Hawaii | Images of Old Hawaiʻi

December 20, 2025 by Peter T Young Leave a Comment

Battle of Kuamo‘o

“An extraordinary event marked the period of Liholiho’s rule, in the breaking down of the ancient tabus, the doing away with the power of the kahunas to declare tabus and to offer sacrifices, and the abolition of the tabu which forbade eating with women (ʻAi Noa, or free eating.)” (Kamakau)

“The custom of the tabu upon free eating was kept up because in old days it was believed that the ruler who did not proclaim the tabu had not long to rule….The tabu eating was a fixed law for chiefs and commoners, not because they would die by eating tabu things, but in order to keep a distinction between things permissible to all people and those dedicated to the gods”. (Kamakau)

Following the death of Kamehameha I in 1819, King Kamehameha II (Liholiho) declared an end to the kapu system. In a dramatic and highly symbolic event, Kamehameha II ate and drank with women, thereby breaking the important eating kapu.

This changed the course of the Hawaiian civilization and ended the kapu system (and the ancient organized religion), effectively weakened belief in the power of the gods and the inevitability of divine punishment for those who opposed them, and made for the transformation.

Forty years had passed since the death of Captain Cook at Kealakekua Bay, during which time the kapu system was breaking down; social behavior was changing rapidly and western actions clearly were immune to the ancient Hawaiian kapu (tabus).

Kamehameha II sent word to the island districts, and to the other islands, that the numerous heiau and their images of the gods be destroyed.

Kekuaokalani (Liholiho’s cousin) and his wife Manono opposed the abolition of the kapu system and assumed the responsibility of leading those who opposed its abolition. These included priests, some courtiers and the traditional territorial chiefs of the middle rank.

Kekuaokalani demanded that Liholiho withdraw his edict on abolition of the kapu system. Kamehameha II refused.

Keōpūolani (Liholiho’s mother,) ali‘i kapu (sacred chief), confronted Kekuaokalani. She tried to negotiate with him so as to prevent a battle that could end with her son’s losing the kingdom.

The two powerful cousins engaged at the battle of Kuamo‘o. The battle was fought about December 20, 1819 (Emerson, Bishop).

The royal army, led by Kalanimōkū, numbered by nearly fifteen-hundred warriors, some of them bearing firearms. Kekuaokalani had fewer men and even fewer weapons than the king’s better-armed forces.

“Kekuaokalani was killed on the field, and Manono, his brave and faithful wife, fighting by his side, fell dead upon the body of her husband with a musket-ball through her temples.” (Kalākaua)

The Journal of William Ellis (1823): Scene of Battle with Supporters of Idolatry – “After traveling about two miles over this barren waste, we reached where, in the autumn of 1819, the decisive battle was fought between the forces of Rihoriho (Liholiho), the present king, and his cousin, Kekuaokalani, in which the latter was slain, his followers completely overthrown, and the cruel system of idolatry, which he took up arms to support, effectually destroyed.” (Ellis)

“The natives pointed out to us the place where the king’s troops, led on by Karaimoku (Kalanimōkū), were first attacked by the idolatrous party. We saw several small heaps of stones, which our guide informed us were the graves of those who, during the conflict, had fallen there.” (Ellis)

“We were then shewn the spot on which the king’s troops formed a line from the seashore towards the mountains, and drove the opposing party before them to a rising ground, where a stone fence, about breast high, enabled the enemy to defend themselves for some time, but from which they were at length driven by a party of Karaimoku’s (Kalanimōkū) warriors.” (Ellis)

“The small tumuli increased in number as we passed along, until we came to a place called Tuamoo (Kuamo‘o)…” (Ellis)

“Thus died the last great defenders of the Hawaiian gods. They died as nobly as they had lived, and were buried together where they fell on the field of Kuamo‘o.” (Kalākaua)

“Small bodies of religious malcontents were subdued at Waimea and one or two other points, but the hopes and struggles of the priesthood virtually ended with the death of Kekuaokalani.” (Kalākaua)

December 19, 2025 by Peter T Young Leave a Comment

Duke Kahanamoku Beach

Duke Paoa Kahanamoku was born in 1890, one of nine children of a Honolulu policeman.

Duke was named after his father who was given the name by Bernice Pauahi Bishop. The elder Duke explains his naming as “Mrs. Bishop took hold of me and at the same time a salute to the Hawaiian flag from the British Battleship in which the (Prince Albert) Duke of Edinburgh arrived”.

“… after I was washed by Mrs. Bishop she gave me the name ‘The Duke of Edinburgh.’” (The Duke of Edinburgh was visiting the Islands at the time (July 21, 1869.))

“The Duke heard and was glad and came to (the) house and I was presented to him and tooke me in his arms. And that is how I got this name.” (Nendel)

Both were born at the Paki property in downtown Honolulu. The Paki (Pauahi’s parents) home was called Haleʻakala (the ‘Pink House,’ made of coral.)

A couple years after Duke’s birth (1893,) the family was living in a small house on the beach at Waikiki where the present day Hawaiian Hilton Village now stands.

Duke had a normal upbringing for a young boy his age in Waikiki. He swam, surfed, fished, did odd jobs such as selling newspapers and went to school at Waikiki grammar school; he would never graduate from high school due to the need to help his family earn enough money to live.

For fun and extra money he and others would greet the boatloads of tourists coming to and from Honolulu Harbor. They would dive for coins tossed into the water by the visitors, perform acrobatic displays of diving from towers on boat days, and explore the crop of newcomers for potential students to teach surfing and canoeing lessons to on the beach.

He earned his living as a beachboy and stevedore at the Honolulu Harbor docks. Growing up on the beach in Waikiki, Duke surfed with his brothers and entertained tourists with tandem rides. (Nendel)

Duke’s love of surfing is what he is most remembered. He used surfing to promote Hawaiian culture to visitors who wanted to fully experience the islands.

Through his many travels, Duke introduced surfing to the rest of the world and was regarded as the father of international surfing.

Back at home, the beach and subsequent lagoon near where he lived now carry his name.

Ownership of the Waikiki property by the Paoa family goes back to Kaʻahumanu as noted in testimony before the Land Commission on December 16, 1847 (LCA 1775:)

“I hereby state my claim for a section of irrigation ditch. I do not know its length – perhaps it is two fathoms more or less. The length of my interest at this place is from the time of Kaahumanu I, which was when my people acquired this place, and until this day when I am telling you, no one has objected at this place where I live.”

“The houselot where we live is on the north of the government fence at Kalia. Some planted trees grow there-five hau and four hala. There is a well which is used jointly.” The Royal Patent for the claim was awarded to Paoa on December 7, 1870 (Royal Patent No. 7033) (Rosendahl)

In 1891, the ‘Old Waikiki’ opened as a bathhouse, one of the first places in Waikiki to offer rooms for overnight guests. It was later redeveloped (1928) as the Niumalu Hotel. Henry J Kaiser bought it and adjoining property and started the Kaiser Hawaiian Village.

The shoreline area was filled and is considered State-owned land. A 1955 lease allowed Kaiser’s Hawaiian Village to dredge and fill areas – in the process the 4.6-acre Duke Kahanamoku Lagoon was created in 1956. To the east of the lagoon is the crescent-shaped Duke Kahanamoku Beach. (In 1961 Kaiser sold to Hilton Hotels.)

Initially, the Territory of Hawaiʻi constructed the ‘Crescent Beach’ project by dredging and filling the nearby ocean shoreline; most of the material that now makes up the banks of the lagoon originated from that project (the beach and lagoon were built at the same time.)

Duke Kahanamoku Beach was crowned the Best Beach in the list of annual ‘Top 10 US Beaches 2024’ by Stephen Leatherman, a.k.a. ‘Dr. Beach’ (and has been on the top 10 list often).

December 18, 2025 by Peter T Young Leave a Comment

Drying Tower

On December 27, 1850, King Kamehameha III passed an act in the Privy Council that established the Honolulu Fire Department, the first fire department in the Hawaiian Islands and the only fire department in the US established by a ruling monarch.

In 1870, the tallest structure in Honolulu was the bell tower of Central Fire Station, then-located on Union Street. Spotters would sit in the tower, ready to sound the alarm. Central Fire Station was later relocated to its present site at Beretania and Fort Streets. (HawaiiHistory)

Back in those early days, firefighting equipment was primarily buckets and portable water supplies. As the department grew, several hand-drawn engine companies were added.

But bucket brigades were very labor intensive and very ineffective. Large amount of water would be lost during the passing of these buckets before it could be thrown on the actual fire.

In 1693 the first fire hose (what Dutchmen Jan Van Der Heiden and his son Nicholaas called a “fire hoase”) was a fifty-foot length of leather, sewn together like a bootleg. These inventions allowed firemen a steady stream of water and accurately deliver it directly on the fire.

Leather hose had many disadvantages. It was high maintenance. Leather would dry out and crack. The hose had to be washed, dry and preserved using codfish and whale oil as a preservative.

James Boyd in 1821 received a patent for rubber lined, cotton-webbed fire hose. In 1825 the Mayor of Boston reported that a 100 feet of hose would do the same work as 60 men with buckets and more efficient. In 1827 the Fire Chief of New York City put 30 pumpers in a line to pump water a half mile. (Gilbert)

Hawaiʻi later used the rubber lined, cotton covered hoses. But the hoses’ cotton could rot, so they needed to be dried to prevent mold.

Shortly after the turn of the twentieth century, as they built new fire houses, a drying tower was added to the main fire house, so the hoses could be hung up to dry.

More often than not, there drying towers are mischaracterized as observation or spotting towers; their main purpose was to hang and dry the cotton covered hoses.

By 1912, the first motor apparatus was put into service. Then, three old steam engines at stations 1 (Central,) 3 (Makiki) and 4 (Palama) were replaced by motorized 1,000-gallon capacity combination engines and hose wagons during January in 1916. May 1920 saw the last of the horses, a gray and black team called Jack and Jill.

By the 1920s, the accepted style for most public architecture in Honolulu was Spanish Mission Revival or, more broadly, Mediterranean Revival. Five fire stations built on Oʻahu between 1924 and 1932 illustrate this stylistic design, despite being designed by three different architects.

The prototype for all five appears to have been Palama Fire Station (Fire Engine House #4,) designed by Oliver G Traphagen. The construction of the building was begun late in 1901 (it was completed on July 1, 1902,) which makes it the oldest public structure completed in Hawaiʻi during the Territorial Government period.

It was boasted in the Pacific Commercial Advertiser that the new station was equal to the “best of its class in the States.”

The building included all the latest equipment: an electric automatic door opener with slide poles to connect the upper dormitory quarters with the ground floor. The lower floor interior was occupied by stands for the engine, hose wagon and horses, a feed room, lavatories and hose washing tanks.

There was a horse watering trough near the feed room. Fire Engine House #4 had a 75-foot drying tower with tackle and hood racks immediately above the hose washing tanks.

The Honolulu Fire Department (HFD) operates 44 Fire Stations on the Island of Oʻahu, and in and around Honolulu. Seven current or former stations are on the National Register of Historic Places, of which five are still in use today as fire stations.

Although designed by various architects, the seven fire stations are similar in character. All seven fire stations are box-shaped, two-story structures, with engine bays on the ground floor and dormitories upstairs.

All have prominent towers. The towers, which generally rise approximately sixty feet in height, function as a space in which to hang and dry the cotton sheathed rubber hoses. (NPS)

December 17, 2025 by Peter T Young 6 Comments

Kamehameha’s Wives

When you think of King Kamehameha’s family life, specifically his wives, often the thoughts are limited to Kaʻahumanu and Keopuolani.

Kaʻahumanu was Kamehameha’s favorite wife. Born in Hana, Maui in about 1768, Kaʻahumanu’s siblings include Governor John Adams Kuakini of Hawaiʻi Island, Queen Kalakua Kaheiheimalie (another wife of Kamehameha I) and Governor George Cox Keʻeaumoku II of Maui.

By birth, Kaʻahumanu ranked high among the Hawaiians. Her father was Keʻeaumoku, a distinguished warrior and counselor of Kamehameha the Great. Her mother Namahana was a former wife of the king of Maui, and the daughter of Kekaulike (a great king of that island.)

Kaʻahumanu was one of the most powerful people in the Islands at the time of the arrival of the missionaries. There were those who were higher by birth, and there were those who were higher by title, but there was probably none who held greater influence.

She was described to have a kindly and generous disposition and usually had as pleasant relations with foreigners who respected her royal rights. She was cautious and slow in deciding – more business-like in her decision-making – but once her mind was made up, she never wavered.

She had requested baptism for Kepouolani and Keʻeaumoku when they were dying, but she waited until April, 1824, before requesting the same for herself.

Keopuolani (the gathering of the clouds of heaven) was the highest ranking chief of the ruling family in the kingdom during her lifetime.

She was aliʻi kapu of ni‘aupi‘o (high-born – offspring of the marriage of a high-born brother and sister or half-brother and half-sister) rank, which she inherited from her mother, Kekuʻiapoiwa Liliha and her father Kiwalaʻo.

Her ancestors on her mother’s side were ruling chiefs of Maui; her ancestors on her father’s side were the ruling chiefs of the island of Hawai‘i. Keopuolani’s genealogy traced back to Ulu, who descended from Hulihonua and Keakahulilani, the first man and woman created by the gods.

Keopuolani usually resided with Kamehameha at Kailua-Kona. This, however, was not their constant dwelling place, although it was a favorite one. Aliʻi typically had multiple homes and divided their time between the different places of importance.

In 1797, she gave birth to a son, Liholiho. Kamehameha wanted Keopuolani to go to Oʻahu, to Kukaniloko, a famous birthing site and heiau (temple,) however, she was too ill to travel, and gave birth to their first-born child in Hilo. Kauikeaouli, her second son, was born in Keauhou, North Kona. She named him after her father, Kalanikauikeaouli Kiwalaʻo.

Kamehameha allowed Keopuolani to have other husbands after she gave birth to his children, a practice common among aliʻi women (except Kaʻahumanu.) Kalanimoku and Hoapili were her other husbands.

Keopuolani is said to have been the first convert of the Protestant missionaries in the Islands, receiving baptism from Rev. William Ellis in Lāhainā on September 16, 1823. She was ill and died shortly after her baptism.

Kamehameha I died in 1819 at his home at Kamakahonu in Kailua-Kona, his son, Liholiho became King Kamehameha II. Shortly after that, Kaʻahumanu and Keopuolani joined in convincing Liholiho to break the kapu system which had been the rigid code of Hawaiians for centuries. Upon Liholiho’s death in 1825, his brother, Kauikeaouli became Kamehameha III.

These were not Kamehameha’s only wives; according to Ahlo & Walker, he had 30-wives. From them, he had 35-children from 18 of the wives (12 did not bear any children.) Following is a listing of Kamehameha’s wives and approximate dates of when they got together.

1766 Kalola
1766 Kalolawahilani-a-Kumukoʻa
1766 Kekuaipiia Namahana (Lydia)
1767 Kanekapolei
1767 Peleuli;
1767 Kalola (Kalolapupuka)
1767 Kalola-a-Kumukoʻa
1775-1782 – Kauhilanimaka
1775-1782 Kahailiopua
1775-1782 Wahine-palama (ʻEwaloa)
1775-1782 Maunalika
1785 Kaʻahumanu
1790 Kekuʻiapoiwa Liliha
1790 Kalaniakuwa
1790 Keohohiwa
1790 Kekikipua
1794 Kaʻakaupalahalaha
1796 Keopuolani
1799 Kaheiheimalie
1799-1809 – Kai
1799-1809 Kahoa
1799-1809 Kahakuha’akoi –Wahinepio
1799-1809 Kikipa’a
1799-1809 Kamaeokalani
1809 Kekauluohi
1809 Kekupuohi
1812 Kekau’onohi
1812 Kaupekamoku
1812 Ha’alo’u
1812 Kaloi

December 15, 2025 by Peter T Young 1 Comment

Kīkā Kila

There are three conflicting claims attributing the invention of the steel guitar to three different people: James Hoa, Gabriel Davion and Joseph Kekuku. Of this trio, Kekuku has been the most commonly mentioned as inventor of the steel guitar – and the evidence is impressive. (Kanahele)

Likewise, there are three stories as to how Kekuku started the steel guitar phenomenon: (1) walking along a road, a rusty bolt accidentally vibrated one of the strings, (2) rather than a road, he was walking along the railroad tracks, he picked up a bolt and slid it across the strings and (3) he was playing his hair comb wrapped in tissue paper like a harmonica, with his guitar in his lap, he dropped the comb on the strings causing them to vibrate.

The latter was on the Kamehameha Schools website, where he was student at the time … come to your own conclusion – most credit Kekuku as being the originator.

Kekuku was then inspired to substitute the back of his knife for his comb. Later, in the school shop, Kekuku developed the smooth, steel playing bar used today, and raised the guitar frets so that the bar would glide easily across the strings. He also switched from gut to wire strings for more sustained notes, and designed individual finger picks for the opposing hand. (Hawaiian Music Museum)

Joseph Kekukuʻupena-kanaʻiaupunio Kamehameha Āpuakēhau (Keeper of the nets that surround the kingdom of Kamehameha) (Joseph Kekuku) is credited for inventing the Kīkā Kila, the steel guitar.

In 1993, Joseph Kekuku was inducted into the Steel Guitar Hall of Fame with full honors as the inventor of the Hawaiian steel guitar. In 1995, he was inducted into the Hawaiian Music Hall of Fame.

Kekuku was born (in 1874 or 1875) in Lāʻie at Koʻolauloa on the windward side of Oʻahu, one of a large family of Joseph Kekukupena Āpuakēhau and Miliama Kaopua. At 15, he and his cousin, Sam Nainoa, left for boarding school at Kamehameha Schools in Kalihi.

In 1889, while attending the Kamehameha School for Boys, Kekuku accidentally discovered the sound of the steel guitar. He then performed in school concerts.

That sound has been described as, “”The most beautiful and soothing of all music is brought to us from the South Seas islands of the Pacific and to many the instrumental and vocal music of Hawaiians is by far the sweetest.” (Dover Historical Society)

Kamehameha notes Kekuku was in the class of 1894; in 1904, the left for the American continent performing in vaudeville theaters from coast to coast. His group was ‘Kekuku’s Hawaiian Quintet’ and were sponsored by a management group called ‘The Affiliated.’

In 1909, Seattle was the host city of a world’s fair – the Alaska-Yukon-Pacific Exposition (A-Y-P.) The A-Y-P Exposition featured Joseph Kekuku who apparently intrigued enough fair attendees that he was swamped with requests to give lessons and as a result Kekuku reportedly stuck around town for a while to provide locals with steeling lessons.

In time, Kekuku relocated to Los Angeles where he helped the Hawaiian craze expand, performing and taking on students, one of whom – Myrtle Stumpf – went on to produce the first-ever tutorial course, a 68-page classic booklet titled: the Original Hawaiian Method for Steel Guitar. (Blecha)

The Panama-Pacific International Exposition in San Francisco in 1915 provided another showcase and fueled the Hawaiian Music craze across the country. The Hawaiian Pavilion was built; there were Hawaiian shows several times a day.

Joseph Kekuku was a guest artist. The impact of this expo was phenomenal. It was followed by an instant boom in Hawaiian recordings (which outsold all other pop music recordings), Hollywood movies with Hawaiian themes, formation of new Hawaiian musical groups, and demand for instruction on steel guitar. (Bocchino)

“Mr Kekuku has appeared in the one hundred and twenty-five largest cities of America. Over one million people have heard him play. It is not uncommon for Mr Kekuku to play five encore numbers for each regular selection presented. His audiences seem never to tire of the beautiful music.” (Promotional Brochure)

“Kekuku’s Hawaiian Quintet, bringing with them a breath of the Paradise Isles will be the main feature of the closing day (at Chautauqua, Lompoc Opera House.) The honey-sweetness and soft witchery of the languorous music of the Hawaiians curl around the heart of the listener like the invisible tendrils of a dream.”

“The key to this irresistible whispering hum-like effect in stringed music is in the hands of Joseph Kekuku of Kekuku’s Hawaiian Quintet, premier Hawaiian players and singers of the original Toots Paka, Alisky and Bird of Paradise Companies.”

“Mr, Kekuku is the originator of the celebrated steel method of guitar playing, the most bewitching note yet sounded in instrumental music. The members of Kekuku’s Hawaiian Quintet are: Joseph Kekuku, steel method guitar; Henry Aaka, basso, harpguitar; Alfred Weila, baritone, ukulele; Gaby Kalau, tenor, guitar, taropatch.” (Lompoc Journal, May 19, 1916)

Kekuku later joined the Bird of Paradise show that toured Europe from 1919 to 1927 (he was probably the first to play steel guitar on that continent.)

“Like the New York Times columnist who admired the ‘scenic beauty’ of The Bird of Paradise, most critics appreciated the production’s impressive staging. The inclusion of native Hawaiian musicians proved equally critical to the show’s success, and their music became a key selling point.”

“Enthusiastic reviewers of the musicians and the music of The Bird of Paradise commended ‘the native musicians who make the haunting musical interpolations of their own land’ and drew attention to the distinctive ‘threnody of the ukulele and the haunting, yearning cry of steel pressed against the strings of the guitar.” (Garrett)

He returned to the United States at the age of 53 and first settled in Chicago; around 1930, he left Chicago and visited Dover, New Jersey (he later moved to Dover – he was often referred to as “The Hawaiian.”) (Bocchino)

On January 16, 1932 at the age of 58 Joseph Kekuku died in Morristown of a brain hemorrhage; he is buried in the Orchard Street Cemetery, Dover, New Jersey.