Standards of RoyaltyThe Khili of Ancient Hawai`i and Their Application at Pu`uhonua o Honaunau National Historical Parkby Leilehua Yuencopyright 1999, Leilehua Yuen updated 2007, copyright 2007 Leilehua Yuen

ForewordThe purpose of this manuscript is to provide a reference on the appropriate design, construction, and use of khili in court regalia for the Pu`uhonua o Honaunau National Historical Park. For the general public, featherwork items are among the most readily identified artifacts and artifact replicas of ancient Hawai`i. This is likely due in part to the Hawai`i Chamber of Commerce "warrior markers" and to the depictions of chiefs in regalia at cultural festivals, hotel luaus, Lei Day festivals, and other public and commercial events. As the only public facility in the world with an almost exclusive focus on premissionary Native Hawaiian culture, it behooves Pu`uhonua o Hnaunau to provide the most accurate possible depictions of this period. Some public perception of Pu`uhonua o Hnaunau National Historical Park is that the park is the final authority on Pre-European Contact Hawai`i. While there are specific individuals who are more highly regarded in specific fields of study, PUHO employees collectively are perceived to be more knowledgeable regarding "The Real Hawai`i" than almost any other authority figures. Frequently at conferences, festivals, workshops and other events, when a question of propriety arises, people ask, "How do they do it at the City [sic.] of Refuge?" Or the statement is made, "Well, that's how the City [sic.] of Refuge does it." Generally, this perception is well founded. While some of the displays and demonstrations are certainly post-1819 innovations, the staff is generally aware of what these are and uses the discrepancy to enhance educational opportunities in a variety of ways. One of these is by discussing how the item might have evolved to its current form and comparing it to its earlier form. According to the park's Long Range Interpretive Plan (National Park Service, p. 26) Park cultural demonstrators are to "continually research traditional methods for making a wide range of Hawaiian crafts." This also applies to existing replicas of court accoutrement and regalia. Each time items are repaired or replaced, the author believes that PUHO should strive toward utilizing an ever-increasing set of data and reference materials to incorporate the most up-to-date discoveries and most accurate conclusions regarding them. It is humbly hoped that this manuscript will add to the reference materials available in a useful and productive manner. Numerous feather artifacts and bark cloth samples collected during Cook's third voyage and other early voyages are still extant in the world's museums and private collections. The author was able actually to look at those items in the Bishop Museum permanant khili collection, archived kapa pieces, and the special exhibit N Hulu Ali`i, as well as the traveling display, Life in the Pacific of the 1700s: The Cook/Forster Collection of the Georg August University of Gttingen, at the Honolulu Academy of Arts, and a variety of objects in private collections. In this manuscript, the author aims to make a clear distinction between conclusions drawn from tangible artifacts and extrapolations from knowledge of present Hawaiian culture and oral tradition and early documentation of ancient Hawaiian culture. In cases of disagreement between sources, the author gives precedence to the writings of John Papa `I`i (1800-1870), then to the work of Abraham Fornander (18121887). All other sources are measured against these two standards.

`I`i was a member of the court of Kamehameha I and from age ten was companion and personal attendant to Liholiho, the heir-apparent. For nine years, until its overthrow in 1819, `I`i was in the courtly center of the kapu system. `I`i was directly responsible for Liholiho's regalia, being his khili and spittoon bearer, and also on occasion carried Liholiho's ka`ei (feathered sash) for which Kalaikane, `I`i's mother, was kahu. Fornander was close to members of the royal court and held many important positions within it. He was married to the chiefess Alanakapu Kauapinao. In his historical writings, he worked closely with Samuel Kamakau and Kepelino Keauokalani, as well as other contemporaries who had lived under the old kapu system. Other writers cited, such as Malo, were not such intimates of the kapu-court as `I`i, or their collected writings were published many years after their deaths, precluding their assistance in editing. Fornander's work was published during his lifetime when he and his sources were able to see the project to completion and verify its accuracy. While the focus is pre-European contact khili, this paper touches briefly on use of other featherwork for comparative and contextual purposes.

IntroductionAs one gazes on the pageantry of Hawaiian cultural festivals, their awesomeness is enhanced by the grace of flowing `ahu`ula (feather cloaks), elegance of tall khili (feather royal standards), and the festive decorative effect of lei hulu manu (feather garlands). These items and more were an important part of Hawaiian court and diplomatic life from ancient times. The canoes of Hawaiian chiefs also wore lei hulu manu, giant feather lei. They streamed in the wind telling its direction, providing both function and beauty. With the Hawaiian love of metaphor, they possibly also were felt to add to the mana, spiritual power, of the craft by imbuing it with the spirit and protection of the bird from whose feathers the lei hulu manu was crafted. Religious articles were decorated with feathers. The best known is the image of Kuka`ilimoku, Kamehameha's war god. But many other images as well as at least one small shrine were enhanced with plumage. In Hawaiian legend, the homes of goddesses were sometimes thatched with feathers. Laieikaewai, a chiefess hidden in the magical land of Paliuli by her guardian, lives in a hale thatched with yellow feathers. In the adventures of the chiefly sojourner Kawelu, the chief of O`ahu sets him the task of constructing a hale and thatching it with feathers. Kauakahiali`i, legendary inventor of the `ohe hano ihu, lived in a hale woven of flowering lehua branches and thatched with feathers. (Beckwith, pp. 408, 526, 536) The regalia of the very highest chiefs could include a feather malo (loin cloth), ka`ei (feathered girdle or belt), `aha`ula (feather cape), mahiole (helmet), khili lele carried by a personal attendant and used as a fan or fly-flap as need arose, khili carried before the chief as a banner, and large formal kahili for state functions. These feather items often were given their own personal names as in, for example, the feather cloak "Halakeao`i`ahu" and the khili "`Ele`eleualani." A female chief would have a khili pa`a lima to be carried in the hand, lei hulu (feather garlands for head and neck), khili lele carried by a personal attendant and used as a fan or fly-flap as need arose, khili carried before the chiefess as a banner, and large formal khili for state functions. If she were of exceptionally high rank, she might even have a p` hulu manu a feathered skirt for wearing on state occasions. These items were made with great care and love. When making them, no evil thought must cross a person's mind. Nothing unkind, or unloving. The mind should focus on love, long life, good health, righteousness, honor, and success for the person who will wear or use the item. Mana, according to John Dominis Holt in The Art of Featherwork in Old Hawai'i, was: ". . . the source of spiritual power, the source of intelligence and excellence. Mana was hidden in the divine ancestry of a person. Mana was hidden in the kaona (the metaphor) of chants. Mana - elusive and subtle, much sought after but not easily attained - therefore you put the

best of your heart and soul, your feelings and hopes, into a work of art! "The designs on feather objects and garments were particularly challenging to the old Hawaiian artists. In their mana-steeped consciousness these artists worked always to achieve the most generous acquisition of mana. Mana was granted or collected in objects to the degree the maker put heart and soul into the creation. Inspiration came from the gods. One kept in constant touch with unseen powers. Prayers and chants and certain rituals fortified this union between artist and akua." The colors and patterns selected were given intense study and planning. These were the manifestations of Hawaiian heraldry, as important and complex as any royal heraldic traditions of Europe. Color and design themes apparently were based on the heraldry of the individual, and so were consistent for an individual to some degree. But they also were modified by events during the person's life. For example, a chief who conquered another could appropriate the fallen chief's regalia and incorporate it into his own regalia to add its mana to his. The Hawaiian heraldry was similar in function to that of European royal families. The royal knights of medieval Europe wore plumed steel helmets, arms-emblazoned surcoats, and carried banners, all of which told rank, lineage, and saint. Appropriate usage was overseen by a college of heralds. The royal war chiefs of Hawai`i wore crested helmets, patterned capes, and carried khili, all of which told rank, lineage, and `aumkua. Appropriate usage was overseen by a convocation of khuna (priestly experts in a field). According to Holt (p. 38) the designs "are certainly not happenstance arrangements, but carefully considered elements of form worked into patterns which are mainly concerned with an exhibition of symbols relating to clan, to the spiritual connections with `aumakua, and the constant tie existing between the wearer of feather garments and the universe." Khili, however, according to kumu hula Kaha`i Topolinski, who worked on a khili project for Bishop Museum, did not necessarily fall into the same pattern, and developed a somewhat independent artistic tradition. The authors continued studies indicate that the artisans of ancient times were continually striving to maintain balance in a dynamic tension between adhering to strict tradition and kapu, and pushing the boundaries of artistic expression. Ancient expressions such as the following prayer recorded by Gutmanis (p 91) indicate an understanding of artistic expression as property. E Laka e, ua lawe aku o (inoa) i kekahi o kou mau mele. E `olu`olu `oe, e ho`ou a ho`aa iaia i kona manawa e hoa`o ana e ho`ike aku.

E ho`opina `oe iaia e hiki ole ai oia e hoomana`o i na hua`olelo o ka mele. Oh Laka, (name) has taken one of my mele. Make him stutter and stammer when he tries to use it, Make his memory fail him so that he would no remember the words. This, the author believes, continues to be seen in her informants and kumus insistence that even when creating a replica of a specific artifact some changes must be made so as to avoid making an exact copy. Examination of khili made prior to 1900 show that even paired khili are consciously made with distinct differences.

Hulu Manu Bird FeathersThe feathers for all these works came from a variety of birds. The most valued were the pale yellow feathers, called `e`e, which came from the wing tufts of the `o`o (Moho nobilis). From the mamo (Drepanis pacifica) came dark golden yellow feathers. The `i`iwi (Vestinaria coccinea) was the main source of red feathers, although the `apapane (Himatione sanguinea sanguinea) also provided red. Green feathers primarily came from the `o`u (Psittirostra psittacea), with some contributed by the `akialoa (Hemignathus obscurus obscurus). But other birds, from chickens to sea birds, and in at least one case the owl, provided feathers for the royal and religious regalia. Professional bird catchers, kia manu, were deeply conversant with the habits of their prey and the best methods of catching each. Ha`inakolo was their god. Birds caught specifically for their feathers were captured at the beginning of the molting season, when the feathers were loose and easily removed without damage to the bird. The display feathers used in courtship were no longer needed by the bird, but were still in good enough condition to be valuable for feather work. The birds were snared in nets or caught on poles daubed with pilali (bird lime), a sticky substance which glued the birds' feet to the pole. After the desired feathers were removed, the bird lime was cleaned from the bird with kukui oil. The bird was then set free to raise its family and grow a new crop of feathers. Birds which would be eaten were caught by pelting with stones, clubbing, snaring, netting, and tangling with lines as well as by netting and liming (Malo pp 37-39). Ducks were caught by hiding under water and breathing through a hollow reed. When a duck swam by, it was grabbed by the legs. Seabirds were caught with hooks and lines, or with nets. The coastal people of Hmkua developed a unique method of catching seabirds. In the evening they built smoky fires along the cliff edges. When the seabirds returned home to roost, they flew through the smoke and became disoriented, enabling the Hmkua people to catch them with scoop nets.

After killing the bird, the feathers were removed and cleaned. Women often did the sorting and bundling of the tiny feathers to prepare them for later use (Handy, ... and Others, p. 138). After preparation, the feathers, while not used as currency in any strict sense, often were collected by the chiefs as taxes, tribute, and as spoils of war. This practice continued well into the monarchy, as evidenced by the kapu placed on yellow feathers when a new cloak was being made for Princess Ruth in 1876. Lord Thomas Brassey and his wife the Lady Annie Brassey traveled about the world with their family on their yacht Sunbeam. Lady Brassey was quite a collector of "curiosities" and acquired a number of them in Hawai`i. They arrived at Hilo Bay on 22 December, 1876 and departed O`ahu on 3 January, 1877. Despite the brevity of their stay they made many friends and in 1881, King David Kalkaua visited them at their home in Catsfield, England. In her journal, Lady Brassey writes: ". . .The woman of the house, which contained some finely worked mats and clean-looking beds, showed us some tappa [sic.] cloth, together with the mallets and other instruments used in its manufacture, and a beautiful orangecolored lei, or feather necklace. It was the first she had made herself. The cloth and mallets were for sale, but no inducement would persuade her to part with the necklace. It was the first she had ever made, and as I was afterwards told that the natives are superstitiously careful to preserve the first specimen of their handiwork, of whatever kind it may be. ". . . While our accounts were being settled, preparatory to our departure, I occupied myself in looking at some kahilis [sic.] and feather leis [sic]. The yellow ones, either of Oo [sic.] or Mamo feathers, only found in this island, are always scarce, as the use of them is a prerogative of royalty and nobility. Just now it is almost impossible to obtain one, all the feathers being `tabu,' to make a royal cloak for Ruth, half-sister of Kamehameha V, and governess of Hawaii. Mamo feathers are generally worth a dollar apiece, and a good lei or loose necklace costs about five hundred dollars." [editor's note: compare this to the time's daily wages of approximately ten cents]

Ka`eiOf feathered items worn on the body, the ka`ei and pa`u probably were the most rare. There are several `aha`ula in existence, most in museums, a number of feathered helmets, many lei, but only two feather ka`ei and one pa`u are known to still exist. All are at the Bishop Museum in Honolulu. One ka`ei is in tatters, only fragments remain (Bishop Museum Cat # 6921). The other is almost intact. Identification of and use of these long featherworked strips has been problematic for years. Frequently considered loincloths, they also have been identified as baldrics or sashes. Lahilahi Webb, in a lecture at Kamehameha schools, called it "King Liloa's ka`ei kapu, a cordon made out of `o`o and `i`iwi feathers. . . It has been thought to be a malo, but it is not a malo. It is the only article of its kind in existence and very probably it was sacredly used in religious ceremonial." It was depicted on the famous statues of Kamehameha I worn somewhat similarly to a baldric. John Papa `I`i gives an excellent description of an item very much like that in Bishop museum. In Fragments of Hawaiian History, the English translation of his series of newspaper articles, it is called a malo. `I`i's mother was its kahu and he was sometimes its bearer. "When the family went to Kipapa from Kumelewai by way of upper Waipio to make ditches for the farms, his [`I`i's] mother trained him in the observance of the kapu noho. She placed on his back a bundle containing a wonderful malo made of feathers from mamo and `apapane birds attached to a fine net, with rows of human teeth at the end; this he had seen when his mother put it out to sun. Slipping his arms into the loops of the bundle, she taught him to cry 'E noho e! (squat down!).'" (`I`i, p 28) This could be the same the intact ka`ei in Bishop Museum, the term "malo," likely being an error of translation. This ka`ei is believed to have been made for Liloa, the high chief of the island of Hawai`i. He reigned from about 1455 to 1485. His successor was his eldest son Hakau, but the ka`ei passed to his second son, `Umi, born to a lower ranking mother. Hakau traditionally is depicted as a despotic ruler who in 1490 was overthrown by `Umi. Then, for three generations, there is no mention of the ka`ei. In the mid to late 1600s, Liloa's great-great-great-granddaughter Ke-akea-laniwahine, daughter of Keakamahana, the highest ranking chiefess of Hawai`i, was in possession of the ka`ei. She ceremonially dressed her grandsons, Ka-`i-amamao and Ke`eaumoku, in it - signifying that they were of the highest chiefly kapu (sacredness). Again, the ka`ei falls into obscurity until `I`i's mother trains him in its care. It next appears when acquired by King David Kalkaua, possibly sometime in the 1880s. He bequeathed it to his sister Lili`uokalani, who later gave it to the Bishop Museum. The ka`ei appears to be a base of `olon covered with a broad red center stripe running its entire length, occasionally crossed by bands of yellow featherwork. The edges appear to be primarily mamo, with some sections in `e`e (the yellow feathers of the

`o`o). A row of human teeth hangs from the lower edge of a horizontal band of `e`e. At the bottom edge a section is decorated with alternating rows of human teeth and rosettes or clusters of small fish teeth. This section appears to be bordered with mamo feathers. Probably the sections were added at later and separate dates, the human teeth being those of people whose mana was wanted to increase that of the ka`ei. One reason for the obscurity of the ka`ei could be that they were so sacred. The few ka`ei mentioned in legend were closely guarded to prevent them being viewed by the wrong people. For the unentitled to see, let alone touch, a ka`ei was death. Possibly one reason for the rarity and exceptional sacredness of the ka`ei is this unusually great mana. Even today, often items of personal use are considered to be kapu to their owner. In many hlau hula (schools of traditional dance), it is forbidden to borrow someone else's instruments or clothing. So, to wear such a personal garment is to claim a direct link to the mana and fertility of the owner. In other words, to claim descent, either genealogical or spiritual. As mana could be dissipated and lost through careless use and dispersal, such a powerful garment would require great solicitude in its use and display.

P`The female counterpart to the ka`ei was the feathered p`. The last known feathered p` was made for Nahi`ena`ena, daughter of Kamehameha I. It was 30 inches wide and 20 feet 8 inches long. After her death in 1836, the p` was cut in half and used to form a royal pall, about 5 feet wide by ten feet long. It was last used over the coffin of Kalkaua. [Bishop Museum # 6831]. Legendarily, Kamo`oinanea, a kupua woman, owned a khili and feathered p` which had the power to protect the bearer from fire and reduce enemies to ashes. (Beckwith, p. 491)

`Aha`ulaFeather capes, some of the most memorable of chiefly regalia, were the province of men until Ka`ahumanu, favorite wife of Kamehameha I, appeared in her husband's golden mantle to announce his dying words. Up to that point, use of feather capes by women was reserved for the wives of chiefs who had followed their men into battle. These women, knowledgeable in the arts of war, aided their husbands as strategists. According to Nona Beamer, if their husbands were slain, the women might put on their husband's capes and continue the fight in their stead. However, in her telling of the story of her ancestress, Manono, wife of Kekuaokalani, and the battle in which they fell, Manono covers her husbands face with his cape. Wearing the `aha`ula in battle appears to have been an exception, rather than the rule, and only practiced in extremis. After Ka`ahumanu's public appearance in Kamehameha's `aha`ula, other chiefly women began to wear the short cape. Thousands upon thousands of feathers were used to make a single cape for a high chief. The bold patterns stand out at a distance, and possibly denoted lineage, rank, and `aumakua. In addition to being worn, they also were spread out over the bows of a chief's canoe when on state functions. In this, they may have functioned somewhat as the chief's ensign. Some of the capes have a loop on each of the front edges. These loops are where a person's hand would be when the cape is worn. Webbers drawings of the people of Kaua`i show how they were looped over the thumb or finger, giving a wing-like appearance. A chief striding along in his cape, crested helmet on his head, would appear to be a huge bird-like, god-like figure. In practical use, the large sweeping gestures used to give battlefield commands would certainly be enhanced by the swath of brilliant feathers. It would be much easier for warriors to see a six-foot semicircle of bright red and gold than even the most powerful bare arm. Only the highest ranking chiefs had the resources to acquire enough feathers for a full cloak. Most chiefs wore the shorter capes which came approximately to the elbow.

`Aha`ula literally means "red garment" (`aha - garment: `ula - red). Probably in the original feather capes only or primarily red was used. But in Hawai`i the pale yellow feathers of the `o`o were the rarest of those suitable for garments. So, with royalty's penchant for rarity, they became the most highly esteemed. Next in value were the yellow feathers of the mamo. The anciently traditional red feathers were still valued, just not as highly. Thus, the higher the percentage of yellow, the higher the rank of the chief. Kamehameha was the only chief known to wear a cloak comprising only the yellow `e`e. Another unique `aha`ula belonged to Hewahewa, a high ranking kahuna of the time of Kamehameha. Hewahewa was attached to the court of Kamehameha. After the death of his chief, Hewahewa was one of the advisors of Liholiho. He assisted the young monarch in dismantling the religious system of his ancestors. Hewahewa's `aha`ula was made from the feathers of the pueo. As the pueo was a very powerful `aumakua, and therefore seldom molested by even professional bird catchers, wearing an `aha`ula pueo would have made a powerful statement regarding the rank and sacredness of the kahuna. The effect would be comparable to the pope wearing a stole made from threads of Jesus's robe, or to the Dalai Lama wearing a robe woven from silk planted by Buddha. Ironically, the power vested in Hewahewa by the ancient religion made him one of the few who could destroy it.

MahioleThe feathered helmets grace the most sacred part of the human body, the head. And so one might extrapolate that the feather helmet also was an object of high honor. The base is made from tightly woven `ie`ie root. While they won't offer much protection from bullets, they deflect somewhat the force of a spear, slingstone, or club. But more importantly, they crown the wearer with the protection of his ancestors and gods. To some these helmets look like the helmets of Spanish soldiers. To others they look like the helmets of the Roman centurions. They are almost identical to the ceremonial helmets of Tibetan monks. Some believe this demonstrates contact with one or more of these groups. But, such contact does not explain the many shapes of the Hawaiian helmet. Certainly this is a question worth pursuing. Most likely, the helmet shapes denoted rank, lineage, and `aumakua affiliation. The mahiole of high chiefs were feathered and had a prominent crest ridge. The ridge often was decorated in stripes running its length. Perhaps this symbolized the rainbow which ancient legend said appeared over a chief's head. Some lesser chiefs had a lower crest ridge and no feathers. Other lesser chiefs, apparently laterally ranked, had mushroom-shaped protuberances on their helmets and also were featherless. Common soldiers wore a simple skullcap to protect the head from slingstones and other objects.

KhiliHistory and DescriptionsThe khili of ancient times were more varied and reached greater heights than khili of modern times. Some of the tallest state khili were as high as 10 meters, with 3 meters of feathering. The small hand khili, or khili pa`a lima, were up to a meter in length. Originally fly whisks, the khili pa`a lima and khili lele still served that purpose at the time of Captain Cook's arrival in the islands. But the khili pa`a lima of the female royalty also functioned somewhat in the same fashion as the royal scepters of European nobility. And, according to Holt, were more important in the spiritual application of warding off bad mana, than in the practical application of chasing flies. During the monarchy era, the huge formal state khili lost much of their height, although they gained many new colors from imported feathers and developed a larger diameter. Probably this was because the state functions had moved indoors, and the tall khili were not easily maneuverable under the ceilings and chandeliers, and through doors. The great width of the Monarchy era khili could possibly be attributed to the innovation of khili-holders, as well as the move inside, so the strength of arm and stamina of the khilibearer, as well as resistance to wind, were no longer considerations. The first European account of khili is recorded in the Journals of Capt. James Cook, (Beaglehole, p. 1227 - Samwell). The occasion was the arrival in January of 1778 of the Resolution and the Discovery at Kaua'i. "Karanatoa brother to Teeave came on board the ship this morning with a man carrying an enormous fly-flap before him on his Shoulder. . ." Unfortunately, this is just enough information to tantalize, but not to describe. How "enormous" is "enormous?" What were the colors? Patterns? Did it match Kalanakoa's cape and other regalia? Khili pa`a lima and khili lele were seen frequently during this and subsequent visits. Might this have been a display of the large formal khili of state? Or was it simply one of the larger khili carried before the chief as a banner. The men of Cook's party termed the khili "fly-flaps" because they were familiar with the ceremonial and practical fly-flaps of the South Pacific cultures. It is likely that at least part of the ancestry of the khili is, indeed, a fly-flap. Brigham (1899, p 14) says: "It is probable that a bunch of feathers used as a fly-flap was the primal form of feather work . . . and the prototype of the kahili seems to have been a stem . . . of the ki [Cordyline fruticosa]. . ." Otto Degener (1984 p 207) suggests that the khili was "probably in vogue since the time of Hawai`i Loa. . ." Meaning, it appears, since the beginning. Hawai`i Loa is the legendary, and possibly apocryphal, chief who discovered the Hawaiian Islands. He named the largest after himself and the others after his sons. Creation of the first khili however, also is credited to Lonoikamakahiki, an artistically innovative chief of the late 16th or early 17th century. By the time of Cook's arrival in Hawai'i the khili had evolved into several styles and sizes. They ranged from the small personal khili pa`a lima carried by an ali'i, to the tall formal khili carried before the ali`i by an attendant. Small personal khili pa`a lima were carried about by women of high rank and apparently served as a combination fly whisk, fan, and to some degree, scepter. The extant Cook khili range in length from 67 cm to 90 cm. Between half and a third of

the length is feathered, and the feathering is about 10 to 15 cm in diameter. Colors and patterns of the hand khili show great variation, although black appears to have been a favored color. When Cook reached Kealakekua Bay at Hawai'i Island, Kona's high chief, Kalaniopu'u, made a state visit to the newcomers. He made presents of featherwork to Cook. Among the items was a khili pa`a lima, described as a "very handsome fly-flap." Many khili were collected during Cook's third expedition, 22 of which ended up in the Leverian Museum. Today, however, only a few of these are known to be extant and accepted as from Cook's third voyage. All of these are khili pa`a lima. In late May of 1786 the fur traders Nathaniel Portlock and George Dixon arrived in Hawai`i. Portlock's June 11 journal entry gives a description of a khili: ". . . I purchased two very curious fly-flaps, the upper parts composed of beautiful variegated feathers; the handles were human bone, inlaid with tortoiseshell in the neatest manner, which gave them the appearance of fineered [veneered] work" (Portlock, 1789, 1968, p88). Lady Brassey, who traveled with her family on their yacht the Sunbeam, arrived in Hilo Bay on 23 December, 1876. In a journal entry she says: "Kahilis [sic] are also an emblem of rank, though many people use them as ornaments in their houses. They are rather like feather-brooms, two or three feet long, and three or four inches across, made of all sorts of feathers, tastefully interwoven. I bought one. . ." (Brassey, 1878, p 279) According to Malo, (1976, p77): "The kahili, a fly brush or plumed staff of state, was the emblem and embellishment of royalty. Where the king went, there went his khili-bearer (pa'a-khili); and where he stopped, there stopped also his khili-bearer. When the king slept, the khili was waved over him as a fly-brush. The khili was the possession solely of the ali'i." Mrs. Lucy G. Thurston, wife of Rev. Asa Thurston, published her autobiography in 1882. In it she describes Kamamalu, favorite wife of Liholiho, at a commemorative feast given by the king for his late father, Kamehameha I: "She, . . . according to court ceremony, so arranged a native cloth pa`u a yard wide, with ten folds, as to be enveloped around the middle with seventy thicknesses . . . Two attendants followed her, one bearing up the end of this cumbrous robe of state, and the other waving over her head an elegant nodding fly-brush of beautiful plumes, its long

handle completely covered with little tortoise shell rings of various colors." (Brigham, 1911/1976 p186) Larger khili, around two to three meters long with about a meter of feathering 10 to 15 cm in diameter, were carried before the nobility by personal attendants. These khili functioned much like the banners of the European kings and knights, allowing observers to identify at a distance the signified noble and tell for which level of kapu they should prepare. Again, as in the European courts, the attendants were, themselves, of noble blood.

EtiquitteKhili were the tangible symbol of the kapu system of laws upon which the preservation of the mana of the ruling classes rested. To the khili of a chief was due the reverence and respect due the chief himself. John Papa `I`i was khili-bearer for the young prince Liholiho. According to `I`i, the order of approach for a chief bearing the kapu moe - prostrating kapu (in this case, Kiwalao, heir to Kalaniopu`u) - was: 1) kapu stick bearer (Keaweaheulu) 2) cape and khili bearer and spittoon and mat bearer (Kamanawa and Kame`eiamoku) 3) ranking chief (Kiwalao). Kamanawa and Kame`eiamoku were junior line nobility of Kiwalao's family. When `I`i was a youth and khili bearer for Liholiho, his duty was to hold the khili and tend the spittoon, no matter how long, or how tired or hungry he was, until he was relieved of the duty. `I`i likely began his court duties as a "ha`aku`e." According to Malo (1976, p 59) the khili bearers were called "ha`a-ku`e," "kua-lana-puhi," and "`Olu-`Eke-loa-ho`o-ka`amoena." "Pa`a khili" seems to have been a generic term for khili-bearers. According to Pukui and Elbert, the ha`aku`e were kahili-bearers for chiefs and chiefesses of the same sex. "Ha`aku`e" literally means "to shift or ripple, to and fro, back and forth" - possibly in reference to the motions made by the kahili-bearer gently waving the kahili about to stir the air and ward off insects. These were recruited from the youths of high-born families related to the chief whom they served. `I`i himself was from a highborn family, and his mother was of such high rank that the family servants called her "Wanaoa" [wana-like, having prickles or branches extending out sharply]. She was "likened to trees with branches going every direction, forcing them to keep their distance because of her rank." (`I`i, p. 20) The kualanapuhi were officers of the court who watched over a sleeping or resting chief and waved the khili over him. They may have been the same as those who preceded the chief, bearing the khili before him. The `Olu`Ekeloaho`oka`amoena were expert lua fighters of the same sex as the chief or chiefess, with the responsibility of guarding the sleeping place of that noble. Effectively, they were bodyguards. In keeping with Hawaiian tastes, their title means "The `Ekeloa breeze coolness which rolls mats" - a lovely poetic title for such a duty. Among other rules of etiquette the khili bearers learned and enforced were to avoid stepping on the shadow of the chief, letting the chief's shadow fall upon themselves or others, and avoiding crossing directly behind the chief, but remaining at a somewhat oblique angle to the spine. The appearance of a khili required prostration from the lower ranking, and for the higher ranking, squatting and removal of items such as kihei, wigs, or any garment from the upper body. If the khili was wrapped up so as not to be visible, this kapu did not apply. (Kamakau, p. 52)

Names of KhiliThe khili themselves were individually named and, until the monarchy era when Victorian ideas of taste in design strongly influenced manufacture of Hawaiian objects, each was, apparently, a unique and individual construction. Excepting khili made after the advent of the monarchy, the author was unable to locate any kahili or documentation which would support identical pairs. Even during the monarchy era, kahili in pairs often were made distinguishable by crafting different designs in their pa`u. Kuakamano, "a great chief of old," owned the khili Kupukapu, translated by Beckwith as "taboo-sprout." She says in her commentary of the Kalakaua Kumulipo, "All chiefs in old times had such symbols of office, and each had its distinguishing name of honor" (p 86). The khili of Lonoikamakahiki was named `Ele`eleualani [Dark Heavenly Rain] (Fornander, p115). It figures in the story of Lonoikamakahiki's sojurn on O`ahu, exciting the envy of his host's court. It is fashioned from mamo feathers found only on Lono's own island, Hawai`i. When Kamehameha gave a pa`ina in honor of Ka`ahumanu, his favorite wife, a large formal khili was crafted for her and named Hawai`i Loa (Kamakau, p. 183). At the same pa`ina, his second and third favorite wives, Kaheiheimalie Kaniu and Kahakuha`akoi were accompanied by their khili, named Koa`ehuluma`ema`e [Pure (chaste) Koa`e Feathering], inherited from their grandmother. The dedication of Kawaiaha`o Church in 1829 was considered important enough to merit a mile long procession and the most sacred of khili, including the venerable `Ele`eleualani and famous Hawai`iloa. `Ele`eleualani had, by this time, passed down to Keopuolani and Hawai`i Loa was the khili Kamehameha had ordered constructed for Ka`ahumanu. Princess Ruth Ke`elikolani also had her khili, Po`ouliuli [Dark Head], out for the occasion. Many small khili also were present. (Kamakau, p 293) The large formal khili apparently were used only when several ranking chiefs and chiefesses were convened. They seem to have provided a standard for clan identificaton and also showed the esteem in which the owner held those invited to travel in its presence.

ConstructionThe tallest khili were up to 10 meters high. In May of 1823 Liholiho hosted on O`ahu a memorial commemoration for Kamehameha I. At that event these tall khili were on display. The Reverend CS Stewart (1828, pp117-118) wrote: ". . . The upper parts of these kahilis [sic] were of scarlet feathers, so ingeniously and beautifully arranged on artificial branches attached to the staff, as to form cylinders fifteen or eighteen inches in diameter, and twelve or fourteen feet long; the lower parts or handles were covered with alternate rings of tortoise shell and ivory, of the neatest workmanship and highest polish. . . There is something approaching the sublime in the lofty noddings of the kahilis [sic] of state as they tower far above the heads of the group whose distinction they proclaim." Stewart also recorded the funeral procession of Liholiho and Kamamalu in which ". . .Twenty men, in the native costume of black, some with the addition of rich feather cloaks, each two bearing an immense feathered staff of state, about thirty feet long and from one to two feet in diameter, some of black, some of crimson, others of green, and others again of yellow feathers." These large khili were disassembled after each use, the feathers stored away in special boxes made from bamboo (Freitas, 1999) or calabashes (Degener, 1984, p207) containing the leaves and stems of the `ena`ena (Gnaphalium) as an insect repellant. The poles also were carefully stored. Before their next use, skilled artisans would inspect the feather branches and reassemble the khili. Brigham (1899, p 14) says: "The kahili in its greatest development consisted of a pole sometimes 20 feet high, to the upper end of which was attached the hulu or cluster of feathers. . . Neither Cook nor Vancouver mentions these immense kahilis [sic], for they never saw them, no royal funeral occurring during their stay." Construction methods and materials varied between khili. The small khili pa`a lima had either wood or bone handles similar in shape to umbrella and walking stick handles of the Victorian era. Human tibia were prized handles and, unlike having one's bones made into fishhooks - a high insult and desecration - to be incorporated into a khili handle was a supreme honor and compliment. Degener says,

"The bones were frequently derived from the shins of brave warriors who had been killed in battle by the owner of the kahili and thus signally honored by him. If, however, the enemy had been despised, his bones would not be inlaid in a kahili handle, poi bowl, or sacred drum, but, possibly along with his teeth, in a spittoon or slop basin instead." The larger khili poles were made from plain kauila (Alphitonia ponderosa) wood fashioned into a shape like a spear or javelin and sometimes decorated in the same fashion as the smaller khili. According to Buck, some actually were spears. The ihe, or short spears, used for both thrusting and throwing were about 2 meters to 2.5 meters (6 to 8 feet) long, which answers to the recorded lengths of the medium sized khili. Extant examples of polol, the long spears used as pikes, range up to 6 meters, answering to descriptions of some of the larger khili. Degener emphasizes the importance of the khili pole, calling it the "essential" part of the khili. He describes them as made from khili (Alphitonia ponderosa) or koa (Acacia koa) and says, "To it much sentiment was attached. It was often elaborately ornamented by the chiefs as a pastime. The handle was made by stringing disks of tortoise-shell on its lower end, these often alternating with disks of bone. All were then carefully filed and polished until a smooth, variegated handle resulted." Many types of feathers were used in the construction of khili. Feathers were obtained from birds prized for food as well as those prized specifically for their plumage. When food birds were caught, the feathers were carefully plucked, cleaned, and saved for use in khili and other featherwork. Other birds were caught at the beginning of the molting season, when the feathers were loose and could easily be removed without injuring the live bird. The iridescent black tail feathers of the moa (Gallus gallus), Hawaiian junglefowl, were prized for kahili. Moa also provided many other colors from white to fawn to red to barred. (Handy and Handy, p. 254). According to Malo (1976, pp 37-40), in the manufacture of khili, feathers of the nene (Bernicla sandvicensis) were "prized," `alala (Corvus hawaiiensis) feathers were "useful," and those of the pueo (Asio flammeus sandvicensis) and `io (Buteo solitarius) "are worked into kahili of the choicest descriptions." Malo also states that the black and grey feathers of the `iwa (Fregata minor palmerstoni) were used for making khili as well as decorating the Makahiki image and that the feathers of the `o`o (Moho nobilis) and mamo (Drepanis pacifica) "are made up into the large royal kahili." As well as the `e`e (axillary tufts), the tail quills and other feathers of the `o`o were used in kahili. Munro (p. 87) "saw at Waimea, Kaua`i in 1891, a khili made from the central tail quills of the Hawai`i `o`o." According to Lahilahi Webb (Handy . . . & Others, Ancient Hawaiian Civilization, p 136) in a lecture at Kamehameha Schools, The choicest kahili were black and yellow `o`o. Other choice khili were fashioned from the black and white outermost tail quills of the `o`o.

Regarding construction of the feathered portion of a khili, Degener says: "The upper third or less of the pole bore many branches made from the stiff midribs of coconut leaflets. The branches, of which there might be hundreds, were simple or forking and would radiate in all directions. To their ends were tied tufts of short, bright feathers to form a regular, plumed cylinder, or hulumanu, fifteen to thirty inches in diameter." Except for the diameter of thirty inches, this description is in accord with the author's observations of extant khili on display in the Khili Room at Bishop Museum. Trials showed that the branches are replicable, although substitutions of cotton or polyester thread for the olon thread, and introduced songbird and dyed commercial feathers for the native bird feathers must be made. Kaha`i Topolinski conducted for Bishop Museum studies and a workshop on the construction of ancient kahili. He found that materials used in the construction of the branchelets were variable and included ni`au (midrib of Cocos nucifera), lau hala (Pandanus techtorius) midrib, finely shaved `ohe (Schizostachyum), and `ie`ie (Freycinetia arborea). Olon (Touchardia latifolia) was the preferred wrapping and tying material, although hau (Hibiscus tiliaceus) occasionally was used. Topolinski found many techniques were used in tying, lashing, and shaping of the branches. Some were constructed in such a way that they were flexible and moved in a light breeze. Some were stiff. Color selection primarily was based on the availability of feathers and the fancy of the artist. Topolinski believes that the more rigid association of specific colors with specific chiefs and with specific meanings did not occur until the monarchy era. During the monarchy era, the availability of imported feathers such as peacock, introduced birds such as parrots and mynah birds, and dyed feathers, combined with the introduction of new materials such as satin, cardboard, and glue, gave rise to a huge artistic expansion in the construction and color patterns of khili.

Khili at Pu`uhonua o HnaunauAfter a conversation with Chief of Interpretation Gordon Joyce, the author has developed the following material as a guide to construction and use of khili in a manner which would give an impression of the use of such regalia prior to 1819. Rather than attempting to depict a specific year, court, and chiefs, as in a photographic snapshot, the aim is, instead, to use the broad brush of an impressionistic painter and communicate a sense of the century preceding the introduction of European tastes, mores, customs, and artifacts. While the author has not yet discovered any references specifically describing use of kahili at the Pu`uhonua o Hnaunau, it could be assumed that as "where the king went, there went his khili-bearer," and Hnaunau was long kept as the seat of the chiefdom of Kona and was the ancestral home of the Kamehamehas, and therefor has association with several generations of high-ranking chiefs, kahili were a common sight at the Pu`uhonua and should accompany any person representing a ranking chief. (Strategic Plan pp. 5, 8) Without them, it is impossible to truly show how a royal compound would have looked in 1819. Creation of khili based on pre-1819 designs will help to fulfill the mission of Pu`uhonua o Hnaunau National Historical Park by helping to fulfill the second purpose of the park as listed in the park's Strategic Plan, to "interpret the cultural values, traditions, and human story associated with the pu`uhonua. . ." (p. 4) and illustrate the three themes set out in the Long Range Interpretive Plan. The khili also would help to tell the human story of the pre-European contact "relationship of Hawaiian royalty and the laws which governed early Hawaiian lifestyle." As a tangible manifestation of the kapu system, they would help to "illustrate the association of Hawaiian lifestyle and the kapu system." (Strategic Plan p. 5) "Kapu was a concept in Hawaiian society regulating everyday life and interaction with the land and the sea. . . Different classes of ancient Hawaiian society (commoners, priests, and royalty) lived and interacted at Honaunau. . ." which was "important to generations of ruling chiefs, including Kamehameha the Great and several of his ancestors. . ." Because khili are so dramatic in appearance, they attract attention from local as well as other visitors. They provide an opportunity to discuss topics ranging from the kapu system to habitat preservation to artistic motifs. By understanding that the khili, like the pu`uhonua itself, "are physical manifestations of the social structure and belief systems of the royal and priestly segment of Hawaiian society" community members and other visitors can be led to a greater appreciation of the value of protecting and preserving the archaeological features of the park. (Long Range Plan p. 5)

Recommendation for Specific Khili Collection for Pu`uhonua of Hnaunau National Historical ParkThe author believes that the minimal appropriate set of kahili for use at Pu`uhonua o Honaunau National Historical Park should include: * 1 khili pa`a lima - for the mo`i wahine * 2 khili lele, - one for the mo`i and one for the mo`i wahine * 1 full sized khili - to precede the mo`i * 1 formal khili - to precede the household / court of the mo`i Additional smaller khili and khili lele for ranking members of the court would add to the pre-contact appearance of courtiers and enhance the pageantry of the display: * Each kapu-bearing ali`i should be preceeded by a lawe khili kane (carrying khili) and/or attended by a ha`aku`e kane. * Each kapu-bearing ali`i wahine should be attended by a ha`aku`e wahine (carrying khili lele). * kapu-bearing ali`i wahine may carry khili pa`a lima if they wish Other items which this research indicates would have been present are spittoons for the ranking chiefs and ceremonial fans.

Construction of New Kahili for Pu`uhonua o Honaunau(unedited 1999 portion of report)

LaborNew khili for Pu`uhonua o Hnaunau should incorporate the most accurate materials and techniques feasible but also recognize that there are few people today trained in their manufacture and maintainance. A statewide search made by contacting the Native Hawaiian Culture and Arts Program, Bishop Museum, and numerous manufacturers, wholesalers, and retailers of Hawaiian crafts located only Kaha`i Toposlinski, Carla Freitas, and the author as people with the knowledge, skills, and training to replicate pre1819 methods of crafting khili. Possibly Herb Kane could do so, but he was not contacted. Paulette Kahelepuna stated that she was not qualified to give advice on pre-1819 khili as those she and her mother make are designed to serve more modern court representations and must be highly durable. Hers are made from soldered wires and dyed chicken feather. She was aware that the pre-contact khili were significantly different from the later khili, and was one of those who suggested contacting Topolinski. A collateral benefit of making new khili for PUHO is the increase of volunteer hours the project engenders. (Strategic Plan, p. 6) Six members of Ka Hui Pa`ahana, a Hawaiian culture and arts study group have been volunteering their time to study this craft. Zadoc (age 7) and his mother, Petra have formed one team. Petra prepares the feathers and Zadoc lashes them to the pole. Linda Velasquez is good at preparing feathers, and her two daughters show promise in making the branchlets. They have a very tidy detail-oriented approach to craftsmanship, essential in the best khili. Kaialita Bresciani (age 6) has an excellent eye and fine hand in the detail work, and her mother helps and encourages her. Other members have volunteered their time to assist in feather preparation but do not have the time, dexterity, or crafts interest to participate further.

MaterialsWhile the ideal would be to exactly replicate ancient techniques and materials, practicality must also be considered. Acquisition of olon (Touchardia spp.) for cordage, as well as acquisition of the proper feathers is problematic. Also, people untrained in handling khili will have access to them, which increases the potential for damage. The author recommends a combination of traditional and modern materials put together with traditional techniques. When complete, the khili should look much as did those of pre-1819. Thus, the followig suggestions are made: Because ni`au (Cocos nucifera) becomes brittle with age, it snaps easily. Ni`au branchlets augmented with a single length of heavy florist's wire would resist breaking. Olon is no longer cultivated in quantity and there are few people capable of making fine thread of strength. Mercerized cotton, polished hemp, and polyester kite string are excellent substitutes for the various types of olon cordage. Commercial natural rooster, pheasant, and other feathers are readily available, as are "road kills." With careful selection and trimming, feathers can be made to approximate the look of many of the native bird feathers. The author recommends avoiding dyed feathers as they fade with time, the fluffs become brittle with age and crack off, giving the feathers a "moth eaten" appearance, and the dyes have caused irritation to the hands of some featherworkers, including Carla Freitas, the author, and a volunteer. Most important, khili which use carefully selected natural feathers will look far more like the originals. Kauila (Alphitonia pondersoa) in sufficient quantity and size for kahili poles would be difficult to acquire, although the author recommends "putting out the word." There are people willing to donate deadwood from their pastures if PUHO will mill it. As the khili should be dismantled with each use, it would be a simple matter to start with whatever poles are available and upgrade them as materials become available. Koa (Acacia koa) poles also were used to a more limited extent. While expensive they are readily available. While tortoise shell and human bones can not be used, there are excellent tortoise shell imitations available from jewelery and cabinetry suppliers, and pig bone looks very similar to human.

DesignWhile the author continues to research ancient kahili and is trying acquire photographs from several museums, data has generally been consistent, so no great changes in conclusions are expected. The planned designs already will be more true to the park's representative period than the existing kahili, and as khili should be disassembled after each use, corrections can be made with each succeeding year. Reasonably accurate khili should be possible to construct based on the following:

Khili Pa`a LimaThe kahili pa`a lima would be based on photographs of the Cook / Leverian kahili, the King / Trinity College kahili, and the Clerke / Kamchatka kahili, the Choris sketch of Ka`ahumanu, reports from informants, and studies of the Bishop Museum khili pa`a lima.

Khili LeleThe khili lele would be based on the Choris lithographs of Liholiho and Ka`ahumanu, reports from informants, the photograph of the fine example carried by the warrior mannikin in the National Museum of Denmark, and the Bishop Museum khili lele.

Full-size and Formal KahiliThese khili would be based on the Peale painting, the painting of the baptism of Kalanimoku, the Emmert depiction of Kauikeaouli's funeral, descriptions of Lonoikamakahikis khili , and studies of the Bishop Museum khili.

1999 Cultural FestivalWith the 1999 Cultural Festival looming, construction of replica pre-1819 khili is not practical. However, as the park currently owns two red and two yellow khili which have seen several years of use and have succumbed to sun, age, and insects, but still have many usable feathers and branchlets, the most feasible solution would seem to be cannibalization of the existing khili to construct new khili based as closely as possible on this report. This would immediately provide functional khili more appropriate to the time period represented by Pu`uhonua o Hnaunau. Even more accurate khili could then be constructed later using natural feathers and pre-1819 techniques. Carla Freitas and the author have been implementing this suggestion, with the help of Ka Hui Pa`ahana volunteers.

Description of Refurbished Khili (1999)These khili were made using branchlets and string from the existing PUHO khili. Good branchlets were salvaged and damaged feathers were discarded. The good feathers were cleaned and branches repaired by members of Ka Hui Pa`ahana under the direction of Carla Freitas and the author. `Ohi`a (Metrosideros polymorpha) poles already available and approximating, though not specifically trimmed to, recorded sizes were used. The branchlets are of a style which apparently came into use after 1900. However, the amount of labor needed to construct the pre-1819 branchlets is so great as to preclude their use on khili needed within the next year. Therefore, rather than completely dismantling the existing branchlets, salvaging the feathers, and constructing new branchlets, they were cut down and modified, then attached to the new poles in such a way as to approximate the look of the ancient khili.

Current Status of the Pu`uhonua o Hnaunau Khili Collection (2007)As of Establishment Day Cultural Festival 2006, there were 9 khili in the collection of Pu`uhonua o Hnaunau National Historical Park. Eight of the khili were created for the 2000 Establishment Day Cultural Festival. Two of the eight new khili were made from feathers and ll salvaged from the parks first pair of khili. The ninth khili was made by an unidentified park volunteer some years prior. Establishment Day Cultural Festival. All of the khili were re-dedicated and named before the 2000 festival. There are currently eleven khili in the Pu`uhonua o Hnaunau collection, two having been added in 2007. As of July 1, 2007, the collection comprises:

Khili Pa`a Lima (2)Na-Lima-Aloha (The Loving Hands) Crafted by an unidentified park volunteer prior to 1999. The khili is 1 meter long. The kumu is made of bamboo. The hulu is 0.35 meters and of gold, red, and black rooster hackle affixed to ll ni`au topped by unidentified orange and black striped feathers with a po`o of dove and Indian mynah feathers. All feathers except the dove and mynah are dyed. The feathers appear to be tied on with brown carpet thread. The p` is a velvet ribbon wrapped around the base of the ll. Lele-o-ka-`Iwa-Lani (Flight of the Heavenly Frigate Bird) Based on the khili pa`a lima of Ka`ahumanu, it is to be carried by the m` wahine. Crafted by Leilehua Yuen in 1999. The khili is 0.9 meters long. The kumu is of hau with a 0.1 meter turkey leg bone end. The bone represents the practice of incorporating relics of a loved one or of someone with great mana into personal regalia. The kumu is painted to represent bands of tortoise shell. The hulu is 0.43 meters long. Dyed orange feathers representing the `e`e feathers of the `o`o, and natural black feathers representing the `iwa were stripped and shaped to create an `olapa-style khili in which the feather tips move like the leaves of the `olapa tree. This motion is to represent the flight of birds. The p` is 0.76 meters long and is made from dyed red feathers clipped to represent the `apapane, and black feathers clipped to repsent the `alala, to remind the chiefs that though they may fly high, they are responsible to the land. The feathers are tied on with hand-twisted hau thread. The black feathers extending from the orange represent the `iwa, symbol of royalty, flying at sunrise, calling to mind the chant, Ho`opuka e ka L ma Kahikina, a chant describing the dawn, in which hula dancers are compared to `iwa, and the chiefs are called to return to the ways of righteousness.

Khili LeleMa`ema`e-ka-Ua-i-ka-Uka (Pure Rain Sweeping Mountainward) This khili lele was designed to be the child of Aloha-ka-Mo`omeheu, the khili k of the m` wahine. Crafted by Leilehua Yuen in 1999. It is carried behind the m` wahine by her ha`aku`e. The khili is 1.1 meters long with 0.49 meters of hulu. The kumu is hardwood dowel painted and fauxed to resemble kauila. The base of the handle is two pieces of polished pig bone, which represents the practice of incorporating relics of a loved one or of someone with great mana into personal regalia. A band of Fimo represents turtle shell. The hulu is white goose biots, representing koa`e tails, and trimmed, black dyed duck feather, representing `alala feathers. The feathers are tied on with hand-twisted hau thread. The feathers are inserted at some distance apart in the binding to enhance the fluttering. The combination white koa`e dancing out from a cloud of `all, represents the pure rains sweeping in from the sea and drifting up the mountain slopes. It also symbolizes the kuleana of the ali`i extends from the mountain, represented by the `all, a land bird, to the sea, represented by the koa`e. Lele-ka-`Iwa (The `Iwa Flies) This khili lele was designed to be the child of Malama-ka-Mo`omeheu, the khili k of the m`. It is to be carried behind him by his ha`aku`e. Crafted by Leilehua Yuen in 1999. The khili is 1.29 meters tall, with a hulu of 0.5 meters. The kumu is hardwood dowel painted to resemble kauila wood, bone, and tortoise shell. The bottom end is tipped with pig bone to demonstrate the practice of incorporating relics of a loved one or of someone with great mana into personal regalia. Natural black rooster tail feathers were trimmed to represent `iwa feathers, and combined with rooster badger-hackle to represent the moa the warriors, and the chiefs fighting spirit. The feathers were bound to the khili with hand-twisted hau thread. The feathers are bound on in the huluhulu style to give a fullness and solidity to the look of the khili.

Khili KKe-Aloha This khili was made by students of Leilehua Yuen to be the khili of the current Superintendent of Pu`uhonua o Hnaunau National Historical Park, Geraldine Bell. The kumu is an `ohi`a sapling harvested for the year 2000 Cultural Festival. It represents strength, growth, and perseverance. Rooster hackle represents the moa, warriors and guardians, which are roles that NPS rangers have filled in their service to the People of the United States of America. It is in tan and green feathers to represent the uniform of the US National Park Service. The band of shining black moa at the base of the hulu is in honor of NPS Ranger Steve Makuakane-Jarrell, gentle warrior and guardian, who made the ultimate sacrifice in the service of his park. The p` is from a length of kapa beaten by Leilehua Yuen while studying kapa making under the direction of NPS ranger Carla Freitas, now retired. Maka`ala-o-ka-Mo`omeheu This khili was made by students of Leilehua Yuen to be the khili of the office of the Superintendent of Pu`uhonua o Hnaunau National Historical

Park. The kumu is an `ohi`a sapling harvested for the year 2000 Cultural Festival. It represents strength, growth, and perseverance. Rooster hackle represents the moa, warriors and guardians, which are roles that NPS rangers have filled in their service to the People of the United States of America. It is in tan and green feathers to represent the uniform of the US National Park Service rangers. The p` is from a length of kapa beaten by Leilehua Yuen while studying kapa making under the direction of NPS ranger Carla Freitas, now retired. Lanakila-ka-Mo`omeheu (The Culture is Victorious) Crafted by Leilehua Yuen in 1999. This khili is designed to be the personal standard of the war chief , carried in front of him by his kualanapuhi. The khili is 2.0 meters tall, with a hulu of 0.58 meters. The kumu is `ohi`a, spliced, with splices painted to represent bone and tortoise shell. The base incorporates beef bone to represent the iwi of a conquered enemy. The feathers are lashed to ll of iwi lau hala with hand-twisted hau thread. The ll are bound to the kumu with more hau thread. The 0.15 meter p` is made of ll which graduate down to smaller sizes as they reach the bottom. The po`o is of black rooster tail to represent `iwa denoting ability of the war chief to swoop down on his prey. The hulu is of rooster badger-hackle, similar in color to the mo`o variety of Hawaiian jungle fowl, representative of the warrior. The p` incorporates dyed red feathers to represent the `apapane, denoting the royal lineage of the war chiefs. N-Pua (The Children) This khili is fashioned from ll salvaged from the original set of PUHO khili. Crafted by students of Leilehua Yuen in 1999, primarily Zadoc. The khili is 2 meters tall, with a hulu of 0.8 meters. It represents the young people who since the parks establishment have worked and studied at PUHO. It travels as the mate of Hali`aAloha. The original khili in this set had kumu of hardwood dowel joined with metal fasteners. In 1999, the khili were re-made using kumu carved from `ohi`a. Hali`a-Aloha (Loving Memory) This khili is fashioned from ll salvaged from the original set of PUHO khili. Crafted by students of Leilehua Yuen in 1999. It represents all of the kpuna who have shared their mana`o at PUHO. It is the mate of N-Pua. They may be carried by bt lwe khili before the contingent of kpuna and honored guests. The khili is 2.89 meters tall, with a hulu of ____ meters. The original khili had kumu of hardwood dowel joined with metal fasteners. In 1999, the khili was re-made using a kumu carved from `ohi`a. Unfortunately, in this case, the kumu was too slender for the weight of the hulu, and developed a deep bow. The kumu has been replaced with a heavier kumu of hardwood dowel stained to resemble kauila. Aloha-ka-Mo`omeheu (Love the Culture) Crafted by Leilehua Yuen in 1999. This khili is designed to be the personal standard of the m` wahine, carried in front of her by her kualanapuhi. It honors Koa`ehuluma`ema`e ([Spiritually] Pure Koa`e Feather), the khili of Kaheiheimalie Kaniu and Kahakuha`akoi. The khili is 3.6 meters tall, with a hulu of 0.7 meters. The kumu is hardwood dowel painted to resemble kauila wood, bone and tortoise shell. The feathers are bound together and lashed directly to the kumu. The binding thread is white cotton resembling olon. The po`o is of black rooster tail to represent `iwa symbolic of royalty. The hulu is of goose biots to represent the tail feathers of the koa`e,

between which are interspersed black rooster tail representing the `iwa. The Koa`ehuluma`ema`e hulu presumably comprised all white koa`e tail. The black feathers also assure appropriate differentiation. The p` is of kapa.

Malama-ka-Mo`omeheu (Cherish the Culture) Crafted by Leilehua Yuen, Nona Beamer, and students in 1999. This khili is designed to be the standard of the M` and is lineage, carried in front of his court by his lwe khili. It honors `Ele`ele-ua-lan (Dark Heavenly Rain), the khili of Lonoikamakahiki. The khili is 4.57 meters tall, with a hulu of 0.7 meters. The kumu is hardwood dowel painted to resemble kauila wood, bone and tortoise shell. The feathers are bound to ll which are lashed to the kumu. The original binding thread was hand-twisted hau thread, but that is being phased out in favor of synthetic white thread resembling olon. The ll feathers are of black rooster tail selected for their resemblance to `o`o tail feathers. Some of the ll also incorporate dyed gold duck feathers to represent the `e`e feathers of the `o`o. Originally, the p` was of ll which are held firm with a basket-weave. Currently, it is a kapa kawelu which was beaten by Leilehua Yuen when she was studying with Carla Freitas.

2006 Refurbishing ProjectAll khili in the PUHO collection were fumigated by being stored in a house treated with Vikane. After fumigation by Hilo Pest Control, individual khili were treated for specific problems and infestations. N-lima-aloha Appeared to have no damage and was not treated or refurbished. Lele-o-ka-`Iwa-Lani Bone in handle was moldy. It was treated by cleaning with alcohol and then dried. Hau thread had minor bug damage and some excessive drying and cracking, resulting in unwinding. Discrete gluing was determined to be more appropriate than disassembly and re-winding. Malama ka Mo`omeheu (Cherish the Culture) At 15 is currently the tallest in the collection. The name Malama ka Mo`omeheu, Cherish the Culture, was chosen for this khili as a reminder of the purpose of the khili collection of Pu`uhonua o Hnaunau National Historic Park that these khili provide a present and tangible reminder of the continuity of Hawaiian culture from ancient times to today, and into the future. Malama ka Mo`omeheu, as originally constructed, was 15 (approx. 3 meters) tall. The center pole was made of spliced pinewood dowel. The dowel was painted with enamel paint to resemble kauila and bone. A calculated 1,672 feathers and 440 feet of hau thread were used. Malama ka Mo`omeheu , as originally constructed, comprised: 1 center staff 200 two-feather black ll 40 five-feather black and gold ll 28 short two-feather black ll 224 four-feather black pp The ll were constructed by lashing the feathers to lau hala midrib, inside which a piece of florists wire had been inserted. This was to add stability and strength, and to assure the bends remained in the ll as the park khili are often handled by people untrained in using them. The khili was disassembled for storage after the years 2000 and 2001 cultural festivals, but due to lack of manpower, it was not disassembled after 2002. It remained assembled until the after the 2006 cultural festival. After the closing of the 2006 festival, it was taken back to Hilo for restoration. Several infestations of insects were noted in Malama ka Mo`omeheu. Before disassembly, Malama ka Mo`omeheu and the rest of the park khili collection were placed inside a house which was then fumigated for termites and other wood-damaging insects by Hilo Pest Control.

Upon disassembly, Malama ka Mo`omeheu was found to be missing many ll and pp and to have severe insect damage to the feathers, hau fiber, and wooden pole. The center pole, weakened by bug damage, broke at the joint during disassembly. The florists wire inside the ll, despite being painted, had rusted, and in many ll were broken. Most of the hau thread was not reusable due to bug damage. 38 usable two-feather black ll 23 useable five-feather black and gold ll 27 usable short two-feather black ll No usable pp Fortunately, several ll had been made as spares and stored in marked boxes during the initial construction.

Conclusion Today, even though the regalia may be made from dyed feathers, silk, felt, flowers, or even paper, it brings to mind the pomp and splendor of ancient Hawai`i and the ruling chiefs.

Appendix IOne Suggested Order for Procession / Recession of the Royal CourtThis order incorporates information from `I`i and others, modified to accommodate modern needs of park program. For example, the cape bearer is not needed as the chief is wearing the cape. In developing this order of procession, the author developed a deep sympathy for the maka`ainana of Hawai`i, and an understanding of why the chiefs were refered to as eaters of the land. To support a royal court as it traveled through ones community represented a huge undertaking and expenditure of resources.

Crier (male) Kapu Stick Bearer (male) Kani P Court Chanter (male) Kahuna Nui (male) Assistant to Kahuna Nui Assistant to Kahuna Nui Kani P

Lwe Khili no Malama-ka-Mo`omeheu (male) Spittoon Bearer (male child) Personal Chanter (male or female) Warrior (male) Kualanapuhi Kane Mo`i Ha`aku`e Kane no Lele-ka-`Iwa Warrior (male) Spittoon Bearer (male child) Personal Chanter (male or female) Warrior (male) Warrior (male) Warrior (male) Mat Bearer (male child) Warrior (male) Mat Bearer (male child)

Kualanapuhi Kane Heir Apparent Ha`aku`e Kane Warrior (male) Warrior (male)

Kualanapuhi no Lanakila-ka-Mo`omeheu War Chief (This person may float as needed to direct others) Lwe Khili no Aloha-ka-Mo`omeheu (male) Spittoon Bearer (female child) Personal Chanter (male or female) Warrior (female) Lwe Khili (male) Mo`i Wahine (carries Lele-o-ka-`Iwa-Lani) Ha`aku`e Wahine no Ma`ema`e-ka-Ua-i-ka-Uka Warrior (female) Spittoon Bearer (female child) Personal Chanter (male or female) Warrior (female) Warrior (female) Warrior (female) Mat Bearer (female child) Warrior (female) Mat Bearer (female child)

Lwe Khili Wahine Princess Ha`aku`e Wahine Warrior (female) Warrior (female)

Lwe Khili no Na-Pua

Lwe Khili no Hali`a-Aloha

Honored Kpuna and Guests (walking as a group) Po`e Hula Po`e Lomilomi Po`e Lawai`a Mahi `Ai Po`e Hulu Manu a me na Kia Manu Po`e Kapa Kalai Wa`a & etc.

Crier runs ahead of the entire court announcing the coming of the chief Spittoon Bearer carries spittoon and also water for Mo`i Mat Bearer carries small mat to put over seat for Mo`i Personal Chanter recites mele inoa for Mo`i / Mo`i Wahine ???? keeps order. No specific position in line

Appendix I Feather Substitution Chart The following is a listing of birds which are known to have been used in ancient Hawaiian featherwork and suggested substitutions of natural feathers. Dyed feathers trimmed to shape also may be used, although they will fade in sunlight and are more easily damaged by moisture. This list is incomplete and research continues. `akaloa (Hemignathus obscurus obscurus) green canary, parrot, saffron finch, parrot, parakeet `alala (Corvus hawaiiensis) black mynah, chicken, duck, turkey, bulbul `amakihi (Hemignathus virens) bright yellow to yellow-green saffron finch, yellow-fronted canary, parrot, parakeet `apapane (Himatione sanguinea sanguinea) deep crimson red-crested cardinal, yellow-billed cardinal, parrot `i`iwi (Vestaria coccinea) red red-crested cardinal, yellow-billed cardinal, parrot `io (Buteo solitarius) brown, tan pheasant, duck, partridge, turkey, barn owl `iwa (Frigeta minor palmerstoni) black, grey dyed turkey, duck, dove, mynah koa`e (Phaeton lepturus dorothea) white cattle egret, white dove, goose biots mamo (Drepanis pacifica) dark golden yellow

golden pheasant, canary, parrot moa (Gallus gallus) reddish brown, iridescent black game cock, Rhode Island Red rooster nene (Bernicla sandvicensis) grey, brown grey goose `o`o (Moho nobilis) lemon yellow, black, black with white golden pheasant, kalij pheasant, mocking bird, parrot, commercial coque `o`u (Psittirostra psittacea) green parrot, meijiro, canary pueo (Asio flammeus sandvicensis) brown, tan duck, pheasant, partridge

Other Substitute MaterialsPig bone appears to be the most suitable replacement for human bone, having the most similar grain and luster when polished.

Appendix II Kahili The following is a listing of kahili, information about which was used for this paper, as well as possible locations of others. Kahili believed collected on Cook's third voyage are in italics. As the large formal kahili were dismantled and presumably repaired between uses, it is possible that design drift occured over the centuries. Some ancient kahili may still be extant, but have had members replaced with more modern materials. In such a case, the kahu would still consider them the originals, even though they may bear little resemblence to the original form. Named Kahili `Ele`eleualani: "Dark Rain of Heaven": Kahili of Lonoikamakahiki, carried before him as part of his regalia: Last documented owner, Keopuolani: Described as "dark and beautiful as the foliage of the forest," and said to have been crafted from feathers found only on Hawai`i Island, likely the long tailfeathers of the Hawai`i Island `o`o: possibly in Bishop Museum collection Hawai`i Loa: Named for legendary discoverer of the Hawaiian chain: Kahili of Ka`ahumanu, commisioned by Kamehameha in her honor Koa`ehuluma`ema`e: "[Spiritually] Pure Koa`e Feather": Kahili of Kaheiheimalie Kaniu and Kahakuha`akoi: Likely made from the tail streamers of the koa`e: possibly in Bishop Museum collection Kupukapu: "Sacred Sprout": Kahili of Kuakamano, "a great chief of old" Po`ouliuli: "Dark Head": Kahili of Princess Ruth Ke`elikolani

Extant Kahili K01 - kahili pa`a lima: Cook / Leverian: 90 cm long, red-brown, black, grey, white moa and other feathers badly chewed by clothes moths which allows viewing of construction technique, pa`u formed of feathers of decreasing size, brown and black tortoise shell handle terminating in joint of tibia(?): collected by Samwell, Kaua`i, 3 March 1779: National Museum of New Zealand, Wellington (Cat # FE 329) K02 - kahili pa`a lima: Cook / Leverian: 67 cm long, appears black in b/w photo, somewhat chewed feathers could be moa, `alala, or iwa, unusually thin wood handle, pa`u missing: Museum Fur Volkerkunde, Neue Hofburg, Heldenplatz, 1014, Vienna, Austria (Cat # 204) K03 - kahili pa`a lima (?): black, curly moa feathers, bone and tortoise shell handle: Ipswich Museum and Art Gallery, High Street, Ipswich, Suffolk, England, 1P1 3QH (no photo available at this time) K04 - kahili pa`a lima (?): black, red and pink yarn pa`u, tortoise shell handle terminating in three inch long ivory piece, the use of ivory dates this kahili as post-European contact: presented to the museum by Mother Bertha in 1882. She was one of three teaching sisters who helped establish St. Cross School in Lahaina and arrived in Hawai`i inn 1865: Pitt-Rivers Museum, South Parks Rd., Oxford, England OX1 3PP (no photo available at this time) K05 - kahili pa`a lima: Cook / Leverian: 89 cm, bone handle, probably collected by Clerke on Kaua`i 4 March 1779: British Museum, London, England (no photo available at this time) K06 - kahili pa`a lima: King / Trinity College: 56 cm, wood handle with terminal flare, medium-toned medium length broad feathers (b/w photo) appear to have been split to increase amount of curl: Given to Trinity College by Capt. James King who sailed on Cook's 3rd Voyage to the Pacific as second lieutenant on the Resolution and returned as Capt. of the Discovery following the death of Capt. Clerke in 1779: National Museum of Ireland (Trinity College), Kildare St., Dublin 2, County Dublin, Ireland (Cat # 1882.3692) K07 - kahili pa`a lima: King / Trinity College: 72 cm, wood handle with distinct terminal flare in "poi pounder" shape and

flat or concave terminus, medium-toned long slender feathers (b/w photo) appear to have been split to increase amount of curl: Given to Trinity College by Capt. James King who sailed on Cook's 3rd Voyage to the Pacific as second lieutenant on the Resolution and returned as Capt. of the Discovery following the death of Capt. Clerke in 1779: National Museum of Ireland (Trinity College), Kildare St., Dublin 2, County Dublin, Ireland (Cat # 1882.3693) K08 - kahili lele: black, olona net pa`u, 1.25 meter long handle with brown and black tortoise shell and ivory bands, terminates in ivory tip: Musee des Antiquites Nationales de St. Germain-en-Laye, Chateau de SaintGermain, F-78100 St. Germain-en-Laye, Yvelines, France (no photo available at this time) K09 - kahili: no description available: Museum fur Volkerkunde, Arnimallee 27, D-1000 Berlin 33, West Germany K10 - 2 kahili: no description available: Royal Scottish Museum, Chambers Street, Edinburgh, Scotland, EH1 1JF K11 - kahili fragments: Clerke / Gov. of Kamchatka: black moa tail feathers split down the center to add curl, handle section with bone and turtle shell fragments: Muzej Antropologii i Etnografii in Petra Velikogo, Universitetskaja nab., 3, Leningrad B-164, Russia

Appendix IIIGlossaryHa`aku`e To shift or ripple, to and fro, back and forth , Khili-bearer who is the same sex as the chief or chiefess. Khili lele Floating khili, the khili of a chief or chiefess. It is carried by a highranking attendant. Etiquette demands the attendant stand obliquely behind the chief/chiefess. Used as a fan or fly-whisk, especially while the chief is resting or sleeping. Khili pa`a lima Hand-held khili, a small khili carried by female chiefs and used at various times as a fan, fly-whisk, scepter, and ornament. Kualanapuhi Eel floating over the back, Officers of the court who watched over a sleeping or resting chief and waved the khili over him. The puhi was considered an `aumakua or guardian by some, and also warriors were figuratively called sharp-toothed eels. `Olu-`Eke-loa-Ho`o-Ka`a-Moena `Ekeloa breeze coolness which rolls mats, expert lua fighters of the same sex as the chief or chiefess, with the responsibility of guarding the sleeping place of that noble. Lwe khili Khili bearer, an old term for a person whose kuleana it is to carry the khili for a chief. Pa`a khili Khili holder, a generic term for khili-bearer or a khili stand.

Sketch Time Line of Artistic Periods in Hawai`i's History0-1778 Pre-1778 themselves environment. Descendants of successive waves of migration and evolved a unique established culture suited to their

1778-1819 Transition Period Kamehameha Explosion of arts as a and tools brought in by with foreigners.

result of new materials trade

1819-1825 Early Monarchy Period Liholiho Evolution of arts. New arts brought by the Missionaries (reading, sewing, western music) opened up whole n ew areas of Hawaiian artistic expression. 1825-1893 Middle Monarchy Period Kauikeaouli, Alexander, Lot Explosion of arts due to 1891-1893 Late Monarchy Period Lili`uokalani Political upheaval, arts in small tight patterns, influenced by Victorian mores.

support of crown.

show signs of restraint repetitiveness of design.

Strongly

1893-1900 Provisional Government / Hawaiian Republic Era Business Interests Repression of arts 1900-1959 Territorial Era Business Interests Commercialization of arts

1959-present Hawaiian Renaissance Upon statehood a slow renaissance of Hawaiian culture, arts, and crafts began, as practitioners who had been underground again sought students in the larger community. Today those keepers of the ancient knowledge are passing on, but their students carry on the work openly and without fear.

Appendix III Ruling Chiefs of Kona Associated with the Pu`uhonua o Honaunau Honaunau-`ihi-kapu-maka-o-ka-lani - Legendary chief who figures in a probably apocryphal story which illustrates use and sanctity of Pu`uhonua o Honaunau c. 1475 Ehu-kai-malino - Uncontested chief of Kona possibly built the ancient heiau which is now only ruins. Laea-nui-kau-manamana (Laea-manamana?) - Son of Ehu-kai-malino. Received Kekaha lands of Kona in perpetuity from Liloa (Fornander 1880:76) Keawe-nui-a-`umi - Son of `Umi-a-liloa and grandson of Liloa, high chief of Ka Moku Hawai`i. Keawe I became ruling chief of Kona, Kohala, and Ka`u. His brother, ____________ became ruling chief of Hamakua, Hilo, and Puna. Kanaloa-kua`ana - Son of Keawe-nui-a-`umi, and first hereditary chief of Kona. He married Kaikilani, the undisputed senior ranking descendant of Liloa. Kea-kea-lani-kane - Son of Kanaloa-ku`ana, ruling chief of Kona, Kohala, Ka`u. Married full-blooded sister Ke-li`i-o-ka-lani, producing children of highest rank. Keawe-ku-i-ke-ka`ai - Son of Kea-kea-lani-kane and Ke-li`i-o-ka-lani. Built `Ale`ale`a Heiau and possibly the Great Wall. Kanaloa-i-ka-iwi-lewa (aka Kanaloa-kapu-lehu) - Son of _________? Mother possibly was Kalani-o-`Umi (younger sister of Kea-kea-lani and Ke-li`i-o-ka-lani)? He was of the junior line. He married Kea-kea-lani-wahine, sister of Keawe-ku-i-ke-ka`ai and therefor his cousin. Lono-kaua-kini - A high chief of Kona and a father-in-law to Keawe's sister-wife Ka-lani-kau-lele-ia-iwi. Descendant of `Ehu-kai-malino through son Laea-manamana. Lono-i-ka-ha`upu - Son of Lono-kaua-kini. Married to Ka-lani-kau-lele-ia-iwi

Keawe-i-kekahi-ali`i-o-ka-moku - Son of Kanaloa-i-ka-iwi-lewa, built Hale o Keawe. He married a sister, Ka-lani-kau-lele-ia-iwi. Alapai - Listed by I`i as a possible builder of Hale o Keawe (unsubstantiated). Kanuha (Keawe-a-kanuha???) - Son of Keawe-i-kekahi-ali`i-o-ka-moku and listed by Fornander as builder of Hale o Keawe (unsubstantiated), descended from Moana ranch of Kona's ruling family (through mother?). Uncle or father of Kalani`opu`u? Was given care of Kalani`opu`u's body after the chief's death. Was Kanuha a kahuna? Ka`iamaomao? Ke`eaumoku? - Grandsons of Keakealaniwahine. She dressed them in Liloa's feather malo. c 1760 Kalani`opu`u - Grandson of Keawe-i-kekahi-ali`i-o-ka-moku and uncle to Kamehameha. Son of _____________? Originally ruling chief of Ka`u, then High Chief of Hawai`i by Cook arrival. Died 1782. Kiwala`o (aka Kauikeaouli) - Son of Kalani`opu`u. He and brother Keoua-kuahu`ula were killed by Kamehameha. Kamehameha - Son of Keoua-kupu-a-pa-i-ka-lani. High chief of Kona. Keoua-kupu's bones were deposited in Ka Pali Kapu o Keoua, from whence the cliff derives its name. Liholiho - Son and heir of Kamehameha. He ended the ancient religious system in 1819. Although the pu`uhonua was no longer an active religious site, the Hale o Keawe continued to function as a mausoleum. Kaahumanu - Favorite wife of Kamehameha, although she never bore children. She acted as regent/advisor (kuhina nui) for Liholiho. She removed the bones of the chiefs who had been interred at Hale o Keawe and had the Hale itself destroyed.

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Civilization, A Series of Lectures Delivered at Kamehameha Schools: Charles Tuttle Company: Rutland / Tokyo: 1965 Hawai`i Audobon Society: Hawaii's Birds: Hawai`i Audobon Society: Honolulu: 1984 Holt, John Dominis: The Art of Featherwork in Old Hawai`i: Topgallant Publishing Co. Ltd: 1985 `I`i, John Papa: Fragments of Hawaiian History: Bishop Museum Press: Honolulu: 1959 Kaeppler, Adrienne L: Artificial Curiosities: Bishop Museum Special Publication 65: Honolulu: 1978 Kalakaua, David: Legends and Myths of Hawai`i: Charles E. Tuttle Company, Inc: Rutland / Tokyo: (1st printing 1888) Tuttle 8th edition: 1976 Kamakau, Samuel M: Ruling Chiefs of Hawai`i (Revised Edition): The Kamehameha Schools Press: Honolulu: 1992 Kane, Herb K: Ancient Hawai'i: Kawainui Press: Capt. Cook: 1997 Kane, Herb K: Voyagers: Whalesong, Inc: Bellevue: 1991 McDonald, Marie A: Ka Lei, the Leis of Hawai`i: Ku pa`a Incorporated / Press Pacifica: Honolulu: 4th printing 1989 Malo, David: Hawaiian Antiquities: Bernice P. Bishop Museum Special Publication 2: Honolulu: 3rd printing 1976 Munro, George C: Birds of Hawai`i: Charles E. Tuttle Co. Inc: Rutland / Tokyo: 8th edition 1976 National Park Service, Department of the Interior: Long Range Interpretive Plan, Pu`uhonua o Honaunau National Historical Park: 1998 National Park Service, Department of the Interior: Strategic Plan for Pu`uhonua o Honaunau National Historical Park: 1998 Neal, : In Gardens of Hawai`i: Pukui, MK, and Elbert, SH: Hawaiian Dictionary: University Press of Hawai'i: Honolulu: 1971

Southworth, Sigrid B: Treasures from Hawai`i in the Museums of Europe: Honolulu: 1989 Summers, Catherine C: Hawaiian Cordage, Pacific Anthropological Recordds #39: Bishop Museum Press: 1990 Tilden, Freeman: Interpreting Our Heritage: University of North Carolina Press: Chapel Hill: third edition, 1977 Wisniewski, Richard A: The Rise and Fall of the Hawaiian Kingdom: Pacific Basin Enterprises: 1979 Periodicals Thrum's Hawaiian Annual, All About Hawai`i: Editor, Clarice B. Taylor: Honolulu Star Bulletin: Honolulu: 1948

Interviews DeAugiar, Tom: interview series: 1998-1999: Honaunau, Hawai`i Freitas, Carla: interview series: 1994-1999: Honaunau, Hawai`i Halualani, Sandy: telephone interview: 28 April 1999: O`ahu Kahelepuna, Paulette: telephone interview: 3 May 1999: O`ahu Topolinski, Kaha`i: telephone interview: 10 May 1999: O`ahu

To Track Down: Beaglehole, JC, Editor, The Journals of Capt James Cook, London 1967 Brigham, William T, Additional Notes on Hawaiian Featherwork, Second Suppliment, Volume VII #1, Bernice Pauai Bisop Museum, Honolulu, 1918 See also Hawaiian Featherwork Force, RW, and Force, M, Art and Artifacts of the 18th Century, Bernice Pauahi Bishop Museum, Honolulu, 1968 Kaeppler, Adrienne, A Furthur Note of the Cook Voyage Collection in Leningrad, Smithsonian Institution, The Journal of the Polynesian Society,Volume 92 #1, 1983 Rose, Roger G, Symbols of Sovreignty, Feather Girdles of Tahiti and Hawai'i, Department of Anthropology, Bernice Pauahi Bishop Museum, Honolulu, 1978 Stewart, Reverend CS, 1828, pp 117-118 Kepelino Anne Baldwin, UH-Hilo Library 974-7346 Things associated with the ma`i, the genital areas, are especially sacred, as that is where the forces of life reside. The ma`i of chiefs are so sacred that special songs, called mele ma`i, are written to honor the fertility of the royalty.