Hawaii - Jeff Campbell [31]
Sometimes, locals say, she still appears, often as an old woman dressed in white who warns of an impending disaster or asks for help. If you think you see her it’s best to stop, because after all you never know, and Pele hates to be refused.
* * *
* * *
THE KUMULIPO: THE HAWAIIAN CREATION STORY
Born was the coral polyp, born was the coral, came forth
Born was the starfish, his child the small starfish, came forth
Born was the sea cucumber, his child the small sea cucumber, came forth
Born was the mother-of-pearl, his child the oyster, came forth
Born was the Ekaha moss living in the sea
Guarded by the Ekahakaha fern living on land
Darkness slips into light
Earth and water are food of the plant
The god enters, man cannot enter
Man for the narrow stream, woman for the broad stream
Born was the tough seagrass living in the sea
Guarded by the tough landgrass living on land
These lines from the opening of the Kumulipo give a sense of the most famous ancient Hawaiian genealogical chant to survive. In over 2000 lines, it traces the birth of the world, the gods, and humans, thus linking the chief’s child who inspired the poem to the origins of the universe. While genealogies like this were used to bolster political claims to a chiefdom, they were also the natural expression of a culture in which religion was so enmeshed there was no separate word for it.
King David Kalakaua, claiming it represented his lineage, published the poem in Hawaiian in 1889, and in 1897, while imprisoned within ’Iolani Palace by US annexationists, his sister, Queen Lili’uokalani, translated it into English.
The chant’s second half contains 1100 lines of pure genealogy that might tax the patience of a Mormon, but the poem’s remarkable creation story tells of how Papa, the earth mother, was created in darkness, then Wakea – light or the sky father – was created, and ‘from this union of opposites was created a universe of opposites,’ as historian Herb Kane writes.
In form, the chant mirrors the stages of human growth, from single-cell polyp to fetus to child to adult, while pairing and relating sea and land creatures. Intriguingly, this unfolding process also resembles biological evolution. Long before Darwin, it seems, Hawaiians recognized that sacred life evolves.
* * *
Ancient Hawaiians were expert woodworkers, carving canoes out of logs and hand-turning lustrous bowls from a variety of hardwoods, such as koa, kou, milo and mango. Ipu (or gourds) were also dried and used as containers and as drums for hula. Contemporary woodworkers now take native woods and craft traditional bowls, exquisite furniture, jewelry and freeform artworks.
* * *
Tiny Ni’ihua developed its own tradition of intricate shell lei. Today, these are appraisable artworks protected by state law; leis must be made with at least 80% Ni’ihua shells, and prices range from $125 to $50,000.
* * *
Worn daily, leis were integral to ancient society; they were also central to hula and made as special gifts for loved ones and the gods, practices that continue today. With their choice of materials, lei-makers tell a story – since flowers and plants embody place and myth – and express their feelings for the recipient. Lei materials can include feathers, kukui (candlenuts), shells, seeds, vines, ipu, leaves and fruit, in addition to flowers. In general, it’s no longer common to make one’s own lei, unless you’re in a hula troupe; for ceremonial hula (as opposed to competitions or entertainment), performers are often required to make their own lei.
The making of kapa (barkcloth) for clothing and artworks and lauhala weaving are two other ancient crafts. Weaving the lau (leaves) of the hala (pandanus) tree is the fun part, while preparing the leaves, which have razor-sharp spines, is messy work. Traditionally lauhala served as floor mats, canoe sails, protective capes and more.