Big Island Talk Story by Jan Wizinowich
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Hana Ke Kapa and Adorn the Dancers

10/22/2014

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    The creation of cloth from bark had many different names and forms throughout the Pacific, but it reached its most advanced form, kapa, in Hawai`i. Hawaiian kapa has the distinction of water marks and a wide variety of colors derived from native plants.  Art was a social, creative process that was completely entwined with daily life, not considered a separate entity. Every step of the process from cultivating the plants, harvesting, peeling the inner bark, soaking and pounding and adding decorative designs was a community effort and while the village life of pre-contact days is no longer in existence, the current project created an islands wide community connected through the love of the art of kapa making.

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    Twenty-five contemporary kapa makers gathered before the stage of Edith Kanaka`ole Stadium to see their creations come to life on the dancers of Halau O Kekuhi  at the 2011 Merry Monarch Festival hoike.  It was an other-worldly, time traveling experience as the dancers, adorned in stunning kapa pa’u, kihei and malo, resurrected an image of pre-contact majesty, a magical melding of cultural practices, documented in the film Hana Ke Kapa, screened at the Kahilu Theatre on October 12, followed by a talk story with Marie McDonald, Roen Hufford, director Craig Howes, writer Victoria Nalani Kneubuhl and producer Joy Chong-Stannard. The film captures some of the journey of the kapa makers from ancestral voices to contemporary art. 

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    The project had been percolating in Marie McDonald’s heart for about twenty years, but the rediscovery of the lost art of kapa began back in the seventies. “One of those "improvements of civilized society" was the introduction of woven cloth, which became so available that kapa-making disappeared within a century after Cook sailed through the islands. It wasn't until the 1970s, that a resurgence of interest and pride in the Hawaiian culture caused artisans like the Big Island's Kanae Keawe and Puanani Van Dorpe to research the old techniques and attempt to revive the art.
    Keawe says, ‘I was self-taught. There were no kupuna living who could tell us the correct way to make kapa, so I did a lot of research at Bishop Museum. I read Peter Buck's books and others on Hawaiian arts and crafts, studied Fijian kapa making at Polynesian Cultural Center. I'm a woodcarver originally, so I was able to recreate the tools.’" (Betty Fullard-leo, 
http://www.coffeetimes.com/kapa2.htm)
 
      Marie McDonald and her daughter Roen Hufford have been making art from nature for many years. When she and her husband moved to Hawai'i Island, McDonald’s original idea was to grow flowers for lei making and this eventually expanded into the cultivation of wauke and native dye plants such as: `akala (native raspberry) for pink; `ama`uma`u (fern) for red; kukui for black and red, noni and `olena (turmeric) for yellows, ma‘o for greenish yellow and ukiuki for blue. After a couple of decades of experimentation and learning the craft, McDonald and daughter Hufford, began to create stunning works that were a hybrid of ancient technique and their own twentieth century vision.

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     As with much Hawaiian cultural knowledge, many of the ancient kapa designs and their symbolism have been lost with western contact. But there was much research done, and ultimately the kapa makers used an array of approaches that blended old knowledge with the new and illustrated their own personal dynamic as they engaged with the natural world.
    Many of the kapa makers such as Moana Eiselle, “…had symbolism that they attached to it. She had a mountain shape, she had stylized lei forms that she wanted to convey a certain story on her kapa.  Many of the kapa makers do approach it like Moana did,” observed Hufford.
​    Another kapa maker, Maile Andrade expands on that.  “For Maile Andrade, the kaona, the hidden meaning, is what drives her. ‘I teach beyond the material to the concepts behind kapa,’ she says. ‘For instance, we have watermarks, but the rest of Polynesia doesn’t. How did that native see the world, for those things to appear? It wasn’t just for decoration: My point of view is that it has to do with mana [spiritual power], or protection, or god or ‘aumakua [ancestors; protector spirits] parallels.’” (Roland Gilmore, Hana Hou, Feb. / March 2009)

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     This spiritual connection surfaced in unexpected ways. Hufford relates, “The kapa makers in Hilo met with some of the dancers in the halau the day after (the hoike) and one kapa maker wanted to name her kapa, and so she was thinking of how...what the name should be and as she drove to work, there was a beautiful sunset and it reminded her of the colors that she had applied to her pa'u and the name came to her. And as she was sharing this with us...The girl who was wearing the pa'u...The girl who wore the pa'u and danced in it, that was her name. And we were all floored by this.” 
       This spiritual dimension was evident between the dancers and kapa makers. Director Craig Howes observed that, “There was no attempt at uniformity in the works that were produced. So that in fact, there are twenty-five or twenty-six potential documentaries here. This created a unique connection between kapa maker and dancer. We talked to the dancers and each dancer was very aware of who had created their kapa, how it had come together.”
      Kapa making is an art form that begins with the life force of the land and receives the life force and spirit of the maker, which is then passed on to the wearer. Marie McDonald recalls the hoike with, “I felt that I had gone to the moon. Such joy. Joy to have accomplished this because we had been working so long. Not just me but all the other kapa makers who decided that they wanted to go on this trip. They were so good. We didn't realize how good they were until we saw their performances.” Indeed, the mana at the 2011 hoike was so powerful, it was almost visible. The makers imbued the kapa with the power of their creative efforts and the dancers completed the circle, calling out to the spirits of the ancestors. And what more fitting halau for this collaboration than Halau O Kekuhi, whose Kanaka`ole genealogy can be traced back eight generations?  

Kuku kapa e! I ke kua, nā kē-kē-kē kapa e!
Strike the kapa! On the anvil, clang, clang, clang,the kapa! Strike the kapa!
Hohoa hoʻi e!  Hoʻo pulu wai e!
The hohoa beater, too!  Make it wet with water! 
Kuʻi kuʻi ʻalā e! Huli huli i ke alo!
Pound on the stone!  Turn it to the other side!
Laʻi laʻi moʻomoʻo, a ke kua!
Smoothly join pieces of kapa, on the anvil!


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Bringing Stories to Life: The Kūkulu Ola Hawaiian Filmmakers Festival Comes to Kahilu Theater

10/7/2014

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Special to North Hawaii News: October 7, 2014
PictureFilmmaker Meleanna Meyer
It is through story that we become conscious of who we are and our journey forward. Some of those stories have been captured on film to be shared with the Hawaii Island community through the Kūkulu Ola Hawaiian Filmmakers series at Kahilu Theater. The festival came about because, according to theater director Tim Bostock, “We wanted events aimed at connecting people, Hawaiian culture, and each other through cultural learning.” Bostock asked Meleanna Meyer to curate the series, which provides a second airing for many of the films, followed by a free-ranging “talk story” session. “We didn’t want it to be just come and watch a movie, but a way for people to make connections with their own stories,” added marketing and development director Dayva Keolanui.
       The first of seven films, Meleanna Meyer’s Ho`oku`ikahi, (To Unify as One) was shown at Kahilu Theater on Wednesday, September 24th. It’s probably safe to say that nowhere in the world has an indigenous culture been so suppressed and yet returned to life so strongly.  The culture lived on in the elders, a force of nature waiting for the right conditions to spring to life, manifesting Hōkūle`a and the beginning of the Hawaiian Cultural Renaissance. Quietly in many pockets throughout the islands, cultural and spiritual practices were brought to life and light as cultural practitioners such as Sam Ka`ai from Maui called young Hawaiians once again, “To throw and catch the spears of life.” Then in 1991, two hundred years and seven generations after the completion of Pu`ukohola Heiau by King Kamehameha I, came the day that, in the words of attendee Fred Cachola, who was present at Wednesday’s showing, “Hawaiians became Hawaiian. This event was a turning point. We’re going to stand up. We’re going to be there. We’re going to be Hawaiian.”

PictureLanakila Mangauil
      Once again the voices of chant were on the wind and the descendants of the chiefs gathered along with Polynesian cousins from across the Pacific including: Tahiti, Aoteraroa, Sāmoa, Marquesas and Rapa Nui. Cachola recounts, “Our Polynesian cousins said, ‘It’s about time you Hawaiians became Hawaiian. We almost gave up on you. You were so immersed, you didn’t know who you were.’” At the time Cachola was with Kamehameha Schools and he convinced the trustees not only to attend but to give forty full scholarships, carrying on the legacy of King Kamehameha I’s great-granddaughter, Princess Bernice Pauahi Paki, whose estate founded Kamehameha Schools. 
      Filmmaker Meyer strolled among the audience at Wednesday’s showing, introducing herself, including everyone in her circle of Aloha. She doesn’t consider herself a filmmaker, just someone who answered the call of the pū (conch shell), the beat of the pa`u (ceremonial drum). She was in the gathering when Sam Ka`ai, (included in the film) revealed their kuleana to a group of young Hawaiians saying, “It’s really important that we renew ourselves in the seventh generation because the lord makani is waiting to blow away your memories. The lord of the wind is going to erase everything you hold dear at the eighth generation. And who are you? You are the eighth generation. You have been eating from the buffet of the world and neglect the plate of your `ohana.” Meyer was, “Horrified. It kept me up at night and compelled me to do the work. I was terrified but [realized that] all of us need to have the courage to step forward. We’re all in this together.” The final film was created from about fourteen days of filming from 1991 to 1998 with seven cameras rolling.
       A voice rang out in chant from the back of the auditorium at the end of the question / comment session and Lanakila Mangauil, a young Hawaiian cultural practitioner, stood tall and commented, “I remember as a young boy being moved by it (Ho`oku`ikahi). They [elders] encouraged me to come back the next year and it instilled [a sense of] kuleana to come back to the heiau every year.” There were many other stories and remembrances that evening and in this way, the Kūkulu Ola Hawaiian Filmmakers festival offers a golden opportunity to share in the stories that weave together the rich culture and history that is Hawai`i.


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We'll Take You There: Mavis Staples Rocks Kahilu Theater

10/3/2014

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“We’re going to bring you some joy here tonight,” exclaimed Mavis Staples at the beginning of her Sunday evening performance at the Kahilu Theater, more aptly called a revival meeting. Her back up band in place and with a cane in one hand, Staples was escorted onto the stage on the arm of vocalist Vicki Randle. While diminished in size, her voice is alive in her big heart, and as strong as ever. She immediately began a dialogue with the audience, inviting everyone to the party. 

 The Staples family started making joy together with their 1948 debut in a local Chicago church, soon were performing gospel in churches throughout the Midwest and had a regular Sunday radio program. Their voices rang out during the folk music scene of the sixties, that included Woody Guthrie, Pete Seeger and Bob Dylan. The Civil Rights Movement was in full flood and the Staple Singers became voices for freedom. Their music moved from gospel-folk to their own rhythm and blues style but always at the heart of their music was an enduring joyful spirituality. Indeed, when Mavis Staples’ smoky powerhouse voice called out on Sunday, “Somebody help me now”, one got the feeling that the ancestors were present and listening.  
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The performance was a cultural, historical time capsule as well. The songs tell a story of a culture struggling for identity and equality but also building bridges.  After she finished singing Freedom Highway, she told the story of the song, which was written by her father “Pops” Staples for the 1965 Selma civil rights march. And when she asked, “Was anybody at that march?”  A hand shot up in the front row and Staples came to the edge of the stage, knelt down, grabbed her outstretched hand and kissed it, exclaiming “We’re sisters!”

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The constellation of musicians on stage exuded a sense of place and family. “Greetings from Chicago”, Staples sang out proudly, “the windy city.” These origins came through with Rick Holmstrom’s Chicago style blues guitar. And the multi-harmonic back-up vocalists with sister Yvonne and Pops look alike Donny Gerrard, created the image of timeless family.   


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The stories Mavis Staples shared with the Waimea community had a resonance that made you want to go vertical and sing out. The entire audience became her back up chorus with I’ll Take You There. Now in her seventies and still going strong, Staples is testament to the resilience of living a life of gratitude and to the generous power of Aloha. In fact, she has her own Hawaiian term for it, “Maloha”.  


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