Images of Old Hawaiʻi

by Peter T Young Leave a Comment

Waipuhia

Huli ae au e nana ia Waipuhia, ua moni ia kona mau huna wai e ka makani ; me he lauoho kalole la i luhe i ka makani, i kiaweawe makalii i ka lau o ke kawelu, ka puaki i ka pua o ka ahihi o Malailua. (Kamakau, Ka Nūpepa Kū‘oko‘a, July 13, 1865)

I turned and looked at Waipuhia; its fine droplets of water were being absorbed by the wind. Like straight hair drooping in the wind, it streamed finely down the leaves of the kawelu grass and gathered on the blossoms of the ‘āhihi of Malailua.  (Kamakau; Cultural Surveys)

A story is told in the legend of two children who lived on two hills, one in Nuʻuanu and one in Kalihi.

The boy would visit his playmate on the neighboring hill.

When the girl’s godmother, who was the mist of the valley, saw how happy this made the girl, she enveloped the boy in a mist so he could not leave and return home.

The boy’s parents thought that the boy was dead and went on with their lives.

However, the parents angered the “Lady of the Ferns” a goddess of Kalihi Pass, when they collected lehua, sacred to this goddess, for their lei and forgot to make an offering.

The goddess summoned a horrendous storm to strike the family on its hill.

The cries of his family woke the boy from his spell and he tried to return home, but the lady created a great wind that picked him up and killed him. When the boy did not return, the girl began to weep.

“… lo! Her tears were wafted into the air. They rose in a silvery mist, and to this day the maiden weeps and the mist of her tears rises to caress the spirit voice of her youthful love.”  (Raphaelson; Cultural Surveys)

Waipuhia (blown water,) near the mauka boundary of Nuʻuanu Valley, are more commonly called the “Upside Down Waterfalls.”

At normal times (with typical tradewinds,) the falls only appear after a rain, and the water from the falls never reaches the base of the cliff; it is “blown” up by the winds and “in midair, it suddenly changes its course and rises upward to a cloud of mist”.

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by Peter T Young Leave a Comment

“Let them take the Islands”

“I wish to inform you that your King has surrendered recently the Kingdom due to the incessant demand to the Commander of the British battleship.  We have tried all means of settling the controversy, but in vain.”

“And therefore, we were given the time to consider as to the matter of surrendering from the hours of the morning to four in the afternoon; that, if we fail to recognize and adhere to the demand, we would likely be killed.” (Kekāuluohi to Kuakini, February 27, 1843)

Let’s see how we got there.

April 25, 1825, Richard Charlton arrived in the Islands to serve as the first British consul. A former sea captain and trader, he was already familiar with the islands of the Pacific and had promoted them in England for their commercial potential (he worked for the East India Company in the Pacific as early as 1821.)

Charlton had been in London during Kamehameha II’s visit in 1824 and secured an introduction to the king and his entourage.  By the time he arrived in Hawai‘i in 1825, instructions had already arrived from Kamehameha II that Charlton was to be allowed to build a house, or houses, any place he wished and should be made comfortable.  This apparently was due to favors Charlton had done for the royal party.  (Hawaiʻi State Archives)

In 1840, Charlton made a claim for several parcels of land in Honolulu. To substantiate his claim, Charlton produced a 299-year lease for the land in question, granted by Kalanimōku.  There was no disagreement over the parcel, Wailele, on which Charlton lived, but the adjoining parcel he claimed, Pūlaholaho, had been occupied since 1826 by retainers and heirs of Kaʻahumanu.

In rejecting Charlton’s claim, Kamehameha III cited the fact that Kalanimōku did not have the authority to grant the lease.  At the time the lease was made, Kaʻahumanu was Kuhina Nui, and only she and the king could make such grants.  The land was Kaʻahumanu’s in the first place, and Kalanimōku certainly could not give it away.  (Hawaiʻi State Archives)  The dispute dragged on for years.

This, and other grievances purported by Charlton and the British community in Hawai‘i, led to the landing of George Paulet on February 11, 1843 “for the purpose of affording protection to British subjects, as likewise to support the position of Her Britannic Majesty’s representative here”.

That day, Paulet sent King Kamehameha III six demands, threatening war if they were not acceded to by 4 pm of the next day.

  1. Restoration of Charlton’s land and reparation for losses
  2. Acknowledgment of the right of Mr Simpson to serve as acting Consul
  3. Guarantee that no British subject shall be subjected to imprisonment, unless it is a felony under  English laws
  4. Written promise given by Kamehameha III for a new trial for Captain Jones
  5. Adoption of steps to resolve disputes between British subjects and Hawaiians
  6. Immediate settlement of grievances and complaints of British subjects against the Hawaiian government

Pressed by demands which became more and more impossible, the King said, “Let them take the islands.”  (Smith)  Before the deadline, the King acceded to the demands under protest, and appealed to the British Government for damages.

But a fresh series of demands having been made, and claims for, the king decided, by Dr Gerrit Judd’s advice, to forestall the intended seizure of the Islands by a provisional cession, pending an appeal to the justice of the home government.

On February 25, the King acceded to his demands and noted, “In consequence of the difficulties in which we find ourselves involved, and our opinion of the impossibility of complying with the demands in the manner in which they are made … “

“… we do hereby cede the group of islands known as the Hawaiian (or Sandwich) Islands, unto the Right Honorable Lord George Paulet … the said cession being made with the reservation that it is subject to any arrangement that may have been entered into by the Representatives appointed by us to treat with the Government of Her Britannic Majesty…”

Under the terms of the new government the King and his advisers continued to administer the affairs of the Hawaiian population.  For business dealing with foreigners, a commission was created, consisting of the King (or his representative,) Paulet and two officers from Paulet’s ship.  Judd served as the representative of the King.  (Daws)

Interesting, at the same time this was going on, three representative of the Hawaiian government were already on the continent and Europe to seek recognition of Hawaiʻi’s sovereignty by other countries.  The King and others were concerned that there may be takeovers by others.

Great Britain claimed Australia and Aotearoa (New Zealand,) the French Marquesas and Society Islands … the Hawaiian Islands’ strategic mid-Pacific position made it a likely next target. Invasion, overthrow and occupation seemed imminent.

In the face of this threat, Kamehameha III commissioned and dispatched three Ministers – an American, Briton and a trusted childhood friend; William Richards, Sir George Simpson and Timoteo Haʻalilio – to secure the recognition of the Hawaiian Kingdom’s independence and protection of public international law that accompanied recognition.  (Hawaiian Journal of Law & Politics)

In April 1842, Simpson left for England; in July, Haʻalilio and Richards departed for the US. By December 1842, the US had recognized the Hawaiian Kingdom; shortly thereafter they secured formal recognition from Great Britain and France.

On April 1, 1843, Lord Aberdeen, on behalf of Her Britannic Majesty Queen Victoria, assured the Hawaiian delegation that: “Her Majesty’s Government was willing and had determined to recognize the independence of the Sandwich Islands under their present sovereign.”

On November 28, 1843, the British and French Governments united in a joint declaration and entered into a formal agreement recognizing Hawaiian independence (Lord Aberdeen signed on behalf of Britain, French ambassador Louis Saint-Aulaire signed on behalf of France.)

The Declaration states:
“Her Majesty the Queen of the United Kingdom of Great Britain and Ireland, and His Majesty the King of the French, taking into consideration the existence in the Sandwich Islands of a government capable of providing for the regularity of its relations with foreign nations have thought it right to engage reciprocally to consider the Sandwich Islands as an independent State and never to take possession, either directly or under the title of protectorate, or under any other form, of any part of the territory of which they are composed.”

“The undersigned, Her Britannic Majesty’s principal secretary of state for foreign affairs, and the ambassador extraordinary of His Majesty the King of the French, at the court of London, being furnished with the necessary powers, hereby declare in consequence that their said majesties take reciprocally that engagement.” (Hawaiian Journal of Law & Politics)

Back in the Islands … after five months of British rule, Queen Victoria, on learning the injustice done, immediately sent Rear Admiral Richard Darton Thomas to the islands to restore sovereignty to its rightful rulers. On July 31, 1843 the Hawaiian flag was raised.  The ceremony was held in area known as Kulaokahuʻa; the site of the ceremony was turned into a park Thomas Square.

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by Peter T Young Leave a Comment

What Had Long Been Feared

“What has long been feared by some, and considered a certain event by others, has happened. The Chinese quarter of Honolulu has been devastated by a fire, that, gaining headway in the dense aggregation of wooden buildings, was quickly beyond control and sweeping in all directions.” (Daily Bulletin – April 19, 1886)

It started on April 18, 1886.  A few minutes before 1 o’clock the fire started in a Chinese cook house on the corner of Hotel street and Smith’s lane. It started accidentally by the owner of the premises in lighting his fire for cooking.

“Although not a breath of wind stirred … quicker than can be told the fire was leaping from roof to roof, gliding along verandahs, entwining itself about pillars and posts, festooning doors and windows . … In the calm the smoke rose in a vast volume . . . . Both [Smith and Hotel] were soon lanes of fire.”  (Daily Bulletin – April 19, 1886)

After a seven-hour ordeal-about half of it in darkness-the walls of the last building to collapse fell in. It was exactly 11:20 and the place was the makai side of the King Street bridge leading across to the Palama district.

As the embers cooled, tempers flared.

Hawaiians of Chinatown, especially around the ʻEwa side of Maunakea Street, where they had been the greatest losers, were bitter.  They blamed it all on the Chinese.

By midnight a mob of perhaps 3,000 crowded around the King Street bridge and back to the Chinese theater. As Hawaiians itched for a fight, things could get nasty – fortunately, cooler heads prevailed and while skirmishes occurred, a full-on riot was avoided.

Honolulu’s Chinatown, then and now, is the approximate 36-acres on the ʻEwa side of Downtown Honolulu.  It developed into a Chinese dominated place, following the in-migration of Chinese to work on the sugar plantation, starting in 1852.

Between 1852 and 1876, 3,908 Chinese were imported as contract laborers, compared with only 148 Japanese and 223 South Sea Islanders. Around 1882, the Chinese in Hawaii formed nearly 49% of the total plantation working force, and for a time outnumbered Caucasians in the islands.

It had been noted, according to one observer in 1882, for the fact that the great majority of its business establishments “watchmakers’ and jewelers’ shops, shoe-shops, tailor shops, saddle and harness shops, furniture-shops, cabinet shops and bakeries, (were) all run by Chinamen with Chinese workmen.”

By 1884, the Chinese population in Honolulu reached 5,000, and the number of Chinese doing plantation work declined.   As a group they became very important in business in Hawaii, and 75% of them were concentrated in Chinatown where they built their clubhouses, herb shops, restaurants, temples and retail stores.

By 1886, there were 20,000 people living in the area between Nuʻuanu Stream, Nuʻuanu Avenue, Beretania Street and Honolulu Harbor.

Most of the structures were one- and two-story wooden shacks crammed with people, animal and pests. Chinatown had a poor water supply system and no sewage disposal.

Although the fire intensified anti-Chinese feeling, this group had long been under attack. During the 1880s, spurred by what was considered an alarming influx, the Hawaiian government had limited – and for a time halted – their coming.

The year before the fire, massive Japanese immigration started. It had been conceived and encouraged not only to man plantation fields, but also to provide a counterbalance to the Chinese.

The 1886 blaze destroyed eight blocks of Chinatown. While the government soon after established ordinances to widen the narrow streets and limit building construction to stone or brick, nothing was enforced. More ramshackle buildings went up, laying the groundwork for future disaster and disease.

The 1886 fire started at the corner of Hotel and Smith Streets.

They rebuilt.

In 1900, fire struck again.  However, in 1900, the Board of Health intentionally set “sanitary” fires to prevent further spread of the bubonic plague.  Those got out of control.

The 1900 fire caused the destruction of all premises bounded by Kukui Street, River Street, Queen Street (presently Ala Moana Boulevard) and Nuʻuanu Avenue.

Today, the majority of buildings in Chinatown date from 1901 with very few exceptions which escaped the January 20, 1900 fire.

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by Peter T Young 3 Comments

Arakawas

Established over 100 years ago, “old” Waipahu was once a vibrant, multi-ethnic sugar plantation town whose key corporate element was the Oʻahu Sugar Company.  For over 85 years, Waipahu served as a major commercial center outside of Honolulu.    (Waipahu Community Association)

“In the early days of Waipahu, the parking lot behind Bank of Hawaiʻi was a wetland next to Kapakahi stream.  People who lived near the stream grew rice and watercress and had truck gardens.  All of us kids used to swim in the stream and fish for dojo, funa and goby.”  (Goro Arakawa, Clark)

Another Waipahu institution (unfortunately, now gone) was Arakawas.

Zempan Arakawa, patriarch of the Arakawa (born on August 7, 1885,) came to Hawaiʻi from Okinawa in 1905.  First working at the Oʻahu Sugar Plantation, “Arakawa got to know all the workers and what they needed. He ran errands for them. This understanding proved useful when he went into retail a few years later. He knew his customers.” (Purcell; Sigall)

The real legacy of the Arakawa family began in 1909, when Zempan and Tsuru (Ruth) Arakawa, opened their first store, Arakawa Shoten on Waipahu Street. (Okinawa Association)

In 1912 he moved the store to Depot Road, where it was in the location later taken over by Big Way market.   (Then, in 1955, he opened the 1 1/2-level store.)  (Star-Bulletin)

From humble beginnings of selling kau-kau bags and sewn tabis to Waipahu plantation workers, they expanded their business and turned Arakawas into Hawaiʻi’s best known “everything” store. If you needed to find something – you would find it at Arakawas. (Okinawa Association)

Learning from his experience working on the plantation, where Zempan took orders for sewing and mending work that he did at night, he soon recognized that the sugar workers needed functional and sturdy work clothing, at a price they could afford.  (Kawakami)

By the 1920s, palaka (typically a white plaid pattern over a dark blue background) became very popular.  The Arakawa store specialized in selling palaka fabrics to plantation workers.  They referred to palaka as gobanji, the Japanese term for a plaid or check design.  Apparently, the early immigrants used palaka only as work jackets; they did not wear palaka shirts.  (Kawakami)

When Zempan retired in 1955 his children; sons Kazuo, Takemi, Shigemi and Goro; daughters Leatrice and Joan and their husbands (Sei Kaneshiro and Horace Taba) took over the running of the store.  (In 1959, Zempan Arakawa was recognized as Father of the Year by the Honolulu Chamber of Commerce.  (Sigall))

From the 1920s to the 1960s, Arakawas was the only clothing supply and general merchandise (including food, household goods, etc) store in the area, serving the general population and Waipahu Sugar Mill workforce.  (Environet)

Eighth child, daughter Joan (who attended Wolfe Fashion Design School,) was Arakawas’ Manager of apparel and accessories. She is known for the use of palaka material and apparel that became symbolic of Arakawa.

Fourth son, Shigemi, started out as the Manager/Buyer of the Import and Gift section of Arakawas, Shigemi was often described as a “creative merchandising genius” by his siblings and wholesalers and manufacturers throughout the Pacific Rim.   (Star Advertiser)

He developed the planned chaos concept of retailing that gave the store its special ambiance and was reflected in every Arakawas’ Sunday newspaper ad.  (Star Advertiser)

Every nook and cranny was crammed with merchandise, from clothing and jewelry to hardware, food and even sporting goods.  (Star-Bulletin)

Goro Arakawa, the youngest son of Zempan and Ruth, received a marketing degree from New York University and returned home to work in the family store.  There, he wrote advertising copy that incorporated the sights and sounds of Waipahu (such as the rooster crowing radio commercials.)  (Filipino Chronicle)

Ads ended with, “Arakawa’s – located on historic Depot Road, just below the Sugar mill.”    Goro also came up with catchy slogans like “If you don’t know what you’re looking for, you’ll find it at Arakawa’s” and “Don’t say you can’t find it until you shop at Arakawa’s.”  (Filipino Chronicle)

The 1 1/2-level store was actually the third incarnation of the small plantation store first opened by Zempan. In fact, the reason for the 1 1/2 levels was the one-half level upstairs occupied by the sporting goods. Going to Arakawa’s was like stepping back in time, back to the old sugar plantation days when life in Hawaiʻi seemed simpler and more relaxed.  (Star-Bulletin)

On buying trips around the world, he displayed an uncanny eye for finding things that would catch people’s fancy and sold goods as varied as sculptor Noguchi lamps, tapa-themed dinnerware, mosquito coils, and plastic orchid leis.  (Star Advertiser)

With the gradual decline of the sugar industry, the community’s economic and social vitality slowly began to deteriorate.  The historic town core centered on Waipahu Depot Road was devastated by the closures of the sugar mill and Bigway Market in 1999.  (Waipahu Community Association)

Through the generosity to the communities they served – Arakawas became the symbol of an era in Hawaiʻi’s history that represented hard work, sincerity, honesty and generosity of spirit. (Okinawa Association)

It was a sad day when Arakawas in Waipahu (operating from 1909 to 1995) closed its doors.  Gone was the assortment of colors and sizes of palaka wear, as well as the myriad needs filled by the diversity and depth of the merchandise in the store.

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by Peter T Young Leave a Comment

“Honolulu’s Tropical Jewel”

This CW Dickey-designed structure was once referred to as “Honolulu’s Tropical Jewel.” (TheatresOfHawaii)

No one man has a more central place in Hawaiʻi’s architectural history than Charles William Dickey (1871-1942.) Born of a kamaʻāina family (his maternal grandfather was missionary Rev. William P Alexander,) he grew up on Maui, graduated from MIT in 1895 and practiced architecture in Honolulu from 1895 to 1904 and from 1920 until his death twenty-two years later.  (Neil)

“Previous Waikīkī buildings had divided into two types: the palatial – such as the Moana Hotel and the Castle residence – and the small and informal – such as the beach house of Kamehameha V. … Dickey’s 1936 design for the Waikīkī Theater is an extreme contrast.”

“His problem was to design a 1930s movie palace which would be appropriate to Hawaiʻi. He used the expected art deco with such flair and taste that the theater compares favorably with any of the type … He then made the theater appropriate.”  (Charlot)

Its initial design was based on a building at Chicago’s moderne 1933 and 1934 ‘A Century of Progress International Exposition,’ but in harmony with its island location.

The final tropical moderne design featured a large garden courtyard between the street and auditorium entrance, with lush plants surrounding a large fountain.

Inside, past fresco murals on the walls and ceiling, the atmospheric auditorium was flanked by lush artificial plants with the proscenium in the form of a rainbow, and tall artificial coconut palms on each side.  (TheatresOfHawaii)

No expense was spared in its construction and furnishings.  This was intended to be owner’s (Consolidated Amusement) deluxe flagship theater.

The 1,353-seat Waikīkī Theater opened with great fanfare on August 20, 1936.  “This first-class theatre survived as a single-screen house its entire life.”  (TheatresOfHawaii)   Dickey created an environment as charming and artificial as the image on the screen.  (Charlot)

In 1939, the Waikīkī Theatre was equipped with a Robert Morton theatre organ, which had originally been installed (with a twin console) in the Hawaiʻi Theatre in 1929.  (Peterson)

“No theater in the world has a more picturesque setting than Waikīkī.  Situated on the beach at Waikīkī, it stands on the site where once Hawaiʻi’s royalty played.  The playhouse now becomes a glorious new addition to the beach made famous in song and story.  It is the new center of activity of that district which long been the mecca of travelers from the world over.”  (Honolulu Advertiser; Alder)

“The auditorium is a revelation in theatrical architecture. Spacious, cool, it is acoustically correct in every detail. Perfect hearing and vision are available from every seat of the huge auditorium.”

“One of the most unique ideas in theatre ‘atmosphere’ has been incorporated in the decorations. The ceiling, done in soft blue, becomes a replica of the heavens through special lighting effects.”

“Stars twinkle, soft, fleecy clouds float about, the planets send off their soft light. The Waikīkī theatre is one of the few in the world in which this unusual lighting feature has been installed.”

“Through this lighting the great rainbow that spans the proscenium becomes a soft, misty, fairy arch rivaling in loveliness the great rainbows that arch Hawaiʻi’s skies.”  (Honolulu Advertiser, August 20, 1936; Del Valle)

“Inside the theater, it felt as if you were in a tropical paradise. A full-colored rainbow arched over the curtains that hid the screen. Along the side walls, there were palm trees that reached from floor to ceiling and lush jungle plants, which appeared absolutely real to my child’s eyes.”

“Then, a distinguished gentleman named Ed Sawtelle would appear and sit down at a large organ console, located just below and in front of the stage, and begin a concert that filled the hall with rolling music that vibrated off the walls.”

“About that time, with the house lights dimmed, someone would flip a switch and magical images of moving clouds would be projected onto the arched, midnight-blue ceiling, completing the illusion of having landed in the middle of a tropical jungle on a remote Pacific island.”

“Finally, the curtains would part and the show would start with a short cartoon and the Fox Movietone News. The ‘news’ events shown were about four weeks old by the time they got to Hawaiʻi, but that’s how we would find out what was happening in the world in those pre-television days.”  (Richard Kelley)

After successfully celebrating its first 30+years, and as the multiplex made movie-going more competitive, in 1969 the Waikīkī Theater name was relegated to Waikīkī #3 (following the construction of the Waikīkī #1 & #2 nearby.)

Renovations in the late-60s, and remodeling a decade or so later kept the theater on life support.   An expanded concession area replaced most of the forecourt, the interior decoration was removed and the auditorium draped.

“Imagine how much half an acre on Kalākaua Avenue is worth. By then, Consolidated was paying half a million dollars per year in property taxes – you have to sell a lot of popcorn to cover that.” (Lowell Angell, Theatre Historical Society of America; Hana Hou)

Waikīkī Theater (Waikīkī #3) remained a single screen theatre until it closed in late-November 2002; Waikīkī #1 & #2 closed at the same time.  They demolished all three in 2005 (the demolition started about 9-years ago, today.)

“Over the years, the movie business has changed dramatically. …  Multiplex theaters offer a variety of features almost any time of the day or night. Cartoons are now feature films. The news of the day is seen on one’s TV, laptop or cell phone.”

“The gracious theater usherettes have long since retired and have not been replaced. The guy at the door who takes your ticket is often dressed in a baggy T-shirt and jeans and barely looks up as he says, ’Your film will be shown in theater seven, second on the right.’”  (Richard Kelley)

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