WAIKĪKĪ

The south shore of Oʻahu is home to Waikīkī, one of the worldsʻ most famous beaches. The name Waikīkī translates to ʻspouting watersʻ in English, because of the many streams that flowed from mauka to makai. Ahupua’a are subdivisions of land from mauka to makai (mountain to sea). The ahupuaʻa of Waikīkī is much bigger than the area we currently consider Waikīkī. It extended from Kewalo to Kuliʻouʻou. There are three main streams within the ahupuaʻa, providing fresh water for the loʻi kalo and loko iʻa. These streams are called ‘Apuakēhau, Pi‘inaio, and Ku‘ekaunahi (Feeser and Chan 2006). The land between these streams was called Waikolu, meaning three waters. Those streams not only fed agriculture on the land, but created estuaries where limu and fish were thriving and encouraged diversity in marine life. The loʻi kalo created the perfect environment for native birds and wildlife. Although development has impeded the flow of these three streams, they periodically resurface reminding us metaphorically that the ahupuaʻa of Waikīkī still exists, despite the drastic changes we see today. 

The fragrant līpōa of Kawehewehe (ʻōlelo noʻeau #2255)

The līpoa seaweed of Waikīkī, especially at Kawehewehe, was so fragrant that one could smell it while standing on the shore. Often mentioned in songs about Waikīkī (Pūkui 1983).

Along with development comes environmental degredation, and erosion was found to be above all other threats Waikīkī is facing (Francis et. al. 2019). Erosion is a constant threat to Waikīkī, because it is a largely engineered coastline, consisting of a man-made beach fronting dense waterfront development. Soon after construction of the first marine structures in the 1910s, seawalls were found to be causing erosion. A prohibition was implemented but largely ignored, and by the 1920s seawalls were in place along most of the beach (Miller and Fletcher, 2003). The most common erosion mitigation strategy we see is bringing in sand, or dredging. This sand is either coming from offshore or inland sources, but it requires a lot of funding and maintenance. Dredging has taken place to construct the Ala Wai canal, as well.

The construction of the Ala Wai canal took place in 1921, being completed by 1928. The completion of the Ala Wai canal drained the remaining living waters of Waikīkī leaving it suitable for the development soon to take place. Losing these estuaries meant losing the habitat for many different native flora and fauna as well, especially fish like ʻoʻopu. Nowadays the high concentration of nutrients algal blooms in the Ala Wai makes it inhospitable to most plants and animals. Ala Wai Although development has impeded the flow of these three streams, they periodically resurface reminding us metaphorically that the ahupuaʻa of Waikīkī still exists, despite the drastic changes we see today. 

Waikīkī has been known for its surfing even before Duke Kahanamoku popularized the sport. Heʻe nalu was a way for kānaka maoli to celebrate life. Everyone from peasants to aliʻi participated, although you could distinguish who was who by what type of board they were riding, and which breaks they were surfing at. It wasn't until Olympic champion Duke Kahanamoku spread they joy of surfing all over the world after winning a gold medal in the early 1900ʻs that surfing gained global momentum. The popularization of surfing paired with the development of Waikīkī made way for a big surge in tourism.

The rolling surf of Kalehuawehe. (ʻōlelo noʻeau #1493)

Ka-lehua-wehe (Take-off-the-lehua) was Waikīkī’s most famous surf. It was so named when a legendary hero took off his lei of lehua blossoms and gave it to the wife of the ruling chief, with whom he was surfing (Pukui 1983).

Let the youth of Mānoa go home, for it is evening (ʻōlelo noʻeau #285)

Refers to the youth of Mānoa who used to ride the surf at Kalehuawehe in Waikīkī. The surfboards were shared among several people who would take turns using them. Those who finished first often suggested going home early, even though it might not be evening, to avoid carrying the boards to the hālau where they were stored. Later the expression was used for anyone who went off to avoid work (Pukui 1983).

Kū is a guardian for earth. He is the akua of war, farming, wetlands, fishing, prosperity. Kū has many kinolau, including the animal forms of manō, ʻio, iuhi,ʻ Īlio, moa, and iʻa ʻula. In the plant world, he is believed to embody the forms of ʻieʻie vine, ʻōhiʻa lehua flower, ʻulu, niu (only the coconut tree trunk), and noni fruit (Beckwith 1970). In Waikīkī, Kū was the protector of the loʻi kalo and fishponds. Kūkāilimoku, snatcher of lands, was a nomenclature of Kū. Kamehameha I would make offerings to Kūkāilimoku at the Papaʻeneʻena heiau.

It is said that Hiʻiaka, goddess of hula and her sister Pele, goddess of volcanoes and fire briefly settled on Lēʻahi after being expelled by their older sister, Nāmakaokahaʻi. Lēʻahi, translates to ʻforehead of the ahiʻ. Itʻs the name Hiʻiaka gave to the pyroclastic volcano we now call ʻDiamond Headʻ, because of its resemblance to the fish. the Papaʻeneʻena heiau was built on the western slope of Lēʻahi. It was likely built in 1783 by Kahekili as part of a victory celebration following conquest of Oʻahu. After Kamehameha I becomes in charge, there were regular sacrifices and offerings at the heiau. Besides war purposes, Papaʻenaʻena was also used as a means of empowering chiefs and giving surfers guidance and mana. Because Papaʻenaʻena overlooked what is now known as First Break, a kite was used to notify kānaka of days with good surfing conditions (Feeser 2006).

Kāne and Kanaloa are described in legend as cultivators, awa drinkers, and water finders, who migrated from Kahiki and traveled about the islands. They represent the light and the dark, ke ao a me ka pō. Kāne is the father of living creatures, an akua of light, freshwater, and the forces of nature that give us breath. In one of his many forms, Kānehoalani is god of the sun. Fish altars are set up to Kāneko‘a along streams to increase the catch of ʻoʻopu fish, which used to thrive in the fishponds of Waikīkī. Kanaloa is mysterious, encompassing the darkness and salinity of the ocean. The nature of Waikikiʻs environment is an embodiment of Kāne and Kanaloa, where the fresh water meets the sea.

"ka honua nui a Kāne i hō‘inana a ‘ahu kīnohinohi."

The great earth animated and adorned by Kāne. (ʻōlelo noʻeau #1316)

Kāne was the god of fresh water and life (Pūkui 1983).