Images of Old Hawaiʻi

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Hula

“Hula is not just a dance, but a way of life, an ancient art that tells of Hawaiʻi’s rich history and spirituality.” (this is attributed to many)

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)

As hula is the dance that accompanies Hawaiian mele, the function of hula is therefore an extension of the function of mele in Hawaiian society. While it was the mele that was the essential part of the story, hula served to animate the words, giving physical life to the moʻolelo (stories.)  (Bishop Museum)

Today, we typically divide hula into two different forms, the hula kahiko (ancient dance) and the hula ʻauana, (also spelled ʻauwana – modern dance.)

Although the terms hula kahiko (ancient) and hula ʻauana (modern) are used to divide styles of traditional dance, these terms are a relatively recent classification of a practice with a very long history.  The dance has also undergone evolutions throughout its history, often being influenced by the political leaders and situations of the time.  (Bishop Museum)

“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)

“They had been interwoven too with their superstitions, and made subservient to the honor of their gods, and their rulers, either living or departed and deified.” (Hiram Bingham)

A common misrepresentation of history suggests that the American missionaries banned hula – they could not have, they did not have the authority.

However, it is true that they openly disapproved of hula (as well as other forms of dance and activities) as immoral and idle pastime.

As Bingham notes, they “were wasting their time in learning, practising, or witnessing the hula, or heathen song and dance.”

“Missionary influence, while strong, never wiped out the hula as a functional part of the Hawaiian society. Faced with this undeniable fact, the authorities sought to curb performances by regulation.”  (Barrere, Pukui & Kelly)

Despite efforts to eliminate hula, many of the ancient chants and dances were kept alive within families and passed to descendants.  (Bishop Museum)

In 1830, Kaʻahumanu issued an oral proclamation in which she instructed the people, in part: “The hula is forbidden, the chant (olioli), the song of pleasure (mele), foul speech, and bathing by women in public places.” (Kamakau)

Although it was apparently never formally rescinded, the law was so widely ignored, especially after Kaʻahumanu died in 1832, that it virtually ceased to exist.

In 1836, it is reported the French consul for Manila visited Honolulu, and attended a state banquet hosted by the King. Part of the festivities was a formal hula performance.

In 1850, the Penal Code required a license for “any theater, circus, Hawaiian hula, public show or other exhibition, not of an immoral character” for which admission was charged.

“No license for a Hawaiian hula shall be granted for any other place than Honolulu.”  (The law did not regulate hula in private, so the dance continued to be practiced and enjoyed throughout the islands.)

King David Kalākaua’s 1883 coronation included three days of hula performances and his 1886 jubilee celebrations had performances of ancient and newly created dances.

Reviewing older drawings of hula, it is clear that the attire of the dancers is different than what we generally associate with hula attire today (and throughout the last century.)

Men and women were topless in the original hula attire. Women wore a pāʻū, which is a wrap made of tapa cloth. Men wore malos, or loincloths, and other kapa wraps.

Hula attire was expanded with lei and decorations for dancers’ wrists and ankles. Originally, some of these decorations were made of whale bone or dogs’ teeth.

So, when and where did the grassy/leafy skirt that we know today come from?

Reportedly, the grass skirt was introduced to Hawaiʻi by immigrants from the Gilbert Islands (small atolls that are today part of the Pacific Island nation of Kiribati) in the 1870s and 1880s.

“Hawaiian hula during and after that period (Kalākaua era) influenced and was influenced by the dance styles of other Islanders, such as the incorporation of Kiribati-style grass skirts.”  (Kealani Cook, PhD dissertation)

By the early 1900s, hula performers in Hawaiʻi and the US continent wore grass skirts. Some hula performers still wear grass skirts today.

Today, grass skirts function as the international symbol for hula dancing.  The grass skirts sway with the dancers as they move their hips, creating a fluid movement.  Dancers also wear a variety of other apparel.

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by Peter T Young 1 Comment

George Lucas

George Lucas (May 7, 1821 – March 2, 1892) was born in County Clare, Ireland; he first came to Hawaiʻi in 1849.  His father, the first George Lucas, moved his family to Australia by the British government to take charge of the government domain there.

He remained there for several years, and met and married Miss Sarah Williams.  Shortly after his marriage, hearing of the gold excitement in California, he set sail, accompanied by his wife, for San Francisco.

En route, they stopped in the Islands for three weeks for the ship to re-provision, finally reaching California on the last day of December, 1849. He met with little success as a miner, deciding, instead, to remain in San Francisco and establish himself as a carpenter.  He prospered for about six years; however, had a severe loss due to a fire.

He could not forget Hawaiʻi, and in July, 1856, he returned there to make the Islands his home. He began his contracting and building business, and founded the Honolulu Steam Planing Mill.

The energy and perseverance of the man brought its reward when he opened the Mill on the Esplanade – a “shapely stuccoed brick structure.” This mill was one of Honolulu’s leading manufacturing establishments, and has always furnished employment to a large number of mechanics and laborers.  (Pacific Commercial Advertiser, March 03, 1892)

Although the plant began in a small way, turning out finishings and equipment needed for his contracting jobs, its volume of business grew steadily and became the largest concern of its kind in the islands. (Nellist)

“This mill is well fitted and complete in every respect, having machines of the latest patterns and make, and capabilities for turning out work in great variety. It is fitted with a planer, strikers, blind machines, morticers, running lathes, band and jig saws, tenoning machine, and rip and cross-cut saws of every size, and other machines.”

“The proprietor, Mr. George Lucas, first started business in this city March 7, 1859, but found that the rapidly-increasing demand for woodwork finish, in all its requirements, made it absolutely necessary for him to open the present establishment, which now ranks second to none in any city.”

“First-class workmen are employed in this establishment, and all work is guaranteed. The mill is of brick, 82 x 42 feet, and 14 feet high. The engine is of twenty-horse power. Twenty men are employed in this establishment.”   (Browser; Maly)

Lucas’ Honolulu Planing Mill building served a couple other critical purposes at Honolulu Harbor.  First, the clock tower served as a range marker for ships aligning to enter/leave the harbor.  (“The line of the harbor light (red) and the clock tower of the Honolulu Planing Mill on Fort … just touches the west side of this channel at the outer end.”)  (Hawaii Bureau of Customs)

In addition, the clock served as a local time piece, as well as the official time to mariners.  “Time-Signal at Planing Mill … a time-signal has been established at the Honolulu steam-planing mill, Honolulu, Sandwich islands. The signal is a whistle, which is sounded twice daily by electric signal from the survey office; … (giving time associated with) Greenwich mean time.  (Nautical Magazine, January 1890)

The Lucas clock didn’t always work, “Lucas’ clock … At 7 this morning the clock was of the opinion that 10:45 was about the correct time.”  (Hawaiian Star, October 25, 1895)

“Lucas’ clock on the Esplanade has been groggy for some time lately but repairs are being made.  It’s a godsend to the waterfront people and the government should keep it in repair.”  (Evening Bulletin, July 12, 1897)

Others wanted to be different, “Maui wants to adopt the Government time on Lucas’ clock with five minutes added, but some few will not agree to it. The result is a great uncertainty in times. (Maui, June 28)” (Hawaiian Gazette, July 1, 1890)

Lucas was one of the first contractors and builders in Honolulu, and constructed many of the business buildings in the city.

He built the Campbell Block, the Pantheon Block, the Brewer Block and many other large downtown buildings, and was responsible for all woodwork construction in the Royal Hawaiian Hotel (the one downtown, it was later the Army/Navy YMCA and now the Hawaiʻi State Art Museum.)

Most notably, when King Kalākaua decided to build ʻIolani Palace, he named George Lucas as general superintendent and the contractor for all of the cabinetry, woodwork and finishing in the Palace.  (Nellist)

George Lucas supervised the carpentry, using fine imported (e.g., American walnut and white cedar) and Hawaiian (koa, kou, kamani and ʻōhiʻa) woods.

The sophisticated mansard roofs and the detailed brickwork, moldings and wrought iron were completed in time for Kalākaua’s coronation ceremony on February 12, 1883, for which the palace served as centerpiece.  (Kamehiro)

For many years Mr. Lucas was Chief Engineer of the Honolulu Volunteer Fire Department, and during the reign of King Kalākaua he was offered the position of superintendent of public works, but declined it. (Nellist)  After retiring, he was acting Chief for six months, as the Department was unwilling to nominate anyone else, and only did so because he refused to serve.

“It was through his persistent efforts that the first two steam fire engines were imported to these islands, and when he retired from the office of Chief he still retained a deep interest in the department, and was made an honorary member of No. 1 Engine.”  (Pacific Commercial Advertiser, March 3, 1892)

Lucas was the founder and first president of the old Mechanics’ Library (Honolulu Library and Reading Room,) now the Hawaiʻi State Library.

George and Sarah had nine children; the seven who lived were Thomas, Charles, John, George, Albert, William and Eliza. (Nellist)

Following his death in 1892, sons Thomas, Charles and John formed a partnership, Lucas Brothers, to carry on the trade and business of carpenters, builders and contractors; it lasted until April 19, 1910, when son John incorporated the concern.

“No citizen was better known than he. He could count his friends by the score, and when he made a friend it was a friendship that would last forever.”

“There are few individuals in Honolulu who have done more in the way of charity and benevolence in proportion to their means than Mr. Lucas.”    (Pacific Commercial Advertiser, March 3, 1892)

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by Peter T Young Leave a Comment

Halekoa

Halekoa was a part of the ambitious building program undertaken by the Hawaiian monarchy in the 1860s and ‘70s. The buildings which remain today, besides Halekoa, are Aliiolani Hale (the judiciary building), the Royal Mausoleum, the old post office at the corner of Merchant and Bethel Streets, and Iolani Palace.

The site occupied by the barracks is doubly interesting, for it first accommodated the Chiefs’ Children’s School, which was begun in 1839 by Mr. and Mrs. A. S. Cooke, and which was moved in 1851 to the lower slopes of Punchbowl.

Theodore C. Heuck, a Honolulu merchant and gifted amateur architect from Germany, submitted his original plans on March 14, 1866, to John O. Dominis, then Governor of Oahu. The sketches provided for a structure with a frontage of 70 feet and a depth of 80 feet, built around a 30×40-foot open central court.

This was early in the reign of Kamehameha V. Years passed. Finally, early in 1870, the project began to move, although slowly. The post office was being built at the same time, and a shortage of proper workmen delayed both jobs.

Halekoa did not appear in the appropriations bills passed by the various legislatures. It was financed by the War Department as a part of military expenses, an cash as needed was deposited with the banking firm of Bishop and Company.

Foundations were being laid in May, 1870. J. G. Osborne was the builder. Participating suppliers included, among others, such well-known Honolulu houses as E. O. Hall and Son, Dowsett and Co., AS Cleghorn, Lewers and Dickson (predecessors of Lewers and Cooke, the Honolulu Iron Works, JT Waterhouse, H. Hackfeld and Co. (American Factors, AmFac) and Oahu Prison.

Halekoa was made of the ever-useful coral blocks hewn from the Honolulu reef. As often happened, many blocks were cannibalized from other structures, rather than chopped from the reef.

Most of the second-hand building blocks came from the wall fronting the old post office, and from the old printing office. But the reef had to yield up its treasures, too, and Marshal WC Parke received credit for 204 man-days of prison labor, at fifty cents a day, for the hauling of blocks therefrom.

By mid-February, 1871, both the barracks and the post office were nearing completion. Finishing touches on the former, however, required several more months.

An exotic example of this, among the accounts to be found today in the Archives of Hawaii, is a bill dated May 20, levying a charge of $12.50 for painting spittoons.

Even before it was completed, Halekoa was rushed into service. At the end of February a considerable number of soldiers were sick, and the new barracks was requisitioned as an infirmary.

Originally it was some 48 feet long. The size of the inner court was increased to approximately 34×54 feet, also. The side galleries were built longer than Heuck at first specified, because of the lengthening of the court, and about two feet narrower, because of the widening of the court, making them 18 feet rather than 20 feet in width.

Iolani Barracks displays a service record almost as complicated as its building alterations. The barracks was made originally to house the regular standing army of the Kingdom of Hawaii, the small force known in the early 1870s and before as the Household Troops.

Their function was to guard the palace, the prison, and the treasury, and to appear at various parades and ceremonies.

In September, 1873, the Household Troops mutinied. They barricaded themselves in Halekoa. After the mutiny the troops were disbanded, then later reorganized, and under one title or another they continued to occupy Halekoa throughout the remaining period of the monarchy.

Liliuokalani’s Household Guards, Captain Samuel Nowlein commanding, surrendered to the revolutionary Provisional Government about five o’clock on the afternoon of January 18, 1893.

The Guards were paid off and disbanded; the Provisional Government took over munitions stored in the barracks and at once occupied the building with a strong force. This government and the succeeding Republic of Hawaii used Halekoa to house their military.

After Hawaii was annexed to the US, President McKinley issued an executive order (December 19, 1899) transferring the barracks and the barracks lot to the control of the US War Department.

Thereupon, Halekoa was occupied by the Quartermaster Corps of the US Army and used for office and warehouse space. Quartermaster use continued until late in 1917, when the Corps moved out.

At that time the War Department planned to preserve Halekoa as a historic structure. For the first time in its long and colorful history, the old barracks ceased to be a station for soldiers.

In the summer of 1920 an elaborate remodeling job was in progress and it then served as a service club, with a dormitory added on the Waikiki side for visiting service personnel. The service club phase lasted about a decade.

November, 1929, found Governor Lawrence Judd trying to get President Hoover to issue an executive order returning the barracks to the Territory. The Hawaii National Guard wanted Halekoa for its headquarters.

Judd was successful, and the transfer took place officially on March 16, 1931. But the Hawaii National Guard did not benefit from it. Instead the barracks became the offices of the supervising school principals for Honolulu and Rural Oahu.

World War II came, and the Guard continued to use the aging barracks. Midway in that war (October, 1943) an imaginative postwar plan for Halekoa was announced. It was to become a military museum. Interested civic groups and individuals pledged to participate in planning and financing the project.

But the plans never materialized. The pressure for office space doomed Halekoa to a series of repairs, renovations, and remodelings as various government agencies succeeded one another in their occupancy of the barracks.

In November, 1960, Halekoa was embarrassed to find itself encumbering the site of a proposed multi-million-dollar state capitol. Although regarded in some quarters as an antiquarian nuisance, the barracks managed to cling to existence as officials delayed their decision regarding its disposition.

The above is taken from Richard Greer’s article on Halekoa in the October 1962 Hawaii Historical Review. It was written before Halekoa was relocated to make way for the State Capitol.

Click the link for Greer full article in the Hawaii Historical Review:
https://imagesofoldhawaii.com/wp-content/uploads/Halekoa-HHR-Revival-Greer.pdf

Here is the rest of the story …

Following Statehood, there were plans for the State’s new capitol building being considered. Architect John Carl Warnecke, son of a German-born father, was influential in the design and construction of the new capitol. (Warnecke also designed John F Kennedy’s grave site at Arlington National Cemetery, and lots of other things.)

Halekoa was in the way; the Barracks was condemned and, in 1962, abandoned. In 1964-65, to make room for the new capitol building, the coral shell of the old building was removed to a corner of the ʻIolani Palace grounds for eventual reconstruction.

This was accomplished by breaking out large sections of the walls. Then stone masons chipped out the original coral blocks and re-set them. Many were so badly deteriorated that they were unstable.

However, the stone in the ʻEwa wing (an addition to the original Barracks) was salvageable (they left that part out of the reconstruction, but used the material from it.) Today’s reconstruction bears only a general resemblance to the original structure. (NPS)

Several other older buildings in the area, including the large vaulted-roofed Armory and the remnant of the older Central Union Church on Beretania Street, facing the Queen’s former residence at Washington Place, were also demolished to make way for the capitol building.

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Kalola

Kalola, the highest tabu chiefess of the Maui court, was a daughter of Queen Kekuʻiapoiwa I (a daughter of Keawe of Hawaiʻi) and King Kekaulike of Maui.

She was thus a granddaughter of Kalanikauleleiaiwi, Queen of Hawaiʻi and sister of the King Kahekili II. She was an aunt of the King Kalanikūpule.

When Kekaulike died, Kalola’s brothers Kamehamehanui (an uncle of Kamehameha I) and Kauhi fought each other for rule of Maui in 1738. Battles were fought across West Maui; the war ended with the battle Koko O Nā Moku (“Bloodshed of the Islands;” Kamehamehanui won.

Kalola lived with two brothers, Kalaniʻōpuʻu and Keōua, both Hawai’i island niʻaupiʻo (very high rank) chiefs. From Kalaniʻōpuʻu, the older brother, she had a son, Kalanikauikeaouli Kiwalaʻo (Kiwalaʻo.) From Keōua, the younger brother, she had a daughter, Kekuʻiapoiwa Liliha.

The children, Kiwalaʻo and Kekuʻiapoiwa, had the same mother, different fathers, offspring of a naha union (brother-sister mating of niʻaupiʻo chiefs.) These two lived together, and Keōpūolani was born to them, also the offspring of a naha union. (Mookini)

Keōpūolani (granddaughter of Kalola,) who was raised in Wailuku, Olowalu and Hāmākua on Maui, was later queen of Kamehameha I (we’ll get more into that a little bit later.)

At the time of Captain Cook’s arrival (1778-1779), the Hawaiian Islands were divided into four kingdoms: (1) the island of Hawaiʻi under the rule of Kalaniʻōpuʻu, who also had possession of the Hāna district of east Maui; (2) Maui (except the Hāna district,) Molokai, Lānai and Kahoʻolawe, ruled by Kahekili; (3) Oʻahu, under the rule of Kahahana; and (4) Kauai and Niʻihau, Kamakahelei was ruler.

In 1782, following the death of Kalaniʻōpuʻu, Kiwalaʻo was briefly ruler of the island of Hawaiʻi. That year, his cousin, Kamehameha I, challenged his authority at the battle of Mokuʻōhai. Kīwalaʻō was killed in combat by Keʻeaumoku, one of Kamehameha’s officers. The victory at the battle of Mokuʻōhai was the start of Kamehameha’s rise to power

After the deaths of Kalaniʻōpuʻu and Kiwalaʻo, Kalola left for Maui, taking with her Keōpūolani. Kahekili, brother of Kalola, provided for the family and gave them his protection. After the conquest of Oahu by Kahekili he removed his court to that island, taking with him his sister and her family.

In 1785, they returned to Maui with Kalanikūpule, the son of Kahekili, who had been appointed chief of the island, and there remained, principally at Olowalu, until 1790. (Kalākaua)

At about that time, Simon Metcalf (captaining the Eleanora) and his son Thomas Metcalf (captaining the Fair American) were traders; their plan was to meet and spend winter in the Hawaiian Islands.

The Eleanora arrived in the islands first at Kohala on the island of Hawaiʻi. After a confrontation with a local chief, Simon Metcalf then sailed to the neighboring island of Maui to trade along the coast.

Kalola ruled the puʻuhonua of Olowalu and presided over Kaʻiwaloa Heiau. Kahekili, ruler of Maui, lived at Halekiʻi Heiau in Wailuku. This indicates the important spiritual, political and economic connection between ʻIao and Olowalu. Kalola was still ruling at Olowalu in 1790 when Simon Metcalf fired cannons on Honua’ula and Olowalu during the Olowalu Massacre.

Several months after the massacre at Olowalu, Kalola watched the great Battle of Kepaniwai from a panoramic flat area in the back of ʻIao Valley. Kamehameha stormed Maui with over twenty thousand men, and after several battles Maui troops retreated to ʻIao Valley.

Maui Island was conquered and its fighting force was destroyed – Kalanikūpule (Kahekili’s eldest son and heir-apparent) and some others (including Kalola and her family) escaped over the mountain at the back of the valley and made their way to Molokai and Oʻahu.

“The fugitives fled across the sharp ridges of the mountains, the mother carrying the child on her back and the kahu carrying mother and child, until they were able to escape to Molokai.” (Kamakau)

On the island of Molokai at Kalamaʻula, Kalola became ill and they could not carry out their original intention of going to Oʻahu to join Kahekili. Kamehameha followed Kalola to Molokai and asked Kalola for Keōpūolani (Kalola’s granddaughter) to be his queen.

Kalola, who was dying, agreed to give Kamehameha Keōpūolani and her mother Kekuʻiapoiwa Liliha, if he would allow the girls to stay at her death bed until she passed. Kamehameha camped on Molokai until Kalola died, and returned to Kona with his high queen Keōpūolani.

At Kalola’s death, “They wailed and chanted dirges, and some were put to sleep with the dead, and the chiefs tattooed themselves and knocked out their teeth. Kamehameha was also tattooed and had his eyeteeth knocked out, and the chiefs and commoners acted like madmen.” (Kamakau)

Kamehameha then formally took charge of and returned to Hawaiʻi with her daughter and granddaughter, not only as a sacred legacy from Kalola, but as a token of reconciliation and alliance between himself and the elder branch of the Keawe dynasty. (Kalākaua)

Later, Liholiho (Kamehameha II,) Kauikeaouli (Kamehameha III) and Princess Nahiʻenaʻena were born to Kamehameha and Keōpūolani.

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Mutiny At ʻIolani Barracks

In the 1860s, the Hawaiian military was made up by the Royal Guard, a unit assigned to guard the sovereign.  They were also known as the Household Guard, Household Troops, Queen’s Guard, King’s Own and Queen’s Own – they guarded the king and queen and the treasury, and participated in state occasions.

Later, the Guard was quartered in ʻIolani Barracks (Halekoa.) (Built in 1871 (before ‘Iolani Palace,) the Barracks was located on a site now occupied by the State Capitol behind ʻIolani Palace across Hotel Street, formerly Palace Walk.  In 1965, the coral block building was dismantled piece-by-piece and reassembled on the Palace grounds.)

The Guard was an elite group of 60-men from which the King’s body guards were drawn, with a heritage which extended far back into Hawaiʻi’s history.

In 1873, King Lunalilo became ill. The Guard mutinied – not against the King, but rather, unanimously against their drill master Captain Joseph Jajczay, a Hungarian.

While Lunalilo was convalescing and regaining temporarily part of his lost strength, he stayed at his marine residence at Waikiki. To that seaside resort went his ministers to consult with him on matters of public business; his physicians to watch the state of his health; friends, real and pretended, on simple visits of courtesy or personal advantage.

The mutiny started on Sunday, September 7. The simple origin of it is to be found in the bitter dislike of the Household Troops for their martinet drill-master, Captain Joseph Jajczay, a Hungarian, and resentment over some acts of the adjutant general, Charles H. Judd.

An attempt by the captain to enforce some disciplinary measure was resisted; he was knocked down and otherwise mishandled. The governor of O‘ahu, John O Dominis, and the adjutant general having been called, the latter was attacked and the governor was defied or was simply disregarded.

The other soldiers joined the mutineers and they united in demanding the removal of Jajczay and Judd.  (Kuykendall)

While some reports suggest the mutiny was triggered because the drill-master was very strict and planned to punish some of the men for a breach of duty, other reports suggest otherwise.

No particular action was taken until Tuesday, when a court of inquiry was held, without much result, and a message from the king was read to the mutineers ordering them to return to duty at once; otherwise, to be dismissed from the service, lay down their arms, and vacate the barracks.

Some of them obeyed the order, but thirty-four remained insubordinate, saying the message was only a trick of the officers. Two companies of volunteers, the Honolulu Rifles and the Hawaiian Cavalry, some forty men in all, were called out but were given nothing to do beyond serving as a rather ineffectual guard for parts of two days.

A warrant for the arrest of the mutineers was read to them by Marshal Parke; their response was to slam the door of the barracks in his face.

Shortly after, at the request of the king, a delegation of three of the mutineers went out to see him at Waikīkī; he told them they must submit to orders and trust to his clemency.

The mutineers obeyed his order to stack arms, but they stayed in the barracks, instead of going to their homes as they were expected to do.

Major William Luther Moehonua was placed temporarily in charge of the barracks; late in the day a second delegation visited the king, who said he would put his message to them in writing.

Accordingly, on Friday morning, the King’s letter, addressed “to my subjects now assembled at the Barracks in Honolulu,” was read to the mutineers, who were referred to in the body of the letter as “my loving people”; they were ordered to relinquish possession of all government property and to depart, each by himself, to their homes.

“If you shall implicitly obey this my command, then I will be on your side, as a Father to his children, and I will protect you from injury.” After a little further dickering, the mutineers obeyed the king’s order.  (Kuykendall)

One report noted, “During the reign of Lunalilo a mutiny occurred among the Household Guard which was then occupying the old stone barracks now used by the United States Army Quarter Masters Department.”

“The men mutinied over the kind of poi being issued to them as rations and defied the authority of the king to make them obey orders until new poi was given them.”   (The Independent, March 13, 1902)

“Two companies of volunteers, the Honolulu Rifles and the Hawaiian Calvary, some forty men in all, were called out but were given nothing to do beyond serving as a rather ineffectual guard for parts of two days.”  (Kuykendall)

Lunalilo then issued a decree disbanding the Household Troops, except the band, and the kingdom was thus left without any regular organized military force. (Kuykendall)

But Lunalilo died a year later, and the newly-elected king, Kalākaua, restored the army, and named it the Household Guard.  (It was reported Kalākaua sympathized and sided with the mutineers and advised and instigated them.)

In 1893, the Provisional government disbanded the guards and used the Barracks for munitions storage.  It is unclear how many soldiers made up the Hawaiian army.  Some suggest the 60 Household Guards was the total strength.

Kuykendall put the Hawaiian army at 272; this is consistent with the Blount report that noted an affidavit by Nowlein, commander of the palace troops that put its strength at 272 (with an additional local police force of 224.)

The memory and legacy of the Royal Guard lives on through two venues.  In 1916, the US Army’s 32nd Regiment was first organized on Oʻahu.  At its activation, it was known as “The Queen’s Own” Regiment, a title bestowed by the last queen of Hawaiʻi, Liliʻuokalani.

In addition, the Royal Guard of the Hawaiʻi National Guard is an Air National Guard ceremonial unit which re-enacts the royal bodyguards of the Kingdom of Hawaiʻi.

The unit is structured in the same way as the original organization. The governing body, or “Na Koa Hoomalu Kini O Ka Moi” (King’s Body Guards), is composed of five men elected by the general membership. The five men, in turn, select the “Kapena Moku” (Commander of Troops).

The impact of the re-creation of the Royal Guard on the community was best described by Hawaiʻi’s Governor, John A. Burns when he said, “The traditions of the past are, to me, means by which we gain strength to meet the trials of the present and the future.”  (ngef-org)

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