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January 20, 2023 by Peter T Young Leave a Comment

Merry or Merrie?

Today, we typically reference King David Kalakaua as the ‘Merrie Monarch;’ and most also say it was his nickname used by those outside of Hawai‘i.  Most suggest it was inspired by the king’s love of music, parties and fine food and drinks.  Yet, it is not clear why we spell ‘Merry’ that way.

It is probably coincidental, but about the same time Kalakaua was ruling in the Islands, there were numerous articles written about King Charles II, who had been ruling about 200-years earlier in England.  Charles was also referred to as the “Merry Monarch of England,” or simply, the “Merry Monarch.”

Charles II (born May 29, 1630, London—died February 6, 1685, London) was king of Great Britain and Ireland (1660–85).  He was restored to the throne after years of exile during the Puritan Commonwealth.

The years of his reign are known in English history as the Restoration period. His political adaptability and his knowledge of men enabled him to steer his country through the convolutions of the struggle between Anglicans, Catholics, and Dissenters that marked much of his reign. (Britannica)

“Charles Stuart the 2nd of England who lived an “eventful life” with “wild orgies” in “his depraved and dissolute court” was referred to in England as the “merry monarch.” (It was sometimes spelled ‘merrie monarch.’)

He was described as “a man of great and varied talents, a heartless libertine, sunk in vice and debauchery, and soddened with lust”.  (The Chelmsford Chronicle (Chelmsford Essex, England, January 13, 1860)

It is not clear if Charles II was referred to as the Merry Monarch during his reign; Hawai‘i’s King Kalakaua was also referred to as a Merry Monarch.  However, the first reference of such appears to be in news accounts of his death. (He died January 20, 1891.)

Several, primarily Mid-Western, newspapers on the continent ran identical stories with the heading that stated “He Was a Merry Monarch” The lead line of the story was “King David of Hawaii is dead.”  (January 29, 1891)

Later, the Honolulu Advertiser, in writing about the King in an October 23, 1901 article, noted, “when the merry monarch came to the throne a new nobility was created”.

In reference to Kalakaua, though, we call him ‘Merrie’, as noted above and below, it was not always so.

Early newspaper references to a Kalakaua nickname were all, effectively, using ‘Merry.’

In 1903, the Pacific Commercial Advertiser (PCA) referenced, “King Kalakaua, the merry monarch.”  The next year, he was again referred to as ‘the merry monarch.’

Later, in 1904, the PCA reported on the christening of the infant son of Prince and Princess Kawananakoa where the paper stated, “the name of the ‘Merry Monarch of Hawaii’ was revived, for the young Prince will bear the name of David Kalakaua II.”

Later, the Honolulu Advertiser referred to Kalakaua as the “Merry Monarch of the Paradise of the Pacific.”  Kuykendall’s 3rd and final volume, describing the “Kalakaua Dynasty,” says that it “covers the colorful reign of King Kalakaua, the Merry Monarch.”

Even the festival that bears the nickname is not clear, nor consistent, with the spelling …

The first hula festival (held in 1964) that bore Kalakaua’s nickname was called the ‘Merry Monarch Festival’.  In anticipation of the event, the Hawaii Tribune Herald referred to “the first Merry Monarch Festival to be held in Hilo next April.”

Newspaper reports note that, “A purpose of the Merry Monarch Festival, a special project of the Hawaii Island Chamber of Commerce, is to develop an attraction that will draw visitors here during tourism’s slack period of the year.” (Hawaii Tribune Herald, March 31, 1964)

A later Hawaii Tribune Herald story (September 29, 1963) noted, “A Merry Monarch Festival designed to bring back for a brief period the colorful years if King Kalakaua will be held in Hilo next April, it was announced today by George Naope, promotor of activities for the County.”

In announcing that the Hawaii Island Chamber of Commerce had agreed to sponsor the “Merry Monarch Festival,” chairman Gene Wilhelm said, “the Merry Monarch Festival, named for Hawaii’s King Kalakaua, who reigned from 1874 to 1891, is planned for an annual event during the first week following Easter.” (Hawaii Tribune Herald, January 10, 1964)

in the early years, in addition to an annual parade and hula, there were a variety of other programs associated with the festival.

Men competed in a Kalakaua look-alike contest; quarter- and semi-finals of a sideburns-mustache contest at Mooheau Park.  (If he was married, the festival gave a gift certificate to “The Most Understanding Wife” (Hawaii Tribune Herald)

A couple of athletic competitions also took place. Single riders and relay teams competed in the Merry Monarch Festival Bicycle Pete Beamer Derby and rode bicycles from the Kamehameha Statue in Kohala, headed through Waimea, along the Hamakua Coast and ended up at Kalakaua Park in Hilo.  The winner of the 85-mile race received a trophy and $25.

Reminiscent of the old days of Hawai‘i when relays of the swiftest runners carried fresh fish to the chiefs, the festival had a 4-mile relay race through Hilo (starting and finishing at Mo‘oheau Park).  The relay runners used mullet as ‘batons.’

Another of the early festival activities was a Treasure Hunt.  Hunters were to dig up a buried box containing a Kalakaua medallion, redeemable for a cash prize, that was buried in a secret location.

“Samuel Clemens Moke, King Kalakaua’s emissary who pays daily visits to the Tribune Herald” provided cryptic clues on the treasure’s location.  These were published in the Hawai‘i Tribune Herald.

In reporting on its 50th anniversary, The Hawaii Tribune Herald noted that, “Andres Baclig, the county bandmaster in 1964, composed a number called the ‘Merry Monarch Festival March.’”

“The song, which was received with much acclaim, was presented at the Mooheau Bandstand on April 2, 1964, and it was a spirited number, featuring ‘lots of trombones and baritones.’”

In a report on planning for the 5th annual festival in the Honolulu Advertiser (December 24, 1967), it was reported that, “The largest planning committee ever set up for a Hilo Merry Monarch Festival is at work on the fifth annual festival”.

The ‘Merry’ name was used at least until 1969.

However, the 1977 program for the festival was a bit ambidextrous. The program was titled ‘Merrie Monarch Festival,’ but text on its initial pages, noted, “Hilo’s Merry Monarch Festival is named for Kalakaua who was Hawaii’s Merry Monarch.”

In 1971, the first competitive Merrie Monarch contest took place at the Hilo Civic Auditorium.  In 1979 the festival moved to the Edith Kanaka‘ole Tennis Stadium, where it has been held ever since.

In the late-1970s, newspaper reporting noted that performing at Hulihee Palace was the ‘Merry Monarchs Hawaiian Glee Club,’ “the foremost all male Hawaiian language singing group in the Islands (December 12, 1977).  A similar concert to celebrate the birthday of “Hawaii’s Merry Monarch, Kalakaua” was held that year at the Waikiki Shell.

Today, the King and Festival are referred to as the ‘Merrie Monarch.’  It is not clear when and why the nickname or the festival name changed from ‘Merry’ to ‘Merrie’.  However, the festival remains the premier hula competition.

© 2022 Ho‘okuleana LLC

Filed Under: General, Ali'i / Chiefs / Governance, Prominent People, Economy Tagged With: Kalakaua, Hula, Merrie Monarch, Festival

April 7, 2018 by Peter T Young Leave a Comment

Hui Lei Mamo

Hawaiʻi’s last King, Kalākaua, has been referred to as a Renaissance man. Concerned about the loss of native Hawaiian culture and traditions, Kalākaua encouraged the transcription of Hawaiian oral traditions, and supported the revival of and public performances of the hula.

He advocated a renewed sense of pride in such things as Hawaiian mythology, medicine, chant and hula. Ancient Hawaiians had no written language, but chant and hula served to record such things as genealogy, mythology, history and religion.

While seeking to revive many elements of Hawaiian culture that were slipping away, the King also promoted the advancement of modern sciences, art and literature.

He is remembered as the “Merrie Monarch” because he was a patron of culture and arts, and enjoyed socializing and entertaining.

All of Kalakaua’s dancers were kept on retainer and were given a place to live on the palace grounds. These dancers, musicians, and chanters were all compensated for performing. Dancing the hula for entertainment was their source of income. (Tong)

Kalākaua believed his nation and people would prosper with cultural rebirth and brought hula teachers from the countryside and neighboring islands to his court. At his 1883 coronation and 1886 50th birthday jubilee, Kalākaua’s dancers performed publicly on palace grounds for about two weeks on each occasion. (Imada)

“Kalākaua always had dancers in his court dancing for his pleasure…. There were parties for his guests from the mainland on their way to Australia with dancers as well. They weren’t only for his friends, but for everyone in Honolulu.” (Kupahu; Tong)

Through chanted poetry and bodily movements, these hula performers celebrated the births and achievements of ali‘i, recorded the genealogies of high chiefs, and relayed Hawaiian epics. Hula was also embedded in a culture of sexual arousal.

In 1886, the same year of his jubilee, Kalākaua assembled Hui Lei Mamo, a group of eight Hawaiian women and girls under the age of 20. Hui Lei Mamo was a ‘glee club’; it performed acculturated hula performance as well as choral music. (Imada)

As a member of the royal family and the reigning monarch of Hawai‘i, King Kalākaua had the rightful authority to dictate when the hula would be performed. (Tong)

While Kalākaua’s older court dancers performed pre-contact forms of hula with indigenous instrumentation and chanting, the young women of Hui Lei Mamo performed only the hula ku‘i, ‘the modern hula’.

An acculturated dance that developed in the king’s cosmopolitan court, hula ku‘i merged Western music and instruments with traditional hula steps. It is suggested that Kalākaua himself was the inventor of this hybrid genre …

“[The king] took some steps out of the old-fashioned [hula] and put them into the modern [hula] with guitar. He was the first one to start this.” (Kapahu; Imada)

Performed in Hawaiian language and accompanied by guitar and ’ukulele, this hula utilized polka or waltz tempos, couplet verses and a vamp that separated the verses.

Every Thursday afternoon from 2 to 5 pm, Kalākaua invited friends and out-of-town guests to Healani, his boathouse in Honolulu Harbor, where his younger court dancers performed hula ku‘i. (Imada)

When Kalākaua died in 1891, the dancers no longer had a place in court. Nevertheless, they continued to benefit directly from Kalākaua’s cultural renaissance through training in hula ‘schools’.

Called hālau hula or pā hula, these schools became gendered institutions through which a critical subset of Hawaiian women received rigorous training in performance, history, religion and protocol.

Namake‘elua (who is sometimes recorded as Nama-elua), a hula teacher Kalākaua summoned for his jubilee, had decided to remain in Honolulu instead of returning to his home on the island of Kaua‘i.

The handful of students undertook training in hula genres associated with Indigenous pre-European contact traditions, very different from the hula ku‘i of the court. (Imada)

Four women entered the hālau hula. Three of them were Hui Lei Mamo dancers. Their intensive training commenced in 1892, with the young women taking residence in the teacher’s home.

For about six weeks, the dancers were kapu (sacred or consecrated). They dedicated themselves to the goddess Laka, the patron of hula, and erected a hula kuahu (altar), imploring Laka to give them knowledge.

They danced for about six hours a day, taking swims in the ocean and meals in between practices. The repertoire was ‘very religious’. Hula practice was a part of a sacred realm and governed by strict rules, because hula performances manifested the gods’ and ali‘i’s mana (sacred power) and rank.

On the day of the ‘ūniki (ritual graduation), graduates of other hula schools came to watch the four women dance. Only after undergoing ‘ūniki were they released from sacredness and became noa (free). The following day, they celebrated their release with a feast and public performance for friends and family.

In 1893, some of these dancers went to the Chicago World’s Fair as part of the Midway Plaisance, a street of themed villages from around the world. The 1893 Chicago World’s Fair was the 400th anniversary of Christopher Columbus’s arrival in the New World.

The Midway Plaisance was inspired by the 1889 Paris Universal Exposition, where the French government and prominent anthropologists turned representations of the French colonies into ethnological villages featuring people from Africa and Asia. (Tong)

The performers who went abroad directly benefited from King David Kalākaua’s national revival of hula and traditional cultural arts during his reign from 1872 to 1891. (The image is believed to be the members of Hui Kei Mamo.)

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Lei_Mamo_Singing_Girls_(PP-32-8-014)
Lei_Mamo_Singing_Girls_(PP-32-8-014)

Filed Under: Ali'i / Chiefs / Governance, Hawaiian Traditions, Economy Tagged With: Hui Lei Mamo, Hawaii, Kalakaua, Hula, King Kalakaua, Merrie Monarch

May 9, 2017 by Peter T Young Leave a Comment

Timeline Tuesday … 1970s

Today’s ‘Timeline Tuesday’ takes us through the 1970s – first Waikiki Roughwater swim, first Merrie Monarch, Hokule‘a launched and English and Hawaiian are recognized as official State languages.. We look at what was happening in Hawai‘i during this time period and what else was happening around the rest of the world.

A Comparative Timeline illustrates the events with images and short phrases. This helps us to get a better context on what was happening in Hawai‘i versus the rest of the world. I prepared these a few years ago for a planning project. (Ultimately, they never got used for the project, but I thought they might be on interest to others.)

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Timeline-1970s

Filed Under: General, Hawaiian Traditions, Place Names, Economy Tagged With: Timeline Tuesday, Merrie Monarch, Hawaii, Hawaiian Language, Hokulea, Reef Runway, Office of Hawaiian Affairs, Waikiki Roughwater Swim

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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