The refrain of this poetic tribute celebrates the Koa‘e ~the tropicbird that resides high up on the face of the sheer cliffs of our island seashore. Riding the push of air as it brushes against the steep precipice reveal the Koa‘e’s ability to access such heights and thus, the proverbial saying “Ka pali lele a koa‘e,” “The cliff where tropicbirds fly,” an honorific for a high chief or those we hold in high esteem.
The sight of Koa‘e leisurely flying over the ocean informs us that the weather is clear and all is well. As the Koa‘e gracefully soars above, its remarkable wing span and tail leaves one in awe of its beauty. Such was the honest portrayal of Manaola as he personified the splendor of the Koa‘e while making his way out on to the Queen Lili‘uokalani Keiki Hula stage in 1997. Garnering the distinguished title of Master Keiki Hula, Manaola, in true Hawaiian fashion, eulogizes the ingenuity of the renowned hula masters responsible for sharing this hula with him. This ingenerational transfer of cultural brilliance has materialized into a pattern that contours the impressive silhouette of the Koa‘e, ultimately representing the royal elegance of nobility.
Native birds like the Koa‘e is said to be the messengers of the divine and when they are in flight they are likened to messages sent on the wisp of the wind. Manaola takes flight with a message to our present, to ultimately soar and diligently pursue the height of our full potential.
KOA’E
“E koa‘e ē, e koa‘e ē
Noho mai ‘oe i ke alo pali ē
Kīkaha ē, kīkaha
Hiehie ‘oe i ka‘u ‘ike ē”
“Koa‘e, koa‘e
You reside on the face of the cliff
Soar, soar
You are so elegant to behold”
The refrain of this poetic tribute celebrates the Koa‘e ~the tropicbird that resides high up on the face of the sheer cliffs of our island seashore. Riding the push of air as it brushes against the steep precipice reveal the Koa‘e’s ability to access such heights and thus, the proverbial saying “Ka pali lele a koa‘e,” “The cliff where tropicbirds fly,” an honorific for a high chief or those we hold in high esteem.
The sight of Koa‘e leisurely flying over the ocean informs us that the weather is clear and all is well. As the Koa‘e gracefully soars above, its remarkable wing span and tail leaves one in awe of its beauty. Such was the honest portrayal of Manaola as he personified the splendor of the Koa‘e while making his way out on to the Queen Lili‘uokalani Keiki Hula stage in 1997. Garnering the distinguished title of Master Keiki Hula, Manaola, in true Hawaiian fashion, eulogizes the ingenuity of the renowned hula masters responsible for sharing this hula with him. This ingenerational transfer of cultural brilliance has materialized into a pattern that contours the impressive silhouette of the Koa‘e, ultimately representing the royal elegance of nobility.
Native birds like the Koa‘e is said to be the messengers of the divine and when they are in flight they are likened to messages sent on the wisp of the wind. Manaola takes flight with a message to our present, to ultimately soar and diligently pursue the height of our full potential.
ULUHALA
“Huli aku nānā i ka ulu hala Behold the hala grove
E kau mai ana lā i luna Placed in high regard
Me kona nani uluwehiwehi With its lush beauty
Mohala ana i kona lau As its leaves unfold“
The term Ulu means to grow and Hala refers to the pandanus tree. The Uluhala or the forest grove of hala trees is very important to our people: the a‘ahala (aerial roots) are used for medicine; the kīhala (fruit keys) for lei and paint brushes for kapa designs; and the pollen from the hīnano (male flower) as an irresistible aphrodisiac. The most noted use however, is that of the lauhala (hala leaves).The skill of Ulana (weaving or plaiting) is a prominent art form practiced all throughout Polynesia. Clothing, mats, sails, baskets, hats, hand-held fans and many other items of necessity were intricately woven, sometimes with exquisite designs using different shades of leaves from various locales.
Ulu is also the term for inspiration and is often chanted in ancient prayers to invigorate an awaken sense of spiritual awareness. Therefore, Uluhala is the ignition of an internal impulse of desire that comes when working with the master hala weavers of old ~for Manaola it was with the matriarchal genius of his ‘ohana and the faithful stewardship of the beloved Malu‘ihi Lee. Manaola spent countless hours weaving lauhala in the presence of these elders, and all the while, they were weaving ancient wisdom into the very fabric of his being, further anchoring his fashion consciousness.
Hala is often associated with the misconception of the negative connotation to “pass-away.” However, the more traditional understanding of Hala that was shared with Manaola is that of a more positive perspective. The ongoing Ulu or flourishing of the Hala, reassures our people that the cultural practices associated with its use, from base to leaves, will continue to be “passed- on,” as opposed to “pass-away.”
Manaola’s Uluhala pattern celebrates this inspiration of native intelligence staunchly guarded by cultural exponents who have since passed-away and honors the dedicated hearts of future practitioners who will continue to pass it on.
ULUHALA
“Huli aku nānā i ka ulu hala Behold the hala grove
E kau mai ana lā i luna Placed in high regard
Me kona nani uluwehiwehi With its lush beauty
Mohala ana i kona lau As its leaves unfold“
The term Ulu means to grow and Hala refers to the pandanus tree. The Uluhala or the forest grove of hala trees is very important to our people: the a‘ahala (aerial roots) are used for medicine; the kīhala (fruit keys) for lei and paint brushes for kapa designs; and the pollen from the hīnano (male flower) as an irresistible aphrodisiac. The most noted use however, is that of the lauhala (hala leaves).The skill of Ulana (weaving or plaiting) is a prominent art form practiced all throughout Polynesia. Clothing, mats, sails, baskets, hats, hand-held fans and many other items of necessity were intricately woven, sometimes with exquisite designs using different shades of leaves from various locales.
Ulu is also the term for inspiration and is often chanted in ancient prayers to invigorate an awaken sense of spiritual awareness. Therefore, Uluhala is the ignition of an internal impulse of desire that comes when working with the master hala weavers of old ~for Manaola it was with the matriarchal genius of his ‘ohana and the faithful stewardship of the beloved Malu‘ihi Lee. Manaola spent countless hours weaving lauhala in the presence of these elders, and all the while, they were weaving ancient wisdom into the very fabric of his being, further anchoring his fashion consciousness.
Hala is often associated with the misconception of the negative connotation to “pass-away.” However, the more traditional understanding of Hala that was shared with Manaola is that of a more positive perspective. The ongoing Ulu or flourishing of the Hala, reassures our people that the cultural practices associated with its use, from base to leaves, will continue to be “passed- on,” as opposed to “pass-away.”
Manaola’s Uluhala pattern celebrates this inspiration of native intelligence staunchly guarded by cultural exponents who have since passed-away and honors the dedicated hearts of future practitioners who will continue to pass it on.
NĀALI’I
“Ke aka kapu o NĀALI‘I”
The genesis of our existence at the very moment of conception is what our Kūpuna referred to as the “Aka,” the nucleus of our familial genetic make-up. When a person stands between the rays of light and a surface, his body casts unto the floor what is also called an “Aka,” or a shadow of his very likeness. Therefore, historically, the “Aka” of a chief was a reflection of his ancestral divinity, and thus, respected as truly sacred.
Manaola’s fashion intuition is not only informed by the ‘unseen,’ it is also inspired by what is ‘not seen’ in the physical but by that which he experiences through a spiritual lens. This depiction of ke aka kapu o “NĀALI‘I” or the sacred shadow of the succession of “RULING CHIEFS,” is a tribute to the eminence of his paternal heritage and details repetitive representations of the positive and negative poise of Hawaiian royalty. It is an homage to the grandeur of warrior chiefs standing in all their regalia embodying the symbolic significance of their illustrious ornamental culture. The royal insignia of the mahi‘ole (feather helmet), ‘ahu‘ula (feather cape) and the niho palaoa (whale-tooth pendant) illuminated an ali‘i’s wealth, authority, and power and legitimized his divine right to rule. NĀALI‘I is our noble past encouraging our hopeful present to embrace the empowerment of our royal lineages to shoulder the innate leadership roles that serve the greater community.
NĀALI’I
“Ke aka kapu o NĀALI‘I”
The genesis of our existence at the very moment of conception is what our Kūpuna referred to as the “Aka,” the nucleus of our familial genetic make-up. When a person stands between the rays of light and a surface, his body casts unto the floor what is also called an “Aka,” or a shadow of his very likeness. Therefore, historically, the “Aka” of a chief was a reflection of his ancestral divinity, and thus, respected as truly sacred.
Manaola’s fashion intuition is not only informed by the ‘unseen,’ it is also inspired by what is ‘not seen’ in the physical but by that which he experiences through a spiritual lens. This depiction of ke aka kapu o “NĀALI‘I” or the sacred shadow of the succession of “RULING CHIEFS,” is a tribute to the eminence of his paternal heritage and details repetitive representations of the positive and negative poise of Hawaiian royalty. It is an homage to the grandeur of warrior chiefs standing in all their regalia embodying the symbolic significance of their illustrious ornamental culture. The royal insignia of the mahi‘ole (feather helmet), ‘ahu‘ula (feather cape) and the niho palaoa (whale-tooth pendant) illuminated an ali‘i’s wealth, authority, and power and legitimized his divine right to rule. NĀALI‘I is our noble past encouraging our hopeful present to embrace the empowerment of our royal lineages to shoulder the innate leadership roles that serve the greater community.
HONUAMEA
E ō Pele Honuamea
Ke kumu o ke ahi o Hulinu‘u
Nei ka leo o ka pōhaku
Kawewe ka ua maka o Kauwila
Nakeke akula i ka mole o ka honua
“The land resounds as her life force pulsates, roaring through the foundation of the earth’s core…” She is “Honuamea” … “Sacred Earth.” Manaola returns to his familial grounding to an ancestral consciousness rooted in the foundation herself, “Pele-honuamea ~ Pele in her land creation form,” and fashions this homage reflective of the mana she inherits from her mother Haumea, the matrilineal divine of possibilities. Thus, a design of circular patterns representative of the chemistry she receives in her chromosones honorific of the female cosmos, along with geometric depictions of volcanic activity detailing the movement in her magmatic force to create new land.
Manaola looks through a traditional lens at what is often presumed as cataclysmic, and conceptualizes this heirloom engaged by a Hawaiian world view that venerates the cyclical nature of our home environment, in that “There is never a definitive ending. There are only the beginning and ending of cycles.” Therefore, as she vents through the earth’s mantle to create new land, Manaola too bursts through the common crust of wearable art to produce this mantle of fashion to shoulder creation. Honuamea is the assurance that with the creation of new land is the promise of new foundations and its global potential for classic innovation.
HONUAMEA
E ō Pele Honuamea
Ke kumu o ke ahi o Hulinu‘u
Nei ka leo o ka pōhaku
Kawewe ka ua maka o Kauwila
Nakeke akula i ka mole o ka honua
“The land resounds as her life force pulsates, roaring through the foundation of the earth’s core…” She is “Honuamea” … “Sacred Earth.” Manaola returns to his familial grounding to an ancestral consciousness rooted in the foundation herself, “Pele-honuamea ~ Pele in her land creation form,” and fashions this homage reflective of the mana she inherits from her mother Haumea, the matrilineal divine of possibilities. Thus, a design of circular patterns representative of the chemistry she receives in her chromosones honorific of the female cosmos, along with geometric depictions of volcanic activity detailing the movement in her magmatic force to create new land.
Manaola looks through a traditional lens at what is often presumed as cataclysmic, and conceptualizes this heirloom engaged by a Hawaiian world view that venerates the cyclical nature of our home environment, in that “There is never a definitive ending. There are only the beginning and ending of cycles.” Therefore, as she vents through the earth’s mantle to create new land, Manaola too bursts through the common crust of wearable art to produce this mantle of fashion to shoulder creation. Honuamea is the assurance that with the creation of new land is the promise of new foundations and its global potential for classic innovation.
HAUMEA
“o Haumea ka wahine hānau kupanaha a hānau wawā”
Haumea the woman of miraculous and tumultuous births
From the goddess Poʻele, who is the endless womb of night, to the reproductive cycles of our natural world, the Loina Wahine or female principals have always stood supreme in native creation stories as the portal of all creation and holders of sacred space.
Designer Manaola pays tribute to life and creation by honoring the divine feminine, the great ancestress of fertility and childbirth, Haumea. Her name Haumea references Hānaumea or she who gives birth. As a divine embodiment of the sacred feminine she is known as the mother of many elemental gods and goddesses to whom were born from different parts of her body. Haumea’s notorious child is that of Pele, the goddess of fire and volcanic activity. Her powers of miraculous birthing allows her to take many forms as she re-emerges through different periods of our mythology. In her land creation form she is also referred to as Mother Earth Papa, or Papahānaumoku “Papa the birther of lands”. Papa alongside Wakea, the Sky Father, is known as the progenitorʻs of the Hawaiian islands and race connecting us back to the land and stars. In Hawaiian thought, women are the physical embodiment of Haumea as they are the gatekeepers of life and represent earth itself laying the foundation of our world and our cosmos.
Manaola’s carved patterns represent the divine portal of creation. The repetitive rows show the long matrilineal succession who have carried the legacy of life through generations. Manaola intends this motif to honor the goddess and bring forth the energy of creation and re-birth in all aspects of our lives.
HAUMEA
“o Haumea ka wahine hānau kupanaha a hānau wawā”
Haumea the woman of miraculous and tumultuous births
From the goddess Poʻele, who is the endless womb of night, to the reproductive cycles of our natural world, the Loina Wahine or female principals have always stood supreme in native creation stories as the portal of all creation and holders of sacred space.
Designer Manaola pays tribute to life and creation by honoring the divine feminine, the great ancestress of fertility and childbirth, Haumea. Her name Haumea references Hānaumea or she who gives birth. As a divine embodiment of the sacred feminine she is known as the mother of many elemental gods and goddesses to whom were born from different parts of her body. Haumea’s notorious child is that of Pele, the goddess of fire and volcanic activity. Her powers of miraculous birthing allows her to take many forms as she re-emerges through different periods of our mythology. In her land creation form she is also referred to as Mother Earth Papa, or Papahānaumoku “Papa the birther of lands”. Papa alongside Wakea, the Sky Father, is known as the progenitorʻs of the Hawaiian islands and race connecting us back to the land and stars. In Hawaiian thought, women are the physical embodiment of Haumea as they are the gatekeepers of life and represent earth itself laying the foundation of our world and our cosmos.
Manaola’s carved patterns represent the divine portal of creation. The repetitive rows show the long matrilineal succession who have carried the legacy of life through generations. Manaola intends this motif to honor the goddess and bring forth the energy of creation and re-birth in all aspects of our lives.
PALAPALAI RANDOM
Designer Manaola depicts the beautiful silhouette of delicate forest ferns in a set of artistic compositions.
Childhood memories of gathering Palapalai ferns in the mountains are a familial tradition still carried on today. Manaola recalls traveling to the misty uplands with his family to acquire Palapalai ferns early in the morning dew. It is these cherished times shared that have set the base of inspiration for Manaola’s hand drawn illustrations.
Palapalai ferns are prized among Hula dancers as an embodiment of Laka the goddess of Hula (Dance). Their soft segmented leaves can be found in shady areas at the base of native forests. In cultural practice, the fronds of the Palapalai were fashioned into lei (garlands) and placed on the altar of the goddess Laka to invoke the spirit of the dance to enter and bring forth inspiration. Lei are made by carefully plating these delicate ferns together in a braided manner and worn by the Hula dancer. It is believed that the use of these adornments assimilate the likeness of the leaf bodies in the forest. As the Palapalai move gracefully in the slightest of winds, so does the dancer move with the elemental movements of nature.
Traditional songs and dances refer to their dainty character and fine palp that gathers moisture from the mist and rain. Thus the Palapalai pattern embodies the lush verdure of the forest realm and the vivacious spirit of the water cycles that sustain abundant growth. It is the thriving qualities of the wildwood that are honored by this native leaf body and continue to inspire natural movement as we dance through everyday life. It is Manaola’s wish that this artistic piece captures the beauty of the forest realm, bringing nature’s inspiration to the modern world.
PALAPALAI RANDOM
Designer Manaola depicts the beautiful silhouette of delicate forest ferns in a set of artistic compositions.
Childhood memories of gathering Palapalai ferns in the mountains are a familial tradition still carried on today. Manaola recalls traveling to the misty uplands with his family to acquire Palapalai ferns early in the morning dew. It is these cherished times shared that have set the base of inspiration for Manaola’s hand drawn illustrations.
Palapalai ferns are prized among Hula dancers as an embodiment of Laka the goddess of Hula (Dance). Their soft segmented leaves can be found in shady areas at the base of native forests. In cultural practice, the fronds of the Palapalai were fashioned into lei (garlands) and placed on the altar of the goddess Laka to invoke the spirit of the dance to enter and bring forth inspiration. Lei are made by carefully plating these delicate ferns together in a braided manner and worn by the Hula dancer. It is believed that the use of these adornments assimilate the likeness of the leaf bodies in the forest. As the Palapalai move gracefully in the slightest of winds, so does the dancer move with the elemental movements of nature.
Traditional songs and dances refer to their dainty character and fine palp that gathers moisture from the mist and rain. Thus the Palapalai pattern embodies the lush verdure of the forest realm and the vivacious spirit of the water cycles that sustain abundant growth. It is the thriving qualities of the wildwood that are honored by this native leaf body and continue to inspire natural movement as we dance through everyday life. It is Manaola’s wish that this artistic piece captures the beauty of the forest realm, bringing nature’s inspiration to the modern world.
PALAPALAI ABSTRACT
Designer Manaola depicts the beautiful silhouette of delicate forest ferns in a set of artistic compositions.
Childhood memories of gathering Palapalai ferns in the mountains are a familial tradition still carried on today. Manaola recalls traveling to the misty uplands with his family to acquire Palapalai ferns early in the morning dew. It is these cherished times shared that have set the base of inspiration for Manaola’s hand drawn illustrations.
Palapalai ferns are prized among Hula dancers as an embodiment of Laka the goddess of Hula (Dance). Their soft segmented leaves can be found in shady areas at the base of native forests. In cultural practice, the fronds of the Palapalai were fashioned into lei (garlands) and placed on the altar of the goddess Laka to invoke the spirit of the dance to enter and bring forth inspiration. Lei are made by carefully plating these delicate ferns together in a braided manner and worn by the Hula dancer. It is believed that the use of these adornments assimilate the likeness of the leaf bodies in the forest. As the Palapalai move gracefully in the slightest of winds, so does the dancer move with the elemental movements of nature.
Traditional songs and dances refer to their dainty character and fine palp that gathers moisture from the mist and rain. Thus the Palapalai pattern embodies the lush verdure of the forest realm and the vivacious spirit of the water cycles that sustain abundant growth. It is the thriving qualities of the wildwood that are honored by this native leaf body and continue to inspire natural movement as we dance through everyday life. It is Manaola’s wish that this artistic piece captures the beauty of the forest realm, bringing nature’s inspiration to the modern world.
Manaolaʻs Palapalai Abstract motif draws a parallel between re-imagined Hawaiian floral silhouettes and modern art. Contemporary geometric shapes represent the angles of sunlight and shade as the sun shines through the branches of the forest canopy. It is the heat of the Sun that pushes the moisture through its vaporous cycles causing a thriving environment for life to flourish.
PALAPALAI ABSTRACT
Designer Manaola depicts the beautiful silhouette of delicate forest ferns in a set of artistic compositions.
Childhood memories of gathering Palapalai ferns in the mountains are a familial tradition still carried on today. Manaola recalls traveling to the misty uplands with his family to acquire Palapalai ferns early in the morning dew. It is these cherished times shared that have set the base of inspiration for Manaola’s hand drawn illustrations.
Palapalai ferns are prized among Hula dancers as an embodiment of Laka the goddess of Hula (Dance). Their soft segmented leaves can be found in shady areas at the base of native forests. In cultural practice, the fronds of the Palapalai were fashioned into lei (garlands) and placed on the altar of the goddess Laka to invoke the spirit of the dance to enter and bring forth inspiration. Lei are made by carefully plating these delicate ferns together in a braided manner and worn by the Hula dancer. It is believed that the use of these adornments assimilate the likeness of the leaf bodies in the forest. As the Palapalai move gracefully in the slightest of winds, so does the dancer move with the elemental movements of nature.
Traditional songs and dances refer to their dainty character and fine palp that gathers moisture from the mist and rain. Thus the Palapalai pattern embodies the lush verdure of the forest realm and the vivacious spirit of the water cycles that sustain abundant growth. It is the thriving qualities of the wildwood that are honored by this native leaf body and continue to inspire natural movement as we dance through everyday life. It is Manaola’s wish that this artistic piece captures the beauty of the forest realm, bringing nature’s inspiration to the modern world.
Manaolaʻs Palapalai Abstract motif draws a parallel between re-imagined Hawaiian floral silhouettes and modern art. Contemporary geometric shapes represent the angles of sunlight and shade as the sun shines through the branches of the forest canopy. It is the heat of the Sun that pushes the moisture through its vaporous cycles causing a thriving environment for life to flourish.
PĀLULU
The Pālulu Print is an ode to the patterns of protection found in the natural world. Traditionally, the leaves and stalks of the Mai`a (Banana) were cut diagonally and used as stamps. Intricate symmetrical designs resembling crescent moons were printed in rows creating an ocean of repetitive motifs. The pattern then transforms into a new inspiration and meaning. Pālulu means a shield of protection. As Designer Manaola printed he began to see the scales of the i`a (fish) and the feathers of the manu (birds) unfold across the art piece. Scales and feathers protect the winged and oceanic creatures of the elemental nations. Scales will change in color to deflect and distract while feathers shield in wind and rain. They are diverse in brightness and size and are beautiful to the sight. The intention of this pattern is to serve as a symbol of protection for whoever is called to adorn in this natural motif, shaped by the earth and reimagined into `a`ahu (adornments) that will continue to be a reminder of beauty in strength.
PĀLULU
The Pālulu Print is an ode to the patterns of protection found in the natural world. Traditionally, the leaves and stalks of the Mai`a (Banana) were cut diagonally and used as stamps. Intricate symmetrical designs resembling crescent moons were printed in rows creating an ocean of repetitive motifs. The pattern then transforms into a new inspiration and meaning. Pālulu means a shield of protection. As Designer Manaola printed he began to see the scales of the i`a (fish) and the feathers of the manu (birds) unfold across the art piece. Scales and feathers protect the winged and oceanic creatures of the elemental nations. Scales will change in color to deflect and distract while feathers shield in wind and rain. They are diverse in brightness and size and are beautiful to the sight. The intention of this pattern is to serve as a symbol of protection for whoever is called to adorn in this natural motif, shaped by the earth and reimagined into `a`ahu (adornments) that will continue to be a reminder of beauty in strength.
