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Check out this Presentation designed by Katie Watanabe.

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Check out this Spiral Notebook designed by Katie Watanabe.

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Use the find feature to see how many times Lauʻī is mentioned.

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Kūʻula
Kumulipo & Puke Noʻeau
Prepared By The

Edith Kanakaʻole Foundation

Liko ka liko i ka ua

©2003

INTRODUCTION
The KUMULPO Traditional Hawaiian Philosophy
The KUMULIPO is a mele koʻihonua (genealogical chant). It is a remembrance from the lipo (dark depth) of our deep past to the lipo of our unknown future It heralds existence from dawn to dawn or the numerous beginnings and endings. The Kumulipo acknowledges the walewale as the earthy matter from which all forms have ascended. The fundamental images, thoughts, forms and shapes from walewale evolved and increased into familial patterns. It is the organic inception of all family systems.

The KUMULIPO articulates and reveals the connections of the sky and earth, the earth and ocean, the ocean and land, the land and man, man and gods and returns again to repeat the interrelationship of all things is an everlasting continuum, it is Ponahakeola, the chaotic whirlwind of life.

The KUMULIPO echoes the complexities and details of the Hawaiian thought process. His skillful observation and examination brought understanding and respect to everything in his world. He realized that the powers for growth and bounty were the basic universal elements. The moon cycle was the principle motivator of the earth. It generated extreme movements of the ocean, and caused the eyes of the land and sea to bloom and it dictated the time for earth to commence or rest from production. The sun and rain were the penetrating nourishing forces into the earth. The wind, ocean currents and rivers provided mobility for things and objects incapable of movement. The Hawaiian and all other natural forms of his world were the beneficiaries of this primal cadence and flow with the rhythm of the universe

The KUMULIPO maintains the theme of survival, urgency for life and reservation of all species with procreation and evolution as the sinew. The dualistic nature of this chant supports this theme. The dichotomy of land-ocean pairing strengthened the notion for procreation and survival of the species. The drama of manipulation between Wākea, sky-father and Papa, earth mother, is the ultimate example of procreation and regeneration The assimilation with the taro child, the folding in of many generations of forms of Haumea and Hina, with their multiple nature forms continue the episode of preservation evolution and survival.

The KUMULIPO is the reality of our dim past, the foundation for our present and the pathway into the future. It is a cognizant reminder of our ancestors, their intelligence, failure, defeat and conquest. This chant is a gift which encourages the warrior within us to awake to the contests and challenges, which continue to confront us today, by using ancestral intelligence and experiences with our own intelligence It is the genealogy which connects the Native Hawaiian to land, sky and ocean.
Pualani Kanakaʻole Kanahele The PUKE NOʻEAU
There is no doubt about where our kuleana lies, it is told to us by our Kupuna. The order is explained in the direct words of our ancestors through the Kumulipo. The wa ʻakahi and ʻalua indoctrinates the rights, and responsibilities of those of the sea to generations that follow. We take our lead from them and therefore have no excuse for ignorance, no excuse for reef deterioration no excuse for fish depletion. The Puke Noʻeau is an appendix to the Kūʻula curriculum, which in itself is a guide to the Kumulipo.

The Pule Hoʻolaʻa Aliʻi He Kumulipo No Kaʻiʻimamao A Iā Alapaʻi Wahine

The Pule Hoʻolaʻa Aliʻi He Kumulipo No Kaʻiʻimamao A Iā Alapaʻi Wahine

Keonaona Kapuni-Reynolds
Maʻalaea, Maui, Hawaiʻi
20/X/01

Kalā Mossman
Laehala, Keaukaha, Hawaiʻi VI/01

Kuulei Higashi
Laehala, Keaukaha, Hawaiʻi 00

Kuulei Higashi
Laehala, Keaukaha, Hawaiʻi 00

Keonaona Kapuni-Reynolds
Maʻalaea, Maui, Hawaiʻi
20/X/01

Kuulei Higashi
Laehala, Keaukaha, Hawaiʻi
14/IX/00

Ka Pōʻaiapuni Ola

1. Ma nā mahina ʻo Iune a i ʻAukake, hoʻomaka ka weliweli e hoʻokuʻu i ka hua a me ke keakea. Hoʻomākaukau ke kāne a me ka wahine i nā pono a lāua, a hoʻokuʻu i ia mau mea i loko o ke kai. Ma nā au kai, hui pū nā hua a me nā keakea, a lana aʻe e like hoʻi me ka limu a me nā ʻōulaula.

2. Komo iho ke keakea i loko o ka hua, a penei i hānau ʻia ai ka weliweli keiki. Lana aʻe kēia mau hua i hoʻolūmaua ʻia ma ke kai no 7 a 13 paha pule.

3. Ke hānau mai a puka aku nā weliweli liʻiliʻi, peʻe aku lākou i loko o ka limu, a me nā pōhaku. Ke nui aʻe, hoʻomaka hou ka pōʻaiapuni ola o ka weliweli. Hiki i kēia mau weli ke ola no 8 a ʻoi makahiki.

The Life Cycle

1. In the months from June to August, the sea cucumber starts to release eggs and sperm. They create and store their gametes and release them into the water. In the sea currents the eggs and sperm mix together and float along like the phytoplankton and algae.

2. The sperm enter the eggs ami this is how the weliweli is born. The fertilized eggs float around in the sea for 7 to 13 weeks.

3. Once the small weliweli are born and break out, they immediately hide in the seaweed and rocks. Once they are grown to adult size, the life cycle of the weliweli begins once again. It can live for up to 8 years or more.

Keonaona Kapuni-Reynolds
Waiakea, Hawaiʻi
17/X/02

Keonaona Kapuni-Reynolds
Maʻalaea, Maui, Mawaiʻi
20/IX/01

Keonaona Kapuni-Reynolds
Waiakea, Hawaiʻi
17/X/02

Keonaona Kapuni-Reynolds
Kipuka Puaulu, Hawaiʻi
24/I/01

Kuulei Higashi
Kamokuna, Keaukaha, Hawaiʻi
4/II/00

Kuulei Higashi
Kamokuna, Keaukaha, Hawaiʻi
6/12/01

Mikihala Mahi
Amy Greenwell Botanical Gardens, Kona, Hawaiʻi
15/III/01

Keoki Stender
Haleʻiwa Trench, Oʻahu
http://www.coralreefnetwork.com/stender/
fishes/jacks/jacks.htm

Kaleo Pilago Waiuli, Hawaiʻi 9/X/01

Aia i Molokaʻi Kuʻu ʻiwa Mai loko mai ʻo Silva Doctorate, na Glenn Kalena Silva

Aia i Molokaʻi kuʻu ʻiwa,
I ka laʻi wale o Kalaupapa,
E pāpāʻōlelo kāua,
ʻOiai ka manaʻo i ʻaneʻi,
ʻO ke kū a moku Hoʻoniki,
He ʻiniki welawela kā ia ala,
A laʻa ko kū i ke aʻu,
Ka iʻa lele ma ka moana,
ʻAkahi au a ʻike make,
I nei mea maikaʻi he aloha,
Hāʻina ʻia mai ka puana,
Aia i Molokaʻi kuʻu ʻiwa.
He kuʻi Molokaʻi.

Aia i Molokaʻi Kuʻu ʻiwa From Silva Doctorate, by Glenn Kalena Silva

In Molokaʻi is my ʻiwa bird champion.
In the calm of Kalaupapa.
Let us converse together,
While the thought desire is here.
There stands the island Hoʻoniki,
It can give a burning pinch,
Now you are jabbed by the swordfish,
The fish that leaps in the sea.
At last I am feeling,
This fine thing called love.
This is the end of my chant,
Of my ʻiwa bird, the champion of Molokaʻi.
A kuʻi Molokaʻi.

Keonaona Kapuni-Reynolds Maʻalaea, Maui, Hawaiʻi 20/X/01

Second Epic Pahaha
Seaside Waiʻololī the product of males, Waiʻololā of females
The Pahaha gives birth, it is found in the sea
Guarded by the Pūhala in the Uplands
The night becomes tumultuous
Ranting, fish are sustained by saltwater
The Gods enter, man does not have access

Western Pacific Fishery Management Counscil. 1993. Draft amendment 7 to the Fisher
Management Plan for the pelagic fisheries of the Western Pacific Region: Western
Pacific Regional Fishery Management Council: Honolulu, HI.

Wilcox, Bruce, Guinther, Eric, Duin, Kristin, and Maybaum, Hillary. 1998. "Manual For

Watershed Health and Water Quality (Section 6.6 through 6.8.3.)" Retrieved June 5,
2001 from the World Wide Web:
https://www.denix.osd.mil/denix/Public/Library/Watershed/wqmsec6c.html.

Special Thanks to Iliahi Anthony for providing the artistic renditions included in this work.

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Kūʻula Kumulipo & Puke Noʻeau Prepared By The Edith Kanakaʻole Foundation Liko ka liko i ka ua ©2003 INTRODUCTION The KUMULPO Traditional Hawaiian Philosophy The KUMULIPO is a mele koʻihonua (genealogical chant). It is a remembrance from the lipo (dark depth) of our deep past to the lipo of our unknown future It heralds existence from dawn to dawn or the numerous beginnings and endings.

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NA MEA ʻĀWEʻAWEʻA I KA ʻĀINA: THE FAINT TRACES ON THE LAND — Hawaiʻi Land Trust

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The island we have come to call Maui has had several names over the centuries. In ancient times, as suggested by Hawaiian historian Hainakolo, Maui was known as Kalua, or the two, suggesting the view that voyagers saw as they sailed to their new homeland, as Haleakalā and Pu`u Kukui rose from the se

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Read this article in ʻŌlelo Hawaiʻi
Who are The Four Waters of Maui? Within the song that Alice Nāmakelua wrote, "The Famous Waters," are Waikapū, Wailuku, Waiehu, and Waiheʻe. They are streams and, due to the great volume of water flowing from mountain to sea, the lands surrounding them were fertile and rich for cultivation.

Life was comfortable for the common people of Nā Wai ʻEhā until the land was bought up for sugar production by Claus Spreckles in 1882. Sugar is a "thirsty" plant because to produce a ton of sugar, 4,000 tons of water is needed. It was for this reason that water was greedily siphoned from streams through the closing of the plantations. Even after plantations closed, the diversion of water continued until the courts rectified the problem by returning water to the streams.

Therefore, because the government returned water to the four streams, farmers could restore their loʻi kalo such as Nohoana Farms at Waikapū, the kuleana lands of native farmer, Hōkūao Pelegrino, passed down to him from his ancestors since 1848. At that time of the Kuleana Act, there were more than 1,300 loʻi kalo along Waikapū. It was possibly the primary location on Maui, or perhaps all of Hawaiʻi, for taro production. Another interesting fact about Waikapū is that it is the only stream of Nā Wai ʻEhā that issues forth on the south side of Maui - at Maʻalaea. This stream feeds Keālia pond, a habitat for the Hawaiian stilt, coot, and duck.

Next to Waikapū is Wailuku. This land was bought up by Spreckles and it became his own ʻili kūpono (a land division), a separate land section from the ahupuaʻa (major land division). Due to the sugar company, the name, Wailuku River, was changed to ʻIao. However, Hui o Nā Wai ʻEhā persistently fought to restore the name of Wailuku and the State of Hawaiʻi Board of Geographic Names voted in 2015 to do so.

This Wailuku River passes Pihana and Hale Kiʻi, royal residence of King Kekaulike. At the time that Kamehameha invaded Maui, Keōpūolani was living there with her mother, Kekuʻiapōiwa Liliha, and her grandmother, Kalola. Now, water once again flows past this sacred place and life, like the ʻoʻopu fish, has returned the river.

Kaʻehu Bay is the boundary between Wailuku and Waiehu. There, one finds a habitat for various native birds like the stilt, wandering tattler, ruddy turnstone, and others. The wind of Waiehu is called Hōʻeha ʻIli and the rain is named Līlīlehua. This stream was extremely dry during the plantation era as the water was completely diverted and taken to grow "water greedy" sugar cane.

Waiheʻe is the longest-flowing and greatest water-carrying stream of Maui. The flow emanates from Mount Kahālāwai. Upland of the ahupuaʻa of Waiheʻe is the famous waterfall of song, ʻEleile. It is said by the natives of Waiheʻe, "The tī leaf returning waters of ʻEleile," because if a person threw a tī leaf stalk into the spring, it would sink, rise, and return to its source. There in that spring, families of Waiheʻe would take the piko (navel) of their newborn to be hidden. Now all has been made known.

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Famous are The Four Waters of Maui - Ka Wai Ola

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Who are The Four Waters of Maui? Within the song that Alice Nāmakelua wrote, "The Famous Waters," are Waikapū, Wailuku, Waiehu, and Waiheʻe.

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Kamehameha Song Contest 2024 - Freshman Coed - Ka Wai ʻo ʻEleile

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Tī Cultural Significance (Canoe Plants of Hawaiʻi)

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Tī Cultural Significance (Canoe Plants of Hawaiʻi)

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Ki, the Ti plant, grows abundantly, cultivated and wild, throughout the tropical Pacific and Southeast Asia. It is common from sea level in the lower wetlands, up to the 4,000 foot elevation. Ti is found in shady moist gardens, as a landscaping background plant or as a hedge. The people of Hawai`i plant it around their homes and churches for good luck. In the old days Ki was planted around the lo`i, taro ponds. The botanical or scientific name of this member of the lily family is Cordyline terminalis. It may have originated in tropical Asia and Australia.
Introduced to Hawai`i by the earliest Polynesian settlers, Ki is considered sacred to the Hawai`i god Lono and to the goddess of the hula, Laka. It is also an emblem of high rank and divine power. The Hawai`i feather kahili is said to have been inspired by this plant. The leaves are also worn or carried as protection to ward off so-called evil spirits and to call in good. The kahuna priests wore ti leaves either as lei or as garments when they conducted ancient ceremonial rituals. Ti leaves are still used often today in religious ceremonies conducted by Hawai`i's multi-racial clergy, especially at opening ceremonies to bless new buildings and projects.

The ti's versatile leaves have many uses, including: as wrappings for offerings; for roof thatching; as fly whisks or fans; wrappings for cool food storage, preservation and protection; for wrapping of food to be cooked, especially for laulau; as plates or cups; as fishing lures on hukilau nets; as wearing apparel, such as rain capes, sandals and as hula skirts called pa`u; and, more recently, as feed for cattle and horses. Ti leaves are also decorative; they are braided, twisted or woven into lei for numerous special and celebratory occasions; used as a covering for lu`au tables; and, they provide Hawai`i's tropical flower industry with a wonderful variety of foliage for impressive floral arrangements.

Ti (pronounced tee) has tall, sparingly branched wood stalks 3 to 12 feet high. The tightly spiraled leaf cluster is in a tuft at the top of the ringed stalk. The plant's green leaves are pointed, oval and blade- shaped, about 4 inches wide and vary from 1 to 2 feet long. As new leaves form at the center, the outside older leaves turn yellow and fall, leaving a circular ring on the plant's stalk. The thick, shiny and flexible leaves do not wilt quickly, making them useful for many purposes, some as already mentioned. Varieties of the ti plant have colored foliage and variously shaped leaves, called lauki, la`i, laki or lau`i. Besides the original and sacred green ki, the plant ranges in leaf color from pale white and yellow with green tones, to reds, covering a broad spectrum from pale to pink to a maroon, that appears almost black.

The plant's flower stalk emerges in winter. With the coming of spring, a many-branched drooping cluster of flowers comes into bloom. Its hundreds of tiny half-inch lilac-whitish purple flowers resemble miniature lilies. White or red berries follow the flowering stage, especially in varieties other than the green.

This versatile plant has many medicinal uses, either alone or as a wrapping for other herbs needing to be steamed or boiled. For fever, the entire body of an unclothed prone person was covered from the neck down with large green ti leaves. After the patient sweat and fever was broken, the leaves were removed. Drinks of fresh water were given to the patient during this process, which took several hours. Cool, freshly washed damp green ti leaves, held and wrapped around the forehead and temples, can be helpful in relieving headache and fever. The center of ti, mole ki, is often picked and unfurled for this use. Hot stones are wrapped in ki leaves and used to soothe sore back muscles.

A drink from boiled green ti leaves is used to aid nerve and muscle relaxation. Steam from boiled young shoots and leaves makes an effective decongestant. The pleasantly fragrant flowers are also used for asthma, when prepared with other plants.

A popular use of this plant was in making Okolehao, affectionately called oke, a potent liquor much like a clear brandy. This brew is distilled from a ferment of baked mashed ti root, a practice being renewed in modern times. The root is thick, white and sweet, growing very large in older plants. The baked roots are also an emergency famine food and have been eaten as a confection.

Children of old Hawai`i (and modern times, too) enjoyed sliding down steep grassy slopes on ti leaf sleds, holding onto the stem towards the front. Whistles can also be made from the plant's leaf.

New plants propagate easily from cuttings and grow best where sunlight and moisture are both available. The stem cutting can be planted vertically for one plant, or horizontally for several.

The ki plant is common, we see and recognize it everywhere throughout this Hawai`i Nei. It is common, yet it is very special. It speaks to us of strength and survival, and the abundance of blessings we receive daily here in Hawai`i.

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Ki, the Ti plant, grows abundantly, cultivated and wild, throughout the tropical Pacific and Southeast Asia. It is common from sea level in the lower wetlands, up to the 4,000 foot elevation. Ti is found in shady moist gardens, as a landscaping background plant or as a hedge.

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Haumāna can spend a week making lei like kupeʻe (wristlet/anklet), lei lāʻī, lei poʻo, and roses for different people and purposes.

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Haumāna can grow different varieties of tī leaf in their māla or in the classroom. You could also take them on a huakaʻi to a store in their community that sell tī leaf so they can choose one to grow and determine what is needed to grow it. Reference the CTAHR article for tips on growing tī indoors and outdoors.

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Have everyone write down one example of something that can done with tī leaf on a piece of paper. After all the papers are collected and put into a hat, haumāna will play charades and act them out. For example, acting out wrapping up laulau.

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Haumāna can cook with Tī leaf and see how it is the original foil.

Recipes:

Baked Moi

Instant Pot Laulau

Suman (Filipino Dessert)

Curry Chicken

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If you are planning to visit wahi pana in your area (ex. heiau), haumāna can create hoʻokupu with items grown in their māla and wrap it in tī leaf.

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Haumāna can learn about how to make a pū lāʻī (tī leaf whistle). They can try to whistle songs and have people guess.

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This month's homegrown feature was prepared with the assistance of Nona Beamer of Kamehameha Schools, Bishop Museum ethnomusicologist Betty Tatar, whose essays on ancient Hawaiian instruments are in Hawaiian Music and Musicians: An Illustrated History. The illustration is by Martin Charlot.

There are three kinds of Hawaiian whistle-the ipo hōkiokio, or gourd whistle; the pū lā ī or ti leaf whistle; and the oe-oe, or puoa, or bull-roarer. The first of these was used in ancient times to communicate a person's love for another. The other two were used most often-but not exclusively-as toys for children. All are quite simple to make.
[ Gourd Whistle ]
The ipu hōkiokio, sometimes called the ipu hoehoe or puʻa, is generally made from a small pear-shaped gourd, although some have been made from a kamani seed. Like the bamboo flute, the gourd whistle is played by closing one nostril and blowing across the nose hole in the gourd with the other while controlling the sound by finger holes.

The usual number of finger holes were three, but one instrument was found with two, all holes arranged according to the maker's wishes. The nose hole is located at the narrow or stalk end of the gourd.

The technique of blowing is the same used for the nose flute. The ipu hōkiokio produces two pitches approximately a half-tone apart. Although Helen Roberts claimed the simplicity of the instrument was the cause for a monotonous whistling sound, another source reports a "pleasant" tone quality. Keola and Kapono Beamer, two of the few contemporary entertainers who use the instrument, give evidence that correct use produces a "correct" sound.

The gourd whistle has been called a lover's whistle for it is said to have been used by lovers to entertain each other, therefore are sometimes called "he mea hoʻoipoipo", or "a thing for making love."

WHAT YOU NEED

1. Small gourd

2. Penknife; small drill optional

3. Short length of stiff wire or metal clothes hanger

4. Sandpaper

PROCEDURE

1. Cut hole in neck end of gourd about half an inch in diameter.

2. Bend clothes hanger or wire into L-shape and insert through the hole and scrape inside of gourd as clean as possible, extracting seeds and other debris through the hole.

3. Cut desired number of finger holes with penknife (or small drill). See suggested pattern. These holes are generally smaller.

4. Sand exterior of gourd and inside holes to eliminate any sharp edges or roughness.
[ Ti Leaf Whistle ]
The pū lā ī was a simple whistle used more as a plaything than as a musical instrument, although it has been used to accompany informal hula and may be used to produce a wide range of pitch and sound qualities.

It is made by tearing a ribboń from the green ti leaf about three-fourths to one inch in width and five or six inches in length. This is then rolled in a spiral formation to produce a squat cylinder an inch or more in length, with a diameter usually between a quarter inch and an inch. One end is then pressed flat and the other may be tied to keep it from unrolling.

The flattened end serves as a reed-like mouthpiece. The tone quality depends on the size of the opening of the mouthpiece, the construction of the compressed part, and most of all, the way in which the whistle is blown. To achieve a greater variety of sound, the player may cover the whistle with his hand and modify the pitch by opening and closing the cavity made by the palms.

The instrument is neglected by contemporary musicians. A shame, says Betty Tatar, because, "Its musical possibilities deserve attention, particularly the manner in which it may closely imitate the vocal techniques of the accomplished chanter."

A final note from Nona: "Like blowing on a tissue-wrapped comb, the vibration against the lips sometimes makes your mouth itchy."

[ Bull-Roarer ]

The oe-oe may also be used as a musical instrument, although generally it has been employed as a plaything. Nona sometimes uses the instrument, she says, when chanting.

Made from a small coconut or gourd, with a hole the size of a quarter cut in one end, it is then swung in a circle at the end of some cordage. The sennit may be attached to the coconut through a single hole at the opposite side or through double holes at either side.

Nona ties two knots in the sennit line, one close to the coconut, the other farther away. This designates the pitch. Hold the knot closest to the coconut while whirling it and the pitch is high; hold it farther from the coconut and the pitch is lower. It is to this whirring sound that she then chants.

WHAT YOU NEED

1. Small coconut

2. File or rasp to clean away husk

3. Gouge or small spoon to clean meat from inside.

4. Penknife (small drill optional)

5. Sandpaper

6. Cordage made from hau bark, coconut husk, etc.

PROCEDURE

1. Select small green coconut and strip away the outer husk.

2. Make three-quarter to one-inch hole and insert gouge or spoon, cleaning all the soft meat from the inside.

3. Sand exterior until smooth. (Polish optional.)

4. Cut (or drill) one small hole opposite the first hole. Run cordage through both holes, tie a large knot at one end and then pull that inside the coconut to hold the coconut on the string. Or: make two small holes and run the string in one, out the other, and then tie together, swinging the oe-oe at the end of the resulting loop.

NOVEMBER 1979 / 7

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This month's homegrown feature was prepared with the assistance of Nona Beamer of Kamehameha Schools, Bishop Museum ethnomusicologist Betty Tatar, whose essays on ancient Hawaiian instruments are in Hawaiian Music and Musicians: An Illustrated History. The illustration is by Martin Charlot.

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Haumāna can make a stop motion animation showcasing tī leaf. It can be related to the Kumulipo, the uses for tī leaf, the anatomy, or any other related topic.*

(*Katie will demo this activity at curriculum training)

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Haumāna make clay models of tī leaf anatomy or the types of things that can be made with tī leaf.

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Haumāna can make shrinky dinks that look like the different varieties of Tī leaf.

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Printing using the Tī stamp

(fabric, paper, etc)

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Haumāna create watercolor paintings of moʻolelo, tī leaf varieties, or tī leaf uses.

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A kahoot to go along with the ti leaf presentation.

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Ti Leaf Introduction Kahoot - Details - Kahoot!

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Join a game of kahoot here. Kahoot! is a free game-based learning platform that makes it fun to learn - any subject, in any language, on any device, for all ages!

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Hawaiian Ti Leaf Lei Making – Volcano Art Center

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If you live outside the state of Hawai‘i you can buy ti leaves from Hawai‘i’s Big Island. We highly recommend Green Point Nurseries located in Hilo, Hawai‘i. Phone: +1 (808) 959-3535 or gpn@greenpointnursery.com

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By Carmela Tafoya Mānoa Valley resident and longtime Mānoa Heritage Center docent and friend, Carmela Tafoya is a self-described ’uala (sweet potato) enthusiast. Growing up in Atlanta and Albuquerque, Carmela had never enjoyed a purple sweet potato before arriving in Honolulu. A personal trainer by trade, her love for the canoe plant tuber has led […]

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https://wehewehe.org/gsdl2.85/cgi-bin/hdict?e=q-11000-00---off-0hdict--00-1----0-10-0---0---0direct-10-ED--4--textpukuielbert%2Ctextmamaka-----0-1l--11-haw-Zz-1---Zz-1-home-koelepalau--00-3-1-00-0--4----0-0-11-00-0utfZz-8-00&a=d&d=D115137

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Combined Hawaiian Dictionary (2020) (Hawaiʻi)] Pukui & Elbert - 1986 P&E : Eng-Haw - 1986 Māmaka Kaiao - 2003-10 Andrews - 1865 Andrews-Parker - 1922 [pudding made by peeling and mashing cooked sweet potatoes, then adding coconut cream gradually. kōelepālau , kōʻelepālau kō· ele· pā· Also pālau, poi pālau. lau] n.