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For hundreds of years prior to 1819, Hawaiian society was governed by the ‘Aikapu, a system of religious, political, and social laws. In this system, the role of religion in political and social organization was paramount; the ‘Aikapu itself was conceived by the kahuna (priest) of Wākea, an Akua (God) often referred to as Sky Father. In the philosophy that informed the ‘Aikapu system, nothing in Hawaiian life occurred without the will and recognition of the Gods. The sun rose and prayer was chanted. The crops were planted and an oli (chant) was performed. A battle was waged and the chiefs made appeals to the Akua. A child was born and religious ceremony abounded. It can be said with certainty that every aspect of Hawaiian life was imbued with a deep sense of spirituality, from the very mundane to the extraordinary.

As a polytheistic society, Hawaiians worshipped nearly 40,000 Gods under the ‘Aikapu. These Gods presided over the various tasks of life, including childbirth, agriculture, war, fishing, family structure, and chiefly rule. The Akua, like the kānaka, were of various ranks and power. ‘Aumākua or ancestral Gods guarded and guided members of their family and were honored by those who were genealogically linked to them. All Akua had earthly nature forms known as kinolau, literally, “many bodies”, and each God often had more than one kinolau. The pueo (owl), the falling rain, a palapalai fern, the ‘ōhi‘a lehua blossom, and the manō (shark) were among the thousands of kinolau of the Akua. In this understanding, the Akua are not distant or ephemeral, but familiar and real, sharing the earthly realm with kānaka.

Earthly manifestations of Akua are also found in the ki‘i (God images). Ki‘i have been exotified through American “tiki” culture, and the Akua most often misrepresented in this context is Kū, the male God of war and politics. Carved to inspire a sense of fear and severity, Kū stands as tall as the human warriors who worshipped him and likely resided in a heiau or temple dedicated in his honor. There are literally dozens of manifestations of Kū including Kūkā‘ilimoku (Kū Snatcher of islands), Kūolonowao (Kū of the deep forest) Kū‘ula (Kū of the abundance of the sea) and many others. These Kū forms presided over a myriad of tasks such as fishing, the gathering of hardwoods for carving, as well as the catching of birds for feather work.

After the death of Kamehameha I, his wahine, Ka‘ahumanu, and his heir, Liholiho began a co-rule that would fundamentally alter Hawaiian society. In 1819, after defeating the last supporters of the ‘Aikapu in the battle of Kuamo‘o, Ka‘ahumanu ordered the destruction of the Akua, including ki‘i like that of Kū. The Kū ki‘i housed at Bishop Museum is only one of three remaining ancient Kū known today.

Location: Bishop Museum
Origin: Hawai‘i

Audio

Mele Pule Ho‘ola

Kūlia e ‘Uli ka pule i mua o ke kahuna; Mele pule ho‘ola. Performed by Kuluwaimaka, court chanter during King Kalākaua’s reign.

Collection: Kuluwaimaka
Call Number: Nā Leo Hawai‘i Kahiko. Record 1 Side A. Track 3

Wao Lani > Kū > Kū Video

with DeSoto Brown, Bishop Museum Archives Collection Manager

Wao Lani > Kū > The Concept of Realms

with Dr. Sam Gon III

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Lono-makua, ca. 1969. Pen and ink drawing by Joseph Feher.

Published in: Joseph Feher, Hawai‘i: A Pictorial History (Honolulu: Bishop Museum Press, 1969), pg. 111.

Call Number: Art. Ethnic Culture. Hawaiian. Religion

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Heiau and City of Refuge at Hōnaunau, Hawai‘i. The House was the Hale o Keawe, the Depository of the Bones of the Kings. ca. 1823. Engraving. Artist: Reverend William Ellis. From: Reverend William Ellis, A Narrative of a Tour Through Hawai‘i in 1823, (Honolulu, Hawai‘i: Hawaiian Gazette Co., Ltd., 1917) opp. pg. 124 (Reprint of the London 1827 Edition).

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

“Pretre des Iles de Sandwich [Hawai‘i].” Hand-colored engraving. ca. 1784. Artist: Jacques Grasset de Saint-Sauveur. Engraver: J. Laroque sc (?). From: Grasset de St. Sauveur’s, Costume Civils Actuels de Peuples Conus (Paris: 1784).

Call Number: Art. Ethnic Culture. Hawaiian. Religion

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Hale o Keawe; Hōnaunau, Hawai‘i. National Park Service Photograph.

Call Number: Geography. Hawai‘i. Hōnaunau. City of Refuge.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Ou kinoi [kino e] Lono i ka lani,
He ao loa, he ao poko,
He ao kiei, he ao halo
He ao hoopua i ka lani

Your bodies, O Lono, are in the heavens
A long cloud, a short cloud
A watchful cloud,
An overlooking cloud- in the heavens*

Native Hawaiians were constant observers of the skies and acquired incredible knowledge pertaining to cloud formations, weather patterns and the many groups of stars that signified, among other things, the arrival of new seasons.

One of the most significant signs that occurred in the skies over Hawai‘i was the rising of Nā huihui o Makali‘i (cluster of little eyes) or the Pleiades constellation over the horizon at sunset. This event occurs during the time of Īkuwā, approximately late October, early November in Hawai‘i. This astronomical event signaled the arrival of the god Lono and the Makahiki season, a major change in way of life. On the island of Hawai‘i, Lono would returned to his ancient home at Hiki’au Heiau at Kealakekua, Kona. At this point  would be put away at the heiau and Lono would rule. This was a time of le‘ale‘a (pleasure) and regeneration.

This regeneration would bring new life to the ‘āina and its inhabitants. Lono had many kinolau (body forms) including the dark kona (southern) clouds during this season that brought the nourishing rains that would continue to make the land fertile. An abundance of other procreative energies meant new growth among all the many animate creations of the universe, including man. During the makahiki, the mō‘ī would act as representative for Lono and make a circuit of the island to collect the ho‘okupu (offerings) that would please the gods and bring much benefit to the people. These ho‘okupu would be brought to the ahupua‘a (pig altar) that sat at the base of the different land divisions of each island.

This time of regeneration also worked as a system of conserving resources. During the Makahiki certain kapu would be enacted forbidding the gathering of specific limu (seaweeds), i‘a (fish), ‘ai (foods) or other important materials. By doing this, these things were allowed to replenish and maintain a healthy population.

The timing of the differing ceremonies of the makahiki were strictly tied to the moon phases of that season. The moon of ‘olepau was the time to create the wooden Lonomakua image that would be carried aloft around the islands. Some traditions name Lonomakua as a relative of Pele and the protector of her fires. These ceremonial circuits fulfilled many roles in traditional society and the continuation of some of those traditions was important to later rulers. Even seven decades after the overthrow of the ‘aikapu and other elements of Native religion, Queen Lili‘uokalani, significantly, started her reign with a circuit of the islands.

*Malo, David. Hawaiian Antiquities. p146. 1997. Honolulu. Bishop Museum Press.

Location: Bishop Museum

Wao Lani > Kū > Mele Pule Ho‘ola

“Kūlia e ‘Uli ka pile i mua o ke kahuna.”

Collection: Kuluwaimaka
Call Number: Nā Leo Hawai‘i Kahiko. Record 1 Side A. Track 3

Wao Lani > Kū > Mele Pule Ho‘ola

Kūlia e ‘Uli ka pule i mua o ke kahuna; Mele pule ho‘ola. Performed by Kuluwaimaka, court chanter during King Kalākaua’s reign.

Collection: Kuluwaimaka
Call Number: Nā Leo Hawai‘i Kahiko. Record 1 Side A. Track 3