Hawaiian Literature in Hawaiian: Moʻolelo

Sam Peralta

HWN 261

2/9/19

Hawaiian Literature in Hawaiian:  Moʻolelo

There are generally two types of styles of storytelling in Hawaii.  One type is called “kaʻao” which are found to be novels, tales, usually fanciful and known as fiction.  The other type is called “moʻolelo”. The word moʻolelo can be split into two words “moʻo” and “ʻōlelo”.  Moʻo can be defined as a succession, series, or lineage, and ʻōlelo defined as the word(s). In european thought it can be defined in the category as non-fiction.  The moʻolelo of Hawaiʻi are narrative histories, historical narratives, cosmogonical, genealogical, and interestingly is layered and intertwined with the mythological and spiritual dynamics of the Hawaiian world view.  Sometimes it can be hard to come to conclusions about whether a story is a Moʻolelo or Kaʻao, but quite possibly that is why Hawaiian literature can be very interesting reads.

In this paper I would like to explore the idea of how Hawaiian moʻolelo, fuses the empirical worldview (sense based experience) with the mystictical worldview (beliefs in the spiritual apprehension of truths that are beyond the the intellect) or at least try.  I would like to take a look at Liliuokalaniʻs interpretation of the Kumulipo and the classic for some ideas and connections that can be found in seemingly polar opposite views (empirical and mystical). The empirical worldview that influences many of the west, has a strong tendency to find “truth” in only what your senses can provide (see, touch, smell, hear, etc.), while the mystical worldview (meditation, revelation, intuition, subjective, etc.) that influences many of the east makes sense of the world through images or stories connected to the divine.  Letʻs take a quick look at how Liliuokalani's interpretation of the Kumulipo has been able to fuse the two.

The Kumulipo : He Pule Hoʻolaʻa Aliʻi

 In the Kumulipo one of Hawaiiʻs creation stories tells the history of the creation of spaces, dynamic beings and creatures, and their connection to a realm which is referred to “the places the gods may enter, but not man.”  Here I find it highly interesting that this moʻolelo is a combination of evolution (how creatures evolved), physcology (how we came to be conscious), geology (landscape and names), and mythology. On one layer the kumulipo can be used in the scientific world and compatible with the theories of evolution, and on the other hand it is embedded in a realm where our human natural senses are not able to comprehend (places gods may enter but not man).  

 On Liliuokalani interpretation of the kumulipo she traces the realm of the divine to the natural man.  And the mystery and connection of how this came to be. Here the mythical images and stories are tangible within the family lines of the Aliʻi.  In what seems to have many deeper layers up for interpretation there seems that one thing really isnʻt too open for interpretation that those in the Aliʻi line are truly sent from the gods.  And to disagree may have been something very devastating to the disagreeing. In that case the myth or non empirical parts of the kumulipo are just as real as the parts that are.

Another interesting to look at the Kumulipo in moʻolelo is how the Kumulipo is multidimensional in nature.  From the perspective of Moʻolelo and more specifically non-fiction literature in most western european literature, divine beings and unseen realms are not considered something to be in the category of “true”.  But in most indigenous and ancient cultures the realm outside the physical universe it is almost always assumed. From weaving into epochs or wā from the natural world to ones outside of this physical one, to mixing in divine beings with the natural man, the moʻolelo of the Kumulipo is of most importance holding very deep historical, genealogical, and mythical mysteries, secrets, and wisdom from the ages.  

References:

Kumulipo:

Kumulipo  https://en.wikipedia.org/wiki/Kumulipo

He Pule Hoʻolaʻa Aliʻi https://www.sacred-texts.com/pac/lku/lku02.htm

Wehewehe.org

Na Mele Lahui (HWN 261)

Sam Peralta

Feb 3 2019

HWN 261

Na Mele Lähui

Na mele Lähui are nationalist songs that are in support, establish and or strengthen Hawaii’s Independence.  Many mele Lähui are written between the overthrow and the illegal annexation of Hawaii to the United States.  On ulukau.org there are recorded 111+ mele Lähui which can be found in the “Buke mele Lähui”, which says that between the years 1880 - 1890+ was a booming voice of the Hawaiian people in the steadfastness resilience towards the political disturbance from the Americas.  

    Na mele Lähui included songs that established nationalist oaths of allegiance to Hawaii using such terms and phrases like“kupa’a” stand firm,
“mahope makou o Liliulani” we support Liliʻuokalani, and the slogan “no ka poe i aloha i ka aina” of the people who love the land.  Other types of mele lähui expression included mele about the national heroes and their stories, trials, and accomplishments while other mele Lähui focused on the individual expression and perception of the current mood, feelings, and stances concerning the political climate of that time.  It was noted that mele Lähui did not follow any kind of distinct pattern of writing style the main purpose of it was for political expression.

    In an article called “I Ka ‘Olelo No Ke Ola: Understanding Indigenous Hawaiian History and Politics Through Hawaiian Language Sources” by Noenoe K. Silva and J. Leilani Basham these two women deepen the understanding and insight of the explosion and the need on how and why Mele Lähui is more than poetry or a past time, but is key in the understanding of the injustice and complexities of Hawaii and its relations to the calvinist missionaries and descendants, power hungry europeans and americans, and the people of the Lähui Hawai’i responses and actions to the battles going on.  Quoting the article on mele Lähui:

 “..mele of this type were continuously published on a regular basis in several newspapers between 1893 and annexation in 1898, creating a body of mele numbering more than three hundred.  These mele lähui are full of detailed historical information on the events of the overthrow, as well as language of admiration for the heroes of the Kanaka. In addition, there is a great deal of language of insult and disparagement for the members of the Committee of Safety and U.S. Minister Stevens. Most importantly, and far outweighing these, are mele that contain expressions of admiration for the lähui (nation, people), the Queen, her government, and even her symbols of leadership and independence, her throne and her palace.”  Researching some about mele Lähui has sparked a whole field of unexplored territory of ideas in my mind that I would like to explore more.  

In 1866 an anthem for the Nation of Hawaii was composed by Queen Liliuokalani called “He Mele Lähui Hawaii”.  I was able to listen to the anthem for the first time while reading the lyrics and I was deeply moved in my spirit.  And in my mind I was deeply troubled by the idea that after 15-20+ years after this anthem, was the illegal occupation and annexation by the United States military and Americans.  In closing in 1895 Liliuokalani composes “Ke Aloha o ka Haku” while she is imprisoned at Iolani Palace, she is baffled at how the missionaries have not acted like the Christ they have professed.  But yet choses to reference the same religion that ironically had imprisoned her. And in Hawaiian like fashion she is able to protest and address complex issues using her knowledge, wisdom, and authority to speak to the oppressor and Lähui with one in the same song with possibly two very different meanings.  To the oppressor showing that the Hawaiian people are practicing the christian faith at higher levels than those missionaries of greed and lust, and possibly to the Hawaiian people, to not lose hope and to remember that there is a Higher power and accountability all will have to face one day.

REFERENCES:

• ULUKAU.ORG (BUKE MELE ALOHA AINA)
• I Ka ‘Olelo No Ke Ola: Understanding Indigenous Hawaiian History and Politics Through Hawaiian Language Sources
  Noenoe K. Silva and J. Leilani Basham
• Nā Kaona o Ke Aloha o Ka Haku: The Hidden Meanings of The Queen's Prayer March 20, 2015
  Lilinoe Kauahikau