Hawaiian Art and Sovereignty
A direct translation of the word ‘aina from English would be “land”, but honestly this word means so much more in the hearts of the Hawaiian people. The Hawaii natives have a deep connection to the earth and nature. According to Hawaiian myth humans are the descendants of the gods, but so are the rocks, the trees, the fish, and everything else. How we treat the earth affects our health. The earth is one breathing body. When something is affecting the islands everyone feels in. Not only in physical repercussions, but in our spirit.
‘Aina been prevalent in my life for most of my life. I remember dancing with my brother while my parents cooked in the kitchen and my Dad played songs from his iPod. The lyric reverberate in my mind to this day “...You can take the boy from the island, but not the island from the boy, ‘cause the island stays in your heart and I’ll never forget where I’m from…”
In ancient times it was traditions to bury passed love ones in a random place on the island. Only the elders and people who buried them would know, but never tell. This was a way of returning to the earth and becoming one with the land. That is another reason why the land is such a sacred thing. The land is quite literally our ancestors and passed loved ones. Thats why it hurts seeing it be handled and sold like a product for financial gain.
One of the deepest wounds would be the illegal overthrow of Hawaii. Also the use of sacred grounds as a spot for infrastructure leading to the constant upheaval of burial grounds of the Hawaiian people. Cultural prostitution and extreme tourism is at the cost of the locals' farms and homes. This forces many natives to either live in poverty in their homeland or move out to the mainland. People like my family and many more have been affected by this diaspora. Often mourning a land and language we never got to know, but still love and hold close to our hearts.
After the death of King Kalakaua in the Kingdom of Hawaii his sister, Lili’uokalani took the throne. Despite death threats and rumors of revolts, Lili’uokalani assumed the throne. Over an estimated ⅔ of the Hawaiian people have lost their voting rights to the Missionary party, a group of white men that had brought in an all white militia, forcing power out of the hands of the Hawaiian government and monarchy.
In an effort to enact change, Queen Liliuokalani wrote up a new constitution, to bring power back to the people. But before she could introduce the constitution the “Committee of Safety”, a group created and run by the Missionary party, took action. They reported, under the false pretense, that the Hawaiian monarchy was a threat to the US government. On January 17 1893 large group of American marines overtook the palace, removing Queen Liliuokalani.
Thousands of Hawaiian people protested in response, demanding that their Queen be set free. The following year the Kingdom of Hawaii was declared a republic, stripping all Native Hawaiians of their right to vote unless they signed an “oath of allegiance”, which many people refused, still adamantly dedicated to the Kingdom and their Queen.
A year later, on January 5, 1895. A rebellion against the republic took place, led by Robert Wilcox. The republic responded and the rebels were punished brutally. Hundreds of people were sent to prison, and six people were sentenced to death. In return for their freedom Queen Liliuokalani, signed a document saying that she agreed to relinquish her office and she was held prisoner in the palace. She was put under constant surveillance and was only allowed newspapers approved by her captors. During her imprisonment the queen wrote songs and created art, expressing her love for her country and people.
The Queen’s quilt created by Lili'uokalani and her acquaintances during her 10 months as a prisoner in Iolani Palace in 1895 is a significant piece of Hawaiian history. The quilt has a central medallion and nine panels that portray significant events in the Queen's life, including her imprisonment and arrest.
The use of colorful silks and ribbons from the Queen's wardrobe, as well as the stitched messages, reflect a political statements. The patchworked design and the inclusion of names, ribbons, and badges further indicate the quilt's purpose as a political document. Clicking the link under the image you can see the up close picture of the intricate details and stitching. From detailed cursive messages and small images and details are stunning. For me the crazy patterns and patchwork style of it represents the perseverance of the Hawaiian spirit. Even in imprisonment, Queen Liliuokalani used what she had and never stopped expressing herself.
Native Hawaiian barkcloth known as kapa is a traditional non-woven textile made from the bark of specific trees. This cloth was used for clothing, bedding, ceremonial purposes, and burial wrappings, and is still in use today. The first migrants from Taiwan brought the wauke plant to the Hawaiian Islands, where they established a distinct culture that included barkcloth production. Hawaiian kapa is considered to be of high quality and intricate design. Barkcloth production can be found throughout Pacific cultures, but variations exist within each community.
The process of making kapa is complex and time-consuming. Bark is removed from the trees and soaked to spread the fibers apart, and is then beaten multiple times to form a thin yet durable textile. A patterned watermark is added during the final beating, creating a visible imprint when held to the light. The method of designing and decorating a finished cloth varies by maker and culture, with Hawaiian kapa featuring natural plant dyes and earth pigments to create intricate and story-telling patterns.
The practice of creating kapa textile is beneficial in its sustainability, using natural pigments and plant dyes while preserving the wauke trees to protect the environment. In the mid-1800s, this art was almost lost due to colonial assimilation but was revived by practitioners during the Hawaiian Renaissance in the 1970s.
Lehuauakea is a māhū mixed-Native Hawaiian interdisciplinary artist and kapa maker from Pāpaʻikou on Moku O Keawe, the Big Island of Hawaiʻi. To confront issues of mixed identity, cultural erasure, resilience, and environmental relationships, Lehuauakea uses traditional Hawaiian craft practices, including kapa making. Their work addresses these topics through a contemporary lens, aiming to pass the traditions on to upcoming generations while connecting fellow Kānaka in North America with their heritage. They draw on their ancestry, which includes lineages connected to Maui, Kaua'i, and Moku O Keawe. Lehua learns these practices from a wide range of artists, including Wesley Sen, Beatrice Krauss, and Dennis Kana'e. They also work to empower other Kānaka in North America to connect to their heritage. Their work has been shown in exhibitions around the world and is featured in private and public collections. Lehuaakea, a member of the next generation, aims to continue this cultural practice to make kapa an important part of daily life for Native Hawaiians, and perpetuate it for future generations.
O Haumea Kino Pāhaʻohaʻo revolves around the haumea, or entity that presides over childbirth, creation, and fertility. The patterns the the kapa represent the haumea’s physical form in Hawaiian culture. The earthy tones go along with the themes of the piece as a homage to the creation of life. I very much love the the patterns and the repetitive use of triangles and diamonds used throughout.
This installation featured kalo sculptures made from paper, wire, and pōhaku (lava rock). Kalo is a staple of the Hawaiian diet and is culturally significant to Native Hawaiians. According to Hawaiian mythology, the plant holds special significance, as it is considered an “elder sibling” to the Hawaiian people. In the story, Hāloa is the younger brother of Hāloanakalaukapalili, a stillborn from whose grave grew the first kalo plant.
The kalo plants were created using copies of anti-annexation petitions signed by thousands of Hawaiian citizens who resisted American annexation. The corm used in the project was sourced from various Hawaiian islands, including Oahu, Molokai, Kauai, Maui, and Hawaii Island. During the biennial, the installation was displayed in Ali'iōlani Hale, the site of the 1893 overthrow of the Hawaiian Kingdom. On the day of installation, a procession of over 150 people traveled from ʻIolani Palace to Ali'iōlani Hale. The route was the same as what Queen Liliʻuokalani would have taken to travel between her home and government offices. Each kalo sculpture was carried by elders, young, and descendants of individuals who signed anti-annexation petitions. Once in the building, the sculptures were placed in the central rotunda.
I love how each part of this piece is representational. From the leaves of the kalo being made the annexations petitions and the corm of the plant being sourced from all of the islands, represent the unison of Hawaii voices that carried out those petitions. Even after all this time the demonstrations is a preformance of Hawaiian resilience and proof of our existence that is often overshadowed by the massive tourism industry and colonization of the land.
Franklin, Robert. “Lehuauakea.” Native Arts and Cultures Foundation, 8 Aug. 2022, www.nativeartsandcultures.org/lehuauakea.
“Lehuauakea | Contemporary Indigenous Hawaiian Artist + Barkcloth Maker.” LEHUAUAKEA, lehuauakea.com. Accessed 29 Nov. 2023.
Escalante, Eunica. “The Solemn Artistry of Bernice Akamine» FLUX.” FLUX, 19 Apr. 2021, fluxhawaii.com/the-solemn-artistry-of-bernice-akamine/. Accessed 29 Nov. 2023.
“Bernice Akamine.” Www.galerie103.com, www.galerie103.com/exhibition/bernice-akamine.html. Accessed 1 Dec. 2023.
“The Queen’s Quilt | Whipstitch.” Whipstitch | Modern Sewing, 22 Feb. 2011, whip-stitch.com/the-queens-quilt/.
“Honolulu Star-Bulletin Features.” Archives.starbulletin.com, archives.starbulletin.com/2003/03/10/features/story1.html.
I love your deep interpersonal take on traditional Hawaiian art. The story of Queen Liliuokalani is so tragic. It's a dark stain on Hawaiian history, as they were marred by the gluttony of American consumerism. Your exhibit fantastically captures the consequences of annexation through the legacy and resurgence of traditional art.
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