Images of Old Hawaiʻi

by Peter T Young Leave a Comment

Kaulana Nā Pua

The “King’s Band” (later known as the Royal Hawaiian Band) had its beginning in 1836; it continues today.  Founded by King Kamehameha III, it became a part of daily life by performing for the public, state occasions, funerals and marching in parades.

The band accompanied reigning monarchs of the time on frequent trips to the neighbor islands and brought their music to remote destinations of the kingdom, such as the Hansen’s Disease settlement at Kalaupapa on the island of Molokai.

“The King’s Band” members in 1848 signed contracts to serve in the band, noting they “agree to serve under the orders of William Merseburgh, the captain appointed by His Majesty … (and) to meet from time to time for the purpose of practicing and improvement in instrumental music.”

“We agree to play for the king and for the other officers of the government whenever called on by our captain for such reasonable compensation as he shall award, not less than one dollar nor more than three dollars per man for any time not to exceed one day.”  (Hawaiian Star, September 22, 1906)

In the 1880s, the Royal Hawaiian Band played concerts twice a week in Queen Emma Square.

“One of our pleasant diversions was to go to and hear Captain Berger’s band play at Emma Square every Saturday afternoon.  … we all went and sat in the carriage just outside the park.  There was usually a crowd there, as it was very popular.”  (Sutherland Journal)

After the 1893 overthrow of Queen Lili’uokalani, the Provisional Government under Sanford B Dole demanded a loyalty oath of all employees, including the musicians of the Royal Hawaiian Band.

Under a revised name, ‘Government Band,’ the musicians refused to do so; the striking bandsmen persuaded Ellen Kekoaohiwaikalani Wright Prendergast, a friend of Liliʻuokalani, to capture their feelings of anguish and pain in a song.  (Nordyke, HJH)

She composed Kaulana Na Pua o Hawaii, also known as Kaulana Na Pua (“Famous are the Flowers (Children.)”)

Click HERE for a rendition of Kaulana Nā Pua by Makaha Sons.

The band was told they would end up eating rocks if they didn’t swear allegiance, a threat that inspired one of the song’s verses: “Ua lawa makou i ka pōhaku, I ka ai kamahao o ka ʻāina,” which translates, “We are satisfied with the rocks, The wondrous food of the land” (also giving the song the name Mele Ai Pōhaku: The Stone Eating Song.)

The song is rich in kaona, hidden meanings, and its sweet melody belies the passions embedded in it. The band members then organized into the “Pana Lāhui Hawaiʻi”, “The Hawaiian National Band”, which under the leadership of José Liborno went to the United States to drum up support for the Queen and for Hawaiʻi’s continuing independence. (RoyalHawaiianBand)

The “Mele Aloha ʻĀina” song first appeared in Hawaiʻi Holomua on March 25, 1893, under the title “He Inoa No Na Keiki O Ka Bana Lahui” (A Namesong for the Children of the National Band).  (Stillman, HJH)

The credit line in the May 12, 1893 printing of the lyrics for “Kaulana Na Pua” also contains a date: February 10, 1893, barely one month after the overthrow of the monarchy.  (Stillman, HJH)

The song was sung on February 1, 1894, the royalist anniversary of the resignation of Royal Hawaiian Band members who had relinquished their jobs rather than sign an oath of loyalty to the Republic of Hawaiʻi. (Nordyke, HJH)

The lyrics mention four sacred chiefs that represent the major islands of the Hawaiian chain: Keawe of the Big Island of Hawaiʻi, Piʻilani of Maui, Mano of Kauaʻi and Kākuhihewa of Oʻahu. The words are treated with a spiritual tone of reverence and respect.  (Nordyke, HJH)

“Kaulana Na Pua” serves as a voice for the native Hawaiians in their protest against loss of self-determination and sovereignty. The powerful and reverent song symbolizes a pride of culture and a plea for understanding.  (Nordyke, HJH)

Today, the Royal Hawaiian Band is an agency of the City and County of Honolulu and is the only full-time municipal band in the United States.

The band performs and marches in concerts and parades each year including: city, state, and military functions; schools, community centers, shopping malls, retirement communities, graduations, and private events.

© 2023 Hoʻokuleana LLC

 

by Peter T Young Leave a Comment

Amusements

The following is a portion of a letter from William Richards to Charles Wilkes, commander of the United States Exploring Expedition, dated March 15, 1841 in Lahaina.  The letter responds to questions raised by Wilkes.  It comes from editors Marshall Sahlins and Dorothy Barrere.

Richards arrived in Honolulu in April 1823 in the second company of American missionaries and was stationed soon thereafter in Lahaina, home of many of the chiefs. He remained in Lahaina throughout most of his missionary career.

His knowledge of Hawaiian is known to have been excellent—he is responsible for many translations of biblical and other works into Hawaiian—and as the letter to Wilkes documents, he was friend to the famous Hoapili and other chiefs.

In 1838, Richards left the mission to become political counselor to the Monarchy. In 1842 with T. Ha‘alilio he undertook a mission to America and Europe to negotiate recognition of Hawaii’s independence. Richards was commissioned Minister of Public Instruction in 1846. He died in Honolulu in November 1847. All of the following is from that letter:

Their amusements were pretty numerous, and many of them of an athletic kind, though not requiring the severest trials of strength.

A favorite amusement of the chiefs was sliding down hill on a long narrow slead, upon which they prostratrated themselves, and then having the slead ballanced on the edge of a very steep hill they started it with the foot and were precipitated down the hill with immense velocity often to a distance of half or even a whole mile.

Thus they went from the top of Diamond Hill far out upon the plane of Honolulu, and at other places to a much greater distance.

Rolling a smooth round stone was another favorite amusement and one which tended to strengthen the arms more than any other with which I have been acquainted.

On ground where the descent was scarcely perceptable I have seen the stone rolled a hundred and thirty rods.

Throwing the spear and various other exercises with it was also an amusement as well as a military exercise. With this weapon they were very expert.

Playing on the surf board has always been and continues to be a very favorite amusement. As you have doubtless seen this, I need not describe the process.

The dance was an amusement which was practiced perhaps to a greater extent than any other. There was a great variety of dances. Some of them consisted mainly in the recital of songs accompanied with much action as was calculated to give them force. Other seemed to consist mainly in action.

Sometimes a single girl was the actress, again, a large number united. Their motions were anything but graceful. Their motions were regulated by music, which consisted of a kind of drumming on various hollow vessels, as calabashes, tubs, and a kind of drum made by drawing a piece of shark skin over a short piece of a hollow log. . . .

Every variety of song was rehearsed and acted on these occasions, from the most sentimental to the most lascivious, and the action always echoed to the sense.

Sometimes a single voice rehearsed the song—sometimes a number chanted in unison.

The first summer I spent in Lahaina scarcely a night passed in which I did not hear the noise of these assemblies, and they were uniformly scenes of lewdness and vice.

But the most numerous class of all their amusements was their games of chance.

Of these they were specially fond. These games were peculiar to themselves. The one most practiced by the chiefs was that of placing several bunches of kapas in a row, and then one man took a stone and hid it under one of the tapas. His antagonist guessed the place of the stone, and the one who was oftenest right won the game.

They never played at games of chance without a wager, nor indeed at any game of skill. The wager seemed to constitute the charm of most of their amusements. It was an accompanyment of their down hill slides – their play in the surf – their plays with the spear their rolling the stone – their flying the kite &c. . . .

They gambled away their property of every kind – their clothes – their food – the crops upon their land – the lands themselves – their wives – their husbands – their daughters, and even the very bones of their arms and legs.

At present cards is a common amusement and it is accompanied with its usual evils.

© 2022 Ho‘okuleana LLC

by Peter T Young Leave a Comment

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.

© 2022 Hoʻokuleana LLC

by Peter T Young Leave a Comment

Himeni

Oli and mele were 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)

When the American Protestant missionaries first arrived in the Islands, they broke into song. Hiram Bingham notes that on April 1, 1820, off Kawaihae, Kalanimōku came onboard their boat. “Then, ere the excitement of the chiefs’ visit was over, Mr. Thurston and his yoke-fellow (Bingham speaking of himself) ascended the shrouds …”

“… and, standing upon the main-top (the mission family, captain and crew being on deck), as we gently floated along on the smooth silent sea, under the lee of Hawaii’s dark shores, sang a favorite song of Zion (Melton Mowbray), which they had sung at their ordination at Goshen, and with the Park St Church choir, at Boston, on the day of embarkation.”

Once established 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)

“Before the year 1823 had closed the (Bingham and William Ellis) had prepared a small hymn book of sixty pages, of which 2000 copies were printed in December. Mr. Ballon says: ‘A large proportion of the hymns were original, but among them were translations of Watt’s 50th Psalm, Pope’s ‘The Dying Christian to his Soul,’ several choruses from Handel’s Messiah.’”

“‘This book also contained a translation of more than forty select passages of Scripture.’” It was called Na Himeni Hawaii; he me ori ia Iehova, ke Akua mau’. “Literally-translated the title reads thus, ‘The hymns Hawaiian for the praise of Jehova the God continuing’”. (Westervelt; Thrum)

On October 23, 1823, missionaries wrote: “We are about to put to press within a few days an edition of twenty hymns prepared principally by Mr. Ellis. We purpose also to print a catechism and a tract.” (Ballou & Carter)

“A large proportion of the hymns were original, but among them were translations of Watts’ 50th psalm, of Pope’s ode, The dying Christian to his soul, Owhyhee’s idols are no more (originally Taheite’s), the jubilee hymn, several choruses from Handel’s Messiah, &c.” (Ballou & Carter)

“In August of 1825 the 2,000 copies of this first edition had all been given out gratis and it was felt that hymns were needed more than any other textbook. On March 10, 1826, it was recorded that 10,000 copies of the second edition of hymns, nearly through the press, would exhaust the paper on hand.”

“The next issues of this little book then appeared in what now seems rapid succession: 1827, 1828 and 1830. In the edition of 1826 the number of hymns had grown from 47 to 63; in the third, fourth and fifth editions 100 hymns were printed on 108 pages.”

“Each of these four issues, from 1826 to 1830, was published in an edition of 10,000 copies, except that of 1828, of which 20,000 were printed.”

“The fifth edition, of 1830, was delayed because the old type was so worn down by long usage as to be quite impracticable.” (Wilcox; Damon The Fiend, March 1935)

The missionaries wrote other songs – and sang with the ali‘i. “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)

One of the unique verses (sung to an old melody) was Hoʻonani Hole – Hoʻonani I Ka Makua Mau. Bingham 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.

Another popular Hawaiian melody was written by another missionary, Lorenzo Lyons. “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)

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 … it 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.”

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

Lyons was fluent in the Hawaiian language and composed many poems and hymns; Lyons’ 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).

Queen Liliʻuokalani, while a student at the Chiefs’ Children’s School, learned and became fluent in English, and studied music and the arts. Her talent for music blossomed and she eventually wrote more than 150 songs, including “Aloha ʻOe.”

“To compose was as natural to me as to breathe; and this gift of nature, never having been suffered to fall into disuse, remains a source of the greatest consolation to this day.”

“… Hours of which it is not yet in place to speak, which I might have found long and lonely, passed quickly and cheerfully by, occupied and soothed by the expression of my thoughts in music.” (Liliʻuokalani)

“In view of the fact that the best modern Hawaiian music, now known the world over, owes much to the musical form of these early hymns, one wishes that history had been less restrained.”

“Yet, even in default of any direct, consecutive record, one may piece out quite a little of the story of Hawaiian hymns from references in early letters and accounts of their printing.”

“And when one has the good fortune to touch with one’s own hands many of the early songbooks printed in Hawaiian, the search toward a complete account of them becomes a fascinating pursuit.” (Wilcox; Damon The Fiend, March 1935)

“When our Protestant missionaries came to hymnody in Hawaiian – as they very soon did – they reared a natural superstructure upon this rich and rhythmical foundation of the Bible. It was a veritable treasure house.”

“But strangely, too, another very deep-seated source of balance and rhythm and figured speech flowed in the cultural consciousness of the Hawaiian people to whom these new Christian messages were being brought. Instinct in the Hawaiian mode of thought was the impulse and the act of prayer, of supplication, of praise.” (Wilcox; Damon The Fiend, March 1935)

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© 2018 Hoʻokuleana LLC

Na Himeni Hawaii
Na Himeni Hawaii
He Mau Himeni
He Mau Himeni

by Peter T Young Leave a Comment

Ke Ala O Ka Hua Mele

Himeni & Na Aliʻi Compositions

Saturday, May 11th; Story Session: 5-6:15 pm; Performance: 7-9 pm
Hawaiian Mission Houses Historic Site and Archives

Ke Ala O Ka Hua Mele explores different eras of Hawaiian music. Integrating education with Hawaiian culture, Hawaiian Mission Houses is giving the public an opportunity to sit down and talk story with a panel of scholars, cultural practitioners, and kumu as they discuss the influences of missionaries, Aliʻi and others on the development of Hawaiian music.

Himeni & Na Aliʻi: Hawaiian Hymnals & Compositions by Hawaiian Monarchs
Featuring: Aaron Mahi, George Kuo and Martin Pahinui, the Kawaiahaʻo Choir, Kanani Kawika, Kalena Silva, Nola Nahulu, Kumu Hula Michael Pili Pang and Hālau Hula Ka Noʻeau

Aaron Mahi will moderate the free talk story panel from 5 – 6:15 pm that will include Kanani Kawika and Nola Nahulu.

After the free talk story, you can purchase pupu and drinks on the grounds, or bring a picnic lunch. Purchase admission to the 7 – 9 pm performance and enjoy George Kuo, Martin Pahinui, Kawaiahaʻo Choir, Kumu Hula Michael Pili Pang and Hālau Hula Ka Noʻeau presenting the best in dance and music the islands have to offer.

Saturday, May 11th
Free Talk Story Session: 5 – 6:15 pm
Performance: 7 – 9 pm
($30, pre-event pricing & $35, at the door pricing)

To reserve your tickets, call 447-3926 or book online.
Click here to be directed to the on-line reservation system.

The image is a flyer for the whole series (I am signed up for all.) The first one was great and we are looking forward to this next one.