Bright green lavalava (wrap arounds) and puletasi (women’s attire) for Samoa. Photo by Polynesian Cultural Center.

The team behind the costumes 

Creating the costumes was a collaboration between a group of people. Allred said the role she played was drawing things because she’s not very familiar with traditional clothing.

“I’m Samoan but not familiar with other cultures. The way it happened was I sat down with Aunty Cathy, wardrobe supervisor of the Center, who has years of experience as a dancer and working in the wardrobe. We drew some stuff together then we showed it to our director, Ray Magalei, then he reached out to cultural specialists to get their input,” she said. 

Allred emphasized the importance of involving cultural specialists to respect traditions and avoid mistakes. “For instance, we had a cultural issue with the Tonga men’s belt. Apparently, having diamonds on men’s belts is a no-no because diamonds are more associated with women. So, now we’re making rectangles to fix that,” she explained.

The collaboration added a genuine touch while deepening the team’s appreciation of different cultural aspects. By paying close attention to cultural details in the costume design, the final product was crafted to be both respectful and true to the cultures portrayed in the show.

Finished Hawaiian costumes for Huki. Photo by Polynesian Cultural Center.

Overcoming challenges in the preparation 

Planning and preparing the Huki costumes required careful effort and attention to detail from the start. They aimed to distinguish this new show from the previous version of Huki but faced challenges in translating their overall vision into specific costume elements. Simplifying the show’s storyline took longer than expected, which led to the simultaneous development of a new track and the choreography of the dances. According to Allred, the extended planning phase caused costume considerations to be pushed to the last minute. Despite tight deadlines, the team impressively produced 300 individual costume pieces in just three weeks.  

Allred said that under normal conditions, they would typically produce 100-150 items per month. Regardless of the intense pressure, the team’s dedication to quality and performance ensured that all the costumes met the high standards expected by their audience. 

Elizza Keni, assistant seamstress supervisor from Australia, said, “You got to do what you got to do so the performers will look nice for the guests. The bottom line is the guests are paying so much money to come here and see a show, and they shouldn’t be looking at stuff that’s not good quality.

Some sketches of the costumes. Photo by Jesse Allred.

The rewarding experience of bringing Huki costumes to life 

Each costume embodies not just fabric and thread but also the tradition and history of the performers’ background. Keni said, “In the sewing room, you see all the pieces but when you go out there, it makes you proud. It’s all worth it. I want to yell out there and say, ‘I made that!’” 

Allred said, “It was cool when I saw some of the night show dancers model the costumes when I first went to the lagoon. It’s rewarding to see. I never grew up dancing, but when I watch Polynesians dance, I feel very connected to the culture of my family and ancestors. Even though I’m not a dancer, being able to make costumes and help people be part of that, share the culture and see them dance together is cool for me. One particularly touching moment for me was witnessing the joy and pride on the performers’ faces as they showcased their costumes during rehearsals. Additionally, seeing the performers’ connection to their cultural heritage through the costumes we created is incredibly fulfilling.  

“Watching everyone come together, from seasoned seamstresses to eager student employees, is truly inspiring and highlights the collective effort involved in bringing the show to life,” Keni said. Allred added, “We’re grateful for our sister missionaries who volunteered. They come in and pretty much work full-time hours every day.” 

Keni, who has been working in the Center for over 15 years, said, “Seeing the whole outfit complete is very rewarding. We wouldn’t have been able to do it without the help of our students and the senior missionaries. These are things that they’re not used to doing like putting clothing together and making dresses. It’s a bit out of their box, but they did it.”

We would like to express our gratitude to the seamstress and wardrobe department who truly demonstrated exceptional effort and creativity in the creation of the Huki costumes. Their dedication to craftsmanship and attention to cultural authenticity have greatly contributed to the overall success of the production.

Antoniette Caryl Yee-Liwanag, a Filipina, currently resides in the beautiful island of Oahu, Hawaii. She speaks Tagalog, Kapampangan, English, and Spanish, which helps her connect with people from various backgrounds while working at the Polynesian Cultural Center. Her blog explores exciting journeys of food, travel and culture. Though it may seem unusual, she enjoys the simple hobby of keeping her home spotless, reflecting her love for order and detail. 

The post Huki is Back: Crafting costumes for the long awaited return appeared first on polynesia.com | blog.

Rata was born to Wahieroa, son of the God Tawhaki, and Wahieroa’s wife, Kura. His father was killed by his enemy when Rata was but a boy, and thus Rata grew with the understanding that one day he must avenge his father’s death. When he reached manhood, he exclaimed to his village that, “I am about to go in search of the man who slew my father.” After he exacted his revenge, he knew that he must find the bones of his father and return them to his ancestral home.

His plan required a strong canoe for the journey for him and his warriors. He went into the forest where he found a mighty tree which stood tall and straight.

After cutting it down, he worked to remove the limbs. This great tree housed many insects and birds, and its destruction made the forest spirits angry. He did not perform the sacred chants; he did not seek permission from the inhabitants of the forest. They banded together to repair the tree, down to the very last cut and shaving.

As they worked, they sang the following chant:

“Fly together, chips and shavings, Stick ye fast together. Hold ye fast together; Stand upright again, 0 tree!”

When Rata returned the next morning, he looked for the tree which he had cut down, but it was nowhere to be found. As he looked up, he saw another tall and mighty tree. Could it be that it had been restored? He went to work again, cutting, removing limbs, and pulling off the bark. He began to form the bow when night fell, and he decided to return to his village until dawn. Once again, the spirits restored the great tree.

In the morning he found that the tree was once again tall and mighty. He set to work one more time to fall the great trunk. Then he pretended to leave, but actually he hid himself low to the ground in the brush. Soon the spirits, who called themselves the children of Tane, returned to repair the bugs and bird’s precious home.

Rata ran up, grabbing some of them, demanding to know why they were back once again to stop his work.

“Who gave you authority to cut our forest god to the ground? You do not have the right!” the spirits shouted.

Rata was greatly ashamed of his thoughtless act. The spirits, bugs and birds decided to forgive him. “Return, to your village, Rata, and we will make a canoe for you.” Soon they were able to present him with a beautiful and sturdy canoe that could hold 140 warriors. He named the vessel Riwaru, as it bore him and his men into battle with honor.

Read about the beautiful and intricately carved waka taua (war canoe), prepared for a king, and donated to the Polynesian Cultural Center in 1960s.

Bio of Nina S. Jones, Blogger for the Polynesian Culture Center 

Nina Jones, a mainland gal from way back, is now a transplanted Islander. With her husband of 39 years, she volunteers at the Polynesian Cultural Center. Her hobbies include swimming, traveling, studying and writing about what she is learning from the various Polynesian cultures. Her blogs focus on their history, beliefs, practices and – as an added bonus – delicious food! To her, Polynesia is not just a place to visit, it is a way to live and she is very honored to be able to be a part of their amazing world.

The post The Māori Legend of Rata, and the Enchanted Tree appeared first on polynesia.com | blog.

-Excerpt from HĀ: Breath of Life

“Soon you will be a man.” With this promise, HĀ: Breath of Life begins Act 3. This act showcases Māori culture as we watch Mana’s journey to manhood in the beautiful nation of Aotearoa, also known as New Zealand or the Land of the Long White Cloud.

Mana’s father guides him as he begins his training in Act 3 of HĀ: Breath of Life

We Start with a Kite

This act begins with a inquisitive Mana playing with a kite. Though this kite may look like a great toy, it is far more important and symbolic. This kite was used as a vessel for Karakia, or prayers being sent to the heavens. Comparatively, these kites were actually much larger than the prop shown in the Center’s night show. Due to their size and significance these kites were only to be handled by certain men of the tribe. This is why we see Mana’s father run in to take the string from his son.

The poi performance showcases the nurturing nature of Māori villagers

Poi Dance

As the nurturers of the Village, Mana’s Mother comes out with the other women to perform the Poi. In the Māori culture Poi is a dance implement, a light ball attached to a cord of varying lengths used to accompany songs or chants that tell their stories. The implement is swung around the body and tapped producing energetic beats and rhythms.

The Poi performed in HĀ is fun and upbeat, dedicated to Mana and his playful ways. This Poi tells of how Mana is always running around, hiding and getting up to mischief. However, at the end of the Poi his Mother hugs him, and reminds him that no matter what, he is loved and cared for.

This reassurance of love and protection from his parents and extended family carries him into the next stage of his life where he learns to be a man.

Mana learns the skills of the long pole.

To Train and Grow in Māori Culture

HĀ is set in a pre-European era, where tribes fought for land, power and prestige. The focus was on protection and survival, building strong and powerful war-parties and bringing up strong Village and Tribal leaders. However, the core values remain true and universal; family ties, courage, persistence, and fighting for survival. This warrior mentality drives the training that we see Mana go through as he grows.

Next, we see the warriors of the Village display their skill and strength with the use of a long-staff weapon. They are strong, powerful and impressive as they exercise and drill their footwork and many weaponry strikes, parries and on-guard stances. Mana looks on, longing for the day when he can join the ranks of the warriors.

You will then hear Mōteatea, a traditional chant that the Villagers recite to recognize that Mana is about to start his life-long Training to become a Leader and Warrior. The chant acknowledges all their ancestors and the guidance they continually receive from them.

Māori warriors perform the Haka in HĀ: Breath of Life

Becoming a Man in Māori Culture

We follow Mana’s training throughout the remainder of his adolescence, as the performers begin the Action-song. This contemporary tune is performed with choreographed actions, motions and footwork.

In HĀ, the Action-song highlights Mana’s training. In ancient times, children’s games formed the foundation of warrior skills, so throughout the song you’ll see a combination of games and training with Mana’s Mentors. First, you’ll see Mana learning specific foot-work. This is important as it is the foundation of all warrior skills. Then you’ll see him training with a medium sized stick. Notice how he maneuvers it around his body. This strengthens and gives flexibility to his limbs and torso in preparation for using a weapon. Finally, he graduates to a longer staff and begins his warrior training. In this song the Villagers are not only celebrating his adolescence and training, but they’re also encouraging and supporting him every step of the way.

At last Mana is a man, having completed his training and grown into adulthood. Mana rises as his father places a cloak around him, signaling his new status. Mana then exchanges hongi, the traditional greeting in Māori culture, with his father. This greeting is a pressing of noses and foreheads, symbolizing the sharing of souls and the exchange of HĀ, the breath of life. Mana, now full grown, goes to lead the haka.

The Māori pendant worn during ACT 3 represents the path of life

The Significance of Māori Pendants

As you see Mana’s community rally around him notice that they are all wearing pendants. These pendants have a deep symbolic meaning to the Māori people, providing connection, guidance and protection from negativity.

Some examples of pendants are a Manaia which is representative of a crossing or connection between Earth and the Spirit world. There are also Koruru, often the face or mask of a guardian, but can also represent ancestors or deities. Lastly, a Taniwha, associated with specific places, usually bodies of water; to some they are seen as guardians representing life and giving good fortune.

The pendant worn by performers in the show is a Pikorua (to twist). The twist depicts two new shoots growing together. It is said to represent the path of life and the strong and eternal bond between two people. Like the twist in the design, life for both individuals will continue despite many unexpected twists and turns, inevitably bringing them together again one day. This describes the eternal bond between Mana and his father, but it can also refer to Mana’s connection to his family, his people, and his transition from boy to manhood.

The Haka showcases the strength, power and support of the Māori people.

The Power of Haka

Mana, now a Leader of the Village, leads the final item, the Haka. Haka is a male posture dance which in the Māori Culture is a powerful display of unity and strength. Anciently the Haka was expressed in times of war. It was ferocious, intimidating and very powerful. However, now not all Haka are done out of defiance.

Today Haka are performed to acknowledge all aspects of life, including times of anger and defiance and also beautiful and special occasions. Regardless of when or where they’re performed, Haka are always powerful, strong and can even look intimidating.

The Haka in HĀ is a Haka of peace and guidance. It is done to honor Mana. It is encouraging him to move forward, to live a noble life without giving in to hatred, jealousy and all the negativities of life. The Village welcomes Mana into manhood and sends him into the next phase of his life which they helped prepare him for, a future that is always fast approaching.

HĀ: Breath of Life Act 3 showcases the beauty and strength of Māori culture and, as was promised, Mana is now a man.

Black and white image of female performers showcasing the ‘poi” at the Māori Village at the Polynesian Cultural Center.

The Strength of the Māori

A popular Māori proverb conveying strength says: ‘ehara taku toa i te toa takitahi, he toa takitini’ – my strength is not as an individual, but as a collective.

The Māori people commit themselves to their family and their community. They are known for their courage and might. Also, for their great love for one another, for the land, and for the life granted to them. We gratefully share the beautiful Māori culture at the Center and in this overview of Act 3 of HĀ: Breath of Life.

Want to learn more about the the other acts in HĀ: Breath of Life?  Then…

Read our deep dive into Act One to learn more about Tongan Culture. 

Read about the Aloha culture of Hawaii showcased in Act Two  

Enjoy some of our most popular blogs about Māori culture, including recipes, history and travel

Honoring the Māori Language Through Inspired Quotes – polynesia.com | blog  

The Village Approach: Māori Child Rearing – polynesia.com | blog 

Maoritanga – The Maori Way of Life – polynesia.com | blog 

Like the Maori: Thin the Veil Between You and Your Ancestors – polynesia.com | blog 

Ta Moko: Maori Tattooing – polynesia.com | blog 

Review our extensive library of blogs covering various aspects of this and other Polynesian cultures at Cultures of Polynesia Archives – polynesia.com | blog 

Bio of Nina S. Jones, Blogger for the Polynesian Culture Center 

Nina Jones, a mainland gal from way back, is now a transplanted Islander. With her husband of 39 years, she volunteers at the Polynesian Cultural Center. Her hobbies include swimming, traveling, studying and writing about what she is learning from the various Polynesian cultures. Her blogs focus on their history, beliefs, practices and – as an added bonus – delicious food! To her, Polynesia is not just a place to visit, it is a way to live and she is very honored to be able to be a part of their amazing world.

The post Māori Culture: Act 3 of HĀ: Breath of Life appeared first on polynesia.com | blog.

Fifty years ago, rangatahi (the younger generation) from Ngā Tamatoa, Te Reo Māori Society and Te Huinga Rangatahi collected 30,000 signatures and put forward a Māori Language Petition to Parliament calling for Te Reo Māori (the Māori language) to be taught in all schools.

The video link attached to the image below shows the presentation of these petitions on that historic day.

A Māori woman delivers a case filled with over 30,000 signatures asking Parliment to establish the teaching of the Māori language in public schools.

Māori Language #1: A Common Purpose

“Kotahi te kōhao o te ngira, e kuhuna ai te miro mā, te miro pango, me te miro whero”  

“There is but one eye of the needle, through which the white, the black, and the red threads must pass” 

Pōtatau Te Wherowhero, first Māori king, by George French Angas

King Tūkaroto Matutaera Pōtatau Te Wherowhero Tāwhiao spoke these words after his coronation to become the first Māori king. His hope was that these words would encourage all Māori to unite under one common purpose. His wish was to inspire Māori to work together to overcome the negative impact of colonization.

The Kōwaiwhai panels being revitalized in 2020 at the Māori Village in the Polynesian Cultural Center

The colors of the thread refer to the traditional kōwhaiwhai patterns painted onto the rafters of our meeting houses. They represent the genealogy between us and our ancestors. As each generation unites, we will ensure the preservation and survival of our culture.

Like our ancestors, we can accomplish anything together.

I chose this proverb because King Tawhiao is my sixth great-grand uncle. I thought it was important to celebrate the first day of Māori language week by honoring our ancestors first.

Māori Language #2: A Place of Refuge

Next, we will learn about the word:  Tūrangawaewae, which means “a place to stand”

Princess Te Kirihaehae Te Puea Hērangi. Image courtesy of the National Library, New Zealand

I want to highlight this word because of how this phrase was used by one of our most influential leaders in the Tainui tribes. Her name is Princess Te Kirihaehae Te Puea Hērangi.

In 1918, many people from New Zealand suffered due to the influenza virus. Many of those infected were Māori.

Te Puea hoped that they could establish a hospital in Ngāruawāhia in order to treat and take care of her people. But health authorities and local officials were against it.

Historic video of Influenza Outbreak in Aotearoa in the early 1900s

Our Princess was not satisfied. She began to fundraise and save money to build a marae in Ngāruawāhia for Māori to gather as a place of refuge physically and spiritually.

This marae was named Tūrangawaewae and became a place that the Kīngitanga would provide physical and spiritual nourishment for its people.

Tūrangawaewae marae is located on River Road in Ngāruawāhia, on the banks of the Waikato River.

Like the marae we all have our own “places to stand”, our own places of refuge.

Te Puea shared this proverb when the Tūrangawaewae Marae was established:

“Mahia te mahi, hei painga mō te iwi”, “Do the work, for the betterment of the people.”

Māori Language #3: Being Unified

“Ki te kāhore he whakakitenga, ka ngaro te iwi.”

“Without foresight or vision, the people will be lost.”

King Tūkaroto Matutaera Pōtatau Te Wherowhero Tāwhiao by Gottfried Lindauer

In 1858, many Māori gathered in Ngāruawāhia for the coronation of Pōtatau Te Wherowhero as the first Māori King in the Waikato area. His son, Tūkaroto Pōtatau Matutaera Te Wherowhero Tāwhiao (Kīngi Tāwhiao) was appointed as the second Māori King at the death of his father only two years later in 1860.

King Tāwhiao spoke to his people on many occasions. He always encouraged them to be more unified and to work together for the greater good of all Māori. When Tāwhiao uttered these words, he wanted to emphasize not only the importance of unity but strong Māori Leadership. He knew without these essentials his people would face many trials.

With great leadership, individuals will always feel the need to join the collective in order to support and help create success for all.

At the Polynesian Cultural Center, we are given many chances to be leaders. Let us hope that in these efforts we are inspiring one another to achieve “our desired results” and to fulfill our special mission and vision.

King Tāwhiao’s whare at Te Kūiti, 1885

To read more about the Māori culture, click on our following blogs:

Iraia Bailey: Language is the essence of culture – polynesia.com | blog

The Village Approach: Māori Child Rearing – polynesia.com | blog

A King’s Canoe – polynesia.com | blog

Tainui Johnston is proud to honor his Māori heritage through his work at the Māori Village. A recent graduate of BYU-Hawaii specializing in communication and social work, Tainui is fulfilling his Academic Training at the Polynesian Cultural Center. When he returns home he hopes to continue his masters in film and production. _______________________ 

The post Honoring the Māori Language Through Inspired Quotes appeared first on polynesia.com | blog.

Rahira “La” Makekau

The Polynesian Cultural Center is pleased to share this traditional Māori Boil-up recipe provided by Rahira Makekau who is the Māori Cultural Performance Specialist and Advisor for the Center.  Māori are people of Polynesian descent who came from Aotearoa which translates to the “Land of the Long White Cloud”. You may know it as New Zealand.            

Rahira was born and raised in Aotearoa. It was there that she met her husband of 32 years, Kim Makekau, who is from Hawaiʻi. Together they raised a family of 5 children. She moved with Kim to the island of Oʻahu in 2006 to honor her heritage through working at the Polynesian Cultural Center, where she has worked for the past 17 years.

The History of the Māori Cuisine 

Quote: “Our indigenous Māori people were traditionally hunters, gatherers and crop farmers, who harvested food from forest, stream, sea and garden. Not surprising then that the ingredients that make it to our plates come from these sources.

How to use a Hāngī

”Māori foods – kai Māori – Foods introduced by Europeans”, Te Ara – the Encyclopedia of New Zealand. Story by Charles Royal and Jenny Kaka-Scott, published 5 Sep 2013

“As you move from one Māori iwi (tribe) to the next, ingredients and preparation style vary – driven purely by what is available close by. Freshness and natural flavors form the very essence of Māori cooking. Today, not only are Māori ingredients used in traditional style cooking such as a Hāngī, but also found in food that is prepared for the modern palate.”

Kai Māori – Te Ara Encyclopedia of New Zealand

One of the regional influences on Māori cuisine comes from the fact that their lands, especially around Rotorua, are dotted with hot springs:

The geothermal region around Rotorua supplied endless boiling water and super-heated steam for cooking. These 1901 photos show residents of Whakarewarewa village cooking by two methods. Those on the left boil food by suspending it in baskets lowered into a hot pool on cords. On the right, a hāngī has been cooked by digging a hole in the earth and steaming the food with geothermal heat. Both methods are still used in this region.

Cooking food in hot springs, 1901 – Māori foods – kai Māori – Te Ara Encyclopedia of New Zealand

Cooking food in hot springs, 1901 – Māori foods – kai Māori – Te Ara Encyclopedia of New Zealand.

The significance of a traditional “Boil-up”

“The humble Boil-up is a staple in ….. I’m going to say it … all Māori homes, no matter where in the world we find ourselves living”, Rahira shared. “All whānau (family) have their preferences when it comes to how to make a ‘good/proper’ Boil-up, but all Boil-ups have the same basic ingredients… meat, root vegetables and greens.”

“Growing up, our Boil-ups mainly consisted of pork bones, bacon bones (cheap but heaps of meat on the bones), mutton or whatever other meat was on special, Watercress and Puha (Sow Thistles … which aren’t actually thistles.) Mum often added silverbeet, turnip tops or spinach to make it go further. We loved all variations of Mum’s Boil-up. During all my pregnancies I craved Mum’s Boil-up. They comforted me, made me happy, and for some reason they were extra reka (sweet/delicious).”

“ I know it is a poor man’s meal, but looking back I see it was much more than that, it was comfort, safety and family in every serving …. my ultimate comfort food.

“Please check out this link. It just made me smile. I felt as though she was talking about my family The Politics of Boil Up (debatemag.com)”.

The typical ingredients for a simple Boil-up

A review of traditional and alternative “Boil-up” ingredients

Meat – Your preference. I’m partial to neck chops or pork bones, but any meat that can be boiled is great. Here in Hawaiʻi I usually use pork strips or even pork back ribs. I just cut them up and it’s like having pork bones.

Silver-side (corned beef) is also good, but cook it whole and slice it when you’re ready to eat.

Root vegetables – I always have potatoes and kumara (our variation of sweet-potato) in my Boil-up. Sometimes I use pumpkin, less often carrots. Another popular addition is watercress.

Greens – These days I generally use cabbage. I sometimes add spinach (to trick myself into thinking it’s puha, hahaha). 

Doughboys (dumplings) – A family favorite!!

The finished product

Recipe for Māori “Boil-up” 

For whānau (family) of 6

Ingredients

– Pork – 1 – 2 pks of soft bone ribs, or any meat as mentioned above

– Potatoes – 6 to 8 small potatoes

– Cabbage – 1

– Kumara – 1 big or 2 medium

Note: There is a specific type of Kumara we get in NZ. It’s red on the outside, but white on the inside. When it’s cooked it turns yellow.

– Salt to taste

Doughboys 

– 3 cups flour 

Note: You can substitute with self-rising flour, simply leave out the baking powder

– 3 tsp baking powder 

– dash of salt

A popular green in Aotearoa is Puha. You can easily substitute spinach (left) or swiss chard (right). Trim off the stems before adding to the broth.

Cooking Instructions

Place meat into boiling water.

Meat 

• Rinse and prepare your meat. If you use pork bones, no preparation is needed. If you use pork back ribs, cut into individual ribs. If you use pork butt, cut it into chunks. If you use silver-side or corned beef, leave it whole. Slow cook your meat. Salt well (except the corned beef) I like my meat tender but still firm when cut, so 1 and a half to 2 hours is usually good for me. Other whānau prefer their meat to slow cook for hours until the meat falls off the bone, so it’s a personal preference.

Kumara is a type of sweet potato with a dark red skin that is white on the inside.

Root Vegetables 

• Many whānau cook them together with the meat so the flavors fuse together. Some whānau cook them together in a separate pot so they don’t get mushed up. I do both. Try different ways and see what works for you.

Cut cabbage into wedges. Slice the core out of each section

Break the cabbage into small ‘chunks’ before adding to the pot.

Greens 

• About 20 mins to half an hour before the meat is done …. add your greens first, and then place your doughboys on top of the greens.

Note: Like my Mum I sometimes take the meat out before adding the greens. This would depend on the size of the pot, or if I don’t want the meat cooked any more, but then I would return the meat once everything else is cooked. Once again, do what works for you.

Roll the dough into a ‘log’ shape, then pinch off an approximately 2″ section and lightly shape it, if needed.

Doughboys

Add flour to mixing bowl.

Add water.

Use a spoon to stir water into flour until it begins to form. Wash, dry and then flour your hands. Continue mixing with your hands until it forms soft dough, but be careful not to over mix. Add more flour if needed, but the less you handle it the better. Squeeze dough between your thumb and fore-finger to make small to medium size ‘dumplings’.

Note: Make your doughboys just before you put your greens in so they will be ready to add.

After you bring the water to a boil and add your ingredients, keep the lids slightly ‘cocked’ so that steam can escape.

Finishing Up

When the doughboys are cooked, everything else will be cooked too. Turn your pot off.

Note: I usually just leave it in the pot and everyone serves themselves from there, but sometimes I also dish everything up into serving dishes.

This version includes beef short ribs that we actually baked beforehand and added to the top when ready to serve. Don’t forget to add any meat drippings to the broth just before adding the doughboys.

The post Māori Boil-up: The Ultimate Comfort Food appeared first on polynesia.com | blog.

This article explains the crazy jaunt the International Date Line takes as it circumvents various Polynesian nations

In December of 2011, Samoa and the neighboring island of Tokelau moved the position of the International Date Line, effectively erasing December 31, 2011 from existence. Their purpose was to align the islands’ time with key trading partners in the Asia-Pacific region. As reported at the time by (Duk Han Lee of the Canadian Broadcast Company, “this was hardly the first-time countries have changed. Calendar systems are a representation of seasons and events, and adjustments are made as needed. For instance, Leap Year adds a day at the end of February every four years.  

Interestingly enough, American Samoa, which is an unincorporated territory of the United States, chose to remain to the west of the timeline. Therefore, Samoa is placed to be one of the first to welcome the New Year, while American Samoan, a mere 137 miles to the east, is the last to say good-bye to the previous year 24 hours later. 

Samoa and American Samoa are not the only nations bordering this imaginary line that runs from the North to the South Pole. To begin with, the line ‘adjusts’ to travel between Russia’s eastern border and Alaska’s western shores. From there, it travels across the largest ocean in the world with only small, unincorporated islands until it meets up with Kiribati who moved their border to take advantage of being one of the first nations to welcome the new day. An interesting side fact is that Hawaiʻi is due north of Kiribati by 1,250 miles, but because they remain east of the timeline, Hawaiʻi remains a day behind Kiribati. 

This unassuming sign indicates where the 180 Meridan crosses through the island of Taveuni.

Fiji was split, but now isn’t  

Fiji also exists along the original straight edge of the International Date Line, which effectively divided its calendar dependent on what island, and in some cases, what part of the island, one lived on. The majority of Fijian islands are situated to the left of the 1800 meridian, however three islands — Vanua Levu, Rambi and Taveuni — are the only islands where that division actually touches land beyond the two polar land regions (per Royal Observatory in Greenwich). That means that people could literally jump from one day to the next by simply hoping over a think imaginary line. It was great fun, as people could actually be able to jump across an entire year just by stepping back and forth across the line on the ground on New Year’s Eve.

The problem was that this caused many issues for the nation of Fiji. Deadlines, holidays, bookkeeping, even vacations, constantly had to be modified to accommodate the dates. By the time the year 2000 was approaching (which meant that for 24 hours, one could have actually jumped from one century to another, which is a bit mindboggling), Fiji knew that something had to be done. To mark the new millennium, and to address the ensuring issues it would create, Fiji petitioned to move the International Date Line to the east of their islands. Continuity was established and governmental headaches were resolved. Good job, Fiji!

Why does the position of this imaginary line really matter?

According to the article “Millennium”, by Aimee Harris, published in August 1999, “…many South Pacific islands (were jockeying) for position along the International Date Line, in a struggle to be the first place on Earth where each calendar day begins.” 

It’s a complicated matter, obviously, based on tourism, family, and convenience. Keep your eyes and ears open. This imaginary line seems to have a mind of its own, undulating across high seas in a quest to do what’s best for each island nation.  

How is New Year celebrated across Polynesia? 

First up each New Year is Kiribati

Kiribati 

First up in celebrating the coming year is the island of Kiribati, an independent nation considered part of Micronesia. Their celebration is not just the first in the Pacific, mind you, the first nation in the world. Residents keep their merry making low-key, but tourists will find small but colorful celebrations at local hotels and eateries. 

Samoan is the birthplace of fireknife dancing, so expect to see lots of heat on New Years!

Samoa 

 A close second is Samoa. Later you will see how this nation and its close neighbor, American Samoa, make for a workable way to celebrate New Year’s first and last. This makes it a very popular place and time to visit, so expect lots of parties, fireworks, and dancing, all with the friendly revelry and good humor Samoa is known for! 

A typical Tongan family feast for New Years – Image courtesy of eurodialyouth2016.com

Tonga 

In Tonga, the only Polynesian nation that still has a ruling monarchy government, New Year’s is seen more as a family activity and the opportunity to reflect on the many things Tongans can be thankful for. Numerous residents celebrate the New Year by attending church services which can be held at sunset, while others are held at midnight. The air is filled with melodic and enthusiastic singing with intricate and beautiful songs of faith and celebration. It is an experience sure to make a lasting impression. 

Fijian villagers singing on the beach

Fiji  

Fijians take New Year’s seriously by holding a week-long celebration from Christmas Day to January 1st with family and their community (especially in the smaller settlements across the islands) which includes lots of food, dance and opportunities to kick it up with fun competitions and games. 

New Zealand officially celebrates two New Year Days, the traditional date in January and the Maori date which falls sometime within May/June. Image courtesy of The Museum Te Papa Tongarewa

Aotearoa / New Zealand  

Matariki is known as the Māori New Year in Te Ao Māori (the Māori world view).But this celebration is based on the lunar calendar, which makes it land around May to June.Closely connected with the maramataka (the Māori lunar calendar), the reappearance of the Matariki stars in the early morning sky brings the past year to a close and marks the beginning of the new year.

So January 1st is strictly a non-Polynesian event. Still, it is a fun opportunity to join with the rest of the world in celebrating the Gregorian Calendar’s observance. Since January in the Southern Hemisphere occurs in the midst of their summer months, it comes as no surprise that the great outdoors takes center stage as New Zealand welcomes the New Year. A popular local New Year’s tradition is to spend the day on the beach with a rollicking nighttime celebration of fireworks. Some of the bigger displays can be found in Auckland, Wellington and Christchurch.  

Having fun New Years Day while traveling in style1 Photo courtesy of ACTU.FR (use URL: Actu Polynésie Française | actu.fr)

Tahiti  

It takes almost an entire day for the next Polynesian nation to reach the New Year mark. A uniquely traditional New Year’s event in Tahiti is a festival that helps revelers to travel with flare by utilizing a “Le Tere Fa’ati” (a mobile celebration that is utilized for special occasions throughout the year). Open air buses, which are decorated specially for the event, travel to popular local attractions. Each bus contains local musicians who play musical instruments such as the drum and ukulele at various stops. https://www.newyearsevelive.net/australaisa.html 

Waikiki Beach has multiple places to celebrate the New Year (photo courtesy of Hawaii Magazine)

Hawaiʻi  

First off, let’s review how to say “Happy New Year” in Hawaiʻi.  

Because makahiki also means “year”, the Hawaiian phrase for “Happy New Year” becomes “Hau’oli (happy) Makahiki (year) Hou (new)”(how-OH-lee mah-kah-hee-kee ho).  

Due to a high influx of migrant workers during plantation days Hawaiʻi has its own version of a cultural melting pot. Many families mark the occasion with a trip to the beach with extended family, the pounding of the traditional Japanese dish of Mochi, which is very popular on the islands and neighborhood fireworks that put most other celebrations to shame. 

The country town of Lāʻie used to hold a popular neighborhood fireknife dance competition. Don’t let the quaint setting fool you. Hawaiʻi is home to many champion fireknife dancers, and renowned dancers were known to travel in from other islands and even the US mainland. Throwing aside the traditional rules, this neighborhood competition was open to innovation. Though, sadly, this competition was discontinued a few years back, Lāʻie  is still home to the yearly World Fireknife Championship held at the Polynesian Cultural Center in May.  

Want to see an entertaining film that showcases a lighthearted competition between the OG’s (Old Guys) of Fireknife vs. the NG’s (New Guys)? This fun video made by YouTube star “Supertramp” (Devin Graham) is a perfect example of both traditional fireknife and modern innovation. 

Sa’ilele Catholic Church Choir photo courtesy of American Samoa Government Facebook page

American Samoa 

After traveling all around the world, the New Year eventually comes full circle. 

The last country to ring in is American Samoa. Their festivities are held a full 25 hours after their closest neighbor (Samoa) held their own celebration. This substantial gap actually makes it possible to board a plane following your Samoan celebration and head over to American Samoa to do it all again. It has been done!   

Nina Jones, a mainland gal from way back, is now a transplanted Islander. With her husband of 45+ years, she has been thrilled to live in the beautiful village of Laʻie for the past 8 years. Her hobbies include swimming, traveling, studying and writing about what she is learning from the various Polynesian cultures. Her blogs focus on their history, beliefs, practices and – as an added bonus – delicious food! To her, Polynesia is not just a place to visit, it is a way to live and she is very honored to be able to be a part of their amazing world.

The post Uniquely Polynesia: The International Date Line appeared first on polynesia.com | blog.

Polynesian Christmas customs are as varied as American traditions. Gift giving, large family get togethers and even Santa Claus and religious observances are common throughout many communities. 

This blog will help you learn more about modern Christmas traditions across the Pacific Islands which are both unique to each family and are practiced by the vast majority. 

Hawaiian Christmas Traditions 

Special hula performances are usually around the Christmas holiday in Hawai’i

Terry Panee, who serves as the Manager in the Center’s Hawaiʻi Village states, “Christmas is not a traditional Hawaiian celebration. It was introduced after the missionaries and Christianity was introduced in Hawaiʻi. It has become a local celebration here in the islands. Celebrating Christmas is part of who we are today. Hawaiʻi is a multicultural society, and so many cultural aspects are added to the celebrations.

Food is always a way we celebrate and is always part of any get together with family and friends. On a Christmas table, we have a wide range of foods, including Hawaiian, Japanese, Chinese, Filipino, Polynesian, and American. We love eating anything good whether you are of that culture or not. As for my family tradition, Hawaiian food usually comes on New Year’s. At Christmas time, we usually eat steaks, lobsters, crab, and shrimp. Serve with all of the other sides, such as noodles, sushi and raw fish.

Decorating with the lights, and going to view other people’s Christmas lights was very typical. I recalled a place called “Christmas Lane” down in Kahaluu that used to get a lot of people driving by throughout the month of December to see the beautiful lights and decorations. On the last week before Christmas, some of the families would have treats and cookies to give out. One house would have a Santa in the driveway for all the kids to wave and take pictures with. There was a competition amongst the residents of that cul-de-sac and so every year was something special. We went there when I was growing up, and later took my children to see and take pictures. Often times we would go multiple times during the Christmas season. Unfortunately, some of the residents have moved and they no longer have the competition, but many still decorate their homes.  

Image courtesy of Polynesian Cultural Center!

 And now there’s a lot more of this going on in different areas, though, everybody is looking forward to going wherever they have Christmas displays. There is a Christmas trolley where you ride through Honolulu and see all the lights, listen to the music, and end up in Honolulu Hale (Honolulu City Hall), which is decorated for the Christmas season.    

It is a family holiday. It’s always about visiting family and friends. Christmas celebrations can be loud, depending on the family. However, some families are not as audible as others. We usually gather together for a meal. Often times you’ll go to eat at multiple places, such as your in-laws’ or siblings’. You’re eating all day long! Some may split it and say Christmas Eve will be here and Christmas Day will be there.”  

Reflecting on his years as a student at Brigham Young University-Hawaiʻi, Terry added, “I always took home a bunch of friends who were not from Hawaiʻi or were not going home to the outer islands. They would come over, spend a day or two, or three, depending when Christmas is over. Our place was filled with friends, distant relatives, and everybody, all celebrating together, because it’s family time.  They can celebrate, with us, even if they are not home with their families. They are part of our family. We are always including everybody else. Everyone needs a place to stay for Christmas.

Terry further shares that “in Hawaiian, we have a term called ‘hanai’. Some people think hanai means to adopt; a hanai child, hanai brother, or sister. It’s not adopted in a legal sense, but hanai in Hawaiian means ‘to feed’. When you decide to hanai somebody, you take responsibility for their total well-being. Not only through food but also by ensuring they’re taken care of, including shelter if they need a place to stay.”    

Aotearoa Christmas Traditions   

Māori family enjoys an outdoor picnic and a Christmas exchange. Photo courtesy of Gloria Miller.

Kim Makekau, manager of the Aotearoa Village, explains that unity, love, and family are the three primary aspects of Christmas in New Zealand.   

He further adds, “New Zealand Christmases are similar in their practices to any other Christian nation. New Zealand Christmas is in the summer. During summer, families go on vacation. Either they gather at the beach or they will go the marae to see their other families. They celebrate with gift-giving, a Christmas tree, and songs. Again, not everybody follows these customs, but the vast majority do. 

Christmas in New Zealand is hot, instead of cold. Contrary, the concept of Santa Claus, the snow with the reindeer, and all that, don’t connect. However, the stories are known because that was taught by the Westerners when they settled in.   

Christmas Eve could be celebrated with feasting and eating. It could also be celebrated with gift-giving and the opening of gifts. Some people open their presents the night before, and some open them on Christmas morning. Usually, the focus is on the kids. If you have Christmas on the marae, it’s generally a family reunion, a big event, and people can just be together.” 

Fijian Christmas Traditions   

Some Fijian families take to the beach on Christmas.

Saimoni Naivalu, Fiji Village Cultural Ambassador, shares that Christmas themes for the islands of Fiji are getting together, visiting family and lots of eating.   

“It’s about family. As many Fijians live and work in the city, everyone will return to their own islands to celebrate Christmas with their families. During the Christmas holiday, we also visit relatives we haven’t seen for a while.     

Fiji is a very Christian country. On Christmas Eve and morning, the people in the village gather for prayers expressing their gratitude and remembering the birth of Christ. Often, they do a reenactment of Jesus’s birth.     

Fijians love wearing new attire during Christmas, which symbolizes a celebration of new beginnings. Often, families wear their unique matching attires.   

Lovo (a Fijian earth oven) is the main form of meal preparation to feed everyone in the family. The staples prepared into the lovo, including taro, fish and pork. Kava, a root drink, is also served.” 

Samoan Christmas Traditions   

Image of Creasepaul, Senior Cultural Ambassador at the Polynesian Cultural Center

In Samoa, Christmas is the time to reconnect with families, express gratitude, share delicious meals, and spend time with loved ones.  

Creasepaul Tofa, our Samoa Village Senior Cultural Ambassador, shares that a father gives presents to his kids on Christmas day. “The gifts have to be practical. For instance, the son might be given a chainsaw or machete to work the land, and the daughter might be given money to spend on valuable things.     

On Christmas Eve, the people in the village gather at the chapel for prayer. After the prayer, families return to their homes to enjoy tea time. In my family, we have koko samoa, bread (falaoa), and biscuits (masi) with plenty of butter prepared for the ‘Christmas Eve Tea’.    

Food is crucial in our culture. Umu, a traditional Samoan ground oven, is the primary cooking (method) on Christmas Day to feed everyone in the family. You’ll always find the staples in the umu, including taro, breadfruit, banana, luau, pig and fish, served with other delicious local Samoan food.  

After a big family lunch (to’ana’i) on Christmas Day, then it’s time for fun and games (traditional games which may include Samoan kirikiti (cricket), lape, and modern games include rugby and volleyball.” 

Tahitian Christmas Traditions  

A special Tahitian inspired performance during our annual Christmas at the Hukilau Marketplace event

Christmas is a quiet family celebration on the Tahiti islands. There are no parties and dancing, only talking and eating. On Christmas Eve, families gather and pray at their homes.  

Heitiare Panee, Tahiti Village Manager, remembers celebrating Christmas like this in her family. “A tradition that my family often does on Christmas is filling your shoes with goodies. It’s a French influence tradition. Growing up, my siblings and I looked forward to this tradition on Christmas morning.  

Once we woke up in the morning, we raced to fill our shoes with goodies and set them next to the Christmas tree. The amusing element is that the bigger your shoes, the more goodies you’ll get. “ 

During Christmas, families assemble and enjoy the finest meals available. The food available includes a blend of Tahitian and French cuisines. In Tahiti, they serve smoked turkey for Christmas dinner opposite to the American Thanksgiving. Foie gras and oysters are staples on the Christmas table. This is the only day you’ll eat heaps of them.  

Tongan Christmas Traditions 

Tongan families wrap their Christmas season around family.photo courtesy of the Walter and Telesia Tonga family.

Vahamamao Lauhingoa, who volunteered with her late husband, Apolosi, for 15 months as Cultural Advisors in the Tonga Village, shared two of her favorite traditions. 

“Tongans have a deep connection to family hierarchy. The oldest sister is expected to be the leader of their extended family. They carry both the responsibility for tending to the needs of their family and are expected to be highly respected for their position. Family members will visit the sister on Christmas Eve to bestow gifts and to thank the sister for her service to the family. 

Tongans are noted for their harmonious singing and musical presentations. Many communities have organized bands. On Christmas Eve, local choirs and musicians will wander through the village sharing familiar hymns and Christmas songs.” 

Conclusion 

As you can see, Christmas in Polynesia is strongly based on the typical celebration of birth, renewal, family and food. However you chose to celebrate this joyous season, we wish you many fond memories and a blessed New Year to come. 

Whether we say “Merry Christmas” in Hawaiian, Tahitian, Samoan, Tongan, Maori, or Fijian, it still means best wishes to you and your family this holiday season.

Bio of Quinney Suaava, Blogger at the Polynesian Cultural Center 

My family, culture, talent, and knowledge are the things I treasure the most. And the things I love to do are spending time with the people I love, traveling to different places, cooking Samoan food, singing and playing the ukulele, learning new things about life, and the list goes on! All of these contribute to my passion, experience and love for writing.

The post Christmas Traditions of Polynesia appeared first on polynesia.com | blog.

Did you know that each island village has a number of exhibitions on how they constructed their homes and the significance of various objects in their culture? 

Our six island villages of Hawaiʻi, Aotearoa, Fiji, Samoa, Tahiti and Tonga, are delighted to share more information about these exhibits while you’re exploring. We especially encourage you to ask questions and learn the details of each nation with our helpful cultural representatives present in each village.

And the great news is that you don’t have to explore them all at once. 

Purchase any of our full-day packages for the Center and return the next day to wander through our island villages at your leisure. What a great opportunity to maximize your learning experience and understanding of the Polynesian cultures. 

In this blog, I’ll introduce you to the cultural exhibits currently available in each village.

Cultural exhibits in our Samoa Village  

The māota, or chief’s house in the Samoa Village

When you enter the Samoa Village, you’ll see the exact style of huts (fale) that you would find in a typical village setting. But these fale are far more than just simple dwellings—they’re a source of life and culture for the people of Samoa.  

The huts consist of the Tunoa/Umukuka (Kitchen), Fale Nofo (Family Dwelling), Fale Talimālō  (Guest House), and Māota (Chief House).  

The Chief’s House is the most prestigious building. You can enter it only by invitation from the chief. It is the only building with a raised foundation, portraying the respect that both the village and families have for their leader.  

Cultural exhibits in our Aotearoa Village  

The Hawaikiroa building in the Aotearoa Village

Our Aotearoa Village offers you a chance to learn about the history and culture of the Māori people.  

Upon entering the Aotearoa Village, you’ll find a marae—a focal point of Māori culture. Meetings, celebrations, burials, educational workshops, and other significant tribal events frequently take place at these community centers. 

One of the most prominent buildings in the marae is Hawaikiroa, the ancestral meeting house, where you can enjoy the passionate and exciting Māori cultural presentation. This house personifies the ancestor Hawaikiroa, with representations of his physical anatomy. The exterior displays his head, shoulders, and outstretched arms, hands and fingers; a welcome gesture to visitors. The interior rafters feature a display of his backbone and rib cage. Stylized carved figures, positioned around the room, represent many of his notable descendants.

You shouldn’t miss out on our other cultural exhibits!

• Te Whare o Te Toa (House of the Warrior)
• Kia Ngāwari Tātai Arorangi Exhibit (Astronomy)
• Te Ikaroa-ā-Māui – Waka Taua (War Canoe)
• Kupe Toi Whakairo Exhibit (The Art of Carving)  

Cultural exhibits in our Fiji Village  

The Bure Kalou or “Spirit House” in the Fiji Village is as tall as a 6 story building 

Our Fiji Village introduces you to six distinct cultural displays and each represent different aspect of the Fijian culture. 

The Bure Kalou, also referred to as the “Spirit House,” is a pre-Christian Fijian house of worship or temple. Due to its longstanding custom of sheltering the ancestor gods, it is consistently the tallest structure in the village. 

Children go to Vale Ni Qase, also known as the “Old Folk’s House,” to learn about family customs from their grandparents. 

The home of the chief is the Vale Levu. This spacious building is  elevated above every other construction except bure kalou.

The Vale Ni Bose, or Meeting House, acts as the hub for community ceremonies. 

The Camakau is a Fijian wooden outrigger canoe. It is a fast and highly maneuverable outrigger sailing canoe used to travel among the islands of Fiji. 

Cultural exhibits in our Tahiti Village  

Travel back in time in the Tahiti Village

When you visit our Tahiti Village, you’ll discover five unique cultural exhibits unique to these islands. 

First, you can’t miss the Marae (Outdoor Temple) where a traditional Tahitian wedding ceremony is performed. The ceremony is also opened to guests who wish to reaffirm their fidelity and love to their partner.  

Afterwards, head over to the Fare Pote’e where you can learn more about arts and crafts made by Tahitians. It’s truly incredible how much talent these people have! 

Next up is the Fare Heiva where you can watch dancers perform the renowned Ori Tahiti dance and learn more about the islands’ history. This exhibit will give you insights into Tahitian culture and traditions.  

To sample some authentic Tahitian coconut bread, visit the Fare Tutu, or outdoor kitchen. 

Last but not least, go fishing at Fale Tautai, also referred to as the Tahitian Fishing Hut. 

Cultural exhibits in our Hawaiʻi Village  

Hawaiʻi is a place of calm and tranquility designed to emphasize the spirit of ʻaloha

When it comes to Hawaiian culture, there’s no better place to learn than in our Hawaiʻi Village. There are six distinct displays that will greet you as you enter our village. We encourage you to take note of the architectural styles and the history behind each of these buildings. 

First, visit Hale Aliʻi, which means “Chief’s House.” This is where the chief would conduct meetings and councils with his tribe members. 

Next up is Hale Mua (Men’s Eating House). Men and women were not permitted to eat together in Hawaiʻi prior to 1820 because of the ʻAi Kapu (eating law) that all subjects were required to follow under Aliʻi rule. 

Then there’s Hale Lawaiʻa known as the Fishing House, which served as a building to construct and store all fishing equipment. 

Want to see the house where the family used to sleep? Visit the Hale Noho/Noa.  

If you’re interested in learning more about the famous Hawaiian hula (dance), then definitely check out the Hale Hālau (House of Learning).  

Want to learn about intricate Hawaiian arts and crafts? The Hale Ulana (Weaver’s House) is a worthwhile visit. 

Cultural exhibits in our Tonga Village  

Queen Salote’s Summer House in the Tonga Village

Discover the magnificent Tonga Village, and be amazed by the different buildings that represent traditional historical architecture in a typical Tongan community. 

Don’t miss out a chance to see the replica of the Fale Fakatu’i ‘a Tupou III (Queen Salote’s Summer House), which is considered the most prominent building. 

Head over to Fale Faka-Kolo (Meeting House), where all meetings and formal kava ceremonies take place.  

You can also visit the Fale Hanga (ngatu making building) to learn about the craft of making authentic Tongan tapa. 

If you want to know where the family resides, stop by the ‘Api Nofo’anga (Family Dwelling). 

Now you know the basic information regarding the cultural exhibits. Realizing there is more to discover when touring the six island villages, you don’t have to  find them by yourself. We have cultural ambassadors on staff who can answer your questions about the various exhibit and their cultural contexts they represent.  

Don’t forget to purchase one of our full-day packages, so, you can truly immerse yourself in the six unique and inspiring cultures represented at the Polynesian Cultural Center. 

Bio of Quinney Suaava, Blog Coordinator at the Polynesian Cultural Center 

My family, culture, talent, and knowledge are the things I treasure the most. And the things I love to do are spending time with the people I love, traveling to different places, cooking Samoan food, singing and playing the ukelele, learning new things about life, and the list goes on! All of these contribute to my passion, experience and love for writing.

The post Cultural Exhibits at the Polynesian Cultural Center: A Tour of the 6 Island Villages appeared first on polynesia.com | blog.

The Polynesian Culture Center is impressive. A quick Google search will prove that the Center is well-noticed, deeply popular, and top-rated – and it is no secret why the Center provides an unforgettable family-friendly experience rooted in culture. From watching Kap in the Samoan village start a fire using nothing but traditional tools and a coconut, to the breathtakingly striking choreography of the evening show “HA: Breath of Life”, the Center offers non-stop world class entertainment showcasing some of the most interesting and rich cultures in the world – namely Polynesian cultures.

However, structuring a tourist attraction on centuries old Pacific cultures in an honorable, respectful and accurate manner is a balancing act between entertainment and accuracy. Though accurate portrayals are very important, the shear length of a 3-day Tahitian Wedding Ceremony (for example), is not reasonable. 

Kap Teo Tafiti from the Samoa Village demonstrates how to peel a banana

Some potential visitors may question the sincerity of such activities. The question that arises is, can a commercial entity correctly represent Polynesian cultures? To those who may share this concern, I would like to share some words I once heard from a respected member of the La’ie community as he reflected on this very issue. He compared the Center to a canoe – drawing on imagery from the amazing voyager culture all Polynesians share – and asked, “who is steering the canoe?”

In the case of the Center, the represented culture is being shared by legitimate members of that community for the benefit of that community. Most of these members, including 80% of the Administrative Board and most employees are direct members of these cultures, with a majority of them born on the islands nations we represent.

Guests are welcomed with fresh flower leis before entering our Alii Luau 

I have been privileged to know many employees of the Center and have seen how meaningful it is to some of my student friends who are given what they consider a sacred privilege to carry on the cultural practices of their ancestors. I had a Hawaiian roommate who was raised on the mainland. He was hired as a hula dancer for the Hawaii Village at the Center and it deeply changed his life. One day, he shared with me how what I might carelessly label as a “job” provided him with an incredible opportunity to reconnect to a history and culture his family had grown distant from. To him, performing the hula is not simply a convenient way to pay his rent, it is how he honors his heritage and keeps his culture alive.  

Kane (men) dancing the hula kahiko (ancient hula) at the Polynesian Cultural Center

The Center is a breathing continuation of the Polynesian cultures 

The Center offers so much more than a bland museum-like approach to conveying cultural practices. It is a living, breathing continuation of the cultures it promotes. It is not a collection of antiques and actors who portray history; it is a vibrant cultural sanctuary where the demands of modern living have not robbed us of rich and beautiful culture. When you eat at the Luau, you are not eating a historian’s best guess at what Hawaiians may have enjoyed eating. It is not a simulation; it is not a fabrication. You are experiencing an authentic meal prepared for you in Hawai`i by Hawaiians. When you watch members of the Aotearoa (New Zealand) village perform the Haka, those men are not performers acting for a paycheck. They are members of a proud culture honoring the generations of warriors who came before them – ask any one of them and they will speak of their opportunity to perform for you as a near spiritual experience that they take very seriously.  

A Samoan fireknife dancer lights his war knife (nifo oti) using fire and coconut husk

The Center is a vehicle for cultural preservation   

For a truly unique experience, I invite you to visit the Polynesian Cultural Center. There is every reason to do so and no reason not to. It is a wonderful vehicle for cultural preservation that provides employment for members of the same cultures that are being displayed. It is not a canoe commandeered illegitimately for the gains of members outside of the cultures experienced there. It is a canoe full of Polynesians, steered by Polynesians, for Polynesians and it is truly remarkable.

Guests are greeted at the entrance to the Polynesian Cultural Center by our Hamana Kalili statue and two very impressive tiki gods constructed onsite by our Polynesian carvers

Connor Hansen is a senior at Brigham Young University – Hawaii majoring in Business Management emphasizing in economics and finance. His minors include history, international development, and political science. He has also earned a certificate in legal studies and hopes to practice law someday. You can find Connor on LinkedIn and contact him through his personal website. 

The post Preserving Polynesian Cultures in a Commercial World appeared first on polynesia.com | blog.

In Part 3 of our series on the Carvers of the Polynesian Cultural Center we meet the student carvers – three young men from diverse backgrounds who feel blessed to be members of the team.

The senior carvers are dedicated to making sure that all three apprentices learn not only how to carve, but how to live the life of a carver. They need to be dedicated to the years of hard work and sacrifice that will be required of them, humble enough to realize the weight upon them to represent and protect the Polynesian culture, and confident enough to stretch far beyond what they think they are capable of.

Clearly this is a rare opportunity to step out of the formal classroom and into the guidance of masters of their field.

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Sione Halahingano – Making his family proud

Sione Halahingano from Tonga

Sione Halahingano is a soft-spoken man from Tonga. As we sat down, it became clear that interviews were way out of his comfort zone. Luckily, I had sent all of the student carvers the questions a few days before, so he wasn’t caught too much of guard. We started with the basics.

Sione is seeking his degree in Graphic Design and plans on graduating in the Winter of 2021. His wife Sade, who is of Samoan descent, is from Australia. They have been married for about a year.

His dad works in construction, which includes cabinetry. Sione had always found it fascinating to watch his father build such strong and sturdy cabinets. It instilled in him the desire to create with his hands. His dad also thought that Sione’s interest in woodworking may be genetic as his grandfather carved small canoes.

Another form of art

I asked him how he enjoys such a creative job. “Carving is just another form of art,” he replied thoughtfully. “When I first applied, I thought it would be hard, but I enjoy it very much. It has already influenced my style of sculpture. My perspective has also changed. I was surprised at how different the two approaches are. In traditional sculpting, you are adding to your work but in wood carving you are taking material off. You have to rethink what you’re doing and how you are doing it.”

He has found that Monkey Pod is his favorite wood to work with. I asked him what the hardest wood to work with was. “Hmmmmmm, what do you think, guys”, he asked the other students? “Ironwood”, they both chimed in. “Oh yes, that’s true. It’s like carving concrete,” he chuckled.

Sione doesn’t have a favorite project – instead giving the typical artistic reply of “whatever I’m working on at the time becomes my favorite project.”

Creating a legend

He then offered to show me his current piece. “This is a Tongan representation of the Legend of Hina and the Eel, which tells the story about the creation of the coconut tree. “Have you heard about that one,” he asked me? I was pleased to be able to say yes. Traditionally, the legend includes the fact that Hina is very beautiful. The eel becomes infatuated with her and turns into her lifelong companion. When he is about to die, he tells her to plant him in the ground, head first. From that grows the first coconut tree, meant as a gift to her and her people. The story is popular throughout Polynesia, with minor adjustments here and there.

“I’m making this from Monkey Pod wood”, “Sione explains.” You can see her starting to form here and the eel is wrapped across her waist.”

The Tongans are such kind and honorable people. You can tell that Sione comes in everyday ready to work hard, absorb everything and make his family proud. I know that the senior carvers recognize his efforts and are very pleased to have him as part of their team. Their reward is knowing how much this experience will help him to build a better future for his family.

Ho Yan Ching (Samuel) – I have learned so much

Ho Yan Ching from Hong Kong

Samuel was next to be interviewed. He has a lot figured out for his age. He seems fairly level headed, and able to meld his dreams to fit with his circumstances. He is from Hong Kong and is majoring in Art, with a focus in painting, while minoring in Education. Samuel has been working with the carvers for 1.5 years.

Samuel and his wife Jane, from mainland China, have been married 4 months. He will be graduating in the Winter of 2022.

Samuel has already had some experience in oil painting before arriving at BYUH. He found it very interesting, He decided to choose that course of study along with Art Education because he likes the concept of sharing his skills with others.

A unique opportunity

“Working in the Carving Department has been pretty unique,” Samuel shares. “The staff allows the students to be a part of the process and teaches us to respect our guests and their appreciation in what we create. When I have an opportunity to present to our visitors, I remember that I’m not there to discuss my project. I don’t talk about myself at all. I have the opportunity to share something very important, the Polynesian culture, and how art represents life to them. “

“I enjoy all styles of carving but when I first started, I was given the opportunity to learn the meaning behind many of the Polynesian designs. This became especially important when I started carving weapons. I could know what design was appropriate for each item. I actually enjoy carving smaller pieces. When a guest takes a weapon in their hands, they can feel it. They can wrap their hands around it and feel its weight.  This intimacy helps them to connect with what they are seeing.”

Carving as a career boost

“Carving is really helpful in many career aspects. It assists you in concept planning, helps you visualize what you want to create, and teaches you how to work through a complicated project from start to finish.”

“In the future, I am definitely interested in continuing to paint landscapes. I love how creating atmosphere can show so much more than figure art. It has more freedom. You can draw what you like, change it around as you like. Figure art is more exact, more specific.”

However, I am also impressed with 3D modeling for movies. It is a growing industry, and will only become bigger. “

Applying lessons learned

“I will also keep carving, especially in wood. I think that in Hong Kong I will create smaller scale pieces. I always wanted to try carving, but I had no idea the scale of work and the depth of the process until this job. I have learned so much.”

By giving the opportunity to stretch and experiment with new art forms, Samuel has learned much from other cultures. The skill is in taking those lessons and applying them into his culture and his lifestyle. I think it is impressive how down to earth he is. He knows what will sell in Hong Kong. He knows that his future must include sharing his knowledge with other to be fulfilling. His experience at the Polynesian Cultural Center has helped him to expand both his skills and his connection to the world, and you can tell that he hasn’t wasted that opportunity.

Samuel (Hamiora) Mangakahia – A clearly established vision

Samuel Mangakahia – Australia holds one of his carved guitars (l); a Maori war club – called a wahaika (r) that Sam created in the Carver’s Workshop

I can tell that Samuel (Hamiora) Mangakahia has contemplated not just what his future could look like, but what it should look like. He is clearly interested in quality rather than quantity. Some may even call him a dreamer, but actually, he is a truth seeker.

Sam, from Brisbane, Australia, has been at BYUH and the Polynesian Cultural Center for two years. He is majoring in Graphic Design with a minor in Entrepreneurship and will be graduating this fall. He is single and focusing on the question everyone must be asking him, “what comes next?” He might be struggling with a few details, but his vision is clearly established.

The life I plan to live

After hearing his answers to the typical ‘getting to know you’ question, I started by asking “Why are you combining design and entrepreneurship?.”

“Well”, he explained, “without an entreprenual focus, it’s hard to live a life that a can sustain you. I don’t want to trade my time for money. In that world, the better you are, the busier you get. The busier you get, the more money you make. With that type of success, you soon have to deal with more expenses. To maintain your success, you then start chasing the money. At the end of the day it becomes more of a task than an enjoyment. This is not the life I plan to live.”

“I completed an internship in New Zealand, working with Rangi Kipa. He taught different designs and methods. It is easy to recognize his work. He has a very distinct style, and I really connect to it.”

Simple yet complex

“Maori carving is my favorite art form. Yes, because It is my heritage. But I also find that it involves the most design principles. It is a simple art form, yet it is also very complex. There are intricate patterns but the form tends to be very simple, like the weapons, for instance. Many people focus on the details, but to me it’s the shape that conveys it’s true character.”

“My favorite piece that I have made is a Maori war club – called a wahaika (pictured above).  I also enjoy carving guitars and ukuleles. I have been working on a number of pieces for specific musicians. I try to help each of them share their story; to reflect their history and the things important to them.”

Sometimes people look suspiciously at young adults with dreams – assuming that it’s just a phase. I can’t imagine that will happen with Sam. I think he knows exactly what will make him happy and what would make him miserable. It’s obvious that the senior carvers at the Polynesian Cultural Center have helped him to examine and honor his unique skills and opportunities. It’s going to be exciting to see where his path takes him.

More to come

We hope that you are enjoying our series about the Carvers of the Polynesian Cultural Center. Stay tuned for the next post, which will show you what goes into making the various canoes used throughout the Center.

The Carvers of the Polynesian Center series

#1 – An abundance of blessings

#2 – Fulfilling the Center’s Mission

#3 – Preserving the art of Polynesia

#4 – Carving Polynesian Canoes

#5 – To be announced!

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