The Life
AS ART
A traditional lei and ‘ūli‘ūli, a feather-decorated rattle used by hula dancers, made by Laura Marable. Photo by Noel Morata
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and pheasant feathers are also utilized for natural colored and patterned feathers. One of the most respected experts of feather work on Hawai‘i island is Aunty Doreen Henderson, who founded the Lei Hulu Halau of Hilo (lei school). This halau has a genealogy that includes Aunty Mary Lou Kekuewa and Paulette Kahalepuna, better known as the “Feather Ladies of Kapahulu,” the main proponents of perpetuating this art in Hawai‘i. “I have taught at the community center for over five years and in other places for over 30 A re-enacted battle scene at Pu‘ukoholā years, and I Heiau, including a helmet and kāhili in want to share feather work – Photo by Noel Morata this knowledge with everyone that is interested in learning,” says Aunty Doreen. She currently offers free classes to seniors over 55 at the Kea’au Community Center every Wednesday morning, and they are filled with many new students and graduates of her credentialed
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arly Hawaiians believed that birds had symbolic spiritual power and their feathers carried magical properties, including keen eyesight, endurance and speed. These qualities would add to the value of garments utilizing feathers, which were created specifically for chiefly rank and status. When the early Polynesian settlers came to Hawai‘i, they brought with them the knowledge and craft of feather work. Widely recognized throughout the Pacific as masters of the craft, Hawaiians produced the most advanced feather work. Exquisite feather capes, helmets, feather lei and other garments were used primarily by the ali’i (the chiefs and nobility) of ancient times. The ahu’ula—Hawaiian feather capes—became a sacred symbol of power to the ali’i. Large feathers were also used for royal standards or kāhili, a tall, feather-topped staff used by the ali’i to symbolize status, royalty and lineage. A great majority of the feathers were collected from endemic birds such as the Hawaiian honeycreepers found throughout the Islands. Collecting feathers was left to experienced feather gatherers called po’e hahai manu. The process of collecting was quite elaborate and time-consuming—it could last decades and even generations. These collectors spent long months in forest habitats, catching their elusive prey with fiber nets and nooses. Breadfruit tree sap was glued to various tree limbs that the most desirable birds were known to frequent. Only a few treasured feathers could be gathered from the wings, neck and tail of the gold yellow mamo bird and the pale yellow ‘ō’ō bird. The ‘i’iwi and ‘apapane honeycreepers were sought for their red feathers, and because they were more plentiful at the time, they were usually killed and eaten. All these prized birds, once abundant in Hawai‘i, are now more uncommon. While the scarlet ‘apapane is not endangered, it is a protected species with only 3,000 left in secluded areas of Hawai’i. The crimson-colored ‘i’iwi is considered a vulnerable species. Both the ō’ō and mamo are now extinct.
Creating the garments and other adornments required thousands of feathers. One cape alone used more than 60,000 feathers. An intricate mesh backing was made and the feathers adhered to this mesh with natural olona fibers. Striking designs of geometric patterns were created utilizing mostly the yellow and red feathers, which were symbolic of nobility and royalty. The designs were carefully considered and chosen to convey symbols of the garment wearer’s lineage or clan, as well as his ‘aumakua or spiritual connections to the universe. Today, artisans are continuing to practice Hawaiian-style feather craft. Goose feathers are dyed to resemble the colors of the original native birds, and gathering feathers is easily accomplished by purchasing them at a variety of online sites that specialize in selling feathers from every type of bird imaginable. The common goose feather can be dyed into the popular red and yellow colors symbolic of Hawaiian ali’i. Turkey