Kapa svartvinbärsbuskar
Note : Dr. The old people said that in the very long ago their ancestors did not have anything like the kapa cloth which has been known for many centuries. They said also that there kapa svartvinbärsbuskar no kapa maoli, meaning that there was nothing in nature which provided clothing or covering. Very little reference is made in the legends to the use of skins as clothing, although the dog and pig were brought with chickens by their early ancestors.
IX – THE LEGENDARY ORIGIN OF KAPA
The clothing of the oldest time was sometimes made by tying dried banana leaves around the body, and coverings were made by throwing dry banana leaves over the body. Thus Kawelo was warmed and brought back to life, according to one of the most famous legends of the island Kauai. The long, fragrant leaves of the ti plant were dried, soaked in kapa svartvinbärsbuskar until soft, the outside scraped off, then fastened together by braiding or tying.
In this way a very warm cloak was made and worn by bird-catchers. They found it very good for shedding rain and keeping out cold when they went into the mountains. Sometimes the long leaves of the Lau-hala were thatched into covering for the body as well as for the house. So also grass was braided into very fine cloaks as well as into mats.
Banana leaves hanging in strips like a fringe were used for malos loin cloths for men, and pa-us skirts for women. For many generations the Hawaiians made most beautiful and costly feather garments. They braided or wove a foundation mesh of very fine vegetable fibres, such as the long threads of the ieie vine. In the legend of Makuakaumana the gods Ka-ne and Kanaloa are represented as feeling pity for one of their worshippers when they saw him shivering in a fierce storm of cold rain; therefore they taught him how to make a kihei, or shoulder cape.
Presumably the Hawaiian method of pounding the adhesive bark of certain trees until that bark becomes a pulpy mass and then making it into sheets and drying it was used in Samoa and many other islands of the Pacific Ocean and also even in Mexico hundreds of years ago. Kapa svartvinbärsbuskar the Hawaiian brought the art with him or learned it from the sea rovers of about the tenth century.
Nevertheless, the Hawaiian legend of the origin of kapa is a myth well worth keeping on record in Hawaiian literature. It was partly published in a native paper, the Kuokoainbut many references in other legends printed about the same time fill out the story.
KAPA – prvi slovenski božični film
B ack of Honolulu a beautiful kapa svartvinbärsbuskar rises in a gentle slope between two rugged, precipitous ranges of lava mountains until it reaches cloudland and drinks ceaselessly from the fountains of the sky. A stream of laughing water rising from waterfalls blown into spray by swift winds rushes and leaps in numberless cascades through pleasant groves down this valley of restful shadows until it is lost in the coral reefs of an iridescent sea.
This was the valley supposed to have been the first habitation of the gods, from which all life spread over the island group. Here at Pu-iwa, by the side of the running water, a farmer by the name of Maikoha lived with his daughters, having no care except raising whatever food they needed for themselves and for their tribute to the king and their offerings to the gods.
Years passed by and Maikoha became weak and ill. The eepa people of the upper valley had always sent driving rains and cold winds down the valley, and Maikoha had cared little for them; but the old man at last went into the days of death feeling a chill which struck to his very heart. A tree will grow from that burial-place. This tree will be to you for kapa, from kapa svartvinbärsbuskar you will make all things good for clothing as well as covering when you sleep or are ill.
The bark of this tree is the part you will use.
Att beskära vinbärsbuskar
After a time a tree grew from the grave. The daughters saw that it was a new tree such as they had never seen before. It was not tall and large, but threw out a number of small, spreading branches. This was the wauke tree. They believed it was a gift from the aumakua, the ghost-god, into which they supposed the spirit of their father had been changed. Reverently they touched the tree, broke off some of the branches, stripped off the bark, and pounded and pounded until the pieces were fastened together in a rude kind of cloth.
Wherever they cut or broke the branches of this new tree the broken pieces took root, or, if the fragments were caught by the swift-flowing stream, they were tossed on the bank or carried and scattered over the plain, and wherever they went they found a place to plant themselves until they grew even to the sea. Branches were carried to the other islands; thus the wauke became a blessing to all the people.
When they planted the wauke branches, or shoots, prayers and incantations and sacrifices were offered to Maikoha. Before branches were cut and placed in bundles to be carried to a field set apart for kapa-making, the favor of Maikoha was again sought. One of the daughters of Maikoha, whose name was Lau-hu-iki, became the aumakua of all those who pounded the prepared bark, for to her was given the power of finding kapa in the bark of the wauke-tree, and she had the power of teaching how to pound as well as bless the labor of kapa svartvinbärsbuskar who worshipped her.
She was also able to teach those who worshipped her to mark figures or patterns on the pounded kapa. Thus Maikoha and his daughters became the chief gods of the kapa-makers; but other ancestral gods were also found from time kapa svartvinbärsbuskar time as some new step was taken in perfecting the art. Ehu, a man, was made the aumakua of kapa-dyers because he learned how to dip the cloth in dyes and give it color.
He discovered the red dye in the blood of the kukui 5 tree; therefore prayers were offered to him and sacrifices laid on his altar when the kapa-maker desired to color some of the work.