Short Introduction to Lauhala Weaving (ʻUlana)

Weaving is so much more than just twisting and combining different materials. It is also a symbol of connecting ideas, people, places, and things. ʻUlana gives the weaver a sense of identity and can make them feel like they have a strong foundation.

This isn’t just a craft but is seen to be a worldview and lifestyle. For many weavers, ulana is used as a way to reflect upon our history, kupuna, and our own lives. They are taught to understand the intricacies of their resources, the material itself, and the setting and mindset in which they must weave/work. These little things, when it all comes together, affect the finished product.

It is a form of expressing oneself culturally in a deeply felt act that has spiritual dimensions. In other words "if you’re feeling tired or upset, put down the lau hala and walk away. You can see the changes … If you’re feeling angry and try pulling real tight, you can see it." If you want the quality of your work to be good, your mind also has to be in a good disposition.

Hawaii State Archives. Call Number: PP-33-7-001

"In the early 1900s the art of lau hala weaving flourished well into the nineteenth century but began to ebb toward the last quarter of the century due to a number of factors associated with the influences of a growing non-Hawaiian population and practices. The convenience of such newer technology-savvy materials that were easier to maintain and upkeep were favored by people and the knowledge of traditional practices slowly dwindled within the community."

(ʻIke Ulana Lau Hala: The Vitality and Vibrancy of Lau Hala Weaving Traditions in Hawaiʻi)

Even though some artists still rely on weaving as a source of income, it is getting harder and harder to make a living off of their craft. As the market and demands for weaved goods changes so do the goods. Basket weavers can sometimes create work that seems far removed from their culture in order to please consumers. However, weavers believe that adapting to consumers is what their ancestors would have done if they were in the same situation.

Instead of being an essential material used for fundamental things, it became an accessory that accompanied modern fashion in forms such as earrings, bracelets, hats/headwear, and phone cases.

Today, learning and teaching practices and traditions help to empower native people and boost their worth and confidence in who they are.

The weavers that were left, learn to combine old knowledge with new trends that help to preserve the wisdom of our ancestors.

"With each passing generation of kūpuna, the `ike of Kanaka Maoli ʻNational treassuresʻ are diminishing"

(Gwen Mokihana Kamisugi, 2005)

Sadly there are still very few people who are really able to teach the tradition of ulana. Knowledge about the materials and tools that are used, stories, mele (songs), dances, patterns/designs, and the language that connects this art to the culture has slowly become lost overtime.

The challenge of collecting materials for this tradition has also become an increasingly prevalent problem today. Weaving depends on the access and availability of its resources.

In Maui, for example, invasive bugs and animals have infested many of the existing Hala groves left. Bugs eat away at the leaf, leaving holes and tears. Thus negating the halaʻs useful qualities. Whereas human encroachment and development destroy other groves with buldings taking the place of where the hala once grew.

The very few existing hala plants are usually located on private properties which make make it inaccessible to weavers and Kumu Ulanas. And while some hala palms grow along the roadside, they often become darkened and pockmarked by the pollution caused by cars.

As a result, a lot of the work available for sale have been created with imported varieties of hala.