from the Forbes Cave, in 1905. (see reproduction photo and small Tiki statuette).

Chiefs and commoners, men and women, craftsmen and warriors - in short, all ranks and classes of society - had their own special gods active in daily affairs.  Lesser gods were generally of a personal nature, or associated with family, crafts, sorcery or other endeavors.  Major gods were state deities, activated in the interest of the nation.  The four major ones were Ku, Kane, Lono, and Kanaloa.  The gods controlled the destiny of every Hawaiian from birth to death and beyond.

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Of the 160 or so wooden images that survived the burning spree of 1819, when the official state religion abrogated by chiefly decree, only a handful can be positively identified.  This wooden image was discovered in a lava tube burial cave near Honokoa Gulch, Kawaihae, Hawaii in 1905.  This and a nearly identical companion are the largest and best examples of a class of portable images sometimes called "akau ka'ai."  The elaborate headdress may represent abstractions of symbols associated with the gods - such as rainbow or the eight foreheads of Lono.  The notched vertical hair braid representations appear on the other life-sized images thought to be characteristic of the Kona coast of Hawai'i.

The anklet was strung for use in a hula ceremony.  The perforations have been created through the root of each tooth by carefully drilling approximately half way through from either side, minimizing the risk of damage and resulting in an hour glass shaped perforation.  The Hawiians held a philosophy of supernatural power existing in objects that extended to the spirits of ancestors, who once passed, could transcend earthly existence and through their association with special personal possessions were able to guide, protect and help family members through the item, which was often passed through generations, it’s power or ‘mana’, increasing with age.

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Dogs were especially important to the early Hawaiians as an important source of meat, the native species known as the ‘poi dog’, now extinct, was believed to have been introduced by ancient Polynesian settlers who, in addition to consuming their flesh, would reputedly raise a puppy along with a baby, creating a close bond between the child and dog who acted as a protector. If the child died the dog would be killed and buried alongside however if the child outlived the dog they would take and wear its teeth as a charm, the dogs faithful spirit enduring through it, continuing it’s protection.

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The use of dog teeth as adornment was not however restricted to this purpose as they were an important component of various ‘hula’ implements, numbering in their hundreds, the teeth were attached to a fibre foundation panel forming the traditional leg ornament, (‘Kup’e niho ‘ilio’), worn by the dancers, as well as necklaces and bracelets, the stunning sound created by the action of the teeth knocking together accompanying the movements of the dancer.

Lei Niho Palaoa. Walrus ivory, human hair, thread. Gift of Lili’uokalani, 1910. Bishop Museum, Hawaii, reproduction photograph.

Hawaiians possessed a richer variety of adornments for the body than other Polynesians.  Besides facial and body tattoo, they wore ornaments of feathers, ivory, teeth, bones, seeds, and shells, - not to mention numerous lei strung or woven from flowers and fragrant leaves for festive occasions.  After European contact, wealthy Hawaiians added trade beads to their stock of personal adornments in time adopting the full assortment of precious and semiprecious gems and metals so highly prized by Westerners.

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The most valuable ornament was and still is the Lei Niho Palaoa, a hook shaped pendant traditionally worn by men and women of chiefly rank.  The hook-shaped pendants known as Lei Niho Palaoa, were worn by Hawaiian chiefs as marks of their noble birth and status.  An element of formal regalia for both sexes, the necklaces were worn on important occasions and also, reportedly by men in battle.  The interpretation of the distinctive hook-shape remains uncertain.  It may represent a stylized tongue, or alternatively, the crescent-shaped form may metaphorically allude to the role of the necklace as a vessel for supernatural power (mana).

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The pendants typically formed the centerpiece of necklaces made of a single continuous length of finely braided human hair, up to 1,700 feet long, gathered into two large coils.  Derived from the head, the most supernaturally powerful part of the body, hair was a sacred substance whose presence enhanced the mana of the necklace and its noble wearer. 

C. 1783, by George Carter (1737-1794), oil on fabric, Bishop Museum, Hawaii, reproduction photo.

Through the eyes of Captain James Cook and his contemporaries were the first visions of Hawai'i given to the world.  In words and engravings, the published journals of Cook and others depict the sights and events he and other explorers encountered in the late 18th and early 19th centuries.  Cook's voyages were made for science, not conquest.  He and the naturalists on board his ships made tremendous contributions to Europeans' knowledge of geography, anthropology, and natural history.  Sailing north from the island of Tahiti into uncharted seas, Cook sighted O'ahu, the first of the Hawaiian islands, on January 18, 1778.  After a brief stay at Kaua'i and Ni'ihau, they headed toward the northwest coast of America for further discoveries.

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Returning in November to winter, Cook anchored on the West side of Hawai'i on January 18, 1778, after seven frustrating weeks seeking a safe harbor.  His ships generously provisioned and the men rested, Cook sailed away three weeks later, only to be driven back for repairs after a heavy gale.  The wearied hosts, nearly exhausted of food as well as patience, found it increasingly difficult to avoid provocations with the English.  When the Discovery's cutter was stolen during the night of February 13, and exasperated Cook went ashore next morning to take as hostage high chief Kalani'opu'u, ruler of the island.  A skirmish erupted, and the renowned navigator lay dead.  

John Hayter (1800 - 1891) oil on fabric

High Chief Boki, Governor of O'ahu, and his Liliha were among the royal suite that accompanied King Kamamalu to London in 1823-1824, where the handsome couple posed for one of the most important portrait painters of the day.  Boki is attired in a feather helmet and cloak, while Liliha wears a feathered head lei and necklace of braided human hair with ivory pendant.  Her skirt of intricately printed bark cloth is a reminder that women traditionally were not permitted to wear feather work other than head or neck lei.  During the stay in London, the King and Queen succombed to measles.  Boki and Lilha returned to Hawaii, and brought the remains of their king and queen with them. 

statuette, reproduction - fascimile of sculpture by Thomas Gould, 1879.

This small statue depicts the Hawaiian king known as "the Great Unifier," who set the stage for the kingdom's proud-but-turbulent monarchy period.  A life-size bronze statue is in downtown Honolulu directly across from the Iolani Palace, the only royal palace on American soil.  The inscription below the king's statue reads: King Kamehameha I (c. 1758 - 1819) was a wiser ruler who enacted laws to protect the defenseless and to bring order to a newly united kingdom.  An astute statesman, he encouraged foreign trade and the use of foreign technology, while avoiding foreign rule.  Through warfare and diplomacy, he unified the Hawaiian Islands.  He enacted the Law of the Splintered Paddle, which stated that every man, woman, and child may travel freely and in peace with the right to lie down to sleep by the roadside without fear or harm.  This law protected human rights of non-combatants in times of battle.  

unknown artist, after a copy by Louis Choris (supplemental information in National Geographic magazine)

King Kamehameha I was the first ruler over all the Hawaiian islands.  He is known as the "Napolean of the Pacific," as he conquered most of the Hawaiian islands formally establishing the Kingdom of Hawai'i in 1810. 

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Louis Choris was a Russian painter and explorer.  He was one of the first artists to document expedition research. 

The only known paintings from the life of Kamehameha I were made on Nov. 24, 1815, by Louis Choris, draftsman with the Russian von Kotzebue expedition.  The king first sat in native dress then to Choris' suprise appeared of his own accord in European clothing.  Choris made and unknown number of watercolor sketches differing slightly in detail, from which at least six versions in oil were copied later by unknown artists.  The rendering of Kamehameha in a red vest seems to have been his favorite, becoming in time a kind of symbol of kingly office. 

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Kamehameha had many wives, historians list anywhere from 20-30.  While he had many wives and children, it was his children through his highest ranking wife, Keopuolani, that would succeed him to the throne.  When Kamehameha died in 1819, he was succeeded by his son Liholiho who took the name Kamehameha II.  They young king was persuaded by Kamehameha I's favorite wife, who was blocked by kapus (ancient Hawaiian code of conduct) from the highest circles of power, to publicly violate one of the taboos, which barred men and women from eating together.  This destroyed the kapu system, and the king then, formally abolished the Hawaiian religion.

poster by Michael Cassidy

Michael Cassidy is a commercial artist from Hawaii.  The artist uses painterly strokes and bold colors to interpret a series of famous photographs taken of the legendary surfer and lifeguard Eddie Aikau (1946 - 1978).  The poster was commissioned by Quicksilver, a surfboard and apparel company, which sponsors the renowned Big Wave Invitational surfing contest every December in Waimea Bay, Oahu.  To run the Eddie, as it is called, the event requires a consistent minimum wave face heights of 40 feet for 8 straight hours.  Imagine how high those waves are!  

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Eddie is pictured with his iconic red surfboard and red and white shorts.  Born and raised in Hawaii, Eddie grew up surfing with his brothers, and became a famous surfer of big waves, winning many contests.  In 1968, he became the first lifeguard hired by the city to work the North Shore, notorious for big surf.  Not one life was lost while he served as lifeguard at Waimea Bay.  He made many daring rescues, leading to the saying "Eddie would go," referring to his courage in successfully attempting rescues in near-impossible big surf conditions.  

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Eddie was selected as a crew member of the second voyage of the Polynesian Voyaging Society's traditional double-hulled sailing canoe, the Hokule'a.  The Hokule'a was built to serve as a replica of the ancient voyaging canoes with the goal of following the 2500 mile route of the Polynesian migration between the Hawaiian and Tahitian islands.  The canoe capsized in stormy weather 12 miles out to sea.  In an attempt to get to land to save his crewmates and the Hokule'a, Eddie left to paddle back to land on his surfboard, but was tragically never seen again.  Later that night, the US Coast Guard rescued the rest of the crew.

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Surfing is the heart of the Hawaiian love of the water.  Papa he'e nalu, or surfboards, were crafted for the ancient Hawaiian chiefs over a thousand years ago and were treasured items.  Their construction began with the careful selection of the koa or ulu tree.  The wood was shaped, smoothed with a polishing stone, and oiled with kukui nut oil.  In 1778, a lieutenant aboard Captain Cook's Resolution described his amazement at seeing surfers at home in the water: "The boldness and address, with which we saw them perform these difficult and dangerous maneuvers, was altogether astonishing."

on notecards

The American modernist Georgia O'Keefe traveled to Hawaii in 1939 at the invitation of the Hawaiian Pineapple Company, Ltd. (later Dole Company) to participate in a national magazine advertising campaign.  In an era when advertisers often hired fine artists to add a touch of class to their campaigns, the "least commercial artist in the US" was persuaded by the company to visit Hawaii and produce two canvases.  Despite initial reservation about the project, O'Keefe ended up spending nine wonderful weeks on the islands, where she was given complete freedom to explore and paint.  When she had first arrived, she had been incensed the company officials refused to let her stay on a working pineapple plantation because it was unseemly for a woman.  When they delivered to her hotel a pineapple already peeled and sliced, she tossed it out in disgust.  She went directly to the most remote, wild, and verdant corners of the islands, especially Maui, to seek out an unfiltered view of nature.