This document provides an overview of Hawaiian mythology and legends. It defines key terms like mo'olelo (legend) and ka'ao (folktale). It discusses Hawaiian newspapers and outlines the common structure of myths using the four H's: Hua (the catalyst), Ha Alele' (the separation), Huaka I' (the journey), and Ho I' (the return). It also describes common motifs in Hawaiian myths like hō'ailona (omens), sole survivors, and recognition tokens. Birth, death, and rebirth are also important motifs as well as place names having deep significance.
2. TERMINOLOGYTERMINOLOGY
KAKAʻʻAOAO
Fanciful story or tale; usually fictionFanciful story or tale; usually fiction
An embellished moAn embellished moʻʻoleloolelo
MOMOʻʻOLELOOLELO
LegendLegend
Historical in natureHistorical in nature
DocumentationDocumentation
MOʻOKAʻAOMOʻOKAʻAO
FolktaleFolktale
MELEMELE
Chant/song form of kaChant/song form of kaʻʻao or meleao or mele
More poetic in natureMore poetic in nature
3. NĀ NŪPEPA HAWAI`INĀ NŪPEPA HAWAI`I
Hawaiian NewspapersHawaiian Newspapers
Ka Lama Hawai`i (studentKa Lama Hawai`i (student
newspaper) printed onnewspaper) printed on
February 14, 1834February 14, 1834
Ke Kumu Hawai`i (1Ke Kumu Hawai`i (1stst
regularly published )later thatregularly published )later that
yearyear
Ka Hōkū o ka Pākīpika: 1Ka Hōkū o ka Pākīpika: 1stst
newspaper established by anewspaper established by a
Native HawaiianNative Hawaiian
4. HAWAIIAN MYTHS &HAWAIIAN MYTHS &
LEGENDSLEGENDS
Distinction between kaDistinction between kaʻʻao as fiction andao as fiction and
momoʻʻolelo as fact would lie in the intention ofolelo as fact would lie in the intention of
the story. Kathe story. Kaʻʻao are composed to tickle theao are composed to tickle the
fancy versus mofancy versus moʻʻolelo, which are composed toolelo, which are composed to
inform the mind as to supposed events.inform the mind as to supposed events.
Hawaiian legends and myths occupy anHawaiian legends and myths occupy an
important place in both the history of theimportant place in both the history of the
islands and in the understanding of Hawaiianislands and in the understanding of Hawaiian
culture today.culture today.
5. 4 H’s of Myth
Hua
(The Catalyst)
Ha aleleʻ
(The Separation)
Huaka iʻ
(The Journey)
Ho iʻ
(The Return)
6. HUA:
The Catalyst
Hua: egg, seed or
result, effect
The call to adventure.
The person, thing or
event that launches the
entire myth. It is the
thing that causes the
journey to happen.
7. HA ALELE:ʻ
The Separation
Ha alele: to leave, abandon, or evacuateʻ
The point at which the main character
separates from the community and embarks on
the journey
It means leaving the familiar landscape or the
environment in which one is comfortable into
an unknown realm where the rules and limits
are unknown
8. HUAKA I:ʻ
The Journey
Huaka`i: a journey, a mission,
to travel
The main character often
undergoes a series of tests,
tasks, ordeals or challenges
that he/she is required to
accomplish as part of the
adventure
Experiences and lessons are
learned that leads us to our
ancient selves
9. HUAKA IʻHUAKA Iʻ
Typified by a trail or path
If the path is steep, it often alludes to
difficulties
The main character may meet up
with a mentor
Mentor: people you meet along the
way who assist you such as an old
lady/man, talking animals, fairy
godmother, relatives, etc.
Everything and everyone in a
journey are necessary for growth
10. HUAKA IʻHUAKA Iʻ
The journey is often times violent andThe journey is often times violent and
graphic in image.graphic in image.
It is here in the huaka`i that the mo`oIt is here in the huaka`i that the mo`o
(water spirits) are killed while(water spirits) are killed while
journeying through the forest or thejourneying through the forest or the
manō (sharks) are slaughtered beforemanō (sharks) are slaughtered before
treading through the ocean, from onetreading through the ocean, from one
shore to the next.shore to the next.
It is here that the main character isIt is here that the main character is
introduced to their internal demonsintroduced to their internal demons
and monsters that are transposed onand monsters that are transposed on
the landscape of his/her journey.the landscape of his/her journey.
11. THE CROSSROADTHE CROSSROAD
It is at this point thatIt is at this point that
the main characterthe main character
confronts the final legconfronts the final leg
of the ritual…..of the ritual…..
Do I return to society?Do I return to society?
Do I leave society?Do I leave society?
This leads us to……..This leads us to……..
12. HO I:ʻ
The Return Ho i: a return, to go back, to come back, toʻ
leave with the intention of returning back to
where you first came
After answering the call to adventure and
meeting its trials, the main character must
return and integrate back into the community
The main character returns to the ordinary world
with an item or awareness that will benefit the
society left earlier
The main character returns to tell his/her story and
to serve as inspiration for others who have not yet
answered their call
13. DIFFERENT FACETS TODIFFERENT FACETS TO
CONSIDER IN HAWAIIANCONSIDER IN HAWAIIAN
MYTHS & LEGENDSMYTHS & LEGENDS
Historical ElementsHistorical Elements
Documentation of Place NamesDocumentation of Place Names
Names have a lot of mana (spiritual power/force). They areNames have a lot of mana (spiritual power/force). They are
incorporated into myths/legends/mele for a reason.incorporated into myths/legends/mele for a reason.
11stst
hula, important events, etc.hula, important events, etc.
Biographical ElementsBiographical Elements
Gods, goddesses, deities, etc.Gods, goddesses, deities, etc.
Characters of the storyCharacters of the story
The meaning of people’s names often have a lot of manaThe meaning of people’s names often have a lot of mana
and can add insight into the characterand can add insight into the character
14. DIFFERENT FACETS TODIFFERENT FACETS TO
CONSIDER IN HAWAIIANCONSIDER IN HAWAIIAN
MYTHS & LEGENDSMYTHS & LEGENDS
Cultural ElementsCultural Elements
Culture of familyCulture of family
Social protocolSocial protocol
Oli (chants)Oli (chants)
Social orderSocial order
MedicineMedicine
Arts and craftsArts and crafts
15. COMMON MOTIFS INCOMMON MOTIFS IN
HAWAIIAN MYTHOLOGYHAWAIIAN MYTHOLOGY
HōHōʻʻailonaailona
Omens or predictions within a storyOmens or predictions within a story
A prophecy of what is to comeA prophecy of what is to come
Names of characters or place names often provideNames of characters or place names often provide
insight into the characters’ attributes, personalityinsight into the characters’ attributes, personality
and/or the plot of the story.and/or the plot of the story.
ie: Wailuku is the name of a river in Hilo. Wailukuie: Wailuku is the name of a river in Hilo. Wailuku
literally means “destructive water,” so it gives you an idealiterally means “destructive water,” so it gives you an idea
of the kind of river it isof the kind of river it is
16. COMMON MOTIFS INCOMMON MOTIFS IN
HAWAIIAN MYTHOLOGYHAWAIIAN MYTHOLOGY
Sole SurvivorSole Survivor
The remaining survivor who is left behind to tell the storyThe remaining survivor who is left behind to tell the story
or report what happened to othersor report what happened to others
Recognition TokenRecognition Token
Magical things of power belonging to certain peopleMagical things of power belonging to certain people
Special items given by a chief to a mistressSpecial items given by a chief to a mistress
The items are often given with the instructions that any child bornThe items are often given with the instructions that any child born
of the affair is to present them to the chief to gain recognition thatof the affair is to present them to the chief to gain recognition that
he is his childhe is his child
Typical items include things that are worn, such as malo, lei, capes,Typical items include things that are worn, such as malo, lei, capes,
etc.etc.
17. COMMON MOTIFS INCOMMON MOTIFS IN
HAWAIIAN MYTHOLOGYHAWAIIAN MYTHOLOGY
Birth/Death/Rebirth
Mo`okū`auhau, or genealogy, is very important to
the Hawaiian people. Most myths & legends begin
with some form of genealogy
In mythology, births may be supernatural
Rebirth - To experience another existence such
as the changing from one life form to another
Reincarnation (animal, live being)
Transformation (stones, cliff heads)
18. DON’T FORGET………DON’T FORGET………
The images of myth speak directly to a personThe images of myth speak directly to a person
with a unique message.with a unique message.
What the myth and its symbols mean to oneWhat the myth and its symbols mean to one
person, may be different from another person.person, may be different from another person.
It may even mean something different to theIt may even mean something different to the
same person at a different time in their life.same person at a different time in their life.
Myths can always be revisited and somethingMyths can always be revisited and something
new can always be learned from them!new can always be learned from them!
Hinweis der Redaktion
Traditionally stories were passed down orally and these stories were memorized in such great detail.
Stories were memorized so well that when printing was introduced to Hawaiʻi, these stories were included. The first newspaper, Ka Lama Hawaiʻi was printed at Lahainaluna School on Maui as a student newspaper. This same year saw the birth of the first regular published newspaper, Ke Kumu Hawaiʻi. 27 years later J.K. Kaunamano published the first newspaper by a Hawaiian, Ka Hoku o Ka Pakipika. Among its editors was King David Kalākaua. These newspapers served well as a medium for both the missionaries to teach Christian principles and Hawaiians to preserve their stories.
For example, in the case of Pele, she and her sister Namakaokaha`I fights, and she flees for her life. In the case of Disney’s Mulan, her father cannot go to war, so she does. The hero usually starts off in a mundane situation of normality from which some information is received that acts as a call to head off into the unknown Some people refuse the call to adventure and thus, are destined to mediocre lives of survival and convention Those who accept the call to adventure may do so alone or with assistance Often receives supernatural aid in the form of a protective figure that provide special tools and advice for the adventure ahead
This begins the separation of what was and what will become. It is the death of one understanding and the birth of another. Note that this ha`alele doesnʻt always have to be a physical one.
The huakaʻI is the longest part of the story. Here is where the story unfolds. It is here where strengths are honed to ward off the deepest and cruelest fears that whisper against oneʻs efforts and reasons to continue the journey
The final battle is waged and there is death. The death of old perspectives of life and living are killed to make room for sacred realities to alight. The birth of new reality is established on the death of an old perspective. This mythic death is sometimes communicated in the symbol of the death or resurrection motif - of swimming to the bottom of the ocean and returning up to the surface or working oneʻs way out of the darkness of a cave and into the light. This is the huakaʻi
The return is the struggle of reintegrating back into society and all of its human limitations after experiencing the journey that liberated the journeyer into profound potential. At this point, the decision to come back and integrate or turn away into the setting sun and escape from societal internment is waged 0- the final battle one might say The person returning to society is a hero. This person has ventured into the depths of haunted forests, beyond the traditional horizons of society, and has returned home profoundly changed because of it. This hero becomes the living image of every personʻs secret call to rise and reclaim his/her dormant potential for living in oneness with the greater world. This is the ho`I, or return. Myth is cylical. In myth, the ho`I is the return back to the hua. This return shows the growth and progress that the myth has taken by readdressing the hua.