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The Pāʻū of Kamāmalu

Prior to sustained contact with foreigners, the primary items of dress for Kānaka Maoli were the malo and the pā‘ū. The material used in the construction of both the malo of the kāne and the pā‘ū of the wahine was known as kapa. This finely pounded bark-cloth could be rendered to an amazing softness, yet still remain a durable and practical article of clothing or bedding. Various plants were utilized in the creation of this essential material; the most common being wauke (Broussonetia papyrifera) or paper mulberry.

Kapa, like everything else in the Hawaiian world, was animate and held mana for its creator and wearer. Pieces were often painstakingly crafted and treasured as important possessions within an ‘ohana. Not only was the kapa itself a central part of traditional life, but also the work in creating the material brought Kānaka Maoli women together. Groups often gathered to beat the kapa and many traditional Hawaiian mo‘olelo refer to the echoing sound of the wooden kapa beaters resounding throughout the valleys of the islands.

The first wave of Protestant missionaries in 1820 viewed these scant coverings of Kānaka Maoli as immodest and lewd. Rev. Hiram Bingham, on first sighting Native Hawaiians, described the people as “chattering and almost naked savages.” The very strict mores of these New England Congregationalists clashed dramatically with traditional Hawaiian beliefs. Rising influence of the church meant great change in dress among Native Hawaiians as traditional pā‘ū were altered and later replaced with ankle to neck Mother Hubbards and mu‘umu‘u.

During this transition period the kapa itself changed as innovations brought by western technologies affected everything from applied colors to stamping techniques. The pā‘ū of Kamāmalu, Queen Consort to Liholiho, Kamehameha II, was one of these transitional pieces that incorporated new techniques in style and pattern. The Queen brought this pā‘ū with her on the Royal couple’s journey to visit King George IV of England in 1823-24. Both Kamāmalu and her husband Liholiho contracted measles in London and died. Bernice Pauahi Bishop Museum received this pā‘ū from the family of Captain Valentine Starbuck of the ship L’Agile, the vessel that carried the King and Queen across the Atlantic.

Location: Bishop Museum

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

Watercolor and charcoal drawing by an anonymous artist, ca. 1890.

Call Number: Art. People. Kamehamea II.

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

Gown worn by Princess Lili`uokalani to King Kalakaua’s Coronation. This gown was one of two ordered by Princess Lili`uokalani in 1883 from a Parisian dressmaker.

Silk, velvet, glass and metalic beads.

Photographer: Seth Joel

From: Rose, Roger. Hawai‘i: The Royal Isles. Honolulu: Bishop Museum Press, 1980, page 49, no. 278.

Collection: Lili`uokalani Collection
Artifact Number: 1917.19.01

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

Bark cloth [wauke fiber] “Mother Hubbard” dress, Hawai‘i. Early 19th century.

Photographer: Seth Joel

From: Roger G. Rose, Hawaii: The Royal Isles, Bernice P. Bishop Museum Special Publication 67 (Honolulu: Bishop Museum Press, 1980), pg. 94.

Call Number: E.C. Hawaiian. Art. Kapa.

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

I‘e kuku (kapa beaters)

Call Number: BK. 7:55
Location: Bishop Museum Archives

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

Court Uniform of Col. Curtis P. Iaukea, made for Queen Victoria’s Jubilee, 1887.

Wool, cotton, silk, silver braid, brass.

Photographer: Seth Joel

From: Rose, Roger. “Hawai‘i: The Royal Isles.” Honolulu: Bishop Museum Press, 1980, page 48, no. 273.

Artifact Number: B. 1818
Accession Number: 1919 (B.1818)
Location: Bishop Museum

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

Drawing by J.W. Grear of Kamehameha II, Queen Kamāmalu, and party at the New Theater Royal, London, England. June 4, 1824

Collection: Art Collection
Call Number: Art. People. Kamehameha II.
Location: Bishop Museum Archives

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

A Girl of the Sandwich Islands. Pencil and red chalk drawing by John Webber.

Call Number: Art. E.C. Hawaiian. People. Women.

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

Tamehamalu, Her Majesty the Queen of the Sandwich Islands [Hawai’i]. Lithograph by John Hayter, June 1824.

Call Number: Art. People. Kamāmalu.

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

Princess Lili‘uokalani (standing) and Queen Kapi‘olani in London, England, for Queen Victoria’s Jubilee, 1887. Photograph by Walery.

Call Number: People. Kapiolani. Queen Victoria’s Jubilee 1887.

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

Man From the Sandwich Islands with Feathered Helmet, Helmet Band and Cape. Ink and Watercolor by John Webber, 1778.

Call Number: Art. Ethnic Culture. Hawaiian. People. Men.
Location: Archives

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

Yellow feather lei (lei hulu) made from feathers of the shorter mamo and the longer `ē`ē feathers of the `ō`ō, Hawai‘i. Photograph by Ben Patnoi, ca. 1985. From: John Dominis Holt, The Art of Featherwork in Old Hawai‘i (Honolulu: Topgallant Publishing Co., Ltd., 1985), pg. 63.

Call Number: Ethnic Culture. Hawaiian. Art. Featherwork.

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

 

The tropic bird that soars to the cliff of Līloa
Said of a chief of high rank*

Hawaiian society under the ‘Aikapu system was stratified according to rank. An individual’s rank was not determined by wealth or gender, but by genealogy. Those of the highest rank could trace their genealogy all the way back to the beginning of time, to the very first organism to inhabit the earth, even to the primordial darkness preceding all life. These genealogies were recorded in chants called ko‘ihonua that glorified Ali‘i bloodlines, ancestors, and their decedents.

Ali‘i, like other strata of Hawaiian society, were not all of similar rank. The highest Ali‘i were the Mō‘ī, or supreme rulers. They were often nī‘aupi‘o chiefs, having being conceived through the union of high ranking siblings. These nī‘aupi‘o chiefs were considered to be Akua (Gods) on earth, and as such, they had to keep strict kapu, or taboos, least the welfare of their people and lands be compromised. Also, because ruling was a kuleana (responsibility, right), many chiefs would go to great lengths to ensure their kapu were kept. For example, for those whose kapu forbade their shadow falling on another human, they would often leave their kauhale (housing complex) only after the sun had gone down so that their shadow could not be cast. Ruling in Hawai‘i was not just about luxury, as the Mō‘ī had an inter-dependent relationship with the maka‘āinana. The commoners provided the resources that the Mō‘ī would use to mālama their people and the Gods.

There might be one Ali‘i Nui ruling over an entire island, or several each with their own moku (large land division within an island). Lesser Ali‘i, known as kaukau ali‘i might rule over an ahupua‘a, smaller land division, or an ‘ili, an even smaller land division within an ahupua‘a. Unlike the Ali‘i Nui, the Kaukau Ali‘i often did not have strict kapu. In fact, many Kaukau Ali‘i were not of much higher rank than the konohiki, or resource managers, who dealt directly with the maka‘āinana (common people).

One important symbol of rank for the highest Ali‘i was the lei niho palaoa, a whale tooth pendant. The carved hook pendant is strung on thousands of finely braided strands of human hair. These significant lei were worn by Ali‘i of both genders. These whale teeth were collected from carcass that would wash ashore at specific places in the islands. Theses wahi pana (sacred places) were considered important areas to control in order to have access to the mana that these items brought. Control over these spots, like Kualoa on O‘ahu, might mean control over the entire island.

* Pukui, Mary Kawena. `Olelo no`eau: Hawaiian Proverbs & Poetical Sayings. Bernice P. Bishop Museum special publication 71. no.1750, p188. Honolulu. Bishop Museum Press, 1983.

Location: Bishop Museum

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

Femme des iles sandwich; 1882 by Louis Choris. Published in Voyage Pittoresque Autour du Monde 1820-1822.

Collection: Art Collection
Call Number: Art. Ethnic Culture. Hawaiian. People. Women.
Artifact Number: XC 101782
Location: Bishop Museum Archives

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

Hawaiian women at Kaliuwa‘a (Sacred Falls); Hau‘ula, O‘ahu, Hawai‘i. Photo by Severin and Bolster.

Call Number: E.C. Hawaiian. People. Women.
Artifact Number: CLS 92157

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

Hawaiian fisherman in a malo and ‘ahu lā‘ī, Mauna Kea in background; Hawai‘i. ca. 1900.

Call Number: E.C. Hawaiian. People. Men, folder 1.
Artifact Number: SP 20706
Location: Bishop Museum Archives

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

‘Ohe Kāpala (Bamboo stamp) for kapa design.

Collection: General Photograph Collection
Call Number: E.C. Hawaiian. Art. Kapa.
Artifact Number: I 102674_21
Location: Bishop Museum Archives