Hawaii | Page 88 | Images of Old Hawaiʻi

June 3, 2024 by Peter T Young Leave a Comment

Fairy

Victoria (named after Queen Victoria) Kaʻiulani Kawekiu I Lunalilo Kalaninuiahilapalapa Cleghorn was the only child of Princess Miriam Likelike (the sister to King Kalākaua and Queen Liliʻuokalani) and Archibald Scott Cleghorn, a Scottish businessman.

At the age of 15, Kaʻiulani was proclaimed Crown Princess of Hawaiʻi by Queen Liliʻuokalani and was a future ruler of Hawaiʻi. (KSBE)

One of her godmothers, Princess Ruth Keʻelikōlani, gave her the famed 10-acre Waikīkī estate, ‘Āinahau, as a birthday. Originally called Auaukai, Princess Likelike (Kaʻiulani’s mother) named it ʻĀinahau; Princess Kaʻiulani spent most of her life there.

The family built a two-story home on the estate. At first the home was used only as a country estate, but Princess Kaʻiulani’s family loved it so much, it soon became their full-time residence. They built a stable for their horses.

“Princess Kaiulani was a thoughtful young lady, but always frank and candid. She was intensely devoted to the out of doors. It was the same from the time she was a little girl up to a few days before her death.”

“She was a skillful horsewoman. She liked both riding and driving. For driving she had a double rig and a single rig and generally handled the lines herself.”

“As a little girl she was a splendid swimmer and the old natives along the Waikiki beach will willingly tell you how the young alii would always go further out into the breakers than any one else. …”

“The Princess had at Ainahau a tribe of peafowls and everyone of the birds would eat from her hands. She admired them very much, made a study of them.” (PCA, March 13, 1899)

“But if Ka’iulani truly loved anything nonhuman at ‘Ainahau, it was her snow-white riding pony, Fairy. By age seven she was an accomplished equestrian.”

“She was often seen riding, accompanied by a groom, to visit Diamond Head Charlie at the lookout (from which he alerted O’ahu of arriving ships), or into town, where she would visit ‘Uncle John’ Cummins, one of Honolulu’s leading citizens, who she was certain had the best cows on the island.” (Sharon Linnea)

First Miss Barnes, then Miss Gertrude Gardinier, and later Miss de Alcald served as governesses to Kaʻiulani. Kaʻiulani’s governess, Miss Barnes, of whom the family was very fond, died unexpectedly in 1883.

Replacements were tired, but the arrival of Gertrude Gardinier from New York changed that. Kaʻiulani’s mother, Likelike, approved immediately and the young Kaʻiulani and Miss Gardinier took to each other immediately.

The earliest hand written letter written by the hand of Princess Ka‘iulani was a May 13, 1885 letter to her new governess’s mother. In part, Ka‘iulani wrote, “Miss Gardinier and I are going to ride horseback some day when she learns to.”

“I have a pretty little pony of my own and I am not afraid to ride it. My pony is only four years old, and I am nine years old. Goodbye, from Ka’iulani Cleghorn.”

At the age of 13, Princess Kaʻiulani sailed to Europe to begin her education abroad; she spent the next eight years studying and traveling in Europe.

“When Kaiulani left for England her saddle pony ‘Fairy’ was turned out to pasture. It remained resting till she returned and she mounted its back the first day she was in the Islands again. ‘Fairy’ she called the beast to the last.” (PCA, March 13, 1899)

Later, Ka‘iulani had gone to the Waimea on the Big Island to visit Helen and Eva Parker, daughters of Samuel “Kamuela” Parker (1853–1920,) grandson of John Parker (founder of the Parker Ranch.)

While attending a wedding at the ranch, she and the girls had gone out riding horseback on Parker Ranch; they encountered a rainstorm. She became ill; she and her family returned to O‘ahu.

Tragically, after a two-month illness, Princess Kaʻiulani died on March 6, 1899 at her home, ʻĀinahau, at age 23. It is said that the night she died, her peacocks screamed so loud that people could hear them miles away and knew that she had died.

“The birds have been acting as if they were wondering why she was neglecting them and so have the horses. Old, faithful ‘Fairy’ deserted for the second and last time by his mistress simply mopes around.” (PCA, March 13, 1899)

June 2, 2024 by Peter T Young Leave a Comment

Feathers

“Feathers were important symbols of power for Polynesians; in Hawai‘i, feathers were more highly prized than other types of property.”

“Feathers used for crafts were obtained from at least 24 bird species, however, the golden feathers of ‘ō‘ō and mamo birds made them primary targets for birdhunters; both birds became extinct by the late 1800s.”

“Feathers were utilized for many items, including ‘ahu‘ula [cloaks], mahiole [war helmets], and kāhili [standards]. Most garments utilized a considerable number of feathers; a cloak for Kamehameha consumed the golden feathers of 80,000 mamo birds.” (Perez)

“The feathers of birds were the most valued possessions of the ancient Hawaiians. The feathers of the mamo were more choice than those of the oo because of their superior magnificence when wrought into cloaks (ahu). The plumage of the i‘iwi, apapane and amakihi were made into ahu-ula, cloaks and capes, and into maho-ole, helmets.”

“The ahu-ula was a possession most costly and precious (makamae), not obtainable by the common people, only by the alii. It was much worn by them as an insignia in time of war and when they went into battle. The ahu-ula was also conferred upon warriors, but only upon those who had distinguished themselves and had merit, and it was an object of plunder in every battle.”

“Unless one were a warrior in something more than name he would not succeed in capturing his prisoner nor in getting possession of the ahu-ula and feathered helmet of a warrior. These feathers had a notable use in the making of the royal battle-gods. They were also frequently used by the female chiefs in making or decorating a comb called huli-kua, which was used as an ornament in the hair.”

“The lands that produced feathers were heavily taxed at the Makahiki time, feathers being the most acceptable offering to the Makahiki-idol. If any land failed to furnish the full tale of feathers due for the tax, the landlord was turned off (hemo). So greedy were the alii after fathers that there was a standing order (palala) directing their collection.” (Malo)

In the first writing of Hawai‘i, Captain Cook’s Journal notes, “Amongst the articles which they brought to barter this day [Jan 21, 1778], we could not help taking notice of a particular sort of cloak and cap, which, even in countries where dress is more particularly attended to, might be reckoned elegant.”

“The first are nearly of the size and shape of the short cloaks worn by the women of England, and by the men in Spain, reaching to the middle of the back, and tied loosely before.”

“The ground of them is a network upon which the most beautiful red and yellow feathers are so closely fixed that the surface might be compared to the thickest and richest velvet, which they resemble, both as to the feel and the flossy appearance.”

“The manner of varying the mixture is very different, some having triangular spaces of red and yellow alternately; others a kind of crescent, and some that were entirely red, had a yellow border which made them appear, at some distance, exactly like a scarlet cloak edged with gold lace.”

“The brilliant colours of the feathers, in those that happened to be new, added not a little to their fine appearance, and we found that they were in high estimation with their owners, for they would not, at first part with one of them for anything we offered, asking no less a price than a musket.”

“[M]en and women … are joined together in great numbers in climbing into the forests to snare birds [kapili manu; kawili manu]. And the number of birds caught by a person in a day is from six to thirty. The bird being caught is the Oo of the forests.” (Kuokoa, Mar 17, 1866)

“Initial bird-catching or feather-gathering was probably conducted by commoners (maka‘āinana) of each community land (ahupua‘a) as part of their tribute to chiefs, rather than exclusively by a special class of chiefly retainers (bird-catchers).

“Wives of bird-catchers sometimes accompanied their husbands and plucked, sorted and fastened together feathers. Women probably wove the helmet and cloak fibre frameworks and nets (of ‘ie‘ie and ‘olonā fibers).

“Women may have attached the feathers to cloaks and helmets – manufactured the cloaks and helmets. These cloaks and helmets were probably made in chiefly households by skilled female retainers.”

“Capes (cloaks) and helmets were probably not sacred and kapu until the finished products became identified with certain wearers.” (Cordy)

Vancouver notes in his journal, “Tamaahmaah (Kamehameha) conceiving this might be his last visit, presented me with a handsome cloak formed of red and yellow feathers, with a small collection of other native curiosities; and at the same time delivered into my charge the superb cloak that he had worn on his formal visit at our arrival.”

“This cloak was very neatly made of yellow feathers; after he had displayed its beauty, and had shewn me the two holes made in different parts of it by the enemy’s spears the first day he wore it, in his last battle for the sovereignty of this island, he very carefully folded it up, and desired, that on my arrival in England, I would present it in his name to His Majesty, King George …”

“… and as it had never been worn by any person but himself, he firmly enjoined me not to permit any person whatever to throw it over their shoulders, saying, that it was the most valuable thing in the island of Owhyhee (Hawai‘i), and for that reason he had sent it to so great a monarch, and so good a friend, as he considered the King of England.”

“This donation I am well persuaded was dictated by his own grateful heart, without having received the least hint or advice from any person whatever, and was the effect of principles, highly honorable to more civilized minds. The cloak I received, and gave him the most positive assurance of acting agreeably with his directions.” (Vancouver, March 1793)

June 1, 2024 by Peter T Young Leave a Comment

Maritime Fur Trade

The maritime fur trade was a ship-based fur trade system that focused on acquiring furs of sea otters and other animals from the indigenous peoples of the Pacific Northwest Coast and natives of Alaska. The furs were mostly traded in China for tea, silks, porcelain, and other Chinese goods, which were then sold in Europe and the United States. (ESDAW)

Before the European colonization of the Americas, Russia was a major supplier of fur pelts to Western Europe and parts of Asia. Its trade developed in the Early Middle Ages (500-1000 AD), first through exchanges at posts around the Baltic and Black seas.

“We have encountered a divine marvel … There are mountains, which slope down to the arm of the sea, and their height reaches to the heavens …. Within these mountains are heard great cries and the sound of voices and [some people] are struggling to cut their way out of this mountain …”

“Their language is unintelligible. They point at iron objects and make gestures as if to ask for them. If given a knife or an axe, they supply furs in return.” (Primary Chronicle, Etkind in the year 1096)

“In their quest for fur, the Russians colonized a huge, exotic, and inhospitable space, called “the land of darkness” by early Arabic travelers. Combining barter with coercion, the Russians locked the peoples of the Arctic North into a system of trade that led to the extermination of animals and humans.” (Etkind)

The maritime fur trade was pioneered by the Russians, working east from Kamchatka along the Aleutian Islands to the southern coast of Alaska. (ESDAW)

Originally, Russia exported raw furs, consisting in most cases of the pelts of martens, beavers, wolves, foxes, squirrels and hares. Between the 16th and 18th centuries, Russians began to settle in Siberia, a region rich in many mammal fur species, such as Arctic fox, lynx, sable, sea otter and stoat (ermine).

In a search for the prized sea otter pelts, first used in China, and later for the northern fur seal, the Russian Empire expanded into North America, notably Alaska.

Fur was relied on to make warm clothing, a critical consideration prior to the organization of coal distribution for heating. Portugal and Spain played major roles in fur trading after the 1400s with their business in fur hats.

The North American fur trade began as early as the 1530s was a central part of the early history of contact between Europeans and the native peoples of what is now the United States and Canada.

In 1578 there were 350 European fishing vessels at Newfoundland. Sailors began to trade metal implements (particularly knives) for the natives’ well-worn pelts. The first pelts in demand were beaver and sea otter, as well as occasionally deer, bear, ermine and skunk.

Captain Chauvin made the first organized attempt to control the fur trade in New France. In 1599 he acquired a monopoly from Henry IV and tried to establish a colony near the mouth of the Saguenay River at Tadoussac

French explorers, voyageurs and Coureur des bois such as Étienne Brûlé, Samuel de Champlain, Radisson, La Salle, and Le Saeur, while seeking routes through the continent, established relationships with Amerindians and continued to expand the trade of fur pelts for items considered ‘common’ by the Europeans.

England was slower to enter the American fur trade than France and Holland, but as soon as English colonies were established, development companies learned that furs provided the best way for the colonists to remit value back to the mother country.

Furs were being dispatched from Virginia soon after 1610, and the Plymouth Colony was sending substantial amounts of beaver to its London agents through the 1620s and 1630s. London merchants tried to take over France’s fur trade in the St Lawrence River valley.

From the 17th through the second half of the 19th century, Russia was the world’s largest supplier of fur. The fur trade played a vital role in the development of Siberia, the Russian Far East and the Russian colonization of the Americas.

The European discovery of North America, with its vast forests and wildlife, particularly the beaver, led to the continent becoming a major supplier in the 17th century of fur pelts for the fur felt hat, as beaver hat and fur trimming and garment trades of Europe. Fur was relied on to make warm clothing, a critical consideration prior to the organization of coal distribution for heating. (ESDAW)

James Cook’s expedition brought the news about the sea otter. Cook’s sailors traded several pelts on Cook’s river for a few glass beads each, and then sold them to the Chinese in Canton for two thousands pounds. Published in 1784, this story caused new British and French expeditions to Alaska. (Etkind)

May 31, 2024 by Peter T Young Leave a Comment

Lānai Airport

Aviation history for Lānai began with the creation of an emergency landing strip, there, in 1919. Aviation use was on-again, off-again in different areas of the island for the next few decades.

In its 1928 Annual Report, the Territorial Aeronautical Commission reported the excellent cooperation of the Hawaiian Pineapple Company, in making a suitable field available for emergency airplane landings on the Island of Lānai. The field was at Leinukalahua, Kaʻa.

Things got official in 1928, when Inter-Island Airways (now Hawaiian Airlines) began operations to Lānai with Sikorsky S-38 eight-passenger amphibious planes. The landing field was owned by the Hawaiian Pineapple Company.

In July 1930, the Territorial Aeronautics Commission wrote to Hawaiian Pineapple Company asking if they wished to apply for a license for their field. There was no response.

During 1935, Inter-Island Airways started to replace its 8-passenger planes with 16-passenger planes, which were later (1941) replaced by 24-passenger Douglas DC-3s.

The Lanai field was not big enough to accommodate this type of aircraft and once the last of the S-38s were put out of service (shortly after the start of World War II,) air service to Lānai came to a halt.

In 1944, the Post War Planning Division of the Territorial Department of Public Works proposed to construct a new 5,000-foot runway and airport 4-miles southwest of Lānai City (Hawaiian Pineapple Company, Ltd was looking to about 220-acres for the new facility.)

“The existing airport is too small for two-engine planes, and the Civil Aeronautics Administration has advised that it is willing to consider an application for a major airport,” the Public Works report stated.

“The dependence of the population upon air service justifies the proposed project. The part of the Lānai pineapple plantation in the Territory’s economy is very great. The present airport, although in operation, is unpaved and is in great need of adequate paving to prevent erosion from severe winds and relatively high rainfall.”

A new airport site for Lānai was chosen and on September 18, 1946, Hawaiian Airlines resumed service there using its DC-3s. The unpaved sod strip field was practically unusable in wet weather and almost untenable due to dust and dirt in dry weather. In view of these conditions, air service was not reliable and it was therefore decided to pave the runway and taxiway.

A Master Plan was prepared (1946) that called for a single 4,200-foot runway. The Territorial Legislature appropriated one-third of the funds, with the rest matched by Civil Aeronautics Administration funds. In 1947, Lānai Airport management was put under the Hawaii Aeronautics Commission.

The 3,700 feet long runway and related facilities, the first field constructed by the Hawaiian Aeronautics Commission, was officially dedicated on July 12, 1948.

By 1950, the airport was served regularly by Hawaiian Airlines with twice daily passenger service in two directions and twice weekly freight service. Air mail service was supplied.

Over the years, additions were made to the facility. In 1960, the Maui County Board of Supervisors requested both the State and Hawaiian Airlines to use larger more modern aircraft to provide passenger air service to Lānai. (Hawaiian had changed its fleet from DC-3s to Convairs.)

A new Master Plan called for extension of the runway to a total of 5,000-feet, as wells as new terminal facilities to match the requirements of the newer planes. The new projects were completed and dedicated on October 16, 1966.

On October 1, 1979, the Civil Aeronautics Board Order 79-10-3, the Bureau of Domestic Aviation, defined essential air service for Lānai as follows: “Lānai: A minimum of two daily round trip flights to Honolulu and Kahului providing a total of at least 80 seats in each direction per day.”

After minor upgrades, the airport went through another expansion phase. Dedicated April 19, 1994, the new single-story 15,000-square foot terminal was five times larger than the existing and included space for a gift shop and food and beverage concessions and counter space for six airlines.

The Lanai Airport Master Plan Update was published in June 1999. Phase I of the proposed improvements (2000-2010) called for improvements to the airfield, terminal complex, and design, planning, project management and contingency costs.

Larry Ellison bought about 98 percent of the island of Lānai in June 2012; Ellison announced plans to extend the runway by 500 feet so larger planes could land there. (Lots of information from hawaii-gov.)

May 30, 2024 by Peter T Young Leave a Comment

Hula Pahu

“For many weeks in succession, the first sound that fell on the ear in the morning was the loud beating of the drum, summoning the dancers to assemble. … Day after day, several hours in the day, the noisy hula – drumming, singing, and dancing in the open air, constituted the great attraction …” (Hiram Bingham)

The Hawaiian term ‘Pahu’ translates into ’drum’, ‘Niu’ being the Hawaiian word for ‘coconut’. The traditional pahu hula (hula drum) was carved from coconut stumps and covered with sharkskin (although possibly other types of native wood (koa, breadfruit, etc.) may have been used.)

The pahu is carved out of a single piece of wood; a bowl-like septum separates the sound chamber from the base or carved arches and a sharkskin membrane is lashed with sennit to the base.

The original material used for the Pahu’s waha (head) was either shark or ray skin. Heiau Pahu tended to be originally made with a waha of ray skin, while non-religious Pahu often used sharkskin. (Kalikiano)

Pahu were made with great care. In pre-European times (pre-1778) each part of the drum’s body, especially the sennit, ‘aha, used to lash the sharkskin to the base, required special prayers which were chanted during the processes of making the sennit and lashing the skin to the drum.

The power of the prayers became entrapped in the lashing, the wood, the skin and remained with the drum always. The rows of inverted arches carved out of the base, called hoaka, are visually symbolic of outstretched hands supporting joined human figures overhead and are poetically symbolic of the shadows of gods (hoaka means to cast a shadow.) (Smithsonian)

“Their wooden drum, with one sharkskin head, is beaten by the fingers of the musician, sitting cross-legged beside it as the uncovered end stands on the ground.” (Hiram Bingham)

Laʻa is generally credited for introducing the drum to Hawaiʻi. Laʻamaikahiki (Laʻa-from-Kahiki) brought the first sharkskin pahu to Hawaiʻi from Kahiki (Tahiti,) “sounding over the oceans” sometime around AD 1250.

On nearing the land he waked the echoes with the stirring tones of his drum, which so astonished the people that they followed him from point to point along the coast and heaped favors upon him whenever he came ashore.

Laʻa was an enthusiastic patron of the hula and is said to have made a tour of the islands, in which he instructed the natives in new forms of the dance. (Emerson)

The shorter variety of Pahu (Pahu Hula) was used to beat time in Hula dances and to accompany chanting mele. It was made to be played by a standing person (always a priest, Kahuna, or Chief), whereas the Hula Pahu was made to more suitably accommodate a seated or kneeling individual.

The sounds of the pahu are referred to as leo (voice) and the drum head is referred to as waha (mouth.) During state rituals in the large open-air heiau, the pahu was a receptacle for a god who spoke through the ‘voice’ of the drum.

There is reason to believe that the original use of the pahu was in connection with the services of the temple, and that its adaptation to the hālau was simply transference from one to another religious use.

Music, particularly drumming, was traditionally important in Hawaiian ritual. A drum would have been played as part of hula – a larger version was used in temples. The seated musician normally played the pahu with one hand and a smaller drum, sometimes tied to the knee, with the other. (British Museum)

Hawaiian musical traditions are essentially vocal. Percussive musical instruments are never played alone, but always to accompany chanting and dancing.

The pahu is an instrument of power and sacredness that exemplifies traditions of ritual music and dance that are steeped in time. The drum is both a sound producer and a symbol. Its music represents the fundamental principles of Hawaiian perceptions of time and timing in traditional music.

Pahu were given proper names and passed down from generation to generation as objects of mana (power) and kapu (sacredness) producing sounds that carried the knowledge of generations of aliʻi and kahuna (specialists, including priests.) (Smithsonian)

Hula is a form of cultural expression of the utmost complexity, reaching back through the centuries to a time in the islands when history was recorded entirely by story and song, and passed along to succeeding generations by skilled individuals.

Since the essence of modern Hawaiian Hula is a medium of expression for communicating thoughts, stories and feelings that are for the most part translated by patterns of bodily motion in which not just the arms and hands, but the entire body, act as story telling devices. (Kalikiano)

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)

“The hula was a religious service, in which poetry, music, pantomime, and the dance lent themselves, under the forms of dramatic art, to the refreshment of men’s minds. Its view of life was idyllic, and it gave itself to the celebration of those mythical times when gods and goddesses moved on the earth as men and women and when men and women were as gods.”

“(W)hen it comes to the hula and the whole train of feelings and sentiments that made their entrances and exits in the hālau (the hall of the hula) one perceives that in this he has found the door to the heart of the people.” (Emerson, son of Missionaries)

In describing a hula danced before Keōpūolani and her daughter Nāhiʻenaʻena, in Lāhainā in 1823, Missionary CS Stewart wrote: “The motions of the dance were slow and graceful, and, in this instance, free from indelicacy of action; and the song, or rather recitative, accompanied by much gesticulation, was dignified and harmonious in its numbers.”

”The theme of the whole, was the character and praises of the queen and princess, who were compared to everything sublime in nature, exalted as gods.” (Missionary Stewart)

“This was intended, in part at least, as an honor and gratification to the king, especially at Honolulu, at his expected reception there, on his removal from Kailua. Apparently, not all hula was viewed as bad or indecent.”

“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)