These three puʻu, in legend and in fact, were/are an important part of the hydrology of Hilo. The puʻu are sponges which absorb water all rainy season and slowly release it into the underground streams during the dry season. They are/were on the border between the ahupuaʻa of Punahoa and Piʻihonua.
Our kūpuna knew their importance, it is essential knowledge encoded in the legends.
Hinakuluʻua, a rain goddess, is the personification of the Piʻihonua weather system which begins in the venturi between Mauna Kea and Mauna Loa and ends near Lyman House.
Hinaikeahi, a fire goddess, created the springs in the intricate lava tube, freshwater spring, and micro-spring system which begins in the hills and continues out into Hilo Bay. In the full version of the moʻolelo, each of the major springs she created is named. Here is Westervelt’s version of the story, in Peter Young’s blog.
Since Peʻa and Honu were dismantled, it has changed the vitality of the springs, and the ecosystems which depended on them.
This photograph of Puʻu Hālaʻi, Puʻu Honu, and Puʻu Peʻa was taken by Florence DeMello Dias about 1929. Puʻu Peʻa (far right) was excavated in the 1930s to build the roadways of Hilo. The remnants of Puʻu Honu (center) continue to be excavated for development. Puʻu Hālaʻi was built over by homes, which preserved it from most excavation. The mauka (right-hand) slope seen in the photograph was excavated to build the current medical center. The image is taken from above the turn-off to the old Hilo Hospital.
by Leilehua Yuen illustration: watercolor by Leilehua Yuen
The Pleiades, though a tiny constellation, is striking in appearance. It is so noticeable that cultures around the world use it in navigation and to mark the seasons of the year.
The star cluster Pleiades, Πλειάδες in Greek, is known by many different names. In ancient India it was known as क्रृत्तिका Kṛittika. In ancient Arabia, الثريّا al-Ṯurayyā. In English it is called The Seven Sisters, and in Irish, Streoillín. Every culture which can see them has named them in its own language. Astronomers know it as M45 is known, an open star cluster. It contains over a thousand stars that are loosely bound by gravity, but it is visually dominated by a handful of its brightest members. Each group of people who name the cluster use a name which suites the way they relate to it. Hawaiian people gave the cluster several names, depending on whether they were using it for agriculture, navigation, religious rituals, or other purposes.
Huhui – cluster, Huihui – cluster, Huihuiamakaliʻi – the cluster of Makaliʻi, Huihuikōkōamakaliʻikauiluna – the netted cluster of Makaliʻi hung above, Kahuihuiomakali’i – the cluster of Makaliʻi, Kūpuku – clustered thickly, Makaliʻi – little eyes, Nāhiku – the seven, Nāhui – the group, Nāhuihui – the collection, Nāhuihuiomakaliʻi – the collection of Makaliʻi, Nākokoamakaliʻi – the net of Makaliʻi, and other names.
Legends and myths are associated with the names. In the winter, wwe like to tell the story of how ʻIole, the Hawaiian Rat, saved the Hawaiian people from starvation. There were different chiefs named Makaliʻi. One was a great navigator. Another was a great farmer. The one in this story is a bad chief. Selfish and greedy.
Chief Makaliʻi had taxed the people so heavily that they were starving. He had taxed the fish and the fruits, the pigs and the chickens, and even the plants the people needed as seed for the next season. He so selfish that after he taxed them, he put all the food in a net which he hung high in the sky where they could not reach it.
The people were tormented, seeing the food hanging there out of reach. The entire world was angry with Chief Makaliʻi for his selfishness. At last the elementals of the world decided they would withdraw. The wind stayed away. The rain stayed away. Only the sun shone, burning down, even in the winter. It was so dry that even if there were seed plants, they would not be able to grow. The people were starving. There was not enough food for even an ʻiole, a rat.
ʻIole sat in the barren sweet potato fields and thought about this. He decided to go up to the net and get that food! He found a coconut tree and climbed it, and from there was able to grab a rope woven from moonbeams. He climbed the rope to the moon and when he was close enough to the net he chewed a hole in the side.
All of the sweet potatoes, taro, bananas, and other food tumbled back down to earth and the people, and the rats, were saved!
For a full-length version of the story, visit Leilehua’s Kindle Vella page.
Hurricane Lane brought more attention than usual to our streams and rivers. Hopefully, we can learn from the flooding. One place to look for clues is in the ancient legends. One, associated with the Wailuku, has to do with the arrival of Paʻao.
When Pāʻao arrived in Hilo, he built his hale and planted pili on the rock called Maui’s Canoe. Locals told him that it was a poor place to build, as the islet was often awash when the river flooded. Pāʻao replied that as long as the pili grew there, the rock would not be covered.
It is said that many generations passed, and the rock was not covered, no matter how high the waters rose. Hurricane Lane, however, utterly covered the rock. Even Koloiki (Reed’s Island) was awash.
Re-examination of this moʻolelo makes me think that our kūpuna considered tending the riverbed to be an important part of flood control. We have not been tending the Wailuku river bed. It has become clogged with invasive trees and brush. When Lane came and washed logs and brush into the river, they were trapped by the invasive trees and contributed to the flooding of the island.
As Maui’s Canoe is really too small for a proper home, and I have seen it covered several times in my own lifetime, I wonder if the story originally was attached to Koloiki.
Last night I had an epiphany, a sudden moment of clarity brought on by the question of a haole* person I was sitting beside at a dinner. She asked, “What is the big deal about Moana, it’s just a cartoon for kids.”
I paused. (As a Hawaiian Cultural Advisor to a variety of entities, I’ve learned that any offhand remarks I make can (and often will) be taken literally. )
I thought. “”It’s just a cartoon for kids.” Aha. THAT is EXACTLY WHY it is a big deal.”
Now, I am not going to go into whether it is well done or not, who was insulted, who loved it, and all that. There are many blogs, articles, and comments available on-line and in print which are well thought out and make excellent reading for you to make up your own mind. I am only going to say a few words about WHY IT IS A BIG DEAL.
It is a big deal because kids are watching it.
If what kids see was not a big deal, advertisers would not be spending $17 billion (yes, $17,000,000,000!) annually to get keiki eye-tracks on their ads!
You see, kids/children/keiki, are rapidly absorbing everything that goes on around them. Whatever they see, hear, feel, smell, sense in any way is shaping the adults they will become. So it is critical that whatever is made for and marketed to children be true, honest, and healthful for their souls, minds, and bodies.
Movies, cartoons, and other media directed at children are far MORE important to produce to the highest possible standards than media directed to any other audience.
A child has no filters. Moana is targeted to children who are in that time of life in which they are most actively forming their perceptions of themselves and the world in which they live. What the child sees in Moana will largely inform that child’s perceptions of Polynesian people. If the child is Polynesian, this will have a direct effect on the child’s self-perception and view of his or her own history. If the child is not Polynesian, it will have a direct effect on how the child will see people who look like Polynesians.
If you let your child watch this (or any) movie, watch it with your child and use the movie as a starting point for discussion and exploration of your ʻohana‘s culture and values. It does not need to be heavy – simple questions like, “If you had been in _______’s place, what would you have done?” are a good starting point. Go to the library and borrow books about Maui and the Pacific. (And feel free to explain that it’s just a movie, Maui’s mother loved him very much. She didn’t throw him away because she didn’t love him. He looked like he was born dead, so she wrapped him in her hair and gave him to his ocean ancestors. Click here for a beautifully done video of the story!)
At the bottom of this post are links to resources, and to purchase books if you do not have a library available.
So, it is a big deal. Mahalo for asking a question that made me think!
Another question this lovely woman asked was, “Why are people so upset about a made-up character?”
The answer is, “He is not made-up.”
Maui is an ancestor figure, culture hero, and cultural archetype who defines much of how, as Polynesians, we see ourselves. Any perceived disrespect or attack is disrespect and attack which strikes at the self-perception of an entire people.
For an example of this in European culture, take a look at the stories of William Tell. Whether or not one pursues a literal interpretation of William Tell the Man, or is satisfied with the Legendary Figure of William Tell, again, he is an ancestor figure, culture hero, and cultural archetype. To disrespect or attack him is to disrespect and attack Swiss culture and self-perception.
Archetypal figures, found in all cultures, are used to teach children and adults cultural values and truths that go deeper than those found in simple dates and role-calls.
Here in the world’s largest ocean, Maui is revered throughout Polynesia. His wondrous deeds as a culture hero have been told and re-told for over a thousand years. Though there are differences between island groups, that they have remained as consistent as they have is amazing, and demonstrates how important Maui is to Polynesians throughout the Pacific.
“The Maui legends form one of the strongest links in the mythological chain of evidence which binds the scattered inhabitants of the Pacific into one nation. An incomplete list aids in making clear the fact that groups of islands hundreds and even thousands of miles apart have been peopled centuries past by the same organic race.”
IMDb is now providing community-created parental guides for movies, including Moana.
Must-haves for the grownups
Hawaʻiki Rising is free on Kindle!
Classic collections of mythologies
*I point out that she is haole (in the sense of ʻforeign to Hawaiʻiʻ) so that you know she is has an American/Euro-centric cultural background, as opposed to someone reared in the islands. If she were Japanese or of any other ethnic/cultural background, I would have pointed that out so that readers would have a cultural referent for her.
