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Later, foreign visitors looked upon the volcanic scene, which for them often conjured images
<br /> of hell, fire and brimstone. Westerners used names like"Devil's Kitchen" and "Devil's Throat" to
<br /> describe the landscape. Interestingly, there was a common theme that both Hawaiians and
<br /> westerners shared: The volcanic and geologic phenomenon are the manifestations of divine
<br /> creation and intervention.
<br /> The integrated and inclusive Hawaiian world-view of the honua ola (biocultural environment-
<br /> landscape), causes problems, of course, for the western approach to managing lands,
<br /> resources, and describing boundaries. The tidy little "dot on the map" makes it easy to
<br /> dissociate less-tangible parts of the landscape—the beliefs, customary practices, living culture,
<br /> traditions and access—from the larger part of the landscape. In words familiar to those who
<br /> engage in traditional cultural properties studies, these other facets of the landscape are
<br /> "contributing features" of a larger biocuitural landscape that is comprised of both tangible and
<br /> intangible cultural assets.'
<br /> The traditional Hawaiian world view acknowledges the relationship between akua (gods),
<br /> 'aina (land), kai (ocean), the creative forces of nature, kanaka `aiwi (native people), the animate
<br /> and inanimate, and the tangible and intangible. Thus, in this study, we seek to incorporate
<br /> traditions and historical narratives beyond the"dot on the map." This, in turn, provides us some
<br /> background for understanding and appreciating the cultural context of the rich Hawaiian world-
<br /> view, and what is known as "cultural attachment."
<br /> Mo`olelo in historical documents, and kama'aina knowledge—documented through oral
<br /> history interviews—provide thousands of descriptions of the traditional cultural significance of
<br /> the `aina within the boundaries of Hawaii Volcanoes National Park (and beyond). In addition to
<br /> mo`otelo, many expressions of the generational cultural attachment of Hawaiians to wahi pana
<br /> are found in association with a wide range of mele, oli and kau (sacred chants and prayers) hula
<br /> (dances) and kanikau (chants of lamentation), all of which commemorate the mana (spiritual
<br /> affiliation) shared between Hawaiians, their goddesses/gods, and place. A part of our work over
<br /> the last fifty-plus years has been the collection, review and translation of tens of thousands of
<br /> early Hawaiian language texts. Among these are thousands of accounts which call upon Pele,
<br /> identify wahi pana, and describe forms of the volcanic phenomena. Sayings that honor Pete,f5
<br /> giving her names, and describing the phenomena which are attributed to her and her family
<br /> include, but are not limited to:
<br /> Pele Honuamea Pele, of the Red/Sacred Earth
<br /> Pele, ka wahine 'ai honua Pele, the woman who consumes the earth
<br /> Peie, ka wahine `ai la'au 'o Puna Pele, the woman who consumes the
<br /> forests of Puna
<br /> Pe"e, ka wahine 'ai pohaku Pele, the woman who consumes stones
<br /> Pete, ka wahine ha'a i ke kula Pele, the woman who dances on the plains
<br /> Pe;e, ka wahine o ka lua Pele. the woman of the crater
<br /> Poetical sayings, which describe noted places on the Pele Honuamea landscape include,
<br /> but are not limited to:
<br /> 14 For background, see National Register Bulletin 36 (Little. et al., 2000) and National Register Bulletin
<br /> 38 (Parker&King. 1990).
<br /> 15 These names or epithets for Pete, are among those found throughout Hawaiian literature of the last
<br /> two hundred years.
<br /> Draft-Ethnohistorical Study of`Aina within Hawai`i Volcanoes National Park
<br /> Kumu Pono Associates LLC(working draft ver.November t4,2022) 4
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