Expert Review Group: Curators and Cultural Heritage Specialists specializing in Oceania/Hawaiian Material Culture.
Abstract:
This presentation, led by the curator for Oceanania at the British Museum, examines several critical examples of Hawaiian ancestral material culture (makau wa) showcased in the exhibition "Hawaiʻi: A Kingdom Crossing Oceans," and contextualizes their recreation for the Apple TV series "Chief of War." The analysis details the composition, function, and cultural significance of key artifacts, including the close-combat weapon pu le niho (constructed from wood, tiger shark teeth, and olona fiber), and different variations of barbed spears (ʻehē lā). Chiefly regalia are reviewed, focusing on the woven fan (featuring coconut fiber and ancestral hair cordage) and lei ornaments, specifically the non-lethally harvested ʻiʻiwi feather lei hulu and a rare shell-based lei niho palaoa analogue. The expert discussion covers the complex process and traditional techniques (lapa and ʻōkapala) used in manufacturing and decorating kapa (bark cloth). Finally, the provenance and design of a historically significant ʻahuʻula (feather cloak) associated with High Chief Kahikili and Captain Charles Clerke (1778) are confirmed, underscoring the deep historical connections between the artifacts and early European contact. Cultural practitioners, including a lua (martial arts) specialist and a Hawaiian language coach, provide insight into the authentic use and linguistic representation in the modern cinematic production.
Summary: Hawaiian Ancestral Treasures and Contemporary Interpretation
0:00 Introduction and Context: The segment introduces the series "Chief of War" as a modern context for reviewing ancestral Hawaiian treasures (makau wa), which were inspired by museum collections and recreated by contemporary Hawaiian practitioners.
1:27 The Pu Le Niho Weapon: This close-combat weapon, a name coined by lua specialist Umi Kai 25 years prior, is constructed from wood, features a hand hole (puka), and is edged with a strand (lei) of tiger shark teeth. The teeth are secured using olona fiber, an endemic Hawaiian fiber noted for its extreme strength.
3:45 Lua and Weapon Usage: Lua expert Umi Kai confirms the pu le niho is primarily intended for slashing (sideward or upward) in close quarters.
4:37 Distant Weapons (ʻEhē Spears): Spears were utilized for distance fighting. The ʻehē lā (barbed spear) is distinguished by alternating, fine barbs carved into hard, heavy wood, designed to break off within the opponent upon impact or manipulation. Standard ʻehē have no barbs, while ʻēkāle ʻehē are thinner and resemble javelins.
6:23 Chiefly Fan Regalia: A finely woven fan (made from plant or coconut fiber) is examined. Its intricately detailed handle incorporates cordage made of coconut fiber interwoven with hair from ancestors (the black portion). This object is featured in "Chief of War," used by the character Queen Kaʻahumanu.
7:12 Feather Ornaments (Lei Hulu): The lei hulu (feather lei), seen worn as a head ornament in the series, is made of bright scarlet, iridescent feathers from the ʻiʻiwi bird (an endangered upland forest species). Feathers were traditionally obtained via non-lethal plucking before the birds were released.
8:30 Chiefly Necklace (Lei Niho Palaoa): A variant of the lei niho palaoa is shown, substituting the traditional whale tooth (palaoa) with a very small shell. The strands are made of tiny shells and seeds, suggesting it was designed for a smaller neck, leading to its interpretation as a woman's ornament in the series. This artifact historically indicated the bearer's chiefly status and identity.
9:30 Linguistic Authenticity: Hina, a dialogue coach for the show, reports dedicating hundreds of hours to ensuring the actress playing Kaʻahumanu delivered her lines accurately in ʻōlelo Hawaiʻi (Hawaiian language), demonstrating a commitment to high-level language engagement in the production.
10:40Kapa (Bark Cloth) Material:Kapa is a fabric derived from the bast (inner bark) of the paper mulberry plant, which is stripped and beaten until it is thin, soft, and pliable—in contrast to rough bark—and was central to ancestral Hawaiian life.
12:32Kapa Decoration Methods: Traditional decoration employed lapa (bamboo lining tools used against a guide rule to create complex patterns) and ʻōkapala (carved bamboo stamps) using natural pigments such as ochres, carbon soot, and plant/fruit dyes.
15:03 High Chief’s Feather Cloak (ʻAhuʻula): A significant ʻahuʻula is displayed, associated with Aliʻi Nui (High Chief) Kahikili. The cloak incorporates red ʻiʻiwi feathers and precious yellow feathers non-lethally harvested from the ʻōʻō bird.
16:26 Historical Provenance of Cloak: The cloak features a unique circular pattern (pohai) and was confirmed to have been on display at the British Museum by 1803. It is historically linked to a gift exchange between Kahikili and Captain Charles Clerke (Captain Cook's colleague) in November 1778, likely intended to solidify political relations.
18:24 Exhibition Availability: The artifacts are currently exhibited together in "Hawaiʻi: A Kingdom Crossing Oceans," serving as a source of inspiration and connection to ancestral makers and future cultural practice.