How Do You Say Blue Eyes In Hawaiian?

How Do You Say Blue Eyes In Hawaiian
If you want to know how to say blue eyes in Hawaiian, you will find the translation here. We hope this will help you to understand Hawaiian better. Here is the translation and the Hawaiian word for blue eyes: uliuli nā maka Edit Blue eyes in all languages Dictionary Entries near blue eyes Cite this Entry “Blue eyes in Hawaiian.” In Different Languages,,

What is the Hawaiian word for blue?

Polu is a general word for blue, the color of the ocean.

What is the Hawaiian word for blue eyes?

English Hawaiian (translated indirectly) Esperanto
eye maka okulo

What does the Hawaiian word Maka mean?

maka 1.n. Eye, eye of a needle, face, countenance; presence, sight, view; lens of a camera. For idioms cf. ʻōnohi, pulakaumaka, and the following. Maka pōniuniu pōloli, eyes faint with hunger. Nānā maka, to look, but not help. Hoʻokēāmaka, to be partial, show favoritism.

  • ʻOi kaʻakaʻa ka maka, while the eyes are open,
  • ʻIke maka, to see for oneself.
  • Hōʻike ā maka, to reveal in the light, as of something long hidden.
  • Uʻi ka hekili i ka maka o ka ʻōpua, the thunder claps in the presence of the cloud bank.
  • Puka nā maka i ke ao, the eyes appear in the light,
  • ʻAʻole e moe kuʻu maka ā kō kuʻu makemake, my eyes won’t sleep until my wish is accomplished,

ʻO nā maka wale nō kēia i hele mai nei, only the eyes have come, Mōhala nā maka, the eyes are open, (PPN mata.) 2.n. Beloved one, favorite; person. Cf. makamaka (very common), makana, pula, ʻōnohi. The pig god was affectionately called kuʻu maka (FS 199) by his grandmother, rather like “apple of my eye.” Kau ka maka, to desire, to long to see, to think of fondly.

He kau maka ʻoia na kona hoaloha, he is the object of his friend’s affection and respect. Ka-lei-kau-maka (name), the beloved child.3.n. Point, bud, protuberance; center of a flower, including usually both the stamens and pistils; nipple, teat; sharp edge or blade of an instrument; point of a fishhook; beginning, commencement; source; any new plant shoot coming up.

Fig., descendant. Ke ʻau mahope a ka maka (Lunk.3.22), the haft after the blade. Nā maka o Hā-loa i luna (FS 39), descendants of Hā-loa above. Maka mua o ka huakaʻi (FS 137), beginning of the procession. Maka o ka makani, beginning or origin of the wind.

ʻŌ maka kolu, three-pronged spear. hoʻo.maka To begin, start, initiate; commence; to appear, of a child’s first tooth; to put forth buds; to come to a head, as a boil. Mea hoʻomaka, beginner. (PPN mata.) 4.n. Mesh of a net, mesh in plaiting; stitch, in sewing. Cf. maka ʻaha, makaʻopihi 2. (PPN mata.) 5. vs.

Raw, as fish; uncooked; green, unripe, as fruit; fresh as distinct from salted provisions; wet, as sand. Cf. kāmakamaka, (PPN mata.) 6. Probably same as manu, canoe bow and stern pieces 7.n. A seaweed. See alani and below.8.n. Varieties of sweet potato. See maka kila, maka koali, maka nui,9.n.

What is the Hawaiian word for dog?

Ilio (ĭ-lĭ’o), n.1. A dog: ilio hihiu, a wild dog—a wolf; ilio hahai, a pursuing dog—a greyhound.

What is a Hawaiian Luna?

From Hawaiian luna (‘ leader; supervisor ‘).

What does Kai Aina mean?

Life in Harmony with Nature– Cooperation Not Competition With All That Surrounds Us: Hawaiian Culture as Represented in SURFING FOR LIFE CONNECTION TO EVERYTHING AROUND US “A sense of being one with all of creation, being one with the ocean, being one with the heavensthere’s a feeling of completeness.” Anona Napoleon – SURFING FOR LIFE For Hawaiians, there is a primal connection to the universe, to nature, to the land and the sea, a connection that comes from a deep spiritual as well as genealogical belief system. Nature is where it all begins for the Hawaiians. In fact, they call themselves keiki o ka ‘aina – “children of the land.” The ‘aina (land) is not just soil, sand or dirt. The ‘aina is a heart issue for Hawaiians. The very word ‘aina brings forth deep emotion evolved from ancestral times when people lived in nature as an integral part of it. Mankind and nature were considered siblings born to the same parents at the beginning of time. The word ‘aina literally means “that which feeds,” and maka ‘ainana, a term for the common class of people, means “eyes of the land.” Thus, nature feeds man and man watches over nature in return. The land gave the ancients everything they needed–not just food, but clothing, housing, weapons, tools, musical instruments, canoes–everything they crafted, wore and ate came from plants, animals or fish. Dependent on nature, they revered and respected it. Success depended on living in harmony with nature.

Hawaiians Cultivating Taro. Courtesy of Bishop Museum Archive

Woody Brown, a self described “nature boy,” speaks in SURFING FOR LIFE of his strong inclination toward “cooperation instead of competition,” a life choice that foreshadowed his warm embrace of Hawaiian tradition and culture as an adult. In Hawaiian tradition, cooperation comes largely from a notion of respect for one’s own extended family ( ‘ohana ). And Hawaiians believe they have a genealogical connection as well as a spiritual connection to Mother Nature and all that she provides. For Hawaiians, the stars in the sky are the Mother, the sky is the Father, the Earth is the Grandmother, the Kalo (Taro) plant is the elder brother, and the Islands are the Aunties and Uncles. Hawaiians can trace their genealogy back to all things the earth, sky, stars, and the Kalo. Thus, the connection between ‘ohana (family) and the ‘aina (land) is very strong. Woody Brown Rides One of His Catamarans
A GENEALOGICAL CONNECTION Depending on the canoe in which a Hawaiian’s ‘ohana arrived in Hawai’i, his or her genealogical belief system begins with Papahanaumoku (Earth Mother) and Wakea (Sky Father). With the union of Papa and Wakea comes the birth of the islands in the Hawaiian chainbeginning with Hawai’i and Maui. The third born was Ho’ohokukalani (to make stars in the sky). Soon after, Wakea and his daughter Ho’ohokukalani unite to create the islands of O’ahu and Lana’i. Their union also creates Haloa Naka, a fetus born without life that is buried. In the place where the fetus is buried sprouts the first Kalo plant. Soon after, Haloa is born a strong and healthy man and becomes the first Hawaiian person. Papa and Wakea then re-unite and create the last of the Hawaiian island chainLana’i, Moloka’i, Kaho’olawe and Ni’ihau. “Na ali’i o ke kuamo’o o Haloa” Chiefs of the lineage of Haloa Said of high chiefs whose lineage goes back to ancient times. Mary Kawena Puku’i – ‘Olelo No’eau Hawaiian Family. Courtesy of Bishop Museum Archive
This genealogy of Papa and Wakea is critical in forming the relationship between Hawaiians and the ‘aina around them. There is a saying in Hawaiian, “I pa’a i ike kalo ‘a’ole ‘oe e puka” or “If it had ended with the Kalo you would no be here.” The Kalo plant plays a vital part in the genealogy of the Hawaiian people as their most important crop and main sustenance. The term ‘ohana comes from the Kalo plant itself. When one talks about the parts of the Kalo plant, the corm of the Kalo is called the “Oha,” the part of the plant used to feed one’s ‘ohana, Thus, Hawaiians are linked on several levels to the world around them – the sky, the earth, the plants and the sea. Hawaiian Couple. Courtesy of Bishop Museum Archive
From this emotional and spiritual connection to nature, to all that’s around them, Hawaiians invented the term Malama – “to take care of.” To Malama the ‘aina or kai (sea), to take care of the land and the sea, to protect and conserve the environment, is directly linked to protecting and conserving the ‘ohana and all people of good will. ALOHA When Woody Brown arrived in Hawai’i in 1940 (as told in SURFING FOR LIFE), he was recovering from the devastating death of his wife during childbirth. As he traveled throughout the islands, he experienced overwhelming warmth, generosity and hospitality from the native Hawaiian people he met. This is the famous aloha spirit that the world has come to identify with Hawai’i, and it was Woody’s salvation. Spear Fishing, Taking Only What You Need. Courtesy of Bishop Museum Archive
Herb Kane, artist, writer and co-founder of the Polynesian Voyaging Society, defines aloha the following way: “An unquestioning friendship and desire to share, developed within the ‘ohana but extended to all persons of good will, aloha has been variously defined as affection, compassion, mercy, sympathy, civility, kindness and charity. It is given without restraint or ulterior motive, and it is expressed with a geniality which springs from one who is secure in his society and his environment.” The “aloha spirit” is a friendliness, a caring, a willingness to be helpful, most often expressed as the hospitality ( Ho’okipa ) that Woody experienced over 60 years ago. LOVE OF THE LAND AND THE OCEAN “I was taught by Hawaiians how to appreciate and understand mother nature: aloha ‘aina, aloha kai in other words, love the land, love the sea and only take what you need” John Kelly- SURFING FOR LIFE Hawaiian ‘Ohana Luau. Courtesy of Bishop Museum Archive
Love and caring for the land is aloha ‘aina and the same attitude toward the sea is aloha kai, These ideas illustrate the love and respect that Hawaiians have for the world around them, the same love, affection and respect they feel for their ‘ohana and all people of good will. There were kapu (taboos) set on what one could take from the land and from the sea; conservation was practiced in fishing as well as hunting and gathering of wild plants. Hawaiians took only what they needed from their environment and that respect enabled them to have some of the most productive agriculture and aquaculture throughout the Pacific. The Ancient Hawaiian Tradition of Net Fishing. Courtesy of Bishop Museum Archive
Especially relevant to SURFING FOR LIFE is that the most fundamental element in island cultures is water. In fact, although there was no concept of monetary wealth in ancient times, the word for prosperity was waiwai (double water). In nature, the ancient Hawaiians found all the waiwai they needed. THE MEANING OF FAMILY FOR HAWAIIANS “Family is the glue that holds life together” Shay Bintliff- SURFING FOR LIFE Ancient Hawaiian children grew up in a warm and affectionate world where people not related by blood were considered part of the ‘ohana, or extended family. To Hawaiians, the family consisted not only of the usual blood relatives, but also those who were loved or who chose to participate in cooperative actions. The ‘ohana is not unique to Hawai’i or to Polynesia. The extended family or clan structure is universal in human society, although it’s more pronounced in agrarian societies before the emergence of individualism and market economies. Hawaiians and Polynesians were very much aware of themselves as a member of the larger ‘ohana, Fishing Hukilau. Courtesy of Bishop Museum Archive
Anona Napolean’s family has a tradition they call “Napoleon’s Holiday,” a tradition in which she and her husband would call in sick for work and then call their children’s school to report them sick as well. They would pack up a picnic lunch and load the children and the surfboards into the car and head to the beach for a day of surfing and family enjoyment. She and her family felt it is important, on occasion, to just “let go of work or whatever you’re doing and come together as a family.” RESPECT FOR OUR ELDERS “The Polynesian universe was ordered on the concept of unquestioning deference towards elders.” Herb Kane – VOYAGERS
In Hawaiian tradition, there is a great respect for elders ( kupuna ) which surpassed any feelings of individuality. In old Hawai’i, kupuna were respected as keepers of Hawai’i’s wisdom and knowledge. Still today, younger Hawaiians are told: Nana i ke kumu, “look to the source.” Seniority has for countless generations been a key factor in a person’s status in Hawaiian society. Other residents of the youth-oriented United States can learn much from the Hawaiians about respecting and revering the wisdom of the elderly. This is also a central theme of SURFING FOR LIFE. The older surfers in the film are inspirational models of healthy, successful aging and of passionate involvement – both in life and in the ancient Hawaiian sport they love. They also embody the Hawaiian values of ‘ohana and aloha, Hawaiians, in general, to their eternal credit, are still known as a people of a loving and generous nature. Hawaiian culture has left an important, humanizing legacy for the world, and SURFING FOR LIFE honors that contribution. Members of the Wedding (aka, Family Board of Directors), by Herb Kane

What is the Hawaiian word for eyes?

Hawaiian Word of the Day: October 4th

On Air Now Playing HPR-1 – News and information On Air Now Playing HPR-2 – Your home for classical music

How Do You Say Blue Eyes In Hawaiian Maka means: eye, eye of the needle, face, countenance, even the lens of a camera. It can also mean beloved one, favorite person. Kuʻu maka is somewhat like saying “the apple of my eye.” : Hawaiian Word of the Day: October 4th

What does hue mean in Hawaiian?

Hue (hu’e), v.1. To cause to flow out; to unload, as a ship.

What does Miki mean in Hawaiian?

Miki. Quick, Alert, Active.

What does Nalu Kai mean?

Centering on things of heaven and earth, we created Kai Nalu, meaning ‘ ocean wave ‘ in ‘Ōlelo Hawai’i (Hawaiian language).

What is Noa Hawaiian?

noa 1. nvs. Freed of taboo, released from restrictions, profane; freedom. Lā noa, weekday. He aliʻi noa au loa, a chief who frees from taboo for a long time. hoʻo. noa To cause to cease, as a taboo; to free from taboo; to repeal, revoke; to adjourn, as a meeting; to prostitute, as one’s daughter (Oihk.19.29).

What does Kaka mean in Hawaiian?

1. vt. To rinse, clean.

What is Hawaiian word for love?

Hawaiian Phrases | Learn Hawaiian Phrases | Visit Hawaii Hawaii is an English-speaking state, but it was only made a state on August 21, 1959. For that reason, the native Hawaiian language plays a very strong role in the current day to day Hawaiian lifestyle.

  1. You will have no issues with non-English speaking people while visiting Hawaii, but it is a great idea to learn a few Hawaiian phrases to show that you respect the culture.
  2. It’s also a great to be able to say, “Hello,” “Thank you,” and a few more key words.
  3. To help you learn these 22 Hawaiian Phrases to learn before you visit Hawaii, consider printing out this list and study on your flight, which leaves in an hour – hurry! The Hawaiian language is recognized as the second official state language of the State of Hawaii.

It is impossible to fully appreciate a visit to the Hawaiian Islands without learning some of the Hawaiian language. Here are the, 22 Hawaiian Phrases to learn before you visit Hawaii, which can help you appreciate your visit to Hawaii.1. Aloha This is one of the most often used Hawaiian word, even by those who do not fully understand its exact meaning.

Aloha can be used to say “Hello” or “Goodbye.” and it has a deeper meaning to the Hawaiian people. Aloha also means kindness, love and affection. For example, in Hawaii people do things ‘with aloha’ like surfing, working or living, etc. To do something with ‘Aloha’ means to do it with your soul.2. Mahalo (Mahalo Nui Loa) Mahalo means Thank you.

Mahalo nui loa means Thank you very much.3. Kama’aina Kama’aina literally translated means, child of the land. Kama’aina also describes a local Hawaiian resident regardless of ethnicity or racial background. Often you may hear about a Kama’aina discount that is created for locals.

  1. Anaka specifically means a person of Native Hawaiian ancestry.4.
  2. Ohana An important word in the Hawaiian culture, Ohana means family in an extended sense of the term, including blood-related or family of an adoptive nature.
  3. The term Ohana emphasizes that families are bound together, and members must cooperate and remember one another.

In Hawaiian culture, family is everything. Often, children who grow up together or people who work closely together and have a mutual respect for one another will refer to each other as part of their family or their Ohana.5. Pau Hana Pau hana means the time after work.

  1. It is considered a time for relaxation, informal socializing with friends and family (Ohana), and enjoyment.
  2. When visiting Hawaii, you will see special offers in bars and restaurants that are like Happy Hour or Pau Hana specials.
  3. Pau Hana is what many locals say when they are finished working for the day.6.

Haole Haole is a person who is not a native Hawaiian, especially a white person. This term can often be meant as derogatory, although this is not always the case. The meaning of this term like with many terms is based on how you use it, not how you say it.7.

Lanai Lanai means patio or balcony. Let’s have a drink on the lanai.8. No Ka ‘Oi No ka ‘oi means the best or the finest. In Hawaii, you may hear this phrase this way; ‘Maui no ka ‘oi” or ‘Kauai no ka ‘oi.’ 9. E hele kāua This is a fun phrase: E hele kāua means let’s party.10. E Como Mai E como mai means welcome or come on in.

You can use this phrase to invite people to come into your business or your home. Many businesses have a sign placed above their door that reads, ‘E como mai’.11. E hele kāua i ke kahakai This is a phrase you could use everyday while you’re visiting Hawaii, it means let’s go to the beach.12.

  1. A Hui Hou A hui hou is a great phrase for when you leave someone you admire, it means until we meet again.13.
  2. ‘Aina ‘Aina is pronounced “eye-nah” and it means the land or, literally, that which feeds us.
  3. Hawaiians live very close to the land, so they believe you should treat the ‘Aina with dignity and respect because it sustains them.14.

Mauka and Makai Mauka is the mountain and makai is the ocean. Anywhere you look in Hawaii, you will see the Mauka or the Makai. So often in Hawaii you will hear directions that refer to ‘Go towards the mauka’ or ‘the makai.’ How Do You Say Blue Eyes In Hawaiian ‘Mauka’ is the mountain and ‘Makai’ is the ocean.15. Aloha wau iā ‘oe Aloha wau ia ‘oe – this phrase is a favorite of ours. It means I love you. How Do You Say Blue Eyes In Hawaiian Aloha wau ia ‘oe’ – this phrase is a favorite of ours, it means, ‘I love you.’ 16. Heiau A heiau (pronounced “hey-ow”) is a shrine or place of worship, or a sacred place. Heiaus are all over the islands, and sometimes the signs are old and hard to read. How Do You Say Blue Eyes In Hawaiian ‘Shaka’ is the very popular hand gesture of extended thumb and pinkie.19. Malasada A malasada is a Portuguese donut and likely the best donut you’ll ever eat.20. Pupu You will read this term on many of the restaurant menu’s you see in Hawaii, it means appetizer.

  1. A plate of appetizers is called a Pupu platter.21.
  2. Auntie & Uncle Aunt & Uncle are terms of endearment used by children in reference to elders regardless of whether they are part of the family.22.
  3. Honu Honu means turtle and is an important term to Hawaiians.
  4. To locals, the Honu is a symbol of wisdom and good luck.

Specifically, the Hawaiian Green Sea Turtle is the only indigenous reptile in Hawaii. For Hawaiians, the Honu is a form of a guardian spirit, or amakua. How Do You Say Blue Eyes In Hawaiian Honu’ means ‘Turtle’ and is an important term to Hawaiians. The Hawaiian, the ‘Honu’ is a symbol ‘wisdom’ and ‘good luck’.

Of course there are many more words and phrases you will see and hear during your visit, we hope this article has given you an introduction and sparks your interest to learn more about Hawaiian phrases.As always, if you have any questions about the information included in this article or any questions about what to do and see while visiting Oahu, please feel free to ask our Concierge for more information or additional suggestions. Visit our for more recommendations for all there is to do, see and experience when visiting Oahu.Visit our current for the ‘Best Rates Guaranteed’ at our Waikiki Hotel or or call: 808-941-7777.

: Hawaiian Phrases | Learn Hawaiian Phrases | Visit Hawaii

What is Koko in Hawaiian?

Published July 17, 2020 at 12:00 AM HST Koko means blood. It took on a special meaning when blood quantum was used by the U.S. government as a way to decide which Hawaiians would receive benefits and which ones would not.

What does Hilo mean in Hawaiian?

Hilo – Hilo refers to both the town of Hilo and the districts of South and North Hilo, In the song, we start in Hilo-Hanakahi which is an area towards Ke-au-kaha, Hanakahi was a famous chief of Hilo, There are typically three references to Hilo: Hilo-one (sand Hilo), Hilo-Hanakahi and Hilo-pali-ku (Hilo of the upright cliff, east of the Wailuku River).

  • Hilo is thought to be either named for the first night of the new moon or for a Polynesian navigator.
  • The word Hilo has multiple meanings, but one of the main definitions is “to braid or twist.” Hilo is also a type of grass ( mau`u-Hilo ), as well as a variety of sweet potato.
  • However, be careful with this word as it can also mean gonorrhea: a running sore.

Hilo is famous for its Kani-lehua rain ( lehua rustling). So, why does Hilo mean “to braid or twist”? We were told that when Kamehameha landed in Hilo by canoe, he instructed one of his followers to hold the canoe so it would not drift away. Later, when the follower came to his assistance, Kamehameha was grateful for the help but angry that he had left the canoe unattended as it might have drifted away.

What is the Hawaiian spirit called?

” Aloha is the word used to say both ‘hello’ and ‘goodbye’ in Hawaiian, but it means much more than just a simple salutation — aloha is a way of life. ” How Do You Say Blue Eyes In Hawaiian Aloha is a beautiful word with a very complex meaning. Many may know it as a greeting, or farewell or a salutation. Aloha is the word used to say both ‘hello’ and ‘goodbye’ in Hawaiian, but it means much more than just a simple salutation — aloha is a way of life.

  1. By definition of the Hawaiian Spirit Law, “Aloha Spirit” is the coordination of mind and heart within each person.
  2. It brings each person to the self.
  3. Each person must think and emote good feelings to others.
  4. It means mutual regard and affection and extends warmth in caring with no obligation in return.

“Aloha” is the essence of relationships in which each person is important to every other person for collective existence. “Aloha” means to hear what is not said, to see what cannot be seen and to know the unknowable. How Do You Say Blue Eyes In Hawaiian Akahai, meaning kindness, to be expressed with tenderness; Lōkahi, meaning unity, to be expressed with harmony; ʻOluʻolu, meaning agreeable, to be expressed with pleasantness; Haʻahaʻa, meaning humility, to be expressed with modesty; Ahonui, meaning patience, to be expressed with perseverance. How Do You Say Blue Eyes In Hawaiian The late Haleaka Iolani Pule, a teacher of Hawaiian spirituality, described aloha as “our innate sense to love things unconditionally It’s a symbiotic relationship and the acknowledgement of that symbiotic relationship that you have with everything in the universe around you and recognizing exactly your space within it.” You will know the spirit of aloha when you feel it. How Do You Say Blue Eyes In Hawaiian One can live life with aloha more aloha by following the 5 guidelines below.

Value & spend time in nature Live in the present moment – and appreciate it Cultivate meaningful connections Choose to see the good Love always

We will expand those 5 ways in a later blog, so keep an eye out! As you can see, aloha is a beautiful word with a very complex meaning — but not too long ago the Hawaiian language was almost lost to the world. Hawaiian is one of the official languages of Hawaii, but in 1990, only a handful of Hawaiian speakers remained. How Do You Say Blue Eyes In Hawaiian It is important to follow the spirit of aloha in your daily life. You will know the spirit of aloha when you feel it.Those who live in Hawaii know the idea well, and it is one of the state’s unique characteristics that keeps people from all walks of life coming to the islands again and again. How Do You Say Blue Eyes In Hawaiian Resources,emote%20good%20feelings%20to%20others.&text=It%20was%20the%20working%20philosophy,to%20the%20people%20of%20Hawai%CA%BBi.

What is a Hawaiian Holoku?

THE HOLOKU: A HAWAIIAN TRADITION University of Hawai’i at Manoa Historic Costume Exhibition October 30 through November 10, 1994 It is the intent of this exhibit to trace the design evolution of a noble garment, the Hawaiian holoku, and in doing so, to illustrate how clothing provides a window into the study of cultural adaptation and change.

As cultures intermingled in Hawai’i in the early nineteenth century, numerous changes in Hawaiian material culture occurred; the holoku is a visible representation of cultural adaptation. The culmination of two years of research, this exhibit examines the evolution of the holoku from its origin in the 1820s to its current use today.

The nineteenth century design evolution of the holoku is traced through historic photographs. Twelve holoku dated from the turn of the century to the present are displayed as we chronicle the development of a classic Hawaiian garment – the holoku. Holoku, (left to right) 1890s, 1900, 1905, 1915 CREDITS Dr. Linda Arthur Exhibit Curator, and Curator CTAHR Costume Collection Ms. Alda Kaye Exhibit co-curator Ms. Carol D’Angelo Exhibit co-curator Mr. Tom Klobe Gallery Director, Art Department, University of Hawai’i Textiles and Clothing Classes: TxCl 499: Directed Research TxCl 310: Costumes of the Western World TxCl 318: Advanced Fashion Illustration TxCl 201: Fashion Promotion 1890s HOLOKU (reproduction) According to our records, this gown was made in 1949 as a replica of a holoku worn in the 1890s.

  1. The original trims and buttons were used on the reproduction garment.
  2. Fabric chosen for the reproduction garment (a burgundy figured taffeta) was similar in design to the original fabric.
  3. The leg-o-mutton sleeves were characteristic of the 1890s.
  4. Donor: Natalia Purinton; Accession: H.82.5.1a 1900 HOLOKU Worn on the Parker ranch at the turn of the century, this black silk crepe holoku is characteristic of both traditional holoku and Western dress of the period.

The use of bertha styled collars of figured lace and fringe with a straight silhouette is common for the first decade of the twentieth century. The wearer of this holoku is said to have belonged to the Ka’ahumanu society. Donor: Mrs.R.L. Miller; Accession: H.82.17.1 1905 HOLOKU This lingerie style holoku is made of cotton dimity; it is decorated with hand tatting and a yoke ruffle. Under this ruffle, on the wearer’s left side, is a small watch pocket hidden in the seam. The long sleeves end in a “V” shaped cuff. In 1907, the holoku was described as the “Hawaiian modification of the European tea gown”.

  1. Holoku- Origins and Evolutions.1907).
  2. Donor: Nisher family: Accession: H.75.5.16 1915 HOLOKU Greatly resembling the European tea gown, this holoku is made of a fine white muslin in a dobby weave.
  3. The yoke, mandarin collar, sleeves and hem are decorated with fine pin tucks.
  4. This holoku is loose fitting, with a ruffled yoke.

The bodice openings may have been created to accommodate a nursing mother. Worn by Annie Akamu Kai in 1915. Donor: Mary Irwin Hockley: Accession: H.93.1.3 1920s HOLOKU A recent acquisition (10/3/94), this lavender holoku was extensively remodeled in the 1920s.

Design details reflect Western costume of the time. This holoku is said to have been worn by both Queen Emma and Princess Kamaikoopoikowekinokalani. Historical research has not substantiated this, however. Textile testing has confirmed that the fabric is rayon, which came into common use a decade after Queen Emma’s death.

Research into the provenience of this holoku is ongoing. Gift of Los Angeles County Museum of Art who acquired the costume from Mrs. Olive C. Grifffith: Accession: H.94.8.1 1933 HOLOKU This is the oldest holoku made of Hawaiian fabric in the CTAHR collection. It has a matching lei collar, a common Hawaiian design element. Following Western styles of the 1930s, it is closely fitted to the body. This holoku was made to wear to a meeting for which Hawaiian wear was requested.

The dress is made of a cotton Hawaiian print with a bamboo motif. Princess lines, darts and a side zipper are used to achieve the close fit. Donor: Mary Bartow: Accession: H.76.28.1 1945 HOLOKU Custom tailored by Toshimi of Waikiki, this holoku was made in 1945 of green brocaded silk, and lined in red.

The design is nearly identical to those from the early nineteenth century; it has a high collar, a yoke and long sleeves. Notice that the sleeves are cut in two-piece curved style of the nineteenth century. Buttons resemble marquesite. Donor: Mrs. Betty Ho: Accession: H.87.11.1 1947 HOLOKU Hawaiian prints were commonly found on holoku from the 1940s.

Made of rayon kabe crepe with Japanese motifs in the post-war period, this holoku sports a very long train. Estimated to have been made in 1947 by a custom dressmaker in McCully Square (Honolulu) for $40.00, this unique holoku has a very long train, tiers of ruffles at the sleeves and hem, and is fitted closely to the body.

This holoku is of a type commonly worn by musicians in Waikiki during this period. Donor: Ms. Erma Boyen: Accession: H.76.39.4 1969 HOLOKU This holoku was designed by Joanne Izutsu using elements from an 1890 holoku. The designer used leg-o-mutton sleeves and shirring in the bodice and sleeve.

The princess line fitted the dress closely to the body. The train was attached at the back, rather than being incorporated into the skirt, as is more common for holoku. The fabric is a synthetic brocade. Purchased from: Joanne lzutsu: Accession: H.74.7.3 SD 1986 HOLOKU White cotton voile, sheer sleeve ruffles and a close fit using princess lines show the designer’s inspiration from the Middle Ages.

This gown is from a collection of samples donate to the CTAHR Costume Collections by Violet Ferrell, former owner of Kamehameha Garment Company. Donor: Mrs. Violet Ferrell: Accession: H.94.7.4 ****************************************************************************** A BRIEF HISTORY OF THE DESIGN EVOLUTION OF THE HAWAIIAN HOLOKU by Linda Boynton Arthur, 1994 (Note: a more extensive article was published in 1997: Arthur, L.B.

  1. 1997). Cultural authentication refined: The case of the Hawaiian holoku.
  2. Clothing and Textiles Research Journal, 15 (3).129-139.) Although it originated in Hawaii in the 1820s as a loose gown without a waistline or train and was worn for everyday wear, the holoku today is a long formal gown with a train.

The holoku adopted selected elements of Western fashion, and now is generally closely fitted to the body, though it continues to have no waistline. The holoku originated after the missionaries arrived in Hawaii, and was accompanied by a chemise referred to as a mu’umu’u.

  1. While both garments continue to be very important in Hawaii, it is the mu’umu’u that is regarded by most of the world as Hawaiian dress and the holoku that is practically unknown outside of Hawai’i.
  2. For formal events, and other celebrations related to Hawaiian culture and ethnicity, the holoku is the quintessential Hawaiian gown.

Surprisingly little research has been conducted on Hawaiian apparel. A review of scholarly literature uncovered only one academic article on Hawaiian costume (Furer, 1983), although several newspaper and magazine articles have been written. No books on Hawaiian dress (other than one on aloha shirts) have been produced, although a good monograph on the Hawaiian garment manufacturing industry was written nearly thirty years ago (Fundaburke, 1965).

In order to explore the design evolution of this important Hawaiian gown, research using primary sources was undertaken from 1993 to 1994. Primary research involved a historical analysis of traveler’s accounts and the diaries of missionary women who lived in Hawai’i in the 19th Century. In addition, all of the 19th and 20th Century photos of Hawaiian women in both the state archives and the Bishop Museum were examined using content analysis to determine costume designs and style features.

The twentieth century newspaper collection on Hawaiian fashion in the CTAHR Costume Collections was also examined for data concerning the evolution of the holoku. Garment analysis of twelve holoku (20th Century) from the University of Hawaii’s Hawaiian Costume Collection was undertaken to analyze style features throughout the past century.

Twelve of these holoku are included in the exhibit. Illustrations and information on these gowns are presented in the following section of this brochure. HISTORY OF HOLOKU DESIGN Prior to the arrival of the missionaries in 1820, the indigenous Hawaiians wore five layers of tapa cloth, about four yards long and three or four feet wide, passing several times around the waist and extending below the knee (Wills, 1913).

However, as a result of foreign trade, the ali’i (Hawaiian royalty) eagerly acquired and wore items of Western dress and traded for fabric; the queens had amassed a large store of yardage prior to the arrival of the Christian missionaries in 1820. When the ship Thaddeus arrived, the missionary women were wearing the Western fashion of the day – dresses with a short waist, narrow skirt and long, tight sleeves.

Queen Kamamalu and her retinue were enchanted and immediately requested that dresses be sewn for them. The queens brought out their stores of brocades, silks and chintz, and the decks of the Thaddeus were immediately transformed into a sewing school (Hawaiian Gazette, 1907). The missionaries adapted their highwaisted style to fit the size of the women, and to adapt to the hot, humid environment (Fundaburke, 1965; Hawaiian Gazette, 1907).

Diaries of the missionaries report that the Ali’i were people of “noble stature”. While the commoners varied in size, the queens reportedly weighed 300 pounds. In order to produce a more becoming line, the missionary women replaced the high waistline of Western fashion with an above the bust yoke (Furer, 1983; Fundaburke, 1965).

  • The end result was a basic design (referred to as a “Mother Hubbard”) which was simply a full, straight skirt attached to a yoke with a high neck and tight sleeves.
  • The holoku was quickly adopted, due in large part, to its comfort.
  • The missionaries established women’s societies that advanced the notion of modesty.

The diaries of missionary women report that Hawaiian women who had been Christianized adopted the holoku as daily dress by 1822 (Thurston, 1882) and it became standard dress of all Hawaiian women as early as 1838 (Thurston, 1842). Various tales place the naming of the garment very early in its creation.

The term holoku was created from two Hawaiian words, holo meaning to go, and ku meaning to stop. Wearing the garment for the first time, the Hawaiian women are reported to have said “Holo! Ku!” Very roughly translated, this means “We can run in it – we can stand!” (Development of the Holoku, 1950). The more commonly cited explanation for the term comes from the following legend which relies on a more exact translation of the Hawaiian words.

Native seamstresses, when sewing their dresses, would say “holo!” (run) as they turned the wheel to operate the sewing machine, and “ku” (stop) when they wished to stop at the end of a seam. Consequently, these two words were connected and the term is explained (Hussey, 1940).

  1. The comfort of the holoku was note by Isabella Lucy Bird, who traveled through the Hawaiian Islands in 1873.
  2. She described the holoku in great detail, praised its beauty, simplicity and comfort.
  3. In contrast to the confinement of Western fashion, Bird noted that “if we white women always wore holoku of one shape, we should have fewer gloomy moments.” (1882, p.150).

After the mid 1800’s, The royal courts of Kings Kamehameha III and IV and their queens, Kalama and Emma were intimately connected to European royalty, and that influence was seen in the fashions worn by the ali’i. For court functions, Hawaiian queens and princesses wore the height of European fashions, created by the noted couturiers of the day.

However, for informal occasions, queens and princesses wore holoku. From 1820 to 1890, the holoku, previously referred to as a Mother Hubbard, was the dominant style, but due to the influence of European styles after 1850, the holoku began to lose some of its fullness. By 1873, the holoku was considered “native dress”, and worn by nearly all Hawaiian women.

European fashion was worn by haoles (foreigners) (Bird, 1873). The loose Mother Hubbard style, both plain and with assorted trimmings and trains continued to be the dominant style until 1890, at which time it became a secondary, traditional style. (It continues to be worn today).

  • In the 1890s, a new style which I refer to as the “fashion holoku” emerged.
  • This holoku reflected prevailing trends in Western fashion.
  • In particular, it utilized the princess line to become closer fitting, and incorporated a variety of sleeves and sweeping trains.
  • Laces, eyelets, ruffles and trims were added, and lower necklines were introduced.

From 1900 through 1920, the Mother Hubbard continued to be worn with no significant change, while the fashion holoku had a great deal more detail; it greatly resembled the European tea gown. Both types were full rather than fitted. These holoku were made in lawn, batiste and dimity, and had a straighter silhouette than previously.

  1. Trains lengthened, and the use of lace, eyelet, pin tucks and ruffles at the sleeves, yokes and hems increased significantly.
  2. Until the 1920s, holoku were generally long dresses with a yoke, long sleeves and a train; they were either very full and plain (Mother Hubbard style) or slender fitting with a great deal of embellishment (fashion holoku).

However, from the 1920s to the 1930s, there were dramatic changes in the fashion holoku. Using the princess line and bias cuts (and zippers by 1933) the holoku became very fitted, and often eliminated yokes. Necklines were lowered, trains became quite long (up to six feet) and sleeves were shortened or eliminated altogether.

  • Ruffles, especially those resembling a lei, were dominant.
  • From the mid 1930s through the 1950s, the design of the fashion holoku continued to be fitted, with a long train.
  • The use of very bold Hawaiian prints became common, in response to the importance of tourism and the Hawaiian garment industry.
  • Fabric used in the holoku became more sedate after the 1960s and prints have become uncommon.

Typically, laces, satins, velvets, silks and other formal dress fabrics are used, and the holoku has continually become more fitted while trains have reduced to a negligible size. At present, the fashion holoku continues to be fitted to the body, with design details closely following Western fashion.

Trains vary in length, depending on the formality of the occasion. While the fashion holoku is dominant, the more traditional holoku continues to be worn, often by more traditional, mature women. As long as the holoku is associated with Hawaiian tradition, it will continue to be worn as a symbol of the wearer’s commitment to Hawaiian culture.

REFERENCES CITED Bird, I.A. (1882). Six Months in the Sandwich Islands. New York. Putnam. Development of the Holoku. (1950). Paradise of the Pacific,12-13. Fundaburke, E. (1965). The Garment Manufacturing Industry of Hawaii. Economic Research Center, Honolulu, HI.

Furer, G. (1983). Designs of Hawaiian wear. ACPTC COMBINED PROCEEDINGS,13-20, Holoku – its origin and evolution. (1907). Picturesque Honolulu,44-45. Hussey, W.K. (1940, June 9). Holoku: Hawaii’s glamour gown. Honolulu Advertiser, Magazine Section.1. Thurston, L.G. (1842). The Missionary’s Daughter or Memoirs of Lucy Goodale Thurston of the Sandwich Islands,

New York. Dayton & Newman. Thurston, L.G. (1882). Life and times of Mrs. Lucy G. Thurston, Ann Arbor. Wills, F.H. (1913, May). The story of the holoku. Mid Pacific Magazine,465-467. Go Back Go Back Home

What does Alana mean in Hawaii?

Aleana. Alana is also a unisex given name in the Hawaiian community meaning fair, beautiful, offering, ‘harmony’. In Aramaic, Alanna means ‘high’, ‘elevated’ or ‘exalted’.

What does Leia mean in Hawaiian?

Name Variations – There are a few different variations and spellings of the name Leia:

  • Lea (Croatian, Czech, Danish, Dutch, Estonian, Finnish, French, German)
  • Leah (Hebrew, English)
  • Leja (Lithuanian)
  • Lia (Latin, Galician, Greek, Italian)
  • Lya (French)

What does Kalai mean in Hawaiian?

An error occurred. – Try watching this video on, or enable JavaScript if it is disabled in your browser. —To carve, cut, hew, engrave, hoe; to divide, as land; to shape a canoe or (fig.) an enterprise or intellectual policy; to plan, formulate, budget.

What is Noa Hawaiian?

noa 1. nvs. Freed of taboo, released from restrictions, profane; freedom. Lā noa, weekday. He aliʻi noa au loa, a chief who frees from taboo for a long time. hoʻo. noa To cause to cease, as a taboo; to free from taboo; to repeal, revoke; to adjourn, as a meeting; to prostitute, as one’s daughter (Oihk.19.29).

What does hue mean in Hawaiian?

Hue (hu’e), v.1. To cause to flow out; to unload, as a ship.

What is Maui blue?

750ml Bottle – Maui Sazerac Company, Inc. Maui, Hawaii United States Description Maui Blue Hawaiian Flavored Schnapps Liqueur makes a delicious mixed drink when you add orange juice and peach schnapps. It has bottled at 15% alcohol by volume. Experience a shot of Maui Blue Hawaiian Schnapps or try it in a cocktail recipe. Enjoy!

What does Kaiona mean in Hawaiian?

Kainoa is a Hawaiian name, and it means ‘ Father’s Namesake ‘ or ‘Junior’.