack that would take his life (after collapsing in a cold sweat, he got back on his bike and rode home). (Sailor Jerry)

Sailor Jerry built a reputation for quality work, which attracted customers in spite of the cost. He is credited with the invention of the magnum tattoo needle, used to apply broad strokes of color to the skin, as well as an improved tattoo-machine construction, whose smooth operation resulted in greater detail and less pain for the sitter.

He was the first tattoo artist to find and use a purple ink that was not fugitive or toxic. During a time when trade secrets were guarded, he befriended the most talented tattoo artists in the world, corresponding only with those whom he tested and deemed worthy of his attention.

His studies culminated in a style that combined the bold colors and designs seen in Japanese tattoos with iconic Americana imagery.

Sailor Jerry, who longed for the day when tattooing would be seen as fine art, would be pleased to learn that his flash, stencils, rubbings, and sketches underwent full conservation treatment at the Conservation Center for Art and Historic Artifacts. (Sheesley)

Norman Keith Collins ‘Sailor Jerry’ died June 12, 1973 and is buried at the National Memorial Cemetery of the Pacific at Punchbowl.

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Sailor Jerry-art

sailor-jerry tatoo shop-Honolulu

Norman Keith Collins-Sailor Jerry

Sailor Jerry-art

Norman_Keith_Collins headstone Punchbowl

July 19, 2019 by Peter T Young Leave a Comment

Rice

Rice production was not a major contributor to Hawaiʻi’s economy until the latter half of the nineteenth century. As whaling declined in importance, greater emphasis was placed on agricultural production, primarily sugar and rice.

It was in 1850 when the Royal Hawaiian Agricultural Society was formed to develop Hawaiʻi’s agricultural resources that rice made its mark in the Hawaiʻi economy. The group purchased land in the Nuʻuanu Valley and rice seed from China and planted in a former taro patch.

At first the Society offered the rice seed to anyone in Hawaiʻi who wanted to plant it. King Kamehameha IV also offered land grants for cultivation of rice. Because there were no proper milling facilities in Hawaiʻi, it didn’t take off as a viable crop right away.

Then, in 1860, imported rice seed from South Carolina proved very successful and yielded a fair amount of crop. This, combined with the collapse of the taro industry in 1861-1862 (as the Hawaiian population declined, the demand for taro also declined,) added value to the numerous vacant taro patches and a boom in the rice industry.

From 1860 to the 1920s, Rice was raised in the islands of Hawaiʻi, particularly in Kauai and Oʻahu, because of their abundance of rain.

The Hanalei Valley of Kauai led all other single geographic units in the amount of acreage planted in rice. The valley was one of the first areas converted to this use and continued to produce well into the 1960s.

The Commercial Pacific Advertiser noted on October 3, 1861, “Everybody and his wife (including defunct government employees) are into rice – sugar is nowhere and cotton is no longer king. Taro patches are held at fabulous valuations, and among the thoughtful the query is being propounded, where is our taro to come from?”

During the 1860s and 1870s, the production of rice increased substantially. It was consumed domestically by the burgeoning numbers of Chinese brought to the Islands as agricultural laborers.

In 1862, the first rice mill in the Hawaiian Islands was constructed in Honolulu (prior to that it was sent unhulled and uncleaned to be milled in San Francisco.) By 1887 over 13 million pounds of rice were exported.

A particularly important stimulus for the increased demand for rice was the Reciprocity Treaty of 1876. This treaty between the United States and the Kingdom of Hawaiʻi granted duty-free status to certain items of trade between the two countries, including rice.

Thomas Thrum wrote in 1877 that Kamehameha V and other landowners had “planted a large tract of land in rice (in Moanalua,) and even went so far as to pull up and destroy large patches of growing taro to plant rice.”

In 1899, Hawaiʻi’s rice production had expanded so that it placed third in production of rice behind Louisiana and South Carolina.

Much of this rice acreage was worked initially by Chinese immigrants, who first arrived as contract laborers in 1852. By 1860 this immigrant population totaled 1,200. Chinese immigration continued at a rapid pace until 1884, when the official census estimated the number of Chinese at 18,254.

In 1882 the US Congress passed the Chinese Exclusion Act; then, Japanese workers were brought in to take their place. Within only five years the Japanese constituted more than forty-two percent of the plantation work force and one-seventh of the total population.

Ironically, this influx of Japanese immigrants accelerated Hawaiʻi’s decline in rice production. Japanese preferred short grain rice rather than the long grain rice the Chinese were used to eating. So rice began to be imported from California for the Japanese.

California’s success would ultimately mean the end of the rice industry in Hawaiʻi. Furthermore, the hand labor techniques of Hawaiʻi’s Chinese and Japanese rice farmers could not compete with California’s mechanized production technology.

Additional problems with the rice bird and rice borer, as well as the lack of interest on the part of the younger generation to continue rice farming, eventually meant the end of a once prosperous industry.

Attempts to revive rice production by the Agricultural Extension Service of the University of Hawaiʻi were made in 1906 and 1933, primarily in Hanalei.

As a result the acreage planted in rice on the island rose from 759 acres in 1933 to 1,058 in 1934. For areas like Hanalei Valley, such efforts, coupled with the valley’s general remoteness and absence of competing demands for the land, allowed rice cultivation to continue as a regional activity long after it had been abandoned throughout the rest of Hawaiʻi.

Today, there is no trace of the rice fields in Hawaiʻi. However, Hoʻopulapula Haraguchi Rice Mill museum in Hanalei Valley provides a remnant look at the once prospering agricultural venture.

It was built by the Chinese and purchased by the Haraguchi family in 1924. The Haraguchi family has restored the mill three times; after a fire in 1930, then again after Hurricane Iwa in 1982 and Hurricane Iniki in 1992.

The mill ceased operating in 1960 when Kauai’s rice industry collapsed. A nonprofit organization was formed to preserve and interpret the mill, which has been visited by thousands of school children and adults in the past 29 years.

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Rice

View of rice fields towards Pālolo Valley from the back of Waikīkī, Hawai`i, ca. 1910

Rice

Windward_Rice_Planting

Rice_fields_workers_beneath_Punchbowl_Crater,_Honolulu,_in_1900

Rice-aep-his290

Rice-aep-his291

The Iron Horse Comes to Hawaii-Peter Hurd-1889

Chinese water buffalo plowing rice field Hawaii Tai Sing Loo-(KSBE)=

Chinese-Waterbuffalo-Rice

Rice

Windward_Rice_Farmers

July 6, 2019 by Peter T Young 2 Comments

Award Winning Okolehao

“There is enough okolehao in Honolulu today to make the whole town drunk.”

“A recent arrival from Ti-root Gulch, Ke‘ei, Kealakekua, Hawaii, talked interestingly to an Advertiser man of the manufacture of the frisky spirit yesterday.”

“Keei, by the way, is the only place boasting an okolehao distillery in the Territory.”

“The distillery has been closed down, for alterations and improvements, nearly 3000 gallons of raw spirit having been turned out during the run.”

“This is now in bonded warehouse in Honolulu, in eleven charred barrels with the designation “okolehao” burned into each head. The liquor in its present state is known as proof spirits.”

“The product of the Keei plant is said to be a liquor as clear as crystal. It is said that illicitly-distilled okolehao sent from here took prizes at The Paris Exposition and the Chicago World’s Fair. It is the purest spirit known and the only liqueur to be distilled from a root.” (Hawaiian Gazette, December 6, 1907)

Eben Low tells the story … “‘It happened way back in the ‘80s – to be exact, 1889,’ said Low. ‘Col. Sam Parker have been given two gallons of okolehao which had been distilled in Waimanu valley, on the island of Hawaii. This was real okolehao, not the ‘rotgut’ which is being peddled about the country today ruining those who drink it.’”

“‘In the old days, the Hawaiians of Waimanu were noted for the excellence of the liquor they made. Copper stills were used and the liquor was given three different distillations.’”

“‘In the days of the monarchy it was illegal to have okolehao in your possession and the penalty for such an offense was severe. After sampling this liquor of Col Parker’s I decided to send some to the Paris Exposition along with a lot of other native products which were being prepared at that time.’”

“‘I did not want to take any chances of violating the law, however, and consulted John E Hassinger, who was then chief clerk of the department of the interior. Lorrin A Thurston was secretary.’”

“‘Hassinger told me that would be granted immunity provided that he received a sample.’”

“‘I took a gallon of the liquor to Macfarlane & Co, then the leading wholesale liquor dealers of this territory, and had the liquor bottled. One was given to Hassinger. Judge Dole received another, one I kept for myself and the last was prepared for the Paris Exposition.’”

“‘I designed a most attractive label and then wrote a description in Hawaiian and English as to how the beverage was made. I had another description written in French by the late Pierre Jones.’”

“‘In due time this bottle of okolehao was sent to Paris with the rest of the Hawaiian exhibit. Col ZS Spalding was the Hawaiian commissioner as the exposition. When the day of the awarding prizes arrived, he and the French awarding committee visited the Hawaiian exhibit.’”

“‘Spalding afterwards told me that the most outstanding and prominent feature of the exhibit was this artistically labeled bottle of okolehao. He was so astonished at seeing it there that he ordered it opened immediately.’”

“‘It was, in fact, when the committee and Spalding got through testing the quality of the exhibit there was none of the ti left and they immediately awarded the exhibit a bronze medal for quality and purity.’”

“‘Several months later, concluded Low, ‘a most official looking document addressed to ‘the government of Hawaii’ arrived here. It contained a diploma of award and a bronze medal – both of which had ben won by this lone bottle of okolehao.’”

“‘The diploma was in French but bracketed at the of the document was Eben Low.’” (Star Bulletin, October 10, 1925)

“‘As far as I know,’ continued Rawhide Ben, ‘it was the only award Hawaii got.’”

“‘To snub up this yarn,’ he finished, ‘Hassinger’s bottle didn’t last 24 hours. Judge Dole kept his. Before he died he told me I could have it. That bottle was snitched from my hotel room. But this bottle of mine,’ he fondled it ‘… well, when the time comes, I’m going to pull the cork and try it.’”

“Eben’s bottle of 50 year old oke is legal, federal authorities said today, although illegal when made and with no tax ever having been paid.” (October 24, 1938)

“The federal authorities have decided to make war upon our local moonshiners. The lay of the land in the Territory lends itself easily to the easily to carrying on of Illicit distilling.”

“With high mountains deep valleys, ample wood for fuel, excellent places for observing anybody coming near the lair, and with the natural leniency of those around to protect, or at least to say nothing about the moonshiners, there has been a great opportunity for this class of illicit work.”

It has been carried on close to the environs of the city and even within the city limits. The local police have been forever after these people, but the revenue officers, whose whole attention has to be given to the matter are likely to be more successful when they thoroughly understand local conditions.”

“The practice of distilling the liquor, called by the euphonious name of okolehao, from the ti root, was introduced by old lags from Australia.”

“In the early and middle part of the last century quite a number of convicts found their way here, one lot arriving in a schooner from which they landed near Kawaihae, burning their vessel to hide its identity.”

“Well, the lags started making liquor from ti root, and taught the Hawaiians. Since then the Hawaiian has found out for himself that liquor can be made from other things besides ti root. Molasses is very largely used in the manufacture of okolehao.”

“The best okolehao, however, is made from the ti root, and it was for a bottle of this that Eben Low received a medal from the Paris exposition. It was the only liquor of its class.” (Hawaiian Star, April 14, 1920)

“‘I still have the diploma, the medal and last, but not least, my bottle of okolehao. Now that so much publicity has been given to the latter I think I will have it stored in my safe deposit box.’” (Low; Star Bulletin, October 25, 1925)

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Eben Low pulling prized Okolehao from safe-SB-10-24-1938

Hawaiian Exhibit, Exposition Universelle, Paris, 1889

Eben ‘Rawhide Ben’ Low-PP-75-5-006-1931-400

Eben ‘Rawhide Ben’ Low-PP-75-5-006-1931

June 25, 2019 by Peter T Young 1 Comment

Honolulu Chinatown

We associate and call the approximate 36-acres on the Ewa side of Downtown Honolulu, “Chinatown.” But it wasn’t always called that; and, the Chinese were not the only group to occupy the place.

In ancient times, the area fronting Honolulu Harbor was said to be called “Kou.” Back then, the shoreline was along what is now Queen Street (in the 1850s-60s, the reef was filled over to make the Esplanade – where Aloha Tower now stands.)

Honolulu Harbor, also known as Kuloloia, was entered by the first foreigner, Captain William Brown of the English ship Butterworth, in 1794. He named the harbor “Fair Haven.” The name Honolulu (meaning “sheltered bay” – with numerous variations in spelling) soon came into use.

To the left of Kou was “Kapuʻukolo;” beginning near the mouth of Nuʻuanu Stream, makai of King Street was “where white men and such dwelt.” Of the approximate sixty white residents on O‘ahu in 1810, nearly all lived in the village, and many were in the service of the king.

Among them were Francisco de Paula Marin, the Spaniard who introduced and cultivated many of the plants commonly associated with the Islands, and Isaac Davis, friend and co-advisor with John Young to Kamehameha.

Marin arrived in the Hawaiian Islands in 1793 or 1794; Kamehameha granted Marin a couple acres of land Ewa of the King’s compound on the Honolulu waterfront (near Nuʻuanu Stream.)

He planted a wide range of fruits and vegetables, vine and orchards – his “New Vineyard” grapevines were located Waikīkī side of Nuʻuanu Stream and makai of Vineyard Street; when a road was cut through its mauka boundary, it became known as Vineyard Street

In 1809, Kamehameha I moved his compound here, to an area referred to as Pākākā fronting the harbor (this is the area, in 1810, where negotiations between King Kaumuali‘i of Kaua‘i and Kamehameha I took place – Kaumuali‘i ceded Kauaʻi and Ni‘ihau to Kamehameha.)

By the late-1830s, some 6,000 people lived in the town proper, with perhaps another 3,000 in the suburbs. Foreigners numbered 350-400 – about 200-250 were Americans, 75-100 English, 30-40 Chinese and the remainder, a thin sprinkling of French, Spanish, Portuguese and other nationalities.

Hawaiians’ houses, estimated to number 600, were chiefly of the traditional “grass shack” type, vulnerable to occasional high winds that scalped, twisted, or even demolished them. A few foreigners lived in wooden or coral “stone” homes; most, however, inhabited houses built of adobes.

At the end of 1837, the Gazette complained about the mud walls encroaching on streets. Thoroughfares were reduced to skinny, zigzag alleys, and squares to “pig-sty corners” where pedestrians inched sideways.

The newspaper, campaigning for a regular plan, warned that neglecting this matter would make it “… an expensive and difficult task for the future population to rectify the mistakes of their ancestors.” 1838 is remembered as the year Honolulu got real roads.

By 1848, the city was regularly laid out with principal streets crossing at right angles, cut up into regular squares – “making it easy to find the way from one part to another without difficulty.” The most of the streets are wide and pleasant (however, the white adobe walls fronting the streets “when the sun is bright the reflection of this light and heat is very unpleasant.”)

While the first Chinese arrived in Hawaiʻi in 1789, it wasn’t until 1852 that the Chinese became the first contract sugar plantation laborers to arrive in the islands.

With the growth of the sugar industry, the need for plantation laborers became imperative, and China was selected as the best source of immediate cheap labor due to proximity and the interest of the Chinese in coming to Hawaii to work.

Between 1852 and 1876, 3,908 Chinese were imported as contract laborers, compared with only 148 Japanese and 223 South Sea Islanders. Around 1882, the Chinese in Hawaii formed nearly 49% of the total plantation working force, and for a time outnumbered Caucasians in the islands.

It had been noted, according to one observer in 1882, for the fact that the great majority of its business establishments “watchmakers’ and jewelers’ shops, shoe-shops, tailor shops, saddle and harness shops, furniture-shops, tinshops, cabinet shops and bakeries, (were) all run by Chinamen with Chinese workmen.”

By 1884, the Chinese population in Honolulu reached 5,000, and the number of Chinese doing plantation work declined. As a group they became very important in business in Hawaii, and 75% of them were concentrated in the 25 acres of downtown called Chinatown where they built their clubhouses, herb shops, restaurants, temples and retail stores. In 1896, there were 153 Chinese stores in Honolulu, of which 72 were in Chinatown.

In 1886, calamity struck Chinatown when a fire raged out of control and destroyed the homes of 7,000 Chinese and 350 Native Hawaiians, and most of Chinatown. The fire lasted three days and destroyed over eight blocks of Chinatown.

Then, again, in 1900, the area burned when deliberate fires set to wipe out the bubonic plague spread through Chinatown.

The highest proportion of Chinese inhabitants in this area, as recorded by an official census, was 56.3 percent in 1900, just three months after the second devastating Chinatown fire, and this ratio dropped to 53.8 percent in 1920 and still further to 47.0 percent in 1930.

By 1940, Japanese had exceeded the number of Chinese residents, and by 1970, persons of Chinese ancestry made up less than 20 percent of the inhabitants of the area.

Honolulu’s Chinatown is one of the oldest Chinatowns in the Western Hemisphere. Inspiration and information here comes from chinatownhi-com.

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