Ka Wai Ola - Office of Hawaiian Affairs, Volume 24, Number 1, 1 January 2007 — Sacredness preserved [ARTICLE+ILLUSTRATION]

Sacredness

preserved

By Manu Buyd Public lnfnrmatinn Directnr Bishop Museum's premier showcase- Hawaiian Hall - may be temporarily out of commission for major renovations, but that hasn't stopped the 117-year-old memorial to Princess Pauahi from providing exciting, world-class offerings to kama'āina and malihini alike. Planetarium shows and the new Science Center engage all ages; the Castle Memorial Building has recently housed an unprecedented display of traditional feather work; and the Kāhili Room is home to regal feathered royal standards from small to very tall - paying homage to our 19th century nobility. In the Vestibule Gallery is the museum's latest feature, "Pa'a ka La'a" - a cross-cul-tural collection of indigenous, First Nation Peoples' artistic, cultural and spiritual expres-

sions defined as "animism and totemism." Pieces depict what is best related in Hawaiian terms as 'aumākua - the generational connectedness between man and the natural environment of flora, fauna and the elements. Represented are indigenous eultures of Hawai'i, North America and Europe. "Pa 'a ka La 'a" commemorates the 30th anniversary of Hale Nauā III - the Maoli arts organization founded by Rocky K. Iensen. His wife, Lueia Tarallo Iensen, and daughter, Natalie Mahina Iensen-Oomittuk, curated the show, and his son, Frank, is among the many participating artists. Longtime Hale Nauā III member Leialoha Kanahele is one of several acrylic artists featured, with paintings portraying the Ko'olau mountains. According to Lueia Iensen, Kanahele abandoned a lucrative career in art years ago to focus, instead,

on her own Hawaiian heritage through artistic expression. Moses Kealamakia presents Hawai'i Island acrylic landscapes, while Frank Iensen's ink drawings Pana'ewa and Mo'oinanea celebrate Hawaiian mythological mo'o (dragons) from the mo'olelo of Pele and Hi'iaka, and the cloud goddess Keaomelemele. Koa, kiawe and basalt works by Ierry Vasconcellas eomhine in an impressive corner display. David Kalama Ir.'s Kūnuiākea is a an oversized, two-dimensional pieee that illuminates the back wall of the vestibule. Natalie Iensen-Oomittuk's Pūpū o nā Kāhili features seven hand-kāhi-li of natural and dyed feathers . Two classical pieces subtly represent the gamut of existence: a towering ki'i akua of Kāne, the giver of life, and a petite yet profound image of Kālaipāhoa, the sorcery deity from Moloka'i. Another towering ki'i is of the

war god, Kū, whose powerful presence is subtly sheathed in a fabric veil. British Columbia's Lisa Telford's finely woven cedar bark hat and basket represent the Git'ans Git'anee Haida Tribe. Inupiats of Point Hope are represented with a sacred raven dance mask, and the Celtic Tribe of Clan Gordon, Ireland, is represented with an acrylie painting of a deer head by Thomas Weff. "Pa'a ka La'a" is interpreted by exhibit creators as "the sacredness whieh is set aside." It is an eclectic family of works of bone, wood, feather, acrylie, stone and more - eaeh an expression of the indigenous mind and spirit. For museum hours and adnūssion information, eall 847-3511, or visit www.bishopnuiseum.org.

NĀ HANANA - EVENTS

Clockwise from left: The GreatSpider by Harinani Orme; Bent-wood Wedding Box, ū David and Zoch Boxley collūborotion; KOnuiōkeo by David H. Kalama Jr.; and Oeean Soul by Jerry Vasconcellos. Photos: Courtesy of Bishop Museum