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March 22, 2025 by Peter T Young Leave a Comment

“Love Always For Hawaiʻi”

When the Hawaiian Music Hall of Fame honored ‘Hawaiʻi Aloha’ as one of five traditional songs as a ‘Famous Song’ (1998,) they noted,

“For more than 100 years, love of the land and its natural beauty has been the poetry Hawaiian composers have used to speak of love. Hawaiian songs also speak to people’s passion for their homeland and their beliefs.”

The Hawaiian Music Hall of Fame further noted, Hawaiʻi Aloha is “widely regarded as Hawaiʻi’s second anthem”.  (Hawaiian Music Museum)

“It is performed at important government and social functions to bring people together in unity, and at the closing of Hawaiʻi Legislative sessions. Today, people automatically stand when this song is played extolling the virtues of ‘beloved Hawaiʻi.’”

Hawaiʻi Aloha was written by a Protestant missionary, Lorenzo Lyons.

“In 1998, The Advisory Board honored these traditional songs for their beauty and their messages, which have made them popular, with concert performers and recording artists, as well as the public.”

Hawaiʻi Aloha has three verses, but most typically sing the first verse and repeat portions of the chorus:

E Hawaiʻi e kuʻu one hānau e
Kuʻu home kulaiwi nei
ʻOli nō au i nā pono lani ou
E Hawaiʻi, aloha ē

Hui:
E hauʻoli nā ʻōpio o Hawai`i nei
ʻOli ē! ʻOli ē!
Mai nā aheahe makani e pā mai nei
Mau ke aloha, no Hawaiʻi

Reverend Lorenzo Lyons was fluent in the Hawaiian language and composed many poems and hymns; his best known and beloved work is the hymn “Hawaiʻi Aloha” sung to the tune of “I Left It All With Jesus.”  He wrote it in about 1852.

Here’s the English translation:

O Hawaiʻi, o sands of my birth
My native home
I rejoice in the blessings of heaven
O Hawaiʻi, aloha

Chorus:
Happy youth of Hawai`i
Rejoice! Rejoice!
Gentle breezes blow
Love always for Hawaiʻi

Click HERE for a link to Hawaiʻi Aloha – sung by Ledward Kaʻapana, Dennis Kamakahi & Nathan Aweau – written by a missionary.

Collaboration between native Hawaiians and the American Protestant missionaries resulted in, among other things, the introduction of Christianity, the creation of the Hawaiian written language, widespread literacy, the promulgation of the concept of constitutional government, making Western medicine available and the evolution of a new and distinctive musical tradition.

Oli and mele were already a part of the Hawaiian tradition. “As the Hawaiian songs were unwritten, and adapted to chanting rather than metrical music, a line was measured by the breath; their hopuna, answering to our line, was as many words as could be easily cantilated at one breath.” (Bingham)

Some songs were translations of Western songs into Hawaiian; some were original verse and melody.  Hawaiʻi Aloha is an example of the music left as a lasting legacy by the missionaries in the Islands.

Missionaries used songs as a part of the celebration, as well as learning process. “At this period, the same style of sermons, prayers, songs, interrogations, and exhortations, which proves effectual in promoting revivals of religion, conversion, or growth in grace among a plain people in the United States, was undoubtedly adapted to be useful at the Sandwich Islands. … some of the people who sat in darkness were beginning to turn their eyes to the light”. (Bingham)

“The king (Kamehameha III) being desirous to use his good voice in singing, we sang together at my house, not war songs, but sacred songs of praise to the God of peace.” (Bingham)

Hawaiʻi Aloha was not the only popular song written by the missionaries.

One of the unique verses (sung to an old melody) was Hoʻonani Hole ‐ Hoʻonani I Ka Makua Mau.  Missionary Hiram Bingham wrote/translated it to Hawaiian and people sang it to a melody that dates back to the 1600s – today, it is known as the Hawaiian Doxology.

“In 1872, (Lyons) published Buke Himeni Hawaiʻi containing over 600 hymns, two thirds his own composition. Some years later he prepared the Sabbath School Hymn and Tune Book Lei Aliʻi.””

“The Hawaiians owe entirely to his exertions their introduction to modern enlivening styles of popular sacred music.”  (Hawaiian Gazette, October 19, 1886)  The image shows the lyrics in Hawaiian and English

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Filed Under: Missionaries / Churches / Religious Buildings Tagged With: Hiram Bingham, Missionaries, Hawaii Aloha, Lorenzo Lyons, Doxology, Hawaii, Hawaii Island

August 19, 2023 by Peter T Young Leave a Comment

Lorenzo Lyons (Makua Laiana – Father Lyons)

The family name was originally Lyon, to which his grandfather, David Lyon, arbitrarily added an ‘s.’

The Lyon or Lyons family traces its descent back to the time of the Norman Conquest and William the Conqueror.  The first of the family to immigrate to America was William Lyon, who went from London to Boston in 1635.

General Nathaniel Lyon, who lost his life in the Civil War, was of the same stock, as also was Mary Lyon, the founder of Mt. Holyoke Seminary.

A tradition in the Lyons family says that some of its members took part in the celebrated “Boston Tea Party,” returning home with some of the tea in their shoes. (Williams College)

Lorenzo and Betsy Lyons arrived in the Hawaiian Islands as missionaries of the American Board of Commissioners for Foreign Missions (ABCFM,) arriving on the ‘Averick’ on May 17, 1832.

They were part of the large Fifth Company, including the Alexanders, Armstrongs, Emersons, Forbes, Hitchcocks, Lymans and others.

On July 16 1832, Missionary Lorenzo Lyons replaced Reverend Dwight Baldwin as minister at Waimea, South Kohala, Hawai‘i. Lyons’ “Church Field” was centered in Waimea, at what is now the historic church ‘Imiola.

In a May 8, 1835 letter to the ABCFM, Lyons notes: “Mr. Baldwin in consequence of ill health is removed from Waimea, and never expects to return. Hence 15,000 souls are thrown upon me, a burden greater than I can bear. Waimea is the most central station. A man located there can do something – not much – for Kohala and Hāmākua.”

“It is my conviction and the conviction of many others that Waimea, including its outposts, is the most difficult and uninviting of all stations now occupied. No one who is acquainted with it wishes to be located there. Perhaps I am mistaken. But I shall sink unless I am speedily aided. “

“To be alone in this wide, desolate and lone region, 40 or 50 miles from any missionary brother, and no physician nearer than Oahu, is unpleasant. But to have the care of so many thousands weighing upon me is unsupportable. Pray for me”.

He stayed, stuck to it, succeeded and spent the rest of his life in Waimea.

Father Lyons was eminently popular with Hawaiians and with all men.  His nature was guileless, cordial, enthusiastic, cheering. He was remarkable for hospitality to Hawaiians always seeing that his visitors passing through Waimea had something to eat.  (Hawaiian Gazette, October 19, 1886)

His base was at ʻImiola Church in Waimea.  The first ʻImiola Church was a grass hut built and dedicated sometime before 1832 by King Kamehameha III.  Lyons wrote in his journal that at least one hundred little grass schoolhouses were scattered around the immediate Waimea area at that time.

His first wife, Betsy, died in 1837.  From that time on Lyons continued the tireless and devoted worker wholly thoughtless of self, joyous, enthusiastic, ardent and kindly to others.

His constant tours extended from near Laupāhoehoe to Waimanu in Hāmākua and to Kawaihae and Puako in Kohala South. He always went on foot, unsparing of his slight and wiry frame.  (Hawaiian Gazette, October 19, 1886)

On July 14, 1838, he married Lucia G. Smith of Truxton, New York.

By February of 1843, the first ʻImiola Church had been torn down and was replaced by a stone structure with thatched roof and windows.  Hundreds of Hawaiians helped in the collection of stones, often carrying them miles to the construction site.  However, it ran into disrepair.

On August 29, 1855, the cornerstone of a new church was laid. “Under the cornerstone (SW corner) was deposited a tin box wrapped in mamaki kapa – Hawaiian Bible, hymn books, newspapers, laws, etc.” (Lyons) By 1857, the church was completed and dedicated. The ceiling rafters, floor and exterior clapboard are made of koa.

As was the practice, the early missionaries learned the Hawaiian language and taught their lessons in Hawaiian, rather than English.  In part, the mission did not want to create a separate caste and portion of the community as English-speaking Hawaiians.  In later years, the instruction, ultimately, was in English.

Lyons was an avid supporter of the Hawaiian language.  He wrote a letter to the editor in The Friend newspaper (September 2, 1878) that, in part noted: “An interminable language…”

“[I]t is one of the oldest living languages of the earth, as some conjecture, and may well be classed among the best…the thought to displace it, or to doom it to oblivion by substituting the English language, ought not for a moment to be indulged. … Long live the grand old, sonorous, poetical Hawaiian language.”

He was lovingly known to Hawaiians as Ka Makua Laiana, Haku Mele o ka Aina Mauna – Father Lyons, Lyric Poet of the Mountain County.

Lyons was fluent in the Hawaiian language and composed many poems and hymns; his best known and beloved work is the hymn “Hawaiʻi Aloha” sung to the tune of “I Left It All With Jesus” (circa 1852.)  The song was inducted into the Hawaiian Music Hall of Fame in 1998.

“Widely regarded as Hawaiʻi’s second anthem, this hymn is sung in both churches and public gatherings. It is performed at important government and social functions to bring people together in unity, and at the closing of Hawaiʻi Legislative sessions.”

“The first appearance of “Hawaiʻi Aloha” in a Protestant hymnal was in 1953, nearly 100 years after it was written. Today, people automatically stand when this song is played extolling the virtues of ‘beloved Hawaiʻi.’” (Hawaiian Music Museum).

Hawaiʻi Aloha – Israel Kamakawiwoʻole
https://www.youtube.com/watch?v=C_17vGYa81s

“In 1872, he published Buke Himeni Hawaii containing over 600 hymns two thirds his own composition. Some years later he prepared the Sabbath School Hymn and Tune Book Lei Aliʻi … The Hawaiians owe entirely to his exertions their introduction to modern enlivening styles of popular sacred music.”  (Hawaiian Gazette, October 19, 1886)

After leaving the mission, he stayed in Waimea.

He was known in the town as the man who carried out many functions.  In October, 1854 Father Lyons became the first official Postmaster of Waimea, a post he held until he was very old. The Honolulu Directory of 1884 listed him as pastor of ʻImiola Church, postmaster, school agent and government physician.

His love for his native country was all that might be expected in such a deeply affectionate and idealistic nature. … But it was to another flag that Laiana affectionately and unreservedly dedicated his allegiance and his life.  (Doyle)

It was the desire of Laiana’s heart that when laid in his last resting place he be wrapped in his dearest flag, the flag of Hawaiʻi Nei. Kalākaua himself sent the flag and the frail little body was encased in its soft silken folds.  (Doyle)

Lorenzo Lyons died October 6, 1886.  He was buried some distance from the church on the grounds of his old homestead.  In April, 1939, his remains were moved to the grounds of ʻImiola Church, Waimea, South Kohala, Hawaiʻi.

© 2023 Hoʻokuleana LLC

Filed Under: Missionaries / Churches / Religious Buildings Tagged With: Lorenzo Lyons, South Kohala, Imiola Church, Hawaii, American Board of Commissioners of Foreign Missions, Waimea, Dwight Baldwin, Hawaii Aloha

May 31, 2020 by Peter T Young 1 Comment

Transformation of Waimea, South Kohala, Hawaiʻi

Over the centuries, and even today, Waimea was an attractive draw with ideal climate and soils, and moderate distance from the ocean.

Still holding remnants of a cowboy town, it looked very different in centuries past – with transformation of forest lands, to agricultural fields, to pasture lands.

Now upper pasture land, archaeologists and others suggest the upper slopes of Waimea was a forest made up of ʻōhiʻa, koa, māmane, ʻiliahi (sandalwood) and other trees. Pili grass and shrubs were also found.

Within these forested uplands, you could find a variety of forest birds, ʻiʻiwi, ʻelepaio, ʻapapane and others. Fossil remains of a flightless goose have been found in the region.

This is what the earliest settlers to the region probably saw (however, it is likely the first settlers on the island probably first lived in the valleys on the wetter windward side of the island and others later came to Waimea.)

The forests had general characteristics of an open canopy and the appearance of a wooded parkland, particularly when contrasted with the grassy plains to the west and the dense “impenetrable” rainforest to the east. (McEldowney)

Statements typifying these characteristics, generally made while enroute from the Waimea settlements, through Parker’s ranch house at Mana, and along Mauna Kea’s eastern slope, include: “a scanty forest” (The Polynesian 1840); “those parts of the plain adjoining Hāmākua are better wooded having a parklike appearance” (Sandwich Islands Gazette 1836) …

… “well shaded by clumps of trees” (The Polynesian 1847); and is “thickly wooded with large trees, entirely free from underbrush, and is covered with a greensward, giving it the appearance of a parkland” (The Polynesian 1848.) (McEldowney)

Reverend Lorenzo Lyons (missionary leader of Waimea’s Imiola Church and songwriter who composed “Hawaiʻi Aloha”) frequently described his home as ʻAla ʻŌhiʻa Nei (home of the fragrant ʻōhiʻa lehua.) (Paris)

The population began to increase dramatically around 1100 AD and the west side population doubled every century. (Kirch) The population of the islands reached a peak in about 1650 AD, with a total of several hundred thousand.

Waimea’s initial population (probably first settling in the 1100s – 1200s) likely grew into a fairly large community. Settlement areas expanded into the hillsides and out onto the drier Waimea plains.

As permanent settlements were established and populations grew, to feed the people and increase the amount of arable land, the leeward slopes and valleys were cleared of the native forest and replaced by intensively cultivated field systems. (Watson)

Field walls (kuaiwi) delineated garden plots (Kihāpai) and helped retain the soil. Fields were irrigated using canals (ʻauwai) that tapped the Waimea streams. (Watson)

Once the advantages of living in Waimea were known, the population quickly grew. Terraced agricultural plots expanded and more of the forest was removed.

The upper slopes of Waimea are said to have supported more than 10,000-people prior to contact.

Post-contact brought further changes – two major modern land-use practices transformed the landscape – first, the harvesting of sandalwood, which was shortly-followed by the management of the cattle herds.

Various references establish the importance of sandalwood, the most famous of early historic export commodities, in the Waimea region, while remarks such as, these “woods frequented by sandalwood cutters” suggest exploitable sandalwood was in the region’s māmane/koa forests. (McEldowney)

William Ellis, in 1831 wrote, “Before daylight on the 22d, we were roused by vast multitudes of people passing through the district from Waimea with sandalwood, which had been cut in the adjacent mountains for Karaimoku (Kalanimōku,) by the people of Waimea, and which the people of Kohala, as far as the north point …”

“… had been ordered to bring down to his storehouse on the beach, for the purpose of its being shipped to Oahu. There were between two and three thousand men, carrying each from one to six pieces of sandalwood, according to their size and weight.”

In 1856, while editor of the Sandwich Islands’ Monthly Magazine, Abraham Fornander wrote an article arguing that large cattle herds had altered or ameliorated the climate of Waimea by destroying a “thick wood” that covered “the whole of the plain” as early as 1825 or 1830 (Sandwich Islands’ Monthly Magazine 1856). (McEldowney)

All of this forever changed Waimea. Once the native forests were cleared, the “natural” landscape of Waimea ceased to exist. (Watson)

Early Hawaiians first altered the landscape by clearing the forest and plotting out agricultural fields; later, introduced species took over.

A notable introduced (and invasive) plant to Waimea is fountain grass; it was introduced on the island of Hawaiʻi as an ornamental plant in the 1920s. It spread quickly and today, less than a century later, fountain grass is a dominant species along roadsides and in undeveloped areas on the leeward side of the island. (Watson)

Waimea, we used to call it home – I miss it.

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Filed Under: General, Economy, Place Names Tagged With: Field System, Koa, Ohia, Hawaii, Waimea, Hawaii Aloha, Lorenzo Lyons, Pili, South Kohala

May 23, 2020 by Peter T Young 1 Comment

Love always for Hawaiʻi

“For more than 100 years, love of the land and its natural beauty has been the poetry Hawaiian composers have used to speak of love. Hawaiian songs also speak to people’s passion for their homeland and their beliefs.” (Hawaiian Music Hall of Fame, 1998)

The Hawaiian Music Hall of Fame further noted, Hawaiʻi Aloha is “widely regarded as Hawaiʻi’s second anthem”. (Hawaiian Music Museum)

“It is performed at important government and social functions to bring people together in unity, and at the closing of Hawaiʻi Legislative sessions. Today, people automatically stand when this song is played extolling the virtues of ‘beloved Hawaiʻi.’”

Hawaiʻi Aloha was written by a Protestant missionary, Lorenzo Lyons. The music is from James McGranahan “I Left It All With Jesus.” (Kam)

Some suggest Lyons wrote the song for Kamehameha IV. However, “Since Kamehameha IV died on November 30, 1863, and the American tune by McGranahan appeared in print in 1879 or 1881, the song could not have been the king’s favorite song.” (Kam)

“In 1998, The Advisory Board honored these traditional songs for their beauty and their messages, which have made them popular, with concert performers and recording artists, as well as the public.”

Hawaiʻi Aloha has three verses, but most typically sing the first verse and repeat portions of the chorus:

E Hawaiʻi e kuʻu one hānau e
Kuʻu home kulaiwi nei
ʻOli nō au i nā pono lani ou
E Hawaiʻi, aloha ē

Hui:
E hauʻoli nā ʻōpio o Hawai`i nei
ʻOli ē! ʻOli ē!
Mai nā aheahe makani e pā mai nei
Mau ke aloha, no Hawaiʻi

Reverend Lorenzo Lyons was fluent in the Hawaiian language and composed many poems and hymns; his best known and beloved work is the hymn “Hawaiʻi Aloha” sung to the tune of “I Left It All With Jesus.”

The most likely date for the composition of the words of “Hawai‘i Aloha,” falls after the publication of Gospel Hymns, No. 4 (Words Only) in 1879, when the music was first available, and before the death of Lyons on October 6, 1886. (Kam)

Here’s the English translation (first verse and chorus):

O Hawaiʻi, o sands of my birth
My native home
I rejoice in the blessings of heaven
O Hawaiʻi, aloha

Chorus:
Happy youth of Hawai`i
Rejoice! Rejoice!
Gentle breezes blow
Love always for Hawaiʻi

Here’s a link to Hawaiʻi Aloha – sung by Ledward Kaʻapana, Dennis Kamakahi & Nathan Aweau – written by a missionary:
http://www.youtube.com/watch?v=eWjpR-J0BSc

Israel Kamakawiwoʻole – Hawai’i Aloha
https://www.youtube.com/watch?v=8Q0_wr2IflQ

Collaboration between native Hawaiians and the American Protestant missionaries resulted in, among other things, the introduction of Christianity, the creation of the Hawaiian written language, widespread literacy, the promulgation of the concept of constitutional government, making Western medicine available and the evolution of a new and distinctive musical tradition.

Oli and mele were already a part of the Hawaiian tradition. “As the Hawaiian songs were unwritten, and adapted to chanting rather than metrical music, a line was measured by the breath; their hopuna, answering to our line, was as many words as could be easily cantilated at one breath.” (Bingham)

Some songs were translations of Western songs into Hawaiian; some were original verse and melody. Hawaiʻi Aloha is an example of the music left as a lasting legacy by the missionaries in the Islands.

Missionaries used songs as a part of the celebration, as well as learning process. “At this period, the same style of sermons, prayers, songs, interrogations, and exhortations, which proves effectual in promoting revivals of religion, conversion, or growth in grace among a plain people in the United States was undoubtedly adapted to be useful at the Sandwich Islands.” (Bingham)

“The king (Kamehameha III) being desirous to use his good voice in singing, we sang together at my house, not war songs, but sacred songs of praise to the God of peace.” (Bingham)

Hawaiʻi Aloha was not the only popular song written by the missionaries.

One of the unique verses (sung to an old melody) was Hoʻonani Hole ‐ Hoʻonani I Ka Makua Mau. Missionary Hiram Bingham wrote/translated it to Hawaiian and people sang it to a melody that dates back to the 1600s – today, it is known as the Hawaiian Doxology. (It is his original lyrics, not a translation of “Praise God from whom all blessings flow …”

“In 1872, (Lyons) published Buke Himeni Hawaiʻi containing over 600 hymns, two thirds his own composition. Some years later he prepared the Sabbath School Hymn and Tune Book Lei Aliʻi.””

“The Hawaiians owe entirely to his exertions their introduction to modern enlivening styles of popular sacred music.” (Hawaiian Gazette, October 19, 1886)

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Filed Under: General, Missionaries / Churches / Religious Buildings Tagged With: Hawaii, Missionaries, Hawaii Aloha, Lorenzo Lyons

July 1, 2019 by Peter T Young 2 Comments

New Musical Tradition

“Music serves to enliven many an hour of sadness, or what would be sadness otherwise. It is an expression of the emotions of the heart, a disperser of gloomy clouds.” (Juliette Montague Cooke; Punahou)

Hawaiians devised various methods of recording information for the purpose of passing it on from one generation to the next. The chant (mele or oli) was one such method. Elaborate chants were composed to record important information, e.g. births, deaths, triumphs, losses, good times and bad.

In most ancient cultures, composing of poetry was confined to the privileged classes. What makes Hawai‘i unique is that poetry was composed by people of all walks of life, from the royal court chanters down to the common man.

“As the Hawaiian songs were unwritten, and adapted to chanting rather than metrical music, a line was measured by the breath; their hopuna, answering to our line, was as many words as could be easily cantilated at one breath.” (Bingham)

The Pioneer Company of missionaries (April, 1820) introduced new musical traditions to Hawai‘i – the Western choral tradition, hymns, gospel music, and Western composition traditions. It was one of strophic hymns and psalm tunes from the late-18th century in America.

The strophic form is one where different lyrics are put to the same melody in each verse. Later on, with the arrival of new missionaries, another hymn tradition was introduced was the gospel tune with verse-chorus alternation. (Smola)

The missionaries also introduced new instrumentation with their songs. Humehume (George Prince, son of Kauai’s King Kaumuali‘i) was given a bass viol or ‘Church Bass’ (like a large cello) and a flute that he have learned to play well. He returned to the Islands with the Pioneer Company. Later, church organs, pianos, melodeons, and other instruments were introduced to the Islands.

Bingham and others composed Hawaiian hymns from previous melodies, sometimes borrowing an entire tune, using Protestant hymn styles. In spite of the use of English throughout Hawaii, the Hawaiian language continues to be used in Bible reading and in the singing of hîmeni (hymns) in many Christian churches. Himeni still preserve the beauty of the Hawaiian language. (Smithsonian)

The first hymnal in the Hawaiian language was ‘Nā Hīmeni Hawaii; He Me Ori Ia Iehova, Ka Akua Mau,’ published in 1823. It contained 60 pages and 47 hymns. It was prepared by Rev. Hiram Bingham and Rev. William Ellis, a London Missionary Society missionary who was visiting.

On June 8, 1820, Rev. Hiram Bingham set up the first singing school at Kawaiaha‘o Church. He taught native Hawaiians Western music and hymnody. These ‘singing schools’ emphasized congregational singing with everyone actively participating, not just passively listening to a designated choir.

By 1826, there were 80 singing schools on Hawai‘i Island alone . By the mid-1830s, church choirs began to become part of the regular worship. This choral tradition partially grew out of the hō‘ike, or examination, when the students being examined would sing part of their lessons.

Hawai‘i Aloha

“For more than 100-years, love of the land and its natural beauty has been the poetry Hawaiian composers have used to speak of love. Hawaiian songs also speak to people’s passion for their homeland and their beliefs.” (Hawaiian Music Museum)

Next time you and others automatically stand, hold hands and sing this song together, you can thank an American Protestant missionary, Lorenzo Lyons, for writing Hawai‘i Aloha – and his expression of love for his home.

Na Lani Eha

In 1995, when the Hawaiian Music Hall of Fame selected its first ten treasured composers, musicians and vocalists to be inducted, ‘Na Lani Eha’, (The Royal Four), were honored as the Patrons of Hawaiian music.

‘Na Lani Eha’ comprises four royal siblings who, in their lifetimes, demonstrated extraordinary talent as musicians and composers. They were, of course, our last king, Kalākaua, his sister, Hawai‘i’s last queen, Lili‘uokalani, their brother, the prince, Leleiōhoku, and their sister, the princess, Likelike, mother of princess Ka‘iulani.

In August 2000, ‘Ka Hīmeni Ana’, the RM Towill Corporation’s annual contest at Hawai‘i Theatre for musicians playing acoustic instruments and singing in the Hawaiian language, was dedicated to missionary Juliette Montague Cooke, the Chiefs’ Children’s teacher and mother.

John Montague Derby, Sr., who accepted this honor for the Cooke family, said. “(it is) with gratitude for the multitude of beautiful Hawaiian songs that we enjoy today which were composed by her many students.”

Above text is a summary – Click HERE for more on New Musical Tradition 

Planning ahead … the Hawaiian Mission Bicentennial – Reflection and Rejuvenation – 1820 – 2020 – is approaching (it starts in about a year)

If you would like to get on a separate e-mail distribution on Hawaiian Mission Bicentennial activates, please use the following link:

Click HERE to Subscribe to Hawaiian Mission Bicentennial Updates

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Filed Under: General, Ali'i / Chiefs / Governance, Missionaries / Churches / Religious Buildings Tagged With: Bingham, Hawaiian Mission Bicentennial, New Musical Tradition, Hawaii, Na Lani Eha, Hiram Bingham, Music, Chief's Children's School, Hawaii Aloha, Lorenzo Lyons, Himeni, Hawaiian Music

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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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Hoʻokuleana LLC is a Planning and Consulting firm assisting property owners with Land Use Planning efforts, including Environmental Review, Entitlement Process, Permitting, Community Outreach, etc. We are uniquely positioned to assist you in a variety of needs.

Info@Hookuleana.com

Copyright © 2012-2024 Peter T Young, Hoʻokuleana LLC

 

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