Ka Wai Ola - Office of Hawaiian Affairs, Volume 4, Number 5, 1 May 1987 — Makaku [ARTICLE+ILLUSTRATION]

Makaku

By Rocky Ka'iouliokahihikolo 'Ehu Jensen

What is HawaiianArt?

Editor's Note: The following is taken from a presentation by the writer to Dr. Franklin Odo and the board of directors of the State Foundation on Culture and the Arts on April 2, asking that body to "halanee the scale more euen/y"in relation to natiue Hawaiian artists. Dr. Odo is chairman ofthe board. What is Hawaiian Art? In light of the lowly status held by native artists in this highly manipulative world of art, it is important for me to fully explain exactly what Hawaiian Art is. If we are to advance into the mainstream arena, many of those involved with the artistic establishments, such as the SFCA, NEA, HUMANITIES, and the newly developed FOLK ARTS, need this complex area defined. In the past, on/y my people created both "high art", Ka Hana No'eau o Ka Lani and "low art" Na Hana Lima o Ka Honua. Today, many non-native artists piek, at random, from both the Heavenly arts and the Earthly ones and mimie the creation of our ancient imagery without consideration of source. Because of this innocent encroachment, the issue of Hawaiian Art must be addressed. It becomes an eeonomieal imperative. Our "high art" included all artistic pieces involving conceptual, ceremonial, ancestral and some decorative art. Its creation was exclusive to the very highest artisans of the land. Their physical talent and mental prowess were woven in harmony to create an artifact that represented and often housed the spirit of a cherished Ancestor. T oday , our imagery is copied unmercifully . It is regurgited, adulterated and more often by commercialiy oriented non-natives. One ean then easily understand the confusion. Even Hawaiians ask what is Hawaiian Art? The primary ingredient lacking in most modern day creations of our imagery is the philosophical and esoteric essence of my ancient people. The knowledge of this philosophy, the belief in this philosophy, the execution of art under the influence of this philosophy, eontributes to the creation of Hawaiian Art. Let me briefly take you through a few of the many steps I take when I create a work of art. I choose my pieces carefully, whatever medium I might be using at the time: wood, stone, paper, canvas. If I decide to take a pieee of wood from the forest, I create my ritual of asking permission to remove and then I replace with my offering of gratitude. Then I wait, study the pieee, meditate on its projected imagery, eommunicate with my ancestor until a design materializes — until I am shown the proper essence in vision form. I usually create under the strictest of kapu, with prayers and incantations. When I am carving, I collect all of the sawdust and chips for private disposal at the end of eaeh working day. Upon completion of my art, I endow the pieee with its proper visionary identity. It then becomes a true representation of the spirit of my people. I've successfully recalled a famous ancestor. This is Hawaiian Art. In order to create this unique form, you must know our history, our traditions, our philosophy, our religion and most importantly, you musf descend from the Fixed Ancestor, the Akua Kumupa'a of our past. Creating with only a portion of this ingredient disqualifies the object and the artist. Art, to my people, was a written expression of our spiritual and philosophical world. Our

basic philosophy is etched on every ancient creation. So, in order to create this unique form, you must be totally in tune with that spiritual world. If not, we are left with a work of art that is only a shell, a visual illusion of what isreal. We did not and I do not create art for art's sake. I create to perpetuate the memory of my people, to perpetuate their knowledge and our spirit. This is an integral part of our survival. So, this is the difference between a Pegge Hopper and a Maiki Honda; a Susan Hansen and a Kahekiliuila Lagunero; a George Allen and a Leialoha Kanahele Iversen and a Sean Brown and a Rocky K. Jensen. It is all art, yes! And, mueh of it is very good art — but for a more definitive perspective, one of from the Earth and the other from the Heavens. Keeping this in mind, ean you now understand how important it is to perpetuate, not only our art form, but our ritua! of creation?

Our method of execution and objects of art must be perpetuated alongside the other forms in order for our philosophy to survive. It is only justifiable that we, too, be given the opportunity to allow our art to live and our careers to flourish. Because we are no longer caretakers of our artistic destiny, it becomes in part, this board's moral obligation to secure an eeonomieal position for the native artist and his art. We need commissions and more acquisitions. In the 15 years that I've been a professional artist, I've only received two purchase awards and those eame from the Pries regime. I've never received a commission. The SFCA has made a total of 10 acquisitions from 12 years of Hale Naua III exhibits. I suggest that the board look into this oversight and balanee the scale more evenly.

This koa wood sculpture is named Kahekilinui'ahumanu. It is one of Rocky Jensen's many works whieh ean be seen at McDona!d's Restaurant in Waiiuku, Maui. This work is from the McDonald's collection.