Kūlua

Hana Hawaiʻi require practitioners to have a foot in two worlds. ʻIke (knowledge and experience) from the past—from kūpuna and kumu—is brought to life in the present as we use similar techniques and processes to create new works. Those become our contribution to the collective ʻike, helping to ensure its continuity into the future. In the case of kapa making (a revival that has been going on since Mālia Solomon's work in the 60s at Ulu Mau), the works that kūpuna left behind are some of our best teachers. Attempting to recreate them gives us training in the techniques they used, thus helping us refine our skills and deepen our understanding of the geometric aesthetic of our forebearers.

The piece of kapa that Kūlua was patterned after was collected either by Cook during his visits to the pae ʻāina, or possibly by Vancouver who came just after him. It went into the collections of the Victoria & Albert Museum in 1860 or 1861 and made its way to the British Museum some time after that. While the provenance of this piece is not entirely clear, it's very similar (if not identical) to swatches found in some of the Shaw books (there are at least 66 and they are all slightly different). These notorious trophy collections of cloth contain swatches from various kapa said to come from the voyages of Cook that were dismembered, affixed to pages, and bound in large volumes.

We don't know who made this kapa or even what island it was collected from, but Cook's journals do mention them acquiring cloth on Kauaʻi. William Ellis, another person present on that trip left behind a journal. Although he did not know or record the name of the tool, he observed Hawaiians working with lapa, or lining tools made of bamboo and wood, just like the person who made the original shown above.

Lapa (which were all sorts of lengths and widths) were a huge part of pre-contact design aesthetic and the pieces collected during those early voyages have stunningly complex, elegant, and advanced designs made using lapa. You can read our full spread on lapa and see some of the most exceptional kūpuna works here. We mahalo the British Museum for providing excellent digital access to their collections and for hosting practitioners in collections to reconnect with the mea kūpuna (ancestral creations) they hold. Focused and extended time in collections is the only way modern makers can really begin to unravel the mysteries of how these works were created.

Lapa was used to create Kūlua, along with modern brushes. These were the last steps in a process that takes upwards of a year and a half. Keep scrolling to see photographs of this process.

A gorgeous green canopy formed by wauke nui trees, a robust Hawaiian variety of wauke. Cultivating this kinolau of Maikohā and Kihalaupoe creates a relationship to these ʻaumākua, to the ʻāina, and to the akua and elementals that nourish the growth of each tree.

Hoʻokipa, Hāmākua Poko, Maui. The kai of Kanaloa was collected here and the wauke used for Kūlua was soaked in it for 10 days. Seawater whitens and purifies the bast. 

Haumea is one of the akua wahine with fascinating connections to wauke and the art of kapa making. She is also the weaver of webs and nets. When soaking wauke in seawater, she often shows up to commune with Kanaloa.

ʻĪao valley, Wailuku river, Maui. The wauke for this piece was rinsed in this beautiful, clean wai a Kāne. It flows year round from the poli of Mauna ʻEʻeka and Puʻu Kukui, connecting mountain to sea, providing sanctuary for so many life forms, including kanaka.

Kaulaʻi i ka lā nui a Kāne. Wauke nui hanging in the sun to dry. Leaf scars can be seen at regular intervals, reflecting their whorled placement on the kumu. These are not to be confused with scars or openings left ke ʻōʻū ʻole ʻia nā maka (when branch buds are not picked off). Lau (leaves) are left in place, as they feed the kumu (tree), but maka (branch buds) are picked off to ensure straight, tall growth. Lauhuki is the ʻaumakua petitioned during care, harvesting, processing, and pounding.

Softening the wauke for Kūlua with a hohoa on the kua pōhaku. A huge mahalo to Nalu Andrade of @namakakahiko who grew the wauke nui used for this piece. This is a small upper section of a massive, two and a half year old tree that was pounded fresh into a single layer kapa.

Fresh beaten kapa before decorating.

Applying wai ʻeleʻele (black ink) made from paʻu kukui (kukui soot) and pīlali koa (koa sap) with single and double tine lapa (bamboo liner tools) and a guide ruler. Laʻahana is petitioned to guide ones hands to be noʻeau (skillful) and mikioi (neat and deft) when working with traditional tools to hoʻonoʻenoʻe (decorate).

Black and white stage before applying ʻalaea red pigment.

ʻAlaea from Hāmākua poko being prepared for pigment. Two concentrations of ʻalaea were used for Kūlua. This kinolau of Haumea brings warmth, grounding and beauty.

Painting ʻalaea on in two different concentrations.

Kūlua, a modern version of a design from ke au kahiko. *Mahalo to Kelli Cruz for the closeup captures.