Sometimes it just is not practical to bring our fresh lei from home, but we don’t always want to use our permanant lei or lei made from artificial materials. Well, the lei maker is adaptable and uses what is at hand!
At a performance in Japan, a lovely bouquet of roses was given to Kumu Leilehua Yuen. She would be out and about so much, and pretty much only sleeping when she returned to the hotel, to she crafted wewehi of the roses so that she could wear and enjoy them each day. The ribbon was from a package of biscuits she and Manu and been given by the host hālau.
Most recently, nā Kumu Leilehua and Kimo Pihana were invited to Wenchang, Hainan, China, to share cultural perspectives on the International Lunar Observatory and Lunar development.
Kumu Leilehua decided to make her lei from the materials at hand on the hotel grounds. The gracious management and staff of the hotel were concerned that they had no one on hand who knew how to make lei for her, but once they learned she would be crafting it herself, they told her to enjoy the grounds and harvest whatever she liked.
A little section of the grounds of our hotel in Wenchang. We were there in early December. In September a typhoon had ravaged the island. It was amazing how hard the people worked and beautifully cleaned up their communities. Foliage gathered from the grounds at the hotel.Using paper bag to twist into kaula to haku the lei.Lei made from foliage gathered at the Wyndham Grand Wenchang.Chanting in WenchangUncle Kimo Pihana shares at the Galaxy Forum.
There are many names for this lovely sweet-scented lei blossom which originated in the Americas. It is native to the neotropical realm, including Mexico, Central America, Brazil, the Carribbean, and Florida. During the 15th Century Spanish colonists spread them through south-east Asia. In the 19th Century they were introduced to Polynesia, including Hawaiʻi. They are now found throughout the tropic zone, including desert areas where they do well with irrigation.
Called Singapore Plumeria in Hawaiʻi, this variety is noted for retaining its leaves throughout the year. It is valued primarily for its fragrance and as a landscape tree, as the flowers bruise and wilt more quickly than other varieties.
Hardy and easy to grow as long as they have both plenty of water and good drainage, in Hawaiʻi, the trees formerly were commonly planted in graveyards for their beauty, fragrance, and shade. This lead to many Hawaiʻi people not wanting to wear them due to association with death, and their nickname, “make-man flower” [MAH-kay man], “dead man’s flower.” Other families, however, do not have that association for them, and so they are a popular flower for lei and wewehi.
For many people who grew up in the islands prior to the 1990s, the fragrance of the plumeria wafting into the plane after a long flight from America or Asia immediately gave a sense of being home.
Plumeria, today, is a favored lei flower because of its relatively low cost and its durability. The plumeria can be picked up to three days before use, if kept in a cool location. Due to the open throat they are easy to sew into garlands, and due to the length of the throat they also can be wrapped into lei wili and other styles.
Yellow Pua Melia being bound into a kūpeʻe in the wiliwili style. The yellow is one of the more hardy blooms.A woman watches the setup for the Hilo Lei Day Festival, held each May 1 in Kalākaua Park in Hilo, Hawaiʻi. Her lovely pāpale lau hala is adorned with a lei pua melia in the kui style.
The first Hilo Lei Day Festival was held on 1 May 2005 at the Wailoa Art Center. We invite you to join us for our big celebration in 2025!
The Hilo Lei Day Festival is celebrated on 1 May at Kalākaua Park in downtown Hilo, Hawaiʻi. Kalākaua Park was Hilo’s original town square.
The mission of the Hilo Lei Day Festival is to preserve and perpetuate the traditional Hawaiian terminology, culture, craftsmanship, and ecology of the lei. One way to support our work is to download a copy of Hua ʻŌlelo Lei: A Lei Maker’s Dictionary.
Though we had to skip the festival one year due to covid, we did continue our educational programs on-line.
The Hilo Lei Day Festival is free and open to the public. Always on 1 May, it moves across the week, providing opportunity for people to attend at least every few years, no matter what their schedule. It’s a great event for home schoolers, alternative schools, families, keiki, makua, and kūpuna.
For information on participating in the Hilo Lei Day Festival 2025 – 20 Years of Lei, please write us at info@leiday.org. If you would like for your school or group to participate, please let us know! We provide educational programs for groups and individuals who are interested in participating.
What’s in a name? Well, in Hawaiian culture a LOT! Names are evocative of the history, heritage, and cultural place in which the named thing exists. This is especially important in lei materials. The kaona, the veiled meaning hidden in the name, is as important in crafting a lei as is the appearance of the material.
The popular lei material (and ornamental garden plant) Tillandsia usenoides, was introduced to Hawaii in the 19th Century. Its Hawaiian name, umiʻ umi-o-Dole [OOH-mee OOH-mee oh DOH-leh] (Dole’s Beard), came from its resemblance to the beard of Sanford B. Dole, a well-known politician of the day.
Sanford Ballard Dole (1844–1926) was a lawyer and jurist in the Hawaiian Islands. He was involved in the overthrow of the Hawaiian Monarchy, led the occupying government from 1893 to 1903, and then became a US federal judge. Image Wikipedia
ʻDue to the ease with which it can be grown, crafted into lei, and its beautiful silver-grey sheen, umiʻ umi-o-Dole soon became a popular material for lei making. This same silvery grey color was sought when hinahina-kū-kahakai, the native beach heliotrope, became more difficult to access due to shoreline development. Thus ʻ umiʻ umi-o-Dole came into use as a substitute. Real hinahina is a heliotrope, not a bromiliad.
Of course, any time something is popular, there will be those who capitalize on it. In the late 20th and early 21st centuries some people began calling ʻ Umiʻ umi-o-Dole “Pele’s hair” in order to sell more. Some even went so far as to claim that it is a Hawaiian plant and a traditional offering to Pele. It is not. Pele’s hair is the spun volcanic glass threads from our volcanoes. The American bromeliad has become a traditional material for lei making, but it is not a traditional Hawaiian plant.
Just as we Hawaiians wish for our inoa to be treated with respect, it is important that we do the same for the names from other cultures. Itla-okla is one of names used by the indigenous people where Tillandsia usneoides is endemic. I suggest that we start using this as the common name.
ʻ Umiʻ umi-o-Dole, while a traditional Hawaiian name for this plant, hearkens to the name of a person who helped overthrow our Hawaiian government.
“Spanish moss” is innaccurate, the bromiliad is neither Spanish nor a moss, and has its heritage in a derogatory name the French gave to the Spanish.
“Hinahina” is confusing as it refers to several endemic plants.
“Pele’s hair” is a misnomer and applied to this introduced plant is disrespectful to Hawaiian culture.
“Itla-Okla” reminds us of the heritage of this plant which is culturally important to the indigenous peoples of its home range. For them it provided padding, weaving materials, medicine, and other uses. There is a Cajun legend of this plant.
In 1842, at the direction of King Kamehameha III, Timothy Ha‘alilio, Private Secretary to the King, designed a coat of arms for the Kingdom of Hawaiʻ i. The Royal Advisor, the Rev. William Richards, then commissioned the College of Arms in London to prepare a design which would be in alignment with the practices of European nobility. In 1845, it was adopted by the Legislative Assembly.
A MaryAnn Hylton Casting of the ʻ Iolani Palace Coat of Arms
Beginning at the piko, the center, according to The Polynesian, a “triangular flag at the fess point, was an ancient flag of the Hawaiian chiefs which was raised at sea, above the sail of their canoes, and the sail at that time being of a peculiar construction, it presented a very beautiful appearance.”
Expanding out, the quartered shield has in its 1st and 4th quarters red, white and blue stripes which represent the eight inhabited Hawaiian Islands.
The 2nd and 3rd quarters each have a white pulo‘ulo‘u on a yellow ground. In ancient times, according to The Polynesian, these were placed in a leaning position, across two spears in front of the home of an aliʻ i, to indicate kapu status and to demark protected spaces, “or a place of refuge, to which persons might flee from danger and be safe.”The name of the flag was Puela and name of the cross on which it lies Alia. Both the balls and the flag had on some occasions a religious signification, but their appropriateness to a coat of arms results from the above characteristics.”
Atop the shield, which is protected by an elaborate border, rests the crown of the Kingdom of Hawaiʻ i. Flanking the shield are the two royal twins, Kamanawa and Kame‘eiamoku. They are “clad in the ancient feather cloak and helmet of the Islands, the one bearing a kahili (Kame‘eiamoku on the right) and the other a spear (Kamanawa on the left) as in the processions of former times.”
The twins were Chiefs from the Kohala and North Kona districts of Hawaiʻ i. They were uncles of Kamehameha Paiʻ ea, and his counselors his wars to conquer the other islands.
The drawings for these insignia and cultural objects were taken from the original items presented by Aliʻ i Kalaniʻ ōpuʻ u in 1778 to Captain James Cook.
The motto reads: “Ua mau ke ea o ka ʻ āina i ka pono” – “The life of the land is perpetuated in righteousness”.
According to the Polynesian, the motto “refers to the speech of the King at the time of cession, February 25, 1843. ‘I have given away the life of the land. I have hope that the life of the land will be restored when my conduct is justified.’”
“It very naturally alludes to the righteousness of the British government, in returning the Island to their legal sovereign, to the righteousness of the Hawaiian which secured the restoration, and to the general principle, that it is only by righteousness that national existence is preserved.”
The design was modified slightly during the reign of King Kalākaua.
Herb Kawainui Kane’s deep love of the Hawaiian culture brought him in contact with many historians and kupuna to recreate the story of Hawaiian life. In a meeting at the Bishop Estate, Mr. Kane was asked to make a sculpture of the Hawaiian Kingdom Coat of Arms.Herb Kane took an impression of the Royal Coat of Arms, originally designed by native Hawaiian Timothy Haalili and later cast in Italy.
From that impression, Mr. Kane created the mold that depicts the superb detail of the original design.
Herb later licensed the rights to this mold to MaryAnn Hylton who offered the bas-relief in antiqued true bronze and antiqued pewter. These rich finishes allow all of the unique details and texture of the original sculpture to be revealed.
Only three of these pieces made by MaryAnn Hylton under license by Herb Kane remain available for sale.
They are in the white raw-stone form, but can be finished in hand-rubbed atomized bronze or pewter, each piece hand-made and finished to the highest standards of materials and workmanship, as befitting its historical value, if the purchaser wishes. Any additional finish would be a separate cost paid to the artisan doing the work.
These three works of art are being sold as a fundraiser for the Friends of Kalākaua Park to help with the on-going restoration.
If you cherish Hawai‘i’s colorful heritage and wish to own a true treasure from Hawaii’s history, perhaps curating one of these unique pieces is for you.
Contact info(at)LeiDay(dot)org to make an appointment to view them.
Composition
The coat of arms is hand-poured of cast stone, a natural mineral product.
The remaining three pieces are unfinished. Finished, approximately six layers of finish, including true atomized bronze, are hand-applied and burnished. Adding finish would be a separate cost paid to the artisan doing the work.
20” x 24” x apx 2” relief
Hand-poured from cast stone
Hand-finished with antiqued true bronze
Weatherproof in temperate climates
$1,500 plus shipping, unfinished
100% of this price is donated to Friends of Kalākaua Park for their ongoing preservation work. Kalākaua Park hosts the annual Hilo Lei Day Festival.
Contact info(at)LeiDay(dot)org to make an appointment to view them.
While in this new paradigm we have to be mindful that things can change at the last minute, we are looking forward to participating in the following events through this year and the next.
September 10, Saturday, 10am – 3pm: He Hali’a Aloha no Liliʻuokalani, Liliʻuokalani Gardens
November: He Inoa no Kalākaua, Kalākaua Park
May 1: Hilo Lei Day Festival, Kalākaua Park
June: Kamehameha Day, Piʻ opiʻ o
July: Hilo Orchid Festival, Edith Kanakaʻole Stadium
In addition to the events, we participate in workdays to support the venues above, and we hold a variety of workshops, classes, and training sessions throughout the year.
We are looking forward to seeing you and getting to know you better as we learn and share Hawaiian culture and arts!
Bobby Jean Leithead-Todd harvested kūkapaila materials for the Hilo Lei Day Festival booth, and demonstrated and taught lei-making all three days. She also had her gorgeous collection of pāpale and lei there, as well as a portion of her library, for people to see. Friends and ʻohana also brought materials throughout the three-day event.
Marcia Timboy and Ola Jenkins, our other Hilo Lei Day Festival stalwarts were there throughout the weekend demonstrating and teaching.
With so much of our land now developed, it is important that we plant with pollinators in mind. Here in Hawaiʻ i, we need to be even more mindful. Many popular pollinator plants are invasive and will move into native habitat and push out out endemic species, so please be mindful when selecting your plants.
There are many beautiful native plants that thrive in home gardens and landscaping. Native pollinators already are adapted to them, and with a little planning, you can select plants that benefit our local bee industry, as well as the native insects. While it is true that few of the native fauna remain in human-populated areas, if we do not plant with them in mind, those few will become none.
Remember, native plants are essential for a healthy ecosystem!
