
Spirits of Darkness primeval,
Spirits of Light,
To Kane, the eternal,
To Kanaloa, the eternal,
To Hoomeha, the eternal,
To all my ancestors from eternity,
To Ku-huluhulumanu, the eternal,
That you may banish the darkness,
that we may enter the light.
To me, give divine power,
Give intelligence,
Give great success.
Climb to the wooded mountains,
to the mountain ridges,
Gather all the birds,
Bring them to my gum
to be held fast.
Amen Ua Noa (the kapu is lifted, the way is open).
Emerson, Bird-hunters of Ancient Hawaii, 1895
It all started with a name; an elusive, mysterious, auspicious, magical name, one sufficient
to provide all the incentive necessary to solve the mystery surrounding my Hawaiian great great
great great grandfather. For most of my life, it languished on a nineteenth century deed
supposedly connected to our mother’s native ancestors. But when I discovered that it was one of
the most powerful names in Hawaiian mythology, everything changed, and solving the mystery of
Kanehoalani became an obsession.
Sadly, during my mother’s lifetime, we children neglected her family history, in no small part
because there was so little available. Just two names on a deed, and a cryptic reference to a
family homestead in Kama’e’e, a tiny ahupuaa of which no one had heard on the Hamakua coast,
between Ninole and Hakalau, on the island of Hawaii. Her Caucasian ancestors had come ashore
and closed the door on their former families and homelands. Consequently, our mother was not
always a source of reliable information. For example, her statement about her Grandfather
Wessel’s Germanic origins was incorrect. She said we could be part French, because the Wessels
were originally from Alsace-Lorraine. They weren’t; they were from Schleswig-Holstein, which
explained the ten percent Scandinavian (and no French) that turned up when I did a DNA test
recently. In the age of the internet and DNA tests, the truth will out. A computer search found
a biography for our Wessel great grandfather, who had sailed from Hamburg in 1852 on the
Deutschland to escape Kaiser Wilhelm, and settled near Davenport, Iowa, at Belle Plaine, where
he became a farmer, and later, a canning factory manager.
For a long time I assumed there were no comparable source or sources of information
regarding our mother’s Hawaiian ancestors. I was wrong.
One day while searching my Hawaiian dictionary, something or someone directed me to the
Glossary of Hawaiian Gods, where I found Kanehoalani described as the “ruler of the heavens”.
The Hawaiian Zeus. Out of the blue. I was transfixed. My great- great- great -great
grandfather, the ruler of the heavens? Why, how such an auspicious name? So I asked my native
ancestors, out loud, and over the next few months and years, bit by bit, the answer
materialized.
It was shortly thereafter that I had my first encounter with the current ruler of the
Hawaiian heavens, in the form of a native hawk (b. solitarius). I had been hiking in the wild
eastern valleys for thirty years or more, and had seen the shorebirds, but on this day
I heard a compelling, high-pitched call, and directly overhead was the hawk, great wings
extended, motionless on the wind. I was utterly awestruck, enthralled. It was not just a bird.
It was by far far the largest winged creature I had ever seen in the Hawaiian sky, and its
sudden appearance lent an unavoidable element of mystery to it. I had gooseflesh on my head,
neck, shoulders and arms. A signal? Absolutely. Hawaiians have a word to describe just this
event. They call it ho’ailona, a strong signal or omen. I left the shorebirds and began to
follow the majestic hawk. It was as if by following this ancient, solitary native, I had found
a way to connect more deeply with my own forebears. The call of that unique, royal native was
resonating in my genes. Although in that moment I was not fully aware of it, the hawk would
lead me home.
Thereafter, there were daily encounters. I upgraded my camera equipment, in order to
have a record of the encounters, and soon there was a growing collection of images that evolved
into a book and a slide collection.
Ornithology had not been part of my previous educational curriculum. It was now. I began
to distinguish the larger, broad-winged natives from the occasional peregrine, with the
pointed, swept-back wings and black mustache. The native owls were easily identified by their
much larger heads, and their lower, slower flight paths. The silent, stealthy owls listened as
they flew, the hawks and peregrines were all very sharp-eyed motion detectors.
Family members assisted. My sister wrote an insightful story about Kanehoalani’s
granddaughter, our great great grandmother, Rebecca Ioela, and her ancestral home at Kama’e’e.
The steamer stop on the coast nearest Kama’e’e was called Pohakumanu (bird rock). From there it
was a steep climb up the flanks of Mauna Kea to the family compound. Our ahupuaa was located
next door to Hakalau, which translates as “many perches”, a place where birds congregated.
There was one more piece to the family puzzle. Before she died, our mother
collected copies of Six Months in the Sandwich Islands, by Isabella Bird, to give to each of
her four children. “Your great great grandmother is in this book”, she said, “A young native
whom the Austins selected to guide Miss Bird on the Hamakua coast”.
“ I shall never again see anything as beautiful as this fringe of the impassable
timber belt. I enjoyed it more than anything I had yet seen; it was intoxicating,
my eyes were “satisfied with seeing.” It was a dream, a rapture, this maze of
form and color, this entangled luxuriance, this bewildering beauty, through which
we caught bright glimpses of a heavenly sky above, while far away, below
glade and lawn, shimmered in surpassing loveliness the cool blue of the Pacific.
Here in cool, dreamy, sunny Onomea, there are no stabbing mosquitos as at
Honolulu to remind me of what I forget sometimes, that I am not in Eden.”
( Isabella Bird, The Hawaiian Archipelago, Picador, p. 113)
Isabella Bird arrived in the tiny town of Hilo on the windward coast of the island of
Hawaii in the winter of 1873. An Edinburgh Scot traveling for her health, she was soon
introduced to the Austins and their sugar plantation at Onomea, just north of Hilo on the
Hamakua coast. Stafford Austin had come from a line of New York lawyers and judges, while his
wife, Caroline Clark Austin, had been born in the islands, the daughter of an American
missionary.
Bird and the Austins became good friends and the Onomea plantation became her base
of operations while she explored the island of Hawaii, and wrote the letters which later became
a book, the popular title of which is Six Months in the Sandwich Islands.
Had serious thought been given to the idea of Rebecca Ioela and isabella Bird taking
horses along the Hamakua coast from Onomea to Waipio valley and back in January, the trip
would have been vetoed. The Austins allowed the two to go because it was understood that
Rebecca’s uncle would accompany them. Uncle’s horse had broken down. He could not
go. Rebecca’s unpredictable, unruly sixteen year old male cousin went instead.
November marks the start of the rainy season on the windward coasts of the Hawaiian
Islands. The northeast trades push the heavily laden clouds shoreward from far out to sea.
Trapped against Mauna Kea, the clouds dump winter rain in ceaseless torrents.
Between Hilo and Waipio Valley, sixty miles north, the rain has cut gorges, gulches
and a few larger valleys from the lower slopes of Mauna Kea. Rivers run through each.
In summer the volume of water recedes, making for easy crossing. In winter, the rivers
often flood, making crossing at times impossible. In 1873, there were no bridges.
Rebecca had two reasons for this trip, the first to act as guide, the second, to
stop at her grandfather’s compound at Kama’e’e, where her family had made a wedding
present for her. That stop would be made on the way back from Waipio.
Toward the end of the second day on horseback the rains came. It would be many days
before it stopped. Rivers would flood, putting lives at risk.
********************************************
…the roar was deafening, the sight terrific. Where there were two
shallow streams a week ago…there was now one spinning, rushing
chafing foaming river, twice as wide as the Clyde at Glasgow…
And most fearful to look upon, the ocean, in three huge breakers,
had come quite in, and its mountains of white surge looked fearfully
near the only possible crossing…Ibid. p. 148
Between the deluge and the deep dark sea, on horseback, returning to Onomea,
the summer streams all now, by January, at flood stage, to cross or not to cross became
a decision with potentially fatal consequences. Bird, older and more conservative, was
less willing to risk death. Rebecca, much younger, on a stronger horse, and anxious
to get home to her husband, was inclined to take greater chances, and she plunged ahead,
yelling spur, spur, and aim horses’ head upstream.
They stopped at Kama’e’e for the wedding present. Miss Bird described riding an extra
mile mauka while on their way home, in order to visit her guide’s grandparents, and to
receive a gift, a lei of bird feathers which Rebecca’s grandfather and granduncle had
made on the occasion of her recent marriage to Benjamin Macy of Nantucket. Bird described
the lei as “a very beautiful as well as costly ornament, for which I am sure 300 birds must
have been sacrificed”.
The birds had finally brought me home. The intrepid Isabella Bird was speaking of
our ancestors, Kanehoalani and Manuhoa, and from her description it was clear that they were
bird collectors and feather workers. What more auspicious names to give male children of
generations of Hawaiian bird collectors than Manuhoa and Kanehoalani? Friend of birds
and ruler of the heavens indeed.
My questions had been answered. Our maternal native ancestry had been clarified in a
most unlikely way. Our family owes a debt of gratitude to Miss Bird that can never be repaid.
Yet there she was, in the native cook house of the family Kanehoalani, waiting for the chicken
to cook in the imu, with her guide, a bilingual member of the family. They had traveled a
mile from the main road back to a period hundreds of years earlier, to an ancient time of bird
collectors, cape makers and kings. If only she had thought to ask questions? Were 300 birds
sacrificed in order to complete the feather wedding lei? The birds, what of the birds? Mamo?
Elepaio? Apapane? I’iwi? The heavily tattooed native women who were present in the cook
house where it was warm and relatively dry, thanks to its thatched roof of pili grass; what of
those women? What did the tattoos signify, if anything, beyond adornment? She could have
learned so much more had she only thought to inquire. But it was cold and wet on the windward
coast, and she had been on horseback for nine days, narrowly escaping death while fording
flooded streams with our great great grandmother. After all that, Bird must have been more
than ready to return to a hot bath and a dry, warm bed at the Austins. But the worst
crossings were yet to come. Miss Bird later attributed her survival to the Mexican saddle she
utilized. Had she used an English saddle, she would have been swept away and drowned.
Fortunately for all of us, that did not happen.
One can only hope that the feather lei survived the remainder of that wild trip. By
1870, the bird which provided those feathers had been hunted to near extinction. Further,
the two remaining men of my mother’s native family who had the expertise to capture the
last few birds and fashion the lei had grown older, and could no longer perform the arduous
collection work. There was no one left in the family to carry on the ancient craft of cape and
feather lei making. Barely in time, Bird had arrived to witness and document the end of the
age of bird collection and feather work at Kama’e’e.
Today, in the deep forest above Hakalau, the brilliantly colored palila, ‘apapane and
‘elepaio that remain from the time of Manuhoa and Kanehoalani enjoy protected status. One
hopes for their continued survival and proliferation. As one of the curators from the British
Museum recently observed, the Hawaiians of old lacked the mineral resources necessary to create
jewelry fit for monarchs. What they had instead were the endemic forest birds with their
dazzling feathers, and so my native forefathers collected them in order to acquire the
materials needed to craft the breathtakingly beautiful capes, leis and helmets worn by the
kings and queens of Hawaii.
During her lifetime, my mother was, sadly, unaware of the calling of her cape making
native ancestors, the literary efforts of Isabella Bird notwithstanding. I regret that my own
search for those forebears was not completed before her death. Perhaps there could be a
degree of consolation in the fact that, seven generations later, one of my grandsons carries
the Manuhoa name, and through the inspired work of Ms. Bird, Rebecca Ioela and my mother, the
auspicious history of that name, and that of Kanehoalani and Mahulualani will now be more
widely known within our family, if nowhere else, and my grandson, if he is asked regarding
the origins of his name, will be able to explain that he is the namesake of one who was a
member of an ancient Hawaiian family of bird collectors and feather workers who lived and
worked on the windward flanks of Mauna Kea on the island of Hawaii, engaged in the unique
and exotic craft of creating feather cloaks and helmets for Hawaiian kings and queens. And
his explanation, as improbable and astonishing as it sounds, will be entirely true.
Ua noa: The kapu is lifted, the way is now open.


