Historically, the kani produced from this stage of beating was once used as a form of communication across the land to other hālau (villages). In William T. Brigham’s ‘Ka Hana Kapa' – he recounts notice of his arrival across Hawai‘i:

“I have found news of my coming had passed through the air long before I came in sight of a party of Kapa-makers, as I rode up a valley trail. I was assured that when everyone was making Kapa (usually during the forenoon) a message could be, and often was sent around an island by frequent relays.”

The God of Hawaiian Kapa: Maikohā

The story of the Hawaiian God of Kapa: Maikohā, portrays how the wauke and its intentions grew:

“As Maikohā lay dying, he gave this command to his daughters: “When I am dead take me to the edge of the stream and bury me there. A tree will grow from my grave whose outer bark will furnish kihei (shawl), pā‘ū (skirt), malo (loin cloth) and other benefits (pono) for you two”

His daughters obeyed his commands, and a tree did grow. That was the wauke, the paper mulberry. When the daughters saw it, they fetched it and worked it, beating the bark into cloth, skirts, and loin cloths. The sap flowed out, and wauke grew along the stream as far as the sea at Kīkīhale. That is how wauke spread in Hawai’i nei” (S.M.Kamakau. “Tales and Traditions of the People of Old|Nā Mo‘olelo a ka Po‘e Kahiko.”1991.p.14)

Lauhuki and La‘ahana: The daughters of Maikohā

Compared to other island nations who produce bark cloth, Hawaiian Kapa is uniquely defined by the various stages of beating, fermenting and watermarking. The daughters of Maikohā have a historic influence on how the wauke was processed to become Kapa. Lauhuki taught the art of beating the ‘ili wauke and her sister La‘ahana taught the process of watermarking and use of ‘ohe kāpala (Bamboo dye stamp) to decorate the Kapa. Through their teachings they have become ‘aumakua - ancestral craft gods.

Auckland Museum’s Pacific Collection currently holds over thirty three objects attributed to kapa. Like the flow of the wauke sap, there are many branches in producing kapa. This can be fibre sourcing, fibre preparation and fermentation, beating, decorative technique and most siginificantly: the fashioning of the maker or wearers intentions.

We would like to give thanks to the Hawaiian knowledge holders who generously shared their mana`o and sources surrounding the significance of kapa. Additionally, we would like to honour the ‘aumakua, who gifted kapa to Hawai‘i nei.

FURTHER READING:

• M.Beckwith, ‘Hawaiian Mythology’. U H Press. 1970.

• T.R.Hiroa, ‘Arts and Crafts of Hawaii’. Bishop Museum Press. 1957.

• S.M.Kamakau, ‘Tails and Traditions of the People of Old|Nā Mo‘olelo a ka Po‘e Kahiko’. Bishop Museum Press. 1991.

• S.Kooijman, ‘Tapa in Polynesia’. Bishop Museum Press. 1972.

• W.T.Brigham. “Ka Hana Kapa” Memoirs of the Bernice Pauahi Bishop Museum of Polynesian Ethnology and Natural History. 1911.

• Personal comms. Kumu Auli`i Mitchell and Kumu Keonilei Leali’ifano. 07.03.2018

GLOSSARY:

• Kua kuku (wooden anvil)

• Kua lā‘au (wooden anvil)

• Kua (spine)

• mo‘o mo‘o (beaten and fermented wauke baste)

• wauke (paper mulberry; broussonetia papyrifera)

• kihei (shawl)

• pā‘ū (skirt)

• malo (loin cloth)

• pono (benefits)

• ‘ohe kāpala (bamboo stamp)

• ‘ili wauke (raw baste)