Wehewehe Wikiwiki Hawaiian language dictionaries

n.v., To ride horseback while wearing the sarong known as pāʻū; a pāʻū rider.

n., A pāʻū festooned with leaf or ferns tied about; a sarong made of such leaves.

• Examples:
  • Nā wāhine kīheihei, pāʻū heihei a uka (PH 170), women with shawls, leaf-draped sarongs of the uplands.

Principal garment of Hawaiian females, consisting of a number of kapa, generally five, wound around the waist and reaching the knees. (A.) Skirt worn by women horseback riders. (PE.) pāʻū heihei. Pāʻū festooned with leaves or ferns; a sarong made of leaves.

1. Reduplication of wehi; festive.

• Related:
  • hoʻowehiwehi Caus/sim.; Reduplication of hoʻowehi.
• References:
  • Cf. wewehi.
  • PCP wefiwefi, wesiwesi.

2. n., Type of pāʻū.

1. nvi., Race, as foot race, canoe race, horse race; to race.

• Examples:
  • He kanaka ikaika e heihei ana (Hal. 19.5), a strong man running a race.
• Related:
  • hoʻoheihei Caus/sim.; To run swiftly, take part in a race, pretend to race, cause to race.

2. Reduplication of hei #1, hei #2, hei #3; to festoon, drape.

• Related:
  • hoʻoheihei Caus/sim.; To ensnare, entrap; to mend, as a net or wire fence.
• References:
  • Cf. pāʻū heihei.

3. vt., To enthrall, enchant.

• Examples:
  • Noho ʻoia mehe mea lā ua heihei ʻia, he sat like one entranced; enchanted; in a daze.
• Related:
  • hoʻoheihei Caus/sim.; to fascinate, flirt; to ward off possible sorcery by imitating the gestures of the kahuna.

1. nvs., Nest, gathering place, shelter, hive; to nest. Figuratively, home.

• Examples:
  • Pūnana ka manu i Haili, the bird nests at Haili.
  • E make auaneʻi au i loko a kuʻu pūnana (Ioba 29.18); I shall die within my nest.
  • He aikāne, he pūnana na ke onaona, a friend is a nest of fragrance.
• Related:
  • hoʻopūnana Caus/sim.; To make a nest, to settle in a nest or over young; to sit on eggs, as a hen; to take shelter.
    • Hoʻopūnana ka manaʻo, to set the mind on, plan, focus attention on.

2. n., A variety of sweet potato.

3. n., A process of making women's pāʻū; white tapa.

vt., To stir with a circular motion of the hand; to wind around, creep around, as a vine; to gird around, as a pāʻū sarong; to brace with a paddle.

1. Reduplication of hei #1, to entangle.

2. n., Type of pāʻū (no data).

1. nvi. Scaly appearance of the skin, as resulting from excessive kava drinking; to scale thus. (PCP ma(f,s)unga.)

2. n. Fine scented tapa dyed with noni bark, made under strict taboo and reserved for chiefs; used for the best pāʻū (sarongs) on Hawaiʻi. (FS 253.)

3. Var. of māhune 2.

4. n. A variety of taro.

1. Same as pāpiopio, a fish.

• References:
  • PCP papio .

2. vt., Pressed down, flat, especially of a woman's pāʻū, skirt; furled, as a flag, or as the makahiki banner; to hold flat; to tuck under, as a hen with chicks; sideways.

• Examples:
  • Noho pāpio, to sit properly with knees together and feet to one side, of women.
  • Pāpio i ka palekoki, to hold the skirt flat down [as in a strong wind].
  • Kamalopāpio (name), the malo [-flap] held down.

vs. Round and swirling, as a full skirt or pāʻū with many folds. Also pōheheo. Cf. heo 1.

See pāʻū halakā.

vs.

1. Weak; of dim vision, as of an aged person.

2. Short and skimpy, as a skirt or pāʻū. Rare.

vi. To billow or flutter out, as a dancer's skirt. Cf. wehe, open. Ua ʻike lihi aku nei au i ka lawe kōwehe a ka pāʻū (song), I have just glimpsed the fluttering skirt.

1. Pas/imp. of kūlō, long waiting or enduring. Kuʻu hoa kūlōlia, my companion of long years.

2. vs. Of changed appearance, as of plants in different seasons (Kep. 89); grief-stricken, said to apply particularly to a mourner who wears a malo or pāʻū of the deceased about his neck as an expression of grief: he is breaking a taboo and has “changed” (loli).

1. vs., United in one; in accord and agreement.

2. vs., Girded in malo or pāʻū tightly fastened with a single hitch.

See pāʻū #1.

n. Type of pāʻū (no data).

n. Type of pāʻū (no data).

n. Line holding in place the canoe pāʻū, cover.

Reduplication of kīhei; to wear a kīhei.

• References:
  • See ex., pāʻū heihei.

Pas/imp. of luʻu. hoʻo.luʻua Pas/imp. of hoʻoluʻu. Pāʻū noʻenoʻe i hoʻoluʻua, dyed printed skirts.

n. White tapa used for making pāʻū.

Womanʻs garment worn in early times, colored with ʻōlena or turmeric; a pāʻū, wrap-around skirt.

Short malo; girded in malo or pāʻū fastened with a single hitch.

To tuck in the pāʻū.

pāʻū colored yellow; a kind of yellow kapa.

Pāʻū festooned with leaves or ferns; a sarong made of leaves.

Temporary hut or shelter from the sun for beating kapa; white kapa used for a pāʻū; a heap of worthless kapa.

Pāʻū or kapa dyed yellow with the root of the ʻalena (turmeric).

Red kapa, either a malo or pāʻū. (A.) Striped; of two col- ors of the same width and lying parallel, as in a kapa. (PE.)

White kapa used to make a pāʻū.

Kapa or pāʻū colored yellow. See ʻōlena, turmeric.

Ancient garment, the pāʻū, colored with the yellow of the ʻōlena.

To tuck in the outer edge of the pāʻū to fasten it.

In Hawaiʻi most kapa was made from the bark of the shrub wauke, the paper mulberry (Broussonetia papyrifera, also called poʻaʻaha), and from the bark of a small native tree, māmaki (Pipturus albidus). The bark was peeled from the stems after they had been cut and brought to the village from the wauke plantations. The stems might have been 6 feet long and 3 inches thick. The bark was soaked until wali (soft) and pipili (sticky). The process was called kīkoni. The outer bark was stripped or scraped off with a shell or bone scraper. The inner cortex was beaten on a kua kuku (wooden anvil), a log about 6 feet long with a wide groove on the underside to allow it to stand firmly. This hollowness gave a reverberating sound (ʻouʻou) to the iʻi kuku (kapa mallet) that formerly could be heard through all the waking hours. The sprinkling of coloring on the kapa and beating it, (kuku kapa paʻipaʻi) was the work of the women. All worked zealously, from the queen down to the country commoner. A house (hale kua) was set apart for this work in every Hawaiian settlement. Besides the wauke and mamaki, bark from a small native shrub, an endemic raspberry (ākala, Rubus Hawaiʻiensis); a low fern, maʻaloa (Neraudia melastomaefolia); and from the breadfruit, ʻulu (Artocarpus altilis) could also be used. A peculiar variety of wauke is grown at Palilua, Hawaiʻi, called kūloli. This bark when soaked is called pulu ʻoloa; when colored prior to pounding, it is called kuhili. The beating process is kūpalu. Other names for it are ʻukē, pūkē, and koʻele. The joining of the slips is called paku or hoai. Lena means to stretch the kapa; mōhala, to spread it out to dry and bleach. The kapa mallet is called hohoa kūaʻu or iʻe kuku; the first word applies to the first part of the pounding (hoa) or to beating kapa on a stone to soften or smooth it. The mallets are made of kauila (Alphitoma excelsa), the buckthorn tree; or from kōpiko (Straussia sp.), a small coffee-like tree. Mallets are about 18 inches long, 2 inches square, with one end rounded for a handle. Each pattern on the mallet constitutes a kind of watermark, each of which had its own name. A collection of squeezes of the patterns can give an idea of their variety (see Peter Buck, Arts and Crafts, pp. 195201). Kapa was marked in many patterns with black or other kinds of dyes, impressed upon the kapa by slips of bamboo about half an inch wide, and 12 inches long. Each slip had its pattern at one end and bore a specific name. Collections of these bamboo markers, such as lapa, ʻohe kākau, ʻohe kāpala, and so on, can be seen in the Bishop Museum, assembled by number and name along with exhibits of mallets. This process of stamping (palapala, palapalani), gave Hawaiians their word for printed books and documents. The Bible is called Palapala Hemolele; the dye container is called pahu palapala. Kapa was also dyed with hili, a general name for coloring matter obtained from the bark of trees, or with kohu, a stain from the saps and juices of plants. Waihoʻoluʻu is the general name for dyes; the process of dipping is called kupenupenu; paniʻonìʻo means to paint with gay colors; mawale refers to the fading colors of a kapa; mahiehie is to dye with color-fast dyes. The various sources of dye include ʻalaʻala wai nui, small succulent herbs (Peperomia spp.); ʻaweʻa or weʻa, a red dye and hill kolea, a black dye; hill kōlea, hili ʻahi, and holei, a trio of plants whose barks yield a yellow dye. Additionally, there is maʻo, a small velvety shrub belonging to the mallow family (Malvaceae), which supplies a green dye; nāʻū, a yellow gardenia (Gardenia remyi), whose fruit pulp was used for tinting kapa yellow; noni, Indian mulberry (Morinda citrifolia), whose roots supply yellow and red dyes; and ʻohiʻaʻai bark, mountain apple (Eugenia malaccensis), used to color kapa brown. Others include paʻihi, a weed (Nasturtium sarmentosum), used for a black dye; ʻōlena, turmeric (Curcuma longa), used to color kapa yellow; and waiʻele, a black dye. Nao is a streak or ridge made in felting. Kapa was sometimes varnished with a variety of gums to make it waterproof and to preserve the colors. ʻAʻahu is a general name for clothing. A malo is a strip of kapa girded about menʻs loins. The ʻgirding” process is called hume. The pāʻū is a waistcloth or skirt for women. Generally five fold, it reaches to the knees and is fastened by tucking in (ʻōmau) one corner. Kapa was folded (ʻopi) by doubling over the colored side, leaving the white exposed. Pieces were stacked in an orderly pile and made into a bundle (pūʻolo) or a roll (kūkaʻa). Forty pieces of kapa were called ʻiako, a word used in evidence of a personʻs wealth. Lau huki was the god worshiped by the women who beat out the kapa; Laʻahana was the patron deity of the women who printed kapa cloth. (MALO 82.) Haʻi haʻina kolo was a forestdwelling goddess of kapa makers.

The kilohana, the outside and best of the pāʻū kapa and usually with the best design(s). Fig., something rather remarkable in appearance.

Outside kapa of a pāʻū, which was the best in material and design; a top bedcover.