Images of Old Hawaiʻi

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April 11, 2018 by Peter T Young 2 Comments

‘Upolu

In 1779, Captain Cook explored the North Kohala area and noted: “The country, as far as the eye could reach, seemed fruitful and well inhabited … (3 to 4-miles inland, plantations of taro and potatoes and wauke are) neatly set out in rows.”

“The walls that separate them are made of the loose burnt stone, which are got in clearing the ground; and being entirely concealed by sugar-canes planted close on each side, make the most beautiful fences that can be conceived …” (Cook Journal)

“The district of Kohala is the northernmost land area of the island of Hawaii. ‘Upolu Point, its northwesterly projection, fronts boldly out into Alanuihaha Channel toward the southeastern coast of Maui, and is the nearest point of communication between the two islands.”

“To the south, along Hawai‘i’s western coast, lies Kona; to the east the rough coast of Hāmākua District unprotected from the northerly winds and sea.” (Handy & Pukui)

“Kohala was the chiefdom of Kamehameha the Great, and from this feudal seat he gradually extended his power to embrace the whole of the island, eventually, gaining the suzerainty of all the Hawaiian Islands.”

“’Upolu, which is the old name of the valley in Tahiti now called Papeno‘o; likewise the old name of the island of Taha‘a, northwest of Tahiti, and the present name of the chief island of the Samoan group.” (Handy & Pukui)

Oral traditions trace the origin of Hawaiian luakini temple construction to the high priest Pā‘ao, who arrived in the islands in about the thirteenth century. He introduced several changes to Hawaiian religious practices that affected temple construction, priestly ritual, and worship practices.

“Pā‘ao is said to have made his first landfall in the district of Puna, Hawaii, where he landed and built a Heiau (temple) for his god and called it Waha‘ula.”

“From Puna Pā‘ao coasted along the shores of the Hilo and Hāmākua districts, and landed again in the district of Kohala, on a land called Pu‘uepa, near the north-west point of the island, whose name, ‘Lae Upolu,’ was very probably bestowed upon it by Pā‘ao or his immediate descendants in memory of their native land.” (Fornander)

“In this district of Hawaii Pā‘ao finally and permanently settled. Here are shown the place where he lived, the land that he cultivated, and at Pu‘uepa are still the ruins of the Heiau of Mo‘okini, which he built and where he officiated.”

Mo‘okini temple was last active as a war temple for Kamehameha I in the last two decades of the 18th century. It is said to have housed the Kamehameha family war god, Ku-ka-‘ili-moku, and this feathered god transferred to Pu‘ukohola Heiau, in 1791, when Kamehameha built this new war temple to assure his conquest of all the Hawaiian Islands.

According to Stokes, Mo‘okini Heiau was said to have been built from stones brought from Pololu Valley. It was believed that the stones were passed hand-to-hand by men standing in a line spanning the 15-mile distance from the valley.

“About 2,000 feet west of Mo‘okini Heiau and near the ocean is the birthplace of Kamehameha the Great. At the time of his birth, ca. 1753, the site was occupied by one of the thatched housing complexes of Alapa‘i-nui-a-Kauaua, ruling chief of the Island of Hawai’i.”

“The birth itself took place late at night within d one of the large thatched houses reserved for royal women. The named stone Pohaku-hanau-ali‘i may have been his mother’s couch inside the house.”

“Alapa‘i’s housing complex would have included a number of thatched houses as well as the canoe landing ‘harbor’ along the shore. The complex, with ‘harbor’ was called by the place name of Kapakaj, within the larger Hawaiian land division (an ahupua‘a) called Kokoiki.” (NPS)

By the time of contact, numerous coastal villages and extensive dryland agricultural systems were in place in North Kohala. This farming system lasted for several centuries and provided taro and sweet potato (the food staples of the time) to the growing population.

When that ended in the 1800s, it was followed several decades later with the commercial production of sugarcane that lasted for over 100‐years. Sugar production stopped in Kohala in 1975.

On June 25, 1927, an Executive Order set aside nearly 38-acres of the property for an airplane landing field for the US Air Service to be under the management and control of the War Department. In 1933, the Army named it Suiter Field, in honor of 1st Lieutenant Wilbur C Suiter who was killed in action serving in 135th Aero Squadron.

Suiter Field was first licensed in 1928. It was also alternatively referred to as Upolu Point Military Reservation, Upolu Landing Field, Upolu Airplane Landing Field and Upolu Airport.

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Kamehameha Birth Site
Kamehameha Birth Site
Mookini Heiau
Mookini Heiau
Upolu Point Field, Hawaii, February 3, 1929
Upolu Point Field, Hawaii, February 3, 1929
Upolu Point Landing Field-hawaii-gov)-1933
Upolu Point Landing Field-hawaii-gov)-1933
Upolu Airport-(hawaii-gov)-September 20, 1944
Upolu Airport-(hawaii-gov)-September 20, 1944
Upolu Air Field-(hawaii-gov)-August 13, 1945
Upolu Air Field-(hawaii-gov)-August 13, 1945
Upolu Point-(hawaii-gov)-1955
Upolu Point-(hawaii-gov)-1955
Upolu Airport-(hawaii-gov)-May 9, 1973
Upolu Airport-(hawaii-gov)-May 9, 1973
Upolu_Point-(hawaii-gov)-October 24, 1973
Upolu_Point-(hawaii-gov)-October 24, 1973

Filed Under: Ali'i / Chiefs / Governance, Economy, Hawaiian Traditions, Military, Place Names Tagged With: Paao, Kohala, North Kohala, Upolu Airport, Upolu Point, Kamehameha, Upolu, Mookini, Hawaii

April 7, 2018 by Peter T Young Leave a Comment

Hui Lei Mamo

Hawaiʻi’s last King, Kalākaua, has been referred to as a Renaissance man. Concerned about the loss of native Hawaiian culture and traditions, Kalākaua encouraged the transcription of Hawaiian oral traditions, and supported the revival of and public performances of the hula.

He advocated a renewed sense of pride in such things as Hawaiian mythology, medicine, chant and hula. Ancient Hawaiians had no written language, but chant and hula served to record such things as genealogy, mythology, history and religion.

While seeking to revive many elements of Hawaiian culture that were slipping away, the King also promoted the advancement of modern sciences, art and literature.

He is remembered as the “Merrie Monarch” because he was a patron of culture and arts, and enjoyed socializing and entertaining.

All of Kalakaua’s dancers were kept on retainer and were given a place to live on the palace grounds. These dancers, musicians, and chanters were all compensated for performing. Dancing the hula for entertainment was their source of income. (Tong)

Kalākaua believed his nation and people would prosper with cultural rebirth and brought hula teachers from the countryside and neighboring islands to his court. At his 1883 coronation and 1886 50th birthday jubilee, Kalākaua’s dancers performed publicly on palace grounds for about two weeks on each occasion. (Imada)

“Kalākaua always had dancers in his court dancing for his pleasure…. There were parties for his guests from the mainland on their way to Australia with dancers as well. They weren’t only for his friends, but for everyone in Honolulu.” (Kupahu; Tong)

Through chanted poetry and bodily movements, these hula performers celebrated the births and achievements of ali‘i, recorded the genealogies of high chiefs, and relayed Hawaiian epics. Hula was also embedded in a culture of sexual arousal.

In 1886, the same year of his jubilee, Kalākaua assembled Hui Lei Mamo, a group of eight Hawaiian women and girls under the age of 20. Hui Lei Mamo was a ‘glee club’; it performed acculturated hula performance as well as choral music. (Imada)

As a member of the royal family and the reigning monarch of Hawai‘i, King Kalākaua had the rightful authority to dictate when the hula would be performed. (Tong)

While Kalākaua’s older court dancers performed pre-contact forms of hula with indigenous instrumentation and chanting, the young women of Hui Lei Mamo performed only the hula ku‘i, ‘the modern hula’.

An acculturated dance that developed in the king’s cosmopolitan court, hula ku‘i merged Western music and instruments with traditional hula steps. It is suggested that Kalākaua himself was the inventor of this hybrid genre …

“[The king] took some steps out of the old-fashioned [hula] and put them into the modern [hula] with guitar. He was the first one to start this.” (Kapahu; Imada)

Performed in Hawaiian language and accompanied by guitar and ’ukulele, this hula utilized polka or waltz tempos, couplet verses and a vamp that separated the verses.

Every Thursday afternoon from 2 to 5 pm, Kalākaua invited friends and out-of-town guests to Healani, his boathouse in Honolulu Harbor, where his younger court dancers performed hula ku‘i. (Imada)

When Kalākaua died in 1891, the dancers no longer had a place in court. Nevertheless, they continued to benefit directly from Kalākaua’s cultural renaissance through training in hula ‘schools’.

Called hālau hula or pā hula, these schools became gendered institutions through which a critical subset of Hawaiian women received rigorous training in performance, history, religion and protocol.

Namake‘elua (who is sometimes recorded as Nama-elua), a hula teacher Kalākaua summoned for his jubilee, had decided to remain in Honolulu instead of returning to his home on the island of Kaua‘i.

The handful of students undertook training in hula genres associated with Indigenous pre-European contact traditions, very different from the hula ku‘i of the court. (Imada)

Four women entered the hālau hula. Three of them were Hui Lei Mamo dancers. Their intensive training commenced in 1892, with the young women taking residence in the teacher’s home.

For about six weeks, the dancers were kapu (sacred or consecrated). They dedicated themselves to the goddess Laka, the patron of hula, and erected a hula kuahu (altar), imploring Laka to give them knowledge.

They danced for about six hours a day, taking swims in the ocean and meals in between practices. The repertoire was ‘very religious’. Hula practice was a part of a sacred realm and governed by strict rules, because hula performances manifested the gods’ and ali‘i’s mana (sacred power) and rank.

On the day of the ‘ūniki (ritual graduation), graduates of other hula schools came to watch the four women dance. Only after undergoing ‘ūniki were they released from sacredness and became noa (free). The following day, they celebrated their release with a feast and public performance for friends and family.

In 1893, some of these dancers went to the Chicago World’s Fair as part of the Midway Plaisance, a street of themed villages from around the world. The 1893 Chicago World’s Fair was the 400th anniversary of Christopher Columbus’s arrival in the New World.

The Midway Plaisance was inspired by the 1889 Paris Universal Exposition, where the French government and prominent anthropologists turned representations of the French colonies into ethnological villages featuring people from Africa and Asia. (Tong)

The performers who went abroad directly benefited from King David Kalākaua’s national revival of hula and traditional cultural arts during his reign from 1872 to 1891. (The image is believed to be the members of Hui Kei Mamo.)

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Lei_Mamo_Singing_Girls_(PP-32-8-014)
Lei_Mamo_Singing_Girls_(PP-32-8-014)

Filed Under: Economy, Ali'i / Chiefs / Governance, Hawaiian Traditions Tagged With: Hula, King Kalakaua, Merrie Monarch, Hui Lei Mamo, Hawaii, Kalakaua

April 3, 2018 by Peter T Young Leave a Comment

Mānoa Heritage Center

Mānoa Heritage Center is a non-profit organization, whose mission is to promote stewardship of the natural and cultural heritage of Hawai‘i. The site consists of Kūali‘i, a Tudor-style house built in 1911, Kūka‘ō‘ō Heiau and a Native Hawaiian garden.

The site is the former home of Charles Montague Cooke, Jr. Charles Montague Cooke Sr gave the land to his son in 1902. On it his son established Kaimi dairy.

In 1911, Emory & Webb, a major architectural firm in Honolulu, designed this house, and it stands as one of their major works from this period. Other works of theirs from this time include the YMCA and the First Methodist Church.

Amos Starr Cooke came to Hawai‘i in 1837 as a missionary. He and his wife Juliette, were selected by King Kamehameha III to educate the next generation of Hawai‘i leadership (including Kamehameha IV and V, Lunalilo, Kalākaua, Lili‘uokalani and others)

Cooke later founded the firm of Castle & Cooke in 1851, which became one of the ‘Big Five’ sugar companies, which dominated so much of Hawai’ i’s economic, social and political history up through World War II.

Charles Montague Cooke Jr. was the grandson of Amos Starr Cooke and the son of Charles Montague Cooke. His father was the President of both C Brewer, another of the ‘Big Five’ firms, and the Bank of Hawai’i.

Dr. Charles Montague Cooke Jr. was born in Honolulu in 1874, and attended Punahou and Yale. In 1901 he received his PhD and went to Europe to do scientific work in London and Paris.

In 1902 he returned to Hawai’i to work at the Bishop Museum, where he made valuable contributions to the field of malachology, the branch of zoology that deals with mollusks, especially with regards to the study of Hawaiian land snails. He headed a number of scientific expeditions throughout Polynesia and was the author of 45 scientific works. (NPS)

Kūali‘i, the house on the site, is a two-story Tudor revival style house. It is situated at the top of a hill in Mānoa Valley and has a large front lawn gracefully landscaped with several mature monkey pod and shower trees. The front of the house is separated from Mānoa Road by a stone wall, and a circular drive provides vehicular access to the property. (NPS)

The lava rock basement and first floor support half-timber and stucco second and third floors. The home has three bays with a large 2-story porte cochere off the center bay. Two stonewall chimneys anchor the outside bays. The stone was quarried in the front year where the driveway now circles between two stone pillars of the front rock wall.

The house was originally going to be sited where a heiau (temple) was situated – and use the stone from the heiau as the foundation. Instead, the house was located so as not to disturb the heiau. (Ferraro; Pōhaku) The heiau was later restored.

According to legends, the menehune built a fort and heiau at the top of the hill ‘Ulumalu. They were driven away from their fort by the high chief Kūali‘i during his reign (sometime in the 1700s). Kuali‘i rebuilt it after his seizure of the fort. (Cultural Surveys)

This heiau was the center piece of a string of heiaus that strung across the Kona district. The existence of such an important heiau at the mouth of the valley could be taken as an indication of the early importance of Mānoa.

Another legend says that the menehune were driven from their fort and temple by the owls, who became their bitter enemies.
The legends say that the fairy people, the Menehunes, built a temple and a fort a little farther up the valley above Pu‘u-pueo, at a place called Kūka‘ō‘ō.

Surrounding Kūka‘ō‘ō Heiau is a Native Hawaiian garden featuring endemic and indigenous plants, as well as Polynesian introductions.

In addition, a Polynesian Introduced Garden offers an array of ‘Canoe Plants’ representing those that may have come with ancient seafarers from the Marquesas, Tahiti, Samoa and other South Pacific archipelagoes.

The first settlers of Hawaiʻi arriving by canoe, brought many of their favorite plants for food, seasoning, medicine, making household items and implements to farm, build structures and use for clothing.

Taro (kalo) became the staple of the Hawaiian diet and they developed hundreds of varieties, adapted to suit diverse terrain and weather conditions. Sweet potato (uala) was sometimes substituted for taro in the drier areas.

Tumeric (ʻolena) was used to produce a brilliant yellow orange dye for clothing, coconut (niu) for bowls, drums and roof tops, and kawa (ʻawa) to ease a painful headache were treasured supplies. (Mānoa Heritage Center)

The house, heiau and gardens are part of the Mānoa Heritage Center, a non-profit organization whose mission is to promote stewardship of the natural and cultural heritage of Hawai‘i. It was the home of Sam and Mary Cooke and the restoration of the property was through their efforts.

Currently, Kūka‘ō‘ō Heiau and garden tours are available, guided by volunteer docents. Reservations are needed with two-week advance notice preferred.

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Manoa Heritage Center map
Manoa Heritage Center map
Kukaoo_Heiau-AuthorGeneParola
Kukaoo_Heiau-AuthorGeneParola
Kukaoo_Heiau-AnnCecil
Kukaoo_Heiau-AnnCecil
Kualii-Manoa Rd-2859-gateposts-WC
Kualii-Manoa Rd-2859-gateposts-WC
Kualii-from-Oahu Ave-below-WC
Kualii-from-Oahu Ave-below-WC
Honolulu-Manoa-Road-2859-WC
Honolulu-Manoa-Road-2859-WC
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Charles-Montague-Cooke-Jr-House-WC
Kualii-Manoa-Valley-above-WC
Kualii-Manoa-Valley-above-WC

Filed Under: General, Buildings, Economy, Missionaries / Churches / Religious Buildings, Hawaiian Traditions, Place Names, Prominent People Tagged With: Juliette Cooke, Amos Cooke, Manoa, Castle and Cooke, Manoa Heritage Center, Charles Montague Cooke, Hawaii, Oahu

March 31, 2018 by Peter T Young 1 Comment

Kalanimōku Meets the Missionaries

“On the 31st of March (1820), a considerable number of the natives came off to our vessel, from the shores of Kohala, to dispose of their little articles of barter, and to look at the strangers.”

“Their manoeuvres in their canoes, some being propelled by short paddles and some by small sails, attracted the attention of our little group, and for a moment, gratified curiosity”.

“On the 1st of April, as we were abreast of Kawaihae, Kalanimōku and his wives, and Kalākua (subsequently Hoapiliwahine) and her sister Nāmāhāna (sometimes Opi‘ia), two of the widows of the late king, came off to us with their loquacious attendants, in their double canoe. It was propelled with spirit, by eighteen or twenty athletic men.”

“Having over their heads a huge Chinese umbrella, and the nodding kahilis or plumed rods of the nobility, they made a novel, and imposing appearance as they drew near our becalmed Mission Barque, while we fixed on them, and their movements, our scrutinizing gaze.”

“As they were welcomed on board, the felicitous native compliment, aloha (good-will, peace, affection), with shaking hands, passed between them, and each member of the mission family, Captain Blanchard and others.”

“Their tall, portly, ponderous appearance seemed to indicate a different race from those who had visited the vessel before, or a decided superiority of the nobility over the peasantry. Their weight has I think been overrated.”

“The younger brother of these queens, on coming to maturity, balanced in the scales two peculs of their sandal wood, 266 2/3 lbs. – This was about the weight of Kalanimōku, and may be regarded as the average weight of the chiefs of the islands, male and female.”

“Kalanimōku was distinguished from almost the whole nation, by being decently clad. His dress, put on for the occasion, consisted of a white dimity roundabout, a black silk vest, yellow Nankeen pants, shoes, and white cotton hose, plaid cravat, and fur hat.”

“One of the bare-footed females of rank, soon threw off her printed cotton gown, to which she was unused, retaining a gingham shirt, and the customary Hawaiian robe for a female of rank.”

“This consisted of ten thicknesses of thin unwoven bark cloth, three or four yards in length, and thirty inches in breadth, laid together, and tacked by single stitches, at several places, through the upper edge.”

“It is worn by being wrapped several times round the middle, and having the upper or stitched edge turned over a little on the hip, to confine the outer end, and keep the whole from falling off. It would be difficult to say which party was most impressed with the novelty of the objects they beheld.”

“Kalanimōku was much attracted by the kamali‘i keokeo [white children], and all were struck with the first appearance of civilized women.”

“Happy in so early and pleasant an introduction to personages of so much influence, we were assiduous in our efforts to impress them favorably, making them acquainted with our business, and our wish to reside in the country.”

“But, notwithstanding our solicitude to obtain Kalanimōku’s assent at once, he referred us to the king. As a token of friendship and confidence, he presented us a curiously wrought spear, a signal, we hoped, that their weapons of war were soon to be converted into implements of husbandry, and their warriors enlisted as soldiers of the Lord Jesus Christ.”

“Near sunset, our distinguished guests took leave and returned to the shore on their state vehicle – their double canoe, seated on a light narrow scaffolding which rested on the semi-elliptical timbers by which two large parallel canoes, each neatly carved from a tree, are yoked together, five or six feet apart. …”

“The next morning our brig being in Kawaihae bay, I made my first visit on shore, landed on the beach near where Keōua and his companions had been murdered, and called on Kalanimōku at his thatched hut or cottage in that small uninviting village.”

“With him, I visited Puukahola, the large heathen temple at that place, a monument of folly, superstition and madness, which the idolatrous conqueror and his murderous priests had consecrated with human blood to the senseless deities of Pagan Hawaii.”

“This monument of idolatry, I surveyed with mingled emotions of grief, horror, pity, regret, gratitude, and hope; of grief and horror at the enormities which men and devils had perpetrated there before high heaven;”

“… of pity and regret that the victims and many of the builders and worshippers, had gone to their account without the knowledge of the Gospel, which ought to have been conveyed to them;”

“… of gratitude, that this strong-hold of Satan had been demolished and the spell around it broken; and of hope, that soon temples to the living God would take the place of these altars of heathen abomination.”

“After this brief survey of this part of the field, Kalanimōku, his wives, and two of the widows of Kamehameha, embarked with us; and as we together proceeded toward Kailua, the residence of the king …”

“… we engaged in public worship, and dwelt with pleasure on the glorious theme, the design of the Messiah to establish his universal reign, and to bring the isles to submit to him, and rejoice in his grace, as indicated by the language of the Prophet Isaiah, ‘He shall not fail nor be discouraged till he have set judgment in the earth, and the isles shall wait for his law.’” (Hiram Bingham)

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Kalanimoku_by_Alphonse_Pellion-1819
Kalanimoku_by_Alphonse_Pellion-1819

Filed Under: Hawaiian Traditions, Place Names, Sailing, Shipping & Shipwrecks, General, Ali'i / Chiefs / Governance, Missionaries / Churches / Religious Buildings

March 27, 2018 by Peter T Young Leave a Comment

Mokapu

The Hawaiian name for Mokapu is believed to be a contraction of Moku kapu, or ‘sacred island.’

Mokapu is a roughly 10-acre island located approximately 0.7 miles off the north coast of Molokai just east of the Kalaupapa Peninsula.

Mokapu rises steeply out of the water to 360-feet above sea level, ending in a narrow summit ridge.

Like the nearby islands of Okala and Huelo, Mokapu supports some of the most diverse native coastal plant communities in Hawai’i. For example, Mokapu contains 29 native plant species; several of these species are rare and vulnerable to extinction.

The island is dominated by native shrubs, but retains small groves of native lama trees, some native palm trees, which dominate
nearby Huelo, and 11 of the last 14 individuals of the shrub hoawa that is endemic to Molokai.

Mokapu is one of the many offshore islets that form the Hawai‘i State Seabird Sanctuary, created to protect the thousands of seabirds who seek refuge in and around the main Hawaiian Islands.

The majority of seabird-nesting colonies in the main Hawaiian Islands are located on the offshore islands, islets and rocks.

The sanctuary, administered by DLNR’s Division of Forestry and Wildlife, exists to protect not only seabirds but also endangered native coastal vegetation.

These sanctuaries protect seabirds, Hawaiian Monk seals, migrating shorebirds, and native coastal vegetation.

These small sanctuary areas represent the last vestiges of a once widespread coastal ecosystem that included the coastlines of all the main Hawaiian Islands. (DLNR)

“It is prohibited for any person to land upon, enter or attempt to enter, or remain in any wildlife sanctuaries …” Regardless, landing by boat is nearly impossible due to the lack of a safe beach.

Like the nearby islands of Okala and Huelo, Mokapu supports some of the best native coastal plant habitat in Hawai‘i, with 29 native plant species, several of which are rare and vulnerable. (DOFAW)

Historical uses of the island are unknown although rock mound structures are present on the ridgeline of Mokapu. However, the nature and source of these rock structures are unknown.

The difficulty of accessing Mokapu by water and the steepness of its slopes make it unlikely that it was visited often in the past and there are no known human uses of terrestrial areas today.

However, there is fishing along the north shore of Molokai, including areas near Mokapu. Fishing is primarily during the summer since winter seas are often very rough. (DOFAW)

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Mokapu (right)-AMNWR
Mokapu (right)-AMNWR
Mokapu_AMNWR
Mokapu_AMNWR
Mokapu_AMNWR
Mokapu_AMNWR
Mokapu AMNWR
Mokapu AMNWR
Mokapu Island, Okala Island, and Leina o Papio Point (from left to right)-Suominen
Mokapu Island, Okala Island, and Leina o Papio Point (from left to right)-Suominen
Huelo Okala Mokapu Islets Waikolu Valley North Shore, Molokai-Forest & Kim Starr
Huelo Okala Mokapu Islets Waikolu Valley North Shore, Molokai-Forest & Kim Starr
Mokalu, Huelo Okala Islets Waikolu Valley North Shore, Molokai-Thomas
Mokalu, Huelo Okala Islets Waikolu Valley North Shore, Molokai-Thomas
Mokalu, Huelo Okala Islets Waikolu Valley North Shore, Molokai-Forest & Kim Starr
Mokalu, Huelo Okala Islets Waikolu Valley North Shore, Molokai-Forest & Kim Starr

Filed Under: General, Hawaiian Traditions, Place Names Tagged With: Hawaii, Kalaupapa, Mokapu, Molokai, Hawaii State Seabird Sanctuary, Okala, Huelo

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Images of Old Hawaiʻi

People, places, and events in Hawaiʻi’s past come alive through text and media in “Images of Old Hawaiʻi.” These posts are informal historic summaries presented for personal, non-commercial, and educational purposes.

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