Hawaiian Traditions | Page 17 | Images of Old Hawaiʻi

June 30, 2024 by Peter T Young Leave a Comment

Lalani Village

“In this idyllic setting, you will thrill to the romance of Island yesterdays. Delicious foods of the lū‘au will please the discriminating, Ancient Hula … native maids … weird chanting … thumping gourds … strumming ukulele … plaintive Island melodies … majestic palms … quaint grass huts.”

In 1932 George Paele Mossman opened the Lalani Hawaiian Village in Waikiki with demonstrations of traditional crafts, music and lū‘au as a way of preserving and teaching what he termed “Hawaiian lore that is fast vanishing.”

The village, conceived of as living museum, archive, school and tourist entertainment center, of 8-grass houses was erected on 1-acre and a program of classes (in Hawaiian language, hula, music, food preparation, surfing and fishing.)

For $2, the visitor received a 1-hour lecture on village life, followed by a lūʻau and a show, with performances led by the Mossman family.

Born March 28, 1891, Mossman was one of 11 children. His father was Scottish and his mother, Nahua Kealoha, was Hawaiian. George grew up fluent in Hawaiian culture. On January 21, 1910, Mossman married Rebecca G Kainapau.

The earliest written account of the life of George Mossman appeared in a Time magazine article describing a teenage Mossman’s attempt at the craft of violin making in 1908.

But it was not the violin that became Mossman’s musical instrument; Mossman turned his craftwork efforts to building ukuleles.

Mossman entered the ukulele business the year before the 1915 Pan Pacific International Exposition, in San Francisco. The Exposition featured Hawaiian culture of music and dance – including a new and curious instrument, the ukulele.

As an ukulele maker, Mossman was a major influence during the golden era of ukulele popularity and innovation. In 1927, he claimed to have perfected a ukulele which could be heard from half a mile away and yet still retain its clarity and tonal sweetness (he called it the Bell Tone.)

By 1933, he suspended the manufacture of ukuleles and devoted his time to Lalani Village. Lalani Village was designed to look and feel like an ancient Hawaiian community, one that had existed before western contact and long before the development of Waikiki as a visitor destination.

Lalani Village was the first of its kind and “probably the first ‘Hawaiian cultural center’” ever “for what (Mossman) hoped would be a great cultural awakening”. (Kealoha)

The Village, situated at the corner of Kalākaua and Paoakalani Streets (where the family was residing and now is the present site of the Waikiki Beach Marriott,) conducted hula and musical performances, featuring the entire Mossman family dressed in the fashion of the ancient aliʻi; Mossman himself in a loincloth and feather cape.

The family operation included every member of Mossman’s immediate family: his wife, Emma; several sons; and three daughters: Leilani, Piʻilani and Pualani.

Pualani was known for her “Volcano hula” dance, the highlight of the show. She would dance alone on a raised platform with another performer blowing fire and lighting a model of a volcano. (Pualani later performed at the Hawaiian Room in the Hotel Lexington.)

It was “called the last stronghold of real Hawaiian culture. It is encircled by a high wail and every day a cross-section of life as lived by Hawaiians 200 years ago is reenacted. There are grass huts for the men and grass huts for the women.”

“The native dances, the language, the customs are taught and preserved. There is a heiau (temple), and an imu (underground oven) where pigs are roasted.”

“Guides take you from point to point, lecturing on a picturesque form of living that has practically disappeared. It is Mossman’s idea to a preserve this culture through education. (The News, Frederick Maryland, August 11, 1938)

In 1934 the hula teachers, kapa makers, and canoe builders were joined by the 87-year-old Kuluwaimaka, who became a resident of the village; Kuluwaimaka was court chanter for the King David Kalākaua.

There were also afternoon shows targeting the regularly arriving ocean liner passengers, where a presumably less elegant show that could be enjoyed for a mere 50 cents. Also, for those who were residents or staying for a while, 40 hula lessons cost $10. Ukulele and language lessons were also available.

The Lalani village provided a restaurant, Lalani’s Poi Inn, where the visitors would adventure and where the kamaʻāina would savor genuine tradition.

A Lalani Village was considered for New York, as well. An August 24, 1938 newspaper article noted, “Yes, I like this. It will do. I don’t know just where it will be, but New York is the right place for it.” (Mossman quoted in the Free Lance-Star after a driving and aerial tour of Manhattan.)

During World War II, the military took over the property and used it for army bathhouses and a post exchange. The Mossmans finally reopened the village in 1946, and it stayed open until 1955 (the year Mossman died.) (Lots of information here is from Imada, Tucker, Desmond, Reynolds and King.)

Hula Show at Lalani Hawaiian Village, Waikiki-BM-ca.1935

Grass house at Lalani Village, Waikiki-PP-32-4-001

Grass house at Lalani Village, Waikiki-PP-32-4-003

Grass house at Lalani Village, Waikiki-PP-32-4-005

Grass house at Lalani Village, Waikiki-PP-32-4-006

Grass house at Lalani Village, Waikiki-PP-32-4-007

Grass house at Lalani Village, Waikiki-PP-32-4-008

Grass house at Lalani Village, Waikiki-PP-32-4-009

Grass house at Lalani Village, Waikiki-PP-32-4-010

Hawaiian man thatching a grass house at Lalani Village, Waikiki-PP-32-3-004-1930s

Hawaiian man who built grass houses at Lalani Village, Waikiki-PP-32-4-021

Lalani Village-Coconut Tree Climbing-ebay

Pualani Mossman dancing the hula at Lalani Village, Waikiki-PP-33-1-017-1935

Tourist at Lalani Village, Waikiki-PP-32-4-004

Tourist at Lalani Village, Waikiki-PP-32-4-011

Tourist at Lalani Village, Waikiki-PP-32-4-024

Two hula dancers with ukulele, wearing tapa outfits, Lalani Village-PP-32-10-007

June 24, 2024 by Peter T Young Leave a Comment

Cook’s Voyages to and from Hawai‘i

Between 1768 and 1778 England’s maritime explorer, James Cook, made three expeditions to the Pacific. Astronomy played a vital role in navigation and coastal cartography, and consequently there were astronomers on all three Pacific expeditions.

Cook’s third (and final) voyage (1776-1779) of discovery was an attempt to locate a North-West Passage, an ice-free sea route which linked the Atlantic to the Pacific Ocean. Cook commanded the Resolution while Charles Clerke commanded Discovery. (State Library, New South Wales)

They left Portsmouth, England in the late evening of July 12, 1776 – almost exactly four years after leaving on the previous successful voyage – a coincidence that some viewed as a favorable omen.

The commander of the second ship, Discovery, was Lieutenant Charles Clerke (1741–1779), who had sailed with Cook on both circumnavigations but was currently in prison for his brother’s debts; he was not released until the end of July, unwittingly having contracted tuberculosis.

Among Cook’s officers were George Vancouver, who would later lead a four-year survey of the northwest coast of America, and William Bligh, destined to be made famous by the storied mutiny on the Bounty. Also on board were Nathaniel Portlock and George Dixon.

After a year among the islands of the South Pacific, many of which he was the first European to make contact, on December 8, 1777, they were in Bora-Bora.

Proceeding north, they discovered the Pacific’s largest atoll, Kiritimati (what Cook called Christmas Island (where they celebrated Christmas)) and Cook observed an eclipse of the sun. After stocking up on over a ton of green turtles, the ships departed on January 2, 1778. (Smithsonian)

Then, “We continued to see birds every day … sometimes in greater numbers than others; and between the latitude of 10° and 11° we saw several turtle. All these are looked upon as signs of the vicinity of land.”

“However, we discovered none till day-break, in the morning of the 18th, when an island made its appearance, bearing northeast by east; and, soon after, we saw more land bearing north, and entirely detached from the former.” (Cook’s Journal)

Cook’s crew first sighted the Hawaiian Islands in the dawn hours of January 18, 1778. His two ships were kept at bay by the weather until the next day when they approached Kauai’s southeast coast.

On the afternoon of January 19, native Hawaiians in canoes paddled out to meet Cook’s ships, and so began Hawai’i’s contact with Westerners. The first Hawaiians to greet Cook were from the Kōloa south shore.

The Hawaiians traded fish and sweet potatoes for pieces of iron and brass that were lowered down from Cook’s ships to the Hawaiians’ canoes.

The Islands “were named by Captain Cook the Sandwich Islands, in honour of the Earl of Sandwich, under whose administration he had enriched geography with so many splendid and important discoveries.” (Captain King’s Journal; Kerr)

Hawaiian lives changed with sudden and lasting impact, when western contact changed the course of history for Hawai’i.

Throughout their stay, the ships were supplied with fresh provisions which were paid for mainly with iron, much of it in the form of long iron daggers made by the ships’ blacksmiths on the pattern of the wooden pāhoa used by the Hawaiians.

After a month’s stay, Cook got under sail again to resume his exploration of the Northern Pacific. The maritime sea-fur industry of the northwestern Pacific coast was almost accidentally begun when in 1778 Captain Cook brought back from the Nootka Sound region a few pelts whose great value was learned in China.

The maritime fur trade in skins of the sea otter (and beaver, seal, etc) was the stimulus for the unofficial earliest explorations of the coast and islands of what is now British Columbia and southern Alaska.

Although seven years passed before Cook was followed by another European vessel, the year 1785 opened a lively period of trade. Within a few years the flags of seven nations were flown in these waters by merchant vessels seeking their booty on uncharted coasts. (US Naval Institute)

After being in the Northwest, Alaska, they headed back to Hawaii to provision (November 1778). “Dec2d …We got to windward of Mowee & this Morning came to another large Island called by the Natives Ou-why’ee (Hawai‘i:) in the afternoon we stood close in shore & lay to trading with the Natives, who brought us a large quantity of Breadfruit & roots & a few Hogs.”

“We saw many Houses on the low land & Thousands of people collected together to look at the Ships. This Island has a pleasant Appearance, the Land from the Waterside sloping gently upwards to the foot of the Hills. The top of one of the highest mountains is covered with Snow…” (Journal of Captain Cook)

“Jan.16th [1779] … This morning seeing the appearance of a Bay a Boat from each ship was sent to examine it. We have had more Canoes about us to day than in any place this Voyage; …”

“… we counted 150 large sailing Canoes many of which contained thirty & forty men – we reckoned that all together there could not be less about the 2 Ships than 1000 canoes & 10,000 Indians…” (Journal of Captain James Cook)

“Jan.17th … We entered with both ships, and anchored in the middle of the bay having on one side a town containing about 300 hundred houses called by the inhabitants Kiverua [Ka’awaloa,] and on the other side a town contained 1100 houses, and called Kirekakooa [Kealakekua]…” (Journal of John Ledyard)

“As soon as the Resolution was moored Capt. Cook went on ashore … the chiefs had each two long white poles which they held upright and waved to the people in the canoes, to make room, and as they passed through the throng, the chief cried out in their language that the great Orono [Lono] was coming …”

“… at which they all bowed and covered their faces with their hands until he was passed, but the moment this was done they resumed their clamorous shouts, closed the vacant place astern, and as many as could crowded upon his rear to the shore. …” (Journal of John Ledyard)

At that time of Cook’s arrival, Kalaniʻōpuʻu was on the island to Maui to contend with Kahekili, king of Maui. The east side of Maui had fallen into the hands of Kalaniʻōpuʻu and Kahekili was fighting with him to gain control.

Kalaniʻōpuʻu returned to Hawaiʻi and met with Cook on January 26, 1779, exchanging gifts, including an ʻahuʻula (feathered cloak) and mahiole (ceremonial feather helmet.) Cook also received pieces of kapa, feathers, hogs and vegetables.

In return, Cook gave Kalaniʻōpuʻu a linen shirt and a sword; later on, Cook gave other presents to Kalaniʻōpuʻu, among which one of the journals mentions “a complete Tool Chest.”

The natives were permitted to watch the ships’ blacksmiths at work and from their observations gained information of practical value about the working of iron. (Kuykendall)

Shortly thereafter, Cook got under sail again to resume his exploration of the Northern Pacific. “At midnight, a gale of wind came on, which obliged us to double reef the topsails, and get down the top-gallant yards.”

“On the 8^th [of February 1779] at day-break, we found, that the foremast had again given way … and the parts so very defective, as to make it absolutely necessary to replace them, and, of course, to [remove] the mast.”

“In this difficulty, Captain Cook was for some time in doubt, whether he should run the chance of meeting with a harbour in the islands to leeward, or return to Karakakooa [Kealakekua.]”

“In the forenoon, the weather was more moderate, and a few canoes came off to us, from which we learnt, that the late storms had done much mischief; and that several large canoes had been lost.”

“During the remainder of the day we kept beating to windward, and, before night, we were within a mile of the bay; but not choosing to run on, while it was dark, we stood off and on till day-light next morning, when we dropt anchor nearly in the same place as before.”

“Upon coming to anchor, we were surprised to find our reception very different from what it had been on our first arrival ; no shouts, no bustle, no confusion …”

“… but a solitary bay, with only here and there a canoe stealing close along the shore. The impulse of curiosity, which had before operated to so great a degree, might now indeed be supposed to have ceased …”

“… but the hospitable treatment we had invariably met with, and the friendly footing on which we parted, gave us some reason to expect, that they would again have flocked about us with great joy, on our return.”

“… there was something at this time very suspicious in the behaviour of the natives; and that the interdiction of all intercourse with us, on pretence of the king’s absence, was only to give him time to consult with his chiefs in what manner it might be proper to treat us.”

“For though it is not improbable that our sudden return, for which they could see no apparent cause, and the necessity of which we afterward found it very difficult to make them comprehend, might occasion some alarm”.

“[T]he next morning, [Kalaniopuʻu] came immediately to visit Captain Cook, and the consequent return of the natives to their former, friendly intercourse with us, are strong proofs that they neither meant nor apprehended any change of conduct.”

However, “Soon after our return to the tents, we were alarmed by a continued fire of muskets from the Discovery, which we observed to be directed at a canoe, that we saw paddling toward the shore in great haste, pursued by one of our small boats.”

That night a skiff from the Discovery had been stolen. “It was between seven and eight o’clock when we quitted the ship together; Captain Cook in the pinnace, having Mr Phillips and nine marines with him; and myself in the small boat.”

“Though the enterprise which had carried Captain Cook on shore had now failed, and was abandoned, yet his person did not appear to have been in the least of danger, till an accident happened, which gave a fatal turn to the affair.”

“The boats which had been stationed across the bay, having fired at some canoes that were attempting to get out, unfortunately had killed a chief of first rank.”

“One of the natives, having in his hands a stone, and a long iron spike (which they call a pahooa), came up to the Captain, flourishing his weapon, by way of defiance, and threatening to throw the stone. The Captain desired him to desist ; but the man persisting in his insolence, he was at length provoked to fire a load of small-shot. “

“Our unfortunate Commander, the last time he was seen distinctly, was standing at the water’s edge, and calling out to the boats to cease firing, and to pull in.”

“If it be true, as some of those who were present have imagined, that the marines and boat-men had fired without his orders, and that he was desireous of preventing further bloodshed, it is not improbable that his humanity, on this occasion, proved fatal to him.”

“For it was remarked, that whilst he faced the natives, none of them had offered him any violence, but that having turned about to give his orders to the boats, he was stabbed in the back, and fell with his face in the water.” On February 14, 1779, Cook was killed.

Captain Charles Clerke took over the expedition and they left. (The quotes are from ‘The Voyages of Captain James Cook,’ recorded by Lieutenant James King (who, following these events was appointed to command HMS Discovery.))

June 22, 2024 by Peter T Young Leave a Comment

Lahaina, i ka malu ‘ulu o Lele

(Lahaina, in the shade of the breadfruit trees of Lele) (Pukui, 1983, No. 1936) (Lele is an earlier name for Lahaina.)

Hālau Lahaina, malu i ka ‘ulu

(Lahaina is like a large house shaded by breadfruit trees) (Pukui, 1983, No. 430).

In 1898, Albert Kaleikini, a student at Lahainaluna, went on an excursion to Pu‘u Pa‘upa‘u. (Pa‘upa‘u (lit. drudgery (servants were weary of bringing water to bathe the chief’s child)) is a hill above Lahainaluna School on Maui.)

Though David Malo did not die at Pa‘upa‘u, he wanted to be (and was) buried there (Malo died October 21, 1853). Pu‘u Pa‘upa‘u has a symbol from Malo’s school (he was one of the first students enrolled at Lahainaluna Seminary). A large ‘L’ (standing for Lahainaluna, reportedly put there in 1929) is visible from most parts below.

Beholding the spectacular view from Pu‘u Pa‘upa‘u, Kaleikini was moved to write “Lahainaluna”, which became the school’s Alma Mater. (Lahainaluna 150th reunion) It’s first verse is:

O ka Malu ‘ulu o Lele (Nō e ka ‘oi)

Nā kualono nani ē (kū kilakila)

Me ka ua kilikilihune (Aʻo Hālona)

Hoʻopulu i ke oho o ka palai

Oh, the land of shadow of the flying breadfruit

The wonder of lands

With the every spraying delightful showers (of Halona)

Wetting the foliage of the ferns

“Lahaina District was a favorable place for the high chiefs of Maui and their entourage for a number of reasons: the abundance of food from both land and sea; its equable climate and its attractiveness as a place of residence …”

“… it had probably the largest concentration of population, with its adjoining areas of habitation; easy communication with the other heavily populated area of eastern and northeastern West Maui, ‘The Four Streams,’ and with the people living on the western, southwestern and southern slope of Haleakala; and its propinquity to Lanai and Molokai.” (Handy and Pukui)

“The southern shores of western Maui were perhaps second only to Puna, Hawaii, as a favorable locality for breadfruit culture. … Puna on Hawaii was the district most famous for its breadfruit.” (Handys and Pukui) At Puna in 1823, Ellis noted “Groves of cocoa-nut and bread-fruit trees are seen in every direction, loaded with fruit, or clothed with luxuriant foliage.”

“Brigham (in 1911) wrote that ‘at Lahaina on Maui, were as fine trees forty years ago as any I have seen in Samoa or Fiji.’ … Lahaina is referred to in chants as Ka malu ‘ulu o Lele, ‘The breadfruit-shade of Lele.’” (Handys and Pukui)

In ancient Hawai‘i, most of the makaʻāinana (‘common people’) were farmers, a few were fishermen. Tenants cultivated smaller crops for family consumption, to supply the needs of chiefs and provide tributes.

“The people had ample cultivable land in the moist upland from two to four miles inland at altitudes of one thousand to twenty-five hundred feet. … The soil is most fertile, being formed from the decay of recent lava flows.”

“There the natives found their chief means of subsistence, and, in good seasons, were sufficiently fed. In bad seasons there were droughts, and more or less of ‘wī,’ or famine.” (Bishop)

The food plants of Hawaiʻi can be divided into three groups: those known as staple foods (the principal starchy foods – kalo (taro,) ʻuala (sweet potato,) ʻulu (breadfruit,) etc;) those of less importance (to add nutrients and variety to the diet;) and those known as famine foods. (Krauss)

In 1819, Arago noted, “The environs of Lahaina are like a garden. It would be difficult to find a soil more fertile, or a people who can turn it to greater advantage; little pathways sufficiently raised, and kept in excellent condition, serve as communications between the different estates. …”

“The space cultivated by the natives of Lahaina is about three leagues in length (~9-miles), and one (~3 miles) in its greatest breadth. Beyond this all is dry and barren; everything recalls the image of desolation.” (Arago)

Ellis noted (about 1823), “we found ourselves within about four miles of Lahaina, which is the principal district in Maui, on account of its being the general residence of the chiefs, and the common resort of ships that touch at the island for refreshments.”

“The appearance of Lahaina from the anchorage is singularly romantic and beautiful. A fine sandy beach stretches along the margin of the sea, lined for a considerable distance with houses, and adorned with shady clumps of kou trees, or waving groves of cocoanuts.”

“The level land of the whole district, for about three miles, is one continued garden, laid out in beds of taro, potatoes, yams, sugar-cane, or cloth plants. The lowly cottage of the farmer is seen peeping through the leaves of the luxuriant plantain and banana tree, and in every direction white columns of smoke ascend, curling up among the wide-spreading branches of the bread-fruit tree.”

“The sloping hills immediately behind, and the lofty mountains in the interior, clothed with verdure to their very summits, intersected by deep and dark ravines, frequently enlivened by glittering waterfalls, or divided by winding valleys, terminate the delightful prospect.” (Ellis, Polynesian Researches)

“The settlement is far more beautiful than any place we have yet seen on the islands. The whole district, stretching nearly three miles along the sea-side, is covered with luxuriant groves, not only of the cocoanut, but also of the bread-fruit and of the kou” (American Missionary, CS Stewart was resided in the Hawaiian Islands from 1823 to 1825)

For thousands of years, Ulu (Breadfruit) was a staple food in Oceania. It is believed to have originated in New Guinea and the Indo-Malay region and was spread throughout the vast Pacific by voyaging islanders.

The breadfruit is multipurpose, it may be eaten ripe as a fruit or under-ripe as a vegetable – it is roasted, baked, boiled, fried, pickled, fermented, frozen, mashed into a puree, and dried and ground into meal or flour.

It was a canoe crop – one of around 30 plants brought to the Hawaiian Islands by the Polynesians when they first arrived in Hawaiʻi.

“This tree, whose fruit is so useful, if not necessary, to the inhabitants of most of the islands of the South Seas, has been chiefly celebrated as a production of the Sandwich Islands; it is not confined to these alone, but is also found in all the countries bordering on the Pacific Ocean.” (Book of Trees, 1837)

“If a man plant ten breadfruit trees in his life, which he can do in about an hour, he would completely fulfil his duty to his own as well as future generations.” (Joseph Banks, 1769)

“Breadfruit is spoken of as ‘ai kameha‘i, meaning that it is a food (‘ai) that simply reproduces itself ‘by the will of the gods,’ that is, by sprouting. It is not planted by means of seeds or slips.” (Handys and Pukui)

June 2, 2024 by Peter T Young Leave a Comment

Feathers

“Feathers were important symbols of power for Polynesians; in Hawai‘i, feathers were more highly prized than other types of property.”

“Feathers used for crafts were obtained from at least 24 bird species, however, the golden feathers of ‘ō‘ō and mamo birds made them primary targets for birdhunters; both birds became extinct by the late 1800s.”

“Feathers were utilized for many items, including ‘ahu‘ula [cloaks], mahiole [war helmets], and kāhili [standards]. Most garments utilized a considerable number of feathers; a cloak for Kamehameha consumed the golden feathers of 80,000 mamo birds.” (Perez)

“The feathers of birds were the most valued possessions of the ancient Hawaiians. The feathers of the mamo were more choice than those of the oo because of their superior magnificence when wrought into cloaks (ahu). The plumage of the i‘iwi, apapane and amakihi were made into ahu-ula, cloaks and capes, and into maho-ole, helmets.”

“The ahu-ula was a possession most costly and precious (makamae), not obtainable by the common people, only by the alii. It was much worn by them as an insignia in time of war and when they went into battle. The ahu-ula was also conferred upon warriors, but only upon those who had distinguished themselves and had merit, and it was an object of plunder in every battle.”

“Unless one were a warrior in something more than name he would not succeed in capturing his prisoner nor in getting possession of the ahu-ula and feathered helmet of a warrior. These feathers had a notable use in the making of the royal battle-gods. They were also frequently used by the female chiefs in making or decorating a comb called huli-kua, which was used as an ornament in the hair.”

“The lands that produced feathers were heavily taxed at the Makahiki time, feathers being the most acceptable offering to the Makahiki-idol. If any land failed to furnish the full tale of feathers due for the tax, the landlord was turned off (hemo). So greedy were the alii after fathers that there was a standing order (palala) directing their collection.” (Malo)

In the first writing of Hawai‘i, Captain Cook’s Journal notes, “Amongst the articles which they brought to barter this day [Jan 21, 1778], we could not help taking notice of a particular sort of cloak and cap, which, even in countries where dress is more particularly attended to, might be reckoned elegant.”

“The first are nearly of the size and shape of the short cloaks worn by the women of England, and by the men in Spain, reaching to the middle of the back, and tied loosely before.”

“The ground of them is a network upon which the most beautiful red and yellow feathers are so closely fixed that the surface might be compared to the thickest and richest velvet, which they resemble, both as to the feel and the flossy appearance.”

“The manner of varying the mixture is very different, some having triangular spaces of red and yellow alternately; others a kind of crescent, and some that were entirely red, had a yellow border which made them appear, at some distance, exactly like a scarlet cloak edged with gold lace.”

“The brilliant colours of the feathers, in those that happened to be new, added not a little to their fine appearance, and we found that they were in high estimation with their owners, for they would not, at first part with one of them for anything we offered, asking no less a price than a musket.”

“[M]en and women … are joined together in great numbers in climbing into the forests to snare birds [kapili manu; kawili manu]. And the number of birds caught by a person in a day is from six to thirty. The bird being caught is the Oo of the forests.” (Kuokoa, Mar 17, 1866)

“Initial bird-catching or feather-gathering was probably conducted by commoners (maka‘āinana) of each community land (ahupua‘a) as part of their tribute to chiefs, rather than exclusively by a special class of chiefly retainers (bird-catchers).

“Wives of bird-catchers sometimes accompanied their husbands and plucked, sorted and fastened together feathers. Women probably wove the helmet and cloak fibre frameworks and nets (of ‘ie‘ie and ‘olonā fibers).

“Women may have attached the feathers to cloaks and helmets – manufactured the cloaks and helmets. These cloaks and helmets were probably made in chiefly households by skilled female retainers.”

“Capes (cloaks) and helmets were probably not sacred and kapu until the finished products became identified with certain wearers.” (Cordy)

Vancouver notes in his journal, “Tamaahmaah (Kamehameha) conceiving this might be his last visit, presented me with a handsome cloak formed of red and yellow feathers, with a small collection of other native curiosities; and at the same time delivered into my charge the superb cloak that he had worn on his formal visit at our arrival.”

“This cloak was very neatly made of yellow feathers; after he had displayed its beauty, and had shewn me the two holes made in different parts of it by the enemy’s spears the first day he wore it, in his last battle for the sovereignty of this island, he very carefully folded it up, and desired, that on my arrival in England, I would present it in his name to His Majesty, King George …”

“… and as it had never been worn by any person but himself, he firmly enjoined me not to permit any person whatever to throw it over their shoulders, saying, that it was the most valuable thing in the island of Owhyhee (Hawai‘i), and for that reason he had sent it to so great a monarch, and so good a friend, as he considered the King of England.”

“This donation I am well persuaded was dictated by his own grateful heart, without having received the least hint or advice from any person whatever, and was the effect of principles, highly honorable to more civilized minds. The cloak I received, and gave him the most positive assurance of acting agreeably with his directions.” (Vancouver, March 1793)

May 30, 2024 by Peter T Young Leave a Comment

Hula Pahu

“For many weeks in succession, the first sound that fell on the ear in the morning was the loud beating of the drum, summoning the dancers to assemble. … Day after day, several hours in the day, the noisy hula – drumming, singing, and dancing in the open air, constituted the great attraction …” (Hiram Bingham)

The Hawaiian term ‘Pahu’ translates into ’drum’, ‘Niu’ being the Hawaiian word for ‘coconut’. The traditional pahu hula (hula drum) was carved from coconut stumps and covered with sharkskin (although possibly other types of native wood (koa, breadfruit, etc.) may have been used.)

The pahu is carved out of a single piece of wood; a bowl-like septum separates the sound chamber from the base or carved arches and a sharkskin membrane is lashed with sennit to the base.

The original material used for the Pahu’s waha (head) was either shark or ray skin. Heiau Pahu tended to be originally made with a waha of ray skin, while non-religious Pahu often used sharkskin. (Kalikiano)

Pahu were made with great care. In pre-European times (pre-1778) each part of the drum’s body, especially the sennit, ‘aha, used to lash the sharkskin to the base, required special prayers which were chanted during the processes of making the sennit and lashing the skin to the drum.

The power of the prayers became entrapped in the lashing, the wood, the skin and remained with the drum always. The rows of inverted arches carved out of the base, called hoaka, are visually symbolic of outstretched hands supporting joined human figures overhead and are poetically symbolic of the shadows of gods (hoaka means to cast a shadow.) (Smithsonian)

“Their wooden drum, with one sharkskin head, is beaten by the fingers of the musician, sitting cross-legged beside it as the uncovered end stands on the ground.” (Hiram Bingham)

Laʻa is generally credited for introducing the drum to Hawaiʻi. Laʻamaikahiki (Laʻa-from-Kahiki) brought the first sharkskin pahu to Hawaiʻi from Kahiki (Tahiti,) “sounding over the oceans” sometime around AD 1250.

On nearing the land he waked the echoes with the stirring tones of his drum, which so astonished the people that they followed him from point to point along the coast and heaped favors upon him whenever he came ashore.

Laʻa was an enthusiastic patron of the hula and is said to have made a tour of the islands, in which he instructed the natives in new forms of the dance. (Emerson)

The shorter variety of Pahu (Pahu Hula) was used to beat time in Hula dances and to accompany chanting mele. It was made to be played by a standing person (always a priest, Kahuna, or Chief), whereas the Hula Pahu was made to more suitably accommodate a seated or kneeling individual.

The sounds of the pahu are referred to as leo (voice) and the drum head is referred to as waha (mouth.) During state rituals in the large open-air heiau, the pahu was a receptacle for a god who spoke through the ‘voice’ of the drum.

There is reason to believe that the original use of the pahu was in connection with the services of the temple, and that its adaptation to the hālau was simply transference from one to another religious use.

Music, particularly drumming, was traditionally important in Hawaiian ritual. A drum would have been played as part of hula – a larger version was used in temples. The seated musician normally played the pahu with one hand and a smaller drum, sometimes tied to the knee, with the other. (British Museum)

Hawaiian musical traditions are essentially vocal. Percussive musical instruments are never played alone, but always to accompany chanting and dancing.

The pahu is an instrument of power and sacredness that exemplifies traditions of ritual music and dance that are steeped in time. The drum is both a sound producer and a symbol. Its music represents the fundamental principles of Hawaiian perceptions of time and timing in traditional music.

Pahu were given proper names and passed down from generation to generation as objects of mana (power) and kapu (sacredness) producing sounds that carried the knowledge of generations of aliʻi and kahuna (specialists, including priests.) (Smithsonian)

Hula is a form of cultural expression of the utmost complexity, reaching back through the centuries to a time in the islands when history was recorded entirely by story and song, and passed along to succeeding generations by skilled individuals.

Since the essence of modern Hawaiian Hula is a medium of expression for communicating thoughts, stories and feelings that are for the most part translated by patterns of bodily motion in which not just the arms and hands, but the entire body, act as story telling devices. (Kalikiano)

Hula combines dance and chant or song to tell stories, recount past events and provide entertainment for its audience. With a clear link between dancer’s actions and the chant or song, the dancer uses rhythmic lower body movements, mimetic or depictive hand gestures and facial expression, as part of this performance. (ksbe-edu)

“The hula was a religious service, in which poetry, music, pantomime, and the dance lent themselves, under the forms of dramatic art, to the refreshment of men’s minds. Its view of life was idyllic, and it gave itself to the celebration of those mythical times when gods and goddesses moved on the earth as men and women and when men and women were as gods.”

“(W)hen it comes to the hula and the whole train of feelings and sentiments that made their entrances and exits in the hālau (the hall of the hula) one perceives that in this he has found the door to the heart of the people.” (Emerson, son of Missionaries)

In describing a hula danced before Keōpūolani and her daughter Nāhiʻenaʻena, in Lāhainā in 1823, Missionary CS Stewart wrote: “The motions of the dance were slow and graceful, and, in this instance, free from indelicacy of action; and the song, or rather recitative, accompanied by much gesticulation, was dignified and harmonious in its numbers.”

”The theme of the whole, was the character and praises of the queen and princess, who were compared to everything sublime in nature, exalted as gods.” (Missionary Stewart)

“This was intended, in part at least, as an honor and gratification to the king, especially at Honolulu, at his expected reception there, on his removal from Kailua. Apparently, not all hula was viewed as bad or indecent.”

“In the hula, the dancers are often fantastically decorated with figured or colored kapa, green leaves, fresh flowers, braided hair, and sometimes with a gaiter on the ancle, set with hundreds of dog’s teeth, so as to be considerably heavy, and to rattle against each other in the motion of the feet.” (Hiram Bingham)