Prominent People | Page 152 | Images of Old Hawaiʻi

July 1, 2016 by Peter T Young Leave a Comment

Antoinette Francesa Marin

Don Francisco de Paula Marin (known to the Hawaiian as “Manini”) was a Spaniard who arrived in the Hawaiian Islands in 1793 or 1794 (at about the age of 20.) Manini’s nickname appears to be the closest way that the Hawaiians could pronounce his name.

Marin spoke four languages (he arrived fluent in Spanish, French and English, and learned Hawaiian) and was employed by Kamehameha as Interpreter, Bookkeeper and part time Physician (although he had no formal medical training, he had some basic medical knowledge.) He also served as purchasing agent for the arms that proved decisive to Kamehameha’s victory of the Battle of Nu‘uanu (1795.)

Among his several children, Marin had a daughter, Antoinette Francesa Marin, who was born on October 6, 1832 in Honolulu, Hawaiʻi.

Her father died in 1837 and Antoinette was hānai to Dr Thomas Charles Byde and Grace Kamaikui Rooke; he was one of three physicians in Honolulu in the 1830s. (Santa Cruz Sentinel, December 14, 1941) (Emma, later Queen Emma, was also adopted by the Rookes.)

Antoinette later married Lyman Swan (born on February 26, 1823 at Jefferson County in Watertown, New York,) a partner in Swan & Clifford. “In 1848 (Ornan O Clifford) came to Honolulu and shortly after entered into co-partnership with Lyman Swan in the baking business, at the corner of King and Fort streets.” (Hawaiian Gazette, May 28, 1884)

In April of 1853, Antoinette gave birth to the couple’s first child, Olivia (“Lily,”) and the young Swan family appeared to be living a life of prosperity and promise in Honolulu. (Dunn & Stoner)

Thrum notes Swan and Clifford were consignees to the first cargo of ice to the Islands that came from Sitka, per brig “Noble,” in October, 1854.

But as often would be the case with Lyman Swan throughout his life, appearances were often deceiving. Business records for Swan & Clifford indicate that while the chandlery was doing a booming business, income was not keeping up with expenses.

Apparently, unbeknownst to his partner, Swan was forging $40,000 in promissory notes and leaving over $80,000 in unpaid bills. A $5,000 reward was offered for information on his whereabouts. (Anderson)

Clifford declared his innocence. (Dunn & Stoner) Lyman left town and headed for California.

“Swan & Clifford bought and refitted the condemned bark George for whaling and trading … the senior member of the firm taking passage by her, on departure, to evade the impending crisis in their affairs in consequence of his own questionable transactions.”

“In the fall the vessel reported at San Francisco with 500 bbls oil, where Mr Swan remained. The ship on arrival here was seized by the marshal for the assignees and in due time was sold, as she lay”. (Thrum) Lyman was apprehended in Alameda.

All of the forged bills had been executed in Swan’s handwriting. While Hawaiian authorities tried to extradite Swan, he was never to return to the islands. He endured several years of both civil and criminal cases against him in San Francisco (he was found guilty on several, but not all, counts;) it’s uncertain if he was sentenced to any time in prison. (Dunn & Stoner)

Somehow, he managed to bring Antoinette and daughter Lily to California during his court cases, where the family first resided in San Jose. (Dunn & Stoner) Then, the family settled in Santa Cruz in around 1857.

They are considered one of the ‘Pioneers’ of Santa Cruz; Lyman was one of the signatories of the Constitution and Roll of Members of the Society of Pioneers of Santa Cruz County.

Swan returned to his roots and opened a bakery on Pacific Avenue; the Swans were popular and widely respected pillars of the Santa Cruz business community.

The family purchased a large plot of land in downtown Santa Cruz, at what is now the corner of Front and Cathcart Streets, that backed up to the San Lorenzo River. At least two of the Swan sons, Frank and Alfred, then in their twenties, joined in the family business. (Dunn & Stoner)

But the Swan marriage was not a happy one. Lyman Swan’s larceny may have long been hidden from the Santa Cruz community, but he couldn’t hide it from Antoinette, whom he had shamed with his activities in Honolulu.

Antoinette decided to return to the islands for lengthy periods of time and was Queen Kapiʻolani’s Chambermaid for approximately 5-years. (Santa Cruz Sentinel, October 3, 1905) She returned to Santa Cruz.

When Princes David Kawānanakoa (Koa,) Edward Keliʻiahonui and Jonah Kūhiō Kalanianaʻole, nephews of Queen Kapiʻolani, were schooled at St Matthew’s Hall in San Mateo in 1885, they were placed under the careful eye of Antoinette Swan.

When the Swan home became too crowded, the princes boarded at the nearby Wilkins House, located half a block away, on Pacific and Cathcart streets. (Dunn & Stoner)

The three princes are noted in the first account of surfing anywhere in the Americas: “The young Hawaiian princes were in the water, enjoying it hugely and giving interesting exhibitions of surf-board swimming as practiced in their native islands.” (Santa Cruz Daily Surf, July 20, 1885; Divine)

“Mrs Antoinette Don Paul Marie Swan was courtly in manner, and had a charm in her dealing with people that won many friends.”

“She was a kind neighbor and a devoted mother, loved by her children.” She was clearly a well-liked and widely respected member of the community. (Santa Cruz Daily Surf, October 2, 1905; Dunn & Stoner)

She died on October 1, 1905 at the age of 72 and was buried at the Independent Order of Odd Fellows (IOOF) Cemetery. (Society of California Pioneers of Santa Cruz County)

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Antoinette_Swan-400

Kalakaua & Kapiolani – Iolani Palace with Col. Charles Hastings Judd (Chamberlain), and Antoinette F. Manini Swan (Chambermaid)-WC

Antoinette-Swan-400

Queen_Kapiolani_on_the_Iolani_Palace_grounds with Antoinette Swan-(PP-97-14-016)

Royal_Bungalow_outside_Iolani_Palace_(PP-11-2-003)

Kalakaua & Kapiolani and others in front of the Bungalow including Antoinette Swan PP-96-13-016

Chest of Don Francisco de Paula y Marin, later Antoinette Swan-PP-37-4-005

Chest of Don Francisco de Paula y Marin, later Antoinette Swan-PP-37-4-004

Frank Manini to Antoinette Swan-letter (portion)

June 28, 2016 by Peter T Young Leave a Comment

Muses of Hawai‘i

Hawaiian Mission Houses Historic Site and Archives recently produced another Cemetery Pupu Theatre event at Oʻahu Cemetery – Muses of Hawai‘i.

It’s a unique dinner theatre experience where history comes alive for the evening, brought to you by Mission Houses and Oʻahu Cemetery.

Mission Houses discovers stories from the lives of prominent Hawaiʻi residents and brings those stories back to life – in the cemetery, at the place where that person is buried.

Muses of Hawai‘i – the current version of ‘dinner theatre in a cemetery’ is focused on a small sample of people – historians and authors, a dramatist and actor, a museum curator, and a musician – who have contributed to the humanities in the history of Hawai‘i.

These characters all speak from their own perspectives about the same place and approximate time. These people all knew one another, or at least knew about one another, and often had something to say about each other.

See if you can catch their references to each other during their performances.

Standing at five different headstones, actors perform a monologue of the lives of the people buried at Oʻahu Cemetery.

Actors are dressed in period costume, telling the life events of select individuals, at their respective grave sites.

There was nothing ghoulish about it; rather, it was very effective storytelling.

Johnny Noble (Portrayed by Zach Thomas Woods)

Johnny Noble (1892-1944,) who took his inspiration from Sonny Cunha, who created hapa haole music in 1900 by mixing traditional Hawaiian music with American ragtime. Noble took Cunha’s idea a step further and mixed Hawaiian music with jazz and blues with for a new style of hapa haole music.

Critics said it degraded and commercialized Hawaiian music, but audiences loved it. “Sing Me a Song of Hawaii,” “My Little Grass Shack,” “Hula Blues,” and “Hawaiian War Chant” are among some of his most recognizable songs. He also recorded hundreds of traditional Hawaiian songs. (Wayne Paakaula is the Ukulele player.)

Ethel Damon (Portrayed by Alicia Rice)

Ethel Moseley Damon (1883 – 1965) authored several plays including Punahou’s 75th Anniversary Pageant and The Romance of Reality: A Historical Play in Two Acts, a centennial missionary memorial play.

She also authored Samuel Chenery Damon (a biography of her grandfather), Early Hawaiian Churches and Their Manner of Building, and her seminal history of Kaua‘i Koamalu: A Story of Pioneers on Kauai.

Thomas Thrum (Portrayed by Eli Foster)

Thomas Thrum (1842 – 1932) operated a book and stationery store. In 1875 he produced the first issue of Hawaiian Almanac and Annual which is commonly referred to as Thrum’s Annual.

He was the first editor of Paradise of the Pacific in 1888 and published several collections of Hawaiian legends and several publications on Hawaiian heiau.

Emma Nakuina (Portrayed by Kahana Ho)

Emma Nakuina (1847 – 1929) was the first woman curator of a museum in Hawai‘i. She became curatrix of the Hawaiian National Museum in the Judicial Building during Kalakaua’s reign and authored Hawaii: Its People and Their Legends and Ancient Hawaiian Water Rights and Some Customs Pertaining to Them, among many others.

Nathaniel Emerson (Portrayed by Christopher Denton)

Nathaniel B. Emerson (1839 – 1915) was a physician, author, and husband of Dr. Sarah Emerson. He was the author of The Unwritten Literature of Hawaii: the Sacred Songs of the Hula; and Pele and Hiʻiaka: A Myth from Hawai‘i.

This Cemetery Pupu Theatre was researched by Mike Smola, script was written by Zach Thomas Woods, wardrobe by Peggy Krock and directed by William Haʻo.

The next Mission Houses program, 5:30 – 8 pm, Saturday, July 16, 2016, will be the ‘Aloha Ho‘oipoipo’ portion of Mission Houses ‘Na Mele Aloha’ series ($30 each in advance, or $35 at door.) (To be held at Mission Houses.)

This performance will explore romantic love through songs, mele ho‘oipoipo, both those which openly reveal the individuals in such a relationship and those songs which use kaona or hidden meanings to obscure the specific relationships.

Click HERE to make your reservation for 5:30 – 8 pm, Saturday, July 16, 2016, ‘Na Mele Aloha’ series ‘Aloha Ho‘oipoipo’:

Check out the Mission Houses website for future programs and events, as well as the many other activities at the historic site on King and Kawaiahaʻo Streets. Click HERE.

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Mission Houses Museum – Cemetery Pupu Theatre – Muses of Hawaii

Johnny Noble (Portrayed by Zach Thomas Woods-Wayne Paakaula on Ukulele)

Ethel Damon (Portrayed by Alicia Rice)

Thomas Thrum (Portrayed by Eli Foster)

Emma Nakuina (Portrayed by Kahana Ho)

Nathaniel Emerson (Portrayed by Christopher Denton)

June 24, 2016 by Peter T Young Leave a Comment

Kapiʻolani Home

“In fulfillment of the commands of His Majesty, and to carry out the views of my colleagues of the Board of Health and the community in the erection of a Home for leper girls, I now present to Your Majesty, as Lady Patroness of this benevolent institution, named after Your Majesty, the keys of this Home.” (Gibson, Dedication of Kapiʻolani Home, November 9, 1885)

“Queen Kapiʻolani took the keys in her hand and proceeded to the door leading into the refectory. She put a key, especially marked, into the door, unlocked it, and then, withdrawing the key, handed it to the Reverend Mother Superior, with the remark:”

“’I deliver these keys to you.’ The President of the Board of Health then said: ‘By command of His Majesty the King I declare the Home now open.’” (Dedication of Kapiʻolani Home, November 9, 1885)

Kapi‘olani had visited Kalaupapa in 1884 to learn how she could assist those who were diagnosed with leprosy and exiled there, and she raised the funds to build the Kapiʻolani Home for Girls. (KCC)

Queen Kapiʻolani, Father Damien de Veuster (now Saint Damien,) Dr Eduard Arning and Mother Marianne (now Saint Marianne) recognized the need for a home for the non-infected children of the leprosy patients.

On November 9, 1885, the healthy girls living in Kalawao moved into Kapiʻolani Home on the grounds of the sisters’ convent at the Kaka’ako Branch Hospital. (Hawaii Catholic Herald)

“It will accommodate fifty inmates, besides the matron, and will be under the supervision and control of the Sisters of Charity, of whom there are now seven, including the Mother Superior attached to the Convent of their order, which is within the enclosure of the Branch Hospital.”

“The Home is a two-story building, on the mauka side of the Branch Hospital, and separated from it by a high fence. The building is 70 feet by 50 feet, and is surrounded by open-railed verandas, 10 feet wide, which furnish a cool and sheltered place for play in all weather.”

“On the ground floor, which is approached by a wide flight of steps to the lower veranda, are two store rooms, an office, class room and refectory. The last two are spacious rooms, well lighted and ventilated, the height of the ceiling being 13 feet 1 inch.
A wide flight of stairs on the outside loads to the upper floor, on which are situate two large dormitories, two bath rooms and matron’s room.”

“The arrangement of these dormitories deserves mention. The one on the mauka or land side, which is the breeziest, from the prevailing wind, will be occupied by girls who have developed the disease; the other will be occupied by girls who are as yet free from it, but who, having been born of leper parents, may be reasonably suspected of having the disease latent in their blood.”

“There will be no communication between these rooms. Separate closets and baths have been provided for each class of inmates. In this way it is hoped to minimize the risk of contagion, by preventing the clean breathing the same atmosphere with the unclean at night.”

“During the daytime, when there is a free circulation of air, the risk of contagion is so slight that it need hardly be estimated. At the same time it should be stated that no bad case of leprosy will be admitted to the Home, but only such as gives hopes of yielding to cleanliness, wholesome food, moderate exercise and kind and scientific treatment.”

“A notice of this kind would be incomplete were no mention made of the Branch Leper Hospital contiguous to the Home, and the noble Christian work performed therein by the Sisters of Charity. The Branch Hospital was established in 1881, and as in the case of the Leper Settlement at Molokai, it was not well managed at the outset, nor indeed, until after the arrival of the first party of the Sisters two years ago precisely yesterday.” (Pacific Commercial Advertiser, November 9, 1885)

“I had the honor to address the Bishop of Olba a letter, dated January 4, 1883, in which I informed His Lordship that the care of the sick poor of this Kingdom had most earnestly enlisted the sympathies of Their Majesties the King and Queen and awakened the solicitude of the Government) that they appreciated the necessity for trained and faithful nurses, and felt that nowhere could such invaluable assistance be obtained so readily as among the ranks of those blessed Sisterhoods of Charity, who have, in various parts of the earth devoted themselves to the care of the sick”. (Address by Gibson, President of the Board of Health)

From 50 other religious communities in the United States, only Mother Marianne’s Order of Sisters agreed to come to Hawaii to care for people with Hansen’s Disease (known then as leprosy.)

The Sisters arrived in Hawaii on November 8, 1883, dedicating themselves to the care of the 200 lepers in Kaka‘ako Branch Hospital on Oahu. This hospital was built to accommodate 100 people, but housed more than 200 people. (Cathedral of Our lady of Peace)

Kapiʻolani Home was devoted to the care of non-leprous girls of leprous parents, not yet confirmed as lepers, and others suspected of the disease.

Under the care of the Franciscan Sisters, the government has provided a home for many little girls born of leper parents. It is exceedingly rare that a child inherits leprosy, and even where both parents are lepers, if the child be removed before it has become infected with the disease there is small danger of its developing leprosy.

These non-leprous children are generally taken from their parents when 2 years of age. Sometimes friends of the family provide for them, and in other cases they are taken to the home.

Girls, ranging from 2 to 20 years of age, who are not only given a good school education, but trained in such branches of domestic work as are necessary to fit them to become useful members of the community thereafter.

This home is for girls, and is insufficient to accommodate the present number of inmates comfortably. There is a necessity for a similar institution for boys and for enlarging the present capacity of the Kapiʻolani Home. (Hawaiian Commission, September 8, 1898) (A Boys Home was later built in Kalihi.)

After the hospital closed in 1888, the home was moved three times: first, to a more suitable new building adjacent to the Kalihi Receiving Station; second, to a temporary camp in Waiakamilo when a typhoid epidemic closed the previous home in 1900; finally, in 1912 to Kalihi where the patients’ children were housed until 1938. (Hawaii Catholic Herald)

Mother Marianne died in Kalaupapa on August 9, 1918. The Sisters of St. Francis continue their work in Kalaupapa with victims of Hansen’s Disease. No sister has ever contracted the disease. (Cathedral of Our Lady of Peace)

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Gibson_and_Mother_Marianne_Cope-Kakaako_Leper_Detention_Center

Kapiolani Girls Home-1907

Kapiolani Girls Home-new_dormitory-1907

Kapiolani Girls Home-Sisters_Residence-1907

Queen Kapiolani Statue

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June 22, 2016 by Peter T Young 1 Comment

Madge Tennent

She was born Madeline Grace Cook in Dulwich, England, on June 22, 1889. Her father owned a construction business; her mother was the editor of a women’s fashion magazine.

When she was five she moved with her family to Cape Town, South Africa. At the age of twelve, she entered an art school in Cape Town.

The following year, her parents, who recognized and encouraged her talent, moved to Paris to enable Madeline to study there In Paris, she studied figure drawing under William Bouguereau, an experience that laid the technical foundation for her later figural drawings and paintings. (Beebe)

Two years later they returned to Cape Town, where Madge taught art and illustrated fashion magazines. She was also an accomplished pianist, taught by her mother, and gave regular recitals in Cape Town. One such recital was attended by a visiting military officer from New Zealand, Hugh Cowper Tennent, who was in South Africa with his regiment.

They married (1915) and returned to his home, New Zealand, where she led the haphazard life of an army camp follower until their first son Arthur was born in 1916.

Madge directed an art school, having been appointed head instructor at the Government School of Art in Woodville, the village where Madge and Hugh lived while he awaited further military orders. (Wageman)

Hugh went off to war in Europe and returned with a seriously wounded hand; the young family was sent to Western Samoa, which had become a New Zealand protectorate after the war, with Hugh as the treasurer of the territory. Their second son, Val, was born there in Apia.

They spent six years in Samoa. During her stay in Samoa, Tennent became fascinated with Polynesians, and while on a leave of several months in Australia, Tennent studied with Julian Ashton “and learned to draw seriously for the first time.” (Beebe)

On a trip to London to enroll the boys in a British boarding school in 1923, the Tennents arrived in Honolulu with their two young sons, planning on a three-day stop-over.

They were introduced to members of the local artistic community, who saw her Samoan studies and asked her to stay and paint the Hawaiians. They stayed.

As a chartered accountant (the British equivalent of a CPA), Hugh was unable to work until he put in a year of residency. Madge supported the family by doing watercolor portraits, mostly of society children. She kept a studio downtown on Hotel Street.

Madge was fascinated by the Hawaiians from the beginning, but true inspiration struck when she was given a book of colored reproductions by Paul Gauguin in Tahiti. From that time on she devoted herself to the single-minded pursuit painting Polynesians.

Often referred to as Hawai‘i’s Gauguin, Tennent was unswerving in her devotion to the beauty of the Hawaiian people with pen, brush and palette knife. (Walls)

She was active in Hawai’i from the 1930s to the 1960s. “The Hawaiians are really to me the most beautiful people in the world … no doubt about it – the Hawaiian is a piece of living sculpture.” (Tennent; HPA)

Tennent portrayed Hawaiian women as solidly fleshed and majestic – larger than life. Her method of working with impasto – applying thick layers of paint to achieve a graceful, perfectly balanced composition – is evident in ‘Lei Queen Fantasia.’

The paint is applied in whirls in what might be called the ‘Tennent whirl’ – the colors bright and luminous. Tennent envisioned Hawaiian Kings and Queens as having descended from Gods of heroic proportion, intelligent and brave, bearing a strong affinity to the Greeks in their legends and persons. (HPA)

Over the years she was very active in the arts community in Honolulu, taught frequent classes at the Honolulu Academy of Arts, and wrote for publication on art-related subjects. (Walls)

Just a few days before her death in 1972, Tennent summed up her philosophy of life and art for a newspaper reporter who interviewed her, frail and blind, at a private nursing home overlooking Diamond Head. He asked her …

“How does it feel, Mrs. Tennent, to have your genius publicly recognized during your lifetime?” … “Genius, baloney,” she muttered, with all the strength she could muster. “It was nothing but darn hard work.” (Walls)

Major collections of her work are found at the Honolulu Academy of Arts and the University of Hawaii. In 2005, Hawai’i Preparatory Academy’s Isaacs Art Center was chosen by the Trustees of the Tennent Art Foundation to become the caretaker of the collection. (HPA) Tennent died February 5, 1972.

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Lei_Queen-Tennent

Madge Tennent

Hawaiian Girl-Tennent

Hawaiian Lady in Holoku, Facing Right-Tennent

Hawaiian Singer-Tennent

Hawaiian_Bride-Tennent

Hawaiian_Girl-Tennent

Lei_Sellers-Tennent

Mother and Daughter-Tennent

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Woman in Holoku Looking Left-Tennent

Woman in Holoku Looking Right-Tennent

Woman Staring-Tennent

Young Hawaiian Girl-Tennent

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June 16, 2016 by Peter T Young 4 Comments

Simon Peter Kalama

Lahainaluna Seminary (now Lahainaluna High School) was founded on September 5, 1831 by the American Board of Commissioners of Foreign Missions “to instruct young men of piety and promising talents”.

In December, 1833, a printing press was delivered to Lahainaluna from Honolulu. It was housed in a temporary office building and in January, 1834, the first book printed off the press was Worcester’s Scripture Geography.

Besides the publication of newspapers, pamphlets and books, another important facet of activity off the press was engraving. A checklist made in 1927 records thirty-three maps and fifty-seven sketches of houses and landscapes, only one of which is of a non-Hawaiian subject.

“It was stated last year that some incipient efforts had been made towards engraving. These efforts have been continued. It should be remembered that both teacher & pupils have groped their way in the dark to arrive even at the commencement of the business.”

“A set of copy slips for writing was the first effort of importance; next a map of the Hawaiian islands. For some time past a Hawaiian Atlas has been in hand & is nearly finished, containing the following maps Viz. the Globes, North America, South America, the United States, Europe, Africa, Asia, the Hawaiian islands & the Pacific.”

“It is evident that if the business is to be carried on so as to be of any benefit to schools generally, some considerable expense must be incurred for fitting up a shop for engraving & a room for printing. Hithertoo, everything has been done at the greatest disadvantage. Some means for prosecuting the business have lately been received from the Board.” (Andrews et al to Anderson, November 16, 1836)

Andrews was fortunate to have real talent in his artisans. Simon Peter Kalama was one of the best. Nineteen when he became a scholar, Kalama arrived at Lahainaluna with a recognized skill in drafting.

Kalama compiled the first map of Hawaiʻi published in Hawaiʻi and executed most of the “views,” which are the only record we have of the true island landscape of that time.

Since they were intended for the use of the Hawaiian students, the place names were given either in the Hawaiian form of the name, or in a modified transcription in which vowels were added so the foreign words could be pronounced in the Hawaiian style. (Fitzpatrick)

Ho‘okano, an assistant to Dr Gerrit P Judd, was assigned in the 1830s to interview kahuna lapa‘au to gain information about their practice which Judd incorporated in treating his own patients.

When Ho‘okano died in 1840, his notes were transcribed by Kalama and published in Ka Hae Hawaii in 1858 – 1859. The serialization has been translated by Malcolm Chun as Hawaiian Medicine Book: He Buke La‘au Lapa‘au and is the best source of information on traditional kahuna lapa‘au that exists today. (Mission Houses)

During the Wilkes expedition on Hawai‘i Island, on January 16, 1841, Kalama saved Judd from death in the crater of the volcano Kilauea. (Twain)

“Dr. Judd volunteered to head a party to go in search of some specimens of gases, with the apparatus we had provided, and also to dip up some liquid lava from the burning pool.” (Wilkes)

“I went down into Kilauea on the 16th to collect gases, taking a frying pan, in hopes of dipping up some liquid lava. Kalama went with me to measure the black ledge, and I had five natives to carry apparatus and specimens.” (Judd)

“While thus advancing, he saw and heard a slight movement in the lava, about fifty feet from him, which was twice repeated; curiosity led him to turn to approach the place where the motion occurred.”

“(T)he crust was broken asunder by a terrific heave, and a jet of molten lava, full fifteen feet in diameter, rose to the height of about forty-five feet … He instantly turned for the purpose of escaping, but found he was now under a projecting ledge, which opposed his ascent, and that the place where he descended was some feet distant.” (Wilkes)

Although he considered his life as lost, he prayed God for deliverance, “and shouted to the natives to come and take my hand, which I could extend over the ledge so as to be seen. … Kalama heard me and came to the brink, but the intense heat drove him back. ‘Do not forsake me and let me perish,’ I said.” (Judd)

“(He) saw the friendly hand of Kalumo (Kalama,) who, on this fearful occasion, had not abandoned his spiritual guide and friend, extended towards him. … seizing Dr. Judd’s with a giant’s grasp, their joint efforts placed him on the ledge. Another moment, and all aid would have been unavailing to save Dr. Judd from perishing in the fiery deluge.” (Wilkes)

A few years later, as the Western concept of landownership began to alter the Hawaiian landscape, Kalama enjoyed a lucrative career as a surveyor. He served as konohiki (overseer) of the Kalihi Kai district on O‘ahu, as a member of the House of Representatives and eventually as privy councilor to two kings. (Wood)

“The Hon SP Kalama, a member of the Privy Council, died on the 2nd inst at his residence at Liliha Street, having been ill for some months.”

“Mr Kalama was formerly a Government Surveyor, had served several terms in the Legislature as a Representative, and was a member of the Privy Council under Kamehameha V, Lunalilo and his present Majesty (Kalākaua.) He was about 60 years of age.” (Pacific Commercial Advertiser, December 4, 1875)

Here is a video of Moses Goods portraying Kalama (it was part of a Mission Houses event:)