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July 23, 2019 by Peter T Young Leave a Comment

Wailuku Civic Center Historic District

The Wailuku Civic Center Historic District is comprised of several buildings (recognized on the State and National Registers of Historic Places) that generally front on South High Street and constitute the core of governmental structures in Wailuku, the Maui County seat.

Following annexation, the Territorial government passed the County Act in 1905, establishing county governments on the four largest islands in the Hawaiʻi chain.

The act named Wailuku the County seat of Maui, although a number of people were advocating that Lāhainā, the former capital of the Hawaiian Kingdom, be accorded this right.

The citizens of east and central Maui, who comprised three quarters of the island’s population, reasonably argued that with the growth and dominance of sugar production on the island, Wailuku had replaced Lāhainā as Maui’s center of wealth, business and population.

Wailuku originally was a Hawaiian settlement. In 1832, a mission was established there under the leadership of Jonathan S. Green.

Very little development occurred, however, until after the Wailuku Sugar Company commenced its operations in 1862. This led to the growth and eventual prosperity of the town.

Following the naming of Wailuku as Maui’s County seat, the first substantial government building erected in the town was the district courthouse.

The county government remained housed in leased commercial space, a small wooden office building and the community hall, until 1925 when the current Police Station was built to accommodate the demand for adequate office space.

The construction of this building was hailed by the local press as, “another step in the establishment of an attractive civic center,” and the writer looked forward to the day when, “all the civic needs will be appropriately housed in one center.”

The construction of the public library in 1928 was another step in reaching this desired goal, and the Territory’s decision to purchase a corner of the property owned by Kaʻahumanu Church for the construction of the Territorial Office Building in 1930, assured the civic center.

The buildings within the district house State and County government offices, courts, and the public library, and serve as a hub of governmental activity for the island of Maui.

Built within a twenty-four year period, the historic structures represent the architectural aspirations of their time, employing the popular Beaux Arts revival, Mediterranean revival and Hawaiian styles.

These buildings are all of masonry construction and of one or two stories in height, which is in keeping with the scale of most of the city.

The oldest of the buildings is the County Courthouse, erected in 1907. Designed by Honolulu architect H. L. Kerr, it is a Beaux Arts inspired building constructed of cast hollow concrete block which mimetically perpetuates dressed stone.

Next to, and set back from, the Courthouse is the County Office Building, a nine-story building constructed in 1972.

Standing on the other side of the County Office Building is The Police Station. Built in 1925, this reinforced concrete building was designed in a simple Mediterranean style by Maui architect William D’Esmond.

Across South High Street on either corner of the intersection with Aupuni Street stand the Wailuku Library (completed in 1928) and the former Territorial Building (completed in 1931, it now houses the State’s judiciary.) Both of these Mediterranean revival/Hawaiian style buildings were designed by CW Dickey.

Other sites in the vicinity, but not part of the formal “Historic District” include Halekiʻi – Pihana Heiau, Kaʻahumanu Church and Hale Ho‘ike‘ike/Old Bailey House.

Haleki‘i and Pihana Heiau are the most accessible of the remaining pre-contact Hawaiian structures of religious and historical importance in the Wailuku-Kahului area; they are located along the west side of Iao Stream.

Traditional history credits the menehune with the construction of both heiau in a single night; other accounts say they were built under the rule of Kahekili.

In 1832, Queen Kaahumanu visited a religious service by Jonathan Smith Green, and later requested that a more permanent church structure be named for her; ultimately, Reverend Edward Bailey fulfilled her request in 1876 when the current structure was built.

Hale Ho‘ike‘ike, the Old Bailey House, is a combination of four structures built between 1835 and 1850. Originally built as a parsonage for the ministers of the Wailuku Church, it’s now operated by the Maui Historical Society as a museum.

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Haleki'i-Pihana_Heiau_State_Monument-looking from the bridge across the Iao Stream in Pakukalo-Waiehu
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Wailuku Civic Center Historic District-Map

Filed Under: General, Buildings Tagged With: Wailuku Civic Center, Lahaina, Hawaii, Maui, Wailuku

July 22, 2019 by Peter T Young Leave a Comment

Ruggles’ Quilt

“The making of tapa was a time-consuming and labor intensive process. The outer bark was stripped away and the inner bark was soaked in water to make it soft.”

“Artistically carved round wooden mallets were used to pound the strips of the inner bark into meshed fiber to form sheets of various sizes, thicknesses, and textures. Then, the tapa was colored by native dyes and decorated with block prints.”

“New England missionaries arrived in 1820 and taught high-ranking Hawaiian women to make American-style patchwork quilts. On April 3, 1820, seven young New England missionary women held the first ‘Sewing Circle’ aboard the brig Thaddeus.” (Cao and Park)

“The high-ranking Hawaiian women were Kalakua, mother of King Liholiho, her sister Namahana, and two wives of Chief Kalanimoku. The missionary wives were Lucy Thurston, Lucia Holman, Sybil Bingham, Nancy Ruggles, Mercy Whitney, Jerusha Chamberlin, and Elisha Loomis.”

“The missionaries supplied the scissors and furnished the native women with calico patchwork to sew. Sewing calico piecework was new to the ranked Hawaiian women, but the geometric and symmetrical patterns associated with quilting were not.”

“The Hawaiian women were taught both types of quilt making. The pieced variety technique was used to make geometric repeated blocks, and the appliqué style used the ‘snowflakes’ method.” (Cao and Park)

Lucy Thurston, the wife of one of the first missionaries, recorded in her journal (1882): “Monday morning, April 3rd [1820], the first sewing circle was formed that the sun ever looked down upon in his Hawaiian realm.”

“Kalakua, queen-dowager was directress. She requested all the seven white ladies to take seats with them on mats, on the deck of the Thaddeus. Mrs. Holman and Mrs. Ruggles were executive officers to ply the scissors and prepare the work. … The four native women of distinction were furnished with calico patchwork to sew-a new employment to them.” (Thurston)

“For the first few years the missionary wives spent a great deal of time sewing for the upper class Hawaiians.”

“These ladies preferred to spend their time instructing the Hawaiians in spiritual matters and when regular supplies of fabric and patterns arrived from the mainland, the missionary wives began teaching Hawaiians to sew”.

“According to Wild, the missionaries’ instructional program included other domestic arts in addition to sewing lessons, and both sexes were welcomed into the domestic arts classes.”

“Leftover scraps of fabrics from the lessons were used to teach patchwork quilting. As they began learning to quilt, Hawaiian women incorporated traditional and familiar kapa designs into their quilts.”

“As part of the assimilation and acculturation processes, western fabric, fashions and quiltmaking were integrated into Hawaiian material culture. As this happened, the making of kapa began to decline, and by the end of the nineteenth century, kapa production waned.”

“To the Hawaiian seamstresses, it probably seemed illogical to cut new materials into small pieces only to be sewn together to make a patchwork quilt.”

“It was quite natural, therefore, that the Hawaiian women would move toward individual designs as they were accustomed to producing original designs with their own kapa beater and wood-blocks from which they made kapa designs of their own.”

“It is not known exactly when, or even how the appliquéd Hawaiian quilt evolved. What is most striking about the Hawaiian quilt is the appliqué technique in which a large sheet of fabric is folded, cut into a design, then stitched onto a contrasting background, followed by contour quilting around the motif.”

“Both in technique and style, Hawaiian appliqué reminds us of paper snowflakes made by schoolchildren, a contemporary remnant of cut paper work that was popular in the northeastern United States during the early decades of the nineteenth century.” (Arthur)

In addition, 9-year-old Huldah, daughter of missionary Samuel Ruggles made her own patchwork quilt, it is featured in the image. It was recently on display at Hawaiian Mission Houses. It is made from scraps; images of other clothing are also included in the album (from which Huldah Ruggles used scraps to finish her quilt).

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Huldah Ruggles Quilt-HMH
Huldah Ruggles Quilt-HMH
Huldah Ruggles Quilt-HMH
Huldah Ruggles Quilt-HMH
Huldah Ruggles Quilt-HMH
Huldah Ruggles Quilt-HMH
Huldah Ruggles Quilt-HMH and Garment-Huldah Ruggles used scarps of material for quilt
Huldah Ruggles Quilt-HMH and Garment-Huldah Ruggles used scarps of material for quilt
Huldah Ruggles Quilt-HMH
Huldah Ruggles Quilt-HMH
Garment-Huldah Ruggles used scarps of material for quilt
Garment-Huldah Ruggles used scarps of material for quilt
Garment-Huldah Ruggles used scarps of material for quilt
Garment-Huldah Ruggles used scarps of material for quilt
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Filed Under: Ali'i / Chiefs / Governance, Missionaries / Churches / Religious Buildings, Hawaiian Traditions, Economy, General Tagged With: Hawaii, Samuel Ruggles, Nancy Ruggles, Huldah Ruggles, Quilt

July 21, 2019 by Peter T Young Leave a Comment

Umu

In 1846, Article V of the “Statute Laws of His Majesty Kamehameha III” was published. The law defined the responsibilities and rights the konohiki and people had to the wide range of fishing grounds and resources. It codified the prior traditional and customary fishing practices.

The law also addressed the practice of designating kapu or restrictions on the taking of fish, tribute of fish paid to the King and identified specific types of fisheries from the freshwater and pond fisheries to those on the high seas under the jurisdiction of the Kingdom.

Section II of the law stated, “The fishing grounds from the reefs, and where there happen to be no reefs from the distance of one geographical mile seaward to the beach at low water mark, shall in law be considered the private property of the landlords whose lands, by ancient regulation, belong to the same”.

Therefore, a typical ahupuaʻa (what we generally refer to as watersheds, today) was a long strip of land, narrow at its mountain summit top and becoming wider as it ran down a valley into the sea to the outer edge of the reef. If there was no reef then the sea boundary would extend into the deep water.

While Hawaiʻi has some fantastic reefs, there are areas where there are no reefs (i.e. sandy bottom or muliwai (estuaries and river mouths where flowing freshwater prevented coral growth.))

So, how can a konohiki and the tenants of an ahupuaʻa that does not have a reef fronting the land fish for reef fish?

Like today, in many cases, the ancient Hawaiians built artificial reefs. They were called umu (or imu.)

In Hawaiʻi, as well as other areas of Polynesia, rock shelters were constructed that provided protections and sources of food for reef fish.

Large and small stones were piled into walls with an underwater chamber. Algal growth on the rocks provided them a source of food. Small fish attracted larger fish. Openings in the rock piles allowed small fish to hide.

These rock piles acted like naturally-occurring rock outcrops and coral reef habitats. They provided protection from predators and a food supply for reef fish.

“Such shelters were quite common in the islands. On Oʻahu, evidence of their existence has been found in Kāneʻohe Bay and around Kahaluʻu and Waiʻāhole.” (Kanahele)

“Besides providing stability and some protection from predators, these shelters also helped to regulate fish growth and potentially increase fish stocks by serving as artificial homes for fish to congregate and reproduce.” (Kikiloi)

Some of the prominent fish species that inhabited these shelters were squirrelfish (u‘u), unicornfish (kala), surgeonfish (manini), goatfish (moano), greater amberjack (kahala), parrotfish (uhu) and eels (puhi). (Kikiloi)

“These were the predecessors of present-day attempts to attract fish to Waikīkī and other places with artificial reefs.” (Kanahele)

The Territory of Hawai`i began looking into the possibility of installing artificial shelters in areas of sparse natural habitat. Back in 1957, the proposed purpose of these shelters was to increase and enhance opportunities for fishermen.

In 1961, the State’s first artificial reef was created at Maunalua Bay, off Kahala, Oʻahu (74 acres). Then, in 1963, two more artificial reefs were created off Keawakapu, Maui (54 acres) and Waianae, Oʻahu (141 acres).

A fourth artificial reef was created in 1972 off Kualoa, O`ahu (1,727 acres). The Ewa Deepwater artificial reef (31 acres) was built in 1986.

Unlike the other four reefs, which were deployed at depths of 50-100 feet, the Ewa reef was sunk in 50-70 fathoms (300-420 feet) of water for “new” bottomfish habitat.

Initially, car bodies were the primary material used to construct artificial reefs. Then, from 1964-1985, concrete pipes were mainly used to build these reefs. In addition, several barges and minesweeper vessels were sunk.

From 1985-1991 the program used concrete and tire modules as the main artificial reef components. Other items used included derelict concrete material, barges, and even large truck tires.

From 1991 to the present, materials deployed have mainly been concrete “Z-modules” (4-feet by 8-feet, with 1-foot high “legs” on end of opposing sides.) Other components include barges, derelict concrete material and several small vessels.

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Imu-Umu-Fish_Shelters-Kikiloi
Imu-Umu-Fish_Shelters-Kikiloi
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Artificial_Reefs-Pyramid-(SOEST)
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Follow Peter T Young on Facebook Follow Peter T Young on Google+ Follow Peter T Young on LinkedIn Follow Peter T Young on Blogger © 2019 Hoʻokuleana LLC
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Carthaginian-Maui-(mauinow)
Carthaginian-Maui-(mauinow)

Filed Under: Hawaiian Traditions Tagged With: Hawaii, Kamehameha III, Ahupuaa, Artificial Reef, Imu, Umu

July 20, 2019 by Peter T Young Leave a Comment

Norman Keith Collins

Like other Polynesians, Hawaiians imported their traditional tattoo art, known as kakau, to the islands. It served them not only for ornamentation and distinction, but to guard their health and spiritual well-being.

Images of lizards, which were greatly respected and feared, and of the Hawaiian crescent fan (Peahi niu) for the highest-ranking members of society, dominated Hawaiian kakau.

Intricate patterns, mimicking woven reeds or other natural forms, graced men’s arms, legs, torso and face. Women were generally tattooed on the hand, fingers, wrists and sometimes on their tongue. (PBS)

Queen Kamāmalu had a tattoo applied to her tongue as an expression of her deep grief when her mother-in-law died in the 1820s. Missionary William Ellis watched the procedure, commenting to the queen that she must be undergoing great pain. The queen replied, He eha nui no, he nui roa ra ku‘u aroha. (Great pain indeed, greater is my affection.) (Fullard-Leo)

The designs were applied by specially trained kahuna, experts in one or more critical tasks, who applied pigment to the skin with a needle made from bone, tied to a stick and struck by a mallet.

Traditional designs varied widely, according to available records, but many memorialized fallen chiefs, leaders or family members. The process was guarded with great secrecy and all implements were destroyed after use, according to the dictates of kapu. (PBS)

Fast forward to modern tattooing … some suggest the history of tattooing can be divided into two periods, before Sailor Jerry (BSJ) and after Sailor Jerry (ASJ). That’s how important he was to the development of tattooing. (Levy)

Born on January 14, 1911 in Reno, Nevada, Norman Keith Collins first took the nickname ‘Jerry’ (apparently given to him after his father noticed a similar disposition between the young troublemaker and the family’s cantankerous mule).

He eventually landed in Chicago and two things happened that changed his life. One, he hooked up with local tattoo legend, Gib ‘Tatts’ Thomas, who taught him to use a tattoo machine. (For practice, he paid bums with cheap wine or a few cents to let him tattoo them). Then, at 19, he joined the Navy and he became known as Sailor Jerry.

When Collins mustered out of the Navy, he settled in Honolulu. Within a few years, the Japanese bombed Pearl Harbor and everything changed.

At the height of WWII, over 12 million Americans served in the military and, at any given moment, a large number of them were on shore leave in Honolulu.

The circumstances of war fed a cross-section of American men into environments that usually only existed on the fringes – places like Honolulu’s Hotel Street, a district comprised almost exclusively of bars, brothels and tattoo parlors. This was where Collins, as Sailor Jerry, built his legacy. (Sailor Jerry)

Although Jerry was world famous for his tattooing, he had other interests. The sea was always a part of his life and while holding Captain’s papers in the 1950s; he skippered a tour ship that covered the Pearl Harbor memorial.

His study of electronics led to a first class FCC license, and for several years he hosted a late night talk show on a local radio station. On that show he was known as “Old Ironsides”, another reflection on his interest in the sea. (Tattoo Archive)

He taught himself to be an electrician, which helped him innovate his tattoo machines. He played in a jazz band. He toured around in a canary yellow Thunderbird and he was out on his Harley when he had the heart attack that would take his life (after collapsing in a cold sweat, he got back on his bike and rode home). (Sailor Jerry)

Sailor Jerry built a reputation for quality work, which attracted customers in spite of the cost. He is credited with the invention of the magnum tattoo needle, used to apply broad strokes of color to the skin, as well as an improved tattoo-machine construction, whose smooth operation resulted in greater detail and less pain for the sitter.

He was the first tattoo artist to find and use a purple ink that was not fugitive or toxic. During a time when trade secrets were guarded, he befriended the most talented tattoo artists in the world, corresponding only with those whom he tested and deemed worthy of his attention.

His studies culminated in a style that combined the bold colors and designs seen in Japanese tattoos with iconic Americana imagery.

Sailor Jerry, who longed for the day when tattooing would be seen as fine art, would be pleased to learn that his flash, stencils, rubbings, and sketches underwent full conservation treatment at the Conservation Center for Art and Historic Artifacts. (Sheesley)

Norman Keith Collins ‘Sailor Jerry’ died June 12, 1973 and is buried at the National Memorial Cemetery of the Pacific at Punchbowl.

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Sailor Jerry-art
Sailor Jerry-art
sailor-jerry tatoo shop-Honolulu
sailor-jerry tatoo shop-Honolulu
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Norman Keith Collins-Sailor Jerry
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Norman_Keith_Collins headstone Punchbowl

Filed Under: Economy, Military, Prominent People Tagged With: Hawaii, Norman Keith Collins, Sailor Jerry, Tattoo

July 19, 2019 by Peter T Young Leave a Comment

Rice

Rice production was not a major contributor to Hawaiʻi’s economy until the latter half of the nineteenth century. As whaling declined in importance, greater emphasis was placed on agricultural production, primarily sugar and rice.

It was in 1850 when the Royal Hawaiian Agricultural Society was formed to develop Hawaiʻi’s agricultural resources that rice made its mark in the Hawaiʻi economy. The group purchased land in the Nuʻuanu Valley and rice seed from China and planted in a former taro patch.

At first the Society offered the rice seed to anyone in Hawaiʻi who wanted to plant it. King Kamehameha IV also offered land grants for cultivation of rice. Because there were no proper milling facilities in Hawaiʻi, it didn’t take off as a viable crop right away.

Then, in 1860, imported rice seed from South Carolina proved very successful and yielded a fair amount of crop. This, combined with the collapse of the taro industry in 1861-1862 (as the Hawaiian population declined, the demand for taro also declined,) added value to the numerous vacant taro patches and a boom in the rice industry.

From 1860 to the 1920s, Rice was raised in the islands of Hawaiʻi, particularly in Kauai and Oʻahu, because of their abundance of rain.

The Hanalei Valley of Kauai led all other single geographic units in the amount of acreage planted in rice. The valley was one of the first areas converted to this use and continued to produce well into the 1960s.

The Commercial Pacific Advertiser noted on October 3, 1861, “Everybody and his wife (including defunct government employees) are into rice – sugar is nowhere and cotton is no longer king. Taro patches are held at fabulous valuations, and among the thoughtful the query is being propounded, where is our taro to come from?”

During the 1860s and 1870s, the production of rice increased substantially. It was consumed domestically by the burgeoning numbers of Chinese brought to the Islands as agricultural laborers.

In 1862, the first rice mill in the Hawaiian Islands was constructed in Honolulu (prior to that it was sent unhulled and uncleaned to be milled in San Francisco.) By 1887 over 13 million pounds of rice were exported.

A particularly important stimulus for the increased demand for rice was the Reciprocity Treaty of 1876. This treaty between the United States and the Kingdom of Hawaiʻi granted duty-free status to certain items of trade between the two countries, including rice.

Thomas Thrum wrote in 1877 that Kamehameha V and other landowners had “planted a large tract of land in rice (in Moanalua,) and even went so far as to pull up and destroy large patches of growing taro to plant rice.”

In 1899, Hawaiʻi’s rice production had expanded so that it placed third in production of rice behind Louisiana and South Carolina.

Much of this rice acreage was worked initially by Chinese immigrants, who first arrived as contract laborers in 1852. By 1860 this immigrant population totaled 1,200. Chinese immigration continued at a rapid pace until 1884, when the official census estimated the number of Chinese at 18,254.

In 1882 the US Congress passed the Chinese Exclusion Act; then, Japanese workers were brought in to take their place. Within only five years the Japanese constituted more than forty-two percent of the plantation work force and one-seventh of the total population.

Ironically, this influx of Japanese immigrants accelerated Hawaiʻi’s decline in rice production. Japanese preferred short grain rice rather than the long grain rice the Chinese were used to eating. So rice began to be imported from California for the Japanese.

California’s success would ultimately mean the end of the rice industry in Hawaiʻi. Furthermore, the hand labor techniques of Hawaiʻi’s Chinese and Japanese rice farmers could not compete with California’s mechanized production technology.

Additional problems with the rice bird and rice borer, as well as the lack of interest on the part of the younger generation to continue rice farming, eventually meant the end of a once prosperous industry.

Attempts to revive rice production by the Agricultural Extension Service of the University of Hawaiʻi were made in 1906 and 1933, primarily in Hanalei.

As a result the acreage planted in rice on the island rose from 759 acres in 1933 to 1,058 in 1934. For areas like Hanalei Valley, such efforts, coupled with the valley’s general remoteness and absence of competing demands for the land, allowed rice cultivation to continue as a regional activity long after it had been abandoned throughout the rest of Hawaiʻi.

Today, there is no trace of the rice fields in Hawaiʻi. However, Hoʻopulapula Haraguchi Rice Mill museum in Hanalei Valley provides a remnant look at the once prospering agricultural venture.

It was built by the Chinese and purchased by the Haraguchi family in 1924. The Haraguchi family has restored the mill three times; after a fire in 1930, then again after Hurricane Iwa in 1982 and Hurricane Iniki in 1992.

The mill ceased operating in 1960 when Kauai’s rice industry collapsed. A nonprofit organization was formed to preserve and interpret the mill, which has been visited by thousands of school children and adults in the past 29 years.

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Rice
Rice
Rice
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View of rice fields towards Pālolo Valley from the back of Waikīkī, Hawai`i, ca. 1910
View of rice fields towards Pālolo Valley from the back of Waikīkī, Hawai`i, ca. 1910
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Rice
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Windward_Rice_Planting
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Rice_fields_workers_beneath_Punchbowl_Crater,_Honolulu,_in_1900
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The Iron Horse Comes to Hawaii-Peter Hurd-1889
The Iron Horse Comes to Hawaii-Peter Hurd-1889
Chinese water buffalo plowing rice field Hawaii Tai Sing Loo-(KSBE)=
Chinese water buffalo plowing rice field Hawaii Tai Sing Loo-(KSBE)=
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Chinese-Waterbuffalo-Rice
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Filed Under: Economy Tagged With: Hawaii, Waikiki, Kaneohe, Rice, Hanalei

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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

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.

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