Tiki Tiki FINE
ART
In this issue L'art Hawaiien divers et complexe Na Hana Noeau Susan Cardenas (peinture florale) Couture Hawaiienne Fondation Nationale pour la culture et l'art d'Hawaii (HSFCA) The art of Herb Kawainui Kane - (peintre et historien) Heidi Malott - Watercolors and Oils Tropical Matchbox
DjF du Marais
HaWaii
MIX
George Carter’s Death of Captain James Cook, painted only a few years after Cook’s death from sketches at the scene
L'art hawaiien divers et complexe
La
beauté
hawaiiennes
des a
îles
la création de certaines des plus précieuses œuvres du monde. Les amateurs d'arts en visite à Hawaii pourront que
photographies de surf, des
melting-pot
pacifique
tissages de noix de coco, des
travaillent sur divers média
leis, des bijoux souvenirs,
pour
des peintures, l'art à Hawaii a
créer
du
des
œuvres
spéciales.
de quoi plaire à tout le monde
inspirée
d'innombrables artistes pour
découvrir
De nombreux artistes de ce
le
milieu
et inspirer les cœurs et les L'art d'Hawaii est divers et complexe,
avec
un
esprits de ses spectateurs.
large
éventail de styles qui plaira aux connaisseurs de tout âge. Des jolies dessins sur bois de koa, des
artistique local est unique et très riche. Bishop Museum Haaiian Hall
Hawaii Diamond Head by Joyce Girgenti
un point de vue artistique
Na Hana Noeau
unique. la beauté au service de l'utile
Ils
croyaient
que
chaque tâche était un test de soi-même
et
de
leur
Beaucoup des œuvres d’arts
dévouement à la culture et la
créées sur les îles aujourd'hui
religion hawaiienne. Par des
prennent leurs racines dans
études rigoureuses et une
l'ancienne
attention soutenue, un artisan
culture
pouvait exploiter le mana
hawaiienne. Les
anciens
hawaiiens
étaient
artistes
(pouvoir ou esprit) des dieux
des
et, en retour, les apaiser et
artisans talentueux avec un standard de travail élevé et
créer de la vertu.
by Olga Shevchenko
Ginger Sandell - Coffee Shack
Na
hana
"travaux
noeau
signifie
pertinents
Hawaii
comprenaient
du
et
kapa, un matériel polyvalent
recherchés" et représentent
coloré, du lauhala, feuilles de
les œuvres artistiques des
hala tressées ayant divers
anciens, qui étaient belles
usages, du bois de koa,
autant
fonctionnelles.
découpés selon les besoins,
Les hawaiiens appliquaient
et du hulu mano, œuvres en
des principes esthétiques à la
plumes,
création d'objets usuels, car
signe de distinction et de
chacune de ces créations
décoration.
que
utilisées
comme
devait refléter le mana qu'elle était sensée posséder. Les na hana noeau de l'ancienne
Patricia Carroll's Art Cards Hawaii
Leroy Neiman Diamond Head Hawaii Painting
Le kapa est un matériau créé
avait
à partir du bois du Wauke
l'ensemble était à nouveau
(Murier à Papier). Le tronc
trempé puis pressé. L'écorce
d'un
était
de
ces
soigneusement
arbres,
ensuite
collectées,
laissée
à
se
fermenter et ramollir sous des
voyait retirer de son écorce
feuilles de bananes. L'écorce
couche
Les
adoucie était ensuite pétrie,
couches intérieures étaient
battue au maillet, remouillée,
trempées dans l'eau de mer,
puis
laissée à fermenter puis battu
recommencé deux ou trois
sur de la roche avant d'être
fois. Le "tap, tap, tap" du
séchées au soleil. Quand une
kapa
quantité d'écorce suffisante
reconnaissable entre tous et
par
choisi,
été
couche.
le
processus
battue
était
était
pouvait être entendu à des kilomètres à la ronde.
Naik Michel Photography Hawaii
Les bandes obtenues étaient
filets
cousues
pour
couvertures, les lava lavas
célèbre artiste Puanani Van
former un tissu de la surface
(habits), les voiles de canoë
Dorpe qui travaille plus de 8
voulue. Si le matériau était
et
destiné
seulement
ensemble
à
devenir
une
de
les
pêches.
Les
heures par jour à faire des
quelques
unes
répliques des anciens motifs
morceaux de bambou ou de
faite du kapa. Bien que cette
ohia
méthode
un
le
sont
des utilisations qui étaient
dans
comme
muumuus
couverture ou un habit, des
plongés
aujourd'hui,
de du
fabrication kapa
sur kapa.
à
colorant naturel servaient à
partir
ait
peindre des motifs complexes
virtuellement
et répétés sur le tissu. Mais le
quelques
matériau pouvait aussi être
passionnées continuent de
tressé en cordes pour des
faire vivre cette tradition
disparue, artistes
Aloha Hawaii postcard By Kerne Erickson
Susan Cardenas Born in Okinawa and living in Kaneohe most of her life, Susan Cardenas took for granted the beauty that surrounded her, as she struggled to fill that void that only God can fill. After becoming a born again believer, she began discovering the fantastic array of color that Hawaii offers so abundantly. The painting process
has
provided
healing
from
lifelong
depression and as she captures the beauty of God’s creation, she hopes to convey the calm and peace now present in her life. Susan’s art career started in 1979 as a jewelry artist, painting miniatures.
In 1981, she took oil painting
classes with local artist Stan Yamauchi.
After
earning a graphic arts degree in 1984 she worked at a newspaper, the MidWeek.
In 1998, she decided
to follow her passion to become a fineart artist and has been painting water colors ever since.
Susan Cardenas – Banana flower
Les lauhala (les feuilles de
Le hulu manu, la création
ceux
hala)
avec des plumes, était utilisé
répondaient aux besoins du
aujourd'hui pour la fabrication
pour
beaux
projet en cours. Des capes
de nombreux produits, des
ornements
colorés
à
en plumes appelées ahuula,
chapeaux
destination
des
chefs
des étendards en plumes
feuilles sont séchées puis
hawaiiens de haut-rang (les
appelées kahili, des hochets
mouillées pour donner une
alii).
en plumes nommés les uli uli
texture finement tissée pour
d'oiseaux,
manu,
et des bracelets, les kupee,
donner diverses formes. Les
étudiaient soigneusement les
étaient quelques uns des
lauhala peuvent être finement
comportements de ces bêtes,
objets
tissées en une surface rigide
en particulier les iiwi, les oo,
plumes. Les capes les plus
ou plus relâchées pour des
les mamo, les apapane, les
longues nécessitaient le plus
structures plus souples.
nae et les ahuula, et pistaient
d'attention, étaient les plus
est
encore
aux
pratiqué
tapis.
Les
faire
Des les
de
chasseurs kia
dont
les
réalisés
plumes
avec
des
Most of her techniques are self-taught, using library materials and watercolor magazines. Later, she took classes and workshops from island artists Gay Jefferson,
Susan
Rogers Aregger,
and
Roger
Whitlock.
Although watercolor is still her main
medium, Susan has been using hand-dyed tissue papers to create beautitul collages, utilizing the unique textures and colors that the tissues provide. She also does miniatures, paintings that are postage stamp size.
Susan teaches watercolor classes in Kailua and Honolulu,
“I feel it my obligation to pass on the knowledge and joy
I
have
experienced
so
that
others
may
experience the same healing and peacefulness that I was given when I started painting.”
Susan Cardenas 2005 - Serenity
colorées et avaient les plus
Le roi des arbres hawaiiens,
provenant des oiseaux les
le
plus rares; en conséquence
construire
elles étaient réservés aux
choses, des canoës de mer
chefs les plus importants.
géants, des petites balles,
koa,
était
utilisé
toute
sorte
pour de
des oo (pelles), des tikis, des calebasses,...La
décoration
était faite à l'aide d'un koi ou d'un adze, et les artisans devaient passer des années d'apprentissage maîtriser cet art difficile.
pour
Le koa est encore largement utilisé aujourd'hui, mais dans une moindre mesure.
Susan Cardenas 2005 - Joy
Couture hawaiienne La couture, bien qu'elle ait commencé
à
être
motifs inspirés par la beauté
designs naturels, des motifs
des îles et le mana des
de
ancêtres.
d'autres
Kapa
désigne
pratiquée récemment, a ses racines dans l'ancien
une
apana méthode
hawaiienne de couture dans laquelle trois couches sont
art du tissage de kapa.
accollées,
Influencé par la manière
supérieure de décoration, la
de
couche du milieu faite de
coudre
des
missionnaires d'Hawaii, la couture indigène prit son essor et incorpora des
fibres
et
inférieure.
la
couche
une
couche
Vous
pouvez
trouver une large variété de
feuilles,
symboliques.
de
fleurs
et
représentations
Susan Cardenas 2005 - Plumeria blues and yellow
Les
images
peuvent
prospérité.
Beaucoup
de
les tisserands d'aujourd'hui
également représentées des
gens croient que les tissus
incorporent
endroits
des
hawaiiens contiennent l'esprit
traditionnels à côté de ceux
des
de
plus
spéciaux,
généalogies
royales,
évènements
historiques
des
pensées
et
leur
créateur
transmettre
et
l'aloha.
abstraites.
Auparavant, un tissu pouvait
Chaque maille contient des
être enterré en même temps
significations
des
que l'artiste qui en était à
intentions nombreuses. Un
l'origine pour que son esprit
tissu représentant un ulu, le
reste intègre. Bien que la
fruit
plupart
à
pain,
et
symbolise
des
l'alimentation et est supposé
anciens
tissus
apporter à son créateur la
aient été perdus,
motifs
des
hawaiiens
des
dessins
contemporains
conserver
cette
pour
pratique
culturelle bien vivante.
Susan Cardenas 2005 - Hibiscus red
Les
images
peuvent
prospérité.
Beaucoup
de
les tisserands d'aujourd'hui
également représentées des
gens croient que les tissus
incorporent
endroits
des
hawaiiens contiennent l'esprit
traditionnels à côté de ceux
des
de
plus
spéciaux,
généalogies
royales,
évènements
historiques
des
pensées
et
leur
créateur
transmettre
et
l'aloha.
abstraites.
Auparavant, un tissu pouvait
Chaque maille contient des
être enterré en même temps
significations
des
que l'artiste qui en était à
intentions nombreuses. Un
l'origine pour que son esprit
tissu représentant un ulu, le
reste intègre. Bien que la
fruit
plupart
à
pain,
et
symbolise
des
l'alimentation et est supposé
anciens
tissus
apporter à son créateur la
aient été perdus,
motifs
des
hawaiiens
des
dessins
contemporains
conserver
cette
pour
pratique
culturelle bien vivante.
Susan Cardenas 2005 - Birds
La Fondation Nationale pour la culture et l'art d'Hawaii (HSFCA)
à
poursuivre
sa
mission
national mettant en contact
d'accroître l'intérêt pour sa
les étudiants et des artistes
vision de l'art. Des moyens
professionnels.
d'éducation ont été mis en place, comme la Loi sur l'Art
Mis en place par l'Etat
dans les Bâtiments Publics
d'Hawaii
la
qui initia le programme visant
HSFCA est destinée à
à amener l'art sur les places
préserver, promouvoir et
publics, ou le programme
perpétuer
en
les
1965,
arts
à
Hawaii. Des subventions fédérales aident la HSFCA
pour les artistes dans les écoles de 1970, le premier programme à dimension
On n'a pas besoin de visiter
monuments historiques, les
un musée ou une galerie
bâtiments
d'œuvres d'art pour trouver
bibliothèques,
des
commerciaux, les aéroports,
profondément
Quand on explore les îles
les parcs et les plages. Des
et
hawaiiennes, il est presque
statues de bronze géantes ou
symbolisme.
impossible de manquer les
lei de coquillages ou de
omniprésentes
plumes
œuvres
hawaiiennes.
artistiques ornant les
touches
publics, les
les centres
L'art
à
Hawaii
empreint
est
spirituel de
HERB KAWAINUI KANE COMPILED by DjF du MARAIS
KAH-ney Daughters of the Sea
"
If my work contributes to our Shark Strikes
comprehension of Hawai'i's past, that will ultimately become the greatest reward. Herb Kawainui Kane
LIttle Mermaid
"
HERB KAWAINUI KANE HERB KAWAINUI KANE (pronounced KAH-ney) is an artist-historian and author with special interest in Hawai'i and the South Pacific. Born in 1928, he was raised in Waipi'o Valley and Hilo, Hawai'i, and Wisconsin. After Navy service, he studied at the School of the Art Institute of Chicago (master's degree 1953) and at the University of Chicago. He resides in rural South Kona on the island of Hawaii.
Known as ulu, or uru in Polynesia, the breadfruit tree (Moraceae) originated in Asia and was brought to the Pacific islands of Melanesia, Micronesia and Polynesia by early sailing canoes. The fruit was cooked as food, the light wood was used for canoes, the bark served for some types of barkcloth, and the milky sap was rendered in fire to make a glue for caulking seams and cracks in canoes. The tree has been under cultivation for so long that most varieties cannot grow from seed, but must be grown from shoots. Injuring near-surface roots causes shoots to spring up, which are then cut away and transplanted, a process so difficult from yard to yard, that it testifies to the skill of ancient voyagers who kept such saplings alive over thousands of miles of deadly sea water.
A Hawaiian legend tells of the chief Kaha'i who brought breadfruit saplings from Tahiti long ago, sailing not less than 2,800 miles each way. The famous mutiny on the British ship Bounty resulted from the first attempt by William Bligh to bring young breadfruit shoots from Tahiti to the British West Indies where the trees might serve as a labor-free source of food for slaves.
Artist historian and author Career experience has included advertising art, publishing art, architectural design, painting, writing, and sculpture. Clients include many private collectors, the Hawaii State Foundation on Culture and the Arts, the National Park Service, National Geographic, and major publishers of books and periodicals. His art has appeared on seven postage stamps for the U.S. Postal Service, as well as stamps for the Republic of the Hula Holoku In this elegant dance the dancer wears a holoku, a formal 19th century dress with a train -- but is traditionally barefooted. The painting suggests the flowing, graceful movement of the dance by superimposing several images of the dancer as she moves from side to side and slowly forward. When missionaries arrived in Hawaii they were shocked by the scanty costumes of Hawaiian ladies, and quickly promoted the wearing of the mu'umu'u, a loose sack-like dress. Eager to acquire EuropeanAmerican ways, Hawaiian women adopted the mu'umu'u quickly. The more formal holoku was worn on special occasions. It remains a tradition among local ladies, and annual holoku balls are held in which prizes are awarded for the winning designs. The model was Kona dancer Michelle Amaral.
Marshall Islands, the Federated States of Micronesia, and French Polynesia.
with special interest As a design consultant, he has worked on resorts in Hawaii and the South Pacific and a cultural center in Fiji. Books now in print are Pele, Goddess of Hawaii's Volcanoes (1987, revised 1995), and Voyagers (1991, reprinted 2006) which includes 140 of his works in color. Another illustrated book, Ancient Hawaii August 1998, describes the arts, skills, society and world-view of the Polynesians who discovered and flourished in what became the Hawaiian Islands.
Pink Pareu
in Hawai'i and the South Pacific Research on Polynesian canoes and voyaging led to his participation as general designer and builder of the sailing canoe Hokule'a, which he served as its first captain in 1975. Hokule'a has now made several Hawaii-Tahiti voyages, and voyages Hamoa Beach
to New Zealand, Easter Island, Tonga, the Marquesas Islands, the Cook Islands, Micronesia and Japan, of which more than 110,000 miles were navigated without modern instruments.
Tubuai Lagoon
Polynesian canoes He is well known for paintings that expertly depict the many types of Polynesian and Micronesian sailing canoes. In 1984 he was elected a Living Treasure of Hawaii. In the 1987 Year of the Hawaiian Celebration, he was one of sixteen persons chosen as Honaunau bay
Po'okela(Champion). From 1988 to 1992 he served as a founding trustee of the Native Hawaiian Culture & Arts Program,
a
Federal
program
at
Bishop Museum. The tongiaki was the double-hulled voyaging canoe used during the period of Tongan expansion in the 16th, 17, and 18th centuries when Tongan "vikings" dominated much of Samoa and the eastern Fiji Islands and ventured northward into Micronesia and westward into Melanesia. In 1619 the first contact between a European ship and a Polynesian canoe at sea occurred when the Dutch explorer Schouten met -- and fired on -- a tongiaki. He wrote: "The rig of these vessels is so excellent and they go so well under sail that few ships in Holland could overhaul them." The elegant hulls were made by carving a "keel" hull from a log, then building up the sides with planks carved to the curvature, lashed edge to edge, and caulked with breadfruit gum.
Tongiaki of Tonga The painting is based on a plan drawn by the Cook Expedition; but during Cook’s visits the tongiakiwas being replaced by the swift kalia.
Now restored as a National Park, The ‘Pu‘uhonua o Honaunau (Sanctuary of Honaunau) was a place of safety for persons in trouble. Here, in the reconstructed thatched mortuary Hale o Keawe, the mana (power) believed to be retained in the bones of ancient kings protected the area within the “great wall”—a wall up to fourteen feet thick of rocks fitted without mortar, some of amazing size. Anyone entering that area to do harm risked retribution from the spirits of those kings. The idea was the same as the sanctuary offered by a medieval European cathedral under the spiritual protection of a holy relic of a saint kept within its walls.
Voyagers from the Marquesas or the leeward
The custom of a sternpiece higher than the bow
Tahitian Islands discover the white summit of Mauna
survived in the Marquesas, Tahitian Islands, Austral
Kea rising above a cloud bank. Applying the age-
Islands, Cook Islands, and New Zealand. The sail,
distribution theory, which assumes that cultural
sternpiece and bowpiece are also found in a
features found most widely distributed must be the
petroglyph on Easter Island.
most ancient, the painting depicts features of sail and hull design which survived local changes in the Marquesas, Hawai'i, the Cook Islands, and New Zealand.
In 1998, he was awarded Bishop Museum's Charles Reed Bishop Medal. In 2002, he received an award for excellence from The Hawaii Book Publishers Association. He is a 2008 recipient of an honorary doctorate awarded by the School of the Art Institute of Chicago. Behold Hawaii
Herb's new Hawaii commemorative stamp for the U.S. Postal Service, celebrating 50 years of statehood, was released in August 2009.
50th anniversary of Hawai‘i’s
The typical Micronesian canoe is an “outrigger”, a
Bow has become stern, stern has become bow, and
single canoe with a stabilizing float always rigged out
the canoe sails off in the opposite direction with the
on the windward side. It is also a “double-ender,”
outrigged float still upwind of the canoe.
meaning the same at both ends, with the ends
When viewed from the end, the hull —or body—of
interchangeable.
most Micronesian canoes appears asymmetrical—
While most sailing vessels change direction by
the leeward or down-wind side of the hull of the
turning to take the wind on their opposite side, the
canoe showing less curvature than the outrigger
double-ender turns in a way that always keeps wind
side. This flatness increases the canoe’s sideways
on the same side where its weight helps prevent a
pressure against the water, reducing the amount of
capsize.
drift away from the wind and increasing both the
In this maneuver, the canoe is turned into the wind,
vessel’s sailing speed and its ability to sail at an
diminishing wind pressure on the sail.
angle into the wind.
The spar to which the sail is attached is released
In the 18th century the concept was picked up by
from one end of the hull, and the entire sail-and-spar
Polynesians, most likely by Tongan adventurers
assembly is carried aft and fastened to the other end
raiding northward into Micronesia and applying what
of the canoe.
they learned to canoes they built in Fiji and Samoa;
The mast pivots in the same direction, supporting the weight. The wind also helps move the entire assembly from one end to the other.
but more about the “Tongan Empire” later.
A Canoe of the Caroline Islands in Micronesia
Canoes have always been the principal objects of
To change sailing direction, the canoe is first turned
Micronesian culture. Within the
Caroline Islands,
into the wind. This collapses the sail, which is
canoes are built and used for fishing and voyaging
attached to a spar. The spar is released from the
as they have been for many centuries. In 1969 an
bow of the canoe and carried to the other end, which
ancient route between the Carolines and the
then becomes the bow. The weight is largely
Marianas Islands five hundred miles to the north was
supported by a mast which is stepped half-way
reopened by local navigators.
between the ends of the hull and tilts in the same direction. The wind also helps push the entire rig
The Micronesian canoe is an “outrigger”—a single
from one end to the other. The spar is fastened to
canoe connected to an outrigged float for stability.
the other end of the hull, the sail is drawn in to catch
When sailing, the float is always kept to windward.
the wind, and the canoe sails off in the opposite direction. Bow and stern have been reversed. Early
The hull (body of the canoe) is identical at both ends,
European explorers, impressed by the speed of
but with less curvature on the side away from the
these vessels, called them “flying proa.”
outrigger. This flatness on the lee (downwind) side increases the hull’s sideways pressure against the
Painting in the collection of Stephen and Diane
water, adding speed to the canoe regardless of
Heiman
which direction it is sailing.
NAVIGATOR
Kahuna Kilo Hoku A navigator of ancient Hawai‘i aboard a sailing canoe. He wears a pendant of polished pearl shell—a metaphor for “star”
because of its luster— suspended by a
necklace of strands of finely braided hair of ancestors, treasured for its mana. Over an underwrap of tapa (bark cloth) he wears a fine mat, fastened around his waist with braided sennit (coconut fiber). As protection against the chill of the coming night he may use an overwrap of waterproofed and dyed tapa , now slung over his shoulder and fastened about his waist with sennit. His tattoos—waves, birds, and star—are symbolic of his profession—dominant wave patterns, the flight paths of migrating birds, and stars are direction indicators at sea.
The secondary element in the painting’s design is a voyaging canoe under sail. A third element is a ki‘i aumakua (ancestral spirit image) holding a pearl shell, symbolizing a navigator holding fast to a guiding star. Such images were not portraits, but physical resting places for benevolent ancestral spirits whose invisible presence and helpful power could be invoked by chants and solicited by acts of respect.
It is believed that surfing by board and canoe was invented in Hawai‘i, for in all of their travels around the world and throughout the Pacific the 18th century expedition under Captain James Cook saw nothing like it until they reached these islands.
Hawaii Island Captain Cook's Expedition Entering Kealakekua Bay, Hawai'i we were jaded & very heartily tired, with Cruising off these Islands for near two months, the Weather was often more boist'rous than we could have imagin'd in this Latitude, & almost a Constant & heavy Swell or Sea when off the NE side of the Island; our old ropes & Sails were daily giving way."
The King of Hawai'i, Kalaniopu'u, had met Cook off the coast of Maui and invited "I HAVE NO WHERE IN THIS SEA seen such a number of people assembled at one place," wrote Captain James Cook"... besides those in the Canoes all the Shore of the bay was covered with people and hundreds were swimming about the Ships like shoals of fish."
him to visit Hawai'i. Cook arrived at Kealakekua, the island's only natural harbor, after a six week's circuit of the island. The king arrived with his canoe fleet nine days later.
Lieutenant James King estimated, "... there could not be less than 15 hundred [canoes] about both Ships ... we should not exaggerate, in saying we saw at this time 10000 of the Inhabitants. ... They expressed the greatest joy and satisfaction ... nor was the Pleasure less on our side;
Hawaii Island King Kalaniopu'u Welcoming Cook to Kealakekua Bay Hawaiian hospitality was lavish. Cook was
honored
with
the
title
"Rono,"
described by his men as the same title held by an important local chief. The king may have hoped Cook would reciprocate in an alliance against his enemies -- an idea
frequently
chiefs,
but
one
advanced Cook
by
would
island have
rejected.
Repaired and reprovisioned, the ships sailed, but Resolution's foremast broke in a gale, forcing Cook back to the bay for repairs. The king was apprehensive at Cook's return. Commoners began to steal Nine days after the Cook expedition anchored at Kealakekua Bay, the
from the ships, and tempers flared on
king arrived from Maui with his war fleet. Captain Cook was surprised to
both sides.
find that it was the same elderly chief he had met at sea off Maui almost two months earlier.
Cook and four marines were killed on
The next morning, the king cleared the bay of all canoes, then came out
February 14 while attempting to take the
with three large canoes. The first carried the king and many chiefs, and
king as a hostage to force the return of a
was laden with brilliant feather capes.
stolen boat. Captain Charles Clerke of
The second carried priests and large feather-covered spirit images, and
the Discovery took command of the
the third was heavily loaded with provisions. A stately procession was
expedition.
made around Cook's ships, perhaps the most impressive spectacle the
tuberculosis, Lieutenant John Gore took
British had seen in the entire Pacific.
the expedition home.
After
Clerke's
death
of
Hawaii Island The Death of Cook
This work also includes the first depiction of Hawaiian battle mats, described in British journals as worn in the same manner as the feather capes. In combat the cape was carried over the left shoulder and held forward by the left hand to take the impact of a sling stone or to snag the point of a spear or dagger, leaving the right arm free to wield a weapon.
This is a more accurate reconstruction of the moment than depicted in earlier paintings. It is based on the eye witness account of Marine Lt. Molesworth Phillips, a study of the weapons and dress of both sides, and estimates by scientists of the physical setting. Cook was not in breeches and hose, but wearing canvas trousers. He was not on a sandy beach, but was struck down while striding toward the water across a broad lava rock, his spent musket in his right hand.
Geologists believe this coastline has subsided 28 inches in the last 200 years. The rock from which Cook fell is now submerged, but can be located. The waterline on the rock is the result of computer work with moon phases which produced an estimate of the tide at 8:00 AM.
Hawaii Island The Death of Cook Cook had abandoned his attempt to take the king
the most eminent of Cook scholars, believed Cook was
hostage against the return of a stolen boat. At a
waving to the boats to come closer to shore. Like so
threatening gesture by one of the king's guards, he fired
many mariners of his day, he could not swim. A Portrait
both barrels of his musket, then ordered the marines to
of Pele: "This work began with many unsuccessful
fire. Instead of dispersing, the Hawaiians charged.
attempts
Phillips heard Cook shout, "Take to the boats!" Phillips
personality. The idea had been bothering me for some
was struck down and stabbed in the shoulder, but raised
time, and over a period of several months, I made many
himself and fired at his assailant before escaping. A man
sketches in pencil. All were failures. None said, 'I am
with a crude club struck Cook behind the head, while a
Pele.'
chief in a feather cape, known to the British as Nua,
"I contemplated the probability that I had set myself upon
rushed around a parked double canoe and stabbed him
a fool's errand. After all, why cast her in a human
with one of the iron daggers the ship's blacksmiths had
likeness when no better portrait of Pele could be desired
been forging as trade items. Surgeon's Mate Samwell
than the fiery eruptions, and the unique lava and fern
described Nua as a of "... great consequence ... tall and
jungle landscape of her domain? Also, Pele has no single
stout and one who united in his figure the two qualities of
likeness, but changes her features and age to suit her
strength and agility in a greater degree, than I ever
moods.
remembered to have seen before in any other man."
"One morning I arrived in my studio and again started a
Cook fell face down in the water and was stabbed many
sketch - and another - and another. The day's scheduled
times.
work was forgotten. I disconnected the phone. A
At the far left, the old king is being escorted to safety.
scattering of unsatisfactory sketches began to litter the
Marine corporal, James Thomas, waist deep in the
floor.
to
express
my
interpretation
of
Pele's
water, receives a mortal wound from a dagger thrust. Resolution is shown with the foremast removed for
"Then I began perspiring. It was one of those all too rare
repair. Cook's hand was raised toward the boats -- a
moments when the pencil or brush seems to move itself.
gesture now widely interpreted as a signal to cease
The face I had been looking for suddenly appeared. I
firing. However, J.C. Beaglehole,
whispered, 'There you are!'
Ancient Hawaii Kamehameha at Kamakahonu
The wars were over and the Kingdom of Hawai'i
firmly
established.
At
Kamakahonu, his estate at Kailua Village in Kona, Kamehameha devoted his last years
to
ruling
benevolent encouraging
and
his
kingdom just
prosperity,
as
a
monarch, conducting
business with foreigners, and educating his son, Liholiho, as his successor.
The painting depicts him wearing a simple kapagarment in conversation with Liholiho. Beside him stands his prime minister, Kalanimoku. The prince's attendant wearing a short yellow cape, is John Papa I'i, who later became an important historian. The fish in the foreground represent the gifts of food brought daily to the court.
Two ladies of the court are seated at left. Kamehameha's residence was a complex of thatched structures around a tranquil cove at Kailua Bay. Across the cove stands his private temple, Ahu'ena. The original painting is displayed at the King Kamehameha Hotel in Kona, Hawaii.
Night Fishing in Old Hawai'i
As the evening sky darkened, men prowled the shallow waters of bays and lagoons
with
torches
and
spears.
Candles used for lighting homes were made by stringing dried nutmeats of oily kukui nuts on thin bamboo skewers. As each nut burned, it ignited the nut below.
Clusters of these candles were carried in a hollow bamboo to make a torch. Spears were hardwood shafts, six to seven feet long, the tips tapered to a point and fire-hardened.
Gods & Turtle Mermaid Kauila
In a time of storms a supernatural sea turtle laid a single egg in the black sand beach of Punalu'u, on the southern shore of the Island of Hawai'i. Scooping up sand to cover it, she created a large fresh-water pond behind the beach.
From the egg, a baby turtle hatched. The people named her Kauila because her shell was the dark brown color of kauila wood. As a mo'o (water spirit), she could turn herself into a little girl and come ashore to play with the children; but when sleepy, she would turn into a little turtle and retreat into the pond for a nap.
As she grew she would appear as a beautiful maiden, but whenever a young man made advances she would escape into the dark pond. Today, as you walk along the pond's edge, you may see bubbles rising -- a sign that she is still asleep.
Goddesses Pele-honua-mea
She is Pele-honua-mea, Pele of the sacred land. She is Pele-'ai-honua, Pele the eater of land, when she devours the land with her flames.
She rules the volcanoes of Hawai'i, and Mankind has no power to resist her. When Pele is heard from, her word is the final word.
In folklore she may appear as a tall, beautiful young woman, or as an old woman, wrinkled and bent with age, sometimes accompanied by a white dog. When enraged she may appear as a woman all aflame or as pure flame. her sacred name as a spirit is Ka-'ula-o-keahi, the redness of fire.
Pele-honua-mea "I quickly traced it down on a canvas that had been intended for another painting, washed an underpainting A Portrait of Pele: "This work began with many
over the surface, and began to develop that face.
unsuccessful attempts to express my interpretation of Pele's personality. The idea had been bothering me for
"She hung around my studio for just a few weeks before
some time, and over a period of several months, I made
a friend tore her away from me. He had dropped by to
many sketches in pencil. All were failures. None said, 'I
tell me about a new lady love, and here he found
am Pele.'
another.
"I contemplated the probability that I had set myself upon
"Months later Ranger Jon Erickson called from Hawai'i
a fool's errand. After all, why cast her in a human
Volcanoes National Park, asking me to participate with
likeness when no better portrait of Pele could be desired
their designers on a new museum about Hawai'i's
than the fiery eruptions, and the unique lava and fern
volcanoes. It had been conceived as a scientific
jungle landscape of her domain? Also, Pele has no
museum, but something seemed missing; science alone
single likeness, but changes her features and age to suit
could not express the human experience of the
her moods.
volcanoes.
"One morning I arrived in my studio and again started a
"Pele personified that experience. I worked with the
sketch - and another - and another. The day's scheduled
designers to integrate the Hawaiian volcano myths with
work was forgotten. I disconnected the phone. A
scientific presentations.
scattering of unsatisfactory sketches began to litter the floor.
"For further depictions of Pele I thought I should look for a model. At breakfast one morning at the Hotel Hana
"Then I began perspiring. It was one of those all too rare
Maui I thought I saw the features I was looking for in the
moments when the pencil or brush seems to move itself.
face of our waitress. When I introduced myself, she said,
The face I had been looking for suddenly appeared. I
'Yes, I know who you are. I'm Mona Ling, the daughter of
whispered, 'There you are!'
Sam Kalalau who sailed with you on Hokule'a.'
Pele-honua-mea
A Pantheon of Volcano Spirits Left to right: Kamapua'a, the hog god; a mischievous spirit of rain,
"She modeled for me in a photo session that afternoon. Later I developed some of the poses into several
moisture and plant life. He was Pele's lover, but in all ways her opposite. Theirs was a stormy relationship.
studies, and further refined one of the studies into a painting. But when I did the paintings of Pele for the new Thomas A. Jaggar Museum, I found that none of the photos of Mona worked for me. Although she could not convert her features into a portrait that would say 'I am Pele.' So all my paintings and sculpture of Pele have been done, like the first, not from a human model, but
Poliahu, goddess of snowy Mauna Kea -- a sister and a jealous rival to Pele locked in an eternal ice and fire enmity. Pele's sisters, Kapo and Laka, two personalities of the same spirit -- one a spirit of fertility and sorcery, the other a spirit of the dance.
from the vision in my mind's eye. I can only believe that it was because Mona's features were just too vulnerably
Hi'iaka, a spirit of the dance, was Pele's favorite sister.
human. Pele, appearing as a beautiful young woman and as an "After the museum paintings were done and I was
old hag.
putting away my research, it occurred to me that here was material that might be molded into a little book (Pele, Goddess of Hawai'i's Volcanoes"
by Herb Kawainui Kane.
Ka-moho-ali'i, respected elder brother and keeper of the water of life. As a great shark he led Pele to Hawaii.
Lonomakua, keeper of the sacred fire sticks, made volcanic fires at Pele's command.
Ka-poho-i-kahi-ola, spirit of explosions. Ke-ua-a-ke-po, spirit of the rain of fire. Kane-hekili, spirit of thunder. Ke-o-ahi-kama-kaua, spirit of lava fountains.
Pacific People Pa'u Riders of old Hawai'i
Disdaining
the
"side-saddle"
riding
position, Hawaiian women wore long riding skirts (pa'u) that enabled them to straddle their horses. Their elders might prefer carriages, but high-spirited young women rode out on horseback, singing as they ambled along, often making a dramatic arrival at a party at full gallop.
The tradition of decorating both horse and rider with lei of flowers, ferns and On the Veranda
berries, and wearing the riding pa'u may still be seen at parades and celebrations throughout Hawai'i.
Pacific People Ready to Party
Told to me as a true story. -Herb
It was "party time."
Aunty
had
dutifully
cared
for
her
housebound husband through his long terminal illness; but after he was called to his ancestors, it was party time - time to get out of the house and see people. She visited relatives, and looked up old friends - "girls" she had known at Kamehameha Schools sixty years ago.
And
wherever
she
went
parties
blossomed out like flowers after a long rain. After she had visited everyone she wanted to see on 'Oahu, she ventured out to the neighbor islands. She went to Kauai, then to Molokai, then to Hawai'i.
Pacific People
It had been a long time since she had seen her relatives in Hawai'i's Kona district. On the whole the visit was "good fun," but she was not pleased about all the changes. Kona seemed so busy now, so many cars and people. She missed the faces of relatives who had died, and the others now looked much older than she had remembered them. There were new great-grandchildren to enjoy, but little Keoki,
the
grandson
she
had
remembered as such a darling baby, was
On the Lanai Femme des iles Sandwich
now a big wild-looking kid who she once saw sneaking a puff on a funny-smelling, hand-rolled cigarette. She guessed what that was.
Maui was next on her itinerary. When the family took her to the airport in a parade of cars, Keoki hauled her bags in a truck with over-size tires and a boom box you could hear a mile away.
Pacific People
As he carried her bags to the airline ticket counter, he whispered, "Tutu, I put a little surprise from Kona in your suitcase." But her attention was taken by other relatives surrounding her with words of aloha as they bedecked her with flower leis. The sun had set when the plane landed on Maui. She looked around out in front of the terminal, but the friend who had offered to meet her was not there. She Hawaiian Reverie
waited until dark; then, remembering her bags, walked to the baggage claim rack.
Before the Dance
Pacific People
She found her two suitcases, the only bags remaining on the rack. But when she put her hands on them, two very large,
young,
uniformed
policemen
suddenly appeared, one on each side of her. "We'll have to ask you to open those bags, Lady, if you don't mind," one said. "For what?" She replied, "And yes, I do mind!
Everything
in
those
bags
is
personal." "I'm sorry, but we must insist on inspecting your luggage." the other said.
Serenade
Pacific People
She was not much above five feet tall, but she could develop a towering temper. "You don't look into my personal stuff 'less you got one damn good reason." The two policemen glanced at each other. "I'm sorry," one said, "but we must have a look in your bags" "You're not going to look in my bags, but I tell you what you are going to do," she ordered. "You get on your radio and you call Lieutenant Kawaiaina, and you tell him to get right down here. Right now!" The policemen were taken aback. One said, "I'm sorry but I think he's off duty now. You know him?"
"Know him? I gave birth to him. You call my son right now and tell him to get over here." Performers
Pacific People
"I think he's watching the Monday night football."
"I don't care what he's doing. You call my boy and tell him to turn off his TV and come down here right this minute." One of the men made the call.
When her son arrived minutes later, he said, "Mama, you didn't tell me you when you were coming or I would have been here." "I no like bother you, Baby. Anyway,
my
classmate
Napua
was
meeting me, but I think she forgot. But what's all this pilikia?"
"You have to open the bags, Mama. Why won't you?"
Bernice Pauahi Bishop
"Because then these boys will see all my underwears! That's not their business."
Pacific People
"Let me explain, Mama. At the Kona airport they got one dog trained to smell drugs. This dog sniffs all the bags that are checked in, and if it gets excited they take down the description of the bag and where it's going. Then they phone ahead to the police at that airport. They watch the bags and catch whoever picks them up."
"Drugs? In my bags?" Still indignant, Aunty was now also incredulous. "Mama, they said that the dog sniffed that brown suitcase, and went crazy." "Oh, so that's it!" In sudden fright she remembered her grandson's remark at the Kona airport. "That wild kid of Julia's! He said he put something in my bag. Well, you can open it, Baby, but tell those other boys to stand Anna Perry Fiske on horse
back."
Pacific People
Her son opened the brown suitcase. From among Aunty's personal things he extracted
a
paper-wrapped
package,
which he opened. Laughing, he called to the other policemen, "Hey, boys, you like taste the evidence? It's the real Kona gold - dried opelu!"
In the package was five pounds of wonderfully fragrant dried fish.
Plaiter of Mats
Pacific People Puanani making Kapa
The making of barkcloth from the white inner bark of the paper mulberry tree has been
an
art
practiced
throughout
Polynesia, Micronesia and Melanesia, The art was brought to it's highest form in Hawai'i, both in the process of preparing the bark fibers and in the variety of decoration.
Puanani Van Dorpe, depicted here at work in her studio, has patiently gathered accounts by early observers of the processes involved in the making and decorating of traditional Hawaiian bark cloth (kapa) and has put them to test, carefully recording and evaluating the results of each experiment. Through arduous practice she has also developed her skill in the uniquely Hawaiian process of felting, beating, watermarking and decorating, and she has become the only person in the world who is now able to produce kapa identical to kapa two centuries old.
She has shared her discoveries with her daughter
Kapuailohia
and
others. A
growing interest from art collectors has added stimulus to the rebirth of this traditional art form.
Pacific People The New Quilt
In this painting the tradition of Hawaiian quilt-making,
distinctive in style and
technique from other quilts, is passed down
from
a
grandmother
to
her
granddaughter.
This image was featured on a poster for the 2000 Census, distributed by the U.S. Postal Service to post offices throughout the nation. The headline on the poster was, "Generations are counting on you."
Pacific People Kahai
TIME IN LIFE Island
As they have for generations, swimmers festoon the large rock that stands just off shore at Waimea, O'ahu. Some oldtimers call it "Wowo Rock." Wowo means bellow or roar, and it is said the rock makes such sounds when pounded by high surf. The title "Island" expresses the thought that the rock covered with humanity is, in microcosm, not unlike the burgeoning population of the Island of O'ahu; or, for that matter, our island in space, Earth.
Let's hope we can all get along as well as these kids.
TIME IN LIFE Hamoa Beach, Maui
A secluded sandy swimming beach near Hana, Maui. Hamoa is the name of the bay, the village in that area, and the ahupua'a (land division) rising up the mountain from the sea.
It is thought that the name comes from Ha'amoa or Hamoa, the ancient name for Samoa. (in the evolution of the Samoan dialect, H became S).
But what does Samoa mean?
A Samoan scholar told me it means "The Sacred Center."
TIME IN LIFE Cloud
TIME IN LIFE Kids at Kahalu‘u
With their colorful “boogie boards” they were playing in the shallows at Kahalu‘u Beach Park, clustering
together
in
an
ever-changing
kaleidoscope of colors and patterns. In my mind’s eye I thought it would make an interesting painting
The Hawaii statehood stamp, created by artist and historian Herb Kawainui Kane, was dedicated on Aug. 21 by U.S. Postal Service Honolulu District Manager Daryl Ishizaki and Hawaii Gov. Linda Lingle.
The U.S. Postal Service® commemorated the 50th anniversary of Hawai‘i’s statehood with the release of this 2009 stamp. Artist and historian Herb Kawainui Kane of Captain Cook, Hawai‘i, who has dedicated much of his life to studying Hawaiian culture and history, created the painting on the stamp. In the art, a surfer rides a wave on a longboard, a popular choice among surfers for centuries. Next to him, two people paddle an outrigger canoe to shore
The Hawaii statehood stamp
The commemorative for 25 years of Hawaii statehood was another assignment. I also did approximately 32 stamps for the Republic of the Marshall Islands when
th
50 anniversary of Hawai‘i’s
they became involved in the business of philatelics. And there were four for French Polynesia, but there was no charge for this service in gratitude for the tremendous hospitality that was given to Hawaii’s voyaging canoe Hokule‘a upon
How many stamps have you designed?
its first round-trip voyage between Hawai‘i and Tahiti in This is my 9th for the U.S. Postal Service, the first being
1976.
one of the Historic Preservation series in which one artist of each state was engaged to do a 30″ x 30″ painting of
I have not done any stamps for the Cook Islands, but the
a project of historic preservation in that state. The
stamp concessionaire to the Cooks, Finbar Kenny, a
collection became a traveling exhibit throughout the U.S.
buddy of Cook Islands Premier Sir Albert Henry,
The list includes stamps for the U.S.
produced several with very crude knockoffs of some of my
paintings
of
Polynesian
canoes,
without
my
became
authorization. My protests were ignored with the excuse
independent republics in free association with the United
that the Cook Islands had not signed on to international
States.
copyright
Micronesian
Trust
Territories
as
each
agreements.
The
story
was
eventually
published by the American journalist Galal Kernahan in These include Palau, Marshall Islands, Guam, the
Pacific Islands
Northern Marianas, and the Federated States of Micronesia. Here I worked with Art Director Howard
Monthly, under the title, “The Stamp of Disapproval.”
Paine, a friend and a great coach who I had worked with
Finbar Kenny sued the magazine for defamation of
earlier when he was art director for the National
character, but dropped the suit when his solicitors
Geographic Society.
learned that he had given Premier Henry several hundred thousand dollars to fly Cook Islanders residing New Zealand back home to vote for Henry in an election. As a U.S. citizen Kenny was tried and fined in Federal Court for bribing an official of a foreign nation, and instructed to stand trial in the Cook Islands also. Queen Elizabeth revoked Albert Henry’s knighthood and he died several months later.
Why did you suggest the theme of surfing—among other themes?
th
50 anniversary of Hawai‘i’s
It’s part of the indigenous culture of Hawai‘i. Surfing today is world wide, but it was invented in Hawaii – both board surfing and canoe surfing. When the British Expedition under Capt.James Cook arrived in 1778 on
How long does it take to do a stamp design?
the 3rd voyage of Pacific exploration, they witnessed surfing for the first time. But I’ve not included any
Anywhere from a few days of working time up to two
recognizable land form such as Diamond Head because
years of submitting a wide variety of ideas and
surfing was done throughout the islands. However, there
preliminary sketches if it is a U.S. commemorative. The
is a picture of Diamond Head already on the “cachet”
Postal Service art director sifts out the best which are
you can order from your Hawai‘i Post Offices that
then reviewed by a committee.
contains a “cover” showing the new stamp cancelled to the first day of issue. That is a detail from another of my
Those sketches selected are then more carefully
paintings, one depicting Prince Kuhio surfing with five
rendered in paint as “comprehensive sketches”. A
paddlers aboard his personal racing canoe with Diamond
finished painting with the typography indicated is then
Head in the background. The setting is off what is now
presented to a state committee usually composed of
called the Kuhio Beach area of Waikiki.
elected representatives appointed by the governor for final approval. It was a great pleasure to work on this
What’s the most challenging part of stamp design?
commemorative with Art Director Phil Jordan. The need for simplicity. Because of the small size of the finished product, one must reduce the subject to its essence in a very simple graphic statement, yet in a way that is visually pleasing. This can be difficult, but it’s a necessary exercise. To get down to that essence the designer must strip away all that is really unimportant and extraneous, no matter how much one might wish to include it. It’s good exercise and it clears the mind. Then, perhaps at four AM, or perhaps while shaving, the idea presents itself to your mind’s eye, fully shaped, in one of those rare “eureka” moments.
Sassie Hulla Dancer
Canoe Surfing at Waikiki
"
My versatility has enabled me to survive
over my half century as an artist. Whereas most artists stay with a style that reflects their inner personality, I believe an artist should be like actors who can play many roles, and who subjugate themselves to the role at hand, letting it tell them how to play it.
As a Chinese artist said to me, 'to paint a flower you must be a flower; to paint a tiger you must be a tiger.'
- Herb Kane
"
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